mondo*dr Awards EMEA & APAC 2019 Supplement

M ONDO* DR AWARDS EM EA & APAC 2019

12 JUNE, 5PM LAFAYETTE’S, POINTE ORLANDO

GE T YO U R T ICKET M O N D O D R AWA R D S. C O M /A M E R I C A S

SPONSORED BY

W E L C OME So, the mondo*dr Awards 2019 Part One is complete. The EMEA & APAC version went off with a bang during Prolight+Sound in Frankfurt on 3 April. This year, we had new sponsors, new production technology and a new event coordinator, all of which helped us pull off our most successful event to date! Therefore, it goes without saying that we owe all of them a huge thank you - alongside our supporters, everyone who submitted a project and the judging panel - we couldn’t have done it without you.

Obviously, we’d like to congratulate all our shortlisted venues and the categories winners, we hope you had a great time on the night. We certainly did.

Part Two is up next, which, in case you don’t already know will be celebrating projects from The Americas region, during a presentation ceremony at InfoComm, Orlando. Hope to see you there.

In the meantime if you’d like to get in touch about anything awards related, drop us a line at: drawards@mondiale.co.uk.

Team mondo*dr

THE AWA RDS IN NUMB E RS. . .

Pre-registration: 380+ Attendance: 400+

MANAGING EDITOR: Rachael Rogerson-Thorley: r.rogerson-thorley@mondiale.co.uk EDITOR: Sam Hughes: s.hughes@mondiale.co.uk DEPUTY EDITOR: Emma Bilardi: e.bilardi@mondiale.co.uk DIGITAL EDITORIAL ASSISTANT: 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 EVENT COORDINATOR: Sara Walker 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 May by Mondiale Publishing Limited, Strawberry Studios, Watson Square, Stockport, SK1 3AZ, UK | www.mondodrawards.com

T H E J UD G E S

A N DY TAY L O R - G A S O L I N E DE S I G N “In an industry crammed with fantastically creative and artistic people, it was once again an honour to be asked to sit on the judging panel for these awards. Still only in it’s third year, the awards seem to be gathering incredible momentum, evident in the high quality of entrants in all categories. More entries this year than any other, made judging the awards even more challenging.”

CAT S TR O M - CAT S TR O M E N TE R TA I N M E N T TE CH N O L O GY P R “The quality of submissions grow every year making judging very difficult! Congratulations to all who entered, it was an incredible array of projects.”

S CO TT W I L L S A L L E N - A U DI TO R I A “Congratulations to the finalists and winners of the recent mondo*dr Awards. It’s great to see such a broad range of projects entered this year, all facing unique challenges of different scales, and all developing innovative and logical solutions to meet the needs in each case. With such agile thinking and sophisticated problem solving as seen in the entries, its fair to say that the industry is in really great shape.

The awards aren’t about the scale of the project, they’re about recognising great work in project design and implementation so I’d encourage everyone to get involved.”

TO DD H E N S L E Y - S CH U L E R SHOOK “The projects exhibited an exciting degree of coordination and sophistication. It was inspiring to see such dedication to these venues.”

S TE P H E N L I E B E R M A N - S J L I G H TI N G “This year’s mondo *dr Awards was another great example of the high level of design being produced around the world. It was an honour to be a part of the judges panel and to have the opportunity to review all of the amazing entries. Congratulations to this year’s finalists and winners.”

M I CH A E L N I S H B A L L - TH E ATR E P R O JE CTS “My judging duties were so rewarding. I felt like the world of entertainment architecture, planning and technology was hand delivered to me. To be made aware in detail of all of these projects through the mondo*dr website informed my practice as a consultant. The project profiles are available to everyone. If you review them, you can learn so much - it’s highly recommended.”

B E N M R O G E R S - A R DE N T CR E ATI V E P R O DU CTI O N “The standard of work represented this year remained top notch with a diverse range of projects showcased in each category. In the judging process I looked at both the creative design elements and the innovative applications of technology. I believe the winners delivered standout achievements in their respective categories and thank and congratulate all nominees for sharing their work.“

DAV I D G R AY - O A S I S E N TE R P R I S E S L L C “With such a diverse set of nominations over many sectors of the industry, it’s refreshing to see how companies continue to solve problems using technology appropriately rather than ‘because it’s there’. Another great year of entries for the mondo*dr Awards.”

OU R S PO N SO RS E R IC LOA D ER Global Sales and Marketing Director “It’s fantastic that together with mondo*dr we can recognise the ‘best of the best’ from all of these amazing projects around the world, some of which feature our products. Elation is honoured to be a part of such inspiring designs, helping to create these amazing venues around the world.”

ARENA SPONSOR

B R IA N D OW D LE Marketing Director “As an event, the mondo*dr Awards keeps getting better each year! Plus, it’s a wonderful time to gather as an industry and honour some of the most talented and creative minds that help shape entertainment technology.”

B A R & R E S TAU R A N T SP O N S O R M ICHA EL LU Sales Director “A fascinating and enjoyable evening, it was a great honour for Dicolor to be a sponsor again, and a great time for us to meet all people at the awards. I hope the awards in Orlando will be a wonderful night too, thanks to mondo*dr and the excellent team.”

C O N C E RT H A L L S P O N S O R

J U S T IN K NOX Marketing Director “Better than ever, good to see the event growing and the quality of the entries continues to impress. We’re very pleased to be part of the awards.”

H O U SE O F W O R S H I P SP O N S O R

P AUL SIMPSON BUSINESS DEVELOPMENT MANAGER “This was our first time being a sponsor of the mondo*dr Awards and it was an honour to present the Integrated Resort winner, which went to World Conference Centre Bonn. The event was well attend and it was good to catch up with some old friends and make some new ones.”

I N T E G RAT E D R E S O R T SP O N S O R

L UK A S BUHL, M. SC. Project and R&D Manager “Congratulations to the mondo*dr team on a fantastic third awards ceremony. It was a great to be sound supplier and one of the main sponsors for the third time in a row. The awards have grown even bigger, and we are looking forward to next year’s event to see some of the most interesting and innovative installations in our industry. Congrats to everyone at mondo*dr.”

NIGHTCLUB SPONSOR

AL EX BRYA N Export Manager “Once again, a fantastic evening gathering so many people and friends from the industry. This year, we are very proud to sponsor a category and simply looking forward for next year.”

STA D I U M S P O N S O R

N I KITA BA ZZA LO Brand & Communications Marketing Manager “disguise were delighted to sponsor the Theatre category at this year’s mondo*dr Awards. Congratulations to the National Theatre for their win with The Lehman Trilogy, where they utilise disguise OmniCal. The awards provide us with a great chance to mingle with our community and meet new people. Thank you mondo*dr for having us!”

T H E AT R E S P O N S O R

OU R S PO N SO RS M ICHA EL BIW ER Group Show Director “Passion, creativity and technical expertise - this is the combination furthering the international fixed installation industry sector. We say congrats to all winners of the third edition of mondo*dr Awards, which again proved to be the perfect setting for inspiration and exchange of ideas.”

CHR ISTIA N HER TEL Sales Manager “We would like to thank mondo*dr magazine for having the possibility to represent our brand and show amazing MADRIX-controlled projects to the audience and magazine readers. We are very proud to have seen several MADRIX projects being shortlisted again in different categories in 2019.”

AN A STA SIA N IK OLA OU Marketing Manager “It was an honour for Green Hippo to be a sponsor of the mondo*dr Awards; the awards ceremony was very enjoyable and a great opportunity to meet with professionals from the industry. Congratulations to all the nominees and winners.”

W I L LIA M V OSK UIL Sales Director EMEA and LATAM “The mondo*dr Awards has always provided an exceptional opportunity to connect with our colleagues while honouring industry leaders and their innovations.

It is an event we look forward to attending each year and are glad to be a part of it.”

S O LV EIG BUSLER Member of the Executive Board “Sponsoring the mondo*dr Awards is a great pleasure, experiencing outstanding projects and amazing networking opportunities the result.”

J E R EMY FOR SY TH E Director of Product Management “EAW was proud to sponsor the mondo*dr Awards for the first time this year. It was a great opportunity to sponsor the bar and buy everyone a drink. EAW attended the awards in full force, and stayed until the bitter end a fantastic evening! We are also sponsoring The Americas version, and we are excited that EAW products will be used for the awards ceremony in Orlando.”

R A CH A EL W EI SALES DIRECTOR “Congratulations on the success of the mondo*dr Awards. It was an amazing night,Yestech as a sponsor of the mondo*dr Awards, was honoured to witness the remarkable achievements of experts from different areas around the world. Let’s cheer for them! “

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S H OR TLISTE D - A RENA ZI G G O DOM E AR ENA TECHNICAL DETAILS Location: Amsterdam, The Netherlands Manufacturers: Green Hippo Distributor: Ampco Flashlight Sales Lighting / Visual Designer: Tenfeet, The Netherlands Installer: Medialane Project Submitted By: Green Hippo Using Notch to create movable objects and multiple RGB lights in every scene - matched in real-time with the show lights in the arena - also controlled over ArtNet, Tenfeet put the Hippotizers in charge of outputting to the Barco S3-4K image processor, from where the signal travelled to the venue’s 32.5-metres x 13-metres hi-res LED main screen. A Hippotizer Amba acted as ZooKeeper, and as backup, receiving rendered clips from very scene via Notch.

When it came to playback, Tenfeet relied solely on Hippotizer V4+ and Notch.

The goal here was a hyper-realistic street, down to even accurate architectural touches. Moreover, the show took the audience through a year’s four seasons and holidays, so the street scenes had to change in tandem with journey. Pre-show, Tenfeet experimented to ensure the most realistic look, tweaking Notch to shine with the maximum capabilities of its pair of Hippotizer Montane+ Media Servers. Both of the Montane+ Media Servers were rendering Notch Blocks and playing back the video content, and both the Hippotizers were controlled over ArtNet by a grandMA2 light.

Holland Zingt Hazes - Holland Sings Hazes - is a series of concerts that celebrates the life of Hazes and it continues to grow in size and ambition. The 2018 series - commissioned by Medialane and Sightline Productions - was held in Amsterdam’s Ziggo Dome, and Tenfeet worked with the creative director Lars Gorter of Momental, to technically go where Green Hippo and Notch, as well as Tenfeet had never gone before.

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S H OR TLISTE D - A RENA A R E NA O F STAR S TECHNICAL DETAILS Location: Genting Highlands, Malaysia Manufacturers: L-Acoustics Distributor: Sennheiser Electronic Asia Installer: Tegas Broadcast and Multimedia, Resort World Genting Project Submitted By: L-Acoustics and Sennheiser Asia The audio installation comprises of four K2 arrays, two 12-box arrays at the front and two 10-box arrays at the sides. Four stacks of L-Acoustics K1-SB subwoofers bring the music’s bass to life, while eight KARA enclosures placed in line with KS28 subwoofers ensure that sound fills the arena evenly, with no feedback, reflection or dead spaces no matter where the listener is. The entire system is driven by four LA4X and twenty LA12X amplified controllers.

The project team only had a three-day turnaround between scheduled shows prior to the first show that would feature the newly installed system.

Within the three days, the new system needed to be installed, tuned and calibrated. Arena of Stars has a space frame structure, making installation even tougher - the team had to be mindful of the weight load restrictions - the key to the installation was precision. To accommodate the intensity of the project, 15 crewmembers pulled together over three days to accomplish the installation.

The 15-man crew included engineers from Tegas Broadcast and Multimedia, Resort World Genting and Sennheiser.

The Arena of Stars was the first and largest K2 installation in Asia, designed to deliver balanced and thorough coverage of the venue with the rider-friendly signature L-Acoustics sound.

“The Arena of Stars averages eight international concerts and

eight corporate events each month, a demanding schedule that requires a first-rate sound system that is as reliable as it is outstanding,” said Kevin Tann, Vice President of Promotions and Entertainment for Resorts World Genting.

Having made its public debut at the recent Il Divo Timeless Tour Live in Genting in October 2018, a few select guests of Resorts World Genting got a chance to experience this state-of-the-art sound system up close and personal at a special event in which a variety of musical styles were presented.

“The L-Acoustics K2 sound system has already debuted to rave reviews in our recent concerts, and the feedback has been amazing. At the recent sold-out Kenny G concert held here, I found that someone could enjoy the system from every single section in the arena. Our audiences can now hear the difference clearly, able to pick out every change in timbre, modulation in pitch or subtleties of cadence clearly as the musical wave sweeps and reverberates around our arena without a single note of dissonance. This is the best arena sound system that money can buy, and we have made this significant investment because we believe that our audiences deserve only the best and Arena of Stars is the only concert hall in Malaysia that has this system offering our audience the best sounds. We’ve found that over the years, artistes have started to demand more in terms of the quality delivered through the sound system and we’ve fulfilled that with L-Acoustics,” said Kevin.

S H OR TLISTE D - A RENA B O N U S A R ENA TECHNICAL DETAILS Location: Hull, UK Manufacturers: J&C Joel Installer: J&C Joel Project Submitted By: J&C Joel J&C Joel was appointed by BAM Construction to supply and install a number of their drapery and stage engineering services to the arena.

J&C Joel began by providing a removable truss measuring 30-metres in length along with nine EXE RISE Electric D8+Chain Hoists with a maximum capacity of 600kg to the arena, this truss was ideal as it allowed the arena crew to be able to remove it from the staging area with ease when required.

Following this, the company manufactured and installed a variety drapes all made from black Premier Wool Serge (WS090), for the different stages within the venue.

Firstly, J&C Joel manufactured a rear backdrop for the conference stage from six single drapes. These each measured a width of five-metres by a drop of 11.8-metres and were sewn with 50% fullness, to improve acoustic, masking and blackout properties and create a traditional pleated effect. The drapes were then headed with webbing and ties for an easy attachment to the Triple E UniBeam track (which J&C Joel also provided and installed at the rear of the upper conference stage, as part of the project). These drapes were also cleverly designed to assist in the separation of the stage and the audience when hung through the middle of the arena, to create two smaller separate performance spaces.

To hide the rear Triple E UniBeam track, J&C Joel produced a pelmet measuring 30-metres wide by 0.85-metres deep.

Next, J&C Joel designed, manufactured and installed drapery for the main stage. The first set of six single drapes each measured width of 5.00m by a drop of 11.65m and again were sewn with 50% fullness to ensure each drape had consistency and the same acoustic, masking and blackout benefits and to create a pleated effect. These drapes were also headed with webbing and ties, in addition, they contained a jack chain in the base of the drape to weigh the drape down and ensure it consistently hung straight.

A challenge of this project was the ever-present deadline in which the solutions had to be installed, which was only a few days

before the big opening of the arena. Due to the detailed design specification, the teamwork of J&C Joel’s installation crew and the efficiency of the other arena crew members, the drapery, track and stage engineering solutions were finished being installed within the deadline.

Adding to the main stage drapery package, J&C Joel manufactured and installed three stage valances measuring widths of 11-metres, 13-metres, and 15-metres, all with a drop of 1.8-metres and again sewn with 50% fullness to match the other drapes. These each contained a jack chain in the base to ensure they hung straight, were headed with Velcro and sewn on to 50mm hooks for a strong, durable attachment.

Finally, to complete the drapery package J&C Joel produced a single valance drape for the arena’s mixing platform, measuring 13-metres wide by a drop of 1.8-metres and 50% fullness. This also contained a jack chain and was attached with Velcro and a 50mm loop.

For another part of the project, J&C Joel worked with Main Stage and Steel Deck to install two temporary stages, one for the main auditorium and one for the conference platform, both made from powder coated mild steel. The conference stage platform proved a challenging factor for this project due to the fact J&C Joel had to design a perfectly flat stage to be installed onto a sloped surface in such a way that it posed no risk to the venue.

After careful consideration and an extremely detailed design, J&C Joel produced and installed a stage that could be reversed to become more seats for the auditorium when it wasn’t in use.

Overall 42 units of steel decks were used at 8ft by 4ft, resulting in a coverage of over 88 sq metres.

Another challenge of this project was to produce a stage floor that would be perfect for a range of multi-purpose events, therefore, J&C Joel carefully selected the most appropriate fabric from their range; black Joelmat (JM008), 2mm thick. Due to Joelmat’s versatile and durable qualities, it was able to withstand a variety of conditions and adhere to the specification.

In addition to this, J&C Joel installed stage legs manufactured from powder coated mild steel. These were adjustable and measured a minimum of 1.2-metres high and a maximum of 1.8-metres, which was beneficial as it meant the height of the stage could vary depending on the purpose of the event, again addressing the multi-purpose requirement of the arena.

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WINN E R A R EN A C OO P N O R RBOTTEN AR ENA TECHNICAL DETAILS Location: Luleå, Sweden Manufacturers: NEXO SA, France Distributor: InterSonic AB, Sweden Installer: Bright Group Sweden AB Acoustician: Drew Black, Bright Group Sweden: Carole Marsaud, NEXO Project Submitted By: NEXO SA, France

Sweden’s most northerly professional ice hockey team, Luleå HF, is enjoying new excitement at its home games, following the implementation of an impressive €4 million audiovisual experience at the Coop Norrbotten Arena. A key part of this state-of-the-art package, installed by the Bright Group Sweden AB, is a high SPL NEXO GEO line array system.

The 6,300-capacity sports and event arena is home to the Luleå Hockey Association, which was keen to improve the live experience for its supporters and visitors, especially in the light of a new TV deal to broadcast all the games in Sweden’s premier ice hockey league.

