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MAY / JUNE 2018 | 28.4



The Clear-Com President talks us through the company’s 50-year history.


Lighting, video and anything in between - we’ve got it all covered.

MAY / JUNE 2018


A guide of the unsung heroes that our industry couldn’t do without.




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MONDO*DR 28.4 MAY / JUNE 2018

ON THE COVER Berlin State Opera Photo © Gordon Welters 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

My leader is always the last thing I write for the issue. Today, it’s coming live from a bus journey in Seoul. I’ve just flown in for the KOBA Show and, despite having not been for a couple of years - Jamie has been making the trip instead - everything is just as a remember it. Clean, efficient and welcoming. Yes, Jamie, you can go ahead and be jealous! This issue has been a bit of whirlwind for me, having not spent much time in the office recently. If you follow us on social media, you’ll know that I was in Asia last month, too, visiting Malaysia, Singapore, China and Hong Kong. Jamie is not long back from The GET Show and Prolight+Sound Guangzhou, Laura visited Music Inside Rimini for the first time, and Hannah travelled to Sound:check Xpo in Mexico City at the end of last month, too. So, actually, a fairly hectic schedule for us all… we don’t like to do things by halves. Inside our May / June issue, you’ll find an interview with Clear-Com President, Bob Boster. The company is celebrating its 50th anniversary this year, so it seemed like the perfect time to chat to the man in charge. Our Report is Video & Visual always a popular one - and we’re running a Product Guide on Trussing & Rigging, which is a first for us. You’ll also find our mammoth Prolight+Sound Frankfurt show report in this edition. Though the show split the crowd, for now, it still remains an essential date on our calendar, but if Messe Frankfurt want to keep all the exhibitors happy, there is work to be done. We, obviously, had our second mondo*dr Awards at this year’s Frankfurt show, and were extremely pleased with the successful event. You should have received the awards supplement with this issue, so whether you were able to attend or not, please have a flick through. We’re hoping to have some news for you on the awards front very soon… so, keep your eyes peeled. In other news, a hot topic in the industry of late has, of course, been the campaign to #savestagelighting. Without it, our industry could not continue to operate as it should. It was amazing to see so much support for the campaign and let’s hope the list of signatures is enough to get the decision overturned. We don’t want to live our life in the dark.

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IN DEPTH 22 INTERVIEW Bob Boster - Clear-Com 36 REPORT Video & Visuals



VIDEO & VISUALS We take a closer look at some eye-catching venues.


66 STAGE One of the newest venues to open in the party capital of the MIddle East.




110 PROLIGHT+SOUND Frankfurt

SOPHIE’S STEAKHOUSE Two distinct venues housed in one building.

130 SOUND:CHECK XPO Mexico City 132 SLV Malaysia 136 MIR Rimini 140 GROUP EXPANSION Audiotonix & SSL 142 COMPANY VISIT Harman

110 PROLIGHT+SOUND One of the main events in the industry calendar comes around once again.




Little Caesars Arena - Sporting Venue winner


Corner Club - Nightclub winner

Celebrations @ mondo*dr Awards



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Advertising Index 5 Star 76 Absen 145 Adam Hall 31 & 143 Adamson 135 ADJ 33 Amadeus 93 Antari 119 Astera 43 Atlona 77 Audiocenter 61 Avolites 147 Bose 83 BroadWeigh 169 Celestion 7 Chauvet 91 Christie 123 Chromateq 169 Clear-Com 141 CLF Lighting 56 CODA Audio BC d&b audiotechnik 45 D.A.S. Audio 139

Daslight 10 Dicolor 4 DiGiCo 133 Digital Projection 57 disguise 41 Doughty 161 DTS 97 Duratruss 167 Elation 73 FBT 179 FENIX Stage 18 & 19 5 Fine Art Fohhn 171 Funktion-One 117 Global Truss 49 Gloshine 69 17 Green Hippo Harmonic Design 163 Infocomm 175 Kling & Freitag 157 KOBA 62 Kraftwerk 27

KV2 159 L-Acoustics 2 Lamp 77 Lawo 55 Lectrosonics 149 LiGHTLiNK 145 Look Solutions 59 LTM 161 Lynx Pro Audio 151 MADRIX 169 MBN 27 MILOS 151 Mountain Productions 163 Movecat 165 Music & Lights Srl 35 & 161 NEXO 71 Panasonic Business 11 Peavey 121 Pioneer DJ Europe 89 PL+S ME 20 PowerLightsAugsburg 29 PR-Lighting 47

Pro Tapes 147 Prolyte 79 Protouch 51 Renkus-Heinz 149 25 RGB Link Robe 137 51 Second Warehouse Showtacle 37 Starway 173 Steinigke 39 & 177 Studio Due 157 Sunlite 6 Tech Team 87 Technical Lighting Solutions 29 8 TW AUDiO Unusual 95 Vitec 99 VMB 159 Wireless Solution 3 71 Work Pro WORSHIP 104

Our Winners Christoph Wegner ASC Berlin - Winner of Concert Hall “The result of this success is hard work, dialogue with those involved and joint commitment to the solution we wanted to achieve. Winners are all those who have surpassed themselves and their limits. My thanks go to our client, the Barenboim Said Academy, to the specialist planner Florian Schaller, to the manufacturers GDS and ETC and, last but not least, especially to those who have implemented this project by hand, the ASC team.”

Jean Marcouiller Dragone - Winner of Theatre “The mondo*dr Awards are the gold standard for professionals in the entertainment business and we are delighted with this success. La Perle was designed by the scenographer, Jean Rabasse, under the artistic direction of Franco Dragone and developed by the team of the Architecture and Design Department of Dragone. This long-term project was led through my leadership and the direction of Marc Provencher. This magnificent result is a collaboration of all our talented team members and especially the work of Stephane Beaulac of Square One Studio. We must give our thanks and appreciation to the indisputable support of our partner Al Habtoor Group, Yusef Shalabi and all the suppliers who made this concept a reality.”  

Oz Jefferies Audio Feed - Winner of Bar & Restaurant “It is a fantastic honour for Audio Feed to win a mondo*dr Award with Funktion-One. We are all incredibly grateful for mondo*dr’s recognition and support. After attending the 2017 awards show, it was clear that this is the new industry standard for excellence, so to be winning 12 months later isincredible. It makes all the late nights and hard work worthwhile. These projects are only made possible when all the professionals in the chain work together, so this mondo*dr award truly belongs to every single person that worked on St Giles House from start to finish.”

Christian Hertel MADRIX - Winner of Nightclub “The mondo*dr Awards is so vital because it showcases the amazing projects that are created every single day and shines the light on the people behind the scenes. We couldn’t be happier that the outstanding work of the MADRIX family of project companies and partners is being recognised and that we won this important category again. We are extremely proud to be at the forefront of this industry together with them.”

Jonas Schira Gerriets - Winner of Integrated Resort “Top-class award ceremony! We are very happy to be awarded with the mondo*dr Awards prize! It is a huge honour for us because the nominees and the submitted projects were top class in the industry. Thank you to mondo*dr for putting together such a wonderful event and bringing together the technology in entertainment industry.”

Josh Holowicki E2i Design - Winner of House of Worship “We are very excited and humbled to have been chosen for this prestigious award. It is a wonderful recognition of all the hard work that was invested by many to create an exciting worship experience at Faith Promise. Our team was able to utilise the latest technology to make the week-to-week activities of the Faith Promise technical team go faster, smoother and easier, while providing more features than they ever anticipated. Thank you to everyone who helped make this award possible.“

Eric Loader Elation - Winner of Sporting Venue “We were thrilled when Little Caesers Arena won as its colour-changing ceiling is truly one-of-a-kind and represents a new era of arena lighting. CrossFade Design and Illuminating Concepts deserve credit for their vision and hard work in making it happen and we were pleased to have partnered with them on this project.”


AVOLITES: THE LIGHTING AND VIDEO EVOLUTION Stephen Baird-Smith, Avolites’ Sales Manager, discusses the company’s ‘ear to the ground’ philosophy and how that has secured its pole position in developing the future merging of lighting and video design and control. Eight years ago, Avolites was the only lighting control console manufacturer to recognise, pioneer and champion the synergy between entertainment lighting and video design through product development. Well respected and loved for its intuitive interface consoles, networking capability and touring dimmers, in 2011 Avolites added the sophisticated Ai media server to its portfolio of products. The mission: to create a seamless interface and common language for video designers, lighting designers and programmers alike. This year sees a further evolution and at Prolight+Sound 2018 Avolites launched its new light and video integration feature set, Synergy. The complexion of creative content of shows, be it lighting, sound, set design or video, is evolving. Video content increasingly drives a production’s visual aspect, while the development of sophisticated new light fixtures, projectors, cameras, means that control system developers have to work hard to keep pace. There is a complex relationship between lighting design and video design. Bands

• Above Stephen BairdSmith, Sales Manager at Avolites.

and audiences relate well to video; they’re used to engaging with this kind of content. However, even the most sophisticated video content can induce passive watching if it is not supported by dynamic key or mood lighting. The most successful show designs are multi-layered combinations of set, lighting and video and when the lighting and video content work together they can pull the video out from its two-dimensional space into three, making for a richer, more engaging, sometimes highly interactive experience for artists and audiences. The challenge lies in the translation of a show’s original video content from the rectangular confines of a computer monitor to the real-life application on stage. Increasingly, content has to be created to work across both LED videomapping and projection-mapping outputs, as well as various shapes and sizes of screens. With the advent of intelligent LED lighting fixtures, it also has the potential to be mapped across a production’s lighting elements as well - as you can imagine, it can get complex! That’s why visualisation

is a big part of the Avolites product design workflow. It allows creators to move away from the four corners of the screen into a much bigger, three-dimensional space. In fact, Avolites’ latest development, Synergy, evolved from studying the workflow of designers as a whole - not just the lighting designer and the video designer, but the content creator and set design process. Avolites’ ultimate holy grail is to bring all these disciplines together in one unified workspace. We see a situation where there’s a control surface, which is as adept with video and cameras as it is with lights, and where the workflow is the same whatever you’re controlling. Ultimately, that should empower people to do more. You may still need a media server or lighting specialist on the gig, but have control from one unified surface or the same consoles on the same network. Although that may sound simple, I can assure you it’s not! Even for a company like Avolites, which has both media server and lighting console R&D teams in the same building, it has been challenging to


bring those two technologies together. Yes, there’s a lot of commonality, but at best the two speak different dialects of the same language. At the same time, in terms of control, there’s much that video can learn from lighting and vice versa. With the first version of Synergy we have endeavoured to make it straightforward to connect lighting and video systems using a dedicated Avolites protocol. We have further simplified the system so that now video can easily be routed through any lighting fixture, without the need for an external Art-Net merge. This two-way comms system is critical. Designers need to be able to see what their media server is doing on their control surface, otherwise workflow is significantly slowed down. For example a key features of the Synergy platform is the ability to connect and configure the Ai media server from the Titan interface. Synergy’s Lightmap feature means that users can stream Ai video colour data through any fixture group, including both RGB and CMY fixtures, to instantly integrate them into a larger video canvas

- meaning that everything from high-res LED screens to LED fixture groups can be controlled from one intuitive User Interface (UI). With these developments our goal is to create a platform which is creative enough to speak to the artists who are creating content, or lighting the shows or scenery, yet is technically adept enough to be able to deliver all of the detail and precision that is required on shows. As we continue to integrate the two systems it’s important to recognise the lighting console and the media server still have their own superpowers. Lighting consoles are masters of control, whichever brand you’re talking about. Lighting control has evolved over a long period, while media servers are still relatively young. Using each as an engine for what it’s good at is where the future lies. We haven’t had too many people using Synergy yet because it’s barely launched. However, when Gary Numan’s lighting designer, Luke Edwards, used it to program our exhibition stand at Prolight+Sound in Frankfurt he said he

• Above The impressive Avolites stand at Prolight+Sound in Frankfurt.

was blown away, delighting in the fact that the visual barriers had been removed. I think that’s the key. He was programming lights and a media server concurrently, and he was using the server to run the lights. It was completely interchangeable, he didn’t have to think in a different way when it came to having a media server controlling the lights. Change can be a difficult pill to swallow, but we all know it’s the most adaptable who succeed. We’re not forcing anyone to merge video and lighting, our media servers still work great on their own, or with any other console, and our lighting consoles still work well on their own. Nevertheless, we’re addressing what we see as an obvious creative and technical challenge to the industry, and we are set on pioneering the solution.

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


The Poetry Cafe After finishing a refurbishment of the venue, The Poetry Cafe found that it was without any sound and was left without audiovisual equipment. The projector and loudspeakers it had been using were ‘clumsy, difficult, unreliable and very unattractive’ for its corporate users. After deciding a new audiovisual system was essential, it did some research online and narrowed it down to a few companies. Having received quotes from all three companies, The Poetry Club choose to work with Flipside. After careful consideration Flipside Soundsystem selected a Yamaha Commercial Audio system comprising the VXS range of loudspeakers and MA Series amplifiers. The VXS5’s in the larger events space downstairs sound great and are compact enough to be unobtrusive, while the tiny VXS3Fs with their smooth lines look perfect on the white washed brick walls of the upstairs café. Yamaha Commercial Audio’s MA amplifiers provide all the inputs needed to deliver a preset system configuration that means all events could be hosted without the need for any mixers or additional equipment to be brought in.

FLIPSIDE SOUNDSYSTEM Flipside Soundsystem offer PA and audiovisual installation, as well as support throughout the UK. After years cutting its teeth manufacturing some widely-revered dance music systems and delivering high-profile nightclub installations, it has now moved into the commercial install world, too. Flipside Soundsystem has a small and dedicated team, all united by uncompromisingly high standards and a real desire to, in whatever small way, have a positive impact on the lives of their customers.

Vinyl Bar Vibrant and contemporary, the Vinyl Bar sits in the heart of London - one in Soho, one in the West End - the ideal venue for an after-work drink, somewhere to watch live sport or a place to enjoy live music. As the operators undertook a major refurbishments in the venues, the Operations Director, Les Richards, wanted to take the opportunity to upgrade the facilities. The desire was to offer the customers a first class experience. Flipside worked closely with Les and the team to upgrade and develop the sites, including insuring the venues are sound-proofed enough to comply with council regulations. The first task was to upgrade the ground floor at the St Paul’s venue by adding Apart Audio products and upgrading the existing Turbosound in-ceiling system. “I found the Flipside team to be very professional, they delivered the project on time and within budget. The installation was exactly what we wanted. The equipment has performed perfectly and most importantly, my very fussy customers have been happy,” said Les.

Domali Bar & Kitchen Located in Crystal Palace, London, The Domali Bar & Kitchen has been growing quickly and was in need of an audio system for background music and live music. Flipside was enlisted to help and decided on a Tannoy system. The whole room was covered by four Tannoy VX5.2 loudspeakers and a pair of VSX10BP subwoofers. To make things easy for day-to-day use, Flipside added a basic, single-zone pre amplifier, wall panel controls and local inputs for DJs, mixers and daytime sources, such as iPads and phones. Flipside’s involvement resulted in a seamless, discreet sound system that delivered the quality and versatility the client was looking for. “We were introduced to the project manager and maintained constant contact throughout the refurbishment,” explained James Cooper of Flipside. “We were able to get access during the first fix of the electrics which meant that we were able to lay all the cables in wall cavities and under the floorboards - you can’t see a single piece of conduit anywhere in the space. We were very pleased with the install and the end product is still a point of pride for us.”

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As the communication solutions specialist reaches its 50th anniversary mark, Jerry Gilbert talked to the man at the top - Clear-Com President, Bob Boster.


While some of the founding fathers who first breathed life into the nascent sound industry back in the seminal sixties have survived to celebrate their companies’ 50th anniversaries, Clear-Com have a rare distinction. Not only did it set out its stall in the post-Summer of Love crucible of San Francisco’s Bay Area, but it also has another unique claim. When co-founders Bob Cohen and Charlie Butten met and dedicated themselves to creating the first production intercom - the RS-100 analogue beltpack system, which became an instant success for legends such as Jefferson Airplane, Janis Joplin, and the Grateful Dead - it not only generated the ‘Clear-Com’ name, but 50 years on the platforms are still back-compatible with those original ‘Partyline’ intercom systems. And that’s pretty astounding. Bob was also co-owner of the hugely influential Family Dog Productions, pioneers of the iconic flower power poster art (think Chet Helms, Stanley Mouse etc). He had been mixing sound at the Avalon Ballroom, which was at the vortex of counter-culture, and as legend has it he turned to Charlie, who was fixing amps for Lindsey Buckingham, and uttered the immortal words: “We need a better way to communicate.” In

the annals of our industry, the statement is probably only matched, in terms of its significance, by Jack Maxson’s fairly throwaway ‘two more motors and it moves’, remark which directly led to the invention of Vari-Lite, and birth of automated lighting. Until then, Bob and his production staff had been using telephone type ‘Ma Bell’ headsets for communications-and a primitive cans-and-string arrangement to link FOH and monitors. But they couldn’t stand up to the challenging conditions and were useless in high noise settings. Their antidote offered a unique contour frequency response and wide dynamic range to ensure ultra-low distortion, and would soon be followed by the KB100 (King Biscuit) speaker system. It was this that became known as the ‘Clear-Com’ sound and with the incorporation of the eponymous company on April 18, 1968, the operation moved into its first office in San Francisco. While Charlie Butten, who devised the method of putting audio across regular microphone cable, is still is an active member of Clear-Com’s development team, he might more aptly have been named Benjamin Button - for a life almost lived backwards in the way the

• Above Bob was appointed Clear-Com President in 2012.

company can effortlessly flip back 50 years through so many technology gateways to keep the product line valid. Thus when Bob Boster joined the company as Regional Sales Manager in June 2006, on a path that in less than six years would lead him to the top position in the company, he didn’t so much have a heritage to protect and legacy to build on but a name that had become all but generic in the world of intercom. When he arrived at the company’s Alameda HQ he was already familiar with the brand. “I had started in community theatre at the age of seven and later used ClearCom when mixing sound for bands, as well as radio and video production. It’s something I had known about for a long time.” It cannot be overstated just how primitive communication between FOH and monitors had been prior to the RS-100. “There were some telephony based headsets and homemade telephone-based systems but the volume levels were too loud for that technology,” he confirmed. “There was no rejection or directionality, it was all omni.” With more complex workflows like those in Broadcast requiring even more flexible platforms and tighter integration


with digital systems that were in use, by the early 1980s, Clear-Com introduced its first digital intercom system, Matrix Plus. This addressed the needs of more demanding television operations and the first three generations of digital matrix technology were a market favourite. It was this that had first attracted them to the London-based holding company, Vitec Group, who acquired Clear-Com in 1997. By the time Bob Boster arrived, ClearCom had merged with another of Vitec’s brands, the broadcast intercom leader, Drake Electronics. Bob reflected: “Vitec thought the broadcast market was going to move into a direction more aligned with live performance and were looking to combine our live expertise in a strategic move and merge the companies under the Clear-Com brand. “Although it was not a good fit, the synergy between the Drake technology was positive and is still paying dividends. The Eclipse Digital Matrix came out of that, which is now Eclipse HX, and that has DNA from both R&D streams. That’s why we still have an office in Cambridge UK [where Drake were based].” So where had Bob Boster’s professional journey taken him prior to joining Clear-Com? He had previously held the

position of Vice President of Sales for the western US region at radio specialists, ENCO Systems. He also served as product manager, general manager and managing director. Before that he was part of the software development programme at Orban, focussing on user interface development and strengthening client relationships. And with a Master’s degree in electronic music and recording technology and Bachelor’s degree in radio television and motion pictures/dramatic arts his industry pedigree was pretty much nonpareil. Explaining his reasons for departing ENCO, and his quest for a new challenge, Bob observed: “Radio was going through a contraction at the time. I was looking for something outside the radio industry and remembered that Clear-Com were in the Bay Area; and although I was over-qualified for the position, I agreed to come in at a lower level. The manufacturing side was not in good shape, and sales were keeping things alive. I initially started handling the Western 13 states of the US.” The new sales executive showed he was a quick learner, and drawing on the sales experience gained at ENCO, soon took on managing sales team for the US and then Asia. The big step change

came in 2010 with his promotion to VP of Worldwide Sales, which coincided with the change of ownership, and acquisition of the company by HME. Speaking of this, he stated that Vitec were “going through some changes at the time”. Explaining further, he went o:, “Clear-Com’s business was messier than Vitec were used to so it was clear that we needed to find a new home. Although HME had been a competitor there were some complementary strengths that were apparent as well as some common background in the live performance market - and the sale turned into a case of 2 + 2 = 5,” said Bob. The fit soon became obvious. “We had a strong brand and strong technology platform but not a strong portfolio in wireless. Besides that, HME was a world class manufacturing organisation, whereas we weren’t. So we merged HME Pro Audio with Clear-Com and immediately started cooking with gas.” And at the start of 2012 Bob was formally appointed company President, as the then president Matt Danilowicz stood down. The acquisition set up a compelling relationship with Clear-Com CEO Mitzi Dominguez, who had responsibility for the HME Pro Audio division. The two figureheads are frequently seen

•Left Bob with NAMM President and CEO, Joe Lamond. Clear-Com was honoured with the Milestone Award for 50 Years of Service. • Top right Bob at ISE Amsterdam. • Bottom right Bob and Mitzi Dominguez, CEO of ClearCom.


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• Above Bob during the 50th anniversary celebrations.

together at tradeshows. “It’s a classic CEO/president split,” appraised Bob. “I report to her and we have different areas of expertise. I tend to be more market focussed, having come from sales, whereas she is from the finance and operational side. It’s a reporting relationship but also a strong partnership.” The two were together at Frankfurt Prolight+Sound in 2014, when Optocore, DiGiCo and Clear-Com demonstrated the power of their networking collaboration with two press conferences that combined the ‘actual’ with the ‘virtual’ by implementation of audio/ video streaming. DiGiCo MD James Gordon kicked off proceedings on his own booth, with Marketing Director David Webster speaking remotely from the Optocore booth. Later in the morning, Clear-Com’s Simon Browne anchored the press call on the Clear-Com stand, with MD Bob Boster beaming in from Optocore’s booth - while Optocore’s Marc Brunke, another Clear-Com partner, rounded it off. It became the talk of the show, and an event that all members of the press will remember fondly. As he reflects on 50 years, Bob recalled other milestones since that first Partyline

single-channel beltpack system. He also talked about how partners around the world would be joining the party this year. “We have tried to build something into our microsite to allow people to participate ( who can’t get to tradeshows and see us. It’s a chance for them to watch videos and see what we are doing-a decentralised way of creating Clear-Com community participation. “We are also hosting some receptions and displaying some of our visual history at tradeshows. We did this at NAB, ISE and Prolight+Sound - and raised a toast.” The company also used NAB to bridge that 50-year gap, technologically, via its award-winning LQ connectivity family. “We showed our pioneering Partyline product, the RS 100-A beltpacks plugged into our LQ (IP interface). That LQ box was placed on a standard IP network which allowed people to connect to it over a mobile app. At one end it powered a 50-year product and you could talk over a mobile app from LQ - with everything running on an iPad. It was a good visual metaphor for the way the future and past can now interconnect.” It is typical of the company’s current surge in output. “We build everything

in our own factory so having control of our own development fate, without any contract manufacturing… and that has been a great pay off,” he said. “HME’s focus has been exceptionally positive. Thanks to our manufacturing output, we have been able to release an average of 11.5 products a year in intercom alone. It’s a different world now.” Much of this is due to the fact that although Clear-Com is HQ’d in Northern California, it is presently manufacturing not only in Southern California, but also incorporate development in Montreal (via its acquisition of TalkDynamics), as well as Cambridge and Andover in the UK, since taking over Trilogy Communications in 2016. Marketing wise, today, Clear-Com has a presence in over 100 countries with business units in Beijing, Singapore and Dubai, Equally it is benefitting enormously from fertile collaboration with their OEM partners, as Bob explained: “Our current wireless IFB solutions are made by Lectrosonics and that has been excellent, and not wildly different in culture from our relationship with Optocore and BroaMan. We are a distributor for BroaMan and partner with Optocore in development of our ProGrid audio distribution products, which are


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• Above Bob with HME CEO Chuck Miyahira, Clear-Com CEO Mitzi Dominguez, and Clear-Com ‘Founder’ Bob Cohen.

Clear-Com branded. That relationship has been very beneficial and we are very well aligned with them. “We also partner with headset manufacturers and what they can bring is way more than if we manufactured them ourselves. “ Optocore and BroaMan MD, Tine Helmle, is just one who has been wooed by Bob’s charisma. “We have been working with Clear-Com since 2011 and they are extremely professional, with real expertise in what they are doing and great staff all over the world,” she said. “Bob has a great motivation and passion for our industry, which you can feel when you work with him, along with great qualities in management and sales. He is a very nice person to work with and really makes things happen. At the same time he seems like the kind of guy who will happily roll with the punches. Indeed, Bob has certainly shown to have a firm hand on the tiller, and that manifests itself in many different ways. High staff retention following the different takeovers

is directly attributable to his man management and motivational ability. “Consequently, we have a strong executive team,” he acknowledged. “Many have been here for 10-20 years, and that continuity is critical. My priority was to ensure we seized the best of all the people and their capacity, and make sure we didn’t lose many. I’m very honoured that so many have stayed.” One of the first tasks on assuming his new role had been to initiate a brand refresh to ensure the values endemic to HME and Clear-Com were still being correctly represented. At the same time he wanted to ensure they were taking full advantage of HME’s expertise in manufacturing. And at the hub of those manufacturing activities has been HelixNet. One of the threads, instituted just before the takeover by HME in 2010, the HelixNet Digital Network Partyline, a world first, has since gone on to define the company. “HelixNet was brought to fruition after the HME acquisition, enabling Hit to power the events of the London Olympics.

It’s a user interface that people are familiar with… a beltpack with a simple mic cable,” Bob continued. “And since it’s digital it has a lot of flexibility and can be run over a network, with the possibility of adding more channels. It has become a flagship for what we offer to the higher end of the performance market with the elegance of being able to add a node here and there on a network but without the complexity of a broadcast solution.” As alluded to earlier, the new V4.0 enables 24 ports of audio I/O to be added for each HelixNet Station by connecting to LQ Series, and for Agent-IC mobile clients to be connected with existing HelixNet users via connected LQ Series devices. It also enables SIP/VoIP calling from HelixNet via LQ Series. “We can address anything anyone would need to run, for example, a Microsoft corporate meeting or anything with a decentralised system for operational coordination, such as a theme park ride.” From a business standpoint this greatly improves workflows. But being a leader






21000 lm


in RF wireless technology brings its own headaches - such as addressing the multiplicity of standards and regulations that exist from territory to territory. “We have expertise in understanding that. We use agencies that do testing in different territories. There is also a subset of our engineering team focused both on that, and to leverage synergies with other HME companies.” Clear-Com’s front man is probably the least likely candidate to talk about his achievements - but he has certainly acted on wise advice. “One important aspect is that when I arrived we were not really successful. But I learnt from Ed Fitzgerald, [currently Director of Customer Satisfaction] and Peter and Judy Giddings, [currently responsible for sales in some key countries like Brazil, Australia, and Japan), who told me that the critical thing was to open a communication conduit with the customer through support, and that once you had earned their trust you could move forward. That focus on the customer came early on.” Following on from that, his other credo is that everyone in the company has responsibility for customer satisfaction. “That’s one critical contribution I have made,” he believed. “I would give myself credit for looking at the business as a whole more effectively than before.

Previously the business was looked at in compartments or different silos within the company, with field support separate from manufacture and sales and so on. I have used the vision of the customer to enable us to operate more cohesively.” Although he still reckons to be travelling around 120,000 miles a year, with the company ticking like a well-oiled machine, Bob now hopes to be able to spend more time with his family in the Bay area. Married with a 13-year-old daughter and two grown up stepchildren, he said: “I am intensely involved with my family. My travel has cut down a bit since last year but I attend all the major tradeshows and make it a point to get to all our offices at least once or twice a year.” “We’ve just moved our manufacturing from Poway to Carlsbad in the San Diego North County, doubling the square footage. Our new neighbourhood is not wildly dissimilar to Cambridge [in terms of its IT technology profile].” The new facility combines R&D, corporate offices and manufacturing, along with HME’s Hospitality & Specialty Communications division. “It’s been very positive for us, but what makes me proud is that we moved premises and were shipping from our new location with just one day of down time.” And so as Clear-Com’s business

• Above left Bob with Director of Customer Satisfaction Ed Fitzgerald and ClearCom ‘Inventor’ Charlie Butten. • Above right Clear-Com is celebrating its anniversary at numerous tradeshows throughout 2018.

continues to grow exponentially, what does the future hold? “We will continue to rationalise the idea of understanding customer workflows. And marine and offshore oil exploitation is another area we are interested in.” Meanwhile its continued growth into other vertical markets, such as shipping, military, government and aerospace, continues apace, from basic communication tools to enabling collaborative workgroups to intercommunicate. “We also have to do a lot to keep up with the aggressive pace of innovation that the broadcast market requires. We have to address that in a way that’s honest to ourselves and our corporate business; that’s the real challenge. “We are committed to a standards-based development future, something we have seen explode in recent years in both the live performance and broadcast markets. That said there are some differences in how that move to IP has played out currently in broadcast it has a note of zealotry which we don’t necessarily see in other markets.” All of which suggests that being the founders of IP in intercom has given Clear-Com a lot to live up to. “Although IP has become a watchword for everyone in the business it’s old hat for us now,” is the statement he signs off with. And it’s the statement of true pioneers.



Ocean Park, Hong Kong’s most impressive theme park, merges education with entertainment. With 44 rides and a staggering 7.7 million visitors on average annually who come from all over the world to see its attractions, the park first deployed AV Stumpfl’s systems in 2016 for its Cyber Illusion Show, when it rented the Wings Stage Engine and RAW Engine from Cosmo Pro AV. Such was its success that Ocean Park decided to invest beyond renting and instructed Cosmo Pro AV to design a comprehensive, permanent video system using AV Stumpfl technology for its Applause Pavilion. Versatile, powerful and robust - and uncompromising on performance - the Wings Engine Stage is a technologically advanced media server featuring a solid hardware platform, automatic camera

based soft edge and warping calibration, as well as DVI/3G-SDI Live inputs. Harry Gladow, Global Business Development Manager at AV Stumpfl, remarked: “Whether as part of live events, corporate presentations or themed installations, the wide ranging feature set combines hardware reliability with software flexibility - perfect for the kind of environment and scenarios taking place at Ocean Park where these considerations are paramount.” Alongside AV Stumpfl’s Wings Engine Stage, Cosmo Pro AV specified and custom built a 16-metre by seven-metre down roller OptiZ system hosting a Polynet hologram screen from Korean company Holotive to create visual projection effects. Completing the full AV suite was a Blackmagic ATEM 2 M/E Production Studio 4K and Broadcast Panel,

as well as a Novastar MCTRL660 LED controller. In this set up, AV Stumpfl’s media server brings all the components together seamlessly - allowing for better control and execution, as well as opening up greater possibilities for Ocean Park’s creatives to explore with future productions. The new audiovisual set up with the Wings Engine Stage was put to the test during Ocean Park’s Chinese New Year celebration when it staged a 10-day live show spectacular called ‘Divine Drums’. Taiwan’s Chio-Tian Folk Drums and Arts Troupe presented six shows every day, immersing visitors in eye-opening Taiwanese Folk Temple rituals through an innovative stage production. With powerful performances by highly skilled drummers and dancers, their colourful facial paints and costumes, coupled with an impressive LED backdrop, special visual effects and strong, unique drum rhythms, blew the audience away. AV Stumpfl’s new RX software coupled with Wings Engine Stage allowed to produce seamless multi-timeline changeovers, giving Cosmo Pro AV more flexibility to easily synchronise the system with the rest of the show gear, including lighting, audio and special effects.




Versuz, located in Hasselt, is definitely the most wellknown club in the area and and according to DJ MAG part of the best 50 clubs worldwide.After a complete rebuild in 2013, the leading Belgian venue strengthens its position as innovative and spectacular nightclub. Fairlight, distributor, for both brands in the Benelux, was responsible for installing the new equipment in the main room. Together with Bert Gemels and his technical team Fairlight managed to dismantle the old construction and install the complete new setup within four days. Together with one programming day , the club was up and running for another weekend full of events. Yves Smolders, General Manager of Versuz looks back on a successful process: “From the very first contact I enjoyed working together with the Fairlight team. They all have a down to earth mentality and think along with our budget and needs. I am convinced that this is just the start of a long-term cooperation.”

