MONDO-DR 31.5

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RETAIL & LEISURE

MIXING CONSOLES

J ULY / AG US T 20 21 | 3 1 . 5

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THE IN TE R N ATION AL PUB LICATION FOR TE CH N OLO GY I N E N T ER T AI N ME N T

K3

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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

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Fog is our passion!

MONDO-DR 31.5 JULY / AUGUST 2021 ON THE COVER Sunac Guangzhou Grand Theatre Image: Steven Chilton Architects EDITOR Sam Hughes s.hughes@mondiale.co.uk

Cobra 3.1

ASSISTANT EDITOR Emma Davidson e.davidson@mondiale.co.uk DIGITAL CONTENT MANAGER James Robertson j.robertson@mondiale.co.uk SALES DIRECTOR Jamie Dixon j.dixon@mondiale.co.uk SENIOR ACCOUNT MANAGER Laura Iles l.iles@mondiale.co.uk DESIGN & PRODUCTION Mel Capper, Dan Seaton CEO Justin Gawne j.gawne@mondiale.co.uk 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 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 Mondo DR (ISSN 1476 4067) is published in January, March, May, July, September, November and December by Mondiale Publishing Ltd, Strawberry Studios, Watson Square, Stockport, SK1 3AZ, UK Subscription records are maintained at Mondiale Publishing Ltd, Strawberry Studios, Watson Square, Stockport, SK1 3AZ, UK

F R O M TH E EDI TO R...

We were delighted with the response to this year’s MONDODR Awards. Although it had to be an online-only event once again (hopefully for the last time), we were blown away by the standard of venues entered.

Now, more than ever before, we need to recognise the talent in the industry - and we’re delighted to provide a platform that does just that. A huge thank you to everyone that entered a project and joined us for the live event or watched on demand. A special mention to our judges, too, who had an incredibly difficult job!

And, finally, congratulations to the winners across the 12 categories - well deserved!

In this issue, we’ve covered a whole range of spectacular venues and projects - there’s our cover story on Sunac Guangzhou Grand Theatre in China, three restaurants in Mexico kitted out with new Funktion-One audio systems, St. Michael’s Cave over in Gibraltar and the newlyrevamped Stockton Globe.

We’ve also taken a closer look at the technology that’s driving retail and leisure venues in our report.

There’s also an Inside View on EM Acoustics, as well as a profile on Schnick-Schnack-Systems.

Don’t forget to check out the latest Mixing Consoles in our Product Guide, too.

We hope you enjoy the issue...

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

SAM HUGHES EDITOR

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IN THIS ISSUE. . .

10

EXPO DIARY

10

INSIDE VIEW EM Acoustics

IN DEPTH 18 ROUND-UP

MONDO-DR Awards 2021 - Winners 28

REPORT Retail & Leisure

IN FOCUS 42 BORGO DEI CONTI RESORT Perugia 44 STOCKTON GLOBE Stockton-on-Tees ST. MICHAEL’S CAVE 52 Gibraltar 58 STUDIO 9 Massachusetts 60

HARRY’S, ILIOS & BAGATELLE Cancún & Tulum

68 KAOHSIUNG MUSIC CENTER Kaohsiung 70 SUNAC GUANGZHOU GRAND THEATRE Guangzhou

IN BUSINESS 80

IN DETAIL NEXO, Amadeus, Analog Way

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PRODUCT DIRECTORY

87 PRODUCT GUIDE

Mixing Consoles

94 IN PROFILE Schnick-Schnack-Systems

CONT E NT S | WWW. M O NDO DR. C O M

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SEPTEMBER SEP 5-7

SEP

16-18

PLASA SHOW LONDON, UK www.plasashow.com

PROLIGHT+SOUND NAMM MOSCOW, RUSSIA prolight-sound-namm-russia.ru.messefrankfurt.com

NOVE M B ER NOV 15-21

NOV 17-19

NOV

23-24

LDI 2021 LAS VEGAS, USA ldishow.com

INTERBEE TOKYO, JAPAN www.inter-bee.com

JTSE 2021 PARIS, FRANCE www.jtse.fr

E XP O D I A R Y

JANU ARY JAN

17-19

JAN

20-23

CUE2022 ROTTERDAM, THE NETHERLANDS www.cue.nl

NAMM SHOW ANAHEIM, USA www.namm.org

D ECEM BER DEC 3-6

IBC AMSTERDAM, THE NETHERLANDS www.ibc.org

F E BR U A R Y FEB 1-4

FEB

25-28

ISE 2022 BARCELONA, SPAIN www.iseurope.org

PROLIGHT+SOUND GUANGZHOU GUANGZHOU, CHINA prolight-sound-guangzhou.hk.messefrankfurt.com

E M ACOUS TI C S Mike W h e e l e r , O pe r a t i o n s Dire c tor E d K inse l l a , T e c h n i c a l D i re c tor

How did EM Acoustics begin?

MW: Ed and I have been friends since we met at school in mid1996. A shared interest in both tech and music (Ed’s a talented piano player, I’m a mediocre drummer) built a solid friendship, and despite four years at different universities (St John’s College, Cambridge for Ed, and Imperial College London for me) the idea of going into business together crystallised. EM Acoustics was officially born in 2002.

What did you hope to bring to the world?

MW: EM started out with a desire to significantly improve the performance of passive boxes. We felt at the time that the trend was towards shortcuts in passive technology, which were then compensated by DSP, resulting in a more complicated and expensive solution than needed. Our aim has always been to produce excellent solutions that rely on science rather than marketing.

EK: To put science at the service of the arts. Physics is a great leveller; regardless of your field, budget or determination, they are the same for everyone. However, whilst essential to loudspeaker design, physics cannot describe what sounds subjectively pleasurable, which is really the whole point of a loudspeaker system. In the end, any mathematics and computer analysis must be secondary to Duke Ellington’s maxim, ‘If it sounds good, it is good.’

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What is EM Acoustics’ philosophy when it comes to loudspeaker design? And what do you feel sets you apart?

MW: We don’t make stuff up!? Seriously, Ed being a highly educated and talented scientist and engineer means everything is firmly rooted in reality. We take a fairly traditional approach - ultimately loudspeaker design is all about moving air and making sure as much as possible that what goes in is what comes out, only louder. In other words, we aim to remain as true to the original source as possible. DSP has its place but is used as the icing on the cake rather than the starting point.

EK: We like to keep an open mind about the technologies we use. For example, passive crossovers are often seen as a crude convenience, but we believe they can give a range a unified sonic signature. They can also work hand in glove with more modern technologies like FIR processing, to produce something unique like the R10. Ultimately, loudspeakers convert electrical to mechanical, to acoustical energy - as such material science plays a big role in speaker development, so we keep an eye on what new materials from other sectors could be gainfully employed.

Was there a product that was a turning point for you?

MW: HALO-C - it was an entirely new approach to a smallformat line array system, and everything from the internal circuitry design concepts to product construction techniques influenced how we designed and developed our products going forwards. The fact that it was then specified as the house system at The Royal Albert Hall was also an enormous boost for us.

HALO-B and R10 took things to the next level; indeed, the reaction from our customers to these two products was so strong and positive, it prompted an entire cosmetic and physical rethink of every single product we make. The results have really elevated our product offering far above its competition on every level.

“ W e h ave a g ood strin g of pr od u cts in th e pipe line , taking n ew con cepts th a t we introduc e d pr e-pan d emic into f ruition in dif f e ren t pr od u cts, a long with ide as f or other mar k et se c tors th at we wa nt to ex pan d on pa rtic ula rly g e tting the EM A cou stics name more re c og nised in both the nig h tc lub and live mu sic sector s. ”

www.emacoustics.co.uk

What are your favourite types of project to work on?

EK: Anything where the client/artists are passionate and enthusiastic. The size of the project is immaterial - passion is infectious and drives one find the best solutions possible, even in new ways.

Obviously, our industry is in strange and uncertain times at the moment – how has EM Acoustics weathered the storm?

MW: It’s been a very tough ride - like many, we’ve had to take a good hard look at our business and how it runs. When the factory was hibernating for a few weeks whilst suppliers were having issues, we used the time in R&D and also to get all those little loose ends sorted. I don’t feel at all sorry to see things getting back to the normal higher pressure though!

What are your plans for the future and how to you see the industry developing?

MW: We have a good string of products in the pipeline, taking new concepts that we introduced pre-pandemic into fruition in different products, along with ideas for other market sectors that we want to expand on - particularly getting the EM name more recognised in both the nightclub market and live music sectors.

As for the industry - it’s going to be cautious baby steps, I feel.

I think rental companies will want to see more value from their investments in future, which will most likely translate as a desire for kit to have a longer lifespan and not need replacing before the finance is paid off.

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H ALO -A The system that takes HALO-C design values into arena-sized venues, HALO-A features a unique HF assembly that provides twice the headroom of comparable systems. This means that HALO-A runs at 3dB less distortion at high SPL. Applications include medium to large format touring, fixed installation, houses of worship and large format corporate AV events.

Image: The Proms in the Castle at Pontefract Castle.

H ALO -B The third system in the HALO line array series, HALO-B is a medium format 110° horizontal dispersion line array for indoor and outdoor live sound reinforcement and fixed installations. EM Acoustics say it’s ‘arguably the best product we’ve ever made.’

Image: Marines on the Green memorial concert.

R10 Drawing on the DNA of the HALO Series and born of a strong theatre tradition, R10 is the first of a range of low profile, ultra-high quality full range point source loudspeakers possessing extraordinarily flat frequency and phase responses. It is supplied with two easily interchangeable rotating waveguides for maximum flexibility.

Image: Ghost Stories at Lyric Hammersmith.

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Pub_Starway_236x333_0721.qxp_Mise en page 1 01/07/2021 11:19 Page1

FULL LED

THE NEW GENERATION OF DIGITAL FULL LED PROJECTORS

APERTA

LUSSO

DINO

APERTA revolutionizes the LED Beam: opening angle of 2.65°, 60,000 lux at 5 m, 13 kg for a height of 47 cm, infinite Pan / Tilt, ArtNet and KlingNet compatible, progressive frost, 14 fixed gobos, 2 stackable prisms including a rotating and indexable 6-facet linear prism, as well as an 8-facet rotating and indexable circular prism.

LUSSO sublimates the LED spotlight: a 320 W white LED providing an exceptional illumination of 34,900 lux (8° at 5 m). It has a zoom range of 8 to 40° supported by a CMY trichromy, 7 color filters + UV, 3200° K, 5600° K, 6500° K correctors. LUSSO has also 10 fixed gobos, 8 rotating gobos, a progressive frost, an iris and 2 stackable prisms, for only 20 kg.

DINO reinvents the LED Spot: 8,000 lumens, 11.5 kg for a height of 47 cm, linear zoom of 10 to 25°, wheel of 8 colors, wheel of 6 rotating and indexable gobos, wheel of 6 fixed gobos, 5-facet linear prism and 6-facet circular prism, frost.

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IN DEP T H

18 ROUND-UP

MONDO-DR Awards 2021 - Winners 28 REPORT

Retail & Leisure

IN DE P T H | WWW. M O NDO DR. C O M

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MOND O-D R A WAR D S 2 0 2 1 - R O UND- UP CATEGORY – ARENA PROJECT – WWE THUNDERDOME With live sports and entertainment events coming to a halt all over the world due to Covid-19, WWE brought fans back into the live arena - virtually - with WWE ThunderDome. WWE ThunderDome is a first-of-its-kind large-scale interactive live platform which audiences had never seen or experienced before. Fans were not only able to see the action, they were able to experience it, becoming a part of the show and interacting live with WWE’s Superstars - as if they were there in person.

WWE ThunderDome features a state-of-the-art set, video boards, pyrotechnics, lasers, cutting-edge graphics and drone cameras to provide viewers with a reimagined live event spectacle. Featuring Virtual Seat technology - an ultra-lowlatency, cloud-based, interactive audio and video streaming platform that brought thousands of fans back into the WWE arena in real time, at the same time - WWE ThunderDome delivered WWE’s live arena experiences to fans during the COVID-19 pandemic from the comfort of their home.

Through Virtual Seat, an immersive real-time, multi-user streaming platform developed by WWE and their technology partner, The Famous Group, thousands of fans were brought back into the arena.

CATEGORY – BAR PROJECT – WATSON’S BAR For over 40 years, Genelec active loudspeakers have been chosen for some of the world’s most prestigious installations through their combination of sonic purity, adaptability, ease of installation and bulletproof durability.

Designed, built and individually calibrated at its factory in Iisalmi, Finland, every Genelec loudspeaker is manufactured to the highest environmental standards, representing reliable, long-lasting investments that will provide decades of flawless performance.

As part of Stockholm’s Hotel Rival, co-owned by ABBA’s Benny Andersson, Watson’s Bar employs Genelec 4000 series loudspeakers to achieve a blend of sound quality, tonal balance and high reliability – with the ability to deliver a high quality, relaxed music experience during the day, as well as high-energy DJ sessions for the evening crowd.

“We’d like to thank the MONDO-DR Awards judging panel for choosing Watson’s Bar as winner this year,” commented Howard Jones of Genelec. “We’d also like to salute the team at Adolfsson and Partners who designed the space at the bar, the guys at Hages who did the AV integration, and, of course, everyone at Hotel Rival for providing such a great showcase for our loudspeakers.”

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CATEGORY – CONCERT HALL PROJECT – VIENNA VOLKSOPER Founded in 2002, KV2 Audio is a vibrant company with a passion for building high quality pro audio products. Built on the vision of modern audio pioneer, George Krampera, who has been building audio equipment for nearly 50 years, millions of people have experienced sound produced from equipment he has designed. Throughout his long and successful career, George’s vision has remained unchanged; to eliminate distortion and loss of information in the signal path, thus providing sound reproduction that has true dynamic range and real representation of the original source.

The Vienna Volksoper project is a great example of the versatility of KV2 Audio systems - Volksoper Sound Director, Martin Lukesch, spent a long time looking for the right system, but once he’d discovered KV2 there was no going back. He loved the sound quality and the fact that there was a wide choice of sizes and formats, so he was sure to find exactly what he needed. The one thing he was missing was efficient control and monitoring, which was the ideal incentive for KV2 to develop its new Control & Diagnostics tool. Vienna Volksoper was the company’s pilot project and it’s pleased to report that it works like a dream and is now part of its catalogue.

CATEGORY – HOUSE OF WORSHIP PROJECT – ARCTIC CHURCH Alcons Audio is a Dutch company, active in the development and manufacturing of professional sound systems for qualityconscious clients in the cinema, installation and touring industry.

The R&D department of Alcons Audio features a unique combination of extensive know how in transducer, acoustic and system design, as well as DSP and amplifier technology. One of the ‘ear-catching’ developments is Alcons’ multiple-patented pro-ribbon transducer technology for HiFi sound quality at concert SPLs. All Alcons sound systems are developed and manufactured inhouse using traditional craftsmanship combined with the latest technologies, materials and production processes.

“We’re delighted to be awarded as the winner of the 2021 MONDO-DR Awards in the House of Worship category,” said Alcons Audio.

“A big thank you to MONDO-DR and the jury for awarding us the category win, especially since this is our first time entering and being nominated. We also want to thank the installer, Lydproduksjon from Tromsø Norway, and Daniel Lilleeng for the stellar images.

“It’s great to see the The Arctic Cathedral / Ishavskatedralen getting the award. This success is in line with the sustained growth we are experiencing around the globe with our proribbon sound systems in a wider range of applications.”

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CATEGORY – MULTIPURPOSE VENUE PROJECT – ALEZZI YACHT AudioVision provides complete solutions and professional audio equipment, lights and special effects that add value to any type of location or application. It represents in its territory various renowned brands in the industry. For more than 20 years, the vision of the company’s clients has been transformed into reality with the help of its technical solutions and professional equipment. The three pillars of our business are dedication, professionalism and readiness.

“We are thrilled to win first place in the Multipurpose Venue category of MONDO-DR Awards with the project, Alezzi Yacht.

Alezzi Yacht is designed as a way to escape from everyday life.

Our objective with this project was to enhance the experience with professional sound and lighting equipment, special effects and LED screens to create the experience of a festival on a yacht,” commented AudioVision. Each deck had its specific acoustic needs, and our technical solution aimed at the optimal adaptation to each space and multi-zone sound management.