Following its recent success at the Hartwall Arena in Finland, the Bright Group was ideally placed to design a dramatic new AV installation, including a powerful NEXO line array sound system, new arena lighting, projectors for ice projection, BlackTrax for position projection, LED-screens around the stand and a new LEDoval high above the ice. The high-end systems deliver a dazzling pre-show multimedia performance before every game in the arena. The show is constantly updated with new content, created

by Bright Finland, putting the technology at the heart of the sporting entertainment.

“It has been a huge success,” said Bright Group Sweden’s Director of Installation John Wettersten. “The sound was one of the most

appreciated parts of the project.

“When specifying our design, we had to consider the line of sight from the upper seats, as well as the weight of the loudspeaker cabinets necessary for the task, and, needless to say, the budget.

We needed a system with a lot of punch, which led us to the GEO S12 model, and, because the opening show uses a lot of low end, to add NEXO RS18 subwoofers.”

Over a five-month period, Bright’s audio installation specialist Drew Black worked closely with NEXO’s Carole Marsaud to perfect the system design, from initial modelling on NEXO’s proprietary NS-1 software suite, to final installation.

“The main system uses 12 hangs, each with four GEO S12 cabinets,” said Drew. “These have been placed in the roof at varying heights around the rink, so we didn’t compromise sight lines, and throw to about 22-metres at the furthest point. Also in the Loop are four clusters of four RS18 18-inch subwoofers, which run in cardioid mode. These are hung in the centre to achieve the most even coverage.”

Bright created custom-made flying frames and rigging which enabled the engineers to pan and tilt the arrays easily and accurately, so that they could be firmly fixed into the correct position. For every two arrays, a NXAMP4x2Mk2 was used, all of which were located on an old camera platform high under the

ceiling. One rack of NXAMPs runs all the main arrays, and the two extra hangs of GEO S12 for ice fill: the second rack houses four NXAMP4x4 amplifiers running the subwoofers, and a new NXAMP4x1Mk2 to drive a PS10 in the VIP bar, as well as a group of five compact NEXO ID24s in the restaurant.

“Delay times varied from 38ms - 62ms for the main arrays, and up to 97ms for the restaurant,” explained Drew. “The amplifiers were all on a wireless network, so we could use an iPad and NEXO’s NeMo software to trim the system.” Diagnostics for the system were handled by a Crestron panel in the control room, programmed to mute and unmute the amplifiers, and to run a pink noise generator through each amp output to make sure that all the arrays had signal coming through.

“The biggest challenge for us was to get audio clarity over and above the noise made by 6,300 excited hockey fans!” said Drew.

“The NEXO GEO S12 box performs superbly.”

Further challenges were noted in the restaurant during the system’s premiere, said John, where wine glasses were jumping off the shelves in response to the powerful RS18 subbass! “They have since been secured, and we only see happy faces among the fans, the players and the association.”

S H OR TLISTE D - B AR & R ESTAUR ANT M R F O G G S ESTATE TECHNICAL DETAILS Location: London, UK Manufacturers: NEXO, BSS, Abstract AVR, ShowCAD, Distributor: Inception Group Lighting / Visual Designer: Diamond AV Installer: Guy Ayres, Diamond AV Project Submitted By: Diamond AV The brief was to deliver a sound system that would be capable of bar music, two-piece bands and DJ sets. Upon entering Mr Fogg’s Residence, the iconic Phileas Fogg hot air balloon is an immediate focal point. It is also the home for the NEXO ID S110e bass bin.

Previously, there had been two ceiling mounted subwoofers, but when Guy designed the new system with NEXO, one bass unit was more than sufficient. Just six super compact, high-powered NEXO ID24’s were needed for this space, which besides the hot air balloons is littered with trinkets, ornaments and paintings from around the world. The ID24’s are very aesthetically pleasing, but also offer great quality audio for their size. Processing goes through a BSS Soundweb London BLU-100 DSP, a setup Guy had tried and tested many times before and had installed in other venues in the UK. The House of Botanicals is filled entirely with flora and fauna collected from all over the world, alongside tropical plants, so once

again, a discreet audio system was required. The setup was similar, making use of NEXO ID24’s, this time 10 cabinets were required to provide full coverage for the space. A single NEXO ID S110e bass bin is also in place to extend the low frequency.

The amplification and processing differs slightly from Mr Fogg’s Residence, with Guy opting for two NEXO DTDAMP4x0.7 four-channel amplifiers and two NEXO DTD-T’s, which offer sophisticated control over crossover, EQ and time-alignment along with speaker protection. However, the BSS Soundweb London BLU100 DSP and the BLU-3 volumes control panels are still in place, too.

The largest of the venues is Bedford Street’s, Society of Exploration and is the most recent addition to the chain; it’ll come as no surprise that with a larger venue comes a larger sound system. Guy specified 10 NEXO ID24’s again to cover the three spaces, but as the carriage is deemed the party area, additional bass bins were added there, taking the total of NEXO ID S110e subwoofers up to four across the venue. Two Nexo DTDAMP4x1.3’s and two NEXO DTD-T’s power and control the system, and following the setup pattern, a BSS Soundweb London BLU-100 DSP and six BLU-3 volumes control panels have also been installed.

Diamond AV added some subtle lighting at The House of Botanicals using LED strips and downlights from Abstract AVR, which are controllable using a ShowCAD Artist software package.

S H OR TLISTE D BA R & RE STA U RA N T WAVE H O USE AT ATLANTI S, T HE PA L M TECHNICAL DETAILS Location: Dubai, UAE Manufacturers: Prolights, Tribe, Studio Due, Stagesmarts, Glasson, MA Lighting, Hazebase, Visual Productions, TW AUDiO, Powersoft, Martin Audio, Midas, Symetrix Architect: Bishop Design Lighting / Visual Designer: Ardent Limited Installer: Pulse Middle East, Ardent Limited Project Submitted By: Music & Lights and Pulse Middle East Wavehouse is a unique new family entertainment offering that fuses a retro vibe with state of the art technology. Housed at the landmark hotel Atlantis The Palm Dubai the facility includes a 13-metre high softplay area, two floors of arcade attractions, four bowling lanes with traditional, UV and projection mapped playing options, a family restaurant, an adults only bar, a large sun terrace and mezzanine, two live band stages and a ProSlide Waverider surf machine.

The complex deploys a fully DMX controlled lighting network using a series of networked CueCore nodes for architectural control with a no compromise approach that allows the operator to make precise changes to colour, intensity and animation of the diverse spaces. Custom colour mixing track LED sources including both spot and wash fixtures with full Wireless Solution W-DMX control deliver a system that is a truly flexible architectural solution. Hosted on its on VLAN the CueCore network can be programmed wirelessly venue wide with ease. The operations team using a series of iPad’s running KiOSC interfaces for hands on daily operation.

The show lighting control uses the MA Lighting dot2 platform - on its own wired network with two master computers running sessions for the indoor and outdoor stage and several control surfaces that can be easily deployed for show control with the DJ, control position or in the remote control room.

The designers developed several bespoke lighting solutions including customised W-DMX controlled UV track sources from Prolights and the new Calesco RGB festoon which was created in collaboration with Glasson Electronics. This simple festoon lamp epitomises the retro - futurist vibe using a 2,700K LED filament bulb with an internal halo of RGB chips to deliver a unique lighting solution here deployed as festoons, light rows and a ceiling grid in multiple spaces of the venue.

The outdoor show lighting package features latest IP rated spot, beam and wash units to ensure a stable solution to be deployed year round outdoors. The first to market IP LED Spots from Prolights are fully featured profiles, the IP Washes have a distinct Halo giving multi-layered effects in a single unit and the beam fixtures with dual prisms punch into the night sky turning the

venue into a destination landmark for the resort at night.

A wall of 74 retro Cathode ray TV’s forms a dynamic backdrop to the indoor stage. These screens are mapped with a single 10K Panasonic projector using ArKaos server to give the impression of being all fully functional with individual picture feeds or as a single image video wall. Further projection mapping at the main entrance delivers branded content to entice guests into the venue.

LED screens provide billboard signage on main entrance staircase and backdrops to the bowling lanes. These are all driven from a centralised server running custom content from the design and in-house teams.

A no-compromise approach to a fully integrated lighting and visual solution with total flexibility for control is the venues most special effect, but yes there are some vertical smoke machines and hazers from Haze Base to add to the atmosphere.

A 13 week build schedule made for a highly condensed installation programme across this tight sight with technical works overlapping main building and finishing. However a carefully design system that takes advantage of robust wireless technology and networked control allowed for an efficient installation without compromise to functionality.

It has raised the standard in system integration in bars and restaurants with an impressive level of control of the lighting installations, without any compromise. This made possible by the designers, vendors and manufacturers working closely together to deliver a non compromise solution from the ground up.

A total of 108 loudspeakers - a cobination of TW AUDiO and Martin Audio - were installed to create a crystal-clear sound with optimal coverage throughout the venue while complementing the activity taking place, since the multifunctional venue hosts at the same time a restaurant, a bar, an outdoor lounge area, two stages for live shows, a bowling alley, two arcade spaces, a projection room and a kid’s area. We divided Wavehouse into 11 zones and 25 subzones and interconnected all the inputs and outputs in order to have sound come from anywhere in the venue and still be heard throughout.

The challenge was controlling the massive number of loudspeakers and subwoofers installed without intervening with the operator’s system. This was possible due to the Armonía + by Powersoft, which put all the equipment on one unified map of the space and allowed us to locate and adjust any loudspeaker/ subwoofer installed. Further challenges delays of the system from multiple stages. Depending what sources are selected - where the band is playing - the delays of all the speakers in the entire venue switch to make everything easy for the operator and always giving the perfect sound inside the venue.

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S H OR TLISTE D - B AR & R ESTAUR ANT J O AN’ S CAFÉ TECHNICAL DETAILS Location: Finspång ,Sweden Manufacturers: Genelec, Finland Distributor: Genelec, Finland Installer: Lefflers AV Partner AB, Sweden Project Submitted By: Genelec The owners of Joan’s Café in Sweden set Genelec a challenge to create different audio experiences at different times of day.

During the day the café acts as a restaurant with low-level music for dinner and conversation, but later in the night they wanted high-energy audio for late night live band and DJ sessions.

Joan’s turned to specialist systems integrator, Lefflers AV Partner AB, based in Norrköping to design and install a system that would meet the high standards required by the restaurant and be easy for restaurant staff to use. Lefflers AV’s Mattias ‘Matti’ Björkman explained the challenge: “Joan’s wanted a system that would sound great at low volumes during dinner or drinks with friends, but powerful enough to handle a proper DJ set or small live band without going into overload.

During dinner you want a full, warm sound albeit at a low, unobtrusive level - there’s nothing worse than having to fight with the sound system in order to carry on a conversation with the rest of the table - but in the evening when the DJ or the band come on, you need to be able to turn it up and still have it sound vibrant and detailed but at much higher levels.

Genelec’s 4000 Series installation loudspeakers were the ideal solution for this application.”

Furthermore, Joan’s café has an extremely high standard of finish, and they required the system to perfectly match the architecture of the spaces.

Lefflers AV installed a total of eighteen powerful yet compact Genelec 4030C loudspeakers in a zoned, distributed system

throughout the restaurant managed by a Control4 control system combined with an audio matrix from Triad.

The audio system is distributed throughout five zones - the bar, front restaurant, rear restaurant, the stage, and outdoor terrace - all of which can be controlled separately via a central touchscreen located behind the bar. This enables staff to select different sources and manage volume levels for each zone as required. The loudspeakers take advantage of Genelec’s 4000 Series ability to be painted in 120 RAL colours. The gold loudspeakers look stunning.

The ability for the system to adapt between even, low level coverage and high energy music, all from the same system is unusual. Normally two separate system are required to achieve this. In both uses, the quality is higher than any normal audio system, having been designed on Genelec’s heritage of studio monitors.

“The reaction we’ve had to the new system, both from Joan’s staff and visiting DJs, has been amazing,” confirmed Matti. “The staff are happy because it’s really easy to use and performance is excellent, while certain DJs have commented that it’s the best system they have ever played on anywhere, which is high praise indeed!

From an integrator’s point of view, it’s always reassuring to work with Genelec because the quality of their products is outstanding - you know that it will be an extremely low-maintenance system that will last for years and years - and in the unlikely event of a problem, the support from Genelec is always first class. It makes Genelec an easy choice.”

46 Berkeley Square, London, W1J 5AT, UK

octaviusre.com

Octavius RE is proud to be the winner of the mondo*dr Awards EMEA & APAC Bar & Restaurant category, as well as the venue winner for 2019.

Project in collaboration with Marquee AV

WINN E R BA R & R E STA U RA N T ANNABEL’S TECHNICAL DETAILS Location: London, UK Manufacturers: d&b audiotechnik, K-Array, QSC, L-Acoustics, Exterity, Samsung, DiGiCo, Shure, Sennheiser, Chauvet Lighting / Visual Designer:Emma Bigg of Octavius RE , UK Installer: Marquee AV, UK Project Submitted By: Octavius RE Annabel’s is a four-storey, Private Members’ Club that operates day to night. The sound system has to work for background music, private events, DJs, live music, nightclub, A-list touring artists and any other format they can think of. The challenge was to achieve premium audio quality throughout that could flex to every requirement whilst sitting discreetly in the background and not detracting from the luxe aesthetic. It also had to be easy to use for all the staff not just the engineers. We used two distinct products to create a sonic identity for the daytime focussed areas (d&b) and the nighttime focussed areas (L-Acoustics). The most challenging space was the nightclub, which is also a very high-end restaurant but must be able to operate as the best nightclub or a world class live music venue. To install a system that works in all configurations but remains invisible is hard but using the Syva system combined with other L-Acoustics products like 5XTs and SB subwoofers we able to achieve a great sound for all occasions.

It even has a line system infrastructure similar to the likes of the Apollo and O2 Academies. They also have a DiGiCo SD11, SD rack plus Shure Digital Microphones as part of the in house live system.

Upstairs in the daytime areas, we leveraged the compact nature

of the d&b XA and XC ranges combined with ultra-thin K-array subwoofers to create a harmonious and elegant solution that simply fades into the background (visually). Even the toilets have the same speakers so you get a premium experience no matter where you are in the building.

Each room in the house can operate independently, but can also be linked together in any combination via numerous multi connection AV input panels in every space. The control for this aspect is very complex so an engineer’s panel is available in the comms room for system wide management. The challenge was to find a way to offer the engineers’ this flexibility without making the system too complex to use. But we feel this has been achieved successfully using intuitive, local touch panels in combination with the engineer’s panel.

Effects lighting is only used in the nightclub and is designed to work for DJs, live bands, private events and so on. A low ceiling height and numerous ambient lights in the ceiling made this a challenge. Using the Chauvet Slim Pars and Intimidator range we were able to achieve a very flexible system that remains discreet.

Multiple DMX and power points are dropped into the ceiling to minimise visible infrastructure and everything can be controlled from the stage or one of two mix positions. The in house console is an ETC ColorSource but they also have a touchscreen running ShowCAD so you do not always need to bring in a lighting engineer for mid-week or low key evening events. We’ve also put some rigging points in the ceiling, two either side of the stage and two more in the space, along with additional DMX and power panels. If for example, Annabel’s was hosting a fashion show, then the orientation of the room would be different, and they’d be able to just hook in a bar, and immediately be connected into the same DMX and power system - an easy way to expand the system. You can bring in a third party lighting console or add fixtures without the need to run extra cables or more power, it’s all there ready to be used for events that require a little bit more than the house system. The concept was to deliver a high impact solution that was easy to own and operate but provide the entire infrastructure to accommodate larger, more complex productions without the need to run unsightly cabling or supports in the venue. Maintaining the luxury experience but without the limitations.

The initial brief was no screens anywhere but we need to be able to pop a screen in any room in the building and show TV, host video conferences or run presentations. So an IPTV solution has been installed to distribute TV, Sky, video content and digital signage via a network meaning TVs can be setup in numerous places across the venue, as required. IPTV is distributed via the multi connection AV panels so you can bring in any portable screen and with an Exterity receiver mounted to the rear and plug and play. Satellite TV audio is connected directly to the in-house system or the TV speakers can be used or we can take an output from the TV and run it into the in house sound system. Using this method we avoided having a complex distribution and switching solution and lots of control panels. It also means any space can be transformed into a training room or a meeting room or private space for watching sports. By implementing a clever, networked back end we’ve completely de-skilled the operation of this element and it is working very smoothly. It also means they can expand the number screens as and when they need it rather than having to accommodate lots of portable screens that may only get used occasionally. The impact has been to create a very flexible solution that is future proof, scalable and easy to operate by all staff.

The biggest challenge was working with the design scheme, it is ultra luxe, maximalist and uses lots of high end materials such as metals, marbles, glass, mosaic, fabrics and so on. And by design all the rooms are designed to work in different orientations and be repurposed at a moments notice to be a nightclub or meeting room. There is literally nowhere to hide anything. The other major consideration was noise management, one of the main rooms is a Garden Terrace with a retractable roof, with the venue being located in a densely, populated residential area there were some very strict licensing conditions.

So to deal with the aesthetics we worked closely with the designers, MBDS looking at speaker size, locations, customisation and finishes that helped them to blend into the background. It was really all about teamwork and communication, compromises had to be made, but through a lot of hard work we came up with a solution that worked on all fronts but without losing the quality.