The design is based on round shapes, in order to fulfil the brief of playful and three dimensional. The former oval shaped LED elements were re-used but replaced to create a more spacious feeling. Bas Scheij, LD for Dimitri Vegas & Like Mike was hired by Fairlight to create a unique design which has a high profile and classy look. The design is based on oval shapes, in order to get a playful and three-dimensional look. The former oval shaped LED elements were re-used but replaced to create a more spacious feeling. Around the DJ Booth, Eurotruss HD44 circle parts were used to create an intimate feeling. The operators - Nils Berens and Alex van der Krabben - of the impressive lighting rig are also thrilled about the new setup. “For us the Martin Rush MH 10 Beam FX is the most striking. They really stand out because of the high output and the LED circle offers extra possibilities when operating,” Nils commented. ‘’I am really surprised by the Martin Rush MH 6

Wash. Their output and saturated colours make them a serious addition to my shows. Besides that, I like the flexibility of the Sceptrons. We can control them by DMX or let them be controlled by our VJ, without doing any adjustments.” Eye catchers of the new design are 24 cones, surrounded by 192 Martin VDO Sceptron 10 linear LED fixtures and 24 Martin Rush MH 10 Beam FX fixtures underneath. A total of 19 Martin Rush MH 6 and 22 Martin Atomic 3000 LED with colours completing the Martin Professional package. CLF Lighting contributed with 20 of the new Beam-6 fixtures, all located in a circle right behind the DJ booth, providing an impressive lighting curtain. On top of that, eight CLF Stinger enhancing the feature set of the operators. /



Thousands of festival goers experienced the uniquely interactive audio-visual environment of the Samsung Hypercube as part of Samsung’s S8 phone UK launch. The Samsung Hypercube toured its mind-boggling 360 ° Infinity Selfie’ Experience to Boardmasters, Bestival and Reading festivals, with Avolites’ Ai media control at the heart of its complex technical infrastructure. Containing a reflective panelled interior separated by strips of colour changing LED and a 27-metre by one-metre continuous wrap-around LED video screen, the Hypercube immersed audiences into a 360° infinite display of light and colour. Samsung’s new Galaxy S8 smartphone acted as a control interface allowing visitors to influence the cube’s audio and infinite visual

effects created through its multiple reflective surfaces. “We were tasked with delivering the technology and functionality to make the concept of the project’s developers, Iris Worldwide, and its creative director, Ross Cairns, a reality,” said Ben Stern of GaiaNova Productions, the company that managed the technical production of the Hypercube. Working with a number of collaborators, GaiaNova developed the Hypercube’s integrated, automated playback system using Avolites Ai media server software. The company’s creative partner Immersive developed the consumer-facing applications including the interactivity control app, sign up app as well as the control system apps for hosts. Immersive also developed the

back-end system for the upload and distribution of media to the audience who took part. In addition, there was a 360° camera setup with a backend system for live stitching the images from multiple cameras, provided by Focal Point VR. Ben commented: “The whole system was controlled by hosts within the space. The control app sent triggers to audio playback which then sent MIDI over IP commands to Ai and to the 360° camera stitching/ record system to create the video and still media. Our team even automated the upload process with another MIDI cue from audio playback using a little macro program called TinyTask.” A 12-channel ambisonic sound system designed by Pedro Zaz and supplied by

C3 Productions. The project was built using Ai version 10 software, while onsite GaiaNova used Avolites Miami dongles to run Ai on high spec custom-built laptops that the company maintains as part of its hire stock. The show used two Ai outputs, one for the LED ‘Video Flex’ system provided by Light Initiative which divided the mirror sections and another for the LED screen panels provided by Video Illusions. Ben continued: “We were able to use the UV mapping/3D visualiser in Ai to demo the content to the client and help them

understand different looks, both prior to the project and onsite during the installation. It also helped us to size the playback media efficiently within a standard video clip size.” Asked about Avolites’ renowned technical support, Ben concluded: “We didn’t need any for this project. We regularly use Ai and support others with their projects. In fact, GaiaNova has been using Ai since its early development.”


_ Unique color mixture with RGBAW + lemon + UV _ 25 watts per LED _ Zoom from 3-34° (X7) and 4-31° (X19)


PHILIP S AR E N A AN D IN F IN ITE E N E R GY C E N T ER COMPANY: RENEWED VISION LOCATION: ATLANTA, USA Passion Conferences collegiate ministry held its annual gathering the first week of 2018, bringing together more than 32,000 students from 700 universities and 35 countries to three arenas. The conference, which has been active for over 20 years, consistently sets new standards for high-quality productions and this year was no exception. As in previous years, Renewed Vision’s software solutions played a major role, with ProPresenter6 and its new PVP3 media server - both now equipped for NDI support - responsible for driving graphics, lyrics and video content across large displays. The biggest challenge in each in-the-round venue - Philips Arena and Infinite Energy Center in Atlanta (the third venue, Washington DC’s Anthem, is a traditional theatre) - was the use of six large angled trapezoidal shaped screens on which live camera shots, worship lyrics, and pre-produced videos were shown. Trussing was hung over the stage with a central spine and three thrusts 120° apart from each other, with two of the uniquely shaped screens hanging back to back from each

of the thrusts. This resulted in two screens being visible from most viewing angles in the arena. To make the most of the effect, Passion’s requested the text on these screens be angled and aligned to the centre. This presented a challenge to Renewed Vision, as the text - typically right or left aligned using ProPresenter - had to be aligned flush to an angle as opposed to a perpendicular line. In addition to the custom work Renewed Vision completed on ProPresenter6, they also made use of the newly implemented NDI playback functionality to power the ProPresenter video streams, including alpha key, to the screen control system that was located approximately 300 metres from the workstations. The machine used for the screen control didn’t have the necessary number of inputs to handle a separate key/fill, and they were investigating buying more video cards to ingest the lyric feed. Instead, decided to use NDI and it worked flawlessly, saving both time and money for new expenditure. While ProPresenter powered the lyrics and

scriptures shown on the screens within the three venues and the graphics on the live web streams (viewed by over 80,000 people), PVP3 made its Passion debut doing video playback simultaneously with multiple aspect ratios and sizes from one location to the other venues. To keep a feeling of cohesiveness across the three gathering locations, it was imperative that elements run on time. An optical fibre backbone between the two Atlanta-area locations and the Washington DC location allowed for bi-direction communication of audio and video between the hosts in each location. All video packages, however, came from a PVP3 video server at Philips Arena. Because there was a large variety of produced video content provided for multiple screen sizes and aspect ratios, the flexibility of PVP3 was immediately evident. Some video cues came with separate files for the variety of aspect ratios, while others were only available in a single aspect ratio.



Bayside Community Church was founded in 2002 in Bradenton, Florida, and now has multiple campuses across the central Gulf coast of Florida. The East Bradenton building was built around five years ago, but unfortunately, as budgets were tight, the space for their children’s ministry - Bayside KIDS - wasn’t as highly-specified as originally planned. However, when the time came for the area to be refurbished, this was rectified with a new installation carried out by church member, and owner of Crown Design Group, Ben Graham. The centrepiece of the stage set is an arrangement of 61 ADJ 3D Vision panels, with the hexagonal fixtures arranged in a rectangular honeycomb design. Measuring 15.8-inch by 15.8-inch, the face of each 3D Vision panel is covered with a frosted white acrylic panel which diffuses the light from the 72 three-in-one RGB LEDs beneath. This creates an even spread of light within each of the three sections and gives the 3D Vision a wide 180º viewing angle. The stage set is an impressive truss design, created from square F34 Global Truss America truss. It incorporates a central goalpost, the mounting for the 3D Vision Panels, two screen surrounds and four truss circles. Incredibly, all of this fits together as one single truss structure, Ben worked closely with Global

Truss to ensure that it would fit onto the pre-existing stage, using a myriad of spacers to achieve an exact fit between each of the individual elements. The truss is lit with ADJ 5P HEX and Saber Spot Fixtures. The Saber Spots were chosen for the screen surrounds due to their tight beam angle, created by a built-in ACL (Advanced Collimator optic Lens) that produced a razor sharp shaft of light, so that light wouldn’t spill out and interfere with the projectors. ADJ Focus Spot Ones are also installed as part of the rig, on ceiling-mounted lighting bars - one above the stage and a second out above the kids’ heads. This fixture is a 35W LED moving head with a 3W UV LED included for an additional blacklight effect. These are used for eye candy, and to project gobos on the walls and floor as the kids are arriving. They can also be used as spotlights for the stage if required. More Saber Spots are positioned on top of the truss circles on stage, while ADJ Penta Pix fixtures are mounted on the lighting bar above. These units are used to create mid-air beam effects with the addition of a little bit of haze in the room. The Penta Pix is a five-head beam effect with pixel zone control and features five 15W four-in-one RGBW LEDs with ACL lenses. These particular fixtures were chosen due to their brightness and also the tightness of the beams they create.

create together. Visit disguise at InfoComm Vegas, booth N522 where we’ll be showing the latest r15 software release, and demonstrating how the disguise solution comfortably sits at the heart of any live experience.

For house lighting, Ben also turned to ADJ. He installed 22 COB Cannon Washes, mounted on a 12ft grid fixed to the ceiling. They sit about 18ft off the ground and provide ambient light to the room. The ADJ COB Cannon Wash is an LED par fixture that uses advanced RGBA C.O.B. (Chip On Board) technology to create extremely smooth colour mixing with no shadows. It has a powerful 150W LED light-source and a wide 80º beam angle, making it ideal for this purpose. They were chosen for this particular project as they wash the whole room with saturated colour which creates a more welcoming atmosphere than stark white light. The creative team from Bayside Community Church can also colour match the house lights with the screen graphics to help create a more immersive worship experience. Overall, the project is a huge hit, with the church especially appreciating the energy saving and low maintenance benefits that come with LED fixtures. Ben summed it up: “The church thinks it’s great, mostly because it fits their brief of being extremely visual and they didn’t have to spend a crazy amount of money to achieve this. And the kids absolutely love their new space.”



Liverpool, UK based installation and production specialist Adlib has supplied video and audio for a unique exhibition featuring China’s Terracotta Warriors being staged at the city’s World Museum. China’s First Emperor and the Terracotta Warriors exhibition is now open and running until 28 October 2018. The brief was to make it immersive, experiential and fun and to add to the educational and information aspects, with the additional aim of engaging a wide audience range including those who might not necessarily consider visiting exhibitions. The images are created with two Panasonic PT-RZ970 10,000 lumen laser projectors mapped across the wall, the technically challenging brief was to keep viewing space to a maximum, whilst achieving high brightness and resolution. A Dataton WATCHPAX 4 media server is serving up the content to the duo of mapped and blended projectors; and also controlling the Crown amplifiers plus the Osborne Technologies scent generator. The audio installation comprises three Adlib AA61 speakers and AA12HL subs, run as a 3.1 surround system to give a rich 3D tone. Adlib’s proprietary speakers are a compact and highly reliable installation

product. Two Panasonic PT-RZ970 projectors and two five metre by two metre screens running down the length of the space above head height, driven by a WATCHPAX 2 and incorporating the same iPower IP-4 power control system can be found throughout the exhibition. The audioscape is delivered via Adlib AA81 speakers built-in to the screen, and using quadraphonic audio the sounds of arrows whizzing overhead accompanied by drum beats and the sounds of battle, can all be directional and ramp up the atmosphere. The trio of projectors are portrait mounted using Rigtec adapters, modified to attach directly to an upright truss base. Panasonic’s impressive ET-DLE030 lenses were then fitted giving a 0.36:1 throw ratio. There is a HD screen fed by another Panasonic PTRZ970 projector fed from the same WATCHPAX 4 media server that is running the projections in the Qin presentation. Five Panasonic PT-RZ670 projectors are utilised, four to beam the projections onto the floor, sides and roof of the mausoleum for the dramatic, high-drama show and one taking care of the scrim. Smoke effects

appear on the front of the gauze, rivers of mercury are projected into the floor, climaxing with a booby trap, triggered by a bird flying through the space. All the show scheduling is tied into a Dataton WATCHNET server, which provides advanced show control of the WATCHPAX media servers and is the command centre for all the IP-controlled devices in the system. Some of the network infrastructure is built around a fibre backbone to accommodate the distances between areas. A hardware-based VPN router is installed for fully remote network access, control and diagnostics of the entire system. A secondary software-based VPN allows redundant access to the network via a dedicated monitoring server, which runs a Linux-based instance of Zabbix for advanced logging, monitoring and diagnostics of the network. The exhibition is organised by National Museums Liverpool, United Kingdom and the Shaanxi Provincial Cultural Relics Bureau and Shaanxi History Museum (Shaanxi Cultural Heritage Promotion Centre), People’s Republic of China.



To help celebrate 100 days until Seattle hosted the 2018 Special Olympics USA Games, Amazon Campus set out to illuminate The Spheres with a special lighting display, in the purple colour that represented the games. To create a lighting effect that could be seen throughout the city through 2,643 panes of glass, the lighting fixtures selected would need to create high intensity coloured light from within The Spheres. With 4,000 sq ft grounds composed of a wide variety of

plant life, the lighting fixtures for this special celebration and future events would require a high level of portability. The ideal fixtures would protect against water and humidity (with IP65 rating) and offer simple plug and play wireless control. With the support of the team at Barbizon Lighting Company, Amazon used QolorPoint Wireless LED Uplighters to create a stunning light display that brought awareness and celebration to this momentous occasion.

To set up the QolorPoint Wireless LED Uplighters quickly and easily, SHoW DMX SHoW Baby 6 with maximum bandwidth technology was used for its simple, plug and play DMX control. The combined uplighter and wireless DMX lighting solution by City Theatrical helped Amazon realise its vision and add to the visual impactof a citywide celebration.

Chris Ruane of N Stuff Music’s Pro PA installation division. “We also installed several Chauvet Vivid 4 modular video panels in the sanctuary. Each video panel and TV has a Visionary Solutions D4100 decoder, so you can call up any video source stream on any screen. Wherever there’s a TV, we also installed an Attero Tech unD6IO and a Symetrix ARC-3 panel, so you can call up any audio stream.” The church has three video sources, each of which is fed to a Visionary Solutions E4100 encoder. A video camera Vaddio AV Bridge MatrixMIX system in the sanctuary feeds one encoder, which sends the audio to the Symetrix Prism DSP. Cable boxes feed the other two E4100 encoders, giving users a choice of TV streams. “Our regional rep sells Visionary Solutions, Attero

Tech, and Symetrix products, and he suggested we integrate them at Impact Christian Church,” Chris recalled. “When we started planning the project, I had never worked with a Symetrix system, and I had never heard of Visionary Solutions or Attero Tech. Once I understood the technology, I mostly needed to learn to use Symetrix Composer software, where I did all of the programming, including the Visionary Solutions programming.” “The Visionary Solutions products work great; we haven’t had a problem,” Chris declared. “We are still tweaking a few things on the audio side, and the client will need to learn to use the system, but that’s to be expected. Overall, we’re very pleased.”


N Stuff Music of Pittsburgh designed and installed an audiovisual network throughout the converted building. The video portion relied on Visionary Solutions E4100 and D4100 4K, UHD-over-IP, cinema-quality video encoders and decoders. A Symetrix Prism 16x16 DSP managed the network and integrates the Visionary Solutions system, along with Attero Tech unD6IO wall plate audio interfaces. Symetrix ARC-3 wall panels provide control of audio volume, mute, and source selection. The network feeds ceiling-mounted speakers throughout the building. A front-of-house PA system in the sanctuary that serves the pastor and worship band ties directly into the Symetrix Prism. “We installed 12 televisions throughout the building, including three in the entrance, three in the cafeteria, one in each meeting room, and so on,” commented

d&b Soundscape – the truth and the beautiful are one. Excitement increases. Emotions deepen. Experience conveyed, carried and completely enveloped in sound. Corresponding with the nature of humanity, creative freedom succeeds with an acoustic reality. d&b Soundscape is a revolutionary audio system processor, an object positioning tool, a reverberation system, akin to a musical instrument – artists, designers, producers and engineers no longer need to choose between beautiful sound or true sound – truth and beauty now exist as one.



Tron Dance is a unique performance where the audience can enjoy the latest LED technology combined with a show by a professional dancers crew. A client of Showtacle’s requested the Tron Dance Show with lasers synchronisation and LED screen synchronisation, a project which needed over 32 dancers and was a time consuming task. However, the stadium - where the show was due

to take place - was neglected, unused for eight year, the lights on the pillars weren’t working and the venue had many holes in the round, raising concern for the electricity. Showtacle were not disheartened and the laser show was completed, and the programming of the LED Strip Studio was finished - the biggest issue with the LED opening ceremony video, was the lack of communication with the main organisers, however,

after liaising with main sponsor, Nokia, the issues were resolved. This unique UV and LED combined show is sure to create a mind blowing experience for any audience, the dancers can promote any brand, product launch or private party.



There are venues that use audiovisual to punch up their event presentations, and then there is Miami Beach’s The Temple House & United Projection event hall. Depending upon the corporate event or wedding, the bare-bones white interior can be transformed into a rose-bedecked forest, or an endless columned temple, or - well, whatever else their wrap-around audiovisual system can project on the tall walls and high ceiling. “About 18 months ago we had a client request a full 360°, all-wall and ceiling projection mapping component for his private birthday party,” said Daniel Davidson, owner of The Temple House & United Projection. “We had used a third-party contractor for the projection mapping

component and the guests of the event were absolutely 100% engaged in the fully immersive environment. The feedback that we received was nothing short of overwhelmingly positive, so as a consequence we decided to develop a permanent installation.” Datapath Fx4s are at the heart of the system, providing the processing power behind the jaw-dropping display canvases. Daniel added: “We are big fans of using Datapath hardware. The Fx4 is a tried and trusted piece of kit that provides the power and reliability for us to be creative in our own unique way.” Daniel also explained how the Temple House’s unique

14-projector system provided 360° video and still imagery on all walls and the ceiling: “The software system uses professional-grade mapping and proprietary software to integrate mapping, blending, and content triggering software, as well as both a hardware and software component for signal splitting and content distribution.” Using this advanced technology, The Temple House can take clients to the Eiffel Tower for a French pastry, to the centre of the coliseum in Rome for a pasta dish, or underwater to swim alongside tropic fish - all in the course of just minutes.

art multimedia centre, immersed not only by the impressive circular screen, but also by additional columns scattered around the shopping centre. Collectively, 170 metre of 6mm pixel pitch newFLEX LED screen technology has been erected as part of the redevelopment. Capable of concave and convex curving configurations, the magnetic newFLEX offers flexibility and versatility to create superb, funky designs, distinguishable in the unique display concepts generated at I Gigli. System installations were completed at night when the mall was closed, and work lasted approximately two

months. Custom-made structures were designed to house the modules and anchor the displays safely in position. Antonio Troiano, 3P Technologies Business Development Manager, commented: “We are very pleased with the project as the outcome has mirrored initial designer concepts, ensuring high performance displays, wide viewing angles to grab maximum attention of shoppers, energy efficiency and complies with weight and structural limitations.”


In collaboration with its partner 3P Technologies, an 11-screen installation project using digiLED LED displays has been installed at a Florence shopping centre. Record-breaking, the main screen installed at the site is now the largest circular LED screen in Italy. Comprising over 2,000 digiLED newFLEX modules, the 1.58-metre high display has a circumference measuring 66.2-metre, and decorates the interior wall of the mall with high-definition video content to inform, entice and engage with shoppers. Visitors will find themselves in a dynamic, state-of-the-


MULTI-TOWER-BASEMENT With the new Multi-Tower-Basement Global Truss provides a basement which impresses with its high-quality workmanship and can be used with three different truss systems. In addition to the classic F34 system also F44 and iM type trusses can be connected to the basement. The Multi-Tower-Basement can be used, among other things, as ground support, for stage roofs as well as for freestanding tower constructions. | +886-2-2577-6608 SERVICES






You have a big project or a special construction and need help with that? Do not hesitate to contact us. We are happy to help you to realize your project.



Since launching its digital signage initiatives more than 10 years ago, the University of Minnesota has continually expanded its network to more departments on its main campus in Minneapolis. Using the scalable architecture of Carousel Digital Signage Software, the University is now supporting departments throughout all of the campus locations including the Twin Cities, Duluth, Crookston, Morris and Rochester, along with remote research stations and outreach centers. With so many locations and departments to serve with each expansion - the most recent expansion has raised the total number of displays on the network to 275 Carousel’s de-centralised, multi-seat capabilities become increasingly pertinent with each term. This valuable benefit ensured that each new department added to the network can quickly create and disseminate local messages, while Emergency Management services can automatically post and cancel alert bulletins utilising Carousel’s supported CAP protocol. Emergency messages are localised to each respective campus. This multi-seat digital signage strategy also means that the software must be easy to learn and use, given the


large number of personnel with various skillsets creating and publishing content. “Since launching the Carousel network, we have had more departments coming online each year,” said Eric Topping, Digital Signage Manager at University of Minnesota. “This network now serves the entire University of Minnesota system, so any department on any campus that is signed onto the service acts their own governing body be it athletics, academics or administration. This is also very useful for our emergency alerts, which remain completely independent from other campus operations but can be quickly and easily added as needed.” Eric noted that Carousel’s data-handling capabilities are useful and impressive, pointing to a project with the Student Unions and Activities Department that incorporates transit schedules from city bus services. Carousel Digital Signage Software communicates directly with a Metro Transit server to feed arrival and departure times to displays throughout the student union buildings. The Carousel Digital Signage network also featured a handful of interactive touchscreens and kiosks that are

The National Geographic Encounter: Ocean Odyssey, which opened its doors to the public last year, is a first-in-kind immersive entertainment experience. It transports audiences on an incredible undersea journey, allowing them to interact with sea lions, play with rays and come face-to-face with life-sized humpback whales and great white sharks - a highly immersive experience made possible through innovative thinking, extensive experience and thinking outside the technical tool box. Together with SPE Partners, the developers of National Geographic Encounter and the project’s other creative teams, Kraftwerk Living Technologies pushed technology boundaries on the project in their role as the audiovisual designer and integrator. One of the technological highlights of the attraction is the so-called ‘Bait Ball’, the grand dome finale which is a unique application. With regards to the installation, the dome measuring 12 metre in diameter was designed and fitted into the existing building to the exact millimetre, to be able to reach the maximum possible size. The guests stand on an elevated platform in the middle

primarily used for wayfinding. As with the real-time bus schedules, Carousel’s data-rich benefits offer a strong value proposition for interactive digital signage applications such as wayfinding, allowing people to map routes through campus with ease. One interactive kiosk located by a donor wall allows student and visitors to look up donors, with selectable video clips, bios and pictures accompanying each entry. While the university network has operated successfully on many Carousel Digital Signage Software iterations, Topping adds that the transition to the recently-released Carousel 7.0 software has opened many new opportunities and efficiencies. As Tightrope’s broadest digital signage software refresh in many years, Carousel 7.0 provides richer content creation and content management software to empower a variety of modern digital signage needs, including wayfinding, interactive kiosks, video walls and digital menu boards. It also offers a completely redesigned web-based interface and responsive software to simplify the user experience, and allow users to efficiently access Carousel from tablets and mobile phones.

of the dome with extremely short viewing distances. To reach every spot of the dome without generating any shadows of the people and to keep the pixels small enough to allow for a photo realistic image, a highly complex, high-resolution multi-projector projection system was developed. All projectors utilise the latest laser light technology and are driven by a server cluster that delivers the high frame rate 8K 3D signal in combination with a multi-camera based auto-alignment system for precise pixel mapping and blending. The immersive 3D audio scene features a total of 40 loudspeakers, which pulls the guests right into the amazing sounds of the nighttime ocean. The challenging technical elements include unique multi-projector video mappings, high-resolution photo-realistic animation, custom projection screens, immersive spatial soundscapes, interactive real-time audience tracking and a giant dome finale. However, Kraftwerk believe it was all worth it in the end.

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S OUTH P OI N T H OT E L A N D CASIN O COMPANY: ELATION LOCATION: LAS VEGAS, USA One of the most successful off-the-Strip venues in Las Vegas and one of Sin City’s more unique resorts is South Point Hotel and Casino. The resort offers novel amenities for a casino resort like an equestrian arena and 64-lane bowling centre but teems with standard casino attractions as well. In 2017, the resort decided to upgrade three popular areas with LED video displays - showroom, sports book and bingo room - and chose Elation Professional’s high-definition EVHD3 LED video panels for the job. A total of 12 separate screens were installed across the three areas in November and December last year, an installation encompassing a total of 600 EVHD3 panels. South Point operates a busy 400-seat showroom facility that features headliner entertainment, live bands and other acts on a daily basis. The showroom operates seven days a week the majority of the year with multiple shows on stage each day for an astounding

average of over 400 different shows a year. Installed in the showroom is a large Elation EVHD3 video screen measuring 15ft by 33ft, a stunning backdrop that now serves as the main visual centrepiece of the stage. Used for concerts, special events and conferences, the LED display runs a variety of logo graphics, South Point branding, ArKaos MediaMaster custom content built in-house, live sporting events and more, all with 4K processing. On either side of the stage are 6.5ft by 12ft EVHD3 LED displays running images, custom creation loops, sponsor material or sometimes sporting events. Outside the Showroom, above the venue’s entrance, is a 5ft by 13ft LED display used for digital signage and live production feed from the showroom. In the sports book, four 6.5ft by 12ft LED displays operate 24 hours a day showing a variety of sporting events while in the Bingo Room four 5ft by 16.5ft LED displays are used to show bingo cards and property-wide ads during breaks.


The EVHD3 is a 3.9mm pixel pitch black-face LED display panel with a light weight, fanless, bezel-free design and durable die-cast aluminum frame. Entertainment Production Manager at South Point, Jason Lein, who handled design and project management of the LED display installation, said they chose to go with the EVHD3 LED display panels for their “balance of quality, onsite user control and setup, serviceability and the customer service.” The EVHD3 panel’s modular front maintenance construction means they can be mounted just inches off a wall and accessibility from both back and front makes for easier installation and service. The panels use long-life SMD 2121 RGB LED’s in a 500mm by 500mm format with wide 140° horizontal and 120° vertical viewing angle for a more inclusive viewing experience. The EVHD3 LED displays aren’t the only Elation products in action at South Point. The casino’s showroom also houses a full Elation stage and decorative lighting setup that includes ACL 360 Matrix LED moving panels, ACL 360 Bar moving battens, Platinum Spot LED II moving heads, SixBar 100/300/1000 and Pixel Bar LED battens, Protron 3K LED Strobes, EPAR QA and Opti QA LED PAR lights along with Elation Flex LED Tape.



The Tower of David - one of Jerusalem’s most significant historical sites - is home to a magnificent museum dedicated to the city’s history. One of its most celebrated events takes place every night, captivating the gaze and senses with a truly immersive experience, ‘The Night Spectacular’ production is now proudly enabled by Digital Projection’s award-winning projectors – including the popular M-Vision Laser 18K - following a full upgrade of the experience. The previous audiovisual system had in fact proven quite robust, with the museum never having had to cancel a show - so the new equipment had to boast equally exceptional performance and more, given the demands of steadily increasing footfall, severe climate changes all year round, and complex physical and aesthetic demands. A high profile project of this scale and significance was inevitably accompanied by challenges, but nothing that couldn’t be overcome with the latest innovative projection technologies offered by British manufacturer Digital Projection. A total of 15 Digital Projection projectors are deployed across the site in total, 13 of the brand new M-Vision Laser 18K and two E-Vision Laser 8500, illuminating the walls of the Citadel with 250,000 lumens and 35 million pixels, and representing a hardware investment of close to $500,000. With a staggering 18,000 lumens of laser-powered bright-

A major renovation of video systems at one of Finland’s largest auditoriums, Helsinki City Theatre, is underpinned by a Blackmagic Design live production infrastructure. Designed and implemented by system integrator Studiotec as part of an extensive programme of upgrades to the 1960s venue, the new solution relies on a hybrid backbone that incorporates both BNC SDI and optical fibre networking to simplify and improve signal distribution throughout the auditorium. Central to the overhaul was the installation of a Universal Videohub 288, which was configured with 18 Universal Videohub SDI interface as well as a further 14 Universal Videohub optical fibre interface

ness, the latest introduction to Digital Projection’s M-Vision Series offers brightness levels that have traditionally been reserved for much more expensive three-chip DLP projectors, but the M-Vision Laser 18K delivers a large scale imaging solution which near equals three chip performance at a single chip price point. Owing to the intelligent processing from its built-in Colour Boost technology, the M-Vision Laser 18K projects true and saturated colours which were previously synonymous with more expensive DLP projectors. Coupled with a 10,000:1 contrast ratio, new dimensions are brought out in the show thanks to the sharp high resolution cinematography, vivid colour and crisp lines. Powerful built-in ColorMax technology means all the projectors can be calibrated to exactly the same colour space, allowing for a seamless blend across multiple channels and delivering a smooth, colour-balanced image across this vast expanse. Another key factor in the decision to use the M-Vision Laser 18K was its ability to be mounted in any orientation - offering installation flexibility which can’t be matched by most lamp-based projectors. This feature was critical to the success of the project as ‘The Night Spectacular’ is projected onto a complex façade comprising the ancient walls of Jerusalem’s

cards. The routers run alongside a CWDM system, which means that the production team can combine multiple signals for transmission to all aspects of the auditorium, even hard to reach places, such as the revolving stage and lighting hoists. “Essentially we get as close as we possibly can to these areas with fibre and then change back to coax at the last possible position,” revealed Helsinki City Theatre’s, Matias Ojanen. “What we’ve implemented is a very neat and cost-effective system built on base band SDI that addressed our need for a low latency solution. The setup even provides a feed to our in-house streaming server for IP set top boxes for televisions and repeat screens in the offices and

magnificent Citadel. In addition, the Tower of David is a national heritage and archaeological site with stones tracing the history of Jerusalem back some 2,800 years - meaning there were strict rules and regulations to adhere to around the installation of the equipment. Digital Projection’s latest projector was specified primarily because of its advanced laser technology, unlike traditional lamp-based projectors, the M-Vision Laser 18K has an operational life of 20,000 hours or longer. Installations now essentially benefit from a lifetime illumination system without the need for expensive and time-consuming replacement of lamps every thousand or so hours. The longevity, low running cost, reduced total cost of ownership and long five year warranty were especially attractive to the Tower of David team, and the on-site training programme - delivered by Digital Projection and supported by its local certified service centre - ensures that the museum can be completely self-sufficient in all technical aspects of the installation. As with all Digital Projection laser projectors, the M-Vision Laser 18K was developed with Fit and Forget directive in mind, ensuring an impactful imaging solution that the Tower of David team could deploy with minimal maintenance throughout the lifetime of the display.

artists’ foyer. More than a dozen Blackmagic MultiView 4 hardware multi-viewers have been deployed across a number of viewing points across the auditorium, to assist lighting and sound teams, stage managers and stagehands in the monitoring of 21 separate camera channels, while a pair of Smart Videohub 20x20 routers are in place to handle video servers and projectors in the main auditorium as well as smaller performance spaces. Depending on the location and requirements of each theatre team, the routers can be controlled by the Videohub Master Control or via software.



Design agency WHITEvoid presented its first collaboration with High Scream at Hï Ibiza for the seasons closing party last year. Hï is the latest and addition to the Ibiza club scene and provides state of the art production technology on the Island. KINETIC LIGHTS provided the technical development and programming of the kinetic light installation for the grand season finale. Kinetic Lights developed and installed a kinetic ceiling including 30 movable round mirrors and 30 kinetic mirror balls and LED lights. All kinetic elements were targeted with 30 Robe Pointe moving lights in full motion to create vivid light beam sculptures in mid air. KINETIC LIGHTS also provided the high precision motor systems and custom software for this unique spectacle.

