Mondo*DR 23 6

SEPTEMBER / OCTOBER 2013 | 23.6

the international publication for technology in entertainment

september / october 2013

EUROPE & AMERICAS EDITION

optical captivation ofer l apid • led amplif ier s

www.mondodr.com

From L-ACOUSTICS, comes the classic KIVA Modular Line Source accompanied by the brand new SB15m LF extension. KIVA boasts an impressive track record of performances in classical music, special events and theatres, consistently delivering clear, precise and incredibly intelligible sound. Credentials include long throw capability, extensive vertical coverage capable of matching any audience geometry and smooth and controlled horizontal directivity pattern. As for its new SB15m companion subwoofer, nicknamed ‘‘the bass’’, it brings in the rock with its extended operating bandwidth which stretches KIVA’s response to 40Hz and an LF impact that brings down the house. A must-hear in 2013. More at www.l-acoustics.com

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W ELCOME mondo*dr 23.6 September / October 2013

ON THE COVER LAX Airport, Los Angeles Photo courtesy of Moment Factory General Manager Justin Gawne / j.gawne@mondiale.co.uk Editor Rachael Rogerson / r.rogerson@mondiale.co.uk Assistant Editor Helen Fletcher / h.fletcher@mondiale.co.uk Advertising Manager Jamie Dixon / j.dixon@mondiale.co.uk Marketing / Circulation subscriptions@mondiale.co.uk Accounts Amanda Giles / a.giles@mondiale.co.uk Production David Bell, Mel Robinson, Dan Seaton Group Chairman Damian Walsh Mondiale Publishing Waterloo Place, Watson Square, Stockport SK1 3AZ United Kingdom Tel: +44 161 476 8340 | Fax: +44 161 429 7214 Annual Subscription Rates (7 Issues) UK: £30.00 / Europe: £50.00 / Rest Of World: £65.00 2 year rates are available on request. Subscribe online at www.mondiale.co.uk or call +44 (0)161 476 5580 ISSN: 1476 4067 Mondo DR (ISSN 1476 4067) is published in January, March, May, July, September, November and December by Mondiale Publishing Limited, Waterloo Place, Watson Square, Stockport, SK1 3AZ, United Kingdom Subscription records are maintained at Mondiale Publishing Limited, Waterloo Place, Watson Square, Stockport, SK1 3AZ, United Kingdom

mondo@mondiale.co.uk www.mondodr.com Printed by Buxton Press, Palace Road, Buxton, UK

Last time I wrote this leader page I mentioned that we’d be looking to boost the mondo*dr brand using a number of different methods and I can now exclusively reveal our first… Starting with this September / October issue, the digital edition of mondo*dr will be available to download as an iOS app.

It will be compatible with any Apple smart phone or tablet and with Android devices through the use of the ‘iOS on Android’ program or similar - which creates an AppStore app with a built-in emulator.

The app will be available for free download from Apple iTunes.

People have been asking us to produce such a product for a little while so we are very pleased to be delivering what the customer wants.

Hopefully many of you will also have noticed that we are in the process of updating our circulation records to ensure that every industry professional who wants to read the magazine has access to it. To make sure you’re listed on our database correctly and let us know how you’d like to receive the magazine - hard copy, digital edition via email or via our new app - access the online form at the following tiny URL: http://tinyurl.com/k4z35k2 You’ll be able to ask us any questions about the app or the circulation update in person during PLASA in London, which we all know has moved to ExCeL and is taking place in October this year.

There are mixed opinions on the changes but personally I think it’ll be an interesting show for a number of reasons. We’re starting to collate our diary now so if you’re exhibiting and have a press conference or would like to arrange an appointment, please get in touch. Equally, if you’re not taking a stand but will be walking the show floor, we’d still love to hear from you. Our stand number at the show is E20, however, you’re more than likely find us among the aisles for the majority of the exhibition.

And finally, just a note on my leader photo this issue as I’m sure some of you will notice that someone from our team is missing.

While Helen, Jamie and I posed during our recent work outing at Dog Bowl in Manchester, Justin is out of the frame taking his turn, I can’t quite remember if he scored a strike or a gutter ball though.

Not that it really matters because the ladies team were the winners that night. I sense a re-match looming.

Rachael Rogerson | Editor

CONTENT S 018

in brief

024

EXPO DIARY

IN DEP T H 028

028

INTERVIEW

038

REPORT

Ofer Lapid

led

IN FO CUS 038

064

078

116

126

058

Booom! Ibiza, ibiza

064

Kashubian Philharmonic hall, wejherowo

070

M/S Viking Grace, helsinki

074

Pacha, Mallorca

078

SPiN, Dubai

082

to the 5 boroughs, new york

098

revelling in sound, atlantic city

106

LAX Airport, los angeles

112

Light, Las Vegas

120

northeastern University, boston

126

ANZ Stadium, Sydney

132

Club Enzo, Nanjing

IN BUSINE S S

102

148

152

170

138

Showtech, Berlin

140

Mediatech, Johannesburg

144

Palme Asia, Singapore

146

Entech, Sydney

148

robe, czech republic

150

xta, stouRport on severn

152

product guide

162

Product directory

170

amplifiers

lAST PAGE INTERVIEW

Alex Barrand - pioneer EUROPE

The 2013 US annual subscription price is 102.00. Airfreight and mailing in the USA by agent named Air Business Ltd, c/o Worldnet Shipping Inc., 156-15, 146th Avenue, 2nd Floor, Jamaica, NY 11434, USA Periodicals postage paid at Jamaica NY 11431. US Postmaster: Send address changes to MONDO DR, Air Business Ltd, c/o Worldnet Shipping Inc., 156-15, 146th Avenue, 2nd Floor, Jamaica, NY 11434, USA

016 AD INDEX

FRANÇAIS

DEUTSCH

ITALIANO

ESPAÑOL

La dernière fois que j’ai écrit cette page éditorial j’ai mentionné que nous avons cherché de soulever le mondo *dr marque utilisant un certain nombre de méthodes différentes et je peux maintenant exclusif révèlent notre première… En commencent de Septembre / Octobre édition, l’édition digital de mondo*dr sera disponible au téléchargement comme un iOS App. On sera compatible avec tous les Apple téléphones intelligents ou les tablettes et avec les appareils Android grâce à l’utilisation de la ‘iOS sur Android’ programme –ou similaire- qui crée un AppStore App avec un émulateur intégré. L’application sera disponible en téléchargement gratuit sur iTunes d’Apple. Les gens nous ont été demandés de produire un tel produit pour un peu de temps, donc nous sommes très heureux de fournir ce que le client veut. J’espère que beaucoup d’ entre vous, aurez également remarqué que nous sommes dans le processus de mise à jour notre circulation dossiers pour assurer que tous les professionnels de l’industrie qui veux lire le magazine ont accès. Pour vous assurer que vous êtes inscrit sur notre base correctement et vous nous dîtes- comment vous souhaitez de recevoir le magazine –copie dur, édition digital via email ou via notre nouveau App - accéder au formulaire en ligne à la tiny adresse suivante: http://tinyurl.com/k4z35k2

Beim letzten Mal, als ich diese Leitartikelseite geschrieben habe, erwähnte ich, dass wir die mondo*dr-Marke boosten möchten und dafür auf eine Reihe von verschiedenen Methoden setzen und heute kann ich unsere erste exklusiv enthüllen… Ab dieser September- / OktoberAusgabe steht die digitale Ausgabe von mondo*dr zum Downloaden als iOS App zur Verfügung.

Sie ist kompatibel mit allen Apple Smartphones oder Tablets und mit Android-Geräten durch die Verwendung des ‘iOS on Android’-Programms – oder eines ähnlichen – welches eine AppStore App mit einem integrierten Emulator erstellt.

Die App steht zum kostenlosen Download von Apple iTunes zur Verfügung. Wir wurden schon seit einiger Zeit von Lesern gebeten, solch Produkt zu erstellen und wir freuen uns, den Wünschen unserer Kunden gerecht werden zu können. Wir hoffen, dass viele von Ihnen auch bemerkt haben, dass wir im Begriff sind, unsere Auflagenrekorde zu aktualisieren, um sicher zu stellen, dass jeder Industriefachmann, der die Zeitschrift lesen möchte, Zugriff auf sie hat. Um zu gewährleisten, dass Sie richtig in unserer Datenbank registriert sind und um uns mitzuteilen, wie sie die Zeitschrift erhalten möchten – auf Papier, als digitale Ausgabe per E-Mail oder über unsere neue App – begeben Sie sich auf das Online-Formular in der folgenden Kurz-URL: http://tinyurl.com/k4z35k2

L’ultima volt ache ho scritto in questa rubrica Leader ho comunicato la nostra intenzione di promuovere la marca mondo*dr per mezzo di diversi metodi e posso ora rivelarvi in via confidenziale che il nostro primo inizio è con....il numero di settembre/ottobre.

L’edizione digitale di mondo*dr sarà disponibile per essere scaricata come un’applicazione iOS. Sarà compatibile con uno smartphone Apple o Tablet e con gli apparecchi che utilizzano Android per mezzo del programma ‘iOS su Android’ o similari, che crea un’applicazione AppStore con un emulatore integrato. L’applicazione sarà disponibile per essere scaricata gratuitamente da iTunes della Apple. Era un po’ di tempo che la gente ci aveva chiesto di produrre questo tipo di prodotto, quindi siamo ora estremamente lusingati di poter offrire ciò che i clienti avevano richiesto.

Speriamo che molti di voi abbiano anche notato che stiamo lavorando all’aggiornamento dei nostri dati di distribuzione allo scopo di rendere disponibile il nostro periodico ai professionisti di ogni branca che fossero interessati ad esaminarne i contenuti.

Per accertarvi di essere inseriti correttamente nel nostro elenco dei clienti e per farci conoscere la forma in cui desiderate ricevere il nostro periodico: se in cartaceo, in edizione digitale via email o per mezzo della nostra nuova applicazione, accedete al sito e compilate il modulo contenuto nella pagina digitale all’indirizzo tiny: http://tinyurl.com/k4z35k2

La última vez que escribí esta página mencioné que estaríamos buscando alentar a la marca mondo*dr utilizando una cantidad de métodos diferentes; y ahora puedo revelar de forma exclusiva, nuestro primer arranque con esta edición Septiembre/Octubre. La edición digital de mondo*dr estará disponible para descargarse como una aplicación iOS. Será compatible con cualquier smartphone o tablet Apple y con los dispositivos Android mediante el uso de iOS en el programa Android - o similar el cual crea una aplicación de AppStore con un emulador integrado. La aplicación estará disponible para descarga gratuita desde los iTunes de Apple. La gente nos ha estado solicitando que hiciéramos un producto como tal por un ratito, así que estamos encantados de entregar lo que el cliente desea. Con un poco de suerte muchos de ustedes se habrán dado cuenta que nos encontramos en el proceso de actualizar nuestro material de circulación para asegurarnos que todo profesional de la industria que desee leer la revista tenga acceso a ella. Para asegurarse de que se encuentran registrados correctamente en la lista de nuestra base de datos y para hacernos saber cómo les gustaría recibir la revista – copia en papel, edición digital vía correo electrónico o vía nuestra nueva aplicación - acceder al formulario en línea en el siguiente URL: http://tinyurl.com/k4z35k2

ACM Audio ........................................ 159

Elation ................................................. 41

Look Solutions ..................................... 47

RCF .................................................. 111

ADJ ..................................................... 87

Europodium ....................................... 133

Macostar ............................................. 65

Renkus-Heinz....................................... 67

Antari ................................................... 56

Funktion One ....................................... 85

Martin Audio ........................................ 97

Reutlinger ............................................ 37

Apex .................................................. 109

Global Truss China ............................ 167

MBN ........................................ 117 & 119

Robe ................................................... 33

Audiotek ............................................ 101

GTD Lighting/Truss.............................. 11

MC² Audio ......................................... 147

SAE China ......................................... 157

Audiotek/Absen ................................. 103

Guangzhou Brighthole Lighting .............. 8

Merging ............................................... 80

Sennheiser .......................................... 89

Avolites ................................................ 67

Guangzhou Caiyi Light Disco FINE ........ 5

Meyer Sound ...................................... BC

SGM ................................................... 63

beyerdynamic ...................................... 31

Havells Sylvania Europe ....................... 91

One Systems. ...................................... 93

Showtacle............................................ 45

Camco ................................................ 21

Haze Base ........................................... 37

Palm India ............................................ 26

Steinigke .......................................... 141

Chauvet ............................................... 73

JB Lighting ........................................ 135

Palme Vietnam ..................................... 10

Strictly FX .......................................... 163

coolux .................................................. 34

JBL ...................................................... 81

Philips Entertainment ........................... 55

Studio Due. ....................................... 171

Crown ............................................... 115

K-array ................................................. 17

Pioneer Europe. ................................... 61

Studiomaster ..................................... 168

d&b audiotechnik ............................... 131

Kling & Freitag ..................................... 77

PLASA .............................................. 161

Sunlite Nicolaudie ................................ 12

D.A.S. Audio...................................... 143

Kobble Digital ........................................ 7

Powersoft ............................................ 35

Tannoy ............................................... 119

Daslight ............................................... 16

KV² Audio .......................................... 145

PR Lighting .......................................... 19

Tizer ...................................................... 8

Deton Diyi Audio Equipment ................... 4

Kvant. ................................................ 165

Pro Lifts ............................................. 104

TOA .................................................. 114

DiCiCo .............................................. 125

L-Acoustics............................................ 2

Prolyte ............................................... 129

Verlinde ............................................ 169

DJ Power ............................................... 9

Lab.gruppen ...................................... 155

Pulsar .................................................. 69

Weifa ................................................... 11

Duratruss ............................................. 77

Laser Animation ................................... 37

Quest Engineering ............................... 54

Wireless Solutions ................................. 3

Dynacord ........................................... 123

Light Sky Fly Dragon.............................. 6

Rane .................................................... 23

XTA ................................................... 117

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018 in brief - europe/middle east/africa

IN BRIEF A VIVID ORGANIC ART EXPERIENCE Fluidic – Sculpture In Motion is being displayed in the Temporary Museum for New Design in Milan. The installation is the result of the collaboration between Hyundai’s Advanced Design Center and the Berlin based design studio WHITEvoid. Combining high-power laser projectors, a dynamic point cloud and the interactions of its viewers the companies brought the design philosophy of Hyundai to life and transformed it into a vivid organic art experience.

A seemingly floating point cloud above a water pond consisting of 12,000 translucent spheres marks the heart of the installation.

Due to a complex computer algorithm the spheres are arranged seemingly random within the cloud. At the same time the algorithm observes the positions and projection angles of eight high-speed laser projectors that are arranged around the artwork. They send out beams, which scan through the arrangement of the cloud. Generating bright and dim light points, this creates a highly organic and natural distribution of voxels (3D pixels).

Emerging lines and shapes finally form graphical compositions without any sweet or blind spots. Keeping the same density and intensity the Fluidic graphics enables the viewers to observe and interact with it from every point of view.

TG 1 0 0 0 O N T H E TA G U S R I V E R Not far from the Hieronymites Monastery, a stately brick building rises from the shores of the Tagus river, defining the face of the Belém district. The Electricity Museum is considered a prime example of Portugal’s industrial culture in the early 20th Century. The museum is now operated by a foundation owned by the EDP - Energias de Portugal energy corporation.

In spring of this year, the Electricity Museum was equipped with new sound components. Based on its positive past experiences, EDP decided once again to use wireless technology from beyerdynamic. EDP chose the new digital TG 1000 system, which is equipped to handle all the Electricity Museum’s special requirements. Four TG 1000 2-channel receivers are installed in a mobile rack, while two passive WA-ATD wide-band directional antennas ensure perfect coverage of the entire area.

www.mondodr.com

020 in brief - asia/PACIFIC/OCeania

D&B AUDIOTECHNIK WORKS AT LIV The Workers Stadium in the Chaoyang District of Beijing, China has been standing for more than 50 years and has been the host of many prestigious events. Nowadays the action takes place both on and off the pitch thanks to a number of nightlife outlets that surround the stadium perimeter.

Due to stiff competition, any vender building a new club in the area has to be brave and bold in order to stand out from the crowd. The owners of Liv had those credentials when they turned to system integrator, Guangzhou Yodoo Audio Equipment Technology to design and specify a sound system that would no only rival the other local hotspots but nightclubs throughout the whole of Asia.

Guangzhou Yodoo Audio Equipment Technology was tasked with equipping the 100,000 sq metre space with a high-class system that would attract international DJs. With that in mind, Guangzhou Yodoo Audio Equipment Technology opted for a d&b audiotechnik system comprising eight d&b audiotechnik Q1 line array cabinets and two d&b audiotechnik Q-SUB subwoofer split evenly left and right of the stage. A total of 16 d&b audiotechnik Ci7-TOP loudspeakers and 10 d&b audiotechnik MAX monitors were distributed throughout the rest of the venue for fills, which are supplemented by a series of subwoofers including four d&b audiotechnik Ci-SUBs, 16 d&b audiotechnik Ci7-SUBs and eight d&b audiotechnik B2-SUBs. The entire system is powered using 16 d&b audiotechnik D12 amplifiers.

To capture the visual attention of clubbers, Liv also required an extensive lighting system, highlights of which include 43 Acme IM-700 DMX moving heads, eight Acme XP-300 Beam moving heads, 76 Acme LED-ST80 LED strobe bars and 25 Acme LED-MTX25B matrix panels that sit on the outer edge of the main LED screen, which acts as a DJ backdrop.

T H E A U DI E XPE RI E N CE Audi held its annual Ice & Snow Experience event in the Chinese ski resort of Changbaishan.

Laserworld performed a huge laser light graphics projection show for the visitors to enjoy, which was controlled using a MA Lighting grandMA console.

www.mondodr.com

022 in brief - the americas

Image courtesy of DMDS7UDIOS

LA S ER M A PPI N G THE LATI N B I L L BOARD AWARDS To help the 2013 Latin Billboards Awards make a strong visual impression, Media Designer and Screens Director, Scott Chmielewski called on the laser experts at Strictly FX of Chicago to create his vision of combining video content with lasers. Scott was confident that the combination of effects would work, and it became an integral visual part of the production. In fact, it appeared in all of the non-performance moments of the show. The integration of the two mediums was seamless.

SYMETRIX MA N AGE S RO C K STA R M ANSION-TH E M E D RE STA URA N T Chef Kerry Simon’s latest creation, Simon Mansion and Supper Club is part of the Hard Rock Hotel & Casino Punta Cana in the Dominican Republic. Beyond an artfully composed menu and spirits list, the lure of Simon Mansion and Supper Club is its unique and imaginative layout, which recreates the decadent, eccentric rooms of a rock star’s mansion. Guests can dine in the living room, the bedroom, the bathroom, the library, the studio, the patio, and, of course, the dining room.

Audiovisual integration firm Audio Diseño designed and installed a custom, high-SPL sound system for Simon Mansion and Supper Club using the high-fidelity Symetrix Zone Mix 761 fixed architecture, standalone digital signal processor.

www.mondodr.com

rane_hal_evolving_ad_mondo_trim.pdf 1 8/23/2013 9:32:43 AM

EXPO DIARY 2013 IBC

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LONDON, UK

13-17 SEPTEMBER 2013 www.ibc.org

6-9 OCTOBER 2013 www.plasashow.com

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TOYKO, JAPAN 13-15 NOVEMBER 2013 www.inter-bee.com

ILDA

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LAS VEGAS, USA 22-24 NOVEMBER 2013 www.ldishow.com

PALME VIETNAM

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HO CHI MINH, VIETNAM 6-8 NOVEMBER 2013 www.palme-vietnam.com

PARIS, FRANCE 26-27 NOVEMBER 2013 www.jtse.fr

IN DEP TH

INTERVIEW OFER LAPID

REPORT LED

The topic of LED is always one of our most popular Reports, you’ll find an array of case studies that showcase the energy efficient lighting fixtures in a variety of applications.

Meanwhile, Jerry Gilbert chatted with Ofer Lapid for this issue’s Big Interview. Ofer is the founder and Co-Director of Gearhouse SA, South Africa’s leading technical supplier to the live event industry and the widest range of services all available under one roof.

028 INTERVIEW

“THE MAJORITY OF THE TIME, IT IS A DEMOCRATIC PROCESS, BUT FROM TIME TO TIME NASSER AND I SHOW THE UGLY FACE OF THE DICTATOR.” OFER LAPID Gearhouse SA has made a significant impact on the lighting, audio and visual industries in the South African market and beyond. Jerry Gilbert spoke to founder and Co-Director Ofer Lapid to find out what’s lies beneath the huge machine.

www.mondodr.com

INTERVIEW 029

www.mondodr.com

030 INTERVIEW

Gearhouse supplied equipment and provided technical expertise for South Africa’s Film and Television Awards.

Photo courtesy of Clive Morris Productions.

Of all the people mondo*dr has interviewed over the years there can be few as charismatic, or with such a colourful background as Ofer Lapid, who heads the mighty Gearhouse South Africa.

The Israeli-born entrepreneur, who arrived in South Africa during apartheid on the back of a tour, has played a pivotal role in raising the production values in subSaharan Africa, with constant reinvestment in cutting edge staging infrastructure and training. And on the installation stage the company was perfectly placed to take advantage of South Africa’s hosting of the 2010 FIFA World Cup. Yet the twists and turns of his career could have taken Ofer on an entirely different journey, both professionally and geographically. Born into Tel Aviv’s middle class to parents from educated good stock, their attempts to persuade their son to follow their example were doomed to fail. “I guess I was born to be a black sheep, with a rebellious streak,” he reflected.

Ofer was aged just seven when in June 1967 the Arab-Israel War - known as The Six-Day War - took place and it was while holed up in a shelter with others that he was first exposed to the kind of music that would shape his life. “I remember hearing Rolling Stones’ ‘Let It Bleed’ on cassette, that was what inspired me to listen to music and find my way into music as part of my career.”

Later, while living in North Tel Aviv, across the road from a live performance venue, he watched trucks pulling up, loading and unloading kit with a growing fascination for life on the road as a crew technician.

He had already demonstrated his talent as an entrepreneur after being expelled from school for growing cannabis, although since it was an agricultural boarding school he might have felt hard done by. “In fact I was extremely proud of how well this enterprise took off,” he said with a grin.

But any aspirations Ofer had of fulfilling his dreams as a lighting technician in Tel Aviv were limited. “Living in a small country like Israel, where English is a second language, we tended to think that this was the extent of the world, breeding a culture of local rather than international interest. My first exposure to the wider world came from travelling with Israeli bands performing for various Jewish communities around the world as lighting designer / operator.”

It wasn’t long before he made contact with Bryan Grant at Britannia Row in London, through an unlikely circumstance. “A friend of mine, Avi Bueno went to work for Britannia Row at the end of the ‘70s and brought back stories of action across the Mediterranean. Just before the Lebanon War, Miron Rechtman of Betty Bam [one of Israel’s leading sound and lighting companies] forged a deal with Bryan to bring second-hand equipment to Israel.

“This looked like an interesting collaboration between the two companies, until the www.mondodr.com

Lebanon War broke in 1982 and the project collapsed. But it left me with a taste of UK production standards in my mouth and an idea of the benchmark I wanted to achieve in my life.”

Growing up in Israel, of course, also brought with it mandatory conscription, usually three years in the case of men. “I grew up with Zionist thinking, as in it’s good to die for your country, so the foundation of going into the army was already laid,” said Ofer.

“However, due to one thing or another, plus a somewhat shady past, the army initially rejected me. Through stories that I cannot mention here, I applied and was accepted into the Navy instead. The Navy taught me discipline and I learnt to listen to others whether I wanted to or not. Here I got recognition for my achievements too, unlike my school career experience.” Nevertheless, Ofer’s moral code was shaped by his father, who was a powerful figure in the municipal districts of Tel Aviv and this would stand him in good stead for later.

Maybe it was his naval experiences that gave Ofer the wanderlust or perhaps a desire to leave the country after the Lebanon War. Either way, he was soon heading out of the country, and in 1985 landed in South Africa as the last station of a music tour with Israeli band, Hakol Ovir Habibi. “I decided to stay because I was curious about what the country was about, I have always been attracted to the unknown. I arrived in February, was ready to leave again by March but by April was approached to do a large-scale event in Lesotho and was bitten by the African continent bug.

“It was a show with very little sound and limited lighting, no security or crowd barrier, but I had found a fantastic band Juluka and a community of 50,000 black people with loads of soul.”

What set Juluka apart was that long before apartheid was abolished, here was a mixed band showing off with pride the heritage of one of the biggest cultures in the land, Zulu. The band’s singers were the popular Johnny Clegg - before forming Savuka - and Sipho Mchunu.

Having arrived in South Africa, the second step for Ofer Lapid was to remain there.

Six months into his stay he risked his tourist visa and started working. He then had to join a Government institution in order to acquire a work permit. “I started work at the State Theatre in Pretoria, which was divided like a chess board into black and white. I worked there for 12 months and it taught me a lot about apartheid and the everyday impact of it on the lives of South Africans.”

At that time, the most common language spoken at the theatre was Afrikaans and the black staff sat on one side of the canteen,” he remembered. “The State Theatre was a very sophisticated theatre by world standards and certainly

032 INTERVIEW

exceeded any Israeli standards. One could not say the same about the events happening in the townships and even in the city during that time and that’s when I discovered a gap I could fill.”

The longer he stayed in the country the more confident Ofer became that the minority could not control the majority and in the early ‘90s the regime would change. Back in ‘87, a black band named Stimela had been part of a band that played with Paul Simon on his Graceland American / European style tour, which paved the way. “By ‘89 / ‘90, I was working with Johnny Clegg - now fronting Savuka - who not only sang about Mandela Asimbonanga but also ‘one man, one vote’ as being the ‘only way’. So with very few tools, we were striving to uplift the South African standard by a few notches.”

After working at State Theatre and Sun City - and then freelancing for three years in the music and movie industries - Ofer knew he needed to act. By the time he had finished the Savuka Cruel, Crazy, Beautiful World tour he said he had had enough of working with local suppliers “taking the piss.” He found an investor and shipped in his first container of secondhand equipment from the then preeminent Light and Sound Design from Birmingham.

This enabled him to start Lighting Unlimited in 1991. But he also saw a need for staging and opened Stage Design in 1992/93. And of course event staging also required temporary power, and so he started Woza Power with four generators bought from Aggreko in Germany and used them to supply the 1995 Rugby World Cup. By the following year he had set up Gearhouse South Africa with Steve Lakin and Dubai based large event designer Simon Ransom and brother Mark providing the introduction. “We liked each other immediately,” Ofer recalled. “My partner wanted to cash in on her investment anyway and I wanted to develop, so it was a sweet deal for everyone.

“Steve Lakin is a lunatic, just like me. At times we got on like a house on fire although who was the house and who was the fire, I really cannot say. By the way, we are still friends, or will be until he reads this article!”

Using Ofer’s local and industry knowledge and Gearhouse’s plc money - the company having floated on the London Stock Exchange the year before expansion took place on all fronts - lighting, trussing and rigging. “We then bought an existing audio company and amalgamated the whole lot into Lighting Unlimited at first, before renaming it Gearhouse SA.” The demise of Gearhouse plc in the UK has been well documented. Steve Lakin departed to Dubai, but despite the financial setbacks, Ofer retained the www.mondodr.com

‘Gearhouse’ name. “I decided to pay off the creditors rather than change a brand which already had a good name locally,” he said. “We were not influenced by the UK turmoil and focused on preserving the good brand we had here.”

With an almost evangelistic and missionary-like zeal, he set out to educate the local market. “It was an ongoing process from day one, introducing new standards,” he remembered. “We always followed UK trends and Gearhouse SA was lucky to have the most exposure to international artists over the years. There was a huge contribution from different international production managers and demands from promoters that encouraged me to continue investing to meet their needs.”

Those standards were soon seen as the benchmark. “The equipment was not the only issue: the know-how and personnel that we brought from abroad created a huge skills transfer into the local industry at the same time.”

Ofer had absorbed much along the way from industry mentors of the late ‘90s such as Brian Croft of VLPS, the aforementioned Bryan Grant and Miron Rechtman, Israeli Lighting Designer Bueno Avi-Yona (Bambi) and many more.

“I liked to do things properly and in the early days, the UK was where it was all happening and I really looked up to it. At a later stage, Patrick Woodroffe, Hedwig de Meyer [of StageCo] and the ‘four musketeers’ from Light and Sound Design Steve, Nick, Simon and Terry - were hugely influential.

“As a rental company, we have always associated ourselves with the leading brands around the world. Today we work closely with companies like StageCo - not only purchasing equipment but also becoming involved in exchange programmes Britannia Row, XL Video and in the earlier days with Light and Sound Design.”

In terms of equipment brands, for AV Gearhouse stock Christie, Panasonic and Barco, lighting is Martin Professional, Robe, and via Splitbeam - a separate Gearhouse company - Vari-Lite as well. In audio it now principally runs L-Acoustics and in LED it has an affiliation with Lighthouse Technologies.

“Nowadays, we are also proud members of global networks like The AV Alliance and Martin Global Alliance Program as well as other networks and associations around the world.”

After initially getting product training from the suppliers, and onsite operating nous from visiting touring personnel, Gearhouse SA has now grasped the nettle and introduced its own technical skills programme and live event technical production courses within the townships.

“One of the Gearhouse passions carried forward by late Company Director, Kentse Mpahlwa, and joint Managing Director, Nasser Abbas, is the focus on upliftment and upskilling of the underprivileged youth,” Ofer recounted. “These two were

034 INTERVIEW

key contributors to the establishment of the Kentse Mpahlwa Gearhouse Training Academy, which runs an annual learnership programme in all Gearhouse branches.

“With the buy-in of our Heads of Department, all course material/manuals have been generated by our own field experts and practical training in the workshops is conducted in each discipline. Learners have the potential to be selected for a second year of specialisation and all graduates are released back into the industry as work-ready junior technicians. Some of each year’s graduates are employed by Gearhouse.”

Since mondo*dr is principally an installation magazine, it is high time for the introduction of Gearhouse’s start-up, System Solutions, which was registered in January 2001 on the back of a large retail integration project.

“We were approached by a property developer with its architect and design team who were looking to do something that hadn’t been done previously in a retail space in South Africa and they wanted to work with a single company that had the necessary showbiz technical skill-set and theatre experience,” recorded Ofer.

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“Although we had existing relationships with manufacturers through the rental and staging part of our business, in the beginning we did not intend on going into product distribution and probably would not have done so, except that many of the product distributors were competing with us in the integration business.

“So, unfortunately we had no choice but to adopt a similar attitude. Today, we have pretty much come full circle and our focus remains very much on the project work and integration part of the business.”

If early installation opportunities were driven by the House of Worship (HoW) market then the FIFA World Cup showed that by 2010 operations like System Solutions were comfortably able to handle large-scale projects, such as new stadia, while its parent company delivered a stupendous closing ceremony. Today, high premium networking AV/IT technology has eddied pretty much into every corporate crevice, while this year’s Mediatech exhibition showed just how far the local industry has progressed.

So talk us through it Ofer... starting with the Moses Mabhida and Soccer City,

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036 INTERVIEW

Gearhouse was involved with the Bidvest Annual Chairman’s Awards.

Photo courtesy of Pieter Joubert.

which are now FNB stadiums, the latter recently voted among the world’s top six stadiums.

“Both those installations were incredibly good for System Solutions,” he reflected.

“And we are immensely proud of these achievements as we are with any of the jobs that reflect innovation and attention to detail. Often it is the show control work we have done that we find is the most demanding and ultimately rewarding.

However, the seeds were planted long ago and we did not need to wait for the World Cup to prove ourselves as Gearhouse, or as an industry on par with world standards.

“The installation market remains very competitive, especially in the current economic climate,” he admitted. “But there are still some niche markets to be explored if one has the courage and the appetite to do so.

“As for the HoW segment, this falls into two clearly defined categories. One is the clients that are primarily concerned with speech reproduction within an airspace and will look to steerable array technology and acoustic treatment to improve it.

The other segment of the market, although also concerned with this to some degree, knows the true value of show business. The equipment specified for some HoW venues is similar to that found on an international artist’s technical rider in concert touring and consequently it is why we keep updating our rental and staging company’s inventory.”

Much as Ofer will insist that his company never set out to reinvent the wheel, he has unquestionably helped pioneer new technologies. For example, Gearhouse bought 50% of In2Structures, a light and sound company which had developed into set construction. It was then commissioned to build a temporary venue which proved highly successful. “From then on my partners Otto and Linda Wijnberger have developed a fantastic range of sexy looking, extremely safe temporary structures with a huge range of uses.”

And the empirical evolution looks set to continue territorially as well as technologically. Ofer explained the strategy: “We have begun the process of opening a branch in Accra, Ghana to service the West African region, led by Bill and Nicky Lawford. Of course, our eyes are also looking towards the East. As always, the focus is on recruiting and training up a crew of local people to run the branch.

“Again, it is important for us to plough back into the industry in terms of providing jobs and training. It is to our own advantage to grow the industry across the continent.”

And so having chronicled the achievements of this visionary entrepreneur the conversation takes on a more whimsical tone. Asked about his greatest www.mondodr.com

achievements along the trail, his instant response is: “Being alive!” And after due consideration: “I am proud to say that Gearhouse has made significant contribution to putting the South African market on the international map. Starting a company is one thing but maintaining the brand and continuously trying to improve it, is where the real challenge lies. Single achievements belong to the past.”

But of course the job remains far from complete and the skills deficit continues to be a major concern. “There are not enough young and enthusiastic technicians in the industry to keep it strong and growing,” he admits, the mood turning serious again. “Another issue is opportunistic clients who put money ahead of health and safety, cutting load-in times and discounting production standards for the sake of profit.”

He backed this up by stating: “Clients are not sufficiently informed to make educated decisions on crew and equipment requirements and as a result, as the years go by there is less of a barrier to entry. This, together with Chinese manufacturers, makes it easier for smaller companies to enter the market and bring down the standards.”

Today there are no fewer than 10 different companies operating under the Gearhouse banner, each structured to operate under their own managers and heads of department. At the top of the pyramid are Ofer Lapid and his Co-Director, Nasser Abbas. “The majority of the time, it is a democratic process, but from time to time Nasser and I show the ugly face of the dictator.”

But first and foremost he remains a humanitarian, constantly striving to maintain a work/life balance. Domiciled in Cape Town, he said: “Family is extremely important to me and I try to spend as much time as the job will allow, but I cannot honestly say I am a family man because my wife would beg to differ.

“I do embark on some ‘selfish’ ventures like a Cape to Cairo trip alone on my motorbike and summiting Kilimanjaro with my 18-year-old daughter. I try to create a balance between the two demanding institutions of my family and my company.”

But what is most interesting is comparing this with earlier industry daredevil exploits. Ask him his favourite memories and he will tell you it was exporting sealed beam Par 64s - wired in pairs since they were 110V - in tea boxes for Julio Iglesias in Cairo. “It was lighting and sound exported from Israel for the first time, as far as I am aware. Add to that managing a blackout with a broomstick on an 18-channel rheostat dimmer in Sinai in the late ‘70s and you get an even better idea.”

Would he do it all over again? You bet he would. “I’d probably advise myself to go and study accountancy or become a lawyer or a plumber,” he chuckled. “Seriously though, unless you are born with the passion and the drive it demands, then go find another job.”

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038 REPORT

THE LED REVOLUTION Introduced by Eddie Welsh, Lighting Applications Engineer at Jands Not since the introduction of the electric incandescent light in the late 1800’s has the entertainment lighting industry seen such a revolution within its ranks. The LED source has dramatically changed the way we approach our fixture selection and lighting designs and will continue to spectacularly change our industry. However, the questions we continue to ask are; Is the industry ready for the complete adoption of LED as more than just an effect light? Are we informed enough about the technology and the intended applications to choose the right fixture for the right application?

The most important question to ask at this early stage in the LED life cycle is; Is the technology ready for everything we as practitioners want it to achieve?

The reason we need to be asking these questions is because LED technology for our industry is in the infantile stages of development. When you examine the history of entertainment lighting this becomes evident. The first electrical incandescent lamp was patented in 1841 by Thomas Edison, with the first theatrically relevant lamp being patented around 1880. By 1881, the Savoy Theatre in London became the first theatre to install a fully electrically lit stage, retrofitting their existing gas lighting system. From this point in 1881 right up until the introduction of the LED lamp in the 2000’s, the incandescent globe was being continually engineered and the fixtures in which it was to be housed were designed, reworked and improved.

With notable and iconic fixtures like the Strand Leko Lite and the ETC Source Four shaping the way we design.

The initial technology from that 1880 patent - with a lot of refinement, such as the addition of halogen - was to become the defining element of our industry for the

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next 120 years. Of course we had other technologies, the xenon arc lamp and the metal halide being two of the notable ones, but so much of what we do as lighting practitioners has been shaped by the qualities of that tungsten lamp. The amount of warmth in the spectrum at low levels, the forgiving nature of the lamp in those snap cues, the ability to pair with an electronic dimmer to get smooth consistent fades which define our transitions, the interaction of filters and subtractive colour mixing.

And one of the most important qualities of tungsten when we look at the lamp up against an LED is the quality of light in colour temperature, colour rendering and output between lamps and fixture manufacturers, enabling the same production to be mounted and remounted in different theatres with different fixtures without sacrificing artistic integrity. These attributes are so ingrained in our art and practice that our goal now is to adapt these qualities into our LED fixtures.

The introduction of LED technology into our industry has been a rapid and pervasive one. The advantages the LED are plain to see; it is an electrically efficient means of creating light, the solid state diode is extremely robust, allowing for lamp sources with extremely long life and we gained the ability to use different coloured diodes to efficiently mix colour, doing away with filters and expanding the realms of possibility for entertainment lighting. Think LED screens and LED strips. For these reasons, we have some iteration of the technology into almost every modern day production.

So what is the difference between solid state lighting (LED) and the traditional incandescent lamp? The difference is in the way that they produce light, a tungsten halogen lamp which we use in entertainment applications, creates light by applying electrical current to a tungsten filament causing it to heat up until it glows and produces light. The filament is encased in a glass outer shell with halogen gas to reduce filament evaporation. Incandescence is an inefficient means of producing light with only about 5% of the electrical energy being converted into visible light with the rest being converted to heat. A light-emitting diode (LED) is a semiconductor diode that emits narrow-spectrum light when an electrical current is applied in the forward direction. This type of light output is a form of electroluminescence as opposed to incandescence of tungsten sources. Excited electrons within the LED release

REPORT 039

energy as photons (light) the colour of which is determined by the composition of the semiconducting material used. The prime difference between the two sources being that the process of electroluminescence requires much less electrical energy to produce light than the process of incandescence resulting in a more efficient and robust light source (LED has stated life cycles of up to 100,000hrs to 70% output).

This process also results in a couple of major pitfalls, the most notable of these for our industry are the drawbacks in the colour rendering capability and the dimming curve of an LED source. Additionally, the critical issue with all LEDs is the quality of the manufacturing process which determines not only the light output and life but also dictates the ability to accurately reproduce the same colour from different cells, a quality that we have taken for granted when using tungsten fixtures and a one that has shaped our design techniques.

These pitfalls exist because we are in the infantile stages of development and are mentioned here not as a source for doom and gloom but as a means of pointing out that we are in an exciting crossover point for our industry. Just as the gas fixtures were retrofitted to incandescent in the 20th Century, the incandescent fixtures are now being retrofitted to LED source and the way we adapt to the advantages and disadvantages of this technology will define the way we design with these fixtures.

The major design parameters most modern LDs take into consideration when selecting an LED source are colour rendering, dimming curve, output / perceived brightness, efficiency, life cycle and cost. Using these parameters as a guide we can make an informed choice as to which source, LED or tungsten to select for which application. Today, we have to take more responsibility for our fixture selection because the differences between two LED fixtures can be much greater than the difference between tungsten sources and using these parameters as a guide we can make an informed choice as to which LED use.

It is interesting to examine the way the industry is approaching this crossover period by looking to the fixture manufacturers and how they are incorporating LED into their product range. For example, ETC, with its Source four fixture, is one of the most successful tungsten fixture manufacturers but it is also paving the way with

new LED technology with its x7 colour system LED fixtures. It is positioning these technologies to work alongside each other, and create a hybrid lighting rig. For example, if you need high output white light then the best fixture to choose is still a tungsten fixture as the white LED fixtures still do not have high enough output levels. However, if you are after colour, the most efficient fixture to choose is a coloured LED array because you can create the colour you need at the press of a button. This hybrid approach seems to be the way that most LDs are approaching design with LED also, there is no perfect LED fixture so care must be taken to incorporate the correct fixture for the application.

In our work in Australia, we have come up against these issues on many major projects, the most notable being on a recent small theatre installation. The client brief was an all LED lighting solution doing away with tungsten completely. They came up against a number of roadblocks along the way. Firstly, they had to find a fixture with the right output level, colour rendering, and dimming. They eventually selected the ETC Source Four LED after an exhaustive test process. They then had to look at how they would incorporate touring productions and retrofitting existing tungsten designs, the solution was to incorporate tungsten LED fixtures. This was a compromise as the fixtures didn’t fully meet all the criteria when it came to colour rendering and interaction with filters. After all of this testing and design, the ultimate deciding factor became cost, the LED solution even with its efficiency savings was just too high for an initial outlay. Eventually, the solution was to produce a mixed rig of tungsten for white light and LED for colour. This scenario is common in our modern practice and illustrates the process of design that must go into choosing the right fixture for the right application.

Just like those stagehands of the early 20th Century, we the 21st Century lighting practitioners are the leaders of a technology revolution. The way we design with and work with the LED will inform the way the technology develops. We will see the LED evolve from being just an effect light or a wash light to become the mainstream light source of our industry, just as tungsten has been for the last 100 years. www.jands.com.au

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040 REPORT

T HE GLOBE TH EATR E Company: Robe Location: Rome, Italy The Globe Theatre in Rome is an exact replica of the iconic Shakespeare’s Globe venue in London, and like its English counterpart, is equally high profile in the Italian capital specialising in producing the works of Shakespeare.

A recent upgrade to the lighting rig saw a major new investment in Robe LED moving lights, which were specified by award winning Lighting Designer Umile Vainieri and delivered by Robe’s Italian distributor, Robe Multimedia.

The new fixtures are eight Robe Robin DLX Spots, 12 Robe Robin LEDWash 600’s and two Robe DigitalSpot 7000DT moving projectors.

