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JANUARY / FEBRUARY 2018 | 28.2



AVIXA CEO talks us through his own history and the company’s future.


Our first report dedicated to the nightlife genre.



A comprehensive list of the powerhouses in audio.







20 3 X2 E10 e – 7M – nc e H T O ri O RO pe O x B E O M DE va





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11 April Prolight+Sound Frankfurt


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ON THE COVER Inner City Zoo, Dubai EDITOR Rachael Rogerson-Thorley ASSISTANT EDITOR Sam Hughes EDITORIAL ASSISTANT Hannah Ryan SENIOR ACCOUNT MANAGER Jamie Dixon ACCOUNT MANAGER Laura Iles DIGITAL EDITORIAL ASSISTANT Jacob Waite 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

Happy New Year to you all. Hope you had a good break over the festive season. Does it feel like it was a lifetime ago already?... Yes! We’ve started the new year with a new recruit, Jacob Waite has joined us as Digital Editorial Assistant and he’s in charge of all our digital platforms. So, if you have content for the website, a video about a new product or installation, want to interact with us on social media, drop Jacob a line - his contact details are listed to the left. The beginning of 2018 also brings us closer to our second edition of the mondo*dr Awards. We’ve just extended the entry deadline to 31 January, so if you do want to be in with a chance of winning, you’ve still got a little bit of time to get your entries in. Our awards evening is taking place during Prolight+Sound in Frankfurt again - and we’d love to see you there. It’s a chance to relax, network with industry peers away from the show floor and, at the same time, celebrate the winning installations. You can register for the event at: In our first issue of the year then, you’ll find a round-up of the latest nightclubs to hit the global scene. Although we were once a purely nightclub based magazine, we branched out a number of years ago to cover all types of entertainment venues such as theatres, theme parks, houses of worship, retail outlets, museums and more. Entertainment takes on many forms these days, but nightclubs are still going strong in certain parts of the world, so be sure to check out the feature. Elsewhere, we’ve got an interview with AVIXA CEO, David Labuskes who takes us right back to his childhood, through to the present day and what the name change means for the association and the tradeshows. A second interview with Riedel also features, as the company celebrates its 30th anniversary. We’ve got a mixture of venues for the In Focus section and an array of product launches, open days and training sessions keeping the In Business section busy. I obviously can’t sign off without mentioning the upcoming tradeshow season that is about to begin, kicking off in the USA with NAMM and in Europe with ISE. We’ve started our diary, so please send in any press call dates and times, or get in touch for an appointment. See you in Amsterdam.

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features • Variable white tones in the range from 2000K to 5800K • Good display of Planck’s curve thanks to 3 LEDs • 3-step MacAdam sorting • Made in Germany

See the T-Series at ISE Amsterdam RAI, 6-9 February Hall 8 / Booth M120

Stay Connected RACHAEL ROGERSON-THORLEY EDITOR Printed by Buxton Press, Palace Road, Buxton, UK


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The Visionaries Choice 03/01/2018 12:50



IN DEPTH 22 INTERVIEW David Labuskes - AVIXA 35 REPORT Nightclubs



DAVID LABUSKES An interview with the AVIXA CEO, who discusses how he reached the role and his predictions for the future.

62 ROYAL EXCHANGE THEATRE Manchester 64 INNER CITY ZOO Dubai 74 UNI.T Berlin 80 VII Dubai 86 SOCIAL CLUB Mallorca 90 LAVA CENTRE Hvolsvöllur

80 VII An Alice-inWonderland style venue that houses one surprise after another,




XI’AN INCIDENT The 80th anniversary of the Xi’an Incident was marked by a live show dramatising the event performed at Yaoguang Pavilion Theatre.

118 SHOW PREVIEW ISE, Amsterdam 128 LDI Las Vegas 134 JTSE Paris 138 BITAM Madrid 140 TECHNOLOGY SHOWCASE HD Pro Audio 142 OPEN DAY Sound Technology

178 JAKE DODSON As the company celebrates its 30th anniversary, we catch up with the Director of Product Management.

144 BEAM STEERING SUMMIT Fohhn 146 IN DETAIL Cerwin Vega, Tasker, Visionary Solutions, PK Sound 154 PRODUCT GUIDE Amplifiers 168 PRODUCT DIRECTORY 178 LAST PAGE INTERVIEW Jake Dodson - Riedel



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Rachael’s trip to NEXO headquarters

Hannah’s trip to CUE, Rotterdam



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Advertising Index 5 Star Cases 52 Absen 105 Adam Hall 25 & 143 Adamson 137 ADJ 43 Allen & Heath 27 Antari 113 ASC 41 Astera 79 Atlona 33 Audac 171 Audiocenter 75 AVIXA 116 Avolites 131 Black Magic 165 Bose 127 Cerwin-Vega 60 Chauvet 149 Christie 77 Clay Paky 125 Clear-Com 153 CODA Audio 123

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Prolight + Sound 169 Prolight Concepts 161 Prolyte 73 Renkus-Heinz 141 RGBlink 99 Riedel BC Robe 59 Schnick Schnack Systems 7 Sennheiser 163 Star Lighting Division 147 Starway 139 Steinigke 103 Studio Due 155 Sunlite 6 Tasker 173 TiMax 49 TW AUDiO 67 Unilumin 11 Unusual 47 VMB 161 XTA 121

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ATLONA: LOOKING AT THE BIGGER PICTURE With the AV industry going through a transition period, Ken Eagle, Director of Field Training and Technical Sales at Atlona, discusses how the company’s inperson and online training courses can help professionals navigate through the changes. The AV industry is working through a rapid transformation in two distinct ways. First, higher resolutions and dynamic content require that end users evaluate and upgrade their infrastructure to accommodate more bandwidth. The second big shift is migration from traditional transmission mediums, such as analogue, HDMI and HDBaseT, to AV over IP. The common thread across these changes is understanding how IT systems are leveraged and managed in the AV universe. While IT infrastructure itself is not new, it is a new subject for many dealers, distributors and systems integrators that are just beginning to work through the convergence challenges. Training initiatives across the industry continue to evolve to meet the growing educational demands of AV and IT convergence. From beginning to advanced courses, the overarching goal is to provide a foundation for those working in the industry to remain successful moving forward. Optimise Value AV is a diverse industry that crosses many business areas. In the simplest

• Above Ken Eagle, Director of Field Training and Technical Sales for Atlona.

of terms, there are different training requirements and approaches for residential and commercial systems. In residential systems, trainings often focus on managing higher resolution content. Handling HDR data requires bandwidth of >11 (up to 18) Gb/s, so only AV equipment compatible with the HDMI 2.0 specification has enough headroom. This is further challenged with limits on transmission distances, and specifying equipment that can additionally support HDR metadata, for example. For commercial AV, a common concern across verticals is balancing cost with complicated system designs associated with mixed communication infrastructures. Business owners often prefer a more cost-effective technology refresh over laying out big dollars on a completely new system. For reasons such as this it is essential to understand how existing presentation systems can be augmented to work with newer technologies such as cloud-based control systems and wireless communication. However, training needs can differ from vertical to vertical, as corporate, education and hospitality all have unique needs. In corporate AV for example, there is

significant interest in focussing on the sensitivity of network security. Therefore, the need for education around protecting client data continues to grow as we transition to AV over IP. A typical Atlona course structure and format will often resemble the following: • Beginner: Cabling and signal types, covering topics from EDID management to 4K/UHD - and how bandwidth needs and management are affected. • Intermediate: Specific product categories, with an emphasis on how to configure, use and interface Atlona products with other systems on the market. • Advanced: Detailed and specialised courses on AV over IP, networked control and other deep engineeringlevel topics focussed on the entire infrastructure. To maximise effectiveness, courses should routinely be customised by region and business focus, and developed in tune with needs of local dealers and integrators. Therefore, vendors that bring training opportunities to your region can generally


be counted on to understand your specific educational needs. The hands-on approach of onsite training is tough to beat. Beyond standard PowerPoint presentations that provide general education, the most effective initiatives supplement lectures with handson courses. In the case of Atlona, trainings are offered at our San Jose, California and Zurich, Switzerland factories. For improved focus and penetration, a series of authorised training sites routinely offer training and educational classes in Australia, China, Denmark, England, Israel and Mexico among other locations. The hands-on courses at these facilities enable attendees to spend time in our labs over one-to-three days, configure HDMI and HDBaseT presentation systems, set up IT networks, and bring AV over IP streaming devices and networked control online. Most of these courses are limited to approximately 10 attendees, which ensures valuable one-on-one time throughout the session. Effective Use of Time While live, in-person training courses deliver tangible value, there is no question that online training fills the

void. Online education portals and learning management systems continue to proliferate around the industry, ensuring that those unable to travel can still benefit from training experiences. In fact, online trainings have quickly become a preferred method for many Atlona dealers and integrators. As a vendor, making the best use of the viewer’s time is the most effective way to reach them from a distance. We recommend producing a series of short, digestible videos in varied formats live lectures, engaging animations and standard PowerPoint presentations among them. By fueling our creative juices inside these vignettes, the feedback we receive is that they are interesting to watch along with providing the educational value we want to teach. This also provides replay value for partners. Several Atlona examples of this can strategy be found at https://atlona. com/training. Ensuring that content is responsive and can playback on any device is another important piece to ensure effectiveness. We hear from integrators out on the job and up on a ladder who view training videos on their mobile devices as they

• Above Atlona’s Launch & Learn event

are working on a field installation. For example, recalling an RS-232 pinout for a particular display or projector isn’t always a given in the moment. With virtually every integrator having a tablet or phone on the job, it’s critical to provide those 30-second clips as part of your online training program. As the industry moves deeper into this new IT-centric phase, the changes in content, networking and infrastructure will continue to evolve and multiply. As a dealer, distributor or integrator, be sure to look for programs that are diverse, offer information for your sales team, and will help you grow your business. As a vendor, it’s our responsibility to ensure those programs are as easy to access as possible on a global basis, whether in-person or online – and that those programs offer the educational value viewers and attendees need to move forward.

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


Ludezhuang Catholic Church Ludezhuang Catholic Church in Hebei Province, China, installed a new outdoor One Systems Direct Weather loudspeaker system to reinforce the indoor sound system used during the annual pilgrimage to the church after the church committee recognised the need to upgrade. After meeting with the committee, Muse Audio recommended a distributed system made up of 10 One Systems 112/HTH loudspeakers. Eight of them are mounted in pairs to four lighting poles, positioned to cover the church square. Two more 112/HTH were added to two of the poles, placed to provide coverage to the lanes outside of the square. LJ, General Manager at Muse Audio, said: “The loudspeakers offer exceptional vocal intelligibility and amazing sound quality - when the church plays music or makes a speech - everyone can hear the sound and voice clearly. The church committee is pleased with the end result. They have a system that will reinforce the pilgrimage for years to come.”

ONE SYSTEMS One Systems is a US loudspeaker manufacturer based in Nashville. The company designs and builds high intelligibility premium loudspeakers that deliver top-class performance, all while being impervious to any weather condition. One Systems models aren’t just loudspeakers with directweather capability - they’re high-performance products that can be used outdoors or inside. One Systems designs products from scratch and builds its own drivers using advanced acoustic technologies like its patented Equivalent Throat Technology and Inside/Only Voice Coil designs that ensure high vocal intelligibility, superb full-range frequency response and genuine musical clarity for the best possible sound in any environment. One Systems models deliver years of premium audio performance.

Wilderness at the Smokies Wilderness at the Smokies, Tennessee’s largest waterpark resort, recently completed a major renovation to its outdoor waterpark, with a new One Systems Direct Weather sound reinforcement system also being installed. One Systems design team, with M&M Productions, created an eight-zoned system based on the requirements. Using a combination of One Systems’ loudspeakers and subwoofers, they also resolved inconsistent coverage, poor vocal intelligibility and lack of volume control in different park areas. “Now, the water park has the cleanest system they have ever experienced and no concerns about the durability of their investment,” said Mike Brown, CEO of M&M Productions. “One Systems Direct Weather loudspeakers consistently impress with their sound quality and weather resistance. The park should be set for years to come.”

Goya Beach Club Goya Beach Club, Alanya, Turkey, offers a pool area, club bar/restaurant on the lower level and a beach bar restaurant to its guests. The ambience is enhanced by One Systems sound reinforcement systems, designed and installed by AKHAN-TT Ses Isik Gorsel Sistemler. With all the beach club systems being outdoors or near to the sea and salt water, One Systems Direct Weather loudspeakers were the perfect solution. Four One Systems 104/HTH loudspeakers were specified to provide guests of the pool with medium-high output that would not overpower their stay. The pool bar offers a club-like atmosphere compliments of two 106/HTH and loudspeakers along with two 108/HSB subwoofers. The beach area was taken care of with two 208/HTC loudspeakers mounted to poles near the beach bar entrance. The indoor lounge, bar and restaurant uses two 108/HTH, along with two 108/ HSB subwoofers for the space reinforced by four 106/HTH loudspeakers.







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After attending the official press conference during September last year in Fairfax, Virginia, where the announcement was made that InfoComm International would be renamed to AVIXA, it seemed a logical step to interview the man behind the change. As CEO of the global not-for-profit association, David Labuskes, CTS, is well versed in press interviews, but when Rachael RogersonThorley’s opening question was described as the most unique he’s ever come across, it was destined to be an interview that would deliver a true insight into the industry leader.


Being in charge of approximately 80 members of staff at the Fairfax HQ alone and about 150 globally, and being responsible for managing expectations and delivering experiences to over 6,000 association members, it’s easily comprehendible for the job role to take centre stage, but who is the man pulling the strings? Born and raised in Pittsburgh, Pennsylvania, David Labuskes is the middle child of five siblings - two older brothers, one younger sister and brother. They were a typical 1960s US family, his mother stayed home to take care of the children and the house, while his father was a jeweller, along with his uncle - a business that was started by his grandfather. “My grandfather was trained as a watchmaker after World War I, he opened the first store in 1932 and my father worked there his whole life,” David began. “My uncle left to join the air force during World War II. However, he returned after the war and the pair of them retired when they reached their 70s.” It was the family business that first introduced David to the world of work, at the very young age of 5. Alongside his siblings, he would polish the silver, stuff envelopes with mailers and catalogues, clean jewellery and the glass counters. “My father’s favourite saying was, ‘if

you’ve got time to lean you’ve got time to clean’,” David fondly remembered. The job role at the store was dependent on age, and when each of them were old enough, they would also serve behind the counter selling jewellery. “I learned a lot from working with my father - primarily my pricing strategy. He would tell me that people would come into the shop and ask how much an engagement ring costs, his response was, ‘they start at a million dollars and go down’. He taught us how to let the customers talk us down in price, to always start with the high ticket item and let them talk through how much they actually want to spend. I learned how to talk to people and approach people I didn’t know, too.” Combining working for the family business and school life for a good 10 years gave David a solid foundation for his working life ahead, but at 16 his father fired him and told him to go and get a real job. “He wanted us to get experience and work outside of the store. So all of us grew up in the store, but then went out and got other jobs. I went from the store to being a pot washer in a restaurant, and I was also a bellman, before heading off to Penn State to study International Politics.” After five years of studying for a BA Hons

• Above David in his office at the Fairfax HQ.

degree at Pennsylvania State University, David left the course, just 11 credits short of completing the degree, deciding he didn’t want to study any longer. In sync with his childhood, David had continued to work during his university studies and when he made the decision to quit his degree course, he was working with disabled children. He accepted a new position as a house councillor based in Baltimore, Maryland, which essentially meant he lived with three disabled boys in order to care for them. David stayed in that position for three years, but at that point realised that to go further in that field, he would need a degree in social work, but he wasn’t convinced that was his passion. From there, David took a job selling life insurance door-to-door before quickly moving onto debt collecting. “That latter position is relevant,” he said, “because the owner of that company, Tom Gillespie, did a leverage buyout from the parent company and asked me to take over the IT operations.” This marks the start of David’s career in technology, though his passion and hobby for it had started some years before. “My first computer was a Christmas present from my now ex-wife. The next day I went out and bought some games, one of them being Leisure Suit Larry.


I loaded it up using the floppy disc and I was just overwhelmed and amazed by the machine that was capable of creating those images and experience. I fell in love at that very moment with technology and IT. So, when Tom offered me that opportunity to be the VP of IT, it was a dream come true because I couldn’t have imagined prior to opening that box, that morning, just how intensely I would love technology.” Obviously, being an IT hobbyist and not having any official training, David was apprehensive about accepting the position, but Tom had faith. Tom knew that David had knowledge of the business model and how to run the company operations, which was half the battle. The IT part of the job could be learned. “I self taught myself to manage a small data centre using a DEC microVAX server 3900 - this was obviously pre Ethernet owning the world. We used DECnet technology that was a pre-cursor to Ethernet. I taught myself programming and coding, as well as VMS, the operating system for the DEC, large production printers that were reel to reel, and tape feed for data,” he continued. David continued happily in the role for a number of years, before setting up a new business under the same ownership, in conjunction with another member of the team. Together they set up Accelerated Payment Systems in 1992, which allowed people to pay over the phone with a cheque. “This was pre-Internet days, so if you can imagine, in the collection agency

industry you had someone on the phone saying, ‘I’ll put a cheque in the mail’. It’s the classic broken promise, right? Now, they could go and get their chequebook, give the information, and we could create the cheque. At that time, it was a game changer for that industry. It caught on, we developed a service and charged people per transaction,” David explained. The first big client for Accelerated Payment Systems was CitiCorp, which then allowed the company to pick up the majority of the top 50 banks in the US and the business grew rapidly and successfully. The company’s owner, however, then hired someone else to be president of that business, which displeased David, and a severance package was arranged. It was 1995 and David found himself unemployed. “I started consulting, which is what most unemployed people do! “During my consulting days, I called myself an IT mercenary who could carry out system updates, software installs, and I was leading development of custom programming for teams. I had a couple of different clients, but ended up mostly working with a senior living company we call them continuing care retirement communities here in the US. I worked with them throughout many IT projects and my final project was to be the owners representative - in essence - for the construction of a new community. That’s where I fell in love with technology within construction of new facilities. “I loved the fact that you’d walk across a field and then work with the architects,

the engineers, to design the infrastructures that would support that community. Then watch the bulldozers come in, the buildings go up, and be there the day people were logging into computers and turning on TVs, having been there from concept to realisation.” During the time David was consulting, he met his now wife, of nearly 20 years. They bought a house and settled in Baltimore, but as they were keen to have a family, it was decided that getting a steady job would be the best way forward. David looked for positions, in a similar field to his consulting work and it didn’t take long for him to get snapped up by architectural engineering firm, RTKL Associates. “I built a consultant practice for them focussed on designing technology for buildings. So it was taking what I had done independently during those last couple of gigs and building a business unit for RTKL. They were the fifth largest architectural engineering firm at the time; I was hired by the head of the engineering group and we started to do the designs as part of a full service, architect-planning design practice. We built it to one of the largest technology design practices in the world, having about 50-60 consultants at the time. “At the peak, so pre-2008, we ultimately designed any kind of infrastructure that moved information from point A to point B, so I was working with AV consultants, IT cabling, acousticians, medical communications, wireless and electronic security and safety. During that time, I also did

• Above A common occurence for David - talking to an audience.

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• Above Dave moderates a panel of AV users at the 2017 AV Executive Conference in Key Biscayne, Florida.

a lot of voluntary work for an association called BICSI that is really focussed in on the physical aspects of the ICT industry - low voltage cabling and data centres, which were my direct expertise. I loved working with volunteer members of that association and when in that role we began to develop a design reference manual for AV for the BICSI members, we contacted InfoComm to see if they wanted to work on it as a joint project, which is how I met my predecessor, Randy Lemke.” This wasn’t David’s first experience of InfoComm though, he had been to a couple of the tradeshows prior to co-producing the AV manual. However, the joint venture exposed him to the organisation and association side of the business, which paved the way for a decision he would make in the future. It’s now 2005, but Randy didn’t announce his retirement as InfoComm CEO until some years later in 2012. Although the announcement didn’t immediately peak David’s interest. “I had a really good gig, I was on the executive board at RTKL at that point, I was part of a good practice, and I was working on amazing projects,” he said. “We had undertaken the design for the White House press briefing room, we were working on some of the largest technology infrastructure projects around the world, and I loved the company.” The President Elect at the time of Randy’s retirement was Tony Warner, who also worked for RTKL. It was, in fact, Tony who encouraged David to apply for the role. “I did take a look at the position and what appealed to me was that it

would allow me to be involved with a global organisation at the CEO level, but also continue doing what I loved, which was working with volunteers and being part of an association. So I updated my resume for the first time in almost 15 years, put it in the hat and out of 400 or so applications, I made the first cut,” he explained. It was about a six-month recruitment process and with every phase David fell more and more in love with the idea of having the job. He felt the association and organisation itself was incredibly strong. He liked the idea of facing the challenges that come with running an incredible business in a dynamic industry, and the fact that we would still be able to work with volunteers, something he had a real passion for. “I’d still be able to get my geek on every once in a while, too, being around the technology itself,” he laughed. “By the time it got down to the final three candidates I was really hungry for the job. The final interview was four hours with the entire search committee and they contacted me later that day to offer me the position. That was in the Fall of 2012. I started officially on January 1 2013 and have absolutely loved it ever since.” In David’s role as CEO he said it’s difficult to describe a typical day, because as such, it doesn’t exist. When he’s in town and office-based, he’s one of the first to arrive, around 7-7.30am. His day is filled with a mix of running a $65 million global business combined, interacting with volunteers, being a face for the industry, conducting interviews and travelling

between 200,000-300,000 miles a year. Clearly in the recent months, a proportion of David’s time as been spent working on the company rebrand, which was officially announced back in September. InfoComm International, the association, is now known as AVIXA, the Audiovisual and Integrated Experience Association, but the InfoComm brand still remains for the tradeshows. David explained why the change was necessary: “It started as a conversation with AVIXA Senior Vice President of Marketing Dan Goldstein and asking him to refresh the InfoComm brand. I felt it was dated; I didn’t think the InfoComm imagery reflected the vibrancy of our industry, or appealed to the broader audience that consumes AV technology. He began that process working with a brand agency and we identified a couple of issues with the InfoComm brand as an association - the biggest being we had one name that was being applied to two very different products. One product being the tradeshow, the other being the not-for-profit association that offers certification and training, as well as product development and standards. “When I would ask members around the world, ‘how is InfoComm doing for you?’ If I was lucky I would get, ‘InfoComm the show or InfoComm the association?’ More often than not I’d get, ‘InfoComm is great; I was in Vegas in 2012.’ What started as a leveraging of a well-known show brand - when the InfoComm name was applied to ICIA (the former name of the association), turned into a suffocation. We also didn’t feel that InfoComm

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• Top David announcing the rebrand • Above left AVIXA was introduced via an official press conference • Above right The panel post announcement

reflected what AV is today. It’s so much more than information and communication; it’s about experience, the ‘wow,’ the emotion and the connection of human beings. And finally, InfoComm sounded like an old telecom company, it didn’t sound like an association or celebrate the fact that we were.” Over the course of several months, David, Dan and the team looked at different colour palettes, positioning and sub-brands, but eventually reached the conclusion that the only way to fix those three problems was to change the name. Once that decision was made, the next step was how to ensure the association stayed true to itself with that new name and that’s really where the Audiovisual and Integrated Experience Association (AVIXA) originated from. “AV is what we do, integrated experiences are what we create and the final A is for association. As a not-for-profit association, we can do things that a for-profit company couldn’t or wouldn’t be able to do,” continued David. “Dan and I recommended the decision to the board of

directors in October 2016 and we received their approval at that meeting, unanimously. We then looked at the calendar to figure out when we might be ready to make the launch.” ISE 2017 was considered as a platform but was quickly dismissed due to time constraints. InfoComm Orlando was the next obvious choice - it’s the largest gathering that’s linked to the association directly - however, David was keen not to steal the limelight from the exhibitors. If they had news or new products to share, he wanted to see them enjoy the attention from visitors. Summer is obviously a busy period for the industry, which led to the decision of September. “It’s been incredibly well received and it feels completely natural. It’s much clearer. I spend a lot of time talking to people in different verticals who have never heard of InfoComm and talking to them about AV technology. Integrated experiences make for a more logical conversation for them to participate in. You can have that conversation with a hotel operator, a cruise liner operator, a higher education

sor, or a controller in a banking system. They all understand about creating experiences for their customers and they all understand that AV can contribute to those experiences. “We have two definitions of success as an association: one, that we act as a catalyst for the growth of the AV market around the world; and two, that we are a hub for the AV community, providing a platform for networking and sharing information, and for people to connect with one another in the industry. As an association, AVIXA makes that far easier to do than InfoComm,” he continued. “One final thing I’d like to say about the AVIXA change is the incredible innovation it has generated among my staff, my team and our volunteers,” said David. “I remember the first meeting I sat in after we made the announcement to the staff and somebody said, ‘how would AVIXA do it?’ And I thought, ‘that’s exactly what we want’. We were going into this with 75 years of experience as an association, but as AVIXA, we are going to do doing everything for the first time. There are










• Top David and AVIXA Leadership Search Committee Chair Gary Hall, give a Young AV Professionals Award to Wallace Johnson, VP of Business Development at Mertzcrew, at InfoComm 2017. • Below David snaps a photo of the crowd as it gathers for the ribbon-cutting at InfoComm 2017.

no shackles of, ‘we always did it this way’. That is just so empowering.” As for the shows, that brand name remains the same. “For one, the recognition of the brand for the tradeshow is something that only a fool would throw away. Secondly, it’s an appropriate brand name for the tradeshow. Having both brands allows both of them to evolve independently of each other, which is another great advantage,” David added. Obviously, a significant amount of revenue comes from the tradeshows, some are wholly owned and some are joint ventures. Within the portfolio is a joint venture with Integrated Systems Events, which runs Integrated Systems Europe, which is a joint venture with CEDIA - another association. A second joint venture is in place in Asia called InfoCommAsia Pte Ltd (IAPL) which operates the show in

Beijing and Mumbai. This year, a show in Chengdu, Western China, will be added to the line-up. A third joint venture is with Latin Press, which operates Technomultimedia InfoComm shows in Colombia, Brazil and Mexico. The industry as a whole has seen the tradeshow model change in recent years, and there will of course, always be a different of opinion. David has his own insights: “It’s less about manufacturers showing products and more about them demonstrating the experiences that can be created with those products, or the outcome that can be achieved through the applications of those technologies. We’re seeing more companies taking larger booths to demonstrate how their products are used in a restaurant, in a classroom, or in a house of worship. “The other part of the tradeshow I see

becoming valuable, is the efficiency and convenience of meeting with people. We can look online or read magazines to see how these products are being used or to learn about the product capabilities and specs, but that can’t replace face-to-face interaction. An AV company executive comes to one of our shows and will likely be there for four days. During that time he or she will be able to meet with most of their major customers and prospects. That would take them six months of flying from client-to-client to have those meetings. That efficiency and value, and to have that depth of activity, is really becoming one of the most valuable aspects of a tradeshow. That’s why I’m not worried about AR or VR. First of all, AR/VR is part of AV, so the more it gets adopted the more the industry continues to grow. But I also don’t think that it’s going to replace - in the foreseeable future - sitting in the exhibit hall or a hotel lobby, connecting with people and having conversations, transferring knowledge and telling war stories about the latest installation.” David’s passion for his job, the association and the industry in general radiates through his words as speaks. He is proud to be part of something that he truly believes in and is confident that the association can help the AV industry to grow and evolve for years to come. “I meet with our members around the world and I’ve heard so many times the story of ‘I’m in business because of InfoComm’. The training that we have provided helps to differentiate them in the marketplace through the quality of their employees and capabilities; the tradeshows and the opportunity to meet with manufacturers and see where technology is heading, and to translate that into sales for customers, is invaluable. It’s incredibly impactful and humbling to have that opportunity and responsibility.” There are hundreds of thousands of people around the world involved in AV, and almost 6,000 association members ranging from Samsung, to small integration firms with three employees, and everything in between. Obviously each and every one of them has a different perception of what AVIXA should do for them. Making all of them happy is a complicated and subjective task. David said it is important to listen to those perceptions and ideas, but also imperative not to make promises that can’t be kept. It’s about trust. What’s next for AVIXA then? Well, if 2017 can be described as the year of the brand, then 2018 is the year for content. “A big part of this is to drive our industry





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• Above left and below right David and his wife Barbara • Above right David with sons Ethan and Landon and wife Barbara

towards recognition and acknowledgement that the success and value of AV is in leveraging AV technology, along with great content and appropriately designed spaces in order to create integrated experiences. We need to be a more broadly appealing association for all of the venues and activities where AV creates experiences. That means we need to have relevant content to keep all audiences engaged,” David explained. “We need to expand our technical content, communicating the opportunities for AV and delivering case studies that show how AV made a difference - how strategic goals were achieved through AV. Otherwise, AVIXA is just a promise - the same association but with a different name - and that to me would be disappointing. The magic of AV is the window of opportunity it opens for our industry.” David wants to bring people together and encourage them to see themselves as AV professionals, even if they’ve never defined themselves like that before. “The people who work in entertainment venues

or sports stadiums, or put together live events. And then there’s the 20-something working at home doing digital media - they are all creating AV, creating art, creating experiences. I want to open the door for them and I want them to see AVIXA as their place for community, a place to learn, share and gain experience,” he enthused. “We see AV as being created by technology, space and content. The three have to work together to create an exceptional experience. In the InfoComm community, we have always been good at technology. Most of us know technology; we are technology geeks.” He continued: “We can’t teach our members to be architects or interior designers, and we can’t necessarily teach them how to develop exciting content, but if we can draw those people into our conversations, then the solutions we are going to be able to provide to our customers, as an industry, will be so much richer and highly valued.” With such a high regard for his work, it’s tricky to see how David fits anything else

into his busy schedule. But away from AVIXA, he is a family man with an amazing wife, two sons, 17 and 24 and a yellow Labrador. He says that he enjoys the simple things in life… cooking, walking the dog, watching TV and reading. He can often have three books on the go at once, one of which happens to be the clichéd business manual to further his leadership skills. What David can’t learn about in a book though, is how to fix technology when it epically fails. Although technology is a passion that we all share, it isn’t fool proof, and we witnessed such a downfall during this very interview. Instead of connecting over the powers of Wi-Fi for a virtual face-to-face interview, we had to revert to the old-fashioned telephone landline. We can laugh about it now, the irony of it, and although we all know technology is the future, maybe we’ll always still need to keep one eye on the simple way, too.


