mondo*dr 26.6

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The ArKaos MD discusses what lies beneath the company’s success.

THEME PARKS & ATTRACTIONS From the conventional to the unconventional, and everything in between.



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Big thinking


for smaller boxes Game-changing innovations in coaxial speaker design ON THE COVER Philharmonie de Paris Photo by William Beaucardet GENERAL MANAGER Justin Gawne EDITOR Rachael Rogerson-Thorley ASSISTANT EDITOR Sam Hughes SENIOR ACCOUNT MANAGER Jamie Dixon ACCOUNT MANAGER Laura Iles INTERN Samuel McKeown ACCOUNTS Amanda Giles GENERAL ENQUIRIES 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 Two year rates are available on request. Subscribe online at 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

When I travel around the world, I come across a common misconception - that there is a large team behind mondo*dr, yet in actual fact, as you’ll see from the staff list to the left, there is just four of us who work directly on the magazine. With all our new and exciting projects going on - our country specific supplements and the mondo*dr awards - as well as the travel schedule of the team, this issue felt like it was going to be a struggle. However, somehow we’ve managed to get it to the printers on time! Well done team. We have had a little bit of help on this occasion, and I’d like to thank everyone who has contributed. Team work and a passion to get things done seems to be a bit of a theme throughout the issue actually, as interviewee Agnes Wojewoda - Managing Director of ArKaos – discusses the team behind the company and how well she has been received by the industry as a whole since taking up the lead position. Our cover story, Philharmonie de Paris was also realised by the commitment of a mammoth team, who worked together for over nine years to complete the stunning venue. And by the time we reach the back of the issue, it’s a family team that takes the focus, as the Correia father and his two sons talk of the inception of Portuguese manufacturing company, NEXT-proaudio. I’d like to take this opportunity to let you know that our sponsorship pack for the mondo*dr Awards is now ready, drop me an email if you’d like to have a copy. Alternatively, if sponsorship isn’t your bag, why not submit a project instead. Whatever your preference, we’d love to get as many of you involved as possible. And finally, I’d like to invite everyone to come along to BPM | PRO, the show takes place from 11-13 September at the Genting Arena, NEC Birmingham. It has an excellent brand line-up this year, BPM is celebrating its tenth anniversary, and the Resort World complex is now operational - so it’s definitely worth a look. We’re also holding an after party on Monday 12 September at the High Line New York Bar & Lounge, come and join us for a drink.

At Celestion, we’re always looking to find innovative solutions to the challenges faced by PA manufacturers. That’s why more and more forward-thinking brands are choosing to work with us. Take our coaxial drivers for example: unlike conventional designs, our FTX range uses a cutting-edge common magnet motor design to deliver big improvements in signal coherence and time alignment for a more natural sound from a very compact and lightweight speaker. Visit our website or contact us now to find out more about our innovative PA driver solutions. Printed by Buxton Press, Palace Road, Buxton, UK


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AGNES WOJEWODA The ArKaos MD discusses her experience in the industry and what’s behind the company’s success.

20 INTERVIEW Agnes Wojewoda - ArKaos 32 REPORT Theme Parks & Attractions


80 PUY DU FOU The historical theme park underwent an incredible technical installation for its new show, Le Dernier Panache.

70 PHILHARMONIE DE PARIS Paris 80 PUY DU FOU Les Epesses 88 Z-BAU Nuremberg 94 MARINA BEACH CLUB Valencia 98 COMUNIDAD APOSTÓLICA HOSANNA Panama City 100 PRYSM Chicago 110 THE LUCKMAN Los Angeles


114 T-MOBILE ARENA Las Vegas 122 SHUI Singapore

PRYSM The Chicagobased highend nightclub enhanced its glamorous style with sophisticated technology.

124 LE NOIR Kuala Lumpur


124 LE NOIR After expanding the brand, an impressive audiovisual install was needed to deliver a venue that caters for all.

146 INTEGRATE Sydney 148 IN DETAIL X-Laser, LD Systems 152 PRODUCT GUIDE Amplifiers 164 PRODUCT DIRECTORY 168 LAST PAGE INTERVIEW António, André & Tiago Correia - NEXT-proaudio


Lors de mes voyages, j’ai constaté que les gens s’imaginaient tous qu’il y avait une grande équipe derrière mondo*dr, alors qu’en fait, nous ne sommes que quatre à travailler directement sur le magazine, comme vous le constatez avec la liste à gauche de mon article. Compte tenu de tous nos superbes nouveaux projets — nos suppléments dédiés aux différents pays et la remise de prix mondo*dr — ainsi que le calendrier de voyage de l’équipe, il me semblait que ce numéro aurait du mal à voir le jour. Toutefois, nous avons réussi à l’expédier chez l’imprimeur en temps et en heure ! Nous avons reçu un peu d’aide pour ce faire, et je tiens à remercier toutes les personnes qui ont contribué au projet. Je voulais également saisir cette occasion pour vous inciter à vous rendre au congrès BPM | PRO qui se déroulera du 11 au 13 septembre stade Genting, au NEC de Birmingham. Cette année, BPM fête son dixième anniversaire avec une cascade d’excellentes enseignes, et le complexe hôtelier Resort World est désormais opérationnel — alors il faut y jeter un coup d’œil. Nous organisons également un ‘after’ le lundi 12 septembre au High Line New York Bar & Lounge, alors faites-y un tour pour boire un verre avec nous.




Digital Projection 121 Doughty 165 DPA 105 Duratruss 33 169 Eagle Stage Equipment EAW 41 59 Elation Equipson 141 FBT 171 Fenix 101 Fine Art 5 Focusrite 141 13 Fohhn Audio Funktion-One 43 Genelec 47 Global Truss 85 GLP 137 Green Hippo 137 Guil 73 Haze Base 165 66 JTSE K-array 49 Kinetic Lights 51 Kling & Freitag 143 Kraftwerk 143

Kuzar 145 KV2 149 L-Acoustics 2 Lawo 35 167 LDI Le Maitre 159 166 Look Solutions Lynx 157 63 MA Lighting Madrix 121 BC Martin Audio MBN 75 & 77 Mega Systems 39 Meyer Sound 11 Milos 45 & 129 Music & Lights 109 & 155 NAMM 18 Nexo 145 NEXT-proaudio 151 Osram 107 Philips Lighting 95 Pioneer DJ Europe 29 Powersoft 75 PR-Lighting 119 8 & 163 PRO

Pro Tapes 149 97 & 153 Prolyte Renkus-Heinz 153 RGB Link 46 15 Robe SALZBRENNER media 127 ShowTex 87 125 Sommer Cable Spotlight 131 Starway 53 Steinigke 71 Strictly FX 111 Studio Due 157 Sunlite 10 Syncrolite 79 Tarm 37 Tech Team 4 The GET Show 132 TW AUDiO 65 Wireless Solution 3 X-Laser 121 XTA 165 YODN 4

Wenn ich durch die Welt reise, begegne ich ein allgemeines Missverständnis - dass hinter mondo*dr ein großes Team steht. Tatsächlich arbeiten nur vier von uns direkt an der Zeitschrift, wie Sie der Mitarbeiterliste auf der linken Seite entnehmen können. Mit der Weiterführung unserer gesamten neuen, aufregenden Projekte – unsere länderspezifischen Anhänge und die mondo*dr Awards – sowie bei der Reiseplanung des Teams schien für diese Ausgabe ein regelrechter Kampf auf uns zuzukommen. Doch irgendwie haben wir es geschafft, sie rechtzeitig dem Drucker zu liefern! Wir wurden ein wenig unterstützt und ich möchte allen Helfern danken. Ich möchte auch diese Gelegenheit nutzen und Sie alle zur BPM | PRO einladen. Die Show findet vom 11. bis 13. September in der Genting Arena, NEC Birmingham, statt. Sie weist dieses Jahr eine hervorragende Markenlinie auf. Die BPM feiert ihr 10. Jubiläum und der Resort World Komplex ist nun betriebsbereit - es lohnt sich definitiv, vorbeizuschauen. Am Montag, den 12. September organisieren wir auch eine After-Party in der High Line New York Bar & Lounge, kommen Sie doch auf einen Drink vorbei.

Quando viaggio in tutto il mondo, mi imbatto in un errore comune e cioè quello che si pensi che ci sia una grande squadra dietro mondo*dr, ma in realtà, come vedrete dalla lista dello staff sulla sinistra, siamo solo in quattro a lavorare direttamente alla rivista. Con tutti i nostri nuovi ed eccitanti progetti in corso, i supplementi specifici per il nostro paese e il premio Mondo*dr, così come il programma di viaggio del team, questo problema sembrava che stesse per diventare una lotta. Tuttavia, in qualche modo siamo riusciti a fronteggiarlo in tempo! Abbiamo avuto un po’di aiuto in questa occasione e vorrei ringraziare tutti coloro che hanno contribuito.Vorrei anche cogliere l’occasione per invitare tutti a venire insieme al BPM | PRO, lo spettacolo si svolgerà dall’ 11-13 settembre presso la Genting Arena, NEC di Birmi ngham. Quest’anno ci sarà un’eccellente linea di marchi, BPM festeggia il suo decimo anniversario e il complesso Resort World è ora operativo, quindi vale sicuramente la pena venire a dare un’occhiata. Inoltre, terremo un after party Lunedi 12 settembre presso il High Line New York Bar & Lounge, venite e unitevi a noi per un drink.

Cuando viajo alrededor del mundo, me encuentro con una idea equivocada que resulta muy común - que existe un equipo grande detrás de mondo*dr; de hecho, como verán en la lista de staff de la izquierda, somos solo cuatro personas las que trabajamos directamente en la revista. Con todos nuestros nuevos y apasionantes proyectos por cumplir nuestros suplementos específicos del país y los premios mondo*dr - así como la agenda de viajes del equipo, parecía como que esta edición iba a ser una lucha. Sin embargo, nos arreglamos de alguna manera para llevarla a impresión a tiempo! En esta ocasión hemos contado con un poco de ayuda y me gustaría agradecerle a todos los que han colaborado. También me gustaría aprovechar esta oportunidad para invitarlos a todos a venir a BPM | PRO. La muestra se llevará a cabo del 11 al 13 de Septiembre en el Genting Arena, NEC Birmingham. Este año cuenta con una excelente línea de marcas. BPM celebra su décimo aniversario y el complejo Resort World ahora se encuentra operativo - asi que definitivamente vale la pena verlo. Además estaremos dando una fiesta el Lunes 12 de Septiembre en el High Line New York Bar & Lounge. Vengan y súmense a nosotros por un trago!

Advertising Index Absen 139 Adam Hall 103 Adamson 93 ADJ 91 Alfalite 87 23 Allen & Heath Amadeus 27 Antari 25 ArKaos 113 Ashly Audio 77 Audiocenter 40, 86 & 147 Aura Audio 22 BroadWeigh 79 Camco 31 Celestion 7 Chauvet 83 Chromateq 161 Clear-Com 111 Coda Audio 139 coolux 38 d&b audiotechnik 117 57 D.A.S. Audio d3 Technologies 55 Daslight 6 DiGiCo 61




© Ralph Larmann



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St. Nicolai Church St. Nicolai Church in Waldheim is an extremely reverberant venue, which provided a real challenge for Harmonic Design. Using the true one-way cylindrical wave radiators of the hd ML-Series, supplemented by the ultracompact subwoofers, the speech system can be enhanced to a full broadband PA system, with excellent dynamics and the sonic experience of a concert hall. St Nicolai Church has three galleries and huge reverberation times greater than five seconds. To solve the issue with the acoustics, line source loudspeakers were carefully aligned to the listening areas, with the finish of the loudspeakers specified by the architect and customised in production. This allowed them to perfectly integrate into the architecture.


Based in Steinheim, Germany, Harmonic Design are a manufacturer of high-quality loudspeaker systems, combining technological developments, quality of construction, system integration principles and exceptional standards of support and service. Harmonic Design’s loudspeaker systems are used for both live events and in a whole range of venues, from conference rooms to the largest stadiums. Offering tailored solutions for each specific project, Harmonic Design is beginning to make a name for itself within the audio industry.

Hockenheimring Hockenheimring is a motor racing circuit based in the Rhine Valley, near the town of Hockenheim, which hosts the prestigious German Grand Prix every two years. Harmonic Design were tasked with finding a solution for a range of areas within the venue, including the press room at the Baden-Württemberg Centre, along with the adjacent MediaCenter, which has more than 400 working stations for members of the press. Column loudspeakers from the hd PL-Series and ML-Series were used, offering an unobtrusive design and exceptional sound quality. Also, the race track itself - where live DJs and events take place throughout the weekend of the Grand Prix - was equipped with ultra-compact active, plug-and-play systems from the hd P-Series.

KK100 Situated in Shenzhen, China, the KK100 - formerly known as the KingKey100 - is one of the tallest skyscrapers in the world. The top floors of KK100 are home to several bars and restaurants, all of which have their own challenges when it comes to the audio installation. Harmonic Design equipped the venues with its hd loudspeaker systems from the hd ML-Series and PL-Series, delivering an unrivalled sound quality that’s ideal for a bar and restaurant environment. The hd loudspeaker systems are paired with several subwoofers, too, with the hd Sub15 and hd Sub18 series installed for groundbreaking low frequency reproduction. Overall, it’s the perfect audio solution for the KK100’s dining and entertainment venues.

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It is a well-known fact that our industry is a male dominated one, so to interview a female Managing Director is quite a rare occurrence. The majority of women don’t want extra credit or recognition for their gender, but simply want to be treated as equals - and this issue’s interviewee, ArKaos’ Agnes Wojewoda, admits she has always received a positive reception from the industry. Being at the helm of a company is not an easy position for anyone. Leadership, passion and drive are all key elements and, as Rachael RogersonThorley conducted the interview, it became clear Agnes had all of those credentials and more.


• Agnes with founder, Marco Hinic

Back in early ‘90s, founder of ArKaos, Marco Hinic, a Liege University graduate of Civil Engineering in Electronics, began his career in computer graphics, developing ArKaos VJ - software that allowed synchronisation between music and video. This received recognition from Jean-Michel Jarre’s through his album, Odyssey Through O2, which contained computer program JArKaos, a scaled down version of the ArKaos software used to produce visual accompaniment to the music at concerts. JArKaos allows users to generate images and visual effects in real time through their computer keyboard while listening to music. At this time, Agnes was studying, but was approached by the ArKaos team to work on this particular project. Agnes managed both aspects of the JArKaos task - the creation of the software interface and the content, which was provided by several French Art Schools. In 1996, ArKaos VJ and its sibling ArKaos were founded in Brussels, Belgium, where the headquarters remain today. Despite collaborating with ArKaos, it wasn’t until 2006 that Agnes fully committed to the company, as once her studies were complete she went about gathering solid experience in business development, management and strategy development. Although once onboard, Agnes quickly familiarised herself with the company history, as she explained: “When ArKaos began 20 years ago, it focussed more specifically on visual shows, lighting performances, and synchronising video with music. In the early years, the company collaborated with a German audio distribution company, Steinberg, which had an extraordinary team of visionaries who immediately saw the potential of ArKaos



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• ArKaos Studio and Stadium video servers, setting up for video mapping at Bordeaux Wine Festival

products. At the time, when video editors were quite rare, its assistance was critical to the company’s success. Following this successful partnership, ArKaos felt confident that it could also succeed on a global scale, so it branched out to the US.” The company partnered with local audio companies, Numark and Akai, which turned out to be a perfect match for ArKaos. Together the companies created NuVJ, the first version of a dedicated VJ controller with its own specific software. Because of its quick and easy setup, NuVJ proved to be very popular. “I worked on the marketing of the product with the Numark team in Boston to make sure the communication was consistent,” said Agnes. “Today, this product remains one of our best, as we sold a lot of units. “When we started in the music industry, the reason behind our success was the fact that we provided artists with a solution, which helped them to easily visualise their creations. Marco was one of the first to come with the idea to create a ‘picture piano’, in which you drag and drop jpg files onto an a MIDI keyboard interface and then instantly play the files, creating fun audiovisual performances,”

she continued. After witnessing this initial success, it became clear to Agnes that ArKaos had tremendous growth potential, but to realise it, the company needed to look beyond the realms of the music industry. “The company was charged and ready to expand into new areas that proposed significant growth, one of which was the lighting and video technology sector,” said Agnes. “However, we knew entering that marketplace would be a challenge because the mind-set at the time was that the lighting and video technology industry was complicated, expensive and limited only to professionals. But, we knew we had a unique product that would break that mind-set, a product that reflected our philosophy that even highly sophisticated technology doesn’t have to be complicated or expensive.” The company’s unique approach was to create a powerful yet easy-to-use software that would work on almost any computer, from laptops and towers to Mac and PCs. At the time, the industry was predominantly using hardware solutions, so to trust a simple software solution in front of a million people was always going to

“We’ve always been able to anticipate new trends and improve our products to meet market demands. We’ve shown our customers that even with minimum knowledge about lighting, video or audio products; our user-friendly technology gives them access to a whole range of skills that were traditionally perceived to be reserved for professionals.”

Image © Vincent Bengold

Image © Vincent Bengold


• Above Video mapping at the Bordeaux Wine Festival, France 2016.

be a first. That first happened in 1998 for Jean-Michel Jarre’s Concert for Tolerance, which took place at the Eiffel Tower. By creating a software tool that acted in a similar way to a traditional lighting fixture, ArKaos made it possible for lighting designers to start mixing video from a lighting desk. Because this solution was inexpensive and was available to use with traditional computer equipment, the end-users adopted the product very quickly. “The industry was immediately receptive,” said Agnes. “And I believe we changed the perception of how video and lighting can cost-effectively coexist.” So, with the lighting and video sector now at the forefront of the company’s focus, ArKaos made its mission: ‘To give

people flexible, powerful and easy to use products based on operational simplicity and accessibility for users of all levels of ability’. They deliver on this promise by producing real-time visual processing software and hardware, which allow the manipulation of simultaneous high-definition videostreams. “We’ve always been able to anticipate new trends and improve our products to meet market demands,” said Agnes. “We’ve shown our customers that even with minimum knowledge about lighting, video or audio products; our user-friendly technology gives them access to a whole range of skills that were traditionally perceived to be reserved for professionals. Basically, anyone can be a video artist

and bring their creativity to life,” she continued. “We continually emphasise that expensive, doesn’t necessarily equal better, as our products clearly demonstrate. Our technology is easy-to-use, powerful and affordable. “When you design products around the user and ‘just make technology work’, people feel at ease and want to try more things. Too often today, companies try to reduce their production costs by hiring fewer technicians, for example. However, our philosophy is that by integrating technology efficiently, we can offer lighting designers more control over the way they can express their work,” observed Agnes. “Our video mapping technology has been recognised worldwide and that


“I truly enjoy the challenges and dynamics of the entertainment technology industry, especially the lighting sector.”

• Above A meeting at the office.

motivates us to keep the momentum going. Seeing a new user video map surfaces cue video from their favourite lighting desk, after only a brief training session on MediaMaster makes us very proud.” In more recent years - and since Agnes was promoted from Business Development Manager to Managing Director three years ago - the R&D team and its interaction with the ArKaos team has been pivotal to the development of KlingNet, a plug-and-play protocol for LED devices. LEDMaster is a product that was created around Kling-Net and which has three functions - map, sequence and perform. After connecting Kling-Net devices users can map, create light sequences and then enjoy performing with them - all within a few minutes. ArKaos is planning to expand the Kling-Net ecosystem this year with the introduction of Kling-Net interfaces to drive LED tapes and integrate with traditional DMX fixtures.

Fully understanding the need for new products and protocols to help move the industry forward, Agnes noted: “I believe that as a Managing Director I’ve met the demands of the video and lighting industry, an industry that requires a significant knowledge of both business and technology. An even more important aspect of this industry, also shared by ArKaos, is the importance of working with dedicated people. It’s my strong belief that human relationships are at the core of our business and I’ve always surrounded myself with people whose relentless energy and dedication mirrors my own. “I truly enjoy the challenges and dynamics of the entertainment technology industry, especially the lighting sector. My role as Managing Director is creative, expressive and I’m confident that the team I’ve built is moving ArKaos forward. While I continue to enjoy my work my curiosity goes beyond the entertainment


GS-WAVE SERIES Bringing energy back to a former power plant in Berlin, the phenomenal sound system at techno club Magdalena comprises eight 3-metre GS-WAVE stacks plus extra subs and lenses, and eight tweeter pods above the dance floor. This huge installation, driven by Powersoft’s K Series amps with built-in DSP, provides total coverage of a modestly sized 800-capacity room. Keeping most of its power in reserve, the system can run effortlessly when the club is open for days at a time. Pioneerproaudio | | #madeintheuk


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• Cyril Prat video mapping installation, France 2016

industry. So, if I ever felt I could be of great value to another specific sector in the future, I would consider a new challenge.” A particular aspect of the job Agnes enjoys is the travelling, she sees it as a great way to strengthen those business relationships that the industry thrives upon. For many, seeing the world is perceived as broadening the horizon, but it can’t revolve around work all of the time, there must be a health balance. With that in mind, when Agnes does travel, she tries make the most of the opportunity, visiting anything and everything to do with the history of art, a true passion of hers. “I also take the opportunity to visit national parks when possible, or if I am close to a winery, I am always curious to explore the characteristics of local wines,” she said. Tennis is another joy for Agnes. “I’ve always had a passion for tennis and I love the intensity of a great match. The mental side of the game has always attracted me to the sport too. I find it similar to the business environment in which we work, where success requires perseverance and

quick decisions to be made.” Returning back to the future of ArKaos, Agnes believes this will involve looking further in the lighting field: “Some believe that the market has a fixed size. I strongly disagree. The market expands as new products are introduced and there continues to be significant demand in the lighting and video industry. Our vision is that by creating reasonably priced and user centred products, we can continue to enable people to try new ways of expressing their creativity,” she said. “The industry has been very good to me. Although this is a very male-dominated industry, I’ve been fortunate enough to meet and work with very generous people who have not hesitated in sharing their expertise and experience with me. The industry has been grown by the passion of a few key players, for whom I have the greatest admiration. I’ve tried to follow their example by always acting with passion and commitment and by doing so, I hope to inspire women and non-women alike.

“I’ve always had a passion for tennis and I love the intensity of a great match. The mental side of the game has always attracted me to the sport too. I find it similar to the business environment in which we work, where success requires perseverance and quick decisions to be made.”



The Sheraton Waikiki in Honolulu’s Helumoa Playground Superpool comprises two distinct 3D pool mapping light show stories presented twice every evening to entertain hotel guests and the general public. Billed as the world’s first permanent installation of its kind, the 3D pool mapping shows are projected across a 7,503 sq ft pool canvas, demonstrating lively displays of volcanic eruptions in ‘Helumoa - the birth of Hawaii’, and the rise of historical Hawaiian resorts and water sports in ‘Helumoa - the legendary story of Waikiki’. The Sheraton Waikiki hired PointCloud Media, a full-service production company specialising in 3D projections, to develop innovative, energised shows featuring graphic figures and images projected onto the nearly 200,000 gallon superpool. The PointCloud solution integrates its core Raylight4D mapping system - responsible for superimposing visual content on the pool to mesmerising effect - with seven ultra-bright projectors and reliable, cost-efficient playback software from Renewed Vision. The integration of Renewed Vision’s ProVideoPlayer

2 (PVP2) software is significant as it drives playback for all seven projectors from two Mac Pro computers, saving PointCloud Media tens of thousands of dollars in comparison to expensive hardware-based packages. Additionally, PVP2 simplifies the overall workflow, allowing PointCloud Media to automate playout and quickly adjust show schedules in the event of inclement weather or special circumstances. “Over the years, we have used many different servers to augment video projections on large buildings, and they were all very complicated to operate, requiring real experts,” said Jack Hattingh, President, PointCloud Media. “The Renewed Vision PVP2 software reliably plays out all content from a stable platform, without the expense of purchasing or renting a system and hiring a full-time operator. I can purchase PVP2 software and a Mac Pro for the price of a three-week rental of most competing products. Being a permanent installation, the return on investment with PVPV2 is nearly immediate.” The end-to-end architecture includes five rooftop Barco HDQ-2K40 40,000 lumen projectors positioned

320ft in the air to project visual content onto the pool, along with two Barco HDX-W20 20,000 lumen projectors at ground level to project visuals onto adjacent rock formations. The workflow starts with a 4000x4000 content file for the pool map and a 3840x1080 file for the rock formations. A Mac Pro running PVP2 at each location slices the 4000x4000 file into five separate 1920x1080 feeds with mild overlap. The fluid pool reflections and surrounding ambience add an element of reality to the custom 3D mapping projections. Tempest enclosures were selected to house the projectors to ensure these expensive units would be protected from weather damage and dust ingress, with special attention given to the Barco units above the hotel foyer roof. Here, Tempest enclosures are dealing with the added issue of water splash from the pool. “Traditionally, 3D mapping technology uses building surfaces as a projection canvas. On this project, reflections from Helumoa’s superpool add a new component of reality to the animation, resulting in more vibrant and saturated colours,” commented Jack. “Tempest enclosures are an important component of the technical















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solution. They needed to be able to handle the substantial size and weight of the Barco projectors, and protect them from up to 30 mile-per-hour prevailing winds, potential storms, humidity and high temperatures.” “PVP2 allows us to fine-tune the mappings on the fly to create the best convergence between the projected images,” said Jack. “Its advanced rending engine, coupled with the power and reliability of the Mac Pro, enables smooth playback of the massive video file across all five outputs. PVP2 is also allowing us to create some unusual projections, as we’re blending from four corners geometrically rather than top to bottom or left to right. PVP2’s flexibility has made it easy to create a unique mosaic map with plenty of light that audiences can enjoy.” The master system on the roof is connected to the second rock projection system 31 stories below via a fiber-optic connection, with all content triggered simultaneously from both PVP2 servers. As each show begins, PVP2 triggers a contact closure relay to change the sound system from the standard background music service to the PVP2 audio feed. A third Mac Pro system outfitted with PVP2 supports a hotel broadcast on Channel 37, with viewers able to enjoy a live cut of the pool projections at the moment the light show music begins.































