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Avolites’ Sales Director discusses his 18-year journey at the company.


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for smaller boxes Game-changing innovations in coaxial speaker design ON THE COVER La Perle, Dubai EDITOR Rachael Rogerson-Thorley ASSISTANT EDITOR Sam Hughes SENIOR ACCOUNT MANAGER Jamie Dixon ACCOUNT MANAGER Laura Iles INTERN Harry Hunter 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

The summer months at the Mondiale offices are usually a tale of two halves. Here at mondo*dr, we normally have a quieter period, with fewer tradeshows taking place and much of Europe taking their annual holidays. Whereas our sister publication, TPi, is out and about in full force for festival season. However, this year, we’ve been pretty busy, too! Hopefully you’ll have already seen our digital promotion of mondo*stadia, our new supplement that we have very high hopes for. The website is now live, as are the dedicated social media accounts, so please do find us, follow us and like us. If you’re reading this in a printed copy, you should have the first issue of mondo*stadia in your grasp too. Have a flick through and let us know your thoughts. We’ve got another three issues planned for the rest of our financial year, so get in touch if you’d like to be involved - Sam is your main man for this! We’re also preparing to launch the mondo*dr Awards 2018, with the updated website due to go live any day now. At our launch party in London on 18 September, we’ll be declaring the gauntlet open for entries, so you’ll be able to submit your projects and be in with the chance of winning. We’ve confirmed our headline sponsor as Prolight+Sound once again, meaning the awards evening will take place at the show in Frankfurt next year. We’re also pleased to have TW AUDiO back on board for 2018 and excited to welcome our new sponsor, MADRIX. Our final announcement for the launch is the addition of Michael Nishball of Theatre Projects to our judging line-up. To wrap up the (not so sunny) season, we’ve been on the recruitment train, too, and I’m pleased to say that the mondo*dr team will soon no longer be able to fit around a standard table, as we increase our numbers from four to five. More about this in the next issue. Oh yes, and finally, we did just about find the time to put this issue together for you. The topics for the Report section and the Product Guide are firsts for mondo*dr, pushing the boundaries of our remit even further than before. And you must check out this issue’s cover story, La Perle in Dubai, which is Franco Dragone’s latest adventure - and his first journey into the Middle East. I’ll be back out there myself in October and I’m hoping that I might get a peek at the finished product, given that during my visit back in May, it was only possible to get a cheeky glimpse at the rehearsals. RACHAEL ROGERSON-THORLEY EDITOR

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

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IN DEPTH 20 INTERVIEW Koy Neminathan - Avolites

KOY NEMINATHAN A figurehead in the second generation of company operatives.

32 REPORT Bars & Restaurants




MARIA MAGDALENA CHURCH The house of worship gets an injection of d&b audiotechnik.



82 EDEN COURT Inverness

88 ARKA New York 96 QUEEN’S RISE Auckland 98 HOLY TRINITY CATHEDRAL Auckland

QUEEN’S RISE A bustling street in Auckland CBD has been equipped with a stunning large-scale LED display.

IN BUSINESS 106 LDI SHOW PREVIEW Las Vegas 112 MEDIATECH Johannesburg 116 PRO AVL ASIA Singapore 120 ROAD TRIP DIARIES New Zealand 122 PRODUCT LAUNCH Electro-Voice / Dynacord - Loud & Clear 126 FACILITIES UPGRADE Alfalite

112 MEDIATECH We report from the biennial show that takes place in Johannesburg.

128 IN DETAIL FBT, Barix, Musicson, Flightcase Warehouse, HOF 138 PRODUCT GUIDE LED Displays 150 PRODUCT DIRECTORY 162 LAST PAGE INTERVIEW James Kennedy - Peavey



We travelled to Johannesburg for the biennial Mediatech.

Rach was in Singapore for the second edition of Pro AVL Asia.

Sam interviewed James Kennedy at the famous ‘Sherlock Cafe’.

See more on our social media channels

Advertising Index Absen 147 Adam Hall 37 & 129 ADJ 69 alfalite 127 Allen & Heath 29 77 Altman Lighting Antari 23 apart 43 Astera 27 Audiocenter 113 Avolites 159 Beglec 51 Bose 111 BPM|PRO 104 BroadWeigh 53 Cadac 109 Celestion 7 Chauvet 137 Christie 31 Chroma-Q 43 Chromateq 152 City Theatrical 148 CJS 25

Clear-Com 49 131 CODA Audio D.A.S. Audio 141 d3 Technologies 158 Daslight 10 Dicolor 93 DiGiCo 67 Digital Projection 4 Doughty 157 Duratruss 35 Dynacord 135 57 Elation FBT 15 Fenix 16 & 17 Fine Art 5 Flightcase Warehouse 71 Fohhn Audio 73 Funktion-One 139 GIS 41 Global Truss 81 GLP 149 Green Hippo 161 H.O.F Alutec 143

Harmonic Design 149 HH Electronics 95 Kling & Freitag 155 159 Kuzar KV2 101 L-Acoustics 2 Lawo 75 LDI 153 55 Le Maitre Look Solutions 89 LTM 95 145 Lynx Pro Audio MADRIX 157 Martin Audio BC MBN 91 Milos 101 & 145 45 & 157 Music & Lights NAMM 18 Nexo 161 NEXT-proaudio 11 Peavey 58 Philips Entertainment 123 Pioneer DJ Europe 85

PowerLightsAugsburg 93 Powersoft 117 PR-Electronics 79 PR-Lighting 115 147 Pro Tapes Prolight Concepts 95 Prolyte 163 Renkus-Heinz 151 47 RGBlink Robe 125 S2CEB 83 Sennheiser 103 Solotech 155 Starway 133 Steinigke 65 Studio Due 151 Sunlite 6 Tech Team 8 Tirso 91 TW AUDiO 119 Unusual 39 Weifa 4 Wireless Solution 3

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SOUNDSCAPE CREATION d&b audiotechnik is about to open up a whole new world of sound reinforcement possibilities. The d&b Soundscape, as it’s known, will see the creative integration of engineering and artistry - completely redefining sound environments for artists and audiences alike. mondo*dr talked to d&b to find out more... What the d&b Soundscape does is encapsulated by its own well-chosen name. The term ‘soundscape’, it just so happens, is defined by the International Standards Organisation as the ‘acoustic environment as perceived or experienced and/or understood by a person or people, in context’. A soundscape is, therefore, the total of the auditory stimuli that surrounds us at any given time and place. For d&b, it is about enabling emotional connectedness through technology. By putting creativity, or sonic artistry, at the centre of the sound production process, Soundscape facilitates an all-enveloping sensory environment. Ultimately, the d&b Soundscape story is as much one of experiential evolution as it is one of processing power and clever algorithms. The d&b Soundscape will comprise three component parts; a signal processing engine and two optional software modules. The signal engine offers a familiar format of audio matrix and processing, that any sound designer knows and uses every day. The software then provides, first, an object positioning tool, which allows individual placement and movement of up to 64 ‘sound objects’ (loudspeakers), and second, the means to add room emulation signatures to any given space. “The d&b Soundscape is a two-layered technology,” explained

• Above Ralf Zuleeg, Head of Sales Services and Application Engineering at d&b; d&b Product Manager Marcus Bäumler.

Ralf Zuleeg, Head of Sales Services and Application Engineering at d&b. “The basic layer is the configuration, the setup, which you do as normal in ArrayCalc. Then, there is the creative layer, where you position the sources, the sound of the instruments, the pan, the reverb... And, as with any d&b solution, the R1 Remote control software gives you all the control and oversight you need.” Ralf is the driving force behind Soundscape’s development. “The real challenge is not to do with the technology (the Soundscape platform integrates with the existing d&b Workflow) rather it is one of education - or re-learning. Soundscape allows us to rethink the role sound plays both in terms of its social and cultural context but also the relationship between the listener and their environment. This means taking the conversation about sound away from simply being about product and technology and into a more creative realm. Once we make this mental shift, we can begin to think beyond the norm, with the same creative freedom that inspires lighting and set design. Then it’s about empowering people to believe in their auditory vision.” This is a crucial point, because the creative potential of the d&b Soundscape is allencompassing. The ability to sonically compose a sound-based spectrum of

human sentiment and experience makes it as relevant to the audience as the sound designer, architect and engineer, the artist and performer. Of course, in reality all of us live in a continuous soundscape, receiving aural information from all directions. As Ralf points out, our binaural hearing enables us to make sense of that soundscape, the ear-brain system a finely-tuned instrument and processor combination which can pinpoint a sound source with great - and perhaps life-saving - precision. Listening can uncover visual secrets. “We have evolved hearing everything in the soundscape around us, in a panoramic way, not from one source. It’s why we have two ears. I believe it’s much easier for the human ear-brain system to respond to that type of sound environment. In this sense, Soundscape interfaces with our fundamental quest for truth and beauty. Truth because we can get closer to an acoustic experience that resonates with our intuitive understanding of reality, and beauty in that listening is made part of our aesthetic sensibility.” It is in part, this return to a more ‘natural’ sensory experience that makes the d&b Soundscape so revolutionary. Technology has long since been master of the modern age, but within this new trajectory the paradigm is reversed. Soundscape doesn’t


just represent the crossover between art and science, but an interrogation of our relationship to sound, space and time. In many ways, this is unchartered territory for d&b, and society in general. Sound reinforcement - and our listening experience - is no longer defined by physics alone, but the unlimited power of the imagination. With Soundscape, the possibilities for source localisation and acoustic emulation give sound engineers and artists the ability to build sophisticated, dynamic audio experiences into their shows. That’s something that will require a new level of consultation and collaboration. Soundscape also changes the mixing experience, compared with the limitations of a stereo PA. “From personal experience, the mixing itself is much easier,” said d&b Product Manager, Marcus Bäumler. “Simply because you have more space in your mix. You have a lot of room to position a sound object, so it’s much easier to set them apart so everything can still be heard at the same time.” Around the world, leading sound designers, composers and venues have helped shape the d&b Soundscape into its soon-to-be available form, including Glastonbury’s 2017 Acoustic Stage, Opera Australia and a four-year field-testing collaboration with German electronic

music pioneers, Kraftwerk. “The first objective was to make this as easy as possible to use,” added Marcus. “The next objective was to completely integrate the design setup into the d&b Workflow. So, from a user point of view, you basically do the same thing as in any sound reinforcement situation: you look at the hall or the environment (Soundscape works both indoors and out) and you do the system configuration within ArrayCalc. Then you transfer that data to the Soundscape platform which then calculates all the necessary processing algorithms. It’s just another step in the workflow, an intuitive way of working that many people are already familiar with we’ve just added pieces to it. By making Soundscape part of an everyday toolkit, we like to think we’ve made the familiar extraordinary and the extraordinary familiar. The point is the path to realising creative ambitions is not that difficult. What we’ve shown is that you can make this setup work on a tour. It’s not just something you put in a theatre, and never touch again.” So, what does d&b plan for Soundscape? “I think first we need to introduce the basic concept into people’s thinking,” explained Marcus. “Once the imagination takes hold, the second step is letting them know the d&b Soundscape can actually make

• Above Ralf and Marcus sitting in ‘Hall 14’ at d&b HQ in Backnang.

things a lot easier, and help them achieve their goals. To make it as accessible as possible d&b has prepared a Soundscape environment at its Backnang HQ, ready for customers to play with the concept and experience it for themselves. Similar facilities and support will soon be available in the UK, US and Asia.” Once the Soundscape conversation starts and its capability is understood, the creative horizon is endless, especially so when you consider its relevance not just to concert sound, but to any and all sound reinforcement applications. As Rafl said: “There is no limit. It can go everywhere.” But this is only the beginning of the d&b Soundscape story; its introduction is just the start of a journey expected to develop over many years. Like all good things, sound takes time, and new ideas and techniques will be borne of ever better knowledge, understanding and experience. “We want to open sound’s emotive power and potential in peoples’ minds,” he continued. “To be the key that turns the lock - an advocate for sound’s vital role in life, art, society and enterprise.” The opinions expressed in this article are the opinions of the author and not necessarily of mondo*dr magazine.


Pohang Church For preparation of its 110th anniversary celebration, the Pohang Church, based in South Korea, started a renovation, which included the sound system. For that purpose, NEXTproaudio installed a system within the church’s main sanctuary. The main aims of the installation were to achieve high sound pressure levels, with high sound fidelity and good speech intelligibility throughout the venue. A total of 10 LA12 line array loudspeakers were chosen, with four LAs218 subwoofers for the main hang on the left and right side over the stage. Four LAs218 are flown behind LA12 cabinets, too. Four X12 full-range loudspeakers are used as front fills and choir fill, with eight X8’s for under balcony and X10’s for upper balcony. A total of 14 LAm112x are in place as stage monitor speakers. At the request of the Pohang Church, the whole system was also been custom painted in an ivory colour to match its design.

NEXT-PROAUDIO NEXT–proaudio is a European brand, based in Portugal, that is active in the development and manufacturing of professional sound systems. Being part of CVA Electronica Group, with a long history in professional audio design and manufacturing under the brand name CVA, the company changed its name to NEXT-proaudio in 2004. Over the years, NEXT-proaudio has since established an outstanding reputation worldwide and is known for the excellence, value and longevity of its products, which are designed, engineered and produced under a rigorous quality control system.

Aray Club Aiming to bring a taste of Vegas to Kyzylorda in Kazakhstan, the Aray Club was recently equipped with a NEXT-proaudio sound reinforcement system, installed by the manufacturer’s Kazakhstan distributor, Sound Light Systems. Fast becoming Kyzylorda’s ultimate lifestyle party destination, Aray Club regularly features high-end entertainment, all whilst redefining the standards of luxury clubbing, with more than 300 seats, unique contemporary musical and lighting equipment, a huge dynamic dancefloor, delicious food and drinks and, of course, the show programme with international singers. The Aray Club comprises eight LA122’s and four LAs218’s as main system, with 16 PFA12’s distributed around the club. The whole system is powered by NEXT-proaudio’s MA series amplifiers and LMS242 digital signal processor.

Kursk Arena Kursk Arena, a sports and concert venue in Kursk, Russia houses 12 sports halls, including a 3,000-seat hall intended for events, ranging from professional sports competitions and music concerts through to Christmas shows. Central to the technical aspects of the development, Light.Sound.Contractor took charge of the design and installation of the sound system. The venue was equipped with a NEXT-proaudio system, comprising 20 CXH-64 loudspeaker cabinets, nine CXL-15 cabinets, six PFA15’s and four PFA15p. The system is powered by four PXA8000 four-channel digital amplifiers with built-in DSP. The arena’s opening was attended by Deputy Minister of Sports, Pavel Novikov, along with the governor and other executives of the region. “I’ve seen a lot of similar venues, but this sports and concert centre is wonderful and functional,” Pavel said. “It will serve both the elite sport and the local community because it is a beautiful concert venue.”

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儀 唀 䄀 䰀 䤀 吀 夀   䄀 一 䐀   䘀 䰀 䔀 堀 䤀 䈀 䤀 䰀 䤀 吀 夀

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That second generation of company operatives is becoming an ever familiar sight in our industry these days. For lighting control and media server specialist, Avolites, that role is fulfilled by Sales Director, Koy Neminathan. For those that know him, you’ll be well aware that his professional yet friendly approach to business is a winning combination. That infectious smile of his helps too! Jerry Gilbert caught up with Koy on the eve of a company team building trip to Belgium.


For a chastening reminder of just how successfully our industry has matured, you only need to look at the second generation of company operatives now running the show. In many cases, they have not only held their positions almost the same length of time as their forebears, but have put some much needed order into the chaos of that early febrile spirit, when so many garage-based electronics buffs brandishing soldering irons appeared on the scene in the mid-70s. A case in point is that of Avolites’ infectiously enthusiastic and highly-engaging Sales Director, Koy Neminathan. If Ronnie Wood is still seen as the ‘new boy’ in The Rolling Stones, then Koy can probably match him. Today he is able to reflect on 18 years with the north-west London lighting/video company - situated little more than a stone’s throw from where he grew up. His boyish looks belie the fact that he is now the wrong side of 40, and yet he has managed to fill the very big boots vacated by larger-than-life, fast-riffing Steve Warren, who co-founded the company more than 40 years ago. It was a massive ask - after all, Ronnie Wood only had to replace Mick Taylor. Koy and his ilk have helped steady the ship of a largely feral industry - a farrago of disparate eccentrics who were the cornerstones of the industry. Had the

next wave been a Generation X, the industry may have voided out, and never progressed beyond first base. In the event, the IT age heralded a more conservative landscape of business models and product roadmaps, with the random approach of yore supplanted by a far more structured one. But it wasn’t so much Steve as the departure of another company legend, long-standing salesman, Tony Shembish that opened the door for the company’s new recruit. He had arrived at Avolites in 1999, working in the stores department whilst applying for graduate jobs, after recently completing his degree in Manufacturing Engineering at the University of Hertfordshire. “It was a good arrangement, as they let me go to graduate interviews in between picking and packing components,” he remembered. But timing in life is everything, and as the graduate jobs seemed unappealing, a sales position became available when Shembish left to set up Avolites Middle East. Koy saw his opportunity and has never looked back. “I’d already met Steve, and so I approached him, asking him to give me a shot as a sales engineer, even though I knew little about lighting and sales. It was pure luck.” By the time the new millenni-

• Above Koy at the annual Avolites press call during Prolight + Sound in Frankfurt.

um arrived, the position was his. Equally fortunate was the state of flux the industry was in at the time. With early technology providers tending to be siloed in either disco, theatre or concert touring (with little cross-pollination), by the mid-90s, there was a gradual breaking down of barriers. Just as the ‘grown-up’ world of concert touring slowly started to accept moving lights (mostly scanners) from the disco world, previously not considered sufficiently durable for touring purposes, and the stuffy world of theatre also opened its generic thinking to the possibility of more movers, so the film and television world did likewise. “This industry was really starting to emerge,” Koy remembered. “We had the ART2000 [48-way dimmer] and there was a big demand for that already in the touring market - but not in film and television. So that became my first mission.” He was soon knocking on the door of leading specialist rental houses such as AFM and Lee Lighting, and found that Andy Martin and Mark Ackers respectively were only too willing to assist. “Andy in particular set out the requirement of the market, so we tweaked the ART2000 and came out with the ELDC version, offering earth leakage protection. The television industry had used our dimmers previously but now we were catering for their specific needs. “It was about spending more time with the DoP’s and gaffers - understanding how the industry worked and recognising their requirements.” Even back then, relationship building seemed to come easily to Koy and soon sales started coming in thick and fast. Today, there are more than 300 ART2000’s in total housed in Panalux’s hire fleet, Arri’s rental stock, PKE, Film and TV and at the Warner Brothers Studios in Leavesden. But, he remained conscious that Avo was still perceived largely as a rock ‘n’ roll company, who had really spread their wings since buying their independence from Carlton Television in 1991. If their first wave had seen a battle royal for the high ground of concert touring with Celco, now there was a different adversity, the Flying Pig Co with their Wholehog. And, since the new millennium, there was a different new world order when German company, MA Lighting, took over the high ground. “When I joined we were still doing all the big tours; Oasis, Michael Jackson and so on, but Wholehog was pushing us every day and MA were slowly emerging. Avo seemed to have lost the ability to listen to the market.” What he meant by that was that while they were selling Diamond, Sapphire and Pearl consoles to conventional rock ‘n’


roll rental companies worldwide, they were failing to look at the bigger picture. “The Pearl 2000 was our bread and butter. We were selling so many Pearls and busily appointing distributors around the world, but, although our turnover was increasing, our market share was gradually declining and that’s simply because we weren’t listening to feedback from the market and developing our products quickly enough. “By 2007-2008, I knew the Pearl was not taking us where we wanted to be.” He recognised that there needed to be a change in software leadership and so Avo formed the ‘Design Team’, comprising sales, software, R&D and some of the directors. This collective would identify the requirement from users and designers and led to the launch of the new Titan software in the late 2000s, and subsequently a range of consoles specifically to run the software. These include Titan One, Titan Mobile, Quartz, Tiger Touch, and Sapphire Touch consoles … right up to the more recent Arena. It was to be a game changer for the company. In the meantime, Koy had already been promoted to the new position of Business Development Manager. Once again, it was perfect timing with the global economic recession looming and, along with everyone else, Avolites needed to adapt accordingly. “We had to determine how we would work better with our global distributors, since 80% of our sales are to

overseas and 20% in the UK.” They started looking at employing different tactics to maintain a stable income and then executed strict plans to ensure growth. This worked well and the company started to convert a lot of the classic software users to Titan. Koy focussed heavily in the Middle East, Africa and South America, where they had arguably been among the first frontiersmen with their classic models. Koy had quickly shown his appetite for sales. If Steve had assembled the initial building blocks of a distribution network, he recognised in his protégé someone who could carry the momentum forward. “I met a lot of people through Steve he was great at networking, but it was because I wanted to do something more than just being a sales guy, showing consoles and dimmers, that he had made me Business Development Manager. “There were 34 distributors when I took on the role and there are 69 today in 65 countries,” he said. “I have a fantastic team of sales guys.” Their tenet was that having individuals who spoke the local language would give them a competitive edge - Mandarin speakers for the burgeoning Chinese market and Spanish speaking for the massive Latin American landmass. Today, they have Javier Moreno on board as their Spanish speaker. “He has transformed the South American market,” said Koy. “Working alongside Francisco

Valdivia, who is based in Chile, they are the dream team and organise seminars and workshops throughout South America and as far north as Mexico. “In China, I have William Cheng who is my Far East Sales Engineer - he speaks Mandarin and Cantonese and works closely with our distributor in China and the Far East and is executing the sales strategy firmly. I also have Ron Carrington, who is an asset to the team and looks after the UK. And all the sales team, including Gen Asenova, our incredible Sales Administrator, and Jihane Saadi, our lovely Marketing Manager, are managed well by my Sales Manager, Stephen Baird-Smith (SBS). He has come a long way in the nine years he has been at Avolites and I’m proud to be working alongside him. He’s definitely a key cog in the Avo wheel.” Today, Koy is helping to redefine the sales blueprint in his current role as Sales Director, as Steve Warren takes a sideways step into the Business Development role. At the same time as Koy was appointed to the main board, in August 2012, his colleague, JB Toby, became Technical Director, the two men having passed through the ranks in parallel. “It’s a learning curve every day working alongside JB, and I feel that he brings a dynamic to the team which the company needs,” praised Koy. If he readily acknowledges that as “the face of the company” Steve has been his main mentor throughout, then two

• Above Koy with JB Toby and Steve Warren raising a toast during PLASA 2012.







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• Above Koy is a frequent traveller.

others he is quick to cite would be Paul Hartley at TMB and the late Jimmy Page from Syncrolite. “Every day is a learning curve for me,” Koy said. “I learnt from Steve how important it was to listen to users and how to develop relationships and network people together. “As for Jimmy, I was fortunate enough to share a hire car in 2005 from Bergamo to [the SIB Show] in Rimini. I learnt from him to do everything with a smile and transparency. His attitude to life is amazing, plus his Texan driving skills were put to the test in Rimini where we nearly ran over two locals. As for Paul, he is such a workhorse, and so honourable. You only hear good things about Paul and if I can have a fraction of that when I am his age then I have achieved a lot.” With such role models to look up to, Koy has managed to plough a similar furrow. “I am always trying to better myself every day and I hope people think of me as a positive guy, always smiling and transparent. We all want to leave a mark and I want to be the person that people enjoy doing business with. You can’t get it right all the time but make sure you don’t repeat your mistakes or the mistakes of others” Koy could scarcely have envisaged he would be in this position when the family left their native Sri Lanka in 1979 when he was just three. They could see the Civil War brewing and, following the Colombo riots in 1981, an estimated 100,000140,000 people were killed between 1982 and 2009. Koy was heavily involved in the protests in Parliament Square in the

final months of the war where he echoed the voices of thousands trying to educate the world to the indiscriminate bombings that were taking place by the Sri Lankan government. The Neminathan family set up home in north-west London where Koy has remained all his life and, today, still lives in Pinner with his wife Susie and three children. “I went back to Sri Lanka for the first time in 1988, and having only had Margate and Brighton to compare [the beaches] with, I found it beautiful. In fact, I’d like to come back here when I’m 50 and set up an eco-friendly B&B, and let the locals run it.” This sense of resilience, and the strength needed to prosper outside his homeland, equipped him with perfect qualities to take on the exigencies of Avolites. He sensed that Avolites had to break the perception that the outside world “only saw us as a bunch of party guys who made good lighting consoles.” He went on: “We needed to step up our game and prove that we could produce professional products that could compete at a higher level.” Breaking the mould had been a tough call. But, as the industry started to emerge from the straitened times of recession, Avolites played another masterstroke. Sensing a growing convergence between lighting and video they purchased the IP from media server company, Immersive (the former Pixel Addicts), run by Dave Green, John Munro, Mark Calvert and Ralph Lambert, in June 2011. They rebranded the Addict media software as

‘Ai’ and formed a spin-off company called Avolites Media. The new operation was put instantly on the map when Ai servers performed video mapping across the audience seats all 70,500 3 x 3 LED panels at the London Olympics Closing Ceremony, with the hardware control solutions developed specifically for the Ai product. After controlling “the world’s largest landscape video display”, Ai went on to control the unique “volumetric LED display” at the Sochi Winter Olympics. They couldn’t have wished for a higher profile launch. “That’s when it started to get really exciting for us,” he exclaimed. “It changed the game for us, because now we saw the future as visual integration.” The purchase of Ai, had always been with a long-term view to future integration, he said. In fact the disciplines of lighting and video had been converging for years. “Being experienced in lighting but new to video, we saw integration between the two as the ultimate goal; it was simpler controlling everything from one platform on a tour such as The Script (with Mirrad), running video and the lights and having it look as one. We are making the integration between the two elements seamless. We are not necessarily forcing our users onto one specific control surface, but an array of products networked and backed-up to provide a rock solid platform operated by one user.” But assimilation of the Ai boffins with the Titan software team had been anything but straightforward. “Our goal had been to get both teams working together -


• Top Koy with Will Cheng and Steve Warren presenting the award for Outstanding Performance to Wang Hung Bao and Tim Zheng from Hong Fung in China at the Distributor Summit at PL+S 2017 • Above left Koy with Avo Sales Manager, Stephen BairdSmith and Brad White of Group One at PL+S 2016. • Above right Koy with Will Cheng and new Singaporean distributor, Eugene Yeo of Acoustic & Lighting System.