With the help of professional KV2 Audio loudspeakers, clear and powerful sound is present on every deck. We managed to create a complete seaside festival sensation with the help of intelligent lights from ProLights and special effects from Magic Effects that enhance the fun and create a unique experience. The LED screens installed on board Alezzi Yacht enhance the experience both as design elements and part of entertainment sessions.”

CATEGORY – NIGHTCLUB PROJECT – E11EVEN E11EVEN, Miami, named in the top 10 ‘100 best clubs in the world’ by International Nightlife association, partnered with DAS Audio, the leading sound manufacturer based in Spain, to launch a new sound system under the moniker E11EVEN SOUND by DAS Audio. Evolved to change the way we experience music, this high-quality sound system is clear, powerful and reliable.

Working on a club like E11EVEN Miami is the dream of any sound or lighting engineer. Dennis DeGori, Owner and Creator of E11EVEN, together with his partners, are 100% focussed on delivering an incredible experience and their only constant is to go beyond. They start by isolating each element of the experience, visual and sonic, to maximise the outcome, and then meld everything in to a unique sensorial feast.

The ultimate challenge at E11EVEN was to install and configure the system in a club that is open 24/7 a week, 52 weeks a year. It demanded excellence from all involved, as well as the keys to the success of any project; efficiency, hard work and commitment. What idesign has been able to deliver as the project designers, programmers and integrator has been nothing less than superb.

“Overall, we are incredibly satisfied with the outcome and very proud to be recognised by the industry. This MONDO-DR Award is very important to us as it is the beginning of a new and very exciting path.”

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CATEGORY – PARKS & ATTRACTIONS PROJECT – BASSINS DE LUMIÈRES

Created in 2010, Modulo Pi offers a new generation of media servers developed in contact with creatives, producers and technicians from around the world. Relying on the 20+ years experience of its founder and CEO in media servers, Modulo Pi helps create stunning visual experiences through a two-systems offer, Modulo Player and Modulo Kinetic.

Designed to meet the needs of any type of project, no matter the size or technical requirements, Modulo Pi’s innovative and reliable systems have powered hundreds of productions in varied applications, including corporate events, theme parks, museums, and touring.

“We’re thrilled to have won this award with the Bassins de Lumières project,” said Yannick Kohn, founder and CEO of Modulo Pi. “Culturespaces Digital has selected our Modulo Kinetic media server for all their digital art centres for three years now. The Bassins de Lumières is probably the most spectacular achievement to date due to the project’s scale and unusual environment, the venue being a former WWII submarine base. That is a great honor to see our media server technology contribute to such a unique and highly acclaimed immersive art experience. New outstanding projects are around the corner, including Infinity des Lumières opening end of June in Dubai, UAE.”

CATEGORY – PERFORMANCE VENUE PROJECT – GUILDHALL SCHOOL OF MUSIC AND DRAMA NewTek, part of the Vizrt Group, is the leader in IP video technology that gives every storyteller a voice through video.

NewTek sells exclusively through hundreds of resellers around the world to bring its innovative solutions to market. NewTek products are natively IP-centric via NDI and empower customers to grow their audiences, brands, and businesses faster than ever before. Clients include; The Supreme Court of the United Kingdom, New York Giants, NBA Development League, NHL, Nickelodeon, CBS Radio, ESPN Radio, Fox Sports, MTV, the National Aeronautics and Space Administration (NASA), Pinsent Masons LLP, and more than 80% of the U.S. Fortune 100.

“We are extremely proud to not only have been nominated for such a prestigious award, but then to finally win in this category is very exciting for all at NewTek. This year’s MONDO-DR Awards were littered with great projects and with vendors of the highest calibre. For NewTek to come out on top is something we do not take for granted and we are very grateful to have been recognised in this way. We look forward to using this as a springboard to engage and deliver NewTek solutions with more customers in the future.”

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CATEGORY – RESTAURANT PROJECT – THE SOUL OF MEXICO At Digital Projection, we’re committed to going the extra mile for imaging pioneers prepared to push the boundaries of visual experience. We relish helping you - the creative directors, system integrators and dreamers behind the world’s most exciting visual experiences - challenge the status quo. We also take great satisfaction in seeing your projects through to completion. That means we’ll be there from beginning to end, offering friendly advice to help you select the right projectors, as well as responsive technical support should you need it further down the line.

“Digital Projection are delighted to be featured in an awardwinning installation. It is the creativity of our partners, in this case, Pulse Middle East, who bring venues like this to life with its projectors and all the credit lies with them.

“The MONDO-DR Awards showcase some of the best installations from across the globe, so it is fantastic to be recognised amongst the best in class for the year.”

CATEGORY – RETAIL & LESURE PROJECT – 1REBEL CHAUVET Professional is the thoughtful, forward-looking choice for lighting designers, offering a carefully focussed selection of products that open new design possibilities and make it easier to complete quality lighting projects for the production and touring market, as well as permanent installations. Our products can be found in a wide variation of applications, such as concerts, stage and event productions, touring, theatres, hospitality venues, cruise ships, clubs, houses of worship, television and architainment.

“We’re extremely proud to have been a part of this breathtaking project. We want to thank the team at Middlesex Sound & Lighting, whose creativity and design were instrumental in making it come to fruition. They were asked to do a difficult job, but did it spectacularly well. Because of COVID-19 restrictions, Middlesex Sound & Lighting were unable to travel to the venue, designed everything from the UK, and worked with local teams on site for the installation of a technically-challenging project.

Their problem-solving skills and product knowledge are what made the project a success, and the end result redefines the fitness experience.”

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CATEGORY – STADIUM PROJECT – SOFI STADIUM SoFi Stadium, the new home of the Los Angeles Rams and Los Angeles Chargers, is located at Hollywood Park, a near 300-acre sports and entertainment destination being developed by Los Angeles Rams Owner/Chairman E. Stanley Kroenke in Inglewood, California. The 3.1 million sq ft SoFi Stadium is the largest stadium in the NFL, as well as the first indoor-outdoor stadium.

It seats approximately 70,000, expandable up to 100,000, with more than 260 luxury suites and more than 13,000 premium seats. SoFi Stadium has already secured Super Bowl LVI in 2022, the College Football National Championship Game in 2023, and the Opening and Closing Ceremonies of the Olympic Games in 2028. Adjacent to the stadium and sitting under the same roof canopy is the 2.5-acre American Airlines Plaza and the 6,000-seat YouTube Theater.

“We are honoured to be recognised by an internationally renowned publication such as MONDO-DR, and even more so to receive its 2021 Stadium Award. As the centerpiece of Hollywood Park, a near 300-acre global sports and entertainment destination being developed by Los Angeles Rams Owner/Chairman, E. Stanley Kroenke, SoFi Stadium was designed with a focus on an extraordinary fan experience. We look forward to hosting a global audience when we welcome Super Bowl LVI in 2022, College Football National Championship Game in 2023, WrestleMania 39 in 2023, and the Opening and Closing Ceremonies of the Olympic Games in 2028.”

CATEGORY – THEATRE PROJECT – SUNAC GUANGZHOU GRAND THEATRE DRAMA Auerbach Pollock Friedlander (APF) is a globally recognised theatre design and audio-video consulting firm with an extensive portfolio of award-winning projects. The firm’s holistic approach to design provides leadership and guidance to a wide range of projects including performing arts centres, educational facilities, opera houses, professional repertory theatres, concert halls, museums and planetariums, as well as popular entertainment venues in theme parks, casinos, cruise ships and nightclubs.

“We are honoured to be recognised by MONDO-DR Magazine with the 2021 Award for Theatre for our work on the Sunac Guangzhou Grand Theatre,” said Rob Hill, Principal at APF. “We appreciate unique opportunities to work on extraordinary projects with forward-thinking clients and design teams.

Working with Steven Chilton Architects, STO Design Group and the Beijing Institute for Architectural Design, led by Sunac Real Estate Group, was exceptional. The many unique technical demands for the theatre required close collaboration among the entire design team. The MONDO-DR Award acknowledges the success of that effort and its impact on the quality and remarkable flexibility of the venue. The Auerbach Pollock Friedlander team worked rigorously in partnership with user group and vendors to assure the design excellence of the room and its systems.”

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Pieces of Heaven #LEDmadeinGermany #LEDplayedinBerlin

stay connected schnick.schnack.systems /SchnickSchnackSystems @schnick.schnack.systems

Studio 14 is open. rbb rearranged their studio in the 14th floor of the rbb-Fernsehzentrum in the city center of Berlin, Germany. Intended to be a studio as well as a club, a restaurant, an eventlocation and a large scale meeting room, the Studio 14 invites people to be closer to heaven.

Depending on the purpose of the room furniture and the lighting can be changed between fun and functional.

Our rgbw-tiles D50 are used in clusters to lighten the room with an outstanding lightquality and to connect the ceiling to the sky.

Photo by KOY + WINKEL Fotografie

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RE TA I L & L EI S U RE MO N DO - D R t a k e s a t l o o k a t t he s ta te-o f - t h e - a r t t e c h n o l o g y us e d i n r e t a i l a n d l e i sure ven u e s a c r o s s t h e w o rld.

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L E D i n Retai l COMPANY: ABSEN

Retailers across the globe have seen rapid change over the past year. With the industry facing unprecedented challenges, there has been an explosion of technological innovation within stores. The importance of an immersive retail experience that brings something new and fresh to customers the moment they walk in the door has become vital to make in-store shopping more appealing than online shopping convenience. Creating an experience that can trump the popularity of online shopping is something which LED is fast becoming the go-to tool for.

Global LED manufacturer Absen has witnessed how retailers in China are already utilising LED to create unforgettable retail experiences, where the online and offline stores are combined. With the launch of apps like WeChat, Chinese retailers can create a truly omnichannel strategy for retail, combining both online shopping trends with that of its physical stores. Chinese retailers are intertwining purposeful LED driven by creative and innovative content, which creates highly effective results.

China is leading the charge in immersive LED experiences, and it’s a trend beginning to be adopted in Europe.

With the lack of one universal app like WeChat in the West, there are limitations to how European stores can utilise technology, since very few individuals are interested in downloading an app for every store they visit.

The solution is fast becoming retail experience centres, or flagship stores, where technology, like analytics and LED, is utilised to create a responsive, fresh retail experience for customers. An experience that is completely irreplaceable by online retailers, that is driven by creative content and ideas that innovate the space to be interactive, multipurpose and omnichannel. These experience centres are becoming the future of retail.

LED has the capability to open up the possibilities of advertising for retailers and interactivity for customers.

Traditional lightboxes are limited in their capabilities, and require shipping, printing and someone to change the display. Lightboxes can become an expenditure which presents products that can quickly become irrelevant, especially for those retailers where change is constant.

LED, in comparison, has the capacity to change its display at a moment’s notice. Adverts can be tailored to weather or region, right down to individual stores, and with the support of in-store analytics to track where people go, LED can fully utilise the space that retailers have.

Absen has been at the forefront of this technological innovation within retail. Over the past few years, the

company has revitalised a variety of retail spaces and introduced new technologies to give retailers the tools they need to create unique retail experiences.

When it comes to revolutionising a retail space to create innovative, appealing experiences, the right tools are vital, but the right tools only work with the right content.

Installing LED without a real idea of content often leads to failure. The best LED projects are those that begin with a vision of the final result, those that have a purpose right from the beginning. Content is vital.

In 2019, Istanbul Airport, Turkey, installed over 1,000 sq metres of Absen LED. The project included a 300m-long curved LED façade that follows the walkway through the duty-free area, as well as two 120 sq metre ceilingmounted video screens on either end of the terminal.

From the beginning, the LED project was driven by a purpose: to create a visually striking experience for passengers and advertisers, and to make the retail sector of the airport something unforgettable and enjoyable. This result has been achieved; the attractive shopfronts have been installed for over two years now, and have drawn the eyes of many passengers, creating a truly immersive retail experience.

Absen has recently launched its VR booth, available to anyone online, which explores the many applications of LED in retail. From selfie areas, which create a space for friends and family to try out products with different backgrounds, to shop windows, which can now be used for retail advertisement beyond the limitations of mannequins thanks to Absen’s new Jade Dragon Series, Absen’s VR booth inspires creative innovation in the face of retail’s biggest challenges to date.

In the unique position as a manufacturer, Absen has witnessed how immersive LED is fast becoming the most vital tool available to in-store retailers in attracting customers and increasing brand awareness. The company has designed a variety of products to suit these needs, and is continually challenging retailers to innovate, create and adapt. By creating an experience for customers in store, retailers are ensuring their stores are fun and engaging, and, with a plan that continues to utilise the product in the long term, will remain that way.

Experts in creating immersive spaces in retail, Absen has worked over the past 20 years to continue its relentless innovation, designing new products for retailers, including the new Jade Dragon Series and the N+ Series. www.absen.com

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West f iel d St rat fo rd C ity COMPANY: OPTOCORE / BROAMAN LOCATION: STRATFORD, UK

With over 330 shops, 50 restaurants and an 11-screen cinema, Westfield Stratford City has long been the largest shopping mall in Europe, while its sister, Westfield London, is Europe’s largest inner-city shopping mall.

Back in 2018, Westfield London added a £600m extension, and prepandemic, was hosting more than 300 events a year. This included concerts for up to 4,000 people, relayed to giant retail screens and multiplex cinema.

Building a network infrastructure to carry the myriad communication signals and IP addresses over fibre across the 2.6 million ft of real estate (measuring 1km end-to-end) became a progressive process once owners, Unibail-Rodamco-Westfield (URW), in conjunction with audio consultants HD Pro Audio, adopted Optocore’s BroaMan routing matrix system.

The Westfield Events team became aware of Optocore products as far back as 2011, during the planning of Westfield Stratford City, but it was not until 2015 that it was decided the BroaMan system would be an ideal solution for video and audio distribution. The original systems were extended at the time by Senior Technical Manager, Ben Davies.

A split inventory of seven remote BroaMan racks could be transported and plugged into any public or back of house spaces, while the outdoor event space, Westfield Square, was specified with a grid of 37 floor traps for an easy plug-and-play solution. This provided a more elegant solution than building huge networks of temporary copper cables.

As the event infrastructure grew, and with IP connectivity becoming more prevalent, HD Pro Audio’s Andy Huffer successfully made the case for fibre, knowing it would cut down the cumbersome business of patching. “They needed long-distance audio feeds with a routing matrix

Zür ic h M a i n Statio n COMPANY: Datapath LOCATION: Zurich, Switzerland

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because the point-to-point feeds were time consuming and fraught with problems. They were interested in Optocore but I knew BroaMan would take the platform a lot further.”

A BroaMan Route66 40x40 with hot-swappable, bi-directional SFPs, accompanied by external WDM frame, was proposed initially for Westfield London, and this was copied for Westfield Stratford City.

Both the Shepherds Bush and Stratford racks are identically configured, with a Route66 Optocore AutoRouter, Route66 40x40 Video Router and WDM Frame; three Mux22-IVT/IVT 8 SDI-In/8 SDI Out and three X6R-TP 8MI/8LO. Each system has the Route66 central matrix with a single Mux22 and X6R in the control room, with the remaining Mux22 and X6R combinations in remote racks.

The systems were installed in-house by the URW Events technical team, with specialist wiring completed by David Tyler of Tower Communications.

The second phase at Westfield London increases the indoor space by a third, and adds the outdoor pedestrianised Westfield Square, with HD Pro Audio providing a further Route66, Optocore AutoRouter and Route66 40x40 Video Router with WDM Frame, as well as five MUX22 8 SDI-In/8 SDI-Out, and five X6R-TP 8MI/8LO. URW thus became the first adopters of the Route66 40x40 layout, which worked smoothly straight ‘out of the box’.

“Optocore and its BroaMan system is now central to the behind-thescenes technical delivery of events,” concluded Ben. “With so many SDI signals, audio signals and IP streams I don’t think we realised just how great the benefits of BroaMan would be.” www.broadcastmanufactur.com

Conveniently located on the ground floor of the main concourse of Zürich Main Station between the restaurant, Brasserie Federal, and the Migrolino store, the Zurich Tourist Information Centre provides all kinds of useful information for any visitor to the city. Datapath’s trusted Fx4 was the go-to solution for digital signage, which engages and informs customers, as well as showcasing the area’s many attractions.