Umile is a freelance LD who has worked regularly at the Globe since 2005 and also works on a host of other shows around the country and internationally. He was keen to get the fixtures installed at The Globe because he knew first hand that they would add “real production value” to the shows produced there, which are renowned for being of the very highest quality.

He was also keen to get moving lights onboard to speed up the process of focusing and make it a lot easier to re-set between performances as well as producing more complex and sophisticated lighting shows than was possible to achieve just

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with conventionals. He specified Robe because it’s a brand he knows and trusts.

He frequently uses Robe products on his various shows and has been an advocate of the brand for some time, especially since the launch of the Robin Series in 2009 and its ‘smaller-lighter-brighter’ philosophy. He feels this is what the market was waiting for.

The new Robe installation at The Globe reduces the roof weight loading considerably, it’s now less than three-quarters of what it was previously. Other advantages are fewer dimmers, less cabling and of course, less power consumption and no lamp replacements needed for the LED fixtures.

The other consideration - which Umile knew to be true - was that the Robe fixtures would be weather resistant and deal with environmental factors like humidity and heat in the open air.

Creatively, the range of rich and proper CT whites produced by the fixtures was very important and the 3,200K tungsten variant is constantly used and ideal for enhancing faces and skin tones.

Initially, not everyone at the Globe was convinced that the LED sources would

REPORT 037

emulate all the intricacies they so loved with tungsten light, but after in-depth demonstrations they were extremely satisfied and so the sale was confirmed. “The theatre wins all round with this purchase,” stated Umile.

It was also the first DLX installation sale in Italy. Robe Multimedia’s Marco Bartolini commented: “We are very proud that our first DLX installation and sale is to such a prestigious and internationally recognised theatre.”

The Robe DigitalSpots allow them to produce many different scenic effects in a venue where changing the scenography is often a challenge. Umile was also the first LD to bring Robe DigitalSpots into the Italian theatre market, leading the way for the country’s other lighting creatives to follow suit.

Since the Globe installation, several LDs have visited the theatre to check out the new Robe lights, and it’s a “great reference venue” in Italy for the theatre market, concluded Marco.

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042 REPORT

BOLIGB ETON Company: Martin Professional Location: Løsning, Denmark Innovative concrete solutions provider, Boligbeton, lies just off the main highway in the Danish town of Løsning, a short drive south of Denmark’s second largest town of Aarhus. Boligbeton sought to refresh its image and used its location next to the busy E45 highway as an opportunity to do just that. The company wanted to give drivers a more positive experience rather than the mundane sight of a yard full of concrete elements and consequently turned to architectural design firm, Pluskontoret Arkitekter, for some fresh ideas.

“Over 30,000 vehicles pass Boligbeton on the E45 daily, which gives the company great exposure,” stated Suna Cenholt, architect and partner in Pluskontoret Arkitekter. “Our mandate was to assist Boligbeton to rethink its face out to the motorway. It’s really its shop window and has great potential for branding.”

Boligbeton treated the yard out to the highway more like a backyard, a somewhat messy, monotone area with little visual appeal. The bland stacks of gray concrete belied the company’s image however as Boligbeton is a dynamic player in what is actually a high-tech industry. Pluskontoret held an internal idea workshop in which a number of ideas were proposed to improve the yard’s aesthetics - reorganisation of the yard and more colorful landscaping for example. It was the proposal of an illumination scheme onto the 140-metre long by 11-metre high façade that was the key factor however. Architect Daniel Olsen from Pluskontoret’s design team was already familiar with Martin Professional and the possibilities that a dynamic illumination scheme could offer and consequently contacted Martin Scandinavia about a solution. ”We wanted a simple and fun way to tell the Boligbeton production story, all the way from the open pit and element molding to transport and the finished project,” Suna explained. “Vehicles pass by the facade at 130km per hour so in order to facilitate understanding we chose a mixture of cartoon graphics and pictograms.”

Project Sales Manager at Martin Scandinavia, Anders Birch, had the ideal solution in mind, Martin Professional’s fully-weatherproofed Exterior 400 image projector.

He commented: “With an IP65 rating and its ability to integrate custom graphics into outdoor lighting designs, the Exterior 400 IP was the obvious choice for this project. Not only can it handle the dusty environment and exposure to the elements, there is no other outdoor LED image projector on the market that can

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match its power.”

After consultations with Boligbeton and a series of on-site demonstrations organised by Martin Scandinavia, the Exterior 400 image projector was chosen for the project. Pluskontoret use 10 of the outdoor luminaires to tell the Boligbeton story with each fixture projecting a custom-designed, static graphic onto the concrete façade. The Exterior 400’s are mounted across four 4-metre tall masts at approximately 36 metres from the façade. Four fixtures project graphics straight onto the façade while six fixtures house distortion calculation graphics to compensate for angled projection. At approximately 6.5 seconds per drive-by, it takes several drive-bys to ‘read’ the entire 10-picture story. The lighting system is both dynamic and flexible and allows the company to project a different expression using new graphics and new story if they wish. Besides the Boligbeton story graphics, the fixtures can also spell out Boligbeton in text across the façade.

The Exterior 400 image projectors are in a very aggressive environment characterised by strong winds, rain and dust. “We tested several products but the Exterior 400 image projector’s high IP rating made the difference,” Suna commented. “It was important for us to find a durable product that does not require any special maintenance. In addition, the LED technology in the Exterior 400 IP saves on power, which is also of great importance. Finally, the possibility to control the lamp from a PC was also an advantage.”

The façade lighting scheme is controlled via a PC-based Martin M-P control package with touchscreen interface. The network solution allows personnel to log on and control the lighting remotely from the Boligbeton building, from an office 500 metres away or anywhere. The outcome has transformed the yard and drivers’ experience of Boligbeton dramatically. “We are very pleased with the result,” said Linette Helbo Jensen, Product Manager at Boligbeton. “The illumination has received a lot of positive feedback and provides a good experience for the many drivers along the highway.”

Suna concluded: “We are pleased with the project and were happy to have collaborated with Martin Professional. It came up with good suggestions in both the design and planning phase and were good to cooperate with through to realisation. www.martin.com

REPORT 043

M ULTR A LOUNG E Company: Electron Location: Myconos, Greece The M Ultra Lounge is located on the island of Myconos in Greece. It is a cosmopolitan lounge and bar venue which serves signature cocktails, Asian fusion cuisine and is owned by DJ and producer, David Morales. After guidelines from David to create a sexy venue with colourful lighting, designer Mr Economou, has successfully combined a cosmopolitan style with the Aegean scenery and aura of Myconos using lighting by Electron.

The main decorative oval element in the bar is illuminated by Electron’s Smart Pixel RGB LED Strip Series. The LED Strips have individually controllable pixels through standard DMX 512 and they are ideal for creating LED matrix effects.

The rest of the lounge bar is illuminated by further Electron RGB LED Strips. While the operation of the RGB LED Strips is achieved via Electron Power Supplies, which have DMX 512 inputs and outputs, three channels plus master, auto operation of 10 preset programs with adjustable speed rate, fade time and master dimmer output control, manual control, as well as master / slave operation. Electron Power Supplies offers capabilities to control the brightness, intensity and colour of the LEDs depending on what is required.

In addition, dimmable LED lamps 230V were controlled by Electron’s DMR.730 flicker free trailing edge dimmer. The DMR.730 is manufactured with switch mode regulated dimming technology. The technology allows true flicker free operation, therefore it makes the DMR.730 one of the only dimmers to achieves stable output voltage, unaffected by mains fluctuations. This trailing edge dimmer offers a variety of options and functions, and is extremely useful for installations on islands where mains fluctuations are more likely to take place.

In other locations around the lounge bar, LEDs were controlled through Electron’s DEM Series of DMX dimmable LED converters, which are designed and developed to offer very smooth dimming of 2,040 step. These DMX LED Converters offer standalone mode with one of the four preset programs and selection of a stable colours. www.electron.gr

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044 REPORT

SNOG Company: Pulsar Location: St Johns Wood, UK Snog Pure Frozen Yogurt challenged Cinimod Studio to create an updated look for a series of new retail outlets. The project called for a refreshing, evocative and organic environment derived from Snog’s ‘never-ending British summer’ concept - version 2.0 of its already award-winning interior designs - and Cinimod turned to Pulsar for the only LED product on the market that met the brief.

The quirky interior includes a ‘grass’ floor, floral graphics, and high gloss organic furniture forms all beneath a stunning ‘digital sky’. The expansive LED ceiling had to overcome a number of technical challenges. Firstly it had to be powerful enough to illuminate the space alongside high levels of ambient daylight, be a reliable option given its inaccessible installation location, and run specially programmed animations and effects smoothly without the stepping seen in lower-end LED components.

In response to the requirements, Pulsar’s ChromaPowerPix 200 fixture was specified from the outset. Its powerful controlled light and ability to run seamless transitions were major considerations to the designers. What proved pivotal were the products’ proven reputation for quality and reliability. Pulsar was able to specially adapt the fixture for the sealed-off void above the retail space, and Pulsar’s build-quality coupled with a three-year guarantee provided peace of mind for longterm and sustainable solution with a requirement for minimal maintenance.

The project required a fully integrated approach from Cinimod who followed it through with great attention to detail, from floral decorations and custom moulded furniture to the fresh and inventive lighting design that ties the whole scheme together. In all, 12 ChromaPowerPix 200 panels with a total of 144 LED nodes were used to backlight the translucent stretched ceiling, fully realising the ‘never ending British summer’, whatever the weather might deliver. www.pulsarlight.com

LV M H Company: Barco Location: Paris, France French luxury goods group Moët Hennessy - Louis Vuitton (LVMH) is committed to ‘representing the most refined qualities of Western Art de Vivre around the world’. LVMH’s products, and the cultural values they embody, blend tradition and innovation. Just like the corporate image and corporate headquarters do. So when the group wanted to upgrade the lobby of its Paris headquarters with new visualisation technology, it turned to Barco.

Barco LiveDots engineers successfully attached a total of 621 NX-4 black LED modules onto the supporting pillars inside the LVMH lobby. The modules are built into a customised mechanical structure and have been equipped with customised shaders to increase the viewing angle.

By offering the deepest black levels available on the market, and pairing this with a phenomenal contrast ratio of over 4,000:1, Barco’s NX-Series have set a new standard for indoor LED displays. And they are certainly doing a great job at the LVMH headquarters. During weekdays, LVMH displays its corporate film onto the pillars. On Saturdays, passers-by can watch a movie by an artist. No matter what time of day and no matter where the viewers stand - close-by or further away - the black LED modules relentlessly ensure excellent luminosity, a solution that does justice to the luxury LVMH brand. www.barco.com

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REPORT 045

C HESTE R M Y STE R Y P L AYS Company: Chauvet Professional Location: Chester, UK It comes as no surprise that the English weather has been responsible for driving, for the first time in over 700-years, Chester’s Mystery Plays inside the city’s impressive cathedral, but it is refreshing that the initial obstacle has been a driving force for The Plays’ future survival.

The move brought with it technical and organisational constraints, of which one was lighting until Chauvet Europe stepped in as Technical Sponsor. Production Manager, Peter Herbert confessed: “Although good budgets, they weren’t nearly enough to bring the ambitions of the project indoors, particularly in terms of lighting, so I drew up a list of companies to approach and luckily, my first was Chauvet Europe for lighting and it came on board with us straight away.”

Lighting designer, Chris Ellis, continued: “To do justice to the vast setting in the Nave of Chester’s medieval cathedral, I knew we needed a large light rig. With only the most modest of power supplies being available, LED was going to be the only way forward and Chauvet kindly obliged with a selection of some 100 luminaires.”

Originally, the performance of the Mystery Plays began with the monks in the medieval period, but was quickly taken over by the townsfolk and guildsmen who, annually, came together in rambunctious execution of these quasi-religious playlets, covering the rise and fall of humanity but with a contemporary context.

The plays cover the Bible’s best known tales. Chris explained: “The story of the Creation starts the show gently but the fervour soon builds as the ‘magical’ garden of Eden is created. This is of course destroyed by the wrath of God in Noah’s Flood - the mother of all storms.”

Recreating that storm, Chris brought Chauvet Professional Legend 1200E Wash lights into play as uplights. “For those ‘power moments’ of Heaven, Hell and Tempest, where a real blast of light was required, these units packed a punch – whether they were shooting light 25 metres up into the Tower or lighting up the glorious roof decoration of the vast Nave,” said Chris.

“When all is forgiven, a spectacular rainbow is conjured up and dominates the

stage area. This was created by Chauvet’s stunning new Legend 230SR Beam, which we’d installed 20 metres above the stage in the cathedral’s Norman tower to impressive effect. The Legend was one of the mainstays of my rig. Not only was it light enough to be installed high up in the tower gallery without damaging the stone walkways, it proved so versatile. It was stunningly bright as a 2.5º beam, it produced a multi-beam look with little loss of light output and could even soften off enough to produce a stage wash when required. We just added a bit of haze and we had a show.”

Supporting the Legends and positioned 15 metres up in the Nave Triforium Galleries, were Chauvet Professional’s 560-LED models, comprised of the Q-Wash 560Z-LED and rigged alongside it, the Q-Spot 560-LED. These were used to provide the strong facial accent lighting with good colour rendering. www.chauvetlighting.com

046 REPORT

O N E M A RY L E BO N E Company: Clay Paky Location: London, UK Ambersphere Solutions has recently worked with Entec Sound & Light to supply a number of Clay Paky GlowUp fixtures for a premium jewellery product showcase.

The showcase, which took place at One Marylebone, London, was one of the first times that the Clay Paky GlowUp fixtures have been specified for a UK event.

Entec’s customer, Seen Presents, a London based creative events and experiential agency, which produced the jewellery showcase, was quite clear about what kind of lighting fixture it required. “The team at Seen Presents was very specific,” stated Ryan Brown from Entec. “They wanted battery-powered, easily controllable uplighters.” Armed with this knowledge, Entec quickly came to the conclusion that the lightweight and portable Clay Paky GlowUp was the answer.

“The GlowUp is a unique fixture, and seems to offer the features of various similar products, but all contained in one light,” observed Ryan. “Running one of the GlowUps from the desk, and then being able to control all the others through the intuitive technology contained within the lights is so incredibly useful, and time saving. By controlling one, you are in effect controlling them all via the software.” www.claypaky.it

WEMBL EY AR ENA Company: GDS Location: London, UK Wembley Arena in London is one of the premier entertainment destinations in the UK. It is without doubt an iconic, globally renowned concert and events venue.

Since opening in 1934 as The Empire Pool, the venue has hosted a plethora of major worldwide artists.

As part of the current, continuing development of the venue, following a major refurbishment back in 2006, contractors Fagan Electrical Ltd, in a general technical evaluation, identified the need for significant improvements to the levels of emergency lighting. The Wembley Arena management asked Fagan to recommend an efficient and sustainable solution. Fagan, without hesitation recommended GDS’ ArcSystem for the job and UK dealer for GDS, WhiteLight was chosen to

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supply the new system. GDS supplied 44 Arc 8 cell emergency fittings, two TX 1 transmitters, one button panel and one commissioning tool. The Arc fittings, with their dual inputs, were considered the ideal choice for emergency lighting.

Simon Needle, Special Projects Director of White Light, was happy to report a further endorsement of ArcSystem’s qualities: “The Arc fittings brought the safety lighting levels in the Arena up to a very impressive level. Testimony to this is that the venue management were actually prompted to employ the system as part of the regular house lights - further recommendation of the quality on offer.” www.gds.uk.com

REPORT 045

SCHEFF E R H O USE Company: Litecraft Location: Stadthagen, Germany The Scheffer House in Stadthagen, Germany was built in 1896 and to this day remains a private residency. Recently he family occupying the house decided to add lighting to its exterior and turned to Litecraft for a solution.

The Litecraft OutdoorBar AT10.sx - supplied by German distributor LMP - is a single pixel fixture and thanks to the powerful AT10 technology, the OutdoorBar AT10.sx guarantees increased light output without compromising the brilliant RGBW colour-mixing within the optics. The specially chosen optics of 20째 x 50째 make them ideal for surface lighting and their housing is made from a robust, extruded aluminium profile.

A display panel from which all its functions can be viewed and selected is located at the back of the device. A daisy chain connection is easy to connect and the bars are equipped with an XLR 5-pin as well as power connectors mounted on the end of short cables.

The Litecraft OutdoorBar AT10.sx light up Scheffer House to spectacular effect. www.litecraft.co.uk

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048 REPORT

T H E H O U S E O F TER R OR Company: LDR Location: Budapest, Hungary Located in Budapest, Hungary The House of Terrory museum contains exhibits relating to the fascist and communist dictatorial regimes in 20th Century Hungary and is also a memorial to the victims of these regimes, including those detained, interrogated, tortured or killed in the building.

It’s a controversial museum and several historians, journalists and politicians have argued about it but the museum has been a popular tourist attraction, as demonstrated by its many positive online reviews and large visitor numbers.

The lighting is an integral part of this success and LDR - with the help of local distributor, Lisys - actively contributed by supplying the state-of-the-art Alba 200W LED profile.

LDR’s Fabiano Besio said: “We came across this request when the lighting designer was in need of a professional alternative to the current tungsten halogen portfolio. The LD wanted a new fixture that could withstand long daily operation hours without a decrease in quality. After a field test comparing the tungsten halogen fixtures with LDR’s LED fixtures, it was pretty obvious for the lighting designer.”

With a precise projection, homogenous lighting distribution and great dimming LDR’s Alba 200W LED profile was the perfect match and it worked in combination with the other conventional lighting fixtures. www.ldr.it

CALVAR Y L I FE Company: Elation Location: Connecticut, USA During one of the most brutal winters in the history of the state of Connecticut, the Calvary Life Family Worship Center’s three-year-old building collapsed under the weight of the snow. Totally destroyed, the church had to be re-built from scratch.

The new $3.5 million facility is not only larger and more sturdily built than its predecessor; it also offers its congregation a full range of amenities including a basketball-court gym, fitness room, café and youth centre. The focal point of the building is its 700-seat main sanctuary, which features a state-of-the-art lighting, sound and video system designed by Advanced Systems & Technologies, LLC (AST).

Both the house and theatrical lighting systems are built around LED products from Elation Professional, including 35 Elation Opti Tri Pars, 20 Elation Pro Par 56 units as well as six Mega Tri Par Profile fixtures from Elation’s sister company, ADJ. Like Calvary Life’s new building itself, the sanctuary’s lighting set-up was designed to go beyond the merely functional. One of its highlights is a circular configuration of trussing with the Elation LED pars that dominates the center of the room.

Designed by Terry McCarthy, Systems Designer and Chief Engineer at AST, the

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dual-circle resembles a high tech metal chandelier. “This is a very contemporary church. We wanted to give it an innovative design,” said Terry. “Many hours were spent focusing on the technical infrastructure of all the audio, video and lighting systems. The lighting, however, is the most innovative.”

The house lighting system includes 35 Elation Opti Tri Pars, a DMX RGB colour-changing par can with 18 3W tri-colour LEDs. While for the theatrical lighting system, Terry used 20 Elation Pro Par 56 LEDs, 16 of them flown and four serving as uplighting. There are also four Elation Platinum Spot 5R moving heads, which can create a variety of effects. The theatrical lights were chosen to provide “colour for creativity, great video wash and added effects, in addition to 36 channels of 1,200W dimming,” said Terry.

As with the 140-channel house system, a lot of flexibility was built into the theatrical lighting system, added Terry: “The theatrical system consists of 96 20-amp circuits distributed on high quality, professional labeled modular raceways. It also features 10 channels of Elation optical DMX control distribution, enabling connectivity at six locations on stage, as well as multiple connection points on each truss.”

There certainly has been no shortage of enthusiasm for the new cutting-edge lighting system. “The church loves the lighting,” said Terry. www.elationlighting.com

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THE S A NCTUA R Y Company: SGM Location: Glasgow, Scotland When Chris Lessani and partner Gary MacCulloch, took over the former Boho Club in Glasgow’s city centre, they wasted no time in renaming it The Sanctuary. In order to stamp a new identity on the popular location, they travelled extensively looking for unique lighting ideas that would dazzle the dancefloor, and set it apart from other venues in the area. Having seen a particular domed LED lighting effect, they brought in installation company, Blinding Light, who were soon in contact with SGM UK’s Ian Kirby in search of a superior solution. As a result, they specified no fewer than 730 SGM LD-5 LED Domes for use creatively on the club ceiling. Measuring just 80mm in outer diameter, up to 35 domes can be run in a single chain and under the command of the Madrix sound activated effects generator and media server Blinding Light’s Scott Cruickshank knew the effect would be pulsating. Scott said: “As soon as Ian introduced me to the LD-5 I could see it was a finished, and much more versatile product than the one they had seen.”

Chris agreed: “The LD-5 is one of a kind and the effects it produces are amazing.

Although we have operated bars in the past, this is our first nightclub enterprise

and we are delighted that we have been able to create so much impact with these domes.”

Together with the two owners, Blinding Light sourced a series of aluminium composite panels, in gloss black, each measuring two metres by one metre, which were laser pre-cut so that the LD-5’s would line up perfectly. “Rather than just have an effect running across the ceiling we decided to wrap it down the wall behind the DJ box and then back in front so it looked like the DJ was floating in mid-air. The reflection off the gloss finish added to the effect,” said Scott.

Blinding Light installed, cabled and populated the Alupanels, which form an overall geometric measuring 10 SGM LD-5 wide and 73 long running the length of the ceiling, creating a compelling centerpiece. Being sound activated, the effect is further animated using the waveform from the music being played by the DJ. Meanwhile, the LJ can choose circular special effects pulsing from the centre, and other effects ranging from early evening subtle fading to the entire feature colour strobing. He can also use scrolling text control with the Madrix or even have chevron arrows zipping towards the DJ. Chris concluded: “The LD-5’s have received a great reaction, not only from our customers but from other club owners, who have been dropping in to see what all the fuss is about.” www.sgmlight.com

RE D BU L L CA R PAR K D R IF T Company: Showtacle Location: Dead Sea, Jordan Creative teams from Intro and 3Apes approached Showtacle with the idea to turn a drifting Chevrolet Camaro sport car into a LED screen. The aim of the project was to participate in the Red Bull Car Park Drift challenge in a new original way.

After discussions with Showtacle Intro and 3Apes opted for Showtacle’s digital video LED Strips controlled by our LED Strip Studio system to complete the installation.

More than 500 metre of digital video LED strips were required which included more than 20,000 LED diodes, such an amount needed a lot of power and lot of data to control.

The biggest problem for Showtacle was to avoid scratching the car, so it decided to cover the car with transparent film to protect the surface and this solution also made it easier to attach all the strips.

To power the LED Strips, Showtacle used two large batteries plus a lot of power cables. All the signal data to control the LED diodes is sent from four LED Strip Studio Ethernet controllers and one notebook running LED Strip Studio software.

The video mapping for the LED Strips was also interesting to create. The video designers provided Showtacle with a mask shape of the Camaro, and LED Strip Studio software powerful mapping capabilities was then used to place all the LED Strips correctly. The video designers prepared video footage with a Red Bull theme, which was running on the car while it drifed.

Overall, Showtacle happy to say the installation was a huge success and an was amazing experience. www.showtacle.com

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050 REPORT

LIVER PO O L Company: PR Lighting Location: Puebla, Mexico When Liverpool, Mexico’s largest department store chain, opened its flagship unit in Villahermosa, some 63 PR Lighting PR-8800 LED fixtures - each containing 108 3W RGB LEDs - were used to wash the building. However, the Chinese manufacturer’s Mexican distributors, Hermes Music, has confirmed that an even greater number of PR Lighting’s LED sources have been deployed at the larger Liverpool store in Puebla, which was recently remodelled. This time Hermes has specified 104 of the super bright PR Lighting XPar 390 spots to bring the building to life after dark.

Each RGB head contains 90 3W high quality LEDs - 24 RGB and 18 white with full colour mixing and linear CTO. Critically, it also has a beam angle of 14° and field angle of 28°. Explaining the choice, Hermes Music’s lighting specialist, Ricardo Segura de la Cruz, said the decision was based on space and the need for a compact fixture with a wide diffusion. “Between the main wall and the lattice façade there is only 40cm to install, but the beam needs to flood light across 38

EUROVISION SONG CONTEST 2013 Company: Leader Light Location: Malmö, Sweden Although Slovakia didn´t have a competitor in the grand final of the Eurovision Song Contest this year, one of the official lighting suppliers was Slovakian-based Leader Light. A total of 160 pieces of LL Stage Beam were installed on the main stage.

“For the company it is a new experience which we appreciate so much,” said Managing Director of Leader Light, Julius Szaraz. “Leader Light constantly tries to improve technology and I think this is an evidence of the quality of our products.”

The LL Stage Beam is an LED fixture which is designed for front or back stage graphic lighting effect. This cool white light is compatible with DMX control and it offers quick installation. www.leaderlight.sk

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metres. From the lamp source to the highest point in the façade the XPar 390 provides the perfect solution.”

He said the solution had been created by installing a metal plate, using the same rods which attach the lattice to the main wall. The metal plate sits horizontally on the rods and the fixtures are bolted to it. It can then be adjusted for better placement, enabling the lighting to work in conjunction with the façade. However, the IP67-rated PR Lighting XPar 390 does more than just colour wash the walls.

Since Puebla is where Mexican independence began - and the seminal battle took place - the country’s green, white and red vertical striped tri-colour is represented on two of the main walls, part of the genius of lighting designer Joseph C. Rubenak Vargas from AGISA. This is visible from far away and attracts crowds in its own right. www.pr-lighting.com

REPORT 051

BR UUM R UUM! Company: Madrix Location: Barcelona, Spain BruumRuum! is a collaboration between artec3 Studio and Barcelona-based graphic designer David Torrents. It is a permanent, interactive installation located next to Barcelona’s Design Museum (DHUB), which also marks a newly revitalised area that will become a reference area for design in Barcelona.

The goal was to create a unique, interactive experience in the public space. Visitors and pedestrians alike have the chance to establish a personal dialogue with the square by means of light, colour, and sound.

BruumRuum! changes its colour scenes live according to the voices of people as well as the noise of the city. Trumpets are located in the square next to the LED matrix. Having voice sensors built-in, they invite visitors to transform the space.

In addition, ambient sensors along sidewalks capture the surrounding noise, for example when a loud ambulance passes by.

Various lighting effects are available to make the design come alive. The sound is constantly captured, the system constantly interacts with the environment and the

Company: Strictly FX Location: Various, Worldwide

Image courtesy of Tour Photographer Marcello Ambriz

THE PACK AG E TOUR

lights are in constant motion.

The LED lighting control is taken care of by Madrix software, which was provided

by LEDsCONTROL, Spain. Depending on the incoming audio signals and thanks to custom programming, the system automatically changes the colours, patterns, speed, and intensity of the lighting.

The choice for LEDs is based on a number of specific reasons. LEDs allow for individual control of pixel by pixel via DMX, they achieve high frame rates to quickly change the lighting scenes in real-time, they offer a wide colour rendering spectrum, they can be used in combination with intelligent controls, such as ambient and voice sensors.

A total of 9,396 LEDs are embedded in an area of 3,300 sq metres. In short, BruumRuum! is a game that fills the night with content. It is a huge equaliser to gauge the intensity of the sound and colours of the city life. ww.madrix.com

Like a number of pop bands from the ‘90s, New Kids on the Block made a comeback earlier this year and embarked on The Package Tour.

When Production Designer, Butch Allen and New Kid Donnie Wahlberg, who is very involved in the production, wanted something new for the tour, Strictly FX had just what they were looking for, a product that merges lighting and special effects.

“Butch and Donnie wanted a party atmosphere for the production, and we had something new that fit the bill perfectly,” noted Ted Maccabee, Partner and Visuals Director at Strictly FX. The first effect, which was an integral part of the show, was the LED Cryojet.

“Our proprietary LED Cryojet is a colour changing, DMX controlled unit that gives designers the ability to create an endless variety of cryojet looks,” explained Ted.

The tour used six units that were located around the main stage, located out in the audience.

The production also featured six large LED Confetti Duster units, which were located, like the LED Cryojets, around the main stage. “The LED Confetti Duster is a fan based small confetti unit that shoots white confetti out; however it also has an LED ring around it that lights the confetti, and gives designers the opportunity to change the colour of confetti without actually purchasing coloured confetti, which can be quite the cost saving measure,” said Ted. “This is our third year working with The New Kids on the Block, and their creative use of effects really makes the show memorable,” concluded Ted. www.strictlyfx.com

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052 REPORT

PA L A Z Z O A RG E N TIN A Company: Griven Location: Bucharest, Romania One of the most impressive buildings in downtown Bucharest, Palazzo Argentina, has recently enjoyed an innovative and well-designed lighting refurbishment which has enhanced its peculiar structure. The so-called ‘tree of life’, a winding tubeshaped stainless steel composition, embraces with its leaning trunk and curving branches the whole façade of this five-storey construction in an enveloping hug.

For the owner of Palazzo Argentina, Viorel Fetinca, this symbol of life embodies the deep interconnection between past and present, recalling his own bond with the earth he grew up on.

Now, this palace hosts the showroom of IDA - Italian Interior Design and Architecture - a company that offers a vast array of high-quality made in Italy interior design fittings to the Romanian market.

Recently, IDA approached Italian architect, Massimo Marzorati to give a new colourful life to Palazzo Argentina with the help of Griven lighting fixtures. The brief was to highlight the curved tree trunk and branches with a flexible, high-power LED solution able to provide a contrasting light and colour distribution on the façade while enhancing its peculiar layout at night. Griven’s lighting designers also had to take into account the usage of different layers of lighting on the tree trunk, branches and balconies as they did not lie on the same perspective level.

Specific for low power consumption decorative applications, the flexible Griven LooseLED strips turned out to be the perfect solution for this demanding lighting concept. Fixed inside an IP65 PVC anti-UV protection sleeve, over 140 metres of RGB LooseLED strips with 40 LEDs per metre have been specified and installed behind the profiles of the metal tree, following their fluid motion to light up the whole structure with bright, vibrant colour shades.

To complete the lighting scheme of the façade with complementary colours, three units of Griven Parade D-RGB-10 recessed with medium optics have been embedded in the floors of the three balconies of the building. The result is a pleasant turnover of intense, vivid tones that deliver a unique character to Palazzo Argentina.

In addition, three Griven GoboLED 80 units project changing graphics onto the entrance glass wall to attract the attention of by-passers. ww.griven.com

PACIFIC P L ACE S H OP P I N G C E N T E R Company: GLP Location: Seattle, USA

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Gene Tasche, Operations Manager of Pine Street Group LLC - the company responsible for the Pacific Place shopping centre in Seattle - contacted GLP authorised dealer, PNTA to create a unique shopping experience for visitors as he wanted to give the 15-year-old retail centre a fresh approach.

Having worked on other projects at the site previously, the lighting specialists recommended seven of GLP’s impression Spot Ones to be installed in each of the mall’s seven columns. Sheldon Warshaw, PNTA’s Custom Services Manager, explained that the Spot Ones were set up in such a way that they could light up the main atrium with colour, giving them a multipurpose functionality. They will also be used for various events that take place in the atrium during the course of a year.

With an initial emphasis on theatrical events that would take place in the atrium, “we wanted to have moving lights on each of the seven columns, firing from the bottom up,” said Sheldon. “This way we could colour the columns and also shoot them out and down to cover the floor of the atrium.” The bases for the fixtures to be bolted onto were created by the Pacific Place engineers.

PNTA had first been introduced to the fixtures by GLP Inc’s Ed Cheeseman. “We were, and still are, very impressed,” said Sheldon. “Aside from being easy to install, the quality of the colour and the brightness met all of our needs and the maintenance and low power usage were definitely big plusses.”

The impression Spot Ones are also very easy to program, he noted. “The fixtures’ response time is excellent which makes it very effective when changing colours and movement quickly.”

Shoppers seem delighted with the theatrical look given to the general concourse during special events and public holidays, as the columns are brought to life. www.glp.de

REPORT 053

MORE CASE STUDIES

TOWER O F CR I STO RE Company: DTS Location: Civitanova Marche, Italy On Saturday 15 June in the Marche area of Italy - the majestic Tower of Cristo Re was illuminated by way of celebrating the ‘Blue Flag’ award, an internationally recognisable award for the quality of the area’s bathing water.

The lighting installation was designed and executed by Yuri Cecarini. He said: “I used two types of LED projectors from DTS, the Delta 8 and the FOS 33 full colour bar.”

The tower was illuminated from two different levels below.

Yuri installed eight DTS Delta 8’s with wide flood optics, placed two by two, with two different angles: one covering from 0-20 metres and the other for 20 metres upwards. A further four pairs of DTS Delta 8’s, two on the roof and two on the ground - positioned at about five metres away from the tower – were also installed.

A total of six DTS FOS 33 bars were installed on the balcony to illuminate the final part of the tower, with its characteristic eight metre high cone shape; the FOS were placed three metres from each other and one metre away from the cone. A further 12 more DTS FOS 33 bars were positioned at the base of the tower. All fixture were powered and controlled via DTS Z8. www.dts-lighting.com

ECI CULTUUR FA B R I E K Company: ETC Location: Roermond, The Netherlands

Image courtesy of Digital Deluxe

A new theatre in Roermond, south eastern Holland, has decided that energy saving is the way forward - and has been fitted out with entirely LED fixtures. ECI Cultuurfabriek is a converted former chemical factory which was abandoned in the 1970’s. After many years of discussion about the building’s future, it was decided a refurbishment would take place it, turning it into a space for the whole community to use.

Technical Manager, Maarten Janssen invested in 30 ETC Source Four Lustr+ and 22 ETC Selador Desire Lustr+ LED luminaires for its 244-seat theatre space, taking advantage of extra funding available for environmentally sustainable projects.

Maarten explained why he chose the ETC fixtures: “I saw the LED demonstrations on ETC’s YouTube video library. The fixtures have incredibly smooth fades, which I’ve never seen in any other LED fixture. And the range of colours is impressive.

“At the beginning, visiting theatre groups were suspicious of the capabilities of LED. But as soon as they see the power and versatility of these fixtures, they never fail to be impressed. I always discuss with them why the seven colour LED system is better than any RGB system, and they always leave with a big smile. The Source Four LED fixtures are just magnificent.”

The use of LED has been beneficial in helping to keep the room cool, added Maarten: “For every thousand watts of lighting, we used to have 250W of air conditioning. Now, with almost no heat being emitted by the LEDs, we need far less climate control. Which means less energy usage both by the lights and the air cooling, and the performers are also more comfortable – plus, of course, there’s less noise.”

Lightco Project Manager, Marnix Kulling said: “The process by which Maarten specified the LED fixtures was a long one, in which he needed to garner the support of all types of different people, from technicians to funders. I was pleased to be in a position to supply him with data which would back up his decision making, and could help him prove that the ETC LED fixtures would be the right choice in the long term, both technically and financially.”

The theatre also invested in two ETC Ion control desks: one for the theatre space, and the other for the dance music area, Pop, which can accommodate up to 1,000 people standing. ww.etcconnect.com

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054 REPORT

HIGHLA ND ER A UD I TO RI U M Company: Selecon & Strand Location: Dallas, USA Established in 1972, The Baldy View Regional Occupational Program (BVROP) provides career technical education to school students who are interested in improving their preparation for higher education and the workforce. Working with the Upland Unified School District, the BVROP utilises the Highlander Auditorium as a primary teaching location with Technical Director Bill Cox leading the instruction.

When the BVROP allocated lottery funds, Bill used the opportunity to upgrade the lighting system with the purchase of 16 PLCyc LED luminaires from Philips Strand Lighting and Philips Selecon. “I have been a Vocational Instructor of Stage Design and Technology for the BVROP over the last 15 years and we run the program at the Highlander Auditorium,” began Bill. “The facility actually sits on the campus of Upland High School and I manage it on the behest of the Upland Unified School District, so when the BVROP approached us with a generous allocation for a lighting equipment upgrade we were extremely excited because there are a lot of stakeholders in the facility.”

With three levels of programming which include community service, educational, and commercial rental, the Highlander Auditorium has approximately 150 event production days per year. In the state of California, power consumption is a high priority in all educational facilities and with its busy schedule, the Highlander Auditorium was consuming more energy than any other facility on campus.

Bill explained: “Since the auditorium uses more power than any other facility on campus, we had been under some pressure from the school administration to find ways to conserve energy. So when the BVROP offered us the funds if we could find lighting technology which could also be used in the vocational programs as a teaching tool as well, we leapt at the opportunity.”

As they began looking into which technologies to implement both for educational opportunities and power reduction, Bill found his answer in the PLCyc LED luminaire from Philips Strand Lighting and Philips Selecon. “While I was working as the Technical Advisor on a different project, Philips Strand Lighting approached us with its new products and technology and the conversation soon turned to my interest in LED which I had been looking at for several years. I am sometimes slow to warm up to any new technology because I want to make sure its shelf life will last longer than the ink on the check, but all that changed when Forman & Associates first showed me the PLCyc LED luminaire.”

The PLCyc LED luminaire delivers smooth and even cyclorama lighting in a compact and lightweight design. Using a maximum of 120W, each unit can replace the equivalent of a traditional four colour, 500W per cell, cyc light. A typical cyclorama

can also now be powered from a single circuit using the convenient PLCyc LED Powercon cabling system for power in-and-through applications. “After seeing what the PLCyc LED could do, we moved forward with the purchase of 16 luminaires and hung them to cover our 50ft wide cyc in the Highlander Auditorium. When we first fired them up in the space we were floored. The fixtures give us exactly what designers want to see. We did Bertolt Brecht’s The Good Woman of Setzuan and in its pre-show look we had a very vivid red which was a brilliant, bright red. The PLCyc LED fixtures made the cyc pop and people really took notice without knowing that we were using an LED cyc light instead of our old cyc fixtures, which to me is the true test. It looked great.”

With the PLCyc LED overcoming the practical theatrical applications needed for the Highlander Auditorium, the luminaires still needed to show their usefulness in the career technical education programs of the BVROP as well as to demonstrate their cost and power savings to the Upland Unified School District. Bill explained further, the PLCyc LED fulfilled both of these at one time. “I am using the new lights to teach ‘Colour Theory’ and how a basic theatrical lighting system works, and the first question I have the students ask is where is the power and how much do they have. When I take the PLCyc luminaire along with one of our old cyc lights, we look at the two fixtures side-by-side and it’s interesting to see the light bulb go off in the students head as they realise they are looking at a 1,500W lamp compared to only a 120W lamp without any real performance differentiations. This is also what sold the Energy Manager with the Upland Unified ISD as we have gone from 24 1,500W cyc units to only 16 120W fixtures and that’s amazing.”

Now that the PLCyc luminaires have proven their ability to reduce power consumption, as well as provide a valuable teaching tool for the Baldy View ROP career technical education programs, Bill is also finding yet another advantage to the PLCyc; its practical application for a theatrical roadhouse.

Bill concluded: “The PLCyc LED is perfect for teaching ‘Colour Theory’ and we are excited about the energy savings, but for us this is a win-win on several levels including the ability to use them in a broad-based theatrical environment without having to change colour quarterly, in our cyc units. When you are a theatrical roadhouse, there is a lot of extra labour involved as far as utilities and maintenance, and other than the annual dusting, these fixtures can really be care-free. From a practical theatrical application that means a lot because there is simply less to worry about. I am a real fan of these lights.” www.seleconlight.com / www.strandlighting.com

SL PAR 150 ZOOM SL WASH 180 SL BAR 520

SL STRIP 400

SL BAND 300 SL BAR 640

SL NITRO 510

www.philips.com/showline

Showline Revolution - Mondo dr August 2013.indd 1

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7/25/2013 4:34:54 PM

IN FOCUS EUROPE/MIDDLE EAST/AFRICA BOOOM! IBIZA, IBIZA KASHUBIAN PHILHARMONIC HALL, WEJHEROWO M/S VIKING GRACE, HELSINKI PACHA, MALLORCA SPIN, DUBAI

THE AMERICAS TO THE 5 BOROUGHS, NEW YORK REVELLING IN SOUND, ATLANTIC CITY LAX AIRPORT, LOS ANGELES LIGHT, LAS VEGAS NORTHEASTERN UNIVERSITY VISITOR CENTRE, BOSTON

ASIA/PACIFIC/OCEANIA ANZ STADIUM, SYDNEY CLUB ENZO, NANJING

You’ll notice a hearty Americas section this issue, as Helen Fletcher travelled across the Atlantic a couple of times in recent months and reports back from the East coast. Simon Duff delivers news of a quirky installation at Boston University’s Visitor Centre. While over on the West coast there is an equally interesting project at LAX Airport, which brings a whole new dimension to travel and Light in Las Vegas - Cirque du Soleil’s first ever nightlife venture.

In Europe, Rachael Rogerson discovered details of the latest audio upgrade at one of the clubbing world’s most well-known franchises, Pacha, in Mallorca. While the Ibiza club scene has a new addition in the form of Booom! Ibiza, which is Pioneer’s first venture into professional audio. The EMEA section is finished off with venue reports from a multi-functional concert hall in Wejherowo and the M/S Viking Grace, a cruise ship owned by Finland-based ferry company Viking Line.

ANZ Stadium in Sydney leads the APAC line-up this issue, the former Olympic stadium has been given an audio overhaul courtesy of Auditoria Director, Scott Willsallen. This sits alongside a club installation in Nanjing that has been kitted out with Adamson, Apex, Camco and Yamaha equipment.

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BOOOM! IBIZA iBIZA, SPAIN

EUROPE/MIDDLE EAST/AFRICA Booom! Ibiza, the high-spec vision of Giuseppe Cipriani, of the prestigious Cipriani hospitality group, supported by club industry veterans Danny Whittle and Mark Netto, has become the world’s first club to specify a bespoke Pioneer club sound system. The team designed the mid-size capacity venue from the dancefloor up, with a focus on service, comfort and unrivalled sound. It was therefore essential they selected a rich club sound system.

“When we heard the test system in Tokyo, the quality absolutely convinced us Pioneer was the right choice,” said club owner, Giuseppe Cipriani. “Now it’s installed and the club is open, we’re blown away by how impressive it sounds.”

Choosing Pioneer to build a bespoke sound system was an opportunity for Booom! to access some of the industry’s best sound engineering talent; Pioneer sub-brand TAD has been known for high

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quality audio for decades, while Pioneer DJ boasts unrivalled expertise in the pro-DJ market.

“I’ve had a long history working with Pioneer in Ibiza,” explained Danny. “When I was told about the team it had assembled I realised we were dealing with people who’d installed some of the world’s best sound systems and we were interested straight away.”

Pioneer established a partnership with the late Gary Stewart of Gary Stewart Audio (GSA), along with amplifier manufacturer Powersoft.

