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JULY / AUGUST 2017 | 27.5


ALEXANDER PIETSCHMANN The Adam Hall Group CEO tells us of his journey so far.

THEATRES & CONCERT HALLS From theatrical spaces to musical halls, we’ve got it all covered.



An almighty round-up boasting more than 60 entries.


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It’s been over a month already since the terrorist attack in our hometown of Manchester, but this is our first issue since the horrific tragedy and it can’t go unmentioned. Terrorism remains a real threat in today’s world, but it never affects you more than when it happens right on the doorstep. I can’t even begin to imagine what the families of the victims are going through and how they will begin to rebuild their lives without their loved ones. But the truly amazing support that Manchester showed in the aftermath of the event was nothing short of a miracle - a real inspiration to the people of our city, our country and the world. To be honest, what happened on 22 May has left me at a loss for words, so instead, I’ll leave you with a man who excelled with his words... This Is The Place by Tony Walsh AKA Longfella


EDITOR Rachael Rogerson-Thorley ASSISTANT EDITOR Sam Hughes SENIOR ACCOUNT MANAGER Jamie Dixon ACCOUNT MANAGER Laura Iles 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

In the north-west of England. It’s ace, it’s the best! And the songs that we sing from the stands, From our bands set the whole planet shaking. Our inventions are legends. There’s nowt we can’t make, and so we make brilliant music We make brilliant bands We make goals that make souls leap from seats in the stands And we make things from steel And we make things from cotton And we make people laugh, take the mick summat rotten And we make you at home We make you feel welcome and we make summat happen We can’t seem to help it And if you’re looking for history, then yeah we’ve a wealth But the Manchester way is to make it yourself. And make us a record, a new number one And make us a brew while you’re up, love, go on? And make us feel proud that you’re winning the league And make us sing louder and make us believe That this is the place that has helped shape the world And this is the place where a Manchester girl Named Emmeline Pankhurst from the streets of Moss Side Led a suffragette city with sisterhood pride And this is the place with appliance of science W’re on it, atomic, we struck with defiance, and in the face of a challenge, we always stand tall Mancunians, in union, delivered it all Such as housing and libraries and health Education and unions and co-ops and first railway stations So we’re sorry, bear with us, we invented commuters… But we hope you forgive us, we invented computers. And this is the place Henry Royce strolled with Rolls And we’ve rocked and we’ve rolled with our own northern souls And so this is the place to do business then dance Where go-getters and goal-setters know they’ve a chance And this is the place where we first played as kids. And me mam, lived and died here, she loved it, she did. And this is the place where our folks came to work Where they struggled in puddles, they hurt in the dirt And they built us a city, they built us these towns And they coughed on the cobbles to the deafening sound Of the steaming machines and the screaming of slaves They were scheming for greatness, they dreamed to their graves. And they left us a spirit. They left us a vibe. That Mancunian way to survive and to thrive And to work and to build To connect, and create Greater Manchester’s greatness is keeping it great. And so this is the place now with kids of our own. Some are born here, some drawn here, but they all call it home. And they’ve covered the cobbles, but they’ll never defeat All the dreamers and schemers who still teem through these streets. Because this is a place that has been through some hard times: Oppressions, recessions, depressions, and dark times. But we keep fighting back with Greater Manchester spirit. Northern grit, Northern wit, and Greater Manchester’s lyrics. And these hard times again, in these streets of our city But we won’t take defeat and we don’t want your pity. Because this is a place where we stand strong together With a smile on our face, greater Manchester forever. And we’ve got this place where a team with a dream Can get funding and something to help with a scheme. Because this is a place that understands your grand plans. We don’t do “no can do” we just stress “yes we can!” Forever Manchester’s a charity for people round here You can fundraise, donate, you can be a volunteer. You can live local, give local, we can honestly say We do charity different, that Mancunian way. And we fund local kids, and we fund local teams. We support local dreamers to work for their dreams. We support local groups and the great work they do. So can you help us help local people, like you? Because this is the place in our hearts, in our homes Because this is the place that’s a part of our bones. Because Greater Manchester gives us such strength from the fact That this is THE place, and we should give something back. Always remember, never forget, forever Manchester.

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ALEXANDER PIETSCHMANN The short but eventful career path for the CEO of Adam Hall Group.

20 INTERVIEW Alexander Pietschmann - Adam Hall Group 30 REPORT Theatres & Concert Halls


70 COYA The Latin American restaurant group COYA has chosen a matched NEXOYamaha sound reinforcement system.




CHESAPEAKE ENERGY ARENA The upgrade includes the first use of EAW’s Anya system within an NBA venue.

94 KOBA Seoul 98 PALM EXPO INDIA Mumbai 104 INFOCOMM Orlando 114 ROAD TRIP DIARIES Italy 118 PRODUCT LAUNCH Genelec - The Ones 120 PRODUCT DEMO Minuit Une 122 PRODUCT LAUNCH Shure - Axent Digital Wireless System 124 FACILITIES UPGRADE NEXT-proaudio

126 EXPERIENCE CENTRE OPENING: DIGITAL PROJECTION The UK manufacturer opens a hands-on facility in Dubai.

126 EXPERIENCE CENTRE OPENING Digital Projection 130 IN DETAIL Symetrix, Peavey, City Theatrical, Axiom 138 PRODUCT GUIDE Loudspeakers 166 PRODUCT DIRECTORY 170 LAST PAGE INTERVIEW Chris Doss - Audix

We ❤ Manchester 22 May 2017 Rest in Peace ❤ ❤ ❤ ❤ ❤ ❤ ❤ ❤

Saffie Rose Roussos Michelle Kiss Chloe Rutherford Liam Curry Eilidh MacLeod Wendy Fawell Elaine McIver Courtney Boyle

❤ ❤ ❤ ❤ ❤ ❤ ❤ ❤

Philip Tron Sorrell Leczkowski Olivia Campbell Martyn Hett Nell Jones Alison Howe Lisa Lees Jane Tweddle-Taylor

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Angelika Klis Marcin Klis Kelly Brewster John Atkinson Georgina Callander Megan Hurley

Advertising Index 5 Star Cases 44 Absen 139 Adam Hall 59 & 135 Adamson 103 ADJ 101 Altman Lighting 47 Antari 60 ASC 57 Ashly Audio 81 Audix 45 Avolites 161 Bose 171 BPM|PRO 8 BriTeQ 55 Celestion 7 Chauvet 107 Chroma-Q 53 Chromateq 141 City Theatrical 48 Clear-Com 167 Coda Audio 37 d&b audiotechnik 49

113 D.A.S. Audio d3 Technologies 99 Daslight 6 Dicolor 29 DiGiCo 69 Digital Projection 4 Duratruss 147 Elation 39 EM Acoustics 145 FBT 3 Fine Art 5 Flightcase Warehouse 111 Focusrite 159 Global Truss 86 & 87 GLP 149 Green Hippo 145 Harman 109 Harmonic Design 73 K-array 131 Kling & Freitag 149 161 Kuzar KV2 29

L-Acoustics 2 Lawo 127 Le Maitre 163 Lectrosonics 25 Look Solutions 71 LTM 165 Lynx Pro Audio 79 Madrix 165 Martin Audio BC MBN 79 Milos 159 Minuit Une 15 128 & 129 mondo*dr Awards mondo*stadia 169 Mountain Productions 151 33 & 153 Music & Lights MUSICSON 35 NAMM 18 Nexo 151 NEXT-proaudio 91 Pioneer DJ Europe 41 PowerLightsAugsburg 81

PR-Lighting 67 Pro AVL Asia 88 Pro Tapes 157 Prolyte 73 Renkus-Heinz 165 RGB Link 11 Riedel 27 Robe 93 S2CEB 123 Sound & Vision 167 Starway 133 Steinigke 166 Studio Due 157 Sunlite 10 TW Audio 97 Unusual 65 VMB 139 Weifa 4 XTA 137


MEDIATECH: AN EVENT THAT BRINGS CREATIVE THOUGHT TO LIFE Mediatech Africa is an engaging biennial trade show that brings creative thought to life within six verticals: Broadcast - TV & Radio; Film & Video Production; Digital Media; Pro Audio - Lighting - Staging; Audiovisual Integration, and Studio - Recording - DJ. An unmatched platform for networking, education and entertainment, this high energy - high impact event is all about the seamless integration of technology and creativity. It’s about making the impossible possible.

Mediatech Africa is about innovation and bringing ideas to life using the latest tech. The three day event attracts global and local brands who are at the forefront of their industries. Thought leaders, decision makers and the highest calibre influencers who are shaping tech trends and the very industry itself - attend the showcase. By design, Mediatech Africa is an experience which visitors immerse themselves in, leaving invigorated and inspired by the possibility of opportunity and a fast forward glimpse into the future. Few would argue that the tech deployed by the media and entertainment industry is radically progressive and emerging technology is steadily influencing the industry. From AI, drones, chat bots, and disruptive digital technologies like virtual and augmented reality - these advances are bringing creativity to life. Showcasing all these tools of the trade, and more, is what makes Mediatech Africa such an engaging platform and why this high energy tradeshow remains relevant and indeed the leading biennial event of its kind on the continent.

• Above A busy Mediatech event.

According to the organisers, registrations for the latest edition of the highly specialised B2B trade show have already exceeded 5,500 delegates; a figure that keeps climbing and is expected to surpass the visitor count achieved two years ago. Visitors have the opportunity to preregister online ahead of the Friday, 14 July cut off and in so doing they will avoid the R100 onsite registration fee. The 2017 event is scheduled to run from 19-21 July at the Ticketpro Dome in Johannesburg. Speaking about this year’s line-up, exhibition Director Simon Robinson said: “We have a real feast of state-ofthe-art technology for our visitors this year - across both components of the Mediatech Africa extravaganza. From the broadcast, film and production sector to the audiovisual system integration and live event technology markets; delegates will not be disappointed.” Show highlights include the two presentation zones where the latest trends in technology will be shared by local and international experts from the industry throughout the day. Not just the trends

the tech needed to execute these creative themes and messages will also be detailed. Appealing to audiences in the live events industry, the popular outdoor sound demo will again be on offer, which, according to Simon, is sure to “blow your hair back”. Highlighting this rapidly growing specialist technology product sector, this is the first year that Mediatech has introduced a drone cage demo area. “A powerful emerging technology that is reshaping entire industries, drones have the potential to replace business across key areas of the economy, including transportation, security, agriculture and media and entertainment,” said Simon. “An affordable technology that can also be used for good, the potential of these unmanned aircraft is unmatched and we believe this part of the expo will be a major drawcard for delegates this year.” Another first for Mediatech is the introduction of Black Box - an “edutaining” concept developed specifically to showcase how to achieve creative using technology - and how the technology pulls it off. For Simon and his team,


Mediatech is a tradeshow that is shaping the way creativity plays, creates and lives and he says that the Black Box is a tangible demonstration of this reality. The highly anticipated Electrosonic and Martin Lighting Design Competition returns and this year’s showdown for the coveted title will be on Thursday 20 July at 5pm. This year’s prizes are sure to attract further interest and with an esteemed panel of judges lined up to do the honours, the competition is expected to be greater than in the inaugural competition. “The mind blowing advances in tech today are possibly more pioneering and exciting than in any other industry - at any point in time. Keeping step with these developments is the only way to remain germane for those in the industry,” said Simon. “To miss the show is to be left behind. Without innovation it’s impossible to remain competitive.” With six verticals represented at the show, including Broadcast - TV & Radio; Film & Video Production; Digital Media; Pro Audio - Lighting - Staging; Audiovisual Integration; and Studio - Recording - DJ,

the audience profile is all encompassing when it comes to media and entertainment. Owned and managed by Reed Exhibitions and Sun Circle Exhibitions, Mediatech it is the largest show of its kind on the African continent, and the three day event attracts regional and international visitors and exhibitors from all over the world. Unmatched in potential; Mediatech is an experience which visitors immerse themselves in, leaving invigorated and inspired by the possibility of opportunity and a fast forward glimpse into the future. Delegates wishing to register for the event can sign up now: MediatechAfrica2017/. Alternatively they can SMS their email address to 30529 to receive a link for easy registration on their mobile device.

The opinions expressed in this article are the opinions of the author - Mediatech - and not necessarily of mondo*dr magazine.


Ahoy Temple The Ahoy Temple was recently converted into an ice stadium with space for more than 8,000 visitors. The concept that Hugo van Heijningen of Dionisys Show Systems proposed was agreed by the national and international skating federation and sports promoter. A lot of light is required on the track due to the furious speed of the skaters and the high-speed cameras with long shutter speed. There is also a need for sufficient side light to accentuate the faces of the skaters. Additionally, the Ahoy light ceiling hangs over 16-metres above the ice rink during this event. If you want to combine this with a lighting fixture that also has to generate different colours for the shows between the matches, then the possibilities are very limited. The Studio Due Citycolor RGBW, which produces an extremely high output with a symmetrical square plane did meet this criteria though. For this event, 176 of these LED luminaires were used, combined with 110 Martin by Harman MAC 2000 Washes and 120 Clay Paky Sharpys, along with 280 CM Lodestar motors to get everything in the air.

STUDIO DUE With over 30 years of innovation, design and manufacturing experience, Studio Due creates stateof-the-art lighting solutions to support lighting designers, architects and lighting consultants. Its product range, historically comprises moving head spots, outdoor multirays effects and controllers has been diversified in recent years, introducing new lines of colour changer specifically designed to satisfy the requirements of the architectural lighting market, adapting the traditional portfolio to the newest demand requirements.

Stortinget The Storting building (Norwegian: Stortingsbygningen) is the seat of the Storting, the parliament of Norway, located in central Oslo. Located at 22 Karl Johans gate, it was taken into use on 5 March 1866 and was designed by the Swedish architect Emil Victor Langlet. Studio Due’s distributor for Norway competed with other manufacturers to win the contract to light up the facade. The Italian company won the bid with its ArchibarSL100/M fixture, which uniformly wash the facades and was unobtrusive. Once the ArchibarSL100/M fixtures were in place, the next challenge was to provide the means to control them via DALI protocol rather then standard DMX. StudioDue provided custom DALI software that worked with the building KNX management system.

Harpe Bridge Part of the E6 Biri-Otta project - a route in Norway opened in a bid to significantly improve traffic flow - the Harpe Bridge joins the sections of the E6 together. The E6 in Norway goes from Svinesund to Kirkenes - and is the main connection between the south and north. E6 Biri-Otta is part of this connection and the route is important for business and transporting goods. The columns on the Harpe Bridge have been lit up for drivers, with Studio Due’s Parled 100 RGBW fixtures used for this purpose. They have been installed both over and under the bridge. Over the bridge, Designer, Erik Selmer for Luminator, opted for 10° lens, while under the bridge he used 25° lens.

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Typical CEOs have been part of the company for many years, or at least in the industry, but for Adam Hall’s CEO, Alexander Pietschmann, this is not the case. Although his upbringing and his initial career path bear relevance, he joined the UK-turned-German company in 2006 and, a few short years later, in 2013, he took on the CEO role. In partnership with COO Markus Jahnel and founder of the German company, Dave Kirby - by his own admission, at the age of just 36, despite almost tripling the company’s turnover in the last four years - he is still learning in his role, every single day. Rachael Rogerson-Thorley travelled to Frankfurt to find out why this young entrepreneur has been fast-tracked to the top.


My first official encounter with Alexander Pietschmann - who is an enthusiastic leadership and innovation coach, and ESMT, IMD and MIT alumnus - was at this year’s Prolight+Sound show when he presented the LD Systems’ MAUI P900 - developed in collaboration with the Porsche Design Studio - an active column PA system that combines state-of-the-art technology with an iconic design. The next time I met him was at his office for this interview. I always find it intriguing to interview people I don’t know well to see how much they are willing to give away. In Alex’s case, he is a fairly open book, comfortable with talking and, in spite of his shorter then usual career path, certainly has plenty of stories to tell. Alex was born in 1980 in Dresden, which is in the East part of Germany, known as the DDR (Deutsche Demokratische Republik), so until he was six, he grew up in a communist environment. His father, Tilo, was a drummer in a band called Lift, which was quite famous in its day within the DDR, so it came as little surprise that his mother took a liking to him. His mother could also see the possibility of leaving the communist regime with his father, Tilo, something she had longed for since she was young . Alex does note, though, that their life in the communist

regime was still a good life - they had a telephone, a car, a nice flat but there was always the feeling of being restricted. It took six years from which Alex entered the world for his mother’s dream to come true. “I spent much of my earlier childhood with my mother, and I saw my father on the TV or in newspapers,” said Alex. “My mother told me years later that I would often stand behind the TV waiting for my father to come out of it. It’s a bit of sad story really, but maybe in retrospect, it’s also a little bit funny.” In 1986, Alex and his mother made it out of Dresden to a refugee centre on the West side of Germany. “My mother and father had discussed the move prior to it taking place, as it was difficult to travel and move freely, although my father did get to travel outside of Germany sometimes when he was touring with the band. He only travelled to places that were friends of the Eastern block though,” recalled Alex. A year later, they moved to Berlin and Alex began kindergarten there. Another year passed and this was the time that his father decided he needed to be with the family instead of on tour with the band. So once again, his parents made their plans - obviously keeping it a secret

• Above Alex with his father Tilo.

from Alex because crossing the border was dangerous. “My father was on a trip to Algeria with the band to play a gig,” he remembered. “Once at Berlin Airport, he just took the other gate and hoped. He didn’t tell anyone, not even the other band members, in case any of them had connections to the Government. My mother was waiting for him - in the middle of the night - on the other side.” The family had since relocated again, this time to Frankfurt. Having his father around was a new experience for Alex, but a short lived one. Obviously, his father still needed to earn a living and initially he found work playing in bands on cruise ships, taking him away from the family again but this time for less money and the main reason for leaving the band was so they could be a family unit. “My father had given up his career for our family, which obviously made him a little bit sad. As it turned out, the Berlin wall came down couple of years later and my father could have easily joined us then, but he had chosen to come before, and that was important to my mother, but she also realised it meant he had made a sacrifice. So they looked for a job for him together.” And Alex’s mother came across a job advert in the paper.


Enter Adam Hall, as in the company, not the person - yes, he really does exist. Adam Hall, the person, founded Adam Hall in Southend-on-Sea, UK in 1975 and a German arm was set-up five years by Dave Kirby, an Englishman who was buying and using Adam Hall equipment in Germany. Oddly, the company was more successful in the latter location, which meant Dave was in need of a sales person. In the early days Adam Hall sold hardware for flight cases, speaker components, cables and accessories, and although Tilo hadn’t sold any of these products before, he certainly knew how they all worked having been on the road for so many years. He was honest about he skillset - or lack of - when he first met Dave, he didn’t even have a CV, but Dave being a bass player and a musician himself decided to take the more authentic sales approach through Tilo. And the rest they say is history. Tilo is still at the company, and in two years, will celebrate 30 years at Adam Hall. Alex has fond memories of the early days, Dave was almost deemed an extended family member, as they spent holidays together starting when Alex was 12 years old. Over his teenage years, Alex naturally learned to play the drums and the guitar with his father’s influence, but

he didn’t take to either instrument, so when he came of age to choose his career path, he opted to study Business and Law. “I didn’t realise at the time, but looking back on that decision now, I didn’t choose music because I didn’t consider it a positive thing. Music had always been what kept my father away when I was a child,” said Alex. “So I chose something very different.” He studied at the University of Frankfurt from 2000-2006. A little longer than the usual study time, which was due to Alex’s introduction to being an entrepreneurial businessman. Of course, he needed to finance his studies and so looked for work, but he never thought he’d find it in the place that he did - at the gym. He went into partnership with one of the gym instructors and formed an event company, N&P Entertainment. “We started with university parties, but it grew quite quickly, with up to 2,000 attending some of our events,” Alex remembered. “What happened next was interesting… corporate companies wanted to sponsor the events to help them with recruitment. We also did some specialised events with the corporate customers, and it eventually lead to us opening a restaurant and a club in Frankfurt with BMW called Club Goldfish.”

Alex wanted to invest the money they’d made into something more stable than clubs, but his business partner didn’t agree and they parted ways. And after a short stint of his media company, Vier Gewinnt Media, teaming up with some producers in Frankfurt on a Sony account - which saw them responsible for the German translation of the Grand Theft Auto video game - the Adam Hall doors began to beckon. “I was working with some famous producers and artists to create the German version of the video game, but I quickly discovered that what we had going on at the time wasn’t so sustainable,” he continued. Dave had kept an eye on Alex’s career and given his work experience in his early 20s had fully expected him to start up his own company. But of course, he was happy to welcome Alex onboard, as he certainly had knowledge and skills that Adam Hall was craving at that point in time. Marketing was the main department that needed addressing at the end of 2006 when Alex joined came into the fold. Although Alex had no official marketing training, he had a keen eye for it and he’d honed these skills while working in events. Alex joined Markus Jahnel, who at the time was the Sales Director, and his

• Top left Alex DJ’ing at an Adam Hall Summer party. • Top right International sales team meeting in Barcelona. • Bottom left Alex with COO Markus Jahnel and Chairman Dave Kirby. • Bottom right Founder of the UK company, Mr Adam Hall.


• Above The Gravity premium stands team launch in 2015.

team, in the Adam Hall office and Alex took on the responsibility of building a marketing department. “I remember my first day, everything was so practical and efficient, but I turned up with office plants and flowers, trying to bring creativity and warmth to the office - I think a few people thought I was a little crazy!” Alex quickly turned his hand to other tasks within the company, with many people seeking his advice and he was happy to oblige. “I enjoyed the diversity,” he continued. “I also enjoyed it because I had managed to miss the setup of the company, the building up and establishing of the company. I’d had that with my own previous business ventures, so didn’t want to experience it again. I felt my knowledge was actually better placed in an already-established corporation.” Six years seems to be significant amount of time in Alex’s life, as it was after six years at Adam Hall when the ‘future’ conversation first came up with Dave. Dave had acquired the facility and shares of Adam Hall UK back in 1993, moving the headquarters to Germany at the same time. And, since then, he had been the owner and CEO, but it would come a time when he needed to take a step back. With no children of his own to pass the business onto, he had to look at other

options. “He could have sold to an equity investor or to a strategic investor within the market,” said Alex. “Or he could find someone from the company. He pitched the latter idea at myself and Markus, saying he thought we made a good team. “The intention was for us to take majority shares, but financing that was not easy and it took some time - two years in fact. Some banks said no, but we did eventually get the backing, but essentially everything we owned was on the line. Dave was and is still around though, so we knew we would have his guidance. “The first thing you learn is that it’s not about you, it’s about the employees and their families, making all of them safe, and keeping the banks happy. It’s about the people. The official change came in 2013, Markus took the title of COO and I CEO. We are equal partners and Dave is also still involved and has a third share, too, but over the next few years he will start to move out. Today, we call him the Chairman,” Alex continued. The trio clearly make a good team, as in four years they have almost tripled the turnover of the company from 30m Euros to 80m Euros, which is the predicted figure for this year. “The big challenge came at the 50 million mark around 2015, because nearly every decision was

being made through myself and Markus. It was at this point that we decided we needed a second management tier made up of people we trusted and people who specialised in their field. The company was growing so fast, so this next level was essential.” Aside from the Financial Director, Sven Wager, who has been on board since 2007, some positions were first filled internally, such as Benjamin Lampert, now R&D Manager, who was brought up through the ranks as an engineer trained both internally and externally in order to equip him with the necessary skills to take that step up. Alex and Markus then went about hiring externally four more key people, who demonstrated leadership abilities within their given skillsets. Nikke Blout was brought is as Head of Marketing, Christian Krause for Logistics, Bodo Falkenried for Business Development and Andreas Modschiedler, Head of IT. With key people in place, next on the agenda was even further growth, and in more ways than one. In recent years, Adam Hall has worked hard to establish its own brands - LD Systems, Cameo, Gravity and Defender. In the past, the company had focussed more on distributed brands, but today there is just a couple of those still in place - Emi-

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• Above A model of the Experience Center; LD Systems’ MAUI P900; and Cameo’s ZENIT B60.

nence for the whole of Europe, and Audac in Austria and Germany. The business model has changed throughout Europe, too - there is no longer a distribution network, as such, instead 35 Adam Hall representatives work on the road to cater for the European customers. All of these obviously receive support from HQ and there are showrooms in Barcelona, Spain and Poland. In fact, LD Systems has been around since the turn of the millennium, but as a brand which started out simply as made in China, now has a full scale German R&D Department and is producing loudspeakers that are tailored to customer needs. Alex recalled the start of the relationship with the Asian market: “Dave entered the market in the early ‘80s to produce parts and he established good relationships over there. We had about 10 people who managed the factory and the quality of the products, and in spite of the language barrier, communication lines were good, something that was difficult in that time.

It was this relationship that gave us the fast-track to electronics and later loudspeakers under the name Link Dynamics, known today as LD Systems.” With a model in place, the company followed suit with lighting brand, Cameo in 2013. “We started with design from the beginning this time,” said Alex. “This is now the fastest growing part of the company and I predict we will be a heavily dominated lighting company in the future. Then we added Gravity premium stands and applied the same methods.” Simultaneous to establishing the brands, Adam Hall wanted to strengthen important markets. With a solid foundation in Europe, the company turned its attention to the Asian market, opening a showroom in Singapore two years ago and putting a local team in place. Ahead of these measures, Adam Hall had four distributions partners in the Asia-Pacific region, now there are 18, and there is a stock warehouse in Ningbo to service those partners. Alex also wanted to explore West too.

“We’ve had a presence in the US for two or three years but now we’re more established in Asia and we have learnt some lessons, we can put more focus on the US market,” he said. “We treat Steven Savvides of Musical Distributors Group, our US distributor, more like one of our own Area Managers. I enjoy working with people whom I like - people don’t buy what you do, they buy why you do it. Products develop and change, but people buy into the company’s vision.” Most recently, the Adam Hall Group made the announcement of its repositioning with a specific focus on business customers - cultivated by the launch of a corporate image campaign and website, a completely redesigned B2B webshop, further international market expansion via partnerships, and the an investment of over 20m Euros for the new 14,000 sq metres (150,000 sq ft) Logistics Park currently being built to increase warehouse capacity. Almost 10,000 pallet spaces and 17,000 container spaces will be available upon completion in late 2017. In Spring 2018, the Adam Hall Group also plans to next open the new Experience Center located in the new Adam Hall Str. 1. Designed with business customers, partners, trade associations and employees in mind, the new Experience Center will include a fully-equipped product showroom, a large theatre auditorium for live demonstrations, facilities for the Adam Hall Academy and the company restaurant, ‘Come Together’. The integrated R&D department located in the other half of the Experience Center will house an anechoic measuring room, various endurance and climatic test rigs, a photometric laboratory and ample space for designing, modelling and 3D prototyping. The Experience Center will also play host a number of events, which Alex believes are the original social network, a notion he adheres in after meeting Arianna Huffington, co-founder and Editor-in-Chief of the Huffington Post in New York (and most recently named board member of the to-be-saved turbulent Uber). Arianna follows the philosophy that we all need digital detox from today’s technology world. “I asked her what she thought would happen to events in the future with the development of technology,” said Alex. “I asked, will it all become virtual reality? She doesn’t believe so, she believes with more technology will come more events.” The first event likely to be held in the new facility, is the company’s Christmas party, and given that it is being referenced now, must concur it is a memorable occasion, with the company band

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playing and even Alex on the DJ decks. Other influences from Alex’s life include John Maxwell and Simon Sinek, the former specialising in the belief of inspiring people to better themselves and strive for promotion to better themselves. “Both are good leadership coaches, but the most interesting one I met last year was Ed Catmull, the founder of Pixar and the President of Disney,” he continued. “He talked to me about creativity and what makes it happen. This was interesting for me in terms of the R&D that we built from the ground up. He said the Pixar creativity was very tricky in the beginning because the characters are initially just computer generated, but you have to give them emotions and create a storyboard, and sometimes the two of these combined make people cry when they watch these films. Art and science are mixed - you need the technology but you need to be creative for the emotions. So it is really quite complicated. He is very inspiring for me.” Alex followed the advice of one his inspirational mentors at the end of 2015 when he was feeling burnt out after a full-on few years - he took on the digital detox as proposed by Arianna, but also his wife. That was the trade-off, his wife would take care of the home life for a few weeks, but Alex must disconnect from the digital world, in order to return refreshed. He booked a flight to India and a room at an Ashram, and equipped with just the paper copies of these booking, Alex set off

on his journey. “I knocked on the door and a monk invited me inside, showed me my room and gave me clothing to wear. I stayed with the monks for three weeks and learnt a lot. “I learnt a lot about myself and do yoga and meditation regularly now. The problem is that work stress that you are passionate about is positive stress, but it can still cause you issues, you can become a workaholic. I met people there who have a completely different outlook on life. But the end goal is that they are happy. Happiness comes from giving not from taking.” Funnily enough, The Beatles visited an Ashram in India in the late ‘60s too - after which they released their psychedelic material - and Alex also visited the said Ashram, which is now a tiger reserve. A photographer, Paul Saltzman who was present during The Beatles visit all those years ago, has since made a memory book of the visit, which Alex purchased. It was this purchase, which was one of the first, which sparked Alex’s hobby of collecting rock ‘n’ roll memorabilia. And given that he only started 18 months ago, he has built up quite the collection including a Michael Jackson hat and another hat worn by Slash to name just a couple. “Although I believe it’s all 100% real, I guess you still have to hope people are genuine. Nevertheless, it’s the stories about the collection that I enjoy.” Alex also enjoys gardening - growing vegetable and plants - sports and spending time

• Above left Alex with Ed Catmull, the founder of Pixar and the President of Disney. • Above right Alex at an Ashram in Rishikesh, India.

with family in his spare time. When his children were younger, they have actually asked Alex what he does for a living, to which he replied, ‘I’m a CEO’, and of course, they are none the wiser! “Giving them the conventional answer of chief executive officer, they say, ‘oh like a police officer’, which obviously it’s not, so I’ve come up with my own answer for them,” he said. “The ‘c’ is for customers, ‘e’ for employees and ‘o’ for ownership. I manage this triangle and the interests of each point every day. It’s all about managing the balance.” After talking to Alex for more than two hours, it’s abundantly clear he is passionate about his role at Adam Hall, and to some degree he doesn’t give himself enough credit. Of course, it’s about all the cogs working together, but the leadership is very important, and the detail he gives during the tour of the new building, demonstrates he is clearly leading from the front, he knows every inch of the space. “We aim ourselves at the mid-range, premium quality products but quality at affordable price-points. We want to make event technology available to more people so they can share their ideas, amplify emotions or simply have a good time. This is what drives us at Adam Hall” said Alex. Knowing your market is half the battle. Alex himself described the Adam Hall Group as having English music roots and German engineering, which in his book is a winning combination.

Celebrating 15 Years of Making the World Sound Better “We have bucked industry trends and broken industry standards to find the best possible audio solutions both analog and digital. We don’t simply gauge our system’s performances on published specifications; we gauge it by the smiles on people’s faces.”

George Krampera Founder, Chief Engineer, Legendary Pro Audio Pioneer



The Haus der Kulturen der Welt (House of World Cultures) in Berlin is one of the capital’s most iconic buildings. Designed by renowned American architect, Hugh Stubbins, and completed in 1957, the Congress Hall - as it was then - was a gift from the US as part of the INTERBAU International Building Exhibition. From the very beginning it was conceived as an international meeting place and a forum for cultural exchange. Hugh’s soaring architecture with its graceful, curved roof serves as symbol of freedom that was deliberately designed to be visible from the former East Berlin. Rechristened the Haus der Kulturen der Welt in 1989 (HKW), the venue is now one of Europe’s leading centres for contemporary art, performance and discussion of world cultures, with a special focus on non-European cultures and societies. Along with two exhibition halls, HKW comprises a 1,024-seat auditorium and concert hall, a 300-seat theatre and several other meeting rooms and multifunctional spaces. In 2016, HKW embarked upon an extensive upgrade and refurbishment of the

auditorium including brand new acoustic treatment and the installation of a powerful Kling & Freitag SEQUENZA 10 line array system. Commissioned in early 2017, the auditorium is now well into the new season and enjoying the benefits of the new system. André Schulz, HKW’s Head of Audio and Video Engineering, explained there were several issues that needed to be addressed. “We had problems with the room acoustics,” he said. “The room was very resonant with lots of reflections, which resulted in poor speech intelligibility and sometimes ‘muddy’ sound. The second problem was that our existing sound reinforcement system was quite old and didn’t provide sufficient coverage across all the seats in the auditorium. We clearly needed a more modern solution.” HKW engaged the services of leading engineering consultancy firm, Müller BBM, experts in the field of room and building acoustics, to take the room measurements, create the computer models and specify the necessary acoustic treatment. Audio Consultant, Gunter Lühder

of Avissplan was retained for sound design services. However, as Gunter pointed out, since the room needed full acoustic treatment and there were deadlines to be respected, it was impossible for him to measure the acoustic behaviour of the room with the new treatment and still deliver the project on time. The only option was to predict the measurements using 3D computer modelling. “Fortunately, we had an excellent collaboration with Müller BBM who gave us their computer model as the basis for our own simulations,” noted Gunter. “We used EASE software to simulate the results of a range of systems using different types and sizes of loudspeaker. After we had taken into account a number of different factors, we concluded that a 10-inch line array system would be the best solution.” Elements that influenced the final choice were the fact that the auditorium has several different stage sizes depending on the type of performance, and therefore different audience configurations, all of which require


the same coverage. Furthermore, the possible loudspeaker flying points were limited by the existing holes in the ceiling for lighting, which made it impossible to vary the distance between the speakers and the back wall of the stage. Gunter got round this by using three additional ultra-compact arrays in the ceiling above the stage, which are deployed in small stage configurations to serve the front rows of the audience. Another important consideration was the physical size of the system. “The loudspeaker system has an important impact on the architectural appearance of the auditorium,” stated Gunter. “Due to the sheer size of the venue, virtually every performance is amplified, be it jazz, pop, classical music or speech, meaning that the PA is pretty much a permanent fixture so it needs to blend in well. It also has to be capable of handling a wide variety of performance types. The client wanted the system to be as visually discreet as possible, but at the same time it had to be big enough to deliver enough power to reach the back seats without straining. The

danger of going too small is that you lose directionality in the low frequencies which increases the risk of feedback in this frequency area. Too big and it’s intrusive, so we had to find a compromise. After analysis of our computer simulation and the test suspension of a lifesized facsimile to verify the visual impact, we decided with the client that a 10-inch line array system offered the best compromise between size and low frequency directivity.” Having initially reviewed four options, a blind shootout was finally organised between two loudspeaker manufacturers to determine the best-sounding 10-inch line array for the auditorium. The K&F SEQUENZA 10 emerged as the clear winner. The final system which was installed by Elektroakustik Neuenhagen comprises three hangs, L-C-R, of eight, five and eight K&F SEQUENZA 10 N and 10 W cabinets respectively, supplemented by a further six mobile ground stacked SEQUENZA 10 W - three per side for optional extra reinforcement - and 12 mobile

NOMOS XLS subwoofers. The system is powered by a total of seven K&F SystemAmps based on the worldclass D-Series amplifiers from Lab.gruppen. The K&F SystemAmps have been designed to work with the K&F library thanks to specially developed firmware. “I confess that we were very surprised by the results of the shoot-out,” admitted André. “The other manufacturer, apart from being very well known, is also the manufacturer whose old system we had just removed after 14 years of loyal service. We were fully expecting that their new system would perform better than anyone else’s offer, but it wasn’t the case. The Kling & Freitag SEQUENZA 10 was measurably superior in every area of the audio spectrum and provided excellent coverage for every seat in the house. It has been performing impeccably since it was commissioned in January.”



