mondo*dr 31.2

JANUARY / FEBRUARY 2021 | 31.2

THE INTERNATIONAL PUBLICATION FOR TECHNOLOGY IN ENTERTAINMENT

E11EVEN MIAMI

A deep-dive into the state-of-the-art audio, lighting and visual technology at the one-of-a-kind ultraclub.

HOUSES OF WORSHIP

We take a closer look at the innovative uses of technology in churches, synagogues and mosques.

JANUARY / FEBRUARY 2021

MOVING HEADS

A round-up of the latest lighting fixtures.

THE INTERNATIONAL PUBLICATION FOR TECHNOLOGY IN ENTERTAINMENT

K3

Full-Range. Compact. No Compromises.

Introducing K3: a versatile loudspeaker satisfying all your requirements for mid-size events and venues without any compromises.

Completing the K series line, K3 boasts an optimal mechanical design for reduced weight, Panflex™ variable directivity, laminar vents for a powerful, linear low-frequency response down to 42Hz, and class-leading SPL. Optimized for audiences of 1,000 to 10,000, K3 reduces the need for amplification and dedicated subwoofer, making it faster, more straightforward, sustainable, and economical to deploy. It’s ready for your next event. l-acoustics.com

L-Acoustics_K3_Mondo_236×333_IN.indd 1

10/2/2020 10:05:40 AM

(r)evolution Every once in a while, something comes along that tears up the rulebook and revolutionises an industry. This is one of those moments: the Satellite Modular Laser System from the Visionaries of the display industry – Digital Projection.

1996

3,000 lumens 60 kg

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16,000 lumens 113 kg

2016

27,000 lumens 132 kg

2020

> 40,000 lumens < 40 kg

SATELLITE MODULAR LASER SYSTEM

Satellite Projection Heads and RGB Laser Sources Simple building blocks for complex installations

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SATELLITE The Visionaries’ Choice MODULAR LASER SYSTEM Mondo-Full-Page-Post-ISE.indd 1

03/03/2020 13:25

7 LEADER

THE NEW Happy New Year from the mondo*dr team - we hope you had a fantastic break over the festive period!

I’m sure, like us, you’re glad to see the back of 2020 and are already making plans for 2021. Of course, we’re all well aware that it’s not going to be easy, but, crucially, there is light at the end of the tunnel. Slowly but surely, we’ll see the industry make a comeback - and we’re starting to see that in terms of the incredible venues we’ve covered in this issue. Where it’s safe and within the guidelines, projects have gone ahead with truly impressive results, and that is really encouraging to see.

MONDO*DR 31.2 JANUARY / FEBRUARY 2021

FINANCE DIRECTOR Amanda Giles a.giles@mondiale.co.uk CREDIT CONTROL ar@mondiale.co.uk GROUP CHAIRMAN Damian Walsh MONDIALE PUBLISHING Strawberry Studios, Watson Square, Stockport SK1 3AZ , UK Tel: +44 161 476 8340 Fax: +44 161 429 7214

ON THE COVER E11EVEN MIAMI Image courtesy of @ADINAYEV EDITOR Sam Hughes s.hughes@mondiale.co.uk

mc 36

Our cover story is the perfect example - Miami’s E11EVEN is a spectacular ultraclub, packed with technology, including an E11EVEN Sound by DAS Audio system. Read the feature on page 78.

We’ve also covered the complete seating renovation at the Lyric Opera House, which is a fascinating project that has only enhanced Chicago’s iconic venue.

Looking forward, we’ll be bringing you a redesigned mondo*dr for our next issue. We can’t wait to show you what we’ve been working on.

SAM HUGHES EDITOR

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 www.mondiale.co.uk or call +44 (0)161 476 5580 ISSN: 1476 4067

ASSISTANT EDITOR Emma Davidson e.davidson@mondiale.co.uk

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

DIGITAL CONTENT MANAGER James Robertson j.robertson@mondiale.co.uk

Subscription records are maintained at Mondiale Publishing Ltd, Strawberry Studios, Watson Square, Stockport, SK1 3AZ, UK

SLEEK. STUNNING. STELLAR.

AT A GLANCE All-in-one audio production console – powered by A__UHD Core technology Built-in comprehensive I/O incl. Lawo-grade mic pre-amps Frames with 16 and 32 faders 256 DSP channels 864 channels I/O capacity 48 – 96* kHz operation IP Easy – IP setup as simple as analog

Replay the Lawo Special Event!

SALES DIRECTOR Jamie Dixon j.dixon@mondiale.co.uk

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SENIOR ACCOUNT MANAGER Laura Iles l.iles@mondiale.co.uk

mondo@mondiale.co.uk www.mondodr.com Printed by Buxton Press, Palace Road, Buxton, UK

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* future release

DESIGN & PRODUCTION Mel Capper, Dan Seaton CEO Justin Gawne j.gawne@mondiale.co.uk

2

9 CONT ENTS

CONTENTS 14 IN DISCUSSION

20

IN DEPTH

HOUSES OF WORSHIP This extensive report covers the amazing technology implemented in Houses of Worship across the globe.

20 REPORT Houses of Worship

IN FOCUS 48 BØLGEN KULTURHUS Larvik

62 HOTEL KAKOLA Turku’s newest hotel is equipped with handcuffs, prison cells and an all new Genelec sound system...

50 TOULOUSE CONVENTION CENTRE Toulouse 58 MALMÖ OPERA Malmö 62 HOTEL KAKOLA Turku 68 SPACE NEEDLE Seattle 70 LYRIC OPERA HOUSE Chicago 78 E11EVEN Miami

70

86 ABSOLUTE CYCLE Singapore

LYRIC OPERA HOUSE A complete seating renovation enhances Chicago’s historic cultural venue.

88 ART AQUARIUM Tokyo

IN BUSINESS 94 IN DETAIL Avolites

112 IN PROFILE We speak to APEX’s Managing Director, Paul van Hees, about the company’s new CloudPower amplifiers.

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98 PRODUCT GUIDE Moving Heads 106 PRODUCT DIRECTORY 112 IN PROFILE APEX

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CODA releases System Optimiser Beta v0.5

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MARCH 7 - 9 en.musicinsiderimini.it

MAY 11 - 12 www.plasaleeds.com

APRIL 13 - 16 pls.messefrankfurt.com

MUSIC INSIDE RIMINI RIMINI, ITALY

AGORA ONLINE

PROLIGHT+SOUND FRANKFURT, GERMANY

COMMERCIAL INTEGRATION CHINA 2021 SHENZEN CHINA

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THE GET SHOW GUANGZHOU, CHINA

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APRIL 1 - 3 en.ledchina.com/shanghai MAY 8 - 11 getshow.com.cn

FEBRUARY 23 -25 mondostadia-agora.com

MAY 16 - 19 prolight-sound-guangzhou.hk.messefrankfurt.com

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13 EX P O DIARY

JUNE mondostadia-agora.com

SEPTEMBER 5 - 7 www.plasashow.com

MAY 24 â&#x20AC;&#x201C; 26 cabsat.com

CABSAT DUBAI UAE

AGORA BARCELONA SPAIN

ISE BARCELONA SPAIN

PLASA LONDON, UK

IBC AMSTERDAM, THE NETHERLANDS

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JUNE 1 - 4 Iseurope.org JUNE 12 - 18 www.infocommshow.org

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SEPTEMBER 10 - 13 www.ibc.org

14 IN DISCUSSION

ETC LAUNCHES NEW PROGRAMME TO HELP INDUSTRY RECOVER 2020 was a difficult year for the events industry, with the COVID-19 pandemic grinding theatre productions, live gigs, festivals, conferences and many more forms of entertainment to a halt. As we pushed through the year, adapting to working from home, virtual coffee catchups and uncertainty about the future, many companies began revolutionising the ‘normal’ way of work. We saw livestreamed gigs and virtual tradeshows, but most local venues still struggled for revenue and, therefore, were unable to equip themselves with the necessary technology.

As we go in to 2021, the industry is still in recovery, and even with the promise of the vaccine, remains uncertain about its future. Aware of the ongoing issues, ETC are offering a selection of the latest ETC and High End Systems lighting equipment through ETC Rental Partners with a newly launched program: ETC Rent.

Jeremy Roberts, Regional Sales Manager for the UK and Sub-Saharan Africa commented: “To help the creative industries get back on their feet, we have introduced ETC Rent in the UK: a program that will give your local venues, hire companies, creative designers and more, access to the very latest ETC and

• Above ETC are offering a selection of the latest ETC and High End Systems lighting equipment through ETC Rental Partners

High End Systems lighting equipment via our rental partners.”

ETC Rent includes the new fos/4 Panel lights - designed specifically for the studio and film industry. They deliver intense light output and the highest colour quality with the addition of Deep Red LEDs. ETC’s fos/4 Panels come in a Lustr X8 array and Daylight HDR array with different sizes also accessible via ETC Rental Partners.

A range of the newest High End Systems’ gear is available on the ETC Rent program, including SolaPix, SolaFrame and SolaHyBeam fixtures. These powerful LED automated luminaires offer a diverse range of effects and a variety of features that are suitable for every application or budget.

Darren Beckley, Sales Manager at ETC Ltd added: “ETC Rent is here to assist the recovery of our industry with the support of our rental partners. As ETC expands its product range, we plan to offer even more with ETC Rent, continue building customer relationships and push the industry to get back on its feet.”

New and upcoming products will continue to be added to the ETC Rent platform which is available through ETC Rental Partners: Black Light, SLX, TSL and White Light. www.mondodr.com

Here is some more information on a selection of products that can be accessed through ETC Rent: fos/4 Over a decade of research has been realised in ETC’s new fos/4 fixtures, which have been designed specifically for the broadcast market to create the best light for use on camera. Whether on set or on location, fos/4 has a unique eight colour LED mix, delivering intense light output without sacrificing colour quality. The fos/4 Panel lights are available in two arrays – Lustr X8 for the full gamut of colour mixing, and Daylight HDR for the brightest whites. Both arrays include deep red LEDs for the most nuanced rendering of skin tones, fabrics, and scenery of any fixture on the market.

SolaPix Through ETC Rent, High End Systems’ SolaPix fixtures will be accessible in all three variants – SolaPix 7, SolaPix 19 and SolaPix 37. These fixtures take the traditional concept of a pixel wash and pushes it to its maximum potential, with next generation brightness and vibrant, saturated colour. Additionally, the fixture’s narrow zoom, FleX Effects macros and

16 IN DISCUSSION

pixel-controlled face provide a wide variety of looks and styles to help set the mood and steal the show.

SolaHybeam 3000 With a feature set designed for beam control, aerial effects and raw power, the flagship SolaHyBeam 3000 has all the elements to cut through the haze and shine brilliantly in the world’s largest venues. Powered by an exceptionally efficient White Light LED engine, High End Systems’ SolaHyBeam 3000 features a large front aperture and optimised long throw optics for superior light output throughout the fixture’s wide zoom range.

TurboRay TurboRay is an automated fixture in High End Systems’ FX family. It is a distinctive fixture with a classic retro design and radial diffusers, and it creates dynamic textures from its animation and gobo

wheels. Used as a narrow-angle wash light or as a powerful hard edge beam, TurboRay produces stunning aerial effects and more. TurboRay’s soft edges, homogenised colour and smooth intensity fall off make for a spectacular wash.

SolaFrame 1000 High End Systems’ SolaFrame 1000 is the workhorse automated framing fixture for lighting designers. With 20,000 lumen output, full framing shutters, rotating and fixed gobo wheels, multiple colour systems and much more, it has all that is required by the modern lighting designer.

Available in Ultra-Bright and High CRI versions, SolaFrame 1000 ships with a TM30 Filter that boosts the Ultra-Bright engine to 85+ CRI, the SolaFrame 1000 is a star performer in all professional production environments.

Other features include Iris and Light Frost, Rotating Prism, animation effects www.mondodr.com

• Above High End Systems’ TurboRay fixtures • Below ETC’s fos/4 panel family

and High End Systems’ patented Lens Defogger System.

SolaWash 1000 When used as an Ultra-Bright wash light with framing, a High CRI key light for face lighting or a wide and soft edge wash fixture, High End Systems’ SolaWash 1000 is designed to give designers a wide gamut of pure, even colours and a beautifully simple feature set. This automated fixture is available in two versions – with an Ultra-Bright engine producing 20,000 field lumens or a High CRI Engine featuring accurate colour rendering. A TM-30 Filter boosts the Ultra-Bright engine to 85+ CRI. Contact #ETCRentalPartners – Black Light, SLX Limited, TSL Lighting and White Light Ltd to get access to the latest lighting equipment through the ETC Rent programme. www.etcconnect.com

© Photo by Mihály Podobni

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IN DEPTH REPORT HOUSES OF WORSHIP

20 REP ORT: H OUSES OF WORSH IP

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21 REP ORT: H OUSES OF WORSH IP

THE HO U SE M O D ESTO COMPANY: ADAMSON LOCATION: CALIFORNIA, USA Founded in 1980, The House in Modesto, CA, hosts dynamic services that bring the community together with live music acts, special events and a diverse pastoral team. The church’s recent PA upgrade to an Adamson system is changing the way that congregants in the 1,800-capacity auditorium can experience worship, with clear and rich sound delivering praise-worthy performance. And while the pandemic limited live services temporarily, The House has kept the community close with online worship and outreach and is ready to welcome it’s full church family back home.

Jason Rightnour, Audio Director at The House, chose to install Adamson loudspeakers in the auditorium after auditioning loudspeakers from several other manufacturers. Jason was impressed by both the clarity and power of the Adamson product line. “I went to trade shows, conventions and loudspeaker shootouts but I couldn’t find a system that fit our needs until Adamson. Once I heard this PA, I was in shock with how clean the box sounded with its crystal-clear highs and no distortion.”

As a church with a congregation of diverse age groups, it was important for the AV team that this new system provide quality sound without any tonal loss, harsh tones or distortion for both their regular services and special events like concerts or youth services, which tend to be run at a higher decibel level. With its minimal footprint, the Adamson system has also allowed the church to maintain great sight lines and a clean aesthetic in their auditorium.

The PA, installed by Clark Productions, includes two main arrays of eight boxes of S10; the top four boxes are S10n, while the bottom four boxes are S10. Low end coverage is provided by six E219

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flown above the centre of the stage in an end-fire configuration, as well as two E119s placed on the floor for additional presence. Two S10p point source cabinets flank each side of the arrays and are used as side fills, while ten PC5 loudspeakers act as front fills. The balcony features seven S10p, while M12s are used on stage as monitors for the pastoral team.

Church members were quick to comment on the upgraded system. Jason received compliments on the install on the very first weekend the PA was deployed. “I had different people come up and tell me how much better it sounded, that there was clarity in the pastors’ speeches as well as a much clearer sound when the band played. Many of these people had never said anything to me in the five years I’ve been running sound for the church.”

He noted that the auditorium is a live room with many reflections and little to no acoustical treatment, which makes achieving optimal sound difficult. The Adamson PA made a noticeable difference in both the sonic quality as well as reach of the sound.

The House AV team was also impressed with the upgrade. Colby Higgins, the church’s Monitor Engineer, stated: “I love the Adamson system. It sounds much better than our previous PA. I am blown away by how a small box like the S10 can output more both in clarity and volume than our previous bigger, clunky boxes.” Jason echoed this sentiment: “When I first saw the PA being flown into position with eight boxes per side, I was thinking, ‘this is not going to be enough PA to fill this room.’ But after the rig was installed and tuned, I was in shock with how loud it got!” www.adamsonsystems.com

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FAITH UNITED METHODIST CHURCH COMPANY: RENKUS-HEINZ LOCATION: OKLAHOMA, USA

Faith United Methodist Church in Tulsa, Oklahoma is one of many churches that has worked to ensure its services remain accessible to all during the 2020 global pandemic. When churches had to shut their doors, the Faith United Methodist team shifted to video streaming. When social distancing practices became more clearly defined, they developed a hybrid model - allowing a few in-person worshipers to join them at the church while they continued the stream.

That said, there was a unique challenge with that hybrid return: with the on-site sound system running, the audio on the stream became increasingly unintelligible.

“The sound system we had was spraying sound all around the sanctuary,” said Mark Eldridge, Director of Tech Ministries at Faith United Methodist Church. “Sure, it was hitting all the people, but it was hitting all the walls as well. That’s been a challenge with the on-site sound for some time. It wasn’t always the most intelligible sound. But then, with streaming video, you really can’t have that sound getting back to the mics because it really muddies up the mix.”

To repair the local sound - and, in turn, vastly improve the sound quality of the streaming video content - the church turned to Renkus-Heinz.

When first built in 2005, the Faith United Methodist Church’s 855-person capacity, octagonally shaped sanctuary utilised a system that provided sound nearly everywhere in the space - reverberant and reflective surfaces included.

“We were already planning on making upgrades to our system,” Mark added. “I had been researching it for about five years and I knew steerable loudspeaker technology was going to work great in our space.

When we unexpectedly had to begin live-streaming the services we quickly found the audio we were providing to our congregation was not at a high enough quality. We immediately began looking at what we needed to do it right. The obvious answer was to go with Renkus-Heinz.”

Faith United Methodist Church’s newly-designed system is powered by Renkus-Heinz ICLive X Series, with two arrays installed on the edges of the space each made up of three modules - two ICLX loudspeakers and one ICLXL loudspeaker.

The ICLive X Series is the culmination of more than

a decade of experience in steerable line arrays and is the latest evolution of the medium-format, steerable line array in the Renkus-Heinz line. The ICLive X offers all the benefits of Renkus-Heinz’ steerable technology - allowing for sound to be digitally positioned precisely where you want it: on the audience.

“Making sure the audio was focussed on the in-person congregation was our highest priority,” said Curt Taipale of Taipale Media Systems – the firm that designed the system. “By using Renkus-Heinz we were able to make sure sound was going where it was needed, and not filling unnecessary space. And, when you solve that challenge, you solve the sound on the stream as well.”

Faith United Methodist said after the first run with the new system, it impressed not only those in-person, but also garnered praise from the streaming viewership as well.

“Everyone from the staff to the worshipers have noticed the drastic improvement in audio quality we got with Renkus-Heinz,” Mark said. “Worshippers who have been tuning in via live-stream are calling in words of praise as they’re finally getting an immersive service experience from their homes.”

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Renkus-Heinz representative Michael Austin of Native Media provided assistance throughout all phases of the project. Renkus-Heinz provided onsite commissioning of the system, and Taipale Media Systems sent consultant Tom Tyson for on-site setup

services. The tuning of the system was completed in just a few hours.

Additionally, a custom paint job allows the loudspeakers to mount seamlessly into the space.

Renkus-Heinz provides custom fabrication of loud-

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speakers from its Foothill Ranch, California facility allowing for every loudspeaker to match the precise location where it is being installed. www.renkus-heinz.com

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G R E ATE R ATLA N TA C HR ISTIA N S CHO O L COMPANY: ALCONS AUDIO LOCATION: ATLANTA, USA

Greater Atlanta Christian School (GACS) is a PK-12 Christian school in Norcross, Georgia serving over 1,600 students. The school is a faith-infused, academically rich community, ranked at the top of the state for teaching quality arts and athletics. Since it was first established over 50 years ago, GACS has earned itself a reputation for utilising advanced technologies in its quest to further the learning needs of its students. This dedication to providing high quality creative and technical facilities to support its arts and media curriculum, has led the school to invest in three state-of-the-art Alcons Audio pro-ribbon sound reinforcement systems for its venues.

The first of the three spaces to be installed with an Alcons system was the Artusa Hall Performing Arts Center, a former chapel which the school repurposed into a performing arts venue. This included completely rebuilding the interior, adding a self-supporting timber framed balcony, and increasing the audience capacity from 700 to 950. A key requirement was to deliver the best technical facilities, but not to visually detract from the internal architecture. In a venue featuring highly reflective, polished wood surfaces and a glass balcony front, it was a perfect scenario for the Alcons LR7 pro-ribbon micro line-array.

“They wanted something that would deliver great sound for everything from solo classical recitals to drama,

ballet, orchestra, choir and bands, including renting the venue to outside performers,” explained Alex Fleming of Atlanta-based Lodestar Labs.

The Artusa Hall system comprised arrays of six LR7/90 (6.5-inch) micro line array modules and two LR7B single 12-inch bass modules per side, flown just in front of the proscenium arch. Two floor mounted BC332 cardioid subwoofers (18-inch front / 15-inch rear) per side add extra low end where required. A single SR9 double fiveinch in-fill monitor provided front fill for the first few rows, and four 6.5-inch TS3 full range monitors provide the under-balcony fills. Two VR12i and two VR12iM mid-size versatile 12-inch monitors deliver high quality stage monitoring. The whole system is powered and controlled by four Sentinel10 amplified loudspeaker controllers.

“We first heard Alcons systems when demoing loudspeakers for the Artusa Hall and we were blown away by the L-series boxes,” said GACS Audiovisual Technician, JD Cooper. “We immediately realised that the pro-ribbon systems are phenomenal. The accuracy and clarity is unmatched by traditional compression drivers.”

After hearing how the LR7 pro-ribbon system transformed the sound of the Artusa Hall, the technical team at GACS enthusiastically chose Alcons to replace existing, underperforming PAs in two more of its venues, www.mondodr.com

the Clifton Jones Theater and the Long Forum.

JD added: “The diversity of the boxes is wonderful, as there is a perfect solution for almost any application. My favourite thing about Alcons loudspeakers is that people immediately notice how fantastic they sound. You don’t have to explain the technology to them, they already understand that this is a different kind of loudspeaker.”

In conclusion, Alex stated: “Nothing in our experience is similar to the sonic excellence heard throughout the Alcons systems. The handling of sources as they move through the loudness curve is unmatched – vocals at high SPL are the cleanest, most natural we’ve ever heard.

Directivity, feedback rejection, technology, ease of deployment and other factors are also industry leading.

“The customer really loves the Alcons pro-ribbon systems and has noticed superior results in all three venues, continued Alex. “Less EQ is needed to get excellent tone on each channel and little corrective EQ is needed to reduce feedback on even the most challenging of lavalier or headset mics. They have also said that the sonic width of the Alcons solutions are superior to all other loudspeaker systems that have previously been used or auditioned in the spaces.”

www.alconsaudio.com

is going to change your expectations

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DAYSTA R FAM I LY C H U R C H COMPANY: ADJ LOCATION: ALABAMA, USA

Founded by Bishop Patrick M. Schatzline and Lady Deborah Schatzline, with a congregation of just 50 people, today Daystar Family Church in Tuscaloosa, AL, has a congregation of over 1,300. Now pastored by Patrick and Deborah’s son, Scott, and his wife, Kristi, it is multi-cultural, multi-generational, non-denominational church with praise and worship that is energetic and passionate. However, this had begun to be hindered by a lighting system that was outdated and costly. For this reason, Nick Campfield of Narrow Road Pro was brought in to advise on a possible solution.