To build on this heritage, Pioneer brought Alex Barrand on board, the sound engineer responsible for London’s Ministry of Sound award-winning system upgrade in 2008.

“Pioneer DJ has long been in the lifeblood of Ibiza, being ever-present in the DJ booths of the island’s leading venues and biggest parties,” explained Mark Grotefeld, General Manager for Pioneer

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Europe. “So moving into the pro-audio market is a natural extension to achieve a 360º club solution.

“We wanted to team up with a boutique sound genius to complement our R&D expertise and scale and we found this in the legendary Gary Stewart. The result is a mind-blowing tribute to his life and work.”

Booom! commissioned Pioneer to design the sound system for the entire venue, including the main dancefloor, VIP dancefloor, DJ console, bar floor, upper bar, VIP rooms on levels two and three, and DJ VIP area, while The Shop Ibiza was awarded the installation contract.

The Booom! team wanted the best-in-class sound - a combination of deep, resonant bass, a punchy chest kick, and well-defined high frequencies. For the bar and lounge areas, the system needed to provide a warm and energetic sound that was still comfortable for guests wanting to talk yet feel the music.

To meet these challenges, four three-metre-high Pioneer GS-WAV stacks have been installed in each corner of the dancefloor - the GS-WAV’s deep, warm bass is provided by a WAV-SUB multi-fold hyperbolic horn subwoofer with two 18-inch rear-loaded drivers, and an optional large horn extension that adds another 4dB at 50Hz. Two

high-power Pioneer WAV-LOW loudspeakers deliver a tight punchy kick in the low to mid range. Pioneer WAV-LENS - loaded with two coaxial compression drivers, to ensure crystal clear sound reproduction, and Pioneer’s acoustic lens for a wide horizontal dispersion complete the dancefloor system.

The DJ console features six Pioneer XY-122 12-inch monitors and a pair of Pioneer XY-215S 15-inch quasi-band pass subwoofers. Infill is supplied across the club by a further 39 Pioneer XY-122 loudspeakers, 10 Pioneer XY-81 eight-inch ultra compact loudspeakers, and 15 Pioneer XY-118S 18-inch bass reflex subwoofers. Four Pioneer CDJ-2000nexus Platinum multimedia players are used, along with a Pioneer DJM-900nexus Platinum mixer and one Pioneer RMX-100 Platinum remix station. The whole system is powered by Powersoft K Series amplifiers - seven K-6s, 11 K-2s and 24 K-3s all with in-built DSP. The Powersoft K Series amplifiers optimise the performance of the Pioneer club loudspeaker system, with pre-set data and networked DSP. The compact amplifiers combine energy efficiency with high power output for maximum performance. All processing is taken care of by Armonia Pro Audio suite software.

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Lighting in Booom! is 90% LED and was supplied and installed by The Shop Ibiza. Production Manager for the Booom! project, Dave Singleton told mondo*dr: “Ibiza is a strange place for lighting, some DJs like to be completely in the dark, some want to be lit up more than Harrods at Christmas and others place the control in your hands and let you do what you believe to be best. The equipment and design at Booom! needed to be flexible enough to cope with any situation that might arise on the night, for example, a dancer appearing on the edge of the VIP platform needing light. Therefore the fixture positions and moving lights were carefully considered to gain the most from the rig.”

The lighting in Booom! is designed to work for the various zones in the club. On the main dancefloor there are eight Martin Professional MAC 350 Entour moving heads and 20 Martin Professional MAC 101 moving head washlights, as well as Martin Professional Atomic 3000 DMX strobes and stage blinders from Showtec. The DJ booth encorporates three Martin Professional MAC Aura moving heads, four Martin Professional MAC 101 moving heads; along with Showtec blinders and an ETC Source Four JR lighting fixture for key light on the DJ. The rest of the club is split into three VIP levels, a main bar area and dancefloor bar, which are all lit with Martin Professional MAC Aura moving heads.

“Guiseppe always had a specific vision of how the club should look,” continued Dave. “So with this in mind and working with the different promoters, each night follows a similar theme yet is made unique by incorporating all the different requirements.”

Video was a key element of the design at Booom! and while visual elements have always helped to create a bigger and better atmosphere for clubbers around the world, according to Dave, now that LED screens are becoming more readily available, they are becoming more popular with promoters as a cost effective option to make a big impact.

The design for video at Booom!, which is made up of custom content and was created by Visual Edge Media, works in three ways. The first is the use of 200 Element Labs Stealth panels - provided by XL

Video - dotted around the club. The six main pillars on the dancefloor are cladded on all four sides with a one by four panel drop, while the rest are arrayed in custom built square frames flown from the roof.

“This allows a highly creative option for the club’s LD to supplement the lighting in the club,” said Dave. The second part of the design is a three-metre by two-metre LED screen made up of Martin Professional EC-10 panels - supplied by VER - positioned above the dancefloor bar. This allows promoters to display content and visuals specific to their night. The final part of the design consists of three Barco SLM R12+ Performer projectors - again supplied by VER - which are used for creative and branding purposes both inside and outside the club depending on the night. An Avolites Ai-T4 media server running V7 software, driven by a Chamsys MagicQ MQ60 console via ArtNet, controls the whole system.

“I specifically asked Steve Warren from Avolites Media to get involved as I’d worked with him and the Ai Media Server before,” said Dave.

“I knew it was the only piece of kit that could provide us with the flexibility and sheer power to meet our demanding visual needs.”

All special effects at Booom! have been supplied by Back 2 Back Events and consist of CO² jets, CO² guns, Power Shots and Stadium Shots from Magic FX - these are controlled by Magic FX Effect’ivators. ER Productions in London supplied four ER.COM4 lasers and four ER Lase Array-Red bars, which are controlled by Pangolin software and an Akai APC40 midi controller.

Dave also highlighted the fact that big clubs don’t open that often in Ibiza. The concept for Booom! is a nightclub aimed at a customer base that enjoys music and appreciates mind-blowing visuals and lighting. “The hype that has been surrounding Booom! is huge,” he said. “This means the expectation to deliver a technically impressive club has also been huge and naturally there have been a number of challenges along the way. The building itself formally played host to club Angels, Penelopes and Heaven before being radically transformed into Booom! and upon further investigation by the structural engineers, just one week before it was due to open, it was discovered that all the points required for rigging inside the club were not

SONIC IMMERSION

Hear the system in action at PLASA in the Audio Lab arena Or VISIT us at Stand E80 6th-9th October, Excel, London

GS-WAVE and XY series professional CLUB sound system The progeny of Pioneer and Gary Stewart Audio (GSA), Pioneer’s flagship club speakers reproduce the ultimate club sound you can feel. Ibiza’s iconic venues are already enjoying the system’s pure, powerful sound that envelops and exhilarates at the same time.

The Pioneer Pro Audio flagship system comprises the GS-Wave series 3-meter dance floor stack with GSA technology and the XY series in-fill speakers, all powered by Powersoft’s high-performance K-Series amps with built-in DSP. This comprehensive line up guarantees versatile installations that deliver optimum sound and complete coverage throughout venues of every shape and size.

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FRANÇAIS

possible.”

This obviously caused a headache for all involved, especially as much of the bespoke rigging had already been manufactured and so Dave set about finding a solution quickly, enlisting the help of Adam Beaumont of Actus Event Technology and Jacqui Hilton of Rope & Rigging to assist in the design of a clever rigging solution for the club.

“Due to the nature of the design it required advice direct from Litec’s factory in Italy, and it arrived exactly as planned ready to be installed,” said Dave. “This eventually gave our team just three days to install all of the flown production elements ready for the opening.”

The Booom! installation is the first in a line of Pioneer bespoke systems due to be announced, including venues in Ibiza and across the world. Dave concluded: “For me, as soon as I heard that Pioneer was working on a pro audio system it became an exciting option to audition. The quality of Pioneer equipment has always been extremely high so I knew this would be no exception.

“When you stand on the dancefloor in the middle of the thousands of clubbers the energy you feel is incredible. But the beauty of Alex’s design means you don’t just feel the energy on the dancefloor, it extends around the entire club, no matter where you are, you are always part of the party.”

TECHNICAL INFORMATION SOUND

4 x Pioneer GS-WAV-LOW loudspeaker; 4 x Pioneer GS-WAVLENS loudspeaker; 4 x Pioneer GS-WAV-SUB subwoofer; 4 x Pioneer GS-WAV-HORN; 4 x Pioneer WAV-TWPOD tweeter; 6 x Pioneer XY-122 monitor; 2 x Pioneer XY-215S subwoofer; 39 x Pioneer XY-122 loudspeaker; 10 x Pioneer XY-81 loudspeaker; 15 x Pioneer XY-118S subwoofer; 7 x Powersoft K6 amplifier; 11 x Powersoft K2 amplifier; 24 x Powersoft K3 amplifier; 4 x Pioneer CDJ-2000 Nexus Platinum multimedia player; 1 x Pioneer DJM-900 Nexus Platinum mixer; 1 x Pioneer RMX-100 remix station; Armonia Pro Audio suite software

LIGHTING

24 x Martin Professional MAC 101 moving head; 24 x Martin Professional MAC Aura moving head; 8 x Martin Professional MAC 350 Entour moving head; 6 x Martin Professional Atomic 3000 DMX strobe; 6 x Showtec Stage Blinder 4 DMX fixture; 3 x ETC Source Four JR Zoom lighting fixture; 6 x Martin Professional Jem compact hazer pro machine; 4 x ER Productions ER.COM4 laser; 4 x ER Productions ER Lase ArrayRed bar; 2 x Magic FX CO² jet; 2 x Magic FX CO² gun; 2 x Magic FX Power Shot effect; 2 x Magic FX Stadium Shot effect; Magic FX Effect’ivator control; 1 x Avolites Ai-T4 media server; 1 x Chamsys MagicQ MQ60 console; Pangolin control software; 1 x Akai APC40 midi controller

video

200 x Element Labs Stealth LED panel; 3 x Barco SLM R12+ Performer projector www.booomibiza.com

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Booom ! Ibiza a était devenu le premier club au monde de spécifier un Pioneer club sonore système sur mesure. L’équipe a conçu le lieu de la moyenne dimension capacité à partir de la piste de danse vers le haut, avec un accent sur le service, consolation et qualité sonore inégalée.

En choisissant Pioneer à construire un système sonore sur mesure a été l’occasion pour Booom ! d’accéder à certains des meilleurs talents de l’industrie de l’ingénierie sonore. Quatre 3 mètres de haut piles Pioneer GS-Wave ont été installés dans chaque coin de la piste de danse-le GS-Wave profond et chaud basse est fourni par un WavSub multipli subwoofer de corne hyperbolique avec deux de 18 pouce conducteurs chargés à l’arrière , et une grande corne extension optionnelle , qui ajoute une autre quatre dB à 50Hz. Deux de forte puissance Pioneer Wav-Low haut-parleurs délivrent un incisive serré coup dans le bas à la gamme moyenne. Enfin, le Pioneer Wav-Lens est chargé avec deux conducteurs coaxiaux de compression, afin de garantir une reproduction sonore cristalline et claire et la lentille acoustique de Pioneer pour une large dispersion horizontale. Pour compléter la haute gamme, le premier de son genre système audio de Pioneer, sur le côté d’éclairage Martin Professional et équipement Showtec a été utilisé, ainsi que des effets spéciaux de Magic FX et lasers de ER Productions Londres, tous ont contrôlées par ChamSys et Avolites Ai serveurs média.

DEUTSCH

Booom! Ibiza ist weltweit der erste Club, der ein maßgeschneidertes Pioneer Club Sound System festlegt. Das Team hat den Treff mit einer mittelgroßen Kapazität von der Tanzfläche an konzipiert, mit Schwerpunkt auf Service, Komfort und unübertroffenen Sound.

Die Wahl von Pioneer für den Bau eines maßgeschneiderten Soundsystems war für Booom! die Gelegenheit, Zugriff auf einige der besten Soundtechnik-Talente der Industrie zu erhalten. Vier 3-Meter hohe Pioneer GS-Wave-Stacks wurden in jeder Ecke der Tanzfläche installiert – der tiefe, warme Bass des GS-Waves stammt von einem Wav-Sub Subwoofer mit mehrfach gefaltetem, hyperbolischem Horn und zwei 18-Zoll “Rear-loaded” Treibern und als Option eine große Hornverlängerung, die noch einmal vier dB bei 50Hz herausholt. Zwei leistungsstarke Wav-Low Lautsprecher von Pioneer verschaffen einen dichten, knackigen Kick im Tief- und Mittelbereich. Schließlich wird die Wav-Lens von Pioneer von zwei koaxialen Kompressionstreibern angetrieben, um eine kristallklare Klangreproduktion zu gewährleisten, während die Schalllinse von Pioneer für eine breitwinklige horizontale Abstrahlung sorgt. Als Ergänzung zu diesem hochwertigen, weltweit einzigartigen Audiosystem von Pioneer wurde für die Beleuchtung Martin Professional und Showtec Ausrüstung eingesetzt, neben Spezialeffekten von Magic FX und Lasern von ER Productions London, die komplette Ausstattung wird gesteuert durch ChamSys and Avolites Ai Media Servern.

ITALIANO

Booom! Ibiza è diventato il primo club al mondo ad offrire il noto sistema di amplificazione per locali, Pioneer. La squadra ha progettato questo locale di medie dimensioni dallo spazio da ballo ai piani superiori, focalizzando l’attenzione sul servizio, il comfort e la qualità impareggiabile del suono.

La scelta della Pioneer per la creazione di un sistema audio di alto livello è stata per Booom! l’occasione per avere accesso ai migliori talenti nel settore industriale dell’ingegneria del suono. Agli angoli della pista da ballo sono stati sistemate quattro strutture Pioneer GS-Wave alte tre metri; il basso profondo e avvolgente della GS-Wave è fornito da un altoparlante a bassa frequenza multistrato iperbolico Wav-Sub con due conduttori posteriormente caricati da 45 cm e da una grande tromba facoltativa che aggiunge altri quattro db a 50 Hz. Due altoparlanti Pioneer WavLow ad alta potenza inviano un vigoroso battere dalla bassa alla media lunghezza d’onda. Infine, il Wav-Lens Pioneer è fornito di due elementi di compressione coassiale per assicurare la riproduzione cristallina del suono e della lente acustica Pioneer per una diffusione orizzontale. Come complemento dell’eccezionale qualità del sistema audio della Pioneer, primo del suo genere, per ciò che riguarda l’illuminazione è stato usato il materiale della Martin Professional e Showtec, insieme agli effetti speciali della Magic FX e ai laser della ER Productions di Londra, il tutto controllato dalla compagnia di forniture nella comunicazione, ChamSys e Avolites Ai.

ESPAÑOL

Booom! Ibiza se convirtió en la primera discoteca del mundo en especificar un sistema de sonido Pioneer hecho especialmente a medida. El equipo diseñó la mitad de la capacidad del lugar desde la pista de baile, enfocándose en servicio, confort y un sonido sin igual.

Elegir a Pioneer para construir un sistema de sonido a media fue una oportunidad para Booom! para acceder a algunos de los mejores talentos en ingeniería de sonido de la industria. En cada esquina de la pista de baile se instalaron cuatro torres Pioneer GS-Wave de 3 metros de altura - los bajos cálidos y profundos del GS-Wave son provistos por un subwoofer de trompeta hiperbólica plegada con dos dispositivos cargados traseros de 18 pulgadas y una extensión opcional de trompeta grande que agrega otros cuatro dB a 50Hz. Dos parlantes de alta potencia Pioneer Wav-Low devuelven una fuerte potencia contundente las gamas bajas a medias. Por último, el Pioneer Wav-Lens se carga con dos dispositivos de compresión coaxial para asegurar una reproducción de sonido nítida y lentes acústicos de Pioneer para una dispersión horizontal amplia. Para complementar la alta calidad, el primero de su tipo en sistemas de audio de Pioneer, desde el lado de la iluminación, se han utilizado equipamientos Martin Professional y Showtec junto con efectos especiales de Magic FX y láseres de ER Productions London, todos ellos controlados por servidores Ai media de ChamSys y Avolites.

SGM A/S · Soeren Frichs Vej 51-53 · DK 8230 Aabyhoej · Denmark Tel +45 70 20 74 00 · info@sgmlight.com · www.sgmlight.com

A MANIFEST TO INNOVATION

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KASHUBIAN PHILHARMONIC HALL WEJHEROWO, POLAND

EUROPE/MIDDLE EAST/AFRICA With a concert hall at its core and a number of adjoining service rooms, the functionally designed Kashubian Philharmonic Hall located in the old town of Wejherowo, Poland - gets noticed for both its decorative architecture and its state-of-the-art audiovisual system.

Arch Studio was in charge of architectural design at Kashubian Philharmonic Hall, while Copper Concepts was tasked with the interior design. However, when it came to specifying the audio, lighting and visual technology, owners of the building, City Hall of Wejherowo appointed well known supplier and installer, LTT on the lighting side and Ambient System to coordinate the audiovisual design, supply and install the audio equipment and fine tune it.

The sound system was required to produce high quality sound and even coverage for the 400-seat auditorium. However, the system also had to be portable because when the audience for a show

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exceeds the indoor capacity limit, the sound system is removed from the hall and flown outdoors instead. Electro-Acoustics System Specialist at Ambient System, Pawel Zakrzewski said: “The goal was to find a system big enough for outdoor projects that wasn’t too aggressive and could also work for small performances in the concert hall. On top of that, the owners also wanted rider friendly equipment to satisfy touring acts.”

The design process began with EASE simulation software, Pawel and his team created a 3D model of the venue and added different materials of varying shapes to construct a space with optimum acoustics. After selecting an Outline audio package as the best solution, Pawel also used Outline’s OpenArray software for sound prediction, coverage and weight distribution.

Kashubian Philharmonic Hall is home to a typical L-R configuration with each hang comprising six Outline Butterfly C.D.H. 483 line array cabinets to look after the mid-high frequencies and one Outline Butterfly C.D.L. 1815 loudspeaker to take care of the low-end. There are two Outline DBS 18-2 passive subwoofer used as sub extension

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positioned on either side of the stage, while four Outline Mantas loudspeakers have been installed as front fills. The Mantas cabinets offer an 120° horizontal coverage pattern - in comparison to the Butterfly enclosures which offer 90° horizontal dispersion - meaning the Mantas loudspeakers avoid any unwanted reflections from the walls. Stage monitoring is provided by four Outline iSM115 powered monitors and six Outline iSM212 wedge monitors.

Pawel continued: “This configuration works well for the venue because it’s designed to be very flexible. For events, operas or classical concerts when there is no need for high level subwoofer content, the in-house sound team can disconnect the Outline DBS 18-2 subwoofers and simply remove them from the system. The main hangs are capable of reproducing high quality sound down to 40Hz while providing very discreet look.”

The Outline Butterfly C.D.L. 1815 loudspeakers in the flown arrays and the front fills are powered via four Outline T-Five amplifiers, while eight Outline T-Seven amplifiers provide ample support for the Outline Butterfly C.D.H. 483 cabinets and the subwoofers. Both sets of amplifiers - which are an OEM product, manufactured by Powersoft - are fitted with DSP and Ethernet KAESOP cards for loudspeaker management. In-house or touring sound engineers are able to control

the entire sound system using Powersoft’s Armonia Pro Audio Suite software to access speaker presets, EQ filters and delay features.

While additional control for the stage monitors - which are equipped with a built-in iMode DSP platform - is achievable over WiFi through the use of a dedicated Outline app.

“The main advantage of using one manufacturer is the compatibility between presets and limiters, as well as achieving maximum efficiency and sound quality from the amplifiers and the loudspeakers,” explained Pawel. “All products have been carefully selected and tested by Outline and we can always count on great support from Outline engineers if we need it too. We chose Outline for this installation because its products are extremely flexible and based on our previous experience we were convinced that the Butterfly system would provide a very natural, transparent sound for all different types of music.”

The mixing console at Kashubian Philharmonic Hall had to be compatible with the studio - located on the upper floor of the building - and needed to feature digital audio networking with bi-directional transmission capabilities. The solution was the Avid Venue Profile console, which feeds the PA with AES signals; these are then distributed to the amplifiers through Cat5 cables linked to the KAESOP

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cards. The concert hall has an Allen & Heath GL Series analogue desk in place for less demanding events and it also acts as a back-up should the loudspeaker management platform detect a lack of digital signals, the system will automatically switch to the analogue desk.

Pawel said: “The Avid Venue Profile was chosen because of its plug and play connection with Pro Tools. The Kashubian Philharmonic Hall has its own studio - based on Pro Tools 11 HD and an Avid C|24 as a controller - that is directly connected with the FOH position in the venue as well as with the control room by two fibre cores. Therefore, 48-channel audio streams can be sent both ways from the venue to the studio. The Avid Venue Profile is also fitted with a FWx card, which combined with a laptop running Pro Tools 10 is a simple way to record and playback up to 32 channels.”

Lighting wise at the Kashubian Philharmonic Hall, City Hall of Wejherowo looked to LTT for design and specification. The rig for the auditorium comprises a number of conventional theatre fixtures combined with LED intelligent lighting.

A total of 25 Robert Juliat Lutin tungsten fixtures were selected for their flexibility, they can be used to create full even coverage across the entire stage, as a soft light or as a directional light depending on what the performance requires. The inventory was expanded with the use of 32 Robert Juliat 329H classic tungsten units, eight Robert Juliat 614SX zoom profiles - which achieve optical quality over medium throw - and 12 Robert Juliat 700 SX2 profiles that offer smooth flat beams over long throw. The French manufacturer also supplied some LED fixtures for the hall in the form of 12 Robert Juliat ZEP 640SX profile spots that offer high lighting outputs with a number of framing and projection abilities.

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“The main advantage of using one manufacturer is the compatibility between presets, and limiters as well as achieving the maximum efficiency and sound quality from the amplifiers and the loudspeakers.”

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The LED theme continued when LTT opted to install six Martin Professional MAC Aura washlights that produce powerful beams in the concert hall. These moving heads combine multicolour beam LEDs with a backlight LED array, which removes the synthetic appearance normally associated with a traditional LED washlight. The MAC Auras are supplemented by a Martin Professional Atomic 3000 strobe and a Martin Professional Jem K1 hazer. To complete the lighting rig, LTT chose eight Pulsar ChromaFlood 200 luminaires, each of which feature 66 3W LEDs and are therefore capable of creating many colour mixing possibilities.

Lighting control is provided by a Compulite Vector Violet console that features powerful effects programming, matrix programming, as well as graphical colour, gobo and video pickers, all in a compact package. There are also six Compulite CompuRack dimmer racks in place, each with 24 channels, which allow 3kW of power per channel.

From the beginning the Kashubian Philharmonic Hall was destined to be a beautiful architectural design. However, with a high-end technology set-up at its core it seems beauty also oozes from deep within.

TECHNICAL INFORMATION SOUND 12 x Outline Butterfly C.D.H. 483 line array cabinet; 2 x Outline Butterfly C.D.L. 1815 line array cabinet; 2 x Outline DBS 18-2 passive subwoofer; 4 x Outline Mantas loudspeaker; 4 x Outline iSM115 monitor; 6 x Outline iSM212 monitor; 4 x Outline T-Five amplifier; 8 x Outline T-Seven amplifier; 1 x Avid Venue Profile mixing console lighting 25 x Robert Juliat Lutin fixture; 32 x Robert Juliat 329H fixture; 8 x Robert Juliat 614SX zoom profile; 12 x Robert Juliat 700 SX2 profile; 12 x Robert Juliat ZEP 640SX profile; 6 x Martin Professional MAC Aura washlight; 1 x Martin Professional Atomic 3000 strobe; 1 x Martin Professional Jem K1 hazer; 8 x Pulsar ChromaFlood 200 luminaire; 1 x Compulite Vector Violet console; 6 x ix Compulite CompuRack dimmer rack www.ambientsystem.pl / www.ltt.com.pl

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VIKING GRACE HELSINKI, FINLND

EUROPE/MIDDLE EAST/AFRICA M/S Viking Grace represents a completely new generation of ferries with its revolutionary Liquified Natural Gas (LNG) fuel system built by Wärtsilä; interior design by the award-winning dSign Vertti Kivi & co, and a host of other innovations providing passengers with a totally new and fresh cruise experience. With its LNG powered engines, hydro-dynamically optimised hull design and new sound proofing technology M/S Viking Grace is one of the greenest and quietest

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ferries in the Baltic Sea, and the world. The most modern technology has been used in all areas of the M/S Viking Grace, from its engines and propulsion system to the high-speed wireless internal network used to keep the passengers informed, and the high-end audio system, using equipment from Turbosound, Lab.gruppen, Allen & Heath, DPA and Shure, installed by Noretron Audio.

“We first began discussions with the Viking Line about this project

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back in 2009,” said Jorma Tikka of Noretron Audio. “Then again in 2010; with initial plans for the equipment coming after that. The Viking Line had a clear vision of the desired result and this made things a lot easier, with only minor changes needed from the original design, which was put together by Viking’s own team.

“Our delivery consisted of entertainment audio equipment for a number of areas around the cruise ship from bars and clubs to restaurants, lounge bars, shopping and public areas.”

Turbosound loudspeakers dominate the audio line-up in Vogue nightclub, Rockmore bar and Retro bar where eight TCS-1061-100 three-way line array loudspeakers used alongside nine TFA-600B subwoofers; six TCS-122 two way loudspeakers; six TCS-B15B subwoofers; 10 NuQ-6 compact two-way loudspeakers; two TCX-15B subwoofers and two NuQ-10 compact two-way loudspeakers have been installed.

Throughout other areas of the cruise ship - including Aurora buffet restaurtant, Frank’s casual dining restaurant, Oscar a la carte restaurant and Seamore champagne lounge - 47 Turbosound Impact 55T architectural loudspeakers are installed along with 256 Turbosound TCS-C50T in-ceiling loudspeakers. A combination of Lab.gruppen amplifiers and processors power the loudspeakers - including four PLM 10000Q amplifiers, 13 C 20:8X amplifiers, two C 10:8X amplifiers, one C 10:4X amplifier; six C 48:4 amplifiers, and three NLB6 60E Nomad Link bridge and network controllers.

Lab.gruppen amplifiers have proved to be the right choice in other cruise ships of Viking Line, so the decision was easy when choosing the amplifier platform for the new ship. “We like the Lab.gruppen amplifiers because they sound good, they are reliable, and they are also very lightweight, which is important for us,” said Jouni. “We have used Lab.gruppen almost exclusively on our ships for the past 18 years.

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Vogue nightclub

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Oscar al a carte restaurant

Recently, the C-Series amplifiers have made our lives a lot simpler with up to eight channels per unit [yielding] opportunities to run two channels to four ohms and six with 70V lines. The result is that less rack space is needed. Sound quality, durability, lightness, low power consumption, good service and long guarantees - all of those factors made it an easy choice for us to specify Lab.gruppen on the new ship too.”

Mixing desks within the live entertainment and club areas are provided by Allen & Heath and include one iLive-T112 Surface mixing desk; one iLive-T80 Surface mixing desk; and seven MixWizard3 16:2 all-purpose mixing consoles.

“We chose to work with these audio brands because of our previous experiences, the reliability of the products, and they suited the needs of the cruise ship,” said Jouni Sironen, AV Manager for the Viking Line. “The system needed to be capable of lots of different things whether this is background music, DJs or live music. There are also different zones to contend with - such as the dancefloor and seating areas.”

A cruise ship is no ordinary installation and for Journi there were a number of issues that had to be dealt with, as he explained to mondo*dr: “There is a lot of glass and steel on-board, which we solved by using moltons, stage carpets, and the specific positioning of the loudspeakers. However, because this is one of the quietest ships in the world, the problems we faced were smaller than they might have been with a standard cruise ship.”

Noretron Audio was involved in the installation of the audio equipment every step of the way, with Sound Solutions brought in at the end of the project to ensure the audio systems were tuned correctly for Vogue nightclub, Rockmore bar, Retro bar, Seamore champagne lounge and Oscar a la carte restaurant. The vessel also features one of the biggest LED indoor screens aboard a Scandinavian cruise liner at 50 sq metres, this sits alongside moving heads and lighting fixtures from Chauvet, ETC and Martin Professional.

Chauvet COLORado 3P wash banks, which consist of three pods of 18 ultra-bright LEDs arranged in circles were installed. There are 31 Chauvet COLORado 1-Tri Tour lighting fixtures, which feature specially designed optics to allow the light from the LEDs to converge before leaving the fixture, ensuring better colour mixing, while five dimming curves and optional colour blending filters further enrich the wash possibilities. Nine Chauvet COLORado Batten 72 tour wash lights were also specified.

Chauvet Legend 412 moving heads are also used, along with four Chauvet Intimidator Scan LED 300’s, bright, compact LED scanners with crisp three-sided prism that duplicates the beam for great effects and a larger coverage area.

From ETC, there are 19 Selador Pearl luminaires, which provide a bright white light - perfect for the stage environment onboard the Viking Grace; there are also two ETC Source Four LED Studio HD lighting fixtures, which combine high-output white LEDs with carefully selected LED colours from the Selador x7 Color System to create beautiful white light without all the spectral gaps normally associated with LED lighting.

Completing the lighting inventory are15 Martin Professional MAC Aura wash heads; 17 Martin Professional MAC 350 Entour LED

Seamore Champagne Bar

profile fixtures; 37 Martin Professional MAC 101 moving heads; and nine Martin Professional MAC 101 CLD moving heads, as well as four SGM XC5 Colour LED strobes.

“The RGB architect lighting solutions were designed by myself and provided by Monacor and Britec, with all lighting managed by a Chamsys MagicQ MQ200 Pro lighting desk - programmed wirelessly all over the ship.

“We have 120 universes of DMX via Artnet, while video is run through AMX HDMI-CAT matrixes and IP TV. In Vogue, we have a Martin Professional Maxedia fully specified media server, Panasonic HD robot cameras, and over 1,000 LCD displays around the ship.

“This is the biggest ship in the Viking Line,” concluded Jouni, “and one of my proudest moments was when everything came together, on time, worked as it should and in budget.”

TECHNICAL INFORMATION SOUND

8 x Turbosound TCS1061-100 line array loudspeaker; 9 x Turbosound TFA-600B subwoofer; 6 x Turbosound TCS-122 two-way loudspeaker; 6 x Turbosound TCS-B15B subwoofer; 10 x Turbosound NuQ-6 compact two-way loudspeaker; 2 x Turbosound TCX-15B subwoofer; 47 x Turbosound Impact 55T architectural loudspeaker; 2 x Turbosound NuQ-10 compact two-way loudspeaker; 256 x Turbosound TCS-C506 in-ceiling loudspeaker; 4 x Lab.gruppen PLM10000Q amplifier; 12 x Lab. gruppen C 20:8X amplifier; 2 x Lab.gruppen C 10:8X amplifier; 1 x Lab.gruppen C 10:4X amplifier; 1 x Lab.gruppen C 88:4 amplifier; 6 x Lab.gruppen C 48:4 amplifier; 3 x Lab.gruppen NLB 60E Nomad link remote monitoring system; 1 x Allen & Heath iLive-T112 surface mixing desk; 1 x Allen & Heath iLive-T80 surface mixing desk; 1 x Allen & Heath iDR-48 mix rack; 1 x Allen & Heath iDR-32 mix rack; 1 x Allen & Heath iDR-16 mix rack; 1 x Allen & Heath M-Dante network option card; 2 x Allen & Heath M-ACE network option card; 7 x Allen & Heath MixWizard3 16:2 all-purpose mixing console; 4 x Shure ULXD4Q four-chain receiver; 8 x Shure ULXD4D two-chain receiver; 3 x Shure ULXD4E one-chain receiver; 25 x ULXD2/ SM58 transmitter; 12 x Shure ULXD1 bodypack transmitter; 22 x Shure SBC-200 charging station; 1 x Shure SBC-800E charging station; 7 x Shure SB900-8 battery pack (8pcs); 21 x Shure UA830 antenna amplifier; 3 x Shure P10TE dual channel IEM transmitter; 6 x Shure P10R IEM receiver; 6 x DPA Microphones FIDF10 single ear headset microphone; 6 x DPA Microphones 4099S instrument microphone; 4 x DPA Microphones d:vote 4099Hi instrument microphone

LIGHTING

31 x Chauvet Colorado 1-Tri Tour; 9 x Chauvet Colorado Batten; 4 x Chauvet Intimidator Scan Led 300; 16 x Chauvet Legend 412 moving head; 19 x ETC Selador Pearl lighting fixture; 2 x ETC Source Four LED Studio HD moving head; 15 x Martin Professional MAC Aura wash lighting fixture; 17 x Martin Professional MAC 350 Entour moving head; 37 x Martin Professional MAC 101 moving head; 9 x Martin Professional MAC 101 CLD moving head; 7 x SGM XC-5 LED strobe; 1 x Chamsys MQ200 Pro lighting desk www.vikinggrace.com

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PACHA mallorca, spain

EUROPE/MIDDLE EAST/AFRICA When considering the Pacha brand and its status within the clubbing world today it’s not difficult to comprehend that the first venue to bare the name was over 40 years ago. However, put that into context and acknowledge the longevity this iconic nightclub has achieved, it really is quite a statement.

With franchises on every continent - many of which attract world class DJ residencies - it’s no wonder the sound systems are constantly upgraded to keep each and every venue on top of its game. The owners of Pacha in Mallorca recently instigated an audio system overhaul to inject the venue with a new lease of life.

A new room - owned by Grupo Cursach Ocio, a major business group which owns a number of entertainment venues in Mallorca - was incorporated during the renovation. The new Funky Room and the Main Room were redesigned with the aim of achieving a high quality sound system that would provide ample coverage throughout the venue.

Barcelona-based Media-Sys was appointed to design and install the new audio system having worked with Grupo Cursach Ocio on previous occasions. A number of elements had to be considered during the design process, mainly due to the unusual architecture of the building.

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Media-Sys CEO, José Maria Foguet explained further: “We generated a 3D model, which highlighted some dispersion and structural problems that would occur when applying high levels of SPL in the room, so we tried to find a solution that would be in keeping with the aesthetics.” After accessing various systems, locations, sound-absorbing materials and frequency responses using EASE acoustic modelling software, José and his team - lead by Media-Sys Project Engineer, Héctor Cabot - found the perfect model.

Each room has an individual sound system - although they do share audio processing - which is divided into different areas. On the dancefloor in the Main Room, José and Héctor specified six Kling & Freitag Sequenza 10W line array cabinets and four Kling & Freitag Sequenza 10B subwoofers for low-frequency extension. The DJ monitoring system comprises two Kling & Freitag CA 1515-9 two-way loudspeakers and a Kling & Freitag SWi 118E subwoofer, while 10 Kling & Freitag CA 1215-9 cabinets are spread across the rest of the space to give smooth coverage throughout.

Two Kling & Freitag CD 44 digital controllers provide loudspeaker management for the Main Room, while a series of Lab.gruppen units provide power, one Lab.gruppen FP 10000Q four-channel amplifier with a regulated switch mode power supply, one Lab.gruppen C 48:4 high output amplifier and five Lab.gruppen fP3400 Class-TD amplifiers were specified.

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In order to have signal distribution between the two rooms Media-Sys opted for a Tendzone Timon 16 audio processor with a built-in preamplifier circuit and DSP processing bus structure to produce high quality sound. A Tendzone RC-MIX control panel increases the flexibility of the system and makes connecting the two rooms straightforward.

José said: “The signal zoning and delays needed a control unit for fine tuning adjustments and distribution, we decided to go for Apex Intelli-X2 48 processors because of their high audio quality, musicality and reliability.” These units - which offer functionalities to both rooms - can be integrated into any network easily due to their plug and play capabilities. “Apex is dedicated to designing and manufacturing control and adjustment professional audio tools that simply do what they have to do with exquisite audio quality,” explained Héctor.

The Funky Room uses similar products but has a slightly different set-up. The dancefloor is equipped with two Kling & Freitag CA 1215-9 full range loudspeakers supplemented by two Kling & Freitag SW215E high efficiency subwoofers. Two Kling & Freitag Sona 5 passive loudspeakers have been installed around the periphery, while two Kling & Freitag CA 1001 enclosures and one Proel SW115A subwoofer - which delivers a dynamic response at low frequencies take care of DJ monitoring. Héctor said of the Kling & Freitag system: “During my career I have had the opportunity to install, test and adjust sound systems from the best manufacturers in the world. All Kling

& Freitag products are of extreme quality. The performance is incredible and unlike other so-called ‘big manufacturers’, Kling & Freitag is the one with better control of dispersion, better linearity between the different models, the native frequency response is more balanced, there’s lower distortion in the high frequencies and the products have longer durability.”

C Series amplifiers from Lab.gruppen - one C 48:4 and one C 28:4 power the Funky Room system. This series was designed specifically for the installation market boasting flexibility, reliability and powerto-size ratio as key features. “Today, when you buy a Lab.gruppen amplifier, you’re buying the best performance in all aspects - power, damping, stability, performance, response amplitude and wave control,” continued Héctor.

The DJ booth at Pacha boasts a set-up of an Allen & Heath Xone:92 analogue mixer, six Pioneer CDJ-2000 Nexus multiplayers and one Pioneer DJM-900 Nexus mixer, products which are popular on DJ riders and all of which were chosen by owner, Grupo Cursach Ocio to cater for the club’s international DJ line-up. Two Technics SL-1210 Mk5 turntables, an E&S DJR 400 mixer and an E&S 2X 3004 dual thee-band isolator complete the DJ kit.

Possibly the biggest challenge during the installation was matching the sound quality not only to the internationally respected brand of Pacha but also to the rest of the venues owned by Grupo Cur-

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FRANÇAIS

Lorsque l’on envisage le Pacha marque et son statut au sein du monde des clubs aujourd‘hui il n’est pas difficile de comprendre que le premier lieu à nu le nom était plus de 4 ans. Cependant, mettre cela en contexte et reconnaître la longévité cet iconique discothèque a atteint, il est vraiment tout à fait une déclaration. Avec des franchises sur chaque continent-de ces nombreux attirent l’attention de classe mondiale DJ résidences- ce n’est pas étonnant que les systèmes sonores sont constamment mis à niveau de préserver chaque lieu et tous au dessus de son match. Les propriétaires du Pacha à Majorque ont récemment suscitent un système audio refonte pour injecter le lieu avec un nouveau souffle de vie. La Media-Sys basée à Barcelone était nommé pour la conception et l’installation d’un nouveau système audio ayant travaillé avec le Grupo Cursach Ocio –les propriétaires de la nouvelle Salle Funky Room- en précédents occasions. Le Funky room et le Main Room ont été redessinés en utilisant une combinaison de Kling & Freitag haut-parleurs et contrôleurs digitaux, Lab.gruppen amplificateurs et les processeurs Apex.

DEUTSCH

In Anbetracht der Pacha-Marke und ihres Status innerhalb der Clubbing-Welt von heute fällt es nicht schwer zu verstehen, dass der erste Treff diesen Namen vor mehr als 40 Jahren trug.

Beachten Sie indes den Zusammenhang und würdigen Sie die Langlebigkeit dieses legendären Nachtclubs, dann wird dies zu einem Statement. Mit Franchisen auf jedem Kontinent – von denen viele die berühmtesten DJs anziehen – ist es kein Wunder, dass die Soundsysteme kontinuierlich aktualisiert werden, damit jeder Treff stets ganz oben mitspielt. Die Eigentümer des Pachas auf Mallorca haben kürzlich eine Überholung des Audiosystems initiiert, um dem Treff neue Impulse zu verleihen. Das in Barcelona ansässige Unternehmen MediaSys wurde beauftragt, das neue Audiosystem zu konzipieren und zu installieren, nachdem sie mit Grupo Cursach Ocio – den Besitzern des neuen Funky Rooms – bei früheren Gelegenheiten zusammengearbeitet haben. Der Funky Room und der Hauptsaal wurden neu konzipiert, wobei eine Kombination aus Kling & Freitag Lautsprechern und digitalen Steuergeräten, Lab. gruppen Verstärkern und Apex Prozessoren verwendet wurde.

sach Ocio. It took some modification by an electro acoustician - as opposed to architectural changes - but with a committed team with a shared goal, José is confident of the final outcome. Héctor concluded with his praise for the people and the products that made this project happen: “Firstly, thank you to Grupo Cursach Ocio especially Technical Director, José Maymo Genthe and Manager, Tolo Sbert for the trust they placed with us once again.

“And thanks to Kling & Freitag especially Jürgen Freitag, for manufacturing products that make me a better professional every day, and for the effort they have made in this particular case, producing the whole system in just four days to support us and our client in a very tight schedule.”

TECHNICAL INFORMATION SOUND 6 x Kling & Freitag Sequenza 10W line array cabinet; 4 x Kling & Freitag Sequenza 10B subwoofer; 12 x Kling & Freitag CA 1515-9 loudspeaker; 1 x Kling Freitag SWi 118E subwoofer; 2 x Kling & Freitag CA 1215-9 loudspeaker; 2 x Kling & Freitag SW 215E subwoofer; 4 x Kling & Freitag Sona 5 loudspeaker; 2 x Kling & Freitag CA 1001 loudspeaker; 4 x Kling & Freitag CD 44 digital controller; 1 x Lab.gruppen FP 10000Q amplifier; 2 x Lab. gruppen C 48:4 amplifier; 6 x Lab.gruppen fP3400 amplifier; 1 x Lab.gruppen C 28:4 amplifier; 2 x Intelli-X2 48 processor; 1 x Tendzone Timon 16 audio processor; 1 x Tendzone RC-MIX control panel; 1 x Alllen & Heath Xone:92 mixer; 6 x Pioneer CDJ-2000 Nexus multiplayer; 1 x Pioneer DJM-900 Nexus mixer; 2 x Technics SL-1210 Mk5 turntable; 1 x E&S DJR 400 mixer; 1 x E&S 2X 3004 dual thee-band isolator; 1 x Proel SW115A subwoofer; 1 x Proel M8USB effect mixer; 2 x Proel RMW8M wireless system www.pachamallorca.es

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ITALIANO

Se si esamina il nome Pacha e la sua posizione all’interno del mondo dei locali notturni di oggi, non è difficile realizzare che l’apertura del primo ritrovo con questo nome risale a più di 40 anni fa. Se si fa riferimento al contesto e se si riconosce la longevità che questo rinomato locale ha conquistato, si tratta di un vero e proprio traguardo. Avendo filiali in tutte le parti del mondo, molte delle quail attirano DJ di livello mondiale che diventano residenti, non è una sorpresa il fatto che i sistemi di amplificazione dei locali siano costantemente aggiornati e potenziati per poter permettere a ciascun locale di offrire la migliore qualità. I proprietari del Pacha di Mallorca hanno recentemente intrapreso una revisione del sistema audio per offrire al locale nuovi orizzonti. La ditta di Barcelona Media-Sys è stata prescelta per la progettazione e l’installazione del nuovo sistema audio, dato che aveva precedentemente lavorato con il Grupo Cursach Ocio, proprietari della nuova Funky Room. La Funky Room e la Main Room sono state riprogettate usando una combinazione di altoparlanti e regolatori digitali Kling & Freitag, degli amplificatori Lab.gruppen e dei processori Apex.