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Nashville-based TNDV: Television played a pivotal production role at the 26th Annual Bounce Trumpet Awards, held at the Cobb Energy Center, in Atlanta. The prestigious, star-studded event, which featured such headliners as CeeLo Green, Ludacris, Xscape, and Cameo, honored influential, high-profile African Americans who have achieved greatness and inspired it in others. To support a live event of this magnitude, TNDV contributed its flagship 3G/4K mobile production unit, Exclamation, a 53-foot double-expando trailer specifically designed to handle the technical and creative demands of large-scale sports and entertainment broadcasts. A TV studio-on-wheels, Exclamation features a 15-seat production control room equipped with a massive Grass Valley Kayenne 5 M/E video switcher and large monitor wall. To cover the show from every angle, TNDV’s crew strategically deployed nine Hitachi SK-1200 cameras throughout the venue, including one centrally located on a Jimmy Jib, three configured as handhelds, and one

on a Steadicam allowing the operator to move freely about the stage. While the Trumpet Awards recognises innovators, entrepreneurs, philanthropists, game changers, trailblazers, and rising stars in the African American community, the show also featured a wide range of musical performances, making high-quality audio capture a must. Exclamation is one of the few trucks on the market to offer a four-seat audio mixing room with a 256-channel Studer Vista X audio console and Avid ProTools multitrack recording. Rather than run the many video, audio and power cables needed to power the cameras and intercoms, the TNDV crew relied on nine MultiDyne SMPTE-HUT fibre transport systems. Each of these high-performance, universal camera transceivers multiplexed the many video and audio signals for transport using just two TAC-12 fibre optic cables. The HUT system consists of two boxes, one that the cameras plug into inside the venue and one that receives the signals on the truck. This significantly reduced the load-in and

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load-out time without compromising signal quality. THE fiber optic infrastructure built also allowed the route signals from stage boxes and media servers stationed front-of-house. These media servers, which were operated by the lighting crew, contained video packages profiling the nominees, awards categories, and other aspects of the show. When the lighting crew triggered playout of one of the video packages, the signal first went to Exclamation where it was frame-synchronised, input into the Kayenne switcher, colour corrected, enhanced with branding elements, and then output to the LED screens above the stage in near real-time. At the end of the night, TNDV delivered hard drives containing iso-records of every camera, the program line cut, and the full Pro Tools audio session of the show to be used for postproduction. The Scripps/ Bounce TV production team included Producer Michael Johnson, Director Milton Lage, and Jahmir Blanchard, the Vice President of Production and Original Programming.

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For Concord, California-based Digital AVS, a custom audio, video, lighting and décor specialist, that growth has largely been in the hospitality sector, particularly with hotels that are seeking new revenue streams beyond standard lodging and dining. Digital AVS achieves this by starting with a blank canvas for each event, and then building an affordable system that leverages the industry’s most effective production tools from a price-to-performance ratio. For hotels, this most often means specifying equipment for spoken word events - meetings, conferences and emceed productions such as fundraisers. “We recently provided audiovisual for a fashion show at a Ritz-Carlton, which proved an excellent example of how Atlona’s extenders make everyone’s lives easier,” said Chuck Wojack, Sales and Operations Manager for Digital AVS. “We used

them coming out of a long cable run into a Gefen multi-out HDMI splitter, and used that to feed two 6,000K projectors. For a recent training, we have done the same sending to Sony confidence monitor to LCD displays at the front of stage to provide visual aids for presenters - all while maintain that single cable run to the front. In both cases, Atlona’s extenders keep things neat and orderly in the room.” In more complex scenarios, Chuck used the ATUHD-EX-70-2PS with the Gefen splitter and a crosspoint matrix switcher to feed the main signal into as many as four outputs - two Eiki or Sanyo projectors and two presentation monitors, for example. That 4x4 capability ensures that Digital AVS can support higher density I/O needs for virtually any hospitality or corporate event setting. Moving forward, Chuck expects to integrate Atlona AT-UHD-CAT-4ED distribution ampli-

fiers as they transition into a broader HDBaseT environment. He also anticipates that more of his customers to being requesting 4K support, and his Atlona extenders and other AV gear are already 4K-compatible for when that time arrives. In the short term, he is more focused on helping his growing hospitality customer base adapt to AV-related business opportunities. “As an example, I am starting to offer live streaming services to our clients,” he said. “I bring my Atlona extenders with me, which are very compact to begin with, and can quickly set up a system to take a secondary monitor out of a client’s laptop. Knowing that I can take that signal on a long run using Atlona, and still have just one carry-on bag at the airport to transport what I need to support them, is a win for everyone involved. We see a lot of opportunity to leverage these products moving forward.”


Late last year, The Hale Centre Theatre moved into its new home in Sandy, Utah, with the ambition to combine traditional theatre and the latest in stage technology. The centre’s two theatres, Centre Stage and Jewel Box, are both using the disguise gx series, supplied by Barbizon Light of the Rockies in Denver. The 130,000 sq ft Mountain America Performing Arts Centre, built by Beecher Walker Architects and Layton Construction, features the 900-seat, in-the-round

Centre Stage Theatre with a custom-built, automated stage and a perimeter of LED video screens. The Jewel Box Theatre seats the 467 with a proscenium thrust stage for smaller, more intimate productions, both outfitted with TAIT’s entertainment automation platform, TAIT Navigator. The Hale Centre evaluated several brands of media servers before choosing a disguise gx 2 for the Centre Stage and a gx 1 for the Jewel Box. “We had no prior experience with disguise and worked with Barbizon to

hold demos and connect with users at other theatres,” said Video and Projection Designer, Joshua Roberts. “Barbizon was fantastic about providing equipment and facilitating our learning about the system before our purchases.” Joshua points to a number of advantages to using the disguise solution, “disguise has a large user base worldwide so designers are comfortable using it,” he commented. “The gx range is great for us because it offers important Notch integration for any type of magical theatrical effects. If you have that in your toolkit it’s priceless.” disguise’s ability to “talk to our TAIT Navigator system and to incorporate BlackTrax real-time tracking are also important for future productions.” “We can build colour layers to overlay and blend, then tweak them on the fly as we work on the content in the space without affecting playback. With other systems you apply one effect and it eats up the processing power and you can’t play back the video properly,” Joshua added.. The gx 1 in the Jewel Box arrived more recently and will be used on productions starting next season. The space is also rented for corporate events and conferences, and the media server is currently being used for those applications. “The gx 1 gives us a lot of flexibility for our rentals, each of which has different needs,” Joshua noted. “We can refocus for screens we set up without moving the projectors and accept many different sources for presentations. We’re good to go very quickly for clients.”


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Look-Fan DMX Powerful fan 850 W, DMX controllable, speed-up time from 0 to 100 = 2.5 sec. Protouch specialises in projects that combine video and LED screen walls, smart systems and integration and accompanies a project throughout all its stages from its conception up to its delivery. Protouch and Electra Elevators launched the innovative development of a one of its kind LED screen, which is integrated into an elevator door. The innovative technology enables the installation of LED screens as an integral part of an elevator door and displaying high-res-

olution video content for the pleasure of passers-by. This is the first integrated LED screen in an elevator door, and hopefully paving the way for the future field of LED screens. This particular LED screen provided a high level of illumination and increased visibility, battery life of 100,000 hours and the screen promised constant motion. In addition, the screen is installed by a robotic cable, which reduces the time it takes to set up.

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Crestron’s brief was to install a sleek high-tech audiovisual control solution to meet the high spec guest standards of this prestigious hotel destination. A comprehensive Crestron control and management system was integrated throughout the building, within hotel guest rooms, bars, restaurants, lounge areas and conferencing facilities. Talal Wehbe, CEO at Panoutron, explained the thinking behind this most impressive project: “Both Mondrian Doha and Crestron pride themselves on a reputation of excellence, so it was an obvious fit to put the two together. This project was a complex installation that required a powerful control solution to manage all audiovisual systems, light fixtures with DALI dimming, motorised curtains, and tempera-


Step inside the new and improved Platov International Airport, located in Rostov-on-Don and onto the steppes. Inaugurated in December last year with a nod to the 2018 FIFA World Cup, the airport welcomes travellers t a dazzling virtual encounter with the river Don. Dataton’s WATCHOUT multi-display system is deployed in the two large scale, eye-catching installations on the second and third floors of the terminal. The centrepiece of the domestic terminal is a cylindrical installation, 29-metres in circumference with a perforated metal exterior and lined with multiple LED displays to create a seamless screen.

ture, but also enhance the guest experience, in every area of the hotel. With Crestron technology we could provide a comprehensive, user-friendly solution that perfectly complemented the high standards and luxury aesthetic of Mondrian Doha.” The guest experience is intensified thanks to the comprehensive Crestron hospitality solution. As soon as a guest steps into the luxury surrounds of their hotel room, they are greeted with calming lights, relaxing music and automated shades that perfectly frame the beautiful exterior views. The concierge services introduce guests to the room’s capabilities, while offering hotel amenities and room service to ensure a comfortable stay. Guests can easily adjust the lighting, temperature and visual displays to per-

Tilted at 14° with one edge almost touching the floor and the other 2.5-metre off the ground, the screen - 11,520 by 1,024 pixels - is a magnet for visitors. The content consists of a breath-taking short film - shot in 8K - capturing a day in the life of a Cossack 300 years ago, surrounding visitors with galloping horses and endless plains. Audio from 16 speakers mounted around the top of the ring serves to enforce the immersive experience. Ascending the escalator one floor below, visitors are greeted by a 12-metre wide LED screen and an endless flight along the river Don, from Novomoskovsk to the Sea of Azov. The screen is made of 1,800 LED modules with a pixel pitch of 2.5mm. Shot with a drone at 8K resolution, the content is programmed and delivered with WATCHOUT. Media servers are teamed with a Novastar signal processing system for control. Lorem Ipsum Corp was commissioned to develop the idea, design and content of the Platov International Airport installations, with MIRAS Ltd handling the technical aspects of design, supply, installation and WATCHOUT programming. WATCHOUT is supplied by Dataton’s CES premium partner, Intmedia, Moscow.

sonalise their environment, using bespoke Crestron touch screens, which include voice recognition and web browsing features for an additional wow factor in the already stunning rooms. A Crestron Fusion monitoring and scheduling solution has also been integrated to proactively manage the hotel’s meeting and conferencing facilities. This high-performance technology offers a slick and seamless room booking facility for the popular conference and meeting spaces. The Fusion reporting service ensures that the system works seamlessly and any problems are instantly flagged and quickly resolved, allowing facilities managers to fix problems instantly, even if they are off-site, without disturbing guests.

Crestron Fusion also monitors energy usage to contribute to a more efficient and sustainable hotel operation. Its centralised environmental controls and record-keeping provide a powerful real-time and historical overview of operations. Users can see exactly what changes affect energy consumption thanks to Fusion’s data analysis tools, and then maximise energy efficiency by selectively controlling lighting and other equipment remotely. Axel Gasser, General Manager at Mondrian Doha, commented: “At Mondrian Doha, we want to give guests an extraordinary experience that they will remember beyond their stay. Crestron technology adds one more layer

to our high standard of hospitality, providing luxury and convenience at the touch of a button - from ensuring the temperature is comfortable to providing a virtual concierge.” It’s five-star services and reservation list of stylish guests, has made Mondrian Doha one of the hottest destinations in Qatar. With intuitive Crestron technology at the helm of this forward-thinking venue, the level of service goes beyond expectation for an experience guests will return for again and again.

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Sound Space Vision provide an elegant, innovative and sustainable community space for Storey’s Field Centre. Storey’s Field Centre is the dynamic and welcoming hub of the community of Eddington, UK a new neighbourhood under construction as part of the North West Cambridge Development. Sound Space Vision (SSV) joined the project to support the range of uses both in the acoustical design and the noise isolation and the activity-led design and specification of the technical fit-out of the building. Given the hall’s rectangular shape and the centre’s mandate for a varied and active schedule, SSV envisioned a space that was adaptable, flexible, and, crucially, easy to operate by its users. It is a stylish, light-filled, three-storey space with refined acoustics and production fittings and fixtures that are well-detailed, discreet, adaptable and hidden within the architecture. SSV began with the staging potential by specifying technical and production equipment as well as adaptable acoustics to facilitate multiple seating and staging formations. A combination of LED and tungsten lighting was chosen to provide lighting angles for any stage configuration, and is integrated on motorised bars which also include house lights and moving lights for special events. Unusually, the main hall has daylight on all four sides with views to a garden and high-level windows on the remaining three sides. This gives an ever-changing atmosphere to the space. The intricate brickwork modelled on the walls is an elegant solution for satisfying sound diffusion, while reviving a well-loved and underused craft. From a production design standpoint, the hall’s neutral colour palette is easily transformed by coloured and varied lighting. The University’s brief for the centre included high performance qualities for the main hall, with a requirement for the acoustics to accommodate a variety of events from chamber music to rock concerts. SSV designed a space with an acoustic flexibility that spans every requirement from very dry, clear sound to live, resonant acoustics, with architectural and design features that double as sound dispersive, absorptive or isolation solutions. For amplification, SSV chose to use three beam-steering column array loudspeakers, which have substantial output over a wide frequency range, and are ideal for a space of this scale. The two smaller multipurpose spaces in the centre - one 20-seat, and one 50-seat space - used primarily for meetings, gatherings and classes both have full-screen projectors and screens, stereo sound systems, acoustic curtains, control racks and facilities panels, and are fitted with the links for inter-room connectivity. Across the entire centre sound isolation is achieved with multi-layer windows, doors and vestibules that prevent outside noise from entering activities in the rooms, while ensuring neighbouring residents are not disturbed from the noise levels within the building. In Storey’s Field centre, the SSV team have achieved a venue which embraces its multi-functional and diverse purpose, fulfils its responsibility to sustainable building practices, and provides a desired and worthy destination for educators, artists and residents, and a warm, inviting and supportive environment for its new community.


© Alan Williams



One of the newest venues to open in the party capital of the Middle East, Stage has been designed and installed by Pulse Middle East.

Joining forces with Sunset Hospitality Group - a company that has influenced the Dubai nightlife and F&B industry with clubs and restaurants in recent years - Pulse Middle East has helped the management group to deliver its latest venture, Stage. Renowned for its existing properties, which include Black Tap, Luigia, Azure Beach, Kasbar, Chic the Club and Le Regina to name a few, Sunset Hospitality Group set out to achieve the best ‘Khaleeji’ clubbing experience in Dubai with Stage. Khaleeji refers to the local music style, and although a few Khaleeji clubs do exist, Stage has taken the experience to a whole new level. Stage Dubai has unveiled a new, stunning space with state-of-the-art audio, lighting and visual technology, ready to dazzle the most judicious


party-goers and trendsetters in Dubai and the region. The development of both the nightlife and audiovisual industries now demands integrators to become part of the architectural aspect of all venues, which in some instances takes a major involvement in the interior design of the area. This is what Pulse specialises in - transforming any space and working closely with the clients to deliver not only projects but fully integrated audio visual and lighting experiences. With that in mind, the audiovisual design phase took the team at Pulse about a month of pre-design with weekly meetings, continuous drawings and 3D renderings, building the project with Sunset Group from scratch and hours of co-ordination between all departments to perfect every little

detail. Joe Chidiac, the CEO and founder of Pulse said: “It was a lot of work for all of us at Pulse and at Sunset Group, but the amount of mutual trust built over the years gave us extra motivation and positivity to always push our ideas forward.” The procurement and interior design phase took another three months to execute. Pulse’s designs came to life after a 15-day first and second fix installation phase that consisted of cable terminations, rigging, server setup, and bespoke support installation. Once this was complete, the challenge was installing all the audiovisual equipment including audio, lighting, special effects, screens and lasers. Joe and Greg Brown, Projects Directors at Pulse selected every product for Stage with synergy

in mind. They wanted the system to be the best quality, durable and provide Stage with the ‘a-class’ status it set out to achieve. Joe continued: “The lighting in the club was provided by Vision Pro Lighting. We used a 16R beam spot wash beam all-in-one moving head - 48 in total. The XS4’s each have three moving heads, gobos, dynamic pattern, and colour wheels, as well as a beam angle from 2º of beam up to 38º spot angles, allowing a variety of effects from each unit. “The XS4 is remarkable in the sense that it is incomparable in the market. For the dome, we needed to create something visually attractive to look at. We used a mixture of VPL 7R for beams, B7 for pixelated lighting, which has seven pixel-controlled lights and plays patterns across the moving head, VPL 04 blinders that uses


• Above The dome is a focal point of the club, highlighted by mutliple fixtures and effects.

LED technology instead of lamps - a new technology which is energy efficient and still responds the same way a traditional tungsten lamp does. And for strobes we also added Vision Pro 3000’s.” For the LED screens, Pulse installed Vision LED P3.7 HD SMD panels. While located around the columns and the ceiling are flexible LED strips that can twist and bend in both X and Y directions. A total of 20 digital LED controllers are also installed around the venue, each receiving Art-Net and controlling 1,800 pixels each. There are also several miniature 2R beams and 360z wash lights incorporated into the ceiling on the lower areas to keep the effects running throughout the entire club. The ceiling has 180 units of one-metre RGB controlled kinetic lighting bars with the end of each bar connected to a kinetic motor to drop the fixture up to fivemetres from the ceiling. Pulse specified AL 34 custom oval truss from AluStage to rig the lighting using MOVECAT motors for installation and maintenance to bring down the entire structure. These motors were very helpful for the design since they were closefitting, they were easily hidden inside the ceiling, and the compact design assisted us to achieve the maximum ceiling height. The triangles built from the kinetic lighting are controlled by the MagicQ MQ500 Stadium console from ChamSys designed to operate at the highest level of

show control. MagicQ MQ500 Stadium enables shows to be designed from concept to reality including lighting, media, LED and scenic design. The MQ500 Stadium features dual multi touch displays in full HD with adjustable viewing angle and gesture support. It has inbuilt MagicVis 3D visualiser with high quality beam and gobo rendering and supports up to 102,400 parameters onboard and 200 universes direct from the console without

the need for external processing. MagicHD media server runs onboard enabling pixel mapping to all 200 universes. The MQ500 includes an intensity wheel and 100mm split crossfaders for theatre control and incorporates 42 fader and executor playbacks for live busking. “To control all 92 universes inside the club there is no better console. The inbuilt pixel mapper made patching and programming the 500+ metres of digital

TECHNICAL INFORMATION LIGHTING, VISUAL & EFFECTS 48 x Vision Pro Lighting VPL 16 moving head; 12 x Vision Pro Lighting VPL7R moving head; 18 x Vision Pro Lighting B7 moving head; 12 x Vision Pro Lighting VPL-2R moving head; 8 x Vision Pro Lighting 360Z moving head; 1 x ChamSys MQ5000 lighting console; 16 x Vision Pro Lighting 3000 strobe; 89 x Vision Pro Lighting P3.7 HD SMD LED panel; 2 x SFAT CO2 jet; 6 x DJ Power DHZ-660 hazer; 2 x SFAT Power Confetti 350 machine; 1 x Alutruss rectangular TUV full grid truss system; 1 x Alutruss tunnel shape TUV truss; 6 x Alutruss curved ladder truss; 12 x MOVECAT Ecolite320 chain hoist SOUND 14 x TW AUDiO M12 loudspeaker; 6 x TW AUDiO T24N loudspeaker; 11 x TW AUDiO T20i loudspeaker; 6 x TW AUDiO B18 subwoofer; 4 x TW AUDiO VERA S33 subwoofer; 3 x TW AUDiO BSX subwoofer; 4 x TW AUDiO S18 subwoofer; 2 x TW AUDiO C15 monitor; 2 x TW AUDiO B15 subwoofer; 5 x Powersoft X8 amplifer; 1 x Klark Teknik DM 8000 processor ; 2 x Klark Teknik DM controller; 1 x Pioneer DJM-900 NXS2 mixer; 4 x Pioneer CDJ-2000 NXS2 mutliplayer

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LED strip seamless. Then on top of this incorporating the 68 moving heads; the stunning and easy to use visualiser and plots made choosing the MQ 500 an easy choice,” continued Joe. For audio, Pulse teamed up with TW AUDiO and Powersoft to create the perfect sound for this specific design; T24N loudspeakers were used for their high SPL output and crystal-clear sound. Pulse removed the front grilles to give them a more impressive look showing all the inner workings. The main area is a large space, so Pulse installed a pair of TW AUDiO T24Ns above the DJ booth, another pair far out on the side, with a further pair at the rear to cover this whole area evenly. Three BSX subwoofers are deployed for the low frequency reinforcement in this area, with one in the centre directly underneath the DJ booth, and two on the sides underneath the outer T24Ns. The outer BSX were used in infra mode, coupled with B18 subwoofers. In Khaleeji style nightclubs it’s important to cover every seat with very loud, clear sound, so in addition to the T24Ns at the

• Above A birdseye view of the venue.

front, a lot of additional loudspeakers were used to provide near-field coverage in areas with low ceilings. TW AUDiO’s T20’s were used in areas with slightly higher ceilings and further distances to the audience, and M12’s used for near-field. Additional subwoofers were placed strategically around the venue and time aligned in order to provide local reinforcement of the low frequencies without interfering excessively with the main subwoofers. Overall, the resulting sound level inside the club is very even all around, and capable of an extremely high SPL. There’s plenty of capacity left in the system, so we are confident that the system will require very little maintenance. Raising power amplification to new standards, the Powersoft X Series is the first amplifier that doubles as a system tool, integrating a large amount of functionality generally only found in separate outboard units. This includes an innovative system of channel routing, a truly universal mono, bi- and three-phase balancing power supply, from 85V AC up to 440V AC without the need for manual

selection, and a revolutionary fullyfeatured DSP. The X8 can deliver up to 5,200W at two ohms per channel, for eight channels in a 2U rack space. This worldwide AC acceptance and direct connection capability to any regional power line configuration makes sound system extremely stable and reliable. The set-up parameters of the Powersoft X Series are fully integrated into Armonía ProAudio Suite, which offers an intuitive interface for parameter adjustment, a comprehensive control over the digital audio processing and complete real-time monitoring of the system performance. Power Factor Correction, which Powersoft pioneered, reduces the section of mains cabling, reducing noise and harmonics on the power line and onto other equipment. This means smaller power generators, and thinner mains cabling. “Regarding power to size ratio, just eight Powersoft X8 amplifiers provide 64 channels of 3kW into four ohms, a total of 192kW. Flexibility is at the heart of the X Series. It can support low frequency for a

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“It was a lot of work for all of us at Pulse and at Sunset Group, but the amount of mutual trust built over the years gave us extra motivation and positivity to always push our ideas forward.”

long time. It provides the best sound in the high register while keeping superb speaker control at lower frequencies. The X Series can serve all levels of audio equipment, from the smallest front fill to a two 18-inch subwoofer,” Joe explained. A Midas M32 has been installed for mixing live performances; capable of inputting 32 channels of microphones, instruments or DJ equipment and mixing them out to the club’s stereo and surround system, as well as any monitoring requirements for the artists. The DM 8000 from Klark Teknik is the digital signal processor of choice at Stage - controlling levels in different areas of the club, compressing and limiting the DJ while protecting the whole sound system. The main challenge during the design and installation Greg described as: “The dome area and being able to incorporate this 3D design along with 2D screens and lighting. Another challenge was visualising the people, the stage, all this technology and equipment in order to make them all work together in a flawless way. And lastly, was creating a way for all this technology to integrate with each other and so we used Art-Net for digital LED, lighting and lasers, many different Art-Net receivers all conflicted to receive different information from Chamsys so with a lot of work we

were able to set it all up using IP and ArtNet addresses so that all controllers work in harmony.” Discussing the inspiration behind this particular design Joe said: “I came up with this design having the Pink Floyd: Pulse Concert in mind. The dome area was created in a way so that the people become a part of the club and its setup.” When asked about Pulse’s relationship with Sunset Group Joe concluded: “Sunset has been our client since the very beginning of Pulse. We have worked on many projects together that include Chic Club, Luigia, Black Tap, Azure Beach and now Stage. Today, we consider them as family and this trust and respect between the teams allows us to have the necessary creative freedom while designing their ideas. Putting together both efforts, we’ve created phenomenal clubs. The Sunset team always has great input to our designs, which allows us to deliver projects every party involved is proud of. They care about quality and good products and their main target is to give their clients the best clubbing experience, which is always great for us as audiovisual and lighting engineers since it means no compromise on quality whatsoever. We can’t wait for the next project together, I am sure it is going to be out of this world.”

Photo © Gordon Welters



Built between 1741 and 1743, the Berlin State Opera was called the Königliche Oper (Royal Opera) and was the largest opera building in Europe. Located on the central ‘Unter den Linden’ grand boulevard in the Berlin-Mitte district, locals affectionately refer to it as Lindenoper, too. In 2009, renovation began at Berlin State Opera, under the guidance of German architect, hg merz. The work to be done at the venue was considerable, with the roof of the opera building raised, as well as the proscenium prolonged in a bid to improve the acoustics. More renovation and extension work was planned for the director’s building, the below-ground connection building and the depot building, with the latter designed to


• Above Berlin State Opera’s stage.

house the new rehearsal centre. With the restoration, reconstruction and extension handled by hg merz, the refurbishment focussed on the stage equipment and an upgrade to the audiovisual technology. Although the auditorium was to be left as unchanged as possible, the acoustics were optimised to improve the sound experience, while the audience were also offered a far more comfortable environment, with a much better view of the stage and easier access. To enhance the acoustics, hg merz raised the historic, domed hall ceiling by 4.5-metres, allowing the hall volume to increase by 40% - creating a reverberant gallery above the tiers, which, along with

the increased hall capacity resulted in a prolonged reverberation time from 1.1 to 1.6 seconds. To close this gap visually, hg merz developed an optically closed, but acoustically transparent network - this sound-permeable mesh pattern of the cladding fits stylistically with the historic elements of the hall, too. The contract for the acoustics of the rooms, building and for the planning of the audio-visual equipment went to Peutz Consult Berlin. When it came to the complex job of upgrading the audio-visual technology, Berlin State Opera enlisted the help of both Amptown System Company (ASC) and Salzbrenner Media as a joint venture. ASC, as a leader

of this joint venture, was responsible for the audio-visual systems and IT networks, while Salzbrenner Media took up the role of providing the stage management equipment, audio mixing consoles and signal distribution. For the audio system at Berlin State Opera, d&b audiotechnik loudspeakers, which are controlled by system-specific final stages with an integrated DSP controller, are utilised, along with 40 Meyer Sound MM-10XP subwoofers and 120 Meyer Sound MM-4XP loudspeakers. Also, mounted on mobile tripods, Meyer Sound UPA loudspeakers are used in any number of selected spots to create various additional reinforced


Photo © Marcus Ebener

“Having the utmost reliability and fail-safety were the most important parameters for the new wireless system for us.”

sound scenarios. Elsewhere, 40 d&b audiotechnik E12 loudspeakers are integrated - virtually out of sight - in the lighting hoists, the hall ceiling, the proscenium bridge and in the reverberant gallery. Four d&b Yi10P loudspeakers and two d&b E8 loudspeakers are used in the proscenium arches, positioned behind the painted sound-permeable fabric cover. The centre cluster includes six d&b T10 loudspeakers. Above the proscenium, the foremost area of the opera stage, 12 d&b T-SUB subwoofers ensure that the bass is heard and felt everywhere in the hall. ASC also installed a Vi7P loudspeaker from d&b with two V-SUB subwoofers to the right and left, which reinforces sound feeds from the backstage area. “For special scenic effects, we installed a 3D audio system from Astro Spatial Audio, which is operated via two SARA II Premium Rendering Engines,” explained Christoph Wegner, Project Manager and Branch Manager of ASC Berlin. “These engines are integrated into the Nexus audio routing system via 128 MADI channels each and are available to all loudspeakers for acoustic playback. “The system is controlled in 128 vertical loudspeaker groups via the so-called surround channels. In this way, the sound engineer can

interactively control additional sound effects in every direction in the opera house, such as staging a choir via the sound system, and using the hall as a third dimension. “The result: the listener is drawn acoustically into the performance. In order to generate an all-encompassing experience, lighting and video systems can also be integrated into the system.” For the rehearsal stages at Berlin State Opera, ASC supplied nine mobile media racks, which are equipped with an IN 1608 Extron audio/ video routing matrix as a AV signal selector switch for Blu-Ray, CD and PC source feeds, and wireless microphones. If the racks are connected to the venue’s own IT network, access to inhouse recordings is possible. For such purposes, the Berlin State Opera was provided with three Extron SMP 351 H.264 streaming media processors which ensure real-time streaming of the camera signals and allow for the production of recordings intended for later use. To ensure complete wireless coverage throughout the different parts of the building, ASC installed a fibre optic-based HF distribution system from The Wireless Works. This open infrastructure allows the connection of various wireless systems, wireless microphones, the wireless intercom and in-ear monitoring. In order to transmit the wireless signals reliably

and fail-safe inside the Berlin State Opera, all while ensuring high-definition sound, a 34-channel Shure Axient Digital System was installed by ASC. Currently using the AD version of flagship wireless system introduced by Shure in 2017, the venue will soon switch to the remotely controllable ADX transmitter platform. This will provide the venue with maximum operational security in the coming years. Based on the previously calculated frequency setup, the integrated Axient Spectrum Manager can automatically send disturbance-free frequencies to the ADX transmitter in real-time. This ensures interference in heavily used HF environments can be avoided without affecting the audio signal. Sound engineer, Christoph Koch, Head of Sound Department at the Berlin State Opera explained further: “Having the utmost reliability and failsafety were the most important parameters for the new wireless system for us. On one hand, that’s guaranteed by the long battery life of the Axient Digital System. But we’re also very impressed how quickly Axient Digital System recognises radio interference, selects a free frequency from the backup list and within a fraction of a second switches over without being audible. Considering the demanding spatial situation, we preferred to have a sustainable and future-proof system for our diverse




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• Above Behind the reverberation gallery of Berlin State Opera, with a view through the unusual diamond construction, consisting of glass fibre reinforced phosphate ceramics (CBPC).

productions.” Along with the Quadversity receiver technology to reduce the risk of signal failures, interference and dropouts, Axient Digital offers a unified switching bandwidth (166 MHz) for receivers and transmitters. The tabletop charging stations for handheld and bodypack transmitters, as well as the digital ADX1M micro-bodypack transmitters with an integrated antenna, are useful features for the venue, too. “The scalability plays an important role for the Berlin State Opera,” said Christoph of ASC. “With just one receiver platform that works with two types of transmitters, Axient Digital provides the sound department with a wide selection of professional features, including reliable HF performance, impressive range and top signal and sound quality. This allows us to approach modern productions

with varying requirements in a flexible fashion.” The opera house now has access to stateof-the-art wireless technology in the form of 34 bodypacks and eight handheld transmitters from the Axient Digital AD series. Christoph Koch’s sound department also relies on Shure in-ear monitoring from the PSM 900/1000 series, with a total of 40 receivers. For the video transmission of the conductor, several Panasonic AW-HE 130 cameras, which are connected with suitable LWL converters via an Extron HD-SDI FOX matrix, are used. The captured video is then displayed on Sony LCD and OLED monitors. Apart from the camera signals from the orchestra pit and the long shot from the hall, scenic players, manufactured by Green Hippo, are connected to the Extron crossbar, too. These distribute the

image, along with the embedded sound, throughout the house via permanent or patchable fibre optic connections. In October 2017, on the anniversary of the German reunification - and after delays due to difficult subsoil, poor building fabric and plans being changed - the Berlin State Opera was officially reopened with a festive ceremony for the residents of the city. The opera house was closed again to allow construction work to be completed before opening for performances on 7 December 2017 precisely 275 years after it has first been built. The work has been a huge success, with the design able keeping many original features that made it such a striking venue, all while modernising to allow it the Berlin State Opera to hold its own on the international stage once again.

