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JULY / AUGUST 2018 | 28.5



The New Zealander talks us through his journey with RGBlink.


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An ultra-low distortion 6" midrange driver My leader photo for this issue was taken at the opening of Adam Hall Group’s new Experience Center last month. It’s clear to see a lot of heart and soul has been put into building the new state-of-the-art facility, and they sure know how to throw a good party, too! Read about the new addition to the company’s HQ on page 128. Elsewhere in the issue, we have more on the ‘new’ front with Prolight Concepts moving office, Creston’s showroom, and we’re running our first IBC Show Preview, too. Venue wise, we have an eclectic mix of clubs,


houses of worship, theatres and live performance spaces - something for everyone. One venue type you’ll have seen missing from our pages of late is stadiums, which, obviously, now feature in their own dedicated title, mondo*stadia. Existing as a supplement of mondo*dr for the last 12 months, the publication will receive an official launch in its own right next month - make sure you keep a look out for it. RACHAEL ROGERSON-THORLEY EDITOR

DESIGN & PRODUCTION Mel Robinson, Dan Seaton

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IN DEPTH 22 INTERVIEW Justin Knox - RGBlink

ARCHITECTURAL AUDIO An in-depth look into a variety of aesthetically pleasing venues.

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102 THE GET SHOW / PROLIGHT+SOUND Guangzhou 108 KOBA Seoul 112 INFOCOMM Las Vegas 126 GRAND OPENING Adam Hall Experience Center 130 NEW PREMISES Prolight Concepts Group 132 SHOWROOM Crestron

126 ADAM HALL EXPERIENCE CENTER Adam Hall opens a new Experience Center next door to its HQ.

134 IN DETAIL EM Acoustics, disguise, Adam Hall 140 PRODUCT GUIDE Microphones and Cables 150 PRODUCT DIRECTORY 162 LAST PAGE INTERVIEW Kei Aikawa - Pioneer Pro Audio



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THE WHATS AND WHYS OF VIRTUAL REALITY AUDIO - A CREATOR’S PERSPECTIVE To create a perfect illusion, it’s not only visual content that has to be hyper-realistic, sound has to be, too. Daniel Soo and Lionel Chok from Singapore-based start-up iMMERSiVELY discuss how they develop spatial sound and the reasons why it is such an important part of the Virtual Reality experience. Ambisonics and spatial audio have been a recent talk of the town and an important component of Virtual Reality (VR). As a team of creators specialising in creating content using immersive technologies like augmented, virtual and mixed reality, we knew that spatial audio would play an essential role in our work. So, let’s cover the basics: What is ambisonics? Ambisonics is a multichannel spatial audio technique that lets you spherically capture sound arriving from all directions, at a single point in space. For playback, this representation is rendered binaurally, allowing you to virtually rotate the orientation of the perspective in all directions, horizontally and vertically. This technique is supported by all of the major post-production and playback tools on the market today. This makes ambisonics the appropriate tool for VR and all other applications involving 3D sound. Some time back, our team was tasked to reimagine and recreate the environment of a few iconic locations in olden day Singapore. For this project, we employed spatial audio instead of mono or stereo audio. Why? Because spatial audio makes for a much more active and immersive experience for the viewer. With spatial audio, turning your head in the VR headset changes

• Small, elegant and full of impressive features: the AMBEO VR Mic by Sennheiser.

the orientation of the soundscape. These environments were created by superimposing digital paintings that depicted the past onto present-day scenes. With spatial audio, we could use positional sound to cue the viewer’s attention as parts of the scene revealed itself around them. In our case, the ring of cowbells or a shout was soon followed by a bullock cart or rickshaw man respectively. Although the digital paintings were still images, the use of spatial audio and image together gave viewers the illusion of the cart and the man coming towards them, as if they were actually inhabiting the reconstructed environment. We came to know about the Sennheiser AMBEO partnership programme and decided to get on board. The program has dramatically helped in supporting us with the audio hardware and software that top-notch VR content requires. Our relationship with Sennheiser has been immensely valuable to us. The program covers products and technologies for the entire audio signal chain, from capture to mixing, and processing to reproduction. Before the AMBEO technology came along, iMMERSiVELY had been using a portable four-channel recorder. One of the major challenges that we had with it was the sound quality - it was less impressive than that of the AMBEO VR Mic. While it was sufficient for simpler jobs,

our early setup would not have given us the control and quality we needed to create the soundscapes as convincingly as we now do. The AMBEO VR Mic packs impressive features, functionality, and quality into a small and elegant form factor; and the AMBEO plug-in makes conversion a breeze. It works very well with Reaper (our current digital audio workstation of choice) and the Facebook 360 Spatial Workstation - making the entire VR production and post-production process enjoyable. As VR content creators, we believe that spatial audio is and will continue to be an incredibly critical element when it comes to creating compelling VR content. Spatial audio applications and their value will only increase as more people begin to appreciate the unique affordances and challenges that VR as a medium pose. We are excited to experiment with projects that encourage spatial audio to take centre stage. Instead of relying mostly on detailed visual representations to tell the story, how can we start using minimal but evocative visuals in service of sound to build an intricate and compelling virtual environment? The opinions expressed in this article are the opinions of the author and not necessarily of mondo*dr magazine.


Valley United Methodist Church The historic Valley United Methodist Church offers plenty of charm, though its dated sound system was in need of an upgrade. Wichita-based audiovisual integration firm, McClelland Sound, remedied that with the design and installation of a new sound reinforcement system, including a pair of Ashly Audio nX-Series multi-mode amplifiers. “The sanctuary seats around 200 people, but their ageing sound system was not adequately serving them,” explained Paul Colella, Vice President at McClelland Sound. “Intelligibility was a big issue, as was consistency from service to service. They needed an overhaul, and we were careful to design a system that would allow them to expand the elements included in their services in the future.” Paul used an Ashly Audio nX8002 two-channel 800W amplifier and the four-channel model nX1504 150W amplifier to power a Community Pro IP8-1153 three-way loudspeaker, supplemented by three smaller Community Pro IC6 loudspeakers and two surface-mount Community Pro DS8 loudspeakers. Paul concluded. “It’s been in place for several weeks now, and everyone is thrilled with the improvement.”

ASHLY AUDIO Ashly Audio Inc. is recognised as a world leader in designing and manufacturing quality signal processing equipment and power amplification for use in the commercial sound contracting and professional audio markets. The philosophy it established from the very beginning holds true today: to offer only the highest quality audio tools at an affordable cost to the professional user. A total of 40 years later, Ashly Audio remains committed to this principle.

Rothchild Performing Arts Center The Harker School completed construction of the Rothchild Performing Arts Center on its Saratoga campus. A paging system installed by local audiovisual integration firm PCD and built on an Ashly nX8002 multi-mode amplifier ties the different spaces in the venue. Devcon Construction served as the general contractor on the project, while the Shalleck Collaborative served as the audiovisual design consultant. “Although the design of the paging system is straightforward, it was important that it should work well on day one and and reliably into the future,” explained Christian Velasquez, Contracts Manager at PCD. A two-channel Ashly nX8002 amplifier delivers 800W per channel to an expansive system consisting of 24 Electro-Voice Evid c4.2 and 17 Evid c8.2 in-ceiling loudspeakers. The loudspeakers cover the classrooms and the common areas throughout the new space. A BiAmp Tesira processor links an Audio-Technica paging microphone with the rest of the system.

Gilmore Car Museum For automobile enthusiasts, the Gilmore Car Museum is the place to go. Local audiovisual integration firm, Crookston Audio, installed a paging system a decade ago centred on an Ashly amplifier that is still going strong. They were called back again to extend the system after expansion at the museum. A new Ashly Pema 4125.70 accepts output from the original system, and its four 125W networked amplifier channels power nearby outbuildings. The Pema’s builtin 8×8 Protea matrix processor allows to do complex digital signal processing on each channel. Crookston ordered the Pema with optional Dante output, which feeds a fibre line that had already been installed to a more remote outbuilding. There, a new Ashly nXp752 dual-channel 75W multi-mode amplifier with Protea DSP and optional Dante picks up the signal. As the museum prioritised voice-over music, it decided to go with basic Atlas voice-range horns. Crookston used the Ashly Protea DSP to condition signals for maximum intelligibility and musicality and to delay each building.

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Justin Knox has done the full 360ยบ when it comes to video - from the early days of primitive CRT monitor walls to playing a leading role at one of the most forward-thinking companies in the industry. In 2015, the New Zealander joined RGBlink as Marketing Director after more than 15 years with ULA Group in Australia. Michael Nicholson caught up with the seasoned audiovisual professional to find out what life is like at the sharp end of video processing and scaling.


“It’s fair to say I started early in the industry by way of music and have a technical slant. My background was in stage lighting - beginning in Auckland with theatre - then moving to dance, commercial and corporate events. This is pre-computerised lighting consoles, pre-DMX, and preintelligent lighting. “Actually, around this time an industry friend of mine acquired a video wall - basically a bunch of CRT monitors, a bunch of cables and a workstation. The thing came without a manual - he could power it up but little more. Always a big ideas guy, he had already sold the advertising and convinced a shopping centre to host the video wall before it even worked. This ended up being my first handson video experience - as the only person he knew who could program a computer, he called me. After lots of trial and error, many frustrations, and effectively reverse engineering the instruction set, I got the video wall programmed and working. So, coming to RGBlink is almost a full circle in that respect.” Working with Paul Coleman and Walter Coleman - who had earlier founded Selecon - Justin spent most of the ‘90s doing rentals then increasingly installations of stage lighting, draping and engineering. He explained: “It was really valuable experience for me, particularly in

engineering design solutions and project management. We enjoyed building up that business and - in today’s lingo - disrupting the accepted status quo to really satisfy customers”. That period also gave him his first opportunities to travel overseas with his work, “I travelled to the US and Europe, including to PLASA for the first time, building many relationships that remain today.” As the sun began to set on the 1990’s, Justin decided to leave his homeland and start a new chapter of his life in Australia. It didn’t take long before he was heading to the Gold Coast to meet ULA Group’s Con Biviano. “I had known Con before then, which is another story in itself. Now I was in the ‘bigger fish bowl’ of Australia, Con encouraged me to visit him and I quickly came on board, and quickly built up a strong rappout together. It was an exciting time where the business really grew and the industry evolved incredibly. At first, LEDs were not yet ‘a thing’, but when LED began to emerge, ULA was into it very early with LED lighting - then boldly and early again with LED displays.” Since it started in 1992, ULA Group has built a reputation for providing innovative, reliable, and engaging lighting technologies and solutions. By the mid-2000’s, the LED display industry was growing rapidly and the video and lighting crossover that is so

• Above Justin Knox and RGBlink CEO Ben Hu work closely together.

prevalent today was starting to take shape. Justin revealed: “The VuePix LED display products rapidly took off and took over large amounts of my time as this became an important growth driver, and for what we could see from an events / rental sense, a converged market of lighting-video. So, getting into video was really a journey of technology, and not just LED, but also control and media server platforms allowing these technologies to be brought together. “Surprisingly, there were very limited video scaler choices. The existing industry was very focussed around existing technologies such as PDP and projection with a different mind-set to the new world of LED displays that was so rapidly emerging. At the time in the mid-2000’s the solution the LED companies were providing was essentially PC-based, which was workable for standalone signage applications, but not suitable for the business that was driving adoption and growth at that point - events. “Here then was an opportunity - an opportunity RGBlink CEO, Ben Hu identified - and founded a business on: quality video processing solutions embracing the requirements of LED displays.” Justin’s curiosity and admiration for video professionals and engineers drew him in. While the convergence

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of lighting and video pathed the route, it was the characters who beckoned him in a new direction. “I have to say, the people brought me in. There is an energy and enthusiasm that draws you in with what I’d describe as like a tech-start-up atmosphere.” From the outside looking in, a move away from ULA, Australia and into a different part of the audiovisual world may have appeared daunting, but not so for Justin. He reflected: “ULA had been a large part of my life. Like the earlier time in New Zealand, I can honestly say I had some of the best times of my life there - both periods were filled with great achievements and wonderful experiences.” Justin had recently married and was anticipating the idea of less travel and more time at home, but life doesn’t always go the way we expect. As he considered his options and several approaches with an open mind, Ben extended an invitation for him to join up with the RGBlink team at ISE 2015. Soon after, they reached an agreement and Justin quickly got to grips with a new professional life. “Really, from a technology perspective ,it wasn’t such a huge thing - although there was and is just a lot of video ‘stuff ’ I’m still learning. I had been spending huge amounts of time away from Australia building the LED display products and already knew

the company and management, so I had no reservations about joining RGBlink in that sense - nonetheless, it was a whole new thing starting somewhere new for the first time in a very long time.” He added: “I already knew what it’s like to work in China relatively well, the culture and so on. The bigger change was working for a bigger enterprise and those dynamics RGBlink having a much bigger team than I had been used to. In the marketing team alone we have four people for design and production, and another three for local marketing and events, plus another two people full time on documents. And with more people, there are lots of meetings for all the moving parts, right across the business keeping us very busy.” China presented a new challenge and an opportunity to immerse himself in an environment that is probably incomparable to anywhere else on earth. Its buoyancy, variation and vibrancy have made an impression on the New Zealander. “Certainly, China is a very different market to established international markets,” explained Justin. “In many ways, it is quite advanced and creative compared to other places – especially when you look at some of the event display applications. The entrepreneurial spirit in Shenzhen and Guangzhou is

truly incredible. For us, Beijing and Shanghai are much more corporate, and focussed on high quality solutions which is great too.” Having taken the change of direction in his stride, Justin focussed on giving RGBlink the global footing that he felt its innovations and potential deserved. “It was clear to me that communication was key to transitioning RGBlink to a respected international manufacturer - the technology and performance quality was clearly existing. With so many people getting into LED displays, articulating the solutions that are available for video processing was really needed.” Justin is keen to point out that the company’s successes are down to the strategic vision of the management team, the pioneering product development effort and the hard work of everybody at RGBlink. Since he joined the company in 2015, he has been part of an impressive success story. “It has been incredible ride,” he reflected. “The growth - certainly in conventional terms – has been phenomenal. We’re about to celebrate the ninth birthday of RGBlink. The company has become well established in a what is a very specialised field in a very short time. Sales have multidigit, year-on-year growth and the

• Left Justin with RGBlink CEO, Ben Hu and Bter Hu, China Sales & Development Director • Top right, Justin posed with a customer at one of the many exhibitions RGBlink attends. • Bottom right RGBlink’s X Series.



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“It was clear to me that communication was key to transitioning RGBlink to a respected international manufacturer. With so many people getting into LED displays, articulating the solutions that are available for video processing was really needed.”

network around the world continues to grow.” Europe is the strongest market for RGBlink, but emerging markets like India are experiencing even greater growth. Over the last three years, the company moved, expanded, and completely reimagined its Shenzhen Regional Sales & Support Centre. It expanded its Xiamen Head Office three times and opened a European office in The Netherlands. The RGBlink team has grown by around 50%. There remains a strong R&D focus, with around 30% of the team involved. There are now full-time team members in Australia, South America, India, the US and The Netherlands. Of course, it all starts with products that the market finds attractive and implements en masse. With almost a third of the growing workforce dedicated to ensuring RGBlink remains at the tip of the curve, it’s little surprise that there have been a number of standout products of the last few years. “The first was the VSP628pro, which showed RGBlink could truly produce a world-leading, high performance video processing product,” said Justin. “The road to making VSP628pro was not easy, but Ben was tenacious

- really listening and bringing back honest customer feedback to the team from key industry players to deliver an impressive product that out performs others in its class. It remains a popular product today, despite the growth of the display market to larger displays. If anything, quality, flexible video processing is even more in demand. In the US, we see customers taking VSP628pro in place of previously needing three or four processors to do the same functionality and with higher performance, which is quite an achievement.” Then there was the X3, which has been the big breakout product for the company. “The X3, released in 2015, is part of what we call our universal video processor range advanced video wall controllers. These are designed to capture the market for very large and multiple display applications, and our timing in building not just the X3 but also the X7 was just right on as very large systems became really viable and in demand.” Justin highlighted how quickly the market is moving and growing: “Only two years after the X3 came to market, the X7 - with over four times the capability - was the big story of 2017


• Above Justin presented the House of Worship category which was sponsored by RGBlink at this year’s mondo*dr Awards.

and has cemented RGBlink universal ‘video wall’ processors as the go-to solution.” Through these product advancements, the company enjoys prominence in a number of application areas - ranging from rental / events, integration for sophisticated control rooms and conference spaces, and broadcast. “RGBlink is probably best known in rental / events applications, especially - and proudly for us - as the videoprocessor of choice that many LED manufacturers supply with their displays. In the events space, RGBlink is trusted every day from the smallest to largest events right around the world. “For large-scale entertainment and events, RGBlink is rapidly becoming the choice of many video production companies, especially with the X3 and X7 universal processor range, which really has enabled sophisticated multidisplay systems.” Justin went on to explain that the real breakout category over the last couple of years has been in broadcast specifically with video wall controllers in studio. The list of broadcasters using RGBlink products day-in-dayout for mission critical delivery and control to video walls is impressive:

RAI TV Italy, CNN, ESPN, TRT Turkey, Austrian TV, KBS Korea and CCTV China to name a few. He said: “In a lot of applications, RGBlink is the ‘glue’ that brings the project together and allows it to go ahead. Our universal video processors, in particular, fit that mould, and by-design are highly modular allowing us to bring together key technologies as well as to iterate in a way that brings the user base along with us.” The company is in a unique position, in that the foundation of the business is in technology and engineering. Ben as both CEO and R&D Director provides the grounding and direction for the team, taking on board the feedback that comes from the industry - using it to work on emerging standards. Internally, there is also a dedicated video research team, entirely separate from product development teams. The research team features the company’s ‘dreamers’, who are empowered to invent new processing methods and optimisations. RGBlink also has a strategic relationship with the local university. “The development team is constantly working on new products and

evolving existing products across the lifecycle,” explained Justin. “With our innovations in modularity, it has been excellent bringing new capabilities to existing platforms, for instance, as well as new out of the box products. So, we are very forward focussed at RGBlink and moving forward rapidly. “However, despite the rapid development, and knowing this pace can affect customers, we have recently added new teams to maintain products through the lifecycle more effectively. This allows the R&D teams to maintain their forward focus while the dev-ops teams keep focus on the in-production range.” He added: “We are always looking at solution possibilities - how to enable and facilitate video display anywhere, especially as the requirements become more fluid and dynamic.” Justin is clearly enjoying the part he is playing in RGBlink’s development: “The atmosphere and culture were one of the key things that attracted me to RGBlink. The company is very progressive with strong can-do mentality, driven from Ben, and the culture is very much quality and technology focussed. There is a strong commitment to always doing better and not just accepting the status quo. “Aside from the seriousness of business, there is a real sense of fun. There are regular team events and celebrations, and we often have midweek dinners for smaller groups to celebrate achievements. Most of the team are let’s say ‘youthful’, so they are fun to be around and there’s pretty much always a positive mood.” As Jutsin looks ahead to a bright future, he does so with an appreciation for the career he has had so far and for his role as the public face of a company that is an innovator in its field. “RGBlink continues to enjoy an incredibly loyal following built of one-on-one relationships. We have spent a huge effort on building out from great foundations and bringing the brand and the products to a larger audience - an audience that is really in need of these kinds of solutions,” he praised. Concluding, he said: “I joke sometimes that I feel like the mascot, however, I am privileged to have this special role and to have the chance to introduce to so many people - both those well established in the industry, and those coming into the space - the solutions RGBlink has to offer.”





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A visually minimalist K-array loudspeaker system from the Italian manufacturer has been installed at Guildford Cathedral, as part of a major upgrade of its audio systems. Supplied and installed by DM Music, the Vyper ultra-flat line arrays deliver exceptional intelligibility from the discreet, colour-matched enclosures. Guildford’s Grade II Cathedral occupies a commanding position on Stag Hill, overlooking the town and its university. Designed by British architect, Edward Maufe, it is one of the UK’s more modern worship spaces and one of only three built in the 20th Century. Construction started in 1936, but was halted by the outbreak of war and only resumed in 1954. Towards the end of 2017m the cathedral’s technical staff decided to replace the outdated 100V line loudspeaker system that was no longer up to the task.

The team approached Harpenden-based DM Music, one of the UK’s most experienced specialist church systems integrators, to tender for the audio design project. As part of the upgrade, it was also necessary, from a health and safety perspective, to remove the asbestos-based acoustic plaster that was lining the 22-metre high, 1,000 sq metres ceiling and, as a result, the building acoustics presented the installer with a sizeable challenge. DM Music’s Installations Director, Graham Bennewith, explained that removing the plaster made things substantially worse, so he had to design a loudspeaker system that would be intelligible, even with a subsequent RT60 reverb time of around 6.5 seconds. “As well as presenting a difficult acoustic environment, like many of our Grade I and Grade II listed churches, aesthetics was also a major considera-

tion. The advantage that K-array has over other loudspeaker manufacturers is that not only do its installed products sound great in an environment such as this, they are also very discreet, and we were able to RAL colour-match to the stone work to make them virtually invisible,” Graham said. The Vyper KV50 column arrays installed in the nave consist of eight closely-spaced one-inch drivers in an elegant stainless-steel chassis, providing focussed listening from the inward-facing pillar locations. Their narrow vertical dispersion and wide horizontal coverage pattern ensure that sound is directed solely at the congregation and away from reflective surfaces. In addition to the 16 KV50’s covering the whole of the nave, eight KU44 colour-matched subwoofers are fixed on the outside of every other pillar, complementing the mid-high loudspeakers to provide


full range frequency response. In the crossing, a pair of KV50’s point back towards the choir to fill in for the front few rows. Tornado KT2 spot monitors are installed under the choir pews. This location is also the control point for the whole system - equipped with a fixed iPad, a mobile iPad so the vergers can walk around and assess sound quality, a CD player, and a recorder. An additional pair of KV50 loudspeakers fire up towards the presbytery. “The cathedral is used quite extensively by the University of Surrey, and it has a lot of concerts in here,” commented Graham. “For a graduation ceremony, for instance, it will bring in a video that’s been designed for a full range system, so the subwoofers enable us to give full range response. For speech the subwoofers aren’t essential but they do add a bit of presence at the bottom end.”

He continued: “To complete the loudspeaker setup, there is another pair of KV50’s with KU44 subwoofers projecting sound to the high altar. We’ve also installed a feed into the choristers’ practice space to allow them to hear what’s going on while they’re getting ready, while in the West Porch we’ve got KT2’s to provide some in-fill, and in the West Gallery we’ve also installed KV50’s.” “At the heart of the system are two Dante-enabled Yamaha MTX5D processors - one in the loft and one in the basement. Everything in the East End all wires down to the basement, which is then linked on Dante to the processor up at the top, all through 10mm conduit. Radio mic receivers are up in the top, and from the MTX5D we feed to the K-array amplifiers, which are mostly KA24’s,” he enthused. “The choice of K-array was a simple one. Every year we look for loudspeaker brands, we go to the

tradeshows and talk to as many manufacturers as we can. We did consider larger steerable arrays for this project, but the result is not as aesthetically pleasing. In terms of matching the building, K-array is really the only brand that can do the job.” “So far, we’ve had some very good feedback,” concluded Graham. “Our contract included one year of technical support and that means regular tweaks, so I regularly meet with members of the church to work out if there’s any dead spots, and fine tune all the delays and settings to their exact requirements. They’ve asked for some zones to be slightly louder and some to be slightly quieter. We plotted it completely flat, so we could we have a bit more in this area and a bit less in this area, and that’s down to their personal preference.”



Apogee, an innovative rooftop bar on the 26th floor of the Dana Hotel and Spa, was recently awarded ‘New Concept of the Year’ at the Nightclub and Bar Awards in Las Vegas. Apogee prides itself in master mixologists that deliver quality cocktails quickly and consistently in hand-blown glassware and custom ceramic vessels. Tim Pickett of Encompass AV, who installed a Martin Audio CDD system during Apogee’s original upgrade, takes up the story: “The venue is a re-concept by the Fifty/50 Group whom we work with on a regular basis for a number of restaurant and club installations in Chicago. It was replacing and totally upgrading the original bar that was on site, and the owner and his team were concerned

that the original sound system wasn’t up to par. It was only two or three years old, but really hurt your ears at loud volumes. We did an A-B demo with Martin Audio CDD12’s and the original 12-inch loudspeakers, and you could clearly hear the quality difference with the CDD12’s.” The installed sound system included 12 CDD12’s and four CSX118 subwoofers mounted on the ceiling around the perimeter of the bar and the main seating area. The bar’s VIP room is equipped with four CDD10’s mounted on the walls with yoke mounts and two CSX212 subwoofers mounted above acoustic panelling but ported outwards so the sound can be evenly distributed. Tim confirmed that the owners are ecstatic with

the final results, as, originally, there was some noise concerns because the venue is on top of a high rise with neighbours and other condos close by. But Martin Audio was able to tweak the system and quickly eliminate any possible problems because of the control over the CDD’s differential dispersion technology. “Bottom line, the club sounds great,” Tim concluded. “The coverage is incredibly consistent, the audio quality is amazing, and the low end sounds phenomenal. The owners are way happier with the Martin Audio system than the original PA.”



