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The face of MADRIX discusses how the company has helped fulfil his dreams.


Multipurpose venues that are bursting at the seams with technology.


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Big thinking


for smaller boxes Game-changing innovations in coaxial speaker design ON THE COVER Lucky Voice, Dubai EDITOR Rachael Rogerson-Thorley ASSISTANT EDITOR Sam Hughes EDITORIAL ASSISTANT Hannah Ryan SENIOR ACCOUNT MANAGER Jamie Dixon ACCOUNT MANAGER Laura Iles DESIGN & PRODUCTION Mel Robinson, Dan Seaton CEO Justin Gawne FINANCE DIRECTOR Amanda Giles CREDIT CONTROL GROUP CHAIRMAN Damian Walsh MONDIALE PUBLISHING Strawberry Studios, Watson Square, Stockport SK1 3AZ , UK Tel: +44 161 476 8340 Fax: +44 161 429 7214 ANNUAL SUBSCRIPTION RATES (7 ISSUES) UK: £30.00 / Europe: £50.00 / Rest Of World: £65.00 Two year rates are available on request. Subscribe online at or call +44 (0)161 476 5580 ISSN: 1476 4067 Mondo DR (ISSN 1476 4067) is published in January, March, May, July, September, November and December by Mondiale Publishing Ltd, Strawberry Studios, Watson Square, Stockport, SK1 3AZ, UK Subscription records are maintained at Mondiale Publishing Ltd, Strawberry Studios, Watson Square, Stockport, SK1 3AZ, UK

I know it’s a cliché, but how it is November already? I can’t believe this is my last leader of the year… just where exactly did 2017 go? The last 12 months have brought a wave of changes for mondo*dr. Firstly, we had the debut of the mondo*dr Awards, which took place during Prolight+Sound in Frankfurt. We’re already gearing up for a bigger and better event in 2018, so if you want to be in with a chance of winning, enter your project now at: http:// Next was the launch of mondo*stadia in the summer - our new title that is dedicated to sporting venues. If you’ve yet to check out issue one, you can do so here: Issue two will be making its way to the printers before Christmas, so if you’d like to be involved, please get in touch. And, yes, I did mention the word Christmas, there, which I know, for some, will feel too soon, but as someone pointed out to me this morning - it’s seven weeks and counting. September also saw us add to the mondo*dr editorial team as we welcomed Editorial Assistant, Hannah Ryan. Some of you from the UK will have met Hannah at PLASA in London or BPM | PRO in Birmingham, or possibly during her short visit to IBC in Amsterdam. We like to throw people in at the deep end and, let’s face it, Hannah may as well get used to the tradeshow circuit in this industry. Hannah’s email address is to the left if you want to say hello. As we draw closer to the end of 2017, it’s reaching the time for the World Trading Survey. Last year, you’ll remember we embarked on a major overhaul of the industry directory and it was about 50/50 with new data and existing. This year, we’re aiming for at least 90% new data, to ensure the WTS remains your go-to listing directory for the industry. If you’d like to update or enhance your listing, please drop us a line. It seems odd to wish you all well for the New Year at the beginning of November, but as I won’t have another opportunity, I guess I best take it now. Enjoy the break, everyone and, for those of you I don’t see pre-Christmas, I’ll see you on the other side in 2018!

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32 REPORT Houses of Worship

CHRISTIAN HERTEL One of the three founding partners of MADRIX tells his story.

IN FOCUS 66 GOLDEN PORTAL Copenhagen 68 WHITE Dubai 74 LUCKY VOICE Dubai 80 DE ROMA Antwerp 86 THE LIQUIDROOM Edinburgh 90 SCALA London

100 OXFORD SOCIAL CLUB San Diego’s trendy new hotspot in the Gaslamp District.




122 EUROPEAN TOUR Novastar

1OAK The Butter Group’s latest opening in Tokyo.

124 PRO THEME DAY Elation Europe 126 WFX Dallas 128 AES New York 130 PROLIGHT+SOUND MIDDLE EAST Dubai 132 BPM | PRO Birmingham

130 PROLIGHT+SOUND MIDDLE EAST The second edition of the regional tradeshow.

134 IN DETAIL HH Electronics, GLP, CJS, Chroma-Q, Chauvet 144 PRODUCT GUIDE Media Servers / Projectors 152 PRODUCT DIRECTORY 162 LAST PAGE INTERVIEW Aurélien Linz - Minuit Une



Jamie hanging out with buddy Brian Dowdle at WFX in Dallas.

Laura visited AES for the first time, but found some familiar faces.

Hannah and the Aura Audio boys strike a pose at BPM | PRO.

See more on our social media channels

Advertising Index 88

CODA Audio


ISE 64

PR-Lighting 49

Absen 139

D.A.S. Audio


JTSE 116

Pro Tapes


Adam Hall

d3 Technologies


K-array 137

Prolight Concepts


5 Star Cases

25 & 115

Adamson 97

Daslight 10

Kinetic Lights


Prolyte 161

ADB 93


Kling & Freitag


Renkus-Heinz 139

ADJ 83

Dicolor 123



RGBlink 43

Altman Lighting

DiGiCo 71

KV2 135

Robe 61

Antari 31

Digital Projection


L-Acoustics 2

S2CEB 111

Ashly Audio


Doughty 153

Lawo 53


Astera 11

Duratruss 81

Le Maitre

ShowTex 79

Astro Spatial Audio


Elation 29

Look Solutions



Audiocenter 101

Electro-Voice 145



Studio Due

Bose 103

FBT 13

Martin Audio


Celestion 7


18 & 19

MBN 77

Tech Team



Fine Art


Milos 135



Music & Lights

Unusual 47



Chauvet 163

Flightcase Warehouse

Christie 59


Chroma-Q 107

Global Truss




35 & 95

27 91 123

Sunlite 6





Neumann 113

Wireless Solution

Chromateq 151

GLP 77

NEXT-proaudio 63

XTA 15

City Theatrical

Green Hippo


Peavey 125


PowerLightsAugsburg 79


Clear-Com 153

High End Systems

155 3

for safety



STAGEHAND: ADDING ANOTHER STRING TO ITS BOW PSA General Manager, Andy Lenthall discusses industry charity, Stagehand’s new avenue of tackling mental health.

It was over 20 years ago when a member of staff at one of the PSA’s founder companies suffered a catastrophic stroke; no warning, in his 40s, married with kids and suddenly in hospital in a seriously bad way. Of course, this business being how it is, and the young chap being well liked, his mates and colleagues rallied round and did what they could to help him and his family through some tough times. It’s what people like us do. Inspiration can be derived from the most difficult situations, and this was one of them. The PSA General Manager at the time, the late, great Keith Ferguson, was trying to work out how our friend could have been helped more quickly, more efficiently and not just with money, but pointers to how a person can cope practically with life after a life-changing illness. These thoughts were the genesis of the PSA Welfare and Benevolent Fund, something we now like to refer to as Stagehand. It was the very first fund of its kind, for a couple of decades it was the only fund of its kind. It is a registered charity - a completely different legal entity to the PSA - with a modest but effective fund cared for by a team of trustees drawn from the industry. The premise is

• Above The charity logo.

simple; the fund is set up to pay grants to members, former members and their families who are struggling financially due to illness or injury and it has been doing so, quietly with the minimum of fuss since its inception. That was all, until recently. Last year, at a gathering of Stagehand Trustees, we noticed a pattern; the three most recent claims had been, in one way or another, related to mental ill health. This got us thinking about ways that we could add a new focus to Stagehand, a proactive campaign to improve awareness of mental health issue or, more accurately, improve our industry’s approach to mental health. We’re not trying to reinvent the wheel though, there’s no point in becoming MIND, or The Samaritans but what we can do is encourage companies to pledge to improve their approach by subscribing to Time For Change’s pledge. Of course, we’re well aware that the live event sector is populated by self employed individuals who work together on a job by job basis. It’s these specifics that we’re looking to address. Our first move will be to use the funds recently donated to subsidise training for key touring personal, Mental Health First Aid training. We want to seed our industry with people

who are prepared to approach, listen to and encourage people to seek help with mental ill health. We’re all aware of the slogans like It’s OK to not be OK, we’ve seen the social media posts telling people that you’re there if anyone wants to call. We’d like to go further, we’d like to help people know what to say if a friend does call, we’d like to teach people to spot the signs and make the approach to someone who probably wouldn’t make the call. Of course, we’ll never stop helping to fix broken roadies, this is not a change indirection, it’s just another approach. After more than 20 years, it still gives the trustees a buzz to be able to say yes, we’re hoping to get the same feeling when people can add that Mental Health First Aid string to their bow. And the chap who had the stroke? He’s alive and well, one of the kindest people you’d ever wish to meet. He’s also Stagehand’s Welfare Officer.

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

嘀䔀一吀䤀 匀

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

䰀 䘀 䠀 䘀   一 䔀 圀   䐀 匀 倀     簀     㜀 圀     ⬀   ㈀ 圀     簀     䄀 䌀 吀 䤀 嘀 䔀   伀 刀   倀 䄀 匀 匀 䤀 嘀 䔀   䴀 伀 䐀 䔀 䰀 匀

䴀愀搀攀    椀 渀  䤀 琀 愀氀 礀  ㈀ 㘀䄀      ㄀ 㠀䄀     ㄀ ㄀ 䄀          ㄀ ㄀ ㈀䄀                ㄀ ㄀ 㔀䄀                        ㄀ ㄀ ㈀䴀䄀                              ㄀ ㄀ 㔀䴀䄀

眀眀眀⸀ 昀 戀琀 ⸀ 椀 琀


K1 Club Established as a popular après ski destination in the Austrian Alpine ski resort of Königsleiten, the K1 nightclub decided it was time to improve the clubbing experience for the increasing number of young, up-for-it ski parties that have been visiting the resort and expecting more than beer and fondue into the early hours. K1 turned to K24 Technik and Vertrieb to help with the installation, an Austrian company with proven audio experience. Johannes Stummer of K24 described the need to make sure this installation performed to a very high standard, and could function reliably for long period. “We needed to use the best amplification and processing, and so MC2 amps were the obvious choice from our line-up,” said Johannes. With a combination of E90 Class-D amplifiers to drive the subwoofers and LF of the D.A.S. Audio Sound Force system, and T Series Class-AB for the mid-high sections, the total power output comes to just under 50kW for bass and just under 5kW for mid-high sections of the main stack. The main system was controlled using XTA processing - the DP548 Dynamic Audio Management.

XTA ELECTRONICS XTA Electronics is a UK based company which designs and manufactures signal processing used in many areas of professional audio, from live sound to high-end installations all over the world. It merged with MC­2 Audio in 2007, known for its outstanding amplifier designs, also UK based. Now, both brands share their technology and renowned excellence for long term reliability and premium audio performance. The APA amplifiers, and newly released DPA amplifiers from XTA, as well as the recent Delta Series from MC­2 continue this great heritage of over 25 years of UK designed and built quality audio equipment.

Washington National Cathedral The Washington National Cathedral is widely referred to as America’s ‘spiritual home’. When integrator AVI-SPL’s Special Projects Group was brought in earlier this year to look at updating the sound system it installed there 15 years earlier, it turned to the XTA 4 Series DSP processing platform. Not only did the addition of 11 DP426 and six DP424 units bring new life to the system the XTA 4 Series processors succeed the XTA 2 Series processors installed there, which meant that all of the data for the painstaking tuning that went into the original installation process could be easily transferred to the new processors. Mark Huffman, the cathedral’s Technical Director and Audio Engineer, appreciated that, as well as the excellent sound quality. “The process was completely transparent,” he said. “We already had a great sound system, in part because the XTA converters we’ve used all along are the best in the business, but the upgrade to 4 Series has been a noticeable step-up in sound quality as well as ensuring even higher reliability. And that makes us happy.”

Café Mambo Café Mambo on the famous white isle has again hosted the party of the season with live coverage by the BBC for the entire dance weekender. The system was supplied by Cheshire Event Production. Olly Wayman, Managing Director, has had several years of experience of APA and has been a fan of MC2 Audio’s amplifiers for a long time: “We’ve previously supplied a combination of Funktion-One branded MC amplifiers, as well as MC2’s own, and in the past couple of years we’ve also been using the awesome APA amplifiers from XTA. This year we did things a little different, and it has been amazing.” Olly continued. “Everything was networked Dante audio this year, with the welcome addition of a brand new MC2 Delta 80 providing system break-in duties from the DJ on stage, and allowing the BBC to easily get audio from the network if required for broadcast.” Powering the large Funktion One dance system, the expectation might be for racks and racks of amplifiers, but the majority of the system was controlled and driven by two 6U racks of three amplifiers each - so just six APAs totalling 120kW into two ohms.








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Can you remember your childhood dream? Did it seem remotely attainable or was it way beyond your grasp? For Christian Hertel, Managing Director and Sales Manager of MADRIX, it was quite simple‌ to make it to the USA, Miami specifically, after watching Miami Vice as a child. Perfectly acceptable most might think, but for a child growing up during the division of Germany, it seemed a wild and reckless dream back then. Rachael Rogerson-Thorley chatted to Christian to find out how MADRIX has helped all of his dreams come true.

© Niester


© Niester

For those of you who are familiar with MADRIX, Christian Hertel will be the one you associate as ‘the face of MADRIX’, he travels to the most tradeshows to represent the company, he sells to the customers and appoints new distributors - and he’s all over the social media channels! But Christian is quick and eager to point out that there are three managing directors, three founders and three members of what he affectionately calls the ‘dream team’. Christian’s expertise lie in sales, which naturally makes him the Sales Manager, Sebastian Wissmann is Head of Development, as it is his original diploma work that led to the creation of the company as we know it today - more of that later - and Sebastian Pinzer is in charge of hardware development and accounts. They trust each other implicitly within the respective fields and often refer to one another as a work family, making an ideal company set-up. The trio’s blossoming friendship began at university, but Christian’s love for computer science came many years earlier, when, as a child, he used to play and be fascinated with his Commodore 64. Not taking direction from his father who was an electronics engineer, and his mother, who was a research associate, Christian followed his passion, which became a more realistic path after the Berlin Wall

came down in 1989. “I was just 15 at the time,” said Christian. “I remember the exact night so vividly. I actually travelled to Berlin with my mother, so we were in the city when the wall came down. It was a special night for me as I knew that I could make my dreams come true, if I worked hard, I could go wherever I wanted.” Prior to the wall coming down, those who lived in the East side of Germany were very limited in terms of travel, only allowed to visit places such as Russia, Czech Republic, Bulgaria, Hungary, Romania and Poland. “Recalling that night, even now, still gives me goosebumps,” said Christian. Having grown up in Halle, located on the River Saale, Christian moved to Dresden to study and it was there that he met the two Sebastians. It is also the city he has now made his home, with MADRIX headquarters residing there, as well as his family home, which he shares with his long-term partner and his eleven-year-old daughter. Remembering how his career with MADRIX began, Christian said: “As part of our Computer Science university course, we had to put together a business plan. Initially, it was the two Sebastians who worked together and came up with the idea of a software development company. But it was only after they had formed the idea, that they

• Above The MADRIX team.

realised they would need someone to market and sell the product.” And this is where Christian stepped in. With his passion for computers, Christian had jobs in computer stores during his studies. “I had a lot of passion to work with people, to sell to people and sell them the right products, and the Sebastians saw that. After they had put the business plan together, they realised they were going to need a sales guy to sell the solution and pitch it to clients. So, they contacted me and asked if I wanted to work with them.” And so the story begins… The first company that was founded by the trio during their studies had a fourth partner on board, Daniel Popp, who is no longer part of the team. It was a software development company that dealt with organising websites and shop integration for clients. “This earned us some pocket money while we were studying,” said Christian. “But once our studies were over we were keen to take the company to the next level.” This led the present day managing partners to found inoage in 2001, just ahead of them completing their university courses, but exactly what this company would be, was yet to be decided. “When you complete your university course in Germany, you have to present


your diploma to an audience,” Christian explained. “On average, the presentation is about half an hour. There is six months of preparation work before you present your findings. When Sebastian [Wissmann] delivered his presentation at the end of term, I was in the room listening in amazement to what he had created.” In essence what Sebastian had produced during his studies was a working theory for music analysis in real-time. “His work was mind-blowing,” continued Christian. “It was so well received by the audience that he was commended by the university for his work.” Suddenly inoage had a purpose and a goal. “I spoke to Sebastian after his presentation, I told him I thought his work was crazy but amazing, and that I could see two different markets for his software that we could develop through inoage. The first product I thought of was aimed at the educational market - teaching music in schools. Sebastian’s work was making music theory visible, so with the help of his algorithms and software, teachers could have the ability to learn music theory easier than ever before.” Through inoage, they developed their first product called MAD Education targeted at schools to assist teachers with teaching music theory. “We brought this product to market, but unfortunately, it wasn’t very successful and we only sold 5-10 licenses,” said Christian. Luckily, he had another idea up his sleeve. This time Christian pitched the entertainment sector to the two Sebastians. “I envisaged the music analysis in real-time software being successful in nightclubs and for live stage performances because I thought we could combine music with

lighting effects.” Users of MADRIX software today will know that this very idea developed in the Sound2Light and Music2Light features that make the software so unique. Equipped with their idea, the team headed off to Prolight+Sound in Frankfurt for the first time in 2004, walking the aisles of the tradeshows, conducting research and gathering feedback for the product they were set to create. “We walked through all the lighting halls, we visited companies such as GLP, Martin Professional [as it was known back then] and many of the other big lighting companies, searching for products that were fast enough - essentially a moving head that could pan and tilt quickly,” said Christian. “In order for the lighting to work with the music using the software Sebastian had developed, the fixtures had to be fast to follow the music moving from beat to beat, note to note, but the moving heads we were looking at simply couldn’t keep up.” Even after sitting down with a number of manufacturers to discuss the speed of the moving heads, they still couldn’t find what they were looking for. The speed of the colour wheels and the colour options were also an issue. Was the dream over before it had even begun? Of course not… enter LED technology. “At one or two booths we saw some LED products and, as you know, LEDs are RGB, similar to computer monitors. LEDs are also arranged in a sort of matrix, similar to a computer monitor using a matrix of X and Y. We asked how quickly the LEDs could be controlled, and the answer was… ‘in real time’ and of course our reaction was ‘wow’. At that

moment, we knew LED was exactly what we needed to make our product work,” he remembered. But when they asked how the LEDs were being controlled the answer was, ‘it’s complicated’. Because every LED had three channels R, G and B - when multiples are used, 10, 20 or even 50 LEDs, it creates hundreds of channels, and back in 2004, hundreds of channels was a lot. Lighting consoles at that time, even the popular ones usually had one or two, but a maximum of four universes of output. As LED was starting to gather momentum, the trio saw a gap in the market for a product that was already available but was lacking a suitable control solution. “We saw the LEDs that were reacting in real time and we knew we had to develop something for this product. We had the music analysis software from Sebastian, so we came back from the show in 2004 in April and we set about developing software to control LED,” added Christian. It was just a matter of months before the first prototype was ready and Sebastian Wissmann got the opportunity to test the prototype at an event in Berlin that Summer. The LEDs at the event were housed in tubes, so the name MAD Tubes was trialled but obviously it didn’t stick. “During the testing, Sebastian quickly realised that one preview or one effect pipeline was not enough for such events. He returned with the idea of creating a dual-deck application - one effect running on the output and then the next effect could be prepared while the first one is working on the output. To this day, the dual-desk set-up remains our unique selling proposition.” It took Christian and the team just 12

• Above Christian and Craig Singer from Inner Circle Distribution USA.

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20.10.17 12:07


• Left Christian with Guillermo Malvaez from SIN LIMITES SA DE CV, Mexico. • Centre Christian at PALM India 2017. • Right Christian with Sascha Fischer from Steinigke.

months to return to Prolight+Sound, this time as an exhibitor, to present the product they had created. It was given its permanent name MADRIX at the end of 2004 - MAD which stands for music analyse display and RIX taken from the word matrix used to describe a grid of pixels. MADRIX 1.0 presented to the visitors of Prolight+Sound in 2005 could control up to 10 universes of DMX, yet still the lighting consoles were only able to handle a maximum of four. So, it goes without saying that they had some disbelievers at the show, with one that particularly sticks in Christian’s mind who said… ‘nobody will ever need 10 universes, you are crazy’. “The people couldn’t imagine that 10, 20, 50 or even more universes was even possible. The expensive consoles only had one or two universes but we were showing software that was affordable and able to control 10 universes,” he said. It was a slow start for MADRIX, with people not really knowing how to react to or how to use the software. Fairlight from The Netherlands was the first distributor appointed by Christian. It carried a 2x2 LED panel, one of the first pixel products on the market, and a control solution was needed. Fairlight had faith in MADRIX, taking the product onboard in 2005 followed by the company Designgroup in 2006 in Germany. But it wasn’t until a few years later in 2008 that Christian made a sale in Thailand, which transpired into a flagship project, still active today. The tallest building in Thailand, Baiyoke Tower II began using the MADRIX

software back in 2008 to control 36,240 DMX channels / 80 DMX universes, which provides the lighting content for the building façade. “I met the guys from Thailand last year in China,” said Christian. “They told me they’ve never touched the computer and never touched the MADRIX software, so they are still running the version from 2008.” Proof that is it still working as well as it is did when it was first installed can be found with a simple YouTube search, where you will find stunning videos of the MADRIX software in operation. What accelerated MADRIX’s growth, Christian believes, is the US market. He first exhibited at LDI in 2007 - the same year for PLASA London - and he has continued to do so each year. But back in 2007, the US market was behind the European market when it came to LED. Together with Julian Bradley of Electronic Sales and Production from Denver, CO, MADRIX realized the first club install in Denver in 2007. However, many people from across the pond picked up on the importance and benefits of the technology, and its popularity grew rapidly, which was great timing for MADRIX. It became the number one market in just five years - thanks in large part to the change in distribution to Inner Circle Distribution - with installations in many of the large nightclubs including Hakkasan and Drai’s Nightclub, theme parks such as Disney and Universal Studios, as well as cruise ships and TV stations. In 2008, Christian met one of the most important MADRIX partners at the

LDI in Las Vegas for the following years. Roberto Malvaez Vidal of Sin Limites SA de CV was selected as the exclusive MADRIX distribution partner for Mexico in the same year. In just a few months, Mexico became one of the most important markets for MADRIX. Roberto became a very special firend to Christian over the years, but sadly he has now passed away. With such recognition in the US and Mexico, it wasn’t long before the Asia market began to take off, and Europe too. It was European company LEDSCONTROL, headed up by Rebeca Sánchez Pastor and Miquel Clot, who allowed MADRIX to go one step further in the development with voxel mapping. “Miquel was responsible for the installation at Amnesia nightclub in Ibiza and it was one of the first clubs to use 3D LED tubes hanging from the ceiling. So it wasn’t 2D pixel mapping, it was 3D voxel mapping as we like to call it. Normally, there are X and Y coordinates for mapping but for voxel mapping there is X, Y and Z. We were the first product on the market to control X, Y and Z… live. The Amnesia project allowed us to introduce MADRIX 3.0 in July 2013 - the first software on the market to control 3D LED in real time.” That very product won MADRIX the ‘Product Of The Year 2013-2014’ Award by Live Design in the category Lighting: Software/Control, less than a year later in May 2014. The reason for winning the award was of course down to the revolutionary control in X, Y Z. And with the










© Niester

• Top Christian with Rebeca Sánchez Pastor and Miquel Clot from LEDSCONTROL winning at this year’s mondo*dr Awards. • Above left The MADRIX office in Dresden. • Above right Christian and Rob Kirby from LED Limited at PLASA 2017.

awards ceremony held in New York, the second of Christian’s childhood dreams was about to come true - having fulfilled the first with a trip to Miami in 2007. “I received the news that we’d won the award after the Prolight + Sound show back in 2014. “I immediately booked the flight to New York, and travelled there together with Sebastian. It was such an honour to be in front of the judges, and we were so proud to be given the award, this kind of recognition is very special.” Visiting the US, but in particular Miami and New York is all down to MADRIX according to Christian, and he says he’ll always be truly grateful for the opportunities the company has presented him with. As we look more towards the present day, of course, technology has moved forward, but Christian’s answer about MADRIX competitors still comes in the form of yes and no. “The console manufacturers are trying to add the control into their consoles, I say trying because they are very limited within the consoles. We also have media servers on the market these days but media servers I see more for video

content,” he explained. “The difference between a media server and the MADRIX software is that the MADRIX can create content for you in real time. Our software is for lighting control and pixel mapping, whereas a media server is generally used more for video content. We can work with video too, you can load video into the product but the USP is that it can create content for you within seconds, with just a few clicks, super easy. “Media servers are designed for high resolution pixel mapping, HD and 4K. Our product is great for low resolution up to HD. Real-time rendering, pixel by pixel, MADRIX does not scale content, it creates content. I like to call this LED pixel goodness,” laughed Christian. “The music analysis software originally developed by Sebastian plays a big part because all these big nightclub installations like this real time pixel rendering feature because it means they synchronise the lighting with the music. It is difficult to get the LDs to use our software though, as many are so used to the consoles. It’s a process and we are working at it.”

The future for MADRIX is the next generation of software, which you would obviously expected to be MADRIX 4.0, but in fact it will be MADRIX 5.0. “We are dropping version 4 as a mark of respect to our Asian customers - as this is our number two market. When you pronounce the number four in many Asian languages, the word sounds similar to the word for ‘death’. This is why you will not find fourth floors in many Asia hotels,” Christian offered. “It still needs a few months of development but it will be 64-bit technology, users will be able to address more pixels, use more effect layers, and output more universes. So it’s a future-proof concept. We’re aiming to be ready in 2018.” When Christian isn’t focussing on his MADRIX family, he likes to spend as much time as he can outdoors - running, long boarding, hiking - a very active guy indeed. But considering his work involves lightening speed technology, it probably comes as no surprise to most that he doesn’t like to slow down in his leisure time either.