The Sony Centre for the Performing Arts is one of Canada’s most reputable and revered live performance venues. Opened in 1960 as the O’Keefe Centre and later operating as the Hummingbird Centre from 1996 to 2006, the Sony Centre has seen its programming grow increasingly diverse in recent years. As such, the venue has undergone a variety of renovations and upgrades to keep pace with those changes while continually improving its overall production quality. The most recent of those included the addition of a high performance and highly adaptable audio system for the main auditorium, built around Adamson Systems Engineering’s rider-friendly E-Series and S-Series loudspeakers. Director of Operations, Matt Farrell and Head of Audio, Ross Tuskey opened a formal discussion on how to address some issues they were facing with their previous audio system, which had been suffering from ongoing maintenance issues. What’s more, some

visiting clients were seeking more horsepower than it could comfortably handle. This prompted Ross to reach out to Adamson’s team about demoing the E12 and E15 three-way, true line source enclosures. Adamson provided a system for that particular show, and the results widely exceeded expectations. “We were basically sold on it the first time we fired it up,” Ross admitted - and that’s saying a lot, considering he’s been with the venue for nearly 25 years. “Everyone who heard it was blown away by the power, smoothness, and fidelity, so we pursued the possibility of giving the E-Series a permanent home here.” Ultimately, they did just that, opting for both E-Series and S-Series loudspeaker systems to cover the hall’s nearly 3,200 seats. Considering the diversity of the venue’s programming, they sought a final solution that was both versatile and adaptable without compromising performance.

“We were after the best possible audio quality we could find,” Matt explained. “We needed a solution that was essentially two systems in one that would be able to complement our programming, but also highlight the pristine acoustics of the room. Working with Adamson’s product line, we achieved exactly what we were hoping for.” In the main flown configuration, the house system is comprised of left and right arrays with 11 E15s and two compact S10s per side. For an optimal linear response, the subwoofers are also flown, with left and right arrays of six E119s hanging just to the offstage sides of the E15s. There are also two additional E119s per side for additional low end. The second configuration is tailored for events such as film screenings with live orchestras or corporate presentations that utilise the stage’s 40 ft video screen. It employs a central cluster of eight flown S10s with ground stacks comprised of six S10s and two E119


Located in between Albuquerque and El Paso, the Spencer Theater for the Performing Arts, in Alto, NM, is a gem of the Southwest. Opened in October of 1997, it established a year-round program for world-class performances in theatre, music and dance. The $22 million structure is splendid and elegant, yet inviting and welcoming, with intimate seating for just 514 guests. Its architectural and acoustical design, with most seating on the floor and with

galleries along the sides, evoked the best of the famed European concert halls; however, making that design work for a wide range of music types and genres had been a challenge for much of the Spencer’s two decades. The problem was solved with an upgrade to a RoomMatch loudspeaker system from Bose Professional. Moyers Group was the audiovisual systems integrator brought on to design and install the new sound system,

in coordination with Bose engineers. The system, a stereo configuration, consists of four RoomMatch enclosures hanging per side, powered by three Bose PowerMatch PM8500N networked amplifiers. The Bose RMSHAD gain shading kit was also used to smooth out the throw to the upper levels of the balcony, assuring even, consistent coverage throughout the seating areas. “We demoed a number of other systems, and we also tried applying

subwoofers on the far wings of the stage, eliminating any visual distractions. Some events also take advantage of a thrust stage extension, for which the ground-stacked configuration is very effective. A fleet of Adamson Point 8 enclosures also handles the under-balcony support and lip fills. The entire system is driven by Lab.gruppen PLM Series amplifiers and controlled via SSL’s Live L300 console. As Ross explained, owing to both the unique design of the auditorium, with a typically high balcony, and the synergy within Adamson’s product line, the audio coverage is seamless even at the very back of the main level. “You’re very much connected with the rest of the room,” he said. “It doesn’t feel like you’re in a different space or like the audio is compromised in any way, which is critical.” “It’s a great-sounding room with a great sounding system,” Ross noted. “There isn’t a lot of EQ; it was really just a matter of getting things properly time aligned before we were hearing better sound than we’ve ever had in this room.” The new, adaptable audio solution at the Sony Centre for the Performing Arts is a win-win across the board. As Ross proudly trumpets, it’s been nothing but praise for the new rig from all quarters. “I wouldn’t be exaggerating to say that everyone that’s had the opportunity to mix on this system in this room has quite simply been blown away.”

some beam-steering technologies, but these didn’t offer the full range sound that the RoomMatch did while it covered all the seating areas,” explained Caleb Howe, Design and Sales Associate with the Lubbock, TX office of Moyers Group. “The RoomMatch loudspeakers are the solution they’ve been looking for here.” Adding to the ongoing acoustical issues, the hall’s original sound system was no longer able to meet the expectations of a wide range of performances in the modern era. “We’re talking about bluegrass to Broadway and everything in between,” observed Bob Phaup, Technical Director at the Spencer Theater. “From classical concerts and Broadway shows to Led Zeppelin and New Age-style bands, the need for full-range versatility with all the essential coverage and frequency response was a tough match for some brands on the market today, but Bose was able to offer a real solution.” Bob said a number of leading brands did computer modeling of the venue, offering their product-based solutions, but he also realised that this venue needed more than that. “In my opinion, many computer models don’t look at the sound from the audience’s point of view,” he says. “I’m pretty old school - I want to know how the sound is going to be in every part of the room, and so did the Moyers and Bose engineers: where everyone else sent print-outs of models, they sent their engineers here, three times, to establish a relationship with the physicality of the room to inform their powerful modeling. I think that’s how you should approach system design, and Moyers Group along with Bose delivered on that promise. They took the time to visit the hall and accounted for all the venue’s unique physical personalities to decide what setup was best suited to meet the broad spectrum of audio needs. As a result, the Bose RoomMatch system fit the Spencer Theater like a glove.” Caleb fully agreed: “The Bose engineers really took the time to make sure that the right RoomMatch enclosures were chosen and configured for this room’s exact needs.” Bob feels that the combination of great technology and engineers who care about sound quality is unbeatable: “That’s what Bose offered - the RoomMatch speaker and a willingness to make sure we had a perfect fit,” he said. “They put the human touch on a great system to make sure that a great performance hall stays that way.”



The innovative Astro Spatial Audio (ASA) system for fully object-based, scalable and easy to apply immersive audio has been installed at one of the Republic of Turkey’s most prestigious venues - the Presidential Theatre, located within Ankara’s National Congress and Cultural Centre. The system has been specified to improve and enhance acoustical and playback conditions for a wide variety of live music, theatrical productions, and other events. Developed to optimise the creative potential of fully object-based immersive audio, the ASA solution is based on the flexibility and power of the SARA II Premium Rendering Engine. As well as delivering a latency of less than 5ms, SARA II harnesses the power of SpatialSound Wave (SSW) technology, developed by the Fraunhofer Institute for Digital Media Technology IDMT, and licensed to ASA. Dependent on the configuration the system can accommodate up to 64 MADI or 128 Dante configurable network pathways at 48kHz/24-bit resolution, while all paths are assignable to at least 32 audio input channels that can be rendered to up to 128 independently processed sound source outputs. Ease of operation is ensured by browser-based access to a user-friendly GUI, with simultaneous control from up to 10 devices. The result is real, object-based, immersive audio made easy

to use, affordable and scalable for every application. The ASA system was specified during a recent upgrade project entrusted to ADA Acoustics & Media Consultants. The overhaul of the proscenium-design theatre was multi-faceted, but foregrounded the treatment of the room to meet specific reverberation time targets, and the addition of absorbent or scattering materials to the room’s surfaces in order to enhance the overall acoustic environment. The resulting audio workflow features an ASA hardware unit (version 3.02) as part of a system that includes a wealth of mixing consoles, d&b audiotechnik loudspeakers and amplifiers, and Schoeps microphones. The primary network transportation technology is Audinate’s Dante, for which the ASA device offers full support. However, a Stage Tec Nexus Digital Router has been dedicated solely to operation with ASA. The incorporation of the ASA system and its various acoustic presets into the new installation offers a number of important benefits for the Presidential Theatre’s audio team. Chief amongst these is the ability to achieve a wide variety of reverberation times, from as little as 1.9 seconds for chamber recitals up to 2.6 seconds for full choral performances. Measurements subsequent to the installation confirm that the desired

times have been accomplished. In addition, the SSW control software that has been incorporated into the ASA system gives the venue’s audio team extensive and immediate control over all acoustic parameters. While the presets are invaluable, adjustments often need to be made ‘on the fly’ to cope with unexpected or excessive sound occurrences. Fine-tuning has continued since the installation work was carried out, and in time it is hoped that fuller free movement of sound sources in 3D - as well as full separation between the presently unified audio IP and control IP networks - will be achieved. For now, the improvement to the overall acoustic environment has been much remarked-upon, according to ASA Director, Bjorn van Munster. “This is a truly multi-purpose venue that requires subtle adaption to accommodate many different types of musical and spoken content,” he said. “In conjunction with new acoustical treatments and materials around the auditorium, the ASA system allows the theatre’s audio team to achieve unprecedented control of their environment - and explore more fully the possibilities afforded by immersive audio. We are delighted to be involved with such a significant project and look forward to a continuing association with the Presidential Theatre.”

Photo © Ingo Hoehn


Every three years, a different venue in the Swiss canton of Aargau is transformed into a stunning theatrical space, which becomes the summer home of a spectacular production from Switzerland’s Opera Schenkenberg. With previous productions garnering much acclaim for their venue transformations and staging, as well as for their impressive performances, expectations were eagerly raised for the company’s 2016 production of Verdi’s ‘Rigoletto’. The modern architecture of the Mülimatt Sports Centre in Brugg-Windisch provided a perfect backdrop for the ‘Giuseppe Verdi Arena’. In the outer areas of the hall, a whole range of moods could be created with the use of simple lighting effects. The stage itself was completely surrounded by a 1,900-seat spectator stand. This created a practical, soundproof, enclosed performance space separated from the outside world. The orchestra were seated under the main stage, yet still visible. With sound reinforcement a crucial element, the event organiser and set designers once again turned to Fohhn loudspeaker systems: The German manufacturer had previously supplied systems for Opera Schenkenberg productions. A requirement for the loudspeaker systems to be totally integrated into the stage set presented a special challenge in itself. However, music from the orchestra pit still had to be directly targeted towards the audience. For


optimal positioning of the loudspeakers to fulfill both criteria, there was only one viable location - the 10-metre by 14-metre red-gold door forming the centrepiece of the stage set. Focus Modular arrays, each comprising two FM-400 modules and one FM-110 were installed to the left and right of the door. Fohhn’s Focus Modular range consists of high frequency and low-mid modules with integrated beam steering technology. The vertical inclination angle and beam width of each speaker can be adjusted in real time, using intuitive control software, in order to perfectly suit the acoustic conditions of the venue. A combination of slim loudspeaker design and successful set integration, behind sound permeable material, rendered the Focus Modular arrays completely invisible to the audience - despite having a total height of nearly six metres. Sound coverage also met all specified criteria, reaching the audience with the highest possible quality. In order to guarantee the same level of invisibility from the performers’ on-stage sound reinforcement, a second beam was generated from the Focus Modular systems, providing coverage for the singers at a reduced volume level. Technical support for the project was provided by Megatron Veranstaltungstechnik AG.


Academy Music Group (AMG) has, once again, enlisted Liverpool-based Adlib to design and deliver a completely new, full touring specification, audio system for its most recent venue acquisition, O2 Forum Kentish Town in North London. The 2,300-capacity venue is one of the most popular live music destinations in the capital. The brief was to future-proof the venue’s technical infrastructure, bring it up-to-date and give incoming productions the flexibility and facilities they need to stage world class performances with the convenience of using the house system. Adlib’s vast experience in live touring and venue installations, coupled with detailed research of current rider information, drove the specification of an L-Acoustics K2 loudspeaker system, DiGiCo consoles and Adlib’s latest proprietary MP5 wedges and side fills for the monitor system. Adlib’s MD, Andy Dockerty and Director, John Hughes led the initial requirement discussions with Academy Music Group’s Divisional Managers, Helen McGee and Steve Hoyland, with newly-appointed General Manager, Eral Hassan and Technical Manager, John Pinner, who have joined O2 Forum Kentish Town this year from London venues, The Garage and O2 Shepherd’s Bush Empire respectively. “We’ve listened to many promoters, sound engineers and production managers and wanted to invest in a first class system. O2 Forum Kentish Town is a stunning art-deco theatre and a much-loved, major touring venue that attracts high profile, international artists, so we needed to invest in a completely new PA system that really is the best-in-class,” says Helen. “We’ve enjoyed a great synergy and track record with Adlib over the last decade, with well-respected audio systems at our venues in Bournemouth, Birmingham,

Leeds, Sheffield and Leicester, so it made perfect sense for us to work together again on this bespoke solution in one of our major London venues.” The Adlib project team was headed by Installations Director, Roger Kirby, Service Manager, Rob Crossland and Senior Systems Technician, Tony Szabo, who studied the room and the audio requirements closely. They then designed and specified the system, and fine-tuned once the installation was complete in a close collaboration with the onsite technical team. L-Acoustics K2 was selected for its size and suitability for the wide variety of featured music and performance genres. “We supply kit to numerous tours playing this size of venue” commented Roger, “So, from the rental side of our business, this system is extensively proven to deliver the results required by the most demanding artistes. Further to that, L-Acoustics is now on most European touring riders almost by default”. To ensure the new system was fully optimised, Adlib recommended that the main PA points were upgraded and relocated to a new position. They worked with Academy Music Group’s appointed structural engineers, MJC Consulting on this element, so the new K2 PA arrays could be hung in the best positions each side. This precision was needed to cover the spacious balcony area and the wide areas offstage at the front. Additional low frequency support is offered by six SB28s a side, ground-stacked in two three-way wheeled dollies which position them at the ideal height in relation to the audience. Three L-Acoustics ARCS boxes a side on the inside edges of the sub stacks cover the nearfield and stalls areas immediately in front of the stage. All the L-Acoustics speakers are powered by LA8 amplifiers. A pair of Lake LM44 signal processors have been

Photo by Caitlin Mogridge, © Academy Music Group.


introduced at front of house to act as a front-end system input matrix, offering flexibility for house and visiting consoles. “Again, we considered carefully what might come in and out on a tour and this is an out-the-box ready-to-go system with no dramatic changes needed,” stated Roger. Adlib then selected their own MP wedge system for monitors, which are also well-known and respected on touring and festival circuits. The latest MP5 version 15 inch monitor has improved drivers and output and has been very well received. Twenty MP5s are also available at O2 Forum Kentish Town, all driven by Linea Research 44M20 4-channel amps, of which seven deal with the MP5s and another powers an Adlib AA215DS 2400W drum sub. A set of full range Adlib side fills were supplied comprising of an FD3P mid/high box, with AA215HL sub woofers. All the Adlib products onstage are driven via the presets on the Linea Research amplifiers. Two DiGiCo SD10 consoles have been supplied with D2 stage boxes, deployed at FOH and monitors, together with well-specified control options to complete a high spec rider-friendly system, with which most professional sound engineers will be familiar. Each and every item in the system has been carefully thought-through and is known, proved and appreciated by the audio engineering community. A new VDC multicore system with 48 input lines and 16 stage returns is part of the package, and AES signal lines to follow. John concludes: “It’s been another great experience working with Academy Music Group, and one that’s offered the chance to combine premium products in a powerful, practical and fantastic sounding solution at one of London’s premier venues”.



Photo © Katja Tauberman


The lighting crew at the prestigious Malmö Opera were so impressed by the improved range of colours, brightness, and the even light of the new Chroma-Q Color Force IITM, they purchased fixtures for a new production on their Verkstan Stage, home of the Opera house’s experimental division, Operaverkstan. The lights were used extensively during the recently-completed, month-long run of ‘The Disobedience of Death’, which was originally written in a Second World War concentration camp, by Austrian composer, Viktor Ullman and Czech poet, Peter Klein. The writers died after being transferred to Auschwitz in 1944, so the work’s premiere was not presented until 1975, by the Dutch National Opera at the Theatre Bellevue in Amsterdam. The Malmö Opera building is the home of the Malmö Opera company and houses one of the largest auditoriums of its type in Scandinavia, as well as the smaller studio stage. “We needed a relatively small, but, nonetheless, bright fitting for lighting a BP-screen in order to create the effects we were looking for. The Color Force II’s brightness, quality and range of light made it an excellent choice,” said Daniel Bexell, the Opera Company’s Head of Lighting. The fixtures were supplied by Chroma-Q master distributor, A.C. Entertainment Technologies Ltd. (AC-ET), after it had run a custom demonstration in Malmö. AC-ET has also supplied DMX cables through its in-house Tourflex Cabling division. Johan Bertilsson, AC-ET’s Swedish Sales Representative said: “We’re delighted to work with the Malmö Opera Company. This is one of the first Swedish applications of the new Color Force II and the feedback reinforces the developments and improvements made for operatic and theatrical productions.”


Nestled in the depths of the rugged Ural mountain range about 1,100 miles from Moscow, Nizhny Tagil has, since rich mineral deposits were discovered here in 1696 and the first factory was founded in 1833, become an industrial powerhouse of Russia. Industrialists and inventors built the country’s first steam locomotive here - and the city is now home to the world’s largest factory, Uralvagonzavod, the producer of the legendary T-34 tanks. Culture and spiritual relaxation in the ‘city of the colourful sky’ is a fundamental component of the city’s history, punctuated by the opening of a drama theatre in 1946 as a thank you to the people of Nizhny Tagil for their heroic contribution to victory in the 1941–1945 Great Patriotic War. The D. Mamin-Sibiryak Drama Theatre, a majestic building named after the Russian author famous for his novels and short stories about life in the Ural Mountains, underwent a series of major renovations following an instruction from President Vladimir Putin. It has now become of the symbols of the city, hosting academic stage plays, as well holiday concerts and cultural events. As part of the complex upgrade, the main auditorium

was renovated, modern stage equipment and lighting was introduced and a brand new sound system was installed. Under pressure from an audio budget progressively restricted by a falling exchange rate, an opportunity arose for systems integrator Sistema, based in Sarov around 500km from Moscow, to specify an Axiom line array loudspeaker system for the main auditorium. “The theatre had been in a poor state for some years, and had not been attended to for decades,” said Nikolay Florensky, Sistema’s Sales and Brand Manager. “We were asked to provide sound and lighting services as part of the larger project that included renovation of the building itself, auditorium and all the service rooms. It was clear that the Axiom loudspeaker products would provide a high quality solution while at the same time meeting the reduced budget, in place of a far more expensive US-based manufacturer.” The Sistema technical team of Sergey Sheikov, Konstantin Kamchatny, and Oleg Novikov managed the entire installation including connectivity, networking, and final sound tuning. The sound system for the 475-seat theatre consists of 10 Axiom AX2010A active dual

10-inch line array elements plus two SW215A active dual 15-inch subwoofers flown behind the cluster each side of the stage to achieve a full frequency response, with the lowest octave provided by a single SW218A active dual 18-inch subwoofer built in under the centre of the stage. A NEOS152AXS active 15-inch two-way loudspeaker is flown in the centre above the proscenium arch as a centre source. Two further NEOS152AXS two-ways are suspended horizontally as under-balcony fills, and six NEOS122AXS active 12-inch two-way loudspeakers are positioned around the room acting in a surround sound function. A total of 19 LT compact loudspeakers in six-inch, eight-inch, and 10-inch two-way configurations are installed throughout the building providing background music and voice announcement coverage. “The Axiom line array has raised the audio quality of all their events to a whole new level,” commented Nikolay. “The client is fully satisfied with the quality of sound. Mr Putin himself was here in November to inspect the final stages of the renovation project, which has been entirely successful.”

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The Lithuanian National Opera and Ballet Theatre (LNOBT) is a nationally supported institution committed to creating and producing works for musical theatre, assuring their public performance on the highest artistic level. It is operated by the Ministry of Culture of the Republic of Lithuania. This theatre’s latest technical upgrade is a new Diva acoustical shell from the Wenger Corporation. In proscenium theatres, acoustical shells help connect the stage and audience areas into one acoustical space. Without a shell, much of the sound produced onstage by musicians ends up lost in the fly loft above the stage or in the offstage wing space. Such conditions make it difficult for musicians to hear themselves and each other; this also compromises and diminishes the sound heard by the audience. This particular shell consists of nine sound-reflective side and rear towers placed on the stage floor to surround the performers. Above the stage are four rows of ceiling panels suspended from the overhead rigging system. Together, the shell’s elements effectively seal off the backstage and above-stage areas, minimising the leakage of sound into these auxiliary spaces and maximising sound projection across members of the group and out toward the audience. The convex shape of the towers and ceiling panels helps scatter the sound. Both are constructed of a composite-panel honeycomb-core

material that creates an acoustically reflective surface, effective across a broad range of musical frequencies. The positive impact for the audience is measurable. One academic study showed acoustical shells increase the strength of sound by more than 3dB at many seat locations in multipurpose halls, which is approximately equal to doubling the size of the performing group. The effects onstage are even greater - more than 5dB - according to findings published in the Journal of the Acoustical Society of America. Paulius Sukys from AV Systems in Vilnius was the Technical Buyer for the LNOBT on this shell project; he believes it is the first such acoustical shell in Lithuania. “Wenger was selected for its proven ability to fulfill customer requirements,” he said. Functionally, those requirements included dimmable lights integrated into the ceiling panels and specific weight limits for those panels. Aesthetic specifications included three shades of gray paint on the panel surfaces. When not in use, the shell towers can be moved into a compact, offstage storage position with a manual, wheeled mover. Each ceiling row is engineered to come apart in three sections for easier storage in the fly loft. Going forward, it’s expected this shell will be used approximately one or two times every three months. The performances will range from soloists to full orchestras, and everything in between. The shell’s design enables different configurations to suit various ensembles, such

as a short shell that removes one or two towers from each side wall. Paulius praised the Wenger installation crew as “great” - polite and patient throughout the process, accommodating to the LNOBT’s engineer’s directives and preferences. Should any field adjustments or minor repairs be required later, he also appreciated the Wenger crew leaving behind a set of specialised tools used to complete the shell’s on-site installation. The shell has made an immediate, positive impact according to Paulius. Before the shell, only audience members in the centre of the theatre could hear well; now he says the sound field outward from the stage to the audience is approaching 180º. Even a singer whose back is to the audience can still be heard clearly. Commentators in the Lithuanian national media have also been complimentary. Music critic Zivile Ramoskaite wrote, “I’ve already mentioned the flowing, soaring voice of the singer – indeed, it‘s probably the first time that we‘ve witnessed the perfect floating of sounds on this stage, coming both from the soloist and the orchestra. An old dream to acquire an acoustical shell finally came true.”

PERFECT BALANCE X Y S E R IE S PR O F E S S IO NAL SP E A KE R S Versatile professional speakers that deliver superb sound and consistent coverage throughout venues of every size.

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A compact Allen & Heath dLive S Class system has been installed in Teatro Sociale in Bellinzona, Switzerland, following an upgrade to its audio equipment. Supplied by Battaglia Light Services, the system consists of a S3000 Surface equipped with a Dante network card, and a DM32 MixRack. Built in 1846,Teatro Sociale, which was refurbished 20 years ago following a period of neglect, is one of Switzerland’s most historic theatres. The venue hosts theatrical productions, as well as a variety of concerts, from classical to rock. “We selected dLive because it has a simple workflow, which is easy to learn for guest engineers, and has a quick setup time, so you can configure the desk in seconds. Another major factor for choosing dLive is that the sound quality is first class, and the system has the best effects, compressors and dynamics, thanks to the DEEP processing models of classic gear,” commented Teatro Sociale’s Technical Director, Claudio Cheulini. “The system fulfils the high demands of the theatre very satisfactorily. dLive has tremendous headroom and is versatile, easily able to manage classical concerts to rock and everything in between. Another small but crucial factor is the fact that you can dim all the lights on the desk and avoid disturbing audience members.”


The walk-on installation ‘well, come’, located in the Dortmund docklands, was created for the Ruhrtriennale Festival of the Arts. The theme of the installation was raw materials, data, financial services and goods that travel around the world, as well as the massive migratory movements driven by wars and the economic struggle for survival. Urbane Künste Ruhr produced a contribution to the Ruhrtriennale, named ‘osa_office for subversive architecture’, the installation seeks to re-examine the every-

day urban experience. The ‘art trips’ is another exhibit, a violet-coloured, walk-on sculpture made of steel, which involved hoisting visitors almost to the roof of a factory building, where, hovering in the air, they become part of a sound and video performance. For this project, two VMK-S-250 dual chainfall hoists and four V-Motion 40 variable motion power packs from Movecat.

Photo © Volker Hartmann/Urbane Künste Ruhr




Every summer the population of New Hampshire’s rural Grafton County on beautiful Newfound Lake swells with vacationers from Boston and New York. But, in late April, before the visitors arrive, local residents enjoy a quintessential small town community building event when the Newfound Regional High School drama department hosts the annual school musical. A tradition that dates back to the 1980s, the spring play draws area residents from the five communities served by the school, as well as students, to try out for roles. This year, the local show was given a new, more aesthetically-pleasing twist, thanks to a recently-installed all LED lighting system that features CHAUVET Professional fixtures supplied by DNR Laboratories. The new lighting system was part of an overall audio-video-lighting upgrade for the theatre. Paul Ciotti, the recently appointed Technology Coordinator for the Newfound Area School District, was the point person in coordinating the project. “Our theatre is important, not just to the school, but to the entire community, so it deserves a good lighting system,” he said. “At 30 years old, Newfound Regional High School is still one of the newest schools in the district, but the time had come to upgrade its theatre. I worked closely with DNR Laboratories in the past when I was in Connecticut, so I contacted them about the audio, video and lighting components of this project.” The old incandescent theatrical lighting system was, “antiquated and unreliable,” according to Paul. Consequently, the school board readily approved the plan to upgrade to a new LED stage lighting system that featured 50 Ovation

E-910FC colour mixing ellipsoidal fixtures, six Ovation C-640FC cyclorama washes, 40 COLORado Batten 72 battens and 20 COLORdash Par-Quad 18 RBGA par style lights, as well as four Rogue R1 Spot units. “Our goal was to make it easier and safer for our students to use the theatrical lighting system,” said Paul. “We also wanted to give them access to current LED technology so they could develop a skillset that would be useful to them once they graduated. On a more tangible level, we wanted to reduce the heat generated by the existing fixtures while increasing the energy efficiency. We also needed to brighten up the place drastically. One of my first tasks with the school system when I arrived was to jumpstart an auditorium improvement project at our high school that had been placed on hold before I got there.” Early in the upgrading process, Paul called DNR Laboratories. “Having worked with the DNR team for close to 10 years while in Connecticut, I knew I could count on them for some honest feedback and guidance,” he said. “Earlier recommendations made before I arrived called for integrating LED and digital components into our incandescent and analog environment. However, this did not seem like the best course to me. I was more interested in embracing new technology throughout the lighting and audio system.” DNR detailed plans for a lighting and audio system that was 100% LED and digital, with digital sound, a new digital mixing console, digital microphones and speakers – plus one hundred percent LED lighting. The project eventually went out to bid, which was won by DNR. As part of the upgrade, new 30ft mid-stage truss

was installed at the school theatre. Most of the Ovation E-910FC ellipsoidal fixtures - 40 units - and all four of the Rogue R1 Spot fixtures were flown on this structure. Both fixtures perform multiple functions from this position thanks to their wide range for performance capabilities. “Our new system’s design capabilities create a range of possibilities for our theatre department,” said Ciotti. “Aside from being more practical, our new system is also a lot more versatile from a creative standpoint.” The 40 COLORado Batten 72 fixtures and the 10 remaining Ovation E-901FC units are positioned on stage electrics. The Ovation C-640FC cyclorama wash lights are arranged upstage to create bright colour scenes on the black cycs. “When people ask what about the new lighting system impresses me most, I tell them, ‘where do I begin?’” said Paul. “We don’t have to replace lamps, we don’t need gels, the fixtures consume one eighth of the power of our old tungsten lights, they produce less heat, and we don’t need dimmers or special dimmer wiring.” Paul also appreciated the powerCON in and out feature of the new fixtures. “Now we wire all the electrics and truss with powerCON connectors instead of stage pin and Edison,” he said. “This means everything can be wired within minutes of hanging a light. All lights can chain light to light. This saves on circuits, wiring and eliminates complex wiring. So while our audience loves the looks the new lighting creates, we appreciate it for another thing too: it makes the theatre much more efficient.”



Since opening its doors in early 2013, Iron City has been, without a doubt, the best place to see a concert in Alabama. Built into the framework of two former automotive warehouses in downtown Birmingham, the owners strove for - and quite nearly achieved - perfection in every detail. Iron City is the kind of place where patrons and musicians alike feel that their experience is truly the priority. After an upgrade of its already killer Danley Sound Labs system to feature a stereo pair of Danley J1-94 Jericho Horns - boxes used mainly to light up massive outdoor arenas, some have argued that Iron City is now the best place to see a concert in the world. To cover up to 1,300 audience members for what was originally intended to host mainly blues acts, Iron City’s original system included two Danley BC-218 subwoofers, six Danley TH-118 subwoofers, two Danley SH-64 loudspeakers, two Danley SM-96 loudspeakers, and - for main full-range coverage - two Danley SH-96HO loudspeakers. Musicians get to enjoy the pure point-source beauty of Danley SM-LPM monitors. “The subwoofer system at Iron City is monstrous,” said Scott Oliver, President of Centerline Audio Visual, the company that facilitated the purchase of the Jericho Horn upgrade. “The punch and depth are what audio folks dream of but rarely, if ever, experience.”

As pleased as everyone was with the sound quality of the system, there were calls for more overall output from the mains once Iron City started booking acts like Rob Zombie, Slayer, and Marilyn Manson. “The SH-96HOs sounded great, but we were running at 95% to get the volume we needed for loud rock acts,” explained Jason Westbrook, Iron City’s Production Manager, who, together with Danley’s Chief Engineer, Ivan Beaver, worked to make continual improvements to the system and orchestrated the Jericho Horn overhaul. “Iron City’s owner, Steve DeMedicis, is a huge Danley fan and the kind of person who wants to be the first kid on the block with a new toy. When I explained what a Danley Jericho Horn could do and that Iron City would be the first club in the world to use them, Steve jumped on board.” Scott added: “A lot of people have the pre-conceived notion that Danley Jericho Horns are just for outdoor stadiums. That’s simply not true. By using Danley’s patented innovative technologies, the Jerichos achieve what line arrays promise but fail to deliver: even coverage from front to back and side to side, not just in terms of SPL, but also in terms of frequency response and phase coherence. Each box in a line array interacts with the boxes next to it, creating hot and cold lobes across the spectrum - notice that line array advocates

only ever present two-dimensional predictions, which masks the worst problems. The Jericho Horn is truly a point source, meaning no interference or lobes. I encourage everyone who loves great sound - played loud - to work Iron City into their travel plans. It’s the blueprint for music venues of the future.” Jason worked with his staff, Charles ‘Murph’ Murphy, Chris Stokes, and ‘Bamm’ aka Fernandez Johnson to hang and wire the two new Danley J1-94 Jericho Horns, and then he and Ivan tuned the system. In addition, Jason added two new Danley SH-95s for front fill and two new Danley SH-69s for balcony fills, and he reworked the Lake processing that drives the system. “The Jerichos effectively tripled our system,” he said. “It’s like we’ve got three SH-96HOs per side, and we can slam acts like the heavy metal super-group Hellyeah without breaking a sweat. And it’s ruler-flat: engineers keep showing me their SMAART output - ‘look at how flat your system is.’ And I’m like, ‘yep.’ I hand them the tools to reshape the output, but everyone leaves it alone because it sounds so great as is! And even though it gets super loud, the clarity makes it easy to have a conversation - the bartenders can easily hear drink orders even when the band is raging on stage.”

Stage or Studio Audix is the pioneer of application-specific microphones for drums and percussion. The result, award-winning microphones that perfectly balance tone and attack across your entire kit. Photo of Derrick Wright – Adele, Babyface, Toni Braxton and Thalia

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are doing,” he explained. “We hadn’t caught on to the international buzz about EM Acoustics until we met Dave Shepard from EM and Martin McNally from Showtechnix at the annual EVANZ conference, but having heard the system there and discussed its capabilities in details with Dave and Martin, we knew this was the right choice for us.” “The system is so compact that at first, the power they generate is a little surprising. However the technology inside these discreet units meant that they outperformed many of the larger, more cumbersome systems we had been considering,” continued Ben. “Once we’d heard it, there was no doubting why HALO-C has been chosen for venues like the Royal Albert Hall.” Showtechnix brought in the expertise of Glen to calculate, align and EQ the system for Forum North. It was the first time Glen had worked with a HALO-C system, and he was so impressed with the results that he bought a system for his own company. “I was amazed at how flat the HALO-C elements were straight out of the box, and how transparent

Photo by Francesca Di Stefano

EM Acoustics’ distributor for New Zealand, Showtechnix, has recently made its first HALO-C sales in New Zealand, selling two systems in less than three months - the first to the Forum North cultural and entertainment centre in Whangerei for their Capitaine Bougainville theatre, and the second to sound production and hire specialists, BounceNZ, who were brought in by Showtechnix as advisors to the Forum North project. Forum North needed to replace the old, outdated system in the Capitaine Bougainville theatre and had been on the lookout for a system that would offer the outstanding audio quality they required and see them well into the future as well as meeting their budget requirements. Forum North’s Technical Manager, Ben Brittliff, takes up the story: “We wanted a system that would provide quality sound and coverage throughout the theatre and that would last us at least ten or even twenty years. Our old system had been in place since 1985 and, whilst it was one of the premium systems of its time, it was definitely showing its age and was no longer capable of handling the kinds of shows we


they sounded,” he said. “The cabinets are discreet, compact and sound fantastic - a really flexible option and absolutely perfect for the live theatre work we do all over New Zealand. We need a multi-use system to cover other applications as well and we feel that we can use HALO-C on pretty much anything, from corporate work to a complete L-C-R system for theatre. It really does punch above its weight.” “We also purchased the EM Acoustics amps and processors just for flexibility,” continued Glen. “It made complete sense as a package; the processors aren’t locked with the manufacturer’s presets unlike some other brands, so we can use them with our other systems as well which is obviously a bonus and a great ROI. It’s an all-round great system and we’re very pleased with it. In fact, it’s performed so well for us that we decided to invest in some of EM’s smaller systems as well for delays/fills or even as a small stand-alone system, so we’ve added 12 ultra-compact EMS-51’s to our hire stock.”

The thrill of seeing a one-of-a-kind version of ‘Harry Potter and the Philosopher’s Stone’, projected in high definition on a 12-metre screen, while being immersed in the sumptuous original soundtrack played live by the musicians of the Ensemble Orchestra, was experienced by audiences across Italy. The Italian tour of ‘Harry Potter Film Concert Series’ made stops in prestigious locations such as the Auditorium Conciliazione in Rome, the Arcimboldi Theater in Milan and the Arena Flegrea in Naples. The production was entrusted to Planet Service, which designed and installed the audio-video-lighting infrastructure. “For the tour, we have made a continuous use of the DTS projectors, especially EVO and NRG moving heads, which we regularly use in the most demanding projects across Europe,” commented Alessandro Giangi and Manuel Gamberini, designers at Planet Service. “Harry Potter’s cinema-concerts took place in different locations, from theatres to the arenas, and we had to redesign the light rig for each. “But with CORE and NRG we have always had the advantage of their great brightness, endless range of colours and effects that added a touch of magic to each evening.”