TECHNICAL INFORMATION AUDIO 40 x Meyer Sound MM-10XP subwoofer; 120 x Meyer Sound MM-4XP loudspeaker; Meyer Sound UPA loudspeakers; 40 x d&b audiotechnik E12 loudspeaker; 4 x d&b audiotechnik Yi10P loudspeaker; 2 x d&b audiotechnik E8 loudspeaker; 6 x d&b audiotechnik T10 loudspeaker; 12 x d&b audiotechnik T-SUB subwoofer; 1 x d&b audiotechnik Vi7P loudspeaker; 2 x d&b audiotechnik V-SUB subwoofer; 1 x Astro Spatial Audio 3D audio system; 2 x Astro Spatial Audio SARA II premium rendering engine; 9 x Extron IN1608 AV signal selector; 3 x Extron SMP 351 media processor; 1 x Shure Axient Digital system; 34 x Axient Digital AD Series bodypack; 8 x Axient Digital AD Series handheld transmitter; 40 x Shure PSM 900/1000 personal monitoring system VISUAL 1 x Extron HD-SDI FOX matrix; Panasonic AW-HE 130 cameras; Sony LCD and OLED monitors

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Two distinct venues housed in one building, but with one audio solution designed and installed by Diamond AV.

I’m told Soho, London, UK has changed as a location over the last 10 years by Guy Ayres. Technical Director of Diamond AV, an audiovisual design company, Guy has been working in the London nightlife scene for more than 15 years. He made the comment in reference to one of his latest projects, Sophie’s Steakhouse - the second outlet of the same name, with the original based in Fulham Road, Chelsea (a previous second restaurant had been opened in Convent Garden, but was taken back by the landlord to be turned into a boutique hotel). The changes come in the form of offices and residencies that didn’t tend to populate the area before. So, now when it comes to opening a new entertainment venue, acoustics, sound leakage and noise control are all key factors, meaning equipment choice


• Above Sophie’s Steakhouse is accessible at street level and boasts 21 NEXO ID24 cabinets for even coverage across the entire restaurant.

is paramount. In this case, Guy selected NEXO for the job. Sophie’s in Soho in located inside an old cinema complex, which is still evident today through the original ceiling, which includes exposed pipework and lighting grids. The building was stripped back to the bare shell when acquired by Sophie’s owners, Rupert Power and Sophie Bathgate, and they built it back to what you see today. At street level is the steakhouse, a light and airy space with a chandelier bar and an open kitchen. Rupert and Sophie pride themselves on providing great food, great drinks and great fun - with the former sourced from British suppliers. It’s a welcoming atmosphere from day to night, and even has its own private dining room for that extra special occasion.

Using NEXO’s NS-1 system configuration software, Guy plotted the loudspeaker placement, taking into account the high ceiling and the glass front of the building. The software also allowed Guy to calculate the risk of noise pollution, to ensure the sound system would not disturb the neighbouring hotel and offices above the restaurant. “Ahead of finishing the design, the landlords brought in their own acoustic consultant to take measurements. We had been given frequencies to work within and we would never break those guidelines. There was one anomaly that cropped up in their report, but it turned out to noise from an extractor fan! “We use always the right products for the job,” he explained. “It just happens that NEXO has, over the last year, been

meeting a very high percentage of our briefs, predominantly with the ID Series. The ID Series is a very aesthetically pleasing box as loudspeaker boxes go. It’s a good size and it’s a good specification. For this project, it met our audio needs and helped with the design needs, too.” A total of 21 ID24 cabinets in white are installed across the restaurant floor. “Even though they are positioned three-metres above the restaurant floor, the dispersion is excellent and, because we can angle them, we can have more control,” Guy continued. For example, zoning in the restaurant is done by speaker location. The ID24’s aim over and across the central island bar, so that staff are not impacted by high volumes, and there are corner tables with lower SPL. “Because of the number of loudspeakers


in the space, 21 in all, you never have to turn them up too loud.” The ID24 is tailored specifically for the installation environment. It is a full-range speaker using twin four-inch drivers in a V formation in combination with an HF compression driver. It has a unique useradjustable horn, easily rotatable without tools by a switch on the rear panel, giving 60º or 120º high frequency coverage. This allows high frequency horizontal dispersion to be ‘tuned’ for the given application. As the ID24 can be mounted vertically or horizontally using a range of fixing options, this effectively gives the user four different directivity options in each cabinet. Downstairs in the basement is Sophie’s companion, speakeasy lounge bar, Jack Solomons. Taking its name from a boxing gym - and its promoter - that was located in the building during the 1940’s and 50’s, the bar harks back to classic Soho and adds a dose of old school glamour - in complete contrast, yet still harmonious with upstairs. The entrance to Jack Solomons is quite well hidden from street level though, so it’s one of those outlets that you have to know is there, and you need to know the right place to knock to gain entry. The main bar oozes plush furnishing of leather and velvet and houses a full stocked bar specialising in whisky and cocktails. Adjacent, through a set of doors, which are generally propped open when the bar is in operation is a dancefloor, where guests can dance the night away to live bands and DJ performances. During the daytime, the venue doubles up as an event space, hosting conferences and small tradeshows, too.

The main bar at Jack Solomons houses more ID24’s, eight in total and in their traditional black. “Downstairs is set up for a more clubby feeling. So, we added a couple of NEXO ISS110e bass bins flown from the lighting grid which runs round the perimeter of the space.” The dancefloor area is home to another four ID 24’s and a single ISS110e subwoofer. A loudspeaker system so small that it has baffled visiting DJs. “Until they hear the output of these little NEXOs,” said Guy. “There is more than enough SPL for them to play with, and it was important to the venue owners that the aesthetic was maintained throughout all the discrete spaces.” The sound system across the two floors is powered by just three NEXO DTD1.3 amplified controllers, while processing goes through a BSS Soundweb London BLU-100 DSP before it reaches the NEXO controllers, followed by the loudspeakers. “The secret is that the ID24 cabinets are 16 ohms, which is a godsend. Using these 16 ohm units in conjunction with the new DTD1.3 amplifiers allows me to get maximum use of the processing - the whole system runs on just three amplifiers.” Simple volume controls -

three BSS Soundweb London BLU-3 wall controllers - were also put in place so that even staff are able to operate the levels. The music levels are taken very seriously, so it needed to be easily adjustable to obtain the right mood at any given time. All three areas of this venue are individually controllable due to the distinct set-up of each. Having been introduced to Sophie’s owners via The Inception Group - a London-based hospitality group that Guy has worked a lot with over the years - it was refreshing to see Rupert and Sophie taken on a similar approach to the group, giving Guy and his team, which also included Sales Director, Dave Crane, a free reign when it came to design. Obviously, everything was approved, but in terms of determining the best product for the job, Guy used his expertise and presented his findings. “I’ve installed so many of these that customers refer to them as ‘Guy’s speakers’!” he said. “Sound quality is what you’d expect from a NEXO badge, but reliability is also very impressive. I am able to promise the team at Sophie’s that they’ll never see me again, because this system will run and run and run.”

TECHNICAL INFORMATION SOUND 33 x NEXO ID24 loudspeaker; 3 x NEXO ISS110e subwoofer; 3 x NEXO DTD1.3 amplified controller; 1 x BSS Soundweb London BLU-100 DSP; 3 x BSS Soundweb London BLU-3 wall controller; 2 x Pioneer CDJ-2000 NXS2 multiplayer; 1 x Pioneer DJM-750 mixer


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Pacific Coast Entertainment use Elation fixtures to light large façade at the Children’s Hospital of Orange County.


The Children’s Hospital of Orange County (CHOC) in southern California recently celebrated the grand opening of the region’s only youth mental health wing. As part of the event, the building was lit in a brilliant wash of green - the colour of mental health awareness - using Elation SixPar series LED wash lights. Event production company, Pacific Coast Entertainment (PCE), was tasked with bringing the colour of mental health awareness to the entire CHOC campus. Under the direction of Jim Pari of event production company, RLM, PCE used more than 300 LED lighting fixtures to bring CHOC’s vision to life. PCE designers relied heavily on Elation Professional’s SixPar line of indoor and outdoor colour-changing LED PAR lights, as well as a multitude of LED battens, to light the varied aspects of the multi-story façade. PCE was hired to design, install, and then remove all aspects of the event. “They decided to light the entire campus to help bring awareness to the opening of the new children’s mental health wing and wanted to highlight the mental health colour of green. The project called for quantity and variety in fixture selection as well as a safe and secure method for temporary installation,” said Ryan Steidinger, CEO of Pacific Coast Entertainment. Elation six-colour SixPar 100, SixPar 200 and SixPar 300 LED PAR colour changers (7, 12 and 18 x 12-watt LEDs respectively) were used to canvas the facade of the building. “All of the lights were strategically located to be as hidden from the public view as possible, but to maximise the lighting effect on the building’s surface,” Ryan explained. “With a variety of surfaces including glass, concrete, stucco, steel, etc. we needed a versatile fixture that could maintain a consistent color green and have a variety of output options. We used the vibrant green straight from the SixPar’s LED diode; no other colours were mixed in.” The fact that each SixPar model fixture is available in a weatherproof IP65 and an IP20 version, as well as the variety of output choices available, were important factors in their choice, according to Steidinger. “This gave us maximum choice as we deployed the various units around the campus,” he said, adding that some of the IP65 versions were located in planters to be able to deal with the sprinkler system.



Following the announcement of an exclusive partnership with Mexico’s leading resort operator, Grupo Vidanta, Hakkasan Group’s world-leading lifestyle entertainment concepts have been introduced to Mexico for the first time at The Grand Mayan resort in Los Cabos.

The strategic partnership has seen the Los Cabos resort become home to four new concepts, which highlight the best in entertainment, dining and lifestyle in one luxurious location. The new venues - all of which are are open to resort guests, locals and visitors - include OMNIA Dayclub, Herringbone, SHOREbar and Casa Calavera. With such a grand, exciting vision in place, Grupo Vidanta and Hakkasan Group needed to put the plan into action - and so New York-based Rockwell Group was brought in so provide venue concepts and plans. From there, Audiotek was enlisted to help with specifying the technology. Audiotek’s Technical Manager, Chris Kmiec, takes up the story: “From the relationship Audiotek have with Hakkasan Group through our work with

them on OMNIA, Jewel, Hakkasan nightclubs in Las Vegas and OMNIA Dayclub in Bali, we were the obvious choice, really. “The brief for this project was to offer both the best audio in the region, as well as being directly comparable to the Hakkasan nightclubs in Las Vegas. Over the whole venue, the networked audio and control was very important in the brief - the ability to send audio anywhere from anywhere, as well as to time important changes in the music schedule across site.” Overall, Audiotek were commissioned to consult on the new sound systems in the four new venue concepts, as well as the hotel lobby, sky lobby, valet area and hotel walkways. Plus, the team were also asked to assist with the new amplification and networked audio to other hotel areas, including the breakfast room, restaurant and spa. Having worked on the OMNIA Dayclub in Bali, Audiotek knew just how to approach the Los Cabos venue, which overlooks the Sea of Cortez, offering pools, cabanas, VIP areas and a highenergy atmosphere wtith world-class DJs. For the Omnia Dayclub, Audiotek used a top-of-the-range L-Acoustics audio system, which Chris explained in further detail: “The main PA we used was four hangs of L-Acoustics


“The brief for this project was to offer both the best audio in the region, as well as being directly comparable to the Hakkasan nightclubs in Las Vegas.”

• Left Casa Calavera and Herringbone culinary concepts from Hakkasan Group. • Right The impressive OMNIA Dayclub.

KIVA II loudspeakers - six boxes per hang - with two L-Acoustics SM15m subwoofers under each hang. We also used a main sub array cluster in the front of the DJ Booth, consisting of six SB28 subwoofers. “The decision behind using four hangs of the KIVA II boxes was to try and keep the sound as directionally inside the venue as much as possible, due to the main hotel pool being located behind the end wall of the venue.” Elsewhere at the OMNIA Dayclub, six VIP cabanas had one L-Acoustics X8 loudspeaker each, with the VVIP twostory bungalows having an X8 on each level, too. “As a feature of the venue, there are two large fan-style structures over the bar and

VVIP Bungalows, so to fill in the main bar area and the VVIP private pools, three X8 loudspeakers were place on each of these structures,” Chris added. “Also two SYVA loudspeakers - one on each fan structure - were placed facing the beach area to provide the beds the same experience.” Finally, for DJ monitors, two of L-Acoustics’ X12 loudspeakers were installed in stereo, along with a single SB18 subwoofer. Adjoining the OMNIA Dayclub is the Casa Calavera restaurant, which shares the ambiance and energy of the venue, all while offering popular Mexican dishes and drinks. An L-Acoustics audio system was specified for new culinary concept from Hakkasan Group, too.

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“We have always been firm believers of the sound experience being one of the most important parts of live venues and L-Acoustics have always come out on top for the system of choice.”

“In Casa Calavera, with it being an extension of OMNIA Dayclub for certain events, we continued with L-Acoustics,” added Chris. “For the main bar area, two further X12 loudspeakers were placed on the walls with three SB15 subwoofers used underneath the stage. In the main dining area, we chose eight 5XT loudspeakers and a further two on the outside table area. Along the entrance corridor, another four 5XT boxes were placed on the walls. The system is powered using two LA8 and 10 LA4X amplifiers. Audiotek also worked on the Herringbone restaurant, which carries

the theme of California coastal cuisine, offering guests a dining experience that combines fresh, locally-sourced ingredients with inventive creations. To enhance the atmosphere in the restaurant, 24 Tannoy AMS-8 loudspeakers were installed, along with eight Tannoy VX10BP subwoofers, all of which are powered by Lab.gruppen E Series amplifiers. A Tannoy system was also specified by Audiotek for the SHOREbar, which is a casual, open-air pavilion offering handcrafted cocktail and light bites with pool and ocean views. To provide the sound, six Tannoy VX8.2 loudspeakers, powered


by Lab.gruppen E Series amplifiers, are used to great effect. In the lobby areas of the hotel, Tannoy CMS803DC ceiling speakers are used with Lab.gruppen E 8:2 amplifiers, providing the sound as guests enter the building. However, in the corridors and walkways of the hotel, Audiotek used 90 JBL Control 88M Planter loudspeakers. With the variety of venues at The Grand Mayan resort, the project was always going to be a complex one for Audiotek, as Chris explained: “The biggest challenge was the sheer scale of the site, with so many locations and the need for so much automation. All programming was done by Audiotek’s Rob Sherry, with many zones just switching on and off daily with no user input, while the installation itself was completed by Mexican installers, Dextra. “Other than that, we simply had to aim to provide the best experience with as limited noise pollution as possible. Through the use of multiple sources, rather than the traditional left-right hang setup, we minimised the sound spill from the venue.”

Having received the original brief in early 2017, plans and submissions moved fast from the beginning, resulting in the installation taking place in January 2018. The grand opening weekend - on 23-24 February 2018 - saw the resort host DJ Shift, Fergie, Steve Aoki, Zedd and Calvin Harris, among other local DJs. The final word goes to James Algate, Senior Vice President at Hakkasan Group: “With Audiotek having been Hakkasan’s audiovisual integrator for over a decade and following their successes with our other venues, they were the logical choice for this project. “We have always been firm believers of the sound experience being one of the most important parts of live venues and L-Acoustics have always come out on top for the system of choice; delivering amazing performances event after event. “Following the grand opening weekend at the end of February, we are extremely pleased with the results the system delivered.”

TECHNICAL INFORMATION AUDIO OMNIA DAYCLUB: 24 x L-Acoustics KIVA II loudspeaker; 12 x L-Acoustics SM15m subwoofer; 6 x L-Acoustics SB28 subwoofer; 14 x L-Acoustics X8 loudspeaker; 2 x L-Acoustics SYVA loudspeaker; 2 x L-Acoustics X12 loudspeaker; 1 x L-Acoustics SB18 subwoofer; 10 x L-Acoustics LA4X amplifier CASA CAVALERA: 2 x L-Acoustics X12 loudspeaker; 3 x L-Acoustics SB125 subwoofer; 14 x L-Acoustics 5XT loudspeaker; 2 x L-Acoustics LA8 amplifier HERRINGBONE: 24 x Tannoy AMS-8 loudspeaker, 8 x Tannoy VX10BP subwoofer, Lab.gruppen E Series amplifiers SHOREBAR: 6 x Tannoy VX8.2 loudspeaker; Lab.gruppen E Series amplifiers LOBBY AREAS: Tannoy CMS803DC Ceiling loudspeakers; Lab.gruppen E8:2 amplifiers HOTEL CORRIDORS: 90 x JBL Control 88M loudspeaker; Lab.gruppen E8:2 amplifiers

Photos by J ROSARIO



Craig ‘Shorty’ Bernabeu has gone one better with Analog BKNY, not only is it kitted out with his own analogue sound system, SBS Slammer, he also owns half of the club, too.

With a glittering history on the international club scene, Craig ‘Shorty’ Bernabeu has designed and installed his own analogue sound systems - formerly Systems By Shorty and now known as SBS Slammer - at venues around the globe. His first sound contract in NYC was at Twilo as the onsite sound tech and engineer. After Twilo he was a sound engineer for Def Mix and Grammy producer DJ David Morales, years later David asked him to redo Stereo in Montreal Canada from top to bottom, a club bought by David Morales. From there, Craig went onto fit Gspot in Shanghai China with a custom hifi Analog SBS Slammer, then Stereolab in Singapore. Over the years though it has always been other people’s clubs that Craig has designed or over hauled, Never his own… until now. But first, let’s travel down memory lane a little. “In the ‘80s, my [now business] partner Michael Bruno aka DAS Bruno and I met and worked in a record store in NYC called Downtown Records on 6th Avenue. It was the best store in the city selling 12-inch records

• Above The SBS Slammer system in all its glory.

to all the DJs and superstars. After I left the store, I went onto work in recording studios and then to working in clubs doing sound - maintenance, repairs and engineering - at Club Zanzibar in Newark, New Jersey, for a sound firm, then onto Twilo under Phil Smith and Steve Dash of Phazon,” Craig explained. Fast-forward to 2010 and Craig was asked by Ray Trosa to design a space in Long Island City, New York and it was there that he met up with Michael again after almost 30 years. Michael had his own club in Brooklyn and invited Craig into a partnership but at the time declined. Their paths crossed again in 2015 when Craig was undertaking the Liberty Theatre in NYC. He had already started work on developing a mobile rental system, still adamant he didn’t want to be a club owner in today’s club climate. but after a few conversations with Michael and also a call from Chris Starapoli aka That Kid Chris about the space, Craig went to visit the club on


TECHNICAL INFORMATION SOUND DANCEFLOOR: 4 x SBS Slammer Series I v3 full range loudspeaker; 8 x SBS Slammer FLH 218F subbass horn; 2 x SBS Slammer STA 371F high frequency array; 1 x SBS Designs SP-1 Pro high fidelity valve expander; 1 x SBS Designs S3x system crossover; 1 x SBS Slammer SX3 Prototype full range analogue two-way, three-way crossover; 2 x White Instruments 4400 full range EQ; 3 x SBS Designs S2 Pro Prototype Class AB amplifier;2 x SBS Designs S6 Pro Prototype Class AB amplifier; 4 x Crown MA 5002VZ amplifier; 1 x Ashly GQX EQ DJ BOOTH: 4 x Pioneer CDJ-2000 NXS2 multiplayer; 1 Pioneer DJM TOUR1 mixer; 1 x SBS Designs Bad Neighbor Lpad bass processor; 1 x SBS Thrive Audio Bender Prototype Gyrator Circuit Program EQ; 1 x SBS Designs Iso-Q2 Focusing EQ; 2 x SBS Designs Membrane external pre amp; 1 x SBS Designs SP-1 high fidelity valve expander; 1 x Urei 1620 with external power supply; 1 SBS Designs S3x threeway crossover; 1 x Bryston 10B booth full range crossover; 1 x SBS Thrive Lena Class AB amplifier; 2 x BGW GT 5600 SBS modified on RCF 5215 full range speaker; 1 x SBS Thrive Custom Iona/Maya on SBS Slammer SL34 sub horn; 1 x Ashly GQX 3102 EQ; 3 x Schiit Modi Multibit DACs; 2 x Lavry DA10 spare converter LIGHTING 1 x MADRIX software running on an Alien PC; 4 x ADJ LED Retro Sweep fixture; 6 x Martin by Harman Mania SCX700 scanner; 12 x LED moving head; 1 x High End Systems Hoglet 4 console /

“SBS Slammer by SBS Designs offers unique one of a kind designs so it has its own voicing that no other system has, doing it in the analogue domain is one thing, the solid state and valve processing I offer is totally different than anything else, is another.”

Brooklyn with Michael and immediately fell in love with the space. Sparking fond memories of Twilo and Sound Factory, Craig partnered with Michael and Analog BKNY was born. “Previously, the name was 177, but it didn’t fit for the club space,” he explained. “I wanted to use Analog - a name my father chose, he told me, ‘when you open your club that’s the name you should us’ - because my system is analogue, it’s the technology I use and then the BKNY comes from Brooklyn, New York.” The venue is constantly undergoing tweaks to ensure the best possible sound is delivered to clubbers. Craig refers to Analog BKNY as a showroom for his latest technology creations, which are manufactured using well-known components. “It is a proprietary SBS Designs and SBS Slammer set up in the club, showing my latest 2018 SBS Designs Pro Series Class-AB amplifiers and SBS Designs Iso-Q2 exclusive membrane preamps to bypass the output stage on mixer for the widest frequency respectively, which are both solid state and SBS Designs SP-1 and SP-1 pro valve processing, with SBS Slammer Series I v3 loudspeakers with SBS Slammer processing,” he said. The space has a lighting grid with

moving heads that Michael designed, so the Series I SBS Slammer stacks had to clear it, Craig designed it to clear it by just one-inch. He wanted to do quad horn loaded 15’s but didn’t have the height, so instead he settled on a triple 15’s offering three of the SBS Slammer Series I Slammer 15-inch bass horns per stack based on the Altec Lansing Stanley Screamer, but upsized. “I then used a 110º DDS horn, which DDS customised for me so material wise its different to a normal DDS horn. Then for subwoofers I used two of my SBS Slammer FLH 218Fs coupled so it’s four 18’s horn loaded, per stack. There are also two SBS Slammer STA 371F high frequency arrays in the centre of the grid hanging on chain. When you see the room it’s a perfect look for the raw space,” he explained. The four stacks are positioned in the corners of the room. The sound doesn’t fall off anywhere and there is no cancellation, even coverage throughout no matter where guests are stood on the dancefloor or which direction clubbers are facing. “The sound envelops visitors to Analog BKNY and hugs them with the finest fidelity with my HIFI analogue processing and Class-AB amplifiers,” said Craig. “Because of the way I design it, not the highest SPL, but pure, high


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• Top The view across the dancefloor from the DJ booth. • Above left The Pro Series racks. • Above right SBS Slammer DJ console.

fidelity and dynamics, you can stand and talk over the music right in front of the stacks without ear fatigue / ringing ears. It’s much healthier because it’s a gentle system and after hours you don’t feel like you were even in a club. “SBS Slammer by SBS Designs offers unique one of a kind designs so it has its own voicing that no other system has, doing it in the analogue domain is one thing, the solid state and valve processing I offer is totally different than anything else, is another. The amplifiers are made to spec that offer the best specs, widest frequency response, and a 10 year warranty and are all hand made. Approximately, 90% of the manufacturers are in the digital domain so it sounds totally different. I do 98% all horns unless its a small application. My approach is against the grain so to speak by today’s standards. “The main mixer is a SBS Slammed original Urei 1620 with SBS Designs

Membrane ext pre amps only two exist for Analog BKNY, they are my outboard pre amps to bypass the output stage of a mixer, everything is done in separates. The Pioneer DJM TOUR1 mixer is also at home in our booth and I believe we are the only club in North America or 1 of only two clubs in the USA with the DJM TOUR1,” he continued. Craig describes the biggest challenge of fitting out Analog BKNY as the cement dancefloor, which was required to ensure the sound system responded in an all analogue layout. For the club to achieve playback and the sound to respond as though there was a wooden floor and cinder block walls was tricky, but Craig was able to counter act the acoustical issues thanks to dealing with a similar situation on a previous project. With Craig more than equipped to take care of the audio element, partner Michael turned his hand to the lighting side. The striking grid on the ceiling

comprises LED pixels that are controlled using MADRIX software running on an Alien PC. Intelligent lighting fixtures include four ADJ LED Retro Sweeps behind the DJ, 6 Martin by Harman Mania SCX700 scanners and 12 LED moving heads that spin 360º to create dramatic effects on the dancefloor. The fixtures are controlled via a High End Systems Hoglet 4 console. A huge 4ft mirrorball also hangs over clubbers, which can be moving up or down as it is attached to a motor. Now with his own club under his belt, what’s next for Craig? Whatever it might be, no doubt in will remain in the clubbing world, as its engrained in his DNA. One thing is for sure, he’ll continue to update Analog BKNY so it’ll always be a showcase for his latest creations and so he can deliver the very best analogue experience for his guests.



The Lion King on Broadway celebrated its 20-year anniversary with a KV2 Audio upgrade.

Minskoff Theare, named after one of New York’s distinguished real estate families, Sam Minskoff and Sons, is one of The Nederlander Organisation‘s nine Broadway theatres. Opening its doors in 1973, the theatre recently went under an extensive six month upgrade in order to welcome one of the most popular stage musicals in the world, Disney’s The Lion King. The internationally acclaimed and highestgrossing Broadway production of all time celebrated its 20th anniversary on Broadway last year. The 20th anniversary system overhaul was a collaborative design effort by Steve Kennedy, John Shivers, Hugh Sweeney and David Patridge. As the show did not halt performances for this overhaul, the team had to install the system in phases on ‘dark days’, so as to not disturb the performers and show times. The Minskoff Theatre is situated in the very heart of New York’s Times Square, with spectacular views across the urban landscape. As you enter the room, the large size is immediately striking, as Broadway houses can often be quite small in comparison.

Where typically a large format line array system might have otherwise been applied in an equivalent sized installation, the physical size of the KV2 system appeared very neat and surprisingly unobtrusive in the room. The main system, is a dual hanging A/B left and right comprising ESR215 full range three way cabinets, with a centre cluster of four SL412 loudspeakers. The balcony delays are again an A/B L+R hang of ESR212 with an A/B centre cluster of two SL412 loudspeakers. As underbalcony fills and throughout the theatre there are hangs of EX6, ESD6 and ESD10. On his experience with the system, Mixing Engineer, Alain Van Achte, said: “The detail and accuracy of the KV2 system makes mixing the show easier and more rewarding. I am able to hear more nuances and respond accordingly. As if I were listening to reference monitors for example. I am confident that with the KV2 system I am delivering the soundscape that has been envisioned for The Lion King.” The decision to hang the system with a dual hang configuration was to maintain many of the original design concepts,


one of which was the A/B speaker system design. Offering the advantage of minimising the phasing effect that occurs when two open omnidirectional microphones are presented to the same physical speaker cabinets at the same time. This production marked the tenth show design for John using KV2 and now represents a history built on success implementing the product. On these repeated specifications. “I have been a fan of KV2 since I first heard and subsequently specified them on the Stage Entertainment production of Das Wunder Von Bern in 2013. The point source design offers precise clarity and musicality that few if any other profession speaker systems currently achieve,” John commented. This questioning and re-education of the best approach to modern day system design in theatre sound is one that KV2 users are regularly undergoing, with results confirming that point source technology, when executed well, is the superior approach to achieving transparent natural sound. “Co-founder of KV2, George Krampera Sr, has one of the largest anechoic testing chambers in Europe and is meticulous in ensuring that drivers, horns, cabinets and amplifiers work together to provide a series of speakers which are second to none. I would say it is the attention to meticulous

detail which differentiates the KV2 loudspeakers from the rest,” added David. “KV2 speakers are designed as a comprehensive system of custom components, cabinet designs and amplification with a holistic approach. George Krampera Sr. has a long track record as a transducer designer and even his historical designs for manufacturers (such as RCF and B&C) are very much in demand by other loudspeaker manufacturers. When compared to deploying a line array system, KV2 offers similar coverage and SPL, but with a greatly reduced physical footprint, weight and cost,” David said. On completion, John remarked: “We have received positive comments from pretty much everyone involved with The Lion King‘s 20th anniversary. Mark Mancina, composer, and Dave Metzger, orchestrator, both commented that the sound of the production was the ‘best we have ever heard on any production of The Lion King’. This is nothing new of course… frequently, fellow audio professionals, musicians, producers and audience members hear KV2 speakers and comment on how amazing they sound.” “The Lion King and much of its success can be attributed to the beautifully composed, orchestrated and executed music. The subtlety, nuance and wide dynamics in the score, vocal arrangements, orchestrations and effects all

lead to an evocative and at times visceral experience. The newly installed system enables us to accurately present every detail as it was intended. The KV2 system reveals every nuance,” he continued. In addition to the flagship New York City production, The Lion King is also touring America with KV2’s EX and ESD lines. The Broadway production continues with eight performances a week to consistently sold out crowds.

TECHNICAL INFORMATION SOUND 8 x KV2 Audio ESR215 loudspeaker; 6 x KV2 Audio SL412 loudspeaker; 4 x KV2 Audio ESR212 loudspeaker; 28 x KV2 Audio ESD6 loudspeaker; 4 x KV2 Audio ESD10 loudspeaker; 5 x KV2 Audio EX6 loudspeaker; 3 x KV2 Audio SL3000 amplifier; 6 x KV2 Audio ESP4000 amplifier; 2 x KV2 Audio ESR2800 amplifier; 4 x KV2 Audio ESR3000 amplifier


Photo © Ben Hunt

Queensland’s Empire Theatre enlisted Robert Juliat’s assistance for the ultimate cyclorama.

Built in 1911, rebuilt in an art deco style in 1933 following a fire and finally restored and reopened in 1997, the Empire Theatre has served as an entertainment hub for Toowoomba and the surrounding areas for over 100 years, playing an integral part in the cultural development of the region. When Ben Hunt, Head of Lighting at the Empire Theatre, Toowoomba, in Queensland first fired up their new Robert Juliat Dalis LED cyclorama lights, his first impression was ‘finally we’ve found something up to the task’. “It’s no secret that to light a cyclorama with conventional asymmetrical floods is going to require some serious power along with its consumable lamps and colour filters - especially when you’re lighting a fourteen metre by nine metre cloth,” commented Ben. “That task had been dealt with by 16, four-cell Selecon Aurora cyc floods and you could hear the power meter groan every time we flicked the switch on!” Ben added that the theatre had been looking at the LED cyclorama light market intently for the last few years waiting for the right product to pop up

that would allow it to light its cyclorama with a quality light, but also give them ultimate flexibility on how and where they use them in the precinct across their venues. “We wanted something that could light a cyclorama one day, light a threeact ballet with multiple scenic cloths the next and finish off the week in another room theming a corporate function; something that would require a special unit to achieve.” Ben and his team decided to test all possible product contenders onsite so they could properly evaluate them in different usage scenarios and spacing options. “During the shootout phase, there were several things that we really wanted to see from the unit of choice,” he explained. “Firstly, it needed to be bright enough to light our large cyclorama, even if ground row wasn’t installed it should be able to hold its own. It also had to be able to light multiple cloths on multiple bars at different depths from the one lamp location. This


© Ben Hunt

really set the testing units apart. It had to be quick to install/uninstall and move about the precinct and it needed to provide a superior quality of light control and additive colour mixing.” According to Ben, the Dalis 860 cyclorama light was the only unit on test at the time of the shootout that could tick every box, a true standout. Consequently, the theatre purchased 20 Dalis 860 cyc lights along with clamps cases and cables to suit. The units are configured in 10 top cyc and 10 ground row as default but can be reduced to eight and eight to allow for other units to be used elsewhere on the precinct. Upon using the new product, Ben was immediately struck by its build quality and ergonomic design. “When you first pick one of these units up, without even having powered them up you can tell that Robert Juliat have really outdone themselves,” he remarked. “It’s the simple things like its footprint in a fly space, its exterior robust construction and its quick release rigging system that makes putting it in varied configurations a breeze.

Obviously, its light quality and its eight colour mixing system is impressive, but also take them off the bar and its standalone features allowing you to quickly set a fixed colour temperature and throw the units in for a photoshoot really adds in the units flexibility around the precinct. “The unit’s network DMX options also help in managing its parameter footprint in a way that allows us to quickly change from their full out fourcell 16-bit mode (72 channels a unit) to a touring DMX merge that we can give an operator their simple red/green/blue/amber if required. Going from 16 channels of conventional cyclorama control to over 1,400 needed to be simple and not a ‘scary’ concept.” Designed to deliver powerful, smooth coverage and a huge variety of pastel and saturated colours, the Dalis cyclight offers silent operation, which is perfect theatrical applications.