St. George Catholic Church’s congregation can now take pride in their new $17 million sanctuary with a soaring arched ceiling and seating designed to create a feeling of intimacy for those closest to the altar. To ensure excellent speech intelligibility and natural music reproduction, church management relied on their hometown neighbour, PreSonus Commercial Division, for their sound system components. Ultimately, loudspeakers from the company’s WorxAudio line - tuned with state-of-the-art FIRmaker steering technology from AFMG - were deployed. Advanced Audio & Stage Lighting of Denham Springs, LA, an audiovisual design / build firm specialising in projects for the worship, commercial, and education markets, was contracted to handle the deployment of the church’s new audiovisual system. Bo Bowen, the

firm’s founder and president, discussed the project. “The building is designed in the shape of a cross,” Bo explained. “The ceilings are 50ft in height and there is seating capacity for 1,200 worshippers. The sanctuary has beautiful stained glass and ceramic tile flooring. While there is acoustical treatment, this exists only on the rear and the two sidewalls. Overall, the room is quite live, which presented a variety of acoustical challenges. Fortunately, Hugh Sarvis, Chief Designer / Loudspeaker Division, and Tony Flammia, the Commercial Division’s Director, assumed very active roles to ensure the sound system performed optimally.” “The church has one traditional service on Saturday afternoon and three traditional services on Sunday morning, two of which have a full choir and occasionally use instrumental accompaniment,” Bo added. “The

Sunday evening service is a contemporary in nature and uses a praise band. The church school also uses this space several times each week, so a high-quality sound system was essential.” The sound system consists of twenty WorxAudio V5 two-way line array enclosures for the house mains. These are positioned 10 elements each for the left and right hangs, flown at a height of 32ft on each side of the altar. They are custom painted to match the room’s aesthetics. Additionally, there is a single Wave Series 8A two-way point source loudspeaker mounted against the ceiling that faces down onto the stage and serves as the choir’s monitor system. Augmenting these two main house clusters, there are two WorxAudio X2 two-way, compact line array enclosures. These are positioned one each for the left and


right sides - mounted behind the video screens. They provide coverage for the extreme sides in the transepts. For low frequency support, there are two X118S high SPL subwoofers. These are positioned along with the X2 loudspeakers - one each behind the left and right video screens. Mixing tasks are handled by a PreSonus Series III StudioLive 32 digital console. The setup operates via an AVB network. To meet the challenges of multiple worship styles, the StudioLive mixer enables the church’s audio team to create multiple scenes for easy recall. For additional flexibility, the church is utilising PreSonus’ UC control software, which allows the mix engineer to make adjustments via an Apple iPad from anywhere in the facility. For loudspeaker management, Bo and his team

deployed QSC’s popular Q-SYS Core 510i for audio processing and control. According to Bo: “The combination of the Q-SYS processing and AFMG’s FIRmaker technology enabled us to create a system that delivers clear, even coverage throughout the sanctuary.” System tuning was accomplished using AFMG’s FIRmaker technology, which is an integral part of their Ease Focus 3 line array alignment and optimisation software. By incorporating this technology, spectral consistency improved dramatically. Hugh Sarvis described the process: “With the loudspeakers in place, Tony and I took measurements for all rigging heights, splay angles of the enclosures, plus the distance to first row and back row seats. At that point, we were ready to evaluate coverage and implement FIR filtering. I like to use four-six mics for testing - placing

them on the floor as a ground plane measurement and positioning them starting at the front of the stage, with subsequent mic placements every doubling of distance for 5ft, 10ft, 20ft. Using Ease Focus 3, We are able to conduct a sweep and check all microphones simultaneously. We use Ease Focus 3 to run simulations of room coverage, exports the FIR filter to the computer, uploads the filter to Q-SYS, and we continue measuring the room until the desired results are achieved.” With St. George Catholic Church’s new sound system in place, Bo reported the client couldn’t be happier: “Church management is extremely pleased. The system is working great and sounds exceptional, which is really rewarding considering the system is installed in one of the most challenging rooms I have ever dealt with.”



Ensuring that acoustics are exceptional in a house of worship is crucial and the beautifully-built church of St. Gabriel at Aajaltoun was no exception. The 11-second reverberation time, detected by a dedicated acoustic measurement by appointed acoustic consultants 21dB, was immensely hampering the communication inside the church. 21dB’s team carried on by determining the amount of absorption needed before working hand in hand with the lead architect of the church to find the ideal design that would enhance the venues aesthetic rather than hinder it. Vicoustic’s flagship Wave Wood acoustic panel was found as the most suitable product to be used. Wave Wood is specifically designed to control excessive and unwanted frequencies while maintaining a bright, ambient sound. The panel’s design, which includes a series of non-linear cavities set into an elegant wood finish, is highly effective in the treatment of medium and high frequencies while also enhancing the appearance of room interiors. The whole installation project took eight days to complete, with the team having to work almost continually at a height of 13-metres. The panels themselves were very easy to install, except for a triangular section at the back that was very hard to access and quite tricky to execute due to some irregularities in the walls. This small section took three days alone. The results were excellent with both church leaders and visitors commenting on the amazing clarity of speech and noticeably reduced reverberation, as well as the stunning appearance of the wood finish. Further acoustic measurements have also indicated that St. Gabriel Church will be an ideal venue for classical music recording in addition to regular worship activities with its reverberation times decreasing from an average of 11-seconds to 2.75-seconds.



Christie was the solution Clark, a leading audio, video and lighting provider specialising in houses of worship, selected for Preston Trail Community Church in Frisco, Texas. Renowned for their exceptional reliability and brightness, six Christie 3DLP projectors including the Christie Roadie HD+30K and the Roadster HD20K-J, light up the church’s interconnected worship spaces with crystal-clear images for a more robust service. The worship centre includes the 1,800-seat auditorium featuring a two side screens framing a centre screen, a 500-seat youth centre, and two smaller spaces for younger children. Since its beginning as a mobile ministry in 2004, Preston Trail’s unique presentational style of communicating the message has consistently resonated with the faithful and helped grow the congregation to over 3,000 worship-

ers. When its pastors decided to establish a permanent worship venue, they moved from an old manufacturing facility into a new, ground-up constructed building. Collaborating with Clark early in the facility’s construction, Preston Trail created an infrastructure upon which Clark could integrate top-of-the-line audio, video and lighting technology that would meet its current and future needs. In implementing their audio and visual solutions, one of Preston Trail’s primary concerns was installing efficient, high-brightness projectors to overcome the high ambient light generated by stage and house lighting. “Preston Trail already owned several Christie projectors that had proven their superiority in terms of brightness and reliability, so Christie was the only brand they ever considered when it came to adding to their high-performance projector family,” said Peter Fitton, a Clark

The Fellowship Church Grapevine installed 150 panels of Absen LED screens for their new movement, ineed2change. Fellowship Church Grapevine is one of the largest churches in North America, located in Dallas Fort Worth, Texas. The ineed2change initiative is a weekly live event that is broadcast around the world via the internet and satellite. Senior Pastor, Ed Young launched the initiative on 22 August to help anyone overcome anything and share their stories with others. The church required screens that would help convey their message to both a live audience and look fantastic via broadcast. Absen’s A3, their indoor mobile product, offers a perfect high refresh rate, low brightness and sharp image for a flicker free live broadcast. It also looks phenomenal for the live audience adding a creative and professional look to both His message and the live performances each week. The Fellowship Church Grapevine brings its live events to churches around the USA and the world. The A3’s ‘pop, lock and play’ connectors make install and dismantling of the screens a simple process. Absen’s LEDs on the road will help make every event look spectacular. Absen is proud to be working with Fellowship Church Grapevine. “The ineed2change movement is an important event for the church and they were very happy with the stellar performance of our products, I look forward to the amazing designs they will make with these panels in the future,” said Randy Shang, Absen Sales Representative.

engineer. “Christie offers the brightest projectors in their classes, so ambient light was never an issue. Noise was also a concern, especially for the two front-projected side screens during the quieter parts of the service, and Christie projectors delivered with the low operational sound levels we needed.” “The secret to our success is very simple: Clark exists to allow churches to do what they do in the best way possible,” Peter concluded. “It’s something we can also say about Christie. Everything we needed - from choosing the product, to having access to online calculators and data sheets, to getting parts, industry expertise, and guidance - our people found with Christie. Working with them was an easy, smooth and pleasant experience.”


what you see

what you get

the new



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For the audiovisual integrator, there is rarely a better opportunity to prepare the end user for today and tomorrow’s opportunities than walking into a Greenfield project. This was exactly the opportunity that Horizon AVL, a full-service systems design and integration firm, was provided when a long-time client, Fellowship Alliance Chapel, announced their relocation to a new facility in Medford, New Jersey. Among the goals and expectations was to build a venue with an audio, video and lighting system big enough to house live concerts and events in the main sanctuary, which seats 1,700 on the floor and 500 in the balcony. As additions to the facility are expected - general plans have already been outlined for new rooms - there was also a desire to build an infrastructure that could scale to these spaces upon construction. The Horizon AVL team, led by CEO Joshua Kell, worked closely with general contractors Big Sky and the Bannett Group to design and install conduit chases, and establish the appropriate paths to move video and audio around the facility. The team also mapped out all display locations for image magnification, specifying mounting locations and designing extra support into the structure. The specification called for network cabling to support all signal transport, which significantly slimmed down the costs and labor of wiring an audiovisual system, while providing plenty of headroom for future needs. “We went with shielded Cat6A for video because we had some very long transport distances to achieve - totaling several thousand feet - and we needed to futureproof beyond 1080p video,” said Joshua. “Most of the building is prepped for 4K with that backbone in place.” With Cat6 network cable also in place, the stage was set to quickly roll out a digital audio network. Horizon AVL almost immediately set

its sights on a Dante network from Audinate. There were immediate labour savings, as moving to digital audio networking reduced weeks in systems integration time. Overall, Horizon AVL saved about one-third the costs of deploying a legacy audio system. The overwhelming majority of audio signals and connections live on the Dante network, outside of a copper wiring run between a legacy stagebox and the front of house Allen & Heath S7000 mixer. From that mixer, the Dante network passes through an Allen & Heath DM64 digital signage processor and onto a Shure ULXD wireless microphone system. The Dante network extends straight to the loudspeaker systems, which comprise steerable line arrays from PreSonus with integrated Dante-enabled amplifiers. This not only slims down the infrastructure, but keeps everything on the network through the end point. Kell adds that audio quality is a massive improvement compared to the old sanctuary. “The speech and overall intelligibility through to the steerable line arrays is top-notch - you can hear every syllable, every nuance in the vocals and every instrument. The clarity is there, as is the low latency that is important in live worship,” stated Joshua. Horizon AVL’s Cat6A shielded backbone also laid the foundation for moving signals around the sanctuary from acquisition to projection. Vaddio pan/tilt/zoom cameras were selected to reduce the operational workload on staff and volunteers. An Analog Way Ascender 32 4K switcher is used to switch cameras and other source equipment. These signals are sent direct to a curved 68x13 LED video wall for live image magnification, and into an Atlona switching and distribution headend. Atlona’s AT-UHD-PRO3-88M acts as the matrix to distribute camera sources to the internet and eight NEC displays around the

power to respond. The power and flexibility of the gx range gives you full access to the generative content world. Ideal for fixed installations, the gx 1 enables you to create immersive experiences that truly connect and interact with your audience. Discover d3’s gx range at LDi Las Vagas - Booth #1831

building. If the LED video wall dimensions seem unusual, they are. The wall was sized to meet the limitations of the available height, which included a big pallet that could be used for the curve. This strategy allowed the installers to take full advantage of the architecture from a height perspective, and limit the width to ensure the line arrays didn’t obscure anyone’s view. At press time, the Fellowship Alliance Chapel team is using four inputs and eight outputs, the latter of which distribute signals over the Cat6A backbone to eight compact Atlona AT-UHD-EX100CE-RX receivers. These receivers were selected as they could be hidden behind the displays, with an HDMI out feeding each display with live and digital signage content. “We like how Atlona helps us keep our cabling to a minimum,” said Joshua. “The AT-UHD-EX100CE-RX receivers are powered directly from the matrix itself, and we only need that single cable.” The four inputs on the 8x8 matrix include the live building feed from the Analog Way switcher for the camera shots, Renewed Vision feeds and an Apple TV. The other two inputs feed digital signage content: When live sermons are not in progress, the Atlona system immediately switches to serve the digital signage. That content includes wayfinding maps and information on upcoming events in the various rooms. “Atlona has been a force in leveraging this standard to help their customers utilise inexpensive network cable to extend video signals. They make it easy for me to install the product, crimp an end and plug it in, and it starts working immediately. They save me a tremendous amount of time and labor compared to dealing with fiber terminations, and they kept us within budget on the video side,” Joshua concluded.



Cornerstone Christian Fellowship in Chandler, Arizona, is founded on the mission to reach the Phoenix area for Christ and to ‘do’ church in a way that reflects the community and offers real answers to life, while remaining true to God’s word. A church of the future, the organisation uses today’s modern audio and video technology to foster an environment where anyone can be part of its rich community, stay connected to each other, and be engaged with its message. To fulfil that mission, the main Chandler campus’ uses a robust two-camera video setup to record the pastor’s weekly message, which is played back at the other two campuses via a software-based video streaming system. However, the system was prone to errors and didn’t provide adequate, reliable quality that would immerse and visually connect its satellite members with the main campus. The organisation needed a high-quality, reliable, and easy-to operate platform that would record, protect the stream from any errors that deteriorate the video experience, as well as offer delayed playback in accordance with each campus’ schedule. In addition, it needed to be capable of recording both camera angles of the stage and playback both streams in perfect synchronisation. After assessing the market, Cornerstone - along with the organisation’s integrator, EAR Professional Audio/Video - chose VITEC’s Houses of Worship Multi-Site Video Streaming Solution. VITEC utilises cutting-edge HEVC encoding technology and the Zixi error-free streaming protocol to transmit high quality, reliable, and flawless streams to HoWs of any size over the existing IP infrastructure. Cornerstone installed VITEC’s 100% hardware-based MGW Ace encoder and MGW Series portable HEVC IP decoders at each campus. Powered by VITEC’s second-generation codec, the MGW Ace encoder delivers pristine, broadcast-quality video with its HEVC (H.265) bandwidth-efficient compression as well as legacy H.264 encoding capabilities. When MGW Ace is coupled with VITEC’s HEVC decoders, the devices become an end-to-end streaming solution that’s ideal for affordably transmitting flawless video streams for houses of worship. It also provides industry-standard RTMP streaming to distribute content to a large audience via Content Delivery Network (CDN). In addition, the VITEC Houses of Worship Multi-Site Video Streaming Solution is integrated with Renewed Vision ProVideoServer (PVS), a four-channel HD video server from the most trusted technology provider in the worship space. PVS adds recording, playback, and time-slip capabilities to the VITEC system, enabling Cornerstone to easily record its two high-quality encoded streams from the main campus, complete with embedded time code and multichannel audio, and play back those streams at each of the satellite campuses at any time. PVS’ time slip functionality, much like a DVR, allows for the immediate playback of a video, even as it continues to record from the main campus. As a result of VITEC’s Houses of Worship Multi-Site Video Streaming Solution with PVS integration, Cornerstone is able to stream and playback its two camera feeds in perfect synchronisation, at the highest HD video quality available, and at the lowest possible latency to the remote site - making it an ideal dual-input, dual-output, timeslipped media record and play-out server. VITEC’s advanced video compression ensures that every stream looks great even on the campus’ multiple large IMAG screens while Zixi’s proven, unique transport software eliminates the video-transport problems that are inherent in unmanaged IP networks. This integration ensures that Cornerstone can deliver and playback video streams of unprecedented quality with no stutter, packet loss, or frame-freeze, regardless of network conditions. Finally, VITEC’s HTTP API allowed Cornerstone to create a custom graphical user interface (GUI) to control and monitor each of the VITEC appliances from a single user interface. With a simple GUI, all Cornerstone volunteers are able to centrally operate the system with ease. This simplifies and streamlines the process, reducing any technical roadblocks that come with management multiple systems and keeps Sunday services operating smoothly.




Houses of worship often feature high ceilings, which can be a problem for sound reinforcement design. However, at the Community Bible Church of Vallejo in California, it is an unusually low one that provided the challenge. An Alcons Audio pro-ribbon system was the solution. Founded in 1980 by the late Pastor Steve Fernandez, Community Bible Church of Vallejo had several homes until it established itself in a former Safeway supermarket building, altered and rebuilt in 1998. More recently a new, 1,200-seat worship centre was added, but local regulations meant that the 330,000 sq ft building had to be low-rise. In turn, this meant the interior height of the building caused issues when the sound reinforcement system was being specified. “The room is about 140ft wide, the seats are 70ft deep and the ceiling is around eight feet lower than would be ideal. Putting a system close to the celling would cause a lot of problems with 500 cycle reflections,” explained Mark Sweet, Senior Manager - Integration/ Engineering at San Francisco systems integrator Spider Ranch Productions. “In addition, the seats are not raked and the walls are all very reflective. Acoustics were not designed into the building, so we knew it would be a challenge to install an audio system that would provide high quality coverage for all.” With church services typically including 35 minutes of musical praise and a 50-60 minute sermon, Mark worked with Rocky Giannetta - a local audio specialist and support engineer in room modelling and loudspeaker analysis - to write a brief which took into account both the physical characteristics

of the room and the worship requirements. He then invited five loudspeaker manufacturers to provide EASE modelling and propose a system which would provide high quality coverage throughout. Four of the companies visited Spider Ranch’s premises, where a 60ft x 80ft space was available for demonstrations. Representatives of the Church were invited to spend a day both listening to, and looking at, the systems. “Each manufacturer had to provide a complete speaker cluster of their design, so the client could understand how the complete package would look and sound, as well as being able to compare the size and form of the different types - all in the context of their project. We wanted them to compare apples with apples, not just listen to some speakers,” said Mark. With a common mixing console and sound sources, the Church was able to make a truly objective assessment of the four systems on offer. An Alcons Audio pro-ribbon solution was their first choice, in terms of both sound quality and the size/scale of the package. “They really liked the Alcons audio quality and it was physically smaller, which would look more appropriate in their room,” said Mark. “In a perfect world, churches don’t want to see speakers at all. Speakers are generally boxy and large in size, but Alcons’ design is clean and contemporary. This blended into the overall design of the church, making the speakers less visibly obtrusive.” The chosen Alcons system features L-R hangs of seven LR7/120 micro line array modules, used predominantly for music, with a centre, horizontally-arrayed

cluster of four RR12 point source array modules for speech. A pair of VR8 compact versatile monitors are used for outfills, with the system powered and controlled by two Sentinel10 amplified loudspeaker controllers. Another important factor was that, as the stage projects into the auditorium, a system that maximised gain before feedback was a ‘must’. Alcons pro-ribbon technology was, again, the perfect solution. “Because of the construction schedule, we had to install the rigging for the system months before Alcons was actually chosen. I mandated that the X-Y rigging points for each possible solution had to be specified and created a rigging arrangement which allowed us a 15ft horizontal arrangement for the L-R clusters. We knew whatever was chosen would fit within that area,” added Mark. Thanks to its compact size and weight, once supplied the Alcons system was installed very quickly, with David Rahn of Alcons US working closely with Mark and Rocky Giannetta on the tuning process. “The Church is really happy with the high, distinct quality of the Alcons sound,” said Mark. “The Alcons solution was more expensive than their second choice, but they wanted to choose a system that they would love for a long time. They had no hesitation about spending the extra money to achieve the best sound quality, in addition to Alcons sleek contemporary design. It was definitely the best and right choice for their church.”




Founded by the first bishop of Nouvelle France over three centuries ago, the Sainte-Famille church is one of the oldest in North America, its tradition is reflected in its distinctive architecture and the richly colored original frescoes that adorn its walls and ceiling, as well as the dome over its semicircular apse. As part of a recent revitalisation project, sponsored by the Conseil du Patrimoine du Québec, the church’s architectural flourishes and stunning frescoes now glow with a new radiance, thanks to a carefully planned all-LED lighting design by Philippe Péquignot that features a collection of Chauvet Professional fixtures, supplied by Montreal’s XYZ Technologie Culturelle. “Our mission was to showcase the church and its frescoes without detracting from the original aesthetics of the building or its artwork,” said Charles Cadieux of XYZ Technologie Culturelle, which provided technical design assistance on the project in addition to specifying and supplying the lights. “The selection of the correct LED fixtures and judicious placement of them were critical to helping us achieve this goal.” Using LED fixtures was essential to this project, said Charles, given the age of the frescoes. “The frescoes still had their original paint, so we didn’t want to

expose them to heat from a non-LED fixture,” he said. “We were committed to making this an all-LED installation.” XYZ Technologie Culturelle specified 10 Ovation MinE-10CW compact ellipsoidals, one Ovation F-95 WW Fresnel, 31 COLORdash Batten-Quad 12 and 12 COLORdash Batten-Quad 6 RGBA linear washes, as well as 15 COLORdash S-Par 1 RGBA fixtures. The output of these fixtures was a critical factor in the decision to use them at Sainte Famille. However, before they could even begin to look at brightness, the design team had to be convinced that the fixtures were compact enough not to disrupt the aesthetics of the church. “From the very beginning, it was an ironclad rule that anything we installed would have to be concealed by the building’s architectural details,” said Charles. “To maintain the original look of the church, it was essential to conceal the fixtures. However, at the same time we wanted the brightness. The compact Chauvet lights allowed us to have both.” Given their dual goal of creating brightness while keeping the fixtures out of sight, the design team had to pay close attention to the placement of lights. They relied on the building’s architecture to provide cover

for the fixtures. For example, the 11 Ovation units in the install are strategically placed 25ft in the air over the altar, with their bases blocked by various architectural details. “This arrangement allows us to conceal the Ovations while letting their luminous flux transform the frescoes,” said Charles. “The high output from the Ovations’ LED engines produces general lighting of the altar and the bishop’s seat.” The COLORdash fixtures were used to accent the architecture of the church as well as the frescoes. “We decided to go with the COLORdash series, because of its low profile and high projection efficiency,” explained Charles. “Another feature we really valued was their ability to render very vivid colours. The church can completely transform its looks by changing colour washes.” Such colour transformation could never have been imagined years ago when the frescoes were originally painted in their brilliant colors. Yet through the thoughtful application of new technology, this timeless art now blossoms like never before.



Fairview Baptist Church, a rapidly growing church in Corryton, Tennessee, recently upgraded its audio with three Allen & Heath dLive Digital Mixing Systems and an integrated ME Personal Monitoring System. Jeremy Cummings, Fairview Baptist’s Media and Technical Director, described the church’s needs analysis: “We had exceeded the space on the old mixer, we had audio quality problems, and routing issues that consistently came up. Also, we wanted to upgrade the audio experience for live streaming to allow people from all over to not just watch our services but to be immersed in our church’s worship gatherings.” Emmaus Media & Design of Harrisburg, Pennsylvania installed the Allen & Heath systems and trained Fairview Baptist’s tech crew. A dLive S Class S7000 surface, DM48 MixRack and DX32 expander provides FOH mixing in the church sanctuary. A dLive C Class C3500 surface and CDM48 MixRack serve its Student Centre. And, a C3500 Surface with CDM32 MixRack mixes live streaming and audio for video in

the church’s broadcast booth. Emmaus’ Tim James explained the choice of both dLive S Class and C Class: “The S Class for FOH with C Class consoles for the Student Centre and broadcast gave the church the functionality and sound quality they needed at a price they could afford now, with plenty of expandability for the future. They’ll be more than ready for the planned new building in a year or two.” The dLive systems share sources and control information over a CAT6 network via gigaACE cards and all three are equipped with Waves cards connected to Waves SoundGrid servers. An experienced audio engineer and Waves fan, Jeremy also uses the dLive’s onboard EQ, compression and reverbs and said, “It’s nice to have all of those great on-board effects with zero latency. You really have all the tools you need within the dLive system.” dLive scenes and layers help Fairview Baptist coordinate its audio mix for the church’s several praise teams, its 100+ person choir, its frequent special


events and its Easter and Christmas dramas. “We’ve had nothing but compliments on the sound from our members and special guests,” he said. “And many outside groups we bring in are leaving their PA and console in the bus when they find out we have a dLive.” “We had a lot of stage volume previously, so I wanted to go to all in-ears for the band and the praise team. Now, with the dLive, we have enough mixes and outputs to do all of that,” Jeremy explained. “The church added seven Allen & Heath ME-1 personal mixers and an ME-U Hub for its band to allow each musician to customise their own in-ear mix. The ME’s have just been great.” Jeremy commented: “The dLives and the ME’s have taken our attention away from ‘is the audio working or not?’ and put our attention on just enhancing the worship gathering. Now, we can just sit back and let worship happen. They’ve really changed the game for us.”

A house of worship situated in the seaside town of Jieh, Lebanon has been undergoing renovation since the construction boom at the end of the country’s civil war in 1990. Still unfinished, the Our Lady of the Star Church has recently opened its doors to the parish for service. Before the first congregation, church representative, Georges El Azzi, approached the professional team of system designers at Beirut-based distributor Prolites to support him with a total audio redesign. His main requirement was to have a discreet yet powerful sound system to suit the necessities of the church audio and for it to be installed in quickly in time for the opening. With its sleek, compact design and high-quality sound performance, Prolites proposed K-array speakers in a system setup that fits perfectly with the interior of the church and the client’s expectations. A pair of two white Kobra-KK102 loudspeakers was coupled with two Kobra-KK52 MkI installed in a line array on each of the church. These speakers provide true line array characteristics, phase coherence, low distortion and focused listening in both the near field and at a distance from the speaker. The system was completed with two Thunder-KMT12 MkI powered 12-inch subwoofers. To fulfil the live sound needs of the choir, two KF12P full range multi-purpose speakers were installed for monitoring. To cover the altar area, two additional Kobra-KK52 line arrays were needed. The full audio setup was controlled with one KA84 and one KA24 audio power amplifier and processor. “The results were outstanding and exceeded our expectations,” said Georges who highly admires the work done by the team and the quality of the church sound system installation. “I strongly recommend this K-array system for its innovative design and high-quality settings.”




A 13-year veteran of the lighting industry, Seth Thiesen works for North Point Community Church, one of six churches that comprise the North Point Ministries group in metro Atlanta. The Sunday service at each location has a live host and a live band, and the building that hosts the main sermon rotates each week. Services are live-streamed to the other five churches, maintaining a consistent, close-knit family feeling among the 40,000 members of its combined congregations. “We don’t water anything down to get people to attend, but we’re definitely more on the rock and roll side with our designs. Our end goal is to create an experience so that a first-time attendee or someone who is unchurched will want to come back next week,” Seth said. North Point Community Church keeps a busy schedule as one of two facilities in the group that typically

hosts live sermons. On Monday mornings, Seth and his team huddle to review the ‘game film’ from the previous day’s production, assessing what their big wins were and planning for the upcoming Sunday’s service. They design everything from the floor up, including the set, lighting, and scenic design. While the set only changes twice a year, the lighting and scenic design frequently adjusts to adapt to different series, sermons, and bands. “It’s a balancing act to ensure that the design works perfectly with all the other elements, including the service itself and the live-stream feed, while being careful to avoid distracting from the message itself,” Seth said. “The next Sunday is always just around the corner. Each week it’s like pushing a rock up a hill and then restarting on Monday. But it is very rewarding, and

thankfully my design tools make it much easier.” After graduating from Middle Tennessee State University in 2005, Seth discovered Vectorworks Spotlight software because of its effective integration with the Vision product line. Currently, Seth drafts all his concepts in Spotlight, but it’s not all lights and action. He admits that one of his favourite tools within the program is the LightWright plugin because of how it simplifies his documentation process. “The LightWright plugin really streamlines the handoff between me and the crew,” Seth explained. “They’re asking me fewer questions about the design execution, and I’m more prepared for set changes. I’ve learned that the more detail I can get in there ahead of time, the smoother the execution process will be.”


The Metropolitan Cathedral Church of St George was built in 1848. Its architecture is typical of what many consider ‘a cathedral’ to be - high, vaulted ceilings, numerous pillars, large leaded windows and expanses of smooth stonework, all of which present challenges to effective sound reinforcement. Appointed in 2015, one of the first jobs for the new Cathedral Dean Canon Richard Hearn - was to get to know his congregation. Through this he learned of the difficulties that people at the back of the cathedral had in hearing services clearly. Thanks to their long experience of quality house of worship audiovisual installations, Cunnings Recording Associates were recommended to Canon Richard as being able to help. “The cathedral had an ageing sound reinforcement system, but it had never been properly commissioned,” said the company’s Daniel Cunnings. “No delays or EQ had been set up for any of the loudspeakers and there weren’t enough outputs available for the number of speakers. “As well as services the cathedral also hosts a range of other events, so there are microphone points throughout the building. The existing system was not easy to operate, so another intention behind the upgrade was to allow them to use their audio facilities to their fullest extent,” Daniel continued. The cathedral commissioned a two-stage upgrade, the first being to quickly and radically improve the sound quality for the spoken word, but with very straightforward control. This meant replacing the existing audio processors and programming the right amount of EQ and delay for each output. Daniel chose a Yamaha MRX7-D and two MTX3 matrix processors, with a DCP1V4S control panel located discreetly in the cathedral sacristy. “We looked at all available options, but the Yamaha solution was the only one that could provide the range of inputs and outputs we needed. The cathedral wanted the system to be as simple as possible to operate, so the MRX7-D’s on board Dugan auto mixing was also essential,” he continued. There are 25 loudspeaker locations throughout the cathedral, including the day chapel and monitors for the choir and organist. The most-regularly used inputs are microphones on the main lectern, the day chapel lectern and above the choir, plus a handful of wireless units. The next stage of the project will, as Daniel said, take the project up a gear. New speakers and amplifiers will further improve the sound, while Yamaha’s multipurpose MCP1 control panel and the ProVisionaire Touch and Wireless DCP apps will be added, allowing comprehensive control of the system. This will also eliminate the need for an analogue mixing console, which had to be brought in for music events and recitals. “The second stage will happen at the beginning of 2018 but, for now, Canon Richard is very happy that the whole congregation can hear services clearly,” said Daniel.



