MONDO-DR Awards 2021

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m o n d o d r . c om/subsc r iptio n s

W EL COM E The talent and creativity of this industry never fails to amaze us. After looking at the high standard of the venues entered into the MONDODR Awards 2021 - particularly considering the wider situation across the world - we can only applaud the resilience, too.

Despite everything, we wanted to make sure that your incredible work gets the recognition it deserves, which is why the MONDO-DR Awards has been an online event once again this year. We’ve had some truly special projects submitted for the 2021 awards - it’s certainly been a monumentally difficult task for our judges.

We’d like to extend a huge congratulations to all the shortlisted venues and, of course, the well-deserved winners of each of the 12 categories.

Thank you to all of our sponsors, supporters, everyone who submitted a project and our expert judging panel, too.

The MONDO-DR Awards will be back as a physical event next year - and we’re planning to put on the celebration that we’ve all been waiting such a long time for.

We can’t wait to see you there!

Sam Hughes Editor

T HE A WARD S IN NUMBERS MONDO-DR Awards 2021

TOTAL ENGAGEMENT: 70,000+ reached across all platforms

EDITOR: Sam Hughes: s.hughes@mondiale.co.uk ASSISTANT EDITOR: Emma Davidson: e.davidson@mondiale.co.uk DIGITAL CONTENT MANAGER: James Robertson: j.robertson@mondiale.co.uk SALES DIRECTOR: Jamie Dixon: j.dixon@mondiale.co.uk SENIOR ACCOUNT MANAGER: Laura Iles: l.iles@mondiale.co.uk PRODUCTION: Mel Capper CEO: Justin Gawne FINANCE DIRECTOR: Amanda Giles CREDIT CONTROL: ar@mondiale.co.uk GROUP CHAIRMAN: Damian Walsh

Mondiale Publishing, Strawberry Studios, Watson Square, Stockport SK1 3AZ, UK Tel: +44 161 476 8340 MONDO-DR Awards supplement is published in June by Mondiale Publishing Limited, Strawberry Studios, Watson Square, Stockport, SK1 3AZ, UK | www.mondodrawards.com

TH E C ATE GOR IE S For the MONDO-DR Awards 2021, there are twelve categories covering the entertainment installation market. There are four shortlisted entries, with one winner per category.

ARENA A venue for musical concerts and indoors sports, hosting games such as ice hockey, basketball, tennis and cycling.

BAR A drinking establishment, usually with subtle background music in the daytime and evening, getting livelier as the evening progresses.

CONCERT HALL A performance venue for live music performances from philharmonic orchestras to rock bands.

HOUSE OF WORSHIP A place of worship for any religion.

MULTIPURPOSE VENUE A large complex, which might include conference centres, casinos and cinemas. This category also incorporates cruise ships.

NIGHTCLUB A club is generally open from late evening until the early hours of the morning. It has facilities such as a bar, a dancefloor and often a DJ or live performer.

PARKS & ATTRACTIONS A park with roller coasters or a water themed park, or a museum, midway or tourist site.

PERFORMANCE VENUE A small-to-medium-sized venue for live music performances.

RESTAURANT An eating establishment, usually with subtle background music in the daytime and evening, getting livelier as the evening progresses.

RETAIL & LEISURE Incorporating hotels, shopping centres, individual stores and gymnasiums.

STADIUM A sporting venue, most commonly with an open / retractable roof. Home to sports such as football, rugby, cricket and athletics.

THEATRE An auditorium for spoken word plays and musicals.

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TH E JU DGE S The independent judging panel, made up of respected professionals from the industry, have used their expertise in their specific markets to decide the winners of each category. The panel were looking for clearly defined objectives in each project, as well as creative flair and effective implementation, with tangible and demonstrable results that fulfil the original brief.

ROSANI GOMES PRINCIPAL ARCHITECT AT ILUMINE E DECORE

MICHAEL NISHBALL DIRECTOR AT THEATRE PROJECTS

NATÀLIA MILÁN CHIEF ACOUSTICS ENGINEER AT AMATE AUDIO

STEVE LIEBERMAN PRESIDENT OF SJ LIGHTING

L A S VEGAS , U S A COMING SOON…

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AR E N A SPONS OR E D B Y

SCO T I A B A N K AREN A TECHNICAL DETAILS Location: Toronto, Canada Manufacturers: Renkus-Heinz, USA, Audinate, Australia, QSC, USA, LG, South Korea Distributor: Contact Distribution, Canada Installer: Ramcom, Canada Acoustician: Andy Foord, Canada Submitted by: Renkus-Heinz

Scotiabank Arena in downtown Toronto is a multipurpose arena hosting the NBA’s Toronto Raptors and NHL’s Toronto Maple Leafs games. The stadium took centre stage in the 2019 NBA Finals when the Raptors clinched the franchise’s first championship and highlighted the Toronto community’s love of the Raptors by way of fans packing the public square outside the venue.

The Maple Leafs Sports and Entertainment (MLSE) organisation provides a public area for fans to congregate during both home and away matches. The official name of the location is Maple Leaf Square – but when the Raptors play it transforms into the colloquially named 'Jurassic Park.'

A 62-by-35-ft LG LED video display ensures fans can easily watch the action unfold on the television broadcast. That said, the audio integration in the square came with a few challenges.

“There were a number of critical demands to meet on this project,” said Bill Coons, Director at Contact Distribution, who worked to bring the project to life. “The city had an absolute mandate to significantly contain sound below 40 ft due to nearby residential, hotel, and office spaces. Added to that was the criteria that any loudspeaker considered

for the project had to be less than 11-inches wide as there was minimal space on each side of the screen. Toss in the harsh weather of Toronto, as well. And, of course, this was in addition to the need to be loud enough to project sound at least 200 ft.”

The elegance with which these challenges were solved are worthy of award – using the cutting-edge capabilities offered by digital beam steerable loudspeakers.

“The (Renkus-Heinz) ICLive X quickly became the only system on the market to meet those requirements,” Bill said of the project.

The ICLive X Series is the culmination of more than a decade of experience in steerable line arrays and is the latest evolution of the medium-format, steerable line array in the Renkus-Heinz line. The ICLive X module defines flexibility - it can be arrayed up to 12 units tall in minutes, making it perfect for jobs of all sizes, including the largest of stadium installations.

Renkus-Heinz’s digitally steerable technology and accompanying software, RHAON, allowed the MLSE technicians to ensure every fan in the square receives consistent, crystal-clear audio. This is key during sporting events as both intelligibility of the announcers and the immersive sound of the game are required to keep those in the square engaged.

The sound in the venue’s outdoor viewing area is powered by 10 weather resistant ICLive X loudspeakers, installed in the left and right lower corners of the square behind a perforated border. Six loudspeakers are located on the north side of the screen and four are positioned on the right. The idea behind the installation is to flank the location with sound.

“A key consideration was that the arrays were specified as being the weather resistant version,” Bill said. “By upgrading to the ICLive X, the venue gets an added benefit of being constructed from a special 3/4-inch ABS material that’s designed to withstand any environmental situation. That includes the scorching heat of a hot summer afternoon to four months of the year in sub-zero temperatures.”

The installation also features two QSC Core 510i Q-SYS Integrated Core Processors and Audinate’s Dante for audio-over-IP transport.

The core goal of the MLSE organisation is to provide the ultimate fan experience. With Renkus-Heinz, their vision went beyond the limitations of the walls of the arena – and allows for those outside the venue to still feel immersed in the action.

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AR E N A SPONS OR E D B Y

N B A B U BBLE TECHNICAL DETAILS Location: Orlando, USA Manufacturers: MA Lighting, disguise, Riedel, JBL Pro, Quantum5X, Barco, DiGiCo Installer: Firehouse Productions / Fuse Technical Group Submitted by: disguise It’s been a turbulent, challenging year within the world of sports, with every major league disrupted by the COVID-19 pandemic. However, when faced with difficulties on a scale like no other, the industry has gone to extraordinary lengths to adapt and bring sport back for fans in any way possible. The approach taken by the NBA is the perfect example of planning, ingenuity and determination, resulting in the impressive 2020 NBA Bubble.

In a bid to protect the players, staff and crew from the pandemic during the final eight games of the 2019-2020 season, as well as the 2020 NBA playoffs and finals an isolation zone – or ‘bubble’ – was created at Walt Disney World in Florida, Orlando. There were 22 NBA teams invited to participate – all staying at Disney World hotels – with all games being held behind closed doors at the ESPN Wide World of Sports Complex. The project was a $190m investment approved by the NBA in June following the suspension of the season in March.

After three exhibition scrimmages at the new, temporary venue in late July, the teams invited to the 2020 NBA Bubble played eight regular season games to determine the seeding for the playoffs, which began on August 17. The NBA finals started on September 30 and ended on 11 October, with the Los Angeles Lakers defeating Miami Heat.

In the end, the 2020 NBA Bubble had no recorded cases of COVID-19 for any of the teams involved. Although there was some mixed reaction from players and coaches initially, the project was a huge success – and that was, in no small part, thanks to the array of state-of-the-art technology used to deliver this project.

Firehouse Productions were enlisted to provide the audio, communications and RF coordination for the NBA Bubble. Mark Dittmar, VP at Firehouse Productions, takes up the story: “We have provided sound reinforcement, communications and RF coordination for NBA games, All-Star and special events for the last decade. We maintain a solid working relationship with the organization, so, as a result, there is a mutual trust which allows our team to react quickly to unique situations, designing and deploying multiple systems in a short time frame with outstanding results.

“When the NBA season stopped on March 11, we had just finished the All-Star Game two weeks prior. LeBron James was on television saying he would never play basketball without fans because the fans are everything to him. The next morning, I woke up with this very strange idea in my head of ‘what if he didn’t know there weren’t fans.’ I called the NBA, a very good client of ours, and pitched the idea.

Within a week, they’d bought in fully and we started preparing for the first tests.

“There were four to six weeks of

meetings, both virtual and in person, leading up to a demo event for the NBA at a local basketball court in Red Hook, NY. Once we arrived in Orlando, there were two weeks of load in time to install tech and test all three arenas and the broadcast systems.”

Within the NBA Bubble, there were three courts used – the Arena, the main court for televised games, including the NBA Finals; the Field House, the second court which was also used for televised games up until the finals; and the Visa Athletic Center, which was used for nonnational games.

The initial plan was to use one PA system for crowd sounds in each of the venues, however, that soon changed to two PA systems – one for the court and another for the audience.

Vinny Siniscal of Firehouse Productions explained further: “The system design was a 10.6 surround setup encircling the arena floor, aimed at the court, instead of the fans, as would normally be the case. A separate PA was also installed as coverage for the in-house seating of a COVID-19-tested audience from the Bubble. Every array had to be flown around massive LED walls, as well as the lighting and broadcast gear.”

The audio system for each court within the venue was the same, with 10 hangs of six loudspeakers, six low hangs and four hangs placed at a high angle to deliver an authentic sound from the upper decks.

The Arena used K2 loudspeakers from L-Acoustics, with the other two courts using L-Acoustics’ KARAs. The audience PA system in the two main venues, on the other hand, used three hangs of eight JBL Pro VTX V20 loudspeakers, with VTX S25 subwoofers, supported by additional Firehouse F12s on the upper deck delays.

Firehouse Productions also selected Crown I-Tech 4x3500HD and 12000HD amplifiers to power both audio systems. Featuring BSS OMNIDRIVEHD processing with linear phase FIR filters and the acclaimed LevelMAX Limiter Suite, both models provide crystal-clear amplification with ample headroom. Network connectivity via HiQnet and Ethernet protocols provided a high degree of control and real-time diagnostics, too.

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ARENA SPONSORED BY

PH O E NI X S U N S AREN A

TECHNICAL DETAILS Location: Phoenix, Arizona Manufacturers: L-Acoustics, Daktronics Installer: Pro Sound & Video Acoustician: WJHW Submitted by: Daktronics It’s had multiple names since it first opened in June of 1992, but the Phoenix Suns Arena - formerly America West Arena, US Airways Center, Talking Stick Resort Arena, and PHX Arena - has been the home of the NBA Phoenix Suns since day one. What has changed recently is how the venue looks and sounds, with a new L-Acoustics Kara II loudspeaker system in place and a full Daktronics videoboard kit out, just in time for the 2021 NBA season, which began with a Suns win over the Dallas Mavericks on December 23, 2020.

Designed by AV consultants at WJHW and installed by Pro Sound & Video, a Solotech company, the new Kara II system is part of the $230 million Project 201: PHX Reimagined, designed to convert the nearly 30-year-old arena into a state-of-the-art sports entertainment venue for Phoenix Suns and WNBA Phoenix Mercury fans.

According to Pro Sound & Video, the arena’s management specifically requested an L-Acoustics PA system as part of the ongoing and extensive venue renovation, including new distributed sound systems for the arena’s concourses and back-of-house areas. “The venue’s management has had positive experiences with L-Acoustics in other locations in the past, and the brand has become widely accepted by NBA arenas,” said Pro Sound.

The integrator pointed out that Kara II was chosen for its light weight and powerful output capability. “We had to stay within certain weight limits on the steel for this project, especially since the system is designed to be pulled up and out of the way, potentially, when touring shows come through with their own sound systems,” they explained.

“We worked very closely with the structural engineers to make sure we were well within the weight limits. At the same time, this is a large venue” - Phoenix Suns Arena has a seating capacity of over 18,000 “and the sound needs to cover the entire seating area and court. Kara II is not only compact and lightweight, but it also has a lot of power for its size. And it offers a lot of sonic transparency as well.”

With the number of fans in attendance still being strictly limited per current safety protocols, acoustical reflection and reverberation issues from empty seating areas are a potential concern. “Thankfully, Kara II has a tight dispersion directivity and high degree of speech intelligibility,” Pro Sound added. “Those have become more and

more important in sports venue sound designs and are reasons why L-Acoustics is seen in more arenas and stadiums.”

Phoenix Suns Director of Engineering and AV Technology, Gary Gillespie, agreed, citing hearing L-Acoustics systems installed at the NFL Arizona Cardinals State Farm Stadium and NHL Arizona Coyotes Gila River Arena in nearby Glendale. “I’m also a live-sound mixer, so I’ve had a lot of experience with L-Acoustics, and I’m a fan of their sound,” he said. “But our team leadership also highly values the intelligibility that Kara II brings to speech in the arena and the fact that L-Acoustics WST systems never cause ear fatigue for the fans. It’s just a great-sounding system.”

The arena’s new system comprises six arrays of 14 Kara II enclosures for a total of 84 Kara II, plus a hang of four SB18i subwoofers flown in a cardioid configuration directly behind each Kara II array. In addition, there are 28 short-throw X12 coaxials deployed as a delay ring. All of these are powered by 43 LA4X amplified controllers - 36 for the main PA and seven for the delays - providing over 170 channels of amplification. Furthermore, a single LA12X powers eight A10 loudspeakers positioned underneath the center-mounted scoreboard serving as court fills. Self-powered, coaxial 108P monitors are also installed in the new media editing suite to replicate the response of the Kara II main bowl system for accurate media reproduction.

The design of the Phoenix Suns’ new sound system originally called for eight hangs of Kara. However, this was changed to accommodate revised weight-load requirements for touring systems. With last year’s addition of Panflex to the original Kara loudspeaker model, providing four-in-one directivity, Kara II was a game-changer for the Suns. Now, one box could cover any audience geometry and offer consistent coverage and SPL distribution with precise focus in four different directivity patterns: 70º or 110º symmetrical and 90º asymmetrical, focussing directivity to either the left or right. In its 70º configuration, Kara II packs a full 2 dB more than in 110º. That prompted design changes that allowed just six arrays to fulfill the coverage requirements of the bowl without having to alter the product specification from Kara II. L-Acoustics Soundvision 3D modeling software was used to execute the system design and all revisions quickly and accurately. This particular revision provided the venue with 28 additional Kara II from the original order that Gillespie and the Phoenix Suns management team decided would serve as onsite production inventory and be used as a flexible multi-use, in-house special-events production audio system.

Anyone in arena management knows to “expect the unexpected.” As fate would have it, those extra Kara II enclosures came in very handy almost immediately after the NBA directed their teams to implement their own enhanced crowd-noise systems for the current season. The additional inventory, plus eight more enclosures rented from the local shop of Clearwing Productions, now make up six hangs of six Kara II and are dedicated to the virtual crowd-noise system developed by Firehouse Productions for the NBA’s Orlando ‘bubble’ last season, now in place at most NBA venues.

“Kara II’s Panflex update provided us with the extra speakers we needed for the crowd-noise system at exactly the right time,” furthered Gary. “We began to see ROI right away on what we had thought would be extra inventory, and it turned a frown upside-down.

And with up to 3,000 fans allowed inside now, the system truly makes it sound like a full house. L-Acoustics, Pro Sound & Video, and WJHW really partnered with us to create a greatly enhanced experience for both the fans and the players.”

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E V I T A E GO CR ide o: Ac tion V

24 PIXEL

individually controllable RGB Color mixing

FRONT SCREENS

Changeable Front Screens with magnetic lock

BATTERY POWERED

10.000 mAh Lithium Ion Battery

WIRELESS CONTROL

via IR Remote or App Control CRMX (Creative Light 1 Plus version only)

WI N NE R

ARENA SP ONSORED BY

ARE NA

W W E T H UN D ERD OME TECHNICAL DETAILS Location: Tampa, USA Manufacturers: WWE, The Famous Group Architect: WWE, The Famous Group Installer: WWE, The Famous Group Submitted by: WWE With live sports and entertainment events coming to a halt all over the world due to COVID-19, WWE, a publicly traded global media organisation and recognised leader in entertainment, turned to technology, enabling the company to continue delivering the live entertainment and excitement its millions of fans around the world love and demand.

For the first time, WWE brought fans back into the live arena virtually - with WWE ThunderDome. WWE ThunderDome, launched August 21, is a first-of-its-kind large-scale interactive live platform which audiences had never seen or experienced before. Fans were not only able to see the action, they were able to experience it, becoming a part of the show and interacting live with WWE’s Superstars - as if they were there in person.

WWE ThunderDome features a state-of-the-art set, video boards, pyrotechnics, lasers, cutting-edge graphics and drone cameras to provide viewers with a reimagined live event spectacle. Featuring Virtual Seat technology – an ultra-low-latency, cloud-based, interactive audio and video streaming platform that brought thousands of fans back into the WWE arena in real time, at the same time – WWE ThunderDome delivered WWE’s live arena experiences to fans during the COVID-19 pandemic from the comfort of their home.

Through Virtual Seat, an immersive real-time, multi-user streaming platform developed by WWE and their technology partner, The Famous Group, thousands of fans were brought back into the arena. The Virtual Seat system uses proprietary real-time data compression technology to minimise the bandwidth required to send and receive 1,000 simultaneous two-way video streams, delivering an ultra-low latency user experience with unparalleled control, moderation, scalability and customisation of content.

Being web-based, fans could access it via any web-enabled device, anywhere in the world, with a broadband internet connection.

With that low latency critical to delivering the experience, the

entire system was exhaustively tested to optimise both web-based video transport and on-premise media server systems, eliminating all possible points of processing overhead, bringing latency down to just milliseconds.

With live programming delivered 52 weeks a year to a global audience, WWE can be seen in more than 900 million homes worldwide in 28 languages through world-class distribution partners including NBCUniversal, FOX Sports, BT Sport, Sony India and Rogers.

WWE fans are at the heart of the company’s success, and with fans no longer physically attending events, WWE continued to reimagine the in-arena atmosphere that is synonymous with WWE. WWE experimented with new ways to add more energy into live TV programming during the COVID pandemic. The company looked at what other leagues were doing and decided to lead with an innovative experience that was right for WWE and its fans.

With a longstanding history of producing the greatest live spectacles in sports and entertainment, WWE strategically transformed its business model during what was a challenging year in sports and entertainment to be there for the company’s staff, fans, performers, shareholders and business partners.

Understanding the company had to innovate - and continue to stay ahead of the curve during these extraordinary times WWE unveiled WWE ThunderDome. With more than 1,000 fans welcomed back into the arena virtually via proprietary technology provided from The Famous Group, WWE recreated the interactive in-arena atmosphere that has been a staple of its events for decades.

To date, more than 750,000 from 226 countries and territories have registered to experience the spectacle firsthand. Additionally, the launch of WWE ThunderDome not only halted declining ratings caused by the COVID-19 pandemic, but it has also grown viewership of flagship programming by 9%.

As WWE returns to live event touring with fans in attendance beginning July 16, 2021, WWE ThunderDome allowed the company to never skip a beat and deliver live weekly content in new ways to fans and broadcast partners worldwide, helping WWE to achieve record revenue and profit during what was an unprecedented year.

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B AR SPONS OR E D B Y

ES E NC I A 5 0 1 TECHNICAL DETAILS Location: Almeria, Spain Manufacturers: MADRIX, Void Acoustics Submitted by: Mundo RGB / MADRIX Esencia 501 was searching for something totally different something special for their avid guests. A lighting design that would bring the bar to life.

Antonio Solvas Duarte and Mundo RGB had demonstrated their experience and ability to innovate and adapt technology in many previous projects. So, they were brought in to maximise the potential of the venue - and they have proven that creating a spectacular project within only five days before the opening is indeed possible.

