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MONDO-DR 35.3
MARCH / APRIL 2025
ON THE COVER Swingers, Las Vegas
Photo: Paul Winch-Furness
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
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DESIGN & PRODUCTION Mel Capper, Jez Reid, Dan Seaton
DIGITAL CONTENT MANAGER James Robertson j.robertson@mondiale.co.uk
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CEO Justin Gawne j.gawne@mondiale.co.uk
FINANCE DIRECTOR Amanda Giles a.giles@mondiale.co.uk
CREDIT CONTROL ar@mondiale.co.uk
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FROM THE EDITOR...
As the year begins to unfold after the bighitting expos of NAMM quickly followed by ISE, we are happy to bring you our second edition of 2025. Once again we’ve tried to cover as wide an array of venue types as possible from across Europe, the Americas, Asia and beyond. As a team we’re feeling refreshed after catching up with so many of you in Barcelona at what was by far the busiest and best ISE any of us have attended – and you can read our in-depth report on the new releases and announcements on Featured on the cover is the impressive new Swingers location in Las Vegas – the largest job in the long history of UK-based AV suppliers and installers Middlesex Sound & Lighting. Also, we do a deep dive into the decisions that went into choosing the new permanent PA at the storied performance venue Rock City in Nottingham report focussing on Lasers & Special FX being utilised around the world 22), and a wide-ranging interview with Groupe Novelty President Jacques de La Guillonnière
Looking ahead, the deadline for entries to this year’s MONDO-DR Awards is fast approaching – submissions close on 24 March – and we look forward to sending them all to our expert judging panel.
Enjoy the issue.
TODD STASZKO EDITOR
mondo@mondiale.co.uk www.mondodr.com www.mondodrawards.com Printed by Buxton Press, Palace Road, Buxton, UK
IN THIS ISSUE...
IN BRIEF
Genelec’s Smart IP loudspeaker technology delivers a discreet audio solution at the Grand Joanne Hotel in Copenhagen.
The Grand Joanne Hotel has reopened with a fresh vision. At the heart of its new chapter is a state-of-the-art Smart IP loudspeaker solution from Genelec. Consultancy and integration firm, Effektgruppen, was tasked with designing an audio system.
Fredrik Nordström, Project Manager at Effektgruppen, said: “Pristine audio was a top priority for the hotel, so we decided to go with Genelec. With their Smart IP networked loudspeaker technology, we knew we’d achieve premium sound that also looked great”
The system comprises 26 of the compact 4420 loudspeakers, 29 of the larger 4430 models, plus seven 7050 studio subwoofers. These are strategically placed in all public areas, including the lobby, restaurant, bar, gym, yoga studio, and several meeting rooms.
In the lobby, 11 of Genelec’s 4420 Smart IP loudspeakers were paired with two 7050 studio subwoofers. Furthermore, the bar and restaurant features eight 4430 loudspeakers and one 7050 subwoofer, providing background music for daily services or live events. The adjacent bar is equipped with seven more 4430s and another 7050 subwoofer.
“To fully optimise the sound experience, we used Genelec’s Smart IP Manager software to individually calibrate and tweak the delay and EQ of every loudspeaker,” Nordström added.
Thanks to Genelec’s Smart IP technology, the system is not only high-performance but also efficient. “Each loudspeaker requires just a single network cable, which delivers power, audio, and management –this greatly simplifies the installation process,” Nordström said. “This setup enhances the hotel’s design by maintaining a perfect balance between form and function.”
www.genelec.com
IN BRIEF
TAIT delivers a sustainable and efficient stage machinery solution for the beloved Jones Hall, preserving its rich history while enhancing its functionality for the 21st century.
Home to the Houston Symphony orchestra, and presenting a varied program of performing arts, Jones Hall in Houston, Texas, has not only been honoured with architectural awards since its opening in 1966, but now stands a much-loved local venue with a very busy schedule of performances, including shows in repertory and prestigious concerts.
In order to increase operational efficiency, to facilitate such a wide variety of performances, with rapid turnaround timescales, the venue partnered with TAIT to plan and execute an upgrade of its stage automation machinery and controls.
TAIT installed an automated flying system comprising of 19 linesets, powered by an array of winches, automated the main curtain, the existing orchestra acoustic shell, added chain hoists for flying loudspeaker arrays, and controlled the tormentor panels and tracks.
A significant benefit of deploying a TAIT system, based on the Navigator Automation Platform, is the ability to control all the machinery in one holistic fashion, including the new winches and also existing equipment which still had serviceable life remaining, making the upgrade both an economical one and a sustainable one.
Ben Gasper, Director for Business Development at TAIT, said: “We provided an ‘all-in’ system for them, not just winches and control, the normal run-of-the-mill stuff, but we really ended up being a partner to Jones Hall, sitting at as many seats at the table as the client needed. For example, we were involved in deeper conversations about what the grand vision was and what they wanted to be able to do. And then we delivered.”
Amanda Clayton, Technical Director, The Foundation for Jones Hall, concluded: “Everybody at TAIT was really accommodating in providing what we wanted. I know that everybody on the TAIT team also really values the history of the building, so it feels like we’ve been able to restore her to her former glory.” www.taittowers.com
IN BRIEF
Viet KTV installs flagship CODA Audio AiRAY systems at Vietnam super clubs.
The recently opened ADM Club in Da Nang is one of the biggest bars in Vietnam. Luxuriously appointed, with stunning interior design, the venue hosts a wide variety of performances, from international DJ sets and laser shows to some of the country’s leading live acts, including Trinh Thang Binh, Lam Chan Huy and Chau Khai Phong. ADM’s investment in its audio and lighting provision reflects its determination to set the very highest standards on behalf its discerning clientele at this premier entertainment hub. Experienced integrator Viet KTV Electronics Company Ltd of Hanoi was engaged to supply and install a CODA Audio system for the venue, and chose the company’s flagship AiRAY line array as the centrepiece. A total of 20 pieces of AiRAY are complemented by nine SCP dual 18inch sensor controlled subwoofers and four SC2-F dual 15-inch sensor controlled bass extensions. The system is driven by six CODA Audio LINUS14 and one LINUS10C DSP amplifiers. “We are honoured to have supplied this high-end sound system from CODA Audio to ADM,” said Vu Phi Diep, Founder of Viet KTV. “The venue is an incredibly impressive place where people can chill and enjoy themselves whilst immersed in world-class audio.”
Following the success of the installation at ADM Da Nang, the venue’s owners went ahead with a further project in Bien Hoa. The venue opened in early 2024 and, as was the case in Da Nang, ADM Bien Hoa was equipped with another CODA Audio system installed by Viet KTV, again based around AiRAY. This time Viet KTV deployed a system comprising 12 AiRAY with four SC2-F and three SCP, driven by five LINUS DSP amplifiers. Completing the picture is two CODA Audio CUE TWO compact 3-way stage monitors. www.codaaudio.com
IN BRIEF
Hertz Audio makes NEXO the standard for MORE LIVEHOUSE in Chongqing.
The MORE LIVEHOUSE in Chongqing, China, is the latest and largest venue for the fast-growing brand, and features a NEXO sound system installed by Guangzhou Hertz Audio Co.
The 1,500 sq m performance venue features left and right hangs of NEXO GEO S12ST series line arrays, with four NEXO RS18 and four LS18E subs, and six PS10s for front fills.
“We’ve invested heavily in creating concert level staging, using a NEXO audio system and a customised lighting set-up to present a perfect music venue for Chongqing music fans,” commented MORE LIVEHOUSE founder Sun Gaofeng. “This is our second official cooperation with Hertz Audio,” continued Gaofeng. “I think Hertz is a mature team and NEXO is an internationally recognised brand. The levels of professionalism of our performers is very high, and our own on-site technical team is very professional. “Everyone has a consensus: the sound equipment must be top of the line, no ambiguity. Hertz’s NEXO system has already won market recognition at our Hefei location, and this time in Chongqing it again lives up to expectations and has been widely praised.” www.nexo-sa.com
MARCH
MAR 23-25
MUSIC INSIDE RIMINI RIMINI, ITALY www.musicinsiderimini.it
MAR 25-26
ISCVEx COVENTRY, UK https://iscve.org.uk
MAR 30-01
SOUND:CHECK MEXICO CITY, MEXICO https://soundcheckexpo.com.mx
APRIL
APR 06-09
NAB LAS VEGAS, USA www.nabshow.com
APRIL
APR 08-11
PROLIGHT + SOUND FRANKFURT, GERMANY www.pls.messefrankfurt.com
APR 16-18
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
MAY
MAY 13-14
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/
MAY 20-22
SLS EXPO RIYADH, SAUDI ARABIA www.saudilightandsoundexpo.com
MAY 20-23
KOBA SEOUL, KOREA www.kobashow.com
MAY 27-30
MAY 29-31
PROLIGHT + SOUND GUANGZHOU, CHINA
PALM EXPO / AV-ICN MUMBAI, INDIA www.palmexpo.in
area: 0,85 x 1,70m
LASERS & SPECIAL FX
Real world examples of the usage of lasers and special fx across a wide range venues and projects around the world.
Beyond - How Light is Created
COMPANY: LaserAnimation Sollinger
LOCATION: Erlangen, Germany
Beyond - How Light is Created is an audiovisual, installation-based performance at Schauspielhaus Erlangen about final questions and the difficult art of saying goodbye. Directed by Jonas Knecht with composition and sound design by Rafał Stachowiak, the story offers a powerful theatrical experience through a complex mix of performance, sound and light, with laser beams transforming the oldest baroque theatre in southern Germany into a beguiling landscape of light in yellow, red and blue.
The production transforms the stage into a surreal space where reality and reflection merge, immersing the audience in an audiovisual journey through time, memory, and farewell.
For this unique production, laser artist Bahadir Hamdemir chose six customised PHAENON XD Blizzard laser projectors to create an immersive and dynamic light environment. His decision was based on the system’s exceptional projection quality, pure white laser light and advanced control capabilities, which ensured a highly precise and atmospheric visual experience. Unlike conventional RGB laser systems, the PHAENON XD Blizzard generates pure white laser light using a unique combination of blue laser diode modules, designed and manufactured by LaserAnimation Sollinger, and yellow Coherent Genesis Taipan OPSL laser sources. The additional red combiner module – also designed and manufactured by LaserAnimation Sollinger – offers an extended colour spectrum while allowing for optimised and highly stable white light projection as the carefully selected wavelengths ensure a natural and high contrast image without the colour inconsistencies often associated with RGB systems. The synergy between these laser sources results in an exceptionally clean and homogeneous white
laser light, making the PHAENON XD Blizzard ideal for applications where absolute precision and colour fidelity are required. The system’s CT 6210 scanners with TurboScan driver electronics guarantee highspeed, high-precision projections, with a scan speed of 60k at 8° and a maximum projection angle of 80°. The motorised beam adjustment ensures perfect colour alignment throughout the performance, while the low divergence of less than 1 mrad and the 3 mm beam diameter contribute to sharp and detailed visuals. To seamlessly integrate the lasers into the production, the system utilises AVB streaming via Ethernet, MIDI control via Ableton Live, and AIFF player functionality, allowing for real-time synchronisation of sound, laser and light elements. With its compact housing and quite operation, the PHAENON XD Blizzard is perfectly suited for demanding theatrical environments, offering reliability and flexibility in equal measure. Hamdemir used the intuitive LA.toolbox monitoring software from LaserAnimation Sollinger for the overall laser control and Derivative’s TouchDesigner for the show control. The precision of the laser projectors used was critical to the entire theatre production, as the lasers were used not only on stage, but also in the audience area. The result is a visually stunning and impressive production that delights audiences. With LaserAnimation Sollinger’s innovative laser technology, reliable hardware and intuitive control systems, Beyond successfully redefines the role of laser light in storytelling. Thanks to Hamdemir’s precise selection of laser technology and software, the production achieves a deeply immersive experience, taking the impact of light beyond traditional stage lighting. www.laseranimation.com
Bullanginya Dreaming
COMPANY: Laservision
LOCATION: Barooga, New South Wales, Australia
A permanent, one-of-a-kind, interactive journey intertwining First Nations culture with traditional storytelling, stunning visuals and absorbing soundscapes, Bullanginya Dreaming stands as a groundbreaking cultural and entertainment experience that blends history, art, and technology.
Located in the idyllic Bullanginya Lagoon, Bullanginya Dreaming is a Luna Light Journey by Laservision which offers a unique insight into the rich traditions of the Bangerang People, paying homage to their deeprooted connection to the land.
It is the largest First Nation light and sound show in Australia, transforming over 40 acres of natural Australian bushland into a vibrant celebration of Indigenous culture, history and the environment. At the heart of Bullanginya Dreaming lies the objective to provide visitors with a memorable and immersive experience. This 1.8km walking track invites guests to disconnect from the outside world and enter the ‘Dreamtime’ – a cultural and spiritual concept central to Indigenous Australians. The journey takes approximately 1.5 hours, during which visitors engage with 13 distinct activations, each showcasing significant elements of Bangerang history and culture. The storyline weaves together key cultural elements, from a ‘Welcome to Country’ ceremony, to the profound connections between the Bangerang People and their environment. Some of the highlights include ‘People of the Tall Trees’, ‘Patterns of Nature’ and ‘Chaos’.
Across the 13 activations to journey through, the ‘Chaos’ activation is a spectacular, synchronised mesh of high-powered lasers, pulsating audio, special effects and programmed LED tubing positioned within a glade in the bushland. Depicting the extreme weather events that have shaped Australia’s rugged landscape, this activation immerses the individual in a chaos permeating the senses of sight, sound and smell.
To meet the creative demands of this area, Laservision deployed two customised, high-powered IP65 25W full colour Laservision Lasers and seven Antari IP1500 Smoke machines, and due to the nature of the harsh outdoor environment, customised equipment enclosures were necessary for both the laser units and the haze units.
“The country intertwined with ‘Bullanginya Dreaming’ has been forged over millennia, while the journey itself transcends time. By embracing these notions, and despite the often-challenging outdoor environment, ‘Bullanginya’ quickly rose to success,” said Laservision CEO Shannon Brooks.
Placed at the top of Tourism Australia’s ‘Hot List’ in July 2024, Bullanginya Dreaming continues to impress visitors from across the country and beyond. www.laservision.com.au
Welsh National Opera
COMPANY: MDG Fog
LOCATION: Cardiff, Wales
Welsh National Opera’s Head of Lighting, Sound and Video, Ben Naylor, was delighted to take possession of an MDG ATMe haze generator with a digital theFAN unit, both housed conveniently in MDG’s purpose-built Vertical Flight Case.
Naylor explained his choice of MDG and this combination of equipment, which was supplied by Robe/MDG UK. “We had been looking for a better consistency of coverage of haze for a long time, as the hazers we’ve used in the past have looked patchy, and generally produced more haze in the wings than on stage,” said Naylor.
“The MDG ATMe with the flight case and fan not only gives us fantastic haze coverage on every stage, it is a safe and efficient way for us to tour the equipment.”
The Vertical Flight Case is a bespoke design with fitted compartments that hold an ATMe haze generator (or any of the Me1, Me2 or MAX 3000 fog generators), theFAN, two 9kg CO2 bottles, a 4L bottle of MDG Neutral fluid, and a handy tool drawer – all in a plug-and-play unit of rugged construction that can be simply and safely used for transportation, and then rolled into position.
The ATMe, theFAN and Vertical Flight Case were purchased for WNO’s general inventory, rather than a specific production. “We do a lot of co-productions with other opera companies and we see MDG specified
on many of the productions we work on,” continued Naylor. “It’s also noticeable how, over the past five years, more and more lighting designers are asking for MDG products too.”
Naylor and his tech team have been impressed with their neatly packaged and moveable new products, and with their ease of use on tour. “The ATMe and theFAN are very easy to use, and, being built into a single flight case, moving them from venue to venue is a dream,” he said. “The maintenance is straight forward and having a spare gas bottle and all the spares in the flight case means we don’t have to worry about the gas running out, and it is extra safe for touring.
“I can honestly say the ATMe is the best hazer we have ever used, in particular its consistency to produce and fill the space with smooth, even haze. It has surpassed our expectations and travelled very well on tour. During the season the ATMe has gone from heavy, rock-style haze for our family concerts with lots of beams on show, to very little and subtle amounts of haze for our operas.
“We continue to experiment with the product and where to position it in each venue, but we generally position it downstage in one of the wings, and we’ve had no complaints in any of the venues we’ve set up in, so it’s really working very well for us.”
www.mdgfog.com
Above: Lighting designer Paul Keogan’s work on Welsh National Opera’s Ainadamar made beautiful use of haze from its MDG ATMe haze generator. Photo: Danny Kaan.
Right: Isaac Tover as Bullfighter Dancer in Ainadamar. Photo: Johan Persson.
ExtraSchicht: Henrichenburg boat lift
COMPANY: laserfabrik
LOCATION: Dortmund, Germany
Regarded as a masterpiece of engineering, the Henrichenburg boat lift was built in 1899 and is the largest and most spectacular structure on the Dortmund-Ems-Kanal.
Now a heritage site overseen by the Westphalian Industrial Museum, the boat lift is one of many industrial sites in the Ruhr region chosen to be highlighted as part of the Extraschicht celebrations, an annual festival which sees around 500 different events take place in a single night at around 40 to 50 venues, across different locations in the Ruhr region. laserfabrik were contracted by Westphalian Industrial Museum to design a multimedia show to highlight the significant structural achievement of the Henrichenburg boat lift, beginning in 2024, with the agreement renewed each year since.
“We were approached and asked to highlight the fine details of the structure, its clever design features, and its materials,” said laserfabik CEO Daniel Brune. “The building is an attractive design, and so we put a lot of emphasis on it from an architectural point of view, projecting lasers on to its outlines and surfaces, and also the water.
“For this we utilised four LaserAnimation Sollinger Phaenon X RYGB 30000 – 30W lasers. Their beam quality and colour coordination through their added yellow diode is unmatched, and the perfect solution for
projects like this, where we required perfect projection from a significant distance.” With visitors standing on either side of the structure, Brune and his team utilised the reflective nature of the water as part of the laser show design. “The additional six units, which are set up on either side of the structure for the beam effects around the perimeter to further illuminate the site and the river, also needed to have an impeccable beam quality, because any imperfections would have been amplified after hitting the water surface,” said Brune.
“People stood in various positions to the left and right of the shore looking at the structure and the surrounding areas, so it was important to think creatively about how the lasers can highlight the intricate nature of the steel and brick work,” continued Brune. “Using the water as a mirror for the laser effects really brought the boat and the lift structure to life.” In addition to the lasers, eight Smoke Factory Fog Machines were set up to create the haze for the lasers, while a sound system was also deployed with music synchronised to the visuals. The impressive interplay of industrial achievements from over 100 years ago and contemporary laser staging enthrals audiences who attend Extraschicht Henrichenburg boat lift until late in the evening.
www.laserfabrik.com
Luminous
HYDRA-TECH rain machine
HYDRA-TECH by Luminous replicates natural rainfall and customised graphics in a truss mounting, and with on-board water tanks, the system can function for plug-and-play operation or be configured for permanent installations. HYDRA-TECH provides the wow-factor by making it rain words and images, and the touch screen controller gives SFX professionals the ability to build and fire cues manually, or via DMX. The digital interface can be programmed to present various shapes, patterns and text, such as logos and images, with content The rain head valves are operated at up to 500 hz, giving exceptional control of the outlets and the system of valves and nozzles provide a truly non-drip experience. This aids in providing excellent control and crisp resolutions to keep the element of surprise for audiences. The system is made to be expandable. Rain heads, tanking and pumps can be added and interchanged easily to achieve the desired length or width, and the system can be configured into limitless shapes and sizes using straight, angled or curved sections. Each system is supplied pre-rigged in light weight, quick-lock truss, and a fully self-contained rain system can be created for continuous run times using water catchment tanks and full recirculation systems, while Luminous’ modular water catchment tanks feature integrated splash matt and a griddled walkway. The HYDRA-TECH Digital Rain System makes a statement for any application, elevating immersive experiences in themed environments. Whether simulating rain in a leisure park rainforest exhibition or adding a dramatic walkthrough for an attraction, it enhances storytelling and transports guests into a world of adventure. It can even be integrated on rides. www.luminous-showtech.com
Mantra
COMPANY: Superlative
LOCATION: Jakarta, Indonesia
Mantra, a vibrant nightclub that consistently attracts Jakarta’s party-scene, proves that modern clubs must provide more than just a space to dance in – visitors want atmospheric excellence. To deliver this, the venue houses state-of-the-art audiovisual systems, crafted by designers that understood its mission of full immersion for partygoers. One valued member of this assignment was installer Superlative, who was brought onto the project to craft lighting, special effects, and kinetics solutions. Excitingly for Superlative, the venue gave them a large amount of creative freedom, allowing the team to execute their vision, whilst still ensuring alignment with the client’s goal of rivalling other international clubs. One particularly impressive element of Superlative’s project was its special effects solutions. Providing a powerful white cloud is 12 MAGIC FX CO2JET II, which, alongside two MAGIC FX STADIUMSHOT II confetti blasters, creates a thrilling and interactive sensory experience. Moreover, producing memorable visuals that the average club does not provide, 12 Showven Sparkular Fall units are suspended from the ceiling around the perimeter of a large LED screen, with an additional eight Sparkular units positioned on the stage. Incorporating atmospherebuilding haze, Superlative also installed four JEM Hazer Pro units from Martin Professional. Finally, four 10W RGBW lasers map the stage area and DJ booth, and a further 10 units point to the audience. An MA Lighting grandMA3 system is used to control the complete special effects package, ensuring a synchronised and impactful performance. Looking back at their completed visual design, Miquel Clot, CEO and Co-Founder of Superlative, said: “We’ve woven together entertainment, innovation, and pure artistic magic!” www.superlative.live
KALI Ultra Lounge
COMPANY: idesign
LOCATION: Orlando, Florida
Photos: Adi Adinayev
As nightclubs continue to emerge in abundance, the teams behind these venues are constantly challenged to find new and exciting ways to engage customers. With this in mind, when idesign was contracted to craft a high-tech visual solution for KALI Ultra Lounge – a vibrant club in Orlando – they set out to install a system that would not only make the venue stand out in the city but also redefine the traditional entertainment scene.