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Launched by a group of friends in the basement of a hotel, Uberhaus is a nightclub that hosts all kinds of parties, labels and artists, all dancing under one roof till the break of dawn. It soon became evident that a seed of hope was being planted in the Lebanese underground scene that had been stagnating for a couple of years. In spring 2013, after the huge success of their first winter season, Uberhaus decided that in order to fulfill its dream of becoming one of the most notorious clubs in the region, its needed to expand its barriers way beyond

its current location. To give leverage to the outdoor summery mood, Uberhaus launched its summer themed club called The Gärten, opening its doors for the first time under a temporary open-faced dome set up to welcome more then 800 clubbers. The Gärten was able to blend different types of audiences around different themes and activities: art exhibitions, film screening and clubbing. Allowing people to stretch out and relax in the large green lawn surrounding its

dome and transforming the venue into a dance temple with its immersive sonic experience, embracing the night until the sun rose again upon Beirut. Whilst The Gärten had been living great success for a couple of summer seasons, complaints were filed due to the level of noise, The Gärten had to find an alternative way to keep their nightclub open. Uberhaus got in contact with 21dB, to work in parallel with their its Karl Karam in order to design the new structure that would be the heir to the highly acclaimed


dome. After months of work, the new structure started to take form and the solution to the problem became clearer with each passing day - an acoustic barrier had to be designed to prevent the transmission of sound to the neighboring zones. Backed up by the results of the acoustic simulations, the materials to be used inside the barrier were determined, as well as where would the barrier be placed, taking into consideration the core of The Gärten identity - an

outdoor club for the summer season. 21dB came to a solution where we would have the barrier incorporated into the new metal structure leaving the club open from the sides of the dance loor. The barrier behind the stage would prevent sound from being transmitted to proximate areas ensuring that the music levels on the dance floor wouldnâ&#x20AC;&#x2122;t be affected. In order to spice up the acoustic experience of such a massive structure, 21dB decided to design an additional tunnel that leads to the stage from the back.

Walking through the red acoustic tunnel, guests become shielded from each surrounding sound and get subtly introduced to the music blasting the club as they step closer to the backstage area. The club has been running perfectly throughout the summer with no complaints whatsoever from any neighbours, highlighting the birth of a new nightclub and endorsing furthermore a long and flawless collaboration between the Uberhaus team and 21dB.



Image by HGT Beeld & Geluid


A new top level entertainment venue opened in August 2017 in Buenos Aires, Rose in Rio, it is the latest nightclub in the famous Costa Salguero near the Rio de la Plata river. The project was entirely managed by Equaphon, the Powersoft distributor for Argentina and Uruguay. “The owners of the venue have been trusting us for several projects for many years now. In this case, we were contacted at the end of 2015, right when the building was starting to be build, which was great because it allowed us to interact in a different way. The disco and nightclub actually opened last August, while a event hall will open soon next door,” said Carlos Maiocchi, Equaphon’s General Manager. Equaphon was tasked to present a project that could fulfill the requirements of the Rose in Rio: specify the best sound system, install it around the venue - including fine tuning and equalisation - as well as train local technicians on how to use it correctly. Knowing that the venue would attract a highly qualitative audience, the sound system would also have to provide excellent sound quality, without impacting on the aesthetics, environment and decorations in each space. Another requirement was to have uniformity in sound coverage all across the venue, with individual control levels in each areas in order to adjust the system according to the audience distribution. Regarding this, the main challenge was the different heights of the roof, making sound system hanging in order to cover a large area complicated. This was solved by distributing sound sources over 12 different points, without altering the aesthetics and decorations. By having the sound sources well distributed, Equaphon knew it would be necessary to use a number of amplification channels to be able to correctly separate the areas into zones and have absolute level and equalisation control. Considering all of this, Equaphon installed a sound system from its own brand STS Touring Series - manufactured in Argentina - composed of 24 STS Linea V10’s, distributed over 12 points around the venue and covering the dancefloor and other areas around it, six STS Concerto SUB subwoofers, located together under the DJ booth, 12 STS mikra4s, distributed on two outdoor terraces, two STS D10s in one of the VIP rooms, and also two STS Cantata+s as monitors for the DJ booth. This system was amplified using one Powersoft X4 to handle the six subwoofers, plus four Powersoft M50Q DSP+ETH amplifiers, three to control the 12 points composed of two STS Linea V10 each, while the fourth amplifies the 12x STS mikra4s and two STS D10 in the VIP area. The amplification rack is located in a room behind the DJ booth and is controlled by a Pioneer DJM-900NXS2 console and CDJ-2000NXS2 multi players. The Armonía software was also used in this project to fine-tune the system during the installation, fixing all the corresponding time lapses, equalisation, limiters and levels. Armonía was also used to equalise and align each of the 12 reinforcement points independently. The whole system is controlled from a PC located in the same DJ booth. Through Armonía’s workspace it is possible to have individual control of each distributed system in real time. “Everything is working perfectly, all the requirements we had were fullfilled,” commented Carlos. “The Armonía software is really useful for this kind of installation, since it allows us to have total control over the different rooms and a great flexibility of use on all the products installed.” Equaphon already installed Powersoft amplifiers in other venues from the same owners in the past, but it didn’t have the opportunity to make use of the Armonía software until now. “They were really impressed when they saw all you can do with this tool,” Carlos highlighted. It is important to underline the work that Nicolás Rizzo, Equaphon’s product support, did for this project. He was in charge of the installation and tuned the system, besides configuring different screens so users could control preset parameters. “Nicolás was also responsible for training the nightclub’s technical staff on the use of the system and all the control possibilities.”



In the downtown area of Tajikistan’s capital, Dushanbe, a new venue is redefining standards of clubbing and evening entertainment. Loft is a ‘club’, if you can describe it as such, that combines a bar, restaurant, cafe and dancefloor over two storeys. Russian installation specialist Muztorg. PRO has provided Loft with a light system that’s as versatile and exciting as its entertainment options with a package that features 16 Rogue R2 Spot, 16 Rogue R2 Wash and 8 ÉPIX Bar Tour fixtures from CHAUVET Professional. “To give the impression of separate areas within the large single venue space, it became quickly apparent that a creative visual solution was required,” commented Roman Kosinov, Project Manager at Muztorg.PRO. “In addition to a modern sound distribution and partitioning system, the Chauvet fixtures enabled us to create the illusion of separate visually portioned areas within the bar, restaurant and club.” On the ground floor of the venue, which incorporates a large dancefloor, bar and main stage, a selection of 240W Rogue R2 Spot fixtures -

positioned from ceiling truss - creates a dazzling array of fast-moving and colourful visuals for the club’s DJ and club nights. “With their fixed-slot, rotating gobo wheels and the three-facet prism, the Rogue R2 Spots transform the main dancefloor area with their incredibly punchy looks,” said Roman. Whilst the spots are generating dancefloor excitement, the Rogue R1 Washes that Kosinov hung on ceiling truss are adding a touch of elegance to the venue with their background washes. “The R1 Wash fixtures have a small footprint, but their output and zoom range allow us to paint the entire dancefloor with beautiful saturated colours,” he said. “In this sense, the R1 Wash provides an excellent base upon which the R2 Spot fixtures can provide the necessary eye candy and punchy looks.” Adding to the excitement on the dancefloor, are the pixel mapped ÉPIX Bar Tour LEDs mounted on two vertical truss structures. The ÉPIX fixtures open a wide range of design options,” said Roman. “The club can use them to change the

entire look of the dancefloor.” Within the restaurant area in the upper tier of the venue - which looks down onto the main club - the R2 Spot and R1 Wash fixtures worked together to create an elegant, but relaxed dining atmosphere. Although both the Rogue R2 Spot and R1 Wash fixtures were limited with regards to the height from which they could be hung from the ceiling on the upper tier of the venue, they were nevertheless still able to achieve excellent colour mixing to ensure precise and even lighting ambience on and around the tables within the dining area. “The soft and saturated illumination of the R1 Wash and bright accurate projections of the R2 Spot fixtures work together harmoniously within the restaurant area to ensure a comfortable dining ambiance,” commented Roman. “Most importantly, the versatility of the fixtures has enabled us to create a completely different atmosphere within what is effectively the same space.”



Local, situated in the heart of the capital, is a colossal beauty for all party lovers. It is the epitome of class and elegance, with interiors adorned by paintings of monuments in Delhi, the space is just beautiful. Especially being a iconic heritage property keeping the original structure in place of the Scindia House at the Connaught Place Circus. Street food in a quirky ambience is the theme, Local is perhaps the biggest cover restaurant in Delhi with over 414 Seats under one roof and a revolving DJ console with a video console. Local has a dedicated Smoking Zone and two balconies overlooking the city centre CP in all its madness and rush. This installation was handled by veteren club installer, Shekhar Mishra, Director FX Technologies. Shekhar who has immense experience with clubs having concentrated on this segment for over two decades and also consulted for major outlets such as Farzi Café, Masala Library, PAPAYA, MTV Flyp Café etc chose CELTO Acoustique for this venue. Shekhar said: “With CELTO you have a fantastic European product at a good price and that means one can offer great value to the customer. CELTO is the perfect mix of performance and price.” Shekhar chose to mount four CELTO CT15X above the revolv-

ing console to get even coverage in the entire venue. The CT15X is a multipurpose FOH speaker with a power handling of 800W RMS and features a large format three-inch compression driver on the HF. It is capable of high SPLs but warm and sweet sound. For fills he chose the compact yet very powerful IFIX8s coaxial satellites. These speakers though have a very small footprint but feature an eightinch LF driver along with a coaxial 1.7-inch compression driver. They offer crystal clear sound with high SPLs and act as perfect fillers for any of the more powerfull CELTO tops. The entire system is powered by a combination of CELTO-VALGL2000, GL2800 and X5002 power amplifiers. The venue has become a favourite hangout for the Delhi locals with people coming from as far as West and East Delhi to savour the perfect blend of competitively priced food and drinks along with good music and a warm ambience. Recently, bollywood celebrities like Varun Dhawan, Jacqueline Fernandez and Taapsee Pannu were spotted at Local making it a preferred party site for all. Fridays and Saturdays see long lines waiting outside the venue with Delhites queueing up to let there hair down and have a good time.


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“The thing that motivates me is satisfaction – the satisfaction a client says they feel when they enjoy the sound experience that I designed.” RÜDIGER AUE Audio Specialist




TrueColor is the most popular nightclub in this thriving Chinese city located on the Zhujiang (Pearl) River in southern China, two hours north of coastal Hong Kong. TrueColor in Guangzhou City is the flagship venue of a chain of clubs created in 1995, currently owned and managed by Alliance Art Group, one of the most famous entertainment groups in China, noted for its uncanny eye for detail in its high-end restaurant and club venues that focus on creating unique and visceral environments. Modern in its design, innovative in its thoughtful delivery of the ultimate club experience, TrueColor Guangzhou City recently sought upgrades to its audio system. After consultation with trusted colleague Mr. Tan who represents dealer Guangzhou EGG Technologies Company, Alliance Art Group called on DMT - Clair Brothers Chinese distributor - to help make the necessary improvements on behalf of TrueColor customers. Right on the heels of a complete upgrade and redesign of the layout and style of the club, the decision to call on Clair Brothers made total sense. The TrueColor experience is fresh and exciting, with moving lights and lasers seemingly everywhere, smoke machines, acrobatics, dancing models - even an aquarium with live sharks and

occasional models swimming with the sharks. TrueColor is a true spectacle - a nightclub where music plays constantly, seven days a week with a full house, and permeates the entire establishment, so it has to sound awesome and perform reliably. After the redesign of the interior, the old system just didn’t fit the bill. The sound system needed to have bright high-end, clear mids and plenty of heart-pumping ultra-low bass. The point is to make customers feel comfortable, to get them moving and to make them stay longer. Alliance Art Group went the extra mile searching for the just the right brand to install in its newly designed flagship club. It compared top brands, but once it heard the powerful and unique excellence of the Clair Brothers system, there was no hesitation - the Clair Brothers brand was the unanimous choice. Guangzhou EGG Technologies Company, in conjunction with DMT did the design, installation and commissioned the project, supplied the gear and gave technical support to Alliance Art Group throughout the install. The main system flanking the large feature video wall is three CAT215 per side with CS218 double 18-inch subs under the stage. Additional CS218s are spread through the club, tastefully integrated as cocktail

table bases. The system consists of a range of additional Clair Brothers speakers for distributed coverage including the CAT115, kiTCURVE12, CS18-M, FF2-HX, and kiT12 as bar fills. Two kiTCURVE12s are used as center fill, paired with four kiT12s and two FF2-HXs, which deliver the delay fill. Supporting the new loudspeaker system are Lab.gruppen FP Series amplification, and Lake Controller software for user operation of the system. TrueColor club owners and staff in Guangzhou City explain their satisfaction in no uncertain terms. The owner said: “The Clair Brothers system has exceeded all our expectations. The sound, the coverage, the clarity is unbelievable. It feels like a Rolls Royce motor car! Customers are staying longer, business has picked up so much better than before.” The TrueColor-Guangzhou City installation represents the largest Clair Brothers install in China. It also represents an inarguable raise of the bar for nightclub sound systems in this vast, quickly modernizing country. With its success here, Alliance Art Group already plans on using Clair Brothers in another, even bigger club in Beijing.



Graeme Flegenheimer, owner of El Club in Detroit, Michigan, fell in love with music at a young age. That may explain his diverse taste in music and the wide variety of acts that play at the popular live music venue, which features a customisable Elation Professional lighting rig. “I pride myself on El Club having an eclectic calendar,” said Graeme, who has a background as a music publicist. “There’s not a typical night here. It’s always changing and Elation is able to meet every requirement of the artist coming in here and capture the vibe of the evening.” El Club has arguably become Detroit’s hottest night time venue with a mixture of acts that is attracting a wide audience. “It’s really an amazing room that’s giving a massive high-end light show experience to underground artists in a 300 capacity venue,” stated Adam LaBay of Future Weapons Laser & Lighting Design, who chose the Elation lights for the venue. “There’s nothing quite like it and it has a very unique aesthetic.” Built in 1950 as a banquet hall with an adjacent bar that dates from 1921, Graeme renovated the space by restoring much of the interior and exterior of the building then completed the project by installing a state-of-the-art lighting and sound system. El Club’s Elation lighting rig is as diverse as the

acts that play beneath it: 12 ACL 360 Bar LED moving bar effects, 12 compact ACL 360i beam effects, eight Elar Ex Quad Par HP™ LED lights, six Sniper 2R effect lights, 6 Colour Pendant LED color-changing downlights, and 8 Protron 3K LED strobes, all run from a HedgeHog 4S lighting console. An Antari HZ-350 hazer and Antari Z-500 II fog machine provide the mid-air projection canopy and fog effects. “The goal of the lighting of the space is a reflection of the whole club,” Graeme commented. “I wanted everything to have an artistic statement.” When building the club, the owner worked with Adam LaBay and Taran Allen, who had built him a number of custom lighting rigs over the years in LA for special events. He invited them to build a custom rig for El Club and gave them free reign on the design. “I wanted to make a statement with a versatile rig unlike anything ever seen in a club this size,” he said. “I wanted something beautiful and they delivered.” After the lighting was installed and Graeme saw the rig in action on the first show, he said he was sold on the quality and versatility of the system. So are the various artists who play there. “When bands see what we have in the rig they’ll often leave their lighting in their truck, or just bring part of it in and plug into the system,” he said.

“To me that speaks volumes about what Elation lights can provide. They can eliminate the need for a touring band to bring up their full lighting rig.” Acts that play El Club are also pleased with the customisation of the system that Adam and Taran have designed, Flegenheimer remarked. “It really allows for a freedom that they’re not used to. For bands to walk into the space and have a lighting rig that has the customisation we provide, they’re thrilled because it just enhances what is being presented through their music or art on stage. The amount of flexibility the Elation lights have provided in terms of creating a moody, gothic vibe to a full-on strobing dance floor party to an epic rock ‘n’ roll show, is incredible. I’m super pleased.” Graeme stated that press reviews and social media comments on the lighting have been good, but even more than that is the energy the lighting system brings. “There’s a lot more symbiotic nature between the audience and the artist on stage and I think the lights really tie that all together and really create that vibe,” he concluded. “I’m happy with what we have. It does everything we need and more.”















Located in Tagbilaran City on the island of Bohol in the Philippines, Atmospheres is a club that sidesteps the bombast of Boracay and Manila and instead concentrates on delivering the highest quality sounds to a discerning crowd of both audio connoisseurs and casual clubbers. Established in 1998 by Raymund Ong, the venue has successfully built a reputation for attracting the best electronic music artists and providing them with the best possible platform on which to perform. This platform is built around a top-end Funktion-One sound system, which was upgraded at the start of the summer. According to the club’s Creative Director, Fritz Ong, Funktion-One has been key to achieving their world-

class status. “We believe the brand is essential to the strong foundation that we have built over our 20 years of operation,” he commented. “Atmospheres is unique in itself because it is the only club in the Philippines’ nightlife industry that gives 100% importance to the audio experience of the common clubber and clubbing enthusiast.” As Fritz noted, however, the success of this set-up comes from a real understanding of audio - not just buying in to a respected brand, but fully committing to the principles that underpin it. “Atmospheres is better than any club in the Philippines because we use Funktion-One and we use it properly,” he stated. Despite having recently expanded the club in 2017, Atmospheres remains an intimate experience, one that

echoes the glorious discotheques of the lavish 1970s, but augmented by impeccable sound quality. The purity provided by the Funktion-One system not only allows the audience to enjoy the music to its fullest, but also enables the kind of easy interactions that help foster a heightened sense of communal experience. As Fritz noted: “You can hear other people speaking to you clearly even as the music plays.” Stage Craft International, Inc. supplied the Funktion-One loudspeakers for the club. The system utilises the Resolution 2 full range loudspeaker enclosure, supplemented by the BR118 bass reflex enclosure for its monitoring systems. For the main house speakers, a couple of Evo 6E high intensity loudspeakers are in place with Evo 6SH skeletal units providing addition-

al coverage. A pair of F215 double 15in bass enclosures, a pair of F221 bass enclosures, an F88 unit, and three Infrabass 218 bass loudspeaker enclosures further add to the auditory experience designed by Funktion-One design engineer, Mike Igglesden. The success of the club is testament to the management’s unerring faith in a singular vision: to create an environment where musical talent is given a platform to flourish. Atmospheres doesn’t try to compete with the hype of Metro Manila’s most popular clubs or the frenzied buzz of Boracay’s

beach front. Instead, buoyed by the confidence that comes from assured quality, it brings a unique experience to the club scene in the Philippines. By appealing to the auditory senses, it exists in a class of its own. “We wouldn’t be at the level of a world-class nightclub if we did not incorporate Funktion-One in our venue,” concluded Fritz. “It separates Atmospheres from all the other nightclubs that are operating in the Philippines.”



Raucously hedonistic fun is the promised order of the night at the latest addition to Manchester’s nightlife, Mark Andrews Developments’ (MAD Ltd) Lazy Lizard venue. If bringing Ibizan beach-club style to the city’s occasionally less-than-sun-drenched streets might appear to be something of a tall order, this brand new late-night concept begs to differ. Set on two floors in the Printworks on Withy Grove and with an overall capacity of 800, Lazy Lizard is open Thursday to Saturday hosting a mix of local and Ibizan DJs, playing the very best in techno, deep and classic house music. Ibiza club nights are a regular feature of the club, where every detail has been tailored to convey the atmosphere of the White Isle. Refreshing cocktails and lighting features that create the feel of a Mediterranean sunset, give Lazy Lizard (the largest MAD Ltd site in its portfolio) a truly unique character. Its beating heart, as is the case in every club, is its sound system and for this key component of success, MAD Ltd, in consultation with integrators The Audio Group, chose the state-of-theart XY-Series from Pioneer Pro Audio. Paul Adamson of The Audio Group collaborated with Pioneer Pro Audio on the system design. Pioneer Pro Audio supplied a variety of XY-Series speakers, including several recently-released, fullrange XY-3B enclosures. Lazy Lizard’s DJ area was

fitted with Pioneer Pro Audio XPRS active series as monitor speakers and all amplification was by Powersoft. Pioneer Pro Audio also supplied all the cradles, frames and yokes for the flown elements of the PA. Paul Adamson of The Audio Group takes up the story: “The job was a referral and it was the first time we’d worked with Martin Andrews Developments but of course we knew of Lazy Lizard’s General Manager, Charles Herbert, through his touring and management background - we move in similar circles, crossing paths at numerous events and festivals. At The Audio Group we’re well known for being first to market with products, we’ve never really followed trends, much preferring to set them and so the Lazy Lizard, a brand new concept in itself, was the perfect opportunity to install XY-3B for the first time in the UK. It’s a product that excites me and The Audio Group team and we’re really looking forward to exploring its limits as we move forward. Our project manager Phillip Sykes is very experienced in large scale installs and the job was a smooth process throughout.” Charles Herbert, General Manager at Lazy Lizard offered an upbeat view: “This was the first time I’d worked with The Audio Group - they came highly recommended by a number of colleagues who’d

worked with them before and by my contacts at Pioneer DJ. We wanted to install a world-class system, pure and simple and having reviewed all the options in the market, concluded that the quality offered by this new, cutting-edge product was exactly what we needed. The additional support offered by The Audio Group coupled with my long personal relationships with key staff at Pioneer DJ Europe all pointed to a winning option. The service and quality of the install by the Audio Group can’t be faulted - at every stage of the project they were on time, on schedule and delivered a high-quality level of finish at each step.” Lazy Lizard opened its doors in early December, with a packed dance floor delivering an overwhelming thumbs-up to the system. Charles continued: “The system is mind-blowing. I’ve toured with world-class DJs for the last twenty years, experiencing some of the best sound systems in the world and the XY Series we have installed at Lazy Lizard is equal to anything I’ve heard before. I’ve had nothing but compliments from everyone who’s heard the system so far - it’s aesthetically pleasing as well as being acoustically fantastic. I’m sure that the XY Series will confirm Pioneer Pro Audio as a world leader in club and festival sound systems - the benchmark has been raised!”



Located in San Diego’s historic Gaslamp Quarter - known for its rich Victorian architecture, world-renowned dining and diverse entertainment scene - the Onyx Room features local and international DJs. Housed in a building that was constructed in 1910, the club draws its name from the Onyx Hotel which operated on the upper floors from 1911 to 1938. Building on this heritage, the Onyx Room itself has been a part of San Diego’s nightlife since the ‘90s. The club’s management recently decided that it was time to upgrade the lighting system in its two downstairs spaces and brought in local Lighting Designer Ramiro Valenzuela to specify, install and program the new rig. The venue’s basement lounge has a luxurious feel with comfortable seating, a large bar and retro décor featuring intricate coving and hanging lamps. To complement the period fixtures and illuminated coving, Ramiro specified eleven of ADJ’s small, but powerful, Inno Pocket Z4 moving head fixtures. Powered by four 10W Quad LEDs, this unique fixture offers a 10 to 60º

motorised zoom allowing both wide washes and tight beam effects to be created from an extremely discrete unit. “The ceiling height in this space is no more than 8ft,” explained Ramiro. “Sp regular moving head fixtures were out of the question. I looked around and found the ADJ Pocket Z4 which has done wonders for the room. It is a great light; ultra-compact but has that zoom feature so I can highlight the whole room with washes but also have the option of a nice beam look to give the space a club feel. What more can you ask for from such a small light?” Ramiro has programmed slow sweeping movements and subtle colour changes to create ambiance in the space while patrons enjoy drinks from the bar during the early evening. Later on, when the tempo of the music increases, more energy can be injected through faster movements and tighter beam angles. However, at all times, the small size of the Inno Pocket Z4s means that they don’t detract from the room’s elegant features and overall ambiance.

“When I was asked to come in with a new design, I soon realised that the fixtures that were previously in use really weren’t showcasing the room to its full potential,” said Ramiro. “It was a bit of a dark cave, it had no sexiness, and I knew that it would look totally different if I filled it with rich, brightly-coloured light.” To achieve this he chose ADJ’s powerful 18P Hex wash fixtures, each loaded with 18 12W RGBWA+UV LEDs. These he installed in three rows, aimed straight down onto the dancefloor, making use of the fixture’s integrated gel frame to position a diffusion filter in-front of the LEDs in order to soften the beam. “Again, I looked into the offerings from various manufacturers but soon became interested in the ADJ 18P HEX,” said Ramiro. “As I looked into it further, I saw that the fixture offered UV and Amber, which I knew would be useful, as well as full RGB colour mixing. I realised it was a very powerful unit, in fact I was even told that it was too much for the size of room I was working in, but I knew that I could dim it down on the controller and thought it was better to have more than

I needed rather than not enough. Using a diffusion filter in the gel frame I was able to get a nice soft spread across the room, so no hard edges, which worked out very well. I programmed some since colour chases and pulse effects, which really transformed the room, and also made use of the white LED element to create powerful strobe effects.” To add movement into the space, Ramiro also specified nine of ADJ’s Vizi Hex Wash7 moving head fixtures. Each powered by seven 15W HEX LEDs, these versatile fixtures offer fast, smooth pan and tilt as well as a motorized zoom function allowing for a beam angle of between 5º and 55º. Hung from the ceiling, interspersed with the 18P HEXs, the moving heads inject energy into the room’s impressive lighting display. “As the space has a 12ft ceiling, I needed a fixture that wasn’t too big and wasn’t too small,” explained Ramiro. “The Vizi Hex Wash7 fit the bill perfectly. They are awesome lights that give me the flexibility of a tight beam effect for DJs sets and a wide wash that I can po-

sition to illuminate the stage when live bands perform. Their powerCON mains input and output sockets also help to make cabling nice and easy.” To add further illumination to the stage area, five of ADJ’s Ultra Hex Bar 12 linear LED fixtures have also been installed. Three of these light the stage from in front, one is positioned dead centre, while the final unit is mounted at the back of the stage to illuminate performers from behind. This adds to the room’s flexibility, meaning that it can be used for live performances, dancing, and a combination of the two when dance bands perform.” The room’s new lighting system is completed by an ADJ Asteroid 1200, the spherical centerpiece fixture which offers continuous 360º rotation of head and yoke to shoot moving colored beams out in all directions. As a modern take on the classic mirror-ball effect, this was chosen to pay homage to the history of the venue while also providing a focal point to the new light show. Having selected a variety of ADJ fixtures for this

project, we were interested to find out what motivated Ramiro’s decision: “I choose ADJ due to the quality of the products, but also the customer service,” he said. “I know that if I ever need something, or have a problem, ADJ is a US-based company that is easy to contact and can be relied on. The good value of the equipment also meant that I was able to deliver a lightshow that looks great at a budget that was very affordable for the club’s management.” “The club’s management were very impressed,” enthused Ramiro. “Their jaws dropped when they first saw it in action! They knew that the space was missing something, but they couldn’t put their finger on what it was. From my perspective, I wanted to give the room sex appeal. I wanted to highlight the dancefloor so that people feel invited, drawn in, to dance - and I believe I’ve done that!”