One of the most architecturally striking buildings in the city of St Joseph, the Missouri Theater is the centre of a thriving arts scene. Thanks to some public-spirited citizens, the 1,200-seat former movie palace has recently been upgraded with an Alcons Audio LR7 pro-ribbon system. St Joseph’s position on the Missouri River means it was a historically important location for trade and it remains popular, being within easy reach of over 17 metropolitan areas. On the National Register of Historic Places since 1979, it retains all of its visual grandeur, so it was important that a recent audio upgrade didn’t detract from the aesthetics. Although owned and operated by the city authorities, the upgrade was crowd funded by the enthusiastic locals and together with its longest-serving Sound Engineer, Erich Uhlhorn - who did his first show there 46 years ago - they approached Audio Consultant, David T Walters of Diversified Design. “This was the last stage of a long-running series of technical upgrades. My approach was that it’s ‘my’

house and I wanted to make it sound right,” said Erich. “When he saw the theatre, he knew it was perfect for the Alcons LR7 pro-ribbon solution. It would deliver great audio quality, but not impact on sightlines or the architecture.” As it happens, David is a long-term fan of ribbon drivers, so when he did a site visit, his choice was the Alcons LR7, because it is so unobtrusive. “I spoke with the client about other systems, but I knew only Alcons would meet the aesthetics, budget and audio needs. We demonstrated the system and everyone was sold on it straight away,” he said. The system comprises 12 LR7/90 micro line array modules per side, with a centre cluster of three RR12 point-source array modules and a pair of BF181i mkII compact subwoofers. Six SR9 ultra-compact monitors are used for fills, with the whole system powered and controlled by three Sentinel10 amplified loudspeaker controllers. The system was installed by the Electronic Contracting Company, which is based in five locations in the

Midwest and has a large portfolio of public building installations. “It was the first time I have used the RR12’s and, to me, they sound every bit as good as the LR7’s,” added David. “The coverage is extremely even, which is a benefit of the asymmetrical horns - we hung them straight and the coverage was perfect. “The frequency response of the whole system is really good, and I was very impressed with the power of the subwoofers, they really deliver.” Phillip Peglow from sound design and consulting firm, Broken Chord, commissioned the system which, thanks to its inherent quality, it was not a difficult process. “You don’t have to work hard to make Alcons systems sound good, which is something I really like,” Erich praised. “We’ve had a lot of comments about how much better the sound is. The staff love it, the patrons love it, everybody notices that something good has happened.”


Europa Park is a theme park located in Rust, Germany and is the largest in its country, and the second most popular theme park resort in Europe, after Disneyland Paris. Kraftwerk Living Technologies called in US-based company, Vectorworks, to provide audiovisual for Europa Park using its software tool, connectCAD. The tool is used for the majority of Kraftwerk LT’s projects, not only using it for simple line diagrams and rack layouts, but also extensively relying on its

database functionality. Europa-Park uses a specialised and handy workflow used during the design process, using the ‘search-and-replace’ function over the device report and overall, connectCAD’s handy tools allow users to adapt parts when attractions are similar and leave enough flexibility for designing projects and attraction-specific details and requirements Thanks to connectCAD, the schematics have become the hub of information for every project. Inside the racks and assemblies, every single cable is labelled,

from either side, it is clear where to plug it in, and where it’s coming from. Thanks to a connectCAD cable report and a handy excel file, this is an easy streamlined process. Using ‘master tracking list’ that helps keep track of serial numbers, address information and implementation progress. The basis for this list is a connectCAD Device Report. The database option that connectCAD provides is the basis of all ‘following’ workflows, either internal cable lists, our master technical equipment list, even the device ID stickers are generated out of connectCAD.



In December 2017, France’s most revered educational institution, The Sorbonne, prepared to ring in the new year and a new era of highly intelligible audio with the installation of an L-Acoustics Syva system in the university’s Grand Amphitheatre. The configuration was designed to address the challenges of a reverberant space while complementing the stunning architecture of the room, originally inaugurated in 1889 and classified as a national Historical Monument since 1975. Audio consultancy firm, Altia Acoustics, was hired to conduct a public address system audit. Over the course of two years, a dozen people from different departments in The Sorbonne compared systems, which included beam steering technology and stacked line-arrays from a variety of manufacturers. As trials were in progress, The Sorbonne event organisers continued to hire external service providers for their ongoing audio requirements and L-Acoustics Kiva was

often the temporary rental solution provided. Hearing Kiva in action prompted The Sorbonne’s team to request that it be included in demonstrations as part of the selection process. “The initial request was to hear a system comprising three floor stacked Kiva II,” said Olivier Inizan, Sales Manager at L-Acoustics. “A few months earlier we would have agreed, but we had just launched the Syva system and, when we considered all the requirements of the project, we knew that Syva’s wide horizontal dispersion would bring better coverage for the audience at the sides of the theatre, as well as delivering better vertical directivity control in the mid frequencies.” The aesthetics of Syva’s design, its ease of integration, and the fact that fewer cabinets were required, therefore making it more cost effective, were also advantages. “The biggest challenge we faced with Syva,” added Oliver. “Was to convince the The Sorbonne that we actually didn’t need to demonstrate Kiva II.”

L-Acoustics Application Engineer, Arnaud Delorme, installed the system; it comprised a pair of Syva atop Syva Low positioned on either side of the stage. Four 5XT cabinets, evenly positioned across the stage lip, provide front fill, while a total of 16 5XT positioned around the amphitheatre’s two tiers of balcony boxes provide even coverage across the entire theatre. “This type of very reverberant place takes full advantage of the vertical directivity control that Syva paired with Syva Low offers,” commented Arnaud. “This results in much greater intelligibility than by using a number of cabinets in a variable curvature configuration. The system is also versatile thanks to presets created in LA Network Manager suited to different situations - everything from speech to a variety of musical genres. System optimisation for a given event is now as easy as pressing a button, saving the time and effort of moving loudspeakers around the room.”

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The baroque church of Rellingen, know for its characteristic octagonal design, belongs to the most important buildings of late-baroque art in Schleswig-Holstein, Germany. In 2014, the church council with Martje Kruse, pastor of the Evangelical-Lutheran church back then, invited tenders for the modernisation of the sound equipment. In view of its octagonal construction and the height of the building involving two gallery levels with seats facing the pulpit, the sound reinforcement system absolutely had to be high performing and variable. Implementation of the final acoustic and sound reinforcement concept eventually took place in the year 2017, under the leadership of pastor Dr. Lennart Berndt. In the course of the tendering process, Amptown System Company (ASC) was able to enlist graduated engineer, Frank Chilinsky, from Nordakustik, a renowned expert planner and consultant for church acoustics, for the project. Owing to excellent references for providing churches with sound installations, the Hamburg-based system integrator ASC won the contract with a tailor-made and budget-compliant offer. Sales Manager, Andreas Klöhn, and Project Manager, Michael Stötzel, supported the project from the bid until final inspection and acceptance. As with any historical building, the scope of action regarding the improvement of acoustical conditions was limited by monument protection stipulations. “For preservation regulations to be respected, any measure which would have involved an intervention into the architecture of the church was not an option,” Frank explained. “The church council wanted the sound equipment to ensure excellent speech intelligibility on all seats, in spite of the long reverberation and today’s standards for ‘sonorous reproduction’ of music to be met, to achieve perfect sound enjoyment, for instance, where content from CDs and smartphones would be

supplied. Specifications also requested directional reference for reproductions from the altar area.” “Apart from ‘regenerating’ the character of the church as an acoustic space, the modern sound reinforcement system was also supposed to lend a higher quality standard to the additional use of the building as a location for concerts and other events, for example the May Festival and the Schleswig-Holstein Music Festival,” Andreas added. ASC Project Manager, Michael Stötzel described the features of the system solution: “Frank Chilinsky developed a state-of-the-art loudspeaker system that involves the latest technical sound components to allow for manifold uses of the space. This solution also covers the demand that modern technical equipment should form an unobtrusive part of the church architecture which not only applies to the loudspeakers, but also to the control equipment which is accommodated in an ASC media rack conveniently accessible by the user.” “The architect, the in-house electrician, the ASC team, and I explored the interior of the church together and agreed on potential sites for the loudspeakers and the media rack and on where to lay the cables,” Frank continued. “The existing loudspeaker cabling with 100V outputs was no longer in tune with contemporary standards, all the more so as the galleries had to be connected as well. Therefore the in-house electrician laid the low-resistance cables I had requested and took the opportunity to renew the microphone cabling as well.” Andreas added: “On the two galleries, we installed seven small but highly effective d&b audiotechnik xS-Series 5s loudspeakers, which are hardly noticeable to ensure sound delay compensation, a further two loudspeakers on each side were added for altar monitoring. To ensure effective directivity up to the rearmost pews, we integrated two slim d&b audiotechnik xS-Series 24c column loudspeakers on the columns to the right

and left of the altar. For the sake of operational safety the system power amplifiers used were custom-tuned to the loudspeakers. Low-noise d&b audiotechnik D6 two-channel power amaplifers are used on the main loudspeakers supplying sound from the direction of the altar, and 10D four-channel power amplifiers for the delay lines.” Michael described the implementation procedure: “Frank arranged for a BLU-100 DSP controller by BSS to be used for loudspeaker equalisation. The delay adjustments were set in the system amplifiers. Users may select the presets I programmed on control panels distributed throughout the nave - in the vestry, in the sexton’s box, and on the organ - to vary the master volume within fixed limits if required. When the galleries are not in use it is possible to switch off the loudspeaker circuits located there in order to optimise speech intelligibility in the main area. As a result it will be much easier and more convenient for any user to manipulate the system.” For the daily activities in the church, manual volume adjustment is unnecessary. The settings of the Shure SCM820 automatic mixer and audio DSP determined by the planning and system integration provide optimal speech intelligibility with directional reference and are easy to use. The automatic mixer opens only those microphones into which somebody is actually speaking. Microphones which are not addressed are virtually closed. In this way any undesirable noise which could affect speech intelligibility is prevented from entering the system. To protect the system against improper handling, ASC and the church council agreed on certain device controls to be disabled - power amplifiers, radio receivers, automatic mixers - with the exception of the final control elements actually required, for example the AUX input.

CHA PEL ON McE VE R COMPANY: DANLEY SOUND LABS LOCATION: GEORGIA, USA Although Free Chapel is a multi-site mega-church with weekly attendance approaching 12,000, it’s still got the neighbourly feel of a much smaller church. With an eye toward community, parishioners at Free Chapel’s flagship Gainesville, Georgia location are excited about the church’s newly constructed Chapel on McEver, which will serve as a dedicated wedding chapel. Purpose built, the Chapel on McEver is the ideal location for not just a wedding, but for a reception as well, with a nice mix of all-weather outbuildings and manicured grounds. Local audiovisual firm dB Integrations designed and installed a sound system for the Chapel on McEver and its outbuildings using Danley Sound Labs’ SBH-20 column form-factor, point-source loudspeakers, SM-100 synergy horns, weatherised GO-2-8CX loudspeakers, and TH-mini15 subwoofers. “The Chapel on McEver is a beautiful setting for a wedding, but its aesthetics also makes for some challenging acoustic conditions,” explained Paul Lynch, Sales Associate at dB Integrations. “There’s imported marble tile everywhere plus lots of glass and highly reverberant wooden pews. To compound the challenge, the church ignored some acoustical treatments we recommended, while also requesting that the sound system be ‘invisible.’ It doesn’t want to see technology in the room. With very few places to even put a loudspeaker, Danley’s point-source fidelity and intelligibility were going to have to save the day.” The architecture included niches in the decorative and structural support columns for column form-factor loudspeakers and dB opted for Danley’s SBH ‘Skinny Big Horn’ series. A Danley SBH-Series loudspeaker acts as a single point source - with no self-interference and therefore no comb-filtering - while delivering a wide horizontal coverage pattern and a tight vertical pattern to keep energy off the ceiling and floor. When the recommended acoustic treatments were still on the table, the dB design team designed the system with four Danley SBH-20LF columns - the ‘LF’ denoting additional low-frequency drivers. However, without the treatment, the team revised the design to six Danley SBH-20 columns, four for the main floor and two for the balcony. The additional boxes serve as delays so as to minimise the distance between a given listener and a loudspeaker. Finally, two Danley TH-mini15 subwoofers contribute low-end warmth for musical playback. The dB team used four weatherised Danley GO-2-8CX loudspeakers for an outdoor patio area that’s suitable as a pre-wedding hangout or as part of a post-wedding reception. The grounds also feature a ‘garage’ area that is semi-indoor and outdoor. Four more Danley GO-2-8CXs cover the garage, with low-end support from another Danley TH-mini15 subwoofer. Finally, two Danley SM-100 Synergy Horn loudspeakers serve as a portable system. While expressly designed to provide coverage for a beautiful gazebo area, they can, in principle, be deployed anywhere they’re needed. Crown amplifiers power all of the Danley boxes, and a QSC Q-SYS DSP system provides comprehensive routing so that users can place any sound source in any area with minimal fuss.



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



Situated in Rennes, Les Champs Libres is not only the main city library (Rennes Métropole) and Museum of Brittany, but it also incorporates a science museum with planetarium, a conference room and exhibition hall. Designed by architect, Christian de Portzamparc, 11 years ago, this cultural centre recently hosted a highly progressive multipoint sound system installation that would permit six sound designers to ‘sculpt’ artworks that could be moved in space. At the hub of the system is an ingenious ‘engine’ in which advanced Powersoft tools communicate with QSC Q-SYS integrated audiovisual technology control over an AoIP platform. This enables the designers to play out FLAC files - audio samples compressed with the FLAC audio encoding algorithm over AES67 which these devices support. With eight Amadeus Audio PMX-5 loudspeakers and two ML-12 subwoofers distributed in the exhibition hall, a QSC Q-SYS 110F Core, along with a pair of Powersoft Ottocanali 4K4 DSP+Dante eight-channel amplifiers and a Luminex GigaCore 12 managed Giga-

bit Ethernet switch, allow the sound creations made by these sound designers, and mixed in eight-track, to be played optimally with linear and circulatory spatial features. Two QSC Q-SYS AES67 transmitters send dedicated streams to both eight-channel Powersoft amplifiers via the Luminex GigaCore 12 switch, while the recent AES67 compatibility of QSC’s Q-Lan audio router and Powersoft DSP+Dante amplifiers, along with the Q-SYS plug-ins, enable a perfect system integration. The brain behind the idea is the facility’s Conference & Exhibition Hall Production Manager, Dewi Seignard. The installation was undertaken by his in-house team, with equipment supplied by local audiovisual system specialists, VIDELIO-IEC to meet the exacting timeframe and technical requirement of this multipoint installation. Created within a busy events cycle, conferences, exhibitions, installations, it was originally intended to be a temporary exhibition. “However it quickly became evident that it would remain for future events,” stated Dewi. Amadeus Audio’s, Gaetan Byk, and scientist Michel

Deluc, representing the best-integrated amplification and processing solution, had recommended Powersoft. “Also, there was the possibility offered by the Armonìa suite, as well as its ease of use, which completely convinced me,” he confirmed. “As for Q-SYS, one of the main advantages of this system is that it allows non experts - with a sufficient IT background - to make a management system with various access levels, while the Q-SYS designer interface allows the system architecture to be designed depending on needs.” The production manager made sure he had plenty of system headroom, opting for two Ottocanali 4K4 DSP+Dante amplifiers. “Because we were unsure of the future usage for this installation when we chose the products, it was essential that we made as much provision for the future as possible. We were already aware of the possibilities offered by AoIP, as well as the AES67 standard since we already chose this last year for our conference rooms, while my colleague, who manages the audiovisual for exhibitions also bought Amadeus Audio PMX8D loudspeakers and ML15D

subwoofer which hosts Dante cards. Another factor when we chose the gear was the possibility for the installation working autonomously once programming was completed. Q-SYS manages the power on and off for the amplifiers as well as monitoring - thanks to a plug-in dedicated to the Powersoft amplifiers,” Dewi explained. However, at the time of choosing the gear the AES67 interoperability of the Q-SYS system and Powersoft Dante module had only just been announced - and there was a wait for firmware integration. But confidence remained throughout, despite having analogue/AES cables available as backup - the Powersoft amplifiers automatically switching between the sources in the event of a Dante/AES67 network failure. In a venue like this, it isn’t always easy to avoid the electromagnetic disruption that can interfere with the audio signals over long cable distances. The two Powersoft amplifiers are located around 25-metres away and so an IP infrastructure allows the integrator to be to free of this distance issue. “During the final mixing stage, they were able to acknowledge the full dimension of their artworks. Finally, despite the challenging nature of the venue for accurate sound reinforcement, the combination of Q-SYS, Powersoft and Amadeus Audio has worked wonders,” Dewi concluded.




Ba Sao Audio recently, deployed HARMAN Professional Solutions audio and lighting systems at the Rock Island Club at the Nam Nghi Resort, Vietnam. Located on a small private island offshore from Phu Quoc Island, the Rock Island Club is an outdoor eating, drinking and dancing venue. The club is renowned for its team of bartenders and chefs, who craft innovative cocktails and provide a contemporary culinary experience. Management recently decided to upgrade the sound and lighting with the intention of turning the Rock Island Club into an international party destination. To achieve this goal, management hired Ba Sao Audio to design and install a complete HARMAN audio and lighting system made up of JBL, Crown, BSS, Soundcraft and Martin solutions. “Club and DJ events require a comprehensive range

Santander Performing Arts Centre was previously constructed back in the 1870s as a market; the facility eventually became the Academy of Music in 1886. Then in 1917, the Rajah Shriners purchased it for the purpose of showcasing a range of entertainment including vaudeville, motion pictures and live performances. Sadly, in 1921, a fire destroyed most of the facility, so a few years later and the auditorium had to be rebuilt. David Farrar, General Manager for Santander Performing Arts Centre, was well aware of the fact that this 2,000-seat theatre was special and would require a custom approach to achieve a consistently powerful sound that show-goers would never forget. “Clair Brothers provided more than I could have expected with its specifically-customised C8-TrueFit sound system,” said David. Clair Brothers TrueFit Technology is the first modular, bespoke waveguide providing the utmost customisation in audio design. Beyond overcoming unique architectural nuances of an historic venue, the new Clair Brothers C8-TrueFit system had to bring out the best for a wide range of performances, from children’s shows and comedians to orchestral performances and heavy metal bands. There was no question that Santander would require a truly tailor-made sound system. After much investigation, consultation and measurement, the C8-TrueFit system, with its ability to minimise architectural reflection and anomalies, was the unanimous choice as the best way to go.

of high-quality audio products that provide exquisite sound quality,” said Nguyen Khac Anh, CEO, Ba Sao Investment. “The HARMAN solutions work perfectly for the venue, and the system allows the guests to enjoy crystal-clear music, not only onstage, but in the entire building. HARMAN’s wide range of brands provided us with a great deal of flexibility, which has helped turn the Rock Island Club into an incredible party venue.” The HARMAN system includes JBL Control 31 twoway loudspeakers, which are paired with JBL PRX418S subwoofers to reinforce the bottom end. Crown DriveCore Install and CTs 2000 amplifiers power the system. Audio processing is provided by BSS Soundweb London BLU-100 and BLU-50 signal processors, and a BSS Ethernet controller is used for signal routing. Audio is mixed on Soundcraft Signature 16 consoles. The light-

As a general rule, C8-TrueFit arrays feature singularly configured, continuously variable and asymmetric waveguides that are ‘designed-to-order’ based on a room’s distinctive shape. Clair Brothers TrueFit approach to venue-specific design customisation is made feasible through innovative 3D CAD software - a proprietary Clair Brothers engineering technology. While a totally custom system is a theoretically worthy ideal to strive towards, these technological advances now overcome prior constraints in required design time and real-world manufacturing. In today’s world, it’s easy to imagine a novel process like this that might involve 3D printing using plastic substrates, but at Clair Brothers wood reigns supreme as the superior horn and waveguide material. This is also the case for TrueFit technology. The ingenuity of Clair Brothers’ new installation system designs is delivered via the medium of wood. What you end up with is always a perfectly unique, venue-specific loudspeaker array that provides naturally even coverage for an entire audience. An added bonus and special feature of the new C8 sound system at Santander is that the majority of the system is portable, including its main PA, amplifer racks, cabling and motors. In this way, it’s much akin to a road system, where portability makes the unit much more flexible for any venue and its customers.

ing solution features numerous Martin by HARMAN fixtures, including the RUSH Aqua compact LED, the RUSH Wizard ‘full-house’ effect light, and the RUSH Multibeam 2 LED effect light. “We are privileged to offer the highest quality audio experience at the Rock Island Club,” said Ramesh Jayaraman, VP and GM of HARMAN Professional Solutions, APAC. “The sound system perfectly complements the high-end atmosphere of the venue, and sets it apart from the other entertainment resorts. We thank our partner Ba Sao Investment for coordinating with Nam Nghi Resort and delivering and excellent customer experience.”




Having expanded from its flagship venue in New York City, 1Oak, which stands for 1 Of A Kind, has recently opened its most ambitious and state-of-the-art club to date - a three-floor, 1,000-capacity venue at the base of Roppongi Hills in Tokyo. Sacha Robertson at 1Oak Tokyo explained the key to this success: “At the heart of the 1Oak approach is a focus on differentiation through design and function, capturing and curating the energy in each club. Interior design and lighting combine to play a major part, but ultimately that energy has its origin in sound.” When it came to choices for the Tokyo venue, the interior design process was led by New York-based contemporary artist Roy Nachum, who was Grammy-nominated in 2016 for his cover artwork on Rihanna’s ‘Anti’ album. With the club interior complete and the opening date fast approaching, 1Oak engaged the local d&b audiotechnik team to design and implement the all-important sound system. 1Oak owner Salvatore Morale recalled, “As a DJ I appreciate the sound. At around the same time we were building the club, I had started to notice that in all the places I visited around the world and heard great sound, whether that was a big festival, a hotel bar or an opera house, I was seeing d&b audiotechnik loudspeakers. This was a clear sign for me.” As with 1Oak clubs around the world, the latest Tokyo

venue is not simply a nightclub. Founder Richie Akiva’s vision is that of an entertainment venue - an inspiring space capable of hosting live music, launches, premieres, after-parties and VIP events. Versatility without compromise underpins the business model and is a key component of the sound system design. Salavtore continued: “As a club, 1Oak is predominantly dance music and hip hop. As an entertainment venue, we have top artists of all music genres performing here, so it’s important we can provide great sound, no matter what the character of the music happens to be.” Central to 1Oak Tokyo’s layout is a d&b audiotechnik system equipping the the main stage, with a V12 and V8 based array plus dual VS subwoofers, along with dancefloor and DJ booth in which monitoring is provided by two M4 and two Y-SUB. The feeling of being at the heart of the club is accentuated by the Nachum-inspired ceiling design, evoking the sensation of being within an immense ribcage. Additional to the dancefloor are seating areas, served by 10 d&b audiotechnik E6 loudspeakers, two 21S subwoofers and two B22 subwoofers. 1Oak’s VIP rooms, private karaoke room, and roof garden utilise d&b audiotechnik Y7P and Y10P loudspeakers, with 12S and 27S subwoofers to match. Amplification requirements throughout the venue are met by seven d&b audiotechnik D20 and four D80

amplifiers. The overall 1Oak Tokyo building incorporated many different types of space, each with their own requirements and characteristics. For example, high SPL is a central requirement in the main room, whereas tightly focussed horizontal directionality is a priority in each of the VIP areas. What they all have in common is overall tonality. Key to the d&b audiotechnik system design was a seamless transition between these distinct areas of the space, retaining the desired energy through consistently high sound quality. Even the restrooms are equipped with d&b audiotechnik 4S loudspeakers. The result is an even, immersive and intimate experience connecting all three floors. Sacha expanded: “The way we serve our clientele is through sound. 1Oak elevates the nightclub concept to an experience consistent with the best clubs and the best live events. Who better to partner with to achieve that goal than d&b audiotechnik?” He concluded: “Every part of 1Oak Tokyo is always ‘in the pocket’ for sound. I know we’ve made the right call with the d&b audiotechnik system and I would have no hesitation doing the same for future projects.”



Pohang First Presbyterian Church has installed a NEXT-proaudio sound system in its 2,500-capacity main sanctuary. Pohang city is located in North Gyeongsang Province, South Korea, about 300km far from Seoul to the southeast, and the main seaport of the province. AVIX, the Korean distributor for Portuguese manufacturer NEXT-proaudio, installed the NEXT-proaudio sound system, the main aims of the installation was to achieve


high sound pressure levels with high sound fidelity and good speech intelligibility throughout the venue. A total of 10 NEXT LA12 line array loudspeakers per side were fitted, in addition to NEXT LAs218 subwoofers. Four NEXT X12 full-range loudspeakers were used as front fills with eight NEXT X8 supplying sound to the balconies. Five NEXT MQ10000 amplifiers, five NEXT MA2300 amplifiers and four NEXT MD14000 amplifiers were also used for subwoofers with four NEXT DP260’s

and one NEXT DP240 DSP processor. For all upper and under balcony systems, two MA2300s and one MQ10000 were used. “The system serves perfectly for the worship service,” said Antonio Correia, R&D Manager at NEXT-proaudio. “It performs great at any level and is consistent even as the level is pushed, with contemporary services running in proper dBA range.”

De Krook is a large-scale urban renewal project in the Belgian city of Ghent that combines knowledge, culture and innovative entrepreneurship, and forms a meeting place for all Ghent residents. The building includes the new city library, laboratories offices, a café and green areas. In the future, a building close to the complex will also include hubs for innovative economics, an underground concert hall, a second café and a restaurant. This project was the initiative of the City of Ghent, the University of Ghent and Imec, Europe’s largest research centre, in the field of microelectronics. De Krook aspires to be a cultural hub for the locals of Ghent, a modern and efficient liberty, but, above all, an open house for everyone. The main goal was to bring a new vibe to this rundown and neglected city district and so, to fully complete this renovation of the district and to compete the building, a demand for an excellent-sounding sound installation emerged. The brief was to provide the entire complex with background music while taking into account the silent reading zones and without disturbing the typical tranquillity you find in a library.

Because of all the different spaces of the building, the WX302/W universal wall loudspeakers were the best option to handle every sound while still ensuring true-to-nature, high fidelity reproduction of music and speech. A total of 188 of these loudspeakers were installed in each area of the building. To ensure the safety within the building, an APM116MK2 digital paging microphone was installed to allow users to transmit vocal messages from each of the zones, if needed. To control the audio system five different DW5066 digital all-in-one wall panels were installed at strategic places for easy and convenient control of input, volume and source. Three different CAP amplifiers power the loudspeakers: the CAP424, the CAP248 and the CAP412. In addition, a SMQ750 - WaveDynamics quad-channel power amplifier was used to assure enough power distribution. The sound and speech are distributed by two M2 multimedia digital audio mixers, while a single CMP30 audio player takes care of the music sources like a CD-player, MP3 player and a AM/FM tuner.


