mondo*dr 28.6

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BERNHARD & TOBIAS WUESTNER The brothers tell all about the history and growth of TW AUDiO.


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An ultra-low distortion 6" midrange driver It’s been a quiet summer in terms of travel for the mondo*dr team, but we’ve been busy in the office with the launch of new sister title, MONDO | STADIA. It began 12 months ago as a supplement and is now a publication in its own right. We’ve received great feedback so far, but if you’ve yet to see a copy, drop me a line and I’ll pop one in the post. We’re also gearing up to launch the mondo*dr Awards 2019. The new website will be live very soon - all ready for your entries. We’ve added a couple of new categories - Best Stadium and Best Arena - taking our total number of categories


up to eight. The Awards evening will take place during Prolight+Sound again in Frankfurt. If you didn’t make it this year, check out of video highlights of the event online. Travel plans don’t stop for too long, though, with the four of us split four ways this September with a clash of shows in Mumbai, Dubai, Shanghai, London and Amsterdam. Follow our movements on social media or keep an eye out for us if you’re visiting the shows, too. RACHAEL ROGERSON-THORLEY EDITOR


ON THE COVER Sky Kingdom Photo courtesy of Sky Kingdom at Seoul Dragon City EDITOR Rachael Rogerson-Thorley ASSISTANT EDITOR Sam Hughes SENIOR ACCOUNT MANAGER Jamie Dixon ACCOUNT MANAGER Laura Iles

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ANNUAL SUBSCRIPTION RATES (7 ISSUES) UK: £30.00 / Europe: £50.00 / Rest Of World: £65.00 Two year rates are available on request. Subscribe online at or call +44 (0)161 476 5580 ISSN: 1476 4067 Mondo DR (ISSN 1476 4067) is published in January, March, May, July, September, November and December by Mondiale Publishing Ltd, Strawberry Studios, Watson Square, Stockport, SK1 3AZ, UK Subscription records are maintained at Mondiale Publishing Ltd, Strawberry Studios, Watson Square, Stockport, SK1 3AZ, UK

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22 INTERVIEW Bernhard & Tobias Wuestner - TW AUDiO 34 REPORT Trussing & Rigging

BERNHARD & TOBIAS WUESTNER The brothers tell all, from growing up to starting the company, and where its sits in today’s market.


66 MR FOGG’S ESTATE The Around the World in 80 Days-inspired venue expands its portfolio with three new unique bars.



122 NABA THEATRE Phnom Penh

THE GREAT HALL InDesign and TAG mastermind a substantial upgrade at the university in New South Wales.


144 ANNIVERSARY: PVS The familyrun business celebrates 35 years.

146 IN DETAIL Prolight Concepts, Link, MADRIX 152 PRODUCT GUIDE Lasers & Special Effects 164 PRODUCT DIRECTORY 168 LAST PAGE INTERVIEW Davey Smalley, Ben Ver, Paul William - Linea Research



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ENGAGING WITH TECH-SAVVY FANS WITH VIDEO Colin Farquhar, CEO at Exterity discusses the development of fan engagement in sporting and entertainment venues and how video technology is making an integral offering. Stadiums and venues of all sizes know that financial success stems from more than just what happens on the pitch. Increasingly, fan engagement within the facility - from merchandising through to the bar and coverage of the team before the game - is just as important in ensuring a positive overall experience and return on investment. To help stadiums and venues deliver the kind of experience that visitors expect today, they need video technology that can be easily integrated into existing facilities and run smoothly. A perfect example of a venue that recognised the potential of video solutions to provide a wealth of branding, advertising and operational benefits is ParisLongchamp. This iconic horse racing stadium decided to deploy an IP video and digital signage system that delivers around 60 channels of live broadcast TV, Video on Demand and internallyproduced video to 500 screens across the 55,000 sq metres of public enclosures. This enables up to 60,000 people to access high-resolution horse racing and sports content via 18 internal channels, including daily on-site programmes, live feeds of the jockeys being weighed and of the horses in the stables, repeats of races and other related feeds. These, along with eight digital signage channels, help new race goers to learn more about the sport, understand the rules of betting and feel part of the experience that is often hidden away from spectators in the stands. Communicating with tech-savvy guests Video has become an integral part of the instadium experience, right from arrival at the venue entrance, where screens are often used to promote

branding, engage with arriving fans and add to the overall atmosphere and buzz. In central atriums, displays can be used to provide information about seating, restrooms, and other facilities for the guests. These signs are dynamically managed to cater for unique events or special offers as well as for contingencies such as seating section changes or restroom facility closures. IP video and digital signage technologies have been used effectively within stadiums for several years. As a result of this, the quality and size of displays has changed considerably, and the ability to update content quickly is now a prerequisite. Live video streams and digital signage guarantees that the displays fans see in venues and stadiums are visually engaging, and wherever they are in the stadium they never miss any of the action. However, TV screens in stadiums do more than advertise information; they can also be used to help promote the sale of food, beverages and merchandise to increase spend per visitor during their visit. While most visitors buy tickets for the stands, stadiums and venues also need to cater to corporate visitors who are more likely to use the VIP areas with high-value seating. Managing this additional revenue stream well is critical for many venues and stadiums, with the biggest challenge being the overall quality of visitor experience. This includes meeting their expectations of access to high-quality audio and video media. Offering additional features such as special offers and merchandise, or the ability to place food and beverage orders via TV screens also creates a unique experience that can lead to brands returning to the venue regularly.

While what is on the screens is important, it is the functionality of these screens which remains vital to ensure success. For example, the need to streamline communications to the thousands of visitors at each match is a vital system requirement for a venue such as Lord’s Cricket Ground, which has a large number of screens throughout its new Warner Stand. IP video and digital signage are deployed in the bar, lobby and the catering areas to display drink menus, prices, sponsor adverts and to promote Lord’s Shop and cricket store merchandise on match days. The system is also used on non-match days to create personalised, branded signage screens for meetings and conferences. For larger venues such as The Open annual golf championship, IP video also needs to distribute in-house TV productions to VIP areas along with corporate hospitality content in a seamless and flexible fashion. These requirements are now becoming more common for smaller venues who want to offer a truly unique experience to visitors. The evolution of stadiums and venues into a techsavvy environment is still ongoing, and we expect fan engagement will become even more inclusive in the near future. Moving forward, the rise of IP will help stadiums deliver more value while simultaneously reducing operational complexity, resulting in new revenue-building avenues and increased engagement with fans wherever they are in the venue.

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


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FTX FTX coaxial loudspeakers feature fully combined low and high frequency components powered by a Common Magnet Motor Assembly, where the same ferrite magnet is used to drive both elements. Optimised using Finite Element Analysis (FEA) modelling techniques, the magnet assembly distributes magnetic flux to both LF and HF voice coil gaps in the most efficient way possible, extracting optimum performance across the entire bandwidth. This design brings the voice coils (and acoustic centres) of the components closer together than a conventional coaxial, improving signal coherence and time alignment for more natural sounding audio. The use of a single magnet assembly also means lighter weight and a more compact profile for applications where size is a key factor. FTX coaxial drivers are available as off-the-shelf products in a range of chassis sizes, from 6.5-inch to 15-inch diameter. As with all Celestion’s standard products, they can also be adapted and customised by to meet a system builder’s project-specific requirements.

CELESTION From its headquarters in Ipswich, UK, Celestion supplies transducers to a large number of professional audio manufacturers, from a broad product range that includes low frequency woofers, high frequency compression drivers and full-range coaxial loudspeakers. In recent years the company has become the largest supplier of branded coaxial PA loudspeakers in the world, shipping more than 1,000 compression drivers every day.

CDX14-3040 Celestion has long made use of FEA techniques to advance mechanical, acoustical and electromagnetic performance of new products beyond that of existing designs, even those which are recognised as industry standards. The CDX14-3040 compression driver is a perfect example. It stands on the shoulders of industry giants; based on a traditional design approach to deliver a high quality HF response with a familiar sonic character. The device offers several performance advantages over its predecessors, however, including lower overall distortion as well as reduced size and weight, thanks to the lightweight neodymium magnet assembly. This 1.4-inch exit, three-inch voice coil HF device features a stiff and light edgewound coil copper clad aluminium voice coil, offering 75Wrms (AES standard) power handling with a sensitivity of 106.5dB. A modest 1.4kg/3.1lb weight and a diameter of 135mm / 5.3-inch is a distinct advantage where the close packing of multiple devices is required.

CF The company recently added two new products to its flagship CF range of castaluminium chassis, ferrite magnet loudspeakers that are well-suited to demanding tour sound and larger fixed install applications. The 500Wrms, 12-inch CF1230F has a nominal sensitivity of 98dB. With a three-inch, copper-clad aluminium voice coil it is particularly suited to bass applications in two and three–way systems. The 1,200Wrms, CF1540HD has a 97dB sensitivity, and a four-inch voice coil, wound on both sides of the former for better heat dissipation preventing sensitivity loss through thermal compression. Purpose-built for subwoofer applications, where a longer throw (greater Xmax) is demanded, the CF1540HD features a phase-matched double suspension system for a more balanced and symmetrical performance throughout the entire excursion of the cone for significant reduction in distortion. Both drivers incorporate demodulation rings, employed to reduce harmonic and intermodulation distortion. Additionally, each one features Celestion’s Balanced Airflow Venting technology, rapidly taking heat away from the magnet assembly, cooling the motor system to counteract thermal compression more effectively.







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The Wuestner family are very alike, with both parents and five out of six siblings sharing a musical streak. Though it wasn’t intended or planned, the creation of TW AUDiO by brother, Tobias Wuestner, made his sibling Bernhard - who had always been more interested in sports - turn to the family passion, when he asked for help to grow the company. The pair pooled their strengths and have never looked back since. mondo*dr caught up with the brothers to find out how it all began.



TW AUDiO’s success over the last 14 years is rooted in passion, innovation and hard work. The company was founded in 2004 by Tobias Wüstner - hence, the TW - who linked up with his brother Bernhard four years later. The loudspeaker manufacturer now has representation in more than 50 countries - across six continents - through its distributor network and its own subsidiaries in the USA, UK, India, Malaysia and Dubai. For Tobias, it all started with his own ‘audio moment’ when he was a teenager. He recalled: “I had my first experience of live concert sound at 15, when my older brothers’ band played an open-air concert through a Turbosound PA - a TMS4 system. It was the first time that I’d felt a kick drum inside my body - not just heard it, but really felt its impact. It was totally different to anything I had experienced before with hi-fi speakers and, for me, it was a pivotal moment. “It was like I had been infected with a virus, the audio virus, and I never got over it. There’s a unique power in well mixed sound through a high-quality PA, it has the ability to move you emotionally and physically. The experience left me fascinated and, from then on, I began experimenting with PA loudspeakers and learning about the science behind the

magic. I wanted to recreate that feeling and move people in the same way. I also started sitting behind the mixing desk when my older brothers’ bands played, even though at that time I had no idea what to do!” His interest developed, both as a drummer and through helping out with a local PA rental company. “After a few years, I realised where I was most comfortable, and so I decided that rather than being on the stage, I wanted to be behind the mixing desk, helping good musicians to sound great.” Tobias founded his first sound company in 1991, marking the start of a decade-spanning career as a professional in the business. While Tobias was immersing himself in live music and sound systems, Bernhard was following his interest in sports. “I never intended to work in audio,” said Bernhard. “I come from a completely different industry. We’re a big family with five brothers and one sister and everyone is a musician… except for me! My father played the organ at the local church where my mother sang, my two older brothers are rock guitarists, my third oldest brother played saxophone and my sister played flute and piano. There was always music in our home and every Christmas we had a big family concert.

• Above Tobias and Bernhard in the warehouse at TW AUDiO HQ in Ludwigsburg.

But I was the only one out of six kids who wasn’t really into music or audio, I was passionate about sports. “When the time came for me to leave home, I followed my own path. I went to study in Heidelberg and earned a PhD in economics, becoming a scholar at Stanford University, then joining KPMG and eventually becoming Chief Financial Officer for a number of large US corporations. It was a very different world. Then, in 2008, Tobias called me to ask if I could help him turn his sole trader business into a limited company. I was happy to help my brother; I thought it would take perhaps a few weeks at most. I didn’t know it at the time, but that phone call changed everything. “Before Tobias called me, it had never occurred to me that I would become part of this industry. In fact, for the first four years of TW AUDiO, when Tobias was building the foundations of the company, I had no clue what he was doing! I lived in Berlin, I was busy in another industry and I was hardly ever back in Ludwigsburg, where my parents live and where Tobias lives. I knew he was doing something with loudspeakers, but really that was all. Then, after he called me and I became involved, we discovered that it’s our differences that make us such good


partners. Tobias is an artist, a free spirit. I’m the guy who brings structure. It’s a very complementary relationship.” By the time the brothers decided to join forces, Tobias had spent almost 20 years feeding his interest in audio and growing his expertise in the field. He explained: “Since I first fell in love with sound, I was compelled to build PA boxes and to experiment with different technologies and ideas. In 1991, I became a freelance sound engineer, with some FX outboard equipment and boxes that I had made myself - forerunners of today’s TW AUDiO enclosures. It was a simple set-up but I achieved a lot with it. I worked with a number of regional rental companies and worked with bands to mix hundreds of shows from front of house and monitors. “The work was very varied and I learned so much. For one rental company, I was responsible for setting up and tuning a big American cluster-style PA, so I bought my first DOS-based two-channel FFT measurement system and learned how to use it and what to do with the resulting measurements. It was around the same time that the first digital loudspeaker management processors were being launched, such as the Yamaha D2040, BSS Omnidrive and TOA

DP-0204, so I began creating my own loudspeaker presets for those units, based on my measurements. In turn, that led to my deeper understanding of phase and time alignment, distortions, filter theory and signal processing besides simple frequency response. The more I worked, the more I learned.” He continued: “Around 1995, I started developing speakers - full-range models and subwoofers - for a specific rental company under their own brand name. They had a lot of success in the German domestic market - selling loudspeakers as well as hiring them out. By 2003, I wanted a fresh challenge and so I went back on the road as a sound engineer - I didn’t want anything more to do with designing loudspeakers. It lasted for less than a year before I was back at the drawing board!” Tobias had identified a gap in the market and his compulsion to invent couldn’t be supressed. He recalled: “While I was on the road, I worked with a lot of covers bands who needed high quality, powerful sound in a compact, easy to transport enclosure. The ideal solution didn’t seem to exist and so I thought that perhaps I should build it myself. I had the idea to develop an ultracompact but very powerful two x 12-inch horn-loaded top cabinet, and that was the birth of the T24

concept.” Tobias continued: “The T24 was the breakthrough and the door opener - it was unique, especially in the early days. There was no other box available in the industry with this kind of power in this size, no one else had anything similar. So that was the driver of success in the first years and the launchpad from which I started the company.” Tobias also developed a low-end companion for the T24: “I envisioned a two x 15-inch box with similarly compact dimensions. It became known as the B30. Both boxes, the T24 and the B30 were developed in my living room at home, and they were a true labour of love. I began to use them on shows where I was mixing, and I travelled across Germany to introduce them to rental companies and bands, all of whom were blown away by the performance and size. The potential was obvious, so, in the summer of 2004, I rented a small workshop, really a garage, and started to assemble enclosures.” Bernhard added: “All the passion and efforts Tobias put into T24 built the foundation for the success of TW AUDiO. We renewed the design five years ago and now it’s called the T24N, which stands for neodymium, so it’s lighter and more full range. Even now, when we do

• Above Tobias mixing in the early days for his brother’s band.


• Above Bernhard with the team for Pulse Middle East, TW AUDiO’s Middle East distributor, headed up by Joe Chidiac (left).

a demo or a shoot-out against bigger systems, people are always impressed by the T24N - it’s the same story everywhere, all over the world. The T24N is still our door opener for everything, especially when people realise how easy it to set the system up. In 10 minutes, you can be set up to do shows for 500 to 1,000 people, just like that.” Product development and new innovations continue to drive the company forward. TW AUDiO’s product development process is consistent and maintains extremely strict quality controls at every stage. The company pays close attention to its customers and colleagues around the world. As far as the brothers are concerned, they are just one part of the process and they view these stakeholders as their partners - by working as a global unit, they are able to create the best possible products. Bernhard explained: “We believe in working in partnership with our customers and the broader market. From the very beginning of TW AUDiO, a cornerstone of our success was listening to and taking careful note of our customers’ wishes. When we move into a new sector of the market, it’s because we believe there is a desire for us to be there.

“We are fortunate to work with some wonderful partners all over the world and we consider them to be an integral part of the TW AUDiO family. As a manufacturer you can’t have your ears and eyes all over the globe, so to have a reliable and trustworthy distributor network is key to achieving success. We work closely with all of our partners and we believe in building long-term trust. For example, we started working with our Chinese distributor, Ruisheng Lighting and Audio, in 2009, and we’ve grown together - they’ve gone from 20 people to approximately 100 people across four city branches. That’s how it is - you have to trust one another so you can both benefit.” TW AUDiO initially grew within the touring market, but quickly realised that a lot of its customers were using the touring products for fixed install projects and began to request products with features specific to their needs. The company’s approach to this is simple - by using the same, proven components and adapting the hardware it develops products that perfectly suit the application. Bernhard stated: “So, we have the same sound quality and reliability but with far more efficiency. The reactions from our customers have been very promising.” Tobias concedes that, regardless of the

product or application, he can never be fully satisfied - a trait that pushes him to go further: “As a developer and a perfectionist, I am never 100% satisfied, there is always more to do and more to achieve. I always say that there is no such thing as the perfect product, there can only be a perfect compromise. I’m also frequently told that I’m my own harshest critic. “Also, as technology continues to develop, so do the potential applications - every year we can achieve a little more, and with each evolution of our products, I feel satisfied for at least a little while… That’s how it was with our first developed line arrays - VERA10 and VERA36 - and also with the new VERA20 two x 10-inch line array enclosure, and our S32 subwoofer. All of them have been greeted with the same enthusiasm as the T24 and B30, so many years ago.” Bernhard added: “The VERA20 and S32 are our latest products and in fact these two loudspeakers are about to be the focus of a global road trip. We compared the VERA20 to all of the other double 10’s and double 8’s line arrays in the market and we concluded that it’s unmatched in terms of sound quality, weight and its rigging concept. It’s not as big as competitor products, but it’s extremely powerful. I believe it’s setting a new


• Top Marco and Tobias and Lanxess Arena, • Top After trying his hand at mixing, Tobias decided it wasn’t for him. • Top Product explanations at Prolight + Sound in Frankfurt.

benchmark for this class of loudspeakers in the market.” At this stage in its development, TW AUDiO has a strong portfolio of loudspeakers to suit a variety of applications and customers. In reaction to demand, the company is currently expanding its dedicated installation series and is looking at opportunities in the market for developing even more compact solutions. The company’s representation in over 50 countries and six continents has come via a mix of methodical and instinctual expansion into alluring territories. “We are very strong across the entirety of Asia,” said Tobias. “Not least because of the great people who work with us there. We began to look at international markets around 10 years ago and Asia was an immediate priority as we saw great potential there. I’m glad to say that we were correct. “We first found success in China and then Korea, followed by Malaysia, Indonesia, and Vietnam, and we have continued to build ever since. In subsequent years

the Middle East has grown to become a powerhouse territory for us, especially in Dubai where TW AUDiO Middle East has been involved in some truly ground-breaking projects. More recently, India has also become an extremely strong territory, again thanks to the great work done there by our colleagues. It generally takes several years to establish a brand in a country and to gain the trust of local customers.” Along the way, there have been a number of standout projects. Take the installation at Cologne’s Lanxess Arena - the biggest indoor arena in Germany. The project was won via tender, with most of the industry’s biggest brands participating. Bernhard said: “It meant a great deal to us that we won based on the quality of our loudspeakers for both music and speech reproduction.” Then there is BASE Dubai - a unique, open-air super-club for 2,000 people where A-list stars like 50 Cent have performed. It’s one of the world’s most

famous nightclubs, and it’s all TW AUDiO. The same is true of Jimmy*z in Monte Carlo - a very prestigious club with a remarkable history which is also now equipped with a TW AUDiO system, including T24N and T20i full range enclosures plus B10, B18 and BSX subwoofers. Armin Van Buuren recently drew one of the biggest audiences ever in Ho Chi Minh City, playing out on TW AUDiO’s biggest sound reinforcement system to date. The system was based on six arrays of VERA36 plus T24Ns for delays and fills completed by a huge amount of S33, B18 and BSX subwoofers. The clarity and intelligibility of the company’s loudspeakers has proven of great value to the house of worship community, including Korea’s Gocheok Church - a brand new sanctuary for up to 3,000 people. While they may be forgiven for resting on their laurels or at least taking a break after such impressive growth over the last de-



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cade, the Wuestner brothers continue to identify potential and ways of delivering TW AUDiO sound to more audiences. Bernhard said: “We are focussed on developing more international territories, particularly the US and the UK where we have established new subsidiaries and awareness of our brand is steadily growing. Again, the key is representation, and we work with great people who understand our values and know how to share them with their local markets. We also feel that there’s a lot to do in Africa and South America.” This growth will, as ever, be underpinned by new innovations and technological developments, explained Tobias: “From my personal point of view, the foundation for the future of a company is the R&D department. We now have a team of very passionate young guys who have great ideas - they are the next generation, so to speak. We have also recently added some very well-known members of the industry to our ranks, including Thomas Vestergaard as Senior Education and Training Specialist and Mick Whelan as Business Development Director in the US. By bringing in people with such a wealth of passion, experience and knowledge, we will strengthen our ability to deliver the best products for our customers now and in the future.” If the foundation of the company is R&D, its strength is derived from the family bond. It’s difficult to sum up the unity that quietly exists between brothers. The

respect and understanding that the Wüstners have for each other is clear. Bernhard said: “For the first four years of the company’s existence, my brother poured every bit of energy and passion he had into making the company a success. At the beginning it was just him and some freelance guys, working out of a small garage-type facility that cost €300 per month in rent and he wasn’t even sure if he could afford it. But it was clear that he had created something special. In 2008, when Tobias called me and I came to help, I was under the impression that a few weeks would be enough. But the business was growing so quickly that the administrative burden was overwhelming. “Tobias needs to be free to do what he does best - design fantastic loudspeakers, but the sheer weight of the work needing to be done meant that he was faced with an impossible challenge. I couldn’t simply leave my brother to deal with that alone. Four weeks passed, then eight weeks, then three months and so on. Soon it was clear that our very different skillsets matched, and that he could focus on creating amazing products while I handled the rest. So, in 2009 we decided that we would do this together and we became co-Managing Partners.” Tobias recognises the role played by their parents: “The way my brother and I see the world is shaped by the education we received from our parents. My mother and father worked hard for everything

• Above left Bernhard • Above right Tobias

we had. My father worked for the city of Stuttgart, he was responsible for setting up kindergartens. They were raising us in the ‘60s and ‘70s and we were a big family, so there was very little wealth in our house, so there was no place for arrogance. We were taught that you had to go to school, work hard and do your job. They gave us a work ethic which can now be felt within TW AUDiO, which is shared by everyone here.” Bernhard elaborated: “I think that in a family owned company the culture is a little different than working for a big group of companies. At TW AUDiO, you’re not just a number, you’re a person. That’s also true for our extended family - our partners and colleagues all around the world who work so hard to make TW AUDiO what it is. Of course, with the rapid growth that the company has experienced, there have been challenges to be met in keeping the same atmosphere intact, but I believe we have maintained the family spirit that has served us so well throughout our journey so far. “Really the principles that we have all began with Tobias, back when he was created the T24 and drove it across Germany. In those circumstances, people will only listen to your system if you show them the proper respect and they will only buy the system if it surpasses their expectations. We have never forgotten that lesson to treat our customers with great care and to ensure our products always impress.” As Tobias and Bernhard look forward

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• Top BASE nightclub in Dubai. • Above left Lanxess Arena in Cologne. • Above right Gocheok Church in Seoul.

to the future, they do so knowing that their brotherhood has given them an enviable business partnership that is a decade strong. In that time, the company has enjoyed incredible growth and global success. They look ahead with their own specialisms at the forefront of their minds. Tobias continues to be inspired by the ‘audio moment’ that got him into this industry in the first place. He said: “When it comes to technology, I find myself equally excited at the possibilities ahead and sometimes frustrated by what I believe to be missed opportunities in live sound. My experience is that live-sound today often seems to be ‘over-processed’ with the use of a lot of plug-ins. A great PA should kick you in the chest and possess that wonderful expan-

siveness, which encompasses the audience. “In my mind, it’s simply not enough to deliver audio consistently across a crowd as if you are playing back a recording. To really move people, there needs to be dynamics, power and energy in concert sound to convey the music and its emotional impact out of the PA. Every TW AUDiO system is designed to meet real concert sound challenges and all of those standards, giving sound engineers the tools they deserve.” “I can’t help but look at the audio industry from the perspective of an economist,” said Bernhard. “The key point is that it is still a very young industry. Even if you look at the leading brands, the most established companies, they are still only 30 - 40 years old. The barrier to entry is relatively low, that’s

why we have so many small companies in this industry. But that will change and in fact we’re already seeing the beginnings of that change. “If you compare professional audio to the car industry, for instance, and you go back maybe 30 or 40 years, there were dozens of different car manufacturers, but now we have a small number of large groups. The same thing has happened in all of the engineering industries. The point is that all of those industries are much further along the economic road than audio, where even the big players are still tiny. Over time, I believe we will see a consolidation in the market with an increasing number of mergers and acquisitions. That process has begun, but it’s still very early.”

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The One Show That Brings It All Together Attending the NAMM Show offers live event professionals the opportunity to discover new products across music, sound and event technology, learn the latest skills from multiple learning tracks including ESTA-curated education sessions, and connect with a global community at events such as the Parnelli Awards.

every possible entertainment scenario. From stage and sound amplification, to lighting, staging and special effects, you’re only limited by your imagination at The NAMM Show.