Overlooking the South Bank of the River Thames, London’s County Hall is home to a number of businesses and attractions, including three developed by Merlin Entertainments. The newest of those attractions, Shrek’s Adventure London, was completed last year. The designers, London creative technology studio Seeper, partnered with SSE Audio Group for the audiovisual installation which features extensive use of VUE Audiotechnik loudspeakers, including the i-Class Integrator Series. Shrek’s Adventure is a multimedia family attraction that places participants firmly into the kingdom of Far Far Away, providing 75-minutes of fairly-tale themed shows and a new Shrek adventure with animation by DreamWorks. “The installation was created completely from scratch and we needed PA coverage for all the circulation areas, from where you queue for your tickets all the way through the themed rooms,” said Emma Bigg, Installations Director, SSE Audio Group. “We were looking for a very discreet installation speaker that sounded really nice and could handle a variety of jobs ranging from background music, to announcements, to sound effects. SSE and their partner for this project,

Seeper compared speakers that would fit the size requirement and did a shootout. We were very impressed with VUE.” Emma turned to VUE’s i-Class Integrator Series, employing an extensive assortment of models including 43 i-8, 36 i-6, approximately 166 i-4.5 and 13 is-26 subwoofers. The i-8 foreground loudspeaker system is the largest full-range model in the i-Class, featuring an eight-inch polypropylene woofer and a one-inch ferrofluid-cooled neodymium tweeter. Designed for mid-field applications, the i-8 generates 60º by 60º degree coverage and a frequency response ranging from 60Hz to 20kHz. Its smaller sibling, the i-6, is a more compact mid-field loudspeaker with a 6.5inch polypropylene woofer and the same oneinch tweeter. The i-6 covers a 70º by 70º pattern and produces a maximum output of 104dB SPL. Possessing the smallest footprint in the i-Class, the i-4.5 packs a 4.5-inch polypropylene woofer and a one-inch silk dome tweeter into a cabinet weighing only seven pounds, yet is capable of delivering SPLs as high as 10dB, long-term. Of course, no theme-park experience would be complete without some serious shaking, so low end for the Shrek’s Adventure install is derived

from a total of 13 is-26 compact surface mount subwoofer systems. VUE’s is-26 incorporates two 6.5-inch low-frequency drivers with rubber surrounds and 1.5-inch voice coils into a high-density wood enclosure with integrated hang points. The is-26’s low-frequency response extends down to 48Hz and the speaker is capable of 118 dB SPL long-term. “County Hall is the equivalent of a town hall on a very large scale,” continued Emma. “It’s a huge building which houses offices, a couple of hotels and three experiences from Merlin Entertainments: Sea Life Aquarium, The London Dungeon and Shrek’s Adventure. It’s a building that has been placed on the Statutory List of Buildings of Special Architectural or Historic Interest, so they were creating rooms within rooms to house the experience to avoid damaging the fabric of the building. However, some of the circulation areas were the actual building. One of the advantages of the VUE products is that they’re very compact. We were able to slot them in quite discreetly because you can hide them amongst the features of an old listed building to preserve the look and feel. You don’t really want big, heavy speakers detracting from that. The i-Class speakers come

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with mounting brackets as part of the package, making them easy and quick to install.” Another consideration was the speakers’ ability to handle a variety of source material. “The VUE speakers are quite musical-sounding and that’s important when you have a whole range of music content plus different sound effects in the atmosphere,” said Emma. “The full-range models have a nice low-end response so you don’t need a lot of sub with them. And we received a lot of support from VUE on the project. It was a really good experience. People from Merlin Entertainments who have visited the site were very impressed with the VUE speakers and in fact went on to purchase them for other Merlin sites.” In addition to the VUE Audiotechnik equipment, the Shrek’s Adventure! London installation comprises Medialon show controllers, 7thSense media servers, BSS DSP, and Crown amplifiers with Dante facilitating audio processing and playout. The 7thSense media servers

are all built-in Dante Virtual Soundcards, which output audio across the attraction site to the Crown amplifiers. Dante provides the flexibility and ease of use that is required when sending audio over large distances or an existing network infrastructure. Dante’s easy utilisation yields the simple click-and-go power of Dante Controller to configure a network, the ability to just add/remove devices and allows the user to spend time enhancing the guest experience - not fiddling around with clunky cabling and running diagnostics. In the case of Shrek’s Adventure! London this need for simplicity was even more acute given the complexity of an installation requiring intensive interaction between performers and projections, as well as close synchronisation of audio and video. What was needed then was rock-solid reliability, which Dante delivered. / www.sseaudiogroup. com /

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The Wanda Cultural Tourism City complex has opened in Nanchang, China. Spanning a two sq kilometre space, which boasts a theme park, movie park, aquarium, hotels and retail stores, it is expected to attract ten million visitors a year to the southeastern Chinese city. The Flying Theater and Interactive Theater in the Wanda Movie Park, and the Domed Theater in the Wanda Aquarium feature Alcorn McBride audiovisual, lighting and show control equipment. The gear was provided by Beijing-based Wincomm, a company with more than 20 years experience in professional audiovisual distribution and installation. Wincomm had previously selected an Alcorn McBride system for the Wanda Movie Park in Wuhan, China. The equipment’s reliability, stability and ease-of-use at that venue were all characteristics that made it the logical choice for the new Wanda project in Nanchang.

The Flying Theater, which features a flight simulation experience, uses two Alcorn McBride V16Pro show controllers and a couple of ShowTouch 10 touch panels in its two main halls. One V16Pro synchronises audiovisual systems, the lighting system and a largescale motion platform for the 72-person simulator. The second V16Pro and ShowTouch, working with Alcorn McBride’s LightCue Pro control the lighting system of the main show halls, pre-show and queue area. The Flying Theater also uses an Alcorn McBride audiovisual Binloop HD and an Alcorn McBride 8TraXX, both installed for the theatre’s pre-show and queue areas. The Interactive Theater is a dark ride with multiple 3D interactive shooting games. A V16Pro controls the audio, video, lighting, projectors, and monitors for the attraction and allows great communication through the games’ shooting system. An audiovisual Binloop

HD plays the video in the pre-show area and safety instructions for when visitors are queuing in their designated area. Additionally, a dedicated 8TraXX handles background music. Two LightCue Pro’s control the general lighting and specialty lights in the theatre. A ShowTouch10 touch panel in the rack enables operators to monitor the video and projection systems, and control the audiovisual and lighting systems. Another V16Pro controls several laser projectors and media playback servers for The Domed Theater. Visitors are immersed in a 360º 12-metre screen, which showcases deep-sea exploration from a panoramic perspective.



Several multipoint B8 systems have been installed at Wave Club at Splashworld waterpark in Avignon, France. The discrete and elegant B8 loudspeakers installed throughout the Wave Club provide great performance, sound quality and total reliability to accompany surfers, and high-quality sound reproduction for all night parties. Wave Club welcomes 4,500 people a day and boasts the largest worldwide generator of static and modular waves; reaching a height of up to three-metres. Amate Audio, France installed the new B8 system, along side X208 line array systems and X218W3K subwoofers.

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In the run up to the Summer Olympics in Rio, Virgin Media’s new ‘Be The Fastest’ campaign from Curb Media celebrated speed and the fastest man of all time, Usain Bolt. How better to demonstrate Bolt’s blazing speed than with a 100 metre-long horizontal LED screen, floating on the Thames at the foot of the London Eye? A d3 Technologies 4x4pro media server running r13 software played a key role in the event, which showcased a three-minute, emotion-packed film by Treatment Studio. The film focussed on the concept of speed and a pivotal season in Bolt’s career. Part of the film dramatised Bolt’s record-setting 9.58-second run across the 100-metre span of the flat screen. VER UK supplied the custom horizontal LED screen, the longest of its type ever constructed. It topped 108 pontoon decks and covered 600 sq metres. Mark Bustard produced and directed the event. Video was synced with a complementary lighting scheme that illuminated the London Eye and other nearby structures. The London Eye served as a giant stopwatch, counting down Bolt’s 100-metre record time, set in Berlin in 2009. VER UK also supplied the d3 4x4pro to play back the three-minute film, and a second server for backup. The media server’s streamlined timeline user interface enabled Chris

Simcock, the Operator Programmer from Sensel Studio to sequence to hours, minutes, seconds and frames. This allowed Chris to quickly and easily update the timeline when new content arrived from Treatment Studio, who sent a number of updates towards show day. Chris sequenced the finale to start at precisely 9.58pm. “That was crucial because other show elements - lights, sound, followed the same timing,” he explained. “For d3 to play back in sync with other show elements, GPS timecode was fed to the control rack and converted to MTC for d3 to track. As a result, at precisely 9:58 pm the big finale showcasing Usain Bolt was triggered for viewers from the London Eye and Victoria Embankment to see.” d3’s intelligent output feeds allowed the giant 6K image canvas to be divided into HD outputs, which were fed to two LED processors. “Excellent teamwork by VER UK, Treatment Studio and Sensel Studio resulted in a fantastic show,” said Chris. “d3’s brilliant software and hardware solutions helped make it possible. The product just continues to excel in the live events industry.” Delta Sound UK was the audio integrator for the show. Adam Power from Spindrift Projects assisted with systems integration.

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T HERME N OR D B U C U R ESTI COMPANY: FOHHN AUDIO LOCATION: BUCHAREST, ROMANIA Amid a plethora of palm trees and exotic plants, accompanied by the soothing sound of waves, visitors are transported to another world in Romania’s newest attraction, the Therme Nord Bucuresti. The magnificent leisure complex, completed earlier this year, offers a range of attractions including an enormous wave pool, several water slides, various saunas (including a cinema sauna) and pool bars. Visitors can explore activities, such as water gymnastics and hydrotherapy, alongside more traditional bathing. The complex also has an event area for live music and entertainment, as well as a variety of restaurants, gift shops, a room with video game consoles, a planetarium and more. Built over a thermal spring, approximately 1,400-metres deep, which provides a constant source of warm water for the outdoor pool, the Therme Nord Bucuresti is one of the continent’s largest spa and leisure pool complexes (also boasting Europe’s largest retractable glass roof). The construction process has involved over 500 companies from 20 countries. Selecting and installing a sound system throughout this extensive visitor attraction has proved a substantial project in itself. The need for accurate reproduction of both speech and music - for safety announcements and information, background music and event sound - amid the toughest acoustic conditions, demanded a system that could deliver on a number of levels. Lead installers, Avisonik from Engen decided on loudspeakers from fellow South German colleagues, Fohhn

Audio. The complex’s main Galaxy area includes seven clusters of Fohhn Arc-Series loudspeakers. Principally designed for fixed installation / architectural use, this series offers a variety of compact full range / mid-high speakers that can be used for both large area and long distance coverage, as well as for more selective sound within limited spaces. Each cluster consists of two AT66w 600W full range systems, plus a 300W AT-22w high performance system, used as a downfill. Both models are weatherproofed, making them ideal for use in open or damp environments. The systems are suspended, via mounting brackets, from special ceiling constructions. For added low frequency coverage, the clusters have been supplemented with a centrally flown, electronically steerable, vertical Focus Sub Array consisting of 14 compact 700W AS-31 subwoofers. Applied use of Fohhn’s Beam Steering Technology, together with a cardioid arrangement, ensures that bass energy from the array is not inadvertently emitted onto the ceiling. This results in a quieter and more even overall sound. More Arc-Series loudspeaker systems have been installed around the entrances and exits to the large water slides. These include two compact AT-09 200W systems, four slightly larger AT-201 300W systems and three lightweight but powerful AT-35 500W systems - selected for their outstanding speech intelligibility, acoustic efficiency and excellent dispersion character-

istics. A total of 17 Fohhn DSP four-channel amplifiers - nine D-4.1200 and eight D-4.750 - are used to drive the Arc-Series loudspeaker systems. The separate spa and thermal areas of the complex feature Fohhn’s Linea LX line source speakers. Developed for long distance coverage and effective transmission of both speech and music in venues with demanding acoustics, these slender systems are also designed for subtle architectural integration. Hidden among the palm trees are several loudspeaker clusters, each comprising four LX-220 systems mounted on support columns. These provide subtle background music for guests. Additional LX-100 systems near the restaurant area add some extra high frequency coverage. To ensure optical integration into the surroundings, all loudspeaker systems have been colour-matched to their respective areas using special RAL colours. Wiring up the system has also proved no mean feat, with over 10,000 metres of loudspeaker cabling required for signal transmission and power supply throughout the complex. “We are delighted to have our systems installed in one of Europe’s newest visitor attractions,” says Fohhn Audio’s Director of Sales & Marketing, Uli Haug. “It has involved some considerable planning for our colleagues from Avisonik GmbH, together with Fohhn specialists, but everyone is extremely pleased with the results.”

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After two years of design and planning, two months of installation and two weeks to set up, AV Stumpfl’s multimedia and presentation technology can be found at the very heart of Berlin’s fantastic shopping world, Das Schloss. Das Schloss is one of six shopping centers located across Germany owned and managed by WealthCap Real Estate Management. F1 Gesellschaft für Informationstechnologien und Managementberatung mbH working in collaboration with VIOSO GmbH installed 15 Wings VIOSO software packages for calibration and projection mapping, 15 VIOSO servers for playback of high-resolution content, Wings Touch for simplified operation and Wings Avio Manager for system control and communication between system components. The project is the only system of its scale and size and is a result of a recent technical upgrade, eight years after it was first opened to the public. Oliver Mohr, Center Manager at Das Schloss explained: “We wanted projected multimedia to cover the 1,200-metre interior of the shopping centre. Because the interior has a lot of architectural lighting, we wanted the visual system to be even brighter so our visitors could fully immerse themselves in an underwater world. “In 2014, we selected a talented design team who could commit their time and energy into creating something really innovative and functional and we even had a lot of fun working with this project team! The final result of the project adds a new and extraordinary dimension to the shopping experience.” Before the project started, the ‘Magic Ceiling’ at Das Schloss projected pictures of the sky; day, night, clouds and the universe watched over shoppers as they strolled through a castle scene. “The older technology was redundant and content could not be easily updated online,” explained Silke Schirmer, Managing Director at F1 Gesellschaft für Informationstechnologien und Managementberatung mbH. F1 Gesellschaft für Informationstechnologien und Managementberatung mbH designed the installation with longevity and return on investment in mind. Now Das Schloss has an ‘underwater’ theme inspired by the brand new multimedia content designed by artistic collective Werft 6 GbR in Dusseldorf. Hajo Rappe, CEO and founder at Werft 6, said: “We wanted to keep the content looking as natural as possible. We joined the fully digital underwater world to shoot footage using motion capture of real-life divers and to create an animation of the most realistic sea creatures and scenery.” A total of 78 Barco F32 video projectors are controlled by 15 computers, projecting a beautiful underwater scene of coral, schools of fish and even mermaids along three circular areas of a 1,200 metres squared ceiling as the people below go about their shopping sprees. The entire projection canvas is about 16K by 16K square pixels and is in a curved L-shape. Silke explained: “It was a complex project. One challenge was to get a single seamless image with a geometric edge blend and partial projection parts. The setup, maintenance and running of the new system needed to be done at night when the shopping centre was closed so it was important to have a system which was easy to set up and use.” The projected images for the ceiling of Das Schloss utilises the patented auto-align warp and map feature of Wings VIOSO. 2 cameras were used to automatically determine the warping and blending of the ceiling. Therefore, the watery landscape at Das Schloss is uncompromised. Silke added: “The biggest challenge was to get a single image. The previous system didn’t have calibration in real-time so using Wings VIOSO you could combine and layer an image at the click of a button.” Emanuel Züger, Managing Director of VIOSO GmbH, was on-hand during project build up and said: “This project was a necessary upgrade to an older system. Once it was installed, shoppers noticed that the system was brighter, more detailed and interesting. And we had fun running around at night-time in the shopping mall with tiny cameras to auto align this vast number of projectors to a seamless image of nearly 170MP resolution. “We thank everyone involved in this great project and look forward for frequent change of content and much more entertaining ideas with this large display.”



The production company Stage Tech Limited has discovered the many creative uses of MILOS truss and how it can be used to deliver the customer promise of ‘highlighting ideas, enchanting guests and making special occasions even more memorable’. Stage Tech has used the MILOS M400 range of truss to realise custom installations in various public places in Hong Kong. Among its many creations is a hanging sculpture in Pacific Place shopping mall for its 25th anniversary celebration and a hanging goat display at the PMQ Goat ARTventure exhibition gallery.

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Now a choice of over 120 RAL Classic color finishes The 4000 Series active loudspeaker is perfectly suited to music playback, whatever the chosen environment. Allied theand premium performance is the renowned 4020, to 4030 4040 models are available in a full range Scandinavian andthe build quality to which combines of colours anddesign will allow speakers contribute to high qualitydesign materials with stylish tofixed makeinstallation. this the interior scheme of any looks type of range the new benchmark for loudspeakers in the The 4000 Series active loudspeaker is perfectly suited audio visual sector. to music playback, whatever the chosen environment. 4000 Series are also available as part of Allied to the loudspeakers premium performance is the renowned the Building Information (BIM) object library. Scandinavian design andModelling build quality which combines high quality materials with stylish looks to make this range the new benchmark for loudspeakers in the audio visual sector. 4000 Series loudspeakers are also available as part of the Building Information Modelling (BIM) object library.

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When the local zoo in Emmen, The Netherlands, closed at the end of 2015, it wasn’t long before animal lovers in the area had a renewed and even better animal theme park to visit. Inspired by Disney’s Animal Kingdom and SeaWorld Orlando, Wildlands Adventure Zoo opened its doors in March this year, as the area’s new must-visit theme attraction. Emmen’s former zoo required a complete renovation, so Wildlands contacted leading theming company Jora Entertainment to develop modern storytelling themed areas and the entertainment technology systems needed to help bring them to life. An important aspect was dynamic, decorative lighting schemes that could live up to the standard of its mentor attractions across the Atlantic. Jora Entertainment subsequently developed a sensory scheme for the various themed areas of

the newly- built park, installing lighting, sound and special effects throughout the zoo to bring the attractions to life. In addition to the storytelling themed areas, Jora Entertainment also developed a special 4D movie along with custom-made shows and entertainment programs. Jora Entertainment installed over 170 Elation Professional colour-changing Level Q7 IP LED Par lights all around the park to uplight buildings and other objects in a variety of shades that complement and support the atmosphere of each theme. Foliage areas like trees and bushes are also accented in coloured light from the compact Level Q7 IP lights, which are all-weather IP65 rated and house seven 15W RGBW LEDs for full colour mixing. Used for inside attractions as well, the fixture’s most important features, according to Kevin Mohr at Jora

tainment, are their beam angle and excellent output, as well as the fact that they are water resistant. Visitors to Wildlands can journey through three different themed areas - Jungola, Serenga and Nortica – each its own unique adventure with animals, rides, attractions and more. In Jungola, where ​​the Jungle Jim Show takes place, compact Elation Rayzor Q7 LED moving heads are used during the show. Useful for a variety of dynamic visuals from colour washes to chase effects to sharp beam looks, the RGBW Rayzor Q7’s are also used at the Jungle Jim Show area to highlight the surrounding décor. Wildlands Adventure Zoo has received praise for its beautiful design and themed areas. With its attention to detail and decorative touches like highlights of coloured light, it is a model for today’s themed modern zoo.


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Dubai Parks and Resorts, the new ground-breaking $2.86 billion multi-theme park complex, is set to become the city’s hottest new attraction. At more than 25 million sq ft it will be the largest integrated theme park resort in the region. The site includes three theme parks and one water park - Motiongate Dubai, Bollywood Parks Dubai, LEGOLAND Dubai and LEGOLAND Water Park, side by side. The theme parks are then connected by Riverland Dubai, a grand entrance plaza, and Lapita Hotel, a Polynesian themed resort. When the construction of Motiongate Dubai began they called on leading manufacturer of flame retardant fabrics, drapery and stage engineering solutions, J&C Joel, to install a tension wire grid system in the park’s theatre. As the Middle East distributor for SkyDeck, J&C Joel’s expert team knew the system would prove to be the right tension wire grid system for the project as it gives a transparent portal for lighting and sound devices ensuring there is no discernible loss of focus, signal, or energy. J&C Joel’s engineers installed 790 sq metres of the SkyDeck system in Motiongate’s theatre to create four tension wire grid walkways. These walkways provide safe access to theatrical lighting, audio cables, loudspeakers, stage rigging, and effects. Lighting can be

hung on a pipe grid just above the tension grid; there is no need for holes, as the light can shine through the grid, virtually unobstructed, to the stage. Ben Richardson-Owen, Middle East Project Manager at J&C Joel, who handled the installation, explained: “Using the SkyDeck system over the traditional net system we found the installation was smoother and faster and we were able to complete the project on schedule.” The success of the project has meant J&C Joel have also been commissioned to supply the drapery package for Motiongate and Dreamworks. And the firm has also won another tension wire grid project using the SkyDeck system. Ben commented: “On the back of the Motiongate project we have been able to win another tension wire grid project using the SkyDeck system in Qatar and have been receiving enquires for many more projects.” Jeff Craycraft, SkyDeck Sales Manager at InterAmerica Stage Inc, concluded: “We are thrilled to see SkyDeck’s global reach expand into Dubai. SkyDeck truly is the most efficient and safest wire tension grid on the market. Working with the professionals at J&C Joel, we were able to bring advanced wire tension grid technology to the Motiongate project and we’re very proud of that.”



The Sanctuary of Paravati is one of the biggest places of worship in Italy. The Sanctuary is visited each year by hundreds of thousands of pilgrims. Many of the events and ceremonies take place in the wide outdoor churchyard; for this reason the structure management needs a permanently installed audio system. Four LSS NFM16 column array loudspeakers

were installed in Paravati Cathedral’s churchyard to provide ample coverage and a broad frequency response. The system is also highly durable and blends into the aesthetics of the architecture. The aim of the project was to achieve an increase in operational efficiency and flexibility. The NFM16’s stand at four-metres high have a

maximum peak SPL of 104dB at 60 metres and feature feature built-in amplification and DSP control. The system was tested during the open-air celebrations, which attracts more than 50,000 pilgrims and the LSS system proved to be a success.

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The Henry Doorly Zoo and Aquarium is Nebraska’s biggest paid-attendance attraction. The zoo offers educational programs, day camps and is involved in research and conservation. Founded in 1894, it offers up-to-date facilities and audiovisual technologies. “All audio processing and management for the zoo’s systems is done with Symetrix DSP,” offered Tim Burkhart of Omaha systems integrators Midwest Sound and Lighting, which designed and installed the audiovisual systems. “We use a few older Symetrix DSPs but mostly we use Radius 12x8 processors to manage aquarium and zoo sound effects, audio for the conference rooms, and a lot more. Some systems are distributed throughout the zoo via their network, so there are Symetrix processors all over the place.” Above all, the zoo requires bulletproof reliability. “The systems have to work every day,” Tim agreed. “We’ve put a lot Symetrix DSPs into churches, schools, and so on, and they have always been absolutely reliable. That’s a big reason we chose Symetrix exclusively for the Henry

Doorly Zoo.” The Alaskan Adventure exhibit is a splash grounds for kids that features computer-controlled sprays and spouts and more than 75 bronze sculptures. In addition to simulating visual water effects made by whales, salmon, sea lions, and the like, it offers associated sounds, delivered in sync with the water effects using Symetrix Radius DSPs and an AMX control system. Symetrix DSP enables a better visitor experience throughout the zoo, Tim explained: “The zoo has a lot of education programs in different areas. Let’s say a zookeeper is talking about the elephants, using a wireless mic. When he talks, the background music is ducked in that zone of speakers, so you only hear the zookeeper. The music comes back up when the zookeeper finishes. Nobody has to push buttons or think about the controls; we’ve automated everything we can, so people just interact normally, and the system works.” Symetrix DSP was key to all of this. “The logic capabilities and the many modules for the

metrix DSP made it easy to set up; it didn’t take long,” insisted Tim. “With most other DSPs, you wouldn’t have those modules, or they wouldn’t be as capable of doing what we needed. We have not found anything we wanted to do that was impossible with the Radius.” In addition to audio processing, Symetrix DSPs handle time-based event and energy management, switching things off and on according to the daily schedule. Indeed, versatility is one of the Radius’ attractions for Tim. “We take advantage of the many Symetrix modules to do an assortment of things, while providing easyto-use controls for the customer. We can manage components that are thousands of feet away from each other, and we can distribute audio over the network using Dante.” Tim greatly appreciates the Radius’ combination of deep features and ease of programming. “The Radius is so simple to program,” he concluded. “If I can dream it up, I can probably make it happen.”




At China’s domed Dai Show Theatre, built exclusively for producer Franco Dragone’s newest themed spectacle, the nightly displays of jaw-dropping aquatic acrobatics are bolstered by immersive music and effects sonically choreographed through a 128-channel Meyer Sound D-Mitri digital audio platform and reproduced by an encircling array of 103 Meyer Sound loudspeakers. The D-Mitri platform, working seamlessly with CueConsole control surfaces, provides a complete and fully integrated solution for mixing, matrixing, multitrack playback and show control. In addition, Meyer Sound’s innovative Space Map software allows dynamic panning of sounds around and across the two rings of individually addressable, self-powered loudspeakers. “Having D-Mitri integrated with Space Map definitely expanded my creative options,” said Corrado Campanelli, hand-picked by Dragone to design sound for the production. “Working in the round, with two layers of surrounds, I could think in a much more immersive way with all music and sound effects. With the press of a button, the operator can dynamically move sounds three dimensionally around the space, immersing spectators in the action.” The sound system design was a collaborative effort, with the original proposal by Colbert Davis of

California’s Thinkwell Group specifying D-Mitri and most of the loudspeakers. Due to changes in the building structure and the show’s musical concepts, the loudspeaker and D-Mitri configurations were later augmented or modified by Corrado. One visual concept central to the show was that the dome over the central pool would be part of the visual effects, which meant that the loudspeakers had to be largely hidden. This presented challenges for covering the 1,183-seat venue. “We could not have large line arrays hanging down in view, so instead we deployed a main inner ring of ten UPA-1P loudspeakers as the main system, and a delay ring of 23 UP-4XP loudspeakers under the surrounding soffit,” Corrado explained. “In addition, we deployed two more rings with a total of 59 smaller loudspeakers for the dynamic surround effects.” With this configuration and Space Map in mind, Corrado worked closely with Dai Show composer Michael Brennan to leverage the possibilities. “Since this was all original music, I could work with him to identify instruments or sounds that could be dynamically moved during the performance. I do not know of any system other than D-Mitri that can accomplish this as easily and effectively.” Corrado also noted the advantage of working with a single principal supplier for the entire system, from

program inputs through loudspeakers. “It was 100% routing through Meyer systems, from D-Mitri and CueConsole through the Galileo processors and into the loudspeakers. It made set-up much easier, knowing that everything is fully compatible and we have one source of excellent technical support.” The Meyer Sound house loudspeaker complement also included two UPQ-1P and two UPM-1P loudspeakers; three UPJ-1P VariO loudspeakers; 19 UPJunior-XP VariO loudspeakers and 49 MM-4XP self-powered loudspeakers, both with IntelligentDC technology; three 1100-LFC low-frequency control elements; two M1D-Sub subwoofers; and a Galileo loudspeaker management system with two Galileo 616 processors. The monitoring system utilized four UPJ1XP loudspeakers and a second CueConsole control surface connected to a 72-channel D-Mitri platform. All systems were supplied by Shanghai Broad Future Electro Technology Co., Ltd. and installed by Shenzhen Runze Lighting & Audio Technology Development Co.,Ltd. The Dai Show Theatre was designed by renowned architect Mark Fisher of London-based Stufish Entertainment Architects. The US-based firm of Auerbach Pollock Friedlander was contracted to supply overall programming and planning services for theatrical design.

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The Mary Rose museum has re-opened with a full uninterrupted view, after a £5.4m revamp. Since being raised from the Solent in 1982, the Mary Rose, Henry VIII’s flagship has undergone 34 years of conservation and can now be viewed through floor-to-ceiling windows and an air-locked viewing balcony at the purpose built museum in Portsmouth Historic Dockyard. The Mary Rose, a Tudor warship built for the English navy of King Henry VIII in 1510 was in service for 34 years and sank in 1545. Rediscovered in 1971, the wreck of the Mary Rose was raised in 1982 and towed into her homeport in Portsmouth, England into a covered dry dock to begin conservation. And so began more than 34 years of conservation work, where, for over 30 years, the ship was sprayed with fresh water and wax to displace all the water in the timber cells so they would never collapse. A permanent museum building was constructed over the ship and in 2013 the sprays were finally turned off. The ship was controlled air dried over the next three years and on 20 July 2016 the ship was revealed to the public to allow them a completely clear and uninterrupted view. Originally opening doors to visitors in May 2013, the museum has been closed from public view since November 2015 whilst the latest development works, to allow full height viewing of the ship from three separate viewing angles, were undertaken. The new-look Mary Rose Museum now provides stunning panoramic views of the ship from all nine galleries through floor to ceiling glazing on the lower and main decks. On the upper deck visitors enter the Weston Ship Hall via an airlock and are separated from the ship only by a glass balcony.

This phase of work includes the introduction of an audio-visual installation to enhance interpretation and visitor experiences, for which a creative team led by exhibition designers, Real Studios, were brought in to tell the story of the ship’s crew going about their daily routines both at war and peace. More than 60 short scenes were filmed and produced by Graham English & Company and projection mapped by Sysco AV into the relevant cabins on the ship’s hull. Together with lighting design from Adam Grater of DHA Designs and an accompanying atmospheric soundscape produced by Peter Key Sound Design & Production, the ship is brought to ‘life’ for the visitor at intervals throughout the day. Tasked with providing a discreet, unobtrusive audio solution, Peter Key chose to enhance the existing sound installation of overhead loudspeakers in the two enclosed viewing walkways - the Main and Lower Decks. With the ship now in full view, Peter commented: “I felt that sound should not all be heard from above, but should also appear to play from in front of the visitor in line with the projected images.” “This meant we needed to excite individual glass panels of the viewing corridor for the entire length. This was quite a tall order, not only was the laminated glass more than 25mm thick, but the solution had to be invisible, so that it did not obscure the view of the Mary Rose”, continued Peter. “I discussed the project with Sound Directions for their expertise in this area and the recommendation was to use MSE Audio’s SolidDrive SD1g Surface Exciters. Extensive tests proved that such a mass of glass could be excited by a relatively small transducer device

to provide good quality and distortion free audio. The small form factor and clean cylindrical lines of the devices enabled them to blend into the glazed environment,” added Peter. Robert Lapraik, Deputy Chief Executive for the Mary Rose Museum, added: “We are delighted that the combination of sound and projection not only brings the ship to life, but also re-establishes the relationship between the ship and the thousands of real objects in the context gallery walkways.” Stanislas Boivin-Champeaux, Managing Director for Sound Directions, also commented: “The SolidDrive SD1 surface exciters provide a very discreet solution for visitor attractions including museums, as they provide excellent quality audio whilst being almost invisible, particularly when glass surfaces are used for encasing the exhibit.” In total, four of the SolidDrive SD1g Surface Exciters were installed along each deck level over a distance of forty metres, each SD1g driven by a separate audio channel of a SolidDrive SD-250 Mini Amplifier. Audio reflections from the opposite side of the corridor, behind the visitors viewing area, which was also glazed as part of the original museum design means the spread of sound is much wider along the corridor than might otherwise be the case, which results in the use of less exciters and amplifier channels than might otherwise be required. Peter concluded: “I am very impressed with the audio quality from such a small and compact unit. It provides another layer of loudspeaker playback to enable a truly immersive soundscape to be created within the viewing galleries.”