In terms of dealing with the reverberant spaces, that just took a bit of creative system design, moving very far away from standard

rules of speaker placement and direction and combining different products to create the illusion of a conventional system, a lot of thought was given to how people react to sound subconsciously and using some of the significant processing power of a QSys Engine to create a sonic mirage. And that also was how we approached the noise management considerations, by carefully considering placement, using a high quantity of speakers in strategic locations to create perceived volume rather than just ramping up the energy levels. And that was successful through the good working relationship with Marquee AV, it was our first time working together and we took an unconventional path that really required some trust on their part that it would be successful.

This was such an amazing project to work on and we had a client who was really interested in delivering a quality solution and were prepared to set aside the right budget to do so. We had the opportunity to work with some very high end products that you don’t normally see in Installation for clubs. It has always been a priority of Octavius RE to bring pro-touring audio products into the world of installation as you can quite often get much better value for money when applying these products creatively. Having a solution like Syva at our disposal was the real key to getting the nightclub to work and every member of the Annabel’s team and head office commented on how pleasant it was to sit in the room even though it was set up for a live gig and it was just achieving that kind of fine balance that was one of the highlights of working on the project. We were also able to build in a vast network of connectivity. We have analogue and network tie lines between different spaces, we have every flavour of digital multicore for audio, lighting and wideo in the nightclub and garden terrace so the likes of Lady Gaga or Rhianna can bring in their touring set up and just plug and play because everything Annabel’s has is as good as it gets for live music. We’ve also been able to incorporate access to the various networks we are running of QLan, LA Net, Exterity and dbNet so engineers have access to the system when and where they need it. And although there is over 100 channels of IO running around the building every member of staff has access to the right level of control in order to create the best atmosphere and room set up at any time of day.

Making the system friendly to all was a key goal and we’ve been able to achieve using QSys.

S H OR TLISTE D - C O NCER T HALL S T O R E Y ’S FI ELD C ENTR E TECHNICAL DETAILS Location: Eddington, Northwest Cambridge Development, UK Manufacturers: Triple E Ltd, UK; Meyer Sound, USA; ETC, USA; Selecon, UK; Elation, USA Architect: MUMA, UK Installer: Centre Stage Engineering, UK; Feltech, UK Project Submitted By: Sound Space Vision Storey’s Field Centre, the social and cultural heart of the new community of Eddington, is part of the largest capital project in the history of the University of Cambridge.

Sound Space Vision (SSV) was brought onto the design team to support the community centre in the acoustical design, and the activity-led design and specification of the technical fit-out of the building, and primarily the centre’s main hall.

The University’s brief for the centre included high performance qualities for the main hall, with a requirement for the acoustics to accommodate a variety of events from chamber music to rock concerts, from public lectures to local events.

Artistic priorities inform practical operations, room shape and finishes, so the hall’s acoustical flexibility needed to span a very ‘controlled’ and clear sound to a very ‘live’ and resonant sound.

SSV’s triangulation of uses for the room was: exercise classes, at one extreme; performances by world-renowned chamber musicians like the Tokyo String Quartet, as a second point; and lectures by Nobel laureates, as the final point on the triangle. These three coordinates became the starting point for determining the appropriate lighting, audio, rigging and staging equipment, the acoustical properties of the surfaces, and the provision of variable sound-absorbing banners.

Labyrinths in plenums underneath the hall and in the attic were designed to serve as a low-impact air supply system for natural ventilation. SSV specified that the labyrinths be made of soundabsorbing baffles. No fans are involved; hence, no noise in the hall and no maintenance costs.

Irregularly-spaced timber frames on two walls which extend to and across the ceiling serve to diffuse daylight and sound in the room and also hide lighting positions and acoustical banners. These bespoke banners specified by SSV can be retracted for a reverberant natural sound for chamber music or fully-deployed for more clarity for receptions, lectures, theatre, screenings, and amplified events. The banners are motorised and can be moved in segments,

thereby providing a range of acoustical possibilities while giving users control over the balance between light and sound.

Technical and production facilities, as well as acoustics deliverables, are all designed and specified to facilitate multiple seating and staging formations. House and production lighting are integrated on motorised lighting bars suspended above from the ceiling, and the basic rig also includes moving lights, providing lighting angles for three main stage configurations. All rigging and cable management, as well as the banner mechanisms, are concealed within the attic/labyrinth. Two production consoles and a large projector are available, but cleverly-hidden from view when not in use. SSV also provided input to the architectural design of the patterned brickwork to tailor the reflection and timbre of sound.

For amplification, SSV chose to use three beam-steering column array loudspeakers which have substantial output over a wide frequency range, and are ideal for a space of this scale.

The ‘garden’ wall has an acoustic curtain which is deployed when needed for sound deadening. The windows, doors and double-door vestibules, along with the labyrinths, the highly-detailed masonry walls, and heavy glazing accomplish sound isolation in both directions, sufficient for rock concerts.

The hall was designed with a high quality of finish and materials, and SSV contributed to its overall aesthetic by concealing all of the infrastructure and fittings within the architecture to emphasise the simplicity of the design.

At once dramatic and pragmatic, this stylish, light-filled, three-storey hall has refined acoustics and production fittings and fixtures that are discreet, decorative, and adaptable. Given the main hall’s tall rectangular shape and the Centre’s mandate for a varied and active schedule, SSV anticipated a space that was adaptable, flexible, and, crucially, easy to operate by its users. The architect and client envisioned a high-quality, contemporary - and fun - social centre, befitting the worldly Cambridge university culture.

“The acoustic character of the hall feels equally natural, unconstrained, and proportionate with the banners fully deployed as it does with them all retracted. There’s no sense of it feeling damped or tamed as one might expect. The height of the hall ensures that the ear, as well as the eye, experiences a luminous airiness while the low frequencies remain focused, avoiding any sense of thickness, heaviness, or chubbiness - equally advantageous for listeners and the recorded sound alike.

(Andrew Halifax, Recording Engineer).

In the multi-award-winning Storey’s Field Centre, the team has achieved a venue which embraces its multi-functional and diverse purpose, fulfils its responsibility to sustainable building practices, and provides a desired and worthy destination for educators, artists and residents of all ages, and a warm, inviting and supportive environment for its new community.

“The inside of the hall is a beautiful balance of function, sustainability, acoustic performance and expression of materials.” (RIBA Judges citation, RIBA National Award).

With SSV assistance and participation, Storey’s Field Centre has demonstrated that architecture, inclusive and encompassing of exceptional theatre planning and acoustics consultation can elevate a building beyond its original, perhaps more modest, intentions.

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S H OR TLISTE D - C O NCER T HALL L I VE R O XY TECHNICAL DETAILS Location: Shinzuoka, Japan Manufacturers: CODA Audio, Ayrton, Avolites, Martin by HARMAN, Yamaha, Rosco Distributor: Hibino Lighting Inc. Installer: Hibino Lighting Inc. Project Submitted By: CODA Audio Taking its name from Roxy theatres, clubs and cinemas across America and the UK, Live Roxy is a live music club in Shinzuoka, Japan. The venue, which has a total capacity of 882, had its grand opening in February 2018 - and, since then, many artists have performed, making Live Roxy one of the go-to clubs for live music in the city.

To ensure the best experience for visitors and further enhance the performances each night, Live Roxy’s owner, Mr. Mitsuhiro Matsuura, wanted to use state-of-the-art technology, with both audio and lighting of vital importance to the venue. Live Roxy contacted Hibino Lighting Inc. to assist them in finding the perfect lighting system.

A spokesperson for Hibino Intersound Co. takes up the story: “The main hall has low ceilings and the distance from the stage to PA area is quite a distance - around 20-metres - plus, are pillars aligned in the audience area. With those aspects to consider, Live Roxy needed compact, high output loudspeakers in order to cover all genres of music. Focussing on these requirements, we gave a demonstration of various loudspeaker brands. As a result of the demo, CODA Audio loudspeakers were selected.”

For the front of house, Hibino Intersound Co. installed three CODA Audio APS loudspeakers and two U4 subwoofers for each side. Two of CODA Audio’s G515 loudspeakers are used, too. There are eight G512 loudspeakers used as stage monitors, while a HOPS8 from CODA Audio is utilised as the FOH monitor. CODA Audio provides

the amplification for the system, too, with two LINUS14D and three LINUS10C amplifiers used.

“Thanks to the great phase linearity of CODA Audio loudspeakers, with the appropriate delay level, the sounds of G515 and HOPS8 were nicely merged with the sound of APS,” said the Hibino Intersound Co. spokesperson. “For this type of installation, the fact that any type of CODA Audio loudspeaker delivers high quality sound, exceeding the performance of conventional loudspeakers, makes them ideal.” An existing Yamaha CL5 mixing desk is also used at Live Roxy.

It was decided that Ayrton fixtures were to be utilised as the main part of the lighting at the venue. Two Ayrton Ghibli fixtures, five Magicdot-R moving heads and one Cosmopix-R luminaire were supplied.

Hibino Lighting Inc., Ayrton’s exclusive distributor in Japan, was responsible for arranging the demo of the fixtures for Live Roxy, and supplied and installed them, along with a full lighting and rigging package and lighting console, before its grand opening in February.

The Hibino Lighting Inc. team had to take the low ceilings of Live Roxy into consideration when it came to the install. “Live Roxy was built underpass of railroad for Shinkansen, so the ceiling was lower than ordinary venues,” explained a spokesperson from the company. “The poles to support the underpass were positioned at the right and left side of the stage, as well as the audience area, which were obstacles. We simulated how we install the fixtures by using Capture’s visualiser in advance – and we were able to solve the problems.”

Along with the Ayrton fixtures, Hibino Lighting Inc. installed two Martin by Harman Rush MH 1 profile moving heads and three BOLD Blinder300 fixtures. For the lighting control, an Avolites Quartz lighting console was chosen for its compact size and user-friendly software. A Rosco Vapour fog machine is used for performances, too.

S H OR TLISTE D - C O NCER T HALL H O C HSC HULE FUR M USI K DET MO L D TECHNICAL DETAILS Location: Detmold, NRW, Germany Manufacturers: Global Design Solutions, UK Distributor: VisionTwo GmbH, Germany Architect: Bau- und Liegenschaftsbetrieb des Landes NordrheinWestfalen, Germany Lighting / Visual Designer: Multisenses, Germany Installer: Multisenses, Germany Project Submitted By: Multisenses Multisenses replaced the entire ceiling lighting of Hochschule fĂźr Musik Detmold - Konzertsaal with LED technology.

The main challenge was meeting the high demands of the customer on the quality of the lighting and, in particular, the dimming behaviour taking into account the colour reproduction in order to preserve the architectural expression of the interior design. In addition, high demands on the uniformity and nonglaring as well as the general colour reproduction had to be fulfilled. Therefore, products from the ArcSystem Pro product line from GDS with the FTW technology introduced in 2018 were used. The luminaires equipped with FTW are characterised in particular by the shift of the colour temperature during dimming performing a high-quality incandescent light imitation as well as high uniformity and non-glaring with a very high colour reproduction (CRI>96). In this project 81 GDS ArcSystem Pro One-Cell Large FTW units with customised mounting were

installed on the GDS ArcSystem Pro D4 CC constant current LED-driver system for the audience as well as 20 GDS ArcSystem Pro Eight-Cell FTW for the stage. They reduce over 32kW of conventional lighting to a total of 6.125kW of LED power consumption at full load with energy savings of about 55,000kW/ hour per year.

The Fade to Warm Technology (FTW) from Global Design Solutions, UK (GDS), after its launch in 2018 first introduced in the ArcSystem Pro product line, is noted for its excellent dimming performance and light quality. This especially covers uniformity, nonglaring and colour reproduction (CRI>96). The new LED chip generation with FTW for the first time combines LEDs in two colour temperatures and generates a high-quality incandescent light imitation through an integrated dynamic control when dimming.

The Hochschule fĂźr Musik Detmold (HfM) in NorthrhineWestphalia, Germany, an academy of music founded in 1946, enjoys a high reputation both nationally and internationally. The academy campus offers ideal conditions for teaching and learning as well as public events with its well-equipped rooms around a listed palace garden in the former residence city of Detmold. On the edge of the garden there is located the modern concert hall, which offers space for up to 588 visitors. With its unique design und high-quality equipment the concert hall is used for academy as well as public performances.

This is the first project in the world where products from GDS with FTW technology have been implemented. It especially shows how the high demands on the characteristics of an LED product, which are set up by an internationally renowned academy of music with its unique concert hall, can be met completely and without any compromise. It also shows that questions of energy efficiency, sustainability and the availability of lighting technologies are no longer incompatible with an original architectural expression or the artistic or work-related requirements in the lighting of a concert hall with LED solutions.

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WINN ER C O N CE R T H A LL EARTH TECHNICAL DETAILS Location: London, UK Manufacturers: L-Acoustics Installer: Adlib Audio Project Submitted By: L-Acoustics EartH (Evolutionary Arts Hackney) is a vibrant new live music, arts, and performance space made up of three areas comprising two venues - a concert hall and a theatre, as well as a restaurant and social space. Located in the former Savoy cinema in Dalston, east London, Adlib Audio installed L-Acoustics sound systems in the concert hall and the seated theatre. The concert hall hosts the first permanent installation in Europe of the groundbreaking L-ISA technology.

The L-ISA Scene configuration features five hangs of seven Kara

loudspeakers, spaced evenly across the stage in line with the proscenium arch, low-end response is augmented by four KS28 subwoofers flown in an end-fire configuration. The surround system features 12 Syva colinear loudspeakers, four each mounted on the side and rear walls, plus eight X8 overheads which are flown from the ceiling to provide elevation to the mixing environment. Lastly, there are ten X8 installed as lip fills which are fed from the aux send of each object within the L-ISA Controller.

Audio from the FOH consoles runs via MADI to the L-ISA Processor which outputs on MADI. The signals are then converted to AVB and distributed to the 18 LA4X and one LA12X amplified controllers driving the system. Two DiGiCo SD12 consoles are shared between venues - selected for their on-board integration with the L-ISA technology via the L-ISA Desk Link, plus their power, flexibility and popularity - in addition, there is an L-Acoustics stage monitor package comprising twelve X15 HiQ monitor wedges and two SB18 subwoofers powered by LA4X amplified controllers.

The Theatre features a stereo Kara system, one SB18 and four Kara per side, supplemented by four SB28 subwoofers and four ARCS WiFo delays. A comprehensive microphone stands and cables package from Adlib completed the specification.

The story behind EartH is extraordinary. On the busy streets of Dalston, faded into obscurity stood a huge, forgotten Art Deco cinema - the last movie, Scarface, played in 1984. After that, the building was broken up: part wedding venue, part snooker hall, while the main auditorium was locked up and left derelict for

PHOTO: Maria Zhytnikova

40 years, until a chance discovery in 2015. The building is now being restored and reimagined, with many of its original art deco features returning to their former glory.

The space is made up of three areas comprising two venues and a restaurant and social space.

The Theatre is the seated venue, which has undergone a light touch refurbishment while the former stalls of the cinema have been transformed into a standing venue – The Concert Hall. Parts of the original cinema lobby make way for a contemporary new restaurant and social space. The three spaces allow for a wide range of uses for a mixed audience, from day to night, week to weekend.

EartH aims to be a springboard for the next generation of creative talent. Auro Foxcroft, Founder of EartH and Village Underground said “From the random chance discovery of this buried treasure in plain sight to uncovering secret rooms and repeatedly evicting thousands of wily pigeons, it’s been a bizarre ride. And in a way that’s going to continue, we’re starting to programme increasingly mixed art forms and genres, artists and perspectives.

We want to fill the place with the kind of performances that make you think twice and hopefully leave with that feeling of inspiration, possibility and change.”

EartH features the first permanent installation in Europe of the breakthrough L-ISA Hyperreal Sound technology. Developed by L-Acoustics, the world leader in professional sound systems, L-ISA Hyperreal Sound technology is revolutionising the live concert experience. Offering enhanced clarity, more natural sound, and

a wider sound panorama, EartH audiences experience a greater feeling of proximity and connection to the performances.

Performers at EartH who have already used L-ISA technology for their shows include Jarvis Cocker and Johnny Marr.

L-ISA is a multichannel ‘what you hear is what you see’ platform, ideally suited to bringing immersive sound into experiential venues. Fundamental to the philosophy is ‘connecting’ the audience to the sonic experience, bringing total clarity to both audience and performers, making them feel like they are part of a smaller, deeper and altogether more intimate experience.

Commented Adlib Audio Project Manager Rob Crossland: “We’re only really scratching the surface of the L-ISA technology, while we learn more about its scope and depth. As mix engineers start exploring the possibilities, I think we’ll hear some spectacular results that just couldn’t have been achieved with a conventional approach”.

Day-to-day, EartH’s house audio team of Luca Romani and Alessandro Melchior will be running the systems and providing support for visiting engineers utilising the L-ISA platform, they were also heavily involved in the equipment specification and installation. They’ve been trained on optimising the system and the finer points of Immersive Hyperreal audio, and are there to assist visiting sound engineers. Engineers can also benefit from visits to the L-ISA Lab in London to prepare immersive mixes of their live material. Artists who have already utilised the immersive capabilities of the L-ISA technology at EartH include Jarvis Cocker and Johnny Marr.