but that took a while,” he remembered. “We were dealing with two different teams heading in two different software directions and we had to get them on the same ‘path’ to deliver our vision.” And so it was a breath of fresh air when the quest to build a more powerful and versatile operating software was passed to Ciaran Abrams, described by Koy as “young, dynamic and intelligent.” Today, Ai boasts a powerful range of servers and software licenses - and with the new strategy in place things are positively exciting, he promises. “It’s great to see Oliver [Head of Titan Software] working closely with Ciaran and ultimately working towards our vision for Creative Visual Control.” Aside from the London Olympics, the other iconic, and technologically groundbreaking installation, combining Avo and Ai solutions, was Jewel nightclub in Las Vegas. The latest addition to the Hakkasan Group, Jewel Nightclub, situated inside ARIA Resort & Casino, raised the bar considerably, with an interactive lighting design controlled by a custom Avolites system of integrated desks and Ai media servers. The high-impact, multi-sourced display

is based around the DJ’s moving back wall of Ayrton Dream Panels, with both video and DMX surfaces, and Magic Dot fixtures. This works alongside five ribbons of ROE Hybrid LED which circle the main room and a video-mapped staircase leading to a mezzanine floor. Avolites’ Sapphire Touch, Tiger Touch II and Quartz lighting consoles combine with Titan Net Processors and Ai Infinity R8 and S4 media servers to control the complex set up in a real company tour de force. “We linked the video to the movement of the fixtures and directly linked the Titan Key Frame Shapes feature within the video to create movement that reacted to the visuals. Using our Ai media server, we were then able to directly link the two elements, and the effects were incredible,” reported Koy. “It was one of our first international installations to have Titan and Ai working in unison. As it’s a node based system, one of the USP‘s is Ai’s flexibility. We were one of the first servers to have a 3D visualiser built into the system so you could have a 3D object and set up multiple projectors or screens and visualise these within the software.” Aside from its flexibility, it is still one of the most cost effective solutions - and the BPM Sync found in the powerful and

highly anticipated Ai v10 server had been born from developing the custom integrated control system for the lighting and visuals at Jewel. Koy looks fondly at the contacts he has made in the industry over the years and salutes those who have stood by Avolites through thick and thin. “For me the people who spring to mind have been Simon Stuart at HSL and Rob Sangwell at Fineline who have always stood by us.” He also cites the mercurial Dave Parry of Fabric fame, who also pushed barriers when building Matter at the O2 with an all Avo kit installed. Koy described him as “both a nutter and a visionary, with fingers in many pies.” On top of that, they have the ear of a number of other lighting professionals, such as MIRRAD (Jamie Thompson, Dave Cohen, Francis Clegg and Bryan Leitch), Emma Thompson, Luke Edwards and Tom Campbell. “We also get feedback from international designers such as Thiago Bonanato in Brazil -operator for Roberto Carlos and Jeff Maker in the USA - the LD for All Time Low. Also younger designers, Jonathan Pask from Illuminate, part of a new generation of designers have given feedback, as has Ruben Lane in America, who now trains

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and supports Ai via Group One, Avolites’ sole distributor in the USA.” So how are the demands from users changing, and how are Avolites responding? “People today use a lot of multi-cell fixtures and our TNP (Titan Network Processor) is catering to their needs as they require more universes and processing power.” This enables the processing to be conducted away from the consoles so that every key pressed on the console reacts instantly. “What LDs want is a flexible operating system, and performance and reliability is key to this,” Koy stated matter-of-factly. “Users also want to network their consoles and this is not necessarily only for large shows anymore. We may have come to market later than others with this feature but we have an intuitive UI that actually relates directly to a designer’s comment I once heard. He stated that Avolites is the Art and the competition is Maths. It’s Art vs Maths - and what he wanted was the desk to do the maths and let the operator be the creative. ” Koy has certainly made the most of every opportunity afforded him. Recalling one particularly exotic itinerary, he remembers travelling to Australia, before flying to Singapore for a day and on the way back spending two days in the Middle East before returning home. “It was not just the length and duration of the stay but the different time lines I travelled through. Covering them in a short space of time made me realise that I had an amazing job. I get up every day thinking there’s a new challenge out there to be won. “My greatest achievement was definitely being made Sales Director at the age

of 36. Ric [Salzedo], our MD, brought me into his office and told me that the decision was made unanimously by the directors and I just felt overwhelmed and was ready for it.” So is the industry in a better state than when he joined it in 1999? Koy is in no doubt that it is. The industry is developing at such a fast rate today and it’s great to be a part of it. But we have to improve in every aspect and cater for users’ needs, to make their working lives better. “You know the industry has changed when young designers own companies that are VAT registered and are thinking about how to grow their business. Also, people like James Gordon from DiGiCo are taking the industry to new heights that elevate our industry tremendously. These are clear signs that the industry has really grown up. That’s not only the case in general but particularly within our organisation. We are thinking and working differently than we were 10 years ago. We are working smarter to ensure everyone enjoys working with our products.” He certainly walked that particular piece of talk at last Spring’s distributor summit at Frankfurt Prolight+Sound when he presented the new sales strategy to worldwide distributors. “It was basically about what we need to do, how we will do it together and set out how we intend to implement that over the next three years,” he said. “Our distributors are key to our growth and our increased efforts in training and promotion are producing results already. We are one big team and our aim is to be working alongside those who think and work like us.” Continuing the theme, he stated: “We ultimately want to get to number one on

• Above Last Spring’s distributor summit at PL+S 2017.

shows in every aspect - but particularly live entertainment. We lost our way over the years but what’s exciting is that the new sales strategy is helping us to become more focussed and efficient - with a different way of thinking. We created our Vision, Mission and Values last year and all involved with Avolites understand them. We have a clear product road map and zero tolerance policy on digression. It’s a new era at Avolites and one our competitors should be worried about.” Having acquired so much experience over the past 18 years, I wondered what lesson Koy would now pass back to his younger self just entering the industry? “I’d tell him to be true to himself and don’t be someone he is not... be honest because people will always catch you out … just keep positive at all times.” Such advice may not be world-shatteringly original, but it doesn’t need to be. Yet it’s the fourth that probably typifies him best: “Some say that it’s not about winning but it’s the taking part that matters, I disagree, it’s all about winning. Those who say that clearly have not tasted victory.” Away from the company Koy is quick to pay tribute to his wife for tolerating a lifestyle that has traditionally kept him away for long periods from his two daughters and son (aged between 4 and 14). “In fact, my little boy still thinks I sell lightbulbs,” he chuckled. Other than that, he enjoys supporting Manchester United - a ‘Cockney Red’ since watching his first Cup Final in 1983. And anyone who knows him won’t need reminding of his penchant for fast cars. “I was blessed to own an R8 V10 Plus, but recently changed that for an acid green Porsche Cayman S. You could say I like crazy colours!” It has been an amazing journey for the company as a whole since that management buyout from Carlton Television. To celebrate that, each year on the anniversary the staff are taken to a location for a team building exercise, and this year it happened to be Belgium. On top of the annual birthday trip, Avolites also hosts a family day where partners, siblings and children are invited to the office for a BBQ, bouncy castle and ice-cream van thrown in for good measure. And so the company certainly hasn’t sacrificed fun in the quest for its more grown-up (and joined-up) approach. In fact, the one thing that unites the Avolites community - and the reason they love their ‘avolife’ - is that they all say they want to be involved in the future of the company and the technology, Koy maintains. “There are big things to come from us,” he promised. “Next year will be a crucial year, and you will see a lot emerging from us at Frankfurt and PLASA.”

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To provide outstanding coverage and audio quality to the newly opened All Jerk Empire restaurant in Hoyerswerda, Saxony, Audiolis recently installed a variety of Harmonic Design’s column loudspeakers, delivering pristine sound to the establishment without disturbing the conversations of patrons. The All Jerk Empire, which is a multifunctional facility serving a wide range of Jamaican dishes and drinks during the day and having live performances at night. A challenge when selecting the right audio system was that it has to be unobstrusive to fit the architecture, it had to deliver a very clear sound at low volumes for the daily restaurant use and it had to be powerful enough for the live performances of Jamaican bands at night. Dresden-based Harmonic Design’s system integrator, Audiolis specified ultra-slim column speakers from the hd C-Series for the restaurant, these are column speakers with point source characteristics delivering a very wide coverage pattern. In total 14 hd C4 were

distributed across the restaurant. On each side of the stage where live performances take place, hd ML24 line arrays were installed. The hd ML-Series are powerful column speakers with a line-source characteristics, to deliver the sound with less level loss of the band to the back rows of the crowded venue. “The hd C- and ML-Series column speakers provide great coverage and allow us to better control the volume of the loudspeakers to provide customers with soothing background music while eating. The columns were easy to mount with the simple but decent brackets and which was really important to get the speakers close to the walls,” stated Dipl. Ing. H. Lissner from Audiolis. By the use of distributed hd Sub12i subwoofers an even low frequency pattern was achieved to avoid areas with too much low frequency energy. Another hd P18 subwoofer was placed close to the stage and is used during the live performances, delivering impulsive and deep bass. In total, three hd Qi5004 and one hd

Qi5002 DSP amplifiers take care of system management and deliver extremely efficient up to 7,000W to the installed speakers. The restaurant owner stated: “At All Jerk Empire, it really is about the food and the customer experience and we wanted to have was a sound system that could be pushed to the limit if needed, but also allowed our customers to sit back and relax and enjoy their meal. We wanted something better sounding than the usual restaurant sound systems installed. That’s why we chose the brand Harmonic Design. They are a German manufacturer with large tradition and highest quality products, perfectly matching our high expectations and they surpassed them.”



Before the Soho Grand Hotel opened in August 1996, Manhattan’s chic exclusive SoHo district lacked a major hotel for more than a century. All that changed when Manhattan’s first luxury downtown boutique hotel introduced a level of service and style that landed the Soho Grand on Conde Nast Traveler’s ‘Gold List’ as one of the world’s best places to stay. The hotel is now a classic part of the neighbourhood but it’s anything but old-fashioned keeping up with the times in both design and technology. The Soho Grand has redone its sound system four times in the past 17 years in order to present a variety of musical events and other programs including contemporary DJs. All four sound system makeovers were designed and installed by Essential Communications of East Hanover, New Jersey. In part, a reflection of the increased emphasis on DJs, the Soho Grand’s newest sound system is based on a Dante network managed by a Symetrix Radius 12x8 EX DSP. “The Symetrix Radius manages the audio system for the entire property,” said Essential Communications President David Schwartz. “That includes all of the common areas; the Harbor Room, which is divisible into three separate meeting rooms; the Chart

Room, which hosts a variety of events and meetings; a main lounge area called the Salon; the Grand Bar at one end of the Salon and the Club Room at the other end of the Salon. The Club Room has two divisible areas, the main Club Room Bar and Lounge as well as a more private party room called the Parlor.” In addition to Radius DSP, Essential Communications team installed new loudspeakers in the long, rectangular Salon. “We put in the new Community IC-series loudspeakers with QSC power amplifiers,” said David. “There are speakers pointed in different directions to cover some of the nooks and crannies and we wanted to be able to apply EQ and timing as necessary, so we used a lot of DSP outputs. The Radius 12x8 EX is equipped with a four-channel analogue output card as well as an xOut 12 output expander so the system has 24 analogue outputs. It performs very well and it sounds great.” Providing easy-to-use control for the new system was an important part of the design. “We customised the user interface because end users in this case, food and beverage managers and floor managers want simple control,” added David. “They want to push a button and the volume goes up or the source changes,and

that’s it. We were able to provide exactly that with the Symetrix ARC-WEB virtual interface.” The divisible Harbor Rooms are equipped with ARC-3 wall panels primarily used for volume/mute control and source selection. A separate ARC-3 serves as a room setup controller for room combining. The Chart Room also has an ARC-3 while yet another ARC-3 serves as a common area backup at the main audio racks. Elsewhere, ARC-WEB enables wireless control from a web browser. “In the common areas, as well as the two bars and the Salon everything is run with ARC-WEB,” David explained. “We installed our own wireless network for the audio system and we give each manager a static IP address on their iPhones as well as an assigned static IP for the Radius. With one touch, the manager can connect directly to the Radius and change sources and volumes for all zones. The hotel also has an iPad in the office they can use as a backup. The managers love it, whenever I see the food and beverage manager, he reminds me that the wireless control is a ‘game changer.’ And it really is. There’s no lag, you don’t push a button and wait. It’s instantaneous and very cool.”















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Using ARC-WEB provides additional benefits, David noted: “Once you put the network information into the mobile device and save it as a shortcut to the device’s desktop, all the user has to do is press the shortcut nand the software automatically retrieves the IP address and connects to the system. It’s so simple which also cuts the time we spend training people.” David and his team selected the Symetrix Radius after thorough testing. “I have experience with many of the top DSPs,” he recalled. “And we’ve done shootouts with DSPs from different manufacturers. We tested, looked at the programming and looked at the user interfaces that are really important. We didn’t need multi-point control for the Soho Grand and it would be overkill to get a complex touch screen control system just to adjust volumes and sources. I’m not going to oversell, that’s not the way we do business. Symetrix ARC-WEB on a mobile device proved a brilliant solution.” The Soho Grand Hotel’s new audio system is already a grand success. “They love the new system,” David confirmed. “If you can figure out how to go the path of least resistance and provide a great product, it’s a home run. I would say in my entire career, this is one of the greatest home runs we’ve hit. We’re proud of every project we do but this one is at the next level and the Symetrix Radius 12x8 EX and ARC control systems were major reasons for its success.”































Live music bar chain, Howl at the Moon has conducted an overhaul of the audio systems used throughout its venues, based around Allen & Heath’s compact rackmount Qu-Pac mixer. With locations across the USA, Howl at the Moon is a live entertainment party venue with duelling pianists providing an interactive audience experience. Utilising a standardised audio system, specifically, an Allen & Heath Qu-Pac mixer and AR-2412 Audio Rack, serves each Howl at the Moon location providing great sound to the audience and in-ear monitor mixes for each musician. “The clubs aren’t concert venues,” noted Media Director, Dean Laber. “We encourage the audience to get close to the stage, interact with the players, dance and have a good time. Also, since the players move

around a lot and the stage is relatively small, we were always challenged by the wedge monitors. However, now we’ve upgraded the clubs to the Qu-Pac mixers and converted to in-ear monitoring systems, this has brought not only improved clarity of sound but also reducing the stage volume.” Howl at the Moon performers control both their own house feed and their own monitor mix using Allen & Heath’s Qu-Pad iPad App or Qu-You iPhone App. Dean continued: “We do requests and Top 40 tunes so, if the song calls for an echo or a chorus effect or a doubler then some of the players will use the app to add that to their mix. Personally, I use the Qu-Pac’s graphic EQs to adjust the system to the room and to each performer. I’m a huge fan of the dSNAKE (AR-2412) as it’s made everything easier with cabling and routing


The doors of the former ‘Schuttershof ’ opened again, as the old parish centre has been converted into a brand new concept venue named The Old Brewery - or De Oude Brouwerij in Flemish. Decades ago, each village in Belgium had its own brewery and in this particular region these breweries date back to the days when life was predominately agrarian and simplistic. Therefore, the complete concept revolves around the circle of life. People can visit for a baby shower, a birthday party, as well as corporate and wedding celebrations, or even for coffee after a funeral. In short, the important moments in life worth sharing in a memorable space. To offer this authentic experience, the venue is divided into three zones in different styles. The former café comes in Parisian style called Hope installed with six MASK6T-BL loudspeakers. The second and upstairs area is called The Brew installed with six MASK6T-W loudspeakers. Both areas are powered with Apart REVAMP2250 amplifiers. The main hall is transformed into the Beer Factory a large hall with a beer tank that holds up to 1,000 litres. Also, in this area four MASK8 and six MASK12 loudspeakers were used, powered by three REVAMP2600 amplifiers. To enhance performance at low frequencies two Apart SUB2400 subwoofers were added.

problems no longer an issue.” Dean concluded: “I think we’ve come to a great point in the quality of our sound. The Qu-Pac’s preamps possess a nice warmth to them and the mixer has lots of headroom. I’m really impressed with the equalisation section as well, it doesn’t have the harshness I expect from a digital mixer, so the quality of sound is there along with the ease of use and functionality. It’s also great to have recallable setups, so no matter what kind of adjustments might be changed during the performance we can always recover the original setup. The iPad integration has been huge for us and the QuPac and the other things we’ve invested in have really made the players more comfortable and our sound is exponentially better than it was before.”


THE OXFORD SOCIAL CLUB COMPANY: POWERSOFT LOCATION: SAN DIEGO, CALIFORNIA While many night clubs may opt for either a low-key, classy vibe and others more of a high-octane club experience, the Montage Hotel Group wanted to have the entire package for a club in its newly-built flagship hotel in the coveted Gaslamp Quarter of San Diego, The Pendry. They turned to Clique Hospitality Group’s CEO, Andy Masi to help achieve the perfect Southern California boutique hotel experience. Masi was quick to bring on long-time collaborator and nightclub industry veteran John Lyons to oversee sound system design for The Oxford Social Club, the hotel’s high-end lounge. John looked to the compact power of Powersoft amplification for a system that would be hidden from sight but heard everywhere it needed to be. John, an expert in his field known for his work on major clubs like The Avalon in Hollywood, quickly ascertained the needs of The Oxford Social Club during an early site visit. “It’s intended as a high-end, sophisticated lounge with lots of cushy seating but I knew that at some point in the night in every lounge’s life it’s going to need to some horse power. So I specified a system that would be able to give me the power and clarity needed for a serious dance,” he said. But John had to work around the limitations of the physical space to achieve such a balance. “Since it was to be built from scratch, I made sure to specify sound treatment for much of the ceilings that I knew would give me a predictable sonic signature,” he contined. With physical space in both the lounge itself and its rack room at a premium, John specified Powersoft Ottocanali amplifiers driving Fulcrum Acoustic speakers for a low-footprint, high-impact sound solution. “Any time I do a project, I try to identify the products that are the best fit,” he explained. “In this case we wanted high-powered, high-fidelity sound but we didn’t want to take up a lot of visual space. We also had a relatively modest amount of rack real estate available for amplifiers. Powersoft and Fulcrum were the clear choice.” John appointed a system that included 24 channels of Powersoft amplification over three Ottocanali 8k8 rack units, consuming a mere six rack units in the

club’s small rack room. “It’s the equivalent of having a rack of 12 amplifiers,” John noted. These amplifiers drive eight Fulcrum Acoustics 15-inch coaxial loudspeakers and eight double 15-inch subwoofers as well as additional smaller side zone speakers placed near the entryway and bathrooms. The mains were carefully positioned inside soffits around the lounge while the subwoofers were secreted into existing millwork and columns. “We hid the speakers well so that we could get even coverage throughout the space without deadening the visual impact of the lounge,” John added. The Ottocanali amps were well up to the task of driving the full speaker system with power to spare. “In order to get double 15-inch subs like that to sing, you need a lot of headroom and with their powerful output and damping factor the Ottocanali amps do that well,” he said. The efficient Powersoft amps made providing power to the rack a snap. “Since it was a new construction we were able to have our power mapped out and built but with the Powersoft amps it was simply a matter of tying our mains power into our rack,” John explains. “It was nice that we didn’t have to allocate any more of our budget for special power accommodations.” While his clients were pleased that the system met their expressed needs during the design process, John is pleased that the system has the potential to go further than that. “I always tend to give my clients a little more than they ask for because I know that two hours into opening night they’re going to wish they had it,” he said. “With the Powersoft amps and the Fulcrum loudspeakers, this system is deceptively powerful. It’s kind of a wolf in sheep’s clothing. It can get really loud if the night calls for it.” John said he will continue to look to Powersoft for projects that require high output and minimal footprint. “The Powersoft advantage all comes down to power density and performance,” he concluded. “You’re able to pack a lot of punch in a small envelope with great reliability, and that’s a powerful thing.”



Created as a space to ‘celebrate artistry and indulge the senses,’ Spiritland’s world-class, bespoke sound system makes it one of London’s most exciting new venues. Combining café, bar and radio station, the brainchild of ex-BBC radio producer Paul Noble (Spiritland’s Artistic Director) boasts an in-depth musical programme seven days a week and has already featured the likes of guest DJs Jarvis Cocker, Andrew Weatherall and La Roux. Spiritland has quickly established itself as a paradise for the capital’s music lovers, from the aficionado to the curious. A recent collaboration between Spiritland and Audio-Technica UK has seen a variety of the company’s brand product portfolio installed in the venue to help deliver the diverse offering of interviews, Q&A sessions, DJ sets, album playbacks and radio output. The heart of Spiritland is its remarkable sound system, featuring a unique pair of Living Voice loudspeakers, valve amplification from Italian manufacturer, Atelier du Triode and a towering Kuzma turntable. At the very beginning of the audio chain is Audio-Technica’s handcrafted ART1000 direct power moving coil cartridge that is employed to provide perfect audio reproduction from the turntable onwards. Additional cartridges selected from Audio-Technica’s new VM moving magnet range are used for vinyl playback from

the separate twin decks at the DJ booth. Five pairs of Audio-Technica’ s flagship M-Series headphone, the award-winning ATH-M70x and five BP40 large-diaphragm dynamic microphones are the foundation of the radio studio set-up - with limited edition matte gray ATH-M50xMG headphones available for visiting artists at the DJ booth - while U853R condenser hanging microphones are also installed from the ceiling for ambient sound pickup of the audience in the main seating area. The brand’s hard-working ATM610a hypercardioid dynamic and BP892 subminiature condenser headworn microphones also feature for live panel and interview sessions. Audio-Technica UK were also able to provide a solution for the spoken word and background audio with six Apart Audio Mask 6T two-way speakers mounted above the café/bar area, powered by Apart’s four-channel REVAMP4120T bridgeable power amplifier. The Mask 6T’s sleek, curved cabinet design fits well with Spiritland’s considered design aesthetic while an additional REVAMP4120T powers different pairs of vintage bookshelf speakers which are located in each of the venue’s four restrooms. Overall, the Audio-Technica microphones, headphones and cartridges employed in Spiritland’s signal chain help complete an enviable mix of original ana-

logue equipment, while also playing a part towards the output generated from the venue’s cutting-edge editing and streaming facilities. Audio-Technica’s Europe Marketing Director, Robert Morgan-Males, said: “We’ve been delighted to partner with Spiritland. The venue’s dedication to deliver a real ‘live’ audiophile listening experience as well as stimulating discussion around music and sound is inspiring. Spiritland is a particularly interesting project for Audio-Technica UK as it enables our company to engage a number of our specialist product segments in the one location: broadcast, live sound, installed audio and the highest end of audiophile reproduction. It’s truly a pleasure to be involved in the delivery of such a diverse programme in the heart of London.” Paul Noble, Spiritland’s Artistic Director added: ‘Spiritland is a huge operation in a small space with elements including hospitality, nightly DJ sets, radio broadcasts, live talks, a retail offering and more. Audio-Technica are involved in every aspect, from the cartridges used in the DJ booth to the amplification throughout the venue. They have been a fantastically supportive partner in this project.”



Within Myanmar’s largest city, Yangon, there are now three Parami establishments, a series of successful Italian restaurants. Trevor Cronin of Sound Around Myanmar brought the second and third outlets to life, installing sound systems from Quest Engineering and Turbosound. Trevor was contacted through Parami’s owner, who was a fan of Quest, so much so that he has a system in his own home. The second establishment of Parami is a 30-seat restaurant that plays background music only, in comparison to the other outlets that also host DJs and other live events. Therefore, Trevor aimed to create a romantic and subtle ambiance. The dining room has been installed with six Quest Engineering MS401 loudspeakers. Trevor commented: “The playlist is made up of Italian and Italian-American artists to portray a true Italian experience.” Alongside the audio installation, Trevor also performed some acoustic treatment in the roof area, which worked hand-in-hand with the double glazed windows to prevent any sound leakage. When tuning the system, Trevor said: “We tweaked it so that it was nice and comfortable, we tried to strike the right balance between soft and loud, matching the levels.” The recently-opened ParamiIII, aimed to differ from its predecessor by targeting families, and this larger restaurant possesses a unique feature - a children’s play area, which proves incredibly popular over the weekend. For this outlet Trevor installed Turbosound’s Impact 35T loudspeakers, hung with exposed cabling on purpose, at the interior designer’s request. The system runs on a Midas MR12 digital mixer and a couple of four-channel amplifiers. “It’s eight zones in total,” said Trevor. “The wireless control is great along with the mixers features. Only the owner and myself have the password, so nobody messes with it, therefore eliminating the chance of unauthorised adjustment causing problems.” This latest restaurant can also cater for DJs and live events and on those occasions, Trevor rents the venue additional equipment for the set-up, which is used in conjunction with the permanently installed Turbosound loudspeakers.


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Chroma-Q Inspire and Inspire Mini colour-mixing LED house lights are helping to provide an immersive show dining experience during performances of the hugely popular MAMMA MIA! THE PARTY at Tyrol restaurant in Stockholm. Together with Director, Roine Söderlundh, Executive Producer, Björn Ulvaeus has created an extraordinary experience for all fans of MAMMA MIA!, the musical that has been seen by 60 million people around the world. Following the massive success of the musical, then the film, MAMMA MIA! THE PARTY treats guests to a Greek party filled with ABBA music, dance and enjoyment authentically set in the midst of the MAMMA MIA! world. The premiere at Tyrol was an historic occasion, as all four ABBA members attended it. Production Designer, Bengt Fröderberg has transformed the restaurant, which is located at Gröna Lund amusement park in central Stockholm, into a purpose-built environment featuring Nikos Greek taverna with olive trees, a fountain and scents of the Mediterranean. The venue hosts live performances of the famous musical to up to 450 guests per night. With the MAMMA MIA! THE PARTY experience taking place within the audience itself, as opposed to being performed on a separate stage in front of them, Tyrol needed a solution to deliver both the-

atrical effects and regular house lighting above the diners, in order to create an immersive experience in keeping with the rest of the show’s production values. The creative team included award-winning Lighting Designer, Palle Palmé, who was asked to work on the prestigious show. Palle had utilised the Chroma-Q Inspire colour-mixing LED house light previously for Sweden’s theatre show restaurant Rondo, he commented: “I’m very fond of their function as a crowd and effect light.” After a successful demonstration of the fixtures’ capability, the venue purchased 30 medium beam angle Inspire fixtures and 10 wide beam angle Inspire Mini units. “The Inspires provide effects lighting during the evening shows, and white house lighting during the daytime, when staff are working and cleaning,” remarked Palle. “We work in real time during the fourhour dinner show and when the guests arrive, they first enter a sunlit room, followed by a two-hour sunset on LED screens, where the Inspire fixtures also shift from sunset to moonlight. In the grand finale part of the show they are used as effects.” The Inspire LED models can not only mimic a circadian rhythm transition between daylight and sunset to moonlight with their pure tuneable white output,

but with their powerful RGBW engine, they can also be used to transform the room with a flood of bold colour and beautiful soft pastels that will fully immerse the audience in the experience. The fixtures utilise a homogenised beam to ensure that all of the light output is fully mixed, with no unsightly colour separation shadows on the set and audience. Palle concluded: “There was never a question of choosing anything else than the Inspires, as I knew they would work perfectly for what Tyrol needed. They are extremely reliable, easy to use, lightweight, offer fantastic output and are extremely power efficient.” The Chroma-Q Inspire fixtures were supplied to Tyrol by Chroma-Q dealer, A.C. Entertainment Technologies Ltd. With an incredibly low power consumption of 120W (Inspire) / 75W (Inspire Mini), the Inspire range is designed to offer a significant return on investment with its high energy efficiency. By incorporating industry standard DMX-512 control, the fixtures are able to integrate seamlessly with an existing stage lighting infrastructure and can be controlled by any DMX-supported lighting console, to provide seamless lighting from stage to audience.

