MONDO-DR 31.6

S E P T E M B E R / O C T O B E R 2 02 1

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MONDO-DR 31.6 SEPTEMBER / OCTOBER 2021 ON THE COVER Pop Golf Image courtesy of Andrew Meredith MANAGING EDITOR Sam Hughes s.hughes@mondiale.co.uk EDITOR Emma Davidson e.davidson@mondiale.co.uk

mc2 36

SUB EDITOR Peter Iantorno p.iantorno@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 Media Ltd, Strawberry Studios, Watson Square, Stockport, SK1 3AZ, UK

SLEEK. STUNNING. STELLAR.

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

This leader feels like a lifetime away from the introverted intern I started MONDO-DR as back in 2018, but I couldn’t be happier to be bringing you my first issue as Editor. It’s been a tough year for everyone in the industry, but it’s been an absolute joy witnessing and writing about the ingenuity, loyalty, and determination you’ve all shown over the past 18 months. I feel very grateful to be taking the reins at MONDO-DR and, even though I still have a lot to learn, can’t wait to see where the role takes me.

It was great so see and catch up with so many smiling faces at this year’s PLASA, too. Looking forward to more of that very soon.

This issue we have Pop Golf on the cover, designed and installed

by Middlesex Sound & Lighting, featuring products from Martin Audio, Powersoft and CHAUVET Professional. I even managed to get out and visit a venue this month, too - Joshua Brooks in Manchester! The bare bricked basement once played host to The Chemical Brothers’ first ever residency, and its new audiovisual capabilities have already had furloughed DJs flocking back.

We also take a look at Vegas’ original day club, Wet Republic, and San Diego’s Rady Shell, a stunning project featuring some outstanding technology.

We hope you enjoy the issue!

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W WW. M O NDO DR. C O M | LE A DE R

000

IN THIS ISSUE. . .

10

EXPO DIARY

12

IN DISCUSSION Renkus-Heinz

IN DEPTH 18

REPORT Parks & Attractions

IN FOCUS 34 BLOOMSBURY THEATRE London 36 POP GOLF London 44 JOSHUA BROOKS Manchester WORLD MESSIANIC CHURCH 52 Brazil 54

WET REPUBLIC Las Vegas

62

RADY SHELL San Diego

70 ONE22 Canberra

IN BUSINESS 74 NEW WEBSITE Guil 76

IN DETAIL DTS, NEXO, ETC

83

PRODUCT GUIDE Lighting Control

90

94

PRODUCT DIRECTORY IN PROFILE Fulcrum Acoustic

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

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SEPT EMBER SEP

16-18

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

OC T OBER OCT

23-29

INFOCOMM 2021 ORLANDO, FLORIDA www.infocommshow.org

NOVE M B ER NOV 15-21

NOV 17-19

NOV

23-24

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E X P O DI A RY | W WW .M O ND O D R .C O M

LDI LAS VEGAS, USA www.ldishow.com

INTERBEE TOKYO, JAPAN www.inter-bee.com

JTSE PARIS, FRANCE jtse.fr

E XPO D I A R Y

DECEMBER DEC 3-6

IBC – AMSTERDAM THE NETHERLANDS www.ibc.org

F E BR U A R Y FEB 1-4

ISE BARCELONA, SPAIN www.iseurope.org

JANU ARY JAN

17-19

JAN

20-23

CUE ROTTERDAM – THE NETHERLANDS www.cue.nl

FEB

25-28

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

NAMM ANAHEIM, USA www.namm.org

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N O N E E D TO SA Y IT L OU D E R FOR TH E P E O P L E I N TH E B A C K C le a r and Imme rsive Audio E xpe rien ces for Nig h tc lubs a nd B ars, by B randon Hein z, Pr od u ct Mana g e r a t Re nkus-H e inz

The worst part of stand-up comedy is when a joke doesn’t land. There’s plenty of artistic reasons this can happen - but one reason for this challenge should never come from the audience’s inability to hear or understand the talent.