Mosaic Church is a vibrant community of faith in Los Angeles, with a growing congregation and the aim to spread the gospel to a younger using different ways to communicate. “We’ve always felt like we’re kind of the R&D department of the church,” said Adam Genzink, a volunteer who oversees the technical team at Mosaic. “We like to figure out new ways to communicate the same gospel message to a younger audience and do so in a way that is authentic and real. We play a lot of music, there’s a lot of speaking and the technical components include sound, lights, video and some stage production.” The live gatherings on Sundays have a fairly set agenda, but with so many moving parts and the constant possibility of improvised or unexpected elements, it is crucial that the technology team can communicate instantly and clearly, from front of house to backstage to the control room. To facilitate this, Mosaic recently upgraded its entire production equipment with a vast array of new gear to help respond more effectively to changes in produc-


tions. Clear-Com’s FreeSpeak II wireless intercom system, Eclipse HX digital matrix, and a number of V-Series user control panels were among the equipment included in the upgrade. Adam is a long-time user of Clear-Com equipment. “My overall impression of Clear-Com is that they are the industry standard. I’ve had a really great working relationship with the team at Clear-Com since I’ve been a part of this project, they have been really helpful,” he said. “The Eclipse digital matrix has enabled us to communicate more clearly - there is not a lot of hiss, not a lot of background noise, and that’s really important. It also gives us the ability to react quickly when someone walks on stage that we’re not expecting or the program changes at the last minute - we’re able to communicate with the team, match that pace and deliver a high-quality product as a result. It allows us not only to talk among teams, but also any one individual can talk to any other individual that they need at any moment.” The combination of static panels for crew in a fixed

Andy Bentley, Lighting Designer at Elevation Church, based out of Charlotte, NC, has recently exploited the creative possibilities of GLP’s Scenex LED tape to maximum effect. The tape, which offers the designer a variety of pixel pitch options, with DMX control over each individual RGB pixel, was specified for a stage design element at the Church’s quarterly ‘Student Worship Nights, where students congregate at two locations in Charlotte - Blakeney and University City - for a purpose-designed worship experience. Three geometric shapes - a circle, triangle and cross - formed an essential part of the promotion and branding: “So we decided to bring those elements on stage and make them a key feature of these nights specifically,” said Andy. He added that the colour-consistent LED tape provided an obvious solution because of the nature of the shapes they were trying to recreate - specifically the circle. “We knew an out of the box solution wouldn’t work for us as we needed something that we could modify to fit those shapes. Scenex was suggested on the recommendation of Josh Holowicki of E2i Design, who was able to get us a reasonably high-resolution solution to fit within our tight budget,” continued Andy. “On the night, everything looked great. The ability to

place and the roaming nature of the FreeSpeak II wireless system also provides flexibility to the team. “The FreeSpeak system allows us to have a handful of folks running around, tracking down whoever needs to go up next, or running to print something out - the ability to move around the building and stay in contact is really helpful,” Adam added. Mosaic is constantly changing, and needs a system that will grow and change alongside it. “If there’s one thing that doesn’t change at Mosaic, it’s change - we’re always growing and we’re always trying new things,” said Adam. “As we grow we’re going to need additional panels, and we’re also going to need to be able to implement solutions in our other campuses. We already have the ability with our system to have remote panels off-site at other locations that are connected to our matrix via IP. To expand even beyond that, I know for sure we’re going to find the right solution with Clear-Com.”

actually run content on the LED tape - as opposed to just solid colours - made the pixel tape well worth it and we received tons of positive feedback about the set pieces. Everyone from students to the pastors said they loved the look of them, and that they would love to see more elements like them in the future.” Finally, Scenex offers a range of different power supplies and DMX drive options, including Art-Net integration for larger systems. In this instance the package included a compact 1RU PP4 all-in-one pixel driver, with four outputs connecting directly to the LED tape. “These drivers are great,” assessed the LD. “We have four units to drive the 16 strands of pixel tape, and the ability to send Art-Net straight into the driver, and go straight out with just four-pin XLR makes for much better reliability and ease of set-up. It gave us exactly the level of control and depth of configuration we were hoping for.” As a result, Andy said he envisages further opportunities for deployment of the Scenex tape within the ministry and stated that LED tape gives creative flexibility. “Everybody has different design needs, and LED tape is perfect to help meet those. We certainly expect to be repurposing the tape for events in the future,” he concluded.



After founding Eastpoint Christian Church in 2004, Lead Pastor, Scott Taube saw his congregation grow so rapidly he was soon holding four completely full Sunday services each week just to fit everyone in. The 16,000 sq ft church in Portland, Maine, USA was obviously too small, so Scott and his staff decided it was time to find a larger space. The solution to the problem turned out to be a 92,000 sq ft former big box store, which Scott purchased and transformed into a new church. To cater for the new church’s AVL needs, Scott contacted Events United, a local full-service audiovisual production company. “Eastpoint Christian Church had a vision for a community centre with a 1,600-seat auditorium/concert venue, indoor soccer field, basketball courts and community rooms,” said Donald Van Slyke, Operations Manager and Audio Engineer, Events United. “We provided AVL design and build services for the entire project focussing on the worship centre. They wanted the auditorium to be used for weekly services and for touring acts that needed space for concerts. One of our main goals from an audio perspective was to deliver crystal clear sound reproduction in the auditorium so everyone attending services would not miss a single word. In order to achieve this, we relied

on DPA Microphones’ d:fine headset and d:fact 4018VL linear vocal microphones.” Donald first used DPA’s d:fine 4066 headset microphones back in 2005 while working as the technical director at a church in Scottsdale, Arizona. Since then, the d:fine 4066 has been his first choice for spoken word. Donald has also used DPA’s d:vote 4099 instrument microphones on everything from piano to strings and is consistently blown away by the sound quality. Another reason for Donald’s choice of DPA is its turnkey operation. “DPA microphones sound fantastic out of the box,” he said. “Many other manufacturers’ microphones require significant EQ to get the sound like the original source, but DPA mics require minimal equalisation and they have much more flexibility than many competitors. The mic’s sound very natural and clear, which allows the audio engineer to focus on using equalisation and dynamics for colour and balance in the mix. This was a wonderful project to work on and thanks to DPA, the church sounds great.” For Eastpoint Christian Church, Events United specified four d:fine 4066 dual-ear omni headset mics with hardwired TA4F connectors and four d:facto 4018 linear vocal handheld microphones used with a Shure ULX-D wireless

system. The d:fine and d:facto mics serve as the auditorium’s primary microphones for speech and vocals. “We chose to use DPA because of its unrivaled sound quality,” added Donald. “The DPA d:fine headsets are the best sounding headsets in the industry. For spoken word, they have a smooth, clear response and plenty of gain before feedback, even when the presenter is in front of the installed d&b audiotechnik audio system. The d:facto 4018VL has a clear and open sound, even with singers who have a high SPL. The off-axis rejection of the d:facto 4018VL microphone is also very impressive in a live environment with drums and percussion.” Transforming a space of this size is not easy and the install was not without its obstacles. According to Donald: “Eastpoint Christian Church converted a very challenging big box store into its auditorium. Fortunately, DPA microphones work very well in all audio environments whether the room sounds great or if it is a more challenging room. The combination of acoustical treatment, a properly designed audio system and DPA microphones for speech and vocals allow for a high level of performance in what was once a very reverberant space.”



NewSpring Church was founded only 17 years ago in 2000, the Southern Baptist megachurch has grown to stretch across 14 locations and is now the largest church in South Carolina. It’s also one of the fastest growing ministries in the U.S. When NewSpring’s Anderson, South Carolina, campus sought to upgrade the lighting system in its 2,400-seat worship space, they looked to Erien Reinerth of LMG, who has been working with the church for the last nine years and consulted with the church on the best lighting system for their needs. “The Anderson campus needed a flexible lighting system that could be moved around and used in different stage designs,” said Erien, Sales Engineer at LMG. “We chose a state-of-the-art lighting system from Elation that allows the church to be highly creative and produce

a variety of different looks.” NewSpring presents live music from a variety of musical styles, from popular radio play to traditional church hymns, to captivate its congregation and draw them into the message. Each musical style requires its own custom lighting design and church lighting designers, under Technical Director Joel Yates, Josh Garcia and Travis Bolton, have an assortment of Elation moving head and effect lights to choose from. The new rig consists of 24 hybrid Platinum HFX and 10 Platinum Spot 15R moving heads used for beam, spot and mid-air looks; 20 ACL 360 Bar LED battens for dynamic movement effects; 10 Sniper effect lights for beam, scanner or laser simulated effects; and 36 SixPar 300 LED Par lights, which, in one recent design, were grouped in an eye-catching overhead matrix and used to

colour wash virtually any part of the stage. The lighting rig is controlled by a High End Systems Road Hog Full Boar 4. In addition to the lights in the rig, some 320ft of Flex Pixel WP tape lines risers and fills the backstage in decorative lines of colour that works with the lighting in a coordination of dynamic colour and chase effects. Easy to incorporate into any décor and customisable to any length, the pixel tape is a cost effective solution for simple color washing and effects and is easily pixelmapped for complete design integration. NewSpring’s new lighting package is used in Sunday services, as well as at Wednesday night ‘Fuse’ youth services, a ministry for 6th-12th graders. “Besides the flexibility that multifunctional intelligent lighting fixtures give you, including their versatile optics, getting a professional set of features at such a good price point was important in the decision to go with Elation,” Erien stated. “The new lighting has been used in a lot of different configurations since being installed and the client is quite happy.”


Tasker cables have continually been installed in houses of worship applications for several years in both European churches and Mosques in Middle East. In this specific area white or transparent cables are highly appreciated with the C114 (2 x 0.25 sq mm spiral shielded, 6.30mm diameter) and the C128 (2 x 0.35 sq mm braided shielded, 6.30mm diameter) being specified the most frequently. Many technicians also ask for video installations cables, for example the mini coaxial Tasker RGB75 (0,30/1,50/2,80) or for a better resolution, the Tasker RG59 (0,58/3,70/6,10). For security systems and video cameras the

best product Tasker has in its range is the Komby cable C227, comprising a coaxial cable (0,58/270/4,10) + 2 x 0.50 sq mm controls. Tasker has a wide range of transparent and white flat cables, all of which offer high quality audio standards and amazing flexibility. Tasker works daily on the research and development of new products and materials, and also creates customised products. Such work means the company is able to provide technologies to satisfy today and tomorrow’s necessities.



The Liebfrauenkirche is a Roman Catholic Church located in Ettlingen, Germany and was built in 1964 to provide enough space for the increasing number of Catholics in the rapidly growing greater Karlsruhe area. With its capacity for more than 700 visitors, it is one of the largest churches in southwest Germany. The huge capacity and dimensions of the room results in reverberation times similar to a tunnel and was a big challenge for the planning office. Therefore, the audio system had to be carefully selected and planned to fulfil the high expectations in terms of a seamless integration to the given architecture as well as to not disturb the spirit of the environment. The only solution could be an ultra slim loudspeaker which is available in RAL colour finish and can produce a cylindrical wave pattern to ensure an even sound dispersion and no loss of clarity from the spoken words, starting from the front to the back rows. Several listening tests and simulations from various manufacturers were taken under consideration ending up with the Harmonic Design hd PL- and ML-Series line arrays fulfiling both the elegant design and the high speech transmission index (STI) that was required for all seat-

ing planes of the church interior. On each side of the altar there are custom made hd PL24 PowerLine cabinets. Due to the required large throw and the open mics below the mounting position the standard version hd PL16, equipped with 16 three-inch broadband drivers was extended by another eight three-inch drivers for an more focussed vertical directivity even in the low-mid frequencies ensuring that there will be no feedback problems with the open condenser mics surrounding the altar area. The hd PL24 was powder coated with the special selected RAL colour tone to integrate into the colour and appearance of the solid wall, where they have been mounted using cost efficient and easy to install K&M wall mounts. Ultra slim designed line arrays of the type hd ML16 were installed on each side of the gallery. To reach the seats below the gallery two additional hd ML24 were placed left and right of the nave by only using focussed column speakers with a line array characteristics. This ensures excellent STI ratings on all seats and high sound quality even in the very reverberant environment. On top of the speech application the system can be extended with two hd P15 self-powered

high-performance subwoofers delivering enough low frequency energy for concerts, worship and church services with additional live bands. All of the installed loudspeakers are powered by two hd Qi5004 installation DSP amplifiers featuring the hd MultiDSP utilising FIR-filters to optimise the room acoustic, as well as to ensure a linear operation in every situation. The hd Qi5004 delivers four times 500W and is a very environmental friendly solution for permanent installations with a low power consumption resulting from its active power factor correction (PFC) paired with the innovative energy management system. Currently the second Roman Catholic Church on the other side of the city of Ettlingen is in the planning stage to get the same hd sound system installed because of the excellent performance review the Harmonic Design products offer in the Liebfrauenkirche. Getting a follow up order on the next project is best feedback a customer can give to the supplier and it shows that the very high expectations were fulfilled with the new audio system.


Grand Production Console


Enjoy the new mc2 96 video. Methodist Central Hall Westminster is a Grade II listed building, located opposite Westminster Abbey and adjacent to the Houses of Parliament and Big Ben. Built in 1912, it housed the first-ever meeting of the United Nations and has welcomed historic figures such as Dr Martin Luther King Jr, Gandhi and Sir Winston Churchill. Alongside still being a house of worship, the venue is used for corporate, public and private events and its spaces range from intimate meeting rooms for five delegates to exhibition space for up to 1,000 guests to the Great Hall which fits a potential audience of 2,400. White Light was appointed as the production service partner at Methodist Central Hall Westminster meaning that it oversees all of the venue’s technical requirements including video projection and media servers. WL’s Venue Director, Jonjo Glynn commented: “Our role at Methodist Central Hall Westminster is to provide the technical equipment that allows every single room in this house of worship to achieve its potential.” As part of the technical overhaul of the building, WL invested in range of Christie equipment. Jonjo stated: “Christie manufactures some of the most powerful projectors available on the market. They have an extremely high output and are very easy to set-up. We’re finding that more and more events at Methodist Central Hall are drawing on projection as part of their technical set-up. Thankfully, at WL, we have invested in an entire fleet; something which those using the venue can draw on.” WL has also installed a revolutionary Crestron system in almost all of the major event spaces at Central Hall. This digital matrix system helps connect the other equipment within the venue. Jonjo added: “By connecting all of the other equipment, the Crestron technology makes the entire set up a coherent system and much easier to use. This technology is available in virtually every space, including the more intimate meeting rooms. This allows technical possibilities that previously weren’t there - offering every client the widest range of options.”

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In San Jose, California, the Cathedral of Faith has been providing powerful and encouraging worship services for its congregation since its inception in 1965. Believing in the power of multimedia arts to help convey their message, the technical team behind those services were asked to create the ideal worship environment each week. Knowing that they needed to renovate their production design with LED video to maintain a high level of creativity and performance, the church recently worked with Nashville-based PixelFLEX and installed a new FLEXTour 3.9mm LED video system. “I initially looked at LED video technology about 8-10 years ago, but at that time it was too cost-prohibitive so we ended up installing and LCD TV wall for our worship design,” began Kurt Foreman, Director of Operations, Cathedral of Faith. “It worked well, but it had its limitations, and we couldn’t send a live video feed to it. As LED video has now become more cost-effective, we started looking at manufacturers that could meet the challenge of our HD cameras for the live IMAG video feed, and that’s when we discovered the FLEXTour system from PixelFLEX.” FLEXTour is a robust, high-definition and curve-able LED video display designed specifically for the high demands of live entertainment production. With its unique rigging capabilities that allow for traditional and off-set configurations, each 500mm x 1,000mm tile is fully front-serviceable and its integrated climbing ladder allows for quick access to displays flown high overhead. Built with the highest standard in components including the new NovaStar A8s receiving card, FLEXTour is completely flicker-free making it one of the premier LED video design solutions available today. “We saw that other churches have been using PixelFLEX technology in their worship designs, and they were actually the last manufacturer we looked at during our search for the right technology,” continued Kurt. “Although they assured us their


video screens would look great with our HD camera’s, when we saw their demo it was more than we could ever had dreamed, and the impact that it now has on our worship environment is amazing.” Ready to move forward with PixelFLEX, Kurt knew the technical specifications and performance capabilities of the FLEXTour LED would be exactly what they needed, but he was a bit surprised at how easily it integrated into their existing system. “Our FLEXTour LED video system is about 13ft high and 26ft wide in a 16:9 ratio, and we knew we wanted to be in the 3-4mm pixel range because we wanted an impressive finished design,” explained Kurt. “It was interesting, given the different manufacturers that came in, that the PixelFLEX system was the only true plug-andplay solution. It really didn’t take any time at all to get the FLEXTour LED video fully integrated it into our production environment.” With the LED video system now ready to join the congregation, Foreman was excited to see how it would meet the challenge of the live HD camera feeds. Having already had a demo of the FLEXTour LED, he was confident they had made the right choice, and its performance certainly did not disappoint. “We are currently using the FLEXTour as one massive wall directly centerstage in our worship design and it has exceeded everyone’s expectations,” added Kurt. “For playback, we are using ProPresenter and ProVideoPlayer, and for our live shots we have an HD 4A switcher with six Hitachi HD cameras. With the PixelFLEX system there is no moraying, and it looks great due to its high refresh rate. It’s one thing to see a demo of the product, but when you get the full LED wall in your space, it’s amazing. The FLEXTour system really looks phenomenal.”

121 Community Church in Dallas, Texas recently moved into a new state-of-theart, multi-use facility designed to deliver the most immersive worship environment possible. To realise this vision, 121 CC turned to Dallas-based systems integrator Epic Resource Group to bring together the right mix of audio, visual, lighting, and acoustics. Their console of choice... Avid VENUE | S6L. “We knew what was coming acoustically,” explained David Parker, Worship and Creative Arts Pastor of 121 Community Church. “So we wanted to match that with a console that would be completely transparent. So whatever we were delivering from the stage, that’s what people heard. And that’s exactly what we got out of the S6L.” Brandon Chynoweth, owner and founder of Epic Resource Group, shares his approach, “We’re looking for high value, easily accessible to volunteers and reliability. Every choice we make kind of goes through that grid. We’re really into Avid consoles and they’re our first choice in every project we do. I thought the [VENUE] D-Show sounded great, but this is a pretty massive evolution. It’s gone from a really good live console to something that has almost a studio personality, a high-end microphone personality.” Avid VENUE | S6L is a fully modular, flexible live sound mixing system that delivers best-in-class functionality for a range of live sound mixing applications, including front-of-house, monitor, broadcast, theatre, and more. S6L delivers unrelenting performance and reliability through its advanced engine design, backed up by modern touchscreen workflows and the scalability to easily handle large, complex tours and events. S6L also provides seamless Pro Tools integration and on-board industry-standard plug-ins, as well as a comprehensive array of network and I/O offerings, enabling users to easily configure the system to meet the demands of any type of show.

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On first look, Manchester Cathedral could be mistaken for a relatively modern church due to the number of refurbishments the building had obtained during the ninetieth century. In reality, the building dates back to the eighth century with parts of the existing building tracing back from the 1400s, however, despite how historic the Cathedral is, it’s imperative that it had to stay up to date with the latest technology in order to ensure the best experience for worshippers and visitors alike. This is where Wigwam Acoustics come in, keeping it local, the Manchester-based audio company was commissioned to design and install a new audio system for Manchester Cathedral. The brief was to deliver a high-quality sound, with low visual impact, sensitively installed to preserve the fabric of this listed building, flexible to meet the many and varied requirements of the cathedral, and crucially simple to operate. Wigwam Installations Manager, Tim Mortimer explained: “From the outset, we worked closely with

the architects to ensure our proposals would comply with the Grade 1 listing and meet the strict criteria laid down by Historic England. Every speaker position, every hole drilled has to be carefully considered. When you are proposing lifting floor tiles which have been in place for hundreds of years in order to lay cable ducts, you have to put together a pretty strong argument.” Wigwam chose the QSC Q-Sys audio platform for the project, capable of delivering networked audio through simple to operate touchscreen displays. At the heart of the system lies a QSC Q-Sys Core 110f. The 110f manages all the audio inputs and outputs throughout the building allowing any audio source to be directed to any single or group of loudspeakers and handles equalisation and digital signal processing for the whole system. Control and operation of the system is via touchscreens. Two screens have been provided, one on the main equipment rack and one in the nave towards the rear of the cathedral. A graphical plan of the building is presented to the user, allowing audio to be assigned to a specific zone or zones and then inputs such as microphones or CD playback assigned to those zones. Another page on the touchscreen provides faders for mixing and overall volume control. To ensure maximum clarity and audio quality from every microphone, Wigwam developed preset EQ settings for each member of the resident clergy. Any individuals’ settings can be instantly assigned to any

microphone for a service or presentation. Wigwam called upon the expertise of their technical specialist, Paul Todd, who is an accredited programmer of the Q-Sys platform; he designed the touchscreen interfaces and programmed the Q-Sys Core. Paul commented: “One of the key features of Q-Sys is its scalability. Due to the large number of inputs and outputs we added a Q-Sys I/O module, which can be directly addressed by the Core. Other network audio solutions would have required us to use another DSP core to expand the I/O capability - that has a cost impact and also makes the programming that much more complex. “Q-Sys is ideal for this kind of installation as it runs on a standard Cat5 Ethernet network. All the amplifiers and the core are on the network and the audio is routed digitally over the network by the Q-Lan protocol. This dramatically reduces the number of cables run. In addition, the QSC amplifiers act as input/output nodes so peripherals such as microphones can be plugged into a local amplifier and then be available as an input across the network,” Paul continued. For speakers, Wigwam selected a mixture of Fohhn Linea LX column line arrays, selected for their highend audio quality and capable of reproducing anything from the spoken word to live and recorded music. The column line arrays are mounted to the stone pillars of the cathedral using custom brackets. All holes were drilled into the mortar rather than the stonework to


WorshipCentre Christian Church in the Brisbane suburb of Carina has recently upgraded its technical infrastructure with a new public address system. Production Audio Video Technology Pty Ltd (PAVT), who already had a relationship with the client, were the successful bidders, and they recommended the versatile and efficient Powersoft X Series amplifiers to power an EAW system. According to Project Manager, David Watson, and Sound Designer, Ben Clarke, the requirement had been for a typical modern Pentecostal style church system. This included good intelligibility for spoken word, as well as great energy transfers for modern music styles including full band and concert style presentations. The system had to provide even coverage to the seated area for a maximum of some 1,000 or so congregants. The room was modelled using the EAW proprietary modelling and optimisation software, Resolution. “The building design had some challenges that required some acoustic treatment of surfaces, with the need to keep as much of the PA energy away from the surfaces as possible,” Ben reported. “We needed to make sure we delivered clear, coherent hi-fi style sound to the seated areas.” Having distributed Powersoft amplifiers over a 14-year period, PAVT knew that this brand would provide the best partnership with the EAW KF740 line array. “The X Series has incredible and precise control over the EAW speaker elements that made up the system, allowing the delivery of highly accurate and coherent results,” Ben continued. The Powersoft amplifiers were configured with one

minimise long term damage to the listed building. The cabinets have been custom finished to a RAL colour selected by the architect to further minimise their visual presence. The entire system is powered by QSC amplifiers. All microphones are Shure, some hard-wired and some wireless with Shure’s wireless ULX-D system used throughout. The ULX-D receivers were connected into the Q-Sys system using Dante, an uncompressed, multi-channel digital media networking technology, with near-zero latency and synchronisation. The Dante system is able to run over the same Ethernet network as the Q-Sys system, with a Dante card in the main Q-Sys system rack providing the bridge between the two network protocols. Additional Dante access points were put in at either end of the cathedral to increase flexibility. Should a digital mixing console be required for an event, a Dante enabled console can be plugged in at the rear of the Nave and a digital stagebox plugged in at the other end of the building without the need to run any additional multicores. The system is configured so that all the installed microphones are automatically available on the additional console and can be mixed in with the additional inputs such as a live band or orchestra. A major obstacle that Wigwam had to overcome was that the Cathedral is open 365 days a year and despite the installation, it was to stay that way, however the team approach the challenge head on with confidence and professionalism: “We managed to complete much of the work out of hours and we were able to provide them a working audio system throughout the project,” Wigwam’s Project Manager, Dave McGuigan, assured.

X8 running six cabinets of four-way EAW KF740 line array on the left wing - repeated with another X8 running the right hang of six cabinets. A Powersoft X4 drives the EAW QX564 bi amped speaker cabinet, acting as sidefills. Two channels are assigned to the high and low, while the remaining two channels run front fill JF8 speakers. This is repeated, with another X4 powering the other PA flank. In addition, a pair of Powersoft K20 amplifiers have more than enough headroom to drive four EAW SB2001 dual 21-inch subwoofers, with each output channel running one enclosure. These subs require 4,000W at two ohms running power with transients of all 9,000W. Carrying out the installation were third party HoW specialists, CPC Production Services. One major advantage of the Powersoft amplifiers - as noted immediately by the customer during the demonstration and testing phase - was that the Powersoft X series occupied less rack space than other amplifier solutions. They could also see that it offered more power per channel and that the amplifiers generated far less heat than other brands, noticing in particular how the temperature cooled when X Series was installed. Executive Pastor (and CFO), Tim Follett said: “We love the outcome of using Powersoft amplifiers to power our EAW speaker system. The accurate reproduction of music and speech is outstanding. The amount of space required to install all the amplifiers was so much smaller than other brands. Powersoft gets the big thumbs up from us at Worship Centre Christian Church.”



The sanctuary of Sacred Heart Catholic Church in the Swiss town of Brig has benefited from improved speech intelligibility, enhanced visual aesthetics and expanded multimedia options with the installation of an audiovisual system anchored by Meyer Sound CAL column array loudspeakers with advanced digital beam steering technology. The system renovation was designed and installed by Stefan Margelisch of the local multimedia and system integration firm Black Cow in consultation with Meyer Sound Design Services and Tonspur, Meyer Sound’s Swiss distributor. Suspended from the roof in the front corners, far away from the central altar, the two CAL 64 loudspeakers utilise beam steering technology to tilt sound downward and shape the vertical beam spread to fit the seating plane. Although such high placement and straight vertical orientation would not work with a conventional loudspeaker, here the beam steering technology allows the colour-matched CAL loudspeakers to blend in discreetly with no compromises in audio performance. According to church staff, the CAL system’s precise directional control, extremely low distortion and extended bandwidth have dramatically improved intelligibility of the spoken word while maintaining a natural voice quality. “We have noticed the overall improvement in sound reproduction and intelligibility throughout the church,” said Martin Furrer, who as sacristan is principally responsible for church operations. “The pastors are very pleased with the reaction of the congregation to the improved speech clarity. Also, with fewer loudspeakers as compared to the old system, and the exact colour match of the new columns, the visual aesthetics are dramatically improved. The view of the altar is now open and undistracted everywhere.” The system is principally used for voice reinforcement during celebrations of the Mass, but uses for other events often involve reproduction of music program

such as electric piano or playback of CDs or video soundtracks. According to Stefan Margelisch, the importance of both types of program material dictated a Meyer Sound CAL solution. “I absolutely could not compromise on speech quality as this was a very prestigious project,” said Stefan. “But as I had used CAL on a previous installation, I was also aware that the music quality was much better than with other beam-steering columns.” Stefan was also well aware that the design integrity and system calibration was as important as the product itself. “The accuracy of prediction is critically important when using this technology,” he noted. “And no other company can offer the level of expertise available from Meyer Sound. I could also rely on responsive support from Tonspur both before and after the installation.” The complete Meyer Sound reinforcement system also includes two miniature MM-4XP loudspeakers, with

one in the Chapel of Our Lady and the other in the church entryway. The balance of the audio system comprises a Symetrix Prism 16 x 16 automixer and DSP unit, a Denon DN700C CD player, and an Ampetronic inductive loop assisted listening amplifier. The new microphone complement, all from Sennheiser, includes three MZH3042 goosenecks with ME36 capsules and an EW100 wireless system. Designed for stable, hands-free operation, the system is controlled by an HP ProOne PC with simple selection of on/off and operating mode via a remote panel. Video playback is facilitated by a Panasonic 7000 lumen projector and a three metre-wide Stumpl 16:9 format screen. Streaming of audio program is enabled via Barix Instreamer audio encoders.