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To celebrate a science park located in Guangzhou, China, Picturall teamed up with its longtime distributor, Leafun, to create a breath-taking, eye-catching water fountain show. Based in Guangzhou Science City, which is a technology centre that has been developed with support from the Guangzhou Government, the display is part of the plan to make

the Science City one of the most important destinations for IT research and development. The show itself, which has a total run time of 30 minutes, consists of an awe-inspiring combination of water fountains, impressive lighting effects and a video show. For the projection, Leafun used six projectors from Barco and ran it via one Picturall Octo

media server. The Picturall Octo media server delivered a powerful, easy-to-use solution for the science park installation, with a robust video engine offering a playback performance of more than 23 layers of full HD video and capability for 8K playback.


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Photo by Christian Holthausen



Every year, the Winnetou Festival takes place in the south of Croatia in commemoration of Pierre Brice, the main actor of the Winnetou western movies. This year, on the anniversary of Brice’s death, German lighting company MBLightarts did a three hour multimedia show on the rock surface of Mount Tulove Grede, using 34 P-5 wash lights. MBLightarts’ route into this project was curious one. A fan of the Winnetou Festival had spoken to the festival organisers about a vision they had to light up the rock surface. This fan was familiar with MBLightarts and presented the idea to them, after which they immediately started working on a concept including logistics, setup and lighting design. They contacted the organisers, presented their design and got the job. The first challenge was to find appropriate lighting fixtures. To fulfil their visions, MBLightarts looked for fixtures offering outdoor stability, robustness, high output, variable beam angle as well as low weight, and narrowed it down to the P-5 wash light. Project Manager, Max Barkow said: “After carefully scrutinising and testing various state-of-the-art lighting products, we landed on the P-5,

because it persuaded us in every discipline.” Logistics was the next challenge for the MBLightarts team. The location could only be reached via a narrow mountain pass route where only small vehicles could transport the equipment to the basecamp. From the basecamp, a team of 12 people carried the 34 P-5 lights as well as the power engines and tonnes of wires and cables towards the rock. The team went on foot, carrying all the equipment on a 40% gradient hike path for about one kilometer. As if that wasn’t challenging enough, the team had to be careful not to stray off the path, as the area still holds mines from the Battle of Kosovo. However, with the help of maps and local rangers, the team managed to steer clear of any danger. The entire setup was scheduled to take four days, but as the weather on day one was rainy and unsettled, the team fell behind schedule. During the night, when the team was positioning the P-5s, a final unforeseen challenge presented itself in a pack of wolves passing by. Luckily, it all came together in time for the event. The 30,000 sq meters rock surface worked as a canvas for the light show, which was accompanied by 11 familiar

music tracks to which the audience was awed with colourful displays. The show was timecode-controlled from an 800-metre distance. The lighting was designed to enhance the ambience and to make the audience feel drawn to the music and the video content. Also, some special scenes were designed to highlight aspects of the Winnetou movies and the life of Pierre Brice. Max explained: “For example, on the rock surface, we displayed the name given to Brice by the native American tribe, the Winnebago from Nebraska: ‘Rainbow Man’ - of course illuminated in the colors of the rainbow.” Spectators were overwhelmed by the experience, which perfectly combined history, nature, music and technology in a fascinating and colorful light show. The Winnetou Festival organisers were also awestruck and very happy with the show. Following the successful execution of this project, Max concluded: “We were very happy to be given the opportunity to be part of a unique project like this and we will surely be looking to SGM for LED lights in the future.


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Photo credit: Falcon’s Creative Group


CIR CUM OT I ON T H E ATR ES Elegant, powerful, immersive: by blending 3d media with a synchronised, circular motion platform, circumotion is changing the world of multi-motion media experiences, ensuring a mind-blowing adventure that moves.

The only attraction system of its kind, CircuMotion is a large format dome theatre with a motion base that allows guests to experience the virtual world in an omni-view environment. The motion base is capable of several degrees of freedom while displaying immersive 360°/3D content for an audience of up to 134 guests per show. Not constrained by traditional theatre arrangements, CircuMotion has the ability to fully immerse guests into media-based adventures. There is no front or hierarchy of seats – everyone has the best view. The CircuMotion theatre delivers a broad range of synchronicity between motion and media content. Cutting-edge technologies, hidden by the integrated design, ensure this synchronicity and bring guests closer than ever to the action. The technological highlights are: the use of omni-directional 3D media, a one push button multi-projector auto-alignment system, electrically actuated projector eyelids, a circular motion base with 4 DOF movement driven by an electrical drive system with passive hydraulic support and multi-channel circular audio zoning that takes the term “surround sound” to a whole new level. The dome screen design of the CircuMotion theatre reflects the demands for omni-view 3D-stereoscopic vision. The spring line of the dome is below the eye

position of the visitor, ensuring an enhanced visual experience due to the extreme wide coverage of the display. Full 360° omnidirectional 3D projection without shadowing is granted by the sophisticated layout of the projector positioning – allowing for objects to extend from the media screen and appear to float through the theatre space. Moreover, the projection system provides enhanced contrast and colour brilliance due to the state of the art technology based on the projection setup. By using passive stereo-3D technology, CircuMotion achieves the best possible operation handling as well as the lowest operation cost – compared to any other 3D technique. The attraction combines an extensive sound system providing a highly immersive acoustic experience. The sound system includes multiple discrete audio channels, set up for spatial 3D audio, which allows exact pinpoint placement of audio effects – synchronous to visible and non-visible show action. It is based on a complete digital audio network and distribution with detailed monitoring and control for save and reliable operations. “The design of CircuMotion theatres has been influenced by years of experience developing dome attractions, using a set up with well proven components. It is safe to say that it is the most immersive dome solution to be achievable and an

incomparable immersive experience”, said Thomas Gellermann, Head of Research and Development. WHO IS BEHIND CIRCUMOTION Created by Falcon’s Creative Group’s Cecil Magpuri, President and Chief Creative Officer, this cutting-edge attraction is now distributed worldwide – in strategic alliance between Austrian AV system integrator Kraftwerk Living Technologies, Canadian attraction provider CAVU Designwerks and Orlando-based attraction design firm Falcon’s Licensing. As part of this arrangement, Kraftwerk Living Technologies provides audio-visual technology, equipment and systems integration, CAVU Designwerks delivers the safe and state-of-the-art ride system, while Falcon’s is attraction designer, media provider and executive producer of the attraction. “CircuMotion theatres bring new opportunities to create the most immersive environments and we are thrilled to be part of the team that delivers this to our guests all around the world,” said Manfred Meier, CEO of Kraftwerk Living Technologies. “Together with CAVU’s safe and genius manufacturing of the ride system and Falcon’s endless creativity in the media production and attraction design, we believe to have added to the future of attraction experiences with CircuMotion.”

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Powersoft and D.A.S. Audio reinvigorate the sound at Stade Ernest-Wallon.

Situated in the heart of a region of rugby, the 19,500-capacity Stade ErnestWallon in Toulouse, is home to the famous Stade Toulousain French Rugby Union team. With 19 titles under its belt and many high-profile players, the Stade Toulousain is the most prominent rugby club in France. To keep up with its international standing, the Stade Toulousain recently underwent a complete technical upgrade for its stadium. With the passing of time, new security / evacuation standards, such as EN54-24, had been introduced and digital signal transport protocols streamlined with the introduction of Dante by Audinate. The club approached local audio visual installation company, Triaxe, with whom it had worked previously for a screen solution deployment, and the integration company sought out the best solution for the best value. The decision was for an advanced Powersoft Ottocanali system to power a D.A.S.

stadium loudspeaker system. The problems at the Stade Ernest-Wallon had begun last season when some of its existing amplifiers started to fail on several stands. Losing channels during a Second Division rugby match was something that needed fixing before the new season started, and a break for a month in September offered the perfect opportunity. Meanwhile Christophe Carles, Technical Director of Axente, which distributes both Powersoft and D.A.S. Audio, first modelled the stadium using EASE predictive and visualisation software. Working with Axente, Triaxe designed a cost-effective and economic PA system in which five of Powersoft’s increasingly popular eight-channel Ottocanali 8K4 drive 76 D.A.S. Audio WR8826 DX IP65-rated 80° by 80° dispersion loudspeakers. The Ottocanali 8K4 outputs 1,000W per channel into four ohms (and the sound is processed through D.A.S.


Audio’s DSP-2060A processing. Housing two six-inch drivers, the loudspeakers are hung in clusters of two one enclosure pointing back at the upper tier and the other for the lower stand. These are mounted around the lip of the stadium roofs, while in both corners of the C-shaped stands, there is an additional cluster of three loudspeakers. Axente recommended D.A.S. Audio WR8826 DX loudspeakers because of their power to size ratio. In addition, the speakers are rated IP55, making it perfect for outdoor use. The sound was zoned using a pair of Yamaha matrix devices, which managed the routing over several protocols including Dante. Aside from delivering great intelligibility to the crowds, the team at Stade Ernest-Wallon also wanted to put the players ‘in the zone’ as they emerged from the tunnel onto the pitch providing high SPL to help motivate them to the atmosphere - and this clever

piece of psycho-acoustics is certainly one of the prime features. Pierre Carrère, co-owner of Triaxe said: “The choice of Powersoft was an easy one. Ottocanali is dedicated to the installation market, and having eight channels allows you to save space and save power while the audio quality speaks for itself. This was important because the technical rooms are quite small.” Triaxe also new that by standardising on Powersoft it could achieve a homogeneous and coherent solution. “Everyone has noticed and remarked on the improved quality of sound, sponsors included,” concluded Paul Catuffe, the Assistant Stadium Manager. “Even the local newspapers reported on the high quality of the new sound system.”

Images by William Beaucardet



After nine years in the making the iconic Philharmonie de Paris has opened its doors. Numerous collaborators were involved to bring this mammoth project to fruition, which is now viewed on the world stage and one of the best in its class. Rob Allen reports on the installation.

To be inflexible is to miss opportunities and the greatest spoils are there for the adventurous. If ever this was true, then it applies to the awe-inspiring Philharmonie de Paris and every one of the numerous collaborators involved in creating this world-class, adaptable venue and centre for recording and production. Against a brief that shifted across time and technologies, the dramatic building was designed by acclaimed architect, Jean Nouvel - known for Lucerne Culture and Congress Centre, the DR Koncerthuset in Copenhagen and the Louvre Abu Dhabi - and lies in the east of the French capital. It connects with the former CitĂŠ de la Musique as a new, national home for musical pleasures and is a visual testament to the very audacity of its creation. A lengthy design and construction project started in 2006, developing over nine years before a high profile opening in 2015. It is nothing short of breath taking from the outside, but what does it look, sound and feel like on the inside, for performers, audiences and those working behind the scenes? Dominated by the

The most powerful moving head series – ever !

Grande Salle, with five, ultra-modern rehearsal rooms, one large enough to accommodate audience seating, as well as recording facilities, it’s a case of knowing where to start. Evidence of arguably the hardest work and the most demanding challenges and decisions in the Philharmonie de Paris’ Grande Salle - adaptable to accommodate 2,400 to 3,500 seats - remain hidden. Whether it’s sightlines, acoustics or the absolute silence before the first note is struck; each element of the Philharmonie de Paris was considered, planned, challenged and painstakingly installed to achieve perfection, versatility and an unintrusive sense of anonymity for the technologies working behind it all. “In the concert hall, the acoustic requirement has a noise rating of 10. As a consequence, all scenic equipment inside the house had to be silent, without any noise from so much as a fan,” explained Jean Francois Mathais, a consultant with dUCKS Sceno, who worked on the project from 2007, developing the design of the auditorium alongside dUCKS’ Scenographer, Michel Cova and Sir

Harold Marshall’s team from Marshall Day Acoustics. “We chose sine wave dimmers to have no lamp filament noises and traditional spotlights, instead of moving heads, to remove the possibility of fan noise,” he continued. “After studying fixed installations for classical concerts, and with experience of designing the lighting for that Danish Radio Concert Hall in Copenhagen, we decided on 50 ETC Source Four ETC PARs 750W floodlights, installed in a mobile acoustic reflector canopy to ensure basic light for orchestra, which works like a shower from directly above the stage. “Completing the base lighting at the front, sides and from the rear, Robert Juliat 2.5kW lamps are installed in the grid through light slots in the ceiling, concealed behind special glass. Visiting companies to the Philharmonie de Paris can also install additional moving lights in these locations. Of course, all of the decisions we made needed to satisfy the architect, orchestra, technical team and ourselves.” At the inception of the Philharmonie

Image by Audio2


de Paris project, it was assumed that it would be a purely classical venue, yet that was quickly seen to change as jazz, rock and pop appeared on the agenda. When used by non-orchestral performers, the Grande Salle lighting canopy moves an extra five metres to 20 metres above the stage and dUCKS Sceno’s ‘shower’ of light goes dark, giving way to a fly bars with moving heads, or any number of the venues’ significant collection of lights. dUCKS Sceno’s contributions also included the design of rotating seat parterres, a retractable balcony and adjustable stage podiums to create completely new stage and seating configurations. The flexing aspirations of the Philharmonie de Paris, a versatility that has seen the Berlin Philharmoniker and the Divine Comedy comfortably perform there on separate occasions, also needed to be accommodated by L-Acoustics. Collaborating with a range of suppliers, they developed the acoustic performance of the system as a whole, through loudspeaker selection, placement and

control interfaces. Arnaud Delorme, Application Engineer with L-Acoustics, remembered: “The first idea was a Kara system, perfect for a classical music, but it evolved to a K2, variable curvature line source system to accommodate world music or pop music. From the start, Philharmonie de Paris was confident that the system would achieve the consistent coverage needed for world music shows, meeting predictions made in our Soundvision software. But then, we met the challenge of accommodating pop or rock music in a venue acoustically designed for philharmonic concerts. “A big problem needed multiple solutions, the first being acoustic, adding as many absorbing surfaces as possible and diffusers to any harshly reflecting surfaces. A major challenge was to focus energy on the audience, paranoiacly reducing the slightest transmission of energy sent into the reverberant field. We reduced the system height by almost two metres from original designs, avoiding sending energy into the ceiling area and

interelement angles were adjusted to minimise the energy sent between the parterre and the balconies. The adjustable horizontal directivity of K2 has been used for this purpose too. All of the complementary enclosures - 12XT high performance coaxial loudspeakers and Kiva long throw speakers - have been precisely positioned and levelled to have minor impact on the overall diffuse field.” Such is the strength of the L-Acoustics range and the supportive, multi-party collaboration, every item supplied came from the company’s standard range, without requirement to adapt any items of hardware. In addition to the audience-facing stage configuration, the L-Acoustics installation is complemented by three side-stage SB28 cardioid subwoofers for strength of impact and two further front-sited SB28’s to ensure homogeneity of coverage. Perhaps one of the most intense relationships to develop as part of the Philharmonie de Paris project was that of Amadeus, with the venue team, led by Technical Director, Jean-Rémi

• Above The L-Acoustics K2 system was deployed in the Grand Salle. • Left The venue has an extensive microphone inventory.


TECHNICAL INFORMATION SOUND GRANDE SALLE: 8 x L-Acoustics K2 loudspeaker; 6 x L-Acoustics Kara loudspeaker; 1 x SB18 subwoofer; 6 x L-Acoustics 8XT loudspeaker; 7 x L-Acoustics 12XT loudspeaker; 3 x L-Acoustics Kiva II loudspeaker; 5 x L-Acoustics SB28 subwoofer; 1 x L-Acoustics 115XTHiQ loudspeaker; 11 x L-Acoustics LA8 amplified controller; 3 x L-Acoustics LA4X amplified controller; 12 x Amadeus PdP 10 ES self-powered active loudspeaker with built-in EtherSound digital input card; 2 x Amadeus PdP 12 ES high-powered active loudspeaker with built-in EtherSound digital input card LARGE REHEARSAL SPACE: 10 x Amadeus DIVA M high-power array loudspeaker; 4 x Amadeus DIVA M 18 loudspeaker; 2 x Amadeus ML 18 X subwoofer; 2 x Amadeus PMX 15 two-way passive loudspeaker; 1 x Amadeus PMX 15 S loudspeaker; 5 x Amadeus ‘Philharmonia by Jean Nouvel’ speaker; 1 x Amadeus ML 15 A MKII active subwoofer EDUCATION AND MUSICAL INITIATION ROOMS: 16 x Auvitran AVB Audio Tool Box AVBx3 and AVBx7 with AxC Dante and analogue cards; 14 x Amadeus MINITRI self-powered 2.1 studio monitor; 1 x Yamaha CL5 console with Dante card; 2 x Amadeus ‘Philharmonia by Jean Nouvel’ speaker CONFERENCE ROOM: 1 x Innovason Eclipse audio console; 8 x DIVA XS loudspeaker; 2 x ML 15 subwoofer RECORDING STUDIOS: 1 x Amadeus ML 15 A MKII high-powered active subwoofer; 2 x Amadeus three-way active custom mains speaker with built-in analogue, AES3 I/O and 24/96 kHz DSP; 4 x Pyramix Masscore Workstations (DAW); 4 x Horus AoIP RAVENNA AES67 converter; 5 x Amadeus ‘Philharmonia by Jean Nouvel’ speaker MULTI-LOCATION: 4 x SSL Live L500 console; 4 x SSL ML 32.32 analogue stage boxe; 2 x SSL D 32.32 AES/EBU digital stage boxe; 1 x Lawo NOVA73 router with MADI, RAVENNA and AES cards; 4 x Lawo Dallis stage box connected via RAVENNA; 4 x Lawo MC²56 console; 1 x DPA d:dicate 5006A mic; 3 x DPA d:dicate 3506A mic; 2 x DPA d:dicate ST4006C mic; 2 x DPA d:dicate ST4011A mic; 2 x d:dicate DPA ST4011C mic; 2 x DPA d:dicate ST4015A mic; 3 x DPA d:dicate ST4015C mic; 3 DPA x d:dicate ST2011C mic; 1 x DPA d:vote VO4 Rock mic; 6 x DPA d:facto FA4018VDPAB mic; 4 x DPA d:screet IMK-SC4061 mic; 4 x DPA d:fine FID88F00-2 mic; 12 x DPA d:fine 4066-F mic *Extract only

Baudonne and the architect. So intricate was the problem presented, and so concerted the effort to provide solutions, that Amadeus ultimately developed a new speaker range, the PdP Series (of course, PdP stands for Philharmonie de Paris), to ensure that form perfectly met with function. Nouvel also joined with Amadeus to create the Philharmonia, a new studio monitor speaker, strikingly curved and made of 547 wood veneers, each meticulously machined and assembled. “The requirements of the client when we began were practically unrealisable,” recalled Michel Deluc, Director of Research & Development at Amadeus. “The technical, thermal and acoustical constraints of the proposed facility ultimately pushed us to develop two new series of self-powered and EtherSoundenabled point source loudspeakers, with custom associated accessories to optimise both the directivity control and mobility. “The initial problem was that each system had to be able to work in ‘uncovered’ mode during operation, then retracting into the canopy above the stage to become unobtrusive, so as to not impact the important canopy aesthetics. The circular cut outs provided for the loudspeakers and the projectors all have the same diameter: 40cm (15.75-inch), so it’s useful the all of the hardware provided fits perfectly. It was necessary to design a series of 15 tailor-made systems to achieve this, based on regular Amadeus PMX 10 ES and PMX 12 ES speakers, to solve dispersion, heat and signal transport problems, and above all, solve ergonomic concerns induced by the canopy’s structure and position.” Amadeus’ challenges were not only aesthetic or related to the strict noise ratings, but also the driving principle of ‘democratic audio’ in the Grande Salle, ensuring perfect equity of distribution and sound quality for the orchestra on stage, in hearing themselves and every other musician, and every member of the audience. Amadeus’ influence reaches to all corners of the venue, installing speakers everywhere, from the Grande Salle to the Conference Room.

The sound quality in the Grande Salle is further enhanced by innovative soundproofing of the hall, achieved by Paris’ Studio DAP, which needed to overcome the traffic noise of the Boulevard Sérurier, the Boulevard Périphérique ring road and the Zénith nearby. The Grande Salle’s ‘box within a box’ concept leaves vital space between the walls of an ‘inner and outer’ shell, essentially forming a ‘floating auditorium’. Decisions on procuring a range of microphones and configuration of those provided conformed not only to the highest standards of quality, but also meticulous scrutiny of where exactly they could be placed. Once again, remaining unobtrusive, if not invisible, was key. Christophe Bonneau, Product Manager of Audio2 Distribution, was the point of liaison between a consultant crew from Paris’ Salle Pleyel, the Philharmonie team and microphone brand, DPA. Other microphones in the inventory include Shoeps, Sennheiser, Neumann and Shure. “I think that the modularity of products, such as the DPA d:dicate microphones, was important,” he said. “The Philharmonie de Paris didn’t have to buy every single capsule with a specific preamp. You can use MMC4015 (wide cardio), MMC4006 (omni), MMC4011 (cardio) or MMC4018 (super-cardio) at your convenience on MMP-A, MMP-C, MMP-E or MMP-F preamps, meaning that’s it’s very easy to adapt the size of a complete microphone to a particular placement. They can be fitted inconspicuously on a stand, flying in the air or hidden in the middle of an instrument without making any compromise on sound quality. It’s this attention to choosing really high specification technical equipment with attention to good acoustics that make the overall quality of the concerts in any venue, no matter the scale of the performance.” Sound technicians, both resident and touring in with specific shows, have a sense of total and reliable control over what emerges from these speaker configurations or is ultimately committed to file as part of the Philharmonie’s


MBN GmbH Balthasar-Schaller-Str. 3 86316 Friedberg ¡ Germany Phone +49.821.60099-0 Fax +49.821.60099-99


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“The first idea was a Kara system, perfect for a classical music, but it evolved to a K2, variable curvature line source system to accommodate world music or pop music. From the start, Philharmonie de Paris was confident that the system would achieve the consistent coverage needed for world music shows, meeting predictions made in our Soundvision software.”

recording set up. Between the AngloFrench set up of Solid State Logic and Rastatt-headquartered Lawo, the venue’s monitoring and mixing console requirements have been comprehensively covered, spanning the technological advances that occurred over the nine years from inception to launch and what might be yet to come. Paul MacDonald, Solid State Logic, said of the set up: “The Philharmonie de Paris uses four L500 consoles, primarily for live sound. Each one might become a monitor or FoH console, as required, and any show files can be loaded onto them all. With the consoles, there are four SSL ML 32.32 analogue stage boxes (5U units, each with 32 SuperAnalogue remote control pre amps and 32 line outputs), and two D 32.32 digital stage boxes (16 AES/EBU ins and outs). Both the analogue and digital stage boxes feature redundant MADI connections for two consoles so monitor and FoH can share inputs and outputs. “Rehearsals can be played back for sound checking via the L500 ‘Rehearsal Mode’, switching to a new routing for playback from a multitrack without affecting the primary routing set-up, or provided as a recording for subsequent mixing in

a studio. The same feed might also be used to send a multichannel feed to a broadcasting truck or similar.” Lawo was asked to provide a network of Audio Stage Boxes, distributed to every part of the building, networked to consoles that were to take control of any microphone connected to any stage. It is here that the hardware, whether the consoles or new generation microphones, met with the technological advances of working in an instantly accessible cloud. With the patching of cables a distant memory, the maturing Philharmonie de Paris project passed through the opportunities presented by MADI multi-channel audio, which remains in place, into the opportunities afforded by RAVENNA’s licence free, AES67compatible, real-time, Audio-over-IP (AoIP) technology. Hervé De Caro, Live Sound Specialist at Lawo, said: “A global router (NOVA73) is in charge of the ‘cloud’. All the consoles, recorders, stage boxes and digital microphones are directly connected to it thru its MADI, AES and RAVENNA ports. Nova73 has the intelligence to create a global sharing of all resources. So from each console you accede to the 320 preamps, 256 recording tracks, 64 digital

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• Above The Philharmonie de Paris is capable of catering to a number of applications.

microphones and shared mix busses throughout the building. From the point of view of the operator, it’s just like all was directly connected to its own console.” Merging Technologies, developers of the Pyramix virtual studio system and MassCore audio engine joined the venues enviable line up of technical thinkers to help develop the Philharmonie de Paris’ recording, production and digital distribution set-up. Installing four Pyramix MassCore DAWs in every studio set up for recording, equipped with Horus AoIP converters, Merging provided the bedrock of a powerful point-to-point network that allows every microphone in the building to come into the command of one recording or monitoring console.

Maurice Engler, Regional and Project Manager of Merging, said: “The MassCore with RAVENNA system allows for many channels to be accessible in real time, opening up the possibility for producers and engineers to record, edit and master performances with simultaneous ease. The provision of the Horus converters to the Philharmonie de Paris became necessary for the simple fact that the duration of the project saw MADI-based systems installed and, in the meantime, RAVENNA arrived and presented further options that couldn’t be ignored, offering vast capacity for multiple, on-demand audio streams. Now, with both MADI and RAVENNA capabilities they have diversity in the technology available to facilitate

demands, such as high quality digital recording, for which there is a growing international audience, specifically for hi-res (DSD) downloads.” With that tantalising glimpse of a future where the Philharmonie could go ‘on demand’, it is beyond doubt for all the twists and turns in the story of the Philharmonie de Paris project, that its technical capabilities are equal to its uncompromising architecture. If it’s true that you get out of something what you put in, then the depth of expertise and sheer hard work put into this project means it will be bringing far reaching extremes of musical pleasure for decades to come.



Puy du Fou is a historical theme park based in Les Epresses in the heart of Vendee region of western France and, quite frankly, it is something of a phenomenon, which made for a technical installation that was challenging and intriguing in equal measure.

Best described as a rural theme park minus the rides, Puy du Fou is home to some of the most spectacular, extravagant shows in which thousands of actors and animals recreate historical stories, from Roman gladiators through to King Arthur, all with incredible special effects. The park itself began in 1978 as an open-air amateur dramatics night, where volunteers re-enacted the local history of the Vendée region. Since then, it has grown at an amazing rate, with shows based on fascinating eras in history - such as The Vikings, the medieval-based The Secret of the Lance and the aweinspiring night-time show at the Cinéscénie. Such performances have led to Puy du Fou winning two US ‘World’s Best Park’ awards, while some two million visitors are brought in each year, making it the second most-visited theme park in France after Disneyland Paris. Now, Puy du Fou has taken things to the next level once again, with its new production - Le Dernier Panache, which tells the tale of François Athanase de Charette de la Contrie, who became known as General Charette. Beginning with his studies at the Marine School Guards in Brest, through to his naval battles, how his life was turned upside down with the French Revolution and his final battle for freedom during the Vendée civil war, it’s a story that encompasses courage, strength and adventure, based on real-life events. Le Dernier Panache is the most daring show ever created at Puy


du Fou - and it is only enhanced by the setting. Performed in the custom-built, 360° Theatre of Giants, which utilises advanced motion technology to create a rotating theatre, the 2,400 members of the audience are immersed in the story on a multi-sensory level, slowly rotating to watch the performance on seven different stages. With such an ambitious production, the technical install proved to be challenging - with audio, lighting, video and special effects all having to be taken into consideration. The task of providing lighting was down to renowned Lighting Designer, Koert Vermeulen, along with his team at ACT Lighting, with the idea being to use the lighting to help create seamless changes from scene to scene. Koert, who has had a long-standing relationship with Puy du Fou after his work on the award-winning Cinéscénie show, planned to achieve this through careful planning, a deft lighting design and the adroit placement

of fixtures, which were provided by Chauvet. Koert takes up the story: “Puy du Fou built a new cutting-edge theatre for Le Dernier Panache to create a true immersive experience for the audience. The rotating theatre is a big part of the realism, as it allows scenes to flow one into another as the story unfolds.” Using 120 Ovation E-910FC colour mixing ellipsoidals from Chauvet, Koert and his team had to implement some unorthodox design concepts due to the moving audience seating area. “All of the fixtures we have ‘inside’ the proscenium are non-moving heads, while all that are in the audience area are moving heads,” said Koert. “This is a little bit different from the usual theatre setup, where you would see more moving heads onstage and fewer in the house. “However, we did the opposite of this, because I knew I needed absolute flexibility for the houselights to be able to go anywhere, anytime as the seating area

“Puy du Fou built a new, cutting-edge theatre for Le Dernier Panache to create a true immersive experience for the audience.”