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In 2018 the Ehrlich Brothers have been touring large arenas in Germany, Luxembourg, Austria and Switzerland with their latest show ‘Fascination’. The two brothers, Andreas and Chris Ehrlich, have developed a spectacular show featuring illusions seen nowhere else in the world, in which high-tech stage equipment plays a major role and that is packing some of Europe’s largest halls and stadiums. On their current tour, for example, the Ehrlich Brothers are making an eight-tonne, 2,000 BHP monster truck materialise on stage out of nothing, as well as bursting the boundaries of physics by ‘teleporting’ individual spectators right

across the hall. To realise a production of such complexity, the Ehrlich Brothers have been relying upon chain hoist systems and controllers from Movecat. To replace in their entirety the kinetic systems previously used, Ehrlich Entertainment invested in Movecat’s VMK-S chain hoists, V-Motion-E variable motion controllers and I-Motion Basic-C show controllers. The Movecat VMK-S chain hoists, which comply with BGV C1, DIN 56950:2012- 05 and EN 61508 SIL 3, are notable for their innovative technology and ultra-flexible handling whilst meeting the highest safety

dards. The Ehrlich Brothers productions employ seven special versions of the VMK-S-1000 model as climbing hoists capable of lifting loads of up to 1,000kg safely through distances up to 24-metres. In combination with the VMK-S chain hoists, the Ehrlich Brothers are relying on seven Movecat V-Motion-40-E-SIL3 variable motion controllers in their ‘E’ configuration. Unlike the basic version, these are equipped with special integrated network and motor filters and a dual processor for scenic runs over people in mobile, decentralised operation as defined by SIL3EN 61508.

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The I-Motion Basic-C II show controller functions as a compact system controller for the systemic control of kinetic drives. The intelligent controller console is equipped with an integrated 12-inch touchscreen, a key-based input unit, a user ID card reader, a speed ratio encoder and a drive lever with a ‘dead man’ function, for the dynamic control of runs performed by up to 24 VMK-S chain hoists in conjunction with the V-Motion controllers. To ensure the smooth and safe operation of their newly acquired chain hoist systems, the Ehrlich

Brothers’ technicians attended a training course at the Movecat Academy. In the seminar, ‘Movecat I-Motion Operator Super User’, participants are given comprehensive and certified training in the legal and technical fundamentals governing use of the Movecat I-Motion system; the syllabus covers not only the regulations and standards applicable, risk analysis and system configuration but also the structure of the hardware and setting up of components.

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Photo: Daniele Massaci



When Nike was planning to launch its most anticipated football boot in years, the brand-new Phantom, it was looking to make a bold and stylish statement with a design and concept that included a massive pyramid like structure that would enable Nike to have a soccer court inside, accompanied by a light show, while on the outside allow the structure to display projections of the new boot and other iconic Nike images. It came as no surprise that production specialist Harry the Hirer Productions, which has 20 years’ experience servicing multinational corporations, was enlisted to build the unique Nike structure and look after technical production. Simon Finlayson, General Manager of Harry The Hirer Productions knew it was going to take a reliable truss system to build a structure of this magnitude and based on its past successes, there was only one system they felt suitable for the job, the Eurotruss system. With the structure designed to tower over 18-metres in the city centre of Melbourne, Simon approached Australian distributor, Showtools needing a complex three-way custom corner truss system to complete the job. “We hold great amounts of the Eurotruss

truss system in our inventory but for the shape of the structure needed for Nike, we had to acquire some unusual truss components from Showtools,” stated Simon. Showtools, along with Eurotruss went straight to work to make the complex corner system, designed by Harry the Hirer Productions a possibility. The design requirements included a deadline to get the custom sections manufactured and shipped, as well as the complexity of the angles. Keeping the structural integrity of the truss pyramid was of vital importance, and the design had to meet the strict Australian Building Code requirements demanded by the Victorian Building authority. “We took on the challenge and put our welders to work around the clock to meet the tight deadlines in order to achieve the complex corner pieces,” Simon added. He continued: “A total of 32 custom Eurotruss HD44 truss sections provide the angled corner ribs, built by Eurotruss in The Netherlands, where it was noted that they were among the most complex truss sections ever built, because each section bends in three separate directions within the truss section. They achieved these in record time and allowed us to achieve the

build.” The build by the Harry the Hirer team commenced with over 30 crew on a cold and windy morning with the team having to potentially contend with gale force winds. The build required duel crane lifts to erect and dismantle with over 50 tonnes of ballast, with Harry the Hirer aligning and positioning over 600 pieces of the Eurotruss HD44 square truss. Once the structure was fully erected, the footprint calculated to be 34-metres by 34-metres long and wide with it being 18-metres high. Simon concluded: “The truss pyramid was erected, skinned and completed all over two and a half days solely built with Eurotruss HD44. The Eurotruss brand has enabled us to conquer this complex build, and allows us to complete almost any structure that is imagined from design, concept and then into reality as evident with this unique Nike structure. Thanks to Harry the Hirer Productions and Eurotruss, the structure was a complete success and looked absolutely amazing with Nike pleased at the finished product.”


Nu Boyana Film Studios is one of the biggest and well-known broadcast studios in Europe with headquarters in Burbank, LA, USA. It is owned by one of the longest-running independent film companies in Hollywood, Nu Image and Millennium Films, and over the years it has serviced hundreds of feature films, including big-budget movies such as Criminal, The Expendables 1, 2 and 3, London Has Fallen, 300: The Rise Of An Empire, The Black Dahlia, Killing Season, Conan, The Way Back and Kon-Tiki. Recently, it has opened a new studio with the largest water tank for shooting in Europe - 1,200 sq metres. The facility is managed by its diving coordinator, Ian Creed, who has a background in the movies Star Wars: The Last Jedi, Angel Has Fallen, The Hitman’s Bodyguard and many more. This company also works with important events, like the Yoga Festival in Bulgaria, the most important yoga meeting in Europe. Since 2009, FENIX Stage has been working with Nu Boyana Film Studios, providing all kind of trusses in different sizes and configurations, as well as stage platforms and lifting towers for the installations of the studios. At the beginning, FENIX Stage provided standard products but, after a few years, it began to supply the studios with custom-projects and special developments, such as the FENIX Stage platforms with five legs. FENIX Stage has equipped four of the 12 studios. The latest was studio No.12, Nu Boyana’s biggest studio spanning 2,000 sq metres. It installed nine trussing grids of 12-metres by 12-metres suspended from the ceiling, composed of FENIX SQ-29 and SQR-29 with a circular truss of 40x40 with 12-metre diameter. The launch of this large studio has been used to shoot the film, Brahmastra, an upcoming 2019 Indian Hindi-language superhero fantasy film, directed by Ayan Mukerji and produced by Karan Johar. FENIX Stage’s Export Manager, Alex Bryan, travelled to Sofia to visit Nu Boyana Film Studios, he said: “The infrastructure that they have for broadcast is impressive and beautiful. It’s like you were visiting different cities at the same time. And with the new water tank, they can reach a higher level than anyone else can in Europe.”

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A record number of BroadWeigh load cells have been used to monitor the loads at this year’s Ottawa Blues Fest in Canada. A mix of 3.25 tonne and 4.75 tonne shackles, totalling 64, and three laptops using the new wireless dongle (BW-BSd) and extended range (BW-BSue) base station receivers have been utilised by BroadWeigh’s Canadian product partner, Paradigm Rigging to ensure the safety of the performers and the massive audiences attending the popular event. Mike Sorowka, Managing Director at Paradigm Rigging commented: “This is the third year we have used BroadWeigh kit on the main stage, with audio handled by Wall Sound, lighting by Christie Lites and the project overseen by the event’s technical director Scott Pollard. The first year we started with a kit of 20 4.75 tonne shackles . Last year this was up to 40 units - a mix of the 3.25(BW-S325) and 4.75 (BW-S475) tonne shackles With this year being the largest use of load cells at this festival so far, which provided maximum flexibility and performance.” Each of the festival’s house points had a load cell placed on them. Mike also weighted each touring act that came on stage. The three laptops were distributed - one to the audio department to handle the monitoring of their moves. The second to the video department who were able to check the loads and weight distribution on their video walls as they moved throughout the air or had to be lowered for high winds. The third laptop was dedicated to the touring shows where Paradigm customised a layout over their rigging plots for ease of viewing for both local monitoring and the tour crew. Wall Sound’s Greg Myers, audio lead on Blues Fest added: “My onsite work this year began two days prior to the festival opening. When I arrived Mike and the rigging crew already had my motors and load cells hanging and tested, ready for audio to fly. This year our system remained very similar to last year. We gave Mike a sheet listing the weights each point would hang at, when the rig was in the air as well as what each hang weighed in total. The second set of numbers was very important so Mike (and the entire rigging team) would know the maximum potential load of any given point. We were using eight wireless load cells on the PA, one dongle base station (BW-BSd) and the monitoring software (LOG100). With the use of the BW-BSd dongle this

year (past years we used the larger extended range base station, BW-BSue), the receiver and software become much more portable, making it easy for me to bring the laptop? with me, beside the PA as I raised and lowered it, allowing me to constantly monitor my loads while the rig was moving.” Mike continued: “The big addition for us this year was shuffling load cells onto the touring acts’ rigs as they came through. As the house rig was taken down in preparation for the next day’s act, we would recover the load cells from those points and reconfigure the layouts in the LOG100 logging and monitoring software to match the next day’s needs. Creating a base configuration of the load cells in the program made this process pretty easy - accounting for which cells were available, deciding their locations on the rigging plot for install the next day and then building a plot overall with these cells referenced to the appropriate source. Using the BW-S325 cells made for extremely quick installs, clipping directly into the touring shows motors with no need to open up the load cell for installation, and having the wireless performance of the kit allows our weighting to be the least invasive option possible. Using wired load cells for this application would not have been acceptable with the needs to have our own cable looms running over the touring trusses and back to our own central displays rack, and would add considerable time and frustration for the tours to work around on both load ins and load outs were speed can be paramount.” Russell Benoit, from Christie Lites has been involved with the festival for eight years. As Lighting Crew Chief he is responsible for implementing the lighting design and planning the control system for the house lighting rig. “This year, the load cells really proved their worthiness when it came to trimming and landing the video walls. Even when a laser level was used, there was the possibility that one or more points could be overweight. The mobile viewing software allowed us to see in real time the weights and adjust accordingly. When different acts tour through and hang their own lighting and rigging components off house trusses, the BroadWeigh wireless load cells are a handy tool to ensure the weights are matching the weights that have been approved. Knowing in real time the weights in the roof can be

helpful information to pass on to an engineer, venue or staging supplier. It is an extra safety measure to ensure that what you are rigging is within the weight restrictions of the venue,” he said. The biggest and heaviest show of the festival was without doubt, Foo Fighters. For this show, the lighting rig stayed in place, and the tour brought in four primary lighting trusses, and a large upstage video diamond which hung off three two-tonne motors. Mike knew this was going to be a fair bit of weight in the middle section of the roof, so on top of monitoring each point individually, he also used the features within the LOG100 configuration pages to allow him to have a summed value of all the cells in specific sections of the roof. Mike explained: “This show brought the total Main Stage festival load cell use up to 64 load cells, tapping out what we had on site, and there were three lighter cable bridges which had to forgo load cells because of quantity constraints.” Other notable shows were Bryan Adams, which had used the BroadWeigh cells in their pre production rehearsals earlier in the year in Toronto. Their crew was eager to note down weights of this current configuration as it was modified from original rehearsals. Dave Matthews band also had a sizeable amount of load cell in use with multiple lighting trussed running upstage to downstage and a larger video wall on the upstage. Scott Pollard, Technical Director commented: “We have worked with Paradigm using Broadweigh for the last few years and found the working relationship very good. The benefits and peace of mind of having the BroadWeigh cells is almost invaluable especially as we increase the amount of equipment hung from the Stageline SAM750 we use. It seems to me that going without is just not a possibility with today’s ever changing weather patterns, artists’ requirements, scheduling changes and safety. Safety is paramount over everything else and with tight timing and the other factors just mentioned, utilizing a load cell package is not only prudent but imperative. I am a big supporter and promoter of BroadWeigh - my day changes all the time and having the peace of mind allows me to deal with the last minutes changes without having to worry about what is happening to the roof structure, it is as simple as that.”

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MILOS recently delivered and installed support structures to hold power distribution - air, electricity and data - for machine equipment, lighting fixtures and control monitors in the new production hall of Lear Corporation Seating Slovakia. The structures for this new production hall, which produces car parts for Western Slovakia, were constructed from the strong and durable MILOS M290B series truss. The client for this job was City Light Slovakia, which is a long time MILOS customer and specialises in the import, sale and installation of professional technical equipment. The brief for the project was clear – deliver an easy, yet robust, support structure for power distribution equipment custom designed for the new Lear production hall. Based on this brief, and in cooperation with Lear Corporation, project documentation was developed to address the location of various support structures built in accordance with the size of the production lines. Con-

struction was carried out by City Light Slovakia project manager, Peter Kudla. “We’re very happy with the quality of MILOS truss and the service we received from the MILOS sales and engineering teams. Despite the large number of aluminum truss segments required for this structure, installation went smoothly due to the precision manufacturing of each, individual truss section. The resulting structure fits perfectly with our needs and sits well in our client’s production hall. We’re extremely satisfied with our purchase and would recommend MILOS for similar installations,” said Marek Plancar, owner of City Light Slovakia.


Since the beginning of August, the Deutsches Museum now offers a new attraction in the Bavarian capital of Munich. The museum created a new VRlab covering 80 sq metres. In the lab, visitors can digitally experience various exhibits of the museum in virtual reality. For example, the steam circuit of the Sulzer steam machine can be examined or Otto Lilienthal can be send on a flight on his flying machine or you can even steer the Lunar Roving vehicle in a simulation on the surface of the Moon. To give VRlab a technical and futuristic look the museum decided to go for a room-in-room concept including a truss structure. The construction consists of two pieces. The first one is an arc construction realised with F34 that spans the complete length of the room. On this base construction there is another construction attached. This one is made with F33 truss and is being suspended by so called ‘Gizmos’ from the base construction. The tracking system TPCast for the VR glasses and the corresponding controllers is attached to this F33 construction. With

this system the visitors can experience the virtual world completely wireless. The design of the constructions was made by Global Truss, and the close cooperation with Thomann allowed a successful realisation of the project. “The VRlab in Munich is a very interesting project for us. Our trusses create this futuristic look that just fits to the topic virtual reality without being too dominant. Furthermore, there is still enough daylight which creates a friendly and comfortable atmosphere. Global Truss loves new technologies as you can see with our TrussTool and our Augmented Reality app for mobile devices and therefore we support all new technological approaches. We are really happy to be a part of this innovative project,“ said Florian Schaaf, Project Manager at Global Truss. Visitors of the Deutsches Museum can experience the VRlab for free on Tuesday and Thursday between 1:30pm and 4:30pm and as well on Saturdays between 10:30am and 1:30pm.



Looking for a solution for the ever increasing demands for large, high load bearing structures, Neuro Tech has turned to Prolyte Group to find a solution. Showing its unrivalled capacity in the design and build of complex truss structures Prolyte Group has supplied a complete mammoth ground support system. Fierce ambition, that is what radiates from the offices of Neuro Tech owner, Neo Yong Hong as he stated: “The technical prowess of an audiovisual company lies in its inventory.” Hong believes that actions speak louder than words and has invested heavily to bring his company to a professional level. Neuro Tech Asia has been actively providing some of the most successful and comprehensive audiovisual solutions and designs to projects and events in China and across the Asia Pacific. Specialising in technical management and solutions for events, Neuro Tech Asia is dedicated to deliver quality service through both expertise and high-end quality equipment. With its team of international experts, Neuro Tech Asia has endeavoured into diversified areas of expertise like technical consultancy, provision of show production professionals, audiovsisual de-

sign implementation, and permanent installation. “We endorse a global approach to the localised demographics, serving as a bridge between Asia and the rest of the world. This means we can deliver equipment and technicians that live up to western standards, following the demand of our international clientele”, said Hong. Working for companies like Mercedes, BMW, Jaguar, Givenchy, Dior, Air France and others, Neuro Tech Asia follows internatial industry standards and employs the use of established and renowned audiovisual equipment. “We saw Prolyte products coming in on a regular basis with touring international productions”, continued Hong, “With Prolyte as a hightly acclaimed and recognised industry standard we knew our choice was made. “Following trends, we saw an opportunity to shift from providing technicians and crew to providing equipment to international standards ,as required by international production companies and promotors.Tours and productions that go into Asia are requesting the equipment they are used to work with in Europe and the USA.” Looking for a solution the be able to create a large mother grid, Neuro Tech contacted Prolyte Group,

through its subsidiary office in Malaysia. Loong Yee Hing, International Account Manager for Prolyte Asia Pacific conducted the first exploratory talks, but soon realised that extra technical expertise was needed to translate the customer’s demands into a fitting solution. Based on an exploratory market research it soon became clear that the need in Asia is somewhat different than in Europe. Due to the lack of venues that are able to absorb a high extra live load, additional measures are needed, like installing a ground supported mother grid, capable to be fitted with longer spans and high load-bearing resistance. Prolyte set out to design a flexible system for Neuro Tech, that could be built in several different configurations while maintaining a high loading capacity. Examples of these are a ground support frame of 24-metres by 24-metres on eight towers only, with a pay-load of 70-tonnes or a freestanding span of 60-metres on two towers, with a centre point load of 2.15-tonnes. Training is vital for production safety When the equipment arrived in one of the locations of NeuroTech in Asia, Shanghai, Prolyte planned an instruction training, as is common

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when delivering larger structures. “An initial build-up training is vital to ensure both proper training and instruction of the technical crew and offers a good momentum to transfer the, often complex, technical implications of working with such a large system”, commentsed Ruud de Deugd, Product Manager Prolyte Systems for Prolyte. Neuro Tech Asia installed a responsible H&S contact within their crew to act as contact point between Prolyte and the installation crew. The on-site training was performed by Ruud de Deugd, Arend Hofstee, assisted by Ralph Stockley. Boyd Yeo, Technical Safety Director for Neuro Tech Asia feels secured with the back-up offered: “It’s really good to know we have all the expertise at hand, Ruud and Arend are very knowledgeable and great guys to work with, furthermore, with Prolyte Asia Pacific and the support of Hing, we know we have fast access to equipment and support in our own language when need it.” “Neuro Tech is ensured of the continuous

support of the Prolyte engineering team, that’s part of our service”, said Ralph. The complete mammoth ground support system, combined with D75 towers and M145RV truss was used in April for a live show in the motor industry, where a free span of 60-metres was required. “There’s no way we could have offered these specs without the Prolyte equipment,” said Steven Shi, in charge of production for Neuro Tech Asia. “The system performed flawless, which is quite astonishing, given the sheer size and weight of all the individual elements.” Exceeding expectations on both the capabilities of the equipment and well as the service offered, Neuro Tech Asia has further invested in Prolyte equipment. It is also not the proud owner of the first Prolyte Space Roof system located in Asia.

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Retford based Rope Assemblies has been praised for its professionalism and expertise by ScottWhitbystudio for its role in helping create The St Paul’s Gateway as part of the London Festival of Architecture. The contemporary gateway structure creates over 400 mirrored images of St Paul’s Cathedral as pedestrians arrive out of St Paul’s Underground Station. The design features hundreds of highly reflective anodised aluminium poles suspended vertically from a simple lightweight structural canopy. In the middle of the structure, users will find a reflective oculus and dome of poles which have been derived using the same mathematical geometry Christopher Wren used when designing the dome of St Paul’s Cathedral. Osman Marfo-Gyasi, studio project leader at ScottWhitbystudio commented: “We were initially approached by the Cheapside Bid Alliance alongside the London Festival of Architecture who commissioned us to come up with ideas for something to animate the traffic island outside St Paul’s Cathedral. Marc Thomas of Millimetre, our initial fabricator on the job recommended that we get in touch with Rope Assemblies. Marc had done a lot of legwork for us so we knew what


Photo © Osman Marfo-Gyasi


kit we needed to procure, but the Rope Assemblies team was extremely helpful in ensuring we were able to get what we needed and also keep within budget.” He continued: “The Rope Assemblies kit was extremely well made - while installing the cables for the structure, they were put under an immense level of tension and none of them showed any signs of failure. The entire experience of working with the RA team made for a stress free experience - they were able to grasp the nuances of what we needed and supply the correct products which were all made to order.” The timescales for the project were particularly tight with just three weeks from making initial contact with Rope Assemblies to installation. “The main challenges for this project were budget and timescale. Thanks to Linda Martin, Rope Assemblies’ Managing Director, we were able to negotiate a price that would allow us to keep in budget and RA was exemplary with the delivery of its products within our time frame,” he said. Linda added: “Understanding the nature of the industry, we are extremely used to working to tight deadlines - even when the project isn’t always straight forward. There was some to-ing and fro-ing with

The RAF celebrated its 100th birthday in July, with a line up of events that were covered by the world’s media. From the breathtaking flypast over the skies of London to the centenary service attended by senior Royals. In preparation for this centenary year, Unusual Rigging worked closely with the Royal Air Force Museum in Hendon to develop some new world-class exhibitions. These exhibitions exploring the first 100 years of the RAF and also its future, sit at the heart of the new site. Led by Robin Elias, the Unusual team has hung countless aircraft over the years but this year’s project was probably the most ambitious project, at Hendon, to date. Robin explained: “When you’re working with such monumental pieces of history, it’s difficult not to be in awe of the magnificent engineering that allowed us to fight wars from the skies. It felt like our job to devise equally clever engineering solutions to display these aircraft, with the rigging as unobtrusive and as inconspicuous as possible in order that visitors to the museum barely even know we’re there.” For some of these aircraft such as theEurofighter, the Harrier, the Tornado and the Predator, in Hanger Six Unusual was able to suspend from the roof. In total the team hung over 30 tonnes of aircraft from that roof requiring some very clever rigging solutions and very well thought out weight distribution.

regards to specific parts, each cable had to be a specific length and we had to keep discussions going on how to ensure that the cables were the absolute correct lengths. But once this was all confirmed, were able to turn around the product swiftly and to time.” While this is the first time that ScottWhitbystudio has worked with Rope Assemblies, Osman says he has no doubt that this is the first of many projects. “Thanks to Rope Assemblies’ professionalism and expertise we have created a work of art that the client, Cheapside Business Alliance, and also the City of London is extremely happy with. There is even talk of it staying longer than the original four month lifespan, such is its popularity. I am sure we will approach Linda and the team first, the next time we get involved in a project where their knowledge and quality of products can help. We would also like to thank the rest of the team who helped make the gateway a reality especially William Hare Group who donated the steel structure, ARUP engineers, Righton and Windsor Workshop.”

Hangar One threw some totally different challenges at them. Robin continued: “Only light loads could be hung from the roof and so most of the exhibits there - the DH9 and the Gnat & the Spitfire for example are mounted on steel columns. Our biggest challenge however lay in the model F35. This giant craft was to be displayed, at height above an access route - we couldn’t use columns, we couldn’t hang from the roof so we had to be really innovative.” The result is an amazing aircraft that appears to be floating effortlessly above the heads of the museum’s visitors. Achieved through foundations underground and steelwork supports running inside diagonal walls and across the ceiling from which the aircraft is suspended. The Unusual team had to get this piece into its very confined space before the building fit-out was complete and so 100% accuracy was required. Two Gate Guardians, a Spitfire & Hurricane completed the work. Robin concluded: “The result of a project that we first began planning for over 18 months ago is an astounding collection that brings visitors to the museum - young and old - closer to history that they are every likely to get. The project was a labour of love. We’d thoroughly recommend a visit this summer - whether you’re nine or 90 it’s guaranteed to take your breath away.”

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The newly expanded Melbourne Convention and Exhibition Centre (MCEC) in Australia is leveraging the benefits of the latest electric chain hoist technology from VERLINDE, including 24 STAGEMAKER SR5 D8 and 12 STAGEMAKER SR10 D8 models, along with corresponding STAGEMAKER Flight Cases. The investment was made in conjunction with the new expansion, when the new facility was also supplied with over 70 STAGEMAKER electric chain hoists installed throughout various new spaces. As part of a $200 million expansion, MCEC has added 20,000sq metres of space, including 9,000sq metres of flexible, multi-purpose event space and new exhibition halls. The project cements MCEC’s position as the largest convention and exhibition space in Australia, with an increased total size of over 70,000 sq metres As a result, the venue will attract even more events and thousands more visitors to Melbourne. Of course, for such a large and important venue, selecting the right hoist technology is vital in order to ensure safe, reliable and efficient operations. “The 36 STAGEMAKER SR electric chain hoists recently purchased were in addition to our existing floating stock of 24 STAGEMAKER SM2 D8, 12 STAGEMAKER SR5 D8 and four STAGEMAKER SR10 D8 hoists, bringing our total floating stock of chain hoists to 76,” stated Production Manager at MCEC, Dale Krumins. “We chose Verlinde this time around as we already had existing Verlinde stock that was performing perfectly well and it made sense to buy more of the same working type.” When making the initial decision to go with Ver-

linde, MCEC had a stringent list of selection criteria to fulfil, including price. “The hoists needed to be of good quality, but at an attractive price point,” said Dale. “We weren’t looking for cheap, no-name brands, but specialty products to suit the requirements of everyday use.” Reputation is important, as MCEC’s vision is to be the world’s best events destination. So when looking at what the market had to offer, a product was picked that supports its vision. “I wanted to choose a brand that was known for its innovation - similar to our company values,” confirmed Dale. “Verlinde has made chain hoists for many years, like most, but it has kept the brand invigorated through constant innovation. Any chain motor can lift the weight listed on the sticker, but having nice handles, a good looking body and a black chain as standard, along with the option for it to come with a case off-the-shelf - not having to design and build our own - put the product ahead of its competitors.” Another aspect picked out by Dale as a key factor in the purchase decision, was supply. After all, Australia is the sixth largest country in the world by land area, so hiring other similar products from other states, or even other countries, is a challenge. “Having VERLINDE hoists available at a local level is very reassuring, and is in contrast to some other brands, which are barely represented here,” said Dale. “With this in mind, acquiring more similar hoists locally for a specific event isn’t an issue.” The recently specified STAGEMAKER electric chain hoists were purchased, delivered and commissioned

through a VERLINDE local distributor EUROCRANE AUSTRALIA, which also provides MCEC with maintenance and some basic training. “All of our VERLINDE hoists, which use Kinesys controllers, have been great - we’ve had no issues,” said Dale. “The cases are also really handy.” A final note from Dale relates to safety requirements. Australia has no laws or regulations governing the use of chain hoists in the events/entertainment industry. However, MCEC chooses to deploy best practice and abide, where possible, to worldwide industry standards. As a result, the venue selects a minimum D8+ safety level for all installed chain hoist motors. The German BGV-D8+ specification allows a hoist to suspend loads above persons without the need for a secondary means of suspension. D8+ therefore demands extra features such as a higher safety factor and double brakes. STAGEMAKER SR is D8+ ready and features a double-lifting brake as standard. For this reason, MCEC has 38 STAGEMAKER SR5 D8+ (500kg capacity) and 36 STAGEMAKER SR10 D8+ (1,000kg) electric chain hoists permanently installed in the newly expanded venue. In total there are around 150 hoists from VERLINDE in service at MCEC. “I really like the fact that Verlinde makes an effort to keep their products modern - current to today’s work, health and safety needs,” conclude Dale. “As long as the company continues to innovate, we will continue to support them. There are a few stagnant brands in the chain hoist world, so I’m pleased to say that I support an innovative brand.”