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Close to Antwerp, the church of St Benedict is the oldest in the city of Morstel, Belgium. Located at the highest point in the municipality, it is an architecturally impressive, historical building. These types of venues are known for their acoustically-challenging environments, with long reverb times and feedback issues. The venue saw a refurbishment in 2017, the objective was to build up a system that provided excellent quality, intelligible audio in a system that would last for many years to come. With the M-864D digital mixer, all necessary inputs, both microphone and line level, are available. Thanks to the built in DSP, loudspeakers can be set up according to their technical specifications, while the ‘Larsen’ effect and feedback are reduced to a minimum. It is important that the end users of systems such as these can operate them without disrupting any pre-set initial settings and the M-864D allows ease of use while ensuring high quality sound at maximum sound pressure levels. The installed DA-250FH digital power amplifier completes the audio path. Due to the acoustic clarity and homogeneous sound dispersion of the SR-S4S line array speakers, only four units were needed for the central section of the church and for the two wings. The choir and priest are provided with two BS-1030W wall speakers and the area behind the Alter, used for small ceremonies, is served by two SR-H2S line array speakers. Finally, the organist has two speakers, not only for him but also for the occasional choir that are sited nearby. In order to appeal to all generations of the Christian community, a high definition camera was placed at the Sanctuary and two screens were installed to broadcast church services live to the community and remotely into retirement homes. Rather than simply watching a service people should become a part of, and get involved in ceremonies. The screens can also inform about upcoming events, such as chamber orchestras, music by young artists etc. To build up the state-of-the-art installation, TOA Benelux worked closely with its key installer, Televic AV, which are specialists in audiovisual techniques and streaming services in Belgium. The setup and quantity of speakers was determined after an on-site system demonstration which was in place for several weeks. During this time, the system was fully tested for different ceremonies to achieve the correct acoustic results and to assess its user friendly operation. All in all, this installation has proven that an historic building and an ambitious audio and video transmission system can complement each other to a high level. The best quality products, technical expertise and a customized service can help create the desired atmosphere without being intrusive.

Blackmagic Design has announced that Samsung Hall, a brand new live performance venue in Zurich, Switzerland, has integrated an audiovisual solution, built on an optical fibre backbone, featuring live production hardware and digital film cameras, including the URSA Mini 4.6K, from Blackmagic Design. Swiss systems integrator Event AG was responsible for the design and specifications of the hall’s audiovisual infrastructure, which had to not only accommodate a huge variety of touring productions, but also deliver live production for the venue’s long term tenant, the International Christian Fellowship (ICF). As well as the venue infrastructure, Event AG also delivered a live production solution for the ICF. “We’ve worked closely with the ICF for a number of years now on its audiovisual needs, and when the church decided to rent the new hall, it was the perfect scenario for us,” explained Simon Bachofen, Event AG. “Having a long term client like the ICF within the Hall gave us invaluable insight into how any potential solution would need to work in order for us to deliver a multipurpose venue.” A series of Blackmagic Design video routers, including the Universal Videohub 288x288 and Universal Videohub 72x72, are responsible for signal management throughout. A large number of Blackmagic Mini and Micro Converters are also used alongside a host of Teranex Mini Converters to interface the various audiovisual components. “As well as hosting the ICF, the hall also stages daily events, and so the system had to be both robust and flexible enough to accommodate the long term needs of the church as well as those of the various touring productions,” explained Simon. The hall’s permanent live production capability for the ICF is principally built around five URSA Mini 4.6Ks from Blackmagic Design. Complementing that are six Blackmagic Studio Cameras and two Micro Studio Camera 4Ks, each paired with ATEM Talkback Converters. Live camera feeds are routed to the venue’s main production gallery, which is equipped with an ATEM 2 M/E Production Studio 4K and ATEM 2 M/E Broadcast Panel. Video content is output from the gallery through to a 120 sq metres LED screen at the front of the auditorium, as well as to repeater monitors in corporate areas as well as to front and back of house positions. “As well as a host of monitoring hardware, including the MultiView 4 and MultiView 16, we also installed several Teranex AV standards converters, as this means that no matter what format a production team may bring its content in, we can accommodate it seamlessly into the hall’s mainframe system.”


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More than 160 mosques can be found in the British city of Birmingham, each offering its own style of worship for the local community. While tradition remains at the heart of them all, discreetly installed audiovisual technology is increasingly being employed to bolster the worship experience. Newly opened near to the city’s Jewellery Quarter, Mosque Al-Saifee, locally knowns as Hingeston Mosque, is perhaps one of the best examples, with a networked video system based on Visionary Solutions technology. The result of a long-term development and construction project, Hingeston Mosque opened its doors in September 2017 with a series of events to welcome the local community. Among those marking the occasion was Peter Rutherford, of South Yorkshire-based systems integration specialist Direct Audio Visual. As the man responsible for the mosque’s entire audiovisual solution, he holds the unique position of having created a video system of such flexibility that other houses of worship around the UK are already taking note, and with the assistance of Visionary Solutions, the team completed the job in record time. “We came late to the project - the building was already

mostly finished,” he confirmed. “The mosque had a requirement for networkable video - they wanted to be able to move display screens around to suit different events.” The screens are used to show a broad variety of content, from the mosque’s own services, captured by two HD cameras, to incoming satellite TV channels and, most importantly, “a feed from their main mosque in India. But we needed something that was capable of using the existing Cat-5 cabling, which had been installed two years previously, while also providing a lot of flexibility in use.” Peter admits that in the past he would have turned to “something like HD Base T, but there was part of the site that we needed to reach, and it was only accessible via fiber and a network switch, so we need a network routable technology. I had seen the Visionary Solutions PacketAV technology at the ISE show in Amsterdam, and I was very impressed with it. So although this was quite a challenging project with a short timescale, we decided to jump in with Visionary Solutions.” Working with Visionary Solutions UK distributor, CUK, with whom Peter enjoys a strong relationship, Direct


Nestling at the confluence of Italy’s northern border with Switzerland and Austria, the Monastery of Marienberg strikes a dominant posture among the mountainous slopes. Founded in the 12th Century it overlooks the fertile glacial valley of the river Adige, its steep vertical walls and ornate onion domed turrets typical of Tyrolean architecture. Today it stands as one of the finest examples of its type. When it came to a major renovation project it was this unique aspect of interior design that Werner Tscholl Architects held central to their remit. “We were anxious to ensure nothing in the way of new technology would detract from the church’s inherent beauty,” explained Florian Stecher of

media specialist and integrator, flocom. “Marienberg Abbey has been a client of ours for years. It was in their plans to refurbish the sound reinforcement system during the complete renovation of the church and we were fortunate that a product from d&b audiotechnik exactly suited this project.” The appointment to provide a solution to improve the sound reinforcement situation - principally by increasing speech intelligibility - came directly from Abbot Markus Spanier and Prior Philipp Kuschmann. Unlike so many medieval churches, reverberation wasn’t the issue. The requirement of the architect was to give particular

Audio Visual set about creating a truly innovative solution for the mosque’s requirements. “We are using three PacketAV E4100 encoders and, at the moment, eight D4100 decoders, though not all of them are currently deployed. There are four screens in permanent use, plus another four that can be deployed as necessary anywhere throughout the site. They can be patched in to whichever floor box or wall outlet is easiest, and within moments the screen is up and running. The mosque can quickly and easily transmit to any Cat-5 point throughout the site.” Now the mosque’s own team is running the system on a day to day basis. Using Visionary Solutions’ VLite 4K endpoint control software, they can easily control and configure the system using the program’s simple, multi-platform user interface. “This is one of their biggest festival seasons and they’re using the system on their own. It’s no problem because the Visionary Solutions technology is so simple, it’s literally drag your source and drop,” added Peter. With the completion of the Hingeston Mosque project, Direct Audio Visual has already received a number of calls asking if a similar solution can be implemented elsewhere. “We’ll be using Visionary Solutions again,” Peter concluded. “They make deploying video wonderfully simple.”

consideration to aesthetic aspects when planning the sound reinforcement system. “We started our simulation model with a pair of d&b 24C loudspeakers, integrated with 24C-E extensions to reach the full length of the main nave. A tall, thin column style enclosure, the fact the beam of the 24Cs low/mid drivers tilts 5º downward would enable us to mount the cabinets parallel to the pillars; while the horizontal cardioid dispersion pattern of these loudspeakers provides a level of broadband attenuation to the sides and rear that address any concerns of reverberance.” Florian continued. “EASE showed good values, so we made a demo with the loudspeakers physically in place. It worked really well, better than planned in fact, and well above expectations. However, architect Werner Tscholl deemed the 24C/24C-E combination not to be in line with the overall aesthetic design, so we started again from scratch modelling with just four of the smaller 16Cs for the main nave. Physically much shorter, and with fewer drivers, the 16C has a wider vertical dispersion than the 24C, forty instead of twenty degrees, and has a max SPL 4dB less than the 24C. It turned out that the 16C served both masters, visual and electroacoustic. We only added four of d&b’s 4S loudspeakers to fill the side naves and altars where the 16Cs can’t reach.” Because the audio installation was part of a much wider renovation project, flocom’s installation phase was unhindered. “Ducts and cables, speakers and microphones, DSP and amplifiers have been put exactly where we wanted them without compromise,” reported Florian. “Abbot Spanier and Werner Tscholl were satisfied by that. We received their compliments and they stated their satisfaction from the very first time the audio system has been put to use.”

THE EUROPEAN DESTINATION FOR THE GLOBAL AV INDUSTRY The Art and Science of Illumination Experience Intelligent Lighting technology and solutions at ISE 2018


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The Portals of Carlsberg City shine like gold with FOS and DRIVENET.

Carlsberg City, home of the Carlsberg beer, brewed from 1847-2008, is a small district located in Copenhagen and an area that is full of culture and history. The Carlsberg grounds are currently being transformed into a new, but historic, neighbourhood called Carlsberg City District with its very own postal/zip code: 1799 Copenhagen V. Welcoming new tenants, including educational institutions, shops, a café and its very own S-train station Carlsberg Station. The latest development originated from Danish architectural firm, Entasis, and includes the ‘Bohr’s Tower’ skyscraper, a 100-metre high residential tower, which is part of the new University College complex and expected to house close to 10,000 residents.

Overseeing the lighting for this project, which has been named ‘Golden Portals’, is another Danish company - AF Lighting, an engineering and consulting business which will look after all things lighting. It is set at the base of ‘Bohr’s Tower and can be found at the south entrance of Carlsberg City. Architect Vilhelm Laurizen was responsible for designing the building so it made sense for AF Lighting to also closely with it on the design of the space frame constructions. “We wanted to enhance the spectacular architecture and create a lighting solution with the highest comfort possible,” explained AF Lighting Design Designer FrederikWaneck Borello. “As a tribute to the area’s historic reputation the dynamic shimmering light effect is composed to symbolise a


cold sparkling Carlsberg beer.” The façades of the portals are covered with golden anodised aluminium cladding which is consistent with the historic area of the Carlsberg brewery - it has golden architectural elements and the cladding is decorated with unique diamond shaped patterns which produces an optical illusion type effect. A total of 364 units of FOS 33 WHITE 12 by DTS, equipped with warm white 2,700K LEDs, have been installed at the ‘Golden Portals’. The FOS 33 WHITE 12 is a compact and robust LED bar, IP65-rated for the most demanding outdoor permanent installations. The fixtures were provided by Danish lighting contractor, Futuresales and were specially customised by DTS to perfectly match the project requirements: 94 units fitted with 42°

lenses, vertical louver and light shield inclined at 70°; 182 units fitted with 58° lenses and vertical louver; 94 units featuring a 122° beam opening. The whole lighting system is powered by 15 DRIVENET 832 units, also from DRIVENET 832 is an advanced power supply / controller for managing large networks of LED projectors. The unit provides centralised and remote supply / control of connected projectors, and also the monitoring of their status on the built-in touch screen. AF Lighting programmed the lighting on-site to complement the Carlsberg City urban environment and the dynamic lighting adds modern character appeal whilst the warm white LEDs highlight the golden colours, therefore making the portals appear pleasant and inviting.



With a solid reputation across the Middle East, Addmind has mastered the art of delivering a unique experience for its guests in each and every outlet it manages. From beach clubs and bars to lounges, nightclubs and restaurants, the hospitality operator knows how to tick all the boxes. The latest venue to undergo a make-over to ensure Addmind continues to deliver is White in Dubai. Its older sibling in Beirut set the stage back in 2006 - moving location in 2011 - before the Dubai outlet was added to the line-up a

couple of years ago. Being a outdoor club, White - located at the Meydan Racecourse Grandstand Rooftop - is fully exposed to the elements of The Gulf - humidity, sand, water, heat - none of which are ideal conditions for audio, lighting or video technology. So when it came to reinstalling the equipment earlier this year - in time for the new season - Addmind turned to Procom, a supplier it had an existing relationship with through previous projects.


Addmind sees a full support solution as a very important factor - ensuring design, operation and execution goes smoothly. “We have a good relationship with them because of the support we provide, it’s not just about selling the product. We provide a solution, ensure the operation is good and do after sales support. For a company, which is focussed on hospitality, not audiovisual, they obviously want all of this from a provider,” said Rami Harfouch, Business Development Manager for Procom.

The nightlife industry in Dubai is based largely on novelty, with outlets constantly needing a fresh look. But White went all out this season, and opted for not just one new look but three. Each night - Thursday, Friday and Saturday -has a concept and the audiovisual design changes for each concept. Thursday is known as BIZAAAR, Friday as WHITEHOUSE and Saturday as URBN and the DJ booth is located in a different place every night, so it was no easy task to coordinate that with the PA,

the position of the subwoofers and the lighting fixtures too. At the same time the changes had to be achievable in a 12-15 hour time period - the turn around time the venue closing at night and reopening for the next - and had to be simple and straightforward enough for the in-house staff to manage. “Because the DJ changes position, we had to go for a homogeneous high SPL sound solution. It couldn’t be focussed on coming from one area or another. So for that experience, K-array, specifically

• Above Reinstalling ready for the new season.


“White wanted surround sound with uniform distribution that would be invisible. The Firenze Series for K-array was the perfect solution.”

the Firenze Series, was not only superior in our eyes but with its digital steering ability and SAT technology, was the only answer for this project,” Rami continued. The array elements are virtually invisible, sitting vertically on the different sides of the club. They have been digitally steered to provide a constant sound level around the venue, as have the subwoofers. A total of 16 K-array Firenze-KH7 mid-hi loudspeakers and eight K-array FirenzeKS8 subwoofers have been installed at White, which together provide 360º coverage. The KH7’s are flown in vertical clusters - measuring 3.6-metres - making it possible to achieve a long throw with very even coverage. The KS8 is a very powerful subwoofer that is able to reproduce very low frequencies and provides a strong punch. Some delay was applied to the subwoofers, due to the distance between the top clusters and subwoofers, and some tuning was carried out on the clusters to ensure a pleasant sound even at really high SPLs - the average is 132dB across the venue, when

• Above Left WHITEHOUSE club night at White • Above One of the KH7 clusters

playing at nominal power. The system is self-powered with each loudspeaker driven by a 4 x 2,000W amplifier and four channels of output DSP. The simulation was carried out with EASE FOCUS 3 and Firmaker (AFMG) - essential tools to create the four FIR filters that were uploaded in each KH7 DSP to optimise the coverage and ensure homogeneous SPL and frequency response distribution across the entire venue. Rami continued: “White wanted surround sound with uniform distribution that would be invisible. The Firenze Series for K-array was the perfect solution. Since we completed White, we’ve had great feedback and we’ve now got a fantastic reference. One of the DJs from opening week said it was the best sound system he’d ever played on too. Having validation from a DJ that has toured the world is a great feeling.” Alongside the new audio installation came a new lighting design too. This features a grid of 80 hoists, which holds

a kinetic structure of hanging RGB bulbs comprising LED balls and tubes working homogenously together. They are in operation every night but in a different way - for BIZAAAR it is mainly used as decoration, Fridays for WHITEHOUSE makes use of the RGB balls and on Saturday at URBN it’s the RGB tubes. It’s all DMX controlled motors, so the balls / tubes move up and down and change colours. Over 500 sq metres of LED screen has also been installed at White for which MADRIX software is used for control. “The MADRIX control is used for WHITEHOUSE when the DJ booth moves to the main entrance. Above the booth is a striking triangular shape LED screen, plus some diagonal side screens. And from that structure the screens go out in a W shape, where we have installed RGB LED strips. It’s all pixel-by-pixel controlled running on MADRIX. All the shapes are generated by MADRIX, even the Art-Net connectivity is all from the MADRIX hardware and software,” said

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Wiam Boutine, Technical Support for Procom. The grid has been designed to be developed from an LED pixel mapping perspective. So when we start to discuss the next season, the discussion will most likely begin with the pixel mapping. Intelligent lighting fixtures are courtesy of Cyclops, and there are more than 300 moving heads in the inventory. Many were existing stock that were taken out during the summer season to be serviced - normal procedure for an outdoor club where the technology is exposed to the dust, the wind, the sun, the humidity and then reinstalled for the new season. There are a number of wash and beam fixtures, as well as hybrids combining wash, beam and spot all in one fixture. “The signature fixture, which always goes down a storm is the Philips Showline strobe. The effect electrifies the audience, and because they are LED, they are energy efficient as well,” said Rami. “There’s a laser show every night too.” An MA Lighting grandMA console is currently used to control the moving lights and effects. The key which is holding of all this technology together though is the humongous truss structure, which was once again provided and installed by Procom. The truss structure from Eurotruss has been at White for the last two seasons but for this installation

two towers have been added, one on either end of the original structure. The new Eurotruss TT truss has expanded the venue slightly, meaning audio and lighting product placement had to be carefully considered. All areas in which the audience may be seated or standing had to be within the polygon truss structure, to ensure each and every club goer has an immersive experience. The truss is two polygon shapes repeated so that its symmetrical and creates the W shape for White. “The original truss design was very clever, it was always destined to be changed, adapted or expanded. We worked with Eurotruss on calculations, design and precision as everything has to be perfect when it comes to truss, it can’t even be as little as 10mm out, it must be spot on,” said Wiam. With less than two weeks to install, programme and fine tune the entire system at White, the Procom team had quite a task on their hands, which couldn’t even be properly tested until the first night of each separate concept took place. But thanks to their experience and expertise everything ran smoothly and they are exceptionally pleased with the outcome. Judging by the photos on White’s social media pages, which sees the venue jammed packed night after night, it would seems the clubbers agree too.

TECHNICAL INFORMATION SOUND 16 x K-array Firenze-KH7 mid-hi loudspeaker; 8 x K-array Firenze-KS8 subwoofer LIGHTING & VISUAL 500 sq metres of LED screen; RGB balls / tubes; MADRIX software and hardware; 300+ Cyclops moving head; 1 x MA Lighting grandMA console; 2 x Eurotruss TT truss tower

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Lucky Voice Dubai is the only venue in the region to have a moving kinetic lighting structure and has a brand new PA from Void Acoustics, too.

Suspended between two towers of the Grand Millennium Hotel in Dubai is karaoke bar, Lucky Voice. A well-known brand in the UK with a flagship venue in Soho London, the Lucky Voice Group wanted to bring the brand to Dubai but change the concept slightly bigger, better and with more of a focus on F&B. The Dubai outlet also wanted to offer its guests live music from bands and DJs, something the UK branches don’t have the facilities to do. The space began life as an empty shell, quite unusual for Dubai, given that many venues are reincarnated with a different owner or name. The operators and designers invited Marc Trowsdale from Real DXB in at this early stage to advise on the audiovisual setup. “Naturally, I made some design suggests, there was some


negations and then we came up with the final plan,” Marc said. “Because it’s a karaoke bar, that was obviously the main focus for the audio system, so the audio set up in the pods needed to be improved in comparison to the outlets in the UK. And obviously this being Dubai, expectations were high. As well it as being good quality, we also wanted it to be easy to manage and maintain, so the system had to be durable and workable.” There are 11 karaoke pods in total, spread across two floors around the periphery of the venue. The largest can fit up to 30 people and smaller ones range from capacities of six, eight, 10, 12, and 18 - all can be rented on any given night for a minimum of two hours. “It’s all Void Acoustics Venu Series inside the pods and its scaled up

or down depending on the size. Everything is interchangeable so that from a service point of view, if something breaks down it can be swapped out and the pod can be back up and running again quickly,” Marc continued. The pods houses two Venu 8 loudspeakers and a Venu subwoofer hidden under the seating. “Each pod has more power in the audio system than any other Lucky Voice in the world,” he added. The Lucky Voice karaoke system itself is also top notch. The tracks are well produced and the songs are up bang to date. The pods make use of AKG microphones for the guests. Step outside the pods and guests are treated to the same audio quality in the main room. Two Void ARC15 tops are flown above the stage, one at either side, and these offer high SPL for live

bands. They are accompanied by two Void Stasys subwoofers hidden under the stage, which means the system can transform from a live band to dance club at the push of a button. Both upstairs and downstairs some additional Venu 10 have been installed to provide additional volume through the venue, while four Cyclone 55’s wide dispersion loudspeaker were specified to provide even coverage rather than to provide volume. Marc furthered: “Two Venu X subwoofers are hidden behind the staircases for aesthetic purposes and to keep the room warm with bass and all cabinets in the main room are a customised purple colour to match the furnishings.” Amplification comes from a combination of Void and Powersoft. The main PA uses Void’s Bias V9


• Above left One of the karaoke rooms • Above right The main bar

for the bass, two Void Bias V3’s for the line array boxes, which are is bi-amped, and two Void Bias VQs to run the zone loudspeakers. Powersoft M28Q amplifiers are used for the karaoke pods. The main processing brain is a BSS Soundweb London BLU-160 that links with the BSS Soundweb London BLU100s, for which there is one per karaoke pod. Marc continued: “Each karaoke pod has a computer, a Lexicon EFX processor for mics and a BLU-100 - the latter is there to mix and send returns for processing. In each karaoke pod there is volume control on the wall and reverb control so having a BLU-100 for each pod means that even if I turn off the BLU-160, the pods still run. We have redundancy and backup on everything.” An Allen&Heath Qu-24 mixer is at home in the control booth as a stage mixer. The brief was a user-friendly mixer, so that on quieter nights bar staff would be able to operate the desk to turn the music up and down. It features 24 channels, which is more than enough for a four piece band - which is a typical live performance at Lucky Voice. Marc commented: “The Qu24 has a great layout and I like having the physically knobs on the desk. When I’m not going to be at the venue all the time, the knobs make it easier to fix remotely should a problem occur - without having

to go into different layers on multiple screens, which is typical of a larger, more complex desk. Without doubt the standout feature of the venue is the Kinetic Light RGB sphere structure that is suspended from the ceiling. Each of the 320 kinetic RGB spheres are connected to their own

individual XS winch and the entire structure moves up and down and changes colour. “We had a design meeting and the requirment for the lighting was something cool and different,” said Marc. “We spend some time researching on YouTube to see what other clubs around the world were doing, we didn’t want to copy but sought

TECHNICAL INFORMATION SOUND KARAOKE PODS: 22 x Void Acoustics Venu 8 loudspeaker; 11 x Void Acoustics Venu subwoofer; 11 x i7 based solid state computer; 11 x BSS Soundweb London BLU-100 processor; 11 x Lexicon EFX processor; 22 x CYP HDMI over CAT6 receiver; 11 x touch screen with HDMI input; 11 x LG TV with HDMI; Powersoft M28Q amplifiers MAIN ROOM: 2 x Void Acoustics ARC15 loudspeaker; 6 x Void Acoustics Venu 10 loudspeaker; 4 x Void Acoustics Cyclone 55 loudspeaker; 2 x Void Acoustics Stasys X subwoofer; 2 x Void Acoustics Venu X subwoofer; 1 x Void Acoustics Bias V9 amplifier; 2 x Void Acoustics Bias V3 amplifier; 2 x Void Acoustics Bias VQ amplifier; 1 x BSS Sound London BLU-160 processor; 1 x BSS Sound London BLU-120 processor; 1 x Allen&Heath Qu-24 mixer; 1 x Allen&Heath 24/12 stage box; 1 x Apple iPad with Soundweb control software; Sennheiser radio / stage mics; AKG karaoke mics LIGHTING 4 x Prolight Concepts Kudos CM 300ZS moving head; 6 x Prolight Concepts MS700PE moving head; 1 x MA Lighting dot2 lighting console; 1 x Kinetic Lights 320 kinetic RGB sphere; 2 x Kvant Clubmax 3000 laser; 8 x LED hex chip par; 2 x Art-Net 8 port box; 1 x Roland video mixer; 1 x CYP HDMI matrix; LED RGB tape





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inspiration, then we came across a Kinetic Light project and we knew that was the answer.” The German manufacturer had done few fixed installations with its kinetic RGB spheres, more usual was for them to be used at events for a couple of hours and it was all pre-programmed ahead of the show. With this in mind, there was some hesitation when Lucky Voice notified Kinetic Light that the installation was to run constantly and permanently. The team travelled over from Germany to help with the installation and programming and now that it is up and running, they can control remotely from Germany, should any of the spheres stop working. “ We are the only venue in Dubai to have a

• Above When the venue doesn’t have live music the stage is utilised for extra seating.

moving kinetic lighting structure,” Marc said proudly. Alongside the kinetic eye candy are four Prolight Concepts Kudos CM 300ZS moving heads and eight Prolight Concepts MS700PE moving heads, which Marc selected to provide stage lighting. He was keen to have a European brand so that the back up and support would be in place if required. Two Kvant Clubmax 3000 lasers have also recently been added to the inventory for added wow factor. Everything including the kinetic spheres is hung on a Litec truss structure, Marc once again turning to the European market for reliability and quality. There is also a tonne of LED RGB tape around the venue for accents and highlights.

An MA Lighting dot2 is in control of the lighting at Lucky Voice. Marc said: “It’s the perfect size for this venue and you get great features for a desk of this size. It does everything we need it to and there’s still plenty of channel space if we did want to add more fixtures at a later date.” Everything runs on Art-Net for a streamlined lighting system. Ensuring longevity in a market like Dubai is an extremely big ask, and although other karaoke venues exist in the region, none are quite like Lucky Voice. Offering a different experience every night of the week, it’s unlikely guests who visit will leave disappointed.


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Sound-absorbing inflatable shells made out of airtight wool provide De Roma theatre in Antwerp with a remarkable acoustical solution.



Originally built as a cinema and theatre, De Roma has stood in Antwerp since 1928. The venue has become an iconic symbol for the area, with much of that owed to its history of hosting huge gigs between 1966 and 1982. A whole host of acts performed on the stage at De Roma, including Paul McCartney, The Kinks, James Brown, Lou Reed, Iggy Pop, Iron Maiden and many more - highlighting its immense popularity.

