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In the demanding world of luxury hotels, it’s essential to invest in the latest trends and innovations to keep guests coming back for more. W Hotels & Resorts have a world-renowned reputation for iconic design and modern luxury. In each of its boutique hotels, paramount importance is given to the level of bold creative detail that goes into the signature look of its interiors. So, when London’s own W Hotel in Leicester Square embarked on a renovation in 2017, the third since its opening in 2010, its aim was to completely refurbish its first floor to create a ‘trail blazing’ new bar and lounge. Along with the brand-new Perception Bar, which was designed to draw on London’s love of fashion, music and design, is a carefully curated program of events which include a Dining Series led by some of London’s top chefs, a regular fix of club nights hosted by international DJs and the intriguing concept of a ‘Retox Brunch’. The new space functions as a social focus point within its Soho location and holds itself to an ambition to leave anyone who visits the hotel ‘enlightened through unexpected sensory experi-

ences’. Of course, to achieve this not only means creating best-in-class visual décor, but also a best-in-class audio solution too. Chosen to deliver this was AM Digital, which has worked with the W Hotel for many years and was commissioned to upgrade the Bose Professional audio system throughout the multi-use space. “It’s always a pleasure working with the W Hotel” said Andrew Atkinson, AM Digital’s Managing Director. There are always exciting projects to be involved in, the designers have a passion for creating really innovative experiences for guests, but, of course, this comes with the added architectural challenge of getting an audio system installed to meet the overall design standards.” To achieve this harmony between architectural-friendly aesthetics and performance, Andrew and his team designed and installed a multi zone system using products that can complement the design and that come with high power audio output. Within the reception area, there are Bose FreeSpace DS 40F’s which are fitted throughout the walkways leading the way through to the

lounge, bar and DJ spaces. Entering the lounge area, where noise pollution would be a challenge, four suspended Panaray 502 A sound reinforcement loudspeakers were chosen, along with two Panaray 502 B low-frequency bass loudspeakers to evenly distribute cut through audio. Heading into the main bar space, which comes alive every evening with DJ performances, guests will find a DJ booth, an additional DJ point and a small area known as the Silent Disco. In the bar, nightclub worthy sound is achieved with 14 RoomMatch Utility RMU108 small format loudspeakers for high quality foreground music, and bass is delivered from four compact MB12 bass units. Around the main DJ booth, a circular floor level desk, are four RMU108’s. Two additional B2 bass modules are also used to deliver more powerful bass for larger audiences. Tucked away within the Silent Disco, where guests can play vinyl and listen to it using wireless headphones, this zone was also fitted with two RMU105’s and a B2 bass module for flexibility.









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As well as being the home for oranges and paella, Valencia is also famous for its modern architecture and thriving nightlife. MYA forms part of a complex in the City of Arts and Science, designed by Santiago Calatrva, completed in 2005, and now home to many tourists and party-goers. The building is an open structure enveloping a landscaped walk with plant species indigenous to Valencia and an outdoor art gallery with sculptures by contemporary artists, including Yoko Ono. The entrance is 320-metres long and 60-metres wide, located on the southern side of the complex. It includes 55 fixed arches and 54 floating arches that stand 18-metres high. During the summer it becomes one of Valencia’s most

popular nightspots with the upstairs offering mainly pop music, while MYA, located at the bottom of the complex, draws in an array of high profile DJs. The club has three different rooms with a capacity of 2,000 people and in each one of them, different music styles are offered: EDM, Latin and hip-hop. Lynx Pro Audio has been installed in just one of the rooms, featuring eight of its DS-12A horn loaded, point source loudspeakers and 12 Lynx Pro Audio DS-18S subwoofers, all in a discreet black colour, so in perfect harmony with the lights and design of the venue. The DS Series is specially designed for nightclubs and discos, offering a unique experience thanks to

the high power of its coupled loudspeakers and subwoofers. DSX and HPX Series amplifiers have been used to power the DS Series, these amplifers include the latest technology in audio design and provide a first class sound quality for the entire venue. Specifically, two amplifiers have been used, HPX-12000 and a DSX-1500, which have a fully configurable digital signal processor to optimise the sound equipment. In addition, an ARK-7048 processor that allows the use of high precision filters with outstanding sound quality and clarity has been used to control the system.

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The renowned Koninklijk (Royal) Theater Carré in Amsterdam, which first opened in 1887, offers everything from musicals to operas to pop concerts. The theatre’s reputation is such that artists who get to perform there are considered to have ‘made it’ in show business. House intercom systems are critical to the success of theatre productions, ensuring that all stakeholders can communicate from FOH and stage managers to wardrobe and sound desk operators - to ensure the smooth running of a show. The Theater Carré already housed a Clear-Com Encore analogue party-line system that worked very well, but, as the theatre’s requirements evolved, the system needed to extend to cover additional parts of the building, as well as external areas such as OB vehicles. The technical team specified a high performance wireless system that could integrate into the existing analogue system while embracing new technology to free staff from static positions. The obvious solution was to link the Encore system to a Clear-Com FreeSpeak II wireless intercom system that would offer high quality audio with no interference or latency, and would enable production teams to roam freely throughout the building. The solution, supplied and installed by Clear-Com’s local channel partner, Ampco-Flashlight-Sales, and supported and maintained by ISO Audio, comprises a

FreeSpeak II 1.9GHz eight-user setup with three transceiver antennas, a fibre splitter and four two-wires to directly link to the existing analogue wired system, avoiding any hum with four x MT-701 transformers. A four-wire and customised transformer box with ground lift was installed for the external areas, ensuring no hum for all configurations and protecting the system from unwanted noise. The initial requirement was for a four-user system, but when the technical team saw the versatility of the FreeSpeak II system the requirement immediately increased to eight users, as everyone wanted to be wireless. The system can be expanded further as required, to support more users in the future. In addition, access to the system can be provided easily for guests from outside companies and productions. “FreeSpeak II is going to add tremendous flexibility to expand, audio clarity to hear even a whisper, and greater coverage area for the freedom to roam indoors and outdoors,” said Nicki Fisher, Sales Director, Clear-Com. “We are confident that the production team at The Royal Theater Carré will be very pleased with all the capabilities offered by FreeSpeak II and the few unexpected features they will discover along the way to enhance their communication.”

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M A RITIM H OT E L B ON N COMPANY: TEQSAS LOCATION: BONN, GERMANY Since November, the Maritim Hotel Bonn has been equipped with state-of-the-art L-Acoustics systems that are perfectly suited for professional speech and music sound reinforcement. The new equipment is intended to meet the growing demands of tenants and business partners for the modern event, gala and party sound systems. The technical service provider RheinlandAkustik VT (in the two event halls Maritim and Beethoven) installed the sound reinforcement systems. The high-quality and diverse sound equipment was offered, presented and sold by L-Acoustics certified provided distributor TEQSAS in Hürth. Together with the L-Acoustics professionals, the TEQSAS team also carried out the calibration and commissioning. A new sound system for both halls had become necessary because the existing systems no longer met the high demands of modern technology in all respects. As one of the largest congress centres in Germany connected to a hotel, it was the logical conclusion for the hotel operators to equip the halls with an optimal sound system in order to further expand the market leader position in the conference, congress and event sector. Deputy Technical Director, Wilfried Dose, described the challenge: “Our main objective was to provide optimal sound in both halls and to avoid having to bridge dead spots in certain areas of the halls. In the past,

this was a considerable additional expense and set-up effort using rented sound reinforcement systems. Due to the architectural conditions of both halls, a perfectly calibrated system only permits a satisfactory result in the form of a fixed installation. Of course, we wanted to work with one of the market leaders in the field of large sound reinforcement, as only a few manufacturers have a reputation in this sector that is universally recognised. With L-Acoustics, we have achieved this outstandingly, as customers from every sector and their technical partners appreciate the quality and performance of these systems.” Joerg Hamacher, TEQSAS Sales Manager, explained the concept in detail: “The Maritim hall is very comfortable in size and has a wide built-in stage. The sound system must cover each area acoustically and assign a linguistic and musical listening experience to each seat and at the same time be suitable for the carnival. This means a multifunctional system according to the latest technical standards, which also functions sustainably in marketing, in short L-Acoustics. In order to blend inconspicuously with the classic interior design, we have supplied all L-Acoustics components in white.” Two variable-curvature line source arrays consisting of 11 KARAi loudspeaker elements are used as the main L-R system. They are aligned to the auditorium and the surrounding balcony with its two levels in the

Maritim hall. Four L-Acoustics SB18m subwoofers are positioned as mobile two by two blocks on both sides of the stage. At the request of the hotel management, a second subwoofer position was also defined, where SB18m subwoofers are located on the stage and to the left and right of the stage portal. The centre PA system consists of constant curve line source arrays using two ARCS Focus and two ARCS Wide loudspeakers, which are one metre further into the auditorium than the main PA system. They provide the central area in front of the stage, the rear centre area of the hall and the balcony with direct sound. In the near field, 5XT coaxial loudspeakers at eight positions on the edge of the stage ensure good sound in the auditorium. The L-Acoustics X8 loudspeakers, installed by RheinlandAkustik TV and other components, below the side balconies and below the balconies opposite the stage provide the appropriate delay sound at 12 positions under the balcony - one on each side left and right and 10 positions under the rear part of the balcony. L-Acoustics Software Network Manager controls the amplifier groups integrated into the sound reinforcement systems. In the Beethoven hall, the new L-Acoustics SYVA loudspeakers based on ‘Colinear Source’ technology and ARCS Wide/Focus as centre loudspeakers were installed. The elegant white column loudspeakers are suitable for medium ranges and impress with their high sound fidelity and high sound pressure level. For the near field, 5XT monitor loudspeakers were used, and SB18 subwoofers form the bass foundation. Here, too, the customer’s wish was to install a sound system that fits perfectly into the architecture and does not stand out visually as a technical element.

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Outline have recently supplied and installed the audio for Reverso Context, a cocktail bar and restaurant situated in the heart of Brescia, Italy. Originally an office, the building is now a modern, inviting rooftop bar, a venue unique to the city of Brescia. Outline needed to provide high quality audio that would reach all areas of the venue, to do so, Outline paid attention to the aesthetics of the room. Dante Fontana, Managing Director at the Reverso Context explained: “We have not spared any corner of the room, for example in the club you find a greater sound pressure compared to the restaurant, but from the qualitative point of view nothing changes. The moment we turned on the system for the first time I immediately realised that it was money well spent, you can hear the quality of the sound. If you take in the fact that we are in a building supported by iron beams, on the 20th floor of the building, it was extremely important that we avoided

vibrations.” For the club, four Outline SUB218 subwoofers and six Vegas 15CX loudspeakers were used in order to ensure clear distribution and headroom, additionally Vegas 12CX loudspeakers were installed into the restaurant to allow world-class sound. Outline T-eleven amplifiers were used for the subwoofers, T-five for the Vegas 15CX loudspeakers and M5000-4 for the Vegas 12CX loudspeakers. “The main criteria for the amplifiers, which led to our choice, was the combination between channel number and power handling. By choosing three different models we managed to get a tailor-made approach to the matter and it fit perfectly into the client’s budget,” Francesco Ferretti, Systems Engineer at Outline explained. Challenges included the structure of the building, as it doesn’t allow, in the club area, to hang anything from the ceiling because it is a light structure. So it became

necessary to modify all the braces and connect everything horizontally, with the help of steel arms to support both the sound and lighting systems. “The final result is contemporary and in my opinion, very beautiful. However, we still managed to respect the balance between the aesthetics of the building and the technical element. Then when it came to the design, it all comes down to taste. As far as my personal taste is concerned, I really like it,” Dante said. “One of the characteristics that I like the most is that visitors who enter the club lower their voice, it’s the idea that visitors respect the venue. This is positive because it creates a very relaxing atmosphere. It is only from midnight to 4am on the weekends, that the volumes are raised at the club,” Dante concluded. “For me, this aspect allows the audio to shine through and therefore, achieve an excellent level of quality.”

monitor system. Augmenting these two main house clusters, there are two WorxAudio X2 two-way, compact line array enclosures. These are positioned one each for the left and right sides-mounted behind the video screens. They provide coverage for the extreme sides in the transepts. For low frequency support, there are two X118S high SPL subwoofers. These are positioned along with the X2 loudspeakers - one each behind the left and right video screens. Mixing tasks are handled by a PreSonus Series III StudioLive 32 digital console. The setup operates via an AVB network. To meet the challenges of multiple worship styles, the StudioLive mixer enables the church’s audio team to create multiple scenes for easy recall. System tuning was accomplished using AFMG’s FIRmaker technology, which is an integral part of their Ease Focus 3

line array alignment and optimisation software. Hugh described the process: “With the loudspeakers in place, Tony and I took measurements for all rigging heights, splay angles of the enclosures, plus the distance to first row and back row seats. At that point, we were ready to evaluate coverage and implement FIR filtering. I like to use four to six mics for testing - placing them on the floor as a ground plane measurement and positioning them starting at the front of the stage, with subsequent mic placements every doubling of distance for 5ft, 10ft, 20ft etc. Using Ease Focus 3, we are able to conduct a sweep and check all microphones simultaneously. We use Ease Focus 3 to run simulations of room coverage, exports the FIR filter to the computer, uploads the filter to Q-SYS, and we continue measuring the room until the desired results are achieved.”


To ensure excellent speech intelligibility and natural music reproduction at St. George Catholic Church’s new $17 million sanctuary, church management relied on PreSonus Commercial Division for its sound system components. Advanced Audio & Stage Lighting, of Denham Springs, LA was contracted to handle the deployment of the church’s new audiovisual system. “The ceilings are 50ft in height and there is seating capacity for 1,200 worshippers,” explained Bo Bowen, President of Advanced Audio & Stage Lighting. “The sanctuary has beautiful stained glass and ceramic tile flooring. While there is some acoustical treatment, the room is quite live, which presented acoustical challenges.Fortunately, Hugh Sarvis, Chief Designer of Loudspeaker Division, and Tony Flammia, the Commercial Division’s Director, assumed very active roles to ensure the sound system performed optimally.” The system consists of 20 WorxAudio V5 two-way line array enclosures for the house mains. These are flown at a height of 32ft on each side of the altar and custom painted to match the room’s aesthetics. Additionally, there is a single Wave Series 8A two-way point source loudspeaker mounted against the ceiling that serves as the choir’s










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LED Strip Studio work on its biggest TV installation yet - Eurovision Song Contest.

LED Strip Studio (LSS) is no stranger to TV installations, previously working on national shows such as X-Factor and Britain’s Got Talent, however, its latest installation was the biggest yet - Eurovision Song Contest. Using over 4,000-metres of its digital LED strips, resulting in over 170,000 individual LED diodes, a large amount for a software system to handle. To accommodate the amount of power required, LSS used 50 of its LEC3

devices, both powered and standalone versions, which was controlled directly from an MA Lighting grandMA console and Art-Net protocol. The LEC3 handled the ‘translation’ from Art-Net to LSS’ SPI protocol. LSS decided to use the BlackMagic Intensity PRO grabber to capture the HDMI stream from the media server to the LED strips. However, Eurovision required a full 60fps stream, which was unfortunately, not possible directly from the current software.


In order to fulfil Eurovisionâ&#x20AC;&#x2122;s requirements, LSS implemented a new puregrabber mode into the LSS software. In this mode, the software turns off all the unnecessary distractions such as DMX input, video decoding, user input and instead, switches to simple, single window application. This application takes the complete mapping from the LSS workspace and sends all the data to LEC3 devices using simple unicast, Art-Net. This saves a lot of time by not handling TCP communication, user input or other

special windows-application required threads, and is therefore able to draw live stream at a full 60fps speed and 1080p resolution. Overall, the Eurovision installation was a big success for LSS and the company proved that, combined with its LEC3 and LSS software, it can handle large installations. www.



Estonians love the theatre, with every major city having at least one or two stages. Tartu, Estonia’s second largest city after the capital Talllinn, is home to the country’s oldest theatre, Vanemuine. It is the only one of its kind with three different buildings at its disposal; the larger grand building, which is the refurbishment project, the historic small building and the black box-style Harbour Theatre. The Vanemuine cultivates all possible genres of performance art, such as opera, classical drama, musicals, children’s shows, contemporary ballet and symphonic concerts. One season lasts from September to May, but, with various summer projects often planned, the theatre is, essentially, open all year round. The grand building, rebuilt in 1967, is a modernist-style theatre, which has a 700seat capacity auditorium, rehearsal rooms, cloakrooms, workshops, a café and an administrative wing that was renovated in 2004. To be able to hold such a wide range of events meant that modernisation of the Vanemuine was required, which was a major project


that saw some parts completely renovated and modified. Wibbeke & Penders, a Berlin-based engineering company, was commissioned to plan and implement the modernisation project, with theatre and media technology planner, Dr. Reiner Chemnitius also consulted. Dutch company, Trekwerk, was responsible for the theatre rigging, stage lifts, floor and the complete renovation of the upper and lower machinery. With its experience in large-scale projects, systems solutions in theatres and stage management technology, as well as international expertise as an entertainment technology integrator on cruise ships, Amptown System Company (ASC) was enlisted to assist with the Vanemuine project. Within the European tender, ASC was the only system integrator to recommend itself as a technical service provider for the project even in the final phase, despite critical requirements. The reconstruction work was split into two phases, during which the events at the venues were suspended. In 2016, the infrastructure for the lighting of

the stage tower was created and the blue and working light installed, the lighting equipment supplemented and the upper machinery installed. In 2017, the stage was gutted, the infrastructure for the stage lighting was implemented, the blue and working light for the stage installed, the revolving stage replaced, the lower machinery installed and the media and stage management technology installed. The opening took place after the pre-acceptance on 29 September 2017. With significant experience in integrating the lighting infrastructure, ASC was trusted with the preliminary works in the theatre building during the first phase of construction. The ASC team, project managed by Jan Vandrei and the engineer responsible for commissioning of media equipment, RĂźdiger Aue, supported Dr. Reiner Chemnitius with the coordination of all works during the second phase of construction, focussing on the sound system and stage management technology. For the audio at the Vanemuine, Meyer Sound loudspeakers are used, with the main sound system using two Leopard line arrays, each made up of seven loudspeakers and three 900-LFC

subwoofers. There is a two-part centre cluster comprising two of Meyer Soundâ&#x20AC;&#x2122;s Leopard loudspeakers, which deliver the sound to the parquet and position. For the hall, there are 24 Meyer Sound UPJ-1XP loudspeakers, while the monitoring system on the stage consists of two Meyer Sound CAL 64 beam-stearing loudspeakers. For the frontfill sound in the parquet, eight Meyer Sound UPM-1P loudspeakers are utilised, with the delay beneath the balcony using eight Meyer Sound MM4-XP loudspeakers. Two full-range UPQ-2P loudspeakers, also from Meyer Sound are used backstage, providing acoustic framework, as well as special effects. The stage monitoring comes from four Meyer Sound MJF 210. The sound system is controlled using four Galileo Calisto 616 processors and a Meyer Sound remote monitoring server keeps track of the line arrays. Two DiGiCo mixing consoles are utilised, along with a redundant Waves server system with ProShow plug-in collection. A DiGiCo SD7 console is used with the theatre software for scene management as the main console in the hall. Elsewhere, there is a DiGiCo SD10 console in


• Above left The RTS system in place • Bottom left The DiGiCo SD7 console • Right The exterior of Vanemuine Theatre

the control room, too. Both consoles are connected redundantly via a fibre-opticbased digital Optocore audio network - and are also connected in FOH and production, which can be used in combination or individually. There are numerous connection points for microphone inputs installed in the venue and mobile DiGiCo stage boxes - DiGiCo SD-Racks and DiGiCo Mini-Racks - are used. The Optocore audio network can process 504 audio channels at 96kHz - the Vanemuine has over 700 inputs. The use of DiGiCo T software enables any number of interfaces to be connected and disconnected. The ensemble regularly goes on tour and, as such, the mobile equipment is also used for guest performances at other locations. The audio / video fibre optic network was developed by ASC and Dr. Reiner Chemnitius as a special specification, using Optocore and BroaMan components. The fibre optic network for audio transmission is set up as a virtual ring network topology (redundancy) with autorouting, while the video and fibre optic network is designed as a redundant star-shaped network topology. The state-of-the-art system is equipped with high-resolution signals for audiovisual at all offset boxes in the theatre - allowing access to 3G-SDI video signals - and is transmitted via a fibre optic interface below the turntable. There are connection points in the entire stage area, the galleries and on the drawing floor for connecting video sources and sinks. BroaMan’s video network contains a

video matrix with 36 inputs on 40 outputs for the distribution of high-resolution video signal in the house. In parallel, a stage manager video system from BroaMan with 12 inputs on 22 outputs organises the video signals of the eight Panasonic full HD cameras AW-HE-130 and control / co-foam monitors in the stage house to be able to receive pictures there as well. With productions at the theatre becoming increasingly complex, there is a demand for high-end intercom systems to enable perfect communication - this led to a a modern IP-based intercom system from RTS being chosen. Stefan Thomsen, ASC Senior Sales Manager for Communication Systems,

explained how the RTS system works at Vanemuine: “RTS’ OMNEO media network architecture is fully integrated into the intercom system of the Vanemuine Theatre. Standard TCP-IP network infrastructures can be used for connection to the central, redundantly designed Adam M intercom matrix. This makes it currently the most modern IPbased intercom system available on the market. An additional dedicated intercom cabling is no longer necessary. “At the same time, the temporary use of microphone stations in the theatre becomes significantly more flexible and location-independent, which is a real benefit in daily theatre operations. “OMNEO uses the widely used Dante

TECHNICAL INFORMATION SOUND & VIDEO 9 x Meyer Sound Leopard loudspeaker; 3 x Meyer Sound 900-LFC subwoofer; 24 x Meyer Sound UPJ-1XP loudspeaker; 2 x Meyer Sound CAL 64 beam-stearing loudspeaker; 8 x Meyer Sound UPM-1P loudspeaker; 8 x Meyer Sound MM4-XP loudspeaker; 2 x Meyer Sound UPQ-2P loudspeaker; 4 x Meyer Sound MJF 210 monitor; 4 x Meyer Sound Galileo Calisto 616 processor; 1 x Meyer Sound remote monitoring server; 1 x DiGiCo SD7 mixing console; 1 x DiGiCo SD10 mixing console; DiGiCo SD-Rack I/O racks; DiGiCo Mini-Rack stage boxes; Optocore audio network; Broaman video network; 8 x Panasonic Full HD AW-HE-130 camera INTERCOM & MICROPHONE RTS OMNEO media network; Adam M intercom matrix; 4 x RTS KP Series microphone; RTS ROAMEO DECT wireless intercom system; 35 x RTS ROAMEO beltpack; 2 x adunas stage management console; Shure Axient system; 30 x Shure AXT-100 pocket transmitter; 30 x Countryman clip-on microphone


network for audio transmission and AES70 for the transmission of control signals. This considerably simplifies the transparent integration of external components and audio signals into the intercom system. The Adam M intercom matrix is connected to the four RTS KP Series microphone units distributed throughout the theatre via the company’s TCP-IP infrastructure. “The access points of the recently introduced RTS ROAMEO DECT wireless intercom system are integrated transparently into the overall system via the same infrastructure. A total of 13 access points in Vanemuine provide the connection of a total of 35 ROAMEO beltpacks, with which a building-wide wireless full-duplex communication for rehearsal and performance operation beside, behind, under and above the stage is ensured. With AZEDIT and IPEDIT, the customer also has two convenient Windows user interfaces for configuring, managing and monitoring the entire system.” ASC also consulted with the technical managers and Dr. Reiner Chemnitius to implement two stage management consoles with adunas’ real-time media control. The larger main console, which is to the right of the stage, contains two adunas 22-inch touch panels, with convenient control for audio, light, video, curtain, clock functions (stopwatch, timer, time), player and gong – it also communicates with the light control panel, too. The most important lighting circuits, such as the

regulation of the conductor’s spot and the working lights in front of and below the stage, as well as in the galleries are also controlled. For rehearsals, a smaller, mobile console is used, which delivers almost all the same functions as the main console, with the exception being curtain control. The microphone system was given a total revamp, too, with a Shure Axient system – with 30 channels - introduced. A total of 30 AXT-100 pocket transmitters and almost-invisible clip-on microphones from Countryman are used to match. The advantage of the Axient system is an integrated frequency management, which continuously scans the available frequency spectrum for possible interference. In the event of a problem, another frequency is switched within 500 milliseconds, so that a high level of operational reliability is guaranteed. The end result has seen a huge improvement at Vanemuine, though it wasn’t without its challenges - highlighting the need for clear communication between all parties. Dr. Reiner Chemnitius explained further: “Especially in a project abroad, professional teamwork is important and the good feeling of being able to rely 100% on each other. “I have now had good international experiences with ASC. My colleagues gave me intensive support and, thanks to the close manufacturer relationships, we were able to implement changes promptly through state-of-the-art products and intelligent system solutions. These are fully in

keeping with the range of artistic productions in Tartu and are sustainably oriented towards the future.” Toomas Peterson, Director at Vanemuine Theatre, was left impressed with the work completed at the venue: “In accordance with the international tender and the planning of Dr. Reiner Chemnitius, Amptown System Company supplied and installed sound, lighting, video and communication technology for the Vanemuine Theatre. These systems were installed in summer 2016 and 2017 and the collaboration with ASC ran smoothly. All work was carried out professionally and on schedule. “The system integration took place during the renewal of the entire stage technology, which was carried out by the Dutch stage technology company, Trekwerk, from Holland. As a result, products, their positions and settings very often had to be reconciled - in some cases it was even necessary to change the product and the system solution. ASC acted confidently and flexibly and integrated the best possible technical solution for our theatre. Conclusion: we are very satisfied with the result!” The modern, state-of-the-art technology installed at Vanemuine enhances the range of artistic productions, delivering a theatre that is ready to host whole range of events for a long time to come.