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MILOS recently provided two 15-metre by 19-metres arched roofs, and one 15-metres by 15-metres arched roof, for the Red Bull F1 ring in Spielberg, Styria, Austria. All three roofs are five metres high and feature steel reinforced elements for increased stability and strength. The roofs were constructed from M290V heavy-duty truss with 48 x 3mm main tubes, 20 x 2mm braces, as well as circles, horizontal beams and legs from the MILOS M290V range. Due to the extreme wind conditions experienced at the F1 track, special modifications were carried out to strengthen and stabilise the roof structures. These modification included custom made steel plates implemented within the roof structures, as well as 12mm steel plates added to the roofs’ vario corners. MILOS vario corners were selected for all three roofs due to their flexible adjustment feature that allows them to achieve different angles for easy adaptation to various roof configurations. The client for this project was the Getec Group, a leading event technology company based in Graz, Austria. Getec used its decades of experience in the production of small to large live events using state-of-the-art technology and highly trained technicians. Getec is well known in Austria, and other nearby countries, for turning live events into works of art. “When we contacted Milos at extremely short notice, they once again rose to meet the challenge, reaffirming their status as a professional and fair partner. They prepared a complete static analysis that perfectly fit together with the optimised ballast system developed by our engineers. They did a fantastic job producing all roof components within two months so we could meet our deadline. This extraordinary effort is the main reason for the more than twenty year collaboration between Getec and MILOS, which includes several thousand metres of truss and twelve big roofs,” said Jakob Gailhofer, Getec Group owner.


LITEC had a strong presence at Live You Play this year, which was held together with the Music in Rimini exhibition, in Rimini, Italy. It supplied an unbelievable total of 11 LITEC Ground Support Systems in its four concert halls. From its RL105 and RL-76 systems, to its innovative Libera 76 and Alusfera 2, LITEC products were everywhere. Even the massive, super heavy-duty MyT Folding Steroid made its appearance in one of the halls and absolutely dominated the space. The presence of LITEC was felt in all aspects of the Live You Play event - live concerts, product presentations, and education - and played a big part in the overwhelming success Live You Play experienced this year. In fact, Live You Play saw a 20% increase over the previous year, and enjoyed the most successful year in its history.


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Protouch deliver lighting, audio and multimedia integration at Faberge, a self-styled ‘event palace’ in Israel.

Faberge Event Palace, based in Ness Ziona, Israel, is a luxury venue that incorporates an innovative design, with two separate halls, both of which were specifically designed and built for hosting events and celebrations. Faberge, which is one of the most sought-after event spaces in Israel, has 22,000 sq metres of space, all surrounded by landscaped gardens, orchards, ponds, fountains and the aforementioned event spaces, which offer classic opulence with innovative, forward-thinking design. Protouch was enlisted to help with installing new technology at the eyecatching venue, with the multi-faceted project including lighting design,

multimedia integration and sound. There were two main areas that Protouch worked on – the Faberge Royal, an 11 metre-high hall that accommodates up to 1,200 guests and Faberge Crown, a nine metre-high hall that has the capacity for 700 people. “The client gave us carte blanche as far as the design goes, the only specification was to be unique and different then the mainstream venues locally and abroad,” said Shlomi Ben-Abat, R&D Manager at Protouch LTD. “We took the initiative in both venues and developed dramatic media power walls: in one hall a dramatic 120 sq metres specially shaped LED screens and


in the other a 252 sq metres. geometrical hand-crafted projection shapes.� In Faberge Royal, round LED screens of 120-metres are used, forming four arches on the main wall. One of the arches is tilted 14º towards the larger arch and, on this, video content is screened using Resolume Arena software. In the space between the arches, a custom-designed DJ booth is in place. For the audio, a TW AUDiO system is used on the dancefloor, with a separate TW AUDiO system projecting music around the circumference of the hall space. For Faberge Crown, Protouch used a 63 metre-long projection wall, which

is constructed out of polygonal 3D moulds - sculpted from unique materials using a specialised technique. The wall has been precision mapped on the pixel level, too. The wall is perfectly synchronised between the dents and bulges, with nine projectors creating a single cohesive image. Those seated in the hall are immersed in the video content, creating a 3D experience for the viewer. Resolume Arena software is used again for the wall. A TW AUDiO system is used for the audio in this hall, too.



A Private Members’ Club steeped in history, Annabel’s has moved next door from its original home and has been kitted out with a state-of-the-art audiovisual system from top to toe, courtesy of Octavius RE.


• Opposite The Mexican • Above The Elephant Room

Private Members’ Clubs have come a long way over the last few decades. No longer just the domain of monied gentlemen they now embrace a more diverse, trendier, quirkier clientele and range from the affordable to the high-end, no expense spared - perhaps more representative of what comes to mind when the term members club is used. They exist all around the world, but the UK capital is home to its fair share, and recently, the original members-only nightclub, Annabel’s - by its own admission - has moved two doors down from its first residence to offer its members a true taste of the 21st Century. Dating back to 1963, world-renowned Annabel’s was founded by Mark Birley - and purchased by Richard Caring in 2007. The Mayfair establishment was

opened as a members-only club, catering for exclusive clientele. Named after Mark Birley’s then wife, Annabel’s has a distinguished heritage, something the team were keen to reference with the recent move. Today, Private Members’ Clubs usually have a day-to-night offering. They are used for breakfast meetings, conferences, an office away from home, right through to afternoon tea, early evening drinks, dinners and late-night parties. Annabel’s caters to all eventualities in its new home - a Grade I listed Georgian mansion house at 46 Berkeley Square, London. The 26,000 sq ft space has been completely refurbished to the highest of standards, with interiors by designer, Martin Brudnizki. It’s smart front door gives little away as to what lies behind the door-

man-flanked entrance - perhaps with the exception of said doorman’s unique uniform. Once inside, there is a reception check-in and cloakroom as you would expect, leading through to an entrance hall with a grand staircase and this is where the Annabel’s experience starts. Each room has it’s own décor and theme - inspired by different gardens - even the restrooms, the corridors and the staircase have received the same attention to detail. Operations Director of The Birley Clubs, Graziano Arricale, who joined the company in 2013, was very hands-on with the renovation, deeming décor, ambiance, F&B and technology all of equal importance to deliver the best possible experience to the members. Graziano worked closely with lead Audiovisual Consultant and Designer, Emma Bigg of


• Above Even the ladies restrooms have been kitted out with a d&b audiotechnik sound system.

Octavius RE - and subsequently Marquee AV, which completed the installation - to ensure the technology worked in perfect harmony with every single element. The brief was to deliver a discreet, comprehensive, event orientated solution with venue wide connectivity, high-end audio performance and flexible operation. The design comprises a distributed, zoned audio solution and distributed terrestrial TV, Sky and video, all of which can be controlled simply and easily using touch panel interfaces in each room. The ability for each space to be linked together or run independently was also imperative, so Octavius RE implemented a single overarching control solution and included ample connectivity so the venue can host live production gigs in The Nightclub and The Garden Terrace. We begin the tour at the top of the house, in The Mexican, which not surprisingly offers Latin inspired cuisine and Europe’s largest collection of tequilas and mezcals. It is furnished with wooden panelling, brightly coloured leather seats and a

glowing, copper ceiling. It was essential the audiovisual elements should not distract from the interior design so compact d&b audiotechnik 5S loudspeakers are complemented by K-Array KU26 slim-line sub speakers in The Mexican, and this sets the precedence for many of the other rooms, too. The two-way passive 5S offers a symmetrical dispersion pattern in the horizontal and vertical planes, meaning its mounting options are flexible, without effecting performance. The subwoofers sit snugly beneath the furniture and add warmth and depth to the system. The Mexican mostly operates as a restaurant and a place for business meetings, however, at the weekends a DJ often sets up to entertain the evening guests. The Mexican has multiple AV input points to support its different uses and a Q-Sys TSC-47W control panel, provides simple and intuitive control for the room, thanks to in-built presets. Adjacent to The Mexican is the ladies restroom, designed as a plush powder room with mirrors galore, make-up

stations and plenty of space for ladies to transform from daytime professional to evening glam. An explosion of pink takes over with a ceiling adorned with pink and white synthetic flowers, floral wall covering and window drapery, as well as pink onyx sinks topped with gold swan taps. Drinks and music flow inside the restrooms, setting the party mood so the audio here must be as good as anything you will hear in one of the several bars. A simple setup of d&b audiotechnik 5S loudspeakers provide ample coverage for this space - and of course, those are pink, too! The first floor is home to The Elephant Room, as well as two private dining spaces, The Flower Room and The Silver Room. The striking de Gournay wallpaper in The Elephant Room immediately draws guests in with vibrant, balanced and contrasting colours in an Indian village scene theme - all customised for Annabel’s. East meets West for the F&B with a bar menu of Asian-inspired small plates and an Eastern-inspired drinks list. d&b



audiotechnik features again in The Elephant Room, but here 16C column loudspeakers are used, due to the size of the room and the height of the ceiling. Once again, they are colour matched and complemented by K-Array KU26 subwoofers that have been permanently installed, hidden behind the sofas. This room often needs to amp up the energy levels so the venue has the option to deploy two d&b audiotecknik 12S sub speakers for when they need that extra bass. Emma said: “The idea is that there’s a signature sound at Annabel’s - one for daytime and one for evening. Except for the circulation areas the daytime spaces use d&b audiotechnik with K-Array, while night-time rooms are fitted with L-Acoustics. Our aim was to find the best possible loudspeaker for the budget, but then find something that was flexible enough to work with the interior design.

We haven’t used the same brand throughout, because there isn’t one brand that delivers on all the different elements that were required here.” The mixture of brands might be unusual, but each independent system works in its own room. Dining is an important aspect as Annabel’s, therefore space to dine is essential. “No other company currently makes a subwoofer as small as K-Array, that delivers on power. For rooms that cater for both a bar atmosphere and DJs, people don’t always realise that subwoofers can cause such a problem because they take up floor space,” said Emma. “The K-Array subwoofers, however, are really powerful for the size and fit easily under, in or behind furniture. Although it took a little bit longer to get the balance right - in comparison to using d&b audiotechnik subwoofers with the columns - I think they work well


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• Above The Garden is covered by a retractable roof.

together. It sounds warm and adds a little bit of depth in the background.” Similar to upstairs, there are multiple AV connection points - each panel can receive an audio source, output IPTV and is connected to a redundant network. Using adapter cables, the audio input can be used to connect a range of different audio sources into the system - a DJ is the most common in The Elephant Room - however, an MP3 player, a laptop or smart phone, a live console, or even a wireless radio microphone receiver could be connected. The source can then be selected in the room via the Q-Sys touch panel. Once the source is plugged in, the volume control can also then be adjusted from the panel. The audio is zoned so that each space has its own volume control. Emma continued: “Working with Richard Northwood, we used presets, as well as source select and volume control to simplify the operation for the staff. The local input panels allow a myriad of sources to be connected so rather than have staff navigate all these choices, the presets mute and unmute the relative

sources and recall an agreed volume level. The staff can easily switch between the Background music to the DJ or a radio microphone without any real technical knowledge required. It makes everything nice and easy, and you don’t have to understand the system to make it work.” The Flower Room and The Silver Room also sit on the first floor, these are used as private dining rooms or for small conferences and events. The Flower Room is botanically inspired and boasts a fusion of pink and green floral design, a series of Maison Gau wall panels, embellished with thousands of hand-made ceramic flowers and vibrant jewel appliqués. In contrast, The Silver Room is serene and tranquil. It features Art Deco-inspired lighting, silver leaf detailing and a high ceiling, all of which are accentuated by the natural light that streams through the windows. Originally, The Flower Room was going to be installed with the d&b audiotechnik 5S’ but as the fit out progressed it was clear, it wasn’t going to be possible to fit all the boxes or run the all cables to the desired locations. So

16C columns were substituted as fewer were needed, and these are supported by K-Array KU44 subwoofers - the narrowest subwoofer the company produces. You find a similar set up in The Silver room although the project team could find the appropriate locations for the smaller 5S loudspeakers rather than 16C columns. Both rooms have the same connectivity that’s been installed throughout. A guest playlist will often be plugged into the system in one of these rooms, if it’s being used for private dining. TV screens are also utilised for meetings, and there are two portable TVs at Annabel’s for this purpose along with a video conference support kit. The Flower Room and The Silver Rooms - as well as others - have an IPTV output to connect the TV, via an Exterity IP receiver, this system allows members to seamlessly switch between Terrestrial TV, Sky or video content. As there is only one fixed screen in the whole venue - a Samsung QLED Q7F 4K Smart TV in The Mexican - the IPTV solution has been installed to distribute TV, Sky, video content and digital

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• Above left Guests are greeted by the gorilla as they make their way downstairs. • Above right The Garden Bar.

signage via a network meaning TVs can be setup in numerous places across the venue, as required. Moving down to the ground floor, and it’s not difficult to see why on a hot Summer’s day, The Rose Room and The Garden are a popular destinations. The Rose Room boasts rich colours, textures and furnishings surrounded by hand-painted gold and silver leaf trompe l’oeil, bespoke tulip and iris chandeliers and a breath-taking pink onyx, back-lit bar. Internally, there are d&b audiotechnik 16C columns and K-Array KU26 subwoofers, the columns, once again housed in the corners of the rooms and colour matched to be as discreet as possible, and the subwoofers hidden behind furniture. Step outside to The Garden and you’ll find it offers a stunning secluded retreat for an early evening dinner, surrounded by an English inspired garden setting. Behind the dining area is The Garden Bar. The entire space is covered by a retractable roof. “Outside is obviously quite a noise sensitive area, but also when the roof is closed you’ve got a glass ceiling and a tiled floor, so it was quite a challenge acoustically,” Emma explained. “There isn’t an open and shut setting for

the roof as such, it’s just been designed so that closing the roof doesn’t alter the sound too much, just encloses it. It’s triple glazed so when it’s closed, sound leakage is very minimal, you can still maintain a great party atmosphere without upsetting the neighbours, it is so well insulated. ” To avoid exciting such a reverberant space but maintaining good coverage and clarity two separate audio systems are married together. First the alcoves that run along each side of The Garden Terrace are catered for by colourmatched, d&b audiotechnik 4S’ and K-Array KU26 subwoofers. The main dining area is serviced by 16C columns discreetly mounted at the top and bottom of the space. The audio can be kept quite intimate and at a good level for the peripheries of the terrace. It was essential we maintained coverage in the middle of the dining area, without deafening people closer to the edges but ensure the space was inclusive. Over the bar, there are more 4S loudspeakers, that cover that area specifically. If it’s a nice evening and the bar is busy, the bar system can be turned up without disturbing the diners, and there are more K-Array KU26 subwoofers under the bar seating, too.

The Rose Room offers the same connectivity package as the rest of the house, with wall panels distributed generously, so a plug-in point or control touchscreen is never too far away. However, outside the connectivity is more sophisticated to cater for live performance. “It has all different types of digital multicore - fibre, coax, CAT 5 - lighting and video links and data. It is designed so the whole outdoor space can be transformed into a professional event space with no requirement to run unsightly cabling or bring in additional power,” Emma continued. The live music spaces continue below ground in the basement, when day turns to evening and members want to dance the night away. All of the snugs have a local input panel to allow members to connect a phone and listen to their own music and are serviced by L-Acoustics 5XTs. Downstairs, the garden theme continues, but in the subterranean rooms, it’s more a fall from grace with every corner and surface embellished with exquisite textures, patterns and intricate detailing influenced by Wenzel Peter’s, The Garden of Eden. Both The Jungle Bar and The Nightclub are homages to the exotic with animal


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prints, vast jungle foliage, colourful rare birds and iridescent lizards that come to life within hand-painted mirrored glass walls all featuring in the wall coverings, fabrics and furnishings. L-Acoustics 5XT loudspeakers and SB15m subwoofers provide audio coverage for The Jungle Bar, the latter hidden in the sofas. “These sound really nice actually, you wouldn’t expect it for their size, but if you wanted to have a full-on club night in here, it would be rockin’. Again, the speakers blend in with the décor, hand-painted to match the panelling,” Emma added. Glass and brass sprung palm trees await members in The Nightclub, the trees surround the hydraulic dance floor that can sink to a lower level or be raised to a stage for intimate performances. The decorative trees were put to the ultimate test when the sound system in The Nightclub was switched on properly for the first time, as the entire room shook with energy. Now, the trees can be said to vibrate with the music. This was possibly the most difficult room to spec, according to Emma, for a number of reasons. Firstly, the ceiling height is very low, the palm trees and their positions posed challenges for the loudspeaker placement, as did the amount of tables in the room. On occasion, some tables are removed, but the space is largely used for dinner before it descends into late-night party mode. “Due to the lack of floor space, we had to think about how we could create the right effect for live music and then transform the system for the club, and give the right perspective, and be discreet,” Emma explained. The recently launched L-Acoustics Syva are used for the background music system and subtly mounted around the periphery of the dining room. “If you were sat by one of the Syva, you wouldn’t be

uncomfortable because the waveguide is so high up and all the energy is directive so it’s not intrusive. Obviously, if you stood in front of the Syva, you’d feel it.” This system and the live system are supported by L-Acoustics Syva Lows which are hidden in the room with L-Acoustics 5XTs mounted around the stage providing the live sound image. Add the discreetly mounted X8s and L-Acoustics SB18m subwoofers and they deliver the high energy levels for the DJ. “We’ve had to be creative on how we balance these different systems so that each use of the space is catered for to the highest level whether it’s comfortable, even coverage for dining or thumping bass for the late night club,” Emma continued. In terms of connectivity The Nightclub is equipped with the sort of line system you might find in a professional live music venue. Management wanted to touring engineers and visiting artists to be able to walk in and feel confident this was going to be the best club venue they’d work in, whether they bought their touring equipment with them or not. And for it to be easy for event production companies to deliver quality events without the need for lots of external production. Octavius RE has catered for audio, video, lighting and communications just to make sure all boxes were ticked. “In addition there is a redundant network that links all the spaces and all the panels. I could tell Annabel’s was going to be unique, and wanted to make sure we added hidden connectivity that would allow them to say yes to any event or wildly creative use of the space. Having this infrastructure also means they can easily expand the system in the future so it can evolve as the venue evolves. “Because Annabel’s is about being the very best we’ve ensured they have features like connections to Q-Lan, LA-Network

TECHNICAL INFORMATION SOUND THE MEXICAN, THE ELEPHANT ROOM, THE FLOWER ROOM, THE SILVER ROOM, THE ROSE ROOM, THE GARDEN, RECEPTION & CIRCULATION AREAS: d&b audiotechnik 5S loudspeakers; d&b audiotechnik 4S loudspeakers; d&b audiotechnik 16C column loudspeaker; K-Array KU44 subwoofers; K-Array KU26 subwoofers; B&W CCM362 ceiling speakers; QSC Q-Sys TSC7W touch panel controls NIGHTCLUB: 2 x L-Acoustics Syva and Syva Low loudspeaker; 4 x L-Acoustics 5XT loudspeaker; 2 x L-Acoustics X8 loudspeaker; 2 x L-Acoustics SB18m subwoofer; 2 x Shure QLXD radio microphone system; 1 x DiGiCo SD11 console; 1 x DiGiCo SD-Mini Rack CENTRAL CONTROL & AMPLIFICATION: 1 X QSC Q-Sys Core 510i digital engine; 9 x d&b audiotechnik D10 amplifier; 6 x L-Acoustics LA4X amplifier; 1 x Crown DCi4|600 amplifier; 2 x Crown DCi8|600 amplifier; 2 x Crown DCi8|300 amplifier LIGHTING NIGHTCLUB: 4 x Chauvet Intimidator Beam LED 350 fixture; 4 x Chauvet Rogue 1 LED Wash fixture; 12 x Chauvet SlimPar Pro W LED Par; 1 x ETC ColourSource 20 console; 1 x ShowCAD Artist System *extract only

d&b Soundscape – and everything is a concert hall. Enveloped by sound. Exhilarating acoustics, inside and outside. Emulated with the reverberation signatures of exemplary venues. Sound coherent with the program and setting. Transforming spaces to bring completely new listening experiences. d&b Soundscape is a revolutionary audio system processor, an object positioning tool, a reverberation system, akin to a musical instrument – a tool to provide the appropriate stage for a culture – even under the open sky.


• Above The Garden.

and dB from the relevant spaces. A live engineer will often want to see what the amplifiers are doing, he can do so from his mix position. And I believe a local wired connection to your processor makes life a lot easier, you can do updates, and engineers can check-in on the system with ease,” Emma continued. As far as processing and amplification goes for Annabel’s, a QSC Q-SYS Core 510i digital engine supported by a raft of network peripherals such as IO Frames and Flex 8s does all hard work. d&b audiotechnik D10, L-Acoustics’ LA4Xs and Crown DCi Series amplifiers deliver the power throughout the venue. For live band performances in The Nightclub, Emma included a DiGiCo SD11 with SD-Mini Rack in the inventory, which can be deployed as and when required. She said of the choice of console: “Many top tier touring artists drop in to Annabel’s for live performances and we wanted to provide a top tier music venue experience. The SD11 was the obvious choice because of the brand’s dominance in the touring market and also the compact nature of the console alongside it’s ever evolving feature set.” L-Acoustics 108P and 112P powered monitors can also be utilised for live performance, as can a full complement of microphones from Shure and Sennheiser. Emma continued: “In The Nightclub there are installed radio microphone antennae, which allows them to use radio microphones without connecting to a wall panel

or desk and are controlled from the touch panel. It’s completely independent of the desk, so there’s no need to have a sound engineer onsite. This is quite useful for someone wanting to do an impromptu speech, for instance.” Complementing the audio set-up for live events, are two lighting bars, flown just over the stage. Once again, due to spacing issues, there was a slight compromise on the number of fixtures that could be installed. The house lighting rig is a mix of Chauvet Intimidator Beam LED 350’s, Chavuet Rogue 1 LED Washes and Chauvet SlimPar Pro W LED Pars. Emma said of the choice of lighting fixtures: “The nightclub stage can host a variety of events so we had to find a small set of compact fixtures that would deliver club, live and presentation style lighting. I think Chauvet has a really versatile set of products that tick all these boxes.” ShowCAD Artist provides control for club nights but an ETC ColurSource 20 is available for live engineering, when needed. Emma added: “We’ve also got some rigging points in the ceiling, two either side of the stage and two more in the space, and in the ceiling are DMX and power panels. If for example, Annabel’s was hosting a fashion show, then the orientation of the room would be different, and they’d be able to just hook in a bar, and immediately be connected into the same DMX and power system - an easy way to expand the system. You can bring in a third party lighting console or add fixtures without

the need to run extra cables or more power, it’s all there ready to be used for events that require a little bit more than the house system.” Finishing up the tour of Annabel’s, yes there’s still more, is The Humidor. It follows the same pattern with more d&b audiotechnik loudspeakers, as well as the same touch panel control and connectivity. Each room in the house can operate independently, but equally as important, can also be linked together. The control for this aspect is very complex so an engineer’s panel is available in the comms room for this purpose. Emma outlined some scenarios: “You could say, I want the DJ in The Mexican to be routed to every single space. If you wanted to have a house party, the house could operate as one venue. The challenge was to find a way to offer the engineers’ this flexibility without making the system too complex to use.” Having a private tour of any venue is an absolute treat, as you can see it with your own eyes, witness the heart and soul that has gone into the design and execution. For a place like Annabel’s, it was a privilege to have been shown around, and get a first-hand insight into a high-end installation with a no expense spared budget something that is becoming a rarity these days. Annabel’s has without a doubt put its members first, and is delivering a firstclass experience on every level.

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Like all great novels, Around The World In Eighty Days - created by French writer, Jules Verne - was made into a film. But in fact, the book dates so far back, to 1873 to be exact, it was actually transformed into a stage performance first, then a musical and an original film, followed by numerous re-makes and even a children’s TV show. It’s probably fair to say that no matter your age, you’ll have come across the fictional adventures of Phileas Fogg and his journey to win a £20,000 wager, if he can travel the world in 80 days.