The need for quality audio can apply to any nightclub and bar space catering to live performance. From live music to spoken word, impressive, immersive, and intelligible sounding audio is critical.

This thinking should be applied just as judiciously to the bar and nightclub spaces without live performance. The crafting of a mood, theme, feel, emotion, and sense of space is vital to the success of these environments. There are studies linking the correct use of music to the amount of food and drink being ordered. And, from an architectural and artistic standpoint, the use of sound can provide the fabric to bring a fantastic space together.

Further, there are multiple by-the-book business reasons to ensure sound is of a high quality in bars and nightclubs. Firstly, you are competing with other establishments in the area who will, most certainly, be considering how to best solve the audio equation in their space. Two competing bars, for example, have only a few differentiating factors; quality of service, quality of food and drink, and the effect the ‘vibe’ or ‘feel’ a space has on the patrons. Second, as we reenter the physical world left in limbo by the global pandemic, there will likely be a desire for authentic and genuine experiences among patrons. Ensure you are living up to the expectations of these individuals and give them a reason to come back.

As touched upon above, there are various considerations to make when installing audio systems in these spaces. Will the venue have live sound? Does the system need to account for spoken word as well as music? What is the maximum capacity of the space? How about the minimum?

And a new one: how will the system perform when social distancing guidelines are in place?

Let’s take a look at a few examples of live sound installations to see what was most important to the end users.

As hinted to in the lead of this article, one place where high quality audio is critical is in the spoken word environment of a comedy club.

The Sandman Comedy Club in downtown Richmond, Virginia knew this from the planning stages of the business and opened its doors with digitally steerable loudspeaker arrays which place audio where it’s needed it most: on the audience.

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I N DI S C U S S I O N | W W W .M O N D O D R .C O M

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By digitally positioning audio in the club, the end user ensures the highest possible level of performance intelligibility. Audio stays away from reverberant surfaces - preventing audio quality depreciation - and is heard clearly only in the locations where it’s intended to be heard.

This means there is no ‘turn it up to 11’ moment by the club’s stand if sound seems problematic - a common reaction typically resulting in harsh audio. Instead, the club is confident in its audio system’s performance.

The Notoriety Live music hall in Las Vegas has multiple performance spaces focussed on creating the same impressive feel of a major venue but in smaller spaces. This was, again, achieved by using digitally steerable loudspeaker offerings.

In addition to avoiding reverberant surfaces, digitally steerable solutions provide a consistent and symmetrical array of high and low frequencies along the entire length of a loudspeaker array. This means you can choose any acoustic centre, further improving the quality of spoken word and musical performances.

While we continue to navigate the pandemic, one goal remains intact: to return to the venues we love when we can do so safely. Humans are social by nature and returning to these social locations is a part of our shared experience.

This is an important goal to remember when looking at audio systems, as something that gets overlooked with surprising regularity in nightclub and bar applications is the social aspect. Smaller bars and clubs often have a main dancefloor sound system, and additional distributed sound systems that cover the space relatively evenly, but they must be driven to high SPL everywhere when there is live music. This can crush any social scene on site.

One of the huge benefits of steerable systems in these applications is the capability to focus energy on the intended dance floor or listening area with extremely even coverage. In turn, you have reduced audio bleed into surrounding areas like the bar or dining tables.

Traditional sound systems, even with large horns, will only be able to achieve a 6 dB drop in level every time distance doubles, whether on- or off-axis. Not only do steerable sound systems provide incredibly consistent coverage in the intended areas, but they also achieve a much more extreme drop in SPL off axis because of the underlying reactions taking place to achieve the steering in the first place.

Simply put, when the sound system is loud everywhere in a venue, it becomes a challenge to experience the social aspect of these establishments. Having areas where sound can be lower in level allowing patrons to talk quietly with friends – leads to longer customer retention and more sales.