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dbnAudile has helped to transform this industrial relict into one of the English capitalâ&#x20AC;&#x2122;s hippest dance venues.

Dancing where iron giants used to print the Daily Mail, Metro, and the Evening Standard; the size of nine football pitches and a capacity for up to 5,500 people (4,000 in club mode), Printworks is one of the biggest nightclubs in London, UK. However, the vast venue located in the South-East of the capital does not only stand out because of its size and post-industrial atmosphere - dbnAudile has recently equipped the former print house with state-of-the-art sound and lighting systems. Steel pillars, concrete floors, and working platforms - everything reminds visitors of the former purpose of this 16-acre venue. Until 2013, this was home to massive multi-storey presses, which churned out thousands of


newspapers per hour. Actually, this factory used to be the biggest printing facility in Western Europe. Particularly striking are the print halls, each over 100 metres long. Today, the gigantic high-ceiling rooms form the heart of Printworks, a multi-functional event space at London’s Surrey Quays, run by Broadwick Venues. Due to its enormous dimensions, powerful sound is essential to run gigs in this spacious venue. Manchesterbased supplier, dbnAudile, has designed a loudspeaker system utilising d&b audiotechnik products. Director Rob Ashworth, takes up the story: “In the

live space are four delayed lines of stereo loudspeakers, all flown quite low to keep everyone close to the loudspeakers, and maximise the direct sound they hear in the reverberant space.” To accomplish that, dbnAudile used twice as many loudspeakers as they would normally for this audience capacity. “It’s an awful lot of kit - there are 48 top boxes flown for a 3,500 capacity audience,” added Rob. “We really didn’t want anyone being more than 15-metres away from a loudspeaker array, with complete consistency of level and tonality throughout the space.” Rob and his team chose a mixture of d&b audiotechnik’s J-Series and V-Series.


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• Left Extremely high ceilings and industrial features contribute to Printworks unique character. • Right dbnAudile usevideo installations as another type of lighting fixtures.

He said: “It starts with two lines of the J-Series, and then V-Series for the back. J-SUBs are under the stage and we have some J-INFRAs here as well, if it’s a bassheavy act,” Rob described while standing in the gig space. He highlighted the subwoofers’ performance too: “The J-INFRAs extend the bass all the way down to 22Hz without any roll-off - that gives it a real physical element.” Additionally, dbnAudile has put a DiGiCo SD12 and a Yamaha PM5DRH desk in place, which can be used by the bands’ sound engineers. In total, Printworks consists of six rooms that can host different types of cultural events from art shows, company parties, classical concerts, dining events, and gigs. Next to the live space and accessible through it, guests will find a narrower room with the attached chamber bay, which is used for Printworks’ club nights. Rob explained why installing the products in the neighbouring, equally high-roofed hall has been a challenge: “The problem in here is that it’s so narrow. The floor space between the balconies is only five-metres wide, and with much of the audience under the balconies, it’s not possible to fly loudspeakers as we do in the live space. So we’ve designed a system of six lines of J-Series and V-Series groundstacks, using 36 top boxes and 36 subwoofers, plus four J-INFRAs. d&b audiotechnik’s cardioid subwoofer technology is invaluable in this situation, minimising the cancellation that would happen with multiple stacks of normal omnidirectional subs in this arrangement.” However, the industrial architecture brings some advantages as Rob recalled: “One of the great benefits of working within Printworks was that it’s really well soundproofed - I mean, these machines must have been incredibly noisy.” The

sound system is complemented by a visual display, particularly in the electronic space where eight truss pods are flown from Kinesys motors, allowing them to move over the audience’s heads, from the highest reaches of the five-storey space down to the first-floor balcony level. On these pods are a mixture of Clay Paky, Robe and Martin by HARMAN lighting fixtures, together with LED video panels. More fixtures are positioned on and above the stage, and along the balconies are further LED video panels spaced along the length of the vast space. “We tend to use video in most of our lighting designs for club and dance events - it’s another type of lighting fixture essentially. A lot of the time people just install a 16:9 ratio screen at the back of the stage and they run some content on it, but this is a lot more abstract and immersive,” Rob emphasised. To reach an optimal effect dbnAudile’s Lighting Operator, Dave Ross, synchronises colours and moods with the video content, and with the lasers. “It’s unusual to find that level of integration. We’ve got four guys operating lights, video, lasers and Kinesys, working

together in close communication, and it’s such a slick show as a result,” praised Rob. As both print halls host music events but with only one open on any particular night, Rob’s team had to come up with a creative solution - the equipment moves between venues. “We’ve put the infrastructure in place to just move the loudspeakers, lights and control equipment between spaces, with just a simple cable swap on the amplifier racks and lighting distribution. It can still be quite a stressful operation, as Rob explained: “At weekends it can be a live event on a Friday night and then a club on the Saturday so everything has to be moved overnight. It’s a big job, but it’s doable - no different to touring production really, just with venues that are only a few metres apart.” Various famous live acts and DJs such as Deadmau5 have already been confirmed for the coming months. Looking at the future of Printworks Rob concluded: “There’s nothing quite like this in the world, let alone London. There’s a real buzz about Printworks, and a definite hunger for it.”

TECHNICAL INFORMATION SOUND 24 x d&b audiotechnik J8/J12 loudspeaker; 28 x d&b audiotechnik V8/V12 loudspeaker; 12 x d&b audiotechnik J-SUB subwoofer; d&b audiotechnik D-Series amplifiers; 12 x d&b audiotechnik M4 monitor; 2 x d&b audiotechnik Q-SUB subwoofer; 2 x d&b audiotechnik C7-TOP loudspeaker; 4 x d&b audiotechnik C7-SUB subwoofer; 1 x DiGiCo SD12 mixing console; 1 x Yamaha PM5D-RH mixing console; 1 x Lake LM44 processor LIGHTING & VISUAL 12 x Clay Paky Mythos 2 moving head; 24 x Robe Robin 100 LEDBeam moving head; 12 x Clay Paky AlphaWash 700 moving head; 12 x Clay Paky Stormy CC moving head; 12 x Thomas 2-lite fixture; 12 x ETC Source Four Junior fixture; 2 x Look Unique 2 fog machine; 2 x JEM ZR44 fog machine; 2 x JEM AF1 fan; 1 x MA Lighting grandMA 2 Light console; 6 x EXE Rise hoist; 8 x CM Lodestar hoist; Outboard Electronics hoist control; Slick Minibeam truss www.

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Photo © Ben Hunt

Sports bar, ElevenFifty, enlisted Atlona to update its audiovisual systems.

Like many businesses today, restaurants have a healthy network infrastructure to accommodate internet, point-of-sale systems, and increasingly, audiovisual systems. With this backbone in place, restaurants are gradually taking a closer look at how transitioning audiovisuals switching, distribution and control to the network can bring greater flexibility and more scalable architectures to fruition. ElevenFifty, a social lounge and restaurant in north San Jose, California, is one such restaurant that is blazing this trail. In addition to specialising in family-style Vietnamese cuisine, ElevenFifty boasts a lively sports bar with four large displays mounted above the liquor shelves. An additional 11 displays are spread through the restaurant, ensuring that all patrons can catch the game of their choosing. However, like many sports bars and restaurants of its kind, the system was far from flexible and easy to operate. Channel changes coming from the cable set-top boxes were manual, with all signal switching driven through a

standard eight by eight matrix switcher. Hai Tran, a partner at ElevenFifty, and his colleagues worked closely with All State Systems Integration of Wilton, CA through the equipment selection and systems design process. Upon evaluating options on the market, the team quickly gravitated toward Atlona’s OmniStream R-Type solution. R-Type is a streamlined version of Atlona’s OmniStream audiovisual over IP platform for light commercial applications, providing the same core components - encoders, decoders, audio interfaces - and general value proposition for facilities with limited sources and destinations. Its architecture is also ideal for typical restaurant architecture with an imbalance in sources and destinations, which removes the need for distribution amplifiers. In addition to the operational benefits of audiovisual switching and distribution over the network, OmniStream R-Type also enabled a first for


© Ben Hunt

ElevenFifty: high-resolution 4K content. “Sports is one of the more compelling 4K applications today, which was something our legacy switcher could not support,” explained Hai. “Simply replacing our old boxes with R-Type gets into the 4K game, which adds excitement for our customers with that ultra-high-resolution video quality.” The OmniStream 512 (AT-OMNI-512) dual-channel networked audiovisual encoders are centralised in a compact rack behind the DJ booth. This equipment feeds all sources to a 48-port, Layer 3 PoE switch, which then moves all 4K and HD signals over the network to OmniStream 521 (AT-OMNI-521) single-channel networked audiovisual decoders at each display. An OmniStream 238 (AT-OMNI-238) IP to analogue audio bridge de-embeds AES67 audio streams into the restaurant’s separate whole-house audio system. In addition to enabling exceptional 4K resolutions, the high performance, reliability and feature set of OmniStream R-Type has added to the overall

customer experience. That level of signal control is only magnified through an added, and perhaps unexpected twist, the addition of Atlona’s Velocity networked audiovisual control platform to the IP ecosystem. Previously, the ElevenFifty staff were forced to log into the webpage of the legacy matrix switcher, and tie that webpage to the internet to switch signals and make changes. Since adding Velocity, all R-Type devices and displays are controllable using Velocity VTP-800 eight-inch touch panels. Hai noted that on initial setup and configuration, Velocity automatically scanned the OmniStream network and pulled devices into its database. That significantly accelerated the deployment time.



Hip hop star, actor and Jordan brand ambassador, Drake, recently channelled his entrepreneurial skills into the hospitality industry, opening Pick 6ix - his first combined restaurant and club.

Located at 33 Yonge Street in hip hop star Drakeâ&#x20AC;&#x2122;s hometown of Toronto, the venue boasts a layout suitable for over 178 guests. The restaurant also offers the option of being seated in one of the private dining rooms, the expansive outdoor terrace, or a VIP area that includes a champagne bar. As a man with strong family roots in music, Drakeâ&#x20AC;&#x2122;s chosen sound system for this impressive venue needed to match the highest standards of interior design. Void Acoustics was the brand of choice, with the installation expertly executed by the Void Benelux team. The project began last summer, with Drake and his business partner, Sabah Nissan, selecting the acclaimed Horeca Sfeermakers - an agency specialising in bar and club design, based in Rotterdam, The Netherlands. The entire production, design, furniture and electronics are all Dutch - everything was specially shipped


• Above Inside Drake’s latest venture Pick 6ix.

in from The Netherlands to Canada, giving it a unique design edge. “Everything around ‘Drake’s new club’ was kept a bit mysterious. They sent me an awesome looking interior design rendering and a floorplan and told me to design the best sounding system possible for that room,” explained Wesley Pierik, Managing Director at Void Acoustics. A combination of two Air Motions, four Airtens, two Venu 215’s and eight Cyclone 55’s, all in a high gloss black finish make up the sound system in the bar-club and restaurant. For the VIP area of the club, a further two Air Motions and two Airtens in a customised chrome gold, together with Venu 215 and Venu X subwoofers ensure the sound is second-to-none. All of the subwoofers are discretely hidden away in the interior beneath the sofas. Void Benelux flew in from Amsterdam to ensure the installation went exactly as planned,

with Robert Hofkamp - Director of US Operations for Void assisting the team. “The design was based on a similar club-restaurant in Amsterdam. We needed a system that sounded great with everything, in any situation. The Void Air Motion V2 fitted this criteria perfectly. So, we decided to bring two into the main room and two in the VIP-room as well,” Wesley continued. “Then we used our Airten V2’s and Cyclone 55’s to fill in the smaller zones in the restaurant. Every zone can be controlled individually in terms of source and volumes. “The great thing about this specific combination of products is that it produces first class background music to the restaurant, helping to create the perfect ambiance for guests to enjoy. Then in the evening, the same system effortlessly gears up to a full-sized club system, thanks to the Air Motions in the room and Venu 215’s that are built

away under the seats. This way we keep it looking like an elegant, compact-sized system, with all the benefits of club sound for this room,” Wesley stated. He put careful thought into selecting the right Void products for this venue, and after previously working with Sabah Nissan. He has a similar Void system in his Amsterdam venue, The Alley, a restaurant that transforms into a bar and club over the evening - just like Pick 6ix, so Wesley was keen to impress again. Sabah was so amazed by the sound quality and versatility of his existing Void system that he wanted a very similar setup in this partnership venture with Drake. Aside from the incredible sound quality that Void Acoustics are so well known for, the visual appeal of the design also sets them apart from other brands. Air Motions and Airtens in the VIP area, and high gloss black fibreglass Air


Motions, Airtens and Cyclone 55’s in the main restaurant and bar area, these Void products enhance the rest of the stunning interior design. “One of the biggest challenges to overcome was the restaurant ceiling being covered by a wooden skeleton structure. Fitting the Air Motion loudspeakers in-between was a very precise job so we decided to fly to Toronto to make sure that every detail was thoroughly planned for, right down to the type of brackets used. I am happy we took this path because the end result

turned out to be stunning and the clients are very happy,” said Wesley. In working for such a high-profile client, who is himself a successful musician, only using only the best engineers in the industry, the loudspeaker installation had to be of the highest standard. Drake’s right-hand man, Nessel ‘Chubbs’ Beezer, and his chief sound engineer, Noel Cadastre, remarked that they were ‘blown away by the quality and impact of their new Void system’ - a testament to the Void brand.

TECHNICAL INFORMATION SOUND 4 x Void Acoustics Air Motion loudspeaker; 6 x Void Acoustics Airten loudspeaker; 8 x Void Acoustics Cyclone 55 loudspeaker; 3 x Void Acoustics Venu 215 subwoofer; Void Acoustics Venu X subwoofers


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Based in San Pedro Garza García, in the state of Nuevo León, Mexico, KNOX is a go-to venue for the local partygoers of Monterrey. Opening its doors during the summer of 2017, the nightclub hosts a number of international DJs on a weekly basis and welcomes a full capacity of visitors who arrive to enjoy the entertainment. Adimsa, a company which is no stranger to the innovation of entertainment centres, with over 20 years in the industry, conducted the installation of both the lighting and the audio for this venue. “For the client, it was of utmost importance to have the best possible audio coverage for the venue, without



• Above The impressive KNOX nightclub.

compromising on the performance. So, we aimed to create a loud system, but, one where customers wouldn’t have to shout over the music,” explained Juan Hernandez, Lighting and Audio Architect at Adimsa. “The audio design was created using NEXO’s NS-1 software, we chose the model of loudspeakers and then calculated the predictions to achieve the total coverage of the venue, without having dead spots.” The NS-1 software is a powerful and intuitive system configuration and simulation tool, enabling users to configure and optimise the performance of any NEXO system, perfect for predicting its behaviour in this venue, ensuring uniform SPL coverage.

NEXO provided the audio for the entire space, this was due to its reputation of delivering excellent performance and great audio quality. A NXAMP solution was fitted for amplication and processing requirements. Due to the all-in-one solution, the set up of the products was quite straightforward. The venue is two-storeys and is separated into two main halls, each with two different ceiling heights. On the second floor, visitors will find a VIP room, this hall has compact loudspeakers, this is because the room is private and therefore a quieter enviroment. Whereas, for the main dance room, loudspeakers have been fitted to ensure maximum sound coverage.

KNOX wanted to capture an urban concept, giving an ‘underground’ illusion and allowing visitors to be transported to another realm for a night. To achieve this, Adimsa installed 24 ADJ Vizi Hybrid 16RX moving heads. These fixtures offer a wide range of effects including: beam, wash and spot with several colours, gobos and prism. “Additionally, we installed six ADJ Asteroid moving heads, as they completed the dynamic of the whole venue with their LED effects, continuous rotation and pixel beam outcome,” Juan continued. To complete the DJ area, six ACL 360 BAR luminaries from Elation Professional were installed, featuring


seven individual 15W RGBW fourin-one LEDs and the new advanced collimator optic lens, which combined, produced a laser-like homogenised 4° colour-changing beam from each lens. The install was completed with four CUEPIX Blinder WW2 and four Protron 3K LED strobes, both products also provided by Elation Professional. Four Elation DP-640B dimmer packs with six channels were also installed, each one, to control conventional light bulbs used in the design through DMX. Admisa used a High End Systems Hoglet console with HOG 4 software for the lighting control, as the console included a plot sheet, therefore making it is easy to

control individual areas of the venue. Adimsa integrated the classic disco ball effect using the M4040 and the M2020 mirror balls from ADJ. This is a unique feature and separates KNOX to other clubs in the area. Finally, to create the perfect nightclub experience and make the lighting design look exceptional, two Antari Z-350 fazer machines were used. “This project was the first of its kind in the district, as other nightclubs do not use the kind of fixtures that we installed, it was important that we created a venue with that unique element,” Juan concluded.

TECHNICAL INFORMATION SOUND 9 x NEXO PS15 loudspeaker; 2 x NEXO ID24 loudspeaker; 1 x NEXO PS10 loudspeaker; 10 x NEXO LS18 subwoofer; 1 x NEXO IDS210 subwoofer; 1 x NEXO LS600 subwoofer; 7 x NEXO NXAMP4x4 amplified controller; 4 x NEXO NXAMP4X2 amplified controller LIGHTING & VISUAL 6 x Elation ACL 360 BAR fixture; 24 x ADJ Vizi Hybrid 16RX moving head; 6 x ADJ Asteroid 1200 moving head; 1 x ADJ M4040 mirror ball; 1 x ADJ M2020 mirror ball; 4 x Elation CUEPIX Blinder WW2 fixture; 4 x Elation Protron 3K strobe; 4 x Elation DP-6400B dimmer pack; 1 x High End Systems Hoglet console; 2 x Antari Z-350 fazer machine


Macau’s House of Dancing Water expands Riedel infrastructure with Bolero Wireless Intercom

The House of Dancing Water, a breathtaking in-the-round water show created by the Franco Dragone Entertainment Group for Macau’s City of Dreams entertainment complex, has extended its in-house communications capabilities with Riedel’s Bolero wireless intercoms. Bolero will provide comprehensive, reliable, and integrated wireless capabilities that leverage the facility’s existing Riedel Artist digital matrix intercom system, in operation since 2014. “A show as complex as The House of Dancing Water would simply not be possible without reliable, stable, and flexible communications between and among our cast and crew members,” said Nicolas Hammond, Head of Sound,

Dragone Macau Limited. “We’re already sold on the quality and flexibility of Riedel’s Artist, so it was only natural to choose Bolero for our upgrade to wireless comms.” The Riedel-based communications infrastructure is the result of a collaborative effort between Hammond and Assistant Head of Sound David Sharrock, with the support of The House of Dancing Water sound team. The new Bolero system extends the existing Riedel infrastructure, including two Artist 64 frames and two Artist 32 frames, to enable clear and reliable communications for all cast members and crew throughout the Dancing Water Theatre. Motocross stunt riders and acrobatic performers,


coupled with the technical teams, will use the intercom system for continual communication during the show, which features visuals, water, and atmospheric effects. Even in the aquatics area, the Bolero/Artist combination will support communications with performers and underwater performer handlers in the pool via underwater loudspeakers, in-mask communications systems, and buddy phones. Programming flexibility is another extremely important requirement for the production, and Bolero will enable the team to customise the system to meet the needs of individuals and departments. Riedel’s Director software enables intuitive management and configuration of the system while also facilitating

real-time system monitoring by the sound department. “Remote monitoring and fewer moving parts means we can operate and maintain the system much more efficiently, giving us more time to work actively on solutions for users. And the outstanding build quality of the Bolero belt packs means our consumables and service/repair costs will go down dramatically,” Nicolas added. “Also, we can’t speak highly enough about the fantastic service we’ve received from Riedel. The personal connections we’ve built with the Riedel team and their outgoing and professional manner have made working with Riedel a pleasure, and we know that support is always just a message away.”



With a 10-year history, Elements Club was due a new lease of life. It’s been injected by DR Lighting and Basz Design & Live Operating.

It’s quite a natural step for a DJ to transition into a club owner, and this was the case for Mark Zhang. After successfully founding the prestigious Coco Banana club, Beijing, the former DJ got a taste for nightlife hospitality from a different perspective. So much so, that he has recently moved onto another venture of the same ilk, in the form of Elements Club - a venue located in Beijing’s upmarket East Side that exudes luxury and cool. After deciding to redesign the club, Mark made contact with Daniel Richardson of DR Lighting - an LD with 15 years industry experience, who also has a Masters degree in Chinese Medicine and is fluent in Chinese. Now based in the UK, Mark was aware of Daniel’s work through his seven-year stint in


• Above The visually striking setup at Elements.

China and was impressed by his designs. In turn, Daniel contacted long-term collaboration partner, Bas Scheij of Basz Design & Live Operating based in The Netherlands to work on the project with him. The first contact was made in November 2017, and after several meetings with the club owner, Daniel and Bas presented their ideas and were asked to design the entire club, including club layout, concept interior design, audio intros and a timecode system. Bas elaborated: “We were asked to design a next level lighting set up, with a ‘360º feeling’ to make people feel that the entire club is one big dancefloor. Mark was very open

to new ideas and asked us to be original and not to copy any other international known club, which can be quite common in China. The brief was to design a completely original lighting set-up, never before seen in a nightclub.” He continued: “We were asked to use local Chinese brands for this installation. After reviewing Chinese fixture brands, we decided to use Fine Art and PR Lighting as they came closest to our specific needs for high output, smooth dimming, fast movement, fast colour change, fast zoom, and above all reliability and after sale service compared to other brands. As the club is open seven days a week we chose LED fixtures only,

giving the club not only lower power consumption but also a longer lamp life.” The main configuration is based on four large squares of lighting, each with three concentric smaller squares inside. Daniel and Bas opted to keep it simple and use only three different types of moving heads for the show lighting - one spot, one wash and one beam - but all were used in large quantities. A total of 55 Fine Art 420L Spots, 88 PR Lighting XLED 6007’s and 66 PR Lighting Junior 150W Beam moving head are included in the inventory, alongside two Fine Art Fine 600L Performances. “With such an impressive setup and large number of fixtures, having too many different types


of fixtures would have become overwhelming,” Bas explained. Each of the fixture types are used throughout the entire club, giving LDs the ability to use one fixture type at a time to light up the club. The intelligent lights work in conjunction with 16 Fine Art Fine 850C Strobe LED strobes, allowing specific attention to detail that can be timed in accordance with the music playlist. For key lighting, the designers used a spot fixture with a framing shutter system, to highlight the DJ without affecting the area around the DJ booth. While all of the decorative lighting can be controlled via the lighting console - an MA Lighting grandMA2 - as well to be part of the lighting show. “MA Lighting’s grandMA2 has become the business standard for shows nowadays. The console’s endless possibilities and stability made it an easy choice for us,” Daniel said. “Another reason we chose this console is because a lot of performers will bring their own LDs. These days, especially in the electronic music industry, a large proportion specify MA Lighting grandMA2 on

their rider. We designed a system giving guest LDs the ability to use their own show file, which can be uploaded on the night, giving them the possibility to control the show the way they’re used to, ensuring the best quality show for everyone who comes to the club.” With the lines between lighting and visuals blurring ever more these days, it comes as no great surprise that the visuals fell under Daniel and Bas’ remit for Elements Club. The visual set up is an important and integral part of the design, which follows the shapes of the set throughout the entire club. The 4mm LED tiles are mounted on the outside of every square and the entire balcony, to create a true 360º club feeling as people can watch the setup from every angle. “This was one of the very important basics during our design process, to give the audience a real club feel, instead of feeling like they are watching a concert. The visual setup was perfected by a next level visual content package, created by our partner DVizion from The Netherlands,” added Daniel. To control the visual setup, Elements Club is

using Resolume Arena 6 software, with an Akai APC midi controller. Resolume was chosen because it is the most common VJ software for this type of visual setup, it’s easy to use, has a clean interface and is a stable platform. Bas takes back the story: “From the very first moment we started designing, we wanted the setup to be able to move, to create high impact moments and have the possibility to refresh the look and feel during the night. We chose to use winches for movement of each square, giving the possibility of moving them all the way up to the ceiling, as the clearance of the club is only 8.5-metres. It was important to us that the LD could control the automation, so we configured it to be triggered via the grandMA with safety controls on a separate console next to the grandMA.” Asked what makes this project different from any other, Bas replied: “Its originality and detailed design. The shapes of our lighting and video design are also repeated in the interior design throughout the entire club, it is wholistic. A difference to other installs is that we designed the whole club based around the light and video


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“From the very first moment we started designing, we wanted the setup to be able to move, to create high impact moments and have the possibility to refresh the look and feel during the night.”

setup, instead of first designing a club and then adding video and lighting in a later stage.” The club itself actually has a rich history dating back over a decade, and once the older interiors were removed, it was a large space to work within. Bas and Daniel did a lot of research on the choreography of clubs and how people move from room to room. “Elements Club is a beautiful, fresh, and engaging space. Our design incorporates technology into the architecture in a way that the technology becomes an integral

part of the environment. You arrive in a timeless way, up a grand staircase and passing through multiple portals. These corridors and video walls create an everchanging environment as guests enter the main club, which help set the tone and the wow factor for the main room,” furthered Bas. Bas and Daniel are also assisting the club with updating its audio system, which is currently a work in progress, but once complete, the technology at Elements Club should sit hand-in-hand to deliver an all-round clubbing experience.

TECHNICAL INFORMATION LIGHTING & VISUAL 1 x MA Lighting grandMA2 lighting console; 55 x Fine Art Fine 420L Spot moving head; 66 x PR Lighting Junior 150W Beam moving head; 2 x Fine Art Fine 600L Performance moving head; 16 x Fine Art Fine 850C Strobe LED strobe; 88 x PR Lighting XLED 6007 moving head; 173-metres custom-made LED strip; 4 x Antari F-4 haze machine; 2 x 15W laser; 1 x Resolume Arena VJ software; 1 x Akai APC Midi controller; 1 x Resolume video server; 268 x LED video panel, P5 0.5-metres x 0.5-metres; 1384 x LED video panel, P4 0.265-metres x 0.128-metres; 32 x Zhonghui remote control winch; 24 x 0.5T chain hoist


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MBN Eventproducts




After taking on distribution of APG in China just 12 months ago, TR Audio has completed its most significant install to date.