The team were very aware of the need to integrate all the different elements, combining them into a complimentary whole, and adapting them to the various forms and structures of the venue. One of the drawbacks of this installation was that the establishment only had a height of 2.8-metres. That is why the team had to choose products that would allow a beautiful result without using equipment that would be too bulky. Digital LED strip lighting, small moving heads, and small but highperformance loudspeakers helped them to achieve that.

The goal was to create an environment where the light by itself was capable of creating the entire atmosphere. It should not only be a visual experience for the guest, but also be the protagonist of the whole; albeit in a much reduced workspace.

In order to achieve this goal, around 1km of digital LED stripes with 60 LEDs per metre were installed inside aluminum profiles with light diffusers on top. The linear elements are all around the venue; in front of the bar and behind it, along the pillars and the

DJ booth.

In order to break this linearity, the concept of ‘the heart of light’ was further introduced. This visual highlight is able to transform the little space that is available in front of the bar into a dance floor area. It is a stunning canopy above and as a round element, it also nicely integrates the name of the venue several times.

MADRIX NEBULA interfaces act as hardware controllers and extra 60W LED beam moving heads are controlled by Martin Light Jockey for DMX control, while an Akai APC 40 is used as an easilyaccessible MIDI controller for the entire system.

The main characteristics of the installation are its versatility and dynamic energy, achieved by both the arrangement of the individual elements, as well as the play of colours. This is all thanks to the digital lighting and MADRIX Software with all of the impressive possibilities it offers.

The auditory experience complements the visual one. The venue needed sharpness and depth in the sound quality, so the team chose to install 16 Void Acoustics loudspeakers, model Venu 8, two Void Acoustics low-frequency loudspeakers, model Venu 215, the dbx processor Zone Pro 1261 M model, a EcuDap XBASIS noise limiter, and a Stage Sound Crown XTi power amplifier.

The main challenge of this installation was the time frame – it needed to be completed in only five days. This was achieved thanks to outstanding systems design work beforehand and an efficient programming workflow.

During the planning phase, the space was scanned in all three dimensions with a Leica BLK360 scanner - it generated a data cloud with which the team could model and visualise the entire installation in SketchUp, allowing them to know in advance what was necessary down to the millimetre before implementing and installing the design.

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B AR SPONS OR E D B Y

M IK K E LLER S HAN G HAI TECHNICAL DETAILS Location: Shanghai, China Manufacturers: Genelec Installer: FORCPACE Submitted by: Genelec

When Mikkel Borg Bjergsø started experimenting in his kitchen with his childhood friend Kristian Keller in 2003, the initial thought was to recreate the beer they most enjoyed and save themselves some money in the process. Today Mikkeller exports craft beer to over 50 countries and operates an equal number of bars and restaurants around the globe. The latest venture is Mikkeller Shanghai, the brand’s first bar in China and an exciting step into a new and developing market. Designed by Mikkeller’s own designer, Camilla Monsrud, the bar is a beautiful fusion of Chinese architecture with Nordic minimalism, including a Genelec 4000 Series sound system.

The accent throughout the bar is on raw, natural materials.

Wooden furniture and soft lighting contrast with concrete floors and exposed brickwork. The Genelec 4030 loudspeakers are a perfect match for the quality and aesthetic criteria of Mikkeller Shanghai. Four 4030s are installed in the main bar area – which comprises a number of seated areas plus the bar counter itself – and another 4030 covers the shop space housed in a semienclosed mezzanine overlooking the main bar, where customers can purchase merchandising and bottled beer to take away.

The bar is run by Martin Aamodt, the managing partner of Mikkeller Shanghai. Aamodt has lived in Shanghai for many years

and previously managed a Mikkeller bar in Copenhagen. He is also a musician, and therefore naturally attaches great importance to the sound experience of the bar. “I’ve travelled pretty extensively, and I’ve noticed that Genelec loudspeakers are widely used in the upmarket restaurant and bar sector, as well as in some live clubs,” he revealed. “I was keen to use Genelec for Mikkeller Shanghai as I felt that it was a great fit for us, both from a quality standpoint aswell as aesthetically.”

Genelec sound systems have become a popular option in bars and restaurants thanks to their crystalline audio delivery at low levels that enables customers to enjoy the music without it intruding on their conversation. Aamodt agreed: “I think the mark of a good system for this type of environment is that it goes unnoticed – people are just enjoying themselves without really realising why.

However, anyone from a music background or with an interest in music notices immediately that we have good loudspeakers – and that’s cool!”

Aamodt also appreciates the simplicity of the setup. “Genelec specialises in active loudspeakers, which is what we have with the 4030s. This means that there is no extra expense for amplifiers including installation time - and we don’t even need a subwoofer.

The 4030 is powerful enough to deliver the SPL I need and still have plenty left in reserve. It’s a relatively compact loudspeaker, but the sound is really big. I also like that there are so many different options when it comes to mounting brackets and other accessories - you know that they’ll have what you need. Finally, you know that a Genelec solution will last a lifetime, so even if the initial outlay may seem high, not only are you saving money in the long run, but you have the peace of mind of knowing that you’ve invested in the best.”

The system was installed

by Nanjing integration specialists FORCPACE, who made good use of the adjustable wall brackets to ensure that each loudspeaker was optimally angled. The individual room response controls on the back of each loudspeaker completed the acoustic setup. Each loudspeaker can be individually adjusted for sensitivity and tone, which greatly facilitates system tuning.

“I wanted a simple, high quality plug-and-play solution that our nontechnical staff could operate easily and that would integrate seamlessly with the environment. That’s exactly what I’ve got, and I’m delighted with the results,” saidAamodt.

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B AR SPONS OR E D B Y

T H E A T O MI C BEER PROJE CT TECHNICAL DETAILS Location: Sydney, Australia Manufacturers: Martin Audio Distributor: TAG Installer: Beyond Audio Visual Submitted by: Martin Audio The Atomic Beer Project is a new microbrewery concept that debuted recently in the inner-Sydney suburb of Redfern.

With the tanks on site, brewing a range of hoppy beers for all to see, it is a perfect complement to the pan-Asian cuisine that the operation specialises in.

Although owners, Gage Roads Brew Co., hail from Western Australia, this is their first bricks and mortar incarnation. In addition to the carefully prepared Craft beers, also helping to draw in patrons - and keep them there - is a potent sound system from Martin Audio.

In fact music is a core part of the concept, according to Atomic Brand Lead, Clint O’Hanlon. “We have started sponsoring FBI radio, which is a youth radio network just down the street from us, and we’ll be hosting their DJs here,” he promised.

In fact, one thing the Atomic team were unequivocal about was that there would be no compromise on sound. They chose Martin Audio loudspeakers, having had excellent experiences with the brand on other projects. These were installed by Sydney-based Beyond Audio Visual.

The distributed audio system relies on a plethora of smaller loudspeakers and companion subwoofers to deliver an allencompassing music experience, which never impinges on customer comfort, but simply adds to the experience. This is a real accomplishment in a venue with so many hard, reflective surfaces.

All this has been achieved by deploying eight Martin Audio Blackline X8 (eight-inch two-way) enclosures, complemented by 10 Martin Audio SX110 (one x 10-inch) for the low frequencies, and 18 Martin Audio ADORN A55 for infills and ancillary areas.

“The importance of ambience is paramount,” observed Clint.

“The audio system is so beautiful and warm. I’m from a nightclub promotion background and I’m aware of the way sound can move through a venue. Here, there are no annoying delays, where you hear loudspeakers on the other side of the venue like an echo.

And the best part … I’ve never worked with an audio system where you can control the level in all the various zones individually or collectively from your phone. It’s just really seamless.”

Installing the 10-inch subwoofers in the elevated cable trays proved to be a real turning point in the audio design, reflects Anthony Russo, Technical Director of TAG, Martin Audio’s territorial distributor, who assisted Beyond AV and its MD, Con Andrews, who was a specialist consultant on the project.

“Normally you would see the subwoofers installed into the banquette seating, for example, but all the concrete bulkheads had already been poured, so we needed another solution. We didn’t want to excite the ceiling space with low frequencies, which is why the design has more subwoofers spread out, and placed close to the matching full-range loudspeakers to provide a cohesive sound.”

Indeed, it’s difficult to miss the sheer number of loudspeakers in the venue; however, this additional complement was necessary, as it provides extra levels of control. That optimal level, coverage and the quality of the bass allows customers to talk naturally without the audio system drawing attention to itself. That said, when called upon, it has more than enough horsepower to kick into gear during a DJ session.

The venue itself is on the site of an old furniture factory, with a capacity of just under 200 (although this includes a number of comfortable seating areas). YSG Studio has created a brooding interior, with a monochromatic mood punctuated by stabs of colour.

Reviewing the total fit out, Clint confirmed that management is delighted with the overall conception, and how it embraces the industrial roots of the building.

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W A T SO N’S BAR TECHNICAL DETAILS Location: Stockholm, Sweden Manufacturers: Genelec, Bose Installer: Hages Submitted by: Genelec The Rival hotel in the chic and bustling Södermalm district of Stockholm is renowned as one of the city’s favourite meeting spots. A building with lots of history, it has remained dedicated to entertainment and hospitality since its beginnings in 1937. In 2002, the complex was purchased by Benny Andersson (yes, that Benny Andersson from the legendary ‘70s supergroup, ABBA) along with two associates, and extensive redevelopment work began to shape the complex into what it is today – a luxury 99-room boutique hotel complete with bars, a bistro and café, modern meeting facilities and a theatre. The latest addition is a brand new bar named after Benny’s faithful Jack Russell terrier; Watson’s Bar offers food and drinks in a vibrant atmosphere with great music at the heart of the experience. A Genelec 4000 Series sound system ensures that the pulse never stops.

Open seven days a week from 11am – 1am, except Sundays, which has a Monday-morning-conscious closing time of 11pm, Watson’s Bar has rapidly become a favourite haunt for a relaxed lunch, a sneaky afternoon cocktail and of course afterwork DJ sessions. The combination of comfortable, attractive seating areas, cocktails, oysters and champagne, generous opening hours and excellent music has proved extremely popular with hotel guests and Stockholm residents alike. Rival turned to Adolfsson & Partners - a Stockholm-based firm who specialise in delivering turnkey building and interiors solutions - to conceive, design and deliver the new space. AV integration specialists, Hages, were engaged to design and install a fully integrated sound system capable of delivering a high quality, relaxed music experience during the day, as well as high energy DJ sessions for the evening crowd.

Genelec loudspeakers had already provided many years of reliable service in the upstairs area of the hotel, so Hages had no hesitation in recommending a system for the new Watson’s Bar based on Genelec 4000 Series installation loudspeakers. “Our challenge was to accomplish a nice, full-bodied sound that would

cover the whole of the new Watson’s Bar, from the leafy outdoor terrace through to the bar inside plus the reception and lobby,” says Hages’ Thomas Axelsson. “We decided on a combination of Genelec 4040 and 4030 loudspeakers supplemented by a 7360 subwoofer for low end reinforcement. We had less than three weeks to turn the project around and quite a few space restrictions to adhere to, but I’m delighted with the results, as is the client.

“Genelec is an ideal choice for this type of installation where sound quality, tonal balance and high reliability are paramount,” he continued. “Those were the client’s criteria, and Genelec ticks all of those boxes. It’s difficult to beat Genelec’s sound quality and reliability. Plus there was already an existing Genelec system in the bar upstairs that the client was very happy with, so it made Genelec a very easy choice.

“From our point of view we also wanted the solution to be easy to install, and Genelec 4000 Series loudspeakers are active, which means no external amplifiers to worry about. This is an important point when you’re tight on space - and they also look great in the areas where they are visible. This is always a priority when architects are involved - they don’t like to see big ugly loudspeakers cluttering up their design!”

However, for the Watson’s Bar installation, the majority of the loudspeakers are completely hidden; five 4030s are concealed behind grilles over wall-hanging shelves down the sides of the bar, and the 7360 subwoofer is neatly hidden in a specially built compartment under a sofa. Four powerful white 4040s grace the upper bar. Zone configuration and DSP is handled by a Bose ControlSpace ESP-880A processor connected to a programmable CC64 interface panel for straightforward, fingertip control of all zones and sources. A DJ output, as well as a central music solution is housed in a technical cabinet behind the bar.

Hotel Rival’s CEO Jesper Henryson is enthusiastic about the guests’ reactions to the new venue: “The response we received from guests during our opening week was absolutely fantastic.

Both hotel guests and Stockholmers alike seem to have found a common meeting place to relax and enjoy great food and amazing cocktails in an atmosphere of jazz, funk and soul. Welcome to Watson’s Bar!”

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T A M PE R E HALL TECHNICAL DETAILS Location: Tampere, Finland Manufacturers: Elation Professional, ETC, High End Systems Distributor: Audico Systems Architect: Sakari Aartelo and Esa Piironen Installer: Audico Systems Submitted by: Elation Professional

Audico Systems installed 281 Elation Professional Fuze Pendant LED downlights in Finland’s Tampere Hall, north of Helsinki, the largest concert and congress centre in the Nordic countries.

The impetus for the house lighting upgrade stemmed from EU regulations that will effectively end the use of certain halogen bulbs, coupled with the fact that the venue’s old house lighting system was nearing the end of its lifetime. The project commenced in 2018 with Audico conducting product demos of various house lighting fixtures, including the Fuze Pendant.

“The venue required good quality white light with high colour rendering and also highly saturated colours for effects. The fixtures also had to be very silent,” explained Project Sales Manager at Audico, Tapio Järvinen. “We chose the Fuze Pendant because of the good light quality (CRI of 90) and the good dimming. It also had enough output to cover the venue and because it is fanless it does not make a noise.”

Fixed scenes are set for different kinds of use: orchestra rehearsals, audience arrival, cleaning, etc. Tapio said a power limit for the Fuze Pendants has been set at 80% “but when the system is all on it still only runs at 40% so there is plenty of output in the Fuze Pendant!” The 11,000-lumen fixtures are equipped with 25º lenses and were recessed in already existing positions using a custom mounting piece. The narrower lens was necessary for the long throws, which range from 15 to 18-metres. With colour temperature of the Fuze Pendants adjustable from 2,400 – 8,500K, the house look in the space has been set at 3,000K. The Fuze Pendant’s full spectrum 230W RGBWL array and adjustable colour temperature allows the Hall to change the feel of the room whenever needed or colour match with anything happening on stage. The lighting is controlled via an architectural control system or an automated lighting console and runs across four universes of DMX control.

One of the biggest challenges that the Audico team had to deal with was time constraints. The majority of the installation took place over a three-week period last summer where over 370 existing halogen lights were removed and replaced with 281 Fuze Pendants along with 100 other LED downlights. Five dimmer cabinets were also removed, while five switchboards were installed and all data cabling completed.

Tampere Hall is a carbon neutral building and has operated as a green value pioneer in Finland for years, emphasising environmental and social responsibility in its operations and procurement. With environmental responsibility one of its guiding values, the fact that the new house lighting was LED-based was extremely important to them. “The savings comes from more precise control, the ability to control each light individually,” Tapio said. “For example, now they can turn on only a few lights if needed or only turn on lights in a certain area, like over the stage.

Because they have more precise control, they have no reason to keep lights on all the time. The lighting renovation was intended

to consider not only energy efficiency but all users of the Hall from visiting lighting designers to the daily cleaning staff.”

Simply put, it is one of the most spectacular house lighting installations in the world. A picture is worth a thousand words.

Just look at the result! Benefits over the old system include; high quality light, high colour rendering, colour temperature adjustable, dimmable, unlimited colours, pure white light, noiseless, less maintenance, fewer expendables (ie. bulbs), less heat…in short, more dynamic!

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J U A N M A R C H FOUN D ATION TECHNICAL DETAILS Location: Madrid, Spain Manufacturers: Allen & Heath, Audio Technica, Yamaha, Blackmagic Design Distributor: Audio-Technica Iberia Installer: Area Suena Submitted by: Allen & Heath Since 1975, Madrid’s Juan March Foundation Auditorium has offered the city’s population a rich offering of live music – generally classical – free of charge. The auditorium recently renewed its digital audio mixing system (supplied and installed by integrator Area Suena), replacing it with a state-of-the-art solution from Allen & Heath. Based on the dLive and SQ systems, the solution allows the integration of two adjoining rooms in a Dante network, as well as real-time streaming and the recording of live shows for postproduction.

The decision to renew the audio and video mixing and recording systems (including signal flow management) was made in 2019, to keep pace with the venue’s level of production and in line with current technologies.

The Juan March Foundation has long relied on production company Scope Produccinones as a partner for the technical operation of the auditorium, with Area Suena brought in to carry out the engineering and renovation project, with work beginning in early 2020.

Among the priorities of the project was the implementation of a high-quality live audio digital mixing system that could be easily integrated with a Pro Tools HDX platform. Concerts offered by the March Foundation are typically filmed for editing and subsequent use, as well as streamed transmission. The venue needed to address the challenge of both audio and video signals being sent to an adjoining space – the Blue Room – which acts as an overflow when the main auditorium is full, allowing spectators to enjoy the performance on screen. Concerts can also be followed from other spaces, such as the cafeteria, thanks to the open architecture of the system.

Given these requirements, the audio mixing system needed to be powerful, flexible, modular and capable of being easily integrated with other platforms (ProTools, in this case) – all factors perfectly addressed by Allen & Heath’s dLive system. Area Suena worked in conjunction with Audio-Technica Iberia (Allen & Heath’s exclusive distributor for Spain) directly to design and configure the system, which is built around a dLive S5000 control surface and DM48 MixRack.

The solution was ultimately made up of several 'blocks', some placed in the auditorium’s control room (a closed room, located at the end of the stalls, facing the stage) and others placed in a tech room next to the stage. The control room contains the Allen & Heath dLive S5000 and DM48, with the S5000 equipped with a 128×128 Dante card and AES EBU card, as well as redundant power supplies. In the tech room there are two DX32 remote input and output racks, connected by redundant network cable to the DM48 brain. One of the DX32 racks is equipped with 32 channels of analogue inputs; 16 of them on two Prime cards (eight channels each, studio quality) and two standard pre-cards (also with eight channels each). The second DX32 rack is equipped with three standard input cards (24 channels) and one analogue output card (eight channels). A total of 56 channels of remote analogue inputs are available, which are added to the 48 channels of the DM48 rack and the eight of the S5000 surface itself, located in the control, adding a total of 112 analogue inputs always available for routing, live mixing and recording.

In terms of integration with other systems, the dLive system is capable - thanks to its Dante card - of sending up to 128 audio channels and receiving another 128 at 96 KHz. These channels arrive at a Yamaha network switch specially enabled to work with Dante, programmed by Area Suena with two V-nets, in order to have redundancy throughout the Dante network.

This switch distributes the signals to other elements, such as the aforementioned ProTools HDX recording system and, very importantly, to the Allen & Heath SQ-5 mixing console (also equipped with a Dante card) that receives and manages the audio that is received in the Blue Room from the main auditorium.

A powerful video recording system by Blackmagic Design and an Antelope Trinity master clock have also been implemented in the project, among other elements, which gives clock reference to all the elements of this installation.

Scope Producciones’ Ángel Colomé, Head of Sound at the Auditorium, said that: “This project set some demanding goals in achieving the highest standards of audio required for the production and recording of classical music.

“That was one of the reasons for opting for the new Allen & Heath Prime input cards, which have preamps of simply extraordinary quality – and I believe we’re pioneers in Spain in this regard. The dLive system also allows us to be futureproof, given its expansion possibilities ”.

Area Suena’s José Afuera added that, “the quality / price ratio of the Allen & Heath systems is by far the most impressive in the industry today.

And the possibilities for future expansion and compatibility with practically all professional audio formats made it the perfect choice for the Juan March Foundation Auditorium.”

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PA RN U C O N C ERT H ALL TECHNICAL DETAILS Location: Parnu, Estonia Manufacturers: Robe Distributor: E&T, Estonia Architect: K. Koov, K. Nõmm, H. Grossscmidth Submitted by: Robe Pärnu Concert Hall, in Estonia’s fourth largest city, is internationally renowned for its performance programme and has just taken delivery of new Robe moving light fixtures - eight T1 Profiles, six Tetra2 LED battens and four LEDWash 800s - which have been supplied through Tallinn-based Estonian distributor, E&T. The striking modernist Concert Hall building constructed in 2002 and designed by architects K. Koov, K. Nõmm, H. Grossscmidth, offers two flexible halls – a main hall and a chamber hall - and a diverse concert schedule including - in normal times - a prestigious line up of visiting artists. It is also home to the Pärnu Music School and the Pärnu City Orchestra as well as hosting special events, civic celebrations, etc. in this seaside resort in southwestern Estonia.

They specifically needed versatile, silent running and flexible fixtures that would also save energy, so the T1 series - which is designed especially for theatre - was a perfect choice for Ave and the venue.

Ave lights many of the shows herself. “The main hall needed some new, modern and high-quality lighting fixtures. As we stage so many different shows and events, this latest Robe technology is

adaptable and perfect for our performances,” she stated.

Low noise fixtures are generally a ‘must’ for concert halls observed E&T’s Olev Luhaäär, especially during recordings, broadcasts and streamed shows. Colour temperatures and whites are also vitally important for TV / cameras, and fixtures also offering several cool and fun effects were also essential in this case, both for telecasts and children’s events, etc.

The main challenges during this installation were complications brought about by the coronavirus pandemic. The lighting rig upgrade had initially been planned for the early part of the year but was delayed until autumn due to the Covid-19 pandemic.

Theinvestment in the Robe fixtures has significantly enhanced the concert hall’s production values. The fixtures offer many solutions and looks and can be used in a range of diverse applications.