Beyond the use of impressive, high-quality loudspeakers, there is also a need to consider elegant control options for the on-site staff. In a nonlive environment, control is often left up to the bartender. Make sure they can intuitively and effectively use the system put in place.

Further, for the contractor, one critical element is to work with audio consultants and manufacturers who provide multiple types of solutions for bar and nightclub environments. Perhaps one of the biggest misconceptions is that digitally steerable loudspeakers are only for larger venues. In fact, with the right manufacturer and consultant, nearly any environment can incorporate expert design - which, in turn, ensures the highest quality audio available on the market today is available to even the coziest of bar spaces. www.renkus-heinz.com

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I N DI S C U S S I O N | W W W .M O N D O D R .C O M

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PA RKS & A TTR ACTIO N S M O ND O - D R t a k e s a look at th e s t a t e - o f - t h e - art te c h nolog y u s e d i n pa r k s and a ttra c tions pr o j e c t s a c r oss th e world.

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R E P O R T - PA R K S & ATTR AC TI O NS | W W W .M O ND O DR.COM

St u d i o 1 0 0 Stor y Studio COMPANY: AV Stumpfl LOCATION: Antwerp, Belgium

Studio 100 and CityCubes have joined forces to launch an innovative new experience, Studio 100 Story Studio, which uses a combination of spectacular, life-size projections and an audio story told through headphones to immerse the audience in each adventure.

The Studio, which is based on the Meir in Antwerp, will be the very first time an immersive AV attraction of this kind has been available in Belgium.

One of the main stories brought to life at the Studio 100 Story Studio takes place aboard an archaeology ship trying to discover the mythical city of Atlantis. During the experience, visitors are guided through different times, locations, and dimensions to the supposed current location of Atlantis. Each of the six rooms at Studio 100 Story Studio houses a part of the story and, as the visitors progress, more pieces of the puzzle are revealed.

An additional story focusses on the world of ‘Maya the Bee’, originally a classic children’s book that became an international phenomenon in the form of an acclaimed animated series. The Maya story arc is even more interactive than Atlantis, with visitors of all ages being asked to dance, fly and shake like the world famous bee. The general narrative follows Maya, who is looking for a hugely important beehive party. Visitors can assist the adventurous bee during her travels through a number of different immersive worlds.

A total of 52 Panasonic projectors were required to provide the immersive visuals for this attraction; all of which were simultaneously controlled and driven by AV Stumpfl PIXERA servers and software (one master and five render engines). A show starts every 15 minutes and takes about one hour, meaning that up to six shows are being run in parallel from the single PIXERA master.

One PIXERA RAW server is also able to take care of all floor projections (15 outputs split by Datapath FX4 and routed through an IDK FDX-32 Modular Matrix Switcher), while all of the wall projections in every single room have their dedicated PIXERA server, playing backup to 12K wide uncompressed content per server.

The portable wireless headsets, which are perfectly synced by timecode, are also controlled by the same PIXERA master server. Additional audio outputs play back commercials and effects in some of the rooms, on top of the timecode driven headsets.

CityCubes’ creative partner, Dieter Veulemans, underlined the importance of a reliable system setup: “What we created here in Belgium was a ‘never-beenseen-before’ technology project for which we put all our trust in our partners and PIXERA. “It’s crucial that our shows stay on for several hours each day and this for several months and that we feel assured by all the AV equipment in use.

Everything depends on the systems and the hardware and I can assure you we fully trust in these systems and that I sleep well during the night.”

The programming of the PIXERA system was taken care of by Sander de Schrijver, while all of the technical equipment was supplied by AED Display. All of the visual content was created by Prismax and formatted as uncompressed TIFF sequences.

Additional companies involved in the realisation of the ambitious project include The Production Box and Flex solutions.

The Studio has already stated that other stories and experiences will be added in the future to attract all ages to the story-telling studio.