Zurich Tourism needed to announce key messaging and essential information in an attractive, clear and visible way to visitors who arrive at a busy rail station seeking advice. Once inside the information centre, customers often want to find out key information quickly and easily or may just be looking for ideas of places to visit during their stay.

Providing essential customer information, while also providing an eye-catching visual display of all that Zurich and Switzerland

has to offer, a 19x1 display has been installed to showcase the beauty of the region, alongside key messages for tourists. A horizontal display of the 19 screens curves above and along the length of the counter facing the concourse, easily visible to anyone wishing to view it.

A single Onelan media player has content managed using five Datapath Fx4 processors on the 55-inch Samsung displays.

Sven Matern, who oversaw Datapath’s involvement in the project, said: “We are proud to see this large display come to life in Zurich. With its large, dynamic presence, visitors to the station are now left in no doubt as to where they can access their tourist information. The large amount of essential information being displayed also helps to ease customer inquiries as well as show off the wealth of attractions and places of interest in the region.” www.datapath.co.uk

Glob e L ife F iel d COMPANY: DYNACORD LOCATION: TEXAS, USA

The flexibility of Dynacord electronics is at the heart of the audio system at Globe Life Field in Arlington, TX. As the new home of the Texas Rangers and venue for the 2020 MLB World Series, the ballpark has already received a lot of recognition in its short life, including for the high-quality sound reinforcement it provides for game days and a wide range of additional events.

AV systems integration for the project was undertaken by Diversified in collaboration with consultants WJHW. The integrator took on multiple aspects of the project, from the installed audiovisual around the concourses to the broadcast cabling, IPTV and the control room.

Focussing purely on the sound, the installation features loudspeakers, amplifiers and DSP from multiple manufacturers with different products selected due to the capabilities for a specific job.

This led to the challenge of ensuring each element from different brands was performing to its optimum level. The solution came from the flexibility of Dynacord to work well and communicate directly with third party manufacturers. Globe Life Field become one of the first venues to benefit from using validated third-party loudspeaker presets for Dynacord power amplifiers via SONICUE sound system software.

SONICUE has been designed to solve the real-world challenges of sound engineers. It offers integrated visibility and direct access to all system parameters in real time. It can also be used to design standalone, customised applications with functions and controls for PC and the TPC-1 touch panel controller. SONICUE also offers plugins for third party integration. This gives consultants, contractors and live sound companies the flexibility to use loudspeakers from multiple brands with a single, state-of-the-art power and control platform.

The key area where this has been used at Globe Life Field is with the main bowl. The solution covering the spectator seating areas features loudspeakers from four different brands which, thanks to SONICUE, can all be driven by Dynacord IPX Series amplifiers.

These multi-channel amplifiers for fixed installations are extremely powerful with a power density of up to 20 kW from a single amplifier with all channels driven. IPX series amplifiers are equipped with unique technologies for the highest audio quality, energy efficiency and system protection. These include Eco Rail, which can reduce power consumption by up to 50%. Ghost Power resolves the issue by overcoming reboot issues that could occur during a short-term power outage or a transition to a secondary power source, ensuring the amplifiers have sufficient power supply to maintain DSP through generator startup. IPX achieves this without the need for expensive UPS systems or non-network components.

A further unique aspect of the installation has seen Globe Life Field become the first location to use Dynacord’s new Q-SYS plugin for audio routing in SONICUE. With Q-SYS running as the main DSP for the stadium, this plugin allowed Diversified to create a full audio network that combined every element of the AV system throughout Globe Life Field via the Dante protocol and Q-SYS and further highlights the flexibility of the Dynacord amplifiers.

Away from the amplification, the stadium also features security cameras from Bosch, EVID series loudspeakers and RE20 announcer mics from Electro-Voice, and IP intercoms from RTS. While the pandemic means the stadium wasn’t able to welcome fans through the doors when it first opened, the work of Diversified and the flexible approach of Dynacord’s engineering means that everyone will be able to enjoy a premium experience with the Texas Rangers. www.dynacord.com

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Brow ns COMPANY: 2BHEARD LOCATION: LONDON, UK

Browns offers an unrivalled, tactile in-person experience that flies in the face of the current trend for instant online click-and-ship gratification.

Blending exceptional service with creativity and technology, the Browns ethos is personified in the recently opened Dimorestudio-designed flagship boutique at 39 Brook Street in the heart of London’s Mayfair.

Following extensive construction work which saw the Grade II* listed building renovated, a contract was awarded to South Hampstead-based AT&C Professional System Ltd to design and install a fully networked, high specification audio system throughout every room. “Given that we couldn’t install loudspeakers onto any of the walls or ceilings due to the building’s listed status, which also restricted the size and shape, that narrowed the field when it came to selecting a suitable loudspeaker supplier,” explained AT&C business development manager Alan Smith.

To accommodate the severe limitations on loudspeaker placement, a sophisticated technological solution was chosen designed to provide tightly controlled dispersion from minimally sized enclosures – a system from design-led Italian manufacturer, K-array. “We got in touch with K-array’s UK distributor 2B Heard and, aided by Director, Dave Wooster’s acoustic modelling, drew up a specification based around large numbers of Lyzard low profile line arrays.”

Working from the initial drawings supplied by the AT&C team, it became very clear that the acoustic design was going to need a solution, according to Dave, that was ‘way out of the box’. “The designers were adamant that minimal visual impact on any of the spaces would be required – and that brief very soon crystallised into ‘no impact’!

Based on positional drawings and initial acoustic predictions, Dave specified a selection of K-array loudspeakers that would fit the small physical spaces, from the Lyzard, Truffle and Rumble sub-compact ranges.

“While we able to demonstrate quite easily that the coverage and SPL would be exactly as required, the designers insisted that we integrate most of the loudspeakers into their railing structures, either forward facing or upward facing for reflection. Subwoofers were hidden into floor vents as again no visible speakers were permitted,” explained Dave.

The audio experience at Browns’ flagship London boutique is total.

Every one of the 26 individually Extron controlled zones, including the changing rooms, enjoys the same high level of sound quality from Browns’ own specially curated playlists, produced by the 22 Lyzard-

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KZ1 mini point source and 72 Lyzard-KZ14 ultra-miniature line array loudspeakers. These are supplemented by 17 Truffle-KTR24 compact subwoofers and 44 Rumble-KU44 compact subwoofers.

Distributing faultless audio to so many loudspeakers and to a labyrinth of discrete spaces simultaneously required a creative power amplification infrastructure, which was made possible by multichannel intelligent amplifiers from Innosonix, another of 2B Heard’s UK distributed brands. Offering the world’s highest channel density, two MA32/D 32 channel models with built-in Dante networking power the entire loudspeaker system.

“We could have used 10U of rack space…” said Alan, “but instead we needed only 4U of rack space to deliver 64 discrete channels, with each and every channel individually controlled by on-board DSP. This gave us an elegantly simple solution.”

Because of the building’s Grade II* status, all the showrooms are designed as self-contained shells, as nothing is allowed to touch the original structure. Some loudspeakers are recessed into the metal framework, while in the larger areas the KZ14 mini line arrays are mounted on custom brackets with a pre-determined angle and with only one fixing into the re-plastered ceiling.

“The KZ1s are so small, measuring only 3.7cm by 2.2cm, that we could easily fit them into shadow gaps around the building, particularly in the changing rooms where you really can’t see them,” said Alan. “Some of the subwoofers are either installed behind grilles, or are built into what look like heating plates installed into the ground. These are set back so they can’t be seen and radiate low frequencies effectively into the room.”

In the main event space, known as the Yellow Room, a pair of ThunderKMT18P 18-inch subwoofers lay down the low-end foundation for a formidable Kayman-KY102 portable line array system.

“The system sounds great. We stuck to the brief and the client is delighted with the end result. The small KZ14 line arrays gave us the ability to produce good coverage in very wide spaces, and that’s what made this project work – you just can’t use another brand.

“The client is really happy,” concluded Smith. “Nobody expected that we’d be able to produce audio of this quality without visible hardware, and they didn’t think the tiny K-array speakers could do the job.” www.2b-heard.co.uk

Helsi nk i Out let COMPANY: SCHNICK-SCHACK-SYSTEMS LOCATION: HELSINKI, FINLAND

LDC has designed Helsinki Outlet’s lighting concept and appearance, which Tapio Järvinen from Audico has translated into a technically feasible package. It consists of more than 550 custom-made lighting elements by Schnick-Schnack-Systems, which are facing the façade, while the RGB pixels are controlled individually by Pharos Architectural Controls.

Lighting Design Collective’s Jari Vuorinen said that Helsinki Outlet’s basic lighting is designed to guide the customer path and support the outlet’s

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logo theme: “The client wanted a tool for indirect communication and marketing. Helsinki Outlet did not want video screens or other traditional audiovisual communications, but we were asked if we would come up with something that would drive the same thing in a new way”.

The end result is a light art work called Moment Magnet.

“A project is more efficient and sensible when the Lighting Designer involves a technical partner in the design at an early stage. In this way, the installation and technical aspects are always kept in mind and the result is in accordance with the plan, and not just some kind of technically possible version of the artistic idea,” Tapio, who has a long history of collaboration with LDC, pointed out.

In general, the magic of Helsinki Outlet’s lighting is in the details, as Tapio concluded: “It’s not just steady light, but contrasts. Round wedges of light are projected to direct the gaze’s attention to beautiful things like plantings.” schnick.schnak.systems

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The Wave COMPANY: KRAFTWERK TECHNOLOGIES LOCATION: VIENNA, AUSTRIA

The Wave is a highly innovative 130 sq metre LED display in the shape of a wave that leads the cinema’s guests from the open entrance directly into the lobby. For this state-of-the-art installation, flexible, ultra-slim, energy efficient LED panels were used. They allow the full spectrum of convex and concave display solutions, designed to make seamless and smooth nature curves and extraordinary designs.

The slim and lightweight magnetic modules can be stuck to customised frames and fit any construction design. The 2,850 LED display elements offer a pixel pitch of 3.81, the highest resolution of flexible LED displays on the market.

With impressive dimensions of 4.75 x 27.45-metres and a weight of 4,550 kg in total, the display is mounted on 42 suspension points.

A total of six display control units are built into the equipment rack and also a KVM monitor is located in the equipment rack, on which the system can be accessed via a so-called X-Panel (user interface).

The installation is designed for fully automatic operation. Individual operation and settings can be made by trained personnel in the control room.

Today, the parameters for successful (brand) experiences are the creation of an ambience tailored to the target group, coupled with a high degree of flexibility and a wide range of possibilities for use.

Architecture as an identification space is gaining in importance worldwide. And this is exactly where Cineplexx wanted to pick up – the excitement and awakening of interest that leaves you wanting to see more.

With the goal of creating an extraordinary display area of international stature and thereby providing customers with a special overall experience, the biggest challenge was already given – to create an element that does not come off the shelf but to offer a customised LED solution in impressive dimensions of 27.45 x 4.75-metres.

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An important factor when realising a project of this scale is of course - safety. ‘The Wave’ is a hanging object which had to be mounted safely. Therefore, statics had to be calculated, the weight of the whole system had to be evaluated and in cooperation with Kraftwerk Living Technologies, the client had to provide correctly placed suspension points.

From a content point of view, the challenge of providing it in a very special format was definitely given: on the one hand unmistakable and unique, on the other hand fitting into Cineplexx brand communication.

Even more complex was the task of connecting the gigantic LED display area to the existing digital signage platform used in all Cineplexx cinemas. This was possible through the development of a completely new system.

Due to the special sized display area, custom content in form of templates had to be provided first, which was in Responsive Spaces’ responsibility. The space was of course not only intended as a nice looking eye catcher, but should also offer the possibility of integrating various content in 16:9 areas. The goal was to give Cineplexx’ editorial team the ability to provide “The Wave” for playback of trailers and digital posters without having to deviate from their usual workflows or even learn a new system.

Digital communication in shopping centres, retail areas and foyers is pretty much expected by visitors nowadays. Conventional display solutions no longer meet the high expectations of our society, and are in danger of losing out to the competition for attention.

“The Wave” is a flagship project in Austria. As an integrated part of the architecture, the aesthetic design, the seamless integration, communication, experience and entertainment are in the foreground.

It generates attention, amazement and memory in a unique and sustainable way.

Talking about sustainability: With every media technology solution, we strive to create an experience that is built to last a long time with the minimum of maintenance effort, as well as to use energy-efficient technology. The show control system is programmed to automatically run the LED wave and to turn everything off when the cinema is closed.

The brightness of the display reacts efficiently to adjust to the changing ambient light. To achieve optimised energy and to manage power consumption, even the content was designed to avoid using extremely bright colours like white.

It was important for Cineplexx to get an impressive digital area that would fit seamlessly into the overall brand image and would not require significant additional effort internally to continuously update the content. The result even exceeded the client’s expectations. www.kraftwerk.at

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Bla B la D uba i COMPANY: POWERSOFT LOCATION: DUBAI, UAE

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Bla Bla Dubai – which boasts 20 bars, two restaurants, and a beach club all in one venue - was created to offer a full day-to-night experience for visitors, all with breath-taking views of Bluewaters Island and Ain Dubai, the world’s largest observation wheel. Located at The Beach opposite JBR, Bla Bla Dubai is set to be at the forefront of the city’s bustling social scene, and as a result every area of the venue required an audio system to match - or even exceed - the region’s high standards.

Pulse Middle East was trusted with the job of integrating this system after Bla Bla Dubai’s management was impressed by Pulse’s extensive portfolio of work with other venues across the city including Nikki Beach Club, White Beach at Atlantis, LSB, Brass Monkey, and Wavehouse.

Pulse - one of the Middle East’s leading audiovisual companies specialising in system integration since being established in Dubai in 2010 - opted for a complex three-zone audio configuration driven by Powersoft amplifier platforms purchased from local distributor, ProLab. “I strongly recommended Powersoft to the client as it excelled compared to other brands during the tender process,” said the project’s Audio Design Consultant, Bengan Hovgard, who was key in the recommendation of Powersoft for this particular job. “Their products have myriad strengths, namely their system integration flexibility, intuitive power sharing and software features, and the availability of presets for many brands. They are also incredibly reliable, and the support is second to none.”

“In terms of the amplifiers, there aren’t many products on the market other than Powersoft that can handle this quantity of channels with ease,” said Audio Project Manager at Pulse Middle East, Jacopo Fois. “There were so many different zones and speakers, but with the ArmoníaPlus software it doesn’t matter where you’ve assigned your speakers, you can see them as individual objects and adjust them without a moment’s thought.”

With regional lockdowns still an issue that has necessitated that many workers stay at home, the ability to be able to work remotely on the Powersoft amplifier platforms was an advantage for Pulse in terms of time efficiency.

The raft of Powersoft products specified for Bla Bla Dubai were distributed between three distinct ‘AV rooms’. In the first, Pulse installed 13 T604’s, a Quattrocanali 2404 DSP+D, a Quattrocanali 1204 DSP+D, and a Duecanali 804 DSP+D, while the second room’s audio system required four T604’s, two Quattrocanali 2404 DSP+D, a Quattrocanali 1204 DSP+D, and a Duecanali 804 DSP+D. In the final room, Pulse deployed nine T604’s, two Quattrocanali 2404 DSP+D, and a T304 for stage monitoring.

Jacopo added: “Power sharing is a massive convenience on a project like this, from specifying the amplifiers themselves through to installing and configuring them. With a bit of help from the power sharing calculator and a simple spreadsheet, it’s very easy to calculate the required quantity of amplifiers en masse, saving a whole load of time. In addition to this, we can be sure that we’re not wasting any power on each of the amps, by balancing the load between the four channels and making sure each amplifier is handling an even load.”

Despite the three AV rooms being distributed throughout the venue in order to minimise cable lengths, some of the long runs could not be avoided. Thankfully, the Damping Control on the Powersoft units allowed Pulse’s engineers to compensate, keeping a consistent subwoofer response throughout the venue.

Pulse created a signal processing ‘super matrix’ for Bla Bla Dubai with three Symetrix Radius NX series processors (one in each AV room), which serve as the core of all the audio routing throughout the venue.

Although Covid-19 certainly had an effect on the installation, primarily by reducing the number of workers it was possible to have on-site, the team made sure appropriate safety measures were in place to reduce the risk of anyone contracting the virus. The in-house staff at Bla Bla received training from Pulse on the Symetrix control system, which is how the will be interacted with system on a day-to-day basis.