ESPAÑOL

Al considerar la marca Pacha y su status dentro del mundo de las discotecas hoy en día, no es difícil comprender que el primer lugar en mostrar su nombre fue hace más de 40 años. Sin embargo, poner eso en contexto y reconocer la longevidad que esta discoteca icónica ha logrado, es realmente toda una declaración. Con franquicias en todos los continentes - muchas de las cuales atraen a DJ de talla internacional - los sistemas de sonido son actualizados constantemente, con toda razón, para mantener a todos y cada uno de los lugares en permanente superación. Los propietarios de Pacha en Mallorca iniciaron recientemente una reparación del sistema de audio para inyectarle una nueva cuota de vida al lugar. La empresa Media-Sys, con base en Barcelona, fue la designada para diseñar e instalar el nuevo sistema de audio habiendo trabajado en ocasiones anteriores con Grupo Cursach Ocio - propietarios del nuevo Funky Room.

El Funky Room y la Main Room fueron diseñados utilizando una combinación de parlantes Kling & Freitag y controladores digitales, amplificadores Lab.gruppen y procesadores Apex.

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SPiN DUBAI AMERICAN PING-PONG PARLOUR BRAND, SPIN GALACTIC IS VENTURING OUT OF NORTH AMERICA FOR THE FIRST TIME WITH ITS LATEST VENUE AT WAFI MALL. HELEN FLETCHER DISCOVERED WHAT PARTYGOERS CAN EXPECT FROM THIS OUT OF THE ORDINARY NIGHTLIFE HOT SPOT

DUBAI, UAE

EUROPE/MIDDLE EAST/AFRICA Originating in New York in 2009, SPiN Galactic brings a totally new concept to Dubai and the UAE. Created by owners Franck Raharinosy, Andrew Gordon, Jonathan Bricklin and Academy Award-winning actress Susan Sarandon, SPiN Dubai is a nightlife experience with a difference - bringing together good food, good music and ping-pong.

Having proved popular across North America, with additional venues in Milwaukee, Toronto and more recently at the Standard Hotel in LA, SPiN Dubai is the first venue to be franchised outside of North America and while it has only been open since May, it is already proving to be a breath of fresh air for the region.

Housed at Wafi Mall, SPiN covers an area of 12,500 sq ft and aims to create an atmosphere completely different to the usual offering in Dubai through its 60-seater restaurant, 700 capacity lounge / club space, and outside terrace, which offers a more chilled out space with shisha pipes. Aiming for a more social and interactive nightlife experience SPiN encourages interactivity between different groups through the use of the ping-pong tables, which can be hired by the half hour, while still offering that VIP service that is so popular.

Areas can be sectioned off for private hire and corporate events and, in true ‘Dubai style’ guests can hire a one-of-a-kind golden ping-pong table.

“There are a multitude of venues in Dubai all offering exactly the same thing - cocktails, table service and music,” said Dani Alyamour, owner of SPiN Dubai. “We offer all of that of course, but

with the added draw of ping-pong and all in a more laid back, highly interactive environment. We want the experience to be fun, we don’t want SPiN to be stagnant and the same as everything else that’s out there.”

SPiN Dubai has a ‘set sound’, offering deep house, new disco and funk with elements of R‘n’B. The focus of the room is on the DJ booth, which consists of two Pioneer CDJ-2000 Nexus digital DJ decks and one Pioneer DJM-900 Nexus mixer, with Mackie loudspeakers for monitors. The DJs can position themselves in three different positions - front, side or back, meaning if they want to project themselves into the far part of the venue they can. The majority, however choose to go on the side of the booth - overlooking the Fred Perry Centre Court, which becomes the nightclub space post 11pm. With WiFi available throughout the venue the DJ can also be positioned outside onto the terrace should the night require it.

SPiN Dubai has an industrial, urban feel to it and while some of the audio equipment is quite visual to fit in with this style, owner Dani Alyamour still wanted to create that high-end chic feel and so a sound consultant was brought on-board to work with audio specialists from GSL Professional on the installation.

Commenting on the project, GSL’s General Manager Glen Kershaw told mondo*dr: “We first got involved in the project in November last year. The owners knew they wanted an audio system that would give good, clear background music but it also needed to be capable

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MORE PHOTOS

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of satisfying a club environment so we specified a full JBL, Crown and BSS system. Like with most projects the brief changed slightly from initial discussions and there are always hurdles to overcome along the way but we managed to stay within the initial guidelines proposed.”

Due to its sleek pendant shaped design, the JBL Control 65 P/T compact full-range loudspeaker was specified for SPiN Dubai and Glen explained why: “A lot of architects and interior designers are becoming more conscious of sound systems as they don’t want large black boxes messing up their design. In the same breath a lot of loudspeaker manufacturers are becoming more conscious of design and the look of their boxes. The JBL Control 65 P/T is a bit ‘prettier’ than other loudspeakers available on the market thanks to its teardrop shape. The majority of the ceiling is black at SPiN, which has allowed us to discreetly hang the loudspeakers from the ceiling using a single wire.”

SPiN Dubai features eight JBL Control 47HC high ceiling loudspeakers, which feature a narrow 75º coverage pattern making it ideal for use in highly reverberant spaces and high ceiling applications such as SPiN, which features a glass wall down one side of the building, naturally causing reverb issues for the GSL team. This focused pattern of the loudspeakers helps to minimise sound reflection from the room surfaces as well as time arrival anomalies from adjacent loudspeakers, resulting in improved speech intelligibility. Also installed at SPiN are two JBL Control 24CT Micro in-ceiling loudspeakers, two JBL AM5212/64 two-way, loudspeakers, four JBL AM5215/95, full range loudspeakers, four JBL Control 25AV loudspeakers, and two JBL PRX618SXLF subwoofers providing the bass, all powered by two Crown CT 8150 amplifiers and two Crown XTi4002 amplifiers. Processing is taken care of by a BSS Soundweb London BLU-100 digital signal processor and a BSS Soundweb London BLU BOB2 output expander, while a BSS Soundweb London BLU-8V2 programmable zone controller looks after the eight different zones at SPiN. “Overall we’re very happy with the way the system sounds at SPiN,” said Glen. “We would have liked a bit more power in there, but then the venue at that time didn’t have the budget to invest extra expense into the system. The JBL loudspeakers we’ve used are from the mid

to high end of the market and are the right choice for the venue.

If we had put more power in there and gone louder then we would have also faced more reverb issues.”

As the ping-pong tables are the main focus of the venue, intelligent lighting has been kept to a minimum at SPiN, as Dani explained: “We’re a ping-pong parlour that turns into a nightclub later on. We’re not trying to be anything else and the lighting has been put in to specifically focus on the tables. We are also completely UV ready to give that ‘Thai Full Moon Party’ feel on certain nights - using black lights and glow in the dark ping-pong balls so guests can play in almost completely black surroundings.” There are just four American DJ Vizi Beam 5R moving heads installed at SPiN Dubai, providing a nightclub atmosphere, these are controlled by an American DJ DMX lighting controller.

For Glen, working on a prestigious brand such as SPiN provides GSL with the opportunity to work on a project completely different to the usual Dubai offering, telling mondo*dr: “Dubai hasn’t seen a club like this before and it really is a breath of fresh air for the area and to have a brand as big as SPiN come over here is great, we’re really proud of how the project went and are definitely using it as a point of reference.”

TECHNICAL INFORMATION SOUND 12 x JBL Control 65 P/T compact full range pendant loudspeaker; 8 x JBL Control 47 HC loudspeaker; 2 x JBL AM5212/64 loudspeaker; 2 x JBL PRX618S-XLF loudspeaker; 2 x JBL control 24CT Micro ceiling loudspeaker; 4 x JBL Control 25AV loudspeaker; 4 x JBL AM5215/95 loudspeaker; 2 x Crown XTi4002 amplifier; 2 x Crown CT 8150 amplifier; 1 x BSS BLU100 digital processor; 1 x BSS Soundweb London BLU-8V2 programmable zone controller; 1 x BSS Soundweb London BLU BOB2; 2 x Pioneer CDJ-2000 Nexus CD player; 1 x Pioneer DJM900 Nexus mixer; Mackie monitors LIGHTING American DJ Vizi Beam 5R moving head; 1 x American DJ 512 lighting controller www.dubai.spingalactic.com

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TO THE 5 BOROUGHS NEW YORK, USA The Americas

OUTPUT Google ‘Output Brooklyn’ and you won’t find a great deal, no press, barely any imagery, and no reviews…

And this is exactly how co-owner and international DJ, Nicolas Matar intends for it to stay. Inspired by the underground club scene of the ‘80s and ‘90s, and more recently the underground club scene in Berlin, the mystery that surrounds Output is part of what makes it so intriguing. Add to this, the fact it’s found home in the up and coming, ultra-cool hotspot of Williamsburg, Brooklyn, which is fast becoming the epicentre of underground music culture in the US, and you’ve got yourself a recipe for one of the most exciting, most talked about, yet unpretentious clubbing venues in New York.

As with Nicolas’ other nightclub Cielo, which has been part of the New York clubbing scene for 10 years this year, Output is all about the music. There is no bottle service, drinks are reasonably priced, there’s no door policy and there is strictly no press or photography allowed. Output is a venue run by music lovers for music lovers.

Having worked with Dan Agne of Sound Investment - a Funktion One

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specialist - for a number of years at Cielo, when it came to developing the sound system for Output it was a natural choice that Nicolas should work with him once again.

“After Cielo we had to up our game considerably,” said Dan. “Output is a much bigger space than Cielo, “and every link in the chain had to be high quality, whether this was the PA system, processing, amplification, the DJ monitors and so on. Acoustically, the club’s elements were really taken into consideration, even more so than at Cielo, every square inch of the building uses proper acoustic material.

There isn’t much you can do to prepare yourself for the experience of going into Output and seeing, hearing and feeling an artist that you appreciate. People keep saying to me that they’ve never heard a sound system like it.”

With quality of sound of such high importance, it was only natural that Funktion One’s very own Tony Andrews would work alongside Dan and Nicolas on the commission and installation of the sound system.

Tony explained: “Nicolas had been searching for a suitable building to home Output for a number of years, so once he found it the first stage of the audio mission was to prevent sound leakage, particularly bass frequencies, into the neighbourhood. Project Manager George Alan of Design Department NYC suggested floating an eight-inch slab of concrete on four-inches of neoprene rubber over the entire

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roof - this treatment proved to be very successful.

“The second stage was to treat all relevant internal surfaces with sound absorbing material. When I visited the club in late January to commission the system I could hear that the acoustic treatment was of the highest standard as soon as I walked into the room. There were no reflections from my footsteps or voice - this was a good place to start the audio from.

“Nicolas completely understands the importance of audio quality so it had to be pristine and balanced but also a step beyond Cielo,” continued Tony. “The audio equipment brief was for a maxed out, no compromise, statement system. Whatever I suggested as being sufficient, Nicolas doubled it - he was very serious about this project.”

The only way to realise Nicolas’ intent was to give him specifically tailored iterations of some of Funktion One’s new technology, which fortunately Tony was in the process of finalising. Nevertheless, in many respects Nicolas was not only the first to experience the benefits of his progress but he was also the guinea pig. As the saying goes, nothing ventured, nothing gained.

“The main dancefloor area has to accommodate DJ club nights at one end and a live stage at the other,” said Tony. “We achieved this with a four point system; this was one of the main challenges with the installation, but with such a well treated room, there really weren’t

that many to contend with.”

The main room at Output features a hybrid array of two Funktion One R63EH loudspeakers with 90º dispersion and two Funktion One R62EH loudspeakers with 60º dispersion for the mid/high frequencies - along with Funktion One F315 15-inch loudspeakers, which provide the mid-bass frequencies. A further two Funktion One F315 15-inch loudspeakers, two Funktion One F221 subwoofers and four Funktion One BR221 subwoofers are also used in the main room, with power coming from two MC² Audio T2000 amplifiers, two MC² Audio T3500 amplifiers and four MC² Audio E90 amplifiers.

With a strong focus on DJs and electronic dance music, Output is also one of the first nightclubs to feature Funktion One’s new PSM318 DJ monitoring system, as Tony explained: “We had originally been working on a specialised monitoring system with DJ Carl Cox, but it later turned out that DJ Richie Hawtin had very similar requirements. They wanted an awful lot of level - some DJs want incredible amounts of volume on stage. They were concerned about the horn-loaded stuff, which is good for projecting sound down the room – horns don’t take any prisoners when you’re only a metre or so from them and the bass waves don’t necessarily develop immediately, they emerge from a horn, so we used direct radiators. We wanted a point source for the mid-bass, the mid and the top, which means

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TECHNICAL INFORMATION SOUND 2 x Funktion One R63EH loudspeaker; 2 x Funktion One R62EH loudspeaker; 4 x Funktion One F315 loudspeaker; 2 x Funktion One F221 subwoofer; 4 x Funktion One BR221 subwoofer; Funktion One PSM318 DJ monitoring system; 12 x Funktion One F101 loudspeaker; 8 x Funktion One F118 Mk2 loudspeaker; 6 x Funktion One Resolution 1.5 TT loudspeaker; 3 x MC² Audio E90 amplifier; 1 x MC² Audio T1000 amplifier; 3 x MC² Audio T1500 amplifier; 5 x MC² Audio T2000 amplifier; 2 x MC² Audio E100 amplifier; 1 x Pioneer DJM-900 mixer; 1 x Allen & Heath Xone:92 mixer; 3 x Pioneer CDJ-2000 Nexus multiplayer; 2 x XTA DP488 digital audio processor; 1 x BSS Soundweb London BLU-160 digital signal processor LIGHTING 4 x Martin Professional MAC Aura moving head; 4 x Chauvet SlimPAR Pro Tri lighting fixture; 60 x Chauvet COLORBand TRI lighting fixture; 1 x ChamSys MagicQ MQ100 lighting desk www.outputclub.com

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that when you move around, the time relationship between the various components stays fairly consistent. In other words the sweet spot is larger.

“We work with Carl Cox and Ritchie Hawtin because they know what they need for their audio and it is my job to understand and translate their requirements into products which deliver their expectations,” continued Tony. “We saw Output as the perfect place for one of the first installations of the new PSM318 DJ monitoring systems.”

Power for the monitoring system comes from one MC² Audio T1000 amplifier, one MC² Audio T1500 amplifier and two MC² Audio T2000 amplifiers; while the DJ equipment includes two Technics SL-1210 Mk2 turntables, one Pioneer DJM-900 mixer, an Allen & Heath Xone:92 mixer and three Pioneer CDJ-2000nexus multiplayers.

For the raised VIP area and side bar, eight Funktion One F101 loudspeakers and two Funktion One F118 Mk2 loudspeakers have been installed, which are powered by three MC² Audio T2000 amplifiers and one MC² Audio E100 amplifier. Around the balcony six Funktion One Resolution 1.5 TT loudspeakers, specifically designed for venues with low ceilings can be found, next to six Funktion One F118 Mk2’s, and four Funktion One F101’s, these enclosures are powered by one MC² Audio E100 amplifier, two MC² Audio T1500 amplifiers, and one MC² Audio E90 amplifier. Behind the scenes, all processing is taken care of by two XTA DP448 digital audio processors and one BSS Soundweb London BLU-160 networked digital signal processor.

“It made a real difference working in a properly treated room,” said Tony. “It was a real joy and when we finally played some of our favourite tunes and took the opportunity to have a dance I knew this was one of the most powerful, cleanest systems I have ever experienced.”

On the lighting side, the goal was to create an environment more akin to underground warehouse venues. Project Manager, George Alan worked alongside Adam Burroughs of Oxygen Lightworks on the lighting installation at Output. Nicolas and his partners opted for different lighting rental possibilities for the majority of intelligent lighting, changing with the needs of the particular night, and there is a foundation of just four Martin Professional MAC Aura moving heads in the venue. Additional lighting comes from four Chauvet SlimPAR Pro Tri lighting fixtures and 60 Chauvet COLORBand TRI lighting fixtures, while control comes from a ChamSys MagicQ MQ100 lighting desk; the rest, is architectural, as George explained: “Over 90% of the lighting in the space consists of architectural lighting that was reclaimed from eastern European chemical factories, then gutted and retrofitted with modern technology. The aim here was to provide fully controllable lighting from non-traditional looking sources.

“Some of the featured architectural lighting includes a 65ft long backlit skylight which was painstakingly preserved from the original factory that Output is in. Also, the grid of 28 fixtures that populate the wall behind the DJ booth are similarly retrofitted communist era ‘bulkhead’ lights from a petrochemical plant in Prague circa 1950.”

Fortunately, the existing structure of the building had been used for heavy manufacturing, allowing the use of many exposed i-beams and steel members for hanging purposes. “There are numerous configurations of lighting rigs that we bring in, on an as needed basis but by and large we were fortunate enough not to have too many glitches in our install process,” said George.

When asked what made this project so interesting, for George, it was simple, watching the complete acoustical isolation of the main space and the elaborate customisation of the lighting system come together.

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LE POISSON ROUGE Now if you were the superstitious type then 2013 might be a year you try to forget about, but for the team at Le Poisson Rouge (LPR), which can be found on Bleecker St, New York City, 2013 marks its fifth anniversary and having opened its doors just as the recession hit, five years in business is most definitely something to celebrate, regardless of superstition.

A multimedia arts cabaret venue founded by musicians, on the site of the historic Village Gate, LPR is dedicated to the fusion of popular and art cultures in music, film, theatre, dance and fine art. The venue’s mission is to revive the symbiotic relationship between art and revelry - to establish a creative asylum for both artists and audiences.

LPR prides itself in offering the highest quality eclectic programming, impeccable acoustics, and bold design. The state-of-the art performance space, engineered by the legendary John Storyk of WSDG, offers full flexibility in multiple configurations: seated, standing, in the round, and numerous alternative arrangements. The adjoining space - The Gallery at LPR - functions as an art gallery, second bar, and event space. A work of art itself the physical facilities are the embodiment of the experimental philosophy that drives the venue.

“The past five years have been an amazing, wild ride,” Jonathan Talley, Production Manager at LPR, told mondo*dr. “Founded by musicians, the goal was to offer a venue that was artist friendly and was able to house all genres of music, rather than focusing on one or two scenes - they wanted to welcome everything and everyone.

“Our programming is incredibly diverse and we see everything pass through our doors from classical orchestras to indie rock bands, to jazz, to electronic DJ sets. Across the two rooms, LPR hosts anything from two to five events every day meaning the production schedules are pretty tight.

“From a production stand point we take a great deal of pride in being artist-friendly and we like artists to feel we are working with them and towards the same goal,” said Jonathan. “Historically that’s not always been the case in some of the other venues in New York and it is really important to us that we continue to offer this. We also try to make sure we are staffed appropriately for every show and have all the right equipment to make the show work.”

“The team at LPR has worked hard to make sure its audio and lighting equipment has been designed correctly to work with all the different shows that come through the doors,” continued Jonathan.

Having installed all new equipment when it opened its doors five years ago LPR has continued to build on this inventory, with the most recent addition coming from GLP on the lighting side. “It’s important to keep moving the technology forward and evolving,” said Jonathan.

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“We’re constantly trying new technologies that fit the space and fit into what we, as a venue, are evolving into. I can’t say enough positives about the GLP lighting fixtures we’ve installed. We have wanted to be a greener venue for a long time and as part of that we’re moving in the direction of LED capable fixtures. I had been searching for a lighting fixture that could do a multitude of things and still fit in with the ‘green model’ that we are working towards.

“The guys at GLP were amazing to work with and they showed me the Impression Spot One moving head - it was more than I expected.

We brought it in, tested it out and it’s been great ever since.”

A total of 12 GLP impression Spot One moving heads have been installed at LPR, these join what is already a massive lighting inventory for the actual size of the space. There are 13 Chauvet Professional COLORado 1 lighting fixtures; 18 Color Kinetics Colorblast 12 LED fixtures; 42 ETC Source Four ERS lighting fixtures and 35 ETC Source Four PAR lighting fixtures available for use and all of which can be controlled by an ETC Ion lighting console. Effects wise, LPR has a 20-inch disco ball and a Look Solutions Unique 2.1 hazer in place.

“It was really important we chose a lighting fixture that was also going to last, while accomplishing all that the existing moving heads can do.

It’s difficult to sacrifice technical capability for energy efficiency, but we don’t have to do that,” said Jonathan. “The GLPs are solidly and intelligently put together and the maintenance on them has been very low.

“There is always room for improvement on existing systems and so we’re trying new things out with the audio and lighting. We want to try and exceed peoples’ expectations and we have also had to change the set up as we’ve changed as a venue. For example, when the lighting was initially installed there was more of a theatre design to everything, which was great at the time - there were a lot of colour scrollers - the thought process behind it being that we were going to offer theatre productions as well as live music acts.

“However, as we have moved forward, we haven’t done all that much theatre and we’ve instead tried to really focus on being a top flight music venue - one where a lighting designer can come in and just jump straight into it rather than spending time redesigning and rehanging everything.

“We’ve also moved more towards LED lighting and got rid of a couple of the scrollers now - there’s been some fine tuning along the way, but it’s more about making a rig that works for everything. All the lights you see up there have to fulfill more than one purpose and are used in more than one way. There are a lot of lights up there and I can’t imagine us doing what we do with any less.”

On the audio side, while the PA hasn’t been added to as recently

as the lighting, it is still definitely worth mentioning. Jonathan said: “The audio system has to be able to minimally amplify while having even coverage, it also needs to offer the kick needed for rock shows, while being able to fill the room for DJs and electronic acts. Keeping the production quality and technology high is what sets the venue apart from the other live music venues in New York.”

The main PA system is made up of six line arrays of Meyer Sound M’elodies and Meyer Sound M1D loudspeakers. Two Meyer Sound 700-HP subwoofers sit under the stage, while two Meyer Sound 600-HP subwoofers are located at the rear of the building. To complete the PA system, four Meyer Sound UPJ-P compact loudspeakers are used as fills - two at the bar, one in the VIP opera box and one at FOH. Monitors at LPR are supplied by four L-Acoustics 112P loudspeakers, along with one L-Acoustics SB15P subwoofer for drum fill. For DJ acts there are two Mackie Thump Series loudspeakers available, or two QSC K12 loudspeakers.

There are also two mixing desks at the venue, a Yamaha M7CL and an Avid D-Show console, which work alongside a Yamaha DME processor and Meyer Sound Gallileo loudspeaker management systems.

“The room has been designed for coverage and clarity in order to make sure we can host an orchestra or a piano and still be able to amplify and record it, while never sacrificing a big sound in the room,” said Jonathan. “This was the biggest requirement, to have that crisp clarity and the Meyer Sound boxes have been great.

“We have some very bass heavy nights that take place and for this we’ll bring in some low-end reinforcement to really fill up the room - just to be able to have that physical quality when you need to be able to feel the sound. We also try and fill the room from all sides to make it a really immersive experience.”

While the venue may be purposely equipped for live music and acts, having previously homed a nightclub, the venue hasn’t come without its fair share of problems from an acoustics perspective. Before it was known as LPR, the venue was home to Life, quite a famous nightclub in New York City and it had a lot of sound issues throughout the building - vibrations had been going all the way up the building and made life very difficult for everyone and eventually saw the club shut down. However, when LPR took over, it really looked at the rooms and tried to identify where the problems were in order to eradicate them.

To sum up, Jonathan told mondo*dr: “We couldn’t be prouder of what we have achieved over the past five years - especially with the recession happening right after we opened our doors. From a business stand point, we’ve really had to come down and make things work so we’re proud of that - there are a lot of great venues in the city and a lot of competition. We have two great rooms, one of which has great flexibility. One of the things I am most proud of is seeing how the room can change in any given day in between shows and that credit really goes to our amazing crew.”

TECHNICAL INFORMATION LIGHTING 12 x GLP impression Spot One moving head; 13 x Chauvet Professional COLORado 1 LED moving head; 18 x COlor Kinetics Colorblast 12 LED lighting fixture; 42 x ETC Source Four ERS lighting fixture; 35 x ETC Source Four PAR lighting fixture; 96 x ETC SensoRack dimmer; 3 x Martin Professional Atomic 3000 strobe; 1 x ETC Ion lighting console; 1 x 20-inch disco ball; 1 x Look Solutions Unique 2.1 hazer SOUND 2 x Meyer Sound M’elodie line array loudspeaker; Meyer Sound M1D line array loudspeaker; 2 x Meyer Sound 700-HP subwoofer; 2 x Meyer Sound 600-HP subwoofer; 4 x Meyer Sound UPJ-1P loudspeaker; 6 x L-Acoustics 112P loudspeaker; 1 x L-Acoustics SB15P sub bass; 2 x QSC K12 loudspeaker; 2 x Mackie Thump Series loudspeaker; 1 x Yamaha M7CL mixing console; 1 x Avid D-Show Profile mixing console; 1 x Yamaha DME processor; 1 x Meyer Sound Galileo loudspeaker management system www.lepoissonrouge.com

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CIELO Celebrating its 10th anniversary this year, Cielo, which finds its home in the uber-chic Meat Packing district of New York, remains the benchmark for small boutique nightclubs around the world. The man behind the legendry nightclub, internationally renowned house DJ Nicolas Matar, has been DJ-ing since he was just 15-years-old and it is his love of music that has remained the driving force behind the club and its success.

Featured in mondo*dr (issue 13.4) in 2003, ever since Cielo first opened its doors, the nightclub has taken a different approach to the multitude of venues that line the streets of New York City and are ‘of the moment’. With a capacity of just 300, it is an intimate space molded on the old school disco design with a centrally located dancefloor, seating around the perimeter and a disco ball. Its offering is unpretentious, real, all encompassing and above all else, about the music.

“We’ve had a music driven program since day one and this has allowed us to have longevity in the market,” Nicolas told mondo*dr.

“Cielo is a club that anyone can come to, we are inclusive of music lovers from all walks of life. There is no door policy, no bottle service we are about the music. There is no longevity in the clubs that are all about celebrity status, their audience isn’t loyal - they go there for a year and then move on to ‘the next big thing’. We chose a completely different path from the outset, a path, which in the beginning wasn’t as lucrative, but a path that has enabled us to build a consistent

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brand over time and we are still here 10 years later - we are constantly reinventing ourselves but always with a focus on EDM.” While Cielo has constantly been worked on over the past 10 years, with the audio system tweaked as and when necessary, to coincide with its anniversary celebrations Nicolas has invested in two new Funktion One F315 loudspeakers working with Dan Agne and his team at Sound Investment on the installation. “Every year we tweak the club and the audio system but we did a pretty significant redesign for the anniversary,” said Nicolas. “The bar is completely new and the dancefloor has been changed from two steps down to one, which sounds like a small change but for a room this size there wasn’t really the need for two steps and this change has worked really well for us as the dancefloor seems bigger. It has also been raised and built up to the first step and we’ve changed the structural pillars - they are now slimmer and have a different finish, which enhances the lines of sight in the room, and the DJ booth is also different.”

“The Funktion One F315’s have changed the environment in Cielo tremendously,” said Dan. “It was awe-inspiring - they brought an entirely new element to the system, we have so much mid bass now.”

As well as DJs, Cielo often has live acts performing, this used to need a stage to be brought into the venue, but as part of the redesign an elevated section has been built into the club, which acts as a stage when needed, a platform for patrons to hang out on, or on occasion a small VIP area if someone wants to hire it out as a private area.

Nicolas’ relationship with Dan and Funktion One dates back to Cielo’s beginnings, as Dan explained: “Nicolas came to me early on in my relationship with Funktion One as he intended to do something with Cielo that was out of the ordinary and on another level and he was seeking something unknown in the industry that was using cutting edge technology. In the beginning he took some convincing that Funktion One was the system for him and we would go back and forth for weeks, discussing all the different options.

“At the time, my relationship with Funktion One was in its very early stages and we were looking for something like Cielo to introduce the product into the US market - we benefitted massively from Nicolas’ operations.”

For Nicolas, his reasons for choosing Funktion One are linked to his relationship with New York and its rich history of nightclub culture, telling mondo*dr: “I always felt like the old school sound systems in New York, that date back to the days of Richard Long and Paradise Garage, never had the clarity in the mids and highs that I imagined

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existed but hadn’t actually ever heard - until Funktion One - which is why I was on a quest to find something outside of the traditional New York system.

“The kind of music I’ve always played as a DJ has always been very deep musical stuff that has a lot of nuances and little sounds, and I feel like they get lost on sound systems that don’t have the clarity and are just a lot of bass. That’s why Funktion One was a match made in heaven for Cielo.”

As well as the Funktion One F315’s, Cielo’s main PA system is based around four Funktion One AX-88 loudspeakers that look after the mid-highs and four Funktion One 218 Mk2 18-inch infra bass enclosures, all of which are powered by one MC² Audio T2000 amplifier, one MC² Audio T3500 amplifier and three MC² Audio E90 amplifiers. For the surround sound four Funktion One Resolution 2 loudspeakers are used, powered by one MC² Audio T2000 amplifier.

A further two Funktion One Resolution 2’s are used for DJ monitors, along with one Funktion One MB212 subwoofer - one MC² Audio T1500 amplifier and two MC² Audio T2000 amplifiers power these and all processing is carried out by two XTA 448 processors.

Considering Cielo is such an intimate club space, when you step into the venue there appears to be a lot going on audio wise, Nicolas explained: “We wanted to focus all of the energy and sound on the dancefloor because one of the things people have said time and time again, is that at Cielo, when you’re sitting around the perimeter of the club you can actually have a conversation, but the moment you step onto the dancefloor it’s like another world.”

“This was Nicolas’ direction when we were developing the system,” added Dan. “He wanted the dancefloor to be enveloping and with no lack of energy or experience.”

As already mentioned, Nicolas’ passion for music and background

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in DJ-ing is what really sets Cielo apart from the other nightclubs in New York. “It’s like when you have a chef open a restaurant,” said Nicolas. “You don’t often get DJs opening nightclubs for whatever reason but you can tell when a DJ has been involved, it’s the little details such as the height of the console and so on that count.

“A lot of the time you have people involved in a project that know very little about sound and then you end up with a designer involved and the next thing you know all the decisions are being made for aesthetic reasons.”

This has never been an issue at Cielo as it was purpose-built and Nicolas knew what he wanted and the design consisted of six-inch foam tubes which have been covered in synthetic suede to make it acoustically pleasing.

One of the elements that sets Cielo apart is that the driving force of the club was to have a room built around what would be a purposebuilt dance club that would allow for loudspeakers to be placed where they need to be to achieve great sound. This, according to Dan, was a big luxury.

TECHNICAL INFORMATION SOUND 4 x Funktion One AX-88 loudspeaker; 2 x Funktion One F315 loudspeaker; 4 x Funktion One 218 sub bass; 6 x Funktion One Resolution 2 loudspeaker; 1 x Funktion One MB212 subwoofer; 4 x MC² Audio T2000 amplifier; 1 x MC² Audio T3500 amplifier; 3 x MC² Audio E90 amplifier; 1 x MC² Audio T-1500 amplifier; 2 x XTA 448 processor www.cieloclub.com

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BROOKLYN HISTORICAL SOCIETY Founded in 1863, Brooklyn Historical Society (BHS) is a nationally recognised urban history centre dedicated to preserving and encouraging the study of Brooklyn’s 400-year history. Located in Brooklyn Heights, housed in a magnificent landmark building designed by George Post and opened in 1881, today’s BHS is a cultural hub for civic dialogue, thoughtful engagement and community outreach.

When Peter Starr of Starr Entertainment Group was looking for his next big project, the restoration of one of BHS’ gallery rooms really stood out to him as something different that he could get stuck into, as he explained to mondo*dr: “We always keep an eye out for interesting projects and when we heard about BHS it really stood out to us so we approached them about it.” BHS knew what it wanted from the beginning - a high performance audiovisual system with a lot of flexibility and simple, fool-proof operation. It is a truly multipurpose room that will be used for artists, lecturers, musicians and so on.

“While this made it a challenging project from a budget perspective, it also made it really enjoyable because we had to figure out how to get everything to work together while being very user-friendly,” said Peter.

“For such a complex installation such as this, we automated almost everything and translated all the venue’s needs into technical terms using a Crestron touchscreen control panel system for the front-end four control panels in total.”

For a room that will have a multitude of uses it was important that the audio brands chosen were capable of almost anything yet were hard wearing, which is why Peter turned to a JBL and EAW to supply the loudspeaker and bass units powered by Ashly amplifiers. “All the lines we chose are core brands that we’ve been working with for a long time, we know them and trust them,” he said. “We have strong relationships with the brands and feel they do the best job for the requirements of the projects we work on. When strict budgets are

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also a consideration it is good to work with lines such as JBL that are wide enough to offer all sorts of different options.”

As a restoration project, Peter and his team worked very closely with Thomas Ryan, the architect in charge and because the building itself is so historic and architecturally stunning, Peter and his team had to be very careful in their design, so as to not damage or spoil the columns, wood or soffits. “Everyone was working within the constraints of the building,” said Peter, “We had to really think about where we placed the loudspeakers, which are 22ft in the air and while placement can often be an issue for architects, everyone was very receptive of our ideas and very sound conscious. While we definitely had to make compromises, the majority of our ideas were realised and when this happens on a project, when you get that level of cooperation with an architect and the team around you, it’s tremendous.”

The BHS wanted the ability to provide small concert-volume sound reinforcement when needed. The list of requirements was extensive and Peter had to be ready for everything from a simple background music system for a gallery opening, to a full-on rock show. One of the main issues with BHS for Peter came down to size, as he explained: “When you’re talking about bands and higher pressure levels, then typically you would use larger loudspeakers. At BHS, the trick was for us to keep everything to smaller, unobtrusive boxes but still create good sound pressure levels.” Taking this into consideration, Peter chose a mixture of four JBL Control 26CT in-ceiling loudspeakers, two EAW UB82e loudspeakers, and 14 EAW UB52 two-way full range loudspeakers, together with four EAW SB-180 sub bass speakers, which are powered by two Ashly ne8250 amplifiers, one QSC CMX300V amplifier, four QSC RMX 2450 amplifiers and one QSC RMX 4050 amplifier.

“In previous installations the Ashly ne8250 has proven itself to be tremendously reliable and powerful,” said Peter. “At 250W

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per channel, it has a lot of ‘oomph’ and stands up to scrutiny in demanding listening situations. Because we’ve used small loudspeakers throughout the room, we needed to reinforce these with some strong subs. So we then had to hide big subs in a building that wasn’t necessarily designed for this. We got creative and hid some of them in walls, but we also have two of them suspended, which the venue was surprisingly okay with - sometimes how well you want the room to perform wins over placement.”

A 16-channel Soundcraft FX16 mixer on a rolling rack helps with live music and performing arts events, while a Peavey MediaMatrix NION N3 system handles all of the processing and routing.

Acoustically the room at BHS is very lively with a lot of hard wood surfaces, the walls are hard, the floors are hard and the ceilings are wood and high meaning a lot of analysis took place.

And would Peter have done anything differently? “There’s always the possibility that things will be changed, such as loudspeaker positioning following further analysis and there are always things, as a perfectionist, that you want to change but I think 99.9% is pretty good going.”

TECHNICAL INFORMATION SOUND 14 x EAW UB52 loudspeaker; 2 x EAW UB82e loudspeaker; 4 x EAW SB-180 sub bass; 4 x JBL Control 26CT in-ceiling loudspeaker; 4 x Wharfedale EVP-X15M floor monitor loudspeaker; 2 x Ashly ne8250 amplifier; 1 x QSC RMX 4050 amplifier; 5 x QSC RMX 2450 amplifier; 1 x QSC CMX300V amplifier; 1 x Soundcraft US FX16 mixing desk; 1 x Peavey MediaMatrix NION N3 digital signal processor www.brooklynhistory.org

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MARQUEE NEW YORK Marquee New York first made an appearance on the US clubbing scene 10 years ago, however following the launch of Marquee Las Vegas (featured in mondo*dr issue 21.4) and Marquee Sydney (featured in mondo*dr issue 22.5), the New York arm of the business closed and re-launched in January of this year, as a venue more in line with the offering of the two newer clubs.

There is much more of a clubbing ethos this time around at Marquee NY and it has a similar vibe to the Las Vegas club but on a smaller scale. Although the crowd is much more residential than you’d get in Vegas, the venue still attracts big spenders and bottle service is still a big part of what is on offer, alongside more of an underground music scene, which has been a cool development for the club.

Marquee NY offers a range of nights, opening up the attraction to varying clientele. Wednesday nights have more of an old school feel to them with bottle service and DJs playing hip hop and commercial dance, then on a Thursday Susanne Bartsch’s Catwalk Thursdays take place. The Avant-garde weekly party brings in an array of fantastically dressed characters sporting Alexander McQueen, headto-toe bodysuits, large head-dresses and lots of leather, with more of a 90s club and art world inspiration. Friday nights see the club host underground techno house nights with big name DJs such as Richie Hawtin making guest appearances. Then on Saturdays the club returns to a more commercial vibe, big house tunes and so on, with mainstream DJs such as Tiesto, David Guetta and Laidback Luke taking to the decks.

As part of its re-launch the club received a serious upgrade to its sound system, which comes from one of the most renowned suppliers to the clubbing world - Funktion One. “The owners wanted Marquee NY to have one of the hottest sound systems in New York,” said the

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club’s Mikey Dean. “Before the refit it wasn’t an amazing system and a bit of a mish mash of equipment. The whole venue has also changed in layout, so the specifications changed.”

Funktion One specialist Dan Agne and his team at Sound Investment were called upon to work on the installation, which is based around four Funktion One Resolution 6 loudspeakers; four Funktion One BR218 18-inch subwoofers and two Funktion One F221 bass enclosures positioned around the main dancefloor, all of which are powered by two MC² Audio T1500 amplifiers; two MC² Audio T3500 amplifiers and four MC² Audio E90 amplifiers.

Around the balcony, Sound Investment specified six Funktion One F1201 12-inch loudspeakers, along with four Funktion One MB210LP low profile subwoofers and one Funktion One F221 subwoofer. Amplification for the balcony system is provided by one MC² Audio T1000 amplifier, one MC² Audio T2000 amplifier and one MC² Audio E90 amplifier. While underneath the balcony there are six Funktion One F101 loudspeakers and four Funktion One 118 frontloaded subwoofers, which utilises a MC² Audio T2000 amplifier.

“The install was completed really quickly - just two months, which is pretty phenomenal,” said Mikey, “so when we opened our doors we were still feeling the system out a little bit and we kept Dan on hand for the first couple of weeks so we could fine tune it to work with the diverse range of nights we put on at Marquee NY. It’s not like the old days where a DJ turns up and plays just vinyl - they play CDs and MP3 files and sometimes, some of the worst quality sound files ever, stuff you shouldn’t even play on a home stereo. On the big nights we don’t need to worry, but local DJs can be more difficult.”

The DJ equipment available at Marquee NY includes three Pioneer CDJ-2000 multimedia players; one Pioneer DJM-900 mixer, one Rane Serato DJ playback software. Two Funktion One PSM318

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Images courtesy of Pearcey Proper

loudspeakers used as DJ monitors, which were developed in cooperation with DJs Richie Hawtin and Carl Cox. The intelligent lighting at Marquee NY also received a complete overhaul as part of the refit and was designed by Stephen Lieberman of SJ Lighting. Maintained by Lighting Director John Triunfo, most of the moving heads are recessed in, towards the dancefloor. A total of 16 Elation Platinum Spot 5R moving heads were specified by Lieberman; along with 16 Chauvet Legend 412 moving yokes; four Elation Platinum Beam 5R moving heads; and four Elation Power Spot 700 moving heads. Eight Martin Professional Atomic 3000 strobes have been placed around the edge of the dancefloor, while eight Eurolite blinders are split equally between the DJ booth and the mezzanine. A staggering 104 finger strobes and 232 LED nodes add to the lighting effects, as do two lasers.

For further effects, Stephen specified two Antari 400 hazers, two Antari snow machines, two Stage CO² jets, whi ch are placed at the front of the stage, and one Kryo Jet system featuring three head jets. All of the intelligent lighting and effects are controlled by a MA Lighting grandMA2 onPC lighting desk. John commented: “The grandMA2 is the best console in the world and it makes my life very easy - I couldn’t be happier with the product. The lighting fixtures chosen are perfect for the clubbing environment - you need a good workhorse product in a venue like this.

“With the various nights we have at Marquee NY there are lots of different lighting requirements but I’ve been in the business a long time and know a lot of the DJs that come through the door.

I know what to anticipate but will prepare by listening to their sets beforehand. It all depends on the mood and energy in the room, it’s all about using layers, there is a time and a place for everything sometimes less is more, everything should be carefully placed.”

TECHNICAL INFORMATION SOUND 4 x Funktion-One Resolution 6 loudspeaker; 4 x Funktion One BR218 subwoofer; 3 x Funktion One F221 loudspeaker; 6 x Funktion One F1201 loudspeaker; 4 x Funktion One MB210LP subwoofer; 6 x Funktion One F101 loudspeaker; 4 x Funktion One 118 subwoofer; 2 x Funktion One PSM318 loudspeaker; 2 x MC² Audio T1500 amplifier; 2 x MC² Audio T3500 amplifier; 5 x MC² Audio E90 amplifier; 1 x MC² Audio T1000 amplifier; 2 x MC² Audio T2000 amplifier; 1 x Pioneer DJM-900 mixer; 3 x Pioneer CDJ-2000 multiplayer with Rekordbox software; 1 x Rane Serato DJ playback software LIGHTING 16 x Elation Platinum Spot 5R moving head; 16 x Chauvet Professional Legend 412 lighting fixture; 8 x Martin Professional Atomic 3000 strobe; 8 x Eurolite 2Lite blinder; 4 x Elation Platinum Beam 5R moving head; 4 x Elation 700 Spot moving head; 16 x Elation Event Bar; 104 x finger strobe; 232 x LED node; 1 x Kyro jet system; 2 x Stage CO² upjet; 2 x Antari 400 hazer; 2 x Antari snow machine; 2 x 2.4W laser; 1 x mirror ball; 1 x MA Lighting grandMA2 onPC lighting desk www.marqueeny.com

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GAZILLION BUBBLE SHOW The Gazillion Bubble Show (GBS) was created by world-renowned bubble artist and bubble scientist, Fan Yang and has been running off Broadway at New World Stages theatre since 2006. Following its success GBS opened a production at the Steve Wyrick theatre at Planet Hollywood in Las Vegas. The show’s artists have also made numerous television appearances in the US, including programmes such as Oprah Winfrey, David Letterman and Ellen DeGeneres to name but a few.