Part of the installer’s brief included integrating state-of-the-art, colourful special effects that would fit the owner’s inspiration of ‘extravagant artistic luxury’ without the result appearing messy or overcrowded. Michael Meacham, Owner of idesign, underlined his team’s process of designing, stating: “We are not maximalists, nor are we minimalists; everything we install has intention. The distinction between negative space and contrast is what imparts depth and dimensionality to the design. As visual artists, all our work is very calculated and thoughtful.”
Having a long working relationship with the manufacturer, idesign first reached out to Kvant for a bright laser solution. Consequently, in each corner of the club, a Kvant RGB 6W laser was deployed. As well as the fixture’s strong colours and reliability, Meacham enjoys the fact that both idesign and Kvant are based in Orlando, with Kvant always being happy to help. “If support is needed, Justin Perry, Kvant Partner, and
his team are always close by,” he said. To control these four fixtures, the Pangolin Beyond Essentials laser software is used. In addition, two Smoke Factory smoke machines were installed to enhance the atmosphere and ensure complete sensory engagement for visitors to KALI. “You have to take every sense into account to achieve full immersion,” Meacham commented, reiterating idesign’s mission to facilitate escapism.
“However,” he continued, “special effects shouldn’t be overused. Every visual designer has to be careful not to excessively utilise lasers and smoke in their venue. This is where our intentional use of negative space comes in; when special effects are employed sparingly, they become far more noticeable.”
Alongside their coinciding lighting and video integrations, idesign’s special effects installation at KALI Ultra Lounge firmly positions the club at the forefront of Orlando’s nightlife scene. The creative yet careful use of lasers and atmospheric effects has impressed customers and, just as importantly, satisfied the installer’s client. Meacham concluded: “The owners were ecstatic with our choices. In every install, I try to create something exciting and special that my team and I enjoy; if we’re able to do that, then we know the client will share the same feeling.”
www.idesignproductions.com
“ANY JOB IN THE AUDIOVISUAL INDUSTRY IS ABOUT PROVIDING HAPPINESS. YOU’RE CREATING EXPERIENCES, PARTIES, AND SPACES FOR PEOPLE TO GET TOGETHER.”
JACQUES DE LA GUILLONNIÈRE
President, Groupe Novelty
At Groupe Novelty’s Parisian headquarters, President and Founder Jacques de La Guillonnière sits down with MONDO-DR to discuss the French company’s existence as an international, 360º supplier, able to provide entertainment solutions from inception to completion.
With 16 key businesses operating under the organisation’s umbrella, just some of its offerings include research and development, staging, backline, special effects, LED, and all manner of sound and lighting solutions, certainly making it worthy of the moniker ‘Groupe’.
Completely driven by the audiovisual industry for as long as he can remember, de La Guillonnière formed technical service provider Euphonie in 1987 while studying at the renowned French business school, Institut Supérieur de Gestion.
“However, my very first career was as a DJ for private parties,” he revealed. “So, as soon as I started working, I was part of the audio world. This industry (AV) is all I’ve ever worked in, and I love it!”
In 1989, Euphonie became Euroson, the predecessor to Novelty, an organisation that remains an important element of de La Guillonnière’s overall brand today.
As the 2000s began, Groupe Novelty was formed as a holding company, and just three years later, de La Guillonnière began a series of targeted acquisitions to expand the capabilities of his organisation. The goal became for Groupe Novelty to have the resources and offerings to see through proAV customers’ projects from start to finish.
“Our little group was growing up and gradually becoming bigger,” continued de La Guillonnière. “We’ve bought over 70 companies in the past 40 years, and the brand just got stronger with each acquisition.”
Today, Groupe Novelty is represented by 16 main brands, including: Novelty, Magnum, Dushow, Teamagine, On Stage, BBS BACKLINE, De Préférence, POTAR, DushowTV, Alabama, Best Audio & Lighting, Nomad, C17, SEVEN, Magnum Power, and PIXBOX.
“We’ve doubled our size more than six times over the past years of operation,” de La Guillonnière commented. Asked why he values integrating different audiovisual businesses into Groupe Novelty, he said: “Any job in the audiovisual industry is about providing happiness. You’re creating experiences, parties, and spaces for people to get together. By inviting more companies to work under the Groupe umbrella, we’re forming connections that can help businesses craft even more innovative events.
What’s exciting to me is meeting with other entrepreneurs
Above: Cirque d’Hiver Bouglione, brought to life by Magnum.
Below: La Cité de L’Histoire, with technical installation from Groupe Novelty.
and motivating them to join the group.” Groupe Novelty’s acquisitions don’t just help grow the base organisation; upon joining the company, the subsidiary then experiences an increase in the quality and quantity of projects they are contracted for, de La Guillonnière stated. This is apparent taking a quick analysis of the organisation’s annual activities, being involved in over 15,000 events with an overall turnover of €370m. However, the president preferred to describe the benefits found by businesses acquired by Groupe Novelty using anecdotal evidence.
“We are able to realise incredible installations, standing at the helm of everything from the R&D process to the physical integration, thanks to our diverse specialist companies. I still find it fascinating to see. I particularly enjoy it when we get to light up huge monuments and public buildings, like last year’s Centre Pompidou project in Paris.”
This Centre Pompidou installation saw three of Groupe Novelty’s companies – Teamagine, Alabama, and Novelty Paris – come together to illuminate the facade of the building using over 5,000 sq m of semi-transparent LED screens.
This project can be used to truly understand the extent of Groupe’s offerings, with scenographic R&D firm Teamagine stepping in to evaluate loads and structural constraints, video solutions experts Alabama taking charge of designing and installing the screen, and event industry tech specialists Novelty Paris covering on-site logistics and coordination, ensuring smooth operations within an extremely tight timeframe.
On additional projects from 2024 that he believes show
“WE DON’T BUY BUSINESSES TO REMODEL THEM OR REMOVE THE ORIGINAL PEOPLE AND IDEAS. INSTEAD, IT’S ALWAYS ABOUT INCORPORATING A BRAND INTO OUR GROUP TO FORM A BIGGER, MORE VERSATILE TEAM.”
the excellence of Groupe Novelty, de La Guillonnière mentioned the company’s wide involvement in the reopening ceremonies of the NotreDame Cathedral of Paris. Naturally, Groupe Novelty was honoured to take part in the celebrations of such a revered venue – renowned not just in the French capital, but around the world.
As he explained, this project displays the synergy of the Groupe’s brands. Set to be viewed by tens of millions of people, it led Novelty Paris to step in to meet the technical needs for cathedral sound distribution, video mapping, multiscreen broadcasting in an audience marquee, and the deployment of screens and PA systems along the River Seine.
Alabama was again brought in for its video proficiency, with the company producing visuals and setting up media servers. Furthermore, as branches of the Groupe Novelty tree, De Préférence specified audio consoles, Magnum dealt with power distribution, Magnum Power provided generators, DushowTV designed the lighting system, and On Stage crafted tower structures to support the visual technology.
“Such installations show the group is very rich in knowledge and ability,” de La Guillonnière said. “Each company in Groupe Novelty has a specific expertise that it does really well, and that’s why we’re so attractive to contractors. Because of this, we’ve been able to work on incredible venues, not just in France but worldwide, on highly varied projects. When we bring together all our skillsets, we can do anything.”
The organisation also thrives in the fixed installation industry; with its diverse expertise, it is not confined to a single project sector. This is exemplified by its role in the immersive experience Dôme des Invalides/ AURA in Paris, which saw Novelty, alongside venue designers Moment Factory, become a finalist in the 2024 MONDO-DR Awards in the museum category.
Housed in the tallest church building in Paris, the museum features a
NEXO based audio system specified and integrated by Novelty. This system quickly became an essential element of the venue, as the AURA experience relies heavily on spoken word and music.
Throughout 2024, Groupe Novelty continued to remind the industry of its audiovisual aptitude while also taking steps toward strengthening its visibility. The president elaborated on how this was best exemplified by the company’s rebrand that saw a phasing out of its previous name: Novelty-Magnum-Dushow.
“We welcomed Magnum in 2016 and Dushow in 2019. These were huge brands, bigger than our holding company at the time,” said de La Guillonnière. “Because of this, we knew it was fitting to call ourselves Novelty-Magnum-Dushow, ensuring all employees from the acquired companies felt that their integration was welcoming and seamless.
“We don’t buy businesses to remodel them or remove the original people and ideas. Instead, it’s always about incorporating a brand into our group to form a bigger, more versatile team. However, in prioritising visibility and simplicity, we eventually rebranded to Groupe Novelty,” de La Guillonnière continued, with the new name giving a nod to the organisation’s makeup of a wide variety of services.
The 2024 rebranding also helped set the stage for the mission that Groupe Novelty is taking on in 2025: enhancing its worldwide status.
Though the company is already involved in thousands of projects across the globe annually, as seen by his desire to continuously and persistently increase the scale of Groupe Novelty’s offerings, de La Guillonnière believes there is always room for further growth.
“Our new name, Groupe Novelty, unifies our diverse stable of specialist businesses, which was a key move before undertaking further international expansion,” he said. “Our ambition for 2025 is to continue to develop in new countries and regions, and for our international status to catch up with our renowned national one.”
He explained that exporting the group’s “French touch” to projects
around the world is crucial in the development campaign: “We strive to provide our customers with the highest level of service possible, no matter where they are. We want to carry on bringing our ‘savoir-faire’ abroad to all kinds of installations, whether that be touring or fixed, huge or small, to cement the international trustworthiness and quality of Groupe Novelty.”
One way Groupe Novelty is prepared for increasing global awareness is through its extensive network of offices and warehouses. De La Guillonnière noted that its 25 locations in France, along with 12 international offices – including in London, Barcelona, Madrid, Brussels, Milan, Monaco, Lisbon, Doha, Dubai, Dammam, Riyadh, and Marrakech – help most customers feel they have a local contact, which he considers crucial for strong client relationships.
The company recently opened an office in New York, USA, due to the city’s fashionable culture, and the president estimates that around 15% of the company’s revenue comes from its involvement in couture and luxury events.
“Our attention to detail means that fashionable clients keep choosing us,” he said. “We’re involved in some of the most beautiful catwalk events annually, like many of the Paris Fashion Week projects. Opening an office in NYC was a necessity, as many of our fashion-based customers reside there. Now, we can work hand in hand with them even better. The end goal is for every kind of client to be granted the exact same level of expertise and close assistance, no matter where they go.”
The creation of a new leadership team at the end of 2024 was another step in strengthening both the brand and client relations. The three main entities of Groupe Novelty, Novelty, Magnum, and Dushow, were initially only separately managed, with one different director for each brand. De La Guillonnière explained that a new role, Deputy CEO, has now been created to act as general director, overseeing the trio of brands equally. Christophe Piette has taken on this role and now supports the three directors under him, buttressing communication between each sector.
“As well as his high level of competence, I knew Christophe would be perfect for the role because of his extremely human and compassionate approach to business,” de La Guillonnière said.
“This is a quality I hold dear within myself, as well. Furthermore, he is also very involved with sustainability, another factor that I always strive to perfect within operations at Groupe Novelty.
The three principal brands within the Groupe have an international
Left and above: Dushow’s installation expertise benefits both fixed and temporary projects.
ISO 20121 designation, meaning events carried out by the company recognisably implement practices to minimise environmental, social, and economic impact. We know that Christophe will help us continue our staunch commitment to sustainability.”
Piette’s role was established as part of an ongoing push to enhance communication within the branches, enabling each company in the group to collaborate more effectively and serve clients more efficiently.
“The intention is for there to be more exchange between material, ideas, and people throughout the holding company so that our brands aren’t cut off from each other, though they all still focus on their specific expertise.”
Asked what he sees as the largest threat within the proAV industry at this moment, de La Guillonnière revealed that though Groupe Novelty does not feel at risk of it currently, every audiovisual company must ensure that they are working to always stay forward-thinking, as being shy to innovations and new ideas is a huge threat to a brand’s relevance. “The industry is constantly evolving, and we can’t be scared of this,” he said. Combating this, Groupe Novelty is making sure it stays at the forefront of the audiovisual industry by encouraging the next generation of experts to join the field, while also learning from these new professionals.
The president detailed that the company is achieving this through their recent partnership with EMC, the renowned educational institution for emerging AV professionals based in Malakoff, France. The union of the school and group was finalised at the start of 2025, and stems from de La Guillonnière’s belief that “investing in education and training is essential to integrating the new generation into the industry.
“It’s not just about training them with our technologies, it’s about training them for the technologies of tomorrow,” he continued. “There’s a lot of new technical competencies that are going to become important to possess in the evolving industry, especially with the advancement of AI. EMC will be ensuring that its scholars are well prepared.”
De La Guillonnière went on to detail how this partnership is also an investment in the industry. “In a given month, Groupe Novelty employs over 3,500 temporary workers alongside its 1,500 permanent staff members. Our projects create so many jobs that this number can even go up to 6,000. Therefore, we really rely on the talents of highly skilled professionals to see our installations to fruition, so we understand the importance of training.”
With such ambitious growth plans for 2025 alongside new partnerships and leaderships, Groupe Novelty evidently has big plans for the years ahead. Asked how the company keeps its finger on the pulse of the audiovisual industry to organise its always-calculated next steps, the president explained it is partially down to an understanding of its clients and, therefore, the market.
“We want to hear from our customers as much as possible, so we always plan to attend many tradeshows. This leads to another benefit of having many different offices and warehouses; whenever there’s a show, we can invite clients to one of our nearby spaces so they can come and see us around the same time.”
He also mentioned Groupe Novelty’s bimonthly hosting of small parties
Left: Novelty assists in the creation of a concert at Parc des Princes, France.
Below: Finalist for the 2024 MONDO-DR Awards, AURA INVALIDES in Paris.
where the company presents new products and services through demos and discussions. R&D is extremely important to the company, he noted, so not only do customers use its products, they also almost help design them. “When we visit clients, we encourage detailed feedback, which we take straight to our development team,” he stated.
As the conversation wrapped up, de La Guillonnière’s pride for his company and all the expert brands within it was apparent. With an international takeover on the horizon, it seems that Groupe Novelty is showing no signs of slowing down. The president made it clear that in the coming years, we will see the organisation at the forefront of countless significant installations, showcasing the company’s technical expertise in projects worldwide.
“We’re the haute couture of audiovisual technology,” de La Guillonnière concluded. Though said playfully, this stylish analogy aptly describes the company, with the brand’s past and present goals of focusing on attention to detail and quality matching with tailoring unique solutions to fit the needs of individual high-end clients.
www.groupe-novelty.com
ELECTRIC CHAIN HOIST
ROCK CITY
NOTTINGHAM / UK EMEA
Storied UK venue updates its PA with riderfriendly d&b audiotechnik XSL-Series, installed and commissioned by Solotech, to enhance its standing as one of the most popular music and club venues in the UK.
Photos: Alastair Brookes unless stated.
Rock City has been operating as Nottingham’s main music and live events venue since 1980 and its main room has hosted the likes of David Bowie, Public Enemy, Charli XCX and Nirvana, as well as providing a stage for emerging talent and local acts.
Recently, the venue upgraded its in-house PA with the installation of a new d&b audiotechnik XSL-Series system which not only serves to improve the experience at gigs, but also for its high number of nightclub offerings.
“Historically, throughout the 1980s and 90s, Rock City hired in PA systems per show, and our first permanently installed in-house PA took place around 2010, which was done by SSE Audio – a company which is now owned and operated as Solotech,” said Sam Joynes, Head of Production for the venue’s owners, DHP Family.
“As a company, DHP Family work closely with Solotech across our other venues, and this most recent change at Rock City came about because the existing PA was close to 13 years old and coming towards the end of its lifespan – despite it still sounding good and operating well.”
According to Joynes, the key points of the brief for the new PA was for it to be highly rider-friendly to meet the demands of today’s artists and crew, for it to have longevity, and to be as energy efficient as possible.
“The venue has a strong reputation, and it’s a key thing for us that we enhance and grow, and one way of doing that is to ensure that the sound for both gig and club goers is as good as it can be,” confirmed Joynes.
Mark Day, Senior Sales Executive at Solotech,
is DHP Family’s point of contact should any of its venues require any service regarding audio equipment, and he explained a relationship between d&b audiotechnik and the venue began when a new d&b system was installed in one of Rock City’s smaller venues in 2018.
“Prior to being acquired by Solotech, SSE Audio had installed a d&b system in the basement venue BETA, during which a relationship formed between the manufacturer’s technical team and the venue, which formed a big part of why d&b was chosen for the main room,” said Day.
“The age of the existing system in the main room had slowly started to become an issue because replacement parts for its cabinets and amplifiers had started to be discontinued,” explained Day. “At that point Solotech were approached to look into a replacement, and the venue decided to go with as new a product as possible in order to get the maximum ROI, and not choose a product which had already been on the market for four to five years, or even longer.
“The XSL series was something that fit the room really well and at that point had been on the market for less than 12 months.”
Solotech and d&b audiotechnik’s technical team installed a full demo system in the venue for a two week period in January 2023, and according to Day: “The feedback was unanimously excellent.”
Richard McLean, d&b audiotechnik’s Commercial Manager for UK and Ireland, was part of the manufacturer’s team that worked with Solotech and DHP Family throughout the whole process.
“Education is a key part of what we do at d&b. In 2018, when SSE installed the new system in BETA, part of that journey involved bringing members of the d&b EAS team to the venue to provide training and support for the in-house technicians. For some it was a whole new platform to grasp and the adoption of the d&b workflow was a smooth process for the team in BETA,” explained McLean.
“Since then, we’ve enjoyed having regular contact with the DHP team through our education programme, keeping them updated with new developments as the relationship has grown.
“When XSL launched as part of the SL series, there was real interest from them to be involved with a product from the very start of its lifecycle – an investment which will last for a many years ahead.”
The new PA consists of L-R hangs featuring eight XSL8 and four XSL12 per side, with three KSL-SUB per side and five E8 loudspeakers positioned as front fills. Out hangs consist of one V-Sub, one AL60, AL90 and V7P and two V10P. Powering the system is ten 40D amplifiers. For Joynes, the timing was crucial to this being a d&b install. “We have worked with Mark for a number of years, and also d&b had made it clear from the outset that they wanted to be involved in this project, and it’s important to us that we work with people who want to work with us. They share our values, and Richard really made it feel like we were in good hands, and drove the project in some ways, which was helpful for everyone.
“A few things which worked in favour for d&b, not only was the timing excellent as the XSL was quite new to the market, but it also has a really small profile, and putting it into Rock City has improved the venue’s sightlines.”
In addition to the sightlines now being better for punters on the balcony and wider areas, the system is more efficient in where it directs sound. “The cardioid subs offer a lot more directionality than before,” continued Joynes. “We have a condition on our license to be
able to monitor the sound in various areas outside the building, and we have noticed a significant drop in dB readings from those locations, which is really great for us from a business perspective.
“We don’t have to stick to certain dB limits, but it is a sensitive issue locally, so it’s great that we can have a system that sounds better and louder in the building, and is quieter outside. Not only that, the sound on the stage is also improved as there is far less leakage from the new subs, which are in enclosures located stage left and right.”
Club Nights and Gigs
Rock City’s cultural offerings are now extremely different to how it was when its first permanent sound system was installed in 2010. “That install was very focussed on live music performances,” continued Joynes, “but since then, our business has evolved and club nights have become a mainstay of the venue.
“Rock City always did club nights, but now they’ve become a much larger element, and we’re open four nights a week, meaning we do two times the number of clubs as we do gigs, with two times the number of people coming through the doors.
“With that in mind, when it came to this new system, we took a lot of time to look at fill speakers and adding sound where we didn’t have it before, to ensure that the coverage was as good as it could be.
“And this system has really improved our club nights, with better coverage around the bar areas, in the balcony, and VIP area. It’s a complete change for the club night experience.”
Another aspect Joynes is particularly pleased with is the energy efficiency of the new amplifiers. “The new amps are twice as efficient because we are using half the power to power the same level of output as previously,” he said. “That’s really important to us as we work towards reducing our emissions.”
When it came to the installation itself, Day reflected on a successful
Above: The new XSL system at Rock City has improved sightlines for gig goers.