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Much to the dismay of the community, De Roma closed its doors in 1982. Twenty years later, in 2002, local volunteers recognised what an incredible monument De Roma was and set about renovating the venue before its reopening in 2003. It wasn’t until 2006 that the basic renovations were complete and, since then, work has continued, with the latest project seeing the balcony rebuilt, the outside walls renewed and the original house lights restored in 2015. The amazing work has been an incredible success in attracting visitors to the venue, though there was still one piece of the jigsaw missing - the sound. De Roma needed a new, state-of-the-art sound system and total acoustic makeover to help improve the year-round cultural events, festivals, gigs and dance nights. To help with this issue, the team at De Roma sought the advice of Amptec, an audiovisual installer based in Belgium. The task was extremely difficult with De Roma being a classified building. This meant that acoustic results needed to be attained, all while maintaining minimal visual impact on the venue to respect the architectural heritage. To achieve this, Bart Willems, CEO of Amptec, introduced De Roma’s team to Acoustic Designer, Eddy Bøgh Brixen, who first recommended ShowTex after completing his measuring report on the venue. After meeting with De Roma, ShowTex went through the report and began working on solutions for the venue. These were






























then presented to Programme Director, Toon Van Deuren and Sound Engineer, Wim Van den Heuvel. This is where ShowTex presented the idea of using Inflatable Wool to adapt the shape of the concave ceiling. Koen van Kerkhoven, Managing Partner of ShowTex, takes up the story: “We have been following the De Roma project since day one. With Eddy Bøgh Brixen’s report on the table, we started brainstorming on the acoustics in this majestic venue - bearing in mind the building’s heritage value interior.” “The concave curvature of the ceiling produced strong reflections on the audience area, so we had to be very creative in inserting acoustic elements. That’s when we came up with the idea to invert the curvature to avoid this central reflection.” De Roma’s concrete roof structure couldn’t fly any extra weight, so ShowTex offered a solution by designing and developing two huge, lightweight acoustic inflatable shells that could be placed under the ceiling. “We’ve been using inflatables for ages, from giant projection spheres up to smaller LED lit versions and, over the past year, we had been playing around with the idea of using this technique for

acoustic purposes. This was the ideal moment to introduce our inflatable wool to the public,” said Koen. There were no - or only very old and outdated blueprints of the original building, so the ceiling had to be measured from the ground up. The acoustic inflatable shells needed to be assembled on ground level, then specially rigged until the right height. ShowTex used fine and discreet steel cables all around the inflatable shells to secure and level out the final suspension of the structure. “It’s the first time ever we manufactured and implemented these inflatables, and an absolute world premiere for De Roma,” said Koen. “Its acoustic qualities are excellent; the inflatable is both sound absorbing and partially sound diffusing due to its shape. The big hollow dome became a spherical dome which resolved the prominent flutter of the past while bearing in mind the building’s heritage value interior.” On the back wall of the balcony and the wall against the old projector room, ShowTex installed a sound-absorbing material made of cotton and woollen textile remnants, which are recycled, shredded and compressed in sound-absorbing

baffles of various densities. These panels improve the acoustic climate on stage, ensuring the artist can perform without any echo distraction from the back walls. A second and really important demand from the De Roma team was to safeguard the original wall decoration, which ShowTex succeeded in doing through photographic reproduction. “Covering the two walls opposite the stage was one thing - safeguarding the original wall decoration was something else. We decided to print a photographic reproduction of the wall on the textiles covering the baffles,” explained Koen. “The original walls were photographed with great detail and then digitally printed on a huge seamless canvas of 18-metres by three-metres, to wrap the walls with a natural looking replica. An almost invisible solution with crucial impact on the venue’s acoustics.” When it came to the new audio system, different manufacturers came up with plans according to the acoustics at De Roma, though, after demos and various tests, it was quickly decided that a d&b audiotechnik system would be installed. For the main FOH system, there is a 14-unit line array, with 10 d&b audiotechnik Vi8


loudspeakers, two Vi12 loudspeakers and two Vi-SUB subwoofers, which are positioned either side of the stage. There are also eight d&b V-SUB subwoofers used in an array that is hidden under the stage within a structure that was custom built by Amptec. De Roma’s stage is also equipped with two d&b V7P loudspeakers and four E6 loudspeakers that cover the first rows of seating. There are another two E6 loudspeakers, as well as 14 M4 wedge monitors from d&b, too. Elsewhere, there are three d&b 10AL twoway line array modules used as a cinema sound system for the balcony seats, while the 350-capacity lobby has a d&b Vi-SUB and a

Vi10P loudspeaker either side of the stage. De Roma is the first live music venue in Belgium to use d&b’s ArrayProcessing control technology, with the main FOH system optimised to deliver the perfect balance for the audience. For the control, there is also a DiGICo SD10, an Avid VENUE | SC48 and a Midas XL3 console, which can be used as FOH or monitor desks. The entire system - both on the main stage and in the cinema – are powered using a combination of nine d&b 30D and one 10D amplifiers, with two D12 amplifiers providing the power for the lobby. The project at De Roma was certainly a challenging one, as Koen explained: “The most

important thing was to come up with acoustic solutions that would not hamper the romantic elements of the hall. De Roma is a classified building, so all implementations had to be carried out with the greatest respect for the hall’s original style. “ShowTex developed a unique and fully made-tomeasure solution, an absolute world first. So we had to be very creative, but luckily that’s what we love to do and what we’re good at.” The work of Amptec and ShowTex has seen De Roma confirm its place at the very top of venues in Belgium, with the d&b audio system offering a truly exceptional sound quality that matches the history and presence of the historic theatre.

TECHNICAL INFORMATION SOUND ShowTex Inflatable Wool; ShowTex Universal 250 Print; 10 x d&b audiotechnik Vi8 loudspeaker; 2 x d&b audiotechnik Vi12 loudspeaker; 4 x d&b audiotechnik Vi-SUB subwoofer; 8 x d&b audiotechnik V-SUB subwoofer; 2 x d&b audiotechnik V7P lousdspeaker; 6 x d&b audiotechnik E6 loudspeaker; 14 x d&b audiotechnik M4 wedge monitor; 3 x d&b audiotechnik 10AL two-way loudspeaker; 2 x d&b audiotechnik Vi10P loudspeaker; 9 x d&b audiotechnik 30D amplifier; 1 x d&b audiotechnik 10D amplifier; 2 x d&b audiotechnik D12 amplifier; 1 x DiGiCo SD10 console; 1 x Avid VENUE | SC48 console; 1 x Midas XL3 console



Following a whole host of technical upgrades to its audio and lighting setup, The Liquidroom has grown into one of the most popular venues for live music and club nights in Edinburgh.

Since opening back in May 1997, The Liquidroom has established itself as a key fixture in Edinburgh’s live music and nightlife scene - in fact, it’s widely regarded as one of the UK’s leading venues for gigs and clubnights. For over 20 years, The Liquidroom has played host to a wide range of bands, performers and DJs, with the likes of Kasabian, Calvin Harris, Dizzee Rascal, De La Soul and Franz Ferdinand, to name just a few, having all graced the stage. With a capacity of over 800 - 600 on the main floor, 150 on the balcony and 80 in the smoking garden - The Liquidroom is an intimate venue that offers an electric atmosphere when an act is performing. The Liquidroom was forced to close for 18 months due to a fire, but, since


• Above The stage at The Liquidroom

reopening in 2010, the upgraded audio and lighting technology has seen the venue move up a level in terms of quality. For the FOH audio system, d&b audiotechnik loudspeakers have been used, with 10 Q1 and two Q10 loudspeakers supported by four J-SUB and J-INFRA subwoofers. For the power, there are 10 d&b audiotechnik D12 amplifiers. The foldback system at the venue includes 10 d&b audiotechnik M4 monitors, 10 mixes of M4 monitors on D12 amplifiers and two Logic System ETHOS 315 subwoofers. Glynne Dewar, part of the production team at The Liquidroom, discussed the audio system further: “As a venue for gigs and club nights, we needed to make sure

the quality of our audio system was up to scratch. For live music, it really has to deliver. “The sound is fantastic - really consistent. We’re really impressed with it.” For the mixing of the full audio system, the team at The Liquidroom recently installed two Avid VENUE | S6L-32D consoles - one to manage FOH and one for the monitor system. Glynne has been very impressed with the new acquisition: “We replaced our Midas XL8 consoles with two Avid VENUE | S6L consoles and, so far, we’ve been really impressed with how they’ve worked. It’s highly flexible and caters to the diverse performance schedule here at The Liquidroom. “We were clear about what we needed

when looking for new live sound consoles and, after much deliberation, it was clear that Avid was the way to go. The VENUE | S6L is fast and reliable - and has been impressively consistent in delivering live sound in our main room.” The lighting setup was also given a huge technical upgrade, too, which allows The Liquidroom to offer a state-of-the art system for performers. There is a whole range of equipment used for the lighting, with two ColourSpot 575E AT and two ColourWash 575 AT moving heads from Robe used, along with eight Martin by Harman Quantum Profile moving heads and another eight Clay Paky B-EYE K10 Vortex moving wash fixtures. For extra effects, alongside the moving


head fixtures are four Atomic 3000 DMX strobes from Martin by Harman and three ETC Source Four 750 profiles. Should more lighting be needed, the production team at The Liquidroom also have eight Robe Spikie beam wash moving heads, six Robe ColorSpot 575E AT moving heads and two Robe ColorWash 575 AT moving heads. With such a wide array of fixtures available, the lighting system is of an exceptional quality - certainly beyond the norm for the size of the venue - allowing for incredible shows and events. In terms of control for the lighting system, a Avolites Sapphire lighting console is used, with a Le Maitre Pea Souper CO2 hazer also available to add to the atmosphere. Overall, the technology used at The Liquidroom is one of the most impressive aspects of the venue. The fact that there is the ability to put on such an

incredible show, with high-end audio and lighting, within a small space has to be commended. It’s not an easy task to offer that - and The Liquidroom do it well by keeping up-to-date with the latest live sound equipment. Updating its live sound offering with two Avid VENUE | S6L desks is one example demonstrating how the venue stays ahead. The benefits of having that technical setup are shown in the venues enduring popularity. As well as a fine place to enjoy live music, it has become a rite of passage for locals in terms of club nights and the like - you’ll find that most people in Edinburgh have had a memorable experience at The Liquidroom. With the city losing live music venues at a rate of around one per year, The Liquidroom’s ability to offer a whole range of eclectic club nights and gigs with a truly special atmosphere should be cherished. Here’s to another 20 years…

TECHNICAL INFORMATION SOUND 10 x d&b audiotechnik Q1 loudspeaker; 2 x d&b audiotechnik Q10 loudspeaker; 4 x d&b audiotechnik J-SUB subwoofer; 10 x d&b audiotechnik D12 amplifier; 10 x d&b audiotechnik M4 wedge monitors; 2 x Logic System ETHOS 315 bandpass subwoofer; 2 x AVID Venue | S6L-32D console; 2 x Technics SL1210 mkII turntable; 2 x Stanton 500AL cartridge; 2 x Pioneer DJ CDJ-2000 multiplayer; 1 x Pioneer DJ DJM-900 digital mixer LIGHTING & SPECIAL EFFECTS 2 x Robe ColorSpot 575E AT moving head; 2 x Robe ColorWash 575 AT moving head; 8 x Martin by Harman Quantum Profile moving head; 8 x Clay Paky B-EYE K10 Vortex fixture; 4 x Martin by Harman Atomic 3000 DMX strobe; 3 x ETC Source Four 750 profile; 1 x Le Maitre Pea Souper CO² hazer; 1 x Avolites Sapphire lighting console


GT STAGE DECK The GT STAGE DECK outdoor platform is a mobile stage system for every application - indoor and of course outdoor. The application area is wide: Concerts, theatres, schools, public halls, exhibitions, fashion shows or basically every other event where a stage is needed. The aluminum profile off ers an enormous flexibility and compability with other manufacturers. Due to the external notch additional parts such as a fall protection can be attached. Furthermore platforms can be connected via the nutches and the included „Deck Leveller“ helps to align them at the same height. The connection is especially designed for round and for squared platform legs with a maximum dimension of 60 x 60 mm. The additional platform claw provides a stable connection between the platforms. | +886-2-2577-6608 VISIT US

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Scala, which has hosted many incredible acts from the likes of The Killers, Foo Fighters and Rihanna, located at Kings Cross in London, is a historic landmark that first opened its doors just after the end of World War I. Scala has gone through many transformations over the years, whilst always maintaining its iconic name. Originally built as the Kings Cross Cinema in the 1920s, it seated over 1,000 people and was a popular venue for entertainment. After the damage from air raids during the Blitz, it then became home to a number of projects which included: X-rated adult films, Christmas

shows and a Primatarium before finally becoming what we know it as now, Scala. Throughout the years, Scala has had to stay up to date with the latest cuttingedge technology in order for both the audience and the performers to recieve the best possible outcome the venue can give them. This year is no exception, recently upgrading its house PA system to a Martin Audio MLA Compact, with the new system designed and installed by Capital Sound - for whom many world-class bands are long-term touring accounts. Both Capital and Martin Audio were equally aware that such an installation


would open up greater possibilities to the corporate sector, including record companies for artist showcases, while both parties will recognise the prestige in having a flagship site for the awardwinning MLA platform. Explaining the background to the project, Capital Sound’s Operations & Development Director, Paul Timmins stated that when his company became aware that the Scala were starting to upgrade, having taken possession of a new digital console, they approached the venue’s Technical Manager, David Preston and he in turn introduced them to Scala owner, Ryan Bissett and Operations Director, Lee Hazell. “We recognised that this is a difficult venue, with a big reflective glass wall at the back, and we felt that MLA Compact would offer the ideal solution,” he said. “The sale was concluded over a course of meetings.” Capital Sound’s Head of Development, Robin Conway, who had been responsible for much of the system design and sound predictions, said that with a new console putting out crystal clear sound, the venue had deserved a ground-breaking PA to match. “MLA is set with a flat frequency response to deliver clean and identical sound everywhere in the venue - and this will enable it to overcome some of the inherent difficulties it faces. At the same time, the fact that it is now

state-of-the-art will make it more attractive to engineers coming in.” And the rider-friendly install will also obviate the need for production crews to lug equipment upstairs in difficult load-in circumstances. The installation itself comprises six MLA Compact elements per side and three stacked DSX subwoofers on either side of the stage. In addition, they have provided two of Martin Audio’s Coaxial Differential Dispersion CDD-LIVE12 - one for centre fill and one for balcony fill - all operating under Vu-Net system control. “A CDD-LIVE, was placed as centre fill on the truss to provide coverage to the crowd at pit barrier on the front row. Another CDD-LIVE was placed just in front of the top balcony to provide coverage to the people in top balcony bar for sold out shows,” explained Technical Manager, David. “MLA has proven itself to be able to control audio in ways other PA manufacturers just can’t. MLA and the Display software can deal with the tricky acoustics; MLA can make a hard-avoid area on the back glass window, and other non-crowd surfaces, and the array works to provide coverage to crowd areas, and steer noise away from these hard avoid surfaces,” he continued. Robin added: “MLA Compact is a 100° box so there is already plenty of


• Above left and right Scala is well known for its live music performances • Right The new Martin Audio PA takes centre stage

horizontal coverage. It made sense to fill any holes - in the coverage pattern - with a separate CDD-LIVE rather than using MLA for balcony coverage.” At the same time, Capital have upgraded the stage sound that features eight of Martin Audio’s brand new LE200 floor monitors that deliver coverage from 100° directly over the monitor, narrowing to 60° further back. This maintains the sound level and balance independent of distance from the monitor and produces a consistent near-rectangular coverage plane at head-height. These are driven by Martin Audio MA5.2K amplifiers, with processing via a pair of Martin Audio DX2 to enable eight bi-amp mixes. In addition, a pair of WS18X subwoofers are used for drum fill and are driven by a Martin Audio MA9.6K DSP amplifier. Summing up the value of this installation to all parties, Paul said: “MLA has been increasingly evident in all the big, high profile festivals Capital has supported, particularly in London. We therefore felt it was time one of the major London venues had its own MLA system, which will also provide access to take potential customers along, and allow them to hear a system before they use it.”

TECHNICAL INFORMATION SOUND 12 x Martin Audio MLA Compact cabinet; 6 x Martin Audio DSX subwoofer; 2 x Martin Audio CDD-LIVE12 loudspeaker; 2 x Martin Audio WS18X subwoofer; 8 x Martin Audio LE200 monitor; 1 x Martin Audio Vu-Net control system; 2 x Martin Audio MA5.2K amplifier’ 1 x Martin Audio MA9.6K DSP amplifier



384 kW IN YOUR HAND REMOTE CONTROL FOR TWINTECH DIMMER Download the “RDM Dimmer Remote” App for iOS and Android

• Up to 128 three-kilowatt channels. • Designed for professional applications in theatres, concert halls and TV studios. • More load per cabinet than any other dimmer on the market (3 kW configuration). • The only one capable of operating either as a dimmer (0-100%) or as a static relay (ON-OFF switch), while protecting the components and ensuring the maximum lifespan of the connected equipment. • Full control of all d immer functions through a user friend ly touchscreen interface. • Automatic load balancing between all three phases. • Three cooling fans to protect your lighting show. • Premium quality and technical support guaranteed by ADB, part of the Osram/Claypaky group. EURODIM TWINTECH: YOUR BEST INVESTMENT FOR THE FUTURE.

MAIN ADB REFERENCES: Opéra Bastille (France), Bolshoi Theatre (Russia, Moscow), Mariinsky Theatre (Russia, Saint Petersburg), Teatro Alla Scala (Italy), Beijing National Grand Theatre (China), renowned TV Studios and many more….

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02/11/17 17:28



Zurich auditorium, Stadthaussaal Effretikon has recently received an audio upgrade from L-Acoustics, after the 15-year-old system that had been in place was no longer capable of providing complete coverage for larger events.

Located in the heart of the village of Effretikon, near Zurich, Switzerland, Stadthaussaal Effretikon is a large auditorium; home to many events from mind-blowing concerts to intimate seminars. Boasting a capacity of 50 350 people, Stadhaussaal has the ability to transform the size of its venue by converting the floor from flat to raised, arena-like, steps. Earlier this year, an L-Acoustics X Series system was installed by system integrator Hyposound AG to replace the existing 15-year-old, smaller scale system that was no longer capable of providing complete coverage for larger events such as concerts. “We have a long-term partnership with Chris and Mike from production company Chris&Mike GmbH, the team who look after the management, operation and technical requirements for the venue.� said Hyposound System

Engineer, Christoph Müller. L-Acoustics offers a total system approach for both the touring and fixed installation markets, and a product line responding to the needs of venues from the most intimate club to the grandest arena. So its no surprise Hyposound had no hesitation in suggesting an L-Acoustics system for the Stadthaussaal. Hyposound has used L-Acoustics loudspeaker systems since 2013 in both its rental and installation projects and its clients have always been impressed by the results produced and the quality of the loudspeakers, amplifiers and ancillary tools such as Soundvision and LA Network Manager. “Originally, they wanted a small line array system, because there’s also a balcony that needs to be covered, but by using Soundvision and EASE 4.0 simulations, we were able to convince them that a system combining L-Acoustics X12’s and SB18’s as a centre subwoofer would work perfectly for the auditorium. By doing this, it eliminated the need for delays, frontfill and balcony loudspeakers, which were originally planned for the project, and additionally provided a 5.1 surround option and monitoring.” The agreed design comprises a main system consisting of two X12 loudspeakers, with their light weight allowing them to be hung from existing poles either side of the stage, and two SB18i integrated into the stage construction as a centre subwoofer,


• Above L-Acoustics X12’s are used as the main PA and the 5XTs are mounted on the rear wall for cinema applications.

all of which are powered by an LA4X amplified controller. A further four X12’s are used for monitoring, one of which is also used as a centre speaker for cinema applications along with four 5XTs positioned on the rear wall. “Like this, a common L-R system can be transformed into a 5.1 cinema system by recalling a different preset in LA Network Manager,” said Mike. Due to the Stadthaussaal’s hectic schedule, with more than 200 events a year, there was only a short timeframe to install the system. The previously prepared parameters in Soundvision were transferred to the LA Network Manager and, with Christoph only having to adapt it slightly to the room; they produced the optimum solution to provide a wellbalanced system for the venue’s operators. The day after installation and

optimisation, an international act performed a concert at the Stadthaussaal and Hyposound was delighted to receive enthusiastic and positive feedback. Shortly after that first show, Chris and Mike, who have been piano players for more than 25 years, touring and producing shows all round Switzerland, had the pleasure of playing at the venue themselves. “A feel-good atmosphere describes it best,” said Mike. “The system is perfect,

has a brilliant sound with a well-formed body wherever you are in the room; under the gallery, on the balcony, to the left, the right, or in the middle of the room. I’m fascinated with the sound quality this small system can produce. That the sound of our concert pianos is reproduced with good body and in such an authentic way is very important for us and for our fans, but to rock ‘n’ roll on this system was a blast!”

TECHNICAL INFORMATION SOUND 6 x L-Acoustics X12 loudspeaker; 1 x L-Acoustics SB18 subwoofer; 4 x L-Acoustics 5XT loudspeaker; 1 x L-Acoustics LA4X amplified controller www.

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PixelFLEX LED implemented at the JW Marriott at L.A. LIVE. Designed to reflect its location in Downtown Los Angeles, the JW Marriott at L.A. LIVE stands 54 stories tall and provides a deluxe level of comfort and personal service within a unique hotel environment. Guests enjoy convenient access to L.A., whether visiting the revitalised downtown area or other parts of the city. The hotel features the most efficient meeting space in Downtown Los Angeles and serves as the Los Angeles Convention Center’s headquarters hotel and meeting space. It is steps away from L.A. LIVE, offering sophisticated travelers a front seat to world-class venues like STAPLES Center, Microsoft Theater, The

GRAMMY Museum, Regal Cinemas and a variety of restaurants and nightclubs. In partnership with Panasonic, PixelFLEX was asked to help implement a fully outdoor rated, 25 stories tall LED video screen that could not only withstand the Los Angeles heat and occasional rain, but also allow patrons and guests to see outside of the hotel from behind the screen. PixelFLEX’s 30mm FLEXStorm Dot screen fulfilled this requirement. Its blow through design allows for winds to pass through, as well as perfect viewing from behind the screen while most can’t tell it is on the other side of the glass.



Photos by Brian Dowdle



Going against the norm of the ‘flips flops and tank tops’ beach crowd commonly associated with the historic Gaslamp District of San Diego, Oxford Social Club, housed in the Pendry Hotel, offers more of a sophisticated lounge feel, as if you were turned back in time to the roaring twenties. Opened earlier this year, the Oxford - as is it known for short - is renowned for its bottle service, finely dress patrons and a living room atmosphere. It has two full bars, fine art on the walls, wood floors, high end furnishings, and a large glass chandelier that is the characterpiece of the venue. At the Oxford there is no dancefloor. Patrons are encouraged to dance in the walkways, on the couches and


of course, on the tables. With the Major League Baseball park and convention centre located nearby, the Oxford has also attracted a lot of out-of-town and corporate clients from the likes of Comic Con and the San Diego Film Festival. “We knew there was a high-end nightclub missing in the Gaslamp District,” said Pearce Cleaveland, Marketing Director of Clique Hospitality. “When we set out designing the Oxford Social Club, we wanted something to match the theme of the Pendry Hotel and the legacy of the Gaslamp District. People come to the Oxford to party in a completely different way than anywhere in the area. They get all dressed up, order bottle service, then dance on the tables all night long.” Operators of the venue, Clique Hospitality, wanted a special lightshow to be installed into the club to attract high-end clients, and to create the perfect atmosphere for people to have fun without looking like a traditional nightclub. “We were looking for something where the lighting could build up over the course of the night,” added Pearce. “We didn’t want a lot lighting flashing in people’s eyes, but we wanted the room filled with coloured light. Plus, the lighting had to be versatile. We

needed to serve different venue solutions; from a nightclub, to live performances, to corporate meetings; the lighting need to be changed on the fly.” In addition to wanting a standout lighting design, Clique Hospitality also wanted a state-of-the-art sound system. The operator turned to industry veteran John Lyons Systems - of Avalon fame - to take on both aspects of the technology installation. Clique Hospitality was confident John Lyons Systems would spec the right lightshow and the perfect PA for the Oxford’s unique space and needs. Because the Oxford had low ceilings and not a large support staff, John Lyons Systems chose compact LED fixtures from ADJ Lighting. “We choose ADJ’s compact LED moving heads because they had a small footprint, ideal brightness and colour saturation, and features that worked perfectly in the club,” said Richie Worboys, Lighting Designer at John Lyons Systems. Richie used four of the ADJ Event Bar Pro fixtures down the middle of the large oval, double pane chandelier. Each fixture has four mini, yet independent, moving heads on them that help highlight the high rising tables that act as dance catwalks. Then he mounted eight


• Above left The ADJ moving heads taking centre stage. • Above right The bar area washed in colour.

ADJ Inno Pocket Z4’s evenly between the two layers of chandeliers. The zooming features on the Inno Pocket Z4 hitting the glass chandelier produces a breathtaking glow that is the focal point of the entire club. While all the lighting inside the chandelier is hidden from view. So that the entire space in the long rectangular club would be hit with light, Richie mounted four strategic clusters of ADJ moving heads and LED Pars in each of the corners. These clusters of ADJ Focus Spot Twos and Inno Pocket Z4’s produced light moves around the room and fills every corner of the club with light. “Just like the concept of sound, we evenly distributed light all around the room,” said Richie. “Plus, the ADJ lighting we choose are fixtures I’ve worked with in the past. Not only did I need fixture that could perform in multiple scenarios, but I needed them to be reliable and nearly maintenance free since there is not a large backroom staff at the Oxford.” A couple of Antari F-380 fazers also feature for added special effects. Turning the attention to the audio, Richie continued: “The brief we got was that this venue was a lounge. But, I certainly wouldn’t describe it as that now it’s open! Fortunately for us, when we hear the word lounge, we translate that to ‘almost a club’, which in this case was maybe an understatement, but it worked out.” Richie selected a Fulcrum Acoustic solution for the Oxford. The system was designed using eight Fulcrum Acoustic CX1295 12-inch coaxial loudspeakers, one Sub215 dual 15-inch direct-radiating subwoofer, and seven Sub115 15-inch direct-

radiating subwoofers. The mains were carefully positioned inside soffits around the lounge, while the subwoofers were secreted into existing millwork and columns. Additional smaller side zone speakers were placed near the entryway and bathrooms. The speakers were hidden well to provide even coverage throughout the space without deadening the visual impact of the lounge. Combining the CX1595’s that are particularly effective when targeted pattern control is desirable - which is the case at the Oxford - with Fulcrum Acoustic Profile S three-way loudspeaker and Fulcrum Acoustic Profile P two-way loudspeakers provides ample coverage throughout the venue. The latter from Fulcrum’s Prophile Series both offer very wide dispersion. “Distributed audio was the key here,” Richie said. “Smaller boxes, which also help sightlines and aesthetics - but more of them. We did this with both the high/mids and the subwoofers. We

wanted small boxes with high output, and of course high fidelity.” Powersoft Ottocanali amplifiers power the main PA. These were chosen as a low-footprint, high-impact sound solution. The system uses 16 channels of Powersoft amplification over two Ottocanali 8K8 rack units, taking up a mere four rack units in the club’s small rack room. This setup is the equivalent of having a rack of eight amplifiers. A single Crown DCi 4/600N amplifier is used for the DJ monitors, specified because of its built-in BLU-Link, which ties into the BSS Soundweb London BLU processor seamlessly, with it being located locally in the booth and not in the audiovisual rack. With a wealth of competition in the Gaslamp District of San Diego opening a new venue is a brave move, but by offering guests a different experience coupled with an immersive lightshow and thumping PA, surely it has all the elements it needs to be a success.