Ave is already familiar with Robe products as the venue has had LEDWash 600s and 800s for the last five or so years, and because E&T keeps her updated as to the latest technology being released

by Robe. “I am delighted with Robe generally,” she said, “the lights meet all my expectations and more.”

She was also happy to choose Robe products because of the excellent service from E&T who she said: “Work very hard to keep customers happy, are always at the end of the phone and are very supportive.”

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Studio 14 is open. rbb rearranged their studio in the 14th floor of the rbb-Fernsehzentrum in the city center of Berlin, Germany. Intended to be a studio as well as a club, a restaurant, an eventlocation and a large scale meeting room, the Studio 14 invites people to be closer to heaven.

Depending on the purpose of the room furniture and the lighting can be changed between fun and functional.

Our rgbw-tiles D50 are used in clusters to lighten the room with an outstanding lightquality and to connect the ceiling to the sky.

Photo by KOY + WINKEL Fotografie

2020_05_Mondo_297x210_v002.indd 1

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C ONC ER T HA LL V I E N NA V OLKS OPER TECHNICAL DETAILS Location: Vienna, Austria Manufacturers: KV2 Audio Distributor: KV2 Audio Acoustician: Martin Lukesch, Vienna Volksoper, Austria Submitted by: KV2 Audio

The Vienna Volksoper, or People’s Opera, is Europe’s leading operetta house and Vienna’s largest theatre for opera, musicals, classical concerts and ballet. Indeed it offers one of the most diverse musical programs in the country, ranging from Carmen to Kiss Me Kate, and Coppelia to Cabaret, as well as productions for schools, lots of local operetta performances and much more.

The venue was also the first in Vienna to open its doors to the public after the summer break, but more importantly in the wake of the COVID-19 crisis, with a performance of Strauss’s Die Fledermaus on 1st September followed by a revival of Cole Porter’s classic musical, Kiss Me Kate on 2nd September.

The system has to deliver everything from rock shows to opera sometimes on consecutive nights, leaving no time for major changes to the system for different events. To achieve this the audio comprises several systems in one, with different elements employed for different events.

As well as the main series of audio systems delivering the highest quality live performance sound, there are many additional loudspeakers installed for sound effects both in the auditorium and on stage. This can produce everything from explosions deep from the stage to more immersive effects surrounding the

audience.

The several systems in one approach required a challenging sound design in order to deliver audio for the huge variety of shows.

Due to the tight rehearsal schedule and the opening date of the new season, the system had to be installed in a very short period of time.

It also had to fit in with the aesthetics of the venue, with many loudspeakers custom coloured and others flown in so they are out of view when not required.

The new audio system at Vienna Volksoper, delivers an audio system capable of coping with an extremely wide variety of shows staged in the venue.

It offers a no compromise approach to ensure audiences hear the highest quality audio, no matter what the genre.

It has an innovative approach to using over 60 sound effects loudspeakers on stage and in the auditorium, as well as the system also being used to vary the acoustics of the room for different ambiences.

The under floor heating void has also been used to house earthmoving sub bass loudspeakers to really envelop the audience.

This installation is the first ever use of KV2’s Control & Diagnostics Tool for remote system management and control.

Whilst the majority of equipment is permanently installed, the system also combines portable items for specific uses in some events. These items are designed to quickly integrate as needed.

As well as this, the system was Installed to a challenging timescale of just a few weeks, with the additional challenges of the pandemic.

SH O RT L IS TE D - HOUSE OF W ORSHIP PI N E LA K E CH U RC H TECHNICAL DETAILS Location: Brandon, Mississippi Manufacturers: d&b audiotechnik GmbH, Germany Installer: Interise, United States Submitted by: d&b audiotechnik

The d&b En-Scene software enables object-based mixing and positioning designed to create an authentic acoustic reality. It locates and tracks each individual sound object - harmonising what is seen and heard to bring together what belongs together or pushing them far apart - while the d&b En-Space software modifies reverberation signatures to transform the acoustics of any space.

One of the main challenges to overcome was the low ceiling inside of Pinelake Church. There was a huge challenge with sight-lines because the roof is so low relative to the size of the room and seating sections, so they needed a solution that created quality audio coverage across the room but also did not obstruct the visual space. Ultimately d&b Soundscape was chosen because it checked so many boxes. Many of Pinelake’s other campuses and facilities have d&b sound systems so leaders at the church were familiar with the company’s products.

The d&b Soundscape system gives Pinelake tools to mix audio into the room to create an engaging experience while removing distractions created by traditional loudspeaker systems.

When Pinelake Church transitioned to a more contemporary style

of worship, it pointed out weaknesses and the age of the current sound system. These weaknesses created a roadblock to their overall effectiveness of services. To make their services more effective and overcome the challenges of the space, Pinelake Church turned to d&b audiotechnik to create quality audio coverage across the room while not obstructing the visual space. Leaders at the church chose d&b Soundscape based on the powerful sound that they have heard from it on other campuses and based on what they needed to achieve. d&b Soundscape in this application brings the benefit of being able to mix with space and size that’s compelling to the audience while representing every seat in the house equally. d&b Soundscape checked all of their boxes and brought powerful, immersive sound to the space.

The main stakeholders involved in the project were all very satisfied: “With the new system the band sounds amazing and the vocals are easy to understand. That’s so important in worship music to be able to hear the lyrics and sing along and the same thing is true for the message. The Soundscape system gives us all of those things wrapped up together.”

SH O RT LIS TE D - HOUSE OF W ORSHIP FA IT H U N I TED MET H ODIST CHUR CH TECHNICAL DETAILS Location: Tulsa, Oklahoma Manufacturers: Renkus-Heinz Submitted by: Renkus-Heinz

Faith United Methodist Church in Tulsa, Oklahoma is one of many churches that has worked to ensure its services remain accessible to all during the 2020 global pandemic. When churches had to shut their doors, the Faith United Methodist team shifted to video streaming. When social distancing practices became more clearly defined, they developed a hybrid model - allowing a few in-person worshipers to join them at the church while they continued the stream.

That said, there was a unique challenge with that hybrid return: with the on-site sound system running, the audio on the stream became increasingly unintelligible.

“The sound system we had was spraying sound all around the sanctuary,” said Mark Eldridge, Director of Tech Ministries at Faith United Methodist Church. “Sure, it was hitting all the people, but it was hitting all the walls as well. That’s been a challenge with the on-site sound for some time. It wasn’t always the most intelligible sound. But then, with streaming video, you really can’t have that sound getting back to the mics because it really muddies up the mix.”

To repair the local sound - and, in turn, vastly improve the sound quality of the streaming video content – the church turned to Renkus-Heinz.

When first built in 2005, the Faith United Methodist Church’s 855-person capacity, octagonally shaped sanctuary utilised a system that provided sound nearly everywhere in the space – reverberant and reflective surfaces included.

“We were already planning on making upgrades to our system,” Mark said. “I had been researching it for about five years and I knew steerable loudspeaker technology was going to work great in our space. When we unexpectedly had to begin live-streaming the services we quickly found the audio we were providing to our congregation was not at a high enough quality. We immediately began looking at what we needed to do it right. The obvious answer was to go with Renkus-Heinz.”

Faith United Methodist Church’s newly designed system is powered by Renkus-Heinz ICLive X Series, with two arrays installed on the edges of the space each made up of three modules - two ICLX loudspeakers and one ICLXL loudspeaker.

The ICLive X Series is the culmination of more than a decade of experience in steerable line arrays and is the latest evolution of the medium-format, steerable line array in the Renkus-Heinz line.

The ICLive X offers all the benefits of Renkus-Heinz’ steerable technology – allowing for sound to be digitally positioned precisely where you want it: on the audience.

“Making sure the audio was focussed on the in-person congregation was our highest priority,” said Curt Taipale of Taipale Media Systems – the firm that designed the system. “By using Renkus-Heinz we were able to make sure sound was going where it was needed, and not filling unnecessary space.

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TECHNICAL DETAILS Location: Alabama, USA Manufacturers: GLP Lighting Designer: Griffin McCravy Installer: E2i Design Submitted by: GLP

Describing GLP’s award-winning X4 Bar 20 as “one of the greatest fixtures ever designed”, E2i Design’s Josh Holowicki had no hesitation in specifying it as an essential component in a major technological upgrade at Church of the Highlands’ Grants Mill broadcast campus in Alabama, USA. His decision was backed by Broadcast Lighting Director, Griffin McCravy.

E2i has been a partner with the Church since 2012, providing solutions for their broadcast and extension campuses with lighting and LED video technology. But this latest project was a year in the making due to their determination to select the very best fixtures and build flexibility within the already constructed worship facility. In their determination to create a ‘tour grade’ technical infrastructure, the visual upgrade to the stage space is an exciting and ongoing process.

“Ultimately the technical and visual directors of the Ministry wanted the ability to re-configure their stage design any way they wanted without limitations,” Josh explained. “This would allow for virtually unlimited possibilities … and the style of the system we designed, which essentially is a portable rig in a permanent space, allows for just that.”

Church of the Highlands is described as a 'high impact worship environment that embraces the active use of technology to help create and support an exciting experience' - and therefore utilising the latest lighting and visual technologies was essential.

Within this context, the X4 Bar 20s are more than just ‘eye candy’. “They provide incredible visual punch for the stage,” Josh enthused. “At this point we have 18 units on stage with the hope of adding additional units in the future. They are used in a variety of ways to add the necessary visual pop to the stage designs often incorporated into the LED video wall designs and used as an enhancement, as well as stand-alone lighting requirements.”

E2i has been a partner of GLP for many years. “We love the products offered and use GLP solutions whenever possible. We have deployed [impression] X4, X4S, X4 Bars, X4 atom, as well as Scenex and Cosmic truss solutions.

“As for the X4 Bars, these are a step above anything else offered on the market. The quality of the construction, light output and control capabilities are unmatched. The entire concept of a moving bar fixture is unique and offers very innovative solutions for design. There is nothing quite like seeing a row of X4 Bars creating a ‘wall of light’ in a stage design.”

The technology will be used within the facility on most days, with the focus on weekend services and Ministry special events.

Meanwhile, the technical team are still coming to terms with its potential. “Certainly once the system was put into place the organisation was able to begin realising unforeseen benefits, enabling them to open up their design concepts to further maximise the potential it offers,” concluded Josh.

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HO U S E OF WOR S H IP A RC T IC CATH EDRAL / ISHA V SKA TE DR A L E N TECHNICAL DETAILS Location: Tromsø Manufacturers: Alcons Audio, The Netherlands Installer: Lydproduksjon, Norway Submitted by: Alcons Audio The most important thing for church sound is ensuring that speech is crystal clear throughout the main body of the building. For many years Ishavskatedralen had a passive sound reinforcement system, which made speech sound boomy and muffled.

Lydproduksjon supplied and installed a system comprising 10 LR7 6.5-inch micro line array modules, two BF302 double 15-inch high output subwoofers, and four VR5 five-inch mini versatile monitors.

The system is powered and controlled by one Sentinel10 (four 2,500W) and one Sentinel3 (four 750W) amplified loudspeaker controller. For inconspicuous integration, the system was delivered in a room-matching colour scheme through Architect Color Option.

“The system ensures everyone in each of the church’s 720 seats gets the best possible sound experience. It was specially produced in a custom white colour to match the interior of the church, making sure it perfectly complemented the visual aesthetic and did not detract from its iconic architecture.” “We think it is the optimal solution for the church and we are grateful that they trusted us to design and install the system,” said Eirik Haua, Lydproduksjon.

“The system delivers pure sound, both loud and quiet, which fills a tight, clean church space. The main loudspeakers look like they are floating, rather than hanging. It perfectly supplements the timelessness of the architecture. Although Jan Inge Hovig passed away in 1977, we know that he would be happy,” explained Mogen Olsen, Church Warden.

The visual footprint of the installation had to be minimal, not to mess up the cleanliness of the roof, which actually are the walls, which again really is the room, so both being able to get custom

colour on the boxes makes quite the difference, but also the ultracompact form factor the LR7 comes in. It’s really bigger than itself in many ways.

The reverberation time in the church is quite long, which is very pleasant for acoustical music, but challenging when adding multiple sound sources, e.g. reinforced sound to the equation.

The need for a system with precise dispersion/coverage was clear. One of the main points was that the system had little or no sidelobes, and the speech intelligibility was really crucial. The pro ribbon driver really ‘cuts it’ in that room, from having a sound system with no adaptations, to having a system you would believe was almost custom made for it, the difference in the experience of sound is huge. The throw, the transient response, the clarity, the ultra-even frequency response, the precise horizontal dispersion making us able to just razor cut along the walls. It all added up to a winning result.

It was really the ability to do tests and demos with the actual proposed system which made the church council decide to go for Lydproduksjon and Alcons.

Even though the arctic cathedral houses many concerts, the main purpose of the sound system was said to be speech reinforcement, so being able to reproduce so natural and uncompressed speech sound also made a big impact.

The cathedral originally had two sound systems, an installed system for speech, and a JBL SRX they bought from us for some years ago for concert use. Both systems were always rigged up, but now the Alcons replaces both.

Replacing two sound systems in one, in this acoustically very challenging room is very rarely heard of in the industry. This paired with the stellar imagery of Daniel Lilleeng makes that you immediately want to go visit the church to see and hear it for yourself.

SH O RT LIS TE D - MU L TIPURPOSE VEN UE C O L O G NE CI N ED OME TECHNICAL DETAILS Location: Cologne, Germany Manufacturers: Robe, Anolis Architect: MAAS & PARTNER Lighting Designer: Kardorff Ingenieure, Germany Submitted by: Robe

To light the impressive 30-metre-high glass atrium of the Cologne Cinedom multiplex cinema, architectural lighting specialists, Kardorff Ingenieure Lichtplanung GmbH chose Robe moving lights and Anolis LED floods to be at the core of a new lighting scheme to upgrade this impressive public area.

Cologne Cinedom was opened in 1991 and is one of the largest movie theatres in Germany with over 3,000 seats and 14 screens, located at the MediaPark in the Neustadt-Nord district of Cologne.

Jan Wichert was the lead lighting designer for Berlin-based Kardorff Ingenieure who were commissioned by the venue to re-light the atrium. The client already had some clear ideas about what they wanted, so Jan and his team added their imagination and expertise and worked closely with interior architects MAAS & PARTNER to create a versatile new contemporary energy and costefficient installation.

“The client wanted dynamic and mood changing lighting that could be varied or changed to suit different movies or other events for which the space might be used,” explained Jan, adding that especially for regular visitors, they wanted to be able to change up the atmosphere and look. Their objective as lighting designers was to make the building look attractive from inside and out. The atrium had two main architectural features.

The first is a four-storey high ‘media wall’ – covering approximately 1,000 sq metres – that was previously painted with iconic movie star images through the ages. While architects MAAS & PARTNER had initially mooted the idea of having morphing projected images, this option was also complicated, so they were very openminded to Kardorff Ingenieure’s proposal of a different solution utilising moving lights to provide the necessary mood-changing vibes.

The idea was to rig eleven of the 14 Robe VIVA CMY luminaires so they can reach every section of the wall and, by tilting the heads and zooming in / out, they can run patterning and texturing across the whole area.

They were also able to cover the second feature - the central Dome area of the main atrium - with the same fixtures, and so transform the entire space into a fully immersive and totally different environment for parties, special events, presentations, and other times that the atrium is used as an event space.

By focussing on lighting these two features comprehensively, the whole building can now become something new!

The VIVA CMY was also selected for its rotating triple prism effect, which enables the gobo projections to be treated in different and intricate ways, as well as combined with refined movement chases, allowing some truly magical and subtle texturing effects. With this in mind, they were fitted with some carefully chosen custom gobos.

Above the atrium is a large domed roof that was previously painted blue and illuminated with fibre optic devices. It is now repainted in a grey colour, specially matched to the lighting, and lit with the 12 Anolis ArcPad 48 RGBW floods fitted with 26º lenses.

“We wanted a completely uniform blanket of light washing across

the area,” stated Jan. The remaining three VIVA CMYs are attached to the framing structure around the columns in positions where they can shoot vertically upwards and be used to overlay projection effects onto the ArcPad illuminated dome, which looks fantastic!

All the ArcPads are attached to the building via hangers around the dome, and the venue has provided the control system for all the atrium lights.

The main challenges during this installation were in creating a lighting solution that seamlessly combined the disciplines of architectural and entertainment lighting.

Kardorff Ingenieure delivered with great detail, and the amalgamation of lighting fixtures from both disciplines results in the possibility of numerous incisive looks for the multifunctional space, all easily adaptable and changeable.

Other challenges included securing the fixtures in exactly the correct positions so they hit the atrium wall and large atrium dome; the VIVA CMYs were rigged on special brackets and framing attached to the building’s existing columns.

“We already knew which fixtures we wanted,” commented Jan, having worked with both Robe and Anolis luminaires on previous occasions, and for this installation it was the quality of the white light source that was crucial.

They also wanted flexible fixtures that could work architecturally and for events, and they were keen to use one type of moving light throughout, both for continuity and to make things smoother for the technical team onsite.

This new Cologne Cinedom installation has been a great success and won Kardorff Ingenieure a 2020 German Lighting Design Prize in the ‘Public Areas / Interior’ category, with the judges commenting on how tastefully and well the new lighting scheme integrates the venue into its urban surroundings whilst also making it stand out as a building of interest.

Jan summed up: “This project is a good example of how efficiently positioned dynamic lighting components can transform a multifunctional space to the maximum – in perception, mood and use – at the touch of a button!”

SH O RT LIS TE D - MU L TIPURPOSE VEN UE O U T E R NET LON DON TECHNICAL DETAILS Location: London, United Kingdom Manufacturers: AOTO, Reallife Tech Submitted by: AOTO

Outernet will host 2,000 sq metres of 8K, 360° LED and three 64K controllers from AOTO, with interactivity supplied by a Realife Tech experience automation platform.

A project which is described as 'the world’s largest deployment of LED screens by pixel density' will feature LED screens from AOTO, an experience automation platform from Realife Tech, which will enable interaction with screen content via personal devices, and a public art programme including digitisation of the work of performance artist Marina Abramovic, and licenced music content from the BRIT Awards and the Mercury Prize.

Outernet London is a development in the Denmark Street area of London, near Tottenham Court Road underground station, which will house what are said to be the world’s largest high-resolution wrap-around screens in a public atrium with fully directional surround sound, a new 2,000 capacity live events venue and apartments, all equipped with technology that can be used for public and private events such as major brand launches, movie premieres and global cultural events. The development is under construction now and will open in winter 2021, with similar venues to follow in LA and New York.

In a LinkedIn post, AOTO described Outernet London as the “world’s largest LED canvas project”, adding: “With over 2,000 sq metres of 8K and 360° floor-to-ceiling screens inside the building, AOTO perfectly satisfies the needs of the creative LED display design and delivers a highly immersive media hub. Instead of over 400 2K LED controllers, three 64K controllers exclusively developed

by AOTO are provided to control all the LED screens, simplifying the management process and enhancing working efficiency.”

In a press release issued today, the Realife Tech experience automation platform announced a three-year partnership with Outernet, with visitors able to control their interaction with the venue’s screens through their own devices, as a result of the integration of Realife Tech solutions into an Outernet app which will be launched on the district’s opening.

Realife Tech said its platform aggregates data from multiple systems including apps, ticketing systems, Wi-Fi, point-of-sale, digital advertising screens and access control points within realworld destinations to create a single view of the customer across their journey. Realife Tech’s ability to customise venue platforms to specific visitor preferences will help Outernet create a tailored atmosphere for each and every guest, showcasing the brands that are most appealing to them within the district.

The company said its platform will “act as a concierge to visitors’ Outernet journey, guiding their experience through the exhibitions that spark their interest the most, providing a new way to interact with innovative physical spaces, blending immersive technology and in-person engagement”.

Outernet Global has previously announced that an exclusive version of the opera 'The Seven Deaths of Maria Callas' directed by performance artist, Martina Abramovic, will appear on the 23,000 sq ft, 360°, 8K screens it describes as 'the world’s largest digital exhibition venue.' The performance will be one of the first commissions in a major public arts programme to be curated by video installation artist Marco Brambilla.

In its latest announcement, Outernet Global said it had signed a deal with BPI (the British Phonographic Industry), a trade association for UK record labels which would enable it to showcase content from BPI events, such as The BRIT Awards and The Mercury Prize, and would also provide a pro-bono BPI studio at the development. Outernet Global said it expected its London site to have a daily footfall of 400,00 people.

SH O RT L IS TE D - MU LTIPURPOSE VEN UE R B B RO O F LOU N G E TECHNICAL DETAILS Location: Berlin, Germany Manufacturers: JB-Lighting, Schnick-Schnack-Systems Architect: Henning Larsen Architects, Copenhagen, Denmark Lighting Designer: Rosenspiess - Design von Licht und Studio Barthelmes Installer: PIK AG, Berlin, Germany Submitted by: Schnick-Schnack-Systems

rbb rearranged their studio in the 14th floor of the rbbFernsehzentrum in the city centre of Berlin, Germany. Intended to be a studio, as well as a club, restaurant, event location and a large scale meeting room, the Studio 14 invites people to be closer to heaven.

Depending on the purpose of the room furniture, the lighting can be changed between fun and functional. 26 Sparx 7 by JB-Lighting are wisely specified as small fixtures with extreme brightness, and its versatile and pixel mapping applications.