S H OR TLISTE D H OU SE O F WO RSH IP G U I L D F O R D CATHED R AL TECHNICAL DETAILS Location: Guildford, UK Manufacturers: K-array Distributor: 2B Heard Installer: DM Music Project Submitted By: K-array A visually minimalist K-array loudspeaker system from the Italian leader in inspirational design has been installed at Guildford Cathedral as part of a major upgrade of its audio systems. Supplied and installed by DM Music, the Vyper ultra-flat line arrays deliver exceptional intelligibility from the discreet, colour-matched enclosures.

Guildford’s Grade II Cathedral occupies a commanding position on Stag Hill, overlooking the town and its University. Designed by British architect Edward Maufe, it is one of the UK’s more modern worship spaces and one of only three built in the 20th Century.

Construction started in 1936 but was halted by the outbreak of war, and only resumed in 1954. Towards the end of 2017 the cathedral’s technical staff decided to replace the outdated 100V line loudspeaker system that was no longer up to the task.

They approached Harpenden-based DM Music, one of the UK’s most experienced specialist church systems integrators, to tender for the audio design project. As part of the upgrade it was also necessary from a health and safety perspective to remove the asbestos-based acoustic plaster that was lining the 22-metre high, 1,000 sq metre ceiling, and as a result the building acoustics presented the installer with a sizeable challenge.

DM Music’s Installations Director Graham Bennewith explained: “Removing the plaster made things substantially worse for us, so we had to design a speaker system that would be intelligible even with a subsequent RT60 reverb time of around 6.5 seconds.

“As well as presenting a difficult acoustic environment, like many of our Grade I and Grade II listed churches aesthetics was also a major consideration. The advantage that K-array has over other speaker manufacturers is that not only do their installed products sound great in an environment such as this, they are also very discreet, and we were able to RAL colour-match to the stone work to make them virtually invisible."

The Vyper KV50 column arrays installed in the nave consist of eight closely-spaced one-inch drivers in an elegant stainless-steel chassis, providing focused listening from the inward-facing pillar locations.

Their narrow vertical dispersion and wide horizontal coverage pattern ensure that sound is directed solely at the congregation and away from reflective surfaces.

The loudspeaker system was modelled in EASE. Graham said: “2BHeard’s Dave Wooster provided detailed acoustic simulation,

and his expertise in preparing the complete EASE project for us was invaluable.”

In addition to the 16 KV50's covering the whole of the nave, eight KU44 colour-matched subwoofers are fixed on the outside of every other pillar, complementing the mid-high speakers to provide full range frequency response.

In the crossing a pair of KV50's point back towards the Quire to fill in for the front few rows. Tornado KT2 spot monitors are installed under the choir pews; this location is also the control point for the whole system - equipped with a fixed iPad, a mobile iPad so the vergers can walk around and assess sound quality, a CD player, and a recorder. An additional pair of KV50 loudspeakers fire up towards the presbytery.

“The cathedral is used quite extensively by the University of Surrey, and they have a lot of concerts in here,” explained Graham. “For a graduation ceremony for instance they will bring in a video that’s been designed for a full range system, so the subs enable us to give them full range response. For speech the subs aren’t essential but they do add a bit of presence at the bottom end.”

He continued: “To complete the loudspeaker setup, there is another pair of KV50's with KU44 subwoofers projecting sound to the high altar. We’ve also installed a feed into the choristers’ practice space to allow them to hear what’s going on while they’re getting ready, while in the West Porch we’ve got KT2's to provide some in-fill, and in the West Gallery we’ve also installed KV50's.”

The supporting electronics infrastructure is complex, says Bennewith. “At the heart of the system are two Dante-enabled Yamaha MTX5D processors - one in the loft and one in the basement. Everything in the East End all wires down to the basement, which is then linked on Dante to the processor up at the top, all through 10mm conduit. Radio mic receivers are up in the top, and from the MTX5D we feed to the K-array amplifiers, which are mostly KA24's.”

“The choice of K-array was a simple one,” he said. “Every year we look for speaker brands, we go to the trade shows and talk to as many manufacturers as we can. We did consider larger steerable arrays for this project, but the result is not as aesthetically pleasing.

In terms of matching the building, K-array is really the only brand that can do the job.”

The cathedral’s Director of Operations Matt O’Grady agrees the building provided some challenges. “Naturally it’s a work in progress,” he said. “People need to get used to the loudspeaker system together with the new acoustic; and we’ve got to please every one of the congregation sitting in every seat, so we are constantly looking for dead spots and tuning those out. Now that the acoustically absorbent plaster has gone, the acoustic has got a lot livelier and so people need to temper their speech accordingly.”

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S H OR TLISTE D - H O USE OF W OR SHIP H A L L E L U J AH COM M UNI TY CHU RCH TECHNICAL DETAILS Location: Seongnam, Seoul, South Korea Manufacturers: DiGiCo, UK Distributor: Soundus, Korea Project Submitted By: DiGiCo, UK With the church’s roots dating back into the last century, and the technology installed there being at least 30-years old, the in-house Sound Engineer, Jae Chon Baik decided it was high time for an audio upgrade. The first major pieces of equipment to be replaced were the mixing consoles, going from analogue to digital. “Many channels were needed,” said Jae Chon Baik. “Redundancy was also required and the church wanted to have the options to use plug-ins too. In addition, before it was mostly wired microphones and monitor systems, but now it wireless microphones and inear system monitors.” A DiGiCo SD7 is used as the main console in the church’s primary hall. An SD11 is in place and used for broadcasting, and these sit beside three SD-Racks and one SD Mini-Rack. For the smaller hall Jae Chon Baik selected an SD12.

The system is connected via a DiGiCo-Optocore loop, the first setup of its kind in Korea, as it is connected between different venues. Next in line for the upgrade were the microphones and in-ear monitors, which comprises a combination of Sennheiser, Shure and Neumann. Jae Chon Baik wanted to have variety in the inventory to ensure all bases were covered. The church halls can present anything from big bands to orchestras, as well as vocal performances of both singing and praying.

“The DiGiCo-Optocore loop is being used for a diverse range of purposes. If the church has a mission on at the same time in two different places, all signals can be sent to the SD7 and SD12, so

that the same sound is in the two spaces. If a band is playing in one place, the signals can still be sent to the other hall. The SD12 can also be used as a broadcast console, if the smaller hall is in use too.

“The output from the main hall is controlled using the SD7 and can be done on the fly, which is really useful. When the church is recording the console can either be used as a recording console or as a mixing console, so it really is very flexible and interchangeable depending on the needs of the venue at any given time.” Jae Chon Baik makes use of a number of WAVES plug-ins for mixing, as well as reverb from Yamaha and Lexicon, favouring different ones for different applications. Next in line for the upgrade were the microphones and in-ear monitors, which comprises a combination of Sennheiser, Shure and Neumann. Jae Chon Baik wanted to have variety in the inventory to ensure all bases were covered. The church halls can present anything from big bands to orchestras, as well as vocal performances of both singing and praying. “I wanted diversity and flexibility in the system, not only the consoles but with the microphones, too,” he said. The installation of the consoles overall went well, with good communication between the sound department at Hallelujah Community Church and DiGiCo’s Korean distributor, Soundus, which provided the kit and excellent support during the project.

Of course, this continues with after sales, too, although, to date, there have been no major issues.

The biggest hurdle of the project, however, was to convince the investors. Due to them not being from an audio background, it was difficult to convince them to invest in expensive equipment, but after presenting the documentation and system information, they could see it was the best step for future-proofing the church.

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S H OR TLISTE D - H O USE OF W OR SHIP S T M ARY ’ S C HUR CH TECHNICAL DETAILS Location: Hertfordshire, UK Manufacturers: GDS Installer: Clarity in Sound, Light and Vision Project Submitted By: GDS St Mary’s Church in Standon, Hertfordshire is a Grade 1 listed building whose original structure dates back to Saxon times.

Bequeathed to the Knights of St John in the twelfth century, this beautiful processional Church has experienced many architectural embellishments over the years, all of which have served to add to its character as a significant link to a rich historical past. In continuous use for hundreds of years, St Mary’s remains a hub of the local community, where alongside vibrant congregational worship, it is used for concerts, recitals and events, attracting local audiences as well as visitors from further afield. The church is supported by an independent charity which works to preserve and restore the ancient building, as well as by a host of local volunteers who keep its extensive churchyard in good order.

In recent times, the church authorities had concluded that significant improvements were required to its internal facilities.

The growing use of the space for a wide variety of functions meant that the existing lighting provision was inadequate and the church turned to Essex-based AV specialist, Clarity in Sound, Light and Vision Ltd, to determine the best way forward. Clarity is a leading installer of tailored, flexible and easy to use systems, with great experience of the house of worship sector. As well as the practical aspects of re-lighting the church, there were many important aesthetic considerations to be taken into account.

There was a strong wish to highlight the beauty of a number of the church’s historical internal features, as enhancements to creating a warm, welcoming and beautiful space.

Clarity was already familiar with GDS products, having worked with the Bristol-based, specialist LED lighting manufacturer on a previous stage-lighting project at Kimbolton School in Cambridgeshire. Following an initial visit to St Mary’s, Stuart Graham,Managing Director at Clarity consulted with the GDS team over the best way forward.

After visiting the church to demonstrate examples of its lighting, GDS specified products and produced a DIALux design for the space in order to plan, calculate and provide a visualisation of the scheme to the client. As a creator and manufacturer of cuttingedge technology used in countless applications across the globe, the GDS team is exceptionally well-placed to offer such design consultancy, particularly in challenging heritage spaces such as this. At St Mary’s, the project team drew on great experience to deliver a beautiful visual outcome as well as all the energy and cost savings associated with LED. The sensitivity of the interior fabric of the church demanded that Clarity was painstaking in its approach to the installation.

The delicate ancient floor could not support heavy machinery, so ceiling access was obtained by the careful use of scaffolding.

Every part of the job demanded careful attention to detail. GDS’s team was on hand throughout the install to advise and oversee the works and the system was commissioned by applications engineer John Blamey in less than half a day.

Different feature areas of the church were lit with appropriate fittings from across the GDS ArcSystem range. In the chancel, two important tombs were lit with GDS MR16 lamps, with the same units being chosen as uplighters for the ceiling. A combination of Pro One-Cell and Pro Four-Cell units was used in the nave, with ArcLamp fixtures employed in the entrance portico. Pro Two-Cell fixtures completed the picture in the aisle.

The resulting installation looks stunning, highlighting the rich architecture of the building whilst offering a warm, bright, practical lighting solution for the staging of worship and events.

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WINN E R H O U SE O F WO RSH IP G U STAV VASA TECHNICAL DETAILS Location: Stockholm, Sweden Manufacturers: d&b audiotechnik, QSC Q-SYS, Yamaha, Wisycom, Phonak, Eaton UPS, Kissbox, Neutrik Distributor: Arva Trading AB, Semafor, EM Nordic, Cabletronic Architect: Mona Lantzourakis AIX Lighting / Visual Designer: Peder Blom AIX Acoustician: ACAD Peter Blom Installer: Soundcop AB. Jacob Julin, Joakim Hammar, Emil Vares, Malin Grevillius Project Submitted By: d&b audiotechnik Gustav Vasa was built in 1906, and is one of Stockholm’s largest churches. The refurbishment of the church was a huge undertaking. Every surface, inside and out, was part of the renovation. Every piece of brass was taken down and polished, water, heating, lighting, and electricity was all replaced.

Gustav Vasa presented a big challenge when it came to the acoustics of the church. When the project started, the hall had an acoustic reverberation of six and a half seconds. After the

building’s refurbishment, including new treatments to the floor and walls, that reverb time rose to seven-and-a-half seconds.

Installer Soundcop AB were brought in to solve the intelligibility woes, opting for the d&b xC-Series to overcome the challenge.

The cardioid dispersion performance of the xC-Series reduced unwanted reflections and maximised intelligibility. Jacob Julin commented: “The 24C was the obvious choice. I was worried that they wouldn’t cover the 19-metres throw distance to the delays…

It worked straight away.”

Another big challenge was that the rig needed to be a certified voice alarm. With support from Eaton UPS and d&b audiotechnik, Soundcop decided to include two Q-SYS Page Stations for use in emergency evacuations.

As to be expected from a church steeped in history, the Gustav Vasa had specific aesthetic demands, which also made for a complex cabling installation, with Jacob Julin, owner of Soundcop, and his team running everything through precisely cut steel conduit, carefully tracing the ornate architectural features. “As there were a great deal of small angles needed for this, we had to more or less become plumbers to do it,” Jacob commented.

The church required high-intelligibility amplification of speech, choir and classical music, as well as occasional classical chamber music and pop/jazz concerts. They asked for a system which would make speech and music as clear as possible for all listeners in all areas of the large, 1200-capacity church. This was a major acoustical challenge, thanks to the building’s 7.5-second reverberation time.

The d&b xC-Series column loudspeakers were used to ensure speech intelligibility, purchased via ARVA Trading, the d&b audiotechnik distributor for Sweden. Their cardioid dispersion performance was key to reducing unwanted reflections and maximising intelligibility.

On one of the pillars in the church there is an organ, which would block the sound if a speaker was placed on the column. Soundcop made custom 80cm wall-mount arms to hold the speakers out on each side of the organ to ensure everyone experienced the same sound, wherever they sat.

For control, the system had to provide an accessible, user-friendly interface for non-technical users, while at the same time allowing access for advanced system configurations as required. A QSC Q-SYS Core 500i processor gives connection to two touch screens - one by the priest’s position, allowing them to select their own microphone, and another at front-of-house. The d&b plug-in for Q-SYS gives the user easy control of zones, by selecting areas of the room on a plan view map on the touchscreen. Making it possible to mute or unmute the different areas.

A Yamaha QL1 digital console presides over the system at the front-of-house control position. All EQ and delay is done with d&b R1 remote control software. The user has a choice of controlling events either via the programmed touchscreen connected to the Q-SYS Core, or via the QL1. Non-technical users can now control the zones with a push of a button.

The church wanted to keep the environment in mind throughout the refurbishment. So when it came to lighting, everything was done with LEDs to ensure efficiency.

All the original brass ornaments and chandeliers were rewired and equipped with LEDs. There was also new lighting installed on the top of the front pillars, to ensure the church lights were ecofriendly and efficient.

Both organ positions were fitted with a television screen and a remote controlled PTZ camera, so that the congregation can now easily follow what is happening in the church.

The church also now has a Panasonic PAN-PT-RZ770BEJ projector and a four-metre by three-metre projector screen.

The Gustav Vasa has an old ‘mechanical chime’ from the 1950s that plays melodies. The church wanted to restore and update the chime as it was no longer working properly.

The ‘mechanical chime’ is in a little metal box with small metal bars and a mechanical hammer that plays a tune, the church used this to send sounds to the bell tower. In the bell tower there were 10 old horn loaded speakers that played the tune from the ‘mechanical chime’ out into the town once every hour. Soundcop restored the old ‘mechanical chime’, and synced it to the house clock so that it works at the correct times. The bell tower speakers are now also accessible via midi so that the organists, if they want to, can play a tune on a small midi keyboard into the town, or at the press of a button they can switch the sound to play only in the church.

Accessibility was also another focus for Gustav Vasa. Soundcop opted for a Phonak system to enable the hard of hearing to experience the same sound as everyone else by using Wi-Fi, and a device that goes around the user’s neck, or enabling the user to rely solely on their hearing aid.

The refurbishment of the Gustav Vasa was a huge undertaking.

The results have had an extremely positive impact on the congregants, the staff, and the community.

Every aspect has been carefully considered, from the safety of the church with the Q-SYS Page Stations for use in emergencies, to accessibility with the installation of disabled ramps, and a Phonak system so that the hearing impaired can experience the same sound as everyone else. The church is now also suitable for everything from classical music to pop and rock, all with impeccable clarity. And to top it all off, the whole refurbishment has been completed without obtruding on Gustav Vasa’s baroque beauty. A project that has been carried out with a lot of hard work, teamwork, and the highest attention to detail at every step.

S H OR TLISTE D - IN TEGR AT ED R ESOR T P AR I S B Y LI GHT TECHNICAL DETAILS Location: Paris, France Manufacturers: DiGidot, The Netherlands / InventDesign, The Netherlands / MADRIX, Germany Distributor: CANAL LED, France Lighting / Visual Designer: Fabrice Azoulay, CANAL LED, France Installer: CANAL LED, France Project Submitted By: CANAL LED / MADRIX In the thirteenth arrondissement of Paris, the capital of France, the facades of the ‘Maison Internationale de Séjour’ were transformed into a luminous tableau intended to become works of art to embellish the city, reinventing the concept of ‘The City Of Lights’.

When walls are transformed into giant screens, when buildings become a new medium, when the light becomes an architectural element in its own right, then an unprecedented artistic creation becomes reality.

A technological feat has made all of this possible. All in all, no less than 25,664 LEDs illuminate the facade of the MIS, which requires a total of 76,992 DMX parameters. Especially the large illuminated area of 1,025 sq metres makes this lighting installation a unique project. A three-building front acts as a single screen that is about 58-metres long and 18-metres high.

From the moment they were designed, the three buildings have been equipped with a second shell made out of glass. The framework uses translucent walls in order to benefit from the transparency, and to bring out the soul of the construction.