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All Photos: Tyrol - MAMMA MIA! THE PARTY. © Mats Bäcker

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The name Club Versuz has been around for more than a decade and even managed to reach the prestigious DJMag list of top 100 clubs, only two years after opening its new premises in 2013. One of the strengths for achieving its place in this respected list was probably the fact that they had the luxury of designing and constructing a club with the sole purpose of providing even the most critical clubber the night of their life. Having the asset of starting with a clean slate to achieve such high standards, the club owners started a search for an audio system that could manage complex processing in multiple zones as well as easily adapting to future developments. Without knowing, they found the solution for their requirements in a device that originates from the same city of Hasselt, where Club Versuz operates. The solution controlling the club’s complete audio system ended up to be the M2 digital audio mixer from AUDAC. This device could achieve every challenge it faced with ease due to its 11 powerful DSP processors. Thanks to this multimedia digital audio mixer, headliners like Martin Solveig, Bob Sinclar and Klingande made the audience dance like there is no tomorrow. While building a new outdoor beach club this summer, they asked AUDAC for a system that could deliver the same reliability and quality that they experienced with their advanced audio matrix. For this special occasion AUDAC suggested a combination of more than 50 WX502 outdoor loudspeakers, ATEO6 design wall speakers and eight custom build 100V VEXO8 compact power cabinets. The outdoor concept ‘Ipanema’ is the ideal location for a friendly chat and a place to relax in the afternoon while listening to lounge or house whereas the Mexican theme creates the ultimate summer feeling, a bit of Ibiza in Belgium. AUDAC also provided a prototype of its 100V amplifiers that powers the complete audio setup from just one unit. This soon to be released PMQ series amplifiers are built for applications that require a high output power on low and high impedance, which suited perfectly for the outdoor club. “With the virtue of the WaveDynamics technology that is implemented in the amplifier everybody is astonished when we tell them that the sound only comes from just one 100V amplifier,” said Stijn Vandebosch, Product Manager at AUDAC. “This forms the best real live test procedure we could hope for, having a prototype running in a real environment for an entire summer will show that the amplifier can take up the most intensive use.” Tom Van de Sande, Marketing Manager at AUDAC added: “The Club Versuz always manages to surprise its guest with the latest technology for show and events and knowing that AUDAC products are a driving part in this atmosphere makes me proud to be a part of it.”



This past January, Nashville’s Famous Saloon, a 120-year old, multi-level ‘Honky-Tonk’, featuring live music, indoor and outdoor bars, as well private event space was due for a total renovation. In doing so, the bar’s owner, May West, sought to preserve the venue’s classic Southern charm while also enhancing the customer experience with new technology. Following a referral from the bar’s appointed architect, May asked integration firm Tour Supply Inc. to design an automation system to give her and her staff the modern control they desired. To do just that, Tour Supply turned to ELAN. “Our staff had struggled to manage the vibe of each room. We really wanted a system that would allow us to dim the lights from anywhere within the bar, change the music with the touch of a button and instantly set up the stage lighting,” May commented. “We took this renovation as an opportunity to modernise our operations with an automation system and we made a fantastic decision by going with ELAN. We’ve taken a truly historic venue and infused it with a customer experience that only 21st century technology can deliver.” Technology integrators Chris Torri and Lance Wascom installed one ELAN gSC10 Controller, accessible through centrally located ELAN gTP7 and gTP12 touch panels and the ELAN App, to control and automate the bar’s lighting, security, audio and video. They also installed an ELAN gMV1616 Ultra Matrix Switcher to distribute audio and video to each of the bar’s four floors, including hundreds of speakers and 14 Sony 65-inch 4K TVs. “ELAN helps to turn a big space into an easily manageable space,” Chris emphasised. “May and her staff can control any system remotely, including the systems indoors, outdoors or on stage. We built a really impressive and reliable system that integrates everything throughout the bar. It also helps the staff to better manage operations whilst enhancing the overall vibe for customers looking to have a great time.” The new lighting system throughout the Famous Saloon is nothing short of show-stopping. Tour Supply installed hundreds of Converging Systems RGB ‘Tape Light’ LED strips throughout the venue including underneath the bar itself, and integrated them into the ELAN system with time-specific ‘Event Maps’. This way, all of the LED lighting throughout the venue operates on a time schedule; in the morning, the lights power on and create a ‘pulsing’ effect. By the evening, the lights are fully ramped up and dancing in a dazzling show. Tour Supply also integrated a Lutron Lighting system with Radio RA keypads, repeaters and dimmers throughout the venue which communicates with the ELAN system and integrates with 16 Martin by

Harman RUSH MH 5 profile moving heads, as well as ETC and Chauvet theatrical stage lighting for live concerts. In addition to creating specific concert scenes, which May and her team can access with a tap on a screen, Chris installed the ELAN App on an Apple iPad Mini so that, if need be, any performer can adjust and customise the stage lighting for their show. “All of Nashville’s musicians want to play here for this reason,” May said. “Between the high-end acoustics and the control we give them over the lights, we’ve set a new standard for bar-performing bands. Every musician that plays here loves it and asks to come back.” Tour Supply set specific scenes for audio and video which can be changed depending on the event that the Famous Saloon is hosting, such as dinner party or live event. To make sure that the Sony 4K televisions receive crisp signals over the long distances from the equipment rack Tour Supply relied on sixteen ELAN HDRE receivers. Tour Supply also installed three Gefen GTB-HDBT-POL-BLK Extenders for HDMI for remote HDMI input. “We relied on Gefen to extend HDMI at 4K resolution,” Lance added. “So we don’t have to compromise the quality of the image no matter where we keep the equipment rack.” May also wanted to be able to check in on the venue from outside of the bar. Tour Supply designed and installed an extensive security system with 35 Flir N113ED Mini Eyeball Cameras and 27 Flir N113BD Mini Bullet Cameras which provide the ELAN App with a live streaming video feed. “Before I go to sleep, I check the security cameras on my phone from my bed,” she said. “It gives me peace-of-mind to know that I can always check on the building.” With a system of this caliber, Tour Supply knew they needed power back-up. That’s why they installed a Furman F1500-UPS Uninterruptible Power Supply into the AV system’s central equipment rack with six Furman PST-8 Power Conditioners with Series Multi-Stage Protection Plus to guarantee that all the system’s audiovisual components receive clean, uninterrupted power. “We get a lot of thunderstorms in Nashville,” May said. “And even during widespread power outages or surges, we have never had a problem.” According to May, having instant accessibility to any system throughout the venue has completely transformed how the staff manages the bar. “In this business, every day is unpredictable,” she said. “Having the ability to pull out my phone and turn on the bar’s music, or turn on the outdoor fans from anywhere in the world is exactly what I need to feel in control.”



Sweat Shop Brew Kitchen and The Good Home Bar both of which are located in Auckland, New Zealand - are two examples of spaces that seamlessly integrate a family-oriented dining space with aspects of a late night venue. Such transformative qualities are thanks to the work of Edwards Sound Systems in NZ, which provided a suitable and flexible audio solution for both outlets. Jamie Cashmore and Jonathan Hardie Neil of Edwards recently selected D.A.S Audio products for these two installations. Located on Sale 7 St, Freeman’s Bay, Auckland, you’ll find Sweat Shop Brew Kitchen, a truly multipurpose space that operates as a bar by day and nightclub at night, with Friday and Saturday nights in particular bringing up to 400-500 customers to watch their in-house live band. We aimed to select a product that matched the venue’s chameleon-like transition from restaurant to nightclub. D.A.S. Audio’s Convert Series was deemed more than fitting for the job, as Jamie explained: “The system is versatile, playing background music throughout the week, right through to the system really coming alive on a Friday night when the bar hosts live music.” Just a single pair of Convert 1590RAs are suspended from the ceiling, which is enough to cover the entire venue. Jamie continued: “The boxes offer very even sound distribution, so that even those towards the back of the bar are fully immersed within the band performance.” Two D.A.S. Audio SX-218A subwoofers complement the top boxes and extend the low frequency range of the system. The house band at Sweat Shop has actually made a

name for itself, becoming quite famous in New Zealand. And, as there are not so many mid-sized venues in the city playing live music weekly, Sweat Shop definitely attracts the crowds. Another new venue, The Good Home Bar - that lies on the site of the old Speights Alehouse on Normanby Road - operates as both a family-friendly restaurant and as a live music venue, hosting bands that play long into the night on Fridays and Saturdays. Considering the venue also broadcasts live sport, runs quiz nights and hosts a wide array of functions, the space required a versatile sound system. Jonathan says “We specify the Artec 500 series quite often; it is incredibly flexible, and the D.A.S. Audio Artec 500 Series was more than up for the audio challenge at The Good Home Bar”. Eight Artec 508’s are installed around the periphery. The loudspeakers have been split into zones, so that the venue can play a sports game in one area and background music in another at the same time, but the two systems don’t interfere with one another. Simple presets were also set-up and loaded into a wall panel so that staff can easily operate the system without needing any professional knowledge of audio system control. Two D.A.S. Audio Arco 24 loudspeakers outside extends the atmosphere to outdoor space. “So for example, when broadcasting a live game, customers can sit outside and watch the game on a projection screen,” said Jonathan. Edwards Sound also took care of the installation of the projector and screen and the TVs inside, all with multiple video sources, making this project a true audiovisual integration.

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Sports Bar & Grill are a chain of six outlets throughout London, catering for visitors who like to enjoy quality food and drink while being able to watch the world’s biggest sporting events. To meet the ‘watch from anywhere’ remit, forty five 55-inch Sony LED TVs were mounted throughout the venue. 25 of these screens being wall mounted, and twenty being mounted from the ceiling – with some being back-to-back and suspended from a 5.5m ceiling. B-Tech AV Mounts were used throughout to ensure precision and flexibility to the install, as well as providing an aesthetically pleasing, ‘wire free’ finish. Over six kilometres of Cat6 cable was installed to ensure high quality content transfer as well as future proofing the system for flexibility. With several defined viewing zones aroundthe venue, broadcasts were provided by four Sky HD boxes, as well as IPTV for total content control. Distribution of video was provided via 2 x CYP HDBaseT matrices, one of them 32 x channel, the other 16 x channel – effectively giving each individual TV its own zone. With the venue needing excellent sound coverage & clarity for ‘the big game’ as well as premium background music during more relaxed times, a high quality sound system from BOSE Professional was specified and installed by AV Systems. Bose FreeSpace DS100 loudspeakers, with bass support from Panaray MB4 subs in the main areas,as well as FreeSpace® 3 loudspeakers in the quieter zones, are controlled through a Bose ControlSpace ESP-00 DSP, and powered by Bose PowerMatch amplifiers, to complement the Sony TV arrangement in providing a first-class audio experience for customers, wherever they are in the venue. By any gauge, the result is impressive, with a superb picture matched by great sound coverage and clarity, anywhere in the venue. Customers at the Canary Wharf Sports Bar & Grill can now have whatever sport they wish, on whatever screen they want, provided in full HD with a quality sound system to match. With screen alignment being laser perfect. Adam Florio, MD of Integrator AV Systems Ltd said: “I wanted this install to be perfect and attention to detail was absolute - both for the customer and myself.” To reflect the standard of the work involved, the screen mounting being equally spaced between vents from the air conditioning system speaks volumes for Adam’s high expectations. The screen ceiling poles spaced to blend perfectly with the black window frames is no coincidence! Adam added: “The quality of the screens, video signal, cabling and audio system are all there to be seen, but it’s also what can’t be seen that makes the difference.The precision of B-Tech’s engineering allowed me to fit displays at potentially difficult locations with ease – and their unique ceiling plate and accessory collar covers all helped towards a tidy, professional job.”

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Much more than your average nightlife hangout, BASE is a huge open-air venue with a multi-tiered adaptable layout suitable for up to 2,000 guests, and its home, is one of the most luxurious places on earth… Dubai. 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. For the entire audio set-up, TW AUDiO was selected as Joe describes it as the strongest acoustic sound system available to fit the club’s USPs. 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. 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 180 sq metres of LED screens around the venue. The lighting design was completed by LEDSCONTROL and Joe executed the design together with Prospect Design International, the interior design firm. The chandelier is deemed the iconic centrepiece, as it has five layers of tiered P10 LED screens


Sven Pro designed and installed a dynamic Kling & Freitag sound system at the new Liars Club bar and lounge featuring Sona 5 speakers that virtually disappear throughout the space. The Liars Club is an upstairs, exclusive bar, located directly above The Coffee House at Chestnut & Pine. The Coffee House hosts an open mic night every week and live music on the weekends using a sound system also installed by Sven Pro. A high-quality sound system was very important for the planners of the Liars’ Club. The Kling & Freitag Sona 5 speakers have an elegant design that helps them become a part of the room they occupy. Beyond looks, the speakers sound fantastic, delivering a full and clear representation of the recorded music playing in the lounge. The speakers also boast outstanding directivity, stability and are perfect for medium range listening distances. Sven Pro also installed a Russound zone controller amplifier streamer which allows for simple connectivity via an Apple iPad and built-in music streaming capabilities directed at commercial background and

foreground music applications. “The performance of the Kling & Freitag Sona 5 coupled with the Russound system is extraordinary. Not only were we able to achieve consistent background music throughout the venue but we were also able to maintain the aesthetics of this beautiful venue,” said Sven Pro Operations Manager, Brady Garrison. Kling & Freitag is a German manufacturer and Sven Pro has been extremely pleased to work with their systems. A part of Kling & Freitag’s mission is to ‘balance passion with precision for uncompromising audio quality’ and Sven Pro agrees with this statement. Sven Pro is the only Kling & Freitag provider in the United States and plans to continue recommending and installing as many products as they fit each application. Clearly in today’s age, a new bar venue absolutely requires a great speaker system to provide entertainment to the guests. Sven Pro has consistently determined the best solutions for businesses like The Liars Club.

organised in a downward pyramid layout, which is controlled using Resolume VJ software. The LED structure is hung on a large truss structure that was helped into place by 10 Movecat ECOLITE-1000 to lifts. Additional, stunning LED visual effects pattern across the ceiling and walls, all of which is created and controlled in a MADRIX software package. A ChamSys MQ500 stadium lighting console takes control of the lights. Two Movecat C1 Motors (VMKS-500-24) for aerial dancers were also permanently installed at BASE.


EM SHER I F COMPANY: GENELEC LOCATION: DUBAI, UAE Em Sherif is a distinguished fine-dining Oriental restaurant that offers unique, authentic Lebanese cuisine. The restaurant aims to bring back forgotten traditional flavours and provide its guests with an unsurpassed first class dining experience. The latest Em Sherif restaurant opened in downtown Dubai, overlooking the Burj Khalifa. Acoustics consultancy firm 21dB was tasked with installing a sound system that was able to provide an optimum audio experience for both live and recorded music in the opulent dining space. The company chose Genelec speakers as part of an intricate audio solution befitting of the restaurant’s sensory splendour. The spacious indoor expanse, high ceiling and large glass façade were considerable obstacles to designing an effective sound system which had to be integrated intelligently to provide high-quality music and an optimum acoustic experience. The client also required a clean aesthetic so as not to detract from the luxurious décor which was designed to resemble an antique oriental mansion. In order to achieve this, the subwoofers needed to be hidden from sight completely and the visible speakers needed to blend in with the background as much as possible. In order to tackle the challenging acoustic environment, 21dB specified a seamless porous sound absorber to be installed across some parts of the ceiling in order to reduce the reverberation times, which could not have been achieved with just soft furnishings and curtains alone. The ceiling is ornately decorated with attractive cornices and gold leaf dec-

oration, so special considerations had to be made to ensure that the absorber did not hinder the attractive aesthetic. A Genelec system was chosen from distributors Eltek and a total of 19 Genelec 4040A installation loudspeakers were ordered in white and painted by an artist in a shaded light blue finish to blend into the restaurant’s décor. The seven Genelec 7070A subwoofers were either hidden in custom made perforated boxes or recessed into the floor with a steel grille on top which was made possible thanks to the floor thickness. “We have used Genelec speakers many times before, and we have always been impressed with their performance and often received excellent feedback,” said Fouad Bechwati, Principal of 21dB. “As acoustic consultants for the project we felt that the combination of the acoustic treatment and the Genelec speakers would deliver the best possible solution for the client. Another consideration was the fact that the restaurant usually has a live band playing every few days. With Genelec being used extensively in music studios as a result of their fantastic reproduction, we knew their qualities for this application and felt that they were the best choice for the job.” Having dramatically improved the acoustic environment, the Genelec speakers provide a crisp and clean sound which can be played at any level whilst still maintaining the same level of definition in the music. Whenever live bands perform, usually traditional Arabic music, the sound from the speakers is natural and precise, delivering the best possible experience to diners. The sound system is a perfect accompaniment to the restaurant’s stunning food, service and ambience, and it also helps the luxurious Em Sherif to distinguish itself as a landmark in authentic oriental cuisine.


Auchinleck House, a former office block in the heart of Birmingham’s city centre, has become home to the newly-opened Park Regis Hotel. Guest facilities offered by the 253 room luxury hotel include two restaurants, one of which, the Japanese ROFUTO, occupies the entire 16th floor. In addition to its Japanese cuisine, the flagship restaurant - which also has its own separate cocktail bar - offers guests ambient background music and occasional performances by DJs and other live musicians. Meeting these diverse musical requirements without disturbing the general aesthetic of the restaurant has therefore demanded the installation of a sound system that can deliver the highest levels of music reproduction and speech intelligibility, while remaining visually unobtrusive to guests. Installation of the new restaurant sound system was contracted to SSE Audio Group’s installation division who, following consultation with Fohhn Audio’s UK distributor, Systems Workshop ultimately decided to go with a range of the German manufacturer’s Linea LX and Arc-Series loudspeakers. Designed for more complex fixed installations, Fohhn’s Linea LX series combines state-of-the-art Fohhn hybrid line array technology with designer housing to deliver dynamic sound, outstanding speech intelligibility

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Effective and accurate wireless load monitoring Up to 800 m (half a mile) range Smart diagnostics to save time and aesthetically-pleasing results. The company’s Arc-Series compact subwoofers have been specially developed for architectural sound design, providing powerful yet selective coverage within limited spaces as well as more extensive coverage of longer distances. SSE Audio Group’s system design aimed to give listeners the impression of sound coming from a single stereo source. In order to achieve this, two LX500 high performance line source systems and two AS-31 subwoofers were installed on either side of the bar at one end of the room. The systems were subtly integrated into specially constructed bar furniture with custom wooden grilles built to SSE’s specification. To supplement the two LX-500’s, two LX-60 line source speakers were additionally installed on each side of the restaurant. At the back of the room, two AS-10 subwoofers were added for extra low frequency coverage. These systems were also built into specially constructed bar furniture that included a wine cabinet. All LX-60 and AS-10 systems were then phase and time aligned and the whole system EQd’, so that the final result was a single stereo image throughout the room. Fohhn D-2.1500, high performance, two-channel DSP amplifiers were installed to power the loudspeakers. For system control, a Sharp touch screen with custom graphical interface was also implemented. In the restaurant’s cocktail bar, which is separately located at the west end of the floor, a further sound system was installed comprising two LX-500 loudspeakers pole-mounted on top of two AS-31 subwoofers.


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The theme at the posh bar and cocktail lounge Campbell Apartment, located in Grand Central Terminal in New York City is centralised on the history of its landmark status. The space was once the office of American financier John W. Campbell, a member of the New York Central Railroad’s board of directors. Later used for office space, as a studio by CBS Radio and as a jail by Metro-North Railroad, the space was restored to its original opulence following renovations totaling nearly US$2m in 1999 and 2007. The walls and ceiling were brought back to their former glory, a new bar was constructed using the same quatrefoil mahogany as the balcony and the original steel safe, once hidden behind a wall now sits in the massive fireplace as a reminder of

Campbell’s wealth. Temporarily closing its door for a year due to leasing issues, Campbell Apartment reopened in June 2017 under the new ownership of hospitality vanguard, Gerber Group. One of the first orders from the company’s principal and CEO, Scott Gerber was to update the bar’s acoustics for a better distributed audio, one that matches the prestige of the structure. Global Audio Systems was tasked with this responsibility given that its owner, Jason Ojeda had previously worked with the Gerber Group at several of their properties and entrusted him with such an important project. Jason had first-hand experience using K-array in several projects prior and according to him: “It was simply the right fit for this job at Grand Central and would sound amazing.”

With help from distributors K-array America, Jason arranged six Kayman-KY102 and 1 Kobra-KK52 loudspeaker line arrays for the Campbell Apartment installation, utilising the Kayman for its frequency response down to 90Hz. The system was designed to have even and consistent coverage throughout the venue distributing audio without any dead zones and was installed into custom wall sconces that were designed around the line arrays. “We knew we had to have amazing sound without having bulky speakers or losing audio quality. Scott and his team are ecstatic about the install. The design fits the venue and its aesthetic needs without sacrificing sound quality. K-array is simply amazing at what it does,” Jason concluded.


A fixture of London’s jazz music scene for more than four decades, PizzaExpress Jazz Club replaced its aging audio system with a new, self-powered Meyer Sound system featuring IntelligentDC technology. “With the new Meyer Sound system, we have excellent response, from the top to the bottom of the frequency range, at every seat,” reported Ross Dines, PizzaExpress Music Manager. “It’s a completely different world, you can hear the difference on every instrument and voice. It’s been a real game changer for me.” For Luc Saint-Martin, the club’s FOH Engineer for more than a decade, the loudspeaker upgrade gives assurance that his mix will be heard uniformly throughout the room. “The Meyer Sound system gives an excellent dynamic presentation of the sound on the stage,” he said. “What comes through the system is a true linear representation of the input, it’s very predictable. The loudspeakers are also small, discreet and don’t obstruct sightlines. “Guests have commented on how the sound is much clearer than before,” continued Luc. “And it can be louder if need be as we have much more headroom. But even when loud, it’s much cleaner and more pleasing to the ear so it doesn’t cause fatigue.” To address the venue’s acoustically challenging low ceiling and irregular shape, Chris Austin of London’s Autograph Sales & Installations configured a main system of three UPJunior-XP VariO loudspeakers and one-each of MM-10XP and UMS-1XP subwoofers. Three MM4XPD self-powered loudspeakers provide front fill and two MM-4XP and UP-4XP loudspeakers each cover the bar and alcove areas. All loudspeakers employ IntelligentDC technology which combines the performance advantages of self-powered loudspeakers with the installation efficiency of Class 2 wiring. A single, five-conductor cable carries remote DC power and balanced audio signal to the loudspeakers from a rack-mount power supply and signal distribution unit. “I had originally specified Meyer Sound loudspeakers with direct AC powering,” said Chris. “But that would have required quite of bit of electrical conduit work to make it all up to code. With IntelligentDC, I realised I could assure the same performance levels while substantially reducing overall costs.”



April’s Kitchen in Knutsford, UK is casual dining done elegantly - from breakfast through to dinner, the menu combines hearty ingredients with plenty of choice in a relaxed setting. Recently opened by young entrepreneur, April Stobart, it has certainly set tongues among the locals - and for all the right reasons. April said: “With April’s Kitchen Knutsford being my first permanent F&B outlet, I wanted it to have the wow factor on every level. This includes the décor, the food, the cocktails and, of course, the music. I aimed to create the perfect ambiance for every time of the day.” Locally-based installation company, Masons, were called in by April to specify the audio system for the venue. General Manager, Jack Jennings opted for the recently launched Martin Audio CDD6 loudspeakers - four in total - and a Martin Audio CSX112 subwoofer. “The size, appearance and sound quality of the loudspeakers was very crucial to the design of this system and to the demands of the client,” he said. “The Martin Audio CDD range offer increased coverage and smoother distribution from a smaller box, whilst also having an architecturally sympathetic design and providing the reliably great Martin Audio sound.” There is also a pair of Apart Mask4t loudspeakers installed as fills towards the back of the venue and some pinspot ceiling loudspeakers for the toilets. April continued: “Masons advised Martin Audio loudspeakers for the main system and I’m very pleased with their recommendation. It’s perfect for background music during the day, but also capable of the tempo change at the weekends when we have live music on Fridays and a resident DJ on Saturdays.”

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Dataton WATCHOUT drives world’s highest resolution video wall at The Dubai Mall.

You can’t miss the latest record-breaking attraction at The Dubai Mall: the new curved video wall above the Dubai Aquarium & Underwater Zoo measures a stunning 700 sq metres with 1.7 billion pixels on 820 OLED displays. Behind the scenes, you’ll find Dataton’s award-winning WATCHOUT multi-display production and playback system, WATCHNET manager software and WATCHPAX 4 servers delivering breath-taking, highresolution content for the mall’s estimated 80 million visitors. The new video wall at The Dubai Mall, unveiled by Emaar Entertainment in August, takes digital signage into a whole new realm and has already earned a hat-trick of recording-breaking titles, in partnership with LG: the largest OLED screen; the highest resolution video wall; and the largest high-definition video wall. The wall is a magnificent, 50-metre wide, wavelike configuration spanning two storeys and fully visible from the ground

floor at The Dubai Mall, the world’s most visited retail destination. Dataton’s WATCHOUT multi-display system and compact WATCHPAX 4 media servers handle content production and delivery, while LG’s flexible OLED screens provide the vibrant colour range and wider viewing angle necessary at the location. Show control onsite, including show selection and power cycling, is via Dataton WATCHNET manager software. All functions and the user interface were tailored to meet the venue’s specific requirements. “The wall is designed to promote the aquarium, but will also provide a visually-exciting canvas for other content and companies, and with such a high-profile installation there are, of course, great demands on content quality and reliability,” said Trond Solvold, Sales Director at Dataton. “WATCHOUT with WATCHPAX 4 was likely the only system in the world that could pull off such a complex installation. The system needed to be


flexible and scalable, and requests for future functionality left other systems far behind, making our solution the best choice for the installation.” At Dubai’s latest attraction, WATCHOUT is teamed with 52 of Dataton’s WATCHPAX 4 media servers, each pushing content to 16 55-inch LG OLED panels. Trond continued: “Besides high performance, the media servers needed to be robust to handle almost 24/7 use and have a compact form factor. Space is incredibly tight behind the video wall - virtually non-existent - and extensive cabling to a server room was never an option. That meant each server had to sit close to the screens. With quad 4K video outputs and a trim A4-size footprint, the WATCHPAX units were eminently suited to the task.” The Dubai Mall video wall is part of owner Emaar Entertainment’s ongoing strategy to provide world-class edutainment using innovative platforms.

