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MARCH / APRIL 2017 | 27.3



The man behind NAMM, which he describes as a tradeshow with a heart.


Creating a striking dimension for any effects show.



A round-up of the latest digital and analogue desks.


ULTRA-COMPACT MODULAR LINE SOURCE Packing a 138 dB wallop, Kiva II breaks the SPL record for an ultra-compact 14 kg/31 lb line source. Kiva II features L-Acoustics’ patented DOSC technology enhanced with an L-Fins waveguide for ultimate precise and smooth horizontal directivity. WSTŽ gives Kiva II long throw and even SPL, from the front row to the back, making it the perfect choice for venues and special events that require power and clarity with minimal visual obtrusion. Add to that a 16 ohm impedance for maximized amplifier density and a new sturdy IP45 rated cabinet, and you get power, efficiency and ruggedness in the most elegant package.

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19/10/2016 17:05:54

PROLIGHT+SOUND HALL 3 LEVEL 0 • STAND C50 - It is about trendsetters, not followers


Big thinking


for smaller boxes ON THE COVER ACT Center Photo supplied by Amadeus EDITOR Rachael Rogerson-Thorley ASSISTANT EDITOR Sam Hughes SENIOR ACCOUNT MANAGER Jamie Dixon ACCOUNT MANAGER Laura Iles INTERN Claire Newmarch DESIGN & PRODUCTION Mel Robinson, Dan Seaton CEO Justin Gawne FINANCE DIRECTOR Amanda Giles CREDIT CONTROL GROUP CHAIRMAN Damian Walsh MONDIALE PUBLISHING Strawberry Studios, Watson Square, Stockport SK1 3AZ , UK 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 Ltd, Strawberry Studios, Watson Square, Stockport, SK1 3AZ, UK Subscription records are maintained at Mondiale Publishing Ltd, Strawberry Studios, Watson Square, Stockport, SK1 3AZ, UK Printed by Buxton Press, Palace Road, Buxton, UK

You may well have noticed that we’re going full steam ahead towards the very first mondo*dr Awards, with the announcement of shortlists for each category and our ‘Save the Date’, which in case you’ve missed it is Wednesday 5 April. The awards evening will be taking place during Prolight+Sound in Frankfurt and is onsite at Panorama 2 - within The Forum - starting at 6.30pm. Please come and join us to celebrate the best installations in our industry. It’s free to attend and there will be drinks and nibbles on us. Drop me a line to secure your ticket. Taking a different interpretation of celebration - the celebration of life - I would like to take a moment to mention two industry figures, who have recently passed away - Vinicio Tanoni, co-founder of Italian audio manufacturer, FBT and Valère Huart-Gyors, International Sales Manager at Ayrton. And although of course, it is a very sad and difficult time, we should also remember and celebrate everything and everyone they influenced within the industry. It goes without saying that our thoughts are with those closest to both of them. As you’re reading this leader page, it might have occurred to you that this issue feels rather chunky… and that’s because this edition is more than 200 pages! Who said print publishing was dead? In all honesty, we are well aware of the digital media world, and the rapid advancements it is making. However, we still receive so many positive comments about our printed edition and so many people still want to read it in that format. Despite being young-ish myself, I’m definitely old school on this topic - preferring paper - but whichever you prefer, we’re just very pleased that you are an avid reader of mondo*dr. Time to get stuck into the issue… you’ll find an in-depth interview with NAMM President and CEO, Joe Lamond - slightly left field for mondo*dr, but tales of how he got to where he is now make for an enjoyable read. Elsewhere we have coverage of Sydney’s new International Convention Centre, an iconic build from the land Down Under, and we’ve featured a couple of unusual installations, which kick off with the Montreux Heritage Jazz Lab 2. Our product section is almost bursting with so many innovations being brought to the market and we’re still only in Q1! Finally, a reminder of the first point I made – the mondo*dr Awards, please come and join us in Frankfurt for this very special occasion. Looking forward to seeing you there. RACHAEL ROGERSON-THORLEY EDITOR

Game-changing innovations in coaxial speaker design 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. Find out more

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JOE LAMOND The NAMM Show President and CEO discloses his rock ‘n’ roll tales.

32 REPORT Lasers


64 MONTREUX JAZZ HERITAGE LAB 2 A unique journey through 50 years of jazz history.


Chaengwattana, Bangkok, Vientiane, Chiang Mai, Yangon



IN BUSINESS 122 ISE Amsterdam

INTERNATIONAL CONVENTION CENTRE SYDNEY The new $1.5b convention centre is a monster audiovisual job.


168 A.C. LIGHTING INC The story behind A.C Lighting Inc, which goes right back to 1971.

168 COMPANY PROFILE A.C. Lighting Inc 174 IN DETAIL ADJ, Powersoft, Avolites, Luminex 182 PRODUCT GUIDE Mixing Consoles 190 PRODUCT DIRECTORY 210 LAST PAGE INTERVIEW Mika Isotalo - Aura Audio



Vous avez sans doute réalisé que nous nous rapprochons à grands pas de la remise de prix mondo*dr Awards. L’annonce des finalistes pour chaque catégorie a été faite et notre message vous appelant à réserver la date, qui est le mercredi 5 avril au cas où vous ne l’auriez pas notée, a été envoyé. La soirée de remise des prix aura lieu lors du salon Prolight + Sound à Francfort sur le site Panorama 2, au sein du Forum, à partir de 18 h 30. Alors, joignez-vous à nous pour célébrer les meilleures installations de notre industrie. Cette année, une tout autre forme de célébration est de mise pour l’occasion — nous rendrons hommage à la vie ! Je voudrais donc en profiter pour mentionner deux grandes figures de l’industrie qui nous ont récemment quittés : Vinicio Tanoni, cofondateur du fabricant audio italien FBT et Valère Huart-Gyors, directeur international des ventes chez Ayrton. Bien que ce soit un moment très triste et difficile, nous devrions tout de même donner une place de choix aux produits et aux personnes qu’ils ont influencés au sein de l’industrie. Il va sans dire que nos pensées vont vers leurs familles et leurs proches.

Sie haben vielleicht bereits festgestellt, dass wir mit voller Kraft mit dem mondo*dr Awards fortfahren, mit der Bekanntgabe der engeren Auswahllisten fü r jede Kategorie u nd u nserem ‚vorzumerkenden Datum’, das, falls Sie es verpasst haben, Mittwoch, der 5. April ist. Der Abend der Preisverleihung findet ab 18 Uhr 30 während der Prolight+Sound in Frankfurt vor Ort im Panorama 2 im Forum statt. Kommen Sie bitte und feiern Sie mit uns die besten Installationen in unserer Industrie. Lassen Sie mich an dieser Stelle für eine andere Auslegung von Feier – die Feier des Lebens – an zwei Vertreter aus der Industrie erinnern, die kürzlich verstorben sind - Vinicio Tanoni, Mitbegründer des italienischen AudioHerstellers FBT und Valère Huart-Gyors, International Sales Manager bei Ayrton. Auch wenn dies selbstverständlich eine traurige und schwierige Zeit ist, so sollten wir dennoch alles und jeden feiern und bedenken, den sie in der Industrie beeinflusst haben. Unsere Gedanken sind natürlich bei ihren Angehörigen.


Come avrete ben notato, stiamo andando avanti a tutto spiano verso il mondo*dr Awards, con la pubblicazione dell’elenco dei candidati per ogni categoria e la nostra “Save the Date”, che in caso l’abbiate mancata era Mercoledì 5 aprile. La serata di premiazione si svolgerà durante il Prolight + Sound a Francoforte ed è proprio lì, presso Panorama 2 (nel Forum), a partire dalle 18:30. Venite e unitevi a noi per celebrare le migliori installazioni nel nostro settore. Dando una diversa interpretazione al festeggiamento come celebrazione della vita, vorrei cogliere l’occasione per parlare di due figure del settore che sono recentemente scomparse: Vinicio Tanoni, co-fondatore dell’azienda italiana di impianti audio FBT e Valère Huart-Gyors, International Sales Manager di Ayrton. E anche se, naturalmente, è un momento molto triste e difficile, noi dovremmo anche ricordare e festeggiare tutto e tutti quelli che hanno sentito la loro influenza nel settore. Va da sé che i nostri pensieri sono con le persone più vicine ad entrambi.

D.A.S. Audio 153 76 d3 Technologies Danley 89 Daslight 6 DiGiCo 155 Digital Projection 169 Doughty 209 DTS 11 Duratruss 191 Ehrgeiz 159 Elation 63 EM Acoustics 139 Fenix 18 & 19 5 Fine Art Flightcase Warehouse 31 Focusrite 157 Fohhn 13 Funktion-One 91 Genelec 51 GIS 35 Global Truss 68 & 69 GLP 139 177 Green Hippo Harmonic Design 75 77 Illumination Physics Infocomm 20 Interal 95 & 197 J & C Joel 75

K-array 147 103 Kinetic Lights Kling & Freitag 95 199 Kuzar KOBA 120 KV2 145 Kvant 47 L-Acoustics 2 Laser Animation 39 Lawo 57 167 Le Maitre LEDsCONTROL 157 Look Solutions 109 LPS 179 LTM 201 Lynx Pro Audio 175 Madrix 209 BC Martin Audio MBN 79 Mediatech 205 MEES 52 Milos 61, 193 & 207 41 Mountain Productions Music & Lights 73 & 201 NAMM 187 NEXT-proaudio 133 Osram 135 Philips Entertainment 131

ESPAÑOL Ya habrán notado que estamos yendo a toda marcha hacia los Premios mondo*dr, con el anuncio de la lista de seleccionados para cada categoría y nuestro Save the Date (Agenda el Día), que, en caso de que se lo hayan perdido, es el Miércoles 5 de Abril. La tarde de premiación será llevada a cabo durante Prolight+Sound, en Frankfurt, en Panorama 2 - dentro del Foro - comenzando a las 6:30 PM. Por favor vengan y únanse para celebrar a las mejores instalaciones de nuestra industria. Tomando una interpretación diferente de celebración - la celebración de la vida- me gustaría tomar un momento para mencionar a dos figuras de la industria que recientemente nos han dejado - Vinicio Tanoni, co-fundador del fabricante de audio italiano, FBT y Valère Huart-Gyors, Gerente Internacional de Ventas en Ayrton. Y a pesar de que por supuesto, es un momento difícil y triste, también deberíamos recordar y celebrar a todo y a todos a quienes ellos influenciaron dentro de la industria. Está demás decir que, por supuesto, nuestros pensamientos están junto a aquellos que son los más cercanos a ambos.

Advertising Index 5 Star Cases 66 Absen 45 Adam Hall 125 Adamson 171 ADB 67 ADJ 43 27 Allen & Heath Altman Lighting 29 Antari 101 81 Arena Luci ASC 25 Audix 119 Aura Audio 37 Avolites 79 Beyma 45 Bose 113 BPM|PRO 8 BroadWeigh 117 Camco 181 Celestion 7 Chauvet 211 Chroma-Q 111 Chromateq 185 City Theatrical 59 149 Clay Paky Clear-Com 209 177 Coda Audio d&b audiotechnik 127

Pioneer DJ Europe 161 PowerLightsAugsburg 81 Powersoft 143 PR-Lighting 115 193 Pro Tapes Prolight Concepts 89 Prolyte 107 Renkus-Heinz 183 RGBlink 175 Riedel 15 Robe 93 & 189 S2CEB 49 Sennheiser 99 Starway 165 State Automation 41 156 & 173 Steinigke Strictly FX 145 199 Studio Due Sunlite 10 Tech Team 4 105 TW AUDiO VMB 197 Weifa 4 Wireless Solution 3 XTA 129

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PICTURALL: LOOKING AT THE BIGGER PICTURE Despite its relatively low profile, the Finnish company owes much of its success to staying ahead of the curve. Picturall’s Co-Founder and Director of Special Projects, Vesa Laasanen, explains his vision for the future and why he thinks that it’s all about the software. Picturall was founded on the premise that the future of video playback and processing lies in software and computerbased products. Whilst dedicated hardware has its place, it’s software development that drives change. Software is infinitely flexible, whereas hardware is intrinsically limiting and dedicated hardware solutions are usually expensive to develop. In many cases, upgrading to next generation means redesigning the unit from scratch. However, softwarebased products are always up-to-date with today’s interfaces and technologies and don’t require a lot of development when moving to, say, next-generation signal transfer such as DP 1.3 and 1.4. The heavy lifting is mostly done by the computer components manufacturers. All we have to do is change the components and update the drivers! We showcased three new products at ISE 2017, all of them important developments in the world of video processing and playback. The first was a major new software release that includes licensed support for Apple Inc.’s ProRes video codec and a new web configuration tool. ProRes support has been a real game-changer for us, especially in the US where ProRes is one of the most popular codecs in the field of professional video and post-production. Suddenly we’re being inundated with phone calls from rental companies who are interested in our products. We also launched a range of input cards that provide DP 1.2 and HDMI 2.0 connectivity for full end-to-end 4K compatibility which is a huge evolution in the world of video processing. It’s something that even the most expensive hardware video mixers don’t offer yet because the chips for 4K interfacing have not been available. Although 4k compatibility exists on the output side, we are the first - and so far only - media

• Above Picturall’s Mark2 Octo media server

server company to offer it on the inputs as well. The same goes for full uncompressed 8K playback which we also introduced at ISE. That took a little more development since the data stream is huge and the usual ways of moving data inside the computer are not fast enough. So, some sorcery was needed… but, when it comes to supporting the upcoming DP 1.4 standard that is designed to handle 8K video in the future, we just switch to the new GPUs and capture cards when the manufacturers offer it. A bit of R&D and testing, some driver updates and it’s done - it’s literally a one-week job. The alternative for manufacturers whose dedicated hardware solutions can only support 4K because that’s what their current FPGAs are designed to do is essentially to build a new machine from scratch. It’s a completely different business model. It continues to work because the audiovisual market is essentially very conservative: manufacturers have vested interests in continuing to sell hardware and their customers perpetuate it because they don’t like to think that the big, expensive gear that they have just spent

a fortune on may be obsolete in a couple of years. One example of glad news for the software folks - AMD has just released specs of their new computer chipset due in Q2. It offers us three times more bandwidth almost everywhere in the system. If it works as expected, then all the software- based video systems will get 3x performance boost this year meaning for example that instead of being able to play back one uncompressed 8K - with currently little extra headroom - we can probably play 16K uncompressed video. In terms of development: we get the new computer platform to our lab, do a few weeks of R&D and testing and voilà, we have a new product that has 3x performance. Currently about 95% of the pro audiovisual market remains in dedicated hardware and just 5% in computer based systems, but this will change - indeed, given the kinds of examples I’ve just cited, it has to change - and I like to think that we’re leading the revolution. The opinions expressed in this article are the opinions of the author and not necessarily of mondo*dr magazine.


Dramatic coverage, exceptional speech intelligibility, electronically controllable sound dispersion, and precision spatial locating. Cue the high performance FOCUS MODULAR beam steering system. About the most accomplished line-up for opera houses and theatres. And for the National Opera of France, the Opéra Bastille? It’s in the house.

Opéra Bastille, Paris

Hearing does not have to be seen.



Ragnarock Just west of Copenhagen, an old manufacturing site has been regenerated to include a museum for pop, rock and youth culture - Ragnarock. An architectural icon, the building was designed by MVRDV and COBE, with the lighting and audiovisual system completed by Danish integrator, Stouenborg. With interactive displays, the museum demonstrates the development of lighting effects, the evolution of the production process and a walk through time - exploring music from the past. Visitors can control audio and video content - and even create their own band through the use of touchscreens, projectors and headphones. Crestron touchscreens and controllers offer a simple way to manage the process of wake up and shut down of the whole museum, so that all equipment comes on at the right time and in the correct order. Crestron controllers also report on equipment that’s not functioning correctly, making it easy to ensure everything is in working order. Further touch panels control sound, lighting and audiovisual equipment throughout the event spaces.

CRESTRON For more than 40 years, Crestron has been building the technology that integrates technology to deliver exceptional environments and experiences. Its automation and control solutions for homes and buildings let people control entire environments with the push of a button, integrating systems such as audiovisual, lighting, shading, security, BMS and HVAC to provide greater comfort, convenience and security. All of its products are designed and built to work together as a complete system, enabling monitoring, management and control from one platform.

GoQuest GoQuest is a custom-designed, themed, indoor arena with 27 unique challenge rooms for visitors to try and complete against the clock. This fun and interactive activity consists of a mix of light physical skill and mental challenges, with varying difficulty levels to cater for different skill levels. GoQuest required fullyautomated interactive games which were completely unique - so they turned to McKeon Group to design a solution that would deliver on the customer’s needs. They chose a Crestron platform over other systems due to its flexibility, user-friendly interface and state-of-the-art graphics. The arena lighting, music, game logic and scoring are all Crestron controlled through a bespoke touch screen entry system and a complex networks of sensors and triggers. The front of house team management and overall game time is controlled by the Crestron system, while Crestron Fusion is also used to monitor all equipment and provide game usage statistics in order to improve the customer experience.

Helsingborg Arena The Helsingborg Arena is a unique, modern, multi-purpose stadium for performance and sports, with five full-sized flexible halls under one facility covering 21,000 sq metres Close to the city, the main arena hall can hold around 5,000 spectators for concerts, sports, conferences and trade fairs. The audiovisual system, encompassing both the lighting controls and HVAC, was installed by award-winning integrator, Fremlab Ab and covers everything on the site, including gymnasiums, bars and restaurants. The brain of the project is a central Crestron MP3 processor to which six control processors are networked to interface with the HVAC, alarm systems and digital signage in order to provide energy efficiencies and productivity. A total of 19 lighting racks were designed to control the requirements using Crestron dimmer modules. Flexible control was achieved through Crestron XPanel software from Crestron touch screens. A Crestron DigitalMedia 32x32 matrix switcher handles the live video system, PTZ cameras, the digital signage server and a series of patch panels in the main hall and conference areas.





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Ask a person over a certain age how they first got into the audio industry and there are two common answers: the tech heads who are fascinated with the physics of audio; and those who started out wanting to be a rock star, but eventually realised they had to get a real job. For current President and CEO of NAMM, Joe Lamond, his story begins with the latter, although, like many others, he has managed to achieve the perfect blend of a good living in an industry he is truly passionate about. Rachael Rogerson-Thorley carried out the transatlantic interview to learn more about the man behind what is arguably the industry’s largest tradeshow for MI and pro audio, organised by a non-profit association.


Growing up in East Aurora, New York - where his parents still live - might not immediately denote a career in the music industry, but Joe Lamond’s musical family set him on the right track. His mother is a pianist and the piano was a centrepiece in the family home. His father listened to a lot of music, with Joe describing him as ‘a hip guy for that era’ for enjoying the likes of The Rolling Stones, The Beatles and Crosby, Stills and Nash. Joe and his five siblings were, in fact, all influenced by music growing up and everyone played a different instrument. Joe chose drums. “I was just drawn to the drums,” he said. “Maybe it was the sound of them. I also always thought of the drummer as the anchor, a reliable, sturdy position. My first gig was at aged 12 with my older brother, and of course, I was playing the drums. From then on, I’ve never really looked back, I can’t remember a time when I didn’t consider myself a drummer.” Upon entering his teenage years, Joe developed a second love, the outdoors. He was always outside, so much so that when it came to choosing a college major, Joe opted for forestry. He attended Paul Smith College in Lake Placid in upstate New York. “It was very interesting

because it was a lot of science, learning about the science of trees and forests, but I had a romantic view of it. I thought I would be walking through the forests and up mountains looking for forest fires, but when that didn’t materialise - after about a year and a half I realised I didn’t want to be a forest ranger, I really wanted to be a drummer,” he continued. But instead of a cut and run into the unknown world of rock ‘n’ roll, Joe took advice from his parents and transferred to State University of New York (SUNY) to get a Business Administration degree, so that he had something to fall back on. Two months after graduating though, Joe did go after his dreams and moved to California. He recalled: “I was in a band in Buffalo, New York. When I first auditioned, I’d noticed Californian licence plates on the guitar player’s car, so I figured he must have a connection there, and it turned out to be a family member in Sacramento. After a couple of gigs in the middle of Winter in New York, loading out in the freezing cold and two foot of snow at 3am, I said, ‘hey, what’s Sacramento like?’ He said, ‘a lot warmer’, so I said, ‘let’s go.’ I had a girlfriend in California, so that’s where I wanted to

• Above Joe at the Greek Theater, Berkley, California in 1991

be. A month later we loaded up his 1962 Station Wagon and we drove across the country to Sacramento, and the only thing we had lined up was a place to stay for the night when we arrived - the guitar player’s relative.” That was 1982 and Joe was just 21-yearsold. He needed an income so he started looking for work in music stores and was quickly hired as a book-keeper, which then turned into managing the store. Having just moved 3,000 miles away from home, Joe grew up quickly with the responsibility of living on his own and managing a business at the age of 21. Drum & Guitar City - which no longer exists today - sold guitars, drums and PA systems during the ‘80s and it was by working there that Joe attended his first NAMM Show in 1983. “I was 22-yearsold, so I didn’t know anything. I look back at myself, going to the show at the age of 22 and look at myself now and I think, ‘oh my God, if only I could go back and see it with those eyes again.’ It was huge and overwhelming. In fact, only two halls, just a fifth of the size it is now, but I remember thinking ‘oh wow, this is unbelievable!’” Over the next 15 years, prior to joining


the NAMM team, Joe continued to work different day jobs to ensure he could pay the rent, but he played in a number of bands too. He played with Tommy Tutone, which had a successful record, 867-5309/Jenny - one of those phone number songs - and he travelled the world with the group. Japan was and still is Joe’s favourite place, having racked up a total of more than 30 visits during his touring career and his NAMM career so far. “I love it because I am actually a big Japanese history fan. Japan was a good place to suss out the bugs of the tour before it went over to the States,” he explained. “At the end of a show, there was

an army of workers that tore the stage apart, the truck would be loaded within an hour, and it really was so efficient. The audiences in Japan are just amazing - and I left that tour with a deeper appreciation for the Japanese people and their culture.” Joe had his ‘Spinal Tap moment’ when he was touring with Tommy Tutone. In the words of Nigel Tufnel - the fictional character in the 1984 mockumentary This Is Spinal Tap - ‘it’s not that the audience is shrinking, it’s just that they are becoming more selective’. So as the tours began to get smaller, Joe took on some of the business duties: collecting money from the box office at the end of a gig; sorting

advanced payments; and ensured all the production was in place ready for the band. “I soon realised that in itself was a job… a production manager,” Joe remembered. “I started getting a little extra on top of my drumming salary from Tommy, and I quickly realised how much I connected with this side of the business, it seemed to fit with how I was wired inside and how my brain worked. “I then became Production Manager for Todd Rundgren - as well as subbing on friends’ gigs when they had double booked themselves - but primarily I worked for Todd. He was one of my idols growing up, he was just such a great musician, producer and engineer in his own right,” he continued. Joe was on the verge of turning 30 at this point, and he came to the conclusion that he wasn’t going to make a career out of drumming, and that actually the production side was much more engaging. “Todd taught me about sticking to your vision and always giving 100% to everything you take on,” Joe said. It was also around this time that he met music retailer, Skip Maggiora from Skip’s Music in Sacramento California, who taught Joe about the music business and the joy of helping others to make music. He considers both to be influential figures, who entered his life at the pivotal moment - which also happens to be when he met his wife, Alyson - when in his own words, he needed to get serious about his career. Reliving his early days as a PM, Joe remembered how he had to quickly get to grips with the audio and lighting technology that was obviously part and parcel of any gig. “We experimented

• Left Joe in his Production Manager days.


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“Listening, understanding, thinking things through – this may be the most important added value that we provide to our clients.” STEFAN THOMSEN Communication Systems Specialist

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“What interested me about the role was that I would be able to transfer what I was already doing in Sacramento and the Weekend Warriors; but I would be able to do it on a larger, national, possibly global scale.”

so much and made every mistake in the book,” he said. He particularly remembered the first version of IEMs - which are obviously much more sophisticated today - but back then were essentially a Sony Walkman ear bud and an ear mould stuck together. “There were no dedicated frequencies for these of course, we were kind of rogue on this. We would use a small FM transmitter, a Walkman radio, and for every city we went into, I had to find an open bandwidth, usually down in the 80Hz area. Quite often the frequencies would be wide open, so I would just slip through white noise and then I would dial in the transmitter and receiver, and we would have a connection. It had a very short range and not a lot of power, but if you were within a five-block radius of the theatre we were playing at you would be able to listen to live on your radio. Sometimes, we’d find an open frequency in the afternoon during sound check, but then by the evening, it would no longer be open, so I’d be rushing to readjust it in time for the gig.” Something else Joe remembered is hiring the best companies he could find for lighting, staging and the PA. “Sound on Stage was one of the sound companies we used all of the time. They had the best gear and the best people. I think what I learnt from that, which I use now at NAMM, is that you don’t need to know everything yourself, but you need to be

able to hire people who know everything in their area of expertise.” Joe spent seven years on the road touring as a PM, spent a year at home, before heading out for an additional year ‘on the road.’ It was after that he decided he needed to be a little bit more settled in his home life with his wife and young children. Joe’s passion for music took on a slightly different turn when he got involved with creating programmes aimed to get more people into playing music, one of which was called Weekend Warriors - basically a programme to get lapsed musicians back into playing again in an easy way - and it was this that led him to connect with NAMM. Weekend Warriors took place in music stores. “A room was set up with all of the latest gear and the store co-ordinated the people who were interested. They placed a drummer with a guitarist and a bass player who all liked the same kind of music, and these individuals formed a band who would practice together. NAMM had seen the programme for Weekend Warriors and approached me to license the programme so that all of their music products dealers could use it - setting up this license agreement meant I got to work with NAMM market development,” Joe explained. When an opportunity came up at the association, the NAMM team thought of Joe for the position. “What interested me about the role was that I would be

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• Above clockwise from the top Joe at Summer NAMM, Joe and his beloved motorcycle, Joe with Stevie Wonder and Joe doin g what he knows best... drumming.

able to transfer what I was already doing in Sacramento and the Weekend Warriors; but I would be able to do it on a larger, national, possibly global scale. It was a difficult decision, as all I had done up to that point was work in retail, touring and production. I hadn’t really worked for an association before,” said Joe. But he decided to take a leap of faith, joining NAMM in 1998 as Director of Market Development. “The office was 500 miles away from my home, so I did a lot of commuting and I did this for three and a half years, but I absolutely loved it.” When Joe’s CEO predecessor Larry Linkin announced his retirement in 2001, he didn’t consider himself as the obvious choice to fill his shoes, but the association had different ideas. Clearly they saw something in Joe and felt he had the skills needed to take on the position of President and CEO, which he still holds today. Joe moved his family from Sacramento to San Diego County and began what he thought was going to be an ‘alien’ role, but,

he remembered: “When I sat down I realised that really it was just a combination of everything I had been doing for the past 20 years in the business... it was very much to do with relationship building, which is one of the things you learn on tour. I was also very fortunate to have the support of the NAMM Board of Directors and the incredible staff; they deserve all the credit for the successful transition.” Obviously, the show has grown and evolved over the 16 years that Joe has been in charge, although he said the growth is more a by product rather than the primary aim. “I look at it like a recipe, in a recipe you have to get just the right amount of everything,” he said. “I tend to look at it in terms of the velocity of purchasing power rather than just straight registration numbers. The incentive for us is really about getting the right mix rather than just the numbers. “I like to think of the NAMM Show as the crossroads of the global music and sound products ecosystem. We focus on three

main pillars at our show: a robust tradeshow floor where innovative new products are launched and business relationships and opportunities are reinforced or made; the best education available - free to all attendees to enhance their businesses or skill sets; and the hundreds of networking events, parties and concerts that make it one show you don’t want to miss. And then I think of it as the show with a heart, because revenues from the event are then reinvested to support music, and music education in the US and around the world.” The reinvestment is triggered by the ‘Circle of Benefits’ model, which Joe explained further: “Our model is pretty simple really, produce successful events and after all the bills are paid, invest the proceeds into creating more music makers. A growing market results in a growing industry, which in turn leads to further growth in the NAMM Show; it is a circle that has been repeating since NAMM was founded in 1901. The strategy to grow the market

Mondo dr - March 2017 - Altman Lighting.indd 1

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has evolved for sure, music education has always been a core target but we are involved in so many more areas today. The NAMM Foundation is the leading voice in music and music education policy in the US and increasingly, around the world.” The Circle of Benefits model was actually brought about by trying to simplify the concept of NAMM. Joe said: “I even struggle to explain it to my wife! She gets asked what it is that I do and she simply says, ‘I think he’s in the music industry but I’m not sure exactly what he does’.” The Circle of Benefits has replaced a 12-page set of objectives and over 2,000 words with a one-page document that is 200 words and can now be explained to anyone who asks in a very short conversation. The NAMM Show has evolved as the industry has evolved. Each year Joe and his team start planning with a blank piece of paper and ask themselves, ‘what are the needs of our communities this year?’ “It’s a powerful concept, as it allows us to explore how we can be of service to the industry at-large,” Joe continued. “The results are reflected in positive growth and customer satisfaction, expanded educational and training opportunities and the continued growth of the show to the complete signal chain. However, our work always begins and ends with asking what our members need and meeting those needs of the industry segments.” Looking ahead to the NAMM Show 2018, it will be the first time the association has had the opportunity to remodel the

store in 15 years. A new building is being erected, which will allow for a redesign. “We will take what we have learnt from studying all aspects of the show including floor traffic, noise reduction, segments that are growing or shrinking, and the increasing global nature of the industry and ask that big question of, ‘what do our members need to be successful in 2018 and beyond?’ said Joe. “And based on that, I suspect you will see measured and well communicated changes.” Joe likened the show redesign to neighbourhoods, and what makes people want to live in a certain area - having things in common and wanting to socialise with those around them. Transferring that idea to NAMM, Joe and his team will be aiming to create like-minded neighbourhoods, which will connect neighbouring stands, making the show easier and simpler to navigate. The new layout and the new hall will also allow companies to grow, in terms of floor space coverage. “I think the industry is in a state of flux with lots of change happening and the entrepreneurial nature of our members is very unstable by definition. Therefore, our role is to be stable, predictable and reliable, we need to be that platform that they can count on.” When Joe isn’t working - although he doesn’t always consider it to be work in the strictest sense because he loves what he does - he does find some spare time. To be fair, when your work includes going to The GRAMMYs, it is any wonder it doesn’t feel like work? “Going to The GRAMMY rehearsals and meeting all of

• Above Joe suited and booted and ready for action.

the people who work in the trucks and the staging guys doesn’t feel like work to me, but I guess it is.” But aside from that, Joe does enjoy going fly-fishing with a group of musicians. And now his children are grown up - his daughter a graduate and living in San Francisco and his son at university in Texas - it does mean that Joe and his wife, Alyson have got more time on their hands, and the aim is to travel together a little more. But if Joe does need to get away from it all and have a thinking session, he says the best place to do that is on the back of his motorcycle. He tries to take one long trip a year. “Some of the best thinking and planning occurs on the back of a bike!” For a man that was influenced in his early years by the likes of Ringo, Charlie Watts, and John Bonham, and later Stewart Copeland, Larry Mullen Jr. and Steve Gadd, Joe Lamond has fallen a long way from that tree now. But he is part of an industry he loves and has become somewhat of an icon himself for the younger generation to look up to. Summing up, he said: “For many of us, myself included, we’ve spent our careers playing professionally, going into retail, manufacturing or the studio, some into touring, lighting and installation; some, like me, have dabbled in all those things. As I age, I reflect on many NAMM Shows and am reminded that no matter your title or role in the industry, we are cut from the same cloth and unified by our love of music. The recognition of that fact is what makes the annual reunion at the NAMM Show so special.”

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Our show production department was appointed by SuperFX (Italy) to deliver a large-scale, laser-projected animation display, covering the whole playing field of the Juventus Stadium during the Italian champion’s match with Inter Milan. It was clearly specified that the supplied laser show must be smooth, flicker free and with nicely balanced colours. Not exactly an easy task, we say! To fulfil all the requirements of our customer and at the same time impress nearly 42,000 spectators, plus many hundreds of thousands of football fans watching the event live on television, this project required the best available technology and expertise. The most challenging part was definitely the synchronisation of all 12 KVANT Spectrum 30 laser projectors, so they would produce one perfect, seamless laser animation of that size. This was only possible through using the most

advanced technology currently available on the market. KVANT Spectrum 30 - high power OPSL/Diodebased lasers, with the built-in Pangolin FB4 laser control system running Beyond Ultimate software were used. Proving again to be the correct and, possibly, the only solution, which in the hands of our experienced show programmers led to a one hundred percent success of the whole project. It took a crew of five people three days to install and align all of the equipment so the one-and-ahalf minute long pre-programmed show could be played twice during the evening and wow the crowd. We would like to thank SuperFX again for giving us the opportunity to attempt this challenging and complex project. We look forward to our future collaboration.




Within the modernisation of the Zeiss Großplanetarium in Berlin, HB-Laserkomponenten GmbH was responsible for providing a sophisticated, state-of-theart 360° full dome projection show laser setup. In addition, HB-Laser was also responsible for the modernisation of the lighting control system by implementing two full ETC solutions. The existing two Spectra Physics Chroma 5 laser systems were completely removed and were replaced by six LightCube 860 RGB 3 projectors, equipped with the latest Pure Diode technology. This was reasonable to ensure a long lifetime operation as this is what HB-Laser Showlaser systems are internationally well known for. Also, the LightCube 860 series was especially designed for applications where great beam characteristics are necessary as is the case for the full dome projection realised within the Zeiss Großplanetarium in Berlin. The choice for this system was only logic as Tim Florian Horn, Technical Director of Zeiss Großplanetarium, was aware of the great quality the HB-Laser units offer, as he experienced it together with the professional installation service of HB during his time at Planetarium Hamburg. In addition, the projectors were customised to offer real 80° scanning angle for allowing full dome projection by implementing CT6210 high speed scanning systems. As the control solution was also dated

from the mid-80s and quite old fashioned, HB-Laser upgraded it to a state-of-the-art solution. Therefore, the HB team implemented six pieces of the actual FB-4 control solution from Pangolin integrated in a central 19” control panel. This offers the possibility to control every single laser independently and allows a 360° full dome projection. The software used by HB-Laser is Beyond, as this is the most common and sophisticated software and will be the future for the control of professional show laser projectors. As security is a very important factor within all installations for public laser shows, HB-Laser implemented a double level security system. The LightCube 860 RGB 3 is internally equipped with an innovative and fast responding safety that shuts down the modulation completely when detecting a scan error and even prevents programming errors 100 times faster than the prescribed by the German regulations released through the TÜV. This system offers the big advantage that the laser is not turned off only the beam output is discontinued. It allows to restart the system immediately after the interruption as the power is still on. In addition, a HB-Laser 19” interlock security solution was implemented to allow immediate shutoff of all systems in an emergency case, as well as adding a second level of security. Besides the superior beam quality of the installed laser projectors and the highest quality materials used

for the production of these amazing laser units, the LightCube 860 series implemented in Berlin are made for 24/7 operation by not influencing the warranty period of two years! With their super-silent fans and the above mentioned features, this is the perfect show laser system for any Planetarium looking for a reliable and cost-effective solution, as the projectors are maintenance free due to the sealed housing technology. To make the Planetarium a place to visit when travelling to Berlin, HB-Laser also reproduced the Queen Show in cooperation with Tim Florian Horn, as this show is one of the most touching laser shows ever been produced in show laser history. After reopening the Planetarium to public on the 25th of August 2016, the shows are running on a daily basis, offering visitors a spectacular experience within the world of laser beams and graphic projections. Within the six LightCube 860 RGB 3 setup, two lasers are only used for beam show and four projectors are used for covering the full dome with amazing and astonishing laser graphic effects. Those four systems do also support the two beam lasers for the beam part of any show displayed in the Planetarium. Besides these highly professional laser systems HB-Laserkomponenten GmbH also implemented two lighting consoles from ETC. By implementing the Ion console as well as the Smart Fade ML console HB-Laser showed their flexibility in regards to installation


Photo © Frank-Michael Arnd


of superior technology. HB-Laser was also responsible for installing more than 20 boxes for signal management and spreading, which were tailor made according to the requirements of the tender. To support the installed LightCube RGB 3 laser systems in their work, HB-Laser also installed five 2.6kW high power fog machines from Smoke Factory. During the process, many challenges like changes of the positions and of the interior components of the signal management boxes were handled with professionalism based on more than 26 years of experience within the field of multi-media installations all around the globe. The LightCube laser setup implemented in the Zeiss Großplanetarium in Berlin will be one of its kind compared to other Planetariums in Germany, Europe and all around the world. Some Planetariums still use old fashioned and very cost intense fibre technology that is not comparable to the maintenance free projectors developed, designed and manufactured in HB-Lasers´ facilities in Schwabisch Gmuend – Strassdorf, Germany. Those in charge of the installation within this project - Harald Bohlinger, Richard Pollak and the team - did a great job. This is a result based on a long-term relationship, with over 27 years of within multimedia and, especially, the show laser branch. Zeiss Großplanetarium Berlin is open for visitors six days a week and offers amazing Planetarium shows in combination with laser shows and even cinema events. Come and convince yourself of the superior quality of the installed LightCube 860 RGB 3 and enjoy amazing laser shows powered by HB-Laserkomponenten GmbH.