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With over 300 years of theatre arts tradition, the Staatstheater Darmstadt evolved to a multi-branch theatre with genres such as music and dance theatre, drama and concert activities. It is located besides the Ludwig church and the Moller house in the centre of Darmstadt, in the south east of Germany. As more international touring productions startred to perform in the state theatre of Darmstadt, the requirements of the former installed sound system increased by the request to more dynamic, better coverage and extended frequency reproduction of the loudspeaker system. This led to the decision to modernise the small houses loudspeaker system. The small house offers an rising auditorium with 482 seats including one balcony. The new Harmonic Design compact LSA12 line array system was chosen after extensive tests and shootouts. Being unobstructive and the extremely natural sound of the hd LSA12P system made it the best choice for a long-lasting, versatile

loudspeaker system. To cover the infra-sub range, hd Infra218 hybrid-high-performance subwoofers were chosen and equipped with special flying hardware. The system was designed using the hd LSA12 plug-in for EaseFocus 3 to calculate the required large splay angles between the cabinets due to the raising seating plane. By using the hd LSA12P, which is equipped with an phase optimised passive crossover, the required DSP amplifier channels could be reduced to a minimum in order to save energy during the 24-hours, seven-days a week that the amplifiers run. Each array consist of four hd LSA12P and is placed on the outer edge of the stage, which is important for the stage designers to not effect the set design or sight lines. This could only be enabled by the very compact width of less than 58cm of the Harmonic Design LSA12 line array system. A single hd Infra218 subwoofer can be flown on the available hoists depending on the required low frequency energy and available

space. Alternatively the hd Infra218 subwoofers can be ground stacked on left and right of the stage. For maximum reliability and performance of the complete system, HD-system amplifiers based on the Powersoft K3DSP and X4 were used and require only 2RU. After successful installation, the new hd LSA12 system with hd Infra218 subwoofers receieved great praisefrom local and touring sound engineers such as, “absolutely even sound dispersion from front to back” and the “superb sound quality with almost unlimited dynamic response”. The biggest honour for the Harmonic Design R&Dteam, spending all their efforts to develop the best solutions with latest research and fundamental knowledge of almost 40 years was hearing, that the “genuineness and linearity of the System is outstanding and will make the system popular in a short time.”

Horbst Hall, Germany


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_3_EU(Mondo)_333x236_210417.indd 1

21/04/2017 14:54

Photos © Volker Kreidler


PIE R R E B OU LE Z SAA L COMPANY: AMPTOWN SYSTEM COMPANY LOCATION: BERLIN, GERMANY The Barenboim Said Akademie was founded by Daniel Barenboim in the spirit of the West-Eastern Divan Orchestra, which unites Palestinian and Israeli musicians and had been created by Barenboim and the now deceased American-Palestinian literary scholar Edward Said in Weimar in 1999. The new music academy is to be a place for teaching up to 100 fellowship students from the countries of the Middle East. The German Foreign Office and the Minister of State for Culture are sponsoring the project while the Barenboim Said Akademie GmbH is the awarding party. Once the landmarked building - modernised by hg merz architects - was used by the Berlin State Opera Unter den Linden as a depot for sets and scenery equipment. The Berlin-based rw+ architects were responsible for project schedule, tendering procedure, and site supervision. The academy has got one lecture hall, several seminar rooms, and 21 rehearsal rooms.

The academy’s special architectural gem is the concert hall designed by Frank Gehry ‘pro bono’ and named after the French composer and conductor Pierre Boulez who died in 2016. The oval design is characterised by two ellipses the axes of which are offset against each other so as to create the impression that the tiers are floating weightlessly in space. The Japanese sound artist Yasuhisa Toyota was responsible for the acoustics of the hall. The Pierre Boulez Saal is used both as a location where students may practice music performances and as a commercial-purpose concert hall with its own program of musical events, and accommodates an audience of 680. It is an ideal venue for soloists, chamber music, and small orchestras. It is also where the newly founded Boulez Ensemble which consists mainly of members of the Staatskapelle Berlin and of the West-Eastern Divan Orchestra, has found a musical home. The Pierre Boulez Saal public call for tenders

included the media equipment, i.e. the voice alarm components and the speakers for reinforcing the sound in the concert hall, as well as the stage and hall lighting. Having responded to the voice alarm specification prepared by the specialist planner Florian Schaller with a proposal that combined state-of-the-art voice alarm and stage management equipment in an innovative approach, ASC Berlin was awarded the job. Besides ASC had involved the English manufacturer GDS, an expert for customised light and control solutions, to ensure that the high standard set by the architect with respect to the sophisticated lighting equipment was met. Working closely together ASC and GDS succeeded in developing a tailor-made lighting arrangement which is unique worldwide. ASC Berlin cooperated with PAV GmbH in installing a fully digital DSM40 voice alarm system certified to DIN VDE 0833-4 which is interconnected with a fire alarm system certified according


to ISO DIN 14675. The latter ensures that if there is an emergency, visitors can leave the building in an organised fashion via escape routes which were previously defined. Apart from its principal application it also allows for generating public addresses and background music and offers a great variety of options concerning volume, EQ, delay etc. The intercom system was customised and can be operated via an ADUNAS media control system just like a stage management system can. Regarding the architectural light (hall lighting) and the scenic light (stage lighting) the experts saw to it that 100% dimming without a starting jolt was achieveable. All of the cable routes are discreetly concealed behind the wood panelling, and electromagnetic compatibility (EMC) is ensured by isolating the cables from the audiovisual media equipment. Therefore, interference is reliably prevented. Working together with GDS, ASC designed and

installed special structures exactly following the architectâ&#x20AC;&#x2122;s ideas. As the architect wanted the number of lamps in the ceiling to be restricted to a minimum, the light sources are located in an accessible duct (catwalk) above the wooden ceiling. 79 LED profile spotlights from the ETC Source Four product family are used as ceiling lighting directly above the stage. Owing to front-mounted cut-glass sections light emission is flimmer-free so as not to interfere with video and TV recordings and to prevent the acoustics of the room to be affected by operating noise. Attached to armoured steel conduits the spotlight cables go to a central rack room, however, this does not include the safety lighting. From the ceiling the Source Four spotlights can provide beams with angles up to 25 to 30°. Wherever scenic lighting requires warm white light, clear fields of light, high flexibility, and extended service life, these spotlights will do it. Likewise GDS lights are integrated in the outer

circle above the stage, below the tiers, in the corridors, at the doors, and at the steps. The creative GDS product range features a great diversity of luminaires and special structures with specifically developed lamps. Both the hall - or architectural and the safety luminaires use LED lamps and are manufactured to meet the highest and most advanced standards. Like the scenic lighting they are managed via the ADUNAS media control system. Owing to the ADUNAS system it is possible to program the scenic lighting specifically involving the lighting system as a whole. It allows for setting up scenes, for storing them as scene automation, and for using interfaces to retrieve them individually. The system also ensures basic facility functions such as the automatic lowering of blackout blinds and the control of third-party components. Each of the ETC spotlights is controllable and hence its inclination angle adjustable individually.



Immersive Chinese theatre production, Encore Dunhuang debuted at the first Silk Road Dunhuang International Cultural Expo and was directed by Wang Chaoge, Co-Director of the stunning opening ceremony for the 2008 Olympic Games in Beijing. During the 90-minute performance, audience members travel through time as they walk through four zones and experience key moments and characters in the 2,000-year history of the city, once an important stop on the Silk Road.

For lighting control, LD Wang Yugang used MA Lighting grandMA2 light consoles, two MA onPC command wing, four MA NPU (Network Processing Unit), two MA VPU plus MK2 (Video Processing Unit) and 10 MA 2Port Nodes. “An Encore theatre is different from the standard theatre. Depending on the needs of the scene, it is built to be a flexible space that meets all the regular theatre construction specifications whilst being configurable to realise each individual scene,” explained Wang.

Utilising original walk-in scene theatre technology, the audience is no longer restricted to sitting on seats and watching the play unfold onstage. Instead, they walk into the theatre and move around according to where the action is taking place becoming immersed in the production. The theatre’s lighting and effects have been choreographed and designed to optimise this special visitor experience.


The historic Tybee Post Theater, set in the heart of the historic district in Tybee Island, Georgia, was constructed in 1930 as a movie house for the soldiers stationed at the Army base. After closing in the mid ‘60s, the curtain was raised recently for the first time in 50 years, reborn as a performing arts and movie venue. A flexible, user-friendly professional audio system was requested from audio visual consultants, Michael Gaster + Associates to support a multitude of functions of the historic theatre, capable of satisfying the needs of live theatre, concerts and cinema. MG+A anticipated the low-profile, yet robust design of K-array’s solutions as a natural fit for the confined theatre interior. Because the facility also serves as a cinema, a 5.1 speaker system was needed and designed to accommodate the sound pressure levels and gain before feedback requirements needed for live concerts and theatre. The main left and right arrays each consist of one KP102 Python and KP52 half-meter Python loudspeaker while the centre array employs a KK102 Kobra and one KK52 half-metre Kobra loudspeaker. The surrounds are two wall-mounted, half-metre Kobras with a KMT18P passive 18-inch

subwoofer each, configured as a cardioid sub array located underneath the front of the stage. During installation, the client booked a concert performance without the expectation to have the new system installed in time but MG+A worked quickly to fly the speakers, set basic DSP parameters and test the acoustics so in the end, the client was able to utilise their new audio system. “The size and weight of the speakers made it easy to get them flown and the system turned on and performance ready in very little time,” explained Michael Gaster, owner and sound designer at MG+A. “From the delivery of the speaker system to the initial performance of the system, was approximately a day and a half. After the first show, another day was spent adjusting some angles on the flown main arrays as well as system tuning. And the clients were absolutely thrilled,” he added. “K-array products were chosen for their high quality audio, excellent coverage, and extremely low physical profile, which was perfect for the compact facility.”

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Media Matrix from Peavey is widely used in some of the most prestigious corporate and leisure installations in the world, and the Birmingham Hippodrome is one of the latest venues to benefit from the industry’s leading pro-audio matrix solution. Following an extensive £34million development at the turn of the millennium, the Birmingham Hippodrome now ranks as one the finest theatre complexes in the world, with a 1,847-seat auditorium, eight hospitality and conference rooms, an additional 206seat studio theatre, 120-cover restaurant, large, new front of house areas and spacious foyers. It is the largest independent theatre outside of London and regularly welcomes audiences of 500,000 each year - the highest attendance figures of any single theatre in the UK. To further enhance the theatre expereince, investment was made to give the Birmingham Hippodrome a state of the art audio management system. The aim was to provide the numerous areas of the theatre with flexible audio control - allowing staff to conveniently manage volume levels and content, as well as provide versatility to rooms that may need dedicated audio facilities for presentations or private hire. To meet the demand for flexibility and total control, leading audio visual integrators Inspiretech Ltd opted for the proven combination of Peavey’s Media Matrix solution, coupled with AMX hardware, with end user operation available from either an Android

device, fixed wall points, or AMX wall mounted touchscreens. Via a secure login, the Hippodrome technical team can also access the system remotely, meaning any issues can be conveniently dealt with wherever they are. The solution allows for a centralised source for audio throughout four main zones in the theatre, allowing each to have its own content and volume. It also provides total versatility for bringing professional audio to any of the venue’s numerous hospitality and conference rooms. Inspiretech Ltd Managing Director, Andrew Wilmott said: “For the technical team, each end point is, effectively, like having a full mixing desk at your fingertips. But for front of house operators, they just need to know that when they press button, it functions correctly. He added: “I have been installing Media Matrix into venues ranging from shopping centres to football stadiums for over 10 years. I have also installed Media Matrix on cruise ships, which can be a pretty harsh environment, and it just runs and runs. The integration with systems such as the AMX family of products works really well. For reliability and integration, the Media Matrix is top of the tree. The Birmingham Hippodrome can now boast the most cutting edge audio visual solution of any theatre in the country. As well as providing key areas, such as the restaurant and foyers with end user control via a tablet device,

the system also provides the Hippodrome’s technical team with total audio control at any one of up to 28 end points. Andy continued: “The restaurant manager, for example, will have management of his volume levels, but the system can be told to control levels and content in that area if required, for example; if there was an event taking place adjacent to the restaurant. The process is quick, reliable and hassle free.” With such a user-friendly interface, staff at the venue have taken quickly to the simplicity of the new technology. Paul Keogh, Technical Coordinator at the Birmingham Hippodrome, is delighted with what the solution brings to the theatre, and believes it sets a standard now being adopted by venues throughout the country. He said: “Such are the benefits that the system brings to user operation and system management that we are now being asked to consult at other theatres on their installations.” James Kennedy, Operations Manager for Peavey Commercial Audio, concluded: “We are delighted to see, and hear, Media Matrix in one of the finest theatres in the world. The quality of the installation from Inspiretech Ltd is fantastic and we are immensely proud to add the Birmingham Hippodrome to our long list of prestige venues around the globe enjoying Peavey pro audio.”



Photo by WorldRedEye


When New World Symphony launched season five of its outdoor WALLCAST concert series, audiences were greeted with the familiar experience of witnessing world-class musicians perform with the orchestral academy’s students, internally known as ‘fellows’, in the open air environment of SoundScape Park. Immediately adjacent to the performance venue, SoundScape Park offers spectators - typically 2,0003,000 per event - an intimate setting to view the WALLCAST, which delivers a 100x65 live projection of each performance on the 7,000 sq ft eastern façade of the New World Center. The immersive experience is further amplified through the strategic positioning of more than 160 existing Meyer Sound loudspeakers, ensuring audiences are fully engaged with dynamic sound and video. In advance of what was expected to its busiest season yet, New World Symphony underwent phase one of a multi-stage upgrade that will eventually result in an end-to-end 4K video architecture; and a new production control room inside the performance hall. The initial phase mainly focused on the acquisition and projection elements, while phase two will centre on the remaining video infrastructure, including switching and routing. Phase one work was mainly centralised inside the New World Center performance hall, where the WALLCAST concert experiences originate. Enlighten Digital of Orlando served as the prime contractor, focussing on systems design, equipment evaluation, testing and commissioning; Blackwater Integration of Lakeland, Florida provided all integration services, including wiring, cabling and equipment installation. “The main goal of this phase was to increase the resolution and create the best possible picture for the WALLCAST experience,” said Robert Ross, President, Enlighten Digital. “They quickly made the decision that 4K was the proper resolution to serve the audience.” In cooperation with the New World Center team, Robert worked on a conceptual design to support camera system and projector upgrades. The latter came first, selecting three Christie 4K35 projectors that deliver overlapping projections to blanket the eastern façade. Inside, a system featuring Christie Roadie 30k projectors with a coolux Pandoras box server support

immersive staging projection. The bulk of the integration work centred around the 12 camera positions and the central infrastructure. Hitachi SK-UHD4000 cameras replaced the previous cameras, and are robotically controlled from the second floor control room via a new Telemetrics system. The Telemetrics system includes a PT-LP-S5 pan/tilt head bundle and an RCCP-1 robotic camera control panel to manipulate all camera movements. “We immediately knew that the 4K systems would be larger and heavier than their existing cameras and pan/tilt components,” said Robert. “We expected this would be our largest integration challenge up front, but there were other elements we needed to be ahead of notably preparation for a 4K infrastructure upgrade, and relocation of the control room in the third and final phase.” Mike Martin, President of Blackwater Integration, is quick to note the delicate nature of managing systems integration in what he calls “a white glove facility”. “The concept of the project was establishing that path toward a full 4K architecture, but we had to retain the existing characteristics of the facility,” said Mike. “We had intensive work to do around pulling cable, testing fiber and reinforcing walls while being extra careful to not take away from the building acoustics. That’s not an easy proposition.” This is something of an understatement, considering that the 4K systems added three times the existing weight. “We carefully opened up a pair of walls, and installed a backing plate comprised of steel and wood,” he said. “That reinforced the camera positions on each side of the theatre. We worked closely with the internal New World Center team and their architectural firm to ensure that mounts were appropriately positioned and all wall fillings were replaced. The remaining camera positions came through the ceiling, which required reinforcing the existing 1-1/2-inch support poles. We also added side bracing to avoid twisting the pipes. Literally anywhere we worked with a camera, we were intently focused on not marking or chipping walls, and maintaining a clean white glove workspace.” Martin and his team then configured the Hitachi cameras and Telemetrics control platform to talk to each other over a local-area network. The acquisition signals

feed back to the control room over IP, where they are converted to optical signals and sent into the infrastructure. The Blackwater team established a series of quad-link connections to pass 4K signals through the infrastructure, though the goal is to simplify this configuration and provide a pure 4K experience as equipment designs evolve. The cameras use SMPTE fibre coming out; signals are passed over dual single-mode, and re-assembled for SMPTE fiber going into the CCU. The CCUs are wired for both quad-link 4K and 1080i out, and pass through an Aja Kumo router and onto Aja KiPro recorders. The Christie projectors have both quad-link and 1080i HD connections that they can switch between, depending on the content. “The infrastructure is set up so that we can quickly go in and transition to a more single-wire or IP-based 4K signal flow depending on how the technology evolves,” said Mike. “The wiring and positioning of the equipment in the second floor control room will also simplify the process of rebuilding the control room from scratch, immediately one floor above the existing space.” The benefits of choosing Christie, Hitachi and Telemetrics to support the acquisition and projection upgrade were clear from the testing stage. New World Symphony CEO Howard Herring and Director of Video Production Clyde Scott were both heavily involved in the decision-making process as well, knowing that they not only needed exceptional video quality but technology that could adapt to the nuances of capturing orchestral performances inside. “The Hitachi SK-UHD4000 is a whisper-quiet camera that performs exceptional well in low-light environments – extremely important when shooting dramatic performances in a dark concert hall,” said Robert. “The cameras look impressively pristine, with no noise in the blacks, upon testing a recorded 4K signal magnified to 400 percent in a dimly lit room. Telemetrics also came out with this new system right on time that is extremely quiet, emitting almost no sound from the pan/tilt heads. And the Christie projectors simply deliver a beautiful image for the audience with the 4K/ HD switching support New World Symphony requires for the forseeable future.”



Antwerp’s Queen Elisabeth Hall and Congress Centre has been undergoing a major two-phase transformation, which was first hatched back in 2009. The City’s desire to create a modern multifunctional concert venue incorporating a spacious congress facility brought with it the requirement for an expertly engineered sound system - and this was entrusted to FACE, the Belgian distributors for Powersoft. The new look is a far cry from the original building, owned by the Royal Zoological Society of Antwerp (KMDA) which dates back to 1890. Demolished after the Second World War, it was rebuilt again in 1960. Plans to refurbish the existing building were scratched in favour of a total rebuild, which was budgeted in the region of €85m. Today the 25,000 sq metres facility hosts the 2,020-seat Queen Elisabeth Hall, accommodating the Royal Flemish Philharmonic Orchestra, the expansion of the Congress Centre and integration of the new building in the ‘Historical Wing’. Linking it all together is the spacious and airy Atrium Hall, which also provides the main access to the building. The multifunctionality will see it host concerts and congresses but also classical music combined with theatre and dance and pop-rock concerts — cleverly designed technologically for fast turn-over between the different events.

FACE joined a team in 2013 that included Ian Simpson Architects, acoustic consultants Kierkegaard Associates, Bureau Bouwtechniek architects, and theatre consultants Charcoalblue. The technical specialists were brought in by the main technical contractor Putnam to install the audiovisual system, lighting and cabling. As the new venue was designed to become Europe’s most ‘silent’ concert facility, acoustically optimised by Kierkegaard, choice of the speaker system was critical as Steven Kemland explained. “It had to be non-powered,” he confirmed, “self-powered active speakers, lighting or switches with fans were not an option, either in the main venue or surrounding rooms.” They chose a FOH combination of Renkus-Heinz VARIAi flown array clusters to achieve optimal coverage. With the stage tailor-made for the Philharmonic, and divided in three moving stage elements, FACE had to install 26 customised versions of the RH CFX41 stairstep speakers in the three rows, following throughout the EASE model and simulations for the optimum placement of speakers. On the stage, FACE have turned to Martin Audio for monitoring - with all main speaker and monitor sets powered by three Powersoft X8 and three X4 from

the new flagship series, while an Ottcanali amplifier, featuring a switching device designed by FACE, serve the front fill speakers - with all amplifiers carrying Dante onboard. Processed by the Powersoft Armonía software, with internal DSP and Matrix onboard, this amplifier platform allowed the integration of a very complex set-up to be operated with an extremely user-friendly interface. In addition to the FOH system, FACE also installed a discreet speech system to be used with the FOH frontfill and delay speakers. The venue is also equipped with an Ampetronic hearing loop system, split into five independent zones. A Dante network controls and links up the whole audio configuration for both the main system and external zones via a MediaMatrix NION platform. “The fact that all the components we selected have Dante onboard allows full and swift control over the system,” concluded Steven. “This project was both an honour and a challenge for myself, my project manager Stijn Vermeiren and entire installation team, who were on site for more than six months. It is one of the most complex infrastructures we have in Belgium.”

BRIGHT SPARK “Beautiful light creates emotions – that’s something I’m as passionate about as our clients.” ANKE SCHIERENBECK Lighting Specialist



M AUDA S U P E R T H E RM A L P OWE R P ROJ E CT CA M PUS COMPANY: CELTO ACOUSTIQUE LOCATION: NAGPUR, INDIA providing training, conferences, workshops, seminars and live stage performances. The entire sound system is from Celto Acoustique providing a uniform audio coverage for applications, including cinema and cultural activities. The inventory comprises a L-C-R system for the main PA made up of six CT15’s, which are supplemented by


Theatre lighting designer, Andy Webb specified an Avolites Tiger Touch II as the house-desk at The Griffin Centre, a new £3.3 million state-of the-art performance venue at prestigious Cotswold educational establishment, Rendcomb College. “It was great to be involved in the project from the ground up,” said Andy. “I was able to work with the architects to solve any design problems from a technical perspective before they were even engineered into the building.” The Griffin Centre will be utilised as a hybrid professional space for live events and as a training centre for the college’s theatre students. “From the start of the process, Rendcomb College made it clear that the theatre was to be built to a high professional standard,” he continued. “The space can host corporate events, product launches, musical concerts and theatrical productions. As such, the technical equipment we needed to specify had to be on the level of a professional production house.” Andy, who has been an Avolites user for three years after ‘converting’ from another market leader, recommended the brand’s powerful, portable mid-size desk, the Tiger Touch II as the Griffin Centre’s house lighting control console. “For this venue, it was important that we had

four CT18S subwoofers to extend the low frequency. Stage monitoring is taken care of by two CT15Xs and 16 I Fix 8 for surrounds. This project was efficiently executed by audiovisual consultant and integration company, Ceeco Technolo.

Photos by GRIFFIN CENTRE © Andy Webb

Since 1975, NTPC Limited has been India’s largest energy conglomerate to accelerate power development in the country. NTPC, Mauda Super Thermal Power Project Campus - near Nagpur in Central India recently constructed a new 250-seat auditorium for multipurpose use. The state-of-the-art auditorium is equipped with latest digital audiovisual products for

a lighting control platform that was intuitive, versatile and professional,” he said. “The Tiger Touch II allows us to move about the theatre space in a whole new way. One minute we may be programming or training down in the stalls and the next we can move the console to its FOH box position. Everything on the desk is inbuilt and accessible through the touchscreen, so we don’t need to mess around with mice or monitors.” In an age where young people are able to merge creativity and control on a new level, from personal applications to professional platforms, Andy wanted a desk that was accessible and attractive to a new generation of designers. “The Tiger Touch II hardware and software is intuitive to students,” he said. “They pick up the basics of control quickly and can develop creatively from there. Also, there is not the concern of learning a new platform if and when they move to another Avolites desk, as the Titan software runs across all of the control platforms. This is something that really appeals to the younger generation of designers I teach.” Another key feature of the Avolites brand is its transparent approach to software and console purchase. Users do not have to pay for software upgrades or for accessibility options. “What I personally like, and what has excited the

students I work with, is that with Avolites you have access to a large number of universes without having to purchase an upgrade - this is not the case with some console brands out there,” continued Andy. “The students were interested that I could run a small touring show with one universe off the Tiger Touch II and then take the same console to Germany for a large trade event, come out into an Avolites TNP node and have access to 35 universes without having to do anything different to the desk.” Andy has been working with Avolites in developing control features that meet the needs of the theatre lighting design market. “Over the last year I have seen great improvements theatre-wise in the Avolites control software and systems,” he said. “Avolites has developed a great cuestack system that works really well for theatre. I can go in and put individual fade times and parameters on fixtures within a cue, and also do some in-depth programming at the same time. “They are working on further developments for theatre and seeing these changes come in and what an Avolites desk can offer in terms of versatility, intuitive control and power has made me go from the extreme of not using Avolites to now specifying it on every job that I do.”

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Photo Credit: RHS / Tim Sandall

Replica of Paxton’s Great Conservatory at RHS Chatsworth defies Mother Nature thanks to Unusual Rigging

The Chatsworth Estate opened its doors and its grounds to the Royal Horticultural Society’s inaugural RHS Chatsworth Flower Show in June for a new show with a style and content unlike any of its existing events. The show’s overarching theme was ‘Design Revolutionaries’ and celebrated not only the creative genius of gardeners and garden designers of the past, such as Joseph Paxton, who was the estate’s Head Gardener, but also the talent and innovative thinking of today’s generation of designers. But perhaps, just as worthy of the ‘Design Revolutionaries’ title, are the designers ofThe Great Conservatory in honour of Paxton’s original Great Conservatory built in 1840 and demolished in 1920. Far from the intricate glass structure which stood proudly in the estate’s grounds for 80 years, its reincarnation is an impressive inflatable dome expertly constructed by Unusual Rigging in collaboration with Inflate, who designed and created it to replicate the look of the old conservatory. Nick Mattingley, RHS Director of Shows, has a long history of working with Unusual Rigging - originally collaborating on the first British Military Tournament in 2010, when he brought Unusual on board to supply an internal frame and rigging system to ‘fly’ an inflatable Chinook into the Earls Court arena. He said: “Knowing full well that the Unusual team is never

one to turn down a challenge involving the weird and wonderful, they were obviously my first port of call for this particular job.” Nick started talks with Unusual and Inflate towards the end of 2016 with Unusual briefed to provide an internal structure for a giant inflatable dome. Following several meetings and site visits, the resulting design is an impressive 21m x 21m x14m truss structure supporting the 40m x 40m x 14m inflatable structure, taking into account the substantial wind loads and forces that it could be subjected to. The structure boasts eight legs - each requiring 18 tonnes of resistance per leg. “Normally this would be achieved using ballast,” explained Jim Dugan, Production Manager at Unusual Rigging. “But because of the nature of the site and the way the structure is being used, we used Platipus ground anchors to provide the resistance. That’s not including any of the resistance required around the edge of the inflatable - an additional 100 tonne is needed for this.” The wind calculations provided by the structural engineers were so extreme that Unusual decided to double the size of the legs and provide additional bracing “We enlisted the services of Eurotruss to design and manufacture a number of bespoke elements as well as to provide as many standard sections as


possible”, explained Jim. The inventory included: eight customised steel base frames with cable attachments; eight customised steel corner frames to interconnect arcs, main ring and legs; one customised steel top-frame with eight attachments to support TT truss arcs; 160-metres Eurotruss TT pre rig truss; and 100-metres Eurotruss TT pre rig truss arcs. Frank Schrage at Eurotruss commented: “Working with Unusual Rigging on these challenging projects is an absolute pleasure, their knowledge and professional approach in combination with their speed of working is key for the client and for us as a manufacturer to grant all parties involved enough time to properly work out the ideas and designs.” The installation took place over five days at the end of May, with the help of a 100 tonne crane and a 35 tonne crane. Robin Elias, Technical Director at Unusual, commented: “We love a challenge and this project was full of them from start to finish. Firstly we had to find a truss system that could be built in a very short time scale which was fit for purpose, but most importantly fulfil the rigorous wind calculations. The next challenge involved assembling a brand new system that was delivered direct to site. We also had to factor in the various inflatable skins supplied by Inflate which again, like our truss

system, arrived directly to site without pre-fitting. In essence, there was no dress rehearsal and bearing in mind how colossal the structure is, we had our work cut out and our breaths held, although to a large extent we’re used to these sorts of challenges now, so they don’t really faze us.” While the weather during week of the show itself was extremely wet and windy, the weather conditions during the build lent themselves to the craning and complex lifts, which was where the main challenge lay. Robin continued: “The lifts happen at various stages and while the structure is anchored securely to the ground once the build is complete, it was not secured to the ground during assembly and so timing the lifts and the fixings to suit the wind conditions was absolutely crucial. Luckily our crew chief Jason White took care of it all and ensured a successful installation ahead of the show.” Jim concluded: “We worked closely with the structural engineers to prepare for the worst the elements could potentially throw at the structure – and on this occasion Mother Nature didn’t disappoint – the structure was battered by torrential rain, gale force winds – the lot! It will be rebuilt annually at Chatsworth for the next five years, so hopefully it’s been put through its paces in year one.”



Much more than your average nightlife hangout, BASE Dubai is a huge, open-air venue with a multi-tiered, adaptable layout that’s suitable for up to 2,000 guests - and its home, is one of the most luxurious places on earth… Dubai. The audiovisual installation was recently completed in just 23 days by Pulse Middle East.

Boasting the sparkle and glamour that the venue’s host city has become renowned for, BASE Dubai promises an immersive, exciting and unique experience, raising the bar on the global nightlife scene. With world-class shows and production, large scale immersive state-of-the-art sound, light and pyrotechnic systems guests will not go home disappointed. And the thoroughly immersive audiovisual experience was created and installed in just 23 days by locally-run audiovisual and lighting architect, Pulse Middle East. Joe Chidiac, Managing Partner for Pulse Middle East said: “The speed and quality of this project is a testament to the boundarypushing capabilities, technical knowledge and passion provided by our expert team of engineers, designers, integration specialists and project managers. BASE Dubai is a shining example of a world-class project,

completed on schedule and executed within budget.” Joe and his team were awarded the contract thanks to a long-standing relationship with Bulldozer Group - which owns and operates the venue - and were asked to specify a superior sound system that would hold its own in the highly competitive Dubai nightlife landscape. Joe continued: “The client requested a fusion of club style combined with concert style, which would form BASE Dubai’s unique identity. The team sat down together and carried out an architect workshop, where ideas were shared and advanced, then later formulated with clear structures and design.” For the main PA, TW AUDiO was selected as Joe describes it as the strongest acoustic sound system available to fit the club’s USPs. The two main hangs comprise eight T24N - high volume point-source double 12-inch horn-loaded loudspeakers, split equally between the two hangs. A subwoofer configuration consisting of two BSX double hybrid subwoofers is in the centre, as well as a further eight cardioid S33 subwoofers operating in end-fire mode. The subwoofers were simulated in Ease Focus to ensure low frequencies



would precisely and evenly cover the venue without producing excessive low frequency backwards, towards a residential area. The club doesn’t want to have noise complaints from neighbours on its hands. The subs are carefully timealigned with the assistance of Smaart to deliver consistent and powerful low frequency coverage throughout the entire venue. Full-range sound reinforcement at the rear of the venue is delivered by four T30i loudspeakers, while two T20 point source units have been deployed as front fills and two T20i’s and two further T24Ns in the VIP area, behind the DJ. The DJ booth itself is provided with a generous monitoring system, with four B30 subwoofers and two T24N loudspeakers capable of delivering undistorted sound up to 143dB SPL max - more than enough for any rider requirement. The entire sound system is powered by nine Powersoft X4 amplifiers -

using three phase power, particularly crucial for balancing power in a venue running from a local generator. Joe said of the choice: “These amplifiers are environmentally friendly and one of the best amplifier brands in the world. The powerful speakers we used needed effective amplification to match, provided by the Powersoft X Series with up to 40,000W per eight channel amplifier.” Alongside the audio installation, Joe was also responsible for the lighting and visual set-up at BASE, which is made up of a whopping 1,380 lighting fixtures from Vision Pro and 180sq metres of LED screens around the venue. The aim was to create a unique identity for the venue. The chandelier is deemed the iconic centrepiece, as it has five layers of tiered P10 LED screens organised in a downward pyramid layout, which is controlled using Resolume VJ software. Additionally, a stunning LED visual effect pattern has been implemented across the

NAME: Joe Chidiac JOB TITLE: Managing Partner at Pulse Middle East


LIKES ABOUT TECHNOLOGY: It’s a fast-growing industry which enhances people’s lives. I’m often fascinated by the latest advances in quality, speed and functionality. Technology can also support creativity in visual and sound, it certainly helps us at Pulse Middle East to visualise a project.

SOUND 12 x TW AUDiO T24N loudspeaker; 4 x TW AUDiO T30i loudspeaker; 4 x TW AUDiO T20 loudspeaker; 2 x TW AUDiO T20i loudspeaker; 2 x TW AUDiO BSX subwoofer; 8 x TW AUDiO S33 subwoofer; 4 x TW AUDiO B30 subwoofer; 9 x Powersoft X4 amplifier; 1 x Midas M32R mixing console

DISLIKES ABOUT TECHNOLOGY: Keeping up with the ever-more rapid pace of developments is fascinating but it does consume time and I’ve found that following the latest improvements is addictive.

LIGHTING & VISUAL 1,380 x Vision Pro lighting fixture; 180 sq metres of LED screen; Resolume VJ software; MARDIX software; 1 x ChamSys MQ500 stadium lighting console; Pangolin Beyond laser control software; 6 x Vision 20W individually controlled RGB laser; 6 x SFAT Quatro JET CO2 jet; 2 x SFAT Confetti Shooter; 4 x DJ Power Wave haze machine

THE NEXT BIG THING IN TECHNOLOGY WORLD: Autonomy and artificial intelligence.

“ Wa t e r r e s i s t a n t , mo r ep r o t e c t i o na n de a s yc l e a n u p ”





Bien plus qu’un simple lieu de rencontre nocturne, BASE Dubai est un gigantesque espace en plein air offrant une configuration modulable à plusieurs niveaux pouvant accueillir jusqu’à 2 000 personnes — et cela dans l’une des plus luxueuses villes du monde... Dubaï. Les spectateurs ne seront pas déçus par les concerts et les productions internationales à grande échelle qui les attendent — son, lumière et effets pyrotechniques grandioses assurés ! Cette expérience audiovisuelle immersive a été imaginée et installée en seulement 23 jours par un architecte audiovisuel et éclairagiste local de chez Pulse Middle East. Pour ce qui est de l’ensemble de l’installation audio, TW AUDiO a été choisi, car Joe le décrit comme le système acoustique le plus puissant qui puisse s’adapter au budget du club. Ce système fonctionne avec neuf amplificateurs Powersoft X4 installés sur un réseau électrique triphasé — un aspect particulièrement important qui sert à équilibrer le courant dans un lieu alimenté par un générateur local. Joe est également responsable de l’éclairage et des installations visuelles du BASE, soit quelque 1 380 dispositifs d’éclairage de Vision Pro, en plus des 180 mètres carrés d’écrans LED couvrant le lieu. Le lustre reste l’élément iconique essentiel, car celui-ci se compose de cinq couches d’écrans LED P10 organisés en configuration pyramidale inversée et gérés par un logiciel VJ Resolume — sans oublier les incroyables effets visuels aux LED créés et contrôlés par le progiciel MARDIX, et qui se baladent le long des plafonds et des murs du lieu. Une console d’éclairage ChamSys MQ500 contrôle les luminaires.