More than 1,400 Schnick-Schnack-Systems RGBW-tiles D50 are used in clusters to lighten the room with an outstanding light quality and to connect the ceiling to the sky.

During the entire project one major challenge was to combine the changing outdoor light conditions with the multipurpose

application of the Studio - sunny as possible, but also a LateNight-Party atmosphere, and besides that the needs of a flickerfree and camera friendly broadcast studio.

These tasks could only be fulfilled with precise lighting elements of superior quality.

Studio 14 – the rbb roof lounge is a broadcast studio, restaurant, bar and one of the most modern event locations in the city.

At selected times, the radio waves Fritz, radioeins, rbb 88.8, rbbKultur, Antenne Brandenburg, Inforadio and rbb television broadcast their programs live.

As a guest, you can look over the shoulders of the hosts up close and comfortably consume selected food and drinks. Entry is free and so Studio 14 does not only connect the guests to Broadcast and radio environments, but also to the sky and the city of Berlin.

With the Library of Voices and its sound labs, the Alamire Foundation both broadens and deepens the operations of the Musicology Research Unit, KU Leuven and its partners ESATSTADIUS and LIBIS. “Technically this was a very challenging project, but this is what drives us and what we like to do,” smiled Steven Kemland. “We look forward to increasing our experience over the coming years in co-operation with the Alamire Foundation and are grateful for their trust and partnership.”

Photo: Matthew Ferguson, FG Studios

Giving STORYTELLERS a VOICE through VIDEO

www.newtek.com

WI N NE R M UL T I PUR P OS E VEN UE A LE Z Z I Y AC HT TECHNICAL DETAILS Location: Constanta, Romania Manufacturers: KV2 Audio, ProLights, Magic Effects, Powersoft Audio, Pioneer, Smoke Factory, Wireless Solution Distributor: Ara Events Solutions srl Architect: Stefano Pozzi Lighting Designer: AudioVision / CHM Class Multimedia, Romania Installer: Arasound, Romania Acoustician: AudioVision, Romania Submitted by: Ara Events Solutions srl Created as a fun destination, Alezzi Yacht has been designed on three decks, each with its own needs and characteristics. The lower deck is the ideal place to relax, where you can enjoy a brunch or a drink while admiring the sea waves through the windows or the panoramic floor. The middle deck is the club where you can dance at will, enjoying the music and the sea breeze. The upper deck is an outdoor club, specially designed to enjoy spectacular parties and all that the Black Sea has to offer.

Each deck had its specific acoustic needs; a restaurant, a club and an outdoor festival. The technical solution aimed at optimally adapting to each space and the possibility of multi-area sound management.

Alezzi Yacht is designed as a yacht for fun, uniqueness, and as a way to escape from everyday life. Our goal was to complete the experience with professional sound and lighting equipment and special effects and LED screens, to create the experience of a yacht festival. It’s the ultimate symbol of freedom and a signal that things are getting better for the industry.

With the help of professional KV2 Audio loudspeakers, clear and powerful sound is present on every deck. The premium equipment

from KV2 Audio was distributed according to the needs of each area: for deck 1, restaurant, the ESR system, for deck 2, club, SL412 and VHD2.18J systems for main and ESD series for out-fills and for deck 3, outdoor club, ES1.0 system. The core of the DJ desks is provided

by Pioneer equipment and monitoring is provided by the EX KV2 Audio active loudspeaker series.

The full list of KV2 Audio Gear: ESR 212 x two, ES2.6 x four, SL412 x four, VHD2.18J x four, ESD 10 x four, ESD 12 x two, ES1.0 x four, ES 2.6 x four, ES 1.8 x four, EX 12 x two, EX10 x four.

We managed to create a complete seaside festival sensation with the help of intelligent lights from ProLights that enhance the fun and complete the unique experience.

The first deck is equipped with ProLights Ruby Beam, Ruby FCX and Diamond 7, the second deck with Ruby Beam, Diamond 19, Diamond 7 and Sunrise blinders, while the third deck, as well as the surroundings for several km, benefit from the input of the Panorama IP series - AirBeam and WBX Wash and the impressive SunBlast 3000FC. The full list of ProLights Gear: Ruby bk/wh Beam x 28, Ruby FCX x five, Diamond 19 bk/wh x 16, Diamond 7 x eight, Sunrise 2L blinders x four, Panorama IP AirBeam x six, Panorama IP WBX x six, SunBlast 3000FC x six, Wireless control by Wireless Solution Sweden.

The LED screens installed on board complete the experience both in terms of the general setting and in terms of the entertainment sessions. Present on each deck, even on the club ceiling, they offer impressive resolutions and a 3mm pixel pitch.

The special effects provided by Magic Effects completes the whole experiences of this venue. So the gear installed is composed of two FLAMEBLAZER, 4 SPARXSTAR, 2 CO2 JET II, CO2 Guns, Confetti guns, complemented with Smoke Factory Tour Hazers.

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C LU B RE Z I DEN C A TECHNICAL DETAILS Location: Sveta Ana, Slovenia Manufacturers: Cameo Installer: Ozvocen.si Submitted by: Adam Hall

In the past, guests to the municipality of Sveta Ana in northeastern Slovenia typically only came to visit the old parish church – the starting point of a famous pilgrim’s path. All that changed in October 2019, however, when the tranquil little town opened up a new attraction for EDM fans - Club Rezidenca. Not quite as peaceful as the pilgrim’s path, the Rezidenca’s two dance floors feature an extensive range of Cameo spotlights installed by the systems integrator Ozvocen.si.

The team led by the Managing Director of Ozvocen.si, Tomaž Bačun, used AURO SPOT 200 LED moving heads and MOVO BEAM Z100 beam moving heads to create the lighting effects on the main floor. Several TS60 RGBW spots on the front truss provide the base colours mixed with FLAT PRO 7 XS Quad-LED PAR spotlights as the backlights. The 12 TRIBAR 400 IR LED bars

also play a key role in the lighting design, bringing the dance floor to life with dynamic colour effects right above the heads of the club’s guests. A FLASH BAR 150 equipped in each truss corner lifts the space up even further with strobe and blinder effects. No club would be complete without lasers. The Cameo LUKE 700 RGB show laser takes on this important task in Club Rezidenca.

In addition to the main floor, the Rezidenca also has a second stage, which low ceilings give the club a hot underground feel.

The compact MOVO BEAM Z100s, with their sharply focussed beams, really play to their strengths here. The MOVOs are paired with the equally compact HYDRABEAM 1000 RGBW beam moving heads. UV BAR 200 IR UV LED bars and the TRIBAR 400 IR create atmosphere and bring out the stairs and steps.

“For Club Rezidenca, we needed compact yet powerful lighting technology that both our customer and we can always count on,” explained Tomaž. “Ziga Krajnc from Adam Hall ( Sales Representative Slovenia and Croatia) provided us with excellent support. Cameo is a young, innovative, and rapidly growing lighting brand that’s always surprising us with new approaches.

We’re already looking forward to future projects!“

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NI G H T CLUB SPONS OR E D B Y

M A GN E T HOU S E TECHNICAL DETAILS Location: Perth, Australia Manufacturers: d&b audiotechnik, Germany Distributor: CCA Productions, Australia Installer: NAS Solutions Submitted by: d&b audiotechnik

The venue and sound designers chose the d&b A-Series, a system unlike any other, to help them reach their goal. The flexible A-Series allowed the venue to maintain its aesthetic appeal while covering the entire venue floor with sound.

The d&b A-Series augmented array loudspeakers are specifically designed for medium-scale applications where coverage flexibility is a necessity. These loudspeakers can also be easily paired with a variety of different d&b amplifiers and subwoofers so that the system can meet the specific needs of each and every venue.

The main challenge of this installation was that the owner of Magnet House had the ambitious goal of creating the most unique nightclub in Australia. In order to create an audience experience unlike any other, the team needed a lighting and sound system that would be unlike anything ever seen in an Australian club previously. Magnet House needed a sound system that would cover every inch of the venue to create the ultimate club experience. As mentioned by Luke Willott Director & Live Audio Specialist, CCA Productions, the venue presented a pretty challenging acoustic environment for the team to work with, as it had an irregular shape, with lots of glass, steel, and other reflective surfaces that needed to be taken into consideration, along with the aesthetic appeal that the venue was going for. They wanted to exceed the owner’s vision and expectations for this design, which meant that the sound system had to sound and look perfect.

The venue and sound designers chose the d&b A-Series, a system unlike any other, to help them reach their goal. The d&b A-Series augmented array loudspeakers are specifically designed for medium-scale applications where coverage flexibility is a necessity. These loudspeakers can also be easily paired with a variety of different d&b amplifiers and subwoofers so that the system can meet the specific needs of each and every venue. The flexible A-Series allowed

the venue to maintain its aesthetic appeal, while covering the entire venue floor with sound.

With a huge challenge from the owner of making the space into the most unique nightclub in Australia and to create an audience experience unlike anything ever seen in an Australian club previously, the sound designers had their work cut out for them. To make it into the most unique nightclub, the lighting design team created an LED light display that presents endless kaleidoscopic possibilities, unlike any other in the country and to go along with this pioneering design, Magnet House needed a sound system that would cover every inch of the venue and create the ultimate club experience. With the help of CCA Productions and NAS Solutions, the nightclub decided on d&b audiotechnik to accomplish this ambitious goal making this Perth’s first ever d&b A-Series audio installation. The unique flexibility of the A-Series allowed the venue to maintain its impressive aesthetic appeal while covering the entire venue floor with sound. Despite COVID-19, the venue was able to innovate and bring music to their customers with a series of live-streamed DJ performances, giving the A-Series system a chance to show off what it was capable of to audiences at home before the club reopened its doors for customers.

“We have already received amazing feedback from the EDM and band community on the new sound solution,” said Luke. “The combination of the robust low mids with a well-balanced HF, even and directional VLF distributed across all listening planes, plus the venues captivating visuals make visiting Magnet House a feast for the senses.”

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N OW A D A YS TECHNICAL DETAILS Location: Ridgewood Queens, New York Manufacturers: SBS Designs - SBS Slammer Distributor: SBS Designs Installer: Craig SBS Shorty Bernabeu & Raheem Bae SBS Slammer USA Submitted by: SBS Designs

The all new 2021 HIFI Analog SBS Slammer R.T Series AKA Ref Terrain outdoors is a weather resistant system by SBS Designs that is a hand made custom four ground stack system with four centre channel SL40 single 18 sub-bass horns and does not use any limiters or compressors.

This new Design is the 1 first of its kind by SBS Slammer to be offered in a fixed permanent installation for outdoor use with weather resistant paint and drivers.

With this unique application at Nowadays a hand made and hand welded SBS Designs RT Series Tray had to be designed to raise the stacks slightly for the natural water flow egress in the yard to get to plants and trees without blockage and for years of longevity of the Slammer Stacks. This hand made tray is also designed to eliminate the loudspeakers from sitting in water from rain or snow, which will deteriorate the wood over the years. With the RT Series Tray this allows the Stacks to be bolted down by lag bolts to keep it in place.

New for 2021 is the SBS Slammer SL-40 Single 18 in sub-bass horns, RT315 Trapezoid Front loaded Mid-Bass horns with a very unique tuning design, and for the mid high and top end the RT-212 is a three-way front loaded horn with a single 12 in Low-Mid, a two in exit mid high and two super high drivers.

The RT Series is designed with the 15s, 12s, and two in exit horn drivers all to be physically and mechanically in line, for true time alignment, so no processing is needed for time alignment for the best fidelity.

The RT Series SBS Slammer had to be designed to hold up to weather here in the North East, between the sun deteriorating the finish in the yard in the summer. To do this an extra thick textured outdoor paint had to be used for protection to the wood which is hard to work with, and it had to also match the colour choice in the yard.

It also had to be designed with all weather climates in mind, rain, snow, sleet and high winds, so it had to be secured to protect the system and property.

The SBS Slammer RT Series also had to be designed to be streamlined fall back when not in use, floor space was a major subject we had to consider also.

So the SBS Slammer RT Series for the yard could not be designed to be very wide like traditional stacks typically are and not be visually intimidating when daytime/evening hours of operation for the restaurant, we did not want to make guests feel like they’re sitting/ eating on a dance floor at a club.

The design had to offer a lot of space for people navigating around the yard during normal and party hours with no flow disturbance.

Nowadays in Ridgewood Queens is a multi-functional business so the sound had to be designed for all use, from movies during the week, to Video music concerts and DJ parties for Mister Sunday with Eamon Harkin and Justin Carter who are Audiophiles. So the RT Series had to be a very balanced and high fidelity sound system that is very musical and focussed with a lot of intelligibility. You could play anything on it without it favouring one style of music over another AND have the horsepower to operate with a lot of headroom for 1,000+ people dancing outside at a Mister Sunday party. Usually you have walls ceiling and a wood floor to couple to, and keep the sound with intense pressure, but working outdoors this is not the case so it really had to be thought out well to achieve this.

All this had to be achieved, and make sure the coverage was even balanced and felt the sound anywhere in an outdoor application you dance on the floor, without disturbing the nature of the yard limiting

water flow from heavy rain to the plants trees and grass using a Stack design, which was another reason the RT Series had to sit raised a bit, for water flow through the yard.

This project is a unique design with a 100% custom HIFI with the finest products without short-changing amplifier quality and processing.

The RT Series is designed as a permanent install to offer the clients at Nowadays the finest experience to dance daytime and under the stars enjoying music, people, nature and high fidelity sound.

Systems of this nature by SBS Designs have typically been made for inside a club, and to go this far with a design ESP in NYC Area in Queens NY which is a first with this effort by Nowadays and SBS Designs.

Reliability in all weathers

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N I G HTC LUB E11EVEN

TECHNICAL DETAILS Location: Miami, USA Manufacturers: E11EVEN Sound by Das Audio, Cameo, CHAUVET Professional, Avolites, MA Lighting Architect: Telesco Associates Installer: E11EVEN Sound / idesign Acoustician: John Fiorito Submitted by: DAS Audio

Based in the heart of downtown Miami, E11EVEN is a unique, immersive venue that is totally befitting of the term ‘superclub’.

Boasting 20,000 sq ft of high-end social entertainment, the space is part lounge, part show experience, complete with four 24-hour, full service bars, making E11EVEN a sought-after club for both public and private events, having hosted the likes of Drake, Lil Wayne, P Diddy, Diplo, Zedd, Ludacris, Cardi B, Snoop Dogg, Halsey, Dada Life, Future, Carnage, Dash Berlin, A-Trak, Markus Schulz and more.

Offering luxury, sophistication and a truly one-of-a-kind experience, the venue has picked up numerous awards, including the Best New Concept award, as well as landing on the Top 10 Nightclubs in America, awarded by Nightclub & Bar. It’s clear that the $40 million landmark destination, which seamlessly operates as a nightclub and after-hours experience, has put itself firmly on the map as a must-visit club.

A huge part of the award-winning experience at E11EVEN is down to attention to detail when it comes to state-of-the-art technology.

This was clear to see from the club’s first contact with John Fiorito, Nightlife & Hospitality Design / Installation Specialist at E11EVEN Sound by DAS Audio, who designed the new audio system at the venue.

“In 2016, the owner and creator of E11EVEN, Dennis DeGori, wasn’t happy with the prior installation company and I had just been offered the East Coast Manager position with Sound Investment Audio. Michael Meacham, the owner of idesign, has known me since 1992 and informed the owners of E11EVEN that Sound Investment hired a great audio technician who he would vouch for.

Michael made the introduction to the partners of E11EVEN and I was given a trial period to rebuild their trust in Sound Investment Audio,” John explained.

“After two years of building a solid relationship and trust, I was asked by the owner to make the sound better and I began pondering with design ideas and products. Over two years as an audio designer, installer, and manager for Sound Investment, we were selling a lot of DAS Audio products. We found the speakers to have fantastic sound quality, plus product was readily available and there was excellent support from DAS Audio Spain Engineering. So, we began to discuss a premier dance club product that would blow away the competition in all aspects of sound and price.”

Such was the dedication to the sound quality at the venue, E11EVEN Group and DAS Audio announced a partnership to launch a new brand of sound systems – E11EVEN Sound by DAS Audio.

The Miami-based corporation and the leading Spanish sound manufacturer reached a strategic agreement to offer a new way of understanding sound and entertainment John furthered: “Working with Javier Navarro, Head of Engineering for D.A.S. Audio, we developed a state-of-the-art product that delivered a superior sound quality beyond any of the competition – and we were able to offer the products at affordable pricing.

Due to the cost of insurance for nightclubs, build-out cost, rent if the operator does not own the building, the cost is astronomical to open a large nightclub. In sales history, operators always cut on the lighting or sound when it comes to budgeting choices. The new E11EVEN Sound by DAS Audio provides the highest quality at affordable pricing, so when an estimate is provided to a client, they do not have sticker shock. That is why E11EVEN is a partner with DAS Audio, with idesign also being the first vetted and authorised design and installer of the product.

The two companies bring different approaches to an industry in which service is as important as the product. In recent years, the club scene has evolved generating new needs for club owners and technicians. Hence, pre-sales, training and tech-support are the foundation of E11EVEN Sound by DAS Audio’s business vision.

“A considerable advance has been made in the use of video and lighting to generate special effects in clubs, but there is still a lot of work to do on the non-visual elements. Our intention is to elevate the audience’s experience to a sensory feast full of surprises and create memorable experiences,” added Gino LoPinto, Operating Partner at E11EVEN. CLICK HERE TO READ MORE

SH O RT LIS TE D - PARKS & ATTRACTION S C A S A B A TLLÓ'S G AUD Í CUBE TECHNICAL DETAILS Location: Barcelona, Spain Manufacturers: Alfalite, Spain Distributor: Vitelsa, Spain Architect: Xavier Villanueva & Ana Atance, Spain Lighting Designer: Refik Anadol, USA Installer: Vitelsa, Spain Acoustician: Danni Howard, UK & Karim Karaoglu, Germany Submitted by: Casa Batlló SLU

The Casa Batlló’s Gaudí Cube consists of an immersive area of six internal faces of a cube with (10-metres x 9.5-metres x 2.75-metres), lined with Alfalite Modularpix Pro P1 ORIM LED screens, reaching a total area of 243 sq metres in LED panels. The LED displays are controlled by Novastar MCTRL4K control with system redundancy. The LED screen is equipped with an ORIM (Optical Resin Injection Module) that allows greater protection against hits and liquids, as well as a better viewing angle and significant antistatic properties. In addition, mechanised access doors have been designed and integrated into the set allowing a precise and gap-free closure between the LED panels. In summary, the cube is formed by six screens of 9.5 x 2.75-metres on both walls, at the entrance and the one in front, 10 x 2.75-metres on the two side walls and 10 x 9.5-metres on the floor and ceiling, handling in this more extreme case a 5,120 x 4,864 px screen, which requires a management of about 70 millions pixels.

Likewise, environmental antistatic systems have been integrated, as well as electrostatic electricity discharge systems through the LED panels placed on the walls and floor.

Casa Batlló, a UNESCO World Heritage site since 2005, is an internationally-protected building and, thus, the challenge was to conciliate the new technology with the preservation of the work

done by architect Antoni Gaudí in 1906. The Gaudí Cube, the first total immersive six internal-walled LED room in the world lined with LED screens, reaching a total area of sq metres in LED panels, is the last part of the visit and aimed to preserve and even enhance the visitor’s experience of the original building.

A self-supporting structure for the entire set with a silemblock was built to absorb vibrations from the nearby passage of suburban transport but with enough solidity to allow the mechanical precision of the whole. The union of the LED panels in the structure between walls, floor and ceiling had to be perfect, as in the union of entrance / exit doors and wall in closed state. This was achieved thanks to the accuracy of the mechanical design of LED panels and modules.

To allow the visitors touching the walls and interact with the show, it was designed with a protection system for the LED panels to resists hits, scratches, liquids, etc. This was accomplished by developing a special and exclusive version of ORIM (Optical Resin Injection Module) for this project, in its fourth generation.

Iniside the Gaudí Cube a very low pixel pitch with an improved viewing angle had to be proposed, thus it was decided to develop a customised panel with a 1.9mm pixel pitch and an ORIM finish which allows a viewing angle of 175 degrees at both, vertical and horizontal, that offers the visitor a unique visual experience.

To fight SARS-Cov-2 and other air-transmission diseases, a new generation of ORIM was developed to allow cleaning and disinfection with chemical products that eliminate viruses, without altering physical conditions of the compound used. An air cleaning system using bipolar cold plasma ionisation was also implemented.

The Cube is a unique, outstanding and singular project worldwide: the first total immersive six internal-walled LED room in the world. It is the grand finale of an experience that, with the most advanced technology, seeks to offer an exciting, multi-sensory cultural experience.

The Gaudí Cube is an exceptional example of the masterful union of the most advanced technology in the audiovisual world inserted in one of the most iconic UNESCO World Heritage Sites on the planet, Casa Batlló. In addition to being a significant breakthrough in audiovisual integration worldwide, it is also the digital canvas through which audiovisual artists, such as Refik Anadol, can showcase their extraordinary works and exploit the enormous potential that this technology provides.

The project is an innovative, avant-garde, disruptive and unique proposal that takes audiovisual experiences to another level with an infinite potential for digital creation and performance. It brings digital content to all audiences, contributing to digital democracy by facilitating access to new trends in audiovisual technology to all ages. The Gaudí Cube at Casa Batlló welcomes thousands of people into the digital world, thanks to the technology implemented in its construction and the narrative that develops inside it, allowing the user to approach the digital and technological world in a close and meaningful way.