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The beauty competition, Miss Universe 2017, took place in the Mall of Asia Arena in Manila, Philippines. Unlike last year in Las Vegas, when the moderator, Steve Harvey, accidentally crowned the wrong woman for Miss Universe, everything went smoothly this year. This year’s winner was Iris Mittenaere, who is from France, where she is the reigning Miss France. The Crown was presented by last year’s winner, Pia Wurtzbach. Raquel Pelissier (Miss Haiti) is placed second, Andrea Tovar (Miss Colombia) is placed third. The breathtaking after-show party for the Miss Universe competition took place in the famous Cove Manila inside Okada, the latest billion-dollar Casino Resort in the Philippines. It is the third Casino Resort, which has been now opened in Entertainment City. Entertainment City is a glittering strip on Manila Bay, which was built by the Philippines as a challenge to Las Vegas. To come up to the glamour of the Miss Universe

competition, the organisers had to pay great attention to the technical detail. Renowned lighting equipment consisting of countless moving heads and finest high-end sound systems emphasised the magic of this competition. Also, the laser show performance was exclusively booked for the Miss Universe celebration. For this purpose, several LPS-Bax and Spike laser show systems, all in RGB (multicolour), were ordered from the German manufacturer LPS-Lasersysteme. The LPS team from Ofterdingen enjoys the confidence of Ferdie R. Garcia, Managing Director of PMX Trading and Technical Services. Together with the famous laser operator, Andy Davies, LPS ensures reliable and powerful laser shows. With brilliant colours and elegant projected laser effects, the visitors of Okada were left impressed, which contributed to the elevated glamour of the party. For years, LPS-Bax has been the bestseller of LPS and it is performing on several continents. This ‘Made in Germany’ laser show system is

characterised by materials of highest quality, innovative features and precise processing, with a noble and timeless design. LPS-Bax delights LPS’ with reliable temporary laser shows, as well as permanent installations that are suited to both indoors and outdoors equally. This high-tech laser power system is gladly used by professional lighting designers, experienced restaurateurs, organisers of different events, numerous hotel owners, responsible for Governments projects and theme parks, and, last but not least, the operators of one of the biggest theatre stages in the world - the famous Friedrichstadt-Palast in Berlin, Germany. All have one thing in common - and that is that they trust the LPS-Bax technology. LPS-Bax laser systems are certified with IEC 60825-1 and are available up to 46K RGB (46000mW). Spike may be the smallest show laser system of the German manufacturer LPS so far, but since it is available in 7K RGB (7000 mW), it is going to be

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more and more popular for different events. The high-quality, high-performance laser show system is convincing, beside many other advantages, with first-class materials made in Germany and with considerable beam data. Furthermore, this show laser is equipped with important safety precautions, such as a reliable scanner safety, which are mandatory in Germany. By a 30 kpps Eye Magic Scanner at 8° ILDA, animations, run text, and graphics can be projected. With its size of 22 x 30 x 15 cm and weight of 7 kg, the laser show projector is very handy, competent, reliable and suitable for mobile applications, as well as for fixed installations indoor and outdoor. Because of the reasoned design, the housing can be opened with a few simple steps and allows easy cleaning and adjusting to the professional user. The Spike laser show projector is currently available up to 4 K green, as well as up to 7 K RGB. The various laser power ensures the user numerous professional and individually designed laser show performances at highest level.

Hall 3.1 Stand G17 Frankfurt am Main 4-7.4.2017 Live Demos at Concert Sound Arena!



Stardancer is the first full-scale, Mega Media production to arrive at Dubai Festival City Mall’s newest outdoor attraction, IMAGINE. Laservision’s premiere spectacular is a beautiful and artistic adventure of gravity personified - the Stardancer - told though a ballet of contemporary dance. As Stardancer dances through the cosmos, she interacts with the planets and stars that surround her and overcomes the powerful forces she encounters along the way. Complemented by an original sound score, Stardancer skilfully combines contemporary and classical dance into a seamless performance showcasing the beauty, struggle, awe and power of the Stardancer. The IMAGINE attraction at Dubai Festival City is the culmination of years of research, design and development by Laservision who was selected by the Dubai-headquartered Al-Futtaim Group to deliver a truly unique spectacular which would be a game changer on the global stage. “The production involved over 60 creative specialists spanning seven countries, an internationally-acclaimed choreographer, award-winning dancer, and state-of-the-art motion capture studios. Stardancer is

the largest and most technical production of its kind,” said Shannon Brooks, Laservision General Manager. He continued, “We are very proud of the team here at Laservision. The sheer size and scale of the venue and assets deliver Stardancer in a way that could not be accomplished on any other stage in the world.” IMAGINE is a unique sensory attraction, spanning 20 acres over water, land and sky - skilfully combining powerful mediums, such as lasers, surround sound, record-setting water-screens, intelligent lighting, intense flame effects, 360-degree fountains and a plethora of special effects to provide a dramatic and unforgettable immersive experience. Record-setting water-screens span nearly 2000 square meters and provide a liquid creative canvas for high-definition projection. The multi-media production features additional high-intensity, high-definition projection which produces a gigantic video-mapped image across 36-stories of the InterContinental Hotel; a projection area that is four-and-a-half times larger than the world’s biggest IMAX screen. Launched by HH Sheikh Mansoor bin Mohammed bin Rashid Al Maktoum in front of over 25,000 spectators, dignitaries and the international media, the

ular has become one of Dubai’s most popular tourist attractions drawing in tens-of-thousands of spectators in just the first few months of opening. Al-Futtaim Group, a leading Dubai-based company reputable for distinctive pioneering project development, sought out the industry’s best when selecting Laservision to create and deliver an innovative and globally renowned attraction for Dubai. “IMAGINE signifies the endless opportunities and possibilities of viewers around the world to be part of the show and connect with something truly unique,” said Steven Cleaver, Director of Shopping Centres, Al-Futtaim Real Estate. The multi-media spectacular has received international accolades in addition to being awarded a Guinness World Record for the ‘World’s Largest Water Screen Projection’. Stardancer plays multiple times every night at Dubai Festival City Mall to the public and is appropriate for all ages. Show-times and information can be found at their website.

Photo source - Herbstelegenden: Fotografenwerk Hamburg / Planetarium Sommer: Patrick Lipke



On February 14th 2017, after 18 months of reconstruction, the Planetarium Hamburg reopened its gates again. Prominent people like Hamburg’s First Mayor, Olaf Scholz and the Senator of Culture, Dr. Carsten Brosda, were invited to marvel at the inside of the Planetarium. “We the people of Hamburg don’t like to act up but we like to have theatres. This beautiful old water tower is our biggest sky opera.” stated Olaf. With a budget of almost €10 million, the star theatre has been completely modernised and equipped with the latest technology. The centrepiece - the laser and multimedia technology - has been provided and installed by LOBO in record time - just a few weeks before the reopening. With one of the biggest and most modern show laser systems on the planet, LOBO is creating magical moments and an unforgettable 360-degree experience under the star dome. For one, this high-tech laser system consists of the optically pumped ultra-bright sparks® laser series – the brightest laser system on the planet. With the laser modules in the basic colours Red / Green / Cyan / Blue, over 16 mio. colours can be generated by means of intelligent colour mixing. Those modules are mounted in the sparks Power-

Deck and connected with the laser projectors inside the star dome via fiber optics. The sparks PowerDeck is a very special novelty – a laser light server, that provides enough slots for up to eight sparks laser modules. The common typical problem of dust contamination on the optics does not occur with the PowerDeck. This is because LOBO separated the air stream inside the PowerDeck, (necessary for cooling the lasers) from the optical components. An additional benefit of the PowerDeck is the individual and easy extensibility. The PowerDeck works trouble-free from a room next door, leaving the sensitive dome acoustics void of distracting background noises. The special situation at the Planetarium Hamburg: The size of the intended PowerDeck hosting room was quite small for the usual horizontal positioning of the device. Therefore, the ambitious LOBO engineers designed a frame that allowed a vertical positioning of the PowerDeck. The sophisticated LOBO TriDome system generates spectacular, high-precision and genuine 360-degree-real full-dome projections. Through a separate projector positioning at 120 degrees with respect to one another, entirely filling dome projections are

possible. This TriDome system does not merely create less disturbing picture transitions, it also provides a highly increased show experience. Additional laser projectors are positioned inside the dome; two of them are on full-motion robotic arms which can be lifted up pneumatically on demand. They are used to create beam effects that appear especially three-dimensional. Another feature of the laser system in the Planetarium is LOBO’s LACON-5 programming and control unit. This multimedia work station is the central command management unit of the entire laser installation, and additionally, all laser shows can directly be programmed on it. But the LACON-5 is capable of even more: very often, the controller orchestrates entire multimedia shows with fire- and water effects, fog generators, lighting and sound etc. So the Planetarium is perfectly setup for the coming future – not just architecturally, but also on technical level. It provides a much more breathtaking star experience than ever before. So, a visit is highly recommended to every space- and multimedia enthusiast.

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In celebration of the national day of the United Arab Emirates, several RTI NANO RGB 30 laser systems were used to create a spectacular laser mapping to the face of the Al Bahr Towers as a challenging project. At the end of the year, the UAE celebrated the Foundation of the Federation and the whole country commemorated with parades, appearances, fireworks, giant flower flags and astonishing laser shows, which brought the whole city of Abu Dhabi to life. The Al Bahr Towers, as well known landmarks in the area, have been mapped with lasers. They were used for outlining the facade structure, but also to create the visual impression of the facade changing its shape and structure. The 145-metres tall, Al Bahr Twin Towers are well known due to their innovative and sustainable architecture. There are extreme weather conditions in Abu Dhabi: intense sunshine, high temperatures and a lot of dust in the air. That is why the Al Bahr Towers have an unusual and impressive faÇade, which is the distinguishing feature of the twin towers: The cream-coloured shell consists of more than 2,000 translucent

elements that automatically open and close depending on the intensity of sunlight. This protective skin looks like honeycombs, which are called Mashrabiyas: geometrically designed wooden lattice screens that fill windows of traditional Arabic architecture since the 14th century. In this project, the Mashrabiyas have been integrated to the artistic combination of laser mapping and conventional architectural illumination. It was a major challenge of the project highlighting the filigree structure of the façade with lasers and putting an artificial illumination to the two buildings, but especially the far projection distance and the tallness of the building added the extra demand for high end laser systems. “For example, laserfabrik uses the RTI NANO RGB 30 and other units of the RTI PIKO and NANO for these kinds of projects, as especially the good beam specifications and the high performance of the scanning systems are decisive for the success of such demanding projects. Especially the high red power in these laser systems is important for being able to correctly display the colours of the UAE flag,” said Norbert

Stangl, CMO of the Laserworld Group. Illuminating the traditional lattice means to bring the course of Arabian history to life as well as focusing on the modern city of Abu Dhabi as the main economic and cultural center. On the one hand the laser beams reflected the sustainable and modern art of Arabia but as much as on the other hand the economic focus of the city by placing the head office of the Islamic Al Hilal Bank right in the towers. Due to their accuracy, lasers are highly visible, even after long projection distances. This makes them superior to video projections for mapping projects like this. Mapping is a process in which arbitrarily structured surfaces are illuminated in a way to emphasize the existing structure or to visually change the view of the surface by means of illumination. Due to the cylindrical shape of the towers, the laser mapping needed to be tree dimensionally distorted to cover the whole façade and makes the mapping visible from different viewing angles.



The recent “Light up the Night” multimedia installation at the iconic Marriott World Center in Orlando, FL, (which is one of Marriott’s largest properties) further illustrates how Pangolin Lasers Systems Inc. are taking multimedia laser shows to a whole new level. The installation was done at the Marriott World Center’s beautiful resort pool area, which overlooks the hotel property. Lasers serve as the main element in this multimedia setup, and are used to project beautiful beam affects over the pool, bar and lounge area. The lasers are also used to project logos for corporate clients the Marriott hosts, which come for various tradeshows and events taking place at the property. What made this installation so interesting from a design and technology standpoint was the use of new laser control and laser projector technology, from industry experts Pangolin Laser Systems Inc. Pangolin’s new BEYOND laser show software was used in conjunction with their FB4 laser control hardware (which recently took home a first place ILDA award for technical achievement) and this system acts as an entire media server for the complete multimedia installation – Controlling the lasers, DMX lighting and video. The FB4 media servers were integrated directly inside of KVANT Spectrum 20W laser projection systems, which were then placed on top of a trussing system overlooking the space. Then SGM G-Spots were installed below the lasers, to add additional lighting effects to the venue. Several high-resolution video panels were also integrated, which run various visual sequences and advertisements the Marriott wants to promote. All multimedia and show content was then programmed on the BEYOND timeline (laser, video and DMX lighting) and then gets automatically played back each night, at a specified date and time. Offering Marriott a complete turnkey solution with a laser and multimedia show, that completely runs itself. Pangolin’s new FB4 hardware, and BEYOND software are truly the world’s first “media server” for laser installations. With support for network, DMX, ArtNet, OSC, SMPTE, and RTC (real time clock), this solution is ideal for multimedia shows, where lasers need to be incorporated with other visual elements and all synchronized together. For this installation, the FB4s were built into custom KVANT Spectrum 20W laser projectors, and then sealed inside of custom weather-proof enclosures from Tempest. This offered great flexibility when setting up the install, as all lasers had their own FB4 media server inside, which allowed them to communicate with each other, and the other multimedia elements in the show. The setup was so solid, it even withstood

Hurricane Matthew, which tore into the state of Florida, primarily hitting the Orlando area, where the install took place. The Pangolin BEYOND laser show was used to create and design all laser and many of the related multimedia effects used for the show. BEYOND offers a lot of options for compatibility with other media, including DMX, ArtNET, OSC, and SMPTE Timecode. Because of this, the team at K-Systems who performed the installation (led by Creative Designer Gabe Letourneau) were able to do things like take in LTC and OSC commands, and send things like midi triggers to other consoles including a GrandMA. In a recent interview, Letourneau notes… “In order to control as many elements as possible from one single point of access, we had BEYOND control the lasers, video, and audio, all on a single timeline. This is really helpful if you need to make a quick change, or add or remove any elements. This also allows us to easily change and edit content on the fly, when the show needs to be customized. Given that the Marriott requested the ability to customise content quickly for various clients, events, or promotions they have taking place, we felt that BEYOND’s versatility made it an excellent control platform in that regard. Having everything in BEYOND also allows us to avoid any timecode delays or complications, and keeps everything on the exact same clock. Because all of the content on BEYOND’s timeline is within a few frames, nothing will ever be off. And we can organize different parts of the show’s timing very easily, just buy selecting all of the content in one area, and sliding it into place… All of this flows nicely as we have BEYOND controlling the GrandMA as well. The Pharos software oversees the day elements of the show (such as property lighting) and then triggers the LTC to start BEYOND, which is controlling the GrandMA. We also send audio to a Rane HAL, and a Control 4 video system. The setup works really well, and makes it very easy to make changes or customize content when required. And because of this, the installation can essentially run itself.” The whole Marriott Light up the Night project further illustrates how lasers are being used as the centerpiece at a wide variety of events, installations and shows. As well as how new laser technology from companies like Pangolin, are helping lasers more easily interface with other multimedia show elements, making it easier for designers to create, control and run synchronized large scale events. Due to the success of the installation and it’s ability to generate revenue for the establishment, Marriott is already is already exploring the idea of installing this same concept at a variety of other hotel and property locations.


Booth 4-E35



Four laser units and ten apertures of laser colour transform the ambiance at popular Philly club PHILADELPHIA - club goers and club owners know that a nightclub’s success largely depends on the atmosphere and ambiance of the club environment, and how that meshes in conjunction with the entertainment options performing at the venue. District N9NE, a mid-size club in the heart of the city of brotherly love, turned to X-Laser USA for help with bringing their lighting to the next level at a time when the club had been bringing in some next-level acts. Richard O., owner of DIstrict N9NE, offered insight on the decision to upgrade to a laser lighting system: “Over the past few months, we’ve had some really big artists come through our club. Acts including dance music guys like Tritonal, Cash Cash and Bear Grillz, and even hip-hop stars, like Waka Flocka Flame. We wanted to make sure our lighting rig was bold enough to match the vibe that comes with a bigger headliner, so we reached out to X-Laser.” X-Laser worked on a custom-specified system for District N9NE, which included two Mobile Beat

Mirage systems and two Aurora 4C projectors. Based on the layout and capacity of the club, that hardware provided ten total laser apertures and plenty of laser power for the 1,000-person venue. Now, the lighting rig at District N9NE is just as worthy of discussion as the acts who perform onstage. “District N9NE as a space was really pretty ideal for laser, allowing us to use a larger number of smaller fixtures to provide big effects across the entire space, all at a great value,” Adam Raugh, President of X-Laser, said. “By positioning the Mobile Beat Mirages by the stage and Aurora 4C units throughout the space, no matter where you look in the club, there’s laser overhead.” With its brand growing and a well-balanced slate of future performers, District N9NE looks to keep Philadelphia club goers entertained - now with a touch of laser to help keep them coming back for more.



Commissioned by RAI - Italian Radio and Television - we supported the popular television show, The Voice of Italy, with laser effects for the opening artists’ performances and other particular moments of the show. The show’s rehearsal took almost two months of preparation and programming, all effects had been synchronised with audio, video, lights and, of course, performers, guided by the Artistic Director, Claudio Santucci and the RAI Television production team. As for technical setup, we used 12 multicolour lasers:

one of 32W, three of 25W, two of 10W, two of 6W and four of 3W, supported by 16 laser bars (red and blue) and 10 beam bursts. Fog and haze machines were controlled over Wireless DMX, as per really strict requirement about cable intrusiveness. All systems were powered by Pangolin Beyond, sometimes taken over by DMX with the light console Compulite. A big number of various custom-made atmospherical effects was created for the show, that also requested careful safety measures. For example, a

ing effect of the performers dancing, holding a big mirror, while lasers were creating beam reflections and grids on it. Another example of interaction with an artist was when the laser effects were reflected with a big custom-made skirt worn by the performer. Besides, the more powerful laser created a suspense effect, when some scenography objects were lowered down from above the stage surrounded with beams in a tunnel of light. Laser bars were appearing from time to time from below a motorised section of the

stage, creating a laser beam cage above the public. Some other interesting moments were when a big scenography pyramid emerged on the stage, and the laser lighted it up; or when the performer was singing between two big mirrors and the laser was building a light cage around him. During the process of creation of all these effects, a big effort was made, of course, on maintenance of safety standard for performers and public, but also on avoiding dangerous exposure to laser installed on the stage and of numerous cameras used for recording the show.



Pangolin and Lightwave International made a big splash during the 2016 Stanley Cup playoffs for the Pittsburgh Penguins, helping to guide the team to a fourth Stanley Cup Championship. Lasers are a familiar game opening effect for the Penguins, and the 2016 season was no exception. Each home game at PPG PAINTS Arena during the playoffs began with a spectacular laser and light show, rallying the crowd. Lightwave was challenged to enhance the laser show to a level of primary entertainment, not just a special effect. Full sized laser graphics, projected from Lightwave’s Prism Series projectors above the arena, covered the ice. Images were mapped to elements on the arena floor, tracing the team logo, goal lines and other markers. In addition, Lightwave’s Lixel DMX controlled fixtures were placed around the arena, creating intense beam webs

and patterns. At half time, another spectacular laser filled the arena. As the team progressed from playoffs to the finals, the show was continuously upgraded with each win, adding more and more lasers and more complex programming. Each round of playoffs called for more laser firepower, with the final Championship round requiring laser power measured not in hundreds of watts, but thousands of watts. The laser graphics were created and controlled using Pangolin’s Beyond software. “The new tools in Beyond were essential in creating what we wanted to achieve. We needed tight integration with show timecode, full ice projection, and thousands of beams.” commented Lightwave’s CEO, George Dodworth. “Programmer Mike Dunn has been using Pangolin software for decades, but the newest tools in Beyond really

help him show off his talents in this series. Outside the arena, fans were treated to inspiring and celebratory laser messages with each victory. The images were projected on buildings in downtown Pittsburgh near the arena, guaranteeing they could be seen for miles. When the team finally clinched the win in the final game, “Pens Win!” was projected announcing the victory, eliciting car horn honks and cheers from onlookers as they celebrated. “It was a lot of long nights and hard work from our dedicated crew. We’re elated we were able to be a part of such a momentous event in our own hometown. Congratulations from everyone at Lightwave to the Pens on their Stanley Cup win!”


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EM Acoustics selected for Chetham’s School of Music

Situated in the heart of Manchester’s medieval quarter, Chetham’s School of Music is the largest specialist music school in the UK and the only one in the north of England. It is also home to Manchester’s newest world-class performance venue, the Stoller Hall, due to be inaugurated in April 2017. Designed by architects, Stephenson Studio, with acoustic design by Arup, Chetham’s turned to specialist consultants, Theatre Projects, to specify the sound and communications systems which were installed by Northern Light. The sound reinforcement system that best matched the brief and was in keeping with the acoustics of the room was an EM Acoustics HALO-C system supplemented by EMS-51s. Theatre Projects’ Senior Consultant, John Riddell, takes up the story: “Price and quality were equally important factors for Chetham’s, The 480-seat

Stoller Hall features an acoustic design by Arup that delivers the highest standard in isolation, services noise and room acoustic. It was important to us to match the natural acoustic with a loudspeaker system that produces a flat response and requires as little processing as possible; something we know we can rely on EM Acoustics to provide. “We also had to adhere to strict budgetary guidelines, so all the more reason to turn to EM Acoustics as we know that they have a range of boxes to suit our design intent to provide high quality loudspeakers at exceptional value. Whenever we present EM to our clients, they are invariably impressed, and Chetham’s was no exception.” Furthermore, the system had to be flexible as the space will be used for a wide variety of performances, ranging from unamplified ensemble and


orchestral work where the arrays will be quickly raised out of sight, to jazz, electronic and acoustic-electric programs, as well as the spoken word. Crystalline intelligibility and ease of handling/rigging were therefore also important factors. TP Equipment Designer, Pablo Riñón, worked with EM Acoustics’ Ed Kinsella to design the system, ultimately settling on a pair of HALO-C arrays comprising six HALO-C cabinets plus a HALO-CS compact subwoofer per side for the main rig, supplemented by six EMS-51 ultracompact full range enclosures for platform infill. The system is powered by a pair of EM Acoustics AQ-10s and an AQ-3 power amplifier. “When flown at optimal height, the HALO-C arrays provide even SPL coverage throughout the auditorium, superb speech intelligibility and

sufficient power to accurately reproduce most styles of music,” continued Ed. “We also have the option to fly the arrays at a lower level to help keep an onstage image for more naturalistic imaging and corporate events. That will mean that the array angles will need to be adjusted accordingly, but fortunately that’s a very straightforward operation. “The Stoller Hall is a wonderful asset for the highly gifted student players of Chetham’s and visiting performers alike. The opening season is already shaping up offer a wonderful variety of acts; we are confident that the HALO-C system will effortlessly deliver the best possible audio experience for them all.”

Photo © Michael Zapf



After 12 years in the making, the Elbphilharmonie Hamburg finally opened its doors on 11 January. Amptown System Company took on the assembly, connections and commissioning of the audiovisual technology, including the intercom solutions and a stage management system.

Taking its name from the River Elbe - one of Central Europe’s most major rivers the new concert hall, Elbphilharmonie Hamburg, which lies on the banks of the river, has already become a major landmark for the city of Hamburg and is attracting visitors from around the globe. The complex features three concert halls, a large music education area, a range of eateries, a hotel and the public plaza, which offers visitors an unparalleled panoramic view across the whole city. The Elbphilharmonie was designed by renowned Swiss architects, Herzog & de Meuron. Located in the HafenCity quarter, Europe’s largest inner-city urban development project, in direct proximity to the Speicherstadt warehouse district - a UNESCO World Heritage site - and the Kontorhaus business district with the Chilehaus, the Elbphilharmonie serves as a symbol of the city’s past, present and future. The concert hall is perched on top of a brick warehouse foundation - the former Kaispeicher A - which was


Champ du Sound. Watch it on YouTube.

built at the port between 1963 and 1966 and, back then, was used for storing tea, tobacco and cocoa. However, the new structure now boasts a glass, wave-like structure - measuring 100-metres high which provides a striking silhouette. The building was developed by Freie Hansestadt Hamburg (FHH), while construction and operation was undertaken by the property company, Adamanta GmbH & Co. The customer is Elbphilharmonie Bau KG. The construction management and construction work was carried out by Hochtief Construction AG. And it was the latter that engaged Amptown System Company (ASC) at the tender stage and awarded the company with the contract for the complete theatrical (scenic) installation. Once onboard, ASC was quickly hired to take on the assembly, connections and commissioning of all the audiovisual technology, including the intercom solutions and a stage management

system. Providing a full solution is in accordance with the company’s philosophy of technology from a single source. At the heart of the Elbphilharmonie is the Grand Hall. Its 2,100 seats are arranged around a central stage, with no member of the audience seated more than 30-metres from the conductor, however, this setup does pose some acoustical challenges. In order to achieve the optimum acoustics, the architect developed a special wall and roof structure together with internationally renowned acoustician, Yasuhisa Toyota. Dubbed ‘The White Skin’, the solution was 10,000 individually shaped gypsum fibre panels precision cut and mounted around the room to ensure targeted sound distribution that reaches every corner of the auditorium. “We are happy and proud that we were able to participate in such a prestigious project,” said Leif Witte, ASC Managing Director. “We were selected for our

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Photo © Michael Zapf


• Above The Recital Hall

classical expertise in modern lighting and acoustic engineering and we have proven to be a reliable partner. We also scored highly during the tender process due to our innovative know-how and in the last few years, we have been able to greatly improve our competence and performance in the development of tailor-made technology systems.” Lighting in the Grand Hall is housed on a circular lighting bridge mounted above the stage area. Classic theatrical fixtures from ETC and Robert Juliat were selected and installed behind a series of ceiling cut-outs covered with special glass. ASC Lighting Consultant, Rolf Garnies,

explained the setup further: “The choice of lighting technology was one of the first decisions to be made, and the fixtures should have been installed back in December 2012. “We have always had positive experiences installing ETC and Robert Juliat fixtures in theatres. ETC Source Four profile spotlights are known for their flexibility in regards to beam angles and radiation characteristics. The Robert Juliat profile spotlights contain 2,000W lamps and are very reliable when it comes to distances up to 30-metres.” Additionally, 37 ETC Desire D40 Tungsten LED spotlights have been installed as downlights to provide

high-intensity, warm-white light with a colour temperature of 3,000K, matching the effect of the ETC and Robert Juliat fixtures. “Factors such as light quality, energy efficiency and longevity - with the fixtures needing to be in operation for up to 20 hours a day - were important selection criteria for the customer,” added Rolf. For mobile use in the Recital Hall or Kaistudio, ASC supplied ETC ColorSource LED spolitghts, which provide a natural light output. A selection of Vari-Lite and JB-Lighting moving heads are also in the inventory, the VariLite fixtures being permantly installed


the the Recital Hall and the latter, again mobile for use in between the different spaces. “Vari-Lite VL1100’s Tungsten ERS are very quiet and are therefore perfect for being mounted on the ceiling trusses in the Recital Hall. The JBLighting LED spotlights Sparx 7 provide brilliant colours and effects for wall and background lighting in the Recital Hall and are also used for special events in the reception area or foyers due to their flexible mounting options,” said Rolf. In line with the tender contract, ASC implemented the power distribution for the lighting systems as well. This included connecting the ETC dimmers systems - comprising 560 circuits across the three concert halls - to the MA Lighting consoles and junction boxes, which are distributed throughout the venue and are used to isolate the control and power of a given lighting system, at any given time. Rolf continued: “A grandMA2 is used as a universal control unit in the Grand Hall and Recital Hall, while a MA onPC wing resides in the Kaistudio as a flexible solution that can be used there or for foyer events. MA Lighting products were installed at the request of the operators, because the brand is well-known in Germany, and the company also provided an excellent after sales service.” With an inventory of more than 500 lighting fixtures, the audio line-up appears minimal by comparison, but it more than caters for the requirements. In the Great Hall, the emphasis was on bringing out the pure sound of instruments and voices rather than installing a sophisticated sound system. With this in mind, just six Meyer Sound CAL 64 column array loudspeakers were specified and these are housed within a mushroom-shaped reverberator, which is suspended from the ceiling. The large majority of the hall is covered by these six CALs thanks to their beam steering technology, however, there are additional CAL 32 loudspeakers and support

loudspeakers in the ceiling to cover the higher seats within the auditorium. ASC Project Manager, Ronny Greier furthered: “Meyer Sound met the complex requirements of the Acoustic Engineer, Yasuhisa Toyota, as well as the specification for the voice alarm system outlined by the safety testers, with its CAL loudspeakers. In the function of voice alarm, it was necessary to bring tonal values into certain positions and distances. There was also a corresponding simulation by ADA (Acoustic Design Ahnert, Berlin), which was taken into account during the tender in October 2014.” Andreas Klöhn, ASC Senior Sales Manager for Entertainment, added: “The sound lines in the mushroom-shaped reflector cover a large part of the room. In the parquet there are also additional CALs and support loudspeakers in the ceiling, which otherwise wouldn’t have covered by the loudspeaker array system in the reflector. The CALs have been specified because of their power, their very slim line appearance, which means the loudspeakers are easily integrated into the architecture in the room. They also sound great and have a dual purpose, as they are also used for voice alarm duties and announcements.” Similar to the lighting installation, in the Recital Hall, the audio solution is flexible and mobile. This intimate and versatile space, features elegantly shaped wood panelling, which ensures the perfect acoustic environment. With seating for 550 people, it is the ideal venue for chamber music, lieder recitals and solo recitals, as well as jazz and world music concerts. Here, ASC opted for d&b audiotechnik Y Series and E Series loudspeakers, Ronny continued: “In 2015, we spoke with the operator, Hamburg Music, and recorded its wishes to find an optimal solution. Once a mobile solution had been decided on, ASC researched options for fixed rigging

Photo © Maxim Schulz


positions, as well as a standalone and when combining the options with the budget, the best components came from d&b audiotechnik.” Again, Andreas furthered: “Sometimes there are projects in which, as a system integrator, we decide, together with the planner, to opt for a single manufacturer throughout. However, more often that not, a healthy mix is the right solution for optimum performance. d&b audiotechnik loudspeakers are used for events at NDR radio - which is a close partner of the Elbphilharmonie - so it made sense to specify these loudspeakers for the Recital Hall and the Kaistudio for continuity.” To control sound reinforcement in the Great Hall, the Recital Hall and Kaistudio, five Lawo mc²36 digital mixing

INSIDER INSIGHTS NAME: Stefan Thomsen JOB TITLE: Senior Sales Management Communication Systems at Amptown System Company LIKES ABOUT TECHNOLOGY: To see how things can be done with new technology, which weren’t possible in the past. DISLIKES ABOUT TECHNOLOGY: The idea of using IP-technology for everything because it’s so easy, but it’s not THE NEXT BIG THING IN TECHNOLOGY WORLD: Affordable space journeys for private people.

consoles were supplied and incorporated into the digital audio infrastructure, in a joint effort involving the manufacturer and the NDR - a North German radio and TV broadcaster. The consoles sit alongside Dallis I/O systems, and a Nova73 router using Ravenna. “On the NDR radio and on its OB cars, audio systems from Lawo are used so it made sense for the Elbphilharmonie to use Lawo too for compatibility purposes,” said Andreas. The stage management system at the Elbphilharmonie was also designed and implemented by ASC. The company has actually built a reputation for developing customised stage management systems, which work successfully in a number of notable venues. For the Great Hall, two large and two small stage management

TECHNICAL INFORMATION SOUND 6 x Meyer Sound CAL 64 column array loudspeaker; Meyer Sound CAL 32 column array loudspeakers; d&b audiotechnik Y Series loudspeakers; d&b audiotechnik E Series loudspeakers; 5 x Lawo mc²36 digital mixing console; a Riedel Artist intercom system; 7 x ADUNAS stage management console LIGHTING ETC Desire D40 Tungsten LED spotlights; ETC Source Four profile spotlights; ETC ColorSource LED spolitghts; Robert Juliat profile spotlights; Vari-Lite VL1100 moving heads; JB-Lighting Sparx 7 LED spotlights; ETC dimmer system; MA Lighting grandMA lighting console; MA Lighting MA onPC wing *extract only


FRANÇAIS La Elbphilharmonie (Salle philharmonique de l’Elbe), qui est située dans le quartier HafenCity de la partie ouest d’Hambourg a été inaugurée le 11 et 12 janvier 2017. Conçu par les architectes suisses Jacques Herzog, Pierre de Meuron et Ascan Mergenthaler, le bâtiment moderne a été érigé sur la coque vide de l’ancien entrepôt du quai A. Il abrite une grande salle de concert de 2 100 places, un lieu plus intimiste de 550 places, ainsi que l’atelier du quai qui peut accueillir 170 visiteurs et qui sert aux activités éducatives et aux enregistrements. Le concept acoustique créé par le japonais Yasuhisa Toyota permet aux visiteurs de profiter de la même qualité sonore où qu’ils soient dans le lieu. Il y a 12 ans, alors que la phase de planification était toujours en cours, la Amptown System Company a remporté l’appel d’offres lancé par HOCHTIEF pour l’éclairage scénique, et donc pour l’éclairage dans son ensemble. À la suite d’un concours public, ASC a également obtenu le contrat pour l’installation et la mise en service de toute la partie audiovisuelle de la grande salle de concert et de la salle de spectacle, ainsi que des ateliers du quai. L’on retrouve ici les noms des fabricants suivants : d&b audiotechnik, Meyer Sound, Lawo, MA Lighting, ETC, Vari-Lite, Robert Juliat, JB Lighting et Panasonic.

Die Elbphilharmonie in der Hamburger HafenCity wurde am 11./12. Januar 2017 eingeweiht. Das von den Schweizer Architekten Jacques Herzog, Pierre de Meuron und Ascan Mergenthaler geschaffene moderne Gebäude wurde über dem ehemaligen Kaiserspeicher A errichtet. Es beherbergt einen großen Konzertsaal mit 2.100 Plätzen, einen kleineren intimeren Saal mit 550 Plätzen und das Kaistudio für 170 Besucher, das für Bildungsaktivitäten ausgerichtet ist, sowie andere Studios. Das vom Japaner Yasuhisa Toyota geschaffene akustische Konzept bietet allen Besuchern dieselbe Soundqualität, egal wo sie sitzen. Während der Planungsphase vor 12 Jahren war Amptown System Company erstmals erfolgreich bei der Ausschreibung durch HOCHTIEF für die szenische Beleuchtung und somit für die Beleuchtung insgesamt. Und nach einem offenen Wettbewerb erhielt ASC ebenfalls den Auftrag für die Montage und Inbetriebnahme des gesamten Audio-/Videoteils, sowohl im großen Saal und im kleinen Saal wie auch in den Kaistudios. d&b audiotechnik, Meyer Sound, Lawo, MA Lighting, ETC, Vari-Lite, Robert Juliat, JB Lighting und Panasonic waren an der Installation beteiligt.