Studio 100 CEO, Anja Van Mensel, commented on the overall success of the project: “Studio 100 Story Studio is a beautiful addition to our current activities and represents a new step for Studio 100 at the same time. It is a new form of entertainment in which we put our full trust. Together with our partner CityCubes, I am convinced that we are making a mark when it comes to providing quality relaxation for the whole family.” www.avstumpfl.com

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RedB ull M a xs pa c e Skatepa r k COMPANY: Datapath LOCATION: Praha, Czech Republic

The RedBull Maxspace skatepark in Praha, Czech Republic, is the realisation of a dream for four-time Czech champion and former World Champion skateboarder, Maxim Habanec.

Having turned the unused building into a premier venue for the country’s skateboarders, plans were drawn up to bring a new dimension to the venue by utilising the latest projection mapping technology.

Specialist Czech integrators, Lunchmeat Studio and Tomorrow 55 Studios, joined forces to bring a new visual dynamic to the converted abandoned warehouse. The request was for the spacious multi-level area to become a seamless canvas, where skaters are absorbed in the 360° effect, which would hug surfaces and angles for a truly immersive visual experience.

Video processing specialists, Datapath, were once again at the cutting edge of display technology as two of their popular Fx4 processors manage visuals and seamless edge blending.

Natur k ra f t COMPANY: Genelec LOCATION: Ringkøbing, Denmark

20

The image content comes from no less than eight Epson G7905u projectors, with images mapped to highlight the curves, platforms, half pipes and ramps that make the RedBull Maxspace skatepark such an exciting venue. Being a private park, Maxim used this opportunity to open it up to a lucky number of fellow Czech skateboarders.

Jakub Pešek from Lunchmeat Studio, along with Martin Přívratský and Dan Vojtěch from Tomorrow 55 Studio, took creative lead on the project. Designed to bring an additional dimension to thrill seekers, the main surface of the arena is concrete with obstacles constructed from plywood and metal. The mapping technology runs via Lunchmeat Studio’s own media server, which allows the skatepark to be illuminated with futuristic visuals that enhance the angles and curves, while giving the skaters themselves a grid-like reference point when attempting gravity-defying jumps and tricks. www.datapath.co.uk

Naturkraft is a new experience centre in the Danish town of Ringkøbing, West Jutland. It aims to educate people on the ways in which nature shapes our world through interactive displays and exhibitions, encouraging more sustainable behaviour. Consequently, the audio solution had to be flexible and environmentally friendly. Genelec’s background with producing studio monitors enabled them to deliver something very special.

The primary solution consisted of a system of Genelec 4430 Smart IP loudspeakers that were positioned to recreate the audio effects of a North Sea wave. This is a multi-sensory experience, in which audio plays a large part.

Sonic quality was of the utmost importance, and the 4430s provide consistency no matter how hard the system is pushed.

Smart IP technology allows the user to take audio from several sources if required. In this particular exhibit, the loudspeakers utilise a basic ambience mix across channels, plus sound effects. But the compatibility with a Dante network means that the signal can be easily re-routed if the installation changes in the future, making it a flexible solution.

One of the central challenges was emulating the sensation of being in the midst of a

R EP O R T - PA R KS & ATTR AC TI O NS | W W W .MONDODR.COM

rushing wave in the North Sea. Creating this required the use of Genelec 4430 loudspeakers triggered by motion sensors.

Providing audio that sounds accurate and detailed, even at low levels, in such a large space is not easy, but they managed to keep the fidelity consistent – from when the waves build, to when they crash.

Another problem with the audio installation was finding loudspeakers powerful enough for the exhibition without detracting from the visual spectacle. Genelec’s Smart IP enabled loudspeakers provided the solution. The single cable makes installation simple with no need for external amplifiers. Significantly, Smart IP’s unique power technology allows, even the system to be pushed to its limit, despite using a lower current PoE supply.