SH O RT LIS TE D - PARKS & ATTRACTION S FR E M O N T S TREET EX PE R IE NCE TECHNICAL DETAILS Location: Las Vegas, USA Manufacturers: Out Board Acoustician: Bill Wadsworth Content Creator: Contend Submitted by: Out Board

To coincide with major investment in its lavish and world-famous multimedia infrastructure, the vibrant Fremont Street Experience in downtown Las Vegas has upgraded its TiMax SoundHub immersive audio processor to include the all-new HARDCore FPGA audio processing platform.

The upgrade provides extended delaymatrix crosspoint memory of up to one second, plus new ultra-smooth holistic delay-panning algorithms across the street’s vast and unusual 52.4 channel audio system.

With 26 pairs of loudspeakers distributed down the five-city-block space, the powerful new TiMax platform updates extend the necessary resources needed to deliver fully immersive dynamic effects spatialisation for the huge scale of the street’s stunning show content.

TiMax also handles basic routing and housekeeping for all audio aspects of Fremont Street’s daily activities. The browser-based TiMax Portal bespoke touch-screen controller enables modeselection of background music, audio mix assignment and imaging between three different live stages, plus focussing to a DJ stage as well as various performers and events on the street.

The latest TiMax SoundHub sonic enhancements complement multi-million dollar upgrades to Fremont Street’s HD video canopy – the record-breaking world’s longest screen – for which marketing and creative agency, Contend, won the bid to create content for the screen’s brand-VivaVision public launch event.

Contend’s Bill Wadsworth led the project and explained: “Even before I’d realised what TiMax was capable of, the point of interconnection between the video side and the aural side was where we felt most excited and we brought the most energy towards that.”

Bill’s first impression of TiMax as a simple and unassuming 19-inch rack-mounted unit, by his own admission, was initially underwhelming. Upon deeper investigation, and shortly before reaching out to 1602 Group’s Duncan Crundwell who represents TiMax in the US, Bill claimed: “…I was like, ‘I’ll be damned!

Somebody was smart enough to put that in at Fremont Street…’”

Duncan Crundwell partnered with Contend’s audio engineer, Dave Wein, to provide TiMax workflow familiarisation and programming assistance. Between them they rendered the immersive sound fields using the tightly integrated TiMax PanSpace and TimeLine tools, animating them through the length of the street to support the movement of the aerial native HD resolution video content.

The simplicity of control impressed those at Contend, prompting Bill’s comments that, “…It’s awesome of TiMax to simplify something that was borne from an engineering and live tool perspective and make it into a friendly interface for those of us that come from the post-production side of things.”

The multi-media content, according to Bill, is “an amalgamation of different things to massively excite the senses”, and is thematically and metaphorically, ‘out of this world’, including spaceships, asteroids and other galactic entities moving across the full length of the street’s sky-screen.

He explained: “The experience is so big that you hear things you can’t see. Happily, TiMax is exponentially smarter than I ever will be and achieves the level of computational process necessary to handle the level and time correction of assets that are moving through the sound space. Give TiMax accurate inputs about where everything is, what the components are, how things move in a space like that, and you can do – and this is so important – just about anything.”

That they would do something really special with the sound was, Bill claimed, clear from the early stages of the project. However, he added: “It wasn’t until I got down there and actually laid my eyes on what they had going on that I realised how epic the thing was going to be.”

The audio set up at Fremont Street was an inspiration to Bill.

He explained: “It got us thinking there was a real opportunity to do some amazing sound stuff that’s never been heard before on a system that doesn’t exist anywhere else, a system that’s so impressive in its massiveness you can really do things with the physics of sound that you’re not able to do in any other situation.

“You could shut your eyes and move someone in a really profoundly deep way with just the audio mix and energy, but the spatialization is something that will capture people in a different way … I’ve predicted for Fremont street that people will probably talk about the sound more than anything else because it’s so unusual to be on the receiving end of an absolutely real spatialized audio experience of that scale.

Bill discovered that, “With TiMax, we had a tool that you could just blow people’s minds with – being able to control sound in that way, and I dare anyone else to try to do that – nothing else on the market has that control or anywhere near what that box does.”

SH O RT LIS TE D - PARKS & ATTRACTION S T H E LI GHT H OU S E TECHNICAL DETAILS Location: Ocean Cay MSC Marine Reserve, The Bahamas Manufacturers: Light Sky, MA Lighting, DiGidot Lighting Designer: Woodroffe Bassett Design , The Department Installer: White Light Submitted by: The Department Ocean Cay MSC Marine Reserve is a unique, private paradise located in the Bahamas. Immersing guests in its idyllic island beauty, its white sands and transparent turquoise seas serve as a dream-like location to decamp MSC’s Cruise ships and spend the last leg of a life-changing journey. With an expectation of perfection, the multi-million pound fantasy island is one-of-a-kind, encompassing every element of the holiday experience, with live music, restaurants, bars and a landmark video, audio and lighting show from the island’s iconic lighthouse, ensuring guests will never forget their stay.

Before COVID-19 struck, the island was welcoming four cruise ships per week, all of which were carrying around 4,000 guests. Arriving to a warm welcome from a team who have worked furiously to make this project a success, guests can reconnect with their natural surroundings and find peace in the relaxing atmosphere the island projects. The real star of the Ocean Cay show, though, is the island’s Lighthouse, that was a project taken on by immersive design agency, The Department. Hamish Jenkinson, Co-Founder of the company, takes up the story: “I met the technical director of MSC Cruises at an exhibition during London Design Week back in 2018. We spoke about the amazing growth of MSC and some of the ideas that he had to further enhance the cruise lines, and I mentioned how The Department could potentially help execute some of these ideas.

“I went to the company’s offices to give a presentation to the wider team, and through this I found out that the project they were most excited about was the transformation of the island. They wanted to build a multimedia lighthouse and it immediately occurred to me that we could design an LED light that would fit perfectly into the pre-existing design, instead of using projection mapping that could potentially cause problems.”

After confirming the project with MSC, Hamish attended Integrated Systems Europe 2019 to seek out a proficient lighting company that would be able to craft the perfect lighting package for the project. The team needed a mesh screen to cover the lighthouse that also incorporated 14,000 LEDs, and Amsterdam based lighting manufacturer, InventDesign, was confident it could achieve this.

“We are very strong in pixel-controlled LED solutions, so it was a perfect match,” explained Robin Sluis, Account Manager at InventDesign. “The main challenge was making a retro fit LED module, because the lighthouse was already designed and built with holes in the façade. Normally we would attach our LED modules on a mounting clip, so we were firstly thinking of using tie-raps or aluminium flat profiles to install all the modules, but aesthetically this was not the solution they were looking for.

“Our product manager then came up with the idea of creating a custom lens with barbs, so we could press the modules through the existing holes. This meant that we needed the exact measurements of the holes. If the lenses were too big, they would not fit, too small and they would fall out. We requested a panel from them to measure it and then we 3D printed the prototype.”

As every module on the lighthouse needed to be independently controlled, Invent Design implemented 14,238 of its DiGi E3S modules that contain three RGB LEDs and an IC Chip, as the IC Chip allowed the team to control the RGB LEDs with an SPI protocol. 36 DiGidot C4 live controllers were also specified, a popular choice as the Art-Net to SPI converter can achieve high frame rates, completing the perfect combination for this project.

“The LED modules have a pitch of 140mm horizontally and vertically, and are retro fit in the lighthouse structure. They are powered by power supplies that are located on each elevation of the lighthouse, and the controllers are based at the bottom of the lighthouse sending data from the bottom to the top. The lighthouse is built with panels and we covered 13 panels in width and 36 in height. Every panel has five modules in height, we started with nine modules in width at the bottom, but because the panels became smaller at the top, we only installed five in width at the top.”

As well as deciding on the lighting manufacturers, The Department also needed a dedicated lighting design team that was able to bring its lighthouse vision to life. Design company, Woodroffe Bassett Design (WBD), have worked on some outstanding projects across the world, including Dinosaurs in the Wild and the famous Rolling Stones Exhibition in London, so Ocean Cay was a project it was excited to tackle. “We were approached by The Department to provide the lighting design for this exciting project. Patrick Woodroffe was to be the lead creative, with me acting as his Associate,” explained John Coman, Designer at WBD. “Initially, Patrick worked with Hamish on the concept development. Then, collaboration with both the composer and video designer was undertaken to ensure there was an engaging and interesting show for the audience that also provided moments for impactful lighting.

“Once the ‘big’ picture was defined Patrick and I then worked out the best combination of fixtures and where these could be located.

As this was a permanent install we were cognisant of logistical and technical constraints. These fixtures needed to be rigged metres from the sea, on an isolated island in a region that suffers many storms. engineering design team.”

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WI N NE R P A RK S & A TTR A C T ION S BA S S I NS DE LU MI ÈRES TECHNICAL DETAILS Location: Bordeaux, France Manufacturers: Modulo Pi, France / Barco, Belgium / Meyer Sound, USA / Anolis, Czech Republic Lighting Designer: 4eleven, France Installer: Cadmos, France Acoustician: Cadmos, France Submitted by: Bassins de Lumières & Modulo Pi

In June 2020, Culturespaces Digital inaugurated the largest digital art centre in the world: Les Bassins de Lumières (The Ponds of Light). Installed in a former World War II submarine base in Bordeaux, France, the venue offers a spectacular immersive art experience. The new digital art center relies on solid technology with more than 30 x Modulo Kinetic media servers at the cornerstone of the AV setup.

Since 2018. Culturespaces Digital has been working on a major project to develop and enhance four basins at a former World War II submarine base in Bordeaux, France. In addition to the restoration work, the revamp of the whole site – including floors, tanks, foundation, electricity, soundproofing etc. – and the creation of technical areas, such as offices, production room, servers, Culturespaces made the decision to develop the site in order to improve the visitor experience – with the aim being to offer a spectacular, immersive art experience like no other.

The work has resulted in Bassins de Lumières becoming largest digital art centre in the world, with a total projection surface reaching 14,000 sq metres. Overall, the venue consists of four vast ponds – 100 metres long, 22 metres wide and 12 metres high – all of which are dedicated to the main art exhibitions.

To complete the visitor experience, additional areas were created, including an immersive tank, a cube dedicated to contemporary immersive art, a museum space and an educational area.

After a seven-week delay due to the COVID-19 lockdown, the newest digital art centre was inaugurated in June 2020. Bassins de Lumières is the fourth venue created by Culturespaces Digital following the tremendous success of its other digital art centres, including the Atelier des Lumières in Paris.

To make the initial plans a reality, structural works began in May 2019 with restoration of floors, tanks, foundations, electricity and more. This was followed by the AV installation, which started in October 2019 and handled by French integrator, Cadmos.

Augustin de Cointet de Fillain, Director of Culturespaces Digital and Bassins de Lumières, explained: “This project came with two major challenges: the huge size of the venue and the humidity conditions. As we are in a former submarine base with water ponds, we had to deal with unfriendly conditions.”

To ensure a seamless projection of art exhibitions across the monumental canvas, more than a hundred video projectors were required, including 71 Barco F80-Q12 and 24 Barco G60-W10. All of the venue’s video projectors were mounted within waterproof

enclosures to be protected from potential water infiltration from the building’s roof.

As well as the visual element of the exhibition within the venue, the audio also played a huge role in capturing the immersive experience that the team were aiming for from the beginning.

However, this led to a new challenge for the Bassins de Lumières team. With the venue being made of concrete and home to large water ponds, reverberation was very high. To offer a quality listening experience free from reverberation, 80 Meyer Sound CAL 32 loudspeakers were installed to provide a 5° vertical beam focused on the areas where the public is walking.

As for its other digital art centres, Culturespaces Digital chose the Modulo Kinetic media server by Modulo Pi. “The system is steady and user-friendly. As we open more and more sites, we’re in a logic of scalability. Working with the same media server solution allows us to significantly anticipate the processes and media creation,” added Augustin.

To feed the video projectors, there are 31 Modulo Kinetic media servers were installed, with three Kinetic Designer and 28 V-Node servers equipped with four outputs each.

Modulo Kinetic was instrumental throughout the project workflow, including study, simulation, edge blending, warping, playback and show control. The compositing tools embedded in Modulo Kinetic helped to deal with the challenges that came with this unique venue. As an example, the water in the ponds rises and falls by 1.5 metres daily due to the ocean tides. Video projection is set on low tide and some dynamic masks in Modulo Kinetic create a gradation to ensure a smooth image transition when the tide is coming in. Thanks to the Graph Editor receiving the measures of a laser meter in Modulo Kinetic, the masks’ position automatically changes to follow the water level.

Moreover, the compositing tools in Modulo Kinetic allow colorimetry adjustment wherever needed on site.

Augustin explained: “The projection rendering often comes with colorimetry issues because a wall may be darker than expected, for example. Modulo Kinetic gives us the flexibility to fix any colorimetry issue which is much valuable. That saves us from doing the media and exporting them once again.”

For a seamless projection across the spectacular venue, edge blending and warping is another major step in the workflow. The process was handled by the Modulo Kinetic, thanks to the system’s 2D and 3D warping tools.

“The venue comes with very different spaces. You have uneven walls, some cylindric surfaces. Relying on a user-friendly tool that allows fine-tuning the mapping for each architectural detail is really helpful” furthered Augustin.

To speed up the process and ensure the best result, several technicians could use the Modulo Kinetic Warp Remote application to warp simultaneously from their laptop, while being close to the area they are warping.

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L E V IP TECHNICAL DETAILS Location: Saint-Nazaire, France Manufacturers: L-Acoustics Installer: Melpomen Submitted by: L-Acoustics

Once known as ‘Little Breton California’, the vibrant town of SaintNazaire is well worth a visit. It has a host of surprises in store, one of which is VIP, or ‘Le VIP’, as locals refer to it. Featuring a 550-seat concert hall, three rehearsal studios and a resource centre, this is a welcoming haven for artists of all levels and music genres. This year, French audio, lighting and video company, Melpomen has installed L-Acoustics A Series in Le VIP to address the venue’s complex architectural design and deliver homogenous sound across the entire auditorium.

“After 10 years of service, the old sound system was entering a delicate maintenance phase,” said Julien Potin, Technical Director at VIP. “So it seemed an appropriate time to acquire a new system that would address lifelong issues.”

“We knew right from the start that we needed an extra-versatile and scalable solution for a modern music hall like the VIP,” added Samuel Birais, audio technical manager at Melpomen. “Our key objectives were to create a comfortable listening experience for the audience and to respect France’s latest constraints and rules in terms of sound levels, particularly in terms of dBc. To achieve this, we needed a system that delivered high SPL, extended bandwidth of between 25Hz and 20kHz, and evenly distributed sound coverage throughout the hall, without overly polluting the stage space.”

The concert hall is almost 18-metres wide and the FOH control

position is barely 7.5-metres from the front of the stage. There is also a mezzanine floor that is as wide as the room but shallow, with a bar along its back wall. Smoothing out the differences in sound levels between the pit and the mezzanine, the latter needing to have a lower level of audio and optimizing the coherence of the stereo image in the room were prime considerations.

Following on-site tests, both with and without live bands playing on stage, the Melpomen team was able to determine the perfect audio solution to address all requirements. The main system comprises left / right hangs of five A15i Focus per side which, to account for the width of the venue, are set to 110-degree horizontal dispersion using L-Acoustics Panflex technology, delivering excellent horizontal coverage in the mid-high range. Three KS21i are flown in cardioid mode next to each A15i hang, which creates an additional cardioid mode and delivers much better rejection at the bottom of the spectrum on stage. For the mezzanine, the team deployed two A10i and a KS21i per side, with two X8 as delay.

“The physical set-up of the main system, which is quite far back on stage, meant that we were able to cover the entire audience without the need for frontfill on the stage lip, which was ideal as the stage level is very low,” noted VIP’s sound engineer, Christophe Rousseau.

Using the AutoFIR tool in Soundvision the Melpomen team was able to achieve full consistency of mid- and high-range frequencies over the distance while also adapting to the height differential due to the mezzanine. A P1 processor with M1 measurement tools was used to calibrate and EQ the system, adapting it to the room acoustics and aligning all elements correctly.

The entire system is controlled with an LA12X amplified controller, with a fully redundant Milan/AVB audio network managed via an L-Acoustics LS10 Avnucertified AVB switch. Milan is the first platform to provide deterministic, reliable and future proof delivery of networked data. This guarantees data quality and ensures VIP St Nazaire will not experience any audio dropout.

The final listening test proved to be in line with Melpomen’s expectations. “VIP hosts an extensive variety of music genres and is widely regarded as one of the most versatile venues in France,” concludes Samuel Birais. “To have a system that can be perfectly adapted to the entire sound spectrum and deliver a perfect stereo image across the room, as well as on the mezzanine floor, is just amazing. A Series is ideal for the venue’s programme, both now and for the future. We cannot wait until we can start inviting artists back to the venue so they can experience the full benefits of our brand-new system.”

SHORTLISTED - PERFORMANCE VENUE STU D I O L AB TECHNICAL DETAILS Location: New Hampshire, USA Manufacturers: CHAUVET Professional Distributor: Events United Lighting Designer: Tim Messina and Ryan Lane, Events United Installer: Events United Acoustician: Kevin Smith, Events United Submitted by: CHAUVET Professional

Events United, a lighting and sound integrator, began doing livestreams and video productions at Studio Lab shortly before the pandemic. This activity picked up once COVID-19 hit. On St. Patrick’s Day, their studio hosted a virtual concert by Irish/American band Dropkick Murphy’s, which was seen live by over 10 million on Facebook, YouTube and Twitter.

As their livestream and video business grew during the pandemic, the team decided the time had come to create a more substantial and permanent performance and recording venue. They added a 52.5-foot by 13-foot curved (7.2 million pixel) video wall made with F2 LED panels and a reflective floor.

Along with these enhancements, they built a fixed rig that includes over 60 CHAUVET Professional fixtures, notably 24 Maverick MK2 Spot, 12 Maverick MK1 Hybrid and 10 Rogue R1X Wash fixtures. Next, they partnered with disguise, OptiTrack, 209 Group, and Unreal Engine, along with CHAUVET Professional to further their virtual production capabilities.

Studio Lab has hosted a variety of fundraising livestreams for a range of non-profits, including women’s empowerment groups, schools, mental health and medical treatment foundations. It has raised over $2 million for these causes.

It has also hosted the televised and livestream “State of the State” address by New Hampshire Governor Christopher Sununu.

The quality of the productions filmed at facility has been a key factor in the success of the events produced there.

Financing the project during a pandemic. The company owner Tim Messina took a mortgage out on his home.

Aside from being technologically impressive, this project demonstrates the best of our industry in terms of resourcefulness, resilience and courage.

PERFORMANCE VENUE SPONSORED BY

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TROXY

TECHNICAL DETAILS Location: London, UK Manufacturers: JBL Pro, Soundcraft Installer: SSE Audio Submitted by: SSE Audio Once the largest cinema in England, Troxy is bristling with new technology, having transformed its capability to deliver stunning sound with a new in-house JBL sound system, the first of its kind in the UK. The project was a complete reinvention of Troxy’s audio capabilities.

Its roster is one of the most diverse of any UK venue, welcoming the world’s leading touring artists from classical and cabaret music through to rock and roll, dancehall and everything in between. The new system needed to perform as proficiently with live as well as recorded music and cater to awards, corporate and performance events. In addition, it was required to offer broadcast quality sound for events including the BAFTA Games Awards and Channel 4 News.

The system has been specified in collaboration with integration partner, SSE Audio Group, who ensured the system worked functionally as well as sonically.

The centrepiece of the integrated HARMAN high-grade sound reinforcement system is the new JBL VTX A12 dual 12-inch line-array loudspeaker, benefitting from three newly designed drivers.

The A12 benefits from JBL’s patented differential drive, radiation boundary integrator, and polymer annular ring radiator high frequency drivers. The main system comprises 24 VTX A12, flown as two hangs of 12. Low-end extension is provided by 12 VTX G28 dual 18-inch subwoofers. Front fill comes in the form of four elements of VTX A8, the new dual 8-inch line array cabinet from the VTX A Series range, with the advantage of being a smaller, biamped box. A further four A8 are installed as new under-balcony fills, using the same highperformance ring radiating HF driver as A12, ensuring seamless sonic crossover between the main and fill systems.

The venue has also taken delivery of two Soundcraft Vi3000 mixing consoles with matching Vi Stageboxes, in a split rack, which forms the backbone of a new stage line system, along with a new Soundcraft Si Performer 1.

Troxy is already receiving great feedback about the new system which was selected after a testing phase with both audience members and

tour managers alike.

Although Troxy is acoustically fairly forgiving, particularly given when it was built, JBL VTX A8 and A12 gave the installers the opportunity to optimise it fully in a way that no other system would have been capable. They identified two areas that they wanted to improve.

Firstly, they wanted the sound to reach the very last row of the upper circle without hitting the bar just above it. This was partly to make it easier for customers to order drinks, but also to reduce rear wall reflections, which could reduce intelligibility. Thanks to the highly granular array frame hanging system, they were able to refine the array shape and pick a point to within 0.4 of a degree. The outcome of this is that when seated on the back row you feel fully engaged with the direct sound, as soon as you move off axis, the sound level drops away substantially. At a throw length of 30+ metres, this is a considerable achievement.