Taking inspiration from the novel, hospitality entrepreneurs, Inception Group, has opened a collection of drinking establishments in London, UK under the Mr Fogg’s Estate umbrella, all of which transport their guests back to the Victorian era. The first to open was Mr Fogg’s Residence in Mayfair, Mr Fogg’s Gin Parlour and Mr Fogg’s Tavern are both in Covent Garden, while the latest additions are Mr

Foggs’s House of Botanicals in Fitzrovia and Mr Fogg’s Society of Exploration at The Strand. Head of Marketing for Inception Group, Simon Allison said: “Mr Fogg’s is a growing brand, by the end of the year we shall have six within the collection of venues, while they retain some key similarities each one will always have its own identity. The best way to describe the bars is cocktail bars for the adventurous. We

Photo © Johnny Stephens Photography


“The hot air balloon just made sense, it was crying out to be used really. I knew that the ceiling was going to be structural safe above it, because they’d mounted the hot air balloon so, I was confident I’ll be able to hang the subwoofer. It works really well.” - Guy Ayres

want to take guests on an experience, even a journey and definitely offer a sense of escapism from modern day London back to the Victorian era. The quality of cocktails, using premium products, innovative menus, eye-catching décor that all has a very high level of attention to detail, warm hospitality, unique entertainment offerings and the teams within the venues all combine to make Fogg’s what it is. “Since Mr Fogg’s opened in Mayfair five years ago, we have seen that guests have a real affinity with the Fogg narrative and the Around The World In Eighty Days

story. Londoners have so much choice of where they can go and we wanted people to be able to visit one Fogg’s then look forward to experiencing a slightly different one somewhere else in London. There are so many concepts for future Fogg’s venues we could do, each firmly planted within the novel but the journey continued.” Diamond AV, a UK-based audiovisual design company, first took on the service and maintenance of the technology in Mr Fogg’s Gin Parlour and Mr Fogg’s Tavern. Technical Director at Diamond AV, Guy Ayres, then set about renovating Mr Fogg’s Residence, which at the time

TECHNICAL INFORMATION SOUND MR FOGG’S RESIDENCE:6 x NEXO ID24 loudspeaker; 1 x NEXO ID S110e bass bin; 1 x NEXO DTD1.3 amplified controller; 1 x BSS Soundweb London BLU100 DSP; 1 x BSS Soundweb London BLU-3 wall panel MR FOGG’S HOUSE OF BOTANICALS: 10 x NEXO ID24 loudspeaker; 1 x NEXO ID S110e bass bin; 2 x NEXO DTDAMP4x0.7 amplified controller; 2 x NEXO DTD-T amplified controller; 1 x BSS Soundweb London BLU-100 DSP; 4 x BSS Soundweb London BLU-3 wall panel MR FOGG’S SOCIETY OF EXPLORATION: 10 x NEXO ID24 loudspeaker; 4 x NEXO ID S110e bass bin; 2 x NEXO DTDAMP4x1.3 amplified controller; 4 x NEXO DTD-T amplified controller; 1 x BSS Soundweb London BLU-100 DSP; 6 x BSS Soundweb London BLU-3 wall panel LIGHTING Abstract AVR 20w/m 24V RGBW flexible LED strip; Abstract AVR 12w/m White Flexible LED strip; Abstract AVR Side Emitting Flexible LED strip; Abstract AVR CS4 5W RGBW downlights; ShowCAD Artist software package


had been open for five years. Inception Group knew it needed to up its game and deliver a high-class audio solution, since establishing a name for itself. The Mr Fogg’s experience starts at the front door with a smartly dressed doorman greeting guests and asking if they have a reservation. From entering the venue to being seated at a table is a seamless move. Guy explained further: “Hypothetically, Fred arrives at the door, he’s number one on the reservation list. After a rehearsed greeting of, ‘good evening Sir’, the doorman will pick up a gold boule, which has a number one printed on it. The boule will make its way down a moving system to the maître d’, so once inside, the greeting will change to, ‘good evening Fred, how are you? Your table is here’. That’s just the quirkiness of Inception Group.” The system isn’t exactly the same at all venues, but the welcoming concept is apparent at each location.

• Above Mr Fogg’s House of Botanicals.

Upon entering Mr Fogg’s Residence, the iconic Phileas Fogg hot air balloon is an immediate focal point. It is also the home for the NEXO ID S110e bass bin. Previously, there had been two ceiling mounted subwoofers, but when Guy designed the new system with NEXO, one bass unit was more than sufficient. “The hot air balloon just made sense, it was crying out to be used really. I knew that the ceiling was going to be structural safe above it, because they’d mounted the hot air balloon so, I was confident I’ll be able to hang the subwoofer. It works really well,” he said. Just six super compact, high-powered NEXO ID24’s were need for this space, which besides the hot air balloons is littered with trinkets, ornaments and paintings from around the world harping back to the theme - as well as and a large golden globe that forms a centrepiece for one the tables by the bar.

The ID24’s are very aesthetically pleasing, but also offer great quality audio for their size. The brief was to deliver a sound system that would be capable of bar music, two-piece bands and DJ sets. “It’s a very simple system,” Guy added. “Because the ID24’s are 16 ohm loudspeakers and the six of them run on just one fourchannel amplifier, the DTD1.3, I can get the maximum use of the processing. In turn, it means less cabling and less to maintain - simplifying at every level.” Processing goes through a BSS Soundweb London BLU-100 DSP, a setup Guy had tried and tested many times before and had installed in other venues in the UK. “Watching the system controller cut in perfectly and take charge of the system is something we’re really happy with. It’s also a simply controller to use, with a BSS Soundweb London BLU-3 wall panel installed behind the bar that staff can operate with the help of presets,” he

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“Personally, I have worked with both for 10 years now. The technology is top of the range and fits discretely into our Victorian-style venues, which is no mean feat.” - Simon Allison

explained. Continuing their work with the collection of venues, Guy and Sales Director of Diamond AV, Dave Crane moved onto Mr Fogg’s House of Botanicals, located on Newman Street. Simon said: “This is certainly our lightest of the Fogg venues, it is immersed in greenery, with the cocktails focussing on all numbers of botanicals, as well as a menu dedicated to the secret language of flowers used in the Victorian era.” The Newman Street venue was almost installed with a different brand of loudspeakers but after the success of the Mayfair Residence, Inception Group trusted Guy’s judgement and expertise. The House of Botanicals is filled entirely with flora and fauna collected from all over the world, alongside tropical plants, so once again, a discreet audio system was required. The setup was similar, making use of

NEXO ID24’s, this time 10 cabinets were required to provide full coverage for the space. The ID24 is tailored specifically for the installation environment. It is a fullrange speaker using twin four-inch drivers in a V formation in combination with an HF compression driver. It has a unique user-adjustable horn, easily rotatable without tools by a switch on the rear panel, giving 60º or 120º high frequency coverage. This allows high frequency horizontal dispersion to be ‘tuned’ for the given application. A single NEXO ID S110e bass bin is also in place to extend the low frequency. The amplification and processing differs slightly from Mr Fogg’s Residence, with Guy opted for two NEXO DTDAMP4x0.7 four-channel amplifiers and two NEXO DTD-T’s, which offer sophisticated control over crossover, EQ and time-alignment along with speaker protection. However, the BSS Soundweb London BLU-100 DSP


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• Above Mr Fogg’s Society of Exploration.

and the BLU-3 volumes control panels are still in place, too. Guy outlined the reason for this choice: “We like to keep the head end control the same in all the venues for user simplicity, and to add familiarity when managers swap between venues.” Diamond AV added some subtle lighting at The House of Botanicals using LED strips and downlights from Abstract AVR, which are controllable using a ShowCAD Artist software package. The largest of the venues is Bedford Street’s, Society of Exploration and is the most recent addition to the chain. It is split into three spaces - the main area, the carriage and the map room. Simon offered a description: “Society of Exploration on The Strand is our biggest Fogg’s to date and

is truly jaw dropping with many moving parts and even a mechanical mixologist, Star of Bombay negroni machine.” Its location is a stone’s throw away from the location that Mr Fogg embarked upon his infamous journey around the world - the bustling Charing Cross station. It’ll come as no surprise that with a larger venue comes a larger sound system. Guy specified 10 NEXO ID24’s again to cover the three spaces, but as the carriage is deemed the party area, additional bass bins were added there, taking the total of NEXO ID S110e subwoofers up to four across the venue. Two Nexo DTDAMP4x1.3’s and two NEXO DTD-T’s power and control the system, and following the setup pattern, a BSS Soundweb London BLU-100 DSP and

six BLU-3 volumes control panels have also been installed. On working with NEXO and Diamond AV, Simon said: “Personally, I have worked with both for 10 years now. The technology is top of the range and fits discretely into our Victorian-style venues, which is no mean feat.” To finish off the Mr Fogg’s Estate - for this year anyway - will be Inception Group’s first Mrs Fogg’s. Located in the heart of the city, the theme will be Fogg’s wife Aouda putting her take on a Fogg’s venue. But with Simon alluding to many more ideas for adaptation of Mr Fogg’s, don’t be surprised to see more venues in the collection open up in 2019 and beyond.


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Photo © Luca Parisse



Arguably the most renowned artwork in the world, Michelangelo’s fresco in the Sistine Chapel attracts five million tourists from across the globe every year. Now, visitors to Rome can see the cornerstone of High Renaissancefiveart brought to life with a fully immersive production.

Since it opened in March, Giudizio Universale has showcased a city steeped in history to millions of visitors. Subtitled Michelangelo and the Secrets of the Sistine Chapel, this theatrical performance transports audiences back to the 16th Century and brings them face to face with a young Michelangelo and Pope Julius II, who challenged the sculptor to pick up a paintbrush and create a masterpiece on the ceiling. The show’s three-way collaboration between Panasonic, Osram and Bose Professional showcased the latest projection, lighting and audio technology, all overseen by Marco Balich of Artainment Worldwide Shows. In light of the success of Giudizio Universale, organisers now hope to bring the event to venues across the globe. The show’s permanent home is in Auditorium Conciliazione, a stone’s throw away from Vatican City. With a résumé boasting several Olympic Opening Ceremonies, there were few


entertainment visionaries better equipped to bring the works of Michelangelo to life than Marco Balich. The Chairman of Artainment said he was humbled by the appointment and proceeded with ‘rigorous respect’ to create a show in which ‘the genesis of a masterpiece of universal art is narrated by mixing all the languages of the world of live entertainment today’. He credited the Vatican Museums, Monsignor Nicolini and the then Director Antonio Paolucci for their support and attention since the project’s inception in 2015. The two pillars of a Marco-led show are ‘emotion and authenticity, he said, adding that he learned the importance of audience engagement during his time at the helm of the Olympic ceremonies. Much like those culturally-stimulating events, Marco’s work on Michelangelo and the Secrets of the Sistine Chapel was ‘a privilege and a huge responsibility’ he did not take lightly. He shared his hopes for the show’s reception: “We like to think spectators, especially the younger ones, leave inspired. There is nothing more exciting than the beauty of art!” Stufish Entertainment Architects was hired to bring Marco’s vision to life through creative set design. The studio stated its intention to recreate the ecstasy of a rock show by surrounding the viewer with light and exposing them to the power of imagination. The show itself consisted of a 270° immersive projection with all content being designed and animated by Luke Halls Studio. “It’s been a real privilege to work up-close with such amazing artworks,” stated Luke Halls. “The opportunity to create a new style of show that enables people to see these much loved paintings in a new way was too good to pass up. Working at this scale is always exciting and I hope audiences get to enjoy this show for years to come.” The vaulted structure of the Auditorium Conciliazione offered an extraordinary backdrop to the high definition video content. Moving images were projected onto an area of over 1,000 sq metres and positioned more than 12-metres high above around the audience. Panasonic Visual System Solutions was the technical sponsor for the show. “Without access to the very latest technology, we could never have succeeded in giving concrete expression to our vision, using the immersive 270° projection,” stated Marco, complementing the reliability and usability of the technology. He continued: “Above all, it exceeded our expectations in terms of image quality and brightness. We could concentrate on the production of content which produced the ‘wow’ effect.” The projection was divided into five

sectors; two lateral walls with eight PT-RZ31Ks (31,000 lumen); the vaulted ceiling which was fitted with six PT-RZ21Ks (20,000 lumen) and two PT-RZ31Ks; the proscenium featured four PT-RZ31Ks; the front gauze hosted four PT-RZ31Ks; two PT-RZ12Ks (12,000 lumen) were used for mapping a replica of Michelangelo’s David on the stage; and finally PT-RZ21K projectors with EL-D75LE95 short throw lenses projected vertically onto the stage from above. Daniele Parazzoli, MD of projector vendor Event Management, cited Panasonic’s reputation for reliability in laser DLP technology as justification for his choice. “In representing the frescos of the Sistine Chapel, the aim was to ensure a result equivalent to the original. The chromatic consistency and the contrast ratio of Panasonic’s projectors were determining factors in achieving the objective.” Driving the video projection was a disguise gx1. “The disguise media server is a very powerful system,” enthused Parazzoli, praising its three-dimensional visualisation abilities. “During the setup of the show we did a laser scan of the theatre and fed that information in the media server, which made it much easier when mapping all the various projection surfaces.” Jan Markus Jahn, Director Visual Systems Solutions of Panasonic Europe, stressed the company’s passion for new ventures: “It is a great honour to be part of this unique and original event, where art is married to the most sophisticated technology to create live entertainment. Thanks to the creativity of Marco Balich and Artainment Worldwide Shows, we have had the opportunity to showcase our cutting-edge laser projection technology in such an artistic way.” Showtex provided all of the projection surfaces for the show. On stage, two horizontal layers of dark grey GobelinTulle struck the perfect balance between front projection and transparency. By varying the amount of light on both theatre scrims, the audience witnessed an amazing 3D effect that blurred the line between physical and digital reality. At 27-metres wide and 12-metres high, the vault provided an impressive projection surface in need of some high-quality masking curtains. Over 500 sq metres of black Molton legs and custom-curved borders were used to carefully mask the auditorium to keep all unwanted light out and make the projections shine. The flame-retardant Molton also served a dual-purpose by eliminating reverberations and enhancing venue acoustics. Osram worked alongside the


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• Above A whole catalogue of Panasonic projectors were used in the auditorium.

inspiring projection show as the official lighting partner for the performance. Since opening night, Osram brands Clay Paky and ADB helped enhance the mood as the audience was transported from scene to scene throughout the 60-minute performance. Award-winning Lighting Designers, Bruno Poet and Rob Halliday introduced a variety of Clay Paky’s powerful moving lights for aerial effects to create drama and excitement. Meanwhile, ADB theatrical projectors generated an atmosphere that Marco dubbed ‘artistic, emotional and spiritual’. This was not the first time Bruno and Marco had collaborated. The LD had provided his services for Intimissimi On Ice. However, Bruno had already committed to the new Tina Turner musical in London and therefore unavailable to prepare the show. After much persuasion from Balich, he agreed that as long as he could co-design the show with a partner who would be present it was a deal; enter Rob. Both noted it’s rare to find two LDs willing to co-design one show, but added it was actually beneficial. “Lighting can be quite a lonely profession,” admitted Bruno. “Having a ‘production friend’ - someone to talk things through with, someone to bounce ideas off, someone to reassure you you’re not crazy - was wonderful. As suspected, two heads are indeed better than one.” The lighting arsenal included 19 ADB Warps and 51 Clay Paky Scenius Unicos, which use traditional lamp technology. Also on show was an assortment of luminaires including 29 Clay Paky SharBars and 11 ShowBattens to generate

colourful light barriers, plus Stormy stroboscopes to emulate striking lightning. There was also a call for beam effects, particularly symmetrical ‘wings’ of lights moving in the air. This would traditionally come from a Clay Paky Sharpy or Mythos but there were concerns within the Giudizio Universale production team about the available power, heat management in the building, and longterm running costs. Fortunately, Osram had a new product available at the perfect time, the Axcor Beam 300; an LED version of the Sharpy. In total 47 Axcor 300’s were deployed across the rig. For fast-moving mid-air beams, 16 K-EYE K10’s and two K-EYE S10’s, with their HCR technology, were able to wash the stage and audience with colour. Finally, a circle of 50 ADB Svobodas was

used at the show’s climax to emulate the Sun. The request from the designers to use this heritage fixture gave the Osram group an excuse to finish redesigning the Svoboda for the modern age and continue with its production. Prior to installation, Rob utilised an ETC Eos lighting control system and pre-programmed parts of the show using WYSIWYG virtual lighting software. This was not the usual kind of load-in, he explained, for two reasons. “The whole show was firstly classified as a permanent installation,” he began, adding: “It fell under the jurisdiction of two authorities; the city of Rome and Vatican City.” For the production, this meant no plugs, no sockets, no patch bays. All of the lights had to be run back in fireproof cable and then hard-wired into a new dimmer and

TECHNICAL INFORMATION SOUND 4 x Bose ShowMatch SM5WG55 cabinet; 4 x Bose ShowMatch SMS 118 subwoofer; 12 x Bose ShowMatch SM5 cabinet;6 x Bose ShowMatch SM5 cabinet; 3 x Bose ShowMatch SM10 cabinet; 5 x Bose ShowMatch SM20 cabinet; 4 x Bose ShowMatch SMS118 subwoofer; 18 x Bose RoomMatch RMU208 cabinet; 2 x Bose RoomMatch RM12040 cabinet; 8 x Bose RoomMatch RM12060 cabinet; 6 x Bose RoomMatch RMU208 cabinet; Powersoft X8 Dante amplifiers; Bose PowerMatch PM8500N amplifiers; Riedel intercom system; Sennheiser TourGuide 2020-D translation system LIGHTING 19 x ADB Warp fixture; 51 x Clay Paky Scenius Unicos fixture; 29 x Clay Paky SharBar fixture; 11 x Clay Paky ShowBatten fixture; Clay Paky Stormy stroboscopes; 47 x Osram Axcor 300 fixture; 16 x Clay Paky K-EYE K10 fixture; 2 x Clay Paky K-EYE S10 fixture; 50 x ADB Svoboda fixture; ETC Eos lighting control system; WYSIWYG virtual lighting software


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Photo © Luca Parisse

Photo © Luca Parisse


distro room. Rob explained how the team rose to the challenge: “This was quite an undertaking, slightly delayed and with temporary power installed as a workaround, but ultimately very well achieved by the team, with a big rack of RCD circuit breakers feeding the moving lights, and with an ADB TwinTech dimmer rack feeding the Svobodas and other tungsten lights.” Aiding the two LDs were Lighting Assistant, Robin Senoner and Production Electrician Daniele Giuliano. After presenting the best pitch of many according to William Geroli, Supervisor of Balich Worldwide Shows - Bose Professional took up the mantle of official audio partner for this immersive experience. “Our goal was to create a perfectly integrated audio installation within a high-resolution video setting, embedded in the fixed scenographic structure created for the Roman auditorium,” explained Moreno Zampieri, Bose Italy’s Technical Supervisor, who directly monitored the installation’s design. “Unlike any other musical event where the audience’s attention is aimed at front stage, in Giudizio Universale’s case the spectator feels completely immersed in the artistic experience, as the upper vault and the space around the stage are entirely covered by HD projections. As a complementary aspect to the visual stream, a powerful audio installation - an integral part of the three-dimensional journey - was needed.” The aim was to find a place where 3D sounds, surround videos and aesthetics could ideally be gathered together. “The installation goes beyond the typical 5.1 surround. If we count the relevant points, this is a versatile

• Above Clay Paky, ADB and Osram fixtures feature in the installation.

9.4 system,” added Moreno. Marco chimed in to explain his choice of Bose Professional, pointing to the quality of sound, pressure levels and its design, which was able to ‘combine the obtainable immersive audio experience with a lower quantity of audio points’. To bring the event to life, Marco brought in an array of entertainment heavyweights. Sting produced the original theme for the production and John Metcalfe, who among many accolades has produced for artists such as U2, Blur and Coldplay, wrote the soundtrack for the event. Marco Itta from Auris Populi was the system ntegrator for the show. He discussed how the ratio of direct and reverberant sound was a major concern, adding the Bose Professional DeltaQ series was able to ensure each attendee got the full immersive experience. Each of the main Bose ShowMatch DeltaQ clusters comprised two Bose ShowMatch SM5WG55 waveguides, two SMS 118 subwoofers and six SM5 modules. The centre hangs consisted of three Bose ShowMatch SM5 modules, one SM10 module, one SM20 modules and two SMS118 subwoofers. The down-fills were an SM10 and an SM20 per side. The rest of the rig filling the room was made of Bose’s RoomMatch. Left and right surround speakers are seven RMU208’s per side. The delays consist of an RM12040 per side and rear surround came from four RMU208’s. The ‘over’ speakers are four pairs of RM12060’s configured in stereo. Flown above the audience stage monitors are six RMU208’s. Amplification consists of a combination of Powersoft’s X8 Dante and

Bose PowerMatch PM8500Ns. Only the rear surround speakers and two delay enclosures were partially visible, with the rest of the rig concealed behind the projection surfaces. Another notable addition to the audio department was Riedel, which provided the intercom system that allowed the cast of 30 people to work harmoniously for more than three months in three different languages. Finally, Sennheiser collaborated as a technical partner on the show. The company provided the innovative TourGuide 2020-D translation system. Each member who wished to hear the performance in a different language were presented with an EK 2020-D-II bodypack receiver, which were able to stream dialogues and voices offscreen in English, Chinese, Japanese, French, German, Portuguese, Russian and Spanish. The complete Tourguide 2020-D has been developed to ensure a quickly set-up for operation with receiver channels being synchronised at the push of a button while still in the charging bay. In summary a system which prides itself as being simple and intuitive for the end user. With local and international praise in abundance, it seems that Giudizio Universale is quickly becoming a highlight of the 21st Century Roman tourist experience and a vital tool to learn more about the region’s rich history. Next time you’re in this part of the world, take a break from the crowds (and the heat) and see the upper limits of what the entertainment industry can create.

Photo © Gordon Welters



The O2 is the world’s most popular music and entertainment venue and was named 2018 Pollstar ‘International Venue of the Year’ for the tenth time since its opening on 2007, amongst other numerous awards over the past 10 years. Last year The O2 celebrated its tenth anniversary with a series of concerts featuring Ed Sheeran, alt-j and Celine Dion. Famed for its musical performances, The O2 hosts a plethora of other events including comedy, exhibitions and sporting competitions from the worlds of NBA ATP tennis, martial arts, gymnastics, boxing and was a venue the 2012 Olympic Games. No matter the type of event taking place,

a production audio and Public Address/ Voice Alarm (PAVA) system is a vital element of the arena. It is used for every date in the diary for general messaging and security, and with sports games, it is often utilised for FOH presentation and commentary. Venue operator, AEG, has been working with system integrator, SSE Audio Group for the past 10 years, so when AEG began a life-cycle analysis to identify a critical equipment replacement programme, SSE Special Projects was its first port of call for the technical review. Director of Building Services at The O2, Lee Lacey explained: “Back in 2013, we did a site-wide lifespan analysis and looked


• Above The roof mounted PAVA system at The O2 Arena.

at all our assets - electrical, UPS, mechanical, ventilation and of course our PAVA system. Our consultant said, even though the system did have some life left in it, we should start looking into options. We wanted to enhance the system, not just swap it out like for like. We also needed to work out how to upgrade the system bit by bit without interrupting the arena schedule. The system has to work across the entire venue, even if there isn’t an event taking place.” SSE Audio Group’s Head of Special Projects, Eddie Thomas, was tasked to provide a new PAVA design with a number of options for The O2. After many discussions and design concepts SSE Audio and AEG settled on a preferred option and set about a five-year


“ShowMatch offers great coverage, right down to the floor, and that’s because of the different elements that are available within the series 5º, 10º and 20º with different horizontal dispersion horns. We’re using a combination of those in the arrays to give us even coverage all the way down the bowl. The centre clusters cover the entire audience, all the way down to the front seats but don’t cover the arena floor.” upgrade plan. This began with the sitewide PAVA network, then the Back of House (BOH) amplifiers, with the arena bowl loudspeakers and the subwoofer arrays added this year. Eddie commented: “We looked at replacing key elements of the technology by doing an evaluation exercise, looking at what might be around the corner and what future technologies were coming up. We wanted to provide a 10year future proof life cycle system. We looked at networks, amplification, loudspeakers and of course we had to look at the operational suitability - which systems could provide bespoke control for security, engineering control and fault reporting - because primarily the system is used for both production and life safety. “We reviewed the main factors of the technology available; looked at various networks; talked to different manufacturers and got an insight into where they thought they were going with their networking technologies. We found one we were happy to work with, a company we’d worked with before. Next we looked at loudspeakers and again talked to the manufacturers and we then looked at how we were going to integrate all these technologies into a single platform.” Eddie opted for a QSC Q-SYS digital audio platform and network with Bose ShowMatch line arrays powered by Crown amplification within the main performance bowl area. The BOH areas are served from multiple equipment racks containing Q-SYS and Crown amplification. “We had to consider the network topology and consider reusing the existing fire rated fibre cable backbone. The system is based on two redundant QSC Core servers, each of which has a separate fibre network and two separate equipment racks, so in effect there are two networks running from independent locations. In the event of an incident in one part of the building, it doesn’t

compromise the system,” Eddie continued. “We had to look at the network connectivity to the Crown amplifiers, too, because they obviously run on Dante as well as HiQnet, but not on Q-SYS. We sat down with Harman (Crown amplifiers) and over a period of about six to eight months we developed a Q-SYS plug-in, a software plug-in that is an object within a Q-SYS design file. It allows us to extract data from the HiQnet ports on the amplifiers, so we can monitor the loudspeaker circuits, the signal paths and check the condition of the loudspeakers.” Originally Eddie was going to use Bose RoomMatch but because of his relationship with Bose, he got a little insider knowledge, and hung back for the ShowMatch instead. The Bose line arrays as a general rule, run on Bose amplifiers, so matching them with Crown for this project posed another challenge for Eddie and the team. He had to develop DSP tunings that would work within the Crown amplifiers, and offer the optimum performance expected from the ShowMatch. “We sent the two models of the amplifiers to Bose, and they put in some DSP tuning, which were not far off what we’d put in ourselves, so we were pleased with that,” said Eddie. The Bose arrays have been flown on a central circular truss in the bowl. Two of the arrays feature nine ShowMatch cabinets, and the remaining six comprise eight boxes. “ShowMatch offers great coverage, right down to the floor, and that’s because of the different elements that are available within the series - 5º, 10º and 20º with different horizontal dispersion horns. We’re using a combination of those in the arrays to give us even coverage all the way down the bowl. The centre clusters cover the entire audience, all the way down to the front seats but don’t cover the arena floor,” Eddie continued.

For sub-bass, the Bose RMS218 subwoofers were selected. A total of 24 RMS218 cabinets in six vertical hangs were roof mounted alongside the centre cluster arrays. Concert production arrays were installed within the horseshoe end of the arena and comprise four ShowMatch eight-box hangs, which throw across to the rear of the arena at level four. These provide the delay coverage to the upper levels when connected to the visiting / event production PA system. The loudspeaker setup was designed in Bose Modeler prediction software. “We had to look at the performance criteria and the BS7827 standards, which is fairly normal for arena and stadium use. It’s not an EN54 scenario but it’s a PAVA system that meets BS7827. The performance standard we were looking for was around 110dBA on the floor and around 103dBA on the production delays. For speech and intelligibility - 0.5 STI is the standards required target, but we’ve actually achieved .65 STI. The broadband RT is about 1.9 seconds, which is good for an arena of this size,” Eddie explained. For both elements of the PAVA system, FOH and BOH, Eddie specified the same amplification for consistency of maintenance and performance. For the Bose ShowMatch arrays in the bowl and production delays, Eddie specified Crown DCi 4|1250 amplifiers for low frequency and DCi 8|600 for the high frequencies. The sub-bass arrays are powered by Bose PM8500 amplifiers. The same Crown DCi-DA models were also used in the BOH loudspeaker zones. Tying the entire system together is the QSC Q-SYS network. Eddie specified a pair of QSC Q-SYS Core 3100i processors as the backbone of the system. From the two remote control racks Q-SYS Cores are linked over dual fibre optic cable backbone to over 100 Crown DCi-DA amplifiers, housed in 16 amplifier racks and




Stereo imaging was very stable, with a broad ‘sweet spot’ and an excellence sense of depth and space.