L’ Elbphilharmonie (Elbe Philharmonic Hall) che si trova nel quartiere di Hafencity, nella parte occidentale di Amburgo, è stato inaugurato l’ 11 e il 12 gennaio 2017. Il moderno edificio creato dagli architetti svizzeri Jacques Herzog, Pierre de Meuron e Ascan Mergenthaler è stato eretto in cima all’ex magazzino A vicino al molo. L’edificio comprende una grande sala concerti con 2.100 posti a sedere e un’altra più intima e più piccola con 550 posti a sedere, oltre allo studio del molo per 170 visitatori destinato al conseguimento di attività educative e altri studi. Il concetto dell’acustica è stato creato dal giapponese Yasuhisa Toyota e prevede per tutti i visitatori, di godere della stessa qualità del suono ovunque siano seduti. Mentre la fase di progettazione era ancora in corso 12 anni fa, per la prima volta l’ Amptown System Company aveva avuto successo per essersi aggiudicata la gara d’appalto avviata dal HOCHTIEF per l’illuminazione scenografica e, quindi, per l’impianto luci nel suo complesso. E a seguito di un concorso pubblico ASC si era anche aggiudicata il contratto per l’assemblaggio e la commessa di tutta la parte audio/video sia nella grande sala concerti che nella Recital Hall, così come negli studi del molo. I produttori coinvolti con questa installazione sono d&b audiotechnik, Meyer Sound, Lawo, MA Lighting, ETC, Vari-Lite, Robert Juliat, JB Lighting e Panasonic.

ESPAÑOL El Elbphilharmonie (Elbe Philharmonic Hall), ubicado en el distrito HafenCity en la parte oeste de Hamburgo, fue inaugurado el 11-12 de Enero de 2017. El moderno edificio fue creado por los arquitectos suizos Jacques Herzog, Pierre de Meuron y Ascan Mergenthaler, erigido por encima del armazón de la anterior bodega junto al muelle. Alberga a un gran hall de conciertos con 2.100 asientos, un sitio más pequeño e íntimo con 550 asientos, más el estudio del muelle para 170 visitantes, destinado a actividades educativas y otros estudios. El concepto acústico creado por el japonés Yasuhisa Toyota permite que todos los visitantes disfruten de la misma calidad de sonido desde cualquier sitio donde estén sentados. Mientras que la fase de planeamiento aún se encontraba en progreso hace 12 años, la primera vez que Amptown System Company tuvo éxito fue al ganar la licitación iniciada por HOCHTIEF para la iluminación escénica así como también para los trabajos de iluminación. Y siguiendo con una competición abierta, ASC también ganó el contrato para el ensamble y el encargo de la parte completa de audio y video tanto en el Gran Hall de Conciertos como en el Hall de Recitales, así como en los estudios del muelle. Entre los fabricantes que se involucraron en esta instalación se encuentran: d&b audiotechnik, Meyer Sound, Lawo, MA Lighting, ETC, Vari-Lite, Robert Juliat, JB Lighting y Panasonic.

Photo © ASC


consoles, which are equipped with an SPS-based ADUNAS media control system have been installed. Between the four consoles, they were able to provide the following features: switchable programs on a Windows PC through external control via ADUNAS; all-pole disconnection of the junction boxes in the house and in the stage areas; and control of devices such as audio matrix, video matrix and HD cameras. The consoles provide the stage manager with all the options needed to be creative and make a success of all the rehearsals and performances at the concert hall. A Riedel Artist intercom system ensures efficient communication everywhere, allows musicians to be called onto the stage, and all the technicians are able to communicate with one another. Alongside the four consoles in the Great Hall, one further large and one small are deployed in the Recital Hall and a final small one in the Kaistudio. ASC Senior Sales Manager for Communication Systems, Stefan Thomsen furthered: “Every stage desk is unique, no project is the same. This makes working in this technical discipline so exciting. The stage desks in the Elbphilharmonie are custommade to customer’s request. Over the course of the project, there have been a number of changes to improve the overall system and its usability. We adapted accordingly where it seemed reasonable and economical. In contrast to the competition and our previous consoles, we are working with ADUNAS, an SPS based media control system with an integrated digital information system, which is significantly more powerful than anything currently on the market and can be expanded as desired. In the Elbphilharmonie, the large consoles are very customer-specific in design and

size - 4 x 19-inch desks - which are still movable and height-adjustable. The goal, beside a state-of-the-art stage desk development, was a customer-specific work station, at which two colleagues can comfortably work together.” A particular challenge during this project was the construction and assembly of the 32 TV mirror displays distributed in Great Hall. Rolf said: “The mirrors are available in three sizes - 90cm, 140cm and 169cm in diameter - and hang on the walls, slightly facing the audience. The TV mirror displays were manufactured by ASC and are equipped with a substructure that allows easy access to the display and to the set-top box, while at the same time, anchors the structures firmly to the wall. The mirrors are circular, 10mm thick glass panes made of ESG, a product called ‘Mirona’ manufactured by SCHOTT. On the back of the glass, a passe-partout [a cardboard sheet with a cut-out] was applied as a colour coating by the screen printing process, in order to expose the contours of the behind-the-scenes Panasonic displays. The edges of the glasses have been designed with a C-edge bevel. If the displays are switched off, the mirrors represent a design element; in the switched-on state the displays are visible and serve as an information system. Individual content can be reproduced in the form of text, image or sound.” “ASC delivers customised solutions that are definitely not off the shelf,” concluded Leif. “Thanks to our many years of experience in the field of media system integration, we are able to respond to the special needs of architects to optimally shape the development of new systems, in terms of execution and functional quality, and to offer a partnership and professional cooperation.”




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A unique journey through 50 years of jazz history has been created with the opening of Montreux Jazz Heritage Lab 2 at the EPFL+ECAL Lab, based at the University of Art and Design Lausanne in Renens, Switzerland.

The aim of the EPFL+ECAL Lab is to fully explore the unlocked potential of emerging technologies through design transforming scientific performance into user experiences. This ethos has seen the Montreux Jazz Heritage Lab 2, a research programme at the crossroads between architecture, design and technology, take shape. The programme itself is led by the EPFL+ECAL Lab in close collaboration with the architectural lab ALICE, at the École Polytechnique Fédérale de Lausanne (EPFL), one of the two Swiss Federal Institutes of Technology. The immersive, permanent installation is situated within a new building on the campus, designed by architect, Kengo Kuma, which is just next to the Montreuz Jazz Café. Using 5,000 hours of audiovisual recordings made at the Montreux Jazz Festival, visitors can truly experience 50 years of jazz history right in front of them - they feel as though they are on live on the stage with Ella Fitzgerald, standing beside Miles Davis’ trumpet, or composing ‘Smoke on the Water’ together with Deep Purple. Nicolas Henchoz, the Project Curator, takes up the story: “EPFL and the Montreux Jazz Festival signed a partnership in 2008 in regards to using the archives for the festival - this was a way to preserve the incredible heritage and, for EPFL, it was fantastic material for research projects. “However, when you digitise important archives, another question comes along; how can you bring this content back to life? Traditional web players are not immersive, while home cinema isn’t interactive and also very limited compared to a concert. So, EPFL+ECAL Lab teamed up with another lab in architecture, ALICE. Together, we did a first major installation, which earned a Swiss design award. We were able to demonstrate


• Above The main display at Montreux Heritage Jazz Lab 2

the need and the value of designing an experience specifically for digitised content, rather than trying to copy the original event. “Then, we had the chance to create a second installation for the new Kengo Kuma building on campus. This new one integrates the full archive database, the metadata, hosts up to 25 people and integrate new sound technologies.” Following an eight-year preservation project, which was put into practice by Audemars Piguet, Montreux Sounds and EPFL, visitors now have the ability to delve into 50 years of concerts putting the world’s largest collection of live jazz, blues and rock recordings at their fingertips. In fact, it is the first audiovisual library ever to be listed in the UNESCO Memory of the World Register. With such an important resource available for the Montreux Jazz Heritage Lab 2 project, the technology used to present it to the public had to work seamlessly, allowing visitors to really immerse themselves in what was on offer. This was something that had to be taken into serious consideration, as Nicolas expressed when discussing the process:

“Though it’s a very big and complex project, the Montreux Jazz Heritage Lab 2 follows our methodology. We first have an observation phase with potential users; not only about needs, but about their feelings, interests, behaviour and emotions. “In parallel, we do an extensive assessment of scientific literature linked to our research hypothesis, especially about interfaces and perception, emotional state and so forth. We also have an in depth evaluation of emerging technologies we could use for the project. This leads us to define an experimental setup, with the aim being to turn it into a real prototype. Then, we go all the way down to the real demonstration and, eventually, we carry out assessments with users, thanks to the competence in psychology research we have at our lab.” The visual content is a huge aspect of the installation, so, with a key part of the project being to preserve the recordings’ cultural value through keeping the original footage unaltered and prevalent - further enhancing the immersive experience, too. The main screen for the visual content comprises 64 acoustic

foam modules, with two laser projectors used for the videos. Also, to boost the power of the central images on the screen, the sidewalls of the installation consist of mirrored panels featuring a LED light grid, which reveals data and visuals about the concerts. A total of 240 Barco MITRIX panels were used to create an LED wall for the content, while the 3D mapping software, as well as the control system, are based on a media server solution using a Christie coolux Pandoras Box. The double curvature of the central screen takes the form of a torus segment, creating a sense of depth. This sophisticated geometry offers a variety of views both from the Montreux Jazz Café and the external square, the heart of the university campus. The partial, intriguing transparency towards the café creates an enveloping atmosphere during the day and illuminates the campus at night. The setup simultaneously provides an intimate space within which to view the archive and makes the content the dominant feature. The sound system was another important decision for the project, as it was a


key part of the immersive atmosphere. To ensure 3D sound simulation of the highest quality, 32 PSI Audio loudspeakers were installed, along with an Illusonic audio processor. Using research initiated at the EPFL-LCAV Laboratory, Montreux Jazz Heritage 2 Lab boasts a truly impressive audio system, which successfully enhances the project through a virtual reconstruction of old jazz venues. With the project being so complex, there were plenty of challenges to address along the way, which Nicolas explained: “Combining an audiovisual archive of more than 44,000 songs, including many different formats from 1967 to now is very complex. Also, as the content needs to be secured, the screen is a very complex piece in this project, too. We wanted to create a unique feeling of materiality - use it as an acoustic function

and preserve the image quality at the same time.” However, despite the challenges faced, the Montreux Jazz Heritage Lab 2 is a truly innovative project that delivers on its promise to take visitors on a journey through the history of jazz. “Montreux Jazz Heritage Lab 2 underlines that innovation should care more about user experience - this is not just about technical parameters of sound or light,” added Nicolas. “It’s about the emotional, cultural impact, along with the meaning and perception.” The Montreux Jazz Heritage Lab 2 will continue to evolve, serving as a tool to explore new research issues, provide a testing ground for designers and observe users’ perceptions, in order to better understand the impact of immersive devices.

TECHNICAL INFORMATION SOUND 32 x PSI Audio loudspeaker; 1 x Illusonic audio processor; 64 x acoustic foam module VISUAL 240 x Barco MITRIX LED panel; Christie coolux Pandoras Box media server; 2 x Panasonic laser projector




LET’S CELEBRATE THE FUTURE! Since August 2016, the curtain has opened on an exciting new future for the ADB brand. It has become part of the Osram Group and merged its business with Claypaky, known for its multifunctional fixtures and unparalleled capacity for innovation. ADB and Claypaky together set a benchmark today in the field of professional show lighting, owing to their unique capability of offering complete, integrated solutions for any kind of project from television studios to theatres of all sizes, with a range of products including dimmers, control systems, static and moving luminaires (halogen, discharge and LED) and all sorts of accessories.

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Sonar Audio and Genelec combine to provide superb sound at Osaka restaurant.

Osaka serves up high quality Japanese and Japanese-Peruvian (Nikkei) cuisine in the Peruvian capital of Lima. With music playing a key part of the restaurant’s ambience and entertainment, integrator Sonar Audio was called in to add superb quality audio as a perfect accompaniment to Osaka’s delectable dishes and stylish surroundings. The restaurant is located in the basement of a new cooperative building in the San Isidro district, and the installation aimed to achieve neutral sound in every area of the acoustically untreated space. Consistent audio performance in the 500 sq metre area posed a challenge due to its poor acoustics, and in addition, the client was also keen to maintain a clean, good-looking restaurant aesthetic. A further requirement was for part of the restaurant space to be able to be turned into a lively entertainment space after dinnertime, with the option to host DJ parties and celebrations long into the

night. Sonar opted for a stereo system installation using an array of Genelec loudspeakers from the 4000 Series. The installation was required to have the option for a stage area with ambient music, but also be able to deliver excellent quality and power in the dining, bar, lounge, toilets, terrace and private areas. In addition, Sonar was tasked with hiding the DJ booth in order to maintain the stylish interior of the restaurant. In the stage area there is a piece of furniture ready to move and convert into a DJ booth, changing the dynamic of the space and increasing the sound possibilities. Sonar worked one year in advance from the plans with architects Costa+Herrera, which was involved in the entire process. The architects’ work made it possible to deliver the solution which provides a clean aesthetic and exemplary sound quality throughout the space, with precisely located loudspeakers.


“When we were commissioned to design an extremely sonorous sound system for this client I couldn´t think of any other gear than Genelec, mainly because of the reliability,” said Clifford Day, Director of Sonar. “The first requirement was to fill this big restaurant with good sound and also take into account that the sound in the lounge and bar should be powerful enough to impress clients when needed. What I liked most about this project was that the intention was not to create a club-restaurant; this place must be always a restaurant first and foremost, but the sound system should be as good as it can be without the requirement for really high pressure levels. Again, this is a perfect situation to work with Genelec, whenever you need the best sound without the requirement for very high SPLs - more than 114 dB SPL in all areas. With a good selection of Genelec pieces we were able to fulfil this expectation.

“The second problem was the need to control sound in a large area with a lot of concrete and glass. We added some diffusers and placed the loudspeakers in their best position to achieve a tight sound. Reverberations cannot be felt and the sound is very lively. “Budget is always an issue in projects such as these, and working with Genelec, you know you get a product that is complete and ready to tweak and get the most out of it. If properly done, sound behaves the way needed and results are better than expected by the clients. Exceeding the goal is always gratifying.” Osaka now not only stands out thanks to its meal quality, but also by the comfort the guests experience in this top restaurant, which is supported by the remarkable sound quality.



Time is a high-end nightclub based in Orange County with a striking design, which was completed by Davis Ink. The interior designers enlisted the help of SJ Lighting and Sound Investment to deliver the technology to match the unique environment.

The building that now houses Time nightclub was originally designed as a Nike Town retail store, however, since then, plans changed - and now the high-end nightlife venue is open in Orange County, California, offering a club experience like no other. Davis Ink, a leading interior design firm, took Time on as its latest innovation. Having worked on some of the most unique nightclub and hospitality venues, Davis Ink was the perfect choice, though this project was even more special, considering it is based in Orange County, too. “This is an incredibly special project for us as it’s right in our own backyard. It’s literally walking distance from our office,” said Davis Krumins, Interior Designer and Founder of Davis Ink. “A wonderful opportunity to provide something fantastic for the people of Orange County. There will no longer be a need to travel to West Hollywood, LA or Las Vegas.” Davis Ink was tasked with creating a space that would that would rival anything on offer in LA or Las Vegas. The ambience that it wanted to create for the venue was to be achieved through the combination of theatrical lighting, enhanced sound and a completely unique interior design. However, this meant that the team at Davis Ink had to be creative with construction methods and building materials - even to the extent of designing fixtures and furniture, rather than purchasing expensive pre-designed items.

“Although the space had been abandoned for many years, it was filled with all sorts of cool architectural details,” added Davis. “The two-level building shell was composed of three intersecting circular spaces. These organic shapes allowed us to break away from the standard rectangular nightclub layout. “By removing the ceiling in the centre circle space, we created an approximately 35ft ceiling that would become the ceiling of the dancefloor and stage. This enabled us to create a huge central theatrical lighting chandelier to fill the vertical space.” A pre-existing, three-level staircase was removed and the remaining elevator shaft wall beyond was reframed to accommodate a 35ft custom LED wall. This wall became the backdrop for the stage and the ‘Alice in Wonderland’-inspired DJ booth. By eliminating most of the interior walls, Davis Ink was able to open up the entire space and offer visual access to the dancefloor and stage from anywhere in the club. Two smaller, circular rooms were transformed into large circular bars and the intersection of three circular spaces allowed the creation of an amoeba shaped dancefloor with three tiers of biomorphic shaped bottle service tables around the perimeter. “By designing a space with literally no straight lines, we were able to create an incredibly dramatic, sexy, and magical environment, which is very unique for a large nightclub,” said Davis. True to its roots, Davis Ink used high-level creativity in producing furniture and fixtures for Time. The main bar comprised of organic components, such as tree branches


“By designing a space with literally no straight lines, we were able to create an incredibly dramatic, sexy, and magical environment, which is very unique for a large nightclub.”

supporting backlit bottle shelves, a boxwood-faced green soffit and snakeskin fabric panels. The secondary bar is made of honeycomb-inspired hexagon panels, a random mix of backlit bottle displays and green, silver and black upholstered panels. The front bar consists of hexagon screens framed in barn wood, too. There are several custom light features as well, including a 35ft diameter chandelier with green hat-shaped lampshades suspended with two-inch diameter rope staggered between. The ceiling above is a kaleidoscope composed of black and white female silhouettes. All this, plus a 20ft tall champagne display and an entry surrounded by custom butterfly wallpaper. With such a surreal, almost magical, environment using organic and modern elements in combination with unexpected traditional components, it was important that the technology that was to be installed in the venue both complemented and enhanced the design. With that firmly in mind when it came to selecting a lighting setup to suit, Davis Ink made the decision to enlist the help of SJ Lighting, with whom it had worked on projects before. Steve Lieberman, founder of SJ Lighting, takes up the story: “Over the years, we have worked on several projects

with Davis Ink and it has always been a fantastic collaboration. Time was no different - Davis Ink referred us to the owner and away we went. “The brief was literally a case of ‘do your thing’ - I was fortunate in working with Davis Ink and Time, as they trusted us to utilise our expertise to fill in their vision of the space.” From there, Steve and his team set about putting together a plan for the lighting at Time, though there was plenty to take into consideration - not least the interior design and unconventional space within the venue. “Any time you design a permanent installation of a nightclub, there are many variables to be considered. The design aesthetic has to match all of the interior design details, the geometry of the space, the owners vision, and the budget - it’s a delicate balance,” explained Steve. “The space is very unique - no straight lines, for example - while the shape of the dancefloor and the heightened ceiling above it are organic. These scenarios pose a challenge in that the system needs to highlight the geometry of the space, while, at the same time, have the foundational items required to create a dynamic light show.” To do this, SJ Lighting worked closely with Davis Ink to identify a focal point



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location that they could base everything off. This is when the centrepiece chandelier became the main feature, reflecting the organic shape of the venue. Comprising of 90 Chauvet Motion Orbs that are draped through custom fabricated metal rings and pixel mapped using Madrix software, it offers the classic decadent look of a hanging chandelier, while the new technology delivers a modern spin on it. Elsewhere, a whole range of Elation Pixel Bars line the vertical walls over the dancefloor, creating a incredible, eye-catching display, while the Chauvet Rogue moving lights are spaced appropriately to ensure there is even coverage throughout Time.

For the lighting control, an MA Lighting grandMA2 light is used as the main console, with Madrix controlling the pixel-based lighting and Resolume delivering all the video content to the LED screen - both of those controllers are mastered by the MA Lighting console via ArtNet, too. Despite the complexity of the project, Steve expressed his delight with the work on Time: “In terms of the challenges when working on Time, they were simply what you would expect with any high-end project - meeting timelines, scheduling trades in an order with minimum conflict and so on. “Overall, it turned out amazing and we are very proud to have been included

with such a fantastic group of people.” The audio was another huge aspect of the install at Time and, similarly, Davis Ink opted for help from a company it had worked with successfully before - which is why it turned to Sound Investment. Dean McNaughton, Co-owner of Sound Investment, explained how the project at Time came about: “We’ve worked with Davis Ink on a couple of projects in San Diego - PARQ and Fluxx. We like what they do and they like what we do - and they thought we’d be a good fit for the project, so they recommended us. “It was clear what the owners wanted to achieve from the outset - a high-calibre EDM venue - and we were confident that we’d be able to help them to achieve that.”

It’s what you do with it that counts.

THE ILLUMINATION OF STUDIO CITY MACAU Hollywood has come to Macau with the opening of the newest attraction, Studio City. The facade lighting of Studio City has been a single all-encompassing project for illumination Physics, from concept to completion. The lighting design and the purpose specific design of the fixtures manufactured and supplied by illumination Physics include over 12,000 luminaires for the podium and towers. illumination Physics is a project focused total service provider.

Specialists in customised lighting to suit your design


“Taking influence from LA, San Diego and, particularly, Vegas, they wanted to attract top tier talent and have a top tier sound system, so the natural choice was Funktion-One.”

With Sound Investment brought in as audio consultants, it discussed the options with the owners and Davis Ink, which led to the conclusion that a Vegasstyle sound system was wanted, but in Orange County. “They’ve been to venues we’ve worked on and they loved what we’ve done there. Taking influence from LA, San Diego and, particularly, Vegas, they wanted to attract top tier talent and have a top tier sound system, so the natural choice was Funktion-One,” added Dean. There was plenty for Dean and the Sound Investment team to consider, though, with the large space and high ceiling making it naturally reverberant. “The initial design specified lots of dry wall, meaning plenty of hard surfaces,

which would have escalated the problem further but we were able to influence the design before the system went in, so a two-inch acoustic treatment was applied to all of the walls and the ceiling. “That has helped tremendously,” said Dean. From there, the Funktion-One system was installed at Time, with Sound Investment deciding to use the latest technology when it came to the audio setup. “We used Funktion-One Evo 6SH skeletal speakers because we wanted to give Time the newest technology from FunktionOne,” Dean explained. “The Evo 6SHs offer the next level of sound quality. From a client’s point of view, it’s important that they’re getting the latest generation of technological developments; it has

TECHNICAL INFORMATION SOUND 2 x Funktion-One F315 loudspeaker; 8 x Funktion-One EVO6-SH loudspeaker; 3 x Funktion-One BR221 subwoofer; 2 x Funktion-One BR121 subwoofer; 10 x Funktion-One F101 loudspeaker; 2 x Funktion- One R2SH loudspeaker; 7 x Funktion-One BR-118 subwoofer; 1 x Funktion-One Res2 loudspeaker; 8 x Funktion-One F81 loudspeaker; 3 x QSC AD-S8T BLK loudspeaker; 7 x QSC ADS82H loudspeaker; 2 x JBL S700 subwoofer; 1 x Full Fat Audio FFA-6000 amplifier; 3 x Full Fat Audio FFA-6004 amplifier; 2 x Full Fat Audio FFA-10000 amplifier; 3 x Full Fat Audio FFA-4004 amplifier; 1 x QSC PowerLight 4.0 amplifier; 2 x Crown IT8000 amplifer; 1 x Crown XT1 amplifier; 2 x Powersoft Digram 5000 amplifier; 1 x BSS BLU160 4AIx0AO networked digital signal processor; 3 x BSS BluBOB2 BLU link output expander; 1 x BSS BLU10-BLK networked remote control LIGHTING, VISUAL & EFFECTS 90 x Chauvet Motion Orb fixture; 10 x Elation Platinum HFX moving head; 16 x Chauvet Rogue R2 Spot moving head; 16 x Chauvet Rogue R1 Wash moving head; 15 x Chauvet Strike 324 Strobe fixture; 24 x Elation ACL 360i moving head; 16 x Elation Event Bar fixture; 362 x Elation Pixel Bar 40 fixture; 15 x Elation Pixel Bar 20 fixture; 7 x Elation Pixel Bar 12 fixture; 26 x Elation Pixel Net 4 ArtNet to DMX driver; 2 x Kvant ClubMax 6000 laser; 2 x Hazebase Base Hazer Pro hazer; 1 x Madrix software package

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La discothèque Time Nightclub située dans le comté d’Orange en Californie, s’est offert d’impressionnantes installations audio et d’éclairage, ainsi qu’une décoration intérieure tout à fait exceptionnelle. Davis Ink, une importante société de design d’intérieur de Californie du Sud à l’origine de boites de nuit et de complexes hôteliers des plus remarquables, a participé au projet du Time. « Nous avons voulu créer un environnement qui émerveille et dépasse toutes les attentes de nos clients et de notre communauté », a déclaré Davis Krumins de chez Davis Ink. « Un lieu qui restera gravé longtemps dans les esprits. » Pour l’éclairage, Davis Ink a travaillé directement avec SJL Lighting qui a fourni toutes les installations d’éclairage - un mur d’écrans LED, l’éclairage de la piste de danse et un autre mur d’écrans LED dans l’entrée. Sound Investment a également contribué à l’installation audio avec une sono Funktion One utilisée au sein de ce lieu haut de gamme. « Il s’agit d’un projet assez extraordinaire pour nous puisque celui-ci se situe littéralement à quelques pas de notre bureau », explique Davis. « Le projet nous offre une formidable occasion de présenter des éléments fantastiques aux gens du comté d’Orange. »

DEUTSCH Time Nightclub liegt im Orange County, Kalifornien, und hat ein neues Ambiente erhalten, mit einer anspruchsvollen Beleuchtungs- und Audioinstallation sowie einer ganz einzigartigen Innenausstattung. Davis Ink, ein führendes südkalifornisches Innenarchitekturbüro, das für einige der einzigartigsten Nachtclubs und Gaststätten verantwortlich ist, hat im Time Nightclub an diesem Projekt gearbeitet. „Wir wollten eine Umgebung schaffen, die den Erwartungen unseres Auftraggebers und unserer Community gerecht wird und diese sogar übertrifft,” erklärte Davis Krumins von Davis Ink. „Ein Ort, der lange Zeit relevant bleiben wird.” Für die Beleuchtung arbeitete Davis Ink direkt mit SJL Lighting für alle Merkmale zusammen, einschließlich LED-Bildschirmwand, Tanzfläche und eine weitere LED-Bildschirmwand für einen Bildumlauf am Eingang. An anderer Stelle leistete Sound Investment Unterstützung bei der Audioinstallation. Dies führte letztendlich dazu, dass ein Funktion One Soundsystem in diesem Luxustreff eingesetzt wurde. „Dies ist ein ganz besonderes Projekt für uns, da es direkt vor unserer Haustür liegt, in unmittelbarer Nähe unseres Büros,” erklärte Davis. „Das Projekt bietet uns eine wunderbare Gelegenheit, um den Menschen im Orange County etwas ganz Besonderes zu bieten.”

ITALIANO Il Time Nightclub, che ha sede a Orange County (California), è stato rimodernato attraverso un’ambiziosa installazione audio/luci, nonché con un design completamente unico. Davis Ink, un’azienda californiana leader nel settore del design di interni, che vede portare la sua firma ad alcune delle discoteche e dei luoghi di intrattenimento più singolari, ha lavorato al progetto del Time Nightclub. “Abbiamo voluto creare un ambiente che si leverà in piedi fino a superare le aspettative dei nostri clienti, così come della nostra comunità”, ha dichiarato Davis Krumins di Davis Ink. “Un luogo che rimarrà impresso per un lungo periodo di tempo”. Per l’illuminazione, Davis Ink ha lavorato direttamente con SJL Lighting per quanto riguarda tutte le installazioni, tra cui una parete a schermo LED, l’illuminazione della pista da ballo e un’altra parete a schermo LED per rendere l’ingresso avvolgente. Altrove, Sound Investment ha assistito con l’installazione audio, che ha portato a un sistema audio Funktion One in uso nell’area di fascia alta. “Questo è un progetto incredibilmente speciale per noi perché è proprio in casa nostra, letteralmente a pochi passi dal nostro ufficio”, ha detto Davis. “Il progetto ci offre una splendida opportunità di fornire qualcosa di fantastico per la gente di Orange County”.

ESPAÑOL A Time Nightclub, que se encuentra en el Condado Orange, California, se le ha dado una nueva ambientación con una ambiciosa instalación de iluminación y audio, así como un diseño interior completamente único. Davis Ink, una empresa de diseño de interiores líder en el Sur de California, responsable de algunas de las más exclusivas discotecas, trabajó en el proyecto en Time Nightclub. “Queríamos crear un ambiente que levantase y superase las expectativas de nuestro cliente, así como de nuestra comunidad”, declaró Davis Krumins de Davis Ink. “Un lugar que permanezca vigente por un largo tiempo.” Para la iluminación, Davis Ink trabajó directamente con SJL Lighting en todo lo relacionado con los artefactos, incluyendo una pared de pantalla LED, la iluminación de la pista de baile y otra pared de pantalla LED para una entrada envolvente. En otro sitio, Sound Investment asistió con la instalación de audio la cual resultó en un sistema de sonido Funktion One que se utilizó en el lugar que es de primera categoría. “Este es un proyecto increíblemente especial para nosotros ya que se encuentra propiamente en nuestro patio trasero, a una distancia que se recorre literalmente a pie desde nuestra oficina”, dijo Davis. “El proyecto nos ofrece una maravillosa oportunidad de ofrecer algo fantástico para la gente del Condado Orange.”

leverage with customers and promoters. “It helps the venue to stand out. With the Funktion-One system and the acoustic treatment, it sounds amazing in there.” The audio system was paired with a range of Full Fat Audio amplifiers - FFA-6004’s, FFA-6000’s, FFA-10000’s and FFA-4004’s along with a Yamaha mixing console that was already at the venue, ensuring that the sound was ideal for Time. Overall, the project at Time hits every aspect that guests could possibly want from a nightclub, with an incredible

interior design, spectacular lighting and exceptional sound. With all that in place, it’s no surprise that the club has been a huge hit in Orange County. “We wanted to create an environment that will stand up to and surpass the expectations of our client, as well as our community,” stated Davis. “A place that will remain relevant for a long period of time.” It’s clear that they have achieved just that with Time.

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d3 Technologies stages Xi’an Incident at the Yaoguang Pavilion Theatre.

The Shaanxi Tourism Group employed a range of modern technology to stage Xi’an Incident, marking the 80th anniversary of one of the turning points in the Chinese Civil War. The production used the most advanced lighting, sound, automation and multimedia mapping technologies to create an immersive viewing experience for audiences. Three d3 4x4pro media servers powered an extensive array of laser projectors and LED screens. The 60-minute performance was held at Yaoguang Pavilion Theatre, in Xi’an Huaqing Palace, the location of the historical incident, which led the opposing parties in the Chinese Civil War to form a united front against invading Japanese forces. Xi’an Incident reunited the Shaanxi Tourism Group and renowned director Li Hanzhong, who previously collaborated on the successful production, Everlasting Regret. Redline, a d3 reseller in China, provided three d3 4x4pros, with 48 DVI

outputs, to feed 36 projectors and 16 LEDs. “d3 provided access to control multiple show devices simultaneously; since it supports open interface and protocol it is compatible with many third-party systems,” explained Hu Jingfeng from Redline’s d3 support team.   He continued: “d3 is more than just a visualiser - it’s a realtime stage simulator. d3 Designer software provides the stage designer with a real 3D stage environment simulating the lighting, video and space along with timeline editing. With the freedom to move around within the virtual space, it gives the designer a real sense of the space and how different elements interact with each other.” Specifically, to accommodate high-quality visual effects during the performance, the d3 support team “created 100% of the set design inside the d3 software in the preproduction process, including the stage, projection surfaces, projectors, and lighting,” said Hu. “During the implementation period, there was constant communication between stage design, lighting,


automation, projection and the video content creation departments to ensure a smooth integration of the various aspects of the production.” Ma Gong, a technician at the Yaoguang Pavilion Theatre and the show’s d3 operator, reported: “The director’s team was impressed by d3’s previs feature. All the design was simulated in a 3D realtime stage, truly achieving what you see is what you get. “d3’s content mapping was very flexible, allowing for easy realtime modification to the content. The adjustments on the feed output, such as cropping, moving, scaling, rotating and flipping, saved us a huge amount of time. “d3’s well-rounded features, especially the ability to connect with many different types of control panels. There are still many d3 features that we need to discover and study, so that we can better equip ourselves for future projects. We definitely will recommend it to other users.” Hank Liu, Redline’s Technical Manager, said that d3’s QuickCal feature

“helped calibrate the projectors in a very short amount of time and the surface mapping was very accurate. The production used an audio console, which sent out LTC. With timecode sync within d3, the director had full confidence that the audio and video would be synchronized every time.” “From hardware to software, high level to detailed operation, Redline provided us with very clear, thoughtful and comprehensive d3 technical support,” continued Ma Gong. “We learned the basic operation and application, but if there were any problems we couldn’t solve Redline engineers helped us communicate with d3’s technical support team. We felt very well supported.” Stage design for Xi’an Incident was carried out by Feng Lei of Beijing Fire Salamander Culture Development Co., Ltd. Content was produced by Beijing Blackbow Creative Design Institution Co., Ltd. At Redline, the d3 support team included Steve Liu, Wang Tianxin and Hu Jinfeng.



The new $1.5b International Convention Centre Sydney is open. It’s a monster audiovisual job. Christopher Holder took the exclusive tour.

Priorities have changed. Go back 10 years and ask any SCEC exhibitor what their highest priorities were and at the top of the list would be clean toilets, closely followed by fresh sandwiches. Ask those same exhibitors today and, while good food remains high on the list, another answer is always, always on the tip of their tongue: technology - audiovisual technology and ICT. Okay, if we’re going to be more specific, the answer is Wi-Fi. But the point remains, exhibitors and showgoers want to be connected - seamlessly connected - to their normal array of contacts and social media; to other attendees; and to other exhibitors. So, just to calm the nerves, let’s cover Wi-Fi in the new International Convention Centre Sydney - there are 1,000 access points. Next up, let’s find out what those WAPs are plumbed into a 10Gbit network. There’s fibre between the decentralised rack rooms and then Cat7 from the racks to the meeting rooms and data pits in a ‘wheel and spoke’ arrangement.

Photos supplied by ICC, Sydney


• Above If ICC Sydney Theatre is an electroacoustic thoroughbred, then the second largest theatre in the complex, the Darling Harbour Theatre, allows a greater emphasis on good looks. It’s a stunning looking venue, thanks to the work of ICC Sydney architects Hassell + Populous.