Aimed at the family market, GBS sees guests step into an interactive bubble world where performers aim to dazzle and wow using spectacular lighting effects and bubble artistry.

Having found a permanent home in the New World Stages theatre, numerous investments have been made in technology specifically for the show, with the most recent purchase being the Clear-Com Tempest 900 communications system, chosen due to its versatility and durability. The show deals with an enormous amount of soap liquid, humidity and gallons and gallons of water, so a system that could fit in with the daily environment while not interfering frequency wise with the four other productions that are in the complex, was needed.

The main focus of the show is the bubbles - that’s what people are there to see. So the main design and specifications of the show are to provide sufficient lighting to light up the bubbles, without being

too warm so that they pop too quickly and sound reinforcement that establishes a jovial and youthful mood for audience members from one-to-100-years-old. ‘Bubble friendly’ LED moving heads and washes have been supplied by Chinese manufacturer Light Sky. There are six moving head beams centre of the stage, four beams in-house left and right and two LED moving heads on the middle truss in-house.

Sound equipment was mainly chosen for its durability and weather proofing qualities. Bose 802 III two-way loudspeakers are flown above the first rows of seats, there’s a central cluster plus a left and right hang. While two Bose 802 III loudspeakers rest on the screen platforms, which sit left and right of the stage. Chosen because they are self-powered and the enclosed speaker cabinet is designed in a way that can resist liquid but provide a solid low end under extreme contact with solution daily, two JBL JRX600 active subwoofers are positioned downstage one left and one right.

The reason behind this audio configuration is simply to ensure it is out of the way of the bubble liquid. The Bose loudspeakers are hung at a 45º angle to ensure coverage for the whole audience and they are positioned away from any direct bubble lines. The screen platform and upstage loudspeakers are also positioned out of direct bubble contact but are still able to provide a wide coverage area.

One of the biggest challenges for the production staff at GBS is maintaining the equipment against an insane amount of liquid day in and day out. Equipment that provides coverage that can complement the beauty of the bubbles and yet have a look and sound that remains transparent to the audience in attendance is key to the show’s continued popularity.

TECHNICAL INFORMATION SOUND 6 x Bose 802 Series III loudspeaker; 2 x JBL PRX618-XLF subwoofer; 3 x Yamaha P3500S amplifier; 1 x Bose Panaray System Digital Controller II; 1 x Yamaha MG24 mixing desk; 1 x Clear-Com Tempest 900 digital wireless system; 1 x Clear-Com MS-702 2-channel main station; 1 x MacBook Pro running Logic Pro Sequencer; 2 x Denon DN-D6000 CD player; 2 x Denon DN-D4500 CD player LIGHTING 12 x Light Sky moving heads www.newworldstages.com

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Uniting the audience Speech and music that stir the soul.

From the elation of the dance floor to the celebration of worship to the thrill of the theatre.

It’s all about delivering powerful, exciting sound that envelops the entire audience.

A shared experience they will never forget.

That’s the Martin Audio Experience.

Unite your audience at www.martin-audio.com

MONDO (INST).indd 1

14/08/2013 12:32

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REVELLING IN SOUND ATLANTIC CITY, USA THE AMERICAS

HQ NIGHTCLUB Having suffered at the hands of Hurricane Sandy, the most destructive of the 2012 Atlantic hurricanes, the US gaming hotspot of Atlantic City has, over the past nine months, worked hard to pick itself up and dust itself off. With tourists returning and life getting back to normal, the focus is once again on entertainment and nowhere is that more apparent than at Revel Resort.

Situated on the beachfront and featuring 1,399 rooms with sweeping ocean views, the resort houses 130,000 sq ft of casino space, in-

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door and outdoor pools, gardens, a spa, restaurants, boutique shopping and above all else a first class nightclub in HQ, which opened in the summer of 2012 and the resort’s latest addition HQ Beach Club, which opened in May of this year. When you first arrive at Revel Resort it is clear the focus is on luxury and a high-end approach has been adopted for the design.

HQ Nightclub, a creation by Angel Management Group, EMM Group and Revel, follows suit featuring a state-of-the-art performance area that exudes a different ambiance within a unique setting that will

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impress even the most discerning of clubbers.

Spread over two floors, HQ Nightclub offers a lavish nightlife experience for guests that aims to ignite their senses. HQ’s main room is the centrepiece of the venue greeting guests with a sprawling and expansive scenic view of the Atlantic Ocean with 24ft LED screens embracing the crowd. HQ encompasses a custom-made DJ booth along with a suspended performance stage set right above, numerous bars, an array of VIP booths, a large dancefloor and mezzanine level with additional seating in a more intimate setting.

For a worldclass nightclub, a worldclass audio system was required.

Having worked on AMG projects previously, Audiotek, based in Ireland and headed by Frank Murray, was called upon. “The brief from AMG and Revel was to design a world class entertainment package with a Las Vegas standard of sophistication and technology,” Frank told mondo*dr. “The intent was to offer the patrons an unforgettable audio, video and lighting experience to provide a package on par with the Sugar Club venues worldwide. With dance music and EDM dominating the international club scene, as well as the music charts, it

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was important that we provided the HQ talent roster and venue with the fire, power and production values to meet the high standards and demands of the AMG talent pool. The club has become an enormous stage set with our technology aiding the DJs to take clubbers on a journey. Add to this, the wrap-around video screen technology provided by Absen and imagery provided by ArKaos and you’ve got a sensational back drop to the circular DJ box.”

In order to make this happen Frank and his team had to look to brands and products that combine state-of-the-art technology with innovation. They were looking for a portfolio of products that stretched the boundaries of conventional technologies. “We decided to work with Turbosound, MC², Pioneer, BSS, Crestron, Robe, Martin Professional, Avolites, Absen Video, Laserworld, Rane, Technics and L-Acoustics, choosing the brands’ most innovative and up-to-date technology to push towards making the design components excel in the club space,” said Frank.

The audio system is based around the Turbosound Flex Array system with the new Flashline TFS-900B subwoofers. “Primarily the sound system had to be capable of stadium / super club performance and reliability,” said Frank. “Given the range of EDM acts it had to be versatile, agile and robust and this is what we have achieved - outstanding musical, top-end, well defined, coherent, tight, attacking bass.”

The main arrays, which are hung left and right of the DJ box are

each made up of four Turbosound TCS-1061/75 loudspeakers and four Turbosound TCS-1061/100 loudspeakers, these are powered by eight Turbosound Rack DP-50 amplifiers - four per array. “The loudspeakers were chosen for their compact size and big sound capabilities,” said Frank. “A true engineering triumph, the Flex design offers outstanding SPL in a very compact cabinet dimension, probably the best performance of any compact cabinet on the market.

Top-end venues do not allow the system designer any indulgence to intrude on the high-spec, interior design.

“With the Flex Array we had the performance with the integration required, visually there was no jarring ‘big black box’ issues for the design team and we got the musicality we were looking for, combined with a tight attacking coherent bass presence, which is essential. The visual direction made rigging and hanging hardware virtually invisible.”

Two Turbosound TSB-212 sub bass enclosures are placed left and right of the DJ dance podiums and a further two at the rear seating area - these are powered by four Turbosound T-90 amplifiers. Four Turbosound TA-880L loudspeakers have been installed around the seating booths, while 11 Turbosound TCS-1561/74 loudspeakers provide the delays, amplification for these is taken care of by six Turbosound Rack DP-50 amplifiers. Eight Turbosound TCX-8 loudspeakers have been specified for under balcony fill, which are powered by two Turbosound Rack DP-50 amplifiers.

“The sound system needed to create staggering, dramatic performances as well as a sub-conscious uplifting of the atmosphere and mood within the room and space.”

Equipment used in the DJ box is reflective of the industry at present and uses brands found on any standard rider, such as Pioneer DJM-900 mixers and Pioneer CDJ-2000 Nexus DJ decks, of which there are four. There is also one Pioneer DJM-850 mixer, one Allen & Heath Xone:62 DJ mixer and a pair of Technics SL-1210 MK5 turntables. Monitors are a combination of two Turbosound TCS-122 loudspeakers and two Turbosound TA-880L loudspeakers; a Rane TTM 575L mixer and a Rane SL3 for Serato Scratch Live interface are aslo available to DJs. Sound management is via Crestron touch control panels, BSS Soundweb London processors and a Turbosound loudspeaker management system. This system allows the venue management to access the different zones and alter equalisation settings when required.

“The sound system needed to be completely reliable and there had to be complete coverage and consistency within the space, with complete control of the music content no matter what the genre or style being played,” continued Frank. “The sound system needed to produce quality and be able to create staggering, dramatic performances which result in patrons reacting and interacting with the DJs and programming; as well as a sub-conscious uplifting of the atmosphere and mood within the room and space.”

When asked about acoustics, Frank told mondo*dr: “We must always be cognisant that it’s a social space and that the technology must not overpower the interior, we are especially aware that the design and comfort elements take priority and we are there to enhance the space with our design.”

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When it came to choosing lighting brands for HQ, Frank told mondo*dr: “It all came down to performance, innovation, up-to-date functionality and design. Beam technology has become a cornerstone of our designs and Robe currently leads the way with its new Beam 300’s and 600’s, as well as the new Pointe units.”

Lighting within HQ is primarily Robe Robin 600E Beam and Robe Robin 300E Beam moving heads - 12 of each - providing the main rig effects, which, for Frank produces, “an astounding visual display creating defined beams and movements over the main dancefloor,” with 12 Robe Scan 575 XT lighting fixtures in an arc above the DJ box for quicker movements and chases. “The DJ is central to the drama and is centre stage, with the room running through several curves towards the semi-circular balcony level,” said Frank. “There are a further four Robe Robin 300E Beam moving heads on the balcony level.

“Martin Professional Atomic 3000 strobes are an industry standard and we utilised the renowned colour-changing scrollers to add an extra dynamic and excitement to the show,” said Frank. “While four Laserworld compact DMX lasers are used to add an additional dimension to the lighting look; they enhance the shows while keeping the power issues under control - Avolites’ Pearl Tiger lighting desk provides us with superb control for both set piece shows and ‘on the fly’ lighting moments, it’s a very fine piece of technology that is justifiably gaining ground in the US.” Special effects are provided by two Salvin Confetti cannons, along with two Salvin CO² bazookas and four Robe Faze 1050 FT - an evolution between a fog and haze machine.

Two custom circular rigs were used to underline the ampitheatre shaped dancefloor, which has been created by the seating booths.

According to Frank, AMG was very focussed on getting the seating and booth areas integrated into the dancefloor, there was to be no demarcation between the two social spaces. “In this, AMG succeeded admirably,” said Frank. “There is a real feeling of intimacy in the room with the seated booths being right on the dancefloor. The raised banquette seating is both intimate and right in the action; the raised seating areas and accompanying dance platforms integrate the entire space.

A 164-metre Absen LED video wall wraps the back of the nightclub wall, in a 45º arc and runs from floor to ceiling. “This is one of the biggest, most high value LED wall installations in the nightclub industry and video control is PC-based ArKaos Pro software,” said Frank.

When working on a high-end project such as HQ, for Frank what stands apart is that everyone is on the same page - from the clients and promoters, to the interior designers and technology specialists everyone is out to achieve the best they possibly can with the venue.

There may be challenges to overcome along the way, but unlike so

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many other disciplines, the club industry is motivated by one goal - to be the best, providing the best aural, visual and emotional experience for the paying customer every time they walk through the door.

“AMG brings this to every project and every venue,” said Frank. “The group doesn’t compromise and doesn’t countenance failure, every customer walking into one of its venues has an expectation that they will have the best night ever. They expect, deserve and have paid to have that experience, AMG drives us and motivates us to ensure this happens every time and this is what we always strive to create - a sublime night time, social, fun experience.

“We have worked with AMG for over a decade and it’s always challenging, always exciting, never taken for granted and very, very fulfilling. The people at AMG are ‘real’ club people. Neil, Derek, James and Nick are all life-long clubbers; from our first club project for Angel - Code / God’s Kitchen in Birmingham 15 years ago, we’ve had some great adventures with these guys. They are the essence of current, on trend clubbing,” concluded Frank.

TECHNICAL INFORMATION SOUND

8 x Turbosound TCS-1061/100 loudspeaker; 8 x Turbosound TCS-1061/75 loudspeaker; 4 x Turbosound TFS-900B subwoofer; 6 x Turbosound TSB-212 sub-bass; 4 x Turbosound TA-880L loudspeaker; 11 x Turbosound TCS1561/74 loudspeaker; 4 x Turbosound TA-880L loudspeaker; 2 x Turbosound TCS-122 loudspeaker; 4 x Turbosound T-90 amplifier; 21 x Turbosound RackDP-50 amplifier; 11 x Turbosound TCX-8 loudspeaker; 4 x BSS Soundweb London BLU processor; 1 x Turbosound loudspeaker management system; 4 x Pioneer CDJ-2000 Nexus DJ deck; 2 x Technics SL-1210 MK5 turntable; 1 x Pioneer DJM-850 mixer; 1 x Pioneer DJM-900 mixer; 1 x Allen & Heath Xone:62 mixer; 1 x Rane TTM 575L mixer; 1 x Rane SL3 for Serato Scratch Live interface

LIGHTING

16 x Robe Robin 300E Beam moving head; 12 x Robe Robin 600E Beam moving head; 12 x Robe Scan 575 XT lighting fixture; 8 x Martin Professional Atomic 3000 strobe; 4 x Robe Faze 1050 FT fog and haze machine; 2 x Salvin Confetti cannon; 2 x Salvin CO² bazooka; 4 x Laserworld DMX laser; 1 x Avolites Pearl Tiger Touch lighting desk

video

1 x Absen AI10 LED video wall, Madmapper video mapping software, Arkaos LED Pro VJ software www.revelnightlife.com/venue/hq-nightclub

HIGH RES LED SCREENS FOR FIXED OR RENTAL PROJECTS Unit 5 Swords Business Park, Swords, County Dublin +353 1 8900200 info@audiotek.ie www.audiotek.ie

UK Office: Chris +447506515273 Chris@AudiotekInternational.com US Office: Jay jay@audiotek.us

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HQ BEACH CLUB HQ Beach Club at Revel Resort is Atlantic City’s newest entertainment offering. Having opened in May this year, it introduces a signature day-to-night party experience in tandem with HQ Nightclub. The ultra-luxe, boardwalk-level pool lounge hugs the slick curvature of the resort’s exterior, and features a central triangular pool, multiple levels and two juxtaposing bars. Throbbing beats envelop every corner of the venue via its integrated Turbosound system, installed throughout each of the bars, cabanas, bungalows, and pools.

“All the front-end sound equipment was IP rated and custom built to accommodate the exterior and weather conditions,” Frank told mondo*dr. “All cabinets were specially built, while all hardware and hanging elements are fabricated in stainless steel. The loudspeaker grills and fasteners are also stainless steel while the cabinet finishes are specifically formulated to repel the salt and sea air.”

The sound system at the Beach Club consists of six white Turbosound TCS-1061/75 weather resistant loudspeakers and four white Turbosound TCS-1061/100 weather resistant loudspeakers, which

TECHNICAL INFORMATION SOUND

6 x Turbosound TCS-1061/75 louspeaker; 4 x Turbosound TCS-1061/100 loudspeaker; 8 x Turbosound TCS-122/96 loudspeaker; 27 x Turbosound TCS-1561/75 loudspeaker; 4 x Turbosound TCS-B218 subwoofer; 5 x Turbosound TCS61 loudspeaker; 4 x Turbosound TCX-18B subwoofer; 19 x Turbosound TCS-C50T in-ceiling loudspeaker; 12 x Turbosound Impact 65T wall-mounted loudspeaker; 2 x Turbosound TCS-122 DJ monitor; 1 x Turbosound B-218 subwoofer; 2 x Turbosound T-45 amplifier; 1 x Turbosound T-90 amplifier; 1 x Turbosound loudspeaker management system; 1 x Turbosound T-90 amplifier; 31 x Turbosound RackDP-50 amplifier; 3 x Soundweb London processor; 4 x Pioneer CDJ-2000 Nexus multiplayer; 1 x Pioneer DJM-900 mixer; 2 x Shure SM58 Beta radio microphone www.revelnightlife.com/venue/hq-beach-club

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FRANÇAIS

Divisé sur deux étages, la Discothèque HQ à Revel Resort offre une expérience de la vie nocturne somptueuse pour les clients qui vise à enflammer leurs sens. La HQ salle principale est la pièce maîtresse du lieu, accueillant les clients avec une immense et vaste vue panoramique de l’Océan Atlantique avec 24ft écrans LED embrassant la foule. Le HQ englobe une cabine de DJ sur mesure avec une scène de spectacle suspendu fixé juste au-dessus, nombreux bars, un tableau des VIP cabines, une grande piste de danse et une mezzanine étage avec un siège supplémentaire dans un cadre plus intime. Ayant travaillé sur des AMG projets précédemment, Audiotek basée en Irlande et dirigée par Frank Murray, a été appelé. La brève par AMG et Revel était de concevoir un paquet de divertissement de classe mondiale avec une Las Vegas norme de la sophistication et de la technologie ’’, Frank a déclaré. ‘’ L’intention était d’offrir aux clients audio, vidéo et de l’expérience d’éclairage expérience inoubliable pour fournir un paquet sur un pied d’égalité avec les lieux Sugar Club à travers le monde. ‘’ Nous avons décidé de travailler avec Turbosound , MC², Pioneer, BSS, Crestron, Robe, Martin Professional, Avolites, Absen Video, Laserworld, Rane, Technics et L-Acoustics, choisissant les marques les plus innovateur et une technologie mise à jour à pousser vers de créer le composants de conception excellent dans l’espace du club’’, Frank a déclaré.

DEUTSCH

Der HQ Nightclub im Revel Resort erstreckt sich über zwei Etagen und bietet eine aufwendige Nightlife-Erfahrung für Gäste, die gerne ihre Sinne entzünden. Der Hauptraum des HQ ist das Kernstück des Treffs und begrüßt die Gäste mit einer ausgedehnten und weitreichenden Aussicht auf den Atlantik mit 24 Fuß LED Bildschirmen, die die Menge umarmen. HQ umfasst ein kundenspezifisches DJ-Pult und ein schwebendes Performance-Bühnenbild direkt darüber, zahlreiche Bars, eine Reihe an VIP-Kabinen, eine große Tanzfläche und ein Zwischengeschoss mit weiteren Sitzgelegenheiten in einem intimeren Rahmen. Das in Irland ansässige Unternehmen Audiotek unter der Leitung von Frank Murray hatte im Vorfeld bereits an AMG-Projekten gearbeitet und wurde berufen. Der Auftrag von AMG und Revel bestand darin, ein Entertainment-Package der Weltklasse mit einem Las VegasStandard in Bezug auf Perfektion und Technologie zu konzipieren,” so Frank. „Ziel war es, den Kunden eine unvergessliche Audio, Video- und Beleuchtungserfahrung zu bieten, um ein Package zu verschaffen, das den Sugar Club-Treffs weltweit gleichsteht. Wir haben beschlossen, mit Turbosound, MC², Pioneer, BSS, Crestron, Robe, Martin Professional, Avolites, Absen Video, Laserworld, Rane, Technics und L-Acoustics zusammen zu arbeiten und haben die innovativsten und aktuellsten Technologien der Marken ausgewählt, damit die Designkomponenten sich im Clubbereich selbst übertreffen,” so Frank.

ITALIANO

make up the line arrays, one either side of the DJ booth. There are also eight white Turbosound TCS-122/96 weather-resistant loudspeakers and four Turbosound TCS-B218 weather resistant subwoofers around the DJ booth, which are powered by a Turbosound T-90 switch mode power amplifier.

For the DJ box itself, two Turbosound TCS-122 loudspeakers are used for monitors; supplemented by one Turbosound TCS-B218 subwoofer, and power comes from two Turbosound T-45 power amplifiers. DJ equipment is again provided by Pioneer and includes four CDJ-2000 Nexus multiplayers and a Pioneer DJM-900 mixer.

There are 27 Turbosound TCS-1561/75 weather resistant loudspeakers distributed around the rest of the pool and bar area, along with five Turbosound TCS-61 weather resistant loudspeakers; and four Turbosound TCX-18B weather resistant subwoofers and 10 Turbosound TCS-C50T in-ceiling loudspeakers and 12 Turbosound Impact 65T wall-mounted loudspeakers for the cabanas, all of which is powered by 31 Turbosound RackDP-50 amplifiers, with processing coming from Soundweb BSS London.

Dislocato su due piani, il locale notturno HQ Nightclub al Revel Resort offre ai propri ospiti che intendano accendere i propri sensi un’intensa esperienza di divertimento notturno. La sala principale del HQ è il pezzo forte del luogo, in grado di accogliere gli ospiti con una eccitante vista scenica dell’Oceano Atlantico per mezzo di schermi LED da 7 metri che circondano gli ospiti. Il locale HQ racchiude una cabina di direzione per DJ appositamente realizzata ed un palcoscenico sospeso esattamente sopra di essa, numerosi bar, una serie di cabine dedicate a VIP, un vasto impiantito per ballare ed un piano balconato contenente ulteriori posti a sedere collocate in una posizione di maggiore intimità. Avendo precedentemente lavorato a progetti AMG, l’Audiotek, basata in Irlanda e diretta da Frank Murray, è stata ingaggiata. La richiesta dalla AMG e Revel era quella di “progettare un pacchetto di divertimenti di livello mondiale, tecnologicamente sofisticati quanto quelli di Las Vegas”, ha affermato Frank.

L’intento era quello di offrire agli ospiti un’indimenticabile esperienza audio-video e di illuminazione, dando loro un pacchetto dello stesso livello di quelli degli altri ritrovi Sugar Club. “Abbiamo deciso di lavorare con Turbosound, MC², Pioneer, BSS, Crestron, Robe, Martin Professional, Avolites, Absen Video, Laserworld, Rane, Technics and L-Acoustics scegliendo le tecnologie innovative più all’avanguardia di ogni marca, per permettere agli elementi della progettazione di eccellere all’interno del ritrovo,” ha dichiarato Frank.

ESPAÑOL

Distribuida en dos plantas, la Discoteca HQ en el Revel Resort ofrece una experiencia espléndida para los invitados que desean encender sus sentidos. El salón principal de HQ es el punto fuerte del lugar, recibiendo invitados con una espectacular vista descontracturada y amplia del Océano Atlántico con pantallas LED de 24 pies que abrazan a la multitud. HQ incluye una cabina de DJ hecha a medida junto con un escenario suspendido por encima, numerosos bares, una línea de stands VIP, una gran pista de baile y un entrepiso con asientos adicionales en una puesta más íntima. Habiendo trabajado anteriormente con proyectos AMG, Audiotek, con base en Irlanda y encabezada por Frank Murray, fue la empresa convocada. Las instrucciones de AMG y Revel eran las de “diseñar un paquete de entretenimiento, sofisticación y tecnología como en Las Vegas” dijo Frank. “La meta era ofrecer al cliente una experiencia de audio, video e iluminación inolvidable para proveer un paquete a la par de los Sugar Clubs en el mundo”. “Decidimos trabajar con Turbosound, MC², Pioneer, BSS, Crestron, Robe, Martin Professional, Avolites, Absen Video, Laserworld, Rane, Technics y L-Acoustics, eligiendo a las tecnologías más actualizadas e innovadoras de las marcas para llegar a la excelencia del diseño de componentes en el espacio de la discoteca”, dijo Frank.

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LAX AIRPORT LOS ANGELES, USA THE AMERICAS

As part of modernisation plans, LAX airport in Los Angeles has recently added the new Tom Bradley International Terminal (TBIT), featuring an integrated environmental media system (IEMS) focused on creating an unprecedented passenger experience, while providing a new source of non-aeronautical revenue for the airport’s operator Los Angeles World Airports (LAWA).

The IEMS at LAX is thought to be the first ever sponsorship program at a US airport and comprises over 12,000 sq ft of LED tiles, hundreds of LCD screens and 60 ultra-high resolution multimedia productions totalling more than four hours of original content. Every aspect of the IEMS has been carefully designed to enhance the passenger experience and is aimed to be much more than just screens on walls; the system is an integral part of the built environment that

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is in seamless interplay with the interior architecture. The carefully curated multimedia content aims to highlight Los Angeles’ uniqueness and reinforce passengers’ sense of place, making the TBIT experience even more memorable.

Marcela Sardi of Sardi Design was initially brought in by Mike Rubin, President of MRA International, in 2010 to help create the vision of the IEMS. Mike had developed a business strategy for the media at the airport that was based on creating a set of features that could be sponsored. Marcela’s role was to conceptualise what these features would be and the technologies that would support them.

“We were charged with identifying the locations of where we could incorporate media features into the architecture with the purpose of enhancing the passenger experience,” said Marcela. “What was unique about the assignment was that each feature needed to be located in relation to key moments in the passenger departure or arrival itinerary. Each multimedia feature was developed around an

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THE NEW TOM BRADLEY INTERNATIONAL TERMINAL AT LAX AIRPORT FEATURES THE MOST ADVANCED MULTIMEDIA ENVIRONMENT IN A NORTH AMERICAN AIRPORT. HELEN FLETCHER TALKED TO THOSE IN THE KNOW ABOUT THE MULTITUDE OF TECHNOLOGY USED FOR THE PROJECT.

‘identity’, which relates to the experience of travel and was designed to elevate an aspect of the experience: to redress the logistics of the travel experience at the airport and reintroduce the sense of journey and romance of travel.”

The IEMS is comprised of seven iconic, architecturally-scaled media features designed in collaboration with the terminal’s architect and each with a specific identity tied to the passenger experience. The Time Tower - the most prominent of all seven media features - is a 72ft tall, four-sided media feature built as a secondary structure around the Great Hall’s elevator tower, and is completely clad with screens that come alive with everything from an animal-packed jungle to an original tribute to the silent film era. The Time Tower also includes an interactive surface that reacts to the gestures of passengers by triggering customised, real-time visual effects. The Welcome Wall is a dramatic 80ft tall LED display of refreshing, lively images that greet passengers as they arrive at LAX. It is horizontally

bisected by a departure bridge and viewed by passengers as they descend a two-storey escalator to the baggage claim area. Next is the Bon Voyage Wall, a feature designed for departing passengers as they clear security and cross the departure bridge to the Great Hall, presents an array of slow-motion filmic images of people and places in LA and is inspired by photographer Philippe Halsman’s Jumpology series. The Story Board is the first feature passengers see as they enter the Great Hall and is a 120ft composition of multiple LED screens and displays visual narratives of LA destination cities and all over the world. While the Destination Board, presenting visual data on destination cities while an arc of LED fins provide both a visual shading device and an iconic crest, displays graceful patterns of content designed to evoke the incoming digital information being relayed to the display. And finally North and South Concourse Portals - each of which consist of 10 28ft tall columns of vertically-stacked LCD monitors that provide a transitional experience as passengers

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leave the Great Hall to their departure gates. The Portals feature visual effects and sound effects that continually change to reflect the departing flights and the movement of passengers as they walk by.

The Portals, with content evoking mosaic tiles, watery reflections, totem-like pillars and stringed instruments, suggest transformation and the movement and wonder of travel. The content themes are inspired

by LAX destinations such as Tokyo, Paris and Sydney.

Marcela worked closely with Miami-based consultant Smart Monkeys on the technical design and Montreal-based Moment Factory on the creative content of the installation, as she explained to mondo*dr: “Smart Monkeys was selected as the designer and consultant for the show control system given its ground breaking work in complex show controls,” said Marcela. “Moment Factory was selected as the primary content producer given its diverse capabilities in multiple forms of content and unique experience in developing environmental content.”

Digital Kitchen of Los Angeles was also brought on-board to develop brand related content given its experience in providing environmental media for corporate brand expression and Electrosonic, also based in Los Angeles, was appointed as the systems integrator given its experience in large-scale facilities.

“There were many challenges relating to this project as the airport was already under construction,” said Marcela. “Architecturally integrating the media features into an existing design, but in a seamless way that complemented the intention of the terminal architect was difficult. Adapting the features into the existing structural and mechanical systems required designing frameworks that could mediate between the facility and the features.”

Marcela and her team were also tasked with the challenge of changing the lighting system in the terminal from HID lighting to LED inorder to allow for programmable illumination that worked in conjunction with the LEDs. Commenting on the installation, Smart Monkeys’ Stephan Villet told mondo*dr: “As soon as Marcela got in touch we were deeply involved in all aspects of the project. LAWA wanted the project to be like nothing else available but it had to be able to make money - they knew they wanted the installation to feature big screens but they didn’t want low resolution content flashing all over the place like you get in Times Square, New York. We supervised the whole installation and everything that was close to the technical side of the project, engaging in all discussions with the IT department at the airport, the content producers and LED wall manufacturers. Everything had to be high definition and for an installation of this size, this brought a number of challenges.

“We had long discussions with the airport about the installation con-

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tent - due to the size and quality of the displays you don’t want very fast moving animation going on - it’s hard to sustain on screens of such size, so we made sure that everyone understood that the content had to be a window to a story rather than the whole thing. From a technical standpoint, we also had to consider that screens of this size and nature can’t just be driven through standard digital signage software - even though on the operation side this installation is very close to commercial digital signage systems - the need for scheduling and distribution is really what you find in this kind of product.

“The brains of the system - controlling all of the equipment, the scheduling, and monitoring all the running features uses technology you wouldn’t usually find in the AV industry.”

Moment Factory’s X-Agora software powers interactivity and generates dynamic real-time multimedia effects across the seven installations, all of which are made up of LED screens. Eight X-Agora dynamic video servers and 20 X-Agora video players run the interactive components of the IEMS, along with seven Grass Valley K2 Summit four-channel static video players; two Grass Valley K2 Summit static video media servers; 20 Spinetix HMP200 digital signage video players and five Vista Spyder X20 video units for processing.

The total output of the IEMS is more than 105 million pixels - eight times an Imax theatre - equivalent to 19,075 sq ft of video, enough to cover the length of the 81-storey Eiffel Tower with a six-metre wide display.

Production techniques for the content included documentary filming, time lapse, ultra-high-speed filming in laboratory-like conditions, live action shoots with actors and elaborate sets, on-location filming, pure 3D productions, 3D composited with live action, interactive real-time 3D video effects, and more. All control is taken care of by Medialon’s Manager Pro V6 show control software; Dell PowerEdge R710 virtualisation cluster hardware servers; and Dell PowerVault MD3220i operational data and offline media storage, while networking is handled by Cisco and Moxa.

Renkus-Heinz loudspeakers are part of the paging system used in the Villaraigosa Pavillion - 12 in total, while a Renkus-Heinz IC16R-II loudspeaker is used for the Welcome Wall media feature and eight Innovox Audio SL-2.1R loudspeakers are used for the Portals - four per portal, these are powered by eight Audio Science Hono CobraNet 2.2M amplifiers, while Merging Technology’s Ovation media server and three Peavey MediaMatrix NION N3 digital signal processors with CobraNet take care of audio control.

“It took us a long time to get through the prototyping stage and choose the equipment,” said Stephan. “We had a lot of equipment shipped to the office and then we worked on them for several months

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in order to make sure that what we wanted to do would be achievable. We needed a platform that was strong with high ability and that was able to sync extremely precisely.”

The Time Tower is the world’s largest interactive feature with an interactive base that triggers content and reacts to the gestures of passengers across 6,480 sq ft of LED surfaces. It has a base of diffused glass panels used to eliminate the pixilation of the LED displays when passengers are close to the feature. The upper surface of the Time Tower is composed of very high resolution LEDs. A functional clock face is integrated into the feature, driven by the airport’s universal clock. The Time Tower is designed to both ‘tell time’ and ‘reveal time’ as part of the travel experience. Moment Factory developed the identity of the Time Tower around an imaginary time structure consisting of 24 structural ribs, which move in cadence during the day as a world clock, linking LAX time to time in its destination cities around the globe.

Moment Factory’s Senior Multimedia Director, Melissa Weigel, commented: “Marcela and Mike really designed the Time Tower as a beacon to interpret a clock tower similar to those in old railway stations or terminals, but in a new way. We thought it would be really interesting to play an hourly clock strike show to suggest it was a

TECHNICAL INFORMATION VIDEO

20 x Moment Factory X-Agora Client two-channel dynamic video player; 7 x Grass Valley K2 Summit four-channel static video player; 20 x Spinetix HMP200 signage video player; 8 x Moment Factory X-Agora dynamic video server; 2 x Grass valley K2 Summit media server; 5 x Vista Spyder X20 video processor; 3 x Medialon Manager Pro V6 show control software; 3 x Dell PowerEdge R710 virtualisation cluster hardware server; 1 x Dell PowerVault MD3220i operational data and offline media storage; 1 x VMWare vSphere ESXi 5.0 virtualisation cluster software; various LCD screens and tiles

SOUND

12 x Renkus-Heinz loudspeaker; 1 x Renkus-Heinz IC16-R-II loudspeaker; 8 x Innovox Audio SL-2.1R loudspeaker; 8 x Audio Science Hono CobraNet 2.2M amplifier; 1 x Merging Technologies Ovation audio playback server; 3 x Peavey MediaMatrix NION N3 digital signal processor with CobraNet www.lawa.org

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FRANÇAIS

Dans le cadre des plans de modernisation , l’ aéroport LAX à Los Angeles a récemment inclure le Tom Bradley International Terminal (TBIT), avec un intégrée environnemental système de médias (IEMS) axé sur la création d’ une expérience sans précédent pour les voyageurs, toute en offrant une nouvelle source de recettes extra- aéronautiques pour l’ aéroport operateur de Los Angeles Monde Aéroports.

L’IEMS à LAX est pensée pour être le premier programme de parrainage d’un aéroport américain et renferme plus que 12.000 m² de LED dalles, centaines d’écrans LCD et 60 productions multimédias d’ultra- haute résolution totalisant plus de quatre heures de contenu original. Chaque aspect de l’IEMS a été soigneusement conçu par Sardi Design pour améliorer l’expérience des voyageurs et est destinée à être beaucoup plus que seulement des écrans sur les murs ; le système est une partie intégrante de l’environnement construit qui est en interaction parfaite avec l’architecture intérieure. Le multimédia contenu soigneusement organisée par Moment Factory a pour objectif de mettre en évidence Los Angeles‘ unicité et de renforcer les voyageurs’ le sentiment d’espace, rendant le TBIT expérience encore plus inoubliable.

Les Smart Monkeys, qui est basé aux Etats-Unis, a pris la responsabilité techniquement, pour le projet, qui utilise la technologie de Grass Valley, Spinetix, Vista, Renkus-Heinz, Merging Technologies, Medialon, Peavey, Innovox Audio et Audio Science.

DEUTSCH

beacon of time - every hour passengers at the airport would see the same clock strike, almost like a cuckoo clock.

“In this piece the Time Tower magically transforms and opens up to show the workings of a magical clock. Gears are seen rotating while different platforms turn and this beautiful Art Deco clock appears to be energised by a magical, choreography of dancers inspired by Busby Berkeley.

“We were really able to play with the idea of the choreography of an architectural media feature in that we treat the Time Tower almost as a building in itself so when you look at it you think to yourself, ‘is this really happening in 3D? Am I looking inside something?’ It’s a piece that’s slightly more engaging, it really grabs your attention but after three minutes everything closes back up and the content of the media feature returns to normal programming.”

The system designed by Smart Monkeys is one of a kind and for Stephan having the client’s trust, was one of the most rewarding parts of the project. He explained: “We’ve been extremely lucky, the client has put a lot of trust in our design and has let us do what we’re good at - trusting us to do something that hasn’t been done before - that’s a big deal. When you’re investing so much money into an airport it goes without saying that you want it to work. When a small company like ours comes along and says it is going to do something never done before then usually people are quite scared, not in this case, we were able to demonstrate the quality of the design and demonstrate that it would work and they trusted us to deploy the system.”

For Marcela, the IEMS project provided the most challenges of any job she has ever undertaken. To develop an ecology of media or a media system that would work as individual systems and at the same time work as a holistic environment, involved new mediums and an entirely novel system. In addition, each feature required an identity, which was shaped both architectonically and through content.

“Being able to create the vision for a new media platform which had never been done before in collaboration with MRA was most enjoyable,” concluded Marcela. “As was executing the vision in collaboration with a truly diverse team of talents from the systems designers at Smart Monkeys to the interactive experts, directors and artists at Moment Factory, the designers at DK and the systems integration team at Electrosonic.”

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Als Teil von Modernisierungsplänen wurde dem LAX-Flughafen in Los Angeles kürzlich der Tom Bradley International Terminal (TBIT) hinzugefügt, mit einem integrierten Umweltmediensystem (IEMS), das auf die Erzeugung eines noch nie da gewesenen Passagierkomforts spezialisiert ist und gleichzeitig eine neue Quelle nicht-luftfahrtbezogener Erträge für den Flughafenbetreiber Los Angeles World Airports verschafft.

Das IEMS im LAX gilt als das erste Förderprogramm auf einem US-Flughafen und umfasst mehr als 12.000 Quadratfuß LEDKacheln, Hunderte von LCD-Bildschirmen und 60 MultimediaProduktionen mit extrem hoher Auflösung für insgesamt mehr als vier Stunden Originalinhalt. Jeder Aspekt des IEMS wurde sorgfältig durch Sardi Design konzipiert, um den Passagierkomfort zu verbessern und soll weit mehr als nur Bildschirme auf Wänden sein; das System ist ein fester Bestandteil des Gebäudes, welches sich in einem reibungslosen Wechselspiel mit der Innenarchitektur befindet. Der sorgfältig kuratierte Multimedien-Inhalt von Moment Factory will die Einzigartigkeit von Los Angeles hervorheben und ein Gefühl der Vertrautheit bei den Passagieren verstärken und somit die TBIT-Erfahrung noch unvergesslicher gestalten.

Das in den USA ansässige Unternehmen Smart Monkeys übernahm die Verantwortung für die Technik des Projekts, welches Technologien von Grass Valley, Spinetix, Vista, Renkus-Heinz, Merging Technologies, Medialon, Peavey, Innovox Audio und Audio Science verwendet.

ITALIANO

Nell’ambito del progetto di riammodernamento, l’aeroprto LAX di Los Angeles ha recentemente aggiunto il Terminal Internazionale Tom Bradley (TBIT), che presenta una sistema di comunicazione integrato (IEMS) centrato sulla possibilità di offrire ai passeggeri un’esperienza sensoriale mai provata prima, e al contempo fornire all’operatore Los Angeles aeroporti del Mondo un’ulteriore ricavo in aggiunta all’introito proveniente dal prodotto aeronautico.

Si ritiene che la IEMS del LAX sia il primo programma di sponsorizzazione dedicato ad un aeroporto statunitense e comprende 1.115 mq di copertura a LED, centinaia di schermi LED e 60 emissioni di materiale multimediale ad alta risoluzione che ammontano a più di quattro ore di trasmissione di contenuto originale.

Ogni aspetto della IEMS è stato attentamente progettato dalla Sardi Design per arricchire l’esperienza del passeggero ed ha lo scopo di presentare molto più che dei semplici schermi sulle pareti; il sistema è parte integrante dell’ambiente circostante senza soluzione di continuità con le caratteristiche dell’architettura d’interno.

Gli elementi comunicativi multimediali accuratamente presentati dalla Moment Factory hanno lo scopo di mettere in luce le caratteristiche uniche di Los Angeles e di rafforzare nel vissuto del passeggero l’atmosfera del posto, rendendo quella del TBIT un’esperienza indimenticabile.

Smart Monkeys, ditta basata negli Stati Uniti, ha curato la realizzazione tecnica del progetto, avvalendosi della tecnologia offerta dalle seguenti industrie: Grass Valley, Spinetix, Vista, Renkus-Heinz, Merging Technologies, Medialon, Peavey, Innovox Audio e Audio Science.

ESPAÑOL

Como parte de los planes de modernización, el Aeropuerto de Los Ángeles (LAX) agregó recientemente la Terminal Internacional Tom Bradley (de sus siglas en inglés, TBIT), presentando un sistema ambiental de medios integrado (de sus siglas en inglés, IEMS) focalizado en crear una experiencia sin precedentes para el pasajero a la vez de proveer una nueva fuente de ingresos no-aeronáuticos para el operador del aeropuerto, Los Ángeles World Airports.

El IEMS en LAX se piensa que es el primer programa de patrocinio en un aeropuerto de los Estados Unidos y comprende más de 12.000 pies cuadrados de mosaicos de LED, cientos de pantallas LCD y 60 producciones de multimedia de alta resolución totalizando más de cuatro horas de contenido original. Cada aspecto del IEMS fue diseñado cuidadosamente por Sardi Design para mejorar la experiencia del pasajero y apunta a ser mucho más que solo pantallas en las paredes; el sistema es una parte integral del ambiente construido que se encuentra en continua interacción con la arquitectura interior. El contenido multimedia de Moment Factory, conservado cuidadosamente, apunta a realzar la singularidad de Los Ángeles y a reforzar la sensación de pertenecer de los pasajeros haciendo que la experiencia TBIT sea incluso más impresionante.

Smart Monkeys, con base en los Estados Unidos, asumió la responsabilidad técnica para el proyecto, en el que se utiliza tecnología de Grass Valley, Spinetix, Vista, Renkus-Heinz, Merging Technologies, Medialon, Peavey, Innovox Audio y Audio Science.

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Photo courtesy of The Light Group

LIGHT LAS VEGAS, USA The Americas

Located in what is considered by many as the entertainment capital of the world, Light at Mandalay Bay, Las Vegas is a nightclub with difference. Realised by one of the leading hospitality companies in the US, The Light Group in cooperation with MGM Resorts International and Cirque du Soleil, Light opened on Memorial Day Weekend and thrilled crowds with the first ever nightclub show by Cirque du Soleil.

The 38,000 sq ft venue was designed and installed by a team headed

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by John Lyons Systems in collaboration with multimedia expert Moment Factory and designer Josh Held Design. Representatives from The Light Group and Cirque du Soleil were also key decision makers.