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InfoComm June 6-8 Las Vegas, USA

InfoComm 2018 is the largest professional audiovisual trade show in the US with thousands of products for audio, unified communications and collaboration, display, video, control, digital signage, home automation, security, VR, and live events. InfoComm 2018 is produced by AVIXA, The Audiovisual and Integrated Experience Association. This year, InfoComm is introducing the new Integrated Life content program and exhibition. Integrated Life @ InfoComm 2018 comprises a special track of workshops and sessions, plus

a dedicated area on the InfoComm 2018 show floor, for spotlighting smart building, smart home, mobile, security and related audiovisual solutions that create integrated experiences wherever people use technology. Also at the exhibition will be developers of C2 Montréal, a ground-breaking business conference merging commerce and creativity, who will bring their innovative brand of immersion and collaboration to the InfoComm show floor. Imagined by world-class agency Sid Lee in collaboration with founding partner Cirque du Soleil, C2 International was established to help businesses foster a culture of innovation and creativity. C2 events attract thousands of decision-makers across continents and industries for talks, workshops, extreme brainstorming sessions, meet ups,

performances and other festivities. Center Stage will return for 2018 too. he Center Stage sessions will explore how to increase audience engagement through personalized and immersive experiences by way of augmented reality (AR) and virtual reality (VR), wearable technology, human-centered user interfaces, and more.Leading thinkers and practitioners from the fields of entertainment, enterprise, education, and hospitality, such as Huge, Bravo Media, PixMob, FreemanXP, The Salk Institute, Local Projects, Patten Studio, and Marriott International, will take the stage (booth N1646) to present free, 20-minute sessions throughout all three days of the InfoComm show.

ADJ Design Series Video Panel System Stand No.: C3428 → Four different LED Video Panel shapes: square, rectangle, triangle and circle. → Be more creative in building custom video panel systems. → Full system of accessories: road cases, rigging bars, cables and connectors. → 4.8mm Pixel Pitch → Brightness: 1,200 NITS

Community I SERIES Stand No.: C872 → 5˚ and 15˚ two-way elements and an 18-inch subwoofer. → Modular design allows configuration flexibility from constant curves to straight arrays. → Community’s exclusive Passive Acoustic Optimization (PAO) module integrated within EASE Focus 3 recommends individual cabinet and HF attenuation level settings and calculates cabinet splay angles and overall array tilt. → Built-in 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. → Designed for permanent installation with multiple rigging options and indoor/ outdoor models available.


Disguise The Solo Stand No.: N522 → Introducing the newest disguise server: the solo. Compact and powerful, perfect for everyday shows and projects. → Re-engineered and rethought for the next generation of content creation, the solo is a 2U standalone server, built for the everyday show or project. → The disguise solo comes pre-installed with the same award winning software featured across the disguise product line. → The solo base unit can be configured to include HDMI and SDI capture, as well as featuring Pro Audio and 10GB ethernet ports 2x 4K outputs, fixed storage 2TB SSD and full redundant capabilities. → The solo is the natural progression from the disguise 2x2plus, future proofed for evolving industry needs with a significant increase in power and outputs resolution, plus even more storage and flexibility in order configurations.

EAW RADIUS Stand No.: Booth C352, Demo Room N116 → EAW adds new line array and subwoofer to the RADIUS series of loudspeakers → The 2 x 12-inch two way RSX212L line array module and the 1x 18inch RSX18F array able  → Both utilize EAW’s proprietary Focusing and Dyno technologies → The RSX212L features three-point rigging, a new flybar, caster pallet and cover designed for quick deployment and pack down → The accompanying EAW mosaic application tackles prediction, control and monitoring for all RADIUS enclosures

Green Hippo Hippotizer Montane+

→ Includes Notch Playback License with 27,308 Notchmarks → Unlimited mixes across 16 layers → SHAPE 3D Mapping with real-time 3D model mesh editing and projector alignment tools. → Uncompressed playback utilizing the FlexRes family of codecs → 2x DP 1.2 outputs, capable of multiple 4K displays or 8x HD displays using Output Splitters.


Meyer Sound Ashby Ceiling Loudspeaker Stand No.: C1356 → → → → →

Self-powered with accurate, consistent sound reproduction. Unparalleled linearity among all ceiling loudspeakers Concentric speaker design that iffers a smooth, even 100 degree pattern Versatile capabilities from speech to rich bass Flush-mount grill offers discretion in any environment

Panasonic Panasonic Business Stand No.: 3185 → Come and see our new RQ22 high brightness 4K Laser Projector → Introducing new RZ120, RZ870 – more brightness for 1-Chip DLP Laser Projectors → Additional new three-chip DLP lenses added to our line up → New 4K Display Range will be showcased.

RGB Link X Series Stand No.: N2422 → Dynamic video wall solutions → Connect up to 40 displays to one processor → Modular design – wide range of user fit signal options → Multi-mode operations from seamless scaling matrix to presentation processor. → Multi-signal, multi-layer, multi-window powerful scaling solutions


ROE Visual Sapphire LED panels Stand No.: N2014 → Unique concept: Using separate frames and panels offers effective use of production time and cost-effective panel hire. You can build your frames first and add the panels in a later stage, thereby also protecting the valuable electronics during set-up of the hardware. → Expanded creative design: The distinctive installation concept, using intersecting frames, creates several design and installation options, like rectangular, trapezium or other creative shapes, without the need for additional hardware. → Intersecting frames: Sapphire offers seamless assembly through its system of intersecting layers, opposed to the traditional rows and columns. This removes the vertical breaking lines and makes the display one solid assembly, using less hardware and applying less force to the individual panels. → Durability: The LED panels have a Front Protection Treatment for damage prevention, reinforcing the edges and corners of the individual boards. This will enable you to keep your panels in a flawless condition over a longer period of time. → High-res platform: Sapphire is a high-resolution platform that will accommodate multiple resolution types within the same hardware frames. The launched Sapphire panel has a resolution of 1.5mm.

Timax Immersion Zone Stand No.: Demo Room N101 → The TiMax Immersion Zone spatial reinforcement and immersive audio experience lands at Infocomm 2018, in conjunction with Renkus-Heinz. → TiMax 500Series featuring StageSpace is the latest release for the globally renowned and evolutionary TiMax SoundHub spatial audio suite of products. → TiMax StageSpace groundbreaking AutoCalc tools provide automatic rendering of adaptive spatial audio objects for Performance, Presentation and Experience sectors. → AutoCalc adapts to a wide range of room and loudspeaker topologies, automatically compensating for relative audience distance and position. → TiMax spatial audio object Image Definitions are fully user-editable for essential fine-tuning and creative control, delivering unparalleled precision and flexibility.

XTA DPA Digital Processing Amplifiers Stand No.: C476

→ Quad channel amps with full front panel controllable XTA processing including FIR filtering. → Powers from 4 x 1,000W up to 4 x 3,700W plus stereo DNA amp at 2 x 7,000W. → Four analogue, AES or Dante inputs, 4 processed amp channels plus four independently processed aux outputs to drive traditional amps and output onto network. → Ethernet control, USB and RS485 – all new AudioCore Amped Edition, plus bespoke iPad app. → DNA Series offer same power amp levels, minus DSP but still with Dante inputs for easy cost effective system expansion.

110 EX P O

• Tim from Harmonic Design

• Pierluigi and Veronica of DTS

• LSS team

• Demo on the Absen booth

• LED BLADE stand

• John and Heather Penn of SSE


Another year, another Prolight+Sound (PL+S) and all eyes were on the show this year as it continues to battle for the top spot. Having lost some significant brands in recent years, the pressure was on to ensure no more make the decision to pull out. Generally speaking, the lighting and video companies seemed happy with the show and the turnout, but not all audio companies felt the same. Organiser Messe Frankfurt, also announced there would be yet more hall changes for 2019, moving audio back into hall 8, but leaving lighting and video in halls 3 and 5. For us, keeping all elements of the show together, makes the most sense, and it would appear a lot of exhibitors agree. The decision to move Musikmesse back in line with PL+S though - instead of just overlapping by a couple of days - was welcomed, as it means companies that exhibit at both can be more cost effective

• The Eurotruss team

and efficient with staff. With split opinions, it appears the jury is still out on this one. Highlights from the show floor this year: ADB organised a party with industry peer, Clay Paky and its common parent company, OSRAM, and above all, showcased its innovative booth with all the most significant products on display. Absen, presented its NXTGEN technology featuring the recently unveiled Polaris and Altair range for the rental market. Also on show was the company’s new COBALT platform featuring Absen Chip-on-Board (COB) encapsulation technology and NanoShield technology alongside its HBB (High Brightness Black) with Common Cathode LED driver technology solutions. The NXTGEN COBALT technology has been specifically developed to meet the demands

of NPP LED in live event rental applications. Absen has developed the Polaris Series with COBALT, providing exceptional product stability, as LEDs are surface bonded and solid-state. Low surface point temperatures and advanced heat dissipation technology delivers 50% lower pixel failure than traditional SMD LED. Adam Hall Group presented its comprehensive range of products from the pro audio, lighting, stands and stage equipment sectors. This included the LD Systems CURV 500 TS compact touring array system with all-round capabilities. Equipped with four array satellites (two duplex satellites with twin-speaker configuration and two single satellites), the CURV 500 TS has a narrower vertical dispersion for projecting a suitably punchy and dynamic sound, even to the rear of the audience.

• The LDR booth duo

• The Void stand

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• Mark Cooper of SES

• The Tasker men

• The Verlinde stand

• AOTO’s Michael Huang with Jamie of mondo*dr

• ETC’s popular press call

Adamson Systems Engineering reinforced its focus on its global education strategy with the formal introduction of its Advanced Certification training programme at PL+S. The new training initiative builds on Adamson’s Applied Certification programme, which over the past eight months has been deployed in over 30 countries and attended by more than 1,000 technicians. The Advanced Certification course delves deeper into aspects of design and control as well as discussing electro-acoustic concepts and applications. ADJ once again made a serious impact at this year’s PL+ S with six0º new products. These included the Vizi CMY 16RX, the Entour Faze, PAR Z120. Also seeing its worldwide debut of a new range of weatherproof ADJ LED Par fixtures; the 7P HEX IP, 12P HEX IP and 18P HEX IP. All feature a distinctive metallic casing design with an IP65 rating, making them suitable for use both indoors and outdoors regardless of the weather conditions. Alcons Audio once again ventured to PL+S, deploying a LR28 larger format line array system for PRG’s demonstrations in Messe Frankfurt’s Festhalle. The system comprised 20 Alcons LR28/80, 4 LR28/110 wide dispersion

• Mary Beth and colleage from L-Acoustics

• --

• Fabio from Area Four Industries

modules and 18 BC543 very high output cardioid subwoofers. The company also demonstrated the LR28 in Hall 3.1 as well as launching the VR5 ultra-compact versatile monitor also attracted a very positive response. Allen & Heath and Shure announced a new collaboration to enable native monitoring and control of Shure’s ULX-D and QLX-D wireless systems from Allen & Heath’s flagship dLive digital mixing systems. With the upcoming release of dLive V1.7 firmware, engineers can monitor supported Shure wireless systems without leaving the mix position. All essential wireless information, including mutes, signal level and battery bars, is visible from bank screens, allowing simultaneous monitoring of multiple channels. Amadeus, debuted a new hardware processor system, HOLOPHONIX, designed for live sound specialisation and immersive experiences. The HOLOPHONIX processor brings together several different specialisation techniques including wave field synthesis, high-order ambisonics, distancebased amplitude panning, and more, enabling intuitive placement and movement of sources in a 2D and/or 3D space. Analog Way showcased its range of premium media servers and high-end video processing

• Core Lighting booth

• Peter Peck of Wharfedale

• Nexo’s Gareth and Florian

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• Haze Base booth

• Ma • Michael of Laser Animation

• Steph and Amy of Sound Marketing with the Pioneer Pro Audio team

• The Portman Lighting team

• Full Fat Audio

• Adam Hall’s Nikke and Anna-Rose

• DiGiCo launched Quantum 7 processing

solutions at PL+S. Throughout the show the company organised demos showing how Analog Way portfolio of video processors and media servers helps create mission critical highperformance presentations and large-scale digital signage projects. The stand highlights included several models from the Picturall Series, the high performance heavy-duty media servers and LiveCore series, its 4K multi-output seamless switchers and video wall processor. ArKaos revealed its innovative new AnKi scheduling system. An-Ki is a new tool for scheduling and monitoring the ArKaos MediaMaster platform, enabling mapped video or LED installations to be maintained from anywhere in the world via the potential of the ArKaos cloud. Working over the internet, An-Ki enables digital content appearing as projections, or creative media on any LED mappable surfaces or devices to be updated, synched and tweaked in just a couple of clicks. In addition to showcasing its solutions at PL+S, Amptown Systems Company hosted a ‘women in technology’ event to celebrate ladies in the industry, gaining support from other companies such as VPLT and Schnick-Schnack-Systems. Astera showcased its AsteraApp, a unique application for professional entertainment lighting control and management. It provided professional-level control over Astera-based fixtures by connecting the phone/tablet to the AsteraBox via Bluetooth which then relayed the command to the battery operated fixtures via radio frequency. Astro Spatial Audio (ASA) brought its brand agnostic approach to true object-based immersive audio at this years show. Throughout the show • The Astera booth

• Data Strategy’s Iain Roche

the company highlighted the deep integration between ASA’s SARA II Premium Rendering Engine and third-party systems including TTA’s Stagetracker II next-generation performer tracking, Alcons Audio loudspeakers, and QLab playback automation software. In addition, ASA debuted the new v4.0 software, incorporating substantial improvements in loudspeaker management, matrixing and show control. Audinate introduced Dante AVIO, a family of cost-effective endpoint adapters that enable audio professionals to easily connect legacy analogue and digital audio equipment to Dante networks. The Dante AVIO series features six new adapters including line-in and line-out analogue adapters, a bi-directional AES3/EBU adapter and a bidirectional stereo USB adapter. Each Dante AVIO adapter acts as a completely independent Dante network device, allowing legacy gear to enjoy the benefits of networked audio. Audio-Technica added the ATH-M60x on-ear professional monitor headphones to critically acclaimed M-Series Line at this year’s PL+S. Designed for studio, broadcast and mobile applications, the ATH-M60x is a low-profile, on-ear professional headphone model that utilises the same proprietary 45mm large-aperture drivers found in the ATH-M50x delivering exceptional clarity throughout an extended frequency range with accurate bass response. Aura Audio was delighted to introduce A28C, a continuum to the revolutionary A28 Subwoofer at PL+S 2018. Featuring two 18-inch drivers and patented Passive End Fire Technology in half the enclosure size this subwoofer sets a benchmark for compact cardioid subwoofers in the high power category. • The Harlequin booth

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• Malte from Focon distributer of PR Lighting

• The Vectorworks team

Avid was at this year’s PL+S to show off its latest live sound and studio solutions, including the VENUE S6L, the company’s modular and scalable live sound system that offers unprecedented processing capabilities - with over 300 processing channels. Also on show was Pro Tools S6 systems, as well as the Pro Tools MTRX interface. AV Stumpfl presented its new projection screen system leg, the T-32 Shift, alongside a broad lineup of innovative projection. The T-32 projection screen makes it possible for just one person to easily adjust a mobile projection screen’s height, without having to disassemble it first, taking less than five minutes to assemble and adjust an AV Stumpfl mobile projection screen system. The company also showcased several of its highperformance media servers such as the new Wings Vioso RX 2.2 as well as the Wings Engine STAGE media server and the Wings Engine RAW 8K. This year Avolites was pleased to announce its new compact media server, the Q3 along with its light and video integration feature set, Synergy. “The response from the international team was excellent,” said Sales Director, Koy Neminathan. Key features of the Synergy platform include the ability for users to connect and configure its Ai media server from the Titan interface. The Lightmap feature allows users to stream Ai video colour data through any fixture group to instantly integrate them into a larger video canvas. “The Avolites Academy was also an area of key importance as we are now rolling out certified Avolites training via our global distribution network,” added Koy. Ayrton premiered the Mistral TC and MiniBurst at PL+S. The 300W white LED Mistral TC spot fixture is the latest, much-anticipated new • James and the Cadac team

• The Showtex team

development in Ayrton’s Automated Luminaires range, with the MiniBurst graphic strobe is the next luminaire to undergo the miniaturisation treatment of Ayrton’s highly successful Creative Solutions range. Beyma introduced several new products at this years PL+S, including new high performance subwoofers, woofers and small compression drivers. Joining the concept and design of its successful 18LEX1600Nd, this year two new high performance subwoofers were launched, the 21LEX1600Nd and 15LEX1600Nd. This year BroadWeigh debuted several new pieces of kit including TwistLink, updated Wind Speed Sensor and a new advanced handheld. The TwistLink, which will be available to customers in Quarter 2, is a smart piece of kit that allows a 4.75 tonne BroadWeigh shackle to be connected to a 3.25 tonne or 4.75 tonne shackle without having to mess around with the pin, nut and clip. Meanwhile the new Advanced Handheld (BWHA) will bring additional functionality to the BroadWeigh system by expanding its standalone monitoring capabilities. Cadac celebrated its 50th anniversary with the launch of the latest model in its CDC digital console series. CDC offers a compact mix solution of unparalleled quality and power for small-tomedium sized production companies, freelance mix engineers and fixed installations. Also being shown was the CDC seven-s, the company’s new flagship CDC console. Also shown during the week was Cadac’s new medium format I/O stage box and the NetCOMMS programmable PC control software for the CDC MC Router. CAST BlackTrax announced Version 2.3 of its unique BlackTrax real-time tracking system that • Elation’s Eric and Larry

• Bob and Jack of D.A.S. Audio

• The Clear-Com booth

• Proel at PL+S

• Sebastian and Christian of MADRIX

• Green Hippo’s Matt, Anastasia and James

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• The Chroma Q booth.

• The Le Mark ladies

• The Roe team

• Chauvet Professional’s Michael, Albert and colleague

• Juan-Jose of Equipson

• Eric of Minuit Une

• ADB products on display

• A busy FBT stand

can help bring new levels of creativity to designers of impactful, complex and memorable events. “The new features bring even greater accuracy, flexibility, and reliability to a system that has been at the heart of over 8,000 shows around the world, and they allow designers to achieve even more spectacular outcomes,” said Marty Cochrane, BlackTrax Product Manager. Celestion has added two new additions to its CF range of cast-aluminium, ferrite-magnet drivers for tour sound and fixed install applications. The 500Wrms, 12-inch CF1230F has a nominal sensitivity of 98dB (1W, 1m). With a three-inch, copper-clad aluminium voice coil it is particularly suited to bass applications in two-way and three– way systems. During this year’s show ChamSys announced the new QuickQ console. The new consoles is designed to put more powerful lighting control in the hands of students, theatre/house of worship volunteers, and programmers, regardless of experience level or budget. Available in three models, QuickQ consoles feature an intuitive smart-phone-like interface, and a conveniently large 9.7-inch touchscreen. Helpful prompts and videos accelerate the learning process, making it easy even for inexperienced users to set up,

• Valerie from PRG• --

• James of Peavey

programme and operate the console. Among the console’s user-friendly features are easy-tounderstand buttons and faders, simple colour selection menu, readily accessible intensity control tools, and fingertip controlled zooming and scrolling. This year Chauvet Professional, gave visitors to its booth a first hand look at the new Maverick Storm 1 Wash, an IP65-rated LED moving fixture, the STRIKE P38, an IP65-rated compact warm white LED blinder/strobe and the COLORado Solo Batten, an IP65 RGBAW LED fixture that produces a seamless and unique edge-to-edge homogenised appearance without visible round ‘eyes’ or pixels. “The new fixtures allow us to offer more versatility in three very important series of products that designers have come to depend on,” said Albert Chauvet, CEO of Chauvet. Chain Master showcased the Jumbo lift, which is capable of lifting 12,000lbs. Also showcased were load monitoring, variable speed hoists, controllers and wireless control devices for operating hoists. The new Chroma-Q Studio Force II, a high intensity tuneable white wash light, made its European tradeshow debut at PL+S. The Chroma-Q stand also displayed award-winning products such as the Color Force II RGBA LED

• The Analog Way stand

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• Powersoft’s Sandro and colleague

• The AV Stumpfl team

• The PR Electronic booth

• ENTTEC had a busy show

• The ArKaos team

• The KV2 Audio team

• Ayrton demo in full force

• The ChamSys booth

cyclorama, wash and effects light; the Inspire RGBW colour-mixing house lighting range; and the Space Force tuneable white LED soft light. Clair Brothers presented it’s 10SPOT - designed as an ultimate hybrid loudspeaker that combines Clair Brothers curved array technology together with their One Series coaxial horn technology. The result is a unique form factor loudspeaker that occupies little visual space while covering listening areas more coherently than your average conventional point sources. The Clay Paky booth concept was based on three theme showrooms. Demos were performed in each one by alternating lighting techniques with highly evocative visual effects, on show was the Zac-Eye, AXCOR 300 and the HEPIKOS. One of Clear-Com’s more current innovations being shown at PL+S is the LQ Series of IP Interfaces. By connecting the LQ interfaces to the HelixNet digital network partyline intercom system, these simple yet powerful connectivity devices can increase HelixNet’s existing 24 channels of input and output ports count by sixfold, creating a much higher density system for linking audio and intercom systems. Additionally, any user on the HelixNet system is now able to communicate with users on Clear-Com’s Agent-IC

• Audinate introduced Dante AVIO

• The Dicolor stand

mobile apps running on smart iOS or Android devices over Wi-Fi, as well as users on VoIP phones via SIP connection. CLF Lighting introduced four new products this year including the P1 DL, P2 Vw, LEDbar PRO and the Hera. P1 DL was especially designed for car shows and is equipped with 36 high performance LEDs. The P2 Vw, an LED par, features high output and a very precise white control between 2700K and 6500K. A CRI level of 90 and accurate dimming control make the Spectrum P2 VW very suitable for any high demanding application. Meanwhile the CLF LEDbar PRO is a multifunctional linear outdoor LED batten with the Hera, the LED PAR features high output and outstanding smooth RGBWAUV colour mixing. CODA Audio was delighted to announce the launch of three new multi-purpose subwoofers. These are U12 and U12i (a slimline wall-mounted version) and the U15 universal subwoofer. The new models have been developed to further enhance CODA’s range of subwoofers and offer compact, efficient and cost-effective solutions for almost any application. Each model is designed with new, long excursion, ultra-low distortion 4 W woofers, incorporating state-of-the-art carbon

• The HOF stand

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• Outdoor demo area

• Global Truss booth

• Nick and Jas of Medialease

fibre cones. This achieves maximum power and cost efficiency, used in combination with systems using LINUS5C DSP amplifiers. d&b audiotechnik revealed the next major step in audio technology evolution. The show was the official launchpad for the GSL System from the SL-Series, a new loudspeaker system sitting right at the top of the company’s product portfolio. Demos and interactive mixing session using the recently released d&b Soundscape also drew a great deal of attention throughout the show. The GSL System is a complete solution created specifically for the largest sound reinforcement applications in significantly sized arenas, stadiums and festivals, to accurately deliver any performance style or musical genre. D.A.S. Audio presented its Sound Force Series that is made up of 12 models and proved to be very popular throughout the show. Data Strategy’s Iain Roche and White Light’s Technical Director Dave Isherwood shook hands at PL+S on a deal for the first of a planned total of four to six QC-Check workstations, incorporating PAT4 and CAB5 PAT and Cable Test Processors from joint partners, Out Board. QC-Check’s test database and logging software will be fully integrated into WL’s InspHire asset management system, which will provide real-time tracked test results for the company’s entire hire inventory. Along with showcasing it’s WATCHOUT multidisplay system on the big screen, Dataton put the NDI (video-over-IP) feature in WATCHOUT through its paces demonstrating its smooth projection-mapping workflow. During the show visitors could preview the real-time motion tracking integration in WATCHOUT. The demo featured a camera-camera CAST BlackTrax • Funktion -One

system, a complex object in motion and mapped content. At this year’s show DiGiCo unveiled its eagerly anticipated Quantum 7 processing. The company also revealed other exciting new developments to give visitors another chance to experience the new 4REA4 digital audio networking system. Quantum 7 has been developed with seventh generation FPGA devices that further expand audio processing power, and ultimately allows DiGiCo to provide its users with an unrivalled amount of flexibility. It expands an SD7 to over 600 channels of processing in 96kHz operation that can be connected in the outside world to approaching 3000 potential I/Os. “The DiGiCo team are constantly working to create new products where there is a need in the market and add value to our existing products, keeping our customers’ investment safe,” said DiGiCo Managing Director James Gordon. Digital Projection demonstrated the world’s first 8K laser projector, the INSIGHT Laser 8K. Set to be the world’s first commercially available DLP laser 8K projector, the INSIGHT Dual Laser 8K sits in a class of its own when it comes to performance and provides an ultra-high 8K resolution (7680 X 4320) of 33-million pixels through 25,000 ANSI lumens of solid-state laserphosphor illumination. This year disguise showcased the upcoming r15 software release, award winning gx range, the new HDMI 2.0 VFC card and latest server, the solo. The solo server features options for HDMI and SDI capture, Pro Audio and 10GB ethernet ports, two 4K outputs, fixed storage, 2TB SSD and full redundant backup capabilities. disguise Sales Director EMEA, Sarah Cox, explained: “The solo • mondo*dr’s Jamie and Brian of ADJ

• The Nicolaudie Group stand

• GLP win mondo*dr’s house of worship award

• The Fenix Stage team

• K-array’s Stefano and Andrea





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• The AC-ET team

• AVID’s Vanessa and Derk

can be used effectively as a powerful standalone server, or in conjunction with an understudy for smaller shows. The solo enables our customers to join our community at entry level, without having to sacrifice on power and performance.” Doughty’s Lightweight Lighting made its debut at this year PL+S. The product takes the principles of a Tank Trap but packages them into a neater, more aesthetically pleasing model. The Three Position Tank Trap also featured on this year’s stand. This piece of kit enables rigging to be built close to a wall, in the corner of a room or near to an obstruction. It has a detachable receiver suitable for 48mm barrel, which may be fitted to any of the three mounting points, which are located in the centre as per a standard tank trap, at the edge and in the corner. In addition the Tank Trap Trolley has received its Frankfurt debut. DTS introduced the SYNERGY 5 PROFILE; its new high-power, LED moving head.The fixture offers a range of features, including the Dynamove effects engine / virtual animation wheel, DMXselectable CRI: >90 OR >75, a rotating 4-blade framing system, advanced colour mixing, and total control and networking. Elation Professional’s stand - devised by lighting and stage designer Christian ‘Rocket Chris’ Glatthor - included the first European showing of its recently acquired M-Series range of entertainment lighting controllers, as well as the Artiste Picasso, Smarty Hybrid, Dartz 360, Proteus

• The Astro Spatial Audio team

Beam and three-in-one Proteus Hybrid. PL+S 2018 was a huge success for ENTTEC. Rob Browne, ENTTEC’s Business Development Manager explained: “We presented guests our full ‘end-to-end’ LED pixel solutions. Starting at one end with our award-winning ELM software, it moved from left to right to the smart Hyperion Gigabyte switch. Next our range of pixel controllers and pixel satellites including the new Pixelator Mini DIN, the Pixel Port (with built-in effects generator) and the new IP66 Plink Injector for outdoor use, and it culminated with our CV and Pixel strips.” Equipson’s WORK PRO AUDIO announced two product additions to its innovative LightShark range of lighting consoles: the LS-Wing console expander unit, which is designed to complement and extend the original LS-1 console, and the four-strong range of LS-Nodes, affordable hardware expanders for the LightShark system that add extra DMX and Ethernet connectivity without the user interface and physical controls of the LS-1 and LS-Wing units. Among the main attractions at the ETC stand were several brand new products - the Element 2 lighting control console from the award-winning Eos family, as well as thw ColorSource Pearl variable white-light LED fixtures, and the Irideon WLZ architectural wash light - all making their European debut. Eurotruss experienced one of its busiest

• Pavel of Robe

• Philips Entertainment

• mondo*dr’s Laura with Daniel of Stage Campus

• The Gloshine stand

• The Theatrixx team

• The Tech Team stand

• Patrick of Studiomaster and colleague

• Clay Paky showcasing some of its products

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• The Lawo team

• Nikita and Katy of disguise

tradeshows in recent years at PL+S, launching the upgraded Eurotruss Decks, which remain 100% compatible with the existing series. Besides the Stage Decks, Eurotruss presented an upgraded Lifters series and a brand new Eurotruss Merchandise line. PL+S saw the worldwide debut of EXE Technology’s new dynamic stack tracks rail and trolley system - the EXE-DST66 - which builds on the success of its popular DST52 system. The company said: “The response to this system at the EXE Technology stand during the exhibition was absolute proof that [we] hit the bullseye!” The FBT Horizon VHA series made its debut at this years PL+S, representing a step forward in flexible sound reinforcement technology with exceptional sound quality. Crafted in Italy with the no-compromises manufacturing excellence for which FBT is known, the HORIZON VHA series comprises the full range VHA406A, plus two options for low-end extension in the shape of the 12-inch VHA112SA and 18-inch VHA118SA. FENIX Stage chose PL+S to introduce its new Series of telescopic lifting towers, NEMESIS Series. It comprises three lifting towers: NEMESIS 80, NEMESIS 110 y NEMESIS PRO, which operate in harmony with the well-known ELV-100/31. These lifters are characterised by their lightweight structure, their affordable price and being easyto-carry. Full Fat Audio was delighted to debut the star of its show, the FFA-8004, an amplifier meticulously designed and has the highest audio performance specification of any pro audio amplifier of its type. Fohhn Audio AG demonstrated the latest developments in its new comprehensive concert sound system at the show, the Focus Venue, which can be supplemented in the low frequency range by the new Perform-Series subwoofers: the PS-800

• Koy of Avolites

and PS-850. As well as seeing and hearing the new system components on Fohhn’s stand, show visitors could also experience a live demonstration of the system in the open air demo area. Follow-Me used the show to announce a distribution agreement between the company and A.C. Entertainment Technologies (AC-ET), which demonstrated the remote follow spot control system on its stand. The range includes both Follow-Me, which is designed for touring and larger venues, as well as a more compact system Follow-Me Lite - for smaller venues or corporate events. Funktion-One showcased a flown Vero array, F132 and BR132A 32-inch bass enclosures, a ground-stacked arrangement of the new F124 bass enclosures with Evo 6E speakers, a PSM318 DJ monitor, and an SB210A/F81 self-powered compact system. The company also reoccupied its home in the Live Sound Arena / Open Air Agora, where demos featuring an Evo configuration with a central position of six F124 bass enclosures took place. GDS was delighted to announce its Fade To Warm technology, now to be rolled out across the whole ArcSystem Pro range, seamless dimming and fade to warm we’re both possible in one fitting. Gerriets chose PL+S to display its INVISCREEN - a new, highly transparent and self-adhering projection screen in its Visual Effect series, as well as its CARGO heavy duty track system. Global Truss released its new 5 Chord truss designed for LED screen applications at this years PL+S. Utilising the existing F44P 400mm x 400mm truss design, the F45 features an additional chord along the central bottom face of the truss with ladder bracing allowing for LED screens to be easily mounted. This extra chord prevents having to balance the load by slings or

• Severine of Robert Juliat

• Maciek Janiszewski from Optocore

• AED’s Glenn and Luxibel’s Nils

• The CLF Lighting crew

• Alex of Audio Focus

• Amadeus launched HOLOPHONIX

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• Kling & Freitag’s Lars and Steve

The Prolyte Group press call

• The Aura Audio guys

• The Kinesys stand

• Audio-Technica’s Tim

• Cassie of J&C Joel

• Justin and colleague of RGBlink

prevents having to balance the load by slings or braces across the two bottom chords that would be necessary on standard 4 chord truss. GLP gave the impression FR1 its European premiere at the show, as well as heralding a break from its traditional moving lights with the inclusion of its new Force 120 fan effect fixture. Designed to create stunning scenic effects or great air mover (or a combination of both), the Force 120 received its first outing on the recent Old Dominion tour, where 15 units created an impressive backdrop for the country rock band. The Green Hippo stand was equipped with the latest Hippotizer+ Media Servers, enabling guests to experience the world leading solutions for realtime media playback and 3D mapping. Another key feature was the opportunity for visitors to gain hands-on experience of Hippotizer’s seamless integration with Notch. GUIL presented its latest new products at the PL+S, among them its TMD-545/N rigging tower to fly sound systems stands out from the rest. Visitors to the show were not only impressed by the unique design of the tower, but also by the components that are included in the price: the complete truss structure with a double handled winch, a chain hoist for 2,000kg and a chain bag. Harmonic Design allowed the audience to experience its revolutionary HybridLineSource loudspeaker systems at the AGORA Live Sound Arena during the show. High End Systems offered hands-on demos of the Hog 4 family of lighting control consoles, including Hog 4, Full Boar 4 and Road Hog 4, as well as a chance to see the new Hog 4 v.3.8.0 software, featuring a new desktop colour scheme • GDS showing off some of its products

• Sabine from Hortus Audio

called ‘stealth,’ Sola Series products, and added external monitor / touchscreen capability for HedgeHog 4 console models. The second day of the show also saw the latest instalment of Hog Factor, recognised as the world’s premier academic lighting programming competition. HK Audio undertook the largest product launch in its 35+ year history at the show, which included the COSMO integrative line array system family, and the company’s new point source flagship CONTOUR X. J&C Joel launched several exciting new products on its stand, including four new velvets, the widest IFR Canvas on the market, a new addition to the wool serge range, a new 3D digital print fabric and an exciting new acoustic system. Andrew Walsh, J&C Joel’s Sourcing and Product Development Manager, said: “Empress is one of the nicest velvets I’ve seen in my 38 years in the industry and I am delighted that Joel’s are able to bring it exclusively to the worldwide market.” James Thomas Engineering presented its recently launched Conical Series truss for the EMEA region at PL+S. Also on display was the new Sleeve Block with a unique safety system, as well as their General Purpose truss and Super Truss. As well as its sleek line of gold-plated and standard black products, K-array’s stand featured the newly-launched, all-white Event line, and its slim line array microphone, Capture, featuring Pure Array Technology. UK based automation specialist and manufacturer Kinesys had an action-packed stand that included the latest Apex chain hoist system and an eyecatching motion controlled ‘art-tech’ centrepiece. Other popular Kinesys products like Elevation • Niclas of W-DMX presenting an award Ralph-Joerg of Lightpower

• John of Celestion










Tough. Compact. Up-to 25K lumens.