BASE Dubai ist mehr als nur ein durchschnittlicher Treff für Ihr Nachtleben. Es ist ein riesiger Open-Air-Treff mit mehrstufiger, modulierbarer Anordnung für bis zu 2.000 Gäste in einem der luxuriösesten Plätze der Welt… Dubai. Mit Shows und Produktionen von Weltklasse, großen, immersiven, hochmodernen Sound-, Beleuchtungs- und pyrotechnischen Systemen gehen die Gäste nicht enttäuscht nach Hause. Und die völlig immersive audiovisuelle Erfahrung wurde in nur 23 Tagen durch den lokalen audiovisuellen und Beleuchtungs-Architekten Pulse Middle East entworfen und installiert. Für den kompletten Audio-Aufbau wurde TW AUDiO ausgewählt, da Joe es als das stärkste Soundsystem beschreibt, das für die USPs des Clubs zur Verfügung steht. Das gesamte Soundsystem wird durch neun Powersoft X4 Verstärker betrieben. Dafür wird dreiphasige Power eingesetzt, die besonders für den Ausgleich der Power in einem Treff, der von einem lokalen Generator betrieben ist, wichtig ist. Neben der Audioinstallation war Joe ebenfalls für die visuelle und die Beleuchtungsanlage im BASE verantwortlich. Sie besteht aus sagenhaften 1.380 Beleuchtungskörpern von Vision Pro und 180 Quadratmetern LEDBildschirmen im gesamten Treff. Der Kronleuchter gilt als emblematisches Herzstück, mit seinen fünf Schichten an abgestuften P10 LED Bildschirmen, die in einer abschüssigen, pyramidenförmigen Anordnung organisiert sind, welche durch eine Resolume VJ Software gesteuert wird. Zusätzliche, erstaunliche visuelle LED-Effekte auf Decke und Wänden werden in einem MARDIX Softwarepaket erstellt und kontrolliert. Eine ChamSys MQ500 Stadion-Lichtsteuerkonsole übernimmt die Steuerung der Beleuchtung.


Molto più della media della vostra vita notturna, BASE Dubai è un grande spazio all’aperto con una struttura adattabile a più piani che puó contenere un massimo di 2.000 ospiti e la sua casa è uno dei luoghi più lussuosi della terra: Dubai. Con spettacoli e produzione di fama mondiale, sistemi audio/luci su larga scala all’avanguardia e giochi pirotecnici, il locale crea un’atmosfera immersiva che non lascerá delusi gli ospiti. L’ esperienza audio-visiva completamente immersiva è stata creata e installata in soli 23 giorni dall’ architetto locale che si occupa del settore audiovisivo e illuminazione, Pulse Middle East. Per l’intero sistema audio, TW AUDiO è stato selezionato per essere, come Joe lo descrive, il più forte sistema acustico sul mercato che potesse adattarsi agli USP del locale. L’intero sistema audio è alimentato da nove amplificatori Powersoft X4, che utilizzano l’alimentazione a tre fasi, particolarmente fondamentali per il bilanciamento della potenza in un posto che utilizza un generatore locale. Oltre all’installazione audio, Joe è stato responsabile anche dell’illuminazione e dell’impianto video della BASE, composto da un enorme numero di luci (1.380) della Vision Pro e da 180mq di schermi a LED situati intorno al locale. Il lampadario è considerato il punto focale, in quanto presenta cinque ripiani di schermi a LED P10 disposti in una struttura piramidale al contrario, che viene controllato utilizzando il software Resolume VJ. Inoltre, ci sono dei sorprendenti effetti visivi LED a fantasia attraverso il soffitto e le pareti, tutte create e controllate con un pacchetto software MARDIX e una consolle di illuminazione da stadio ChamSys MQ500 che gestisce il controllo delle luci.


Mucho más que un mero lugar para pasar el rato, BASE Dubai es un enorme lugar al aire libre que cuenta con una disposición multi-escalonada adaptable ideal para hasta 2.000 invitados y es uno de los lugares más lujosos sobre la tierra, en Dubái. Los invitados no se irán decepcionados a casa porque el lugar ofrece shows y producciones de primer nivel mundial, sistemas de sonido, iluminación y pirotécnicos de última generación a gran escala. La experiencia audiovisual completamente de “inmersión” fue creada e instalada en solo 23 días a cargo de los arquitectos locales especialistas en audiovisual e iluminación, Pulse Middle East. Para la configuración total del audio se eligió a TW AUDiO, ya que Joe lo describe como el sistema de sonido acústico más potente disponible para encajar en el USP del club. El sistema de sonido entero es potenciado por nueve amplificadores Powersoft X4 - utilizando potencia de tres fases, particularmente crucial al momento de tener que equilibrar la potencia en un lugar funcionando desde un generador local. Junto con la instalación del audio, Joe también estuvo a cargo de la configuración visual y de iluminación en BASE, la cual se compone de 1.380 artefactos de luz de Vision Pro y 180 metros cuadrados de pantallas LED alrededor del lugar. La araña del techo es considerada como la icónica atracción principal, ya que cuenta con cinco capas de pantallas LED P10 escalonadas y organizadas con forma de pirámide descendente y es controlada utilizando el software Resolume VJ. Además, se presentan deslumbrantes patrones de efectos visuales LED a lo largo del cielorraso y las paredes, lo cual es todo creado y controlado en un paquete de software MARDIX. El control de las luces está a cargo de una consola para iluminación de estadios ChamSys MQ500.

ceiling and walls, all of which is created and controlled with MADRIX software. For lighting, 196 moving heads, 20 strobes, 34 dual molefay blinders, 82 LED PAR cans and 70 PAR bars illuminate the whole venue. “We needed high performance lights that could throw at least 15-metres from the truss to the dancefloor. This also had to be achieved outdoors under the moonlight and be capable of magnificent visual effects,” said Joe. “Vision’s XS4 16R lamp with spot, wash and beam capabilities were perfect for this with a stunning set of gobos and prisms. With the lights placed outside in extreme conditions of heat, humidity and dust, we needed a versatile brand with excellent UAE support, capable of providing parts and replacements on demand - Vision offered us just that.” A ChamSys MQ500 stadium lighting console takes control of the lights. It is solid controller that can control up to 102,400 channels of DMX and is extremely versatile to program and operate. It operates 20 almost-full universes of DMX for the lighting inventory - with the exception of the lasers installed, which are operated by Pangolin Beyond software to create fantastic laser shows. “The control surfaces are connected together over

ArtNet,” explained Joe. “If the lighting operator wishes to alter the whole feel of the venue including LED, lighting, lasers and video, it can be done with one touch of an execute button. The ArtNet is available all over the venue in case the operator needs to move around for a special performance, or if additional effects are required for one-off shows.” Evgeny Kuzin, Managing Partner of BASE Dubai & Bulldozer Group, said of the finished project: “We are impressed by the immersive, festivalscale experience that Pulse Middle East have created through the venue’s light, sound and pyrotechnics. We have worked with their company on many previous projects and have found them to be thoroughly professional and reliable with an extensive product portfolio. We look forward to continuing our relationship with Pulse Middle East, who exude creativity and proactivity from concept right through to final production.” Joe concluded: “BASE Dubai needed a high-end solution which utilised the best technologies available, with impressive lighting and a sound system worthy of world-class acts that packed a punch. As well as carefully designed venue architecture, we needed to select the right brands to create a truly unique venue.”


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International Latin American restaurant group, COYA, has chosen a matched NEXO-Yamaha sound reinforcement and background music system for its new 170-cover restaurant and bar in the City of London. Located just a stone’s throw from the Bank of England, COYA is a dayto-night venue, which makes clever use of its zoned audio specification to set the mood and strengthen the identity of its brand.

COYA Angel Court is the second London site for the group, which has already won several awards for its flagship Mayfair venue. The new 4,500 sq ft space incorporates a contemporary Peruvian restaurant and a buzzing Latin American bar, the Pisco Lounge. Styled by the Sagrada design team, vibrant colours, Peruvian trinkets and hand-crafted furniture guide COYA’s guests through Peru’s historic and modern hallmarks, from Incas and conquistadores to ceviche and Pisco Sour cocktails. London-based audiovisual design and installation company, Vibasound, was asked to specify a sound system that would play a key role in the dining and entertainment experience. Six months prior, Vibasound had upgraded the sound system for the Pisco Lounge in Mayfair, choosing a winning combination of NEXO’s super-compact ID Series full range loudspeakers and ID S110i subbass cabinets. Vibasound’s Peter Kellet again


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opted for the NEXO formula at Angel Court, adding Yamaha processors and software to customise the capabilities of the system with smart zoning and touchscreen control. COYA Angel Court’s clever audio system has evolved from an excellent working relationship between Peter and COYA Manager, Nizar Bel Hadj, who has taken a detailed interest in its design. “Our guests begin their COYA journey in the Pisco Lounge, so the audio plays an essential role in creating the atmosphere,” explained Nizar. “Part of COYA’s identity is the upbeat environment at the bar, and here the sound and lighting are the most important things. The quality of sound is very high, which gives the impression that the music is loud, but you can still clearly hear conversation.” Vibasound has installed eight NEXO ID24 loudspeakers into the open ceiling, flown on custom-made bracketry and mounted in front of the bar so that bar-

staff are not competing with the audio output. Two NEXO ID S110i subwoofers are also flown above the bar area, where the SPLs can rise as live DJs aim to attract the after-work crowd. In the restaurant and ancillary areas, Vibasound has installed 14 Yamaha VXS5 five-inch compact speakers for discreet background music delivery. Including a private dining room fitted out with Yamaha ceiling speakers, Vibasound has designated seven different audio zones. Administered by a Yamaha MTX3 8x8 digital processor, working with digital remote boxes, the levels of audio in the bar, restaurant, private dining room and toilets can be independently controlled from an iPad, running Yamaha’s ProVisionnaire Touch software interface. “This is the first time we’ve given the manager complete control of his installed system, via the iPad,” said Peter. “The MTX3 processor has excellent software – user-friendly, reliable and well-designed,

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Le groupe international de restauration latino-américaine COYA a choisi un système de sonorisation et de musique de fond NEXO Yamaha pour son nouveau restaurant-bar de 170 couverts au cœur de la City londonienne. Les propriétaires souhaitaient que la musique joue un rôle clé dans l’expérience de restauration et de divertissement offerte aux clients. C’est l’entreprise de conception et d’installation audiovisuelle londonienne Vibasound qui s’est prêtée au jeu. Au plafond, Vibasound a installé huit haut-parleurs NEXO ID24 suspendus à des crochets fabriqués sur mesure et placés devant le bar, afin de ne pas gêner la communication du personnel avec la clientèle. Deux enceintes NEXO ID S110i planent également au-dessus de l’espace du bar, où les niveaux de pression acoustique peuvent grimper lorsque le DJ cherche à attirer l’attention de la foule. Dans le restaurant et les espaces adjacents, Vibasound a disposé 14 haut-parleurs compacts de cinq pouces Yamaha VXS-5 qui diffusent discrètement une musique d’ambiance. Vibasound a aussi créé sept différentes zones audio, notamment une dans la salle à manger privée qui est équipée d’enceintes de plafond Yamaha. Le processeur numérique Yamaha MTX3 8x8 commande des boîtiers numériques à distance, et contrôle indépendamment les niveaux sonores dans le bar, le restaurant, la salle à manger privée et les toilettes, et cela à partir d’un iPad muni de l’interface Pro-Visionnaire Touch de Yamaha. Dans la « cour de l’ange » du COYA, tout le système audio est alimenté par un amplificateur NEXO DTD relié à une console DTD.


die internationale lateinamerikanische Restaurantgruppe COYA hat ein abgestimmtes NEXO-Yamaha Soundverstärkungs- und Hintergrundmusiksystem für ihr neues Restaurant mit 170 Gedecken und ihre Bar in der City of London ausgewählt. Das in London ansässige Unternehmen für audiovisuelles Design und Installation Vibasound wurde beauftragt, ein Soundsystem zu definieren, das eine wesentliche Rolle bei der Eß- und Enterteinmenterfahrung spielen würde. Vibasound hat acht NEXO ID24 Lautsprecher in die offene Decke auf maßgeschneiderten Haltevorrichtungen und vor der Bar installiert, so dass das Barpersonal nicht gegen den Audioausgang anzukämpfen hat. Zwei NEXO ID S110i Subs sind über dem Barbereich angebracht, wo der SPLs angehoben werden kann, wenn DJs das Publikum nach Feierabend live unterhalten. Im Restaurant und in den Nebenbereichen hat Vibasound 14 kompakte Yamaha VXS-5 Fünf-ZollLautsprecher für diskrete Hintergrundmusik installiert. Einschließlich eines privates Speisesaals, der mit Yamaha Decken-Lautsprechern ausgestattet wurde, hat Vibasound sieben verschiedene Audiozonen bestimmt. Die Audiolevels in der Bar, dem Restaurant, dem privaten Speisesaal und den Toiletten, die durch einen digitalen Yamaha MTX3 8x8 Prozessor verwaltet werden und mit digitalen Remote Boxes arbeiten, können unabhängig voneinander von einem iPad mit Yamahas Pro-Visionnaire Touch Software-Schnittstelle gesteuert werden. Das komplette Audiosystem vom COYA Angel Court wird durch einen NEXO DTD Verstärker, der von einem DTD Controller unterstützt wird, betrieben.


La catena internazionale di ristoranti latino-americani COYA ha scelto un sistema audio di rinforzo NEXO-Yamaha ed un sistema di musica di sottofondo per il suo nuovo ristorante e bar da 170 coperti nella città di Londra. All’azienda londinese di progettazione ed installaione audio/video Vibasound è stato chiesto di specificare un impianto audio che avesse un ruolo fondamentale nell’esperienza del pranzo e dell’intrattenimento. Vibasound ha installato otto altoparlanti NEXO ID24 nel soffitto aperto, che volano su delle staffe fatte su misura e montate davanti al bar in modo che il personale non debba imbattersi con l’uscita audio. Anche due subwoofer NEXO ID S110i sorvolano l’area del bar, dove gli SPL possono salire, considerato che i live dei DJ mirano ad attirare la folla che esce dal lavoro. Nel ristorante e nelle aree subordinate, Vibasound ha installato 14 altoparlanti compatti da 5 pollici Yamaha VXS-5 per offrire una musica di sottofondo discreta. Oltre ad una sala da pranzo privata dotata di altoparlanti a soffitto Yamaha, Vibasound ha designato sette diverse zone audio. Amministrato da un processore digitale Yamaha MTX3 8x8, che lavora con le caselle digitali remote, i livelli di audio nel bar, nel ristorante, nella sala da pranzo privata e nelle toilettes possono essere controllati indipendentemente da un iPad, eseguendo l’interfaccia software ProVisionnaire Touch di Yamaha. L’intero sistema audio di COYA Angel Court è alimentato da un Amplificatore NEXO DTD, unito ad un DTD Controller.


El grupo internacional de Latinoamérica de restaurantes, COYA, eligió un refuerzo de sonido combinado: NEXO-YAMAHA y un sistema de música de fondo para su nuevo restaurante y bar en la ciudad de Londres. Se le solicitó a la empresa con base en Londres, dedicada al diseño e instalación audiovisual, Vibasound, que especificara un sistema de sonido que jugara un rol clave en la experiencia de las cenas y entretenimientos. Vibasound instaló ocho parlantes NEXO ID24 en el cielorraso abierto, derramado sobre un soporte hecho a medida y montado enfrente del bar para que el personal del bar no compita con la salida del audio. También hay dos subwoofers NEXO ID S110i arriba de la zona del bar, donde los SPLs se pueden subir como Djs en vivo apuntando a atraer a la multitud que sale de trabajar. En el restaurante y en las zonas secundarias, Vibasound instaló 14 parlantes compactos Yamaha VXS-5 de cinco pulgadas para ofrecer música de fondo discreta. Incluyendo a un comedor privado equipado con parlantes Yamaha en el cielo raso, Vibasound ha designado siete zonas de audio diferentes. Siendo administrados por un procesador digital Yamaha MTX 8x8, que trabaja en conjunto con cajas digitales remotas, los niveles de audio en el bar, el restaurante, el comedor privado y los lavabos, pueden ser controlados independientemente desde un iPad, que ejecute la interface del software Pro-Vissionnaire Touch de Yamaha. El sistema de audio entero de COYA Angel Court es potenciado por un amplificador NEXO DTD, en conjunto con un controlador DTD.

it is one of the best we’ve used for a multizone application. Nizar now has tabletmounted discretionary control in his hands. He can use the presets which have been structured according to different times of day, or he can manage the output of a DJ from the Pisco Lounge all the way through to the restaurant.” “We are definitely seeing a trend for restaurants becoming more savvy and particular about their audio requirements. I am able to recommend high-quality loudspeakers like NEXO ID Series, because budgets are increasing as

clients understand the value of a main system used with live music and DJs.” COYA Angel Court’s entire audio system is powered by one NEXO DTD amplifier, teamed with a DTD Controller. “The NEXO and Yamaha loudspeakers complement each other really well,” added Peter. “The small Yamaha cabinets are perfect for areas that don’t require much sound reinforcement, whereas the NEXO ID Series are necessary to deliver the higher SPL for DJs and live musicians in the bar.”

TECHNICAL INFORMATION SOUND 8 x NEXO ID24 loudspeaker; 2 x NEXO ID S110i subwoofer; 14 xYamaha VXS-5 five-inch compact speaker; 1 x Yamaha MTX3 8x8 digital processor; 1 x NEXO DTD amplifier; 1 x NEXO DTD controller

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Obscura Digital create the immersive Antarctic Dome for Coachella.

Obscura, a creative studio based in San Francisco, went back to its roots to create the new Antarctic Dome at the Coachella Arts and Music Festival this year. Obscura were selected by Goldenvoice to build the 120ft dome, as well as create Chrysalis - an incredible eight-minute long audiovisual programme that was to be projected in epic 360º at massive scale, offering an immersive experience unlike any other. “This is the most mind-blowing immersive experience I have ever seen,” said Obscura’s CEO and co-founder, Chris Lejeune. “This is one of those magical moments when all of the tech and production execution works in harmony to

support the artistry and the creative is executed passionately and expertly to create magic that allows you to let go into the experience.” Chris and Travis Threlkel formed the Obscura in 2000 to create immersive projection experiences in domes, so this was the ideal project for their team. Ashland, Oregon-based Pacific Domes designed and constructed the massive dome, which, at 120ft, is the largest geodesic projection dome in the world providing a projection surface larger than any IMAX theatre. The Antarctic Dome holds over 500 people at a time, with visitors able to recline in bean baglike chairs as the experience rains down on them. It is a totally immersive experience, with 15 2K resolution 30K lumen Christie


Boxer projectors blowing up the dome with bright, crisp visuals, and 108 L-Acoustics speakers - 56 KIVA’s, 12 12XT’s, 24 5XT’s and 16 subwoofers arranged on three tiers around the dome interior, providing spatialised audio, allowing the audience to literally feel the experience viscerally. That makes for a one-of-a-kind immersive experience, with L-Acoustics and its L-ISA surround spatialisation product making an invaluable contribution to the overall project. With Chrysalis, Obscura’s creative team devised a content narrative that would take people on a metamorphic journey through time, space and consciousness, with a friendly nod to crowd-favourite art installations from Coachella’s past along the way.

Obscura’s media team took that vision and ran with a combination of CGI, fractal geometry and practical effects videography - shooting real-world objects and manipulating the result - to create the final piece. The sound designers worked hand-in-hand with them to craft custom audio that effectively created a four-dimensional experience that made the visitors to Antarctic Dome actually feel as though they were travelling though space and time. In short, the result was utterly incredible - and extremely impressive for four months’ work.



Home of NBA team, Oklahoma City Thunder, and host to a whole range of concerts and events, the Chesapeake Energy Arena has recently seen its audiovisual technology significantly upgraded, which includes the first use of EAW’s Anya system within an NBA venue.

Based in Oklahoma City, Chesapeake Energy Arena first opened in 2002 as the premier project of City of Oklahoma City’s visionary improvement programme. Since then, the venue has played host to a wide range of sports, concerts and events, opening its doors to over a million visitors every year. From the 2008-2009 season, the Chesapeake Energy Arena has served as the home of NBA team, Oklahoma City Thunder, having also been used by New Orleans Hornets during the 2005-2006 and 2006-2007, as well as Oklahoma City Blazers from the Central Hockey League. Managed by SMG, one of the world leaders in venue management, marketing and development, the ability to hold a diverse range of events highlights the arena’s flexibility, which is why, since its opening, a number of improvements have been introduced. Some of the latest upgrades to the popular venue have seen the audio and visual technology


enhanced significantly. In a bid to replace the old audio system with one that could provide the quality and coverage needed for the whole range of events, City of Oklahoma City enlisted the help of Marsh/ PMK International as design consultants. Jerrold Stevens, Associate Principal and Director of AV Systems at Marsh/PMK, was tasked with designing an audio system for the venue that would deliver an energetic environment for NBA games, as well as vocal intelligibility and flexibility for concerts and events. Once the audio plans were approved, it was Ford AV which was chosen to complete the actual installation. Brent Kucharo, Project Engineer at Ford AV, discussed the project further: “The project was to update the main bowl audio system at Chesapeake Energy Arena. This consisted of removing all of the existing distributed sound system, including all the speaker cabinets and associated power amplifiers. “The Q-Sys system that was there already remained, though the loudspeakers in the main bowl were replaced.”

With all the requirements in mind, Jerrold came up with a range of ideas before settling on an EAW system. It was EAW’s Anya system that was eventually specified for the Chesapeake Energy Arena - in fact, it’s the first Anya system to be used within an NBA arena. Jerrold specified four straight-hanging EAW Anya arrays above the scoreboard, while the north and south ends are given exceptional coverage using arrays made up of two columns of six Anya modules. For the east and west areas, a pair of four-high, two-wide column Anya arrays are used, which, when all together, deliver 360° coverage for the whole arena. The EAW Anya system delivers incredible coverage, which isn’t an easy task in a 581,000 sq ft facility. The end result has seen an even sound distributed from the front row to the back of the arena - making it ideal for NBA, concerts and events. It also offers great system flexibility, too, via EAW’s Resolution 2 software, which allows the coverage pattern to be changed at the touch of a button. There a five presets loaded onto the system, offering the ability to switch between

each one within two to three seconds. In addition to the EAW Anya system, Jerrold also used four subwoofer arrays hung above the four corners of the scoreboard, which were made up of six Fulcrum Acoustic CS121 subwoofers. Also, mounted on the bottom of the scoreboard are four Renkus-Heinz STX7/94 loudspeakers to provide additional coverage for the first three rows of courtside seats, as well as serving as monitor loudspeakers for halftime and timeout entertainment. “The sound system needed excellent intelligibility, fidelity, output and bandwidth to enhance the overall fan experience and become more competitive with other NBA arenas,” said Jerrold. “Cardioid was a huge factor in the arena design. Vertical subwoofer arrays are ideal for providing smooth coverage to the seating bowl and keeping sound energy off the floor. However, the large centrally located scoreboard precluded any loudspeakers directly over centre court. Forced to hang subwoofer arrays around the scoreboard’s perimeter, I knew cardioid patterns


“The sound system needed excellent intelligibility, fidelity, output and bandwith to enhance the overall fan experience and become more competitive with other NBA arenas.”

• Above Centrehung display by Daktronics, with EAW Anya system attached.

were necessary to minimise interference between arrays. “I’m so glad Fulcrum figured out passive cardioid subwoofers in time for this amazing project. They eliminated the need for an additional ring of active cardioid cancellation subs above the scoreboard, and helped deliver system cost and performance benefits that made for one very happy customer.” For the amplification, QSC amplifiers are used for the existing audio equipment in the concourse, along with the other audio systems outside of the bowl. For the newly-installed loudspeakers, Lab. gruppen amplifiers were utilised, with three FP 14000 Series amplifiers for the Fulcrum Acoustic subwoofers and eight FP 10000Q Series amplifiers for the Renkus-Heinz equipment. The EAW Anya system is different, as they’re self-powered with dedicated Powersoft amplification already built in. The mixing equipment adds another layer of flexibility, too, with Jerrold specifying a Yamaha CL3 mixing console that is

within a road case for simple transport. A Yamaha Rio 3224-D Dante I/O box helps in terms of transport to and from the new mixing console via Dante, while two additional Yamaha Rio 1608-D boxes in portable road cases provide inputs and outputs at any location with access to the Dante network. Overall, the entire audio system runs on the Dante platform, which provides control and signal routing between the mixing system, existing DSP and the Anya arrays via standard Ethernet. Another aspect of the Chesapeake Energy Arena that has been addressed is the visual element, with Daktronics involved in providing the video displays both inside the arena, as well as outside. On the exterior of the arena, Daktronics provided an impressive Marquee display that catches the eye of guests upon approaching the venue, as well as those passing by. Inside the Chesapeake Energy Arena, Daktronics provided four displays for the primary video centrehung, as well


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L’équipe de basket Thunder d’Oklahoma City est domiciliée à la Chesapeake Energy Arena, une salle omnisports qui a fait l’objet d’une vaste refonte audio, où la première installation permanente de la NBA a vu le jour. Le système d’enceintes adaptatif Anya de EAW est constitué de deux colonnes de quatre boîtiers chacune, au nord et au sud du bâtiment, et de deux colonnes de six boîtiers suspendues aux extrémités est et ouest des estrades afin d’offrir 360 degrés de couverture sonore horizontale. Conçue par Jerrold Stevens de chez Marsh/PMK et installée par Ford AV, cette solution audio de pointe comporte également des caissons de graves cardioïdes passives CS121 Fulcrum Acoustic, ce qui a complètement transformé le lieu, qui offre aujourd’hui une sonorité exceptionnelle lors de tous les événements qui s’y déroulent. Une table de mixage Yamaha CL3 et une plate-forme DSP Q-Sys constituent un système Dante complet, où les amplificateurs Lab.gruppen fournissent la puissance nécessaire à ce nouveau système audio. Pour s’assurer que l’installation soit prête pour la saison 2016-17 de la NBA, l’équipe a dû compléter les installations en un temps record. La couverture sonore bien précise du système Anya est contrôlée par un logiciel, ce qui signifie que la plate-forme audio numérique peut être configurée pour offrir une expérience nocturne immersive et ensuite revenir aux préréglages pour concerts et autres événements à vivre dans ce stade impressionnant.


Die Audioanlage der Chesapeake Energy Arena, Heimat von Oklahoma City Thunder, wurde komplett modernisiert und wurde zur ersten permanenten Installation eines adaptiven EAW’s Anya Array Systems in der NBA. Das Anya-System wurde in zwei Säulen von vier Boxen installiert, am nördlichen und südlichen Ende der Arena, zwei Säulen von sechs Boxen hängen am östlichen und westlichen Ende der Tribüne und bieten eine horizontale 360 Grad Abdeckung. Die von Jerrold Stevens von Marsh/PMK entworfene und von Ford AV installierte technologisch hochmoderne Audiolösung umfasst zudem passive Fulcrum Acoustic CS121 Cardioid Subwoofer und hat den Veranstaltungsort komplett erneuert, mit einem hervorragenden Sound für jede Veranstaltung vor Ort. Lab.Gruppen Verstärker stellen die Power für dieses neue Audiosystem bereit. Sie arbeiten mit einem Yamaha CL3 Mixer und Q-Sys DSP zusammen, um ein komplettes Dante System zu schaffen. Der Zeitrahmen für die Fertigstellung war sehr eng, um die Fertigstellung für die NBA-Saison 2016-17 zu gewährleisten. Die präzise gestaltete Abdeckung des Anya Systems wurde über eine Software gesteuert. Dies bedeutet, dass die AudioAusrüstung digital neu konfiguriert werden kann, um eine immersive Spieleprogrammierung abends zu bieten, mit der Möglichkeit, dann auf Presets umzuschalten, um Abdeckungsmuster für Konzerte und andere Events, die in diesem beeindruckenden Veranstaltungsort stattfinden, zu ermöglichen.


La Chesapeake Energy Arena, che ospita l’ Oklahoma City Thunder, è stata sottoposta ad un vasto ampliamento audio che ha visto per la prima volta nell’NBA l’installazione permanente del sistema di array adattabile Anya della EAW. Il sistema Anya è stato installato in due colonne da quattro box ciascuna alle estremità nord e sud dell’arena, con due colonne da sei box appese sulle estremità est e ovest delle tribune per fornire una copertura orizzontale a 360 gradi. Progettata da Jerrold Stevens della Marsh/PMK e installata da Ford AV, la tecnologicamente avanzata soluzione audio, che comprende anche i subwoofer cardioidi passivi Fulcrum Acoustic CS121, ha totalmente rivitalizzato la sede, offrendo un suono eccezionale adatto ad ogni evento. Gli amplificatori Lab.gruppen forniscono l’alimentazione per questo nuovo sistema audio, lavorando con un mixer Yamaha CL3 e Q-Sys DSP per creare un sistema Dante completo. Completato in breve tempo per assicurarsi che fosse completamente pronto per la stagione NBA 2016-17, la copertura precisa del sistema Anya è controllata tramite un software, il che significa che l’impianto audio può essere riconfigurato in modo digitale per fornire un programma immersivo anche durante le partite serali, con la possibilità di cambiare i parametri per abilitare gli impianti di copertura per i concerti e altri eventi che si tengono in questo posto incredibile.


El Chesapeake Energy Arena, que es la sede de los Oklahoma City Thunder, se ha sometido a una gran reforma de su sistema de audio, lo que ha visto la primera instalación permanente de la NBA, de un sistema de formación de cajas acústicas adaptativas Anya de EAW. El sistema Anya fue instalado en dos columnas de cuatro cajas cada una en los extremos norte y sur del arena, con dos columnas de seis cajas colgadas tanto en el extremo este como en el oeste del sector de los asientos para suministrar 360 grados de cobertura horizontal. Diseñado por Marsh/PMK’s Jerrold Stevens e instalado por Ford AV, la solución de audio de tecnología de avanzada, que también incluye subwoofers Fulcrum Acoustic CS121 con tecnología passive cardioid, ha renovado totalmente el lugar, entregando un sonido excepcional en todos los eventos que se llevan a cabo allí. Los amplificadores Lab.gruppen potencian al nuevo sistema de audio trabajando junto con una mezcladora Yamaha CL3 y Q-Sys DSP para crear un sistema Dante completo. Habiéndolo finalizado en un ceñido periodo de tiempo para asegurarse que estuviera completamente terminado para la temporada 2016-17 de la NBA, la cobertura específica del sistema Anya es controlada vía software, lo que significa que el armado del audio puede ser reconfigurado digitalmente para ofrecer una noche de juego de plena “inmersión”, con la habilidad de cambiar configuraciones para permitir patrones de cobertura para conciertos y otros eventos que se llevan a cabo en este impactante sitio.

as another four for the auxiliary video centrehung. There is also another four Daktronics displays for the centrehung tapered displays corners. Another two are used for the centrehung bottom displays, too, as well as the centrehung top ring. There is an end wall auxiliary display and ribbon display on the facia installed also. The end result has seen the arena become equipped with state-of-the-art video displays that are perfect for NBA games and the entertainment, as well as concerts and events. The video displays work perfectly alongside the new audio system, which was first put to the test at Oklahoma City Thunder’s preseason game against the Minnesota Timberwolves. The venue management and operations team were

delighted with the results, especially with the positive feedback received from those attending the game. All those working on the project were pleased with the end result, too, particularly with the way the install was completed on such a tight and very busy - schedule. Overall, the Chesapeake Energy Arena install - from the video through to the audio - has significantly enhanced the whole experience for guests visiting the venue, whether that be for sports, music concerts or other events. With the first EAW Anya system in place, the home of Oklahoma City Thunder can really compete with other NBA arenas in terms of atmosphere, sound coverage and entertainment, which is exactly what the aim was when the project started.

TECHNICAL INFORMATION SOUND 40 x EAW Anya loudspeaker; 32 x Fulcrum Acoustics CS121 subwoofer; 4 x Renkus-Heinz STX2/94 loudspeaker; 4 x Renkus-Heinz STX7/94 loudspeaker; 3 x Lab.gruppen C 28:4 4-channel amplifier; 3 x Lab.gruppen FP10000QBP 4-channel x2500W amplifier; 8 x Lab.gruppen FP14000BP 2-channel x7000W amplifier; 1 x Yamaha CL3 digital mixing console; 2 x Yamaha Rio1608-D digital stage box; 1 x Yamaha Rio3224-D digital stage box VISUAL 1 x Daktronics marquee video display; 2 x Daktronics centrehung bottom video display; 4 x Daktronics centrehung primary video display; 4 x Daktronics centrehung auxiliary video display; 1 x Daktronics centrehung top ring video display; 4 x Daktronics centrehung tapered display corners; 1 x Daktronics end wall auxiliary video display; 1 x Daktronics ribbon facia display


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Choose from 36, two-and four-channel models from 75, 150, 400, 800, 1500, 3000 Watts per channel. All with common feature sets and come with a 5-Year warranty.

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With a history stretching back more than 40 years, record store, Record Archive, in Rochester, New York has certainly stood the test of time. The store has been reincarnated a number of times, moving locations and expanding in size, but it has been settled at its current home for more than 10 years now.

The 13,000 sq ft store - owned by Alayna Alderman and Richard Storms – is a musiclover’s paradise that houses 250,000 records and 1,000s of DVDs, as well as respectable and enduring collections of CDs, cassette tapes, eight-track tapes, and VHS tapes, new and used stereo equipment and novelty gifts. Four years ago, Record Archive decided to go above and beyond being just a music store, opting to offer its customers an event space for live performances. The Backroom Lounge, as it’s known, recently acquired the state’s first record store tavern license and upgraded its audio system in order to bring the venue bang up to date for its 21st century audience a future proofing for the years to come. When it came to specifying brands, the record store stayed close to home with Ashly Audio DSP and amplifiers and Rochester-based Fulcrum Acoustic for loudspeakers and subwoofers. “Our goal is not only to give our patrons a great musical experience, but also to give the musicians who perform at the Backroom Lounge a great experience - and sound quality is obviously a critical part of that,” said Alayna. “Fulcrum Acoustic designed and installed


the sound system for us, and they recommended Ashly Audio - another local pro audio manufacturer with national and international reach - for the system’s amplification and DSP.” The Backroom Lounge already had a well-functioning console, so Fulcrum technicians added an Ashly nXp8004 and an Ashly nXp8002. Both units deliver 800W per channel and include Ashly’s Protea DSP, which allowed the technicians to condition input signals, to tune the room, and to provide all of the necessary speaker crossovers and dynamics protection. The Ashly nXp8002’s two channels power the main PA - a stereo pair of Fulcrum CX 1295 full-range loudspeakers. The coaxial loudspeakers provides the output capability and pattern control of a normal two-way system in a much more compact enclosure. The enclosure’s 40° vertically trapezoidal shape also allows it to be mounted very close to ceilings with minimal effect on sight lines, so as not to interfere with the décor of the room,

which includes a full-scale Tyrannosaurus Rex skeleton and an impressive collection of velvet Elvis paintings. The Ashly nXp8004’s four channels power three Fulcrum FX 896 high-fidelity wedges and a single Fulcrum SUB118 subwoofer - placed at the side of the stage - to provide extended low frequency support and robust SPL capability. “We absolutely love the new system, and we’ve been boasting that it’s the best sound system in Rochester, at least for a venue of this size,” said Deb Jones, Event Manager at Record Archive and the de facto sound engineer. “Sometimes, I get credit for the great sound, but it’s not really me; it’s the gear. It’s simple and reliable, and I don’t have to worry about it. I’m confident with my mixes now, and the system sounds great whether we have it really loud for rock acts or quiet for simple acoustic sets. The Backroom Lounge empties into the rest of the store via three arches, so customers shopping the records can enjoy the show, too, while they sip on their beer or wine.”