“The specialised technicians at ShowTex were able to meet the precise, structured requirements that came with such an ambitious project.”

• Top A naval scene during the show. • Left Le Dernier Panache actors on one of the rotating theatre’s stages. • Right Part of the impressive set.

moved. We also placed the moving heads so that they are just peeking from the ceiling. This gave us the option of being able to focus them anywhere without obstructing the video projections. Things got tight, but we made it work.” Koert used all 120 of the Ovation E-910FC fixtures within the proscenium for side lighting, cross lighting, top lighting and gobo washing. The RGBALime Ovation LED fixtures are used throughout the production to produce a whole rainbow of colours. “I almost never used a real ‘white’; mostly the Ovation light was coloured,” said Koert. “The colour mixing worked really well. I never had to compromise really on the colours I wanted to use. The Ovation fixture is able to give me the colours I need and the intensity I want. We tested all our options, and the Ovation was the best price-quality ratio by far.” Overall, Koert expressed his delight with the finished project, paying tribute to the team at Puy du Fou, as well as those that worked alongside him on the lighting design. “Given that this is the biggest indoor permanent spectacle and original creation in the history of the ‘Grand Parc’ Puy du Fou, it isn’t surprising that many talented people were involved,” added Koert. “We worked for several months with a team of experts from

58 companies. The artistic direction of Nicolas De Villiers and the challenging vision of Puy du Fou were critical. My Associate Lighting Designer, Luc De Climmer, and Assistant Lighting Designer, Julie Boniche, also played key roles. Just as there were a lot of moving parts coming together with the theatre, so too were there a lot of creative people coming together in the design process. We are proud to be associated with this production.” An aspect of the install that had to work in conjunction with the lighting was the stage backdrops, curtains and drapes, which were provided by ShowTex - another company with 10 years of experience in working alongside the team at Puy du Fou. The specialised technicians at ShowTex were able to meet the precise, structured requirements that came with such an ambitious project, providing a realistic, unique and longlasting install that brought Le Dernier Panache to life. To highlight the scenery and create an ambience that matched the theme of Le Dernier Panache, masking drapes made of Molton CS were hung in six scenic spaces. However, the main showpiece of the install was the giant panoramic screen, which ShowTex provided using 900sq metres of FP-SuperMat. The bottom of the screen - which is 80-metres


wide and 11-metres tall - is immersed in water and hit by waves during the show, so ShowTex had to ensure that the screen absorbed the waves and stayed tight by using an open tube with curved weight pipes and a stainless steel chain. Another huge challenge for ShowTex was the life-size palace that appears once the curtain half opens, which required an extraordinary level of precision to achieve the realism. The solution from the ShowTex team was to print it on Galaxy 250 Print, with 3000 sq metres used overall. However, this was not traditional printing, with LaserVoile used as a reinforcement backing fabric to hold the elements of the cutout window. The scenic space had to be used for several scenes in the show, so two printed 200 sq metre backdrops were equipped with a HiSpeed Roll-Up 8000 system, as well as a mechanism at the back for Roman curtain opening, which was all controlled via DMX. The masking drapes and printed curtains were attached to concentric ShowTrack track, each with a length of 31-metres and coming with a built-in RTD3000 motor for easy, efficient DMX or simple cable control. ShowTex also installed an impressive technical ceiling above four of the stages for hanging draperies, printed curtains, light sources and other elements, while on two stages where the height of decorative elements didn’t allow borders, StretchTulle was used to create the illusion of a closed – but flexible – black ceiling. Elsewhere, mobile screens were needed and ShowTex were happy to provide a solution by using 1,700 sq

metres of FiberCloth M0. The material was the least reflective, offering clear projected images and great flexibility. Using seven screens altogether, the FiberCloth M0 moves at a speed of 1.2-metres per second and offers the biggest possible projection surface, while also revealing the different scenes in the show. Puy du Fou turned to Modulo Pi to provide its video solution, with Cosmo AV providing the images and Christie projectors used, too. The Modulo Kinetic Designer is used for control, with eight Modulo Kinetic Vnode 4K feeding eight Christie 4K Boxer projectors and another Kinetic Vnode for four Christie 2K projectors. With such a original concept, the projections onto the seven screens were made by tracking the screen position based on OSC machinery, with the Modulo Kinetic system projecting both on the top and on the ground to provide truly breath-taking scenery. A sound-transparent projection surface was also required at Puy du Fou to achieve total immersion. New Mesh was provided by ShowTex for a black backdrop and stretched tight, with the sound source for the show mostly installed behind the fabric. For the sound source, L-Acoustics were on hand to provide a bespoke solution that would grip the audience as they watched Le Dernier Panache performed. Arnaud Delorme, the Applications Engineer at L-Acoustics, who worked on the installation at Puy du Fou, explained how the project came about: “L-Acoustics has been working with Puy du Fou,

providing sound systems for their shows, since 2000. For the Le Dernier Panache, everything started when Nicolas De Villiers and his team had this ambitious idea for a show where the audience tribune would turn 360° from one stage to the other. “This idea introduced a new challenge for sound design which was: how can you keep a sound element in front of the audience while the tribune is turning. At the same time, Christian Heil was beginning the hard work that would lead to L-ISA many months later.” So, what is L-ISA? L-Acoustics has created this multi-channel technical solution to provide a spectacular, ultra-realistic, three-dimensional sound space for performances. L-ISA totally immerses the listener in the sound, making the action intense and authentic. An L-ISA installation includes a Frontal speaker system to amplify the main scene area, with Scene speakers providing an accurate correlation between the sound and the position of the artists and Extension speakers to laterally extend the main scene and broaden the soundscape. There’s also the Immersive system, which complements the Frontal system, that is deployed around or above the audience to provide localised sound effects and the creation of an immersive sound experience through L-ISA algorithms. In terms of how this was used at Puy du Fou, Arnaud explained further: “The system has to cover a 2,500 seat tribune, ensuring equal SPL and contour whatever the position of the tribune. Since the maximum distance between the front

• Above The performers on stage at the Theatre of Giants.




26. - 29. OCTOBER 2016







speaker and the back of the audience was only 40-metres, the footprint of each cluster had to be dramatically reduced so it could fit between screens and technical catwalks. This led to a symmetrical disposition of ARCS WiFo system, which ensures maximum SPL and wide coverage but with a tiny footprint. “All the inputs coming from the server are going through a DiGiCo desk equipped with the L-ISA processor to manage the spatialisation of all those sources. Then, the processor feeds all the individual clusters of ARCS WiFo, SB18m, SB28 and 5XTs which means 34 signals all together.” “Every 15 degrees, an ARCS WiFo system, composed of two ARCS Focus and one ARCS Wide, is installed behind the top screen and just underneath the

catwalk. Every three clusters of ARCS WiFo, you can find two SB18m, totalling eight SB18 clusters all around,” added Arnaud. “In addition to this main system, a line of 13 5XT is used for the very first rows and four SB28 under the tribune helps to give a physical sensation to the low frequencies.” The incredible clarity and immersive experience that the innovative L-ISA system, along with the lighting, backdrops and video content, provides plays an absolutely vital role in the performance of Le Dernier Panache, enhancing the deep emotion of the show and gripping the audience throughout. It has to be said that the daring - almost unbelievable - Le Dernier Panache is a show that has taken Puy du Fou to the next level in terms of entertainment.

TECHNICAL INFORMATION SOUND 1 x L-Acoustics L-ISA processor; 1 x L-Acoustics L-ISA controller; 32 x L-Acoustics WiFoBump bracket; 48 x L-Acoustics ARCS Focus loudspeaker; 24 x L-Acoustics ARCS Wide loudspeaker; 16 x L-Acoustics SB18m subwoofer; 4 x L-Acoustics SB28; 13 x L-Acoustics 5XT loudspeaker; 1 x L-Acoustics LA4X amplified controller; 1 x L-Acoustics LA8 amplified controller; 1 x DiGiCo digital console LIGHTING, VIDEO & SPECIAL EFFECTS 100 x Chauvet Ovation E-910FC fixture; 1 x Modulo Pi Modulo Kinetic Designer; 9 x Modulo Pi Modulo Kinetic Vnode 4K; 8 x Christie 4K Boxer projector; 4x Christie 2K projector; 900 sq metres of ShowTex FP-SuperMat; 3000 sq metres of ShowTex Galaxy 250 Print; 400sq metres of ShowTex LaserVoile; 1 x ShowTex HiSpeed Roll-Up 8000 system; 2 x ShowTex ShowTrack & RTD 3000; 1700 sq metres of Showtex FiberCloth M0 mobile screens; 600 sq metres of ShowTex New Mesh Print



Over 10.000 m² of projection screens, 3.000 m² of printed fabrics, 1 km of masking drapes and various roll-up & stage track systems make up the 6 giant theatre stages.



Originally built as a Nazi barracks, before being transformed to host a variety of music related projects, only to be shut down in 2011. The space has now been reborn as Z-Bau and houses a 400-capacity club, two bars and garden, a cafĂŠ, an underground music club, recording studios, and art gallery.


Explaining what Z-Bau is to visitors is tricky. To call it a venue, a bar or a club is to do it a disservice. To call it an arts centre doesn’t fully describe the vibe or the ethos of the project either. Coming across it on a ring road around the city of Nuremberg, Germany, you might drive straight past, so unassuming does it appear. Originally built as a Nazi barracks during World War II, it’s an imposing but entirely forgettable building from the outside, and was used as an American military base until 1991. When the last soldiers finally left in the early ‘90s, the potential for a change of use finally was realised, as a variety of music-related projects took up residence, including the sub-culture club and performance space Kunstverein. However, this new creative use was to be relatively short-lived, as the mixed-use licence was revoked in 2011 and it took three more years until an agreement could be settled to reopen the building with a view to more accessible mixed use. Less than a year ago, in October 2015, with funding from a variety of sources including the Nuremberg City Council and the European Union, Z-Bau was born. Cited as a centre of contemporary culture for the city and beyond, it now hosts a club venue space with a capacity of 400, two bars and garden, a café, an underground music club, recording studios, an art gallery space and some of the coolest green room and backstage facilities. The underground bar and club at Z-Bau harks back to the more anarchic days of

the Kunstverein - which has relocated to a new venue - with a raw, industrial aesthetic, and an eclectic music and performance line-up. The difference this time round though, is that behind this aesthetic is a desire for the highest quality presentation - as Technical Director, Stefan Ludwig, explained: “Whilst the club’s style is unpretentious in every way - we have paid special attention to the installation of our audio system, with consultation from into>noise, who recommended we try out the new APA amplifiers from XTA. Using APA with Coda Audio loudspeakers, we have realised an installation system that has got to be one of the best sounding and most flexible I’ve ever worked with.” As Z-Bau now makes use of an outdoor performance space as well as the club and concert venues, Stefan needed the APA system to be reconfigurable to also run a system outside, as well as providing all the power for a serious club or concert system indoors. into>noise, the specialised audio installer based in Munich, was keen to explain how useful the remote control for the system - via a simple Ethernet connection - proved during the commissioning phase of the project. Andi Zeh, Engineering Director, commented: “Networking all the amplifiers together allowed me to quickly configure each part of the amplifier’s incredibly flexible DSP, and copy and paste settings with ease, ensuring no errors were made. In particular, using phase filters, I could precisely align the main system front and back. Once all the

set-up was complete, I was able to leave the day to day operators with a simple set of presets they could quickly recall from the APA’s front panel to change the use when required.” Five APAs drive the main systems for the venue with a further APA being installed in a portable flightcase so that it can be reconfigured to perform outdoor duties when required. The underground Roter Salon was kitted out with a system designed to operate in the round with identical front and rear components using Coda Audio’s Rx40 boxes - a three-way system with a coaxial mid-high section and dual 12-inch low frequncy drivers. “We’re huge fans of the Rx40’s mid-high section,” said Andi. “This box is so versatile and can be used for live applications just as well as dance club installs - it’s capable of excellent results on its own, or with just minimal low frequency augmentation for perfect full range versatile solution.” In this case, the four full range boxes had just a single additional two 18-inch Coda Audio U4 subwoofers added for

• Above The Roter Salon stage; Andi and Stefan with the XTA APA amplifier rack.

TECHNICAL INFORMATION SOUND 6 x XTA APA amplifier; 8 x Coda Audio Rx40 loudspeaker; 5 x Coda Audio U4 subwoofer; 2 x Coda Audio HOPS8 loudspeaker; 10 x Coda Audio G712-96 monitor



Grâce au financement provenant de diverses sources, y compris le Conseil municipal de Nuremberg et l’Union européenne, le Z-Bau a vu le jour — et la réputation de ce centre culturel contemporain dépasse désormais les frontières de la ville. C’est une ancienne caserne nazie qui héberge aujourd’hui une salle pouvant accueillir 400 personnes, deux bars et un jardin, un café, un club de musique underground, des studios d’enregistrement, une galerie d’art, ainsi que des pièces écolos très cools et des équipements en coulisses. Le bar et le club underground du Z-Bau renouent avec les jours plus anarchiques du Kunstverein (les spectacles marginaux et le club clandestin qui occupaient le bâtiment ont été transférés dans un nouveau lieu) en s’offrant une esthétique brute, industrielle et un répertoire éclectique de musiques et de spectacles. Cette fois cependant, les choses sont différentes et cette esthétique révèle le désir de présenter des spectacles de qualité. Pour ce faire, Stefan Ludwig, Directeur technique, a opté pour les nouveaux amplificateurs APA de chez XTA et un système de son Coda Audio, après avoir consulté into>noise. Cinq APA alimentent les principaux systèmes du lieu, avec un autre APA en cours d’installation dans un flightcase portatif reconfiguré pour fonctionner à l’extérieur si nécessaire. La mise en place du système Coda Audio comprend des enceintes 3 voies Rx40, des haut-parleurs HOPS8 et des caissons de grave U4.


Dank der Finanzierung durch verschiedene Quellen wie zum Beispiel durch den Nürnberger Stadtrat und der Europäischen Union ist Z-Bau entstanden. Ein ehemaliges Nazi-Gebäude beherbergt nun einen Veranstaltungsort mit 400 Sitzplätzen, zwei Bars mit Garten, ein Café, einen Underground Music Club, Aufnahmestudios, eine Kunstgalerie und einige sehr coole Aufenthaltsräume und Backstage-Einrichtungen und wird als Haus für Gegenwartskultur für die Stadt und ihre Umgebung bezeichnet. Die Underground Bar und der Club im Z-Bau greifen zurück auf die anarchistischeren Tage des Kunstvereins - den Subkultur-Club und PerformanceBereich, die sich zuvor in diesem Gebäude befanden und die umgezogen sind - mit einer rauen, industriellen Ästhetik und einem abwechslungsreichen Musik- und Performanceprogramm. Der Unterschied besteht darin, dass hinter dieser Ästhetik ein Streben nach höchster Qualität steht und deswegen entschied sich der technische Leiter Stefan Ludwig auf Anraten von into>noise für die neuen APA-Verstärker von XTA und ein Coda Audio PA. Fünf APAs steuern die Hauptsysteme für den Treff, ein weiterer APA ist in einem tragbaren Flightcase installiert, so dass er umkonfiguriert und bei Bedarf für Aufgaben im Freien benutzt werden kann. Die Coda Audio-Anordnung umfasst tRx40 DreiWege-Lautsprecher, HOPS8 Lautsprecher und U4 Subwoofer.


Z-Bau è nato grazie ad una serie di finanziamenti, tra cui quelli ricevuti dal Comune di Norimberga e quelli dell’Unione Europea. Citato come un centro di cultura contemporanea per la città e non solo, una ex caserma nazista ora ospita un locale da 400 persone, due bar e giardino, una caffetteria, un club con musica underground, degli studi di registrazione, una galleria d’arte, delle Green Room molto carine e dei backstage. Il bar ed il club underground dello Z-Bau si rifanno al periodo più anarchico del Kunstverein, il club subculturale e lo spazio scenico che precedentemente occupavano l’edificio e che si è trasferito in una nuova sede. Proprio per questo, il locale è caratterizzato da un’estetica spoglia e industriale, una musica eclettica e delle performance sopra le righe. La differenza questa volta, però, è che dietro questa estetica c’è un desiderio di raggiungere la più alta qualità di presentazione possibile e per questo Stefan Ludwig, il direttore tecnico, ha optato per i nuovi amplificatori APA della XTA ed un sistema PA della Coda Audio, avendo preso in considerazione il rumore all’interno. Cinque unità APA guidano i principali sistemi del locale con un ulteriore APA installato in un flight case portatile in modo che possa essere riconfigurato per svolgere mansioni esterne quando richiesto. Mentre l’istallazione Coda Audio comprende diffusori a tre vie Rx40, altoparlanti HOPS8 e subwoofer U4.


Z-Bau nació con el financiamiento de una variedad de fuentes incluyendo el Consejo de la Ciudad de Nuremberg y la Unión Europea. Citado como un centro de la cultura contemporánea para la ciudad y lo que es más, lo que fueran anteriormente barracas Nazis, ahora albergan un sitio con un espacio con capacidad para 400 personas, dos bares y un jardín, un café, una disco en el subsuelo, estudios de grabación, un espacio para galería de arte y algunas instalaciones atractivas y ecológicas. El bar del subsuelo y disco en Z-Bau se remonta a los días más anárquicos de Kunstverein - el espacio que ocupaba anteriormente el edificio, que se ha trasladado a un nuevo sitio - con una estética rústica e industrial y con música ecléctica. La diferencia esta vez, sin embargo, es que detrás de esta estética hay un deseo por conseguir la presentación de la más alta calidad; y por ello, Stefan Ludwig, el Director Técnico, optó por los nuevos amplificadores APA de XTA y un PA de Coda Audio, luego de consultarlo con into>noise. Los sistemas principales para el sitio son manejados por cinco APA’s con un APA más que fue instalado en una caja de transporte de manera de poder reconfigurarlo para que trabaje en el exterior cuando así lo requiera, mientras que la puesta de Coda Audio está compuesta de altoparlantes de tres vías Rx40, altoparlantes HOPS8 y subwoofers U4.

• The Galerie stage

bass weight - a formidable system for the smaller 150 capacity venue. Two XTA APA amplifiers took care of driving this system including the subwoofer. “The APAs are capable of huge peak power, even into two ohm loads, and their ability to sustain high power levels for longer than any other amplifiers we tried made them the ideal choice. They weren’t likely to get too serious a workout all the time in the salon, but the Galerie is a different situation altogether.” Such is the versatility of the Rx40s they were chosen again by Andi for the much larger 600-capacity Galerie bar and stage, same number of full range cabinets but now with four U4 subwoofers. A couple of additional Coda Audio HOPS8, dual eight-inch with coaxial high frequeency to cover outfill and delay. With the extra subwoofers, this system was all handled by three APA, totalling a peak output of 60kW available, ensuring the subwoofers had more than adequate drive when demanding club nights or live bands where performing. Andi further explained the choice of Rx40s for both sites: “It was important that we didn’t specify a line array system for the Galerie, due to the geometry of the space and stage placement being quite asymmetric. The high output and precise directivity of the Rx40’s allows us to achieve great coverage with just four boxes for the main system.” The single flightcased APA is on monitor duty - the set-up comprises 10 Coda Audio G712-96’s in total, with some being driven by the Galerie amplifiers, as well as driving a drum sub, and can be quickly reconfigured to use the adaptable monitors four outdoor system purposes. Whilst analogue inputs were the current choice for Z-Bau, having the ability to upgrade to Dante audio networking for future use was both useful and reassuring

to Andi: “It’s a simple card to plug in and instantly we can break audio into digital, send it where we want, and process it across the network - especially useful if we need to feed audio from underground to overground.” The APAs were supplied by XTA’s long-standing German distributor, United Brands, which was thrilled to be involved with this landmark installation. Wolfgang Garçon, Managing Director (formerly of Atlantic Audio), said: “As one of the first sizeable installs of APA in Germany, it was exciting to see this project come together. Whilst into>noise was responsible for the commissioning and consultation, we were always on hand to help out with details and make sure gear was there on time and performed as it should. “It’s all come together perfectly, and the quality of the install, as well as the sound, is superb,” Wolfgang continued. “After the success of Z-Bau we are looking forward to introducing more of our customers to the power and flexibility that APA offers.” Stefan has been delighted with the results so far: “Our one year anniversary is coming up this October, and this system just continues to sound amazing - the combination of this much power and at this quality level has just never seemed possible until now.” Opening in 2018 will be the fully refurbished old cinema space, creating a concert venue with a capacity of upwards of 1000 as the second phase of the redevelopment is completed. With Z-Bau describing itself as a ‘House of Contemporary Culture that is open to all people who reject all forms of discrimination’, you can never be sure what will be going on, but you can be assured that it will sound superb.

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Located in Marina Real Juan Carlos I, Valencia, the Marina Beach Club is fast becoming one of the trendiest, go-to spots in the city. Boasting a restaurant, swimming pool, stage, club, lounge and a number of bars, the venue is ideal for those wanting to relax during the day or dance to deep house music in the evening as the sun sets.

With such a prime location and an incredible range of facilities available to the guests, the management wanted to ensure that the audio set-up was equally impressive. With this in mind, a Lynx Pro Audio system was chosen to enhance the whole venue and provide the perfect atmosphere. The entire Marina Beach complex was installed with Lynx Pro Audio’s new Ionic column loudspeakers, along with products from the QB Series and HR Series. The restaurant, which overlooks the picturesque beach and Mediterranean sea, has the capacity for over 100 guests and offers both traditional Mediterranean, as well as Tatami Japanese food. The restaurant and VIP area play background music while guests eat and relax, so the discreet QB-5 cabinets were selected, a total of 34 were installed to provide full coverage. The club was possibly the most complex part of the installation to be carried out, due to it being open air, and the fact that there are strict noise level regulations, which had to be taken into consideration. With the aim not to exceed 95dB, the technicians from Lynx Pro Audio,

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Photo credits: Ralph Larmann

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• Left The venue being open air proved to be a tricky obstacle. • Right The Ionic-100 sit on either side of the DJ booth.

together with local installation company, Sistemas 2, studied the venue carefully before coming up with a solution. Small format loudspeakers were deemed the best option to provide optimum SPL throughout the space. However, to create a party atmosphere, additional equipment was required. Six QB-8 loudspeakers and four DRN12 subwoofers are installed around the dancefloor, while four Ionic-100 loudspeaker columns in combination with two HR-215S subwoofers are split equally either side of the DJ booth acting as the main FOH system. The Ionic-100 was chosen for the dancefloor due to the need for a truly directional system, avoiding spill in to the other areas and directing the sound exclusively to the dancefloor. The Ionic-100 also delivers the high SPLs required at the club, as the system only

loses 3dB with the increasing distance, directing the sound straight to the guests, without exceeding the permitted sound levels. Elsewhere, in the chill-out area, which is located in front of the swimming pool where waiters serve cocktails and the guests can lie down in the shade after a swim, a further six Ionic-50 column loudspeakers were installed to create a

relaxing vibe. While there were some hurdles to overcome along the way, the whole audio setup that Lynx Pro Audio provided gives the venue a real edge. With the combination of a visually stunning location, exceptional facilities and a high-quality audio system, the Marina Beach Club will continue to rise in popularity.

TECHNICAL INFORMATION SOUND 40 x Lynx Pro Audio QB-5 loudspeaker; 6 x Lynx Pro Audio QB-8 loudspeaker; 4 x Lynx Pro Audio DRN-12 sub-bass; 6 x Lynx Pro Audio Ionic-50 loudspeaker; 4 x Lynx Pro Audio Ionic-100 loudspeaker; 2 x Lynx Pro Audio HR-215S sub-bass; Lynx Pro Audio ARK-20 processor; Lynx Pro Audio RS2 & RS4 amplifiers

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Elation provide lighting and video install at Comunidad Apostólica Hosanna Church in Panama.

Comunidad Apostólica Hosanna (CAH) is a large evangelical Christian church in Panama City, Panama, that is unique for several reasons. With Sunday services attracting well over 12,000 practitioners and operating its own TV division, CAH has grown to become one of Central America’s more influential mega-churches. Design and systems integration company Michael Garrison Associates (MGA) of Fresno, California, was called on to create a comprehensive conceptual design for the renovation of Comunidad Apostólica Hosanna and chose Elation Professional lighting and video for the project. Randy Garabedian, Senior AVL Consultant at MGA, designed and installed the new lighting system, which consists of Colour Pendant colour-changing LED downlights, Opti Tri White variable white LED Par lights, SixPar Series LED Par colour changers, and Platinum Spot III LED colour and graphics moving heads. “The intention of the lighting installation was to upgrade to a new ‘production style’ of lighting,” said Randy. “The initial Elation fixtures I chose were to accomplish the task of even illumination of the platform area for a general ‘wash’ to replace the fluorescent fixtures. After a meeting with the pastor and staff, we discussed the possibilities of adding some fixtures to provide colour and movement, which was part of a grander upgrade that would also include

the new LED walls and audio system upgrade.” The lighting system was only part of the visual upgrade. The pre-existing video screen system was a combination of very tired LCD projectors and front projection screens, with one centre stage-mounted LED screen, and needed a serious upgrade. The new video system features four LED video screens made up of Elation EZ6 LED video display panels and has changed the feel of the room completely. A total of 312 EZ6 panels have been installed. Processing is from Elationdistributed Novastar NovaPro HD video processor and LED display controller devices, too. The project has received praise locally and was a real success for MGA and Elation, a fact that Michael appreciates. He concluded: “We are very pleased with our working relationship with Elation. They were very helpful during the design phase, where we had many challenges to overcome existing conditions. They were also very helpful with the logistics of shipping such a large order to Panama. And Elation’s LED panel product specialist, Red Walter, was invaluable to us from start to finish - even spending time onsite during the actual assembly/installation of the four video screens.”




Every new venue has to find its own place and an identity that helps it to stand apart and appeal to its audience. It isn’t always easy being the new kid on the block, unless, of course, you’re PRYSM in Chicago - the hottest new face in the City of the Big Shoulders. While some nightclubs set out to be as underground and off-map as possible, PRYSM is gunning for something else. This is next level lush; high-end glamour that glistens with sophistication and thoroughbred technology.