The magic of light
TECHNICAL INFORMATION
AUDIO
8 x d&b audiotechnik XSL8
4 x d&b audiotechnik XSL12
6 x d&b audiotechnik KSL-SUB
1 x d&b audiotechnik V-SUB
1 x d&b audiotechnik AL60
1 x d&b audiotechnik AL90
2 x d&b audiotechnik V10P
1 x d&b audiotechnik V7P
5 x d&b audiotechnik E8
10 x d&b audiotechnik 40D
www.dbaudio.com www.solotech.com www.rock-city.co.uk
project without too many major obstacles to overcome.
“Installing the new system did have its challenges, such as the need for new rigging and cabling infrastructure, and also the need to update the racks because they were around 20 years old, and so power distribution was also updated and upgraded,” he said.
“This install took place around 12 months after we supplied the venue with a pair of new Allen & Heath consoles to replace the aging mixing desks that the venue had,” continued Day. “So, in effect the venue has replaced all of its audio equipment in the space of a 16-24 month period.”
Joynes concluded: “We wanted to improve on what we already had, which was difficult because that system, despite its age, still sounded great. That first permanent install was such a huge leap on what we had previously hired in for gigs, and especially for club events. We thought it would be very difficult to get that level of improvement again this time, but this new system sounds fantastic, and is an improvement on the old system with enhanced clarity, and bass response.”
Below: Sammy Virji performs at Rock City. Photo: Louisa Mae Thompson.
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LIGHT CYCLES
WORLDWIDE LOCATIONS
This multi-location, multimedia immersive art experience, which blends technology with the natural environment, began with a simple question. Mathieu Grainger, Producer of Light Cycles, Moment Factory, asked himself: “What if nature could talk?”
In the winter of 2024, the MONDO-DR team travelled to Birmingham to witness the unveiling of the city’s Light Cycles exhibition. This sensorilyengaging outdoor installation appears simultaneously in multiple locations worldwide, thanks to its creator, Moment Factory.
Drawing on Moment Factory’s vast multimedia repertoire, including the Lumina Night Walks series, these installations, whether permanent or semi-permanent, can operate year-round or seasonally.
Blending light, projection, scenography, and sound, five distinct art installations were placed around the grounds of Packington Estate, Birmingham, each representing a diverse natural environment. From its ‘Into the Sunset’ scene where laser fixtures produce golden rays alongside a huge, lit up faux sun, to ‘Invisible’, where projectors cast custom mapped video content on a crafted display of bamboo, the technology within Light Cycles consistently plays with its habitat.
When asked by MONDO-DR about his thoughts on Moment Factory’s Birmingham rendition of the experience, Mathieu Grainger, Producer of Light Cycles, turned the question around, responding, “Well, what did you think?” This proved to be one of the most pertinent ideas behind all of the international versions of Light Cycles, with the producer explaining that through thoughtfully designed sound and visuals, every iteration of the exhibition is meant to create a personal and intimate experience for each visitor.
“Unlike some of our projects with a developed narrative, Light Cycles seamlessly orchestrates technologies and multimedia effects to connect visitors to their emotions and surroundings, allowing each person to embark on a unique journey shaped by their individual perceptions. For example, the ambient music playing throughout each rendition, produced by the Barr Brothers, might be bittersweetly nostalgic to one visitor and energisingly uplifting to another, depending on their own memories and associations with the soundscape.”
The producer went on to detail the other starting motivations behind the international light project, or as he succinctly termed them, ‘the first twinklings’.
“We’ve been creating immersive Night Walks for over 10 years now. Our first, Foresta Lumina in Canada, ran its 11th season this year. This too is a multimedia, walk-through experience. Over the years, it’s safe to say that we’ve developed an affinity and an expertise for working outside and marrying technology with nature.”
Moment Factory’s proficiency in outdoor-based venues exceeds just Night Walks, with the team winning the 2020 MONDO-DR Award for
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Below: Photo: Moment Factory, Light Cycles Kyoto.
Previous page: Photo: Moment Factory, Light Cycles Birmingham.
Best Park/Attraction for its North Forest Lights exhibition. Years of collaboration with a diverse range of clients, along with the creation of over 25 Lumina Night Walks deployed worldwide, have enabled the company to refine its expertise. Light Cycles by Moment Factory, fully produced in-house, embodies the company’s vision as a turnkey solution for tourist and cultural venues.
“We’ve established a strong voice for ourselves and we’re a company full of artists – we were excited to create a new experience,” he added.
Light Cycles was born from this idea, with similar environmentally conscious ideologies to Lumina at its core. “We wanted to make nature the hero of the narrative. We already had these gorgeous natural canvases worldwide to build different versions of the project on, but then it became about what the right tools for the job would be. The team had to decide what technologies would help us tell the story.”
After opening in Adelaide, Wellington, Milan, and then Kyoto, the end of 2024 saw Moment Factory launch both its Birmingham Light Cycles and an edition in St. Louis, USA.“We’re always working on bringing our work to a wider audience,” said Grainger. “We are driven by the idea of bringing people together – connecting them with each other and with nature. To do
this, we continue to partner with new promoters and with venues who share similar creative values.”
Each version of the experience would not have been possible without a technical partner, which, in the case of Birmingham, was local company Insert Productions. Grainger said that Insert came on board to help with the installation. After completion, Insert was trained to operate the solutions at the forefront of the project, consisting of five main focal points: ‘Crystal Grove’, ‘Forest Frequencies’, ‘The Hearth’, ‘Invisible’, and ‘Into the Sunset’.
One of the central technologies at the venue is Moment Factory’s proprietary software, X-Agora. This is used to program and control the entirety of Light Cycles’ audiovisual solutions. “It’s a very high-end show control,” said Grainger. “It can run a vibrant show like this without really breaking a sweat. We also have a backup version in operation, so even if there is an issue, it can be fixed seamlessly.”
The hardware within the Birmingham venue was similarly carefully specified. The sound system begins with amplification and speakers from Yamaha, which the producer said had been “a very robust choice throughout the years in such exhibitions.”
Throughout each section, 38 of the manufacturer’s VSX8 speakers, six XMV 8280-D amplifiers, four XMV 42080-D,
TECHNICAL INFORMATION
LIGHT CYCLES BIRMINGHAM
LIGHTING
CHAUVET Professional COLORado 2 Solo
CHAUVET Professional Color STRIKE M
Cr34te DOT 5W
Elation Paladin
Elation Proteus
AUDIO
Yamaha VSX8 speakers
Yamaha XMV 8280-D amplifiers
Yamaha XMV 4280-D amplifiers
Yamaha MRX7-D audio processors
VIDEO
Barco G62 W9 projectors
SPECIAL EFFECTS
Look Solutions Viper NT smoke machines
NETWORK AND CONTROL
Moment Factory X300 proprietary media
servers
Moment Factory X-AGORA proprietary show control software
LIGHT CYCLES KYOTO
LIGHTING
ProLights Studio Cob FC
ProLights Arena COB FC
ProLights Mosaico
Ayrton Cobra
Elation Proteus Hybrid
Show Technology FusionPAR Q VII
Show Technology FusionPAR H XII
ACL Lighting 60W Pocket Beam Wash
ROE Visual RS120 Strips
ROE Visual RS30 Strips
AUDIO
L-Acoustics X8 speakers
L-Acoustics SB18 subwoofers
VIDEO
Barco G62-W14 projectors
Disguise 4x4 Pro
Brompton Technology Tessera T1 LED processor
SPECIAL EFFECTS
Nebula Mizar 200-W-Z-R
Kvant Lasers Laser Beam Brush 35
Smoke Factory Tour Hazer II
CONTROL
MA Lighting GrandMA3
OneSystem Constellation Rack
L-Acoustics LA4X
Luminex Luminode 4
Luminex Luminode 12
www.momentfactory.com
and two MRX7-D processors were deployed. As a yearround outdoor piece, Light Cycles and its audiovisual tech are inherently exposed to the elements. Grainger explained that the venue being so vulnerable to the weather actually played into its principle. “It’s a living, breathing show, just like nature. As the season changes, the exhibit changes, meaning everyone gets a different experience depending on when they visit. It was very important that all our equipment vendors understood this too and were willing to provide their most robust products.”
For the lighting, Moment Factory worked with manufacturer Cr34te, with whom they have a long-standing relationship. This company developed custom LED strips for the section ‘Forest Frequencies’. This area combines music and LED lights with a lake, where the colourful LEDs reflect off the body of water.
Strong beams
Following the path round the lake, Elation fixtures make up the luminary system for the next part of the exhibition, ‘The Hearth’. Six fixtures from Elation’s Proteus series and seven from its Paladin series are the stars of a light show that repeats every ten minutes. The system produces a warm, red glow which is periodically interrupted by strong beams highlighting the nearby trees.
The Hearth’s lighting is complemented by an atmospheric fog created by Viper NT smoke machines from Look Solutions, of which there are nine scattered around the whole venue.
For ‘Into the Sunset’, LaserTech and Moment Factory worked closely to develop twinkling lights that mimic falling beams of light on the footpath. The manufacturer’s controllable lasers formed the foundation of this solution.
In ‘Invisible’, visitors walk through a tall bamboo sanctuary. For this section, the plants are animated by projection mapping synchronised with lighting and audio.
To form visuals that were bright and highly immersive, Barco stepped in to advise the team on the ideal placement and type of system, and four of Barco’s G62 W9 projectors were specified and used to map a bamboo maze structure.
Uplighting
Finally, CHAUVET Professional fixtures, namely 70 COLORado 2 Solo and 13 Color STRIKE M, are placed around the venue, uplighting the trees and, as Grainger said, “providing a beautiful colour wash wherever is needed.” These fixtures were deployed for environmental lighting, in contrast to the more flamboyant LEDs and beams. “We’ve been working with CHAUVET successfully for years,” the producer continued.
The Light Cycles in Kyoto, Japan, is structured comparably; hosted in Japan’s oldest public botanical garden and built in technical partnership with Novatech, the venue again houses multiple distinct sculptural art pieces, brought to life with audiovisual technology.
Kyoto’s rendition of the exhibit sees Elation’s Proteus series used for its strong, bright beam, alongside LaserTech’s bespoke MB2-N systems.
To play the Barr Brothers’ soundtrack throughout the venue, 69 L-Acoustics X8 speakers and 12 SB18 subwoofers were deployed. Furthermore, 47 of ProLight’s Studio Cob FC, 15 Arena COB FC, and two Mosaico fixtures were added to the design, alongside 38 of Show Technology’s FusionPAR and 75 of ACL Lighting’s Pocket Beam Wash. Grainger commented on the novelty of having the same installation active in various locations at the same time: “It’s the same beautiful experience but it looks and feels
so different. I think this makes Light Cycles overall an atmospherically rich project.”
Speaking on the audiovisual design process for each version of Light Cycles, he said that they are always careful in the amount of equipment deployed; they don’t want to create an overstimulating environment. “Sometimes shows and venues have a billion lights, speakers, and lasers, hoping that the energy will excite the audience. But if you craft something in a calculated manner, it’s far easier to create emotion and have the audience react how you want.”
This attitude is seen in the areas between each of the main exhibitions within Birmingham’s Light Cycles. While the focal points are technologically and structurally complex, they are each separated by a short walk through a minimally designed space, where the only visuals come from the natural forest. “This is to give time for visitors to reflect on what they just saw,” the producer said, “and it again reinforces the idea that nature is the most important factor in the space.”
With an artistic message that is vehemently eco-friendly, Moment Factory had to ensure that its actions during the
Above: Photo: Moment Factory, Light Cycles Kyoto.
Right: Photo: Moment Factory, Light Cycles Birmingham.
installation of each international Light Cycles reflected this commitment. Grainger’s anecdote of his time on the Birmingham project demonstrates how the team achieved this. “Our goal for each project was to impart minimal to zero environmental disruption. In terms of the Birmingham site, before we even began building, we conducted around a year of ecological studies, observing the cycles of the native roosting bats, mating otters, et cetera. There were areas we had to zone off, making sure no light beams hit them, as the wildlife could be disrupted.
There are 9 bat species on the site alone!”
“Though it creates installation hurdles, we’re glad we go into every Light Cycles project with high sensitivity and respect. It means we can walk away confident that we haven’t overridden what was already there, which some outdoor integrations can do. Instead, nature works in tandem with our audiovisual designs.”
Wherever Light Cycles appears next, Moment Factory will be sure to again use its artistic and technical knowledge to transform space into an innovative outdoor experience that uses audiovisual tools to highlight its environment.
Grainger concluded: “When you go to a Madonna show, Madonna is the star. When you come to Light Cycles, nature is the star. So, we let nature take centre stage, and then we use lighting, sound, video, and special effects to put the spotlight on this ecological lead.”
THE ROOF GARDENS
LONDON / UK EMEA
Over eight decades old, this social club was long overdue for a complete furnishing and audiovisual system overhaul, the latter of which was expertly dealt with by Marquee AV, technologically pushing the venue into the modern era.
After six years of closure, Kensington Roof Gardens has recently been transformed. The Grade II-listed club, prepared for a whole new chapter, now goes by the more concise title, The Roof Gardens.
Its name can be attributed to the fact that The Roof Gardens towers 100 feet above Kensington High Street, offering an attractive backdrop for the art-deco furnishings of the venue. Accordingly, the space describes itself as ‘a social club in the sky.’
The sophisticated decor of this modern private members club would be incomplete without a bespoke audiovisual system to match, though. Consequently, Marquee AV was appointed as lighting and sound installers for The Roof Gardens’ upgrade.
The project commenced under the leadership of Stacey Tough, Director at Marquee AV, whose extensive experience in tailoring AV solutions for private members’ clubs and luxury nightclubs ensured a thorough understanding of the venue’s specific needs.
Given a directive to create a versatile sound system that would be visually discreet, Marquee AV collaborated closely with the Arcacia team.
Together, they developed a strong solution that is, at the time of writing, still evolving with the project’s growing needs.
Now, the specified sound system features a range of L-Acoustics products. Three of the manufacturer’s X8 speakers are strategically placed in the intimate 6th-floor Biba Snug, alongside an SB15m subwoofer. Similarly, the large Sun Pavillion & Bar comes alive with two Syva stacks, ensuring uniform coverage, even in such an expansive area. Stacey explained that the Syva stacks in the Sun Pavillion were configured as a mobile speaker system, allowing for even more impactful music performances.
The Biba Bar features four A10 Wide speakers and two KS21 subwoofers; Marquee AV stated that this combination creates a lively atmosphere perfect for a bar. Further, its unique Spanish Garden area features 14 5XT speakers and 12 X4i, playing ambient music that supports the calming environment and its flora.
Outdoor dining areas haven’t been overlooked, with 20 X8 speakers gracing the 6th and 7th Floor Terraces, immersing guests in crystal-clear sound under the open sky. Finally, throughout the other dining and entertainment spaces within the venue, an additional 56 compact 5XT speakers and 16 SB10i subwoofers blend into the furnishings to ensure that every corner of The Roof Gardens resonates with premium audio quality.
Adding to the bespoke nature of the system, Marquee AV created custom solution brackets for a number of the wallmounted speakers, and those situated in the flower beds. These speakers were spray-painted in bespoke RAL colours to blend with the garden’s design seamlessly. Their careful placement ensured the immersive experience remained intact and visual disturbance from equipment was nonexistent, a factor that was crucial for the owners. Reflecting on the fixtures that made up much of The
Right: Photo: Romain Laprade.
Left: Photo: Jenny Zarins.
“FROM INTIMATE CONVERSATIONS TO CELEBRATIONS, THE SYSTEM ADAPTS, ALWAYS DELIVERING UNCOMPROMISING AUDIO QUALITY WHILE RESPECTING THE VENUE’S STUNNING VISUAL AESTHETIC.”
Roof Gardens audio solutions, Stacey said: “L-Acoustics’ versatility allowed us to tailor the sound to each unique space within the club. From intimate conversations to celebrations, the system adapts, always delivering uncompromising audio quality while respecting the venue’s stunning visual aesthetic.”
Additional work by Marquee AV saw the installation of Claypaky Mini-B spotlights, highlighting the DJ in the Biba Bar. The team noted that this is an extremely high-energy area of the club, so visually impactful lighting was specified accordingly. The spotlights are controlled via an iPad, employing the malleable Showcad lighting control software.
The DJ setup is equally impressive, boasting Pioneer CDJ3000 players, DJM A9 and V10 mixers, Technics SL1210MK7 turntables, L-Acoustics X12 speakers, and SB15 subs – the ultimate arrangement for the wide array of
Opposite page: L-Acoustics speakers provide clear sound throughout the venue. Photos: Maria Zhytnikova (top, middle, bottom right) and Maximilian Virgili (bottom left).
special guest DJs that perform at The Roof Gardens. Powering the whole system are L-Acoustics’ LA4X and LA2Xi amplified controllers alongside a Q-SYS Core 110 processor and QIO devices, with TSC wall controllers to simplify zone control. The versatile Q-SYS platform ensures the system meets the venue’s shifting demands and can easily grow with it as it evolves. Looking back at Marquee AV’s work on the sky-high club, Stacey concluded: “Our design delivers exceptional audio quality; my personal favourite area is the Spanish Garden, which offers a particularly enjoyable ambience. The specified system’s flexibility allows it to accommodate a wide range of events, as the client wanted. As the venue evolves and grows, we will continue to enhance it to maximise its potential. We are incredibly proud to work on such an incredible venue and can’t wait to discover the amazing experiences our systems and this venue will achieve together!”
TECHNICAL INFORMATION
AUDIO
4 x L-Acoustics A10 Wide speakers
2 x L-Acoustics KS21 subwoofers
42 x L-Acoustics X8 speakers
4 x L-Acoustics X12 speakers
3 x L-Acoustics SB15m subwoofers
2 x L-Acoustics Syva speakers
70 x L-Acoustics 5XT speakers
31 x L-Acoustics SB10i subwoofers
12 x L-Acoustics X4i
7 x Pioneer DJ CDJ3000
2 x Pioneer DJ DJM-A9
1 x Pioneer DJ DJM-V10
Technics Audio SL-1210MK7
CONTROL AND MIXING:
1 x Allen & Heath Avantis Solo
L-Acoustics LA4X
L-Acoustics LA2Xi
Q-SYS Core 110f
Q-SYS QIO devices
Q-SYS TSC-70-G3 wall controllers
LIGHT:
2 x Claypaky Mini-B Spot
www.marqueeav.com
93 FEET EAST
LONDON / UK EMEA
Opposite: The Live Room at 93 Feet East features two Funktion-One Evolution 6E speakers with additional Evo 6EL mid/bass reinforcement, three F124 bass speakers.
Right: Four Funktion-One Evolution X cabinets and three F124 subwoofers make up the new sound system in the Main Room.
Nestled in the heart of London’s fashionable Shoreditch, 93 Feet East is an institution. Established in 1999, the Grade II listed venue has earned a reputation not only as one of the area’s most sought after party and live music venues, but one of the best sounding spaces in East London.
Hosting multiple events every week, 93 Feet East has five distinct spaces: the 410-capacity Live Room, the Main Room with a standing capacity of 375, a members’ bar, the intimate gallery bar and an openair courtyard.
In recent years, three of the spaces have been upgraded with the installation of Funktion-One systems. The venue’s audio evolution, masterminded and implemented by London system integrator Sound Services Ltd, was done in conjunction with the venue and its longserving freelance Sound Engineer/Consultant Flynn McBurney.
“It’s all about creating the best possible experience,” said 93 Feet East’s Head of Marketing, Jeremy André. “Not just for our guests, but also for our artists. All our visiting bands and DJs want the same thing; to create the most memorable experiences. This sound design delivers the ability to create exactly that.”
The venue has been creating memorable experiences for the last quarter of a century. Revered in its early years for live music, 93 Feet East’s Live Room has hosted acts from every genre, ranging from local artists to international legends like Gregory Isaacs, Nitin Sawhney and Radiohead. Later, in the 2000s, it also became a major player in the London house scene when influential record label Fuse, who McBurney also works with, started hosting its Sunday parties in the venue’s Main Room. In fact, Fuse has had quite the influence on the venue; it was the label who prompted the redesign of the Live Room in 2018 and to undertake a similar overhaul to its Main Room in 2024.
“I was brought on board by the Fuse guys to help redesign the Live Room,” says McBurney. “The existing rented sound system didn’t have quite enough boxes to make it work correctly and the venue had been talking about a permanent install, so I worked with Curt Gilmore at Sound Services to spec a new system.”
The Live Room now features two Funktion-One Evolution 6E speakers with additional Evo 6EL mid/bass reinforcement, three F124 bass speakers, two F101.2 for infill and two F101.2 for delays. Control is handled by a multi-unit Funktion-One XO4 Audio Management System, while power comes from Full Fat Audio amplification.
Minimal speakers and maximum efficiency as Funktion-One sound systems enhances this bar, club and live venue in Shoreditch.
Photos: Isabelle Dohmen.
“The previous system had too much wide dispersion for such a narrow room,” explained McBurney. “The Evo 6 speakers give you much more control and the extra low mid really helps. For electronic music, you get that kick which you feel in your stomach. With live music, having a larger driver handling the low mids makes it very impactful with a more natural energy.”
In February 2024, Fuse returned to the venue as part of a run of small parties, which meant McBurney and Sound Services were back too, installing a new Main Room sound system comprising four Evolution X cabinets and three F124.