The exterior consists of 284 glass panes, which are all surrounded

by LEDs. Due to the architectural characteristics, the fixtures had do be custom made in order to equip the windows with either 82, 88, or 94 RGB pixels. The way the LEDs are placed provides a visual display that is worthy of a screen. The positioning of the LEDs, related to the artistic design of lighting designer Fabrice Azoulay, makes effects possible that have never been seen on building facades. The visual expression includes a multifaceted mix of effects, graphics, and videos. But the sophistication takes on another dimension by controlling all of these LEDs with a pixel-mapping server. Controlled collectively or separately, they can serve all possible imaginations, may it be in terms of effects, lighting intensity, or choice of colours. That is why the possibilities for creating visuals are limitless.

Depending on the news, the weather, or the imagination of the designer, the facades of the three buildings will change. They can repeat the same message, or variants, show specific information each, or they can simply reproduce pre-programmed images, visuals, and effects.

All this is made possible by the products used: 75 DiGidot C4 drive 1,704 customised DiGidot T-Series PixelsStrips, all controlled by one MADRIX 5 KEY ultimate pixel mapping software.

Located next to a busy six-lane highway, there was a single yet paramount challenge to overcome: to not blind all the drivers. The solution to this problem was strictly placing the LEDs in such a way that they are only illuminating the glass.

Paris By Light is an innovative project, urban and futuristic, with a limited ecological impact. It is the largest installation of its kind in France. And it features a contemporary and at the same time unprecedented artistic design for effects on lines of LEDs.

S H OR TLISTE D - IN TEGR AT ED R ESOR T C O VE M A NI LA TECHNICAL DETAILS Location: Manila, Philippines Manufacturers: Elation, Robe, ADJ, Acclaim, Antari, High End Systems, Magic:FX, Kvant, Sparkular, Meyer Sound, Funktion-One, Parasol, PDIFX, MDG, MA Lighting, ArKaos, infiLED, RGBlink, VUEPIX, Novastar, Pioneer, Denon Distributor: Pacific Technical Products Pte Ltd (PTP), CYP Architect: Miurashin Architect + Associates, Local architect: PRSP Architects Lighting / Visual Designer: ExtraPro Entertainment, AVL Design Ted Mizrahi, Centerpiece Design - Evan Bloom Acoustician: Basic Machinery (aka Basic Mac) Installer: TCDC (Trans Aisa Development Construction) Project Submitted By: Elation Professional Cove Manila is Southeast Asia’s newest entertainment space, an amazing 9,000 sq metre, $200m entertainment venue touted as the largest indoor beach club in the world. Located in Okada Manila, a five-star integrated resort in the Philippines capital, Cove Manila also includes a luxurious nightclub that’s putting the country on the map as an EDM stop for top DJs. The entertainment technology package used to dress the venue in lighting and visual effects is, not surprisingly, large with a host of top manufacturers involved including Elation Professional and sister companies ADJ and Acclaim Lighting.

Cove Manila, with its cool bayside atmosphere, five-star amenities plus nightclub, lies within a 120-metre wide by 40-metre high glassdomed space. The audiovisual design for the indoor Beach Club and nightclub includes over 1,000 lighting fixtures, which work from a variety of locations - palm trees, swimming pool, Jacuzzis, centrepiece chandelier, stage, rooftops, and elsewhere. “There are 16 different types of fixtures in the club which ensures that every event and show is

unique,” stated Ted Mizrahi of Mizrahi Show Designs, who serves as the technical director for the space and is responsible for everything entertainment technical, including the lighting and visual design, which he partnered on with designer Evan Bloom to help create the club’s kinetic centrepiece.

Ted said his role as technical director allowed him to take control of the design and make more efficient and effective lighting decisions. “I was involved from the start so I’ve been able to influence a lot of things like the infrastructure and fixture choice,” he said. “The lighting design for the Beach Club was achieved by starting with the goal of having lights and effects in every location surrounding the club. The large visual package gives the ability to cover any event or performance in the space with a distinct look.

It allows them to play with different fixtures to get a variety of looks so you don’t see the same light show over and over.”

Much of the large lighting package can be found at the performance stage but there is also an abundance of fixtures in surrounding locations. Fourteen artificial palm trees in the Beach Club for example house moving lights, strobes, blinders, washes and lasers for a disco effect from every direction, while a custom 15-metre diameter kinetic centrepiece chandelier, capable of thousands of visual effects, houses video and lighting to engulf guests in an immersive nightlife party.

Ted uses Elation Cuepix Blinder WW2 fixtures to cover multiple lighting roles in the space. Mounted in each palm tree, in the centrepiece chandelier, on the main stage truss and in the DJ booth, the white light LED blinders are used for blinding, strobing, washes, chases and even function as work lights. “We looked at architectural wash fixtures but they were very expensive,” the designer explained. “We chose to use Cuepix fixtures and have them spread around the venue. They are versatile and are good for an even wash of light, are bright and spread light well in the massive space. We even have them up in rooftop custom rigging pieces where they function as work lights and are programmed to work with the emergency lighting system. We burn them all day and all night and they are holding up well.” Also used from the palm trees to light the Beach Club stage area are one-meter long Elation SixBar 1,000's colour-changing battens, as well as Elation ELED Fresnel II warm white wash lights.

Ted looked at a variety of products when researching lighting effects for Cove Manila and took a close look at the ACL 360 Bar LED battens at Prolight + Sound exhibition. “Elation had some unique products compared to other manufacturers,” the designer said. “I wanted a 360° rotating effect that projected a blade of light and the ACL 360 Bar was the answer. They throw from 50ft down to the floor and give a different look than moving lights,” which are ubiquitous in other clubs. “Other venues just use moving heads but these give the rig a different look.” The ACL 360 Bars are used in both the Beach Club and the nightclub surrounding the stage, in moving trusses and also work from the centerpiece chandelier. “The effect from the ACL 360s really sticks out,” Ted said. “We wanted a more unique look and they give us that.”

He added: “The large visual package gives the ability to cover any event or performance in the space with a distinct look. It allows them to play with different fixtures to get a variety of looks so you don’t see the same light show over and over.”

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S H OR TLISTE D - IN TEGR AT ED R ESOR T S K Y K I N GD OM TECHNICAL DETAILS Location: Seoul Dragon City, South Korea Manufacturers: Funktion-One, Martin by HARMAN, Biamp, Crestron, MA Lighting, Sennheiser Installer: Funktion-One Project Submitted By: Funktion-One Sitting alongside the Han River, Seoul Dragon City is an impressive complex of four hotels - the Grand Mercure, Novotel, Novotel Suites and Ibis Styles - linked together to form the serpentine profile of a benevolent, Korean dragon. Completing the upper arch of this stylised outline is a sky bridge, linking the topmost four floors of two of the hotel towers - the Grand Mercure and Ibis Styles. It’s here that Sky Kingdom can be found: an entertainment complex of stylishly themed food and beverage venues that occupy the 31st-34th levels, delivering imaginatively styled interiors alongside spectacular views across the Seoul skyline.

King’s Vacation, located on the 31st floor, sees the luxurious aesthetic of a European royal palace reimagined for the modern age. An indoor swimming pool running down one side of the room is echoed by a long, transparent dancefloor that sits in the centre of the space.

Dubbed the Skywalk, the dancefloor provides dizzying views straight down to the first floor of Seoul Dragon City. Above it, 39 large OLED panels combine to create an arched 27-metres by 3.4-metres ceiling with a maximum output resolution of up to 16K. Total integral control systems from Biamp and Crestron are also used.

Here, as is the case across Sky Kingdom, Funktion-One delivers the audio. In keeping with the majestic glamour of the room, all loudspeakers were supplied in white - making them the only one’s of their kind currently found in Korea. The room’s two main loudspeaker towers sit at one end of the Skywalk, either side of a

small stage area. Each features a Funktion-One EVO6 and three F121. The subwoofer has been fitted with a cardioid pattern setup to minimise the risk of noise complaints from guests staying in the hotel rooms located behind the stage. The installation of additional sound and vibration proofing also helps to avoid disruption to those in neighbouring rooms.

In addition to the main loudspeaker towers, an array of satellite loudspeakers consisting of 12 Funktion-One F1201 and eight Funktion-One MB210LP have been evenly distributed throughout the hall for optimal sound pressure.

Designed for versatility, the in-and-out infrastructure is large enough to accommodate the wide variety of performers that take to stage on different nights. Four Funktion-One PSM12s are used as stage monitors, with two wireless Sennheiser 3000 microphones capturing the audio action. Extra power supply and related infrastructure are in place to accommodate any external sound, light and video teams.

Martin by HARMAN fixtures were used for Sky Kingdom’s lighting setup, including six compact Rush MH5 Profiles, 24 Rush MH6 Washs, four Mac Quantum Profiles and five Mac Aura XB moving heads. For the control, an MA Lighting dot2 consoles is used.

“Martin by HARMAN has wide range of products to meet customer’s needs for various effects,” explained Lily An, Assistant Manager, Trade Department at Hansam System. “Also we have confidence in the durability and quality of the products.

“The owner of hotel wanted an eye-catching design with considerable brightness and various effect. We thought Martin

by HARMAN fixtures would be able to meet these demands - and that certainly was the case.

“MA Lighting’s console has a huge reputation around the world and is receiving a lot of attention in Korea. So, of course, we chose MA’s dot2 consoles for the lighting control of the nation’s largest hotel,’ added Lily.

“Usually, large concert halls or venues use full-size console or a light console, but the dot2 products we used are very suitable for use in the hotel market.”

WINN E R I N T E GR ATE D RE SO RT W O R L D C O NF ER ENCE CENT ER B O NN TECHNICAL DETAILS Location: Bonn, Nordrhein-Westfalen, Germany Manufacturers: Fohhn Audio, Germany; Schoeps Mikrofone, Germany; QSC, USA; Sennheiser, Germany; Extreme Networks, Germany; Riedel Communications, Germany; Yamaha Pro Audio Europe; Genelec, Finnland; Lightware Visual Engineering Ungarn, Lynx Technik, Germany; Sony, Japan Architect: Behnisch & Partner, Stuttgart, Germany Lighting / Visual Designer: Graner+Partner, Manuel Marx and Dominik Schenke, Germany Acoustician: Graner+Partner, Manuel Marx and Dominik Schenke, Germany Installer: Salzbrenner Media Project Submitted By: GRANER+PARTNER (Technical Planners) Two slim, high-performance Fohhn Focus Modular Beam Steering Arrays, several metres long, were used for reasons of historical preservation. They are housed in colour-matching painted enclosures to the left and right of the ‘German Eagle Wall’ and blend almost invisibly into the overall appearance of the wall behind the federal eagle, which has a room-acoustic effect with a perforation. Thanks to the electronically controllable directivity of the loudspeakers, it was possible to react perfectly to disturbing acoustic effects and achieve a high level of feedback resistance.

One focus at events is on speech transmission. However, the trend is also towards music events with classical music, jazz, rock/ pop, which is why the sound system is also ‘dimensioned’ for these scenarios with additional subwoofers. Six Focus DLI line

array speakers on the existing ceiling lights provide the acoustic supply for the grandstand. A total of 650 ic audio DL 06-200/TEN54 ceiling-mounted loudspeakers for announcements, gongs and alarms are distributed throughout the entire location, including the foyer, ancillary rooms and sanitary facilities, kitchen and restaurant. A Yamaha Rivage PM 10 system with TwinLANE high-speed network and a CS-R10 control panel as well as several RPio622 input/output units goes into action for in the control room adjacent to the plenary hall.

The digital wireless technology from Sennheiser includes 24 transmission lines from the Digital 6000 product line, twelve dual receivers and 24 hand-held transmitters. In addition, four analogue EM 2050 IEM double transmitters work as in-ear link – atmospheric microphones installed in the plenum provide the appropriate room signals.

For the technician’s intercom applications, an Artist system from Riedel Communications has been chosen, which includes mobile Bolero beltpacks and fixed microphone units in the control room and all central units.

Since the plenary hall serves as event location, Leyard LED walls made of Leyard LYD-TVH026RSN modules with 1.6mm pixel pitch in the format of 4.8-metres x 2.7-metres (16:9) have been available on the right and left of the ‘eagle’s wall’, suitable for daylight. The entire video infrastructure was completely renewed for this purpose. In the engineering room there is a lightware matrix with 144 x 144 crosspoints (25G-FR144x144 hybrid matrix router), which is one of the largest systems installed in Germany. It connects broadcast signals with image suppliers from conference technology, e.g. presentations on customer laptops. The matrix provides numerous HDMI interfaces to which six specially configured PCs from Digital AudionetworX (each with several video outputs) are connected.

Devices that are further away are safely connected by fibre optic cable to prevent interference. The possible routings open up maximum flexibility and can be patched either via the control software belonging to the matrix (KVM workstation in the control room) or via Crestron touch panels. The video infrastructure in the plenary hall is now suitable for 4K resolution from source to sink.

The final image mixing for video walls and preview displays takes place via an Analogway Ascender 48 Video-DSP, controlled with a touch panel.

Six new, remote controllable Sony BRC-X100ß 4K PTZ cameras

deliver moving images with broadcast quality. They are connected to a Ross video mixer via optical fibre. The cameras are controlled either with a Sony RM-IP500 control panel in the control room or automatically from the discussion system in the video-follows audio function. Activating a call station in the plenary hall activates a pre-set that automatically guides the camera to the appropriate setting. By activating a call station in the plenary hall, a pre-set is loaded that automatically moves the camera to the appropriate setting.

The Plenarsaal, designed by architects Behnisch & Partner, was the former parliamentary seat of the German Bundestag from 1992 to 1999. The building then became a conference centre and is part of the WorldCCBonn now. The plenum is dominated by glass and steel without a continuous outer wall, with isolated concrete walls serving for the statics. The lack of speech intelligibility was already strongly criticised after the first move to the parliamentarians. For an improved use, the available, outdated media technology of the 90s had to be adapted to the internationally accepted stateof-the-art technology. The preservation of historical monuments demanded that the new installation technology has to fit in as ‘invisibly’ as possible into the existing ambience.

Graner+Partner engineers began planning at the end of 2017 and accompanied the installation. Start was in March 2018. The modernisation measure was subsidised by the Federal Office for Building and Regional Planning with five million Euros on condition that Salzbrenner Media guarantees completion of the installation work and commissioning by September 2018.

The specialist planners carried out acoustic measurements based on the glass/steel/concrete architecture in order to determine the reverberation time and problematic reflections. With the help of a virtual hall model, the electroacoustic simulation was implemented in EASE, archive plans of the hall from the 90s were researched, elaborately digitalised and various loudspeaker designs were played through on the computer - the sound solution had to comply with the requirements of historic preservation, as well as many detailed solutions. The installation planning was carried out according to qualitative and monument protection aspects.

The existing media technology components such as the prominent loudspeaker ceiling artefacts with their transparent Plexiglas housings and the permanently installed large cameras were not to be removed. For this reason, the decision was made to use the

slim, powerful Fohhn sound lines, which, when mounted there, do not optically apply, but deliver maximum performance.

Time was a big challenge: The new installation should take place during the running operations and rather quickly between the events, but should not disturb the course of events. Therefore Graner+Partner determined in advance which system components could be dismantled without affecting the operation of the event and where temporary solutions would be required.

The history and significance of the building are unique in world history. The fact that the former West German parliament building has been turned into a conference centre with multifunctional and modern use is also evident. In addition to lectures, conferences and political events, the centre is also open to musical events such as classical concerts, jazz, rock and pop, provided that they are consistent with the location´s dignity. The newly installed media technology now also covers this event portfolio. Due to the complexity of the contract, punctual execution and exact adherence to the budget are of particular importance. Although the work took place between operations and the time window was very tight, the deadline was met to the letter. This is rare for such complex projects and should therefore be emphasized.

The plenary hall now has a highly flexible and powerful infrastructure based on a redundant 10 Gbit fibre optic network, a very extensive video matrix lightware 25G 144 x 144 and a discussion system with 260 state-of-the-art microphone units as individually manufactured retrofits from the Brähler DIGIMIC product family, which are elegantly and completely integrated into the tables.

The technically sophisticated control room is located in a very small space. The contained working tables, user interfaces and screens are ergonomically adapted to the individual workflow of the technical engineers. All media technology is completely UPS (Uninterruptible Power Supply) buffered.

The audiovisual professionals on site also notice the extensive equipment and the clarity in the technical rooms. Despite its high complexity, the state-of-the-art technology consisting of audio, microphone, mixing console, intercom and communication technology, video technology and control technology, is easy to operate and, in compliance with monument protection regulations, perfectly integrated. The event participants only notice the outstanding audio and video quality and the smooth running of the event at the end of the day.

S H OR TLISTE D - N IGHT CLUB P R I NT W O R KS TECHNICAL DETAILS Location: London, UK Manufacturers: Green Hippo Lighting / Visual Designer: Richard Bagshaw, Digital Insanity, UK Project Submitted By: Green Hippo Printworks London opened its doors in 2017, making an immediate impact on the London live events scene - it was swiftly voted into the top 20 of DJ Mag’s Top 100 Clubs and has just claimed ‘Best Club’ status in the 2018 Time Out Love London Awards. The building, once Western Europe’s largest print facility, has been transformed into an extraordinary events location, made up of six spaces spread over 119,200 sq ft [11,074 sq metres] with over 40,000 sq ft [3,716 sq metres] of outside space.