The 650-capacity venue is home to an audio set-up from Sound Investment that features some of the latest FunktionOne loudspeakers, Full Fat Audio (FFA) amplification, BSS London networking and Pioneer DJ kit. Its lighting and video set-up from Steve Lieberman’s SJ Lighting is equal in spec and design and has products from MA Lighting, Martin by Harman, Chauvet, Elation, Resolume and HazeBase. PRYSM comprises two spaces. The main room is split across two levels, with a mezzanine wrapping around the dancefloor and seating below. Luxurious finishes are contrasted and complimented by sleek lines but, ultimately, it is the crisscrossing ceiling lighting and inset LEDs that set the changeable mood of the

room. The space is headed by an oversized DJ booth, which itself is decorated by a repeating arrangement of LED strips, giving it an air of Tron-like ‘80s futurism. When you look up from this visual spectacle, your eyes meet another: two Funktion-One Evo 7E loudspeakers flying above either side of the booth, each with a Resolution 2 SH skeletal speaker flown beneath it. There are also two Evo 6E loudspeakers at the opposite end of the room. The Evo 6E is the wider dispersion member of Funktion-One’s Evolution Series, offering dispersion angles of 50° horizontal and 25° vertical. The Evo 7E has a horizontal dispersion of 40° and 20° vertical. Both Evos are fully horn-loaded with 15-inch midbass, 10-inch Funktion-One signature midrange and a 1.4-inch compression driver solely for high frequencies above 4kHz. Bass reinforcement comes from Funktion-One’s Bass Reflex (or BR) Range; four BR221’s (double 21-inch) and two BR 118’s (single 18-inch). The BR enclosures are perfect for spaces that require deep, strong bass at close range. Their unique tuning means they are capable of more definition than is usually

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• Above The bar area at Prysm.

available from this type of enclosure. The DJ booth is home to two FunktionOne PSM318 DJ monitors. When they were launched in 2013, the PSM318 set a new standard in DJ monitoring and continues to lead the way in terms of design and performance. It features bass reflex technology for the low frequencies and a height-adjustable triple concentric enclosure for the mids and highs. There is a Pioneer DJ set-up for mixing and playback. A number of speakers from FunktionOne’s F-Series compact range have been deployed around the periphery of the main room, including six F101’s and 10 F81’s. Heading upstairs to the VIP Room, the space is much more intimate but continues the technology-rich theme from downstairs. The sound system comprises four Funktion-One Resolution 1.5 speakers - a two-way loudspeaker enclosure with 90° dispersion, highfidelity and good low frequency output

for its size. Again, Bass Reflex lowend has been favoured; namely, two Funktion-One BR221 speakers and two BR121 speakers. Further mid-high reinforcement is provided by four F101’s in the periphery of the space. The sound systems are powered by a range of Full Fat Audio amplifiers, including FFA-10000, FFA-6000, FFA6004 and FFA-4004, as well as MC2 AudioT1500 and T1000 amplifiers. Processing is handled by BSS London Architect. Discussing the audio at PRYSM, Sound Investment’s Todd Konecny explained: “From the sound system design perspective, we knew that PRYSM has a highly discerning group of owners that demand the very best in their venues. When one of the owners, Nick Karounos, asked us to submit some designs for his venue, we gave him a range of possibilities. He went directly to the superlative designs, making it clear that he wanted this system to make a

statement. “This gave Dean McNaughton of Sound Investment the opportunity to deploy the first Evo system in Chicago. He chose the Evo because of the high output per box, which allows us to use fewer boxes. In PRYSM, there is one Evo in each corner of the dancefloor and it’s more than enough low, mid and high SPL for the room. The sub frequencies are being produced by four BR221 on one end of the room, plus a couple of BR118’s to spot cover the various VIP tables. Some of the VIP tables that are beneath the mezzanine also benefit from local coverage by F101’s and F81’s.” While sound quality was the main priority, there were also some visual considerations too. Todd said: “In order to keep the clean look of the main video screen, we opted to have metal arms fabricated that attached to the side walls and support the mains from beneath, as opposed to wires coming from the second story ceiling. The angles were


• Above Upstairs is the VIP section.

critical to achieving the proper coverage with only one box per corner and we were able to come up with a design that is nearly invisible and holds the mains in just the right angle.” Specifying the monitoring solution was straightforward, Todd revealed: “The DJ monitors are an easy choice as PSM318’s. Any time a venue is willing to commit to top of the line monitor system, it’s a no brainer: PSM318’s. They are concise package with point source low, mid and high and are easy to orient in the exact desired direction. DJs continue to give accolades to the PSMs.” The main room’s visual identity is shaped by a rich stock of lighting fixtures and

control. An MA Lighting grandMA2 onPC with command and fader wing is the centre point of the set-up. The grandMA2 on PC software incorporates all functions of a grandMA2 console and offers its full potential on a notebook or PC. The grandMA2 onPC can handle running, programming or offline preprogramming, as well as a smart backup solution within the grandMA2 system. With the MA onPC command wing and MA onPC fader wing MA Lighting has developed a sophisticated hardware extension perfectly suited for the grandMA2 on PC software. SJ Lighting’s Steve Lieberman said: “grandMA is our go-to controller for

TECHNICAL INFORMATION SOUND MAIN ROOM: 4 x Funktion-One BR221 bass enclosure; 2 x Funktion-One BR118 bass enclosure; 2 x Funktion-One EVO7e loudspeaker; 2 x Funktion-One EVO6e loudspeaker; 2 x Funktion-One Res2SH skeletal speaker; 6 x Funktion-One F101 loudspeaker; 10 x Funktion-One F81 loudspeaker; 2 x Funktion-One PSM318 DJ monitor; Full Fat Audio FFA-10000 amplifiers; Full Fat Audio FFA-6000 amplifiers; Full Fat Audio FFA-6004 amplifiers; Full Fat Audio FFA-4004 amplifiers; MC2 Audio T-1500 amplifiers; MC2 Audio T-1000 amplifiers; BSS HiQnet London Architect processing VIP ROOM: 4 x Funktion-One Res1.5 loudspeaker; 2 x Funktion-One BR221 bass enclosure; 2 x Funktion One BR121 bass enclosure; 4 x Funktion-One F101 loudspeaker

nightclubs and festivals - whether we use a computer running the PC software with desktop wings, or we specify a full size grandMA2, the software doesn’t change. grandMA2 software gives us the most flexibility to deliver a world-class show on any platform, in any venue.” It is used to manage a mixture of Martin by Harman, Elation and Chauvet fixtures. A total of 14 Martin RUSH MH7 Hybrid all-in-one beam, spot and wash moving heads have been specified. Steve likes them: “Martin just released the MH7 Hybrid. We were excited to use this new fixture, with a zoom that goes from 2.2° to 45°. It really offers a lot of options, including the classic ‘beam’ effect that

LIGHTING, VISUAL & EFFECTS MAIN ROOM: 14 x Martin by Harman MH7 Hybrid moving head; 8 x Chauvet Pro R1 Wash moving head; 6 x Chauvet Pro R2 Wash moving head; 24 x Elation ACL 360i moving head; 4 x Chauvet Pro Strike 324 LED strobe; 1 x MA Lighting GrandMA 2 onPC on dual touchscreen PC w/ command and fader wing; 1 x Madrix 3.6 on touchscreen PC; Resolume Arena 5 on touchscreen PC; 100 x Oracle LINKS 4.9mm LED panel; 1 x HazeBase Basehaze hazer; 2 x Gerb confetti blower; 8 x CO2 Cryo Jet VIP ROOM: 8 x Chauvet Pro R1 Wash moving head; 4 x Chauvet Pro R1 Spot moving head; 1 x MA Lighting GrandMA 2 onPC on dual touchscreen PC w/ command and; fader wing; 1 x HazeBase Basehaze hazer



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“This gave Dean McNaughton of Sound Investment the opportunity to deploy the first Evo system in Chicago. He chose the Evo because of the high output per box, which allows us to use fewer boxes.”

we are all so accustomed to seeing and then a typical spot fixture with rotating patterns, then zoomed out and softened to become a great wash light. Really we get to have our cake and eat it too.” Eight Chauvet Professional Pro R1 Wash and six Rogue R2 Wash fixtures add even more versatility. Upstairs, VIP room also features Chauvet fixtures - eight Rogue R1 Wash fixtures and six Rogue R1 Spots. Steve commented: “The VIP area, where we are challenged with a lower ceiling; we utilise the R1 Spot and the R1 Wash. These fixtures have great output in a very small package, so putting them on a low ceiling is a perfect place for them. Additionally, we are using the R2 Wash on the main room for big pools of light. It has a fantastic zoom range and its an LED source so we have no worries about changing lamps. Colour-mixing capabilities and lower power consumption make this fixture a great fit for PRYSM.” A total of 24 Elation ACL 360i single beam moving effect luminaires give the lighting design in the main room added colour transforming capabilities. Elation Flex Pixel Tape was specified for the theatrical lighting system and by the interior designer, Francois Frossard. This is used throughout the space and is pixel mapped via Madrix LED software. The pixel tape is instrumental in highlighting all of the architectural details and is controlled via the theatrical lighting system. The entire club is coordinated with colour and patterns.

All of this is supplemented with the addition of a BaseHaze Hazer, four Chauvet Pro Strike 324 LED Strobes, two DMX-controlled confetti cannons and eight DMX-controlled CO2 Cryo Jets. The lighting infrastructure works in harmony with 100 panels of Oracle LINKS RS 4.8mm pitch LED panels, which are controlled by Resolume Arena 5 on touchscreen PC and fired via the grandMA2. Discussing PRYSM’s objective and its technological elements, Marketing Director, Joey Giammarino, commented: “Our aim is to provide an elevated nightlife experience to the great city of Chicago. The city has a very educated music scene and we plan to deliver that in the overall experience at the venue. The technology is state of the art, giving a visually appealing experience that you wont see anywhere else in Chicago.” Commenting on the lighting and video technology, Steve said: “The main focus of the theatrical lighting and video at PRYSM is giving the customer a show without it becoming an overwhelming feature. It was really important to us that the architecture and the interior design stood out above all else.” Reflecting on the project, Todd said: “Overall we are ecstatic with the audio system. The way that Funktion-One has brought their speaker design to the next level allows us to create systems that take up the bare minimum of visual space but provide the best sound quality available.”


© Ralph Larmann

Light is brilliant A collaboration that transforms light into art “The new Scenius is amazing – it is most probably the best light for television ever made. The white is so white – the CRI levels are absolutely perfect.” Ola Melzig, technical director of Eurovision 2016 Featuring OSRAM’s Lok-it!® 1400/PS Brilliant lamp, with a high CRI, Scenius is the new advanced moving head spotlight from Clay Paky. It delivers the true tones of your creative vision onstage: balanced intensities, soft shades, vivid colours, perfect white, accurate diffusion, elaborate shapes – this luminaire offers enchanting effects to energize every stage. From TV studios, theaters and venues to events, concerts and exhibitions, you can always count on Scenius to provide the ideal illumination. Light is OSRAM



The Luckman is a new, exclusive club situated in Soho House West Hollywood, LA, which was in need of a high-quality audio setup that Sensorium AVR and VUE Audiotechnik worked together to provide.

Situated on the penthouse floor of Soho House West Hollywood, a posh members-only club on Sunset Boulevard that is a go-to destination for A-listers and dealmakers, The Luckman is perhaps best described as a club within a club. Built to add to the overall star appeal of Soho House, the venue itself is an intimate lounge that offers members a place to eat, drink and relax late into the night, all while enjoying a spectacular view of Los Angeles. Guests who were lucky enough to be at The Luckman opening in January 2016 were treated to live performances by Rita Ora and Charlie XCX, along with a somewhat unlikely duet from Chris Martin and James Corden. However, The Luckman’s charm doesn’t derive from guest appearances alone, as it’s the style that really makes it stand out. Influenced by the striking architecture of the 1970s building it is housed inside, The Luckman offers an almost home-like environment, which allows guests to fully relax and enjoy themselves.

In a bid to complete the impressive venue, Soho House West Hollywood enlisted the help of New York-based Sensorium AVR, specialists in custom audio installations. Having worked with Soho House on a previous project, in which founder, Bryan Bilgore, provided a creative audio solution to an ongoing issue, Sensorium AVR were the go-to choice when it came to providing The Luckman with the perfect audio setup. Sensorium AVR got to work on creating an audio installation that would fit in with The Luckman’s style, as well as providing the right atmosphere for the clientele. Bryan takes up the story: “Our principal mission was to create the best multi-sensory experience possible, where enough data is transmitted through the system so that the listener’s brain does not need work to fill information gaps through interpolation.” “Moreover, the experience should simulate a live, unreinforced soundscape, where one doesn’t realise that technology is involved in creating the experience,” added Bryan. “We applied the best available technologies to maximise what we call Applied Virtual Reality or AVR. So, that was the goal with The Luckman - lifelike, seamless sound in a small attractive package and on budget.” The Luckman holds a wide variety of performances, from movie screenings to multi-piece bands and DJ sets, so the audio setup had to be able to offer an exceptional performance, but also be able to adapt. In the end, Bryan decided on a VUE Audiotechnik system for the venue.


INSIDER INSIGHTS NAME: Bryan Bilgore JOB TITLE: President of Sensorium AVR LIKES ABOUT TECHNOLOGY: VUE offers a range of speakers that are both compact and powerful with plenty of input, monitoring, and remote configuration options. DISLIKES ABOUT TECHNOLOGY: We work with some of the top interior designers, so the call for smaller loudspeakers and better ways to hide them is persistent. Perhaps some décor options for custom panels would be a nice touch in that area. THE NEXT BIG THING IN TECHNOLOGY WORLD: I’m looking at the amazing possibilities of multidimensional audio, with loudspeakers covering a space, to create the ultimate club environment. The technology is here, so we just need to educate and demonstrate.

He explained: “We used a VUE Audiotechnik system for the size to performance ratio - their products produce an incredible amount of coherent SPL in a small footprint. It is a perfect fit, as we consult on a range of projects from residential to commercial spaces. “In 2015, I was recommended by some industry veteran colleagues to go check out the VUE Audiotechnik demo room at the AES convention in NYC. I visited and was instantly impressed with the attention to sonic detail and their passion for technology and innovation in line with our company philosophy. I later familiarised myself with their house sound and full product line-up during an in-depth factory visit at their head office in Southern California.” The installation was a complex one due to the busy, popular nature of the private club, meaning that time allocated for the project was only a few weeks before the opening night. The audio and video was scheduled to go in last, however, due to time constraints, the Sensorium AVR team were forced to start before construction was completed. This added an additional layer of complexity due to the presence of dust, therefore, at the end of each day, all the audiovisual equipment had to wrapped in plastic to avoid the damage of any sensitive products. Bryan also had to take into consideration that there were no rugs, two glass walls, two thick wood panelled wall, as well as the fact that acoustic treatment was not allowed. Despite the complications and hurdles, the Sensorium AVR team continued with the install, implementing two h-12 loudspeakers, six i-8a loudspeakers and two h-8 loudspeakers from VUE Audiotechnik as a full wall of sound.

“The pair of h-8 loudspeakers were used as the fold-back system, as well as ambient speakers, as sometimes tables and chairs populate the stage. The DJ booth is also located on the stage, but folds away – and a fold back h-8 becomes the DJ monitor when in use,” added Bryan. “The design called for a pair of balancing VUE Audiotechnik is-26 subwoofers at the opposite end to augment the ultra powerful pair of hs-28 subwoofers sitting on the right and left of the floor in front of the slightly elevated stage. Only one balancing subwoofer was installed due to decor constraints. The is-26 is carefully bandwidth and dynamic range limited to give the right amount of fullness to the far back end of the room.” There are both digital and analogue connections run to every active loudspeaker, which are carefully sequenced on dedicated circuits based on power consumption. There are very specific limiters on the speakers, so they will never clip. Both shielded and unshielded Ethernet cable runs to every speaker as an upgrade path available for digital signal and currently allows the speakers to be configured and controlled remotely via SystemVUE Software. A four-channel Ashly NXE-4004 amplifier, which is designed to meet the most demanding fixed installation sound systems in performance venues such as The Luckman, runs up to four VUE Audiotechnik hm-112 floor monitors on-stage, which are stored away when not in use. There is also an Allen & Heath Qu-24 mixing desk, which provides all the latest digital features - and expansion options - required for The Luckman. The Qu-24 mixing desk from Allen & Heath combines innovative design and functionality to create a professional


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Situé au rez-de-chaussée du Soho House West Hollywood, un club branché réservé aux membres et une destination choisie des célébrités, on peut dire que The Luckman est un club au sein d’un club. Créé pour rehausser le prestige général du Soho House, le lieu est un lounge intimiste qui offre aux membres un endroit où manger, boire et se détendre jusqu’aux petites heures de la nuit, tout en admirant une vue spectaculaire de Los Angeles. Afin de parfaire cet impressionnant lieu, l’entreprise new-yorkaise Sensorium AVR a proposé une installation audio s’adaptant au style et à l’ambiance du Luckman, tout en offrant la meilleure qualité sonore possible. Bryan Bilgore, le fondateur de Sensorium AVR, a décidé d’utiliser un système VUE Audiotechnik muni de six enceintes i-8a et deux enceintes h-8, créant ainsi un plein mur de son. La conception exigeait également une paire de caissons de grave is-26 à l’extrémité opposée, afin d’augmenter l’effet de la paire de caissons hs-28 ultra puissants placés à droite et à gauche de la piste de danse devant une scène légèrement surélevée. On a aussi installé une table de mixage Allen & Heath QU24 qui propose toutes les fonctionnalités numériques de pointe, ainsi que des options d’amélioration réclamées pour le Luckman.


The Luckman befindet sich im Erdgeschoss vom Soho House West Hollywood, einem schicken Club nur für Mitglieder und ein Must für Promis, und lässt sich vielleicht am treffendsten als Club im Club beschreiben. Der Treff wurde als Ergänzung des allgemeinen Star Appeals vom Soho House gebaut und ist an sich eine intime Lounge, die Mitgliedern einen Ort zum Essen, für einen Drink und zum Relaxen spät abends bietet , wobei man gleichzeitig die spektakuläre Aussicht auf Los Angeles genießen kann. Im Rahmen einer Ausschreibung für den Ausbau dieses beeindruckenden Treffs verschaffte das in New York ansässige Unternehmen Sensorium AVR die Audioinstallation, die sich dem Stil und dem Ambiente des The Luckman anpasst und gleichzeitig die bestmögliche Soundqualität bietet. Bryan Bilgore, der Gründer von Sensorium AVR, entschied sich für ein VUE Audiotechnik System mit sechs i-8a Lautsprechern und zwei h-8 Lautsprechern als eine komplette Schallmauer. Das Design verlangte ebenfalls ein Paar ausgleichende is-26 Subwoofer auf der gegenüberliegenden Seite, um das extrem leistungsstarke Paar von hs-28 Subwoofern, das sich rechts und links vom Boden, gegenüber der leicht erhöhten Bühne befindet, zu steigern. Des weiteren gibt es ein Allen & Heath QU24 Mischpult, das die modernsten digitalen Merkmale verschafft – und Ausbauoptionen – die für The Luckman benötigt werden.


Situato al piano terra della Soho House di West Hollywood, The Luckman è un club sfavillante per soli soci ed un luogo imperdibile per le celebrità (andrebbe descritto come un club all’interno di un club). Costruito per aggiungersi al complessivo fascino delle star del Soho House, il locale stesso è un salotto intimo che offre ai soci un posto dove mangiare, bere e rilassarsi fino a tarda notte, il tutto godendo di una vista spettacolare di Los Angeles. Nel tentativo di completare questo locale di grande effetto, Sensorium AVR (di New York) ha fornito un impianto audio che si abbinasse allo stile e all’atmosfera del The Luckman, il tutto offrendo la migliore qualità del suono possibile. Bryan Bilgore, il fondatore di Sensorium AVR, ha deciso di utilizzare un sistema VUE Audiotechnik con sei altoparlanti i-8a e due h-8 che creano un muro di suono. Il progetto ha inoltre richiesto come bilanciamento una coppia di subwoofer is-26, dalla parte opposta, per potenziare la potente coppia di subwoofer hs-28 adagiati a destra e sinistra del pavimento di fronte al palco leggermente elevato. Inoltre, è stato usato un mixer della Allen & Heath QU24 che fornisce tutte le ultime caratteristiche digitali, nonché le opzioni di espansione, richieste per il The Luckman.


Ubicado en la planta baja de Soho House West Hollywood, es una ostentosa disco que recibe únicamente a sus miembros y que es un destino obligado para celebridades: The Luckman es mejor descripto tal vez como la disco dentro de la disco. Construida para sumar a la atracción estelar general de Soho House, el lugar en sí mismo es un salón intimo que le ofrece a sus miembros un sitio para comer, tomar y relajarse tarde por la noche, todo ello mientras disfrutan de una espectacular vista de Los Ángeles. Por medio de una licitación para completar el impresionante sitio, la empresa Sensorium AVR con base en Nueva York suministró una instalación de audio para hacer encajar el estilo y el clima de The Luckman, a la vez que ofrece la mejor calidad de sonido disponible. Bryan Bilgore, el fundador de Sensorium AVR, decidió utilizar un sistema VUE Audiotechnik, con seis altoparlantes i-8a y dos altoparlantes h-8 como una pared completa de sonido. El diseño además exigía un par de subwoofers is-26 en el final opuesto para incrementar el ultra potente par de subwoofers hs-28 ubicado a derecha e izquierda sobre el suelo en frente del apenas elevado escenario. También hay una mezcladora Allen & Heath QU24 la cual ofrece todas las características digitales de última generación - y opciones de ampliación - requeridas para The Luckman.

mixing experience for any engineer that takes control. Overall, the Qu-24 was the ideal choice for The Luckman as, in conjunction with the VUE Audiotechnik loudspeaker system, it provides the power and pedigree to deliver the audio performance that was required for the venue. In terms of the whole audio setup, Ken Berger, VUE Audiotechnik’s CEO and Jeff Taylor, VP America Sales, both assisted in picking out the right loudspeakers, though, the full audiovisual design was conceived and implemented by Bryan. As well as the audio setup, Sensorium AVR also provided the visual element for The Luckman. Bryan explained further: “We installed a Draper Aerolift Projector lift, which drops down from the ceiling for video. We selected a 30dB - quiet running - 7,000 lumen Panasonic projector with a dual bulb for brightness and redundancy, projecting onto a Screen Innovations 110-inch 16:9 ratio motorised Pure Gray screen flushmounted into the ceiling. “There’s full sound proofing for the projector box - a lot of really detailed work. Every part of the installation from the audio to video had to be done very cleanly and performed in between the

drop ceiling covered with old wood panelling.” With the audio and visual elements in place, AVR Sensorium have achieved what they set out to do by providing a system that suits the style and variety of The Luckman. The install has certainly elevated the purpose-built venue into one of the most attractive clubs in LA. “Our goal was to reproduce music and video that provides a full spectrum experience rather than a typically watered down one,” added Brian. “Through my years of experience I always say: Do not make people’s brains work to experience a real memorable event, but deliver a plausibly realistic experience where your brain actually gets enough information to where it does not have to fill in or recreate the musical cues that get lost with so many sound systems. We are providing all the info necessary, all the interactive elements. “I believe we’d be doing a huge disservice to the artist and the audience by providing less,” concluded Bryan. “In the service for art and humanity, we are enabling storytelling to the audience in the most palpable way, and I think we achieved that at The Luckman.”

TECHNICAL INFORMATION SOUND 2 x VUE Audiotechnik h-12 loudspeaker; 2 x VUE Audiotechnik h-8 loudspeaker; 6 x VUE Audiotechnik i-8a loudspeaker; 1 x VUE Audiotechnik is-26a subwoofer; 2 x VUE Audiotechnik hs-28 subwoofer; 4 x VUE Audiotechnik hm-112 monitor; 1 x Ashley NXE-4004 four-channel amplifier; 1 x Symetrix Edge 12 x 12 Dante equipped DSP; 1 x Allen & Heath QU24 console; 2 x Allen & Heath AB168 portable AudioRack VISUAL 1 x Draper Aerolift motorised lift for projector; 1 x Panasonic projector

© Vincent Bengold

Bringing Creativity to Life


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T-MOBILE ARENA Las Vegas is home to some of the world’s biggest and brightest attractions, so any new arena in the city has to ensure that it can live up to the seriously high standards of The Entertainment Capital of the World. The new T-Mobile Arena, which is owned by AEG and MGM Restorts International, certainly does just that.

LAS VEGAS, USA THE AMERICAS The world-class, $375 million, multipurpose entertainment venue, which has a maximum seating capacity of 20,000, is equipped to host large concerts, award shows, basketball, boxing and mixed martial arts, as well as many other major events. Recently, the T-Mobile Arena was host to the UFC event - with Coldplay also stopping off as part of their tour - highlighting the diverse range of functions held at the venue. Overall, the total facility covers approximately 16 acres, so there is plenty of room for up to 150 events that are set to be held at the 650,000 sq ft arena over the next year. With so much planned, it was vital


that everything was in place when the T-Mobile Arena first opened its doors back in April 2016. This included the technical install, with sound, video and lighting playing a huge role in every event at the arena. Michael MacDonald, President of ATK Audiotek, served as a Project Manager for the audio installation inside the arena itself, with his task being to provide the venue with the best possible sound reinforcement coverage and intelligibility. Michael takes up the story: “We were asked by the folks at LVA Corporation to quote an audio system that would meet the consultant specification for the bowl system, but, as well as that, could also be redeployed for portable applications. From there, we began working with Harman Professional Solutions on a system that could meet or even exceed

the consultant specification, along with being highly flexible and portable to meet the needs of the production team at T-Mobile Arena. “In today’s sports arena market, the fan experience is critical to success and having a high-performance, fullbandwidth system is a huge part of the experience,” added Michael. “Sound quality is so important that the original design was actually revised and upgraded to increase the performance level to concert quality.” To ensure that the audio install did provide a concert quality, a six-cluster sound system was installed. Designed by Dallas-based consulting firm, WJHW, the clusters consist of 72 JBL VTX V25-II line arrays and 36 JBL VTX S28 subwoofers, all of which are powered by 18 Crown VRack amplifiers.

The JBL VTX line array clusters are used as the centerpiece of the whole audio setup, Michael explained why: “Performance, coverage and rider acceptance all drove the decision to go with the JBL VTX V25-II, but in the end, it’s the overall value that is the deciding factor. The VTX V25-II sounds great and has astounding output and bandwidth. “It’s a high-fidelity, high-output system for sports and other events, and it can be reconfigured and moved to be used as the primary sound system for music performances. It can even be moved up into the scoreboard garage to clear the airspace for large-scale televised events, like the Billboard Music Awards.” The VTX V25-II is a full-size, threeway, high-directivity line array element that includes a new fourth generation waveguide to improve long-throw

• Above The exterior of the T-Mobile Arena.


• Above The Daktronics centrally hung video display.

“The collective opinion shared by everyone is that this is one of the best acoustically designed and best sounding arenas in the US.”

performance and wavefront control. To complete the whole package, the system has Crown I-Tech HD amplification with BSS OmniDriveHD V5 processing and JBL HiQnet Performance Manager configuration and control software. The system at the T-Mobile Arena also included cardioid subwoofer arrays that were specifically designed by Scott Bray, a Consultant at WJHW, to direct the infrasonic sound towards the audience and away from the hard walls and the roof structure. VTX S28 subwoofers from JBL, which provide extremely high peakto-peak excursion capabilities to deliver extended low frequency performance, are used in the venue. “The JBL VTX S28 subwoofers have the power and bandwidth characteristics that fit the design criteria well, including ease of rigging and out-of-the-box amp DSP settings that have outstanding performance,” said Michael. In terms of amplification for T-Mobile Arena’s audio system, the Crown VRack was the natural choice as it met the requirements for flexibility and performance, as well as being simple and quick to install. The Crown VRack complete amplification system provides a customised, turnkey amplification package, complete with full safety approvals, innovative software and worldwide power distribution for versatility.

Overall, Michael expressed how pleased he was with the audio installation at the T-Mobile Arena, though it wasn’t without its challenges. “Working out the rigging and cable management detail was certainly a challenge due to space and load requirements,” said Michael. “Also, due to the construction schedule, we had a small installation window at the end of the project. This drove a schedule that gave us two days to install the whole system. However, we worked it all out and things went as planned. “The collective opinion shared by everyone involved is that this is one of the best acoustically designed and bestsounding arenas in the US. The acoustic treatment is everywhere and helps tame the usual challenges in a room this size,” added Michael. “The coverage aligns well with the audience areas in the room while keeping energy off of the wall surfaces. The bandwidth of the system is superior to most systems found in arenas, and it has a wide open natural sound that is low in distortion, that is easy to listen to and does not create fatigue for the audience.” It was established early in the plans for the T-Mobile Arena that the video displays would be a huge part of the venue, so, with that in mind, Daktronics was selected to design, manufacture and install 25 LED video displays in and around the venue. The install includes the very first see-through display in the city

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“Daktronics did a remarkable job creating vibrant and dynamic displays throughout the venue’s interior.”