“It made a big difference to the room,” said McBurney. “The party was great and everyone loved the sound so much that we kept the speakers in there for another month before the venue decided to install them permanently. The dispersion of the Evolution X means that you can get full coverage with just four speakers.
“This enables us to skim right down the wall with no reflections and to cut off down the front edge of the bar, which is important when you’re thinking about the layout of the room. You don’t want the bar to be fully in the sound field because the staff need to communicate with people ordering drinks.”
Power and control for this space is handled by FFA amplification and NST Audio processing.
Bigger events
Not only is 93 Feet East’s bar manager happy with the sound, but so are the artists. Given the schedule of two live acts every week, as well as bigger events like the Brick Lane Jazz Festival, the venue plays host to a lot of different artists.
“When we reopened the Live Room, visiting artists were excited to try out the new sound and now we receive nothing but positive feedback from visiting promoters, bands and DJs,” said André. “For me, the change is even more noticeable in the Live Room; you can really hear it on specific instruments, especially on bass guitars which sound much punchier than the previous system.”
In March 2024, the venue continued its refurbishment with the installation of two Funktion-One F1201.2 and two BR118 in the members’ bar. Instead of a permanent installation, the team created a more modular system that could be used in other spaces around the
venue, with speakers on yokes and portable stands and powered via a portable, flight-cased Full Fat Audio FFA-8004 amplifier.
The venue’s trust in Funktion-One continues to pay off across the genres. “93 Feet East has invested a lot to get the very best out of the venue and its attention to detail is important in a market where a lot of smaller live venues are struggling,” said McBurney. “Venues need to be as good as they can be, and 93 Feet East wanted the absolute best sound quality they could achieve. Funktion-One plays a big role in that by providing much better definition. The HF drivers are bright but not abrasive, the low mid is more refined and controlled, and the dual voice coils in the F124s give out a lot of low end while still providing a really quick, fast attack.”
McBurney highlighted the benefit of Funktion-One’s market-leading efficiency: “The best thing about it is the efficiency. The price point is really competitive because you don’t need a lot of boxes. In the Main Room, we only have four Evolution X cabinets, yet the system is always capable of more than we need. There’s an efficiency there straight away, but it also keeps running costs down as amplification is so minimal.”
In addition to upgrading the audio systems, purchasing new professional lighting fixtures was also overseen by the venue to enhance the experience for guests, as Venue Technician Steve Sheppard explained: “To help us with the design of the new lighting setup in the Main Room we sought the help of lighting designer Lewis Howell, who chose a range of fixtures from CHAUVET Professional and a ChamSys MagicQ MQ50 compact console,” said Sheppard.
The fixtures selected were nine each of COLORado Batten 72x and COLORado Solo, eight COLORado PXL Bar 16, two Color STRIKE M, five STRIKE P38, and seven STRIKE Saber battens.
“The units were purchased and the installation was carried out in house by myself and members of the production staff here,” continued
Sheppard. “A big reason why these light fixtures were chosen was because of their IP rating, which we considered to be an important factor in getting a good ROI because the club can become a hot, sweaty environment, while the desk was chosen for its excellent functionality.” This lighting upgrade was completed shortly after the audio installation to coincide with the venue’s 25th anniversary, and an upgrade of the lighting in the Live Room is currently in the works.
TECHNICAL INFORMATION
AUDIO
Main Room:
4 x Funktion-One Evolution X
3 x Funktion-One F124
2 x Funktion-One F1201 as DJ monitors Full Fat Audio amplification
Live Room:
2 x Funktion-One Evo 6E
2 x Funktion-One Evo 6EL
3 x Funktion-One F124
4 x Funktion-One F101.2 Full Fat Audio amplification
Members’ Bar:
2 x Funktion-One F1201.2
2 x Funktion-One BR118
www.funktion-one.com www.93feeteast.co.uk
TouchScene & TouchScene MINI
Full colour, wall-mount touch panel displays.
Complete flexibility and customisation at the touch of a button.
GLYNDEBOURNE
LEWES / UK EMEA
Historic opera house upgrades its sound system with support from EM Acoustics in a milestone project that combines innovation with tradition.
Nestled in the idyllic Sussex countryside near Lewes, Glyndebourne is renowned for its commitment to excellence and innovation. With a rich legacy of presenting world-class opera, the venue upholds a tradition of acoustic purity that defines the opera experience.
Therefore, Glyndebourne’s decision to undertake an upgrade of the sound system in its auditorium marked a milestone moment for opera enthusiasts, and EM Acoustics’ flagship Reference Series is at the heart of the story. For centuries, opera houses have adhered to a strict tradition of acoustic performances without amplification.
After all, opera has long been understood as the art of singing without amplification. Orchestras comprising anywhere from 60 to 90 musicians and top-tier singers with choruses of up to 50 people rely solely on the opera houses’ architecture to balance and project sound. The thought of introducing amplification is often seen as a threat to the authenticity of opera.
While opera is fundamentally an acoustic art form, modern productions and programming schedules demand creative flexibility. The new system enables sound effects, pre-recorded elements or subtle reinforcement to be seamlessly brought into the acoustic space. The upgrade of the PA system at Glyndebourne reflects the need to expand artistic possibilities, whilst preserving the integrity of traditional opera.
“When we first initiated this project, we needed to strike the right balance, and getting all the stakeholders on board with the idea took some time,” explained Jonathan Moss, Head of Sound and Video at Glyndebourne. “It was important to respect and honour the traditions, whilst also ensuring we chose a sound system capable of providing us with a sophisticated toolbox to meet the demands of modern productions, both now and in the future.”
Moss has worked with EM Acoustics products for over a decade across
various venues, and for him, the Reference Series of loudspeakers stood out for the clarity and transparency of its sound. “There’s nothing else on the market that could compete with the Reference Series,” he said. “It is truly the only PA that had a chance of winning over all of our stakeholders.”
The choice of EM Acoustics was also influenced by the company’s collaborative approach.
“They are incredibly supportive, hands-on and open to feedback,” continued Moss. “With EM Acoustics, we have direct access to the people designing the loudspeakers, ensuring the system meets our sometimes quite particular needs.”
Once the decision was made to go for a full EM Acoustics solution, Moss worked closely with the EM Acoustics team to choose the right models. Discussions around headroom once again proved to be about striking a balance. “We knew we didn’t need the biggest boxes, but after much deliberation, we went with the R12s because the frequency response is optimal, and therefore, we need less from the subs,” said Moss. “We’ve got so much headroom, we will rarely use the boxes that hard, so the output is effortless, which helps it to sound so natural.”
The look of the Reference Series loudspeakers also fit with Glyndebourne’s requirement for subtlety, blending well into the auditorium thanks to their slim form-factor and matte finish.
The sound system at Glyndebourne has been meticulously designed to complement and take advantage of the venue’s unique acoustics. The proscenium PA includes six R12s and two R8s, with two permanent R12s positioned upstage for sound effects.
Two R10s and two S-215s are mounted on the balcony for immersive sound effects, using the room’s acoustics to maximise resonance. Four R8s are hung on a round from the ceiling, whilst four S-218 subwoofers are installed underneath the auditorium. A total of nine
TECHNICAL INFORMATION
8 x EM Acoustics R12
6 x EM Acoustics R8
6 x EM Acoustics R5
2 x EM Acoustics R10
4 x EM Acoustics S-218 subwoofers
2 x EM Acoustics S-215 subwoofers
8 x EM Acoustics DQ20 amplifiers
www.glyndebourne.com www.emacoustics.co.uk
DQ20 amplifiers and a range of deployable speakers complete the system. The entire foldback monitor system is also EM Acoustics, enabling the orchestra to be played back on-stage for performers. “What we’ve built at Glyndebourne is perhaps not how you would expect an auditorium system to be set up,” continued Moss. “It is a difficult room for a PA, so we needed to be creative, but also keep the loudspeakers as invisible as possible. We’ve used the technology and shape of the room to design a system that uses the acoustic principles of an opera house and gives it a modern spin.”
The upgrade of the sound system not only brings creative flexibility but also the benefit of improved operational efficiency, particularly given Glyndebourne’s packed rehearsal and performance schedule. With only three or four orchestral rehearsals per production, the ability to react swiftly to artistic needs is invaluable. “Knowing we have that toolkit there makes previously impossible things achievable,” said Moss. “It’s a comfort blanket for us to be able to react to ideas and experiment more, or make quick additions or changes to the production during rehearsals. It saves a lot of time.”
The changes have been met with overwhelmingly positive feedback from creative teams. “When someone doesn’t notice it is amplified, it means we’ve succeeded in keeping the magic of opera alive,” said Moss. “That is the biggest compliment we can receive.” The project that Moss and his team have undertaken demonstrates that sound systems can enhance rather than compromise the art form, and the integration of EM Acoustics at Glyndebourne serves as an example of how innovation can coexist with tradition.
By embracing the right technology and integrating it with care, the venue has expanded its creative toolbox and the scope of its productions. “This has really upped the stakes in what we can do here at Glyndebourne,” concluded Moss.
Main image: The Glyndebourne auditorium.
Photo: Charlotte Boulton.
Left (above): A production of Saul at Glyndebourne.
Photo: Bill Cooper.
Left (below): The exterior of Glyndebourne.
Photo: Graham Carlow.
THE POLISH HISTORY MUSEUM
WARSAW / POLAND EMEA
A sound intervention by ESS Audio enhances this heritage centre’s expansion, reinforcing its educational mission and further adding to the installer’s portfolio of high-quality installations on prestigious sites.
In the venue’s own words, The Polish History Museum, or Muzeum Historii Polski, serves as a bridge between the past and the present. Its exhibitions preserve the country’s rich history while its volunteer programs support the community of tomorrow.
Through exhibitions, educational programs, and multimedia presentations, the museum provides a comprehensive view of Poland’s people and culture, helping visitors understand the nation’s role in both European and world history. Therefore, understandably, maintaining the space is crucial for both the venue team and the broader goal of historical conservation.
A key aspect of maintaining the museum is ensuring that it is fitted with state-of-the-art technology. Accordingly, ESS Audio was contracted to integrate a sound system into the venue’s newly constructed spaces.
With an expertise in integrating advanced audio solutions for various sizes and types of spaces, ESS Audio’s Manager, Maciej Barański, said:
“ESS Audio became involved in this installation thanks to our years-long track record. We’re able to confidently meet the demands of unique projects, like the Polish History Museum.”
Upon beginning the sound upgrade, the installer was given the brief to design a high-quality, reliable, and versatile sound solution in pursuit of increasing visitor engagement. They were tasked with covering the museum’s new, expanded areas: two multi-purpose auditorium areas, one of which was to be the grandest space within the museum, alongside conference and workshop rooms.
“Our goal was to ensure immersive sound throughout the venue whilst ensuring that the system remained simple enough for staff to operate,” stated Barański.
The specification process for The Polish History Museum’s solutions involved an attentive look at the building’s architecture, both in terms of preserving the aesthetics and its complex acoustics. “We understood that we needed to design something that would visually complement, rather than overshadow, the exhibitions,” Barański added.
“Furthermore, upon early examination, we realised the interior acoustics were lively, thanks to the venue’s intricate structure.”
To tackle this, ESS Audio designed its setup around producing delicately tailored, impactful yet unobtrusive soundscapes.
An initial move to tame the space’s sound was the integration of two TiMax SoundHub spatialisation engines. These were deployed separately across the museum’s two new performance areas, the multifunctional ‘Auditorium Hall’ and ‘Cinema and Theatre Hall’. As the Polish distribution partner for TiMaxSpatial, ESS Audio had no doubts in choosing its products.
The SoundHubs develop object-based soundscapes that treat the
elaborate nature of the building and offer every visitor the same level of acoustic experience.
Amongst other events, Auditorium Hall is used to host acoustic and classical concerts. Barański confirmed: “TiMax’s immersive system is very helpful in this case to obtain the natural sound of acoustic instruments and high audio resolution for each listening position.”
He continued: “We opted for SoundHubs due to the naturalness of the sound, and we have seen that producers using the equipment appreciate the simplicity of work when mixing sound. Our relationship with TiMax has developed over several successful installations, with the Polish History Museum being the latest example. Our partnership with the manufacturer has been incredibly valuable; TiMax provides not only cutting-edge spatial audio technology but also the essential support and technical consultation needed for complex projects like this one.”
The systems for each room were completed with a range of advanced AV equipment, producing a comprehensive solution that promises to completely immerse visitors to the museum.
In both halls, an assortment of JBL Professional speakers and subwoofers make up the PA system, which ESS Audio explained is designed to support performances ranging from live music to presentations, while also functioning as a cinema audio system for film screenings. The goal was to craft a scalable setup that would be flexible against a wide assortment of events.
Large deployment
Zooming in on Auditorium Hall, Barański explained how ESS employed an impressive, HARMAN Professional-heavy design. JBL Professional’s ScreenArray 5732 loudspeakers were selected to create the cinema solution, whilst a large deployment of the manufacturer’s VTX series loudspeakers and subwoofers make up the rest of the solution. These are supported by Crown Audio I-Tech 4x3500HD amplifiers, alongside its DCi series amps.
Barański said: “Then, on the roof of the main auditorium, we installed over 60 ceiling speakers, with JBL CBT series units high up on the walls and SCS speakers on the multi-levelled back section and the balcony.”
For networked audio systems, BBS’ BLU-160 and BLU-120 were specified, and the sound mix is handled by DiGiCo Quantum 338 and 225 desks. From DPA Microphones, four 2006C and four 2011C omnidirectional mics were provided to strengthen the venue’s offering for clients performing or speaking in the main hall.
“Finally, we installed AMX DX-RX control systems, to allow for userfriendly management of all the AV elements throughout the museum,” Barański explained, fulfilling the venue’s requirements of ease of use for its members of staff.
The more intimate Cinema and Theatre Hall features a similarly configured but smaller system, also with a JBL speaker solution, Crown amplification, and BSS Audio DSP via Dante signal distribution. A Yamaha CL5 and CL1 integrate with the room’s TiMax SoundHub via MIDI. Barański noted that for the museum’s four conference spaces, consisting of comparable JBL Professional loudspeaker systems, a comprehensive microphone setup was a necessity in providing the expected high-tech meeting room functions for users. ESS Audio specified a Shure wireless solution, including ULXD4Q digital receivers and KSM141 microphones.
When asked how ESS Audio came to its final iteration of audio design for The Polish History Museum, he said: “Each piece of equipment was chosen for its ability to enhance the museum’s storytelling and meet the demands of diverse events. Our goal was to support the venue’s mission not only through advanced audio technology but also by contributing to a sustainable and forward-thinking installation approach – we feel we’ve achieved this.”
The manager concluded: “Both ESS Audio and the Polish History Museum consider the installation a major success, and we’re thrilled to have such a prestigious venue here in the Polish capital. The collaboration and the advanced AV systems have resulted in a space that not only meets but exceeds expectations, creating an immersive and versatile environment for visitors. We’re proud to have contributed to a project that enhances Warsaw’s cultural landscape!”
TECHNICAL INFORMATION
AUDIO
2 x TiMax SoundHub
JBL Professional VTX A8 loudspeakers
JBL Professional VTX A6 loudspeakers
JBL Professional AM 7215/64 loudspeakers
JBL Professional CBT1000 loudspeakers
JBL Professional CBT70J-1 loudspeakers
JBL Professional ScreenArray 5732 loudspeakers
JBL Professional VTX B18 subwoofers
Soundweb London BSS Audio BLU-160
Soundweb London BSS Audio BLU-120
Crown Audio I-Tech 4x3500HD amplifiers
Crown Audio DCi 8|600D amplifiers
Crown Audio DCi 4|600N amplifiers
DPA Microphones 2006C omnidirectional microphones
DPA Microphones 2011C omnidirectional microphones
Shure ULXD4Q digital receivers
Shure KSM141/SL digital microphones
CONTROL
AMX DX-RX control systems
Yamaha CL5 consoles
Yamaha CL1 consoles
www.essaudio.pl
Above left: The JBL Professional solution for the grand Auditorium Hall.
Above right: One of the TiMax SoundHub’s helping improve the acoustic environment.
New filter sets for next-level sound, efficiency and performance for COSMO, CONTOUR X and C SUB.
THORAVEJ 29 BLACKBOX
COPENHAGEN / DENMARK EMEA
A
bespoke little black box with all the technology required to enhance creativity and transfer performances to the biggest stages.
Thoravej 29 in Copenhagen is a vibrant hub for art, social innovation, and sustainability. Home to 150 individuals from 30 organisations, it fosters collaboration across disciplines to drive positive societal change.
Established by Bikubenfonden, which purchased the 4,621 sq m former industrial building in 2021, Thoravej 29 is designed to inspire new ways of thinking through its diverse facilities, including a black box theatre, white cube gallery, workshops, studios, and collaborative workspaces.
Sustainability is central to its design as the building renovation reused existing materials – ceilings became stairs, facades became floors, and old doors were repurposed to be used as tables.
This eco-conscious transformation, led by Pihlmann Architects and Hoffmann A/S Construction, has earned the building a DGNB Gold pre-certification from the Danish Council for Sustainable Building in 2023, and the Building Award from the Danish Building of the Year competition in 2024.
At the heart of this creative ecosystem lies the Blackbox – a versatile performance and rehearsal space meticulously crafted to cater to the multifaceted demands of contemporary performing arts.
Copenhagen based AV consultants and integrators
Stouenborg played a central role in creating the technical framework that makes Blackbox a flexible and innovative space, with advanced theatrical features, lighting and sound infrastructure, as well as AV technology.
The Blackbox functions as an ideal venue for workshops, theatrical productions, concerts, and multimedia performances, as it seamlessly blends flexibility with its technical excellence.
The Blackbox’s design features black-painted walls, floors, and ceilings, minimising light reflection and providing a canvas for innovative lighting designs and visual effects. The robust flooring is engineered to support substantial loads, ensuring safety and stability during elaborate stage setups, and also features a Harlequin Floors Duo black/white vinyl roll solution.
Acoustically, the space is optimised for balanced sound distribution, with high levels of sound isolation and minimal background noise, allowing for performances with elevated sound levels without disrupting adjacent areas.
Central to the Blackbox’s functionality is its advanced rigging system from ASM Steuerungstechnik, comprising multiple motorised HCWA Junior 400 stage hoists capable of lifting 500kg per unit. This system, managed by a sophisticated control interface, ensures precise and safe operation of stage elements, accommodating complex set designs and dynamic scene changes.
The lighting infrastructure is anchored by a state-of-the-art MA Lighting grandMA3 light console, complemented by an array of versatile LED profile lamps from JB Lighting and Prolights. The setup empowers lighting designers to craft immersive atmospheres and dramatic effects, enhancing and exploring the audience experience.
The sound system is equally impressive, featuring a Yamaha DM3 mixer, an advanced CueLab playback system, and strategically positioned speakers from Meyer Sound that deliver crystal clear audio, which utilises Spacemap Go via two Galaxy 816 audio processors for spatial audio compatibility, with UltraX-20, MM-4XP and UP-4Slim loudspeakers positioned along with MM-10 and USW-210 subwoofers for low end.
Connectivity within the Blackbox is facilitated by a robust network infrastructure by Luminex with signals that are converted using Direct Out PRODIGY.MP audio processing. This secures and supports seamless integration of
audio, video, and lighting systems. Video capabilities are bolstered by a high-definition Panasonic PT-RZ120 projector with interchangeable lenses, enabling versatile visual presentations and multimedia integrations. Additionally, automated blackout curtains and soundproof double doors contribute to an environment that offers both visual and acoustic isolation, essential for an uninterrupted creative process. Designed with adaptability in mind, the Blackbox accommodates various scales of productions and audience configurations. The purpose of the room is to explore and find new ways to create performance and theatre. In essence, the Blackbox at Thoravej 29 epitomises a harmonious blend of technical sophistication and creative flexibility. Its comprehensive facilities and thoughtfully designed environment make it an invaluable asset for artists and performers seeking a space that not only supports but also inspires innovative artistic endeavours.
TECHNICAL INFORMATION
LIGHTING & VIDEO
1 x MA Lighting grandMA3 light
8 x JB Lighting P10 Profile WW
4 x Prolights ECL Profile CT+
12 x Prolights Pixie WashXB
2 x LSC GenVI 12 Channel Rack Mount
4 x MA Lighting grandMA3 4Port Node
3 x MA Lighting grandMA3 4Port Node
1 x Panasonic PT-RZ120
AUDIO
4 x Meyer Sound UP-4slim
4 x Meyer Sound MM-10XP
4 x Meyer Sound Ultra-X20
2 x Meyer Sound USW-112P
12 x Meyer Sound MM-4XP
2 x Meyer Sound Galaxy 816
3 x Meyer Sound MPS-488HP
1 x Yamaha DM3
4 x Shure ULXD2/K8B-K51
1 x DirectOut Technologies PRODIGY.MP
1 x DirectOut Technologies DANTE.IO
1 x DirectOut Technologies MILAN.IO
www.thoravej29.dk www.stouenborg.dk
POWER IN STYLE DMH-640
_ Moving spotlight with 640 watt COB LED _ CMY color mixing for infinite color variety _ Zoom from 10° to 47° _ Frost filter + 2 gobo wheels
GROTTE DE LA PIERRE DE VOLVIC
VOLVIC / FRANCE EMEA
SGroup Equipement artistically illuminates the insides of a deep cave utilising Modulo Pi’s media server solutions and Vivitek projectors.