Dubai-based systems integrator, DigiComm, supplied the technical specification, solution and installation expertise for the project, coordinating with key suppliers Dataton, LG, and the client, Emaar Entertainment. Maitha Al Dossari, Chief Executive Officer of Emaar Entertainment, said: “Emaar Entertainment continues to push the boundaries and achieve greater heights through innovative installations and attractions. We’re committed to delivering the best in the industry and are honoured that the new OLED screen at Dubai Aquarium & Underwater Zoo has received three recordbreaking titles, underpinning our commitment to pioneering innovative attractions, continued advancements in technology and digital attractions, and inspiring joy.”



Yet again, Franco Dragone takes the world by storm with his latest immersive creation, La Perle. Its permanent home is in Dubai, Franco’s first venture into the Middle East market. He has used the expertise of L-Acoustics, DiGiCo, Meyer Sound, BSS, Clay Paky, MA Lighting, VYV, Barco and ShowTex to bring his latest creation to life.


• Above La Perle in Dubai officially opened its doors on 31 August.

In the world of story-telling through immersive and creative theatre, the name Dragone speaks a thousand words. Born in southern Italy in the early ‘50s, Franco Dragone relocated to Belgium in his early childhood settling in La Louvière. After spending his 30’s in Canada - working as a teacher at the Circus of Immaculate Conception and later a pivotal role at Cirque du Soleil - it was La Louvière where he returned, to set up the company in his family name back in 2000. Today, Franco Dragone is one of the world’s most sought-after artistic directors. Known the world over, the company has grown immensely since its inception with teams - including performers and artists, production and operations, corporate and creative designers - working around the globe on Dragone’s resident shows;

The Dai Show, Lido, The Han Show, Le Rêve and The House of Dancing Water. Though it may seem difficult to fathom, given the landscape of the entertainment market in the Middle East, Franco and his team are only just entering the region. But what a way to make their mark, with a one-of-a-kind theatre built in the heart of Al Habtoor City - a multi-use development incorporating three fivestar hotels alongside three luxurious residential towers. La Perle is the region’s first resident show and is billed to be an unprecedented immersive production that will mark an iconic milestone for live entertainment in Dubai and the UAE as a whole. The show is a partnership between Franco and Khalaf Ahmad Al Habtoor along with his son, Mohammed Khalaf Al Habtoor - the duo behind the Al Habtoor

City development. The idea was born after Mohammed’s trip to see Le Rêve in Las Vegas many years ago. They broke ground for La Perle in 2013. The 1,300-seat theatre - fairly average in terms of size - is unique in comparison to other theatre spaces in that it only consists of 14 rows, offering an intimate 270º experience for each and every member of the audience. Another standout feature of this theatre is its centrally located on-stage pool. In a matter of seconds the pool can fill, deep even for objects to float on the water or to submerge one of the cast members - when they dive into the pool from 25-metres above - and then just as quickly, it can drain again. The pool uses a staggering 2.7 million litres of water. La Perle is also the first theatre to have


a fully functioning drawbridge, which is utilised by the cast to enhance their performance. The show features 65 artists from 23 different countries, each bringing their own unique set of skills to the performance, ranging from acting, acrobats, aquatic and aerial stunts. The story of La Perle itself takes inspiration from Dubai and the cast themselves are emblematic of Dubai’s multicultural population. as there are so many diverse cultures within the UAE. With two shows a day, five days a week, the show will be welcoming more 450,000 guests a year. Of course, these memorising performances would not be possible without the support and back up of technology and, like the team, Franco would not have settled for anything but the best, meaning La Perle has been fully equipped with the very latest technology advancement, the first of which being Syva - L-Acoustics’ new colinear system. “Syva is a new breed of sound system combining the benefits of line source technology with a plug-and-play approach, in a sleek

“I was excited ahead of using the DiGiCo consoles because I deem them a real sound console. In terms of the mixing and the live functionality of a sound console, I’m looking forward to having that back, as more recently I been using an audio show control system.”

design, tailor-made for places where elegance and discretion are paramount,” said Stéphane Ecalle, Marketing Director at L-Acoustics. Although a late addition to the inventory, due to the timing of the product release, it demonstrates how committed the theatre is to producing the optimum experience for the audience. Sound Designer at La Perle, Sebastian Hammond takes up the Syva story: “I’m so excited to be one of the first clients to have Syva. We wanted the clarity and the quality of an L-Acoustics product but finding something to fit within the architectural limitations we had was tricky, until Syva came along. Its size is perfect for the space, and it is still capable of the throw I need - about 35-metres at the furthest point.” The two Syva columns accompany the main L-Acoustics KARAi rig, which is configured with a house left and house right system and each side has L-C-R hangs each comprising six KARAi cabinets and a SB18 subwoofer on top. There are a further two hangs on either side of the proscenium. “The set-up


creates a wide stereo image, and we have the ability to brings elements out of the mix using the centre array, whether that be vocals, an instrument or an effect,” added Sebastian. Having been part of the Dragone family since 2014, Sebastian moved from The Han Show Theatre in China in November last year to take over the audio responsibilities at La Perle. Although not directly involved in the audio design and planning, he stepped in just prior to installation, which he believes was a crucial moment. “It was actually a very convenient point to step in because I was able to look at the space before the loudspeakers were hung. There are always conflicts found when it comes time to move into the theatre,” he said. “Designs were made on paper, obviously, but when you get into the space you inevitably find that you can’t put a loudspeaker where it was originally intended. Although the end result was very close to the initial design, it was great to be a part of the key decisions once the

loudspeakers needed to be placed. And not just for the loudspeakers, but for the whole system in general and getting the system up and running.” Loudspeaker locations on a show like La Perle throw up a number of obstacles, water effects and automation to name just a few. The show features rain effects and water fountains, so the audio team had to work hand-in-hand with the special effects designers to ensure loudspeakers wouldn’t get in the way and therefore risk getting wet. With the automation aspect, Sebastian and the design team had to ensure the safety of the aerial performers. “There is a specific clearance zone that is needed around a winch for example a winch line used for flying performers across the stage has a certain radius that we need to clear, a zone allowing for a swing or a sway on that line,” he explained. Due to the the size of the theatre design, a delay ring was required, featuring 32 Meyer Sound UP4-XP speakers along with the newly released Meyer Sound


DRAGONE TEAM Founder & Artistic Director of Dragone - Franco Dragone Head of the Studio and Creative Departments at Dragone and Executive Production Director of La Perle - Jean Marcouiller Lighting Designer - Enrico Bagnoli Set Designer - Jean Rabasse Sound Designer and Head of Sound for Operations Sebastian Hammond

SOLOTECH TEAM Audio Project Manager/System Designer -Mario St-Onge Projection Project Manager/System Designer - Tom Roland Senior Site Supervisor - Patrick Marleau Site Supervisor Projection - Scott Tucker Site Supervisor Audio - Martin Pare Project Coordinator - Louise Belanger Logistics Coordinator (Montreal) - Maria Romero Logistics Coordinator (Las Vegas) - James Porcell Project Director - Bob Barbagallo

Galaxy 816 processors. Surrounds behind the audience made up of 34 Meyer Sound UPM-1XP have also been installed. They provide high sound pressure levels, extremely low distortion, and uniform directional control, yet are discreet enough to blend into the aesthetics - in fact they are hidden in the rear wall of the theatre. These speakers also work with the surround ring to produce even coverage. A second row of surrounds comprises 10 L-Acoustics 12XT loudspeakers, so between these two surround, it’s possibly to get ample coverage for different imaging of effects and reverbs. Front-fill duties are taken care of by 24 Meyer Sound MM4-XPs, which are ideal in size and because they are waterproof and low voltage, there is no need to worry about them being too close to the pool. Completing the loudspeaker line-up are eight K-array KP102’s and eight K-array Anakonda KAN200+ flexible arrays, both of which are used as hidden fill loudspeakers. “The K-array products are ideal cosmetically because they blend in with the environment, the theatre designers

were happy that the loudspeakers weren’t so intrusive of their design,” said Sebastian. Two K-array all-in-one KA84 audio power amplifiers look after power and processing needs for the K-array boxes. Amplification and control for L-Acoustics systems, is provided through the company’s amplified controllers - the LA8 and the LA4X. A total of 15 LA8’s and four LA4Xs are in place at La Perle and both amplifiers are more than adequate for the theatre in terms of EQ’ing and delay. With the Meyer Sound cabinets being self-powered, all they require is loudspeaker management, which is provided courtesy of a BSS London Soundweb BLU-806 and six BLU-160’s. Sebastian added: “BSS is basically looking after all our signal flow in terms of outputs to the PA, looking after routing, matrixing and also processing for certain elements.” The amplifier and processor racks are kept in well away from the stage, therefore eliminating the possibility of them getting west, which ultimately extends the longevity of the show. For mixing capabilities, DiGiCo takes


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• Above The projection screens stretch across the walls, the seats, the floors and even the building’s dome.

control at La Perle. It was an interesting opportunity for Sebastian, having not worked with the brand previously in resident shows, but he did of course, know it by reputation. “I was excited ahead of using the DiGiCo consoles because I deem them a real sound console,” he said. “In terms of the mixing and the live functionality of the console, I’m looking forward to having that back, as more recently we have used an audio show control system. And although I may lose the features of the latter system that I’m used to, I will have to be more creative with how I use the DiGiCo console.” An SD7 is in place at front of house taking responsibility for the audience mix. While an SD10 caters for the musicans and artists. Packed full of features the SD Series, thanks to the company’s Super FPGA technology, is able to deliver high-density digital processing. They also offer an abundance of I/O options, which in the case of La Perle is fulfilled by a DiGiCo Waves SoundGrid, D-Rack and SD-Mini Rack, as well as DD2’s and a DD4 from Optocore. Local support for the DiGiCo consoles as well as the L-Acoustics PA - came from Delta Sound and so Sebastian has been and will continue to be in close contact

with them. Technical Support Engineer of Delta Sound, Mahesh Ramdin, said: “It was a great experience working with the dedicated team from Dragon over the summer at the La Perle theatre in Dubai. I had the privilege of work with the in-house sound team, setting up the flagship console from DiGiCo the SD7. The SD7 is the main show console at front of house and is accompanied with a DiGiCo SD10 and SD10 remote engine as the monitor console for the band. All consoles are in a fibre optic loop with DiGiCo racks and devices from Optocore to provide a network of audio patch.” The installation itself though, was carried out by Montreal-based Solotech. Responsible for the audio, visual and comms installation, the Canadian company is no stranger to Dragone, having partnered successfully on previous projects, hence the reason for using an out-of-region installer. Projector Director for Solotech, Bob Barbagallo, said: “Solotech has had a long working relationship with the Dragone team with work performed on other Dragone creations. Working with their Dubai creative team has been exciting. As the show evolves Solotech adapts to the required artistic changes

to have the audio and video projection tools available when required. Solotech’s system designers, project managers, and logistic coordinators worked closely with Dragone and their partner Al Habtoor to produce something very special, La Perle.” To accompany the top of the range audio inventory is an equally spectacular visual package. And, as mentioned earlier, an important factor of the theatre and indeed the story of La Perle are the water effects. “We’re pretty good at working with an aqua based theatre after Le Rêve and The House of Dancing Water,” said Jean Marcouiller, Head of the Studio and Creative Departments at Dragone and Executive Production Director of La Perle. “Water for us is like second nature. We find that utilising water within our shows brings a special element to the production, even though it is difficult to work with. Design wise though it is very rewarding as introducing water into a space turns it into a completely different one. So, over the years we have learned that there are thousands of different ways to incorporate water into a production.” Having worked for Dragone since 2003, Jean joined the company as a tech-


nical director but quickly progressed through the ranks. Today, he is Head of the Studio and Creative Departments at Dragone - which essentially means he’s in charge of general management of all the Dragone shows, overseeing design, hiring, conception and construction - second in command to Franco himself. “With La Perle, we’re introducing various state-of-the-art special effects that have never been achieved within a production before. Water effects using high level robotics, which are controlled by the automation desk and so the aerial acrobatics and the water fountain effects will be interlinked, which has never been done before. We also use high-level displacement of water like torrents as the concept of the show leant more towards rivers rather than lakes. Then we have the regular effects, but on a larger scale, such as smoke, and rain.” Aside from the mind-blowing water effects, the audience is also taken in by the breath-taking 3D projection mapping. The projection screens stretch across the walls, the seats, the floors and even the building’s dome. Using 24 Barco projectors - a combination of four HDF W-26’s as backdrop projectors and 20 HDF W-26 projectors, 12 for the dome, six for the floor and two for the bridge. Content design and creation by Montreal-based VYV, La Perle’s is home to a fully immersive visual setup. VYV use nine PHOTON media servers and two PHOTON controllers for La Perle that provide 270-degree coverage stretching across the entire theatre. The real-time and automatic calibration that PHOTON offers allows scene changes within the show to flow seamlessly. The media servers are also capable of compositing with the lighting, audio, and automation for perfectly streamlined performances.

The 270º theatre design was something that scenic designer for La Perle, Jean Rabasse considered in great detail when he joined the project, right at the very beginning. A famous French cinema set decorator and scenographer, he started to collaborate with Franco on La Perle and while doing so the pair also worked to open the new show of the Lido in Paris Paris Merveilles in 2015. “I like to be involved with the creation of the theatre, the seating and the audience perspective,” said Jean. “The theatre design is very much linked to what Franco wants to show he audience, so we work together closely to achieve this. We consider the spirit of the show, how we want to seat the audience, how we see the artists, the video and the lighting, which is why it’s important to be involved from the beginning to get the relation between the audience and the stage just right.” For La Perle, Jean was to create the illusion of a cavern in the dessert, which unfolds so the audience discover the beauty of the surroundings. He also wanted the design to be a continuation of Dubai itself - quality and luxury. Adding yet another dimension to the visual display are the lighting fixtures - a combination of intelligent moving lights and traditional theatre followspots. In charge of making those decisions is Enrico Bagnoli. “I had a lot of freedom with the lighting design due to the theatre being built from scratch,” he said. “When discussions about the project began back in 2013, I quickly had to decide what equipment would be needed - exact fixtures.” The lighting design for La Perle wasn’t a straightforward task, although a beautiful theatre it isn’t symmetrical and it isn’t linear, instead it’s full of curves, which presents many problems. Add the need for the fixtures to be silent or very quiet

TECHNICAL INFORMATION SOUND 48 x L-Acoustics KARAi loudspeaker; 2 x L-Acoustics Syva new colinear system; 6 x L-Acoustics SB18 subwoofer; 10 x x L-Acoustics SB28 subwoofer; 15 x L-Acoustics LA8 amplified controller; 4 x L-Acoustics LA4X amplified controller; 1 x DiGiCo SD10 console; 1 x DiGiCo SD7 console; 1 x DiGiCoSD-MINI Rack; 1 x DiGiCo D-Rack; 1 x DiGiCo Waves SoundGrid; 1 x Optocore DD4 module; 3 x Optocore DD2 module; 46 x Meyer Sound MM4-XP loudspeaker; 6 x Meyer Sound UP4-XP loudspeaker; 34 x Meyer Sound UPM-1P loudspeaker; 6 x Meyer Sound UPJ1P loudspeaker; 6 x Meyer Sound UPJ-1P loudspeaker; 24 x Meyer Sound UPQ-1P loudspeaker; 2 x Meyer Sound Acheron 80 cinema loudspeaker; 2 x Meyer Sound Acheron 100 cinema loudspeaker; 12 x Meyer Sound 500-HP subwoofer; 3 x Meyer Sound 1100-LFC subwoofer; 3 x Meyer Sound DCP-72 D-Mitri processor; 1 x Meyer Sound DCM-4 D-Mitri matrix; 3 x Meyer Sound Galileo 616 processor; 1 x Soundcraft Vi3000 monitor console; 8 x K-array KP102 loudspeaker; 4 x K-array Anakonda KAN200+ subwoofer; 4 x K-array KA84 amplifier; 1 x BSS Soundweb London BLU-806 processor; 6 x 1 x BSS Soundweb London BLU-160 processor; 3 x Shure ULXD4Q wireless microphone receiver; 10 x Shure ULXD1 wireless bodypack transmitter; 2 x Shure ULXD2/SM58 wireless handheld transmitter; 2 x Shure PSM1000 P10T IEM transmitter; 6 x Shure PSM1000 P10R IEM receiver; 2 x Shure PSM900 P9T IFB transmitter; 12 x Shure PSM900 P9RA IFB receiver; 4 x Clear-Com RCS-2700 Analog Party Line Intercom Matrix; 4 x Clear-Com RM-704 four-channel mainstation; 4 x Clear-Com RM-702 two-channel mainstation; 32 x Clear-Com RS-702 two-channel belt pack; 8 x Clear-Com 110/490 gooseneck microphone; Sennheiser, Shure, AKG, beyerdynamic, Neumann and DPA microphones for the band LIGHTING, VISUAL & EFFECTS 4 x Clay Paky Sharpy moving head; 28 x Clay Paky Super Sharpy moving head; 41 x Clay Paky Alpha Profile 1500 moving head; 20 x Clay Paky Alpha Profile 800 moving head; 21 x Clay Paky Alpha Wash 1500 moving head; 4 x Clay Paky Alpha Beam 1500 moving head; 14 x Clay Paky A.leda B-EYE moving head; 48 x Studio Due’s City Color cyclorama fixture; 40 x ETC Source Four fixture; 1 x MA Lighting grandMA console; 4 x Barco HDQ 2K40 DLP projector; 20 x Barco HDF W-26 projector; 2 x VYV Photon controller; 9 x VYV Photon media server; 2 x VYV Photon remote handheld controller; 1 x ShowTex 11-metre by 27-metre ShowLED Chameleon Starcloth; ShowTex Delta and Bravo velour curtains; 1 x ShowTex 23-metres high by 24-metres wide DMX chaintrack with black curtain; 1 x ShowTex’s anodised aluminum spirelli curtain

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• Above Audience members can’t see any of the ShowTex curtains as they are made from black masking fabrics.

- a normal requirement in any theatrical space - and it’s easy to see why a veteran LD like Enrico was brought in. “In theatres, operation noise is 90% of the problem you face, fixtures simply have to be quiet. You need moving heads, but you need silence so when a company manufacturers a spot with good optics and silent operation - it becomes one of my go-to fixtures,” he said. A large Clay Paky inventory has been specified for La Perle including Sharpys, Super Sharpys, Alpha Profile 1500’s, Alpha Profile 800’s, Alpha Wash 1500’s, Alpha Beam 1500’s. “Back in 2013 when the fixtures were selected, these were the best in class, however, as with anything, technology moves on and newer models were available when we were installing. To be honest though, I prefer the older fixtures that have maturity for this project. I would not have chosen a brand new product with no references. It takes a while to fine tune the fixtures to the environment- the heat and humidity being the obstacles in this case,” Enrico added. Clay Paky A.leda B-EYE’s are also at home in La Perle. “The B-EYEs work well in a small space and particularly well for atmospherics, with the use of a little smoke. It’s a wash fixture but also has a sharp focus so it’s quite a spectacular fixture,” he continued. Enrico chosen another Italian manufacturers for the cyclorama fixtures, Studio Due’s City Color, selected simply due to the product’s incredible reputation. Theatrical fixtures came in the form of the industry standard ETC Source Fours, and the pool was lit too, using IP68-rated Anolis LED lights. “For all the brands I selected, I took into account the after sales

packages, as this is important to me. I wanted companies with an office and service here in Dubai.” Enrico selected Oasis Enterprises LLC to fulfil that requirement. The company supplied and installed the lighting fixtures and special effects. Controlling the intelligent lighting is yet another industry standard, an MA Lighting grandMA. “For this kind of level of project you need a high-end, rider friendly product and it can handle four DMX universes,” Enrico said. Completely integrating the lighting with the video is probably the biggest problem to overcome - there is always conflict between the two - but having a control platform such as the grandMA equipped Enrico with the best tools to overcome that challenge. Last but not least, the attention turns to ShowTex Middle East, a company that can’t be categorised into a single discipline, as its creations are so varied, but this project would not have been complete without it. Downstage, ShowTex manufactured and installed a giant 11-metre by 27-metre ShowLED Chameleon Starcloth, which is hung in a curved configuration to enhance the infinity effect. The LED RGB Starcloth is fully DMX controllable via the grandMA. Managing Partner of Showtex Middle East, Sven Peeters and his team also supplied a large amount of black masking fabrics, mainly the brand new velours - Delta and Bravo. Sven expanded: “The beautiful thing about this new velvet is that it has a unique width of 210cm, it is inherently flame retardant, beautifully black and ideal for use in humid enclosed environments like theatres with water effects and theme parks due to its absolute minimal

shrinkage factor. Audience members will not be able to see the curtains at La Perle, meaning we succeeded in our mission to hide the technical systems in the theatre.” One of the masterpieces ShowTex supplied is a complex DMX chaintrack with a huge black curtain that is tabbed in and out to give the massive decorative gate transparency or blackout. It is running behind the aforementioned gate and follows it when it closes and opens behind it to give a transparent effect, allowing the audience to see the LED wall behind it. “It is possibly the heaviest and tallest curtain ever moved on a chaintrack,” continued Sven. “It’s a whopping 23-metres high by 24-metres wide which folds up in an incredibly tight space, thanks to the ingenious chaintrack continuous loop system. The system is tied into the overall show control.” The central sphere that hangs from the ceiling is a focal point of the show and to help create it Dragone turned to ShowTex’s anodised aluminum spirelli curtain. Once again, it was at the large end of the scale measuring 13-metres in height with a nine-metre radius. Behind the spirelli is a laservoile, this creates a beautiful halo effect to further enhance the desired look and feel of the show. Additionally, the Dragone team used ShowTex’s transonic velvet, which masks out loudspeakers without audible loss of sound quality. And La Perle also makes use of several kabuki releases for dropping cables and scenic rope elements. With the doors to La Perle officially opened on 31 August, the response has been extremely positive, with many reviews siting the show as ‘a visual masterpiece’.


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While Greece continues to battle the economic struggles that were triggered by the 2008 Global Financial Crisis, Cavo Paradiso in Mykonos has gone from strength to strength. For confirmation of its place on the international clubbing map, all you need to do is scan through DJ Mag’s Top 100 Clubs - on any year since the poll started in 2006 - to see that the 3,000-capacity nightclub is a regular in the top 50. This success is rooted in an outlook that stretches way beyond borders and a policy of investing in leading technologies and talent. The venue’s status couldn’t have come from more humble beginnings. Owner, Nikos Daktylides, recognised the potential in a



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small farmer’s hut, perched on the edge of a rocky cliff overlooking the Aegean Sea, and launched Cavo Paradiso as an after-hours venue in 1993. It hosted some of the biggest names in underground house - DJs like Frankie Knuckles and David Morales - setting a course towards international notoriety. Fast forward to 2017 and Cavo Paradiso has grown into a multi-level, open-air venue that continues to attract the current stars of dance music. The latest chapter in the club’s 24year dynasty has seen an overhaul of its audio technology, including an uncompromising Funktion-One sound system from Audio Tech, which was supplied to the rental and installation company by Funktion-One distributor, Global Show Productions. The collaborative design process saw Funktion-One design engineer, Mike Igglesden, work closely with Audio Tech’s Dimitrios Pavlakis (who looks after the venue’s sound, lighting and video all year round), Global Show Productions’ Odysseas Kokkinakis and Cavo Paradiso’s Manager, Ioannis Tourlos. “The project has been eight months in the making,” explained Mike. “The club decided to upgrade the system at the end of last year and, having worked with Dimitrios for their lighting installation, he suggested a Funktion-One commissioned install, and I was invited to visit in November to see the club and meet the owner and manager. Working closely with John, Ioannis, Dimitrios and Odysseas we designed the ultimate system for the club.” Dimitrios added: “We were having

discussions about buying Evo 7s for our rental operation and I suggested that they would work very well in Cavo Paradiso. It’s very important for a club like Cavo to have the best possible sound system and, for me, Evo 7s are the best sound you can get. We already knew that the best club brand is Funktion-One, as we have worked with them since buying Res 2s several years ago. The Evos have taken things to another level and the 32-inch bass is amazing.” The dancefloor system in the main room comprises eight Evo 7E speakers, eight F218 and two F132 bass enclosures. Since launching in 2015, Evo loudspeakers have taken the world by storm in a wide variety of applications. Renowned for their clarity and class-leading efficiency, they give high-output, detail and definition across the mid/high frequency range. Upper and mid bass comes from the horn-loaded F218s, while the low-bass is expertly handled by the F132s, which bring unprecedented transient to the subbass frequencies. Funktion-One’s F132 32-inch bass enclosure is an extraordinarily powerful horn-loaded bass enclosure, which features Powersoft’s M-Force 10kW linear motor and Funktion-One’s specially designed cone and enclosure technology. The formidable bass unit represents a triumph of collaboration and reinterpretation. It features a single 32in driver, which gives a frequency response of 24Hz to 70Hz. Its physical size and the fact it is horn-loaded means levels of directivity that are not typically possible at these low frequencies; a feat that is

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• Above left Audio Tech’s Dimitrios Pavlakis and Cavo Paradiso’s Manager, Ioannis Tourlos. • Above right The DJ booth flanked by the FunktionOne system.

achieved naturally without any cardioid processing. Funktion-One’s aerospace technology fully exploits the potential of the M-Force motor technology. The result is power combining with efficiency to give a huge amount of output. Funktion-One’s Tony Andrews said: “As soon as I became aware of the M-Force motor, I knew it was an important development, I knew it was something we had to work with. The trick was to apply the power of the motor to the air in the most efficient way possible. We wanted to maximise the transducer’s potential, so we developed our own loading technique and cone using aerospace technology. It’s giving us energy right down to 24Hz. These sorts of frequencies, horn-loaded, is a new experience for everyone; it has typically been ported boxes before now. “The output is very clean, due to no cone deformation. Because it is so clean, we can push the amplification to its full potential. We powered up four of them together and it took me two weeks to forget the molecular impression it had on my body - I’ve never experienced anything like it.” Elsewhere in the venue, there are 11 Resolution 2s, six F1201s, four F101s and seven BR218 bass reflex speakers. Mike explained: “After two days of tuning I was really happy with the results. The bass is ridiculous - the two F132s provide the sub 45Hz for the entire club, while the F218s throw the bass down the dancefloor and through to the pool, which is covered by some Res 2 delays. The F1201s, F101s and BR218s are positioned locally on the areas further to the sides. “We haven’t used a combination of F218s with F132s before - we normally combine F132s with F221s - but we’re really happy with the results. This came from a request by Dimitrios, who loves

the speed and tone of the F218s. We have great stereo image everywhere in the club and the intensity builds smoothly as you move closer to the dancefloor, where the musical experience is very physical and immersive.” Global Show Productions has worked with Funktion-One since 2006. Odysseas recalled: “We were working with a different loudspeaker manufacturer but Funktion-One was getting stronger and stronger, especially in clubs, and we started to get requests from international artists visiting Greece. If you’re looking to achieve high SPL without distortion and listening fatigue, no other manufacturers or technology comes close. “From the beginning, we’ve been very specific and consistent about what Funktion-One is about. Over the 12 years working together, we haven’t changed anything in our beliefs and gradually people and clients began to understand what the reality is; that it’s not just marketing. Global Show Productions and Funktion-One have developed together; there’s a huge amount of mutual trust. As brand-awareness continues to gather pace, we’re getting more and more contracts, but most important, we are winning more and more people who understand what Funktion-One’s concept and vision is about.” Mike believes that Cavo Paradiso is the jewel on top of a growing force in international clubbing: “Mykonos is on

the up and I think it will grow to be the serious party destination alongside Ibiza and Croatia. It has the international-pull, clubs, food and natural beauty. There is a movement away from commercial EDM that was very popular on the island, and the line-ups at Cavo prove this with the likes of Jamie Jones, Dixon, Sven Vath, Loco Dice, Marco Corola and Ricardo Villalobos, who have all appeared at the club in 2017. The new system will supply the dynamics, clarity and power for a deeper enjoyment of the music that makes us dance.” Discussing the new sound system, Audio Tech’s Dimitrios said: “One of the most interesting things about the new system is the reaction from DJs. When they hear it for the first time during the sound check, they are all amazed. That’s a true indication of a great sound system, as these DJs visit hundreds of clubs every year. Mike has done a great job tuning the system i it sounds magic.” Cavo Paradiso’s Manager, Ioannis added: “We want to have the best sound system, not only for the artists who play here and our customers, but for us as well. With the new Funktion-One sound system, we believe we have that. We had a great team; Dimitrios and Odysseas have been friends and partners for many years, and Mike is an incredibly good and crazy guy, who loves what he does. We love what he does, too.”