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• Above The ShowMatch series from Bose was selected as the best PAVA solution.

also security and control network stations with full GUI access. Eddie elaborated: “Our Q-SYS network has complete redundancy, with separate fibre cable connections, separate fibre cable distribution switches, every rack has an A and a B fibre going to it from the Core servers in different locations - so there are multiple levels of redundancies. We can lose quite a bit of the network without it affecting the performance of the VA system. Independently in the rack, we have our two fibre cables coming in, going through two separate A and B network switches and then split out to the amplifiers. Each amplifier is on its own separate A and B Dante network as well.” Part of the operational requirements are security and general messaging during events, so SSE has provided a number of control screens for The O2. These are quite large - 32-inch touchscreen monitors to be precise. One is located

in the main security room, one in the event control room and another in the sound control room. The in-house SSE Audio engineers can use these to look at the status of all the racks; any faults turn orange in the system to indicate that piece of equipment is compromised. The team can then use the touchscreens to interrogate the rack fault, the GUI will then identify exactly where the fault is, so it can be addressed and fixed. Paging units (GUI), were also designed specifically for this site, that allow full control of both the emergency and event security messaging systems. A message can be recorded, stored in the system, to be played out at the correct time, in different zones, as required. Each zone 140 in total at the last count - is allocated in the system and there are a number of presets that are used in each zone for almost every event - standard general messages. Live announcements are

obviously, also possible. Summing up, Eddie concluded: “The venue now has a great sounding, robust and incredibly flexible audio and PAVA solution, that we can now build on for future developments on the site. The PA system is used as a standalone audio solution for sporting events and other productions in the round. For concerts and touring productions, where a stage is built at one end of the bowl, the touring system will provide the main L-R audio but will interface with the house system for upper delays and infill. In all applications the system is the venue’s PAVA solution, enabling security and management staff to provide guidance in the event of an incident or emergency.” There’s still more to come too, with further plans due to be implemented over the next two years.

TECHNICAL INFORMATION AUDIO 8 x Bose ShowMatch line array; 6 x Bose ShowMatch RMS218 subwoofer array; 4 x Bose ShowMatch production array; 2 x Bose ShowMatch upper delay array; Crown DCi 4|1250 amplifiers; Crown DCi 8|600 amplifiers; 2 x QSC Q-SYS Core 3100i processor; QSC Q-SYS Core 510i processors; QSC Q-SYS I/O Frame Type 2; Dante audio cards



The second largest shopping centre in the UK, intu Trafford Centre - now owned by intu Properties - has recently seen the audio system in its atrium space known as The Orient upgraded. The Orient, the largest food court in Europe, with more than 30 restaurants, cafes and bars, is the entertainment and hospitality hub of intu Trafford Centre, which welcomes 30 million visits each year. The Orient is a huge part of the attraction, with 30,000 visitors each week visiting the two-level space that can be used for live events, fashion shows and seasonal celebrations. Having worked on the original system when the shopping centre opened, systems integrator, T.G Baker was enlisted by the team at intu Trafford Centre to help design a complete audio

solution for the large, reverberant space that is based around a large screen. Jason Longworth, Project Director at T.G Baker, takes up the story: “So, TG Baker was involved in the original installation of the system back in 1998 when the Trafford Centre first opened. Now, 20 years has since passed, so the team at the Trafford Centre came to us as they wanted to upgrade the sound system in The Orient. “The choice of the NEXO products was based largely on our excellent relationship with NEXO UK, where Gareth Collyer helped us with the system design, using NEXO’s proprietary NS-1 modelling and prediction software. “We’ve done quite a few projects recently with NEXO and we thought they had the right products to suit the install. After some discussions, the potential new system was presented to the client. They then gave us the go ahead without further ado.” The primary system for the space is a NEXO GEO M6 compact line array, with six box hangs of white M620 loudspeaker cabinets bracketing the huge video screen that is the focus of The Orient. These small loudspeakers throw sound over 50-metres


“The NEXO cabinets sit on an existing fibre network, which was installed by T.G Baker when intu Trafford Centre first opened in 1998.”

• Above The NEXO inventory includes the ID Series and the GEO M6 line array.

across the main seating area of the food court and are supplemented by a pair of NEXO LS18 subbass units, which are discreetly fitted into the structural surrounds. Around the perimeter of the large atrium, the space on the ground and first floor levels is served by eight pairs of NEXO’s ID Series - super-compact point-source loudspeakers. For this particular project, white models with a 120° x 40° dispersion pattern are used, with all 16 loudspeakers time-aligned using BSS Soundweb. To power the whole audio system, four NEXO NXAMP 4×1 controller/amplifiers are used. Each pair of ID Series is on a separate channel, with another four channels handling the GEO M6 line array. There is a fourth amplifier for the

LS18 subwoofers, too. The NEXO cabinets sit on an existing fibre network, which was installed by T.G Baker when intu Trafford Centre first opened in 1998. It will also play a role in the safety and evacuation provision for The Orient and has been set up to supplement the existing voice alarm system. As is often the case with these type of projects, there were some challenges during the installation. “The fact that the Trafford Centre is open from nine in the morning to at least 2am due to the cinema complex was something that we had to work around,” explained Jason. “The area is pretty busy until the cinema has finished the shows. So, we couldn’t really start any work in


“Both the ID Series and the GEO M6 are notably small cabinets relative to their output, so the results are aesthetically pleasing, as well as sonically efficient.”

earnest until 3am.” When it came to the actual installation of the boxes, access was an issue that had to be resolved, too. Jason said: “As the floor in The Orient is a sprung floor, we weren’t allowed to use any powered access equipment. The only solution was to build scaffolding across two consecutive evenings to allow us to install the two hangs. Similarly, we couldn’t use any access equipment around the perimeter, meaning that scaffold towers were erected to complete the install there. “All in all, we delivered the project over a consecutive period of over three nights,

with a fourth night to connect and commission the system.” Overall, the project has been a huge success for intu Trafford Centre and T.G Baker, with NEXO providing exactly what was required for The Orient. “Both the ID Series and the GEO M6 are notably small cabinets relative to their output, so the results are aesthetically pleasing, as well as sonically efficient,” added Jason. “The intu Trafford Centre team have been pleased with the results so far - initial feedback has been really good and we’re delighted with how the project turned out.”

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Attention please, can all passengers at Brussels’ Zaventem Airport please head to terminal B to bear witness to an impressive technical collaboration between ArKaos Pro, ACT lighting design and Create.

Flying high as a native real-time visual processing technology provider, ArKaos Pro continues to expand its architectural and commercial creative media installation sector portfolio, with its latest landmark project at Brussels’ Zaventem Airport’s International Terminal. The brainchild of Lighting and Visual Designer, Koert Vermeulen of creative agency ACT lighting design; ArKaos Pro Kling-Net control protocol and Kling-Force LED interfaces bring dynamic control to a stunning 30,000-pixel LED video and kinetic sculpture, which runs above the airport’s main travellator - spanning the entirety of the jetway to the baggage reclaim hall. ACT lighting design was commissioned by Flanders Tourism’s, Toerisme Vlaanderen to design, specify and supervise the production. When it came to the installation, systems integrator Create, secured and delivered the project based on ACT lighting design’s specifications. ArKaos Pro Managing Director, Agnes Wojewoda, picked up the story: “We work with a number of production companies and designers and were very happy to co-operate with Koert again on such an imaginative installation. His pioneering work in the creative media field really pushes our technologies and these are the challenges we love.” The animated installation sits 100-metres long and boasts a combination of low and medium resolution LED strips and panoramic video panels in the ceiling, fitted above kinetic fabric.

A continual loop of content runs on the display, and despite its unpredictable and demanding environment, the project showcases a glimpse of what passengers, arriving into the airport’s main international terminal, can expect from the region and recommended destinations to visit as they walk through. The one-of-a-kind solution utilises ArKaos Pro Kling-Net running via the Kling-Force LED interfaces, specifically designed as a straightforward plug-andplay solution for running data to all types of LED strips. The system is also working with a range of LED strip currently products available on the market. Despite the two ‘architainment’ sector juggernauts coming together to deliver a series of solutions in the past, the Brussels’ Zaventem Airport project marks the first time ACT lighting design has utilised ArKaos Pro Kling-Net in the realms of a permanent installation. “It was an extremely versatile, good quality, stable and affordable way to run content to this vast number of pixels,” explained Koert. “There would be huge

advantages with the ease-of use and manageability of a Kling-Net / KlingForce LED interface combination, and that ArKaos’ engineering would deliver exactly what we needed with great support and huge enthusiasm.” Once onsite, Create, wrestled with several practical and physical challenge associated with working airside in a busy and fully-functioning international airport. Lucenti, a native-Belgian company, manufactured the LED strips and panels, along with additional Kling-Net chips supplied and embedded in the strips, courtesy of ArKaos Pro. The project was successfully managed for ArKaos Pro by the Brussels-based company’s Operations Manager, Benjamin Bauwens from start-to-finish. While the kinetic fabric, in a similar way to prismatic lenses, refracts a light source placed inside its fibres in a number of different ways according to the weave. The video server, supplied by Create, utilises ArKaos Pro MediaMaster5 software and a total of eight ArKaos

Pro Kling-Force LED devices; driving the installation to communicate with MediaMaster 5 via ArKaos Pro KlingNet; resulting in the entire mapped canvas dictating the content during a continual loop. Interestingly, the entire installation can be viewed from up to 200-metres away and is frequently attracting passengers and passers-by heading towards the destined baggage area, having exited their planes. The timing of the video loop is optimised for both the eager hot-footed travellers and the average ‘business pace’ walk down the travellator - allowing the airport’s two million plus monthly passengers - to successfully arrive at their desired destination and admire next-generation technology all the same. Highly visible, the installation adds a welcoming sense of entertainment and anticipation to an already energised and fast-moving space in Brussels. So, sit back and enjoy your flight!

TECHNICAL INFORMATION VISUALS 1 x ArKaos Pro MediaMaster5 software; 8 x ArKaos Pro Kling-Force LED device; ArKaos Pro Kling-Net protocol; ArKaos Kling-Net chips; Lucenti LED strips; Lucenti LED panels

• Above The 30,000-pixel LED video and kinetic sculpture runs above the airport’s main travellator.


Symetrix’ ease of use earns rave reviews at Arvada Presbyterian Church.

Arvada was established as a small town about seven miles northwest of Denver, less than six years before Colorado attained statehood in 1876. Incorporated in 1904, it once claimed the title of ‘Celery Capital of the World’. Today, Arvada is a thriving commuter suburb of 112,000 people. The Arvada Presbyterian Church goes back to Arvada’s early years, beginning in 1904 with a congregation of 14. Its current main building was dedicated in 1916, making it the second-oldest church building in Arvada. An educational wing was added in 1952. As of 2016, the church boasted a congregation of 245 members. Services are mostly traditional and feature a 20- to 30-voice choir. During the summer, the choir takes a break, and three to five praise singers lead worship. An electronic keyboard and an assortment of microphones are obvious concessions to modern technology. But behind the scenes, a stateof-the-art Symetrix Prism 12x12 DSP manages the church’s sound system, offering auto-mixing with a simple user interface, with access to deeper features when needed. “The Arvada Presbyterian Church leaders developed their sound system over the years, as technology changed,” related Dave Kistler, President of systems integrators Equalized Productions, which designed and installed the Symetrix system. “Their old system, which used an analogue mixer, was being run by high school students. When the students went to college,

two members of the congregation ran the system, which was okay until those two gentlemen retired and began travelling more often. So, the church asked us to design a sound system that was completely automated and could be set up for a few different scenarios, using presets, so it would sound good without requiring somebody who’s knowledgeable about audio. They wanted access to the back end, with the EQs and limiters, but they don’t intend to mess with that for the most part. And they wanted a system that could be quickly and easily reset to its standard settings. Symetrix’ Prism DSP and SymVue software enabled us to provide all of that.” The flow of the sound system is fairly straightforward. The church has an assortment of handheld and lapel wireless microphones, the lectern mic, choir microphones (pencil condensers), and wired mics for the praise singers, plus the electronic keyboard. All told, the system uses about 20 audio channels, so the Symetrix Prism 12x12 is connected via Dante to a Symetrix xIn 12 analogue input expander, for a total of 24 analogue inputs, leaving room for growth. The Prism’s analogue outputs feed the church’s older Crown and QSC amplifiers, which in turn drive QSC loudspeakers in the sanctuary and Atlas in-ceiling loudspeakers in the lobby. “After analysing everything, we decided to leave the existing speaker and amplification system intact because it was robust enough and complemented the facility,” recalled Dave. “That enabled us to avoid


acoustical treatment. So the main item was the Symetrix Prism. We also added Slade power sequencing, so they can turn everything on and off from the booth, and we put an amplifier rack in the back room. They had traditional two- or three-gang faceplate floor boxes and had problems with people breaking the mic connectors, so we installed recessed floor boxes.” For easy and intuitive control, the Equalized Productions team provided a Dell touchscreen PC running Symetrix SymVue software. “They log into their computer, launch the application, and enter in a four-digit PIN for security purposes,” Dave said. “That brings up a screen that allows them to go into the front-of-house mixer, the stage floor-monitor mixer, and the choir monitor mixer, each of which is independently mixed in the Symetrix Prism using the touchscreen. Preset buttons call up the different situations they’ll encounter. For example, there’s a preset for the school year, when the choir is performing, and another preset for the summer, when the praise singers are performing with handheld, wired mics.” Symetrix DSPs are Equalized Productions’ regular go-to systems, and the Prism proved an excellent choice for Arvada Presbyterian Church. “We choose Symetrix primarily for the ease of programming,” Dave explained. “It just makes sense. SymView was the key component that allowed us to go into the mixer and control everything. Creating the back end is so much simpler than with other DSPs. With Symetrix, I can clean up the console,

so when the client launches the virtual mixers, everything is simple. I can get rid of the Solo button, the Level button, and anything else they might hit that could mess things up. We label the mixers with the channel number that is associated with the floor box, and we create labels that makes sense to them, like ‘this is Pastor Bill’s mic’.” Dave’s team used SymView to enable the client to log into the mixing console, mix as they wish, and then reset the system with one preset. “They also have an Admin console where they can adjust the EQs, limiting, gating, and so on,” Dave added. “They didn’t want to control all that stuff but they wanted to be able to see it. So they have two separate SymViews that they can log into: one is for regular control and one is Admin.” By doing all mixing and processing in the Prism, Equalized Productions was able to remove not only the old analogue mixer but old rackmount gear, such as graphic EQs. “We took 32 spaces of equipment down to 2,” Dave detailed. “Overall the new system looks simple and appealing. During training, they wanted us to demonstrate messing the entire mix up and then resetting the system to get back to safety. The way we programmed the Symetrix system, they hit one preset button, and that happens. They loved it; they were raving about it. That’s what’s great about the Symetrix system.”



Tucked away on a Caribbean island, Basil’s Bar has a history dating back 40 years. Streamline Systems has given it a full make-over.

The bite-sized island of Mustique, measuring just 5.7 sq km, is just enough space to house the most elite clientelé, wild parties, sleepless nights and lazy days while keeping the place confidential. The little morsel of land lays just 100 miles west of Barbados in the Caribbean chain and what is a bright light attraction for celebrities, actually doesn’t have any streetlights, a feature that grows on you quite quickly. In 1958, Lord Glenconner, Colin Tennant, arrived on Mustique and bought the island for just £45,000, despite the fact it had no roads, no jetties and no running water. Initial ambitions were to see it thrive as a cotton plantation, but these plans didn’t prove


economically viable and Colin looked for other ways to develop the island. Having gifted his good friend, Princess Margaret a plot in 1960, there was considerable media interest in Mustique as a destination and in 1968 he formed the Mustique Company to develop a private island hideaway for the rich and famous. Fast-forward to 2018 and the island is celebrating the 50th anniversary of the formation of The Mustique Company. At focal point on the island is Basil’s Bar, where for more than 40 years Basil Charles has served regulars their favourite tipple. In commemoration of the anniversary, Basil’s Bar has been

refurbished, by none other than, Philippe Starck. Part of this refurbishment included the design and installation of audio, video and lighting systems; cue the services of Streamline Systems. Streamline Systems has been at the forefront of low voltage engineering and installation and maintenance since 2007 and is well-known for its work across the Caribbean. CTO of The Mustique Company, Leigh Fereday, contacted Michael Pereira, Director of Streamline Systems to take up the challenge. Streamline was given what could be considered a simple task: ‘light the stage and a small area for the Wednesday

night Jump Up party’. But lead Lighting Designer and Director, Michael wanted to ensure he got it just right. He said: “We needed to install a modern lighting system, which could be seen in any club in London or NYC but make it look at home, outdoors, on a beachfront, on an island that doesn’t even accustomed to streetlights. And we needed to achieve all this, while not stepping on Philippe Starck’s toes. “We viewed the property from multiple angles and wanted to give it a bang, without taking the bar out of its element or removing natural beauty. We wanted to highlight both height and depth

• Opposite and above Streamline Systems had all the elements to contend with for this beachside bar redesign.


• Above The lighting inventory includes DTS and Blizzard fixtures.

so uplighting the coconut trees was balanced with the lighting of the surrounding ocean, all with high quality RGBW fixtures which will stand up to the salt water. The DTS DIVE 6 fixtures fitted the bill perfectly with their IP68 stainless steel and bronze body,” Michael continued. The dancefloor in front of the stage had its own challenges, as it’s nestled between gazebos and is fully open to the elements. A total of 16 smaller DTS fixtures, the DTS DIVE3’s wash the main dancefloor, while standing up to the salt air and Caribbean sun. Michael added: “Every DTS fixture was installed on its own channel of the DTS DriveNet 832 to ensure complete control and to create movement and effects without the need for moving heads in the open air harsh environment.” A second dancefloor was created within one of the gazebos, while this was still open air, Streamline had a ceiling to work with. It was within this area that Michael and his team needed to create some actual movement, but he wanted not only some beams, but also the ability to show some effects and movement without throwing a bright beam of light. The Blizzard Wink was perfect, creating a subtle colour effect, and on occasion, get a tight beam effect. Streamline needed to find a way to incorporate the bar into some of the RGBW lighting design around it, without effecting Philippe overall design

or the specific warm white lighting of hand selected artefacts. “We were able to install a pair of Blizzard TOURnado IP EXA fixtures to uplight the high ceiling above the bar. This worked perfectly as the opposing fixtures created interesting effects amongst the wooden beams and the built in RGBAW+UV LEDs really brought something new to the space,” said Michael. The stage is well covered with an array of five Blizzard Motif Vignette RGBW fixtures and a pair of TOURnado IP EXA fixtures. This combination allows light for illuminating performances and excellent control over colour for the background and effects. Lighting system control is carried out either via the 23-inch touchscreen in the main control room or wirelessly via phones and tablets. This wireless feature is superb during small events and really

captures the easy going vibe of the space. Streamline installed a 10ft Draper Nocturne+ crank-operated projection screen for the viewing of the occasional presentation, documentary and naturally just in time for the World Cup 2018. The projector of choice was the NEC PA653UL laser projector, which came with the ultimate five-year warranty and all protected in the Tempest Breeze case. Michael concluded: “Special thanks to Jim Preston, our master of logistics, Leigh Fereday for trusting in our vision even as we arrived with thousands of feet of cable to be hidden among your gazebos, and to Operations Director, Nic Welch, who was never afraid to crawl around the sea urchins at night in order to aim our underwater lights. On our next visit we hope to stay in the Les Jolies Eaux villa, currently renting at £27,000 a week appropriate mic drop.”

TECHNICAL INFORMATION LIGHTING & VISUALS Blizzard Motif Vignette RGBW bars; Blizzard WINK moving heads; Blizzard TOURnado IP EXA fixtures; Blizzard ATMOSFEAR HEX JET machines; Blizzard Pipeline DMX distributor; Middle Atlantic Products rack; DTS DIVE 3 FC fixtures; DTS DIVE 6 FC fixtures; DTS DRIVENET 832 controller; Chauvet Xpress 512 PLUS controller; Dell server; Apple iPads; NEC NP-PA653UL-41ZL projector; Tempest Projector case; Draper Inc Nocturne / Series C projection screen


Adamson IS-Series keeps the focus on architecture at Baycourt Addison Theatre in New Zealand.

When administrators at the Baycourt Community and Arts Centre in Tauranga, New Zealand decided to replace the loudspeaker system in its show-stopping centrepiece, the Addison Theatre, they initiated a rigorous selection process. Following a formal shootout of four leading brands, the install-focused IS-Series from Adamson Systems Engineering was chosen as the ideal solution. “The brief from the client stipulated a number of criteria, such as suitability for both musical theatre and touring bands, excellent clarity while retaining a warm sound, and even coverage throughout the entire venue,” began Mike Hughes of Intec Systems, an Auckland-based firm specialising in the design, sale, and installation of commercial audio, lighting, and video systems. “From our previous experience with Adamson and the IS-Series products, we knew those criteria would be perfectly met and exceeded.”

The Addison Theatre features tiered seating for 582 guests and an expansive stage measuring 46ft (14-metres) wide by 36ft (11-metres) deep. Throughout its 35-year history, it has played host to a diverse range of local, national, and international performers from a myriad of arts disciplines. The venue’s evaluation process - which Mike called ‘comprehensive and impressive’ - began with 13 proposals, which were then narrowed down to four leading brands. From there, all four supplied one side of the proposed PA system and the arrays were flown in the venue simultaneously, demonstrated for a panel of judges, and ranked on a number of criteria. “We were very pleased with the performance of the Adamson system that day, and within a short time, we were informed that Adamson was the leader both in terms of coverage and audio quality,” Mike continued. “We love the sonic results, but additionally, the dedicated installation product


offers excellent value when compared to other brands at this level.” Sourced via Direct Imports, Adamson’s exclusive distributor in New Zealand, the resulting system is comprised of left-right arrays of eight IS7 two-way, full-range cabinets per side alongside three flown IS118 subwoofers per side in a front-back-front cardioid configuration. The IS7 arrays needed to be above the theatre’s proscenium chaser lights to ensure unhindered sightlines from every seat, while additionally allowing the rotatable wing panels to work unhindered and minimising the energy hitting the backs of the acoustic reflectors. The subwoofer arrays are flown alongside the IS7s but slightly higher to avoid the rotating wing wall. Intec made extensive use of Adamson’s Blueprint AV simulation software during the design process. “The tender requested EASE simulations, however, Blueprint is an excellent and more flexible tool for adjusting

angles and monitoring results,” noted Mike. Ultimately, the solution has impressed Baycourt’s administrators, patrons, and visiting productions for the same reasons it won the initial shootout. “The sound is smooth and pristine throughout the entire venue, without the peaks and differences in tone we’d experienced previously,” said Dale Henderson, the centre’s Technical Manager. “It’s a pleasure having a system that provides sufficient bass throughout the Addison Theatre without disrupting the adjacent performance and public spaces. We’re very happy with our investment knowing we can provide this level of experience to our patrons going forward.”



Based in New South Wales, Australia, the University of Newcastle’s Great Hall was constructed in the early 1970s. The venue has since become a significant landmark building on the University’s Callaghan campus, located in the western suburbs of Newcastle. The building is multi-functional and used by both the university and the community of Newcastle for a wide variety of functions and events, ranging from formal university graduations, public performances, sit down dinners, open days, community events, as well as teaching and learning activities. The room itself features total seating of 1,231 (including 448 tiered seats and 783 removable auditorium seats). The focus of the new audiovisual infrastructure was to provide a significant improvement in in


FOHHN FOCUS VENUE BEAM STEERING FOR CONCERT SOUND the audio and video quality - as well as reliability - within the Great Hall. The end result, based around a Martin Audio WPM PA, achieved that and more. It is flexible, scalable and supports the University’s teaching, learning and community outreach activities. InDesign Technologies was drafted in as the consultant and project manager, led by Peter Coman and Livia Renhe. However, when it came to the audio section of the installation project, it was assisted by the Technical Audio Group (TAG), Martin Audio’s Australian distributor, as it set out to convert the existing analogue system to a fully digital solution built on AV over IP technology. Another key specialist was David Gilfillan of Gilfillan Soundwork, a leading electro acoustic consultancy, who was engaged to verify and assist in the design and commissioning of the system. The tight timeline faced by the team was the single biggest challenge when it came to the project - and this was exacerbated further through the lack of existing architectural drawings.

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“In the first instance, the client had a previous Martin Audio installation that they were very happy with, and secondly, we trust the brand. It provides a value for money solution and they were able to offer a system that was fit for purpose, and which met our budget.”