TECHNICAL INFORMATION SOUND 1 x Ashly Audio nXp8004 amplifier; 1 x Ashly Audio nXp8002 amplifier; 2 x Fulcrum Acoustic CX 1295 full-range loudspeaker; 3 x Fulcrum Acoustic FX 896 high-fidelity wedge; 1 x Fulcrum Acoustic SUB118 subwoofer


Photo Credit: Kraftwerk Living Technologies

Kraftwerk Living Technologies takes on Chimelong Ocean Kingdomâ&#x20AC;&#x2122;s 5D Castle Theater.


The aim behind the 5D Castle Theater was to create something unique. The attraction, located at Chinese theme park - Chimelong Ocean Kingdom in Zhuhai (CN) - is the largest 4D theatre in the world and features never-before-implemented solutions and now holds several worldwide records: the largest permanent projection screen measuring 87.8-metres by 18-metres, a continuous stereoscopic projection with 10K horizontal pixels and 60 fps and eye across a 180º circular screen surface, the largest number of 4D motion seats in one venue with 1,000 of Kraftwerk Living Technologies’ 4D SFX motion seats, the largest cinematic audio system, as well as the largest AVB network with over 3,000 network connected speakers. The attraction features 13 minutes of uncompressed ultra-high resolution 3D animation seamlessly combined with a choreographed 4D motion seating experience, just for the main show. The feats do not stop there. The attraction is completely automated and the fun for visitors begins at the queue line. Via the operator console, operations staff have the option of several selectable timing pre-sets to allow the team to react to varying visitor numbers. Back in the main theatre, a total of 33,000 people can enter the attraction per day, if operations are running at full capacity with back-to-back shows. Furthermore, each seat recognises whether it is occupied, therefore helping the operators in loading the theatre as well as to implement power and maintenance savings by running unoccupied seats only down to safety functions. It all began when Austrian audiovisual system integrator, Kraftwerk Living Technologies was awarded the prestigious task to design and bring to live this special 4D experience around Kaka, the park’s mascot. “We aimed at creating a visitor attraction that surpasses any existing experience by not only its size, but also its quality, following the credo: go big and be unforgettable,” said Christian Hofer, Managing Partner and Technical Director at Kraftwerk Living Technologies. “And the result is an attraction that allows for a total of 33,000 people entering and exiting the attraction each and every single day leaving them excited by the overwhelming 5D adventure which combines sophisticated motion, 3D visuals and powerful special effects to tell the story of ‘Kaka’s Great Adventure’. ” Since its opening, the project has received several renowned international business and technical awards, being honoured as ‘Most Innovative International Project’, ‘Best Visitor Attraction’ and ‘Entertainment Venue of the Year’, as well as with a prestigious THEA Award for Outstanding Achievement.





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90 EX P O

• Earpro’s stand

• SeeSound’s booth

• The Fonestar stand

• Roland at AFIAL Iberico

• Magnelusa S.A’s booth


The arrival of a new show in the industry is always an intriguing prospect - and we’re always eager to visit for ourselves to find out more. This time, the new tradeshow in question was AFIAL Iberico, which is organised by AFIAL in collaboration with InfoComm International, held at Meo Arena in Lisbon from 17-18 May. With AFIAL and InfoComm coming together, it promised to be interesting to see how it would work in the Portuguese market. As I was already in Porto, I flew directly to Lisbon first thing in the morning - with the obligatory delays, of course - so I pleasantly

surprised to see the show opened its doors at 12pm, giving me plenty of time to make my way to Meo Arena. The first thing that struck me about the venue was its spectacular location right on the coast - I think it’s one of the best venues I’ve ever visited for a tradeshow. The show itself was based in the Tagus Room of the Meo Arena and, all in all, it was pretty much the perfect size for a tradeshow in its first year. The idea behind AFIAL Iberico was to give Portuguese and Spanish brands a platform to show off their latest audiovisual technology, with other companies also represented

• Impromptu meetings on the show floor

through their Portugal-based distributors. I did wonder if, perhaps, we would see the same exhibitors as AFIAL Madrid, though, it has to be said that there were a lot of companies at the show that I had never met before. There were plenty of recognisable brands at the show, too, with Alfalite, Yamaha, D.A.S. Audio, Equipson, Meyer Sound, Fantek and Roland, among others, all exhibiting in some form. Prior to the show floor opening, InfoComm and AFIAL combined to offer visitors the chance to obtain an AVT (Audiovisual Technologist) certificate for the first time

• The show floor with plenty of visitors

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92 EX P O

• TW AUDiO on the Soinua Pro stand

• The Earpro stand from the bar area

• Overhead view of the show floor

in Portugal. The exam took place at the venue, making it the ideal place to carry out the AVT test, which serves as certification of the knowledge seen as essential to access the rest of the CTS degrees. While it’s not something that everyone would get involved with, it was certainly a welcome addition. Overall, I was impressed with AFIAL Iberico - and it was clear that it’s a show with plenty of potential. Speaking to the exhibitors, they all seemed to be very pleased with how it went, with many commenting on the great atmosphere on the show floor. The organisers were delighted with how the first AFIAL Iberico went, too: “The exhibitors who were present at the event have not hesitated to

• DPA Microphone’s stand

transfer their satisfaction to the organisation,” read its press release. “We are already working on AFIAL Iberico 2019 to surpass the first edition in every way. That is why AFIAL wants to thank all participating companies for their response and involvement - it has served as an excellent starting point for future editions.” I’m looking forward to the second installment of AFIAL Iberico - it’ll be interesting to see how it develops after this year’s show has offered a fantastic platform to build upon.

AFIAL Iberico is set to return in 2019. For more information, go to:

• The Yamaha stand

• AFIAL Iberico’s bar area

• The entrance to the show



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94 EX P O

• The Electro-Voice stand

• The opening ceremony

• Tech Data is the Harman distributor

• The Hansam stand

• The Sama Sound booth


SEOUL / 19-22 MAY

As an exhibition, KOBA has a come a long way since its debut in 1991. Back then it attracted a respectable 21,000 visitors along with an exhibitor list of 115 companies. Now boasting a visitor list double that amount - 40,191 to be precise - and hosting in excess of 1,000 exhibitors, it’s fair to say that all involved with KOBA have worked hard to build a show that is comfortably South Korea’s number one audiovisual show. Similar to last year, the layout consisted of one main hall (Hall A) on the ground floor, which was home to the pro audio and lighting, and

two halls on the upper levels (Hall C and D) that accommodated everything broadcast and video. Most of my time was spent in Hall A catching up with distributors of our industry’s finest, as well fellow international travellers, who had made the trip to support their representatives in South Korea. During the show Astro Spatial Audio (ASA) proudly announced the appointment of Sound Solution as its exclusive representative in South Korea. The agreement will see Sound Solution bring the full range of ASA’s true object-based immersive technologies to the Korean market

• The C&C Lightway stand

for the first time, including the power and adaptability of the SARA II Premium Rendering Engine. “We are very pleased to partner with Astro Spatial Audio, and we are looking forward to the KOSOUND show, when we will showcase a full demonstration of how ASA technology can be integrated with our other partner brands,” commented Sound Solution President, Lee Hong. “It is incredible to experience real object based audio with the Astro Spatial Audio system, and to then realise how easy it is to operate - to have all of that processing power literally at your fingertips. The introduction of this system is a

• Koil Corporation looks after Sennheiser and Neumann in Korea

95 EX P O

• The Meyer Sound stand

• GLP Asia’a Michael Münz was on hand at the show

• The Blizzard Lighting booth

• Jay Kim and Laura of LS Media

• Amphenol’s Stephen Richards and colleague

• DJ of Soundus and Ian Staddon of DiGiCo

• The Riedel stand

• Pierre-Andre Corthesy of Audio Performance with his local distributor

96 EX P O

• Richard Cuthbert of GDS

• Bernhard Wuestner of TW AUDiO

milestone that represents a new era in audio and we are ready to bring it to customers with the excellence in technical understanding and service for which we are known.” “We are extremely excited to be working with such a highly respected and professional partner,” said Astro Spatial Audio Director Bjorn van Munster. “Sound Solution is renowned not just for the wonderful brands they represent, but also for the expertise of everyone who works for the company, and the care and respect with which all Sound Solution customers are treated. With their efforts, I believe that Astro Spatial Audio has a very bright future in South Korea.” Jesse Park of Soundus reported of a good show, he said: “It has been an exciting year for Soundus, but I think it has been for all of us in the industry with new product releases and changes in distribution. In that regard, 2017 KOBA show had a lot to offer. For us, we were very proud to represent our new partners including beyerdynamic, Waves and LED manufacturer Absen. For new products, we had the SD12 ‘Vulcan’ digital mixer from DiGiCo, Coda’s arrayable point source APS series and the new lineup of K-array’s KH series. It was good to see the show busier than last year, and we hope this atmosphere will continue onto our own seminar for new products after the show.” Chloe Jeoung, International Trade Manager of Kevic, FBT’s distributor in Korea told us: “KOBA is one of the most famous audio system exhibitions in Korea. It was an honour to display Kevic and FBT products, and we achieved maximum performance with the collaboration of the products. We’ve been making good results from the exhibition. Every year we work

• Lee Hong of Sound Solution and Bjorn van Munster of Astro Spatial Audio

• FBT’s Roberto Mataloni with the Kevic team

harder to make better results.” Roberto Mataloni of FBT added: “FBT was back at KOBA after few years away. In the meantime, we have changed distribution and made a solid agreement with Kevic, true experts in pro audio and electronics, with quite a history in the Korean market. The show was quite good this year, although less attended than in the past in my opinion, but the leads were professional and aimed towards high quality requirements. The Korean market has its relevant importance in the Asian region and with KEVIC we are aiming to increase the growth FBT has on the international scale.” GDS Korea demonstrated its newly designed auditorium lighting heads and drivers designed especially for the Korean market, next to Hansam System, its exclusive partner in Korea. Richard Cuthbert CEO, said: “The product requirements for auditorium lighting varies from Europe, and there was a requirement to redesign the range to suit the spaces within Korea. By doing this we have managed to add some excellent features such as advanced RDM control, and user friendly multiple head drivers, reducing product costs without comprising on quality.” The show remained busy throughout with the middle two days - Wednesday and Thursday - being by far the busiest of the four day show. With 29 countries represented amongst the vast exhibitor list containing components for every area of our industry, KOBA remains an interesting and key exhibition for us here at mondo*dr magazine. The KOBA show will return to the COEX in Seoul next year on 15-18 May. For more information, go to: www.

• Christie and BlackTrax products on display

• The Novastar stand

• Studiomaster’s Patrick Almond and the local team

• A busy L-Acoustics booth

98 EX P O

• Modern Stage Service’s Sahil Wadhwa with the Prolyte sales team

• David Bruml of FunktionOne with Sound Designer Jem Ktichen

• MD of Showtex, Sven Peeters with Juvanita Shaline of Showtex India

PALM EXPO MUMBAI, INDIA / 1-3 JUNE Having recently celebrated nine years at mondo*dr - not slipping by unnoticed due to my LinkedIn account - it dawned on me that I’ve been travelling to tradeshows for that amount of time, too. Of course, over the years, I’ve visited the same exhibition multiple times, yet I’ve never really got tired of doing so - something that, someday, I thought I would. I’ve always found a positive, whether that be about the show itself, its exhibitors or its visitors. Yet, for Palm Expo in Mumbai, this

• The Star Dimensions stand

year, I felt a real sense of déjà vu, which was a new experience for me in these circumstances. Being part of the BRIC countries, I, like many others, have had high hopes for India in recent years. And I would go as far as to say in the last five or so years in ‘our world’, I have seen a change in the Indian market, with the aim being to better itself and establish itself on the international playing field. However, this year, it didn’t seem as though the show, and indeed the market, had moved along very much.

Still we are faced with setting up in 40-degree heat without air conditioning - no easy task for a Northerner from rainy Manchester - and the dust from the stand building further adding to the problem. A strongly worded email from the organisers was sent out ahead of the show, saying the day prior to the show opening was for finishing touches only on stands, yet this was not the case when I walked in that very afternoon - wood was still being cut, booths still being built, products still being hung or

• The P Audio stand

• Pony of RGBlink

• The Celestion stand

135 EX P O

• Fabrizio Milan of Tasker with his new distributor, Delhi Light & Music Center that also distributes FBT and FENIX Stage

• The Beyerdynamic team - Anita Aufrecht and Naveen Sharma

• The Key - a mobile management app got a trial run at the show

mounted, which made for a very unpleasant atmosphere. Although Palm Expo Mumbai is not alone in setup days like this, the humidity and health and safety standards add fuel to the fire. There were few product launches of note, with most equipment on show having already been launched at ISE in Amsterdam or Prolight+Sound in Frankfurt earlier in the year. It has been known for some companies to host a launch for the Indian market, but I didn’t hear of any this year. And although some of the stands had moved position this year, many were much the same design as previous years. The demo cubes were back this year, as was the outdoor shootout, but the latter turned into a bit of a disaster due to noise complaints. The line arrays were shooting directly towards a residential tower block, so it came as little surprise that the police

• A busy Novastar booth

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100 EX P O

• The Madrix team with distributor IES

• The Acoustic Arts team

turned up and shut the entire shootout down one day. Demos did get back up a running but time slots were adjusted from six minutes each to just two minutes. But how much can people really get a feel for the system in just two minutes? I’m sure noise has been an issue here before, so it’s definitely something that needs addressing. Some of the usual European faces I’d become accustomed to seeing in Mumbai were not present this year, although, in balance, some new faces were there, mainly of the back of new distribution deals. With NEXO having gone under the Yamaha umbrella in the region, Sun Infonet has now taken on Belgium manufacturer, AudioFocus; Tasker has been added to the portfolio of Delhi Light & Music Center; and

• The Bose stand

• HiTech’s Nirdosh Aggarwal, DiGiCo’s Ian Staddon, live sound engineer Fali Damania and Rajan Gupta. also of HiTech

• The Studiomaster booth

Outline has shifted its distribution partnership to Global Pro-Audio Management. It wasn’t all negative, as I did pick up some installation news from in and around the region, and, after chatting with Harman India’s Sr. Director for the Professional Division, Prashant Govindan, I discovered the Harman Arena that has been present at the Palm Expo show for a number of years has now proved so successful that it’s now going on the road. Harman Arena events will be popping up across India, hosting famous guests to meet the market demand. I also met FunktionOne on the show floor, who were at the show for the first time, scouting around for potential business partners. Number wise, they were recorded

• • The Luminex guys

• Kekul Sheth and Rasesh Parekh of IES representing Martin Audio

• The Avolites gang

• Harman India’s Prashant Govindan

• d&b audiotechnik’s Ben Millson and Leslie Lean of Ansata

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• The KV2 team

as 17.5% up on last year, which in my book does seems like quite a bit increase, but the official figures stand at 21,506 unique visitors across the three days and a total footfall of 27,191. Gordon Payne, Asia Regional Director of ITE Asia Exhibitions - that co-organises the show with of ABEC Exhibitions & Conferences - said: “ITE takes pride in ownership of this dynamic platform, infusing energy to the event entertainment industry in India. ITE is committed to develop content to drive professional growth in India’s changed stage Sound & light market. The show’s success can only be attributed to the enthusiastic attendance of 21,506 unique trade professionals. ITE is happy to serve

• The Celto team line up

this dynamic community.” Of course, an organiser will always praise its own show, and I don’t want to be completely negative, as I did receive some positive feedback from exhibitors. This is my opinion of this year’s event, though, and, in my eyes, there is definitely work to be done. This was once a market that was buzzing, people were intrigued by it, companies wanted to infiltrate it, they was a craving to widen knowledge and learn new skills… let’s get some of this back! Palm Expo returns to the same exhibition centre on 31 May - 2 June 2018. For mor information, go to:

• Adam Hall’s Chandan Mathani an d his distributor Sanjay Chawala

• The Void team - Anjana Sharma, Venkat and Callum Bowran

• Outline’s Giorgio Biffi and Gaurav Malvai of Global Pro-Audio Management

• Modern Stage Services was a plastic and paper free stand

• The HiTech team representing RCF

• The HiTech team with Peter Owen of L-Acoustics and Ian Staddon of DiGiCo

• Gurprit Singh of Namdhari

• Rivera’s Rajesh Sadarangani with his new DJ brand, Reloop

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• Rob Hofkamp and Alex Skann from Void Acoustics

• The Novastar booth

• A busy demo room for Danley Sound Labs

• Justin Knox and the RGB Link team

• Mike Pereira from Streamline Systems and Jaison O’Conner from Barbizon

• The Yes Tech team


This year, Orlando offered a choice of sticky, wet and humid or too much air-con. But, aside from the weather, the show itself was lively and full of industry professionals ready to do business. Although many people seem to prefer InfoComm when it’s hosted in Las Vegas, the Orlando location offers a more productive meeting platform, most probably due to the reduced nightlife activities available in Orlando! There is no choice but to have an early night rather than sitting in front of a slot machine until the early hours. With more than 40,000 visitors and 950 exhibitors, the show floor was busy for the full three days. There was plenty of news and announcements, the highlights of which are listed below. • The Chauvet stand

Absen announced the launch of the Xv-series, its next generation in mobile indoor/outdoor LED solutions. The new Xv-series features three pixel pitch options for all events starting with the ultra-fine 2.6mm, a perfect all in one indoor and outdoor solution at 3.9mm, and a 5.2mm that provides a viewing angle of 160°/140° with a brightness level of 5,000 nits. Adamson Systems Engineering launched the IS10 and IS119 installation-tailored loudspeakers at InfoComm 2017, the larger siblings to the highlyacclaimed IS7 and IS118 cabinets introduced earlier this year. ADJ showcased a whopping 11 new products at this year’s InfoComm with a particular emphasis on new products with WiFLY DMX, batterypowered, and IP-rated fixtures. ADJ introduced

• The first time exhibiting for Lars Heinrich from Kling & Freitag

the latest new addition to the AV Series range of LED panels, the AV4IP and the UV 72IP, a potent wash fixture. The worldwide exclusive unveiling of ADJ’s stylish new Element Series of portable LED up lighting was also among the highlights in the stand. Alcons Audio displayed its range of pro-ribbon loudspeakers and with a demonstration of true object based immersive audio in partnership with Astro Spatial Audio. In the demo room the two companies demonstrated the ease of use and scalability of object based immersive audio in live entertainment, powered by the Astro Spatial Audio SARA II Premium Rendering Engine. Alcorn McBride introduced its new RidePlayer, the expanded V-Page product line and the AES67-compatible Binloop family. RidePlayer,

• David Kirk and Nicola Beretta from Allen & Heath

• The A.C. Entertainment Technologies stand

105 EX P O

• The FBT booth

• Mike Simms and colleague from Atterotech

• The DiGiCo stand

• Mark Ryals and Daniel Keller representing Symetrix

• mondo*dr’s Laura Iles with Mike Pereira from Streamline Systems

• The team from One Systems

• The SGM booth

• James King and Maureen Hayes from Martin Audio enjoying dinner with Stew from TPi Magazine


• Mark Ravenhill of GLP

• Antonio and Paolo from DTS Lighting enjoying post show drinks with mondo*dr’s Jamie Dixon

• Joshua Rush from Audinate

• The DPA stand

• Brian Galante and the team from Barix

• Brian Galante and Garth Lobban from Atlona

106 EX P O

• Loren Barrows from Alcorn McBride

• Casey Hughes from PK Sound showing the Trinity Kompact

• ADJ Group launched Avante Audio

• Marc Kocks and Francesco Fanicchi of Powersoft

• The Dicolor team

• The AM&S booth

a complete on-board audio and control solution for themed entertainment, makes its debut at InfoComm. It is ideally suited for dark rides, parade floats, tour vehicles and roller coaster applications. Allen & Heath presented its new dLive MixRack targeted at distributed audio scenarios, the DM0. Other new products include a new DX Link I/O card and DX Hub half rack unit, which now enable a dLive system to connect up to 48 audio IO devices, located up to 100-metres apart to meet the needs of the largest venues. The Ashly Audio digiMIX24 mixer leverages Ashly’s 40+ years of building powerful audio gear to give the world a 24-channel/14-bus digital mixer with comprehensive equalisation and dynamics, 32-bit/48kHz fidelity, flexible inputs and outputs, and optional USB and Dante connectivity. The mixer was

• Mathew G. Broms from Renewed Vision

on show during InfoComm. Continuing to expand the feature-rich and forwardlooking HDVS-200 Series of HDBaseT AV solutions, Atlona introduced its new AT-HDVS-210U-TX-WP 2x1 wall plate switcher and HDBaseT transmitter. The company also used the show as the launch pad for the company’s first PTZ conferencing camera, the new AT-HDVS-CAM. ADJ Group of Companies launched AVANTE Audio - a new professional audio brand born from a passion for audio excellence. AVANTE Audio launched with the Achromic Series, a complete range of active loudspeaker cabinets that offer powerful output, detailed audio clarity, built-in DSP, and sleek exterior designs. Bose Professional introduced the new MB210 compact subwoofer, designed for background/

• The Barco stand

• The Stagemaker stand

• Paul Ward from Coda and Jamie Dixon from mondo*dr

• The Airstar stand

• Franco Natali & Pitro Guercioni representing Proel

108 EX P O

• Eric Loader of Elation

• The Community booth

foreground music and small sound-reinforcement system, as well as the introduction of its Panaray MSA12X modular steerable array loudspeaker. Germany’s CODA Audio made big announcement at the show - a wholly-owned subsidiary of CODA Audio International, CODA Audio USA, staffed by American industry veterans. Managing Director of CODA USA, Luke Jenks, is looking forward to showing the US market what CODA Audio is all about. The d&b audiotechnik stand displayed dedicated sections for mobile and installation solutions. Joining the product ranges together is a toolkit fit for all, including the d&b Workflow and an ever growing choice of integration and interoperability solutions. The 2017 installation highlights include selected loudspeakers from the stylish xS-Series, including the latest additions - 24S and 21S-SUB. Danley offered the DNA Series of amplifiers with a library of onboard DSP presets for every Danley loudspeaker and subwoofer, alongside the newest

• The Dataton stand

• The Absen booth

member of the stadium-grade Jericho Horn family, the J6-42 and the new SM-80F combined Synergy Horn loudspeaker and Tapped Horn subwoofer. Displayed at the show, X-Plus is an advanced fine pixel product by Dicolor featuring HD effects, a patented arc lock design, individual modules for easy maintenance and effortless software configurations making it ideal for conferences, shows and television stations. DPA Microphones debuted its brand new d:vice MMA-A Digital Audio Interface and DSM6000 Microphone Base at InfoComm 2017. The MMA-A features flexibility and a small form factor that allows the user to pull out the d:vice for any unexpected situation that might arise during their day. The intelligible sound and ease of installation provided by the new microphone base, in combination with the d:screet SC4098 Podium Microphone, caters to the different industry needs and wants of architects, audiovisual consultants, system integrators and installing electricians.

• Marc Weber and James Oliver from Adamson

• The L-Acoustics stand

• The d&b booth

• The Blizzard Lighting booth

• The Adam Hall stand showing LD Systems MAUI

• The D.A.S Audio stand

• The Riedel stand

• The Soundtube team

• The Bosch booth


Attention to all the details After engineering truly groundbreaking advances on the transducers and waveguides for our new VTX A12 dual 12” line array loudspeaker, we spoke to leaders in the tour audio community to find out how we could take things further. With the VTX A12, we’ve taken a fresh approach to the entire product and designed everything with your needs in mind. Superior sound is a given, but it’s about more than that - it’s about how quickly the boxes can be deployed, how quickly you can load the truck after a performance, how much fuel you can save by efficiently fitting more boxes into those trucks, and so much more.

Learn more at

110 EX P O

• The Clear Com stand

• Anthony Errigo from Ashly Audio

• Eric Henry of Tightrope

• Kenneth Cyr from Hitachi

• The Alcons Audio Demo presented by Tom Back

Dynacord was pleased to present two new dualchannel power amplifier series - the L Series and the C Series - with four models per series in a new industrial design. They have tour-grade features and protection circuitry usually found in more expensive amplifiers ensure superior audio quality and reliability. And include high-performance digital signal processing with easy-to-use remote control software. The Elation booth featured a number of unique innovations like the Artiste DaVinci, a full-featured, high-output theatrical-grade LED moving head spot luminaire with a host of colour and graphics possibilities for the creative LD. This sat alongside a new breed of hybrid luminaire, Elation’s versatile fullcolour Paladin strobe/wash/blinder effect light and the new Proteus line of IP-rated arc-source moving

heads. Electro-Voice added important new additions to the Electro-Voice EV-Innovation and EVID installationdedicated loudspeaker families including the X12125F flying subwoofer, the EVC series - a range of solutions for small venues and EVID-S - the latest member of the EVID family of commercial speakers for installed applications. Kling & Freitag Americas attended the show for the first time and highlighted a wide product portfolio from Kling & Freitag. The main focus was the VIDA line array with beam steering capabilities. VIDA stands for ‘versatile intelligent digital array’. The aim of the VIDA L development is to explore from the outset what is technically feasible and to implement this as a ground-breaking innovation. Meyer Sound featured the InfoComm debut,

• Mike Nann on the Magewell stand

• The Harman booth

• Richard Fleming from XTA with Laura Iles from mondo*dr

• The Luminex booth

• The KV2 booth

• Espartaco Saez from Beyma with Jamie Dixon from mondo*dr

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112 EX P O

• Alfred Gonzales from ADJ

complete with live demonstrations, of its new LINA very compact linear line array loudspeaker and companion 750-LFC very compact low-frequency control element. Other company highlights include an ear-opening immersive sound experience in the demo room and a preview of a new series of ceiling loudspeakers at the booth. One Systems introduced the Silver Series Direct Weather loudspeakers. The series, designed for inland direct weather and general-purpose environments, currently consists of the 104/STH, 106/STH and 108/STC. Peavey Commercial Audio launched its new MediaMatrix nTouch 380hd touch screen controller, announced shipping of its latest nWare 2.0 software control suite and told customer that its Tactus digital mixing system is ready to ship. InfoComm marked the US debut of Powersoft’s brand new Quattrocanali amplifier platforms for installation and MiniMod 4 and LiteMod 4HC modules.The company also unveiled the latest iteration of its latest Armonìa Pro Audio Suite™ software, Armonìa v2.10. The centrepiece of Renewed Vision’s InfoComm showing was the Pro A/V industry event debut of its recently-unveiled PVP3 multi-function media server. The third generation of the popular software also known as ProVideoPlayer, PVP3 builds extensively on earlier versions’ powerful toolset for designing and displaying engaging multi-screen video productions to enhance performances, locations, events, and attractions. Renkus-Heinz introduced the next generation of amplification. The SA Series amplifiers represent a new and powerful technology designed to unite all Renkus-Heinz loudspeakers across unified connectivity and control platforms.Renkus-Heinz SA Series amplifiers are designed to provide the cleanest possible sound quality and performance, even with the most complex audio signals. They made their debut with the new C and T Series point source loudspeakers. Riedel’s Bolero made its InfoComm debut. An expandable, full-roaming, DECT-based intercom system in the license-free 1.9GHz frequency range, Bolero is fully integrated into Riedel’s Artist digital matrix intercom platform. The Desktop SmartPanel • The Crestron booth

• The Ecler stand

• Steven Lee from Roe

is the smallest full functioning desktop panel available on the market and the newest member of the Riedel SmartPanel family of intelligent user interfaces, which was also on display. For the first time at a US event of this kind, Sennheiser presented the new TeamConnect Wireless Tray-M Set, a more compact configuration of the innovative wireless conferencing solution for up to 12 participants, as well as the SpeechLine Boundary 114 S DW microphone – a new wireless addition to the SpeechLine family. Sennheiser also presented two themed areas allowing visitors to explore its range of solutions for education and for houses of worship. Symetrix took the wraps off of Control Server, a network-based, dedicated control platform for Radius, Prism, Edge, and Solus NX DSP hardware. Tempest announced the launch of Breeze. This addition to Tempest’s projector enclosure line-up provides an effective and affordable weatherproof solution for most projector types between 3,000 and 15,000 ANSI Lumens, whilst bringing outdoor projector operation within the budget of more projects. Debuted at last year’s LDI show, the Nuri*Lites range includes a selection of reliable LED fixtures that won’t break the bank. During InfoComm, TMB announced that it had a range of Nuri*Lites LED fixtures in stock and ready to ship. Visitors to the stand also saw including new Flare Q+ LR Linear, and Flare Q+ RZ Rayzr blade Solaris fixtures; new ProPlex Data Distribution DIN Rail and IP-Rated units; new ProPlex portable data cables, including steel braid reinforced ProPlex Fibre, ProPex RG-6 4K cable, and brand new ProPlex AES audio cable. VUE Audiotecknik debuted the new h-208 low profile ultra definition system, the totally new e-class range of Architectural Element systems with the new e-352 nano speaker. MG7 P4.8 is the newest member of the Magic Stage series of LED displays by YES TECH. It can be used for multiple applications, both indoor and outdoor, and can be configured in various creative shapes.

InfoComm returns to the Las Vegas Convention Center next year on 6-8 June. For more information go to:

• Breeze Ho of Unilumen

• Felipe Hermosillo from Tempest

• The Christie booth

• Bjorn Van Munster from Astro Spatial Audio with Laura Iles from mondo*dr

• The Clair Brothers stand

• The Amphenol US team

• The Audix booth

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ROAD TRIP DIARIES ITALY 14-16 June Milan - Teramo

TASKER Cable manufacturer Cusago, Milan Our first stop on the Italian road trip was at cable manufacturer, Tasker. Once we’d found the offices after getting lost - it had to happen sometime - we were greeted by Stefania Terlizzi from the sales department, CEO, Fabrizio Milan, and of course the customary espresso - the first of many. With just an office onsite, we learnt that the Tasker products are manufactured at a different facility in the Eastern part of Milan, but all of the company’s products are made in Italy. Thanks to constant investments in high technology machinery, Tasker produces more than 1,000 different types of cables for various applications. The company’s certification ISO 9002, obtained in 1998, also guarantees transparency in all the company processes, from the production to the sale. Tasker is a strong competitor in the European market, having established a name for itself over almost 40 years. However, more recently the cable manufacturer has started to test the water across the pond with the aim of finding a distributor in the US, which will help grow the Tasker brand in The Americas region. Look out for them making waves in the market soon.

LASER ENTERTAINMENT Laser and multimedia specialist Cusago, Milan Celebrating its 30th anniversary this year, Laser Entertainment was the next pitstop on our route. Having started off originally in the rental market, the laser and multimedia specialists now take on the creation of demanding productions for conventions, major events, street performances, music or theatre tours, theme parks, film and television. General Manager, Alberto Kellner has been in the company since the very beginning and it is clear to see his drive and passion are still there to this day. His positive leadership transfers to other members of staff, including Marketing Manager, Mauro Comendulli. He told us about the company’s new website, which was recently launched and gave us a tour of the premises. Alongside the office space, Laser Entertainment also has a demo space to showcase projects in a lifelike environment. With the majority of the company’s work portfolio in Italy, Laser Entertainment relies on the market being steady, however, with such a wide skillset, it has the potential to find work across Europe and beyond.



ARENA LUCI Lighting manufacturer Castel Goffredo, Mantua Located close by to the picturesque Lake Garda, Arena Luci is probably best known in our world for its range of theatre specific lighting - although this is just one of three divisions, as we discovered. Alongside manufacturing theatrical fixtures, Arena Luci also has wide portfolio of general lighting - such as office lighting, street lamps, underwater lighting, ceiling fixtures, and so on, all using LED technology to ensure greater efficiency, longer life and lower maintenance costs. The third arm of the company is OEM’ing for other lighting companies, but the names of those brands are strictly top secret. A family business, founded back in 1983 by Primo Bertani, today is run by Primo’s son, Omar, a man clearly in demand given the amount of time his phone rang during our meeting. It’s always nice to see a busy business in full swing though. The company’s R&D, design, production and assembly departments are all onsite at the Castel Goffredo premises, needing a couple of warehouses to fit everything in. A quick tour around was enough to see that this company functions quickly and efficiently.

COEMAR Lighting manufacturer Castiglione delle Siviere, Mantua After a few crossed wires about our visit to Coemar, we met Eva Kristova, who once we came face-to-face we realised we had met before, but many moons ago. A large but quiet office - due to a lot of staff travelling - there is a fully functioning showroom, which showcases the latest offerings from the lighting manufacturer. It also houses a museum that tells the history of the company through milestone products, dating all the way back to 1933 when the first fixture produced by Coemar was designed specifically for a military ship. It’s a far cry from today, when the company is known predominantly for its presence in the theatre market and more recently advancing into LED solutions. By its own admission, Coemar has been in the background somewhat in the last few years, mainly due to a lot of internal restructuring, but now the company has an end goal in sight, it is going full steam ahead to integrating itself back into the lighting market.


FLORENCE K-ARRAY Audio manufacturer San Piero a Sieve, Florence Our K-array meeting began with an alfresco dinner, quite possibly our best meal of the week - superb food, welltailored drinks and, of course, fantastic company. A good balance of work and play is what makes this industry thrive. Travelling out to the offices the following morning, up the winding roads, until we reached the familiar setting of San Piero a Sieve - a naturist’s paradise, a hayfever sufferer’s worst nightmare. K-array took the audio world by storm when the company set its sights on sound reinforcement equipment back in 2005. Since 1990, when the company first began, it has primarily focussed on studio design and installation, specifically for radio and television. But with its new target market, K-array quickly became known as the manufacturer of powerful loudspeakers that are heard but not seen. The discreet solutions for installations and the compact line arrays for live touring really do offer the market something different. And never one to go against the stereotype, K-array told us of a new strategy being taken on this year, to explore different avenues of system design, specification and integration. It’s a very interesting concept, but we’ll let K-array fill you in on the details when the time is right.

FBT Audio manufacturer Recanati, Macerata Our tour guide at FBT was the one and only Luigi Paoloni, International Export Manager and industry veteran. Having been at FBT for over 10 years, it’s no wonder he knows the factory like the back of his hand. We had a thorough tour of the electronics department, the wood shop and the painting area, right through to assembly, testing, packing and shipping - everything with an FBT badge comes out of this factory. Some components are bought in, but the company aims to source anything that’s needed as local as possible. The discussion over wooden enclosures versus plastic came up along the tour, with the most obvious difference between the two being the price tag, but Luigi explained that the wooden cabinets are still the most popular in today’s market. This is supported by FBT also reporting a change in its customer base, moving from MI further into pro audio. On completion of the tour, Luigi treated us to a traditional Italian lunch at an authentic restaurant. And, after three courses, what we really wanted was an afternoon nap, but no such luck - so we hit the road again.