TECHNICAL INFORMATION SOUND 8 x Funktion-One Evo 7E loudspeaker; 8 x Funktion-One F218 loudspeaker; 2 x Funktion-One F132 bass enclosure; 11 x Funktion-One Resolution 2 loudspeaker; 6 x Funktion-One F1201 loudspeaker; 4 x Funktion-One four F101 loudspeaker; 7 x Funktion-One BR218 bass reflex loudspeaker

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One of the oldest and largest churches in the city of Stockholm, Maria Magdalena Church - Maria Magdalena kyrka in Swedish - has roots dating back to the 1300s, however, documentation from the early days is scarce. What is known about the church is the baptismal font dates back to 1638; the pulpit, which is of Baroque design by Carl Johan Cronstedt, was inaugurated in 1763 and carries a medallion with the portrait of Mary Magdalene; and today it houses three organs. Maria Magdalena Church is an affiliation of the Church of Sweden - a national church that welcomes everyone who lives in Sweden regardless of nationality. The religion has more than six million members across the Scandinavian country with more than 3,500


places of worship and 13 parishes. A renovation project began at Maria Magdalena Church back in 2013, encompassing the interior and exterior of the building, which took more than three years to complete. Restoration of all the historic architecture was part of the renovation, but the church simultaneously incorporated the installation of a new PA, which would future-proof the house of worship for years to come. The building’s unique architecture did cause some obstacles for the audio installation, though, as it had to deliver acoustically but couldn’t be visually intrusive. Locallybased SoundCop Consulting took on the challenge.

The audio specification were finalised quite early in the refurbished process, or so SoundCop Consulting thought… until they - Joakim Hammar and Jacob Julin who took over the company in 2011 - attended a demo by Arva Trading at Stefanskyrkan (Saint Stephens Church). After listening to the setup at Stefanskyrkan and being so impressed, the SoundCop Consulting duo overhauled the system design for Maria Magdalena Church, incorporating their new brand choice - d&b audiotechnik. “We were totally blown away by how good it sounded at the demo in Stefanskyrkan, so we went back and changed the whole specification for Maria Magdalena Church. This is the first two-way passive column


speaker that we have seen that actually sounds like a proper PA system,” said Jacob. “The sound stays coherent and warm, rather than like it’s coming from a flimsy speaker, which is so often the case with the sound set up in a church.” SoundCop Consulting decided to go with a combination of d&b’s xC-Series of 2-way passive column loudspeakers, xS-Series loudspeakers and B4 cardioid subwoofers along with the 10D fourchannel amplifier. Natanael Lyckelind, Sales & Support AV/Pro Audio, at Arva Trading, which distributes d&b audiotechnik in the region explained: “The passive cardioid function of the xC-Series column loudspeakers, results in excellent dispersion control, which makes them particularly good for an environment like Maria Magdalena Church. SoundCop Consulting was very impressed with the results that they saw or rather heard - at the demo.” As Natanael discussed, the unique layout of the church, with such a long nave, did throw up reverberation and speech intelligibility issues. However, by utilising the passive cardioid function of the xC-Series, reduced the level of the reverberant field, maximising speech intelligibility. To achieve the optimum results SoundCop Consulting installed six 24C and 18 16C column loudspeakers, eight 4S loudspeakers, two B4-SUBs and six 10D amplifiers. “This is the first big installation we’ve done with d&b xC-Series in Sweden - there have been some smaller churches but nothing on this scale, so now we have a lot of technicians talking about this project. The results have been really good. A lot of choirs come to perform at Maria

Magdalena Church and they like to bring their own sound systems, but when they see how well the in-house set-up works, they prefer to use that instead,” continued Natanael. The entire sound set up at Maria Magdalena Church is controlled by a QSC Q-SYS audio control platform, utilising the d&b plug-in for the integration of the 10D amplifiers. The plug-in allows access to d&b amplifier parameters - gain and mute status, amp presets, power on/off status - directly from the Q-SYS interface. The d&b kit is also integrated with a six-channel digital wireless microphone system, a Sony DWX system with handheld and belt pack transmitters, as well as a selection of DPA Microphones equipment including six d:fine headsets, four 4011A cardioid microphones and two 4098 gooseneck microphones. Jacob concluded: “The system has actually ended up being used for a bit more than originally expected; what they wanted for the church was really a sound reinforcement system for vocal (speech), but it actually works really well for smaller concerts - so long as they aren’t too loud - and choir concerts.” Now that the church community has seen what is possible from a state-ofthe-art PA system, first in Stefanskyrkan and now in Maria Magdalena Church, a number of new projects are now underway, with churches following suit and meeting the standard set by Maria Magdalena Church, proving that even the older buildings are still well and truly in the running for modern day worshipping.

“We were totally blown away by how good it sounded at the demo in Stefanskyrkan, so we went back and changed the whole specification for Maria Magdalena Church.”

TECHNICAL INFORMATION SOUND 6 x d&b audiotechnik 24C loudspeaker; 18 x d&b audiotechnik 16C column loudspeaker; 8 x d&b audiotechnik 4S loudspeaker; 2 x d&b audiotechnik B4-SUB subwoofer; 6 x d&b audiotechnik 10D amplifier; 1 x QSC Q-SYS audio control platform; 1 x Sony DWX system; 6 x DPA Microphones d:fine headset; 4 x DPA Microphones 4011A cardioid microphone; 2 x DPA Microphones 4098 gooseneck microphone





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Originally built in 1976, Eden Court Theatre underwent a major renovation back in 2005, after almost 30 years in operation. The refurb pulled the theatre firmly into the 21st Century, while still retaining some of its historic charm. The upgrades continued recently with the first UK installation of Cadac’s new CDC seven.

Eden Court Theatre in Inverness, Scotland sits in a stunning location on the banks of the River Ness. Having been there over 40 years, the theatre itself has almost become part of the picturesque landscape. It’s a decade since the theatre underwent a complete refurbishment and extension carried out by Robertson Construction and Page\Park Architects, which made Eden Court the largest combined arts centre in Scotland. It houses two auditoriums Empire Theatre and One Touch Theatre - and two cinemas, La Scala and The Playhouse, as well as two dance studios, conference rooms and stage in the bar. Looking after all the technical needs of these areas is Chief Technician, Graeme Watt, who has worked at the theatre for 31 years, so he definitely knows his way around. Managing a team of five people daily, he said: “As a receiving house a typical day can be ‘get-in, fit-up, show and get-out’. There are also longer runs such as ballets, operas and West End musical tours. For shows that require in-house crew for technical support, we design and operate lighting and sound. Alongside that, my duties also include rotas, maintenance,

health and safety, as well as the organisation and arrangement of technical specifications for upcoming shows.” Obviously, with the venue in constant use, it’s important to continually upgrade the technology. The latest piece of kit that required an upgrade was a mixing console. The existing one had reached the end of its life, so Graeme embarked on a hunt for its replacement. “I went to Scarborough for the demo of the CDC six with Mike Walker of Loh Humm Audio, Andy Fox of Opus Audio and Rob Hughes of Cadac,” he said. “After that, over the period of about a year, I assessed the market and had in-house demos of what I would describe as the four leading consoles. None of the others could match the sound quality of the Cadac desk.” Due to the timeframe of Graeme’s decision, a new desk was available from the manufacturer, the CDC

seven. Eden Court is actually the first venue to have a CDC seven console installed, making it a flagship project for both the theatre and Cadac. “I’m very proud to have the first Cadac CDC seven in our venue, “continued Graeme. “It’s a classic brand.” In comparison to the CDC six, the CDC seven has two screens, has an increased number of faders - 36 in total that feature stereo metering - and it expands the input count to 96. It still remains as user friendly at its predecessor, but provides the user with the luxury of an expanded physical user interface. “It’s a stunning sounding desk, so coherent, you just connect with it musically and it’s very quick in operation,” Graeme added. “I’d like to thank Rob Hughes in particular for his assistance with this installation. His knowledge on the product and the aftersales support has been excellent.” The new Cadac CDC seven works


• Top The new Cadac CDC seven in all its glory. • Above left The Cadac CDC I/O 6448 stage box • Above right Chief Tech, Graeme Watt and Deputy Chief Tech, Michael Savage.

in perfect harmony with the pre-existing audio set-up. This was installed when the theatre closed for two years, from 2005 - 2007, for the major refurbishment. Opus Audio speakers were installed in the Empire Theatre and the One Touch Theatre - this decision was made by Graeme and was based on the high sound quality reproduction. The Empire Theatre is kitted out with five Opus PSD 800T top boxes, eight Opus SB18 subwoofers and four Opus ISO6’s for front fill. This is where the CDC seven is installed. The PA is powered by a complement of Opus Audio HD amplifiers and crossovers. “These were chosen as they deliver clarity and detail,” said Graeme. “Opus Audio Design

systems offer the best solution in my opinion because each component is matched and designed to work together.” There is a full inventory of microphones available at Eden Court too, which productions can make use of, brands include Shure, AKG, Sennheiser, Rode, Neumann and Audix drum mics. Lighting wise, as you would expect there is a full lineup of ETC Source Four fixtures, which are accompanied by eight Robe 700AT Spots, two Robert Juliat Super Korrigan followspot and 12 Chroma-Q Scrollers. Control is provided by an ETC Gio with four universes and an Avolites Arena console with eight universes. The lighting has also been in place since the 2007 renovations.

TECHNICAL INFORMATION SOUND THE EMPIRE THEATRE: 1 x Cadac CDC seven console; 1 x Cadac CDC I/O 6448 stage box; 5 x Opus PSD 800T top box; 1 x Cadac CDC MC MADI network bridge; 8 x Opus SB18 subwoofer; 4 x Opus ISO6 front fill; 8 x Opus HD Series amplifier LIGHTING THE EMPIRE THEATRE: 100+ ETC Source Four fixture; 8 x Robe 700AT Spot moving head; 12 x Chroma-Q Scroller; 11 x Strand Alto fresnel; 10 x Selecon Lui 4 fixture; 2 x Robert Juliat Super Korrigan followspot; 1 x ETC Gio console; 1 x Avolites Arena console

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Meyer Sound’s Constellation system installed at Palo Alto High School’s Performing Arts Center.

Located adjacent to Stanford University, Palo Alto High School enjoys a stellar reputation for academic excellence spanning all subject areas, from high technology to fine arts. It’s hardly surprising, then, that the new Performing Arts Center on campus leverages the digital wizardry of Meyer Sound’s Constellation acoustic system. Michael Najar, the school’s choral director and chair of the visual and performing arts department, was adamant from the outset that the 583-seat theatre in the proposed new facility provide a level of acoustical quality and flexibility that was absent in the aging facility it would replace. “Many works of music and theatre were created to be heard in a specific acoustical environment in a certain kind of room,” observed Michael. “But, there was no way we could build a 16th Century stone church, a jazz hall and a black box theatre. So when I heard Constellation, I knew it would be the best option going forward for venues like ours. For us, it’s been a game-changer.” A Constellation solution was first proposed by Jedd de Lucia and Ian Hunter of

the San Francisco-based Shalleck Collaborative, the theatrical and audioisual consultants for the project. To confirm their recommendations, Najar attended a Constellation demonstration at Meyer Sound’s Berkeley headquarters and also experienced an eclectic variety of music enhanced by Constellation at the San Francisco Symphony’s SoundBox performance venue. Constellation is an active acoustic system that augments the room’s physical acoustic with additional early reflections and reverberation to help tailor the room to suit the performance. Choral performance benefits from a much different acoustic than musical theatre, for example. Because Constellation operates in conjuction with the physical room, the room must be designed with a natural acoustic that is balanced and with a relatively low amount of reverberation. Bill Dohn of Dohn and Associates in Morro Bay, California worked with the architects to design the room to be optimal for Constellation. “Initially I had some concerns as this was the first time I’d designed a room to host Constellation,” he remarked. “But I am exceptionally pleased with the end


result. I was particularly impressed by how the system couples the stage and house seamlessly, giving performers the perception of being in one big room with the audience. This greatly enhances musical performances in a way that is almost never achieved using an orchestra shell behind a proscenium.” At the core of Palo Alto High School’s Constellation system is a D-Mitri digital audio platform, that hosts the patented VRAS algorithms for generating the early reflections and late reverberations that define a room’s acoustical characteristics with completely natural effect. Arrayed around the room and over the stage are 24 sensitive miniature microphones for sensing the ambient room acoustics, with a total of 52 full-range loudspeakers and 12 compact subwoofers placed overhead and around the perimeter to replicate the desired aural environment. Using a touch-screen controller, the system operator can select presets optimised for any type of musical performance - from choral and orchestral to small ensemble and big-band jazz - as well as for musical theater, drama and lectures.

All Constellation loudspeakers employ Meyer Sound’s unique IntelligentDC technology to provide the sonic benefit of self-powered systems with the installation ease of a single cable carrying balanced audio and low-voltage DC for powering the internal amplifiers. Models represented include UPJunior XP, UP-4XP, HMS-10 and Stella-4C loudspeakers plus MM-10XP subwoofers. For direct reinforcement, the venue is equipped with a separate Meyer Sound system anchored at the proscenium by four UPQ-1P loudspeakers, with one each left and right and a pair in the centre. For delays, fills, sub-bass and loudspeaker processing the system also includes two UPJ-1P and 16 MM-4XP loudspeakers, two 600-HP subwoofers and a Galileo 408 processor. The system front end comprises a Yamaha LS9 digital mixing console and a Biamp Tesira DSP and matrixing unit. Installation of both Constellation and direct PA was contracted to PCD Audio-Video System Integration of Santa Rosa, California.


ARKA ROOM Tirso Lighting provide a complete overhaul at the recently-rebranded Arka Room, complete with stateof-the-art technology from Elation Professional, MA Lighting and Madrix, among others.


The Arka Lounge was a very successful nightspot in the Washington Heights area of upper Manhattan for 16 years, however, as the area changed, so did the venue and, in December 2016, the owners made the decision to rebrand as the Arka Room. Offering a sophisticated, intimate atmosphere, the hope is that the 200-capacity speakeasy, which hosts weekly live events, will enjoy the same success as its predecessor. The Arka Room differs from the original Arka Lounge in that it is a little bit smaller, though the owners have made sure they have made the most of the space, using some of the best lighting and visual technology to enhance the atmosphere and attract

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ideas and that’s when the concept started to take shape. We wanted to create an atmosphere that is unique to this space,” he confirmed. “Though it was somewhat confined, we felt that it was important to make the space seem bigger, while not losing the intimacy of the original Arka Lounge.” The brief for Tirso was to provide the Arka Room with a versatile system that made a big impression as soon as visitors walked in. The owners wanted an intelligent lighting system, video elements and a control system that was capable of handling the entire range of technology.

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“It’s a venue that pays special attention to lighting with a high level of production. When you open the door, you are struck by a dazzling light show that works with the music to create a truly immersive experience.”

“It’s in the mold of an old speakeasy where, in order to get to Arka Room, you have to go through the restaurant (Wahi Oyster) to get to the exclusive club space,” said Tirso. “It gives an exclusive feel to it. “In the area where Arka Room is in New York City, there are few live production venues, so it’s an advantage that they can have live artists. It’s a venue that pays special attention to lighting with a high level of production. When you open the door, you are struck by a dazzling light show that works with the music to create a truly immersive experience.” To achieve that immersive experience, Tirso turned to Elation Professional, he has been using the company’s products since Tirso Lighting’s inception. The small size of the venue meant that a

compact moving light effect was required - and Tirso found the perfect solution in Elation’s E Spot III LED moving head. In total, there a 12 used in Arka Room, primarily over the dancefloor. “Its brightness is a good match for the size of the room,” explained Tirso. “I consider it a hybrid because not only can we get gobos and a nice sharp spot, but it also has an iris and I can frost it. It allows me go from a nice broad wide wash to a very narrow pinpoint. I think it is extremely versatile for the type of environment it is in. “Plus it runs cooler and doesn’t have a lot of issues that older fixtures have. It’s a fixture that we use often because of its versatility and we have very few problems with it. You could say it is a workhorse


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fixture for us.” The versatility of the E Spot III moving head means that they can also be used to pinspot tables for private events at the venue. Elsewhere, Elation Sniper 2R multi-effect lights are used to line the entire perimeter of the venue, immersing revellers in a fast-moving barrage of light. “When Elation came out with this hybrid scanner, I was very excited because of its versatility and speed,” Tirso said of the hybrid beam, scanner and laser simulator. “It was a missing tool in our arsenal. It has punch and a good beam and can move really fast. It also does very well during live performances to add to the visual effects. We’ve also been very happy with that fixture and have had very few problems with it.” Located at the back of the Arka Room’s stage are compact Elation ACL 360i LED

lights with a 4° beam and continuous 360º rotation that are capable of creating a surprisingly full effect - these fixtures are mostly used to highlight the performers on stage. Also, Tirso used Elation SixPar 200 LED Par lights as a static stage wash from both an upstage and downstage position, offering the perfect amount of output. To deal with the issue of the Arka Room being a relatively small space, Tirso used a combination of black reflective panels, creating a larger feel when inside the room. “It’s a small ceiling height, about 12ft high, so we felt adding a reflective surface would be a tremendous help, not only to amplify the space, but to amplify the lighting. From any given point it doubles the height and the amount of lighting.” For the lighting control, a grandMA2, a MA onPC Command Wing and a MA

“Elation Sniper 2R multieffect lights are used to line the entire perimeter of the venue, immersing revellers in a fast-moving barrage of light.”


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onPC Fader Wing from MA Lighting are used, along with an OhmRBG midi console from Livid. Madrix 3.0 software, along with a Madrix NEO DMX512 USB interface, were also specified by Tirso, giving Arka Room the ability to create spectacular lighting effects for club nights, private parties and live performances alike. For the visual element, Arka Room uses nine custom-made high-resolution LED visual displays. The project at Arka Room was a huge success for Tirso Lighting, with the venue reportedly selling out on a consistent

basis, as well as data suggesting increased customer satisfaction, longer stay times and higher revenues, highlighting just how important the technology is in creating the ideal atmosphere. Roland Lantigua of Arka Room expressed his satisfaction with the new design: “Reinventing yourself is key to sustained success; we knew that we had to step up our lighting to keep the experience fresh for our customers and to have them keep coming back, and that’s why we hired Tirso Lighting. We couldn’t be happier with the results.”

TECHNICAL INFORMATION LIGHTING, VISUAL & SPECIAL EFFECTS 12 x Elation E Spot III moving head; 14 x Elation Sniper 2R beam, laser and effect light; 3 x Elation ACL 360i luminaire; 6 x Elation SixPar 200 fixture; 24 x Chauvet Professional Beamer 8 LED effect light; 1 x MA Lighting MA onPC Command Wing; 1 x MA Lighting MA onPC Fader Wing; 1 x Livid OhmRGB midi console; 1 x Madrix 3.0 software; 1 x Madrix NEO USB interface; 9 x custom-made high-sesolution LED video displays; 1 x Hazebase base*hazer*pro hazer

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Queen’s Rise get the VuePix treatment.


125 Queen Street building, based in central Auckland, New Zealand, was undergoing a major renovation and the client was interested in utilising high quality LED technology to not only enhance the street façade of the property, but also generate revenue from selling the advertising space to tenants within their corporate building. Upon the first release to the public, whilst development was still taking place, the opportunity presented to potential tenants of ‘Queen’s Rise’ for a prime office location, was sweetened with the impressive list of staff and client amenities, in addition to the offer of ‘high profile signage and naming rights’ on a large-scale LED display. The client insisted that the clarity of the LED imagery would not compromise the natural light into the office floors behind the LED display and adhere to their strict criteria for transparency. The LED display was to be affixed to the new glass façade of the building and wrapped around the corner point to offer maximum exposure for the advertisers. The primary purpose of the LED display was to generate revenue through advertising and promoting the businesses within the building to add a point of difference for the developers. The location of the installation was in an extremely high motor and pedestrian traffic area, which would require strict safety measures, including scaffolding, in addition to working to a somewhat restrictive schedule. Council approval and liaison was required to ensure all traffic was diverted in an efficient manner to minimise disruption and ensure safety requirements were adhered to throughout the installation. The LED screen was to be installed in a technically-challenging location with the display wrapping around a corner on a glass façade, which was required by law to be structurally sound and adhere to government requirements of being wind and earthquake proof. There were many different elements that had to be considered by both the client and the ULA Group regarding the effective and efficient installation of the LED display at 125 Queen Street. Irrespective of the surface, shape or size of the LED display, the position alone, in the middle of Auckland’s CBD, was a great obstacle. All safety requirements were constantly monitored under strict supervision to ensure the tens of thousands of people who would work and travel through the CBD daily were safe and received the least amount of disruption as possible. The ULA Group was assigned this project because of its experience and reputation for providing high quality and reliable LED displays in both mainstream and unconventional venues. Queen’s Rise offered challenges throughout the design, construction and installation process of the LED Display, which were all, addressed and overcome to deliver the ultimate visual presentation. The process began with the design of the display and selection of materials which would fit the client brief and also adhere to the required structural codes set in place by the New Zealand government. The product which was used for the LED Display was our VuePix M10 mesh screen providing 20% transparency for their tenants in addition to a high quality visually engaging display. The installation process required constant communication throughout several parties due to the high density of traffic in the immediate area. ULA Group consulted and utilised the skills of expert engineers, experienced technicians, qualified installers and members of the local council to ensure the project ran as seamless as possible considering the location. To overcome the obstacle of installing on a glass façade, a custom designed and fitted aluminium rail system was installed with each panel being lifted and installed individually with all cabling and power supplies being fitted whilst the technicians were on the scaffolding. A front service system gave the client a piece of mind that the LED display would always be accessible for repairs and maintenance. Through the installation of the full remote content management system and a full remote display monitoring system it was assured that the content could always be updated at a moment’s notice and the reporting of any technical issues would be reported in real time. As an acknowledgment to Auckland’s sometimes fickle weather patterns, the display was installed with automatic brightness sensors which would accommodate changes in sunlight to ensure the quality of the LED presentation was always 100%. With challenge comes reward and this was the case for 125 Queen Street, Auckland. A stand-out building adding its own contribution to the thriving CBD, the LED display has a captivating assortment of presentations varying from advertising through to art and visual illusions.



Indicative of many religious buildings, Holy Trinity Cathedral in Auckland is built on a historic foundation. The land on which the cathedral sits was purchased by Bishop Selwyn in 1843, yet it was more than 100 years later before the first stone was laid. The original neo-Gothic style Chancel - the part of a church near the altar - and the Marsden Chapel opened for worship in 1973. In contrast, the wooden church of St Mary’s - which used to reside on the other side of the street - joined the Chancel in 1982, when the church congregation quite


literally carried the wooden structure across the road, to its new home where it remains today - next to the Chancel. By the early ‘90s, expansion was afoot again, with the contemporary Nave being added in 1995 and, most recently, the Bishop Selwyn Chapel was built at the rear of the Chancel, too. With a new building comes the need for new technology. The Bishop Selwyn Chapel, as the cathedral’s newest space, obviously received an audiovisual package that would be able to cater for the intended use of the room, but the

Nave area also received a technology upgrade, both of which were handled by integrator, Intec Systems. “It’s been a two year project,” said Director of Intec Systems, Mike Hughes. “For the Nave, the cathedral wanted a light music reinforcement system but their main requirement was speech clarity. Prior to the new installation, they had a bridge between the Nave and the Chancel, and faced a lot of problems with feedback and getting any sound to the back of the room.” Despite the bridge being removed as

part of the new design, Mike knew that to achieve full and even coverage for the entire Nave, without interfering with stunning architecture in the older part of the cathedral, he needed to use column arrays and make use of the beam steering technology. “In my eyes, the RCF VSA Series was the only option for the job. There was quite a tight budget constraint for this job, but with previous experience of RCF products, we were confident in specifying the columns.” Mike also has a good relationship with RCF’s New Zealand distributor, Direct Imports, who

• Above The modern Nave and the traditional Chancel


“So, by using the columns we’ve been able to gain really good directivity control on the vertical plane. Keeping the sound off the ceiling and the glass has made a huge difference.”