The rack rooms are generously proportioned… capacious even; and are strategically positioned to ensure even Cat7 cable runs, including the rooms above and below. And the other big question you want answered? Yes, it’s a converged network. audiovisual shares the same pipe as ICT. Except for some point-to-point HDBaseT video that runs to and from meeting rooms to Crestron DM switches. “We determined during the design stage, two years ago, that we couldn’t risk going with an IP-based live presentation video system - the technology hadn’t been proven in any other major project we could point to at that time. IP was, and is, not the answer for everything in video.” That’s the Principal Audiovisual Consultant, Mark Shaw talking. For three-anda-half years he was with Audio Systems Logic (ASL), devoting his professional life and, I’m guessing, a significant chunk of his personal life to the $1.5b ICC Sydney build. He mentions the ‘design stage’…

there were two. Design Stage 1 (DS1) provided the building blocks while the audiovisual Design Stage 2 (DS2) was the big one; the document to lean on throughout the build process, and, in fact, is still being referred to. ASL and Mark were responsible for the drafting of both. DS1 saw significant input from James Galloway, and DS2, large input from James Moutafidis and Aleksandra Deren. All done under the eye of Director, Simon Lappas. Mark Shaw has the demeanour of a man whose world has revolved around ‘process’ for nearly four years and how the only way to ensure the successful delivery of the result documented in DS2 was to diligently, assiduously adhere to process. The big winners out of ICC Sydney are d&b audiotechnik, with large quantities of V and T Series loudspeakers systems in the theatres; Crestron, with all the HDBaseT video switching via DM frames; Pansonic projection; ACA Cotag Media that runs the ‘smart building’

aspects of ICC Sydney; Shure, with its new MX wireless; DiGiCo consoles; and Jands, which took care of all the staging, lighting, rigging, drapery, and lighting control. But arguably the real star of ICC Sydney audiovisual show is QSC. QSC got its foot firmly in the door thanks to Q-SYS. A huge site using a converged network? There was no argument from anyone - Q-SYS was a unanimous choice. From there, it wasn’t difficult to countenance the use of QSC’s highly regarded networked multi-channel amplifiers and its Acoustic Design Series in-ceiling loudspeakers. It’s a monumental account for QSC. And it all started with acknowledgement that audiovisual would share the data network. “Knowing it would be a converged network didn’t concern me,” recalled Mark. “This is a large project but it’s not a complex network. The topology of the ICC Sydney buildings is massive. There’s a 10Gbit fibre backbone, there’s redundant fibre running to every single switch

ICC SYDNEY THEATRE The ICC Sydney Theatre is immense. Not only does it host significant conference plenary sessions it also supersedes the role of the Sydney Entertainment Centre - few tears were shed when the wrecking ball hit the SEC. The space adheres to the key ICC Sydney tenets of multiuse and ease of set up/break down. In a few short months since its debut, ICC Sydney Theatre has played host to Keith Urban, PJ Harvey, Nick Cave, a tennis Fast Four match, and, of course, a plenary session or two. Head of Audiovisual Services, Brian Nash said: “All of our theatres have an advanced broadcast and technical panel infrastructure. From OB truck, to control rooms, to FOH positions to stage sides, to the catwalk level, there’s a massive infrastructure, some 650km of cable just in the technical plates alone.” The wall plates carry SDI and SMPTE 311M for video, a structured Cat cable, fibre, as well as traditional audio tielines. To distinguish the audiovisual cabling in and between the theatres, they’re all colour-coded purple. If for whatever reason, cables are inadvertently cut, the purple hue of the cabling will signal ‘Danger Will Robinson!’ for Brian and his team. There’s a retractable tier of seating at floor level, that raises the capacity to a maximum of 9,000 people when deployed. In its plenary mode, often a conference will feature a large (14-metres - 20-metres) edge-blended backdrop on stage and two large screens either side of the proscenium for IMAG. Two 20K Panasonic projectors take care of that task. From a PA perspective, the brief was for the house system to be capable of managing the sound for at least 70% of booked events. The full gamut of theatre events will take in large-scale concert touring acts which will simply want to know where the loading dock is, the location of the power and the rigging points. Others, such as the DJ during the Fast Four exhibition tennis event will happily plug straight into the house rig without additional sound reinforcement. Still others will bump in the main left/right rig and hire the house side hangs and delays. ASL Audiovisual Consultant, Mark Shaw said: “ICC Sydney Theatre was designed to be a thoroughbred auditorium for amplified sound. It needed to be very absorbent and super-easy to use. The electroacoustic modelling we did back in 2013 included the carpet and seats; we modelled it two- thirds full, we modelled the wall panels, the entire soffit insulation, the plant room insulation, the stage drapes, the under balcony treatment, and in reality the theatre is almost exactly as modelled by ASL. The STIs are the same. Normally there will be a litany of alterations during the design and build process. Not so with the theatre: it’s a true multifunctional theatre and from day one the design has not changed.” The DS2 specified a d&b V Series PA with d&b amplification and touring carts so the rig can be quickly deployed or removed. According to Brian, the full house PA can be rigged and ready in under three hours. SFJV and d&b audiotechnik measured the theatre’s sound from 96 different locations. The State brief mandated 105dB ±10dB for every seat and a speech intelligibility metric of at least 0.5. Thanks to a well-designed venue - acoustically and electroacoustically - the theatre boasts an STI of 0.7-0.8 throughout, even under the balconies. Audiovisual Director, Nick Orsatti said: “Credit should go to Lendlease, Jerome Johnson in particular, in having the wisdom to listen and act on ASL’s - Simon Lappas - in particular) advice on getting the room right. I think as an industry it’s good to acknowledge when the client/builder understands the importance of these details.

• Above The ICC Sydney Theatre.

in the whole venue. If we were to run a separate audiovisual network you’d have twice the maintenance, twice the cabling, twice the hardware and staff. A converged network was the only practical approach.” As mentioned, the fibre links the machine rooms, with Cat7 feeding meeting rooms and other floor boxes which are designed in clusters across floors of the building. Having this ‘wheel and spoke’ approach certainly made commissioning easier than working with a super control room sending fibre out to every meeting room - chunks of the building could be completed without impacting on the rest of the venue. There was also an operational advantage to grouping the meeting rooms, according to Head of Audiovisual Services, Brian Nash said: “There’s a feeling of intimacy rather than being a massive building. Smaller events are crucial to us, and ICC Sydney is grouped such that you can have your plenary session in an appropriately sized theatre [the largest accommodates 8000+ delegates, down to the 1000-cap Pyrmont Theatre] with the requisite complement of meeting rooms for that session. We cater for different sizes and it works.” The Lendlease Technology Division had a man on staff for the duration - ICT Project Director, Darren Page - to help ensure everyone played nicely


on the network. “That’s how important it was,” observed Mark. “As far as services go in the building, audiovisual is by far the largest network dependency, which is why Darren and I basically shared a desk for 12 months!” The network is futureproofed as much as it can be. “You do what you can with the technology you have. We have a super-fast 10Gb network backbone using Cisco hardware installed by Telstra. The unknown is how much of the network will be occupied by wi-fi in the future,” he continued. Brian Nash nods in furious agreement: “We’re aware of the incredible demand for Wi-Fi and we believe our robust backbone means we are more than ready for it.” Fredon Technology was the audiovisual integrator, led by Director, Nick Orsatti. Being on the front line, installing and commissioning the audiovisual, more than anyone it was Nick and his team who became intimately acquainted with the advantages of Q-SYS. Nick said: “Early on, the advan-

tages of adopting Q-SYS was all about a robustness for the operator - getting a mic to an amplifier to a loudspeaker, that couldn’t be inadvertently re-routed or otherwise intercepted. Q-SYS was the only choice really. “We use Shure MX wireless in the meeting rooms. MX has Dante capability, Q-SYS has Dante capability, all that’s there, but we have analogue outputs from the MX receivers feeding into Q-SYS inputs that feed into QLAN. That way someone can’t come in with a Dante controller and decide to re-route audio or record it. So the Dante layer is there for the operators’ use, but we’re not reliant on Dante for paging to the foyers.” Mark added: “The horsepower of a single Q-SYS core - its single I/O count and processing speed - is unbeatable in a venue this large. I’ve not dealt with a venue with the sheer quantity of ICC Sydney’s I/O, and we’ve explored the limits of the Q-SYS Core’s capacity, and it’s working well. Nick furthered: That processing grunt has meant Q-SYS can take care of

WHO’S WHO AEG OGDEN: Venue Operators of ICC Sydney NSW STATE GOVERNMENT: The Owner/Client AUDIO SYSTEMS LOGIC: The audiovisual consultant led by Mark Shaw who was full time on the project for three and half years. DARLING HARBOUR LIVE (DHL): The delivery partners. DHL is a consortium of Lendlease, Hostplus, First State Super, Capella Capital, AEG Ogden & Spotless FM. Lendlease Technology department also provided support for the ICT design. STOWE FREDON JOINT VENTURE (SFJV): Formed for the project to be the key electrical, data and audiovisual contractor. PROJECT ARCHITECTS: Hassell + Populous AEG OGDEN TECHNICAL ARCHITECT: Gary Thomas HEAD OF AUDIOVISUAL SERVICES: Brian Nash ASL AUDIOVISUAL CONSULTANT: Mark Shaw AUDIOVISUAL PROJECT DIRECTOR: Nick Orsatti SFJV PROJECT DIRECTOR: John Brumec AUDIOVISUAL PROJECT MANAGER: Justin Anders AUDIOVISUAL LEAD ENGINEERS: Cameron Mitchell, Adrian Halstrom, Matt Thomson, Lucan Sinclair, Stephen Roberts LED: Toby Waley, Big Screen Projects


the the meeting room conferencing as well. The original brief from the State mandated the need for VC in every meeting room, which means we need echo cancellation in every meeting room. We’re unsure at this stage just how much conferencing is going to be done in the rooms, but regardless, Q-SYS can take care of the processing natively in software. I don’t need hardware dedicated inputs in the room. Mark explained: “Redundancy was another big factor in the decision. Each of the Q-SYS 1,100 cores has 256 ins and outs, and we have six cores, each with a redundant backup - 12 in total running the venue.” Nick said: “The simplicity of the redundancy capability was second to none. The way it’s configured, if a core fails it switches over automatically. Nothing else does it with that simplicity. “Coupled with the QSC networked amplifiers, we have full load monitoring. If a loudspeaker line is compromised, we have that monitoring capability right through the venue on every zone.” Q-SYS also deals with general paging - a zoned paging solution for the reception desks to the rooms - and distributed audio everywhere. Thanks to Q-SYS, it helped QSC secure the loudspeaker business as well. Mark continued: “The QSC AD Series of in-ceiling speakers have performed

ICC SYDNEY THEATRE PA The NAS Projects Team provided support during the commissioning phase. Gert Sanner from d&b audiotechnik HQ flew out for the commissioning as well. Dave Jacques, Head of the NAS projects team said: “The biggest part of our job was in the implementation; as the gear went in we worked with Fredon to help get the most out of the PA. It was a great experience in that regard: the Fredon team was very keen to get a good result. Sometimes there’s a temptation on behalf of the installer to knock something like this out and not worry too much about the detail. In this case everyone was very focussed on the detail. “The ICC Sydney Theatre PA is based on two large d&b audiotechnik V Series arrays per side. The side arrays aren’t much shorter than the main hangs, and this is down to just how large and wide the theatre is: you have to push a lot of energy to the sides to cover those areas. “The SPL targets of the brief were lofty. Fortunately, the design provided an adequate number of loudspeakers and wasn’t cut back at any stage, as is often the case - we needed a serious system to meet those targets (105dBA ±10dB with 10dB headroom). “We hit those SPL targets with something to spare. That was really nice to see in the flesh; to see that the modelling and the EASE data is trustworthy.” Along with the four speaker arrays the design encompasses a flown array of V-SUBs either side of stage. Flying, rather than stacking, the subwoofers was always going to be the preferred method, given the tiered design of the theatres. The long array of subwoofers provides greater pattern control and more efficiency in the far field. The sub array sits in behind the main hang and not so far from the side hang. The distances are such that the three arrays operate as one line source in the lower frequencies. Dave continued: “I’ve had feedback from people who have mixed in ICC Sydney Theatre and they’ve commented that they’ve looked at the space and looked at the arrays and thought ‘I’m going to need a pile of ground stacked subs’, but it’s not the case - it fills the space nicely. I was very pleased with the results - there’s an even full range feel. “Often the lower tier of seating will be retracted but when those seats are deployed, there are some additional V-SUBs in the inventory that can be groundstacked to fill in the nearfield. There are also a number of additional V Series array boxes that are positioned at stage level and shoot into the lower bowl. Sound for the stage level V array boxes are timed to arrive slightly earlier than the main arrays to pull the image down to the stage. d&b audiotechnik D80 amplifiers power the whole system. It’s effectively a touring system with touring amplifier racks, allowing for easy reconfiguration.”


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DIGITAL SIGNAGE & INTERACTIVE DISPLAYS The main public entry to the theatre building is lined with LED. Dubbed the Bird’s Mouth, there’s some 250 sq metres of LED intricately installed in and around the entrance way. The media and pixel mapping is managed by a Christie coolux server. A system of convention cooling helps the Bird’s Mouth to breathe, allowing hot air produced by the display to efficiently exhaust to ensure smooth operation. All up, there are 28 LED exterior screens throughout the precinct including the freestanding blade structures on the harbourside. A real highlight is a 100-metre-long artwall in Moriarty Walk. The digital artwork was commissioned by Rioji Ikeda. The aspect of the LED wall ensures it doesn’t receive any direct sunlight, and means the screens chug away at no more than 15% of its available brightness. Big Screen Projects was engaged as the digital signage installation specialists, headed up by Toby Waley. Nick Orsatti said: “Big Screen Projects’ live events expertise was instrumental to the success of the digital signage execution. They know how to build these structures in such a way that they can be easily serviced and managed. These aspects can be overlooked in a permanent installation, but can really bite you down the track if you’re not careful.”

well. Initially, the available product data gave me confidence. “We’ve modelled every PA zone, meeting room. Every space has been EASE modelled using the data from QSC and d&b audiotechnik, and we’ve found through our on-site measurements that the data has been extremely accurate. Which is not always the case with other manufacturers’ data. In fact, the QSC data right down the line has been very accurate: from the loudspeakers matched to the networked amplifier, speaking over the Q-SYS network… through to the brilliant Q-SYS whitepapers that we could provide to Telstra and Lendlease Technology, which helped them roll out the packets across the network. It’s been a very solid end-to-end solution.” You’d expect a consultant with ASL’s credentials to take its acoustic modelling and measurements seriously. But what was unexpected and heartening for a large project such as ICC Sydney was that the initial State brief took electroacoustics - the amplified sound of the venue - very seriously indeed. And as touched on by Mark, not just the showpiece plenary theatre but every space. Mark said: “Every hireable space was electroacoustically modelled. ASL’s Aleksandra Deren performed an enormous amount of EASE modelling. We factored in the room finishes, specified the loudspeaker model, the locations, specified the angles, and the acoustic treatment, all to be approved by the independent verifiers of the State then installed and tested.

TECHNICAL INFORMATION SOUND ICC THEATRE: 56 x d&b audiotechnik V8 loudspeaker; 18 x d&b audiotechnik V12 loudspeaker; 29 x d&b audiotechnik V-SUB subwoofer; 8 x d&b audiotechnik T10 loudspeaker; 6 x d&b audiotechnik Xt10 loudspeaker; 1 x DiGiCo SD10 console; 1 x DiGiCo SD8 console; 1 x DiGiCo SD11 console PYRMONT THEATRE: 30 x d&b audiotechnik T10 loudspeaker; 4 x d&b audiotechnik T-SUB subwoofer; 8 x d&b audiotechnik xS 4S loudspeaker; 2 x d&b audiotechnik V-SUB subwoofer; 1 x DiGiCo SD9 console DARLING HARBOUR THEATRE: 16 x d&b audiotechnik V8 loudspeaker; 4 x d&b audiotechnik V12 loudspeaker; 6 x d&b audiotechnik V-SUB subwoofer; 16 x d&b audiotechnik xS 8S loudspeaker; 2 x DiGiCo SD8 console; 1 x DiGiCo SD11 console GRAND BALLROOM: 12 x d&b audiotechnik V8 loudspeaker; 2 x d&b audiotechnik V12 loudspeaker; 6 x d&b audiotechnik V-SUB subwoofer VENUE WIDE: ClearCom FreeSpeak II comms systems LIGHTING & VISUAL ICC THEATRE: 12.2-metre x 6.8-metre screens; 20-metre x 6.8-metre screens; 20K Panasonic projectors and vision switching; Selecon fresnels; ETC Source Four profiles; Martin by Harman MAC Quantum profiles; PR Lighting XLED 3019 wash moving lights; Jands HPC12 dimmer racks and 48-way dimmer racks; Chroma Q LED batons; Robert Juliat Merlin followspots PYRMONT THEATRE: 6.1-metre x 3.3-metre centre screen; 20K Panasonic projector; Martin by Harman MAC Quantum profiles; Martin by Harman XLED 3019 wash moving lights; Jands HPC12 dimmer racks and 48-way dimmer racks; Chroma Q LED batons; Robert Juliat Horrigan followspots DARLING HARBOUR THEATRE: 9.1-metre x 4.9-metre motorised screen; 24-metre x 13.5-metre screens; 20K and 12K Panasonic projectors and vision switching; Selecon fresnels; ETC Source Four profiles; Martin by Harman MAC Quantum profiles; PR Lighting XLED 3019 wash moving lights; Jands HPC12 dimmer racks and 48-way dimmer racks; Chroma Q LED batons; Robert Juliat Merlin followspots GRAND BALLROOM: 5.5-metre x 3.1-metre projection surface; 12K Panasonic projectors; Selecon fresnels; ETC Source Four profiles; Martin by Harman MAC Quantum profiles; PR Lighting XLED 3019 wash moving lights; 200 x PR Lighting XLED3007 moving head; Jands HPC12 dimmer racks and 48-way dimmer racks VENUE WIDE: 200 x Movecat pluslite 1,000kg and 500kg chain motor; F34 and F54 three-metre trusses

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The level of detail in the specifications meant if the integrator proposed the use of an equivalent product they would have to remodel everything from scratch. The selection process was detailed and exhaustive. Every product was selected with a number of factors in mind - performance, aesthetics, EASE date, budget, and single vendor risk mitigation - and it was all decided on early in the piece.

Demolishing SCEC and starting again was a brave move. The brand new ICC Sydney had to be demonstrably superior to SCEC and indeed to any of the alternatives in Australia. MCEC won’t be panicking; it’s booked out for years to come. But being booked out isn’t necessarily the main game, it’s attracting the super-primo events. It’s the Bill Clinton keynote, the world congress of anaesthetists, the inter-

national launch of the next Tesla luxury coupe… The cachet of staging Australia’s highest profile events and concerts is significant. audiovisual has never been more crucial to the success of event production. Being seen and heard is obviously the baseline requirement, but now it’s just as important to ensure that the event buzz ripples through cyberspace.

QLAN NETWORK Ewan McDonald, Technical Audio Group’s Q-SYS System Sales Specialist, reflects on the task of ensuring audiovisual is given its best chance on the network. Ewan said: “The biggest issue we come across is getting the network guys to understand how important QoS is on the network. The way QLAN is set up, audio clock packets have the highest priority on the network, the actual audio packets, then the control packets. “Most network guys are just not used to QoS and managing multicast on the network. They’ll look at the bandwidth and think - well that doesn’t look like much - but don’t realise that there are 48,000 clock packets they need to get from end to end in 333 microseconds across the network. If the QoS is not set up properly and the multicast not managed properly on the network, then it can be a real problem.”

• Above Some of the measurements ASL took of ICC Sydney Theatre. The diagram shows the speaker positions while the plots show the all-important STI numbers and SPL coverage.

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Les priorités ont changé. Remontez 10 ans en arrière et demandez à n’importe quel exposant SCEC quelles étaient ses principales priorités et vous trouverez en tête de liste des toilettes propres et des sandwichs frais. Posez la question à ces mêmes exposants aujourd’hui et bien que la qualité de la nourriture reste importante, ils auront toujours une autre réponse sur le bout de la langue : la technologie, plus précisément la technologie audiovisuelle et l’infrastructure TIC - technologies de l’information et de la communication. D’accord, la réponse est « le Wi-Fi ». Donc, pour vous rassurer, disons tout de suite que le nouveau Centre international des congrès de Sydney (ICC) offre 1 000 points d’accès Wi-Fi. Si l’on va plus loin, l’on découvre que ces points sont branchés à un réseau de 10 Gbit. Je réponds immédiatement à votre autre grande question : « oui, c’est un réseau convergent et le système audiovisuel partage le même canal que les TIC. » Les grands gagnants à l’ICC de Sydney sont : d&b audiotechnik qui fournit de nombreux haut-parleurs des séries V et T pour les salles ; Crestron qui assure toutes les commutations HDBaseT des vidéos via des cadres DM ; Panasonic qui gère la projection ; ACA Cotag Media qui régente les aspects « intelligents » des installations du ICC de Sydney ; Shure qui propose son nouveau MX sans fil ; DiGiCo qui assure les consoles ; et finalement Jands qui s’occupe de la scène, de l’éclairage, des colonnes, du rideau et du contrôle de l’éclairage. Mais la vraie vedette du concept audiovisuel du centre des congrès est sans nul doute QSC. Le Centre international des congrès de Sydney (ICC) est exploité par AEG Ogden, le principal consultant audiovisuel du projet reste Audio Systems Logic et l’intégration audiovisuelle a été réalisée par Fredon.


Die Prioritäten haben sich verändert. Wurden die SCEC-Aussteller vor 10 Jahren nach ihren Prioritäten befragt, standen ganz oben auf der Liste saubere Toiletten und frische Sandwiches. Werden dieselben Aussteller heute befragt, so steht auch heute noch gutes Essen weit oben auf der Liste, doch erhält man vor allem eine Antwort: Technologie - AV Technologie und ICT. Okay, genauer gesagt lautet die Antwort WLAN. Lassen Sie uns also, um die Gemüter zu beruhigen, das neue International Convention Centre Sydney (ICC) mit WLAN abdecken: es gibt 1.000 Zugriffspunkte. Lassen Sie uns als nächstes herausfinden, an was diese WAPs angeschlossen sind: ein 10Gbit Netzwerk. Die nächste wichtige Frage? Ja, es handelt sich um ein konvergiertes Netzwerk. AV teilt mit ICT dieselbe Pfeife. Der große Gewinner von ICC Sydney sind d&b audiotechnik mit zahlreichen V und T Serien Lautsprechersystemen in den Theatern, Crestron mit der gesamten HDBaseT Videoumschaltung über DM Rahmen, Panasonic Projektierung, ACA Cotag Media für die intelligenten Gebäudeaspekte des ICC Sydney, Shure mit ihren neuen kabellosen MX DiGiCo Konsolen und Jands mit der Betreuung der gesamten Bühnen-, Rigging-, Vorhangs- und Beleuchtungssteuerung. Doch der eigentliche Star der ICC Sydney AV Show ist wohl QSC. ICC wird durch AEG Ogden betrieben, der größte audiovisuelle Berater für das Projekt war Audio Systems Logic und die audiovisuelle Integration wurde durch Fredon durchgeführt.


Le priorità sono cambiate. Se andando indietro di 10 anni avessimo chiesto a qualsiasi espositore SCEC quali fossero le loro priorità più importanti, in cima alla lista avremmo trovato servizi igienici puliti e panini freschi. Oggi invece, chiedendo a quegli stessi espositori, mentre il buon cibo rimane in cima alla lista, un’altra risposta che viene sempre fuori è: la tecnologia AV e ICT. Va bene, se dovessimo essere più precisi, la risposta sarebbe Wi-Fi. Così, tanto per distendere i nervi, cerchiamo di coprire l’argomento Wi-Fi nel nuovo Centro Congressi Internazionale di Sydney (ICC) in cui ci sono 1.000 punti di accesso. In seguito, cerchiamo di scoprire in cosa consistono queste WAP: una rete da 10 Gbit. E l’altra grande domanda alla quale volete una risposta? Sì, si tratta di una rete convergente in quanto AV condivide la lo stesso cavo ICT. I grandi vincitori all’ ICC Sydney sono d&b Audiotechnik, con grandi quantità di sistemi di altoparlanti V e T Series nei teatri; Crestron, con tutta la commutazione video HDBaseT tramite fotogrammi DM; proiezione Panasonic; ACA Cotag Media che gestisce gli aspetti dell’ “edificio intelligente” dell’ ICC Sydney; Shure, con il suo nuovo MX wireless; console DiGiCo; e Jands, che ha curato tutto l’allestimento, l’illuminazione, il montaggio, la tappezzeria e il controllo dell’illuminazione. Ma forse la vera star dello spettacolo AV dell’ ICC Sydney è QSC. ICC è gestito da AEG Ogden, il principale consulente di audiovisivi per il progetto è stato Audio Systems Logic e l’integrazione audiovisiva è stata effettuata da Fredon.


Las prioridades han cambiado. Piense en lo que fue hace 10 años y pregúntele a cualquier exhibidor SCEC cuáles eran sus principales prioridades, y al comienzo de la lista aparecerán: baños limpios y sándwiches frescos. Pregúntele a los mismos exhibidores hoy y verá que, mientras la buena comida permanece entre los primeros ítems de la lista, otra respuesta que siempre está en la punta de la lengua es: tecnología - tecnología AV e ICT. Ok, si fuese más específico la respuesta sería: Wi-Fi. Entonces, para calmar los nervios, cubramos Wi-Fi en el nuevo Centro Internacional de Convenciones de Sidney (ICC): existen 1.000 puntos de acceso. Siguiente, descubramos a qué están enganchados aquellos WAPs: a una red de 10Gbit. Y la otra gran pregunta que quiere que le respondan? Sí, es una red convergente. AV comparte la misma tubería que ICT. Los grandes ganadores fuera de ICC Sydney son: d&b audiotechnik, con grandes cantidades de sistemas de parlantes Series V y T en los teatros; Creston, con todos los marcos interruptores de video HDBaseT vía DM; Proyección Panasonic; ACA Cotag Media, que ejecuta los aspectos inteligentes del edificio de ICC Sydney; Shure, con su nuevo inalámbrico MX; consolas DiGiCo; y Jands, que se hicieron cargo de todo el control de escenarios, montaje, cortinaje e iluminación. Pero se puede decir que la verdadera estrella de la muestra AV de ICC Sydney es QSC. ICC es dirigida por AEG Ogden; la principal consultora audiovisual para el proyecto fue Audio Systems Logic. La integración audiovisual fue llevada a cabo por Fredon.

ICC Sydney showcases the audiovisual state of the art. It’s a posterboy for making good on the ‘convergence promise’. Fascinatingly, convergence didn’t require a blindfolded step off the cliff in faith, nor did it see a bunch of traditional audiovisual roles being fulfilled by IT professionals with no deep knowledge of audiovisual. Success is reliant on product vendors who understand ICT constraints and ensure their product suite works within that framework, and system specifiers

and integrators that share the same deep knowledge of both audiovisual and IT, and have the knowledge and experience to design and implement them to meet the client’s requirements. A truly landmark project provides an audiovisual milestone - a yardstick for the industry. In 2017, ICC Sydney is that audiovisual monument.

Text by Christopher Holder,

STANDING UP FOR THE PRESENTER: THE SMART LECTERNS Mark Shaw and Nick Orsatti have reflected on the fact that ICC Sydney is one of those ‘once in a lifetime projects’ and there are many reasons to bask in some professional pride. Interestingly, it was the ICC Sydney lectern design that rates highly as something they’re most pleased with. Nick said: “The design was a real team effort. The lecterns had to look great, be functionally very capable and reflect the needs of a contemporary BYOD client.” Mark added: “Think of it as a portable equipment rack for the room, housed in an architecturally designed smart lectern.” In other words it’s a supersmart, custom-made, oak- clad, 19-inch rack housing. Nick continued:“On the low-tech side, there’s space for two A4 pieces of paper, a glass of water, and somewhere to put a laptop (conspicuously on top or tucked away), and a USB port for somewhere to plug in a device. “There’s a built-in NUC-style computer, networked back to as a presenters’ preparation area, which means they can test their presentation and put it on the network ready to pick up when they’re in the meeting room. Or they can bring in a USB stick or plug in their own laptop. “Audio is all wireless. Using Shure MX Series, operating in the 2.4GHz range. They’re network based and operate outside the traditional wireless spectrum, which has advantages. There are a number of wireless mic scenarios catered to. We can provide a lectern mic, a lapel or both. There are racks for two wireless channels, four channels or eight. A generic tablet running Crestron X Panel software provides easy control for the presenter. “For the theatre lecterns the fascia can accommodate a display for dynamic branding. With it sitting on the network it’s simply another IPTV end point. “All that’s within the lectern and plugs into the floorbox via a power lead, and two Cat cables - one for the Crestron HDBaseT DM video and the other for everything else. The set up provides flexibility in terms of how large or sophisticated the presentation is and how self sufficient the presenter is. Brian Nash concluded: “The events will have presenters of varying technical proficiency. One presenter might be happy muting their own mics and won’t need an operator. Others will need an operator. In that case we can grab the mic kit and connect to a floor box at the back of the room. The video input can be plugged into the back of the room as well. “The rooms sound good and the smaller one in particular won’t always need sound reinforcement. If you remove the cart from the lectern you still have the video capabilities available.”



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In a relatively short space of time, One Systems Global, based in Bangkok, Thailand - which is the same group of companies as One Systems and P Audio - has made a name for itself in the South East Asia region. It now regards itself in the top three solution providers in Thailand, capable of offering a one-stop-shop for professional audio and lighting distribution and system integration. One Systems Global is building up quite a portfolio, primarily in the hospitality sector, mondo*dr takes a look at the installation timeline.


Back before the turn of the millennium, a trio of businessmen - with Khun Supoj Theerawattanachait at the helm - came up with an ‘East meets West’ concept in the form of a Thai-German Microbrewery. Opening its first outlet in Bangkok in 1999, Tawandang German Brewery has gone from strength to strength and now

has three branches in Thailand, as well as one in Singapore, Cambodia and one in Sydney, Australia. The newest Tawandang - which brews its own beers - in Thailand is located in Chaengwattana and it is at this point that One Systems Global enter the story. The popular live music venue is open seven


days a week from 5pm through to 2am, and welcomes guests with food, drink and cabaret-style performances. It has a capacity of 2,000 seated, as well as seven VIP rooms. One Systems Global was given a tip off that the owners were looking to open a new branch, and so made contact, which led to invitation to demo a system. “It was a strict process,” said One Systems Global COO, Alfonso Martin. “We were invited to present a demo in one of the existing Tawandang spaces, as it was similar in size to the new space. We had quite an audience - the owners, the purchase manager and the waiting staff - to judge the performance of the sound system.” In preparation for the demo, Alfonso and his team visited the venue on a few occasions to determine how far they generally push the system and to assess the levels and dynamic range of the venue. Finally, he carried out some simulations to distinguish the peak levels and once equipped with all the information, Alfonso was able to specify d&b audiotechnik’s Y Series as the best solution for the job. “Normally, in venues like this in Thailand, the music is played very loud, but not here, the owners care about looking after the sound quality. We set everything up using the d&b ArrayCalc simulation software, installing six Yi8 and two Yi12 as downfill per side and eight J-SUBs. However, the final system ended up with B2-SUBs, mainly due to budget, but also because there wasn’t really a need for a cardioid subwoofer when they were being installed under the stage, next to a

concrete wall,” Alfonso continued. The chosen system was installed at the Chaengwattana branch three weeks ahead of opening so there was plenty of time for tuning. “Some of the boxes were a couple of degrees out, so we corrected that to ensure the balcony area was receiving full coverage. We also added two d&b audiotechnik E12’s for delays, as well as four M6 stage monitors,” he added. The main system is powered by a d&b audiotechnik D80 amplifier, while the subwoofers, monitors and fills run on a D20. “Obviously, it’s a digital system, but we have an analogue back-up, and the amplifiers can switch easily if any failure in the digital signal occurs.” The owners wanted one supplier for the job, so Alfonso selected a mixing console for the venue. He opted for an Allen & Heath iLive system comprising a T-112 for FOH and a T-80 for stage monitoring, which sits alongside IDR-64 and IDR-16 matrix mixers. “Everything runs on Dante, and we have a Dante redundant system, as well as an analogue back-up too,” said Alfonso. An Ashly SP4.8 processer completes the audio lineup, distributing signal across all seven VIP rooms, installed with Mackie’s and P-Audio’s point sources as background systems. A simple lighting system was also installed by One Systems Global at Tawandang, it comprises a selection of PARs, moving heads and theatrical fixtures from Chinese lighting brand, ACME, which are controlled via an Avolites Tiger Touch console.

“Normally, in venues like this in Thailand, the music is played very loud, but not here, the owners care about looking after the sound quality.”

TECHNICAL INFORMATION SOUND 16 x d&b audiotechnik Y Series loudspeaker; 8 x d&b audiotechnik B2-SUB subwoofer; 4 x d&b audiotechnik E12 loudspeaker; 4 x d&b audiotechnik M6 monitor; 1 x d&b audiotechnik D80 amplifier; 1 x d&b audiotechnik D20 amplifier; 2 x Allen & Heath iLive T-112 console; 1 x Allen & Heath iLive T-80 console; 1 x Allen & Heath IDR-16 matrix mixer; 1 x Allen & Heath IDR-64 matrix mixer; 1 x Ashly SP4.8 processor LIGHTING ACME moving heads, PARs and theatrical fixtures; 1 x Avolites Tiger Touch console



The Slim Group have been in the nightlife business for a long time, and One Systems Global tracked their work for a number of years, prior to establishing a relationship. Being well-known for operating high-end nightclubs, the owner of Slim Group travelled to Shanghai to research his next project, and upon his return he approached One Systems Global after finding d&b audiotechnik installed in almost every club he visited. “We had been keeping an eye on Slim Group projects for about three years,” said Alfonso. “We wanted to work with them because they are a successful brand here in Thailand. However, in the end, they came to us and we helped them to create ONYX, arguably Bangkok’s only super club.” The 1,500-2,000-capacity venue - which houses a main room with central DJ booth and a VIP balcony - welcomes international EDM DJs regularly, so the new sound system had to be rider friendly.

• Above ONYX welcomes international EDM DJs regularly.

“We came onboard quite early in the design phase so they gave us the freedom to design a suitable sound system. We drew up a number of options including a Y Series line array system and two V Series systems - one point source and the other a line array system - and all were accompanied by B2-SUB subwoofers. We demoed all three systems in one day and they favoured the V Series, but due to budget reasons, opted for the Y Series. All were more than capable of providing ample coverage for the main room and

balcony,” Alfonso continued. A couple of months after opening the club, the owners decided to upgrade the system to the V Series. Although there was plenty of power in the Y Series, there wasn’t a lot of headroom, so Alfonso and his team made the transition and now the V Series system runs at just 70-75% of its capacity, giving the owners peace of mind. With the upgrade two further B2-SUBs were also added. “The challenge was to help the owners control the power of the system once it was upgraded,” said

TECHNICAL INFORMATION SOUND d&b audiotechnik V Series loudspeakers; 6 x d&b audiotechnik V-SUB subwoofer; 1 x d&b audiotechnik D80 amplifier; 1 x d&b audiotechnik 30D amplifier; d&b audiotechnik’s R1 remote control software

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“We came onboard quite early in the design phase so they gave us the freedom to design a suitable sound system.”

Alfonso. “We tweaked the EQ and levels of the system to make sure it didn’t blow any ear drums!” d&b audiotechnik’s D80 amplifiers are used for the main PA, while the subwoofers are powered by a 30D. The PA was tuned using a SysTune and Room Capture software to ensure the best

sible outcome in the room, which didn’t receive any acoustical treatment before the installation. “When we added the extra subwoofers we felt we needed to clean up the low frequency to keep that punch you would expect,” said Alfonso. ONYX is also using d&b audiotechnik’s R1 remote control software for many of its events.



Signature is quite possibly one of the quickest deals in audio history, from the phone call to request the system to it being delivered, rigged and paid for was just a matter of hours. Located on the outskirts of Bangkok in the university area, which is naturally populated with students, and this makes up 80% of the club’s audience, Signature is a performance venue for Thai bands and DJs. “I got a call one day from a colleague, while I was eating lunch,” said Alfonso. “He told me we needed to carry out an onsite demo in the next two hours. Without knowing any details about the venue or the room, we loaded a couple of systems from our rental stock onto our truck and set off for the location.” One Systems Global rigged up a system, next to the existing one - which turned out to be fake – and once happy that he now had the genuine system, the owner rang the original installer, asked him to remove the fake system and issue a

• Above Allen & Heath’s dLive S5000.

refund, which he did. “They paid us for the new system, in cash, that night,” said Alfonso. A very rare occurrence, yet demonstrative of the customer’s satisfaction. Having not long completed the first installation at ONYX - with the d&b audiotechnik Y Series - Alfonso opted for a similar set-up at Signature, as although the room was a little smaller, he knew they would want to play the system loud due to the student audience. Six Y8 and two Y12 loudspeakers are installed either side of the stage, with B2-SUBs once again added for low frequency response. Signature is wider than ONYX so a couple of additional Y10P loudspeakers were added for outfills.

Outside on the terrace is a weatherised system from d&b audiotechnik, which comprises four 8S two-way loudspeakers complemented by two 12S-SUB subwoofers, while in the VIP room, which doubles as a private dining area is equipped with four 5S coaxial loudspeakers and another 12S-SUB bass enclosure. The whole system runs on D80 amplifiers with the exception of the terrace which is equipped with a D20. Mixing requirements are taken care of by an Allen & Heath dLive S5000, which features 20 faders over six layers, a 12-inch capacitive touchscreen and the innovative Harmony UI for a fast workflow.

TECHNICAL INFORMATION SOUND 12 x d&b audiotechnik Y8 loudspeaker; 4 x d&b audiotechnik Y12 loudspeaker; 2 x d&b audiotechnik Y1oP loudspeaker; d&b audiotechnik B2SUB subwoofers; 4 x d&b audiotechnik 8S loudspeaker; 4 x d&b audiotechnik 5S loudspeaker; 3 x d&b audiotechnik 12S-SUB subwoofer 1 x d&b audiotechnik D80 amplifier; 1 x d&b audiotechnik D20 amplifier; 1 x Allen & Heath S5000 mixing console



The Hard Rock Café (HRC) brand is known around the world as a casual dining and entertainment outlet, however, depending on the region the specifics are varied. In the APAC region, at least, the company aims to uphold a consistent standard across its venues, whether that be in audiovisual equipment, food and beverage or décor. A One Systems Global dealer provided a tip off that a new HRC was opening in Vientiane, Laos, so Alfonso and his team approached HRC, presented the One Systems Global brand and invited them to the showroom for a live demo of a system that would be ideal in the Laos branch. “A project manager attended the demo,” Alfonso explained. “But as his area of expertise didn’t lie in audio, but rather, he was there to uphold certain standards, he asked us plenty of questions about the audio set-up. We explained our choice of system, he saw the way we were designing and specifying, and in the end, he advised the owners to give us the contract.”

• Above The entrance to Hard Rock Cafe Chiang Mai.