After graduating from university wanting to be a teacher, it’s quite a turn around to end up as a club owner instead. This is the story behind Mr Hong, founder and operator of 0760 Plus in Zhongshan, China. His second nightlife spot by the same name - the first simply being 0760, with the ‘Plus’ indicating a larger, more impressive space, and the number taken from area code - but not his second overall, having started in the industry in Hainan Province, ahead of moving into Guangdong Province. Mr Hong applied for an internship in teaching originally, but at the same time took a job as a bartender… and the rest, as they say, is history. Located in a central position on the western side of the Pearl River Delta, Zhongshan is


Fog is our passion! Battery-operated fog generators to be built into costumes and props, powerful Hazeand Fog generators from 650 W to 3 kW, a 9 kW machine to fill big halls and stadiums, a powerful low fog machine as a low power or high power version an attachment to produce low fog and a powerful fan: We have the right machine for any effect.

NEW: Cobra 3.1 Fog generator 3000 W, very silent nozzle, Ethernet, Touchscreen, - available this summer

Tiny S, Tiny FX, Tiny CX, Power-Tiny Battery-operated fog generators, 30 W/70 W/400 W

Unique 2.1 Haze generator, 1500 W

Viper S, Viper nt, Viper 2.6 & Orka Fog generators, 650 W, 1300 W, 2600 W, 3000 W & 9000 W

Cryo-Fog & Cryo-Gate Cryo-Fog Low fog generator, 2300 W and Cryo-Gate, attachment to produce low fog with any professional fog generator

Look-Fan DMX well connected to nearby Guangzhou, Shenzhen, Hong Kong and Macau. In recent years it has seen investments from both home and abroad, particularly so in the world of technology. It has a reputation for being a clean city, which further attracts visitors and tourism, and of course, with all of this on the increase there is a need for F&B and entertainment outlets. After acquiring the space for 0760 Plus, Mr Hong went to visit many studios, listening to the different audio options on offer. After a lot of research and study, he became very passionate about sound, and therefore knew quickly that

he wanted an international brand to ensure he drew in the crowds. It took Mr Hong more than eight months to finalise the design with the consultants, but the result, he believes, is a unique set-up for the Chinese market - in terms of design, layout, audio and lighting. It wasn’t an audio brand that Mr Hong heard during his travels around studios that he ultimately selected though. Instead he received a private demo, within the club space from Guangzhoubased TR Audio, one of two distributors for APG in the China region. Taking on the French brand in March 2017, Raymond Wong, Managing Director

Powerful fan 850 W, DMX controllable, speed-up time from 0 to 100 = 2.5 sec.

Look Solutions Fog machines made in Germany Buenteweg 33 · DE - 30989 Gehrden Phone: +49 - (0)5108-91 22 10 · Fax: 91 22 111 ·


• Above left Clubbers are hit with audio, ligting, visuals and effects in full party mode. • Above right The exterior of 0760 Plus.

of APG North East Asia said at the time: “This partnership with TR Audio will focus on the entertainment sector, while BVCAM will keep doing the amazing job they have done for years in every other market. Being based in Guangzhou since 2011, TR Audio is ideally positioned to help us grow the brand in the entertainment market and in particular in the club scene, while giving the APG brand a more comprehensive coverage in China.” Mr Hong was incredibly impressed with the APG demo, but was equally sold on TR Audio’s owner, Ben Huang. Mr Hong expanded: “Selecting the right brand is as much about choosing the best person, as well as the best product. I had heard good things about Ben - his service and his after care - and I witnessed that during the 0760 Plus project. There was never any breakdown in the system, but if we needed anything, I would call Ben and he’d arrive ASAP to assist.” Ben - who was supported by APG’s representative in Hong Kong, Dominic Cho of ArcSource - decided a line array set-up was the best solution for 0760 Plus. He explained: “The club wanted a high spec design and a layout that wouldn’t interfere with the lighting and visuals. I consider line arrays a modern solution for club applications and APG has products that are ideal suited to the scenario.” APG’s UNILINE was selected for the main PA, which is hung left and right of the stage. A total of six APG UL210 cabinets, four APG UL210D cabinets and four APG UL115B bass cabinets are split between the two arrays. The UL210’s are the long throw element of the line array, while the UL210D provide the mid-throw and the low-end is achieved with the UL115Bs. The UNILINE is

actually configurable in a number of ways, depending on which elements are used, but for 0760 Plus it is in extended mode, particularly suited to high-energy music applications such as a club. From an acoustic point of view, APG’s Isotop technology generates an increasing vertical directivity index sound field in the mid-high range from 450Hz to 19kHz. To add further low-frequency response, Ben specified nine APG TB218S and 10 APG SB118 subwoofers, which have been scattered around the dancefloor. Fills come in the form of APG DX15’s, which provide extended bandwidth, high precision and ultra-low distortion. In full range use, the DX15 is the perfect companion to the UNILINE system. To complete the audio set-up Ben opted for four APG DMS48 processors, five APG SA20:2, and 10 APG SA30:2 power amplifiers. “I think it’s better to have only one brand providing the audio solution because they are very efficient, having been designed to work together. Instead of having different brands, where there is a higher risk of problems occurring,” said Mr Hong. The sound system had to be capable of catering for DJ performances, as well as live band sets, and the club even takes

on some more acrobatic - Cirque du Soleil-style - shows, too. The system was designed to give even coverage across the entire space, to ensure every member of the audience enjoys the same experience, no matter where they are in the venue. “The biggest challenge of the installation was the conflict between architecture and the placement of the loudspeakers,” said Mr Hong. “Both the architect and the installer knew they needed to provide the best audio solution within an aesthetically pleasing environment. The team compromised to ensure the best possible sound system was delivered in line with APG’s advice on loudspeaker placement.” Alongside the audio installation, an impressive lighting and visual set-up completes the clubbing experience at 0760 Plus. Mr Hong opted for local brands for this element of the design, but using companies he has used on previous projects. Once again, a demo was carried out at the club, and Mr Hong selected the fixtures he thought would work best in the club, as well as requesting a custommade product - a request that was met. The central ring that hangs over the dancefloor, along with the roof and wall mounted video catwalks make for an allencompassing party vibe.

TECHNICAL INFORMATION SOUND 6 x APG UL210 line array cabinet; 4 x APG UL210D line array cabinet; 4 x APG UL115B line array bass cabinet; 14 x APG DX15 loudspeaker; 9 x APG TB218S subwoofer; 10 x APG SB118 subwoofer; 4 x APG DMS48 processor; 5 x APG SA20:2 power amplifier; 10 x APG SA30:2 power amplifier /

Uniline: one system, unlimited possibilities

Outdoor live event, M6 Music Live, France

Night club, 0760, China

TV stage, French Music Festival, France

House of worship, Lourdes Church, France


Modular line array system The APG Uniline is a modular line array that features all APG’s innovative technologies: IsotopTM, Coaxial design, D’Appolito’s configuration and K-Horn load, which are the heart of APG’s knowhow delivering superior sonic quality, simplicity and unlimited scalability for any applications.

Short throw system

Medium throw system

High power, long throw system



DiGiCo’s Korean distributor, Soundus has helped Sound Engineer, Jae Chon Baik put the church firmly in the 21st Century on a technology front.

The Hallelujah Community Church is located in the Seongnam City area of Seoul in South Korea. Since the late 1990s, the district has accelerated as a suburb, with the Government encouraging large corporations to setup there to attract residents. This was needed to relieve the congestion from Seoul, and, today, the area is home to more than one million people. With a large capacity, what this suburb needs is a sense of community, and this is exactly where Hallelujah Community Church excels, joining together the locals from youngsters to the older generation and everything in between. With the church’s roots dating back into the last century, and the technology installed there being at least 30-years old, the in-house Sound Engineer, Jae Chon Baik decided it was high time for an audio upgrade. He explained further: “The church needed audio settings for more musical activities than before, and it needed a system for broadcast mixing. These days, Korean churches are broadcasting their missions live via websites, or on LED screens located on the external building. So, an


• Opposite The main church hall • Above left The smaller church hall • Above right Sound Engineer Jae Chon Baik with the DiGiCo SD7 • Above below The DiGiCo SD-Racks

overhaul was definitely needed.” A number of changes to the system have taken place, but it is being carried out in stages. The first major pieces of equipment to be replaced were the mixing consoles, going from analogue to digital. “Many channels were needed,” continued Jae Chon Baik. “Redundancy was also required and the church wanted to have the options to use plug-ins too. In addition, before it was mostly wired microphones and monitor systems, but now it wireless microphones and in-ear system monitors.” Asked why he selected DiGiCo, Jae Chon Baik revealed that he’d always dreamed of using the world-renown, Britishmanufactured consoles one day, and this was his chance. DiGiCo desks also offered Jae Chon Baik redundancy, which was a high priority in his brief. “I didn’t have much time to adapt to the new console, I simply had to read through the manual and teach myself, but it was very easy because the interface is so user-

friendly,” Jae Chon Baik praised. A DiGiCo SD7 is used as the main console in the church’s primary hall. An SD11 is in place and used for broadcasting, and these sit beside three SD-Racks and one SD Mini-Rack. For the smaller hall Jae Chon Baik selected an SD12. The system is connected via a DiGiCo-Optocore loop, the first setup of its kind in Korea, as it is connected between different venues. The compatibility between Optocore and optically enabled DiGiCo consoles was originally released to the market a few years back. Jae Chon Baik explained how it works at the church: “The DiGiCoOptocore loop is being used for a diverse range of purposes. If the church has a mission on at the same time in two different places, all signals can be sent to the SD7 and SD12, so that the same sound is in the two spaces. If a band is playing in one place, the signals can still be sent to the other hall. The SD12 can also be used as a broadcast console, if the

smaller hall is in use too. “The output from the main hall is controlled using the SD7 and can be done on the fly, which is really useful. When the church is recording the console can either be used as a recording console or as a mixing console, so it really is very flexible and interchangeable depending on the needs of the venue at any given time.” Jae Chon Baik makes use of a number of WAVES plug-ins for mixing, as well as reverb from Yamaha and Lexicon, favouring different ones for different applications. The installation of the consoles overall went well, with good communication between the sound department at Hallelujah Community Church and DiGiCo’s Korean distributor, Soundus, which provided the kit and excellent support during the project. Of course, this continues with after sales, too, although, to date, there have been no major issues. The biggest hurdle of the project,



however, was to convince the investors. Due to them not being from an audio background, it was difficult to convince them to invest in expensive equipment, but after presenting the documentation and system information, they could see it was the best step for future-proofing the church. Next in line for the upgrade were the microphones and in-ear monitors, which comprises a combination of Sennheiser, Shure and Neumann. Jae Chon Baik wanted to have variety in the inventory to ensure all bases were covered. The church halls can present anything from big bands to orchestras, as well as vocal performances of both singing and praying. “I wanted diversity and flexibility in the system, not only the consoles but with the microphones, too,” he said. The PA system has yet to be updated but it is within the future plans. Currently both halls are equipped with an EAW system. The main hall features 16 EAW KF760’s with EAW KF761’s for downfill

and EAW BH760 subwoofers to extend the low-end. Monitors and processing is also provided by EAW, while power is supplied through QSC’s Powerlight Series amplifiers for the main PA and QSC CX Series amplifiers for the monitors. The set-up is similar in the smaller hall, with EAW KF Series loudspeakers, EAW monitoring and processing, and amplification from QSC. The audio system once again, needs to be replaced to keep up with changing times and demands, with the need for flexibility ever more imperative. The Hallelujah Community Church which has an exterior appearance liken to Noah’s Ark - is probably more than halfway through its technology upgrade, with DiGiCo and Soundus setting it off in good stead. As the church continues on its journey to a high-technology solution, no doubt it will keep on delivering to its community, no matter what.

AUDIO MAIN HALL: 1 x DiGiCo SD7 console; 1 x DiGiCo SD11 console; 3 x DiGiCo SD-Rack I/O rack; 1 x DiGiCo SD Mini-Rack stage box; 16 x EAW KF760 loudspeaker; 1 x DiGiCo-Optocore network loop; 6 x EAW KF761 loudspeaker; 2 x EAW BH760 subwoofer; 6 x EAW LA215 monitor; 1 x EAW SM200IH monitor; 2 x EAW MW12 monitor; 2 x EAW MK1594 loudspeaker; 5 x EAW JF290 loudspeaker; 3 x EAW UX8800 processor; 6 x QSC PL6.0II amplifier; 2 x QSC PL6.0PFC amplifier; 16 x QSC PL4.0 amplifier; 4 x QSC CX902 amplifier; 3 x QSC CX702 amplifier; 4 x QSC CX302 amplifier; 28 x QSC CX254 amplifier; 4 x Crown MT900i amplifier; 1 x Sennheiser EM 6000 true diversity receiver; 1 x Sennheiser SKM 6000 handheld transmitter; 1 x Sennheiser SK 6000 bodypack transmitter; 2 x Sennheiser AD 3700 active directional antenna; 2 x Sennheiser EM3032 wireless system receiver; 1 x Sennheiser ASA-1 wireless system distributor; 2 x Sennheiser SKM3072-U wireless system handheld mic; 2 x Sennheiser SK3063-U wireless system lavalier mic; 4 x Sennheiser EW100 wireless system receiver; 1 x Sennheiser ASA-1 wireless system distributor; 2 x Sennheiser SKM100 wireless system handheld mic; 2 x Sennheiser EW100 G2 wireless system lavalier mic; 2 x Shure PSM900 wireless in -ear transmitter; 2 x Shure P9RA wireless in-ear receiver; 5 x Aviom A360 monitor system mixer; 4 x Aviom A-16/II monitor system mixer SMALLER HALL: 1 x DiGiCo SD12 console; 2 x DiGiCo SD-Rack I/O rack; 6 x EAW KF730 loudspeaker; 4 x EAW SB730 subwoofer; 8 x EAW BH760 subwoofer; 4 x EAW SM129Z monitor; 6 x EAW SM159Z monitor; 1 x EAW MX8750 processor; 2 x QSC PL4.0 amplifier; 2 x QSC CX1102 amplifier; 4 x QSC CX902 amplifier; 2 x QSC CX702 amplifier; 4 x Shure ULXP4 wireless system receiver; 1 x Shure UA844 wireless system distributor; 4 x Shure ULX2/BETA87 wireless system handheld mic; 2 x Shure ULX1-X3 wireless system lavalier mic; 1 x Shure PSM900 wireless inear system; 1 x Shure P9RA wireless in-ear system receiver; 1 x Klark-Teknik DN360 graphic equaliser; 2 x Ashly 3102 graphic equaliser; 5 x AVIOM A-16/II monitor system mixer

F1 evo _Mondo ad messe issue_2018.pdf




A series of high-intensity touring and installation loudspeakers, engineered for even coverage, outstanding control and unforgettable audience experiences.









Evolution Series See us at Prolight+Sound 2018 Outdoor demos in Agora area throughout the day Please check our stand for demo times

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

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September 13-18 Amsterdam

Since 1967, IBC has grown to become the world’s most influential media, entertainment and technology show. IBC has evolved from its technical broadcast roots to encompass the whole breadth of media creation management and delivery, from online content to digital cinema, from automated workflows to high resolution capture and display. IBC remains the principal event for the industry and continues to go from strength to strength. It now attracts more than 55,000 attendees, drawn from more than

170 countries, each September in Amsterdam. The peer-reviewed technology conference remains the place to launch the most important new thinking. A fundamental part of the IBC Conference are the Technical Papers,which sit alongside a wideranging programme of panels, discussions and keynotes, which have attracted not just broadcast leaders but luminaries as varied as Professor Brian Cox and The exhibition brings together more than 1,700 exhibitors, each showcasing the state-of-the-art in technology. IBC is unrivalled as a place to meet and share knowledge, and its networking opportunities and value added events - from awards to movie screenings - really contribute to the worth of attending. IBC continues to create innovative

ways to engage with its audiences, including the introduction of the Rising Stars programme aimed at helping the new generation of content and media technology professionals find their feet in the industry, and the exclusive invitation-only Leaders’ Summit, an event for 150 leaders of the electronic media and entertainment industry shaping future strategy. IBC has also created a new series of events - IBC Content Everywhere which takes IBC’s excellence in new directions. All of the experience and knowledge of IBC, run by the industry for the industry, is reflected in this new global event, which looks to the connected future. IBC Content Everywhere demonstrates the changing nature of the world of connected electronic media.

Blackmagic Design ATEM Television Studio Pro 4K Stand No.: 7.B45 → The world’s most advanced all-in-one Ultra HD live production switcher. → Eight independent, standard converted 12G-SDI inputs. → ATEM Advanced Chroma Keyer, giving customers adjustable on-screen colour controls. → Built-in Fairlight audio mixer for professional audio tools. → Broadcast quality transitions, effects and graphics for high quality live production.

Harman Professional Solutions Studer Vista 5 Black Edition Stand No.: 8.D56 → The Studer Vista 5 Black Edition (BE) featuring unique attributes including Studer’s patented Vistronics interface, FaderGlow technology and Vista FX. → Vista 5 BE is a cost effective mixing console available in 22, 32 and 42 fader options. → Infinity Core - Studer’s immensely scalable Infinity Core brings unprecedented processing power on standard CPU hardware. → Studer’s fully scaleable and customisable audio broadcast family ‘Studer Glacier’ and ‘Studer Micro’ Series. → Showcasing the full HARMAN broadcast solution incorporating JBL loudspeakers and AKG headphones.


Lectrosonics M2 Duet System Stand No.: 8.C74 → Dante digital and analogue line-level inputs → Digital transmission and 24 bit digital audio → Two stereo transmissions in 1/2 rack unit → Phenomenal operating range → 470-608MHz tuning range

VITEC EZ TV IPTV & Digital Signage Solution for Sports Venues

ROE Visual Sapphire LED Panels Stand No.: 8.A23 → 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 users to keep panels in a flawless condition over a longer period of time.

Stand No.: 7.C34 → Simplifies deployment and management of IPTV, digital signage, and video wall content for sports venues of any size. → Delivers a breathtaking visual experience to every screen, enhancing the fan experience and driving new opportunities for engagement and revenue. → Features low-latency native playback of IPTV streams up to 4K, and supports interactive content, video, and imagery transformations. → Seamless access to on-demand content and a custom electronic program guide with the same DVR capabilities found at home. → Offers a cost-effective, flexible, and open architecture that is ideal for the ever-changing video, marketing, and sales requirements of today’s sports venues.

RGBlink X7 Universal Video Processor Stand No.: 10.A41 → Multi-signal, multi-layer, multi-window, multi-display. → In excess of 90 mega pixel capacity - video wall or presentation controller. → Highly configurable with wide range of input and outputs signal options including 4K signals. → High performance scaling and processing engine for fully synchronised video display. → Control and configure remotely via laptop, mobile or control surface.

102 EX P O

• mondo*dr’s Jamie Dixon with Gaven from Dicolor and friends

• A very busy GTD stand • xxx

• Jolly’s booth

• xxx

• The Vello Light stand

• Visitors on Antari’s stand

• The RGBlink / Acme SPARK event

• The entrance to the Get Show

• EK Lights’ impressive stand

THE GET SHOW / PROLIGHT+SOUND GUANGZHOU, CHINA / 8 -11 MAY & 10-13 MAY Between 8-11 May, Guangzhou Pazhou Poly World Trade Centre hosted The GET Show, which has now become one of the largest entertainment technology shows in Asia. Over the road - just two days later - the China Import and Export Fair Complex opened its doors for Prolight+Sound Guangzhou (PL+S GZ) between 10-13 May, turning this sprawling port city into a technology hub and hotspot for anyone wanting to see the latest audio, lighting and visual products, as well as any developments from some of the largest manufacturers and

• The Tech Team ladies

distributors in the world. This year’s GET Show boasted over 700 exhibitors, with approximately 80,000 local and overseas visitors. The layout of this show has always been accommodating and easy to navigate and this year was no exception, with five lighting halls, three audio halls - including one international brand hall - and one outdoor line array stage in close proximity, and easily accessible. There were many eye-catching stands and products on display, but, in particular, GTD

• xxx

attracted enormous attention with its creative booth design and, more importantly, the new products release ceremony. The GTD- 371 II BEAM and GTD-LM660 II Spot/Profile were very popular with the many visitors that attended. New on display in China for Wireless Solution was the UglyBox MK2 - a compact new wireless signal tester, which is a valuable tool for users of wireless products, providing proof of a solid signal and peace of mind in the absence of visible cable. The UglyBox MK2 is housed in

• Fine Art’s stand

• Gonzalo and Santiago from Macaio Web

103 EX P O

• ADJ’s booth

• Wireless Solution’s booth

• The Ovation Lighting team

• Bruce and Lawrence from PR Lighting

• The Muse Audio stand

• The LSS stand

• Longjoin’s stand showcasing Peavey products

• The RGBlink stand

• d&b audiotechnik, beyerdynamic and CreateLED on show

• RCF products on the stand

• Adamson loudspeakers onthe Real Music stand

• Avolites’ stand

• Ruisheng Lighting & Audio

• The RAC Pro stand

• K-Treasure’s stand displaying Fulcrum Acoustic products

• The Global Truss booth

104 EX P O

• Dennis and colleagues from Laserworld

• The IconLight stand

an attractive compact body, resembling a gaming control with a 4.3-inch LCD touch screen. It supports 2.4GHz, 5.2GHz and 5.8GHz and is a transceiver solution, which means that it can be used as both transmitter and receiver. PL+S Guangzhou also enjoyed a rise in visitor numbers and exhibitors - and it now feels like both shows can run concurrently without it being a huge problem. With 1,300 exhibitors from 25 countries and regions, and 75,993 visitors covering 130,000 sq metres of exhibition space across 13 halls and the Y-Channel area, it was an equally huge exhibition to visit. Ms Judy Cheung, Deputy General Manager of Messe Frankfurt (Shanghai) Co Ltd, was delighted with

• HH Electronics was represented at the show

• Amphenol Australia’s stand

• Visitors on the beyma stand

• Neutrik’s booth

• Infiled’s booth

the immediate outcome of the 2018 edition: “With the show’s refined approach in product zoning and offerings, it is very encouraging to see the growth in visitors and exhibitors this year. The continued happiness of our participants is testament to the show’s commitment in responding to the industry’s transforming needs.” Many key international audio and lighting brands could be found across all of the halls, including Absen, Bosch, Bose, d&b audiotechnik, HARMAN Professional Solutions, MADRIX, Pangolin, SE Audiotechnik, Sennheiser, SGM, Shure, Yamaha and many more. Both exhibitors and visitors alike were impressed with the broad collection of companies, as well as the new and innovative products at their

• Cui Lin and colleagues from LiteLees

• YesTech’s stand

• KV2 Audio products on display

• Celestion had a large presence

• The CODA Audio stand

• The Beta Three stand

• WSound’s stand with Allen & Heath and EAW

• d&b audiotechnik’s booth

106 EX P O

• TW AUDiO and AKG products on display

• Funktion-One’s impressive stand

• The Bose stand

• The Dynacord stand

booths. Another unique part of the fringe programme was the Outdoor Line Array, which gathered 34 international and domestic professional audio brands to showcase the qualities of their audio systems. Guests were able to sample first-hand some of the most advanced audio technology in the market. Feedback proved that the show is very beneficial in representing both leading global brands and Chinese brands under one roof, particularly through the live demonstrations. Both shows will be happy with the rising statistics and yearly increase in

• APG’s stand

international visitor numbers. Both exhibitions have become an essential part of our tradeshow calendar and we will certainly be in Guangzhou (or ‘The City of Rams’ as I’ve affectionately come to know it as) next year.

Dates for next year’s GET Show have yet to be announced, for more information, go to:

• Allen & Heath with its latest offerings

Prolight+Sound Guangzhou moves to 24-27 February in 2019. For more information, go to:

• Kling & Freitag and Cadac with their distrbutor

• The Dicolor team

• Sennheiser demos on the stand

• A range of FBT products on the stand

• VUE Audiotecknik’s stand

• EM Acoustics products

• NEXO’s booth

• The Lynx Pro Audio team line-up

• Gonzalo Santiago from Macaio Web

Evolving with you. Best choice for your business. Be it a congress, a summit or an important meeting: the new G4 300 Series uses the power of an increased switching bandwidth of up to 88 MHz. New frequency ranges allow to operate multi-channel setups with dozens of channels while securing reliable operation. Let your word make a difference with evolution wireless G4.

ewG4_BIZ_236x333_mondodr_GLB.indd 1

28.06.18 14:41

108 EX P O

• Will Cheng of Avolites, Niclas Ardvisson of W-DMX and Yehuda Shukrun of Compulite

• The Soundus team line up in the DiGiCo area of the booth

• Frankey Ng and Menze Van Der Sluis of Prolyte with the Tongsuh management team



Having not visited KOBA, personally, for the last couple of years - Jamie had stepped in - I was looking forward to being back and seeing how the show had developed. Seoul was exactly as I remembered it; clean, efficient and welcoming, and I was met at the show in a similar fashion by many familiar faces. It was the 28th edition of the show this year, which takes place at the COEX Convention and Exhibition Center. It had a total of 927 companies exhibiting from 32 countries. Visitor wise, the event peaked on day three, but overall welcomed 41,616 across the four days. The exhibition offers

a professional audio hall - combined with some lighting stands - on the lower floor, while the vast broadcast section of the show is located upstairs. Most of the usual suspects were on the show floor in terms of the larger distributors - many with European representatives flying in to show their support, including Minuit Une and Music&Lights, having quite recently set up distribution deals - however, a couple of major players, Sovico and Dasan SR, were missing, and not for the first time. Some manufacturers opted to run seminars to coincide with the show, these included FBT, XTA and Shure.