TECHNICAL INFORMATION LIGHTING 64 x ADJ Inno Pocket Z4 moving head; 32 x ADJ Focus Spot Two moving head; 4 x ADJ Event Bar Pro fixture; 4 x ADJ 5P Hex LED par; 2 x Antari F-380 fazer ;1 x Elation Professional eNode8 Pro DMX controller SOUND 1 x Fulcrum Acoustic US212 subwoofer; 7 x Fulcrum Acoustic Sub115 subwoofer; 1 x Fulcrum Acoustic Sub215 subwoofer; 8 x Fulcrum Acoustic CX1295 loudspeaker; 11 x Fulcrum Acoustic Prophile S loudspeaker; 2 x Fulcrum Acoustic Prophile P loudspeaker; 9 x QSC AD-C821R ceiling speaker; 4 x QSC AD-CI52ST-WH ceiling speaker; 1 x Crown DCi 4/600N amplifier; 2 x Powersoft Ottocanali 8K8 amplifier; 1 x BSS Soundweb London BLU-160 processor; 1 x BSS Soundweb London BLU-BOB2 breakout box; 1 x BSS Soundweb London BLU-USB interface


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In 1991, nightclub owner and local Los Angeles legend, David Cooley, applied his hotel-management and stockbroking skills to investing in a small, quaint coffee shop in West Hollywood, California, It is hard to believe that this modest venture would one day be transformed into The Abbey, one of the busiest nightclubs in the USA. Having undergone five expansions, The Abbey and its new sistervenue, The Chapel - established in 2016 - are now considered amongst the most popular clubs in the world. Covering 14,000 sq ft, The Abbey attracts in the region of 2,500 patrons during the week and more than 5,000 at weekends, among them many high profile celebrities. The club


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Audio,” said David. “Installation of the equipment began prior to The Chapel’s opening in October of 2016 and I was amazed by the quality of sound from the inside venue to the outside patio. It really made an impression on me - so much that when I walked over to The Abbey, I realised how poor the sound quality was.” David’s customers felt the same, describing the sound quality at The Chapel as significantly sharper and more enjoyable compared to The Abbey’s. In January 2017, David engaged Alex Montenegro of Sonus Systems to revamp The Abbey’s sound system to match that of The Chapel. Given that the Chapel’s

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system was based on Pioneer Pro Audio’s XY-Series, it was natural that The Abbey would follow suit. David and Alex worked out a budget and a schedule as they continued to consult with Pioneer Pro Audio for recommendations on the best equipment options for the upscale venue. “Pioneer Pro Audio and Sonus Systems were incredibly professional in listening to my concerns,” David said. “They made the entire installation process relatively easy for me and I was more than satisfied with the end-result. Now both of my clubs look and sound great.” DJs who perform at The Abbey and The Chapel are impressed with the new installation as well. The DJ booth at The Chapel is equipped with Pioneer Pro Audio’s newest XPRS full-range speakers and subwoofer. “I’ve had DJs like Grammy-Award winner Paul Oakenfold and DJ Dawna play sets and they are ecstatic with the quality of the sound in the booth,” David said. “My customers are really receptive to the new sound and I’ve noticed that since its installation customer numbers are rising,” concluded David. The lighting at The Abbey has also been upgraded courtesy of ADJ and Elation. ADJ LD, Edgar Gonzalez designed a new lighting rig the venue, which was installed by Ali Tabatabaie of Platinum AVL from Portland Oregon. A whole

inventory of ADJ was specified including a massive 150 Saber Spot RGBW pin spots and an abundance of moving heads including Vizi Beam RXONEs, Inno Color Beam Z19’s, Vizi BSW 300 LEDs, Focus Spot Two LEDs, ADJ Crazy Pocket 8’s and Asteroid 1200’s. Elation’s Midicon 2 controller and CompuShow DMX software control the lighting rig with the assistance of ArKaos’ Media Master Pro

software too. The busiest nightclub in America has no plans of slowing down anytime soon - and is even at the centre of a reality TV series ‘What Happens at The Abbey’ airing on E! - West Hollywood natives and club-goers can expect to hear crisp music booming from The Abbey and The Chapel from Sunday through Saturday.

TECHNICAL INFORMATION SOUND 36 x Pioneer Pro Audio XY-81 full range speaker; 3 x Pioneer Pro Audio XY115S bass reflex subwoofer; 2 x Pioneer Pro Audio XY-118S bass reflex subwoofer; 4 x Pioneer Pro Audio XY-152 two-way loudspeaker2 x Pioneer Pro Audio XY-215S quasi-bandpass subwoofer; 2 x Pioneer Pro Audio XY-218HS horn-loaded subwoofer; 1 x Pioneer DJ DJM-900NXS2 mixer; 2 x Pioneer DJ CDJ-2000NXS2 player; 5 x Powersoft K2 DSP amplifier; 2 x Powersoft K3 DSP amplifier; 2 x Powersoft K10 DSP amplifier LIGHTING 150 x ADJ Saber Spot RGBW pin spot; 14 x ADJ Vizi Beam RXONE moving head; 12 x ADJ Inno Color Beam Z19 moving head; 10 x ADJ COB Cannon Wash LED par can; 8 x ADJ Vizi BSW 300 LED moving head; 6 x ADJ Focus Spot Two LED moving head; 6 x ADJ 7PZ IP LED par; 4 x ADJ Focus Spot Three Z LED moving head; 4 x ADJ Lightning COB Cannon LED fixture; 4 x ADJ UV COB Cannon fixture; 3 x ADJ Inno Color Beam Z7 moving head; 4 x ADJ Crazy Pocket 8 multibeam moving head; 2 x ADJ Asteroid 1200 moving head; 4 x ADJ D6 Branch DMX splitter; 1 x ADJ Entourage faze machine; 6 x Elation Professional Opti Par LED; 1 x Elation Professional Midicon 2 controller; 1 x Elation Professional CompuShow DMX software; 1 x ArKaos Media Master Pro software

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Show Technology New Zealand spices up the lighting inventory at Showgirls. Showgirls is a dance club located in Auckland, New Zealand. Its spectacular laser, light and water shows, combined with the choreographed seasonal and contemporary performances each night, gives other entertainment shows a run for their money. Showgirls has certainly passed the test of time too, having been open more than 20 years. Recently, Showgirls upgraded its lighting and audio to improve the visitor experience. Showgirls Lighting Designer, Tim Mason, who had been responsible for overseeing the installation, explained further: “The installation process started about two years ago and we’ve extended the club to three floors now, it used to only be two. It was really important to keep it as VIP and as classy as possible.” The latest lighting fixtures to be added to the inventory are two Martin by Harman RUSH MH7 hybrid moving heads and four Aryton MAGICDOTs, both of which were supplied by New Zealand distributor, Show Technology. Technical Sales for Show Technology, Nick Reeves said: “We brought some fixtures into the venue to demo and both Tim and the owner of the club, Grant were really pleased with the performance of the MH7’s and the MAGICDOTs, so we got the order.” “For control, we use a Jands Vista console connected to a four universe Art-Net node,” continued Tim. “We run two universes to control the lights and the ,0curtains, which are also motorised and are triggered by DMX as well.” The venue has a nightly laser show too. The lasers we run on Pangolin Beyond software that is DMX triggered from the Vista console as well. “So when a manager presses the play button of a show cue on the lighting computer it triggers the laser by Art-Net to play the laser track, which also has the music track in it. Or they can select different cues to play for the different shapes and patterns the lasers can perform,” he explained. The audio set up at Showgirls was provided by Edwards Sound Systems (NZ), which specified a D.A.S. Audio PA. For the main club is two D.A.S. Audio Convert 15’s and two D.A.S. Audio Event 218As are in place, alongside two Arctec 10 for fills. For control and input switching the venue runs a BSS Soundweb London BLU-100 with a BLU-BOB2 to cover upstairs and downstairs. Two BSS EC4BV controllers take care of the volume and source selection, and are installed on every floor, as well as in the hostess booth and the VIP area.




With The Butter Group opening the latest 1Oak venue in Tokyo, creative agency, ATO, was enlisted to help enhance Roy Nachum’s incredible design with state-ofthe-art lighting, visual and audio technology.

Following successful launches in New York, Las Vegas and Mexico, the team behind the 1Oak series of high-end, luxurious nightclubs opened 1Oak Tokyo in August 2017. The 1Oak - as in ‘one of a kind’ - series of high-end, luxurious nightclubs, created by Ronnie Madra and Richie Akiva, began with the flagship location in New York City. Located on 17th street, in the heart of Chelsea, it remains at the centre of city’s nightlife culture. Boasting a rotation of world-renowned DJs and surprise performances, a captivating interior and a stellar standard of service, 1Oak caters to even the worldliest of partygoers. Following the success of 1Oak New York City, which was recently redesigned by Roy Nachum, the famous designer and artist, who was nominated at the 2015 Grammy Awards for the album cover of Rihanna’s ‘Anti’, The Butter Group opened a Las Vegas venue based within the Mirage Hotel & Casino in 2012, with a Los Angeles location also open to revellers, too. Next on the list for the team was 1Oak Toyko, their first exclusive nightlife experience in Asia, which is based in the Roppongi Hills area. The three-storey venue, which accommodates up to 1000 people, features multiple VIP areas, a private karaoke room and a rooftop garden terrace with breathtaking views. Prior to opening in August 2017, The Butter Group again enlisted the help of

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SOLUTIONS AUDIO • VIDEO • LIGHTING CABLES CONNECTORS CORDS ACCESSORIES Complete line of Ethernet digital audio cables for live (Cat.5e, Cat.6, Cat.6A, Cat.7) Roy Nachum when it came to the design of the venue. Working with his partner, Mia, and their company, Mercer Project, Roy created an immersive and compelling concept for 1Oak Tokyo. In a bid to enhance the incredible design, ATO - a creative agency founded by Creative Director, Louis de Castro, Producer, Caroline Lefrère and Light Designer, Romain Belloche - was asked to create an ambitious lighting and visual installation. Caroline from ATO explained how the collaboration on 1Oak Tokyo came about: “We’ve been working in Japan for a few years now, for clubs such as Womb, major fashion brands - Yves Saint Laurent, for example - and art galleries. Some friends were involved in the 1Oak Tokyo project and invited us to a meeting with the designer, Roy Nachum. “We really got along, and understood Roy’s vision for the club. Our participation in the project happened very naturally and instinctively. It was very exciting for us because Roy and the 1Oak team allowed us to propose ideas and let us have some creative freedom.” That creative freedom led to ATO delivering Collodi’s Monstro the lighting design that augments Roy’s work. In the main room, wood is the main material used, with the ceiling made up of a series of vertical arches - similar to the bone structure of a whale. Working closely with Roy, ATO decided to use LED technology

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“The idea was to represent the design of the club through different angles, so that it feels like the whole space changes throughout the night. It was very important to create an immersive installation.”

with indirect lighting, delivering an elegance that is not imposing to the design. Using this technique, ATO aimed to surround the space with dynamic, immersive movement, creating a warm, festive atmosphere. “We wanted the light design to follow the curves in Roy’s creation, while bringing a dynamic dimension to it and allowing it evolve,” explained Caroline. “The idea was to represent the design of the club through different angles, so that it feels like the whole space changes throughout the night. It was very important to create an immersive installation - and surround the customers and artists performing with a dynamic overwhelming experience. We wanted to convey the feeling that the whole venue was physically dancing and pulsing through the lights.” To achieve this, ATO chose to utilise 25 Robe Spikies due to their versatility and diverse effects, as well as six LED chandeliers, while three VIP rooms also have independent LED systems. The Spikies are controlled using a MA Lighting MA onPC Command Wing board and a touch-screen PC. Elsewhere, an LED system is used throughout the venue, using a brand new type of LED strip that is ideal for creating colours and atmosophere to match the

wooden design. “We partnered up with our manufacturer in Asia to develop new high density 30 pixels per metre - LED strips with an extra warm white chip to convey the elegant and natural atmosphere of the venue,” said Caroline. “This fourth chip also allows better, more precise colourimetry control.” All the LED strips are connected to 24 Art-Net decoders with four SPI channels, each of them linked to a RJ45 switch, connected to a media server. MADRIX software is used, with the Ultimate (256 DMX universe) licence for the dancefloor, VIP areas and entrance. The MADRIX software is a huge part of the installation at 1Oak Tokyo identifying each pixel independently, it helps the light operator deliver dynamic, harmonious generative effects live through the console. Caroline added: “The venue can also give its customers in the VIP room the opportunity to control the LED light system with an iPad connected to the Media Server through Wi-Fi. “Considering the configuration of the club, we wanted a system that could allow customers in the three VIP rooms to be able control the lighting. With an iPad and a custom control page, customers can play with the lighting and create a mood

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that suits them. “When it came to specifying the LED system, we needed software that could support over a kilometre of LED strips with no delay and audio reactive feature - this is why we selected MADRIX.” With an incredible interior design complemented by a spectacular lighting install, the team at 1Oak Tokyo also needed an audio system to match the stunning visuals. ATO were also able to assist in this area, too. “The client was hesitating between audio systems, so we introduced them to d&b audiotechnik’s Japan office, as we have had very good experiences with their systems before,” said

Louis. “The brief was to have an even confirguration across the different floors. The difficulty was to cover smaller areas, like the VIP rooms and side seating, with a suitable level of sound compared to the main floor.” In the end, the 1Oak Tokyo team decided on a d&b audiotechnik system for the venue, as Louis explained further: “The main floor uses two line array configurations of three d&b audiotechnik Y8 loudspeakers, with a Y7P subwoofer. “In addition, 16 E4 and four Y10P loudspeakers are used to cover the seating areas and VIP spaces, with bass reinforcement coming from six Y-SUB units positioned in the corner of the room

TECHNICAL INFORMATION LIGHTING & VISUAL 25 x Robe Spikie LED washbeam fixture; 1 x MA Lighting MA onPC command wing; 1500 x LED video strip; 1 x MADRIX KEY ultimate software; 1x MADRIX KEY professional software; 3 x MADRIX KEY basic software SOUND 6 x d&b audiotechnik Y8 loudspeaker; 2 x d&b audiotechnik Y7P subwoofer; 16 x d&b audiotechnik E4 loudspeaker; 4 x d&b audiotechnik Y10P loudspeaker; 6 x d&b audiotechnik Y-SUB subwoofer; 1 x d&b audiotechnik M2 monitor; 1 x d&b audiotechnik Q-SUB subwoofer; 5 x d&b audiotechnik D80 amplifier; 6 x d&b audiotechnik D20 amplifier; 1 x Soundcraft Si console

and on the stage. “Elsewhere, the DJ booth is covered using M2 monitors and a Q-SUB subwoofer, with amplification coming from five D80 and six D20 amplifiers for all areas. A Pioneer DJ setup is used in the booth, with a Soundcraft Si console also utilised. Overall, the sound in the venue is exceptional, from the main floor right through to the individual VIP rooms. “The main challenge was to correctly balance the different speakers to cover all areas of the club,” said Louis. “As the arches provide good sound spreading, it was very important for the sound engineer to work with the room and not against it. d&b’s own loudspeaker remote control software was put under heavy use to fine tune the system during the first opening week.” The end result has seen 1Oak Tokyo become another incredibly well designed, luxurious nightclub from The Butter Group - offering the same level of quality and consistency that is seen in its other venues. The technology has certainly intensified the design from Roy Nachum - all without subduing the impact. With the lighting, visual and audio installs all working simultaneously, 1Oak is set to become a real fixture of the Tokyo nightlife. We’re certainly looking forward to seeing what is planned for the next 1Oak project.






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AVIXA | REBRAND Back in mid-September, I made my second trip ever to the USA. I know some of you may find that hard to believe given how often I board a plane, but, generally, I’m always travelling East. The reason for travelling West on this occasion - to Fairfax to be specific - was a top secret press announcement being made by trade association, InfoComm International. Proceedings began on the morning of 13 September with a press conference held by President Gary Hall, CEO David Labuskes and Senior Vice President of Marketing & Communications, Dan Goldstein. The big unveil was that the trade association was rebranding and renaming in a bid to serve its audience better. InfoComm International is now known as Audiovisual and Integrated Experience Association or AVIXA for short. The change reflects AVIXA’s broadening mission to be an industry hub, while also acting as a catalyst for market growth beyond what has been considered traditionally as professional audiovisual. AVIXA’s tradeshows worldwide, including the North America show, June 2-8 in Las Vegas, will continue to operate under the InfoComm name.

“This is an exciting time for our industry and for the advancement of audiovisual solutions across a wide range of customer experiences,” said David. “Thanks to the innovative, creative efforts of so many members, partners, and their customers, we have collectively grown far beyond what InfoComm International could do to promote audiovisual around the world. Audiovisual experiences have become so ubiquitous, and they’ve come to include so many more technologies, and touch so many more personal and professional lives, that we felt compelled to embrace a new identity that more accurately reflects this industry’s excitement and welcomes a far more diverse community of professionals.” In recent years, AVIXA’s members have evolved to offer much more than audiovisual products and systems. Their innovation and attention to customer requirements has led to an industry of solution providers that use audiovisual technology to create outcomes. AVIXA membership has grown to include experiential designers, content creators, IT companies, and users of AV solutions across a growing cross section of

kets. AVIXA’s 2017 InfoComm show in Orlando last June attracted a greater share of audiovisual customers than in any other year. “The AVIXA Board of Directors has set out an ambitious plan to grow the association, increase awareness of audiovisual experiences, and reinvent our brand in order to propel this industry into the future,” said Gary Hall, President of the AVIXA Board, and Federal Strategy, Planning and Operations Leader at Cisco Systems. “With new and different people and technologies coming into this space, we are thrilled that AVIXA will be home to all of them.” Post announcement, the press were then given the opportunity to ask questions to the board members in small focus groups. And after the news was shared globally later that evening, there was a full programme of celebrations, which was fully AVIXA themed. It will be interesting to see what the industry make of this announcement, as well as the association members and to access what impact the changes may have as we move forward.


MARTIN AUDIO | OPEN DAYS Martin Audio hosted open days between 19-21 September at its High Wycombe HQ, with the aim of demonstrating its extensive product range, which included the Wavefront Precision, the XE Series of monitors, LE Series of monitors and the iKON amplifiers. Each day was split into morning and afternoon sessions, meaning that visitors such as rental companies, system integrators, FOH engineers and press had the opportunity to speak to the Martin Audio team whilst also networking with fellow industry peers. James King, Director of Marketing, commented: “We wanted to trial the concept of hosting full scale demos at our HQ as we have a number of

new ranges this year from line arrays to amplifiers to monitors.” Martin Audio wanted to curate the open days that allowed visitors to take their time to explore products as opposed to during tradeshows, where the focus is split between many manufacturers. The open days allowed for a capitve and focussed audience for Martin Audio. “The challenge when going to a tradeshow or hiring a venue is either you are jostling for attention with other brands and/or the expense of production and hiring of space. Doing it in house has dramatically reduced the cost of the event but equally improved the experience for everyone as it is in a relaxed environment where people

can take their time as well as enjoy tours of the factory and refreshments,” James continued. The first demonstration, introduced by Product Support Engineer, Robin Dibble, was Martin Audio’s latest LE monitors, a series which started forty years ago becoming the industry standard in the early1970s and have continued to make their presence felt in the decades since. The new LE Series now features coaxial differential dispersion technology delivering exceptional performance and controlled coverage at a price point not previously possible for a truly professional monitor. This demo was followed by their new XE monitor series which takes CDD technology performance to a higher level.


One of the highlights was hearing about how this technology has evolved across products which initially started out within their dedicated installation series, CDD, and this was also demoed. They focused on the smaller boxes, yet each one had the ability to dominate the room delivering perfect sound to every member of the audience. Martin Audio also showcased CDD-LIVE, which delivers superb performance, fidelity, coverage

and consistency and is primarily a more portable solution. CDD-LIVE comprises of three fullrange models complemented by two high-performance subwoofers, and enables everything from a main PA in small-to-medium size rooms to infill loudspeaker solutions in large-scale systems but is also suitable for permanent installation applications too. “We’ve been really pleased with both the level

of attendance and the quality through the door, the sales that have already been generated as a result of the demos and the overall reaction of attendees to the event. We will certainly be doing more of this type of activity in the future,” James concluded.


NOVASTAR | NOVAWORLD TOUR EUROPE 2017 NovaStar is a global-leading LED display solution provider that designs and develops LED display control solutions for a variety of market applications including entertainment, digital signage and rental. It has 44 branches worldwide. NovaStar recently embarked on its NovaWorld Tour Europe 2017 making five stops during the months of September and October. The cities that took part were Amsterdam, London, Frankfurt, Paris and Itri in Italy. The theme was ‘Visualise Your Imagination’. The tour brought together many key industry representatives

from the likes of sales managers, technicians and media, who were able to see NovaStar’s latest products and solutions. The team also addressed future plans. The launch of Novastar’s low latency solution called ThunderView was introduced alongside the Phobos Series. Visitors were able to get their hands on the Phobos Series - a one-stop synchronised control solution, designed for event and entertainment technology providers. It gives the option of 4K display free rotation, improved grey scale, Windows/Mac compatible drag-n-drop

design software and features industry leading technologies such as Clearview, 18bit+ and oneclick smart cabinet configuration. mondo*dr also learnt when attending the NovaWorld Tour Event in London that NovaStar has set up a new office in The Netherlands, which has a showroom featuring the company’s best products and solutions.


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ELATION EUROPE | PRO THEME DAY Elation Professional is one of the world’s leading lighting and visual solutions providers and is the global brand of Elation Lighting. Regularly, Elation Europe gathers lighting professionals at its European headquarters in Kerkrade, The Netherlands, for PRO Theme Day, a day of insightful seminars, shootouts and discussion about some of the industry’s most relevant topics and technology developments. On Tuesday 10 October, Elation held one of its more sought after PRO Theme Days, a program filled with invaluable discussions and presentations, including a talk by one of our industry’s top designers, Ola Melzig. “Thank you to everyone who shared a sensation-

al PRO Theme Day with us,” enthused Elation Europe Sales & Marketing Manager, Marc Librecht at the end of the busy day. “It was really a big success and perhaps the best PRO Theme Day we’ve ever had. Ola was as informative and entertaining as ever and our guests came away with a lot of valuable knowledge. It was a full house and a fantastic day.” The day was split into four sections: Elation: Past, Present and Future, looking at the influence Elation had in the lighting industry, Ola Melzig: Welcome to ESC, an insight into the mind of Head of Production for the Eurovision Song Contest, Equal or Different: Shootout, watched live as Elation products go up against the best

of the competition and finally, Philips Platinum lamps: What can we expect? In addition, it wouldn’t be a PRO Theme Day without the chance for participants to get up close and personal with everything Elation, from products and projects to planning and personnel. The free seminar also saw Elation products go head-to-head against lighting products from other manufacturers in a series of shootouts that gave participants an excellent opportunity to see how Elation spot, wash and hybrid moving lights compare side by side with some of the most known brands in the industry.

126 EX P O

• PixelFLEX’s David Venus and the team

• Claire Messimer and colleagues on the Clair Solutions stand

• The BNY Production team

• The DiGiCo stand

• Brian and Alfred from ADJ

• Chauvet seminar

• Gemini LSV’s stand Chris Doss, new CEO of Audix



After five years with mondo*dr magazine, there aren’t many countries I haven’t had the opportunity to visit. So, when the chance to visit Dallas, Texas - or the Big D as it’s affectionately known by locals - for this year’s WFX, I was happy to oblige. Taking place at the Kay Bailey Hutchison Convention Center, on 10-12 October, WFX Conference and Expo is the largest church expo in the USA. The main areas of interest for me were the expo hall and the loudspeaker demo area, which featured a host of familiar names including Avolites, TW AUDiO, ADJ, Elation, Chauvet, Absen, GLP, Blizzard, PixelFLEX, Renkus-Heinz, Community, Martin Audio, K-array, Clair Solutions, D.A.S. Audio and Cadac. After a short wander around the small exhibition

• The GLP team

space, I bumped into a handful of familiar faces and quickly established that, although the floor space is moderately small in comparison to other exhibitions and the foot fall slightly less, the level of serious enquiries and the standard of focussed attendees made it worthwhile. One of the first companies I was greeted by was WFX regulars, PixelFLEX. Director of Marketing, David Venus, discussed the show: “We are very fortunate at PixelFLEX LED to have a number of technologies that are being used to create dramatic and exciting worship experiences across the nation, which is why we always enjoy coming to WFX.” Attendees were also treated to a sneak preview of the Renkus-Heinz’s VARIA Series modular point source arrays, also powered by the new SA Series amplifiers.

• Stephen Baird-Smith from Avolites

After a quick catch up with Brian and Alfred from ADJ, I was fortunate enough to witness the demonstration of the brand new Vizi CMY300, shown for the very first time in the USA. Also on display was the latest SD Series console from DiGiCo, which was shown by US distributor, Group One. After discussions with exhibitors, attendees and organisers, the conclusion was that this year’s event was a great success for exhibitors and visitors alike. For me, it was a highly enjoyable tradeshow and a fantastic opportunity to learn more about a key part of the industry - plus, there was also some welcome autumnal sunshine, too. Next year WFX will move to Orlando on 13-15 November. For more information, go to:

• Frank Luppino and Rich Anders from Blizzard Lighting

• Caroline Chauvet and Joe Fucini

127 EX P O

• The Christie stand

• Emily Watson and James Godbehear from Cadac

• Absen’s booth at WFX

• ROE aftershow drinks

• The Peavey stand

• Digital Projection’s booth

• The Yamaha stand

• Megalite booth

• ROE’s stand

• Sound demo, featuring RCF and D.A.S. Audio

• Mike Brown and Sim Ludwell from TW AUDiO

• Sound demo, featuring Community, Adamson and TW AUDiO

• CODA Audio’s Paul and Webby, with mondo*dr’s Jamie Dixon

• Oliver Chang and colleague from Moonlight

• Elation’s Eric Loader

• Sound demo, featuring Renkus Heinz, Clair Bros and dB technologies

128 EX P O

• A selfie of Marc Weber from Adamson and Laura Iles from mondo*dr

• Justin Emge and Rom Rosenblum from Clear-Com US

• One of the AES seminars in full swing

• The Exterity team

• A busy Focusrite stand



For the first time in a long time, a member of the mondo*dr team travelled to the Big Apple to check out AES. Although the show was small with just over 250 stands, it was very busy all three days. With 15,509 registered visitors this year, there were many key industry professionals at the show, making it a worthwhile visit for Laura, not to mention it being in one of the most amazing cities in the world. In comparison to last year there was a 24% increase in visitor registeration for this event and I believe this had something to do with joining forces with the NAB show, the two co-exhibited the first time this year. Not only were we treated to the Audio Engineering Society and their exhibitors, but it was also got the opportunity to

• Julie Glick from Musicians Hearing Solutions with Laura Iles from mondo*dr

see a few broadcast and video companies in New York. Some companies even had stands in both areas including Lawo, Avid and Riedel/ASL. A few highlights included Presonus presenting a white paper which looked at the performance of a two way, constant-directivity wedge loudspeaker system, Genelec showed its latest series, The Ones and Focusrite announcd its new pro division. Focusrite Pro aim’s to improve the experience and rate of work for audio professionals with three of their product ranges; Red, RedNet and ISA. TiMax co-exhibited with 1602 Group and showed its spatial audio and show control products. 3D audio was a main focus for some exhibitors and it was the perfect platform to

• Derk Hagedorn from Avid

present this type of technology, especially for the growing theatre market. In other news, NAMM 2018 will be partnering with AES in Anaheim this January to present AES@NAMM Pro Sound Symposium, Live and Studio, which will be held in NAMM’s education campus during the show. Next year, AES will be celebrating its 70th anniversary as a society and the 145th convention.