“Overall, they’re very happy with the audio installation, said Jacopo “Unfortunately, there hasn’t been much chance for a full-tilt shakedown of the venue due to the restrictions, so we’re really looking forward to seeing the venue in full operation with multiple bands and DJs and a full crowd. www.powersoft.com

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1R ebel COMPANY: MIDDLESEX SOUND &LIGHTING LOCATION: RIYADH, SAUDI ARABIA

Since its launch, 1Rebel has broken the mould when it comes to what a gym should look like. Described as a ‘high intensity, dual studio fitness concept,’ 1Rebel venues all look more like your average superclub, than the typical drab gyms and are an immersive entertainment venue.

Now, after the success throughout London, 1Rebel has entered the Middle East market for the first time, with the launch of two clubs – one for male clients and one for female – in Riyadh, Saudi Arabia. When it comes to its gym facilities, 1Rebel provides four different concepts for its members. There is Reshape, Ride, Rumble, and Reflex, with each of these concepts offers something completely different – and this had to be taken into consideration when it came to the technology throughout the venue, particularly as 1Rebel relies heavily on providing an immersive experience To help deliver the full 1Rebel experience, Middlesex Sound & Lighting (MSL) were enlisted to design, supply and install a full audio, visual and lighting system throughout the two new Saudi Arabia venues.

For Ride, it’s a long auditorium with stepped platforms, so it had to have a time-aligned system, with club-style levels.

We had to offer every rider the same experience wherever they were located within the space. “Reshape, with its weight workout and running machines needed goodquality distributed audio, Then, Rumble – higher output, intense, evenly- distributed audio was required. And, finally, the one-to-one training at Reflex needed distributed audio, too.”

Toby furthered: “Martin Audio was specified for all locations – this fell in line with most setups here in the UK. It offered a good, cost-effective solution with impressive audio quality.

Martin Audio’s Black LineX range was used for all studios, with the ADORN Series deployed for the customer walkways outside of the studio spaces. “Powersoft M Series amplifiers were deployed for all of the studios – they offer an amazing build quality and sonic performance. It was important to specify a reliable amplifier brand and Powersoft ticked all the boxes – we have been specifying these for years across multiple installations here in the UK. Each lighting fixture was specified for its reliability and performance within a demanding environment. Once again, each system had to be different depending on the concepts, with MSL taking that into consideration when they supplied and installed the lighting at the two venues.

For the Ride studio, each class is unique in terms of the lighting show, which is all controlled from a single 22-inch ELO touch screen mounted in front of the instructor’s bike.

41 CHAUVET Professional COLORado 1 Solo wash lights were deployed in the studio, with one fixture used over two bike positions. The COLORado 1 Solos not only offer great colour and light output, but, once the zoom was used, it delivered a more dynamic effect.

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Eight Claypaky SharBar fixtures and 10 CHAUVET DJ Intimidator 260 moving heads are equally deployed down the room to offer moving light.

For the Reshape studio, 17 CHAUVET Professional COLORado 1 Solo and 10 CHAUVET Professional Rogue R1X Wash fixtures were deployed evenly across the trussing.

“Each treadmill had an LED RGBW birdie to wash on the running platform,” added Toby. “There are three 10-inch ELO touch screens installed at the top, middle and bottom wall locations – this offered instructors instant access to control, via the ShowCAD server, as they walk up and down the space, and was achieved using a network IP adder link Xdip KVM units.

In the Rumble studio, 76 CHAUVET Professional ÉPIX Strip IP pixel strips were attached to the steel boxing structure.

This system is all pixel mapped using MADRIX software and controlled, once again, via a ShowCAD PC server.

“Whilst the setup in Rumble sounds simple, the results were incredible – the whole structure flows with moving light, bringing a genuinely unique experience to a boxing studio,” said Toby.

The Reflex studio uses 10 CHAUVET Professional COLORdash Par Quad 18 fixture, all of which are evenly spaced on the ceiling, washing downwards to offer a fullroom colour wash experience. They are also controlled using ShowCAD from a single touchscreen. The visual setup ties very much in line with the lighting – everything is controlled with an ArKaos MediaMaster server, via Artnet

by ShowCAD. In the Reflex studio, 36 CHAUVET DJ Vivid 4- 4.8mm pitch video panels and one NovaStar MCTRL4K controller were installed. CHAUVET DJ offered good reliability and the pixel pitch was perfect for this application. As the displays covered such a large area, the 4K NovaStar controller worked perfectly. Custom video was loaded into the ArKaos server which, in turn, was controlled by the ShowCAD touch screen at the instructor location.

In the Ride studio, Milos trio black powder coated trusses - 11-metres x six-metres - were flown down the length of the room, which is seven- metres wide and 27-metres long.

The ride positions gradually step up from the front to the back, too.

For the Reshape studio, two 15-metre Milos trio black trusses were used down the length of the room.

In the Ride studio, a Kvant Burst Berry laser firing down the whole room was installed, with two Look Solutions Unique 2.1 haze machines to offer even more edge.

The Rumble studio was also equipped with a Unique 2.1 haze machine to enhance the atmosphere.

1Rebel hasn’t gone “off the road” in creating this mega gym; instead, it’s blazed a new path that is set to raise standards in the fitness category, not just with its engaging lighting design, but also in terms of its COVID-19 protocols. www.middlesexsound.co.uk

THANK YOU TO A LL OU R SPON SORS A N D SU P P O R TE R S

MONDO-DR AWARDS 2022 LAS VEGAS, USA C O M ING S O O N …

IN FOC U S

42 BORGO DEI CONTI RESORT Perugia 44 STOCKTON GLOBE Stockton-on-Tees 52 ST. MICHAEL’S CAVE Gibraltar 58 STUDIO 9 Massachusetts 60

HARRY’S, ILIOS & BAGATELLE Cancún & Tulum

68 KAOHSIUNG MUSIC CENTER Kaohsiung 70 SUNAC GUANGZHOU GRAND THEATRE Guangzhou

IN F O C U S | WWW. M O NDO DR. C O M

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IN B RI E F Ya m a ha De l i v e r s F i v e - S t a r S ound at Bor go D e i C o n t i ’ s C i n e m a The Borgo Dei Conti Resort Relais & Châteaux is located 20km from Perugia, in a village dating back to the 13th century.

As well as restoring and conserving its historic features, to celebrate 10 years since the resort opened, the owners created an open air, multimedia cinema located at the viewpoint by the swimming pool, a terrace overlooking the Resort’s Belle Epoque square and park, the surrounding hills and centuries-old olive trees.

The cinema was designed and installed by Vittorio Bianchi of Milan-based Videosell, who chose Yamaha audio equipment.

Vittorio specified an MTX3 matrix processor to manage the system, with a CX-A5200 pre-amplifier delivering optimised surround sound to a loudspeaker system of seven DXR8 powered loudspeakers and a DXS18XLF powered subwoofer.

With other equipment by Sony, Shure, Barco and Crestron, the outdoor cinema was designed from the ground up to deliver a luxury AV experience. www.yamahaproaudio.com

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STO CK TON GLO BE EM EA

STOCKTON-ON-TEES / UK

Stockto n G l o b e , AT G ’ s b ra nd-ne w, 3 , 0 0 0 c a pa c i t y , f l a g s h i p music a nd come d y v e n u e h a s u nve ile d th e compl e t i o n o f i t s £ 2 8 million r es tor a t i o n b y S t o c k t o n - on-Te e s.

Bor oug h C o u n c i l .

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Opening its doors back in 1935, Stockton Globe in Stocktonon-Tees, UK, played host to some of the biggest names in British music. From rival pioneering poster boys, The Beatles and The Rolling Stones, to Liverpool’s leading lady, Cilla Black, the venue was bustling with fans from across the North East of England eager for an evening of unmatched entertainment.

After years of leading the live scene in Stockton, the iconic, Grade II listed art deco Globe closed as an entertainment venue in 1974, and after a small stint as a bingo hall, finally shut its doors for good in 1997. But back in 2010 it was announced that a revamp was in order for the rundown venue, with Stockton Council approving plans to redevelop the site and retain most of the building’s stunning features.

Fast forward to 2021, and the 3,000-capacity venue is finally complete and ready to start welcoming guests back after one of the most difficult years for the industry.

“The past year has been heart-breaking for all of us, but what I think is exciting is that there’s a real appetite for people to get back out and enjoying live events again,” said Jo Ager, Stockton Globe’s General Manager. “Stockton

Globe hasn’t been open as a live events destination for over 40 years and I would say this is one of the most extreme refurbishment projects I have ever seen. Opening our doors again is definitely giving people in Stockton, and further afield, a glimmer of hope for things to come.”

2021’s version of Stockton Globe is now packed with brandnew features including the flexible standing and seated configuration, new purpose-built bars, VIP areas, dressing room suites, orchestra pits and, of course, the additional 200-capacity gig venue and cafe bar, The Link.

The Globe will be run by the world’s leading operator of live entertainment venues, Ambassador Theatre Group (ATG) and has been designed with a modern audience in mind, with exceptional customer and artist experience, a £1.8million technical infrastructure and digital ticketing system. It has also benefitted from a new, state-of-the-art audiovisual system, designed and installed by specialist systems integrator, Stage Electrics.

“We initially carried out some design work on the project back in 2018, assisting an independent theatre consultant in developing a specification and concept drawings,” explained Mike Percy, Technical Project Manager at Stage Electrics. “Willmott Dixon Construction, the firm behind the restoration work, then contacted us to assist with further design and development work before awarding us the contract for the final supply and installation of the systems.”

Mike worked closely with ATG’s Head of Technical, Stuart Graham and Stockton Globe’s Technical and Buildings Manager, Mark Waters, to shape the system and meet the needs of the venue’s planned operations. One thing that was imperative throughout the design process was that the FOH audiovisual package would not interfere with the venue’s glorious auditorium décor, something that Mike

A b o ve l e f t : Th e A r t D e c o ae s t h e t i c o f t h e m ai n au d i t o r i u m .

A b o ve : Th e A r t D e c o t h e m e is continued throughout the Globe.

Left: d&b audiotechnik, Y am ah a a n d E TC a r e a l l p ar t o f t h e v e n u e ’s n e w s y s t e m .

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A b o v e: Stoc k t o n G l o b e ’s i c o n i c e x t e r i o r .

Belo w : T h e v en ue i s a n o s t a l g i a t r i p f o r t h o s e wh o ex pe r i e n c e d i t b a c k i n t h e 60 s .

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had factored in from the beginning. “We had to make sure that the rigging systems did not obscure any of the venue’s iconic interior. The system also needed to be installed so that when a touring system was required, the installation of the temporary system could happen without coordination issues. It had to be a recognised, tried and tested system for a theatre-style auditorium that engineers would feel comfortable plugging in to deliver their production needs.”

After understanding the client’s requirements, Mike began contacting various loudspeaker manufacturers to find a system that would fulfil the brief. This process also involved simulating the systems in software, so that the team could get an idea as to how well each potential brand would perform, and find the optimum location for the loudspeakers to be installed within the venue. The firm favourite was a system provided by d&b audiotechnik, after ticking all the boxes for the client. “They wanted a system that could pack enough punch with enough ‘bite’ for a small live band or a musical, but equally have excellent intelligibility for spoken word,” furthered Mike.

The system inside the main auditorium of Stockton Globe is a traditional theatre proscenium installed loudspeaker system. Set up as a L-C-R system with three boxes L-R focussed to stalls, it is further complemented with a small centre cluster of d&b V7P loudspeakers to fill some gaps and provide an option for focussed vocal enhancement for musicals and other large-scale productions. On the stage, Stage Electrics installed seven d&b E6 front fill loudspeakers, which can be changed out for E8s for a show requiring higher SPL. Under balcony and upper balcony rear delays are a combination of E6 and E5 loudspeakers, and powering the entire system is d&b 30D and 10D installation amplifiers.

“The loudspeaker processing is handled on-board the d&b amplifiers with the company’s R1 software running on a computer at the console location. In conjunction with d&b array calculation, it is very easy to setup and configure the system to simulate how it will work in the room and then make necessary adjustments. We present the R1 software on a 19-inch touchscreen, so that the user has easy access to control functions and can also view live data,” explained Mike.

A total of eight d&b Bi6-SUB subwoofers have also been provided, with half flown on a truss in front of the proscenium and the other half deployed on the floor with various array configurations provided depending on location, arrangement of the venue or type of performance.

“We discussed with various manufacturers what would fit best for the venue and the types of productions it would hold, but d&b was always on the table from the start. The client felt it ticked all of the boxes for the system they were looking for and the brand was also discussed during the initial work with the previous theatre consultant, so everything was already pointing in its direction,” furthered Mike.

For the main auditorium mixing desk, Stage Electrics supplied a Yamaha CL5 for its versatility and quality.

“Choosing Yamaha was quite important, as it needed to be very user-friendly for technical staff to jump on and pull a show file together quickly,” said Mike. “The workflow is also very easy to navigate, and connectivity options make it simple to integrate into the wider audio system, too.”

The system is all run on Dante, including the building paging and show relay system. Mike continued: “Primary and Secondary Dante networking is available in multiple locations, all patchable, so it’s possible to send and

B e l o w : S o m e o f t h e b u i l d i n g s o r i g i n al f e a t u r es have been preserved.

B o t t o m : Th e d & b s o u n d s y s t e m i n t h e ma in au d i t o r i u m .

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receive audio building wide including in both performance spaces.

“On the paging show relay systems, we are running the Symetrix Symnet user interface.

The Symnet custom control screens allow the user to adjust the levels in the various public areas of the building, as well as EQ and source selection, so they can easily swap between background music or a live show.”

Stockton Globe’s lighting brief was, initially, like its audio, very theatre focussed, however, throughout the project, this developed to cater to more music/comedy and other events requiring high-quality, intelligent lighting. “A system comprising only LED fixtures, with a comprehensive data network, well supported with hard power and ETC switchable dimmer modules is what we wanted,” explained Stuart.

“ETC is the backbone of our venue’s systems and control across the entire ATG estate.”

A fixed rig comprising ETC Colour Source spots, pars and cyc units are in place at Stockton Globe. As well as this, five High End Systems SolaFrame 750s are placed over the stage and four Varilite VL800s are used from the FOH bridge to give movement and texture. “This is a robust package of good quality, reliable wash lights,” said Mark. “We have a combination

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of units using the dark blue chip to give a full range of strong vibrant washing, whilst also achieving good skin tones. This base package should also offer productions a good quality in house rig, which can be incorporated into a touring rig with ease, too.”

Central to the lighting system is an ETC power distribution and control system, which is also deployed in most of ATG’s venues across the UK. ETC Sensor3 looks after the power distribution across four ESR36 racks, and, for control, the venue selected a High End Systems Road Hog 4 console, which is integrated into the system via sACN. ETC Paradigm is also installed which takes care of the venue house lights and work lights, as well as some lighting in the FOH areas including the bar and waiting areas.

Creating a modern-day venue on the bones of a 1935 building did have its problems, though, which included adding extra facilities, as Stuart explained: “We needed to build a large annex onto the side of the building alongside the stage house to allow for sufficient dressing room facilities and to house essential venue services.

“In the auditorium the biggest success has been maintaining the original 1935 art deco

A b o ve : Th e ven u e n ow hold s a c a pa c it y o f 3 ,0 0 0 a n d hopes t o pr ovid e a n e x c e p t i o n al live exper ien ce.

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Rig ht : T h e b a r a rea i n Stoc k ton G lob e.

look and feel, whilst also making a space that can cater to the needs of modern productions and give us as the operator the versatility to use the space in different ways.”

Mike furthered: “Grade II listed buildings are always going to be difficult to work in and each has its unique challenges, but having to deal with a global pandemic, too, brought a whole series of new challenges. The construction schedule was constantly changing and required daily management to make sure everyone was working safely and with minimal disruption. But now that the project is complete, I think we can all say that we’re pretty proud of the work we’ve done!”

Stockton Globe is looking to open its doors this Autumn, after 45 years since the last live performance. Acts already on its 2021/22 opening season include; Paloma Faith, Status Quo, UB40, Jools Holland and John Bishop, to name but a few, with Paloma Faith selling out her show within eight hours. This is an incredibly exciting development for Stockton and its residents, as Stockton Globe will bring world class acts to the town and will also put an end to local people having to travel to Newcastle or Leeds to see big shows.