While Printworks London is a home for culture generally, electronic music formed a major part of the venue’s 2017 debut schedule - enabling electronic music events of a scale rarely previously seen in the UK capital. One year on, Printworks continues its love affair with the London electronica scene, dedicating two seasons of 2018 - spring and autumn - to holding multiple electronic events.

Digital Insanity used a Hippotizer Karst Media Server to control video. The Printworks control system also counts midi controls and a custom OSC specified by Digital Insanity. The OSC control option is an openended network protocol designed to connect musical instruments such as synthesizers together and, thanks to its flexibility, it is a simple way to control Hippotizer from third party devices, such as, and in this case, an Apple iPad. The Hippotizer Karst controlled 17 strips of LED down each side of the room, plus a further eight strips contained in lighting pods. The pods are contained in the venue’s signature Kinesys moving rig technology, a feature reported by DJ Mag as one which has ‘come to define the venue for many’. New LED panels in the electronic space, running content created

by Digital Insanity, add even more visual wonder to this awesome space.

The biggest challenge was the canvas’s width as it was 150m wide when flattened: so some of the content was pre mapped. Digital Insanity used several presets some for live mapped and some for pre mapped content.

From a disused print works to a venue already engendering borderline religious devotion from all who visit, its brutally, yet beautifully, exposed interiors, Printworks London is a shining example of how today’s leading video and lighting creatives can play a major part of crafting not just an event, but a happening.

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S H OR TLISTE D - N IGHT CLUB B L AC KR O OM TECHNICAL DETAILS Location: Semarang, Indonesia Manufacturers: Lights Professional, Indonesia / MADRIX, Germany Distributor: NewVision Technology, Taiwan Architect: Bumi Wiratama, Indonesia Lighting / Visual Designer: Hanny Harijanto, Lights Professional, Indonesia Acoustician: Bumi Wiratama, Indonesia Installer: Hanny Harijanto, Lights Professional, Indonesia Project Submitted By: Lights Professional / MADRIX After 13 years in business, Entertainment Plaza, as the venue used to be called, was up for renovation, in fact, a complete makeover was necessary. Merely four moving heads and a one-metre mirror ball were simply not enough anymore, the venue had to become much more appealing. Under new management, the new owner and lighting designer Hanny Harijanto went out to see the behaviour of partygoers and what other clubs offered in the dynamic city of Semarang on Java. Still, time was of the essence, a grace period of only two months was granted before the grand re-opening.

The new name suggests what was about to happen, with 16-metres by 16-metres, the venue is perfectly square-shaped: a perfect room. In addition and since a creative concept was needed quickly, the idea was born to paint it entirely black: Blackroom. The colour was deliberately chosen, it would enhance the lighting design, bring out the colours, and make them dominate the room.

Since the venue is a square, this concept was transformed into reflective 3D light cubes on the ceiling for the main lighting design. Customised 2.7cm LED pixels with milky covers and a rock-solid MADRIX lighting control system were the key to make this happen.

With strong 3D effects, soft colours and lighting reflections that gradually bounce off from the black panels, the new owner couldn’t be happier with this unique design. We only had ten days to finish the installation and to set up all the lights. Hence, time was critical.

"Blackroom really became a trendsetter in the city of Semarang, personally, as a lighting designer, I’m falling in love with this stunning 3D cube effect again and again," said LD, Hanny Harijanto. "It was amazing to blend the colours as the reflections of the LEDs onto the black matte panels create extraordinary effects - it almost becomes a work of art."

SH O R TLISTE D - N IGHT CLUB C L U B V ER SUZ Technical Details Location: Hasselt Belgium Manufacturers: MA Lighting, Robe, Martin by HARMAN, CLF, Studio Due, Highlite Distributor: Fairlight, Martin by HARMAN Lighting / Visual Designer: BASZ design & live operating Installer: Technical team Versuz (managed by Bert Gemels) & Fairlight Project Submitted By: BASZ design & live operating The design is based on round shapes, in order to get it playful and three-dimensional. The former oval shaped LED elements were reused but replaced to create a more spacious feeling, the lighting set up is designed to make people feel that the entire club is one big dancefloor.

The main configuration is based on eight curved trusses of lighting, each with video panels in the front and for the area above the dancefloor. I’ve designed custom cylinders which can be moved in a vertical direction individually, each cylinder is equipped with four Highlite active sunstrip, eight Martin by HARMAN VDO Sceptron 10 and one Martin by HARMAN MH-10 Beam FX. Every fixture type is used throughout the entire club, giving LDs the ability to use one fixture type at a time to light up the club.

All combined with the powerful Martin by HARMAN Atomic LED strobe equipped, with Martin Atomic scrollers to give attention to specific accents in the music. Around the DJ booth, Eurotruss HD44 circle parts were used to create an intimate feeling.

The visual set up is an important and integral part of the design, which follows the shapes of the set throughout the entire club.

The 10mm custom curved LED tiles (Pixelscreen Belgium) are mounted on the outside of every curved truss, to create a true 360° club feeling as people can watch the setup from every angle.

This was one of the very important basics during the design process, to give the audience a real club feel, instead of feeling like they are watching a concert. The visual setup was perfected by a next level content package, custom made for Versuz and created by Prismax from Belgium.

From the very first moment I started designing, Versuz General Manager Yves Smolders wanted the setup to be able to move, to create high impact moments and have the possibility to refresh the look and feel during the night. Versuz technical team created a remote-controlled system to control the hoists for movements.

All curved trusses and the 24 cylinders can be moved in a vertical direction individually.

The main challenge during the installation was that the venue needed the possibility to be scaled down by moving the stage, without affecting the light and video setting.

Together with the R&D team of Fairlight, I’ve created a monorail system to move the circular trusses, above the stage, in a horizontal direction.

The technical team created a remote-controlled system that allows them to move the stage back- and forward to change the size of the venue.

Another challenge was that the setup needed to be installed within four days. Versuz technical team, lead by Bert Gemels in co-operation with Fairlight, managed to dismantle the old construction and install the complete new setup within that time frame. Together with one programming day on site, the club was up and running.

Versuz exudes a beautiful, fresh and engaging club where the design incorporates technology into the architecture in a way that the technology becomes an integral part of the environment, which proves that old elements of the club can be integrated into a new design to give the club a whole new look and feel.

High Flying Lights With 320 LED tiles C50, Schnick Schnack Systems helps Air France passengers at Charles de Gaulle Airport to relax before the flight.

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WINN E R NI G H TC L U B E LE M E NT S C LUB TECHNICAL DETAILS Location: Beijing China Manufacturers: MA Lighting, Germany, PR Lighting, China, Fine Art, China, Resolume, The Netherlands, Zhonghui remote controlled winches, China Architect: BASZ design & live operating in association with DR Lighting Lighting / Visual Designer: BASZ design & live operating, Netherlands, DR Lighting, United Kingdom Project Submitted By: BASZ design & live operating

The lighting set up is designed to give the audience a 360° feeling” to make people feel that the entire club is one big dancefloor. The main configuration is based on four large squares of lighting, each with three concentric smaller squares inside.

We chose to keep it simple and use only three different types of moving heads for show lighting, one type of spot fixture, one type of wash fixture and one type of beam fixture.

With such an impressive setup and large number of fixtures, having too many different types of fixtures would become overwhelming. Every fixture type is used throughout the entire club, giving LDs the ability to use one fixture type at a time to light up the club.

All combined with a powerful LED strobe to give attention to specific accents in the music.

The visual set up is an important and integral part of the design, which follows the shapes of the set throughout the entire club.

The 4mm LED tiles are mounted on the outside of every square and the entire balcony, to create a true 360° club feeling as people can watch the setup from every angle. This was one of the very important basics during our design process, to give the audience a real club feel, instead of feeling like they are watching a concert. The visual setup was perfected by a next level content

package, custom made for Elements and created in association with our partner DVizion from The Netherlands.

From the very first moment we started designing, we wanted the setup to be able to move, to create high impact moments and have the possibility to refresh the look and feel during the night.

We chose to use winches for movement of each square, giving the possibility of moving them all the way up to the ceiling, as the clearance of the club is only eight and a half meters. It was important to us that the LD could control the automation, so we configured it to be triggered via the grandMA with safety controls on a separate console next to the grandMA. The main challenge was ensuring the vendors would install the setup as designed.

They were not accustomed to receiving professional drawings from the designers with detailed explanations in English and Chinese, so we had to watch them very closely to make sure our drawings were followed. As the design has important details, such as the position of the motion and height of the setup, following the design was imperative, so we had many video calls with Mark Zhang (the owner of the club) and his team, together with a visit on site during the installation process.

Elements Club has an original and detailed design. The shapes of

our lighting and video design are repeated in the interior design throughout the entire club, it is wholistic.

We designed the whole club based around the light and video setup.

Elements Club is a beautiful, fresh, and engaging space. Our design incorporates technology into the architecture in a way that the technology becomes an integral part of the environment. You arrive in a timeless way, up a grand staircase and passing through multiple portals.Corridors and video walls create an ever-changing environment as guests enter the club, which help set the tone and the wow factor for the main room.

S H OR TLISTE D - STADIUM G E R RY WEBER STAD I UM TECHNICAL DETAILS Location: Halle, Westfalen, Germany Manufacturers: Prolyte Group Distributor: cast C.Adolph & RST Distribution GmbH Project Submitted By: Prolyte Group Prolyte Mammoth Truss enables heavy-duty lifting points under a slidable roof.

Prolyte Distributor Cast created a new installation at the Gerry Weber Stadium, in addition to its use as a tennis arena the new installation enables the Gerry Weber Stadium to accommodate other larger touring productions.

After conversations with the German Prolyte distributor Cast, the managing directors Ralf Weber and managing director Alexander Hardieck decided to install two flexible heavy-duty truss lines as an additional pre-rig to enable further central suspension points. Cast came with a suitable solution; an installation of about 77-metres long Prolyte Mammoth M145RV Truss, which is considered as one of the largest aluminium truss that has ever been made.

The two sections of Prolyte Mammoth Truss are each suspended at their two ends and attached to the roof structure without impairing the function of the slidable roof. “The advantage of this solution is that you can easily check all load profiles over and over

again," explained Jens Kannacher of Cast. “When using another crossbeam, significantly more suspension points or counterweights should be installed. Thanks to the Prolyte Mammoth Truss, we only have to manage two points. At the top, other trusses can be placed which allows a free choice of the distance between individual suspension points.”

“The Gerry Weber Stadium offers an outstanding view from all angles due to its extraordinary design,” explained Managing Director, Alexander Hardieck. “The suspension points that are installed are essential for us in order to keep our stadium attractive for more extensive use. As a result, a heavy-duty pre-rig has been installed, which is stretched across the entire stadium width."

Stadium Manager Torben Griese added: “We can hang 15 tonne extra load in the front-stage area via the two pre-rigging routes.”

The installation was premiered at the end of September 2018, when the touring production ‘Andreas Gabalier’ was a guest in the East Westphalian event arena for a week for rehearsals as well as for the final and sold-out opening concert on 4 October. “We were already able to successfully hold numerous tour premieres and kick-off concerts, with the implementation of this project, a progressive investment has been made in the Gerry Weber Stadium,” concluded Torben.

S H OR TLISTE D - STADIUM O P T U S STAD I UM Technical Details Location: Perth, Australia Manufacturers: NEXO, France Distributor: Group Technology Ltd, Australia Architect: Cox Architecture, Australia Acoustician: Marshall Day Acoustics, Australia Installer: Rutledge AV, Australia Project Submitted By: NEXO Nearly 500 NEXO loudspeaker cabinets, line array and pointsource, have been installed in the prestigious Optus Stadium in Perth, Western Australia, in a state-of-the-art audiovisual system, delivered by Australia’s number one audiovisual systems integrator, Rutledge AV. A three-year design process included extensive evaluation of loudspeaker systems, with Group Technologies finally winning the contract with its NEXO solution.

The Optus Stadium is ranked as the third largest in Australia; home to two Australian League (AFL) teams, the venue hosts numerous international events in different sports, as well as highprofile live concerts. With over 1,000 permanent loudspeakers in place throughout the stadium, controlled with a digital management system, it is considered the largest sound system in the country.

Rutledge AV chose NEXO sound reinforcement equipment to create a PA system that would deliver an ambitious 0.6 STi or above for the entire stadium seating area, referred to as the Main Bowl PA. Additionally, a nominal SPL of 102dB (±3dB) for all the 60,000-seated visitors was stipulated.

Based on three main criteria - capability, price and performance - Rutledge AV set about evaluating five loudspeaker systems.

“Networking abilities, service support and rigging hardware capabilities were other paramount factors in making our decision,” said Elijah Steele, Rutledge Project Manager. “From the outset, NEXO was the clear winner for a variety of factors and, over the course of the project, the manufacturer proved themselves as great partners providing support whenever we required it. We’ve worked with their distributor, Group Technologies, many times before and knew we could fully rely on their support.”

Eighteen arrays, each combining 12 GEO S12 line array elements together with three LS18 18-inch sub bass cabinets, were installed to provide the bulk of the stadium’s SPL punch. Largely dictated by simulations using NEXO’s proprietary NS-1 modelling software, the special GEO S1210 and S1230 modules provide long-throw capabilities to ensure even coverage down to the pitchside seating areas. Vertical and horizontal control is further enhanced by the incorporation of the GEO S12’s Hyperbolic Reflective Wavesource, while a Directivity Phase Device extends coherency below normal LF-HF coupling limits. The presence of three additional LS18 sub bass units within each array extends the LF response to 32Hz at –6dB. A specialised metalwork shop created customised array casings for the 18x IP65-rated weatherised arrays. “We also integrated a customised mobile dolly that permanently lives on the roof gantry. It can then lower the line arrays from the catwalk to L1 for periodical servicing, cleaning and maintenance.”

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S H OR TLISTE D - STADIUM V O L G O G R AD AR ENA Technical Details Location: Volgograd, Russia Manufacturers: Funktion-One, MC2 Architect: PI Arena, GMP Architekten Distributor & Installer: Edelweiss Audio Project Submitted By: Funktion-One Funktion-One Russia supplied and installed a permanent, stateof-the-art sound system for the 45,000-capacity Volgograd Arena - one of the FIFA World Cup 2018 stadia. Working closely with the Funktion-One design team in the UK, the company specified a system that features 638 Funktion-One loudspeakers and 50 MC2 Audio amplifiers.

In addition to class-leading clarity and intelligibility for voice announcements, the system delivers impressive and involving fullrange musical reproduction to enhance the match-day experience for fans.

The project, which started life in spring 2017, demanded high-levels of support and commitment from the manufacturer, in order for Funktion-One Russia to meet all of the criteria and deadlines en route to delivering a world-class audio installation.

Among these criteria was FIFA’s stipulation that the system be capable of overcoming the crowd noise of 110dB SPL by at least 6dB, with deviations in overall sound levels across the spectator area not exceeding +/- 3dB. Additionally, the frequency response in the seating areas should be at least 120Hz to 5kHz +/- 3dB. It also had to be capable of reproducing music with an extended frequency response between 40Hz and 120Hz +6dB/-3dB and between 5kHz and 12kHz +/-4dB, and provide enough headroom to compensate for atmospheric loss of high frequencies.

Working with all these criteria and architectural plans, the team created simulations and modelling in EASE. This allowed them to pinpoint specific challenges and ways of overcoming them, as well as map out the optimum loudspeaker specifications, configurations and positions.

The loudspeakers are accurately arrayed and aimed using bespoke metalwork – 24 C-shape clusters along the sides and 12 Y-shape clusters for the corners. Each array features Evo 6SH loudspeakers with 50-degree horizontal dispersion for the closer seats and Evo

7SH loudspeakers with narrower dispersion and resulting higher intensity for the further seats. Alternate clusters are supplemented with either two F215 Mk2 midbass or a single F221 enclosures.

Under-balcony coverage is provided by Funktion-One’s highly intelligible and compact F81 and F101 loudspeakers.

This system of speaker clusters resulted in incredible directivity control in the horizontal and the vertical planes. The combination of midbass and low-bass enclosures delivers strong, well-defined bass which, having been carefully time aligned, combine brilliantly with the Evos. The high efficiency of these bass loudspeakers means the system response has good balance even at very high SPL. The Volgograd Arena project was headed by Funktion-One Russia’s Technical Director Andrei Kremenchugskiy. It builds on the success of previous sports venue projects, such as Krasnodar Arena in southwest Russia (completed in 2016 as the country’s most technically advanced stadium at the time), as well as the Bolshoy Ice Dome and Sliding Center Sanki in Sochi, which were built for the Winter Olympics 2014.

The Funktion-One Evo system at Volgograd Arena offers classleading clarity and intelligibility for voice announcements, plus it delivers impressive and truly immersive full-range musical reproduction to enhance the match-day experience for fans.

Evo loudspeakers feature Funktion-One’s latest technological developments. Both the Evo 6 and Evo 7 are available in various derivations, resulting in a series of loudspeakers that is adaptable to a wide variety of applications.

The SH versions feature the mid-high section only (no 15” mid-bass) and aren’t housed in a cabinet. This means that, while they have the Evo performance characteristics, they are very compact and extremely light.

Funktion-One founder John Newsham: “We are very keen to provide audiences with a great audio experience at sporting events, where sound should be loud and exciting but also comfortable to listen to. Announcements and commentary should be clear and intelligible without being painful.”