As well as perfectly complementing the subdued colours of the wave exhibition, the RAW finish that Genelec offer on the 4430s firmly ticks the sustainability aspect specified by the client. This optional finish requires no paint or lacquer, reducing the use of chemicals. Additionally, the loudspeakers themselves are manufactured from recycled aluminium. www.genelec.com

P u y D u Fou COMPANY: OptoCore LOCATION: Les Epesses, France

Ranked the second most popular theme park in France (behind Disneyland Paris) Puy du Fou is spread over 500 hectares at Les Epesses in the heart of Pays de La Loire region.

When it came to specifying a site-wide digital comms upgrade, the facility’s long-term Head of Technology - and resident Sound Engineer) - Samuel Briand, was clear that an expansive Optocore fibre ring solution would best serve the park’s requirements.

Previously they had worked mostly in analogue but this has now been replaced with parallel networks including Opcotore.

The primary consideration was the vast distance. “The park is very large, requiring several hundred kilometers of cable length, and it was essential that we could pass the signals without loss of quality and without length constraints,” he noted.

The new system itself was conceived at the Park’s in-house design studio, overseen by Samuel, with DV2 supplying the equipment and technical support.

Each of the featured shows has its own dedicated control room and runs autonomously, although the existing fiber optic network allows shows to be connected to each other if necessary.

“When we create a show, we connect the audio mixing studio to the show concerned and mix in the attraction by moving the screen, keyboard and mouse from the studio computer.

The sound travels in the Optocore environment between the studio and the show, thus saving us from having to carry a big flight case with a ProTools

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HDX,” Samuel explained.

In view of the extensive distance and channel requirements, the redundant Optocore transport is used in all the Park’s four main shows, including La Cinéscénie (a huge outdoor stage for the evening shows). To give an idea of scale, La Cinéscénie alone requires 10km of fiber optics.

“We work only with singlemode fiber,” Samuel continued, “and each Optocore converter has redundancy at the power supply (one on mains and one on inverter).” A separate central control point manages the BGM only, which is distributed over a point-to-point network.

Samuel has deployed a pair of Optocore DD4MR-FX MADI devices for use with the DiGiCo SD10 consoles; 10 X6R-FX with AES-SRC and Line Outputs for the amplifiers, as well as AES-SRC with Mix Inputs for microphones (and finally, a V3R-FX). All devices have been upgraded with 2Gb singlemode transceivers.

The advantages of the new set-up can be clearly seen in Le Dernier Panache, mixed on DiGiCo. “The Optocore network allows us to compensate all audio channels (around 96) from the A/D converters to the amplifiers and the processor. So via Optocore converters we have a real matrix, boosted by the processing and mixing power of the DiGiCo consoles.”

Samuel is more than satisfied with the upgraded signal transport across the Puy du Fou site. “Fiber optics and an Optocore platform were essential to meet the specifications,” he confirmed. www.optocore.com

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The T ro pi c a l P o o ls at B i n kow s k i R e s or t COMPANY: PXM LOCATION: Kielce, Poland

The Tropical Pools at the Binkowski Resort have been operating since January 2021. It is a modern water park, with everything under a sliding glass roof, built in the Świętokrzyskie Mountains. It has natural tropical vegetation and water attractions for the whole family.

The Tropical Pools at Binkowski Resort is a unique place on the map of Poland - in the middle of winter, it allows visitors to feel like they’re on a paradise island, giving them the opportunity to rest among the rich tropical vegetation and palm trees from the farthest corners of the world. All of this is possible thanks to the technological solutions used in the construction of the swimming pool hall. The structure of the hall is fully glass covered with adequate sunlight permeability.

The maintenance of the tropical vegetation is possible due to the combination of a special ventilation system and the sliding glass roof.

The focal point of the facility is the main recreational pool, which has an area of 340 sq-metres, with a tropical water bar, numerous couches and seats with hydro massage capabilities.

The facility also has a vast range of facilities for families with children.