- which is also one of the largest in the United States - as well as a central video display, fascia, tunnel entry, scorer’s tables and exterior displays. The centrehung configuration is particularly impressive, with the 12 LED video displays providing an eye-catching focal point inside the venue. The two largest displays in the configuration, which face the sides of the arena, measure 21ft high and 36ft wide, while the two displays facing the ends of the arena are 21ft high by 21ft wide. Another four video displays fill the corners between the larger main displays of the centrehung, with an additional four video displays providing viewing for the seats closer to the playing surface. Elsewhere, there are two ribbon video displays mounted to the seating fascia, four tunnel video displays above the entrances to the seating area and six scorer’s tables that are positioned on the court sidelines for sponsors, additional statistics and animations. Most spectacular of all, though, is the trapezoid-shaped LED video wall that is located on the exterior of the venue. Las Vegas’ first see-through display covers 9,000 sq ft, measuring approximately 43ft high by 210ft wide. Pixels in the display have been placed 50mm apart, allowing those inside the building to see through the display, while providing a video solution for those outside.

“As guests arrive at T-Mobile Arena, one of the first things they see is the incredible Daktronics see-through LED video wall above the main entrance, which has been generating tremendous fan excitement and energy, especially on event nights,” said Dan Quinn, General Manager of T-Mobile Arena. “Daktronics did a remarkable job creating vibrant and dynamic displays throughout the venue’s interior, which are integral components of the overall entertainment experience for our guests.” Will Ellerbruch, National Sales Manager for Daktronics, was equally as enthused by the project: “Daktronics is excited to be a part of this landmark project in Las Vegas for T-Mobile Arena. Integrating and controlling 25 displays in a single facility speaks to the depth of our engineering capabilities as a company and is sure to bring amazing experiences for fans at every event. We’re ecstatic about the completed project and the displays that add to the bright lights of the city.” For the lighting aspect of the T-Mobile Arena install, the venue’s management enlisted the help of 4Wall, a full-service lighting company also based in Las Vegas. 4Wall’s Systems Integrator, Barbara Brenna was initially contacted to bid on the lighting control systems for the T-Mobile Arena. After it was officially awarded to 4Wall, they had

• Above The JBL arrays also make up part of the centrepiece.



Le stade T-Mobile, situé à Las Vegas, est un lieu de divertissement international, polyvalent, pouvant recevoir un maximum de 20 000 personnes, entièrement équipé pour accueillir de grands concerts, des remises de prix, des compétitions d’arts martiaux et de boxe, ainsi que de nombreux autres événements d’envergure. Avec un tel agenda, il était essentiel que tout soit en place pour l’ouverture du stade en avril 2016 y compris bien entendu, les aménagements techniques audiovisuels et l’éclairage qui jouent un rôle primordial lors de toutes les représentations du stade. Michael MacDonald, Président de ATK Audiotek a dirigé les aménagements audio à l’intérieur du stade - un système sonore à six groupes, avec 72 colonnes de JBL VTX V25-II et 36 caissons de grave JBL VTX S28, mis en valeur par 18 amplificateurs Crown VRack. « Sur le marché des stades de sport d’aujourd’hui, l’expérience des supporters est la clé du succès et un système haute performance optimal contribue en grande partie à cette expérience, » nous explique Michael. « La qualité du son est tellement importante que la conception d’origine a dû être revue et mise à niveau afin d’accroitre le niveau de performance et obtenir une “qualité concert”. » Par ailleurs, Daktronics a fourni toute une gamme accrocheuse d’écrans vidéo LED, placés à l’intérieur et à l’extérieur du stade, tandis que 4Wall s’est chargé de l’installation des éclairages, qui somme toute s’assure que le stade T-Mobile répond bien aux normes très élevées de la capitale du divertissement du monde.


Die T-Mobile Arena in Las Vegas ist ein erstklassiger MehrzweckVergnügungsort mit einer maximalen Sitzplatzkapazität von 20.000. Sie ist so ausgestattet, dass sie sich für große Konzerte, Preisverleihungen, Box- und verschiedene Kampfsportkämpfe und für viele andere Events eignet. Bei solch hochfliegenden Plänen war es wichtig, das alles für die Eröffnung der Arena im April 2016 fertig war. Dies umfasste die technische Installation mit Sound, Optik und Beleuchtung, die bei jeder Veranstaltung in der Arena eine große Rolle spielen. Michael MacDonald, Vorsitzender von ATK Audiotek, fungierte als Projektleiter für die Audioinstallation innerhalb der Arena, die ein 6-Cluster Soundsystem mit 72 JBL VTX V25-II Line Arrays und 36 JBL VTX S28 Subwoofern umfasst, die durch 18 Crown VRack Verstärker betrieben werden. „Im Sportarenamarkt von heute ist die Fanerfahrung ein wesentlicher Faktor für den Erfolg und ein leistungsstarkes System mit voller Bandbreite ist ein bedeutender Teil der Erfahrung,” so Michael. „Die Soundqualität ist so wichtig, dass das ursprüngliche Konzept neu überarbeitet und aktualisiert wurde, um das Leistungsniveau auf ‘Konzertqualität’ zu steigern.” An anderer Stelle lieferte Daktronics ein komplettes Angebot an aufsehenerregenden LED-Video-Displays im Innen- und Außenbereich, während 4Wall die Beleuchtungsinstallation übernahm. Dies zusammen gewährleistete, dass die T-Mobile Arena die sehr hohen Maßstäbe der Entertainment-Hauptstadt der Welt erfüllt.


La T-Mobile Arena, situata a Las Vegas, è un luogo di intrattenimento universale di fama mondiale. Con una capienza massima di 20.000 persone, l’Arena è attrezzata per ospitare grandi concerti, spettacoli di premiazione, boxe e arti marziali miste, così come molti altri eventi importanti. Con un palinsesto così ambio, era importante che tutto fosse a posto per l’inaugurazione di aprile 2016. Ciò ha incluso le installazioni audio/video/luci che giocano un ruolo enorme in ogni evento presso l’Arena. Michael MacDonald, presidente di ATK Audiotek, ha ricoperto il ruolo di Project Manager per l’installazione audio all’interno dell’arena, che comprendeva un sistema audio a sei cluster con 72 line array VTX V25-II e 36 subwoofer VTX S28 entrambi della JBL, alimentato da 18 amplificatori Crown Vrack. “Nel mercato degli sport odierni dell’Arena, l’esperienza dei tifosi è fondamentale per il successo ed avere un sistema a tuttotondo ad alte prestazioni è una parte enorme di questa esperienza”, ha dichiarato Michael. “La qualità del suono è così importante che il progetto originale è stato effettivamente rivisto e potenziato per aumentare il livello della performance e farlo arrivare ad una “qualità da concerto””. Altrove, Daktronics ha fornito tutta una serie di schermi video a LED che di certo non passavano inosservati, sia all’interno che all’esterno del locale, mentre 4WALL ha curato l’impianto luci che complessivamente ha permesso alla T-mobile Arena di sopravvivere agli altissimi standard della Capitale del Divertimento nel Mondo.


El T-Mobile Arena, ubicado en Las Vegas, es un sitio de entretenimientos multi-propósito de primer nivel con una capacidad máxima de 20.000 asientos. Se encuentra equipado para ofrecer grandes conciertos, shows de entregas de premiaciones, boxeo y artes marciales combinadas, así como muchos otros eventos. Habiendo planificado tanto, era importante que todo estuviera en su lugar para la inauguración del estadio en Abril de 2016. Ello incluía la instalación técnica, con sonido, videos e iluminación jugando un rol principal en cada evento del estadio. Michael MacDonald, Presidente de ATK Audiotek, sirvió como Gerente de Proyecto para la instalación del audio dentro del estadio, que incluyó un sistema de sonido de seis clusters, con 72 formaciones en línea JBL VTX V25-II y 36 subwoofers JBL VTX S28, potenciados por 18 amplificadores Crown VRack. “En el mercado de hoy, la experiencia de los fans es crítica para tener éxito y tener un sistema de alta performance y de ancho de banda completo es gran parte de la experiencia.”, dice Michael. “La calidad del sonido es tan importante que el diseño original fue revisado y actualizado para aumentar el nivel de rendimiento hasta la calidad de conciertos.” En otro sitio, Daktronics suministró una gama completa de atractivas exhibiciones de video LED, tanto dentro como fuera del lugar, mientras que 4Wall estuvo a cargo de la instalación de iluminación, lo que , todo en conjunto, aseguró que T-Mobile Arena estuviera a la altura de los más altos estándares de la Capital Mundial del Entretenimiento.

several meetings in which they were given the task of modifying the lighting control system to meet both the project needs and budget. From there, Buddy Pope, 4Wall’s Project Manager, designed a system that maintained the original design intent, while also meeting the planned budget. The execution of the project was then led by 4Wall’s Project Manager, Steven Byers, Shaun Ballew, the Senior Drafter and Project Technician, Josh Lentner. Steven Byers explained the 4Wall’s plan for the Las Vegas venue: “Logically the circular arena is divided into four quadrants. There are ETC Paradigm Architectural control processors networked together; one processor for each quadrant and one for the sports and house lighting system. “The lighting control system is designed so that if the core network were to fail each of the quadrants and the sports lighting control system could operate independently. There are three primary control locations for the lighting system; first is the lighting position in the video operations control booth overlooking the arena floor, second is at the main control

rack for the lighting control system in an adjacent room to the video operations booth allowing for redundancy if the primary controller fails and finally at the security dispatch office. This allows the lighting operator to easily control the lighting in the entire building from one location during an event.” For the lighting control system, 4Wall specified the ETC Paradigm due to its versatility and reliability, along with the ETC Echo Relay Panel Feedthrough, which allowed multiple lighting control circuit feeds with one circuit breaker and direct dimming control. With the lighting control in place, along with the audio and video installations, T-Mobile Arena is more than ready to host a whole range of events, concerts and shows. Despite it still be very early days for the venue itself, it is clear that it has already impressed organisers and visitors alike, with huge events having already taken place with great success. The T-Mobile Arena certainly holds its own among some serious competition in Las Vegas and is sure to go from strength to strength in the future.

TECHNICAL INFORMATION SOUND 72 x JBL VTX V25-II line array; 36 x JBL VTX S28 subwoofer; 18 x Crown VRack amplifier; 2 x BSS London BLU-160 processor LIGHTING & VISUALS 12 x Daktronics centrehung LED video display; 6 x Daktronics court level LED video display; 2 x Daktronics fascia LED video display; 4 x Daktronics wall mounted LED video display; 1 x Daktronics outdoor LED video display; 5 x ETC Paradigm architectural control processor; 29 x ETC Echo Relay Panel Feedthrough

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Shui Gastrolounge offers exceptional sound quality with its new D.A.S audio installation.


Shui Gastrolounge is located in Singapore’s iconic Clarke Quay, a vibrant hub sitting by the river. Lawrence Khoong, the owner of the Pan-Asian style restaurant, set out to provide a venue that delivers an enjoyable night out without the worry of the high costs that are often associated with nightlife in Singapore. Before opening the Shui Gastrolounge, Lawrence had a career in education for over 20 years, selling education equipment to a whole range of cultures and universities. However, wanting a change, Lawrence spoke to an investment banker and decided to enter the world of food and beverage, which has the potential to cater to a whole variation of cultures; an aspect he wanted to bring forth from his previous line of work. Lawrence called upon experienced audio engineer, Patrick Teo to specify

the sound system and Patrick selected a D.A.S. Audio solution. The final set-up comprises two Action 12’s, one Action 18 and four Arco 24TWs, which are powered by a singe PS-400, again from D.A.S. Audio and one QSC PLD4.2 processing amplifier. Patrick was assisted by Chip Chong of Shin Taiyou, which distributes D.A.S. Audio in the region and Sindo Exports, which looks after QSC. It was important that the system blended into the aesthetics of the space and was capable of withstanding the humidity. The venue boasts a small stage and all performers who have played at the venue so far have been impressed with the in-house audio set-up.



Located at TREC, Kuala Lumpur - Malaysia’s purpose-built integrated entertainment resort, boasting an array of F&B establishments and nightlife venues - Le Noir is in a prime location within the complex and is open around the clock. The brand, founded by Mark Brimblecombe in Singapore back in 2005, originally operated as a lounge bar with Le Noir at Clarke Quay, but later turned into a live venue. When the opportunity at TREC came up, Mark, along with business partner, Gary Bowen decided it was time to extend the brand across the border.

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• Above The ground floor of Le Noir is where the daily live performances take place.

With a musical background and having formerly been a DJ, owner of the Kuala Lumpur venue, Gary knew that he and the team could replicate the Singapore concept and make it a success. The aim was to create something different yet somewhere that would cater for everyone. “The reason I feel we cater for all is that the venue concentrates on the most important aspect - the music. To us, it doesn’t matter about the genre of the music - it’s all about the quality provided. We want to make sure that the musicians who play here are beyond satisfied with the equipment,” said Gary. An existing relationship with the installation company from the Singapore fit out was already in place, making it a natural choice to continue with the same team, especially given Lighting & Sound

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Distribution (L&SD) also have offices in both Singapore and Kuala Lumpur. “After L&SD provided a specification, we were more than happy to proceed with them, especially since they adhered to our request for an impacting visual feature and a high quality audio system throughout the venue,” Gary continued. The ground floor, which boasts al-fresco dining and an amazing view of the city, is open everyday of the week and has a live band or DJ playing daily. The top floor is once again open each day, but has a more relaxed atmosphere and is a popular destination for watching the sunset. On the middle level of the three-storey building is a club area, currently open on Friday and Saturday nights. Each floor has its own audiovisual set-up, giving every section an individual concept and personality. The top floor sound system comprises six EAW SMS5 two-way loudspeakers, which are mounted flush to the walls. The cabinet cone is fitted with a durable foam surround and has been treated to resist

“I listened to the P4 and was very impressed with the clarity. Gary agreed and so we went ahead with the P4 system for the ground floor.”

• Above The middle level is home to a club that is currently open on Fridays and Saturdays.

moisture, making the SMS5’s IP rated, and therefore ideal for the roof terrace. A single XTA DP226 processor takes care of loudspeaker management for the EAW boxes, with this particular model chosen for its flexiblility, as well as its ability to be remotely controlled via an iPad or other tablet. L&SD’s Navin Krisnan, who headed up this installation, selected the top floor system, however, when he received the design plans for the ground and middle floors, he sought some advice. Navin turned to Sammy DeHavilland and Paul Dunkley, who are in charge of UK manufacturer, DARE Professional Audio, which also carries out system design and installation duties too. “I sent the floor plans to Sammy,” said Navin. “At the time, DARE Pro-Audio was working on a prototype for a new product, the P4, and Sammy thought it would be perfect for Le Noir.” Knowing it produced good quality audio and would provide ample coverage for the space, Sammy shipped a prototype to Navin for demo purposes. “I listened to the P4 and was very impressed with

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the clarity,” continued Navin. “Gary agreed and so we went ahead with the P4 system for the ground floor.” Le Noir is the first venue in the world to install the P4 system, a total of four cabinets were specified alongside five DARE Pro-Audio Vortex E18 bass units and four DARE Pro-Audio Micro 88 full range loudspeakers. “Sammy visited Kuala Lumpur to see the installation and he was very happy with the configuration of the system when he arrived. He did assist us with tuning the system, though, and configuring the presets,” explained Navin. Sammy said of the install: “Gary’s original prerequisite was all about the ultimate in audio performance, but it needed to be unobtrusive. The system is actually quite difficult to detect in the venue, yet it has the ability to cater for several thousand people across the entire court yard.” A combination of Powersoft K3 DSP+AESOP amplifiers and SAE CA6 and CA9 amplifiers power the downstairs system, while an XTA DP6i is in charge of processing and a Midas M32R console

has been installed to cater for mixing requirements for both live bands and DJs. The most eye-catching feature on the ground floor has to be the curved LED screen, which acts as a backdrop to the stage performances and draw the crowds in with intrigue at the same time. The screen is made up of 276 Ikon RGB panels, making it one of the largest screens in Kuala Lumpur. Content for the screen is run through five Madrix LUNA interfaces and by using the accompanying Madrix software is pre-programmed to align with beat of the music. To complete the ground floor installation, eight Acme CW-150 par cans are used on the stage to highlight the performers. The middle floor is a club, but after the intial design, some alterations were made - the open air balconies were boxed off with glass to make the inside bigger and create a VIP area - so some changes to the technical install had to be made. Now, the system comprises two Logic Systems ML12’s and two ML15’s for the main PA, with fill provided by more DARE

TECHNICAL INFORMATION SOUND 6 x EAW SMS5 two-way loudspeaker; 4 x DARE Pro-Audio P4 loudspeaker; 5 x DDARE Pro-Audio Vortex E18 bass unit; 4 x DARE Pro-Audio Micro 88 full range loudspeaker; 4 x DARE Pro-Audio Vortex 118 subwoofer; 2 x Logic Systems ML12 loudspeaker; 2 x Logic Systems ML15 loudspeaker; 1 x XTA DP226 processor; 1 x XTA DP6i processor; 1 x Midas M32R console; Powersoft K3 DSP+AESOP amplifiers; SAE CA6 amplifiers; SAE CA9 amplifiers LIGHTING, VISUAL & EFFECTS 8 x Acme CW-150 par can; 276 x Ikon RGB panel; Madrix LUNA interfaces and software package; 245 x transparent tubes filled with LED pixel; 2 x Robe DJ Scan 150 XT scanner; 2 x Robe ClubScan 250 CT scanner; 2 x Robe two HIP-HOP effect; 1 x Sunlite software package

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Le TREC de Kuala Lumpur en Malaisie est un lieu de divertissements spécialement construit pour recevoir une gamme d’établissements et de boîtes de nuit F&B. C’est là que Le Noir, issu de Singapour, rassemble des foules nuit après nuit. Le Noir s’engage à offrir à ses clients une expérience sans pareille. De ce fait, le lieu a été équipé d’un système de sonorisation de pointe à chacun des trois étages, et d’un impressionnant écran LED concave derrière le bar principal et la scène. Lighting & Sound Distribution (LS&D), basée à KL a réalisé l’installation audiovisuelle et l’éclairage. Le système de sonore du rez-de-chaussée accueille un DARE Pro-Audio P4, et Le Noir est l’un des premiers établissements dans le monde à en profiter. Le tout agencé d’un écran LED de Ikon et des lyres Acme — la gestion de contenu étant opérée par Madrix. Le deuxième étage propose des équipements audio d’un autre fabricant anglais, Logic Systems, avec cette fois un éclairage et des effets spéciaux de Robe, et Madrix qui contrôle les cannes de LED suspendues au plafond. Sur la terrasse du toit se trouvent des SMS5 de chez EAW — entièrement protégés contre les intempéries. Le Noir est le dernier projet qu’aura réalisé M. Lim de chez L&SD, avant qu’il décède en juillet dernier.


Le Noir befindet sich im TREC, Kuala Lumpur - dem eigens gebauten integrierten Entertainment Outlet von Malaysia, der zahlreiche Restaurants und Bars sowie Nachtclubs vorzuweisen hat - Le Noir, ursprünglich aus Singapur, bringt jede Nacht in seinem dreistöckigen Live-Treff Menschenmassen zusammen. Le Noir will Kunden eine erstklassige Erfahrung bieten und wurde zu diesem Zweck ausgestattet mit einem hochmodernen PA-System auf jeder Etage und einem eindrucksvoll gebogenen LED-Bildschirm als Hintergrund für die Hauptbar und den Performancebereich. Lighting & Sound Distribution (LS&D) aus KL ergänzten die Audio-, Beleuchtungs- und visuelle Installation. Das PA im Erdgeschoss ist das DARE Pro-Audio P4 System und Le Noir gehört zu den weltweit ersten Treffs, die damit ausgestattet werden. Kombiniert wird es mit einem LEDBildschirm von Ikon mit Content Management durch Madrix und Moving Heads von Acme. Die mittlere Etage weist eine Audioanlage von einem anderen Hersteller aus GB auf, Logic Systems. Die Beleuchtung und Effekte stammen von Robe und weitere MadrixKontrolle für die LED-Rohre, die von der Decke herunterhängen. Auf der Dachterrasse findet man EAW SMS5s, die wetterfest sind, um im Freien benutzt werden zu können. Le Noir war das letzte Projekt des verstorbenen Herrn Lim von L&SD, bevor er im Juli von uns gegangen ist.


Situato nel TREC di Kuala Lumpur e costruito appositamente come centro di intrattenimento della Malesia, Le Noir (originario di Singapore) vanta una serie di stabilimenti F&B e locali notturni che stanno raccogliendo una moltitudine di gente, notte dopo notte, nel locale a tre piani. Con un impegno nel fornire ai clienti un’esperienza di prima classe, Le Noir è stato equipaggiato con un sistema PA all’avanguardia posto su ogni piano e un impressionante schermo LED curvo che fa da sfondo nel bar principale e nella zona spettacoli. Lighting & Sound Distribution (LS&D), con sede a Kuala Lampur, ha completato l’istallazione del sistema audio/video/luci. Il sistema PA a piano terra è fornito del sistema audio P4 della DARE Pro-Audio e Le Noir è uno dei primi locali in tutto il mondo ad averlo. Questo sistema è stato combinato ad uno schermo LED della Ikon, con la gestione dei contenuti fornita da Madrix, e a delle teste mobili della Acme. Il piano intermedio è dotato di un’istallazione audio di un altro produttore britannico, Logic Systems, che questa volta ha utilizzato le luci e gli effetti della Robe ed altri Madrix per le canne a LED che pendono dal soffitto. Infine, sul terrazzo ci sono degli EAW SMS5, che sono stati resi immuni alle intemperie proprio per essere esposti all’aria aperta. Le Noir è stato l’ultimo progetto al quale il signor Lim di L&SD ha lavorato, prima della sua triste scomparsa nel mese di luglio.


Ubicado en TREC, Kuala Lumpur - en un espacio de entretenimiento integrado creado a tal fin de Malasia, desplegando una variedad de establecimientos F&B y de sitios para la vida nocturna -Le Noir, originalmente de Singapur, recluta multitudes noche tras noche en su local de tres pisos. Con el compromiso de ofrecerle a sus clientes una experiencia de primer nivel, Le Noir ha sido equipado con un sistema PA de última generación en casa piso junto con una impresionante pantalla LED curva como fondo del bar principal y de la zona destinada a los shows. Lighting & Sound Distribution (LS&D), con base en KL completaron la instalación del audio, iluminación y video. El PA de la planta baja es un sistema DARE Pro-Audio P4 y Le Noir es uno de los primeros sitios en el mundo en tener uno de esos. El mismo ha sido combinado con una pantalla LED de Ikon, con administración de contenido de Madrix y cabezales móviles de Acme. El piso del medio presenta una configuración de audio de otro fabricante con base en el Reino Unido, Logic Systems, esta vez con iluminación y efectos de Robe y el control de Madrix para los bastones de LED que cuelgan del cieloraso. En la terraza hay EAW SMS5’s que han sido impermeabilizados para estar al aire libre. Le Noir fue el último proyecto en el que el difunto Sr. Lim de L&SD ha trabajado antes de partir en Julio.

Pro-Audio Micro 88 and four Vortex 118 subwoofers from DARE Pro-Audio to extend the low-end. Amplification and processing for the club is the same set-up as the ground floor, and the DJ booth houses the standard Pioneer inventory. Once again, it’s the lighting and visuals that are the focal point in the room. Hanging over the central dancefloor are 245 transparent tubes filled with LED pixels - that appear somewhat candy cane like - but are referred to as meteor lights by the team. “Each pixel is individually addressable and had to be added into the control system as such, so as you can imagine it took me some time,” said Navin. Again the Madrix LUNA and software package was selected. The LED tubes are further enhanced with special effects from Robe in the form of two DJ Scan 150 XTs, two ClubScan 250 CTs and two HIP-HOPs, all of which are controlled using a Sunlite software package.

When asked about the challenges during the project Navin explained that timing was the biggest obstacle, with just two weeks to complete the installation. “I was working and sleeping at the venue to ensure it was finished on time,” he said. “But what got me through was the support of my boss, the late Mr Lim, who unfortunately passed away in July after losing his battle with cancer.” Le Noir was one of the last projects Mr Lim worked on and Navin is quite certain that he would have been pleased with the finished result. “He was a good boss and a great man.” The final word goes to Gary, who summed up the project: “I feel our location provides an unbeatable view of the city, and our concept of bringing the ‘inside - out’ and the ‘outside - in’ is a unique one. It’s important to expand and look at new markets, this is what we’ve done here, and, so far, all is going well.”

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21-23 October Las Vegas Convention Center

The LDI show provides visitors with an opportunity to see and demo new products, network with their peers and connect with manufacturers. This multi-faceted tradeshow includes the LDI Club Tour, Tech Conference, LDInstitute and LDIntensives, along with an immense show floor, filled with the technology.

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Avolites Ai v10 & Titan v10.1 Stand No.: 2015 → Ai version 10 available for demo → Training sessions available on both Ai v10 and Titan v10.1 → All consoles feature Titan v10.1, which will include the ability to run Capture over a multi-user network. → The BPM Sync automatically snaps all chases together to synchronise them with the beat of the music and the ability to divide effects up so they can be individually synced with specific beats.

Blizzard Lighting Kryo.Mix CMY Stand No.: 1345 → Blizzard’s brand new three-in-one beam/spot/wash CMY moving head → High-output 350W discharge lamp → Beam angle: 1.5°- 35° linear fast zooming → Extremely bright fixture that will liven any entertainment venue with ease. → See it in action at the Blizzard Lighting LDI 2016 booth.



Stand No.: 2359 → Brand new type of light beam with ‘Blade’ projection → Equipped with 12 x 20W Osram Ostar Stage N RGBW LEDs for an extra bright output → Single pixel control for stunning multicolour effects → Motorised linear zoom: 3.5° (‘Blade’ mode) to 30° → Features an ultra-fast +/- 95° motorised tilt

Elation Platinum SEVEN Stand No.: 2515 → Seven-colour LED washlight → 19 x 25W LEDs (RGBW+Amber+Cyan+UV) → 5° - 50° zoom range → Flat field of light → Colour temperature control

Green Hippo Hippotizer V4 Media Servers: Taiga Stand No.: 437 → Six native outputs on DVI-DL, DP and SDI → Full resolution and frame rate video in a 3D Visualiser → Real-time control of any attribute → Supports greater than 8K → SHAPE 3D Mapping


Philips MSD Platinum Stand No.: 2337 → Razor-sharp, pure platinum for three-in-one fixtures → High beam intensity, high perceived brightness → Longest Platinumarc working distance of 38.74mm → Creative freedom to design smaller, lighter fixtures → Long and reliable performance

Robe DL7F Wash Stand No.: 1715 → Full spectrum LED wash luminaire; zoom 7° – 65° → High CRI >90 → Fast and precise internal barndoor module with four individually controllable blades → Exceptional silent operation → The 200mm diameter fresnel lens is easily interchangeable for optional PC lens

Robe SPIKIE Stand No.: 1715 → The next generation LED WashBeam with outstanding light output → 60W RGBW LED source video in a 3D Visualiser → Zoom 28° wash to a 4° tight beam → Unique flower effect and beam splitter effect → Super fast movement and continuous pan and tilt rotation

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138 EX P O

• The audio shootout had an impressive line-up of manufacturers

• Marvic Ramos of AV LS

• KV2’s Dave Croxton and George Krampera flank distributor, Tony Kwan


When I visited Manila two years ago for the first time, I attended the PALMM show. My first impressions were that, although a number of brands were represented, the sophisticated level of display we have become accustomed to was somewhat amiss. PALMM bolted on sectors, such as hospitality and leisure - which, in fairness, does sometimes work - however, on this occasion, it didn’t give the impression of an integrated show in which industries thrive off one another. During the PALMM show there were whispers that some of the professional audio, lighting and visual companies were going to breakaway and create their own show… Enter Musik Manila. Now in its second year and held at the World

Trade Centre, I’m told that the momentum is growing and that even more exhibitors from PALMM will be making the cross-over next year, or will exhibit at both. Currently quite a small show, Musik Manila’s floorplan resembles a catwalk; visitors walk down the centre and there are booths on both sides. Stands here have been designed and built - as opposed to shell scheme - a sign that the market is growing in the right direction. Many of the major players were exhibiting including: AVSC, which distributes L-Acoustics, Sennheiser, SGM and Adam Hall, to name just a few, and it also recently added Robe to its portfolio; Beyond the Blue representing d&b audiotecknik, Green Hippo and RGBlink; EVI had Electro-Voice

products on display; Vertek Pro look after dBTechnologies and Clay Paky in the Philippine market; OWMS welcomed visitors with FBT and DTS; AVLS showcased Meyer Sound; and JB Music, in charge of Allen & Heath had a booth outside at the front of the hall, which doubled as a live performance area in the late afternoon. Another aspect that was noteworthy, was the outdoor audio demo, which was quite possibly one of the best line-ups I’ve seen at a shootout in some time. Participants were KV2 Audio, RCF, Nexo, Meyer Sound, L-Acoustics, FBT, Proel, JBL, d&b audiotechnik, Martin Audio, ElectroVoice, EAW and dBTechnologies. The demo ran three times per day with each session attracting a full audience.