Secondly, the technical team identified that a considerable amount of sound from the performers reflected off the balcony front and back onto stage. This meant the artists couldn’t hear themselves and asked for the monitors to be turned up, this is not good news for many reasons. Typically, you can’t put larger angles in the middle of a line array to avoid such obstacles because when you do, the array behaviour starts to break down and delivers all sorts of unwanted artefacts. However, there are several innovative technologies in JBL’s A-series that allow for next-generation standards of inter-box coupling. Because of these capabilities, you can set larger angles into the array without suffering the downsides in the same way that you would on a more conventional system. As a result, the integrators were able to effectively focus the energy away from the balcony front and halve the reflected energy on stage in several critical locations.

As an art deco gem and home to the largest Wurlitzer cinema organ in Europe, Troxy needed a flexible sound system that could help it maintain a leading position on the touring circuit, while also attracting a range of events requiring sound excellence.

The diverse range of events hosted at Troxy was at the forefront of the system design. For example, the small footprint and high channel count of the Soundcraft Si Performer 1 console are perfect for the many corporate shows which demand that tech is kept as invisible as possible, finding its main use in the ‘cupboard’ mixing booth under the staircase.

A full JBL monitor and fills package has been provided as part of the upgrade, which includes JBL VTX M22 stage monitors and VTX F35, F15 and F18S point source boxes for sidefills and drum fills. The team utilise JBL’s Performance Manager software enabling them to recall various presets, created in the commissioning stage, in order to facilitate the most commonly used configurations. Further to this, the team at SSE Audio Group, installed the system at carefully selected locations throughout the building making it accessible for staff at the venue.

The system was selected after an extensive specification and shoot out process with the leading audio brands lasting over 12 months.

After this research phase, Troxy selected HARMAN and UK distribution partner, Sound Technology Ltd, to undertake this major investment, with SSE Audio managing the specification and installation process.

A personable approach to the project by all the key players in the team led to the decision to make a significant investment in the new JBL VTX A12 line-array. The system was a clear choice to give the best sound to Troxy’s wide range of prestigious live music events, high profile awards ceremonies, corporate events and private parties. It had its first full use in March 2019 at a Mayday Parade concert and an Illuminaughty DJ club night, where its stunning quality was evident.

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P E R F O RMA NC E V EN UE G UI L D H A LL S C HOOL OF M USIC A ND DR A MA TECHNICAL DETAILS Location: London, UK Manufacturers: NewTek, NDI, Audinate Distributor: Altered Images Installer: Altered Images Submitted by: NewTek

Guildhall School of Music & Drama had a big question to answer when COVID-19 hit. The pandemic meant live performances must incorporate streaming and remote collaboration became necessary as social distancing rules dictated three-metres between musicians. It also meant the final of the Gold Medal – Guildhall School’s premier music prize, traditionally awarded each May in a sold-out Barbican Hall – would not take place.

“We needed to overcome a couple of obstacles,” said Julian Hepple, Guildhall’s head of recording and audiovisual. “First, we had to be able to record lots of performances – simultaneously and really easily. A lot of that would be piloted by one person, but we also required a TV studio to do our flagship productions. Space flexibility was key, and our facilities had to allow large numbers of people to create music or share education simultaneously.”

The Guildhall team decided an NDI system would be the best fit.

Developed by NewTek, now part of the Vizrt Group, NDI enables disparate systems and devices to connect and communicate over IP networks, creating an IP-based production environment with shared access to video, audio and data. Working with NewTek, as well as technology solutions reseller and workflow design firm, Altered Images, Guildhall devised a setup for an entirely new NDI network.

This NDI network covered four buildings in different parts of the campus, working seamlessly with the existing Dante audio network. PTZ cameras were installed in each orchestral room, providing the conductor with views of the musicians working in separate areas. A PTZ camera livestreams the conductor’s gestures back to screens in the rooms.

“It was remarkable how little impact any of that had on our chain

– NDI is amazing,” Julian said. “The biggest differential was one room that was three frames behind the real world, and one at four frames behind. We’re talking about one frame difference across 900m.”

It became demonstrably clear that 1080p50 video could be transferred anywhere on campus in a tenth of a second. As a result, the Gold Medal event went ahead successfully in September 2020.

Musicians, actors, and other creatives no longer need to be located in the same room – or same building – to perform together in real time. And that transfer speed offered by NDI is critical.

“This was significantly quicker than expected,” said Julian. “Most importantly, it arrives at any screen with the frame locked, meaning everyone sees the exact same image at the exact same time. As such, a large ensemble – wherever they are – can see a conductor simultaneously. “The only person experiencing any latency is the conductor, who sees the rooms that he is choosing to conduct at about a tenth of a second behind – in conductor terms, that’s nothing.”

The system designed by Guildhall provides not just a Covid-19 workflow, but an entirely new avenue for collaboration and creativity. Further, it provides a level of confidence that the school can continue its work if social distancing guidelines are reintroduced at some time in the future.

Most importantly, however, is that it allows performers to continue to showcase their craft and talent.

“That was the first orchestra to perform since the lockdown,” said Julian. “Since then, we’ve done four or five other full orchestral projects, tonnes of big band stuff, plus an orchestral Beatles project. We’ve carried out about 300 public-facing productions over the past year – exactly the same as the School put on in prepandemic times. Students haven’t missed any opportunities. Now, they’re just performing live to a camera, instead of an audience.

We’ve managed to minimise the amount of disruption to student experience.”

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FA RA N G TECHNICAL DETAILS Location: Helsinki, Finland Manufacturers: Genelec Installer: 4Business Oy Submitted by: Genelec Farang was the first restaurant to be opened a decade ago by BW Restaurants Oy, a private company owned by well-known Finnish chef, Matti Wikberg. Since its beginnings in 2009, the company has opened seven more restaurants and a cocktail bar in the Finnish capital of Helsinki and employs around 200 people. Farang, their flagship venue, has recently relocated to stunning new premises spread over two floors offering both public and private dining facilities plus a large bar. A key part of the overall experience is the soundscape, delivered by a comprehensive 4000 Series Genelec sound system, designed and installed by renowned Finnish AV integration specialists, 4Business Oy. “The brief from Matti was very clear,” explained 4Business’s Janne Lankinen.

“With the new premises, Farang is set to make even more of an impact on the Helsinki restaurant scene, so sound quality – along with everything else – had to be absolutely top notch. Genelec was an obvious choice for us as it matched all of the quality and reliability criteria – and Matti was already familiar with the brand as he’d used Genelec almost exclusively for his other restaurant projects.

“The layout and the surfaces of Farang were a bit of a challenge from an audio perspective,” Janne described. “The feel is quite industrial with lots of exposed concrete and metalwork. There are no convenient – and sound-absorbing – false ceilings or wall panels to hide behind, so we had to make sure that all cabling, mountings and installation were done properly as everything was visible. It also meant we had to be very careful with our system design in order to minimise unwanted reflections and reverberations. The restaurant is situated in a building which also houses newly renovated offices, so we also had to ensure that there was no sound conduction through the structure to the other premises in the building, especially for the low frequencies. Finally, the restaurant is spread over two floors with a very large opening between them; not only did we need to design a system that would cover the whole area evenly with no dead spots or hotspots, but we were inevitably confronted with problems of sound leakage between the two floors.”

Janne and his team conducted exhaustive simulations to determine coverage before specifying a system comprising a total of 54 active Genelec loudspeakers and subwoofers. “We decided on the analogue 4000 Series loudspeakers – with Symetrix Prism DSP processors equipped with Dante I/O expanders for matrixing, EQ and delay – as it was a useful approach to optimise the overall cost,” noted Janne. “Our aim was to ensure that when you move around the space, the audio experience remains similar throughout, and that the sound pressure would not drop at any point in a way that you’d feel that the music was

disappearing.

“We used a mixture of 4020s, 4030s and the powerful 4040s depending on required throw and maximum SPL. Every single speaker was meticulously aligned and DSP was adjusted individually for the best possible results. That, together with acoustic treatment to minimise leakage between floors has enabled us to achieve a system that works beautifully at low sound pressure levels throughout the restaurant, and still has enough power in reserve to be turned up when required for a real party atmosphere.”

For the 7300 Series smart active subwoofers that are mounted in the ceiling, 4Business designed a custom mounting solution that is mechanically isolated from the structure. This ensures that any vibrations are conducted into Sylomer absorbers rather than the hollow core slab which might cause unwanted disturbance elsewhere in the building. When it came to calibrating the subwoofers, 4Business used Genelec’s GLM software with AutoCal to speed up the final adjustment process and ensure that every element of the system was sounding its best.

“I’m delighted with the results,” reported Janne. “The audio system supports the Farang brand as a top-class, place-to-be venue in Helsinki.

What’s more, responsibility and sustainability are key principles for Farang and BW Restaurants, and Genelec supports and communicates these values consistently, making them a perfect match. The atmosphere in the restaurant is social and relaxed thanks to carefully thought-out playlists and high quality sound support.”

Matti Wikberg echoes Lankinen’s sentiments entirely. “All my goals have been achieved, and frankly, exceeded,” he admits. “Janne and his team identified the challenges from the outset and solved them beautifully. We have crystal clear audio throughout that sounds amazing, yet doesn’t get in the way of conversation, whether you’re two or ten people at the table. The right atmosphere enhances the experience immeasurably, and that’s what we’ve achieved here.”

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L I LY LE E TECHNICAL DETAILS Location: Helsinki, Finland Manufacturers: Genelec Installer: 4Business Oy Submitted by: Genelec

Award-winning chef, Tomi Björck, required an audio solution for his newest restaurant, Lily Lee, which offers Taiwanese cuisine in the heart of Helsinki, Finland. Across his restaurants, Tom plays loud music, so the quality of sound was the main consideration. In addition, the brief required a solution that was environmentally friendly.

Genelec were approached directly by Tom, who has had positive experiences with them before. Between them and integrator, 4Business Oy, it was decided that Genelec’s 4030C loudspeakers would be the best fit: offering excellent acoustic output and controlled directivity from a compact enclosure. An extensive network of these were installed to ensure coverage in every corner of the restaurant.

Furthermore, the audio solution had to be able to cater for background music, as well as DJs at the weekend. Genelec’s on-board room compensation controls helped to solve this issue, allowing the integrator to tune the system to meet their client’s diverse requirements.

As well as needing excellent coverage, he also wanted the capability for high sound levels to handle DJ performances at weekends. However, the size of loudspeakers was also restricted, requiring some creative positioning.

One of Tom’s requirements was to provide a sound system that complemented his food, which places an emphasis on high-quality, natural materials and ingredients. Therefore, the loudspeakers had to be environmentally friendly. Genelec’s 4030C in RAW finish were the perfect solution to this problem. The company is already concerned with reducing their carbon footprint in their manufacturing and distribution processes. On top of this, the RAW models require no painting and less finishing material, which is far kinder to the environment.

It was also important that they visually blend with the atmosphere of the establishment. The Genelec 4030s were chosen for their visual discretion. Their subtle yet classy design and flexible mounting options suits the aesthetic of the restaurant.

Finally, COVID-19 presented a considerable challenge. The hospitality industry was hit especially hard by the pandemic, which meant that the budget had to be reworked mid project. With this in mind, the audio solution had to keep costs to a minimum whilst still meeting all of the initial requirements. Both the integrator and client were happy with the compromise provided by the 4000 series.

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PO P A N D POPE TECHNICAL DETAILS Location: Tel Aviv, Israel Manufacturers: Void Acoustics Installer: Kahane Group / Hagag Group Submitted by: Void Acoustics

Inner city regeneration and urban renewal frequently features multipurpose venues alongside living apartments and offices serving the needs of the local population, business visitors and international tourists.

Hagag Group is one of Israel’s leading real-estate developers and has recently completed the construction and installation of a multipurpose venue as part of a prestigious new inner city urban renewal project in Tel Aviv.

At the heart of this high-end complex is ‘Pop and Pope’ – a restaurant, bar and event space. The venue operators harbour the aspiration of elevating Tel Aviv as a hub for excellence in cuisine combined with the most modern and inspiring of atmospheres and spaces. Naturally the desire to provide a high calibre environment for guests and diners includes the provision of state-of-the-art audio.

To achieve this, Hagag Group has worked in conjunction with audio specialist Kahane Group to supply an aesthetically pleasing and high quality sounding Void Acoustics installation for this prestigious complex located in the heart of Tel Aviv’s CBD. Kahane Group has worked alongside Hagag Group on previous occasions, primarily on high-end domestic properties focussed on installing innovative smart home solutions. However, this is the first big audio project they have undertaken for Hagag in a commercial setting, and was a new and dynamic challenge for the teams.

Pop and Pope occupies 2,200 sq metres of space across the 14th floor of Ha’arbaa Towers in the centre of Tel Aviv. With panoramic views across the city, it provides unparalleled high class, sky high hospitality

for the residents of, and tourists to the city. The brief was to execute an audio installation reflecting the high calibre nature of the venue.

The venue opted for Void’s signature Air Series loudspeakers in their trademark red, highlighting them as futuristic features around the space. As a result, the audio specification includes a distributed system providing not only aesthetically pleasing fixtures but an exceptionally high-power output with a non-fatiguing sonic signature.

The Airten, Airmotion, Air 8 and Venu 215 loudspeakers all feature and are supported by Bias Q2 amplifiers.

EMEA Sales Manager for Void Acoustics, Josh Pearce was delighted to support Kahane Group with the project. “The Kahane team are highly skilled and professional with great industry knowledge and experience. They have a wide network of contacts in the region and are very much the type of business partners we at Void like to work with.”

Audio consultant Alon Laski manages all major projects for the Kahane Group and enjoys an excellent working relationship with Void Acoustics. “The design aesthetics of Void’s products ooze luxury and ‘newness’ so made them the perfect products to install into Pop and Pope” explained Alon. “The venue layout provided some challenges and we had to be careful to position the fixtures to ensure smooth and even coverage of audio particularly for the dance area.”

The events space offers an adaptable space for a plethora of events including product launches, publicity events, weddings, birthdays and anniversaries and any other type of private event and so the audio installation needed to be multi-functional and adaptable. “We worked collaboratively with Alon and his team on the ground from the initial specification through to the installation to ensure the system was fitfor-purpose and could address all possible requirements,” continued Josh.

The new venue opened to much public and media acclaim last summer and enjoyed being fully booked in late summer 2020, between Israel’s pandemic lockdowns. However, with further pandemic spikes the venue is closed once more and there is currently no date confirmed for the reopening of the restaurant and entertainment venue.

“The venue concept for Pop and Pope was born against the background of a global trend of opening entertainment and culinary centres at the heart of prestigious office towers in major cities around the world” comments Yossi Shema, CEO of Pop and Pope Restaurant. “An integral part of creating an atmosphere is acoustics, sound quality and of course the music that is played. I am confident we have achieved all of this in all senses through the installation of a complete Void Acoustics system which contributes to the overall experience for our guests,” he smiles. “We really couldn’t be more thrilled.”

Void’s Josh is encouraged about the potential in the region. “There is massive potential in this region, and once the pandemic is under control, I am certain we have given ourselves the very best chance of succeeding being represented by the team at Kahane. We look forward to nurturing this relationship into the future with our hospitality, residential and touring series.”

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RE ST AUR A NT SOU L O F MEX I CO TECHNICAL DETAILS Location: Dubai, UAE Manufacturers: Digital Projection, Martin Audio, Powersoft Submitted by: Digital Projection

Branded as ‘The Soul of Mexico’ in Dubai, Meshico group consists of three restaurants across the city: Puerto 99 Bluewaters, which overlooks Dubai Marina and the JBR skyline; Meshico The Point, The Palm Jumeirah, overlooking Atlantis the Palm; and Tulum, Dubai Mall, next to the Dubai Fountains.

Each of these characterful venues have their own bar area with live DJs, an array of moving heads, and a top-of-the-range Martin Audio PA system powered by Powersoft amplifiers.

While this is all to be expected for a high-end chain of restaurants in a city like Dubai, the Meshico group decided that an extra layer of visual splendour was needed; namely a mesmerising tablemapping show that expresses the ethos of the brand and the spirit of Mexico itself.

In order to make this ambitious vision a reality, the Meshico group’s first port of call was Pulse Middle East – one of the region’s most well-respected integrators.

“This was a new customer for Pulse Middle East,” said Greg Brown, the company’s operations director. “We were introduced thanks to our portfolio and a business relationship between Pulse and Meshico Group soon blossomed. Once we received their brief for the table mapping aspect of the install, we decided that the high build quality and attractive price point of Digital Projection’s products made them the ideal choice for the job.”

The brief from Meshico group was for versatile projectors that could be used in a variety of orientations and throw distances.

Due to the challenging nature of the environment, they also required high levels of both brightness and colour accuracy to show off the advanced content being displayed.

General manager for Digital Projection in the Middle East, Matt Horwood, said: “Digital Projection worked with Pulse on the design and supply of this project to ensure we could deliver a technically complaint solution within the timescale required. Projection mapping provided the most versatile and accurate solution for the client, as it keeps the technology away from the customers but displays the content and wow factor right before their eyes.”

A total of five Digital Projection E-Vision Laser 8500 projectors were chosen to cover five tables; two individual tables and three that had been combined to make a 4.5m long surface able to seat

12.

The E-Vision Laser 8500 Laser delivers a stunning 8,500 lumens from a stable solid-state light source, capable of producing over 20,000 hours of illumination. This single chip projector was developed with ‘Fit and Forget’ directive, ensuring it needs only minimal maintenance throughout the lifetime of the display, which was music to the Meshico group’s ears.

Equally compelling for them was the lack of lamp replacements due to the solid state illumination system. By bypassing regular lamp replacement cycles, almost all costs related to the E-Vision Laser are incurred at time of purchase. This key characteristic allows the E-Vision Laser to have a much lower cost of ownership over the lifespan of the display.

With the projection hardware chosen, the first step for the team was to find a solution where a single mobile device could control the lighting, audio, and projection at the same time. This solution needed to be elegant, simple and be completely bespoke.

“Pixilab Blocks offered us the ultimate solution,” said Brown.

“Admin tablets control the tables and the phases of the journey as well as writing live text upon the table at any time. User control of individual places using individual tablets locked to the position the guest is sitting to have guest interactivity with the menu.”

The Pixilab Blocks were seamlessly integrated with Dataton’s Watchout to provide a multi display output to the system, creating a beautiful image across the huge main table. Interactivity comes with the help of a Blocks spot sending NDI video into Watchout to add the additional elements.

When the button is pushed to start the show, the video loop synchronises with house lighting and audio to create a truly unique ambiance.

“Meshico are ecstatic about creating this first-of-its-kind guest experience for their customers,” said a spokesperson from Meshico group. “Upon booking a table, content can be customised for a guest for special occasions, including posting personalised photos upon the table. We are excited to witness birthdays, anniversaries and marriage proposals that make full use of this unique and beautiful dining experience.”

“We really enjoy working with Pulse for a number of reasons,” said Matt. “They have the experience, the knowledge and the technical skills to design and install even the most complex audio-visual systems. This offers Digital Projection peace of mind when partnering on such technically demanding projects; safe in the knowledge that the complete system will always exceed the customers’ expectations.”

Link to https://issuu.com/mondiale/docs/md31-4_digital_issuu/48

SH O RT LIS TE D - R ETAIL & LEISURE BRO W NS TECHNICAL DETAILS Location: London, United Kingdom Manufacturers: K-array Distributor: 2B Heard Architect: Dimorestudio Installer: AT&C Professional Systems Acoustician: 2B Heard The client wanted the best sound possible for its new flagship boutique in Mayfair’s Brook Street but the speakers had to be invisible – consequently the majority were concealed in shadow gaps or recessed behind grilles in special enclosures. Additionally, no audio hardware was allowed to be fixed to the structure of the grade II* listed building that houses Browns newest outlet, and that required custom mounting brackets to be fabricated.

The sheer amount of attention to detail needed to fulfil the client brief: the designers were adamant that minimal visual impact on any of the spaces would be required – and that translated in ‘no impact’. Extensive acoustic planning was needed to create effective sound coverage from what were essentially limited options for loudspeaker placement. The client’s view was: “In terms of aesthetics and answering the brief for our new flagship Browns Brook Street, AT&C succesfully delivered. We are also incredibly impressed with the audio quality and ease of use.”

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SHO RT LIS TE D - R ETAIL & LEISURE M A M A K A HOT EL TECHNICAL DETAILS Location: Bali, Indonesia Manufacturers: Lynx Pro Audio Distributor: Melodia Installer: Sontastic Submitted by: Lynx Pro Audio

Weather-resistant Juno loudspeakers have been installed at the Mamaka Hotel in Bali (Indonesia). Lynx Pro Audio’s Indonesian distributor, Melodia. and their AV consultant partner, Sontastic, chose Juno loudspeakers for their loud and clear sound together with elegant and discreet design.

Mamaka Hotel is a beach-front urban resort for modern travellers, foodies and social-surfers alike. This is one of the most touristic areas in Asia and its tropical climate sets the demands on the equipment to be installed, especially when it comes to setting up sound outdoors. Juno Series loudspeakers are the ideal option since they are resistant to elements such as rain and salt, with IP46 rating protection.

49 Juno enclosures have been installed, distributed among the entrance of the hotel, the restaurant, lounge bar, DJ area and swimming pool. The white finish six-inch loudspeakers (JN-6T) were installed mainly indoors whilst the black finish eight-inch loudspeakers can be found between the pool & DJ area. Most of the loudspeakers have been set up horizontally, using the U-bracket supplied as standard with each cabinet.