Cycladic architecture is about the search for purity: purity of line, of shape and of colour, making it practical in reality as well as conceptually idealised. So when creating a modern discotheque venue using the bright white, plasticine flexibility of this classic Greek aesthetic, it was vital that any lighting would work in complete harmony with the imposing, multi-level design. Architects, Omniview, created every last detail of the interior for this exclusive nightclub on the island of Mykonos, including the bespoke furniture and a gigantic sculptural chandelier suspended above the dancefloor. They enlisted Athens-based audio-visual

specialists Audio-Tech to look after the technical side of the sound and lighting set-up. It took about five days to install and solder a huge quantity of black pixel tape on to the skeleton of the chandelier, and Audio-Tech chose to connect, power and control this awesome creation using a bank of ENTTEC Pixelators and PLink injectors. The Pixelator - seen packed with Ethernet cables, sitting with rows of PLink injectors above - is one of the most advanced LED pixel tape controller on the market, converting Art-Net and sACN protocols to handle a staggering 48 universes. Manage over 8000

pixels, using your favourite pixel mapping software, and let Pixelator take care of the rest. The spectacular lighting effects were then configured and brought to life using ELM (ENTTEC LED Mapper) - a versatile and intuitive software for pixel-mapping 3D objects. â&#x20AC;&#x153;I was in charge of the project, and that installation was the first of its type delivered in our country. Now everyone is trying to do something similar on walls or ceilings,â&#x20AC;? said Dimitris Pavlakis, Director, Audio-Tech.







Named for the fashionable district in New York’s lower Manhattan, the SOHO Lounge and Music Bar in Roskilde, Denmark is an appropriately trendy gathering place for food, drink and upbeat music from live bands or DJs. To ensure the music quality and level are always appropriate for the moment, whether for casual early evening dining or late-night exuberant dancing, SOHO has installed a premium reinforcement system of 35 Meyer Sound self-powered loudspeakers. “SOHO is a place where people will relax with a beer or glass of wine in the afternoon with the music is more in the background,” said SOHO owner Lars Christiansen. “But the dynamics change later on with live music and DJs, so the system has to step up and deliver higher levels with low distortion and plenty of bass impact. The system really has to be multi-functional, and we are pleased that our Meyer Sound installation fits the bill perfectly.” The new system was designed and installed by Peter Petersen of PRIME Production of Copenhagen, and it his second project for a SOHO venue as it follows a rough template of an earlier design created in 2013 for the first SOHO

location in Holbæk. “For the Roskilde location they wanted a lot of flexibility in matching the loudspeaker systems to the room and they absolutely did not want to compromise sound quality,” Peter commented. “They also wanted the look of the speakers to match the cool, minimalist aesthetic of the locality and the venue. It all came together with Meyer Sound and we are pleased with the result.” The primary stage system is anchored up front by one each UPA-1P and UPA-2P main loudspeakers, the two being identical except for different horizontal coverage patterns to match the room’s asymmetric acoustical surroundings. Ample bass support comes from twin 700-HP subwoofers, while other sections of the of the lounge are covered by ten UPM-1XP and six UP-4XP loudspeakers along with cardioid ceiling arrays of six MM-10 miniature subwoofers. By using presets in the Galileo 616 loudspeaker processor, the overall system can be split into two zones for use as separate sub-systems. For live music performances, the SOHO provides four MFJ-208 stage monitors while DJ booth has a UPM-1XP monitor. Auxiliary systems for the restroom and entrance areas utilise

a total of five MM-4XP loudspeakers. All loudspeakers with the ‘XP’ suffix incorporate Meyer Sound’s exclusive IntelligentDC technology, which combines the inherent sonic superiority of self-powered systems with the installation ease of distributed low-voltage wiring. “We again selected PRIME Production for our sound and lighting, based on the success we have experienced with our first SOHO club in Holbæk,” said Lars. “Our guests have expressed their delight with the quality of the sound, and certainly Meyer Sound has proven its reliability as the system is heavily used almost every day of the week.” At the front of the signal chain, a full complement of Shure microphones connects to a Yamaha QL-1 digital console, while DJs produce their mixes using a Pioneer DJM-900NXS2 mixer and dual CDJ-2000NXS2 digital multiplayers. Both SOHO locations feature a versatile menu inspired by Nordic and Southern European cuisine, complemented by a wide variety of premium beers, fine wines and a creative selection of cocktails.


STAGE BLACK SERIES Global Truss customers have access to all truss systems as STAGE BLACK version directly from our warehouses. No waiting, no time loss and all products at the best price. The STAGE BLACK series was developed to play the load-bearing and not the visual role. All eyes on the artist and not on the truss that might reflect the light of the lamps. We also offer almost all couplers, clamps and other rigging accessories as STAGE BLACK version. Of course it is also possible to order trusses in every available RAL color. Do you have a special project or need help with truss? Feel free to contact us at any time. We are looking forward to assisting you. | +886-2-2577-6608 VISIT US



FRANKFURT / 10th - 13th APRIL 2018






The Club is a dance club in Bratislava, known by tourists as PARTYslava. Itâ&#x20AC;&#x2122;s located in the city centre at one of the most popular hotels, the club has been open for over 10 years and therefore visited by thousands of tourists every year. In 2017, the hotel was completely renovated, so the clients, owners of the club, decided to improve their audio and visual systems. The architect proposed an idea of creating hexagon shapes and completely covering them using digital video LED strips. The goal was to have animated video patterns on the hexagon LED screen. An LED Strip

Studio system is used to drive all the LEDs. Using more than 200-metres of high quality video digital strips, 42 individual LED pixels per metre. Every hexagon is made of six separate segments, each about 20cm long and allows every pixel to be controlled separately. Everything is controlled using single LED Strip Studio Ethernet controller, version 3, and one additional LED pixel digital distributor - both together can control up to 8,000 individual LED pixels. The mapping in the LED Strip Studio systems allows correct image display. The mapping creation is simple.

In the software similar drawing tools to Corel Draw or Illustrator can be used to define the shapes and different numbers of LED pixels to each segment of the shape. After the mapping is finished, the LED Strip Studio software allows the lighting designer to use any kind of QuickTime video to be displayed on the hexagon LED screen correctly. In addition, design abstract effects can be used directly in the software or even use live stream from the HDMI input to synchronise the animations with the video projectors.



The lighting designer can use live controls from the touch screen to switch between the different effects running on the hexagon LED screen, the designer can also use DMX control from the lighting desk to be able to synchronise all the lights with the hexagon LED screen.

Sammy Hagar’s legendary Cabo Wabo Cantina recently underwent an audio upgrade with a Martin Audio Wavefront Precision Compact system - just in time for the Red Rocker’s ‘Red ‘Till I’m Dead Sammy Hagar’s Rock-N-Roll Birthday Bash’. Celebrating Sammy’s 70th birthday, the annual fan pilgrimage was filmed for a movie simulcast in 100 US theatres with a list of guest stars that included Toby Keith, James Hetfield, Dave Grohl, Kenny Chesney, Eddie Money, Chad Kroger, Bob Weir, Jerry Cantrell and Alex Gonzalez of Mana. Martin Audio’s Wavefront Precision line array introduces a scalable approach to resolution and control of coverage functioning with external, dedicated multi-channel amplifiers in a uniquely flexible, upgradeable, and financially accessible system. The more cabinets with dedicated amplifier channels, the higher the resolution and scale of coverage control achievable. The Wavefront system for Cabo Wabo was designed and commissioned by Jim Risgin of OSA International, working in collaboration with local contractors and Martin Audio distributor Audio Acoustica. Initially founded in 1990, Cabo Wabo needed a new PA system after 27 years, especially given the birthday bash was coming up in the near future. According to Jim, who installed and tuned the system, “Martin Audio WPC was chosen because it was the proper form factor, right size and had a good aesthetic look for the club. They needed a substantial PA, so we flew six WPC boxes a side with four SX218 subs mounted in the front face of the stage. The monitor complement includes four

Martin Audio XE500s and four XE300s.” The XE Series monitors feature Martin Audio’s unique Coaxial Differential Dispersion technology and are designed as a complete system that maximises the capability of the monitor while ensuring both engineer and artist will experience the same high level of consistent performance from an XE monitor anywhere in the world. “The system will be used 365 days a year and we fully anticipate the reliability to be great,” Jim explained. “There’s a grand total of nine iKON iK42 amps installed for system control, and DSP tuning is all carried out inside the amps. We used two-box per channel resolution which worked out well, the coverage is spot on. All and all, the system did what we wanted it to do and more.” Asked about reaction to the WPC system’s performance, Jim responded: ”Everyone is really happy with it. The club manager and Sammy’s partner Jorge Viana were ecstatic about the way it sounded and how well it worked for the venue. The house sound guys were very impressed by WPC’s performance and capabilities and they’re looking forward to mixing on it every day.” On first encountering the XE Series monitors Jim recalled: “Sammy walked up to the wedges, sang a phrase, looked over at Jim Jorgensen, his monitor engineer, and said, ‘I’ve never heard myself like that before’. Then he looked at me and asked, ‘are you the guy who’s responsible for this PA?’ before thanking me and saying, ‘first time I’ve ever heard myself in here’.”



As we say goodbye to the old year and hello to the new, thoughts of those in the northern hemisphere inevitably turn forward towards summer, sunshine and holidays. And where better to enjoy them than at Finn’s Beach Club in Bali, where a new Yamaha audio installation is helping to deliver the best possible customer experience? Located 10 minutes from Seminyak, one of the bestknown tourist areas on the island, Finn’s Beach Club recently relocated to a new building on the famous Berawa surf beach. The environmentally-friendly bamboo structure was specifically designed to allow every guest to have a guaranteed sunset view, accompanied by music from the club’s resident DJs. The soundtrack is enhanced by a major Yamaha audio installation, designed and installed by David Soewondo of Surabaya-based DMP Musik. A complex, multi-zone system was needed because the club features six indoor bars, a restaurant, spa, boutique, changing rooms, DJ booth/stage, two swimming pools, a

pool bar and numerous outdoor hammocks and single/ double day beds. “The client needed a system that could distribute sound throughout the venue, however the different zones have different volume settings, depending on how each area is used,” said David. “Some of the zones overlap and it was very important that people would not perceive delays in the sound, because this would deliver an inferior customer experience. So it was very important for staff to have a very quick and simple way of adjusting the sound of each zone, to maintain the best audio quality at all times.” Based on three Yamaha MRX7-D, an MTX5 and an MTX3 matrix processors, with six EXo8 output expanders and a DCH8 digital control hub, the system is controlled by eight DCP4V4S and eight DCP1V4S surface-mount control panels. 14 Yamaha power amplifiers drive loudspeakers located throughout the venue, with an MGP16X mixer also provided for live events.

“We chose Yamaha products because of their quality and reliability,” says David. “The matrix processors, digital hub and control panels make it very easy for venue staff to adjust the zone volumes, ensuring customers enjoy an optimal audio experience throughout the entire site.” He continued: “We have used Yamaha products in many other installation projects across Indonesia. The price point is also very competitive, meaning we can offer solutions for customers who have less spending/purchasing power for their venues. “Overall we are very happy with the equipment, its reliability and Yamaha Indonesia’s support. Most importantly, the client is very pleased with the finished project. They have since added extensions to the venue, which will see the sound system expanded. The Yamaha solution means that this will be a straightforward task.”


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Where mature sound technology is key Even though the CVE series is driven by advanced DSP and loaded with lot´s of technology, the simplified yet effective control panel allows for quick, efficient setup. There is no complicated display, dial-knob or endless menus to scroll through. Just access all controls with the push of a button. Stream audio from any smartphone or tablet via Bluetooth, even stereo paired. With 3 full-range Polymer enclosure tops and one 18" Plywood subwoofer, the 1000 Watt Class D Amplifier delivers professional, accurate sound with exceptional clarity, wide dispersion, rich bass, and plenty of headroom when the party gets hot. Listen for yourself to Cerwin Vega’s 65 years of experience. Find out more at

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Manchesterâ&#x20AC;&#x2122;s Royal Exchange gets a TiMax upgrade.


Manchester’s Royal Exchange theatre has stepped up to the mark by expanding its existing TiMax SoundHub system matrix and spatial processor to a 48 x 48 configuration with analogue and MADI I/O. This latest infrastructure upgrade also includes a new DiGiCo SD10T main FOH console and a QLab/MADI workstation. TiMax has been integral to the theatre’s audio showcontrol for just over two decades and the premier productions appearing at the Royal Exchange have long benefitted from the advanced object-based spatial rendering that can be achieved effortlessly in TiMax. Head of Sound, Sorcha Williams, who oversaw the last upgrade in 2014 to TiMax SoundHub, when the theatre’s original TiMax Classic system came to its end of life after 16 years, noted that sound designers bringing in productions from elsewhere are amazed by the differences the Exchange’s versatile TiMax showcontrol and immersive spatialisation can make. “Though all the basic settings remain the same, there are significant enhancements in the detail we’re able to pick out here and play with,” said Sorcha. The extra capabilities of the refurbished TiMax system means the theatre can offer sound designers greater possibilities based just on its in-house sound system, helping keep shows to budget while meeting varied requirements such as occasional extra fills or onstage FX speakers. With the added advantage of MADI, Sorcha explained: “We have essentially doubled our output capabilities as not only do we have the 48 channels dedicated to TiMax we also have another 56 analogue outputs from the SD rack and a further eight on the console itself.” The Manchester Royal Exchange is the perfect example of how vitally beneficial the integrated TiMax delay-matrix processing, TimeLine sequencing and object-based dynamic spatialisation is to a theatre at the most grass roots level. Sorcha summed up what it really means to the sound department there: “We can trigger everything from QLab in TiMax and it just works. TiMax enables us to turn around shows very simply and quickly which is of the utmost importance in this busy theatre.” Manchester’s Royal Exchange is an in-the-round-theatre rather than a traditional proscenium arch space. As Sorcha explained, this makes the approach to sound design slightly different, requiring the sound department to ‘think outside the box’. “Routing or moving sounds from one zone to the next is often the opposite of straightforward. However, TiMax makes a lot of things possible with just a few clicks. The software interface is very user-friendly. So, what could be a difficult few weeks of programming is actually more easily achieved in a shorter space of time,” she continued. Sorcha revealed the TiMax PanSpace object-based 3D spatial rendering is the sound department’s go-to feature, acknowledging that: “We use it in almost every production and while there are ways of achieving the same thing, they all take an incredibly long time to programme. With PanSpace we can have it programmed in a matter of minutes.” As a combined system management and spatial audio showcontrol system, TiMax has enabled Manchester’s Royal Exchange to close the gap on show turnaround times which has meant that not only can more theatre productions be scheduled but a wider variety of events can be executed in the vast array of different spaces enclosed within the venue’s striking architecture. Most noticeably the sound department have found TiMax enables them to set up the crossover shows that are a regular part of the theatre’s schedule, simply and easily, without disturbing any of the existing show information. Sorcha expanded: “We just create a separate show space on the desk and then create a new cue in the cuestack for TiMax so we can reroute things, change the EQ, put EQs on mics, all without affecting the actual theatre show that’s running.” As well as the unparalleled creative spatial audio capabilities of TiMax, its comprehensive system management functions have been invaluable. Sorcha explained: “To assist and preserve our ageing speaker system, the sound department has put high and low passes across certain groups of outputs as a protection measure so that mishaps can’t inadvertently affect our drivers. So TiMax has even made it a lot easier for us to manage the system in that sense.” Switching from ‘show’ state to ‘event’ state and back again is also quick and easy, Sorcha added: “With TiMax we are able to save cues for each event that may be happening on top of a show that is running at that time, which means we can adjust levels and routing without affecting the settings for the production. Quite often there is only an hour between a production finishing and an event starting so we are able to pre-programme states which make that turnaround much quicker.”



One of the latest venues to be added to the Dubai high-end nightclub scene has been given the VIP treatment with its audiovisual design.

Created by the team behind Lock, Stock and Barrel (LSB) in Barsha Heights, Dubai, Inner City Zoo marks Solutions Leisure Group’s entry into the UAE’s nightclub scene and the return to the nightlife sector for Solutions Leisure Managing Director, Paul Evans, and Creative Director Freek Teusink. The pair who have known each other for more than 20 years - had previous operated nightlife venues in Egypt, such as Ministry of Sound and Hed Kandi Beach Bar, but in more recent years have been more active in the F&B industry. Inner City Zoo is located at Rixos The Walk Hotel, JBR, Dubai, which also houses a second Lock Stock & Barrel that is two-and-a-half times bigger than the original venue and American steakhouse concept, STK. All three


are operated by Solutions Leisure Group, with the latter being a joint venture with New York-based The ONE Group. With the culture of the Solutions Leisure Group outlined on its website as: ‘copy and paste is not in our dictionary. Repetition is not in our DNA,’ it’ll come as no surprise that a lighting designer was brought in early on this project. Paul and Freek’s LD of choice was Ben M Rogers, Design Director & Consultant, Ardent Limited. It was a familiar pairing, as Ben completed the lighting design at the original, aforementioned LSB, and in turn the new venue by the same name, too. “I was more involved with the creative development of this venue than the other venues, in that, it started off with a concept of wanting a great lighting and visual show,” said Ben. “We could have just

done a black box, but as a company, Solutions Leisure Group don’t do that sort of space. It’s not a warehouse. They want more texture to it, more style, more feel, so even the black walls are still textured brickwork.” The name of the venue took some time and some trialling, but Inner City Zoo depicted a wild side, yet an urban feel at the same time. A lot of the artwork in the venue reflects the name, and it was a good reference point for the design too. “We talked early on about different types of pixel options and an immersive LED environment, but not wanting to go too heavy on video,” Ben continued. “I didn’t want just a standard video screen, and what we’ve ended up with is a fragmented screen that’s in different shapes and different sizes. I think this allows us to bring video

content in, but as more of a textual element rather than watching a TV. We’ve also originated custom content which exploits the screen layout on the walls and roof ”. The iconic hexagonal pattern on the roof was one of the first elements of the design, and everything else stemmed from there, so guests can see the pattern replicated around the venue in different forms. “That is the main DNA of the space,” said Ben “The design team from Broadway Interiors brought hexagons into bar frontage, the portholes in doors and even the tiles in the bathrooms.. The hexagonal screens were sourced during a trip to Prolight+Sound, Frankfurt in 2017. After seeing the solution at the exhibition, Ben was in no doubt that this was the visual answer. “I sent whatsapp videos back to Freek


• Above left The bar • Above right One of the VIP booths

in Dubai and got an instant thumbs up”. He explored a few different versions at the show, but in the end settled on a slightly customised version to allow for power and data feeds with touring grade connectors and mounting hardware to fit the unique layout. The screens where sourced through Mark Nicholson at MMS Distribution in the UK. “Mark is my go to fixer for bespoke and specialist LED products,” he said. “I source through him because because of the personal and relaible service and after sales.” The hexagons are made by RGX in China and run on Novastar VX4S processors. In addition to the video panels the entire roof formation also has an individual led pixel matrix using a customised fitting from Glasson Electronics built into the bespoke roof frame. This matrix of 1,200 RGBW LED pixels is driven via artnet from MADRIX software. “Madrix has a great interface and it’s generative and sound active effects allow the matrix to respond directly to the music whilst the operators can still dictate colours and patterns to match the overall light show”. The other video screens in the venue are in the form of 6 panels which sit in cages built into the walls and a panel in the front of the DJ Booth cage. These screens are the APIX2 panels offering a 2.9mm pixel pitch supplied by Music & Lights in Italy. The AlphaPix family use black faced SMD LEDs for high contrast and superb colour consistency, they are faced with a smoked glass and can “disappear” when

not in use. ArKaos Media Master software takes care of content for these screens. Ben has been using ArKaos products for almost 20 years, so he is more than familiar with the range and its capabilities. “I find it hands on, it’s efficient, there’s a good team behind it, the support is excellent, and it’s actually pretty intuitive - and its very competitively priced. For Inner City Zoo, we’ve just used the ArKaos software license, having implemented our

own hardware to provide the two graphics outputs used to drive all the screens in the venue. As well as the video panels, Music & Lights also supplied the intelligent lighting fixtures too. “I was introduced to the product line originally in the UK because A.C. Entertainment Technologies look after the brand there,” Ben explained. “I did some work with Dave Horner from Visual Connection who was

TECHNICAL INFORMATION LIGHTING & VISUAL 54 x RGX customised hexagonal screen; 1,200 Glasson Electronics RGBW LED pixel; 1 x MADRIX software package; 30 x Music & Lights APIX2 panel; 1 x ArKaos Media Master Pro software package; 16 x Music & Lights Stark Blade 8 fixture; 56 x Pixie Beam fixture;, 12 x Luma 700 Spot fixture; 23 x Ruby Beam moving head; 8 x Music & Lights SunBlast3500MAX strobe; 8 x Music & Lights Display COBFC LED Par; 90 x Elation ELARQ1 LED Spot; 4 x Prolight Concepts GB1 ReflectaBea; 22 x MP75 LED fresnel RGBW; 34 x EventSpot RGB;, 20 x Studio Due SlimBar RGB fixture; 2 x iLight SCLED LED dimmer; 40x SGM R-2 RGBW track spot; 29 x SGM R-2 WW track spot; 2 x Hazebase haze machine; 2 x Magic:FX smoke jets; 4 x Magic:FX CO2 guns with backpacks; 1 x Spike 4k and 2 x Spike 2k LPS-Lasersystem laser; 1 x Pangolin laser software package; 1 x MA Lighting grandMA2 light console; 4 x LSC Lighting APC12 relay switching box SOUND 6 x TW AUDiO T24N loudspeaker; 2 x TW AUDiO BSX subwoofer; 4 x TW AUDiO B30 subwoofer; 14 x TW AUDiO T20i loudspeaker; 8 x TW AUDiO B18 subwoofer; 2 x TW AUDiO M15 monitor; 1 x TW AUDiO B15 subwoofer; 5 x Powersoft X8 amplifier; 2 x BSS Soundweb London BLU-50 processor; 2 x BSS Soundweb London BLU-DA processor; 2 x Pioneer CDJ-2000 Nexus 2 multiplayer; 1 x Pioneer DJM-900 Nexus 2 mixer

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implementing them into his cruise ship projects - so got to play with the products then got to know the people. They’ve got substantial warehousing in Europe as well as a large and fast factory in the far east - they hold good stock, the service and the support is good. I looked into other options but Music & Lights have an excellent line of products which covered the majority of what I was looking for - they’ve got a range of LED spots heads that are unmatched on function and price.” For Inner City Zoo, Ben selected StarkBlade8, PixieBeam, Luma700 and Ruby fixtures from Music & Lights to be part of the ceiling feature, they are interspersed between the hexagonal screens “all have great optics

• Above The large dancefloor

and output - and the continouse pan and tilt on the blades and beams really enchance the texture of the design”. The venue also features eight of the brand new Sunblast 3500 LED strobes, which are generally run well below full capacity and are still able to dominate the room. These sit alongside more effect machines including Hazers from Hazebase in Germany with CO2 guns and smoke jets from Magic:FX and Spike 4K and 2K RGB lasers from LPS-Lasersysteme, which run on Pangolin software. Finally Ben deployed the unique GB1 Mirror effect head from Prolight Concepts in the UK. “This is a super simple but hugely effective mirror effect system with a series of concave discs on DMX control with

small mirrorball mirrors on them - the effect is neat and unlike a mirrorball when not in use they are small enough to be un-noticed.” For Architectural and feature lighting Ben turned to Prolight Concepts again for a range of Event Spot and LED Fresnel fixtures that provide the table and architectural feature lighting, Elation Profession for the compact ELAR Q1 spots for decor features, and to SGM for their track mounted LED heads “these where an ideal solution in the low ceiling that surrounds the main floor as it allowed us to have all the flexibility that a track system affords whilst retaining the individual dmx dimming and colour control we wanted. An MA Lighting grandMA2 light is in


“They’ve got good warehouses and they hold good stock, the service and the support is good, as is the price. I looked into other options but Music & Lights had the right product at the right price, and they’ve certainly got a range of LED spots that no-one else has got.”

place for lighting control of all elements - including all the architectural lighting elements. “When we looked at the size of the venue and the amount of control we needed, it’s nearly 4,000 parameters of control, I needed the hands on approach,” said Ben. Obviously, a grandMA2 light is a big investment for the venue, but it means that all of the desired control can be achieved. Some of the MADRIX pixel control is tied into the grandMA2 light, as are the special effects and media server control, so in total the venue is running 16 universes, but the larger desk from MA Lighting is more than capable of handling that, hence why it was chosen. Completing the lighting inventory is LSC Lighting’s APS12, which were supplied through VV & Sons in Dubai. “They’re just brilliant,” said Ben. “It’s a really straightforward box - a relay switching box with multi-pin outputs. But it’ll power up in sequence, it’ll do DMX, it’ll tell me what my voltage is, how much power I am using. It’s just a really clever, effortlessly simple box that everybody should have installed or on the road.”

When it came to challenges, Ben described the usual scenario of time constraints, and a lot of people working in one space at the same time trying to do multiple jobs. There’s a lot of technology for quite a small space, and in order to ensure the prime end result, the timeline of wiring, acoustical treatment, and installation the roof all had to be well managed. Add to that the creative director asking for more drama, wanting more colour and accents as the venues final finishes evolved - “That suits me though,” laughed Ben. “I am a theatre boy, so asking me for more drama is fine. I can do drama.” But there is no doubt that the project pulled together in the end, as venues - especially in Dubai tend to do and the club has opened to an array of complementary reviews, packed nights and attracted major international artists and club brands to join the party. For the audio solution at Inner City Zoo, Paul and Freek turned to another longterm collaborator, Pulse Middle East. The brief for the sound system was high SPL; a crystal clear, warm sound; powerful, accurate, full-range bass reproduction;


• Above The entrance

and to be able to achieve 130dB throughout the club. Joe Chidiac of Pulse ME described the design process: “We started from the DJ booth with the design for a large FOH system. After defining the necessary FOH system, fills were specified for near-field sound and low-frequency reinforcement in the rest of the club.” The FOH system comprises six TW AUDiO T24Ns for wide coverage and high SPL, these are complemented by two BSX FOH subwoofers in infra mode and four B30’s stacked on top. “This combination can accurately reproduce the full range of low frequencies with an even dispersion and fits together perfectly,” continued Joe. Although it was smooth sailing with the FOH system, as he explained: “The FOH subwoofer system caused the concrete structure of the club to visibly vibrate, causing both structural and acoustic concerns, as the system could be heard throughout the hotel. The subwoofers had to be raised on a sprung floating platform to reduce the transmission through the building structure allowing the club to run with a high volume level inside and little disturbance through the rest of the hotel.” Joe also had to flip the T24Ns upside down because they were installed inside the hexagonal ceiling feature and the structure

was obstructing the horns, but flipping the cabinets fixed the problem. TW AUDiO’s T20i’s are deployed as extra speakers around the club for localised near-field sound, and B18 subwoofer are distributed around the outside of the club to provide localised low-end reinforcement. The placement of the T20i’s had to be adjusted during the design process due the to ceiling height being reduced as more ducts and other services were added above it, but with some adjustments, the cabinets now work very effectively. “The structure built around the FOH subwoofers reduced the output to the sides significantly too, so the B18 stacks in the corners had to be delayed and adjusted carefully to compensate for this loss,” Joe added. A couple of M15 monitors and a single B15 subwoofer takes care of the DJ setup, which includes two Pioneer CDJ-2000 Nexus 2 multiplayers and one Pioneer DJM-900 Nexus 2 mixer. Powering the system are five Powersoft X8 amplifiers, which are Dante enabled. “Smart integration with the company’s Armonia software and interactive tuning made it easy to align the system before the club construction was fully completed, as it wasn’t practical to continuously play

pink noise through the system,” said Joe. “Active damping control allows control of the subwoofer damping, so we could adjust the subwoofer response to make it more or less punchy.” The X8’s also offer options for input redundancy and a three-phase supply, which eased phase balancing for electrical contractor. Pulse ME specified two BSS Soundweb London BLU-50 processors and two BSS Soundweb London BLU-DA processors for DSP control. The latter offers Dante / AES67 audio and BLU link, which means it can be used to add Dante / AES67 to one or more BLU link devices. “We could use the leveller function in BSS to limit the sound without the usual compression artefacts,” explained Joe. “Using two independent pairs of matrix units meant that in case the primary system failed, the amplifiers would automatically failover to the secondary, identical system.” Using familiar contractors proved to be a failsafe decision for Solutions Leisure Group, it seems the team have cemented a winning partnership with Ardent Limited and Pulse ME. As the group’s first venture back into the nightclubbing world appearing to have gone relatively smooth, it’s likely it won’t be too long before we hear about the new venture.