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140 EX P O

• OWMS’ Celestino G. Flores

• AVSC’s Mike Sanchez with Robe’s Harry von den Stemmen • The EVi team

• The team on the Vertek Pro team line-up

• The ADJ stand

Noise wasn’t only a factor outside, though, as the halls were extremely noisy for about 80% of the opening hours, two or three different stands all playing music at the same time. It makes it a difficult environment to do business in, and it’s not an atmosphere that most people can stand for a sustained amount of time. Loud tradeshow floors were once the norm, but not anymore, so if the show wants to appeal on a more global level, it must abide by global expectations. I did hear a rumour that next year they will address this, a maximum dB level will be set and it will be monitored. Definitely a good move. Attendance wise, for the size of the show, I was pleasantly surprised by the number of visitors on both days. On so many occasions, I have seen

small, regional shows look like a ghost town, but this wasn’t the case here. I would say that registration could be formalised a little better, though, something like an individual name badge, especially when you’ve pre-registered, is surely fairly standard. Exhibitor wise, there was also support from manufacturers in the shape of EAW, d&b audiotechnik, Allen & Heath, dBTechnologies, Clay Paky, and Robe, who have recently appointed a new Managing Director for Asia-Pacific in the form of Jens Poehlker. I was asked during the show, which exhibition in Asia I thought was the best in today’s climate, and quite honestly, I’m not sure there is one that stands out as catering to the entire Asian market. Maybe, these smaller, local shows work better

• Beyond the Blue team

in this region, as they do offer great networking opportunities and the chance to see products in action. Musik Manila definitely seems to be doing something right, as there was a very positive vibe surrounding the show, which is getting rarer these days. I’d like to go back next year and see what improvements have been made. From driving around the city, there is plenty of building work going on, all of which needs kitting out with audiovisual equipment, so there is every chance the industry will continue on a upward spiral in the Philippines. Dates for Musik Manila 2017 have yet to be released. For more information, go to: www.

• JB Music was joined by Alex Schlosser from Allen & Heath

142 EX P O

• The E&E team - Agnes Yue, Ronald and Gary Goh and Dina Menon flank mondo*dr Editor, Rachael Rogerson-Thorley


The tradeshows for our industry in Singapore have taken on a number of different names over the years, however, the same format applies and, quite often, it’s the same people behind the scenes. This year marked the beginning of a new show called Pro AVL Asia, held in conjunction with TTA (Tourism Technology Asia). With organiser, Rosalind Ng at the helm, known by many for her role at IIR which then became Informa, I think many were interested to see

whether this show would take on a new guise, or whether it would bare a striking resemblance to all the shows that have gone before. Having had a two-year break from a tradeshow in Singapore - with the exception of Broadcast Asia - some may argue that the market doesn’t need it, yet when a show does take place, many of the key players exhibit or at very least attend. It’s not a platform for launching new products but it is most definitely one for networking. The layout

of the hall lent itself well to this concept, with a central meeting point that served refreshments throughout the day. The lack of rigid aisles also made the floor plan more appealing. The support from international manufacturers was apparent with representatives from Le Maitre, Outline, Fenix Stage, TMB, and Ayrton all flying in to join their distributors on the show floor. Distributors themselves generally went for one of two options with the stand design - either

• Luca Giaroli and Giorgio Biffi of Outline withHikam Ali and Miqael Das of One Circle

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144 EX P O

• Rachael Rogerson-Thorley of mondo*dr with Elaine Frost of Le Maitre

• Alex Bryan of FENIX Stage with the Lighting & Sound Distribution team

• The TMB team

• Imran Hariht, Ben Millson and Kenny Chng of d&b audiotechnik

• Davinder Sheena with the Star Association

displaying products and brands or taking all of that away and just having a place to relax in and network. The combination of the two brought a good balance to the show. With that said, there were some notable distributors missing, some of which turned up as visitors, which I think is to be expected in the first year. The seminar line-up attracted more visitors to the show - this has become something of a must these days, as a simple tradeshow event just doesn’t cut it. Some seminars were technology led, others project led, there was also the opportunity to participate in on-site tours of prestigious venues such as The Star Theatre, ArtScience Museum, Esplanade Concert Hall and the W Singapore Hotel. Although I’m not sure you’ll ever • The Harman team line up

convince the entire Singapore market that a tradeshow is what it needs - as, let’s face it, you can’t please everybody all of the time - the fact remains that this was a successful networking show with a lot of positive feedback. I did hear that it might go to three days next year, and with a quick check of the Pro AVL Asia website, that rumour was confirmed by a ‘save the date’ notice. In my opinion, three days is not a good move. A regional show in a well-known, well-established market two days is most definitely enough, the third day will only dilute the audience. Pro AVL Asia will return to Marina Bay Sands on 26-28 July 2017. For more information go to: www.

146 EX P O

• The ULA Group

INTEGRATE SYDNEY / 21-23 AUGUST Having not visited Integrate for a number of years, I was intrigued to see what I’d find when the doors of the show opened at Sydney Olympic Park. The location is quite far from Sydney CBD, although at present show organisers have few choices for exhibition locations due to the city’s most popular site currently being under construction. The new International Convention Centre (ICC) Sydney is due to open in December this year. But, despite being a tram ride away, the Integrate foyer was packed with visitors waiting to see what over 130 exhibitors had to offer. With this show having a focus on integration, exhibitor product categories go beyond the usual

• FBT’s Roberto Mataloni with Don McConnell from Audio Brands

audio, lighting, visuals and effects. It delves into building management, digital signage, commercial furniture, ICT and broadcast equipment, which leads to a wide range of visitors. For mondo*dr, the relevant exhibitors included: Jands, which showcased products from AMX, JBL, Soundcraft, Shure, ETC to name a few, but didn’t appear to have any Vari-Lite products, which sparked discussions at the show; Production Audio Video Technology had EAW, Powersoft and Symetrix technology on display, and representatives from each brand were also on hands to answer visitor questions. The CMI stand highlighted AKG, which the

• Tony Russo of TAG

company has just taken on distributorship for. “We are honoured to be chosen to represent AKG microphones and headphones for the Australian market,” said CEO and Director, Peter Trojkovic. “We have always admired AKG as one of the world’s leading microphone and headphones brands and look forward to an exciting time in growing the brand in the Australian market.” Rodney Houston, Regional Sales Director, Asia at Harman echoed the sentiments: “CMI was the clear choice because of the diversity of the company, with its three divisions musical instruments, music technology and pro audio covering the retail, recording, broadcast,

• The Jands stand

147 EX P O

• The Production Audio Video Technology team

installation and consumer markets.” TAG had a unique way of demonstrating QSC’s Q-Sys system, which saw visitors to the stand place a coffee order via a smart tablet, which was then sent - via Q-Sys - to the barista at the opposite end of the stand, who would fulfil the order. Highlights on the ULA Group stand included an VuePix interactive media floor, RGBlink’s Venus X7, Robe’s Robin DL7F Washes, ArKaos’ Studio Server and the Australian premiere of GLASSILED, a division of AGC Glass Europe. GLASSILED is an LEDembedded glass video pixel product. This is an exclusive technology, which presents a range of new dimensions for animated LEDçades and building illumination. Cuono Biviano, Managing Director of ULA Group commented: “I am extremely excited about this strategic partnership with AGC and we are looking forward to working with Xavier and his team. The technology developed and produced by AGC is of the highest level and unique. It is a perfect fit for the ULA Group and takes us to the next level of integrated building facade lighting. Our skylines are fast becoming dynamic to reflect our modern digital worlds and the ULA Group together with AGC want to grow

the human engagement.” Audio Brands displayed the best from FBT, Univox, Bosch, Earthworks, Rane and FrontRow, and the stand welcomed a constant flow of visitors. The company also reported that the installation market was strong at present, particularly in New Zealand, where an FBT project has recently been completed. Interactive Controls presented the Dataton and Medialon brands, and Merging products could be seen on the ATT booth. Completing the line-up were Sennheiser and Stagetec, which had a presence at the exhibition as standalone manufacturers. With little on offer by way of tradeshows for our industry in Australia, it is good to see a number of major distributors at the show, however, there were some absentees, some of whom walked the show floor anyway, so it really is a mixed bag when it comes to supporting the tradeshow platform. Integrate, in recent years, has taken to alternating its location between Sydney and Melbourne and this is set to continue with the exhibition taking place at Melbourne Convention & Exhibition Centre from 29-31 August. For more information go to: http://

• The CMI team, which has just taken on distribution for AKG



For almost a decade, X-Laser has provided laser effect solutions for a whole range of applications in venues as small as house parties, right through to large arenas with capacities going into the thousands. Beyond its broad range of high-powered laser products for mobile entertainment and retail, X-Laser has the technical expertise to custom-create impactful visual solutions for almost any project imaginable. Now, with one of its latest products, it has made 5W RGB laser shows more accessible and reliable than ever before. The Skywriter HPX Tour, coming with its new, rugged housing and robust laser sources, has become to the go-to option in terms of lighting effect design for a range of venues and events for up to 5,000 guests. Just a few years ago, using a 5W, fullcolour laser system was reserved for large production companies with budgets big enough for large laser lighting rigs. However, as laser technology has advanced, along with X-Laser’s continually evolving product development, a true 5W RGB laser

system now exists at a price point that makes stunning laser beam and graphics displays accessible to more clients than ever before. The Skywriter HPX Tour is that system, offering a solid build and high-quality laser sources to make it a stellar option for both permanent installs and highmileage touring acts. “Our Skywriter HPX has been popular with clients who want an all-around, high-power laser system, and the HPX Tour brings that to a new level,” said Adam Raugh, President of X-Laser USA. “We wanted to push the limits of dollars per watt, and we think the HPX Tour will become a standout performer in the market with all it has to offer.” On top of the five watts of raw power that it packs, the Skywriter HPX Tour brings to the table ILDA-standard 30K precision galvanometer scanners that allow the unit to create sharp graphic projections from up to 300ft away - and at sizes up to 100ft tall, too. Keeping the Skywriter HPX Tour cool are six external fans mounted above nearly 500 sq inches of heat sink fins, so the projector can run for hours on end, show

•Above The Skywriter HPX Tour in action •Below The Skywriter HPX Tour

after show. Furthermore, its sealed optical deck keeps the laser sources and internal components clear from dust and water, ensuring that the product is suitably weather resistant. The Skywriter HPX Tour, just like every other X-Laser product, is fully FDA certified and eligible for X-Laser’s EZ Variance Kit. It’s the versatile, vivid and US-legal choice for venues and touring acts that want to use intense laser effects to elevate their lighting rigs and, as a result, elevate their business.

the globe.

Available in any colour of your choice.

ES Series Renowned for clarity, output and versatile capabilities that has amazed audio professionals around the globe. The Future of Sound. Made Perfectly Clear.



The active MAUI column systems from LD Systems offer a complete compact PA solution. Easy to transport, able to be set up in seconds and with an unobtrusive appearance, they are the go-to audio system for a variety of industries. Now, the ultra-portable MAUI 5 column system is available in an attractive white version. Complete with its new look, this impressive system, which has already landed both the iF Design Award 2016 and the Red Dot Award 2016, now appeals to further target groups. The MAUI 5 system can add a fresh touch to cafés and lounges, as well as at events, such as fashion shows, vernissages and weddings. The white MAUI 5 even integrates perfectly into places of worship, too, highlighting its versatility. With its outstanding design and amazing sound quality, the LD Systems MAUI 5 has the characteristics to enable the column loudspeaker system to perfectly integrate into almost any environment. The active MAUI 5 with mixer and Bluetooth is a PA and monitor system in one. Weighing just 11kg and with a peak power output of 800W and maximum 120dB sound pressure, the smallest

member of the MAUI family impresses with outstanding audio performances, broad dispersion and high resistance to feedback. With a specially developed multi-pin connection system and only four components, the column system can be assembled in seconds. The vertical array configuration, digital signal processing, and individualised amplification of the frequency bandsby separate power amplifiers ensure an especially large dispersion angle and extremely homogeneous sound distribution in the audience area. Integrated Bluetooth technology for wireless streaming as well as microphone, line and high-impedance inputs, which can be used simultaneously, make it possible to connect several different sound sources to the MAUI 5. Viktor Wiesner, the Product Manager Pro Audio at LD Systems said: “The white MAUI 5 is ideal for environments where an elegant, subtle appearance is needed. The ease of use and great portability of this award-winning column PA are further plus points.”

• Above and right The MAUI 5 column system

I’m next. Line Array Element

0 dB




-12 -60°









Dispersion Control Down to 250Hz 3-Way Fully Horn-Loaded Extreme Power and SPL Easy and Fast Rigging System

Designed and Manufactured in Portugal



[am-pluh-fahy-er] n.

An amplifier is a product that amplifies audio signals to a level that makes them suitable for driving loudspeakers - it is the final electronic stage in a typical audio playback chain. Amplifiers take a signal output - from a mixing desk, for example - and make it strong enough to be audible through a loudspeaker by substantially increasing the voltage of the input signal.




“ T h e n ew E PA- a m p l i f i e rs f ro m AU DA C , o f f e r a n i n s t a l l e r a n impressive alternative for small to medium-sized projects. These professional amplifiers achieved an Energy Star 3.0 rating thanks to a signal detection system. This system enables an automatic power off when the amplifier stops receiving a sound input. The Energy Star label is something that is appreciated in our market, as more customers want to reduce power consumption and more fixed installation-projects have this requirement.”


“The space and power output of the X Series is just unbelievable, such a compact unit with so much power. Also, the types of input signals it can take with different priorities selectable from the user point of view is incredible, the DSP included in the unit is so powerful. I’m very excited for the new features for the new future.”


“At Ashly Audio, we believe that amplifiers should integrate seamlessly into an environment and sustain a long life. An Ashly customer is an audio professional with a trained ear and an understanding that a piece of audio gear is a long-term investment. In today’s throw-away world that is becoming increasingly commoditised, our NX Multi-Mode Networkable Amplifiers are designed to be flexible with selectable outputs, remote control options and DSP, they’re also built to the highest standard. We’re also doing our part to conserve energy. NX features the power-saving Ashly Energy Management System and is offered exclusively across the entire NX line. The future is bright at Ashly.”

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Steerable sound isn’t just about being heard, it’s about being understood.

ICONYX Gen5 steerable loudspeakers. Intelligent design for intelligible performance. Sure, Iconyx Gen5 loudspeakers are powerful. But what good is power if your audience can’t decipher what’s being spoken? Iconyx Gen5 steerable technology gives you unmatched control over multiple beams of audio — to focus sound on your audience, and away from reflective surfaces. The audience hears every word in every corner of the hall. Crisp, intelligible, understandably superior. To learn more or for a demo, visit

©2016 Renkus-Heinz


Alcons Audio Sentinel 10 The proprietary designed and developed sentinel amplified loudspeaker controller features a powerful four-channel DSP-based controller with Class-D amplifier stages. The four-in / fourout matrix accepts AES3 signals, which are up/down sampled to 96kHz. The future-upgradable powerful DSP engine enables minimal latency during processing of even the most complex (IIR, FIR) algorithms. Features include (shelf/pass/parametric) equalising per channel, delay, factory pre-sets and system configurations, user pre-sets, event logging and system feedback. The signal integrity sensing circuit dynamically compensates the effects of long speaker cables, resulting in a tight sub and bass response regardless of cable length or impedance (system damping factor of 10,000) and without the need for manually entering cable parameters. A Linux-based microcomputer oversees and controls all processes. The full-colour TFT touch screen and the multi-colour LED illuminated encoder in combination with tab-based menu structure offer intuitive control, while reducing the number of wearable components. Remote control can be done by a tablet or mobile phone through a VNC-based app; complex systems can be controlled and monitored through the ALControl Ethernet-based connection. Internal slots are available for optional Audio-overnetwork plug-in modules. The four separate, patent-pending Class-D amplifier stages are 93% efficient and offer one of the lowest THD in the industry. Together with the two switch-mode power supplies, the Sentinel 10 delivers a total of 10,000W. The modular design makes for easy in-the-field servicing and future upgrades.

Ashly Audio NX Multi-Mode Series The Multi-Mode amplifiers are Ashly Audio’s newest addition to the NX Series, with the model available in 150W or 75W per channel, housed in a 1U chassis. Multi-mode operation is standard on all NX amplifiers. Like the 2U models, users can choose from two or four channel configurations and set individual outputs to drive low impedance (two, four, eight ohms), or 25V, 70V, 100V constant voltage systems via rear-panel located DIP-switches. Add Ethernet (nXe) for monitoring and control, or add both Ethernet and Protea DSP (nXp). Expand onto a network with Dante, CobraNet, or AES3 digital inputs. Adapt worldwide with a universal switch-mode power supply with PFC (Power Factor Correction). Reduce power consumption using Ashly EMS (Energy Management System) by triggering a sleep mode that draws <1W, which meets the most aggressive Energy Star benchmark. Users can follow pre-scheduled pre-set settings, including levels and sources using RTC Event Scheduler, too.

Audac EPA Series These energy efficient amplifiers are combining an outstanding sound quality with other known advantages of Class-D amplifiers such as high energy efficiency. Automatic signal detection switches the amplifier to standby mode when no input signal is detected. This makes the amplifier comply to international energy and environmental requirement standards. The compact size and lightweight design only requires a single 19-inch rack space, while making them suitable for both fixed rack and mobile applications. The convection cooled construction requires only a minimum maintenance while guaranteeing high reliability.

Audiocenter VIN16 A professional and high-end SMPS four-channel power amplifier with Class-TD circuit design is famous for its stability, high-efficiency, lightweight and high power. Class-TD circuit design has the same high efficiency as digital amplifier, but with much better sound performance. VIN16 features four channel models Ch-A, Ch-B, Ch-C and Ch-D. It can operate on three different configurations: STEREO, PARALLEL, or BRIDGE. The PARALLEL channel mode includes Ch-AB, Ch-ABC and Ch-ABCD, and the BRIDGE channel mode includes Ch-AB BRIDGE and Ch-CD BRIDGE. VIN16 adopts carefully selected components like audiophile WIMA capacitors, RUBYCON capacitors, NEUTRIK connectors and BELDEN audio cables. High voltage signal and low voltage signal are allocated separately for better performance. The power supply part is covered with steel shield. High quality materials and technology ensure very clean and clear sound and high damping factor. This makes VIN16 suitable for many different kinds of applications, from big power loudspeakers to critical monitoring where crystal clear highs are mandatory. It is widely used in concert, stadium, entertainment centre and theatre applications.

Bose Professional PowerShare Series The new Bose PowerShare adaptable power amplifiers are some of the most versatile high-performance amplifiers available today. Instead of selecting amplifier power based on the needs of the largest zone, PowerShare offers installers the flexibility to use total amplifier power in the application. This enables more flexibility during the initial design, or later on-site when making unplanned changes that take advantage of surplus power. Consisting of three 1U models: two-channel and fou-channel fixed-install models (PS602 and PS604) and one two-channel portable amplifier (PS602P), each delivers 600W of power that can be shared across all output channels. With support for both low and highimpedance loads up to 100V, PowerShare amplifiers adapt to a wide range of applications. Onboard configurable loudspeaker processing and direct access to zone controllers eliminate the need for an additional signal processor in many installations, while outstanding audio performance and reliability are assured with patented technologies inherited from the field-proven PowerMatch line. PowerShare amplifiers employ the Dual Feedback Loop (DFL) system; improving performance and reliability through continuous monitoring and control of both the current and voltage delivered to each output load. This combination improves linearity and lowers distortion, while providing loudspeaker protection. Additionally, each channel can be configured for low-impedance (four-eight ohms) or high-impedance (70V/100V) applications. For applications requiring additional signal processing, the PowerShare Editor software offers realtime selection and control of Bose loudspeaker EQs, nine-band PEQs, mixing, crossover, limiters, delay, and mute/output polarity through a USB connection. For basic setups without a PC, rear-panel settings allow installers to recall Bose loudspeaker equalisation and protection per output channel. These features eliminate the need for an external signal processor in many applications.

Camco Q-Power 14 The Camco Q-Power series - a range of four different four-channel, highoutput power amplifiers - has been designed to provide that powerful, pure sonic performance, which is now so synonymous with the Camco brand name. The Q-Power 14 with DSP controlled PFC power supply is the flagship of the series, offering up to 14,000W of undistorted power in an extreme compact and lightweight package. The development of a DSP controlled, active PFC (Power Factor Correction) enables the Q-Power 14 to use the mains power supply much more efficiently than before. The PFC makes the immense power of 3,500W per channel possible and improves the impedance headroom down to two ohms. The PFC provides a solid supply voltage to the amplifier output modules, independently from different or fluctuating mains voltages. Via a USB connector on the rear, the power supply can be configured to different circuit breaker characteristics and tripping currents. The Q-Power 14 power supply’s DSP automatically choses the best regulating algorithms for highest power performance for any mains voltage range (100V, 120V and 230V).


Cloud Electronics CXV225 & CXV425 With an ever-increasing demand for high quality distributed 100V line loudspeaker solutions - comes a growing need for high-quality, high-impedance amplification. Traditional amplifier designs achieve high-impedance / 100V output with the use of large transformers incorporated in output stages of an amplifier construction. This added flexibility is normally offset with associated problems of which large transformers bring. These problems include; limited frequency response, added cost, size and increases weight, and bass frequency saturation. The transformer-less topology of the output stage of the Cloud CXV225 two-channel and CXV425 four-channel amplifier designs, result in two amplifiers delivering full frequency response, affordability and solid, high-impedance performance, at 250W per channel without the typically associated negatives attached to traditional high-impedance / 100V amplifier solutions. Remote VCA options, variable high-pass filters (20Hz-200Hz) and EQ Card options per channel are standard on the CXV-Series, as are mono-stereo switching; in-built clip limiters, soft-start, thermal protection and DC offset protection. Rounding off with excellent total harmonic distortion performance, the Cloud CXV-Series amplifiers represent excellent solutions for applications requiring high-quality audio for high-impedance, distributed loudspeaker solutions.

d&b audiotechnik D80 The 2RU four-channel D80 amplifier has high-power in density, and is ideally suited for use in both mobile and installation environments. It contains configurations for all d&b loudspeakers and a linear mode. The signal delay capability enables user definable settings of up to 10s (= 3440-metres/11,286ft) to be applied independently to each channel. The same applies to the two 16-band equalisers, providing optional parametric, asymmetric, shelving or notch filtering. The D80 incorporates a colour TFT touchscreen, offering quick access to the menu structure, while the rotary encoder can be used for fine adjustment. The front panel and the integrated touchscreen of the D80 amplifier is tilted up for ease of operation when the amplifier is below eye level. The equal ratio of signal input to amplifier output channels increases the application flexibility particularly for monitor, frontfill or effect channel use. The LoadMatch function integrated within the D80 amplifier enables the electrical compensation of loudspeaker cable properties, without the need for an extra conductor. This results in an increased accuracy of audio reproduction over a bandwidth of up to 20 kHz, preserving the tonal balance when cable lengths of up to 70-metres (230ft) are used. The D80 incorporates Class-D amplifiers utilising a power supply with active Power Factor Correction (PFC) suitable for mains voltages 100V/120V/200V/230V, 50-60Hz and maintains a stable output when used with weak or unstable mains supplies. An NL8 provides all outputs on a single connector, while individual outputs are optionally NL4 or EP5 connectors. RJ 45 and etherCON connectors enable access to the d&b Remote network via CAN-Bus and OCA via Ethernet respectively.

Crown XLS DriveCore 2 Series The next generation of XLS DriveCore Series has been given a makeover, with devices now coming with a sleek new look, a LCD display that is three times larger, as well as more DSP with higher capabilities. Like its predecessor, the new XLS DriveCore 2 Series is ultra-efficient, with the patented DriveCore technology from Crown and can drive 2,400W at four ohms bridged, with tons of headroom that guarantees a clean, undistorted signal straight to the speaker system. The Crown amplifier also comes with increased lighting functionality, allowing users to turn off all LED indicators, except clip and thermal, which reduces distraction in dark venues. The XLS DriveCore 2 Series, which weighs in at less than 11lb, ensures a powerful, pure sound experience for any

Dynacord H5000 As part of Dynacord’s PowerH series, the H5000 amplifier is ideal for driving professional touring, high-end concert sound and professional sound applications. The innovative three-stage grounded bridge class H topology with floating switching power supply unit guarantees the ultimate in efficiency, absolute reliability and audio performance of the very highest quality. Additionally, the multi-stage concept and Class-H enable an eco-friendly operation of the lead-free amp through reduction of power losses. Next to classical protections, the H5000 design employs the multi-stage ATP (Advanced Thermal Protection) system, which helps prevent the power amplifier from switching off when the temperature exceeds a critical level. The newly designed MCS system (Mains Current Supervision) prevents power amplifier breakdown caused by the activation of the automatic circuit breaker. For this, among other things, the MCS system uses the highly-precise measurement of the RMS value of the actual mains current consumption. By utilising the optionally available remote control module RCM-28 that is compatible with IRIS-Net, Dynacord’s H5000 power amplifier additionally offers comprehensive remote monitoring and remote control functions plus a universal two-channel digital audio controller (DSP) including highly precise FIR-filtering and optimised algorithms for digital speaker protection.


63 63


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amber 18

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Full Fat Audio FFA-6004 G2 The FFA-6004 G2 DSP amplifier with Ethernet control features power outputs of four x 900W at eight ohms and four x 1,500W at four ohms, four DSP inputs with six DSP output channels, powerful dynamics with very intuitive FATWARE software control. These are highly versatile building blocks to allow the design of complex systems or for use in smaller installations or touring sound. The amplifiers are very popular for running stage systems.

Kling & Freitag SystemAmps The K&F system amplifiers are based on the new PLM+ and D series models of the internationally renowned manufacturer, Lab.gruppen. The power amps - designed for both live performances and touring - come with special K&F module pre-sets, exclusively for K&F loudspeaker systems. Through Rational Power Management (RPM), the overall performance of the power amp can be flexibly distributed over various power amp channels. In addition to the power adapter with Power Factor Correction (PFC), which can be used worldwide, there are analogue, digital AES3 and redundant Dante network audio inputs which ensure a high degree of fail-safe performance by means of prioritisation (failover). Control is via Ethernet using the proven Lake Controller software.

K-array KA84 K-array’s KA84 amplifier has four independent and configurable channels per 2,000W on four ohms. Its integrated DSP offers EQ, matrix, levels and delays functions on every channel to eliminate the need for additional external processors. The KA84 can also be used as a mixer for fixed installations thanks to the microphone and Phantom power options available on every analogue input. Additionally, the amplifier contains one digital AES/EBU input. The front panel has an easy-to-use touchscreen that grants access to basic functions for quick setup and corrections. An onboard speaker library pre-set with K-array models allows for an optimal configuration for endless combinations of subwoofers and mid-high speakers, and two GPIO ports provide easy-to-use external analogue controls using K-array accessories. All DSP functions are remote controlled via K-Framework software over RS485 (three-pin XLR) or an integrated USB connector. The K-Dante accessory, audio and data can be transmitted to the KA84 via the Dante network. The KA84 is built into a 2U lightweight, aluminium chassis and comes with removable rack adapters and rubber pads for flat surfaces. It also features optical limiters and protection against overheating, over current and short circuits.

L-Acoustics LA-12X The LA12X is the new generation of amplified controller, delivering the highest power, no matter the quality of the local A/C mains. Meeting the challenge of being in the field, the LA12X delivers sustained power, giving you a system that is immune to voltage drops. This is the most powerful amplified controller today, and for many tomorrows to come, with 12,000W record hold times. The LA12X, which has 4 x 4 architecture for passive systems, also has a Universal SMPS with Power Factor Correction, as well as a high tolerance to unstable mains (100-240V). The L-Acoustics amplifier is AVB and future ready, too.