AES will take place New York City at the Jacob K. Javitas Centre, Time Square 17-20 October 2018. It be running alongside NAB again. For more info, go to:

• The Ross Video stand in NAB

• The ASL/Riedel booth in AES

129 EX P O

• The Lectrosonics stand

• The Sommer Cable team

• The Genelec booth

• Dave Haydon from Timax

• The Sennheiser stand

• Karly Choi from G.Audio

• The Shure booth

• The DPA booth

• The Tascam booth

• Andreas Hilmer from Lawo

• The Panasonic stand at NAB

• mondo*dr’s Laura Iles with Paul Ward and David Webster from Coda

130 EX P O

• Koy Neminathan and William Cheng of Avolites flank Niclas Arvidsson of W-DMX, Procom CEO Raja Harfouche and Sophie Ao of Antari

• The Venuetech team headed up by Nour Assafiri

PROLIGHT+SOUND MIDDLE EAST DUBAI / 17-19 OCTOBER The second edition of Prolight+Sound Middle East (PL+S ME) closed its doors with a 40% increase in visitor numbers, in comparison to the first exhibition in 2016. Clocking up 2,200 visitors from 50 countries, the show had a steady foot flow across the three days, somewhat unusual for regional shows nowadays. The show also attracted a number of European and American representatives from companies including Avolites, Powersoft, W-DMX, Elation, Dataton, Robe and ArKaos. Visitors came to see the 28 exhibitors from nine countries, as well as local distributors such

as Procom, Venuetech, Prolab and Prosonic. Alongside the exhibition itself, organiser, Messe Frankfurt Middle East, put together a busy educational and informative conference programme that featured government representatives and leading entertainment professionals. While the inaugural Events Technology & Entertainment Development Forum was also a focal point, as were the Dante Certification workshops on the final day of the show. SES Global and Protec signed a major deal during the show - an order for new power distribution,

• Robe’s Harry von den Stemmen and Elie Battah

dimmers and motor controllers for Protec’s new set up in Saudi Arabia. The order, valued at just over 750,000 Dirhams is the first order for the new SES FLX dimmer system in the region. In other news, Elation announced a new distribution partnership with Venuetech. “The major target has always been to be able to provide a complete solution for our clientele, therefore we see Elation as the missing piece of the puzzle,” said Nour Assafiri of Venuetech. “We believe that our experience in entertainment lighting along with Elation’s strength and reputation, as well as their continuous production of innovative

• Denis Bramhall, Genie De Guzman and Joie Salazar from Ununsal Rigging with Julian Chiverton of Doughty

131 EX P O

• The SES team with Steve Lakin of Protec, who put in a large order during the show

• FBT’s Roberto Mataloni and Luigi Paoloni with Jamal Sirhi of Desert Beat

• Elation’s Eric Loader and Frederik Afif announced a new distributor for the UAE

products, will open doors for a strong relationship and the proper share in the market.” Procom’s Business Development Manager, Rami Harfouch, said of the show: “We’ve had a really busy event, having serious discussions with walkin potential customers. The show has allowed us the opportunity to reach out to the untapped markets. We’ve had qualitative visitors from all over the GCC and we expect a positive ROI from the exhibition.” As is usual these days, the question of how relevant local tradeshows are in today’s market was a frequent conversation on the show floor. It was a mixed bag at this event, with some companies implying their presence was

• Powersoft’s Hakan Sjoo and Marc Kocks flank Rami Haber of Prolab

• Dataton’s Lars Sandlund with Rami Haber of Prolab

there as a result of competitors attending, yet others reported they collected strong leads that they were confident would turn into future business deals. Ahmed Pauwels, CEO of the show’s organiser Messe Frankfurt Middle East, summed up: “This is an exciting time for the Middle East entertainment industry, and the progress it has made in a relatively short space of time is testament to what is possible when extraordinary vision is combined with technical knowhow and innovative minds.” Prolight+Sound Middle East will return Dubai International Convention & Exhibition Centre in 2018 but dates have yet to be announced. For more information, go to: www.prolightsoundme. com

• Alexander Kroworz of Lavoce

• The GTD lightshow

• Aziz Adilkhodjaev of ChamSys with Rami Haber of Prolab

• Prolyte products on the Pro Vision AVL stand

132 EX P O

• Sam Austin of Flightcase Warehouse

• Wharfedale Pro’s eye-catching booth

• The CHAUVET DJ team line up



This year marked the eleventh edition of BPM | PRO - a date in the diary that us at mondo*dr look forward to each year. Hosted at the Genting Arena in Birmingham for the second time, the show was slightly smaller than 2016, but that doesn’t mean it was less impressive. Admittedly, it was my first time experiencing what the show had to offer and I discovered a cocktail of product demonstrations, networking opportunities, seminars, workshops, live performances and DJ sets.

• Richard Fleming of XTA

BPM | PRO is split into two separate areas, with the Chauvet DJ Arena in the middle, both just as thriving as the other but designed to cater for individual needs. One side was DJ and Studio, which does what it says on the tin, a room full of DJs and their equipment where visitors could immerse themselves in the products, as well as some DJ performances. The other part of the venue held the exhibitors from the world of pro audio and lighting. There were a number of recognisable exhibitors at the show including: Yamaha,

• Bradley Jeffery of Prolight Concepts

Chauvet DJ, ADJ, Adam Hall, POLAR Audio, Leisuretec, as well as many other industry professionals. On one of the stands there was a photo booth courtesy of ‘I Love Photo Booth’, that we couldn’t help but take advantage of. There were also DJ sets throughout the two days, but the most eagerly anticipated act was Jazzy Jeff - who some may know as Will Smith’s right hand man in Fresh Prince of Bel-Air. Monday morning saw the launch of NEXO’s new addition to it’s range of NXAMP TD

• Brian Dowdle of ADJ

133 EX P O

• The FBT stand

• A demonstration in full swing at the FX stage

• The Peavey team

• The Adam Hall stand

controllers. The NXAMP4x2 MK2 and NXAMP4x1 MK2 amplifier models are the result of close collaboration between R&D engineers from NEXO and its parent company Yamaha. There was a 20-minute presentation by NEXO’s Gareth Collyer who went through the system with us, followed by a 10-minute demonstration that sounded fantastic. Bringing the show to a close was some game changing news that this would in fact be the last ever BPM | PRO; introducing the arrival of four new shows focussed on different areas of

• Gareth Collyer of NEXO

the entertainment technology industry. These will be: GIG - The Professional Entertainer Show at Genting Arena, Birmingham on 21-22 October 2018, WORSHIP Technology Show at !Audacious in Manchester on 6-7 November 2018, CLUB + BAR Technology Show at a venue TBC in London 2019 and LIVE Production Show launching in 2019. I am really excited to see what the next chapter is for the team at BPM|PRO, but it’s safe to say they left things on a high note.

• mondo*dr’s Hannah Ryan with the Aura Audio team

• Craig Morle, Rob Davies and Charlie Henden of Leisuretec



HH Electronics, which design and engineer its products in the UK, has introduced the new product to the TESSEN-SUB range - the TNS-1800 subwoofer. All products in the TESSEN-SUB range are designed to give whatever character of bass is needed, from the punch of EDM to the natural warmth and depth of acoustic instruments. HH Electronics dynamic, high sensitivity long-throw subwoofers deliver this - and TNS-1800 is no different. The TNS-1800 active subwoofer houses a 2,000W output Class-D amplifier with over spec’d switching power supply to deliver a performance that exceeds expectations. In terms of use, two or more TNS-1800

subwoofers can be combined in cardioid array to optimise the direction of bass output and minimise backwash onto the stage area. The TNS-1800 subwoofer features a high sensitivity, long throw Celestion 18-inch woofer, which offers users a deep musical bass, with fast dynamic response. The TESSEN-SUB’s custom-engineered DSP provides seamless integration with hi/mid cabinets, as well as tailoring of response to the venue and application - making it a flexible, easy-to-use subwoofer. Also, the TNS-1800 features five M10 inserts for installations and as secure tie down points for floor-stacked applications.

• High sensitivity, long throw Celestion 18-inch woofer gives deep musical bass with fast dynamic response • 2,000W output Class-D amplifier with overspec’d switching power supply • Five M10 inserts for installations and as secure tie down points for floor stacked applications • M20 pole mount • ErP & Energy Star compliant standby with ‘wake on music’ • Custom- designed DSP engine optimises the interaction of cabinet, amplifiers and drivers to ensure transparent, dynamic sound even at extreme levels • EQ pre-sets for room/application optimisation • Extensive protection • Stereo inputs • Balanced Stereo outputs switchable between Hi Pass and Thru (full range)

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New VHD2.18J Subwoofer Housing two 18” high performance transducers the VHD2.18J is a direct radiating bass-reflex subwoofer. The VHD2.18J’s optimised, high efficiency, bass-reflex design produces considerably more output than other similar double 18” enclosures and features intuitive integrated flyware that allows for fast rigging of multiple cabinets. Johannes Krämer works with many of the worlds leading artists, promoters and events. When he visited KV2 Audio he was looking for something special in a sub. After discussions with Chief Engineer, George Krampera the VHD2.18J was born.

George Krampera Chief Engineer, KV2 Audio

Johannes Krämer Sound Engineer, Richie Hawtin



When you look for a strobe, the first thing you look for is power. 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. And the market seemingly cannot get hold of them quickly enough. Fundamentally, the JDC1 has been designed in three sections, which can be controlled independently or as a complete synchronised unit. The fixture itself contains a traditional single tube element with an incredible clear, bright, white output, derived from 216 white LEDs, and then combines 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 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. However, in a never seen before feature, the JDC1 also allows pixel mapping of the LED tube, which is broken down into 12 individually addressable sections. This enables the tube to create incredible motion effects, either when forward facing or through shadow play behind a performer. Whilst the tube is operated in this mode, the RGB plates can give a solid background colour to strengthen the effect. With this level of flexibility, the JDC1 really offers a huge amount of colour, layering and operational effects, right up to the point of pixel mapping the entire array. However, that’s not all, along with working as a powerful strobe light, both the tube and the RGB plates can be run continuously for high output blinder and wash light effects, which never reduce output or have thermal cut-out. With their wide beam angle, this allows for wide coverage of backdrops, stage areas or audience sections. Then to crown it all, the JDC1 also offers dynamic movement, with a 16-bit, 185°

•Above The GLP JDC1 strobe

tilt range, allowing you to place effects exactly where and when you want them to be - to derive the most possible power and impact. Functioning in any orientation and whether the operator wishes to use it as crowd effect at one moment and then as a stage focussed strobe effect the next, the motorised tilt gives a level of functionality and effect that has never been seen on the market before. The design of the JDC1 allows adjacent units to be aligned through locking pins, which also align with their award winning X4 Bar series products. Further features include on-board menu setup with battery operation, TRUE1 power input with variable voltage for worldwide usage, quiet operation and a low weight of just 12kg. GLP’s Mark Ravenhill said: “This has been a real success story for GLP - early adopters have been quick to pick up on the unique features of the JDC1 and we are seeing it being used in some highly creative ways in the short time since we started shipping.”

The new standard for nightclubs High performance from invisible speakers

Firenze-KH7 Powerful system with Electronic Beam Steering for precise coverage used at White Nightclub Dubai by some of the world’s best DJs.

Designing unique audio solutions never dreamed of before.



CJS-Europe is the European distributor of the CJS Coupler brand, which is based in China. The Coupler is a hugely important safety component for events - and those from CJS are reliable and durable enough to hold exactly what you would like. CJS Couplers hold weight from 75kg right up to 500kg, so there is always a Coupler or Half Coupler for different tubes of various widths. There are Swivel Couplers, too, with connect tubes from 35mm up to 52mm. These come in a choice between 360° rotatable couplers and 90° fixed couplers As it is a safety component, the quality

of each individual item is of major importance - and this is where CJS offer an incredible service. The brand ensures that you get a high-quality product every time, while the service behind each Coupler is exceptional, too. CJS-Europe’s Couplers are made in China, however the production of the products – and the products themselves - have been rigorously tested by the German TÜV-Rheinland. Furthermore, to maintain quality and continue delivering innovations to the market, CJS-Europe employees - including engineers – visit the production facility in

• Above CJS-Europe’s range of couplers.

China on a regular basis. This is how CJS guarantee a certified quality - through inhouse quality control and supervision of highly-skilled technicians and engineers. CJS-Europe have a large warehouse in Germany, too, so for customers within Europe, they are able to supply short lead times. CJS-Europe delivers only to B2B customers, supplies all certificates and product IDs that are required for import and export to both Europe and the world. All documents which are necessary for trade are provided by CJS-Europe, too.


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

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

©2016 Renkus-Heinz



The Chroma-Q Inspire XT colour-mixing LED house light is the award-winning Chroma-Q Inspire range’s newest and eagerly anticipated addition. The Inspire XT is ideal for venues such as houses of worship, therefore making its debut appearance at WFX Expo. It also works nicely in other permanent installation entertainment and architectural projects and is used by a wide range of lighting specifiers, entertainment venues and shows worldwide. Venues are transitioning from the traditional static white house lighting approach to methods that allow the audience to become a part of the experience by seamlessly transcending the physical barrier between the stage and the audience. Visual cues evoke stronger emotions, which makes Chroma-Q’s Inspire XT LED perfect for providing the audience with an immersive experience. With homogenised optics, long and powerful throws, a full spectrum of rich colour and smooth transitions and fades, Inspire XT allows for unlimited options in lighting choreography. “Public spaces within a venue are turning more and more into dynamic canvas. The Chroma-Q Inspire range facilitates this transition by bringing coloured ambiance that can adapt to any situation and return back to a beautiful white light for a normal situation” commented Paul Pelletier, Global Brand Manager for Chroma-Q. The Chroma-Q Inspire XT LED house light is the most powerful fixture in the range, delivering up to 9,500 lumens. Including all the features of the

Inspire and Inspire Mini with twice the output, it is ideal for situations that require the same high quality white and coloured lighting with even more output - thereby providing an even more immersive experience from the Inspire family. 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 deep saturates provides for maximum creativity - transforming the look and feel of a space and engaging an audience while subtly or boldly shaping an environment . The Inspire XT is nearly twice as bright as the popular Inspire and uses DMX, allowing the fixture to dim smoothly through the range, particularly at low levels, and be seamlessly synced via DMX with stage lighting. Aside from being energy efficient, the Inspire XT is a low maintenance fixture delivering many years of life expectancy. Camera Friendly technology eliminates camera flicker on even the most demanding HD camera. Other key benefits that the Inspire XT brings to venues include: • Quiet convection cooling, no fans • Theatrical grade dimming which can be controlled from FOH • Built-in power supply • Extremely smooth and uniform wash

Steve Warren working with Chroma-Q After 34 years in the entertainment lighting industry and 33 years with Avolites, Steve Warren has changed his role within Avolites, moving away from day-to-day operational tasks and is now focussing on business development for Avolites. Steve has now extended this service to another complementary organisation under the umbrella of, Lighting Distribution Consulting Ltd, a new company Steve has formed. Lighting Distribution Consulting Ltd is exclusively assisting Chroma-Q by developing international sales and distribution channels of the awardwinning Chroma-Q Range of LED fixtures.

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



The Maverick MK Pyxis derives its name from a constellation of stars in the galactic halo of the Milky Way. True to its celestial moniker, the newest member of CHAUVET Professional’s Maverick family can produce an endless array of out of this world looks, thanks to a unique design that includes an outer ring of RGBW LEDs, a powerful zooming center pixel, 360° continuous pan and tilt movement and a host of other performance features. “The Pyxis blazes a new path in design possibilities by incorporating a variety of different design features in ways that have never been done before,” said Albert Chauvet, CEO of Chauvet. “Designers who we’ve shown Pyxis to have been shocked that one fixture can produce so many different looks.” At the centre of the Pyxis is a single homogenous 60W RGBW LED with a fixed 3° beam angle. Surrounding this pixel is an outer ring made up of nine 15W RGBW LEDs with a 7°-45° zoom

angle. Working together, the center pixel and outer ring are capable of creating a dizzying variety of captivating beam, wash, atmospheric and set piece effects. A built-in virtual gobo wheel with background colours can be used to make the outer ring appear as if it’s spinning. This effect combined with the retractable motion of the centre pixel and the 360° continuous pan and tilt movement can fill a stage of any size with dynamic highenergy looks. Readily accessible built-in colour effects add to this pixel mappable fixture’s versatility. In addition to creating moving looks, the Maverick MK Pyxis can also do double and triple duty as wash and beam light. With a combined centre pixel and outer ring luminance of 27,560 lux at fivemetres, the fixture has the output needed for a wide variety of applications. 
 “We see the Pyxis as being a valuable addition to rigs of all sizes,” continued Albert. “Its versatility and multifunctionality will help touring LDs

• Above The MaveRick MK Pyxis

create a wider variety of looks without increasing their budgets or taking up more space in the trailer. Thanks to its speed and variety of movements, this fixture can also be used to create some stunning wall and set piece displays at arena concerts. This versatility should make it a popular rental fixture.” The Maverick MK Pyxis is versatile in terms of its control options as well, working with DMX, W-DMX, SACN, Art-Net, and Kling-Net. The userfriendly fixture is RDM enabled for remote addressing and troubleshooting. It also converts TCP/IP to DMX for shorter data cable runs, and it includes a battery backup touchscreen display with auto rotate depending on fixture orientation. By incorporating these user-friendly features into the design of the Maverick MK Pyxis, Chauvet is giving designers more time to focus on the creative possibilities opened by the new fixture.


Discover the power of WATCHOUT multi-display and mapping solutions. See you at:


#2405 LDI Las Vegas

#931 JTSE 17 Paris




[mee-dee-uh sur-ver] n.

A media server can be any device with network access and an adequate bandwidth for the sharing and saving of media. It controls and manages the content supplied to any surface that can be utilised as a projection screen or any surface capable of being pixel mapped.





“In terms of media servers, the ArKaos software suite is great and has really answered all of our needs, from the initial setup to the daily operation. Specifically, the Video Mapper is handy, powerful, incredibly versatile and offers us unlimited possibilities for creativity. What has helped me the most is that it can be millimeter accurate when working with projectors.”

“Power and performance have always been key factors in the choice of media server, but we’re also seeing g r e at e r d e m a n d fo r p hys i c a l ly compact units that are plug-andplay - such as our WATCHPAX range. It’s a matter of cost efficiency. A faster setup time onsite and small footprint can make all the difference in installations in existing buildings, such as The Dubai Mall with its new 820-display video wall.”


“The media server market has expanded from its original niche of concerts and touring into numerous professional video markets. Today you can find media servers running media content anywhere from broadcast studios to military simulations, medical installations, Times Square LEDs, Broadway productions, sports stadia, corporate presentations, museums, theme parks, retail environments, transport hubs… the list is endless. These swiss army knives of media presentation continue to spread into new markets, replacing legacy systems as the technology improves and software encroaches into the traditional hardware domain.”

INSTALLATION AS EASY AS 1-2-3 Designed with the contractor in mind, EVID-S is the latest member of the EVID family – a cost-effective, go-to solution offering superior sound quality for indoor and outdoor applications. Learn more at




PRE-WIRE: Attach the wall-mount and terminate the cables inside. A built-in bubble level saves time.

PROTECT: Apply the paint cover to protect the wall-mount until construction is completed.

PLACE: Simply slide the pre-wired speaker with adjustable arm onto the wall-mount and lock into place.

EVID_S_ad_236x333_v1.indd 1

23/10/2017 10:11


ArKaos Stadium Server The ArKaos product line of media servers are used all over the world by leading designers and rental companies. They exceed today’s needs by giving lighting designers and operators rock-solid, professional control of their shows. The Stadium Server is a full-option media server, which runs Full HD video on up to six EDID managed outputs and includes two HDSDI inputs and fast SSD drives. This powerful system comes with a touch screen on the front panel to control outputs, network, thermal regulation, performance and the start of MediaMaster. The MediaMaster Pro software installed has 36 Layers and includes a number of powerful add-ons, including: MediaHub for network sharing; Video Mapper, which allows for easy mapping of video onto irregularly shaped surfaces; LEDMapper 3 with unicast to drive LED panels; Lyric Player, which allows for easy synchronisation of text; and Kling-Net, the plug-and-play protocol for easy operation of LED devices. Kling-Net streamlines the process of creating and matching profiles between the media server and each individual device and can be controlled with DMX, MIDI and timecode. Kling-Net’s auto configuration capabilities allow a large range of devices to be controlled by the same media server, thus avoiding the painful process of creating and matching profiles between the media server and each individual device.

Avolites RX Series The multi-award winning Ai Infinity server is the perfect choice for the most demanding video projects. The RX4 and RX8 have programmable, EDID managed, WUXGA (1920x1200) outputs. Each is digitally amplified to give users a preview and production output over DVI. The back has in addition to the four or eigh DVI output pairs, the following outlets: LTC timecode input, 2GB Network ports for connecting to Art-Net networks, MIDI in and out ports, four lines of DMX512, Audio in and output, Genlock - essential for TV projects, and two sync network connections to guarantee vertical sync across multiple systems. The front seven-inch colour touch screen shows the Ai 3D visualiser, this gives users networked control of the whole show from one integrated and intuitive interface, no matter how many outputs are needed. The RX Range utilises an i7 processor with six cores running at 3.5Ghz 16GB of memory and a fast 80GB System SSD. The media content is contained on an Intel PCIe SSD module with 1.2TB capacity. The workstation grade motherboard is housed in a purpose made suspension frame inside the 19-inch 4U height rack case.

Christie Pandoras Box 6.0 Christie Pandoras Box is the powerful turnkey solution that perfectly unites the latest rendering technology with complete media and show control. Pandoras Box is used around the world for live experiences including multimedia events and projection mapping. The system can be set up as a standalone playback device, network playback client or in console mode for direct DMX control. Among its many new features, Multi User mode allows multiple Pandoras Box operators to split the workload of a project and benefit from the increased efficiency by working on different tasks like warping, content encoding, timeline programming or simply work simultaneously on the same sequence. Pandoras Box 6.0 also features many workflow improvements such as editable meshes and warps, UV map adjustments and live canvas masking and painting all from within the preview window. With Widget Designer, customers can create dedicated user interfaces and interaction logic simply by connecting visual control components. New to Widget Designer 6.0 is a redesigned HTML5 user interface and native HTML support including CSS Styles. Animation and transitions are now available for all pages and widgets, and the new composite nodes allow for the integration of node-systems into re-usable custom nodes.

d3 Technologies gx range The gx range is d3 Technologies newest range of media servers and has been designed to push generative content to new heights. Building on d3’s legacy of pushing colour, clarity and complexity, the gx range combines output processing power so users can render in real-time generative content, that responds to its environment - whether that be video, audio, MIDI, tracking and automation data, or interactive inputs. Based on the pro range, the gx range has the same ruggedised chassis, physical connections, and d3’s unique VFC cards. Additionally, all gx range machines come with an integrated Notch Playback License. There are two models in the gx range: the gx 2 and gx 1. The gx 1 features the most powerful single-width workstation GPU, in an all-new compact pro chassis with a single VFC slot - ideal for smaller shows and installations with high-end generative content requirements.


Dataton WATCHOUT / WATCHPAX Dataton offers a range of media servers designed to run with ITSWATCHOUT multi-display solution. All the servers feature a built-in WATCHOUT license and a hardware profile tuned for performance with the software. Dataton’s media servers are designed to be plug-and-play in order to minimise setup time on site. The WATCHPAX 2 is a palm-sized unit with two WQXGA outputs (Full HD supported). The brand new WATCHPAX 20 unit is even more compact, 127mm x 127mm x 23mm and offers two 4K outputs. The WATCHPAX 4 is a sleek and ultra-portable A4-sized unit with four 4K outputs. Dataton’s WATCHPAX range is characterised by a robust ext making them perfect for touring installs - and an attractive, compact design which means they can be placed close to display sources. The heavy-duty WATCHMAX series are 19-inch servers with a wide range of configuration options: up to six 4K outputs, input/capture cards as well as options for genlock and frame-lock.

Green Hippo Montane+ Green Hippo has launched Hippotizer Montane+, its newest Hippotizer media server. As the latest addition, Hippotizer Montane+ is a formidable force in the live production world. Featuring Notch, the real-time graphics workhorse, a favourite among content creators, Montane+ seamlessly enables users to create, simulate, render, composite, edit, and play. Always in real-time. It’s a smooth experience, too, with Hippotizer V4’s pin system letting you control content from the lighting desk, or other controller. Simply export and playback directly within Hippotizer - easy. Montane+ features two DP 1.2 outputs, and offers the very latest graphics card technology, enabling over 25,000 Notchmarks. Even the most demanding of 3D and generative projects are handled with ease and control. The media server also comes with 10 free Notch FX as standard, plus a playback license.

Picturall Mark2 range From uncompressed playback to full end-to-end 4K compatibility with Apple ProRes video codec support and more, Picturall video playback systems have a server model for every application. The two-output channel Duo is perfect for installations that don’t require many outputs but still need complete content control from one device. Next up in the rankings is Quadro, offering four 4K outputs, making it ideal for small scale installations and shows. The workhorse of the range is the seriously heavyweight Octo server which has up to 16 4K outputs, a powerful video engine with 16-layer full HD playback performance and 8K playback capability. Finally, there is Broadcast, which is like Octo on steroids: 16 DisplayPort 1.2 outputs, up to three capture cards, Framelock and Genlock option and optional 4K@60fps 10-bit uncompressed playback. Picturall Broadcast shines in installations where the highest precision synchronisation is needed between displays, or between displays and cameras to avoid flickering or banding. All Picturall servers share the same software features for unrivalled performance and are built on the renowned stability of Linux for rock-solid reliability. Set-up and control is a breeze using Picturall Commander software.

Smode Station Smode is a revolutionary real-time content technology that deeply changes the approach to video content encoding and manipulation in the event and entertainment industries. It enables to assemble dozens of graphical elements easily into powerful real-time compositions whose final rendering is performed live and continuously: any modification in the composition is reflected immediately on the live video output, a stage simulation or to the real stage itself. In the traditional approach of working with pre-rendered movies, most simple graphical operations such as moving a graphical element, changing a mask or improving colourimetry traditionally imply the nightmare of re-rendering all the content the day before the event, an operation quickly taking hours and typically resulting in much stress. With Smode, making those changes is a matter of seconds instead of hours: visual feedback is immediate and it becomes possible to explore adaptations of the content and to validate them directly on the field with the artistic director and/or the client. This turns Smode into an incredibly powerful booster of creativity and aesthetic: rehearsals time on-site is much better exploited, resulting in higher-quality, better adapted (and quicker-produced) video content, with less stress and more satisfaction for all parties.



[pruh-jek-ter] n.

A projector receives a video signal and projects the corresponding image on a projection screen using a lens system or it may be built into a cabinet with a translucent rear-projection screen to form a single unified display device. The most common projector technologies include DLP, LCD, LED and laser.




“Without doubt, the stability and longevity that laser illuminated projection technology brings has been one of the most significant developments in the field of projection. We are now seeing laser-phosphor projectors in the market up to 30,000 lumens that are perfectly suited to large projection on all kinds of surfaces in almost any environment. Coupled with the ability to mount laser projectors in any orientation; mind-blowing projections have become exponentially more accessible than ever before.”


“In a world of changing and diverse customer requirements and applications, Vivitek does not restrict itself to one type of technology. It offers a broad range of technologies and solutions to suit all requirements w h et h e r c u s to m e rs a r e i n t h e education, large venue or even home entertainment sector. All projectors are engineered for durability and reliability, and offer low running costs and ease of maintenance combined with value for money.”