• Top The RCF VSA 1250 • Above The Chancel • Right The beatiful stained glass window at the Nave entrance

supplied the equipment and supported Mike on this project. Two sets of the RCF VSA Series have been installed on the pillars, which essentially sit between the older Chancel area and the newer Nave area, firing outwards towards the Nave. “What’s great about the system is how discreet the loudspeakers are considering the quality and distribution of sound,” said Mike. The top arrays are VSA 1250’s and due to their position are able to disperse the sound all the way to the gallery. The lower columns are the VSA 2050’s, which cover the main Nave seating. RCF CS Series loudspeakers are used for infill of the first 10-metres of seating in the Nave, as well as throughout the Chancel. “It is a highly reverberant space,” Mike continued. “So, by using the columns we’ve been able to gain really good directivity control on the vertical plane. Keeping the sound off the ceiling and the glass has made a huge difference. When we were commissioning this system and adjusting the vertical coverage of the

VSAs, you could notice a real difference.” On a typical Sunday, the cathedral is used for church service, which involves a couple of lapel mics, as well as an unamplified choir and organ. However, the building is also hired out to schools for prize-giving nights, for example, so the system can be amplified, too, if required. “We’re using a Yamaha MTX processor and a Yamaha QL1 console. The main columns are self-powered but the fill loudspeakers aren’t so we’re using Yamaha XMV Series amplifiers when needed. We also have a number of Sennheiser EW 500 G3 wireless systems and some DPA gooseneck and lapel mics,” Mike added. In terms of pre-programmed presets, Mike and the team put a hybrid system together for the cathedral. “For the evensong services we’ve got a preprogrammed preset, which loads up at a specific time everyday and turns the system off again. Linking up the appropriate RF mics, and it all looks after itself. We’ve also made an iPad interface

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that communicates directly with the MTX processor, so the in-house engineer can tweak the functionality of the system, without needing to have the desk on. Then, for the Sunday services and larger events, someone will be operating the console.” As far as lighting is concerned, the Nave received an upgrade, as once the bridge was removed, so too were a lot of lighting bars. Mike and his team installed some Chauvet LED wash moving heads including eight QWash 4192’s, eight Ovation F-165WW fresnels and four Ovation F-95WW fresnels. These sat alongside some Cameo fixtures - four Flatpro 7’s and eight Flatpro Spots - to replace the lighting bars, while the original dimmers and conventional fittings were already in place from when the Nave first opened. “The cathedral is using LightFactory software that we upgraded to the latest version, to give them some more features and again we’ve tied that into the iPad control interface,” Mike added. The Bishop Selwyn Chapel - or the gold room, as it is sometimes referred to, due to its gold ceiling - also makes use of the

RCF VSA Series, with more VSA 850’s being installed, coloured coded to the surroundings. “The work in the Bishop Selwyn Chapel followed on directly from the work in the main church, so when we specified a very similar system using more VSA loudspeakers, another MTX processor, as well as the same Sennheiser EW 500 G3 wireless systems.” Few elements in this room are symmetrical, meaning the hanging points of the loudspeakers don’t mirror each other and the Epson projector hidden in the ceiling - also installed by Mike - isn’t centrally located. “The Epson projectors have really good horizontal optics that helped us with getting this projector mounted off-centre,” said Mike. The asymmetrical design was a purposeful decision, with the aim of creating a more natural set-up, resembling the nature in the cathedral garden, which the glass gold room sits within. Now finished to a spectacularly high standard, the entire Holy Trinity Cathedral campus is fully equipped to service the local community as a place of worship and performance.

TECHNICAL INFORMATION SOUND 2 x RCF VSA 1250 loudspeaker; 2 x RCF 2050 loudspeaker; 2 x RCF VSA 850 loudspeaker; 2 x RCF SUB8003 subwoofer; 8 x RCF CS6940 loudspeaker; 8 x RCF CS 3082 loudspeaker; 1 x Electro-Voice EVID 12.1 subwoofer; 2 x Yamaha MTX-5D processor; 1 x Yamaha QL1 consol; 3 x Yamaha XMV 8140 amplifier; 8 x Sennheiser EW 500 G3 wireless system; DPA Microphones 4061 lapel mics; DPA Microphones SC4098 gooseneck mics LIGHTING & VISUAL 4 x Chauvet Professional Q-Wash 419Z-LED moving head; 8 x Ovation F-165WW fresnel; 4 x Ovation F-95WW fresnel; 4 x Cameo Flatpro 7 par light; 8 x Cameo Flatpro Spot par lightEspon projector; LightFactory software

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17-19 November Las Vegas Convention Center

Since 1988, Live Design International (LDI) has been the leading tradeshow and conference for live design professionals from all around the globe. LDI hosts over 13,000 attendees working in theatre, concerts, clubs, theme parks, and houses of worship, as well as a wide range of international live and broadcast

venues. Attendees from more than 80 countries come to LDI to see the latest gear in action, refresh their knowledge, and replenish their creativity. More than 350 companies exhibit, providing live demos and the opportunity for face-to-face discussions about the cutting-edge gear they debut exclusively to LDI attendees.

ADJ VIZI CMY300 Stand No.: 2715 → 300W LED moving head hybrid with CMY colour mixing. → Beam, Spot and Wash modes. → Two gobo wheels: static and rotating replaceable gobos. → Two prism wheels: 1 x linear and 1 x circular. → Motorised focus, motorised iris (5-100%) and motorised zoom (8-45-degrees).

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

November 13-19, 2017

Exhibits: November 17-19, 2017 • Las Vegas, NV

INFORMING, ADVANCING & INSPIRING Live Production Professionals

Register using promo code MNDO17 for a complimentary LDI2017 Exhibit Hall Badge* Exhibit Hall Badge includes admission to: ◗ The LDI2017 Exhibit Hall ◗ New Technology Breakfasts ◗ LDI: Live Outside Training and Demos ◗ LDI Awards Reception ◗ Exhibitor Sponsored Sessions

Use promo code CENTIC to upgrade to an LDInnovation™ Conference Badge** for USD$595 (USD$695 value) and receive admission to any LDInnovation™ Conference sessions. *Does not include access to the LDInnovation™ Conference, LDInsititute™ sessions, LDIntensives™ or VIP lounges. **When sessions run concurrently, you can select one from the options provided; it does not include access to the LDInstitute™ sessions, LDIntensives™, or VIP lounges.

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Stand No.: 2014 → Extra bright: 24 x Osram Ostar Stage N RGBW LEDs. → Quickly interchangeable beam angles (no tools required). → Designed for both temporary and permanent outdoor installations (fully IP65 rated). → Very compact and lightweight / internal full-range PSU. → The best value for money.

Elation Proteus Hybrid Stand No.: 2315 → IP65-rated, 3-in-1 discharge-lamp hybrid moving head (spot, beam, wash). → Designed to excel under any weather conditions eliminates need for costly shrouds and coverings. → Advanced optical system with focus, internal thermal cooling system. → CMY colour mixing, colour wheel, rotating replaceable gobos, static gobos, rotating prisms. → Control remotely from up to 2,000ft away via builtin wireless DMX.

High End Systems SolaFrame 750 Stand No.: 1715 lighting/solaframe → Compact footprint, huge effects package. → 11,300 lumens. → Full Framing Shutter System. → 6º to 50º zoom. → CMY/CTO- linear colour mixing and replaceable colour wheel systems.

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64 - 96 Inputs / 56 Busses With 48 configurable busses assignable as Group, Stereo Group, Aux, Stereo Aux or Matrix.

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Custom Fader Layers User definable layers, or groups, of any mixture of inputs, busses, VCAs and Monitor faders.

Waves on Board Integrated Waves card, fitted as standard, provides direct connectivity to Waves SoundGrid technology.

The Cadac CDC seven and CDC six, with 96 or 64 inputs, 56 busses of which 48 are assignable, have been designed to provide a truly intuitive user interface, with class leading audio performance, at a very competitive price. Both consoles share the same incredible human interface, resulting in a minimal learning curve, with the CDC seven providing the luxury of an expanded physical user interface. With a unique combination of an outstanding user interface, legendary Cadac mic-pre’s, state-of-the art DSP / FPGA processing with incredibly low latency, the CDC seven and CDC six are both exceptional propositions for those who demand a console that stands head and shoulders above the norm.

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Kvant Clubmax FB4 Series Stand No.: 1667 → New generation, full colour laser display system, 3-6.8W power output. → In-built FB4 control interface (Network, ILDA, DMX, ArtNet). → Can be controlled directly from grandMA lighting desk over the ArtNet. → New Colour Balance display mode for 100% colour match. → TUV certified.

Prolyte Group Verto Truss Stand No.: 1961 → Game changing rotating coupler design now also in black version. → Reduces labour costs - ssembly times are up to five times faster. → Improving work floor safety - its silent connection improves work floor communication. → Strong and compact, similar loading capacity as any other box truss type. → Coupling parts can be replaced, prolonging the general lifetime of your truss.

RGBlink Venus X7 Stand No.: 645 → Universal videowall and presentation processors. → Flexible and modular design for inputs and outputs. → Video processing for Any-signal to Any-signal up to 12G-SDI. → Up to 32 input and up to 32 outputs in one processor. → 4K, 8K, 16K, 32K map and scale to one or many displays.


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112 EX P O

• The show floor at Mediatech 2017

• A range of Elation fixtures

• A range of products on Stage Audio Works stand

• The Sound Harmonics stand

• Systems Solutions eye-catching booth

• The impressive DWR Distribution portal



Held every two years in the city of Johannesburg, Mediatech is the largest entertainment technology tradeshow in South Africa - and has since become a go-to show for us at mondo*dr. Mediatech showcases new technologies and services from a whole range of manufacturers, with leaders in audiovisual system integration and communications all highlighting their impressive work within the region. The show is the ideal opportunity to learn more about current and future projects in the African market, plus, as it was my first time in South Africa, I was looking forward to experiencing the city of Johannesburg, too. Held at the Ticketpro Dome, which is a great venue for tradeshows such as this, my first impression was how eye-catching the exhibitors’ stands were - it was clear that a lot of planning had gone into them.

• Christie projectors on display at Mediatech

One of the most ambitious stands was DWR Distribution’s effort - the extraordinary DWR Portal. The sci-fi-themed ‘portal’ was a real crowd pleaser at the show and earned DWR a platinum award for the stand. The concept was to create a portal where show-goers entered - through a water curtain supplied by LazerX - then hopped onto a bus, which transported them to DWR’s office in minutes for a special show. The idea came to fruition with DWR’s Dylan Jones mapping the content, supplied by Provisual Media, onto the portal using a Green Hippo media server. The experience continued at DWR’s new showroom facility, where guests were treated to a show-stopping choreographed show featuring ROB-E - a 3.2 metre-high automated robot, which was made using a variety of Robe fixtures. It was an ambitious idea, but it certainly paid off as it

• Apex Pro’s stand

was the talk of the show. Elsewhere, South African creative production and visual design practice, Collective Works, staged its new ‘Black Box’ live show concept. The experimental show and visual design space hosted the ‘Designing with Light - A Way of Thinking’ educational seminar, as well as an hourly Black Box main lightshow performance, which took place around a bespoke ‘floating’ stage supplied by Stageworks. The show put some of the best lighting and visual technology through its paces, including Robe, Clay Paky, Ayrton, Martin by Harman, MDG, MA Lighting, Green Hippo and Barco. Also on the show floor was Audiosure, which showcased a whole range of products from some of the biggest names in the industry, including Allen & Heath, Avolites, Martin Audio, MC2, AKG, Chauvet and Vivitek.

• The Beamz demo

113 EX P O

• The DWR Distribution robot

• Robyn D’Allessandro and Stuart Andrews of Gearhouse SA

• The Robe team

• Benjamin Bauwens of ArKaos, William Voskuil of Prolyte, Julian Chiverton of Doughty and Elaine Frost of Le Maitre

• Allen & Heath on Audiosure’s stand

• Dion Le Roux, General Manager at System Solutions

• One of the seminars in Collective Works’ Black Box

• The DWR portal, with a LazerX water curtain

114 EX P O

• Audiosure’s Gareth Edwards and Jason Kelly of XTA

• Electrosonic’s interactive stand

• The Avolites lighting designer competition

Stage Audio Works used Mediatech to highlight itsrange of complete audiovisual solutions with products from QSC, d&b audiotechnik, Sennheiser, Audac and Christie on display. System Solutions’ impressive stand featured a new range of iMira LED screens, as well as AV Stumpfl’s range of media servers. Electrosonic’s interactive stand displayed the new range of ProSpectre screens, along with an impressive rig of Martin by Harman fixtures, which were used as part of the Lighting Designer Contest held on the 20th July at the show - giving young lighting designers an opportunity to show their skills for a chance to win a trip to Martin by HARMAN’s HQ in Denmark. Robe once again had a huge stand at Mediatech, with the Czech company using the show to present a whole range of moving and fixed lights. The RoboSpot, which can remotely control any Robin

• Stefan Van der Walt and Greg Payne from Audioshure

• Live demos at Mediatech

BMFL fixtures, and the BMFL LightMaster being two of the most popular products on display. Overall, there were 706 brands on display at Mediatech, with 145 exhibiting companies and 1230 exhibiting personnel. The visitor numbers were clocked at well over 7,000 - with a healthy amount of international visitors making the journey to South Africa. Mediatech 2017 was a hugely successful show, with many at the show expressing how happy they were with the organisation and amount of visitors coming to their stands. The African market is really starting to grow in the entertainment industry, with plenty of impressive projects on the horizon. I really enjoyed my first visit to South Africa - and I’m looking forward to visiting again for Mediatech 2019. Mediatech returns to Johannesburg in 2019. For more information, go to:

• The Stage Audio Works team

• Hands-on demos

• ROB-E - the incredible robot at DWR’s showroom

• Electrosonic’s lighting designer competition wiiner, Benjamin Mills

• Wild & Marr’s booth

• The KV2 tem

• VIva Afrika’s huge stand

116 EX P O

• The opening ceremony

• Eugene Yeo and Edwin of Acoustic & Lighting System flank Clay Paky’s Alfonso Zarate Takano and Giulia Sabeva


The second edition of Pro AVL Asia, held in conjunction with TTA (Tourism Technology Asia) was held, once again, at Marina Bay Sands, however, this year it was in a different hall. Instead of ground level, the show was in the basement, which, on initial assessment, isn’t great, but, in fairness, signage to direct visitors was good from the main expo entrance. My worry ahead of the show was that the change from two days to three would be a

disaster, although I am led to believe this was a requirement set by the hosting venue rather than the organiser, GIEC. From a personal perspective, I managed to keep myself busy for the duration, using the time for in-depth catchups with the locals and the manufacturers that had travelled in to support their distributors. This year, there were representatives from Le Maitre, Fenix Stage, Avolites, Clay Paky, EK Lighting, Minuit Une, Alcons Audio, DTS Lighting,

• Rick Wilson and Elaine Frost from Le Maitre with Tevin Heng of Total Solution

Spotlight and KV2 Audio - an increase from 2016, I would say. Some companies had moved distribution since last year’s show though, most notable was Avolites’ move from Total Solution to Acoustics & Lighting System and Robe’s move away from the classic distribution model, which meant a whole new line up of brands for its long-standing partner, Lighting & Sound Distribution (LSD) including EK Lighting and Minuit Une. LSD also

• Soren Storm and Michael Munz of GLP with Steve Rawlins of Intelligent Lighting Design

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118 EX P O

• The Lighting & Sound Distribution team with their new line-up of brands

• Ted Singh of TSB Global Distribution

• Will Cheng and Koy Neminathan of Avolites with new distributor, Eugene Yeo of Acoustic & Lighting System

• Paolo Albani of DTS Lighting with Colin Oliveiro of CAN.

• A discussion panel in full swing

• The d&b audiotechnik APAC team line up

• Chip Chong representing D.A.S. Audio

took the opportunity to showcase its new portfolio by taking a stage at The Pro Arena - a new feature for this year’s event. Three stages highlighting 30 brands across audio, visual, projections, lighting, controls and special effects were in use twice a day, giving visitors the chance to see the products in action. Also new for 2017 was Road to AVL Asia, which was a series of roadshows across the ASEAN region - in Jakarta and Bangkok - that took place between February and June. The pre-events included seminars, workshops and networking events. Of course, seminars and discussion panels also took place during Pro AVL Asia in Singapore, but attendance for these did seem a bit hit and miss. A possible reason for this being • The Harman team line up

other training and seminar sessions taking place on the show days. Upstairs at Marina Bay Sands was Dante training on one of the days, while Yamaha also held an event that clashed with the opening of the exhibition. I do feel that there was a conscious effort to make improvements this year, some of which paid off, some didn’t. The lack of a dedicated networking area did go amiss, because, after all, that’s what these regional shows are all about. Pro AVL Asia will return to Marina Bay Sands in July 2018. For more information, go to:

•Nikk Oliva of Spotlight






Just a short walk from my hotel and I was at Kenderdine, a last minute meeting that was arranged through Soren Storm of GLP Asia. Soren had put me in touch with Chris McKenzie, Sales Director for the company. Kenderdine operates alongside Professional Lighting Services Ltd and, between the two, takes care of both the rental and install markets. Kenderdine is the older of the two companies - established in 1959 - and is primarily focussed on the theatre industry, while Professional Lighting Services Ltd was founded in 1984 to extend the offerings to film and TV customers. Today, they are the New Zealand agents for GLP, Arri, Rosco, Strand Lighting, Dedolight, Color Kinetics and Osram display optic and photographic lamps, as well as being a value-added reseller for Philips Entertainment and Philips Selecon.

Show Technology NZÂ Onehunga, Auckland My first meeting in Auckland was at the Show Technology office and showroom. The company has regional offices in Australia, but decided to take the leap to New Zealand around 18 months ago. The local office is run by Nick Reeves, Karla Kimi and Thomas Butler, all of whom were the perfect hosts during my visit. After a look around the showroom, which houses products from Martin by Harman, Clay Paky, MA Lighting, Robert Juliat, Ayrton, Studio Due, coolux, Look Solutions, Wireless Solution and Pulsar, it was off into town to the SkyTower. The views from 186-metres above street level were amazing and, from the viewing deck, Nick pointed out the Auckland Harbour Bridge, which Show Technology are about to light with a permanent installation. An early and delicious dinner rounded off the first day in a new city just perfectly.


EDWARDS SOUND SYSTEMS (NZ) Penrose, Auckland Visits to Sweats Shop Brew Kitchen and The Good Home Bar were on the agenda for the afternoon spent with Edwards Sound Systems (NZ). Having met Jonathan Hardie Neil a few years ago at one of the Aussie tradeshows, it was great to reconnect, and to meet Jamie Cashmore for the first time. The D.A.S. Audio installations were fairly simple, yet effective, and I can vouch for the food being the same in the latter restaurant. We nipped over to Penrose after lunch for a tour of Edwards Sound Systems (NZ) and the company was excited to have recently taken delivery of a SoundForce system from D.A.S. Audio - they just need to get their first sale in New Zealand now. This may well have happened during the D.A.S. LIVE event Edwards was scheduled to host on 1 September - where guests would have the chance to listen to the latest D.A.S. Audio products in a live environment.


ELS CBD, Auckland I managed to catch up with Nick Abel of ELS - Entertainment Lighting Solutions when he took a break from his working day for a coffee at Gusto at The Grand. ELS looks after Elation Professional, High End Systems, Jands Lighting, ETC and Pharos in the New Zealand market. It is also associated with Lexair in Australia run by Alex Mair, with the two companies distributing the same brands in their respective countries. Nick told me of his imminent plans to join forces with another company – name not disclosed – which will increase the workforce and hopefully the amount of contracts won, too. It seems Nick spins many plates at the same time, with his hands in a number on concurrent projects, but he appears more than capable of keeping everything ticking along.

DIRECT IMPORTS CBD, Auckland It was an early morning pick-up for my day spent with Direct Imports, but Greer Compston and Jeremy Jeremy Horo-Gregory - along with with Mike Hughes of Intec - sure know how to start the day right… with an Odettes Complete – the signature, sophisticated, non-greasy breakfast delight at the restaurant of the same name. Once fully fuelled, we set out on our trio of installation visits. First up was the Holy Trinity Cathedral, followed by City Impact Church, both of which Mike had fitted out recently. The first with some column speakers from RCF and the latter with a monster Adamson PA. The third and final stop-off was the C3 Church, which was a second RCF installation. You’d never have known I’d only met Greer and Jeremy a few months before at Prolight+Sound in Frankfurt - they really did make me feel most welcome. It’s something that I love about our industry… it’s all about the people.


ELECTRO-VOICE AND DYNACORD | LOUD & CLEAR Getting up on a scorching summer’s day - which, let’s face it, doesn’t happen that often here in the UK - at 6.30am to drive three or more hours to Peterborough was not the most appealing offer. But, as soon as I reached my destination, in good time as well, I knew the journey had been worth it as the Electro-Voice and Dynacord brands unveiled their new products and new brand identity at the aptly named event - Loud & Clear. The two brands have always gone hand-in-hand, but there is some crossover between the product categories, so, going forward, Electro-Voice will now focus on loudspeakers and microphones, and Dynacord on electronics. Instead of being viewed as a larger and smaller sibling, the aim is to sit the two brands side-by-side but each with its own individual identity. Electro-Voice

has taken on a bold red colour palette and angular-shaped design - inspired by the product design - for its website, tradeshow and social media presence, while Dynacord has received a logo upgrade for a modern appearance, presented in blue tones and a circular design shape for the same purposes at Electro-Voice. The new digital platforms are definitely worth a look. The four sessions of the day all had a particular focus, with some product ranges having been shown at InfoComm the week before, as well as some embargoed news, which we got a sneak peak at. The sessions also sandwiched a BBQ, which provided a great informal networking platform. First on the agenda was the EVID-S Series, a family of commercial speakers for installed

applications. Designed with the contractor in mind, the EVID-S Series is a cost-effective go-to solution featuring superior audio. Aesthetically discreet, they are compatible with other EVID family members and can be used in broad range of commercial audio applications. The innovative wall-mount system makes installation easy. All models are weather resistant, weatherproof versions are also available. Next up was the ELX200 Series. It offers professional audio quality, precision control and robust, EV-engineered components in an ultra lightweight package. With 10-inch, 12-inch and 15-inch two way models, and 12-inch and 18inch subwoofers available, the ELX200 Series can cater for a number of applications including DJs, mobile entertainers, bands, and musicians.

Image: ©Gareth Kays

Spellbinding lighting for Wicked the musical

The Philips Showline SL LEDSPOT 300 bewitched audiences on an award-winning production of hit Broadway musical Wicked, staged by The Show Company in Australia. Alongside an advanced effects engine with both fixed and rotating gobos and exceptional CMY color mixing, the compact and discrete SL LEDSPOT 300’s precision shutter framing system creates magic on any stage. And the story doesn’t end there... its energy efficient LED source makes the SL LEDSPOT 300 as green as Elphaba herself!

Read the full story at

LEDSPOT300_Wicked_236x333.indd 1

27/4/17 18:38:38


Though under embargo on the day, the news of Electro-Voice’s EVOLVE 50 has now been made public. A portable column array, the EVOLVE 50 is a three-component loudspeaker system powered by a 1,000W Class-D amplifier and driven by Electro-Voice’s QuickSmartDSP. The new Electro-Voice QuickSmart Mobile application utilises Bluetooth Low Energy (BTLE) technology for the wireless configuration, control, and monitoring of up to six EVOLVE 50 systems simultaneously. And, finally, were the new dual-channel power amplifiers from Dynacord - the L Series for live touring applications and the C Series for the installation market. Both amplifier series comprise a powerful linear amplifier design with a bestin-class feature set that brings real professional

performance to a new, more accessible price point. A new, powerful and easy-to-use software tool allows full configuration, control, and supervision of sound systems with multiple amplifiers. The Multi-Amplifier Remote Control (MARC) software is available on Dynacord’s website as free download. Four different models per series are available, with total output power ranging from 1,300W to 3,600W. Engineered for constant stability at two ohms, they represent the cutting edge of amplifier performance and reliability in their market segment. Like all Dynacord amplifiers, both series offer high-quality components and truly professional processing power and performance characteristics. The onboard DSP includes multi-band PEQs (parametric equaliser), crossovers,

limiters, and delay per channel. It also has true channel grouping control with extra DSP capabilities like PEQ, GEQ (graphic equaliser), and delay for each group. “The advanced FIR-Drive, which utilises finite impulse response filters, is a feature normally reserved for the highest quality tour-grade DSPs,” commented Jonathan Bailey, Global Product Manager Pro Sound Electronics and Software. “L Series and C Series amplifiers utilise this premium feature to optimise original factory loudspeaker settings, yielding a level of performance unheard of at this price point.” The global Loud & Clear roadshow is still underway - to find an event near you, please visit the company’s social media pages. /



LedBeam 150TM Zoom

ParFect 150TM Zoom

LEDBeam 150 TM Zoom

ParFect 150TM Zoom

ROBE_236x333_3mm_ADVERT_Led Beam_Par fect_ve02.indd 1

16.5.2017 13:06:35


ALFALITE | FACILITIES UPGRADE With the way modern business works, it is very common to hear of companies moving their manufacturing facilities to another country, allowing for cheaper production costs. However, despite that being the popular decision for most, there are some companies that choose to keep all aspects in one country - and Alfalite are a prime example of that, with its innovative corporate project highlighting that there are other ways to develop. Alfalite, which is based in Spain, aim to offer the industry high-quality LED video panels,

though, in order to do so, it has decided to locate its manufacturing facilities - including design, testing labs and assembly - in the Andulusian town of Rociana del Condado. There is a second electronics manufacturing facility further south, too, in the province of Cadiz. Alfalite has its own design team, who deal with both the mechanical side and the manufacture of electronic components. The engineers at the Spanish company take care of the whole process, from the first inception of the product right through to the component integration.