A d&b audiotecnik xS Series system was chosen for Laos HRC with the 12SD loudspeakers being used for the main PA. Because the venue is quite wide a box with a wider dispersion was required. Four 18S subwoofers are also centrally placed under the stage. The wrap around balcony has been equipped with 4S and 5S loudspeakers as fills. Alfonso explained: “We didn’t want to detract sound from the main stage, so we tried to make the fill system act as an extension of the main system. We were able to tune it in

terms of gain and delay to keep the sound image focussed on the stage, but at the same time had direct sound for the balcony area.” Elsewhere the VIP rooms and the terrace were kitted out with P Audio Compact 6.4 and Gallardo loudspeakers. A d&b audiotechnik 30D amplifier drives the main system and a 10D amplifier looks after the delays. “We had to use quite a lot of channels for the individual fills because they are all in different positions, so I couldn’t link too many of them fills together in one amplifier channel,”

TECHNICAL INFORMATION SOUND VIENTIANE: d&b audiotechnik 12SD loudspeakers; 4 x d&b audiotechnik 18S-SUB subwoofer; 1 x d&b audiotechnik 10D amplifier; 1 x d&b audiotechnik 30D amplifier; P Audio Compact 6.4 loudspeakers; P Audio Gallardo loudspeakers; 2 x Ashly ne4400 processor; 1 x Allen & Heath GLD-80 CHIANG MAI: 2 x d&b audiotechnik E8 loudspeaker; 2 x d&b audiotechnik 18S-SUB subwoofer; 4 x d&b audiotechnik 5S loudspeaker; P Audio loudspeakers; 1 x Ashly ne8800 processor; 1 x Allen & Heath Qu-16 mixer YANGON: 2 x d&b audiotechnik 12S loudspeaker; 2 x d&b audiotechnik 8S loudspeaker; 4 x d&b audiotechnik 18S-SUB subwoofer; 1 x d&b audiotechnik 30D amplifier; Audac Vexo loudspeakers; Audac Baso loudspeakers; 4 x Audac WX 502 loudspeaker; 1 x Audac M2 control system




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said Alfonso. Two Ashly ne4400 processors with Dante cards sit at the core of the system, with signal routing going through the Protea software and a control surface on an iPad app, which makes the system very easy to operate. Presets for daytime, afternoon or live performances were built into the control interface at the time of installation. “An Allen & Heath GLD-80 with a Dante card receives the feeds from the stage, then there are two AB-168 racks on the stage feeding the GLD-80, which then feed back to the processors,” Alfonso explained. After completing the install in Laos, HRC invited One Systems Global to kit out a further four outlets. The first was in Mongolia. Alfonso travelled there himself and took on the complete audiovisual design and consultancy, as well as supervising the installation. He was then offered a branch in Georgia, but felt it was a little too far from the SEA region. The final two were closer to home in Chiang Mai and Yangon, Myanmar. The latter has just opened and is already setting a benchmark for sound quality in the country. “The Chiang Mai branch was challenging because of the layout,” said Alfonso. It

• Above Control via an iPad makes for a user-friendly interface.

was smaller than the other venues with a smaller stage and a very low ceiling height - just 2.8-metres. Two d&b audiotechnik E8’s had to be installed due to the space limitations, but they are ideal for the job. Two 18S-SUBs were flown in the centre of the stage higher than balcony heights in an unusual yet effective, architecturally and acoustically, system positioning for the region. These sit alongside four 5S loudspeakers on the balcony, and outdoors has, once again, been kitted out with P Audio cabinets. Control differs slighting in Chiang Mai too, this time using an Ashly ne8800 processor and an Allen & Heath Qu-16 mixer - which is compact yet has ample channels for the set-up. Both Laos and Chiang Mai have been equipped with a simple lighting package by One Systems Global too, they make use of ACME moving heads and PARs. Yangon in Myanmar was different again. Two d&b audiotechnik 12S two-way loudspeakers were installed alongside four 18S-SUBs and two 8S for delays, all of which run on a 30D amplifier. For the terrace and VIP rooms in Yangon, Alfonso specified Audac this time around.

“We had just started working with the company, so I was keen to try out the products in an install environment,” he said. Audac’s Vexo and Baso loudspeakers were chosen for the VIP rooms and four WX 502 for the outdoor terrace, as well as its M2 for control. “The wall-mounted panels - from the M2 system - are user-friendly and stylish. They feature volume control and a couple of inputs so the customers have full flexibility, they can plug in and control the individual VIP room.” Also, the Audac Touch iPad application provides the necessary flexibility and ease-of-use required for this kind of project. Although no other HRC projects are currently in the pipeline for One Systems Global, now that they have firmly established the relationship, Alfonso is confident that when the next opportunity arises, he and his team will be called back to take on the project. And because in Yangon, he was coordinating - but not supplying - the video switching system, the matrix system and the LED screen, which was a new aspect, One System Global really claim to be a one-stop-shop supplier.

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The ACT Center has been the subject of an ambitious project, with state-of-the-art technology providing a platform for art, design and culture.

The Arts and Creative Technology Center, also known as the ACT Center, based in Gwangju, South Korea is part of the Asian Culture Center (ACC) - one of the major cultural initiatives put in place by the Korean Ministry of Culture, Sports and Tourism. Located on the site of the former provincial government building, ACC hosts several institutions and facilities, including the ACT Center, the Research Institute for Asian Culture, Library & Archive, Center for Children, multiple theatres, and exhibition halls, and the â&#x20AC;&#x2DC;May 18 Memorialâ&#x20AC;&#x2122; event. The aim for the ACT Center is to create new forms of cultural content that merge creative arts and technologies, putting it at the forefront of global art, design and culture dialogue. The venue provides advanced equipment, creative labs, studios and residence programmes for for artists, designers, researchers, engineers and others who


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- the room is 70-metres by 30-metres with 18-metre ceilings. The President’s wish was to create a platform for artists, designers, engineers, and researchers to develop forward-thinking ideas, aiming for the ACT Center to become a multicultural interface that fosters knowledge and skill exchange between creatives in Asia and the rest of the world. “We proposed a state-of-the-art audiovisual immersive ‘canvas’ containing among other things, an immersive giant screen, a 3D spatial sound environment, and a multi-layer video mapping system capable of showing the biggest installations.” With such an impressive plan in place, the next step was for C2 to specify the technology that would suit the installation. “For immersive installations and exhibitions, we had to create an intelligent ceiling, equipped with chain motors, including audio, video and

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“For immersive installations and exhibitions, we had to create an intelligent ceiling, equipped with chain motors, including audio, video and network connections.”

• Above The aim for the ACT Center is to create new forms of cultural content that merge creative arts and technologies.

network connections. So, I designed a custom steel truss ceiling featuring 64 chain hoists and 64 digital cable reels, combined with CAT5E network cable reels with mercury wetted contacts. After many experiments, the mercury wetted contacts were found to be quite stable solutions,” Dongyup revealed. Movecat’s PLUSlite 500 Series chain hoists were selected as rigging hoists by the ACT Center, with C2 using them as its first choice when it comes to safe, reliable hoisting and positioning of trusses, stages, ground support structures and other devices used in media applications. All chain hoists are controlled by the Movecat’s I-Motion Expert-T II system controller, a highend product for the systemic control of kinetic drives in larger and complex projects. Developed for applications with up to 240 drives, it allows the control and supervision of any application, in the field of rigging. “In Korea, we apply Europe’s D8 Plus regulations, which require a double brake

system, double gear box, and a 1:10 safety factor,” explained Dongyup. For the immersive video that Dongyup had originally planned, the team at C2 selected the 4x4Pro flagship media server from d3 Technologies, which is able to drive up to four 4K outputs or 16 HD outputs, transfer content in minutes instead of hours, and switch video signal formats as the industry evolves. The media server is connected to 12 Panasonic PT-DZ21K projectors with a unique built-in quad-lamp system, including new high-power UHM lamps, helping to make the body extremely compact while providing 20,000 lumens of brightness. The series is compatible with both passive and active 3D projection systems. For the audio system, C2 selected a Sonic Emotion WAVE I 3D wave field synthesis rendering unit, which processes up to 32 input and up to 64 output channels, to help deliver the immersive audio experience that Dongyup had specified for the ACT Center. When it came to the


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“The technical solutions chosen by ACT ensure total flexibility and an astonishing audio quality, while surprisingly reducing overall cost and making expansion straightforward.”

loudspeakers, Amadeus were the right fit. So, C2 installed 74 Amadeus PMX 12 D loudspeakers, which feature built-in 24/96 DSP, and analogue, AES3 and Dante inputs; a coaxial driver with a 12inch woofer and a two-inch tweeter with compression driver. These loudspeakers are accompanied by 10 Amadeus ML 28 subwoofers. To power the audio system, three Lab.gruppen PLM 20000Q amplifiers have been used, too. “The piece de resistance within this installation was the loudspeaker system design. The requirements were practically unrealisable. The technical, networking and acoustical constraints pushed us to develop a new series of bi-powered and Dante-enabled point source loudspeakers, allowing remote control of each built-in DSP for an optimal adjustment to the acoustical properties of the listening space,” offered Gaetan Byk, Marketing Manager at Amadeus. “The Amadeus PMX D Series loudspeaker was born from creating the sound system for this installation by enhancing our original PMX loudspeaker design with these new technical capabilities.”

The end result impressed everyone involved in the install, including Dongypu, who said: “Amadeus has been an excellent partner for the ACT Center.” To complete the audio system at ACT Center, C2 specified a SSL Live L300 digital mixing console for the venue. Philippe Guerinet, Director of International Sales for SSL and SSL France Manager, discussed the installation of the L300 further: “There are several significant benefits that are key reasons to implement this network based routing solution. “Audio over IP allows us to put the stageboxes where needed, with minimal cabling, which in this complex exhibition hall setup is very important. And it easily lets us connect all kinds of Danteenabled gear: the Amadeus PMX D (Dante-enabled) loudspeaker systems; the SSL L300 console; the SSL Network I/O stageboxes; and every other ancillary equipment needed. “This network approach notably allows us to solve classic constraints, especially channel count, synchronisation, redundancy, latency, and signal distribution without adding any


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Le Centre Arts & Creative Technology (ACT) place Gwangju en Corée du Sud à l’avant-garde de l’art, du design et du dialogue culturel en accueillant tous les ans plusieurs organisations et programmes du monde entier. À la suite de la refonte technique, les évènements organisés sur les lieux profitent des toutes nouvelles enceintes Amadeus PMX 12 D, ainsi que d’une console de mixage SSL Live L300 qui complète le système de sonorisation. En ce qui concerne la vidéo immersive, un serveur média dernier cri 4x4 Pro de chez d3 Technologies est utilisé aux côtés de 12 projecteurs Panasonic PT-DZ21K. Des palans à chaîne PLUSlite 500 Series de chez Movecat ont été choisis pour assurer le levage et le positionnement sécurisé des treillis, de la scène, des structures de soutien au sol et d’autres procédés utilisés. Gaëtan Byk, responsable marketing chez Amadeus nous explique : « La pièce de résistance de cette installation était la conception du système d’enceintes. Les exigences étaient pratiquement irréalisables. Les contraintes techniques, réseaux et acoustiques nous ont donc poussés à développer une nouvelle série d’enceintes sources biamplifiées qui fonctionnent avec la technologie Dante, ce qui permet le contrôle à distance de chaque processeur DSP intégré et un ajustement optimal aux propriétés acoustiques de l’espace d’écoute. L’enceinte Amadeus PMX D Series est née du système sonore de cette installation ; de nouvelles caractéristiques techniques ont été rajoutées à notre conception originale de l’enceinte PMX. »


The Arts & Creative Technology (ACT) Centre, das Gwangju in Südkorea in den Vordergrund des allgemeinen Kunst-, Design und Kulturdialogs stellt, empfängt jedes Jahr verschiedene Institutionen und Einrichtungen. Um diese Events vor Ort zu verbessern, wurden für eine technische Umgestaltung Amadeus PMX 12 D Lautsprecher installiert, mit einem SSL Live L300 Mischpult als Ergänzung zum Soundsystem. Für immersive Videos wird zusammen mit 12 Panasonic PT-DZ21K Projektoren ein 4x4Pro Vorzeige-Medienserver von d3 Technologies benutzt. Zum sicheren und zuverlässigen Heben und Platzieren der Traversen, Bühnen-, Bodenabstützungsstrukturen und anderen verwendeten Technologien wurden PLUSlite 500 Serie Kettenzugsysteme von Movecat als Rigging-Hebezüge ausgewählt. Gaetan Byk, Marketing Manager von Amadeus, erklärte: „Das Kernstück dieser Installation war das Lautsprechersystemdesign. Die Anforderungen waren so gut wie nicht erfüllbar. Die Auflagen in Bezug auf Technik, Netzwerk und Akustik zwangen uns, eine neue Serie bivalent gepowerter und Dante-fähiger Pointsource Lautsprecher zu entwickeln; die eine Fernsteuerung von jedem eingebauten DSP zur optimalen Abstimmung an die akustischen Eigenschaften des Zuhörerbereichs ermöglichen Die Amadeus PMX D Serie Lautsprecher entstammen dem Soundsystem für diese Installation, indem unser ursprüngliches PMX Lautsprecherdesign mit diesen neuen technischen Fähigkeiten aufgerüstet wurde.”


L’ Arts & Creative Technology (ACT) Centre, che rende Gwangju il fautore, nella Corea del Sud, dell’arte, del design e della cultura globale, ospita diverse istituzioni e strutture ogni anno. Per contribuire a migliorare gli eventi che si svolgono presso la sede, c’è stato un rinnovamento tecnico che ha visto l’istallazione di altoparlanti Amadeus PMX 12 D, con un mixer SSL Live L300 che completa il sistema audio. Per rendere il sitema video più coinvolgente, è stato installato anche un media server di punta 4x4Pro della d3 Technologies, insieme a 12 proiettori Panasonic PT-DZ21K. Per la sicurezza, l’affidabilità nel sollevamento e nel posizionamento dei tralicci, dei palchi, delle strutture di supporto a terra e delle altre tecnologie utilizzate, sono stati selezionati dei paranchi a catena MOVECAT PLUSlite500 Series. Gaetan Byk, Marketing Manager di Amadeus, ha detto: “Il pezzo forte di questa installazione è stata la progettazione del sistema di altoparlanti, anche se i requisiti erano praticamente irrealizzabili. I limiti tecnici, acustici e di rete ci hanno spinto a sviluppare una nuova serie di altoparlanti a doppia alimentazione e di altoparlanti point source Dante-enabled, consentendo il controllo remoto di ciascun DSP incorporato per un adattamento ottimale dello spazio di ascolto alle proprietà acustiche. L’altoparlante Amadeus PMX D Series nasce dalla creazione del sistema audio per questa installazione, migliorando la progettazione del nostro altoparlante originale PMX con queste nuove funzionalità tecniche”.


El Centro de Artes y Tecnología Creativa (ACT), que ubica a Gwangju en Corea del Sur en la vanguardia del arte global, el diseño y la cultura, alberga a varias instituciones e instalaciones cada año. Para ayudar a mejorar los eventos que se llevan a cabo en el lugar, se ha realizado una modernización técnica instalando 12 parlantes Amadeus PMX 12 D con una consola SSL Live L300 completando así el sistema de sonido. Para el sistema de video de sumersión se utiliza un servidor media principal de d3 Technologies junto con 12 proyectores Panasonic PT-DZ21K. Para un posicionamiento y una elevación segura y confiable de las estructuras metálicas, escenarios, estructuras al piso y otras tecnologías utilizadas, se seleccionaron montacargas de cadena Serie PLUSlite 500 de Movecat’s como elevadores de montaje. Gaetan Byk, Gerente de Marketing de Amadeus, dijo: “La pieza de resistencia dentro de esta instalación fue el diseño del sistema de parlantes. Los requerimientos eran prácticamente irrealizables. Las restricciones técnicas, de conexión y acústicas nos empujaron a desarrollar una nueva serie de parlantes de fuente puntual bi-potenciados y habilitados para Dante permitiendo así el control remoto de cada DSP integrado para un ajuste óptimo de las propiedades acústicas del espacio donde se escucha el sonido. El parlante de la Serie PMX D de Amadeus nació de crear el sistema de sonido para esta instalación, resaltando nuestro diseño original del parlante PMX, con estas nuevas capacidades técnicas.”

traditional TDM solution. “Last but not least, the technical solutions chosen by ACT ensure total flexibility and an astonishing audio quality, while surprisingly reducing overall cost and making expansion straightforward as well as cost-effective,” added Philippe. “This studio-grade speaker system combined with the legendary sonic signature of SSL is a very good marriage, which makes listeners, attendees and artists very impressed,” concluded Dongyup. Despite being an ambitious project with

many varied challenges to consider, the end result is spectacular, with a state-ofthe-art, fully-immersive environment achieved through intelligent use of technology. The audio and visual elements complement each other perfectly, further enhancing the impact that the ACT Center has. In choosing this kind of technical overhaul, the ACT Center is now the ideal platform for producing unique cultural content through exchanges of knowledge, technology and the experiences of global creative artists.

TECHNICAL INFORMATION SOUND 74 x Amadeus PMX 12 D loudspeaker; 10 x Amadeus ML 28 subwoofer; 3 x Lab.gruppen PLM 20000Q amplifier; 1 x Sonic Emotion Wave I 3D wave software; 1 x SSL Live L300 digital mixing console VISUAL & RIGGING 64 x Movecat PLUSlite 500 Series chain hoists; 1 x Movecat I-Motion Expert-T II saystem controller; 1 x d3 4x4Pro media server; 12 x Panasonic PT-DZ21K projector



Playboy nightclub in Mumbai has been a year and a half in the making - with plenty of challenges along the way - however, the worldrenowned brand has finally opened is doors in the Indian city.

Operated by PB Lifestyle - an Indian subsidiary, which signed a license agreement with Playboy Enterprises Inc, USA - Playboy Mumbai has been kitted out with a sound system from Italian manufacturer, Outline and a lighting and effects inventory from Australian-based Sonicsss. The audio solution was designed by Acoustic Consultant Milind Raorane of Soundframe, who was brought in by Director of White Eagle Entertainment, Arun Kalra, who had already been awarded the audio contract. His brief was to deliver a pure nightclub experience combining heart-pumping bass and psychedelic mid-high frequencies. Milind explained further: â&#x20AC;&#x153;Based on the brief we analysed the room acoustics using various loudspeaker positions to identify the energy zones and phase response of the subwoofers and the tops. The kit was

See us at the following stands:

HALL 3: A44, C14, F31 HALL 5: B25

“I wanted a lighting concept that was interactive for Playboy Mumbai… Parag Sanghvi, the Chairman of PB Lifestyle and Natik Goyal were very accepting of my vision.”

then installed and time aligned accordingly. Very little PEQ and GEQ were required due to the inherent tonal perfection and the treated surfaces of club space.” In the main dancefloor area Milind specified eight Outline Butterfly C.H.D. line array cabinets, which are capable of midlow, mid and high frequency reproduction. The two hangs are supplement by four Outline DBS 18-2 high-efficiency subwoofers and the set-up is powered via four Outline T NINE amplifiers and two T ELEVEN amplifiers, while processing comes from a Lake LM26 controller. The VIP area uses a point source solution comprising six Outline Eidos X123 loudspeakers coupled with two White Acoustics WS218 subwoofers. “The space required considerable volume levels due to its long length and high ceiling,” continued Milind. “While this is good for a spatial/immersive effect, it also demands more power response from the loudspeakers over a larger distance. So the choice of selecting a short line array for the main floor and point sources for the VIP area accomplished this goal.” A further two Eidos X123 loudspeakers are deployed in the bar area; while a T FIVE amplifier, three Outline M5000-4 amplifiers, and three IP24 digital controllers have also been installed. To complete the audio line-up, a complement of Amate Audio loudspeakers KEY10’s and KEY15’s - and subwoofers - KEY15W and KEY18W - powered by six HD2000 amplifiers have been specified. When it came to lighting, PB Lifestyle was keen to emulate a Las Vegas style nightclub in Mumbai. Founder of Sonicsss - which designed, supplied and installed the lighting and effects - Dave Ward said: “I wanted a lighting concept that was interactive for Playboy Mumbai. Many years ago, I designed a club called Juliana’s in Tokyo, which had a central interactive chandelier and this project was intended as a tribute. However, I did enhance the design, tailoring it to the Indian audience. Parag Sanghvi, the Chairman of PB Lifestyle and Natik Goyal were very accepting of my vision.” The cylindrical LED 50 x 50 pixel chandelier, which is positioned over the dancefloor is mounted on a square-shaped truss attached to movable truss tracks that enables the structure to move backwards and forwards. The chandelier actually moves towards the DJ booth and tilts 45º creating a crown-like effect. The UFO has three rings that move independently up and down and the whole truss with lights and effect move horizontally and vertically. “Originally, the UFO structure was going to travel up and down over the VIP area only, however, we decided that with a little additional investment and minimal extra steel work, we could extend the tracks to go the entire length of the club, and make the UFO move laterally, as well as up and down,” Dave continued. In addition to the centrepiece, Sonicsss also supplied more than 150 of its own branded moving heads - spots and beams -



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as well as eight blinders, five smoke machines and two hazers. “As this club was over a year and a half in the making, I had ample time to manufacture, produce and ship all the lighting screens and effects to Mumbai from my factories in Guangzhou. We also had sufficient time to implement my design with the products.” The intelligent lighting and effects are all controlled via an MA Lighting grandMA console. In addition provided an architectural lighting design, consisting of track LEDs, RGB LEDs, RGBW LEDs all controlled

by DMX over the network. The club is heavily DJ-led and welcomes headline DJs on a regular basis. Dave and his team were also trusted with the design of the DJ booth. Two long truss arms were created adjacent to the DJ area, which house 10 Sonicsss SSS MADPANEL 251S moving heads, the CO2 effect machines, the blinders and two Sonicsss P50 LED curtains measuring 20 sq metres. The truss arms also encase two Sonicsss high definition LED screens, which complete the visual aesthetics of the club.


INSIDER INSIGHTS NAME: Dave Ward JOB TITLE: CEO/Founder Sonicsss LIKES ABOUT TECHNOLOGY: Ever expanding capabilities for the future, energy saving and longevity of products. DISLIKES ABOUT TECHNOLOGY: Wastefulness, toxicity, poor management of resources and non-recycling. THE NEXT BIG THING IN TECHNOLOGY WORLD: Nano Robotics.

SOUND 8 x Outline Butterfly C.H.D. line array cabinet; 4 x Outline DBS 18-2 subwoofer; 8 x Outline Eidos X123 loudspeaker; 2 x White Acoustics WS218 subwoofer; 2 x Amate Audio KEY15 loudspeaker; 2 x Amate Audio KEY10 loudspeaker; 1 x Amate Audio KEY15W subwoofer; 1 x Amate Audio KEY189W subwoofer; 4 x Outline T NINE amplifier; 2 x Outline T ELEVEN amplifier; 1 x Outline T FIVE amplifier; 3 x Outline M5000-4 amplifier; 3 x Amate Audio HD2000 amplifier; 3 x Outline IP24 digital controller; 1 x Lake LM26 controller LIGHTING, VISUAL & EFFECTS 48 x Sonicsss SSS MAX BEAM 50 LED moving head; 2 x Sonicsss SSS C4 MULTI BEAM moving head; 30 x Sonicsss SSS LEDSPOT 150 moving head; 32 x Sonicsss SSS LEDBEAM 150 moving head; 10 x Sonicsss SSS MADPANEL 251S moving head; 10 x Sonicsss SSS LED PAR 1604 RGB fixture; 4 x Sonicsss Wireless DMX transmitter;1 x MA Lighting grandMA console; 10 x Sonicsss SSS CO2 LED FXXX machine; 2 x Sonicsss SSS 330 FOG FXXX machine; 4 x Sonicsss SSS 800 PRO FOG FXXX machine; 4 x Sonicsss SSS HAZE 700 HAZE FXXX machine; 2 x Sonicsss SSS confetti cannons; 1 x Sonicsss SSS P4 indoor HD LED screen; 1 x Sonicsss SSS P9 indoor HD LED screen; 2 x Sonicsss P50 flexible LED curtain; 24 x Sonicsss SSS 500 wire hoist; 8 x Sonicsss SSS 1T trolley; 28 x Sonicsss wireless hoist control


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Available in two performance levels, the Audix Performance Series provides quality and feature options at a price point that is unmatched in the market today. Learn more at 503.682.6933 ©2017 Audix Corporation All Rights Reserved. Audix and the Audix Logo are trademarks of Audix Corporation.

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122 EX P O

• Tania Lesage and Geet Polifiet from AED distribution representing High End Systems

• Jacquie McHale Sjödin, Lars Sandlund and David Aleksandersen from Dataton

• Nacho Perez Borjabad (right) from Absen

• A busy Amphenol stand

• Chris Doss, new CEO of Audix

• Joshua Rush from Audinate



With the constant comparison between ISE and Prolight+Sound in Frankfurt more apparent than ever, and the two competing for the top spot on the traeshow calendar, all eyes were on ISE, as it takes place first, and in recent years has experienced growth in both size and popularity. Registered attendees for 2017 reached 73,413, with 15,662 of those being exhibitor personnel and the remaining 56,284 being visitors - 1,467 sit in an ‘other’ category - of which 22,733 were first time visitors. The overall attendees came from a staggering 117 countries. The figures continue with 1,192 exhibitors - 202 making their ISE debut - across 14 halls, representing 79 countries, and a total of 630 attendees from registered trade media.

• Edward Forth of Audio-Technica

Mike Blackman, Managing Director of Integrated Systems Events, reflected: “We listen to the industry and we listen to our exhibitors. We invest in the show and, importantly, we have the people in place to produce the type of exhibition that they tell us they need. It’s a real collaborative effort and I’d like to thank everyone that’s been involved.” SHOW HIGHLIGHTS Absen showcased the Absen HDV Series of UHD LED video walls, which have been designed to meet the ever-evolving needs of the market. The attractive and wire-free HDV Series is comprised of three models with pixel pitch ranging from 1.25mm for the HDV1.2 to 1.92mm for the

HDV1.9 A.C. Entertainment Technologies demonstrated the latest generation Chroma-Q Inspire, Color Force II and Color One 100X creative LED, and Space Force white LED which provide a truly immersive, seamlessly integrated lighting experience in range of venues. Other highlights included Traxon’s colour-changing Media Tube and Dot XL media string LED solutions. Adam Hall Group presented a comprehensive portfolio. LD Systems focussed on the U500 wireless conference system, while Cameo exhibited its Auro Series with two powerful LED moving heads - Auro Spot 300 and 400 - and for outdoor use, the Zenit P 130 and Zenit P 40. Gravity introduced new additions including the

• The team from In Music Brands representing Denon Professional

• Crestron’s Jeffrey Singer

123 EX P O

• Brian Galante and Reto Brader (VP of Sales) from Barix

• The d3 stand

• AV Stumpfl announced a new Japanese distribution partnership during the show

• The Bose team

• Ignacio Chuliá and Robert Giner from D.A.S. Audio

• The Alfalite team

• The Equipson stand

• Stephanie Vlegels (left) from Barco

• Leslie Ghekiere, Caroline Chauvet and Patrick McCumiskey from Chauvet

• Eric Loader from Elation

• The Clear-Com booth

• The EM Acoustics team

124 EX P O

• Alex Bryan (left) from Fenix Stage

• The Avolites team

• The Genelec press call

• Tim Shaxon, Jaap Pronk and James ‘Digger’ Bradley with the new SD12

• Mark Wadsworth of Digital Projection

straight microphone stands GMS 231 HB and GMS 431 HB. Highlights from the brand Palmer audio tools included the new active two-channel DI-Box Palmer Pro PAN 04 A and the eightchannel microphone splitter box Palmer Pro PRMMS 8. ADJ Lighting used ISE 2017 to introduce a vast selection of new lighting products including the Vizi Hybrid 16RX, Vizi Q Wash7, Vizi Hex Wash7, Vizi Beam RXONE, AV3, AV6X and Entourage. Alcons Audio demonstrated systems for both the home theatre and professional installation markets, cooperating with with other manufacturers such as Barco, DreamScreen, Trinnov and Astro Spatial Audio (ASA) to host

• The Kling & Freitag stand

demonstrations and seminars. Amina introduced a new generation of fully concealed loudspeakers, Edge 5 and Edge 7. This breakthrough technology delivers audio performance with efficiency of 93dB, 1W/1m (Edge 7). Harman Professional Solutions, introduced the AMX Acendo Core complete presentation solution for huddle spaces and small meeting environments. Atlona introduced Velocity, its all-new audiovisual system control platform for Atlona and third-party products in commercial audiovisual environments. It also presented the new Atlona Etude Sync (ATETU-SYNC) and AT-HDR-M2C, which resolve

• An extremely busy stand for Christie

• Monica Royo (right) of Ram Audio

• Tim Stokholm & Cat Shephard of ETC

126 EX P O

• Oliver Schwendke and Dejan Hajdukovic from GLP

audiovisual system design and installation issues frequently encountered with audio and video format compatibility, signal integrity, and EDID communication. AUDAC introduced the BASO18 to its passive bass cabinet series, which boasts an 18-inch lightweight woven carbon fibre speaker cone. Audinate revealed new Dante Domain Manager platform, a complete network management solution bringing enterprise-grade system administration to the audiovisual world. Audio-Technica showcased two new Danteenabled ceiling-mount microphone solutions, the ATND931 Dante six-inch gooseneck microphone and ATND933 Dante hanging microphone, as well as the first showing of the complete ATUC50 digital discussion system. AV Stumpfl presented a portfolio of products including, the Wings Engine 8K RAW Server, The Wings Engine Stage, UHD Player, MONOCLIP projection screen and the INLINE roll up screen. Avolites launched its powered up new range of Ai R Series media servers. The Ai R Series is Avolites’ most powerful range of media servers to

• Andreas Marx from HK Audio

date, and comprises the Ai Infinity R4, Ai Infinity R8, Ai Infinity Rx4 and Ai Infinity Rx8. beyerdynamic presented a new version of the TG 1000 digital wireless system. This 24-bit system now has a Dante interface and can be integrated seamlessly into digital audio networks based on the popular Audinate solution. Bose Professional introduced the new ControlSpace EX audio conferencing system which features connectivity for various types of audio conferencing, including USB, VoIP, PSTN, analogue, and phone headset audio. At the show, Christie occupied two stands. On the main stand, the company showcased a portfolio of products including solutions demonstrating the company’s pursuit of purposebuilt product development and best-fit system integration On the second stand, Christie and themed ‘Future AV’, presented three models in development; 3DLP RGB Laser, 3DLP Laser Phosphor and 1DLP Laser Phosphor. d&b audiotechnik invited guests to take part in interactive workstations on the stand, which guided guests through the streamline

• Music & Lights’ Fabio Sorabella, Silvia Iannicelli and Ermanno Valvason

• The FBT stand

• The Robe team in full force

• The Fohhn stand

• The HK Audio soundmakers

• The guys from Klotz Cables

Sisters of Saint Joseph of Carondelet Chapel, US


This isn’t about new loudspeakers. It’s about bass lovers and partygoers, sports supporters, music fans and absolute clarity connecting congregations; it’s about dynamic daily programs and tireless listening for everyone, every time. It‘s not about the new 24S/24S-D point source loudspeakers and 21S-SUB taking the performance of the installation specific d&b xS-Series to empowering new levels, in cabinets designed for easier aesthetic integration. It‘s about solutions tailor made to task: d&b amplifiers, software, and accessories, all perfectly integrated for highly efficient, versatile solutions.

Welcome to System reality. xS_2_EU(Mondo)_333x236_080217.indd 1

08/02/2017 15:52

• Doug McCallum (left) from One Systems

• Richard Fleming, Waring Hayes and Mark Bailey from XTA

• Sasha Kirchner and Siggi Ruff from LPS with mondo*dr’s Jamie Dixon

• Helen and John Meyer celebrating the Summer of Love

• Ben Sinclair from Lynx Pro Audio

• Hock Thang and Mark Ryals of Symetrix

d&b Workflow and demonstrated interoperability possibilities with third party system controls. For the first time, visitors were also able to see the company’s latest installation specific loudspeakers, the 24S and the 24S-D. Not only did d3 Technologies showcase its newest product - the 2x4 pro - alongside existing products, the d3 team also demonstrated how their global networks are using d3 for a dynamic range of projects, each exploring different scales and verticals. DiGiCo showcased the recently launched SD12, the console which marks the company’s 15th anniversary. DiGiGrid showcased its full range of desktop interfaces, including demonstrations working alongside its • Jerry Gilbert, Maureen Hayes and James King from Martin Audio

Pro Rackmount Range. Digital Projection launched five new innovate solid-state laser projection systems; the INSIGHT Dual Laser 27,000 lumen solid-state projector, HIGHlite 4K-UHD, Mercury Quad, M-Vision Laser 15K, E-Vision Laser 4K-UHD and the E-Vision Laser 10K DPA Microphones presented a range of high quality microphone products perfect for architects, audiovisual consultants, system integrators, which included elegant microphones for hanging, podium, table or floor stands, versatile bodyworn microphones and barely visible miniature microphones. ISE was the first opportunity for Elation to represent the ArKaos Pro product line, after the partnership • Mary Beth Henson and Stephane Ecalle from L-Acoustics

130 EX P O

• Justin Knox (right) from RGBlink

• The Moose Pro Audio team

• A busy Outline stand

between the two companies was announced. Elation is s now offering the complete ArKaos product line of software and media servers in several European countries. Electro-Voice showcased its range of X-Line Advance loudspeakers including the compact 12-inch vertical line-array X1-212/90, the higher-output X2-212/90, the dual-18-inch subwoofer X12-128 and the latest addition to its range the X12125F flying subwoofer. EM Acoustics launched its new ESP Series of compact, self-powered, multipurpose loudspeakers for a variety of live applications including the ESP-8 and ESP-12 loudspeakers, both with coaxial designs for true point-source performance, and the ESP-15S compact reflex subwoofer. ETC demonstrated a range of lighting

• David Glaubke of Harman

solutions designed to meet the diverse needs of any installation including, but not limited to, ETC’s visionary Unison Paradigm , the Irideon FPZ and the Gio @5 lighting control console. FBT displayed a number of its product ranges including Shadow and Vertus. The company also welcomed many of its worldwide distributors to the stand such as Shidco from Iran, Kevic from Korea and Egyptian Engineering Projects Co - the newly appointed distributor for Egypt. Fohhn Audio presented the company’s latest technical updates to its beam steering loudspeakers and digital amplifier technology; this included the introduction of the next generation Linea Focus loudspeaker system, the new DI-Series and Fohhn’s new Media Series products.

• NEXO’s Mathieu Pobeda and Jean Mullor

• The Correia brothers from NEXT-proaudio

• Francesco Fanicchi from Powersoft

• The Novastar team

• Vesa Laasanen and Dylan Ankney from Picturall

The ultimate mid-air effects fixture Setting the standard, the Philips Vari-Lite VL6000 Beam mid-air effect moving head boasts an amazing 55,000 lumens and 19” aperture which creates a distinctive 6.4 degree collimated beam – guaranteed to stand out in any arena. A unique new static dynamic color system allows the fixture to maintain its highest output at all times. A revolutionary essential.