Nick was originally brought in a year ago because of a faulty dimmer. However, when he spoke to the pastors of the church he found out they were spending a significant amount of money on electricity, which is hardly surprising as they had 80 conventional pars and ellipsoidal fixtures in their roof at 750W a piece. Because of the problem with the dimmer, all of these were turned

on full, for the whole duration of each service. As Nick continued the dialog with the church’s team, he found out about a whole catalogue of other problems, which eventually led to them commissioning Narrow Road Pro to design, supply and install a complete new audio, video and lighting system.

At the heart of Daystar’s new video system is a 19 ft wide video wall that provides the centerpiece of the church’s current stage set. It is constructed from ADJ’s popular AV6X LED video panels that offer a 6.0mm (0.25-inch) pixel pitch and a brightness of 1200NITS. The full screen gives the church over 360,000 LED pixels which they use to display song words, video content and ambient graphics.

The flexibility and ease of use of the panels is particularly important, as this won’t be a static installation.

The church plans to have a major set change twice each year, which will involve moving around the LED

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panels. As the team was new to LED video, he chose to start them off with a simple rectangular screen, but expects them to get more creative with the deployment of the panels in the future.

In addition to supplying and installing the LED video wall, Nick and his team also put in a full new lighting package that relies fully on LED light sources. The motivation behind this was not only to reduce the church’s sizable electric bills, but also give them a system that would keep the stage cool and require minimum maintenance. The signature moving head of the new rig is ADJ’s Vizi BSW 300 hybrid fixture, which is powered by a 300W LED engine and offers an extensive collection of beam-shaping features. For Daystar’s current set, four of the fixtures are mounted on the truss above the LED wall, while two additional units hang lower down at the sides, and a final pair sit directly on the stage. This means that the fixtures surround the screen

27 REP ORT: H OUSES OF WORSH IP

and frame the central area of the stage.

“We looked at a few other options,” commented Nick, “but the church really liked the hybrid functionality of the Vizi BSW 300, being able to work interchangeably as a beam, spot or wash fixture fit really well with what they were looking for. It gives them the flexibility of using the same light to create aerial effects, project GOBOs down onto the stage or provide colour washes at different times within one service. It’s also very punchy, very bright and fit into the budget they had available.”

The hybrid moving heads are complemented by a variety of different LED wash fixtures. Six Elation Professional SIXPAR 300 units alternate with the Vizi BSW 300s on the rear truss above the LED wall and a further nine of these fixtures wash the stage from a front truss, while eight of ADJ’s 12PX HEX fixtures are mounted to a second truss in the middle of the stage.

In addition, six of ADJ’s Ultra Hex Bar 6 LED battens are positioned on the floor at the back of the stage, projecting upwards at a 45º angle to create a ‘wall of light’ behind the pastor when he preaches. Three of the larger Ultra Hex Bar 12 LED battens are then used to light up set design pieces positioned under the video wall. Finally, the church has also invested in eight of ADJ’s 280W Vizi Q Wash7 RGBW LED moving head wash fixtures.

“I like the Vizi Q Wash7s because they are small, but extremely powerful and extremely bright,” added Nick.

“They are also quick-moving and very flexible, with that motorised zoom going from a narrow 5º beam right up to a wide 55º wash, they are really versatile.

At the moment the church has four hanging from the back truss at a mid-level height providing back wash, two more on the stage shooting up and the last two on the front truss serving as spotlights.”

www.mondodr.com

As every Lighting Designer knows, to get the most from moving head beam fixtures, a hazy atmosphere is important. To achieve this at Daystar, Nick opted for ADJ’s Entour Haze Pro, positioned at the back of the stage behind the set pieces. This professional grade oilbased machine requires no warm-up time and, with an air pressure of 101psi, is able to generate an impressive output of 3,000 cubic ft. per minute.

With a flexible contemporary lighting and video system that looks great for the congregation attending in person, as well as those watching online, Nick has achieved his goal of delivering Daystar Family Church with a technical setup that fulfils their creative vision.

www.adj.com

28 REP ORT: H OUSES OF WORSH IP

BET AM S H ALOM COMPANY: SYMETRIX LOCATION: NEW YORK, USA

Nestled in the Highlands neighborhood of White Plains, New York sits Bet Am Shalom Synagogue – a vibrant, egalitarian congregation of individuals from diverse backgrounds, bound together by a shared belief in a thoughtful and progressive approach to Judaism.

In 2016, systems integrator, Shadowbox Design Management, installed a Prism 12x12 at Bet Am Shalom as the heart of a public address/reinforcement system with four main zones - the main synagogue, chapel, multifunction room, and library.

Years went by with exceptional audio that provided the soundtrack for hundreds of gatherings. In the spring of 2020, the COVID-19 global pandemic caused historic changes to common gathering spaces necessitating strict social distancing rules. This unexpected event imposed new rules and restrictions on how the synagogue could utilise their floor space and ultimately resulted in a mandatory halt in services and activities for their congregants.

Leaders of Bet Am Shalom reached out to Shadowbox Design Management to find a way to upgrade the audio system throughout the facility so the synagogue could continue their services while following the new CDC guidelines. They needed to expand the system’s ability to combine the spaces and route audio from anywhere on demand — allowing the synagogue to continue serving their congregation and community.

Although new standards of social distancing forced

adjustments to the usage patterns of the facility, the thoughtful system design by Shadowbox in 2016 powered with a Symetrix Prism 12x12 DSP was wellequipped to adapt to the synagogue’s evolving connectivity and system control needs.

With the Symetrix Prism 12x12 DSP, the necessary functionality for additional audio routing within and between common spaces was already built into the system. Relatively minor tweaks to the system’s existing SymVue page simply needed to be harnessed, labeled, and written to a Windows touchscreen. SymVue by Symetrix is a system control GUI authoring tool available as part of the Symetrix Composer software package.

Leveraging the SymVue GUI authoring tool, buttons were added to the system control screen so that a user could easily recall presets for room combining, simplifying the task of adding or subtracting primary and overflow spaces for any type of service or function.

Taking it a step further, Shadowbox then automated certain routing options by deploying the Symetrix Remote Event Scheduler functionality in the Symetrix Composer software package. With the Event Scheduler, users can schedule changes in system settings, such as audio switching of one or more local microphones to Internet streaming services. This allows facility managers to concentrate on more immediate aspects of the production and not worry about recalling presets to start and stop web stream audio broadcasts. Once www.mondodr.com

scheduled, these events happen on time and in the background.

The adjustments to the system allowed volunteers and staff to concentrate on their preparations for events, services, and activities without needing to configure the audio system. Scheduling events happen with to-the-minute accuracy and rooms simply take on the desired functionality at the appropriate time.

“They are still discovering how much capacity and functionality has been built into the system. The improved sound and capabilities of the system is very appreciated by Bet Am Shalom,” said Joseph Ondrek, Vice President of Shadowbox Design Management.

The Symetrix Prism, still running reliably over the past four years, easily integrated the minor adjustments needed to accommodate the major changes in the practices and routines of this very successful synagogue, and Shadowbox has been there with them all along.

“The high quality of the audio, at a great price point, is one of the reasons why we use Symetrix and the customer support has always been fantastic,” added Joseph. “We are always looking for custom solutions for our clients’ needs, and the Symetrix staff have always been there to help out when we can’t figure out a solution on our own.” www.symetrix.co

S OU T H C R EST BA PTIST CH UR C H COMPANY: SOLID STATE LOGIC LOCATION: TEXAS, USA

Southcrest Baptist Church has remodeled a former worship centre on its campus in Lubbock, Texas, reopening it as The Venue, a multipurpose space outfitted with a new Solid State Logic Live L200 digital mixing console. The new L200 desk is being used to mix FOH, monitors and a live stream of The Venue’s Sunday morning service, which features a five-piece contemporary band.

The new L200, which was put into service in early November, is the third SSL Live desk to be installed at Southcrest Baptist Church. In 2017, the church opened a newly constructed 46,000 sq ft, 1,600-seat Worship Center on its campus that is equipped with a pair of SSL Live L300 consoles. One manages FOH and monitors and the other handles audio-for-video duties, including live streaming and recording.

“We put in a new audio system in The Venue and wanted an SSL board to keep the continuity between the two main spaces,” said Rusty Trowbridge, the church’s Technical Director and FOH/monitor mixer in the Worship Center. “We have three Live boards now, and it’s awesome.”

Rusty and his AV media team integrated the new L200 themselves in the revamped space, which can hold up to 800 people. The new SSL system, which is operated by FOH mixer Tyler Gutierrez, includes an ML 32.32 Stage box with SuperAnalogue mic/line inputs at the stage with an ML 32 at the FOH position, networked via an SSL Blacklight II.D MADI Concentrator.

“We’re doing a live stream out of The Venue, which was one of the things that helped us choose the SSL Live,” said Rusty. “We can actively mix the live stream but not necessarily need someone mixing just for the live stream. With all the routing that we have on these Live boards we can get really creative with how we send things. It gave us the ability to have a dedicated live stream mix without needing a whole other board.”

The system is also integrated with Waves Tracks Live multitrack recorder software running on a Mac mini and an RME MADIface XT USB 3.0 interface, allowing services to be recorded for later editing and broadcast. An identical setup has been in operation in the Worship Center since it opened. “Ryan Anderson, our audio for video engineer, edits everything in our Pro Tools | HD system,” added Rusty.

With the recent launch of The Venue, the AV team members now generate simultaneous live streams every Sunday. “We’re doing two separate live streams from the same campus from two different services happening at the same time,” explained Rusty. “We have our 9:30am service in The Venue with a five-piece band, and our 9:30am service in the Worship Center, where there is a small orchestra right now. Our Worship Center Team is usually comprised of a 40-piece orchestra and a 150-person choir in the Worship Center, when we’re not in COVID-19 times.”

In-person attendance is reduced in both worship spaces with the present coronavirus precautions in place, he added. “But we’re making up for those numbers online with our live streams.” www.solidstatelogic.com

30 REP ORT: H OUSES OF WORSH IP

DIS COVERY C H UR C H COMPANY: PROLIGHTS LOCATION: FLORIDA, USA

The Fabrique de la paroisse Notre-Dame de Montréal asked Moment Factory to create a permanent experience with sound, light and video that would invite visitors to discover the Notre-Dame Basilica in old Montreal in a whole new way.

The challenge was to create a show that is universal, that captivates, touches, and inspires visitors from any background. Moreover, a show that highlights the Basilica’s many artworks and architecture, all while respecting the religious heritage and activity of the church. The canvas was also a challenge from a technical point of view, being the first example of such complex colour, texture, and scale, resulting in a video-mapping process done pixel by pixel.

AURA begins as a self-led tour to explore the basilica, discovering multimedia installations that showcase various of the basilica’s cherished artworks. This first part of the experience encourages visitors to explore the basilica’s details at their own pace and to become enveloped in its universe.

Then light, original orchestral scores, and grandiose architecture unite to create a multimedia show whose captivating energy takes visitors from floor to ceiling, and beyond. www.momentfactory.com

After 15 years at their original location in Orlando, FL, Discovery Church outgrew their space’s ability to effectively support their ministry. Purchasing a former Sports Authority retail space, the church renovated the building to support their needs for worship services. Headlining the new lighting rig are fixtures from PROLIGHTS distributed by A.C. Lighting Inc. “The PROLIGHTS fixtures are a major upgrade for Discovery Church,” said church Lighting Designer, Anthony Stofflet. “We went from very simple systems that really put us in a box as far as creativity was concerned, to a lighting rig that significantly opens up the creative options for us. We weren’t that familiar with the PROLIGHTS brand of LED fixtures, but A.C. Lighting Inc. set up a lighting shoot-out for us, and their fixtures truly blew the competitors away.”

Discovery Church installed EclProfile FS ellipsoidal static profiles for their primary front stage wash; Jet Spot3 moving head spotlights; Stark 400 moving head wash fixtures, and Ra 2000ProfileHB moving head fixtures - a full complement of PROLIGHTS fixtures for all their stage illumination.

“The Eclipse-FS ellipsoidal fixtures have a nice, crisp focus with no haloing effect at the edges of the beam,” explained Anthony. “We’ve installed 71 of them, making up all of our front wash and static specials.

The ability to fine-tune the colour temperature of these fixtures for video was a key feature for us.”

“The JetSpot 3 fixtures are surprisingly bright for such a small fixture,” Anthony added. “The colours in the colour wheel are well-chosen, and the beam is punchy - it can definitely cut through our LED video wall. Their prism, gobos, frost, iris - it really blew us away.”

“The Stark 400 wash fixtures have a great honeycomb lens, with seven homogenised individually-controllable elements,” Anthony continued. “It also has a

good output to it, and the built-in wireless DMX is very helpful if you want to place one in an unusual location.”

“The Ra 2000 Profile HB fixtures were brand new at the time we looked at them,” Anthony said. “In fact, Discovery Church was one of their first US installations. They are a great moving-head special fixture.

Having a moving light, we could use as a key light was critical for me, as our stage changes all the time.

The feature set is excellent: massive zoom range, shutters, animation wheel, 18,200 lumens of output, two frosts (one for soft focus and one for heavy diffusion). With a colour temperature of 6200k, the video guys love them, and it means I have less work to do in getting them to match our other key lights. It also comes with a CTO wheel to provide a warm color temperature when desired.”

Curt Contrata, Lighting Designer with Stage Equipment and Lighting and consultant on the project, added: “The PROLIGHTS fixtures are very impressive. The color rendition is great. The profile fixtures are very bright, and all the wash units look great as well.”

“A goal I had with this installation is to limit the number of vendors providing gear, to reduce the potential for ‘finger-pointing’ if issues come up,” said Anthony. “A.C. Lighting Inc. makes that easy and was able to be our ‘one-stop-shop’ for all of our lighting needs, so there’s only one company we need to turn to should a problem arise.”

Online streaming has become a critical part of the churches’ engagement with their congregations, and Discovery Church’s investment in their lighting rig has proved to be a significant benefit to this aspect of their ministry. www.prolights.it / www.ac-et.com

NOTRE-DAME BASILICA COMPANY: MOMENT FACTORY LOCATION: MONTREAL, CANADA

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32 REP ORT: H OUSES OF WORSH IP

S HA D ES MOU N TAI N BA PTIST C H UR C H COMPANY: EAW LOCATION: ALABAMA, USA

When the leaders at Shades Mountain Baptist Church in Birmingham, Alabama green lighted a full renovation of the mega church’s 2,700-seat main worship centre, the job of designing and building a state-of-the-art, upgraded audio system was awarded to Blackhawk Audio. In addition to world-class sound and coverage, Shades Mountain also wanted to ensure that the new system was discrete in that it was contained within a very compact grill cloth area. Blackhawk found the solution with EAW and its ADAPTive line, including its Anya and Anna loudspeakers and Otto subwoofers, as well as its VFR89i stage monitors.

“One of the biggest selling points of the EAW ADAPTive speaker system was that in addition to its audio quality and excellent coverage, it also was low profile and would not visually overwhelm the sanctuary,” said Blackhawk Audio President, Rick Shimer. “The previous look of the sanctuary had a very large ‘loudspeaker cluster’ with grill cloth. Ensuring that the PA system was less obtrusive while also offering pristine sound was a main factor for

The Evangeliums Christen Baptist congregation, Paderborn, is a congregational chapel which maintains its own house of prayer in the German city. For the audio system renewal the congregation, together with audio service provider Musik Aktiv Musikequipment GmbH from Paderborn, decided on a new HDL series line array system from RCF. Musik Aktiv tested several systems available on the market and decided on the HDL 10-A as the most suitable system for this project. The system was planned and designed by the German department of the RCF Engineering Support Group and installed by the community members themselves.

Frank Schallenberg, owner of Musik Aktiv, explained why they opted for RCF: “For this project, we used RCF because we appreciate the competent support from their sales department.

A decisive point we have experienced with many other projects already installed. The RCF engineers are very conscientious and detail-oriented in all they do plus the quality of the components, no matter in which category, is very high. When using RCF equipment, we experience practically no complaints or repairs. If there should be a difficult situation, the flexibility of the RCF team always gives you the feeling you are in good hands.”

The church’s house of prayer has existed since 2004, holds 600 people and is the centre of the church community. The previously installed audio system was outdated and had to be replaced.

Therefore the community decided on installing a completely new system using a modern line array from RCF. The HDL 10-A is an active two-way system and is installed as a stereo fullrange line array with 2×9 modules, hanging from the ceiling. Since multicore cabling already existed in the house of prayer, the decision to use RCF’s active HDL 10-A plus the construction work was easy in terms of cabling. The previous system was installed in the middle of the ceiling. For the new RCF system the team opted for a classic outline with two curves located to the right and left of the stage to achieve better coverage. Special suspensions were installed in the ceiling to mount the line arrays.

During the liturgy, the congregation stresses particular importance to choral support of the sermon. Therefore, great attention was paid to good audibility and excellent sound characteristics at various positions within the hall. Besides the sermons, choirs, orchestras and further musical contributions are an essential pillar of the services. Furthermore, all sermons are recorded and later made available as audio files for download if parishioners weren’t able to attend. A simultaneous translation of the service in the Russian language is available for the parishioners.

During installation and calibration of the system, structural conditions such as balconies and different surfaces had to be taken into account. In such demanding environments, the HDL 10-A offers many adjustment possibilities regarding radiation angle or coverage - quickly to implement using the RCF Shape Designer. The active two-way system is extremely reliable, especially in fixed installations, and offers 1,400W peak power leveraging the integrated, efficient digital power amplifier. www.rcf.it

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this project; they wanted a particular look and we are able to achieve this using EAW’s Anya, Anna and Otto.”

The upgrade, which consisted of over 30 EAW loudspeakers, included two Anya’s each for far house left and far house right, six Anna’s each for house left and right, two Anna’s for down fills, six Otto subwoofers for centre and eight VFR89i passive two-way stage monitors for the choir.

“The EAW ADAPTive platform has proven to be the best choice for sonic clarity and acoustical control across our worship center,” added Ryan Maynard, Production Manager, Shades Mountain Baptist Church. “Blackhawk’s design and deployment of the system has given equal attention to all seats in the room, so that everyone has an engaging experience, no matter their preference of seating location. For a system this powerful and configurable to fit within the confines of the new ceiling structure is quite an accomplishment.” www.eaw.com

EVANGELIUMS CHRISTEN BAPTIST CONGREGATION COMPANY: RCF LOCATION: PADERBORN, GERMANY

33 REP ORT: H OUSES OF WORSH IP

CHUR C H OF ST. WE NC ES LAS COMPANY: AMINA LOCATION: SAZOVICE, CZECH REPUBLIC

Never having its own church, the village of Sazovice in the Czech Republic had been commuting for their faith for years.

The intention to build a church arose in Sazovice before the Second World War. However, its impact and then the communist era buried him for decades. In 2011, the locals returned to the idea of building ​​ a church and founded the Association for the Construction of the Church. Taking two years to build, this unique church is a masterpiece in architecture and modern technology.

Designed by Marek Štěpán of ATELIER ŠTĚPÁN, the cylindrical shape of the church is made to look like a ‘roll of paper’ from which leaves are peeled off. Windows are located in the openings of the walls, but they do not allow a direct view outside.

“I wanted the church to look as material as possible so that it could be dematerialised as much as possible. The entry of a person into the church is to be a path from the outer material world to the inner spiritual world,” said Marek.

Side reflected light inside the temple is provided by notches in the cylinder. The light is also brought by a round vista in the ceiling, lined with three sides of a triangle symbolising God’s eye. The interior is simple, it should evoke a feeling of calm and peace in people. This is where clever hidden technology has been utilised in the best possible way, to allow the church to remain calm. Yatun provided the Amina Invisible loudspeakers, which are plastered into the space. The Client asked for the most trusted and lasting traditional plaster type (lime/cement) to be used instead of modern types, to guarantee a maintenance free lifetime of the building. Because of the versatility in covering materials that can be used with the Amina iQ 1, it was a simple request, that made no difference to the resulting quality of sound.

Using Amina iQ 1’s allowed the installation of multipleloudspeakers around the space, without impacting the clean interior look. Music elegantly fills the large space thanks to the wide dispersion ability of these unique loudspeakers, which its conventional counterparts simply cannot compete with. DALI controls the lighting in the space which creates stunning effects after dark.

In 2017, the church was awarded in the Best of Realty competition, where it won a special jury prize. Before Christmas 2017, Azure magazine ranked it among the ten best buildings built in the world in 2017. www.amindsound.com

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NE W VIN TAGE C H UR C H COMPANY: MEGA SYSTEMS LOCATION: CALIFORNIA, USA

The 80-year-old Ritz Theater is located on Grand Avenue in Escondido, CA and has been abandoned for 15 years. With the use of several Mega Systems Inc. products, ​PTG (Performance Technology Group) and ​ BGW​(Building God’s Way) were able to transform this vacant building into what will now be known as The Grand, a church sanctuary and theatre opened to the public. Since its original opening date in 1938, The Ritz Theater has been through a fire and several other transformations before permanently closing down in 2003. With so much history to the building, PTG had to consider which products would be the best fit.

One of the units chosen was the new MEGA-LITE ​ Drama Profile LED Q2W​. With a 250W Quad RGB & WW LED, this unit offers a longer output which is ideal for longer throw projections and crucial when it came to installing over 30 of them almost 20 ft above the stage at The Grand. The ability to create an infinite

amount of colours eliminates the need for gel replacements, which is ideal for this type of installation. With a 96 (3100K) High-CRI on warm white, it will allow the building to have a soft warm tone when needed.

The options of a 19º, 26º and 36º lens barrel can create versatile, flat, soft, diffused edges, perfect for the theatrical use of the building. The Drama Profile LED Q2W was chosen specifically for its unique high-performance capabilities.

“We found the brightness and colour saturation amazing. It was very cost effective and overall a great product chosen for this installation,” said PTG Senior Project Manager, Misael Loya.

In addition to the Drama Profile, several ​Nova-Lite Q200​were also chosen, which were installed as high as the Drama Profiles. The Nova-Lite Q200 is a powerful colour changing LED fixture with extremely wide coverage. The unit is equipped with a 200W single-source www.mondodr.com

RGBW LED for a smooth, even output. It has a 55º reflector beam angle and ships with a 30º and 15º lens for longer throw applications. A 60º diffuser accessory is available for softening the edge of the output. The unit is perfect for these types of applications because it comes with a hanging adapter designed to fit a 1/2inch all-thread or steel cable. It is controlled via DMX 512 and has five modes of operation and up to eight channels including Dimmer, Red, Green, Blue, White, Strobe, Macro, and Dim Speed.