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Compact, quiet 13.5K lumen projection.

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CD0797_LP_Mondo_Mar_18_EN_Art.indd 1

07/03/2018 10:21

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•The LightLink stand

• The MOVECAT stand

• The Novastar stand

1+, LibraCELL, DigiHoist and the Dimension Pendant controller were also highlighted. KLANG:technologies, together with AudioTechnica, Eich Amplification, Fischer Amps, Hearsafe, Hughes&Kettner, InEar, Kemper Amps & Vision Ears once again created the Silent Stage at this year’s Musikmesse. The demo gave an insight into how to achieve the perfect Silent Stage. Kling & Freitag showed off several new products including its new items: K&F SPECTRA 212 and SCENA 12. In addition its new loudspeaker series SPECTRA with the K&F SPECTRA 212 and patented VariQ technology combined point source and line source speaker into one - a ‘convertible array speaker’. KS AUDIO presented the new D MOD2 - a four-channel loudspeaker controller slot with digital signal processing for the amplifiers of the KS series CA4D and TA4D; the T Line B and T SUB B systems; and an extension for the TA 2D amplifier. The company also organised a free bus transfer (round trip) from the exhibition centre directly to the production and development site in Hettenleidelheim. KV2 Audio boasted a sizable stand in Hall 3.1, where the company displayed an assortment of its flagship products. As always, the company also presented one of its PA systems at the Live Sound Arena. L-Acoustics demonstrated its revolutionary L-ISA Immersive Sound Art technology, as well as its new hardware and software tools - including the P1 networked digital audio processor, which begins shipping in June - that will make it easy for L-Acoustics partners to quickly realise optimised

• The Dataton stand

performance for its L-Acoustics systems. Lavoce Italiana presented a selection of its new low frequency drivers (including the MAN062.00, the WAF123.02, and the SAF214.50), as well as two new, small format compression drivers - the DN07.10LM and the DF10.101LM. The company also announced the appointment of Steinigke Showtechnic as its exclusive distributor for Germany, Austria and Switzerland, and Dinakord Elektronik as its exclusive distributor for Turkey. Lawo launched its mc²56 console, a console delivering performances that combine the proven quality of Lawo consoles with state-ofthe-art features, improved functions and clever innovations. LEDBLADE enjoyed a successful show and receiving a lot of interest regarding the new CRE:ON Hybrid Drive, which includes Kling-Net protocol next to SPI and ArtNet. The company’s mini-demo set at the show had just been returned in prime condition after a six month, 24/7 trial period successfully completed in desert conditions in and around Doha, Qatar. Le Maitre showed one of its latest flame machines, the Wireless Salamander Quad Pro. The company also has a lot of interest for its MVS Smart hazer, the G300 MART smoke machine and the Freezefog Pro low smoke system. On display at the Linea Research stand were its full range of four and eight channel networked DSP amplifiers - the portable and touring focussed M Series and the installation and contractor C Series. Link showcased its, PDlink, a family of hybrid power and signal distribution products uniquely designed to meet the evolving needs of audio,

• mondo*dr’s Laura with Solveig of Schnick Schnack Systems

• mondo*dr’s Hannah with Hugues and Lucia of S2CEB

• The Luminex stand

• The Idea Pro Audio team

• The Acme stand

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• The Timax booth

video, and lighting production companies. Leveraging innovative Eurocable and LK Connectors capabilities, PDlink is the first platform to offer a unified cabling approach. LITEC showcased its new MyT Virtue truss line, part of the MyT family of truss. Offering a compact and strong line of truss designed to provide support for events that require increased load capacity, decreased deflection and longer spans. Also on display were the MaxiTower 52HD, MaxiTower 63 and large selection of its crowd barriers. Also on show was the company’s Hoist Box Truss. LSS had a number of demos on throughout the week to show off its product, particularly its new product, a new low profile hi performance stage monitor TSM24. Luxibel revealed two new lighting fixtures, the B P9 and B P9Z. These new RGBW LED wash fixtures were designed to bring a tidal wave of colour and output to any stage or building wall. They are completely IP65 rated, allowing them to be used both indoors and outdoors. The fixtures come with a rigging bracket, an super-easy design allowing the BP9’s to be placed in an array. The B P9Z zooms 7° to 58°, while the B P9’s zoom is fixed at 25°. Each line of nine 15W LEDs can be controlled individually to create special effects. At this year’s show, MA Lighting gave its first live presentation of the new grandMA3 series. Founded on the legacy of the previous grandMA consoles, the grandMA3 represents a radical re-think of what’s possible from a lighting control platform. The elegant new system-architecture incorporates new fixture, feature and effectshandling at its very heart. The system features ground-breaking concepts from top industry visionaries, presented within a refined user interface, and is designed to make practical tasks more intuitive. The physical design detail of the • The ladies from GUIL

• Alex of Chainmaster

• The NEXT-proaudio crew

grandMA3 range is extraordinary and focussed on delivering the best possible user experience, now and into the future. MADRIX used the show to introduce ORION; the next MADRIX hardware interface made in Germany. Another highlight was the next big update of the company’s software. MADRIX 5 will not only provide massive performance increases, but many new features and a new license system as well. It has been made available from May 2018. MBN and Powerlights Ausberg continued to support the show by showcasing a variety of its products including foam machines, canons and fluids. MDG exhibited with its exclusive - and longest serving - German distributor, cast C. Adolph & RST Distribution. The company also brought an exciting development to its Me Series of fog generators with the launch of Me1g, a glycolbased version of its highly successful Me1 fog generator. Sharing its size and form factor with its oil-based sibling, Me1g has a single nozzle and 0-100% DMX/RDM control for perfect, powerful output, but with the benefit of using any of MDG’s glycol-based fluids. Minuit Une welcomed over 4,000 visitors for its demo shows during PL+S, with its booth staying crowded from the first to the last hour. The company commented: “From all over the world, audiovisual professionals have experienced how IVL Lighting is a game-changer. A large thank you to those of you who have visited us - we hope you enjoyed the demo show and got all the answers to your questions.” MILOS displayed its new steel truss line, which takes the concept of heavy-duty truss to an entirely new dimension. Also on display were the high capacity and medium duty aluminium truss, as well as additional new products such as its flexible hinge, modular hinge, hanging plate and • The Spotlight stand

• The Look Solutions booth

• The Link team with their block of cheese

• The LSC stand

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• The guys at LAMP

• Michele Noselli of Outline

• The SRS lighting team

• The Visual Productions stand

top ring. Mobiltechlifts showed its new MS2-4012 compact lift, which achieves higher safety factors inspired by the recently established German standard for windup lifts (DIN 56950-3). It does not need safety pins, is very light, is discrete due to its matte black finish, is very user-friendly, and is extremely easy to operate under load. Movecat brought a wealth of new products to this year’s PL+S, including the Movecat PROstage+ D8 Plus chain hoist, the EXPERT-T III I-Motion system controller, the DMX SMART WINCH, and the BSZ-DC Operating Hours Counter. Music & Lights debuted its RA3000PROFILE, the universal lighting fixture for large-scale events, the RUBYFCX, a bright and fast compact LED moving head beam with full colour mixing and the SOLAR27Q / ARCPOD27Q, an outdoor washlights feature with an outstanding output by high efficiency LED sources and optics. Neutrik showed off its True Outdoor Protection range. The new series includes the well-known powerCON TRUE1, etherCON and XLR products, which have been certified in accordance with IEC 61076-2-103, IEC 60320, UL 1977 and UL 498 and which also meet the requirements for outdoor use as laid out in UL50E. NEXO shared its booth-space with parent company, Yamaha, for the first time at Frankfurt, appropriate, as one of the featured NEXO products was a joint development - the new NXAMP4x2 MK2 and NXAMP4x1 MK2 amplifier models. NEXT-proaudio launched its new LAs418 Active at PL+S, a new two 18-inch active reflex subwoofer.

Nicolaudie introduced the STICK-CU4 - a brand new 512 channel DMX lighting controller, priced in the middle of the wall mounted STICK range. The controller is USB programmable from a PC or Mac using the ESA2 effect software. Optocore presented its new ‘Festival Box’ made by BroaMan, which reduced all copper and fiber cabling between stage and FOH to just one fiber connect transparently multiple different consoles with their stageboxes. Outline showcased its new Superfly compact linesource enclosure, which the company hope will set new standards in performance for a loudspeaker of these dimensions. Superfly integrates perfectly within the existing Outline portfolio and can be readily paired with any of its subwoofer designs. Out Board introduced its new TiMax 500S software for TiMax Sound Hub, with enhanced programming and show control workflows for rendering and control of live, presentation and experiential spatial reinforcement and immersive audio, including new-look variable day/night skins optimised for outdoor, rehearsal and show conditions. Panasonic showcased its live events solutions portfolio at PL+S with an engaging holographic dance show and a striking dome projection that used 4K laser projection technology alongside a new wide-angle fisheye lens. In addition to a wide selection of laser projectors and 4K displays, Panasonic’s Broadcast and ProAV solutions were also on the stand, including a range of remote cameras and compact live switchers, perfect for live entertainment operations. Peavey, showcased its new ProTour Series power amplifiers, designed to meet the most demanding

• Alcons celebrating 15 years in the industry

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• Bjoern of MA Lighting

• d&b audiotechnik launched the GSL

requirements of portable and fixed installation audio systems, the ProTour Series delivers high output power, efficient cooling, onboard DSP, dante network connectivity, and USB/ethernet connectivity for monitoring and control. Philips Entertainment Lighting showed off its new VL800, an LED effects luminaire offering unique, dynamic looks which appealed to lighting designers working in show environments of all kinds. It’s the first LED effect unit from the Philips Vari-Lite brand, it produced a distinctive, collimated, flat sheet of light in a 3.5° beam with advanced movement, colour control and pixelmapping capabilities. Pioneer DJ launched its flagship club sound system, drawing on Pioneer’s rich heritage in sound reproduction, deep understanding of the club industry, and close collaboration with Gary Stewart Audio (GSA) and Powersoft, this exciting arrival promised to make waves in Ibiza this season. Pioneer Pro Audio was also on hand to welcome visitors to the stand throughout the week, as well as hosting aftershow demos on the Wednesday and Thursday, which allowed guests to hear the company’s systems in action. Ella Bee demonstrated the XPRS and Lennert Wolfs demoed the XY-3B Series. This year also saw the addition of new hanging brackets for the XY Series speakers and the first appearance for the XY-2, meaning the stand was decked out from head to toe. Portman Lighting proudly presented its three new products, all hexagon shaped tungsten look fixtures, the look embodies the European ‘trend’ currently, a warm, attractive halogen look. These

• Beyma’s Espartaco

are the P1 Retro Lamp, 37 P3 PIX3L and the 10 P2 Hexaline. Powersoft announced its new product, M-force 301P01, the unique and innovative transducer which has been updated with a series of additional features to simplify the workload of OEM partners. M-force is now available as the M-force 01 long throw linear motor for infra sub applications and the M-force 02 short throw linear motor for high acceleration applications. PR Lighting displayed all models in its new AQUA portfolio, many of them in the specially constructed water display boxes, where they continued to function perfectly. This included AQUA LED 600 Spot; AQUA 480 BWS (Beam, Wash, Spot); AQUA 480 Beam; AQUA 350 BWS; AQUA 350 Beam. Showing its capacity in the design and build of complex truss structures, Prolyte Group showcased its range of heavy duty truss systems and also a range of trusses specially designed for LED walls - as well as a number of new products across its range. RGBlink highlighed a range of products during the show including its T-TWO console with new streaming preview feature as well as its high end presentation switcher. The team at Riedel were proud to showcase its latest product, building upon the technology that powers Riedel’s SmartPanel App-driven user interfaces; the new 1200 Series RSP-1232HL multifunctional interface represented a quantum leap forward in workflow flexibility, power, and connectivity. Robe’s incredible new MegaPointe ‘all-in-one’ fixture took centre stage, bringing the whole

• TheLinea Research team

• The Lites crew

•Seeburg Acoustic

• Waring of XTA

• Adamson’s Scott and Marc

• CODA Audio

concept of multipurpose moving lights to new levels. Other highlights from Robe included the Tarantula, a hugely powerful LED beam, wash and effects luminaire; the latest developments in the RoboSpot range of remote follow spotting solutions; two new IP65 rated ParFect products. Robert Juliat made its latest Compact range followspots available at PL+S with its new, exclusive 600W LED models, Alice and Oz, first in line to ship. Most excitingly, Robert Juliat revealed a new, very powerful, front-of-house LED profile for the first time at the show- a new 600W source and optical efficiency product. ROE, introduced its Vanish 18, a transparent LED display panel for in- and outdoor use. With its smaller pitch and transparent looks, it’s ready to fulfil market demands. Together with the Vanish 25, the new Vanish 18 LED panel is part of the Vanish Series. A smaller pixel pitch solution, semi-transparent panels and lightweight design make it the perfect solution for projects or installations with a need for large-scale screens. Schnick Schnack Systems was back this year to reveal exciting new products - including a completely new LED series. The LED effect lighting manufacturer not only presented a new Profile System and a new generation of white LED products, it also presented its new RGBW Series for the first time. The ceiling of the ShowTex stand featured its brand new and extremely light FeatherSilk fabric, gracefully floating through the air. Visitors at the ShowTex stand at PL+S got an exclusive preview of the amazing HiSpeed Reveal, this ultra-fast roll-up system is all about spectacular revelations to surprise an audience and leave a lasting impression. Sixty82, made its debut appearance at PL+S this

• Antari’s Joyce and colleague

• The Sixty82 stand

year, pooling over 100 years of experience and expertise from three countries to engineer and manufacture next generation trussing and staging systems. Solid State Logic was pleased to announce the European premiere of the 32-fader version of the System T - S300 compact broadcast console, alongside all of the acclaimed SSL Live console range and a selection of SSL’s hybrid studio production technology that includes the AWS 948, Nucleus2 and the Sigma-Delta remote controlled analogue summing system. Spotlight chose PL+S to present its new projector, the first of a new series, Hyperion Fresnel LED 300W 6C. The new projector is a 300W to six colour fresnel LED with a new housing, rounder than the iconic squared shape that has always distinguished the Spotlight headlights, the projector will provide six colours. Along with its wide product range, SRS Group introduced its new Flexi PDU with modular system, Digital ADR cable remote as well as ANGS Art-Net node and Gigabit switch. The company’s stand remained busy over the four days, with Robert Sloboda Jr commenting: “PL+S 2018 indeed turned out to be an excellent show for SRS Group.” The Steinigke stand was always lively with DJ sets from the OMNITRONIC team, the individuals behind the company also threw a surprise birthday party for their company founder, Bernd Steinigke. Studio Due Light introduced the new STUDIO300 RDM IP20 RGBWA FLOOD LIGHT projector suitable for touring, TV studios, venues, theatres and generally for the entertainment market. TMB and Latvia’s Company NA once again partnered for PL+S. TMB proudly introduced

• Le Maitre’s Rick and Elaine

• The Steinigke stand

• Nicola Beretta of Allen & Heath

• Kevin of Lavoce

• Gaby and Bernhard of TW AUDiO

• Matthias of MBN Productions

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• Riedel introduced the 1200 Series RSP-1232HL

• Birgit and Rena on the ASC booth

the ProPlex IQ Tester, the first Ethernet tester for entertainment production. Several new products could be seen, including the Flare Q+ Rayzr, the ProPlex DIN Rail FloppyDrives, and the latest addition to the Solaris Mozart range of ‘perfect pixels’. TOMCAT enacted its claws this year with its display of the innovative Nemesis pre-rig truss, a side-loading design that featured a leg stand option, which allowed one person to load fixtures into the truss during prep. TW AUDIO introduced three new i-series products. The first one was the B14i, its ‘undersofa subwoofer,’ which tops out at only 9.5-inches tall, yet delivers up to 6dB higher SPLs than a traditional two eight-inch sub. Ideal to use under stages or furniture, in ceilings and behind curtains, or to supplement arrays. Visual Productions showcased its full product line set up in different applications for its audience to see, including the new IoCore2, TimeCore, CueCore2 and Kiosc App. The CueCore2 and QuadCore hosted the latest firmware release that included the new TimeSpan feature. Void’s display of products included the Node series - Node 2, 2i, 4 and 4i - a range of passive and self-powered, multi-purpose loudspeakers; and the single and double 18-inch subwoofers, Arcline 118 and 218, to complete its popular Arcline 8 medium format array speaker system, which was released last year.

• Jeroen of Music & Lights

• Studio Due team

Wireless Solution celebrated its 15th anniversary, and of course, had its annual vodka and meatball party. In addition, released its new OEM product the TiNY RDM Receiver - this new OEM module is 20mm wide by 60mm long, perfect for smallsized products that require a W-DMX connection. A year on on from the launch of its innovative and powerful Delta Series of digital processing amplifiers, both XTA and MC2 were delighted to be showing the 120 Amps at this year’s PL+S. The 120 Amps are available as Delta 120 and DNA120 models from MC2 and XTA respectively, and have 96kHz Dante inputs as an option. Yamaha’s launch of RIVAGE PM7, was one of its audio highlights at the ISE show in Amsterdam and the new system was again the focus at PL+S. Yamaha’s entire range of digital mixing consoles were on display, alongside other new products, including the updated R series Dante I/O racks, Version 2 firmware for RIVAGE PM1 and the updated DXSmkII subwoofers. Zero 88 displayed its new FLX S24 and FLX S48 consoles, the original FLX and ZerOS Wing was demonstrated on the stand, all running the latest version of console software - ZerOS 7.9.4.

Prolight+Sound will return to the Messe Frankfurt from 2-5 April 2019. More information go to: www.

• The LED Strip Studio crew

• The VMB stand

• Martin and Nicolas of MDG

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•The Shure team

• db Technologies booth

• Alejandro & Eduardo from Allen & Health

• The QSC stand

• Meyer Sound conference


sound:check Xpo turned the age of 16 this year, and, like many trade shows, went through some changes - 2018 was the biggest show so far, with over 20,000 attendees and over 100 exhibitors. Held at Mexico City’s World Trade Center, the show boasted more than 12,000 sq metres of exhibition and over 300 brands showcasing their products in some form or another. sound:check Xpo prided itself in delivering a range of master classes and conferences during the course of the show. Master classes came from the likes of legendary drummer Harvey Mason, producer and session musician, sharing the ins and outs of his career in music, rehearsals, recording studio and stages. Bass and feel Latino heir of the Irakere combo, Carlitos Del Puerto, gave lectures and master classes on the demands that the cello implies and the way in which it can be inspired through music. In addition, Paul Gilbert, gave a

• The MADRIX team

master class on the electric guitar. Over the course of the three days, there were many conferences delivered by a diverse range of industry professionals, companies involved included: Audio-Technica, Meyer Sound, Avid and AES. Local ladies, Sound Girls, made waves throughout the show with their mission to empower the next generation of women in audio and provided a range of conferences, live sessions and drop bys during the show - a fantastic addition to the atmosphere of sound:check. Exhibitors were spoilt with a wide selection of audio stands to visit, including: Avid, Audio-technica, Allen & Heath, Clear-Com, CADAC, Electro-Voice, L-Acoustics, K-array, Melo, Void - amongst many more. Although an impressive amount of exhibitors, it was an occasional struggle to decipher which products belonged to whom.

Despite the name of the show, there was a fair share of lighting companies displaying products - with a large hall to host them. The lighting companies exhibiting included: Chauvet, ADJ, Robe, SGM, Mega Lite, Martin, Elation, ETC, Ayrton, DTS - plus, many more. Karen Cortes, Marketing for Elation and ADJ, enthused: “The 2018 edition of sound:check Xpo was a hit for Elation and ADJ Mexico. Our team had the pleasure of welcoming more than 5,000 people in our booth, we are very happy with the public’s response and we are looking forward to next year’s show.” Ultimately, it was a fantastic show, it was a delicious cocktail of live audio and lighting, and I’m looking forward to returning next year. Dates for next year have yet to be released. For more information and updates, go to:

• The Dynacord duo

• Alex and colleague from Audio Focus

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• Juan and colleague from Belden

• Party on the Audio•Technica The APGstand team

• The Chauvet team

• Karen & colleague from ADJ / Elation

• Rudy from DPA Microphones

• Dinner with Meyer Sound

• Cesar from Melo

• Nexo stand

• Meyer Sound team line-up

• The Absen team

• Ramon & Joe from Funktion-One

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• The TW AUDiO Asia team

• The opening ceremony


In our industry, the name Johnny Ong is well known in the South East Asia region, and last month, Johnny, along with his company, UnUsUaL, supported organiser, Team Grey Group, in presenting the SLV Symposium in Kuala Lumpur, Malaysia. Held on the top two floors of the Quill City Mall - another supporter - the event offered a tradeshow set-up, as well as training workshops, panel discussions, live demonstrations and

• The d&b APAC team - Chad, Daniel and Ben

seminars. Brands that took part included RGBlink, CODA, Global Truss, Dicolor, Harman, TW AUDiO, d&b audiotechnik, Bose, Sennheiser, Avolites, Clay Paky, EAW, Acme, MA Lighting and Prolyte - each with their regional representatives. A new brand at the E&E stand was ChamSys, which the company has just taken on distribution rights for. A lot of exhibiting companies were Singaporeanbased, but as is the way in that part of the world,

• Terry from RGBlink

they generally look after both countries, so do have a presence in Malaysia too. Although the SEA region is technically ‘missing’ a tradeshow event, there has been many discussions in recent years over whether one is actually needed. As an overseas visitor / exhibitor from the press, it’s a great opportunity to catch up with local distributors all in one place over the course of a couple of days. But for the locals, it’s difficult to see how they are doing business on the tradeshow

• The Prolyte Asia team

New from DiGiCo


Predictably Stunning In 2015, DiGiCo launched its compact S-Series, which boasted a modern workflow at an affordable pricepoint; last year, the whole SD Range became much more powerful thanks to the introduction of Stealth Core 2 Software across the board; now, in DiGiCo’s 15th year, meet the new and predictably stunning SD12.

Main Features 

72 input channels with full processing

36 aux/grp busses with full processing

LR / LCR bus & 12 x 8 Matrix

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

12 FX processors & 16 Graphic EQs

compact multi-application consoles, it simply rips it up

119 Dynamic EQs, 119 Multiband Compressors, 119 DiGiTuBes

Advanced surface connectivity with optional DMI cards

UB MADI & optional Optics

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

DiGiCo SD12 Advert Nov 2017 - MONDO.indd 1

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• The Sennheiser Asia guys

• The team at Total Soultion line-up for a photo

• A CODA Audio demo

• Jack and colleague of Global Truss

• The Harman team

• Dicolor’s John Guo and colleague

floor, so therefore it’s just a networking opportunity for them too, and do they really need than environment to do so? It isn’t just SLV that falls under this premise, we are seeing it time and time again. Few Westerners flew in to support the show, another indicator of its recognition on the international calendar, however, in its defence, it is an awfully busy time for tradeshows and it has been some time since the last SLV event, 2010, I believe was the last incarnation. On the show floor itself, exhibitors I spoke to seemed in good spirits but admitted they were generally there for brand awareness, to show their support and to network. Figures from the show

• Father and son, Ronald and Gary Goh

• Fanny Tse of Eagle Group

have yet to be officially released but the seminars and workshops did appear well attended. It’s also still unclear as to whether a similar event will take place again next year. For any organiser who wants to crack the tradeshow market in this region, it needs to figure out a way to attract people from all over - Singapore, Malaysia, Thailand, Indonesia, Philippines, Myanmar, Cambodia, Vietnam etc. Bringing all the countries together will attract a larger crowd and will encourage new business relationships. SLV, among others, need to try harder. No dates have been released for the next SLV Syposium. For more information and updates, go to:

• Son, father and daughter on the Acoustic & Lighting 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. It’s all online at

IS-MONDO-FP_Template.indd 1

6/28/2017 3:31:19 PM

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• Franco from Sagitter

• Cat Shepherd from ETC with High End Systems colleague

• Vivitek and Epson products on display

• The Void booth

• Christie seminar

• Pioneer Pro Audio’s stand

• The Robe team


This year, for the first time, mondo*dr visited MIR (Music Inside Rimini) with expectations of a small local trade show, however, the outcome was entirely different. The stands were large and sophisticated and there were plenty of international exhibitors, including Madrix,

• The Montarbo demo area

Robe, Area Four, Void Acoustics, ETC/High End Systems and Pioneer Pro Audio. The local companies exhibiting, included FBT, Lavoce Italiana, db Technologies, Spotlight, Link, Tasker, DTS, Montarbo, Proel and Clay Paky, plus many more. In total, 12,000 visitors attended MIR this

• Adam Hall’s booth

year, which is a 20% increase from 2017. As well as the exhibition, there were also demonstrations being held where exhibitors could show their products to an audience. The demo areas were made into stages to mimic a live environment. Each area included; truss,

• Thomas Nell from Spotlight


w w w . r o b e . c z

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• Guil products on display

• Wave & Co stand with Dicolor screens

• A busy DTS Lighting stand

• Pierpaulo from Lavoce

loudspeakers, sound desks, cables, moving heads, LED screens and media servers, with a seating area for the spectators. There were 12 indoor stages altogether in dark rooms to display the visual aspects and live bands played to demonstrate the audio side. From speaking with exhibitors and visitors alike, everyone seemed impressed with this not-so-regional show. From the organisation to the increased exhibitors and visitor numbers from its previous years, MIR gets a thumbs up from mondo*dr magazine. See you in Rimini next year! Music Insider Rimini will return next year. For more information, go to: www.

• The Link team

• Sylvia from dB Technologies

• Adamson’s booth

• The Clay Paky team • Barix products on show

• Christian and Sebastian from MADRIX

• The Roland stand

• The FBT stand

• The NEXO booth

• The Tasker booth

• Area Four’s stand

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


AUDIOTONIX | SSL JOINS THE GROUP News of a new acquisition hit our inboxes just ahead of the Christmas break, which, yes, I know feels like a lifetime ago already, but almost six months on, the story is still more than newsworthy in the sense of what it means for the parent group, the industry as a whole, and what happens next. Having formed the Audiotonix group back in 2014, which at the time marked the coming together of three British mixing consoles brands - DiGiCo, Allen & Heath and Calrec - a fourth brand, SSL, was added to the group just before we reached 2018. “We originally spoke to SSL about two years ago now, but it didn’t go anywhere,” explained James Gordon, CEO of Audiotonix. “The discussion was mainly just to say that we were interested. They came back to us about 12 months ago, and we started to work with them more seriously as there was an opportunity.

“The reason for SSL, I guess, is it’s such a strong brand in the industry and it has been around for a long time. It also fits well with the other three brands that we have. We like brands that have a strong, prestigious name, customers that are loyal to the brand and believe in it, and obviously, the team of people behind it are passionate for the brand they work for. That tends to be - in our industry at least - the right ingredients to have an exciting business that you can move forward and develop.” On the surface, having four mixing consoles all under one roof - so to speak - could be viewed as a competitive crossover. However, on closer inspection, each has its strength in a different marketplace. DiGiCo is most prominent in high-end touring and installations, Allen & Heath operates in the same markets but at the mid range, Calrec is the broadcast arm, and SSL brings the high-end studio sector along with live

sound and broadcast. “The way the group works is each company that joins has got to be able to add value and we have got to be able to add value to it too,” James continued. “I can say without doubt, SSL can add value, in fact, it already is in certain areas. Allen & Heath has started to do an awful lot more with Dante integration with its dLive product line, and because SSL has already got a lot of Dante experience, the teams have been working together. Funnily enough, the moment they got on the phone, they started to ask questions. If you get two designers in the room that share a common interest, it doesn’t take long for them to start sharing and contributing ideas.” Sharing and differentiating are both equally important though. The culture of each brand must remain individual, so marketing, sales and support operate independently, as does manufacturing generally, as the processes and locations differ. However, technology can be

shared between the group, which in turn leads to leveraging buying power. Certain purchasing is carried out on a group level to bring costs down and quality up. Audiotonix shares Tony Williams, Group Operations Director; Martin Bennett, Group Marketing Director, who ensures each brand has an individual identity; Chief Financial Officer, James Barton; Helen Culleton, Special Projects Director; Chief Technology Officer, Neil Hooper and of course, James. “In most cases, the group roles are about sharing,” he explained. “Neil who runs R&D - and is great at it - might, for example, go down to Allen & Heath and discover a problem, but he’ll know someone at Calrec who can help, so he’ll connect them. Neil’s role is a facilitator, he’s helping R&D move faster. James Barton is in charge of finance, he looks at it from a group perspective and accesses how we can maximise what we are doing. My role is very much about trying to make all of the businesses better. But Martin’s role is a little different - he ensures that the brands keep their own identity - therefore almost the opposite of sharing.” The individual identities are similar when it comes to team members, too. “If you ask Maria [Fiorellino, Marketing Manager of DiGiCo] who she works for, it’s 100% DiGiCo, and that goes for the rest of the team here in the DiGiCo side of the building, and those in Penryn at Allen & Heath, Oxford at SSL and Hebden Bridge at Calrec,” James explained. “And I like that. That’s the way it should be, people should be passionate about who they work for.” But it’s not to say that the brands don’t help each other out, because of course, that can offer certain advantages, if someone else in the group has prior experience in a certain situation. A prime example is Maria helping out Kevin [Emmott, Marketing Manager at Calrec] to organise celebrations for the successful launch of Brio - Calrec’s biggest tiny console, ever - because, let’s face it, we all know DiGiCo knows how to throw a good party. Kevin reciprocated by introducing Maria to a new method of photography design , meaning it’s most often a win-win situation. This mutually beneficial, giving and taking, adding value to the companies is evident in many aspects of the business such as R&D, which James highlighted: “There’s nothing better than seeing John [Stadius, Technical Director at DiGiCo] help Allen & Heath with a product that saves them two weeks of R&D time. Or John learning something from one of the young guys at Allen & Heath because they’ve given a cool graduate their first industry job. John loves working with new and emerging talent.” Of course, not all mergers are quite so harmonious. In recent years, there have been many buyouts of what were considered established brands in their own right, yet once bought out, they were swallowed up into the larger conglomerate, losing their individuality and often staff as well. “I think the employees that have worked for brands that have been consumed by bigger companies see how different we’ve done it, and to those people the creation of Audiotonix is a marvellous thing. Because I think to anyone that really cares about pro audio, we have done something quite special actually.” If you’re thinking which mixing console brand will be next to join the party, you’ll still be there the morning after the night before. “We’ve never actually categorically said we are going to stick with consoles,” said James. “We’d look at anything electronics based because we understand electronics - that’s John and the team’s forte. I think the next thing we do won’t be in mixing consoles, to be honest. It might be something different.” So there you go, you heard it here first. Watch this space. As for the man at the top of the chain - who claims he’s not actually the boss, because his job is to look after the brands and help them achieve their goals - he’s like a kid in a sweetshop by his own admission. Having started at DiGiCo at the age of just 24 , James has worked his way up over two decades, and today believes… “I’ve got the best job in the world.”