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VL6000_Beam_A4.indd 1

30/1/17 11:35:33

132 EX P O

• The ADJ booth

• Winnie Meijer of LEDGo

Genelec demonstrated an array of its 8430A IP studio monitors. As a member of the SAM (Smart Active Monitor) family, the 8430A IP works with the intuitive Genelec Loudspeaker Manager (GLM 2.0) control network and software, which allows adjustments of all aspects of monitor settings and full system control. JBL showcased the latest addition to the full line-up of JBL AW and AWC Series speaker - the AWC62 all-weather two-way coaxial loudspeaker features an ultra-compact, highly weatherresistant design, which delivers extraordinary clarity for speech and extended frequency response, making it an ideal choice for spot-fill applications at stadiums, racetracks, fairgrounds, water parks and other outdoor venues K-array launched its new full-range compact stainless steel speaker line, Domino. The new line consists of three speakers are the perfect solution for applications with subwoofer restrictions, from

• The Renkus-Heinz team

intimate restaurants to live concert settings. L-Acoustics debuted its new format, high power speaker system, Syva - featuing six medium frequency and three high-frequency speakers in a sleek J-shaped progressive curvature format. Martin Audio presented its new BlacklineX passive series, which is a reinvention of the original multi-purpose Blackline Series, alongside the O-Line, CDD Series and CDDLIVE. MC2 Audio showcased the brand new Delta Series, which is made up of six networkable audio processing power amplifiers, and innovative nonDSP derivatives designed to combine incredible audio power and performance with ultra-flexible connectivity for both remote control and audio. ISE marked the beginning of the celebration for Helen and John Meyer who are celebrate their love and the 50th anniversary of the Summer of Love. They will visit key Meyer Sound customers,

• The Proel team

• Shure’s Josh Siegle

• A full TW AUDiO booth

• Patrick Roth, Bodo Falkenried and Gabriel Alonso Calvillo from Adam Hall

host exclusive curated events in Meyer Sound environments at the company’s Berkeley, California campus, in the San Francisco Bay Area, around the US, and around the world. Music & Lights declared the 2017 edition of ISE as its busiest yet, and was pleased to welcome international dealers to the stand, where it hosted a number of product demos. NEXO unveiled the new GEO M10 line array, a high-output sound reinforcement system for long-throw theatre and live music applications. Outline showcased its new Vegas Install Series – offering a complete range of high quality solutions for a large number of applications. The flexibility of the Vegas range makes it a very attractive toolbox for contractors, installers/ specifiers, integrators and sound production professionals. NEXT-pro audio presented the new HFA106p as well as the new HFA206L (100V) for the

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

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134 EX P O

• Patrick Heyn and Kristine Fowler from QSC

• The Visual Productions team

installation market. They sat alongside the company’s popular Kubix Series. Finnish media server specialist, Picturall, showcased the full Mark 2 range of updated media servers along with three very important additions: the new Web Configurator, new input cards and an uncompressed 8K playback option. Powersoft showcased its new four-channel amplifier platform, the Quattrocanali series - which is made up of three models: Quattrocanali 4804, Quattrocanali 2404 and Quattrocanali 1204. QSC introduced the Q-SYS Core 510i, which is ideal for applications that require a diverse mixture of analogue, digital and networked audio connectivity, including mid- to large-sized meeting spaces and hospitality applications. Renkus-Heinz showcased the new C-Series and T-Series point source loudspeakers. A reinvention and evolution of the company’s legendary CF/CFX Series, the new C Series loudspeakers incorporate the latest generation of Complex Conic Horns, with updated drivers to provide clean, natural sound and tighter pattern control. Available in both powered (TA Series) and passive (TX Series) models, T Series loudspeakers will be built to order with a variety of horn pattern for optimal coverage control, and will be fully customisable, with Renkus-Heinz’s custom colour matching and weather resistant options. Robe introduced focused on the award-winning DL7 and DL4 ranges of LED moving lights, as well as the versatile new Spiider wash beam, and the Spikie – the small, super-fast single-source LED WashBeam. Sennheiser exhibited its compressive portfolio of innovative solutions for the corporate market, concentrating mainly on conferencing solutions. Sennheiser also showcased two new products; The TeamConnect Wireless Set Tray M and the new SL Boundary 114-S DW microphone. The show saw Shure introduce ULX-D boundary

• Benjamin Bowens of ArKaos

and gooseneck transmitters, which offer highly flexible and scalable wireless microphone options for medium to large scale meeting applications Shure also presented the IntelliMix P300 audio conferencing processor. Symetrix introduced a large range of new products and updates at the show, including the latest Composer software developments for Symetrix Radius, Prism, Edge, and Solus NX series DSPs and accessories. TW AUDiO exhibited for the first time this year and made its primary focus the new installation series, which includes the T20i, a 2 x 10-inch/1.4-inch HF point source loudspeaker specially designed for the installation market and the T30i, a 2 x 15-inch LF/1.4-inch HF wideband installation loudspeaker in a 90˚ x 50˚ variation. The show saw the introduction of the new RDMSplitter and new CueCore2 into the Visual Productions product range. Vivitek presented a range of solutions designed to offer high brightness and high resolutions, including laser light source technology, ranging from WUXGA to 4K. The Vivitek stand also showcased NovoDS, its popular digital signage solution, which can transform how effectively important information is displayed and updated in corporate or public areas. Wharfedale Pro added the new CPD4800 amplifier to the CPD Series. The 2U Class -H amplifier delivers 4,800Wwhen bridged into four ohms. Yamaha Commercial Audio launched two new, ultracompact installation loudspeakers. The VXS1ML and VXS3S are both significant new additions to Yamaha’s Commercial Installation Solutions (CIS) loudspeaker range and an ideal solution for background music (BGM) applications in restaurants, retail outlets, hotel lobbies and other situations. ISE 2018 will take place at the RAI Amsterdam from 6-9 February. For more info go to:

• The Luminex boys

• Brian Galante and Garth Lobban from Atlona

• Andrea Torelli and Colin Quek on the K-array booth

Light is celebrated Legendary high-performance lamps step into the spotlight and celebrate anniversaries From the world’s greatest stages to the world’s most important performances, Lok-it!® and SIRIUS HRI® high performance lamps have been there, illuminating productions and entertaining crowds. For ten years, Lok-it!® lamps have illuminated some of the most important performances on some of the world’s greatest stages. And for five years, SIRIUS HRI® lamps have helped create some of entertainment’s most dazzling special effects. Visit us at Prolight + Sound, Frankfurt in hall 3.0, booth E50.

years Lok-it!®

Light is OSRAM


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• The TW AUDiO stand

• EZ PRO is one of the major distributors in the region

• D.A.S. Audio’s Eduardo Lopez and Alex Bryan of FENIX Stage with Carlos Martin

PROLIGHT+SOUND GUANGZHOU, CHINA / 22-25 FEBRUARY The China shows in Guangzhou have become more popular in recent years, where previously the Beijing PALM show held the crown. However, the two shows in Guangzhou do run very close together, meaning there is somewhat of a competition. Last year, the shows overlapped, but this year there was a gap day in-between, so anyone who was attending both had to endure the tradeshow

bandwagon for the best part of 10 days - not really an exciting prospect in any city. Due to other commitments, though, I only attended Prolight+Sound this year. With a healthy exhibitor list of 1,250 from 26 countries and regions and visitor numbers at 73,986, it was no surprise that the show felt busy and lively as soon as I entered complex. After the inevitable hustle and bustle of

collecting my entrance badge and the usual battle to get into the exhibitor halls, I found myself greeted with a vast array of laser beams and strobing lights. I was in Hall 5.1, one of three lighting halls - along with trussing - that ran consecutively along the lower floor of the show area. As I crossed the three halls, I noticed some familiar faces from Kvant, Wireless Solution,

• The Madrix booth

• The Audiocenter team including Markus Augenstein (right)

• The FBT booth

• A busy Chromateq stand

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• The Amphenol team

• Ben Sinclair and Jesus Fuentes of Lynx Pro Audio

• Eagle Truss’ Robert Oaks

• The RGBlink stand

Eagle Truss and Laserworld - and it was good to see the effort that had been put in to build their high-quality stands. Directly above the three lighting halls on the second floor of Area A were the audio halls, with a floor plan in a similar format, which made navigation easy for the visitors. The pounding bass and the familiar notes of Hotel California rang out in the halls, however, it was noticeable that the show organisers were trying to enforce the noise regulations, as none of the demos lasted too long. Exhibitors in this section of the show included Lynx Pro Audio, Beyma, Audiocenter, Vue Audiotechnik, Fenix Stage, FBT, Harman, Bose, Yamaha and SAE.

• Dicky Ling of SAE

• Dusan Navara from Kvant with Justin Perry of Pangolin

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• The Spark Laser ladies

• The Fohhn stand

• mondo*dr’s Jamie Dixon with George Wang of W&T

• The Celestion booth

Despite missing The GET Show this year, I did follow up with some customers who attended both, and they confirmed my opinion - based on last year’s show - that The GET Show is the more professional, sophisticated event of the two, which attracts a more international audience, whereas Prolight+Sound caters more for the local market. In that scenario, I guess there is room for both on the tradeshow calendar. Prolight+Sound is making a change to its date line next year, though, moving from February to May. This could be

• The AudioFocus stand

beneficial for the shows, as they won’t be battling for visitors in the same week, however, for international visitors it means two trips to Guangzhou in just a matter of months - and May is already a busy month for Asian tradeshows. It will be interesting to see how the two shows develop. Prolight+Sound Guangzhou will return to the China Import & Export Fair Complex next year but in a differnt date line - 10-13 May 2018. For more info, go to: http://prolight-sound-guangzhou.

• Jamie with Amy-Hao of Yang Pro Audio

• The Lavoce stand

• The Kling & Freitag stand

• Phoenix represent Funktion-One, Cadac, Clear-Com and Proel

GLP German Light Products GmbH

Photo: Paul Gärtner | Design: Bertil Mark



^ ^ ^ ^ ^ ^


Please visit us at our Stand G20 in Hall 4.0

GLP German Light Products GmbH  Industriestraße 2, 76307 Karlsbad  +49 (7248) 972 19 0   /GLP.German.Light.Products  /GLPimpression 


The power and clarity of the speaker system is remarkable, the sound is big and clean and perfectly complements the flexible nature of our theatre Laurence Boot Technical Manager, School of Arts & Media University of Salford

” New Adelphi Theatre image by Nick Harrison


Halo Series

i Series

EMS Series

ESP Series


Stage Monitors

MSE Series

X Series


EM Acoustics Loudspeakers, Building 19.11 Dunsfold Park, Cranleigh, Surrey GU6 8TB • phone: +44 (0)1483 266520 • •


Prolight + Sound 4 to 7 April Frankfurt Fair and Exhibition Centre

Mira Wölfel Head of Sales & Planning / Prolight+Sound

From 4 to 7 April 2017, Frankfurt Fair and Exhibition Centre will be the meeting place for the entire event industry and the showroom for the latest trends and technologies. There, visitors will find new products by key players from the fields of lighting, sound and stage technology, broadcasting and production technology, network technology and systems integration. The fair is rounded off by an extensive conference programme aimed equally at newcomers and experts with many years of experience. “The entertainment-technology sector continues to develop rapidly. Numerous innovations drive the market. At the same time, the expectations of event visitors on the technological facilities at venues and on event productions are rising continuously. Against this background, Prolight+Sound is of particular importance for the global industry as a source of inspiration and as an information and business platform”, said Mira Wölfel, Head of Sales & Planning, Prolight+Sound. The companies making presentations at Prolight+Sound include key players such as Adam Hall, Altman, Amptown, Audio-Technica, Ayrton, Bütec, Chainmaster, Clay Paky, Coda

ADJ VIZI BSW 300 Stand No.: Hall 5.0 - C81 → 300W LED hybrid moving head (beam / spot / wash). → Motorised focus and zoom. → Two gobo wheels: one wheel metal; one wheel glass (rotating/ replaceable). → 14 colours (two wheels including: CTO, CTC, UV). → Two six-facet prism wheels (one linear / one circular).

Audio, dbTechnologies, DiGiCo, DPA Microphones, ETC, FBT, Gerriets, GLP, JB-Lighting, Klotz, L-Acoustics, Laserworld, Lawo, MA Lighting, Martin by Harman, Monacor International, Music & Lights, Panasonic, Prolyte Group, Riedel, Robe and SGM Light. Additionally, many new exhibitors will be showing their products and services for the first time in Frankfurt. In the Prolight+Sound seminar programme, renowned experts will pass on their practical knowledge in lectures coving a broad thematic spectrum from basics to microphoning, lighting and rigging, as well as topical areas of application such as 3D audio, video mapping and IP-based media networks. One of the highlights will be the keynote lecture by international Set Designer, Nicoline Refsing, who gained particular renown as Creative Director of the 2014 Eurovision Song Contest. The new sequence of days for Prolight+Sound - Tuesday to Friday introduced last year will be retained and the fair held for three days concurrently with Musikmesse, International Trade Fair for Musical Instruments, Sheet Music, Music Production and Music Business Connections.


Altman Gallery Series LED Stand No.: Hall 3 - G69 → 50W, 92+ CRI engine, that offers up to 4,000 lumens across a variety of color temperatures. → Build a variety of solutions that includes a 15-35° profile, a 25-50° profile, a beam wash with variable beam angle range of 15-60° and a fixed flood option. → Available in a variety of dimming options including: local on board dimming, mains dimming by leading or trailing edge, DMX/RDM, 0-10VDC and 85°. → A variety of mounting options including standard and data track mount, pendant, portable and ceiling mount. → Offers an auto ranging 120-277v power supply.

Digital Projection E-Vision Series Stand No.: Hall 4.0 - C38 → A leader in lamp free projection, offering the ultimate in flexibility and reliability with all rental and staging projectors. → New 4K & WWUXGA laser phosphor illuminated projectors. → Mid and high-end rental projectors. → Up to 27,000 lumens brightness. → 20,000 hours illumination on all laser projectors.

DTS Stand No.: Hall 3.0 - C30 → 24 x Osram Ostar Stage N RGBW LEDs. → Quickly interchangeable beam angles. → Designed for both temporary and permanent installations (IP65). → Very compact and lightweight / internal full-range PSU. → The best value for money.


Elation Professional Proteus Hybrid / Proteus Beam Stand No.: Hall 4 - F60/61 → IP-rated, discharge-lamp moving heads built to empower designer creativit → Designed to excel under any weather conditions - eliminates need for costly shrouds and covering → Advanced optical system with focus, internal thermal cooling syste → CMY colour mixing, colour wheel, rotating replaceable gobos, static gobos, rotating prisms. → Control remotely from up to 2,000ft away via built-in wireless DMX

ETC Stand No.: Hall 3.0 – E47, E51 & F51 → Explore ETC’s Gio @5, Eos Ti, Cobalt Wings, Source Four LED Series 2, ColorSource family, Unison Echo and Paradigm control systems, and much more at Prolight+Sound. → Lighting fixtures - ETC’s trusted tungsten and LED luminaires blend beautifully into any design and are the first choice of lighting professionals worldwide. → Lighting control - ETC offers three control families with distinctive operational styles and capabilities that meet the needs of every installation size and complexity. → Architectural systems & power controls - Reliable, well-supported and easy-to-maintain systems for any venue. ETC also offers a full range of power control solutions for dimming, switching and constant power. → Rigging - ETC’s motorised hoists and hoist-control systems raise your theatre technology, including stage curtains, lighting equipment, backdrops, projection screens and more.

Fohhn Audio AG Media-Series & Linea Focus Stand No.: Hall 3.1 - F81 → New products include, among others, the Media-Series, integrated, tuned twochannel audio systems that offer optimised speech intelligibility for web conferences and flawless reproduction of high quality media sound. → At the show, Fohhn will also present the next generation of the award-winning, electronically steerable Linea Focus products, which are equipped as standard with both digital AES/EBU- and Fohhn AIREA inputs. They will also be available with optional inputs for DANTE or Optocore - as well as analogue XLR inputs if required. → Further highlights include the new DI-Series, more powerful digital Class-D amplifiers with integrated digital signal processors and similar digital and analogue input options.

B R A N D N E W Q U AT T R O C A N A L I S E R I E S 4-Channel Amplifier Platform, 4 small to medium applications.

-less power requirements -less heat dissipation -reduced carbon footprint -speakers reactive energy recycling

come and visit us @ booth 3.1 C41 Model

Designed and manufactured in Italy

pagina mondo DR.indd 1

70/100 V


400 W

300 W

300 W

300 W


800 W

600 W

600 W

600 W


1500 W

1200 W

1200 W

1200 W

03/03/17 14:01


MA Lighting MA Network Switch Stand No.: Hall 3.0 - C51 and C61 → Simplicity: easy setup and management → MA DNA: industry leading support and reliability. → Designed for lighting technicians: standard lighting industry protocols can be filtered → Performance: full throughput of all Gigabit ports. → Networking: compliant with IEEE 802.3ab Gigabit Ethernet.

Madrix Software & Hardware ‘Made in Germany’ Stand No.: Hall 5.0 - C48 → Experience powerful yet simple LED lighting control. → Pixel map creatively in 2D or 3D. → Control 1 DMX universe or up to 256 DMX universes (or more). → Transfer data reliably with proven hardware. → See the world-exclusive product preview.

Moose LA28 Stand No.: Hall 3.1 - H85 → Ultra-compact two-way curvilinear array module. → Exceptional pattern control due to symmetrical design. → 2 x 8-inch (2-inch) MF + 1.4-inch (2.56-inch) Neodymium HF driver. → Integrated electronic crossover. → Integrated rigging system for groundstacking and flown configurations.

Celebrating 15 Years of Making the World Sound Better

George Krampera Founder, Chief Engineer, Legendary Pro Audio Pioneer


NEXO GEO M10 Stand No.: Hall 3 - A21 → The high-output sound reinforcement system features a single 10-inch driver design, delivering an unprecedented LF response for this class of array. → With a footprint of 531(W) x 288(H) x 355(D) mm, this twoway passive module will deliver a frequency response of 59Hz-20kHz with nominal peak SPL of 131dB. There are two versions of the M10 cabinet, offering 12.5° and 25° of vertical dispersion. → The M10 system allows maximum flexibility in use. From groundstacking (with or without the MSUB15 partner subbass cabinet) through to 12-box arrays (weighing only 275kg) the same hardware can be used for multiple applications.

RGB Performance Video Processing Stand No.: Hall 4 - 4.0 B50 → Go live with all-in-one scalers and mixers CP3072pro & X3 Live. → See Art-Net integration for video processing and LED Control like never before. → Experience video processing at scale with X7 – 36 mega pixels, 32x32 inputs/outputs. → The video testing tool everyone wants - Check out MSP200pro. → Try XPOSE, the RGBlink universal app for video processor control.

Robert Juliat Oz and Alice Stand No.: Hall 3 - C42 → A new family of powerful LED followspots available in short (Alice) and long throw (Oz) versions. → High output comparable to the 1,200W discharge followspots available. → Long-life LED source in cool white. No heat, no lamp change, less maintentance. → Compact dimensions to fit the smallest of spaces, silent operation. → Smooth electronic dimming.

To be unveiled on April 4-7


Messe Frankfurt Hall 3.1 Booth A37

Monitoring your investment

Asymmetric 100° by 30° horn with adjustable orientation



TW AUDiO VERA20i | VERA S17i Stand No.: Hall 3.1 - E20

→ Introducing i-series - especially designed for installations. → Unobstrusive look without sacrificing output power and LF control. → 60cm system width (VERA20 series). → Innovative, almost invisible rigging parts. → Seamless integration of VERA S17i subs into VERA20i arrays with unique connection system.

Visual Productions BV TimeCore Stand No.: Hall 3 - D66 → Product Launch: TimeCore, a timecode toolbox that performs all tasks related to timecode. → It can generate, follow, convert and display timecode signals. → It even handles a number of non-timecode protocols such as UDP, TCP, OSC, MIDI, Art-Net and sACN. → Director Maarten Engels presents ‘Protocols for lighting integration’: Manafacturers Forum 5th April at 12.00. → Discussion on protocols for lighting and its surrounding disciplines. Which protocol to use when integrating Visual Productions’ solid-state lighting control.




Sponsored by PRG XL Video

Sponsored by Vista Insurance


Coldplay - A Head Full of Dreams


Sponsored by VER

Glen Rowe

World Tour




Sponsored by EFM

Sponsored by Area Four Industries

Sponsored by Solid State Logic

Ola Melzig

UK Rigging

Amanda Thomson




Sponsored by Harman Professional

Sponsored by TPi Magazine

Sponsored by LS-Live

Britannia Row Productions


Fly By Nite




Sponsored by Production Futures

Beat The Street

Sponsored by Perry Scenic Creative

Stage Miracles

Rob Sinclair

Sponsored by VME




Sponsored by Rigging Services

Sponsored by d3 Technologies

Sponsored by Martin By Harman

Pete ‘The Greek’ Kalopsidiotis

PRG XL Video

Fredrik Jönsson




Sponsored by Fix8Group

Sponsored by SES

Sponsored by BVE


Power Logistics

Royal Albert Hall - London




Sponsored by Absen

Sponsored by ER Productions

Sponsored by Brilliant Stages


Rock-It Cargo

Emma Reynolds




Sponsored by Green Hippo

Sponsored by Robe

Sponsored by Martin Audio

Oli Metcalfe

Neg Earth Lights

Colin Pink


FAVOURITE TRAVEL COMPANY Sponsored by Principal Hotels


Sponsored by J&C Joel

The Tour Company

Sponsored by Blackmagic Design

TAIT Towers

Noreen O’Riordan


D.A.S. AUDIO | SOUND FORCE D.A.S. Audio recently took the audio world by storm with the launch of its new Sound Force systems at a spectacular event held in Madrid, Spain. Around 200 professionals from across Spain and countries like France, the UK, Morocco and Italy made the trip to Arganda del Rey to attend the event, which was celebrated at the magnificent Plató Louladi set at the Fluge Audiovisuales facilities. The event was hosted by renowned DJ and radio announcer DJ Neil, along with special guest Daniel Neumann, the prestigious sound artist and audio engineer known for his work with artists such as David Guetta and Diamanda Galás. The New York City-based engineer was born in Germany, originally studying music at the Academy of Visual Arts in Leipzig and electronic music composition in Italy, which lead to his pioneering work in exploring conceptual and often collaborative strategies to modulate the environment with sound. Daniel shared a stage with D.A.S. Audio Head

Engineer, Javier Navarro and Live Events Engineer Joel Damiano. Daniel and Joel discussed the main features of PA systems at large-scale, high-level events like major festivals and concerts, while Javier focussed on the features of D.A.S. Audio’s new line-up of Sound Force products, underscoring the unparalleled performance of these systems designed for state-of-the-art clubs. The range is now comprised of 10 units, including the SF-M four-way DJ monitor, the SF-10 and smaller SF-26 two-way passive systems, the SF20A powered mid-high system, the SF-158 threeway full-range system, and the SF-112 three-way passive system. Low frequencies are also catered for by the Sound Force range, with the SF-1521A powered two-way subwoofer, the SF-215 bassmid passive system, the SF-221 hi-power ultra LF, and the beast that is the SF-30A powered subwoofer system. Cabinet construction for the Sound Force Series is consistent with the D.A.S. Audio pro systems standards, using birch plywood and the durable

ISO-flex coating. System details can be painted in Pantone colours by special order, while threaded rigging points are available on the SF-112 and SF-215 cabinets to facilitate flying. The day’s talks were followed by a spectacular promotional video and the highlight of the show: four impressive Sound Force systems set up in the four corners of the set were unveiled for a hard-hitting demo of their impressive power set to the audio of the video. The audience was treated to a surprising display of the earth-moving capacity and response of the systems as a whole and particularly the 30-inch powered subwoofer. The demo was immediately followed by a DJ session by the charismatic and energetic DJ Nano. The 30-minute-plus electronic music set showcased the SF systems in their element, a mega club at full capacity, an outstanding way to feature both the unmistakable sound of DJ Nano and the singular performance of D.A.S. Audio’s SF systems.

artec 300 series

Installation systems for quality sound in any type of venue

The new D.A.S. Audio Artec 300 series loudspeakers are designed for use in a wide range of fixed sound reinforcement applications. They are presently available in 8 passive models comprising 6”, 8”, 10”, 12” and 15” two-ways, a double 6” two-way, a double 10” line array and a passive double 12” subwoofer. Offering an elegant design and exceptional performance, the new Artec 300 series is a great choice for everything from elegant nightclub installations to educational facilities. D.A.S. Audio, S.A. C/ Islas Baleares, 24 46988 Fuente del Jarro Valencia - Spain Tel. +34 961 340 860

D.A.S. Audio of America, Inc. 6900 NW 52nd Street Miami, FL 33166 - U.S.A. Toll Free: 1 888 DAS 4 USA

D.A.S. Audio Asia PTE. LTD. 3 Temasek Avenue, Centennial Tower #34-36 Singapore 039190 Tel. +65 6549 7760


NEXO | GEO M10 Working to a philosophy of flexibility and versatility, but still within a measured product range, NEXO has added the GEO M10 to its existing GEO range. “Some loudspeaker companies have a lot of products in their range and have a product for every application, but for NEXO, we have a much smaller range but it’s very versatile. It’s about configuring a system for each application and that applies for both the install and rental markets,” said Gareth Collyer, NEXO’s UK & Ireland Sales Manager. The GEO M10 is twice as powerful as its sibling, the GEO M6 - launched two years ago - and its contemporary design using a single 10-inch driver, delivers an unprecedented ratio of low frequency response to cabinet size for this class of mid-size line array. “The M6 and M0 are both configured to do the maximum amount of work with the minimum amount of inventory. They have adjustable dispersions and bags of hardware, which allows the boxes to be flown, groundstacked or whatever is needed to do the job,” explained Gareth. There are two versions of the M10 cabinet, offering 12.5° and 25° of vertical dispersion. Both have 80°/120° horizontal dispersion which can be

configured manually, without tools, by removing the magnetic grille and adjusting NEXO’s innovative flange fixing system. The M10 takes its name from the single 10-inch neodymium LF driver, paired with a 1.4-inch HF titanium diaphragm HF driver. With a footprint of 531mm (W) x 288mm (H) x 355(D) mm, this two-way passive module will deliver a frequency response of 59Hz-20kHz with nominal peak SPL of 131dB. “The SPL output is a real strength for NEXO,” said Gareth. “NEXO is known for loud boxes!” The choice of a single 10-inch design is partly down to NEXO’s track record with its ubiquitous PS10 Series - launched in 1993 and enhanced in 2009, being one of the best-selling loudspeaker models on the market. But the choice also came down to customer feedback. “The original concept goes back to when we were developing STM, which is more than six years ago,” continued Gareth. “We spent two years talking to companies worldwide asking what they wanted and at the end of those two years we came back, threw away the design we had been working on and started again. We learned that people didn’t want bigger and bigger cabinets, they wanted smaller

products that were easier to truck and easier to install. They wanted value for money, a system that could do multiple jobs and work in an installation environment, and a family of boxes offering simple and straightforward scalability from room to room, stage to stage.” Cabinet size has been a critical consideration for NEXO’s R&D engineers, guiding their choice of components and enclosure materials, down to the lightweight neodymium driver. In all, the M10 weighs just 21kg, and its impressively compact dimensions mean minimal visual impact and improved sightlines, an important consideration for its target market of theatres, auditoria and conferencing venues. As shown by the hugely popular GEO S8 compact line array, the single-driver design offers better vertical control. NEXO’s proprietary Directivity/Phase Device (DPD) extends upper line source coupling frequency limits between the adjacent 10-inch drivers, so the adjacent loudspeakers couple as coherently as if there were twice as many six-inch drivers, mounted at half the physical distance. Gareth emphasised the importance of the size to power ratio in fixed installations: “The loud-

Come see us at Prolight + Sound 4-7April 2017 Stand F50 Hall: 3.1

New from DiGiCo


Predictably Stunning In 2015, DiGiCo launched its compact S-Series, which boasted a modern workflow at an affordable pricepoint; last year, the whole SD Range became much more powerful thanks to the introduction of Stealth Core 2

Main Features

Software across the board; now, in DiGiCo’s 15th year,

72 input channels with full processing

meet the new and predictably stunning SD12.

36 aux/grp busses with full processing

LR / LCR bus & 12 x 8 Matrix

The new DiGiCo SD12 doesn’t just re-write the book on

12 FX processors & 16 Graphic EQs

compact multi-application consoles, it simply rips it up

119 Dynamic EQs, 119 Multiband Compressors, 119 DiGiTuBes

Advanced surface connectivity with optional DMI cards

UB MADI & optional Optics

and starts again. DiGiCo UK Ltd. Unit 10 Silverglade Business Park, Leatherhead Road Chessington, Surrey KT9 2QL. Tel: +44 (0) 1372 845600

SD12 Mondo DR 236x333 6-3-17.indd 1

06/03/2017 14:42


FROM PREVIOUS PAGE • Gareth Collyer, NEXO’s UK & Ireland Sales Manager with the new GEO M110 at ISE in Amsterdam. • Six GEO M10 cabinets with two MSUB15’s. FROM LEFT TO RIGHT • GEO M10 large arrays. • A three box hang of the GEO M10. • The MSUB15 subwoofer.

speakers have to be small and lightweight for aesthetic purposes, yet the customers still want rock ‘n’ roll levels. At NEXO, we are true believers in system design. The days of putting together a design on the back of a fag packet – which, believe me, is where I started, as did a lot of others - are long gone. We now give audio designers the tools to design a proper sound system from a suite of products that work first time.” The GEO M10 is partnered by a dedicated sub bass cabinet, the MSub15 and as is standard with

any NEXO product, amplification is via NEXO’s NXAMP4x4 TDcontroller; with up to four M10 cabinets per channel, and up to three subs per channel, the system can be controlled over a network using a Dante, Ethersound or AES/EBU digital expansion card. Receiving its first outing at ISE this year, the GEO M10 sold four rental systems on its launch day, with the first UK sales going to Orbital Sound, which will be adding systems to its rental stock. Almost all of NEXO’s worldwide distributors

have also pre-ordered the system, meaning the order book is looking very healthy indeed! NEXO will be continuing to showcase the system throughout the year, a US launch took place shortly after ISE, and it’ll be winging its way over to Prolight+Sound in Frankfurt, as well as UK shows - PLASA Focus Leeds, ABTT and BPM | PRO in Birmingham.

LED TMH HYPNO Moving-Head Unique look – unique effect! _ Hypno rings with bright SMD LEDs _ Hypno rings with stepless RGB color mixture

LED TMH-41 Hypno

_ TMH-41 spot light with 30 watt COB LED (white) color and gobo wheel _ TMH-61 beam light with 60 watt COB LED (RGBW)

VISIT US AT Hall 5.0, Booth B38/40/42 4th - 7th April

LED TMH-61 Hypno


SENNHEISER | DIGITAL 6000 Digital 6000, the latest member of Sennheiser’s professional wireless microphone range, is shipping now. Incorporating the acclaimed Long Range transmission mode and proprietary audio codec from Sennheiser’s top-of-the-range Digital 9000 series, Digital 6000 delivers impeccable RF wireless and audio performance. At the same time, the system fulfils the business needs of rental companies, theatres, broadcasters and houses of worship for a flexible two-channel wireless solution that allows the use of existing accessory infrastructures. Designed for demanding live productions, Digital 6000 also addresses the challenges of the shrinking UHF spectrum: the system eliminates intermodulation, enabling more channels to operate in less spectrum space. Tom Vollmers, Product Manager at Sennheiser, said: “Digital 6000 is a wireless system that is all about performance. It brings the benefits of the Long Range mode of our benchmark Digital 9000 system to a two-channel receiver, while allowing the use of standard UHF antennas and existing Sennheiser capsules or microphones. Integration into analogue and digital workflows is seamless, and the fact that frequencies can simply be placed in an equidistant grid will help users in congested RF environments a lot.”  The Digital 6000 series comprises a two-chan-

nel receiver that is available in two different versions, a bodypack and a handheld transmitter, and a rack-mount 19” charging unit. The receiver’s switching bandwidth of 244 MHz (470 to 714 MHz) is covered by three transmitter versions (470 – 558 MHz, 550 – 638 MHz, and 630 – 718 MHz). Up to eight receiver units can be daisy-chained without the need for an additional antenna splitter; the multi-channel system will work with a single pair of antennas. System latency is 3 milliseconds. Digital 6000 is compatible with Digital 9000 in long-range mode and with the EK 6042 digital/ analogue camera receiver.  Greg Beebe, Director of Live Performance and Music discussed where the new product fit in the current market: “The previous Digital 9000 is very much flag ship model for Sennheiser as an eight channel of digital wireless. What the 6000 model brings to market is scalability offering a two channel solution, ideal for the rental market. Prior to the launch we had already sent out some samples in the field for three months to gain some feedback on how the system faired. We got some really positives comments during those early.” This experience was also highly valued during the creation of the Digital 6000 as was seen with the

appointment of Tom Vollmers as Project Manager: “Tom has had years of experience within the live events sector,” explained Greg. “He was brought into Sennheiser for the sole purpose of adding some in-the-field knowledge to our development process. His presence was incredibly valued by our developers and I think the product is all the better for it.” Tom commented: “I was brought into the company one-and-a-half years ago, this being my first project for Sennheiser. I come very much from the touring world so it was a challenging transition coming into the corporate side of the industry, but I learned a lot. I think it is something that other companies should do. If you want to produce products that your customers need, one of the best ways is to bring them into the creative process.” Reliability has always been a hallmark of Sennheiser wireless systems, and Digital 6000 is no exception: true bit diversity, transmission error correction and additional intelligent error concealment make this a system to rely on. True bit diversity is a technique that ensures a far better reception quality than other diversity techniques - for example, switching diversity or true diversity. While the latter either use the RF signal of a single antenna or the audio signal of a




LEDium GmbH with their headquarter in Karlsbad, Germany is one of the leading specialists when it comes to intelligent solutions for LED screens and LED signage. For almost three years, LEDium supports its Dry Hire and Rental customers successfully in small and big projects. Furthermore many permanent installations are being realized with solutions by LEDium. Products that offer a robust and high quality, good transport characteristics and an easy handling for the usage “on the road” and which can also be used in- and outdoors are being offered by LEDium. The products meet all actual requirements and are certified.


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• The CDAE team explaining the Digital 6000

• Andreas Sennheiser

single reception path, true bit diversity combines the information content of both reception paths for an optimum signal. A Link Quality Indicator on the receiver informs the sound engineer of any issues. If, as in difficult RF environments, the signal should get temporarily corrupted to such an extent that the transmission error correction can no longer repair it, the intelligent error concealment of Digital 6000 sets in. It employs intelligent learning algorithms to replace the corrupted part, enabling Digital 6000 to still transmit flawlessly where other digital systems fail. For data security, a feature that is particularly important for conference and corporate use, Digital 6000 features switchable AES 256 encryption, with the transmitters also supporting the proprietary encryption of the Digital 9000 system.  Digital 6000 has been designed to keep additional investments as low as possible: Existing antenna infrastructures can continue to be used as the system works with standard active and passive wideband UHF antennas, with the highly frequency-selective input filters being contained in the EM 6000 receiver. The Digital 6000 transmitters use the same high-performance rechargeable accupacks as their Digital 9000 counterparts. The SKM 6000

• Tom Vollmers

handheld transmitter features Sennheiser’s standard capsule interface – it can therefore be used with any microphone head from the evolution wireless Series, the 2000 Series, and also with the special 9000 Series heads. The SK 6000 bodypack excels as a high-end solution for wireless instruments such as guitar and bass – or is ready to use with a variety of Sennheiser clip-on microphones and headmics. These include the MKE 1 and the digital-transmission versions of the MKE 2 and MKE 40 clip-on microphones, plus the SL Headmic 1 and the HSP 4 headmic as well as the upcoming digital-transmission version of the HSP 2. In addition to making it possible to plan frequencies simply in an equidistant grid, Digital 6000 is fitted with an automatic frequency set-up function to make the job of the monitor engineer or dedicated RF engineer easier. As usual, the Sennheiser Wireless Systems Manager (WSM) software can be employed to control and monitor the wireless system. The receiver’s operating controls have been modeled on the well-known EM 3732 to ensure straightforward operation. A new, user-friendly menu control with a bright, white OLED display gives a quick overview of the RF signal, link quality, audio signal, battery status, frequency,

transmitter name and encryption. Several home screens provide easy access to further information, without the user having to navigate through submenus. Critical operating conditions and error messages are directly indicated on the display. The series’ L 6000 charging unit is a 19”/1U mainframe device that can be fitted with up to four charging modules as required, each of which recharges two bodypack or two handheld batteries, respectively. Three-coloured LEDs on the front panel give a quick overview of the charging process for each battery, while two additional LEDs monitor the device status. More detailed information, as well as additional parameters such as battery runtime, charging cycles and remaining capacity, can be accessed via the Wireless Systems Manager. The L 6000 charging unit can also be used for Digital 9000. Digital 6000 integrates seamlessly into digital or analogue system infrastructures. The EM 6000 receiver is fitted with a digital AES-3 output with wordclock in/out, high-quality transformer-balanced analogue XLR-3 outputs and 0.25-inch (6.3mm) jack outputs. Its Dante counterpart, the EM 6000 Dante offers an additional Amphenol RJ-45 connector for integration into a Dante network.