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Images couresy of Amptown Systems Company




Amptown System Company was enlisted to modernise and upgrade a number of areas at UNI.T - the impressive theatre and rehearsal space at the University of Arts in Berlin.

Recognised as one of the best arts education institutions in the world, the University of the Arts in Berlin boasts a varied range of courses, as well as its impressive, long-standing tradition. The Fine Art, Design, Music, and Performing Arts Departments and the Berlin Career College encompass the whole spectrum of the arts and the sciences related to them - offering more than 70 degree programmes. The University of Arts hosts more than 500 events each year, making it a significant part of the culture in Berlin. A key part of this is the UNI.T - the universityâ&#x20AC;&#x2122;s very own theatre hall. On the UNI.T stage, students from the Performing Arts Department

learn their skills both on and behind the stage. The UNI.T is not a theatre like any other of Berlinâ&#x20AC;&#x2122;s stages. It is the venue of an institution primarily concerned with training students for various theatre professions. Students take courses to be actors, opera, lied, and concert singers, musical performers, stage designers, costume designers, acting instructors and authors. The theatre and rehearsal hall was designed by architect, Paul Baumgarten, with construction beginning in 1967 before being completed in 1975. The venue was the last work completed by Paul and, in testimony to the era, it has

become a listed monument. With it being such an important venue, the decision was taken to make sure that improvements were made, with most of the stage, light and general building equipment dating back to the construction period. Designers of itv, an engineering company specialising in theatre and event technology, were commissioned to help develop the lighting concept. Following a public call for tenders, the University of Arts enlisted the expertise of Amptown System Company (ASC) to modernise and upgrade the infrastructure of the scenic lighting, work and blue light


“The University of Arts hosts more than 500 events each year, making it a significant part of the culture in Berlin. A key part of this is UNI.T - the university’s very own theatre hall.”

equipment within the UNI.T theatre of rehearsal hall. ASC then started on the project, working closely with the planners throughout, beginning with dismounting and disposing the majority of the existing installation. The procedure involved the entire cable network, the cable support systems, and the junction and connection boxes, including the sockets. As well as that, ASC also removed the flat-ribbon cables of the proscenium bridge and of the slip-ring body of the rotating platform. From there, ASC built in two network cabinets in the dimmer room, which is where the control signals are distributed and routed from. All the necessary components were installed, including Ethernet switches, DMX boosters, patch panels, protocol converters and network nodes. In a second phase, the Hamburg-based system integrator reinstalled the cables and the network feeding the stage lighting system at UNI.T. This involved connecting the newly-installed circuits to the existing switchgear in the dimmer room and clamping the circuits of the

work and the blue lights on to the subdistribution boards. ASC renewed the movable flat-ribbon cables connected with the proscenium bridge and the slipring body of the revolving platform. ASC replaced all of the existing work lights in the stage tower and in the auditorium with LED work lights. Moreover, the system specialist installed a completely new DMX-controllable blue light system produced by the British manufacturer, GDS, which is equipped with dimmable LED luminaires and matching power supply units. For the stage and auditorium area, ASC configured nearly 100 connection boxes with the required load terminals and and multicore outlets. Furthermore, a network of data and DMX connection points covering the entire hall area were provided, which offers the UNI.T sustained flexibility and operational availability regarding stage floodlight control both for the present and the future. ASC Project Manager, Michael Stötzel, discussed the work his team had done at UNI.T further: “This kind of light installations belongs to the classical core

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competencies of ASC. By combining the old and the new, we have been able to create and make available to our client a system, which not only meets all of the lighting requirements perfectly, but is economical as well. “The lighting system involves approximately 230 dimmer circuits with different power levels, about 220 direct and switching circuits accessible via shockproof and CEE sockets, some 200 data and DMX connections, approximately 39,000 metres of power cables and about 13,000 metres of data cables. “To enable the lighting technicians to operate the newly installed switching circuits and the redistributed work and blue light luminaires conveniently while theatre performances are in progress, the new system components and the analogue slave consoles - the stage management console and the signal distribution centre - were integrated into the existing system.” Heike Kampherm, who works within the building management and occupational

safety department of the University of the Arts, was responsible for placing the order - and he was certainly happy with the work completed by ASC. “Scenic lighting is one of the most important factors where the creation of expressive, convincing scenes and images in the theatre and rehearsal room is concerned and an invaluable assistance to our artists’ work,” said Helke. “To exploit the options to the full was what the ASC team, represented by Sales Manager, Anke Schierenbeck, and Project Manager, Michael Stötzel, was determined to achieve, and all of them did an excellent job. By applying light and illumination in a deliberate, selective fashion our lighting technicians are able to exert an influence on where the audience is supposed to look and to direct its attention to a particular scene. “On a dramaturgical level, the way they use the light will affect the spectators’ visual perception and interpretation of the performance staged in the UNI.T and hence on their feelings as well.”

TECHNICAL INFORMATION LIGHTING 84 x GDS BluesSystem Beam Blue 10° fixture; 1 x Light Spillring controlled BluesSystem wall mount; 6 x zone DMX interface; 230 x dimmer circuit; 220 x direct and switching circuit



Revitalised for the new season, VII at The Conrad Dubai has been given a makeover courtesy of a MADRIX controlled ceiling and a Funktion-One PA.

Offering an Alice in Wonderland-style venue in the middle of the Arabian desert doesnâ&#x20AC;&#x2122;t really seem like a feasible concept to achieve, yet VII at The Conrad Dubai has surpassed expectation and delivered just that. Located on the infamous Sheikh Zayed Road, guests enter the venue via a lift to the seventh floor and when the doors spring open they are wowed by the venueâ&#x20AC;&#x2122;s plush lounge, which leads to the secret garden housing the bar area. The sumptuous lounge boasts plush furnishings and a relaxed atmosphere, however, stride through the tunnel and guests will be met by a canopy of foliage over the bar, creating a mystical vibe. A DJ booth next to the bar raises the tempo for the late evening crowd, just ahead of them discovering yet another


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Fog generators, 650 W, 1300 W, 2600 W, 3000 W & 9000 W passageway leading to the hidden gem of a nightclub, in which they can dance the night away. Similar to many nightlife venues in Dubai, VII has been open for a couple of years but is given a make-over every year ahead of the new season. Having worked with the management team at VII before, locallybased Procom Middle East was brought in again for the latest seasonal upgrade. Wiam Boutine, Technical Support for Procom takes up the story: “The client wanted to launch the new season of VII club with a twist. They were impressed with the MADRIX technology and wanted a design based upon the use of MADRIX that would match the theme of the club.”

Prior to the recent overhaul, the lighting design was based primarily on a ceiling feature of warm white bulbs, but the VII owner as keen to stay on trend and therefore wanted a fresh, colourful and more energetic look for the new season. This is when Wiam and the team suggested the idea to implement RGB bulbs, lasers and a central chandelier comprising LED RGB pixel tubes as the focal point. Wiam and the team came up with the solution to design the RGB bulbs and the LED tubes in 3D using Capture software for the simulation. The chandelier consists of four layers of LED RGB pixel tubes, approximately 200 tubes in total. Each layer is a different length to form an eye-catching centrepiece.

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• Above The ceiling makes a huge impact when guests walk into the room.

Surrounding the chandelier are more than 1,000 RGB bulbs. The entire ceiling is controlled via MADRIX software, and each layer was individually mapped for a higher level of control and creativity options. Two MADRIX LUNA 16 ArtNet nodes are used to drive the DMX universes. In addition the to pixel mapped ceiling, Procom also installed 12 Cyclops CL 350 SBW moving heads at VII. They flank the feature rich ceiling, six per side down the length of the elongated room. An RGB laser has also been added as part of this upgrade for extra effects. The room lends itself well for an allencompassing atmosphere. Booths around the perimeter of the room, as well as down the centre make for a uniform appearance, yet offers each group of guests in any given booth their own personal space to occupy as they please. The DJ booth with a small dancefloor is housed at one end of the room, the bar area at the other, while the in-house lighting / visual technician is located half way down the room to get a full view of the action. As well as pixel controlling of the MADRIX software, the technician also operates an Avolites Titan Mobile, which is in charge of the intelligent moving heads and the laser. VII has previous experience of Avolites

products, but once again, the owner was ready for an upgrade that would offer higher levels of control. “The Titan Mobile is a super compact light unit, with four DMX outputs and 10 pageable faders, which allows for superior control,” Wiam explained. According to Wiam, the main challenge for this aspect of the project was time. But Procom managed to finish the work ontime thanks to the experienced team. The ceiling feature has improved the overall look of the venue and has increased the level of possible creativity and

adaptability for when the club wants to host different types of themed events. It wasn’t just the lighting and visual element at VII that received a facelift. The owner, Rocky Bhatia, turned his attention to the audio set-up too with the help of Funktion-One distributors, Em-Tec. Rocky met the company at the Formula One Grand Prix in Abu Dhabi, where he heard a Funktion-One system and really liked it. So, he got in touch with Andy Williams and Alex Bracken asking them to take look at his venue. “The initial brief was for a very high-

TECHNICAL INFORMATION SOUND 4 x Funktion-One Evo 6E loudspeaker; 6 x Funktion-One Res 2 loudspeaker; 2 x Funktion-One F101 loudspeaker; 4 x Funktion-One F1201 loudspeaker; 6 x Funktion-One BR218 bass enclosure; 1 x Funktion-One BR118 bass enclosure; 2 x Funktion-One F221 bass enclosure; 4 x Funktion-One F218 Mk2 bass enclosure; 1 x Funktion-One IB218 bass enclosure; 3 x XTA DC1048 processor; 1 x Funktion-One E45 amplifier; 1 x Funktion-One E90 amplifier; 3 x Funktion-One E100 amplifier ; 3 x Funktion-One E475 amplifier LIGHTING 1,000+ RGB bulb; 200 x LED tube; 1 x MADRIX software package; 2 x MADRIX Luna 16 Art-Net node; 1 x Avolites Titan Mobile console; 12 x Cyclops CL 350 SBW moving head

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end club/lounge,” Andy explained. “The concept then evolved to be a high-end DJ-led nightclub using the best audio products available. VII was to become a world-class standard nightclub with an amazing audio across the whole venue. “While designing the sound system tailormade for VII, we were concentrating on creating a solution that will result in a high-impact audio of extremely high quality and extremely high SPL across the venue. In VII, DJs can play their music in three DJ locations, in the club area, garden and lounge. Depending on the evening, the music can be played either by one DJ across the whole system, or by up to three DJs simultaneously in different parts of the venue. The club has the very latest Funktion-One products including Evo 6 and legendary F221 bass speakers.” Funktion-One is renowned for this type of installation due to its products being able to play at extremely high volumes with very low or no distortion and still keep the clarity of audio. The sound distributed by the speakers covers the full

• Above The outdoor terrace.

range - from deep bass to crystal clear highs - with no loss of quality. The line-up at VII comprises four Evo 6E enclosures coupled with six Res 2s, two F101s and four F1201. As you would expect in a nightclub environment the bass inventory is impressive too, it includes BR218s BR118s, F221s, M218s and IB218s. As it usual with Funktion-One project the electronics were provide by MC2 Audio, Full Fat Audio and XTA. “The MC2 amplifiers that were used across the venue not only give an amazing audio quality, but are extremely reliable and efficient. Along with FFA amplifiers, they are recommended by Funktion-One. As audio is a chain, it is vital that the amplifiers used in the system ensure that the full potential of amazing FunktionOne loudspeakers is fulfilled,” continued Andy. One E45, one E90, three E100 and three E474 amplifiers - all OEM’ed by MC2 Audio - were selected. “We chose to use XTA processors which are of the highest audio quality and recommended by Funktion-One as a processor of choice

for their systems. XTA processors provide great DAC converters along with great functionality to control the loudspeakers to their maximum potential.” Three XTA DC1048 fitted the bill for this project. When it came to challenges, Andy reflected: “As the venue is in a hotel, we had to ensure minimum disturbance to the neighbours and guests. FunktionOne speakers are extremely directional, which makes them suitable for this type of installations. And along with Matthew Carter from Acoustic Logic, a Dubai based acoustic consultants company, we did a full design study and sound proofing to minimise the effect on the surrounding area. As the place was basically being completely rebuilt from scratch, the issues like cabling and conduiting were relatively straightforward.” With this fresh new look, VII is ready to mesmerise its guests for another season, offering a high-class audiovisual experience.



Mallorcaâ&#x20AC;&#x2122;s new nightspot opts for Portman Lights and MADRIX to provide a striking lighting display in line with its high-end, detailed design.

The Baleariac Island of Mallorca has long been a popular resort for tourists, with the warm weather, beaches, coves and limestone mountains making it the ideal destination for a holiday. The nightlife is, of course, a huge factor, too - with a wide range of clubs, bars and restaurants across the island. Social Club, which opened in summer 2017, is owned by Dominic Miles and Martyn Smith, who put a lot of effort into the interior design - from the sofas to the bars - to make it the go-to nightspot. With such detail having gone into the design, a decision was made to acquire the best possible lighting to accentuate each detail. With many different lighting


• Above Images of Social Club courtesy of Vicki McLeod.

manufacturers, in the end Dominic and Martyn approached Portman Lights. They visited Portman Lights headquarters in Poland to personally check that the lighting fixtures would perfectly complement the club’s décor and were left in no doubt. Dominik Zimakowski, CEO of Portman Lights, takes up the story: “The owners of Social Club wanted to create a club that was totally different from the others in the area - they wanted to focus on the social aspect rather than it just be another venue with loud music and liquor. They really wanted every detail to be perfect all fitting in with the ultra-cool, modern design.

“So, when it came to sourcing the lighting for Social Club, they found us and got in contact. At first, it seemed like a simple enquiry for around 16 to 20 units for a six-metre wall. But, once we spoke a few times and asked a few more questions, we began to understand the project much more and were able to offer the best solution for the final installation.” The brief for the lighting design was to use fixtures to build an eye-catching feature wall with a honeycomb structure. From there, Portman Lights presented an idea using the features of its fixtures, such as controlling every pixel individually and playing live using DMX. Dominik explained the lighting setup

further: “To create the design, we used 16 Portman Lights P2 Hexaline fixtures in one row, which are rigged on a black wall. Using our height adaptors, these fixtures make the perfect honeycomb structure. “For the control, we decided to use MADRIX Plexus. We prepared two different mode; one being a standard mode with some configured loops for events, while the other mode is using a microphone - this means that the intensity and speed is controlled by the music and sounds of the club. This allows the wall to be interactive, adding another layer of atmosphere. “There are around 26 ADJ LED bars used to deliver colour around the club, too


- and these are also controlled by the MADRIX Plexus.” The use of MADRIX adds a to the atmosphere at Social Club, as Dominik explained: “MADRIX is very easy and gives lots of possibilities. One universe was enough for whole installation at Social Club. Plexus is also small and can work stand-alone. We can simply record some loops on it and they can be played throughout the day and during the night, while there is also the option

of connecting it to a laptop and run an interactive mode for special events.” Overall, the new system provides warm, elegant lighting, making it a key feature of Social Club with its beautiful, hypnotic design. Plus, with the ability to connect the lighting to the venue’s music, it also becomes a huge element of the atmosphere. Unique, modern and striking - perfect for the Social Club and their clientele.

TECHNICAL INFORMATION LIGHTING & SPECIAL EFFECTS 16 x Portman Lights P2 Hexaline fixture; 26 x ADJ LED bar; 1 x MADRIX Plexus interface

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Nestling low and sleek, amid a dramatic Icelandic landscape, lies the Lava Centre. A modern and stylish building, it integrates elegantly with its uncompromising surroundings. Despite its graceful external serenity, it is located close to five active volcanos, including 2010’s notorious international flight disruptor and headline grabber, Eyjafjallajökull. It’s a position that makes the Lava Centre ideally suited to the study, exploration and appreciation of both volcano and earthquake centre. Expected to welcome between 130-150,000 visitors per year, they can enjoy its array of interactive experiences that replicate the epic

forces that shaped the planet. Visitors to the Lava Centre can examine various volcanos, eruptions and lava flows, volcanic and rift systems, faults and glacial floods via eight experiences. These range from the Volcano Corridor, Geology Globe, Earthquake Corridor, The Fiery Heart of Iceland, Lava Corridor, Intro to Volcanology and an Ash Corridor. Thanks to the power of technology, the Lava Centre can simulate eruptions in Iceland, as well as the creation of Iceland and its earth quake belts. There is also the opportunity to experience a Mantle Plume, get immersed in life-like audio of geysers bubbling, explore a Lava Room and, for


the brave, to find out what it is like to live under a volcano. Given that the objective for the Lava Centre was to offer an interactive, hightech educational exhibition depicting volcanic activity, earthquakes and the creation of Iceland over millions of years, it needed high performance projectors that it could rely on to create an unforgettable and realistic guest experience. Now, 15 Vivitek projectors enable the Lava Centre to bring the volcanic elements outside, inside. “The projectors are integral to the whole experience,” explained Jakob Kristinsson, Chief Technology Officer, Feris ehf, the System Integrator appointed by the Lava Centre. Thinking of the Lava Centre’s projector requirements and the solutions available on the market, Jakob was convinced that Vivitek’s offering met its requirements. “The Lava Centre needed laser projectors with a wide range of lenses, as it would be projecting over quite large distances,” he added. To that end, the Lava Centre purchased 15 Vivitek projectors, comprising 10 DU8090Zs, three DU8190Zs and two 4K DK8500Zs. “The projectors offered the Lava Centre all that it needed in terms of performance

and flexibility,” Jakob said. That’s unsurprising given their comprehensive spec, performance and features which makes them suitable for a multitude of applications. The DU8090Z, for instance, features a WUXGA resolution, an 8,000 ANSI lumens brightness and 10,000:1 contrast ratio for a clear and bright projection. The projector is equipped with a laser light source which offers up to 20,000 hours of operation, which makes it the perfect solution for large venues that need power, flexibility and a durable solution. The DU8190Z, meanwhile, features a WUXGA resolution, a 10,000 ANSI lumens brightness and 10,000:1 contrast ratio for a clear and bright projection. Like the DU8090Z, the projector is also equipped with a laser light source which offers up to 20,000 hours of operation. The lamp-free and eco-friendly 7,500 lumen laser projector - the DK8500Z - offers an extraordinary 4K-UHD resolution with full 8.3 million pixels for large venue applications. It is designed for easy installation with motorised interchangeable lens options and 360° degree set up flexibility. Its long lasting laser light source provides up to 20,000 hours of operation with low maintenance

for the peace of mind. Located throughout the Lava Centre, the projectors play a key role in some of the centre’s more interactive elements. For example the timeline of Iceland’s creation is peppered with sensors that monitor how the visitor is interacting with the display, and can even trigger a simulated earthquake. The sensors’ movements determine what images the Vivitek projector displays. With the number of projectors dispersed over the Lava Centre, a software application that enables them to be turned on and off remotely, is a convenience boon for the team. Perhaps more importantly given how central the projectors are to the Lava Centre experience, they also had to offer durability and reliability in addition to excellent image quality. “The projectors are on from 08:30 to 19.30, and they are running seven days a week,” Jakob stated. Their long operating hours means that effective cooling and efficient airflow are prerequisites. Vivitek’s expertise in projector design ensures that not only are they capable of controlling their temperature effectively, but their fans are quiet, too.

• Above A visitor at the welcome desk ahead of a stroll around the centre.


• Above The Vivitek projectors in action.

“That point is important to the Lava Centre, and the experience the guests have. We didn’t want them being distracted by fan noise.” From an investment perspective, too, Jakob is satisfied the Lava Centre has made the right choice. “There are three things that really stand out about the projectors. Their size is fine for the centre’s needs and they fit perfectly. The lense interchangeability saves money and gives real return on investment, while the quietness of the fans means the only things likely to grab guests’ attention are the interactive displays and exhibits. I wouldn’t hesitate to recommend Vivitek projectors.” That’s a conclusion that suggests they have created a lasting impression at an attraction that aims to achieve just that, by celebrating and bringing to life the powerful forces that Mother Nature can unleash.

“The projectors are integral to the whole experience… they offered the Lava Centre all that it needed in terms of performance and flexibility.”

TECHNICAL INFORMATION LIGHTING AND VISUAL 10 x Vivitek DU8090Z projector; 3 x Vivitek DU8190Z projector; 2 x Vivitek DK8500Z projector


Ashly NX Series amplifiers with Dante Connectivity provide a system refresh Crossroad Baptist Church.

The Crossroad Baptist Church in Ames, Iowa was at a crossroads. The sound system it had relied on to deliver spirited services in its 450-seat auditorium had never possessed the kind of intelligibility the church members and staff had hoped for and age wasn’t helping matters. Originally called in with the hope that improved acoustics could do the job by itself, Communication Innovators properly diagnosed the issues. The church’s new Dante-connected digital system relies on a bank of high-value, high-reliability Ashly Audio nX-Series multichannel amplifiers with optional Dante I/O. The main element worth keeping was a relatively new Midas M32 digital console. Eric Bishop, AVLI engineer with Communication Innovators, replaced the

analogue snake they were using with a new Midas digital snake and he outfitted the console with a Dante expansion card. The card feeds a BSS Blu-DAN Dante bridge and BSS BLU-Link so that system processing and preset control can be run from a BSS BLU-50 processor. Dante output from the BSS system feeds the Dante inputs on the Ashly amplifiers. “When we’re dealing with a digital board, we like to keep things in the digital domain all the way to the multi-mode amps,” Eric said. “Getting the Dante system configured via the Ashly software was straightforward and quick.” He continued: “We went with Ashly because of its value and reliability and because we knew that if there were any issues, Ashly’s support is fantastic. Ashly


amps have high signal to noise, great damping factor, high headroom, and proven long-lasting performance. Ashly’s optional Dante connectivity and huge variety of channel counts and power ratings meant we could include exact matches for CrossRoad’s new line array and subwoofer system.” A stereo system comprised of two PreSonus WorxAudio X5 compact line arrays cover almost all of the seats with PreSonus WorxAudio V5 and 12A loudspeakers for centre down fill and balcony delay, respectively. A cardioid, endfire configuration of PreSonus WorxAudio TL218SS and TL118SS subwoofers complete the system. With the new, full-coverage system in place, it did make sense to add a bit more acoustic treatment. Communication Innovators installed

new Primacoustic absorptive panels to keep reflections to a minimum and intelligibility to a maximum. “After the installation was complete, those same congregants tried out the new hearing assistance system. However, the next week, the pastor noticed that they didn’t use the new hearing assistance system at all. He assumed something was wrong with it and asked the congregants what the trouble was. He was delighted to learn that the sound reinforcement system was so intelligible that even these hearing-impaired congregants could enjoy the service without any hearing assistance.”

Photos by Whillyam Barros and Bill Ranier



Since its opening in 2014, Club 88 has established itself in Brazil’s electronic music scene with its impressive roster of the countries major players and DJs - the nightclub takes pride in the fact that it’s not just a club, but a community.

The ethos of Club 88 is to support the vision of freedom and the will to promote, what they believe, to be interesting, challenging, innovative and creative. The name Club 88 originated from the year 1988, the year that marked the beginning of the second ‘Summer of Love’, an iconic movement for the electronic music scene, in not just America, but all over the world. The fast-paced nature of the nightclub meant that users didn’t have a quieter space to socialise and recharge, so Club 88 decided to expand, creating the lounge bar, which customers could utilise. The operators of the venue invited Architect, Whillyan Barros, to help design the space. “I was responsible for defining the types of lighting that would be best for the design - indirect light, decorative light and effect light. I also created the decorative elements to the doors of the dance floor,” Whillyan explained. “We aimed to enhance the architectural elements of the historic building, using LED lighting to create atmosphere and effects for


• Above The Lounge Bar

the set up.” The nightclub is part of a historic building built in 1925, it was important for the owners to maintain as much of the history as possible, while also rescuing elements that were disintegrating. “The lounge bar had indirect lighting that served both for the calmer and intense moments in the venue, which is a necessity for creating effects to transform the space on the second dancefloor. In fact, the quality emphasises the factors of the historic building, therefore creating countless options of scenes and effects,” Whillyan explained. The dancefloor is an exact replica of the design on the doors - backlit acrylic with RGB LED strips. To complete the ceiling, six 200W beam moving heads with 5R lamps were used, accompanied by DMFE Dance 240 console and MADRIX software. Club 88 turned to local supplier, Star Lighting, to provide the equipment needed to create the expansion and to

“We aim to value the architectural elements of the historic building, using LED lighting to create scenes and special effects.”


TECHNICAL INFORMATION LIGHTING & VISUAL 1 x DMFE Dance 240 console; 1 x Smart Control console; 1 x DMX splitter; 2 x wireless DMX transmitter 1 x Art-Net interface; 6 x pixel LED strip controller; 12 x RGB LED strips controller; 6 x moving head beam; 1 x MADRIX Basic software package; 7 x RGB LED wash bar; 85-metres of RGB LED strip; 115-metres of Pixel LED strip

“We tailored the products according to each specific need”

allow Whillyan to turn his ideas into reality. The team were met with the brief that the set up was to merge the characteristics of a classic building, with LED technology and futurism, using colourful lights with dynamism. “We offered several product options, for the doors and windows with vaults, we suggested the LED Wash Bar. We recommended this product due to the light power and the opening angle of the beam. We also opted for that because of the possibility to use various colour shades of RGB,” said Rosani from Star Lighting. “For the ceiling of Club 88, we suggested the moving head beam 200, we took into account the power of the lamp 5R. We suggested MADRIX for running

create together. Visit disguise at ISE, in Hall 8 - stand K250 where we’ll be giving an exclusive sneak peek into the latest software release, and demonstrating how the disguise solution comfortably sits at the heart of any live experience.

the Pixel LED strips with 32 LEDs per metre, in order to create the best possible dynamic of the lights running through the nightclub.” To create the various colour effects in the Lounge Bar, LED wash bar with 216 RGB 10mm power leads, opening angle of 35°, were used in the balcony doors of the façade. They have the ideal intensity to draw attention to the façade without overshadowing anyone inside the nightclub. RGB LED strips were used on the walls of the club, making the outline of the decorative elements in plaster; all controlled via DMX console Dance 240. To control the Pixel LED strips on the ceiling, MADRIX 16 DMX universes were fitted. 200W beam moving heads


• Above LED wash bar in action inside Club 88

with 5R lamp, have been installed due to the power and concentration of the light beam, which had a great effect on the dancefloor. Along with some LED RGB Spots, which is controlled by the Smart Control DMX console. “We were briefed by the owners and Whillyan, who came directly to our showroom to familiarise themselves with the products and possibilities we offered for their project,” commented Rosani. “We tailored the products according to each specific need, and kept up with the

project providing technical advice from the beginning of the creative process, through installation, until the training for the technician was completed, who would then control the lighting. Due to this consulting, we were able to understand the architect’s design and indicate the products with the ideal characteristics to reach the excellent final result.” As Club 88 is a historic building, the venue wanted to pay homage to its heritage, the 88 number also represents the 88 keys of the grand piano.

“The biggest challenge was to install in such a historic building, where some types of interventions were not possible, and the alternative was to use out wireless DMX transmitter to transmit the signal,” Whillyan concluded. With its brand new expansion, Club 88 show no signs of slowing down with their 2018 calendar already filling up - I have no doubt party-goers will, without a doubt, be utilising the Lounge Bar to fulfil their clubbing needs.