“The quality of these fixtures is great! I would definitely recommend MEGA products,” said Misael.

With the new updates that PTG and BGW applied to the The Grand, this building will now be able to transform from a service area for the New Vintage Church on Sundays to a movie theatre and theatrical venue for the community. www.megasystemsinc.com

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COR N E R STON E C H A P E L COMPANY: LAWO LOCATIOH: VIRGINIA, USA

A new 32-fader Lawo mc²56 audio production console has been installed

by Cornerstone Chapel in Leesburg, VA, for their FOH audio system, greatly expanding their mixing capacity and completing their transition to IP networking.

The new Lawo console, based on RAVENNA / AES67 IP technology, handles both live performances and broadcast tasks, providing a wide range of new options to help Cornerstone prepare for the future.

The installation includes a Lawo A__UHD Core providing 512 DSP channels, two Compact I/O stageboxes, a Nova73 router capable of routing 8092x8092 mono channels, and Dante integration to feed the facility’s Yamaha CL5 monitor console and other Dante equipment. The mc256 also includes a Waves Super Rack integration and smart GPIO settings to change the DSP presets of the BSS audio processor.

Cornerstone’s Audio Director, Joey Burdette, along with his production team, decided that investing in an IP audio system was a prudent investment in future technology: “This Lawo solution provides Cornerstone with features that will cover our FOH needs for the foreseeable future, as well as providing expandability for future projects. Because the A__UHD Core can be a pooled resource for up to four consoles, we can easily expand our capabilities just by adding additional surfaces and stageboxes around the campus. Connecting everything with an IP network makes growing the system very easy.”

After discussions between Cornerstone and Lawo in February 2020, the order for the new Lawo audio infrastructure was placed in late July, and the project completed according to plan in October 2020.

This mc²56 is now being used for FOH in Cornerstone’s sanctuary for midweek and Sunday services, as well as young adult services and other larger church gatherings.

“The relationship we have with Lawo is unlike any other,” explained Joey.

“Lawo goes above and beyond to discuss features and solutions that are tailored to exactly what the customer needs. We really value the integrity of the company.”

For Joey, flexibility is important, especially considering how often the console is used and how many different operators, each with their own workflows, work on the mc²56.

Cornerstone already has plans for expanding their new Lawo IP system.

“We’re already looking to add more Lawo audio consoles to our facilities, and we’re looking at Lawo video infrastructure products too,” Joey concluded. “With Lawo, we’re prepared to handle whatever the future brings us. www.lawo.com

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36 REP ORT: H OUSES OF WORSH IP

L IF E CHA LLEN G E C HU RCH COMPANY: CHAUVET PROFESSIONAL LOCATION: TEXAS, USA

There is a special joy the production team at Life Challenge Church takes in putting together Sunday morning kids services. Creative spirits run a little more freely, and new ideas are waded into more deeply, as everyone channels the child’s imagination inside their adult selves to make bible stories come to life for young worshippers.

“The kids service gives us an opportunity to go a little more outside the box,” said Gabriel Loera, Technical Director at Life Challenge Church. “We do more immersive and moving fixtures and contrasting colours across the crowd. We use more upbeat and themed EP backgrounds during the full service rather than just during worship. The kids really respond well to the full immersive environments.”

On October 18, the church gave adult worshippers the opportunity to channel the childhood imagination that resides inside them with a “Sunday Nights Kid Service,” an event that shared imagery from the children’s program with the congregation at large. Helping to create this unique experience was a collection of CHAUVET Professional fixture supplied by Sweet Southern Sound.

“We do this several times a year,” said Gabriel. “It’s a family focus initiative that lets parents experience worship as their children do every Sunday morning.

Everyone really enjoys it.”

Contributing to the immersive environment through the sanctuary for the event were richly saturated colours from the rig’s COLORado and Ovation fixtures. Gabriel

positioned six COLORado 1 Solo fixtures above the first rows of pews and six over the upstage deck to provide a consistent colour wash throughout the performance area. He also colourised the audience area with the light from four Ovation E-910FC ellipsoidal fixtures.

To complement this colourisation, he relied on the warm white light of 12 Ovation F-265WW Fresnel fixtures. He positioned six of the high powered warm white units above the crowd, and drawing on their tight zoom range used them to focus light on the altar. The remaining six units were position over the upstage deck and used for back washing.

To add texturising patterns that complemented the projections that surrounded the stage, he relied on three Maverick MK1 Spot fixtures. “This was a complete design package that had us use multiple elements to put the audience in the middle of Bible stories, from three Hebrew Boys Being Saved From The Fiery Furnace to journeying to the sea,” explained Gabriel. “The stories are told to touch the imagination of children, which is why everyone loves them.” www.chauvetprofessional.com

M OSA I C CHURCH COMPANY: KLANG LOCATION: FLORIDA, USA

Florida’s Mosaic Church has had to limit the number of, and attendance at, its Sunday gatherings due to the pandemic. However, that has not muted the church’s sizable and enthusiastic music complement for those services. Twice each Sunday, as many as 12 musicians and vocalists assemble on stage for an authentic worship experience before those seated, socially distanced, in the 1,500-seat auditorium.

In December 2017, following the renovation of a 78,000 sq ft former big-box store into its new main sanctuary, Mosaic Church acquired its first KLANG:fabrik immersive in-ear mixing solution, installed by Altamonte Springs-based integrator, AVnew. Much more recently, Mosaic Church has now added a second KLANG:fabrik unit, further expanding what those performers on stage can accomplish and substantially lightening the load on the sound system’s FOH engineer, who previously ran

some of the monitor mixes from the house console.

“We had been running two dozen channels and eight wireless mixes off of the first KLANG:fabrik unit, with another four musicians on stage hard-wired off an aux buss on the console,” said Jeff Amato, Manager of the church’s Production & Technology team. “We only do Sunday gatherings and don’t do rehearsals during the week - just on Sunday mornings - so we wanted to expand the number of user-controlled mixes onstage and give everyone the ability to quickly and reliably fine-tune their own mixes. The KLANG:fabrik has been amazing for that, and now, with two units cascaded, we’re up to 29 channels with EQ filtering across 12 mixes, with each KLANG unit driving six of those mixes.”

The KLANG:fabriks are connected to the church’s existing SSL L200 FOH console via Dante, which is native to the KLANG units. www.mondodr.com

In addition, an EQ filter allows users to dial in and preset tonality on each channel. “Using the EQ filters helps a lot in cleaning up the mixes,” he added. “For instance, we can attenuate the unnecessary low frequencies on a vocalist’s microphone, which can help clean up the overall mixes. And the KLANG units also take a lot of the workload off of the FOH engineer. Every user can have a starting baseline saved as a preset, which eliminates a lot of the grunt work in getting a service or rehearsal started and lets the house engineer focus on the room.

The KLANG:fabrik has really increased the efficiency of our workflow, but it’s also enhanced how we operate as a worship team.”

www.klang.com

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SP R IN GS CHURCH COMPANY: MARTIN AUDIO LOCATION: COLORADO, USA

The Springs Church in Colorado Springs, CO recently underwent an audio upgrade with a Martin Audio WPS system spec’d and installed by Sight and Sound Technologies, the first installation of the new system in the United States.

Asked about the project, Sight and Sound COO Kris Johnson explained: “It was basically an upgrade of their PA. They had an aging L-C-R line array system that in some respects was overkill for what they needed, plus they were starting to have some problems with the loudspeakers. They had a plan to repurpose them in another room which worked out really well timewise for us because we were able to pull the old ones down, test them out and re-install a handful of them in another room.

“In terms of the main room or sanctuary, we had already installed the Martin Audio WPM system on multiple occasions and really liked it. Then we got to hear the new WPS system at a trade show and it was like the WPM with more beef because of the eight-inch drivers so we decided to look at those for the sanctuary. When we ran the projections, the system looked amazing so we moved forward with it.”

Springs is a modern church with a contemporary worship service featuring an electric band and several vocalists.

The sanctuary is a 2,000-seat room which gets wider from the stage towards the back corners of the room. According to Kris, the widening shape of the space “made it a bit of a challenge in terms of getting the coverage we needed in the back. We wanted to be sure we had enough power, another reason why we chose WPS.” The system consists of six WPS enclosures a side flown off an I-beam with six CDD8 for front fill mounted across the front lip of the stage, all powered by an iK81 amplifier with one-box resolution for optimum coverage, impact and the extra control.

Describing the results of the new WPS system, Kris enthused: “The coverage is amazing. There are two I-beams that run left and right from front to back in the room and they drop pretty low so we had to be under those beams otherwise we’d hit them with the top loudspeakers. So we went ahead and mounted them under the beams. I like where the loudspeakers ended up in the room and in a perfect world I’d have loved to put the system about two feet higher, but we accomplished our goal: great coverage front to back with very little dB difference.

“In terms of music reproduction, WPS sounds amazing.

For weeks, I was getting text messages from their audio technician raving how good and clear the system sounded. That, plus the parishioners love how the services sound with the new system. They’re all smiles.

“Being able to hear what is said and sung in terms of the message is the key to any good worship service. We’ve heard systems that might do one or the other, but WPS absolutely does both speech and music incredibly well.

Bottom line, the church is ecstatic, both the staff and the congregants, which is the most important thing.” www.martin-audio.com

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OPE N DOOR PRESBYT E R I AN CH URC H COMPANY: ALLEN & HEATH LOCATION: VIRGINIA, USA

Herndon, Virginia’s Open Door Presbyterian Church has continued to steadily grow their congregation and upgrade their AV capabilities over the last 30 years. As expanded audio requirements had been increasingly difficult to fill with their aging 2005-era digital console, they knew it was time for a change. Turning to the local audio experts at Genesis Technology for guidance as to the best choice to modernise the system, the answer was unanimous - Allen & Heath dLive.

“The Open Door project was a great example of the power of having a connected audio ecosystem,” noted Genesis Technology Senior Systems Engineer, Michael Yoo. “Obviously we aim for stellar audio quality for the congregation and ease of operation for the church AV technicians, that’s always a key goal. In this case it was also important to bump up the overall worship experience for the praise band. We have FOH quite a distance from the musicians, high ceilings and stage

volume concerns that brought forth to the need for a top notch personal monitor solution as well.”

“That’s one of many areas where Allen & Heath has things really figured out,” added SK Macdonald (SKMac) Sales Support Associate Jack D’Angelo. “Jumping up to dLive and adding in the ME Personal Monitoring System was the answer to all of those needs. It was also helpful to know that with so many network and interconnect options for dLive, the swap over wasn’t going to require stripping out all of the existing infrastructure. Dante, no problem. AES, sure. Not only was it largely ‘plug and play’ for the install of the new desk and peripherals, but the church can rest easy knowing that future expansion is also a breeze if they should need it.”

The upgrade includes a Dante-enabled Allen & Heath dLive S7000 at FOH, paired with a DM48 MixRack and AES output card. A 96kHz DX168 AudioRack

provides additional I/O flexibility and scalability.

The dLive feeds five ME-1 40-source personal mixers distributed across the stage, powered and managed by a ME-U 10-port PoE Monitor Hub. “The previous audio console was designed in a pre-iPhone world and just wasn’t cutting it as far as usability and workflow,” said Michael. “dLive is unique in its ability to offer up over 200 assignable fader strips and dozens of SoftKeys while not completely overwhelming the engineer or requiring operators to bend their usual way of looking at workflow to conform to the desk. It really is as easy as dragging and dropping inputs and outputs around to configure the desk like you would popping around on an iPad. The musicians love the sound quality and customized mixes on their ME units and the entire system took a sonic leap.” www.allen-heath.com

TAURANGA ELIM CHURCH COMPANY: HARMAN PROFESSIONAL LOCATION: TAURANGA, NEW ZEALAND

Among Elim Church’s several locations throughout New Zealand and other countries, Tauranga Elim recently moved to a new facility. A move that was nearly two years in the making, the new location is much larger than the previous building and includes an auditorium that is able to accommodate 550 people. Wanting to offer guests and attendees an engaging experience with crystal-clear speech intelligibility and great acoustics to support its live modern contemporary music, Tauranga Elim required a premium sound system that delivers consistent tones at all volume levels with smooth, even coverage across the entire facility.

After experimenting with various loudspeakers from different manufacturers, Tauranga Elim selected a state-of-the-art HARMAN Professional audio solution that offers pristine sound for worship services and other events. The church outfitted its auditorium with two JBL CBT 1000 line array column loudspeakers supplied through Sound and Vision

Connection. Custom-flown in a L-R configuration, the CBT 1000s feature JBL’s Constant Beamwidth Technology, which provides adjustable vertical coverage and a tapered horizontal waveguide to deliver consistent sound across the auditorium. Further ensuring even sound distribution, a JBL CBT 70J-1 two-way line array column loudspeaker was added to provide audio to the auditorium’s mezzanine level.

Complementing the column loudspeakers with accurate, low-frequency performance, the system also includes a JBL VT4883 subcompact dual 12-inch subwoofer that is used as a flown low-mid extension and a VTX G28 dual 18-inch ground subwoofer providing a solid low-end for the contemporary worship. To power and process it all, Crown I-Tech 4×3500HD high-powered tour sound amplifiers and CDi 4|300 amplifiers were deployed, providing proven reliability along with the convenience of four inputs per amplifier. OMNIDRIVEHD delivers enhanced performance on the iTech 4×3500HD.

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“As a church, we were blessed to have the opportunity to develop the shell of an industrial building into an awesome place of worship that speaks to the flavor and character of our people,” said Sean Verwey, Audio/Visual Coordinator at Tauranga Elim. “For the audio system in our auditorium, our requirements were simple; we wanted a system that sounded great, was punchy yet smooth through the dynamic range of a service, suited our style of music, covered the wide space evenly and overcame the challenging acoustics of the venue.”

“We are very pleased with the result. We heard some great systems, but we felt what HARMAN and JBL Professional offered met our requirements perfectly,” Sean said. “The JBL CBT 1000 loudspeakers provide more than enough grunt for youth services and special events, yet is easy to mix during a regular Sunday service, it simply sounds amazing.” pro.harman.com

ASPIRATION. APPLICATION. APPRECIATION. WISHING OUR FRIENDS AND COLLEAGUES IN ALL AREAS OF THIS AMAZING ENTERTAINMENT INDUSTRY WORLDWIDE A BRILLIANT, INSPIRING YEAR AHEAD, FILLED WITH POSITIVE ENERGY, SHARED COMMITMENT AND MANY CHANCES TO ACHIEVE CREATIVITY THROUGH HARMONY AND TEAMWORK.

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ADIPA RAS H AKT H I AG R IC U LTU RA L AN D ME DI CAL COLLE G ES COMPANY: QSC LOCATION: VELLORE, INDIA

AL- H A JRAF M OSQUE COMPANY: HORTUS AUDIO LOCATION: AL JAHRA, KUWAIT

For over seven years now, dozens of mosques across Kuwait have been equipped with Hortus Audio sound systems to support thousands upon thousands of people in their daily religious practices. Hortus Audio, a pro-audio manufacturer based in Montpellier, France, and Our Style Sound Systems Center, a distributor and integrator based in Safat, Kuwait, have been partnering to meet the acoustic needs of Kuwaiti government-run mosques, as well as privately-run Kuwaiti mosques.

On a project-by-project basis, Hortus Audio has rolled

out hundreds of individual loudspeakers for Our Style Sound Systems Center to distribute and/or install.

In the latest collaboration, Our Style Sound Systems Center and its local partners have measured, tested and installed a robust Hortus Audio sound system in the state-run Al-Hajraf Mosque in Al Jahra.

The Al-Hajraf project got underway in Q4 2019 though like so many others it went on standby during much of 2020, amid the ongoing pandemic. With only the acoustic treatment panels left to finalize, the sound resonating within the 50-metre-long x 80-metre-wide x 10-metre-high mosque is set to be broadcast on television during the upcoming holy month of Ramadan from April 12 to May 11.

The dynamic audio setup at Al-Hajraf Mosque consists of 22 CT6.1, eight CT30MKII, and two SAM8. The CT6.1 is a two-way passive loudspeaker that Hortus Audio manufactures and customises for the Kuwaiti market. The S6.1 is its equivalent for the rest of the world. The 240W RMS CT6.1 tends to be used in 16 www.mondodr.com

ohms after having been placed in a systematic manner along the walls of a Kuwaiti mosque. Like the 200W AES S6.1, the CT6.1 is available in both eight and 16 ohms. For the S6.1, the maximum sound pressure level is 115 dB while the CT6.1 can attain 119 Db. Ensuring balanced sound throughout Al Jahraâ&#x20AC;&#x2122;s biggest house of worship became the critical challenge prior to and during the installation. Solutions had to be devised to mitigate excess noise while overcoming the reverberation time for the sound pressure level to decrease by 60 Db. The 22 CT6.1 were meticulously positioned to address different RT60 values that would emanate in and around the columns. The picture below exemplifies how the Hortus Audio loudspeakers intricately transmit sound between pillars, different heights and a variety of designated spaces of worship.

The loudspeaker alignments were especially fundamental in relation to the marble walls, high windows and the dome centerpiece. Earlier this month Mr. Riad Al-Laho, the Head of Our Style Sound Systems Center,

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Established in 1978, the Adiparashakthi Charitable Medical, Educational, and Cultural Trust (ACMEC) operates major educational and cultural centers across the state of Tamil Nadu.

Among them is the Adiparashakthi Agricultural and Medical Colleges, where a 1,200-seat auditorium hosts live performances and spiritual gatherings, as well as educational events. When the trustees needed a sound system worthy of the impressive hall, systems integrator Theatre Concepts crafted an end-toend QSC solution comprised of 20 WideLine10 line array loudspeakers supported by ten PLD Series power amplifiers, eight K12.2 and four K8.2 active loudspeakers , and a TouchMix-30 Pro digital mixer for FOH. The house, control room, and a rehearsal room are interlinked via the Q-SYS audio ecosystem, including a Core 110f processor and I/O-8 Flex audio input peripheral.

“Picture 1,200 people sitting in one place, with the goal of having a common spiritual moment,” said Theatre Concepts’ Harry Martin, who designed and supervised the installation. “To ensure that everyone has the same experience in terms of sound, the auditorium really needed an excellent line array system.”

While line arrays are a go-to solution for ensuring uniform sound levels from the front of a room to the rear, Harry is quick to point out that the side-to-side coverage was just as important in this venue: “This auditorium is very wide, about 150 ft,” he said. “That’s the first thing that drove us towards the WL2102-w loudspeaker from the WideLine 10 Series, because it has 140º of horizontal dispersion. This helped us eliminate any blank spots from one side of any row to the other. With a point-source system, there’s no way we would have been able to calibrate things so precisely and do such a perfect job of eliminating dead spots.”

Both the compact size and built-in DSP of the PLD Series amplifiers made them an ideal choice to power the WideLine arrays. “We had very little space to put in power amplifiers, just an alcove below the media pit,” explained Harry. “The PLDs are four-channel amplifiers, so for the arrays on either side of the stage, we were able to fit all the power we needed into just one rack. Then there’s all the DSP in there, which is designed to work with the WideLine loudspeakers. The FAST [Flexible Amplifier Summing Technology] distributes all the amplifiers’

observed that “each corner and place has been covered thanks to the CT6.1.’’

Each of the two-way passive 150W CT30MKII in 16 Ω as well as the pair of 250W AES 8’ SAM8 (as shown below) reinforce the CT6.1 output. Together the loudspeakers help to immerse one’s personal religious experience amid measured and powerful sound.

The uniquely designed Hortus Audio background within Al-Hajraf Mosque is a similarly distinct feature of wide-ranging Kuwaiti houses of worship. Hortus Audio and its partners remain actively committed to developing pioneering products and projects despite the very difficult and complicated circumstances worldwide. www.hortusaudio.eu

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power to all the loudspeakers ideally, and the result is excellent sound quality throughout the auditorium.”

Theatre Concepts hung eight WideLine 10 boxes on either side of the stage, but their acoustic analysis discovered a couple of areas that still needed filling out. Their solution began with K.2 Series active loudspeakers at the front of the stage: Another challenge was balancing audio coverage with visual aesthetics, for which more WideLine loudspeakers - in an uncommon location for array loudspeakers - proved useful.

Harry and his team placed four more WideLine 10s at the centre of the rear of the auditorium, on a delay. This provided two benefits: coverage in the very back plus supplemental fill down the centerline of the room, which allowed him and his team to position the front arrays so that the client was happy.

The final tipping point was Q-Sys, QSC’s scalable, secure architecture for routing audio, video and control over Ethernet. “They wanted recording, monitoring, connection with the rehearsal room, and again, they wanted it foolproof,” Harry continued. “We could provide all that with Q-Sys. First of all, we told them it’s Layer 3. That means it’s compatible with whatever existing network and IT systems they have - and they had a lot already, like lighting control and building automation, all that sort of thing. Other products work on Layer 2, which means you’d need to build a separate network for the audio.” All these QSC attributes were the reason that Theatre Concepts won the job over 12 other bidders.

When officials at Adiparashakthi heard the system for the first time, the results spoke for themselves. “They were extremely happy,” Harry enthused. “They had already listened to and worked with a lot of other systems on their properties in different locations. They walked around the room, listening carefully, and could not find any dead spots. They were very happy with the quality of the sound. The client ultimately described it as a mind-blowing experience. For me as an integrator, QSC has been my go-to since it was introduced in India about 10 years ago. I was a distributor, so I’m familiar with it. I love the design, the reliability, the sound quality, and the support of the QSC team here. It gives me a lot of confidence.” ” www.qsc.com

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HERITA G E A POSTOLI C C H UR C H COMPANY: FULCRUM ACOUSTIC LOCATION: MISSISSIPPI, USA Leaders at Heritage Apostolic Church decided to build a new sanctuary to fit their modern worship style as their congregation continued to grow beyond their original location. Their new church is an open, two-story space with tiered seating along the stairways on either side.

The stairways lead to a small balcony that wraps around the back of the room with two rows of seating. When designing the church, extra care was put into acoustics.

Room geometries were developed to reduce standing waves while padded chairs and carpeting helped to reduce reverberation.

Terry Stewart from Simon Productions flew 16 FL283T Dual eight-inch Subcardioid Line Array Modules in two separate arrays of eight on either side of the altar as the main loudspeakers. The FL283T provides the throw and

tight vertical dispersion needed to distribute uniform coverage to the floor, stairway, and balcony seats without energising the full vertical expanse of the space.