In a bid to make the whole process much more efficient and successful, Alfalite has introduced new equipment and processes. Four full Surface Mounted Technology (SMT) production lines have been installed, greatly enhancing the company’s production capacity. Now, Alfalite can deal with large orders, while providing its customers with considerably reduced delivery times - which can also turn into immediate delivery through the constantly renewed stock. Each part of the lines has a key purpose in the




production process, adding value to the final product. First of all, the line loaders place the printed circuit boards (PCB) and the rest of the components needed for the process. Then, Pick & Place Machines put a number of SMD components in the correct place, reducing Alfalite’s overall failure rate significantly. SMT Stencil Printers apply the exact amount of solder paste to the PCBs, offering much more accuracy and greater speed than other available methods, such as syringes and caulk guns. Finally, Automated Optical Inspection (AOI) uses its high-resolution cameras to scan every module to verify that each specific component is in place, reducing the risk of failure further. If any issues arise during the manufacturing process, the system automatically stops and reports it. This is a key part of the upgrade - making Alfalite able to offer some of the most reliable LED products on the market. An accurate tracking system works alongside Alfalite’s production process, enabling the company to know where each of the components go. If a faulty component is detected, it’s dealt with before failure arises, leading to a highly-reliable LED panel. Each of these elements in the production process is supported by a fully-equipped factory - one of Alfalite’s hallmarks since its beginning in the LED market 11 years ago. The factory includes photometers, colorimeters, spectrometers, goniophotometers, calibration cameras, climatic chambers and corrosion analysis equipment. The improvements that have been implemented allow Alfalite to take a step forward in the manufacture of electronic components, however, it’s not stopping there. The next phase is already being prepared, with the development of a robotics section in the production process - allowing work in environments that human hands could not enter. The development in technology, along with the more simple aspects, such as large storing areas allowing for the accumulation of stock and immediate deliveries to customers, are impressive steps that position Alfalite as a company to keep a close eye on.


±15 Lightweight


Curved option



Fast set-up

LED floor



FBT VENTIS has rapidly become the trusted choice of professionals for whom high-end performance and staunch reliability are crucial. 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. With a frequency response of 65Hz to 20kHz, and broad coverage courtesy of the 80°(H) x 50°(V) Constant Directivity Rotatable Horn, the VENTIS 108A is just as comfortable mounted on the wall with the optional bracket, or used with a standard pole-mount. The passive version, the VENTIS 108, delivers 250W into eight ohms for 126dB SPL, and features a built-in passive crossover with soft-trip protection for the LF and HF, plus speakon NL-4 In and Link Out connectors, and four M5 rigging points for installation. 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 (12-inch) coaxial custom woofer with a 64mm (2.5-inch) voice coil, 25mm (one-inch) B&C throat and 44mm (1.7-inch) voice coil. The enclosure has a frequency response of 55Hz to 20kHz with 90° conical dispersion, while onboard DSP offers six

factory presents for a broad range of scenarios. For flexibility in use, the monitor offers a 35mm (1.38-inch) stand socket, two integrated carrying handles and an optional wall mount bracket. Alternatively, the passive 112M is rated at 400W into eight ohms delivering 129dB SPL, with a built-in passive crossover and speakon NL-4 In and Link Out connectors. 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. The larger monitor’s frequency response is 50Hz to 20kHz with 90° conical dispersion, and six factory presets are again available via onboard DSP. As with the smaller version, a 35mm (1.38inch) stand socket and two integrated carrying handles are included alongside an optional wall mount bracket. The passive version, the VENTIS 115M, is rated at 400W for 130dB SPL.






1900 lm

16 BIT




Audio Signage is both a terminology and a smart audiovisual solution from Barix built to evolve the possibilities of digital signage. Audio Signage replicates the analogue audio stream of any TV channel or digital signage video output, and streams it over a WiFi connection to a consumer’s smartphone or mobile device with very low latency. This enables an intimate communication with the consumer without disturbing the natural business environment with unwelcome music or sound, and provides the additional boost of streamed audio to effectively deliver a message. Barix Audio Signage was initially introduced as a purpose-built, single-channel delivery system to ensure that audio tracks synchronised with digital signage content. The initial release gave retailers, hotels and museums a compelling and innovative way to strengthen customer engagement through private, and seemingly personalised audio. The latest Audio Signage platform introduces a new firmware update to deliver multiple audio tracks from single- or multi-screen digital signage installations, making it ideal for use in larger venues, businesses, campuses and visitor attractions. Audio Signage’s low-latency performance, combined with its new multichannel capability, also makes it ideal to serve simultaneous audio translation streams at multi-lingual conferences, meetings and events. In a live event venue, sports and concert fans can choose commentary in several languages for example, directly from their mobile devices. That multi-channel capability also can be engineered for

screen selection. A venue serving different video content and audio tracks to a variety of screens can leverage a centralised Audio Signage architecture, while allowing consumers to select the audio track for the screen of their choosing, The previously simple and low-cost Audio Signage to support single-channel streams utilised a Barix Instreamer encoder to capture and stream the audio; and a free Audio Signage mobile App on the consumer device. The second-generation Barix approach now solves the challenge of delivering multichannel streams as simply, quickly and inexpensively as possible, using a standard Barix Device as Audio Signage info server. At nearly the same cost, this eliminates the need for an expensive and cumbersome PC-based system that previously would have been required to support multichannel streams. For simplicity, businesses can optionally use QR codes for simplified audio channel selection on-premises. The Barix Audio Signage App can be downloaded from the Apple and Google App store, and can be used together with earphones or loudspeakers to listen to the audio. With intelligent, bandwidthefficient use of a venue’s WiFi infrastructure across networks, access points and routers - and the ability to leverage multicast streaming to support an unlimited number of users - Barix Audio Signage is a smart way to personalise screen related audio distribution.

Key features: - Low-latency, high-quality audio streams - Single channel or multi-channel featuring - Automatic recognition and dynamic listing of available channels - Optional QR code to select the channel - IOS and Android compatible - Audio Format: PCM / 24kHz 16bit mono - Multicast streaming - Stream audio over music command to improve mobile connection - Change of frame buffer size to achieve smooth playback - API available to integrate Audio Point functionality within your own Apps - Customisable logo on the App - File based configuration of different sites - Easy down- and uploading of configuration files



The new Falcon-210DA is one of the latest additions to Musicson’s impressive range of line array systems. Specifically designed for mid-to-large scale applications, the Falcon-210DA offers users a higher efficiency as well as increased power handling. The passive line array cabinet has already made its mark at a number of electronic and live music festivals. The Falcon-210DA consists of an active threeway line array module, which is equipped with two 10-inch speakers that flank the compression driver’s waveguide that is attached to a mid-range loudspeaker. Using this configuration makes the Falcon-210DA a truly symmetrical line source, helping the

loudspeaker deliver unmatched definition and seamless coverage throughout the full frequency range. All transducers in this system have powerful neodymium magnets. This cabinet delivers remarkable bass output for its size, thanks to the sixth order double band pass design. The newly-designed wooden waveguide for the twin drivers (1.75-inch) and the phase plug for the eight-inch combine to provide excellent high frequency clarity, while reducing overall intermodulation distortion. It promises excellent playback quality and high sound pressure levels with a built-in powerful digital amplifier run by an onboard 96KHz/64bit DSP.

By using the MusiCom software, it is possible to compare, configure and control each speaker when connected to a STAR NETWORK. The sound technician can choose from several factory presets, and adjust general gains, up to 10 EQ filters, general input and output MUTE, Signal Input limiter, as well as an input delay of up to 800 ms. It is also possible to monitor the input and output signal levels in real time. In order to simplify logistics and offer protection during transportation and outdoor use, Falcon systems include a full range of rigging accessories, transport platforms, transport dollies, covers, routers/splitters, and power distributors.

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




BY international

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



This pioneering flightcase solves the protect-whilst-you-perform challenge and allows for simultaneous charging and protection. This solution means that professionals need not remove their valued equipment from its casing whilst charging - and can benefit from enhanced protection, streamlined setup and improved performance capabilities. Brand new from Flightcase Warehouse, the case incorporates internal and external connections with an eightway switch panel to charge up to eight lights in-situ via eight charging ports. A recessed IEC connector and dish are housed on the side of the case, powered by 13 amp IEC lead.

Bespoke-cut foam inserts, heavyduty Penn Elcom fittings guarantee uncompromised protection in addition to innovative technological resource. The custom case also reduces setup and downtime by ensuring that kit if always ready for use or transportation, regardless of the environment it’s deployed in. The flightcase streamlines precious storage at venues so professionals can make the very most out of the space for extra equipment. This is all on top of the gold-standard storage and transportation protection that you’d expect from Flightcase Warehouse, and features such as fourinch castors and branded engravement.

professional audio engineering


• Advanced DSP with FIR-Drive and Multi-Amplifier Remote Control (MARC) software enables configuration and control of up to eight amplifiers • Powerful, linear amplifier design and sophisticated protection circuitry for flawless, safe and reliable operation — ensuring constant 2 ohm stability • Low- and high-impedance outputs, remote GPIO control and standby power mode for up to a 90% reduction in power consumption

DYNACORD_CSeries_Ad_236x333_eng.indd 1

C Series

for fixed install applications

C3600FDi | C2800FDi | C1800FDi | C1300FDi

L Series amplifiers available for live sound applications.

Learn more at ©2017 Bosch Security Systems, Inc.

05.09.17 12:07



The Excellent Line is a concept of elegant stands for event technology. The Excellent Line DesignStand is built up with a classic dull black baseplate in combination with columns in different lengths. A major subject is that screws, pins, cables and plugs should not be visible for the audience, photographers or guests. The first Excellent Line DesignStands were built in 2006, at that time there was no stand solution on the market for professional audio, video and light equipment. Three different lines, D-Line, S-Line and P-Line, which are all made of aluminium and few steel parts, offer solutions for lamps, projectors and loudspeakers. The Excellent Line DesignStands give a uniform look to all AV equipment used in small-tomedium-sized events. Heavy media equipment gets matched to the look of corporate and other high class events. Beside the elegant look of the DesignStands, the load-bearing capacity is comparable to large tower lifts - 150kg are no problem. All components are prepared for an electrical potential equalisation. All Excellent Line components are manufactured in Germany by HOF Alutec. For d&b audiotechnik, two innovative pick-up heads for point sources (E, T, Y, V) and line sources (T,Y,V) have been developed, each of which can be built up to 2.7 metres (line source) and 2.95 metres (point source) high. Until now, it wasn’t possible to place more than

three d&b audiotechnik line array elements on a speaker stand. With the use of the Excellent Line Alpha DesignStand d&b line sources with the max. weight of 170kg can be stacked on an Excellent Line DesignStand. This means up to five d&b V8/ V12 line source cabinets or up to eight d&b Y8/ Y12 line sources can be placed on an Excellent Line Alpha DesignStand. The bottom element can be tilted positive or negative. The line source head can be fitted with three mounting devices for the d&b line source T, Y and V. The point sources pick-up head has an universal clip on which speakers can be placed tiltable. The d&b point source clamp fits for loudspeaker E8, E12, T10, Y7P, Y10P, V7P and V10P. The clamp is attached to the back of the loudspeakers and, therefore, is barely visible for the audience. The Excellent Line Alpha baseplate accommodates d&b T-Sub, B4-Sub, B6-Sub, Y-Sub, V-GSub and V-Sub. Especially in small-to-medium-sized event locations with ceiling heights around five metres the Excellent Line does a perfect job. Where truss construction used to be put up to install chain hoists in order to hang small line arrays there is now a clear view of the stage. The audience can focus on the subject of the event and is not disturbed by truss constructions or tower lifts. For lifting full range cabinets to the needed height, bass cabinets, which might have no

other function than to act like a stand and create an image of a heavy rock show, are no longer necessary. The DesignStands of the Excellent Line Alpha for d&b audiotechnik are black (RAL 9005). All cables to the loudspeakers can be run invisibly inside the stand. The massive aluminium baseplate has eight additional holes for substructures. Touring cases for every line are available.



[lait] [ih-mitting] [daieud] n.

A light-emitting diode (LED) is a semiconductor device that emits visible light when an electric current passes through it. LEDs have low power requirements, are highly efficient and have a long life. One of the most common forms of LEDs are RGB LEDs, in which each LED actually has one red, one green and one blue light. These three coloured LEDs can produce any colour and are used to create LED displays.




“LED screens are nowadays the most important design element in almost every TV show, festival or concert. But also the retail industry is implementing LED screens more and more into their shop designs. For example, the Bayern Munich Fan stores in Germany are using LEDium LED screens for their POS brand communication. With the OLED technology being the next big thing we are glad to have found in LG a perfect partner to offer OLED solutions to our customers too.”


“As LED d i s pl ay prod uc ts ar e widely used for stages and car shows, I am delighted to see more innovative products from China in this industry. Competition is the drive for better and more stable displays, creative design is heating up. All manufacturers and distributors who wants to have a stake in the future must take into account market segmentation and differentiation. We, Dicolor LED Display, will focus on winning the rental market.”


“Retailers and sports venues are continually expanding their digital t e c h n o l o g y to o l k i t to p rov i d e memorable experiential moments for their audiences. The use of LED, specifically Narrow Pixel Pitch (NPP) technology employing pixel spacing of 3mm or less, can provide a clear picture required for ultra-close viewing common to these locations where beveled LCD solutions have long been used. The NPP displays provide that flexible solution with product longevity and full, quality imagery.”














Absen A27 Series Absen’s new A27 Series delivers the best of both worlds to advertising, retail display and all fixed installation environments. With a 27.5-inches diagonal, the A27 series shapes up to be the perfect replacement for LCD screens. The new series comprises three models: The A2725, the A2719 and the A2715, with a respective pixel pitch of 2.54mm, 1.9mm and 1.58mm, a 3840Hz refresh rate and brightness of up to 1,000 nits. Designed to be as standardised, simple to use and easy to set up as an LCD screen, the A27 series boasts dot-to-dot FHD for true 16:9 4K resolution, HDMI interface/APP control, and ADA-compliant, VESA compatibility for simple and fast front installation into any space. As an LED video display, however, it packs the punch of high brightness, stand-out colour and delivers seamless zero-mm digital wall art. The A27 Series institutes black matte SMD LEDs for crisp contrast complementing a vivid and uniform display quality that is rich in colour detail, thanks to a 105% colour gamut. Premium chip technology maintains complete detail and a high contrast ratio even in low light images. Ever-challenged in retail to grab the attention of guests, consumers and visitors, visual stimulus is a necessity to highlight products, to impart vital messaging and to inspire connections that capture imaginations.

Alfalite LITEPIX LITEPIX is the latest LED display form Spanish company, Alfalite. The LITEPIX is specifically designed for all weather conditions, offering a solid and versatile solution. The LED screen’s lightweight die casting aluminium cabinet can be adapted to curved built screens, which is down to the new locking system (±15º). In addition, LITEPIX, which weighs in at 8.9kg per panel, comes equipped with front and rear access with magnets, so it can be adapted easily to all different kinds of fixed installations. The LED modules and power supplies for the LITEPIX can be easily operated from the front for maintenance. All of these additional improvements are included, as well as the usual major assets from Alfalite: high quality, low power consumption and exceptional reliability. The LED screen is designed and produced from start to finish at Alfalite’s facilities in Rociana del Condado and Jerez de la Frontera in Spain.

ADJ Lighting AV4IP If you are producing temporary outdoor AVL events, the ADJ AV4IP video panels are a great solution because of their outdoor rating and high resolution. Each panel has a pixel pitch of 4.81mm with a configuration of a three-in-one RGB SMD1921 LED’s. The panel is IP65 on the front and IP54 on the back, which allows for temporary outdoor use. The brightness is 4,000 nits. There are two LED modules per panel. This allows for easy serviceability. The AV4IP includes True 1 powerCon In/Out and etherCON In/Out waterproof connections. This panel also features a Novastar receiving card. The AV4IP is a great video solution for indoor or outdoor use. ADJ offers full packages with video processors, software, cabling, rigging bars and flight cases so that users have everything they need to get up and running.

Barco R-series Barco’s revolutionary R-series digital media canvas is a flexible, lightweight, ultra-thin LED technology that removes the limitations of traditional LED displays to make your message stand out in unimaginable installations. The innovative R-series design ensures smooth and quick installation for fast setup time and reduced cost. As there is no need for supporting structures, the R-series can be glued onto a surface. There are fewer architectural design constraints and less space is required. Visual gaps between sheets are a thing of the past. Weighing less than 6kg/m  and only 5mm thick (incl. louvers), the R7 is much easier to install. Offered in sheets up to 4.68-metres long, large amounts can be stored and transported, and larger surfaces can be covered at once - reducing costs, while speeding up installation time. Cabling, control, and power electronics are integrated on every sheet, to cut cable clutter. Infinipix  image processing ensures a straightforward web-based interface for display configuration, dimming, control, monitoring, and maintenance - anywhere, anytime, and from any device. Based on HTML5, different operating systems and mobile devices can be used to control the R-series.

artec 300 series

Installation systems for quality sound in any type of venue

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

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

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


Christie Velvet Apex Series Christie’s Velvet Apex Series features UHD resolution, extremely high fill-factor and advanced monitoring capabilities. The Velvet Apex Series is a completely certified LED display wall solution providing 24/7 operation for critical viewing environments. With front-access serviceability, remote and redundant power supply and a slim ADA-compliant design, they deliver the highest performance possible for LED displays. Available in ultra-fine 1.2mm and 1.6mm pixel pitches and featuring a 16:9 aspect ratio, the Velvet Apex Series displays content in impeccable detail, making it the ideal choice for applications where image quality and clarity is paramount. All Christie Velvet LED tiles include authentic Macroblock driver integrated circuits (ICs). The Macroblock driver ICs are designed for high image uniformity and performance, offering efficient use of power, precision output control, protection against power surges and more.

Elation EVHD Series

digiLED x-TEK Impressive design, exceptional imagery and convenience of installation combine to produce the supreme performer in the live events market where display quality is paramount. Capable of completely seamless convex and concave curving of up to +/- 10˚, utilising its wedge angle adjustment connector mechanism for precision curving in 21 one-degree increments, the versatile digiLED x-TEK LED display offers easy set-up of the smoothest angled and straight configurations. Its advanced locking feature guarantees zero bright lines providing amazing, coherent visuals. Uncompromising, x-TEK has a robust front surface which massively reduces edgedamage, without sacrificing breath-taking imagery courtesy of its 18-bit grayscale, 360˚ image rotation and incredible indoor brightness levels of 1800 nits, delivering both reliability and ultimate impact. Smart specifications and compact design allow a single person, tool-free build, ensuring effortless rigging. European certified ground and hanging support is available for straight and curved screen systems. Monitoring system performance has never been simpler: x-TEK boasts a rear LCD display indicating the current health status of a module (reporting its internal temperature, PSU output status and the time since its last reboot). Front and rear accessibility makes maintenance straightforward on x-TEK when required. Magnet-assisted alignment offers easy swapping of power and data spine in seconds, too.

The EVHD Series is a new family of professional, high-definition LED display panels from Elation Professional designed with creativity and ease-of-use in mind for more artistic video layouts. Available in three different pixel pitches (2.8, 3.9 & 5.9 mm), the blackface EVHD video panels feature a lightweight, fan-less and bezel-free design with durable die-cast aluminium frame for years of reliable service. A modular front maintenance construction means the panels can be mounted just inches off a wall and accessibility from both back and front makes for easier installation and more convenient service. Lockable curve adjustments make smooth, more creative convex or concave designs possible for a greater variety of design possibilities. Designers can create seamless curved video displays even full circle designs, while maintaining pixel pitch without and visible gaps. The EVHD Series panels also use long-life SMD 2121 RGB LED’s (SMD 1515 for the EVHD 2.8 version) in a 500mm x 500mm format with wide 140° horizontal and 120° vertical viewing angle for a more inclusive viewing experience.

Handy AV S Series The S Series of LED RGB indoor displays from Handy AV is the ideal range of LED RGB display products for indoor advertising. Offering 2mm, 2.5mm, 4mm and 6mm pixel pitch options, all products are built to order with front or rear access panels and are housed in robust metal cases, with lightweight aluminium options available. With a working lifespan of over 11 years of continual use, users can be sure of a stunning image, even in the brightest of conditions. Also, with a working temperature range of between -10C and +45C, the ‘S’ Series will handle all weather conditions. The S Series technology gives incredible viewing angles up to 160°. Automatic self-diagnosis, system monitoring and individual pixel tuning all go to ensure that once installed the S Series is maintenance free, the only maintenance required is the occasional cleaning with a non-abrasive cloth and a light detergent. The S Series is designed to be plug and play so that self-installation is possible using the comprehensive instructions provided with each display. However, Handy AV offers a dedicated installation and commissioning service to help users get the very best out of their signage.

Alpha Line for d&b audiotechnik Excellent Line design stands offer the perfect balance between purist design and functional technology for first-class atmosphere.



LEDium XR-3 MKII The LEDium XR-3 MKII panel is the latest addition to the famous XR series by LEDium. With a pixel pitch of little 3.9 mm, a brightness of 4500 nits and a contrast of 6500:1, this outdoor panel fulfills every needs of a modern outdoor LED panel. Due to the little pixel pitch the panel is also a good choice for almost every indoor application. Furthermore, it is possible to curve the screen without additional accessories. The easy handling and intelligent connector system are a great advantage.

INFILED ER Series The ER Series from INFILED are ideal for both indoor and outdoor fixed installation projects, with the ability to use them in straight or curved setups. The LED displays feature fast locks and positioning pins for quick, simple assembly. The ER Series is easy to maintain, too, with rear and front access to the product available - there is a seperate and interchangeable power and control unit also. The panels are lightweight - coming in at just 12kg each - with an ergonomic-designed handle for easy transportation.

LianTronics RA Series LianTronics has launched the RA series (PH1.9mm/2.6mm/2.9mm/3.9mm) to further meet user’s demands, such as tighter pixels for high-end shows and extra-clear vision for outdoor events. This product series can be broadly applied in stage shows, exhibitions and broadcast. The RA Series weigh 8kg/9kg per panel and come with a fast-lock design, modular design and front/rear serviceability. What makes the series special is the integration of calibration storage function that makes it free from re-calibration after replacement of module and receiving card. Also, the integrated latch system enables the RA Series to assemble convex and concave screens. What’s more, in order to create a more user-friendly product, there is a customised RA touring dolly to simplify assembly during shows and events. The protective covers at each panel’s four corners can reduce all potential damages, too.

Mega View Phantom Panel 6.9 The Phantom Panel 6.9 is a vivid display designed for outdoor production with a 6.9mm pitch. It has a high contrast display because of the panel’s black face LEDs. The Phantom Panel 6.9 has an aluminum casting on the bottom of the panel that keeps the module from making contact with the ground. This feature better protects the LEDs during assembly. The double locking pin of the Phantom Panel 6.9 makes it secure and with one push the button releases for easy teardown and set up.


Novastar Phobos Series Phobos Series is the next generation LED display control solution for both high-end rental and fixed installations. Phobos features a high loading capacity 4K controller, a fully equipped mid-sized R5 controller with the possibility to configure your screen in any position and in any angle, the high image quality A8s receiving card and the infinite possibilities of SmartLCT software. To meet the requirements of the high-end market, Phobos offers the total solution from the beginning to the end. The 4K controller can help to build a larger screen with real 4K resolution, the R5 controller can help you to be creative in setting up your screen. The A8s receiving card improves the image quality without changing any other hardware. Our latest SmartLCT software will enhance the user friendly experience. The Phobos Series will provide users with a smart solution for any screens.

PIxelFlex FLEXStorm Designed specifically to overcome the challenges associated with traditional outdoor LED video displays, FLEXStorm from PixelFLEX utilises an intelligent, auto-correcting light sensor control system to ensure the perfect brightness at all hours of the day. With its safe and reliable connections, FLEXStorm is available in a variety of custom sizes, resolutions and configurations. Through its adjustable sensors that communicate directly with the cabinets control system, FLEXStorm also has variable brightness offerings between 6,500-7,500 nits to look its best day or night. Additionally, using cloud-based content management, updating the FLEXStorm is simple and easy with the click of a button and the fully front-serviceable panels allow for quick access to the electronics and data control for any onsite service. Available in multiple cabinet sizes to best fit any unique outdoor LED display, FLEXStorm data and power connections are 100% water tight creating stable and reliable connections between each cabinet.

Nanolumens Nixel Series Transform any environment into an experience with a NanoLumens Nixel Series display. Digital signage captures attention more effectively than static images and offers countless opportunities for presenting a continuous stream of images, videos, and more. Our crisp, vibrant LED displays can be built to suit any size, shape, or curvature, allowing users to activate any space to promote their brand. The company’s industry-leading technology defies limitations, enabling you to engage your audience like never before. With pixel pitches as low as 2.5mm, NanoLumens Nixel displays can provide space efficiency, increase advertising ROI, and minimise environmental impact.

ProLights AlphaPIX Series Developed in response to the feedback of some of the world’s leading designers and directors, ProLights solutions deliver amazingly competitive pricing without compromising on performance, quality or reliability - for professionals looking to maximise the return on their investment. The ProLights AlphaPIX series provides cutting-edge solutions in the field of high-resolution, modular LED display technology - engineered for rental, scenographic and digital signage applications ranging from large-scale temporary concert tours to smallscale video system installations. The AlphaPIX series’ impressive feature set includes black-faced SMD LEDs for high contrast and superb colour consistency, a high refresh rate for flicker free results on camera, advanced grayscale properties, automatic image correction, and a 160° viewing angle. Utilising a robust, lightweight, rental-friendly die-cast aluminium housing, the frame and fast inter-lock system create a seamless image with minimal setup times - making it ideal for audiovisual rental companies, specifiers, installers and integrators. The AlphaPIX range includes a choice of screen resolutions ranging from 2.97mm up to 6.6mm pixel pitch, and IP-rated solutions. A.C. Entertainment Technologies is the exclusive UK distributor for the ProLights range.


HDV 1.2

HDV 1.3

HDV 1.6

HDV 1.9

1.25 mm

1.38 mm

1.667 mm

1.923 mm

600 nits

600 nits

800 nits

800 nits

≥1920 HZ

≥1920 HZ

≥1920 HZ

≥1920 HZ

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


Unilumin UpanelS UpanelS is an intelligent 16:9 unit that enables users to replace all modules, power supplies and internal electronics and cables from the front with advanced automatic module removal technology. The first and most distinctive feature of UpanelS is its completely non-touching intelligent front access design, which enables users to replace LED module easily through their smart watch, improving your efficiency of maintenance and saving space and installation cost. Apart from that, users never have to see the back of the cabinet when replacing a module, power or signal cables. UpanelS is a slim cabinet that doesn’t need a supporting or wall mounting structure. All thanks to its full intelligent front access cabinet design, the display no matter how big can also be easily mounted straight on the wall, saving the structure cost whilst increasing the viewing distance.