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Sitting on the beachfront in the Ecuadorian town of Montanita, the Lost Beach Club is the spiritual home of one man’s mission to bring great music to the world - aided by a recently refreshed Evo system from Funktion-One.

Lost Beach Club is something of a unique proposition in Ecuadorian clubbing. Located in the small surfers’ town of Montanita - a two-hour drive from the nearest city - it has nonetheless secured a reputation for being among the best beach club experiences in the world. It’s a success due in no small part to the driving vision of owner Kami Tadayon and his insistence on the best quality Funktion-One sound system. “Lost Beach is unique,” explained Kami. “You’re under the stars, on the beachfront, in a town of 1,000 residents, and you have this superclub, with the best sound system in the world and some of the best DJs in the world coming to play every weekend. There’s nothing like this anywhere in Ecuador - or even Peru and Columbia.”


While the venue’s setting provides the one-off surroundings, it is also responsible for some special measures being taken by Kami and his team to ensure the both the audio and lighting equipment are kept in peak condition. Following each event at Lost Beach Club, the kit is kept in climatecontrolled storage to protect it from the corrosive ocean spray. Never one to rest on his laurels, Kami recently re-affirmed Lost Beach’s global standing with an audio upgrade in the form of new Funktion-One Evo 7 and Evo 6 systems. Kami’s passion for Funktion-One was ignited back in 2003 while he was living in Ibiza. For two years, he immersed himself in the cream of club culture, soaking up the very best nights at iconic venues like Space and Privilege. “Space Ibiza was a big inspiration for me,” Kami remembered. “I studied and investigated the place thoroughly and swore to myself that one day I would start a club and take it to the same level.” By 2010, Kami had moved to Ecuador and was promoting parties across the country under the Global Unity Movement banner. He wanted a world-class system capable of creating that same blissful sound he had experienced in Ibiza. Therefore began his long-standing relationship with FunktionOne dealer Blue Box, owned by Mark Metcalf, the man credited with starting the loudspeaker manufacturer’s Ibiza legacy. A mobile system that began with 10 Res 2s and eight F218s (split in to two systems), was soon augmented by a further six Res 2s and four F214s. Two years later, Kami acquired the beachfront site in Montanita that would become a base for his Global Unity Movement party nights. Dubbed Lost Beach Club, the venue drew top-class DJs from across Europe and the US. Combined with

its high-end Funktion-One system, this made the venue a honey pot for discerning clubbers from across Ecuador and, before long, from beyond the country’s borders. In 2014, a new law restricting the opening hours of outdoor clubs came in to force in Ecuador. But, rather than let this curtail the fun, Kami embarked on an ambitious project to build an indoor space, fitted to perfection with a carefully designed Funktion-One set-up. Once again, he turned to Mark and the team at Blue Box. “Mark is a legend - he seems to know everything you need to know to make a world class sound system,” says Kami. “And he’s incredibly patient; we’ve always discussed every system I’ve bought from him thoroughly to make sure its right for every situation we need” After looking at the proposed plans for the indoor ‘Cave’ space, the team agreed on a pair of DS4 Dance Stacks with Evo 6SH skeletal speakers and F218 dual 18-inch bass enclosures for the mezzanine area. “When we were discussing the design of the system for the cave, I told Mark that I wanted it to win awards for the best sound,” said Kami. On this, Blue Box really delivered. Within a year of the Cave opening, Lost Beach Club was voted in to DJ Mag’s top seven beach clubs of the world, and continues to climb the magazine’s global club rankings. “Mark is an unbelievably experienced expert,” said Kami. “He understands our needs and always delivers to our high expectations for the club system... and on top of all that he’s a great guy.” For his part, Mark is quick to redirect praise back to the brains behind Lost Beach Club. “What Kami’s achieved here is remarkable,” he said. “And he continues to grow his audiences, many of whom travel up to 10 hours just to experience Lost Beach and its sound systems.”


This year, Lost Beach Club’s audio provision evolved again with the addition of the new Evo 7 and Evo 6 systems. The Evo 7s have taken the place of the Res 2s in the Lost Beach terrace while the Evo 6s provide updated sound for the large VIP area behind the DJ. “Kami and his team have created quite a buzz with the installation of this new system and Lost Beach has raised its game once again,” said Mark. “Kami’s maxim is ‘if I build it, they will come’ and they are coming - in ever increasing numbers.” While audio quality is firmly placed at the forefront of the venue’s DNA, lighting elements are used - albeit, sparingly. On the terrace, 20 wireless Philips Hue lights allow the colour of the space to be changed using a Philips app called Hue Disco. Six Chauvet Intimidator Beam LED 350 fixtures hanging from the

bamboo roof are used for subtle, dynamic effects. The Cave is also home to a Philips Hue ambient lighting set-up, as well as two Chauvet Intimidator Beam LED 350s and two Chauvet Intimidator Spot LED 250s. Both dancefloors have a Chauvet Xpress 512 self-contained DMX-512 interface running ShowXpress software, with pre-programmed pre-sets running off touchscreen laptops. For Mark, the success of Lost Beach echoes the halcyon days of Balearic club life: “The spirit of Ibiza that inspired Kami to bring dance music to Ecuador has largely disappeared as the island has moved more and more upmarket and away from its roots. But if anyone doubts the spirit of Ibizan clubbing still exists they could do worse than pay a visit to Lost Beach; the spirit of next generation clubbing is finding its feet.”

TECHNICAL INFORMATION SOUND 16 x Funktion-One F218 bass cabinet; 16 x Funktion-One Res 2 loudspeaker; 2 x Funktion-One DS4 Dance Stack; 12 x Funktion-One Evo 7 loudspeaker; 12 x Funktion-One Evo 6 loudspeaker; 10 x Funktion-One F221 bass enclosure; 4 x Funktion-One F121 bass enclosure; 6 x Funktion-One Evo 6SH loudspeaker; 2 x Funktion-One Res 2SH loudspeaker; 2 x Funktion-One F118 bass enclosure; 2 x Funktion-One F215 bass enclosure; 1 x Funktion-One E45 amplifier; 2 x Funktion-One E25 amplifier; 6 x Funktion-One E100 amplifier LIGHTING 20 x Philips Hue light (wireless); 1 x Philips Hue Disco app; 8 x Chauvet Intimidator Beam LED 350 moving head; 2 x Chauvet Intimidator Spot LED 250 moving head; 2 x Chauvet Xpress 512 DMX-512 interface with ShowXpress software

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A K-array solution has created a beautiful space for the student orchestra in the new theatre at Unisnios University.

Located in Southern Brazil in the city of São Leopoldo, Unisinos University is home to almost 32,000 students and within that figure lies a talented student orchestra. The university recently built a new theatre space for the music group that will also host classes and seminars for an audience of up to 550. The orchestra conductor, Evandro Matté, and a team of expert engineers carried out a customised, tailor-made acoustic design for the university’s new theatre, with the help of Project Manager, Alexandre Ostrosky. Evandro required a powerful system for the orchestra, yet high speech intelligibility for the other applications. Collectively, they decided on a discreet system comprising K-array Python line arrays, which were supplied by the Italian manufacturer’s Brazilian distributor, Gobos do Brasil.


The system includes 10 Python-KP102 passive speaker system comprised of 12 3.15-inch neodymium magnet transducers housed in an elegant and sturdy stainless steel chassis. These are ideally suited to the application due to their wide horizontal coverage pattern. Accompanying the Python-KP102’s are the smaller sibling from the range, the Python-KP52 variable beam speakers. To extend the low frequency range, four K-array Thunder-KMT18P high performance subwoofers were added to the theatre space. The subwoofer system features a 800W 18-inch drive unit, with magnet structure and suspension engineered for maximum linear excursion. Sticking with an all K-array system, amplification and DSP was supplied in the form of two Kommander KA84’s

and one Kommander KA24’s. Both models have four fully independent and configurable channels, and the integrated DSP offers EQ, matrix, levels, delays and limiter functions on every channel, to avoid the need of external additional processors. The key criteria for this project was invisibility - and K-array can certainly deliver that. They system is hidden in plain view and provides uniform coverage throughout the venue. Alexandre commented: “The main challenge was the requirement that no speaker should be in the public’s line of sight. K-array has the compactness we needed by never compromised on the sound. I had no doubt that they were the perfect solution.”

TECHNICAL INFORMATION SOUND 10 x K-array Python-KP102 passive speaker system; 2 x Python-KP52 variable beam speaker; 4 x K-array Thunder-KMT18P high performance subwoofer; 2 x K-array Kommander KA84 amplifier and processing solution; 2 x K-array Kommander KA24 amplifier and processing solution


KINETIC LIGHTS and WHITEvoid combine to deliver a spectacular lighting installation for the 2047 Apologue concept performance.

2047 Apologue is a concept performance by Zhang Yimou, the director of the opening and closing ceremonies for the 2008 Beijing Olympics. The show, which performed at the National Centre for the Performing Arts in Beijing, is divided into eight acts, which combine traditional Chinese craft, music and dance with modern technology, such as lasers, robots and drones. The meaning behind the performance is to show how much technology has impacted lives in the 21st Century. For the final part of the show, entitled the Weaving Machine, 640 Winch XS and Sphere XS 17 LED lights from

KINETIC LIGHTS were designed and produced by WHITEvoid. The epic performance saw Zhang place an ancient weaving machine on the stage. Throughout the segment, the lights move together in an elegant wave and interact with the dancer performing underneath. The lights change both in pattern and colour, with a soundtrack matching the energy and movement perfectly. The incredible performance was premiered in Beijing, but will now be touring throughout China in 2018. /




To mark the 80th anniversary of the Xi’an Incident, a live show dramatising the event was performed at Yaoguang Pavilion Theatre. Amadeus was enlisted to provide the audio system, with disguise offering its expertise for the visual element.


The Xi’an Incident was a political crisis that took place in Xi’an, China prior to the Second Sino-Japanese War. The event that led to this key moment in history was Chiang Kai-shek, the leader of the Nationalist Government, being detained by his subordinates, Zhang Xueling and Yang Hucheng. The aim of the act was to force changes in policy toward the Empire of Japan and the Communist Party of China in the ruling Chinese Nationalist Party. After two weeks of negotiation, the crisis came to an end and Chiang was released and returned to Nanjing. Following this, Chiang agreed to end the on-going civil war against the Communist Party of China and began to actively prepare for the impending war with Japan. To commemorate the Xi’an Incident, a live show

dramatising the event is performed at Yaoguang Pavilion Theatre, in Xi’an Huaqing Palace, which is, in fact, the location of the historical incident, that led the opposing parties in the Chinese Civil War to form a united front against invading Japanese forces. The performance, which includes an impressive 700 actors, is China’s first live event dramatising the Xi’an Incident. For such an important event, it was vital that the technology could provide exceptional, reliable quality to enhance the story. France-based Amadeus, one of the premiere manufacturers of high-end sound reinforcement systems and custom studio speakers, working with its distributor, Guangzhou Sign King ET Co., Ltd, were drafted in to help with the audio side of the performance. This led to a truly

incredible 50-loudspeaker install with 3D sound control, which Amadeus’ Marketing Manager, Gaetan Byk, explainsedfurther: “The setup’s complexity, as well as its artistic dimension, implied dual implications for Amadeus, both material and immaterial, offering a savoir-faire, an expertise, more than just offering well-developed speakers. Amadeus’ legitimacy stems from the prestigious legacy gained in the professional audio world over the last 25 years. Our long list of users includes many of the greatest sound engineers, composers, mixers and producers in France. “Our great relationships with major French theatrical, musical and cultural institutions, and with professionals with talents, sensitivities and careers - both original and complementary - helped


us to achieve state-of-the-art system implementation in this amazing performance space.” Wymen Wong, of Guangzhou Sign King ET Co., Ltd., added: “The creative team needed immersive sound to bring the scenes to life. An important scene among this huge show is a real scale airplane, which is flying in from far away and getting closer, then landing and, finally, the aircraft propellers come out from backstage. The art director knew a new solution could make it more exciting and realistic rather than using multi-channel recorded sounds - which are not as satisfying. Not to mention, the airplane landing scene also has gunfire sounds - this type of example meant searching for a new way to do sound for the live theatre presentation.” To help make sure that the Amadeus system was perfect for the performance, the company enlisted the help of the prestigious Théâtre National de Chaillot, which acquired a similar immersive sound system the year before. “We were able to work with Marc Piera, the

theatre’s Sound Department Manager. Marc Piera is also a composer, musician and sound engineer, who began working in the entertainment industry in 1982, in ballet, theatre, music, and on various other live performance events,” explained Gaetan. Marc’s expertise has seen him complete more than 300 original projects, mainly in the role of music composer or sound environment designer. Since 2006, he has continued to complete consulting projects involving electro-acoustic multi-diffusion for prestigious French institutions such as Bibliotheque Nationale de France (National Library of France), National Museum of Natural History, Theatres de la Cartoucherie, and Theatre de la Cite Internationale. Marc joined the Amadeus team for the Xi’an Incident project for a few weeks, with his role divided into different sections. He was the system engineer in charge of the on-site loudspeaker tuning, as well as the mixing engineer and spatialisation technologist - three extremely

portant components that helped make the project a huge success. Marc discussed his ideas about working with immersive sound and spatialisation further: “I believe, since my beginnings working in live theatre, that inside each sound technician is an electro-acoustic creator able to sublimate, reinterpret or magnify a musical project. “These new techniques of diffusion finally offer us the choice, that of building our space, with its depths, its images and its relationship with the scenic elements of the stage. These new sonic techniques allow us to be architects of the sound, sound creators, finally freed from the dictates imposed by the acceptable or usual physical positions of the loudspeakers in a theatre.” As well as the Amadeus system, which included 40 UDX 15 loudspeakers, eight UDX 8 loudspeakers and six ML 28 subwoofers, a DiGiCo S21 digital mixing console was specified, along with a Sonic Emotion WAVE II 3D wave field synthesis rendering processor. To power the


• Above The show is every popular among the locals.

system, 12 Lab.gruppen C68:4 and three FP14000 amplifiers were used, too. Discussing the project at UNI.T, Wymen said: “We were inspired by Amadeus’ other great projects, including the Chaillot National Theater, in Paris, as well as Gaetan Byk’s and Michel Deluc’s ideas and expertise, along with Marc Piera’s past experience. There was a lot of discussion about what the audience would experience and how to make the technology invisible. “The Amadeus team combined all the technologies used based around their speakers. It was a very complex and comprehensive list of gear. Having Amadeus’ team set the system up in the theatre, tune the speakers and set up each component, and then train the staff here in China - it was a combination of it all, based around the speakers themselves.” For the visual element of Xi’an Incident, the production used advance multimedia mapping techonlogies to create an immersive experience for the audience. To achieve this, three disguise 4x4pro media servers powered an extensive array of laser projectors and LED screens. Redline, a disguise reseller in China, provided the disguise media servers. Hu Jingfeng from Redline’s disguise support team explained how they were used for the performance: “disguise provided access to control multiple show devices simultaneously; since it supports open

interface and protocol, it is compatible with many third-party systems. “disguise is more than just a visualiser it’s a real-time stage simulator. disguise Designer software provides the stage designer with a real 3D stage environment simulating the lighting, video and space along with timeline editing. With the freedom to move around within the virtual space, it gives the designer a real sense of the space and how different elements interact with each other.” Ma Gong, a Technician at the Yaoguang Pavilion Theatre and the show’s disguise operator, was left impressed with the setup. “The director’s team was impressed by diguise’s previs feature. All the design was simulated in a 3D realtime stage, truly achieving ‘what you see is what you get!” said Ma. “disguises’s content mapping was very flexible, allowing for easy real-time mod-

ification to the content. The adjustments on the feed output, such as cropping, moving, scaling, rotating and flipping, saved us a huge amount of time. “There are still many disguise features that we need to discover and study, so that we can better equip ourselves for future projects. We definitely will recommend it to other users.” Stage design for Xi’an Incident was carried outby Feng Lei of Beijing Fire Salamander Culture Development Co., Ltd, while the content was produced by Beijing Blackbow Creative Design Institution Co., Ltd. The expertise coming from all different technical and creative backgrounds, along with the high-end equipment has delivered an exceptional audio and visual system for Xi’an Incident - allowing the actors to deliver a performance that does the historic event justice.

TECHNICAL INFORMATION SOUND 8 x Amadeus UDX 8 loudspeaker; 40 x Amadeus UDX 15 loudspeaker; 6 x Amadeus ML 28 subwoofer; 12 x Lab.gruppen C64:4 amplifier; 3 x Lab. gruppen FP14000 amplifier; 1 x Sonic Emotion WAVE II 3D processor; 1 x DiGiCo S21 mixing console VISUAL 3 x disguise 4x4pro media server

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


Technology. Innovation. Design. Experience

Explore the Creative Side of AV

TIDE in Amsterdam is gathering a world-class lineup of speakers that include artists, visionaries, and innovators who work on some of the biggest brands (Google, Dreamworks, Intel). These innovators are ready to share the dynamic results and incredible experiences that come from taking a closer look at the role design thinking plays in business. Join us the day before Integrated Systems Europe to contextualize the technology you'll be seeing on the show floor. C


Speakers Include:







Daan Roosegaarde Artist & Innovator Opening Keynote Speaker

Monika Bielskyte Designer & Artist Closing Keynote Speaker

Pedro Gadanho Director MAAT, Lisbon

Jan-Erik Baars Head of Design Management International University of Applied Science, Lucerne

Complimentary visitor pass to ISE included with TIDE registration (a â&#x201A;Ź100 value).

Produced by

TIDE Global Partners

Joint-venture partner of

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6-9 February Amsterdam RAI

Integrated Systems Europe (ISE) 2018 returns to RAI Amsterdam on 6-9 February 2018 for its 15th edition. As the world’s largest AV and systems integration show, the event combines the latest AV technology innovations with the finest education programmes to ensure attendees can maximise their visit to Amsterdam. Visitors to the show will experience the biggest ISE to date, with the introduction of a new 15th Hall. Over 1200 exhibitors will set up for four days on the show floor and 2018 will welcome an anticipated attendance of more than 70,000. Alongside conferences and educational opportunities delivered by co-owners CEDIA and AVIXA, there is an abundance of brand new and exciting events at ISE 2018. Launching on the day before ISE 2018 opens its doors, the TIDE (Technology. Innovation. Design. Experience.) conference, produced by AVIXA, is a one-day event, which will take place at the Okura Hotel,

close to the RAI Amsterdam. TIDE will explore the creative forces and business decisions shaping the AV industry and how businesses can leverage these concepts, focussing on Design Thinking for Business. The World Masters of Projection Mapping is a new competition with both the final and awards’ presentation occurring during ISE 2018. It is being produced by Amsterdam Light Festival, the RAI Amsterdam and ISE. The attendees will be able to view the finalists’ artistic 3D-light displays from canal boats sailing direct from the convention centre to the competition location, as the videos are mapped onto the threedimensional architecture the futuristic EYE FilmMuseum. The winner will be announced on Friday 9 February at 12:30pm at a special awards showcase. Friday will also welcome the launch of a new half-day conference. blooloopLIVE at ISE will explore how visitor attractions across the world,

Adam Hall LD Systems CURV 500 Duplex Satellite Stand No.: 7-H220 → Two standard CURV 500® satellites in single enclosure. → two four-inch midrange drivers and six one-inch high frequency drivers with patented WaveAhead technology for high-definition audio. → Ready for cableless SmartLink plug-and-play connection and available in black or white. → Perfect for creating spiral-arrays with standard CURV satellites. → Compatible with all CURV500 systems.

from theme parks to museums, zoos and heritage sites are increasingly creating night-time spectaculars. These live-technology powered events are designed to entertain guests and keep them at an attraction for longer, and range from lanterns to video mapping shows or from fountain displays to full-blown theatrical productions. blooloopLIVE will look at the technologies driving this new trend and will focus on hearing from key operators and the AV companies behind the shows. Complementing this, is the XR Summit ISE, one-day B2B strategy conference focused on the Virtual (VR), Augmented (AR) and Mixed Reality (MR) industry. Taking place on Tuesday 6 February in the RAI, it will explore the latest in these technologies, business strategies and solutions, and how they impact and empower the AV business. In short, ISE 2018 is set to be another ground-breaking year for the show. Sign up now:


Alfalite Litepix Stand No.: 8-M270 → Aluminium or magnesium alloy → Pixel pitch: 2-5 mm → Front / rear access with magnets → Curveable (+/- 15º) → Low power consumption

Anolis Ambiane Analog Way Media Servers

Stand No.: 7- X195 category/ambiane

Stand No.: 3-B130 → Modular design with extensive I/O capability. → Heavy-duty ruggedised chassis. → Up to 16 4K@60 10-bit outputs. → Beyond 8K playback performance. → Rock-solid Linux software engine, easy setup and flexible control solutions.

→ The first in a range of high performance specialist luminaires, with dynamic applications for ambient lighting. → Available in RGBW and tunable white CCT versions, with 67° and 80° beams. → Phenomenal high-power LED colour mixing quality designed for optimum light output. → DMX and DALI control with secondary power input for backup power, in case of primary power failure. → IP 20 or IP 54 version available. Selection of clear or frosted glass available for IP 54 version.

Astro Spatial Audio SARA II Premium Rendering Engine Stand No.: 6-H150 → Object-based immersive audio rendered up to 40 times per second → Room Acoustics and stage tracking → Brand agnostic 3D audio with Dante and MADI → Quickly and easily scales from the smallest to largest of venues. → Intuitive web-based GUI can be mastered in minutes.


Cloud CV8125 Stand No.: 7-H210 → 8 x 125W 70V/100V Output, with Power Sharing Feature → Plus 2 x Configurable Aux Outs → Extensive DSP Suite Onboard → Ethernet / RS-232 Configuration and Web Browser GUI Control & Configuration → Energy Efficient Switch Mode Power Supply *Energy Star Certification Application in Process

DTS DRIVENET Stand No.: 14-A180 → Eight models tailored to indoor / outdoor or underwater applications. → Centralised and remote control of large

EM Acoustics HALO-A

networks of LED projectors. → Monitoring of the status (current and voltage) of connected LED projectors on the built-in touch screen. → Remote management of DRIVENET units over LAN networks. → 16 to 64 channels individually programmable with selectable current (from 250mA to 700mA, or from 250mA to 1600mA).

Stand No.: 6-F140 → Large scale arena line array system for live sound reinforcement and fixed installations. → Maximum headroom design delivers flat response from 48Hz to 19kHz. → Two-way design uses 2 x 12-inch neodymium LF drivers and 4 x 1.4inch neodymium HF compression drivers on a plane-wave manifold. → Very high output: 149dB maximum SPL (peak). → Three-point rigging system rated to 24 elements at 10:1 safety factor.


Fohhn Audio Concert Sound System Combination Stand No.: 7-N210 → New Focus Venue active line array systems with Fohhn Beam Steering Technology: The beam characteristics of these combinable high frequency and low-mid range loudspeaker modules can be electronically controlled in real time – via software. Arrays are designed to be stacked and flown straight – no mechanical curving is necessary. → New Perform-Series subwoofers: The PS-400 (1 x 18″) and PS-450 (2 x 18″) will supplement Focus Venue in the low frequency range. Subwoofers can be combined to form horizontal, vertical or endfired Focus Sub Arrays. Beam characteristics can also be controlled via software. → New DI-Series amplifiers: These high performance digital amplifiers will be available in 2and 4-channel versions with up to 4000 W output per channel. → New converter: The ABX-5 can act as an intelligent interface between Focus Venue and the Dante network.

Genelec 4000 Series Stand No.: 3-C100 → AV Install is one of Genelec’s fastest growing market sectors, where the demand is increasing year on year. → Pristine sound quality, consistency, reliability and beautiful aesthetics are some of the key benefits that Genelec AV loudspeakers offer. → See us on booth 3-C100 - we’ll guide you around our wide range of solutions, including our 4000 Series active loudspeakers, now available in 120 RAL colour finishes. → Our team of friendly experts will also be on hand to talk about networked audio. → We will demonstrate the AES67 system based around our ground-breaking 8430A Audio-over-IP speakers.

HH Electronics TESSEN Stand No.: 15-R250 → TESSEN active speaker systems feature flexible on board custom-designed digital signal processing. → TESSEN-X active systems feature high sensitivity Celestion woofers and high performance 1.4-inch compression drivers. → TESSEN-X active speaker systems feature 2,600W asymmetric Class D bi-amp with convection cooling. → Onboard Auto-ranging feedback suppression identifies and removes up to 12 different feedback frequencies simultaneously. → This high quality, high performance range is ideal for fixed installation or live sound applications. HH has been UK Designed and Engineered since 1968.

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L-Acoustics L-ISA, Syva, P1 Stand No.: 7-X220 → Visit L-Acoustics on booth 7-X220 to meet the team and discover Island by L-ISA. → In meeting room E103 L-Acoustics will host a series of demos, presentations and workshops of Syva, P1 and L-ISA Live. → Registration for these events is highly recommended. → Please visit the L-Acoustics website for more information and to register..

Meyer Sound Ashby Stand No.: 1 M-90 → Ashby ceiling loudspeakers feature exclusive IntelligentDC technology. → Integrated power amplification and signal processing. → Five-pole Phoenix connector for signal and remote 48V DC supply. → 100-degree coverage from concentric drivers (five-inch and eight-inch models available).

RGBlink T Series / X Series / XPOSE App Stand No.: 12-F40 & 8-C160 → New Control Video Solutions – see the T Series show master controllers. → New X Series universal video processors. → New seamless matrix & scaling series. → New release of XPOSE app platform. → See all this and more at RGBlink.

Itâ&#x20AC;&#x2122;s never been so easy to think big

The new Axcor 300 family of moving LED fixtures brings Claypakyâ&#x20AC;&#x2122;s no-compromise quality and performance to the broad mid-market. Now, more designers than ever before can achieve their biggest ideas. With a physical size, power consumption, price-point that disguise their strength and creative potential, the Axcor 300 range enables a new world of expression in touring, events, TV, theatre and installed lighting markets. The Axcor Spot 300, Axcor Wash 300 & Axcor Beam 300 are available now! AXCOR 300: small body, big personality, mass appeal. Claypaky_Axcor300_Mondo_EN.indd 1

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Schnick Schnack Systems

T-Series LED Strips Stand No.: 8-M120 → Tunable white: variable white tones in the range from 2,000K to 5,800K. → Newest LED-generation with optimal efficiency. → Good display of Planck’s curve thanks to three LEDs. → Excellent colour rendering features: CRI > 90 (with values of 2,400K to 5,800K). → 3-step MacAdam sorting.

Sommer Cable Active Components Stand No.: 5-S110 → Wide product range of HDBaseT solutions for various applications. → Extenders for transmissions over long distances → Front panels for installations at wall, floor and table. → Matrix system simplifying the free distribution of all input signals to any output. → Modular 4K signal matrix for application-specific configurations.

TW AUDiO VERA20 Stand No.: 1-F110 → 2 x 10-inch woofers and one 1.4-inch mid-high compression driver. → Compact cabinet with just 60cm width and 24kg weight. → Fast transient response for detailed and crisp performance. → Speedy, accurate rigging with the innovative EasyRig hardware → Perfectly matched with the VERA S32 cardioid subwoofer


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

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


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• Sebastian Bückle from Astera

• Rajan Gupta from Hi-Tech, with Darren Beckly from ETC

• The Clay Paky stand

• The Duratruss booth

LDI LAS VEGAS, USA / 21-23 OCTOBER Another exciting year at LDI with over 350 international exhibitors, 13,000+ attendees and 85 different training sessions. The show was busier than ever and the extra attendees/ exhibitors from the audio world were a welcome sight. The extra attendees from the Marijuana conference were also welcome, but walking through that cloud of smoke at the end of the day was most certainly not! There was plenty to be seen on the showfloor, some of the highlights included: ADB headed to LDI, with the backing of Clay Paky and the Osram Group, which took over the brand in 2016, through in-depth market insight and advanced technological know-how, it aimed to optimise the brand’s products after having updated production all over the world. Having enjoyed huge success with the AV Series of LED video panels over the last few years, ADJ used this year’s LDI, to launch

• The Lectrosonics booth

a brand new video panel range, the Design Series. This innovative system comprises four modular panels of different shapes that can be combined together to create video screens of almost any conceivable shape. Altman Lighting showcased its awardwinning theatrical and architectural lighting innovations. Highlighted by the complete family of Chalice LED recessed and pendant downlights, along with the line of Gallery LED architectural luminaires, Altman Lighting also featured the award-winning Pegasus LED fresnels and PHX LED profile ellipsoidals. Avolites joined forces with its US distributor, Group One Limited. Team members showed visitors the very latest developments from the Avolites control and Ai media server product ranges. LDI also saw the official release of the latest version of Avolites Ai media server software.