Fulcrum Acoustic’s Passive Cardioid Technology controls the rear low frequency radiation in the FL283Ts thereby providing the broadband control needed for the project. Additionally FW15 Coaxial Cardioid Stage Monitors were selected for use on the altar. The Passive Cardioid feature allows the FW15s to provide precise control, resulting in better separation for different monitor mixes and better control of off axis spill.

Terry installed four of Fulcrum’s US221-2 Dual 21-inch Direct Radiating Subwoofers directly into the front of the altar in their own insulated wall niches. Two of the US221-2s were coupled in the centre of the room while

the other two were deployed on either side.

The wide dispersion of the S Dual eight-inch Coaxial loudspeakers allowed for three of them to provide front fill for congregants approaching the altar. This area is otherwise outside of the coverage of the main FL283T arrays. The coaxial drivers of the S loudspeakers provide stable, high fidelity imaging at close range which is ideal for their placement at the lip of the altar.

“We are absolutely thrilled with the sound of this Fulcrum system” said Pastor Kyle Flowers. “We had lots of guests from different churches that came to be with us for our first service and everyone was remarking on the clarity and high quality.” www.fulcrum-acoustic.com

IMMA N UE L BAPT I ST C H URC H OF LI T T LE RO C K COMPANY: HITACHI LOCATION: ARKANSAS, USA

When Immanuel Baptist Church of Little Rock, Arkansas designed its new on-campus City Center for hosting community and local corporate activities, it purchased three SK-HD1800 cameras from Hitachi Kokusai to enable premium-calibre, in-house video production capabilities. The visual quality of the Hitachi cameras has shone even brighter during the COVID-19 pandemic, elevating the church’s IMAG and live streaming as it moved its worship services from its primary church building to the new City Center auditorium.

Founded in 1892, Immanuel Baptist’s vision is to be a gospel advancing church, for the gospel, for the city and for the world. The church has placed a high priority on video ever since it became one of the first to broadcast its worship services live on television in the mid-1970s, and considered it similarly important for the new venue. “We wanted to have a high-quality production entity in the City Center so that anyone using the facility would feel comfortable that they’re getting top-notch IMAG and live streaming capabilities,” said Phillip Ashworth, the church’s Director of

Communications. “The cameras play a key role in making sure we achieve the level of quality we want, so even though we had a different vendor’s cameras already in our main worship center, we wanted to see if we could do even better here.”

Church staff evaluated cameras from multiple manufacturers at the NAB Show and decided the SK-HD1800 was their best option. The SK-HD1800’s advanced global shutter technology was also a key factor in the church’s selection.

Supplied by systems integrator, Edgemont AVL, the SK-HD1800s are deployed in fixed positions and on a recently-added track dolly in the City Center’s 850-seat (pre-COVID) auditorium. In addition to driving IMAG on the room’s 32 ft by 10 ft Primeview video wall and live streaming through a Teradek Trax encoder, the camera feeds can be called up in multiple rooms in the City Center and main building through a fiber network.

Phillip added: “The thing that jumped out to me right off the bat was the clarity of the image. It was a sharper, better-looking picture overall. The colours are also

truer, and flesh tones look a lot more realistic to me.

“Being able to run the cameras in low light without having to bump the gain, yet the noise being basically non-existent, is a big difference from what we were used to.”

The City Center opened in February 2020, but the quality improvement enabled by the SK-HD1800s came even further to the forefront when the pandemic led Immanuel Baptist to relocate its worship services from its main sanctuary to the City Center for easier social distancing. “Now that we were using the Hitachi cameras for our worship services, we had immediate feedback from people watching our screens and streams that they noticed the quality gain,” Phillip explained. “The new Hitachi cameras have shown our membership and community that we are being good stewards of the money that we spend on production, and that we want to do it with excellence. They enabled us to up our game, and people noticed.”

www.hitachikokusai.com

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BA RTLE Y C H R I ST IA N C HU R C H COMPANY: DANLEY SOUND LABS LOCATION: SINGAPORE

Founded over half a century ago by 25 original members, Bartley Christian Church has grown organically into one of the largest churches in Singapore. To keep up with that growth, the church built a new fan-shaped sanctuary in 2006 that can accommodate 1,200 congregants. However, sightlines were challenging from the start, and, as the system aged, it could not keep up with the church’s shift to higher impact music. Local AV integration firm and regional Danley distributor, Soundsmith Solutions, designed and installed a new sound reinforcement system for Bartley Christian Church.

“The existing system at Bartley Christian Church, being ten years old, was showing its age and struggling to keep up with the higher impact music they are playing these days,” said Nicholas Loe, Regional Manager, Danley Asia. “Additionally, the way the previous system was designed and installed interfered with the line of sight to the projection screen. Many seats had an obstructed view of the stage and screen. After two years of research and discussions with existing users, church officials made the decision to go with Danley Sound Labs.”

Soundsmith Solutions was tasked with designing and installing a new Danley system that would provide even coverage, great intelligibility, and big musical impact without obstructing any sightlines, despite a relatively low ceiling for the size of the room. “The Danley J7-95 Jericho Horn proved to be the right box for Bartley Christian Church’s sanctuary,” Nicholas said. “Line arrays would have failed the line-of-sight requirement, whereas Danley’s small footprint and big output could get the job done. Pattern control was also an important factor. Danley’s patented technologies provide even coverage within the beam and remarkably little output outside of the beam. Danley’s point-source phase coherence and fidelity were also important considerations.”

The installed system at Bartley Christian Church relies on two Danley J7-95 Jericho Horns for the majority of coverage. At 36-inch x 24-inch x 24-inch, the J7-95’s small footprint is still capable of delivering 141dB SPL continuously. Like all Danley Synergy Horn technologies, it combines multiple drivers (eight high, four mid, and six low in this case) in such a way that their output exits as a single, phase-coherent wave that maximizes fidelity and intelligibility. In addition, two Danley SH95 loudspeakers provide down fill, two Danley SH46 loudspeakers provide side fill, and six Danley SH minis provide front fill. To round out the low end, four Danley TH118XL subwoofer (two per side) reside behind the Jericho Horns and extend the system’s response to deep, soul-moving frequencies. An Allen & Heath Avantis Mixer controls the new system.

Nicholas concluded. “The measured results showed a tremendous improvement over the previous loudspeaker system. The Danley boxes deliver vastly greater intelligibility, with an average of 0.76 STI achieved across the hall with very little deviation. Clarity is way up compared with the previous system, as is dynamic range.

“To top it off, the front-of-house crew is now happy because they have a representative version of the mix from their position.” www.danleysoundlabs.com

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CARV E R SV I LLE UN I T E D C HU R C H O F C HR IST COMPANY: KRAMER LOCATION: PENNSYLVANIA, USA

Carversville United Church of Christ has a sanctuary that dates to 1837. It’s a stone block exterior with plaster inside, and was a pretty rustic church for years until a fire burned the interior and roof in 2010. The historic church was completely rebuilt and brought up to code in 2011. As part of the upgrade, a new sound system and AV rack was installed. In addition to Sunday services, the church has also hosted live concerts in its sanctuary, including jazz vespers. The acoustics are wonderful and many instrumental and vocal groups have performed and also recorded in here.

With the outbreak of COVID-19, many members of the congregation expressed concern about attending live services. Starting in mid-March, Pete Putman of ROAM Consulting LLC began shooting abbreviated services on Friday morning, using three Panasonic and Canon cameras and a TASCAM DR-40x digital audio recorder for later editing in Adobe Premiere and posting online.

In July, the decision was made to switch over to live streaming of the Sunday services. Accordingly, Putman installed an AViPAS 1080HD pan/tilt/zoom camera in the back of the choir loft, above the AV closet. To get the video and audio signals to the church office, located in the 1984-vintage annex, he had quite the challenge: The construction of the building prevented reliable WiFi linking, as the plaster lathe acts like a Faraday cage, shielding RF signals. For highest signal reliability, his choices were either a network connection (AV over IP) using Cat 6 cable, or HDBaseT connections, also using Cat 6 cable. Putman opted for HDBaseT, given the 220-foot length of Cat 6 cable required to link the two points.

Audio from the master AV rack is injected downstream from an eight-channel mixer through a Kramer VM-50AN into a Kramer TP-590TXR HDBaseT transmitter.

This allows the two fixed and three wireless microphones used during services to be heard on the live stream. In the church office, a TP-590RXR HDBaseT receiver con-

verts the video/audio signal back to the HDMI format. This signal then feeds a Magewell USB Capture HDMI card, streaming HD video into a Lenovo IdeaStation dekstop PC/monitor. OBS Studio streaming software controls the video and audio feed and encodes it to the H.264 format for connection to YouTube live streaming. In addition. OBS Studio records each service to the desktop for ‘on-demand’ streaming and archiving.

The AViPAS camera comes with a standard IR remote and can save 10 different combinations of zoom, pan, and tilt settings. To confirm the camera settings in the sanctuary, Putman piggy-backed a Kramer KW-14 wireless HDMI receiver on a BossTouch seven-inch HD LCD monitor. This small, unobtrusive monitor can sit anywhere in the sanctuary, as the receiver links up reliably with a Kramer KW-14 wireless HDMI transmitter above the audio rack. For example; during a service, the organist can change camera views as needed while watching this tiny confidence monitor. The KW-14 transmitter gets its HDMI signal from a VM-2xl 1:2 distribution amplifier mounted next to the TP-590TXR above the audio rack.

The entire streaming system from camera to office is activated by touching one power switch, so that anyone can operate it - no need to adjust any levels or controls. Once the system is running, an operator launches OBS Studio, logs into YouTube, and starts streaming. It is anticipated that the switch-over to live streaming of Sunday services will take place in early September, pending state health advisories.

“We are very pleased with the installation of Kramer’s Solutions,” observed Pastor Bob Fogal. “The camera is totally unobtrusive - folks don’t see it unless we point it out to them. The technical quality is superb. Older members and friends can now participate in worship from their homes. And anyone who can use a TV remote can perform as the camera ‘operator.’” www.kramerav.com

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C HU R C H OF THE HIG HL A N DS COMPANY: GLP LOCATION: ALABAMA, USA

FIR ST FAM I LY C H U R C H COMPANY: ELATION LOCATION: TENNESSEE, USA

Seeking to upgrade its more traditional house lighting to something more state of the art, First Family in Columbia, Tennessee, is a growing Baptist ministry with plans to remake its entire sanctuary lighting. Eager to get started on phase one of the project, worship pastor, Tim Hammond, met with Nathan Tomberlin of S&L Integrated about replacing their incandescent pendant house lights with something more up to date.

After a thorough review, Nathan suggested giving the room a more intimate feel by lowering and leveling the sanctuary’s tiered lighting to create a faux ceiling that reduced the height of the lighting from an apex of 41 ft to around 22 ft. He then presented the church with two options: a system of low voltage lighting with a static colour temperature of around 3,200K; and a system of colour-changing LED Fuze Pendants with colour-temperature adjustment from Elation.

“The Elation option was superior because you can do more with it - you can adjust the colour temperature and it was also brighter. The biggest reason for choosing the Fuze Pendant was the fact that they could select the colour temperature and make changes to that whenever they wished.”

The Fuze Pendant is colour temperature adjustable from 2,000 - 10,000K and houses a full spectrum 230W RGBWL array for washes of high CRI white light, subtle pastels or more pure saturates. Silent with no fans, output is up to 11,000 lumens.

By using already existing cladding hooks in the ceiling, 46 Fuze Pendants were installed quickly over a two-day period in late October with confirmation coming immediately on what a fresh coat of paint can do.

Nathan added that once the fixtures were installed they began experimenting with the Fuze Pendant’s different colour temperatures. They started at the 3,200K that they originally thought was their preferred colour temperature and the level at which the static lighting option would have been.

The fact that the Fuze Pendant is LED was also an important factor in their choice, saving money on bulb changes and power while requiring less maintenance. In fact, the church produced long-term calculations themselves on how they could save with an LED solution. “The calculations helped them weigh the decision,” Nathan said. “They really took their time to see if the investment also made sense financially.”

A perimeter ring of Fuze Pendants at an 18 ft trim is outfitted with 50º lenses while those in the middle, at a 22 ft trim, are fitted with the 45º factory lens.

The fixture’s RGBWL colour-mixing system allows the church to add a decorative touch to activities such as youth events or colour match with anything happening onstage.

Nathan programmed a variety of colour and colour temperature looks for the church, which are easily accessed via a convenient wall-mounted button panel. He worked with Chuck Dillingham of Elation manufacturers’ rep firm, Freed Sales, on the project, with Elation Market Manager, Bob Mentele also lending assistance. www.elationlighting.com

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For Alabama’s Church of the Highlands, the use of the ROE Visual BO3 video panel system, made up of over 450 panels creates the backdrop, while a host of automated fixtures from German Light Products and Martin Professional, as well as fixed head fixtures by Chroma-Q, set the mood of the space. Adding in the Stagemaker motors, Tyler Truss systems, power distribution and more, GLP provided a solution that exceeded all expectations and surpassed even the original vision of what could be accomplished within the space.

The challenge as it was presented was that the Church of the Highlands team wanted flexibility of design in an already constructed worship facility.

The overall concept of the space has ultimately been to provide a complete touring system within the walls of a permanent facility. The technical leadership wanted the ability to execute whatever design concept they could dream up, whenever they wanted to implement it, without limitations.

With that in mind, a system was put together, made up of power distribution, motor controllers, motors, truss, etc., all in an effort to create that ultimate and unlimited flexibility.

The Church of the Highlands project had been many years in the making and involved many different teams, including those from the venue itself, E2i Design, and all the manufacturers involved.

The phased implementation has been successful and the end result is giving the ministry something they never imagined could be possible. It is also one of the most unique systems being used on a week-to-week basis in a ‘permanent install’ worship venue, as it is certainly not common to have this level of system.

GLP are very proud of the work the ministry continues to do each week as they maximise the potential this system has to offer with its nearly unlimited possibilities. www.glp.de

JANUARY / FEBRUARY 2021 | 31.2

THE INTERNATIONAL PUBLICATION FOR TECHNOLOGY IN ENTERTAINMENT

E11EVEN MIAMI

A deep-dive into the state-of-the-art audio, lighting and visual technology at the one-of-a-kind ultraclub.

HOUSES OF WORSHIP

We take a closer look at the innovative uses of technology in churches, synagogues and mosques.

JANUARY / FEBRUARY 2021

MOVING HEADS

A round-up of the latest lighting fixtures.

THE INTERNATIONAL PUBLICATION FOR TECHNOLOGY IN ENTERTAINMENT

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IN FOCUS

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EMEA BØLGEN KULTURHUS LARVIK

TOULOUSE CONVENTION CENTRE TOULOUSE

MALMÖ OPERA MALMÖ

HOTEL KAKOLA TURKU

THE AMERICAS SPACE NEEDLE SEATTLE

LYRIC OPERA • Page 68

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CHICAGO

E11EVEN MIAMI

APAC ABSOLUTE CYCLE SINGAPORE

ART AQUARIUM TOKYO

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48 IN BRIEF - EMEA

Bølgen Kulturhus Installs Power and Versatility with Adamson E-Series

Bølgen Kulturhus is a truly multi-purpose, multi-use venue that welcomes thousands of patrons annually for concerts, cinema, and theatre presentations, as well as conferences and events of all descriptions. With the recent installation of an Adamson Systems Engineering E-Series PA in its main hall, ‘Storsalen’, Bølgen has extended its already substantial capabilities to present the wide variety of programming it offers and the diverse range of events it hosts.

Previously, Norwegian distributor Benum provided Bølgen with Adamson rigs for the venue’s other two, smaller performance/event spaces: eight IS10, four IS119 subwoofers, four PC5, and two D120 amplifiers in ‘Sanden Scene’; and eight S7, two IS119 and two D120 for ‘Blåboksen’.

In the Storshalen space, Benum has now installed a system comprised of twenty E12 (flown ten per side), six E219 subwoofers, and four S7p loudspeakers for lip and infills; all powered by D-Series amplifiers by Lab Gruppen (eight D120 amplifiers for the E12, two D200s for the E219 and one D80 for the S7p). Additionally, a Lake LM44 is deployed at FOH to

create a fully redundant digital network with all audio distribution handled via Dante and a dedicated analogue backup.

Benum, which will be celebrating its 50th anniversary in 2021, has been representing Adamson Systems Engineering exclusively in Norway since 2015, and in Sweden since 2017. Adamson’s growth in the market has been substantial, said Sales Manager Kenneth Vadset: “We got a flying start with an S-Series installation at the Olavshallen concert hall in Trondheim in 2016, which was the first Adamson installation we did, and from there word spread, so we’ve since gone into many cultural houses and theatres.”

The implementation of Adamson’s products throughout all the main performance spaces provides Bølgen with consistent audio infrastructure that will make it easy for the venue to reconfigure the systems as needed for virtually any application. “Adamson is a well-known, respected, and widely used brand throughout Norway and elsewhere in Europe,” furthered Kenneth, “and they’ve become a big player in both touring audio and performance installations. To be able to offer both in the same venue is a

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huge benefit.”

The venue’s technical team agrees.

“By using Adamson across all of our stages, it gives us the same audio signature throughout the entire house,” said Bølgen’s House Tech Manager, Dagfinn Apelland.

Flexibility, functionality, and fluidity are integral to Bølgen’s day-to-day operations in general, but nowhere more so than in Storsalen. And although Apelland wanted the same pristine performance Adamson provided in the other spaces, for the main room he specified a more powerful, larger format system that offered excellent coverage and fidelity, whatever the application it is used for at any given time.

Those applications range widely, from film screenings to corporate/ community events to heavy metal shows and everything in between.

To serve that multi-purpose mandate the room itself is designed to be reconfigured to suit the needs of the event and the audience in equal measure on a per-show basis. In one scenario the stage area is at surface

level, with sloped seating rising from the edge of the performance area to the rear of the room. In another, roughly half of the seats can be retracted and stored under the rear upper seating, creating room for a stage to be constructed and a ‘standing room’ audience area.

Consequently, there are two sub configurations. For a ‘flat’ stage, three E219 are flown in a cardioid configuration above the centre of the stage area.

When a raised stage is brought in, however, all six may be used, groundstacked three per side in cardioid configurations.

The result is a great sounding room regardless of the seating or stage layout. Ultimately, having multiple tiers of Adamson loudspeakers available throughout the venue - touring and fixed install products alike - dramatically enhances the flexibility of the venue overall. Being able to meet all their needs with one loudspeaker manufacturer’s products is a definite plus for the venue, the audiences attending any type of event or performance there, and the performers themselves. www.adamsonsystems.com

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Photos: Gilles Bouvard & GL Events

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TOULOUSE EXHIBITION AND CONFERENCE CENTRE TOULOUSE, FRANCE EMEA

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Toulouse Exhibition and Conference Centre (MEETT), the third largest facility in France (outside Paris), boasts a 40,000 sq metre modular exhibition hall and a main street that opens into an outdoor area of 25,000 sq metre, capable of hosting a wide variety of events. The centre has been constructed on a 155,000 sq metre site, close to Toulouse Blagnac airport and the Airbus training centre and workshops.

A building that was designed with sustainability in mind, Toulouse Convention Centre is functional and emblematic, meeting the needs of professionals and the events industry, with facilities combining technology and flexibility. Recently, the Centre required a full audiovisual upgrade, allowing it to carry on serving as an important landmark in the events industry. GL Events, a French based integration company, was asked to help with the advancement, Romain Michallet of GL event’s Sales and Installation Department takes up the story: “We’ve been working with the management team at Toulouse Exhibition

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• Above The Toulouse Exhibition and Conference Centre, which is built on a 155,000 sq metre site

and Conference Centre for some time.

We supplied audio, lighting and video equipment to really help the Centre reach its full potential.”

Starting with the audio, GL events worked with the management team on systems to suit the conference centre and exhibition hall, both of which had varying needs.

The design process was simple, for the conference centre, Romain and the team worked around the main control room and distributed the sound out to the meeting rooms. For the exhibition hall, the system was designed to switch from one gauge to another easily and quickly, with only two technicians working at one time.

Bose was the desired brand for the sound system GL events installed inside the exhibition hall. “We chose Bose’s DM6SE loudspeakers because they offer rich lows and clear, intelligible highs — along with premium aesthetics that complemented

the look and feel of this part of the venue,” said Romain.

Six to eight Bose DM6SE loudspeakers were installed in each room, along with a Soundcraft VI1000 mixing console in the control room with a rack containing seven P4300A Bose amplifiers and 30 Sennheiser EW500GA wireless hand microphones. GL Events also provided three Yamaha TF1 mixing consoles for local control.

“For the conference centre, the client required 12 sound systems – one in each modular hall and all connected to one control room, from where you can send any of the sources to any meeting room.

They also needed 30 wireless handheld mics that could be used anywhere in the venue,” explained Gilles Ravet, Head of Installation at GL events.

The conference centre consists of 24 L-Acoustics KARA modular line source loudspeakers, along with eight

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L-Acoustics SB18 subwoofers. Also installed in the centre are 12 L-Acoustics X8 loudspeakers, 14 LA4X amplifiers and an L-Acoustics P1 processor. “We decided to use L-Acoustics in the conference centre because its loudspeakers are really great. The sound is perfect for both convention meetings and live music. They are also easy to use, and they age very well,” furthered Gilles.

GL events installed eight motorised trusses within the exhibition hall with all of the cables and loudspeaker fixations on each. “This gave us the ability to move the loudspeakers from one truss to another, and then reconnect the cables / change the angles where necessary.

This is absolutely perfect for when you only have a day or night to completely change the set-up in the exhibition halls,” said Gilles. “The diffusion goes from 12 to eight L-Acoustics KARA and four to three SB18 subwoofers per side, with

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six KIVA in the centre, and some X8 and Syva on stage for the lipfills and frontfills.

We also used a Soundcraft VI1000 mixer, which can be put anywhere in the venue because it can be directed to the Optocore network. The LA4X amplifiers are mounted on the footbridge and are also directly connected to the Optocore network.”

The installation of the network was carried out by Optocore’s long-term partner, Gilles Bouvard’s company GB4D, in close collaboration with the scenography company Ducks Scèno, headquartered in Villeurbanne-Lyon, under the direction of Aldo De Souza.

The Bouvard team worked alongside Grégory Aldéa, Head of Audiovisual Projects at Ducks Scéno, on behalf of the MEETT consortium, Toulouse Métropole and GL events.

GB4D were able to meet the Consortium’s specification for a complex network that required the capacity to transmit sound,

video, lighting and even IT. Gilles set out the engineering challenges faced, and how BroaMan components provided the solution: “We conducted an in-depth study of possible future equipment, both upstream and downstream of our network. During the development phase, neither the scenographer nor I were aware of the audiovisual equipment that would be installed in the complex, so we made a possible hypothesis based purely on the plans.”