DTS LIGHTING Lighting manufacturer


Misano Adriatico, Rimini Located on the Adriatic coast, the visit to DTS Lighting’s office was a feast for the eyes in more ways than one. With three different buildings - two of which are separated by a broad bean field - housing offices, manufacturing, servicing and dispatch, there was plenty to get around and see. The third is located just a little further up the main road and was added in 2011 to extend the facilities by 12,000 sq metres. Our hosts Pierluigi Gasperoni and Veronica Bernardi - the former showed Rachael around the DTS facility back in 2009 and, quite frankly, hasn’t aged a bit, while the latter an industry newbie - were a true delight. Like many of the other companies we visited along the way, DTS has a strong heritage dating back to the early ‘80s. Producing its first moving head in 1999, its first LED projector, the DELTA R, in 2005 and its first hybrid moving head, JACK is 2012, DTS has always considered itself as being ahead of the curve. Last year, 2016 marked a turning point for the company, though, as it totally renovated its core product lines, with a clear strategy in mind - to streamline the catalogue and focus on dynamic lighting for entertainment and architectural applications. The DTS visit concluded with a different version of lighting though... a beautiful sunset.


PROEL Manufacturer of audio, lighting and accessories Sant’Omero, Teramo Proel headquarters in Sant’Omero was one of the larger facilities we visited, as well as the huge office building, which has been around for many years, the company recently built a huge warehouse and logistics park a few hundred metres away. The new addition allows Proel to function much more efficiently than before. The company is not only huge in terms of square footage, its product portfolio is vast, too. It manufactures its own audio range - the Proel brand - but also owns UK audio manufacturer, Turbosound. Axiom is another brand under the Proel umbrella, but is aimed at the pro audio market, rather than MI. Proel is also active in the lighting world with Sagitter and is prominent in the accessories and the MI markets. With so much going on under one roof, the company’s current plan of action is restructuring - establishing the brands in their own right and giving them their own identity.



GENELEC | THE ONES Finnish manufacturer, Genelec, will be celebrating its 40th anniversary next year. Just ahead of the landmark celebration, the company has introduced The Ones - the award-winning 8351 is now joined by the 8331 and 8341 to compete the series. Tag-lined as ‘the world’s smallest three-way coaxial monitors’, the series offers its customers a complete compact coaxial range in an astonishingly small footprint. The big unveil took place at Metropolis Studios in London in two sessions on 4 May, and has since been displayed at various events and tradeshows around the world. Managing Director of Genelec, Siamak Naghian welcomed the attendees, after which Senior Technologist Thomas Lund and R&D Director Aki Makivirta explained the principles behind The Ones’ ultimate point source performance - and how these compact three-way coaxial models solve audio monitoring problems that plague professionals working long hours or in

challenging environments. Long considered the standard for critical listening, point source overcomes the off-axis colouration associated with traditional loudspeaker designs, giving the user more freedom of movement rather than confining them to a narrow sweet spot. “It is well known that in conventional designs if you move off-axis you can have some colouration because the geometry of the drivers radiating at the crossover frequency ranges, so on the acoustic design axis you have nice flat frequency response, but if you move off-axis then you start getting colouration that depends on your position. If you move positions, the colouration will change slightly,” explained Aki. “This, of course, doesn’t happen in a coaxial design, so coaxial design as a starting point is very interesting because it basically fixes the problem.” Point source does also present its own set of limitations when combined with superior coaxial

designs though, including limited frequency range, low SPL and uneven dispersion. “Therefore the challenge now is how to build a coaxial monitoring loudspeaker without any bad side effects,” added Aki. “The Ones pose a very interesting, fundamentally different way of designing a typical loudspeaker,” he continued. “We have used a coaxial mid-range driver that sits in the middle of the front baffle. The whole front baffle is then used as Directivity Controlled Waveguide [The Genelec technology developed to improve the performance of direct radiating multi-way monitors]. We have also been able to incorporate two woofers into the front baffle - which are slightly hidden - to make enough space for the Directivity Controlled Waveguide. In short, it was a very complex design! “The woofers sit underneath the baffle and offer the possibility of maximising the sound-radiating surface for low frequencies. Radiating a lot of low frequencies with high linearity, combined with


the bass reflex design of these products makes for a winning combination,” he said. “The drivers are housed in a computer optimised enclosure that minimises the diffraction edges of the enclosure, which essentially means that the edges, and the shape of the enclosure are not adding unwanted character in the sound.” The short-term maximum output capacities for each of the models is 104dB SPL for the 8331 (at one-metre), and 110dB SPL for the 8341 (at one-metre), with accuracy better than ±1.5dB, and respective frequency responses starting at 45Hz and 38Hz (-6dB) and extending beyond 40kHz both for the analogue and digital inputs. “If you look at some of the features and specifications that we have ended up with, you will see that when we are moving from the largest design of the 8351 to the smallest design the 8331, the low frequencies are changing but the high frequency always extends to the ultra sonic range, meaning this is a high resolution monitoring de-

vice by all meanings of the word,” Aki continued. The coaxial design allows for ultra-near-field listening, creating a dramatic improvement in the direct sound-to-reverberant sound ratio and further reducing the room’s influence while monitoring. The listening distance may be as short as 40cm, with no loss of precision. At a listening distance of just 50cm, the maximum SPL capability (headroom) is raised by more than 5dB. Like the 8351, both the 8331 and 8341 can be orientated horizontally or vertically using an adjustable IsoPod base for isolation, with absolutely no compromise in performance, offering maximum flexibility. Despite the size of the 8331 and 8341- just 299mm x 189mm x 212mm and 350mm x 237mm x 243mm, respectively - each unit incorporates three stages of dedicated Class-D amplification, developed in-house by Genelec and including eco-friendly Intelligent Signal Sensing (ISS) energy saving technology. Concluding, Aki said: “If we combine the fea-

tures and the benefits that these new products bring, firstly, we have the radiating characteristics of the coaxial design, which gives you the ability to freely design the listening distance. So essentially you have a further degree of freedom with this kind of design. Next, the freedom of orientating this any way you like, you don’t have significant off-axis colouration, it’s a genuinely true three-way design, so basically intermodulation distortion is very low in this very linear system. It has a consistent low diffraction design, both because of the drivers and the enclosure, and it has full adaptation capabilities, so it can adapt to your room in the best possible way - it is a smart active monitor. Lastly, we have built the product to be very robust because we believe that it has to be possible to use this product not only this year, the next year, and maybe the year after, but for tens of years, so this is a reliable product built for a long lifetime.”


MINUIT UNE | UK PRODUCT DEMO The story of Minuit Une began in 2011 with three students, all of whom had a passion for the visual arts and stage design, deciding to develop a new concept of lighting, with a firm focus on their knowledge in physics and optics. Coming into the sector without any real experience was soon turned into an advantage, with Minuit Une offering a genuinely creative, fresh look with its technology, which was patented in 2013 once the team had graduated. From there, a prototype was created to test on multiple events, leading to the launch of its first product - the M-Pyramide, which was then closely followed by the M-Carré. Thanks to an engineering know-how and a strong entrepreneurial spirit, Minuit Une has managed to move from a student project to a high growth potential start-up, backed up by solid partners from the Parisian entrepreneurial ecosystem 104 Paris incubator, Atrium incubator, BPI. After enjoying its initial success, Minuit Une decided to hold a UK demo in London from 9-10 May in a bid to meet lighting designers, rental companies and the media. “The British market is one of the most dynam-

ic in Europe and we are frequently receiving requests from there,” said Aurélien Linz, CEO of Minuit Une. “That is why we decided to cross the channel. For this event, we used a very charming old-fashioned concert hall - the Coronet Theatre - which was the perfect space to showcase the variety of possibilities our product has to offer.” On stage, the lighting design, which was conceived by Aurélien and Nicolas Lemaire, was created with 11 M-Carré and five M-Pyramide from Minuit Une, along with eight Martin by Harman MAC Vipers, eight Robe Pointes and six Clay Paky B-Eye K-20s. “Our goal was to demonstrate the very innovative and powerful effects of our technology, but also to show the way this new light can take place in a complete scenography, including different kinds of moving heads,” added Aurélien. During the two-day demo, more than 30 lighting designers from different sectors - events, clubs, live shows, television - discovered the Minuit Une products for the first time. “It was amazing for us because we had really, really good feedback from the people who came.

We can now say that some concrete projects are currently in discussion,” said Aurélien. It’s no surprise to see the products generate huge interest. After lamps and LED headlamps, Minuit Une have essentially created a third kind of stage lighting - IVL (immersive and versatile laser) lighting. For lighting designers, it’s a gateway to a wide range of various uses; from object illumination, immersive experiences and light stage set, through to geometrical screenings, spectacular beams and diffused light. The Minuit Une laser is much more safe than standard lasers - with a safety distance of three metres - and is fully controlled by DMX with tilts and gobos. With the 360° light source, the Minuit Une products are immersive, easy to use, economical and offer a wide range of colours. The use of IVL lighting is totally different to the traditional way of using lasers. Minuit Une’s M-Pyramide and M-Carré have intelligently transformed lasers into an immersive, versatile lighting fixture. The features and the way in which to use the fixtures mean that they are much closer to LEDs and lamps, rather than


lasers - despite it looking very little like either. In short, it’s something different - delivering variety, creativity, depth and an opportunity to create a new atmosphere. So far, it seems that those across the industry concur, with major entertainment venue designers, LEDSCONTROL, rental companies such as B Live and Jaeger Group and distributors like Light & Sound Distribution (in Singapore, Thailand, Malaysia and Indonesia) all using Minuit Une products. Both the M-Pyramide and M-Carré have been used to great effect in clubs, such as Zouk Singapore and Lock Hungary, as well as numerous festivals and live tours. Minuit Une may be something totally different to the industry, but, as we’ve seen before, that can often be the best way to make an impact.


SHURE | AXIENT DIGITAL WIRELESS SYSTEM With the release of its latest product, Shure organised an afternoon at RADA London to give industry professionals a chance to get a closer look at the two branches of the Axient Digital family. Throughout the world of professional audio, the ever-growing issue of the shrinking UHF spectrum has been a dominant topic of conversation and one that will be a continuing battle for the coming years. In an event hosted by Shure UK, Tuomo George-Tolonen, Shure’s Pro Audio Manager, set out the issue matter-of-factly: “Over the past few years we have seen the continuing shrinking of the UHF-R spectrum. We have lost 800MHz in the UK and we are going to lose 700MHz in May 2020. It’s not going to get any better so we have to recognise that we are in a far harsher environment.” It was this issue that the company attempted to tackle with its latest

release to the market place; the Axient Digital Wireless System, Shure latest high-tier product for the RF market. Axient Digital features a receiver that is compatible with two transmitter offerings, the AD Series and ADX Series. AD Series transmitters deliver a tremendous level of core product benefits, including exceptional RF performance and digital audio. Axient Digital ADX Series transmitters incorporate ShowLink, which provides real-time control of all transmitter parameters with interference detection and avoidance. The ADX Series also includes the first micro-bodypack with an integrated self-tuning antenna, enabling greater concealment and comfort. Nick Wood, Category Director for Wireless Products at Shure commented on the launch: “Shure has been at the forefront of the on-going spectrum conversation, working alongside

professional wireless users to deliver first-class solutions that support seamless, interference-free productions. Given the increasing challenges of RF spectrum, it’s more essential than ever that users have access to a system that can deliver the critical audio inputs of a production reliably over the air.” He continued: “With unparalleled RF stability and spectral efficiency, Axient Digital offers users the flexibility to work in the available spectrum, whether the number of channels required is great or small.” Ideal for a variety of users and applications, Axient Digital features numerous user-friendly features and benefits including high-performance RF and audio quality. To meet the demands of professional productions, Axient Digital is designed for maximum signal stability featuring a true digital diversity with Quadversity receiver technology. Quadversity mode allows users

to place sets of diversity antennas in different zones, or double the number of antennas in a single zone, to improve RF signal-to-noise in challenging environments. Axient Digital is compatible with Wireless Workbench as well as the ShurePlus Channels App for efficient control and configuration, optimal spectrum management and frequency monitoring. “It was a pleasure to host Axient Digital Open Day for anyone who wants to attend,” concluded Tuomo. “For years, Shure has been at the forefront of our ever-changing spectrum landscape. Having listened carefully to our customer’s needs, we’re excited to demonstrate Axient Digital as the future of high-tier digital wireless.” Axient Digital is due to begin shipping later this summer with the AD series handhelds and bodypacks. The ADX series transmitters, including the ADX1M, the first micro-bodypack with an internal, self-tuning antenna, will be added in the new year.


NEXT-PROAUDIO | FACILITIES UPGRADE NEXT–proaudio, based in Porto, Portugal, has a long history in developing and manufacturing professional sound systems for install and concert applications. Part of CVA Electronica Group, which was founded back in 1986, NEXT-proaudio was established in 2004 and the work that has gone in has seen the company successfully grow to the point where it now has its own state-ofthe-art research and production facility. With members of the team having, on average, over 25 years of experience in the different aspects of development, manufacturing and marketing of professional sound systems, NEXT-proaudio has established an outstanding reputation across the world for the excellence, reliability

and value of its products, which are all designed, engineered and produced at its Porto factory. Using advanced, computer-aided loudspeaker development tools, electroacoustic measurement systems, prototype building machinery and purpose-designed sound rooms, NEXT-proaudio’s highly-skilled team product loudspeakers, amplifiers and processors of the highest quality. However, the drive to improve even further which has been present throughout the company’s history - has seen NEXT-proaudio introduce a whole new quality control system for every product that is created. The new quality control philosophy has been implemented at every level throughout the

NEXT-proaudio factory. Each stage on the production line includes inspection and structured testing, while the software also produces a final date on which specific orders will be ready, as Andre Correia, Manager at NEXT-proaudio, explained further: “When we receive an order, we can immediately predict the time it will be ready for shipping - within one to two days - thanks to the software that we have in place.” The whole process - with the quality control system now in place - at the factory begins with the incoming material and parts, which are subjected to thorough tests and evaluations to check the components before they are used in the product. This where the new custom software comes in, as


it follows each unit from this first stage. “Each individual section has a delivery date, because it’s different for the wood shop, paint shop or final stage, for example,” said Andre. “The last date is the actual delivery date, so they can prepare the order to be shipped. So, each section knows exactly what they need to produce and when it has to be completed. “It starts with the CNC machines, which accurately cuts the wood for the products, then it moves onto the wood shop, which has three parts. The first one is preparing the wood for assembly, then after that, there’s the assembly itself and, finally, there’s the finishing.” “Then, the speakers - and it is a speaker by this stage - goes from the wood shop to the paint shop. We paint in three layers; the first one is the initial cover of the wood, then there’s another layer and the third one is the texture. “Then, once it’s painted, the product goes to the assembly department. Before that, though, in other sections, we have metal parts being produced. The metal parts section works at the same time as the paint shop in order to supply at the same time - and that goes for the sections that provide the grills and so on. They all need to work at the same time to provide for the final stage.” With such a complex, rigorous process going into creating the products within the factory, it’s easy to see why the quality control system was put in place. In a bid to avoid any potential errors, each

product is tested and checked after each section before it is handed over to the next department. Then, at the end of the line, there are functionality, reliability and safety procedures. All mechanical and aesthetic details are rechecked - such as enclosure, paint, metal parts and so on - by a fully-trained quality inspector. Automatic frequency responser, polarity, rub and buzz and distortion tests are performed through custom software scripts running on specialised quality control equipment. Finally, a conclusive listening test is performed by a skilled audio technician, before the quality inspection manager does a final check on the boxes to confirm all labels and accessories are present ahead of shipping to the customer. Antonio Correia, CEO of NEXT-proaudio added: “Our control software generates a serial number if everything is approved, so we are sure that, if a product has a serial number, it meets the NEXT-proaudio quality. “With this new software and quality control system, everyone has the same information right across the factory, so everyone knows exactly what they have to do and how much time they have to do it, which is really important as we all work like a machine - with different parts all working towards the same final goal. We’re really pleased as everyone feels as though they belong to the same team.” So, with the factory, complete with new software and systems, now running smoothly, plans for the future have been outlined, with the team

always looking ahead to improve. “The immediate plans are to build the new areas in the factory, because we need to improve so we can continue to increase production as we have a lot of orders,” said Antonio. “Other than that, we are already developing some new products to be presented within the next year - they will launch at ISE. Our customers are asking us a lot for more products to use in installation. So, besides the products we have for live, we’ll also go into the installation market as that is the customer demand. It’s something really interesting that we’ll be presenting in that area - we’ve tried to find our own way in terms of entering that market.” “We are starting to work on some new markets, too,” added Andre. “And we want to go into three or four more by the end of the year. Of course, we want to go even further into the markets where we already have a strong presence, too. That is really exciting for us.” With so much already achieved, it’s easy to see why NEXT-proaudio have enjoyed plenty of success over the years. The drive to improve itself as a company in terms of its processes is infectious - and it has taken effect throughout the company as a whole. With highly-rated products, a slick operation in its factory and expansion planned, the success is showing no signs of slowing down.


DIGITAL PROJECTION | EXPERIENCE CENTRE UK manufacturer of digital imaging solutions, Digital Projection recently opened a brand new Experience Centre in the hub of the Middle East - Dubai. Although I couldn’t make it to the official opening, I did manage to secure a visit just a couple of weeks later when I was in the region. Based in Dubai Silicon Oasis - a Government-owned incentivisation zone, which offers benefits to companies operating within the tech park - Digital Projection FZE was easy to find, thanks to a location map with the office pinned in Tim’s signature. Although, I’m not sure other visitors took the same approach as me given the surprise on Tim’s face when I turned up at the door, having not had to make that ‘I’m lost’ phonecall! Tim Wood, who is originally from the UK but has been in the UAE for over 20 years, is the company’s Regional Manager Middle East and Turkey. He explained how the idea for the Experience Centre came about: “The decision was taken to open an Experience Centre when we reviewed the European marketplace, of which the Middle East is part of under the banner of EMEA.

Looking at the achievements we’ve made in the first three-and-a-half years in this market and looking at the data of future growth in the production industry, as well as theme parks, museums and visitor attractions, we believe the Middle East offers considerable growth. “We have also gathered some reference installations in the first two or three years, so combining the installations, the growth we’d had already and the potential growth, we all thought this would be a good place to build a base. But the aim was always to build an experience centre base rather than a projector display base.” This meant that Tim and the team didn’t simply want a facility that showcased projectors. Fundamentally, all projector manufacturers make projectors, but if they then carry out a demonstration, they are ultimately projecting an image onto a wall and asking the customer to imagine how it will look like on a much larger display, an outdoor display or in a museum, for example. A number of other technologies are needed to create the entire package - screens, content management systems, software and housing.

Therefore, it was vital the Experience Centre was build with eco-partners, as Digital Projection likes to refer to them. “The collaborations were set up with a great deal of ease to be honest. We had the project in mind prior to ISE and we talked to a couple of people ahead of the show,” continued Tim. “We were enthused by the interest we received from people who work with products from projector displays. It came together more at ISE as we were able to talk to those people in a bit more detail and we’d signed the lease on the office space so we knew we were definitely going ahead.” One of the first to come on-board was STEWART Filmscreen, it has a lot of commercial operations in terms of big screens but it didn’t have anywhere to showcase these big screens in Dubai. The Experience Centre is equipped with an AT2 fixed frame screen with Graymatte 70 material; with a seamless image size of nine metres by 4.5-metres. As Tim and the team predict building mapping to be a huge growth area, a content management system was essential and this is where DATATON came in. Tim and Inter-


Grand Production Console

mc2 96 national Sales & Marketing Director, Chris Axford have known DATATON for a number of years, and although it has a distributor in Dubai, it doesn’t have the ability to demonstrate the products, so the company was very happy to get involved. The Swedish manufacturer has furnished the Experience Centre with WATCHOUT, WATCHPAX 4, WATCHPAX 2 and WATCHMAX systems for 3D video mapping and content delivery. The distributor in the region, Prolab, also provides support with content for the 3D mapping and technical support for the Dataton products. Other partners include: Interesting AV, which provided the holographic display; VIOSO, a company offering software equipment to help 3D mapping; Manning Enterprises, Digital Projection’s preferred partner for the provision of technical solutions throughout the region; and iBS TEMPEST Lighting with its environmental projector enclosures. Along with the eco-system partners, Digital Projection also has a new service partner for the region, e-flex LLC, which joins the current European network of service centres. The Experience Centre will be used for a number of purposes, as Tim explained: “We will be doing individual demonstrates for those who need that for a particular project. Our partners will do the same with their customers too. We’ll also be doing focus

groups along the lines of ‘look and learn’ and ‘agnostic training sessions’, which won’t necessarily be ‘come and see our projector’ but more in the realms of ‘would you like to learn how 3D mapping is done?’ We’ve got plans for the rest of the year, which I’m hoping will keep this place busy.” Tim is hoping to reach people and companies across the Middle East - including Saudi Arabia, Kuwait, Qatar, Bahrain, Doha and Iran - and will be inviting them to the Experience Centre as and when projects come up. So far, Digital Projection has had a very enthusiastic response to the new facility, and as the nature of the space is for it be flexible, equipment can be swapped out, updated or added to, as and when required. This was actually purposeful with the design as Tim concluded: “Even in the time I’ve been working in the industry the technology has changed, but it’s never changed more dramatically than in the last 18 months. That was when we launched laser, prior to that, we were all selling lamp based projectors but now laser technology has taken over rapidly, 4K is there rapidly too and there’s lots more on the drawing board.” If you’re in Dubai and can arrange a visit to the Experience Centre, I’d highly recommend it. Watch this space for further updates.

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The Symetrix Control Server is a flexible and extensible approach to the control and monitoring of Symetrix Composer-enabled DSPs and select third-party audiovisual components. Control Server apps run in standard HTML browsers on networked computers, tablets, and phones. The centralised server-based technology enables comprehensive design, deployment, and maintenance of large and sophisticated systems employing numerous control endpoints supporting multiple simultaneous users.

Control Server functions as an access point providing mobile device connectivity - in essence providing a secure ‘audiovisual control island’.

Wired and wireless network interfaces Control Server’s wired Gigabit Ethernet port enables control and monitoring via dedicated audiovisual or general-purpose facility networks, as well as direct operating in wireless mode,

Benefits of the App Model Because apps are virtual, they serve to reduce overall system costs by cutting down on hardware requirements. As an example, the Control Server multi-touch mixer app provides up to 32 faders

Straight-forward Setup and Deployment Control Server is designed into a system using Composer. Composer is used to locate and program Control Server and other Symetrix DSPs and accessories. Control Server’s browser based administration is then used to manage app licenses, users, and user access.

and mutes with customisable labels, colours, ranges, and display units. It can trigger up to 16 presets. Unlike Control Server apps, functionally equivalent hardware products are expensive and prone to wear, tear, and failure. App Features Symetrix Control Server apps focus on the control of Symetrix DSP parameters as well as Symetrix and select third-party device control and monitoring. Control Server apps are fast and responsive. They automatically adapt to screen size and orientation. Multiple instances and multiple configurations make it possible to restrict and limit user access as may be required.

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PEAVEY | TACTUS Crest Audio - a division of Peavey Commercial Audio - has partnered with Waves to create the Tactus Digital Mixing System. A modular touchscreen based mixing system kicking off a new revolution in live performance digital mixing. The Tactus system consists of both hardware and software components incorporating the Waves eMotion LV1 software - fast becoming an industry standard for professional audio mixing processing and control. The Waves eMotion LV1 mixer application runs on a Windows PC or Mac with one, two or three multi-touch screens. Utilising Waves Soundgrid audio network protocol, the Crest Audio Tactus systems comprises of three hardware units, the Tactus. FOH, Tactus.Stage and Tactus.Control, with each addressing the input and output, monitoring and control plus synchronisation requirements of audio signals at the stage and front of house points. The system’s modular approach provides unprecedented scalability for any size event, meeting a wide variety of applications including touring, corporate events, houses of worship, performing arts venues and live music concerts. James Kennedy, Operations Manager for Peavey Commecial Audio EMEA said: “We have spent time listening to our customers and have worked with them to develop what we believe to be the ultimate in modular digital mixing. The latest version boasts revised faders and slider control on the Tactus.Control as well as an improved dedicated master on/off switch.” The Tactus Digital Mixing System redefines mixing by providing a simple, customisable touch-screen operating interface that puts all of the audio routing, processing and mixing tools within easy and immediate reach. Designed to work with the new Waves eMotion Mixer for SoundGrid, the Tactus Digital Mixing System is one of the most innovative and feature-rich digital audio mixing platforms ever devised. In addition to providing a full complement of professional features, the Tactus system allows the use of Waves audio processing plug-ins for live events. The Tactus hardware is comprised of the Tactus. FOH, the audio processing core for the system, and the Tactus.Stage, a 32-in/16-out remote stage box. The modular capability of the Tactus Digital Mixing System, which interconnects via standard Gigabit Ethernet cabling and an internal Gigabit switch, allows multiple configurations in a range of channel counts to best suit each application. The Tactus.FOH is powered by the Waves SoundGrid audio processing/networking platform, ensuring extremely low latency with precision audio processing. When combined with the new Waves eMotion Mixer for SoundGrid, the products result in a mixing platform that is unsurpassed in the industry with regard to features, audio quality, and flexibility.

The Tactus.FOH frame provides eight local microphone/line inputs and eight line outputs in addition to two AES outputs and serves as the audio signal processing engine. The Tactus.Stage includes 32 microphone/line inputs and 16 line plus to two AES outputs. The digitally controlled high-quality mic preamps feature ultra-low input noise, high slew rate, very low THD, and 66dB adjustment range in 1dB steps to maximise dynamic range. An integrated gigabit Ethernet switch allows for easy networking. Users also benefit from the option of combining Tactus.Stage I/O interfaces for a total of 64 stereo inputs by 32 stereo outputs. Tactus.Control, available Q3/Q4, is a tactile motorised fader board complimenting the eMotion LV1 touch screen by providing moving faders, lighted buttons and knobs for the most commonly used functions. It has 16-channels + two Master motorised faders, with Mute, Cue and Select buttons along with a multi line scribble strip display. These can follow screen layer selections or be locked on a layer for expanded control. The Waves eMotion LV1 mixer application runs on a Windows PC or Mac with one, two or three multi-touch screens. One or two Tactus hardware surfaces with moving faders can be added for

tactile control if desired connected via USB to a PC running the eMotion LV1 software and connected to the Waves SoundGrid network the Tactus.Control allows tactile feedback to the sound engineer as typically required for live performances without having to look down at a touch screen. Multiple Tactus.Control panels can be used to create a high quality, flexible live sound mixing system. James added: “Working closely with Waves, Tactus offers a professional sound mixing platform that is fitting for today’s digital demands, with features that will benefit all users, from the workplace to a live music venue. We’ve made connectivity and networking simple, with USB, Ethernet and MIDI all available. What’s more, Tactus is flexible to your application needs, with In/Out components, processing, touch screens and controllers all being catered for to allow easy set-up customisation. Above all, of course, users benefit from the trusted Crest reputation and the sound quality that comes from being part of the Peavey Commercial Audio family.”

Pub_Mondo_333x236_0517.qxp_Mise en page 1 21/04/2017 10:35 Page1




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



DMXcat Multifunction Test Tool makes it easy for anyone to control, analyse, or test any DMX lighting fixture, whether it’s 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. The DMXcat, which works with both Android and iPhones, allows users to turn on and test DMX lighting gear without using a complicated lighting console. The DMXcat’s interface device is a compact battery powered unit, which fits easily in a pocket or tool pouch or may be worn on a belt. It uses Bluetooth LE technology for communication with the smartphone/ applications (up to a 50ft range). Without the limitations of being

physically connected, the user can move about the workspace as needed with a smartphone and run the various apps while still using the phone for on-the-job communication. The device’s five-pin XLRF connector/cable assembly allows it to be connected to a point in a DMX data chain to allow testing and or control of the various DMX/RDM channel functions. It is charged using a standard USB to Micro-USB cable and charger. Other features include a built-in LED flashlight, an audible alarm - for locating a misplaced unit - an LED status indicator, and a removable belt clip. Optional accessories include: XLR5M to RJ45 adapter, XLR5M to XLR3F adapter, XLR5M to XLR5M turnaround, XLR5M to XLR3M turnaround and belt pouch.There are currently seven apps available or in development for use with the DMXcat system. Apps are available through Google Play or the App Store.

Apps included with the basic configuration: • DMX Controller A single universe 512 DMX channel controller with two user interfaces.   • Fixture ControllerDMX Test app for multi-attribute fixtures with built in database of lighting fixtures.   • RDM Controller App for bi-directional communication/control of RDM enabled devices.   • DMX Tester Permits users to analyse and or adjust settings for transmitting or receiving DMX.   • RF Spectrum Analyser (Android only) For surveying and visualising Wi-Fi networks.   • DIP Switch Calculator  This app simplifies the configuring of DIP switches used for setting DMX addresses.   • Light Meter (Android only) Useful for setting light levels for on-camera use.


AXIOM | AX800A The AX800A is the latest addition to the Axiom professional loudspeaker range. Designed for live shows where a big response is needed from a compact system - such as rock music and for dance club applications - and for fixed installations requiring a cost effective, high performance solution, the AX800A compact line array is very easy to set up, is very lightweight, and easy to transport. Featuring two eight-inch LF drivers and a 1.4-inch HF compression driver in a moulded polypropylene enclosure, the two-way AX800A offers the most advanced technical solutions to be found in this class of product. Already a vital component of many rental companies’ inventory due to its stylish design and simplicity of operation, the AX800A is applicable to varied sound reinforcement situations - such as medium sized indoor and outdoor events, small festivals, corporate events, and even as delays or outfills on larger shows. In the permanently installed sound system sector, the AX800A is ideal for theatre, houses of worship, live music venues and small clubs, theme parks, leisure and sports facilities, and retail spaces. The low frequency drivers are transmission line back loaded for a significant reduction in low frequencies at the rear of the cabinet, creating natural cardioid behaviour and therefore clean mid-bass reproduction. Powering the AX800A is a tried and tested DA Series Class-D switchmode amplifier module optimised to deliver 900W to both LF drivers and 200 watts to the compression driver. The AX800A delivers an impressive 132dB maximum SPL, with a frequency range of 85Hz to 16.8kHz over a horizontal coverage angle of 100°, and is designed to partner with the dual 18-inch powered manifolded bandpass SW1800A in both portable and permanently installed applications. Both products are networkable using Proel’s proprietary PRONET software, which enables editing and remote monitoring of a range of operating parameters such as levels, EQ, delay, and compression from a single remote location. Array-optimised presets are loaded into the AX800A amplifier’s powerful 40 bit 96kHz CORE Processing DSP, allowing for standard line array coupling, long throw, or single box use, and a user preset is also available for custom settings. A comprehensive range of accessories

is available for the most demanding portable applications, including the KTPAX800 flybar for flying up to four cabinets and the KTPAX800L for flying arrays of up to 12 cabinets; the KPAX8 pole adapter allowing two cabinets to be mounted on a speaker pole or above a subwoofer; a flight case housing four AX800A cabinets; and rain covers for the AX800A and SW1800A.

Key features • Highly portable lightweight package • Natural cardioid behaviour • High power Class D amplifier • Stylish moulded polypropylene enclosure • High maximum SPL (132dB peak)

• Comprehensive rigging and mounting hardware



[loud-spee-ker] n.

A device that is used for converting audio frequency signals into the equivalent soundwaves by means of a vibrating conical diaphragm.




“Loudspeaker technology simultaneously enables an excellent audio reproduction quality, as well as an increase in versatility and user experience. The final result is an audio performance, which is perceived automatically as intelligible, pleasing and supporting your overall experience. It is still a challenge, in many cases, to explain that even the best technology cannot be made solely responsible for the acoustic result. Technology solutions depend on good prerequisites to deliver the final expected or required performance.”


“ I n r e c e n t y e a rs , l o u d s p e a k e r d ev elopm ent has dramati c al ly shifted course in line with technology. It’s now possible to achieve remarkable results with compact and affordable but very powerful systems. There is a high demand for solutions that are tailored to their environments. Yet as much as technology is driving progress, the core requirements of TW AUDiO customers remain the same - products that offer rock solid reliability and construction, ease of use and dependability in the field. But above all else, truly faithful sound reproduction. At TW AUDiO we deliver superior reliability and exceptional sonic clarity for a sound that is unmistakably yours, simply your sound.”


“Rider acceptance drives the premium segment of the loudspeaker market, as it ensures the return on investment through high utilisation in rental applications. This also applies to the integration market, as visiting engineers accept the installed system based on their previous positive experiences. Adamson loudspeakers come with global rider acceptance, which stems from a meticulous research and development process culminating in exceptional sound performance across the entire listening area. This performance is supplemented by a globally standardised education program, attentive service, as well as support that makes happy customers return and return.”


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— Absen’s New 27.5” LED Solution

@ L E D A b s e n / @ A b s e n _E u r o p e





Active Audio Vendôme Active Audio’s Vendôme blends seamlessly into any premium or high-end store, restaurant, lounge bar, music bar and hotel. Vendôme has impressive acoustic qualities, including speed, transparency and natural reproduction. Vendôme takes the best of what the professional audio and high fidelity sectors have to offer. The loudspeakers in the Vendôme range deliver the same reliability as pro audio products and are capable of operating at high output levels without any deterioration in quality. Furthermore, they can be installed in any venue with their stylish and customisable design, whether blending into the scenery or specifically used as a decorative feature. Ultimately, with the Vendôme range, loudspeakers no longer need to be hidden away out of sight.

Adamson IS-SERIES The new IS-SERIES from Adamson packs sophisticated tour-grade technology into sleek, architecturally-friendly boxes, with rugged but unobtrusive rigging solutions. The series is currently comprised of the IS7 and IS10 two-way, full-range line array cabinets and IS118 and IS119 subwoofers. The IS7 and IS10 are loaded with two seven-inch and 10-inch Kevlar Neodymium drivers and 3” and 4” compression drivers, respectively. Their critically optimised waveguides produce a slightly curved wavefront and allow for increased vertical dispersion without sacrificing high-frequency presence in the far field. Adamson’s patented Controlled Summation Technology further eliminates lobing usually associated with two-way line source systems by creating a single wavefront throughout the intended frequency range, combining careful transducer placement and a DSP-controlled overlap to produce a smooth, fully-balanced horizontal pattern. For ultra-precise impulse response, the companion IS118 and IS119 subwoofers are loaded with lightweight, long excursion 18-inch and 19-inch ND19 Kevlar Neodymium drivers, respectively. Both utilise Adamson’s Advanced Cone Architecture, with the IS118’s four-inch and IS119’s five-inch voice coils offering exceptional power handling. The drivers are mounted in an ultra-efficient, front-loaded enclosure, designed to reproduce clean, musical low-frequency information. The IS-SERIES cabinet construction uses marine-grade birch plywood and aircraft-grade steel. All models come standard with two NL4 connectors and can also be ordered with barrier strips. The ISSERIES is available in a standard black and white, with RAL colours available on demand.