Funktion-One founder Tony Andrews: “We believe that our waveguide and cone midrange technology is capable of positively transforming the stadium audience experience with its huge improvements in intelligibility and coherency. This is in accord with our philosophy of global sonic improvement.”

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WINN E R S TA D IUM E D E N P AR K TECHNICAL DETAILS Location: Auckland, New Zealand Manufacturers: Signify Lighting / Visual Designer: Omar Shahab, Switch Lighting Design Project Submitted By: Signify Eden Park underwent significant redevelopment before the Rugby World Cup, with many features in the ground upgraded, including the audio-visual infrastructure, ICT, lighting, seating and stadium

access. A key part of this project was the new 24,000-seat South stand – a three-tier structure that replaced the old South and South West stand.

A prominent feature of the new stand is the use of ethylenetetraflouroethylene (ETFE) on the exterior of the building. This building polymer is lightweight and transparent, allowing light for local environs. The exterior is self-cleaning and can be impressively lit with up to a thousand different colours.

Nick Sautner, CEO at Eden Park takes up the story: “Eden Park’s ETFE facade was installed for the Rugby World Cup in 2011.

The material is specifically designed to have high corrosion resistance and strength over a variety of temperature and weather conditions.

“The ETFE is one of the key focal points in the Park’s development and still both performs well and looks great, while providing the opportunity for greater functionality, especially on event days.”

With the lighting in mind, the Eden Park Trust sought a dynamic lighting solution that would provide high-impact illumination for the South stand, further enhancing the stadium’s atmosphere and ambiance.

The main requirement was that the lighting showcased the

glass architecture and fern-shaped accents on the exterior of the stadium, all without overpowering its unique design.

Signify were approached to provide the ideal solution. With New Zealand-based lighting designer, Omar Shahab of Switch Lighting Design, Modus Lighting and Aseco, Signify, formerly called Philips Lighting, delivered the concept, design, and installation of the new lighting system at Eden Park. In total, the team installed 34 varyingly spaced Philips Color Kinetics ColorReach Powercore LED flood light fixtures inside the lower rim of the glass façade. The fern structures are emphasised with saturated RGB light, while the rest of the South stand is lit in a vertical striped pattern, with dark spaces in between each stripe of light.

Controlled by the Interact Sports Scene management application from Signify, the new lighting solution gives Eden Park the ability to create dynamic, fully-customised light shows for the South stand. One of the applications of the new lighting system is matching the lights to colours of sports teams to help create unique atmosphere that is tailored to the fans. It has also been a major part of the city revitilisation plan.

“As part of a long-term partnership with Eden Park, earlier this year, Signify installed high-quality, colour-change lighting to

illuminate the ETFE that has enhanced Eden Park’s iconic façade. It looks stunning whether you’re at the stadium or watching a game at home,” added Nick.

“We partnered with Signify due to its position as an industry leader and development in specific LED and lighting control solutions for stadia across the globe. The new lighting software has enabled greater functionality and better control over the settings.”

As well as team colours, the façade lighting has been used in many other ways, too, as Nick explained further: “The ETFE and its development has allowed Eden Park to support a variety of charitable causes throughout the year, which has included the Suffrage 125 movement, Prostate Cancer Foundation, Unicef’s World Children’s Day, Armistice Day and Mental Health Awareness Week.”

Since the completion of the lighting installation, Eden Park has been able to control the ambiance of the stadium at the touch of a button. The work of Signify, along with its partners, has delivered a truly eye-catching venue that offers a real visual spectacle for visiting fans, helping to build the atmosphere before they even enter the stadium.

SH O R TLISTE D - TH EAT R E T H E B AR BI CAN – OPENF ES T TECHNICAL DETAILS Location: London, UK Manufacturers: OutBoard, Meyer Sound Installer: Richard Nowell Sound Services Project Submitted By: OutBoard The multipurpose performance and experiential Barbican Centre venue’s OpenFest season saw a major new multimedia and sound installation by the Culture Mile partnership take place in the Beech Street tunnel, opposite Barbican Underground. Tunnel Visions: Array was an epic outdoor public artwork, created by 59 Productions led by director Richard Slaney and production manager Ollie Hester, and co-produced with the Barbican and City of London.

Using a specially recorded version of Esa-Pekka Salonen’s Karawane for Orchestra and Chorus, the experiential installation showcased the diverse sounds of the BBC Symphony Orchestra and Chorus using a unique sound design devised to play with the acoustic reflectivity of the tunnel.

Complementing the orchestral dynamics and arrangements, both walls and the ceiling of the tunnel became projection surfaces displaying swirling, evolving patterns of light, working with and against the music to play with perspective and visual tone.

Designed by Tony and Olivier Award-winning sound designer Gareth Fry, in conjunction with Robin Whittaker of UK spatial audio specialists OutBoard, the complex audio system featured a distributed “40.20” spatial audio system of individually fed Meyer UPJ speakers with 20 channels along each side of the tunnel mounted on towers which also housed the project’s 40 cross-firing video projectors. Every alternate tower also accommodated a single Meyer UMS sub bass cabinet, arranged in a zig zag pattern along the tunnel under every alternate tower.

This bespoke sound system topology required a versatile multichannel spatial audio matrix to manage it, so a TiMax SoundHub-S64 processor was specified to provide dynamic spatialisation, multitrack playback, system processing and fullyintegrated showcontrol to sync everything together and help immerse the audience in the experience. Dual TiMax units were run as a redundant pair, feeding 60 channels of audio out to the speakers via a Dante audio network running to Yamaha RIO audio breakout interfaces out on the street. The redundant Dante audio network feeds from each TiMax went through an Autograph Dante switchover box for instant backup.

The BBC Symphony Orchestra and Chorus sources were provided as individual multitrack stems of each instrument and voice, which were loaded both into QLab theatre audio showcontrol software and also onto the TiMax SoundHub unit as alternative playback devices. A timecode reference signal was created to enable synchronization with multiple Disguise video servers which played back the visual content through the 40 projectors and mapped it

onto the walls and ceiling of the tunnel.

The audio content had been recorded live at a prior Barbican Centre concert, so most instrument and voice sources were subjected to significant sweetening using the input parametric EQs in TiMax, to help create a usable final mix of suitable quality, clarity and intelligibility on-site.

The music and voice tracks were pre-programmed with 3D spatial placements and panning movements in TiMax, triggered against timecode to sync them with the video material. Multichannel movements of instrument and voice sources along and across the channel were then fine-tuned and sequenced on-site as the final video edits were developed.

Richard Nowell Sound Services assembled and installed all of the sound equipment and audio networking, with on-site spatial audio programming support provided by Robin Whittaker of TiMax developers OutBoard.

The UPJ loudspeakers were installed actually facing the tunnel walls, firing into custom-designed acoustic reflectors that ensured a diffuse immersive soundfield rather than creating discrete audience-distracting hot-spots.

These speakers and the 20 sub-bass cabinets were programmed into individual spatial objects so that audio content, including low-frequency content, could be moved around in space using TiMax PanSpace spatialisation and scheduled using the TiMax TimeLine, which also synchronized spatial audio events to the visuals via timecode.

Using object-based spatialisation allowed diverse and flexible placement and movement of music and voice sources around the space, and using TimeLine scheduling allowed precise matching to visual events via timecode–related audio and showcontrol Cues in TiMax. Presenting a dynamically moving immersive audio synced with video to a roving audience meant a conventional speaker system design could have deafened people nearby, and unraveled the immersivity as people moved nearer to individual speaker channels. Spreading the sound diffusively using reflectors was central to maintaining immersion for the whole audience, who were encouraged to move around and interact with the installation. Onboard TiMax output parametric EQ was invaluable for balancing out sonic artefacts caused by this slightly unusual speaker deployment.

Audio playback was intended to be ultimately finally laid up on a QLab Mac from the TiMax internal SSD’s. During tech it was found necessary to roll-back and drop in frequently to facilitate video edits to be reviewed along with the timecode synchronized audio. The TiMax TimeLine could drop in and start at any point so it ended up becoming the default playback engine. The timecode sync signal was laid onto one audio track of the TiMax and split across the Disguise video servers to start and stop them on the fly and then run them during the shows.

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S H OR TLISTE D - TH EAT R E N E VI L L HOLT OPER A Technical Details Location: Market Harborough, UK Architect: Witherford Watson Mann (WWM), UK; Heritage Architects, Julian Harrap Architects, UK Installer: Hoist UK; Marquee AV, UK; Race Furniture, UK Project Submitted By: Sound Space Vision As consultants with a track record in both theatre planning and acoustics of several successful country house opera buildings, Sound Space Vision was an integral part of the team which created this brand new opera house within the heritage confines of a 17th Century stable block on the Nevill Holt Estate in Leicestershire.

The client wished for a new permanent building to replace the temporary tented structure used for years. It had to have an excellent acoustic for young voices, improve the audience/ performer relationship whilst preserving intimacy, optimise the technical equipping of the stage and front of house, and, include orchestra pit large enough for up to 50 musicians.

It was a given that a prominent listed building on the ridge of a rural landscape would have planning restrictions that precluded a flytower. Equally, the historic stables structure could not be undermined by a vast understage structure, therefore careful considerations had to be made in order to provide the company with required design and production capabilities.

SSV laid out the stable yard with the necessary stage depth, the open and overhung orchestra pit areas to balance the sound with the voices on stage, and sufficient numbers of audience rows to meet the seating capacity expectation of 400.

While the 25-metres x 16-metres stable yard would become the auditorium and stage, the surrounding stable accommodation was to be repurposed as backstage, wings, dressing rooms, offices and audience reception rooms. Front-of-house accommodation would remain as temporary pavilions in the gardens during the summer festival.

To maximise accessibility, SSV recommended placing both the audience entrance and the stage at ground level, enabling backstage instrument and set movement. In addition, wheelchair users can access the stage, the stalls, and backstage without resorting to a lift.

Revealing the stable’s historic walls and windows determined the height of the lowest row of the balcony. The geometry of the hall featured gently curved rows for the stalls and a bigger, more embracing sweep for the balcony, which resulted in 18% more capacity in the same floor area as in the previous tent, and excellent sightlines to the stage edge from every seat.

For the opera season, lighting and scenery trusses are suspended over the stage, and hinged proscenium panels create a frame for the set while containing the side lighting booms. SSV designed and specified a dedicated lighting, sound and AV cable infrastructure capable of supporting the specialist requirements

of the production systems while providing a good degree of future-proofing for expansion and changing technology.

Crucially, the loading capacity of the roof for rigging and the bearing capacity of the ancient stable walls have been carefully balanced to respond to various production designs and uses.

The horseshoe-shaped balcony not only increases the overall intensity and impact of the audience and performer experience, but also provides acoustical reflections to assist clarity and immersion. The stalls’ floor geometry creates a well near the stage which helps the young performers’ voices reach the back wall, maximises the acoustical resonance of the theatre, and provides a human link between the audience and performers.

Timber battens in relief on the balcony fronts scatters sound appropriately, and by paying careful attention to the thickness and detailing of the timber, acoustical resonance and warmth conveys the subtle musical nuances of the artists.

The orchestra pit shape and timber finish develop a warm instrumental sound while allowing the singers to shine.

Sound isolation is achieved through a combination of the layered timber enclosure, a green roof, the double-glazed skylight, and baffled air vents.

Sound Space Vision is proud to have contributed to England’s newest opera house that celebrates such a profound investment in young performing talent.

With the permanent technical infrastructure hidden from view and concealed in this warm and light-coloured space, the audience feels at one with those on stage, both visually and within the intimate acoustic.

Overall, the stable block’s exposed stone walls, the additional infrastructure and materials, the curved form and rake of the auditorium, the well-proportioned orchestra pit, sound attenuation systems and controls, and the appropriately-specified fittings and fixtures, all combine to create an opera house with acoustical resonance, impact and strength, and also a unity and calm with this place and its heritage.

Praise for Nevill Holt Opera: "An indisputable triumph... with its warm acoustics and state-of the-art technical equipment and backstage facilities, this can truly be called a home for music.” Daily Telegraph “This gem of a little theatre where young voices and instruments can be heard in perfect balance... [is] arguably the best little opera house in the country to date.” - The Sunday Times

United Kingdom Europe Middle East Vietnam Hong Kong Macau www.jcjoel.com +44(0)1422 833 835 uksales@jcjoel.com

S H OR TLISTE D - TH EAT R E X I Q U C E NTR E Technical Details Location: West Kowloon Cultural District, Hong Kong Manufacturers: Meyer Sound; ETC Installer: China-Tech Engineering Co., China; SBS, Germany Project Submitted By: Sound Space Vision The Xiqu Centre is the first completed building in the West Kowloon Cultural District (WKCD), the newest in one of the largest cultural quarters in the world. The Xiqu Centre is dedicated to the performance of Chinese Opera (Xiqu), and the Centre for preservation and development of the variety of Chinese Opera art forms.

SSV was responsible for the acoustics in all of the spaces in the Xiqu Centre which have been specifically designed for educating, preparing, rehearsing, and performing Chinese Opera – past present and future. Its 28,164 sq metres houses: the 1,073-seat Grand Theatre, a proscenium theatre for Chinese opera and other theatrical forms, ranging from fully amplified to natural performances; the 150-200-seat Tea House, a courtyard theatre for smaller-scale Xiqu amplified and unamplified performances; a well-equipped Seminar Hall, large and small rehearsal facilities, and a recording/broadcast suite; and, retail/food and beverage areas connected to the public ground-level Atrium.

In planning the acoustic design for the two theatres in particular, SSV has taken into account the heritage and expectations of Hong Kong audiences and practitioners, along with those of visiting artists from Mainland China, and international patrons and artists.

Cantonese Opera performance integrates highly amplified sound, while some mainland traditions revolve around a more natural sound.

The overall aesthetic aim of Xiqu is beauty in all aspects of performance, and practitioners talk of roundness of movement, singing and instrumental tone. Effortlessness is important, and the right acoustic helps the performers feel the audience as an extension of their instruments and voices.

Chinese language is tonal, with vowel sounds as important as consonants to word meaning, aesthetic and emotional quality. In addition, Xiqu plot and emotion are carried substantially by the lyrics, and the text sometimes includes improvisation; the audience (or even the orchestra) may not know in advance precisely what will be sung or said, necessitating very good vocal intelligibility.

In the smaller Tea House, audiences enjoy Xiqu performances in an intimate setting with musicians either on stage or at audience level to the side of a thrust stage.

Over the last 50 years Cantonese Opera has become more amplified to adapt to the poor acoustics of existing venues and has survived by developing along with technology. SSV used this adaptability to integrate natural acoustics and audio design in order to achieve better balance between instruments and voices with lower loudness. Our acoustical design keeps the sound image focused precisely on the singers, which allows performers who prefer natural acoustics to work with the supportive, but clear, room acoustic.

As in all opera houses, the

orchestra pit is at the nexus of the theatre, architecturally, theatrically, and acoustically. The size, shape and finishes of this pit, as well as the instrumentation and the skill of the players, are the tools we used to sculpt the sound quality emanating from it.

Flexible acoustics elements tailor the loudness balance between the percussion, other instruments, and vocals. The pit is fitted with variable lifts to accommodate small Xiqu orchestras, as well as larger Chinese and Western orchestras.

To facilitate the improvisatory nature of the music, Xiqu orchestras need to be seated close to stage level so that the players – especially the erhu leader and the percussion leader – can communicate in ‘real time’ with the singers. Traditional off-stage orchestras have also been considered with audio support, baffles and curtains as appropriate.

The rounded acoustic character of the Grand Theatre is derived from the sinuous curves developed with the architects. The timber lining is comprised of boards milled with gaps and acoustic insulation in strategic areas to absorb or scatter sound, while surface characteristics are arranged to control orchestra loudness, maintain clarity, and project voices clearly. The hall reacts quickly to the performers’ nuanced projection, allowing the performers to collaborate precisely, and allowing the audience to follow the plot twists and turns in the sound.

The Tea House acoustics and audio design were integrated into the dimensions, geometry, and theatrical fittings. Textured finishes and highly flexible audio systems are included to help project and balance the sound in this space.

Sound Space Vision has prepared for this project for many years, visiting Hong Kong arts groups and theatres during and after our Directors’ work on Singapore’s acclaimed The Esplanade. Blending our extensive experience with Western opera houses and theatres with our interest and enthusiasm for Asian art forms, the Xiqu Centre has benefited from our careful attention to the intricacies of art forms and music, and the potential unlocked in a hall’s acoustics signature.

“Most crucial was a clarity in amplification that kept a first-rate pit band in delineated balance with the three generations of performers…” (The Financial Times) The integration of audio systems and room acoustics for the Xiqu Centre has provided a space that allows a wide and continuous spectrum of “acoustical production”, from highly amplified to nearly natural, emphasising the visual beauty of the productions.

This new Centre gives the Hong Kong fans and the many visitors a 21st century experience of traditional arts.

FRANKFURT 2020

ORLANDO 2019

AMSTERDAM 2020

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WINN E R T H EATR E N AT I O NAL T HEATR E TECHNICAL DETAILS Location: London, UK Manufacturers: disguise Project Submitted By: disguise Situated on the south bank of the Thames in London, the National Theatre is one of the United Kingdom’s most prominent publicly funded performing arts venues. It presents up to 25 new shows every year; as well as appearing in its own theatres, these productions often transfer to the West End and tour around the country, as well as on Broadway in New York and around the world. Productions are also broadcast to over 2,000 cinemas worldwide through National Theatre Live or streamed free to UK schools. The National Theatre continually innovates its service to its audience and is not afraid to embrace new technology. For

example, it was the first theatre to broadcast a live 4K production to cinemas and operates a dedicated Immersive Storytelling Studio to explore ways to tell stories using emerging digital technologies.