Ayrton continued to celebrate its 15th anniversary at the show with an exciting new variation on its much-anticipated light show. Visitors to the booth entered a ‘crystal dome’ to witness over 300 new Ayrton fixtures presented in a spectacular display, and even had the chance to sit in one of the special gaming chairs. Blizzard impressed with yet another epic booth design, the company also ‘levelled up’ with a load of new fixtures to match, all were wrapped in plenty of 8-bit nostalgia including a huge 26ft tall, video wall covered 3D ‘Q-Bert’ style pyramid. At the ChamSys booth the MagicQ Stadium Wing drew lots of attention when the new product delivered a high level of show control in a compact package, thanks to features like its 30 Playbacks, four Execute Encoders and a full HD multi touch display with adjustable

• Sarah Cox and Fernando Kufer of disguise with Hannah Eakins from TPi Magazine

• Aziz Adilkhodjaev from Chamsys

129 EX P O

• The Antari stand

• The Schnick Schnack Systems team

• Absen stand

viewing angle and gesture support. A collection of powerful new par washes and atmospheric effects designed to offer costeffective design solutions for the event lighting market were among the innovative offerings that were highlighted at the CHAUVET DJ booth. In addition, the CHAUVET Professional’s Ovation Series was showcased, which is taking the colour mixing magic of its RGBA-Lime LED system to new places. The company debuted the industry’s first full-colour RGBAL Fresnel and house light fixtures at this year’s LDI. The company also showed off the Maverick MK Pyxis which featured a unique design that included an outer ring of RGBW LEDs, a powerful zooming centre pixel, 360° continuous pan and tilt movement and a host of other performance features, the new fixture produces an seemingly endless array of looks

• Jamie Dixon from mondo*dr with Elaine Frost of Le-Maitre

• The Wenger team

• Relaxation at the Ayrton booth

• The Mountain Productions team

and can fill a variety of roles from beam, to wash, to set piece effect. Christie continued to expand the creative horizon with its newest end-to-end solutions for stagers and designers, which were on display at the show, attendees had the opportunity to experience the new Christie Crimson projector that provided vibrant, crisp visuals and stretches the boundaries of lampless projection. Additionally, the Christie booth also featured Christie Boxer 4K30, Christie Pandoras Box, and Christie Mystique. Christie Spyder X80 and Christie Terra also made their LDI debut, showcasing state-of-theart processing. Clay Paky introduced the new Axcor 300 family of moving LED fixtures, a nocompromise quality and performance to the broad mid-market. The range consists of a spot light, a washlight and a beam light, all driven

• The Antari stand

by a white LED engine with a rated power of up to 180W. The quality of their effects, their construction, and their high light output derive from the high-end products Clay Paky specialises in. disguise, formerly known as d3 Technologies, made its mark at this year’s LDI by announcing its new name, it wraps up a momentous year of key changes and growth for the company that finds an expanding international community using their technology. Its booth provides plenty of demos’s for the future of projection and disguise also showcased its award-winning gx range of media servers. Elation Professional, were again, a front row sponsor of LDI and gave lighting professionals the opportunity to see for themselves what the buzz around Elation’s latest award-winning luminaires was all about. Elation showcased three luminaires in the award-winning Artiste

• The Dicolor stand

• The Airstar booth

130 EX P O

• The Harman booth

Series of full-featured theatrical-grade LED moving heads for the creative LD. The new ETC ColorSource CYC luminaire made its debut and vistiors were able to demo the new fixture - a compact, affordable five-colour LED cyclorama light that specialises in smooth washes and rich colour. Among the other products making their first appearance at LDI were the Ion Xe and Ion Xe 20 consoles, which update the compact Eos family desk with backlit keyboards, increased output, and the option of built-in faders. LDI attendees also saw new varieties of the Irideon FPZ architectural luminaire. GLP set up a ‘village’ environment at this year’s LDI and the lighting giants were situated adjacent to their primary suppliers, Cosmic Truss and SceneX. The entire display was bathed in a party atmosphere as GLP’s impression brand - now a household name in the LD’s toolkit - were celebrating their 10th anniversary. The complete evolution of the family, from the original impression 90 onwards, was displayed for the benefit of nostalgists. Green Hippo revealed the Hippotizer+

• The Altman team doing a deal

• The Green Hippo booth

• Marina Prak and the Prolyte team

media server range, its new product range includes; the Amba+, Boreal+, Karst+, Montane+, and Taiga+. Building on already incredibly powerful and talented machines, Hippotizer + range brings many user benefits. Automation and motion control manufacturer, Kinesys, exhibited at LDI for the first time on its own booth, creating a strong presence with an international team and an eye-catching design showing a selection of key products. Focussing on its new Apex system which incorporates the best of Kinesys’ extensive experience working with variable speed chain hoists. Apex offers a range of safe, reliable and rocksolid hoists and controllers designed to maximise the creative options for show, stage and environment designers and operators in all fields of entertainment. Le Maitre celebrated its 40th anniversary. To mark the occasion it showcased a whole host of their other smoke, haze, flames and pyrotechnics. One of the main attractions was Le Maitre’s Wireless Salamander Quad Pro which is a completely wireless version of Le Maitre’s highly popular

• The Dataton stand

• Gloshine showing its LED screen

• Lynne Bannon from DigiLED

• Jason Tello and Mark Dodd from Tyler Truss

• MDG Fog impressing the mondo*dr team with its products

• The Yes Tech booth

• Robert Juliat’s spotlights on show

Creative Visual Control

Avolites Ai and Titan in perfect harmony

Avolites Arena consoles, Ai R4 Servers with Notch.

Video design: Mark Cunniffe Operator: Tim Hornung Production: John McGuiness for Just Lite

“Reliability was something which didn’t concern me. Once I had a complete Avolites lighting and video system in place, I knew I didn’t have to worry.” LD James O’Neill for Picture This. 10/01/2018 12:51



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


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(1W / 1m)

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Dimensions W x H x D (mm)

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

Harmonic Design is a German manufacturer of high-quality loudspeaker systems and stands for research, development and engineering of cutting-edge technology since more than 38 years!

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


132 EX P O

• Michael Althaus on the Ayrton booth

Salamander Quad Pro flame machine, with integrated wireless COBRA Firing Systems technology. SGM released the powerful all-in-one IP65-rated Q-10 with a staggering output of 60,000 lumen. This unique RGBW LED luminaire carries the functionalities of a strobe light, a flood light, a pixel light, and a blinder with a non-fading continuous output. At the same time, the powerful and low-noise Q-10 is maintenance free and comes with a user-friendly display, wireless control, and integrated handle making is easy to operate, transport, rig, and to focus. Wenger Corporation and J.R. Clancy showcased its new Virtuoso Active Acoustical Shell, the enhanced Maestro Full-Stage Shell, along with the recently launched Transcend Active Acoustic

• The Tomcat booth

• The Area 4 structure

System. Wenger and J.R. Clancy offer multiple product categories including traditional and virtual acoustics, staging, pit fillers, audience seating, motion control systems and rigging - all which were available for viewing during LDI. WORK PRO, announced its new product, LightShark, a cutting-edge new range of hardware lighting consoles. The first ever DMX-based hardware lighting console range to offer wireless, browser-based control from a multi-touch smartphone or tablet, with support for up to three connected devices simultaneously - this product was exclusively revealed at LDI. LDI will return to Las Vegas in 2018 on 19-21 October. For more information, go to:

• Rob Hughes from Cadac with Lauren Dyson from TPi magazine

• The Philiips stand

• The Unilumen booth

• The Renkus Heinz team with Daniel Keller from Getitinwriting

• The Hazebase booth

• Louis Schiavone from X-Laser

• The Kvant stand

Organisers of



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Flown or stacked straight. Dispersion characteristics controlled in real time using software. Just experience perfect live sound. For further information:

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134 EX P O

• The Robe stand

• Bose’s booth in the main hall

• Lawo’s black box area • The lighting black box area

• Luxibel in the lighting hall



This was my first visit to JTSE and, having heard so much about the tradeshow from my colleagues, I was intrigued to see how it would fare. The Paris show, which has a primary focus on theatre, began hosting the tradeshow at the Docks of Paris in 2006 – and it is still there now, highlighting the success of the venue. As you enter the main show floor, it is quite striking how the booths are simple, effective and modest in size. At other shows, you are obviously used

to some stands being huge, though it was good to see some of the smaller companies afforded a similar space to their larger counterparts in which to show off their products. There were plenty of familiar faces throughout, with many of the major French manufacturers all at JTSE, including L-Acoustics, NEXO, Amadeus and APG. Adding to that were the local distributors, such as Axente, who look after D.A.S. Audio, MA Lighting, Spotlight, Ayrton, Zero 88 and Prolyte, and FREEVOX, who

• DTS products on display

• Régis Cazin on the APG stand

distribute Starway, AKG, JBL, Strand Lighting and Showline. Elsewhere on the show floor, I caught up with S2CEB, SSL, Jezet Seating, ShowTex, Midas, Avid and many more. As well as the main hall, JTSE had their lighting black box area, which was first introduced in 2016. The concept was used again after success in its first year, with 13 black boxes showcasing products from Adam Hall Group, ADB Stagelight, AED Distribution, Algam Enterprises, AVAB Transtechnik France, Axente, Christie,

• Robe and Anolis showcasing their products

• Fohhn’s stand

• Cameo Lighting fixtures on display

• A busy Martin by HARMAN black box

135 EX P O

• Cat Shepherd from ETC

• The FREEVOX stand showcasing a range of products

• Robert Juliat’s booth

• Best Audio’s demo area with Meyer Sound • The Lawo booth • Tannoy products being highlighted

• EVI Audio showcasing a range of brands

• Adam Hall’s stand

• The FREEVOX demo area

• The L-Acoustics stand

• Hugues Coffy from S2CEB

• The AVID demo area

• Powersoft distributor, Sequoia Audio

• The QSC stand

• Meetings on the DiGiGrid stand

• Yamaha demo area

• A busy stand at NEXO

136 EX P O

• Fun with a DiGiCo desk

• Prolyte truss on display

• The Roland stand

• Visitors in the audio demo area

Clay Paky, Dimatec, ESL, FREEVOX, Martin Professional, Robe and Robert Juliat. Also returning this year were the audio workshop spaces, which offered visitors the chance to listen to demos from the likes of Avid, Best Audio, EVI Audio, FREEVOX, Lawo and Yamaha. In addition, the Laboratory of Arts & Technology, in partnership with Stereolux Nantes and Editions AS, presented topical conferences. With more than 146 French and international exhibitors and plenty of visitors, it’s easy to see why JTSE has done so well over the years - and,

in doing so, become one of the main fixtures on the tradeshow calendar. The main floor, while not too big in size, is packed full of companies without ever feeling cramped. The lighting and audio demo areas are certainly a popular addition also. Overall, I really enjoyed my first experience of JTSE and mondo*dr will most definitely be back next year.

• The CODA Audio France team

• Clay Paky products on the stand in the main hall

JTSE returns in November 2018. For more info, go to:

• Meetings on the Solid State Logic stand

• The stand

• DPA microphones

• ADJ’s stand

• A very busy d&b audiotechnik stand

Precision audio performance with an attentive eye towards industrial design. IS-SERIES is a new range, purpose built for the world of the integration. Itâ&#x20AC;&#x2122;s all online at

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138 EX P O

• The S2CEB team

• The Kinson S.A. stand

• The BNY Production team

• The Adam Hall stand

• Hannah out for dinner with the Lynx Pro Audio



As the latest addition to the mondo*dr team, I am still relatively new to the tradeshow circuit, and have been accompanying my colleagues to shows since starting in my role. So, when the time came, I was very excited to jet off solo, although slightly nervous, to the Spanish capital to see what BITAM had to offer. Taking place in Madrid, Spain, between 2123 November, the event is an International Broadcast, IT, Audiovisual, Media and Content Fair, a local show, but one at which I could start to learn the tricks of the trade. Sponsored by Phillips, HP and Deluxe Spain, BITAM is a small show compared to the likes of IBC in Amsterdam and PL+S in Frankfurt

• Marta Landete of FENIX Stage

but the perfect show for me to navigate my way around, while also introducing myself to new companies and saying hello to companies that I have met before. The show saw live product displays from QNAP Systems, Overland-Tandberg and G-Technology over on the Archiware booth. Sennheiser presented the new 6000 Series, designed especially for the production of high quality audio, digital and wireless, which offers the unparalleled transmission mode ‘LR’ of the Digital 9000 system, in addition, to a switchable bandwidth of 244MHz. FBT showcased the VENTIS Series, which offers great versatility for tours and fixed installation.

• Ben Sinclair of Lynx Pro Audio

The VENTIS 115, 112, 110 and 206 models available in passive or bi- amplified versions - are designed to meet the highest standards in terms of performance and aesthetics. Everyone I spoke to felt the show was a success, myself included, admittedly there were some language barriers due to how local the show was, however, I still felt like I had achieved what I had set out to do. BITAM, it was a pleasure for you to be my first solo industry tradeshow show.

BITAM will return to Madrid in November 2018, dates have yet to be announced. For more information, go to:

• The CLF Lighting stand

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




BY international

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


HD PRO AUDIO | TECHNOLOGY SHOWCASE Bradford-based distributor, HD Pro Audio, hosted a technology showcase in London to display some of its newest products, while giving guests the opportunity to chat to industry experts. Held on the 20 November 2017, located at the Hospital Club in Covent Garden. The main elements of the event was a comprehensive overview of the DiGiCo SD12 console and an in-depth session on KLANG:technologiesâ&#x20AC;&#x2122; latest KOS 3.0 software. The event also previewed the new DiGiCo remote feature of KLANG and the KLANG:vektor motion tracker. HD Pro Audio also had the L-Acoustics Syva loudspeaker system available for evaluation. Amongst the products that were shown, were the DiGiCo SD12, the digital console is set to raise the bar in terms of what users will now come to expect from a compact, affordable, multiapplication digital console. The audience was shown

the benefits of this product, which include dual 15-inch touch screens, a DVI output, for an overview of the console and it is the first in the SD Range with built-in recording interfaces; in the hope to make Virtual Soundchecking very straightforward. The afternoon was filled with an in depth session from a KLANG:technologies, this was extremely interactive with guests using their own earphones as well as the ones provided. Showcased was the KLANG:technologies innovative 3D personal monitor mixing system, a natural and intuitive placement of sound, with pristine sonic quality that lets musicians focus on their art - not on their monitor sound. The KLANG system was also shown in conjunction with DiGiCo consoles, as the next version of the KLANG software will allow users to control the KLANG software with DiGiCo hardware - a

factor a lot of engineers have been asking for. In addition, guests had the opportunity to observe and operate the L-Acoustics Syva loudspeaker, Syva features six five-inch MF speakers providing usable bandwidth to 87Hz and three 1.75-inch HF diaphragm compression drivers, loaded by DOSC waveguides in a J-shaped progressive curvature. The feedback from the event was positive, HD Pro Audio really got the balance right with both the interactive and the listening elements - a highly rewarding day. DiGiCo are hosting a range of training days for the SD-Series across the months of 2018. Be sure to book your free sessions via the website: www.

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


SOUND TECHNOLOGY | OPEN DAY New Martin by HARMAN UK distributor, Sound Technology welcomed industry professionals, customers and press to an Open Day at its demonstration facility at Letchworth Garden City, Hertfordshire. Effective from the start of November, it was announced that the full range of Martin by HARMAN professional lighting will be supplied and represented in the UK by HARMAN partner, Sound Technology. The Open Day meant that Sound Technology, as the new Martin by HARMAN distributor could showcase its demo facility and introduce the new lighting team, which included familiar faces from Martin by HARMAN. This marks a massive milestone for the Hertfordshire-based company, as a new dedicated professional lighting team incorporating sales, marketing, support and service has been established. The return to UK distribution from a direct model will result in streamlined logistics for customers, with Sound Technology holding

substantial Martin by HARMAN stock in the UK, and a supply of spare parts locally. “We are immensely proud and excited to be representing the full Martin portfolio,” commented David Marshall, Managing Director, Sound Technology Ltd. “While we see clear synergies in terms of customer base and market sectors we already operate in, our new professional lighting team will be focussed exclusively on the management and development of the Martin brand in the UK.” In addition, the aim of the Open Day was to introduce its range of Martin by HARMAN products, in particular the brand new MAC Encore. The Martin MAC Encore Performance is a full-featured, LED moving head that delivers levels of light quality and consistent operation never seen before in an LED-based stage lighting unit. Designed to produce premium white light in a wide variety of applications where critical lighting is required, MAC Encore Performance is available in two dedicated colour temperature

variants: WRM for unparalleled, 3,000K warm incandescent emulation and CLD for crisp, 6,000K neutral daylight. Sound Technology’s existing 4,000 sq ft demonstration facility is already equipped with Martin by HARMAN lighting and will be expanded with additional fixtures; therefore it is a perfect environment for customers to test the latest products. The Open Day also gave individuals the opportunity to seek one-on-one advice and discuss the products in more detail with the Sound Technology team. Jonas Stenvinkel, Group Director Entertainment EMEA, HARMAN Professional Solutions, concluded: “We are very pleased about this expansion of our partnership, Sound Technology has been our distributor in the UK for many years, and with their strong representation across the country, we believe the expansion of our great partnership will lead to a mutually beneficial future for both companies.”


FOHHN AUDIO | BEAM STEERING SUMMIT German audio manufacturer, Fohhn, chose Paris as the location for its Beam Steering Summit, which saw the launch of its brand new Focus Venue system - and mondo*dr were delighted to be invited to hear the pioneering line array concept in action. Held on 20th November 2017 at Studios de France – just before the JTSE tradeshow - the Beam Steering Summit saw Fohhn expand its extensive, award-winning portfolio just in time for the company’s 25th anniversary. Now, with Focus Venue, Fohhn offer an extremely powerful concert sound system for large halls,

theatres, concert halls and other live sound venues. As with all Focus-Series products, the new system is notable for its ability to perfectly integrate into architectural surroundings and stage portals, as well as for its excellent audio quality - especially in difficult acoustic conditions. This means that Fohhn now provide the largest and most comprehensive product programme for digitally controllable Beam Steering systems. The Beam Steering Summit itself welcomed over 100 invited international guests for an exclusive presentation of the new product, as well as excellent wine and food.

The evening began with an official greeting from Fohhn Audio board members, Jochen Schwarz and Uli Haug, who then gave a speech on the historical outline of the company’s vision to become the world’s number one in Beam Steering Technology. This was immediately followed by a detailed presentation - backed up with sound reinforcement examples - by Sound Engineer, Christian Bollinger, who introduced the guests to the technical refinements of the Focus Venue system. Then it was the turn of renowned British Sound Engineer, Chris Madden, who proceeded to


demonstrate some of the live tracks recorded a few weeks earlier on Anastacia’s ‘Music Loves Fashion’ live show at the E-Werk in Cologne which uses Focus Venue systems. The Beam Steering Summit highlighted the unique design of the Focus Venue system, which, in contrast to conventional systems, controls beam dispersion characteristics via electronics and software. There is no mechanical curving, either - the system is simply flown straight. The precise beam steering capability of Fohhn Audio Soft software enables exceptionally even sound reinforcement results to be achieved in every part of the venue it is used in, with all settings able to be saved

as presets and retrieved at any time in real time. With the Beam Steering Summit opening its doors the night before JTSE, the following two days saw further product presentations and demonstrations take place in the studio. On each day, several hundred visitors had the opportunity to experience the entire range of Fohhn Beam Steering systems ‘live’ - from Linea Focus and Focus Modular, through to Focus Venue. The feedback to the whole event was highly positive, with guests including myself - left astounded by the acoustic performance and whole host of possibilities delivered by the Focus Venue system.



Designed for applications where portability and light weight are paramount, Cerwin-Vega’s CVE Series loudspeakers are ideal for performing musicians, DJs, houses of worship, corporate events and rental and staging uses. As the most compact and portable members of Cerwin-Vega’s CV Series family, the CVE Series exemplifies the company’s dedication to ‘technology simplified’. Director of Loudspeaker Engineering Craig Hockenberry noted: “The CVE Series is driven by advanced DSP. But its simple, effective control panel allows quick, efficient setup. Just push one button to tailor your sound to any environment.” CVE Series models accept direct audio inputs through a pair of combo XLR/TRS inputs and streaming audio from any smartphone or tablet via Bluetooth, making them ideal for applications where an integrated audio solution

is essential. The series includes three full-range, two-way models in Polymer enclosures with a 10-inch, 12-inch or 15-inch woofer and one-inch compression driver coupled to a 90° HF horn. An 18-inch subwoofer model, in a sturdy plywood enclosure, offers powerful lowfrequency extension to any of the full-range models. Each is powered by a 1,000W Class-D Amplifier delivering high level, accurate sound with exceptional clarity, wide dispersion, rich bass, and plenty of headroom.

Key benefits: - 1,000W Class-D Amplifier for cool, reliable operation - Five selectable sound settings on all fullrange models to fit any environment - Universal switching power supply for use anywhere – 100/110/240V, 50/60Hz Two-channel combo XLR/TRS line/mic inputs plus streaming audio via Bluetooth - Proprietary ‘CV Loud Limiter’ prevents distortion - Full 90° wide-dispersion coverage

- Lightweight, durable enclosures




55 (19)38388320






6 3

Tasker has introduced a new range of connectors and panel adapters, all of them with gold plated contacts and metallic flange with standard locking passages. The metallic structure guarantees a perfect shielding even in case of high frequencies applications. Many adaptors are available such as USB A to USB B, BNC male to BNC female and HDMIHDMI. Tasker can also offer BNC female and RCA female plugs available in different colours. All these products are suitable for many different

installations such as recording/broadcast studio, mixer console and control rooms. Tasker daily strives to research and develop new products and materials, also creating custom productions, which allow users to have specific solution for the single customer and to anticipate upcoming technologies, providing new products to meet the needs of today and tomorrow.

1 - Panel Adapter USB A – USB B 2 - Panel Adapter BNC Female – BNC Female 3 - Panel Adapter HDMI – HDMI 4 - Panel Adapter USB B – USB A 5 - Panel Adapter BNC Female 6 - Panel Plug RCA Female



Visionary Solutions, a leader in innovative AV network technologies, has introduced PacketAV Duet, a platform to deliver Dante connectivity for video. For installed AV professionals, the impact of Dante connectivity has enabled fast, easy, and economical digital networking of multichannel audio over IP. Now, Visionary Solutions’ PacketAV Duet brings the power of Dante to video allowing users to route video using Dante Controller. Nothing short of a paradigm shift for networked AV, Visionary Solutions’ PacketAV Duet Encoder and Decoder deliver visually lossless, ultralow latency 4K UHD video and Dante over Gigabit Ethernet, bypassing the constraints of

traditional switch matrix systems by harnessing the flexibility and scalability of converged IP networks. “Audio professionals have long understood the power, control, and expandability of the Dante platform for digital audio,” remarked Scott Freshman, Visionary Solutions Chief Operating Officer. “Now PacketAV Duet delivers that same connectivity for UHD video, enabling you to route video using Dante Controller. This is video for audio professionals. If you know how to use Dante for audio, you know how to use PacketAV Duet for video. This really does change everything.” With Visionary’s PacketTV and PacketAV

products, 4K UHD, as well as full 1080p HD and lower resolution content can be deployed to a virtually limitless number of screens over any standard GbE network, even sharing space on existing enterprise networks, using standard network protocols and devices. A single network can carry audio, video, and data. Installation is a breeze, with no need for expensive proprietary components or 10GbE switches. Distributed displays and multicomponent video walls are easily configured, and controllers from Crestron, AMX, and other third parties are supported.

The SL-Series.

More art.

Less noise. SL_Camp._01_Mondo_dr_236x333_090118.indd 1

09/01/2018 10:30



Kontrol is a loudspeaker management application that equips sound engineers with powerful tools that allows remote control of the vertical and horizontal directivity of a flown Trinity array as well as access to key DSP parameters and realtime monitoring during operation. With Kontrol, set up times are reduced with the ability to make precise adjustments quickly and easily without the requirement of additional personne while providing a new set of tools for sound engineers. Real-time Remote Control Once the modules are flown users can make significant remote sound field adjustments with the click of a button. Sound engineers can now adjust the direction of every module from front of house, increasing sensitivity for longer throw applications, narrowing the sound field to avoid reflective boundaries, precisely focussing the array into the audience and reducing spill into adjacent areas. Kontrol interfaces with electronic actuators built into each module that allow intermodule and wave guide angles to be remotely controlled. The software performs calculations to ensure movement of the array is within safety parameters while providing real-time feedback during movement as well as when it has

completed movement. Automatic Array Detection By using inter-module communication, Kontrol automatically detects, arranges and configures the line array with all modules represented in the correct order within the engineerâ&#x20AC;&#x2122;s virtual work space. Once activated an engineer can quickly move on to aiming, tuning and optimising the sound system with total confidence that their work will be reflected accurately in the real-world environment.

allows users to set service flags for any module from a user interface where notes may be created and stored within the module. The service notes provide seamless communication between the field and service teams, ensuring modules are properly maintained, thus saving critical downtime.

DSP Control & System Monitoring Kontrol provides access to key DSP functionality as well as allowing monitoring of the system during operation. The intuitive GUI makes it simple to detect when any of these features have been changed from their factory defaults. Unobtrusive but distinctive notifications will allow the sound engineer to glance at their work space and have confidence that their system is configured as intended.

Audio Compensation Filters Trinity features two sets of audio presets designed to compensate for different projection distances and array lengths. The High Frequency Compensation (HFC) filters are used to compensate for the effects of high frequency attenuation over long distances these are configured to be used at distances of 75-metres and 100-metres. The Low Frequency Compensation (LFC) filters are used to smooth the low-end coupling that occurs when multiple cabinets are arrayed together. These simple to use features allow effective control to ensure every person in the audience receives consistent transparent sound quality.

Service Notes To ensure simple and seamless communication between engineers and shop technicians, Kontrol

Linking People Together

LQ Seriesâ&#x201E;˘ 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 diďŹ&#x20AC;erent intercom systems together over IP is now achievable. LQ Series of IP interfaces enable industry-standard 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!



[am-pluh-fahy-er] n.

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




“With the latest additions and improvements to the Ottocanali, Quattrocanali and Duecanali range this year, Powersoft offers a complete line of amplifiers for fixed installation. All products are available in a DSP and standard versions. The DSP+Dante version offers Powersoft’s DSP, fitted with Raised cosine filters, delay, FIR filters, live impedance measurement, standard loudspeaker pre-sets and much more. With onboard DSP, interoperability with Third Party plugins, networking, and remote control, Powersoft has converted amplifiers into smart controllers, impacting integrators involved in multiple disciplines like audio, video, ETH cabling, power distribution and UPS provision, making the future a whole lot easier.”



“Customer priorities in Asia mirror those around the world when it comes to amplifiers – price, power, and above all, reliability and the ease of use of the software interface. Our approach is with proprietary amplifiers to guarantee the best results for the system, so users first choose NEXO loudspeakers. However they do so with the certain knowledge that the quality of NXAMP manufacturing by Yamaha, and the universal power supply will meet their needs in environments with high and low temperatures, humidities and unstable power supplies.”

“Integration is a core design ethos behind Lab.gruppen’s tour sound and install-dedicated amplifier platforms. We conceive products to provide ‘true open interoperability’, which allow us to integrate with the widest range of digital audio, control protocols, and third party DSPs. This brings powerful benefits and unique capabilities that make a real world differences to any demanding high-performance application. It’s important to maintain and deliver real-world benefits in performance, economy and user experience.”

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


63 63


63 63 18

• •

LIGHT OUTPUT more than 25.000 lumen Maximum power consumption 650W



amber 18

graphics: Vilfredo Maria Ricci - © 2016 Studio Due


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


cable hidden in the bracket new optional handle

STUDIO DUE light s.r.l.