The design brief at Light was to create a fully immersive experience for everyone through a state-of-the-art audio-visual system. John Lyons of John Lyons Systems said: “The audio was designed to give every area of the room a discreet audio experience that never made you feel like you were out of the action. All of the seating and bar areas have high power systems that have been digitally timed to align with the music arriving from the main dancefloor system.”

After studying the requirements of the project and assessing which loudspeakers would best cater to its needs, John specified EAW’s

VENUE 113

Avalon Series for the dancefloor area and DJ booth. However, because Cirque du Soleil acrobats can drop into the venue from any one of the 30 access points - that are connected to six winch motors - it was not possible for John to fly the main system, instead he mounted the EAW Avalon Club.two and Club.three loudspeakers onto steel plates that sit atop six custom-made poles spaced evenly across the four-levelled dancefloor.

The EAW Avalon loudspeakers are supplemented by an EAW Avalon Sub.two hybrid subwoofer and 10 Fulcrum Acoustic Prophile US221 subwoofers, which were created by the company for one of John’s previous projects. The subwoofers are loaded with two 21-inch drivers yet are compact in size and deliver a great deal of low frequency energy to the dancefloor, something which is considered a must for any electronic dance music nightclub.

John continued: “Light is a large vacuous space with an enormous reflective wall on one side. To mitigate the secondary and tertiary reflections that would otherwise plague the room, we made sure that

proper absorption was installed where possible. All of the platforms that were built were designed to provide low frequency absorption as well so the room sounds powerful but not cavernous.”

The two mezzanine levels overlooking the dancefloor offer additional seating areas within the venue, however, the use of multiple tiers posed some challenges in terms of sightlines. John and his team selected 16 Fulcrum Acoustic Prophile M double 12-inch coaxial loudspeakers as the best solution to minimise obstructive views.

“The Fulcrum Prophile M enclosures have a low-profile, horizontally oriented cabinet design, and are flown at various levels in the room to provide good sightlines from each of the seating levels,” commented Fulcrum Acoustic’s David Gunness.

Fulcrum Acoustic US212 subwoofers line the edges of the curved dancefloor to extend subwoofer impact into the seating areas. These double 12-inch subwoofers are small in size so they were easy to install intot the small places that were available, such as the cavities under different platforms.

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Photo courtesy of The Light Group

VIDEO CONTENT

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A total of 54 Fulcrum Acoustic Prophile S coaxial loudspeakers that benefit from a wide beamwidth, four Fulcrum Acoustic Prophile P loudspeaker producing high SPLs and further Fulcrum Acoustic US212 subwoofers have been installed in the bar areas at Light.

John commented: “Both EAW and Fulcrum have been great partners to work with over the years in the development of unique product lines to fit the bill when something did not already exist. The people behind both companies share the same DNA and have worked with each other in some form or another for many years so the creativity and technological breakthroughs from them have been nothing short of magical.”

The sound system is powered by a series of Crown amplifiers, 18 Macro Tech 5000i and 20 Macro Tech 9000i, both of which feature power factor correction technology allowing the units to adjust to any frequency in real time. Two Crown CDi 4000 amplifiers featuring built-in crossover, EQ filter, delay and output limiting as well as five Crown XTi 4002 amplifiers with an onboard power supply to increase SPLs complete the amp rack at Light.

Loudspeaker management also came from Harman in the form of four BSS Soundweb London BLU-160 signal processors with a digital audio bus comprising 256 channels. Two BSS Soundweb London BLU-BIB break in boxes and a single BSS Soundweb London BLU-BOB2 break out box expand the system by offering an additional eight channels of analogue audio input per unit. John said: “There are presets that we wrote into the master system control that permit operations to change the EQ of the room to fit the type of performance being presented.”

John selected a Soundcraft Si1 digital console for Light because of its compact appearance, its user friendliness and its ability to produce great sound. It is primarily used during the Cirque du Soleil performances to look after wireless communication between performers.

Cirque du Soleil shows are carefully executed, but they require precision as well as a trust of the surrounding for the acrobats, and the space at Light is as complex in the air as it is at floor level. Two 30ft wide and 20ft high acrowalls - a central feature in the venue use a multilayer projection technique combining a mesh surface and a transparent surface. Content can be projected - using Light’s four Barco HDX W18 projectors and four Barco DL-3 projectors - onto the surface, while performers are behind it in transparency, which adds a sense of depth the to venue. The two acrowalls are also interactive and can track the performers as they move across the surface and create 3D effects.

“We utilised a healthy amount of beam fixtures due to the large cubic volume of airspace that we had to work with. A single beam scanning over such a long distance can be very dynamic. Take 100 of them used properly and they are staggering.”

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Adjacent to the acrowalls are two dancefloor LED walls each comprising 36 ReTop P6 LED tiles, while the DJ booth is made up of a further 12 ReTop P6 LED tiles. The side walls at Light provide yet another projection surface with a total of 266 ReTop P6 LED tiles split left and right of the dancefloor and finally there are 316 ReTop P6 LED tiles ceiling mounted to create an abstract and intriguing environment. Overall these screens - integrated by John and his team, which included Richard Worboys on the lighting side and Anne Tovatt as Design Project Manager - represent more than 400 sq ft of LED tile, all of which are fundamentally different to convential LED tiles because they emit light rather than reflect it, so their colours are generally brighter.

The visual aim at Light was to employ a high-end visual performance night after night that reflected Cirque du Soleil in its new venture as well as catering for world-renowned international DJs. For this an extensive content library was required and to achieve it Moment Factory, the company in charge of creating the dynamic visual displays focused primarily on four themes that would constantly evolve and make each show individual. The content library includes a broad range of custom content and interactive effects that were specifically created to complement the Cirque du Soleil performances.

The Moment Factory creative team produced the content using a variety of methods, blending 2D and 3D animation with video footage that was filmed over the course of 12 shoots. The team mixed high resolution, slow motion film content with motion design and visual special effects animation to equip Light with the tools to create a lively, all encompassing space. Alongside the technical considerations, the team also incorporated the architecture and took the DJ into account during content creation to ensure every single element at Light blended seamlessly for the audience.

John worked closely with Moment Factory to build its specification into the overall venue design. He said: “Although I had not worked with Moment Factory prior to this collaboration we clicked right away.

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They are a very nice and talented group and the end product speaks for itself.”

Despite the huge amount of video technology used, John wanted to intensify the visual element at Light so he introduced some intelligent lighting fixtures into his design. He explained: “The lighting had to be powerful enough on its own to provide the requisite stimulation for the dancefloor. It needed to accent and amplify the performances of Cirque. It had to integrate into the overall visual experience being crafted by Moment Factory in a way that enhanced but never washed out the imagery.”

The lighting inventory is made up of a number of different fixtures. For beam effects John opted for 48 Elation Platinum Beam 5R Pro and 12 Elation Platinum Beam 15R Extreme moving heads. “We utilised a healthy amount of beam fixtures due to the large cubic volume of airspace that we had to work with. A single beam scanning over such a long distance can be very dynamic. Take 100 of them used properly and they are staggering,” said John.

Further fixtures from Elation were used including 44 Elation Platinum Spot 5R Pro moving heads, 12 Elation Platinum Spot 15R moving heads, 28 Elation Platinum Spot 35 moving heads and eight Elation Rayzor 7 moving heads. However, as John is a true believer in choosing the correct products for the job rather than sticking with one manufacturer, he went on to choose 22 ETC Source Four Leko profiles, 28 Chauvet Professional COLORado Batten 72 washlights and two Martin Professional Atomic Strobe 3000 effects to complete the main lighting rig. He said: “We complimented the backbone of the beams with spots, strobes, mini beams, blinders and colour washes.

Each category of fixture was designed with enough multiples to go from subtle to mind blowing. The nature of the music and performances stated for the club dictated this.”

The initial control platform installed at Light was Showcad Artist, a software package with unlimited universes. “We like to satisfy the wishes of the operators by providing what they are most comfort-

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Photo courtesy of The Light Group

able and creative with. In the case of The Light Group, all of their lighting operators were well versed in Showcad,” commented John.

An MA Lighting grandMA2 lighting console was added later to handle the theatrical elements of the show as well as to provide an alternate interface for any touring LDs who wish to use it. The MA Lighting grandMA2 lighting desk is intuitive and reacts quickly to real time control of all connected fixtures and channels, this is often why it is a rider favourite for touring LDs. This project marks a number of firsts and John believes will lead the way for future clubbing venues as he concluded: “I believe this project to be unique in that it will probably serve as the catalyst responsible for changing how the world - or at least Vegas - sees nightclubs until the next seismic shift. Think about it. For as long as anyone can remember, the major choices in entertainment have fallen into one of two categories. You are either a passive voyeur sitting in a chair bolted to the floor and given something to watch or you are a participant in the event.

“With Light, you are actually able to experience both types of entertainment at the same time. While dancing, drinking and roaming around, you get to see imagery, acrobatic performance and drama played out right in front of you. On the number of occasions that I have been able to witness patron response, they always seem tickled. While they cannot quite put their finger on what it is about the club, I can clearly see that they have finally found a place everyone in their group wants to stay. It bridges the gap between the shy and the boisterous. Everyone leaves satisfied albeit for different reasons.

“Once this winning combination has been recognised and identified, it will just be a matter of time before all new clubs try to capture this magic in a bottle. When this becomes the standard bill of fare for most nightclubs, the significance of this venue will be understood as being the place that opened the door and pioneered it all.”

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TECHNICAL INFORMATION SOUND 8 x EAW Avalon Club.two loudspeaker; 2 x EAW Avalon Club. three loudspeaker; 1 x EAW Avalon Sub.two subwoofer; 54 x Fulcrum Acoustic Prophile S coaxial loudspeaker; 4 x Fulcrum Acoustic Prophile P loudspeaker; 16 x Fulcrum Acoustic Prophile M loudspeakers; 25 x Fulcrum Acoustic Prophile US212 subwoofer; 10 x Fulcrum Acoustic Prophile US221; 8 x QSC AD-S82H loudspeaker; 22 x QSC AD-C152ST ceiling speaker; 18 x Crown Macro Tech 5000i amplifier; 20 x Crown Macro Tech 9000i amplifier; 2 x Crown CDi 4000 amplifier; 5 x Crown XTi 4002 amplifier; 4 x BSS Soundweb London BLU-160 signal processor; 2 x BSS Soundweb London BLU-BIB break in box; 1 x BSS Soundweb London BLU-BOB2 break out box; 1 x Soundcraft Si1 digital console; 4 x Pioneer CDJ-2000 Nexus multiplayers; 1 x Pioneer DJM-900 Nexus mixer; 1 x Rane Serato SL4 DJ interface Visual 4 x Barco HDX W18 projector; 4 x Barco DL-3 projector; 718 x ReTop P6 LED tile lighting 48 x Elation Platinum Beam 5R Pro moving head; 12 x Elation Platinum Beam 15R Extreme moving head; 44 x Elation Platinum Spot 5R Pro moving head; 12 x Elation Platinum Spot 15R moving head; 28 x Elation Platinum Spot 35 moving head; 8 x Elation Rayzor Q7 moving head; 22 ETC Source Four Leko profile; 28 x Chauvet Professional COLORado Batten 72 washlight; 2 x Martin Professional Atomic Strobe 3000 effect; 1 x MA Lighting grandMA2 lighting console; 2 x Showcad Artist software package www.thelightvegas.com

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VENUE 121

NORTHEASTERN UNIVERSITY VISITOR CENTRE LIFE-SIZE, MULTI-TOUCH SURFACES AT NORTHEASTERN UNIVERSITY’S VISITOR CENTRE IN BOSTON, DESIGNED WITH THE AID OF PROJECTIONDESIGN TECHNOLOGY ARE ADDING A SPECTACULAR INTERACTIVE DIMENSION TO A NEW LOBBY. SIMON DUFF TALKED TO INSTALLERS, CONSULTANTS AND MANUFACTURERS.

BOSTON, USA THE AMERICAS

Northeastern University is a private research institution located in the heart of Boston city, Massachusetts. Founded in 1898 it currently has just over 29,000 students and some 1,000 faculty members who are leading educators and scholars forging research partnerships around the world. It offers a range of undergraduate and graduate courses that focus on interdisciplinary and transitional research in a variety of subject areas, including business, computer and information sciences, engineering technology, health sciences, humanities and arts, law as well as physical and life sciences.

A new visitor centre at the heart of the campus designed to become the portal to the Northeastern experience, opened last summer.

The state of the art interactive facility located at the part of the campus known as West Village F offers the perfect shop window for the academic facility’s unique combination of assets, talents and opportunities to everything that is on offer at the university. Carved from an existing building, the new centre features three different large-scale interactive display areas in the lobby. It also showcases the high-quality optics, flexible specification, and consistent colour rendering of DLP projectors and ProNet.precision software from Norway’s projectiondesign. The Boston architecture firm of William Rawn Associates was commissioned by the university to design the visitor centre, with Cavanaugh Tocci Associates acting as consultants for the AV system design throughout. Downstream Technologies designed AV content and interactivity with systems integration from Whitlock. The end result is a spectacular

combination of design and cutting edge technology and an aesthetic success in its own right.

The interior of the lobby has translucent glass walls consisting of both projection glass and architectural glass that match. All of this glass has colour changing LED fixtures top and bottom along the floor and ceiling behind the glass. These programmable LED fixtures allow Northeastern to have an interesting and changing space throughout the day. They can also change the lights to match a holiday or local sporting event with a button push on the iPad touch screen control system.

“The client brief was to create a high-tech, high-touch space that would really engage the 70,000 visitors who come to get a flavour of Northeastern every year,” explained Matthew J. Moore of Cavanaugh Tocci Associates, a Boston firm of 14 consultants which provides acoustic, audiovisual and theatrical consulting services to a wide variety of architects, building owners and institutions.

Between them, the architects, content people and Whitlock, a global AV solutions provider based in Richmond, Virginia with offices in California, evolved the idea of creating two large interactive video screens in the lobby, along with a ‘spinning globe’ that would underline the university’s commitment to international study.

While one part of the Boston brief appeared to provide a free rein for the centre’s systems design, another part of it imposed significant constraints. “The university wanted to make the technology disappear when it was not in use,” said Matthew.

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122 VENUE

Images © projectiondesign

“They saw this as an evolving space, and they wanted the projection glass to blend seamlessly with the architectural glass of the lobby walls.”

With front-projection being ruled out as being too visible a technology for the space, the team went about designing a rear-projection solution. But here, too, there were issues. Space behind the walls was limited, giving RP Visuals, the company tasked with designing the mounts for the projectors, more than a few challenges. “Each of the three ‘touch experience’ areas were unique and each one represented an optical challenge,” explained Randy Pagnan, President of RP Visuals, the company tasked with designing the mounts for the projectors. “Most obviously, each design called for edge-blending of multiple projected images, and in no instance were we able to use multi-point mirrors, six-axis mounts, or the ideal lens optics for blending.

“Nonetheless, with projectiondesign’s range of lens options and WB2560 multi-image processor, together with ProNet.precision software and Stewart Filmscreen projection surfaces, we were able to engineer solutions that did not compromise the results in any way, despite almost all of our ‘golden rules for blending’ being broken.”

ProNet.precision is a camera based auto alignment software tool for flat and cylindrical surfaces in a single or multiple projector set up. Interfacing with projectiondesign’s warp and blend processing engines, the auto alignment is done accurately and at the push of a button, making it easy to re-align the set up at any point, saving on maintenance costs and resources. Using a standard SLR camera, the software automatically generates an adjustable alignment grid of a set up based on the picture feed and sends the desired coordinates to the WB imaging processor engine. The interface helps add precision to help manage blend zones down to the very last pixel.

Matthew commented on how the software is used at Boston and what he likes about it: “The projectiondesign software constantly monitors the 15 installed projectors and allows the in house audiovisual system tech at the university to maintain the system easily. The projectors are on 10-12 hours a day. The software is camera based and can be automatically adjusted with a couple of button pushes on a laptop.”

The end resulting design at the visitor centre sees four projectiondesign F32 SXGA+ DLP projectors in a 2 x 2 blended configuration driving one touchscreen measuring around 7.5ft high by 9.25ft wide, while a pair of projectiondesign F32 1080p projectors mounted side-by-side power a 2.5ft by 9.25ft banner area above. On the opposite wall is an almost identical configuration, the same height but slightly wider to fit within the space available between the architectural glass wall and the lobby entrance. The ‘Spinning Globe’ screen sees two projectiondesign F32 SXGA+ resolution projectors throwing onto a surface 6.5ft high by 5ft wide, with a 4ft banner area above powered by a single F32 1080p. The

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projectiondesign F32 series of professional grade DLP projectors is one of the company’s top selling single chip models. It is specifically designed for graphically challenging applications, such as multichannel seamless visualisation walls, domes, and high resolution imaging. Available with up to 8,000 lumens brightness and 30-bit RGB. Matthew commented on what he particularly admires about it: “We liked the colour accuracy, warranties available, colour matching and blending capabilities of the F32. And also another crucial factor was that it could squeeze into the small space available along with the mounts. The tolerances were extremely close with objects very close to one another.” PQ Labs Multi-Touch G32 overlays are used on the projection surfaces to bring motion data to a series of 12 network computers, allowing visitors to come up to each screen and interact with its content using all 10 fingers.

The scheme allows visitors to pull up videos, still images and information, choosing data on particular education programs using a GUI developed by Downstream. The content developed by them and Northeastern allow for self exploration to quickly access media or written content from faculty, alumni, admissions and enrolment staff, and current students. This way of presenting the information is very dynamic and has served to increase interest from prospective students beyond tours and more formal presentations. The third area is smaller and provides a spinning project globe to show Northeastern’s international reach beyond the New England area.

There are also icons, popups, twitter feeds and other ways to grab people’s attention. News feeds come from Twitter and RSS, while the static banners atop the two main walls display different content in keeping with the time of day and complementing the lobby’s LED lighting system.

“The architectural and technology designs were heavily influenced by the existing conditions, and depth for the rear-projection zone of the interactive displays was extremely tight, making the margin for error very small for the implementation of a blended projected image,” confirmed Matthew. “With great teamwork, careful component and software selection, a dedicated installation team from the Whitlock and valuable technical support from projectiondesign throughout the intensive planning, design and project completion phases, we were able to achieve extremely high-quality seamless images in a very constrained space.”

Cavanaugh Tocci Associates was brought in during December of 2011 after Northeastern had a chance to see some of its previous installation work. The architectural design team had already made significant progress with a different AV concept before Cavanaugh Tocci got involved. The timeline for completion was fairly tight. The entire team brought the audiovisual system from concept to opening day within about 7-8 months. The centre is run by the admissions office and their audience is high-school and other prospective students and their families.

Matthew is particularly keen to stress how important touchscreen

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FRANÇAIS

technology is to both the project and Cavanaugh Tocci. “We are somewhat new getting into large format touchscreen technology but have dived right into some of the most sophisticated touch technology and unique applications. We’ve completed large LCD array walls for a corporate briefing experience centre, rear projection glass touch walls for this visitor centre and a fairly large projection mapping project with gesture technology. We see touchscreen technology developing into something that is used more often than not. Uses range from very small individual use to large scale installations.

“In addition to more sophisticated gesture technology we see that image and object recognition is becoming more sophisticated.

Programming the interactive technology seems to be getting better and easier as industry practices and computer systems/graphics systems further develop. At the moment we are certainly seeing a lot of university projects with classrooms starting to adopt more sophisticated audiovisual systems.”

Cheryl Mason Cox, Marketing and Communications Director for the Whitlock is also keen to point out the importance of touchscreen. “A majority of our projects these days, from boardrooms to lobbies to classrooms, involve touchscreen technologies. It’s becoming more prevalent and will likely be the de facto standard in the near future.

As far as where things are headed, you can just look to the gaming industry for clues. The professional AV side is following a similar trajectory, headed towards gesture based technologies, similar to the capabilities of Wii and Xbox.” She also praises projectiondesign for its “excellent support throughout the installation process.” She added: “We will provide ongoing managed services to the University and are confident that projectiondesign will support us in the postinstallation phase as well.”

Maria Dahl Aagaard, Product Marketing Manager at projectiondesign concluded: “The life-size, multi-megapixel rearprojection displays at Northeastern wash away the usual alienation between viewer and content, with results that can only be described as mesmerising. These displays invite visitors to dig deeper into what Northeastern offers and to connect with information on a human level. “It has been a pleasure for us to support this project and to see our projectors being used in such a striking, innovative and highly personal way.”

TECHNICAL INFORMATION INSTALLED 15 x projectiondesign F32 projector; projectiondesign ProNet. precision software; projectiondesign WB2560 multi-image processor; Stewart Filmscreen projection surfaces; PQ Labs Multi-Touch G32 overlays used on the projection surfaces www.northeastern.edu

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La Northeastern University est une institution privée de recherche située au cœur de la ville de Boston, dans l’état du Massachusetts. Fondée en 1898 elle reçoit juste un peu plus de 29 000 étudiants et quelques 1 000 membres du corps enseignant qui sont les éducateurs et universitaire influents qui forment des partenariats dans le domaine de la recherche dans le monde entier. Un nouveau centre pour visiteurs au cœur du campus conçu pour devenir le portail de l’expérience Northeastern a ouvert ses portes l’été dernier. L’installation interactive d’avant-garde située dans la partie du campus connue sous le nom de West Village F constitue la vitrine parfaite pour la combinaison unique de resources, de talents et d’occasions de cette entité académique pour voir tout ce que cette université peut offrir. Façonné à partir d’un bâtiment existant, le nouveau centre compte trois espaces interactifs d’exposition différents sur une grande échelle dans le hall d’entrée. Il expose également les objectifs de haute qualité, des specifications flexible et la restitution constante de couleur des projecteurs DLP et ProNet. Le logiciel de précision de Norway’s projection design. Le bureau d’architectes William Rawn Associates de Boston a été mandaté par l’université pour concevoir le centre pour visiteurs avec la compagnie Cavanaugh Tocci Associates en tant que consultants pour l’ensemble du système audio-visuel. Downstream Technologies ont conçu le contenu audio-visuel et l’interactivité avec les systèmes d’intégration vient de Whitlock. Le résultat final est une combinaison spectaculaire de conception et de technologie de pointe et une réussite esthétique par elle même.

DEUTSCH

Die Northeastern University ist eine private Forschungseinrichtung mitten in der Stadt Boston, Massachusetts. Sie wurde 1898 gegründet und hat derzeitig mehr als 29.000 Studenten und rund 1.000 Fakultätsmitglieder, die Pädagogen und Gelehrten leiten und weltweit Forschungspartnerschaften aufbauen. Ein neues Besucherzentrum mitten auf dem Unigelände, das dazu bestimmt ist, das Portal zur Northeastern Erfahrung zu werden, wurde letzten Sommer eröffnet. Die hochmoderne, interaktive Einrichtung, die in dem Teil des Unigeländes liegt, der als West Village F bekannt ist, bietet das perfekte Schaufenster für die der akademischen Einrichtung einzigartigen Kombination von Vorzügen, Talenten und Chancen für alles, was an der Universität geboten wird. Das neue Zentrum wurde ausgehend von einem bestehenden Gebäude gestaltet und weist drei unterschiedliche umfangreiche, interaktive Anzeigebereiche im Foyer auf. Es präsentiert auch die hochwertigen Optiken, flexible Vorgabe und durchgängige Farbwiedergabe der DLP Projektoren und der ProNet.precision Software von projectiondesign aus Norwegen. Das Architekturbüro aus Boston von William Rawn Associates wurde durch die Universität beauftragt, das Besucherzentrum zu entwerfen, Cavanaugh Tocci Associates agierte als Berater für das AV-Systemdesign überall. Downstream Technologies entwarfen den AV-Inhalt und die Interaktivität mit Systemintegration von Whitlock. Das Endergebnis ist eine spektakuläre Mischung aus Design und innovativer Technologie sowie ein ästhetischer Erfolg für sich allein.

ITALIANO

L’Università Northeastern è un istituto di ricerca privato situato nel cuore della città di Boston, nello Stato del Massachussets. Fondato nel 1898, attualmente ospita poco più di 29.000 studenti e circa 1.000 membri di Facoltà i quali sono noti educatori ed accademici intenti a creare partenariati di ricerca in tutto il mondo. La scorsa estate, nel cuore del campus, progettato per diventare la vetrina dell’esperienza Northeastern, è stato aperto un nuovo Centro Visitatori. Le caratteristiche della zona interattiva situata nella parte del Campus denominata West Village F , offrono una perfetta vetrina dell’ineguagliabile combinazione di ricchezza, talenti ed opportunità realizzate dall’istituzione universitaria .

Ricavato da un edificio pre-esistente, il nuovo Centro presenta, all’interno dell’atrio, tre diverse aree espositive interattive realizzate su grande scala.

Qui sono anche presenti i proiettori DLP con ottiche di alta qualità, con caratteristiche flessibili e consistenza nella resa di colore dei proiettori e il software ProNet.precision della progettazione Norway. Lo studio di architettura William Rawn di Boston ha ricevuto l’incarico da parte dell’università per la progettazione del Centro Visitatori, con la Cavanaugh Tocci Associates nel ruolo di consulenti per la progettazione generale del sistema audio-video. La Downstream Technologies ha progettato la struttura e l’interattività audio-video con il sistema integrato della Whitlock. Il risultato finale è una spettacolare combinazione di design e tecnologia d’avanguardia ed un successo estetico a tutti gli effetti.

ESPAÑOL

La Northeastern University es una institución privada de investigación ubicada en el corazón de la ciudad de Boston, Massachusetts. Fundada en 1898, actualmente tiene más de 29.000 alumnos y unos 1.000 miembros de la facultad, que son educadores y académicos líderes que forjan las asociaciones para la investigación alrededor del mundo. El verano pasado se inauguró un nuevo centro de visitantes en el corazón del campus diseñado para ser el portal hacia la experiencia “Northeastern”. Las instalaciones interactivas de última generación, ubicadas en la parte del campus conocida como West Village F, ofrecen la vitrina perfecta para la combinación única de activos, talentos y oportunidades hacia todo lo que se ofrece desde la universidad. Tallado a partir de un edificio existente, el nuevo centro despliega en el lobby tres zonas diferentes de pantallas interactivas a gran escala. Además exhibe las ópticas de alta calidad, la especificación flexible y la representación de colores consistentes de proyectores DLP y del software ProNet.precision de projectiondesign de Noruega. La universidad le encargó a la firma de Arquitectura William Rawn Associates de Boston que diseñara el centro de visitantes, con Cavanaugh Tocci Associates actuando como consultores para el diseño completo del sistema AV. Downstream Technologies diseñó el contenido AV y la interactividad con integración de sistemas de Whitlock. El resultado final es una combinación espectacular de diseño, tecnología de vanguardia y de un éxito estético por derecho propio.

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ANZ STADIUM sydney, australia ASIA/PACIFIC/OCEANIA

Officially opened in 1999 as part of the Sydney Olympic Park for the Sydney 2000 Olympics, ANZ Stadium today is used to host rugby, football and cricket matches as well as large-scale music concerts.

Obviously the stadium was kitted out with an audio system in the late ‘90s and it was given an approximate 15 year lifespan, so a couple of years ago it was time to begin planning the audio upgrade.

ANZ Stadium is surrounded by a number of other venues capable of hosting similar kinds of events so there is definitely local competition, which is why the stadium management were so keen to make a statement with the refurbishment. The management had already begun the process of enhancing the visitor experience by installing

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the largest LED screens that would fit into the space available. They wanted to continue on the same path and offer the customers a high-end quality sound experience.

Simon Davies, General Manager of ANZ Stadium explained: “We took an active decision to up the stakes, to make our venue a much more exciting venue in which to enjoy the great sporting events we stage. To do that we had to break a few rules; people have avoided putting high performance audio into stadiums for a number of reasons, not least cost. Could we achieve a better experience for our customers? That was the big question.”

With a proven track record in designing audio systems for the 2003 and 2011 Rugby World Cup, the Athens 2004 Olympic Ceremonies, the Melbourne 2006 and Delhi 2010 Commonwealth Games, the Vancouver 2010 Winter Olympics, the Doha 2006 Asian Games and 2011 Arab Games and the London 2012 Olympic Ceremonies, Scott Willsallen, Director of Auditoria was well equipped to act as the

VENUE 127

RENOWNED IN THE STADIUM WORLD, AUDITORIA DIRECTOR SCOTT WILLSALLEN WAS TASKED WITH UPGRADING THE SOUND SYSTEM AT A STADIUM WITH HISTORY OF OLYMPIC GLORY AND HIS UNCONVENTIAL DESIGN FOR A STADIUM APPLICATION IS SET TO MAKE HISTORY AGAIN FOR ALL THE RIGHT REASONS. consultant for the ANZ Stadium upgrade. Scott’s involvement with the capacity conversion from 110,000 to 80,000 during the time he was employed by The P.A. People - the company which carried out the first installation and this one too - was yet another reason to appoint him. For Scott, although he has plenty of experience in stadium sound, this is the first time he has headed up the design team for a permanent installation in a stadium, so the project is quite a personal achievement.

Simon continued: “More than many individuals, Scott’s experience is closer to the event based side of sporting presentation. Having been responsible for PA design for the opening and closing ceremony of the Olympics, the Commonwealth and the Asian Games, he has that understanding of using stadium audio to enhance the visitor experience; to use it as a dramatic tool. That’s exactly the level of excitement we wanted for our stadium so we made the decision to raise the bar, to properly address major sporting events, to evoke

more interest, and provide more enjoyment.”

Scott was keen to use as much of the existing infrastructure as possible for the new design, this included the cabling, rigging points, amplifier room and signal distribution points. This would not only reduce the risk of causing any damage to these areas but would also leave a larger budget for the sound system itself.

The design brief for the audio was high performance for a stadium but fairly generic in so much that it was equivalent to a high performance auditorium design. The loudspeaker system was required to deliver high intelligibility for speech content and a concert-like experience of high SPL, full bandwidth, impact and envelopment for live performance, music replay, advertisements and video playback.

Scott explained further: “I released a call for designs package which consisted of the performance requirements, an EASE model of the building, how many circuits we have at each position and where the positions are in the venue, and how much power we have in the

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128 VENUE

amplifier rooms. Basically all the infrastructure items, so that every design put forward by a manufacturer would fit into the venue without adding extra cabling or steel work. We received six designs that met the criteria.”

At that point, Scott sat down with each manufacturer to fine tune the designs. Ultimately this process put a couple of the companies out of the running due to circuit count, weight limit or power and in the end three were shortlisted for a shootout at the venue. Scott installed two clusters of each system and listened - along with Simon and CEO of the stadium, Daryl Kerry - to different musical content over two days, whilst taking measurements and discussed the support structure with each distributor. Simon commented: “We also invited maintenance and operational crew along [to the shootout]. Initially Scott would listen but not comment, allowing us to form our own opinions. I would suggest my perceived differences, he would explain in technical terms why that might be so.”

After a thorough design and bid process the stadium management were left with just two options, and as Scott was confident of both he left it up to them to decide. Simon and Daryl opted for a d&b audiotechnik system based around the company’s medium format line array system, the Vi-Series - a variant of the V-Series - with a full complement of Vi-SUBs. The system also features Ti and Qi-Series elements in subsidiary roles. The pair were won over by the d&b audiotechnik system because of its compact size, minimising the visual impact yet there was no compromise on sound quality.

The d&b audiotechnik equipment was supplied by Australian distributor National Audio Systems and installed by The P.A. People, a well-known Australian systems integrator. Scott said: “Historically, installers have forged relationships with particular loudspeaker brands, but it doesn’t follow that the best installer for your project will necessarily have a relationship with the best manufacturer for your project. By separating manufacturer from installer in the bid process we got the best installer and the best equipment.”

The configuration is fairly straightforward as the venue is symmetrical on both east - west axis and the north - south axis apart from the northern end where there is an additional balcony that required further coverage. The venue is divided into quadrants; imagine slicing the venue through the east-west centreline and the north-south

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centreline. Each quadrant has six main arrays, four on the main (east or west) side and two in the end zone (north or south).

The arrays are numbered within each quadrant from the east-west centreline so standing on the western centreline the left array is NW1 and the right array is SW1. All arrays are identical within their number index and all arrays excluding #4 follow the same dipole sub-bass arrangement where the subs in each array are horizontally separated by 2.5-metres.

Stefan Goertz from d&b audiotechnik who developed the initial d&b proposal explained the set-up further: “The pure dipole arrangement of the two Vi-SUB positions extends the Vi-TOP arrays constant pattern control towards lower frequencies via the crossover range between TOPs and SUBs, extending it down to the range exclusively delivered by the Vi-SUBs themselves,” explained Stefan. “So in modelling the time alignment between SUBs and TOP cabinets we have an additional electrical parameter to fine adjust the overall low end dispersion. Thus we achieve a great advantage, extending the control pattern of the Vi loudspeakers far down below 200Hz. The benefit is a big reduction in unwanted low end energy in the troublesome areas of the stadium, thus over all a much cleaner sound across a broader listening bandwidth. This is uniquely possible using passive cardioid subwoofers by design to create such an array set-up.”

All #1 arrays comprise 12 d&b audiotechnik Vi8 line array cabinets with two vertical pairs of d&b audiotechnik Vi-SUB subwoofers and all #2 arrays are the same. The #3 arrays are made up of 10 d&b audiotechnik Vi8 line array cabinets with the same d&b audiotechnik Vi-SUBs complement. Both #5 and #6 in the south consist of eight d&b audiotechnik Vi-TOPs and a pair of subwoofers, whilst the northern end #5 and #6 each have 10 d&b audiotechnik Vi-TOPs and a pair of subwoofers. The #4 is a gap-filler consisting of a vertical pair of d&b audiotechnik Qi7 loudspeakers and a line of six d&b audiotechnik Ti10L loudspeakers.

“The corners around the LED screen positions are problematic, arrays three, four and five straddle each corner, three and five comprise very long arrays providing coverage down to the front rows at the side and end. Array four is required to fill what is effectively a triangular section on the corner with its point touching the front row seats right where three and five meet. No loudspeaker projects such a pattern

Get Ready for The Next Level

so it’s tricky to say the least. The complexity comes in achieving the correct time alignment to cover the area without compromise.

“The main arrays of Vi-Series in the north / south end zones provide all end grandstand coverage, consistent with the main east / west coverage. But as the end zone roof falls well short of the front rows, by as much as 30 metres, these arrays are practically horizontal in orientation though still highly curved.

However, even at these distances we found that we only needed to apply about +3dB to the cabinets covering the front rows compared with those covering the closer rear and middle seats,” continued Scott.

Alongside all the arrays - each of which sits in a frame engineered by The P.A. People and are mounted on two electric chain hoists supplied and installed by Jands Electronics - Scott specified 32 d&b audiotechnik Ti10P loudspeakers for under balcony fill and a combination of 18 d&b audiotechnik Ti10L and four d&b audiotechnik Qi-10 loudspeakers for delays in the upper bowl. However, the under balcony fill requirements change dependent upon whether the lower seats in the East and West stands were in their retracted position or not. The moveable seating sections weigh 3,500 tonnes, are 100 metres long and retract 15 metres - one metre per minute - using 14 motors. To move the seating forward, which essential puts the audience closer to the action takes three and a half hours in total.

The system is powered with 96 d&b audiotechnik D12 amplifiers distributed evenly between the four amplifier rooms. Signal is distributed to the amplifier rooms over a legacy Ethernet network using Dante protocol. BSS Soundweb London BLU-326 processors in the control room collect processed audio from the Yamaha DME64 digital mixing engine fitted with Lake DSP cards. Further BSS Soundweb London BLU-326 units are deployed in each amplifier room to deliver AES audio to the d&b audiotechnik D12 amplifiers. The analogue inputs of the d&b audiotechnik D12’s are connected to the legacy analogue cable network, BSS Soundweb London BLU-BOB output frames in the control room provide the analogue signal source to the analogue network. This provides complete redundancy of the signal transport throughout the stadium. In the control room there is a Yamaha M7CL digital console to take care of the mixing requirements during events and the interface for the d&b audiotechnik R1 Remote control software.

The P.A. People’s Ash Selars was in charge of networking infrastructure at the stadium. He said: “We

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FRANÇAIS

Officiellement ouvert en 1999 dans le cadre du Park Olympique de Sydney pour les Jeux Olympiques de Sydney en 2000, ANZ Stade aujourd’hui est utilisé pour héberger les matches de rugby, football et cricket ainsi que des concerts de musique à grande- échelle. Évidemment, le stade était équipé d’un système audio à la fin des années 90 et il a été donné une durée de vie à environ de 15 ans, donc il y a deux ans qu’il était temps de commencer à planifier la mise à niveau audio.

ANZ Stade est entouré d’un certain nombre d’autres lieux capables d’accueillir des événements des types similaires donc il y a certainement la concurrence locale, ce qui explique pourquoi la direction du stade étaient si désireux de faire une déclaration auprès de la rénovation. La direction a déjà commencé le processus de rehausser l’expérience des visiteurs en installant des écrans LED les plus grandes qui s’insère par l’espace disponible. Ils voulaient continuer sur le même chemin et offrir aux clients une expérience sonore haute de gamme de qualité. Après un processus de conception et de soumission complète, la direction du stade a opté pour un système d&b audiotechnik basé autour de système parure de moyenne ligne format de l’entreprise, le Vi-Sériesune variante du V-Séries- avec une gamme complète de Vi-SUBs. Le système représente également d’éléments T et Q Séries dans les rôles auxiliaires. L’équipement d&b audiotechnik a été fourni par le distributeur Australien des Systèmes Audio Nationaux et installé par les P.A. Personnes, un bien connu systèmes australien intégrateur .

DEUTSCH

General Manager of ANZ Stadium, Simon Davies with Auditoria Director, Scott Willsallen

upgraded the pre-existing network renewing all the hardware except the optical fibre itself. The network handles all the audio signal traffic and control to the four amplifier rooms, split into several VLANs, d&b audiotechnik system control and Dante for audio signal. Although we have doubled the number of loudspeakers than were here before we have fewer amplifiers; the d&b audiotechnik system is very efficient in that respect. There are two Ethernet rings, Scott had us split them between signal and control, there is also a copper ring back up for signal, which means should we lose the signal data ring we still have control and can tell the amps to switch to the copper analogue input.”

For a project that took more than two years to conceive it’s difficult to believe the installation itself took just one month and the venue was still in operation the whole time. Scott, along with The P.A. People Project Manager, Brett Steele and Head of Installation, Campbell Waller upgraded the system one quadrant at a time. They had the course of Monday to Thursday to drop down the old system and install the new one before the weekend events.

Scott concluded: “It’s great to have been able build a venue where if I were to take one of my ceremonies in there I’d be really happy to use the equipment that’s there, and that’s really quite unusual. It’s also cool because they get to keep it and for every event that takes place, there it won’t be the sound system that limits the ability to achieve something that is really engaging for their audience.”

Das 1999 offiziell als Teil des Olympiageländes von Sydney für die olympischen Spiele von Sydney 2000 eröffnete ANZ Stadion wird heutzutage als Austragungsstätte von Rugby-, Fußball- und Cricketspielen sowie für große Musikkonzerte benutzt. Das Stadion wurde offensichtlich mit einem Audiosystem aus den späten 1990er Jahren ausgestattet und für eine Lebensdauer von circa 15 Jahren vorgesehen, deswegen wurde es vor einigen Jahren Zeit, mit der Planung des AudioUpgrades zu beginnen. Rund um das ANZ-Stadion liegen zahlreiche andere Treffs, die für die Austragung ähnlicher Events geeignet sind, so dass es eindeutig einen lokalen Wettbewerb gibt. Aus diesem Grund legte das Management des Stadions großen Wert darauf, mit Modernisierung eine Stellungnahme abzugeben. Das Management hatte bereits den Prozess zur Verbesserung der Besuchererfahrung durch die Installation der größten LED-Bildschirme, die in den verfügbaren Bereich passen, begonnen. Sie wollten diesen Weg weiterverfolgen und den Kunden ein qualitativ hochwertiges Klangerlebnis bieten. Nach einem gründlichen Design- und Ausschreibungsverfahren entschied sich das Stadionmanagement für ein d&b audiotechnik System, das auf das Mittelformat Line Array System des Unternehmens, der Vi-Serie, beruht, einer Variante der V-Serie, mit der vollen Stärke der Vi-SUBs. Das System weist ebenfalls T- und Q-Serienelemente in subsidiären Aufgaben auf. Die d&b audiotechnik-Ausrüstung wurde durch den australischen Vertragshändler National Audio Systems geliefert und durch The P.A. People, einem bekannten australischen Systemintegrator, installiert.

ITALIANO

Ufficialmente aperto nel 1999 all’interno del Parco Olimpico di Sidney nell’ambito delle Olimpiadi di Sidney 2000, lo Stadio ANZ è oggi utilizzato per ospitare incontri di Rugby, Football e Cricket, nonchè per accogliere concerti di vaste proporzioni. Naturalmente lo stadio è stato equipaggiato con un sistema di amplificazione alla fine degli anni Novanta e a quell’epoca gli fu assegnata una durata di vita di circa quindici anni. Quindi, un paio di anni fa è stato deciso di iniziare la pianificazione di un ammodernamento dell’impianto audio. Lo Stadio ANZ è circondato da un certo numero di altri ritrovi in grado di ospitare eventi dello stesso genere, quindi si assiste certamente ad una certa competitività locale. Questo è il motivo per cui gli amministratori dello stadio sono stati notevolmente favorevoli ad una ristrutturazione, elemento che comunica il livello di interesse della proprietà per l’attività. La proprietà aveva già iniziato il processo di miglioria con l’arricchimento delle esperienze offerte ai visitatori per mezzo delle installazioni di grandi schermi LED sistemati negli spazi disponibili. Si voleva continuare nella stessa direzione ed offrire ai clienti un’esperienza audio di eccezionale livello. In seguito ad una progettazione generale e ad una gara per l’affidamento del progetto, la proprietà ha optato per un sistema basato sul d&b audiotechnik, all’incirca nella serie delle disponibilità medie della ditta, le serie Vi, una variante delle serie V, con un piena dotazione di Vi-SUBs. Il sistema presenta anche gli elementi di serie T e Q in posizione di supporto. L’equipaggiamento d&b audiotechnik è stato rifornito dal distributore nazionale in Australia, l’Audio System, ed installato da The P.A.People, un noto integratore di sistemi australiano.