• Stagetec and Merging products on display

On the event floor itself, Bose Professional was showcasing its F1 / L1 system, while Tech Data presented the CBT Series, the PRX/SRX Series and the new VTX A12 from JBL, the i-Tech Series from Crown, the SVS/N300 Series from AMX, and products from Soundcraft and BSS, too - demonstrating a full HARMAN solution. Sound Solution had an impressive booth, displaying RCF’s HDL 6-A, Adamson’s S10 line array with E219 subwoofers, and FENIX Stage’s ELV/300/6 lifting tower with new swing-arm plates. L-Acoustics distributor, Klausys had the recently

• Soundus’ DJ Kwon and Edan Kwon flank Marc Vincent of K-array

109 EX P O

• Clair Brothers had products on display and a comfy meeting area to talk business

• The L-Acoustics stand

• The focus onLighting the Hansam booth was MA Lighting’s new grandMA 3 Blizzard booth

• Steve Kim of Ingang Audio

• The Absen booth

• Allen & Heath showcasing the dLive

• Adamson distributor, Sound Solution

• President of C&C Lighting Hwan-Soo Chung with Ruben Rizzo of Music&Lights

110 EX P O

• Robert Juliat’s Claus Spreyer and François Juliat

• Electro-Voice products on display

• Kevic’s Hae-Young Park

• Eric Phelep of Minuit Une flanked by his Korean distributors, Tongsuh

• Calrec’s Dave Letson

launched Syva on the stand, and DLOGIXS was debuting the new EVC Series from Electro-Voice in the region. Ingang Audio had Peavey’s RBN112 loudspeakers, Calrec’s brio 12, brio 36, SUMMA and Type R, as well as the latest offerings from Meyer Sound on display for visitors. A highlight on the Hansam stand was the Asian debut of the eagerly awaited grandMA3 from MA Lighting. Launched at Prolight+Sound in Frankfurt, it was founded on the legacy of the previous grandMA consoles. The elegant new systemarchitecture incorporates new fixture, features and effects-handling at its very heart. Upon my return to the show, the exhibition seemed larger, however, after chatting with exhibitors and visitors, the change in fact seemed to be wider aisles - not an unusual move for a tradeshow. Despite that, the show was busy, and with fewer Asian exhibitions

in the calendar these days, busy is what the industry needs to see. Although heavily broadcast based, the professional audio and lighting section of the show offers us the chance to catch up with the local market, which, by all accounts, appears healthy at present, having had plenty of discussions about ongoing projects, as well as a site visit to Hallelujah Community Church during the show - check-out the write-up on the DiGiCo installation on page 94. Unlike other shows, KOBA has a steeped history and stands in solid form. It will certainly remain on our regular hit list of exhibitions for the future.

KOBA returns to the COEX Convention and Exhibition Center next year between 22-25 May. For more information, go to:

• The Tech Data team, which distributes HARMAN in the region

• Nam Joon of Art Tech representing Robe


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• The Astro Spatial Audio booth

• A busy Fulcrum booth

• The KV2 stand

• The FBT stand

• The Glux team

• The Yes Tech stand


This year, InfoComm received close to 43,000 attendees from around the world. Less than the 2017 show in Orlando, however a 10% increase on 2016 when it was last held in Vegas. The show seemed busy and there was a lot of great technology on show. A total of 540 visitors took part in the training sessions AVIXA had on offer and over 3,100 attendees registered for its seminars and workshops. Highlights from the show floor included: Adamson introduced its IS-Series, bringing the rider acceptance and performance of Adamson’s touring products to the world of integration. ADJ showcased its brand new video panel range, the Design Series, providing a whole new dimension in video to production designers, system integrators and audiovisual installers.

• Marco Van Der Knaap of Novastar

Alcons Audio presented its Pro-Ribbon Immersive Experience, showcasing its remarkable possibilities of high quality, objectbased immersive audio from 3D live sound specialist Astro Spatial Audio (ASA). Alcorn McBride highlighted two new products this year, both designed to streamline system architecture for themed attractions like dark rides, parades and rollercoasters. The nextgeneration V16X show controller and the RideAmp, a new on-board audio amplifier, a natural companion product to RidePlayer for applications demanding high-power audio amplification. Allen & Heath presented its SQ-7, the flagship console in the 96kHz SQ Series. SQ-7 takes the powerful XCVI 96kHz FPGA engine and added

•The Gloshine booth

extended control and I/O in a larger format, boasting 33 faders, 32 onboard preamps, 16 custom soft keys and eight user-definable soft rotary controls. Astera showcased its new mounting accessory, WingPlate, designed to make it easier than ever to construct any design with the Astera Tube. Atlona introduced its new Gain Series of compact, energy-efficient amplifiers: the Gain 120 (AT-GAIN-120) and Gain 60 (ATGAIN-60).The company also debuted its new AT-HDVS-SC-RX HDBaseT receiver and scaler, the first HDBaseT receiver to feature Atlona CrystalScale Technology (ACT) for premiumquality 4K scaling, picture optimisation and video wall processing. Audio-Technica showcased its entire line of

• Tony Du of Dicolor

113 EX P O

• The Bose stand

• Some of the team from LAMP

• Rich and John from XTA

• QSC press call

• The RGBlink stand

• Brian and Alfred of ADJ

• The D.A.S. Audio booth

• The EAW booth

• Gioia of RCF

• Rob Clarke of Allen & Heath with colleague

• A busy start at InfoComm

• The EM Acoustics team

114 EX P O

• The Martin Audio booth

• The One Systems stand

• The Clair Brothers booth

• mondo*dr’s Laura posing with the Solotech team

• Patrick and colleagues of Studiomaster

network microphones and devices, including the ATND971a boundary microphone, ATND8677a microphone desk stand, ATND8734a power module, ATND931a gooseneck microphone and ATND933a hanging ceiling-mount microphone. Audinate, announced the addition of a new hands-on, interactive track during its annual Dante Networking World event at InfoComm, the new course, titled ‘Optimising Your Dante Network’ gave attendees practical, real-world examples on how to gain the most out of their Dante network. Audix presented its new M63 boundary microphone, the M65 desktop microphone, and the new Dante, AES67, or AVB/TSN enabled ceiling microphones. AV Stumpfl allowed visitors a first look at its nextgeneration media server software solution, PIXERA, scheduled to be released later this year. The 64-bit • Tahna of Symetrix

• Txx

system for real-time media processing, compositing and management is built around the key theme of usability. Barix showcased its IPAM 400 IP audio module the openly programmable and cost-effective IPAM 400 OEM module, which streamlines product development, saves time and reduces risk for manufacturers creating advanced audio over IP products. Blackmagic Design announced its ATEM 7.5 update, an added support for the new ATEM Camera Control Panel. For ATEM Television Studio Pro 4K, this update also added improved audio support in LCD menus and enhanced audio dynamics monitoring when using ATEM software control. Bosch proudly showcased its expansion of the DICENTIS family: the DICENTIS interpreter desk.

• Ed of Audix

• The Neutrik stand

• The Blackmagicdesign stand

• Relo of Barix and Brian of Dimension PR

• Gareth of Atlona

• The Barco stand

116 EX P O

• Enric of Ecler

• Ladd of Innovox

• Peer of VITEC

A product designed to speak the language of the interpreter. By observing and interviewing expert interpreters and technicians worldwide, the desk has been optimised to address their real-world needs. Bose Professional broadened its ControlSpace sound processor line with six new DSP models and three attractive digital wall controllers. The new ControlSpace CSP-1248 and CSP-418 commercial sound processors offer right-sized I/O and simplified configuration for small-to-medium-scale projects. CHAUVET introduced its high performance eight-inch LED fresnel equivalents; engineered with energy-efficient optical systems in full colour, warm white, and variable white versions to satisfy the diverse needs of lighting designers. Clair Brothers teamed up for exciting demos with Earthworks high definition microphones and presented its popular kiTCurve line arrays, which were on display alongside the new, sleek 10SPOT hybrid loudspeaker - a curved array combined with One Series coaxial horn technology. Clear-Com, showcased its E-IPA connection card, a high-density audio-over-IP connection card for the Eclipse HX digital matrix intercom family. Natively AES67 compliant and SMPTE2110-30 ready, the E-IPA card provided 64 streams of low-latency and high audio bandwidth connections for linking existing and new IP-based Clear-Com products. CODA Audio hosted its inaugural rep meeting and top sales agencies from across the US came together for an exclusive demo of the CODA Audio portfolio. Danley Sound Labs hosted a number of discussions

• Marina of ROE

• The Barco stand

throughout the show, its most enticing topic was the Horn Loudspeaker panel which attracted many visitors. Dataton introduced a new core model in its range of WATCHMAX rack servers, demonstrating BlackTrax real-time motion tracking integration in WATCHOUT and putting the spotlight on pocketsized WATCHPAX 20 media servers. d&b audiotechnik allowed visitors, for the first time, to explore the full extent of what tailor-made means at d&b audiotechnik, with the newly launched custom solutions programme. In addition, the GSL System from the SL Series made its US show debut, 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. DiGiCo announced the new V2.2 software upgrade for S-Series consoles, which incorporated a number of much-wanted features, as well as the two new DMI modules: the DMI-AMM and DMI ME. digiLED showcased its new digiTHIN range, developed to meet the increasing demands of cinema screen markets with its dimensions simply matching 16:9 HD aspect ratio. Digital Projection launched a total of four new projectors across three ranges at this year’s InfoComm. Alongside the projectors themselves, the co-inventor of DLP technology unveiled two new innovations: IP60-rated 100% sealed optics as well as its proprietary ColorBoost + Red Laser technology.

• mondo*dr’s Laura with Alison of Absen

• Mark of GLP

• Stephane, Albert and John of Chauvet

• Dana and colleague of Vue Audiotechnik

• Alex of Attero Tech

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118 EX P O

• The Apart Audio booth

• The audio-technica stand

• The Powersoft stand

• The Digital Projection booth

The company also launched its E-Vision Laser 11000 4K-UHD. disguise introduced the Solo, its latest media server, the HDMI 2.0 VFC card, new OmniCal hardware kits, and the upcoming r15 software. DPA Microphones showcased its new d:sign Installation Solutions Series, a product targeted specifically at the installation and conference markets, the d:sign line included an array of products ideally suited for conference and audiovisual applications, including floor stand, ceiling and table top microphones. Following its ISE debut, Dynacord presented its IPX power amplifiers for fixed installation. These power amplifiers are built as the ultimate amplification solution for medium to large-scale live performance sound applications. EAW announced the addition of its RSX212L line array module and RSX18F subwoofer. The two new

• The DPA Microphone stand

• The Pioneer Pro Audio booth

• Noel of Ashly Audio

RADIUS products provide added versatility to the series designed for both touring and permanent install applications. Elation showcased its latest luminaires in the awardwinning Artiste Series of creative, full-featured moving heads, the Artiste Picasso and Artiste Dali. Elation, additionally, showed off its new Smarty Hybrid, a full-featured spot/beam/wash fixture and the most compact CMY colour-mixing hybrid Elation has released to date. Electro-Voice introduced its latest member of the EV-Innovation family of installation-dedicated loudspeaker systems, the five-model EVC series. A product range designed to make superior sound quality for small/medium-sized installations more affordable and more reliable than ever before. EM Acoustics revealed HALO Arena at this year’s InfoComm. HALO-A is the system that takes HALO Compact design values to the next level. HALO-C

• Sebastian of Astera

• The Crestron stand

• Julie and Mary Beth of L-Acoustics

• mondo*dr’s Laura with Bjorn of Astro Spatial Audio

120 EX P O

• Joe of Triton

• The Airstar booth

made an enormous impact in Europe when it was first launched in 2012 - never before had a modular line array system provided such detail, clarity, and crystalline sonic performance. ENCO visited InfoComm for the second time, bringing along its new physical control surface for its instant play out and automation solutions. Focusrite showcased its RedNet X2P highperformance 2 x 2 Dante audio interface, a product that provides a high-performance remote I/O solution for Focusrite RedNet or other Dante audioover-IP networks. Fulcrum Acoustic introduced its new FW15 stage monitor to attenuate rear LF radiation that interferes with the audience, stage microphones and front fills. GLP displayed its latest fixtures in its range, including the S350, FR1 and the Force 120 stage effect fan, as well as its award winning fixtures such as the JDC1 hybrid strobe and impression X4 Bar. HARMAN Professional Solutions announced its JBL VTX A8 dual eight-inch line array loudspeaker and companion B18 single 18-inch subwoofer, which add to JBL Professional’s flagship VTX A Series technology for compact solutions aimed at small- to mid-size rental and installed applications. Building upon the feature-packed January release of KLANG:technologies’ KOS 3 operating system, the 3D in-ear mixing system manufacturer was pleased to announce its next exciting update, KOS 3.1. Kramer Electronics launched Kramer BRAINware - a software-only master controller processor that simplifies control installations. By containing all of the control logic, design, and attributes of the Kramer Control platform, Kramer BRAINware transforms a Kramer KT-107 touch panel to a fully functional Kramer Control processor brain, without requiring additional physical processor hardware. L-Acoustics announced integration between the L-Acoustics LA4X and LA12X amplified controllers and the Q-SYS platform from QSC. This integration allows users to easily control and monitor the LA4X and LA12X through Q-SYS. Lectrosonics released the availability of select digital hybrid wireless microphone products in the recently expanded 941-960 MHz frequency band.

Linea Research showcased its range of four and eight channel networked DSP amplifiers, the portable and touring focussed M Series and the installation and contractor C Series. The centrepiece of Magewell’s demonstrations was the debut of its new Ultra Stream HDMI standalone streaming encoder, making live streaming remarkably simple even for non-professional users. Martin Audio introduced Sound Adventures, a 3D immersive sound experience in cooperation with its partner, Astro Spatial Audio. The demonstration showcased core experiences including movable sound effects and mixes in real time, and in full 3D, electronically shaping the venue with different acoustic properties and extending the stereo image for the audience. Meyer Sound presented ‘The Labs’, a revealing interactive exploration of all that makes Meyer Sound unique among audio companies. Panasonic announced the development of the AWUE150, a new 4K integrated remote camera that will offer 4K 60p capture - a first for a broadcast-class PTZ. Pioneer Pro Audio highlighted its XY-3B three-way point source speaker, designed to deliver natural audio at the high sound pressure level required for large venues and outdoor events. Powersoft showcased its complete fixed install amplifier range: the extended Duecanali Series. The new Duecanali 804 and Duecanali 4804, both twochannel amplifier platform with optional DSP. PreSonus continued to refine its StudioLive ecosystem - encompassing mixing, audio processing, routing, and personal monitoring. The staff offered demos all day, including live Q&A chats on its social media for those visitors who couldn’t make it to the stand. QSC celebrated 50 years as a company, what an achievement, additionally the team also won the 2018 Adele De Berri Pioneer award. Rane Commercial displayed its new RH-1, RH-2 and RH-50 headphones, providing audio professionals with the superb sound they demand, coupled with outstanding comfort and compatibility with virtually any equipment.

• The Blizzard Lighting stand

• Eric of Elation

• The Antari stand • The Dataton stand

• The Belden booth • A packed Analog Way stand

122 EX P O

• Jeff of Danley

• The CODA Audio booth

• Pedro and colleague of Gtek

• The team at disguise

• The Christie stand

RCF presented its three new RDNet compatible vertical steerable array models, which improves quality for highly reverberant space, and its MR 50 / MR 40 bass reflex loudspeakers for audiovisual monitoring and reliable fixed installations. Renewed Vision announced a significant new software update for the third generation of its ProVideoPlayer (PVP3) multi-function media server. Renkus-Heinz presented its IC-Live X Series, the next generation of its award-winning, high-powered IC-Live steerable arrays. With greater power density, higher output, simple integrated hardware, and a unique coaxial driver arrangement, the IC-Live X will bring a new level of flexibility for integrators, contractors, and production houses. RGBlink hosted a number of training sessions

• The Steam Guys team

throughout the show, as well as introducing its new trailer showcasing video processing solutions. ROE launched its new, ground-breaking LED platform, Sapphire, a narrow pixel pitch LED screen with a separate supporting frame, which can be combined in expanded configurations as an alternative to the traditional rectangle. Ross Video showcased its Lightning Control System, a fully integrated switcher, graphics and camera control with intuitive interface ideal for single operator use. RUSHWORKS announced its PTX Universal PanTilt Head at this year’s InfoComm, PTX was seen in action paired with the Blackmagic Design Micro Studio Camera 4K. Sennheiser previewed the next generation of its innovative ceiling microphone, TeamConnect

• The Enco team

• mondo*dr’s Jamie with Steph of Sound Marketing

• Callum and Rob of Void Acoustics

• A successful ladies night hosted by Margie of Linea Research and mondo*dr’s Laura • The Barco stand

• Julie and colleagues of Community

• The Adamson stand


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124 EX P O

• The Global Truss stand

• James and Kevin of Peavey

• The Harman Professional Solutions stand

Ceiling 2. The ceiling array microphone offered superior audio quality for voice and video conferences thanks to its automatic adaptive beam forming technology. Solid State Logic announced the release of its L100 live console - the newest member of the SSL Live console range. L100 provides a physically smaller premium solution for customers who prioritise outstanding sonic performance in space restricted installations, for sub-mix positions or corporate production. Symetrix introduced its Radius Series, Radius NX, which serves huddle rooms, large conferencing environments, courtrooms, and distance learning halls. Tempest demonstrated its latest enhanced projector enclosure line-up with its G4 range at InfoComm, providing the ultimate in projector protection, and offering reduced design, build and delivery times for customers. Visionary Solutions demonstrated it has integrated a host of new features to its PacketAV Matrix product line, QOS support and real-time analytics were just a few new features integrated into PacketAV’s already robust feature set. VITEC showcased its new, award-winning video wall capability for EZ TV, the company’s market leading and broadcast-grade IPTV and digital signage platform, as well as its expanded HEVC ecosystem.

• The Roland booth

• The Visionary Solutions stand

VUE announced its e-3151 and e-352 full range nano loudspeakers, along with its low profile es-269 ACM subwoofer. In addition, VUE hosted a number of virtual experiences to support its new products. XTA showcased one of its latest products, AudioCore: Amped Edition, providing fast comprehensive access to DPA and APA amplifiers, as well as MC² Delta Series DSP models. Waves Audio displayed its Waves TRACT loudspeaker correction, a powerful corrective EQ and system time alignment tool for live PA systems or studio environments. In addition, it also exhibited its acclaimed Waves eMotion LV1 mixer, a revolutionary live digital mixing console that provides real-time audio mixing for front-of-house, monitor and broadcast engineers. WORK PRO AUDIO unveiled the SoundNut range, a new series of stylish, high-powered pendant loudspeakers for installation applications. Yamaha launched its new VXL1-16P Dante-enabled, Power over Ethernet (PoE) loudspeaker, which is designed to bring high quality, easily installed and controlled sound to conference rooms, boardrooms and other meeting spaces in the corporate installation market.

• Robin presenting a Martin Audio and Astro Spatial demo

• The Music & Lights stand

InfoComm returns to Orange County Convention Center in Orlando next year on 12-14 June. For more information, go to:

• Guy of Bosch

• The Linea Research guys

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ADAM HALL GROUP | EXPERIENCE CENTER Ever since meeting Global Marketing Director, Nikke Blout, when she was just two weeks into the job - which is almost three years ago - mondo*dr has shared a budding relationship with the Adam Hall Group. And having seen the Experience Center in many stages - from a grassy mound of dirt to a concrete shell - to be able to see it completely finished last month, was a real treat. Adam Hall is located in Neu-Anspach, Germany, just north of Frankfurt and on 14 June, the new Experience Center that sits alongside the group’s headquarters, was official opened. Suppliers,

distributors and customers from far and wide travelled in for the celebrations, with the press and the staff worldwide also on the invite list. The evening began with a guided tours of the new complex, which houses a fully-equipped product showroom, a large theatre auditorium for live shows and demonstrations, educational facilities for the newly-founded Adam Hall Academy, that will offer a full seminar programme for the industry in conjunction with DEAplus, the German Event Academy organisation and the company restaurant. The integrated R&D and engineering department in the other half of the

Experience Center houses an anechoic measuring room, various endurance and climatic test rigs, a photometric laboratory and ample space for modelling and 3D prototyping. Costing more than 20m Euros to build, the Experience Center channels the theme ‘Come Together’ - which is also the name of the company restaurant - and it not only refers to staff working there daily, but for the wider Adam Hall network, and the industry as a whole. CEO Alexander Pietschmann has always said this was one of his primary aims from the beginning. He said: “The dynamic markets of our time require courage,


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mobility, innovation and high customer orientation. The repositioning of the company underlines the identity of the Adam Hall Group and clearly defines our motivation and goals. The focus is on the wishes and requirements of our customers. We would like to create ideal conditions for professional users with innovative, user-friendly and performance-driven event technology solutions and give more people the opportunity to realise their creative ideas.â&#x20AC;? COO Markus Jahnel added: â&#x20AC;&#x153;After over 40 years in the entertainment industry, we are proud to state that the Adam Hall name is well established

amongst event professionals. Over the last 10 years in particular, the company has grown considerably, continually developing as a manufacturer and full-service provider of event technology solutions, a fact which is once again emphasised by our comprehensive product portfolio for the pro audio, LED lighting, stage equipment and flightcase hardware sectors.â&#x20AC;? Following the tour, speeches by company founder David Kirby, in conjunction with Alex and Markus opened the formal proceedings, before the Adam Hall band - musicians from within the company - took the stage to get the party started!

Famous music acts - whose identities must remain undisclosed - then led the celebrations late into the night. With a facility like this now built and ready to use, it will be interesting to witness the development of the Adam Hall Group and its brands, and the changes this will determine within the community as a whole. It is certainly a mammoth offering for its staff, customers and industry professionals alike.


PROLIGHT CONCEPTS GROUP | RELOCATES HQ It has been an exciting and busy time over the past few months - in fact, the past few years, for the Prolight Concepts Group team. Within the last three years, the Prolight Concepts Group has not only introduced a state-of-the-art ERP system, created a brand new website and released a 350 page catalogue, it has now relocated to its new warehouse and office complex, aptly named ‘Lumen House’, in Blackburn, Lancashire, UK. Having spent over 15 years in Darwen, Prolight never imagined that it would outgrow the 37,000 sq ft premises but the company officially waved goodbye to its HQ, where it have been situated since 2003. This move has provided the company with significant room to grow and expand its product portfolio, and to continue to supply and distribute professional lighting and audio equipment to the entertainment, professional installation, architectural and leisure markets around the globe.

After weeks of hard work from the dedicated Prolight team and external contractors, the renovations to its vast new warehousing and office facility in Blackburn were completed. Prolight Concepts Groups’ bustling new hub sees a tenfold increase in office and workshop space and treble the amount of warehouse bays, with long-standing and new employees already settled in, enjoying the new facilities and excited about the future. The 1.6-acre site incorporates a large open plan office and modern high bay warehouse with a narrow-aisle layout increasing stock holding efficiency, plus multiple delivery and dispatch bays. Communication is key at Prolight, so it has adopted the same open-plan office layout from the previous premises allowing the sales, marketing, purchasing, accounts and managerial staff to interact efficiently. Additionally, it has two new purpose-built rooms allowing photographers

and videographers to continue to provide high quality digital and print media. With the M65 motorway being within such close proximity, the new location has excellent transport links to the M6 and the rest of the country for fast and efficient distribution, along with easy access for visiting customers and suppliers. “With the help of many external contractors and our own dedicated team, we have fully renovated our new warehouse and office complex, and after many long days and nights, we can finally say that ‘Lumen House’ is now our new home,” said Andrew Jeffrey, Managing Director. “This move is an investment in our future and will create many new opportunities for our businesses development and expansion. This truly is an exciting time for the Prolight Concepts Group, and we look forward to supporting our existing customers and developing new relationships.”


The magic of light


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CRESTRON | SHOWROOM Crestron’s EMEA Showroom in located in the Chelsea area of the English capital, among other like-minded companies in The Design Centre. It’s been open as a hub for the company’s customers for a couple of years now, but the technology within it is constantly being updated - a recent example being the integration of Amazon’s Alexa voice control unit. The showroom offers customers the chance to sample Crestron products, and more importantly Crestron integration in a real-life scenario. Although the showroom set-up is designed as a home space, the same technology can be applied in a bar, restaurant, cinema, or hotel, just to name but a few. It is often the case that a customer books an appointment to visit the showroom, having a concept in mind, but upon arrival it’s realised that Crestron can offer and integrate a whole lot more than meets the eye.

Wall mounted panels around the showroom control almost every element of the space from the lighting, the TV, blinds and curtains, music, heating, intercom - in fact, the list is almost endless. The simpler versions are a series of pre-programmed buttons - unique to each project - labelled accordingly, usually featuring a master off button, too. The buttons can be set to adjust the settings of lights, music and heating, for example, to create a certain mood. The process is subsequently repeated so that each button is allocated. For overall and more complex control, a touchscreen is the more appropriate choice, because as well as having all the individual presets to create different ambiances, users can also customise each separate element. It’s not just the content of the touchscreens that are personalisable though, the housing is, too, to suit the aesthetics of any

environment for example, special metal finishes or even leather. Both are hard wired when installed but additional remotes - which essentially replicate the main controller - can also be integrated to provide mobile control. The Crestron remotes run on their own radio frequency, so there is no interference or delay, and, of course, the system can be controlled via a phone or tablet that relies on Wi-Fi, too. By its own admission Crestron is a company that likes to embrace third party technology, examples include Amazon Alexa and Google Assistant. These can further enhance Creston’s own technology when required, in order to produce the best possible solutions. This way, the company is able to offer end-to-end solutions for each and every customer who comes through the door.









EM Acoustics recently revealed its HALO-A to the UK market, hosting a demonstration to showcase its newest line array loudspeaker system in a representative acoustic environment. The larger HALO-A follows the same core design as the more compact HALO-C, providing the signature EM Acoustics ‘maximum headroom’ design approach that ensures consistency of performance regardless of SPL level. The compact enclosure is 14.3-inch x 40.2-inch x 24.4-inch / 362mm x 1020mm x 619mm and has a low weight of 66kg, translates into less truck space used and smaller motors required. 