There is a water playground with a soft, safe surfaces and a paddling pool with a complex of small water slides. There is also a zone of large

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slides and the artificial lazy river, which can be run down on a single or double pontoon. The facility has a relaxation zone, too, which is located on the entresol, and the gastronomic zone, which consists of a restaurant and a water bar.

To create the right mood after dark, the entire facility was illuminated with 220 white and RGBW luminaires connected in 182 separate control circuits. The central control unit used in the installation is the PX340 DMX controller. Technical DALI lighting was integrated with the DMX system through the specialised DALI/DMX converter. The lighting system is managed via the PX703 Touchpanel or a mobile device with a dedicated app. The signal merger was applied in the installation enabling the connection of the external console during the organisation of special events.

The PXM company supplied the whole lighting control system and most of the lamps.

www.pxm.pl

St. M i c ha el’s C ave COMPANY: CHAUVET Professional / OutBoard LOCATION: Upper Rock, Gibraltar

More than 15,000 years ago, Neolithic visitors braved the harsh unforgiving interior of St. Michael’s Cave to draw charcoal images of an ibex on its limestone walls. Though they left no record of their endeavor, it’s easy for Full Production’s Steve Richardson to imagine the hardship, determination and pride surrounding their creation.

For the past two years, Steve has been on a journey of his own inside the 60-metre deep cave perched high on Gibraltar’s Upper Rock Reserve, leading a crew from Full Production tasked with designing, installing and programming the lighting for “The Awakening,” an immersive show inside St. Michael’s created by Christian Wright and the team at Pixel Artworks.

Accompanying Steve and his team on their odyssey was a collection of CHAUVET Professional IP fixtures that, like the crew using them, could withstand the punishing demands made by the cave, whilst still delivering performance that could accentuate and enhance its majestic beauty.

“The criteria we set was pretty tough,” said Steve. “Our fixtures had to be very durable in an extremely harsh environment, as well as very flexible in terms of colour palette.”

Meeting these exacting standards were the Ovation E-910FC IP ellipsoidal and COLORado Solo 2 wash fixture, which offered the added benefit of a wide zoom range. A total of 35 of the RGBAL ellipsoidals, and 40 of the par units are used at the attraction, which opened in March 2021.

Located throughout the four projection canvases of the exhibit, the fixtures contributed to a lighting design that added depth and shape to the cave interior and accented its evocative features, whilst still allowing the natural aesthetics of the site to speak for itself.

“Essentially, our client brief for this show was to support the projection mapping produced by Pixel Artworks to create a colourful journey through the history of the caves,” said Steve. “At the same time, we also wanted to have moments of reflection on the natural beauty of the cave.

“Each projection canvas has an ambient state where we use shadows, light and dark, and complementary colours to accent and highlight that area. For example, there’s the ‘hero’ state, where each surface tells its story. Then there is the ‘beauty’ state, where the cave is in its ‘natural’ form, very gentle, warm white, breathing.

“There is an almost imperceivable change in intensity that plays on the

natural form of the stalactites to give the impression of movement - as if the cave itself was breathing,” continued Steve. “The colour mixing of the COLORado fixtures was crucial here as we needed to go from natural pastel colours through to saturate.

“We accomplished something very special together here. It was definitely an amazing experience.”

St Michael’s Cave also features a TiMax SoundHub-controlled spatial audio solution to complement the intricate projection-mapped visual show.

Viewing the final project before the attraction’s opening, Christian underlined the vital dimension audio adds to the visual element of the project: “The lighting is amazing, the projection is incredible, but the audio takes it to another level. There has never been anything like this in Gibraltar.”

The audio aspect of the project was specified and installed by Raven AV’s Dan Roncoroni, who worked closely with content producers, Zelig Sound, to create the emotive and reverential soundtracks which work with the video content. Dan advised Zelig on the content styles that would work most effectively through the system of caves. Dan credited Zelig’s Matthew Wilcock and Connor Duin, as a huge asset to the project: “They very quickly adapted to creating content for a TiMax installation and coped superbly with the challenging acoustical environment the cave presented.”