“The previous audio was inadequate for the room and unreliable,” recalled Peter. “It was absolutely paramount that the audio issues be overcome since that was first and foremost the reason for the upgrade. Due to so many complaints, external companies were usually hired to provide temporary solutions to overcome audio issues, but this was understandably unacceptable.” The space is around 50-metres from front to back with a stepped ceiling, making it quite an awkward setting for the work needed. Some areas have 20-metre high ceilings, with a combination of concrete, brick and timber surfaces. “The 3D drawings allowed us to produce detailed audio mapping and models in order to determine speaker placement,” said Peter. “As we had hundreds of kilograms of equipment to hang from the ceiling, a structural engineer was engaged to examine the facility and tell us what we could and couldn’t attach to.” There were a number of factors that led to InDesign specifying Martin Audio for

the audio system after reviewing, and rejecting, several other premier brands. “In the first instance, the client had a previous Martin Audio installation that they were very happy with, and secondly, we trust the brand. It provides a value for money solution and they were able to offer a system that was fit for purpose, and which met our budget. “On top of that, the entire system is digital, so being able to incorporate the Martin Audio Dante foldback speakers integrated perfectly into the rest of the system,” explained Peter. Finally, there was the question of availability, since there was an extremely short time frame to deliver the project. “Martin Audio assured us that the deadlines were able to be met,” said Peter, adding that they had the loudspeakers specially manufactured and flown over in record time. “But the main driver was the support from TAG. Tony, Ewan and Bryan were always available to provide the technical expertise required to deliver this complex project, from design,

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“Martin Audio assured us that the deadlines would be able to met... they had the loudspeakers specially manufactured and flown over in record time.”

all the way through to installation and commissioning. The TAG team were there every step of the way.” The main PA system consisted of six hangs. At FOH L-R are 14 Martin Audio WPM per side with L-R hangs of four Martin Audio MSX subwoofers per side and L-R delays of 10 Martin Audio WPM per side. The front fill consists of six Martin Audio CDD6 loudspeakers below the front lip of the stage and another pair of CDD6 loudspeakers as out fills to cover the outside front corners. Four CDD-LIVE 12 loudspeakers were also deployed. Amplifiers/FIR processing consisted of seven Martin Audio iKON IK81 advanced eight-channel amplifiers and two Martin Audio IK42 four-channel amplifiers. Due to the challenging acoustic space, every WPM and MSX enclosure was individually powered and processed. TAG’s Ewan McDonald takes up the story: “Martin Audio do something very cool in that you can not only steer sound to the audience area but you can set ‘hard

avoid’ areas where it will actively cancel energy to these surfaces. This was really important given the huge reflector of a back wall and the lectern position, which could be directly under the arrays or even in front of the lower cabinets. “In the optimisation process, the Martin Display software allows the user to ‘weight’ the priorities between on axis audience response, off axis non-audience response and level reduction on ‘hard avoid’ areas. Once onsite, David Gilfillan with trusty offsider Rachel Leer carefully examined the real world results using a combination of critical listening and measurements to ensure the right balance was met. “The Martin Audio Display software fine tuned the frequency response at every listening position and we were then able to download those FIR parameters for each cabinet into the iKON amps using Martin Audio’s VU-Net software. This gave us a system that was very even, not just in sound pressure, but in frequency response, and allowed us to achieve


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exceptional gain before feedback through the system, which was an absolute must.” The biggest challenge had been the architectural space, which Ewan explained further: “The room had lots of reflective, non-symmetrical surfaces. The rear wall has one side that is angled and cuts into the raked seating so if we were to try and hit the back seat in the middle, a lot of energy would have been reflected back into the audio area. This is why a large delay system was employed. We used the main FOH arrays to cover the floor seating, and the delays were flown out wide, angled down

and inwards to minimise the reflections from that rear-angled wall. “Being able to optimise the arrays in the vertical plane using Display meant we could keep these interactions between these two systems to a minimum. The steering was so good that we could sit in the back row with great high frequency extension and intelligibility, and when we stood up it was a completely different story.” The subwoofers provided another challenge, too. “The original plan was for a custom tapered column array that could try and match the throw

of the main WPM arrays,” said Ewan. “As is the case with line arrays, the low frequencies fall off faster than the high frequencies so we needed to try and get a tall line of spaced subwoofers to combat this. The university unfortunately wouldn’t go with this plan due to the look of the arrays, so we had to settle for smaller subwoofer arrays flown behind the main WPM arrays.” While this system does get used for music performance, speech intelligibility was its primary concern, so this ended up being an appropriate compromise.

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• Above The Martin Audio PA in all its glory.

As part of the overall install, TAG provided two Allen & Heath GLD 80 mixers for the audio system, with an M-DANTE interface from Allen & Heath, too. Three of QSC’s CDN64 DSP Dante cards, two CIML4 DSP analogue output card and two CORE 500i DSPs were also included. For the microphones, Audio-Technica products were chosen, with two ATU857Q gooseneck mics used. There are also 12 Shure SH-MXW1 wireless mic bodypack transceivers used for the Great Hall’s wireless system. A number of other areas within the venue were upgraded in terms of technology, with the visual element seeing huge improvements. A full LED display package from Novastar was installed with four VX4S LED processors, as well as two LED receivers and two LED displays. Peter Coman summed up the success of the project. “With a can-do attitude, 10 months of meticulous planning and an install period of 18 days, the University of Newcastle made a generational upgrade to the audiovisual facilities in its Great Hall. “The aging and unreliable analogue solution was transformed into a worldclass, modern, digital solution befitting of the cultural significance of the Great Hall to the University and local community.”

“The aging and unreliable analogue solution was transformed into a worldclass, modern, digital solution.”

TECHNICAL INFORMATION AUDIO 28 x Martin Audio WPM loudspeaker; 4 x Martin Audio MSX subwoofer; 20 x Martin Audio WPM loudspeaker; 8 x Martin Audio CDD6 loudspeaker; 4 x Martin Audio CDD-LIVE 12 loudspeaker; 7 x Martin Audio iKON IK81 eight-channel amplifier; 2 x Martin Audio IK42 four-channel amplifier; 2 x Allen & Heath GLD80 mixer; 1 x Allen & Heath M-DANTE interface; 2 x Audio-Technica BPHS1 stereo headset; 2 x Audio-Technica ATU857Q gooseneck mic; 2 x Audio-Technica AT8615RS mic desk stand; 3 x QSC CDN64 DSP Dante card; 2 x QSC CIML4 DSPAnalog Output card; 2 x QSC CORE 500i DSP; 12 x Shure SHR-MXW1 wireless bodypack transceiver; 6 x Soundtube IPD SM500i-II loudspeaker VISUAL 2 x Panasonic AW-HE40HWEJ IP PTZ camera; 1 x Panasonic PT-RZ31KE projector; 4 x Novastar VX4S LED processor; 2 x Novastar LED display; 2 x Novastar LED receiver

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Sitting alongside the Han River, Seoul Dragon City is an impressive complex of four hotels - the Grand Mercure, Novotel, Novotel Suites and Ibis Styles - linked together to form the serpentine profile of a benevolent, Korean dragon. Completing the upper arch of this stylised outline is a sky bridge, linking the topmost four floors of two of the hotel towers - the Grand Mercure and Ibis Styles. It’s here that Sky Kingdom can be found: an entertainment complex of stylishly themed food and beverage venues that occupy the 31st-34th levels, delivering imaginatively styled interiors alongside spectacular views across the Seoul skyline. The concept for each space is unique, from the regal shimmer of the King’s Vacation premium dining and club lounge to the delicate intimacy of brunch and breakfast buffet space Queen’s Garden; from the antiqued modernity of The Ribbon pastry café and tea rooms, to the glamorous adventure found in the

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private event rooms and whiskey-toting Spy Bar. Each venue features a distinctive interior design all of its own - not least the rooftop pool bar and restaurant Sky Beach that sits atop the bridge. One thing they do share, however, is a top grade, flexible audiovisual system, capable of adequately responding to a multitude of events and uses. All audio, video and special lighting consulting - as well as construction management - on the project was carried out by JinWoong Lim of [LiNK]. “Sky Kingdom’s systems are designed to function autonomously, while also providing support for external sound, lighting and video teams,” said Mr Lim. “This combination guarantees an optimal outcome for a wide variety of situations.” He continued: “Even though it was challenging, we were able to find balance between the needs of Sky Kingdom’s operation team, external sound, lighting and video teams, the overall financial budget and the interior

design team.
While it may not be as visual as the main audio systems, we devoted a lot of effort to provide a solid operating environment from a number of perspectives, by optimising maintenance systems and installing additional power and I/O infrastructure.” Audio and video system construction was handled by WINMIDITECH, with audio system delivery and management by AACK. Special Lighting Construction was by Hansam System. Music direction and operation is under the control of John Hyun-Su Tim Rosenthal. KING’S VACATION King’s Vacation, located on the 31st floor, sees the luxurious aesthetic of a European royal palace reimagined for the modern age. An indoor swimming pool running down one side of the room is echoed by a long, transparent dancefloor that sits in the centre of the space. Dubbed the Skywalk, the dancefloor provides dizzying views straight down to the first

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“During his site visit, Tony Andrews of Funktion-One inspected the space personally and was very delighted with the results.”

• Above The various Funktion-One loudspeakers around the venue and the impressive amp rack.

floor of Seoul Dragon City. Above it, 39 large OLED panels combine to create an arched 27-metres by 3.4-metres ceiling with a maximum output resolution of up to 16K. Total integral control systems from Biamp and Crestron are also used. Here, as is the case across Sky Kingdom, Funktion-One delivers the audio. In keeping with the majestic glamour of the room, all loudspeakers were supplied in white - making them the only one’s of their kind currently found in Korea. The room’s two main loudspeaker towers sit at one end of the Skywalk, either side of a small stage area. Each features a Funktion-One EVO6 and three F121. The subwoofer has been fitted with a cardioid pattern setup to minimise the risk of noise complaints from guests staying in the hotel rooms located behind the stage. The installation of additional sound and vibration proofing also helps to avoid disruption to those in neighbouring rooms.

In addition to the main loudspeaker towers, an array of satellite loudspeakers consisting of 12 Funktion-One F1201 and eight Funktion-One MB210LP have been evenly distributed throughout the hall for optimal sound pressure.
Designed for versatility, the in-and-out infrastructure is large enough to accommodate the wide variety of performers that take to stage on different nights. Four Funktion-One PSM12s are used as stage monitors, with two wireless Sennheiser 3000 microphones capturing the audio action. Extra power supply and related infrastructure are in place to accommodate any external sound, light and video teams. Martin by HARMAN fixtures were used for Sky Kingdom’s lighting setup, including six compact Rush MH5 Profiles, 24 Rush MH6 Washs, four Mac Quantum Profiles and five Mac Aura XB moving heads. For the control, an MA Lighting dot2 consoles is used.

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“Martin by HARMAN has wide range of products to meet customer’s needs for various effects,” explained Lily An, Assistant Manager, Trade Department at Hansam System. “Also we have confidence in the durability and quality of the products. “The owner of hotel wanted an eye-catching design with considerable brightness and various effect. We thought Martin by HARMAN fixtures would be able to meet these demands - and that certainly was the case. “MA Lighting’s console has a huge reputation around the world - and is receiving a lot of attention in Korea. So, of course, we chose MA’s dot2 consoles for the lighting control of the nation’s largest hotel,’ added Lily. “Usually, large concert halls or venues use full-size console or a light console, but the dot2 products we used are very suitable for use in the hotel market.” QUEEN’S GARDEN The Queen’s Garden, located on the 32nd floor, occupies the same continuous space as its regal counterpart, with guests able to look down into King’s Vacation below. With this in mind, audio for the two spaces were conceived in tandem. The 32nd floor is equipped with a combination of 12 Funktion-One F101 and eight FunktionOne MB210LP loudspeakers.
A comparatively low ceiling height made this a more acoustically challenging space to work with. To resolve this, the design team agreed to install additional artificial landscaping material that would both match the interior and improve the space acoustically. As Mr Lim reports, these tweaks successfully ensured the clarity and quality of the Funktion-One system wasn’t lost. “During his site visit, Tony Andrew of Funktion-One inspected the space personally and was very delighted with the results,” he said.

THE RIBBON The Ribbon, named for the giant waves of material encased in the floor and ceiling, spans across both the 31st and 32nd floors. Operating primarily as a tea room and pastry café, it is equipped with a total of 16 Funktion-One F81 speakers, as suits the venue’s more compact, intimate dimensions. Structurally, The Ribbon is entirely separate from King’s Vacation, allowing it have a completely different interior identity. An individual control panel in the main audiovisual control room (hidden on the 31st floor) is used to manage the space, while also offering the option of extending the audio signal from King’s Vacation during special events. AUDIOVISUAL CONTROL ROOM
 Sky Kingdom’s main audiovisual control room uses a combination of Biamp and Crestron systems to control three individual spaces on 31st, 32nd and 34th floors, providing integral control of sound, lighting and video. All three spaces are designed to be individually operated, while also allowing the exchange of signals between each floor. A DiGiCo SD11 embedded in a D2-Rack is used as the main audio mixer, supported by a number of Biamp digital signal processor systems and an array of Surge-X systems for all power sources to ensure stable operation. PRIVATE EVENT ROOMS & TAILOR BAR In addition to a classic whiskey bar (dubbed Tailor Bar and styled accordingly), there are four individually designed private event rooms - the Yacht Room, Snow Room, Space Room and Casino Room - located on the 33rd floor. Each room takes its inspiration from classic spy movie locations. All rooms are designed to support a 5.1 channel

surround sound using a combination of Funktion-One F81 and Funktion-One MB210LP speakers. Guests can chose from a range of activities - karaoke, PlayStation games and individual video and music requests - all of which utilise the installed surround sound system. They are all connected to a touch panel system by Crestron to control all functions in each room directly. Both the Snow Room and Space Room are equipped with large LED screens, in keeping with the room’s concept, while the Yacht Room is fitted with a 7,500 ANSI laser projector and a Stewart film screen. SKY BEACH & RESTAURANT Sky Beach is an outdoor rooftop pool and restaurant, which opens up Seoul Dragon City’s 34th floor to the Korean sunshine. While a Biamp wall controller operates APart loudspeakers in the restaurant area, it’s the outdoor pool area that delivers the real party. A combination of four Funktion-One EVO6 and four F221 are used as main loudspeaker towers, in addition to 12 Funktion-One F101 and four F118 used as satellite speakers. All Sky Beach’s rooftop loudspeakers are custom- waterproofed to protect against the rain. The remaining audio system includes four PSM12 monitor speakers, a Sennheiser 3000 series wireless microphone system, a DiGiCo SD11 audio mixer embedded in a D2-Rack, a Biamp digital signal processor system, and an array of Surge-X systems for all power sources. Like the Ribbon Room, the Sky Beach can be connected to the rest of Sky Kingdom to share a single audio feed. To accommodate summer pool side parties and special outdoor events, the venue is pre-fitted with sufficient audiovisual infrastructure, including additional power and I/O infrastructure, to ensure easy access for external


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sound and light teams.
While Sky Beach is not equipped with a video system, it is fitted with a special lighting system capable of handling a variety of events. With Sky Beach completing the picture, guests at Sky Kingdom are guaranteed an experience to suit their tastes - a 34-floor dragon ride of entertainment from day through to night. For the lighting at the rooftop venue, Hansam System provided 12 Mac Axiom Hybrid fixtures and 16 Mac Quantum Wash moving heads from Martin by HARMAN, with MA Lighting’s dot2 console used for control. Also, with the fixtures being used outdoors, Hansam System also provided specially-designed dome coverings. With luxury dining lounges, high-end bars and exceptional interior design, the different sections of Sky Kingdom provide something for everyone offering unique concepts that catch the eye. This has been enhanced even further with the use of state-of-the-art technology. The audio system delivers the perfect sound for each separate venue, with the lighting delivering the perfect aesthetic for guests, making Sky Kingdom the go-to entertainment venue in Seoul.

TECHNICAL INFORMATION AUDIO 24 x Funktion-One F101 loudspeaker; 8 x Funktion-One MB210LP loudspeaker; 16 x Funktion-One F81 loudspeaker; 2 x Funktion-One EVO6 loudspeaker; 6 x Funktion-One F121 subwoofer; 12 x Funktion-One F1201 loudspeaker; 8 x Funktion-One MB210LP loudspeaker; 8 x Funktion-One PSM12 stage monitor; 4 x Funktion-One EVO6 loudspeaker; 4 x Funktion-One F221 loudspeaker; 4 x Funktion-One F118 loudspeaker; Sennheiser 3000 Series wireless microphone system, 2 x DiGiCo SD11 console; 1 x DiGiCo D2-Rack; Biamp digital signal processor system LIGHTING 162 x Martin by HARMAN RUSH PAR2 fixture; 41 x Martin by HARMAN Mac Aura XB washlight; 24 x Martin by HARMAN Mac Quantum profile; 6 x Martin by HARMAN Rush MH5 profile; 24 x Martin by HARMAN Rush MH6 wash light; 12 x Martin by HARMAN Mac Axiom hybrid fixture; 16 x Martin by HARMAN Mac Quantum washlight; 4 x Philips Vari-Lite VL6000 beam fixture; 12 x Elation Colour Chorus 48 fixture; 72 x Martin by HARMAN WW Profile LED ellipsoid; 4 x MA Lighting MA dot2 XL-F lighting console; 2 x MA Lighting MA dot2 Core lighting console


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Based in Phnom Penh, NagaWorld is one of the largest five-star hotels in Cambodia, as well as the only luxury premium casino in the country - making it the definitive entertainment centre. With 1658 luxurious rooms and suites, all accommodations are contemporary and well-appointed with state-of-the-art amenities for the comfort and the convenience of both business and leisure guests. NagaWorld encompasses most of what travellers need and desire under one roof: 27 F&B outlets and clubs, two all-suite luxurious spa, shopping gallery including China Duty


• Above NABA Theatre, a key feature of the NagaWorld Hotel & Entertainment Complex.

Free Group, the first underground shopping centre in Cambodia selling luxurious international brands, extensive entertainment services including gaming facilities, premium meeting spaces with state-of-the-art facilities, as well as one of the country’s largest MICE facilities that accommodates more than 1,000 delegates. NagaWorld has raised the bar once more, though, with the opening of the Nations Art Bayon Academy - or the NABA Theatre - an impressive 2,000-seat venue. Keeping in line with the high-end feel of the integrated resort, the team at

NagaWorld sought after state-of-the-art technology for the theatre, which led to them seeking the help of installation experts, Showtec. For the audio system, KV2 Audio was selected for use throughout the theatre. The main part of the system consists of four KV2 Audio ESR215 loudspeakers, which cover the stalls, upper seating areas, the circle and balcony levels. The loudspeakers are powered using two ESR3000 amplifiers from KV2 Audio. In the upper seating areas, the ESR215 loudspeakers are supported by four KV2

Audio VHD2.16 subwoofers, which are powered by VHD3200 amplifiers. There are two of KV2 Audio’s VHD2.21 subwoofers used on the stage floor, too - these are powered using VHD3200 amplifiers also. NABA Theatre’s front fill system includes six ESD25 loudspeakers spread out evenly across the front lip of the stage, with the power coming from an ESP2000 amplifier. A SDD3 super digital delay line processor from KV2 Audio is used, too. The KV2 Audio system at NABA Theatre has three levels of delays - stalls, circle


and balcony. Each of the levels includes six ESD25 loudspeakers, ESP2000 amplifiers for the power and SDD3 processors. KV2 Audio’s ESP2000’s are used again, with six amplifiers powering the stage monitoring system, which includes eight ESM26 loudspeakers and 12 ESM12 loudspeakers. For the control of the new audio system, there are two DiGiCo SD7 consoles used at NABA Theatre, along with a SD-Rack and a Mini Rack. There is an Orange Box from DiGiCo that is used if needed, too. “This is a new system put into the theatre,” explained Nick Chua of Showtec. “A DiGiCo SD7 console is installed permanently at the FOH - this desk supplies all the outs to the main system, the front fill system and all the different levels of delays.

“The second SD7 is for used for monitoring on stage. If there is no need for that console, it is taken out from the setup and only the FOH SD7 is used. This, of course, is dependent on the requirements of each show.” Nick was left impressed with both the products and support on offer, too: “Ian Staddon at DiGiCo was very helpful in advising us prior to the install, on which components work best in a flexible theatre environment that caters to all different types of shows. “This DiGiCo system, in mine and the full-time staff ’s opinion, caters to all scenarios. As far as the equipment goes, I don’t see any issues at all.” The end result has seen the NABA Theatre become equipped with a truly exceptional audio system that delivers balanced sound across the stalls, circle and balconies.





The loudspeakers are as close to the proscenium wall as possible to, essentially, allow them to do their job. The opening in the proscenium wall is designed to be as small as possible to cater for the video projection, which is why the loudspeakers are so close. Showtec also took care of the visual element, which is hugely impressive considering that the NABA Theatre is the first in Cambodia to incorporate 3D projection mapping into its shows. This allows the venue to offer stunning visual effects, enhancing any show or production. After NagaWorld contacted Showtec regarding the visual setup, Barco was the natural choice due to its prove track record and established knowledge in the industry. Barco UDX-W32 projectors are used to fully immerse the audience into the performance




• Above The DiGiCo SD7 console in place at NABA Theatre.

and the music. Starting from the front proscenium, across the side wall, to the dome recess of the ceiling and broad stage wings, NABA Theatre becomes the perfect canvas for projections. “We need something compact, high brightness and highly reliable,” explained Chris Ee, Technical Director / Visual Designer from Showtec. “The projected images had to be bright and clear enough to wow the audience. We knew we could rely on Barco to deliver that level of quality.” Overall, the theatre is fitted with 14 Barco UDX-W32 projectors. With

Constant Light Output technology, the projectors deliver brightness levels of up to 32,000 lumens across the lifetime of the laser phosphor lamps. The colours are undeniably vivid, with the UDX platform able to offer the widest colour spectrum available in the industry. “With live projections from 14 projectors, the NABA Theatre needed a reliable live projection management system,” added Chris. “The Barco E2 sets the standard.” The Barco E2 Master processor was chosen by Showtec as it’s renowned for superior image quality, as well as flexibility. For simple management of the

UDX projectors, the Barco Ex expansion system, which works seamlessly with the E2 Master processor, is utilised. With an incredible, state-of-the-art audio system from KV2 Audio and the 3D projection mapping using Barco projectors, the NABA Theatre has the freedom to experiment when it comes to shows and performances. There are now endless possibilities at the venue, making it one of the most impressive theatres in the country - exactly what NagaWorld had planned.

TECHNICAL INFORMATION AUDIO 4 x KV2 Audio ESR215 loudspeaker; 24 x KV2 Audio ESD25 loudspeaker; 8 x KV2 Audio ESM26 loudspeaker; 6 x KV2 Audio ESM12L loudspeaker; 6 x KV2 Audio ESM12R loudspeaker; 4 x KV2 Audio VHD2.16 subwoofer; 2 x KV2 Audio VHD2.21 subwoofer; 2 x KV2 Audio ESR3000 amplifier; 3 x KV2 Audio VHD3200 amplifier; 10 x KV2 Audio ESP2000 amplifier; 4 x KV2 Audio SDD3 delay unit; 1 x KV2 Audio SAC2 processor VISUAL 14 x Barco UDX-W32 projector; Barco E2 Master processor; Barco Ex Expansion system


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19-21 October Las Vegas Convention Center In its 30th year, Live Design International (LDI) has been connecting design, tech and production to the live audience experience. As the leading conference and tradeshow for live design professionals from all around the globe, LDI hosts over 14,000 members of the production community, working in a wide range of international live and broadcast venues - festivals, corporate events, theatre, concerts, clubs, theme parks, architainment, and houses of worship.

Adam Hall Cameo OPUS Stand No.: 3122 → Super bright profile moving head with 15,000 lumen output and huge illuminance of 39,000 lux @ five-metres. → Advanced CMY colour mixing system plus colour wheel with seven dichroic filters → Linear CTO correction from 6,500 - 2,600K for authentic tungsten emulation. → High quality optics with 130mm front lens and extra wide 6º - 42º zoom range. → Four-blade framing system with +/- 45º rotation

Altman AP-150 LED PAR Stand No.: 2327 → 135W RGBW LED PAR → Motorised zoom producing a 12º-65º degree beam spread. → High-output and efficient optical design. → 8-Bit, 16-Bit, RGB and HSIC control modes . → Multiple Strobe options from pulse and fade to a 30Hz strobe rate.

AV Stumpfl T-32 SHIFT Screen System Leg Stand No.: 155 → Just one person needed for adjusting a mobile projection screen’s height → no additional measuring needed. → Can be combined with AV Stumpfl screen systems Monoblox32 and MonoClip32. → Complete assembly and adjustment of a projection screen system in less than five minute → Premium quality components Made in Austria.


Chauvet Maverick Storm 1 Wash Stand No.: 1816 → Fully featured IP 65 rated RGBW LED yoke wash fixture with rugged, die cast aluminium housing and stainless steel screws to conquer all elements. → 19 (quad-colour RGBW) powerful Osram LEDs capable of filling large arena venues with an output of 6,000 lumens. → Fully pixel mappable unit with built in virtual gobo wheel and background colours for impressive atmospheric effects → Able to achieve a large coverage area with its massive 11º - 42º motorised zoom. → DMX, W-DMX, Art-Net, Kling-Net, and sACN control for full flexibility.

High End Systems SolaFrame 3000 Elation Professional Smarty Hybrid

Stand No.: 3022

Stand No.: 1316

→ The new flagship luminaire in High End Systems’ Sola Series range. → The first automated LED luminaire to rival and exceed the output of the most powerful arc lamp fixtures. → Ultra-bright white LED engine. → 1,000W engine produces over 37,000 field lumens. → Available in a Hi-Fidelity version with incredibly accurate colour rendering. → The most compact CMY hybrid on the market. → CMY + 13 colours, two gobo wheels, prism overlay. → 14,000 lumens - brightest in its class. → 6,000-hour lamp - double similar fixtures. → Spot, Beam, Wash - true multi-functionality.

Osram SharXS Brilliant Lamp Stand No.: 1431 → Available in three wattages: 1,000W, 1,200W, 1,500W. → Ultra-high CRI of 95. → 6,000K CCT. → High output.


Prolyte Group Verto Truss Stand No.: 1153 → Game changing rotating coupler design now also in black version. → Reduces labour costs - assembly times are up to five times faster. → Improving work floor safety - its silent connection improves work floor communication. → Strong and compact, similar loading capacity as any other box truss type. → Coupling parts can be replaced, prolonging the general lifetime of your truss.

RGBlink D6 | VSP628pro II Stand No.: 1641 → 4K@60 end-to-end video processing and scaling. → R4 mega pixel capacity. → Mix and sync multiple 2K and 4K video sources. → Detachable control panel with touch screen interface. → Dynamically configure and control from RGBlink XPOSE®.

Robe RoboSpot Stand No.: 2503, 2603 → Remotely control automated luminaires as followspots. → Place followspots anywhere on stage, rig or venue. → Place the operator anywhere within, or even outside, the venue. → One operator can simultaneously control up to 12 spots. → Designed to work with all variants of BMFL, DL & Pointe series fixtures.

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.



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ROE Visual Sapphire LED Panels Stand No.: 2763 → Unique concept: Using separate frames and panels offers effective use of production time and costeffective 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.