“There are so many people who remember the Globe,” concluded Jo. “People’s grandparents would’ve come during its heyday and there are lots of happy memories within the walls. I think, once the venue is open, it will reconnect people back to the cultural hub it once was and bring the community together again. I absolutely think it will change the landscape of Stockton’s high street and give the local people a bit of purpose back in the town. We are so excited to open our doors and get the Globe back to what it does best!”

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TECHNICAL INFORMATION SOUND 3 x d&b audiotechnik V7P loudspeaker; 3 x d&b audiotechnik V10P loudspeaker; 19 x d&b audiotechnik E6 loudspeaker; 6 x d&b audiotechnik E5 loudspeaker; d&b audiotechnik E8 loudspeaker; 6 x d&b audiotechnik M4 loudspeaker; 2 x d&b audiotechnik Y7 loudspeaker; 4 x d&b audiotechnik Bi6-SUB subwoofer; 4 x d&b audiotechnik VGSUB subwoofer; d&b 10D amplifier; d&b 30D amplifier; 1 x Yamaha CL5 mixing console; 1 x Yamaha QL1 mixing desk LIGHTING ETC Colour Source lighting package; ETC D40 luminaire; 5 x High End Systems SolaFrame 750 fixture; 4 x Varilite VL800 fixture; 2 x Robert Juliat Cyrano followspot; 1 x High End Systems Road Hog 4 control desk; ETC Paradigm Working Light Control System www.stocktonglobe.co.uk

is going to change your expectations

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S T. MI C HA E L’ S C A V E EMEA

UPPER ROCK / GIBRALTAR

P i xe l Artworks and W rig h t Te c h Me dia a w a k e n th e U ppe r Roc k Na ture Re se rve w i t h a pe rma ne nt, imme rsive proje c tion m a pping a nd spa tial audio installation with in St. Mic h ae l’s C ave .

Pixel Artworks, a pioneer in light and pixel technology, has delivered one of the most complex projection mapping projects ever created within St. Michael’s Cave in Gibraltar. The Gibraltar Government awarded the project to WrightTech Media, a local digital marketing solutions company with extensive knowledge of the site. From there, Pixel Artworks collaborated with WrightTech Media on the pitch, as well as the design and delivery of St. Michael’s Cave, the complex show, to push the boundaries of projection mapping further than ever before – creating a unique immersive light and sound installation that opened to the public in June 2021.

While the project sought to enhance the current Gibraltar Upper Rock Nature Reserve visitor experience, there was no specific site in mind.

WrightTech Media and Pixel Artworks showed how St. Michael’s Cave could be used in a unique way to take the audience on an unforgettable journey through Gibraltar’s natural history, using projection mapping technology, lighting design and immersive audio.

Christian Wright, Director, WrightTech Media, explains how it all began in Liverpool, UK: “I went to the museum in Liverpool to see the Terracotta Warriors – and I just assumed it would be a really stuffy, standard museum experience. But, when I went in, it was full of AV solutions providing colour, sound and engagement for the visitor that was way beyond my expectations. I thought that it was the exact type of thing we needed in Gibraltar to tell the story of its history and culture – I thought it’d work phenomenally well.

“Thankfully, the Gibraltar government released an expression of interest

with regards to improving the Upper Rock Nature Reserve. So, with St. Michael’s Cave being a unique, popular tourist attraction, it was a natural choice – particularly as there wasn’t much by way of technology there anyway. We started to look at the sort of technologies that would work in a sympathetic manner to the natural aesthetic of the cave – and it seemed that projection mapping was the way forward.”

After extensive research, which included poring over the portfolios of various companies, Christian felt that Pixel Artworks were best placed to deliver what was needed for St. Michael’s Cave.

“I thought instantly that Pixel Artworks knew what they were doing – they have a real passion for what they do. So, I called them to see how they could flex their creative muscles, pitched the idea to the government and they loved it,” added Christian.

“The aim of the project was to reinvigorate Gibraltar’s tourist industry, and I felt we needed something very visual and technology-based to engage audiences to a new level. My team knows the site very well, but it was great to get the fresh eyes of Pixel Artworks’ creative team, who spotted opportunities we hadn’t thought about, and also helped us to home in on the story we wanted to tell.”

The show, entitled ‘The Awakening’, sympathetically showcases the beauty of the cave, while uncovering the layers of Gibraltar’s history fused within the rock, creating a stunning display that is expected to receive global acclaim.

Riaz Farooq, Creative Director at Pixel Artworks, explained further: “The most important aspect at the beginning was to spend as much time as

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possible in the cave and really understand the formations. That was all to help us learn what was going to help us in terms of projecting onto such a tricky surface.

“Then, moving forward, it was about developing a narrative with WrightTech. I think that us really learning about the history of the cave was essential – understanding how it came to be and why it’s such a phenomenal place meant that we didn’t want to just throw up any kind of content. Our mantra running through was to respect the site, we simply wanted to produce visuals and content to enhance the story – it wasn’t about exaggerating things, it’s letting these incredible geological thumbprints in time tell its own story.

“The medium of projection mapping is the perfect solution for St. Michael’s Cave, in that it’s not detrimental to the site itself. We actually did a full 3D scan of the cave to give us really detailed data, from which we created as highly-detailed mesh. Using that mesh, we were then able to tailor the AV content and all our templates.

“We actually took quite a complex route, as we were using real-time

graphics and creating composite content live in the cave. That allowed us to really sharpen what worked and what didn’t.”

For the project, the cave was, essentially, split into two halves, with one side being for intimate, up-close views of the spectacular stalactites, stalagmites and flow stones. The other side offers a main cathedral chamber, which really opens up into a large auditorium space.

“That approach in terms of projection mapping allowed us to offer a focus on the intricate art and beauty – using light and projection to allow visitors to see what they wouldn’t have been able to before, especially as the space can be quite overwhelming,” added Riaz. “We told the story of the cave zonally, slowly guiding visitors through, then ending with the theatre-style piece.”

The finale of the experience takes place within the main cavern, known as Cathedral Cave, and uses a 360° light projection spectacular to recount an awe-inspiring story of geological formation. From microscopic sediments to the emergence of colossal limestone bedding plates, the experience presents an incredible display of mighty tectonic

Abo v e: The spec t a c u la r p r oj ect ion ma ppin g d ispla y by Pixel Ar t w or k s.

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“ T h a t a pproa c h in te rms of proje c tion mappin g allowed u s t o of f e r a f oc us on th e intric a te art an d beau ty - u sin g l i g h t and proje c tion to allow visitors to see what they w o u ldn’t h a ve be e n a ble to be f ore .”

Right: ‘T he Awa ke n i n g ’ opened t o v i si t ors i n J u n e 2 0 2 1.

forces and extraordinary natural events spanning millions of years.

Through light, visitors observe the life and development of the rock formations that loom over them within St. Michael’s Cave.

The show was created using a disguise previs workflow, with Zelig Sound providing the sound design using TiMax for spatial audio, audio specialist Dan Roncoroni installed the immersive sound system. Steve Richardson and his team at Full Production installed chauvet fixtures for the lighting, and the Pixel Artworks’ team spec’d and installed Epson projectors.

“Zelig did a fantastic job, particularly as they had to come in and work blind – we essentially were the eyes for them. Using the TiMax system really offers something special in each zone – it enhances that immersive experience even further,” said Riaz.

Installation of the equipment within the cave required special consideration, to ensure no damage was done to the ancient rock formations and to preserve their visual integrity by positioning incongruous equipment out of sight. Pixel Artworks worked with WrightTech Media to obtain specially-designed casings, vinyl wrapping and armoured cables, that would also protect the equipment against the dampness and humidity within the cave, as well as preventing any damage by the famous Barbary macaques that roam freely around the site. The cave remained open to the public throughout the installation, which began in April 2021.

Prof. John Cortes MBE, Minister for Education & Culture, the Environment, Sustainability, Climate Change, Heritage and Public

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Above & Left : T h e i m m ers i v e ex peri enc e at St . Michael’ s Ca v e, i n c orpora ti n g audiovis ual a n d li g h ti ng tec h nolog y .

Health, who inspired the initiative, said: “I can remember the first time I walked into St. Michael’s Cave at the age of eight and the feeling of awe that it provoked. It happens still, every time I enter the Cave. This cavern has made a constant contribution to the appreciation of Gibraltar’s Heritage and Culture. I myself have performed there both in amateur dramatics and as a musician. It is such a magnificent space that I have always felt that it needed something more. With the development and growth of mapping technology it became clear that the time was right to push the boundaries. This new experience does justice to the beauty and the heritage and will inspire all who feel it - because feel they will!”

Christian added: “One very important part of the project is the educational side – we’ve been able to produce educational material, with animated videos helping to tell the stories to children. It’s not simply about visitors or creating this one-dimensional experience, it’s hitting numerous demographics. It’s been a great catalyst in terms of starting an educational initiative in Gibraltar and we’re really excited about that.

“Overall, the only word I can use is phenomenal - the local population has been blown away by it and we’ve had some incredible feedback already. We were creating a tourism attraction, but it was very much a community one as well. I think I can say with complete assuredness that this has gone down fantastically well!”

Riaz Farooq, Creative Director, Pixel Artworks, concluded: “Our creative team have surpassed themselves once again with this incredible feat of technology and art in a supremely challenging environment. Working with WrightTech Media on this project has been immensely rewarding, and we can’t wait for more visitors to experience this unique and extraordinary show.”

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TECHNICAL INFORMATION VISUAL Epson EB-L1505U projectors; VisBox bespoke enclosures (designed by Pixel Artworks; disguise media server; Medialon show control LIGHTING Chauvet Professional COLORado 2 Solo; Chauvet Professional Ovation E-910FC SOUND TIMax spatial audio www.visitgibraltar.gi/see-and-do/ military-history/st-michaels-cave-9 www.wrighttechmedia.com www.pixelartworks.com

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IN B RI E F Meyer Sou n d C o n s t e l l a t i o n a nd Sp a cem a p G o B o o s t s C r e a t i v e P otentia l a t S t u d i o 9 Studio 9 at Porches Inn, Massachusetts, is a fully sustainable and architecturally-striking structure, originally conceived as a dining and event venue. However, with installation of Meyer Sound Constellation active acoustics in 2019, it was transformed into an intimate live performance and recording space. Now, with the addition of the Spacemap Go spatial sound design and live mixing tool, Studio 9 has fully evolved into a one-of-a-kind laboratory for musical innovation.

Studio 9’s principal partner, FreshGrass Foundation, is a nonprofit organisation, dedicated to preserving, supporting and creating innovative grassroots music.

“Our objective is to turn Studio 9 into a beacon of creativity and innovation. One of the wonderful things about this building is that, with Constellation, you can tune the room to the composition, so it is more like an art installation than a concert venue.” said Founder and President, Chris Wadsworth. www.meyersound.com

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HAR RY ’ S CANCÚN | I LI O S C A N C Ú N | B AGAT ELLE TULUM A M ER ICAS

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V EN U E - A M ER I C AS | W W W .M O ND O D R .C O M

F unktion - O n e ’ s d i s t r i b u t o r in M ex ico, L o t o Au d i o , h a s b ee n b us y w i t h a n u m b e r o f h i g h end r es t a u r a n t i n s t a l l a t i ons, incl u d i n g t h r e e v e n u e s in Ca nc ú n a n d T u l u m , w hic h util is e t h e C o m pa c t Ra n g e , o ff er ing bi g a u d i o pe r f o r m a nc e fr o m a s m a l l f o o t print.

Bel o w & R i ght : H ar r y ’ s , c on si de re d b y some a s Ca nc ún’ s hot t e st re st a u r a nt .

“The clarity, performance and output for a speaker with this footprint have made it possible for projects like this to have a Funktion-One system and for Loto Audio to enter the restaurant market,” enthused Loto Audio founder, Ramón Salazar, speaking about the F5. FunktionOne’s smallest ever speaker. It is at the heart of three restaurant projects recently completed by the company, which operates as the manufacturer’s exclusive distributor for Mexico, as well as a rental house and installer. Harry’s Cancún, Ilios Cancún and Bagatelle Tulum are now home to sizeable Funktion-One Compact Range sound systems.

Considered by some as Cancún’s hottest restaurant, Harry’s specialises in steak and seafood, offering up a mouth-watering menu together with waterfalls, several bars, decks, lagoon views, dancing fountains, a wine cellar and a raw bar. It is owned and operated by Grupo Anderson’s, which was founded in 1963 by Carlos Anderson, under the ideology that in restaurants we have no customers, we have guests. Applying this ethos to the sound at Harry’s, the owners contacted Loto Audio about installing a Funktion-One system.

Ramón explained further: “The owners were convinced to upgrade their current businesses with Funktion-One after the experience delivered in previous projects. We’ve done some installs with Grupo Anderson’s nightclubs and performance venues. They wanted to give their clients a premium experience not only in their clubs, but their restaurants as well.

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“ T h e ow n e r s w e r e c o n v i nc e d to upg rade th e ir cur r ent b u s i n e s s w i t h F u n ktion-O ne af te r th e ex p er ie n c e d e l i v e r e d i n pre vious proje c ts...th e y wa nted t o g i v e t h e i r c l i e n ts a pre mium e xpe rie nc e not onl y i n t h e i r c l u b s , b ut th e ir re staurants as wel l . ”

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“Harry’s is one of many brands owned by Grupo Anderson’s. The brand is defined as ‘the ideal place to live a complete sensorial experience in which elements such as music, colour, flavour, fragrance and texture intermingle to stimulate the senses and generate unique sensations.’

It was a logical decision to consider a Funktion-One system for their flagship location in Cancún.”

The system at Harry’s features 16 Funktion-One F81s and 19 F5s, with two MB212s and 15 SB8s for low end reinforcement. Power comes from MC2 Delta Series amps and control is handled my NST Audio’s VMX88 processor and VR1 remote control panel.

Commenting on the system, Loto Audio’s Alexander Danielewicz said: “It is a distributed system with F5 full range and SB8 bass compliments.

There are various zones - outdoor terrace, main restaurant, reception, private VIP room and toilets - because they needed to adjust levels according to the number of customers at different hours of the day. The NST VR1 was very useful for the end users to switch inputs from the DJ and live musicians to a background music player.”

A stroll along Boulevard Kukulcan leads to another Grupo Anderson’s venue, Ilios Cancún, where patrons are greeted by spectacular décor, dancers, sparklers and, of course, a little plate smashing when the mood is right.

“Ilios required a high-quality sound system, with flawless coverage and appropriate sound pressure levels for its areas,” said Alexander.

The concrete and glass surfaces create a challenging acoustic environment, but the use of fabric, wood and open glass panes help to counteract this. “We needed a sound system with very precise directivity to address this venue,” continued Alexander. “The Funktion-One solution fits like a glove and the white colour was the obvious choice to suit the architecture and décor.”

With live music and DJ performances being part of its DNA, the venue required a sound system that could deliver deep bass and higher sound pressure levels than usual. After dinner, the restaurant transforms into a club/lounge serving as the perfect location for cocktails as the evening warms up.

Four Funktion-One F1201 and two F218 are located in the far part of the terrace, shifting the audience’s attention towards the DJ booth and performance area. Belly dancers and acrobats often accompany dinner and drinks, making for a memorable evening.

Dining areas of the restaurant are equipped with F81 speakers and SB8 bass, as a subtler level is needed at the tables. The corridor leading to the toilets, lobby and piers is equipped with F5 speakers and more SB8 bass. The system is powered by a combination of MC2 Delta 20, Delta 40 and Delta 80 amps and controlled by an NST VMX88 processor.

L e f t : T he ou t d oor t er r a c e a t Ha r r y’s.

Abo v e: The in t er ior of t he ma in r est a u r a n t a t Ha r r y’s.

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“The time and level differences are undetectable,” explained Ramón.

“Moving throughout the restaurant is seamless. The brand’s mission is to offer a unique experience where all your senses converge, creating the perfect combination for an unforgettable visit. Besides the incredible Greek food and visual harmony in every corner, a solution was needed to delight the public’s hearing. That is why Funktion-One was chosen.”

With the addition of the F5, Funktion-One’s Compact Range now boasts an impressive line-up of speakers, from the F5 to F1201. While the loudspeaker manufacturer is renowned for its large format systems – Resolution, Evo and Vero – its engineering team has dedicated countless hours of R&D to ensuring its performance standards are upheld across the entire product range.