“When trying to pick a high brightness projector it’s important to understand what each solid state illumination technology has to offer. Laser phosphor typically has similar performance, in terms of brightness levels and colour gamut, to mercurybased lamp projection. However, the saturation and colour ratio is often better, so you can have perceived improvements in colour richness and contrast, but the colour gamut itself is not much different. RGB laser illumination is the future though. It provides a colour gamut that is simply not attainable with lamps or laser phosphor.”

Kling & Freitag GmbH |


Barco F80 Billed as ‘the silent F’, the F80 projector brings three powerful assets to museums and venues that require under 10K lumen 24/7: superb 4K resolution; the efficiency and economy of laser; and silence, or the ability to host the projector in the same room as the audience. The F80 focusses on users that require quality and long term reliability. Typically, this could be in closer settings such as museum displays or corporate meetings. So the question of noise levels is important. The F80 builds on the fundamentals of the other Barco F-series phosphor laser projectors, namely freedom, flexibility and 4K resolution. This translates as uniformity, increased up-time, very low maintenance and energy efficiency. The performance is bolstered by Barco Pulse’s unique Single Step Processing (SSPTM) technology that delivers 4K Ultra High Definition (UHD) resolution in one step. This is the first Barco projector that uses new Texas Instruments technology and the first in the world to push it to these light output levels. So users enjoy the flexibility of using an ultra-silent projector in museums, theme parks, virtual and augmented reality applications and executive boardrooms.

Canon XEED WUX500ST The XEED WUX500ST is a compact, efficient and versatile LCOS projector. Featuring 5,000 lumens colour brightness, built-in HDBaseT and a 75 per cent vertical lens shift, it’s an exceptional short throw projector for installations. The impressive combination of features makes the XEED WUX500ST ideal for a wide range of sectors including higher education, museums and galleries, corporate, simulation and training, and digital signage. As one of the most compact short throw projectors available in the market, the XEED WUX500ST can fit into the tightest of spaces and comes packed with a range of advanced functionality including PC-less multi-projection. With 5,000 lumens colour brightness and a 2,000:1 native contrast ratio, the XEED WUX500ST provides a striking level of performance. Connecting to the XEED WUX500ST is a straightforward process, thanks to its wide range of input options including built-in HDBaseT. Plus the XEED WUX500ST is incredibly power efficient and offers a low total cost of ownership.

BenQ LU9715 BlueCore The BenQ LU9715 BlueCore Laser Projector is the brightest choice for all large venue applications including museums, galleries or lecture theatres. It is equipped with the world-class BlueCore one-chip DLP high brightness laser technology which delivers 8,000 ANSI-lumen brightness and 100,000:1 contrast ratio for superior viewing experiences. This provides improved colour performance via a dual colour system to generate pure, accurate and balanced colours. In addition, the LU9715 boasts automatic brightness adjustments to retain clarity and subtle details with 2.3 million pixels, superior to Full HD 1080p, for increased content capacity and picture performance in all lighting environments. The LU9715 is guaranteed for 20,000 hours of superior image quality viewing and brightness performance as the laser light source does not colour decay over time. This is a result of the extremely reliable and durable DLP chip which is used in worldwide cinemas and all IMAX theatres. Ultimately, this can help users to save on lamp replacements and maintenance costs. The LU9715 has also been kitted with an advanced liquid cooling system to control heat extraction and produce smooth audio after constant projector operation.

Christie 630-GS Series A new Christie projector from the GS Series has been introduced - the Christie 630-GS, which delivers an unbeatable combination of brightness, image quality, lens and resolution choice, low noise, form factor and proven 1DLP high usage reliability to value-oriented end users. Performance measures that set 630-GS Series apart include new, more efficient components that provide up to 6,750 ISO lumens of light output, for excellent image performance, even in high ambient light environments common in higher education and corporate facilities. The 630-GS provides unbeatable contrast, too, with 4,000,000:1 Christie RealBlack contrast ratio making images pop off the screen. It’s available in either HD (1920x1080) or WUXGA (1920x1200) resolution, with a full GS-Series lens suite compatibility. The 630-GS, which offers a combination of image brightness and low noise, is among the smallest and lightest projectors in its brightness class, while its proven 1DLP reliability makes it ideal for high usage environments.


Digital Projection M-Vision Laser Boasting an impressive 18,000 lumens output and 10,000:1 contrast ratio, Digital Projection’s M-Vision Laser 18K projector is a powerful single chip DLP projector with solid state laser technology. The M-Vision Laser 18K brings budget-sensitive applications a large-screen imaging solution and near 3-Chip performance at a 1-Chip price point. With a WUXGA resolution and 20,000 hours of illumination, it frees users from products maintenance and provides a low cost of ownership. The Laser technology also produces less heat than conventional projectors, thus improving working conditions. The Colour Boost Technology enables sharp and realistic display with saturated colours, while the intelligent processing delivers a colour performance closed to 3-Chip DLP. Solid state technology also allows for multi-axes orientation for higher flexibility in Portrait or Landscape position. Venues contending with ambient light, as well as applications needing a powerful yet budget-conscious large-format imagery solution, will directly benefit from the M-Vision 18K’s ample light output. Perfectly suited to all applications where high brightness is required, no feature has been overlooked: DisplayPort accepts frame rates up to 60 Hz and HDMI 1.4 for Side by Side, Frame Packing & Top Bottom 3D formats. Finally, Motorised shift, zoom and focus across the whole lens range gives superb adjustability and ease of setup.

Vivitek DK8500Z

Epson EB-L1505U Promising long-life laser projection for large venues, the EB-L1505U is a 12,000 lumens WUXGA LCD laser projector. Images will have rich, vivid colours thanks to Epson’s 3LCD technology and equally high white and colour light output. With flexible installation and low maintenance, this 4K enhanced projector offers a fit-and-forget solution for scenarios in which only superior projections will do. Ensure superb quality and the best possible delivery of presentations with this laser installation projector for large venues. Featuring 3LCD technology and equally high white and colour light output, its WUXGA resolution images are vivid and bright, even in daylight. Including a newly developed inorganic phosphor wheel, the projector offers superior light and heat resistance to deliver excellent reliability. For a next-level viewing experience, the projector features 4K enhancement, giving images exceptional sharpness and clarity that lasts for up to 83,000 hours thanks to a long laser life. A built-in camera is also included to ensure accurate image calibration The world’s first 12,000 lumens WUXGA 3LCD laser projector offers superior images and a long-lasting, low maintenance performance.

Vivitek’s DK8500Z is a 7,500 lumen laser projector that offers an extraordinary 4K-UHD resolution for large venue applications. Its DLP technology delivers vibrant and rich picture quality combined with 4K-UHD resolution with 8.3M pixels to show every detail. Designed for easy installation with motorized interchangeable lens options and 360° set up flexibility, its long-lasting laser light source provides up to 20,000 hours of operation. A further benefit of the DK8500Z being laser based is its consistent colour performance during many hours of use. Typically, a projector’s colour performance will change as the brightness decreases over time. Because laser light source life expectancy is much longer up to 20,000 hours, its performance is more consistent, for longer. Furthermore, the DK8500Z can deliver 24/7 operation effortlessly. Unlike lamp-based projectors - which may require more maintenance, this laserbased DK8500Z features maximum thermal control. Consequently, this means the DK8500Z can run for 24/7, with less maintenance and user intervention.






1. Absen M2.9 Pro

3. Alcons QR24/110

The Absen M2.9 Pro is the new generation of the award-winning M2.9, which marked a major change in the rental staging industry in 2016. The M2.9 Pro is a sub-3mm pitch LED solution which features a patented fast locking system that typically saves up 50% of building time compared to standard LED panels, while ensuring perfect alignment and protecting against pixel damage thanks to its advanced design, making the build-up of a video wall even faster. This panel is the perfect fit for any rental staging or production company looking for a lightweight, robust and reliable LED solution that is fast and easy to assemble / dismantle, whilst providing stunning images. Weighting only 8.6kg, the new M2.9 Pro is Absen’s new flagship black SMD panel. Boasting a contrast ratio of 7,500:1 in a 168x168 pixel cabinet (500mm x 500mm x 96mm), the M2.9 Pro can be stacked to create a ±5° concave or convex screen surface without the need for any additional tools or accessories, taking modularity to another level.

The QR24/110 is a modular two-way column loudspeaker to be used as scalable vertical array system, for both permanent and (limited) portable applications. It combines a 1:1 linear and dynamic sound reproduction with superb intelligibility and throw, in even the acoustically most challenging environments. The symmetrical acoustic design, in combination with the wide, patented 110º horizontal dispersion of the RBN High Frequency drivers (all the way up to 20kHz), offers a coherent horizontal pattern control with seamless coverage; This widens the stereo sweet spot”significantly, for the off-axis positioned audience. The QR24/110 is powered and controlled by the ALC amplified loudspeaker controller; Through the integrated processing and feedback, the ALC offers QR24-specific drive processing with optimal response and reliability and utmost user-friendliness. The Signal Integrity Sensing pre-wiring dynamically compensates for speaker cable/ connector influences between the QR24 and ALC; This offers a 1:1, undistorted, natural sound reproduction, regardless of cable length and amplifier impedance load (system damping factor 10.000). The QR24 is also available as QR24/80, with 80º horizontal dispersion and can be combined with the QR24/110 in the same array.

2. ADJ Encore FR50Z & Encore FR150Z Following the success of ADJ’s Encore Profile Ellipsoidal spotlights, the Encore Series has been extended with the introduction of two new fresnel fixtures. The Encore FR50Z and Encore FR150Z are powerful lighting units that are ideal for providing warm white illumination for theatre performances, conferences and other stage productions. Both of the new fixtures are powered by highly efficient and reliable LED light-sources and generate a soft-edged beam at 3,000K with a CRI of 95. They feature barn doors to allow dispersion adjustment as well as a manual zoom control that allows the beam angle to be adjusted between 8º and 50º. The Encore FR50Z is equipped with a six-inch fresnel lens and is powered by a 50W LED engine. Its flexible warm white beam is ideal for use in small-to-medium-sized theatres as well as for touring productions and conference work. It is also compact and lightweight, making it ideal for venues with limited space and for small tours and one-off events when transportation space is limited. For situations where a more powerful beam is required, the FR150Z utilises a potent 130W LED lightsource and features an eight-inch fresnel lens. It creates a high-octane beam that is perfect for use in bigger theatres and on large-scale productions. Both models daisy chain their power through powerCON connections, and communicate through five-pin DMX in/out.

4. Allen & Heath SQ Series With their 96kHz XCVI FPGA engine, Allen & Heath’s new SQ Series digital mixers bring the high-resolution audio performance of the company’s highly acclaimed dLive Digital Mixing System to a compact and cost-effective platform that’s both easy-to-use and highly customisable. With the built-in SQ-Drive, recording engineers can capture high resolution stereo and multitrack to a USB drive. In the studio, an SQ Series mixer can become a plug ‘n’ play, Core Audio or ASIO compliant, 32x32 96kHz audio interface, with MIDI and DAW control capabilities. To complement the SQ Series built-in EQ, compression and effects, users can add Allen & Heath’s optional boutique plug-ins while the mixer’s DEEP processing architecture maintains class-leading <0.7ms latency.

Linking People Together

LQ Series™ 4.0 IP Comms for Everyone IP-based communications is not a new concept, but for traditional partyline intercom users, crossing over to the IP domain is still an aspiration. With LQ Series IP Interfaces, linking dierent intercom instances together over IP is now achievable. LQ Series of IP interfaces enable industrystandard brands of analogue and digital partyline systems to seamlessly connect with other communications systems, including 4-wire audio, mobile apps over WiFi, and two-way radios, over standard IP networks. Thanks to IP connectivity within LQ, IP truly can be for everyone!


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1. Aryton Ghibli Ghibli is Ayrton’s first LED spot luminaire and marks an expansion of Ayrton’s automated lighting range. Compact, elegant and lightweight, Ghibli boasts high output, ultraefficient optics, a 8:1 zoom from 7° to 56° and a selectable high CRI mode amongst its wealth of features, all housed in a most compact, competitively-priced, package with a classy, sleek, industrial design. Ghibli uses less than 900W of power in total, yet delivers an impressive output of 23,000 lumen, which renders it powerful enough for large scale arenas. In addition, its output is of an incredibly high quality, offering a crisp, clean and uniform beam with no hotspot, and fantastic centre-to-edge uniformity that delivers fat beams across its whole field, meaning Ghibli is at home as much in theatre as on the touring circuit.

2. BASSBOSS AT212-3K Austin-based premium powered loudspeaker manufacturer BASSBOSS has announced a refresh of its popular two-way, self-powered, bi-amplified AT212 Powered Top. The new AT212-3K improves upon the impressive performance of the original with the help of a Powersoft Digimod 3004PFC2 amplifier module, which doubles the available wattage from 1,500W to 3,000W and delivers improved sound quality and higher dynamic power while maintaining light weight and portability.

3. Bose Professional EdgeMax EdgeMax loudspeakers feature proprietary Bose PhaseGuide technology, which provides room-filling coverage while improving overall sound quality compared to the performance of conventional ceiling loudspeakers. EdgeMax loudspeakers can eliminate the need for conventional ceiling speakers mounted in the centre of rooms, or surface-mount loudspeakers mounted on walls. Due to its unique design and consistent coverage pattern, EdgeMax loudspeakers reduce the total number of in-ceiling loudspeakers required, enabling installers to move efficiently through the installation, creating great-looking and great-sounding end results.

Additionally, EdgeMax loudspeakers produce excellent intelligibility for speech and full-frequency response for music, making them ideal for retail, commercial, industrial, institutional and conferencing applications. EdgeMax in-ceiling premium loudspeakers are available with two different horizontal coverage patterns. EdgeMax EM90 models provide nominal 90º horizontal coverage and are intended for in-ceiling mounting near room corners. EdgeMax EM180 models provide nominal 180º horizontal coverage and are intended for in-ceiling mounting near wall boundaries centred along target coverage zones. Both models feature 75º asymmetrical vertical coverage, which is optimised for ceiling heights between 8ft and 20ft.

4. Brainworx bx_console N Packed with new features, bx_console N takes the concept several stages further, featuring a new THD (Total Harmonic Distortion) knob that adds saturation to the signal, simulating levels of pleasing distortion feasibly found when overdriving a realworld analogue console in addition to bringing definition to sounds. Better still, the RANDOM CHANNEL function randomly assigns a TMT channel to either one instance or all instances of bx_console N in a session, so users can easily introduce analogue nonlinearities from channel variation into their mix. Brainworx’s patent-pending TMT takes into account the real-world variation between hardware components in a channel strip. Such variations, when combined across a mixing console, are a key component behind the warmth, depth, and width associated with analog gear. TMT measures a ‘golden unit’ channel from the hardware - in this case, a rare 72-channel Neve VXS analogue console, using the component values within and their specified tolerances to create an algorithm that simulates the same variation found in a brand-new console. In bx_console N, that TMT gives rise to 72 unique channels reproducing the analog characteristics of the original console. Combined with an extremely low CPU (Central Processing Unit) load, this effectively enables users to create a virtual 72-channel console in their DAW (Digital Audio Workstation). Wisely, the TMT section also allows selection between ANALOG and DIGITAL modes on stereo instances — analogue mode uses two, stepped channels on L/R, lending a pleasingly imperfect stereo image that is wider and warmer, while digital clones the channel on L/R, lending a ‘digitally perfect’ stereo image (though TMT channel characteristics still individually apply).

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1. Clear-Com Eclipse HX Clear-Com has announced that its Eclipse HX digital intercom system can now integrate with Salzbrenner’s INSPIration stage management consoles to deliver a single, seamless and simplified control surface for theatres, performance halls and opera houses around the world. Clear-Com’s Eclipse HX digital intercom platform delivers tremendous flexibility, scalability and reliability over IP, Dante and AES67 Interfaces. Its V-Series intercom panels offer many physical and virtual keys allowing each panel to become a multi-functional control surface, while the Agent-IC app - available on iOS and Android platforms enables mobile access to both intercom and Stage Management functions. The Eclipse HX system supports HCI, an open control protocol that allows external systems to integrate with and control the Eclipse HX system. The protocol provides a rich set of control and monitor commands that are used to implement a wide variety of control applications, including crosspoint control, audio level control, panel key assignment, GPI monitoring and routing/monitoring of both conferences and IFBs. Salzbrenner’s highly scalable INSPIration stage management system provides full integration of all required audio and paging functions in the audio matrix, including intuitive user interface with individual key assignment plus user stored and recallable presets per performance. The platform is future-proofed with the latest IP-based technology. By integrating Eclipse HX key panels and beltpacks with the INSPIration console via the HCI protocol, operators can have remote access to stage management functions or information, such as cue light control, paging from intercom panels and video routing control. Operators can also tailor the intercom system for scheduled or ad hoc control, reconfigure the system from show to show depending on requirements, or even change it on the fly during the show.

2. Datapath VisionSC-SDI4 Developed for capturing multiple high definition SDI video signals, the VisionSC-SDI4 is an ideal solution to audiovisual professionals looking to capture from multiple SDI

sources. Due to the multiple feed requirements of broadcast studios, the Datapath VisionSCSDI4 is the capture card of choice. The four-channel VisionSC-SDI4 has been specifically developed to capture multiple high-definition SDI video signals. Each 3G-SDI input is capable of capturing 1920x1080p at 60fps. Furthermore, all of the channels are hardware time-stamped, allowing for larger surfaces to be captured and stitched together seamlessly according to requirements. For streaming applications, the VisionSC-SDI4 can be used with Windows Media Encoder to compress and stream captured video, while the RGBEasy SDK is also available for customers wanting to integrate Datapath cards into their own software environments.

3. Dicolor X-PLUS The X-PLUS LED display from Dicolor features smart connection technology, which makes the connection panels together quick and easy. Its innovative curve locks design can realise ±5°, ±2.5°,0° easily to make different screen shapes. Two panels can achieve 16:9 golden viewing ratio and match display image perfect. The anti-damage design protects the LEDs, while the handle design and special magnets on the top enable fast and easy installation. The modular design allows module and control box maintenance from front or rear easily.

4. DPA Microphones CORE Located in the capsule of its miniature mics, ‘CORE’ is currently available in the d:screet 4060, d:screet 4061, d:fine 4066 and d:fine 4088 mics. Microphones purchased with the new technology will come in ‘CORE’ packaging and will have a blue label near the serial number on the cable to differentiate between these and the original versions. A very discreet laser engraving stating ‘CORE’ has been incorporated at the microphone capsule as well. The remaining d:screet and d:fine microphones and full range of colour options will be available with ‘CORE’ technology in early 2018.

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1. ETC Unison Echo

3. HOF Excellent Line DesignStand

ETC has upgraded the software for its Unison Echo products, adding powerful new capabilities to the architectural control system. New features include the ability to manage tunable white fixtures, adding sequence control to Echo’s DMX controller, and more. This software upgrade now lets users control white-tuning DMX fixtures, choosing the temperature that best suits the space. Echo’s ability to control colour-tuning fixtures has also been expanded, allowing users to mix a chosen temperature of white as well as colours. The EchoAccess mobile application has undergone a graphics upgrade to ensure users can easily customise the look and feel of their system. DMX functionality has also been expanded. Sequence control gives users the ability to introduce automated, dynamic colour control to their environments by stringing simple presets together. And a new trigger function allows the Echo DMX Scene Controller to interface seamlessly with external DMX sources. With it, users can dictate how the system should behave if a more sophisticated DMX source is plugged in, or what to do if a

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. Three different lines, D-Line, S-Line and P-Line, offer solutions for lamps, projectors and loudspeakers. The Excellent Line DesignStands are giving uniform look to all AV equipment used in small to medium 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 of the Excellent Line DesignStands 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. 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 aluminum baseplate has eight additional holes for substructures. Touring cases for every line are available.

2. Focusrite RedNet X2P Compact and robust, the RedNet X2P, featuring two Red Evolution mic pre’s, stereo line outs and a stereo headphone amplifier, allows quick I/O and monitoring expansion of Focusrite RedNet or other Dante audio-over-IP systems. Power, audio and remote control are supplied using a single Ethernet cable. The two digitally-controlled Red Evolution mic pre’s provide plenty of ultra-clean gain along with stereo linking, individually selectable phantom power, a high-pass filter and phase reverse. Additionally, they include Air mode, emulating the sound of Focusrite’s classic transformer-based mic preamps. The RedNet X2P provides high-performance audio conversion with over 118dB dynamic range. These converters have been expertly selected and calibrated to provide the best balance of sound quality, dynamic range and conversion latency. RedNet X2P features a crossfader to enable level control of the local inputs versus network inputs assigned to feed either the line outputs or the headphone outputs. The unit can be mounted directly to a mic stand, keeping it out of the way and within reach. Flexible control locks enable local control of mic pre settings and output settings, or both to be locked. Artists can adjust their headphone mix and level, safe in the knowledge that they cannot accidentally adjust the mic pre gain.

4. LITEC TH30SA Truss The TH30SA triangular truss from LITEC includes a unique end-plate design - which allows users to use either a conical or bolt connection system -thereby making it the right choice for light and medium-duty applications and providing extreme durability for rental applications. The main advantages of the end-plate connection system are: greater resistance to twisting; decrease in bending; absolute connection compatibility between trusses over the years; and no risk of truss end deformation. The 48x3mm main chords also make it compatible with the most popular scaffolding clamping systems. Constructed from extruded 6082 aluminum alloy, it features high load bearing capacity and twist-resistant strength.














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1. Phillips Vari-Lite VLZ range

3. RCF MR 52EN B / MR 52EN W

The three fixtures - the VLZ Spot, VLZ Wash and VLZ Profile - are dedicated to their individual functions, yet designed to work in unison. All deliver fast, accurate and repeatable movement on all functions. All three VLZ fixtures use the Philips Vari-Lite CMY-CTO colour system, familiar to lighting designers worldwide for its creation of seamless mixed colours. Complementing this, dual fixed colour wheels with linear control give access to all the Vari-Lite colours and split colour combinations that users will expect. In addition, colour shake and colour wheel spin control have been added to every model, further extending the creative options available. Using the same 620W LED engine, all Philips VLZ fixtures produce an 8,000K colour temperature light output with variable CTO adjustment. They can also be frequency tuned and are equipped with Gamma shift for cameras. Lighting designers and directors are assured of consistent colours, effects, programming and performance across the range, reducing time spent adjusting for variations between fixture types. ‘Standard Mode’ operation delivers another major advantage, as the VLZ sets a new standard for quiet operation.

Compact design and a wealth of mounting options make the RCF MR 52EN B / MR 52EN W is an ideal two-way loudspeaker for the likes of hotels, museums, shopping malls and schools. Installation is fast and efficient using the accompanying adjustable mounting bracket. Connections are made of ceramic terminals. Wattage taps and voltage adjustments selectable by means of two rotary switches. The enclosure is constructed of high density, scratch resistant ABS and includes a protective steel grille and connection cover.

2. PR Lighting Aqua 350 Beam The waterproof and dustproof Aqua 350 Beam moving head features a 350W lamp and thanks to its advanced optical system delivers a precise, tight and powerful 2.1° parallel beam. This makes it ideal for all outdoor situations, particularly where an outdoor searchlight and big air looks are required. The fixture is fully featured as would be expected; includes 12 dichroic colours (including CTO and White), two gobo wheels (one fixed and one rotating) and three prisms. The fixed wheel contains 16 gobos plus open and the rotating wheel 12 interchangeable gobos plus open. The three prisms offer eight-facet, 16-facet and linear, with bi-directional rotation plus CTO, Frost and Open.

4. Sennheiser XS 1 Audio specialist Sennheiser is expanding its microphone portfolio with the wired XS 1 dynamic microphone. This rugged, entry-level mic brings Sennheiser quality to applications ranging from solo vocals to choir micing and speech. The cardioid XS 1 offers well-defined sound with an excellent presence in the mix. It is fitted with a lockable mute switch and comes complete with a stand mount and leatherette pouch. The XS 1 features balanced, full-bodied sound with a slight emphasis on the treble, which ensures that vocals will easily cut through high on-stage sound levels. Its cardioid pick-up pattern provides additional isolation from unwanted sound and great feedback rejection. The capsule is shock-mounted to minimise handling noise, while the mic’s frequency response (55 to 16,000Hz) filters out any structure-borne low-frequency noise.

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“Minuit Une only produces lighting fixtures based on the IVL Lighting technology, which we own. We produce no lamps or LED projectors - this means that we are in competition with no one.”

AURÉLIEN LINZ CEO at Minuit Une How did you first get into the industry? What is peculiar about my career path is that I am not originally from the entertainment industry at all. It is my training as an Optical Engineer and my fondness for concerts that led me to wonder if I could mix the two passions. As a student, I used to go out a lot and often thought that, besides the super shows with enormous budgets, the stages and the lighting setups were often similar during concerts. That is when I thought of two simple things. The first one was to imagine a luminous object for entertainment; that is to say, a device that wouldn’t be a projector lighting the stage from afar, more an object that would fit into the setting, at the centre of the scenography. The second idea was to create this lighting object at 360°, not a lighting beam.

What made you decide to start Minuit Une? When I was still a student at the Institut d’Optique, I talked about all of this to another student, Simon - who today is another associate and we began to think of the best way to achieve this double idea. Soon, we came to the conclusion that the best way to achieve what we wanted was to have a rotating beam, so that the light would seem to create a light plane. This simple idea is the basis of our IVL Lighting technology, which was internationally patented even before we graduated from the engineering school. After three years of research and development, many home-made prototypes and as many trial runs in any Parisian event that would welcome us, we finally came, with certainty, to the conclusion that, not only is the technology is functional, it is also something really innovative that considerably

attracts the attention of the audience. As the technology was ready and the feedback excellent, we then decided to start the commercial and industrial phase by launching Minuit Une.

What makes Minuit Une different from other companies?

hope to be established in those two continents by the end of 2018. Besides that, we are also in contact with the American market, in which we will start working during the first part of 2018. We receive interest from the American market on a weekly basis.

Minuit Une only produces lighting fixtures based on the IVL Lighting technology, which we own. We don’t produce lamps or LED projectors - this means that we are in competition with no one and we are an ally for everyone who wants to enhance their creativity and introduce a new atmosphere.

Tell us something that we don’t know about Minuit Une?

What installations / projects have Minuit Une been involved with recently?

What three things would you take with you on a desert island?

During the month of October alone, we can mention the recent private showcase of Franz Ferdinand for the release of their new album, a filmed concert of The Horrors for the FrancoGerman TV channel, ARTE and the start of three tours - Kiasmos, Disiz et Astrid S. We have also installed 20 products at the Royal Albert Hall in London for two concerts of the American rock band, Alter Bridge accompanied by a symphonic orchestra. The Innervisions label - the label of star DJ, Dixon - asked us to join them on different dates, which started at the Amsterdam Dance Event. Finally, our devices were at the Nordik Impact Festival, during the Nuit Blanche in Paris, as well as the closing night of the Foire Internationale d’Art Comtemporain de Paris.

Because I am French, the first two things I would take with me would be good wine and good food. But, as I am rational, the third thing would be a boat to go back and continue our projects!

What are the future plans for Minuit Une? At the moment, we are building a distribution network in Europe and Asia. We are in discussion with important contacts in both regions and we

Well, did you know that Minuit Une literally means ‘one past midnight’? As in the first minute of a new day for, maybe, the beginning of a new era for the light design that already started.

What is your most prized possession? My amazing team. They are all extremely talented and very, very motivated by the promising feedback we receive every single day about our technology.

Where is your favourite place in the world? The answer is quite obvious for someone living in the most beautiful city in the world, isn’t it? For me, Paris is the perfect showcase location and a wonderful playground in which to live. But another location would be the ones we didn’t have the chance to visit yet, because we want to make the world our playground in the nearest future.

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