Schnick Schnack Systems RGBW D-Series LED Strips Stand No.: 817 products/led-components/ledstrips-d → increase of CRI Ra due to automated use of white LED (3500K CRI Ra>90) in colour → Individual colour calibration of fitted LEDs → White value adaptable to the application → Premium quality LEDs with high efficiency → Easy RGB- or RGBW controlling

TAF FALCONN TRUSS Stand No.: 2902 eu.taf./falconn-truss-en → The latest development in truss connection presented in FN24 (eight-inch) truss series. → No accessories needed for assembly, i.e. you can couple trusses just with your hands. → Safety of the connection ensured by two safety rings. → Coupling parts can be replaced to prolong the lifetime of your truss. → Shorter build up times than with the standard spigoted eight-inch truss.

Kling & Freitag GmbH |


CODA AUDIO UK | DEMO DAYS Having worked with the Dominion Centre for many years, CODA UK’s Technical Sales Manager, Scott Fraser said it was an easy demo space to choose. The centre - formerly known as Edmonton Temple - has a multicultural congregation, representing a diverse range of nationalities. Fraser hosted two demo days at the venue on 10-11 July, inviting engineers, system integrators, distributors, end users and press to attend. First up for demonstration was APS, with three tops stacked atop three subwoofers. “APS is unique in that fact that if you get up and walk around the room, you can’t actually hear the separation point between the boxes,” Scott explained. Normally with a point source system, when you walk around the room from left to right, you’d hear the separation point. But due to CODA Audio’s advanced design using the DDC

assembly with its APS-Coupler we have entirely removed that problem. The series is extremely versatile, with options to stack or hang the boxes in a variety of configurations. “If you use 20 APS boxes, you can make a complete circle using 18 of them,” he continued. A total of 18 APS tops, the amplification and all the rigging weighs in at just 750kg - making it a lightweight solution for its capabilities. When the Coupler is added to the mix, the dispersion pattern of the boxes can be altered. The Coupler combines the energy from all transducers to perform as a single source. For the demo set-up, Scott used three 90º boxes - 45º up and 45º down - and 20º wide, so altogether it offered 60º by 90º. It’s an option to make the dispersion asymmetric and to help determine the angle, a clever feature has been built into the grill, which

will tell the user what angle they have on the most part of the Coupler. “The subwoofers in the APS Series go down to 28Hz, which if you compare with other companies that have Infra subwoofers in their range, it’s only those Infra subs that go down as low as our regular subwoofers, it gives us something extra to offer,” said Scott. “Similar to the tops, it’s an easy system to use, put equal boxes per side or hang sub-arrays. The whole system is so small and compact that it fits in a regular sized van.” CODA Audio’s TiRAY (small line array system) was also on display, a series of top boxes that can go down to a useable 70Hz, or if a single 12-inch flyable low frequency extension box box sits at the bottom of the array, it can achieve 40Hz. The TiRAY at the Dominion Centre was demonstrated with a U4 universal subwoofer- a dual 18-inch


subwoofer, ideal for installations providing a frequency response down to 30Hz. The CUE Series of stage monitors were put to the test. “We’ve got two of the four monitors from the range and they go very loud,” added Scott. “Today, we have the CUE One, a dual 12-inch and for our drummer and keyboard player, there’s a 1.4-inch coaxial driver inside too, with a dispersion of 55º up and 40º down. It’s a real 143dB peak SPL monitor and weighs 32kg. “The CUE Two is a triaxial, three-way, 15-inch box and is very compact at just 25kg. When you look at a touring rig and you want to have a stereo monitoring system but it’s got to come in at a certain price point, that’s where we come in - we’ve got the performance, they sound great and they go really loud,” he explained. Scott also brought in a couple of HOPS 8 and HOPS 5 cabinets for attendees to listen to as front / side fill to show of the flexibility of the high output point source systems. With the presentation complete, visitors were encouraged to walk around the space, listening to the two different systems playing a series of tracks. The monitors, in particular, were definitely put through their paces by the in-house band and were met with a positive reception from the audience. An Allen & Heath dLive system was used for mixing requirements on the day. Summing up the two-day event, Scott said: “We would like to thank the Dominion Centre for the use of their facility and of course thank so many people coming out to hear just how good CODA Audio is. We look forward to expanding the business in the UK with significant partners.”







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TW AUDIO | VERA 20/32S EVENT When mondo*dr was invited to the TW AUDiO VERA 20 event, it was the chance to see the German manufacturer’s impressive loudspeakers. However, there was an added bonus - the whole event was hosted at Cologne’s Lanxess Arena, where a TW AUDiO system has been installed. The event was dedicated to TW AUDiO’s VERA20/S32, with breakout sessions for guests to learn more about the proper setup of the loudspeakers, system alignment and rigging. There were sessions on Ease Focus and Smaart v.8, too, as well as a full venue tour and a listening session towards the end of the day. Upon arrival, I was immediately struck by the

amount of guests attending - no mean feat for a demo session. Following networking opportunities and refreshments, we set off on a tour of Lanxess Arena, with TW AUDiO’s, Tobias Wuestner leading the way. Built in the late 1990s, the Cologne venue is among the highest-ranking arenas for ticket sales, thanks in part to it being one of the largest ice hockey arenas outside the USA. As the venue started to near its 20th anniversary, it was decided that it was the perfect time for a technology upgrade. The system was required to have different sound zones, it had to function as the voice alarm system

24/7, as well as the main sound system for the arena, and part of the system had to be capable of acting as a delay line when the venue is used for music concerts. All of this, on top of the catering for the games of Kölner Haie, the arena’s home team. A fundamental issue was meeting the legal obligations of a speech intelligibility index of 0.5 that has to be delivered to all seats in the arena, which has a reverberation time of three seconds, as well as the legally specified value of the minimum SPL during an evacuation procedure. But, after a number of lengthy discussions, demonstrations and acoustical tests of various brands and products, a TW


AUDiO system was deemed the best solution. A combination of 56 VERA36 line array cabinets and 16 VERA S33 subwoofer were chosen as the main system to surround the height-adjustable central video cube. These were supported by 10 T24Ns for the playing field and the stands. Ease 4.4 and Ease Focus 3 were used during the planning period to ensure the system would meet all the criteria. This did require custom-made suspension devices for the arrays and amplifier racks for the catwalks. Following the tour, guests were invited to join in on the sessions, which proved extremely popular. Then, finally, we took our seats in the arena for

the listening session as VERA20/S32 loudspeakers played. It was certainly an impressive setting for a demo and guests were able to get a real feel for the quality of the loudspeakers, as they were able to move around the venue, listening from all angles. The VERA20 loudspeaker is equipped with two 10-inch chassis for the low-mid frequencies and a newly developed waveguide with an 1.4-inch mid-high compression driver. Compared with typical double eight-inch systems, the VERA20´s two 10-inch drivers are able to reproduce up to 6dB more output in the low-mid frequency range with lower distortion. The VERA S32 is a compact, flyable subwoofer,

equipped with an 18-inch driver in the front and a 14-inch driver rearwards. VERA20 implements an outstandingly innovative rigging hardware allowing straightforward, fast and cost efficient setup of up to 24 elements at just 60cm system width, being a true member of the TW AUDiO VERA family. In the evening, guests were given the chance to unwind with dinner on a boat as it cruised down the River Rhine, which was the perfect chance to catch up with industry specialists, rounding off a very successful event.

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ASTRO SPATIAL | DEMO DAY The historic Hackney Empire - a unique 21st Century variety theatre in London - recently made for a stunning location for three days of ground-breaking demonstrations of 3D sound by Astro Spatial Audio, hosted by 2B Heard. Taking place between 29-31 August, the demonstrations marked the first full UK demonstrations of Astro Spatial Audio’s uniquely powerful immersive audio solution. A guest list of industry VIPs responded, with more than 50 industry influencers gathering to experience not one but two full demos designed to illustrate Astro Spatial Audio’s extraordinary scalability. For the first demonstration, the stage of the

Hackney Empire was ringed with 16 pole-mounted K-array Kayman KY102 line array columns configured for wide coverage plus eight overhead Domino KF210 enclosures and four Thunder-KMT218 double 18-inch subwoofers. Guests were invited to stroll freely around the stage as they experienced perfectly phase-free, seamless 3D audio courtesy of a single 3RU Astro Spatial Audio SARA II Rendering Engine, calculating the position of each audio object in real time. In addition, with just two microphones positioned above the stage, attendees experienced the SARA II’s interactive room acoustics module, transforming the Hackney Empire into entirely different acoustic

space with the press of a single button. Finally, having demonstrated what Astro Spatial Audio can achieve with an extensive loudspeaker set-up, the audience was moved into the theatre’s main auditorium, where the same fully immersive, seamless performance was repeated with just five K-array Firenze KH7 loudspeakers and two Firenze KS8 subwoofers. Guests reacted with a mixture of delight and astonishment. “Some people assume that immersive audio means filling a venue with speakers, and of course you can achieve more resolution that way, but it’s possible to achieve incredible results with a much more traditional system,” enthused 2B Heard’s


Dave Wooster. “Because Astro Spatial Audio is object based, it’s completely scalable from one venue to the next with nothing more than the coordinates of a loudspeaker set-up. “At the Hackney Empire, with a single SARA II, we switched from a set-up with 28 loudspeakers to a

basic left-centre-right configuration with two rear channels, and we did it at the touch of a button. That’s the kind of solution that professionals can take seriously.” “The three days of demonstrations hosted by our solutions partner 2B Heard were a tremendous suc-

cess and far exceeded our expectations,” commented Astro Spatial Audio Managing Director, Bjorn Van Munster. “We were honoured that so many influential guests attended and had the opportunity to experience true object-based 3D audio.”


PVS | 35TH ANNIVERSARY mondo*dr was invited to Belgium for an action-packed two-day event at PVS headquarters to celebrate the company’s landmark anniversary. The parent company has three brands - AUDAC, PROCAB and CAYMON. What started as a hobby for Patrick Van de Sande - hence the name PVS - ghas developed into an international company that devotes a lot of attention to industry innovation. After 35 years, PVS still believes in the same foundations it established over three decades ago.

The journey began when a young Patrick who, at the age of six, was inspired by a technician that repaired his parent’s television. Watching the technician bring the broken television back to life left a huge impression on Patrick, and soon he was tinkering and playing with any electrical devices he could get his hands on. His interest quickly developed into a repair shop in his parents attic. By the age of 26, he had saved enough money to start his own shop and PVS was officially born.

The shop quickly became popular and wellknown because of its technical expertise, so there was a need for a larger building. In 1994, the construction of a new building started, allowing PVS the necessary space to start distributing several audio brands in Belgium. Meanwhile, Patrick realised his young son, Tom, also shared the same passion for technology, which resulted in reassembling RC toys. From that point on it was clear to his parents where his future would be.


Due to the fast growth of the company, the demand for innovative products - not yet available on the market - increased too. This inspired the company in 1992 to start investing time and resources in developing its own brands, AUDAC, PROCAB and CAYMON. From then on, PVS wasn’t just a distributor, but also a manufacturer

of its own brands. Today, PVS is still evolving, there is continuous hard work to offer innovative solutions to the audiovisual market. At the same time, PVS is committed to environmental care in all of its business activities from designing the products, to manufacturing and logistics.

A family company, steeped in history, with a significant amount of mileage well under its belt already. With son Tom, now at the helm, and appointed as CEO during the celebrations on 5-6 September, it seems PVS are set for many years to come.



eLumen8, a Prolight Concepts Group company, has recently released its latest range of IP rated exterior pars. The heavy-duty Endura Series is rental ready IP65 fixtures made for the most demanding of applications, and come backed by eLumen8’s two-year warranty. Built to last, these professional pars have robust, all-weather housings allowing the user the flexibility to use them in a wide range of environments, including outdoor events and touring where protection from moisture, rain and dust is essential. Take a close look at any of the fixtures and you can really see why they are named the Endura series. With nine different LED output and colour options available from cool and warm white through to RGBW, RGBA and even a HEX version, eLumen8 have thought of every application.

This all-encompassing range provides the user and installer alike with the ability to deliver smooth washes in vibrant coloured hues or subtle warm and cool white tones, it is this coupled with their versatility and durability that makes them the ideal choice for rental and installation applications. With flicker-free operation, thanks to a 3,600Hz refresh rate, this series is also perfectly suited for use in concert and TV applications. They also have an abundance of functions including DMX, colour macro, change, fade, strobe, master / slave and four selectable dimmer curves, along with a four button backlit display which features a menu lock to prevent unauthorised setting changes. Six of the range feature a 16° beam angle and a COB LED, in either warm white or cool white and are available as 100W and 50W versions.

There are also two RGBW fixtures, one with a powerful 120W quad-colour COB LED, and the other with a 60W light source. Two models have 18 5W quad-colour LEDs, and there is even a HEX version with seven 12W six-colour (RGBWAUV) LEDs offering a wider spectrum of colours. All three feature a 20° beam angle. The robust IP65 rated housings come supplied with a 50mm snoot, preventing glare from the LED source. They also feature Neutrik TRUE1 and five-pin DMX inputs and outputs, and are fitted with a dual bracket for multiple rigging or floor standing applications.








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Digital networking and power distribution requirements have changed a lot in the ‘live space’ over the past decade. The tight integration of lighting, media, video, and audio for live events poses unique challenges when it comes to connectivity, reliability, and portability. It is not unusual to have 25 or more data protocols, in addition to multiple endpoints requiring power, in a contemporary touring or live broadcast production. PDLink is a next generation distribution system that is designed to deliver a truly unified and modular interconnect solution for all power and data. Leveraging decades of experience, Link has combined LK Connectors and Eurocable ‘hybrid’ signal and power cables to simplify and reduce the time required for setup. PDLink offers a line of high-density rack mounted and rubberised portable units for power, data, audio, speaker, and video distribution. All PDLink breakers are magnetic / hydraulic rated for full load in the harshest of

conditions. Panels are clearly labelled and can be custom labelled at a minimal additional cost. Standard PDLink units are designed to integrate with the DGLink Ethernet and signal distribution systems and can also be custom designed on request. LKSData, the ‘Socapex’ compatible six circuit + data connector, integrates seamlessly with your existing lighting distribution to easily extend power and data to peripheral equipment racks, smart moving lights, or powered line arrays. Link’s innovative coaxial pin design, coupled with our proprietary mounting method, permits the connection of conventional 19-pin six circuit power cables into the female panel mount and inline versions of the LKS Data connector. When mated the matching LKS Data male connector, the connector pair not only transports six circuits of power but also carries DMX, Gigabit Ethernet, video, or digital audio. The LKS Data connector also leverages a printed circuit board to provide easy termination of both ground and data

contacts. The new LKG Gigabit series of connectors incorporates an integral circular CAT6 contact designed for Gigabit Ethernet connections. When combined with LK Connector’s Mil-Spec technology, LKG provides a robust, IP67 certified connection accommodating up to six CAT6 contacts. The LKG series also offers many hybrid combinations to transport power + data. Link’s LKO hybrid optical / power connector provides a four-channel expanded beam optical connection and five x eight AWG electrical contacts. The power contacts are ideal for transporting a three-phase 32A power source in addition to the optical core. (Example-4 Single mode 9/125 strands eurocable CVS LK FO4SM 8/5).



The next major installment of the renowned lighting control tool made in Germany is now available, including exciting new features, as well as the brand-new license system make it the biggest release ever. MADRIX 5 is all about speed, performance, creativity, and, of course, our users. “Customers who saw a preview version prior to the release already expressed their excitement to see their most common requests included. We are really happy that the MADRIX Software is universally loved by our users for letting them pixel map quickly and easily in 2D or 3D. MADRIX 5 definitively takes LED lighting control to the next level,� said Christian Hertel, MADRIX Sales Manager. The new 64-bit software architecture is the biggest performance boost the software has ever seen since the first version in 2005. You can control more pixels, output more universes,

create more effects, and use more layers. In addition, it is not necessarily required to deploy new hardware in order to take advantage of the speed upgrade. The new software will also improve any compatible system that is currently in use. The user interface has been completely revamped to make it even faster and easier to use. Two themes, dark and light, graphical improvements, and new visual clues allow for even quicker operation. New effects and filters make sure you get the visual results and lighting design you are looking for even faster. VJing will be more creative thanks to the new capabilities to directly play back the audio track of videos. CSV Import and Patch Editor Background Image features allow for much faster set-up times of your project. Fixture list imports that use the CSV file format can quickly generate complex patch layouts based on data of third-party

software, such as visualisers, consoles, CAD software, other lighting design tools, or even manually created data. The range of MADRIX 5 Licenses now starts at and has been doubled to two DMX universes, and ranges up to 2,048 universes of DMX-based output. Every license now also includes DVIbased output, ranging from 4,096 pixels up to Full HD with MADRIX 5 KEY maximum, which is the new high end. All in all, MADRIX excels in versatility by supporting over 50 industry control standards for output alone plus many more for input and remote control. Existing users can benefit from software update packages for MADRIX 2 and MADRIX 3. MADRIX Training, the comprehensive learning courses offered by inoage, now also incorporate the new software package.

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


la•sers•special•effects [ley-zers spesh-uhl ih-fekts] n. Machines that create atmospheric effects including lasers, fog, smoke, haze, pyrotechnics, snow and confetti to enhance the theatrical or musical performance experience for the audience.




“Over the past years, laser displays became an essential component of the entertainment industry. Lasers are being used virtually everywhere, which of course leads into increased demand on suppliers when it comes to quality, reliability and useful features their lasers may come with. The big thing lately is the integration of direct DMX and Art-Net control into lasers. That way the lighting designers can operate lasers effectively from a lighting desk, without need to learn complicated laser control software solutions. All Kvant lasers meet this criterion.”


“Special effects bring excitement to any audience. Simulated snow is the most widely used special effect for the winter season and one Antari has been focussing on for the past year. The newly launched S-500 has the ability to produce fine flurries to heavy blizzard-like snow effects. A patent pending split nozzle system allows the output nozzle to be mounted up to 20-metres away, meaning the control module and fluid reservoir can be placed in an area that makes output adjustments and refilling hassle free. With the use of the optional PM-1 pan motor accessory, the output pattern can be further enhanced, producing an even more dramatic effect. Transportation and set-up is made easy by incorporating the entire system into a built-in road case, which also reduces operating noise levels making the unit ideal for theatre applications.”


“In the constantly evolving p y ro t e c h n i c s i n d u s t r y , c l i e n t s need safe but new and innovative products. What really counts is making a statement with special e f f e c t s . A s h ow n e e d s to b e memorable and talked about, and the ultimate for those designing shows is to be the first to unveil a new effect at their event. Hence the need for a full time R&D team to consistently develop and energise new product.”



Antari HZ-1000

ADJ Fog Fury Jett Pro

HZ-1000 is the most advanced haze machine among Antari’s HZ series. With the option of single or twin-compressor modes, this exceptional hazer can now be used in greater range of various venues. The TFT colour touch panel makes it much easier to use when chasing the settings. More protection and convenience are provided with the wheeled flightcase while touring. Built-in turbo fan not only brings the haze higher and farther but also enables the product to create drier haze with minimum residues. Bigger fluid tank and easy-to-see liquid level indication window both help make sure the show must go on. The maximum haze output is HZ-500’s double. Two operational modes: Single compressor or twin compressor mode can be selected to create needed haze volume.

The ADJ Fog Fury Jett Pro is a high velocity, vertical Fog Machine that mixes colour into the fog from 28 3W LEDs (six red, seven green, six blue, three amber and six UV LEDs). The Fog Fury Jett Pro produces a dry even blast of fog over 40ft in the air. It has a special heating element design that uses an oil type transmission throughout the pipeline to prevent clogging. It is also equipped with a high performance Italian pump system for optimum output. ADJ’s Electronic Thermo Sensing (ETS) technology is on-board to maintain optimum heat levels with short warm-up time between fog blasts. The Fog Fury Jett Pro may be use vertically or horizontally. The reservoir tank may be mounted in the front or rear of the unit so the machine may be pointed up or down. Control options included three-pin and five-pin DMX In/Out connections, ADJ’s WiFLY EXR wireless DMX on-board, plus the ADJ FFJWR wireless remote comes included in the box.

Haze Base Base Hazer Pro The Base Hazer Pro offers several completely new features, providing a new level of control to the user. With its variable output, the machine, which is built in an Amptown flight case, can be used effectively in any situation. The 19-inch model, which only takes one minute to warm up before it is ready to use, comes with an integrated timer for increased control. This efficient model is designed to fill anything from a small room to a large arena with a constant haze, creating the perfect atmosphere. The pump and almost-silent fan are individually operable, giving the user total control of haze output and fan speed. A wide range of effects can be simply achieved, from the finest mist to a thick haze. The ready-mixed fluid guarantees a trouble-free operation, while the low liquid consumption from the Base Haze Pro provides continuous output for up to 135 hours from one five-litre bottle.

KVANT Burstberry KVANT Burstberry is the new, self-contained laser/lighting fixture, designed to be used in multi-head configurations and to be controlled mainly from a lighting desk via DMX or ArtNET. The individual units can be easily joined together from 12 different directions (at every 30º angle), making it possible to create clusters of Burstberries formed into pretty much any shape required. As well as being fully equipped professional RGB laser display system, each unit also offers Beam Burst effect and white-LED blinder, which can also be controlled from lighting desk or via laser control software. All the features of Burstberry brought together, represent a new type of lighting fixture that is able to perform some cool visual effects in combinations never seen before. The powerful output, easy to use control and endless layout and effect combinations, make the Burstberry a great choice for all the lighting designers who are after a punchy innovation for their stage.

LaserAnimation PHAENON X 30000 & PHAENON Launched in 2016 the PHAENON laser projectors with AVB provide a totally fresh concept in laser control, meeting the complex requirements of today’s laser professionals. With the integrated AVB protocol, time sensitive data are sent via Ethernet. As a result, less wiring is needed and laser signals can be switched live to different projectors during a running show. Signal sources with an ILDA compliant output can be connected too. Featuring a carbon housing, the smart laser projector PHAENON accurate is the handiest laser projector in the world. With its small dimensions, it weighs only 5 kg and has more opportunities for positioning quickly in different locations. Based on a high-power, built-in laser module white 7,000 manufactured by LaserAnimation, the projector provides 7,600mW laser power @ source and 2,800mW true white D65. The high-end laser projector PHAENON X 30000 also operates with our unique self-manufactured high-power red and blue laser modules combined with greenyellow Genesis Taipan OPSL. It delivers high level of laser performance, sophisticated laser safety features, motorized beam adjustment, high-quality built-in components and professional control. PHAENON X laser projectors are the first choice for numerous renowned organizations in the event business.

2 STEPS AHEAD ... always!

LaserAnimation Sollinger GmbH

your partner for powerful and professional laser show systems LaserAnimation Sollinger

your partner for outstanding laser systems

Laserworld DS-1000RGB The Laserworld DS-1000RGB is a very compact pure diode show laser light and thus it has great beam specifications (ca. 3mm/1.0 mrad full angle) with a beautiful analog colour modulation at a guaranteed power at aperture of 900mW. This full-colour system has a built-in memory with preset patterns, which can be easily triggered through DMX and can be controlled over ILDA for professional laser shows. Beginners as well as professionals use the Laserworld Diode Series units, as they are easy to use, versatile in their features and very compact and lightweight.

CONTACT US LaserAnimation SOLLINGER GmbH Crellestraße 19/20 D-10827 Berlin Phone: +49 (30) 780 963 00 Fax: +49 (30) 780 963 25 Email: Website: Photo: фузион © Jason Krüger


Lightline Lasertechnik XY-Box-Pro

Le Maitre Wireless Salamander Quad Pro

The new direct DMX->ILDA system. There has always been a wall between lightoperatos and laseroperators. Everyone had his own console, own effects and his own philosophy of controlling the lights. Lights, video and lasers were not in sync (colours, timing, effects). There are a few software solutions that emulate a DMX-access to the console, but it was never a simple and user-friendly solution. We put a lot of energy into our new device that controls a laser projector like a lamp. Similar channels for gobo, pan, tilt, effects, colours make it very easy to integrate lasers into the stage setup. Suddenly all works together and for an affordable price. The cost is lower than ususal laser controllers. You can either integrate the board into the projector or use it as an external source with ILDA-connectors.

The new Wireless Salamander Quad Pro is a completely wireless version of Le Maitre’s highly popular Salamander Quad Pro. It is battery powered, with integrated wireless COBRA firing systems technology. Its internal chargeable battery delivers over 48 hours standby time per charge. With no running cables it can simply be put in place and switched on making it easy, quick and safe to use. The Wireless Salamander Quad Pro is a compact canister-based flame effect producing 30 seconds of single continuous flames or up to 120 flame bursts reaching up to 25ft in height when all four canisters are fired simultaneously, or up to 12ft if fired individually. Chases are lightning fast and visually stunning, with fluid available in natural, red and green. It is extremely safe, with no internal valves or accumulators so gas never remains in the system once the canister has been removed, and there is a tilt safety switch.

Look Solutions Unique 2.1 The Unique 2.1 is a haze generator from Look Solutions that provides excellent support for lighting effects, creating an impressive display at any event. The Unique 2.1 produces a fine mist through to a thick haze and is capable of filling rooms and halls with a constant haze. The pump and the fan are fully and separately controllable, giving the Unique 2.1 a good level of noise reduction - making it the ideal choice for fields of operation in which noise must be kept to a minimum. The ready-mixed fluid, available in canisters of two litres, guarantees a trouble-free performance and continuous output for up to 50 hours. The warm up time is extremely short, too a maximum of just one minute and it’s ready to go.

LPS-Lasersystems LPS-Bax LPS-Bax is a premium laser projector manufactured by LPS-Lasersystems, Germany that is the ideal solution for professional lighting designers and experienced organisers of different events worldwide. This high-end pure diode show laser projector used for festivals, tours, theatres, entertainment centres, hotels, government projects, and much more as an eye-catcher, or combined with multimedia water fountain shows. Reliability, state-of-the-art texchnology, and attractive prices are some reasons why it is the LPS best seller. Another is Easy Outside Beam Alignment that allows easy adjustment of the single laser lines at the housing, if needed. Equipped with 60 kpps graphic scanners (at 8° ILDA, max. deflection 60°) it projects effortlessly demanding animations, graphics, and text. LPS-Bax is made in Germany, features scanner safety, has IEC / EN 60825-1 certification and is available up to impressive high-power in Green and RGB (multicolor). Additionally it is available with a smaller housing, called LPS-Bax XS. Size only 28cm x 28cm x 28cm, from 15kg, including technical refinements and all safety precautions from LPS. LPS-Bax, XS as well, can be upgraded to JenLas, Coherent OPSL or OPSL HD, optionally with LPSRealTIME Pro, integrated FB4 or any Pangolin laser software. LPS-Bax systems that are not IP68, can be protected by a waterproof Bax Rain Defender.