Yestech MG7 P4.8 MG7 P4.8 is a new member of the supreme upgraded Magic Stage series, which has been launched by YES TECH, a company that has been working on providing professional, impeccable and creative LED display products and services since 2001.  Magic Stage is the first global LED display with multi-use and various creative shapes. MG7 P4.8 of Magic Stage becomes the most suitable model use for both indoor and outdoor and can also be used for indoor and outdoor dance floor, stadium LED display, sky curtain, normal big LED display (rental and fixing) and many kinds of applications.  Meanwhile, MG7 P4.8 with its unique multi holes design, together with easy operating connectors can make multiple creative shapes such as ±15° curving, vertical, horizontal and front and back dislocated installation. The right-angle, triangle and sector led display series allows one to achieve a wide range of creative designs, not only to make a flat led display, dislocation and arch shape, but also to a flat and curve polygon, sector, etc. Breaking through the limitation of a traditional stage design idea, MG7 P4.8 is the implementer of innovation designs.

VuePix Q series VuePix is a dynamic market leader in commercial LED screen technology, offering some of the most versatile and diverse product ranges on the market. The VuePix Q Series panels are designed specifically to cater for the world class venues / complex environment. Featuring a high brightness LEDs, the displays deliver a great visual performance in any light condition. With an average power consumption of under 100W per panel they are also very energy efficient. The LCD display built in each panel monitors real time humidity, temperature, voltage and running time. The cabinets can be rigged or floor stacked allowing for a vast amount of setup configurations needed for live events or venues. The VuePix Q Series offer a competitive cost effective solution for HD indoor LED displays.

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The hd HLS24 is a new and worldwide unique loudspeaker system invented by Harmonic Design. It dramatically reduces the space, required for a conventional system, and improves the quality of a PA-system to a new level. Coverage 100° x 40° Undistorted sound up to 144 dB 2 x 12" Neodymium, 4x 1.4" Neodymium integrated 3-Point FastRig - Rigging less than 50 kg weight Sensitivity


108 dB *

Freq. Range



(1W / 1m)

144 dB

60 Hz - 20 kHz

Dimensions W x H x D (mm)

45 kg

480 x 675 x 560

SPLmax Peak level measured at 1m under free-field conditions using pink noise with crest factor 4

Harmonic Design is a German manufacturer of high-quality loudspeaker systems and stands for research, development and engineering of cutting-edge technology since more than 37 years!

Harmonic Design Audiotechnik GmbH Bahnhofstraße 1, D-71711 Steinheim an der Murr







1. Amadeus DIVA M²

3. Astera AX5

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 one hundred 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.

Astera’s AX5 is designed to replace three types of lights, a wireless PAR, a battery uplight and a wired LED PAR. By combining all three types into one light, the AX5 keeps the inventory small, offering a fast return on investment. On top of this, the AX5 meets the highest quality standards, 45W of Philips Lumiled RGBAW LEDs combined with the latest generation of Gaggione lenses lead to a phenomenal light output that can run on battery for 20 hours. It comes with 13° lenses and 2 filters to adjust the beam angle to different angles. Thanks to its digital TruColour calibration, precise colour temperatures can be hit whereas filter gels can be reproduced to eliminate the differences between batches. The IP65 housing is packed with features such as a removable bracket, spring-loaded kickstand, charging contacts, XLR and power connectors that keep watertight even when connected. Large ranges of accessories are available for hanging, standing, covering and charging the AX5. Astera offers different control methods such as infrared, CRMX and W-DMX with the AsteraApp able to be used for programming DMX settings as well as for creating scenes out of colours as well as for effects and monitoring lights during operation.

2. ArKaos LEDMaster 1.2 Now is the perfect time to discover an incredibly flexible and efficient way to drive your next LED show. The release of the New LEDMaster 1.2 brings significant support updates for the Kling-Net protocol and also introduces support for the new interface KlingForce LED, an incredibly efficient and easy way to control LED strips. KlingNet devices are discovered automatically. Kling-Net is ArKaos’ very own protocol that makes the programming of LED devices so much faster and easier. The Kling-Force LED platform is also daisy chainable to distribute video over Ethernet via plug and play with no complex setup required.

4. Audio-Technica AT8449a Audio-Technica has introduced a new shock mount, available in black (AT8449a) and silver (AT8449a/SV), for inclusion with select 40 Series side-address microphones, effective immediately. The new shock mount features improved rubber band architecture for long-lasting operation and a robust cradle design for easy microphone insertion as well as a secure, molded fit that hugs the body of the microphone. The new shock mounts are coloured, to match select 40 Series microphones. The black AT8449a shock mount is included with AT4033a, AT4040, AT4050 and AT4050ST whereas the silver AT8449a/SV is included with AT4047/SV, AT4047MP and AT4080.


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LIGHT OUTPUT more than 25.000 lumen Maximum power consumption 650W



amber 18

graphics: Vilfredo Maria Ricci - © 2016 Studio Due


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


cable hidden in the bracket new optional handle

STUDIO DUE light s.r.l.

Viterbo (Italy)

t. +39.0761.352520

f. +39.0761.352653

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. Chroma-Q Inspire XT The Chroma-Q Inspire range welcomes its newest and eagerly anticipated addition: the Inspire XT. Incorporating all of the features of the popular Inspire range of luminaires, including a fully homogenised beam, theatrical grade dimming and convection cooling, the new Chroma-Q Inspire XT boasts an impressive output of more than 9,500 hot lumens. The Inspire XT uses Chroma-Q’s advanced homogenised optics, allowing for a single output beam that is clean, pure and uniform. Factory calibration ensures every Inspire’s output is colour matched. The Inspire XT’s range of beautiful whites, soft pastels and bold saturates provides for maximum creativity. Its ability to transform the look and feel of a space and engage an audience while subtly or boldly shaping an environment makes Inspire XT perfect for entertainment, houses of worship and architectural projects. In addition to being energy efficient, the Inspire XT is a low maintenance fixture delivering over 50,000 hours of life expectancy. Camera Friendly technology eliminates camera flicker on even the most demanding HD camera. The Inspire XT rounds out the product range, which includes both the Inspire and Inspire Mini, for a complete house lighting solution.

2. Chromateq CQSA 512 & DIN 1024 2

Thanks to its powerful standalone mode, the new CQSA 512 is an ideal DMX controller for all type of entertainment and architectural projects, replacing the LPSA 512. Hardware is compatible with LED Player, Pro DMX and Studio DMX software, so the interface is suitable for all live applications and fixed installations. The interface can playback a complete project without PC whereas the new additional SD card slot allows for an extended memory capacity. The splitter mode can make the installation more reliable with the USB interfaces offering more triggering possibilities, seven dry contacts, Infrared, RS232, Light intensity, Master/Slave, scene Buttons. CQSA includes six different modes: Play Scene, Zone, scene Page, RGBW colours, General Dimmer and scene Speed. Users can also customise the interface functions and load the modes of their choice in memory from any of the available modes. The new DIN 1024 is replacing the previous LPSA-DIN interface, allowing for more trigger options, output channels and also including a new USB driver. Its new features include: 9 to 36 V DC input; 2 x 512 to 1024 in/out DMX channels in PC or standalone mode; 4MB standalone memory (20,000 to 300 steps capacity); RTC (Real Time Clock), for scene triggers by time, date, day, week, month and year; 15 contact triggers (external contact closures with 5V DC ); infrared triggers (optional remote and IR receiver); Master/Slave connection to allow up to 32 interfaces together and synchronise up to 64 DMX universes in standalone; new RS232 triggers - DIN interfaces can now match with any RS232 standard and receive trigger from any RS232 devices; and new light sensor to trigger with the light intensity, with scenes that can start/stop with the sunset or the sunshine (optional LIGHT sensor).

Coming soon...

CATEGORIES Best Nightclub Best House of Worship Best Sporting Venue Best Integrated Resort Best Theatre Two more categories to be added in 2018 Best Bar & Restaurant Best Concert Hall

ENTER Look out for the new website coming in Summer 2017 to submit your project for the 2018 Awards






1. Elation Professional Proteus Hybrid IP65

3. Luminex GigaCore 10

The Proteus Hybrid is a professional moving head luminaire with spot, beam and wash modes with the power and features to bring ideas to light. Engineered specifically to empower designer creativity, Proteus moving heads are high-performance, next-level intelligent lighting solutions designed to excel under varying weather conditions. The Proteus Hybrid gives designers the freedom to utilise the latest technology at any event, indoors or out. Compact, robust and budget friendly, Elation’s first ever IP-rated discharge-lamp moving head series provides solutions to real industry needs. Featuring a rugged, multi-environmental IP65 design, the Proteus Hybrid also houses an innovative internal thermal cooling system that keeps the fixture cool even under extreme conditions. The Proteus Hybrid is also a versatile luminaire that does not compromise on features. Using the new Philips 21R 470W lamp and housing an advanced optical system with auto-focus, the fixture produces a bright beam that can zoom from 3.0° - 40° in spot mode, 2.0° to 30° in beam mode and 8.0° to 55° in wash mode.

The GigaCore 10 is specifically designed to address the rigours of the live events and touring industry where effortless set up, flexible use options, compact size and rugged reliability are key. To complement this, Luminex has designed a thoughtful range of accessories to enable easy rigging in all professional environments, including touring trusses and 19-inch rack and wall mountings. With eight fully pre-configured Ethercon ports (to transport all commonly-used lighting and audio protocols), four on each side of the unit plus two (optional) FiberFox or Neutrik opticalCON connectors and a safety-standard compliant PowerCon TRUE1 Connector, the GigaCore 10 enables speedy design and set up of converged, multicast, PoE (Power over Ethernet) capable networks, while avoiding the usual pitfalls of bandwidth issues. One of GigaCore 10’s key features is the ‘easy group’ function, which allows users to modify groups, change port settings or add devices to the network on the road with speed and ease. Not only that, this modification can be achieved without reprogramming the entire system. Lighting, audio and video protocols can be assigned to different colour groups and sent over the same network with a guarantee that each device will receive the correct protocol signal, whether it be Dante©, RAVENNA/AES67©, Q-LAN, sACN, ArtNet, MANet2, HogNet, RTTrPL (BlackTraX) or IEEE 1588 PTP V2.

2. GLP JDC1 GLP’s new JDC1 hybrid LED strobe delivers power in excess through a versatile and highly creative design, the likes of which are unparalleled. The JDC1 unquestionably redefines the paradigm and creates a whole new class of strobe that goes way beyond the standard definition of a hybrid. Fundamentally, the JDC1 are designed in three sections that can be controlled independently or as a complete synchronised unit. The fixture itself contains a traditional single tube element with an incredibly clear, bright, white output, derived from 216 white LEDs, combining that with a surrounding, format-filling full face of RGB LED power, utilising 1,320 high quality LEDs. Whether running independently, or together, these elements offer the brightest output unit in its class with retina burning output. Adding versatility to the design options, the two RGB plates can be divided into six separate ‘pixel’ sections on each plate and then operated with full pixel mapping control. This alone creates stunning effects whilst the LED tube can pop through with high intensity flashes.

4. Magewell 4K USB Capture Plus Magewell is now shipping two powerful 4K models in the company’s award-winning USB Capture Plus family of plug-and-play, external video capture devices. Available immediately, Magewell’s 4K USB Capture Plus devices enable all types of computers including laptops to capture video at resolutions up to 4096x2160 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 Ultra HD sources into Windows, Mac or Linux software for live streaming, encoding, collaboration, medical imaging, lecture capture and more. The USB Capture SDI 4K Plus captures 4K video at 30 frames per second over its 6Gbps SDI interface, while the USB Capture HDMI 4K Plus supports 4K inputs up to 60fps via HDMI 2.0 connectivity, capturing them at 30fps. High-quality video processing such as up/down/cross-conversion and image adjustments are performed by the devices’ integrated FPGA, maximising host system CPU availability for third-party software. Both models include loop-through connections and support embedded audio, as well as a separate analog audio input and output for capture and monitoring.

Kling & Freitag GmbH |






1. Milos System MILOS MT-PA5030 PA Fly Tower

3. Penn Elcom CoolRac FT-80-Q-FC

The new MILOS MT-PA5030 PA fly tower was designed for live events that require a compact PA fly tower for small systems that can be used both indoors and outdoors. Set up is easy. Only a few 290 QTV truss components and two persons are needed to erect the tower. Due to a height of just under five metres, approvals by authorities are not necessary. The design allows for placement of base cabinets or amplifier racks on top of the outriggers. Electrical or manual chain hoists can be used for lifting operations.

With the launch of the new CoolRac FT-80-Q-FC, a near-silent exhaust fan, specially designed for flight casing that requires efficient and quiet heat management, outlines manufacturer’s Penn Elcom innovative streak. Setting new standards in flight case cooling, the total noise levels of the FT-80-Q-FC in operation is just 22.5dBA (0.3 sone), a dramatic reduction to average fan noise levels. The fan is ideal for mounting in a whole range of flight case racking equipment and provides thermal regulation for sensitive equipment such as lighting, AV, TV or musical equipment. This allows the equipment to operate safely and optimally while remaining within the protection of its flight casing, whether stationary or in transit. It functions by expelling hot air from the front of the flight case rack, preventing thermal damage that could lead to thermal failure. Digital control gives refined and superaccurate heat management via continuous temperature monitoring and ‘set-and-forget’ fan control. All the components are optimised for quiet running with over-temperature alarms, running off a universal power supply.

2. Nicolaudie Light Rider Light Rider is a new app for iPad, Android and Amazon Fire tablet that lets you control your DMX lights without the need for programming. The app is compatible with any DMX lighting fixture and includes an ever-growing library of over 15,000 fixture personality profiles. Developed by the Nicolaudie Group with over 25 years of DMX lighting control experience, Light Rider puts a professional light show into the hands of a working DJ, who might not have the time for programming scenes before a show. Carefully crafted by Light Rider’s developers and DJs, Move FX options are on the left, Colour FX on the right with Flash FX in the middle and presets along the bottom. Ride FX is live with speed, fade, fan, size and shift controls and can be Synced with music through using audio Pulse analysis, Beat Tap or Ableton Link.

4. PR Electronics PR I-VERSATILE The PR I-VERSATILE speaker is a multifaceted usable compact monitor speaker system which performs a very clear and high SPL in a very compact housing of just 200mm x 200mm x 200mm / 8.9-inch x 8.9-inch x 8.9-inch. The I-VERSATILE-C-M represents a single-point-source with a neodymium driven 6.5-inch LF-transducer and 1.75-inch HFtransducer. The speaker takes 250W AES and 500W program power with a sensitivity of 92dB, a frequency range of 65Hz to 20kHz and the conical dispersion angle is 75°. I-VERSATILE comes with a stable and useful mount/stand, which allows placing the speaker on the ground, with two nice release handles for an easy adjustment in any tiltangle to be used as compact floor monitor. The mount also can serve as support to place the I-VERSATILE on a standard speaker stand with the possibility to rotate 360° and tilt 200°. As connection to the stand, the speaker uses a 36mm reducing flange included in the delivery. By the means of a flat knurled nut, the mount can be fixed easily on the flange to be used as PA-System. The mount can also be used as stable bracket to fix the speaker on walls and ceilings - to be used in Installations.



1. PR Lighting XR 440B BWS


PR Lighting’s new XR 440B BWS expands on the existing XR 440 BWS, which integrates three features (Spot, Wash and Beam) in a single unit. Combining the same advanced 440W Osram Sirius lamp technology with a superb optical system, upgraded with an animation effect added to the fixed gobo wheel, along with a wide angle (50°) zoom and LCD touch screen control. Full features include; Mechanical strobe (0.3-25 fps with macro), Mechanical dimmer (0-100% linearly adjustable), CMY linear colour mixing with macros, Colour wheel (13 colours with CTO plus open), Rainbow effect with bi-directional and variable speeds, Stepping/Linear colour changer, Fixed Gobo wheel (10 gobos plus open, bi-directionally rotatable and shakeable at variable speeds), Rotating Gobo Wheel (nine interchangeable gobos plus open, bi-directionally rotatable and shakeable at variable speeds), Prism (two 8-facet and 16-facet prisms with optional three-facet prism and gradient prisms, bidirectional rotating at variable speeds), Individual frost filter and diffuser lens, Motorised linear focus and zoom, Head movement (Pan 540°, Tilt 270°, with auto position correction and adjustable speeds) and a Light angle (Beam 2.3°-10°, Spot 5°-40°, Wash 5°-50°).

2. QSC TSC-47W-G2 QSC has introduced the TSC-47W-G2, a 4.7-inch in-wall touch screen dialer/controller. The new touch screen combines capacitive LCD touch technology with a 960x540 highdefinition resolution display and Power over Ethernet (PoE) for simplified single cable installation. The TSC-47W-G2 can operate in both portrait or landscape mode providing integrators even more design flexibility when installing in a wall, lectern or a similar flat surface. In addition, these units include accessories for mounting to US and European standard wall and junction boxes.

bring big ideas to life. d3 Designer is the ultimate software to visualise, design, and sequence projects wherever you are. Install and use d3 Designer as a powerful toolkit for winning pitches, developing storyboards, creating camera fly-throughs, testing technical setups, and designing entire shows. Download the trial now for free:

Professionally designed, custom Media Servers with flexible specifications to suit the demands of your projects

Output configuration: Quickly manage 3D projection mapping, LED screen and pixel mapping all in one place

Autoblend: Automated camera-based projection blending

Unique AiM hardware-accelerated codec: 24-bit colour, flexible resolutions, incredible quality

Notch integration: utilise the powerful real-time effects potential of Notch

Experience Ai V10 for yourself! Contact us for a technical demo

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3. Tasker Snake and Ibrid Optical Komby Cables

The RCF HDL 30-A is a compact bi-amped two-way active touring system for medium to large events, both indoors and outdoors. It features two 10-inch woofers and an impressive four-inch titanium compression driver. The time coherent four PATH waveguide is the result of in-depth research and design. The HDL 30-A is the first line array in a composite cabinet with zero-degree phase and ultra-linear amplitude response. The built-in 2,200W Class-D amplifier delivers excellent playback clarity and up to 137dB max SPL with frequency response from 50 Hz to 20000 Hz. The RCF HDL30-A features state-of-the-art RCF transducers with neodymium magnets.

Tasker presents a new line of premade cables, realised by joining the new technologies with the classical copper cables. With a single cable you can carry several signals while maintaining an excellent flexibility for easy installation. The first set is composed by a cable containing four LAN cables Cat.6A, Tasker C738 L.S.Z.H and by Tasker C739 L.S.Z.H that contain four coaxial video HD SDI, both made with L.S.Z.H. sheaths, flame retardant and are Halogen free. The second set has two models with integrated optical fibres, Tasker C740 and C741 PUR respectively designed for the integrated data transfer with power and able to connect to professional cameras according to the SMPTE 311M standard. The main applications of these brand new cables are, Indoor or outdoor application for fixed or mobile laying and also within ducts, conduits, panels and false ceilings. They are suitable for broadcast and LAN installations, TV and recording studios, theates, public buildings, sports and music events. The whole range is also available with PVC jacket, L.S.Z.H., PE, PUR, with or without metal armouring for an underground installation. Tasker strives daily to research and development of new products and materials, also creating custom productions that allow you to have a specific solution for the single customer and anticipate upcoming technologies.

2. Robe MegaPointe MegaPointe is set to define new standards and expectations in moving light technology, taking the original concept of the all-in-one fixture to a whole new level. Utilising an exclusive 470W short-arc lightsource, Robe’s diligently crafted MegaPointe optics produce phenomenally bright parallel beams, incredible spot gobo projections together with super-quick movement, smooth CMY colour mixing and a multitude of effects available for splitting and shaping the light in Spot, Beam or Wash modes. The zoom ranges from 1.8 to 21° in Beam mode, tight, powerful and punchy, and goes from 3º to 42° in Spot mode with crystal clear high-clarity output through a 150 mm diameter front lens, with a stunning total lumen output of 20.375 and an impressive CRI of over 80. Inventive, different in-air projections can be created using the new Effects Engine, pre-loaded with 12 dynamic beam and flower effects, and can be further finessed using the beam shaper which can emulate framing shutter effects and create rectangular shapes as well as being rotatable and indexable. Utilising the ‘light’ and medium’ frost filters with any combination of colours from the CMY mixing system produces a beautiful, smooth, even wash coverage. There is static 14-slot plus open gobo wheel fitted with glass gobos for precision surface projections and exciting in-air impressions, and a second wheel contains nine rotating, indexable and replaceable gobos. These can be combined with a variable speed, bi-directional animation wheel that can be used in conjunction with any of the gobos or on its own to enhance or produce exceptionally subtle and detailed effects and projections. A remote adjustable hot-spot control can further influence the appearance of the lightsource, and there is yet more versatility with a series of pre-programmable ‘random’ strobe and pulse effects.

4. WyreStorm H2C Series Matrix Introducing the H2C Series, the flexible, modular 4K HDBaseT distributions are custombuilt to the needs of an installation. The MX-0606 and 0808-HDBT-H2C were designed for audiovisual projects requiring multi-source, multi-zone distribution of the latest HDCP 2.2 4K UHD video with HDR and multi-source audio matrix switching within medium-sized residential or commercial environments. The H2C Series enables integrators to choose from a six-way or eight-way PoH-ready matrix chassis built by WyreStorm to customer specification with a selection of PoH transmission cards for flexible, customisable multi-zone 4K HDR HDBaseT distributions that are tailor-made to the precise needs of the project. Each card offers distinct video, audio and transmission capabilities that can be combined in any quantity or order to customise installation to their specific application.


ADVANCED COMPACT LINE ARRAY BOX 136dB and LF down to 59Hz from a single 10" driver-equipped line array box? You better believe it.


Thinking. Inside the box.

#42636 - GEO M10 ad 210x150 - Mondo.indd 1

26/04/2017 11:29








“We’ve always been working with new technologies and integrating these into our solutions. That is the key to Peavey always being at the forefront of pioneering sound systems.”

JAMES KENNEDY Operations Manager at Peavey How did you first get into the industry? Well, my father had worked for Peavey since 1986 and, in 1991, during my final School year, a work experience position became available for three weeks. During my time at Peavey, working primarily with the Managing Director, Ken Achard and the service team, I gained a passion for electronics. Shortly afterwards, a position became available at Peavey with Ken approaching my father enquiring if I’d be interested, mentioning that I was a good fit within the apprentice role. Peavey had never previously subscribed to the apprentice model, so I was the first Peavey apprentice.

When and why did you join Peavey? July 15th 1992 to be precise, the day after my 16th birthday! I was impressed with the industry of Peavey during my work experience. The product portfolio, technologies and markets they were involved in was very exciting. My apprenticeship in electronics servicing was great, the practicality of getting my hands on transducers, mixers, amplifiers etc for repair at Peavey and the theory college provided was invaluable.

What is your role at Peavey now - and what does that involve day to day? The nice thing about my role now is the versatility, one day I could be sat in a marketing meeting talking about how we can position a new product from a sales point of view. Another day, I could be attending a trade show, conducting training either one-to-one or in a class-based environment. I could even be on a sales trip, because I have my own sales territories, which is a great aspect of this role – I really enjoy being able to travel with Peavey around the globe. So, it’s a very varied role, but my main responsibilities are driving sales and business development for the Europe, Middle East and Africa markets.

and, although some cogs are smaller than others, they’re all equally important. My time at Peavey has given me a real understanding of every aspect of the business. I’ve gone from making tea as an apprentice to making key business decisions about products and personnel. As technology grows, so do opportunities - new doors are opening all the time and Peavey as a business has always been at the forefront of new ideas, we are very ‘engineered’ driven.

What makes Peavey different to other companies? I believe the primary difference is that we have the insight to move first. For example, nobody harnessed Digital Signal Processing in the manner that we did – that leap of faith that we took in the technology was groundbreaking. Every technology that’s been introduced to the industry since then, we’ve always been first to the post. One prime example of this was in the early 1990s when Digital Audio Transport first surfaced in a real commercial way. Beyond this, in 1996, the first real practical protocol in our industry was CobraNet - working closely with Peak Audio, we implemented this into our systems. So, we’ve always been working with new technologies and integrating these into our solutions. That is the key to Peavey always being at the forefront of pioneering sound systems.

What installations have Peavey been involved with recently? We have very recently been heavily involved with a number of installations for the SEA Games in Kuala Lumpur, we’ve also worked on shopping malls such as FAN Mallorca in Spain which has been shortlisted for an award this year, along with the Birmingham Hippodrome and the Amsterdam Arena, so there are a real wide range of venues employing us for our pioneering work. We’re also live in the transportation market currently, too, with Heathrow’s T4 and Madrid’s T4 airports being two projects involving Peavey.

Tell me about the growth you’ve seen in your time at Peavey?

What are the future plans for Peavey?

Well, as I mentioned, having started out as an apprentice, I’ve seen every cog in the machine –

The industry is experiencing a seismic shift just now with regards to how systems are being

specified and how products and solutions are in turn being developed. Networking capability is fuelling the Unified Communications movement for various applications. So, there are some key decisions on future direction to make. We’ve just launched our new NWare 2.0 software for MediaMatrix, showcasing many collaborative technologies. In fact, we won an award two years ago for Kiosk2Go, a Wi-Fi based control system for the MediaMatrix platform, which allows you to take control of any MediaMatrix system from any smart device. One thing that I believe is going to continue to happen within the industry is that there will be a real increase in software and virtual environments – it’ll gradually become more about software platforms and less about the hardware.

Tell us something we don’t know about Peavey? Peavey have now registered over 200 patents and were the first company to mass manufacture guitars using a CNC router and now everyone is doing it. Hartley’s first patent was in 1964 ‘Portable Sounding Apparatus’. The company was influenced by Hartley Peavey’s father’s music shop in downtown Meridian MS. Hartley handbuilt his first amplifiers in the basement of his parents home and launched Peavey Electronics above his father’s ‘Melody Music’ store in the late 50s. From there, mass manufacturing of his product soon followed and the company has never looked back.

What three things would you take with you on a desert island? My boxing equipment, Fear and Loathing in Las Vegas on DVD and U2’s album, Achtung Baby.

What is your most prized possession? My sanity.

Where is your favourite place in the world? Table Mountain in Cape Town.

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19/04/2017 17:21

mondo*dr 27.6  
mondo*dr 27.6  

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