 The HALO-A utilises a proprietary patent-pending emulation manifold, which combines the energy of four 3.4-inch diaphragm, 1.4-inch exit compressions drivers into a plane-wave array. This assembly gives not only a

significant moving area for the high frequency section but also provides twice the headroom of comparable systems.
The HF section is flanked by a pair of high power 3.5-inch voice coil, 12-inch neodymium low frequency transducers. These two drive units combined with optimally-tuned low turbulence porting and generous cabinet volume ensure HALO-A has a low frequency performance to match the incredible highs. A single HALO-A exhibits a flat, free-field frequency response from 48Hz to 19kHz (+/-3dB) and a phase response which is +/- 20º between 150Hz and 18kHz. Due to the unique loading technique applied to the low frequency drivers, combined with the high frequency waveguide, the dispersion pattern control is maintained down to 250Hz. 

 HALO-A requires two amplifier channels

and makes use of the latest in FIR DSP technology requiring use of the EM Acoustics DQ20 advanced system amplifier. The enclosure is constructed from premium 15mm (five/eight-inch) and 30mm (13/16-inch) multi-laminate Baltic birch plywood, rebated, screwed and glued together for maximum strength. Intelligent bracing combined with lowloss porting structure minimises panel flexure removing unwanted resonances while keeping the overall enclosure weight low, and the enclosure is finished in a weather-resistant polyurethane coating.

 Each enclosure offers a simple and intuitive three-point flying system, assembled from ultra-high tensile strength steel parts coated with Zylan for enhanced durability.

• Above The new HALO-A from EM Acoustics. • Above below The UK launch at London’s LH2 recording studios.

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solo brings the power of the disguise solution to smaller productions and experiences, within theatres, fixed installs, studio setups and smaller venues. It offers the support of our full disguise production suite, with the power and performance to meet modern demands. The solo is the natural progression from the disguise 2x2plus, future proofed for evolving industry needs with a significant increase in power, output resolution and even more storage. It can be used as a standalone solution, to design, sequence and play back your shows, or as a master in a larger network with professional and gx range machines. The 2U base units can be customised with HDMI and SDI capture, professional audio and 10GB

Ethernet ports, 4K outputs, fixed storage, 2TB SSD and full redundant capabilities - so whatever your needs and budget, there’s a disguise system tailor-made for you. The solo base unit can be configured to include HDMI and SDI capture, as well as featuring professional audio and 10GB ethernet ports, two x 4K outputs, fixed storage, 2TB SSD and full redundant capabilities. Additonally, the solo is a powerful 2U server, that can be used as a standalone solution, to design, sequence and play back your shows, or as a master in a larger network with professional and gx range machines.

Sarah Cox, Sales Director EMEA of disguise, on the solo: “The solo has been created to enable artists and creatives to join our community, ensuring any project or budget can access the disguise software and hardware, without having to sacrifice on power and performance.”

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Equipped with a total of 40 15W RGBW Cree LEDs for a massive 21,000 lumens output, the Cameo ZENIT W600 is a powerful IP65 rated wash light for demanding outdoor applications. In addition to RDM and standard DMX capability it boasts a built-in 2.4GHz W-DMX transceiver for convenient wireless control. The fixture also provides a rich variety of stunning automated programs for standalone or wireless master-and-slave operation. For maximum versatility, the ZENIT W600 sports Cameo’s innovative SnapMag technology. It allows adding filter frames in less than a second without the need for tools or dismantling. Magnetic SnapMag frames with precision light shaping diffusers providing a choice of 25°, 45°, 100° or elliptical 60° x 10° beam angles and a four-way barn door are available as accessories. Featuring advanced 16-bit technology for high-resolution colour mixing and dimming

and an 18° beam spread, the ZENIT W600 projects hugely intense, uniform washes. With colour temperature and individual LED colour correction, four selectable dimming curves and fully adjustable halogen lamp-like dimming response, the fixture is the perfect tool for highly professional lighting. The die cast aluminium housing integrates three temperature controlled fans that ensure optimised, low noise operation

SPECIFICATIONS Number of LEDs 40 LED Type 15W Cree Dispersion 18° Beam, 35° Field DMX Input / Output Five-pin IP65 Average LED Lifetime 50,000 hours Power Consumption 565W Colours Available Black

Kling & Freitag GmbH |


63 63


63 63 18

• •

LIGHT OUTPUT more than 25.000 lumen Maximum power consumption 650W



amber 18

graphics: Vilfredo Maria Ricci - © 2016 Studio Due


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


cable hidden in the bracket new optional handle

STUDIO DUE light s.r.l.

Viterbo (Italy)

t. +39.0761.352520

f. +39.0761.352653



[maky-kruh-fohn] n.

An instrument capable of transforming sound waves into changes in electric currents or voltage, used in recording or transmitting sound.




“If you want to create a fantastic audio experience, you need to start with the best sound feeding through the audio chain – and that takes a great microphone. It doesn’t matter if you are in a theatre or in the recording studio, if the sound you capture is poor, you can’t save it. The entire pro-audio sound chain has improved in recent years, from the microphones to the loudspeakers, increased digitalisation and better wireless transmitters can now expose the quality of some microphones. DPA Microphones has advanced its technology, so that its microphones match recent years’ expectations of audio.”


“The use of ambisonics and 3D audio in microphone technology has been underrated, this is, until, recently. This spatial audio technique that captures surround sounds from a single point in space is used in many VR applications today: cinematic and interactive content, livestreaming and more. A good microphone should bring image and sound together in the right way to elevate a user’s visual experience. Sennheiser’s AMBEO programme for 3D audio is designed to do just that.”


“ N e x t y e a r , E l e c t r o -Vo i c e i s celebrating its 50th anniversary of one of its most renowned and recognisable products, the RE20 dynamic microphone. After being introduced, its popularity soon extended beyond broadcast and into music production, as an instrument and vocal microphone. As heard on countless classic and current recordings, from Paul McCartney to Stevie Wonder to Bob Dylan to Radiohead. It was a real game-changer when it was released all those decades ago, and it’s still going strong today for a reason – it works.”


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Audio-Technica ATND971a Audio-Technica recently launched upgraded versions of each of its network microphones including its ATND971a boundary microphone. All the new ‘a’-designated products offer AES67-compatibility and are designed for audio-over-IP interoperability connecting directly to any AES67-compliant network, including those that utilise Livewire, RAVENNA and Q-LAN AoIP technologies. Otherwise, the ATND971a function as before, providing the same talk/mute, gain, low-cut filter and LED controls as their predecessors, and retaining its ability to transmit control data over Dante networks. In addition, the latest firmware increases the Dante Domain Manager features, adding role-based security, cross-subnet routing, SNMP alerts and more. With increased connectivity for audio streams and expanded Dante features, these new network microphones and devices give users plug-and-play access to nearly any AoIP system.

Apart Audio DIMIC12 DIMIC12 is a selective progammable digital paging station with the possibility to communicate with different zones in an office, the DIMIC12 can be used for 12 different zones. When the DIMIC12 is used with AUDIOCONTROL12.8 users can allocate buttons to perform actions like opening a door, controlling a sound source, ring a bell or even start a series of commands. This paging station is designed for use with AUDIOCONTROL12.8 and is easy to configure via the host’s graphical user interface. DIMIC12 combines an inconspicious and elegant design with a remarkable sound quality. It has speech-optimised sound processing and a unidirectional condenser microphone. The unit has universal configuration of push buttons, 12 free configurable selection buttons, status LEDs, a push-to-talk button and multicolour paging status LED.

Audix AP62 The AP62 system from Audix includes an R62 two-channel true diversity receiver and can be ordered in over 60 handheld, headworn, and lavalier microphone configurations. The dual-channel system is housed within a durable metal single rack mount receiver that packs 64MHz of frequency bandwidth, 2,560 tunable frequencies, and 207 pre-coordinated frequencies. Quick, easy, and reliable setup is almost guaranteed, thanks to one-touch sync, which links the transmitter to the receiver via an infrared beam and one-touch auto-scan that searches for clear channels. The true diversity antenna system has 450ft of operating range and up to 24-channels of simultaneous use. A built-in antenna combiner gives the AP62 the ability to operate up to eight-channels of wireless on one single rack mountable antenna distribution system (Audix ADS48). The Audix AP62 is equipped with AF and RF gain control, soft keys to control output levels, squelch, pilot, and lockout, and a high contrast LCD display.

beyerdynamic FOX The new USB studio microphone, FOX, captures music anywhere, anytime and no melody will be lost. FOX is a novel tool that brings passionate artists to the forefront, additionally produces sensational studio sound, remarkable acoustics for vocal or instrumental recordings. The main quality of this product is that it strives to maintain the users artistic freedom with the easy plug-and-play USB connection. FOX is best suited for home studio and mobile recordings, singer-songwriters, vocalists, musicians, podcasters, gamers and youtubers.


Countryman Associates H7 Featuring wide dynamic range and a precision cardioid pattern that effectively shuts out surrounding noise, the H7 is a comfortable yet rugged microphone that makes an exceptional choice for location sound, theatrical, and presentation applications among its many possible uses. Sound quality is the first and foremost consideration with any highperformance microphone and, in this regard, the new H7 excels. The H7 boasts extended dynamic range and a carefully crafted, precision cardioid pattern that remains consistent across the audio frequency range, ensuring uncolored on- and off-axis response and broad reduction of feedback and surrounding noise. Because of the petite, lightweight nature of a headset microphone, Countryman engineers paid special attention to making the H7 headset microphone robust and rugged to withstand the challenges of location sound use and theatrical environments. From the cable to the connector to the capsule, the H7 is Countryman’s strongest, most water-resistant, and most resilient directional microphone yet. Equally important, the H7 is light and comfortable. At less than 7g, the headframe easily adjusts to fit different head sizes.

DPA d:vote CORE 4099 DPA has introduced a new streamlined design that features a more distinguished foam cover, which helps decrease vulnerability to wind or movement during a performance. To make it easier for users to tell the difference between the two versions available, the new d:vote CORE mics are colour-coded at the bottom of the mic: a red mark represents loud SPL and a yellow mark represents extreme SPL. Already one of the most sought after instrument microphones on the market today, the d:vote 4099 is designed for use with every woodwind and acoustical instrument, the most popular being guitar, violin, cello and trumpet/saxophone. The versatile, interchangeable clip programme, which includes units for drums, microphone stands, piano and more, means that one microphone can fit many instruments just by changing the clip. Known for its discreet size and flexibility, the d:vote 4099 mic is a great fit for a variety of applications ranging from the live stage and theatre to live performances during primetime broadcasts.

Electro-Voice RE20 The RE20 dynamic cardioid microphone is truly an industry standard, a firm favourite among broadcasters and sound engineers worldwide. Its popularity also extends into music production as a premium grade instrument microphone. Its variable-D design and heavy-duty internal pop filter excel for close-in voice work, while an internal element shock-mount reduces vibration-induced noise. Features for this product include, voice tailored frequency response to product a studio condenser-like performance, a large diaphragm, humbucking coil and a bass roll-off switch.

Harman Professional Solutions AKG C636 The new Harman Professional Solutions AKG C636 microphone is an innovative updated model of the legendary C535 model that has been built for today’s high demands on stage. This model offers pure studio sound that AKG are renowned for, in a worry-free durable casing. This product has been designed to focus purely on the vocal performance. The AKG C636’s proprietary double shock suspension system offers unparalleled rejection of handling noise even during the most energetic on-stage performances, and doubles-down on keeping the performance flawless by incorporating a state-of-the-art, multi-layer pop noise rejection system to eliminate plosives and a consistent, cardioid polar pattern that eliminates feedback. Additionally, its capsule sits on a highly absorbent rubber bearing, eliminating any structure-based noise, while an adjustable balancing network cancels vibrations over a wide frequency range. It is also important to note there is a C636 WL1 microphone head designed to work with the HT4500 and DHT800 handheld transmitters, letting the on stage studio sound go cable free, add this to the hand- selected components that are manually tuned, the results are a pure transparent tone.


Milab DC-196 Platinum Edition The Milab DC-196 Platinum Edition is a limited-edition microphone that celebrates the manufacturer’s 75th anniversary. It is a highly compact multi-pattern, large diaphragm microphone built around Milab’s unique rectangular condenser capsule. Unlike the regular DC-196, the Platinum Edition comes in a ‘neptune blue’ finish and is delivered in a custom designed wooden box. Production is limited to a mere 75 units, each accompanied by its unique frequency chart and a letter of authenticity. The unusual rectangular capsule was originally designed in the 1950’s to eliminate the resonance peak in the mid-range that is inherent in circular large microphone capsules, but the rectangular shape also has several other unique properties. The off-axis response in the horizontal plane is extremely smooth, which makes the Milab DC series microphones excellent choices for stereo setups like XY and Blumlein, which are normally better suited for small diaphragm microphones. The dimensions of the capsule has allowed Milab to build unusually small large diaphragm condensers, often only slightly larger than pencil microphones.

SE Electronics sE2200 The sE2200 is the latest version of the awardwinning cardioid condenser microphone that put sE Electronics on the map many years ago. Given the revered status of its predecessors, sE Electronics has remained true to the original capsule design, custom-built transformer and Class-A circuit topologies, so it’s still the same microphone but now the components have a shorter, optimised signal path providing even better noise performance and clarity. Although the sE2200 is a cardioid-only microphone, two gold-sputtered diaphragms are used to ensure best possible acoustic performance. Built like the world’s finest musical instruments, every capsule is hand-crafted and individually tuned. Its carefully selected, discrete components ensure brilliant sound quality on any source. The sE2200’s design still avoids using any ICs (integrated circuits) and is built to excel - not to a standard. Low noise, consistent performance and high sensitivity is provided by state-of-the-art surface-mounted electronic components with extremely tight tolerances. Reviving the spirit of classic studio microphones, the sE2200’s transformer provides superb depth and weight to the overall sonic image, and the massively shielded metal housing ensures noise-free operation. Two switchable low-cut filters eliminate rumble or footfall noise, and can also compensate for an excess of bass frequencies caused by proximity effect. This enables the sE2200 to close-mic even the loudest instruments, including electric guitar speaker cabinets, brass instruments and drums. Reliable operation even in demanding applications in difficult environments is ensured by the roadworthy all-metal design, robust construction, and highquality manufacturing standards.

Sennheiser G4 The fourth generation of evolution wireless makes professional wireless microphone technology even more simple, flexible and reliable. Made for all conceivable usage scenarios, G4 systems covers everything from live performance to camera work to business and education settings. Connecting with the audience is a breeze with the 100 Series, which offers musicians quick synchroniation of up to 12-channels, and a wide choice of mic capsules. The 500 Series takes live audio even further, offering up to 32-channels, higher radio frequency output power, and the Wireless Systems Manager software for easy control and monitoring of multichannel set-ups. Videographers and content creators will be familiar with the evolution wireless 100-p Series, one of the best-selling on-camera systems in the market. G4 includes the 500-p Series, which comprises the classic MKE 2 lavalier mic, and the SKP 500 plug-on transmitter with phantom powering. For users in corporate, hospitality and education settings, the 300 series offers remote control and monitoring via the Sennheiser Control Cockpit software and is ready for integration into the LSP 500 PRO wireless loudspeaker system.

Shure CENTRAVERSE This overhead condenser microphone is available in black or white colour options. An integrated memory wire allows users to ‘aim’ the microphone and therefore provide optimal placement with minimal effort for hanging applications such as meeting tables, choirs and other ensembles. CENTRAVERSE guards against unwanted radio frequency interference from portable wireless devices, for example, smartphones, and has high resistance to intense nearby radio signals. Additionally, it has cardioid polar pattern with tailored response for speech.

Big Shoes. Small Footprint. We posed a question. Could we bring the focus, clarity and control of our industry-leading ICONYX series Digitally Steered Speaker Arrays to more intimate environments? Could we translate our cathedral-filling, airport-taming designs into solutions for corporate offices, mid size industrial locations, restaurants, health clubs, universities and civic facilities? The answer is: Yes. Introducing the ICONYX IC 12/3 and DC 12/2 Directivity Controlled vertical column speakers from Renkus-Heinz. Delivering the ICONYX experience to smaller venues, the revolutionary DC12/2 is a ready-to-roll solution featuring predefined, user-selectable presets and control via smartphone or tablet. And the IC12/3 delivers a modular, stackable system which can be easily customized for any location. Take a walk to and take your first step towards incredible audio.




ca•bles [key-buhls] n. An insulated wire or wires in protective casing either with mini-phone plugs at both ends for transferring analogue sound from a computer or music player to a set of loudspeakers or to connect lighting / visual controllers to lighting / visual fixtures.




“Van Damme Cables (VDC) has been at the forefront of cable design and technology for 30 years. VDC analogue and AES/EBU single pair audio cables offer a wide range of tour grade and starquad designs. The cables are available in LSZH reduced OD, and offer solutions across every analogue/digital audio and data application.”


“Klotz products are used by equipment rental companies, recording studios, TV broadcasters, theatres, stadiums, arenas and even cruise ships. Klotz are constantly extending its expertise to span peripherals, designing connection technology systems tailored to our cables. Our latest modular interface systems (MIS), have been made easy for users to assemble and customise according to their requirements.”


“Neutrik continues to work with its customers to develop new global standards. Neutrik are proud that the connectors and cabling systems that it has invented are the standard in professional audio, visual and lighting environments. Neutrik provides complete cabling solutions for cases where cables are difficult to field terminate. Examples include its popular HDMI and USB 2.0 cables and its customised opticalCON fibre optic cables.”

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Amphenol Stingray

TITANIUM microphone cable is a reference-standard product that transmits every nuance of the human voice with outstanding directness and fidelity. The ultra-rugged outer jacket is 8mm in diameter, enclosing the star quad core with extra-large cross-sections, this cable offers superb capacitance of only 55 pF/m. As a result, the TITANIUM features ultra-dynamic sound, quick response, top attention to detail and authentic transient response, not forgetting excellent balanced characteristics and superb attenuation. The TITANIUM is the successful blend of two, apparently, contradictory worlds in a single cable with state-of-the-art sound, plus, negligible microphones.

Stingray is a low profile, compact, and sealed connector that sits flat against the body to prevent snagging and damage. Itâ&#x20AC;&#x2122;s self-aligning due to its strong magnetic connection and allows customisation and flexibility of cable routing. Stingray is an excellent solution for audio, power or data signals - and is ideal for first responders, security, and military personnel. Stingray features a magnetic, non-keyed mating system which allows the connector to be easily mated without the need for pre-alignment and eliminates the need to operate any coupling mechanisms. Stingray has been optimised for USB 2.0 and Ethernet protocols, and is an excellent solution for audio, power or data signals.

Link CAT7 The new eurocable CAT7 polyurethane ethernet cable is a shielded and foiled twisted pair (SFTP) cable protected by a sheath, which grants extreme resistance to external stress. Specifically created for mobile outdoor transmission, this professional Ethernet cable is flexible, strong and waterproof. All these characteristics make it the most durable CAT7 cable available. The CAT7 undergoes EIA/TIA 568B.2 and ISO/IEC 11801 certification tests in which the complete range of relevant frequencies are analysed. The test ensures that each value, at every frequency up to 1,500MHz, is compliant with the standard at the specified length. CAT7 is the first cable for Dante that was tested successfully to 150-metres and is guaranteed to 120-metres for mobile applications.

Neutrik NE8FFX6-W The NE8FFX6-W is a ruggedised coupler with CAT6A component compliance according to ISO/IEC 11801 and TIA/EIA 568-C.2. It is IP65 protected when mated with NE8MX6, the product will also accommodate a standard RJ45 plug. The adapter offers the million-fold proven robust latch lock system and proudly features an evolutionary small form factor. The adapters are problem solvers for various intermating problems for professional and semiprofessional applications.


PROCAB PRD520 Due to its large success, PROCAB extended its PRD520 DuraFlex networking cables, this series is now available in lengths of 0.5-metres, 0.75-metres and 1.5-metres. These shorter lengths have been added due to specific demand for daisy chaining of network based protocols in active speaker systems, LED video walls and intelligent lighting fixture applications. The PRD520 is a CAT5E UTP cable (PCT50SF) terminated with gold plated male RJ45 connectors in an etherCON housing at both ends. The PCT50SF networking cable is specifically designed for the growing number of digital applications in the professional audiovisual industry. Unlike any other CAT5E cable available on the market, the PCT50SF features a Duraflex outer jacket, constructed using a double-extrusion technique with a polyurethane outer and PVC inner jacket. The polyurethane outer jacket offers an excellent resistance against mechanical wear such as pulling, bending, cracking and UV exposure.

Sommer Cable Tempoflex Sommer Cable has developed a rugged microphone cable, tailor-made for use on all stages of the world, perfect for the theatre, musical backdrops and big live events. Take a pair of conductors with thin 0.34 sq mm/AWG22 copper stranded wires, braid several aramid strain relief elements around them and jacket the whole thing with a special TPE SP molded sheath (7.3mm/0.287-inch) – and here it is, the microphone liana. This construction makes the cable sturdy. Using a tinned copper mesh with dual-sided coating, Sommer Cable braided the shielding at an angle optimised for movement so that it spools easily on a cable reel, making it just as suitable for the daily rigours of the road as it is for permanent installations. The Tempoflex withstands temperatures between -20° and +110°.

Tasker TSK1026, TSK1028 Tasker has introduced new cables specifically designed for high performances on long distances. The new active carbon screen technology means that Tasker were able to reach cabling distances up to 500-metres. TSK1026 has a diameter of 6mm and a nominal section of 0.25 sq mm, with carbon and copper spiral shielding. TSK1028 has a diameter of 6.30mm and a nominal section of 0.35 sq mm, with carbon and copper braid shielding. All the cables described above are customisable with different kind of sheaths: L.S.Z.H., for fixed public installation, PE or PUR for outdoor installations with or without metallic armour for underground installation, even in presence of rodents.

VDC Tour Grade Classic XKE Van Damme Tour Grade Classic XKE microphone cable combines flexibility, durability, noiseless operation and excellent handling characteristics. Now upgraded for with more advanced PVC jacketing materials. Van Damme microphone cables can be found in film and recording studios, high street music shops, professional touring applications and the education sector. The upgrade includes outer jacket ensuring the cable remains flexible in sub zero temperatures and tightly packed cotton fillers to ensure no static build up and even capacitance. Combination of silver plated and plain ultra pure oxygen free copper conductors for unsurpassed sound quality, this cable is also available in 10 different colours or application or length colour coding.






1. ADJ Compu Show

3. Atlona The Gain Series

Compu Show is an advanced DMX control software application for PC that is designed for programming and controlling large rigs of moving heads and other professional entertainment lighting fixtures from a PC. It is suitable for a wide range of applications including nightclubs and lounges, churches, concert tours, festivals and other big one-off events. The software offers a large library of over 10,000 fixture profiles, as well as a tool for easily creating custom profiles. It also features live Midi to control the software functions from a hardware desk such as the Elation Professional Midicon 2, a unique ‘pages’ concept where each fixture type has its own page, which is built automatically depending on it’s attributes and features. Quick access switches are included to call presets such as colour and gobo, while dynamic moving and colour-changing effects are generated automatically, allowing quick control of lighting fixtures without the need to program anything. ADJ’s Compu Show is available in three different versions, on a sliding pricing scale, which makes it accessible to users at different levels and with different budgets. Each version is supplied with a different interface, with the more advanced interfaces unlocking more powerful features within the Compu Show software.

The Gain 120 (AT-GAIN-120) and Gain 60 (AT-GAIN-60) offers outstanding versatility at an exceptional price/performance ratio for a variety of commercial and residential sound reinforcement applications. The Gain 120 can deliver two channels of 60W each at four or eight ohms, or a single 120W mono channel at 70V or 100V. The Gain 60 can provide two 30W channels at four or eight ohms, or one 60W channel at 24V, 70V or 100V. The inclusion of 24V support enables the Gain 60 to meet code requirements in particular municipal jurisdictions that have voltage limitations for high-impedance systems. Both Gain models feature an efficient Class-D amplifier design for low power consumption and are ENERGY STAR qualified. Convection cooled without the need for fans, the units are ideal for quiet environments and can be installed easily into confined spaces without requiring additional cooling or venting. The ultra-compact Gain 60 is also UL 2043 plenum-rated, allowing convenient yet concealed installation above drop ceilings in commercial locations. Both Gain models feature a rich array of features to enhance integration, operation and control. Ethernet connectivity enables remote TCP/IP control of volume level and other audio adjustments, plus IP-based management through Atlona’s Velocity audiovisual control platform.

2. Ayrton Ghibli LED Spot Compact, elegant and lightweight, Ghibli is factory-equipped with a framing system and delivers an impressive 23,000 lumen output from a 600W source, with an incredible 80% efficiency, which makes it powerful enough for large scale arenas. An optional high TM30/ CRI mode can be implemented for situations demanding even higher quality light output. The incredibly high quality of its output offers a crisp, clean and uniform beam with no hotspot, and fantastic centre-to-edge uniformity across its whole field and delivers a fat, even beam, meaning Ghibli is at home as much in theatre as on the touring circuit. Ghibli boasts high output, ultra-efficient optics and an 8:1 zoom from 7° to 56° putting it in a class of its own. Designed to offer lighting designers unlimited creative possibilities without any compromise, its wealth of features include CMY colour mixing, variable CTO, and a complete effect section including two gobo wheels, a prism, an animation wheel, two frosts, and a rotating framing system that allows a full wipe, all housed in a most compact, competitively-priced, package with a classy, sleek, industrial design. Ghibli is the smallest and lightest, yet, extremely powerful, fixture in its class compared with both LED and metal halide products, and gives the best performance to size and weight ratio of any available LED hard edge fixture.