“It’s like you’re inside the music.” P i m d e r h o o d e s | o w n e r | C a f é d ’a n v e r s

Meet your next

pro audio partner


Discover why venues worldwide are choosing Pioneer Pro Audio systems and how you can become one of our business partners. Plus, you could win a custom XY Series speaker set-up. Register:

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#madeintheuk | Pioneerproaudio *See full terms and conditions at


08/03/2017 10:38


DIGICO | SD12 In the year that DiGiCo celebrates its 15th anniversary, the company decided to kick of the festivities with a global launch of its newest digital console. But it wasn’t just your average announcement at a tradeshow or a dedicated customer event. Instead, the sales and marketing team at DiGiCo put in a lot of hard work and planning to deliver an innovative and creative launch for the SD12, which took two years to design, develop and bring to market. “We came up with a crazy idea to do a global launch,” said DiGiCo Managing Director, James Gordon. “Because whenever we do a product launch, our distributors always say to us, ‘we see the product at the same time as the customers’, which means when the desk becomes available, the distributors don’t know anything about it and don’t have the ability to talk about it properly.” Of course, DiGiCo could have had a distributor meeting ahead of the NAMM Show - where the SD12 was officially launched to the public on 19 January - but that would have been too easy. It was decided that the distributors would carry out their own launch, in their own country in their own way, making each and every event unique. “We talked to our distributors back in December, which was a risk, because we had to tell approximately 50 companies around the world that we were launching a new product and we didn’t want them to tell anyone else about it,” James continued. “And actually none of them did.” A total of 29 consoles were shipped to 29 coun-

tries - plus the consoles that were shipped to the US for NAMM - and all had to be kept under wraps until launch day. “The fact that our distributors did that is amazing. They put a lot of effort into keeping it all a secret and they really bought into the concept of doing the launch,” added James. The distributors were given a framework for the event, which primarily detailed the product itself, but beyond that they were given free reign. The distributors were also sent a Minority Report style video starring James himself, who delivered a thorough presentation - deliberately in a tongue-in-cheek way - of the SD12 and its features. The video - originally intended for the distributors only - proved to be such a hit, that it was played at every event and has been uploaded to the DiGiCo homepage. If you haven’t seen it already, I would definitely recommend you take a look! The SD12 encapsulates the best features of both the SD and S Series. Utilising the latest generation of Super FPGA, it is compact in size, but delivers the power and capability that is now synonymous with DiGiCo consoles. The SD12 features 72 input channels with full processing, 36 aux/group busses with full processing, a 12 x 8 matrix with full processing, LR/LCR buss with full processing, 12 stereo FX units, 16 graphic EQs, 119 dynamic EQs, 119 multiband compressors and 119 DiGiTuBes, 12 Control Groups (VCA) and SD Series Stealth Core 2 software, making it compatible with all other SD

THAILAND - FUZION FAR EAST “The launch of the DiGiCo SD12 left dealers, customers and prospective buyers stunned. The sheer power, flexibility and price of the console was praised by all who attended the event. After lifting the black drape in a magician-like fashion, and leaving the attendees to their own devices to explore, hours of hands-on interaction followed. The SD12 in conjunction with the D2 Rack is, and will be a success. We are looking forward to seeing what else is up DiGiCo’s tech sleeve in the future,” said Marketing Director of Fuzion. Joshua Oates.

Series sessions. One of the SD12’s outstanding features is its dual 15-inch digital touchscreens - previously only seen on the SD7 and SD5 - which provide 24 channels in one view, dual operator mode and the ability for the right-hand screen to be the Master, as well as advanced connectivity via optional DMI cards, yet the SD12 still maintains a workflow that will be familiar to anyone working in live touring, corporate, installation, house of worship, theatre or broadcast. On the back of the console is a standard local I/O format. There are eight local mic/line inputs, eight local line outputs and eight AES/EBU in/ out for local digital sources, as well as two MADI ports, plus a UB MADI connection for recording at 48kHz; 48 tracks of recording are possible with the console clocking at 48kHz and 24 tracks if it is clocking at 96kHz. There are two slots for DMI cards. Options include a Dante module, which can be plugged straight into the back of the console, alleviating the need to purchase an Orange Box. A Waves module can also be fitted to take full advantage of the SoundGrid platform. In fact, there is a huge family of DMI cards that can be plugged in the SD12, which can be changed between different projects or tours, depending on requirements. Launching in sync with the sunrise, Australia and New Zealand kicked things off at 10am local time. Events continued throughout the day, with the last one before the NAMM Show, taking place in Guatemala. “We’re doing quite well in Latin America at the moment, and we needed a launch event there so that we had one on every continent,” said James. The DiGiCo distributors that took part included: Ampco in The Netherlands; Amptec in Belgium; Aris Pro from Russia; Audico in Finland; Audiolink of Italy; AVL in Serbia; Codisco from Columbia; DV2 in France; DWR of South Africa; Equaphon in Argentina; Fuzion Far East from Thailand; Gerr Audio in Canada; Gidron of Israel; Group One from the US, on the NAMM stand; Group Technologies representing Australia and New Zealand, Hermes of Mexico; Hibino in Japan; New Music from Denmark; New Musik in Sweden; Polsound of Poland; Pro Music in Slovakia; Rental Multi Spain in Spain; Rightway covering Hong Kong and China; Scandec of Norway; SIPro in Nicaragua; Soundus from Korea; Team108 representing Indonesia, Malaysia and Singapore; Tonspur AG of Switzerland; and United Brands in Germany. “We owned Facebook for about 24 hours,” said James. “Every post was about the SD12, so from a launch point of view, we got a far bigger impact than we would have done by just launching at the NAMM Show. “The DiGiCo team really did pull this launch off with Maria Fiorellino coordinating and Ian Staddon managing the logistics of the sales team. It was a lot of hard work, but definitely worth it,” James concluded. “I would also like to say a big thank you to our distributors, all of them were amazing for keeping our secret over those few weeks, we couldn’t have done it without their commitment, dedication and passion.”

SOUTH AFRICA - DWR DWR Distribution launched the DiGiCo SD12 by hosting an intimate breakfast for its main DiGiCo clients. “The feedback we received from the launch was fantastic,” said Kyle Robson, who heads up DiGiCo sales in South Africa. “The size of the console and where it fits in the SD range, at this price point, is what makes it so special and what everyone seems to be enjoying about it. DiGiCo is always so inventive and fun with its marketing and we really had a great time being part of the world-launch. It is a lovely company and it’s an honour to work with them.” The worldwide official launch was then taken a step further as Kyle set off on a SD12 roadshow around the country. He went from company to company to provide a personal demonstration. “The feedback from the roadshow has been amazing,” added Kyle. “The one thing the guys really enjoy when playing on the console is the dual screens, which provides a smoother workflow. The price obviously blows everyone away too.”

THE NETHERLANDS - AMPCO The Netherlands launch took place at TivoliVredenburg, a large live music venue. Managing Directors of Ampco, Rolf Dijkstra and Peter de Fouw opened the event after a breakfast buffet, while Bart van der Smissen, the DiGiCo specialist in The Netherlands, delivered the SD12 presentation. Rolf said: “TivoliVredenburg offers five unique concert halls - with capacities varying from 400 up to 2,000 - several conference facilities and a grand café. The central foyer on the ground floor grants access to all five concert halls. The stage in the Ronda concert hall was filled with DiGiCo consoles ranging from the little S21 to the flagship SD7 with a clear gap in the centre of the stage. After an onscreen Minority Report style presentation by DiGiCo’s Managing Director, James Gordon, we filled the stage with low hanging smoke and used the theme tune of 2001: A Space Odyssey to build to a climax, at which point the SD12 was moved into its place in product range. Our customers enjoyed the show and used the time afterwards to take a closer look at the console. One thing I had never witnessed before during a product launch is the fact that more than one customer placed an order the same day. Thank you DiGiCo for bringing the right product at the right time.”


AUSTRALIA & NEW ZEALAND - GROUP TECHNOLOGIES DiGiCo’s Australian distributor, Group Technologies, flew the elite of Australia’s live sound customers to its headquarters in Melbourne to be greeted by a French chef, croissants, and barista made coffee prior to entering the presentation for… well they weren’t quite sure, on account of Group Technologies being sworn to secrecy. Inside the presentation room a small six-channel mixer on a pedestal was lit up by a single white light beaming down as if it had been delivered from the heavens above. Guests were scratching their heads asking Group Technologies staff, “is that it?” Little did they know that DiGiCo’s Tim Shaxson was hiding behind a curtain and had yet to be seen by anyone. Drew Menard from Group Technologies opened up the presentation by introducing Tim, and immediately, the room got excited. After calling on some help to remove the small mixer and pedestal, Tim gave a brief background on DiGiCo, which included the hilarious video on Queen’s FOH Engineer Rob Collins. This was swiftly followed by DiGiCo’s Managing Director, James Gordon appearing on the screen to introduce Project Vulcan. Customers watched in excitement as they saw the second screen appear on the new console and gave a huge applause as it was something they’d been hoping for. With no actual SD12 in sight, the question on everyone’s mind was, “when will it be available?” And with that, the fader went up for the Doctor Who theme song, the lights dropped, and a curtain was pulled back revealing The Tardis landing in the corner with its light flashing. Out stepped Doctor Who to bring the crowd ‘the console of the future’. The audience applauded again and followed The Doctor into a side room where the SD12 was waiting. Customer feedback was excellent. Orders were placed on the day and everyone could see a lot of uses for the console. “A great looking console,” was the quote of the event, with everyone taking out their phones and posting it onto every social media outlet they could find.

GUATEMALA - SIPRO SIPRO’s Alan Mejia said: “For the entire SIPRO family it was an honour to be part of the global launch of the SD12, the vibe throughout the day was amazing and the social media posts that followed added further fire to the launch. “We are so proud that DiGiCo and Fernando Delgado chose Guatemala as one of the epicentres for this launch, with his experience and knowledge, as well as the hype added by social media, we

had more than 5,000 views for our video in less than four hours! People around the world were able to see this launch directly from Guatemala. The response of the engineers when the desk was unveiled was also incredible. “We are sure that the new SD12 will bring many good things to the world of show business.”

Pub_Mondo_333x236_PLS_0417 def.qxp_Mise en page 1 03/03/2017 13:56 Page1

Please visit us at our Stand G30 in Hall 4




BY international

Contact : Umberto Maurizio, export manager +33 670 895 096,


GERMANY - UNITED BRANDS United Brands was very happy to be part of the worldwide launch of the SD12. It decided to present the console in a church environment - and there was no church more perfect than the Kulturkirche in the heart of Cologne. Kulturkirche isn’t just a church, it’s an event location, which hosts concerts and recitals, as well as regular church services. A DiGiCo SD8 is in place as its FOH console. Preparation time for the event was limited but United Brands got mind-blowing response to its invitations with guests flocking to the Kulturkirche on the morning of 19 January. Guests were treated to a typical German breakfast on arrival, before DiGiCo’s Jaap Pronk took to the floor. He delivered the official part of the launch and introduced the ideas behind the SD12 to the audience before the unveiling the console itself. The United Brands team continued the presentation before allowing guests to get

their hands on the new SD12. Guests commented on and praised the DiGiCo-like workflow in its new housing, with two 15-inch touch screens, multi-colour LED-backlights and, of course, the Core2 software.

Many guests stayed at Kulturkirche to get to grips with the new console, as well as using it at as networking opportunity. The first SD12’s were sold that day, with some customers placing orders that day.

RUSSIA - ARIS PRO The timeframe for the Russian launch was very tight due to Russian Christmas holidays being longer than most other countries. However, with the help of DiGiCo’s Ian Staddon, the SD12 was delivered in time and was ready for the presentation. It was just one week after the Christmas holidays that the launch took place, so it was decided to continue with the festive theme. Aris Pro’s Katerina Pogodina and Ekaterina Rogacheva invited guests, telling them they were attending an event, which would deliver a New Year surprise from DiGiCo. Sound engineers and rental companies gathered in a loft on the 60th floor of one of Moscow’s skyscrapers for the launch, which Ian also attended. However, on the day of launch, it came to light that Project Vulcan - as the console was known prior to launch - had got lost in translation. Instead of joining the dots and coming up with

the Star Trek’s Vulcan, Aris Pro interpreted it as Project Volcano, so the SD12 was unveiled in a cloud of volcanic smoke. But lost in translation aside, it still made a great event! The SD12 was presented by two Snegu rochka - which is the granddaughter of the Russian Santa Claus, Ded Moroz, which is translated as Grandfather Frost - in keeping with the Christmas theme of the presentation. Snegurochka is typically dressed in a white and blue coat and dress, as well as a traditional Russsian headdress, kokoshnik. The video of the Russian event got more than 25,000 views on Facebook, so it is safe to say, it was a successful launch. And to top of the success, the first SD12 was sold 10 days after the presentation to rental house, CLZ, which is based in Tomsk, Siberia.

MONDO_S-Series_LAUNCH.indd 1

08/05/2015 9:15:28 AM

VISIT US AT Hall 5.0 Booth B38/40/42 4th - 7th April

LED TMH-41 Hypno

LED TMH-61 Hypno


Unique look â&#x20AC;&#x201C; unique effect! _ Hypno rings with bright SMD LEDs _ Hypno rings with stepless RGB color mixture _ TMH-41 spot light with 30 watt COB LED (white) color and gobo wheel _ TMH-61 beam light with 60 watt COB LED (RGBW)



ADJ’s new flagship LED-powered moving head, the Vizi BSW 300, is a hybrid fixture capable of performing beam, spot and wash duties. Able to change from one to the other in an instant - the Vizi BSW 300 is seen as a real game changer. With a specially-designed 300W LED engine, the Vizi BSW 300 is ADJ’s most powerful LED moving head to date. It offers incredibly bright output, making it ideal for installation in large venues, as well as for use on tours and for one-off event productions. It offers a huge feature set, making it a very versatile fixture. Also, it also comes with a smaller footprint than most other moving heads in its class, making it easy to store, transport and install. Fitted with two separate gobo wheels, the Vizi BSW 300 offers a huge amount of creative potential when projecting patterns onto a surface or generating mid-air effects. The first wheel contains six static metal gobo patterns along with three different-sized beam apertures, while the second wheel is loaded with seven indexed rotating gobos. This second wheel is supplied with a useful selection of patterns - six coloured glass and one metal - but these are all replaceable allowing you to swap in your own custom patterns if, and when, they are required. Offering even more creative potential, each wheel is capable of continuous scrolling as well as a gobo shake effect. Equipped with motorised zoom, the

Vizi BSW 300’s beam angle can be altered remotely allowing it to change dramatically from one scene to the next. When used as a beam fixture, the unit offers a projection angle variable between 1º and 9º, allowing you to create a variety of effects ranging from tight pin-sharp beams to wider chunky columns of light. When in spot mode, the fixture’s beam angle can be altered between 10- and 20º, giving you control over the size of the projected gobo patterns. Finally, when used as a wash, the unit offers a beam angle of between 12º and 23º, allowing you to illuminate exactly what you need to - and nothing more. In addition, the inclusion of a built-in frost filter means that the light output can be spread over an even wider area, if required, to create a very diffuse lighting effect. Motorised focus is another of the Vizi BSW 300’s many useful features, which means that projected gobo patterns can be kept in focus at different projection distances. The unit also features two separate rotating six-facet prisms, one circular and the other linear, which can be used to multiply the gobo patterns for impressive beam effects and complex textured projections. It is even possible to layer the two prisms offering even more creative potential. The fixture also contains two independent colour wheels, each offering seven colour slots in addition to open white. The first wheel features a selection of richly

• The Vizi BSW 300 from ADJ

saturated colours, while the second offers more subtle shades including UV and two colour temperature correction filters: CTO 5,600K and CTO 3,200K. The Vizi BSW 300’s extensive set of features is completed by 0-100% digital dimming, variable speed digital strobing - including pulse effects - and auto X-Y repositioning. With pan and tilt ranges of 540º and 270º respectively, the Vizi BSW 300 is a deft and agile mover. It is equally suited to big and fast beam movements as it is to slow and smooth gobo projection sweeps. It also features 16-bit fine positioning, giving you exacting control when it comes to the positioning of projected gobos and beams. A professional fixture, the Vizi BSW 300 is fitted with both three-pin and five-pin XLR input and output sockets, allowing for maximum flexibility when you connect the unit into an existing DMX system. You have a choice between two different DMX channel options - 18 and 21 - and a large backlit LCD screen on the front of the unit makes DMX addressing and mode selection extremely easy. It is also equipped with locking powerCON mains input and output sockets, which can be used to link the power supply of multiple fixtures to reduce cable runs. The Vizi BSW 300 is available now.



• Above The Rose Cafe • Left The Quattrocanali series from Powersoft

Powersoft has recently introduced the Quattrocanali Series, a four-channel amplifier which is ideal for applications such as bars, restaurants, retail outlets and fitness centres. The new 1RU four-channel platform includes three models and packs a serious punch, making it the perfect solution for venues and shops looking for crisp sound and sustained output volume. It features Powersoft’s trademark switchmode power supply with power factor correction, smart rail management and bridgeable switch mode fixed frequency Class D output circuit topology. The new Quattrocanali series addresses the requirements from small and medium applications where the channel count is limited but the need for a flexible product to work with Hi-Z and Lo-Z systems is a must. Powersoft recognised that small size

venues, such as leisure and retail spaces, have high standards when it comes to sonic quality and simplicity of use. Featuring 300W per channel, the Quattrocanali 1204 is set to be the flagship product within the range. Venues looking for a compact and powerful amplifier will love the Quattrocanali. It can be installed in many places, and the lowest thermal dissipation ratings in the industry mean no external cooling is required. Those technologies not only foster sound quality, they enhance Quattrocanali’s performances by recycling the otherwise wasted speaker reactive energy, delivering more stable power throughout the spectrum. Quattrocanali is available in both DSP and non-DSP versions, and is fully remote controllable via standard GPI/O connections on the back panel, Powersoft’s proprietary Armonìa

software, dedicated web app, or third party application. The Quattrocanali seamlessly integrates within a networking environment and can be remotely operated via the web app and Armonìa, allowing for decentralised location, further reducing the need for personnel. The operator may also set up the Quattrocanali offline, saving precious time, and enabling the audio engineer to work on presets. The fully-customisable interface seamlessly integrates all devices in one easy-to-manage screen, so that everything displayed can be monitored at a glance. The installer can set up different criteria through the access manager, enabling guest users to only access important monitoring functions while leaving full operability to qualified admin users. Remote access to the Quattrocanali is available both through standard Cat5 cabled and Wi-Fi networks, so that the user can be just a click away from unleashing its full potential and tweaking parameters - whether via laptop, PC, tablet or smartphone. Quattrocanali’s architecture may also be trusted in mission-critical applications where sound clarity and intelligibility are paramount, by exploiting the GPI/O connections.


Visit us! Green Hippo hall 4.0, stand D52



Ai version 10 is the latest step in the evolution of Avolites’ powerful and flexible media server software. The system already has a rich feature set, allowing users to manage large numbers of projectors, high resolution canvases, LED screens and 3D projection mapping - all while manipulating video content live. The node-based engine at the heart of the system provides ultimate flexibility, and integration with Notch and Spout facilitates full creative freedom. The camera-based Autoblend system enables everyone to achieve a very high quality projector blend, even on curved surfaces such as domes, while the AIM codec uses GPU acceleration to play back video with 24-bit colour and resolutions of up to 8K. Ai V10 improves on this feature set in several key ways. Firstly, a brand new timeline page. Add tracks for each layer of each screen fixture, and drag content to the track. Then attribute and control tracks can be added, which are easily, but precisely edited all within the one interface. Once some layers are controlled via the timeline, it’s still possible to perform live with other layers simultaneously - great for live music, but also for corporate events where the goalposts can move at any time.

It’s now possible to associate a number of beats to a clip. This means that for content, which has a visible tempo, it can be played back in time with the tap widget or compatible CDJs. Setting the BPM is easy and is carried out via the clip properties workspace. The interface has been overhauled with new icons throughout, so not only is it more stylish, but it brings consistency to the way tools and pages are labelled. It’s most noticeable in the output page, which handles projection mapping, pixel mapping, region mapping, masking and more. At this year’s Prolight+Sound exhibition, Avolites will be demonstrating how Ai servers - connected to Avolites Titan lighting consoles - can integrate video and lighting control like never before. The Ai server sends information from a displacement map to the console, so that fixtures with video surfaces and non-video attributes can move, zoom and more - in synchronisation with the video content. For more information contact:



The GigaCore 26i is an Ethernet switch from Luminex, which is the perfect solution for efficient data distribution - whether it’s light, audio or video. Designed to cope with the most demanding lighting and audiovisual installation projects, it can be used in theatres, theme parks, sport arenas, cruise ships, hotels, film studios and many other applications. The switch is complete pre-configured and validated against all common protocols in the entertainment industry, including ArtNet, ACN, MANet, Dante, AES67 and QLAN. The easy-to-use web interface and its group function enable you to quickly set-up a fully converged network in just minutes, without the need of any IT knowledge. There are really no secrets for this GigaCore anymore: IGMP snooping and querrier, QoS, DiffServ, DSCP Settings, RSTP, PTPv2, link aggregation, PoE+ the GigaCore 26i has it all optimised by default for the audiovisual industry. GigaCore 26i will offer 24 Gigabit ports on RJ45,

including four shared media ports. Users will be able to select either the RJ45 or the SFP cages for fiber connectivity. Two additional SFP cages are also available for a total of six SFP cages, providing users with the ability to create complex network topologies over fiber link, such as mesh and ring. “Our GigaCore 26i Ethernet switch is designed for installation where port density matters,” said Hugo Larin, Luminex’s National Director for America. “The GigaCore 26i permits a great number of audiovisual networked devices to be interconnected through the unit.” A button on the unit’s front panel permits users to select the parameter they wish to display on the LEDs, such as groups, PoE, RLinkX and more. GigaCore 26i runs the same, easy-to-use web interface as the rest of the GigaCore range giving users full control of their network infrastructure and true peace of mind.

FEATURES • Wire-speed layer 2/3 switching • Sound protocol compliant: low jitter • Industry specific web interface • Port status • Two LEDs per port: Mode LED to indicate group colour, RLinkX status and PoE status link/speed LED • Four status LEDs for the device: OK, PoE, RLinkX, Power • Redundant fans • Universal power supply: 100-240VAC


mix•ing con•sole

[miks-ing kon-sohl] n.

In audio, a mixing console or audio mixer - also called a mixing desk, audio production console, soundboard or simply mixer - is an electronic device that is used for combining, routing and changing the level, timbre and / or dynamics of audio signals.





“Today, we see formerly specialised products like live, theatre, broadcast or recording consoles developing towards multi-purpose, production consoles. Former broadcast consoles like the Lawo mc² series are now utilised in many theatre and house of worship applications, providing reliability and superb sound quality, along with scene automation or mirror console operation. The other tendency we see are IP-stageboxes combined with IP-networked processing engines operated via touch-screen control. Bundled with innovative mixassist systems like AutoMix or Autogain, this approach allows for excellent results. Depending on channel-count and application, Lawo’s Compact Engine in combination with the VisTool touch-screen software, or Lawo’s mc² MicroCore in combination with the mxGUI software, are great examples for this new type of mixers in install-sound applications.”

“The launch of the DiGiCo SD12 left dealers, customers and prospective buyers stunned. The sheer power, flexibility and price of the console was praised by all who attended the event. After lifting the black drape in a magician-like fashion, and leaving the attendees to their own devices to explore, hours of hands-on interaction followed. The SD12 in conjunction with the D2 Rack is, and will be a success. We are looking forward to seeing what else is up DiGiCo’s tech sleeve in the future.”


“One of the most exciting advances of modern digital mixing is the arrival of total system flexibility. The days of having to learn and adapt to fixed format mixing are fading away. One of the best systems for user chosen configuration is the Allen & Heath dLive family. With an FPGA engine, scalable I/O, assignable bus architecture, custom widget pages and drag and drop surface layout, it brings the engineer unprecedented control over workflow.”

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Allen & Heath dLive C Class Allen & Heath’s dLive C Class is a new compact range of Surfaces and MixRacks founded on XCVI, the same 96kHz FPGA core which drives Allen & Heath’s flagship dLive S Class mixers. C Class also shares its DEEP processing architecture, allowing class-leading compressors and processing emulations to be embedded directly within the inputs and mix channels. There are three new MixRacks in the series - CDM32, CDM48 and CDM64, plus three new control Surfaces, the 19-inch rack mountable C1500, C2500 and twin screen C3500. The MixRacks house the XCVI Core, providing capacity for 128 inputs with full processing and 16 dedicated stereo FX returns, plus a fully configurable 64 mix bus architecture, with full processing on all mix channels. Each surface and rack has a 128 channel I/O port, supported by a wide array of networking cards. dLive C Class is also compatible with S Class hardware, and the ME personal mixing system and supported by a full ecosystem of apps, Director software, and accessories. The C Class Surfaces employ the dLive Harmony UI, offering gesture touch control via 12-inch capacitive screens allied to colour-mapped rotary controls. Due to dLive’s design architecture, it is also possible to mix ‘surfaceless’, using a MixRack with a laptop or tablet for control.

ProRack-House APB-Dynasonics The APB-DynaSonics ProRack-House is a multi-purpose mixer intended for rackmount or tabletop operation with a rear panel connector assembly that can be rotated 90º. While being designed for live performance application, it is used equally in project studio applications. High quality Burr-Brown mic pre’s are incorporated along with low phase shift circuitry using a minimum amount of capacitors within the audio signal path resulting in minimum colouration of signals. The 16 input channels consist of 12 mono input channels and four Dual-Mono/Stereo input channels. Four subgroups are provided that incorporate mix-bus inputs allowing these groups to be used as additional line inputs if needed. Primary outputs include assignment to Left-Right, Mono, plus an additional C (Centre) output than may be used as a post fader assigned output for near field or assigned auxiliary output. TRS inserts are provided on all Mono input, Group Out, Aux Out, and main output channels. A field replaceable power supply is attached to the rear of the ProRack-House mixer.

Avid VENUE | S6L Avid VENUE | S6L is a fully modular, scalable live sound mixing system that delivers best-in-class functionality for a range of live sound mixing applications, including front-of-house, monitor, broadcast, theatre, and more. VENUE | S6L enables professionals to achieve better sounding mixes with greater speed and efficiency, thanks to the console’s modern touchscreen workflows, superior ergonomics, and unmatched visual feedback that provides immediate, intelligent control. Powered by the same easy-to-use VENUE software as other Avid live sound systems, the mixing console offers live sound professionals the most powerful processing engine in the industry - with over 300 processing channels. It has an exceptional sound quality with high-performance preamps and 96kHz sample rate support. The VENUE | S6L has onboard sound processing through fully integrated AAX DSP plug-ins, as well as support for Waves SoundGrid. There’s unmatched visual feedback and instant access to important functions through high-resolution, daylight-visible touchscreens and OLED displays, as well as seamless I/O sharing between S6L systems with Avid’s TrueGain technology.

Cadac CDC seven The CDC seven is Cadac’s latest addition to the CDC series of digital consoles. It retains all of the feel and familiarity of the CDC six, with its major ergonomic advance in user operation and minimal learning curve, but up scales the operational flexibility with its dual, large format 23.5-inch 16:9 touch screens and a physical fader count of 36. The channel input count also expands to 96 but retains the CDC six’s 56 busses; 48 of them being fully configurable. The CDC seven’s intuitive human interface and feature set are designed with the primary intention of aiding the workflow and allowing the engineer full creative freedom, unhindered by the operation of the technology. The standard feature set includes a Waves SoundGrid interface, Cadac’s unique Monitor with Mix Focus Modes, as well as the ability to create custom layers. As with all of Cadac’s digital consoles, the CDC seven uses Cadac’s proprietary audio protocol MegaCOMMS. MegaCOMMS allows a total through-system propagation delay from inputs on stage to outputs, including all console processing and A-D / D-A conversions, in 37 samples (@ 96kHz), or just under 400s; the industry’s lowest latency digital protocol.


DiGiCo SD12 DiGiCoâ&#x20AC;&#x2122;s SD12 encapsulates the best features of both the SD and S Series. It is compact in size, has the same sound and familiar software, but delivers even more control and connectivity - unrivalled at its price point. Features include 72 input channels, 36 aux/group busses, 12 x 8 matrix and LR/LCR buss, all with full processing, 12 stereo FX units, 16 Graphic EQs, 119 Dynamic EQs, 119 multiband compressors and 119 DiGi-TuBes, 12 Control Groups (VCA) and SD Series Stealth Core 2 software, making it compatible with all other SD Series sessions. Amongst the many other benefits are dual 15-inch digital touchscreens, providing 24 channels in one view, two banks of 24 encoders featuring an RGB HTL ring, as well as an SD7-style channel strip with HTL EQ encoders and an assignable Master section, all previously only seen on the SD5 and SD7. The back of the console has a standard local I/O format with eight each local mic/line inputs, local line outputs and AES/EBU in/out, plus two MADI ports and a UB MADI connection for recording at 48kHz. There two slots for a huge family of DMI cards, which can be changed between different projects or tours. Remote control options include the iPad SD remote app and offline software. There is also the option to upgrade straight into the Optocore network with two loop options, allowing the SD12 to sit happily anywhere on a loop with any other Optocore enabled SD product.

Dynacord PM 502 Thanks to its well thought-out input structure, as well as its manifold features and fully flexible output routing options, the PM 502 is an ideal choice for fixed installations such as bars, bistros, small clubs, hotel lounges and houses of worship, as well as for solo entertainers, DJs and for live performances in small to medium-sized clubs. Dedicated both for the fixed install market and mobile audio applications, the Dynacord PM 502 is the best in both worlds - combining finest analogue input circuitry and operating surface with the advantages of its digital master and amplifier section. The system is powerful, versatile and equipped with a wealth of features such as five MIC/Line and three stereo inputs as well as a master section tailored to the needs of day-to-day use, a 100V Direct Drive mode for direct connection to 100V or 70V loudspeaker lines in permanent installations without the need of an output transformer as well as a built-in Class-D power amplifier rated at 2 x 450W (RMS/ four ohm). One USB interface for PC and Apple supports 48 kHz recording and playback; a second USB slot at the front comprises an onboard MP3 media player playing MP3 or WAV formats.


Lawo mc²36 Lawo’s mc²36 all-in-one mixing desk provides a comprehensive feature set covering broadcast, theatre, house of worship, live and install applications. It features uncompromised sound quality and Lawo-grade mic preamps, offering unprecedented value for money. A powerful DSP micro-core with internal 512x512 port audio matrix and integrated I/O make it ideally suited to installations with limited space. Natively equipped with AES67/RAVENNA technology, the mc²36 integrates seamlessly into IP infrastructures. In combination with the Nova37 audio router and mc² Compact I/O stageboxes, multiple mc²36 can be easily combined to a very smart package for networked applications.

Midas M32R The Midas M32R digital mixer is a professional, live performance and studio recording digital console with up simultaneous input channels. The console combines Midas sound quality with advanced digital technology, future-proof 96kHz capable open architecture design and industry-leading 192kHz ADC and DAC converters. Across the M32R are nine strategically placed view buttons associated with various functions. These buttons enable immediate access to information about that specific function. Included within the M32Rs mainframe are 16 highly flexible effects plug ins, all based on True Physical Modelling of classic audio hardware - such as the Urei’s 1176, Teletronix LA-2A and the Fairchild 670 compressor, as well as the Pultec EQP-1a and EQ5 EQ’s. There is also a five-band multiband compressor. The M32FR comes loaded with all the connectivity, I/O and modern functionality users will need. On-board USB 2.0 connectivity delivers 32 x 32 channels of audio and MIDI, integrated multi-channel digital audio interfaces connect to remote stage boxes and or the P16 personal monitor system. Native Ethernet control enables complete remote operation via a computer, iPad or iPhone over a wired or wireless network enable fantastic remote control. An additional expansion slot is also provided, allowing the M32R to be connected to a current and future digital audio network and link protocols via a wide range of expansion cards including USB, ADAT, MADI and Audinate Dante.

PreSonus StudioLive 32 The PreSonus StudioLive 32 digital console/recorder is fully recallable and offers 33 touch-sensitive, motorized faders and 33 recallable XMAX preamps. The 40-input console streamlines workflow and is highly configurable. Its Fat Channel processing section incorporates a plug-in-style workflow that features vintage-style EQ and compression options on every channel, from classic tube limiters to passive EQs. In addition to channel processing, the StudioLive 32 offers six-band, fully parametric EQ on all mix outputs. The mixer provides onboard multitrack Capture recording to SD Card or to a computer via USB or AVB. The mixer includes PreSonus’ UC Surface control software and Studio One Professional DAW. Customisation is a key aspect of the StudioLive 32. User layers facilitate assignment of any channel or bus to any fader. Fat Channel layout and scenes are also customisable, along with several workflow options to personalise one’s mixing experience. There are 16 FlexMixes that can be individually designated as aux, subgroup, or matrix mixes, in addition to the four fixed subgroups, providing a total of 20 mix buses, excluding the main mix, effects mixes, and solo buses. There are 24 DCAs for controlling channel groups.

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Soundcraft Vi7000 The Vi7000 digital mixing console delivers the best Vi sound ever, bringing optional 96kHz processing, upgraded channel counts and even more reliable hardware to live sound’s most popular mix interface. Partnering a compact control surface with new Local Rack and Active Breakout box hardware, Vi delivers simultaneous mixing of up to 128 inputs and 32 mono/stereo busses. Pristine sound quality is assured by ultra-low noise mic amp designs and enhanced 96kHz 40-bit floating point digital audio processing, while FX come courtesy of eight independent Lexicon multi-FX units, BSS DPR901ii integration and a BSS graphic EQ on every bus output. Rapid configuration and powerful automation features, radio mic status monitoring and extensive ViSi Connect remote control and I/O expansion (EtherSound, CobraNet, Dante, MADI, etc.) complete the package. In common with the entire range of Vi Series consoles, the Vi7000 offers the patented Vistonics touch screen control surface and FaderGlow, providing fast identification of all fader assignments through colour-coded fader tracks, all designed to make learning and operation faster and easier.

Solid State Logic L-Series Live The Solid State Logic L-Series Live consoles are based around the SSL Tempest audio engine, with a flexible architecture and control surfaces offering multi-touch screens and assignable hardware with independent fader tiles and channel control tile. The 96kHz architecture, SSL SuperAnalogue pre-amps, and SSL processing ensure that audio quality one of the big priorities for SSL Live. The SSL Live console architecture is designed to be extremely flexible, with power allocation based on channel type assignments from Channels, Auxes, Masters, and the innovative Stem Group (an audio group that can be routed from and to almost anywhere, including other Stems). Paths and routes can be allocated on the fly, with no interruption to audio. Processed paths include EQ, dynamics, tube mic emulation, delays, all-pass filters, and more, with drag and drop process ordering. A powerful internal FX Rack features over 45 SSL effects, with 96 available rack slots on the L500 Plus and 48 on the L300 Plus. The FX rack, and the 32 x 36 Output Matrix both have their own dedicated processing. V3.3 software for SSL Live brings direct control of the SSL Network I/O range of Dante I/O devices with in-console ownership controls and tablet control.

Yamaha TF-RACK Yamaha’s compact, cost-effective TF-RACK rackmount mixer is the perfect solution for projects where exceptional flexibility is needed, but space is very limited. Housed in a 3U high, 19-inch rack casing, TF-RACK is an all-in-one 16+1 stereo in, 16 out digital mixer featuring exceptional ease of setup and operation. With 40 input mixing channels, 20 aux buses, eight DCA groups with Roll-Out and comprehensive I/O connections, TF-RACK is a very flexible mixing solution. It features the same touchscreen and hardware control as the TF series consoles, making it is possible to achieve a polished sound with minimum effort. It can also be conveniently set up and operated by wireless apps including TF Editor, TF StageMix and MonitorMix, allowing all of its features to be accessed - even in the smallest space. I/O channel processing includes EQ, gates and compressors, with eight processors of Yamaha’s renowned SPX technology providing many options for sonic manipulation. TF-RACK can record and play back up to 34 tracks via USB to a Mac or PC, or two tracks to a USB hard drive or SSD. An optional NY64-D interface card and Tio1608-D I/O unit can be used to set up, or integrate it into, a Dante network.

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1. 5 Star Cases Pro-Tect Bags & Covers For more than 35 years, 5 Star has been at the forefront of case design, manufacture and supply of high quality products to many industry sectors. 5 Star’s core market sector is the entertainment industry and our staff have gained vast experience in most aspects of this sector. However, many other industries are catered for, including medical, optical, telecommunications, military and motorsport. The company manufactures road trunks, 19” racks, console cases and of course specialise in custom-designed projects. Recently, 5 Star Group added Pro-Tect Bags & Covers to its manufacturing facilities. ProTect produces high-quality padded bags and covers for a wide variety of applications and industries, which compliment the extensive range of case products produced by 5 Star.