The installation of Mamaka Hotel is just a sample of the competitive solutions that the JUNO series deliver in beach clubs, swimming pools, terraces, etc.

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T H E G O O DTI ME HOT EL TECHNICAL DETAILS Location: Miami, USA Manufacturers: DAS Audio, BSS Audio, Crest Audio, Crestron Architect: Morris Adjmi, Ken Fulk, Raymond Jungles Installer: Electronic Designs Acoustician: John Fiorito Submitted by: DAS Audio The Goodtime Hotel – the first lifestyle hotel from David Grutman of Groot Hospitality and American musician, Pharrell Williams – has opened its doors on Miami Beach’s Washington Avenue and 6th Street.

Delivering an Art Deco aesthetic with a twist, the 266-room venue has been developed by real estate entrepreneurs, Michael D. Fascitelli and Eric Birnbaum of Imperial Companies, who assembled the full square block between 6th and 7th Streets, while New York Citybased architect, Morris Adjmi, acclaimed interior designer, Ken Fulk, and landscape architect, Raymond Jungles were responsible for its incredible spaces, rooms and gardens.

“It took five years to bring our vision to life. The developers, Eric and Michael, saw the potential of this space. We wanted to create a product that stands apart and something that is unique to Miami Beach’s hospitality scene,” said David.

“The Goodtime Hotel promotes an active, balanced lifestyle of equal parts, happy pursuits and relaxed escapism, all within an everythingat-your-fingertips tropical oasis.”

Standing in a central, historic section of South Beach, The Goodtime Hotel features a corrugated facade, airy atrium, hand-painted hothouse murals and Deco plasterwork that recall the opulence and nostalgia of a time gone by, though this building has been entirely designed for the modern traveller. Its guestrooms range from individual queen bed accommodations to a handful of suites, with many rooms offering direct views west to Biscayne Bay or east to the Atlantic ocean.

The property is also home to David’s Strawberry Moon, a

restaurant and 30,000 sq ft pool club serving up classic and casual Mediterranean fare as well as specialty cocktails for lunch and dinner - inside or poolside. The venue amplifies modern Miami’s crossroads of culture and energy, with Ken’s design concept tipping its hat to mid-century Caribbean and Central American resort towns, such as Havana and Acapulco in their throwback days. Elsewhere, there’s 45,000 sq ft of ground-floor retail, a gym with MyBeast and Peloton equipment, and a glossy peach-hued and natural oak-clad library for anything from coffee to cocktails, through to business meetings.

“My first hotel needed to break the mould,” explained David. “I wanted to provide the 360-degree Groot Hospitality experience that our other venues are known for, but add more. This is about providing a getaway within a town that’s already known as a vacation spot. When you arrive at the hotel and walk through our doors, it becomes a full-on experience; we want you to feel like your worries and anxieties have been left outside. I am proud to have worked with Pharrell, Michael, Eric and Ken on bringing this hotel to life.”

Pharrell added: “We want The Goodtime Hotel to impart a feeling of both revitalisation and that rare, exciting thrill that takes over when you discover something special. It’s that adrenaline-fuelled sensation of entering a whole new setting and mindset. This place will provide a natural good time, for all who come through.”

With so much attention paid to the hospitality and design of The Goodtime Hotel, the entertainment technology had to live up to its incredibly high standards – particularly with the events due to be hosted at the venue.

“The Pool at Strawberry Moon is the main gathering place in the hotel and where most of our day and night time events will happen from top headlining DJ sets to cocktail receptions, corporate functions and more,” added David.

“Coming from nightclubs and restaurants, my team and I are always looking for the best audio production possible to ensure that top headliners love coming to perform at our venues and that the guest experience is always great,” added David.

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RE T A I L & LE IS UR E 1RE BE L TECHNICAL DETAILS Location: Riyadh, Saudi Arabia Manufacturers: CHAUVET Professional, CHAUVET DJ, ShowCAD, MADRIX, Clay Paky, ArKaos, Martin Audio, Powersoft, Cloud Electronics, Kvant, Look Solutions Distributor Middlesex Sound & Lighting Architect: Middlesex Sound & Lighting Lighting Designer: Middlesex Sound & Lighting Installer: Middlesex Sound & Lighting Acoustician: Middlesex Sound & Lighting Submitted by: CHAUVET Professional & Middlesex Sound & Lighting

Since its launch, 1Rebel has broken the mould when it comes to what we think a gym should look like. Described as a ‘high intensity, dual studio fitness concept,’ 1Rebel venues all look more like your average superclub, than the typical drab gyms and are an immersive entertainment venue.

Now, after the success throughout London, 1Rebel has entered the Middle East market for the first time, with the launch of two clubs – one for male clients and one for female – in Riyadh, Saudi Arabia.

When it comes to its gym facilities, 1Rebel provides four different concepts for its members.

There is Reshape, which is the ultimate full-body workout, with quick-fire rounds of high-powered treadmill sessions and dynamic weight sequences, designed to challenge, inspire, burn fat and push members to a level they didn’t think was possible.

The second is Ride, a spin class to the backdrop of an incredible, club- like lighting and audio system, complete with trainer-curated playlists designed to help members ride to the beat and burn calories.

Next, there is Rumble – a hard-hitting boxing workout that offers 45 minutes of high-quality sound and energy as members work on their speed, footwork, strength and, most of all, willpower.

Finally, there is Reflex, which is custom-curated, one-to-one training, focussing on functional movements and body toning. This gives members the opportunity to push their body to the next level against a backdrop of heavy beats and stellar lighting.

Each of these concepts offers something completely different – and this had to be taken into consideration when it came to the technology throughout the venue, particularly as 1 Rebel relies heavily on providing an immersive experience To help deliver the full 1Rebel experience, Middlesex Sound & Lighting (MSL) were enlisted to design, supply and install a full audio, visual and lighting system throughout the two new Saudi Arabia venues.

For the lighting systems at 1 Rebel’s London venues, MSL worked in conjunction with world-renowned lighting designer, Durham Marenghi. “It was only right to carry on with his vision with the new venues in Riyadh,” said Toby. “The brief was simple – stay consistent with the London venues and take it to the next level.”

Nathan Clute, Co-founder and CEO of Pulse Fitness Group / 1Rebel Middle East explained the audio brief: “When designing our clubs and the overall customer experience, delivering premium audio

quality was a primary objective for us, as we believe audio is a core component of our offering. Our clubs require us to deliver multiple different experiences within a relatively tight operating envelope, and, as a result, we needed an audio solution that allowed us to operate independent zones, each operating at different volume levels with different music and audio genres.”

“Within our studios, we needed a solution that had the power to deliver intensity without distortion, with uniform coverage throughout the space, and with the ability to have clear vocals regardless of the underlying music volume. We find, more often than not, that operators try to overcome poor audio infrastructure with volume, which does nothing but distort the user experience.

For Ride, it’s a long auditorium with stepped platforms, so it had to have a time-aligned system, with club-style levels. We had to offer every rider the same experience wherever they were located within the space. “Reshape, with its weight workout and running machines needed good- quality distributed audio, Then, Rumble – higher output, intense, evenly- distributed audio was required. And, finally, the one-to-one training at Reflex needed distributed audio, too.”

Toby furthered: “Martin Audio was specified for all locations – this fell in line with most setups here in the UK. It offered a good, costeffective solution with impressive audio quality.

Martin Audio’s Black LineX range was used for all studios, with the ADORN Series deployed for the customer walkways outside of the studio spaces. “Powersoft M Series amplifiers were deployed for all of the studios – they offer an amazing build quality and sonic performance. It was important to specify a reliable amplifier brand and Powersoft ticked all the boxes – we have been specifying these for years across multiple installations here in the UK. Reliability was key when it came to the amplifiers and Powersoft’s range was the obvious choice, as they offer incredible output for the size and weight. For the customer areas, Cloud Electronics’ VTX4120 amplifiers were used. “For the processors, we used BSS BLU-100s and multiple BLU-BOB2S. The open architecture offered our programmers maximum flexibility – we set these up on a live network and can remote connect from the UK to tweak and adjust where required. All audio mixing for mics and music for each studio is automatically mixed by the devices – instructors simply have two custom-made controls for mic and music levels. Each studio has one music input and two mic inputs. Multiple Trantec radio mic systems were supplied with headsets, too.”

Each lighting fixture was specified for its reliability and performance within a demanding environment. Once again, each system had to be different depending on the concepts, with MSL taking that into consideration when they supplied and installed the lighting at the two venues.

For the Ride studio, each class is unique in terms of the lighting show, which is all controlled from a single 22-inch ELO touch screen mounted in front of the instructor’s bike.

41 CHAUVET Professional COLORado 1 Solo wash lights were deployed in the studio, with one fixture used over two bike positions.

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A LLE GI A NT S T ADI UM TECHNICAL DETAILS Location: Las Vegas, USA Manufacturers: Samsung, Ephesus Lighting, JBL Professional, Ross Video, Camatic, Sony, Evertz, Canon, ChyronHego, JMA Wireless Architect: MANICA, HNTB Installer: Archkey Technologies Submitted by: Allegiant Stadium

It’s been a long time coming, but the Raiders have found their permanent home in Las Vegas with the opening of the incredible Allegiant Stadium. The $2 billion venue, located adjacent to the world-famous Las Vegas strip, is a truly multipurpose stadium and global events destination, delivering for both the franchise and the city.

Allegiant Stadium, which has a total capacity of 65,000 – expandable to 72,000 for Super Bowl events – is one of the most technologically advanced, which, combined with a truly striking design, already puts it on the map when it comes to must-visit venues.

The design for Allegiant Stadium came from a partnership between MANICA and HNTB, with both firms coming together to create a sleek, modern venue that was not just the new home for the Raiders, but perfectly suited to its surroundings in Las Vegas.

As the Allegiant Stadium design began to take shape, JMA Wireless were enlisted to assist with the design for the wireless system throughout the venue. As a leading global innovator, JMA connects the mobile world with high quality solutions that ensure reliability, streamline operations, provide unrivalled cost savings, and maximise wireless performance.

The broadcast setup is a vital part of the infrastructure at Allegiant Stadium, with Wrightson, Johnson, Hadden & Williams (WJHW) enlisted as a consultant for the production control room design. Justin Lange, Manager of Audio, Video, Broadcast and Cisco Vision Operations at Allegiant Stadium, explained further: “Our production control centres around a full 2110 IP Evertz EXE video and audio router. The building is outfitted with a 5ME Ross Acuity production switcher with two, four bus panels. Three Ross Xpression nodes power six key/fill outputs for production graphics, while EVS drives twenty channels of record and eight channels of playback. ChyronHego provided their Virtual 1st Down solution, as well as their tele-strator product called Paint that enhances the graphical capabilities of the facility.

The broadcast setup is a vital part of the infrastructure at Allegiant Stadium, with Wrightson, Johnson, Hadden & Williams (WJHW) enlisted as a consultant for the production control room design.

Justin Lange, Manager of Audio, Video, Broadcast and Cisco Vision Operations at Allegiant Stadium, added more insight into the technology.

“Our production control centres around a full 2110 IP Evertz EXE video and audio router. The building is outfitted with a 5ME Ross Acuity production switcher with two, four bus panels. Three Ross Xpression nodes power six key/fill outputs for production graphics, while EVS drives twenty channels of record and eight channels of playback. ChyronHego provided their Virtual 1st Down solution, as well as their tele-strator product called Paint that enhances the graphical capabilities of the facility.

“Production control is rounded out by the use of seven Sony HDR

cameras, with a mixture of 4300, 3500 and 3100 models. Lenses are all Canon manufactured with three 90x, two 60x, two 24x and one wide angle model.”

“Production control is rounded out by the use of seven Sony HDR cameras, with a mixture of 4300, 3500 and 3100 models. Lenses are all Canon manufactured with three 90x, two 60x, two 24x and one wide angle model.”

With future proofing at the forefront of the project, Samsung’s LED display products are used exclusively throughout the venue, including the videoboards, score clocks and multiple ribbon displays within the seating bowls.

“There are a total of 41 video screens throughout the venue, totalling 67,000 sq. ft. Beyond the LED displays, there are an additional 2,553 displays throughout the stadium, ranging in size from 27” to 98”. Samsung also had the honour of outfitting the Intermountain Health Performance Center in Henderson, NV. The training facility’s theatre room is home to the first 1.2mm, 4K high-definition resolution (HDR) screen in the NFL measuring 9ft. x 16ft.,” added Brett Unzicker, Vice President, LEE-S, Display Division, Samsung Electronics America.

Ephesus Lighting fixtures were the first LED lighting solution to illuminate an NFL stadium and, having installed LED sports lighting solutions at many of the most iconic NFL stadiums, the team at Allegiant Stadium reached out to Ephesus.

Justin explained further: “The sport lighting system is driven by Ephesus Stadium Pro fixtures, while the seat lighting is taken care of by the Ephesus All Field fixtures.

“There are also 80 colour-changing Ephesus RGBA fixtures included in the main bowl lighting system. The bowl and back of house lighting system is all controlled under ETC Paradigm, making concert blackouts and other full stadium preset changes quick and easy.”

Michael Quijano, Director of Business Development & Product Marketing at Ephesus Lighting, continued: “Our Stadium Pro fixture provides the bulk of the lighting, but, once it was decided to set a new standard in entertainment functionality, we added 80 of our Prism RGBA fixtures – an unprecedented number of colour fixtures."

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SH O RT LIS TE D - S TADIUM A S C O T R A CEC OURS E TECHNICAL DETAILS Location: Ascot, United Kingdom Manufacturers: Bose, Samsung, Kappture, Pronto CX, SKIDATA, Vivaticket, UtterBerry, Chargifi, Looking Glass Installer: SSE Audio, Elite AV Submitted by: Ascot Racecourse

Ascot Racecourse is visited by just under 600,000 people a year, accounting for 10% of all UK racegoers. It was the first racecourse in Europe to reach the 500,000-racegoer milestone, too, highlighting its immense popularity.

As well as world-class racing, Ascot Racecourse is also used as a movie and television filming location, as well as a venue for conferences, banquets, exhibitions, product launches and weddings.

Despite its prestigious reputation and traditional charm, Ascot Racecourse hasn’t shied away from embracing the modern era.

To achieve the Smart City plan, Ascot Racecourse had to begin the process of upgrading the technology in a number of areas, with one of those being the venue’s audio system.

With the decision made to go with Bose, SSE Audio were commissioned to design and install the large scale audio system that would suit Ascot Racecourse’s specific needs.

Andy Rigler, UK & IRL Manager, Bose Professional, added: “We worked really closely with Eddie and the SSE team. We’d informed Eddie that a large, entertainment-quality, outdoor loudspeaker, built for EN54, was coming from Bose. Having had a great experience with Bose ShowMatch loudspeakers in The O2 Arena, Eddie was confident that we could deliver with our next generation of DeltaQ loudspeakers.

“ArenaMatch loudspeakers can be configured with different horizontal and vertical coverage patterns, meaning that the dispersion pattern can be finely focussed to where it is needed.

Each ArenaMatch loudspeaker features a 14” woofer, plus six EMB2S compression drivers delivering full range, high SPL, performance, without the need for sub bass units. This performance, coupled with the loudspeakers’ light weight, meant that Eddie and the SSE team had more choices on where and how

the units would be hung within the grandstand.”

“We are incredibly excited by the audio improvements this new collaboration has brought to the venue. Sound is an integral part of the customer experience and working with a brand like Bose – a brand that shares many of our values and speaks to a similar audience – represents the perfect marriage of technology and tradition. SSE Audio have implemented this system perfectly – the two companies have worked brilliantly together to deliver an impressive system,” said George Vaughan, Head of Technology, Ascot Racecourse.

The visual element of Ascot Racecourse was another vital part of the project, with the venue deciding to work with Samsung on a full upgrade of the screens. Paul Tippins, Business Development Manager at Samsung, explained further: “Ascot were looking to replace all existing screens in the venue, from the concourse areas to the hospitality suites, but they had also identified other areas that would benefit from Samsung technology. There is a mixture of high-end hospitality suites, areas with high sunlight and areas that required larger video wall screens.

“George became very familiar with the Samsung range of products and solutions by attending tradeshows – specifically ISE in Amsterdam – so, he had a good idea of what he wanted to achieve at Ascot. This was all put together by working closely with Ascot’s system integration partner, Elite AV.” George added: “We worked with Samsung on the 4K television upgrade – and that’s still ongoing. We had around 800 screens originally, but this number increased to over 1300 screens for Royal Ascot.

The technology deployed throughout Ascot Racecourse is built with the visitors to the venue in mind – and that is certainly true of the new point of sale system that has been provided by Kappture.

Andrew Motley, Commercial Director at Kappture, gave MONDO | STADIA some background on how they became involved at Ascot Racecourse: “We responded to a business tender response document in 2018 and went on to present to the Ascot hospitality & IT projects team. The brief was to future proof, deliver innovation and upgrade the existing hospitality EPOS platform. We had to provide greater flexibility for both EPOS users and administrators, reduce training time, reduce the speed of customer transactions, provide real time data, reduce support overhead and develop new solutions to improve efficiencies.

“We were successful in our presentation, so, from there, we went on to provide a fully integrated EPOS & Stock Management solution for the venue. This comprises of the standard fixed terminals around Ascot Racecourse, but also mobile terminals to be used for fine dining restaurants and within the private boxes, coupled with all-in-one POS and Payment PAX devices for use all over the estate.”

Ticketing, security and access have always been an important part of sporting venues, though the current COVID-19 pandemic has put them into sharper focus, particularly when it comes to using digital tickets to enter a venue. If they haven’t already, introducing contactless entry has to be a real priority for venues across the globe.

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Ú N IC O M A D RE D E C I U DA DE S STA DIUM TECHNICAL DETAILS Location: Santiago del Estero, Argentina Manufacturers: Powersoft, Italy / STS Touring Series, Argentina / Xilica, Canada / beyerdynamic, Germany, Audinate Distributor: Equaphon Sistemas de Sonido Installer: Equaphon Sistemas de Sonido Submitted by: Equaphon Sistemas de Sonido & Audinate

The audio system inside the stadium had to comply with FIFA, CONMEBOL and AFA safety standards and regulations. As a PA systems manufacturer, Equaphon Sistemas de Sonido was in a position to fine-tune the proposed loudspeaker arrays with EaseFocus prediction software to achieve optimum levels and coverage at the design stage, implementing the settings on each Powersoft amplifier through its dedicated Armonia Plus software.

According to regulations, the PA system must be zoned for proper announcements and emergency routing on different scenarios. This was easily accomplished with an audio Dante network supported natively in every installed amplifier and matrix. More than 10 independent zones were implemented with the possibility of receiving any message independently or by grouping two or more zones.

All operations are simple and straightforward. By employing Xillica touch panels with customised screens at each paging station, these requirements were met with ease.

Taking into account that the 270Kg (600lb) arrays would be suspended at a height of 36-metres (120ft), it was of fundamental importance that all the elements would be elevated in such a way as not to need further adjustments. Every single degree of variation would impact significantly on the final performance. With this objective in mind, all the necessary field tests were carried out previously. Since flying complex elements by means of movable points of attachment is highly dependent on their centre of mass, by recreating the final scenario in a test environment, all slings dimensions were defined. Once the arrays were raised on their bumpers and fixed to the stadium structure, the error of measured angles never exceeded 1°.

Everything was planned and considered in detail. What was not part of

the plan was the global pandemic. Equaphon management was faced with reducing the number of staff on site to zero, to cancel all trips, and to work with local installers.

It quickly realised that, thanks to the chosen technology, it was able to work on all signal routing, programming and testing, remotely from its headquarters, which is 1,000km (600mi) away. We sent a small team to the site for a few days to finish the installation, adjustment and measurement tasks and did almost everything else remotely.

This was a great project not only because of the scientific approach of its implementation and the technologies its products offer.

This opportunity taught Equaphon how, by rethinking procedures in a new way, it still could achieve a successful outcome. A new way, with its many advantages, that can be replicated in future work.

Estadio Unico Madre de Ciudades ran into a challenge during its 2020 AV integration due to Covid-19 restrictions. Luckily, the AV integration firm working on the stadium, Equaphon Sistemas de Sonido SRL, found a unique way to integrate the stadium’s audio system while still adhering to all health and safety restrictions in place due to COVID-19 – all thanks to the trust they put in Audinate’s Dante audio network platform.

With Equaphon needing to reduce the number of staff it had on-site during the integration process they discovered that Dante would enable a modified number of staff to be on-site without compromising the quality of work or the timeline.

“We quickly realised that with Dante we could work on all the routing, programming and testing from our headquarters, which is located 600 miles away,” said Alberto Escriña, member of the Equaphon Engineering Department. “We sent a small team to the site for just a few days of installation, adjustment and measurement and we did most everything else remotely. When we finished, the system sounded incredible."

The Equaphon staff at the company’s headquarters in Buenos Aires used remote desktop-sharing software to access Dante Controller software running on-site at the stadium. Dante Controller provides essential device status information and powerful real-time network monitoring – including device-level latency and clock stability stats, multicast bandwidth usage, and customised event logging.

The Equaphon team was able to use Dante Controller to easily backup, restore, move, and reuse Dante network configurations through presets. The ability to edit Dante routing configurations – both online and offline – was also beneficial. This process allowed for an efficient and effective remote setup, resulting in less time on the road for the Equaphon team.