Funktion-One founder, Tony Andrews, commented: “We didn’t start out with a checklist of designs we needed to produce, the product range has developed organically, often in response to customer requirements or specific projects. The smaller speakers can demand just as much time and resource as the big stuff - sometimes more. Getting everything to work as we require in a smaller enclosure can be challenging but also very fulfilling.

“It’s pleasing to see our Compact Range - particularly the F5 - being deployed in Loto Audio’s recent restaurant installations. Since we launched the F5 in February 2020, we’ve seen how popular it is for these types of applications. I’m still taken aback by its capabilities for such a small speaker.”

Ramón agreed: “The Compact Range has outstanding quality and performance for enclosures of this size. The large format Funktion-One

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“ W e ne e de d a sou n d system with ve ry pre cise d ir ectivity to addre ss th i s ven u e. The F unktion-O ne solu tion fits lik e a g love and the white colou r wa s th e obviou s choice to su it th e a rc h ite c tu r e an d d ecor . ”

A b o ve : Il i o s C an c ú n o f f e r s live mu sic a n d D J p e r f o r m an c e s , m ak i n g a high- qu a lit y a u d io syst em v i t al t o t h e v e n u e .

systems usually have slightly higher directivity because they are horn-loaded systems, but they have the same timbre and sonic signature, making the whole family incredibly easy to integrate side to side in the same application.”

The final venue in Loto Audio’s trio of restaurant installs is Bagatelle Tulum. Bridging the gap between the joy and charm of the French Riviera and the mystery and bohemian vibe of the Riviera Maya, the well-known restaurant and beach club had, according to Ramón, “a requirement for a very high-quality sound system to live up to people’s expectations. This was relatively easy because other Bagatelle locations around the world have Funktion-One sound.”

Loto Audio designed a system that features 14 F1201s, 10 F101s, seven F5s, 10 F218s and an F121 with MC2 Delta Series amps, two Funktion-One X04 processors and NST Audio VMX88 and VR1 controllers. Taking into account the beachside location, the speakers have been treated with a weather resistant finish to combat the potentially corrosive combination of salty air and moisture.

“The directivity had to be extremely precise,” highlights Alexander. “There is a yoga retreat at one of the neighbouring sides and a hotel on the other. Impact and bass response were also crucial because high level acts are booked for this venue - so far, none of them have had an issue with their rider whenever they see Funktion-One on the equipment list.”

As venues look to their emergence from the pandemic, they do so with a stronger need than ever to differentiate through premium offerings. To this end, Loto Audio continues with a busy schedule of Funktion-One installations in Cancún, Tulum and further afield.

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TECHNICAL INFORMATION AUDIO Harry’s 16 x Funktion-One F81; 19 x Funktion-One F5; 2 x Function-One MB212; 15 x Funktion-One SB8; MC2 Delta Series amplifiers; NST Audio VMX88 processor; NST Audio VR1 controller Ilios 4 x Funktion-One F1201; 2 x Funktion-One F218; Funktion-One F81; Funktion-One SB8; Funktion-One F5; MC2 Delta 20 amplifier; MC2 Delta 40 amplifier; MC2 Delta 80 amplifier; NST Audio VMX88 processor Bagatelle 14 x Funktion-One F1201; 10 x Funktion-One F101; 7 x Funktion-One F5; 10 x Funktion-One F218; Funktion-One F121; MC2 Delta Series amplifiers, 2 x Funktion-One X04 processor; NST Audio VMX88 processor; NST Audio VR1 controller harrys.com.mx iliosrestaurante.com.mx/cancun bagatelle.com/venues/tulum www.lotoaudio.com.mx funktion-one.com www.mscoceancay.com

A b o ve : A b o ve : Th e b a r a t I lios C a n c ú n .

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IN BR IEF d& b E le va te s Ka oh siu n g Mu sic C e nte r with W orld-Fir st K SL Soundsc a pe Insta ll d&b audiotechnik have added to the unique design of Taiwan’s newly-developed Kaohsiung Music Center (KMC), providing it with the first KSL Soundscape installation in the world. The modern, uniquely-shaped venue, comprises of a vast outdoor stage HI-BREEZE Square, four auditoriums and a large main stage, HI-ING Hall.

Kaohsiung City Government worked with audio professionals and a consultant to design and specify a future-proof sound reinforcement system that would give guests a really extraordinary sound experience. The team recognised sound technology advances toward object-based audio and selected Soundscape as the most flexible high-performance solution available to suit the multi-purpose needs of the venue.

Soundscape allowed for the positioning of up to 64 sound objects freely within the sound design, with the ability to transport audiences to a new emulated acoustical space. www.dbaudio.com

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S U NAC GU A N GZ HO U G RAND THE A TR E APAC

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GUANGZHOU / CHINA

A n e w a u d i o v isua l syste m f or th e C h i n e s e t h e a t r e b uilt on tra dition a nd t e c h nolog y.

VEN U E - A PA C | WW W .M O N D O D R .C O M

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At first glance, the MONDO-DR Award winning Sunac Guangzhou Grand Theatre looks like a palace from the set of a Disney movie. The breathtaking structure, embellished with Chinese silk embroidery patterns, is not only a tribute to tradition, but a space that combines unmatched architecture with state-of-the-art audiovisual capabilities.

Located in the Huadu District of Guangzhou, China, the 2,000 seat, purpose-built theatre is where it belongs, in a place that has been the home of and inspiration for artists who have helped to define the worlds’ concept of Chinese culture for thousands of years.

The architects behind the theatre’s distinctive design, Steven Chilton Architects (SCA), aimed to channel the history, emotion and creative energy of the city. This sense is magnificently captured in the incorporation of silk. Silk has been painted and embroidered by fine artists in Guangzhou for thousands of years and developed as a creative medium for depicting myths and scenes of nature on tapestries and ornamental robes.

The physicality of silk cloth informs the formal expression of the building through a series of 10 gently twisting folds that define the outer envelope. The various entrances into the building are created by ‘tucking’ the surface in on itself where the valley of each fold would meet the ground plane. Each entrance is protected by a natural canopy

created by the overhanging surface before it ‘tucks’ in to define the opening.

The theatre’s mission to cultivate talent is expressed through the imagery applied to the surface of the cladding. Steven Chilton, Director of SCA said: “We were influenced by a beloved local myth, ‘100 Birds Paying Homage to the Phoenix’. The Phoenix or ‘Fenghuang’ stands for virtue and grace, whilst the allegory signifies notions of recognition, leadership and mentoring.”

Using illustrations created by artist Zhang Hongfei, SCA digitised and interpreted his hand drawings before mapping each figure onto the surface geometry. The team then developed a compositional style inspired by tattoo art aesthetics. Each figure was positioned on the body of the theatre over a series of studies in response to the topology of the surface geometry. While significant figures like the Phoenix were positioned where the form afforded prominence, lesser figures such as birds, were organically and less consciously arranged in the spaces between.

The cladding is composed of thousands of perforated aluminium panels, each painted with a unique portion of the overall composition.

They are supported by a complex structure of welded steel tubes that work interdependently with the concrete superstructure supporting the

L eft: The ma in a u d it or iu m in sid e t he t hea t r e.

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“ O v e r 11 1 h ig h -powe re d loudspe ake rs are u sed . A n AVI D Ve nue S6L-32D-192 dig ital mixing s u r face con sole pr o v ide s c ontrol of all th e a udio sourc e s an d d istr ibu tion c h a nne ls, using dig ita l sig na l distribution to the stage. ”

Right: T h e th ea tre’ s breat ht ak i n g fa ç a de.

theatre floors. Inside the theatre, the auditorium concept design led by Dragone, with theatre consultant, Auerbach Pollock Friedlander, is an immersive performance environment that can be transformed from a more typical 360º theatre into any number of alternate configurations.

The project was a real team effort from the beginning as Auerbach Pollock Friedlander worked closely with the theatre’s owners and end-users to develop a fast-track method of phasing the audiovisual design process to allow the foundation work to begin. The owners first wanted an audio system that provided the highest quality of enveloping surround sound for the reinforcement of voices, music and effects playback. Paul Garrity, Auerbach Pollock Friedlander’s Audiovisual Designer, explained further: “In the beginning stages of the project, a collaboration was established with the Sunac production audio system designers so that we could look at the needs of the theatre and the production requirements anticipated within the venue.

“Early studies were undertaken for loudspeaker type and placement, coordinating all efforts with other design disciplines. EASE and other computer modelling software was employed to assist in the loudspeaker array design to ensure that proper coverage, SPLs, directivity and sonic quality would be achieved. Several types of loudspeakers and equipment were carefully considered prior to making a final choice of

brand and type. Once the basic elements of the design were agreed, the detailed design of the integration of the systems into the building structure was undertaken to ensure that there would be sufficient power, cabling containment, rigging elements and other related and necessary equipment to establish the infrastructure.”

For the theatre’s sound system, Auerbach Pollock Friedlander and the theatre’s system designers specified L-Acoustics KARAi, KIVA II, KS28 and X12 Series loudspeakers, with its associated LA-Series power amplifiers.

The loudspeaker arrays and subwoofers are placed in discrete locations, so they don’t intrude on the aesthetic of the room or interfere with the rigging of scenic elements and acrobatic performances. The design also allows for additional touring systems to be deployed for the needs of specific productions and performances.

Providing sound coverage in an in-the-round theatre can present challenges for sound reinforcement and playback, so the system also makes use of a digital audio processing system that allows music and sound effects to be routed and mixed into any of the loudspeakers placed throughout the auditorium. Mixing and control is provided in an appropriate position within the performance seating area, or the system can also be operated from alternate locations as required by production needs.

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TECHNICAL INFORMATION SOUND 4 x L-Acoustics KARAi loudspeaker; 6 L-Acoustics KIVA II loudspeaker; 27 L-Acoustics X12 loudspeaker; 12 x L-Acoustics KS28 loudspeaker; 9 x L-Acoustics LA8 amplifier; 6 x L-Acoustics LA4X amplifier; L-Acoustics LA4X amplifier; 3 x L-Acoustics LA12X amplifier; 1 x AVID Venue S6L-32d-192 mixing console; 1 x Soundcraft Is Expression1 mixing console; Shure AD2 microphone LIGHTING 4 x Robe BMFL followspot; 18 x Fine Art 440 beam; 18 x Terbly V3000P followspot; 18 x Terbly V2000W followspot; 23 x Fine Art Pixie beam; 18 Fine Art 350 BSW; 9 x Fine Art 470 BSW; 18 x Fine Art 1500E followspot; 18 Fine Art 1500 beam; 18 Fine Art 1700E wash light; 24 x Fine Art 1700E perf; 72 x ETC Source Four fixture (varying degrees); 20 x ETC Source Four PAR EA; 21 x Fine Art 1080 strobe; 2 x MA Lighting grandMA2 control console VISUAL 15 x Panasonic PT-SRZ31KC projector; 6 x Panasonic PTSRZ21KC projector; 438 sq metres Nanjing Lopu Technology LP-TC3 LED display screen COMMUNICATIONS Clear-Com Freespeak II Wireless Intercom System

L e f t : Te r b l y , F i n e A r t , R obe an d E TC l i g h t u p t h e i n ter ior .

Paul Garrity offered additional specifications about the sound system: “Over 111 high-powered loudspeakers are used. An AVID Venue S6L-32D-192 digital mixing surface console provides control of all the audio sources and distribution channels, using digital signal distribution to the stage. A Soundcraft Si Expression1 console is also provided for additional audio mixing control. Shure wireless performer in-ear monitors have been provided to ensure that key performers may hear music and cueing while on stage, with Shure wireless microphone transmitters and receivers used, too, for performer sound reinforcement.”

The sound processing for this project is handled directly in the AVID E6L-192 system processing engine and matrix. This system provides input processing such as HEAT (Harmonically Enhanced Algorithm Technology), high and low-pass filters, and four-band parametric equalisation. Output processing includes a seven-band parametric equaliser, as well as advanced compressor/limiter and delay. All inputs and outputs feature four plugin inserts and a hardware insert. The L-Acoustics power amplifiers also provide additional DSP processing support for control of each loudspeaker unit. Control is then provided at the AVID Venue S6L-32D-192 mixing surface. “This system provides the highest degree of mixing sophistication and control for theatrical live sound reinforcement and playback, so that’s why we knew it would be a perfect match for the Sunac Guangzhou Grand Theatre,” Paul commented.

Such a robust audio system would be incomplete without a lighting package to bring each performance to life, so the theatre had an extensive team of lighting designers working on getting the best local manufacturers on board with the project, too. They wanted a flexible

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lighting package, with the ability to add to the immersive experience of the performances. It was also important to the teams that the lighting fixtures were locally sourced for easy access to maintenance support and spare parts if needed. While the installed lighting positions and lighting trusses are intended to provide lighting for the stage area, it was important that these elements also be integral elements in the building and allow for the theatre to be enhanced with theatrical lighting.

The theatre’s primary lighting fixtures consist of Guangzhou based manufacturers, Terbly and Fine Art’s products configured flexibly throughout the venue, so that the space is able to adapt to various rental production uses. Sunac Guangzhou Grand Theatre also benefits from four Robe BMFL followspots and a range of ETC Source Four profile fixtures in varying degrees.

One of the best parts of the theatrical and performance lighting aspect of the project was its collaborative aspect: “On projects like this, you work in a team with the theatre design and interior architectural of the building. We each impact the others’ work, so we collaborated to allow for an integrated interior and theatre design. Collaboration with the Sunac and architectural team was really essential.”

For lighting control, the Sunac Guangzhou Grand Theatre has two MA Lighting grandMA2 control consoles. The grandMA2 light is the perfect tool to control all kinds of lighting fixtures including: moving heads, LEDs, video and media. It supplies an intuitive and fast control of all connected fixtures and channels, and also has the ability to handle an almost infinite number of presets, cues, pages, sequences and effects.

The Sunac Guangzhou Grand Theatre is all about enhancing the experience even further, whether that’s in its daringly different façade, or through its multi-dimensional, immersive theatre productions, the

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venue knows how to put on a show that will stick with its audience forever. Its audiovisual expansion didn’t stop there, as the venue also installed a 360º overhead curved Nanjing Lopu Technology LED screen providing highresolution images that surround the heads of each onlooker.

The screen is complemented by a series of Panasonic video projectors, using sophisticated projection mapping software, allowing images to be placed and manipulated throughout the stage area. Paul furthered: “We chose Lopu LED display systems due to the high quality of imaging and processing power, coupled with its high commitment to client service.

The screen is complemented by a series of Panasonic video projectors, using sophisticated projection mapping software, allowing images to be placed and manipulated throughout the stage area. “We also chose Panasonic PT-SRZ Series high output laser phosphor projectors to provide the best possible quality of projected images, coupled with the rugged durability needed in a theatrical environment. Sophisticated computer control of video sources and

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mapping is provided using VYV Photon media servers and controllers.”

With its dreamlike exterior and subtle blend of tradition and talent, the Sunac Guangzhou Grand Theatre is a venue that is most likely at the top of any budding theatre goer or performer’s list. Thanks to the work of Auerbach Pollock Friedlander and the theatre’s system designers, its audiovisual capabilities are endless, and guests will be left feeling like they’ve plunged into their very own part of the performance. Rob Hill, Principal, Auerbach Pollock Friedlander, who worked with Len Auerbach on the project, concluded: “It was a great honour to work with Sunac, Steve Chilton and the Beijing Institute for Architectural Design. The project was fast tracked so the work below ground was accelerated. To help with this, APF has developed a collaborative method involving an intense amount of discussion about the design of stage machinery, audio, lighting and video.

There were many unique technical demands for the Guangzhou show theatre, but by collaborating closely with all of the design team members the building is a huge success.”

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NEXO ID84 The ID84 is NEXO’s first column loudspeaker design, introducing the company’s trademark characteristics of size-to-power ratio, variable directivities and highly flexible scalable configurations to a loudspeaker category that is relevant for a wide variety of applications.

Packed with technical innovations, including a patent-pending HF arrangement, the ID84 is a performance loudspeaker which offers an outstanding Peak SPL output of 135dB, and a frequency response of 90Hz-20kHz. With its smooth and musical sonic signature, the ID84 stands apart from other column loudspeakers on the market, equally competent at speech and music reinforcement, and able to perform as a FOH reinforcement system in its own right.