Viterbo (Italy)

t. +39.0761.352520

f. +39.0761.352653


Alcons Audio Sentinel The proprietary designed Sentinel Amplified Loudspeaker Controllers (ALC) feature a powerful four-channel DSP-based controller with Class-D amplifier stages. The four-in/four-out matrix accepts analogue or up to 192kHz digital AES3 signals, sampled to 96kHz by high-end sample rate converters. The future-upgradable powerful DSP engine enables processing of even the most complex (IIR, FIR) algorithms. Features include shelf/pass/parametric/allpass equalising per channel, delay, factory presets for all system configurations, user-presets, event-logging and system feedback. The full-colour TFT touch screen and the multi-colour LED illuminated encoder in combination with tab-based menu structure offers intuitive control. Remote control can be done through a VNC app. on any mobile device; Multiple Sentinels can be controlled via the ALControl remote-control. The Signal Integrity Sensing circuit dynamically compensates the effects of long speaker cables; This results in a tight sub and bass response regardless of cable length or impedance (system damping factor of 10.000) and without the need for manually entering cable parameters. The four patent-pending Class-D amplifier stages offer one of the lowest THD in the industry. Together with the two (redundant) switch-mode power supplies, the Sentinel10 delivers a total of 10,000W at just 11.6kg (25.5lb). The modular design makes for easy future upgrades and in-the-field servicing.

Amate Audio TPD Amate Audio reintroduces its classic 2.1 power amplifier concept - realised 30 years ago with its popular TriPhonic amplifier - in a state-of-the-art, high performance new digital design. The TPD (TriPhonic Digital) updates the concept with latest third generation Class-D amplifier circuitry, extensive on-board Digital Signal Processing and Switched-Mode Power Supply. The design remains true to the original concept in terms of its sheer simplicity of installation and operation; with its unique space saving high power, low form factor design. The TPD’s stereo channels each provide 500W of power and 1,000W for the sub bass channel; all at four ohms. Despite such impressive power ratings, the unit weighs just 8kg. Powerful on-board DSP control includes highly accurate filters, parametric EQs, Peak / RMS limiters and delays, enabling time-alignment of amplifier channels. No less than six DSP channels include three fully configurable outputs for processing additional external amplifier racks. Remote PC operation, and preset settings for optimum configuration with Amate Audio’s KEY and Joker series speaker cabs also feature. A USB connection enables control - and password-lock - of the TPD from a PC with the intuitive DSPLink software.

Apart Audio REVAMP8250 The Apart REVAMP series offers you a variety of constant voltage and low impedance power amplifiers, this consistent range provides you a solution for all your fixed installed audio projects. Ultra-reliable, intuitive to install, maintenance-free and immaculate sound performance meeting the demand of every sound lover are just a few of the characteristics of this incredible series. The REVAMP8250 8-channel bridgeable power amplifier is probably the most versatile class-D amplifier in the range. Combined with a pre-amplifier or matrix the REVAMP8250 can be used to create eight zones in mono, four zones in stereo, even four bridged mono or two bridged stereo systems can be created. The amplifier offers a dynamic output power of 8 x 350W at four ohms, eight x 175W at eight ohms or four x 650W at eight ohms (bridged). It has an intelligent variable speed cooling fan built-in to keep the unit cool at all times. When installing the REVAMP8250, a handy clip LED indicator on the rear and front will guarantee a fast and hassle-free installation. Due to the amount of channels, limited amplifiers are needed in your project. This will save money and space, making it the ideal choice for your install.

Ashly NX Multi-Mode The NX Multi-Mode amplifier from Ashly Audio is designed for the most demanding venues - they can be installed and configured into virtually any architecture or sound environment. NX Amplifiers feature selectable outputs on each channel so you can connect to virtually any speaker. Select Low Impedance (two, four, and eight ohm), or Constant Voltage (70V or 100V). Start with a two or four-channel nX Series base model and build your way up you can choose from 36 model configurations, available from 75 to 3,000W per channel. The nXe Series adds Ethernet control, event scheduler, preset recall, AUX outputs and much more. There is also the ability to add factory options like Dante or CobraNet for network audio integration. The nXp Series has all the features of nXe, adding Protea DSP and swept load impedance analysis.

257mm 220mm

290mm 400mm








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
















257mm 290mm




257mm 400mm






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































Audiocenter VIN16

194mm 220mm


AUDACâ&#x20AC;&#x2122;s range of compact amplifiers was recently upgraded with the new COM108 which is a compact but versatile public address mixing amplifier and offers solutions for small to medium size audio systems in commercial installations. Typical applications are background music systems in retail stores, bars, restaurants and office buildings. The COM108 s designed using Class-D amplifier technology and delivers an output power of 80W to constant voltage (100V and 70V) or low impedance (four ohm) audio systems. Besides the bare essential controls on the front panel, the amplifier is featured with a stereo mini jack with a built-in automatic switch. This provides an effortless audio source swap between the RCA in the back and the jack in front, as soon as the jack receives input. The use of high quality condenser microphones for announcements is made possible through the 15V phantom power supply. A priority switch can override the background music when enabled. On the outside, the COM108 also received a major upgrade with a new slim and sleek design which makes it possible to install the COM108 in 1HE high, half 19-inch rack space.




Audac COM108




Bose PowerShare

Aura Audio D80DSP

The new Bose PowerShare adaptable power amplifier line consists of three 1U models: two and four-channel fixed-install models (PS602 and PS604) and one two-channel portable amplifier (PS602P), each model delivering 600 watts of power that can be shared across all output channels. With support for both low- and high-impedance loads up to 100V, PowerShare amplifiers adapt to a wide range of applications. Onboard configurable loudspeaker processing and direct access to zone controllers eliminate the need for an additional signal processor in many installations, while outstanding audio performance and reliability are assured with patented technologies inherited from the field-proven PowerMatch line. This unique set of features and technologies makes PowerShare one of the most versatile high-performance amplifiers available today.

Featuring high-efficiency Class-D power amplification with the highest definition XTA DSP, the Aura Audio D80DSP and D100DSP processing amplifiers offer performance and convenience at a whole new level. Combination of four 2kW powered channels (4kW in D100DSP) with four aux DSP channels and four analog or digital inputs these amplifiers are flexible and user friendly companions to all Aura Audio speakers. Remote control via iPad, PC software or directly from front panel is supplemented by a remote wall panel and Dante options.

Camco Q-Power Series The CAMCO Q-Power series, a range of four different four-channel, high output power amplifiers, has been designed to provide that, Powerful Pure Sonic Performance which is now so synonymous with the CAMCO brand name. The all new Q-Power 14 with DSP controlled PFC power supply is the flagship of the series, offering up to 14,000W of undistorted power in an extreme compact and lightweight package. The development of a DSP controlled, active PFC (Power Factor Correction) enables the Q-Power 14 to use the mains power supply much more efficiently than before. The PFC makes the immense power of 3,500W per channel possible and improves the impedance headroom down to two ohms. The PFC provides a solid supply voltage to the amplifier output modules, independently from different or fluctuating mains voltages. Via a USB connector on the rear, the power supply can be configured to different circuit breaker characteristics and tripping currents. The Q-POWER 14 power supplyâ&#x20AC;&#x2122;s DSP automatically choses the best regulating algorithms for highest power performance for any mains voltage range (100V, 120V and 230V). Furthermore the Q-Power 14 introduces new class D amplifier technology offering smooth and responsive handling with massive output power while maintaining CAMCOâ&#x20AC;&#x2122;s famous sonic integrity. With the introduction of the Q-Power series, CAMCO aim to deliver simple, pure and reliable power for applications where cost and ease of use are paramount.

Cloud CV8125 The new Cloud CV8125 Digital Class-D multi-channel amplifier, the first in a series of new digital amplifiers from Cloud Electronics, providing one hundred and twenty five watts output per channel across eight channels, offers feature-rich functionality and class-leading performance for commercial audio installers and users. Designed for use in retail, leisure, hospitality, commercial, industrial and other demanding applications, the new Cloud CV amplifiers utilise energy efficient switch-mode power supplies for improved performance in a compact size, allowing the new CV digital amplifiers to meet stringent Energy Star Compliancy ratings. A host of user and advanced user functionality includes comprehensive on-board digital signal processing, assignable 1450ms audio delay and loadtesting / reporting ability. Rear panel DIP switch settings allow configuration of routing, switching of high-pass filters to minimise speaker transformer saturation and switching between 70V/100V output per channel. Fully featured DSP channels are provided for two line level auxiliary outputs, featuring the same processing power and functionality as all of the amplifier channels, which can be configured as subordinate to the amplifier channels or operate as additional independent channels, enhancing installation flexibility. With ethernet / RS-232 configuration and control options, SNMP status monitoring and reporting, GPIO interface and RL-1 Remote Volume Control connectivity, the new CV digital amplifiers from Cloud arrive in a new, lightweight 2U chassis.


Crestron AMP 225

Crown CDi 4|1200BL

The AMP-225 and AMP-150-100 provide convenient professional performance, EnergyStar certified, and modular construction. Thanks to their innovative slide-rail design and compact quarter-rack size, multiple units can be ganged together in a single rack space for maximum flexibility. These new amps can also be combined with our half-rack AMP-1200 and AMP-2100 for a 1RU solution, stacked on a shelf, or surface-mounted under a table. The modular amps ship with everything you need for surface mounting, rack mounting, and ganging units together. Crestron modular amplifiers are offered in a range of output power levels, with single and dual-channel models available, and with options to address either Lo-Z (four/eight ohms) or Hi-Z (70V or 100V) speaker types. Each model is housed in either a quarter- or half-width rack-mountable form factor that can be installed individually or ganged together in a single rack space. Every model ships complete with all the hardware required for installation of the unit by itself or in combination with any other unit(s). Rack and surface mount kits are included, so there are no other mounting accessories or rack shelves to purchase. The AMP-225 model supports Lo-Z only and is quarter width.

The CDi DriveCore Series is an evolution in amplification, providing an impressive mix of high-performance; rich feature set, and competitive cost. Using technology derived from our flagship Installed Sound amplifier (Crown DriveCore Install series), the CDi DriveCore 4|1200BL offers streamlined functionality to work in almost any large sized installation such as cinema, houses of worship, hotels, cruise lines, and more. Designed for ease-ofuse in a variety of applications, the 4|1200BL is a four-channel amp that includes network control/monitoring, high-level DSP, front-panel interface, and support for driving up to 100Vrms speaker loads without requiring a transformer. The 4|1200BL also comes with BLU link, adding the ability to send and receive channels over HARMAN’s digital audio BUS. The entire CDi DriveCore line comes pre-loaded with JBL speaker tunings to help make installations quicker and easier.

d&b 10D and 30D

D.A.S. Audio D-10 The D-10 amplifier from D.A.S. Audio uses a modern Class AB bipolar design delivering the cleanest sound available coupled with ultra-high standards of reliability. Capable of handling two ohm loads, the D-10 control and protection circuitry continuously checks for fault conditions including shorted outputs, DC on outputs, excessive temperature, and component failure. If such an event occurs the outputs are disconnected, saving expensive driver repair bills. The D-10’s sophisticated side chain limiters prevent distortion and speaker damage but are out-of-circuit until the onset of clipping. The control circuitry provides full protection against inrush current limiting with delayed turn on. Low noise vari-speed fans are utilised to minimise mechanical noise, making the D Series an ideal choice for theatres, auditoriums and much more. The D-10 amplifier offers professional power amplification for the most demanding of applications.

The 10D and 30D are the first d&b amplifiers tailored for permanent integration. They offer the predictable results and rider-friendliness of d&b products, with features and costs tailored for installation applications. d&b amplifiers are the central part of a complete audio system solution that’s much more than the sum of its parts. This is because all d&b loudspeakers are designed to perfectly align with the capabilities of the d&b amplifiers. These fully integrated components ensure the highest quality performance, reliability and consistency, and keep return on investment at a truly high level.  The four channel amplifier models, 10D and 30D, provide comprehensive DSP power to deliver the appropriate acoustical performance and feature settings for every installation. The systematic, but targeted d&b approach means that the installation amplifiers share the same DSP power and differ only in output power. With the d&b software toolkit, they’re also easy to setup and operate, as well as implementing new feature developments to stay up to date and future ready.  Besides comprehensive loudspeaker settings, 10D and 30D are equipped to meet the highest demands for flexibility and integration in a broad variety of installation environments.


Dynacord C Series Dynacord C Series power amplifiers are designed for permanent installation applications, to provide background or live music in venue including bars, churches, restaurants, sports facilities, and performing arts centers. Sophisticated circuitry and bulletproof, high-performance voltage handling give the user peace of mind; the amplifiers and connected loudspeakers are protected from damage and will perform flawlessly - even in the most demanding environments. The four models of the C Series have two ohm stability and a maximum total output power of 1,300W to 3,600W. The C Series is also suitable for direct drive applications with 70V / 100V speaker lines, providing high flexibility for a variety of install scenarios. Like all Dynacord amplifiers, the C Series also offers high-quality components and professional processing power and performance characteristics. The onboard DSP includes multi-band PEQs, crossovers, limiters, and delay per channel. It also has true channel grouping control with extra DSP capabilities like PEQ, GEQ and delay for each group. Dynacordâ&#x20AC;&#x2122;s new Multi-Amplifier-Remote-Control Software (MARC) is intuitive to use and allows comprehensive configuration, control and control up to 16 amp channels. An efficient eco-friendly standby power mode reduces running costs and power consumption by up to 90%.

Ecler eCA120HZDN The eCA120HZDN is a 120 WRMS @ 100V efficiency (class D) mono compact amplifier for high impedance lines from ECLER. It features two analogue audio inputs and two Dante audio inputs, both with selectable priority function (over the other input signal), as well as an auxiliary audio output. Auto stand-by function (selectable) and fanless design (100% silent) are features, too. It also has a remote control volume port compatible with ECLER WPm wall-panel control series. Universal external power supply included. The eCA120HZDN is perfectly suited for installs in museums, retail centres and education.

Equipson Zenith Series The Zenith series from Equipson is composed of five lightweight amplifiers with elevated output power. The switching mode power supply technology reduces the weight of the amplifiers and the LLC resonant circuit prevents from undesirable frequencies coming from the main supply. The ultra-fast response time technology with high slew-rate protects the amplifier from electrical load fluctuations. Zenith power amplifiers are suitable for almost any installation, thanks to the sensitivity input selector and the possibility to work with balanced and unbalanced signals. Additionally, they feature three operating modes available (Stereo, bridge or Parallel) and a low-frequency enhancer.

Full Fat Audio 4004 & 6004 FFA-4004 and FFA-6004 G2 DSP amplifiers give high performance sound with great flexibility of system design. The DSP is easily configured using PC, Apple Mac or iPad. Equally at home for use in installations or for temporary sound. The DSP features comprehensive broad band limiters, system component limiters and dynamic EQ. The DSP is four input, six output with a pair of AUX XLR DSP outputs to drive non DSP amplifiers. Rugged build and made in the UK these amplifiers come with FFAâ&#x20AC;&#x2122;s no quibble five-year manufacturers warranty.


K-array Kommander-KA02 K-array introduces the Kommander-KA02, the smallest in the Kommander amplifier line measuring at an incredible 14.4-inch x 4.6-inch x 14.4-inch. The KA02 was developed with the end user in mind as part of the plug-and-play Azimut system. The amplifier features two balanced analog inputs, a mini jack input and a fiber optical input working up to 192kHz. It boasts Bluetooth connectivity and USB ports for using MP3, WAV, FLAC, AAC, ecc., files. Converted by AKMâ&#x20AC;&#x2122;s quality ADC, the audio is processed by a powerful DSP working at 192 kHz â&#x20AC;&#x201C; 32 bit and amplified by a four-channel Class-D module with digital I2S inputs. With the backing of 200W, the KA02 can be arranged in multiple output configurations such as 4 x 50W, 2 x 100W and 2 x 50W + 1 x 100W. The onboard Quad Core 1.2 GHz - 64-bit processor allows the end user to connect to the internet in a multitude of connectivity options. With the possibility to be controlled via Wi-Fi by a dedicated app, the KA02 has the ability to access music through the onboard Spotify and Web Radio streaming. The app also provides the possibility to manage all the functions of the amplifier, from sound source selection and playlist management to graphic equalization and multi-room network setup. Available accessories include a wired remote control that provides the possibility to control volume levels and Bluetooth connectivity with a touch display as well as a wireless infrared remote controller.

Hoellstern Delta 20.4 The DELTA 20.4 amplifier is a powerful four-channel amplifier. The four separate audio inputs and four separate audio outputs make Hoellstern amplifiers ideal for all applications. The high sound quality, the extraordinary flexibility and the high overall quality are lasting guarantors for a futureproof investment, which quickly repays and considerably simplifies the everyday life of professional sound reinforcement. The Hoellstern typical load stability controls loudspeaker perfectly. Sound engineers are amazed how sound systems in-the-face preform acoustically. Strong Hoellstern currents moving speaker cones. Define yourself the DSP technology and setups via drag & drop. Select trueto-the-original DSP presets with pre-defined filters such as HFA, HFC, CPL, AEQ, CUT ON/OFF, FR, FIR-Plateau and more. You specify your system in a few seconds. The sophisticated Hoellstern iCVP technology with double the electrical efficiency allows a powerful operation on 16 A Schuko mains socket. The high burst current draw capability and the huge energy buffers enable enormous output power values. Hoellstern means effective, strong and dynamic loudspeaker control instead of 32 A plugs and hot air. Hoellstern Amplifiers are green products.

Kind Audio K2 K4 SERIES The K2 - K4 series is equally versatile in both portable and installed sound systems, is suitable for small and medium power solution, is flexible and cost-effective. Example of compact power is the K4C with its 4 channels deliver up to 6000 W in 2RU 10.5 kg / 23.1 lb. The K series is GREEN POWER, efficiency means eco-friendly, and in other words, money saving in elettricity; the minimum heat dissipation makes the K series suitable for hot places or the conditioning demands is strongly reduced. A dedicated model the K4HZ and few others in the K2 - K4 series have the ability to directly drive 70V / 100V distributed loudspeakers. The DSP version provides on-board DSP. The high-performance DSP is hidden inside and safe against accidental or intentional tampering; amplifier settings can be done via USB Analog Devices Sigma Studio. Locally lets the user access up to eight presets per pushbutton on the rear panel. The K series comes with a four-year warranty, and like any other KIND AUDIO amplifier is entirely thinked, designed, and handcrafted in Italy.

L-Acoustics LA12X The LA12X relies on a proprietary switch mode power supply (SMPS) equipped with a DSP-controlled PFC, capable of delivering 12,000W regardless of mains voltages (from 240V down to 100V.) The PFC offers high immunity to unstable mains and lowers typical power consumption by up to 40% for the same usage conditions i.e., more power is available to the output stages from a given circuit (16A at 230V mains, 30A at 120V mains). In addition to the high raw RMS power rating, the ability to deliver energy (power x hold time) yields the best performance from loudspeaker systems, especially in LF reproduction.


Lab.gruppen E Series E Series amplifiers from Lab.gruppen are designed for ease of installation and reliable service, with notable features including a 50Hz high-pass filter (switchable per channel), inputs and outputs on detachable Phoenix-type screw terminals, and a temperature controlled fan that turns off for low-level signals. Comprehensive circuit protection and fault indication also included. For peak operating efficiency, the E Series incorporates a new high-headroom universal power supply accepting any mains voltage from 70 to 265V at 50 or 60Hz. A higher storage capacity in the power supply prevents excessive draw on the mains inlet during repeated peak bursts, maintaining extra headroom on the supply rails for sustained maximum output with minimal distortion. The new Rail Sensing Limiter (RSL) is the latest refinement of Lab.gruppen’s proprietary approach to optimizing amplifier output characteristics to match the connected load. Each channel has a two-position switch that sets the output for driving either low impedance or high impedance (70V) loudspeaker systems, with a +4dBu sensitivity regardless of load type. RSL works in conjunction with the high headroom power supply and inherently bridged output stage to allow asymmetric loading.

MC2 Delta Series The Delta Series from MC2 Audio use the very latest generation output devices to provide the highest quality amplification that is as suited to touring applications as it is to permanent installs. Combining XTA’s classleading DSP with MC2’s knowledge of how to build the very best in power amplification has resulted in a range offering a multitude of power levels, connectivity options and networking possibilities. Analogue, digital and Dante network audio I/O allow the Delta DSP amps to source from anywhere, process this and send it everywhere, either via the additional four analogue aux outputs, or back onto the network with a choice of seven different ‘pick-points’ through the DSP path. These include pre/post input processing, pre/post amplifier channel processing and pre/ post aux channel processing. Power levels range from four x 1400W (DSP and non-DSP models) through to a two channel amplifier capable of upwards of 7,000W/Ch (non-DSP). The non-DSP models also feature 96k Dante inputs but can also be used as standard analogue amplifiers, and all models are capable of driving two ohm loads across all channels. All Delta DSP amplifiers can be fully configured via the front panel, or remotely via USB, Ethernet or RS485, with iPad control via the bespoke DeltaDirect iPad app for wireless access, including advanced grouping architecture preserved across iPad and PC control.

Martin Audio iKON The new Martin Audio iKON amplifier series comprises of the iK42 fourchannel amplifier and iK81 eight-channel amplifier, both capable of very high power outputs and feature high-speed Ethernet communication for system control and monitoring via VU-NET, plus Dante digital audio networking. They act as dedicated controller amplifiers for Martin Audio Wavefront Precision line arrays as well as multichannel amplification across the Martin Audio loudspeaker range, while the iK42 also ensures maximum performance and worldwide compatibility of XE monitors. Critically, they provide up to 1000 FIR filter taps @ 48kHz on each output channel, which is essential to implement DISPLAY’s wide bandwidth optimisation process in Wavefront Precision line array systems. The iK42 can deliver a full 5,000W per channel into two ohms while the iK81 can deliver a full 1,250W per channel into 2, 4 or 8 ohms with all channels driven while remaining highly efficient.

NEXO NXAMP MK2 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. Since its launch ten years ago, the NXAMP range of controller/amplifiers has become one of NEXO’s most successful and well-known products, sitting at the heart of most NEXO touring systems and installations. The new NXAMP4x1 MK2 and NXAMP4x2 MK2 models present NEXO’s expertise in DSP control in lighter, sleeker 2U packages with touchscreen control. Available in 4 x 1000W and 4 x 2000W, these ultra-low distortion Class D amplifiers combine 32-bit/96KHz converters and 64-bit signal processing to deliver significant advances in sound quality over the already highly regarded MK1 NXAMPs. A large LCD colour touch-screen on the front panel enables faster and easier navigation, giving direct access to all essential parameters. A native dual Ethernet port offers seamless integration with NEXO’s proprietary NeMo system management software. Amplifiers can be remote-controlled and daisy-chained via a Remote Control card fitted as standard, with optional Dante, EtherSound and AES/EBU network cards also available. Four high-end analogue inputs use cascaded converters for low output noise, and four digital inputs are available through the rear panel expansion card slot offering optional AES/EBU, EtherSound, Dante or AES67 inputs, all with automatic analogue fall-back. Ideal for use in touring and fixed installations, the amplifiers feature a universal power supply (100 - 240 Volts) using PFC (Power Factor Correction) technology for maximum efficiency and smooth current draw. which NEXO will continue to support as a legacy product.

Introducing ATEM Television Studio Pro HD, the live switcher with 8 SDI/HDMI inputs, multiview, DVE, talkback and more! The new ATEM Television Studio Pro HD is the first all in one production switcher with integrated hardware control panel designed for both broadcast and professional AV users! You get a built in 1 M/E control panel, along with 4 SDI and HDMI inputs, multiview, DVE, talkback, an audio mixer and more. Itâ&#x20AC;&#x2122;s perfect for traditional and web broadcasters, as well as AV professionals covering corporate events, seminars, and even large worship services!

Broadcast Quality Effects

True Professional Switcher

Professional Hardware Control

ATEM Television Studio Pro HD is a true professional switcher with transitions such as cut, dissolve, dip, wipes, graphic wipe and DVE transitions. The DVE can also be used for picture in picture effects, making it perfect for interviews and live commentators. The flash based media pool holds 20 RGBA still frames so you can add custom graphics and logos!

The built in control panel features illuminated buttons for switching sources, mixing audio, adding transitions, using keyers and more. You get one touch access to the most important switcher functions so you can work quickly and confidently! When used with the included free software control panel, you can even have multiple people controlling the switcher on the same program!

Connect up to 8 Sources With 4 HDMI and 4 3G-SDI inputs that support all formats up to 1080p60, you can connect up to 8 cameras, game consoles, computers or other sources. All inputs have frame re-synchronization for clean switching between all sources. You also get 4 SDI program outputs with talkback and tally, as well as multiview and aux out, and connections for RS-422, reference and XLR analog audio in.

Learn more at

Mondo Stadia - ATEM TV STUDIO PRO HD.indd 1

You get an upstream keyer with full chroma keying for green screen and blue screen shots so you can add weather maps, graphics, and more behind on-screen talent! You also get 2 downstream keyers for adding graphics, logos and bugs from the built in media pool, or you can use input video with fill and key overlay graphics in real time!

ATEM Television Studio Pro HD ÂŁ1,745*

*SRP is exclusive of VAT.

20/11/2017 2:16 PM


Proel PA AMP160XL The PA AMP160XL is a professional mixer amplifier from Proel. The new 160W product is a new series of audio power amplifiers that have been designed to fulfil an evolving market in the most flexible and professional manner. The new range responds to precise operating criteria and was designed and tested to guarantee total reliability of use, also with continuous operation. Thanks to the use of power supply switching with SMPS (switch mode power supply) technology and to the constant voltage output 70/100V obtained electronically without transformers, it was possible to design the amplifier in only one rack unit, succeeding in containing the weight and size.

Powersoft Quattrocanali Series The Powersoft Quattrocanali Series is a 1RU four-channel amplifier platform, ideal for small to medium size leisure installations. Outputs for the series range from 300 to 1200W per channel for any 2/4/8 ohm or 70/100 Volt load. The Quattrocanali features flexible networking capabilities, making it the perfect solution for a variety of venues (museums, retail, stadia, bars, restaurants, nightclubs, etc.) looking for seamless integration, network crisp sound, full control and sustained output volume. This lightweight and compact four-channel amplifier delivers crisp sound and sustained output volume. It features Powersoft’s trademark switch-mode power supply with power factor correction, smart rail management and bridgeable switch mode fixed frequency Class D output circuit topology.The Quattrocanali also offers third party plugins and advanced interoperability capabilities, a key requirement for system design. Third party plugins are available on the Powersoft website for download, allowing the amplifier to openly communicate, an extremely flexible proposition for system designers. Available in both DSP and non-DSP versions, the Quattrocanali series reduce system complexity by offering a simplified system setup while also saving costs for the end user.

TOA MA-725F The MA-725F matrix amplifier is an all-in-one solution whenever clean and clear reproduction of individually selectable sources such as: background music, emergency and general announcements, are required. In a variety of multi-channel and multi-zone applications, TOA’s MA-725F convinces with its combined 6 x 4 audio matrix, built-in DSP functions and four channel Class-D amplifiers. Equipped with four independent line inputs, and two MIC/LINE priority inputs, the MA-725F features high power combined with various input options. Each output channel is selectable with independent DSP preset selections and 50Hz HPF for loudspeaker protection. The system can also be easily setup without software or a PC. The optional WP-700 control panel provides remote selection of input sources and adjusts volume in 10 steps. Due to its ease of use, the MA-725F is best suited for restaurants, pubs, retail stores, schools, and offices - when time is needed to make your customer’s life easy, rather than for complex sound operations.

Yamaha PX Series Yamaha’s PX Series models are driven by a newly developed Class-D amplifier engine that concentrates all the necessary functions into a single custom LSI chip, and uses PLL technology to control transfer characteristics in real time, achieving impressive sound quality and power. This new single-chip architecture offers higher output and improved performance in a more lightweight, yet reliable design. A combination of cutting-edge technology and an exhaustive component selection process make PX Series amplifiers supremely efficient amplifiers with low noise, reliable protection features, and above all, outstanding sound quality. With a lineup comprising four new models - 1,200W x 2 PX10, 1,050W x 2 PX8, 800W x 2 PX5, and 500W x 2 PX3* - the PX Series offers a versatile range of different power output capabilities suitable for a wide variety of sound reinforcement applications. The PX3 and PX5 also come equipped with a Power Boost Mode that combines the power output from two channels into one, achieving significantly higher single-channel power levels to drive high power handling speakers when needed (note that the number of channels available is halved in this case). *Power output figures rated at four ohms. PX Series models come with flexible onboard crossover, filters, delay, limiter and PEQ functions as standard, allowing quick and easy system setup via the LCD display, without the need for any additional outboard gear. All models also feature Yamaha’s intelligent D-CONTOUR multi-band dynamic processing, allowing users to achieve consistent clarity and high-quality sound for either front-of-house or monitor configurations.