Magic FX POWERSHOT II The POWERSHOT II is a compact shot unit from MagicFX that fires electric confetti and streamer cannons. The POWERSHOT II can be placed on stages by using a MFX BASEPLATE II or mounted in trusses using integrated M10 mounting holes for truss clamps. With a new cannon plug system and output angle install plug, the POWERSHOT II is easy to use. Offering a very powerful performance, there is no delay when it comes to firing the cannons. Powder coated and rainproof, the POWERSHOT II can used for outdoor use, too. It is short circuit protected, too, and also has an automatic switch off option after four seconds. The POWERSHOT II comes with a Neutrik powerCON TRUE1 1.5-metre cable.

Martin by HARMAN JEM Hazer Pro The JEM Hazer Pro is a top of the range water-based haze machine designed for the highly demanding professional market. Its ability to produce exceptionally fine atmospheric haze in a short period of time while operating at low noise levels makes it an ideal choice for rental houses, medium to large shows, theatres, studios, clubs, bars, cruise ships, theme parks and more. Robust yet small and lightweight, the JEM Hazer Pro is capable of dispersing an even, continuous haze with superior optical clarity and reflectivity, the perfect small-particle haze for highlighting today’s highly defined light beams. The highly efficent JEM C-Plus Haze fluid was developed for the JEM Hazer Pro and a full reservoir can yield up to 65-hours of run time before refilling is neccessary. The JEM Hazer Pro features a battery-powered automatic shutdown system that purges the trackless heat exchanger system, thus preventing clogging, reducing maintenance and extending product life. Robust control options allow the machine to be controlled independently, remotely or with DMX featuring RDM compatability.

MBN F-630 The MBN F-630 is perfect for large clubs, halls and open air events. With a foam performance of 250,000 litres of foam per minute (theoretical foaming volume), the MBN F-630 is the largest foam generator produced in series. The MBN F-630 can be operated standing or installed in a hanging position by three built-in flying eyes. The F-630 comes with an adjustable pump, a two-metre hose (tank to pump) and a 15-metre hose (pump to foam generator). The unit is delivered complete and ready to install. For operation, an additional tank and foam fluid is required.

Fog long and prosper Probably the most silent Smoke Machine in the world. Now available!

3 years warranty!


MDG TMe WPE MDG’s ATMe WPE is a non-stop, variable output, haze generator encased in an IP55-rated weatherproof and dustresistant enclosure that is suitable for both indoor and outdoor use. Retaining all the characteristics and quality of MDG’s market-leading ATMe haze generator, ATMe WPE’s steel enclosure ensures all projects - permanent or temporary - can now enjoy the benefit of controllable haze and low fluid consumption in a durable fixture that is strong enough to defy the elements. ATMe WPE performs to perfection under adverse conditions, without recourse to temporary/insubstantial methods of weatherproofing, and is the perfect solution for lighting and laser shows, theme parks, events and outdoor festivals, come rain or shine. Laboratory-tested, approved and certified, ATMe WPE offers IP55 protection against adverse weather and ingress of dust which can cause costly and time-consuming maintenance problems for long term installations. The appeal is particularly strong to rental companies which supply a wide variety of outdoor events and want the security of a weatherproof generator with solid construction and reliable performance. Its ATMe pedigree delivers safety, reliability, 100% duty cycle and the famous MDG APS (Automatic Purging System), which are the hallmarks of all MDG generators’ success. DMX-controlled, RDM-ready and suitable for use with CO2 or N2 gas, ATMe’s universal switching PSU and CE/CSA/UL certification ensure its global appeal.

Pangolin Saturn Laser mapping has emerged as one of the hottest effects being created in the lighting design and architectural scene. Thanks to new technology from Pangolin, creating laser mapping projections has become easier than ever before. To accomplish this, Pangolin’s development team have designed a new laser scanning system called the Saturn, which can be integrated into laser systems they offer. These new scanning systems allow laser effects to be projected across exponentially wider angles, thus allowing artists to create much more complex laser mapping displays. When combined with new design and geometric correction tools in their industry leading BEYOND software, lighting professionals can now quickly and easily trace out and map out any sort of building, structure, or object you can imagine, in gorgeous laser light. Those laser effects can also be synchronised with other multimedia elements (such as video, timecode, DMX lighting) for choreographed shows. As a result, the popularity of laser mapping events is exploding globally, and we’re seeing the effect used widely across the industry - from permanent installations at hotels, and theme parks, to high profile tours and concerts.

Prolight Concepts Spark Stream

RGB Laser System neXt10

The Spark Stream is a unique type of special effects machine that projects eyecatching sparks. The system contains no explosive content, making it perfect for any indoor or outdoor event from fashion shows and concerts to corporate events. The unit operates at much cooler temperatures than traditional pyrotechnics by heating specially formulated granules and projecting them into the air. The sparks produced are non-flammable and non-hazardous - there is virtually no odour and very little smoke, too. A wireless remote control is included.

The neXt10 is a new arrival to the neXt family and it is intended for medium to large-scale indoor shows. Following the latest trends and needs of the market, we have put this projector into our product line to offer more options in the same form factor. Despite being used mainly as indoor laser show system based on price and power, but it goes beyond being an ordinary club laser with its functionality and performance. Most important features of the neXt10: • Guaranteed 9.5W of power • High brightness • Compact and sturdy design • Built-in FB4 controller (Art-Net compatibility) • Built-in network switch (in and through) • Built-in interlock for E-STOP (in and through)


Showtacle Introducing the by Showtacle. If you need a laser controller with all the standard connectors, a small display that allows you to have direct access to the settings of the laser device, but you are not a laser manufacturer, then choose the The console contains a small display and all of the old control features, which enables users to set configurations directly on the controller. supports the following interfaces: DMX in/out, Ethernet, ILDA out and SD-card. is the right answer if you don’t want to install a controller directly into the laser.

Swefog DURAMAX 1K8

Smoke Factory Spock Smoke Factory’s Spock delivers smooth fog output for the most demanding applications. With a volume reduction of up to 20dBa, compared to the 400W weaker Data II with 2,600W, the goal of volume reduction was more than achieved. Smoke Factory achieved this with the help of a new nozzle - a plate with many small holes instead of the usual end of the evaporator tube. New sensors make it possible to measure and control the temperature inside the heating element even more accurately. This ensures a constant temperature, which is necessary for a constant and above all safe evaporation of fluid. The second step for a constant fog output is the setting of the pumps. The Spock is equipped with two different fluid pumps for an even output. A small 24V pump takes over the fluid delivery up to a setting of 30% output. From then on, the fluid is pumped into the heating element by a larger 230V pump. This means that a very fine adjustment can also be made in the lower area. Equipped with a touch display many other settings can be adjusted. The Spock has RDM, via which the heating status and possible error messages can be output. In addition, the display always shows the current heating progress to see when the unit is ready for operation. The control takes place via all usual ways including ArtNet and sACN.

DURAMAX 1K8 is built into a durable flight case and uses the Smartbib fluid system which is leak-proof, prevents use of wrong fluid, increases shelf life, and is a more environmentally friendly packaging solution compared to traditional plastic cans. With precise variable haze density, both calm, unnoticeable atmospheric haze and dense moving clouds of fog are effects close to hand at tour with a single intellahazer. Highest output of all water based haze generators. The hazer can use three types of fog fluid; XTR (extra light), MD (medium), HD (High density), no manual settings required. Heavy-duty European-made, high quality flight case, made for touring and rental use. Bag-in-box fluid container 100% leak-proof. Can be stored and shipped in any position. Reduces plastic use with 75%. LED lluminated fluid compartment, for quick view of fluid level in bag. Full OMX control + 0-10V analog, PowerCon connector. Integrated drip tray with replaceable cloth keeps machine clean.

X Laser Skywriter HPX M-2 The Skywriter HPX M-2 is the lower-power, lower-cost sibling of our most popular projector, the Skywriter HPX M-5. The Skywriter HPX M-2 is ideal for small and medium-sized productions where vibrant laser effects can stand out on their own, or be used to complement other effect lighting. Lighting professionals can easily integrate the M-2 into their lighting rigs, and control it in unison with the rest of their lighting, from just about any major console or lighting controller. The Skywriter HPX M-2 has 2W of full RGB laser power and can be used indoors or outdoors, in venues with audiences of up to 1,000 guests. The lower cost of the Skywriter HPX M-2 combined with our Mercury control system allows for large arrays of lasers with incredible capabilities, all controlled from a lighting console to create amazing cascading movement, dimmer and colour chases.

Tarm tarm DOT The tarm DOT multi effect laser projector is a white light pure diode solution with analog colour modulation and unique glass effects. This effect laser light comes with a guaranteed output power of 2,700mW. Multiple beam effects of the integrated gobo wheels can be selected, rotated and positioned via DMX: grating grid, machado, stars, dotted line, continuous line and even a micro star effect which looks like a real starry sky. Colour specifications, rotation and effects can be adjusted through a gobowheel. The zoom function allows a fourfold magnification of the bundled laser light. The laser systems have a compact housing, thus they’re easily integrated into existing lighting setups and established room concepts.


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1. Anchor Audio Series 2 Portable PA Systems Anchor Audio, a manufacturer of battery powered portable sound and public address systems, has recently launched a new generation of portable PA systems. The new generation, Series 2, of portable sound and PA systems continues delivering clear, dependable audio with an increase in simplicity and reliability through the implementation of a new wireless platform, AnchorLink, and the use of Lithium Ion batteries. In response to the FCC’s wireless frequency auction along with feedback from channel partners and customers, Anchor Audio created AnchorLink, a wireless platform operating in the less populated and more reliable 1.9 GHz wireless frequency range. It provides 300+ feet line of sight wireless range, and features automatic frequency hopping for an uninterrupted wireless performance. The ability to connect up to four wireless microphones combined with a one-time pairing feature, make for an easier, more convenient set up experience. Anchor Audio has also added rechargeable Lithium Ion batteries to the Series 2 products. These batteries are rated to last 2,000 charging cycles, and their light weight has resulted in a decrease in overall product weight. Rechargeable Lithium Ion batteries are available in the Bigfoot 2, Beacon 2, Liberty 2, Go Getter 2, MegaVox 2 and Acclaim 2.

2. CLF LEDbar PRO The CLF LEDbar PRO is a multifunctional linear LED batten. Because of the 24° beam angle it can be used as cyclorama as well as pixel controlled effect machine. A total of 10 big, individually controllable, high power RGBW LEDs deliver a rich colour set and smooth HD dimming. Dynamic effects are easily configured by DMX, but the CLF LEDbar PRO is also Art-Net and sACN ready. Multiple rigging options are offered by the easily adaptable bracket positioning system and the side lock system offers matrix possibilities. The CLF LEDbar PRO can be used outdoor because of the IP65 rating. The LCD display offers easy access to the menu settings and manual control. Power can be connected through PowerCON TRUE1 connectors.

3. Elation Smarty Hybrid Elation has introduced a new Ultimate Warranty program on its new multi-functional Smarty Hybrid CMY colour-mixing discharge lamp moving head. The warranty covers the first two years of operation or 6,000 hours of use, whichever comes first, and includes

the highly-efficient Philips Platinum FLEX 200 lamp. The Smarty Hybrid is a compact yet full-featured Spot/Beam/Wash hybrid moving head. A ‘smartly’ designed discharge lamp/ballast package produces impressively high output (14,000 lumens). The lamp is dimmable and power to the lamp is reduced when not in use. The fixture is outfitted with a motorised zoom with auto-focus. Beam angle range differs in Beam and Spot mode with no hotspot visible in Spot mode. A frost filter is also included. The full-featured design includes full CMY colour mixing, linear CTO, plus an extra 13 dichroic colours including UV and CTB colour correction. Graphics are housed in two gobo wheels and a host of effects can be achieved via eight-facet and 16-facet independent rotating prisms.

4. LDR Astro 250 CM The Astro 250 CM is the latest addition to the vast range of LDR followspots. The 250 CM is a stylish, compact and highly efficient RGBW LED followspot which introduces a number of new concepts and features never seen in a traditional followspot. The Astro CM uses a 380W RGBW LED engine with a CRI of 90 specifically designed to provide exceptionally uniform and vibrant colours and two calibrated outputs of white light; 3,200K and 5,600K to match any designer’s needs. This fixture outperforms a standard 1200W tungsten followspot in 3,200K or a 700W MSR in 5,600K. This fixture can be controlled remotely using eight-bit or 16-bit DMX 512 / RDM which includes three choices of fan control and two dimming curves. In the development of the new Astro CM, LDR had to design a new and unique dimming system to allow the operator seamless control of the output while maintaining the operator’s full control of the followspot’s movement at the same time. The design of the clamp-on dimmer module allows the operator to position the controller anywhere on the left or right handle of the followspot. This flexibility allows for maximum operator comfort as well as precise control of dimming by using a thumb to move the control slider on the control module. The control of colour mixing is achieved through another LDR innovation. The Astro CM employs a proprietary Wi-Fi access point, which recognises only one specific device with a range of up to 12-metres. A 360º rotatable universal mobile phone holder is supplied with the Astro CM which will clamped on the operators left or right handles. Installation of an Android or IOS mobile device allows the operator to colour mix the followspot. A number of pre-programmed RGBW colours along with a library of Rosco and LEE gels have been created to be downloaded and used with your mobile app. LDR can also provide an Android mobile phone pre-loaded with the control app and colour libraries. Operators can also use their own mobile device and can download the libraries from LDR website. Another must have unique feature is a USB charging port that is incorporated into the rear of the fixture allowing any mobile device to be charged while the operator is using the Astro.






1. Pro Tapes Cautio Cable


Caution Cable is a custom printed version of Pro Gaff tape. Caution Cable is used to cover and protect wire and cable. Caution Cable ensures high visibility for greater safety. Widely used in television, audio visual, rock concerts, tradeshows and conventions. The high performance adhesive will hold firmly for extended periods of time on most surfaces and remove without residue. Caution Cable features include: clean removal, repositionable, highly conformable, hand tearable, good abrasion and weather resistance (outdoor use). This product boosts the same rubber adhesive system and matte backing as the Pro Gaff product for low reflectivity of light (matte finish).

TAF has introduced its brand new development in the field of aluminium truss connection. It can be seen live at LDI2018 for the first time. The product series, based on the new connection type, is called FALCONN TRUSS. This year, the company is going to have the connection incorporated in the eight-inch box truss series. The product code is FN24. Apart from the straight segments TAF is having specially engineered corner blocks ready for corner solution as well as other accessories. The FALCONN connection itself is based on a simple locking system that does not require usage of hammers and safety pins. There are two safety rings at each connection. First one locks the connector in position and the second one secures the connection to make it 100% strong. It is silent while building up or breaking down the set up and only thing users need to make the connection working is the FALCONN connector and your hands. FN24 loading tables are identical to the standard spigoted truss (FT24 series).

2. Robe RoboSpot Introducing the revolutionary RoboSpot Follow Spot system, a device that allows followspot operators to remotely control up to 12 fixtures simultaneously without the safety concerns and impracticality of placing personnel at the top of venues such as theatres, stadiums, TV and film sets. Stunning visual displays are now possible with as many as 12 perfectly synchronised fixtures following a performer across the stage. With the RoboSpot Follow Spot system it is no longer necessary to send operators into the rafters of venues to operate heavy and cumbersome traditional followspot fixtures that take up valuable space in the world’s live entertainment venues. Operators can now safely control multiple fixtures such as the BMFL range of products, DL4S, DL7S, MegaPointe and Pointe from any location within the venue, reducing set-up times and operating costs. The Robe RoboSpot system features a Base Station with a large 15.6-inch HD touch screen for the operator to observe the performance from a first person viewpoint and a full range of hand controls for operating the fixtures such as pan, tilt, intensity, focus, faders and many others, all of which are fully customisable for the operator’s benefit. The screen receives the live video feed from the RoboSpot MotionCamera or from the fixturemounted RoboSpot camera and the operator’s commands are instantly transferred to the luminaires via DMX control with no lag for perfect motion tracking across the stage. Extra controls are available through the touch screen display as well as four programmable jog-wheels with an additional 10 fully configurable buttons for a truly customised user experience. The remote lighting desk still retains control of the internal features of the fixtures such as light intensity and colour. All these features combine to make RoboSpot an innovative follow spot system.

4. TiMax StageSpace UK spatial audio specialists Out Board introduce the groundbreaking new TiMax 500S software for TiMax SoundHub, featuring StageSpace spatial rendering tools which instantly auto-calculate multiple adaptive delay-matrix localisation objects using threedimensional data imported from CAD files or entered directly. TiMax spatial objects can be rendered and adapted for a wide variety of stage, audience and sound system configurations, and fine-tuned in rehearsal by the user. TiMax 500S integrated TimeLine and PanSpace resources allow quick and easy intensive programming and control of multilayered immersive soundscapes, with intuitive and versatile task-based workflows tailored for live spatial reinforcement and also presentation and experiential immersive audio. There are also new-look variable day/ night skins optimised for outdoor, rehearsal and dark showtime conditions. TiMax also introduces the all-new mighty TiMax FPGA dsp core, which is destined to break the mould with unparalleled new creative tools for spatial reinforcement, 3D immersive audio and spatial acoustic enhancement. Currently the new core replicates all existing TiMax dsp resources, but with extended delay-matrix memory and completely new ultra-smooth dynamic delay morphing algorithms for transparent real-time vocal localisation and immersive layered moving effects. An FPGA upgrade option will be available to existing TiMax SoundHub customers, future-proofing their investment well into the long-term.


DAVEY SMALLEY, BEN VER & PAUL WILLIAMS Sales & Operations Director, Engineering Director and Research & Development Director at Linea Research

Can each of you outline your background and how you first entered the professional audio industry? PW: I was an electronics hobbyist from the age of 12, almost exclusively in audio related projects. After working in electronics design for a few years, I started my own audio design and manufacturing business, which then opened doors for me in the professional world. BSS Audio was my first pro audio position. BV: I was also an electronics hobbyist as a child and, again, like Paul, was mostly interested in building audio equipment. Professionally, I designed radio equipment, mainframe computer hardware and industrial instrumentation before finally coming home to audio, initially by working at BSS Audio. DS: I grew up in a musical family, but I’m an engineer at heart and, in pro audio, I found a path to bridge my technical and creative sides. I trained as a software

engineer but that promising career path wasn’t nearly as attractive to a young man as a life in rock ‘n’ roll, so I spent my early 20s in rentals, developing my own service company and enjoying a frenetic combination of one-offs, tours and music festivals. An opportunity to work with some of the world’s finest engineers at BSS Audio was irresistible, in 1996 I crossed the bridge and began my career in making rather than operating the equipment. What led to the decision to form Linea Research in 2003? BV: As I progressed to more senior positions in Harman, the focus was less and less on products, performance and customers. At heart, I am a designer, and I like pushing boundaries and solving problems, something that despite their marketing, multi-nationals are not keen on doing, if rehashing last year’s models will do.

• Above Davey, Ben and Paul at HQ.

PW: My senior position within Harman meant that I was spending more time in corporate meetings than doing what I love - engineering. I desperately wanted to get back to innovating and creating. I had too many ideas to be constrained by a meeting room. DS: I clearly recall the late night ‘we should do this ourselves’ conversation with Ben. That moment marked the end of our era at BSS Audio. The wonderful team that revolutionised audio processing with products like Omnidrive and Soundweb was now falling apart under the pressure of the corporate world. We needed an independent vehicle where our ideas could flourish without compromise. What were the key factors when you were trying to establish yourselves a new manufacturer back in the early days? BV: 15 years ago, amplification technology was at a crossroads, in that


Are there any specific milestones for Linea Research that you could highlight? BV: I think when our first product, the X-Pod won a double blind shootout powering the monitors at a very prestigious recording studio. PW: Getting our very first order was very exciting (and a huge relief). It’s always a great thrill getting sound out of a new product for the first time. Measurements are all very well, but getting that tingle listening to a song whose essence is conveyed so perfectly by something you have created is what drives me. I remember this very clearly when first listening to the ASC48 DSP controller. DS: In the last few years we’ve become the leading manufacturer of amplifiers in the UK, which is something we’re particularly proud of.

• Above Paul, Ben and Davey in the warehouse.

it was just beginning to be possible to create good sounding Class-D designs, something that I had a lot of experience with. Paul is an industry renowned expert in all things DSP, and together, we saw a huge opportunity to combine these things and create some truly revolutionary products. PW: We had identified a niche market for products which combined Class D amplification, DSP and networking; all areas we were expert in. It turns out this market wasn’t so niche after all. DS: As Paul and Ben describe, the emerging technologies were coming together, and we were perfectly placed to integrate them into our designs. This path seems obvious now, but we really were cutting new ground and I’m very grateful the pro audio world supported our ambition to bring these ideas to market. Can you outline a typical day at Linea Research HQ? BV: I am actually at a different site. I run a dedicated design facility in the leafy Surrey countryside, but don’t tell everyone, we like to keep it a secret. PW: Busy, busy, busy! I start the day with good intentions, but the company often has other plans for me. However, I am still able to do the engineering activities that excite me, writing software and developing DSP algorithms. I even get the soldering iron out now and again.

The three of you each deal with a different arm of the business - sales and operations, engineering and research and development - how do you all work together in harmony and what advantages does having that differentiation bring? BV: Initially, all three of us worked out of our homes, so from the start all communication had to be electronic. In this respect we unwittingly created the decentralised structure for a true 21st Century company. Even though we are now located primarily in two locations, we still maintain that decentralisation and this helps no end when effectively dealing with customers, suppliers and subcontractors who are located all over the world. PW: We are all very different people, but we are like three pieces of a jigsaw, each bringing our own range of expertise to the table. Having worked together in various guises for many years, we pretty much know each others views on any given topic without the need for endless discussions. We are a very efficient team. DS: Our complementary partnership has been absolutely critical to creating a harmonious company. We also share a common view of the world, one that means we treat our engineering, staff, suppliers and customers with care and respect.

Which markets are the strongest for the company, geographically speaking? Are there any markets you would like to infiltrate more? DS: As you would expect we’re successful in our home European market, however, combining OEM and Linea branded sales it’s actually the USA which represents our largest sales territory. Another ex-BSS Brit and long-term Linea friend, Rik Kirby of Allied ProTech, has built our sales and support network in the States. Traction in North America is notoriously difficult to achieve and, in my view, represents a key differentiator between the regional and truly international manufacturers. Working with the right partner has been key and means the US office feels very much like an extension of the Linea Research HQ in terms of the care and attention it can offer our clients. Typically, what type of installation projects are Linea Research products ideally suited to? BV: Basically, anywhere that requires high power, high quality and modern monitoring. Our products are used in very diverse situations from giant sports arenas to Dolby Atmos reference facilities and everything in between. DS: Linea is most suited to situations where absolute performance is paramount. From precision beam steering in mass transit to the neutral purity of theatre and recording studios we can perform at the highest standard and we find our customers are normally those with equally high standards. With a 15-year anniversary to celebrate this year, how does the company compare from then to now? BV: Well, we are somewhat larger than when we started and continue to grow


strongly but the same ethos of premium performance is threaded through everything we do. PW: Working from a spare bedroom in complete isolation allowed me to create vast volumes of work very quickly. The company couldn’t have survived the first year if this hadn’t been the case. These days, with a department to run, of course I don’t get to do quite as much engineering. It’s a lot less lonely though! DS: Although the scale is different the fundamental approach is the same. We try to match our engineering expertise and the available technology with the market requirements as accurately as possible. The results are delivered with consideration and integrity. This formula has sustained us through a global revolution in electronics. So, whilst everything has changed in many respects nothing has changed. What make Linea Research different to any other audio manufacturer? PW: Having forged close relationships with many OEM clients over the years, it has allowed our product features to be steered by many top professionals in the industry, resulting in a tight, well crafted, relevant feature set. We love what we do, we have a great team with a family atmosphere, far removed from the corporate attitude. DS: I find the more people understand about our products and the deeper they dig the more impressed they are. How does it feel to be part of a Britishmanufacturing community and does that shape the business in any way? BV: Very proud, although it can be difficult when the majority of our

competitors manufacture their products in China and elsewhere. We believe, however, that when it comes to delivering a quality product that with careful design and strong partnerships we can prevail. There is plenty of life in British manufacturing, the key is to play to our collective strengths. PW: Britain has a great audio heritage which we are proud to continue. However, we are serving a competitive worldwide market, far removed from the niche cottage industry which characterised early British audio. DS: The UK has always been a leading light in music industry and performing arts more broadly and we’re very pleased to be part of the industry which supports their endeavours. Although the names and owners of many companies have changed since the burgeoning days of ‘PA systems’, the people and passion which drives them are as strong as ever in this country. Tell our readers something they wouldn’t know about Linea Research? BV: We design and build all our automated production line test equipment ourselves, quite a feat in itself. PW: We design everything in-house. This is an essential part of our approach to engineering; we understand it all implicitly. DS: If you unwind all the transformers and inductors we’ve used the wire could stretch to the moon and back. Are there any plans in the pipeline for Linea Research that you can share with us? BV: You really expect the head of engineering to tell you that? Actually, I

• Above right The Linea Research website in 2008. • Above left The LR44c10, LR 44M20 and LR ASC48.

can share with you that it will involve audio amplification. What are your hopes for the longterm future of the company? BV: That we can keep growing organically without needing outside sources of funding, which is the only way we feel we can have total control of our destiny. PW: We have a clear plan for continued, steady growth. We haven’t run out of ideas yet. DS: As Paul notes, when we’ve exhausted the ideas we should hang the tools up but that’s a long way off. Why stop doing what you love? If you hadn’t started a career in the audio industry, what path do you think you might have gone down instead? PW: I have always known audio was my destiny. I can’t imagine doing anything else. Fundamental research perhaps; helping to answer some of those big questions. DS: Music is my guiding light but perhaps architecture would have been interesting, and I’d love to have the time for a bit more teaching. What is your desert island disc? BV: Alchemy by Dire Straits. PW: The Haunted Man by Bat For Lashes. DS: E2 E4 Manuel Göttsching. What possession could you not live without? PW: My clutch pencil - all my best ideas flow from it. DS: Hearing.

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