Alcons Audio LR28/110 Alcons has launched the LR28/110 wide dispersion larger format line array - a three-way, line-source sound system for use as vertical array with extended horizontal coverage in up to the largest applications. The new, wide-dispersion LR28/110 combines the highest sound quality possible with very high SPL capabilities and throw. The RBN1402rsr and mid section (featuring four high-efficiency 6.5-inch midrange transducers) are jointly mounted on an aluminium cassette for optimised heat-dissipation/reduced power-compression and prolonged system output. The LF section comprises two reflex-loaded, custom 14-inch woofers with reinforced cone and large voice-coil Neodymium motor structure for improved heat dissipation and reduced power compression. The LR28/110 is powered and controlled by four channels of the Sentinel10 amplified loudspeaker controller; through the integrated processing and feedback, the ALC offers LR28-specific drive processing with array compensation, filter-presets, system EQ, phase-matching and other facilities.

Amadeus DIVA M2 Originally released in 2006, the DIVA Array Series, including three formats, today equips some of the major musical, theatrical and public institutions - both national and international - including the Philharmonie de Paris, La Gaîté Lyrique, the National Assembly of South Korea, the Beijing Stadium, the National Theatre of Brittany and the Seine Musicale, among many others. The DIVA M² is not a simple evolution of the DIVA M Speaker Series created in 2006, it is a revolution, a total and radical reinvention. Its new design incorporates a dramatic collection of over 100 major changes, compared to the previous model. The enclosure features one direct radiating eight-inch neodymium LF transducer, mounted in a bass-reflex enclosure, and two neodymium diaphragm compression HF drivers, coaxially-mounted with a single acoustical output, and coupled to an individual proprietary waveguide.

Amate Audio N12SM The N12SM is a highly portable, powerful stage monitor, characterised by its highly musical, pristine sonic performance and outstanding vocal reproduction. Ultra-low distortion mid and low frequency range response, and 128dB SPL are thanks to the exceptional 12-inch LF and 1.75-inch HF neodymium drivers and integral 700W third generation Class-D amplification. Amate Audio’s very latest on-board digital signal processing technology provides extensive system control, accessed via the SensitiveTouch keypad; a no mechanical component / moving part capacitive sensor technology, highly responsive, weatherproof and durable. With a selection of ‘plug & play’ active power and system control presets, the N12SM can be configured for on-stage performance in seconds. Easy to operate and easier to handle, the N12SM weighs just 18kg and features dual, nearfield and front-of-stage, operational profiles. Distinguishing detail includes the grille, exclusively designed for improved sound quality with the best perforation coefficient in the market. The Polyurea finish provides durable protection for the birch-ply cabinet, and electronic circuits and controls are smartly protected against moisture.

Amina Edge7 The Amina Edge7 is the flagship product in Amina Technologies new generation of invisible speakers. The key element in developing any diffuse source, wide frequency range flat panel loudspeaker is dominated by the choice of material used in the active flat panel surface of the loudspeakers. This forms the musical sound board at the heart of an Amina speaker and is critical in determining its efficiency and the audio performance. The Amina Edge Series has seen the introduction of a new front panel material developed in collaboration with a European composite specialist. The panel uses a high performance glass filled core making it stiff, light and damped which is perfect for high fidelity sound production. It also features a unique tapered perimeter allowing a dry-wall edge fill installation approach for new build or retrofit applications making the product invisible in application. The Amina Edge7 has a staggering efficiency of 93dB 1m/2.83 Vrms and a frequency range of 45Hz20Khz. The Amina Edge7 enables high quality stereo, surround or Dolby Atmos 3D sound reproduction. This enables, for example, a stunning cinematic sound experience in a multiuse room with no visual intrusion.


APG Uniline Compact UC206N The Uniline Compact UC206N is APG‘s new compact and versatile workhorse loudspeaker. The UC206N is a only three-way line array speaker in a compact box. It is also the only loudspeaker capable of offering a constant horizontal acoustic dispersion of 70°, bringing new industry standards for throw distance and levels of intelligibility. Thanks to a complex acoustic design, a constant directivity; with a unique ‘narrow’ horizontal dispersion of only 70°, constant from 450Hz to 19KHz, it is perfect to improve throw distance, as well as intelligibility both indoor and outdoor. Another advantage is its impressive size to power ratio and an exceptional musicality down to the low frequency range. The ultimate flexibility of the UC206N makes it suitable for a variety of configurations, including theatres and music venues, houses of worship, TV studios, cruise ships and nightclubs. Because of the high acoustic performance, the UC206N can replace all conventional line arrays in 6.5-inch (17cm) and eight-inch (20cm), as well as a wide range of system applications in 10-inch (25cm). With as little as two speakers in full range, the Uniline Compact can cater for audiences from 100 to 1,500 people.

Apart Audio MASKC Series Building further on the renowned Apart MASK loudspeaker, appreciated by installers for their ease-of-installation, sturdiness and high quality sound at an affordable price, Apart developed the MASKC Series. MASKC truly is an evolutionary design with a revolutionary connectivity. The design of the MASKC loudspeaker offers a timeless and typical Apart look and feel. Its underlying engineering evolved to a level which we have not been able to achieve before. The patented CLICKMOUNT bracket is a true revolution for installers and users alike. Rigid construction to withstand the most fierce conditions in which a professional loudspeaker can be used the MASKC will remain Apart’s flagship for many years to come.

Audac ATEO & VEXO8 Impressive sound, extraordinary design and superior installation convenience, these are some of the ATEO’s core features. This series of wall mounting loudspeakers features a stunning design with an elegant looking ABS housing that is filled with High-Quality audio components. The use of its implemented Clevermount technology provides the loudspeaker series with a big design and installation advantage over its competitors. The technology makes the loudspeakers cabinet flow together with its mounting bracket and provides the installer great ease of installation. The whole forms a good-looking entity that produces a true to- nature, high-fidelity reproduction of music and speech. An elegant speaker cabinet build for fixed installations or mobile use that can simultaneously achieve high sound pressure levels. The compact enclosure of the VEXO high-power speakers allow them to be used in modern and trendy applications such as bars and nightclubs. A horizontal mounting can be achieved by virtue of its rotatable 100° x 80° horn and the included bracket. Exceptional accuracy and clarity coming from this compact cabinet is delivered by an eight-inch high efficiency mid/low range driver and one-inch compression driver that is protected against overload by an internal limiting circuit. The VEXO8 will offer various solutions for applications where higher sound pressure levels are required such as bars and clubs.

Audiofocus ARES 8a The ARES 8a line array system from Audiofocus is suitable for a wide range of sound reinforcement applications from small scale concerts to theatres - anywhere where sound quality is crucial. Audiofocus ARES 8a offers all the benefits of a real line array, respecting all WST criteria. Dual eight-inch handles low-mid frequency range, while a 1.4-inch exit compression driver coupled to a waveguide provides smooth top end. With this compact and lightweight cabinet, a single operator is capable of individually setting up the system of eight elements in just 10 minutes, due to smart and handy rigging.

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


Aura Audio A28 The A28 from Aura Audio is a passive, high-power subwoofer. Featuring FI-patented hybrid enclosure design, a combination of folded horn together with a separate reflex-loaded enclosure, gives this subwoofer its unique directional character. The key innovation Passive End Fire Technology perfectly matches the phase responses of the front firing horn-loaded 18-inch cone driver to reflex-loaded rear firing 18-inch cone driver and as a result the two waveforms sum at the front of the cabinet and cancel behind the cabinet. Because this is accomplished purely acoustically there is no need for additional processing and A28 can be driven with only one amplifier channel greatly reducing the overall system cost.

Avante Achromic Series AVANTE Audio has launched the Achromic Series, a complete range of active loudspeaker cabinets that offer powerful output, detailed audio clarity, built-in DSP, and sleek exterior designs. Created for musicians, bands, houses of worship, audio production companies and rental houses, the Achromic Series speakers are equally suited to permanent installation as they are to one-off and touring productions. The Achromic Series comprises three full-range loudspeaker options, the 10-inch A10, 12-inch A12, and 15-inch A15. All three models feature a bi-amped, high efficiency fan cooled Class A/B switching power amp for the highs, and a Class-D power amp for the low end. Each cabinet was carefully designed with components specifically chosen to provide high SPL levels while ensuring smooth coverage across all frequencies in a light weight package. Power ranges from 1,000W for the A10 to 1,200W for the A12/ A15. To provide enhanced bass response and extended low frequency coverage, the Achromic Series also includes two active DSP controlled sub options with configurable output directivity. The cardioid output option allows you to better focus your low end in a ground stack configuration for tight clean bass. The A15S offers a 15-inch woofer with a three-inch voice coil, while the A18S is fitted with an 18-inch woofer with a three-inch voice coil. Both feature an integrated powerful Class D amplifier that delivers an impressive 1,600W.

Bose ShowMatch DeltaQ

Axiom AX12C The AX12C is a new concept in Proel’s Axiom professional loudspeaker product range - a modular column line array designed for portable and permanently installed sound reinforcement applications requiring high output and intelligibility in a very discreet physical package. Consisting of 12 3.5-inch neodymium waterproof cone transducers in an extruded aluminium frame, the AX12C ensures low weight, high strength and an unobtrusive profile that is ideally suited to traditional and contemporary church installations, transport facilities, retail environments, and commercial applications. The enclosure’s internal construction provides transmission line back loading for the twelve drive units, resulting in clean mid-bass reproduction and natural cardioid behaviour. The Front Diffraction Waveguide stabilises horizontal dispersion at high frequencies, and ensures even frequency response and coherent sound image across a wide frontal. The AX12C combines with the SW2100A powered 21-inch subwoofer, equipped with a 4,000W Class-D amplifier enabling up to four AX12C modules to be driven by one amplifier channel of the SW2100A subwoofer, while the integrated DSP provides presets for different combinations of connected units. The AX12C mounts directly on top of the SW2100A subwoofer for fast setup in portable applications, while a flybar and adjustable wall bracket provide various flying and mounting options.

Bose Professional’s ShowMatch DeltaQ array loudspeakers are for both installation and portable applications, with field-changeable waveguides that help provide the best possible sound quality throughout the audience area. ShowMatch DeltaQ arrays provide significant advantages over conventional line array loudspeakers. DeltaQ array technology improves sound quality and vocal clarity by providing selectable coverage patterns that direct more sound energy to the audience by allowing directivity, or ‘Q’, to vary with each array module. Traditional line arrays typically have significantly less pattern control. ShowMatch full-range array loudspeakers are available with five-degree, 10º or 20º vertical coverage with class-leading versatility that allows J-array, constant-curvature, or DeltaQ array configurations. Conventional line arrays can require up to twice the box count compared to DeltaQ arrays to achieve comparable vertical coverage. DeltaQ arrays can improve sight lines, reduce rigging weight and lower system costs. New ShowMatch DeltaQ array loudspeakers provide the highest full-range output for their size class, with 145dB peak array output levels generated from four Bose EMB2S neodymium compression drivers and two eight-inch neodymium woofers with more usable low-frequency output in smaller arrays. ShowMatch loudspeakers feature fieldchangeable waveguides that vary horizontal coverage to better match audience coverage needs and can form asymmetrical patterns for improved acoustic performance in left/ right arrays. Modules ship with both 70º and 100º waveguides, with optional 55º and 120º kits available. Compact, road-ready enclosures with removable side caps optimise design for both installed and portable applications - from small clubs and houses of worship, to the largest performing arts centers and concert-sound amphitheatres.


The new


compact self-powered loudspeakers

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 • •

M U LT I - AWA R D W I N N I N G M E D I A S E RV E RS With 4x DisplayPort, DVI or HD-SDI outputs, Hippotizer Boreal is designed for the rigors of life on the road. All video outputs are EDID managed with dedicated hardware to ensure easy set up and operation in any environment. The new hardware for Hippotizer Boreal and Karst creates new possibilities, driving more displays from your Hippotizer Media Servers with the DisplayPort Hippotizer’s offering full support of Datapath FX4 splitters and 4K (4096 x 2160 @60hz) on all outputs. Find out more about the Hippotizer Boreal, the Media Server of choice for Eurovision Song Contest 2017


Clair Brothers C12 The Clair Brothers C12 represents not only the latest double 12-inch format midsize line array, but also an industry first in integration optimisation. The Clair TrueFit technology is the first modular and fully custom waveguide available for venues. While portable versions may be ordered with standardised horizontal dispersions, venues looking for the best want to give this a serious look. The C12 and C8 systems from Clair utilise a wider bandwidth component arrangement that allows the midrange and high frequency output to be waveguide loaded from the same point of origin. This means that the directivity enhancement offered by tweaking the horizontal waveguide affects more frequencies than most other products. Beyond the hinge, the TrueFit technology is actually a completely unique waveguide tailored to a space. The customisation that is TrueFit is designed collaboratively with the customer, consultant and venue staff through a few simple steps.

Coda Audio APS - Arrayable Point Source


Combining the user-friendliness of a point source with the arrayability of a line array, APS is a revolutionary approach to reinforcement systems for medium-sized applications, which transforms the theoretical advantages of point source into reality. In many medium-sized applications, traditional point source solutions cannot provide enough sound pressure, whilst a line array might be over-sized and expensive. APS addresses the limitations of traditional point source systems by offering unprecedented flexibility and performance. In medium sized venues, flexible dispersion is key to obtaining consistently even coverage. As a single speaker or in tightly packed horizontal or vertical arrays APS can achieve superior results in one simple, elegant solution.  The main element of the system, the two 10inch three-way arrayable APS loudspeaker, has an exceptional power to size ratio. Completing the picture is the APS-SUB an 18-inch high output compact subwoofer. Driven by CODA LINUS amplification, both APS and APS-SUB are easily groundstacked or flown. Since APS can be used for small to medium applications - and as a supplement to larger applications - it is attractive to touring rental companies and installers alike.

The ENTASYS ENT-FR is a three-way column line source system offering superior performance, high output and high power handling capability in an architecturally appealing enclosure. The ENT-FR is designed for permanent installation in applications such as auditoria, airports, train stations, conference centres, houses of worship, stadium concourses and museums. The ENT-FR is most beneficial in medium to large highly reverberant spaces. The scalable design supports configurations of loudspeakers from singles to floor-to-ceiling arrays of any length, meeting the acoustical design needs of nearly any application. Longer arrays minimise sound reflections, reducing reverberation and increasing speech intelligibility. The system is designed to be modular with the ENT-LF, allowing the installer to place the centre of the vertical system lobe symmetrically or asymmetrically about the vertical axis of the column array. Multiple ENT-FR columns may be used to create single lobe, focussed coverage. Or, by implementing tall arrays using both ENT-FR and ENT-LF columns, multiple vertical lobes can be created at independent points on the column. The ENT-FR and ENT-LF are equally suited for indoor and outdoor direct exposure applications and a wide range of mounting brackets is available. Custom colours and modified vertical coverage options are also available.

Crestron Vector Crestron’s Vector performance loudspeakers, which are specifically designed for use in large commercial spaces, such as auditoriums, lecture halls, and divisible rooms. Vector is a comprehensive line of loudspeakers, starting with a six-inch coaxial up to 12-inch and 15-inch models, and even includes dual 18” subwoofers for high-impact systems. They feature an innovative coaxial transducer design that delivers optimal sound, clarity, and intelligibility for speech reinforcement and media reproduction in enterprise environments. The transducer in Vector performance loudspeakers represents a revolutionary advancement in coaxial speaker design. Its large titanium diaphragm compression driver operates at frequencies lower than typical, providing better high/low alignment and increasing sound pressure levels without distortion. The compact high-frequency horn design reduces shadowing to produce incredibly clear and dynamic sound for both voice and music. Co-located high and low drivers result in less crossover interaction within the coverage pattern and provides ultra-smooth response.






D.A.S. Audio Aero 12A



290mm 400mm








DuraTruss B.V. Junostraat 2 6468 EW Kerkrade The Netherlands Tel. +31 45 546 85 81







d&b audiotechnik Ti10L The Ti10L loudspeaker is the installation version of the T10 for deployment as a line array loudspeaker. Road and installation versions differ only in the mounting hardware. The Ti10L cabinet is a passive two-way design that houses two 6.5-inch drivers and a 1.4-inch exit HF compression driver. The very compact loudspeaker design is a unique combination of a rotatable waveguide with horn and an acoustic lens. It provides a vertical line source with a 90° horizontal dispersion that is maintained down to approximately 600Hz, whilst the integrated lens in the front grill widens the HF dispersion in line array mode to 105°. The two 6.5inch neodymium LF drivers are positioned in a dipolar arrangement providing an exceptional dispersion control even at lower frequencies. The Ti10L cabinet is constructed from polyurethane integral hard foam with an impact resistant finish and has integrated line array rigging hardware, which, once deployed, is fundamentally invisible when viewed from the front. The front of the loudspeaker cabinet is protected by a rigid metal grill backed by an acoustically transparent foam. Mounted on the rear panel are two NL4 connectors wired in parallel. Special Colour (SC) or Weather Resistant (WR) versions are available.









257mm 290mm









































The Aero 12A compact line array system joins the Aero Series2 family of professional sound touring products. The system incorporates an impressive battery of high tech features that take compact line array systems to an unprecedented level of performance. The two-way amplifier design of the Aero 12A sets a new industry benchmark in audio performance, efficiency and power density. The 600W amplifier provides extended bandwidth, improved dynamic range and exceptionally low distortion. Impressively compact in size and light in weight, its high power density of over 20W per cubic inch promotes an amplifier design that requires much less space, reducing the overall cabinet size and in turn, the total cabinet weightan important attribute for flown systems. Signal processing is accomplished by way of a powerful 24 bit DSP providing unparalleled control over critical signal parameters. Digital Finite Impulse Response (FIR) filters are used in the signal processing of the Aero 12A.






dBTechnologies ES1203

Danley J3-94

ES1203 is a three-amped stereo sound system composed by two passive wooden tops and one active wooden subwoofer equipped with two 12-inch woofers. The sub hosts last-generation Digipro G4 2,400W peak amp. A powerful DSP controlled by an intuitive user interface placed on the top of the sub - manages all function of the five-channel on-board digital mixer as well as the system configuration. Each top satellite is equipped with four four-inch mid-woofers, whose alignment allows an asymmetrical vertical coverage (thanks to the Logarithmic Curved Column Array technology). The unique design of phase plugs widens the horizontal coverage and guarantees a perfect intelligibility.

Designed for the requirements of stadiums and concert venues where high impact, high fidelity, and high SPLs are needed, the J3-94 delivers 142dB of continuous output using 18 drivers that are combined using proprietary technologies to produce a single phase-coherent signal with home hi-fi quality intelligibility and musical impact. The the J3-94 produces a 90° horizontal by 40° vertical beam width, with Danley’s characteristic steep drop-off outside of the beam. The J3-94 is a tri-amped cabinet that uses four amplifier channels - two for LF, one for mids, and one for HF. The drivers in the horn comprise six 15-inch woofers, eight 6.5-inch mids, and four 1.4-inch highs with built-in overload protection. It can be flown by many different standard lifts or towers, and comes as standard with fly points on top and bottom and L track on the sides.

EAW RADIUS EAW RADIUS is an intelligent and sophisticated family of loudspeakers for both portable and permanent installation applications. RADIUS brings EAW’s signature acoustical design prowess and technologies like EAW Focusing and DynO to a new powered and processed platform that integrates Dante networking and iOS-based prediction, control and monitoring along with a number of useful and unique features that streamline setup and maximise results in minimal time. The EAW RADIUS Series is a comprehensive family that includes eight-inch and 12-inch two-way point source loudspeakers available in two horn patterns; a double eight-inch articulated line array; and single 12-inch and 18-inch subwoofer models - a 12-inch co-axial stage monitor will soon join the series. At the heart of the entire RADIUS family lies the EAWmosaic iOS-based application. This completely integrated and intuitive platform provides for prediction, control and monitoring at any location in the venue wirelessly. With the power of EAW RADIUS and EAWmosaic, delivering spectacular audio results has never been easier or faster. Beyond the all wood enclosures, EAW Roadcoat finish, minimalist aesthetic and Power Factor Corrected Class D amplification, all models in the RADIUS family incorporate a range of refined features that simplify and accelerate the path to optimised results.

Electro-Voice EVID The EVID Compact Sound speaker series is the latest family member of the popular EVID small-format installation loudspeakers from Electro-Voice and continues the family’s focus on form and function with stylish, architecture-friendly design, a best-in-class performance-to-size ratio and user-friendly installation and operation. The system is designed to provide high audio performance in small-format installations such as retail spaces, restaurants and similar environments - all while being heard but hardly seen. The series includes five sonically and aesthetically matched models which allow complete systems to be customised more effectively and more economically: subwoofer and satellite speakers for surfacemounting, subwoofer and satellite speakers for ceilings and a pendant speaker. Individual models can be mixed with one another for optimal results. In addition to EV-engineered components for superior quality and reliability, the system features quick-access connections, simple wiring and flexible mounting options (hardware provided) and is compatible with a variety of existing EV power amplifiers. The EVID Compact Sound speaker series provides a unique combination of superior EV sound quality, stylish design, smaller size and simpler installation, making it a great choice for contractors and endusers alike. The EVID Compact Sound speaker series is available in black or white finish.

Kling & Freitag GmbH |

Photo: Paul Gärtner | Design: Bertil Mark

GLP German Light Products GmbH




^ 3,5° - 56,7° ZOOM





^ ONLY 25 KG


GLP German Light Products GmbH  Industriestraße 2, 76307 Karlsbad  +49 (7248) 927 19 0   /GLP.German.Light.Products  /GLPimpression 


EM Acoustics ESP Series The ESP series from EM Acoustics offers high output from deceptively sized self-powered enclosures designed for a wide variety of corporate and live sound applications ranging from speech reinforcement to front-of-house duties, delays and fills, and compact stage monitoring. The onboard Class D amplification and DSP package make these loudspeakers completely self-contained, delivering consistently repeatable high quality performance. The eight-inch ESP-8 coaxial two-way and 12-inch ESP-12 coaxial two-way models utilise the latest in Class-D technology with a common lightweight amplifier module delivering a total power of 1200W RMS between HF and LF drive units. The sophisticated DSP provides specific presets for stand-alone, use with subwoofer, stage monitoring, and front fill applications for best performance as well as reliable limiting. The ESP-15S 15-inch compact reflex-loaded subwoofer is designed to complement either two-way ESP Series model by providing a threaded pole mount adapter, while the integral flush handles and optional castors provide effortless portability. All ESP Series models feature universal power supply designs, allowing them to be used anywhere around the globe with AC mains supplies ranging from 100V to 240V. Integrated rigging points and optional mounting brackets enable them to be safely and conveniently installed.

FBT VENTIS Series The FBT VENTIS range has expanded even further, with new floor monitors and the addition of an eight-inch full range cabinet. Arriving in both powered and passive configurations, the newcomers - the VENTIS 108A, 112MA, 115MA - join their stablemates in delivering best-in-class sound reproduction, flexibility in use and characteristic Italian style. Comprising B&C compression drivers plus FBT’s own custom, long excursion woofers, the original VENTIS line-up included the 15-inch 115A, the 12-inch 112A and 10-inch 110A - all twoway, bass reflex designs housed in 15mm birch plywood, equally suited to permanent installation or portable use. The new additions to the range are engineered to the same high standards, with Class D amplification for LF and Class H/AB for HF, plus onboard digital signal processing with presets for every occasion; 15mm scratch resistant birch plywood enclosures and internal bracing; switch mode power supplies as standard, and easy to use, comprehensive control panels for quick and intuitive in-the-field operation. Bringing new possibilities for VENTIS users, the 108A includes a 200mm (eight-inch) woofer and 50mm (two-inch) voice coil, driven by 700W + 200W bi-amplification to deliver an impressive 131dB SPL from a supremely portable cabinet. Meanwhile, the 112MA and 115MA bring floor monitoring to VENTIS. Rated at 700W + 200W, the bi-amplified 112MA delivers 132dB SPL in a bass reflex design, using a 320mm (12inch) coaxial custom woofer with a 64mm (2.5-inch) voice coil, 25mm (one-inch) B&C throat and 44mm (1.7-inch) voice coil. Finally, the 115MA is again rated at 700W + 200W, delivering 132dB SPL via a 380mm (15-inch) coaxial custom woofer with a 64mm (2.5-inch) voice coil, and a 25mm (one-inch) B&C throat with a 44mm (1.7-inch) voice coil.

Fohhn Audio Linea Focus Fohhn Audio’s award-winning Linea Focus Beam Steering systems have undergone a major update. The first of these next generation models to ship are the Linea Focus DLI-130 and DLI-230 systems designed for fixed installation applications. The new loudspeakers are equipped as standard with inputs for AES/EBU and Fohhn AIREA. Both models are also available with optional interfaces for Dante or Optocore, or - as previously - with analogue inputs. Other new features and functions, which can be remotely controlled or monitored using Fohhn Audio Soft, include password protected access control, readout of data from an integrated tilt sensor and a configurable Auto Power Save function. DSP functions are now available at both the speaker inputs and outputs. Linea Focus DLI-130 and DLI-230 systems are high performance line source speakers that can be electronically controlled and monitored. Equipped with eight or sixteen state-of-the-art CLASS-D amplifiers respectively, and DSP technology specially developed for this field of application, the loudspeakers also contain eight / sixteen coated 4” long excursion drivers. As with all beam steering systems belonging to Fohhn’s Focus-Series, the loudspeakers’ vertical beam dispersion characteristics can be intuitively controlled, in real time, using Fohhn Audio Soft. Unwanted reflections from the floor or ceiling can therefore be avoided, resulting in precise and even coverage of audience areas.

Funktion-One BR132 The Bass Reflex range from Funktion-One addresses applications requiring deep, strong bass at close range. The range features the single 15-inch BR115, single 18-inch BR118, double 18-inch BR218, single 21-inch BR121 and double 21-inch BR221. The latest addition is the self-powered BR132A - a single 32-inch bass reflex powerhouse. The unique tuning of these designs results in relatively compact sizes and more definition than is typical of this kind of enclosure. The BR132A is the largest, deepest and most powerful of the range. It utilises Powersoft’s M-Force linear transducer, together with Funktion-One’s own cone, surround and enclosure technology. With dimensions of 940mm x 936mm x 1164mm, it is around 40% smaller than its horn-loaded F132 counterpart and delivers plush elastic bass and super-low frequency extension. It is particularly effective in applications requiring deep, strong and well defined sub-bass at close range. The BR132A was originally developed for Output nightclub in New York and, since its launch at Prolight + Sound 2017, it has been specified for installations and events all around the world. The BR132A and the rest of the BR Range is available through Funktion-One’s distributor and dealer network.




System designers love the focussed dispersion of NEXO speakers. It gives them the tools they need to achieve perfect coverage in any space. The new ID24 achieves smooth, full-frequency sound and high output from a cabinet measuring just 309mm wide, with a unique, user-rotatable horn providing unprecedented control over HF directivity. With an ‘a la carte’ selection of colours, grilles, directivity and connectivity, and compatibility with a wide range of mobile and fixed-installation hardware, ID Series delivers precision sound, right where it’s needed. #42128 - Resize Half ID Series Dispersion ad.indd 1

Thinking. Inside the box. 24/11/2015 11:38


Harmonic Design hd HLS20

Genelec 4000 Series Genelec has refined its 4000 Series loudspeakers with a host of improvements, making them more powerful, more energy efficient and more lightweight. The updated 4020C and 4030C installation speakers now deliver heightened sound pressure level (SPL) and lower power consumption, and an updated power supply has led to significant reduction in weight. The improvements make the compact two-way active loudspeakers even more installation-friendly than before, whilst still providing the same outstanding performance that integrators have come to expect from Genelec. In addition, new dip switch controls give integrators more flexibility for fine-tuning and optimisation, and a new, larger Euroblock connector has been added which requires no soldering to make cable interconnection. All models contain an integrated amplification unit comprising an active electronic crossover, overload protection circuitry and two power amplifiers, one for each driver.

The hd HLS20 is a unique loudspeaker system developed by Harmonic Design, which reduces the needed truck space dramatically and improves the quality of a public address system to a new level of uniformity and complete absence of distortion. The HybridLineSource System is equipped with two special designed high performance 10-inch neodymium low frequency chassis and reaches an impressive sensitivity of 107dB in the lowmid-frequency range. The exceedingly large-dimensioned high frequency section consists of three 1.4-inch neodymium compression drivers with a special polymer diaphragm, coupled to dedicated LineSource wave formers generating a cylindrical wave front with a vertical dispersion of 40°. Due to the coaxial setup the horizontal coverage pattern is free of interference and both ways are time aligned for a perfectly consistent horizontal coverage of 100°. The innovative and unique hybrid horn-loaded-, vented-, coaxial- and LineArray- enclosure design ensures seamless efficiency, most compact dimensions and undistorted high SPL. The mechanical structure allows the use on a speaker stand or flown in vertical arrays. Every loudspeaker has an integrated three-point FastRig-rigging system where the inter element curvature can be set precisely. For even larger applications, the hd HLS24 is the slightly larger companion with two 12-inch from the hd HLS-Series.

HK Audio LINEAR 3 series HK Audio has introduced a brand new series of high-performance active speakers - LINEAR 3 - and has added two new active models to the LINEAR SUB family of subwoofers. LINEAR 3 delivers top-notch sound for bands and DJs in every scenario, offering beautifully balanced, high definition sound, impressive low-end, clear speech reproduction, and advanced DSP technology, all packaged in a strong and confident design – and all made to premium standards in Germany. The first members of the LINEAR 3 family are the 12-inch / 1-inch L3 112 FA, the 15-inch / 1-inch L3 115 FA and the multipurpose 12-inch / 1-inch L3 112 XA - which functions superbly both as a top and as an onstage monitor. The technology behind LINEAR 3 makes it simple for performers to achieve great audio results every time, even if they have no sound engineer or a thorough pro audio knowledge themselves. Four EQ presets - Bass Boost, Flat (LF), Flat (HMF) and Contour, two of which are active at any one time - provide plenty of options for shaping the sound to perfectly fit the music style, venue and audience. In addition, the LINEAR 3 mid/high units offer plenty of headroom thanks to their 1,200W Class-D power amps, Intelligent Multiband Limiters ensure tonal integrity at every volume level, and precision directivity means the sound will go straight to the audience, with few unwanted reflections occurring. They are also ideal to be used in conjunction with LINEAR SUB subwoofers, including the new 15-inch L SUB 1500 A and the 18-inch L SUB 1800 A. Flexible and powerful, the new subwoofers are each equipped with a stereo input, meaning they can be easily be configured in half stacks, full stacks, 2.1 setups, and in mono sub clusters.

Inspired Audio Optima 8 The Optima 8 from Inspired Audio is a compact format vertically arraying loudspeaker enclosure. It is designed to be used in either a ground stack configuration, which allows between three and six cabinets to be used or in a flown array where six to 18 cabinets can be combined. The cabinet combines two off eight-inch mid bass cone drivers with two 100mm planar wave guides loaded on an integral horn structure. The horn structure has a nominal dispersion character of 110° horizontally by 10° vertically. All components use neodymium magnet structures. Optima 8 incorporates a fully integrated fly system which permits box to box angle selection in 1° increments. Box to box connection is via four Kwik lock pins. All Inspired Audio products are designed as an integrated solution complete with system amplifier options from the eFlex range. The eFlex units provide DSP preset functions, networked software control of operating parameters and output drive power. An eFlex Q5 will drive three Optima 8 enclosures per channel pair while an eFlex Q20 will drive four Optima 8 enclosures per channel pair.

JBL VTX A12 JBL VTX A12 is a complete sound solution for mid- to large-size touring applications and high-end fixed installations. VTX A12 was designed from scratch to address the unique challenges of rental companies, FOH engineers and tour sound production crews. Next-generation JBL transducer technology and a high-frequency waveguide design deliver unmatched performance, sensitivity and coverage. A patented JBL rigging mechanism and redesigned suspension system streamline deployment and setup. And refinements to the physical design maximise reliability and versatility, while minimising size and dramatically reducing weight. VTX A12 isn’t just a superior line array - it’s a completely new way to approach sound for touring and fixed installations like stadiums, arenas and theme parks.

K-array Lyzard K-array’s Lyzard line shares some of the same characteristics with its animal namesake. With a miniature four-inch length form for easy hiding, the Lyzard loudspeaker is an impressively small and incredibly powerful line array with a designed for discreet use in a variety of intimate environments such as restaurants, bars and museums. The durable and resistant aluminum enclosure contains a line array of four 0.5-inch full-range drivers housed in a sleek case. Producing an output of 92dB in continuous, the high efficiency driver units have neodymium magnet structures and suspensions engineered for maximum linear excursion and minimum residual transducer noise. The system delivers long throw and coherent coverage with crystal clear audio making it ideal for use in space constrained situations. The Lyzard is offered in sleek black and an elegant white or a customised brushed or polished stainless steel finishes give the products a chameleonlike ability to reflect surrounding surfaces and blend in with the background.


Kling & Freitag VIDA L VIDA stands for ‘versatile intelligent digital array’. The aim of the VIDA L development was to explore from the outset what is technically feasible and to implement this as a groundbreaking innovation. A total of 48 DSP and Class D power amplifier channels are distributed on three loudspeaker routes in a coaxial arrangement. Each VIDA L module is equipped with six 6.5-inch woofer chassis, twelve 3.5-inch mid-range drivers and 32 one-inch dome tweeters. For the beam steering, typical artefacts of up to 10kHz are avoided in combination with the special waveguide system. Through active allocation of the frequency spectrum to each optimised woofer, mid-range and tweeter chassis, dynamic playback of up to 60Hz can be achieved. In this way, the VIDA L meets all the requirements of a full-range system. If required, the optional VIDA C module that can be mounted on the back of the VIDA L can further extend the low frequency range or, alternatively, can optimise the system’s low frequency radiation in cardioid mode. An auxiliary DSP output is available for the expansion of subwoofers. VIDA L offers all common input variants such as DANTE, AES3 and analogue. In case of a fault the two stage fallback concept switches to a substitute signal. All loudspeakers within an array are connected to each other via an Ethernet cable and are automatically recognised and grouped in the software.

KRK V Series 4 KRK Systems V Series 4 nearfield studio monitors are specifically designed for audio production applications where accurate reproduction is critical. KRK worked with hundreds of pro engineers/producers/mixers to develop these monitors. Recording and broadcast studios as well as sound design and audio production houses will benefit from adding the V Series 4 as the go to monitor of choice. V-Series 4 includes 49 user selectable EQ settings to ensure proper setup for room acoustics and placement anomalies as well as taste and individual preference. The KRK design team has painstakingly modeled and analysed hundreds of monitor placement and room acoustic situations to ensure that KRK delivers the most useful tools with minimal adjustments.

KV2 Audio VHD2.18J KV2 Audio introduces a brand new subwoofer especially designed to add extreme low frequency-last octave extension with exceptional high output to large sound reinforcement systems. It is ideal for adding sub bass to KV2’s large format point source VHD and SL series. The new VHD2.18J was developed in close collaboration with Johannes Krämer, renown Sound Engineer of the Time Warp label. It is a direct radiating bass-reflex speaker containing two 18-inch high performance transducers. The optimised, high efficiency, bass-reflex design of the VHD2.18J produces considerably more output than other similar double 18-inch enclosures. KV2 has applied for a patent on the VHD2.18J designs which reduces the build up of pressure inside the cabinet where energy can be lost improving the output accordingly. Combined with a fast transient response, the VHD2.18J delivers a high impact, tight defined bass response. Constructed of Baltic Plywood, integrated proprietary Flyware allows for fast rigging of multiple cabinets when they are needed to be flown. The VHD2.18J sets a new standard for this well used and respected sub bass configuration and can be used in any application where high output and definition in the bass range is required..