MEETT itself is divided in three parallel bands, based around a row of modular exhibition halls to the north of the complex. In its complete form the space is massive – 500 metres long and 80 to 100 metres wide. The separate convention centre and multi-function event hall are at the south wing with a reception area to the centre of the concourse, and multistorey car park for 3,000 cars. With such distances and wide-spread area the choice www.mondodr.com

“We decided to use L-Acoustics in the conference centre because its loudspeakers are really great. The sound is perfect for both convention meetings and live music. They are also easy to use, and they age very well.”

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of a fibre network to transport all video, audio and data signals was obvious.

The Convention Centre’s 12 modular rooms are all equipped with fibre optics, along with a large hall, in which another convention room can accommodate around 3,500 people (seated), while a second room can host exhibitions or other needs. At its maximum, the Convention Hall can hold around 7,000-8,000 people—showing the advantage of modularity.

Fibre optic points are stationed throughout the Convention Centre, and each modular

meeting room is equipped with three quad fibre connection points.

For the management of these 12 rooms, a Seminar Rooms node has been equipped with a BroaMan Route66 Video Router (40 in / 40 out), where 26/26 connect via CWDM multiplexer to fibre stageboxes in specific rooms, while 14 /14 allow fibre video connections between routers in Seminar Rooms Node and Convention Room.

Gilles Bouvard explained the rationale: “The CWDM video makes it possible to have two Videos In and two Video Out per modular room

(the 26in and 26out video config corresponds to the 13 rooms in the original plan). The 14 optical strand-to-strand video streams allows full duplex in / out with the Convention room node.”

The fibre points are cabled on single-mode quad fibres, dispatched to the router by a WDM frame. The latter is supplied from a manual fibre patch which allows connection of 13 COM ports (combined main connections which carry all signals on a duplex fibre) to the router on the 39 available connection points (three per room).

In the Convention Room, network distribution is

TECHNICAL INFORMATION SOUND: Conference Centre: 24 x L-Acoustics KARA loudspeaker; 8 x L-Acoustics SB18 subwoofer; 12 x L-Acoustics KIVA loudspeaker; 2 x L- Acoustics SYVA LOW; 12 x L-Acoustics S8 amplifier; 14 x L-Acoustics LA4X amplifier; 1 x L-Acoustics P1 processor; 1 x Soundcraft VI1000 mixing console; 7 x Sennheiser EM3732 reciever; 10 x Sennheiser SKM5200 microphone; 4 x Sennheiser SK5212 reciever; 4 x DPA 4061 microphone Exhibition Hall: 81 x Bose DMS6E loudspeaker; 7 x Bose P4300A amplifier; 1 x Soundcraft VI1000 mixing console; 30 x Sennheiser EW500G4-935 transmitter/reciever; 3 x Yamaha TF1 mixing console; LIGHTING & VIDEO: Conference Centre: 24 x OXO LED Colourzoom 180 RGBW; 1 x Zero 88 FLX 24/1 mixing console; 9 x Panasonic PTMZ770E projector; 3 x Panasonic PT-MZ10KLBE projector www.meetings-toulouse.com

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via 24 quad fibre connection points.

In the room node a BroaMan Route66 Video Router (38 in / 38 out) provides 24in / 24out CWDM video for fibre stageboxes and the 14 full duplex in / out SDI fiber video share streams with the Seminar Rooms node, with a WDM frame facilitating various connection points.

“Each node is additionally equipped with a Optocore AutoRouter15 for the seminar rooms and an Optocore AutoRouter10 for the Convention Hall to complete the Optocore loop,” confirmed Gilles Bouvard.

In order to function in all the different spaces, 10 mobile racks have each been plugged with a BroaMan Mux22-IVT/MADI 4 SDI in / 4 SDI out, with four MADI fiber ports for audio; an Optocore X6R-TP-8MI/8LO (two ports of 16AES, four DMX RS422 port, LAN Base 10/100).

Each rack can be connected by a Quad fiber to any connection point in the building, both for seminar rooms and the Convention Centre.

It had been necessary to have a full Optocore backbone for audio and BroaMan for video and fibre routing to avoid latency issues, according to Gilles Bouvard. “This fantastic system allows you to have any audio control surface in the network.

In addition, given the complexity of the place,

I challenge anyone to set up an Ethernet-based or IP network, and have it be as easy and fast as ours to operate, without having to be a computer scientist!”

No computer scientist was needed during the installation of the venues lighting elements, neither, with the client urging GL Events to make it as simple as possible. “The client specified no moving heads, only basic projectors and lighting fixtures, so for the convention centre we supplied 2 OXO LED Colorzoom 180 RGBW per room and a Zero 88 FLX S 24/1 lighting control desk,” said Romain.

“In the exhibition halls, we supplied 50 Prolights fresnel LEDs, six Prolights Profile 230W LEDs, 36 PAR LED OXO Colorzoom and an MA Lighting grandMA3 control desk. This also gave us the ability to control the large variety of projectors installed in Toulouse Exhibition and Convention Centre.”

GL events chose Panasonic’s PT-MZ770E and PT-MZ10KLBE projectors for the convention centre, too. The PT-MZ10KLBE projectors are mounted on rotative supports, for seamless movement if two rooms merge into one bigger one for an event, therefore making the room orientation change. GL Events also installed 37 www.mondodr.com

Exterity M930D HD Players, one Exterity C1520 Hardware server and one E3750 3G-SDI Encoder, to provide the events space with unrivalled video and digital signage capabilities.

“Our biggest challenge throughout all of this was, of course, the COVID-19 pandemic,” explained Gilles Ravet. “However, we had an amazing team working alongside us and our providers did their absolute best to help us out when we needed. As soon as events and conferences come back safely, Toulouse Exhibition and Conference Centre will be at the top of its game, with even more to offer than before.”

Gilles Bouvard furthered: “The challenge today is to provide solutions to satisfy all user demands, and the transport of different IP and Ethernetbased protocols.

“Five years ago it was complicated, but thanks to BroaMan today we have the tools. Together we develop devices to transport and route data streams carrying different protocols such as AVB, Dante, AES67 or video NDI, IP — very simply and with no bandwidth limit.”

With sound and lighting already in place, due to COVID-19 the video equipment phase will now form part of a second capital budget in early 2021.

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Photos: Werner Nystrand & Malin Arnesson

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MALMÖ OPERA

Sweden’s architecturally impressive Malmö Opera has recently invested in Out Board’s next-generation TiMax TrackerD4 (TTd4) precision stagetracking system via Out Board’s Swedish distributor, Electrosound AB. The decision to buy was a simple one as the TiMax automation system was needed to ensure the precise audio localisation of both moving performers and static mic positions within the theatre’s immersive sound system, upgraded earlier in the year.

Malmö Opera Sound Engineer, Svante Axbacke, claimed: “TiMax TrackerD4 is very important to our sound system upgrade because previously we had not been able to program and chase all the audio objects

MALMÖ, SWEDEN EMEA

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• Above Malmo Opera’s beautifully lit exterior

through the show, so it saves both time and manpower.”

The purchase decision was reinforced by the specification of TiMax TrackerD4

by Autograph’s Avgoustos Psillas in his sound design for Funny Girl, which is Malmö Opera’s first production on re-opening in the Autumn. Swedish superstar, Sanna Nielsen takes the lead role and is amongst the 30-strong singing and dancing cast in the musical.

The theatre took delivery of eight TTd4 Sensors and thirty TTd4 Tags, but Svante confirmed: “We plan on buying more Tags early in 2021 for our next musical production.” Malmo opera’s

1,511-capacity main auditorium boasts one of Europe’s largest stages, so whilst eight Sensors cover the large area from different angles, the multiple sensor viewpoints add redundancy as only two Sensors need to see a Tag for reliable 3D tracking to be achieved. The system’s dual-mode ultra-wideband RF scanning uses hybrid AOA and TDOA technology which affords huge flexibility and helps mitigate any slight tracking errors caused by reflections, body blocking and scenery obstruction.

Svante and his sound team evaluated other tracking systems on the market before opting for TiMax TrackerD4. www.mondodr.com

As ever, service and support were considerations, as Svante explained: “TiMax has a solid reputation and gives outstanding support both locally in Sweden and from the UK headquarters.”

He confirmed that as well as being “the most scalable system and easy to maintain”, TrackerD4 is also “very reliable and robust”.

Svante discovered just how robust the Tags were when the costume department returned a Tag that had accidentally gone through the washing machine! He said: “We knew we were in safe hands because its ‘ON’ LED was still blinking and there was no damage at all to the Tag. It’s safe

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to say that there’ll be no issue from actors sweating which is usually a big problem for electronics.”

Svante also has high praise for the battery life of the tags which he considers ‘amazing’, as well as the TrackerD4 system’s use of industry-standard OSC control. He’s equally impressed with the simplicity of the system, which he explained: “We can recalibrate ourselves when we need to because it’s very easy to do so.”

But it’s for the “smart solutions in the system that are very important to us in theatre” that Svante is most appreciative.

With a helpful nod to the needs of a busy live production, one of these

is the ingenious TTd4 Tag power-up mechanism that strikes Svante as most clever. He explained: “The way you turn on and off the tags with a magnet is a brilliant idea that eliminates accidents with actors who can’t keep their fingers away!

With TiMax TrackerD4 now in place controlling the new Soundscape system driving d&b’s A Series loudspeakers, Svante is looking forward to pandemic restrictions being lifted, “so we can fill our hall again and every audience member gets to hear the same thing: the correct sound coming from the correct place on stage.” And all in real-time thanks to TiMax TrackerD4. www.mondodr.com

“TiMax TrackerD4 is very important to our sound system upgrade because previously we had not been able to program and chase all the audio objects through the show, so it saves both time and manpower.”

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HOTEL KAKOLA

Hotel Kakola, previously known as Kakola Prison, is a brand-new hotel in the Finnish city of Turku that is providing guests with a unique kind of overnight stay. Despite its origins, visitors wonâ&#x20AC;&#x2122;t be led in handcuffed or thrown into a bare cell, but much of the archetypal prison has been preserved, with bars still in place in some of the windows and the long corridors decorated with the prisons former iron gates. As well as this, guests will find handcuffs adorning the lobby and napkins and bedside tables in rooms created by some of the original Saramäki prisoners.

Kakola Prison opened in central Turku in the 1840s and over the years was home to some of

TURKU, FINLAND EMEA

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• Above Hotel Kakola is situated in the former Kakola Prison

Finland’s most notorious criminals. These included bank robber Volvo Markkanen, who received his name as he used Volvo cars as his getaway vehicles, and Toivo Koljonen, who was the last person in Finland to be sentenced to death. All of these contributed to giving Kakola quite the grisly reputation. The prison closed down in 2007 and tours began soon after, with many flocking to the abandoned building to get a sense of what life was like for the prisoners inside the walls.

Now, the new 155 room hotel boasts the unique history of the prison, with guests able to stay in the former solitary

confinement cells and hold events, including weddings, in the prison chapel.

Finland-based audio integrator, Hifistudio Esitystekniikka, was tasked with bringing the hotel’s sound system to life and adding a modern touch to the old public address system that would’ve once been used back in the 1800s. “The owners wanted to have a sound system complete with Finnish craftsmanship products that were high-quality and expertly designed, combined with ease-of-use.

We worked with the customer, advising them on the best possible solutions to meet their needs, and, in the end, we went

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with a system comprising of Genelec, Bose, Symetrix and Crestron,” said Antti Vuorilahti, Co-Owner of Hifistudio Esitystekniikka.

The owners of Hotel Kakola wanted a functional system that utilised the buildings original structure to discreetly store all of the cabling and audiovisual equipment. Together with the hotel’s electricity designer, Antti and his team made a plan for the system that stretched through the corridors and rooms of the hotel. Antti explained: “The audio configuration in Hotel Kakola consists of Genelec active loudspeakers together

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with Symetrix DSP processors. This gives us the ability to control specific zones (rooms, lobby, prison chapel) throughout the hotel. The whole system is simple enough for the staff to use, and the Genelec loudspeakers are great looking with the best sound for creating atmospheric background music for the different areas of Hotel Kakola.

“Genelec is the leading Finnish manufacturer of active loudspeakers and is well known for its premium quality and sound, too. The owners wanted to add a Finnish element to the sound system, as this is already echoed throughout the hotel, with most of the breakfast produce primarily coming from local suppliers. So, it was a no-brainer to go with Genelec.”

The processing products that met the needs of Hotel Kakola comprised of five Symetrix Prism 8x8 audio processors.

“Symetrix supplies high-quality products that are easy to use and easy to configurate, which again, was high on the team’s agenda, as it had to be easy enough for the hotel staff to use day-to-day,” furthered Antti.

One of Hotel Kakola’s real gem is the Prison Church, which has kept the original structure and layout that would have been used by the inmates. This room

can be hired out by the public for events, so Hifistudio Esitystekniikka selected Bose products, including Bose amplifiers, to create the best synergy for this part of the building that will be frequently used for larger crowds, sometimes requiring much higher playback levels.

Kakolan Ruusu, a restaurant built adjacent to the prison, was also given an audio system designed and integrated by Hifistudio Esitystekniikka. The restaurant has separate owners to the hotel, but still boasts its own unique character, weaving elements of its past prison life into the interior and the dishes served to guests.

With Kakolan Ruusu, Antti and the team again opted for a Genelec sound system, keeping in with the Finnish heritage and hunger for unbeatable sound.

Kakolan Ruusu’s sound system is centred around 14 Genelec 4030 active loudspeakers, to provide guests with ambient background music, with the ability to adapt to larger events. Antti chose one Symetrix Prism 12x12 audio processor for Kakolan Ruusu, providing the same ease of use and high-quality as Hotel Kakola.

Time constraints set the team at Hifistudio Esitystekniikka back a little with this project, as did communication www.mondodr.com

“The owners wanted to add a Finnish element to the sound system, as this is already echoed throughout the hotel, with most of the breakfast produce primarily coming from local suppliers. So, it was a nobrainer to go with Genelec.”

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• Above Kakolan Ruusu’s interiors are complimented by the Genelec sound system

challenges, with a large team of subcontractors also working alongside them, but organisation and dedicated teamwork prevailed. “We managed to overcome the obstacles by operating proactively. It’s a huge help to always be sure that all the required cables etc are installed in accordance with the designed plan, too. This avoided any further obstacles down the line and provided Hotel Kakola with a very neat and

good-looking system, especially with the Genelec loudspeakers!” said Antti.

The hotel opened its doors back in September 2020. Despite the uncertainty around how the COVID-19 pandemic would affect business, Hotel Kakola and Kakolan Ruusu have welcomed an array of guests eager to experience what life was once like in one of Finland’s most notorious prisons. With a new Genelec sound system, too, the hotel has

the ability to offer guests an unrivalled experience. Antti concluded: “We are so grateful for both the teams at Hotel Kakola and Kakolan Ruusu for including us in these big, challenging and unique projects. This project in particular has so much history, and it’s been a real treat to preserve some of that with the design and implementation of the sound system.”

TECHNICAL INFORMATION SOUND: Hotel Kakola: 29 x Genelec 4020 loudspeaker; 2 x Genelec 4040 loudspeaker; 2 x Bose MA12EX Line Array loudspeaker; 1 x Bose F1 subwoofer; 2 x Bose DS100 loudspeaker; 10 x Beyerdynamic TG500 microphone; 5 x Symetrix Prism 8x8 processor Kakolan Ruusu: 14 x Genelec 4030 loudspeaker; 1 x Symetrix Prism 12x12 processor www.hotelkakola.fi www.kakolanruusu.fi

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Maxin10sity and Modern Enterprises Join Force for Virtual NYE Show

When Seattle, Washington was forced to adapt its customary New Year’s Eve celebrations due to the ongoing disruption caused by COVID-19; necessity, once again, proved itself to be the mother of invention.

The result - a collaboration between event production company, Modern Enterprises LLC, and projection mapping specialist Maxin10sity - was a revolutionary ‘sky mapping’ show that saw virtual lights, projection, and special effects superimposed on live footage of the city’s most iconic landmark, the Space Needle, and the sky above.

As is the case with so many ground-breaking ideas throughout history, the concept of ‘sky mapping’ came to CEO and founder of Modern Enterprises, Terry Morgan, in a dream.

“It was so vivid and colourful that I woke my wife up to tell her all about it,” said Terry. “Later – when Karen Olsen (Chief Marketing Officer at the Space Needle) was telling me that they were unable to do their usual kind of event with fireworks and a large crowd - I told her about my ‘sky mapping’ dream, and she loved the idea.”

Morgan went straight to one of his regular collaborators, Maxin10sity, with

a mood board and a handful of images, in the hopes that the two companies could work together once again to make his dream a reality.

“I’ve worked with Tamás Vaspöri, Managing Director at Maxin10sity, for years, and have always been so impressed by what we were able to create together; namely the BOREALIS Festival of Light here in the US, which debuted to a wonderful crowd of over 120,000 people,” said Terry.

Although the New Year’s Eve sky mapping show - fittingly named ‘The Dream’ - had its own advantages (such as the absence of civic considerations like security, power, crowd control, and portable toilets) the team still only had two months to realise this unprecedented concept; mapping projections, lights, and special effects on the sky itself.

“There are challenges in all productions but, because this show is something new, we had to be very prepared and think through everything twice,” said Tamás. “We had to work a bit more on the storyboard but, when it was done and approved by the client, we could move on as normal from an animation / production point of view.”

He continued: “The fact that it was going to be a virtual show for broadcast

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actually gave us much more freedom. We wanted to do something that would blur the lines between the virtual and the real, to the point where people might not be able to decide which was which. We spoke with Terry a lot about his dream; always keeping in mind what would look best on screen and how we could draw the audience in and give them a real ‘wow’ factor.”

The show itself was to be a combination of subtle key lighting effects and more bombastic, almost surreal, moving images. All of this had to be created side by side to ensure that the illusory visuals were as convincing as Tamás had envisioned them.

Another key aspect of The Dream was the accompanying music, which was provided by Daniel Sadowski; a specialist in creating soundtracks for movie trailers and video games.

“The music is a very important part of the production,” said Tamás. “It is one of the key things that inspires our artists. We worked together with Global Illumination on the whole production, who we have worked with a few times in the past. The whole process was as smooth as always.”

The camera shots for the show were filmed in advance using three 4K

cameras shooting from three locations simultaneously. The entire sequence was run through twice to generate six different shot perspectives, which could then be intercut with some vertical and interior footage of the building.

“Despite how it appears, no drones were necessary,” said Terry. “All we needed were good cameras and good people to operate them.”

The entire show was pre-recorded and broadcast ‘as-live’ from KING TV studios in Seattle, before being streamed worldwide. According to a spokesperson from the Space Needle, the show amassed more than one million streaming views (and over one billion online impressions) in the first 24 hours alone.

“There are a lot of challenges when you’re doing something that has never been done before,” said Terry. “With the great support team of Maxin10sity, the Space Needle, KING 5 TV, and T-Mobile, we have moved mountains in a very short time to create a spectacular virtual New Year’s Eve event like no one has ever seen before.” www.maxin10sity.com

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Š 2021 Darris Lee Harris Photography

LYRIC OPERA HOUSE CHICAGO, USA AMERICAS

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The internationally-renowned Lyric Opera of Chicago is one of the worldâ&#x20AC;&#x2122;s great opera companies. Founded in 1954, Lyric has a long history of presenting the finest international singers, conductors, directors, and designers.

Lyric is still at the forefront of the advancement of opera in America today, continually producing artistic excellence, increasing relevance and reach for both traditional and new audiences, engaging diverse communities through signature learning and exploration initiatives, and expanding as a cultural cornerstone in Chicago.

The Lyric Opera House has been the venue hosting powerful performances that resonate with audiences long after the curtain falls since the company was founded. Built in 1929, complete with a truly breath-taking Art Deco design, the now 3,276-seat auditorium has recently undergone a seating reconfiguration to increase and improve accessibility for the

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• Above Inside the Lyric Opera House, built in 1929

audience, as well as the sightlines to the stage and overall comfort.

The aim has been to improve the audience experience, all while maintaining the historic building that has been the jewel of Chicago’s cultural and architectural community.

Michael Smallwood, Lyric’s VP / Technical Director, takes up the story: “We replaced the seats during our last major renovation from 1992 through to 1994, so they were in need of an upgrade.

As well as the seating, we had also been looking at the sightlines when it came to the main floor - put simply; there was no staggering whatsoever, with every seat directly behind another. Plus, we had to bring ourselves up to date when it came to accessibility.

“We’re a non-profit company, of course, but we were able to fund this renovation

thanks to a very generous anonymous donor, who really cared about the project - particularly when it came to making the venue accessible for everyone.”

To help complete this project, the team at Lyric enlisted the help of leading consultants. Theatre design and planning firm, Schuler Shook, assisted in identifying new seats for the venue; Kirkegaard were brought into as the acoustic engineers to ensure the incredible acoustics of the opera house remained the same; the architects at Goettsch Partners created the new seating design; and Bulley & Andrews were the contractors tasked with the installation.

As a company, Schuler Shook is no stranger when it comes to the Lyric Opera House, with its history dating back to 1977 when Duane Schuler began as its resident Lighting Designer. Todd Hensley,

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Partner at Schuler Shook, later became Duane’s Assistant LD. As Schuler Shook developed a growing consultancy, they were selected as theatre planners for the comprehensive renovation of its venue in the mid 1990s. Now, with the latest seating project, the strong relationship has continued with Lyric and its Chief Operating Officer and Deputy General Director , Drew Landmesser, who brought Schuler Shook on to envision the new seating arrangement in a feasibility study.

Todd explained the design process further: “Lyric asked us to develop potential layouts that increased the rowto-row spacing on the main floor, develop improved sightlines by offsetting the rows to create seat stagger - where patrons are not sitting directly behind those in the row in front of them - and to expand the

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© 2021 Darris Lee Harris Photography

number of accessible seating locations throughout the hall. Lyric had known the seats themselves needed replacement. Also, The Joffrey Ballet of Chicago is joining the Lyric in residence at the opera house, making it a logical time to address these layout improvements.”

Schuler Shook worked through approximately 30 layout options to develop the maximum comfort, sightlines, accessibility, exiting and seat count for the venue.

“We visited the archives at the Chicago Historical Society to see the Lyric Opera House seats from the 1970s and to confirm the seat’s shape, their end panels, and upholstery. This gave us a good perspective on the items we wanted to reflect from the past,” Todd added.

“During this process, we reviewed the layout options with client stakeholder groups, including Lyric’s box office, marketing, and development departments. We met regularly with the architects and acousticians to discuss improvements to the hall as part of this work, including the relocation of the main floor cross aisle and adjustment of the main floor aisles to provide a more efficient flow of patrons to and from their seats.