4. AUDAC IMEO1 The IMEO1 features a slim, elegant design and includes all required functions for expansion of any audiovisual system with an impressive sound. It’s perfectly suited for installations such as classrooms, presentation rooms or meeting rooms where it can be used and installed in combination with screens, smartboards or projectors. The acoustics feature two 1.5-inch high frequency drivers and two 2.5-inch low frequency drivers for an overall 60W RMS rating. The IMEO is equipped with WaveSelect technology, a powerful internal digital signal processor that gives you the option to choose from a number of programmed presets. Like this you can always find a preset that best suits your needs. The included one-piece clever wall-mounting bracket offers mounting possibilities to any kind of surface or location. The unique design allows two-directional installation with possibilities for installation on top or bottom of a screen or projection surface while having optimal directional placement of the loudspeakers. The integrated guiding allows cable entry and fixation for a clean and neat installation.




6 8

5. AV Stumpfl PIXERA

7. Bose ControlSpace CSP-1248 and CSP-418

The 64-bit system for real-time media processing, compositing and management is built around the key theme of usability. Users can gradually discover the options and features while smoothly transitioning from being a beginner to a specialist. Actions in the 2D and 3D space follow the same mechanisms. The system was designed so that users can execute the most important basic actions in record time and with only a minimum of effort. A radical new interface logic enables even first time users to intuitively understand the main software mechanics. With PIXERA, AV Stumpfl combines one of the most powerful render engines in media server history with a groundbreaking new interface approach.

The new ControlSpace CSP-1248 and CSP-418 commercial sound processors offer rightsized I/O and simplified configuration for small-to-medium-scale projects. They are designed to serve as standalone DSPs in commercial applications such as retail stores and restaurants, or any public place where modest processing, high-quality sound and facilitated installation are desired. They include balanced analogue I/O, RCA inputs, eight GPIs, one GPO, a mute contact, RS-232 serial, Ethernet network (for configuration or wall control) and Bose AmpLink out, for simplified digital audio connectivity to supported power amplifiers. The new ControlSpace CSP models feature a quick-setup workflow using an integrated webserver with browser-based control software. Much like setting up a wireless router, installers use their PC (or Mac) and web browser to access the CSP configuration page. This real-time interface features live metering and is designed to augment the natural workflow of commercial projects with common tasks such as setting sources, paging thresholds, adjusting EQs and tuning limiters presented in an intuitive and logical manner. This approach reduces complexity by presenting common processing needs for repeatable commercial applications, minimising design errors and ultimately reducing installation time - without extensive DSP training.

6. Beyma 15LEX1600Nd This development has included an interesting mixing of artistic design approach with the most advanced engineering techniques to develop a key part of the loudspeaker, the frame, which features an optimised design from the mechanical point of view while showing an attractive shape that tries to ‘drive’ to the modernism art from Gaudi. The new subwoofer features long excursion capabilities, very high output and very low distortion and has been designed for performing better in vented cabinets and loaded horn designs. Is top competitive weight/ performance thanks to an optimised F.E.A. motor structure which features the exclusive Maltcross technology.

8. CHAUVET Professional Ovation FD-205WW Ovation FD-205WW is a powerful LED fresnel wash utilising data and power sensors that make it possible to run it on both conventional dimming power systems and constant power rigs. A massive zoom range of 20° to 72° and a beautifully soft, warm white wash with high CRI make it an ideal LED replacement for aging incandescent eight-inch Fresnels. The rotary knob on the back of the fixture easily accesses the company’s proprietary motorised zoom even when the fixture is run via a traditional dimming system. Enjoy the benefits of LED lighting without being held back by previous investments made in major dimming systems.






1. Christie 4K HS Series

3. EAW US Series

Featuring 4K UHD resolution and Christie BoldColor Technology for the most accurate colour reproduction possible, both models are equipped with Christie Twist warping and blending software and the omnidirectional capability to be installed in businesses, public spaces, hotels, higher education and selected entertainment venues. Christie BoldColor Technology uses blue and red laser diodes as well as a patented optical chamber, video processing, and specialised software to produce enhanced colour and saturation and more lifelike visuals when compared to typical laser projectors. Both HS Series models allow 4K60 video over a single HDMI or Display Port cable, simplifying setup and cable routing, and the integrated camera assists users in ensuring the projector is set up and aligned to a single screen and delivers auto zoom and focus of the imagery. Both models offer two new 4K specific lenses for six overall options to meet your application needs.

The UX Series ensures the best possible performance of an EAW sound reinforcement system, through seamless integration of EAW’s greybox technology and Resolution software in a fraction of the time required with other amplification systems. The amplifier series consists of two four-channel amplifiers - the UXA4406 and UXA4410 as well as the eight-channel UXA4810. These Class-D amplifiers offer a unique combination of power and audio performance integrated with precise 48kHz digital signal processing. The four channel models deliver up to 2,500W, while the UXA4810 delivers 1,250W per channel. Incredibly versatile, each amplifier channel can be configured to deliver its maximum power into two, four or eight ohms, nominal loads as well as 25V, 70V and 100V constant Voltage (CV) lines. This offers designers and integrators unparalleled flexibility and cost effectiveness. The final component of the UX Series is the UX48 processor, a high performance and easyto-use signal processor that offers processing for four inputs and eight outputs. It takes advantage of the latest analogue to digital conversion and DSP technologies to deliver impeccable audio. The full front panel user interface offers simple and intuitive operation.

2. DiGiCo DMI-AMM Insertable on any input channel, be it local or rack I/O, the DMI-AMM is designed to assist engineers with multiple spoken voices. It is seamlessly incorporated into the console’s user interface, allowing a continuous workflow that does not hinder the operation of the console. The DMI-AMM system works by automatically managing several live microphones in unpredictable dialogue situations. When one person speaks, that microphone’s gain level fades up instantly, while the other microphone gains are reduced. When the speaker pauses, all microphone levels will adjust to medium gain to collectively match the level of one microphone at full gain. The resulting effect will be as if all loudspeakers are sharing one microphone. In an S-Series console, the DMI AMM offers 48-channels of processing, which can be used in any console input channel. There are two independent AMMs implemented by the DMIAMM, known as AMM-A and AMM-B, with channels assigned to either A or B or neither. This means that two separate events can run simultaneously on the same console without one interfering with the other.

4. Elation Artiste Picasso Elation’s theatrical-grade Artiste Picasso is one of the brightest (22,000 lumens) and most feature-rich profile LED lighting fixtures on the market. Feature-packed with zoom, framing, CMY, CTO, gobo wheels, animation, prisms, frost and more. The product boasts a new 620W cool white LED engine (6,800K) combined with an advanced optical system to produce a powerful, crisp output of over 23,000 total lumens. And at a fraction of the power draw of similar discharge source luminaires. Exceptionally quiet for use in noise-sensitive applications, Elation has packed a full list of features in a discreetly compact design, making the Artiste Picasso ideal for stage environments of all types. With tight LED binning for greater consistency in projection, the Artiste Picasso produced the extremely uniform, flat field of light that designers prefer while staying whisper quiet, even at full output.

Celebrating 50 Years of Intercom Innovation



More Connections over IP Networks FreeSpeak II-IPT 5. HARMAN Professional Solutions Studer Vista 5 Black Edition Built upon the tradition of the massively successful Studer Vista 5 M3 mixing console, the new Vista 5 Black Edition brings even more advanced capabilities to the platform with the addition of the industry-leading Studer Infinity Core processor. The Studer Vista 5 Black Edition is available in 22, 32 and 44 fader sizes, and supports an optional TFT metre bridge. The console’s features include, Studer’s unique vistronics interface and faderGlow technology, as well as the Infinity Core’s advanced capabilities such as dynamic EQ plug-ins and full core redundancy with up to 1,000 MEQs (mono equivalent channels). The Vista 5 Black Edition supports any of Studer’s range of Infinity Core products, including the Infinity Core 300, 600 and 1000, as well as the new Studer Infinity Core Commercial off the Shelf (COTS) solution. This IT-friendly solution allows customers to run Studer’s real-time audio processing on their own server hardware just by adding a standard PCIe Infinity CoreLink card.

6. Just Add Power 725POE The new J+P 725POE 2GΩ/3G+ SDI PoE transmitter provides SD-/HD-/3G-SDI format support to Just Add Power’s 3G HD over IP system. Eliminating the need for an SDI-HDMI converter in the IP video distribution chain, integrators have the flexibility to add an SDI source to their 4K infrastructure. Features include stereo output with audio delay, local HDMI loop-out, nullmodem-integrated RS-232, and HDMI pass-through. As with all models in the J+P lineup, it integrates seamlessly with any generation of the company’s products. This allows integrators to select the J+P solution that best fits the job, providing an evolutionary, scalable, systemsapproach to 4K video signal distribution requirements.

Connecting to Clear-Com's new high-density E-IPA card, the new FreeSpeak II AES67 IP Transceiver (IPT), has twice the wireless capacity and an expansive reach through IT networks. With improved audio experience and new beltpack features direct from users, FreeSpeak II is still the leading choice for wireless communication worldwide. Join Us.






1. Kramer BRAINware

3. Luxul Epic 5

Kramer BRAINware is a software-only master controller processor that simplifies control installations. By containing all of the control logic, design, and attributes of the Kramer Control platform, Kramer BRAINware transforms a Kramer KT-107 touch panel to a fully functional Kramer Control processor brain, without requiring additional physical processor hardware. Kramer BRAINware harnesses the capabilities of Kramer Control, its cloud-based control system that lets IT and audiovisual managers easily control, monitor and support audiovisual installations, infrastructures, and any third party devices. Using the first-ever cloud-based builder, Kramer has replaced old-fashioned custom-code setup with an intuitive, dragand-drop interface. With the help of a comprehensive library of smart drivers, users can easily install, configure, and modify their control system without any prior programming knowledge. Kramer BRAINware enables acting on real-time data-driven analytics, alerts and reports via the Kramer Control Dashboard.

With the Epic 5’s onboard Domotz technology, integrators receive alerts when network issues arise - allowing them to take immediate action - and share device information with Luxul’s support team for swift and easy troubleshooting. The router also eliminates the need to purchase a separate Luxul Domotz Pro for remote management. This lowers network costs and speeds setup, improving the bottom line for integrators while providing a better experience for their clients. Sporting a clean and modern look, the Epic 5 features green or blue front-facing LEDs, while its rear-facing ports include two dedicated WAN and five dedicated LAN ports. The router features dual-WAN capability, allowing the LAN to be connected to two internet connections with load balancing and failover control. The router delivers gigabit WAN-to-LAN speeds for ultra-fast streaming and bandwidth-intensive applications while also enabling integrators to lower operational costs and improve the customer experience.

4. Magewell Ultra Stream HDMI Encoder

2. LEWITT Conference Series The LEWITT Conference Series provides pleasantly clear and intelligible voice reproduction for podiums, houses of worship and conference rooms of any size. All components can be exchanged effortlessly and adapted to the users preferences without compromises.  Featuring state-of-the-art decoupling, all structure-borne and handling noise is reduced to a minimum for professional ease-of-use.   The LEWITT conference system consists of three distinguished components - capsule, gooseneck, base - and can be tailored according to your specific application and room. Providing users with unsurpassed speech intelligibility, it is built from sturdy, reliable materials. Single and double-goosenecks are available in different lengths and guarantee quick and accurate positioning.  The LEWITT conference condenser capsules S6 and S10 provide natural, transparent, and most intelligible voice reproduction with highly efficient off-axis rejection and high gain before feedback. Both feature shotgun pattern and are compatible with all available LEWITT goosenecks.

Magewell’s Ultra Stream HDMI encoder makes live streaming remarkably simple even for non-professional users, enabling them to record or stream high-quality video with one click, using on-device buttons or an intuitive smartphone app. Designed for users who want to stream but may have minimal technical knowledge, the encoder is ideal for everyone from church volunteers and educators to corporate communicators and live event organisers. Ultra Stream HDMI users can stream to popular services including YouTube, Facebook Live or Twitch or to a custom-specified server. Streams can be output to a thirdparty service and custom server simultaneously, while real-time video preview in the app allows easy monitoring. In addition to outputting live streams, Ultra Stream HDMI can record video as files to a directly connected USB drive, embedded storage or the associated smartphone. The device encodes video up to 1080p60 from an HDMI input and also supports 4K sources, down-converting them automatically to HD.



25’000 lm CRI > 90 silent

watch video


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1. Martin Audio TH Series

3. PR Lighting Polaris

Martin Audio has announced the TH Series, comprising two very high performances, allhorn, three-way systems in both a horizontally and vertically formatted package. They are designed to complement the styling of its best-selling CDD and BlacklineX Series and are ideal for nightclub and large scale installs. THH is configured in a horizontal format while THV is its vertical counterpart and the driver complement in both systems has been engineered for exemplary performance in all bands. The hybrid low frequency section comprises a horn-loaded 15-inch / four-inch voice coil driver that is reflex-loaded to extend the low frequency output to below the natural horn cut-off point. The low frequency driver features a water-resistant cone and triple roll surround for increased excursion. The mid-horn has a unique ‘phase-ball’ loading device that maintains the constant directivity characteristics of the horn at the upper end of its range. It is driven by a 10-inch midrange driver with an aluminium demodulating ring for improved high-mid clarity and reduced distortion when driven hard. The 70˚ x 40˚ high frequency section features a neodymium one-inch exit compression driver with a Kapton diaphragm for high sensitivity and extended HF performance. The internal mid/ high passive crossover allows these three-way systems to be driven in a bi-amp configuration with the Martin Audio iK42 being the recommended amplifier partner, with the DX range of controllers also compatible.

Polaris has seven 15W RGBW four-in-one SMT LED lamps, with a colour temperature of 32,00K-10,000K. Each pixel is independently controllable. Other features entail: electronic strobe with preset strobe pulse effect, dimmer (0-100% linearly adjustable). Effects include: rainbow, wash, beam spot modes with many macros and unlimited mixed colours, light angle 4°-40°, bi-directional and continuous rotation of front lens module. The product additionally holds 14-channel control (standard mode), 39 channels (extended mode), DMX wireless control function and over temperature protection.

2. Outline Newton

4. Protapes UGlu 600 UGlu 600 Dashes Sheets features 20ml rubber based mounting adhesive squares one/ two-inch by five/eight-inch on sheets. Common applications include: mounting, bonding, securing, temporary holding and carpet installation. This product adheres well to all woods and metals. Product include: clean removal, highly conformable, good adhesion, permanent bond, low temperature application, quick stick, good solvent resistance, pH neutral, acid and VOC free. UGlu 600 Dashes is a totally ‘green’ product. Perfect for use at school, setting up an event such as on stage, a tradeshow/exhibit, party decorations or theatre.

Outline announced the availability of a major firmware upgrade for their Newton DSP hub. It is accompanied by a complementary release (v1.6) for its ‘Dashboard’ computer / remote control program. The new v0.76 upgrade is very comprehensive and its main features include the inclusion of two layers of IIR filters on every input channel, plus a further two layers of filtering on every output (in addition to the existing four), one IIR and the other a dedicated all-pass, both with phase trace visible via Dashboard. Output channels may now be grouped to facilitate control over multiple outputs simultaneously while it is now also possible to create temporary links within input and output channels. A new copy and paste function allows complete sets of parameters to be copied directly from one Newton unit to another, while a further feature allows all processing parameters from a single unit to be set back to flat if required.







290mm 400mm








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
















257mm 290mm


















































1. Professional Wireless 4 x 4 Quad Antenna Distro

3. ROE Visual Sapphire

The 4 x 4 Quad Antenna Distro is designed to provide distribution for the Shure Axient Digital Quadversity wireless microphone system. The unit handles up to four receivers and features 470-616MHz filtering, bias power control/status LEDs for each input, rotary attenuators, and dual power inputs that allow for redundant power. Housed in a rugged 1RU all-metal chassis with reinforced rack ears, the PWS 4 x 4 Quad Distro is designed and assembled by hand in Orlando, Florida.

Sapphire is a high-resolution platform that will accommodate multiple resolution types within the same hardware frames. Using separate frames and panels offers effective use of production time and costeffective panel hire. Users can build the frames first and add the panels in a later stage, thereby also protecting the valuable electronics during set-up of the hardware. 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. 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.

2. Renewed Vision ProVideoPlayer 3.1 Upgrade ProVideoPlayer 3.1 adds support for the industry-standard DMX512-A lighting control protocol, enabling the versatile media server to be controlled from popular lighting consoles and other DMX-compatible triggering devices. The new DMX support lets operators control PVP 3.1 at the overall workspace level or granularly for individual layers, and encompasses functions such as selecting and triggering pre-defined cues and playlists, specifying blend modes for particular layers, activating effects sets and more. Providing programmers and designers of visual experiences with even more flexibility, Renewed Vision has also developed and implemented its own advanced control protocol in PVP version 3.1. PVPâ&#x20AC;&#x2122;s integrated HTTP control server lets users send command-line instructions or HTTP requests to control or read information from the software. Data can be retrieved about a particular layer such as its name, whether it is hidden or muted and other properties, while control commands can perform a wide range of functions from triggering specific cues and changing playlists to setting effects on individual or all layers.

4. Roland XS-62S The Roland XS-62S is an integrated six-channel, rackmountable video switcher and audio mixer with a space-saving design that is optimised for live production or fixed installations, recording, broadcast and streaming productions. This latest addition to a comprehensive line up of video production solutions from Roland delivers a powerful feature set including PTZ camera control capabilities in a compact 1RU form factor and can be operated by a single user from easy-to-use front panel controls, or remotely from a Mac or PC or programmable interface. The Roland XS-62S supports seamless six-channel switching between four SDI inputs, featuring de-interlacer along with scaled HDMI and RGB inputs from computer, tablet and other video sources, plus two still images stored in internal memory. Two SDI and two HDMI outputs may be assigned to program (PGM), preview (PVW) or auxiliary (AUX) buses. The multi-view output displays all six video input sources, two still images and PGM and PVW outputs with audio meters. Three video switching modes are available, enabling the XS-62S to handle a wide range of applications, including presentations, performances and special events, corporate audiovisual conferences and distance learning.


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)


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1. Steinigke Eurolite LED Easy Operators

3. WORK PRO SoundNut SN8

Compact DMX controllers with which users can control a few spotlights or small lighting systems very easily - these are the new LED Easy Operators from Eurolite. Depending on the model, the handy controllers are ideally suited for controlling up to four individual headlights or light sets such as the KLS from Eurolite. Three different models of the series are currently available: the Easy Operator four x four controls headlights with RGB and RGBW equipment; the Easy Operator four x six; and the Easy Operator Deluxe support up to six individual colours. The latter also offers preinstalled running lights and is particularly suitable for light sets such as the KLS from Eurolite. With the compact controllers, you can individually adjust the colour mixing for each connected spot. Pre-installed colour mixtures or running lights can also be called up conveniently. Their speed can be adjusted manually or run in music mode. A simple fader or knob controls the speed of the strobe effect.

Like all forthcoming members of the SoundNut range, the SN8 is a high-resistance, highpowered installation loudspeaker, 400W, and designed to faithfully reproduce audio with a flat frequency response from 98 to 19kHz and uniform acoustic coverage across a wide, 90° area. The loudspeaker itself features an innovative, frameless and screwless magnetic grille that can be detached in seconds for easy access to the drivers. The housing can also be custom-coloured to blend into its install environment as required, with a choice of colours available for its top section. Weighing just 8kg, 290mm in diameter and standing 365mm tall, the SN8 is a discreet, low-profile choice with the power and durability needed to deliver audio with maximum clarity and intelligibility in any install environment.

2. VUE Audiotechnik hm-115 VUE Audiotechnik has introduced the hm-115 into its hm-Class of high definition stage monitoring systems. Slotting perfectly between the hm-112 and hm-212 in both output and physical size, the new hm-115 is ideal for discerning professions, which prefer a more compact design, but desire additional low-frequency extension. As the latest evolution in a family of world-renowned stage monitors from VUE’s Design Chief, Michael Adams, VUE’s hm-Class formula has been perfected over the course of many decades. The new hm-115 updates this legendary formula by taking full advantage of VUE’s most advanced technologies and the same ‘no compromises’ design philosophy behind the company’s flagship h-Class systems. From its precise beryllium-infused HF transducers to the companion rack-mount V4 VUEDrive Systems Engine with next-generation DSP capabilities, the hm-115 is a fully integrated, electro-acoustic monitoring system that delivers unparalleled output and fidelity for the most demanding fold-back applications.

4. X-LASER Mobile Beat Mercury, Skywriter HPX M-2 and Aurora Mojito The Mobile Beat Mercury (500mW) and Skywriter HPX M-2 (2000mW) are the two newest Mercury-enabled fixtures. They combine full-RGB colour and 30K scanners with the full Mercury laser control feature suite that includes 400+ pre-installed gobos, 11 digital prisms with variable spacing, fully customisable gradient effects, a 0.08º to 45º zoom range, and DMX512, RDM, and Art-Net control. As with all Mercury-equipped fixtures, they are plug-and-play compatible with major lighting consoles including Avolites, grandMA, Hog, ChamSys, Elation, Martin, Jands Vista, ETC and more.

Power to perform XY-3b Make an impression with the XY-3B, designed to deliver a coherent & natural sound for large venues and outdoor events.



26/06/2018 15:40


“We hope to inspire and entertain people around the world.”

KEI AIKAWA Managing Director, Pioneer DJ Europe Tell us how you first got into the audio industry? I joined Pioneer Corporation, Japan in 1998 and, since then, I’ve always been involved in the business development of professional markets overseas, such as DJ, audio and visual. We entered the professional audio industry in 2013 with our GSWAVE AND XY Series while I was working at Pioneer Europe.

You’ve recently been made MD of Pioneer DJ Europe, which includes Pioneer Pro Audio, what position did you have before and how did the promotion come about? When our DJ/Pro Audio division was carved out from Pioneer Corporation in March of 2015, we established a new company in Europe - Pioneer DJ Europe - a fully dedicated DJ / professional audio company for EMEA. At that point I was appointed as director with my colleague Mark Drury appointed as Managing Director. At the end of April 2018, after many years of working at Pioneer Europe and Pioneer DJ Europe, Mark decided to retire and I was appointed to replace him and take on this new challenge.

What does your new day-to-day role involve? To be honest, every day is different and covers a wide range of tasks. From discussing planning strategy on conference calls with colleagues in the US and Yokohama to meeting suppliers, it’s a demanding schedule and it certainly keeps me busy!

Pioneer Pro Audio was launched in 2013, a collaboration between Pioneer and Gary Stewart Audio, how has the brand developed over five years? Yes, indeed, we formed a collaboration with Gary Stewart and this helped a great deal in the early days. As the brand evolved with positive feedback

from our XY Series range, we knew we had a great product on our hands, so we shifted the focus to increase the number of products within this range, offering our partners a wide choice to fit many application types. Just having a great product range doesn’t mean the brand will be successful of course, so the next focus for us was to ensure we offer full support to our partners. This involved our technical team designing acoustic models and system specification. In turn, this helped ease the minds of our installers who had little knowledge of the XY product and how it would perform in the early stages. The concept we all agreed on from day one was to hand-select the best audio partners those who were willing to grow with the brand. We wanted partners that can provide good service to venue owners and set up the system correctly. As an evolving brand, our aim is to have a great product and partners who believe and have the same focus.

The brand is renowned in the club world, but is it looking to be prominent in other markets too, if so, which ones and how do you plan to infiltrate the market? We hope to inspire and entertain people around the world and extend the immersive experience of Pioneer Pro Audio sound beyond the club scene to every walk of audio life. From music festivals to hospitality, education and houses of worship, Pioneer Pro Audio has a solution and we are making strong progress as more and more customers learn about the qualities of what we have to offer.

Geographically, which are the most important territories for Pioneer Pro Audio? As a brand that’s growing, we obviously try to identify key areas to target. Ideally, however, we would like to have a presence in every territory across the globe. For now, our team is responsible for and focusing on the EMEA market and trying to ensure we get it right here. At the moment, the

majority of the business has been achieved within Europe so I think it’s safe to say we are slowly getting there.

Which project is the most iconic for the brand? All our projects make an impact on the growth of the business so it’s impossible to isolate just one. From a small club in Italy to a bar in Amsterdam and renowned clubs and festivals in the US and, across Europe, the Pioneer Pro Audio brand is delivering excellence across a wide variety of settings.

Tell us something we don’t know - that might be surprising - about Pioneer Pro Audio? It might not be widely known that the foundations of the Pioneer Pro Audio range we see today can be traced as far back as the mid 1970s, with the development of Technical Audio Devices. This was a professional speaker brand developed by The Pioneer Corporation as a project to produce high-end speakers with an eye on future audio developments, that ultimately found its way into places like Air Studios in London and George Lucas’s post-production facilities. It is this rich heritage of professional audio that remains in the DNA of every Pioneer Pro Audio product.

What is your desert island disc? The Beatles - The White Album.

If you weren’t in the professional audio industry, what would you be doing? As clichéd as it may sound, I began working here some time ago, it was the first company that gave me the opportunity after I finished university and I definitely feel a sense of loyalty to the brand for helping me find my feet in the early stages of my career. With Pioneer DJ, I’ve had the chance to live in LA and London and meet people from all walks of life, so I can’t imagine what else I’d be doing!



For decades, legendary vocalists used the AKG C535 to bring their voices to the world. Now, we’ve redesigned that classic mic to bring you the AKG C636—the all-new master reference condenser microphone for live vocals. A consistent cardioid polar pattern eliminates troublesome feedback. A triplelayer noise-rejection system lets you sing without vocal pops. And robust doubleshock suspension lets you carry the mic with zero handling noise. So join the ranks of legends. Sing into the C636 and experience your own legendary vocal performances. FIND OUT MORE AT WWW.AKG.COM CONTACT US: EUROPEAN.MARKETING@HARMAN.COM

© 2018 HARMAN International Industries, Incorporated. All rights reserved. AKG is a trademark of AKG Acoustics GmbH, registered in the United States and/or other countries. Features, specifications and appearance are subject to change without notice.


Next Generation

CODA Next Generation Advert - MONDO.indd 1

05/07/2018 09:49

mondo*dr 28.5  

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

mondo*dr 28.5  

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