Celebrating 50 Years of Intercom Innovation

MORE TO LOVE OF THE BEST HelixNet & LQ Deliver More A digital partyline system with the power of a matrix intercom - impossible, right? Use LQ Series interfaces to connect all of HelixNet’s 24 channels to the rest of the world. That same LQ Series can also deliver Agent-IC mobile app support and SIP-based telephone integration. The next phase of IP solutions is here. Join Us.


HARMAN PROFESSIONAL SOLUTIONS | EXPERIENCE CENTRE HARMAN Professional Solutions, a global company in audio, video, lighting and control systems, including networked AV, recently announced the grand opening of the HARMAN Experience Centre - London. Situated in Hemel Hemstead, a stone’s throw away from the UK’s capital but away from the hectic city life. The new facility expanded the growing global network of HARMAN Professional Solutions Experience Centres, which already includes locations in Los Angeles, Singapore and Shanghai, and this will serve as the new headquarters for the EMEA region.

Designed to showcase how HARMAN solutions uniquely address customer needs across a variety of entertainment and enterprise market applications, the 25,800 sq ft multi-functional facility including EMEA headquarter offices, demonstrates the integration of brands, such as JBL, AKG Acoustics, AMX, BSS Audio, Crown, dbx, DigiTech, Lexicon Pro, Martin, Soundcraft and Studer. “The opening of the experience centre in London represents a major investment in the EMEA region, enabling us to deepen relationships with our customers and greatly expand our presence

across critical markets,” said Chris Smith, Vice President, EMEA, HARMAN Professional Solutions. “Not only will the facility offer customers the opportunity to experience HARMAN innovation firsthand, it provides our staff with a state-of-the-art headquarters that will allow us to pursue new opportunities with greater speed and efficiency.” The HARMAN Experience Centre - London is comprised of several dedicated spaces along with the EMEA office space and meeting rooms. The product showroom is filled with HARMAN solutions including HARMAN’s Connected Re-


tail Experience, Huddle Space, Connected Hotel Room, Home Recording, Networked AVoIP, and much more. The foyer, boardroom and auditorium are not only practical-use spaces, but also areas that demonstrate HARMAN solutions for restaurant, corporate, education, corporate, and theatre environments. In addition, individuals have the opportunity to converse with the finest experts the company has to offer, giving customers a deeper insight into the world of HARMAN. “By opening this HARMAN Experience Centre, we expanding our robust global network of experience centres and enabling our customers

around the world to experience the HARMAN Solution proposition firsthand,” commented Mohit Parasher, Executive Vice President and President, HARMAN Professional Solutions. “From JBL Professional sound and Martin lighting to AMX controllers and Samsung displays, the entire facility is a brilliant demonstration of what HARMAN products can do when deployed seamlessly together in enterprise and entertainment environments.” Helen Badger, Marketing Director EMEA, concluded: “We are delighted to open the London Experience Centre in EMEA, this

immersive space showcases the innovative and ground-breaking technologies that HARMAN Professional Solutions offer through the professional lens of audio, video, lighting, and control. This space is open for customers and influencers to view the product in an environment that demonstrates how HARMAN solutions uniquely address customers’ needs across multiple vertical markets. We are looking forward to see how this space is going to evolve.”



DTS has introduced its new high power moving head LED fixture with rotating framing system: the SYNERGY 5 PROFILE. SYNERGY 5 PROFILE offers a range of unique features that DTS are confiident sets it apart from its competition. The moving head has an incredibly powerful output /wide zoom range with 49,900 Lux, 4.6° to 43° zoom with auto focus and 420W pure white LED source (7,000K 16,500 lumens output). Evenly diffused and accompanied with a flat beam and a linear frost filter.

Moreover, the product boasts a dynamove effects engine / virtual animation wheel - dynamove is a revolutionary effects engine that delivers a range of stunning 3D-like dynamic animation effects. The virtual animation wheel is designed to create an outstanding dynamic background. SYNERGY 5 offers DMX-selectable CRI: >90 OR >75 with two options: CRI >90 for life-like colours and natural skin tones or the CRI >75 for a intense luminosity. The moving head rotates on a four-blade framing system, available in both single

blade 0–100% real ‘curtain’ effect and 60° rotation (+/- 30°). SYNERGY 5 has advanced colour mixing, DTS present virtual gel filers, a linear CMY, linear CTO and a six colour wheel. SYNERGY 5 PROFILE is ready for top-end Ethernet networks, with both Art-Net 4 and sACN are on board. SYNERY 5 is perfect for theatres, concerts and many other fixed installs due to its flexibility and high end technology.

•Above The new SYNERGY 5 from DTS.



Using their years of experience at the forefront of pixel control, TLS has introduced the PixNet range of LED pixel controllers. Desgined to provide a simple and powerful solution for controlling RGB and RGBW LED pixels. PixNet systems can work as standalone controllers or integrate with more flexible and powerful control systems, be these media servers, lighting desks or specialist control software solutions via ArtNet, sACN or DMX. The PixNet controller is designed for easy patching of pixels numbering from tens to thousands. The PixNet has one DMX output in sACN and can control up to 4,080 RGB pixels or 3,060 RGBW pixels. The PixNet Pro has four DMX outputs in sACN and can control up to 16,320 RGB pixels or 12,240 RGBW pixels. The PixNet controllers are also available as longrange versions, removing any barriers provided by a venue or location. The PixNet LRTX Long Range Transmitter Unit can control up to 16,230 RGB pixels or 12,240 RGBW pixels over distances up to 300 metres.

The PIXNET LRTX features eight RJ45 outputs. A range of receiver units is available to decode this signal and supply SPI data or data and power directly to the pixels. The PixNet and PixNet LRTX controllers are also available as powered versions providing power and data along the same cable. Options include 5V, 12V and 24V. The latest addition to the PixNet range is the PixNet ANR. This allows the recording and playback of ArtNet without being connected to a computer or media server. Available in two versions, 32 or 64 DMX universes, the PixNet ANR allows various scenes/ programs to be played back using dry contacts, Midi or DMX triggers. Supported Pixel Protocols: TLS3001, SM16716, LPD6803, WS280, S2811/12/12B WS2813, APA102/104, TM180x, MBI6020, INK1003 APA102, SK6812, UCS1903, MY9221, MY9231

Alan Reeves, Technical Director of TLS, on the PixNet LED pixel controllers: “When we ventured into the pixel market, we found there was little in the way of ArtNet to pixel control. What was there was very expensive and very complicated. With everything we provide at TLS we aim to ensure ease of use, quality and affordability. The PixNet range provides simple and cost-effective solutions to Pixel control, that work.�

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Portman P1 is the first retro lamp from Portman - and it is certainly a unique offering. Reminiscent of old broadcast light fixtures, Portman have brought back the retro style, with added modern conveniences, such as on-board dimmers and DMX control. The Portman P1 is suitable for a variety of applications - it can be used as a part of scenery, as well as a strong light source. The P1 has seven separate DMX channels, while dimmers are built in, making it very east to operate. The product has a clamp attatched to the rear, which means that installing it on,

say, a tripod is quick and simple. P1 has 3- and 5-PIN XLR connectors and a backlight display. Each separate light source is fitted with a halogen lamp, 230W and the product weights 12.5kg. The promotional video for this specific product attracted over 200,000 viewers online, not just locally but globally. Perfect for television, theatre and live performances, Portman described this product as, “classy, elegant and extremely popular.”


Truss, staging and rigging manufacturer

Dynamic, reliable, affordable Solution for Events & Exhibitions, Pro-rentals, DJs & Bands, Access Manufacturer:

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Area Four Industries UK

Area Four Industries Germany

Area Four Industries America

Unit 5-6 Beechwood Estate, Cattle Dyke Gorefield Wisbech Cambridgeshire PE13 4NR Tel.: +44 (0)1945 410700

Johann-Krane-Weg 27 48149 MĂźnster Germany Tel.: +49 251 2024014-0

5421 N. National Dr. Knoxville, TN 37914 USA Tel.: 1-800-411-0065


truss•ing rig•ging [truhs-ing rig-ing] n.

Trussing, whether it be a roof, stage, bridge or any other type of structure, offers the basis of support on which to build, design and create. Rigging is the process of placing and holding products in the correct place. This often relates to audio, lighting and video, among other equipment.



EMEA BEN SINCLAIR VMB “For over 25 years, we have been designing and manufacturing the leading towerlift brand in the world. We have built up an international sales work spanning every continent and have hundreds of satisfied customers all over the world. We deliver the most superior lifts available together with the finest components and most complete service. Every process receives meticulous care, which is why our lifts not only last longer than others, but why people keep returning to use VMB lifts. Our lifts are designed for the professional user and when designing, it is their needs that we take in to consideration.”

APAC NAVIN KRISHNAN KL LIGHTING & SOUND “The brand FENIX has come a long way with its lifting tower, truss and stage products. As we are based in Asia, we are searching day by day to find suitable solutions. In our opinion, FENIX is the best option, particularly with its option of black truss, as venues and events cannot see the truss structures. KL Lighting & Sound Distribution has done a few projects with the black truss and and client are always amazed. FENIX are delivering a lot of solutions that the industry require.”

THE AMERICAS NORBERT TRIPP MILOS “Founded in 1994, MILOS has grown to become one of the leaders in the truss industry, manufacturing a wide range of aluminium truss, ground support systems, roofs and rigging accessories. At the end of 2017, they introduced a new line of steel truss that is now part of their standard offer of MILOS truss. We considered many factors and requirements that needed to be addressed in the final products. One of these came directly from MILOS clients, who had often expressed a desire for their mother grids to achieve the greatest possible clearance heights, especially in fixed installations. With our new ultra-highstrength steel truss, even the smallest models are able to support a significantly higher load capacity than aluminium truss at much lower heights. You can imagine the range of new possibilities that have now opened up for our customers.”


Chain Master CM-820 ChainMaster is extending the proven CM-820 control series with a 12-channel controller for directcontrolled chain hoists compliant with BGV-D8 / DGUV V54 and D8plus. The linkable control unit for 12 chain hoists consists of a compact and robust 19” steel housing with 6U. On the front side are clear directional pre-selectors with LED directional pre-selection display, on the rear are three multicore outputs for four drives of up to 1kW motor power and two grounding sockets for external loads. In addition to integrated phase and rotary field control, further product features include a main contactor for the GO signal and a monitored emergency stop contactor. LEDs on the front panel indicate all operating states. The accessories required for link operation are included. With the CM-820 control series, even growing companies can realise projects with higher demands and more drives. These controllers can be used on their own for smaller projects, in collaboration with partner companies, or can be rented as additional controllers.

Cosmic Truss F34 Cosmic Truss F34 is a high strength truss system that combines lightweight with high capacity. The square construction provides optimum strength and loading capacity for its size. Having a standard tube diameter of 1.96-inches (50mm). Section pieces connect together using a conical coupler, which is then secured with a locking pin, and a further safety clip for added security. F34 can also have powder coating or a high gloss/hand polished design within the delivery period. Cosmic Truss F34 can be used for a variety of applications, such as exhibitions, corporate events, retail environments, and live productions. F34 has a lightweight design maiking it easy to store and transport. Arcs, circles, and corner sections are available as part of the standard range.

Doughty Modular Rigging System The modular rigging system uses 48mm diameter aluminium barrel in conjunction with a truss style conical coupling. The system is designed as two parts - Modular Drop Arms, which are single arms designed to be suspended with a coupler and ‘H’ Frames, which can be suspended or floor-standing with tank traps. Shown above are some examples: - Three large ‘H’ frames topped with a pair of trigger clamps and a small ‘H’ frame suspending four moving lights. - Four Tees with thru connectors in a ladder configuration, shown with parcans or similar. - An arc of Modular Tees with various extensions to create this shape. These can be made more rigid for larger luminaires by using an inverted Tee at the top and connecting to the truss with two parallel couplers. - Four Tees with thru connectors in a ladder configuration, shown with parcans or similar. - A pair of large ‘H’ frames connected to two tank trap adaptors and placed in two tank traps creating a floor standing assembly. - A large bank or parcans or similar suspended on two clamps/couplers with six small ‘H’ frames connected.


Eurotruss Decks Eurotruss is proud to launch the upgraded Eurotruss Decks. The new standard Deck Series is completely compatible with the existing Eurotruss Decks. This model combines strength and durability, with a weight of only 16kg/sq metre - it is one of the lightest and strongest decks in the industry. A special long-centered steel profile ensures full stability and a 45% less deflection. Eurotruss offers a wide range of Black Hexa (anti skid) and Standard Black Plywood in the sizes 2.00 metres / 2.07 metres / 2.44 metres. The new Eurotruss aluminium corner leg holder is easier to use and guarantees a solid connection to secure the legs. Eurotruss Decks can be supported by fixed, light adjustable and/or telescopic legs. Eurotruss Decks now also feature a new hand railing, ramp and stairway solutio, as well as accessories to use the Eurotruss Decks on a scaffolding stage and/or truss grid.

Europodium Aluminium Beams Europodium designs and manufactures various types of aluminum beams, from the decorative beam to those used to produce covered grills. Most aluminum bridges are assembled by a system of tapered sleeves and pins. Structures are customised in terms of both length and shape, ranging from from one to 40m in diameter. Europodium offer a wide range, with extremely fast turnaround times, to certify all our constructions according to the standards CM 66 or AL 76, validated by independent control bodies (TUV, Apave, Socotec) and assembled by certified welders.

FENIX Nemesis Series The new Nemesis Series of lifters from FENIX includes NEMESIS 80, NEMESIS 110 and NEMESIS PRO. These lifters are characterised by their light weight, affordability and ability to transport them with ease. Ideal for small applications for rising sound systems, lighting and truss, the legs can be opened in three positions, depending on the needs of elevation and working area. The Nemesis Series has a special adjustment system that allows a smooth rise of the different sections avoiding the oscillation between the bars. The lifters comes with long-life safety pins and can connect with any accessory with a tube diameter of 28-35mm without the need of adaptors.

GIS LPM250 With a weight of only 12 kg and a lifting capacity of 400 kg, the LPM250 is the lightest among the electric chain hoists in the entertainment industry. Its low weight, the protection class IP65 and the robust construction with the cover made of aluminium means it is perfectly suited for mobile and outdoor use even under most difficult conditions. The manganese phosphated profile steel chain offers high corrosion resistance and improved dry running properties. The load hook is equipped with a dampening system and a single fall hook clamp which positively follows the hook. All LP electric chain hoists are equipped with a three-stage self-contained gear. The helical gearing with geometric optimisation ensures extremely quiet running with a sound pressure level of only 60 dB. Without conversion the LPM250 can be used flexibly as stationary or climbing hoist. Its modular design offers the option to equip the hoist as D8-Plus (load capacity 250 kg) by mounting a second DC-spring-loaded brake on the existing shaft in just a few simple steps. The entire LP series is designed and manufactured in Switzerland and has a three-year warranty.


Guil TQ400

Global Truss Multibase

TQ400 series is a heavy-duty truss system that is light-weight and easy to set up. They are a perfect solution for the installation and rental markets; permanent or semi-permanent installations and for decorative purposes. TQ400 truss is manufactured from extruded aluminium tube (Alloy: EN-AW 6082 T6 according to the safety norm UNE-EN573), is TIG welded (continuous cord) and has a special polished finish for maximum durability and an unbeatable professional appearance. They offer the best combination: strength, flexibility, at the same time as being lightweight and compact. All units have additional diagonal bracing (inner braces) for side loads, to reduce axial torsion and buckling.

Global Truss offers, with the new Multibase, a multifunctional basement that convinces with high quality standards. Furthermore, it is useable with different truss systems as for example with our standard F34, as well as the F44 and iM-Type system. The Multibase can be used as ground support as well as for free standing tower constructions or stage roofs. Some more intelligent features are the 90° adapter for the outriggers or the flexible motor pick point. The motor pick point can also be used as a connection for the thightrope system in stage roofs.

HOF HOKCON 520-4K Trusses with conical connectors of the HOFKON system have established themselves as standard in many areas of event technology. This is due to a simple and effective design, focusing on speed combined with comfortable handling and safety. We offer different cross sections and types, such as the truss system HOFKON 520-4K, which impresses with power reserves. Equipped with 60mm thick connectors, our most powerful system, the 520-4K has a great load capacity, maximum span and fast setup. It is ideal for event production, large stage roofs and pre-rig.

Interal T.C Protruss Series One of the truss-types Interal T.C. produces is the Protruss Series, which is fully compatible compatible with the world standards in truss - useful for those who already have their own stock and want to expand it with new Interal T.C. trusses. The only difference between our Intertruss Series and the Protruss Series is a different measurement in the connection pieces. Itâ&#x20AC;&#x2122;s easy to build and available in various lengths, corners and circles. The Protruss Series is divided into three categories: Decotruss for light, elegant and decorative usage; Multi Purpose for sound and lighting equipment; Heavy Duty for pre-rig truss.


Litec MyT Folding Steroid Truss

Ledika Event Stages Ledika, a truss and stage manufacturer since 2001, with a TUV certificate, provide various kinds of event stages. Its aluminium assemble stage is widely used for outdoor concerts and ceremonies. Up to two metres in height, the stages are easy to transport and install. Ledika also develop stage machinery â&#x20AC;&#x201C; revolving stage, extension and moving stages, elevator stages and more. These are efficient, with low noise and smooth operation

The MyT Folding Steroid truss is made from EN AW-7003 T6 high performance aluminium alloy that virtually undergoes no bending at maximum load and handles higher loading capacities on longer spans than the normal MyT range of truss. A unique feature of the MyT Folding Steroid truss is that a single person can fold and store it in less than one minute. This optimises transport and storage costs, making it the best investment for large roofs in the industry in terms of cost, performance and handling. The MyT Folding Steroid truss has a 27,000 kg maximum payload capacity and a certified operational wind speed of up to 27m p/s. There is a fully integrated tower base with a modular steel ballast system (1.2t each), too.

LTM LP1000 LTM has extended its Entertainment LP Electric Chain Hoist series with the addition of the LP1000 Hoist. The LP1000 has up to 60% greater lifting capacity with a weather resistant IP65 rating as standard - a key feature for the theatre and live events marketplace. With the D8 standard motor, the lifting capacity of the LP1000 is 1600kg in one fall operation, with an equivalent smaller weight chain for the same capacity in previous versions of the hoists. The specific requirements of the entertainment industry, such as increased capacity in one fall operation, low dead weight, low noise emission and suitability for outdoor use, have been given priority throughout the design and manufacture of the LP1000 concept. LP1000 has a robust construction, is simple in its assembly and does not contain any sensitive electronics. All shaft-hub connections are built in a self-centering polygonal design, meaning disassembly and assembly is faster with no special tools required. Wearing parts, such as the chain or chain wheel, can be replaced within a few steps and without disassembly of the entire chain hoist. Perfect for a happy life on the road! Available with D8, D8+ or C1 specifications, three- and single-phase designs (except C1) are available. As per C1 design criteria, LP1000 has interfaces for path and load measurement. The entire chain fall is designed with a static safety factor of at least 8:1 (ISO M5, FEM 2m), meaning wear of the components is decreased and the life cycle is extended four times, to 16,000 hours (ISO M5, FEM 2m) in comparison to the previous model at identical lifting capacity. A case-hardened and manganese phosphated profile steel chain offers a higher capacity, compared to conventional round steel chains.

Milos Steel Truss The worldwide market for events is becoming larger every year as artists depend more on income via concerts, not to mention electronic dance music as a real upcoming force in live events. This market requires higher and higher loads, as well as taller and taller structures. Over the years, MILOS has studied several options that could successfully fulfil this demand. Using various industries as inspiration, theyâ&#x20AC;&#x2122;ve designed a full range of steel trusses, towers and base sections. Through the use of very special steel alloys, trusses were developed that are able to handle an average of 2.5 times more load at just double the weight compared to aluminium systems with the same dimensions and under the same deflection. In a newly dedicated part of their factory, theyâ&#x20AC;&#x2122;e producing these steel truss elements under TUV monitoring and according to EN1090.

Kling & Freitag GmbH |


63 63


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LIGHT OUTPUT more than 25.000 lumen Maximum power consumption 650W



amber 18

graphics: Vilfredo Maria Ricci - © 2016 Studio Due


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STUDIO DUE light s.r.l.

Viterbo (Italy)

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Mountain Productions MTN Truss HD+ System

Movecat I-Motion Expert-T III

The MTN Truss HD+ System consists of an eight-tower design and is capable of supporting 400,000 lbs. The completely redesigned roof grid can accommodate nearly any size show and is capable of being configured for a span of up to 80’ wide, with five cross stage truss spans and a 20’ cantilever, each able to hold 50,000 lb. Equally as impressive, the sound bays are designed to rig 50,000 lbs each, and the video wings can accommodate up to 25,000 lbs each. Along with its extreme weight capacity, Mountain Productions’ unmatched side wall weather protection makes the MTN Truss HD+ System one of the premier staging systems in use today. With a variety of configurations available, Mountain Productions’ MTN Truss HD+ System can be easily modified to fit the look of any event while still maintaining its immense weight capacity. The MTN Truss HD+ is available in either a four post or eight post configuration.

Developed for applications with up to 240 drives, it allows the control and supervision of any application, with DGUV V 54 (BGV D8), D8 Plus and DGUV V 17 (BGV C1) and various other drives at fixed or variable speeds. Control in mixed operation of drives of all kinds can be realized without problems It is even possible to integrate already existing drives and other stage machinery. The controller complies in its basic configuration to DGUV V 17 (BGV C1) and EN 61508 SIL 3 and is therefore equipped for scenic runs over persons. The Expert-T III System Controller controls and supervises via I-Motion network the Movecat MPC-4ID8/C1 and V-Motion Power Controller and forms with them a closed safety network. An error in one unit is analysed centrally, represented visually and leads depending upon the system configuration to the immediate shutting down of a hoist/ drive, the group to which it belongs or even the entire system. For direct operation, two dynamic control levers are available as well as five CUE start buttons for the recall and execution of scene changes and shows. An integrated SSD disk as storage medium allows the storage of all system parameters and numerous shows (the actual number depends upon the size of the SSD disk). The data can be exported and stored externally. The I-Motion Expert-T III system in combination with the I-Motion and V-Motion Power Controllers represents the state-of-the-art solution for professional, complex as well as scenic kinetic applications in the trade fair, events, studio and touring sectors.

Out Board RCX SMART Out Board’s RCX SMART Remote rigging control handset addresses the want for simple-to-manage handsets for increasingly larger channel counts: 32, 48 and 64 channel. Digital, but controlled via familiar push-buttons and LEDS, the compact RCX’s comms employ a robust serial protocol. For ease, RCX SMART Remote automatically matches the channel layout from the order controllers are plugged up in the rack. It’s also hot-pluggable, so no powering down to change a hook-up or add a controller, and with all RCX SMART Remotes and interfaces being equipped with Ethercons for roadworthiness, RCX works with both tour-grade or standard CAT5 cable. Group Memories – non-volatile and reversable – make large channel counts more manageable. End of show: simply pull the out the RCX, power it up, double-click a Memory button and all the channels in that lift switch to Down for flying in. Great for bumping: temporarily clear the selection to solo one hoist and bump it. Recalling the memory continues the lift. Or, double-click the Memory to reverse the lift then deselect a hoist and bump the rest in the opposite direction. Subtle but crucial details gleaned through discussion with master riggers over the years that make RCX SMART Remote the Riggers’ Choice.

Prolyte LSU series Prolyte Group presents the LSU series. The LSU series is a range of products to facilitate the safe erection or suspension of LED systems. The LSU series offer solutions for either suspending your LED systems or building LED systems from ground level. Building your LED screen from ground level is now easy, whatever your type of screen is, Prolyte offers a universal solution, the LED Stack system. This combination of a base-unit, connection bar and ladder truss, creates a very stable system to support you LED screens in various configurations and offers flexibility in height as well as width. A side entry clamp with the universal connection plate mounted makes it possible to mount almost any type of LED panel quick and easy. By using longer connection bars, you can easily extend you screen with another row of panels. Using the adjustable feet in the front and back of the base-unit, you can safely level the system, so your screen is completely straight.


Sixty82 SixtyTag Product specifications, traceability and user data have long been a cumbersome task for companies and individuals working in this demanding industry. Until now. Sixty82 have launched SixtyTag, which centralises data and facilitates easy reference, at all times. The Product Personality system, gives a unique identification to every truss, that links data about its specific manufacturing date and process, and its TÜV certification. Unified by an online database of component information and user manuals, and tied to each individual SixtyTag. Meaning every user has access to product information anywhere and at any time. The functionality of our Product Personality system is further enhanced by SixtyTag – which is standard on every section of trussing that we produce. This unique development of RFID technology is used within Sixty82 for the management of stock and is designed to facilitate open integration with the systems of users, facilitating the growth of digital asset tracking. Our future roadmap for the development of this unique technology that will be released soon, includes enhanced functionality such as EN inspection management and global access to real-time stock availability.

Tait BannerBoxes Driven by a diverse client base that demands efficiency, first time right applications and innovative solutions, TAIT products are engineered to be versatile among our capabilities and are implemented in all markets. Whether it’s a turnkey solution, single-axis control, or an ultra-high-speed winch, our award-winning, off-the-shelf and tailor-made products are reliable, robust and flexible. TAIT BannerBoxes are automated, retractable, multi-purpose banners ideal for indoor venues. This fully integrated product enhances the venue experience by providing maximum flexibility for customised branding or advertising.

Tech Team 6082-T6 Truss The 290 square decorative truss from Tech Team is made from aluminium - material: 6082-T6 – that is extremely tough, durable and long lasting. The truss, which is TUV certified, is simple to assemble, with accurate positioning. Suited to both indoor and outdoor performances, it is the perfect choice – plus, it can be made to any dimension required depending on what is needed.

Unusual Moveable Point Hoist The Moveable Point Hoist is one of the newest winches to be deployed in black box theatres. This flexible system enables each point hoist to be moved automatically along the ceiling guide profiles and so positioned wherever it is needed. Intercon control system provides for complete flexibility. There is a random combination of point hoists: Hoist fly bars on the skew; Hoist multiple fly bars in formations such as straight line, triangle or square. Designed to ensure the cable is always wound straight up and down, the Moveable Point Hoist is BVG-C1 compliant when equipped with double brakes, overload detection and slack cable detection.

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Vectorworks Braceworks An add-on module for Vectorworks Spotlight and Designer, Braceworks provides design, production and rigging professionals with the peace of mind that they can easily gauge the performance of temporary entertainment structures under load to ensure safety and compliance with engineering standard. Also, Braceworks allows designers to not only generate certifiable documentation, but to do so in the same file containing an event design, saving countless hours and reducing costs in the process. Braceworks provides design, production and rigging professionals a completely integrated entertainment modeling, analysis and documentation solution for the first time. Braceworks analyzes complete 3D structural systems modeled in Spotlight. It supports point and distributed load types, straight and curved structural members and multiple materials. The Finite Element Analysis (FEA) model enables static analyses with results displaying graphically on the model for easy reference. Braceworks also includes support for load calculation and truss structure Eurocodes and upcoming ESTA standards, such as the E1.6. It also automatically generates detailed calculation reports and exports files as DTSV for easy sharing with structural engineers.

VMB TE-086 The TE-086 lifting tower is the most powerful of the telescopic series, able to lift 300kg to 6.5m in height. It has five large profiles which gives an incomparable resistance and stability to any other tower of its class. It has a larger winch with a high resistant, anti-torsion steel cable and is guided through reinforced pulleys. The TE-086 is very easy to move with its 4 rotating wheels, and the possibility of installing the RH-1 transport kit, to lay it horizontally and make the transport in vans, trucks, etc. easier. It also has 4 powerful stabilizers in the legs, to level the tower in terrain with a certain slope. The TE-086 features automatic ALS locks, patented by VMB, that guarantee safety in the lifter. A wide range of accessories are also available.

Verlinde STAGEMAKER SR1 STAGEMAKER SR1 is the ideal solution for attachment points taking loads up to 250 kg (500 kg with two falls). Even with two brakes fitted as standard, its high degree of compactness (L 344 x W 153 x H 100) and very light in weight (10.4 kg), allows it to easily integrate a 30 cm square aluminium girder and thus obviate the need for a space above the beam while improving on the aesthetic appeal of decors. Its ergonomic design, black in color, enables it to fit in well with its environment especially with grid lighting systems. Furthermore, the very low operating sound level (50 dB) makes it almost inaudible when in use during performances. STAGEMAKER SR1 is available in A, B and S versions. The A version refers to motors with direct voltage control. The B version refers to motors with low voltage control (electric limit switch as standard) and finally the S version refers to single-phase. STAGEMAKER SR 1 is fitted with best-in-class safety features to comply with current standards and regulations. It is delivered as standard equipped with a double hoist brake thus providing direct D8+ compatibility (125kg SWL).

WORK Lifters Dynsys WORK PRO Lifters the manufacturer of tower-format industrial lifters are now incorporating an enhanced version of the existing Dynsys overload limiting system in future products. Dynsys is a patented safety feature developed to protect operators by preventing top-loading (telescopic) and front-loading lifters lifting under overload conditions, in accordance with the stringent requirements of the EU-wide safety regulation DIN 56950, an important part of the DGUV V17/18 Health & Safety (Industrial Accident Prevention) regulations. With the improved Dynsys v1.2 system, WORK PRO lifters will additionally be prevented from raising anything above Level 0. At the same time, the operator will be given immediate visual feedback to inform them that their tower is excessively loaded, making it impossible for them to miss the potentially dangerous state of their lifter and keeping them safe.


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HybridLineSource Speaker System


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Hybrid horn-loaded-, vented-, coaxial- and LineArray- enclosure design

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The HybridLineSource 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 LF Neodymium + LineArray Waveguide integrated 3-Point FastRig - Rigging Standalone and array usage Transducers



hd HLS20 hd HLS24 *

Freq. Range



(1W / 1m)

Dimensions W x H x D (mm)

2x 10" + 3x 1.4"

107 dB

143 dB

70 Hz - 20 kHz

34 kg

400 x 520 x 540

2x 12" + 4x 1.4"

108 dB

144 dB

60 Hz - 20 kHz

45 kg

480 x 675 x 560

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

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


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




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1. Adam Hall ZENIT W600 With the ZENIT W600, the Adam Hall Group brand Cameo Light presents a high-power washlight with high-resolution, 16-bit technology that is IP65-rated for outdoor use. Equipped with 40x 15W CREE RGBW LEDs, the ZENIT W600 delivers an impressive brightness of 21,000 lumens to create consistent and powerful colour blends. The W600 D is a pure white light variant with a colour temperature of 5,600 K and a significantly increased light output of 41,000 lumens. The ZENIT W600 D was launched at Prolight + Sound 2018 and will be available in summer, 2018.