ESPAÑOL TECHNICAL INFORMATION SOUND

152 x d&b audiotechnik Vi8 loudspeaker; 56 x d&b audiotechnik Vi12 loudspeaker; 64 x d&b audiotechnik Vi-SUB subwoofer; 32 x d&b audiotechnik Ti10P loudspeaker; 42 x d&b audiotechnik VTi10L loudspeaker; 8 x d&b audiotechnik Qi7 loudspeaker; 4 x d&b audiotechnik Qi10 loudspeaker; 96 x d&b audiotechnik D12 amplifier; d&b audiotechnik R1 Remote software; 1 x Yamaha M7CL digital mixing console; 1 x Yamaha DME64 digital mixing engine; Lake DSP cards; 5 x BSS Soundweb London BLU-326 audio processor; 5 x BSS Soundweb London BLU-120 audio processor; 4 x BSS Soundweb London BLU-BOB output expander www.anzstadium.com.au

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Inaugurado oficialmente en 1999 como parte del Parque Olímpico de Sidney para los Juegos Olímpicos de Sidney 2000, hoy en día el ANZ Stadium es utilizado para partidos de rugby, futbol y criquet, así como para conciertos musicales a gran escala. Obviamente que el estadio fue equipado con un sistema de audio a finales de los ‘90 que tuvo una duración de aproximadamente 15 años. De manera que un par de años atrás fue momento de comenzar a planificar la actualización del audio. El ANZ Stadium está rodeado por una cantidad de otros lugares capaces de ofrecer eventos de similares características por lo que definitivamente existe una competencia local, razón por la que la dirección del estadio fue astuta en declarar la renovación. La dirección ya había comenzado el proceso de mejorar la experiencia de los visitantes instalando las pantallas LED más grandes que pudieron caber en el espacio disponible. Quisieron seguir en el mismo camino y ofrecer a los clientes una experiencia de sonido de alta gama. Luego de un meticuloso diseño y proceso de licitación, la dirección del estadio optó por un sistema d&b audiotechnik basado alrededor del sistema mediano de formación en línea que posee la empresa, la Serie Vi - una variante de la Serie V - con un complemento completo de Vi-SUBs. El sistema también presenta elementos de la Serie T y Q en roles secundarios. El equipamiento de d&b audiotechnik fue suministrado por el distribuidor Australiano National Audio Systems y fue instalado por The P.A. People, un reconocido integrador de sistemas Australiano.

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CLUB ENZO NANJING, CHINA

ASIA/PACIFIC/OCEANIA The city of Nanjing, China, is the capital of the Jiangsu Province and resides on the south bank of the Yangtze River. The metropolis boasts historical and cultural heritage but in more recent years has undergone modernisation in terms of transport, hospitality and entertainment.

An area that epitomises the fusion of old and new is Nanjing 1912, a block comprising more than 17 architecturally stunning buildings situated alongside the Presidential Palace. In more recent years these historically charmed buildings have been filled with shops, restaurants, bars and clubs, transforming this block into a vibrant nightlife hotspot.

One of the most recent additions to Nanjing 1912 is Club Enzo, an 875 sq metre entertainment venue owned and operated by Nanjing Trendsetter Entertainment Management (NTEM).

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After considering and comparing a number of sound systems, NTEM approached Real Music Acoustic & Lighting Technology to specify an Adamson sound system to meet the requirements of the club’s hip hop style. A total of 16 Adamson M212 stage monitors are reverse mounted on the ceiling to cover the stage area. The M212’s offer precise pattern control, high output, exceptionally low distortion and a very wide dispersion angle, everything that is required for this club environment.

For the lounge area 42 Adamson Point 15-P passive loudspeakers the largest loudspeakers in the Point Series - have been installed due to their ability to combine high power, high fidelity and high SPLs. The combination of these monitors and loudspeakers equips each and every seat in the venue with at least two direct sound points.

For low frequency extension on the dancefloor and lounge area, Real Music Acoustic & Lighting Technology selected 32 Adamson Point 215 subwoofers - the perfect accompaniment to the Adamson Point 15-Ps - with a further six Adamson T21 bass cabinets installed strategically to provide more low frequency energy throughout the rest of

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Real Music Acoustic & Lighting Technology General Manager, Richie Wang explained why he believes NTEM chose an Adamson sound system. He said: “The system provides excellent sound quality and dynamics throughout the venue, boosting the enthusiasm of club members and making Club Enzo stand out on the 1929 block.”

For processing at Club Enzo, Real Music Acoustic & Lighting Technology turned to Apex’s Intelli-X2 48 processors. The Intelli-X2 processors were selected for their plug and play capabilities, meaning they are very easy to incorporate into any audio system design. “They are exceptionally powerful and flexible, deliver fantastic quality sound and are also remarkably straightforward to install and program,”

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134 VENUE

continued Richie.

The three Apex Intelli-X2 48 units provide a total of 24 DSP channels, four of which are used by the Adamson M212 monitors spilt into two groups, while the Adamson Point 15-P loudspeakers require 12 channels and the remaining eight are utilised by the Adamson Point 215 subwoofers. The Intelli-X2 48 processors are equipped with wireless access points, allowing wireless control over WiFi, a convenient tool for programming the sound field at Club Enzo.

Richie said: “The sound at Club Enzo has really impressed everybody, not least the owners, who are dedicated to building China’s very best nightclubs, using Apex processors is an important part of achieving that.”

To power the Adamson enclosures more than 40 Camco amplifiers were chosen, six Camco Vortex 8, four Camco Vortex 3 and 35 Camco Vortex 6. The Vortex Series of amplifiers deliver low distortion values and impressive signal to noise ratios. Each model offers transparency and precision and thanks to their unique power regime they are capable of switching between different loudspeaker configurations depending on what is required by the club at any given time. The Vortex Series also feature a built-in remote control system for added flexibility. Richie said of the amplifiers: “They can be monitored through the network, so all the amplifiers in the system can be monitored and analysed on one computer in real time.”

Completing the new audio line-up at Club Enzo is a Yamaha LS9-32

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digital mixer. NTEM wanted a fully digital system (although there is an analogue system in place for back-up) from the very beginning so a digital console choice made perfect sense. The Yamaha LS9-32 features 32 mic / line inputs and four stereo inputs, which can be expanded up to 64 channels using pre-amps if required. It also comprises 16 mix buses, eight matrix buses as well as stereo and mono buses plus a Virtual Rack, which is packed with a comprehensive range of effects. The console’s extensive range of features - coupled with the rest of the new audio set-up - means Club Enzo is ready to entertain its customers night after night.

TECHNICAL INFORMATION SOUND

16 x Adamson M212 stage monitor; 42 x Adamson Point 15-P loudspeaker; 32 x Adamson Point 215 subwoofer; 6 x Adamson T21 bass cabinet; 3 x Apex Intelli-X248 processor; 6 x Camco Vortex 8 amplifier; 35 x Camco Vortex 6 amplifier; 4 x Camco Vortex 3 amplifier; 1 x Yamaha LS9-32 digital mixing console; 4 x Pioneer CDJ-2000 CD player; 2 x Pioneer DJM-2000 mixer; 1 x Pioneer RMX-1000 remix station www.real-music.com.cn

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IN BUSINE S S Showtech, Berlin ATTENDED BY JUSTIN GAWNE

Mediatech, Johannesburg ATTENDED BY JUSTIN GAWNE

Palme Asia, Singapore ATTENDED BY RACHAEL ROGERSON

Entech, Sydney ATTENDED BY RACHAEL ROGERSON

ROBE, CZECH REPUBLIC XTA, STOURPORT ON SEVERN product guide AMPLIFIERS

PRODUCT DIRECTORY

Justin Gawne and Rachael Rogerson have been hitting the tradeshow scene yet again. Justin reports back from Showtech in Berlin, which had a positive vibe in general but closed on shaky ground following the announcement of the show essentially splitting in two. In contrast, he said Mediatech in Johannesburg is going from strength to strength and is one to watch out for in future years.

Rachael made her annual visit to Singapore and Australia for Palme Asia and Entech, both of which were fairly similar in size but the latter stood out as the most successful. Rachael also brings you the latest news from Robe and XTA after visiting the manufacturer’s factories.

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In all my years in the industry, I had never managed to make it to Showtech - the biennial exhibition held in Berlin aimed at the theatrical, TV and event market - so on my first visit this year, it came as a bit of eye opener when comparing it to the plethora of exhibitions which litter the industry.

The event, a tie up between the German trade association DTHG, Deutsche Theatertechnische Gesellschaft, and Reed Exhibitions Deutschland had a unique focus because of the association’s membership, specifically in the stage and scenery automation sector, something that is rarely seen in the more traditional entertainment technology events.

On its 16th outing, the 2013 event occupied four halls of exhibition space at the Berlin Exhibition Centre and attracted 311 exhibitors from 21 countries. Running in conjunction with the exhibition was a diverse conference schedule looking at

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international projects, technology developments, costume makers symposium and the ever-important topic of event safety. Attendance for the show was claimed at more than 7,400, which was a slight rise on the 2011 event, and as an exhibitor there was a noticeable international attendance especially from Asia - specifically Japan - something which I haven’t seen for a long time. The level of attendees was also very high, with serious buyers and influencers walking the floor.

However, what transpired during the event was a split between the two organisers with regards to direction and development of the show. As far as I could ascertain Reed Exhibitions obviously have a vested interest in growing the event and expanding its reach as far as exhibitors and visitors go and also changing the venue from the Berlin Exhibition Centre to Tempelhof Airport Berlin. Whilst DTHG wanted to maintain its niche appeal and act as a showcase for its membership.

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1. Leif Witte of ASC. 2. Sebastian Feche of Lightpower with Isac Alkstrand of Wireless Solution. 3. Björn Gaentzsch of MA Lighting. 4. Fabiano Besio of LDR with Daniella Titze of LTH. 5. The Leader Light team. 6. Stephanie Walloner of JB Lighting and colleague. 7. Annette Engelhard of Pyrotronix with Kirsten Eicher, CEO of Look Solutions. 8. The ADB Lighting team. 9. Spotlight’s Thomas Nell. 10. Martin Michaud, President of MDG with Heinz Siller of RST Distribution. 11. Gerald Heise of ASC. 12. Alexander Hartung of Chainmaster. 13. The J&C Joel team. 14. Werner Bankner of Lasertec Showlaser.

These issues are not uncommon when a wholly commercial organisation partners up with an association, as there are differing long term aims.

The actual announcement of the split did not come till the end of Showtech though rumours were running throughout the show, which led to exhibitor reluctance to rebook floor space for the 2015 event. The eventual announcement from the DTHG revealed a tie up between itself and the actual venue, Berlin Exhibition Centre.

Billed as Stage Set Scenery, the event is aimed at the exact same audience both in terms of exhibitors and attendees, and the dates for the show are 9-11 June 2015. While Reed Exhibitions announced the 2015 Showtech at Tempelhof Airport Berlin with the slightly earlier dates of 19-21 May 2015.

This split shows potential for the competing events to either cancel each other out and neither maintaining sufficient exhibitors to actually run a show, or confuse the

audience so that even if the shows do take place, neither will have the footfall to give the exhibitors a return on investment.

What is sad about the situation is that Showtech, in its previous form, occupied a highly appreciated niche to its audience, and in my eyes, a show that was fulfilling its remit of bringing together supplier and purchaser in a well-organised, educational event. How this will all pan out is anyone’s guess at the moment but they’ve got two years to hopefully sort themselves out as I can’t see the two shows running side by side when both look at such similar audiences and timelines.

The next Showtech is scheduled to take place at Tempelhof Airport Berlin on 19-21 May 2015. For more info go to: www.showtech.de The first Stage Set Scenery is scheduled to take place on 9-11 June 2015 at Berlin Exhibition Centre. For more info go to: www.stage-set-scenery.de

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1. Distributor iLED with brands Wyrestorm, apart and Powersoft. 2. Bruce Riley and Basinki Sekori of DWR with Grant Bales-Smith and Brad Schiller of Vari-Lite. 3. Dave Nazir of Biamp and Tiaan Hoogstrad of TID. 4. Dean Standing of Rane with Grant Scott of Prosound. 5. Helmut Protte and Harry Gladow of coolux flank Zane Cretten of Questek. 6. Duncan and Sherryn Riley of DWR. 7. Justin Stewart and Shaun Meyer of Legacy Brands. 8. Julian Chiverton of Doughty and Elaine Peake of Le Maitre flank Amanda Bell of DWR. 9. Malcolm Finlay of Penmac with Michael Engstrom of Dataton. 10. Justin Knox of ULA. 11. Leslie Wahl and Dylan Bridle of Designer Audio Systems PTY and Jack Palacio of D.A.S. Audio. 12. Harman distributor Wild & Marr. 13. Quincy of MA Lighting in full demo mode. 14. Dominic Jacobson of Martin Audio with Alison Taman, Greg Payne and John Silver of Audiosure.

MEDIATECH JOHANNESBURG

I don’t often enthuse about exhibitions these days. There are the mega events such as Prolight+Sound in Frankfurt, ISE, Amsterdam and Infocomm in the US, which have established themselves outright and are must-go-to events, the rest are either very good regional shows or events that are a shadow of their former selves that just seem to keep going when the need for them has long gone. However, there is one show that stands out for a different reason as a must go event because of its potential as a gateway to the still undiscovered African market.

Mediatech, held in South Africa is a biennial event that takes place at the Coca Cola Dome, a venue in the North Riding suburb of Johannesburg. The event

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covers a broad array of technology related industries from broadcast and media through to entertainment technology. The size of the South African market allows these diverse elements to be together as they can’t sustain an individual event themselves.

I first attended the show four years ago and saw its potential as a stepping stone into the greater African market. Back in 2009, in my opinion, the show was still relatively unknown outside of South Africa, however, upon my return this year there was a lot more interest from overseas manufacturers.

With over 130 exhibiting companies occupying floor space, the show was abuzz

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with positivity. The South African market had been in a bit of a slump suffering the hangover of the 2010 FIFA World Cup and the glut of equipment that had come into the country for the event. This has now worked its way out and there is fresh buying interest. There wasn’t one negative comment from an exhibitor which, is a first for me in a long time. This year also saw the highest overseas attendance with manufacturers sending representatives to support their distributors and find out what was happening in South Africa. Similarly, the reaction from first time visitors was overwhelmingly positive. Many were suprisingly impressed with the high calibre stand designs and the overall show organisation.

Of particular note was distribution company DWR, which hosted representatives from Clay Paky, MDG, Prolyte, Vari-Lite, Robe, Robert Juliat, MA Lighting, Le Maitre and Doughty - oh and me.

• With integrated wireless receiver for WDMX operation

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1. Doug MaCallum of One Systems and Grant Scott of Prosound. 2. Martin Michaud of MDG with Dave Whithouse of DWR and Peter Kirkup from Lumen Radio. 3. Simon Oates of Tadco with Denis Baudier of Nexo and Johnny Sideratos of Rolling Thunder. 4. Valère Huart of Ayrton with Joseph Mandy of newly appointed distributor, Sound Harmonics. 5. Tyron Roelosfsz of Viva Afrika with their own brand Hybrid loudspeakers. 6. Tim McCall of L-Acoustics and Richard Smith of Sound Harmonics. 7. Stefan Goertz and Christian Stumpp of d&b audiotechnik with Nathan Ihlenfeldt of StageAudioWorks. 8. Lawrence Mao of PR Lighting, Martin Kuyper and Peter Draaisma of Eurotruss with Ian Blair of Prosound. 9. Massimo Bolandrina, Marco Zucchinali and Pio Nahum of Clay Paky with Dave Whitehouse and Michael Van Dyk of DWR. 10. Terry Acres of Prosound celebrates the company’s 40th anniversary.

I’d personally like to thank Duncan, Sherryn and the whole of the DWR team for organising a weekend visit to a game reserve so all the animals could see the new African Queen, Sarah Rushton-Read! And that was on top of organising all of us at the show too.

Other companies which had large stands and a number of manufacturers represented included Prosound with Rane, One Systems, Dynacord, Electrovoice and Furman plus new brands Eurotruss and PR Lighting. Prosound was celebrating its 40th anniversary and held mini concerts at the end of each day. Having recently taken on Green Hippo, Electrosonic had tutorials running throughout the day, as well as showing Martin Professional and ADB on the show floor. Movievision showcased its extensive range of products including Rosco, DTS, Kupo and Le Mark.

As well as the standard exhibits, the show also had an extensive seminar programme and associated events including networking breakfasts organised by the trade association SACIA. Another area that had shown growth, and proved very poular, was the outdoor sound demonstrations, systems on show included Martin

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Audio, L-Acoustics, D.A.S. Audio and domestically designed brand Hybrid from Viva Afrika.

The show had its highest footfall to date with 6,924 visitors, including 424 international attendees. Interestingly, there were only 197 from countries in Africa, which upon first glance seems quite a low figure. However, further investigation lead to the explanation - the cost of getting to South Africa made the trip unaffordable, but the number is growing and it is inevitable that this show will be where the buyers come as countries develop and require new technologies.

This year’s show had a feel about it that I haven’t witnessed since the PALA, Singapore show in the mid ‘90s, when a lot of companies were just getting set up in Asia. Mediatech has the same vibe and that can only be good for the industry.

I actually didn’t want to leave but my flight was calling from the recently renamed Rushton-Read International Airport!

Mediatech is scheduled to return to the Coca Cola Dome on 15-17 July in 2015. For more information go to: www.mediatech.co.za

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1. Hugh M. Chinnick and Faizan Fadil Pacific Lighting with Thierry Pouliot of MDG. 2. Mahajak Sales Manager for Professional Sound, Glenn Lin. 3. K-array’s Michel Brouard. 4. Laserworld exhibited for the first time at Palme Asia. 5. The Quad Professional stand representing Midas, Klark Teknik, Clair Brothers and ICTC. 6. Electronics & Engineering’s Gary Goh with Craig Lovell of Apex. 7. Acoustic & Lighting Systems distribute RCF and Clay Paky in Singapore. 8. Chandan Mahtani, Loong Yee Hin, Menze Van Der Sluis and Marc Hendriks on the Prolyte stand. 9. The Martin Professional team line up.

PALME ASIA SINGAPORE

The 27th edition of Palme Asia took place at Marina Bay Sands (MBS), Singapore on 17-19 July. It was held alongside Install Asia and LED Asia, however clear definition between the three was not evident on the show floor.

The exhibition stretched across 5,000 sq metres - essentially one hall at MBS where 150 different brands and companies from more than 25 countries were on show. Alongside the tradeshow there was an extensive seminar programme, which covered topics including: Core Principles of Audio; Safety in the Entertainment Industry; Eco Solutions; Room Acoustic Fundamentals; Architainment Lighting Technologies; and AV Technologies. Arguably, this element was key to attracting more visitors.

L-Acoustics held a demonstration afternoon on the second day in the adjacent hall, which saw the manufacturer’s Application Engineer and Certified Trainer, Alvin

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Koh, and Sales Manager, David Cooper, introduce the company’s new Arcs Wide and Arcs Focus constant curvature line source systems.

The same afternoon, Technical Director of Prolyte, Marc Hendriks presented visitors with a two-hour master class on demountable outdoor structures. And throughout the entire three-day event, Robe held a light show every hour, on the hour, to demonstrate the capabilities of its Robin Series.

On the show floor itself, the vibe was fairly subdued with the majority of exhibitors reporting a disappointing foot fall and of those that did visit, very few were unknown to the industry. Exhibitors did agree that Palme Asia posed a good opportunity to network with the Singaporean community - and a few from surrounding countries such as Vietnam and the Philippines - however, sophisticated stand designs and showcasing products is not necessarily required in order to network.

EXPO 000

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There were notable absentees from this year’s show including d&b audiotechnik S.E. Asia, Team 108, Synergy AVL and Showtec Group, although representatives from most were seen walking around the show floor. Instead of making a financial investment, it seems these companies chose to view the show purely as a networking opportunity. This was a notion that came up time and time again, with many people agreeing this might be the best way forward for this show. Howver, in order for this to happen more companies will need to make the decision not to exhibit and force show organiser, Informa to listen to what they want.

Another suggestion made by some exhibitors was to tie Palme Asia and Broadcast Asia - which took a month before at MBS - together and make a larger show spanning across a wider market.

Gone are the days when products were launched to the South East Asian market at the show - with the exception of Martin Professional’s Jem Ready 365 hazer - most likely because there are so many exhibitions in that part of the world now and there is no clear leader. In an industry that is saturated with events across the globe, it is difficult for a small market such as Singapore to compete, manufacturers and distributors are forced to make choices that will give them the most exposure and Singapore doesn’t rank as highly on the international scale as it once did.

Although there was some positivity on the show floor, which included the first showing of Apex processors on the Electronics & Engineering booth, since the company recently added Apex to its portfolio. And Informa had clearly made some changes to try and improve the show’s appeal since it’s last edition, namely the education platform. If Palme Asia wants to create a buzz in the South East Asian market and set itself apart from other shows in the region it’ll need to try to increase the visitor numbers next time around.

It’s not unusual for shows of this size - that generally cater for a local market - to receive criticism because as standalone events, there is just not enough on offer. It would be sensible to accept that times have changed in terms of the industry itself, the technology and the popularity of certain regions. Therefore we can’t continue to compare shows today to what they were 10-20 years ago. Either accept what it is or opt out. In an ideal world maybe we’d fight for what’s best for the industry, but it’ll require guts and courage to take on that mountain.

Palme Asia is set to return in 2015, dates have yet to be announced. For more information go to: www.palmseries.com/asia

SL2.15

10. Brenda Teo, Josef Junior Valchar, Louis Teo, Josef Valchar and Jana Valcharova on the Robe stand. 11. The Total Solution team.

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146 EXPO

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1. Steve Devine and Mike Cooper representing Meyer Sound. 2. Paul Owen and Thomas Taddei of DTS. 3. Alex Mair of Lexair with Bryan Kelly of Green Hippo. 4. Martin Kuyer and Peter Draaisma of Eurotruss flank Robert Runko of Showtools. 5. The team on the ULA stand line up. 6. Edwards Sound Systems has recently taken on the distribution of D.A.S. Audio in Australia, it also distributes Fenix. MD of Edwards, Jonathan Hardie Neil (centre) headed up the team.

ENTECH SYDNEY Entech 2013 took place on 23-25 July at Sydney Convention and Exhibition Centre overlooking Darling Harbour for the final time, as the complex is due to be demolished at the end of this year. The show certainly went out of Darling Harbour on a high breaking all previous show records. A total of 4,705 unique visitors attended the show with the overall attendance including revisits totaling 5,469. The figures represent a 17% increase for interstate visitors and an overall 5% increase on the previous show.

Following the success of Entech’s co-location with SMPTE in 2011, the two shows ran side by side again. However, this year the event - which also incorporated The Australian Commercial and Entertainment Technologies Association (ACETA) and the Australian Lighting Industry Association (ALIA) - was branded as the Australian Entertainment Technology Week and boasted a number of new features.

To entice visitors show organiser, Exhibitions & Trade Fairs (ETF) launched Entech Technicians’ Lunch Series hosted on different days by Bose and Show Technology, as well as a visitor networking evening sponsored by Bose. While ACETA held a forum for students to help build their careers in entertainment technology and introduced the ACETA Hall of Australian Manufacturers, a space which was dedicated to showcasing innovative products and services offered by leading Australian designers and manufacturers to the visitors. A Music Products Zone was also set up at the show, a scheme that allowed music product companies to have a presence in the entertainment technology market with little financial investment.

Something that was high on the agenda for ETF was an extensive and informative seminar programme. The schedule of 40 seminars - which attracted almost 1,000 attendees - ran for the duration of the show and covered each aspect of entertain-

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VIDEO CONTENT ment technology including lighting, projection, video, audio, trussing, rigging and design. Industry figures lined the panels during many of the sessions and iconic projects were used as case studies to demonstrate and educate the attendees, among the most popular were the Sydney Opera House and King Kong.

On the show floor itself D.A.S. Audio was exhibiting with its new distributor in Australia, Edwards Sound Systems. The manufacturer had teamed up with the Sydney based company just a month before the show, although the same company has been representing D.A.S. Audio in New Zealand for many years.

A brand new company took a stand at Entech 2013 as it had some very important news to announce. The formation of Entertainment Technology Australia (ETA) marked the re-launch of SGM into the Australian market and Director of ETA, Dave Croxton was extremely pleased with reaction from visitors. He said: “The re-launch is in line with the company’s overall vitalisation after Peter Johansen took on SGM. I think people are really pleased to see a new direction in lighting with the innovative products that SGM is releasing. We’ve had a strong response to the products and it’s certainly created a buzz in the Australian market.”

ULA Group had new products on display from Robe including Robin Pointe, Robin MMX Blade, Robin Cyclone, as well as the MDG M3e and the MDG ATMe fog and haze machines. ULA also launched and presented VuePix TV for the first time in Australia, a seamless LED display that comes with 4mm high contrast resolution and high brightness levels.

The al-4 subcompact line array from VUE Audiotechnik and the SSL Live console were on display for the Australian market on the Amber Technology stand, while Technical Audio Group used a sushi-style train to showcase its latest offerings

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7. Max Twartz and Tony Russo on the TAG stand. 8. Jands’ Paul Mulholland with Harman’s Vincent ‘Vinne’ Perreux. 9. The HME team, which distributes Prolyte trussing in the Australian market. 10. Show Technology had colour co-ordinating t-shirts for each day and impressed visitors with its action packed light show. 11. Jamie Payet and Dave Croxton of the newly formed Entertainment Technology Australia flank David James Forster of SGM.

from Audio-Technica. Ambient Technology highlighted products from Kind Audio, Outline and Jocavi, a manufacturer of acoustic panelling.

Show Technology was a lively stand for the duration of the exhibition running a light show to present all of its latest products every hour, on the hour. Products on display in the light show included Martin Professional’s Viper Series and its new Rush Series, the Sharpy Wash and new additions to the ALEDA Series from Clay Paky, moving heads from Terbly, Jem fog and haze machines, lighting consoles from MA Lighting and LED pars and PixPads from Show Pro. There were a couple of manufacturers - Production Audio & Video Services and CMI - that distribute products relevant to both Entech and SMPTE but on this occasion opted to showcase products that were aimed at the television broadcasting market in the SMPTE halls. However, representatives from both companies were seen walking the aisles of the two exhibitions.

The overall vibe of the show appeared fairly positive, with increases for both exhibition and visitor figures in comparison to the 2011 event. Although there were some grumbles about the size of show, arguably this is more a sign of the times and the #33208 - E100 PLASA Mondo_Layout 30/08/2013 14:30 Page 1

We’re @ Plasa @ ExCel: L60 Come and see us!

market, in so much that mondo*dr hears this comment at almost every national tradeshow yet Entech was actually larger than many other regional tradeshows that has taken place of late. The question of Entech versus Integrate also remains and while many agree that the two cater for different markets so there is clarification for both, campaigners for one large show catering for a broader market still exist.

Event Manager, Stephen Dallimore concluded with his thoughts on the show: “This year the show has really exceeded our expectations in terms of visitors, especially interstate visitors and the buy into the seminar programme which was a key push for us this year. The exhibitors themselves had great stand designs, which has been great for visitor interaction and they are all reporting great feedback, new leads and new business opportunities. So overall I think it’s been a tremendous success and we’re now looking forward to going back to Melbourne next year for Entech Connect.”

Entech Connect in Melbourne takes place next year on 23-24 July at the Royal Exhibition Building. Entech in Sydney will move to Glebe Island in 2015 on 21-23 July. For more information go to: www.entechshow.com.au

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In a relatively short space of time Czech Republic manufacturer, Robe has made a significant impact in the lighting world. The company’s owners Josef Valchar and Ladislav Petrek took a leap of faith in 2002, transitioning from an OEM partner into a fully-fledged independent manufacturer and it seems the duo haven’t looked back since.

ROBE

CZECH REPUBLIC Josef Valchar and Ladislav Petrek began dabbling in the lighting market more than 20 years ago, when in the early ‘90s they formed Robe Show Lighting as an OEM company that manufactured products for various established brands on the market at that time.

As the millennium year passed by, Josef and Ladislav began to consider the future of the company. During Prolight+Sound, Frankfurt in 2002, Robe Show Lighting was still an OEM partner for a number of lighting brands. “We held back at Frankfurt because we want-

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ed to conduct meetings with our customers to assess if we were going in the right direction. During those meetings we saw the signs and decided we could not delay our plans any longer,” said Josef.

Two weeks later at SIB in Rimini - a show which no longer exists but at the time was thriving - the Robe brand that we know today was launched. Josef continued: “Our first goal was to be independent from the OEM customers and I think we did a great job on that front. In less than two years we turned from

being 100% OEM to 100% manufacturing, selling and distributing products to the worldwide market. That’s quite an achievement.”

The next plan of action was to set up a worldwide distribution network. Josef truly believes in the concept and said: “You can have the best product in the world but if you don’t have a good distribution network to promote it, the product might not succeed.” In just over 11 years, Robe has set up distributorships in 90 countries worldwide, as well as as 100% owned sub-

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1. The Robe factory in Valasske Mezirici. 2. All moving heads are assembled by hand. 3. Products in the warehouse, packed and ready for shipping. 4. Owners Josef Valchar and Ladislav Petrek. 5. The on-site showroom where customers can see Robe products in action. 6. The production line. 7. After assembly all Robe fixtures are throughoutly tested.

sidiaries in the UK, USA and UAE plus sales offices in Russia, Uruguay and Singapore.

Along with expansion on a global level, Robe’s factory in Valasske Mezirici, Czech Republic, has also undergone various renovations over the years, which has resulted in an all-in-one facility. “We try to manufacturer most of the components in our factory, we have our own PCB production, plastic production, metal production and most recently we’ve installed our own powder coating line, which is now fully operational,” explained Josef.

R&D is also in-house, so all the mechanical, optical, software and PCB designs are carried out by the R&D team to ensure that all new products remain top secret until their launch date.

Having every aspect of the manufacturing line on-site allows Robe to have full control of pricing, quality and delivery times. “Because we make everything in the factory we can prioritise what to do first, what to do second,” said Josef. “Companies that have to use subcontractors can’t always adapt to market demand and that’s becoming more important these days because nobody wants to wait for products, they want it now, tomorrow is late.”

Robe’s product development has been consistent over the years, with regular new releases and additions to existing product series. Possibly one of the company’s

landmark products is the 250 SpotXT - launched in 1999 - which until more recently had been Robe’s best selling product. Robe invested serious time and effort bringing the Robin LEDWash Series and the Robin DL Series to market between 2009 and 2011 and when the Robin LEDWash 600 was launched it quickly took over the top spot of the best selling product ever in the company’s history. Early predictions are that even these remarkable figures could be overtaken with the launch of Pointe earlier this year.

The introduction of Pointe at Prolight+Sound, Frankfurt topped off a spectacular 12 months for Robe, the company’s most successful year to date. The Pointe was the result of extensive customer feedback which indicated the demand for a multipurpose fixture that was small, compact, lightweight and eco-friendly.

This is already extending the company’s success in 2013 which is on track to increase its previous turnover once again.

Josef said: “The Pointe has already gone way beyond our expectations. This light is not a one-trick-pony, it’s a complex product that combines spot, wash, beam and effects all-in-one fixture. It gives customers the opportunity to use it in so many different applications.

It can do all types of events - concerts, theatre, TV and installations.”

Alongside development of new products, over the

last four years, Robe was integrally involved with the planning of the prestigious Showlight lighting industry event in May 2013, for which it was host and co-organiser. The conference takes place once every four years in a different location. “We are very very proud that we could host the event in the Czech Republic and we chose the location very carefully,” explained Josef.

“When I was thinking of the right place, Cesky Krumlov immediately sprung to mind. There were many factors, the place itself is beautiful, it’s like a little Prague, everything is within walking distance, you can actually walk across the city in a matter of minutes. It is home to an impressive authentic Baroque Theatre, the Castle and an open air theatre with revolving auditorium, all very beautiful things that you don’t often find in one place.”

Robe also saw this as a chance to introduce those from the lighting world to the Czech Republic. “Many people used the opportunity to visit our factory after the conference to see how we manufacture our products and also experience the lifestyle and culture. I think it was a big eye opener for many people who came to the Czech Republic and especially to Cesky Krumlov,” said Josef.

“We’d be happy to host Showlight in the Czech Republic again in 2017,” he added with a cheeky smile. www.robe.cz

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XTA began life in 1992 as a British owned and operated audio manufacturer and in just 21 years the company has grown on a global scale yet the company has always remained true to its roots. With an innovative new product on the horizon, is this company from The Midlands about to make a major breakthrough for our industry?

XTA STOURPORT ON SEVERN Back in the early ‘90s, digital signal processing (DSP) technology was in its infancy. The audio industry was aware of it, many professionals wanted to use it but few fully understood it and its capabilities. However, in the Georgian canal town of Stourport on Severn, UK a couple of people with a keen interest to explore the technology further were doing just that and in 1992 Andrew Grayland and John Austin founded XTA, meaning this year marks the company’s 21st anniversary.

Having worked at Klark Teknik - just up the road in Kidderminster - Andrew and John had been involved with product development using DSP but felt it had more to offer. At the time DSP was not considered as

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an alternative to analogue, mainly due to limitations in converters, but the pair strived to change that, funding their research with the launch of XTA’s first product, the DS400 mic splitter.

This research culminated in the launch of the company’s first digital product - the DP100 digital delay.

Technical Brand Manager of XTA, Waring Hayes said: “It was much more accurate than anything else that was being used for audio DSP at the time, and in using a specialist Texas Instrument chipset the audio quality was vastly improved. Even though this product didn’t really do much in the way of EQ as it was more of a delay line, Andrew and John could see the potential and a reason to pursue the DSP route.”

Encouraged by the success of the DP100, it was swiftly followed by the DP200, which featured more EQ control and introduced the first version of XTA’s remote control software, AudioCore. The DP200 was original launched as a digital equaliser, however after users requested crossover filters and limiters to be added to the original unit it morphed into a digital crossover. This transition ultimately paved the way for the XTA DP226 loudspeaker management system featuring two inputs and six outputs, which is today considered as one of the company’s flagship products.

“I think a product that was developed for all the right reasons was the DP324 - SiDD. It was very much a product that was developed for the needs of the engi-

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1. XTA headquarters in Stourport on Severn. 2. Co-founder John Austin and Technical Brand Manager, Waring Hayes. 3. XTA Test Engineer Martin Haycock, Lukie Duffell from the Production Department and Tomas Resano Inza working on product development. 4. XTA’s DP548 dynamic management units. 5. A glimpse of what’s to come from the new hybrid product.

neers and it became one of those things that people bought to be part of their own ‘boutique’ tool box that does everything,” said Waring. Witnessing its popularity sparked the idea for the Series Two dynamic processors. “I think that process worked really well for XTA, after we initially responded to what people wanted we then thought, ‘what can we do to make that better?’

People liked the sound but they wanted to access it in a different way and that’s how the Series Two evolved,” continued Waring.

The follow-on success of the current DP4 Series speaker management systems has further evolved to now encompass the dynamics found in the Two Series but ‘powered up’ in the form of the current flagship processor, the DP548. “One of the key strengths of all our processing is how the units react under stressful conditions - driving them into compression and limiting should always produce listenable results,” said Waring.

Along with developing products to sell under its own brand, XTA also has a number of OEM partnerships.

Possibly the most well-known is Funktion One that uses XTA processors and MC² Audio amplifiers - which was acquired by XTA in 2007 - to provide a complete audio package. Waring explained how OEM has helped the XTA brand develop: “It’s helped us because we get a lot of exposure with Funktion One, it is seen as a premier brand in a market where its not very often about the sound quality its more often about show, how loud it is and how hard it is but they always push for it to sound good, and because one of their tools is our product it reflects well on us, and of course they are

very nice people to work with.” HK Audio and D.A.S. Audio have similar partnerships set-up that so they too are able to offer their customers turnkey solutions.

Over the years, there have been many milestones for XTA and as the company has expanded and thrived, it has been helped along the way through a number of high profile projects. Arguably XTA’s first big break was the 1999 Rolling Stones Tour. XTA processors were thrust into the limelight on a worldwide tour and the fact that The Stones used XTA once again at Glastonbury this year is a testament to the products. Being involved with the 2012 London Olympics was also a once in a lifetime opportunity for XTA, as was an installation at NASA’s Space Power facility in Ohio.

Reflecting on XTA today, it’s had a steady progression of product development - which includes its newest audio control platform iCore, initially designed to work with MC² Audio Ti-amplifiers but has now been rolled out and used with XTA products as well. It also has excellent on-site facilities boasting an R&D laboratory and a sound-proofed testing facility thanks to a couple of building expansions, so the company is well prepared for the next challenge, which it believes the market is already waiting for.

“Because XTA and MC² Audio have been collaborating for quite a long period of time now, nobody can deny that people are expecting a box that combines an amplifier and DSP, its been a long time coming,” commented Waring. Plenty of research has taken place to ensure that the product goes beyond what is expected.

It’ll need to have the fantastic sound quality of an XTA

product combined with the massively powerful amplifier technology that MC² Audio products have become known for.

Keen to offer a sneak preview, but unable to give away all the details, Waring said that while this eagerly awaited product will incorporate features such as FIR filtering and load monitoring, it won’t be those which makes it special, it’ll be how it works as a whole.

“Other companies have tried to do something similar before but it’s been very product specific, what were hoping to produce is something that can be used with any speaker system.

“The approach that we’re going for is a product that’s symbiotically melted together. John’s turn of phrase is it’s a product with tentacles running throughout, its not just sat on the front end doing signal processing and then going to an amplifier. It’s sort of in the power supply, it’s in the output stages, it’s beyond the box and into your speakers!” continued Waring.

Users will also gain a new way of interacting with this new product - which will be branded as an XTA product initially - however, it’ll be something more unusual than remote control via an iPad. “I know it hasn’t been done before and I’ve had to contact the company which produces it to ask if we can integrate hardware with the way it produces its products,” concluded Waring.

This groundbreaking, industry-changing new product is set to launch at Prolight+Sound, Frankfurt 2014.

Watch this space. www.xta.co.uk

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152 GUIDE - AMPLIFIERS

AD SYSTEMS | IMPULS NT4 www.ad-systems.com

The Impuls NT4 amplifier touring grade four-channel amplifier unites state-of-the-art DSP processing capabilities with Ethernet-based command and control and digital audio. By using AVB for audio signal transport it is possible to use a common and inexpensive Ethernet network for audio and for command and control simultaneously. It provides Hi-Fi audio quality at 2.5kW of output power and weighs just 13.5kgs. For maximum flexibility the Impuls NT4 provides four analogue audio inputs, two AES / EBU stereo inputs and four streams out of the AVB network to be routed freely to any amplifier channel. Loudspeaker presets can be loaded to any output individually. The NT4 C&C software is provided for all common computer and tablet platforms.

APART AUDIO | CHAMP-3D www.apart-audio.com

The Champ-3D is a three-channel fully programmable digital amplifier for medium to mid-sized applications up to 2,100W and because of its convection cooling the amplifier has no fan inside so will stay dust-free. The built-in loudspeaker wizard of Champ-3D makes life easy during set-up and offers an easy way to select all Apart Audio top cabinets and subwoofers, which will now automatically be configured with the ideal DSP settings to protect the sound system and guarantee a warm and dynamic high-end sound. With the built-in high class DSP processor there is the possibility to adjust the four-band full parametric EQ and crossover, delay, compressor and limiter-leveller. Once all settings have been configured, users can make multiple permission levels to avoid tampering by unauthorised or unqualified people.

ASHLY AUDIO | NX SERIES www.ashly.com

The nX Series of amplifiers deliver up to 12,000W in a convenient 2U package. Each amplifier has multiple independent power supplies that provide increased reliability and performance with Ashly’s energy management system. The nX Family offers three series - nX, nXe, nXp - with a wide-range of power and are hand-built in the US. The base nX Series amplifier is pure power - offered in two and four-channel configurations. The nXe Series adds ethernet control, event scheduling, preset recall, aux outputs, and includes AES3, CobraNet and Dante (in development). The nXp model has all the features of nXe, plus comprehensive signal processing using Protea DSP, as well as swept load impedance monitoring for system maintenance.

AUDIOCENTER | DA SERIES www.ac-pro.net

The DA Series of amplifiers brings a mix of tradition and innovation to pro audio engineers. The four models within this series offer a range from 850W to 2,500W per channel at two ohms to satisfy all requirements. The DA Series is the answer to users who aim at a no compromise audiophile sound quality in pro audio applications. With a well designed linear power supply, an enormous toroidal transformer, large capacitance, Class H+ output stage topology with metal bipolar transistors and carefully selected components ensures Hi-Fi sound with a high damping factor.

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AMPLIFIERS - GUIDE 153

BEHRINGER | INUKE 12000DSP www.behringer.com

The iNuke 12000DSP amplifier delivers 12,000W of Class-D power, solid reliability and state-of-the-art signal processing - all in a lightweight 2RU form factor. The onboard DSP eliminates the need for external gear by providing sophisticated delays, three crossover filter types, eight parametric and two dynamic EQs, dynamics processing and lockable security settings. Controlled by the front panel LCD display or the software interface via USB-connected computer, the iNuke provides robust power with dependable speaker protection and plenty of headroom.

CAMCO | D-POWER SERIES www.camcoaudio.com

The D-Power Series of amplifiers introduces six, two-channel models to the market - the D05 250W per channel, the D1 500W per channel, the D2 1,000W per channel, the D3 1,500W per channel and the D4 2,000W per channel and D7 3,300W per channel. The D7 / D4/ D3/ D2 models utilise a hybrid Class-H amplifier engine, while the D05 and D1 use the new UMAC Class-D technology. All models benefit from the latest advances in Camco’s SMPS technology. The introduction of the D-Power Series expands the choice and ability to refine system specification to exact requirements. D-Power power output specifications have been selected to work as stand alone amplifiers or in combination with Q-Power Series so that exact power formats can be matched, minimising rack space and maintaining family function and design. With the D-Power Series Camco has identified key elements, such as power output range, flexible connectivity and interaction.

CLOUD | VTX SERIES www.cloud.co.uk The VTX Series of high-power multi-channel amplifiers from Cloud features three power level variants: VTX4120 offers 4 x 120W, while VTX4240 and VTX4400 offer 4 x 240W and 4 x 400W respectively, all into four ohms. Designed with precision, the Cloud VTX Series achieves high quality acoustic performance across the long term. Simple and reliable installations can be achieved with these 2U rack-mounting amplifiers benefiting from studio quality VCA input modules for remote level control (RL-1) as standard and featuring a switched hi-pass filter (18dB / oct below 65Hz) for each channel as well as extensive protection against short-circuit and reactive loads, clipping, DC and overheating. All models are configurable for four-channel, dual stereo or single-channel use and include balanced line level inputs with gain trim. An optional web monitoring card, the VTX-WM1, which can be retro-fitted on all VTX models, allows the amplifier’s performance and settings including internal temperature, signal level, PSU status, protection circuitry and remote volume levels to be monitored at a remote location using any computer, PDA or smartphone via a normal web-browser application. In addition, the VTX-WM1 provides load impedance testing at initial set-up and periodically via an in-built scheduler to provide ongoing line testing of the amplifier channels.