Located in Auvergne, a historic region in central France, the Grotte de la Pierre de Volvic (Cave of the Volvic Stone) was formed by lava flow from the Nugère volcano in the 13th century. Since then, the site has been used by humans to extract Volvic stone, which is found in the architecture of many cities and monuments, such as the Clermont-Ferrand Cathedral.
A true flagship of Auvergne’s heritage, since February 2024 the Grotte de la Pierre de Volvic has recently introduced a new immersive show called Grotte des Lumières (Cave of Lights), designed by Ateliers BK. Combining video projection, sound and light, the Grotte des Lumières offers visitors an underground journey into a magical world. This underground journey invites visitors to explore the natural site, with both young and old diving into a magical universe, as the entire cave’s walls are highlighted in a 50-minute tour.
Ateliers BK and WB-Show, responsible for the artistic creation and production of this show, selected SGroup-Equipement to meet the complex requirements, which included 360° mapping projected on all the cave walls, perfect synchronisation with the soundtrack, installation challenges inherent to the cave, the use of existing audio equipment, and above all, the need for a fully autonomous and user-friendly daily solution.
Sylvain Roos, Director of SGroupEquipement, explained: “The various phases of study, encoding, and testing were intense because the cave is located in a seismic zone.
“We had to precisely define the areas and methods for mounting the projectors, adjusting their power and optics based on the mapping, and worked with the persons responsible for the seismic monitoring of
the site to validate the installation areas and methods. It was also crucial to choose durable and robust projectors to withstand the operating conditions – after all, we’re talking about a cave with 90% humidity and ambient temperatures between 5°C and 10°C.”
To bring this new immersive experience to life Roos turned to Modulo Pi’s media server solutions, in particular its projection study and show control tools, and selected a total of 15 Vivitek projectors.
SGroup Equipement’s teams used the projection study and simulation tools of the Modulo Kinetic media server from Modulo Pi for the first time. The cave was scanned and a 3D model was extracted and imported into Modulo Kinetic.
Using the software, the video-projectors could be positioned in a 3D scene to simulate projection onto the areas specified in the design brief. Pre-warping work was even possible using the software, prior to the installation on site.
“We really appreciated the pre-work done with the system. The tool is very userfriendly. Our video technicians quickly found their feet. It was simple and effective,” stated Roos.
The 15 projectors are an almost even mix of DU6198Z and DU8395Z models, and are installed in waterproof enclosures with humidity regulators, distributed throughout the cave. To power all the projectors, SGroup Equipement selected the Modulo Player media server from Modulo Pi.
The kit installed includes two Modulo Player Standard equipped with two and three outputs, and two Modulo Player Pro equipped with four and six outputs.
The media server was used to manage the video mappings throughout the immersive
Above: A total of 15 Vivitek projectors illuminate the Grotte de la Pierre de Volvic with content driven from Modulo Pi media servers.
tour, and thanks to Modulo Player’s warping tools, the images fit in perfectly with the walls of the cave, creating complete immersion at certain points along the route.
In addition to Modulo Player’s mapping tools and media playback functions, the Modulo Pi media server was chosen for its embedded show control tools and ability to control all the elements of the show: Video-projection, sound, smoke machines and lights.
“What drew us to Modulo Player was its power and ability to connect a sound card, communicate with the lighting through Art-Net, etc,” said Roos. “The server manages all commands, including switching the videoprojectors on and off, and selecting the audio sources via relay modules.
Modulo Player handles the whole show control system. The power that comes with simplified control has been a real plus.”
The immersive show is strictly sequenced and offers perfect synchronisation between the media distributed by Modulo Player, the audio, and lighting, throughout the 50-minute show.
The Grotte des Lumières show, launched at the end of February 2024, is open to the public every Wednesday and Sunday, alternating with the historical tour on the other days of the week. From December to early January, the Grotte des Lumières show makes way for the Grotte du Père Noël (Santa’s Cave), with the walls transformed with Christmas magic, taking visitors on a journey filled with enchanting visual and sound surprises. Once the installation was complete, SGroup Equipement implemented a simplified control system to facilitate day-to-day operations on site. “We needed a control panel at the front desk that was easy to use for non-technical staff,” explains Sylvain Roos.
The control panels were created using Modulo Player’s UI Designer
function, which enables custom interfaces to be created simply by dragging and dropping buttons, tasks, text or images.
“A touch-screen tablet has been installed at reception, allowing the team to select the show, either the historical tour, the Grotte des Lumières, or the Grotte du Père Noël,” continued Roos. “The Grotte des Lumières offers two possibilities. The show starts every 25 or 30 minutes, depending on the schedule. A ‘ding’ at the reception desk announces the start of the show and everything is sequenced.”
Thanks to the central control panel, the reception teams can select the show to be launched, but also control the audio announcements, service lights, choose the power level of the smoke machines, or see the countdown to the next tour departure. Test sequences have also been integrated by S SGroup Equipement.
“After nearly a year of running the Grotte des Lumières show three days a week, and the Cave of Santa Claus show seven days a week during the holiday season, no particular maintenance has been needed for the projectors,” concluded Roos.
Philippe Montel, Director of the Grotte de la Pierre de Volvic, said: “Within just a few weeks, all the contractors were able to bring this magnificent project to completion.
“Not one but two distinct immersive shows were developed in parallel. In addition to enhancing the heritage of the Grotte de la Pierre de Volvic, they worked together to select the best solutions to create a magical universe and delight our visitors.”
www.sgroup.fr www.modulo-pi.com www.vivitek.eu
SWINGERS
LAS VEGAS / USA AMERICAS
Middlesex Sound & Lighting delivers the largest contract in its 41-year history with huge installation at the latest Swingers crazy golf location on the Las Vegas strip.
Photos: Paul Winch-Furness.
With a relationship that dates back almost ten years, Middlesex Sound & Lighting (MSL) have been equipping Swingers locations in the UK and USA with a complete AV package purposefully designed for each individual space.
Opened in November 2024, the Las Vegas location represents the biggest project in the company’s history, with Swingers taking up a huge 40,000 sq ft site inside Mandalay Bay Resort and Casino.
Swingers is the brainchild of two successful entrepreneurs, Matt GrechSmith and Jeremy Simmonds, and after a successful pop-up venue in 2014 the first permanent sites opened in central London in May 2016, followed by a second venue in Oxford Circus in 2018.
MSL delivered the full AV solution for both of those locations, and as a result were contracted by the venue’s ownership to equip its new sites overseas in Washington, D.C. in June 2021, followed by Manhattan, NYC, in June 2022.
Leading the project on the latest location in Las Vegas was Steve Billington, Project and New Business Development Manager at MSL.
“Development of the AV specifications for Swingers venues has been an ongoing process as we assess the needs of each individual site, but throughout all of them we have always used Martin Audio loudspeakers, and for professional lighting fixtures we use CHAUVET Professional, in addition to the large amounts of pixel and effect lighting that is required,” said Billington.
Swingers is situated in the former home of the LIGHT nightclub within Mandalay Bay Resort and Casino and offers four 9-hole crazy golf courses and a new fairground-style Carnival games arcade concept. The focal point dominating the entire central section of Swingers Las Vegas is a long,1920s style English country house, with its façade brought to life with a constant flow of video projected imagery.
Here, two Martin Audio TORUS T1230 constant curvature arrays consisting of three elements, flown discreetly on each side with a pair of cardioid SXCF118 subwoofers, create a classic proscenium PA system. Four powerful CDD10 are located within the ‘sunken garden’ where the generous balcony doubles as a stage, providing a performance area or a space for corporate presentations.
Further CDD10s are provided for artists’ reference sound, while in the lower section of the house is a DJ station — which comes into its own later in the day and extra lift is required. Elsewhere, no fewer than 122
“MARTIN AUDIO SOLUTIONS WERE ALWAYS GOING TO BE OUR CHOICE, THE QUESTION WE FACED WAS HOW WE COULD ADAPT OUR SWINGERS BRAND TEMPLATE FROM PREVIOUS LOCATIONS TO SUCH A LARGE-SCALE SPACE AS THIS.”
CDD6 boxes are distributed throughout the venue.
“Martin Audio solutions were always going to be our choice here, the question we faced was how we could adapt our Swingers brand template from previous locations to such a large-scale space as this,” said Billington.
“With a constantly moving audience, the reason we choose CDD6 is because the dispersion is so wide, and gives consistent coverage compared to a traditional speaker,” continued Billington, explaining that the speaker achieves a rectangular, extendable coverage pattern, which is ultrawide close to the speaker.
MSL’s approach is broadly to allocate a ratio of three SX subs to 12 CDD6. Here, they have also been careful to place an SXC115 (cardioid) in the DJ booth, since there is an exclusive private hire space directly behind the DJ booth.
“This keeps the impact on the dancefloor without disrupting the VIP space,” noted Billington. Elsewhere, LF extension, where necessary, is provided through a combination of 30 SX110 and SX210 subwoofers.
“After our first initial site visit in January 2023, once the architect was onboarded, we worked in 3D using Revit and SketchUp to outline the venue’s space and its technological infrastructure,” said Billington.
The audio system’s design was modelled using Martin Audio’s advanced DISPLAY3 visualisation software, importing Revit and SketchUp models provided by the architect. “SketchUp is a very powerful tool allowing us to simulate everything, especially TORUS,” said Billington. “We are very comfortable with the CDD range, which is a tried and tested formula, but with TORUS it was useful to be able to measure its coverage patterns.”
The site consists of 21 audio zones, and a total of 25 Powersoft Quattrocanali 2404 DSP+D amplifiers and four Martin Audio iK42 amplifiers power the system, while DSP is provided by BSS BLU-100 and BSS BLU-326DA units.
When it came to the projection mapping element on the English country house façade, Billington again called up a trusted source of equipment, utilising five Optoma ZU1300 projectors, with content fed by Resolume servers.
“We have previously worked quite extensively with
Optoma projectors, and as part of the Swingers Broadway site in New York City we put together a five projector edge blending solution, which spanned 20m, using their projectors,” said Billington.
“Because of our strong relationship with the brand we worked with them to develop a solution for the Las Vegas project. These projectors are really high quality and stand the test of time and usage. The ones used at the Broadway location have been running constantly for approaching three years and we haven’t had an issue with them.”
The venue’s lighting is a mix of professional fixtures, digital pixel tape, and LED cabochon lights, with over 40 CHAUVET Professional fixtures chosen for their flexibility.
“We designed the lighting rigs with a variety of moving heads so that the fixtures can illuminate different areas of the space, and it was a choice to keep things flexible,” said Billington. “We have a mix of Rogue R3x Wash, Rogue R3E Spot, Rogue R2X Wash and COLOrado 1 Solo fixtures, and we also selected five Portman P2 Evo fixtures which are deployed by the DJ booth.”
Seven Custom PCs were designed by MSL to run Resolume software for the video content, Madrix software for the pixel lighting control, ChamSys MagicQ software for lighting fixture control, and a server for an ONLX Control Suite.
“The whole AV network is run via Netgear AV Line switches, and there are eight which run on fibre with a 20g backbone to each switch, as a minimum, so it’s a considerable network with over 200 devices in the network,” stated Billington. “This allows complete flexibility across the space and we can distribute the amplification as well, so it’s not just one rack of amplifiers that is distributed across the space. This also makes for an efficient cable run without the need for an excessive cable infrastructure.”
A WyreStorm Network HD 500 System controls the content across the venue’s 17 LG displays, 12 of which are set up around the venue’s two bar locations. “ONELAN digital signage players allow us to manage the content, sending video to the various screens,” confirmed Billington. “This gets fed into the WyreStorm AVoverIP solution, meaning
Below: All of the venue’s amplification, network switching and servers was preconfigured and loaded prior to shipping and installation.
TECHNICAL INFORMATION
AUDIO
6 x Martin Audio T1230 (3 Per Side)
2 x Martin Audio SXCF118 subs per side
130 x Martin Audio CDD6
4 x Martin Audio CDD10
30 x Martin audio SX110 and SX210 subwoofers
1 x Martin Audio SXC115
2 x Martin Audio CDD8
25 x Powersoft Quattrocanali 2404 DSP +D
4 x Martin Audio ik42
1 x BSS BLU100
1 x BSS 326 DA
LIGHTING
12 x CHAUVET Professional Rogue R3x Wash
10 x CHAUVET Professional Rogue R3E Spot
4 x CHAUVET Professional Rogue R2X Wash
18 x CHAUVET Professional COLOrado Solo 1
5 x Portman P2 Evo
2 x ChamSys MagicQ PC
2 x Madrix Professional Licences
Over 350m Digital pixel tape
24 x Madrix Nebula
4 x Look Solutions Unique 2.1 Hazers
NETWORK
1x Netgear AV Line M4350 24F4V
4x Netgear AV Line M4250-40G8F-PoE+
3 x Netgear AV Line M4250-26G4F-PoE+
VIDEO
WyreStorm Network HD 500 System
13 x WyreStorm NHD 500 Encoder
18 x WyreStorm NHD 500 Decoder
17 x LG Commercial Displays (55” – 98”)
8 X 4K ONELAN Media players (CMS System)
VIDEO PROJECTION
5 x Optoma ZU1300
5 x Optoma A6 Lens
5 x WyreStorm HDBT 4K Transmission system
2 x Resolume Server
2 x Datapath FX4
we can send one player to specific screens, it’s a very flexible system.
“All of the AV racks for the venue were assembled in our facility in the UK, so the amplification, network switching and servers was pre-configured and loaded prior to shipping and installation,” said Billington. “There are four 42U racks in total at the venue, so there is a large amount of kit on site.”
Providing overall support for Billington throughout all stages of the project was MSL Director Darrel Olivier, while the programming and commissioning carried out onsite was done by Billington, Toby Jones, Greg McLenahan and Nathan Vedder from the MSL team. With the venue now operational, MSL provide remote support using remote monitoring of the AV network.
Jeremy Simmonds, co-CEO and co-founder of Swingers, concluded: “When we started designing a flagship Swingers to take over the enormous LIGHT nightclub space at the Mandalay Bay Resort and Casino, it rapidly became clear that we were designing the best competitive socialising venue in the world.
“MSL were the perfect partner on this ambitious project, bringing incredible creativity and a vast technical expertise to the table. MSL’s unique contribution is a huge part of the venue’s massive success.”
The Swingers momentum shows no sign of slowing down, with the company set to continue its expansion in other US cities, and further afield.
www.middlesexsound.co.uk www.swingers.club
TREBLE TECHNOLOGIES
MONDO-DR LAST CAUGHT UP WITH TREBLE TECHNOLOGIES IN THE AUTUMN OF 2024, AFTER THE SOUND SIMULATION AND SPATIAL AUDIO TECHNOLOGY DEVELOPER RAISED AN IMPRESSIVE €11M IN SERIES A ROUND FUNDING, LED BY INVESTORS KOMPAS VC. IN THIS PREVIOUS CHAT, FINNUR PIND, CO-FOUNDER AND CEO OF TREBLE, STATED HIS EXCITEMENT TO MONDO, AS SO SOON AFTER THE LAUNCH OF THE TREBLE WEB APPLICATION, BORN IN 2023, THE PRODUCT WAS BEING USED BY PRESTIGIOUS COMPANIES WORLDWIDE.
We now touch base with Treble at an equally impressive time in its operation, with significant platform and partnership updates, both of which were unveiled at 2025’s ISE, predicting further innovation and growth for the company.
The tradeshow crowd reacted positively when Treble first revealed that it was engaging in a partnership with L-Acoustics, beginning a strategic collaboration underlined by the shared mission of transforming how audio professionals design sound experiences. By combining L-Acoustics’ sound system expertise with Treble’s acoustic modelling technology, the brands are creating a more powerful, efficient workflow for users.
Guillaume Le Nost, Excecutive Director of R&D, Research, and Innovation for L-Acoustics, commented: “Treble’s approach to room acoustics simulation perfectly complements our commitment to delivering exceptional sound experiences. By integrating our expertise, we’ll enhance our clients’ ability to optimise system performance while accounting for room acoustics – ultimately creating more impactful audio experiences for audiences worldwide.”
Pind added: “We are proud to partner with one of the world’s leading audio technology companies. The rising trend of virtual prototyping using simulations and synthetic data is transforming our industry, and by joining forces with L-Acoustics, we can accelerate this transformation to create bettersounding spaces worldwide.”
The beginning of February saw Treble’s launch of its ‘biggest update ever’ for their web
application undergoing an upgrade that saw the release of new, innovative functionalities and increased efficiency. During this launch, Simon Brown, Application Design Engineer, L-Acoustics, led a presentation on the capabilities of the Treble Web Application. Brown displayed a technical case study of L-Acoustics’ HYRISS showroom, an audio demonstration space covered in MONDO-DR’s previous edition. The case study showed how Treble’s acoustic modelling capabilities enabled precise optimisation of L-Acoustics sound systems
The release also featured presentations from Shane Myrbeck and Aaron Willette of Arup, who discussed real-world applications of the Treble Web Application in the development of large-scale architectural projects. These new features were also showcased to visitors during 2025 ISE in Barcelona.
Soon after, Treble’s newest venture, the Treble SDK 2.0, was announced, which the Treble team promote as ‘a game changer in acoustic technology’. The MONDO-DR team attended the webinar event on February 27, joining the audience for the demonstration of SDK 2.0. This software stands as the world’s first cloudbased programmatic interface for acoustic simulation, utilising finite element solvers to accurately capture complex wave phenomena at all frequencies and scales. Looking at both its ongoing L-Acoustics collaboration and the disruptive release of SDK, it’s clear that 2025 will be a pivotal year for Treble Technologies.
www.treble.tech
2
3
1
The Treble Tech team.
A 3D model of the Treble web application.
A 3D model of the new SDK application.
Compact, self-powered line array
4-channel, Class D, 3000Wrms amplifier
100º horizontal coverage
FIR processing and digital management via DASaimTM
IP control and monitoring through ALMATM
Controlled horizontal dispersion up to 400 Hz
142 dB SPL MAX
Weight: 34 kg (75 lb)
Self-powered cardioid line array
6-channel, Class D, 4200Wrms amplifier
Horizontal dispersion controlled down to 100 Hz
Cardioid attenuation of -12 dB (80 Hz - 200 Hz)
IP control and monitoring through ALMATM
FIR processing and digital management via DASaimTM
148 dB SPL MAX
Weight: 71,5 kg (157.3 lb)
Self-powered cardioid line array
8-channel, Class D, 6000Wrms amplifier
Horizontal dispersion controlled down to 100 Hz
Cardioid attenuation of -12 dB (63 Hz - 200 Hz)
IP control and monitoring through ALMATM
FIR processing and digital management via DASaimTM
150 dB SPL MAX
Weight: 86 kg (189.6 lb)
PROLIGHT + SOUND
Photos: Messe Frankfurt Exhibition GmbH. All images from PL+S 2024.
MONDO-DR SPEAKS WITH MIRA WÖLFEL, DIRECTOR OF BRAND MANAGEMENT AT PROLIGHT + SOUND, AHEAD OF THE SHOW’S UPCOMING 30TH ANNIVERSARY, TO REVEAL WHAT VISITORS CAN EXPECT FROM THIS YEAR’S EVENT.
With this year representing the 30th anniversary year of the show, how is the team celebrating, both within and outside of 2025’s Prolight + Sound?
Mira Wölfel: The 30th anniversary is a major milestone for Prolight + Sound, and we’re celebrating it by creating an even more engaging, innovative, and collaborative experience for our exhibitors and visitors.
One of the highlights is the newly reimagined Theatre Area in Hall 12.0, which integrates exhibition, education, networking, and product presentations. Its centrepiece is the ‘Theatre Stage’, that will host the ‘Theatre College by VPLT’ for expert-led seminars and the ‘Theatre Talk’ – a new format offering daily one-hour presentations, where companies from other areas, like audio or lighting, can showcase their products directly to a theatre audience.
Beyond the show floor, we’re taking the opportunity to look back at three decades of industry transformation while also setting the stage for the future. The anniversary is also at the centre of the PLS Community Nights, three networking evenings at exclusive Frankfurt locations, to which all participants of the trade fair are cordially invited. But most importantly, we want to celebrate the people who have made Prolight + Sound what it is today – our exhibitors, visitors, and partners – by creating a space where they can exchange ideas, build new connections, and be inspired for the years ahead.
Talk me through the ‘Top Themes’ – ProGreen, FutureScapes, and MultiTech. How will attendees see these topics reflected in their visit?
MW: The first theme, ‘ProGreen’, focuses on progressive eco-friendly solutions and concepts in the event sector – an essential topic as sustainability becomes increasingly important in production and design.
The ‘FutureScapes’ top theme explores the transformative potential of immersive technologies and Artificial Intelligence in crafting unique audience experiences.
‘MultiTech’ highlights the increasing need for flexible, multifunctional solutions that optimise workflows and enhance efficiency.
Each of these themes is embedded into the overall event experience, and will be reflected in the educational programme, keynotes and presentations, as well as product solutions – including an expert-led Guided Tour showcasing particularly sustainable products.