“Our team only had to be on-site for a few days for the physical installation,” Alberto said. “That further reduced the cost of the project as it lowered travel and lodging expenses.”

The flexibility of Audinate’s Dante enabled a new integration paradigm for installation teams – one that reduces the number of staff required to be sent on the road for a project. This reduces the travel, lodging, food, and hours billed on a project.

The result? More expansive systems being installed into more locations.

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SOF I ST A DI UM TECHNICAL DETAILS Location: Inglewood, California Manufacturers: Samsung, JBL Professional, Cisco, Hella Construction Architect: HKS Architects Installer: Pro Media Audio Video Submitted by: Samsung

SoFi Stadium, located inside the brand-new Hollywood Park in Inglewood, California, is the newest large-scale, stand-out stadium to be constructed in the US. The state-of-the-art home of the LA Rams and the LA Chargers, will be the largest indoor-outdoor stadium in the NFL at 3.1 million sq ft, and will be the centrepiece of the world-class sports and entertainment destination being built by Los Angeles Rams Owner and Chairman, E. Stanley Kroenke. The stadium will sit alongside a hotel, and premium retail and hospitality spaces, as well as commercial office areas and outdoor parks that aim to take the game day experience to new heights, offering fans a jam-packed day out featuring never seen before technology.

The stadium has been a huge boost for the economy and Inglewood’s community spirit, with a third of the 12,000 workers coming from Inglewood and the two surrounding zip codes.

When the venue is fully open, it will also provide over 3,000 game day jobs across its various retail and hospitality spaces. As well as the help from local residents and businesses, SoFi Stadium collaborated with HKS Architects, Walter P Moore, Samsung, HARMAN and Pro Media Audio Video, to name but a few, to fully enhance the fan experience and firmly set it on the map as one of the best stadiums in the world.

Currently, SoFi Stadium is around 97% complete, and will soon open and play host to an array of exciting sports and entertainment events. Having already secured Super Bowl LVI in February 2022, as well as the College Football Championship Game in 2023, and the Opening and Closing Ceremonies of the Olympic Games in 2028, the venue is set to become one of the most hotly tipped sporting destinations across the globe. SoFi will have the ability to hold a seated capacity of approximately 70,000, which is then expandable up to 100,000 featuring 26 luxury suites and more than 13,000 premium seats.

Skarpi Hedinsson, Chief Technology Officer at SoFi Stadium takes up the story: “It’s been over 100 years since a stadium of this size and scale has been built in Los Angeles, so SoFi and Mr Kroenke’s vision has the ability to completely reinvent the city. I think the stadium will provide an unrivalled experience that really shows the fans how an event should be experienced, whether it’s an NFL game or a live concert.

“Across sport, especially in the US, we’re seeing new venues built that want to have an element of premium. I’m not talking about just the premium suites here, but premium across the board, including more food and drink offerings, better facilities,

outstanding technology and better presentation across the stadium as a whole. With SoFi we worked hard to come up with ways to really provide a unique game-day experience that incorporated all elements of technology and matchless offerings.”

Heading up the design of the stadium was HKS Architects, an architectural firm with real grounding in sporting venues, with the company also being behind the Dallas Cowboys’ $1.3 billion retractable roof at AT&T Stadium in Arlington, Texas, and the Minnesota Vikings’ fully enclosed $1 billion U.S. Bank Stadium in Minneapolis.

During the design process the team at HKS considered a number of factors including industry, architecture, lifestyle, climate, geography and landscape to create an authentic Southern Californian expression and experience at SoFi stadium. “The sweeping Southern Californian coastline and the beauty and strength of the ocean contribute to the clean and dramatic curves of the stadium’s unmistakable architecture,” explained Lance Evans, Senior Designer, HKS Architects. “We created a venue that epitomises the SoCal indoor-outdoor lifestyle. The stadium’s roof, seating bowl, concourses, and landscape were all sculpted and designed to create the feel of an outdoor venue, while providing all of the flexibility of a traditional domed stadium.”

HKS were tasked with matching the architecture of the building to the unrivalled fan experience that will take place within the walls. To help enhance this, a series of unique seating products with the ability to cater to a wide range of fan preferences, including large suites and patio clubs that feature unique park-like landscape environments and unparalleled views were installed.

“As well as the seating, we designed the stadium environment into a meandering, ultra-premium, 360º experience to give fans the opportunity to discover new and exciting offerings, game to game,” said Mark Williams, Principal at HKS Architects. “In order to take full advantage of LA’s incredible climate, views and landscape, we had to reimagine how concourses flow and function. In a typical stadium the field is the singular attraction, so we naturally focus everyone on that. But with SoFi Stadium, there are multiple attractions – the field, the huge centre-hung Samsung videoboard, the breath-taking views in all directions around the site, and the diverse landscape of each entry – and we wanted fans to be able to enjoy these from anywhere in the stadium.

“We designed the concourses to be as open as possible with views both in and out of the stadium. For example, walking around the upper concourse there are uninterrupted views down to the field, an epic wide-screen view of the video board, and full 360º views of the Southern California site, all while providing ample concessions, bars, restrooms, service and circulation space.”

As SoFi Stadium will also be a destination for entertainment and large-scale concerts alongside sport, HKS Architects had to take this into consideration during the design process, in order for the stadium successfully play host to such a diverse range of performers.

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C U RV E T HEATRE TECHNICAL DETAILS Location: Leicester, UK Manufacturers: GLP, ETC Lighting Designer: Ben Cracknell / Jonathan Laidlow Submitted by: GLP

Originally slated to reopen Leicester’s Curve Theatre as part of a season of socially distanced ‘in-the-round’ shows, Sunset Boulevard in Concert was forced to become a streaming event due to continued lockdowns in the UK. Nevertheless, the technical production continued to be supported by new generation Profile, Spot and Wash lighting from GLP, as originally planned, which now took on an increased role.

Theatre lighting designer, Ben Cracknell, an associate artist at Curve with a long list of credits behind him, specified a large quantity of the new impression 350 series from GLP. The multicamera film version – which was scheduled to stream over an 18-day period starting 22nd December – brought even more out of the venue, according to Ben. “What was already a fairly distinctive in-the-round production, using not only the 960-seat auditorium but the studio theatre as well, became enhanced as scenes were staged on technical galleries, beneath the auditorium and in the balcony as well.”

The automated lighting fixtures, which comprise six impression S350 Profiles, six E350 Spots and four S350 Washes, proved invaluable as Ben’s design needed to evolve to the new staging and medium at very short notice.

Simon Barrett, head of GLP UK, has a relationship with Ben dating back to the time when they both studied lighting at Rose Bruford College. “The plan is to help with the theatre reopening, as they rearrange the space to stay COVID-compliant,” he said. “We are pleased to support the theatre with the use of our 350 range of fixtures.”

The main stage is a 10-metre circular revolve, with the audience spaced in the 960-seat auditorium, a bank of seating in each wing, and finally in the area that is normally the Studio theatre stage.

According to the theatre’s head of lighting, Jonathan Laidlow, who also designed the reconfigured in-the-round auditorium using CAD, “It’s very rare to open up the theatre like this, as most tours we receive are in the traditional format. But the theatre was designed for this purpose, and the one bonus of COVID is how we are able to use the theatre differently and show how well it can work.”

The reconfiguration has also provided an obstacle for Ben, who admitted he was relishing lighting an in-the-round set up and the challenge of lighting this ambitious production for film. The lighting rig resembles the spokes of a wheel with moving trusses radiating out from a central point high above the circular stage drawing focus into the

primary playing space.

“The the building is now a huge oval, the design works on an epic scale; this version of Sunset Boulevard feels more like a live event.”

Ben had also lit the touring version of the show, and since this production will reunite the cast of the original, he will be able to pick up on a familiar aesthetic.

“Our director Nikolai [Foster] has worked wonders to show our audience watching at home an entirely unique view of the theatre.

Now they can climb high onto technical galleries and see all the usually hidden wonders the theatre has. I wanted to light the building architecturally so the viewing audience can marvel at the epic nature of the space,” he explained. “The lights are positioned using the fly tower of the theatre, with big sources coming through the grid, which is about 18-metres high.”

Since the flying frame is automated, the impression 350 range will be set at varying heights, as the grid moves into different positions, allowing spectacular beam movement.

Despite having used GLP solutions many times in the past – dating right back to the original impression X4 – this is his first excursion with the 350 range. Having heard all about them he was excited by the prospect. “They are nice compact units – not in any way cumbersome – and sit neat and tidy on the flying truss.” Both he and Jonathan Laidlow were impressed by the CLD white light source and variable CTO of the range, enabling the LD to adjust the colour temperature of the lights to best suit the needs of the camera.

Jonathan highlighted other important features. “The noise is quite important as normally you get to hide things behind the pros arch, but not in this setting; fortunately the GLP’s run extremely quietly. They are quick and quiet and the shutters on the S350 are extremely good … fast and precise.”

Programming the lighting on an ETC Eos Ti is Curve’s senior lighting technician, David Hately, and the show director is Nikolai Foster.

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D Ü S S E L D ORF S C HAUS P IE L HA US TECHNICAL DETAILS Location: Düsseldorf, Germany Manufacturers: Optocore GmbH, Germany, DiGiCo Distributor: Amptown (ASC) Architect: Peer Seuken Lighting Designer: Visuals - Tim Deckers Installer: Amptown (ASC) Acoustician: Torben Kärst Submitted by: Optocore GmbH, Germany

Like any modern theatre, the Düsseldorfer Schauspielhaus’s goal is to keep pace with ever-increasing demands from production teams. And in the case of a multi-space complex such as this an agile digital infrastructure, with multiple routing options and optimum interconnectivity, is paramount. Hence the theatre’s technical team recently upgraded its Optocore network, originally installed back in 2011, to a far more advanced, and future-proof system.

This has brought their previous analogue set-up entirely into the digital domain, and at the same time increased their connectivity.

These efficiencies have also created side benefits, such as faster change-over and set-up times, in turn enabling longer rehearsal times.

The latest integration, undertaken by Amptown System Company GmbH (ASC), was overseen by the Theatre’s Tonmeister (and Deputy Head of Sound), Torben Kärst, who designed the audio system. This has seen the installation of Optocore M-series MADI boxes in both the large and smaller theatres, and an AutoRouter (in the latter). “The installation was about achieving increased routing options, better sound quality, an increased channel count and greater flexibility,” he stated.

“In theatre, if a director has an idea he/she wants to try out, the scenario is expected to be delivered in minutes. And in terms of transmission, it is also mandatory to keep system latency as low as possible,” he continued. “This is where Optocore is absolutely the market leader. In addition, there are advantages of reliability and the small form factor of the devices so you can easily build large decentralised systems. This is why Optocore was the choice for us.”

The three-building complex itself includes the main theatre at Gustaf-Gründgens-Platz (GGP), housing an 800-seat main auditorium, a 350-seat smaller studio theatre and U’haus (a small cellar stage). All the locations at GGP are now on an Optocore network.

The original Optocore installation had increased routing options in the large theatre, and opened a gateway to the future. “It was always our intention to upgrade the small hall as well, and have access to the same features we have in the larger space,” revealed Torben. “The idea of a new ‘house loop’ came later and was the culmination of the intensive work the team had carried out on the future orientation of the audio technology in the theatre.” The team comprised Head of Department, Peer Seuken, Tim Deckers, who oversees the video, and Torben himself, whose task it is to ensure all the ideas work technically, with full integration and interconnection.

However, the design blueprint underwent many iterations and drafts over a five-year period. Along the way this included a modification to the Optocore I/O boards when the theatre started switched its mixing consoles to a DiGiCo platform.

But the significant changes occurred last year, and Torben tracks the development leading up to the deployment of Optocore’s M-series MADI boxes. “Once we received the go-ahead from our management, we approached [Optocore MD] Marc Brunke and discussed different options and approaches.

From the original proposal for a ‘stand alone’ Optocore system for the small venue came the possibility of exchanging audio signals between both the larger and smaller theatres. “The biggest leap forward was when we decided to centralise our entire wireless system,” Torben continued. “Since then, we have been able to send audio signals across the whole building.” Critically, the third Optocore loop, the Haus-Ring (house loop), was a much simpler but more powerful version of the original design.

These three rings now comprise the two Optocore/DiGiCo loops in both the large and small venues, and the house loop which interconnects both networks with other locations in the building, such as the U’haus, Foyer, rehearsal stage and recording studio, via MADI. CLICK HERE TO READ MORE

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TECHNICAL DETAILS Location: Dresden, Germany Manufacturers: Robe Distributor: Robe Germany Lighting Designer: Staatsschauspiel Dresden Submitted by: Robe

The Staatsschauspiel Dresden in Germany joins a long and growing number of high-profile performing arts venues that are investing in Robe’s T1 series of moving lights, a refined product line tailored to meet the exacting demands of this sector.

The 52 T1s – 20 T1 Profiles and 32 T1 Fresnels – were specified by Staatsschauspiel’s Head of Lighting & Video, Andreas Barkleit, after careful consideration.

The Staatsschauspiel Dresden runs two venues – The Schauspielhaus in the old town with 788 seats and the Kleines Haus in the Neustadt area which offers three halls with 400, 150 and 99 capacities respectively plus the Kleines Haus Mitte which can accommodate up to 60 people. The main focus is on theatrical performance, but the vibrant program – in a standard year – will also feature music, dance, concerts and spoken word performances.

Andreas has been in the head of lighting and video post since 2018, although his association and work with the theatre goes back to 1994. His professional career started in the mid-1980s and has embraced many aspects of the performing arts, from playing guitar in various bands to working as a freelance lighting designer for several institutions including the Carl Maria von Weber Music Academy in Dresden, The Meissen Theatre, the Dresden Laboratory Theatre, and the Zeithain Prison.

At the Staatsschauspiel Dresden, investments in new technology are made with a ten-year lifespan in mind, and Andreas had been looking at Robe’s T1 series since its launch. At the Prolight+Sound 2019 expo in Frankfurt, he saw it in action for the first time, then after five

shootouts at the theatre, the order was placed, after the T1 prevailed as the best option.

The most important reason we chose the T1 is for the additive colour mixing with its perfectly operating dedicated CTO and CTC channels. This is really innovative and truly impressive!

This was combined with good performance and simple control of the multispectral light source which has not previously been available on this class of fixture – making the colours seriously more vivid compared to those of white light LED fixtures. This fixture is unbeatable in our field of application and having them in the house opens up whole new layers of possibility in lighting design.

The T1s are used for both ambient lighting and to create effects and drama which is why the independent tool-free LED engine recalibration was another strong argument for choosing T1.

In addition to all these benefits, the units are completely silent.

These 52 x T1s together with 12 x Robe LEDBeam 150s and 4 x RobeStrobe IPs, purchased at the same time, are used across both Staatsschauspiel Dresden venues according to the schedule and type of productions being staged.

The Staatsschauspiel Dresden venues were all closed during the first pandemic lockdown in 2020, then in June premiered a new production of the Medea. Stimmen monologues at the Schauspielhaus and also the Veduta – Stadtansichten walk through the city. Then between September and November, restricted audience productions started taking place in the Schauspielhaus and the Kleines Haus 1 and 2 venues, with 13 new productions premiered in a Covid-safe environment.

Since the second lockdown in November 2020, the venues have again been closed to any public performances, although rehearsals took place within strict Covid guidelines during the middle of January 2021.

Everyone is anxiously waiting to see how things will play out in 2021.

This project should win because the investment in T1s, LEDBeam150s and RobeStrobe IPs has opened up new possibilities for design in the Staatsschauspiel. The T1 in particular is an innovative fixture in this discipline and has upped the production potential of the venue significantly.

The fact that Robe products are genuinely ‘made in the EU’ was also a factor in Andreas’ decision. Shorter travel distances mean a reduced ecological footprint and we are also impressed with the quality of Robe’s choice of components, for example the Zeiss optics.

He has known Robe Germany’s Martin Opitz – technical sales for the eastern region – for over 20 years, and his rock ‘n’ roll heritage also meant he was familiar with all the major moving lights manufacturers.

Over the years at Staatsschauspiel, various Robe luminaries have been brought into the houses by visiting productions / LDs and have been spoken about favourably by technicians.Robe RoboSpots for remotely controlled follow spots. All of these are controlled via a MA Lighting grandMA2 Light console – and, of course, there is a second one for redundancy.

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SUN A C G UAN G ZH OU G R A ND THE A TR E TECHNICAL DETAILS Location: Guangzhou, China Manufacturers: L-Acoustics, AVID, Shure, Terbly, Fine Art, Robe, ETC, MA Lighting, LOPU, Panasonic Architect: Steven Chilton Architects Installer: Auerbach Pollock Friedlander Acoustician: Dragone Submitted by: Auerbach Pollock Friedlander

At first glance, the Sunac Guangzhou Grand Theatre looks like a palace from the set of a Disney movie. The breathtaking structure, embellished with Chinese silk embroidery patterns, is not only a tribute to tradition, but a space that combines unmatched architecture with state-of-the-art audiovisual capabilities. Located in the Huadu District of Guangzhou, China, the 2,000 seat, purposebuilt theatre is where it belongs, in a place that has been the home of and inspiration for artists who have helped to define the worlds’ concept of Chinese culture for thousands of years.

The architects behind the theatre’s distinctive design, Steven Chilton Architects (SCA), aimed to channel the history, emotion and creative energy of the city. This sense is magnificently captured in the incorporation of silk. Silk has been painted and embroidered by fine artists in Guangzhou for thousands of years and developed as a creative medium for depicting myths and scenes of nature on tapestries and ornamental robes.

The physicality of silk cloth informs the formal expression of the building through a series of 10 gently twisting folds that define the outer envelope. The various entrances into the building are created by ‘tucking’ the surface in on itself where the valley of each fold would meet the ground plane. Each entrance is protected by a natural canopy created by the overhanging surface before it ‘tucks’ in to define the opening.

The theatre’s mission to cultivate talent is expressed through the imagery applied to the surface of the cladding. Steven Chilton, Director of SCA said: “We were influenced by a beloved local myth, ‘100 Birds Paying Homage to the Phoenix’. The Phoenix or ‘Fenghuang’ stands for virtue and grace, whilst the allegory signifies notions of recognition, leadership and mentoring.”

Using illustrations created by artist Zhang Hongfei, SCA digitised and interpreted his hand drawings before mapping each figure onto the surface geometry. The team then developed a compositional style inspired by tattoo art aesthetics. Each figure was positioned on the body of the theatre over a series of studies in response to the topology of the surface geometry. While significant figures like the Phoenix were positioned where the form afforded prominence, lesser figures such as birds, were organically and less consciously arranged in the spaces between.

The cladding is composed of thousands of perforated aluminium panels, each painted with a unique portion of the overall composition. They are supported by a complex structure of welded steel tubes that work interdependently with the concrete superstructure supporting the theatre floors. Inside the theatre, the auditorium concept design led by Dragone, with theatre consultant, Auerbach Pollock Friedlander, is an immersive performance

environment that can be transformed from a more typical 360º theatre into any number of alternate configurations.

The project was a real team effort from the beginning as Auerbach Pollock Friedlander worked closely with the theatre’s owners and end-users to develop a fast-track method of phasing the audiovisual design process to allow the foundation work to begin. The owners first wanted an audio system that provided the highest quality of enveloping surround sound for the reinforcement of voices, music and effects playback. Paul Garrity, Auerbach Pollock Friedlander’s Audiovisual Designer, explained further: “In the beginning stages of the project, a collaboration was established with the Sunac production audio system designers so that we could look at the needs of the theatre and the production requirements anticipated within the venue.

“Early studies were undertaken for loudspeaker type and placement, coordinating all efforts with other design disciplines. EASE and other computer modelling software was employed to assist in the loudspeaker array design to ensure that proper coverage, SPLs, directivity and sonic quality would be achieved. Several types of loudspeakers and equipment were carefully considered prior to making a final choice of brand and type. Once the basic elements of the design were agreed, the detailed design of the integration of the systems into the building structure was undertaken to ensure that there would be sufficient power, cabling containment, rigging elements and other related and necessary equipment to establish the infrastructure.”

For the theatre’s sound system, Auerbach Pollock Friedlander and the theatre’s system designers specified L-Acoustics KARAi, KIVA II, KS28 and X12 Series loudspeakers, with their associated LASeries power amplifiers. The loudspeaker arrays and subwoofers are placed in discrete locations, so they don’t intrude on the aesthetic of the room or interfere with the rigging of scenic elements and acrobatic performances. The design also allows for additional touring systems to be deployed for the needs of specific productions and performances.

Providing sound coverage in an in-the-round theatre can present challenges for sound reinforcement and playback, so the system also makes use of a digital audio processing system that allows music and sound effects to be routed and mixed into any of the loudspeakers placed throughout the auditorium. Mixing and control is provided in an appropriate position within the performance seating area, or the system can also be operated from alternate locations as required by production needs.

Paul Garrity offered additional specifications about the sound system: “Over 111 high-powered loudspeakers are used. An AVID Venue S6L-32D-192 digital mixing surface console provides control of all the audio sources and distribution channels, using digital signal distribution to the stage. A Soundcraft Si Expression1 console is also provided for additional audio mixing control. Shure wireless performer in-ear monitors have been provided to ensure that key performers may hear music and cueing while on stage, with Shure wireless microphone transmitters and receivers used, too, for performer sound reinforcement.”

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