Lab.gruppen D Series Lab.gruppen has expanded its D Series advanced install-dedicated amplifier platform; three slimline models, the D 40:4L, D 20:4L and D 10:4L. The D Series now consists of six power levels, which offers integrators genuine open interoperability, providing seamless integration with a wide range of digital audio and control protocols. The new slimline, four-channel, small format 1 U rack space power amplifiers (4,000W, 2,000W and 1,000W total power output) offer extreme power density, which is rivaled to alternative eight-channel amplifiers, but in a scalable form factor. It is available with Lake Processing power and also herald Lab.gruppen’s groundbreaking Rational Power Management (RPM) technology. RPM allows completely flexible allocation across all channels, ensuring the most efficient and rational use of amplifier inventory without the need to reduce channel count or total power. The slimline models introduce the next generation of Lab.gruppen power-package; based on proven technologies for our renowned reliability but with increased performance and efficiency. The new models features Lab.gruppen’s exclusive IDEEA (IntelliDrive Energy Efficient Amplifier) output stage for greater efficiency and extreme flexibility with direct 70V and 100V drive as well as low impedance. The power supply is ensuring a superior power-to-current draw ratio for reduced running costs and minimal environmental impact. Augmenting these green credentials is the CAFÉ (Configuring Amplifiers for the Environment) software suite which provides system design aid and many other time saving features that ensures optimised system cost as well as lifetime running costs.

Martin Audio MA5.2K The MA5.2K is the latest addition to the renowned range of MA Series amplifiers. The MA5.2K utilises the Pulse Width Modulation principle in combination with a high efficiency two-stage switching power supply to deliver true Class-D operation with unparalleled sonic performance and hitherto unobtainable power delivery. Occupying only 1U of rack space, weighing a mere 8kg - with two x 2,600W output into four ohms - the MA5.2K is a cost effective, high performance solution to many live sound reinforcement and fixed installation amplification requirements. Features include worldwide mains operating voltage, power factor correction, over-temperature forecasting, thermal, shortcircuit and overload protection, a temperature controlled air-cooling system, clip and permanent signal limiter, digital gain attenuation, Interactive LCD matrix, PC remote control, and monitoring and diagnostics.


NEXO DTD Controller The DTD Controller is NEXO’s first digital controller to combine the sonic quality of the NXAMP plus compatibility with amplifiers from other manufacturers. A processor that delivers advanced speaker control processing in a compact, rack-mounting device; this unit confers new affordability and accessibility on NEXO’s most popular loudspeaker products by connecting them to amplifiers of every size and scale. There are two versions of the DTD Controller, one for touring, one for installation - each available with the option to add a Dante input. Both touring and install versions are housed in the same low-depth rack-mount case with a universal power supply. The touring version has analogue input and output connectors (XLR and Speakon) on the front; the install version has all the connectors on the back panel, and a mini-USB on the front, which can be used to update firmware and download new presets. Audio can be streamed directly from any computer or smartphone, for easy sound check or background music playback. The unit includes AES/EBU input (with sample rate converter from 44.1 to 96KHz) on all versions as well as optional connectivity to the Dante network. Typical applications will be bands, bars, DJs, small rental companies, etc that want a compact and easy-to-use product that has a high standard of sound quality. The fact that the unit can be operated without a computer will appeal to such users.

QSC CXD-Q Series Designed specifically for use with the Q-SYS platform, CXD-Q amplifiers marry the new amp technology found in the CXD platform with the powerful Q-SYS network processing and control system to create the perfect solution for installed applications. The CXD-Q line includes three models (CXD4.2Q, CXD4.3Q & CXD4.5Q) capable of delivering robust, high fidelity power to drive a wide range of loudspeaker configurations including 70V and 100V systems. By simply connecting the amplifiers via standard Layer 3 Ethernet, the Q-SYS Core can route audio to/from the amps, as well as provide total control and monitoring of all amplifier functions. Flexible Amplifier Summing Technology (FAST) actively distributes total amplifier power across one, two, three or all four outputs enabling amp channels to be paralleled or bridged for maximum current and voltage output. Moreover, the on-board Mic/Line inputs are audio on-ramps onto the Q-SYS network, providing routable inputs to anywhere in the facility. Redundant rearpanel Ethernet jacks on the amplifiers makes Q-SYS integration as simple as connecting a standard off-the-shelf Ethernet cable. Like other Q-SYS peripherals, adding CXD-Q amplifiers to a new or existing Q-SYS design is easily done via the Q-SYS Designer Schematic Page.

Powersoft Ottocanali Series Powersoft’s multi award-winning Ottocanali eight-channel power amplifiers is arguably the world’s most essential prong in any installation audio chain. With their Dante support and capability of outputting up to 12,000W (at four ohms) they are the perfect solution for all multi-zone applications. With a choice of 12K4, 8K4 and 4K4, the Ottocanali platform will enable consultants and integrators to operate at the highest level possible, with an economy of rack space and high conversion of energy into power for Lo-Z or distributed line systems. The Ottocanali DSP+D Series power amplifiers also offer a wide range of system control and monitoring functions as well as sound shaping options. As with former versions of Ottocanali, the new DSP+D versions feature switchable main and aux signal inputs per channel, adequate GPIO, alarms, Lo-Z and Hi-Z output connections as well as monobridgeable channel pairs. These 2RU models implement two redundant universal switch mode power supplies with PFC (Power Factor Correction) and patented SRM (Smart Rails Management) technology that maximise the efficiency of the system, while drastically reducing power consumption. In addition to its innovative signal processing the new, upgraded Ottocanali DSP+D versions support two redundant Dante by Audinate digital streams.

RAM Audio MDi Series MDi Series is the newest solution from RAM Audio for fixed installations, where state-of-the-art amplification technology has been used to manage acoustic systems in the most efficient and greenest way possible, without diminishing quality of sound and dynamics that have always typified RAM Audio amplifiers. A new generation of QuantaPulse switching mode power supplies with Power Factor Correction to improve efficiency, with a schematic thought to give a very high capacity of instantaneous power, together with very evolved high efficiency audio modules in class D with an excellent quality of sound, are the basis on which RAM Audio has developed this new series that is capable of offering the most optimal solution to the very exigent fixed-installations market. The series is formed by eight models of two, four and eight channels from 1,400W to 12,000W, all of them with 70V or 100V line direct drive output, in a ultra-light and compact package (5.5kg and just 35cm deep)

Soundtube SB335 The SoundTube SB335 is a small, feature packed three-channel amplifier designed for digital signage, education and videoconferencing applications. It provides three channels at 35W (eight ohms) or two channels at 5W (eight ohms). Both optical and analogue inputs are provided, enabling direct connection from most TVs or monitors. The SB335 also accepts inputs via Bluetooth enabled devices. The SB335 may be controlled via RS232 and also offers IR learning, allowing volume control from a TV remote. Other features include a line level subwoofer output and Dolby Digital decoding. Measuring only 8-inch x 4-inch x 1,125-inch, the SB335 can be easily mounted on a digital signage kiosk, rollabout videoconferencing cart, under a desk or behind a television or monitor. SoundTube Entertainment

TOA MX-6224D TOA have developed the MX-6224D, a compact digital mixer amplifier, suitable for medium and small venues. The new digital mixer amplifier is a reliable and simple system needing very little technical knowledge to operate. It incorporates a digital signal processor as well as two channels 240W Class-D amplifier. The built-in speaker EQ guarantees optimal sound quality with TOA’s BS-1030B/W, TC-Series speakers and TH-Series horns. Variations in sound caused by the distance between microphone and connecting microphones to particular MIC input with higher microphone sensitivity. The optional remote control is simple and compactly designed and also ensures easy operation. Furthermore the built-in effector realises optimal reverberation and celestial sound for small as well as medium-sized venues.

Wharfedale Pro CPD Series Wharfedale Pro’s most popular amplifier range is the four model CPD series. The CPD’s feature ClassAB (CPD1000 / CPD1600) and Class-H (CPD2600 / CPD3600) topology. Working in stereo, parallel and bridged modes, CPD amps can use in countless sound system setups. four segment led formation displays show vital power status, level and limit, and protect information - keeping the sound engineer in the know. CPD Series are rife with technologies that offer complete protection for peace of mind. A built-in switchable limiter allows over 8V rms signal through and all without distortion. Additionally, CPDs are equipped with thermal, overcurrent, DC and output short protection features. The hardwearing all-steel casings also feature removable air filters in the front bracket, which can be cleaned or replaced easily.


WorxAudio Technologies PDA-1000R WorxAudio Technologies have released the new PDA-1000R power amplifier with integrated DSP and Dante audio networking technology. The new PDA-1000R provides PreSonus’ Active Integration technology to create networkable Dante-enabled loudspeaker systems with powerful DSP that can be controlled by a computer running WorxControl over a standard LAN. As a 2-channel, Class D power amp with 500W per channel, the PDA-1000R offers a comprehensive feature set; the unit incorporates 2 onboard Presets, High Pass Filter, Temperature, Signal, -3 dB, Limit and Clip indications, XLR Input, XLR Pass thru, and Dante, which offers a no hassle, self-configuring, true plug and play digital audio networking experience. Central to the PDA-1000R’s capabilities is WorxControl, which provides a suite of advanced editing controls that enables system customisation to compensate for room anomalies and create delay systems. With Dante audio networking capability, all of the PDA-1000R’s capabilities come with the added benefit of streamlined system cabling, the characteristic for which Dante is most highly acclaimed.

Work Pro PA Series Work Pro has designed a range of professional amplifiers that cover a variety of projects, from small venues to huge installations. As part of the range, the Spanish brand offer two new small amplifiers, specifically designed for small installations, the PA 100 and the PA 100 MX. Both models are lightweight - no more than 2.3kg - with small dimensions. Work Pro also offer the PA 1254 is a new multichannel amplifier for low impedance installations. It offers nine presets to get adapted to the installation and incorporates four channels of 150W each one. It can work as four independent channels, 3.1, stereo or mono. It incorporates xover with one low pass and a two high filters, all of them with frequency adjustment. There is also the PA 4125L, which is the newest four-channel amplifier from the brand. Designed for 100V projects, the absence of output transformers is one of the most important features, delivering a lightweight device. It also incorporates four independent amplified channels with 125W output from each one.

XTA APA The Adaptive Processing Amplifiers (APA) combines the very best of XTA legendary signal processing expertise with a quad channel amplifier platform designed by the company to be transparent, powerful and reliable. Reliable not just in terms of rugged mechanical design, but in its delivery of power into any load for longer and under any conditions. The adaptive nature of the signal processing and the huge reserves available in the power supply mean that peak output can be sustained for longer, resulting in not just higher impact faithful reproduction of bass transients, but also higher continuous levels of power into the trickiest of loads. The amplifier is capable of delivering up to 5,000W per channel into two or 2.7 ohm loads across all channels. It has four analogue inputs switchable to AES, and can accept a further four channels of Dante networked audio. Additionally, the amplifier’s DSP is able to make use of spare processing channels and route four independent channels of audio back onto the network, thus making the processing and all physical inputs available to any other connected devices. FIR processing is supported, and 4 Series presets can be easily converted to run on APA Series DSP. Updates for pre-sets and firmware for all Ethernet based control, Windows and Mac remote software, and USB drives make APA the choice for processing power.

Yamaha PX Series Driven by a newly developed Class-D amplifier, Yamaha’s versatile PX Series is suitable for a broad range of sound reinforcement and installation environments. The four PX models feature a range of power outputs in a light, durable design that deliver outstanding sound quality with low noise, while at the same time protecting the loudspeakers with optimised processing. All models feature sophisticated DSP and can be quickly and intuitively set up using the on-board LCD display by operators with any level of experience, aided by an integral Smart Configuration Wizard. Eight programmable pre-sets can also be saved to a USB drive and shared with other PX amplifiers, further reducing setup times. With quick, easy setup and operation, the MA/PA series combines a smart appearance and rugged construction with flexible performance for commercial sound environments. On all models, a high-efficiency Class-D amplifier delivers sufficient power while consuming minimum power. The MA2120 and MA2030 provide mixing capability with source bass/treble EQ and Yamaha’s acclaimed DSP technology, which includes Feedback Suppressor, Priority Ducker, intelligent Leveller and more. Directly supporting both high and low impedance speaker systems is a PA series amplifier to the MA unit, which allows volume zoning in two separate areas. Optional DCP control panels allow remote volume control, microphone ON/OFF switching and triggering a built-in chime for announcements.





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1. Anchor Audio Go Getter AIR Anchor Audio has announced the newest arrival to the Anchor AIR product line - the Go Getter AIR wireless companion loudspeaker. Anchor Audio has set out to perfect the concept of a wireless companion loudspeaker that offers dramatically expanded wireless range, increased system capacity, and instant ADA compliance. The Go Getter AIR is battery powered, can operate for 6-8 hours or more on a single charge, and can be placed 150+ft from the transmitter. Transmitters come as an optional built-in upgrade to the main sound system. One transmitter can connect to an unlimited number of AIR wireless companion speakers. The AIR wireless technology offers 100 user-selectable channels operating within the 900MHz frequency, which is one of the few clear channel ranges available and, therefore, limits interference from competing signals. Furthermore, the 900MHz band offers expanded wireless range for an increased transmission distance. AIR companion loudspeakers can also operate in wired mode, which includes simply flipping a switch and plugging in a cable. The Go Getter is a lightweight and easy to transport. Delivering 109dB of clear sound, it is ideal for both music and voice amplification making it truly versatile.

2. Audio Performance MX Series Audio Performance has introduced the MX Series, a new passive, active or selfpowered compact multi-purpose lightweight, coaxial loudspeaker system. Developed and manufactured in Echallens, Switzerland, the MX Series delivers a complete sound reinforcement solution to fulfill the highest demands of audio professionals for both the fixed installation and rental production markets. With three different models, containing eight-inch, 12-inch or 15-inch coaxial drivers, the MX Series is ideally suited to sound reinforcement applications in concert halls, live concerts, auditoriums, conference rooms, and theatres. The MX Series has been designed for use with the AP5000 amplified controller. A wide variety of presets are available across the entire MX range providing the sound designer with total creative freedom for any conceivable application in theatres, clubs, concert halls, broadcast and multipurpose facilities.

3. Aura Audio i5 The new model i5 is a compact passive column loudspeaker featuring five three-inch neodymium cone drivers in a curved vertical array. Comparable to standard six-inch + 0ne-inch or double 5 five-inch boxes, but with mbetter far field projection, i5 does not need crossover, which leads to flat phase response and most accurate transient response. A total of 90º by 30º nominal dispersion makes the loudspeaker easy to adjust according to the individual installation and vertical columns of two units are also possible. At home in small to medium installations such as nightclubs, the i5 is also suited to speech reinforcement applications and even small EDM shows as a portable DJ set-up when supported by an XD12 subwoofer. As a multipurpose enclosure, the i5 features 5mm rigging points and array accessories, as well as standard 35mm pole mount adapter.

4. Blizzard Lighting AtmosFear Hex Jet The AtmosFear Hex Jet is a vertical fogger from Blizzard Lighting that is designed to take the atmosphere of any event to the next level.

Coming with 1,500W of power, the AtmosFear Hex Jet can send bursts of fog up to 25ft in the air. With 12 15W RGBAW+UV LEDs, the model can produce eye-catching, pyrotechnic-like coloured fog effects. Control is simple, too, with easy-to-access options via the six-button LCD menu or an IR remote control. Other control features include on/off fog control, R/G/B/A/W/UV colour mixing, strobe effects, and two separate auto colour change modes with 10 preset speed settings to choose from. Additionally, users can manually adjust colours fade time, choose from 32 built-in colours, and set up the automated interval countdown timer and duration of time between fog blasts. This fixture has a large-capacity 2.5L fluid tank that is designed for use with any safe, water-based non-toxic fog or haze fluid, and has capabilities of throwing out plenty of fog (45,000 cfm). For best performance, Blizz Whizz Premium Fog Fluid or Blizz Whizz Premium Haze Fluid is we recommended.

5. Chauvet Professional Ovation E-260WW With the introduction of the Ovation E-260WW, users no longer have to sacrifice brightness to enjoy the efficiency offered by LED technology. The new Ovation fixture has an output that exceeds that of an HPL 750W ellipsoidal. Matching its brightness with efficiency, the new Ovation fixture also has a 50,000-hour LED source life to lower maintenance costs. Aside from finding a ready market in theatres, the Ovation E-260WW will also be right at home in broadcast applications because of its virtually silent operation and flicker free output. The fixture has adjustable Pulse Width Modification (PWM) with five options up to 25,000Hz - for pulse width settings, yielding flicker free operation regardless of the video camera used. The Ovation E-260WW has been designed to produce a warm even field of light, with a slight centre peak, making it ideal for both crisp well-defined gobo projection, and for blending in stage wash applications. Adding to its versatility, the fixture works with all Ovation lenses as well as all standard ellipsoidal lenses from other suppliers. The product is also highly versatile, which will make it very easy for rental houses to get a return on customer’s investment. Thanks to its 16-bit dimming plus emulated dimming capabilities; the Ovation E-260WW will integrate seamlessly into rigs that have incandescent fixtures. With a colour temperature of 3,150K and a CRI over 90, it also matches up well with tungsten units when rendering colours with gels. The ruggedly built and user friendly Ovation E-260WW offers a variety of control options, including DMX and selectable RDM.

6. Elation Professional Fuze Series Elation Professional has introduced the new Fuze Series of dynamic LED wash luminaires. Using single-lens RGBW COB LEDs for an extremely homogenised field of light and offering a wide palette of colours, Fuze Series lights are ideal lighting solutions anywhere a wash of high-quality coloured light is required. Available in moving head and IP65-rated PAR versions, single source RGBW colour mixing gives fully premixed colour looks and an extremely flat field of light. With a lens face that appears as one colour instead of individual LED diodes, lighting designers will value Fuze Series fixtures for their non-pixel look, as well as their ability to wash a surface or subject without the multi-shadows created from traditional LED wash fixtures. All Fuze Series fixtures offer useful design features including a wide zoom angle range for more precise beam control, full 100% electronic dimming, variable dimming curves and high-speed strobe. The Fuze PAR’s feature an optional gel frame / barn door / snoot holder as well.

• Fog machines • Hazer • Fog liquids • and even more... base•classic


1300 W, standard fog machine

The hazer 19“ sized


base•touring Ultra strong output. Easy to handle.

650W, small-sized, compact and economical


Stargarder Straße 2 · 30900 Wedemark · Germany Phone: +49-5130-37 10 05 · Fax: +49-5130-37 10 06 · E-Mail:

Fog is our passion! 1 Battery-operated fog generators to be built into costumes and props, powerful Haze- and Fog generators, a 9 kW machine to fill big halls and stadiums, a powerful low fog machine as low pressure or high pressure version: We have the right machine for any effect.

2 3

Tiny S, Tiny FX, Tiny CX, Power-Tiny

Battery-operated fog generators, 30 W/70 W/400 W

Unique 2.1

1. LPS-Lasersysteme Spike

Haze generator, 1500 W

Viper S, Viper nt, Viper 2.6 & Orka

The high-quality and high-performance laser projector Spike, which was specially developed for laser beams, is now available in a new design. Spike is the smallest show laser system, manufactured by German LPS-Lasersysteme and is equipped with important safety precautions, such as a scanner safety. Further features of the show laser include a 30kpps Eye Magic scanner at 8° ILDA, which can project animations, tickers and graphics. It measures just 28cm x 23cm x 16cm and weighs just 7kg, making it a lightweight laser projector that is ideal for mobile applications, as well as for fixed installations, and outdoor use. The new design allows the user to open the housing for easy cleaning and adjusting in a few simple steps. The Spike is currently available in 1K, 2K and 4K green, as well as in 2K and 4K RGB.

2. LSS NFM16

Fog generators, 650 W, 1300 W, 2600 W, 3000 W & 9000 W

Cryo-Fog & Cryo-Gate Cryo-Fog low fog generator, 2300 W and Cryo-Gate, attachment to produce low fog with every professional fog generator

Look Solutions Fog machines made in Germany Buenteweg 33 · DE - 30989 Gehrden Phone: +49 - (0)5108-91 22 10 · Fax: 91 22 111 ·

The new NFM16 long-throw column array loudspeaker is suitable for a broad range of outdoors application. The loudspeaker - which stands at four-metres high has a maximum peak SPL of 104dB at 60 metres. They are specifically engineered and made with a Kevlar cone in a stainless steel basket in order to ensure perfect insulation and a high resistancy to broad changes in temperature. The NFM16 feature built-in amplification (750W) and DSP control, totalling system power of 3,000W. Each array section of four loudspeakers is driven independently in order to configure both beam-steering and beam splitting capabilities to ensure optimal coverage. The surface / coating of the NFM16 is also customisable to ensure the optimum appearance.

3. Vivitek DH759USTi & D756USTi Vivitek has announced the introduction of the innovative DH759USTi and D756USTi. These two advanced Full HD and WXGA resolution ultra-short throw interactive projectors offer increased ease of use, functionality and connectivity over their predecessors. Set up is easy and intuitive with an HID driver-free recognition for the interactive pens, simplifying installation. The driverless installer also gives users long-term peace of mind as they no longer need to worry about driver updates. With their ultra-short throw lens, these projectors have been designed to be installed against walls with just a short space to the screen, in the case of the D759USTi a maximum screen size 100-inch can be created from just 44cm distance. Ideal for all education institutions, the models deliver high brightness, contrast and colour performance to create up to a 110-inh diagonal image making any finely detailed images clearly readable from the back of the classroom or teaching areas. The DH759USTi features full HD resolution, bright 3,500 ANSI lumens with a high 10,000:1 contrast ratio and is equipped with a lamp life that lasts up to 7,000 hours with a total two 10W audio power with microphone input for incredible sound performance, while a host of I/O connectivity options including dual HDMI inputs ensure that the projector’s future proofed. The D756USTi offers equal qualities with WXGA resolution, 3,300 ANSI lumens and a 10,000 hours lamp life. Both projectors also offer very complete connectivity options with dual HDMI ports and RJ-45 for network administration and control (AMX, Crestron, Extron, Telnet compatible). The projectors have additional user friendly features such as the ability to turn off automatically when there is no signal input for a period of time, as well a sleep timer to save the lamp by avoiding unnecessary energy consumption.


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LDInstitute™ + LDIntensives™: October 17-22 LDInnovation™ Conference: October 20-22 LDI2016 Club Tour: October 20 LDI: Live Outside: October 20-22 Exhibit Hall: October 21-23


PLSN August 2016 LDI Junior Full Page.indd 1

8/31/2016 9:53:39 AM



“For us, professional audio must be made with technique, art and, above all, passion.”

R&D Manager & CEO, Manager and Acoustical Engineer at NEXT-proaudio

NEXT-proaudio was established 12 years ago this year, but how did it all begin? António: My involvement in the professional audio business started in 1979 as a sound engineer, while I was studying at university. In this role, I had the opportunity to work with some important bands until 1986. After getting my degree in electronics engineering, I decided to start building my own PA system that was adjusted to my needs. Pressed by the unexpected success, I started building other PA systems for other rental companies, as well as for some artists. That was the beginning of my career in professional audio manufacturing. I funded the CVA Electronic Company and I began industrially producing amplifiers and loudspeaker systems under the brand name CVA. During the first 18 years, the national market was

enough for the structure; nevertheless, we started the export business, by the middle of the 90s. Based on our knowledge and the market changes, at the beginning of 2004, we decided to develop a new technical philosophy, along with our new facility, which dramatically improved the quality. So, under a new brand name, NEXTproaudio was born. How important is it to be a family business and how does it affect the success of the company? André: I always remember the summers spent helping in the factory with my brother, we did so from a young age. Those times were fundamental for my experience - and it was also very important in terms of managing the company now, because I know each department inside the company. In 2009, I officially joined the company, helping with the internationalisation process

• Above Tiago, António and André Correia

to continue expanding the sales and marketing efforts around the world. Tiago: My father worked a lot to be in this position at this time. Now, we are feeling the results of that work and taking the advantage of that. We are now working all together for the same goal. António: I’m the R&D Manager, Andre has been managing the company since 2009 and Tiago has started in 2014 as Acoustical Engineer. They have the right skills and passion for their fields, what more can I ask for? The future is now in very good hands. We’re now splitting responsibilities three ways. What sets NEXT-proaudio apart from other manufacturers? António: NEXT-proaudio is made completely in Portugal with the best European components. This allows us to carefully control and detail all the products made here. We control each unit individually, with a very strict quality


control made by skilled people during all the stages of the production. The goal is to have zero technical problems at the end of the line. Most of our technical, engineering, production and sales team have a long experience in professional audio industry, though it is teamwork that is the cornerstone of the company’s philosophy. Tiago: We have internal meetings with all departments, where we discuss new ideas helping to solve project problems. We also come up with ideas in relation to market needs, as we deal with a lot of different countries, so we need to adjust our product lines to fulfil our customers’ requirements. We also have some important sound engineers outside the company that help us on the creation of the new products with their experience. Day by day, we are working on constant evolution of the quality and perfection of our products. André: Over the last few years, we have

invested much more in the R&D than on the marketing, which makes NEXTproaudio one of the best choices for high-quality equipment at a reasonable price. For us, professional audio must be made with technique, art and, above all, passion. Geographically speaking, which are your strongest markets? André: At the moment, the Asian market is one of our main markets. We are working with some of the best Asian professional audio distributors in some strategic markets, such as China, South Korea, United Arab Emirates, Kazakhstan, India - and we’re starting with a big distributor in Iran, too. NEXT-proaudio has exhibited at a number of major tradeshows this year, is this part of the growth plan? André: NEXT-proaudio is growing a lot. We are growing in the markets


where we are already implemented, as well as some new markets where we are planning to start some new distributions and dealerships. We are present in more than 40 countries, but we plan to extend that to 50 within the next year. Exhibiting at the major tradeshows such as ISE, Prolight+Sound Frankfurt, Prolight+Sound Guangzhou, PALM India, Infocomm and more this year is part of the plan to achieve our target and continue our level of growth. What can we expect in the near future from NEXT-proaudio? André: At the moment the factory is working 16 hours a day with two shifts, but even this is not enough for all the orders we have. So, we are increasing our

employee number, as well our production line, with the acquisition of a new factory by the end of 2016. What is your favourite holiday destination? António: Nepal. André: Caribbean. Tiago: Thailand. If you had chosen a different career path, what would that have been? António: Doctor. André: Doctor. Tiago: Drummer. Tell our readers somehing that they wouldn’t know about NEXTproaudio?

• Above NEXTproaudio loudspeakers on the production line.

António: Before Andre and Tiago joined the company, we were always developing products, but we didn’t think about marketing, so we weren’t known around the world. Now, more people are discovering us and our quality. André: NEXT-proaudio has always invested a lot into R&D, but now we are also investing into marketing. The company always had high-quality products, but we have not always communicated that to the market. We are always developing new products, but the core technology and knowledge is already here. I’m just picking up what was already here and showing it to the world.

VERTUS CLA 406A extends flexible active line array technology in live and installed audio applications. Portability and arrayable flying options of the birch plywood cabinet are maximised by virtue of the 12 integrated suspension points and wide range of hardware together with 0° - 10° - 20° incremental coupling angles. Equipped with four 6.5” LF custom woofers and a 1.4” B&C HF driver coupled to a 100°H x 25°V waveguide, the CLA 406A boasts an internal 900W RMS class D power module with DSP and EQ presets. The VERTUS CLA 118SA bass reflex subwoofer extends the LF frequencies courtesy of an 18” B&C woofer and 1200W RMS class D power module.


CDD-LIVE! brings everything rental companies, system integrators and musicians require from a self-powered loudspeaker into sharp focus. Combining the ‘point-source’ benefits of coaxial designs with the consistent coverage of Differential Dispersion technology, CDD-LIVE! projects sound evenly front-to-back while exhibiting wide horizontal coverage close to the speaker — delivering ultimate fidelity and impact to all corners of the audience. All at a price that makes commercial sense.

Dante™ is a trademark of Audinate Pty Ltd.

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Unite Your Audience The Martin Audio Experience

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