2. Amadeus C Series The new C Series is a high-definition series of point source speaker systems combining Amadeus’ deepest innovation and technology. The C Series comprises two different models, with plans for other models in a near future. The C12 is based on a two-way point source transducer featuring a 12-inch woofer, and a 1.75-inch driver. The C15 is based on a three-way point source transducer featuring a 15inch woofer. The C 15 also features two neodymium diaphragm compression HF drivers, coaxially mounted with a single acoustical output, and coupled to an individual waveguide. Both models include a unique diffraction horn, each is specific and optimized to get a vertical dispersion of 60° and a horizontal dispersion of 90°, which can be inverted by rotating the system 90-degrees. This type of load ensures a perfectly uniform coverage and an excellent spectral quality throughout the whole listening area. The tweeter in the new C15 features a unique combination of extended frequency response, high efficiency, and wide dispersion pattern. The driver is a two-way system, employing two concentric annular ring diaphragms. Each driver covers a smaller frequency range for increased power handling, high dynamic, and extremely low distortion. The larger annular midrange diaphragm, featuring a 3.5-inch (90mm) voice coil, covers the frequency range between 800 and 6 500 Hz with a smooth, linear response. The ultra-light annular diaphragm for the high range, featuring a 1,75-inch (45 mm) voice coil, offers exceptional transient response with very high efficiency from 6,000 to 22,000 Hz.

3. Analog Way Picturall series Built on Analog Way’s long experience in ruggedised image processing hardware used for fixed installations and live events, the new Analog Way Picturall series has been designed to provide a robust, heavy-duty platform and deliver optimized uptimes and durability. This new range is based on the 10-year old, rock-solid and field proven Picturall software engine, renowned for its extreme reliability, easy setup and flexible control solutions. With resolutions up to 8K, cutting edge uncompressed playback performance and the ability to drive a large number of 4K@60 projectors or LED processors from a single server unit, the new Analog Way media servers are the natural choice to drive corporate events, live shows, high-end theatre productions or large-scale digital signage projects around the world.

4. ArKaos MediaMaster 5.2 Media solutions and control specialist ArKaos highlights its newly launched MediaMaster 5.2 software, the latest edition of its signature powerful and flexible real-time video control platform. An-Ki is an innovative solution to schedule and monitor MediaMaster. From now on, video-mapped or LED installations can be maintained from anywhere in the world thanks to the ArKaos cloud. The key new features that 5.2 brings to MediaMaster users are: DMX Merge: To combine parameters like Pan and Tilt from a lighting console with video sources from MediaMaster. Pixel Blending: Utilising the Blend function, the colour output of a lighting console can be blended - via DMX from the lighting console - with the video output of MediaMaster. Kling-Net Draft Devices: Allow a show to be prepared remotely - disconnected from the physical devices. Extended Fixture Creation: Supports complete DMX Devices like moving heads with Pan / Tilt. 64 Bit Support: for all applications - enabling quicker and more responsive operation.




5. Ayrton Mistral TC Sharing a form factor with its compact sibling, Merak, Mistral-TC is an extremely versatile, feature-rich 300W white LED source spot in an incredibly small package. Designed for applications requiring perfect colour reproduction, Mistral-TC once again pushes the boundaries of technology with an entirely new white LED module, calibrated at 7000K, with CRI greater than 90 and extremely high TM30 readings, making it ideal for applications such as fashion shows or car shows. Mistral-TC delivers an output of over 14,000 lumens, and has an incredible 7° - 53° beam spread with perfect image resolution at all angles. Mistral-TC’s prolific list of features includes CMY colour mixing, variable CTO and a sixposition complementary colour wheel. The effects section includes seven indexable rotating gobos and nine fixed gobos, a continuous graphic animation effects wheel, 15-blade iris, a five-facet indexable rotating prism, and a soft-edge frost filter. Heat is dissipated by Ayrton’s unique liquid cooling system with silent ventilation mode for studio and theatre applications. Powerful, fast, precise, versatile and intuitive, Mistral-TC offers unrivalled performance in its category with nothing of its size, weight, brightness and number of functions on the market.

UNBEATABLE: SWL...........! weight.........! size.............! features........! Look at prolight+sound: Hall 3............ Booth E39 Hall 4............ Booth G51


6. Broadweigh TwistLink BroadWeigh have introduced several new pieces of kit including TwistLink, updated Wind Speed Sensor and a new advanced handheld.The TwistLink, which will be available to customers in Quarter 2, is a smart piece of kit that allows a 4.75 tonne BroadWeigh shackle to be connected to a 3.25 tonne or 4.75 tonne shackle without having to mess around with the pin, nut and clip. Meanwhile the new Advanced Handheld (BW-HA) will bring additional functionality to the BroadWeigh system by expanding its standalone monitoring capabilities.



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1. Chauvet P38

3. Chroma-Q Studio Force II

STRIKE P38 is a compact, punchy and outdoor-ready blinder and strobe powered by a 90 W warm white LED source. An emulated “amber shift” warms the colour temperature of the light as it dims to perfectly mimic incandescent lights. The unit’s IP-rated fan keeps it cool enough for use as a wash, while IP-rated direct power and DMX connections eliminate undesirable whips. Control it with adjustable PWM and RDM for added flexibility.

Using a homogenised LED source capable of delivering variable colour temperature, plus/ minus green shift control and the ability to produce deep saturated colours when needed, the Studio Force II is specifically designed for TV Broadcast and film applications but also performs particularly well in other situations demanding high quality tuneable white light such as touring key lights, exhibitions, corporate events and theatre lighting. The Studio Force II uses the same ColorSure technologies found in other innovative Chroma-Q fixtures to deliver consistent colour across fixtures.

2. Christie DHD635-GS Christie continues to expand its comprehensive mainstream projector line-up with the new 1DLP® Christie DHD635-GS and Christie DWU635-GS laser phosphor models featuring embedded warping and blending technology, Dynamic Contrast, 360-degree orientation, and both portrait and landscape mode. Compact and lightweight for easy transportation and handling, these superior image quality projectors blend seamlessly into any environment including corporate boardrooms and meeting rooms, classrooms, lecture halls, houses of worship, hotel conference rooms, museums, libraries, and other fixed or rental staging applications. Delivering advanced and highly efficient laser diodes for up to 6,750 ISO lumens of light output with 20,000 hours of worry-free operation, both projectors are equipped with Christie RealBlack technology to produce 4,000,000:1 full on/off contrast ratio in a whisperquiet (36dBA) solution.

4. City Theatrical QolorFLEX QolorFLEX now encompasses a vast collection of professional-grade products, including QolorFLEX LED Tape, QolorFLEX 5-in-1 LED Tape, QolorFLEX Dimmers, QolorPIX Pixel Controlled LED Tape and Controller, QolorFLEX NuNeonTM linear lighting, and accessories. All QolorFLEX products are easy to work with, vibrant and consistently color matched, exceed industry standards for service life, and help maximize creative potential for a performance or installation. QolorFLEX products can be seen in hundreds of productions and environments internationally, including: The Tonight Show Starring Jimmy Fallon, Saturday Night Live, Anastasia on Broadway, Bronx Tale on Broadway, The Band’s Visit on Broadway, and the Institute of Contemporary Art Theatre in Boston.

















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






6. DiGiCo Quantum 7 Quantum 7Â has been developed with seventh generation FPGA devices that further expand audio processing power, and ultimately allows DiGiCo to provide its users with an unrivalled amount of flexibility. Quantum 7 expands an SD7 to over 600 channels of processing in 96kHz operation that can be connected in the outside world to approaching 3000 potential I/Os. The engine is also equipped with eight newly assignable MADI connections and two DMI slots (DiGiCo MultiChannel Interface) for AoIP and other connectivity options from the complete family of DMI card options. There are other powerful enhancements, too, including the Nodal Processing and True Solo.









257mm 290mm










Cobalt Digital introduced the new 9971 series UHD multiviewers for openGear that provide a wide range of I/O configurations with respect to signal count, signal type, and signal interface options. The multiviewer base unit handles six asynchronous 12G/6G/3G/HD/SD-SDI signals at the input stage and provides simultaneous 12G-SDI and HDMI 2.0 outputs at up to full 3840 x 2160 UHD resolution, giving users a cost-effective means of leveraging professional and widely available consumer-grade 4K monitors to display the mosaic image output. In addition to 220mm enabling flexible configuration, units in the multiviewer series increase the pixel space available to source signals while maintaining as much original picture information as possible. The 9971-MV18-4K supports up to 18 12G-SDI inputs and, like the aforementioned versions, can be cascaded with other units to create a larger system. Finally, the new 9971-MV6-4KIP and 9971-MV18-4K-IP multiviewers both feature dual 10GigE SFP+ cages. By default, both versions support one 3G/HD-SDI input and output over SMTPE ST 2110 or ST 2022-6 IP standards, and additional de-encapsulator and encapsulator licenses are available. In the third quarter, Cobalt plans to release the +DUAL license, which will enable a second fully independent output over 12G-SDI and HDMI 2.0.









5. Cobalt Digital 9971 Series
































3. Lumen Radio MoonLite

CORE by DPA has been embraced by users in the broadcast, film, pro audio and theatre world. Sound engineers and designers who know the sonic character of the legacy DPA mics, have taken the new CORE by DPA versions to their hearts. These discriminating users now experience even more natural sound from the miniature-sized microphones. Some even report that they find it hard to distinguish the miniatures’ sound from larger-sized studio mics. Looking to minimise distortion and increase the dynamic range of its d:screet, d:fine and d:vote product lines, DPA developed the CORE by DPA amplifier technology to create an even clearer sound from the ‘highest of the highs’ to the ‘lowest of the lows.’ The dynamic range has been expanded in all CORE by DPA capsules. For example, the dynamic range has been increased by up to 14 dB. For the d:vote CORE mics, the dynamic range has gone from 100 dB to 108 dB for the Loud SPL and from 95 dB to 109 dB for the Extreme SPL. CORE by DPA gives the microphones a more clear and open sound across the whole level range. The omnidirectional microphones with CORE by DPA have also achieved an IP58 waterproof rating, which provides water and moisture resistance through nano coating and hermetic sealing of the sensitive electronics. Microphones purchased with the technology will come in CORE by DPA packaging and will feature a blue label (d:screet and d:fine) or blue ring (d:vote) to differentiate between these and the legacy versions. A very discreet laser engraving stating ‘core’ has been incorporated on the microphone capsule as well for the d:fine and d:screet versions.

Ready to ship in Q4 2018, MoonLiteTM will have the same reliable functionalities as all LumenRadio’s CRMXTM products but comes in a much smaller package and at a lower price. By being a wireless DMX transmitter and receiver, offering patent-pending DMXmeshTM, functionality, as well as the ability to act as DMX tester and RDM controller, MoonLiteTM is truly the Swiss army knife of the wireless DMX world! With built-in support for Bluetooth connectivity, MoonLiteTM enables tablet and phone based lighting control softwares to connect directly without the need for extra hardware. MoonLiteTM can also be used together with the new CRMX Toolbox app. Some of the key features are:   •Troubleshooting using the DMX tester functionality •Simple RDM controller that lets you discover, patch and monitor RDM compatible devices •Firmware updates of CRMX devices •Configuration of CRMX products

2. Elation Artiste Picasso From Elation’s award-winning Artiste series of creative, full-featured moving heads comes the Artiste Picasso, an inspirational theatrical-grade luminaire that connects art to engineering. One of the brightest and most feature-rich profile LED lighting fixtures on the market today, it is a high-output (22,000 lumens), feature-packed (zoom, framing, CMY, CTO, gobo wheels, animation, prisms, frost and more) yet compact profile light featuring a new high-power 600W Cool White LED engine.

4. MA Lighting grandMA3 Founded on the legacy of the previous grandMA consoles, the grandMA3 represents a radical re-think of what’s possible from a lighting control platform. The elegant new system-architecture incorporates new fixture, feature and effects-handling at its very heart. The system features ground-breaking concepts from top industry visionaries, presented within a refined user interface, and is designed to make practical tasks more intuitive. The physical design detail of the grandMA3 range is extraordinary and focused on delivering the best possible user experience, now and into the future.


Easily connect 4.75 & 3.25 tonne shackles together without altering the pin Designed to minimise torsional loading Easy & quick connection to other shackles 4.75 tonne safe working load Quick installation Aerospace graded stainless steel Scan here to watch our video...

The market leading wireless load monitoring system thatâ&#x20AC;&#x2122;s accurate, expandable & simple to use. Stay Connected


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1. Magewell Ultra Stream HDMI

3. MDG Me1g

Magewell’s capture products are renowned for outstanding ease of use, and the Ultra Stream HDMI continues this tradition. Designed for users who want to stream but may have very little technical knowledge, the encoder is ideal for everyone from church volunteers, teachers and gamers to corporate marketers and live event organisers. Avoiding the laptop and browser-based interface typically needed for setting up streaming encoders, initial configuration is performed over network or Bluetooth connectivity with the free iOS or Android app. Once security, encoding and destination parameters have been set, recording and live streaming can be started and stopped directly with physical buttons on the Ultra Stream unit or via virtual buttons in the app. Streams can be output to multiple target services simultaneously, while real-time video preview in the smartphone app allows easy monitoring. A tablet-optimized version of the app is also available for use with larger mobile devices. The compact Ultra Stream HDMI measures just 3.7 inches (94.2 mm) square with a height of 1.1 inches (28.5 mm). The flexible unit offers both wireless and wired network connectivity, with built-in Wi-Fi as well as an RJ-45 Gigabit Ethernet port.

MDG introduce an exciting development to its Me Series of fog generators with the launch of Me1g, a glycol-based version of its highly successful Me1 fog generator. Sharing its size and form factor with its oil-based sibling, Me1g has a single nozzle and 0-100% DMX/RDM control for perfect, powerful output, but with the benefit of using any of MDG’s glycol-based fluids. Known for the quality, performance and durability of its haze, fog and low fog generators, MDG is the manufacturer of the AtmosphereAPS and ATMe haze generators, the Me Series and MAX Series of fog generators, and the ICE FOG range of low fog generators, in addition to the award-winning theONE atmospheric generator which can output haze and fog from a single source.

2. Martin Audio SXH218 We’ve announced a brand new ultra-high output subwoofer: SXH218. It’s an extremely powerful subwoofer capable of producing 148dB peak output at 1m and is the ideal partner for WPC optimised line arrays where maximum low frequency output is required. It can also be a standalone solution for premium permanent installations such as nightclubs.

4. Osprey Raptor 12G Osprey Videoannounced the launch of the Raptor I/O family, the newest generation of Osprey’s PCIe cards. The Raptor family includes a wide array of solutions, from 3G-SDI to 12G-SDI cards with up to eight inputs to HDMI 1.4 and 2.0 cards in single- and multi-input configurations. With Raptor, users can ingest video from SD to 4K UHD/DCI, depending upon the card series selected. Each SDI input will support 16 embedded SDI audio channels, while the HDMI series will support eight channels per input. As with earlier Osprey offerings, some models of the Raptor SDI card will offer programmable loop-outs and true I/O capability. In a new feature for Osprey, many of the multi-input SDI cards will offer bidirectional I/O ports, allowing each port to be used as either input or output. Also added are analog black burst and HD tri-level reference connections. Raptor has a unified driver that supports DirectShow, Windows Media Foundation, Medialooks, and NewTek NDI (Windows), as well as Linux V4L2 and Advanced Linux Sound Architecture. All Raptor cards are fanless.

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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1. Outline Superfly

3. Powersoft M-Force

Following an evolutionary path from their groundbreaking and hugely influential Butterfly design, the new ‘Superfly’ compact line-source enclosure sets new standards in performance for a loudspeaker of these dimensions. Weighing under 38kg (83.8 lb) per module yet with prodigious acoustic potential and classleading dispersion control, Superfly integrates perfectly within the existing Outline portfolio and can be readily paired with any of their subwoofer designs. Superfly also redefines the low-frequency performance expectations of compact line-array loudspeakers. The LF extension from the individually-driven dual 10” drivers is extraordinary (below 50Hz) and for many applications Superfly’s ultra-wide bandwidth and clarity makes it the ideal solution without the need for additional subwoofers. However, when used with any Outline subwoofers its full acoustic potential is realised. Powered by the company’s own DSP-equipped X8 amplifiers, Superfly-based systems are flexible, powerful, predictable, quick and easy to deploy and convenient to transport, contributing vital operational efficiencies to any live sound scenario. ​learn more at ​

M-Force is now available as the M-Force 01 long throw linear motor for infra sub applications and the M-force 02 short throw linear motor for high acceleration applications. With longer linear displacement, M-Force 01 is the perfect tool for direct radiation and bandpass applications, enabling manufacturers to keep cabinet sizes to a minimum whilst allowing for flawless infra-bass reproduction. M-Force 02 is designed to grant reliability under extreme loads, such as bandpass applications and loaded horn configurations. Based on a patented, moving magnet, linear motor structure, M-Force is purposely engineered to squeeze all available power granted by switching mode amplifiers to deliver unbelievable performance in terms of power handling, electromagnetic conversion, reliability and maximum SPL. Generating linear movement with parallel moving magnets, M-Force transcends the possibilities available from the limited power and loads of traditional moving coils. M-Force is configurable as a full system, comprised of M-Drive which fully exploits the potential of M-force to squeeze all of the available power granted by switching mode amplifiers. The most powerful amp module ever built, M-Drive is uniquely conceived to drive reactive loads.

2. Philips VL800 BeamLine The first LED effects unit from the Philips Vari-Lite brand, it produces a distinctive, collimated, flat sheet of light in a 3.5° beam with advanced movement, color control and pixel-mapping capabilities. A linear strip moving light with 12 RGBW LED emitters, the VL800 BeamLine features a newly-developed optical system which provides a bright, collimated and elongated beam of light, adding extra depth and dimension to lighting designs. Adding further to the dynamic effects possibilities is the option for pixel-mapping control across three zones or, in full pixel mode, across each of its 12 LED emitters individually, allowing for the integration of video into a performance. The VL800 BeamLine provides fast, precisely-repeatable movement with continuous pan and tilt, plus the added dynamics of mega-stepping and twist effect functions on both the pan and tilt channels. Compact and lightweight to meet the demands of today’s show lighting environments, it has been designed from the ground up to maximize performance, reliability and ease of maintenance. At the same time, its highly competitive price point offers rental customers a faster and higher return on investment.

4. PR Lighting XLED 6019 Containing 19 high power Osram 60W RGBW (four in one) LEDs, with linear colour temperature change from 2700K-10000K, it is capable of producing mid-air parallel beams to create a uniform wash and variable built-in dynamic effects. This fully-featured moving head offers unlimited RGBW colour mixing, with macros and 0-100% dimming, linearly adjustable. Additional features include: Electronic strobe 0-25fps; Motorised zooming linearly adjustable; Rainbow, Wash, Beam, Profile, Effect Modes (Kaleidoscope, Swirl), with multiple macros; Head movement: Pan 0 - 540° and Tilt 0 - 180°, with auto position correction; 19-channel operation in standard mode, 92 channels in extended mode. It also includes preset memory, user memories, wireless DMX control. Finally, other useful functions include: Pixel Control; Bi-directional and continual rotation of the front lens panel; Colour touch screen and brightness-adjustable; Pan and Tilt Speed adjustable (and invertable); Firmware upgraded via DMX interface and XLR cable; Over temperature protection. All effects are contained in a high-temperature, engineering-plastic moulded IP20 chassis, and net weight is 29.5 Kg.


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1. Pro Tapes Pro Console Tape Pro Console Tape is a premium flatback paper tape used in color coding, labeling, board/ console tape and photo edging/cropping. The high performance adhesive will hold firmly for extended periods of time on most surfaces and remove without residue. Pro Console Tape features: clean removal, repositionable, printable and hand tearable. Pro Console Tape is available in 11 colours, including White, Blue, Black, Green, Orange, Yellow, Red, FL Orange, FL Green, FL Pink and FL Yellow. This product is printable with: flexo inks, markers, pens and pencils. The white colour is pH neutral. Fluorescent colors are blacklight friendly.

2. ProLights OmegaPIX The first UK stock of the new ProLights OmegaPIX next generation LED video screen has gone straight to Lincoln-based event production company, Peachy Events Services for use on a diverse range of client applications ranging from corporate events to outdoor music festivals. After hearing about the popular ProLights AlphaPIX range, Peachy Events approached the brand’s UK-exclusive dealer, A.C. Entertainment Technologies (AC-ET). Building on the AlphaPIX screen’s already impressive performance, the OmegaPIX panels run NovaStar’s latest high end A8 receiving cards and have 18 bit+ ClearView technology. Users also benefit from increased creative flexibility, with convex and concave mounting plates enabling screens to be configured with curves, along with 90 degree corners. In addition, the range includes an IP65 rated 3.9mm pitch model suitable for use on temporary outdoor events. AC-ET’s video division supplied an 8 square metre video wall system featuring 32 separate 50 cm square, 3.9mm pitch ProLights OmegaPIX LED panels, plus the associated Novastar control boxes, data and power cabling, mounting hardware and flightcases.

3. Riedel Bolero Wireless Intercom System Riedel’s Bolero is a game-changing new wireless intercom system in the license-free 1.9GHz frequency range. Bolero offers a rich set of features and connectivity that can be

applied three ways: as an exceptional wireless beltpack, as a wireless keypanel, and — in an industry first — as a walkie-talkie radio. The system runs over a standards-based AES67 IP network, and its decentralised antennas connect to AES67 switches and then to Artist frames equipped with AES67 client cards to provide a fully integrated point-to-point intercom ecosystem with seamless handover capabilities. Bolero uses a high-clarity 7KHz voice codec to provide higher speech intelligibility and more efficient use of the RF spectrum. The codec offers excellent processing efficiency, provides outstanding beltpack battery life, and saves processing power. Bolero operates at twice the spectrum efficiency of other DECT-based systems, equating to up to 10 beltpacks per antenna (fully roaming) and up to 100 antennas per system. Other features include Riedel’s exclusive Advanced DECT Receiver (ADR) technology to improve RF robustness by reducing sensitivity to multipath reflections, Near-Field Communication technology to facilitate “Touch&Go” beltpack registration, Bluetooth 4.1, and an ergonomic beltpack wrapped in high-impact plastic and rubber overmolds.

4. Robe Tarrantula Building on the advanced technology of the popular Spiider, Tarrantula is designed for multiple environments, from concerts to car shows … and everything in between, and particularly for large venues and spaces. It is powered by 36 x 30W and one 60W high powered LED chips, providing a jawdropping 20,000 lumens of output. A versatile optical system offers adjustable beam angle from a tight 4° spot to a superwide 50° wash, all with the highest quality of light. The LEDWash 800 inspired Beam Shaper accessory creates a traditional oval beam that can be indexed for precision coverage of the stage or performance area. Central to the Tarrantula’s advantages is Robe’s exclusive “Flower Effect” adding yet another eye-catching visual dimension. Driven by the 60W RGBW multichip, this creates sharp, speed-controlled spikes of light that can be rotated in either direction. Intense, fully saturated colours plus a fantastic range of subtle pastel tones with ultrasmooth transitions are possible due to the integrated 18-bit LED dimming system. Dynamic video-driven effects can be easily achieved by mapping the Tarrantula’s individual pixels via a DMX console or a media server, and utilizing the on-board sACN with internal HTP merging via DMX or Kling-Net protocols.


KEEP THEM COMING BACK FOR MORE InfoComm 2018 is the place to discover new entertainment tech solutions to create showstopping events. The Event Production Pavilion features hundreds of products — from LED projectors to rigging equipment and everything in between. You’ll find inspiration to push your production to the next level. Sign up for a Tech Tour to get a backstage look at how popular event spaces in Las Vegas were developed. You’ll learn directly from the pros as they explain how they use audiovisual resources to build immersive experiences for their audiences. Register today for a FREE Exhibits-Only Pass with VIP Code MONDO.

The Audiovisual and Integrated Experience Event






1. RTI VSS - 51 Presenter Scaler Switcher Kit RTI, a leading control and automation manufacturer for residential and commercial settings, today announced that the company is now shipping an extensive line of A/V signal management solutions. Offering tight integration with the RTI control ecosystem, the video matrix switches, extenders, presentation scalers, and audio mixer amplifiers deliver a complete end-to-end solution for residential and commercial projects. The VSS-51 Presentation Scaler Switcher Kit combines seamless switching with advanced scaling to provide excellent picture quality regardless of the source. Perfect for conference rooms, classrooms, and lecture halls, the unit accepts a variety of video input formats and includes a microphone input. The kit also includes the VSW-51R HDBaseT receiver for convenient delivery of video to an additional display.

2. Sonnet eGFX Breakaway Sonnet Technologies today announced the eGFX Breakaway Box 650, the latest and most capable model in the company’s series of Thunderbolt 3 to PCI Express(PCIe) eGPU expansion chassis for professional graphics and gaming applications. The Breakaway Box 650 is designed and qualified specifically for large, power-hungry video graphics processing unit (GPU) cards, including the AMD Radeon RX Vega 64 and overclocked NVIDIA GeForce GTX 10 series-based cards. The AMD-approved Breakaway Box 650 is equipped with a 650-watt power supply, which provides ample power for GPU cards with high transient peak power requirements. The unit is equipped with a 40Gbps Thunderbolt 3 port that enables data transfers up to 2750 MB/s, and supports all Thunderbolt-compatible GPU cards — such as AMD Radeon R9, RX, RX Vega, and Pro WX models; and NVIDIA GeForce GTX 9 and 10 series, Titan X and Xp, V, and Quadro models. In addition, the Breakaway Box 650 includes two eight-pin auxiliary power connectors and provides 87 watts of upstream power (Power Delivery), useful for powering and charging a connected notebook computer that supports Thunderbolt 3 charging.

3. VITEC EZ TV IPTV VITEC introduced its new product with capabilities that are fully supported through the EZ TV Platform, with DRM integration also available across VITEC’s IPTV set-top-boxes, signage end-points, and the cutting-edge EZ TV IPTV mobile app. VITEC’s video wall solution is designed to simplify deployment and management of projects involving IPTV, digital signage, and video wall content, while delivering a breathtaking visual experience. The new EZ TV video wall processors are 100-percent hardware-based, feature lowlatency native playback of IPTV streams up to 4K, and support interactive content, video, and imagery transformations. Up to 60 displays can be managed from a single processor, including nonstandard layouts and resolutions of TVs and LED walls. In addition to the video wall and new DRM integration, the new release adds enterprise IPTV capabilities. This includes time-shifted TV, a new mobile app for iOS and Android devices that allows users to stream video from the field back to HQ in addition to playing IPTV content, real-time enhancement of HEVC streams delivered over lossy networks, and TAA-compliant, high-performance end-points

4. Zero 88 FLX S24 - FLX SS48 Both FLX S24 and S48 are ultimately portable, powerful controllers with a small footprint, with free apps available for wireless monitoring of the lighting rig, and support for a range of networking accessories. Inbuilt tools include the cool “RigSync” feature, helpful step by step “Guidance”, and “Auto Palettes” to assist with the prep work. Colours can be quickly and accurately selected via the multi-touch Colour & Image Picker, or the encoder wheels or by selecting colours contained within “Mood Boards by LEE Filters”. From design to manufacture, Zero 88’s FLX and FLX 8 consoles have been developed to maximise creative time and work across wide range of applications and sectors, especially education, houses of worship, fringe theatre, community venues, corporate events, concerts, holiday parks, cruise ships, TV productions and many more.



Seven colors in one LED – including lemon and UV. With the two X-Men you get the latest moving heads with a unique color mixture. This combination allows for particularly homogeneous, deep and, thanks to the lemon color, fresh colors. UV gives the color spectrum its final touch, making fluorescent materials glow and producing unique, almost sparkling light effects by skillful blending. _ Unique color mixture with RGBAW + lemon + UV _ 25 watts per LED _ Zoom from 3-34° (X7) and 4-31° (X19)

Hall 5.0 Booth B38/40/42 10th - 13th April


“The fans are demanding more and more of the technology - and we should be the ones who are delivering it.”

JOE WALSH Sales Director, Sports & Entertainment Venues, VITEC First of all, tell us a bit about your background? I graduated at the University of Minnesota with a BSEE-Degree, went out of school and got into technical sales. I’ve been selling pretty much all my career. I joined Vitec in 2015 to get started in their sports and entertainment market.

What is your role at VITEC? I am responsible for sales thriving into the sports and entertainment business. It involves working with consultants, channel partners, and integrators that are going after that space. My role is also to look at the sports market and make sure the business plan is in order to be a success.

Was it difficult to get into the sports market? We’ve a couple of professional sport teams under our belt. But, at that time, we didn’t have signage. We made a strong effort in that signage market. That’s when we decided that, in order to be successful in that space, we had to add signage as a solution - it’s paid off for us.

When did you introduce the signage? Two years ago. We offered it and we have gone from having a signage platform to having video walls. We see the migration in that it has become very popular in the luxury suites, with the personal TV experience and we are starting to see a lot of the specs starting to come out that are requesting video walls in a suite, so, as a result we added the video wall capability.

Can you tell us how VITEC improve the experience for fans at stadiums and arenas? If you go back in terms of the technology, most of the stadiums and arenas were pretty much 100 percent signage type of environments. There was barely done anything with IPTV. The stadiums like the fans to see the action if they get up and get a hot dog. We were able to push that content back to anywhere within the facilities. We can deliver a video over to the storage and also to mobile with ultra-low latency. In a lot of these suites, they want the personal experience that they have at home. The fans are demanding more and more of the technology - and we should be the ones who are delivering it.

Tell us more about VITEC’s EZ TV IPTV and Digital Signage platform – what are the benefits? In a new stadium or arena, you are expected delivering everything over IP. There’s a huge benefit to that because now you can basically put an encoder into a meeting room and create that as a channel. I can bring in a TV and then our architecture will manage the ability to see the content. On top of that, we can add video on demand, we can record any live stream. For the fans, we can start pushing content on displays, menu boards, we can push stuff to mobile devices. And we also have a PC player, which tends to be utilised for back of house. At Orlando Magic, they’re using it for the press - they can see what’s happening in conference. We have built-in product controls, too. Whether it’s controlling the price on the menu items on the menu board, or bringing in an external data piece like stats. It’s all part of our eco system.

How does a project start for you and your team at VITEC? A lot of times sports consultants want to know what’s available and we work with them on the specs, so this is one way. The other way is to get the referrals. If Orlando Magic liked us, they’ll hear about a project and recommend us, or some contact us as a result of our consumer base saying: ‘Hey, we heard about you, we want to know more.’ Also, our marketing team has done a good job of creating all the key information; we’ve got case studies and video testimonials. On top of that, we have our traditional channel partner - big integrators that are in the sports industry and they call us to say: ‘Well, we heard about this project, we want a product of you.’

Are there any difficulties that you experience on a regular basis when it comes to stadium and sporting venue installations? A lot of it is due to very long sale cycles. We first pitch, then there’s a flurry of activity. So, it goes through their process, through all these peaks and valleys of things that have to be done. The other thing is our specs are for very large projects; we are the fan-facing technology and, typically, we are the last in the loop. The other angle is that you give us

a large project, you can have multiple consultants, you can have their technical staff, so you get all these people in a room with this whole bunch of different opinions on the technology and it’s really about trying to get all these people in sync on it.

Which stadiums or sporting venues have you been working on recently? We’ve been working with the Atlanta Hawks they’ve built a brand new practice facility, so we won that project. At the same time, they were in a process of renovation on the Philips Arena. We’re also completing LSU, which is a very large collegiate school. We are doing over a thousand displays for managing their football stadium, their basketball arena and their baseball stadium, so that’s pretty unique. We’re also just completing the Minnesota Vikings practice facility, which has over 300 displays.

What would say has been your favourite project to date? There are no favourite ones - they’re all favourites. I have a dream job. I have been talking to professional sports teams, to collegiate sports teams, very rich in history - every project is unique and fun.

What do you believe to be the next big thing in terms of technology when it comes to stadiums and sporting venues? Data is going to be huge. The point is that if I had a suite and I walk in and I have my favourite sports team or my favourite players, I am going to want to have access to that data, right? Aggregating this data is our goal. We are going to have the infrastructure. We have an open API, so we’re going to be able to deliver that customised data set to specific individuals or fans. Video on demand, the library aspect of it, again customising the VLD library based on who is in the suite. Also, VIPs are going to want to have access when they’re travelling. They want to have access to the stadium channel line up and we’ve got technology that allows that. They just travel with a small setup box that they put in a network connection. They don’t need a technician to sort that. To me, those are the type of things that people see as technologic progresses.

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

眀眀眀⸀ 昀 戀琀 ⸀ 椀 琀

Next Generation

CODA Next Generation Advert - 210mm x 310mm.indd 1

14/05/2018 12:12

mondo*dr 28.4  

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

mondo*dr 28.4  

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