L-Acoustics Syva Syva is a segment source system suited to medium throw applications. It is designed for professional sound reinforcement and high-end residential applications requiring high fidelity and SPL with minimum impact. Syva features six five-inch MF speakers providing usable bandwidth to 87Hz and three 1.75-inch HF diaphragm compression drivers, loaded by DOSC waveguides in a J-shaped progressive curvature. This transducer arrangement, called segment source, produces an H/V 140° x 26° (+5/-21°) directivity pattern, optimised for ultra-wide horizontal coverage with extended throw capability. Its companion Syva Low enclosure features two K2 12-inch drivers designed to provide low frequency contour and extended bandwidth down to 40Hz. Syva Sub features one high-excursion 12-inch driver equipped with a KS28 woofer motor to further extend the bandwidth of the system in the sub frequency domain down to 27Hz. Syva can be wall- or pole-mounted, as well as flown, or used alone with its baseplate. Alternatively, Syva can be rapidly mounted on top of Syva Low or Syva Sub using the AutoConnect plug-and-play audio and physical link.


LD Systems Stinger G3 Series LD Systems’ Stinger G3 Series of loudspeakers are real workhorses for demanding applications that have been engineered to provide truly professional sound reinforcement solutions. The Stinger G3 line includes active and passive models that are simply outstanding in their class. Custom designed drivers with high power handling and BEM modelled waveguides deliver immaculate audio quality, extended low frequency response and coherent coverage. Sporting lightweight Class D power stages, active Stinger G3 models are capable of huge sound pressure levels. The multi-purpose tops feature up to a massive 500W RMS output and carefully tailored presets for flat response, fullrange, satellite or floor monitor applications. LD Systems’ proprietary DynX DSP technology ensures perfect time alignment and distortion-free performance even at maximum levels. Producing tremendous low end punch and definition with up to 800W RMS output power, Stinger G3 subwoofers include user-friendly presets for rapid system integration and cardioid array configurations. All Stinger G3 enclosures are made of rigid, low-resonance birch ply. They are coated with non-abrasive, impact resistant polyurea for superior strength and unrivaled durability. Integrating LD Systems’ Dual-Tilt pole mount, multiple suspension points, stacking recesses and ergonomic handles the Stinger® G3 Series has been designed for touring artists, rental companies and installation applications.

Lynx Pro Audio GXR-LA10A The GXR-LA10A is a bi-amplified, two-way, class D enclosure that delivers high power levels in a very compact format. It uses dual 10-inch (two-inch voice coil) Low/mid drivers. For the high frequencies it uses a 1.4-inch (three-inch voice coil) exit throat compression driver coupled to a waveguide offering 100°H x 10°V coverage.  As a compliment for sub bass reinforcement the new GXR system offers a powerful combination of subwoofers. The  dual 15-inch GXR-D15A is equipped with two 15-inch speakers and is as equally compact as the top unit. It is designed to be flown or stacked in perfect combination with the GXR-LA10A units. The second LF option is a dual 18-inch, GXR-D18A specifically designed for floor installation as extra reinforcement when extreme low frequencies are required. Both subs, as the top are self-powered (PFC) and each with integrated DSP. The key feature of this system is the incredible power/volume/weight ratio, offering all the benefits of a first class line array system. The tops also deliver wide coverage in the horizontal plane and the complete system is very user friendly. The ideal sound tool for indoor projects and general mid size outdoor events.

Martin Audio Wavefront Precision Series The Wavefront Precision Series is a new generation of multipurpose line arrays that brings Martin Audio’s signature sound, coverage consistency and control to a broader range of touring applications, installations and budgets. The WPC (two 10-inch LF) and WPM (two 6.5-inch LF) Wavefront Precision line arrays are designed as complete systems with the new external iKON multi-channel amplifiers optimised by Martin Audio’s automated DISPLAY software. Adopting the principle of scalable resolution with external, dedicated multi-channel amplifiers, Wavefront Precision line arrays are uniquely flexible, upgradeable, and financially accessible. As Dom Harter, Managing Director, explained: “Martin Audio’s highly successful MLA Series consists of fixed resolution systems. With Wavefront Precision we wanted to introduce a system with a flexible and scalable approach to resolution and control of coverage. “Simply put the more boxes with dedicated amplifier channels, the higher the resolution and scale of coverage control achievable. “This means even at the lowest level of resolution, the results are still fundamentally better than traditional line arrays at no extra cost, and at the top end of resolution users can enjoy many of the benefits MLA systems provide.”

Meyer Sound LINA The LINA is a new addition to Meyer Sound’s LEO range - and it is easily the smallest and lightest in the series. LINA - and its companion control element 750-LFC - brings the inherent linearity, low distortion, and exceptional power-to-size ratio of LEO Family technology to a wider range of applications and venues. Taking advantage of the existing MINA footprint, LINA boasts new drivers and an updated amplifier and signal processing package that, along with an improved power supply, enables higher peak output. Improvements in high-frequency headroom and lower distortion help LINA to faithfully reproduce audio with tremendous power, superior intelligibility, and extremely low distortion.


NEXO ID24 NEXO’s super-compact and low profile ID24 loudspeaker fits snugly into almost any environment. Using a variety of fixing options, ID24 can be mounted vertically or horizontally, and has proved a popular choice for high-quality sound reinforcement in restaurants, hotels and public spaces. The ID24 full-range speaker uses twin four-inch drivers in a V formation in combination with an HF compression driver. It has a unique user-adjustable horn, easily rotatable without tools by a switch on the rear panel, giving 60º or 120º HF coverage. This allows HF horizontal dispersion to be ‘tuned’ for the given application. As the ID24 can be mounted vertically or horizontally, this effectively gives the user four different directivity options in each cabinet. Tailored specifically for the installation environment, the ID24i has its termination in captive cable for fast, secure connectivity with existing wiring. It is available in Black or White with a matching fabric grille. The S110 is a specially designed partner sub bass, a single 10-inch in a low-profile, sleek cabinet design, which allows for easy and discrete installation. The ID24 benefits from highly cost-effective amplification opportunities. 16x ID24 cabinets can be powered by a single NXAMP4x1, NEXO’s smallest powered TDController, which offers a host of features including ‘channel-by-channel’ preset selection and remote monitoring using the NeMo app. EtherSound and Dante network and AES/EBU digital input compatibility are available as an option.

One Systems Platinum Hybrid Range

NEXT-proaudio HFA106p The new compact six-inch HFA106p was designed to complement the existing larger products within the HFA series. The quality and the power of the system make it perfect for installation, small systems for live music, as well as front-fill or side-fill. It is a system with a fantastic ratio between the size and its sound pressure. The HFA106p is a 6.5-inch model with a 90° x 40° dispersion (user rotatable) entirely made in Portugal, using quality custom made components, loaded by birch plywood enclosures, coated by a scratch resistant textured paint to assure an outstanding performance and an extensive use. Versatile enclosure design, combined with a wide range of mounting options and associated hardware, provides unrestricted flexibility for both portable and installed applications. On this series there are several color combinations available. To further simplify creating active two-way systems the companion subs HFA112s, HFA115s, HFA118s use an integrated two-channel digital amplifier to power external full-range passive speakers.

One Systems Platinum Hybrid loudspeakers provide systems integrators with a universal direct weather loudspeaker solution for outdoor venues that require high fidelity loudspeakers with outstanding intelligibility. All models - from the 4.5-inch two-way systems to ultra-high output stadium boxes - offer excellent transient response, intelligibility, extreme weather protection, and 316-grade (marine) stainless to fight corrosion even from salt water and marine environments. Designed with IP45 to IP56 weather protection, the series provides superior vocal intelligibility in both music playback and speech, making them equally ideal for inside applications. The ten Hybrid loudspeakers range from a compact 104/HTH to the two-way 312/HC and the ultra-high-output CrossFieldArray-2/HTH. All models in the series through the 112/HTH are also wired for Low-Z or High-Z installation. The injection molded models are built in black and white. All mounting hardware is also available in 316-grade (marine) stainless steel.

Outline EIDOS Series The EIDOS series are the ideal fit in a wide range of permanent installations, such as clubs, lounge bars, pubs, music-cafés, theatres, conference rooms, stores, shopping centres and malls. EIDOS 10, EIDOS 12 and EIDOS 15 are two-way full-range units equipped respectively with a 10-inch, 12-inch and 15-inch loudspeakers and fitted with passive crossovers manufactured with top grade components (coils with very low resistance and metallised polypropylene capacitors). With these tuned enclosures, the low frequency loading is of the phase inversion type. The compression driver and waveguide are the same on all three. The latter (90° x 60°) offers a great advantage for installation in small rooms or those with low headroom, as it can be rotated through 90° to ensure the required dispersion no matter what position the cabinet is installed in (horizontal or vertical). The mouth’s ample dimensions ensure remarkable directivity control. The lines of the cabinets enable them to be also used as stage monitors.

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P Audio XT-8 The P Audio XT-8 is a compact professional sound reinforcement system designed for foreground/background applications. The XT-8 is ideal for fixed installation applications such as restaurants, bars, retail outlets and general purpose indoor public address and full range music systems. The design of the XT-8 features a wide bandwidth eight-inch (203mm) low frequency device and a true compression driver coupled to an elliptical wave guide for controlled high frequency dispersion. The rated included angles are 90º by 65º. The XT-8 is a full range design that employs a high order passive crossover that provides excellent summing and balance for the individual transducer components. The XT-8 features linear amplitude response, very defined intelligibility and superior reliability. The power handling is rated at 200W continuous with a peak input power capability of 800W. Maximum peak SPL is 122dB. System impedance is rated at eight ohms. The enclosure is constructed with high quality plywood and finished in a very durable polyurea coating. The system includes a top hat style stand adaptor and an optional U bracket to allow flexible mounting. The XT-8 is a very high performance design that features simple mounting for use in a variety of indoor applications.

Peavey PVXp 10 The Peavey PVX Series of active and passive loudspeakers are the culmination of decades of R&D and experience building the best portable, all-in-one sound reinforcement solutions. With compact size, solid construction, multiple flying and mounting options, and ample features, these will be your go-to speakers for sound reinforcement The PVXp 10 is a two-way sound reinforcement system based on a heavy-duty Pro 10 10-inch woofer and a RX10N dynamic compression driver mounted on a 100º by 60º coverage constant directivity horn It’s sleek modern appearance coupled with excellent performance offer an outstanding package. The trapezoidal cabinet has two handles for ease of portability, and an extra 45º angled section on the right side to allow use as a floor monitor. Four sets of flying/mounting points, two on the top, and two on the bottom, with a total of 10 cabinet inserts, provide for the ultimate in installation flexibility. A black powder coated perforated steel grille provides driver protection and a professional appearance. The heavy-duty 10-inch woofer provides a good strong low end for such a compact enclosure. The RX10N compression driver tweeter is coupled to a constant directivity horn with smooth, even response, low distortion and good high frequency dispersion. This horn has an asymmetrical vertical polar response, aiming the main energy lobe down 10 degrees, so it is aimed at the audience, instead of over their heads.

PK Sound Trinity Trinity is the first three-dimensionally controlled sound system that is configured remotely, capable of focusing sound exactly where it is intended. Trinity provides a completely new set of tools that allows advanced users unparalleled control not just over basic digital signal processor (DSP) settings but the vertical and horizontal directivity of the entire array. Using Kontrol software coupled with electronic actuators housed in each loudspeaker, audio engineers can make adjustments to the line array remotely and instantly with the touch of a button. In contrast, traditional line array speaker systems have a fixed horizontal and vertical dispersion pattern, which cannot be changed once manufactured. Trinity has opened the door for audio engineers to have full control of the line array at all times, remotely or locally.

Pioneer Pro-Audio XPRS Series Pioneer Pro Audio’s XPRS Series is a range of compact and versatile, active wooden enclosure speakers. The combination of Pioneer Pro-Audio sound engineering heritage and the reliable, energy efficient power of Powersoft Class-D amps, which deliver a massive 2400W output, makes for a perfect plug and play system that is at home in a variety of applications. The XPRS Series comprises the XPRS-15 and XPRS-12 two-way full range speakers and the XPRS-215S dual 15-inch subwoofer. All three feature 15mm birch plywood, delivering a natural, dynamic sound for the best acoustic performance. XPRS15 and 12 both have a 1.75-inch titanium diaphragm compression driver and Pioneer Pro Audio’s ‘AFAST technology’ to deliver a clear, clean sound with a deep bass range. Listeners can enhance the sound using the four EQ modes with built-in DSP, which include flat, bass +, speech and wedge. Both XPRS15 and 12 speakers can be pole-mounted with a 0º to 7º tilt to suit setup, or placed on the floor for use as foldback monitors. With dual 15-inch ferrite drivers, the XPRS-215S is the perfect complement for enhancing low end. Power and quality combined with its flexibility, durability and portability makes it a highly versatile solution in a host of situations.


Quest Audio MX Series The Quest MX Series is based around a six-inch or eight-inch, two-way, full range, wall or ceiling mountable loudspeaker and can be augmented with a very compact ceiling or wall mount subwoofer. Ceiling speaker versions are also available. The ultra-compact MX601 and MX801 loudspeakers are very low profile and feature Hi-Fi quality audio reproduction, withstand direct all-weather environments, and include an installation friendly mounting system that is both elegant and practical. To achieve the high fidelity audio performance in such a small physical size, a completely new type of woofer design was required. Quest has designed a new type of driver and also incorporated a passive resonance circuit that simulates the action of a reflex port. This means an eight-inch driver can function at full capacity within a cabinet space that would normally be suited for a six-inch driver. The result is a small visual footprint system can be environmentally rated up to IP67.

QSC KW Series Building on the success of our K Series, the KW Series represents the next evolutionary step in wood enclosure loudspeakers. The KW Series features all the groundbreaking electronic attributes of the popular K Series, while at the same time designing a product that is both smaller and significantly lighter than previous wood enclosure models. Each of the four KW Series models features a QSC designed, 1,000W (two 500W continuous) Class-D power module. And continuing in the K Series tradition, every model is fitted with the identical high-output 1.75-inch HF device (full-range models) and woofers of the same high quality design, regardless of speaker size. In the range, there are the KW122, KW152 and KW153 loudspeakers, as well as the KW181 subwoofer.

RCF HDL6-A A recent addition to the popular D-Line series of composite enclosures, RCF’s compact HDL6-A is the perfect installation / touring crossover solution. It is the ideal choice when optimised, process-controlled line array performance is required and a fast and easy setup essential. A 1,400W two-channel digital amplifier powers the system, while powerful DSP processes the sound including crossover, phase correction, limiting and protection. The system features state-of-the-art RCF transducers - two powerful 6.5-inch woofers for a solid bass reproduction plus a high powered 1.7-inch voice coil compression driver mounted on a precise 100° x 10° waveguide deliver vocal clarity with high definition and an incredible dynamic. The custom designed waveguide provides a precise coverage of 100° x 10° delivering a superb, linear high frequency response. A clear advantage of the HDL6-A is that it has been designed using FiRPHASE - a proprietary and advanced FiR filtering technology, conceived to deliver transparent sound, absolute clarity and perfect stereo images. These special filters ensure coherent distribution of sound without phase distortion, thus guaranteeing minimum latency. A further bonus for specifiers is that the HDL6-A is available in both black and white versions.

Renkus-Heinz VARIAi VARIAi Modular Installation Array Systems are designed to be the most flexible and versatile loudspeakers available. Highly configurable enclosures and ingenuous hardware make it easy to tailor each speaker to every application. Integrating only the highest quality components, VARIAi employs powerful low-frequency woofers and lightweight neodymium Compression Drivers, all coupled to the most advanced cabinet and waveguide designs. The result is a system that delivers the sound and performance you’ve come to expect from Renkus-Heinz. VARIAi 101 full-range models are available in three vertical cabinet angles, 7.5º, 15º and 22.5º allowing vertical coverage to be easily tailored to meet shape and SPL requirements for every venue. 15º and 22.5º cabinets can be used to cover greater vertical angles while 7.5º cabinets provide tighter control.

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SoundTube IPD Speaker Series SoundTube has added three pendant speakers to its Dante-enabled line of installed speaker products. The IPD-RS62-EZ and IPD-RS82-EZ use SoundTube’s BroadBeam Ring high-frequency dispersion technology for clear, understandable messaging and music over a wide area, even off-axis from the speakers. The high-power IPD-HP82-EZ uses a BroadBeam HP compression driver with waveguide for use in rooms with extra high ceilings. Applications for IPD pendants include any facility with high or open ceilings, such as houses of worship, schools, hotels and meeting spaces, bars, and restaurants. All three speakers are available in a black or white (paintable) finish. Hanging hardware is included. With digital signals plus power sent directly to the speakers via standard category cable, SoundTube’s Dante speakers do not require amplifiers or D/A converters, and they are interoperable with a host of other products operating on the Dante platform worldwide. They may be used with SoundTube’s ST-Net Switch, offering up to 40W PoE to each speaker, or with standard PoE or PoE+ switches.

SYNQ SC-series The new SYNQ SC-series is a series of highquality coaxial speaker cabinets. In combination with the new subwoofers from the SQ-series they are the ideal choice for all applications where sound quality, performance and ease of use are essential. The company’s Belgian product development team has decades of experience and as skilled sound experts they worked hard for over two years to design these new innovative speaker ranges. To guarantee the quality SYNQ decided to keep all processes - design, development, manufacturing and support - in Europe and only use components that meet the highest standards such as beyma and Faital Pro drivers, Mundorf resistors and MKP capacitors. The new products make use of neodymium drivers instead of the typical iron-ferrite magnets as they are very powerful and weigh much less. The cabinets are made from first choice Baltic birch plywood and have a scratch free black textured Polyurea finishing. They can be placed at different angles and mounted in different ways using optional brackets or optional omega clamps. For safe transport of the SC-speakers and their accessories, SYNQ also offers optional, stackable, premium quality flight cases. The ingenious design of the cases allows testing of the speakers inside the case without the need to remove the speakers from the case.

TOA HX-7 TOA’s HX-7 is a powerful and compact line array speaker with multiple installation options. It comes into play when pristine clarity in a wide range of application from sporting venues, auditoriums, concert halls to acoustical challenging houses of worship is needed. Speaker design consist of four integrated modules that can be easily adjusted to optimise the vertical dispersion angle. Thanks to its enclosure design, HX-7 allows adjustment of sound dispersion angles of 0º-15º-30º-45º and 60º. Built-in isophasic wavefront control horn with compression driver ensures HF control and reproduction of HF sounds. HX-7 incorporates eight 5.5-inch LF woofers together with four one-inch waveguide-loaded HF compression drivers. They are loaded onto a wave-control horn, offering SYNC-DriveTM waveguide technology. With a sensitivity (1W, 1m) of 100dB, the HX-7 operates within a frequency response of 75Hz to 20kHz. Enclosure is finished in either black or white, while weatherproof versions are also available. The IPX4rated versions (WP) operating within a 105Hz to 20kHz frequency range. When combined with the FB150B compact subwoofer, systems frequency range can be extended to 40Hz. Hanging brackets, speaker stands and mounting bolts promote the systems use in a variety of applications.

TW AUDiO VERA20i The VERA20i loudspeaker is equipped with two 10-inch chassis for the low-mid frequencies and a newly developed waveguide with an 1.4-inch mid-high compression driver. Measuring just 60 cm in width, the loudspeaker forms part of a vertical array up to 24 elements. Compared with typical double eight-inch systems, the VERA20i‘s two 10-inch drivers are able to reproduce up to 6dB more output in the low-mid frequency range with lower distortion. The newly developed 1.4-inch compression driver and waveguide are reproducing a smooth and accurate midrange response for natural vocal and music reproduction. The low frequency crossover point around 1kHz guarantees a precise and uniform coverage even in the sensitive transition range. The extraordinarily fast transient response replays the high frequencies in a very detailed and crispy way. The compact and appealing design of the enclosure allows a subtle presentation of the VERA20i. Especially when sightlines have to be considered or an array needs to be fitted unobstrusively within the architectural surrounding. The fully integrated nearly invisible installation four point-rigging hardware support the descent optical aspect. A special feature is the logarithmic scaling of the intermediate angles between angles. It enables angles smaller than one degree to achieve a more accurate directivity of the upper array elements over a longer distance. In addition costs for expensive pins and additional frames between subwoofer and tops do not apply.

Voice Acoustics Ikarray-12 The Ikarray-12 is an innovative two-way, full range line-array. This lightweight, compact unit with many intelligent detail solutions is suited for everything from small events up to large venues with many thousand listeners. Much emphasis has been placed on constant directivity and linear frequency response even outside the mid-axis. This has been achieved on the horizontal level with one 12-inch, single mounted to give a wide dispersion without restrictions such as those caused when two transducers are placed next to each other. The vertically optimal coupling of elements is possible due to the tight spacing and division of the acoustic centers into multiple virtual sound sources: a 1.4-inch exit high frequency driver is coupled on a special Double-Twin waveformer, which splits the sound source into four subsections. A newly developed V-plug has been mounted in front of the 12-inch low-mid transducer to segment the large membrane into two sections, shifting the acoustic center outwards. The DoubleTwin waveformer and V-plug make it possible to reduce the distance between the acoustic sources to a minimum, optimizing the frequency cut-off and the coupling. This technology has made it possible to use a 12-inch transducer in two-way operation in compliance with physical laws to achieve a typical coherent line-array vertical wavefront. In comparison to many other arrays of this size, the Ikarray-12 has a warm sound with powerful low-mids that allow a low x-over. As a result, the Ikarray-12 can be used for many purposes without subwoofers.

Void Acoustics Air Stream The Air Stream loudspeaker comprises a single 15-inch low frequency driver with a coax 12-inch midrange and a 1.4-inch HF. The stylishly sculptured two-way active Air Stream offers all the benefits of its larger brother the Air Vantage but in a more compact form. Capable of full range operation, the Air Stream can be used in smaller booths without the need of additional sub enclosures. For higher levels of playback the addition of a low frequency enclosure transforms the Air Stream into a monitor system suitable for larger club or festival events. A single Neutrik speakON NL4 is used for connection.


Wharfedale Pro TITAN AX / X VUE h-208 The h-208 from VUE Audiotechnik is a beryllium-infused, DSP-injected high-definition loudspeaker ideal for applications where performance and visibility cannot be compromised. Coming with a very low vertical profile design, it maintains clear line of sight in low ceiling applications, where uncompromising output and fidelity are critical. Large format Neodymium HF compression driver with Truextent beryllium diaphragm for exceptional high frequency clarity and output. The h-208 also has a powerful onboard amplification with 1,600W LF and 275W HF power long term sine wave (more than 3,400W total peak burst) for output and exceptional transient reproduction. Offering 70° horizontal x 45º vertical coverage, the VUE loudspekaer also has a integrated DSP, networking control and Dante builtin.

The new TITAN AX (active) and TITAN X (passive) models are the first from Wharfedale Pro to use their latest IRIS compression driver.  Built entirely in-house by Wharfedale Pro, IRIS (Acronym - Increased Radius, Increased Sensitivity) compression drivers feature improved sensitivity and heat dissipation. To harness the power of this IRIS compression driver a hybrid symmetry horn is used, delivering 100° x 80° HF dispersion. Physically, the cabinet has been strengthened to reduce any high volume physical distortion. 15-inch models feature massive three-inch LF voice coils – reducing the risk of thermal damage.  The LF cone material has improved moisture rejection allowing for installations in even more hostile environments. Active models are Class-D bi-amplified. A six-position DSP section includes an exclusive mode called ‘Live’ which applies different DSP settings to each of the two analogue inputs - perfect for solo entertainers using mic and line sources. All models feature standard 35mm pole sockets and 10 M8 threaded rigging points for a variety of installation configurations. The new features of TITAN have not added to weight and they remain one of the lightest powered loudspeakers in their class. New TITANs. Active, passive, 12-inch, 15-inch, black or white.

Yorkville Sound EF15P The next generation of élite series speakers are here. With new construction materials, proprietary woofers/horn drivers, redesigned horns, and a new amplifier design, this next generation of élite speakers are sure to impress. Beyond the upgraded components, Yorkville is also ready to introduce an iOS and Android control APP to help users fine-tune the EQ and limiter settings via Bluetooth connectivity. The EF15P (replacing the flagship EF500P) delivers more power, a lower THD rating and is much more manageable weighing in a 64 lbs (29kg), a 22% reduction in overall weight. Also new to the EF15P is finely tuned multi-band limiting and four new user selectable playback / performance modes ensuring maximum flexibility and control in any live sound application. Users of the popular élite EF500P powered cabinet and LS801P powered subwoofer will immediately identify and appreciate the upgrades to the line.

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

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

©2016 Renkus-Heinz







1. AV Stumpfl INLINE System The AV Stumpfl INLINE system is a premium quality roll up projection screen that was designed so that its lower screen edge can completely disappear within its casing. A noiseless motor with special rubber mounting is available for rolling the screen up and down, in addition to a smooth, hand operated crank drive. Coming in the standard size or a tailor made size, AV Stumpfl’s INLINE provides a stylish hiding place for a projection screen. A top-quality, stationary projection screen must meet a number of criteria, while the projected images themselves must be large, brilliant and effective. However, when it is out of use, the screen should be invisible - and that’s why the INLINE system makes the lower screen edge disappear into the casing until it is level with it.


2. LPS-Lasersysteme LPS-RealLAN Technology The LPS-RealTIME Pro software has long been a concept for professional users of laser shows and multimedia events. The latest addition to LPS-RealTIME Pro software from LPS software specialists is the network-based LPS-RealLAN technology. Cables for miles and miles between stage and FOH are therefore a thing of the past. With the help of network switches, any number of show laser systems can be integrated into the network and controlled independently. In combination with the LPS-RealTIME Pro laser show and multimedia software, these are both the laser systems of LPS, as well as any ILDA-capable device from other manufacturers. Every distance between FOH and the laser show systems is easily possible with this small RealLAN plug, which is just 5.3cm x 4.2cm x 1.9cm (L x W x H). The safety of all at an event is the essence for all companies. In order to immediately interrupt an unintended laser output, an emergency-stop-button with cable was used reliably. Today, the RealLAN E-Stop complements the modern network equipment. It also comes from LPS-Lasersystems and can be easily integrated into the network. Like its predecessor, the modern RealLAN E-Stop reliably ensures this important function.

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) LED TMH-61 Hypno Mondo_may_june_2017_TMH_Hypno_third_landscape.indd 1

18.04.2017 09:12:35


Flexible Solutions. Communicate Freely.

Pro Sound Music Store & Installation Company

For Sale On a beautiful, duty free, English speaking multi national Caribbean island. Well established, since 1988, well stocked and ready for the right buyer. Broad application Business & Directors Licenses included. Look over our website: to see our great lines and beautiful store. Connect with us through the website, or call (721) 587 1903. If you are serious about a great and unique opportunity! Priced to sell by retiring owners

HelixNet When the production calls for a digital partyline system, the only logical choice is HelixNet: the quick startup, seamless interface digital partyline system from Clear-Com. Providing up to 24 networked audio channels, support of up to 20 digital beltpacks on a single shielded twisted pair cable, and PoE support for all its beltpacks. Who do you trust for the best intercom experience?

FOLLOW US ON INSTAGRAM FreeSpeak II For greater ďŹ&#x201A;exibility and movement around your production, FreeSpeak II is the complete wireless communications package. Dual frequency band options in 1.9GHz and 2.4GHz, reliable RF connection and digitally crisp audio sound. FreeSpeak II is a tried and true solution, delivering peak performance for many live productions for over a decade. Who do you trust for a reliable intercom experience?â&#x20AC;?






1. Magewell USB Capture Plus

3. Tempest Breeze

Magewell’s new USB Capture Plus family of external video capture devices enables all types of computers including laptops to ingest professional HD or 4K video and audio signals through a standard USB 3.0 interface. Featuring driver-free installation and automatic input detection for true plug-and-play operation, USB Capture Plus devices are the easiest and most reliable way to bring SDI, HDMI or DVI sources into video recording and live streaming software applications, helping extend the reach of your venue’s events beyond your walls. Three HD models and two 4K models provide a flexible choice of input signal connectivity and capture resolution. All HDMI and SDI models support embedded audio and feature loop-through connections, reducing workflow costs and complexity by enabling source signals to be sent simultaneously to additional displays or equipment without the need for external splitters or routers. All five models also include an analog audio input and monitoring output. FPGA-based video processing performs high-quality up/down/crossconversion, image adjustments and more with zero impact on the host system CPU. Magewell’s USB Capture Plus devices support Windows, Mac and Linux operating systems, while the included USB Capture Utility software provides extensive control of input parameters, processing settings and advanced functions.

Tempest has launched Breeze, a projector enclosure that provides an effective and affordable weatherproof solution for most projector types between 3,000 and 15,000 ANSI lumens, whilst bringing outdoor projector operation within the budget of more projects. Breeze comes in an attractive dark bronze powder coat finish, and features optical grade tempered port glass. Its forced-air ventilation function runs when the projector lamp is on, or when the temperature inside the enclosure exceeds 35°C. A thermal barrier inside the cover provides added daytime protection under hot sun, and its electrostatic dust filter can be removed and washed when required. Breeze can be rigged using four M8 screws, or it can be hung using the included Hanging Adapter Kit. Its universal projector mount grips a projector firmly with pan, tilt and roll adjustment.

2. Robe pixelPATT Continuing the retro style lighting design, the pixelPATT is a new addition to the PATT family. In spite of its eye catching retro design, pixelPATT is based on modern LED pixel controlled technology. The pixelPATT is composed of seven 30W RGBW LED multi-chips, one in the centre surrounded by a ring of six, housed in a super-slim and lightweight brushed metal frame. Aesthetically it keeps the dimensions and attractive curvature of the PATT 2013 and the picklePATT, and this will also make it desirable for its physical appearance as well as for a light source. In order to make the pixelPATT elegant and a lightweight design, it has a remote Power and Data box PATT Driver, which is connected with the pixelPATT through an industry standard colour scroller cable with four-pin XLR connectors. The pixelPATT is an ideal fixture for television broadcasts, concerts, fashion shows or any type of event from awards to brand activations.

4. Visionary Solutions PacketAV Duet Visionary Solutions has introduced PacketAV Duet - the first platform to deliver Dante connectivity for video. For installed audiovisual professionals, the impact of Dante connectivity has enabled fast, easy and economical digital networking of multi-channel audio over IP. Now, Visionary Solutions’ PacketAV Duet brings the power of Dante to video allowing you to route video using Dante Controller. Nothing short of a paradigm shift for networked audiovisual, Visionary Solutions’ PacketAV Duet Encoder and Decoder deliver visually lossless, ultra-low latency 4K UHD video and Dante over Gigabit Ethernet, bypassing the constraints of traditional switch matrix systems by harnessing the flexibility and scalability of converged IP networks. With Visionary’s PacketTV and PacketAV products, 4K UHD, as well as full 1080p HD and lower resolution content can be deployed to a virtually limitless number of screens over any standard GbE network, even sharing space on existing enterprise networks, using standard network protocols and devices. A single network can carry audio, video, and data. Installation is a breeze, with no need for expensive proprietary components or 10GbE switches. Distributed displays and multi-component video walls are easily configured, and controllers from Crestron, AMX, and other third parties are supported.

Coming soon...


“Our engineering team is growing and our pool of talent is getting deeper, which is enabling Audix to develop and manufacture hightech pro audio products.”

CHRIS DOSS Vice President of Sales & Marketing at Audix How did you first get into the industry? After earning a degree in music and business from the University of North Texas, I made the decision to focus on the business side of the industry. My career has been diversified and rewarding, primarily in management and production of live events, as well as design, opening and operation of live performance halls and arenas. I also had a couple of stops on my professional path with MI manufacturers, allowing me to gain insight into that segment of the industry. This professional journey has allowed me to work alongside pro audio professionals, including sound engineers and installed sound contractors for several years. When and why did you join Audix? I have been at Audix for one year. Personally, and professionally, I was attracted to Audix by the culture, values, reputation and business structure of the company. The ideals and principles that guide Audix align very well with my own values. Integrity, honesty, innovation and drive for excellence are truly present at Audix - and the team is comprised of people who genuinely like each other. We are all colleagues and friends. What makes Audix different to other companies? A high degree of personal character exists across the entire Audix team. Audix takes great care in hiring people to join the organisation. We look for individuals who ‘fit’ the organisational culture. The first questions we ask ourselves when hiring are ‘what kind of integrity does this person possess?’ and ‘will this individual do the right thing in a challenging situation?’. Then we ask ourselves ‘does this individual bring the desired skills, qualifications and experience to the position?’. Obviously, we hire for both, but

never for skill or experience alone. Additionally, knowing who we are, who we are not and who we want to be is an important element of Audix culture. Having a solid company identity, which we all understand and appreciate, is a strength that keeps us on track and focused on activities that align with our goals and values.

Our approach is focussed on the question: ‘What do we need to design to offer innovative solutions for end-user customers, and how can we optimise success of our business partners with these Audix products?’ We are evolving our business, sharpening the talent across our team and expanding our capabilities to manufacture tomorrow’s products.

What installations have Audix been involved with recently? We routinely work with integrators who are highly respected within the industry on a variety of installations. There are a few public sector and large enterprise opportunities currently underway at Audix that are tied to developing new products for the pro audio industry - a niche that fits our brand identity and invigorates our team.

Tell us something we don’t know about Audix? Audix was based in the San Francisco Bay area for several years prior to relocating its headquarters to Wilsonville, Oregon, a suburb of Portland, Oregon.

What are the future plans for Audix? Installed sound is a market space that is seeing tremendous growth at Audix. We are also placing significant focus on the wireless product category, which serves all of our markets. Our engineering team is growing and our pool of talent is getting deeper, which is enabling Audix to develop and manufacture high-tech pro-audio products in these categories, in-house, at our facility in Wilsonville, Oregon. There will be several new exciting product additions in the coming year. Also, our international presence is expanding. We have partnered with experienced and talented pro-audio representatives who understand the nuances of their respective territories to increase worldwide distribution. The initial results have been positive, both in improving our international operations and revenue growth.

What three things would you take with you on a desert island? I would bring a GPS tracking device, a handheld water desalinator and a Bowie knife that has a fire starter flint stored inside the handle. What is your most prized possession? I have been playing drums since I was eight years old. Without a doubt, my drum set is my most prized possession. I do not get to play it nearly as much as I once did, or, as often as I would like, but I will never let it go. Where is your favourite place in the world? Portland, Oregon is my favourite place in the world. I am extremely grateful for the opportunities that have flowed towards me throughout my life. I love working at Audix. The US Pacific Northwest is a spectacular region to live in, filled with natural beauty and opportunities for outdoor adventure. And, I have the good fortune of spending everyday amongst a loving family and amazing friends and colleagues.


ShowMatch™ DeltaQ™ loudspeakers provide better coverage for outstanding vocal clarity. ©2017 Bose Corporation.

With DeltaQ technology, new ShowMatch array loudspeakers more precisely direct sound to the audience in both installed and portable applications. Each array module offers field-changeable waveguides that can vary coverage and even create asymmetrical patterns. The result is unmatched sound quality and vocal clarity for every seat in the house. Learn more at SHOWMATCH.BOSE.COM


W O R L D â&#x20AC;&#x2122; S F I R S T O P T I M I S E D L I N E A R R AY S W I T H S C A L A B L E R E S O L U T I O N

A scalable approach to the optimisation of audience coverage and control that delivers better results than standard line array, without the premium. Discover more at

Unite Your Audience The Martin Audio Experience

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19/04/2017 17:21

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mondo*dr 27.5  

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

mondo*dr 27.5  

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

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