Can you tell me about the new special areas added for this year’s show: MusicOneX, MixLab, and MIXCON x BVD?
MW: We wanted to create exciting new formats for the community in which future-oriented technologies will be made tangible.
‘MusicOneX’ is a format that explores the intersection of creativity and technology in music and entertainment. The 3,000 m² hub provides a space for hands-on experiences, live performances, and product showcases.
The ‘MixLab’ was developed to give visitors direct access to cutting-edge mixing technologies through practical workshops and training sessions.
The ‘MIXCON x BVD DJ- & Producer Conference’ will be a new hotspot for the DJ and music industry. The format is being realised in cooperation with MIXCON Germany and the Berufsverband Discjockey e.V. (BVD e.V.).
1 Mira Wölfel, Director of Brand Management at Prolight + Sound.
The Performance + Production Hub.
The outdoor area.
Hall 12. 6 CHAUVET Professional’s booth. 7 Michaela Reitterer on the Main Stage. 8 Robe’s live show and presentation.
How has the Prolight + Sound team taken feedback from last year’s show and implemented it in 2025’s edition?
MW: One of the key principles at Messe Frankfurt is: we listen to our customers. Taking feedback from last year’s show, we’ve enhanced 2025’s edition with a greater focus on networking, education, and handson experiences.
Besides the re-conceptualisation of the Theatre Area I mentioned previously, the Image Creation Hub will become an even more attractive hotspot for image and video technology this year.
Based on last year’s feedback, we have also significantly expanded our international marketing activities abroad for the upcoming edition. In addition to an international, live-streamed online press conference, we have successfully held press talks in Sweden, Italy, France, South Africa, and the USA.
What are you most looking forward to at this year’s show?
MW: For me, one of the most exciting aspects of Prolight + Sound is seeing how it evolves each year. I’m particularly looking forward to the new and enhanced formats we’re introducing at the upcoming show. I’m also looking forward to seeing the international and crossgenerational diversity of our visitors. Last year, we welcomed nearly 25,000 visitors from over 100 countries, with more than 60% in decisionmaking roles and 25% under 25 – demonstrating Prolight + Sound’s importance as a hub for both industry leaders and the next generation. We expect to match or surpass these figures at the upcoming show.
What does the future of Prolight + Sound look like?
MW: Our focus is on continuous evolution – adapting to the needs of the industry while staying ahead of technological advancements. We’re committed to further reinforcing our educational programme, expanding our international reach, and enhancing interactive experiences. Sustainability will remain a key priority, with initiatives to promote greener practices in event production. Furthermore, we will place an increased focus on presenting the latest technological innovations that are redefining the industry, particularly in the areas of AI-driven solutions and immersive technologies.
Listening to our exhibitors and visitors to continuously develop the show, is and will remain especially important to us. Prolight + Sound will continue to inspire and empower event professionals worldwide. www.prolight-sound.com
MONDO-DR readers can secure a free ticket for the full Prolight + Sound 2025 show (incl. free travel by public transport) via the QR code below.
TAF
With a recent increase in its staffing and production capacity at its HQ in Olomouc, Czech Republic, TAF is currently enjoying a sustained period of growth. Here CEO Jaroslav Rozbořil and General Manager Jakub Rozbořil discuss its current operations and some of the recent steps taken to ensure TAF remains at the cutting edge of trussing sol utions.
Since the establishment of the company in 1998, TAF headquarters and factory in the Czech Republic have served customers across Europe and throughout other parts of the globe.
As the company and its portfolio grew, TAF wanted its products and high-level services to be within easy reach of its customers.
“In 2009, we opened TAF USA in New Smyrna Beach, Florida, and the USA distribution office keeps a healthy stock of TAF products in its 20,000 sq ft warehouse and serves customers across North, Central, and South America, as well as the Caribbean,” said Jaroslav. “Fifteen years later, in February 2024, TAF UK was established in Walsall, West Midlands, to serve customers across the UK and Ireland, and, like our USA office, it has a large warehouse filled with TAF products to ensure timely deliveries.”
Jaroslav confirmed that even though the TAF UK office is newly established, it has a well-respected and highly experienced team in place, with a long history of many successful projects in the UK and Ireland. “All TAF offices are backed by the factory’s highly experienced design and engineering team for the provision of custom truss and support structures, and the realisation of a wide range of custom and bespoke projects,” he said.
Keeping pace with demand
Having noticed a steady increase in orders from its customer base
over the last few years, the steps needed to ramp up production had been on the mind of the TAF leadership team for some time, as Jaroslav explained: “We’re very happy to say that there was a need to increase our production output in order to provide the best service for our customers and continue to deliver on our “Truss on Time” promise.” TAF had considered expansion of its production hall for a few years, and during that time its team of welders and key production personnel had grown, so the need for increasing its production hall was crucial. “Luckily, we purchased property right next door to our factory last year, and already have plans in place for a new production hall. We are currently going through the administrative process before we can start construction,” said Jaroslav.
Jakub stated that expanding production and staffing levels is something that the company is always prepared for. “We are always ready to increase our staff and production capacity, so we can deliver the best service to our customers,” said Jakub. “As demand increases for our truss, support structures, and related accessories, we will take the necessary steps to ensure our output and staffing keep up. “Of course, we have additional options available to us for expanding production and putting TAF closer to its customers around the world, and when the time comes, we will explore each of these possibilities.”
Below: TAF CEO Jaroslav Rozbořil (left) and General Manager Jakub Rozbořil.
One area that the company was keen to develop was the continued reduction of its carbon footprint. “We are always looking for ways to be more ecological with our production activities and strive to ensure TAF has a greener outlook,” said Jaroslav. “We recently installed 168 solar panels on the roof of our factory, which significantly reduce our reliance on electricity from the grid. “As a result, the amount of CO2 generated by our factory is reduced by 40 tonnes a year. This reduction of CO2 is comparable to planting over 1,800 trees, and we are very proud of this step forward.”
In addition to the solar panels, TAF has recently upgraded the lighting throughout its facility to bring energy cost and consumption down.
“After measuring the vast amount of electricity required to power the lights in our offices and manufacturing hall, we replaced them with LED lights, and this step alone has helped to reduce our overall energy consumption by 50%,” said Jakub.
A major part of TAF’s production activities is welding, which generates a lot of heat. A fact to which its welders will testify. To help reduce high temperatures in the production area, a special thermal insulation foil was added to the factory’s skylight system that reduces heat from the sun, significantly shortening the time required to cool down the hall.
“Keeping heat under control is especially important during the summer months, as it helps to reduce the need for excessive air conditioning, and we can confirm that our welders are much cooler and happier these days,” stated Jakub.
A further green step taken by TAF was utilising heat generated by compressors in its production hall to warm the water used within the factory and offices, helping to further reduce energy consumption.
With a keen eye on its sustainability drive, TAF is leaving no stone unturned in its quest to be as green as possible.
“As our production processes require the cutting, welding, cleaning, and milling of various aluminium profiles and parts, we generate a substantial amount of waste, and to reduce negative impacts on the environment, we sort and dispose of this waste through trusted professionals who specialise in metal processing,” said Jaroslav. “We do the same for all
Above: The automated welding arm at TAF’s factory and (inset) a welder working on a trussing segment.
incoming material packaged in cardboard or paper, and another step in the management of paper was our switch to a paperless office, which is now fully in place.”
TAF also plans to have paperless production in the near future. Its use of plastic foil for the packaging of products was significantly reduced last year, as high-quality recyclable cardboard and paper packaging is now utilised for its products, which are then delivered to TAF customers across the globe.”
A Pioneer in Automation
With production and staffing steadily increasing, TAF isn’t closed off to the idea of adding another automation machine to its facility in order to accelerate productivity.
“Throughout the history of our company, we have always set and maintained extremely high standards for our production processes, with a focus on limiting flaws in our products to the bare minimum,” said Jakub. “This has led to TAF products being trusted by industry professionals around the world, and we are very proud that TAF was the first truss manufacturer in the world to introduce automated welding on its production line, and as a company we consider faster, higher quality production processes via automation to be the future of manufacturing.”
TAF’s implementation of a welding arm in 2019 was a big step forward, as it not only carries out welding procedures twice as fast as the factory’s best welders, but also ensures each and every weld is precisely carried out and of the highest quality. As a result, TAF maintains high-level manufacturing standards, along with significantly increasing the volume and efficiency of production output. “The continuous improvement of our production line through automation, and the implementation of other cutting-edge processes will always be among our main priorities,” concluded Jakub. “As we move forward with our production activities, more innovations will be sure to follow.”
www.taf.cz
HOW LASER PROJECTORS ARE CONQUERING LARGE VENUES, ONE LUMEN AT A TIME
Small and efficient, laser projectors pack a major punch in spacious venues that require projection solutions that are brighter and more colourful than ever before. Today’s RGB pure laser powerhouses capture real-world colours while prioritising brightness and efficiency. Joel St-Denis, Director of Product Management, Christie, discusses how improvements in projection technology has increased the possibilities for vivid visuals in a wide variety of large venues.
As the world of projection evolves, so do the possibilities for their uses in larger venues. Thanks to a decrease in unit size and an increase in colour reproduction, brightness, and efficiency, laser projectors are able to meet the needs of bigger spaces, with RGB pure laser projectors leading the way.
Until the late 1990s, advances in projection technology were almost entirely linked to advances in lamp technology. However, despite projection turning up late to the digital party, it has evolved drastically from where it once was. Today’s 3DLP RGB pure laser projection powerhouses capture real-world colours like never before, while prioritising brightness and efficiency.
But that’s not all: 1DLP projectors are closing the performance gap with increased brightness, improved contrast levels, and colour reproduction, plus the addition of 4K UHD resolution to the mix. With improvements like these, Christie’s line up of 1-chip laser projectors is perfect for accommodating large-scale canvases, making them ideal for use in large venue applications such as auditoriums, concert halls, and theatres.
While canvases may be large in scale, the projectors keep getting smaller, making them easier to transport and rig – both essential considerations for any large venue or staging installation.
For example, the fully omnidirectional M 4K15 RGB pure laser projector
is the smallest and lightest 3DLP RGB pure laser projector, weighing 38.1kg. Despite its smaller size, this projector fits into the same rigging cage as the legacy M Series, as well as legacy M, J, and Crimson Series lenses, paving the way for additional cost savings.
Convenience doesn’t stop at the M 4K RGB Series. The Griffyn 4K50RGB pure laser projector, with 50,000 lumens of brightness, weighs in at 89.4kg, so as times change, Christie changes with them, and when it comes to projectors, smaller is the way to go.
RGB pure laser projectors are perfect for large venues because of their increased colour volume. The expansive Rec. 2020 colour gamut captures real-world colours in a 3-primary system of red, green, and blue lasers that is unique to RGB pure laser projectors.
This opens the door to brilliant colour vibrancy and increased contrast, perfect for bringing content to life, whether on an auditorium screen, the facade of a building, or the playing surface of a sports venue.
Once again, the M 4K RGB Series steals the show, with 98% of the Rec. 2020 colour gamut, there is brand colour matching alongside heightened real-world colour production. With the technology behind RGB pure laser projectors, visuals will always make a big impact, and creating large, breathtaking exhibits and performances that burst with colour is easier than ever.
We can all agree that high brightness is essential for any large venue
projector. Optimising projector brightness ensures your content is visible – regardless of ambient light, the size of the projection surface, or where your audience is seated in the venue. With the Christie Griffyn 4K50-RGB pure laser projector, it’s easy to optimise brightness with the option to operate at 100% brightness for 25,000 hours or 60% brightness for 50,000 hours.
For multi-projector arrays, Christie Mystique is an automated camerabased alignment and recalibration solution that allows technicians to quickly install, align, calibrate, and maintain multi-projection systems. It removes hours of painstaking work and ensures that content looks exactly as intended. Energy efficiency is key when selecting a projection solution, especially with the energy demands of large venue projection. Selecting an efficient projector not only means a projector that consumes a lower amount of power, but does that without sacrificing brightness, image quality, or colour. Compared to other projection technologies of the same brightness, the Christie Griffyn 4K35-RGB pure laser projector saves users 22% in annual operational costs over the leading competitive model.
Christie large venue projectors in the wild
There are a lot of benefits to laser projection in large venues, and Christie partners and customers around the world continue to use our solutions for a wide array of installations.
In Portugal, ADLC Audiovisuais selected Christie projectors for Nescafe’s launch of its new Dolce Gusto NEO coffee machine. UPPartner produced the event and created a stunning experience for approximately 300 guests using five M 4K25 RGB pure laser projectors to illuminate a 22.5m by 8.20m wraparound screen. Two additional screens, shaped like glasses, were brought to life by two D13WU2-HS projectors. Finally, to illuminate the stage floor and heighten the immersive experience, Nescafe used two Christie 3DLP projectors.
Taiwan’s first immersive theatre
The National Taiwan Science Education Center (NTSEC) installed Christie projectors and solutions to display mesmerising visuals in ‘The Black Box’, Taiwan’s first immersive theatre. The L-shaped projection space, measuring 13 sq m, was brought to life by Dacoms Technology, using 4K10-HS 1DLP laser projectors, alongside Christie Pandoras Box Software for content processing and playback, AirScan to bring displays to life with interactivity and touch-free control, and Mystique to automate the warping and blending process. By showcasing creative works from content creators and local artists while promoting technology and academic research, The Black Box’s large, stunning visuals inspire and awe guests.
Playing surface projection mapping
What better way to capture the excitement of sport than by bringing the playing surface to life with bright, immersive visuals projected for thousands of courtside viewers? At Mizzou Arena, home of the University of Missouri’s basketball team, Quince Imaging installed four Griffyn 4K35-RGB pure laser projectors to display striking on-court 3D projection mapping. Paired with Mystique — Pro Venue Edition, the four 36,500-lumen projectors dazzled students, alum, players, and faculty alike with bold colours and dynamic imagery.
Water projection
From sport to spectacular, projection shines bright — including at the light and water show in Ningxia Yinchuan Cultural City. Five D20WU-HS 1DLP projectors, installed by Jianye Display, work in harmony to delight the audience with a gorgeous phoenix-themed performance. Rich in culture, colour, and lumens — with each projector boasting 20,600 — this striking show made a big splash.
Projection mapping at Indian university Osmania University shines brightly thanks to its light and sound show. With Aura Bright Light India Pvt Ltd’s expert integration of DWU23-HS laser projectors, one of India’s oldest higher education institutions
dazzles audiences. Projecting high-resolution visuals onto the Arts College’s facade, spanning 107m by 18m, was no small feat. With noise levels as low as 35dBA, enhanced colour performance, and 23,650 lumens, the DWU23-HS laser projector can conquer different applications, such as museums, live events and boardrooms.
The smart tech behind unforgettable experiences
When it comes to large venue projectors, 3DLP and 1DLP laser technology make it possible to balance high brightness and vibrant colours with efficiency and installation flexibility. And with the right projection solution, you can ensure an unforgettable experience for your audience. www.christiedigital.com
Previous Page (left): Content creators showcasing their works at ‘The Black Box’ immersive theatre. Photo: 2023 Taipei Digital Arts Festival.
Previous Page (right): Quince Imaging led the design, installation, and content creation of an on-court 3D projection mapping project for the University of Missouri’s basketball team.
Above (top): The breathtaking light and sound show at Osmania University is powered by Christie DWU23-HS laser projectors.
Photo: Aura Bright Light India.
Above: Christie D20WU-HS projectors display stunning images measuring 9m by 12m on a water screen at in Ningxia Yinchuan Cultural City. Photo: Jianye Display.
ISE 2025
EMEA
BARCELONA, SPAIN / 4 – 7 FEB, 2025
With an attendance of 85,351 visitors from 168 countries and a total of 1,605 exhibitors across a 92,000 sq m floor, this year’s ISE ably highlighted the show’s status as a cornerstone of the AV and systems integration industry. The MONDO-DR team was out patrolling the walkways, soaking in the innovation, and witnessing first hand new technologies and groundbreaking advancements.
1 SOUND debuted three new products at the show, unveiling the Level L35 from its new Level Series, the Monitor M35 from its new Monitor Series, and the Sub28 a powerful, a low-profile bass enclosure with a high SPL which they dubbed the ‘banquette sub’ having been inspired to make the product from the interior designers’ and architects’ specifications on banquette seating. Standing only 8-inches tall allows the Sub28 to be positioned underneath, inside or between furniture. ADJ
Lighting showed myriad new releases which were given their European debut, including the Hydro Flex L19 and Hydro Flex L7, Vintage X and Vantage Bar, and Encore DBX, Vizi Pix 19 and 40 Hex Panel IP luminaires. Adamson brought its VGt line array loudspeaker system and debuted the new VGs powered subwoofer at the show. Equipped with Adamson’s proprietary ArrayIntelligence software, both products, which sit in its Vergence Group, integrate seamlessly to provide intuitive control and connectivity. Adam Hall Integrated Systems put the focus on the overarching control aspect of its audio and lighting solutions. The basis for this was the new update for LD Systems QUESTRA. With version 1.3, the design and management software platform makes it possible to do a variety of things, including the ability to integrate third-party solutions for the control and automation of network-based installation solutions. Alcons Audio announced two new products; the new CRMSQ system is a modular two-way column array system, combining dynamic sound reproduction with superb intelligibility and cover-age, while drastically reducing the influence of room acoustics, and the CRMSQB is a modular column bass array system that can be stacked in multiples to obtain low frequency projection and throw control, drastically reducing the influence of the room acoustics. Amadeus unveiled the NUMAX Series, the company’s first high-power constant curvature line source loudspeakers. With a low-profile design, native cardioid technology for minimised low-frequency spill, and a three-way configuration with a cone midrange,
the series features three models, the NUMAX XV Focus, Wide and Extra Wide. Analog Way presented its latest SMPTE ST 2110 input and output cards for LivePremier systems, which enables Aquilon to expand its range of applications and seamlessly integrate into ST 2110 workflows, including UHD60. These new cards deliver flexibility, featuring full support for all broadcast formats up to UHD60 10-bit, HDR compatibility, up to eight audio channels per ST 2110 stream, and compatibility with NMOS and PTP standards. Aresline showcased its new Inner and Flexseat solutions for multifunctional, flexible, and highly technological spaces, which provide a response for all environments that require quick and easy transformation to accommodate diverse programming needs. Astera gave a European premier to its new QuikSpot fixture which was launched in December, while other highlights on its stand were the LunaBulb and TitanTubes. AtlasIED announced the launch of its new Atlas+Fyne IsoFlare FS Series of surface mount loudspeakers, which combine decades of expertise from acoustic and mechanical engineers with cutting-edge design and engineering techniques. Audio-Technica demonstrated a variety of its installation-oriented audio solutions including the recently-launched System 20 PRO wireless system, a self-managing, plug-and-play 2.4 GHz digital wireless system that is scalable to 20 channels and delivers dependable, high-quality audio. Audiofocus unveiled its new compact, versatile line array series ELIZ 210, which is targeted towards performance venues, houses of worship and