“We met with the Lyric’s accessibility consultant, LCM Architects, to review improvements in placement and disbursement of the accessible

seating locations on all levels of the theatre, too.

The final layout has over 3,000 fixed seats and up to 25 accessible wheelchair positions.”

Goettsch Partners, the architects responsible for the new seating design, also has a strong relationship with Lyric dating back more than 10 years. Prior projects included the restoration of the office building lobby, including historic ornamental plaster, decorative painting and stone restoration; the two-year project of restoring the cast-iron storefront on four sides of the building; and the historic lighting along the block-long Grand Portico.

Leonard Koroski, FAIA, LEED AP, Principal, of Goettsch Partners said: “Historic theatres are always an honour to work on, but when you can seamlessly increase seating visibility, accessibility, and lighting improvements into the historic fabric, that is exciting.

“Existing conditions in historic theatres can be challenging as built documentation may be limited. The team invested time upfront in design to laser scan and investigate conditions.

In construction, with the seating removed, trimble surveys re-checked earlier scanning prior to proceeding with the new slopes, grades and concrete work, along with the updated seating layout.” www.mondodr.com

When it came to deciding on the seating, no stone was left unturned, as Michael explained: “We had in-depth conversations with four different seating companies. There are hundreds of little decisions that go into finding the perfect seat - and we made sure we found the one that was right for us.”

Todd added: “It began with ‘long sit’ tests of many samples. We encourage our clients to evaluate theatre seats in a lifelike setting, which is by sitting continuously for an hour or more without getting up - this test often distinguishes the winner! Lyric tested chairs from four manufacturers that we recommended, and they were very clear in their choice of Series Seating.

“We found the chair’s ‘envelope’ - its front-to-back dimension - useful for maintaining row access and leg space. Its wood detailing is appealing, too, and Series refurbished the existing end standards and added new LED lighting to improve the aisle illumination.”

Michael futhered: “We chose a real state-ofthe-art seat design with the Series option.

Aesthetically, it works perfectly in the theatre and provides comfort for those coming to watch the productions. We wanted to be as Green as we possibly could throughout the project, too.

Series Seating has environmentally-responsible manufacturing at their facility in Bogotá,

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Lyric Opera of Chicago

Lyric Opera of Chicago

Lyric Opera of Chicago

Lyric Opera of Chicago

© 2021 Darris Lee Harris Photography

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© 2021 Darris Lee Harris Photography

• Above The new seating in place at the Lyric Opera House

Colombia.”

A vital part in the whole process of reconfiguring the seating was ensuring that there were no problems with regards to the acoustics, which is why Kirkegaard Associates were asked to be part of the process. The acousticians are another company with close links to Lyric, with Chief Design Officer, Joseph Myers, a Lyric subscriber and regular patron since 1988. Joseph also played a huge role in the renovation in the early 90s and was joined by his colleague, Polyana Frangetto, who acted as Project Manager for the latest project.

“The brief was like a physician: ‘First, do no harm’. Lyric wanted to make the seating more comfortable and improve legroom and sightlines, while more gracefully accommodating patrons with mobility issues. This required an extensive reworking of the main floor seating layout and new chairs. Since the new chairs at the new spacing would unavoidably absorb sound at least somewhat differently than the old condition, both when the theatre is occupied and when it is empty, our job was to ensure that the difference did not cause acoustic problems,” said Joseph.

“We were also concerned that the new chairs should not generate noise - no squeaking as people shift their bodies and no loud thump when a patron stands up and the seat bottom swings out of the way.”

To maintain the venue’s signature acoustics, there was, understandably, a lot of focus on the chair - it had to be comfortable, quiet and attractive, all while incorporating the concept of supportive, sculpted padding that was not too thick.

Joseph furthered: “There was interest in slightly thicker padding on the back for comfort reasons, which meant each seat was likely to be slightly more absorptive.

However, the re-spacing of the chairs on the main floor meant there were fewer chairs covering the same area, which somewhat reduces absorption. We needed to confirm that the increased absorption per chair would not result in an overall increase of absorption in the theatre.

“Once a chair that met all the criteria had been selected, we arranged for a group of eight chairs to be tested at Riverbank Laboratories, with and without people sitting in them. We measured the absorption of eight of the existing old chairs, then measured the absorption of eight of the proposed new chairs, and then swapped out some of the preferred new backs with more thinly padded backs. For each of the occupied tests we used the same people, in the same positions, in the same clothing so the comparisons could be as accurate as possible. The new chairs with the thinner backs performed pretty much like the new chairs with the more comfortable backs, so we committed using the more comfortable thicknesses. www.mondodr.com

“We measured the overall reverberation in the existing (unoccupied) theatre, and then adjusted the values to account for the slightly more absorptive new chairs at the same spacing in the balcony and the more open spacing on the main floor.

The effect on the reverberation was very small, with the greatest impact being a more consistent performance at low frequencies.”

When it came to the installation, Bulley & Andrews (B&A) were the ideal choice as they specialise in construction and renovation of performance spaces.

Brendan Keane, Project Executive at B&A, revealed how the project started with Lyric: “Three years ago, Lyric engaged B&A to provide pre-construction services for the seat replacement project. Working collaboratively with the design team, we developed a strong cost estimate and preliminary schedule.

Lyric subsequently hired CBRE to manage the process, then issued an RFP to several contractors to complete the scope of work. Given our team’s extensive performance space experience and technical expertise, we were able to provide the most cost economical and logistically sound approach to the assignment and were awarded the project.”

With the brief in place, there was plenty to consider when it came to the installation process, as Brendan explained further: “Our main focus for this

© 2021 Darris Lee Harris Photography

project was proper layout and coordination.

Given what was to change, every inch mattered.

This project reduced the seat count by nearly 300, so it was not a ‘like for like’ replacement.

“We had to coordinate new electrical stub ups at exactly the right location in order to be concealed by the seat end panel. This is a challenging task in a historic, 90-year-old building. Additionally, because of the new row spacing and aisle layout, more than 350 floor return grilles had to be filled or relocated.

“Our success on this project was predicated on leveraging the right technology; the best trade partner to perform the contouring work. In this instance, a concrete restoration company experienced similar work requiring sloping and fill operations - and a job site superintendent with significant experience which ensured everything was well-coordinated and came together correctly.”

Huge renovations such as the one at the Lyric Opera House are complex, requiring the meticulous attention to detail that’s been displayed by all the companies involved.

However, although it was certainly a successful project, it wasn’t without its challenges - not least a global pandemic.

“We were originally planning to begin the renovations in June 2020, with everything wrapped up just before the opening night of our 2020/21 season in September. However, once COVID-19 hit properly in spring, it forced us to come up with some alternative plans to continue the project. The main thing was keeping everyone safe and well throughout, though,” Michael explained.

Brendan added: “Similar to other projects, the pandemic threw a wrench in our initial schedule.

Due to forced shutdowns, the manufacturing of the seats was delayed several months. However, the 2020/21 opera season was cancelled, so the

© 2021 Darris Lee Harris Photography

project’s end date was able to be extended.

“To protect both our workers and the Lyric crew, strict COVID-19 safety measures were implemented during construction. Daily health screenings were performed on every crew member entering the project and socially distancing protocols were strictly enforced.”

Away from the challenges brought about by COVID-19, there were other areas that required patience, as Joseph revealed: “The whole process ran pretty smoothly and everyone was very cooperative. Perhaps the biggest challenge we came across was coordinating with the mechanical engineers to work out the best approach for returning air through the vents in the floors.

“Many of the old vents could no longer be used because the new location of the chairs left the vents in a circulation path. But we didn’t want to lose any vents, since that would leave some audience in a more stagnant condition and would increase airflow through the remaining vents, which could generate noise from turbulent airflow. Eventually we worked out a combination of approaches for reusing and replacing vents.

There was a colour-coded map of the existing openings that helped us figure out exactly what to do with each one.”

Schuler Shook also had to overcome some issues with regards to the detailed laser scan of the building.

“One of the biggest challenges was that while Lyric had invested in a detailed laser scan of the building, the scan included the seats themselves. Once the existing seats had been removed, Bulley & Andrews was able to update the existing information. They discovered some minor differences between the drawings and the actual built conditions,” said Todd. “That resulted in some minor in-process adjustments of row layouts and electrical infrastructure to meld the www.mondodr.com

new layout with the actual built conditions.

“The project is reusing the existing historic aisle panels, but those panels must be refurbished and modified to support the new seats. The timing challenge has been that the existing panels could not be removed until the construction phase began. Once the seating removal began, those panels were sent to the factory to be cleaned, stripped, repainted, and modified to work with the new seats and have the existing aisle lighting replaced and re-wired.”

With the new seating in place, increased accessibility and improved sightlines, the Lyric Opera House is ready to welcome the audiences back to the venue, as Lyric continues to redefine what it means to experience great opera. The finished project will allow the historic venue to connect with and grow new inclusive audiences, engage with the community, and ignite creativity across Chicago and beyond.

Joseph commented: “Lyric Opera of Chicago is one of the world’s great opera companies, and the Lyric Opera House is an architectural treasure. We have been honoured to be part of this practical and thoughtful effort to make the theatre an even more accessible, comfortable, and welcoming place to see a performance. We will be back there as soon as there’s an opera to see and hear!”

Leonard concluded: “Our civic and cultural communities are suffering, and we all hunger for social interaction and the arts. We need to find ways to support the arts and help heal our communities.”

The Lyric Opera House has gone a long way to enhance how it offers and supports opportunities for communities to celebrate the arts - and is certainly going to be a place of art, creativity and inspiration for years to come.

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Based in the heart of downtown Miami, E11EVEN is a unique, immersive venue that is totally befitting of the term â&#x20AC;&#x2DC;ultraclubâ&#x20AC;&#x2122;. Boasting 20,000 sq ft of high-end social entertainment, the space is part lounge, part show experience, complete with four 24-hour, full service bars, making E11EVEN a sought-after club for both public and private events, having hosted the likes of Drake, Post Malone, Lil Wayne, P Diddy, Diplo, Snake, Zedd, Marshmello, Chainsmokers, Ludacris, Cardi B, Snoop Dogg, Halsey, Dada Life, Future, Carnage, Dash Berlin, A-Trak, Markus Schulz and more.

Offering luxury, sophistication and a truly one-of-a-kind experience, the venue has picked up numerous awards, including the Best New Concept award, as well as landing on the Top 10 Nightclubs in America, awarded

E11EVEN MIAMI, USA AMERICAS

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• Above E11EVEN the ultraclub based in Miami.

by Nightclub & Bar. It’s clear that the $40 million landmark destination, which seamlessly operates as a nightclub and after-hours experience, has put itself firmly on the map as a must-visit club.

A huge part of the award-winning experience at E11EVEN is down to attention to detail when it comes to stateof-the-art technology. This was clear to see from the club’s first contact with John Fiorito, Nightlife & Hospitality Design / Installation Specialist at E11EVEN Sound

by DAS Audio, who designed the new audio system at the venue.

“In 2016, the owner and creator of E11EVEN, Dennis DeGori, wasn’t happy with the prior installation company and I had just been offered the East Coast

Manager position with Sound Investment Audio. Michael Meacham, the owner of idesign, has known me since 1992 and informed the owners of E11EVEN that Sound Investment hired a great audio technician who he would vouch for.

Michael made the introduction to the partners of E11EVEN and I was given a trial period to rebuild their trust in Sound Investment Audio,” John explained.

“After two years of building a solid relationship and trust, I was asked by the owner to make the sound better and I began pondering with design ideas and products. Over two years as an audio designer, installer, and manager for Sound Investment, we were selling a lot of DAS Audio products. We found the

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speakers to have fantastic sound quality, plus product was readily available and there was excellent support from DAS Audio Spain Engineering. So, we began to discuss a premier dance club product that would blow away the competition in all aspects of sound and price.”

Such was the dedication to the sound quality at the venue, E11EVEN Group and DAS Audio announced a partnership to launch a new brand of sound systems - E11EVEN Sound by DAS Audio. The Miami-based corporation and the leading Spanish sound manufacturer reached a strategic agreement to offer a new way of understanding sound and entertainment John furthered: “Working with Javier Navarro, Head of Engineering for DAS

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• Above E11EVEN delivers an unrivalled nightlife experience.

Audio, we developed a state-of-the-art product that delivered a superior sound quality beyond any of the competition - and we were able to offer the products at affordable pricing. Due to the cost of insurance for nightclubs, build-out cost, rent if the operator does not own the building, the cost is astronomical to open a large nightclub. In sales history, operators always cut on the lighting or sound when it comes to budgeting choices. The new E11EVEN Sound by DAS Audio provides the highest quality at affordable pricing, so when an estimate is provided to a client, they do not have sticker shock. That is why E11EVEN is a partner with DAS Audio, with idesign also being the first vetted and authorised design and installer of the product.

The two companies bring different approaches to an industry in which service is as important as the product. In recent years, the club scene has evolved generating new needs for club owners and technicians. Hence, pre-sales, training and tech-support are the foundation of E11EVEN Sound by DAS Audio’s business vision.

“A considerable advance has been made in the use of video and lighting to generate special effects in clubs, but there is still a lot of work to do on the non-visual elements. Our intention is to elevate the audience’s experience to a sensory feast full of surprises and create memorable experiences,” added Gino LoPinto, Operating Partner at E11EVEN. The new brand has been created to bring sound back to the forefront of the nightclub sensory experience – and that is something that they have achieved at E11EVEN, as John explained further: “I was given instructions by the creator / owner of E11EVEN to make the sound like a studio; better vocals, cleaner low frequencies and add anything missing.

“The design process started with what the demands were of all artists, live or DJ, for E11EVEN. When designing a DJ sound system, we want it to run at 60% maximum at full volume. We take this approach to ensure no distortion, less wear and tear on components, to ensure the amplifiers are not over driven and for the finest guest interaction experience.

“The main Party PIT has loudspeakers

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designed with the precise coverage of the room to ensure all areas are considered sweet spots. Everywhere where a customer can sit or stand allows them to hear every frequency – there are no dead spots or lack of audibility. Each area of the club - all VIP areas and the Day Club - are designed with the same concept and proper coverage. The system runs in stereo with mono sub bass.”

The loudspeakers selected for the Party PIT consist of four ES-112, eight ES-215, four ES-221 and two ES-30A loudspeakers from the E11EVEN Sound by DAS Audio range. Elsewhere, the Day Club utilizes five ES-10s, the Lower VIP area has eight ES26s, with the Conversation Area including three ES-26s, too. The restaurant’s system is made up of for Artec-306 loudspeakers and two Q10 subwoofers, while the rooftop has eight ES-26s, four Arco-4Ts and four Q10 subwoofers.

“All amplifiers are DAS OEM manufactured by MC² Audio. Class A/B bi-polar for all high frequencies and Class D for all midrange and sub bass. MC² Audio has a long history of making some of the finest sounding amplifier, so it was the preferred option,” added John.

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“DAS Audio, in partnership with NST Audio, has developed their own 11sound processor, which runs in a true 96K for the main Party PIT. We believe that this company is leading the future in signal processing. The other areas of E11EVEN are controlled by BSS Audio BLU-160, with multiple BLU BOB2 for additional outputs. The entire system is controlled by iPad using Logic.

“For the DJ equipment, everything is Pioneer.

We used the Pioneer DJM900nxs2 DJ mixer, and there are four Pioneer CDJ3000. All live mixers and microphones are rider-dependent and vary based on the show and needs of the artist.”

Dennis was delighted with John’s work at his nightclub: “John practices the art of sound installation. His genius is in the ability to install the component sound elements in their proper configuration to allow the resulting sound to create the space. John has been and continues to be an essential asset in helping us achieve our vision at E11EVEN.” Gino added: “E11EVEN has become a lifestyle brand and with that comes responsibility to always strive for the best. Quality of sound and production is at the top of our list and that’s

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why we partnered with DAS Audio to create E11EVEN Sound - the world’s best sounding club system.

“E11EVEN has become a global destination for guests and for world class talent. The biggest live performance, DJs and theatrics at a 24hour ultraclub, offering a truly one-of-a-kind experience. Sound, lighting and production is everything to us, that’s why we searched the planet to find the world’s best sounding club system – and we’re proud enough to call it E11EVEN Sound by DAS Audio.”

Although the new audio system has been a massive success, it wasn’t without its difficulties, however, the forced closure due to the COVID-19 pandemic meant that work could be completed within a much easier timeframe.

“The only real challenge is E11EVEN is a 24-hour venue and we have limited time to get things done. During COVID-19 while the venue was closed, allowed for an incredible renovation – and that has really taken E11EVEN to a whole new level,” John added.

As well as the audio system, the lighting and visual elements within E11EVEN were also

meticulously planned to deliver a truly striking experience in all areas of the venue. Michael Meacham, Owner of idesign, started the creative design process with Dennis DeGori and the architect, Tom Telesco from Telesco Associates, in the early summer of 2013.

“It was a synergistic process between all three of us. When Dennis had innovative ideas of what he wanted, Tom and I were able to build on these ideas with Dennis to collectively create what is now E11EVEN. “Everything is based around the halo design, consisting of 360 one-metre custom ceiling digital lighting strips. Intertwined into the ceiling halo lights are 32 Cameo MovoBeam 100s, along with 16 Elation Dartz 360 fixtures. The very centre light is a Cameo Evos W7, while the mezzanine lights are made up of 36 Cameo Opus S5s and 16 SGM X5 LED strobes. Behind the lighting and DJ booth is another 12 Elation Dartz 360s, with four 6W RGB lasers in each corner of the room.

“For the lighting control, E11EVEN uses MA Lighting’s grandMA series 2 console with an MA expansion wing, grandMA NPU, Mif4 timecode, All of the nightclub’s pre-visualisation is done in

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Depence D2, too.”

The team at idesign also uses TC Supply’s Showkontrol for the timecoded shows at E11EVEN. With this system in place, E11EVEN, which opened in February 2014, was a sensational success – both nationally and worldwide. However, fast forward to 2020, E11EVEN and idesign felt that the main room was in need of a refresh in terms of its lighting experience. This led to the Cameo Opus S5s and Cameo Movobeam 100s being installed.

“The lighting works well for this venue as its based around a round hydraulic centre stage that allows E11EVEN, as a nightclub / cabaret hybrid, to have feature aerialist performances each night, world-class DJs and specialty shows. All of the lighting around the main room has specific looks and features that allow for energetic and dramatic effects, as the venue needs,” Michael added.

“Everything needed to be colour mixing and LED based, plus, with a venue that is open 24/7, the lighting has to have longevity and reliability.

Cameo is a feature-rich lighting manufacturer, especially the Cameo Opus S5s. Our Cameo representative, William Brieva, has been very responsive and excellent in assisting idesign and E11EVEN with the new lighting upgrades in 2020.”

For the visuals, the HD video screens are integral to E11EVEN’s production and aesthetic. From the 4ft x 12ft screen at the front entrance, through to the 28ft x 10ft 2mm screen in the main room and the 21ft x 10ft 3mm screen in the Day Room, the visuals are sharp, eye-catching and perfect for the venue. All of the video screens are controlled by Avolites Infinity RX8 media servers.

Michael concluded: “E11EVEN is one of our favourite clients and we consider Dennis DeGori and the E11EVEN partners to be family. Dennis has a successful vision to always be the best nightlife destination and provide everyone with the ultimate guest experience.

By providing E11EVEN with the best lighting and video packages, along with talented light operators like Ben Sahagun, idesign and E11even

will continue to have a prosperous relationship for many years to come.”

John was similarly enthused by the project at E11EVEN, too: “What makes E11EVEN so special and why it is so successful is the culture and leadership embraced by the creator and owner, Dennis DeGori. E11EVEN treats their customers like gold, they go above and beyond to ensure the best performances and show for everyone.

“How the owner / creator and partners treat people runs downhill and it is passed onto everyone to enjoy the E11EVEN experience. The staff are amazing, and this is a perfect example that it takes money to make money - and treating customers and your team right is how you build an empire and successful operation.”

With the state-of-the-art technology in place, along with a strong culture and successful venue, E11EVEN promises to go from strength to strength, further establishing itself as one the best nightclub experiences in the world.

TECHNICAL INFORMATION SOUND Day Club: 5 x E11EVEN Sound by DAS Audio ES-10 loudspeaker; 2 x E11EVEN Sound by DAS Audio ES-218 subwoofer | Loft: 8 x E11EVEN Sound by DAS Audio ES-10 loudspeaker | Lower VIP: 8 x E11EVEN Sound by DAS Audio ES-26 loudspeaker | Conversation Area: 3 x E11EVEN Sound by DAS Audio ES-26 loudspeaker | Rooftop: 8 x E11EVEN Sound by DAS Audio ES-26 loudspeaker; 4 x DAS Audio Quantum Q10 subwoofer; 4 x DAS Audio ARCO-4-T loudspeaker | Restaurant: 4 x DAS Audio ARTEC-306; 2 x DAS Audio Quantum Q10 subwoofer | Main PIT: 4 x E11EVEN Sound by DAS Audio ES-112 loudspeaker; 8 x E11EVEN Sound by DAS Audio ES-215 subwoofer; 4 x E11EVEN Sound by DAS Audio ES-221 subwoofer; 2 x DAS Audio ES-30A subwoofer | DJ Monitors: 4 x DAS Audio ES-20A loudspeaker; 2 x DAS Audio ES1521 subwoofer LIGHTING & VISUAL 36 x Cameo Opus S5; 32 x Cameo Movobeam 100; 1 x Cameo EVOS W7; 2 x Cameo 1400 Hazer; 16 x SGM X5 LED white strobe; 28 x Elation Dartz 360; 360 x 1m RGB LED Digital iStrips; 4 x Chauvet Rogue 2 Wash LED Par; 4 x 6W RGB Laser; 2 x Avolites Ai Infinity RX8 media server; MA Lighting grandMA Lite series 2; MA Lighting grandMA Fader wing; MA Lighting grandMA NPU; Main Room & DJ Booth: 122 x 2mm 4K LED Video Cabinets | Day Room: 82 x 3mm HD LED Video Cabinets | Front Entrance 39 x 6mm HD LED Video Cabinets www.11miami.com

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86 IN BRIEF - APAC

Absolute Cycle Turns Working Out into Going Out with Chromateq

Since its launch in 2016, Absolute Cycle has become Asia’s leading rhythm cycling studio, featuring venues that energise members with sound and lighting systems designed to make working pedals as much fun as working a dance floor.

In its effort to continually tweak and refine its trademark clubbing vibe, Absolute has relied on the guidance of Stephen Tan, owner of local audiovisual systems provider, All About Visual (AAV), and long-established presence in Singapore’s event production scene.