CROWN | DCI SERIES www.crownaudio.com

Successor to the company’s CTs Series, Crown’s DCi two, four, and eight channel amplifiers incorporate a host of improvements in sound quality, flexibility, and efficiency. At the heart of the 12 model DCi Series is Harman’s DriveCore technology. The DriveCore amplifier IC chip combines the amplifier driver stage into the power output stage along with additional audio-signal functions. All amplifiers are just 2U rack spaces high, to conserve valuable installation space. The DCi Series is Crown’s greenest amplifier line, with a PFC power supply, a selectable power save auto-standby mode where the amplifier will power down after 30 minutes of no input signal and consume less than 1W. DriveCore technology dramatically reduces the footprint of the amplifier by replacing over 500 parts from a typical amplifier design with one single IC. Smaller amplifier engines means more channels can be put into a 2RU box with more capabilities. In addition, a rear-panel AUX port enables the amplifiers to be integrated into control systems for remote on/off and amplifier fault monitoring.

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154 GUIDE - AMPLIFIERS

D&B AUDIOTECHNIK | D6 / D12 www.dbaudio.com The d&b audiotechnik D6 and D12 are two-channel power amplifiers specifically for use with d&b loudspeakers; digital signal processing is incorporated, as are analogue and digital signal inputs as well as links outputs. d&b loudspeaker specific controller functions are implemented within the DSP, and both channels have independent user definable four band parametric equalisers providing optional boost/cut or notch filtering. The signal delay capability allows delay settings of up to 340 milliseconds to be applied independently to each channel.

The D6 and D12 amplifiers can deliver 600W or 1,200W into four ohms per channel respectively, while the switch mode power supply automatically selects the mains voltage. d&b load monitoring enables automatic and continuous impedance monitoring, while system check is designed to verify that the system performs within a predefined condition and can be used to report the system condition after the show.

The D12 also integrates d&b SenseDrive resulting in a precise bass performance. All settings within the D6 and D12 can be accessed with a rotary encoder and LCD display or via the d&b remote network. The remote control interface enables control and monitoring of system functions from other multimedia environments.

DYNACORD | DSA 8410 www.dynacord.com

Along with the DSA 8405 and DSA 8805, the DSA 8410 features very high output, a high degree of efficiency, and the ability to integrate with IRIS-Net. The DSA 8410’s Variable Load Drive (VLD) technology makes it uniquely flexible. Each of the four channels can be individually configured to deliver a maximum power of 1,000W into any load from two up to 10 ohms, or drive 70 or 100V loudspeaker lines directly without an output transformer. Other models of the DSA multi-channel amplifier series comprise four 500W output power (DSA 8405) and eight 500W output power (DSA 8805). When equipped with the RCM-810 module, users can configure each of the DSA multi-channel amplifiers via IRIS-Net software. In addition to state-of-the-art technology, DSA amplifiers exhibit robustness, the highest production quality, and a host of practical features, including level controls on the rear panel and power remote via a contact closure.

EQUIPSON | DCA 1 www.equipson.es

The DCA 1 from Equipson’s Work brand is a versatile mixing amplifier with digital audio matrix (8-in/2-out). It can be remotely controlled from a third party controller (RS 232/485 vía ASCII or DMX) or directly from a mobile device (iOS or Android) thanks to the OSC open protocol. It features two amplified output zones (120W RMS per channel) and eight mono inputs. Thanks to its microprocessor, it is possible to set up a digital matrix mixer and control each zone independently or it can be used as a two zone amplifier with remote control input and volume. Thanks to the RS 485 port, it is possible to use four DMX channels to set up the output gain and select the audio source of each output. This all-in-one solution is especially adapted to installations like restaurants or small shops, taking into account that it can easily integrate itself into an existing network managed by a third-party controller.

FULL FAT AUDIO | FFA-4004 / 6004 www.fullfataudio.com

The FFA-4004 and FFA-6004 four-channel amplifiers feature onboard DSP, have two inputs which can accept AES digital or analogue signals and unusually, feature six outputs which drive the four amplifier channels and two auxiliary XLR outputs, allowing connection to an adjacent stereo bass amplifier or any other amplifier that requires a processed input signal. The DSP is controlled using an Ethernet connection on the rear of the FFA-4004 or FFA-6004. This connection to a PC or Mac using Cat 5, a switch or wireless router allows the user to control the amplifier using simple to use software. Multiple units can be networked together to build larger systems. The user can design audio systems with a tool box that contains all the filters and features such as parametric EQ, limiter, delay, gain, phase that are expected in a modern loudspeaker management system. A useful compressor limiter on the inputs and outputs is also included. The DSP amplifier has voltage-controlled amplifiers for each output channel which are accessible by a port on the amplifier rear. Each audio output can be remotely volume controlled by a simple wall mounted potentiometer.

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FOHHN | D-4.1200 www.fohhn.com

The D-4.1200 compact, four-channel, DSP-controlled 19-inch amplifier has been specially developed for demanding fixed installations and mobile applications. Featuring state-of-the-art Class D amplifier technology and Fohhn DSPs, the D-4.1200 generates four 1,200W of power at four ohms. An integral 4-in-6 matrix enables each input channel to be independently routed to the four powered and two auxiliary outputs. Designed to generate minimal heat when operational, the D-4.1200 is equipped with extremely quiet fans. Fohhn mains control constantly monitors the mains supply to the amplifier, interrupting it if the maximum permitted range is exceeded. The D-4.1200 features an integrated speaker database for all Fohhn loudspeaker types. Two separate Fohhn DSP engines are included - one exclusively for speaker control and the other for user control of onboard audio tools including 10-band parametric EQ, delay, dynamics, crossover and so on. Channels can be directly edited via the amplifier’s blue four-line front panel display. The amplifier can also be remotely controlled and networked using Fohhn Audio Soft software and a laptop.

The game changes now Very occasionally a product comes along that re-writes the rule book, raising the expectations of a market forever.

Available in two power configurations (2 x 600 W and 2 x 1200 W), the ultra compact IPD (Intelligent Power Drive™) Series benefits from networked integrated DSP, 4-channel input matrix, extensive front panel controls and graphic display, analog AES input (with redundant fail-over) and definitive Lab.gruppen limiters and build quality.

With IPD Series, Lab.gruppen changes the game completely, bringing touringgrade amplifier performance and features to a wider market, accessible to everyone.

Take control with iPad! HOELLSTERN | DELTA SERIES www.hoellstern.com Hoellstern amplifiers are audiophile two in / two out and four in / four out high-performance amplifiers engineered and made in Germany by ASID GmbH. The amplifiers are extremely load stable, highly audiophile, they offer high current outputs and have an efficiency level of up to 82% from mains to SpeakON. Due to this efficiency being twice as high, all Hoellstern amplifiers make do with a 230V / 16A power supply. An active power factor correction (PFC) circuit allows a wide mains voltage range.

Since 2006 an integrated DSP loudspeaker management system with two in / two out and four in / four out has been available as an option. The highlight of the built-in DSP system (with IIR and FIR technology) is not only a free programmability (Konfigurator2 software), but a global, faithful loudspeaker library that currently features 25 different loudspeaker manufacturers. Thus Hoellstern amplifiers become a universal platform, independent of loudspeaker makers. The amplifiers tip the scales between 10kg12kg and take up 2RU and are only 30cm deep.

Fully configure IPD Series remotely via iPad* running IntelliDrive Controller App (available to download later in 2013).

*Wireless control requires suitable WiFi router connected to IPD Series network

WWW.THEGAMECHANGES.COM

156 GUIDE - AMPLIFIERS

KEMPTON | KA SERIES www.fbt.it

The Kempton KA Series is designed and engineered by FBT, Italy. The amplifier series features circuitry designs in Class-D, Class-H and Class-AB using surface mount technology with the placement of high grade output components to provide extremely low distortion factors as low as (<0.03%) THD along with a wide and ruler flat frequency response. The KA 2403 power amplifier features three channels delivering two 500W continuous at four ohms with a third channel of 1,000W continuous at four ohms to power a dedicated subwoofer in a two rack space chassis. Additional features include a high pass filter switch and variable stereo crossover frequency potentiometers to contour the response to satellite speakers.

KLING & FREITAG | TOPAS www.kling-freitag.biz The Topas is a network-capable, dual-channel DSP amplifier for fixed installations. The DSP amplifier was specially designed for optimal operation with Kling & Freitag loudspeakers. It is also possible to use it with other loudspeaker systems. Via Ethernet, the Topas can be highly variably switched on and off, controlled and monitored. The four general pupose inputs allow users to adjust volume (digital VCA), switch on / off the amplifier, mute the channels and switch the inputs of the audio signal. Users can assign events to the outputs such as amplifier status, mute status of the channels or Prio audio activity via the web interface. Further features include the integrated web server for concise configuration, easy location of all devices in the network using AutoIP/mDNS, and the configurable access control with user / password.

The Topas can be operated remotely, no matter which operating system is used. Because of the redundant firmware, updates are safe and easy. The standby power consumption is limited to 4.5W. The amplifier is ready to operate within a few seconds after power on. The activation can be set via a signal over GPI, ethernet or by pressing the front button. The Topas allows users to monitor the internal protection circuits (clipping, DC, short circuit, temperature, voltage) via the web interface or soon, over a remote application. Permanent monitoring of the processor via watchdog and load monitoring of the connected speakers in the future is guaranteed. All events can be monitored via web interface or GPIO.

LAB.GRUPPEN | IPD SERIES www.labgruppen.com In a sleek and ultra-compact package, the new IPD (Intelligent Power Drive) Series unite - for the first time - Lab.gruppen performance and reliability with cutting-edge DSP features and affordability. The IPD Series packs more features and greater power density into a 1U frame than found in most competitive 2U platforms. Two power configurations are available, IPD 1200 and IPD 2400, with power outputs (at four ohms) of 2 x 600W and 2 x 1,200W, respectively. At the heart of the IPD Series platform is a powerful DSP engine equipped with a total of 40 real-time, multi-slope parametric EQs along with adjustable gain, input delay, output delay, and high-pass and low-pass filters adjustable to any frequency. A software configurable voltage peak limiter (SCVPL) tailors outputs to load conditions, maintaining pristine sound quality, while a four-channel input mixer provides flexible input routing. Parameters may be stored in up to 100 user-defined presets, and all processing power is harnessed for easy use through the intuitive, touch-based GUI of IntelliDrive controller. Available for PC, Mac and as a dedicated iPad app, this powerful software interface enables fast and accurate remote system tuning over ethernet or wirelessly via a suitable wifi router.

MARTIN AUDIO | MA SERIES www.martin-audio.com

The MA2.0 and MA3.0 two-channel amplifiers and MA2.8Q four-channel amplifier are the latest additions to the MA Series of amplifiers from Martin Audio. Each weighing only 7.3kg, all three models share the same advanced switch-mode power supply and fixed-frequency Class D output stage technology. The output stages typically achieve 95% efficiency, almost independent of input level, and dissipate only 5% of energy as heat. The MA2.0 and MA3.0 provide up to 2 x 1,000W and 2 x 1,500W respectively into four ohms, while the MA2.8Q delivers up to 4 x 700W into four ohms. All channel pairs are bridgeable into eight ohms. Each model features a variable-speed cooling fan and advanced protection including AC, DC, VHF and short circuit protection as well as clip limiters and comprehensive, two-stage thermal protection strategies. Multiple applications include small-to-medium portable live sound, stage monitors and fixed installations.

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AMPLIFIERS - GUIDE 157

MC² AUDIO | E SERIES www.mc2-audio.co.uk

The E Series from MC² Audio is a range of lightweight, high-power switch mode amplifiers designed to the highest standards of reliability and sound quality. Developed for the touring market, but also equally at home in club installs, the E Series retains the sonic integrity of the benchmark MC and T Series amplifiers, without the physical weight. The switch mode power supply is capable of delivering high peaks without any perceptible bass ‘sag’ at very low distortion and is kept within its safe operating area by sophisticated MC² Audio intelligent limiting. The E15, E25, E45 and E4-75 feature MC² Audio’s proprietary current driven output stages for ultra-high definition sound, delivered over the entire audio bandwidth. The E90 and the E100 are Class D amplifiers designed to meet the demands for higher power with increased efficiency while still maintaining the renowned MC² Audio sonic qualities and unsurpassed reliability. The dual channel E90 is capable of developing in excess of 8,000W per channel into two ohms, while the quad channel E100 can produce over 3.5kW across all four outputs, and both weigh under 14kg.

OHM | DAISY www.ohm.co.uk

Daisy is a range of Class D amplifier modules with built in DSP and output powers up to 3,800W. Housed in an extruded aluminium pod, each Daisy weighs 5kg with a front panel size of 133mm high by 88mm wide. With coupling hardware five Daisy modules will fit into a 19-inch rack. The integral 96Khz DSP is accessed by ethernet or USB and runs on OHM’s Spyder software. There is a XLR input and link, which will accept a mono analogue signal or stereo AES digital signal. Mains power is via a Powercon and outputs are on an eight pole Speakon. The front panel has a settings display, signal LEDs and buttons for selecting pre-sets and channel mutes. There are four modules in the range; three channel - 2,400W + 700W + 700W, two channel - 2,400W + 700W and 800W + 800W, single channel - 2,400W. In the same package there is a mains sequencer with four mains outputs.

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OUTLINE | M5000-4 www.outline.it

Equally versatile in both portable and installed system configurations, and with its four channels delivering up to 5,000W (2,500W when running in bridge mode into a minimum eight ohm load) all neatly packed in one single rack unit weighing just over 7.3kg / 16lb, Outline’s M5000-4 is a flexible solution for small to medium sound systems. The flexible two / four channel format is ideal for installations where space is at a premium, but where output power is essential. The M5000-4 is capable of driving 100V line systems, making this an ideal choice for installation challenges. Users of portable systems are also well served by the M5000-4: they will appreciate the compact design, high power output, lightweight format and the ease of matching Outline loudspeaker systems, using carefully designed factory preset files.

PEAVEY | IPR 1600 DSP www.peavey.com

The IPR 1600 DSP power amplifier combines user-friendly loudspeaker management with the lightweight power and performance of its IPR digital power amplifiers. The onboard digital signal processing system includes preset banks for popular loudspeaker types and configurations, as well as Waves MaxxBass psycho-acoustic processing for the first time in any power amplifier. The IPR DSP takes users through an intuitive set-up wizard to set their EQ curves, delay speakers, crossover (full-range or full-range with sub), high pass and low pass; adjust a four-band parametric EQ and horn EQ; and specify the amount of Waves MaxxBass processing from 0-100%. MaxxBass uses psycho-acoustics to calculate precise harmonics that are related to the fundamental tones of sound. When these harmonics are combined, it creates the effect of deeper low frequencies.

POWERSOFT | OTTOCANALI SERIES www.powersoft-audio.com

Powersoft builds on the successful Ottocanali range of installation amplifiers with three new models: Ottocanali 4K4, 8K4 and 12K4. The series focuses on high channel and power density, with up to 12,000W output power over eight channels, distributed line or combination systems, neatly packed into a double rack unit. Excellent sound quality and ample output power stem from Powersoft’s unique approach to Class D amplification, making the Ottocanali Series the ideal main system in any venue where performance is priority. Powersoft’s legendary efficiency keeps the operational cost and carbon footprint at a minimum: each Ottocanali model shines with outstandingly low power consumption and heat dissipation; dramatically reducing costs from the AC mains supply and air conditioning / cooling systems - not to mention the benefits to the environment for a greener planet. The dual power supply ensures the maximum output is available across all channels as well as providing redundancy.

QSC | CXD SERIES www.qscaudio.com

The CXD Series for installed sound applications features advanced signal processing combined with a unique power distribution configuration. Housed in a 2U chassis, the CXD Series features new QSC proprietary Class-D power devices, which enable multi-channel, high performance power. The innovative Flexible Amplifier Summing Technology (FAST), provides better power allocation by actively distributing the total amplifier power across one, two, three or all four outputs enabling amplifier channels to be combined for maximum current or voltage output; the largest models capable of up to 5,000W. Every channel features independent DSP processing and a preset wizard streamlines the setup process. Advanced DSP includes cross-over filters, parametric EQ, alignment delay and other settings, and when paired with QSC loudspeakers, Intrinsic Correction may be employed to ensure optimum sonic performance. Amplifier / DSP integration ensures accurate dynamic processing and circuitry protection and power saving modes combined with the Class-D design ensures high efficiency and low weight.

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160 GUIDE - AMPLIFIERS

RAM AUDIO | V SERIES www.ramaudio.com RAM Audio’s V Series is based on QuantaPulse technology with dual oversized high efficiency regulated switching mode power supply with PFC to deliver full performance independently of mains status. An oversized high efficiency audio power stage is responsible of audio power and quality. Forced front to back cooling through a component-free path with removable front panel dust filters guarantee reliable operation. Full LCD digital control on the front panel shows channel temperatures, attenuation or VUmetre display mode, operating time, input links, working gain and dual or bridge mode. Equipped with low latency 24bits 96kHz high performance DSP with post-DSP signal links, ethernet connection and digital AES3 inputs, the series includes three two-channel models from 6,000W to 12,000W and four 4-channels models from 9,000W to 12,000W, all of them in a reduced and light casing to make handling easy.

RCF | UP 1121 www.rcf.it UP 1121 is a 120W power amplifier with a single balanced ‘line’ level audio input. The amplifier output is available either for low impedance loudspeakers (minimum four ohms) or 100V - 70V constant voltage line (for loudspeakers having 100 - 70V transformers). In addition to the connection to the mains, it can also be powered by batteries, in order to ensure its proper operation even when the mains supply is unavailable.

SAE AUDIO | PQM SERIES www.saeaudio.com SAE Audio introduces the new PQM high-end four-channel amplifier series, designed with the most rigorous sound reinforcement applications in mind, where high SPL and excellent sound quality is required. SAE Audio’s self-developed Class-I is a digital class variation capable of accurately reproducing the input signal, thus achieving an excellent sound quality like Class-AB and extremely high efficiency like Class-D. The output stage circuitry, specifically developed for the PQM Series, can continuously work with even two ohms thus delivering up to 2,500W per channel on the PQM13 and 1,600W per channel on the PQM8.

A high-efficiency stabilised SMPS power supply is built in the PQM to ensure the power modules have a strong support for the long-term full power use even on AC power fluctuations. On the front panel it features gain knobs and highly bright channel dedicated signal dB metres, indicators for bridge or parallel working mode, clipping, protection, continuous VHF signal input and overheating. All four XLR signal input connectors on the back panel have XLR link connectors for amplifier stacking, and DIP switches can be used to set input sensitivity. For signal output the PQM solely mounts SpeakOn connectors.

TOA | DA-250 www.toa.eu The TOA DA-250 multi-channel power amplifier offers a wider choice of power ratings, advanced digital Class-D amplification circuitry, and a highly efficient AC mains to output power ratio, for the complete technological superiority it takes to support long-term installation applications. The energy-efficient, space-saving amplifiers are designed to combine high levels of performance and efficiency, and are well-suited to ensure sound reinforcement reliability in a wide range of venue types. The low-impedance models are ideal for multi-zone applications such as presentation and press-conference rooms, restaurants and similar-sized locations.

YAMAHA | XMV SERIES www.yamahaproaudio.com The eight channel XMV Series of amplifiers combines Class-D efficiency with the flexibility of Dante technology and Yamaha’s YDIF cascade bus and comprises four models. The XMV8140 and XMV8280 are equipped with the YDIF cascade bus, providing a simple intra-rack connection using Cat5 cable for an easy to use, 16-channel bus. Meanwhile the XMV8140-D and XMV8280-D feature Dante technology, allowing CIS systems to share audio with up to 40 subnets (using an audinate netspander), enabling them to merge with other complex professional audio systems simply and efficiently. Installed sound applications often demand both high and low impedance connectivity in the same venue, requiring separate, dedicated amplifiers or an external transformer. XMV power amplifiers eliminate this complexity by the ability to operate in both high-impedance (70V / 100V line) or low-impedance modes simultaneously. They also enable both 70V and 100V operation for every pair of channels by simply selecting the preferred mode using the dip switches on the rear panel. High impedance operation often requires the use of two combined channels in bridge mode, but with XMV amplifiers, 70V or 100V mode can be assigned to every pair of channels without affecting the number of available output channels. Double Power Mode effectively doubles the output power of selected channels in order to drive speakers with higher output power.

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BIGGER. BRIGHTER. LOUDER.

PLASA London will take place at ExCeL London for the first time from 6-9 October 2013.

New products, world-class speakers, co-located conferences & special events, live demo areas and networking.

ExCeL is a world-class venue located 5 minutes from London City Airport. It is within easy reach of Central London via the Jubilee line and DLR train services. For more info on how to get there, check out the interactive guides on our website.

NEW FOR 2013:

See website for details www.plasashow.com

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ACME | BP-40 QW & BP-183 RGBW/CW/VW/WW www.visio-led.com Acme’s Visio brand has announced its brand new building projector with IP66 rating and specially designed lens to bring a revolutionary lighting experience and projecting effect. Both of these two series of projectors features lower power consumption while providing more light output. BP-40 QW is made up of four pieces of 10W CREE MCE quad colour LEDs to deliver excellent colour mixing effect. BP-183 RGBW is made up of 18 pieces of 3W CREE LEDs (R4, G5, B5, W4) providing more optical lens options for various applications. BP-183 CW/WW is made up of 18 pieces of 3W CREE White LEDs with a higher luminous flux up to 2500lm. Three of these building projectors are of reliable quality, elegant appearance and easy installation and fast maintenance for a wide range of outdoor events and building washes even in the most demanding conditions. Multiple functionality and flexible optic design enables these two series of projector to be well received in a variety of applications via providing consistent and even light. With the combination of the latest optic technology and electrical developing achievements, a new light sensor– photocell is used so that these lights can light up automatically when the surrounding environment is getting dark.

ALLEN & HEATH | XB-14² www.allen-heath.com Allen & Heath has launched a new version of its compact broadcast mixer, XB-14. Based on requests from users, XB-14² incorporates several new features, including a dedicated audition bus, enhanced stereo channel configurations, updated mic pre-amps, and more flexible monitoring. Designed for a broad range of applications from small radio or internet broadcast studios, to hospital radio, university radio, community radio and larger studios with multiple rooms, the XB-14² is equipped with features specifically for broadcasters, including Telco inputs for telephone callers, mic fader start sensing for external connection and internal automatic muting of the speaker outputs, stereo channel start / cue outputs for transport control, multiple headphone outputs, and an additional stereo bus. The new model includes a stereo audition bus that allows individual channels to be switched away from the main program bus for off-air monitoring. The Telco channel EQ has been replaced with variable high pass / low pass filters for control of the telephone caller feed signal, there is a new external monitor input level control, the pre-amps have been enhanced for lower noise and higher bandwidth, and the stereo inputs have more gain and routing options.

ANTARI | W-715 www.antari.com Antari’s premier fog jet machine, W-715 can simulate the exact effect created by a CO2 jet machine. The new heating system provides remarkable output power for the fog blast, yet at the same time the heat created is well reserved in the heating system meaning it is extremely energy efficient. A unique electronic device is implemented to ensure clear-cut outputs without further fog spit. To make the simulation even more precise and perfect, a new fluid, FLC has specially developed for generating fast-dissipating fog. Advanced LCD control panel, wireless control system and DMX 512 are equipped as standard.

BIAMP SYSTEMS | BIAMP CANVAS www.biamp.com As a provider of innovative, networked media systems, Biamp Systems has announced the release of its Tesira DSP graphic control software program Biamp Canvas. Allowing for the creation and use of customised computer control screens with Tesira audio systems, the function and appearance of the graphic control interface can be tailored to the exact needs of the user. An array of drawing tools is provided for extensive graphic manipulation of controls, backgrounds, and labeling. A prominent feature of Biamp Canvas is the ability to copy and paste, or drag and drop component objects directly from the system design file into the software, producing completely pre-assigned control elements and greatly streamlining control surface creation. End users can also easily navigate between multiple pages and tabs of operation. Additional features include the ability to create control for room combiners, place controls and assign them to system functions, and update preset settings directly within the Biamp Canvas software program.

BOSE | CONTROL SPACE ESP SERIES www.bose.com The new line of Control Space ESP engineered sound processors from Bose consists of three models of networkable digital signal processors, each configured, controlled, and monitored using Bose’s acclaimed Control Space Designer software. With over 115dB dynamic range and ultra-low noise/distortion, single-rack Control Space ESP engineered sound processors deliver studio-quality analog and digital audio to the installed sound marketplace. The Bose Control Space ESP-880 (a fixed 8x8 analog I/O configuration), ESP-1240 (12x4 analog I/O) and ESP-4120 (4x12 analog I/O) engineered sound processors all include a rear-panel expansion slot that accommodates optional networking cards including Dante and AVB network audio. Networking cards support combined audio and control connectivity with third-party products, other Bose ESP processors, and Bose Power Match amplifiers. In addition, an integrated ESP link optical output provides low latency, uncompressed 48kHz audio to same-rack Bose Power Match amplifiers. All ESP processors include control input and output capabilities, as well as built-in RS-232 serial and Ethernet ports, allowing integration with industry-standard control systems. Any of the elegant Bose wall-mounted user interfaces, including the programmable CC-64 and CC-16 controllers and three simplified zone volume interfaces, can be used to control all Bose Professional devices.

CHAUVET PROFESSIONAL | F-165WW www.chauvetlighting.com The F-165WW fresnel-style fixture in the Ovation line of theatrical lights is powered by 16 10W LEDs and delivers over 1,730 lux at five metres, maintaining this intensity without a significant temperature-related drop off. The fixture has an easily adjustable motorised zoom and works exceptionally well with barn doors to aid in glare reduction and beam shaping. Knobs for local control of both dimming and zoom enable fast focus calls with or without a board-op. Its innovative LED source produces smooth, even washes from 13º to 58º with a colour temperature of 3,100K and a beautiful soft field. Selectable dimming curves make it compatible with older, traditional theater Fresnel lights.

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CLAY PAKY | ALPHA PROFILE 800 ST www.claypaky.it The Alpha Profile 800 ST uses sophisticated micromechanics to obtain a compact, light, silent unit with an extremely bright light and a zoom capable of producing a sharp, uniform beam. Lighting designers will find all the tools they need to enhance their creativity in the Alpha Profile 800 ST: a miniaturised four-blade framing system, capable of creating any geometric shape, with smooth, flexible blade movements at variable speed; a zoom that starts from the extremely narrow angle of 7.6° and reaches up to 55°; an exclusive autofocus system and the Dyna-Cue-Creator function. The 6,000kW light beam and operating silence (42dBA) complete the characteristics of this light.

E:CUE | LCE2 & LCE2-FX www.ecue.com Lighting Control Engine 2 (LCE2) and Lighting Control Engine 2 fx (LCE2-fx) are designed to orchestrate fixtures, media, interfaces, and user terminals in medium to large lighting installations. Supporting a wide range of standardised and Ethernet-based control protocols, a variety of input and outputs and ports, the engines are designed specifically to act as the core of any complex lighting installation. With the Lighting Application Suite (LAS) software pre-installed, these high-performance servers succeed the successful LCE and LCE-fx with increased capacity to control sophisticated lighting projects. Similar to the LCE2, but with dynamic real-time video capabilities and extended software tools, LCE2-fx is the solution for the most demanding projects including mixed media installation.

ELECTRON | SMART PIXEL SERIES www.electron.gr The latest product to be added to the Smart Pixel Series is the DMX 512 direct control strip. It has 32 RGB three in one chip LEDs per metre. Each LED can be controlled individually through standard DMX 512 control protocol. The pixel pitch is 31.25mm. The cutting section of 1LED and 1 IC ensures higher flexibility of installation. It has adhesive tape on the rear side. It is 5VDC, it consumes 9W/m, 120º viewing angle and is available with protection of IP20 or IP65. The Smart Pixel Series is the ideal solution for LED matrix effects.

ETC | SOURCE FOUR LED CYC www.etcconnect.com The ETC Source Four LED CYC is an adapter that affixes to any Source Four LED luminaire, transforming it into a powerful tool to illuminate cycloramas.

Using the x7 Colour System, which combines up to seven LED colours in one unit, Source Four LED luminaires can provide a nearly limitless range of colours, from pure whites to refined pastels and vibrant, saturated hues. With the strong beam that the Source Four family is known for, the Source Four LED CYC can evenly distribute light across the cyclorama, so no gaps or seams are visible between the luminaires. The Source Four LED is much more versatile, because the CYC adapter can be removed when a backdrop is not needed, and the luminaire can be used with traditional lens barrels to light another part of the stage.

GLP | IMPRESSION X4 IPAD APP www.glp.de GLP has launched a new iPad app for its impression X4 fixture. iPad allows designers to visualise and create custom pixel patterns quickly. One of the versatile features of the impression X4 is that users can create their own pixel designs on the fly and store them directly into their control console. The new iPad app makes the process fast and easy by bringing up a mimic of the fixtures front lens layout. Users can tap individual lenses on and off to design the output that they would like. Simultaneously the app displays the corresponding DMX channels and values to be input to the controller for the physical fixture. An additional feature of the app is the colour picker allowing you to see colour selection on top of any pattern for a real feel of how a final pattern will appear. The impression X4 from GLP is part of the award winning series of fixtures and features 19 high powered RGBW LEDs giving a homogenised output across a full zoom range of 7º to 50º. With its lightweight baseless design, the impression X4 packs a huge punch of output for its size.

GTD | 230II BEAM www.gtd-truss.com

Based on Osram Sirius HRI 230W integrative new lamp source and the tailored imported six layers optics lens, the GTD-230II BEAM is outshining the lighting market in the industry. The fixture has one fixed gobo wheel with 17 rotatable and indexable positions, a fixed colour wheel with 14 dichroic filters and an independent eight-facet prism. It features super brightness, intensive sharp air effects, nature colour, linearly adjusted beam edge and gobos, an independent smooth frost effect in great uniformity, clear-cut effects of eight faced beam, three-phase stepper motor to ensure low noise level and pan/tilt fast moving, and stable switching power supply. Furthermore, its rubber paint design makes the fixture more exquisite.

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JAMES THOMAS ENGINEERING | JT TRUSS www.jamesthomas.co.uk James Thomas Engineering has announced the launch of its complete JT Truss range. The original JT30 and JT40 square configuration has been extended to include triangular and ladder truss options and an ultra-convenient ‘out of the box’ arched roof system. JT Truss is a high-capacity, lightweight truss system aimed at the permanent installation market. Unique universal male/female forks allow versatility of connection and are held together by specially designed tapered pins, which ensure fast, easy removal and form clean, strong joints. Off the shelf lengths are available from 0.5metres to five metres with a choice of solid corners or gates, two-way to six-way corner options and a three-way T-corner connection. Custom lengths are available to order, as are James Thomas Engineering’s (JTE) project consultation services. Each arched roof system has been designed around standard 8ft x 4ft decking to ensure universal compatibility and comprises the new JT Truss product range with Keder-groove style PVC covers. These are secure and easy to fit with a selection of colours available on request.

LEADER LIGHT | LL STAGE CYC 6C www.leaderlight.eu LL Stage CYC 6C is a compact LED cyclorama / wall wash luminaire, which provides uniform light distribution and dynamic colour changing. It is available in five light colour variations. The fixture is special designed for back stage lighting, theatres, televisions, concerts and studios. LL Stage CYC 6C is compatible with DMX 512. LL Stage CYC 6C consists of 72 LEDs and offers maximum input power 200W and also quick installation with camlocs. The fixture´s body weighs 5kg and it is composed of powder painted with aluminium, other colours are available on request.

MACOSTAR | MACOLEDS RF100 www.macostar.com Macostar’s, MacoLEDs R Series welcomes new member. The new MacoLEDs RF100 is a compact and lightweight 100W LED fresnel spotlight, most suitable for small TV studio, stage and multi-purpose venue with less head rooms. Available in 5,600K and 3,200K colour temperatures, it provides a powerful, closeto-skin-tone colour rendering (CRI 90), smooth and continuous dimming light output. Just like the tungsten fresnel you are using, MacoLEDs is designed to match and work together with conventional fixtures for a natural look to the human eye and professional cameras. Light spread can be optimised with a barn door and lights can be dimmed through a control desk via DMX signals, or manually through its local control panel by press buttons, a tuning knob and a four-digit display. MacoLEDs RF100 is also featured with a pair of in and out PowerCons, which could feed up to 10 units at 230VAC or five at 100VAC.

MARTIN PROFESSIONAL | JEM READY 365 www.martin.com The Martin Professional Jem Ready 365 hazer uses advanced water-based fluid, which gives a comparable performance to industry-standard oils, producing the ultimate transparent haze, ideal for concerts, events, TV studios, theatres, clubs, cruise ships and theme parks. The Jem Ready 365 hazer houses advanced technology, including automatic shutdown with battery backup to prevent clogging and running out of gas by producing limited haze, even if gas pressure is lost. This allows the user to exchange the gas cylinder quickly without loss of effect. The Jem Ready 356 is gas-efficient, sipping small amount of fluid per use and leaves no residue or smell. The easy-to-use, plug and play system requires minimal setup time and runs nearly silent.

MERGING | PYRAMIX 8.1 www.merging.com Merging Technologies new Pyramix 8.1 continues to push boundaries by focusing on exceeding the standard sample rate of 192kHz. Pyramix 8.1 combines with the Horus Networked Audio Interface to provide the world’s first hardware and software combination capable of DSD256. Also called Quad-DSD, DSD256 runs at 11.2MHz, which is four times the resolution of the SACD standard (DSD64) and 256 times the resolution of a CD; the truest digital representation of an analogue signal ever. DSD64 and DSD128 (Double-DSD) workflows are also of course supported, continuing to allow Pyramix to be the ultimate DSD workstation. In addition Pyramix 8.1 introduces as well the now traditional support for Merging of DXD and 352.8/384kHz for Horus.

Pyramix offers a new methodology for capturing sounds from the world around you. After a simple set-up, users will now see some new objects in the transport window called Background Recorders. Up to four of these can be initiated in a project and are fully capable multi-track recorders, each with their own record mixer where plug-ins can be inserted to record EQ and other FX to track. Recording Post-FX is now also available in traditional recordings in the timeline.

PR LIGHTING | LED STUDIO SERIES www.pr-lighting.com PR Lighting has announced the launch of its new LED Studio series, which is aimed at the television studio and photography markets. The first items set for release are the LED Studio 3700 available in two models (white and RGBW) and with two colour temperatures. These units have been specifically designed to meet the requirements of the global market in TV studio, photography, and conference hall and stage sectors, with the principal application being in digital HD TV studios. The LED Studio 3700 White features stable colour temperature (available in 3,200K and 5,600K), high CRI, soft and even light output and high efficient cooling. The LED 3700 (RGBW) boasts the same features as well as linear colour temperature correction from 3,200K to 10,000K. Both products adopt a high quality, long-life LED light source, offering energy saving benefits. The LED Studio 3700 White uses 12 10W white LEDs, while the LED Studio 3700 RGBW uses three each of the 10W RGB LEDs and 15W (white). Both products offer a field angle of 0°-80°, 0-100% linearly adjustable dimmer and electronic strobe of 0.3-25 fps. Total power consumption of the White fixture is 135W at 220V AC and the RGBW is 150W at 220V.

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TRUSS YOU CAN TRUST

QUALITY AVAILABILITY RELIABILITY INNOVATION

MEET US:

STAND Q20 www.GlobalTruss.cn | phone: +886-2-27209866

facebook.com/GlobalTruss

International distribution Germany: Europe: Americas: S.E.Asia: Japan:

www.globaltruss.de www.globaltruss.de www.cosmictruss.com www.globaltruss-sea.com www.soundhouse.co.jp

France: Spain: Australia: Singapore: Taiwan:

www.globaltruss.fr www.fenixlt.es www.dq.com.au www.excelsingapore.com www.ezstage.com.tw

Chile: India: India:

www.valook.cl www.fb.com/stardimensionsindia www.modernstageservice.in

Lebanon: Dubai:

skypub17@hotmail.com www.desertbeat.com

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RCF | NXL 24-A www.rcf.it The NXL 24-A is a full range active column speaker array system composed by four inch by six inch high power woofers and a 2.5-inch voice coil compression driver loaded from a waveguide on a 100° x 30° constant directivity horn. The amplifier delivers 1,400W and is controlled by a DSP that takes care of crossover, equalisation, phase alignment, soft limiting and speaker protections. Equalisations can operate with a single column or in pairs. Using the Fly Link Kit NXL 24-A it is possible to fly two NXL24-A in HF close coupling configuration with a choice of three possible angles: 0°, 15°, 20°. At the core of NXL 24-A design is the new ND 640 driver loaded from a waveguide to a horn with 100° constant horizontal directivity and 30° asymmetrical vertical directivity to achieve a consistent field coverage. The NX L24-A is equipped with Powercon connectors. A 1,400W peak power digital amplifier, split 400W for the HF and 1,000W for the LF, powers the NXL 24-A.

SOMMER CABLE | MONOCAT www.sommercable.com Sommer Cable has introduced a fully reworked and unified MonoCAT cable family. The different hybrid cables all contain network lines complemented by signal or power supply elements. This allows to connect digital sound, light or video control desks using only one cable and, as the case may be, with only one plug-in procedure. This is also very interesting for applications on the OB van or in the installation or conference sector. Owing to the reworked internal CAT.7 construction in SFTP with a line gauge of 0.22mm² even greater transmission paths are now possible. This allows a trouble-free transmission of signals based on gigabit Ethernet over distances up to 100 metres. The power wires have a cross-sectional area of 2.5mm² to avoid problems with longer distances here, too. The highly flexible overall structure with our proven and robust S-PVC jacket ensures a stress-less use both indoors and outdoors.

VUE AUDIOTECHNIK | AL-8 www.vueaudio.com VUE Audiotechnik has unveiled its new al-8 compact line array system. The al-8 is the second member of VUE’s al-Class, and joins the al-4 subcompact line array system introduced earlier this year. Like it’s smaller sibling, the al-8 utilises advanced technologies such as beryllium compression drivers, kevlar / neodymium transducers, onboard networking, and full compatibility with VuePoint beam steering technology to bring unprecedented sound quality, SPL and coverage control to mainstream sound reinforcement applications. The al-8 system components include flying, transport and handling accessories, the al-8 acoustic element, and the rack-mount V6 systems engine, which provides system amplification, DSP and networking capabilities via the SystemVue control software. The al-8 acoustic element houses a pair of proprietary eight-inch LF transducers with large three-inch voice coils for improved thermal performance. The LF transducers flank four four-inch kevlar/neodymium mid-range units equipped with VUE’s unique lateral acoustic shades. A pair of neodymium compression drivers delivers high frequencies with Truextent beryllium diaphragms for extended high frequency response beyond 25kHz.

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...Working alongside some of the world’s most famous DJs and having their respect is invaluable.

ALEX BARRAND AUDIO SPE CI A L I ST, P I O N E E R E U RO P E How did you get involved in the clubbing industry?

I did some work experience at a sound hire company when I was at school. Notting Hill Carnival is one of the gigs I remember very well. I was installing loudspeakers on stage for Radio One and it was incredible. I got to go behind the scenes and to all these great parties, which was mind blowing and a real eye-opener. When I finished school, I looked for opportunities to be more involved in this industry.

When I wasn’t studying, I was working for the sound hire company where I did work experience, in FOH doing sound system configuration and engineering.

Tell me a bit about your experience with Ministry of Sound?

I was working on some large projects at Essex University and working with some of the touring DJs who came in to play like Paul Oakenfold. By setting up sound systems at these events and speaking with them, I became fascinated by the London club scene, which was exploding at the time. Through word of mouth, I found out about a vacancy at MoS. I’d never stepped foot inside MoS when it’s fully pumping until my first day on the job believe it or not. From seeing it when it was empty to seeing it full on a Saturday night… Wow, what an incredible feeling. I was very lucky to be working in that environment every weekend. The first year I became technical manager, I put forth a proposal to the owner to change the sound system in the world-famous main room and it became a reality. Four years on, it was awarded best sound system by International Music Dance Awards.

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How did the move to Pioneer come about?

During my time with MoS, I got to a point where I was content with the system and my work there - I had changed and upgraded everything I could. I always like a challenge and felt it was time to move on. I had a meeting with Pioneer, they shared their plans for the new business with me and I thought it was a unique opportunity that doesn’t come around very often.

and we went through various candidates around the world and managed to locate someone - ironically enough someone I crossed paths with at MoS - the late Gary Stewart.

What was the main thing you wanted to achieve with the new range of Pioneer loudspeakers?

As Pioneer has always being at the forefront of the DJ console, there’s always been a missing link between mixers and loudspeakers. The main thing I wanted to do is to change the perception of Pioneer loudspeakers from consumer to pro audio. We have an amazing R&D team in Japan in charge of TAD loudspeakers - there is a tremendous amount of engineering resources I wanted to harness and dedicate to developing club loudspeakers. I heard the TAD speakers at AIR studios and that was an absolutely incredible sound performance from a box.

The engineering behind the TAD loudspeakers are really precision engineered components. Secondly, for the GS-Wave Series, I wanted to achieve the sound I created at MoS, but go even further now I had all the resources available to bring that idea into reality. I wanted to use the four years worth of feedback from my experience with DJs and clubs and channel all that data into the development of this system. We knew we needed to look for a respectable system designer to work alongside us

How have you seen the clubbing industry change?

For me, the biggest change I have seen is the sheer diversity of music genres available now. It changed so much even from when I first started working drum and bass, trance and house were the main commercial lines before. Going back to a sound perspective, there needs to be more versatile systems to accommodate the various genres of music.

What has been a highlight of your career so far?

Working alongside some of the world’s most famous DJs and having their respect is invaluable, particularly as a sound system designer.

What was the first tape you bought for yourself?

John Digweed when I was in Cornwall when I was 16-years-old. I even remember the packaging it came in an illuminous orange case.

What is one of your personal ambitions?

To continue to bring Gary Stewart’s amazing sound to a wider audience and make his legacy live on.

What are your most prized possessions?

My phone and passport.