THE EUROPEAN DESTINATION FOR THE GLOBAL AV INDUSTRY Discover the latest products and solutions at ISE 2018 Connecting markets and people



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1. ADJ AV4IP The new AV4IP inherits the simple setup and keen pricing of the other panels in the range. The surface of the screen is fully protected against rain, snow and dust, while the back panel is protected against splashing water but isn’t completely dust tight. The screen is therefore ideal for use at temporary events in the open air and can also be used as part of a permanent outdoor installation as long at the rear of the panels are protected from the elements. With a pixel density of 104 x 104 per panel (43,264 dot/m2), resulting in a pitch of 4.81mm, the AV4IP uses a configuration of 3-in-1 RGB SMD1921 LEDs to generate highresolution video images with a brightness of 4,000 NITs. Power for multiple panels can also be linked together and each will draw a maximum of 180W and an average of 60W. The panels can accept an input voltage of 100-240V 50-60Hz, meaning that they are suitable for use worldwide and therefore capable of global touring duties. Each panel measures 19.75-inch x 19.75-inch x 4-inch / 500mm x 500mm x 100mm and is divided into two separate 250mm x 500 modules. This, along with quick-release power supply and receiving card modules, allows for easy serviceability and simple repairs out on the road. Weighing in at 20lbs. / 9kg, and fitted with a retractable carrying handle, the individual panels are easy to lift and rig, with up to 15 able to hang in a vertical drop from a single ADJ AV3RB1 rigging bar. The AV4IP is available now, both as single panels and complete packages (AV4IP 4x2 and AV4IP 5x3) that include video processors, software, cabling, rigging bars and flight cases – everything that is needed to get an LED video system out on the road.

2. Allen & Heath GLD V1.6 Allen & Heath has announced the latest firmware update for its GLD digital mixer range, adding a sought-after FX unit as well as presets for popular microphones. Included in GLD V1.6 is the Dimension Chorus FX unit. Inspired by a classic chorus based on bucket-brigade technology, Dimension Chorus offers varying degrees of density from subtle special effects through to heavier modulation. Also new to GLD in V1.6 are the company’s acclaimed ProFactory mic presets, created in collaboration with Shure, Sennheiser and Audio Technica. ProFactory mic presets are designed to give engineers a fast track starting point when working with a variety of widely used microphones. Other enhancements in V1.6 include a post-fade option for the Automatic Mic Mixer and a 50Hz noise on/off switch for the Space Echo FX Unit.

3. Apex Intelli-X3 Series Intelli-X3 provides all the system management tools necessary for comprehensive system alignment and EQ, through to the provision of IIR and custom FIR-based crossovers. I/Os can be selected (in pairs) to be either analogue, AES/EBU or Dante, enabling a mix of audio formats to be used simultaneously. Designed to be plug ‘n’ play, the Intelli-X3 is simple to configure and integrates easily into any network via internal three-way Ethernet switches. Both automatic IP (DHCP) and static IP configuration is provided as standard, enabling plug ‘n’ play connectivity and more rigid IP assignments for use in fixed installations. Wireless access points can be directly connected to Intelli-X3 devices allowing direct control over a wireless network. Apex’s renowned proprietary software application, Intelli-Ware, provides fast and intuitive control from both portable touch and tablet PCs as well as from tethered PCs. The software is accessible from multiple PC devices simultaneously - a handy feature for engineers needing to optimise audio from various locations throughout a venue or festival site. Intelli-Ware provides comprehensive system-wide ganging and copy/paste functionality allowing complex setups to be easily configured, presented and stored. The Intelli-Ware screen layout is fully configurable and can be sized to match any type of display. Full offline design capabilities enable shows to be prepped offsite.

4. APG Live Manager A result of the combined work of both the Active Audio and APG R&D teams, the new APG Live Manager remote control and monitoring software offers increased performance in a new user friendly graphic interface, allowing the user to control the entire APG range of products, from the DMS26 and DMS48 external processors to the DA50:4 and DA15:4 DSP amplifiers. APG Live Manager allows the user to work offline in order to remotely prepare for any type of project, even those which require a complex configuration, and perform a number of background tasks from loading the loudspeaker presets to working on grouping functions. The functionalities of the new APG Live Manager are divided into three main areas: a configuration mode for the preparation and installation phase; a setting mode for configuration; and a control mode for live usage. This new flexible software is already available on Windows and Mac devices, while a tablet version will be made available in 2018.


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Arista Corporation has announced the ARD-1007-A01-TX HDBaseT Transmitter. Incorporating a 3 x 1 switcher for use with HDMI, DVI, and VGA video sources, the new ARD-1007-A01-TX is designed to transmit analogue video to digital HDMI displays, enabling advanced HDMI display devices to be used with legacy VGA sources in conjunction with control signals such as RS-232, USB, and IR (infrared). The Arista ARD-1007-A01-TX incorporates HDBaseT technology, which enables the optimised delivery of uncompressed, high-definition digital media. HDBaseT accomplishes this while also eliminating multiple cable runs and the signal degradation that can occur with long runs using traditional VGA and HDMI cables. Cost-effective and easy-to-terminate category cable (Cat5e/Cat6)) also provides additional integration benefits. The ARD-1007-A01-TX features HDMI and DVI inputs as well as a VGA input plus a 3.5mm audio input connector. The unit also incorporates a power over HDBaseT output. The ARD-1007-A01-TX combines the benefits of a switcher with built-in autoswitching along with the advantages of long-distance HDBaseT signal extension over a single Cat 5e/6 cable. The ARD-1007-A01-TX supports HDMI video signals up to 1080p/60Hz with embedded audio. VGA input signals up to 1920 x 1200 resolution can be extended up to 330ft (100-metres).

6. Atlona AT-UHD-SW-510W 5x1 Atlona has announced the AT-UHD-SW-510W 5x1 universal switcher with wireless presentation capabilities. The SW-510W combines unprecedented input flexibility with powerful integration features including automatic display control, automatic input selection, and mirrored HDMI and HDBaseT outputs. On the output side, simultaneous HDMI and HDBaseT interfaces enable multidestination presentation architectures such as concurrent primary audience and confidence displays, while the HDBaseT output can be paired with Atlona’s ATUHD-EX-100CE-RX-PSE receiver to extend video, audio, control, and Ethernet up to 100 meters. The SW-510W supports wired video signals up to 4K/UHD @ 60 Hz, plus support for 4K/60 4:4:4 and HDR formats on local ports (HDMI, USB-C, and DisplayPort) and wireless video up to 1080p/30 (up to 1080p/60 with Miracast). The switcher is HDCP 2.2 compliant for compatibility with protected content. The SW-510W can be remotely configured, managed and monitored over a LAN, WAN or VPN via the free Atlona Management System (AMS 2.0) network software platform, and integrates seamlessly with Atlona’s Velocity control system.

Media Technology System Integration

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5. Arista ARD-1007-A01-TX HDBaseT Transmitter


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1. Audio-Technica ATDM-0604 Digital SmartMixer

3. Clear-Com HelixNet

Audio-Technica’s SmartMixer technology allows channels to be mixed automatically in gate or gain sharing mode, ensuring consistent, high-quality audio output from all inputs in a setup, without the introduction of feedback, excessive ambient noise, or comb filtering. Controls and LED indicators on the mixer’s front panel allow users to easily adjust input/output and gain levels; set and recall presets; turn on/off phantom power, low-cut filter, automatic mixing and acoustic echo cancellation (AEC); change IP configuration (Auto or Static); and more. Control and monitoring tools are accessible locally on the front panel or via the Web Remote interface, which allows users to handle the aforementioned adjustments from a Windows-based PC, Mac, iOS or Android device, plus make additional changes to the input and output settings, select gate or gain sharing mode when using Smart Mix, and adjust other advanced settings.

The latest changes to HelixNet include a six-fold increase in I/O ports, direct connections to Agent-IC mobile app, VoIP telephony, and binaural functionality in its beltpack - all made possible through HelixNet’s connection to the latest LQ Series IP Interfaces. By simply connecting LQ devices to the HelixNet Mainstation via an Ethernet module, users can gain up to 24 audio I/O ports assigned to any of the 12 or 24 intercom channels in HelixNet. These additional ports supplement the HelixNet ports for interfacing with two-wire and/or four-wire intercom or audio devices, effectively creating a much higher density digital partyline intercom system. Since HelixNet and LQ are linked over LAN and WAN IP networks, users have the flexibility to move these extra audio connections anywhere they need them, even to the other side of an arena Signals from any remote devices are routed over IP to the assigned HelixNet end point(s). Through the LQ interface, any user on the HelixNet system is now able to communicate with users on Clear-Com’s Agent-IC mobile apps running on smart iOS or Android devices over WiFi, as well as users on VoIP phones via SIP connection. This ability is especially useful in applications where core production team members on the HelixNet system may need to add a few extra intercom positions at additional locations; or for the production member to switch their comms connection to their smart phone or a VoIP phone in order to step away from their assigned position momentarily. This option is now possible and cost-effective with LQ.

2. City Theatrical DMXcat City Theatrical’s DMXcat Multi Function Test Tool is now available in seven languages: Spanish, French, German, Italian, Korean, Japanese, and English. DMXcat was translated in partnership with multilingual lighting professionals to ensure that technical and industry terms were captured appropriately in every offered language. City Theatrical‘s DMXcat Multifunction Test Tool makes it easy for anyone to control, analyse, or test any DMX lighting fixture, whether it’s a simple LED PAR or a complex moving light. The system consists of a small hardware dongle and a suite of mobile applications. The DMXcat hardware dongle is a compact battery powered unit, which fits easily in a pocket or tool pouch or may be worn on a belt. It uses Bluetooth LE technology for communication with the smartphone applications within a range of 50ft. The DMXcat utilises a database of over 100 worldwide lighting manufacturers and thousands of lighting fixtures and their personalities, just like a sophisticated lighting console. Other applications included with DMXcat are a full 512 channel DMX controller which the user can select to emulate either sliders or a console style keypad; a complete set of DMX analysis tools similar to what are found on engineering level DMX testers; an RDM controller to enable the user to perform all functions that RDM fixtures allow including setting DMX address, changing personalities, viewing lamp hours and temperature levels.

4. Community IV6 Aesthetically designed for installed indoor or outdoor applications, IV6 is a scalable, adaptive sound reinforcement system featuring wide-dispersion IV6-1122 array elements (12-inch, two-way) available in two complementary vertical coverage angle versions (5° and 15°). Up to 5° of splay between elements eliminates excessive overlap or coverage gaps, overcoming the physical limitations and acoustical tuning difficulties of conventional line arrays and constant-curvature arrays, while maintaining the best qualities of each in long-throw line arrays, medium-throw progressive curvature arrays and compact constant-curvature arrays. Built-in Passive Acoustic Optimisation (PAO) settings on the rear of each loudspeaker allow up to 55 different frequency response profiles to be independently selected for each element in the array, providing unmatched SPL and frequency response consistency throughout a listening area without requiring costly additional amplifiers or DSP channels. Community’s exclusive PAO module included within EASE Focus 3 software quickly calculates the ideal PAO settings for each loudspeaker.


When design meets sound The NOBA series is characterized by an innovative & unique design. With its curved shape, made of 4 mm thick aircraft graded aluminum and its extremely powerful 8â&#x20AC;? woofer of 300 Watts, the NOBA8 is able to deliver an unheard low frequency response for its small woofer size. To blend in with any interior, the NOBA8 comes available in both black and white.

Experience the NOBA8 at ISE 2018 Hall 7 Booth M190






1. Dan Dugan Sound Design Dugan Model M and Dugan Model N

3. Epson EB-1470Ui / EB-700U

The Dugan Models M and N are automatic microphone mixers, designed to work in conjunction with standard audio mixing consoles. The Dugan Model M has MADI I/O, both optical and copper, and the Model N has Dante I/O, primary and secondary. Both models provide 32 channels of Dugan auto-mixing at 96K or 64 channels at 48K and are PoE capable. The Dugan Speech System, Music System, and Gain Limiting are all supported. In addition the M and N include a scene memory that can record and recall all operating settings, either globally or by unit, in a library of named scenes. Updates to both units include the addition of six internal mix buses that ban be sent to any outputs or which can be used as Music System threshold inputs. Mix bus matrix inputs include all processed channels and all unprocessed inputs. The Dugan Model N’s Dante functionality now includes AES67 compatibility, device locking, and Dante Domain Manager compatibility.

The EB-1470Ui projector comes with multiple connectivity options, including two HDMI ports, one of them MHL-enabled for mirroring of Android mobile devices. It also comes with in-built Wi-Fi connectivity, enabling users to easily project images, documents and files from Android, iOS smart devices or laptops directly using Epson’s iProjection app or software. The EB-700U projector can project up to 130-inch in portrait or landscape mode and with its ultra-short throw, multi-direction projection capabilities and PC-less functionality, it is ideal to be used as a digital signage for projection in confined retail settings and corporate or public spaces for display. The EB-700U can be rotated 360 degrees in all directions without any loss in image brightness, making it suitable for projecting on walls, ceilings and floors. It does not need to be connected to a PC and photo slide shows can be loaded directly from a USB memory key.

2. Elation KL Fresnel Series The KL Fresnel 4 uses a 50W warm-white LED engine calibrated at 3,000K to emit a smooth wash of light that simulates the warmth of a Tungsten halogen source. The KL Fresnel 6 and 8 also emit a smooth wash of light that simulates the warmth of a tungsten halogen source. With a high CRI of 91 and superior light quality, the KL Fresnel 4, 6 and 8 have the ability to better distinguish colour and contrast. Total lumens output exceeds 1,600, on par with compatible tungsten halogen models. The KL Fresnel 6 and 8 are also on par with compatible tungsten halogen models. For easy adjustment of beam size for more precise coverage, the fixture incorporates a 14° to 31° manual zoom. Consistent lux levels are maintained throughout the zoom range of KL Fresnel 4 and 6. The KL Fresnel 6 uses a 150W warm-white LED engine calibrated at 3,000K. The KL Fresnel 6 has a high CRI of 97. Total lumens output exceeds 5,200. For easy adjustment of beam size for more precise coverage, the fixture incorporates a manual zoom that expands the beam evenly from 16° to 31°. The KL Fresnel 8 uses a 350W warm-white LED engine calibrated at 3,000K. The KL Fresnel 8 has a high CRI of 97. Total lumens output exceeds 6,400. For easy adjustment of beam size for more precise coverage, the fixture incorporates a 12° to 36° motorised zoom. Consistent CT and CRI levels are maintained throughout the zoom range.

4. Focusrite The Clarett USB Range Focusrite has introduced a new range of USB audio interfaces - laying down the challenge to interfaces twice the price. The Clarett USB range features specially designed high performance, low-noise (-128dB EIN) mic pres with a low distortion, ultra-linear design that guarantees a clean, open and transparent sound, giving accurate representation of the original performance. Three interfaces appear in the range: Clarett 2Pre USB (10-in, four-out), Clarett 4Pre USB (18-in, eight-out) and Clarett 8Pre USB (18-in, 20-out). Boasting up to 119dB dynamic range, Clarett can now be experienced with any Mac or PC supporting USB 2.0 and above. The included standard USB and USB Type-C cables connect to Mac or PC, and you can record with super-low latency through amp simulators and effects plug-ins.




5. G’Audio Lab Works, Craft and Sol The company’s suite of tools includes three products, Works, Craft and Sol, that provide interactive 3D sounds. Works is a powerful spatial audio plugin for digital audio workstations that leverages object-based mixing for detailed placement of sound in a 3D environment. Craft is a plugin for 3D game engines that simulates room acoustics while minimizing the required processing power. Sol is a renderer SDK that can be adopted to local and streaming players. G’Audio’s team of experts helped develop part of the binaural rendering technology used in the MPEG-H 3D Audio international standard created in 2014. The core of this binaural rendering technology is utilised in all three of the company’s products, resulting in a remarkable sense of sound localisation and quality.

6. Martin Audio EASE Focus 3 Martin Audio has announced the availability of GLL loudspeaker measurement data compatible with EASE Focus 3 for many of its point source loudspeakers. EASE Focus 3 from AFMG Technologies is an acoustic simulation programme for 3D modelling that enables the user to define audience areas, section views, and receiver locations flexibly, while calculating sound coverage and frequency response immediately.

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1. Meyer Sound VLFC


VLFC is the first large-scale loudspeaker system specifically engineered to create visceral impact at frequencies below the threshold of hearing. By focusing energy into a narrow band between 30Hz and 13Hz, VLFC is uniquely capable of generating extreme variations in air pressure that are sensed by the entire body as compression waves while those frequencies at the upper end of its range are perceived as a thunderous bass sound. The VLFC is a self-powered system housing two low resonant frequency 18-inch cone drivers. The on-board power is supplied by a two-channel Class AB/H bridged amplifier with complementary MOSFET output stages for high peak power and clean transient reproduction even at extreme operating levels. The VLFC shares the same exterior footprint as Meyer Sound’s 1100-LFC low frequency control element, allowing use of the same rigging grids and caster frames. When the VLFC is paired with the 1100-LFC, the combination produces linear, coherent bass response from 13Hz to 100Hz. Applications for the VLFC include adding very low frequency, visceral impact to hard rock and electronic dance music in concerts, festivals and clubs. The VLFC also adds explosive impact to special effects in cinemas, themed spectacles, and theme park attractions.

QSC has launched a new Acoustic Coverage Series loudspeaker. The AC-C2T is a 2.75inch full range loudspeaker with 70/100V transformer and eight ohm bypass making it ideal for lower ceiling environments such as distance conferencing reinforcement, wide area paging and business music applications. To further enhance performance and create a complete QSC systems solution, integrators can use advanced voicing with Intrinsic Correction via the Q-SYS Platform or CXD Series amplifiers. In addition, the AC-C2T includes a four-pole Euroblock connector to easily loop through wiring and eliminate termination hassles.

2. Powersoft Snapshot Selector App When users connect a mobile device to their X Series amplifier platform via USB, a link to Snapshot Selector in the Google Play Store will automatically pop up. There, users may download the app for free. Henceforth, upon connecting a phone to the amplifier, the app will launch automatically. A simple user interface allows the user to save and recall an exact snapshot of all settings on the amplifier, including routing, equalisation, and limiting, at any time. The app also allows the users to select the source priority that will be applied after the snapshot has been recalled. Snapshot Selector allows configuration of complete racks and system without connecting a computer, as long as the snapshots for the loudspeakers are already stored in the amplifiers. This provides valuable functionality for rental amplifier providers or users, enabling rental providers to apply application-relevant settings quickly to an amp before it leaves the warehouse.

4. RTI XP-8v The third generation of RTI’s popular XP-8 advanced control processor, the XP-8v, combines the advanced control options of its predecessors with a new i.MX53 processor for increased processing power and expanded two-way driver support. To take the processor’s capabilities even further, its RAM memory and internal non-volatile flash memory have been upgraded to 1GB and 512MB, respectively. The addition of an HDMI output enables on-screen display, providing users with the convenience of a custom control-interface on their TVs. Designed for large-scale and complex projects, the XP-8v combines a real-time, multitasking operating system with tremendous expandability. Control interface options include two-way RS 232, routable IR, Ethernet, and relay control. For expanded integration capabilities, eight multi-purpose I/O ports support optional modules for voltage sensing and RS-232 control. The XP-8v also features eight programmable relay input/outputs and eight sense inputs (voltage or contact closure). The processor’s Ethernet port provides IP control in addition to support for RTI’s RTiPanel app for smartphones, tablets, and PCs. Additionally, the XP-8v incorporates an astronomical clock, allowing for timebased events and timers to trigger commands and macros. The XP-8v is programmed with RTI’s new Integration Designer APEX 10.2 programming platform, which combines time-saving automation with the complete freedom to design custom control-experiences - setting dealers apart from the competition

! e t a D e h T e v Sa 8 1 0 2 y ar u r b e 26 F For sponsorship opportunities and more information, contact Hannah Eakins:






1. SGM G-4

3. Trinity Video Communications The MS-TestPro

SGM has released the high-power and practically maintenance-free G-4 wash motorised barndoors; a true fresnel-based luminaire with optimal performance and easy-tooperate wireless control. The motorised barndoors are a powerful and accurate feature, operated remotely via DMX. Each of the four blades have individual -90° to +40° angle control, and the whole module rotates -110° to +110°. With the maximum output achieved at the 15°-18° zoom range, the luminaire delivers the best light output for the size of its lens. The G-4 wash motorised barndoors are the first moving head able to achieve a coherent and qualified light spectrum in all colour temperatures with a completely even field and no hotspots. This is achieved through a combination of RGBAM additive mixing, this included glass fresnel front lens’s, precise SGM firmware, and colour mixing based on red, green, blue, amber, and mint LEDs. The silent performing moving head also solves one of the biggest demands in LED luminaires; a real congo blue colour. With a physical enhancer, the G-4 Wash Motorised Barndoors can create deep and saturated blues, including the characteristic shade of a real congo blue colour. With an expected lifetime of 50,000 hours, this powerful yet compact luminaire offers 2,000-10,000K CTC linear control, while delivering best-in-class colour rendering with TLCI, CRI, CQS, and Rf values all higher than 90.

The MS-TestPro is the only affordable hand-held HDBaseT tester, that provides AV installers and integrators with all the information they need while in the field. It immediately measures line sensitivity and enables installers to understand the Signalto-Noise Ratio (SNR), reducing installation time significantly and ensuring that their HDBaseT customers receive the highest link quality for all content transmissions, including 4K, with every installation in every HDBaseT port.

2. Symetrix Control Server Control Server is a web services platform for control of network AV systems, including Symetrix Radius, Edge, Prism, and Solus NX DSPs. Programmed using Composer, Control Server offers wired connections for the A/V network and built-in wireless (Wi-Fi) connectivity for control. Administer and operate from any web-connected computer or mobile device, such as tablets and smartphones. The web-based, multi-touch-enabled Symetrix app provides a user-friendly front end for user control functions. Control Server comes equipped with one instance of Symetrix’ Mixer app, which provides 32 channel strips, each with an assignable fader and a mute button, and offers dynamic screen-sizing and orientation, making it easy to mix events with virtually any mobile device or computer browser. Users can easily group and hide channels, assign custom labels and colors, and adjust the fader resolution and travel. Multi-touch functionality enables multiple faders to be adjusted at the same time, just like a physical mixer.

4. TW AUDiO VERA The VERA20i loudspeaker is equipped with two 10-inch speaker chassis - for the lowmid frequencies - and a newly developed waveguide, along with an 1.4-inch mid-high compression driver. Measuring just 60cm in width, the loudspeaker can form a vertical array comprising up to 24 elements. Compared with typical double eight-inch systems, the VERA20i’s two 10-inch drivers are able to reproduce up to 6dB more output in the low-mid frequency range with lower distortion. The newly-developed 1.4-inch compression driver and waveguide are reproducing a smooth and accurate midrange response for natural vocal and music reproduction. The low frequency crossover point around 1 kHz guarantees a precise and uniform coverage even in the sensitive transition range. The extraordinarily fast transient response replays the high frequencies in a very detailed and crispy way. The compact and appealing design of the enclosure allows a subtle presentation of the VERA20i, especially when sightlines have to be considered or an array needs to be fitted unobstrusively within an architectural surrounding. The fully integrated, almost invisible, four point-rigging hardware support the descent optical aspect. A special feature is the logarithmic scaling of the intermediate angles between angles. It enables angles smaller than one degree to achieve a more accurate directivity of the upper array elements over a longer distance. The VERA S17i is a compact, flyable install subwoofer in a symmetrically vented enclosure, equipped with one 18-inch long excursion driver. The specifically developed integrated rigging hardware allows for perfect integration into VERA20i arrays, without the need for expensive locking pins and additional frames.





“Riedel is a 30-year-old company that works like a three-year-old start-up, but with the experience and resources to make magic happen.”

JAKE DODSON Director of Product Management at Riedel How did you first get into the industry? I originally came from the telecom industry developing high-speed optical modulators for Terabit per second networks, followed by a period of consultancy working on programmable holograms. At the end of one of my consultancy projects, I came across an advert for a company supplying intercom solutions to the broadcast industry. That was in 2006 and the company turned out to be Clear-Com, where I ran Product Management for five years and then the broadcast industry got under my skin.

When and why did you join Riedel? I joined Riedel in November 2014. The funny thing is I had no intention of joining Riedel as I was very happy at Vitec Videcom as VP Product Management for camera supports, prompter systems and studio robotics. But a former colleague of mine, who had joined Riedel convinced me to have a conversation with Thomas Riedel. I was surprised how direct and open Thomas was and his strong desire to push innovation to help customers in the broadcast space really resonated with my passion for creating new generations of products. We discussed many things including an exciting wireless project Riedel wanted to develop and Thomas made a firm commitment to invest the ‘right amount of money’ if we could develop a world class product. That product became Bolero…the rest, as they say is history!

What makes Riedel different to other companies? Riedel is a 30-year-old company that works like a three-year-old start-up, but with the experience and resources to make magic happen. Too many companies frustrate their internal talent by under resourcing developments or taking a short-term view for the sake of near-term profits. Don’t get me wrong, Riedel has a very high bar before it invests and you need to do your

homework, but it has the bravery and drive to push a vision even if the payback is longer than many companies would be comfortable with. This allows us in product management and engineering to create some genuinely new, ground up architectures, that we know will benefit our customers and us in the long term.

Riedel recently celebrated its 30th anniversary - what changes have you seen in the industry over that time? I’ve been in the industry for 11 years and although there have been several interesting inflexion points like the HD transition and the less successful 3D migration, none match the current churn created by the desire to transition to an all IP architecture. When I joined the industry, IP was limited to remote connectivity at the VoIP level with audio and non-live IP transport for highly compressed video and a plethora of different audio and video standards. Networks were ‘best effort’ only with quality and reliability at levels much lower than required. You would often hear people say ‘when the IP networks are more reliable in five years time’. Now we have much higher network reliability and a convergence of standards but the new challenge is ‘synchronised IP’ and all the drama and excitement that goes with turning what was previously an adhoc IP network into a synchronised deterministic IP network capable of the reliable live production that the industry has been used to. A new generation of network learning is underway building new competencies that promise a future with increasing levels of production flexibility. There are many problems still to solve but therein lies the fun!

What installations / projects have Riedel been involved with recently? Where do I start? There are quite a few. One or two that jump out are the new BBC TV

Centre studios in London where we built the largest fully integrated point-to-point wireless system I know of, anywhere in the world and Sky Germany, which built a decentralised video router network based on MedioNet technology. We also had some very successful Bolero wireless trials in venues that were previously considered extremely challenging such as the Stade du France, Grand Palais France and the Monaco Grand Prix.

What are the future plans for Riedel? We are investing heavily in people, products and technology. I can’t tell you specifics but I’m personally passionate about industrial design excellence, workflow simplification and how we take the pain out of managing increasingly complex networks. All of these topics have a roadmap element of some description within Riedel.

Tell us something we don’t know about Riedel? Every year at our NAB team dinner we sing happy birthday to a few ‘lucky’ Riedel team members. Last year we sang in 14 different languages… our challenge is to increase that number to over 30 which better reflects the global diversity within our company.

What three things would you take with you on a desert island? A big Bowie knife, a book about food foraging, edible plants and a carousel of vegetable seeds.

What is your most prized possession? That would be my photo collection. It’s my life memories of friends, family and adventures.

Where is your favourite place in the world? Patagonia, Argentina. It’s wild, remote and full of stunning natural beauty. I experienced the Perito Moreno and Spegazzini glaciers and am keen to return for more adventures.

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BOLERO WIRELESS INTERCOM • • • • • • • • • • •

Up to 10 beltpacks per antenna 100 antenna, 100 beltpack system capacity Best-in-class voice clarity “Touch&Go” beltpack registration 6-channel beltpack plus dedicated REPLY button Built-in microphone and speaker for Walkie-Talkie mode Smartphone integration via Bluetooth Ergonomic, robust beltpack design Sunlight-readable display with Gorilla Glass™ Decentralized AES67 IP networked antennas Seamless integration into RIEDEL‘S ARTIST intercom matrix

mondo*dr 28.2  

The January/February 2018 issue of mondo*dr is now available to read online here.

mondo*dr 28.2  

The January/February 2018 issue of mondo*dr is now available to read online here.