For the latest round of upgrades to Absolute’s four Singapore-based studios, AAV turned to French lighting software experts, Chromateq, for fresh control solutions.

During the past four years, Absolute has conducted over 10,000 sessions, led by a sizable roster of instructors who play the role of DJs while working the class into a healthy sweat.

With a growing chain of locations and ever-changing mix of music playlists,

the project called for a flexible system that would allow for frequent onsite custom lighting programming. And with such a large rotation of class instructors, the playback system also needed to be as simple and reliable as pushing a button.

To meet these two requirements, AAV chose Chromateq’s highly customisable PRO DMX software in combination with Chromateq’s Club 1024 controller.

LED lighting elements at each of the four Singapore venues included moving heads fitted with custom glass gobos, UV bar and flood lights, and RGB par lights and pixel strips. PRO DMX was installed on PCs with touch screen monitors running Windows 10.

Moving head projections and linear RGB effects were easily integrated using Pro DMX’s effect generator feature to create synchronised RGB pixel patterns and pan/tilt movements, and the software’s matrix editor adroitly accommodated the custom LED pixel configurations.

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87 IN BRIEF - APAC

AAV created a custom touch screen trigger button layout in PRO DMX that perfectly matched the studio’s colour scheme. The software’s instant response to trigger input in LIVE mode allows instructors to easily and reliably choose their desired light shows with the touch of a button, as well as access to blackout and other general function scenes.

Chromateq’s Founder,Vianney Bourjot, has been delighted with the cooperation from Stephen and AAV: “This is the type of project that allows us to demonstrate the advantages of working with our team to provide technical advice before, during and after the installation. We enjoy bringing our decade plus of experience in both entertainment and architectural lighting to the discussions, especially where fun lifestyle concepts like this one are involved. The fitness coaches get to enjoy doubling as light jockeys, and we enjoy offering a solution that allows for customising the user interface to the client’s needs.”

AAV’s Stephen Tan is keen on the advantages that software solutions

bring to servicing his installations: “The client benefits from the graphical organisation of the desired scenes and shows on the screen, with their functions and descriptions conveniently visualised.

“The easy configurability and customisation of the PRO DMX software facilitates our technical and creative support of the project, and we benefit from a graphical interface that displays DMX channel values and many other system operating parameters.”

Scalability and versatility were major factors in the choice of lighting control. PRO DMX’s built-in Profile Editor removes any barriers to future upgrades, enabling the easy addition of new fixtures and effects.

Beyond the benefits of convenient graphical touchbutton playback using LIVE mode, the PRO DMX software also offers Audio and Video Timeline functionality for sound to light synchronisation, and calendar triggers for scheduling routine lighting scenes or custom colourful holiday looks. www.chromateq.com

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88 VENUE - APAC

ART AQUARIUM TOKYO, JAPAN APAC

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Adding powerful sound to its striking visual displays, Art Aquarium collaborated with HIBINO Corporation to enhance its exhibit with a state-of-the-art HARMAN Professional audio solution.

Established in 2007, Art Aquarium has exhibited all across Japan and overseas at places that communicate history and culture, including Nihonbashi Mitsui Hall, Kyotoâ&#x20AC;&#x2122;s

89 VENUE - APAC

• Above The Art Aquarium has exhibited across Japan since its opening in 2007

Nijo-jo Castle as well as the 21stCentury Museum of Contemporary Art, Kanazawa. With more than 10 million visitors, Art Aquarium has expanded overseas into Milan, Italy and Shanghai, China. Wanting to elevate the “Kingyo” Aquarium to reach the vision of its creative director, Art Aquarium required an innovative, cutting-edge audio system

that provided pristine sound quality and an enhanced guest experience.

“The client wanted a high-performance audio solution that would provide as much power and clarity as possible. After careful consideration, our team designed and installed an integrated HARMAN Professional audio solution made up of JBL Professional speakers, Crown

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amplifiers and BSS signal processors,” said a spokesperson at HIBINO. “We were confident the HARMAN solution would cover the museum’s needs and exceed their expectations.”

The system features an array of JBL Control Contractor 20 Series loudspeakers, including Control 23-1 and Control 25-1 loudspeakers, as

well as Control SB-2 subwoofers. The compact loudspeakers deliver a rich sonic character with wide, consistent sound dispersion across the venue, while the subwoofers deliver authoritative, accurate low end. Further adding pristine sound to the exhibit, HIBINO installed JBL AC18/95 and AC28/95 two-way loudspeakers and ASB6118 high-power subwoofers. For unmatched power and reliability, HIBINO powered the system with Crown DCi 8|300N, DCi 8|600N, DCi 4|600N and CDi 4|1200BL amplifiers. To ensure pristine sound and optimum performance, the system also includes BSS BLU160 signal processors with BLU link and BSS EC-V volume controllers.

“Audio is an important storytelling tool, and to

help showcase our exhibit we entrusted HIBINO Corporation to install a world-class sound system,” said a spokesperson at the Art Aquarium.

“HARMAN’s system integrated smoothly and we were able to create an immersive experience for the audience.”

“Venues like Art Aquarium that seek to popularize history and culture through both audio and visual mediums, need optimum sound performance,” said Ramesh Jayaraman, VP & GM HARMAN Professional Solutions, APAC. “We would like to thank our partner HIBINO Corporation for understanding the unique requirements of the space and giving the museum a sense of immersion with world-class sound reinforcement.” www.mondodr.com

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IN BUSINESS

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IN DETAIL AVOLITES

PRODUCT GUIDE MOVING HEADS

PRODUCT DIRECTORY IN PROFILE APEX

94 IN DETAIL

AVOLITES | DIAMOND 9

Avolites announced the launch of its new flagship Diamond 9 console in two versions: D9-330 and D9-215. Both new visual canvas controllers deliver inspired creative control to production designers in lighting, broadcast and AV, allowing them to create, programme and command their ultimate performances.

The Diamond 9 consoles are the result of years of technical innovation from the Avolites team, utilising their 45 years of industry experience, feedback from designers across the industry and award-winning industrial designers to create the ultimate control surface. The Diamond series is designed by visual designers, for visual designers and everyone in-between to intuitively combine lighting, media and other visual aspects of a show together. Each screen, fader, encoder and button has been meticulously thought over, so the console becomes an extension of the designer to give them creative freedom to power their shows.

Bringing a new distinctive look and feel to the console, the main front panels are machined from a single sheet of sleek aluminium with high end finishes. The D9-330 boasts 11 ultra-bright touch screens, including three main workspace screens, three for media preview, and specific screens for attribute control and softkey short cuts. The brand-new motorised touch sensitive Penny & Giles faders and new encoders each have their own RGB bar graphs so levels can be monitored at a glance. There’s also a return of the backlit integrated keyboard.

The most interesting side of the D9 is the righthand side, with five encoder wheels, a T bar for controlling scene masters and a new set of bespoke buttons carefully positioned so finding them is second nature.

The key differentiators go far beyond the aesthetics; they provide more intuitive media control integration for lighting designers in all www.mondodr.com

sectors of the industry. Building on the groundbreaking Synergy feature set, released in October 2019, that allows seamless integration between media server and lighting control, the D9 brings this to users’ fingertips, with intuitive design and layouts ideal for media playback and control. With the rise of video wall use in live performances, installations and even TV productions, creating an immersive and seamless lighting and video performance is vital.

The new hardware isn’t the only pivotal change on this product. The D9’s spot Avolites’ new logo marque, the first significant change since the company’s inception in 1976. It reflects the forward-thinking strategy direction of the company, whilst underscoring Avolites’ creativeled approach to lighting and media design.

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96 P RODUCT GUIDE

mov•ing heads

[moo-ving hedz] n.

Units tend to be of two types - the light beam is modulated by a moving mirror with the luminaire stationary, or, the luminaire moves to create motion. A typical unit, usually powered either by a small discharge lamp or LED, is equipped with various functions including intensity, focus, iris, colour, gobo, rotating gobo, pan / tilt, speed control and reset.

PRODUCT GUIDE

MOVING HEADS SPONSORED BY TIRSO LIGHTING

“Moving head lighting fixtures play a big role when it comes to our lighting design approach. I feel its important that a lighting rig have variety; tools from which the operator can pick from to create different looks. Our hierarchy when selecting fixtures starts from top to bottom as follows: Spots; Wash; Beams; and Effects. If and whenever possible, we also go towards using hybrid fixtures.

Having a rig designed in this way helps us prioritise how many fixtures of which kind we can allocate toward the project’s budget.

I remember when all moving fixtures lamp sources used to be lamps. Now, with advancement in technology, we have options with LED-based light sources. LED light sources have helped solve so many issues that we faced in the past. No more are the days of ‘I forgot to lamp off the moving heads on Sunday at the club’. Next thing you know, you show up the venue and fixtures are not working properly because they overheated over the last few days. I look forward to more advancement from manufacturers that continue to push the envelope. Moving head fixtures will continue to get smaller, brighter and more reliable.” www.tirsolighting.com

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STARWAY

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Distributor France : FREEVOX contact@freevox.fr | www. freevox.fr Distributor Belgium : FACE info@face-be.eu | www.face.be Want to be our exclusive distributor for a specific region ?

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98 P RODUCT GUIDE - MOVING H EADS

ACME Solar Impulse A major new product introduction from leading Chinese manufacturer, ACME Professional Lighting, the Solar Impulse (XA-1200BSWF) is a powerful LED moving head luminaire, whose break-through 1,000W LED engine can output an impressive 35,000 lumens. With this kind of punch, it is designed as the perfect replacement for any max-powered discharge fixtures with lamps up to 1,400W. A high-performing CMY colour mixing hybrid fixture, the Solar Impulse combines Beam, Spot and Wash functionality with a fast and smooth internal four-blade framing shutter system, all in one solidly-built unit. The versatile 5-50˚ zoom exhibits extremely smooth and consistent transition throughout the range, while the choice of medium and light frost filters, the rotatable four-facet prism and the option of switching between High-Output (CRI>70) and High-CRI mode (CRI>90) further expand the creative possibilities for this highpowered, highly flexible workhorse fixture. world.acme.com.cn

ADJ Vizi Beam 12RX The new ADJ Vizi Beam 12RX represents a major step forward in both brightness and features for a compact beam fixture. Joining ADJ’s extremely popular Vizi Series of professional moving head luminaires as its new flagship beam model, this powerful lighting instrument is designed to generate piercing mid-air effects.

Beam fixtures based on the immensely popular Philips Platinum 5R lamp, such as ADJ’s Vizi Beam 5RX, have been staples of most superclub lighting rigs for the past decade. Now, the ADJ Vizi Beam 12RX ups the ante with a fixture that is not only noticeably brighter, while still maintaining a relatively low power draw, but also packs in an enhanced feature set to give lighting designers unprecedented creative potential.

The Vizi Beam 12RX harneses the power of a 260W Philips Platinum 12R LL lamp, coupled with precision-engineered optics and a large glass front lens, to allow the fixture to generate an exceptionally potent and sharp two-degree beam. It offers a versatile collection of onboard beam-shaping tools, which allow for a vast variety of different looks to be achieved. These include 15 colours, 17 GOBOs, motorised focus, rotating 24-facet circular and six-facet linear prisms, and a frost filter.. www.adj.com

CHAUVET Maverick Silens 2 Profile Cameo EVOS W7 & W3 If you want to achieve the most natural colours, you need a wash fixture with a very high CRI, like the EVOS W3 and W7 with their CRI > 90. With precise pixel mapping capabilities and a large zoom range from 4.5° to 55° they also offer the flexibility you need and make it the fixture of choice for almost any type of event.

The Cameo EVOS W3 with seven 40 W and the EVOS W7 with 19 x 40W RGBWW LEDs have a particularly high colour rendering index as compared to other devices. The warm-white chip lets you use the moving heads as a wash light, allowing you to light both people or objects either in naturally warm white light or in pastel shades for mood lighting.

Used as both a wash and a beam, the Cameo EVOS Wash Moving Heads enable stunning matrix effects with single pixel control, which allows all LEDs to be individually controlled. Network-based software control is very flexible with DMX512, W-DMX, RDM, Art-Net4 (+DMX), sACN (+DMX), KlingNet (+DMX). The rich luminous flux of 4,035 (W3) or 12,500 lumens (W7) floods every event in clearly defined colors. www.cameolight.com/evos

CHAUVET Professional’s Maverick Silens 2 Profile will never be noticed because of its sound. The 100% convection cooled LED PCB fixture is virtually silent, attracting no attention to itself in studios for live stream broadcasts, recital halls, theatres or other applications where absolute quietness is essential.

However, this 560W profile unit will be a standout performer as a lighting source, thanks to features like CMY+CTO colour mixing with CRI, R9, CQS, and TLCI all between 91 and 97 (depending on the colour temperature mixed). Other features that speak volumes about this silent powerhouse of a fixture include a four-blade framing shutter system with rotation, a colour wheel, animation wheel, a 10:1 zoom, prism, two frosts, static and rotating gobo wheels, and 16-bit dimming with selectable red shift.

Combining high CRI LEDs with precision optics, the Maverick Silens 2 Profile has an output of over 11,000 lumens. With an optimal throw distance of 30-50 ft, the fixture is right at home in a variety of studio and stage applications. In all cases, it delivers smooth and even edge-to-edge coverage.

Thanks to its advanced engineering, the Maverick Silens 2 Profile offers an unprecedent level of accurate and detailed control in lighting applications.

For example, its frost ranges from barely perceptible, all the way up to completely diffuse. Its + or – 60˚ rotation framing shutter system supports a wide array of framing positions, while its 10:1 zoom covers 5-50˚ beam angles - and its fully wiping blades can create an assortment of shapes. www.chauvetprofessional.eu

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99 P RODUCT GUIDE - MOVING H EADS

Clay Paky B-EYE The B-EYE has revolutionised the way we think about LED show lighting. Its innovative optical unit enhances the uniformity and efficiency of the light output.

The rotating front lens and the possibility to control each single LED individually has made spectacular kaleidoscopic projections and charming eye candy effects possible. A sophisticated effect engine has made it easier to routinely use macro effects, which would otherwise be difficult to program. These technological innovations make the B-EYE a versatile product - it is a high-performance LED wash light, a perfect beam light, and a spectacular visual effect projector all in one. Claypaky also offers HY B-EYE, that is two times more powrful and bright than the B-EYE. It even offers more versatility and more interactivity with the media servers (Kling-Net protocol included), it is very silent, too, and comes in the same size and same control mode as the B-EYE. www.claypaky.it

DTS Lighting Synergy 7 Profile Synergy 7 Profile, thanks to its 55,000 lumens, broad choice of application, and new integrated devices, this fixture can provide an immersive lighting experience, improving the use of white light on both objects and people. Synergy 7 Profile can guarantee optimised camera shootings in terms of dimming and flickering: the brand-new Hybrid Dimming function improves the dimmer response curve in terms of flickering, effectively removing it; on the other hand, the Frequency Fine function allows the fine tuning of the LED’s output frequency at any given value.

As part of the Synergy family, this moving head includes all the features already known and appreciated by professional users all around… and more. The high-precision four-blade framing system comes now with an integrated iris. The Higher CRI system has been improved with the addition of three new colour correction filters. Improvements in the operational modes regarding noise levels also have been made and last, but definitely not least, the Dynamove FX Engine with its unique Virtual Animation Wheel comes back with more juice than ever thanks to the addition of a second gobo wheel. www.dts-lighting.it

CLF Poseidon Beam The CLF Poseidon Beam is a powerful outdoor beam fixture that has been developed for smooth CMY colour mixing. Based on the successful CLF Aorun, the Poseidon comes with a fast and accurate feature set including a double prism, gobo wheel, animation section and frost. The 190mm wide lens and unique optics allow big mid-air effects with a bright and punchy beam, delivered by a 400W light source. Colours can be mixed smoothly by using the CMY wheels and a fixed colour wheel is also available.

The elegantly-shaped, IP65-rated housing is equipped with specially-designed motors enabling fast pan and tilt movements. A bright O-LED screen offers easy access to on-board settings, even in bright environments. Allin all, the Poseidon is the fastest and most powerful outdoor beam in its class. www.clf-lighting.com

Elation Proteus Lucius The Proteus Lucius is an all-purpose LED profile luminaire in Elation’s award-winning Proteus line of weatherproof moving head luminaires. With flexible use as a profile, beam or wash light, it can be used on touring productions or any type of event, and is perfectly at home on long-term installs like themed environments. A compact brother to Elation’s 50,000-lumen Proteus Maximus, the Proteus Lucius outperforms leading 1,000W class discharge profiles with up to 33,500 lumens of output from a custom-designed hotspot 580W bright-white LED engine (6,500K). With a wider zoom range, more gobo options, added framing, and tidier form, and all at a price that puts a smaller dent in the budget, Elation has managed to pack everything a creative designer needs to impress in one unit, reducing the need for variant fixtures. Features include a 5.5° to 50° zoom, CMY colour mixing system, variable CTO, 5-slot colour wheel, high CRI filter, 13 rotating and 7 fixed glass gobos, dual prisms, 360° bi-directional animation wheel, indexable four-blade full blackout framing system, variable frost filters (light and wash), high-speed iris, highspeed electronic shutter and more. www.elationlighting.com

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100 P RODUCT GUIDE - MOVING H EADS

GLP FUSION by GLP

eLumen8 Evora 600 Beam

A powerful moving head perfect for outdoor use, the Fusion Exo Spot 30 from FUSION by GLP boasts a highly efficient 230W LED engine with a colour temperature of 7,500 kelvin. Built to last even in the most demanding conditions, the IP65 classified Exo Spot 30 can be operated from anywhere in the world thanks to a switching power supply with automatic voltage detection.

In addition to its main characteristics, the lightweight 25.9kg Exo Spot 30 features a motorised focus and zoom, with a zoom range of 7° to 30°. The electronic shutter, accompanied by the 16-bit pan and tilt and CMY colour mixing with 18 additional colours, allows for lighting designers to create lighting that can rise to the challenge of any outdoor event, no matter the conditions. www.glp.de

This compact, narrow beam fixture features an RGB LED source which combines ultra smooth colour mixing and gobos with a sharp high output beam all contained in a lightweight, robust housing. The 50W RGB LED produces a powerful and sharp 3° beam and achieves smooth, coloured beam effects, which easily keep pace with discharge lamp fixtures. 16-bit continuous 360° pan and tilt rotation come from super smooth three phase motors, and other features include 14 gobos, two independent rotating indexable prisms and 0-100% linear frost filter. Suited to both rental and installations the LED is flicker-free with an adjustable refresh rate. Control is via DMX, RDM, Kling-Net, Art-NET and sACN protocols. For further convenience wireless DMX is on-board via W-DMX. www.prolight.co.uk/product/evora-600-beam

GLP HIGHLANDER

High End Systems SolaPix 37

The singular fixture HIGHLANDER from GLP delivers immense power, quality and output from a compact discharge source fixture with a superior optical system. With its powerful discharge lamp, at 1,400W and outputting through a large 230/9-inch front lens, the GLP HIGHLANDER produces a blindingly powerful light output, without ever sacrificing quality. With its high colour rendering index of 90+, and a native colour temperature of 6,000K, the HIGHLANDER promises to be adaptable to any environment it is placed in.

The lightweight 29.5kg product’s high output optical system features a motorised 7:1 zoom/focus combination, with punchy 5° beam angle and up to 63° smooth field angle with focus link. Beam control is available through an independent and snappy motorised iris, but also through a full feature framing system. This framing system gives overall control with each blade being able to tilt on its axis and cross the entire beam independently or rotated and controlled as part of the system, by up to 90°.

Designed to run flicker free, the HIGHLANDER includes additional convenience features including a battery-powered control system for configuration without mains power; an auto-sensing power supply and a comprehensive set of rigging options. www.glp.de

With its medium-sized footprint and unprecedented next generation brightness, SolaPix 37 takes the traditional concept of a pixel wash and pushes it to its maximum potential. Whether used to spread colour all over a ballroom, tradeshow floor or concert stage, the bright and punchy output will envelope your production with beautiful saturated colour. Additionally, when you need to add a little interest, the fixture’s narrow zoom, FleX Effects macros and pixel controlled face gives you a wide variety of looks and styles to help set the mood and steal the show. www.highend.com

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101 P RODUCT GUIDE - MOVING H EADS

Mega Systems Tiltbot Trio MEGA-LITE presents the Tiltbot Trio, a new IP rated, versatile LED fixture that can be used as a blinder, strobe and wash. Equipped with 572 1W RGB LEDs and 144 white 8W LEDs it has a 190º tilt rotation. This highly creative design can create a variety of powerful colour combinations and, with a 90 CRI on white, it also produces a bright white output. The unit’s hybrid design and features makes it ideal for a variety of applications. www.megasystemsinc.com

Martin by HARMAN MAC Aura PXL The Martin MAC Aura PXL adds to the industry standard line of Martin wash lights with multi-lens and Aura backlight technology. Bigger and brighter than the MAC Aura, the PXL features significantly higher intensity and a tighter beam as well as a smaller face and less busy lens look compared to the MAC Quantum Wash. The MAC Aura PXLs bigger ‘bubbles’ provide a more appealing look and beautiful wide wash fields. This fixture is also the first wash light in the market to feature individual pixel control for main beam pixels and Aura back light with full control via DMX, Art-Net and sACN, as well as with Martiń s very own creative P3 video protocol. The compact size and low weight, trusted Martin build quality and feature set, and simple and clever setup and control options make the MAC Aura PXL ideal for rental customers and lighting designers working in concert/touring, TV shows and corporate, as well as customers supporting the high-end nightclub market. www.martin.com

Prolight Concepts Kudos 700 Beam The Kudos 700 Beam projects a tight 2° concentrated beam from its powerful 110W LED source. Inside the ergonomic head are two circular rotating prisms (eight facet and 16 facet), 12 colours + 5600K + 3200K + open, 17 fixed gobos + open, 12° frost filter and a motorised focus. The powerful beam cuts through haze with lightning-fast speed, creating stunning aerial effects, drop in the frost filter and you can also achieve wash effects making it even more versatile.

RDM along with 16-bit pan/tilt positioning and smooth dimming are also included in this fixtures impressive features, along with all the fundamental characteristics you would expect from eLumen8, backed up by a two-year warranty.

An optional twin flight case is also available. www.prolight.co.uk

PR Lighting AQUA 380 BWS The AQUA 380 BWS from PR Lighting is a waterproof, IP66 moving head, which integrates three features - Beam, Wash and Spot - in a single unit.