2. ADJ Entour Venue The ADJ Entour Venue is a professional grade touring faze machine for installations or mobile use. This pro Fazer offers a very quick warm-up time and produces a massive amount of atmosphere. The Entour Venue features an easy to read LED function display with fog timer, continuous fog and manual fog options. Connections include threepin and five-pin DMX in/out. Just like the popular Entourage touring unit, the Entour Venue offers a hybrid between a conventional fog machine and a haze machine. It uses economical water-based fog fluid, but disperses it thinly over a much wider area to create the perfect atmosphere for vibrant mid-air beam effects. It also features variable output volume, adjustable speed fan, and a multi-angle output vent, which means that it is capable of generating just the right amount of faze - in exactly the right place - for any given application.

3. Airstar Crystal Dynamic White The Crystal Dynamic White (DW) from Airstar is a quiet, dimmable and flicker-free LED lighting balloon. The DMX-controlled Crystal DW boasts a luminous flux of 50,000 lumens, allowing it to efficiently and evenly light up an area of 2000 sq metres within minutes - with a shadow-free and glare-free light. With the colour corrector feature, users can switch from warm white at 3,000K lumens to cold white at 6,500K through

‘daylight’ in seconds, thanks to the control box. Both the dimmable and DMX features can be remotely controlled, which enables the user to change the light intensity. This highly-versatile lighting solution can be used for a number of applications, including lighting, communication, signage, animation and decoration, making it the perfect answer for fashion shows, live shows, sports and corporate events. Made in France, the Crystal DW, along with all Airstar products, benefits from 25 years of expertise in inflatable technologies and professional lighting for all industries, from events to cinema, right through to architecture, construction and safety.

4. Allen & Heath V1.4 To coincide with the launch of dLive C Class, Allen & Heath has released a major firmware update to all dLive mixers, further enhancing the functionality and processing capabilities of the system, plus a package of warranty and service upgrades to customers of its flagship dLive S Class. New features in V1.4 include advanced dynamic processing with the Dyn8 plugin providing four bands of dynamic EQ and four bands of multiband compression, DCA spills, quick Virtual Soundcheck mode, plus the Dimension Chorus Rack FX unit. There are also new additions to the array of DEEP embedded plugins, comprising the Peak Compressor/Limiter 76 emulation of a classic compressor, plus the Multi-Stage Ducking Processor. Also new to V1.4 is the option to display a third, independent view on an external monitor. Further to the firmware update, owners of dLive S Class systems will also benefit from a free warranty extension to three years. In support of the dLive rental network, a community of almost 200 professional PA companies stocking dLive S Class Systems around the world, Allen & Heath has also introduced a Fly&Hire service, through which the company will help facilitate local hire of the system wherever in the world an engineer, band or production company might be travelling.

5. Atlona Velocity Atlona introduces Velocity, an all-new audiovisual system control platform for Atlona and third-party products in commercial audiovisual environments, ranging from individual meeting rooms to an entire campus or enterprise. The Velocity Control System allows very fast, agile audiovisual system configuration and deployment, plus





















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6. AV Stumpfl 8K RAW Server The powerful Wings Engine RAW media server is the only server of its type capable of playing out four simultaneous streams of uncompressed 4K content at 60fps, which has made it household name in different branches of the audiovisual industry in record time. RAW servers can also display video content using a full 12-bit colour space, delivering more colour information than the current media server standard. The render engine allows for the use of high frame rate footage of up to 120fps and makes it possible to create seamless 8K softedge blending panoramas. Native image sequences like TGA or TIFF can be used without any need for converting them into an intermediate codec format. RAW servers feature realtime frame blending and automatic camera calibration options.



























centralised management for multiple clients and site installations. It also features an innovative cloud and premise-based system architecture with unprecedented scalability up to 500 room systems or more, as well as full redundancy capability that prevents audiovisual control downtime in any room. Velocity is comprised of three distinct elements that work together as a single, unified platform: Velocity Control Suite, Velocity Control Gateway, and Velocity Touch Panels. The Velocity Control Suite is a cloud-based service and centralised resource for integrators to create and manage their audiovisual control projects by client, client sites, and specific locations such as rooms. The Velocity Control Gateway is a software-based control processor that resides on-site with the clientâ&#x20AC;&#x2122;s audiovisual systems. It is configured and managed remotely through the Velocity Control Suite. Atlona offers the Velocity Control Gateway as a server appliance that can interface with up to 500 devices. For enterprise-wide scalability, a software license of Velocity Control Gateway is also available for hosting on IT server infrastructure, with the capability to serve up to 5,000 devices. For user interaction with audiovisual systems, Atlona offers Velocity Touch Panels in 5.5-inch and 8-inch screen sizes. Additionally, the Velocity Control System allows easy BYOD integration with tablets, smartphones, and laptops, as well as PC desktops and touch displays.





















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standard powerCON compatible power input and output connections, and three-pin DMX input and output connections.

1. Barix Barionet 1000 The Barionet 1000 is the latest member of Barix’s universal programmable I/O device family for IP-based control and automation applications. In contrast to other Barionet devices that use the proprietary Barix ABCL programming language, the Barionet 1000 is the first device to be programmable in Linux using the Open WRT framework. It is also the first Barionet device to integrate wireless support and a USB port for emerging control and automation connectivity needs. The Barionet 1000 is suited for a range of control and automation-based programmable functions. These include access and door control; contact closure monitoring, environmental monitoring, alarming, and logging; failover switching; motion detection and security camera control; photovoltaic power management; and temperature monitoring, logging, and HVAC control. The Barionet 1000 has two USB host ports, one 10/100 Ethernet port, one DB9 RS-232 serial port, Wi-Fi 802.11 b/g/n 2.4Ghz wireless connectivity, and is IPv6 capable.

2. Blizzard Lighting ProPar I7 ProPar I7 fixtures are fitted with 7 x 15W RGBW 4-in-1 LEDs that go above and beyond capabilities of standard PARs due to the zoomable 4-60° beam angle and infinite bidirectional rotating lens plate. Not only does this unique fixture sport a totally sleek housing design, but also has what it takes under the hood to deliver an even wide wash and a tight mid-air parallel beam. Throw in spectacular multi-beam aerial effects and kaleidoscopic-like projections for the extra punch that takes this product above and beyond. Its incredible built-in static/dynamic effects can be run in auto, sound active, or via 23/51-channel DMX with full control of every aspect including the effect shape selection, speed, fade, color, transition, and shape offset between multiple fixtures. DMX mode also allows quick access to linear CTO presets (2500k-8000K) and four dimming curves. On the back of the fixture, users will find an easy-to-use four-button LCD control panel which gives access to many options, including DMX mode selection, 3x auto run modes, 2x sound active modes and master/slave settings. It also boasts access to other professional features such as menu key lock, menu flip, display shut off timer, run time info, and motor + LED testing modes. ProPar I7 fixtures come with dual mounting brackets with secure locking knobs, industry

3. Cerwin Vega CV Series The new Cerwin Vega CV Series powered PA line includes three distinct loudspeaker groups: CVE, CVX and CVXL. Cerwin Vega optimiSed each group’s audio and build quality to be the best in class for specific applications. From backyard parties, to medium-sized venues, to stages requiring power to spare, there’s a CV Series PA that provides the perfect match. ThE CVE series is a group of four speakers, single 10-inch, 12-inch and 15-inch tops with one 18-inch sub, represents the line’s most compact systems. The CVX series is a more powerful, medium-sized line with four powered speakers: single 10-inch and 15-inch tops, with 18-inch and 21-inch subwoofers that feature CV’s exclusive ‘Tour Shield’ finish on the subwoofers. Finally, there’s the CVXL serie, which is the largest and most powerful of the group, comprising of five powered speakers: single 12-inch, 15inch, or dual 15-inch tops, and single 18-inch or dual 21-inch subwoofer.

4. Christie Boxer 4K20 Christie has expanded its Boxer line with the new 3DLP Christie Boxer 4K20 complete with full native pixel-perfect 4K resolution, the widest selection of 4K connectivity and the same small, rugged, reliable design as the rest of the Boxer product line. Suitable for rental stagers who don’t need the 30K brightness that comes with the Boxer 4K30 model for their projects, the Boxer 4K20 features 20,000 lumens and an updated and simplified GUI for the ultimate in user-friendliness. The High Bandwidth Multi-Input Card (HBMIC) in the Boxer 4K20 provides a variety of connections for high bandwidth 4K signals and allows for 4K 60Hz over a single cable using 12G-SDI, HDMI or DisplayPort. The HBMIC also adds direct fiber input capability for use with a Christie Link transmitter that sells separately or as part of a bundle. All inputs offer preview capability and fast synchronizing or switching between inputs. The Christie Boxer 4K20 is also suitable for fixed installations, and features Christie TruLife electronics platform for the most lifelike colours and unprecedented image fidelity.



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1. Chromateq DIN 1024 DMX Chromateq has updated its DIN rail controller to 1024 channels and added several new trigger possibilities. The new DIN 1024 USB to DMX standalone interface, can now control 2 DMX universes either as inputs or outputs. This allows the hardware to work in a splitter mode or receive, in stand alone, DMX triggers from another DMX device. With the latest firmware, some new RS232 commands complete the trigger capacities (Start/Stop scene, select Zone, Dimmer, Speed, Black out, etc). DIN 1024 can also receive 15 external dry contacts to trigger scenes in memory. It can be controlled by an Infrared remote control unit or use its internal Real Time Clock for time and calendar scene schedules. For big projects, the DIN 1024 includes a Master/Slave option to connect 32 interfaces together and synchronize up to 64 DMX universes in stand alone mode (without a PC). Each Chromateq product comes with a three year hardware international warranty and free software updates. LED Player software can be downloaded from for Windows, Mac Os X and Linux systems.

2. City Theatrical DMXcat City Theatrical‘s DMXcat Multifunction Test Tool makes it easy for anyone to control, analyse, or test any DMX lighting fixture, whether it is a simple LED PAR or a complex moving light. The system consists of a small hardware dongle and a suite of mobile applications. Together, they combine to bring wireless DMX and RDM control plus several other useful functions to the user’s smartphone. The DMXcat solves the problem faced by all users of modern lighting equipment: How to turn on and test DMX lighting gear without using a complicated lighting console. The DMXcat works with both Android and iPhones.

3. Crestron Avia AMP-8000 Series Crestron Avia AMP-8000 series amplifiers are designed to complement the Avia family of digital signal processors, and are well-suited for all types of commercial audio

applications. Each model furnishes eight channels of clean, efficient amplification in a space-saving 1RU rack-mountable chassis. Each channel is configurable for Lo-Z or Hi-Z operation, as well as stereo and bridged modes. Network connectivity enables configuration, monitoring, and control via the Avia Audio Tool software, a Crestron control system, or Crestron Fusion Cloud. AMP-8075 and AMP-8150 work natively with Avia DSPs, enabling integrators to deliver best-in-class commercial audio systems with unprecedented efficiency. The new amps feature comprehensive front panel status indication and output meters, and rear panels include balanced inputs and level adjustments. Advanced Class D technology maximises efficiency to reduce power consumption and heat dissipation. An internal universal power supply with power factor correction ensures consistent performance with varying line voltages.

4. dB Technologies OPERA Series OPERA enters a new era with three completely redesigned 10-inch, 12-inch, and 15-inch cabinets. Exceptional 1,200W peak power and unique acoustic design combine in order to deliver a vigorous yet pristine sound, successfully adaptable to both playback and live music applications. Opera’s asymmetrical horn, which dramatically contributed to the success of the series, has been completely redesigned in order to obtain both an asymmetrical vertical dispersion and a double horizontal dispersion, ensuring an optimised throw pattern. All three models of the series are equipped with a powerful Class D 600W amplifier featuring advanced DSP processing, with FIR filters allowing the systems to deliver a coherent audio performance, uniform and crystal-clear from every listening position. All models feature two input channels (allowing live performers to use the system both for vocals and instruments or vocals and playback music), two selectable output channels (LINK CH 1 or MIX CH 1+2) and eight EQ presets which adapts to different environments, making OPERA the perfect companion for the discerning performer. The new functional yet polished design features a full grille, a top and a side handle easing monitoring purposes. The cabinet comes with an integrated pole mount cup allowing stacked configurations with dB Technologies subwoofers.


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1. DPA Microphones Microphone Base

3. Elation Rayzor 360Z

When the aesthetics of the meeting space are as important as the audio quality, the d:screet Podium Microphone, together with the stylish, new Microphone Base, is the right solution. Unobtrusively mounted on the ceiling or elegantly embellishing the meeting table, this solution ensures that every participant is heard and understood. The Microphone Base can be used with any of our gooseneck microphones with a MicroDot connector as the output, though it is made especially for the d:screet SC4098 Supercardioid Podium Microphone. The Microphone Base has an elegant yet unobtrusive design with a black or white, non-reflective surface. The Microphone Base comes with a built-in shock mount system that gives very good suppression of unwanted handling noise from a table or the like. A locking ring is provided to secure the gooseneck in place, when this is twisted and turned to reach the right position. Furthermore it tightens the microphone to the base to form a complete system.

Elation Professional’s Rayzor 360Z is a compact and high-speed yet surprisingly powerful beam/wash LED moving head that has use in a variety of stage or installation environments. It houses three 60W RGBW LEDs for an impressive punch of light and includes a 5° to 50° motorized zoom for the versatility of narrow to wide beam angle spreads. The Rayzor 360Z offers surprising brightness for its size (20,550 Lux at threemetres with 5° zoom) and with 16-bit continuous 360° pan and tilt rotation it can add an energizing look to any show. Color temperature is variable from 2,700K - 8,000K and it offers a full complement of other professional features, including electronic strobe and 0-100% dimming with selectable dimming curve effects. The fixture allows for individual pixel control, which opens up for custom designs or users can turn to the convenience of built-in macros.

4. Electro-Voice X12-125F

2. DTS CORE CORE by DTS is an advanced moving head that is ideal for countless applications - from television studios to tours.CORE is the true ‘hybrid’ moving head: it features an extrabright beam and a versatile spot, plus a comprehensive selection of the most useful colours and effects, all in just 22kg. CORE is the right fixture in any lighting production, from large to small ones. In fact, CORE is powerful enough to fit any show, and offers an incredible quality / price ratio that will fit any budget. CORE lets you perform a range of tasks, thanks to a built-in array of advanced features: spot and beam projections all in one. An extra-bright beam of light that cuts through any show (1,530,000 Lux / fivemetres) - Osram Sirius HRI 440W Lamp. A complete selection of the most appealing colours, from very saturated ones to the subtlest nuances, plus ‘two-tone’ generation. The most up to date and effective gobos (two gobo wheels + animation section), Long excursion linear zoom (2° - 39°) with auto focus, eight-facet rotating prism, frost filter, super-fast zoom, focus, pan and tilt movements also feature.

Electro-Voice has announced the latest member of the X-Line Advance line-array loudspeaker family: the X12-125F flying subwoofer - a dual 15-inch system equipped with high-output EV-engineered transducers delivering 9,600W output. The X12-125F features the family’s innovative Integrated Rigging System for quick, secure and seamless deployment in arrays, and is sonically matched to the other members of the family: X1 and X2 (high-performance) full-range models, and the X12-128 ground-stacking dual 18-inch subwoofer. The X12-125F can also be used in ground-stacked configurations, making it a versatile choice for rental companies and mobile applications, as well as fixed installations including live performance venues and houses of worship. Its very compact, lightweight 18-ply Baltic birch enclosure is finished in EVcoat for superior durability.


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63 63 18

• •

LIGHT OUTPUT more than 25.000 lumen Maximum power consumption 650W



amber 18

graphics: Vilfredo Maria Ricci - © 2016 Studio Due


New TURBO-COLOR 6C the most powerful and efficient LED Lighting fixture in its category.


cable hidden in the bracket new optional handle

STUDIO DUE light s.r.l.

Viterbo (Italy)

t. +39.0761.352520

f. +39.0761.352653






1. EM Acoustics ESP series The new ESP series from EM Acoustics offers high output from compact self-powered enclosures designed for a wide variety of portable applications ranging from front-ofhouse duties to speech reinforcement, delays and fills, and compact stage monitoring. The series consists of three models: the two-way ESP-8 which features an eight-inch / one-inch coaxial drive unit in a very compact and versatile enclosure; the larger twoway ESP-12 based on a 12-inch / 1.3-inch coaxial drive unit; and the 15-inch ESP-15S subwoofer. The two-way models both provide wide conical dispersion patterns with smooth off-axis response and no parallax effects that would be present with separate HF and LF drivers. All models utilise the latest in Class D amplifier technology, with a lightweight, universal voltage 1200 watt module configured to power the ESP-8 and ESP-12 drive units individually, and provide ample power and headroom for the ESP15 subwoofer. All models feature onboard DSP with application-specific presets which optimise performance in many sound reinforcement situations. Primarily intended for portable use, the ESP series cabinets are supplied with pole mount sockets and flush handles, and also a variety of rigging points for permanently installed applications, and are available as standard in black or white textured finish.

2. High End Systems QUAD High End Systems’ new QUAD automated luminaire turns heads with its optical quality, output and unique performance qualities. ‘A Richard Belliveau Concept’ and part of HES’ FX Series along with UNO, SHAPESHIFTER, and HEX, the QUAD features four RGBW LEDs with independent X & Y module control (X= -15/+15 degrees, Y= -2/+15 degrees) and four high efficiency TIR lenses, individual 3.5º to 40º zoom and a high powered indigo backlight system. With its 540º Pan x 265º Tilt, the QUAD offers unprecedented movement capabilities, resulting in a fixture capable of producing stunning new visuals as well as classic ACL animated searchlight patterns. Other features include modular construction, Electronic Cooling System Control, and 100 macros to facilitate programming and operation.

3. K-array Domino K-array has introduced its new full-range speaker line, Domino. These compact stainless steel speakers with plug and play capabilities do not require presets and can be driven by any amplifier making them the perfect solution for applications from intimate restaurants to live concert settings. The new line consists of three speakers: the KF26, the KF210 and the KF212. The KF26

is the smallest of the trio measuring less than 12cm deep. It is comprised of a six-inch and a two-inch neodymium magnet woofer coaxially mounted plus one six-inch passive radiator to extend the bass response. The KF26 has a selectable impedance (8/32) and 90° coverage, horizontally and vertically. Designed as a passive speaker, the KF26 can be transformed into a self-powered speaker just by inserting the specific amplifier accessory, KA1-FF. With a max SPL of 109dB, the KF26 is the ideal for smaller installations that require high quality in a practical, compact form. The KF210 is the mid-sized option of the Domino line that has a 10-inch and a three-inch neodymium magnet woofer coaxially mounted in addition to a 10-inch passive radiator. Like the KF26, the KF210 has selectable impedance and wide vertical and horizontal coverage. The largest and most powerful of the Domino line is the KF212. Comprised of a 12inch coaxial transducer with a titanium dome and a 12-inch passive radiator, the KF212 really packs a punch. With a depth of 20cm, the KF212 is the ideal solution for clubs and lounges to live concerts. The Domino line is accompanied by several product-specific accessories that can enhance the system’s setup. Wall brackets are included while other useful tools are available for purchase, like the flush mount recessing frame, K-WF26 and K-WF210, used to further hide the speakers. Domino is available in a 24K gold plated finish as well as brushed or polished stainless steel finishes in addition to the standard sleek black and elegant white rendering them suitable for any venue.

4. LD Systems STINGER G3 Series The new STINGER G3 series comprises active and passive speaker cabinets in 8-inch, 10-inch, 12-inch and 15-inch formats, as well as two 15-inch and 18-inch subwoofers, available in active or passive versions. All cabinets are made from high-quality 15mm or 18mm birch ply, which, in conjunction with the tuned bass reflex enclosures, ensures accurate bass response. The abrasion and impact resistant polyurea plastic coating repels dirt and guarantees longevity, especially during mobile use. All active speakers are equipped with powerful Class D amplifiers. The dispersion characteristic of the full range speakers has been further optimised in the high frequency range. During the development and optimisation of the horns, the Boundary Element Method (BEM) was used, and the distance between the tweeter drivers and woofers has been minimised to avoid partial drop-outs caused by comb filter effects. DynX DSP technology, a proprietary development from LD Systems, ensures crystal clear sound. With their four precisely tuned presets (full range, satellite, monitor, flat), the full range speakers can be optimised for the desired application at the touch of a button.   In addition to three different high-cut filters, the active STINGER G3 subwoofer’s DSP presets also feature a cardioid preset. By combining three STINGER G3 subwoofers of the same design, a cardioid dispersion characteristic is achieved with this circuitry, which offers a number of qualitative advantages over conventional subwoofer setups.







Bellota Restaurant | USA | The Americas

JEWEL | USA | The Americas

Harbin Grand Theatre | China | APAC

Philharmonie de Paris | France | Europe

T-Mobile Arena | USA | The Americas

Krasnodar Stadium | Russia | Europe

Studio City | China | APAC

Harmony of the Seas | USA | The Americas

The Church of St Bernadette | France | Europe

Shree Swaminarayan Mandir Kingsbury | UK | Europe

Best House of Worship

Best Integrated Resort

Best Sporting Venue

Best Performance Venue

Best Nightlife Venue


Best Nightlife Venue

Dai Show Theatre | China | APAC

Opéra Bastille | France | Europe

Pride Park Stadium | UK | Europe

Parc Olympique Lyonnais | France | Europe

Puy du Fou | France | Europe

Hangar 58 | Belgium | Europe

Qatar’s Coptic Church | Qatar | MEA

Communidad Apostolica Hosanna Church | USA | The Americas

Best Sporting Venue

Dragonfly | Indonesia | APAC

Best Performance Venue

My Way | Mexico | The Americas

Best Integrated Resort Best House of Worship


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1. LEDBlade Curve

3. MONACOR DT Series

LEDBlade - the new generation LED strip, visual technology system - has announced the launch of the new LEDBlade Curve. LEDBlade adds extra dynamic to the video design toolkit to create memorable visual experiences. LEDBlade creates depth of space or three-dimensionality; it enhances edges, expands the visual area or links together to create any geometric design. LEDBlade Curves and LEDBlade Stripes work in any combination together. The modules share power and fastening options and are IP-rated for indoor and outdoor use. Handmade in Europe and developed by an audiovisual rental company, the product benefits from over 20-years of hands-on experience. LEDBlade is rugged in demanding situations, compact and light for ease of transportation and fast to reassemble. On tour or permanently installed, LEDBlade offers limitless design capabilities from a media server or LEDBlade’s proprietary software.

The new DT series from MONACOR now conveniently allows you to implement audio over IP solutions with Dante interfaces at a very attractive price. Among the highlights to be seen, the new speaker WALL-05DT is definitely one of the main attractions and suitable for fixed installations in shops, hotels, in pubs and restaurants, in schools or indoor sports facilities. With a classic design and state-of-the-art components, this speaker system provides an excellent sound for any application. Installation and setup ensure maximum efficiency. The wall-speaker WALL-05DT from MONACOR is a compact active speaker with integrated Dante module and a high-performance DSP which can be controlled via the installed software ‘DSP-Control’. The amplifier module of the WALL-05DT supplies 20W for treble and bass. Thanks to the power supply via Power over Ethernet, you can call this a real plug-and-play solution. The white speaker system with dimensions of 163mm x 252mm x 165mm is supplied with a pivoting and tilting mounting bracket. Beside a Dante input for connection to the network, the device also features a feed-through output. In addition to the PoE power supply, it is also equipped with a jack for 12V power supply. With the PA-900DT, MONACOR is also going to show a Dante version of the top-selling mono mixing amplifier PA-900 with 120W for 100V and low-impedance speakers.

2. LPS Laser Array Beam Bar The LPS Laser Array Beam Bar is a sophisticated laser effect product, which is available from 3K RGB (3W white light) and convince equally, combined with other professional entertainment elements or as a spectacular stand-alone eye-catcher. The laser beam bar is equipped with ten RGB pure diodes and offers countless and brilliant colour variations. Of course, the laser power can be adjusted for each single beam and the colour can be choosen individually for each single laser beam. Thus, you can fade each single beam exactly how you would like it. The LPS Laser Array Beam Bar is a small and handy lightweight and quickly be mounted on trussing horizontally or vertically. This laser beam bar is specifically designed for professional lighting designers and supports unique events, festivals, theme parks and different stage-set-ups.

4. P.Audio LINE Series The 2LINE-6 is a high directivity vertical column array loudspeaker loaded with six closely spaced two-inch Neodymium-based, dynamic transducers. When paired with the 2LINE-Sub, an active 10-inch enclosure powered by Class D amplification, it is ideal for both fixed and portable applications. Two amplifier outputs - each providing 300W of output - are utilised to drive the 10-inch transducer and the 2LINE-6 column array. Eight switchable EQ presets on the amplifier panel allow different voicing modes with the 2LINE-6, including one preset optimised for use with the spoken word. The larger 3LINE-C is loaded with eight three-inch woofers in a vertical array for defined pattern control and six one-inch soft dome tweeters mounted in front of the woofers for added high frequency extension. It can be used with the P.Audio’s XT-15A SUB for low frequency support, using the dedicated 3LINE preset, with all of the DSP handled by the XT-15A subwoofer.

SUN CIRCLE e x h i b i t i o n s






1. PixelFLEX FLEXStorm

3. Pro Tapes Pro UGlu POWER PATCHES

Designed specifically to overcome the challenges associated with traditional outdoor LED video displays, FLEXStorm utilises an intelligent, auto-correcting light sensor control system to ensure the perfect brightness at all hours of the day. With its safe and reliable connections, FLEXStorm can weather the environment and is available in a variety of custom sizes, resolutions and configurations. Built to withstand adverse weather conditions while still providing a truly breathtaking experience, FLEXStorm can be utilised for outdoor advertising, entertainment, and much more. With its adjustable sensors that communicate directly with the cabinets control system, FLEXStorm has variable brightness offerings between 6500-7500 Nits to look its best day or night. Additionally, using cloud-based content management, updating the FLEXStorm is simple and easy with the click of a button, and the fully front-serviceable panels allow for quick access to the electronics and data control for any onsite service. Available in multiple cabinet sizes to best fit unique outdoor LED displays, FLEXStorm data and power connections are 100% water tight creating stable and reliable connections between each cabinet.

Pro UGlu Power Patches are 3-inch x 3-inch die-cut double-coated tape on a white release liner with a rubber based adhesive system. Pro UGlu Power Patches can be used to make quick repairs without tools which makes it handy to keep both in-shop and onsite. The 3-inch x 3-inch die-cut size is most commonly used for carpet hold down. Pro UGlu Power Patches are Acid Free, Non-toxic and VOC Free. Pro UGlu’s bond is instant - there is no cure or dry time involved. Some features and benefits include: waterproof, weatherproof, can be cleanly removed from most surfaces, holds up to two pounds, easy-to-peel release liner and conforms to uneven surfaces.

2. PR Lighting XPar 150 Zoom PR Lighting’s XPar 150 Zoom is an exceptionally compact and lightweight fixture. With its IP67 rating it is designed for extreme outdoor conditions such as building façades, landscaping and so on. Featuring multi-chip (four-in-one) multichip 150W COB (chipson-board) LED and linear zoom, it is ideal for applications requiring superb RGBW colour mixing or high quality white light, and comes as part of a fully-featured package. This includes Strobe (0.5-33 fps); dimmer (0-100% linearly adjustable); RGBW colour mix, with macro; beam angle (1/2 peak) of 22°-55°; zoom (DMX linear zooming); Colour temperature (2,700K-10,000K linear correction). In terms of construction, the fixture is housed in a rugged, high-strength die-casting alloy capable of operating in ambient temperatures ranging from -20°C to 40°C. With a net weight of just 7.5kg, it measures (packaged) 595mm x 355mm x 320mm - and a six-in-one flight case is offered as an option.

4. Renkus-Heinz C Series Renkus-Heinz has introduced the new C Series of professional loudspeakers for installed sound applications. A reinvention and evolution of the company’s legendary CF/CFX Series, the C Series is designed to meet the needs of today’s installed audiovisual professionals, with a broad range of systems to provide effective solutions for every sound reinforcement challenge. Designed for permanent installed applications, C Series loudspeakers are a cost-effective solution for theatres and performing arts spaces, houses of worship, multiuse venues, public spaces, and any project where quality sound, high performance, and superior pattern control are essential. The new C Series loudspeakers incorporate the latest generation of Complex Conic Horns, with updated drivers to provide clean, natural sound and tighter pattern control. Unlike conventional loudspeaker designs, Complex Conic horns provide consistent beamwidth over a wider frequency range, with the natural, transparent sound that Renkus-Heinz is known for. And as with all Renkus-Heinz products, C Series loudspeakers are backed by Renkus-Heinz’s renowned worldwide customer support. C Series models will be available in amplified (CA Series) and passive (CX Series) models, in black or white finish. The CX42 stairstep loudspeaker, an updated version of the highly acclaimed CFX41, will only be available in a passive design. C Series will be shipping in Spring 2017.

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1 3



1. Robe Halo

3. Vivitek DK8500Z

Halo - a new exciting dimension in led pixel lighting for stage and set. A circle of encapsulated bright micro-pixel LEDs, mounted on a standard size PAR can colour frame, Halo can bring the classic fixtures back into the latest lighting designs or be used alone to add many new dimensions and effects. Controlled via DMX, the operator can quickly and simply program the most sophisticated effects using the internal content generator or switch to display pixel mapped video content. The system consists of six frames of RGB LEDs and a six-way data controller/driver in the familiar colour-scroller truss-hanging format. The system is interconnected using the industry standard four-pin XLR scroller cables that are already part of most lighting company inventories.

Vivitek has announced the launch of a large venue laser projectors, the DK8500Z, adding to its already comprehensive portfolio. The DK8500Z features a powerful laser light sources, which offer up to 20,000 hours of operation, making them ideal for venues that need power and positioning flexibility combined with durability and ease of use. Laser light sources do not require lamp changes, which minimises maintenance, while their mercury-free designs ensures that they are environmentally friendly solutions. Suitable for large applications, the DK8500Z offers exceptional picture clarity in 4K/UHD resolution and 7500 ANSI Lumens brightness. Designed for easy installation, both projectors offer motorised lens shift and Lens Position Memory function. Installation flexibility is ensured with eight optional lenses ranging from 0.38:1 to 5.31-8.26:1 throw ratio. With built-in edge-blending, warping and portrait mode projection with 360-degrees, the DK8500Z is a truly versatile projector, designed for a variety of applications.

2. TW AUDiO T20i An installation specific two-way, point source CSD (Constant Symmetrical Dispersion) loudspeaker, within a compact, high fidelity, high SPL, enclosure measuring just 30cm (11.8-inch). Utilising a sophisticated driver array system of two × 10-inch low frequency and 1.4inch horn loaded high frequency, coupled with a reference class passive crossover, the T20i exhibits an enviable Constant Symmetrical Dispersion (CSD), both in horizontal and vertical axes allowing deployment in both orientations without compromise to coverage or dispersion characteristics. Typically, in cross orientation operation, where conventional two-way loudspeakers polar characteristics change dramatically between driver elements, the T20i shows its true potential. For example in theatre or club installations with particularly low ceilings, when used in a horizontal orientation as front fill/lip fill/under balcony speaker or as a center loudspeaker. The T20i is a 90º × 50º loudspeaker with a rotatable HF horn. This can easily be replaced by a 60º × 40º variation, when a narrower, longer distance throw is required without the need for tools. If used as a full range speaker, with a subwoofer or together with vertical arrays, the T20i always finds its operational use thus proving to be a real multi talent.

4. Wohler iAM-MIX Wohler’s iAM-MIX features an intuitive front-panel control surface for individual master and per-channel mixing and muting, ideal for operators that require robust auditory monitoring from a range of sources. A simple yet full-featured platform for eight- or 16-level control out of the box, audio-only monitoring, iAM-MIX integrates with popular A/V router solutions to push and pull channel-name data. In a first for the industry, all products running on the iAM platform offer a browser-based GUI to complement Wohler’s traditional front-panel monitoring interfaces for remote control, and future options for remote monitoring, and logging. In addition, all units can be controlled by third-party software via an API. The use of SFPs enables simple, in situ adaptation of interfaces and a wide selection of signal I/O. This, in combination with other softwaredefined features, creates a smooth upgrade path to new and emerging audio protocols, such as Dante and AES67. The line is designed to ensure users have the best available, and most relevant, features through regular updates and licensable options.

HelixNet Digital Partyline System for the best possible production experience. • Full IP partyline intercom • 24 partyline channels in 1RU • 2-wire, 4-wire, Ethernet, Fiber, and programs... all this on a single cable.


“We are currently concentrating on our Passive End Fire technology and that will officially be released at Prolight+Sound in Frankfurt.”

MIKA ISOTALO Managing Director at Aura Audio How did you get started in the industry? My interest started from playing instruments - I was always interested in making noise, so my parents thought it’d be a good idea to buy me drums when I was seven years old. That got me into playing in bands and playing other instruments as well. I really liked rock music, so with the loud music came my interest in amplification. When you’re a kid, you obviously haven’t got the best equipment, so I started to fix and build speakers. I didn’t end up going to music school or have a degree in music, instead I did a Bachelors degree in electronics and some acoustic stuff. After that, I didn’t go any further in the music scene - I concentrated on the technical side - and once I had graduated, I founded Aura Audio with a couple of people around the year 2000. At the start there was some rental and studio business to get the money going. Then, after a couple of years, there was a shift in focus to loudspeakers. The R&D work had been there from the start, because I was always curious about what the speakers were made of and how to improve that. What makes Aura Audio different to other companies? We try to think outside of the box all of the time, even if that means we sometimes struggle to make the difference we want to, for a while. Basically, if the plans we have don’t look different or seem as though they can make a change, we don’t go forward. Of course, there are exceptions. You have some models there purely for the business side of things, but that is all to support the idea of technology and ideas first - even if that means you’re losing out for a short while. We always work on the left field, as it were - that’s how we like to work.

What kind of projects have Aura Audio been working on recently? In the UK, we did a project at the Waterside Arts Centre in Manchester, but also, as it’s a strong market for us – it’s where we started – there are nightclubs and bars with our sound systems opening every month across Scandinavia. We’ve done some cruise ships, and there have also been many installations in central Europe. What are the future plans for Aura Audio? We are currently concentrating on our Passive End Fire technology - and that will officially be released at Prolight+Sound in Frankfurt. So, the main focus, R&D-wise, will be on that. We did show it at BPM | RO and PLASA Focus London, but that was just a preview to give people an idea of what will be coming. The good thing about that project is that we’ve already sold it - there have been quite a few installations and some rental companies are already using it. So we know that it actually works! We think it’s great and can’t wait to introduce it to the industry at Frankfurt. We also have five patents around the world, with more on the way. So, there’s plenty of things to come in the future. Anything our readers wouldn’t know about Aura Audio? I think the most distinguishing thing about Aura Audio is that, before I even knew anything about the business, we wanted to introduce new ideas and concepts. Lots of R&D is often centred around taking direction from what the sales department are saying. They’re essentially relying on the customer to tell you what is needed in the future, rather than introducing a new idea or concept. I believe that is the only way you can create something totally new and change the market. Of

course, there is the chance that it might not work or perhaps people are not ready for it, but, for us, that’s the only way the industry can move forward, so we try to implement innovation as much as we can. But, at the same time, we know it’s important not to take ourselves too seriously - we’ll just carry on treating it like an adventure and keep having fun along the way. What hobbies and interests do you have? Like I said before, I’ve always been interested in music and playing instruments, but nowadays, I have two hobbies and one of them is front of house engineering for a rock band in Finland called Kotiteollisuus. They’re quite big in Finland, so, at the moment, there’s too many gigs for me to handle, but I try to keep it up as it’s good to spend time with the guys. Plus, it’s also the same thing that we do at Aura Audio, so I get to see how the technology works from the rock star angle! But, other than that, I’ve got too many animals at home, so I often go out on walks with our dogs. If you had chosen a different career path, what would it have been? I’m into music too much, so I feel that any career I have would have to be within that industry in some way. I would have either played in a band, which I came close to doing when I was younger, or worked in a studio in some capacity, I think. I have to be creating something! What three things would you take with you on a desert island? I would need to have Spotify, a bottle of good rum and an acoustic guitar. Where is your favourite place in the world? It would be nice to say Finland, but I hate the winter sometimes, so anywhere warm!


Stand: Hall 3.1, #B71 Demo: Hall 4.2 “Brillanz” room Messe Frankfurt Exhibition Centre 1903-MA advert MONDO.indd 1

28/02/2017 16:25

mondo*dr 27.3  

The March/April 2017 issue of mondo*dr is now available to read online here.

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