1 The Outline team on its stand.
2 The Robe team pose for a post-show photo.
3 Katharina Merz and Ronny Nielsen of Bose Professional.
4 Ben Diaz of Astera.
5 Ann Leroy of Audiofocus.
6 Jeremy Smith of LEA Professional.
7 Fredrik Setterberg and Howard Jones of Genelec.
8 Alex Skidmore and Richard Fleming of Xta Electronics.
9 Nuria Marin and Polly Bradley-Brock of Christie.
10 Members of the Steinigke team on its stand.
11 Greg Clarke of EM Acoustics.
12 Kim Franklin of Listen Technologies.
13 Kristof Vanden Eynde and Lars Hohmann of Riedel.
rental companies, which employs V mounted twin 10-inch Tetracoil Double Voice Coil LF transducers, complemented by a next-generation 4-inch titanium diaphragm HF compression driver, selected for its linearity and mid-band clarity. AV Stumpfl presented the latest addition to the PIXERA ecosystem – the small but mighty PIXERA zero – at the show, which combines a powerful hardware configuration with a space-saving design, delivering exceptional performance in even the most demanding environments. B&C Speakers announced new additions to its new HLX drivers by incorporating compact, made-to-measure heat sinks for each model in the series, while also announcing an expansion of its CL Series of woofers to include the smaller diameter 6CLA51 and 8CLA64. Biamp introduced three new 4800W models of its Voltera family of networked amplified loudspeaker controllers, which double the available wattage of the previously most powerful Voltera models, in order to meet the needs of mid-size to larger venue spaces, including stadiums, concert halls, event centres, and indoor arenas. Blaze Audio highlighted its new BL18S passive subwoofer, a speaker which completes the CBL series and is specifically crafted to integrate seamlessly with the CBL523 and CBL528 Constant Beamwidth loudspeakers. The company also ran demos of its Ci series of loudspeakers, in addition to the CBL series. Brompton Technology showcased its cutting-edge Tessera solutions, including some of its latest software innovations from the recent Tessera v3.5 release while Cadac Consoles celebrated its recent return to UK manufacturing
with the unveiling of the first UK sample CM-J50 consoles and CM-SR stage racks off the production line at the show. Christie launched the Sapphire 4K40-RGBH projector, which combines solid-state RGB pure laser illumination with a dual laser phosphor system into the world’s first high-brightness hybrid RGB laser projector, which has been designed for any 2D application, front or rear projection, all active and passive 3D formats, and any screen type. CODA Audio launched the APS-Pro Series, which comprises two models. APS-Pro-D has a 10° cabinet angle for long throw and high granularity of control, while the APS-Pro-S has a 30° cabinet angle for short throw and wide near field coverage. Claypaky premiered two new moving head fixtures from its Arolla Aqua Series –the Arolla Aqua LT and Arolla Aqua Wash HC, while also announced a planned expansion of its booth for the 2026 edition of the show. Clear-Com launched the FreeSpeak Icon beltpack, adding to its FreeSpeak family of wireless intercom systems, which is designed to meet the evolving needs of technical teams across live performance, corporate AV, broadcast, sports, worship markets, and more. d&b audiotechnik introduced its new CCL (Compact Cardioid Line Array) system at the show and hosted demonstrations throughout the week – both on and off site, with its System Integrator Experience hosted daily which offered a journey through the d&b Workflow, starting from the very early stages of a project, from planning and system design in ArrayCalc through to installation. DiGiCo launched a “T” software version of the most compact
desk in its Quantum range, the Quantum225T. Boasting powerful, refined hardware and Quantum processing, the Quantum225T’s functionality and worksurface are instantly reconfigured to provide the specialist theatre programming tools that deliver the versatility needed for theatre sound design, rehearsal, and show operation. Digital Projection centred its stand centre on the company’s state-of-the-art new 1-chip DLP projectors: the E-Vision 16000i-WU and E-Vision RGB 4K+, which both mark a huge step forward in energy efficiency, using only half the power of comparable models from three years ago. Disguise showcased showcase advancements in its RenderStream architecture, enabling more users to benefit from content flexibility while also debuted the OmniCal RigCheck API, developed in collaboration with THG and Electrosonic for the Top of The Rock experience at the Rockefeller Center in New York. This innovative solution enables the OmniCal calibration process to be automated through third-party management systems or dedicated applications, making complex projection mapping accessible to users of all experience levels. DPA Microphones moved into the wireless market with the release of its new N-Series Digital Wireless Microphone System. A fully digital, true diversity wideband solution, N-Series is housed in a robust and easy-to-operate format that is well-suited to a wide array of live, house of worship and corporate events, as well as installed systems applications. Elation Lighting showcased PARAGON, its new flagship line of automated lighting which is available in three models (S, M, LT) all
1 Craig Foster and Alex Martin of WryeStorm.
2 Anna Ferrer Duran and Florencia Fernandez of INFiLED.
3 The Claypaky stand.
4 Caroline Weaver of Void Acoustics.
5 George Tennet and Sergei de Candial of Blaze Audio.
6 Santiago Penades of FENIX Stage.
7 Audrey Ensor of EAW.
8 Amnon Harman and Stephan Grenier of d&b audiotechnik.
9 Tillmann Gatter and Richard Pollak of HB-Laser.
10 Moswain Welsh Antão, Julie Brilland, Audrey Neustadter and Mary Beth Henson of L-Acoustics.
11 Members of the Konig & Meyer team on its stand.
12 Larry Beck of Elation Lighting.
13 Daniel Imiola of Global Truss.
designed for a large variety of professional lighting applications. EM Acoustics brought its now completed Reference Series to the show, with the newly released R4 model joining the R5, R6, R8, R10 and R12. The R Series is a low profile, full-range point source loudspeaker family designed for optimum musicality for sound designers in theatres, live events and fixed installations. ETC made a return to the show to present full system solutions from its architectural and networking families, including F-Drive, Mosaic and new additions to the Paradigm line while tracking solutions manufacturer Follow-Me demonstrated its full range of technologies, including the FollowMe 3D system which is independent from any fixture manufacturer and can control any lighting fixture that can pan and tilt. Fulcrum Acoustic brought new models from its RX series of compact installation loudspeakers to the show and offered hands-on demonstrations of its One software, a comprehensive tool that streamlines the design, deployment, and management of traditional sound reinforcement and immersive audio systems within a single, intuitive interface. Funktion-One launched no fewer than six new loudspeakers to reinforce its commitment to superior sound quality, innovative design and unparalleled performance across a variety of applications. Highlighted on its busy stand was the F61, Evo 2L, Evo 2SH, BR118.2, SB212LP and SB12. Harman Professional Solutions announced additions to the Martin Professional portfolio with the MAC Aura Raven XIP outdoor wash fixture, and the JBL Professional SRX900 series of powered loudspeakers with two flyable subwoofers – the 15-inch SRX915SF and 18-inch
1
7
8
and
Kamil Zajdel of Optocore.
Kelly De La Haije of Highlite.
Alonso Perich of Shure.
The 1 SOUND team on its stand.
Fardeen Sultan of Optoma.
The HOLOPHONIX stand.
Reuben Hunter-McHardy
Alex Buttigieg of Linea Research.
Alex Cousins of Hive.
SRX918SF models. HH Audio introduced the Aptur range of ceiling, pendant, column array, and subwoofer loudspeakers, and the new CL Series of passive column array loudspeakers, which offers a sleek and unobtrusive solution in acoustically challenging areas. Hive debuted its most powerful media engine so far, the Beeblade Nexus, and in addition unveiled version 1.2 of its intuitive software and introduced the Nucleus chassis to European audiences. Spatial sound technologists HOLOPHONIX announced the launch of its latest software update, Version 2.3, which features two key advancements: enhanced interoperability and an intuitive ‘Wizard’ for simplified setup, which marks a significant step forward in simplifying the user experience and streamlining workflows for audio professionals. Innosonix launched the Micro Maxx µMA04/POE PoE amplifier, which is a 4-channel amplifier that delivers 120W per channel at 4 ohms, with the option to bridge two channels for 240W at 8O ohms in a compact design. K-array unveiled the latest evolution of the Firenze and two powerful new additions to the Dragon series – the KXT12P and KXT18P, 12-inch and 18-inch models, engineered with advanced tri-axial technology, passive radiators and precision-engineered metal construction. Also debuted were the GT12 loudspeaker and the Dolomite, a modular system designed for hospitality and residential spaces. L-Acoustics was onsite in three different capacities to showcase its versatile array of solutions – with two stands and a demo room. In hall 2 the company demonstrated how its new integrated products – Soka, X4r, SB6r & SB10r – can be used in a recessed format to can seamlessly blend into any architectural interior, while its demo space presented the cutting-edge technology, design principles, and best
1 Jóhannes Fannar Einarsson of Treble Technologies.
2 Norbert Stangl and Denis Phoenix of Laserworld.
3 Dora Zentai-Viszmeg of Lightware.
4 The Dream Lighting team on its stand.
5 Fabio Prada, Theresa Gibson and Matt Millward of Area Four Industries.
6 Dan Higgot and Rik Kirby of TiMax.
7 Carlos Sayago of Navori Labs.
8 Leon Fallon, David Gore and Marketa Simkova of TAF.
practices in its immersive sound department. LEA Professional announced the addition of 3000W per channel IoT-enabled smart amplifiers to its Connect Series, and a new Pro AV partnership with NETGEAR AV, which detailed the interoperability between the NETGEAR AV Line managed switches and the LEA Professional Connect Series IoT-enabled smart amplifier family for professional audio systems. Linea Research launched its new, intuitive control software, System Engineer 8, which delivers easy-to-use DSP and power management with a workflowbased design to get audio systems up and running in minutes. The free new software enhances the audio capabilities of Linea Research products, communicating all the system information necessary to keep an audio network operational, on one easy-to-read screen and in a simple graphical format. Martin Audio showcased the expansion of the popular series of ADORN ceiling, pendant and on-wall loudspeakers, with the addition of ADORN A80T, a two-way passive speaker with an elegant design that is designed in part for architectural environments that require high fidelity sound from an unobtrusive, compact enclosure. MEGA-LITE demonstrated a range of new lighting solutions, including the PieLite Multibeam, a versatile fixture featuring seven mounting positions, and the M-Sphere, the evolution of the classic disco ball. In addition, the company showcased the Light Truss, the Light Pipe, the Light Porter, the Viceroy and the Toad Hybrid LED 400 on its booth. Modulo Pi debuted its new 3D auto-calibration module at the show, an update that automatically manages multi-projector soft edge blending and geometry
on any surface to allow for quicker projector alignment for video mapping onto complex surfaces. Naostage collaborated with fellow French companies Groupe Novelty and XD motion, as well as several other key industry partners, to demonstrate the power of real-time tracking through an immersive media show, hands-on demonstrations, and exclusive live dance performances. NEXO announced the Alpha +, a hybrid source sound reinforcement system that draws on the spirit of its historic forerunner from the 1990s, whilst applying new technologies to optimise performance and flexibility in a range of settings from live music and clubs, to theatres and other venues. Quick and easy to stack, Alpha + is a three-box system comprising M210 Main, B218 Bass and L20 Sub-bass modules. Obsidian Control Systems gave visitors the opportunity to demo its hardware and PC systems, including the NX1 and NX2, compact yet full-featured lighting consoles that have propelled the ONYX platform’s popularity to new heights. The company’s NETRON data distribution devices was also featured, including a comprehensive line tailored for system integrators and fixed installations. Optimal Audio launched the Talk 8, an eight-zone paging system, which spearheaded the expansion of the brand’s ecosystem. Alongside Talk 8, visitors to the stand got hands-on with the new ZonePad 8, which is a dedicated venue control solution, as well the powerful new Sub 18. Outline launched 11 new products at the show, including three new series of loudspeakers. The Hercules, is a new series of column-shaped cardioid loudspeaker systems, while Portable, is a new series of point-source loudspeakers for
mobile applications, composed of six different systems, with LF units ranging from 4-inch to 2x15-inch. The Architecture series are new, ultra-compact, unobtrusive aluminium loudspeakers designed for business and retail applications. Panasonic Connect Europe announced its PT-VMZ82 Series of powerful LCD projector, which deliver sharp, vibrant, sustainable projection, even in well-lit spaces, in corporate business, education, and entertainment spaces. The VMZ82 Series, featuring the VMZ82 (8,000lm), VMZ72 (7,200lm), and VMZ62 (6,500lm), are the smallest and lightest in their class, offering superior brightness and image quality whilst using 25% less energy than current Panasonic LCD projectors. Powersoft announced the Nota 142, a versatile, ultracompact PoE/PoE+ amplifier designed to meet the varied needs of AV system integrators and integrate in AoIP applications where space is limited. RCF introduced four new series of loudspeaker solutions, including the CMR Series for ceiling-mounted applications. The CMR 30 is a full-range, in-ceiling speaker that delivers clear background music and intelligible speech, while the CMR-S 60T provides low-frequency support with a discreet, elegant design. Both models are designed with bars, restaurants, and corporate spaces in mind. For Renkus-Heinz, the show marked the first public demonstrations of its OmniBeam software with an immersive demo room experience, with an active acoustics system from technology partner Amadeus Active Acoustics. Riedel announced the launch of its StageLink family of smart edge devices for seamless network streaming. The new networked I/O
1 Jean Nguyen of Ayrton.
2 Brian Rowleyof BrightSign.
3 Ian Wright of HH Audio.
4 Hugo Tinot and Karima Djellal of Starway.
5 Andrew Low and Michael Nicholson of Funktion One.
6 Rainer Brandstatter of AV Stumpfl.
7 Cat Shepherd, Rory Fraser-Mackenzie and Shawn Fernandez of ETC.
8 The Modulo Pi team on its stand.
9 Ángela Llobregat and Alvaro Fontanals of DAS Audio.
10 Jacquie McHale Sjodin of Dataton.
11 Graeme Harrison_ Bluesound Professional.
12 Eddie Short, Sebastian Mobers and Joseph Chardon of ADJ.
13 Jack Spenn of Audio Technica.
14 Ollie Newland and Alexandra Coulson of Disguise.
15 Juan Jose Vila of Equipson.
boxes are set to redefine IP-based audio and intercom workflows with unparalleled flexibility and performance. Robert Juliat launched its new LED follow spot, Lexie, which is compact in size, comparable to the Roxie model, yet with a more powerful output. The Lexie follow spot features a 400W LED engine delivering approximately 15,000 lumens with a crisp 6500K cool white source. Robe launched the iSTROBE and iESPRITE LTL WashBeam at the show, while several other new products were showcased including the newly launched iFORTE Fresnel, the PAINTE Fresnel, the SVOPATT and the SVB1. The Robe Group’s businesses –architectural and LED lighting brand Anolis, lighting console and media server manufacturer Avolites, power distribution specialists LSC Control Systems, and lighting control and integration solutions specialist Artistic License, all had their own sections on the impressive booth. The new BRAVIA Projector 8 and 9 from Sony made their debut at the show, while the company also highlighted its BZ-L Series of BRAVIA Professional Displays which showcase their deep black non-glare coating. Sennheiser announced a new installation variant for its TeamConnect Ceiling Medium (TCC M) – the TeamConnect Ceiling Medium Ceiling Tile (TCC M CT) - which was unveiled for the first time. The company also demonstrated its new wideband, bidirectional wireless ecosystem, Spectera, giving hands-on
1 Volker Schmitt of Sennheiser.
2 The MEGA LITE team on its stand.
3 Ava Rahmati and Chris Barrow of Biamp.
4 Pieter van Hoogdalem of Adamson.
5 Tom Lilly, Mathhew Youngs and Elliot Van Laere of Broadweigh.
6 Christine Gerhardt and Elisa Posteraro of Adam Hall.
7 Sean Kollak and Christian Jordan of HK Audio.
demonstrations of the new system on its stand. Theory Professional made its official debut at ISE and demonstrated its full ecosystem of high performance loudspeakers, subwoofers, and loudspeaker controllers, while TT+ Audio introduced a range of new solutions, including the GT 8 point source speaker and GTS 19G subwoofer. Void Acoustics announced Kinesys, an internally rigged modular and scalable system featuring total summation via a cylindrical radiation pattern, designed for mid-to-largesize clubs and live venues. WorkPro highlighted two new models from its WFS range of outdoor loudspeakers while XTA launched the XTA DP648 Audio Management System. Yamaha announced Sound xR, with the intent of making immersive sound scalable to all situations – from the largest live venue to personal headphones – interconnecting the real and virtual worlds. The Sound xR concept is based on Yamaha, NEXO and Steinberg technologies.
To go alongside the vast halls of exhibitors, the Live Events Stage sponsored by MA Lighting hosted three days of talks in a purpose built arena inside the lighting and staging hall, with discussions organised by TPi Magazine’s Stew Hume. The numbers showed that this was the busiest ISE in history, and that’s a testament to the organisers. The event will return in 2026, in Barcelona, from February 3 – 6.
7 mounting positions
7 60W RGB + Cool white 4,5° pixel beam
BROWSE OUR PRODUCTS
Modular grouping — 2, 3, 4 units
PRODUCT GUIDE: PROJECTORS & MEDIA SERVERS
SPONSORED BY:
In 2025, AV Stumpfl celebrates 50 years of innovation in the AV industry, and as the company marks this milestone it is introducing a groundbreaking addition to its PIXERA hardware family: PIXERA zero. This media server platform is designed for maximum efficiency, compactness, and seamless integration, setting new standards in professional media server technology.
Redefining Compact Power
PIXERA zero is the answer to the industry’s need for highperformance, ultra-compact media servers. By leveraging advanced engineering techniques, AV Stumpfl has created a solution that delivers robust performance in an incredibly small form factor. Its minimalist, compact design enhances cooling efficiency while ensuring reliable operation, making it ideal for permanent installations and mission-critical applications where stability is key.
Despite its small size, PIXERA zero is a powerhouse. It supports 4K playback capabilities and boasts high-end GPU performance, enabling seamless playback of demanding content. This makes it the perfect solution for museums, digital signage, immersive experiences, and fixed installations where space efficiency and performance go hand in hand.
Effortless integration and scalability
PIXERA zero is fully integrated into the PIXERA software ecosystem, offering the same intuitive usability and scalability as AV Stumpfl’s other PIXERA hardware platforms. Whether used as a standalone media server or as part of a larger system, PIXERA zero provides an effortless workflow for show programming, content management, and real-time compositing. Thanks to its modular software architecture, users can expand their system as needed, seamlessly connecting PIXERA zero units with other PIXERA servers in a distributed network. This flexibility ensures that even the most complex AV installations can be executed with ease, whether it’s a single exhibition setup or a large-scale immersive experience.
Comprehensive software package
PIXERA zero is shipped with a full PIXERA server license, ensuring users have access to the complete feature set from the moment they start using the system. Additionally, it includes Control Core, providing advanced automation and show control capabilities for seamless integration into complex AV environments. This combination allows for greater flexibility and efficiency in a wide range of applications, from fixed installations to interactive experiences. PIXERA zero is not just about power and efficiency – it’s about delivering a user-friendly, flexible experience for AV professionals. From system integrators to content creators, PIXERA zero simplifies media server operations while maintaining top-tier performance.
A Legacy of innovation: Celebrating 50 Years of AV Stumpfl As AV Stumpfl enters its 50th year, the company remains committed to pioneering new technologies that reshape industry standards. PIXERA zero is a testament to AV Stumpfl’s dedication to excellence, precision engineering, and customer-driven innovation. It embodies AV Stumpfl’s core philosophy – creating high-quality solutions that empower AV professionals worldwide. From the very beginning, AV Stumpfl has been synonymous with reliability and forward-thinking technology. As AV Stumpfl celebrates this significant anniversary, PIXERA zero represents both AV Stumpfl’s rich history and vision for the future: compact, powerful, and designed to seamlessly integrate into modern AV environments.
PIXERA zero is more than just a product launch – it’s the beginning of a new era in media server technology. A discreet, highperformance solution for digital signage, immersive exhibits, or permanent installations, PIXERA zero will bring any creative vision to life.
www.pixera.one
AV Stumpfl
PIXERA zero
Analog Way
Picturall Pro Mark II
The Picturall Mark II series is an extensive range of heavy-duty media servers providing ease of use and rock-solid reliability at affordable prices. Picturall Pro Mark II is a modular, high performance 16K media server designed to playback reliably huge video content on large pixel canvases. With the ability to drive up to 16x 4K@60Hz 10-bit pixel accurate outputs from a single server unit and to play back media with up to 16K resolution or uncompressed file sequences up to 8K@60Hz 10-bit, the Picturall Pro Mark II media server is the true powerhouse in massive LED video wall installations and large corporate events. www.analogway.com
7thSense R-Series 10
The R-Series 10 hardware solution is catered to the needs of the most demanding generative projects and complex media-based attractions. The product offerings include the highest quality video playback, pixel processing, and control solutions available today, enabling storytellers worldwide to fulfil their vision. Features include: PCIe 4.0 hard-ware-based – Tested and certified for deployment around the world, warranty and support in-cluded – hardware product certified to international safety and emissions standards – Rack mount and silent configuration options for ease of integration into production environments – State-of-the-art graphics cards supporting genlock, framelock and swaplock – SMPTE ST 2110 support – Optional integration with 7thSense Juggler product for seamless switching, Intelli-gentSource signal failover, source compositing – Front panel LCD touch interface for health status, live input and/or output viewing and IP configuration running from a dedicated Linuxbased subsystem meaning no compromise on main system performance. 7thsense.one
Arkaos VS2+
The new Arkaos VS2+ media server is designed to succeed the beloved Stage Server, bridging the gap between the original VS1 and the newly upgraded flagship VS4+. With an industrial-strength build and a blisteringly fast graphics engine, the VS2+ delivers dual 4K outputs and ample power, along with an optional card expansion slot to tailor it for your needs. Behind its VS4+-style touchscreen interface for instant settings control, we’ve integrated a professional-grade graphics card, enabling EDID locking just like its big brother. Strong, reliable, and intuitive, the VS2+ is powered by the all-new Arkaos Pro 2025 software, making it a cost-effective choice for rental houses, theatres, touring productions, and installations that demand high-quality video content and mapping. www.arkaos.com
Avolites Ai Q3
The Avolites Ai Q3 is a small server with big features, including hardware EDID, 1TB of NVMe media storage and 1 x 4K and 2 x HD outputs. The Q3 is the perfect solution to power live events, installs and anywhere else that live video manipulation is required. It has a small form factor with high performance media playback. It is the ideal system for many projects, like media playback, small to mid-sized tours, corporate uses, art installations, fixed installations, theatres, nightclubs, and it is flight friendly. Features include: 1 x 4k and 2 x HD outputs plus a dedicated GUI output – hardware EDID on all outputs – front panel screen for configuring outputs – node-based programming for flexibility with Salvation – send or recieve video over IP with NDI by NewTek – 3D projection mapping – supports Notch – easily set-up projector blending with AutoBlend – AiM media transcoder – synergy with Avolites Titan. www.avolites.com
PRODUCT GUIDE: PROJECTORS & MEDIA SERVERS
SPONSORED BY:
HIVE
Beeblade media engine ecosystem
Hive’s award-winning media server ecosystem is inspired by the natural efficiency of a bee colony, with Beeblade technology at its core. Designed for scalability, Beeblade is a compact yet powerful media engine that adapts to project requirements, delivering HD, 4K and 8K video output with exceptional performance. The Beeblade range includes Minima (HD), Osmia (4K), Pluto (8K) and Nexus (8K), each optimised for different performance levels, ensuring the right solution for any media challenge. Whether driving a high-resolution LED wall, powering a multi-projector blend or delivering ultra-smooth visuals in a live event setting, Hive’s media engines provide the flexibility and power needed to meet the demands of modern AV applications.