Using PR Lighting’s patented technology, combined with advanced Philips longlife Platinum 300S Flex lamp - complete with superb optical system - it is the ideal choice for outdoor projects. www.pr-lighting.com

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102 P RODUCT GUIDE - MOVING H EADS

Prolights Ra 2000ProfileHB Introducing the Ra 2000ProfileHB from PROLIGHTS. Designed for concerts, worship and live events, it is an even brighter variant of the popular Ra 2000Profile. Powerful, compact and fully equipped with both framing shutters and an animation wheel, the Ra 2000ProfileHB provides the same footprint and impressive features as the Ra 2000Profile, but with a whopping 40% higher intensity.

The Ra 2000ProfileHB is an indispensable tool for any show. The 6,300K LED engine has been custom-engineered to enable the fixture to reach an impressive 18,900 lumen output, whilst the on-board CRI enhancement filter allows a CRI > 83.

The Ra 2000ProfileHB CMY system delivers beautiful pastels, stunning saturated colours and powerful primaries. One colour wheel provides split colours, and linear CTO allows the Ra 2000ProfileHB to blend in with traditional sources.

This unit is packed with powerful features like a gobo wheel, adjustable framing shutters, an animation wheel, iris, prism and dual linear frost.

The highly efficient optical system delivers a 1:8 zoom from 8° to 50°, and crisp focus to perfectly merge multi-layer effects. www.musiclights.it

SGM G-7 Spot The G-7 Spot is the quintessence of IP-rated moving heads. A fast, compact, and lightweight mid-sized moving head spot with high-output and low power consumption. Thanks to its white LED engine and CMY colour mixing, the G-7 Spot is the perfect moving head for those who need maximum light output inside an easyto-move luminaire. The G-7 Spot gives you a solid construction, a high-quality beam, and an optimal projection in a very flexible assembly. A fixture born to rock, night after night. www.sgmlight.com

Robe SPOTE When you demand quality, with absolutely no compromise, in a compact spot, then SPOTE fits the bill. Fun, fast and feature packed, SPOTE is ideal for a club, bar or corporate event.

Designed for dynamic effects and projections, within its compact body, SPOTE produces an impressive 2,700 lumens of sparkling, clear, white light. To easily maintain light quality and consistency across your inventory, SPOTE utilises the TE 70W White LED engine, from our ground-breaking Transferable Engine technology.

The fixed beam 16° lens has remote control focus and can be changed to the optional 24° lens for shorter throw and low ceiling scenarios. The dynamic effects package includes a colour wheel with 13 dichroic filters; Gobo wheel with nine fully indexable, rotating, replaceable gobos; eightfacet bi-directional rotating prism and a five-degree frost for silky smooth washes. www.robe.cz

Showtec Polar Wash FX The Showtec Polar Wash FX is an innovative and versatile IP65 Wash moving head. Equipped with seven 40W RGBW LED modules, offering individual pixel control, and one 60W RGBW LED module.

A finishing touch and additional feature is the separate LED-ring which can create awesome effects. This gives you the freedom to design awesome visuals through DMX-512, RDM, Art-net or SACN. With a zoom-range of 4.5° to 35° and a choice of various colour mixing modes like HSIC, RGBW or CMY the Showtec Polar Wash FX delivers every time. Compact in size and light weight but it will make sure that its effect cannot be ignored.

The Showtec Polar 340 Wash FX will fit perfectly into any rental fleet, is ideal for mobile applications or for outdoor use at festivals or amusement parks. www.highlite.com

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just brighter just faster just smaller just smarter just

104 P RODUCT GUIDE - MOVING H EADS

Starway APERTA APERTA is the new generation of automatic LED moving heads. 20 years after the introduction of Starway’s cult range Servo Spot 250, it inaugurates our new range of ultra compact and powerful projectors.

APERTA revolutionises the LED Beam: opening angle of 2.65°, 60,000 lux at five-metres, 13kg for a height of 47cm, infinite Pan / Tilt, ArtNet and KlingNet compatible, progressive frost, 14 fixed gobos, six-facet linear rotating and indexable prism, eight-facet circular rotating and indexable prism. en.star-way.com

Vari-Lite VL2600 Profile Steinigke Futurelight EYE-740 The powerful EYE-740 washlight from Futurelight offers high output from seven 40W RGBW LEDs from Osram. The builtin zoom adjusts the beam angle of the washlight from 1° to 16°.

Thanks to its extremely quiet ventilation, the washlight is also ideal for use in very noise-sensitive environments such as theatres and TV studios. Its variable pulse width modulation also ensures flicker-free projection, making the moving head fixture the perfect device for film and television recordings.

In addition to three-pole DMX connections, the professional washlight has Ethernet inputs for control via ArtNet. P-Con connections are installed for power supply. A master dimmer with 16-bit resolution ensures particularly smooth dimming. www.steinigke.de

Sitting alongside the Wash and Spot models in the VL2600 family of LED-based moving head fixtures, the VL2600 Profile is Vari-Lite’s workhorse fixture for performance venues of all kinds. Its compact size, 7-48˚ zoom range, framing system, fast and accurate movement, quality optics and 19,000 lumen output have made it a firm favourite with stage lighting designers.

At a lightweight 32kg and measuring 715mm (H), 465mm (W) and 528mm (D), the compact fixture is based around a 550W white LED engine, outputting 19,000 lumens. Its eight fixed and seven rotatable gobos (all glass) plus three-facet prism, iris and variable frost, deliver an endless variety of effect and texture. The fixture’s smooth, theatrical electronic dimming, plus strobe effect, add further to its versatility. An important tool for designers, the internal framing module features four blades, each capable of full-wipe movement, and as the entire module is rotatable to +/- 50˚, blades can be angled at almost any orientation.

Colour capability is similarly comprehensive, with a fixed colour wheel for snap colours and split beams, in addition to Vari-Lite’s CMY colour system and variable CTO adjustment, which can take the output from a cool, bright 7200K down to a warm 2800K. www.vari-lite.com/global/products/ vl2600-profile

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Remote IP Intercom Solution with LQ & Agent-IC ÂŽ

A fast-to-deploy, cost-effective solution that complements your core intercom with remote capabilities to meet new workflow needs.

106 DIRECTORY

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1. Cameo FLAT PRO G2 Series

3. APEX CloudPower Series

With the new FLAT PRO G2 series, Cameo expands its range of IP65-certified LED outdoor PAR spotlights and offers lighting designers, specialist planners and architects the ideal combination of minimal space requirement, enormous light output, and maximum outdoor suitability. Whether as a calibrated and compact IP65 uplight on a building facade, as a noiseless light source in a theatre, or as an effect light for live shows – light professionals benefit, among other things, from completely silent operation based on improved convection cooling, a selectable PWM (650 Hz – 25 kHz) for flicker-free camera images, and a revised housing design with an integrated carrying handle. The new FLAT PRO G2 series is now available in the versions FLAT PRO 7 G2 (seven x 10 W RGBWA, 2,400 lm), FLAT PRO 12 G2 (12 x 10 W RGBWA, 4,300 lm), and FLAT PRO 18 G2 (18 x 10 W RGBWA, 6,600 lm). www.cameolight.com/flat-pro-g2-series

The first two models in the CloudPower Series, the 4x 350W CP354 and the 4x 700W CP704, are shipping now, and are high efficiency, low idle power designs and benefit from a self-cooling airflow system that eliminates distracting fan noise. All CloudPower amplifiers include comprehensive signal and loudspeaker processing tools and are designed for standalone or networked deployment in a wide range of installations.

CloudPower is the first product to benefit from APEX’s pioneering GlidePath direct drive technology, which fully integrates DSP and amplifier circuits, employing DC coupling throughout the signal path to dramatically reduce time offsets and distortion.

CloudPower’s ultra-precise reproduction of high transients manages loudspeaker cone excursion, minimising distortion and prolonging loudspeaker life. Multiple CloudPower amplifiers can be monitored and controlled remotely from any device over the APEX Cloud and every unit features a built-in WiFi Hotspot, allowing connection via APEX’s intuitive IntelliCloud WebUI, or through a wired Ethernet connection. A unique feature of CloudPower is the inclusion of an integrated audio source, allowing streaming of background audio from devices running apps such as Spotify or AirPlay. www.cloudpower.apex-audio.be/

2. Amate Audio G7 Amate Audio’s latest product, the diminutive G7, eschews convention by offering distinctively premium quality at a relatively affordable price point. Designing its own injection mould, and an advanced performance 6.5-inch carbon fibre driver, it has sought to optimise form and performance beyond what has previously been achieved in a reinforced ABS plastic enclosure. Together with the driver, advanced cabinet architecture achieves unrivalled levels of performance and efficiencies of form, within a signature hexagonal aesthetic design that extends to the integrated wall mount.

Qualities immediately obvious to both ear and eye. G7 offers practical commercial efficiencies, with a single SKU for low impedance and 100V line that eliminates the need for redundant circuitry and associated weight. An optional rear connector plate provides the 100V line circuitry, and switchable power levels when needed. G7 is not shy when it comes to power handling and output, rated at 120W and 112dB SPL, continuous program handling. With full-frequency response the loudspeaker can be deployed without sub bass reinforcement. www.amateaudio.com

4. AUDAC ALTI The ALTI4 and ALTI6 are two pendant style loudspeakers designed for background and foreground music applications with open architectures and high ceilings. These new pendant models deliver best-in-class audio and the easiest possible installation experience for integrators. Both styles include an internal 70V/100V transformer with a 16 Ohm bypass, giving designers fantastic flexibility.

The elegant construction is finished using high grade materials and fitted with premium acoustic components. The ALTI produces a wide beam coverage pattern that ensures great sound all round. Mounting the loudspeaker is done through a connection cable with two integrated steel cores for suspending with an additional drop safety. Fixation is made through two snap-hooks on one end and a dual Gripple fixation on the other end.

An innovatively designed rear cover of the speaker can be placed after installation and hides the connection and suspension on the speaker end. The ceiling end connections are covered through a cable cover. In addition to these pendant loudspeakers, AUDAC is also launching 2 variants that can be mounted against a wall or ceiling. The ALTI4M & ALTI6M are in essence the same loudspeakers with the same excellent sound quality, but with a die-cast mounting bracket. www.audac.eu

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1. Electro-Voice RE20-BLACK The RE20-BLACK offers customers an aesthetic alternative to the iconic original finish, while being acoustically, electrically and mechanically identical. Beyond providing the industry-standard sound of FM radio voices, the RE20’s popularity has surged in recent years with the rapid growth of podcasting and home recording/production. It also remains a trusted tool in professional recording studios, and a mainstay mic on liveperformance stages everywhere. A key to the RE20’s enduring popularity is its unique Variable-D design. Variable-D minimises proximity effect, giving users the confidence that their tone will remain full, pure and accurate, while they enjoy the freedom to work naturally around the mic at varying distances. Additional features include a mid-bass tone-shaping switch, a substantial integrated pop filter, and a humbucking coil to guard against line hum – all of which combine to provide a supremely smooth, natural and controlled sonic character. www.electrovoice.com

2. Extron SF 26CT LP Extron is pleased to announce the immediate availability of the SoundField XD model SF 26CT LP, a low profile 6.5-inch two-way ceiling loudspeaker featuring a 4.2-inch (107mm) deep composite back can for use in restricted height plenum environments.

The driver complement includes a 6.5-inch (165 mm) subwoofer coupled to a 3/4-inch (19mm) ferrofluid-cooled dome tweeter. The SF 26CT LP offers both direct eight ohm and 70/100 volt operation with a behind-the-grille, six position power selector switch.

With high impedance taps at eight, 16, 32, and 64 watts, the SF 26CT LP is ideal for applications that require a high power distributed speaker system in plenum spaces that will not accommodate a taller back can. www.extron.com

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1. Madrix AURA

3. Magmatic Rocket Series

MADRIX AURA provides amazing stand-alone capabilities for dynamic lighting. Run the most sophisticated light shows and effects independently from this compact controller with fully customisable scheduling. The controller makes it easier to create and operate such visual highlights. It is a powerful recorder and stand-alone playback unit from SD card for fully automatic lighting control. Available in three versions, it outputs two, eight, or 32 universes of control data over Art-Net or Streaming ACN. It is a fully scalable solution to tackle any project size. Larger projects can simply be managed by connecting several devices over Ethernet network. The entire group is automatically synchronised across all DMX universes for flawless and uninterrupted playback. To make the entire setup process easier, MADRIX AURA allows live recording, too. You can record any Art-Net or Streaming ACN network stream onto the inserted memory card. All device settings, such as the important IP address and playlist settings, can easily be accessed and changed by using the built-in web configuration in a standard web browser. www.madrix.com/products/aura

Magmatic atmospheric effects is pleased to offer Rocket, a robust line of powerful CO2 cryogenic simulation effects that produce dense white clouds of fog for visually stunning atmospheres. Capable of generating a heavy blast of fog that engulfs an area in just a few seconds yet dissipates instantly, each effect is arrayed with high-output RGBA LEDs for the ultimate in dynamic fog jet effects. Rocket is making it easier for designers and production houses to implement high-impact cryogenic-type effects into projects of all types - tours, special events, clubs, theme parks and more. The advantages over traditional liquid CO2 or liquid nitrogen cryogenic effects are many. With the Rocket series there are no cumbersome, high-pressure liquid CO2 or liquid nitrogen cylinders to deal with, making for a safer, less expensive and faster setup that requires no local authority approvals. Three Rocket series effects are available – Javelin, Sidewinder and Tomahawk – all wrapped in a durable, tour-ready aluminum housing designed to withstand travel and repeated use. www.magmaticfx.com

2. Magewell Pro Convert

4. Martin by HARMAN P3 System Controller Software Version 5.2.0

The Pro Convert for NDI to SDI and Pro Convert H.26x to SDI transform live, IP media streams into high-quality SDI outputs for connection to monitors, projectors and legacy production equipment. Magewell’s Pro Convert products seamlessly bridge traditional video signals with IP-based production, distribution, and streaming workflows. Offering the high reliability, assured performance and compact size of dedicated hardware, Pro Convert decoders are ideal for applications including remote production; multi-site video distribution; video walls; digital signage; image magnification (IMAG); surveillance monitoring; or bridging legacy and next-generation media infrastructures. The Pro Convert H.26x to SDI decodes live H.264 (AVC) or H.265 (HEVC) compressed video streams up to 1080p60 for output via a 3G-SDI interface. The low-latency device supports a wide range of input streaming protocols for maximum source compatibility. www.magewell.com/pro-convert.

HARMAN Professional Solutions, the global leader in audio, video, lighting and control systems, recently announced that Martin P3 System Controller Software Version 5.2.0 is now available as a free update for the entire family of Martin P3 System Controllers.

Martin P3 System Controller Software Version 5.2.0 comes with a range of new features and improvements that benefit newer products such as the MAC Aura PXL and VDO Atomic Dot, as well as long-time Martin favorites like VDO Sceptron, VDO Fatron and Exterior PixLine. The new software features include: Instantly toggle individual fixtures between video control and DMX control with the P3 Switch; Receive PixelMap input from a lighting desk for up to 128 universes, drive fixtures with a video feed from a media server or dynamically switch between the two; Create an Art-Net to P3 Bridge using the PixelMap Input functionality to visualise lighting designs in real-time; and preview a render of the incoming video stream on an imported drawing or picture of the stage or building. www.martin.com

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1. NEXO P15

3. Pioneer Pro Audio CM Series

The P15 is a powerful 15-inch coaxial loudspeaker, designed for FOH and monitoring applications, which can be used with or without its companion subbass, the new L18.

It offers modular directivity that can quickly and easily changed by the user. The curvilinear enclosures of custom birch and poplar plywood are unique to the P+ Series, the bent wood delivering significant progress in terms of robust lightweight cabinets.

The new P15 weighs in at 23kg and is dimensioned at 600 x 483 x 352 mm (compared to the previous generation PS15 at 33kg for 675 x 434 x 368 mm). The most impressive step forward is in sonic performance, with the powerful P15 delivering 139 dB (Passive) to 141 dB (Active) SPL from its purpose-designed 15-inch Neodymium magnet coaxial driver with a 3.5-inch voicecoil. Frequency response is 57Hz-20kHz. Unusually in this 15inch category, the P15 can be reconfigured from passive to active mode using a switch on the back of the cabinet, taking SPL output from 139dB to 141dB (peak). It has variable directivities: horn flanges can be interchanged from the 60x 60 provided as standard to a 90x 40 or an asymmetrical 50- 100x 40. (The interchangeable flanges are marketed as accessories.) Switching between different directivities is achieved by removing the steel grille and replacing the flare, which uses a magnetic fixing. www.nexo-sa.com

Pioneer Pro Audio’s Commercial Monitor (CM) Series is expanding to include four new units: the 10-inch CM-510ST subwoofer and the IP54-rated 4-inch CM-S54T, 6-inch CMS56T and 8-inch CM-S58T surface-mount loudspeakers. Drawing on its club loudspeaker manufacturing heritage, the versatile two-way CM-S54T, CM-S56T and CM-S58T, and the Kelton-configured CM-510ST subwoofer produce premium-quality audio. Available in black or white, these new units are perfect for discreet installation in a variety of spaces where reliability is crucial, and the loudspeakers can even be used for some applications outdoors. These affordable and adaptable new arrivals in the CM Series include a host of features including transformer taps – ideal if you need a professional and adaptable fixed installation solution. The new loudspeakers can be controlled by Powersoft’s recently released ArmoníaPlus 2.0 software. This powerful tool enables you to assemble systems in simpler, more effective ways as it eliminates the need for an external matrix and reduces the number of cable runs in many applications. Everything can be easily controlled via a mobile app that you can use to adjust the sound in different zones. www.pioneerproaudio.com

2. Wireless Solution G6 Featuring state-of-the-art technology, the new G6 models include some brand-new functionality and communication protocols, including ArtNet and Streaming ACN via WiFi, RDM support in all models, Bluetooth connectivity for configuration and software updates, and full compatibility with LumenRadio’s CRMX technology. The G6 models support both WiFi and Bluetooth, as well as LumenRadio’s CRMX technology.

The introduction of compatibility between W-DMX and CRMX, Wireless Solution is now offering customers true DMX compatibility. The G6 models are suitable for live events, theatres and architectural lighting. www.wirelessdmx.com

4. Salrayworks Sharon Series Salrayworks today announced the launch of the Sharon Series PTZ cameras that incorporate NDI technology. These cameras are using high bandwidth NDI version 4.5 technology implemented on an Intel FPGA through Salrayworks’s own technology. The Sharon 360 PTZ camera has focussed on an overall circular design that does not point to a specific person or object. The zoom head can be rotated 360° so you can shoot to the rear of the camera. Both the Sharon 360 and Sharon 30 are equipped with the highest specification Sony 30x optical zoom, enabling the closest natural colour, accuracy, and fast auto-focus. The Sharon 20, equipped with 20x optical zoom made in Korea, is aimed at entering the relatively inexpensive high bandwidth NDI PTZ camera market for schools, small studios, and houses of worship. www.salrayworks.com

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112 IN P ROFILE

APEX AUDIO One of the last product announcements to come out in December was the release of the CloudPower CP354 and CP704 from APEX. We caught up with APEX Managing Director, Paul Van Hees, to talk all things CloudPower, and to look ahead to what promises to be a busy year for the Belgian pro AV brand.

There has been plenty of industry buzz about your new CloudPower installation amplifiers. What made you decide to bring a new product into that part of the market?

Paul: We’ve been developing our expertise in Class-D amplifiers for quite some time, but the real catalyst was bringing Nand Eeckhout into the R&D team. Nand is a true amplification genius; he started his career at Phillips Semiconductor and worked for another leading Class-D amplifier brand, learning from the best in the field. The development of CloudPower was led by Nand and our R&D Director, Hendrik-Jan Gielis. Hendrik has a unique gift for user interfaces and for approaching familiar products in completely new ways. Put those two together and you get something very special. Let’s face it, there are plenty of four channel installation amplifiers out there, so to make your mark you need to do something genuinely different and exciting. We showed the initial concept at ISE in February and received a lot of enthusiastic feedback, as well as some great suggestions that made the finished product even better.

CloudPower amplifiers are among the first to allow control over the cloud. What is this going to mean for the customer?

Paul: Well, for integrators it’s going to mean fewer callouts and less hassle. There’s also the option for them to offer value-added remote monitoring services to give their clients peace of mind. I have to say that the team has done a fantastic job with the IntelliCloud remote-control WebUI. It’s all browser based, so there’s no bloatware to download and it works beautifully on any device, letting you check on the amplifiers anytime, anywhere. There’s a lot more to CloudPower than the remote-control capability though. That’s partly down to the decision to build it on a Linux processor rather than a standard microprocessor, which gives us masses of power and flexibility to think beyond what the traditional amplifier can do. Perhaps the most striking example is the internal audio source, which lets you stream audio direct to the amplifier from your device.

There’s plenty of headroom for future development, too. CloudPower is also a highly efficient design. When they’re in idle mode, CP354 and CP704 consume less than half the power you’d expect from most traditional Class-D products.

The marketing for CloudPower talks about GlidePath architecture. What do you mean by that?

Paul: In typical Class-D amplifiers you’ll find that the amplifier and DSP circuits are separate. GlidePath integrates the two, resulting in very significant improvements in audio quality. We’ve tested CloudPower head-to-head with the industry standard products and we can clearly measure and demonstrate the difference. We have a white paper you can download to see the measurements. But we’re not just talking about a theoretical advantage that you can only perceive in the lab – you can clearly hear the difference, even at low levels. We’ve invited some of the best ears in the industry to listen to the product, as well as people who know nothing about audio, and they can all appreciate the benefits. We actually got really curious about exactly why we were seeing such strong results, and a lot of the answer comes down to cone excursion: the effect that the amplifier is having on the behaviour of the loudspeakers. Without getting too technical, we achieve a higher output under a short initial impulse and the cone stops moving much sooner after the signal stops.

So there’s less distortion, the low end is tighter, there’s tremendous clarity in the low-mids and the audio seems louder than it really is, meaning you can keep levels down and consume less power. Plus your loudspeakers are going to last longer because they’re experiencing less unnecessary mechanical wear.

2020 has been a year that many of us would rather forget. What is APEX looking forward to in 2021?

Paul: Without giving away too much, the R&D team is hard at work on some exciting new installation and AV products that will build on the success we’re enjoying with CloudPower. Plus you’ll see more CloudPower models added to the range. In the meantime, we’re focussing on developing and strengthening our global distribution network to make sure our customers have a great experience with CloudPower. We’re also continuing to identify and develop new market segments where our LIVIAU all-in-one audio, video and lighting system can really help to simplify the user experience. If that’s not enough to keep us busy, we’re also talking to a number of speaker brands about our OEM amplifier solutions. www.apex-audio.be

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