In keeping with this forward-thinking ethos, it recently adopted the disguise OmniCal camera-based projector calibration engine to aid complex production design. The National Theatre use projectors on stage in numerous ways to enhance productions, from supplementary scenic design through to narratively mapped visual objects and video walls. The OmniCal engine has been designed to improve projection quality and set up time. It works by capturing hundreds of images of the stage and creating a ‘Point cloud’, accurately calibrating projectors, and conforming pre-existing surface meshes to match reality. This is a step change in National Theatre’s projection mapping workflows – no longer a multi-day process to map an object neatly, the capture process takes a matter of minutes. Final adjustments can also be carried out offline, not intervening with projection surfaces and enabling other disciplines in the space to proceed with their technical time. Whether it’s lighting, sound, set or rehearsals, everyone at the National Theatre benefits from the use of OmniCal on a production.

The National Theatre is a ‘repertory theatre’ meaning that it presents different shows with short or sporadic runs, so the theatre is continually installing sets and specialist equipment for a performance and then quickly removing everything to facilitate the next show, as often as twice a week. The ability to perform a video line up quickly is crucial in order to turn shows around fast, as the team needs to be able to fully rehearse the projection cues

in conjunction with lighting prior to a performance.

Previously, the National Theatre had been finding it increasingly difficult to use traditional 2D media server projection to map onto 3D surfaces and complex shapes. It needed a solution that allowed the team to be more accurate with the projection surfaces whilst achieving better results, in less time. The disguise OmniCal system offered the best option for National Theatre and complimented the two disguise 2x4pro servers that the team had invested in a few years ago. Plus, the theatre’s proximity to the disguise HQ was also helpful in enabling them to build a good rapport and be confident of a close working relationship from the start.

National Theatre’s new OmniCal set up was powered by two 2x4pro servers with DVI VFC cards and four designer laptops.

The team also followed up with a second investment of two new disguise Solo servers which feature options for HDMI and SDI capture, pro audio, 10GB networking ports and two 4K outputs.

Used during show time, the solo enables the team to design, sequence and play back shows with fixed storage, 2TB SSD and full redundancy capabilities.

The first National Theatre show to benefit from the OmniCal system set-up was The Lehman Trilogy, directed by Sam Mendes and performance in the Lyttelton Theatre. The show features a large 27-metre x six-metre curved wall that was projected upon throughout the performance to create the horizon and world outside of a revolving glass cube. The disguise OmniCal system enabled five Panasonic 21K projectors with .38 lenses to project accurately onto this huge curved screen. The team were also able to complete the line up on a turnaround day in just 60 minutes.

As fortune would have it, the first complex show for which the team planned to use disguise was with video designer, Luke Halls, who has been using the disguise solutions for many years.

“This gave us added confidence to jump into a new workflow for this show” said Dominic Bilkey, Head of Sound and Video at National Theatre. “On the whole we have been very impressed with OmniCal’s capabilities. It enables us to continue to be bold and deliver the designers’ wishes without having to compromise on any aspect – especially considering that each show needs to be able to turn around fully in such a short time.”

Following the success of The Lehman Trilogy, the National Theatre has implemented the disguise OmniCal engine and solo server for a number of other shows. To date, these have included Shakespeare’s Antony & Cleopatra starring Ralph Fiennes and Sophie Okonedo in the Olivier Theatre, and I’m Not Running by David Hare and Julie starring The Crown’s Vanessa Kirby, both in the Lyttelton Theatre.

The Lehman Trilogy design has been praised immensely with The Times giving the show a 5* review: “The set, by Es Devlin, is a thing of genius, a rotating see-through cube divided into various offices. One is the original shop in Montgomery, Alabama, another the first New York office (after the Civil War, the brothers moved north and diversified into coffee and trains). Behind the cube is a curved screen for video projections of the sea, prairie or skyscrapers. The Depression years tumble into a brave new world where money itself is the commodity.”

Following its run at National Theatre in London, The Lehman Trilogy is also transferring to New York and the West End in 2019.

OUR WIN N ERS

GINNY GOUDY, NEXO WINNER OF ARENA

EMMA BIGG, OCTAVIUS RE - WINNER OF BAR & RESTAURANT

MARY-BETH HENSON, L-ACOUSTICS - WINNER OF CONCERT HALL

JACOB JULIN, SO UNDCOP AB - WINNER OF HOUSE OF WORSHIP

“Everyone at NEXO, and our customers at Bright Sweden, who completed the impressive audio installation at the Coop Norrbrotten Arena in Luleå, were tickled pink to receive the mondo*dr Award for Best Arena. It’s great to see this annual awards event growing in stature, and becoming more prestigious every year. Obviously we’ll be calling for a high-level enquiry into why we didn’t win more categories, but I’m not sure the corporate mantelpiece could cope with too many of those diabolically heavy statuettes!”

“I was extremely proud, and slightly amazed, that Annabel’s audiovisual solution won both the Bar & Restaurant category and was the overall winner for EMEA & APAC 2019. It was a great project to be part of, but as we all know one person is not responsible for the success of any project. A big part of how we got such a great end result was the work of Stacey Tough and the team at Marquee AV who did a fab job.”

“The mondo*dr Awards have rapidly become a mainstay of Prolight+Sound, and a great way to catch up with industry peers in a lovely informal setting. Winning an award for Best Concert Hall at EartH was a highlight of our PL+S experience this year and a welcome recognition of the first permanent L-ISA installation in the UK.”

“We are very happy to receive this award, and very proud to be a part of this fantastic project in one of Stockholm’s most beautiful churches. To get where we wanted was a very big challenge both acoustically and visually. We are a small company, to get this kind of attention means the world to us.

This award gives us the energy to go on and reach even further the next time. We are really proud to have received a mondo*dr Award. A big thank you to the Swedish church for giving us this opportunity. Thank you d&b for making it possible to conquer an acoustic environment as complex as this one.”

DOMINIK SCHENKE & MANUEL MARX, GRANER+PARTNER INGENIEURE: - WINNER OF INTEGRATED RESORT

BAS SCHEIJ , BASZ DESIGN & LIVE OPERATING - WINNER OF NIGHTCLUB

CHRIS MORRIS, SIGNIFY NEW ZEALAND - WINNER OF STADIUM

NIKITA BAZZALO, DISGUISE - THEATRE SPONSOR

“What a great event! We were there for the first time and were happy and overwhelmed to take home a mondo*dr Award with the World Conference Center Bonn project. Our thanks go to the jury and the hosts - but above all to all those involved who contributed to this impressive project and made sure that all the work was done very well and just in time. Our respect also goes to our competitors, who submitted amazing projects as well. Everyone on the shortlist was a winner. For us, the entire evening was a win.”

“We are very happy and honoured to have won the prestigious mondo*dr Award, together with our partner in design DR Lighting, for the design we’ve made for Elements Club Beijing. We couldn’t be happier that the outstanding work of the entire team is being recognised by so many professionals. There’s no victory without a great team behind! Special thanks to DVizion, Diamond Audio Service, Michael Hicks and, of course, mondo*dr magazine.”

“Every year over half a million local and international sports fans enjoy matches and functions at the Eden Park.

Architectural lighting on ETFE feature gives the unique look to this iconic stadium to set itself apart from other stadiums on the globe and draws fans to the venue. We really appreciate a decade long partnership with Eden Park, and providing both sports and architectural lighting systems that boosts the stadium, fans and city experience.”

“We couldn’t be more grateful for the opportunity to work with The National Theatre to implement technology like disguise’s OmniCal on projects like The Lehman Trilogy. This recognition of the mondo*dr Award goes to show what an incredible achievement we’ve made working together so far, and we’re looking forward to seeing what more we can accomplish together in the future.”

AWA R D S P RO D U C TIO N

EVE NT TECH

The mondo*dr Awards was held for the third year running in the Panorama Room, The Forum at Messe Frankfurt. A space that has now become home is transformed from a blank canvas in just a matter of hours, ready to welcome guests for an evening of networking and celebrations.

We wouldn’t have been able to put on such a show without the help of our sponsors and production crew. Taking charge of the event was our in-house Event Coordinator, Sara Walker, who worked with production company GoTo Live, as well as Fix8Group for content creation, local rental house, Niclen, Avolites and sponsors, TW AUDiO, Robe, RGBlink and Dicolor.

The event kicked off with an opening VT with content produced by Fix8Group. A slick sequence of the category shortlists accompanied by soundtrack Love Spreads by The Stone Roses. Grabbing the attention of the audience, not only

through visuals but via the audio set-up pumping out the track to get everyone in the mood for the celebration.

It was down to long-term sponsor, TW AUDiO, to provide to full audio solution this year, starting with its own groundstacked PA, left and right of the stage. VERA 20’s equipped with two 10-inch chassis for the low-mid frequencies and a newly developed waveguide with an 1.4-inch midhigh compression driver sat atop VERA S32 compact flyable subwoofers, equipped with an 18-inch driver in the front and an 14-inch driver rearwards. The system was powered by TW AUDiO’s SYSRACK-X with Powersoft X4 amplifiers.

Lukas Buhl, TW AUDiO’s Project & R&D Manager, who was in charge of the design and build said: “Thanks to everyone at mondo*dr for another great awards ceremony. The party has grown bigger over the last two years, but our VERA20 is

still a perfect fit for this event. EasyRig literally made it easy to set up the system and align the tops, and perfect coverage was achieved thanks to the exchangeable horn flares. Our VERA S32 directional subwoofer delivered clear and musical low frequency performance to the audience whilst keeping the rumble on stage to a minimum. With the stunning speech intelligibility and the musicality of VERA20, we guaranteed that everyone on stage would be understood perfectly and the music was a pleasure to listen to. Finally, as the whole system is only 60cm wide, the sight lines weren’t affected either.�

Mixing responsibilities fell to Yannick Faas, who was operating an Allen & Heath dLive C2500. A compact yet powerful control surface that features 20 faders over six layers, builtin audio I/O, an audio networking port, a 12-inch capacitive

touchscreen and the innovative Harmony UI that adds a super fast workflow. The console was connected to its MixRack counterpart, the dLive CDM32, which is the heart of any dLive system. It houses the XCVI processing core complete with audio I/O, control and audio networking ports. Yannick was responsible for the musical stings throughout the presentation, as well as the operation of the onstage mics, which were a complement of Shure, DPA Microphones and Sennheiser.

On the visual side, Dicolor groundstacked a six-metre by three-metre LED screen on the stage for the awards ceremony, with RGBlink providing the video processing equipment to interface the source media. RGBlink supplied an X7 universal video processor and a T-ONE control console. The principal input source came from laptop media comprising

AWA R D S P RO D U C TI ON

EVE NT TE C H

the presentation and videos. A further laptop was connected to provide backup, while the X7 frame store feature was used to provide a video source between the presentation and video changes.The X7 scaled the input sources pixel-to-pixel to the LED display for edge-to-edge display. Control from the T-ONE console allowed X7 to be seamless switched between video sources, as well as to provide monitoring of the video system.

Luca Ardigo of RGBlink said: “The video processing requirements were quite straightforward for the awards - the X7 and T-ONE combo was easy to set up, and was much more powerful than what was needed, but still a great way to show of the possibilities the technology enables.”

The lighting inventory for the awards was provided by Robe, supplied via local rental house, Niclen, with assistance provided by Julian von den Stemmen at Robe’s local German office. The line-

up comprised Spiiders, Robin Pointes, Robin DL7S Profiles, PATT 2013’s and Robin 150 LEDBEAMs, the majority of which were hung on Prolyte truss trees that lined the length of the room, seven per side.

Freelance & Touring Lighting Engineer, Subul Lodi said of the first time working on the event: “We got the fixture list later than usual, so the lighting plot was quite last minute, yet it was an interesting and fun project to be a part of. The new Robe Spiiders were so versatile and bright making the room colourful and well lit.”

The lighting programmer was Sam Parry, he added: “I was drafted in as the programmer for the event through Avolites, using an Avolites Quartz I worked with Subul to get everything up and running. I was there to ensure a successfully programmed event that ran smoothly, including patching fixtures, programming

stings and static states for each section of the awards and then operating the console during the event.

“It was a pleasure to be involved in programming the award ceremony, working with the team at mondo*dr and collaborating with the fantastic LD Subul Lodi to bring her unique vision of the awards to life using the Avolites Quartz. Programming in Avolites Titan with guidance on the aesthetic from Subul made programming and operating the show a breeze.”

Production Manager from GoTo Live, Chris Hill coordinated all elements of the technology on the day to ensure the event ran smoothly, as well as show calling the awards themselves. Prior to the event, Chris planned the production required, produced venue drawings, liaised with sponsors about their equipment needs, and created and managed the build and tear down of the event. He said: “GoTo Live has been involved in the mondo*dr

Awards since its inception. Year-on-year we look forward to this event and relish the challenges that it brings. We have seen the event grow in stature and our production has evolved with this.

We are already exciting for what’s in store for next year.”

Concluding, Mondiale Media’s Event Coordinator, Sara Walker said: “It was my first time working on the event, but I have attended in the past as a guest. It was interesting to see it from a different perspective this year. In just three short years, a great event has been established and it is building momentum yearon-year. Together, we have already started to brainstorm new ideas for 2020, to take the event up another notch. First though, we have the launch of the mondo*dr Awards - The Americas in Orlando, which will be a very different set-up but will still offer the friendly and informal atmosphere that these awards have become known for.”

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Save the Date 31 March – 3 April 2020 Stay social!

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Inland

KIERA L EEM ING COPPER LEA F

‘The mondo*dr Awards is a great event. I love the informal, friendly atmosphere, and the early evening time slot is a winner in my book. It’s a fabulous opportunity to catch up with loads of people, to celebrate some great industry achievements and still have time for dinner afterwards - perfect!’

B JO RN VAN M U NS TER A S TR O S PATI A L A U DI O

“The mondo*dr Awards was once again a great opportunity to enjoy a drink and conversation with colleagues from all across the industry.

As in previous years, it was very well organised. We were pleased to notice that the attendance seemed even higher this year. Because the awards are related to projects rather than products, it feels as if they encompass all of the manufacturers who are present, so there’s a community atmosphere that’s very much like our own brand agnostic approach. Everyone at Astro Spatial Audio looks forward to attending the awards again next year.”

WAR I NG HAYE S XTA

“Straddling the tricky ground between a stand party and an external event, it just works. Always enjoyable and always useful!”

TED SIN G H

TS B G LO B A L D ISTR I B U TI O N “This year was the first time I attended the mondo*dr Awards, and I have to say I was very impressed. A professional set-up using high-end technology, and the opportunity to network over a beer, made for a successful event. Congrats to all the winners, I’ll definitely be back next year, and will have a project of my own to put forward for an award, too!”

KOY NEM INATHAN AV O LI TES

“It was great to see a lot of familiar faces and meet some new ones, while walking the floor. The informal approach to these awards works so well as it gives you the opportunity to network with plenty of people in the room.”

S AM I M AKINE N G EN ELEC

“Thanks, it was very nice and unformal event in a good way! Excellent opportunity to meet up with audiovisual industry friends, old and new.�

BEN S INCL AIR V MB

“Another great event from the mondo*dr team. A refreshing and casual atmosphere on the night, and some slick hosting skills from Jamie D. It’s an event I’ll definitely be considering getting involved with next year.”

JO BOYD

R I PP LE M E DIA “The mondo*dr Awards was a great opportunity to catch up, over a glass of wine, with contacts missed on the show floor.”

OLIV ER M ARNS J & C JOEL

“After a long day at the show, it was great to see so many people at the event and it is testament to the mondo*dr team that so many people from the industry made the effort to attend. My congratulations go out to all of the nominees and special congratulations to all of the winners”

N IC K DIMES

P R & M A R KE TI N G C O NS U LTAN T “The awards event was great - really enjoyed myself and caught up with a few familiar faces.”

ES PARTICO S AEZ BEY MA

“Great awards ceremony. A ‘must to go event’ during Frankfurt PL+S. See you next year.”

PIER LU IG I G AS PERO NI DTS

“It was great to attend the mondo*dr awards for the third year in a row. As DTS, we are glad to show our support to this cultural and socialising event, that improves year after year.”

JA M ES G O DBEHEAR CA DA C

“As always a great event from mondo*dr and another perfect opportunity to meet and catch-up with old friends, and new, from all areas of our of industry.”

JOE C H IDIA C P U L SE M E

“We, at Pulse ME, have had the pleasure of participating in the mondo*dr Awards once again. We would like to thank the mondo*dr team for all the hard work and effort they’ve put in honoring our industry.

The mondo*dr Awards continues to grow year after year and because of it we have the opportunity and pleasure to see the best projects happening around the world and get to meet the people behind them.”

BJO ERN G AENTZSCH MA LI GH TI N G

“The mondo*dr awards were a pleasure to attend. The event was again organized perfectly but what was far more important, you had the chance to meet a lot of great people, old friends and new ones. Congratulations to the whole team at mondo!”

COMING SOON…