This slender metre-high package is presented with two companion products, a lowfrequency extension module (ID84L) and a partner subbass (IDS312), which can easily be configured to provide an innovative scalable solution for acoustically challenging architectures. Potential markets include all kinds of public spaces, particularly transport hubs, houses of worship, theatres and sports venues.

Weighing just 15kg (33 lbs), the ID84 measures 990mm x 150mm x 215mm (39.0-inches x 5.9-inches x 8.5-inches). For the first time, NEXO engineers have crafted a rigid lightweight enclosure out of aluminium, with a steel spine to host the rigging system and facilitate the hanging of multiple cabinets.

Magnelis side covers and front grille complete the sleek contemporary aesthetic, which is available as standard in black or white, with custom RAL colour options to match any installation environment.

In the two-way passive box are eight of NEXO’s powerful four-inch long-excursion Neodymium LF drivers, and eight one-inch HF drivers in a unique arrangement which maximises the efficiency of these units.

The ID84 offers smooth even coverage that can be tightly controlled by switchable dispersion. The user has a choice of two vertical directivities, selected by a switch on the back plate, offering with +0/-10º ‘Narrow Mode’ or +0/-25º ‘Wide Mode’ dispersion for 100º horizontal coverage. Dedicated presets are available for each directivity.

ID84 shares the same phase response as other NEXO loudspeakers, making it extremely easy to partner with different models, for example,

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for side fill or front fill, without risk of comb filtering or the need for complex electronic adjustment.

The unique design of the ID84 achieves superb versatility by enabling two modules to be coupled ‘head to toe’ to increase throw, with each module keeping its own directivity options. Because the HF arrangement is located at one end of the ID84 column, inverting the second cabinet enables all the HF to be kept in the middle of the two-metre line, ensuring perfect coupling.

For long-throw applications requiring even longer lines, the ID84L LF extension cabinet can increase the possibilities of the ID84. This powerful loudspeaker extension has almost exactly the same footprint as the ID84, and contains eight four-inch LF components.

By doubling the line length, the vertical directivity of the assembly is increased in the low frequencies, leaving horizontal directivity unchanged. By coupling four units (two ID84 with two ID84L), the HF arrangements can be paired at two mid-points, producing cardioid radiation down to 90Hz. This yields an exceptional level of control of coverage from a four-metre loudspeaker assembly.

Nominal impedance for the ID84 is four Ohms. Eight ID84s can be powered by one NXAMP4x1Mk2, which is NEXO’s primary amplifier recommendation, or a single ID84 per channel of any professional amplifier partnered with the NEXO DTDcontroller.

By exploiting a combination of mechanical steering and passive filtering, the ID84 is able to offer some of the benefits of beam steering whilst keeping system costs down through the economical use of amplifier channels.

The IDS312 subwoofer weighs 31kg (68 lbs) and measures 1160mm x 380mm x 350mm (45.7-inches x 15.0-inches x 13.8-inches).

Frequency response is 40Hz-120Hz and output is 138dB Peak SPL. It uses three high-excursion Neodymium drivers in a bass-reflex enclosure design. The crossover between the IDS312 and ID84 has been designed to extend both the frequency response of the main loudspeaker and the directivity by acting like a homogenous two-metre high sound source.

The ID84, ID84L and IDS312 are available in Installation, Touring and TIS versions.

Connectivity is made through cable gland and captive two-core cables, and the Installation version is IP54-rated. www.nexo-sa.com

© Photo by Mihály Podobni

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AMAD EUS HOLOPHONIX Version 1.7

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Amadeus has released a major software update for the company’s HOLOPHONIX spatial sound processor. The version 1.7 software update features a new web-remote user interface completely redesigned from the ground up for better performance and a faster workflow, and includes a host of new features both powerful and useful for immersive creative projects. The new version 1.7 update is free to all current HOLOPHOPNIX users and is included with all new HOLOPHONIX hardware system purchases.

HOLOPHONIX immersive sound processors are installed and have been used for some of the world’s most innovative venues including Paris-based The Pantheon, Chaillot National Theater, La Scala, La Comédie Française, as well as the Beijing Stadium (China), The Lee Seok Young New Media Library in South Korea, ETH Zürich in Switzerland, and many others.

Developed with several musical, theatrical and scientific institutions, the HOLOPHONIX processor was designed by Amadeus in a collaboration with the STMS (Sciences et Technologies de la Musique et du Son), a laboratory founded in 1995 and hosted by the Institut

de Recherche et Coordination Acoustique/Musique and affiliating the CNRS, Sorbonne Université, the Ministère de la Culture, and IRCAM around an interdisciplinary research theme dealing with music and sound sciences, and technologies.

“Previously, the Wave Field Synthesis algorithm was restricted to linear loudspeaker arrays with regular spacing between the transducers. With HOLOPHONIX 1.7, Wave Field Synthesis now also supports non-linear loudspeaker arrays, including 2D surround setups. The algorithm can now control circular, rectangular, or curved-shaped loudspeaker layouts with nonuniform spacing,” said Thibaut Carpentier, Researcher at IRCAM, Lead Developer, and Head of the SPAT project.

The HOLOPHONIX built-in reverberation engine also offers new features, such as a new ‘Room Size’ parameter, which lets you adjust the reverb effect more finely. “Another useful feature built into this update is a perloudspeaker Equalizer,” added Thibaut.

The Equalizer offers 7 PEQ, plus high- and low-pass filters; similar EQ is also available on the reverberation busses. www.amadeus.com

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SDI

IP Gateway App J2K/JXS

MULTIVIEWER 16 x 1

JPEG-2000 / JPEG-XS En- / Decoder Apps

DIGITAL SIGNAGE

16x1 / 9x1 / 4x1 MultiViewer Apps

FUSION 6

CONNECTIVITY HDMI ETHERNET FIBER SDI

FUSION 3

IP VIDEO

SOFTWARE-DEFINED

DISTRIBUTED

SCALABLE

FLEXIBLE

www.riedel.net

/VIDEO

A NALOG WAY PICTURALL MARK II SERIES Entirely engineered around a new, extremely robust and powerful professional hardware platform, the new Picturall Mark II Series delivers outstanding performance for supporting largescale events and installations from a single server unit, while offering ease of use and rock-solid reliability at affordable prices.

The new line replaces the current Picturall media servers and includes four products; Picturall Pro Mark II, Picturall Quad Mark II, Picturall Quad Compact Mark II and Picturall Twin Compact Mark II. With the ability to drive up to 16 4K@60Hz LED videowall controllers or video projectors from a single server unit, and enough power to play back media up to 16K@60Hz or uncompressed image sequences up to 8K@60Hz, the Picturall Mark II series is the obvious solution for challenging video playback for fixed installations, museums, broadcast, houses of worship, video rentals and live events.

The Picturall Mark II media servers have been designed with high-grade hardware components to provide a robust, heavyduty platform and deliver optimised uptimes and durability for any mission-critical applications. The Picturall Mark II media servers are based on the rock-solid Linux software engine by Picturall renowned for its extreme reliability, which is a result of 15 years of R&D and field experience. Additionally, the Picturall Mark II media servers feature a redundant, hot-swappable power supplies option to achieve high fault-tolerance capability.

The Picturall Mark II media servers can receive up to six lowlatency input cards to capture either up to 24 1080p@60Hz or six 4K@60Hz sources. A wide selection of input interfaces is available supporting one or more channels of 3G-SDI, HDMI 1.4 or HDMI 2.0. The Picturall Mark II media servers can also receive several network video streams and are compatible with NDI live video streaming. They can also display HTML-based web content with full Java script support.

The media servers also come standard with read-intensive professional drives offering consistent performance and reliability for demanding 24/7 environments. Several storage options are available to store hours of high-quality uncompressed video content. The Picturall Mark II media servers offer high network bandwidth with two standard 10Gb/s Ethernet connectors for faster transmission of massive media files and for more networked video streams.

They offer synchronised multi-channel audio playback and support real-time audio de-embedding and routing from HDMI or SDI sources, network streams and web sources. The Picturall Mark II media servers feature several optional audio interfaces and are also compatible with a wide variety of third-party multichannel USB audio interfaces.

The Picturall Mark II media servers provide dozens of powerful features to meet the expectations of the most demanding customers. All products in the range feature Art-Net interface and Ethernet control via a standard TCP/IP socket connection supported by all major third-party control systems. They can be also entirely configured and operated by Picturall Commander, an intuitive, elegant and powerful user interface. www.analogway.com

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1. Tasker CPR-Approved Cables

Even before CPR regulation, in July 2017, Tasker offered a range of over 40 models of cables with CPR approval.

Since then, the range has grown every year, with over 70 items for all risk classes provided by the legislation – including strictly regulated sectors, such as medical, rail and air transport.

Tasker presents a wide range of cables with CPR approval for the medium risk of fire (CCA), designed for the audio / video sector, such as loudspeaker cables (TSK401 series), microphones (C128 series), DMX (TSK1038 series), multipair cables for direction desks (TSK902 series) and 75 ohm coaxial cables for 12G-SDI broadcast installations (TSK1078 series). Integrating the proposal both with different models of LAN cables (C722 and C729) and with specific products for fire detection and voice evacuation systems (TSK201 and TSK301 series).

Each cable is manufactured with the most innovative construction material, such as silicone and M1 L.S.Z.H., making them suitable for indoor and outdoor installations and maintaining their flexibility. www.tasker.it

2. WORK PRO Audio ENTAR Series

WORK PRO Audio, the installation and pro audio division of Spanish manufacturer, Equipson, has launched a new range of two-way professional loudspeakers that are aimed at the installation and live sound markets.

Known as the ENTAR Series, the name combines of the words ENTertainment and ARchitectural, reflecting its ability to deal with the demands of these very different applications. Both passive and active loudspeakers are included, in a variety of different sizes. All models are manufactured from high density plywood and their construction and shape makes them ideally suited to light PA duties. They are also useful as stage monitors or for front, side or rear fill.

The ENTAR Series has four two-way passive loudspeaker models offering a choice of eight-inch, 10-inch, 12-inch or 15-inch subwoofers. Power outputs range from 400W to 600W. The Series also includes three active models equipped with Class D amplifiers and either 10-inch, 12-inch or 15-inch subwoofers. Each of these loudspeakers has a controllable DSP that includes EQ presets, location presets (Pole, Monitor, Bracket), selectable HPF filter, Shelving EQs, limiter, and front LED mode (on, off, limiter). Active models also include a volume knob and line/ mic and link/mix switches.

All loudspeakers in the ENTAR Series are finished in black and have black steel grilles for a sleek, modern look. www.equipson.es

3. Christie Ultra Series

Christie has announced the launch of the Christie FHD554-X 55-inch LCD display. Part of the Ultra Series, a line of performance-driven, reliable, and budget-friendly LCD displays for tiled video walls, it’s designed for a range of spaces including military and government control rooms, security and surveillance centres, briefing centres and critical viewing environments such as oil and gas exploration.

Impressive video walls start with an ultra-narrow bezel. With a combined 3.5mm bezel width for near-seamless viewing, and an ultra-thin profile, the FHD554-X keeps the focus on the content. A high-performance electronic features set that includes high-bandwidth, HDCP 2.2-compliant HDMI 2.0 and Display Port 1.2 inputs supports streaming of 4K content and 4K UHD signals at 60Hz to deliver content to video walls with less flicker, and subsequently reduced eyestrain in critical viewing environments.

Creating large video walls is easy with Display Port 1.2 outputs, which allow users to daisy-chain 4K, 60Hz sources to up to 25 panels, and an OPS slot further simplifies set-up by allowing sources like PCs and media players to be directly integrated into the display. For secure facilities and U.S. government applications, the Christie FHD554-X is non-RF and TAA compliant. www.christiedigital.com

4. Allen & Heath AHM-64, Dante Expanders & CC-7 / CC-10

The AHM-64 audio matrix processor can now benefit from hardware based echo cancellation via the AEC processing expansion module, providing 12 channels of AEC with a 150ms adaptive FIR filter, non-linear processing for residual echo and background noise reduction, plus AGC (Automatic Gain Control) for the far-end signal. Offering multiple benefits over cloud-based echo cancellation, the AEC module offers a step-up in audio quality for teleconferencing and videoconferencing applications in meeting rooms and conference centres.

Three new Dante interfaces bolster Allen & Heath’s Everything I/O range of audio expanders: the DT20 with two mic/line inputs on combi connectors; the DT02 with two line outputs on XLR; and the DT22 with two x two I/O on Phoenix connectors. The compact form-factor, in conjunction with rugged aluminium casing, makes these suitable for the rigours of portable AV hire, while surface-mount and rack-mount kits enable integration into more permanent installs.

Rounding out the new install offerings, the CC-7-inch and CC-10-inch touch panels augment the existing range of remote-control options for AHM-64, dLive and Avantis mixers. PoE powered and pre-configured to run the Allen & Heath Custom Control app in kiosk mode, they offer an elegant alternative to BYOD in houses of worship, corporate and educational facilities. Multiple user interfaces can be designed by the installer or system integrator, uploaded to the mixing system, and instantly deployed to all connected Custom Control devices. www.allen-heath.com

DIRE C T O RY | WWW. M O NDO DR. C O M

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MA Y / JU NE 2021

LECTROSONICS’ 50TH ANNIVERSARY B A R S & P ER F O R MA NCE V ENU ES MED I A S ER V ER S & P R O JECT O R S

T HE IN T ER N AT ION AL P UBLICAT ION FOR T ECHN OLOGY IN EN T ER T AIN M EN T

mondodr.com | mondostadia.com | mondodrawards.com | mondostadia-agora.com

PROD UCT GUID E: MIXI NG C ONS OL E S SPONSORED BY LAWO

Lawo designs and manufactures pioneering network, control, audio and video technology for broadcast and post-production, as well as live performance and theatrical applications. Products include control and monitoring systems, digital audio mixing consoles, routers, and video processing tools, as well as solutions for IP-based audiovisual infrastructures and routing systems.

All products are developed in Germany and manufactured according to the highest quality standards at the company’s headquarters in the Rhine valley town of Rastatt, Germany. www.lawo.com

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Allen & Heath Avantis

APB-DynaSonics ProRack-House (H1020) The ProRack-House small-format mixer from APB-DynaSonics incorporates a wealth of professional features and exceptional performance in a 10 rack space unit. It is intended for live performance or recording applications, performing exceptions well with Digital Audio Workstation in both tracking and summing functions. Featuring 16 input channels with 20 Burr-Brown microphone pre-amplifiers, the last four of these input channels may be operated in a Dual Mono or Stereo configuration. All input channels have insert points and direct outputs which may be used to feed external recording devices. Four subgroups are provided that may also be used for additional line inputs. ProRackHouse includes six Auxiliary outputs along with Left, Right and two additional Mono Outputs, all on Balanced XLR connectors with bus inputs and insert. The chassis design features an adjustable connector assembly that freely rotates and can be set to three different angles relative to the front panel. The ProRack’s audio design includes the use of minimum phase-shift circuitry, expressive EQ and integrated mic preamplifiers used in a proprietary front-end circuit. In addition to superior audio quality, the ProRack’s reliability and serviceability were also a part of the primary design criteria. www.APB-DynaSonics.com

Avid S1 The Avid S1 offers the unparalleled speed, rich visual feedback, and software integration of Avid’s high-end consoles in a slimline surface that’s an easy fit for any space or budget. Avid S1 gives the user deep hands-on control of their favourite audio and video software. Together with the free Avid Control app on your iPad or Android tablet, it provides great ergonomic efficiency, easy touch workflows, and Avid S6-style metering and processing views, so users can mix more intuitively and turn around better sounding mixes fast.

While Avid S1 fits easily between the display and keyboard, it packs a lot of mixing power into its small surface. From motorised faders and knobs that respond to touch, to fast-access touchscreen workflows and soft keys that enable users to perform complex tasks with a single press, S1 provides the speed and versatility to accelerate any music, audio post, or video project. www.avid.com

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The third mixer based on Allen & Heath’s 96kHz XCVI FPGA engine, Avantis is a standalone 64-channel / 42-configurable-bus console, with dual Full HD touchscreens, extensive I/O options, processing from the flagship dLive mixing system, and a rugged full metal chassis.

The 96kHz XCVI core utilises next-generation FPGA technology with parallel virtual processing cores delivering 64 full processing inputs; a configurable 42-bus architecture with phase coherency on all mix outputs; ultra-low latency (0.7ms); and DEEP processing, embedding class-leading processing emulations within input and mix channels.