Built on Intel’s Smart Display Module (SDM) platform, Beeblades integrate seamlessly with any SDM-compatible display or projector. This eliminates the need for bulky external media players, simplifying installation and reducing hardware footprint. Beeblades can also be housed in Hive’s custom enclosures, providing a lightweight, cost-effective alternative to traditional media servers. With powerful processing at a fraction of the cost, Beeblade technology helps AV professionals streamline workflows, lower hardware requirements and reduce operational costs. The Beeblade Nexus is the latest and most powerful addition to the Beeblade family, pushing the boundaries of media playback technology. It is the first Beeblade to feature a daughter board system with optical fibre Ethernet interfaces, supporting 10, 25 and 100 Gigabit connectivity – enabling ultra-high bandwidth uncompressed video streams via SMPTE 2110 and NDI. With an 8K60 HDMI 2.1 output, Nexus quadruples the pixel count of its predecessor, delivering sharper and more immersive content. In a world-first, its HDMI output synchronises across multiple Nexus devices with ±5-microsecond accuracy using Hive’s revolutionary Beesync technology, ensuring perfect frame synchronisation across large-scale installations. Another key innovation is native SMPTE 2110 support, a transformative standard for broadcast
and live production environments. By transporting uncompressed video, audio and metadata over IP networks, Nexus offers greater precision, flexibility and interoperability – ideal for nextgeneration workflows. Available from Q2 2025, it represents a significant leap forward in professional AV technology. All Beeblade models are compatible with any SDM-L socket-equipped display, including the Panasonic SDM projector range – providing a compact, embedded media playback solution. However, for projects requiring greater scalability and performance, Hive offers a range of media engine enclosures, allowing users to customise their setup based on their specific needs:
• Beebox – A standalone enclosure that houses one Beeblade, ideal for small to medium applications.
• Nucleus – A 1RU chassis supporting two Beeblades, doubling processing power in a compact form factor.
• Beehive – A 5RU chassis accommodating up to 16 Beeblades, creating the highest-density media playout system available today.
All enclosures are also designed with sustainability in mind –they are fully recyclable and built with energy efficiency as a priority. Hive is on a mission to revolutionise and demystify the media server industry. Traditional media servers are often bulky, complex and expensive. Hive’s Beeblade ecosystem challenges this by offering a compact, scalable and cost-effective alternative – without compromising on power or performance. With an intuitive, user-friendly interface, AV professionals can deploy and control media playback more efficiently than ever before. Whether used for live entertainment, theme parks, immersive attractions, corporate AV or permanent installations, Hive’s ecosystem is designed to elevate content delivery while reducing costs and complexity. www.hive.run
Hive media servers powering the content at BBC Earth Museum in Melbourne.
Hive’s new Beeblade Nexus media engine.
As the world’s first high-brightness hybrid RGB pure laser and laser phosphor projector, Sapphire 4K40-RGBH delivers vibrant DCI-P3 colour and stunning native 4K clarity. It’s engineered for any 2D application, all active and passive 3D formats, and any screen type. Sapphire sets a new standard in 3D projection with its exclusive Infitec colour comb 3D option. It outshines traditional laser phosphor and lamp-based projectors, delivering a brighter, richer 3D experience. From 2D and 3D front and rear projection to 3D dark rides and attractions and visualisation powerwalls, Sapphire 4K40-RGBH does it all with hybrid brilliance. www.christiedigital.com
Digital Projection
E-Vision 10000i RGB 4K+
The world’s first laser illuminated 1-Chip DLP. The new E-Vision 10000i RGB – an RGB illuminated 1-Chip projector from Digital Projection. The single-chip E-Vision eliminates the artifacts and colour separation commonly associated with projectors utilising a conventional colour wheel, while achieving 4K+ resolution, 10,000 lumens, HDR without brightness decay, REC 2020 colour space, and a dynamic contrast ratio of 10,000:1. The new 0.8-inch DMD gave us the opportunity to harness all the improvements to advance the thing that you have told us matters the most in 1-Chip DLP projectors – colour! Amongst other improvements, the DMD has been optimised for the colour red, which means when coupled with our RGB Laser technology, you get colours, and in particular reds, that were previously unachievable on a 1-Chip DLP projector. www.digitalprojection.com
Disguise GX 3
GX 3 is the go-to media server for touring artists who want to raise the bar with the most intricate set designs ever seen. Unlock new potential in Notch generative content such as facial tracking, simulation, and buffer effects or even AI background removal for IMAG, thanks to the GX 3’s advanced graphics processing capabilities. The GX 3 guarantees peak performance when dealing with complex video files thanks to its 100GbE bandwidth and 12G video capture, more than ready for the future requirements of live shows. Unlock video-over-IP workflows by pairing a GX 3 with patented IP video format conversion cards to deliver high-fidelity content with minimal latency, all without changing the AV system. www.disguise.one
Green Hippo Hippotizer V4
Now in its fourth generation, Hippotizer V4 provides real-time video playback, manipulation and projection mapping for the live events and AV industries. With state-of-the-art purpose-built hardware, Hippotizer V4 boasts industry leading performance and features with a tour-proof package. Hippotizer V4 includes SHAPE; a 3D projection toolset, a unique solution that is both quick to setup and easy to control yet still at home on the most complex 3D projects. Thanks to the FlexRes suite of codecs, Hippotizer V4 plays 4K or larger clips in lossless quality. Hippotizer supports both programmed timelines with presets and instant real-time changes with DMX, MIDI and OSC. ZooKeeper, Hippotizer’s free network based control application, allows the management of all controls on any Hippotizer on a network. Programme and run shows directly from the ZooKeeper interface remotely. Aids such as presets, timelines, and a fully customisable user interface make controlling a Hippotizer with a keyboard and mouse, fast and easy.
www.green-hippo.com
Modulo Pi Modulo Kinetic
Modulo Kinetic is a high-end and fully-integrated media server with embedded live mixer which will be the cornerstone of your complete workflow. Perform study, simulation, show creation, encoding, playback, and control … all of it through one single box. With its intuitive user interface and advanced innovative features, Modulo Kinetic offers unprecedented real-time 3D, interactivity, and tracking. Modulo Kinetic brings together the most advanced tools within one consistent environment. The platform relies on Kinetic Designer, a powerful user interface with a dedicated workstation, connected to one or several VNode media servers. Kinetic Designer can be used offline for show study, simulation, and pre-encoding. When connected to the VNode media servers, Kinetic Designer will automatically distribute the media content to the VNode servers on the network.
www.modulo-pi.com
Optoma ZU1900 projector
The high brightness ZU1900 professional laser projector fills a need for high-end installations, including the entertainment, exhibition, and digital signage markets. Part of Optoma’s Ultra Bright Series, this projector offers incredibly high brightness of 19,000 lumens as well as extreme flexibility with eight interchangeable lenses to meet the needs of even the most complex installations. As part of the Optoma DuraCore laser line up, the Ultra Bright Series high-performance projectors feature 4K HDR compatibility, pure engine video processing and colour matching to produce visually striking, lifelike images with exceptional detail and high colour accuracy. Strong reliability is at the core of the Ultra Bright Series projectors, with 24/7 operation capabilities, up to 30,000 hours of laser lifetime, and an IP5X rating for optimal and dependable performance, even under more extreme conditions up to 122 degrees Fahrenheit / 50 degrees Celsius. With a robust metal chassis and modular design for easier maintenance, a multitude of connectivity options, and failsafe redundancy mode for instant source switching, the Ultra Bright Series projectors offer a solution for intricate installations, including multi-projector and dome projection applications. www.optoma.co.uk
Panasonic
The REQ15 Series
As immersive production becomes more complex, there’s rising demand for compact 1-Chip DLP projectors capable of streamlining workflows and inspiring guests with 4K visuals. In response, Panasonic combined its REQ12 Series with the new REQ15 to create its best 1-Chip DLP projector to date: the REQ15 Series. With resource-friendly design shaped by co-creative partnerships, the REQ15 Series unlocks a future rich in creative possibility. Deliver smooth 4K images, unlock 2K/240 Hz projection with a latency of 6 ms or less, and merge digital and analogue elements to gamify your attraction with our real-time tracking projection-mapping SDK. With Evolved Dynamic Contrast and Rich Colour Enhancer, immersive sensory production is within reach. www.panasonic.com
The DK10000Z projector offers an equally compelling mix of features and connectivity, with exceptional picture clarity. Designed for large venue and museum applications, the DK10000Z offers exceptional picture clarity in 4K-UHD resolution and 10,000 ANSI lumens brightness. Compared to traditional and large - 3-chip 4K projectors, the DK10000Z is a compact choice in this category, with a smaller footprint weighing less than 29kg. This is thanks to it utilising Texas Instruments’ single chip 4K-UHD XPR technology that delivers 8.3 million pixels and perfect alignment using a single chip DLP system. www.vivitek.eu
ASTERA
QUIKSPOT
Ben Diaz, Head of Product Management, Astera, discusses the latest addition to the company’s arsenal of flexible lighting solutions.
The QuikSpot is a highly flexible and innovative battery-powered LED lighting fixture designed to meet the demands of fast-paced environments. This cutting-edge luminaire combines ease of use, accurate performance, and rapid setup for professionals who value efficient and versatile solutions in a compact format. The fixture draws inspiration from the efficient workflow and convenient housing of Astera’s AX5 PAR light, while taking advantage of the optical quality of Titan LED Engine’s PlutoFresnel.
As a user-centric company, Astera is always gathering and analysing feedback because this represents the most important part of our product development process. In the case of QuikSpot, we invited a particular rental company and their various crew members to review different prototype iterations. From management to warehouse technicians, everyone was encouraged to share exactly what needed improvement. Some specific features, such as the 3/8“ thread in the housing and the TrackPin Compact, are the result of these discussions. We also reached an agreement on the flight-case design.
The overall design of QuikSpot is optimised to save time and effort when both prepping and operating the product, making it an ideal solution for busy rental and production companies.
These IP65-rated, lightweight (3.5 kg) luminaires deliver exceptional performance both onstage and on-set, bridging the gap between various lighting applications with ease and therefore maximising ROI. We designed the QuikSpot to excel in uplighting first, followed by spotlight performance. The Fresnel selection was not a significant part of the specification; it is included because we couldn’t find a more efficient lens design. However, this has an incredible advantage, as the QuikSpot can be used in the same way you would use a 300W
traditional Fresnel: as a key or backlight, for bouncing, accent lighting, in press conferences, and in corporate environments. This is a product that has been in the mind of Simon Canins, the company CTO, for some time. Simon had the main concept quite clearly defined, so we spent more time on the value proposition, housing design, and specifically the LED engine with its OutputGain feature. It probably took us around a year and a half to develop it. This timeline is, of course, influenced by having successful building blocks in place, such as the AX5 TriplePAR, which greatly assisted with the hardware, and PlutoFresnel, which features a brilliant optical system.
QuikSpot offers both wired and wireless operation, with a maximum battery run time of 4.5 hours at full power with OutputGain activated, and up to 20 hours in energy-saving modes. Rigging options include a removable yoke, TrackPin Compact for minimal height when hung, and a 3/8-inch BabyPin thread in the back for added flexibility. As 100% wireless lights, the inbuilt batteries are ready to be charged directly in the case through electrical contacts, avoiding the need for extra wiring. The new ChargingPlate and the state-of-the-art PrepBox streamline this setup allowing users to easily assign DMX, pair and pre-program up to eight fixtures simultaneously in just a matter of seconds.
We began shipping right at the launch of the product at LDI in early December last year, and we already have thousands of QuikSpots in the market. Users quickly recognised what this product can offer, and we have done our best to deliver in high volumes. I know this is a great problem to have, but we’re struggling to produce all the units that rentals are demanding. So, if you’re interested in getting some QuikSpots, please place your orders quickly! www.astera-led.com
Pharos DMX Record is a free, standalone utility for capturing multiple universes of sACN or Art-Net lighting data. With DMX Record, you can move any lighting data from a console to a Pharos LPC family controller to benefit from the LPC’s feature-rich autonomous playback and show control features, and then add the potential to manipulate and create new programming – even on a per channel basis – on top. At its simplest, DMX Record can be used to save any lighting programming from any sACN or Art-Net source for long term permanent installation. Multiple recordings can be imported into a Pharos Designer project and the recordings will play back from the Pharos LPC in exactly the same way as the original source, which will no longer be needed. It enables an upgrade from a legacy control system to a Pharos controller by recording the existing looks and sequences without having to reverse engineer original programming.
The LPC can reliably play back recordings as part of its programming, with all the Pharos show control and triggering benefits. A trigger can range from a simple button press to complex events like sunrise on every Thursday. Types of trigger include real-time and astronomical events (date, time, sunrise, sunset), user input (touch panel, webpage, buttons), protocol triggers (RS232, RS485, Ethernet, MIDI, DALI), dynamic triggers (DMX input, analogue, audio input), and many more.
DMX Record is also capable of precisely capturing intricate and fastmoving lighting data from entertainment lighting consoles including not just colour and intensity but also position, beam and any other DMX parameter you could imagine.
With DMX Record, complex lighting designs that could only originate from an entertainment console can be regularly and reliably triggered by an installation-friendly controller from Pharos.
What’s more, recordings are created with flexibility in mind and can be adjusted in Pharos software long after the data has been captured and the source console has left the building. Whether it is selective playback of specific components of a recording, or real-time adjustment of parameters such as colour, gobo and beam; recordings are stored in such a way that lighting effects are not set in stone when the stop button is pressed.
Simply drop the DMX recording preset onto a timeline, then drop
PHAROS
DMX RECORD
a different colour preset onto another row of the same fixtures – any beam, position and movement programming will play back uninterrupted as recorded but the colour parameters, having received more recent instructions, will follow the new preset, so a single recording can now be used for unlimited different scenes and ambiance – just by overriding some of the data.
As well as set programming, DMX recording overrides can just as easily happen at runtime – LPCs can receive colour and intensity overrides from a host of triggers, their HTTP API, and from human interaction via local touchscreens, web interfaces, and from anywhere in the world on Pharos Cloud, all of which will have the same impact on playback – the content will continue, but the colours will change as requested. Recorded data can be cherry-picked too. The capture may include DMX values for fixtures across an entire site, stage, campus or structure. For a particular scene, only some of the fixtures are required. Simply use a subset group of the fixtures, drop the same recording onto that subset group row and only those fixtures will now respond. Data not associated with those fixtures will not be sent.
Simultaneously, other full-site recordings could be placed on other subset groups in the same timeline, allowing different zones to be playing different captures at the same time. DMX Record 1.1 is now available to download for free from pharoscontrols.com, where more information about Pharos Designer software and Pharos LPC controllers is available. www.pharoscontrols.com
POWERSOFT
NOTA 142
A few years in the making, Powersoft’s small form-factor PoE amplifier Nota 142 was unveiled at ISE in February. Here, Solutions Engineering Team Leader Davide Quarto discusses the product’s development, and why he believes it will be welcomed with open arms by more than just the AV industry...
Q: Can you talk me through the key points of the Nota 142?
Davide Quarto: The Nota is a versatile, ultra-compact PoE/PoE+ amplifier designed to meet the varied needs of AV system integrators, and integrate seamlessly into a diverse range of networked audio environments. Nota provides 140W of power across two channels in a pocked-sized footprint, making it an ideal solution for commercial, conferencing and retrofit installations. Its ability to transmit power and data via a single Ethernet connection streamlines installation, reducing costs and minimising wiring complexity – meaning it is also well suited to IT integrators without in-depth technical knowledge.
Q: How important is the fact that this product is simple to use, and well suited to IT integrators who do not have in-depth technical knowledge?
DQ: The audio industry and the fixed install market are continually evolving, making giants steps every day which generates plenty of opportunities and new players. For example, IT integrators are getting more and more involved in AV system design and installation, and that’s why it is fundamental to find a common language that allows them to be comfortable in approaching our solutions. The network is this common language, and as IT teams are always behind any network node, the advantage of AVoIP is creating a true convergence of these two worlds. For this reason having an audio amplifier that does not require a power outlet which receives multicast audio streams following a clear AoIP standard (AES67) that can be patched directly from a web page and simply monitored as any network device with SNMP makes Nota 142 ideal for IT integrators, who now can easily deploy a high quality audio solution powered by Powersoft.
Q: Can you give examples of applications that you think Nota 142 will be a good fit for?
DQ: The great thing about a product that brings innovation into the market is that the applications may be unlimited. Due to its ultra compact size, the standard PoE support, AES67 support and the USB-C connectivity, you can install Nota 142 in almost any environment. We can consider it like the ‘Swiss-army knife’ of amplification. From smart
offices to airports, in private yachts, museums, hotels, gyms or retail stores, every time the installation space is constrained, or when dealing with the wiring infrastructure can be a problem, Nota 142 helps you to succeed in an amazingly easy way because today in every space you have always a network port available, and that’s all you need.
Q: How does a product so small feature remote monitoring capability, and why is this an important aspect of the unit?
DQ: That’s Powersoft! Our first requirement for any product is the capability of internal HW monitoring and, as an amplifier manufacturer, the loudspeaker monitoring – because we care about a loudspeaker’s life and performances, and we want to simplify Integrator’s maintenance operations. As with every Powersoft product we have the advantage of MyUniverso cloud support through Verso gateway, so all monitoring options are made as easy as possible.
Q: The product was launched in February, how long before it ready for shipping?
DQ: Based on our current plans we expect to make Nota 142 fully available to the market by the end of April, and the kit provided allows for multiple installation configurations across flat surfaces, poles and DIN rails. www.powersoft.com
Built To Inspire
Made in Germany for 70 Years
Put your equipment on a sound footing with a König & Meyer stand. Robust and durable, it will be your companion for a long time to come. Made in Germany from finest quality materials and according to our high-quality assurance standards. Rely on innovative designs and user-friendly functionality, plus a five-year warranty. www.k-m.de
PowerLightsAugsburg Hofrat-Röhrer-Straße 16 D-86161 Augsburg
Tel.: +49/821/2 63 94 47
Fax: +49/821/2 63 94 69
FOAM MACHINES, CANONS & FLUID
info@mbn-eventproducts.com mbn-eventproducts.com A brand of MBN Eventproducts
1. Claypaky Mini-B Sparky Aqua
Mini-B Sparky Aqua is an IP66-rated fixture making waves with its rugged design and powerful performance, ideal for both indoor and outdoor environments where durability and effects are essential. Built to withstand the elements, its high-output RGBW SMD LEDs are arranged in ten individually controllable concentric circles, which not only deliver intense colours, but also ensure even light distribution across a wide 120° flood and extreme strobe effects. Whether illuminating a stage during a concert, enhancing architectural or theatrical features, or creating dynamic light shows for TV broadcasts, this fixture excels in versatility and impact.
www.claypaky.it
2. DAS Audio MARA
Designed for medium to large-scale applications, MARA combines a cardioid and symmetrical design with a continuous power of 4200 W RMS, achieving a MAX SPL of 148dB. Its custom-engineered components include two 10-inch low-frequency drivers, two 8-inch midrange drivers, and two 6-inch drivers configured in a cardioid setup. High frequencies are managed by two M-78N compression drivers with 3-inch voice coils. The system also offers two horizontal coverage options, 80º and 100º, making it adaptable to a wide variety of acoustic environments and requirements. The technology behind MARA features a six-channel Class D amplifier with a switched-mode power supply and Power Factor Correction (PFC), ensuring stable and efficient performance under varying voltage conditions. www.dasaudio.com
3. MEGAVIEW Raven DVLED
The new Raven Clearview and the Raven Three form part of the Raven DVLED series and are two LED panels designed for a wide range of production applications and ease of use. The thin and lightweight design, combined with a fully modular structure, allows for straightforward assembly and customisation to fit various needs.
The Raven DVLED series boasts an IP65 rating, ensuring it is resistant to both rain and dust, which enhances its durability and corrosion resistance. The quick locking system permits a fast and secure installation, ensuring the panels are easily attached and removed. The Raven Clearview features 49% transparency with 3,000 nits of brightness, along with a module resolution of 128 x 32, a panel resolution of 256W x 64H, and a pixel density (per panel) of 16,384. The Raven Three has a brightness of 4,000 nits, a module resolution of 128 x 64, a panel resolution of 256W x 128H, and a pixel density (per panel) of 32,768.
www.megaview.us
4. RCF KX Series
RCF introduced its new flagship loudspeaker range, the KX Series, at ISE 2025. Designed for applications ranging from live concerts and theaters, to sports venues and houses of worship, the KX Series combines precision engineering with intuitive functionality. Each speaker houses RCF Precision Transducers, designed to deliver unparalleled sound fidelity and reliability, powered by cutting-edge Class-D amplifiers for exceptional efficiency and consistent output. KX Series speakers incorporate state-of-the-art DSP platforms, including RCF’s proprietary FiRPHASE and Bass Motion Control, ensuring pristine audio reproduction, enhanced intelligibility, extended frequency response, and ultimate SPL output. Seamlessly integrated with RDNet, RCF’s networked management system, the KX Series allows engineers to monitor, measure, control, and fine-tune the system in real time for optimal performance.
www.rcf.it