206 square inches of screen space, operating at a crisp 1080p Full-HD resolution, allows you to see and instantly interact with more of what matters, providing a seamless connection between the physical controls and the displays.

When it comes to I/O, the console offers 12 XLR inputs, 12 XLR outputs, plus AES, and two I/O Ports accept option cards including Dante, Waves, gigaACE and MADI. The SLink port allows connection to the entire range of Allen & Heath audio expander hardware, the ME Personal Mixer range and IP remote controllers.

As for FX, Avantis is armed with 12 stereo FX engines, featuring acclaimed RackExtra emulations of legendary classic reverbs, gated reverbs, delays, modulators and more. www.allen-heath.com

Dynacord CMS 1000-3 CMS 1000-3 The CMS 1000-3 is a compact mixing system with an intuitive design that offers Dynacord’s superior audio quality. As with its higher channel-count siblings, the CMS 1000-3 was created with the everyday needs of sound engineers in mind. As such, the solution features high-quality components and a robust design, ensuring that users can rely on the CMS 1000-3 to deliver day after day.

The same design concept can be seen in the functionality of the CMS 1000-3. The mixing section features 10 low-noise, discrete microphone preamps, while six auxiliary busses, two of them switchable pre/post fader, allow monitoring flexibility. The two studio-grade digital effects processors offer 100 factory presets, including Dynacord’s world-famous PowerMate-reverbs and a TAP key allows for the precise setting of delay times. The builtin USB audio interface shares four playback and four 24-bit/96 kHz recording channels simultaneously with a PC or Mac while an additional MIDI interface allows integration of instruments. The 11-band stereo graphic equalizer can be routed to master or monitor channels.

With its compact size, feature-rich design and Made in Germany build quality, the CMS 1000-3 is the ideal solution for a large number of demanding applications. www.dynacord.com

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DiGiCo Quantum338 DiGiCo Quantum3³8 is based on seventh-generation FPGAs and includes 128 input channels with 64 busses and a 24 by 24 matrix, all with full channel processing. There is a new look and feel dark mode application and three, 17-inch 1,000nit, high brightness, multi-touch screens, allowing both the meter bridge and soft quick select buttons to be displayed on each screen.

There are also 70 individual TFT channel displays, and the floating Quantum chassis features 38 by 100mm touch-sensitive faders laid out in three blocks of 12 fader banks, plus two dedicated user-assignable faders, each complete with highresolution metering.

A new level of local audio connectivity and performance comes via the ‘Ultimate Stadius’ 32 bit ADC and DAC conversion, which are built into DiGiCo Quantum3³8 as standard, alongside six single or three redundant MADI connections, dual DMI slots and a builtin UB MADI USB recording interface.

Mustard Processing, Spice Rack, Nodal Processing and True Solo are also standard on the DiGiCo Quantum3³8. www.digico.biz

KORG SoundLink Incredible sound, stunning build quality, and precision studio effects make KORG Soundlink mixers the ultimate solution for live audio, home recording, and content creation.

Developed by legendary designers, Greg Mackie and Peter Watts, the KORGs MW mixers are packed with all the essential features you expect on an analogue mixer but also include those normally found only on high-end mixing consoles.

Available with 24 or 16-channels, both feature eight HiVolt microphone preamps capable of handling hotter inputs without distortion, delivering headroom way beyond any other mixer in its class.

Greg’s intuitive design approach is immediately obvious - familiar analogue control avoiding complicated menu diving, along with quick recall of digital parameters. Combined with powerful features such as feedback cancellation, studio-grade one-knob compression, and KORG’s renowned 32-bit digital effects technology, SoundLink MW mixers have been designed to satisfy any audio mixing application.

• Musician’s Phones Monitor for fast, one-knob mix boost.

• Mute Groups to create various input combinations of musicians or parts for productions or service.

• 8-bus configuration perfect for recording and live mixing.

• Up to 10 simultaneous digital effects with recallable parameters.

• Premium components including Velvet Sound™ A/D & D/A converters, and silky-smooth long-life ALPS® faders, and rotary controls. www.korg.com

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Lawo mc²36 Audio Mixing Console The new Lawo mc²36 with built-in A__UHD Core offers 256 processing channels, available at both 48 and 96 kHz, and natively supports ST2110, AES67, RAVENNA, and Ember+. It provides an I/O capacity of 864 channels, with abundant local connections. It is available with 16 and 32-faders, and, with the new dual-fader bay, it offers 48 faders in the same space as a 32-fader board.

Operating and visualizing features include Button-Glow and touch-sensitive rotary controls, color TFT fader-strip displays, LiveView™ video thumbnails, and super-precise 21.5” full HD touchscreen controls. Its built-in full loudness control is compliant with the ITU 1770 (EBU/R128 or ATSC/A85) standard, featuring peak and loudness metering which can measure individual channels as well as summing busses. The new mc²36 offers seamless third-party solutions and Waves SuperRack SoundGrid integration.

With Lawo’s A__UHD technology, the mc²36 includes Lawo’s IP Easy functionality, based on Lawo’s innovative HOME management platform for IP-based media infrastructures.

It makes connecting IP audio and I/O devices as easy as if they were baseband – the console automatically detects new devices and makes them available at the touch of a button.

It also includes security features like access control and quarantining of unknown devices to protect your network. www.lawo.com

PreSonus Studio Live 64S

Midas Heritage D The Midas Heritage D works with existing Midas DL I/O and features 28 faders, 1152 inputs/outputs in total. With 144 flexible inputs, 96 flexible aux sends, left/right/mono, 24 dedicated matrix busses, two monitor busses, two solo busses, and 24 effects slots, with effects from TC and new emulations of classics built for the desk. It runs at 96kHz, with Midas’s famed processing delay compensation and phase alignment giving a maximum latency of 2ms. The most striking feature of the Heritage D is the huge touch screen and the whole design is ergonomic, friendly and solidly built.

The first of the consoles’ innovative features is its internet connectivity to the cloud. This means that firmware upgrades can now be done without a separate download and connection, and various versions can be accessed for up and downgrades. All your show files, in every version, time and date stamped, are stored in a cloud account with no more multiple show files on USB sticks.

This also makes remote bug reports and fixes possible.

With built-in RTAs using flexible processing (no more taking up effects slots), incoming signals can be analysed and their source determined. While this feature is still being tested, most of the time it can identify instruments correctly and prompt to load the appropriate labelling, presets, and so on. This can then apply to the most powerful feature of the Heritage-D: metadata.

Everything in the Heritage-D can be tagged with metadata including channel names, functions, buttons and processing. This means users can bring up a page showing all channels that are tagged with certain parameters, for example, all channels with a compressor inserted, or gate, or both. They can then be adjusted simultaneously. www.midasconsoles.com

With 128 (64 x 64) channels of USB recording, 128 channels of AVB I/O, flexible routing options, and the studio-grade audio quality that made PreSonus StudioLive mixers famous, the StudioLive 64S delivers a truly exceptional mixing and recording experience that’s in a class of its own. Powered by the quad-core FLEX DSP Engine, the StudioLive 64S is equipped with 76 mixing channels, 43 mix busses, and 526 simultaneous processors, including State Space modelled Fat Channel plug-ins on every input channel and mix bus. A complete recording solution, StudioLive 64S mixers ships with PreSonus Capture, which runs on both a computer and natively on the mixer, allowing users to record to a computer over USB, directly to an SD card - or both simultaneously for live recording and automated virtual soundchecks. No other multitrack software makes recording as fast and simple. Oh, and did we mention that users can patch any analogue input or digital return (AVB, USB, or SD Card) to any channel? This flexible feature also allows the user to freely route audio to an AVB network and record any of the inputs and FlexMixes on the 64 USB sends. www.presonus.com

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Roland M-5000 The Roland M-5000 console’s internal mix architecture is not fixed and can be freely defined within a range of up to 128 input/output channels/busses. This allows the user to essentially build a console structure based on the immediate needs of the application. This makes for a console that accommodates high levels of flexibility for precise response to dynamically changing applications and venues.

Adaptable to numerous audio networks and I/O needs, expansion options including Dante, MADI, Waves SoundGrid, REAC and XI-SD,I opening the door to endless configurations, applications and emerging standards. Up to 300 inputs and 296 outputs (and more at 48kHz) are managed in separate patchbays. Any input can be patched to any or multiple outputs, including control of gain and phantom power, without having to be patched through a mixing channel. OHRCA makes it possible to control an enormous number of input and output channels across multiple protocols and formats.

The M-5000 maintains all the fidelity of the original source, starting with a high sampling rate of 96kHz. The discrete circuitry was precisely designed with careful component selection and circuit architecture, separation of analog and digital sound modules. www.roland.com

Solid State Logic ORIGIN As the latest in a long heritage of SSL studio mixing consoles, ORIGIN has traditional analogue studio workflow at its heart, while providing the perfect partner for a modern DAW-driven hybrid production studio. ORIGIN takes a fresh look at what a large format console needs to do to work in harmony with a modern DAW driven production studio.

The functional design looks back at the origin of in-line consoles for signal flow inspiration, but its circuits are at the cutting edge of SSL’s latest analogue developments. These new analogue designs deliver huge dynamic range and bandwidth yet still have the characterful, pleasing qualities of space and depth that analogue breathes on digital audio. www.solidstatelogic.com

Yamaha All RIVAGE PM With the launch of two new control surfaces and DSPs last year, Yamaha’s Rivage PM Series became a fully scalable Ecosystem that gives sound engineers greater choice and flexibility for creating the optimal sound for an even wider range of applications in an unprecedented democratization in high-end audio.

All RIVAGE PM systems use the same DSP Engines, the same I/O racks, and the same firmware. This means that sound, performance features, and basic operation remain consistent regardless of the user interface. The specifier simply has to choose which combination of control surface, I/O device and DSP best suits the production.

While the more compact CS-R3 & CS-R5 favour a more touch-screen based operation, the larger CS-R7 & CS-10 provide a greater array of tactile hardware controllers for a more hands-on mixing experience.

Whichever system is specified, they can all take advantage of Yamaha’s sophisticated Theatre Mode which facilitates scene and costume changes with four banks that can be used to store different EQ and dynamics settings for individual performers as well as the large range of onboard plug-ins from Yamaha own R&D engineers or those produced in conjunction with Rupert Neve Designs, Dan Dugan, Bricasti & Eventide. www.yamaha.com

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Reliability in all weathers

SCHNICK-SCHNACK-SYSTEMS SCHNICK-SCHNACK-SYSTEMS IS A SUPPLIER OF PROFESSIONAL LED EFFECT LIGHTING SOLUTIONS AND CONTROL TECHNOLOGY. WITH ITS LUMINOUS INTENSITY, COLOUR FASTNESS AND HOMOGENEITY OF ITS LEDS – AS WELL AS THE RELIABILITY AND FLEXIBILITY - THE TECHNOLOGY HAS PROVED ITS WORTH IN ENTERTAINMENT AND ARCHITAINMENT AROUND THE WORLD.

Schnick-Schnack-Systems turns 18 next year and, in that time, the company has certainly come of age, becoming one of the most important suppliers and LED effect lighting solutions and control technology in the industry.

Founded in Germany by owner, Dipl. Ing. (FH) Erhard Lehmann – described as a “technical freak” – whose idea was based on manufacturing LED modules and lights, as well as suitable power supplies. The first big advance in the company’s development came when Schnick-Schnack-Systems worked on Lexus’ tradeshow booth at the Geneva International Motorshow.

Solveig Busler, Member of the Executive Board at Schnick-Schnack-Systems, explained further: “The size of the project and the trust of the customer really encouraged us to follow the dream of being a premium LED manufacturer.

Since then, we have continuously invested in our own high-quality production line, in skilled employees, and in the research of enhanced technologies.”

But, what is it that makes Schnick-SchnackSystems different from any other lighting manufacturer? After all, it’s an extremely competitive field, which means companies have to offer something that makes them stand out – particularly to last for coming up to 18 years.

“Our aim is to empower lighting quality,” said Solveig. “Our team is driven by the idea to make lighting technology consistently better in order to establish ourselves as a technology leader.

“You will experience this when you talk to our project managers – they do not only understand our products, but also have experience with designs, processes and construction planning as well. They will not recommend to you what is not necessary, but the best product to achieve your intended lighting result.”

The priority at Schnick-Schnack-Systems is – and always has been – the quality of

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its products. The selection of components and constant quality control throughout the manufacturing process are key features in how the company operates. However, it’s the drive to always improve and develop its product range for the customer that really explains the success over the years.

“Our core technologies are the daisy chain addressing of all our modules, flicker free dimming, and the superior lighting quality.

Rumours say that we have a proprietary control protocol, but our controllers are open to all kind of data sources – whether our customers own a lighting console, a media server, or a hardware media player, we accept standard protocols like DMX512, Art-Net® and sACN,” said Solveig.

Over the years, there have been some spectacular projects for the Schnick-SchnackSystems team – too many to mention, in fact.

Although XXX did try to narrow it down to a select few that have stood out: “Many of our projects have been incredibly special, but the ones that have impressed most are the Pixelwald by Pipilotti Rist, which has already travelled around the world and will continue to do so. There’s the German Sport Studio

by ZDF, which was a one-of-a-kind spherical broadcast studio, as well as the outdoor installation ‘Moment Magnet’ at Helsinki Outlet Center, which is a perfect example of how LED can be used to express calm, peace and style.

“Also, I have to say that it felt like a real accolade when we were contracted for the Shanghai Pavilion at World Expo in 2010. We were asked to deliver our German-made LED lighting technology to China – the home of LED technology.”

Despite the success, Schnick-Schnack-Systems, like every other company in the industry, has had to weather the storm that came with the global pandemic.

“Like the entire entertainment industry, 2020 was a very quiet year for us. Tradeshows and all kinds of events have been cancelled, so that meant that one of our core markets went

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Dipl.-Ing. (FH) Erhard Lehmann, Managing Director Solveig Busler, Member of the Executive Board The expert Schnick-Schnack -Systems team The company’s headquarters.

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down to zero,” said Solveig.

“We have used the quiet period to educate our people, to improve our processes and services, and to enhance our product range.

Luckily, there are still broadcast studios and a variety of architectural projects, so we were in the comfortable position to avoid furlough or worse.

“We are so looking forward to seeing many of our friends, partners and customers at the upcoming tradeshows and conferences.”

With the horizon clearing and normality seemingly returning soon, the team at SchnickSchnack-Systems will be doing what they do best – developing its technology even further for the customers.

“Technology wise, our next step is to publish a colour management tool, which will allow

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our users to adjust many colour settings to their liking,” said Solveig. “For example, the customers will be able to change the white point of the LED modules, or to select different colour metrics, or dimming curves and some more. So, our modules can be customised to the circumstances onsite and offer nearly unlimited flexibility.”

The future is looking bright for SchnickSchnack-Systems and, with that all-important 18th birthday looming, they plan to celebrate in style with true German hospitality: “We are always thrilled to welcome customers and partners at our headquarters in Cologne.

We not only have the complete processing of LED device production to show, but also great food and delicious beer.” schnick.schnack.systems

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Shanghai Pavilion at World Expo Lexus booth at Geneva International Motorshow Pixwald by Pipilotti Rist

AD I N D E X Adamson

290mm

CLF

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580mm

Genelec

400mm

148mm

580mm

530mm

580mm

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580mm

KV2 Audio

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L-Acoustics

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Look Solutions 148mm

Neutrik

530mm

580mm

580mm

580mm

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Newtek

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Novastar

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530mm

148mm

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Laser Animation

580mm

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INFiLED

400mm

A D I N DEX | W W W .M O N D O D R .C O M

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

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Powersoft

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PXM

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Renkus-Heinz

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Robe

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Schnick-Schnack-Systems

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Sennheiser

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Showven

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Starway

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Steinigke

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TAF

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Elation

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Duratruss

Harmonic Design

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257mm 290mm

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Guil

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EM Acoustics 290mm

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Digital Projection 290mm

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Antari 220mm

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DiGiCo 220mm

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Amate

CHAUVET220mm Professional 290mm

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Arno

290mm

257mm

194mm

400mm

290mm

220mm

220mm

ADJ

353mm

257mm

194mm

400mm

290mm

220mm

220mm

8

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