Audio content was zoned to highlight and focus on individual features of the cave, such as a huge area of stalactites that resemble an angel with stretched out wings. Dan explained: “I needed a spatial audio processor that could treat these zones independently, while also allowing content to flow through them all on a cue-by-cue basis, which singled out TiMax as uniquely capable of this.”

TiMax outputs via Dante to a total of 35 EM Acoustics loudspeakers throughout the five zones of the attraction. Zone one hosts 16 EM Acoustics EMS61s and three S12 subwoofer bass units with the four smaller zones each featuring one S12 subwoofer and EMS41s. EM Acoustics provided bespoke weatherproof versions of their standard loudspeakers to ensure they would last in the challenging space the cave presented.

The system is fully Dante-based with Linea Research installation amplifiers in the rack room and Powersoft’s half-rack sized Mezzo amplifiers located within the waterproof projector enclosures in the field. Supplementary inputs to the TiMax are provided by the disguise media server, also via Dante.

A Medialon show controller converses with TiMax, alerting it to each cue trigger. Extra TiMax inputs have been provisioned for events to be held at the venue, with programming accessible via a Medialon-controlled screen that allows the projectors and lighting to be switched to an ambient beauty state and TiMax to background music mode.

Dan concluded: “It was a tricky design but TiMax simplified the process and the sound design really does work in there.” www.chauvetprofessional.com / www.outboard.co.uk

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I llumina r i um E xpe r i e n c e s Atlan ta COMPANY: HOLOPLOT GMBH LOCATION: Atlanta, USA

Illuminarium’s immersive venues will transport millions of visitors to places they only dream of experiencing by placing them ‘inside’ the narrative, with techniques used in traditional motion picture production and virtual reality. The technology allows visitors to experience real world filmed content (like a safari) and authentic re- created worlds in an immersive environment, all without wearable hardware.

HOLOPLOT is the official Technology Partner for the Illuminarium venues, as the X1 Matrix Array meets the high requirements for tailormade and uniform coverage, audio content zoning, and immersive audio.

HOLOPLOT technology is the first to control sound so precisely that it can be steered like a laser light, using 3D Audio-Beamforming and Wave Field Synthesis algorithms. It can shape and steer sound in 3D and focus a sound beam on an individual visitor - with the person next to them unaware of what they are hearing, or when the production requires, bring a rich, vibrant, and powerful experience to every single listener.

The technology makes you see with your ears. Sounds can now easily move through, out of, and into the room – even towards and away from you. As never before, you get fully immersed in rich, all-encompassing, and spatially-choreographed 360° soundscapes that take you on an inspiring and breathtaking journey.

Illuminarium’s first spectacle is WILD: The World’s First Virtual Safari.

This interactive spectacle will showcase the beauty and splendor of the world’s most exotic animals in their natural habitats.

With the power of Panasonic’s advanced large venue native 4K laser projection technology, the Panasonic PT-RQ50k with 50,000 lm brightness, 4K resolution and vivid colour, visitors will be transported on a journey throughout different environments and habitats. The Panasonic partnership also includes the manufacturing of a unique lens for Illuminarium to produce an enhanced immersive experience.

Panasonic’s engineers collaborated to create for Illuminarium an ultra-short throw lens with minimal offset and loss of light. With this

advanced Panasonic technology, Illuminarium will truly be a visual guest experience never before realised.

Beyond sight and sound, Powersoft haptic systems built into the floor stimulates the senses through vibrating ground effects. Responsive and interactive technologies employing remote sensing LIDAR technology also play a part in the experience.

The X1 System’s exceptional performance powered by proprietary panning algorithms, enable visitors to accurately localise audio objects and their trajectory across the venue, in perfect synchronicity with the distinct visual show elements. With a centralised Matrix Array, virtual point sources can be placed anywhere, allowing sound to emanate even where there are no Audio Modules. While the visitor encounters many sonic surprises, the Illuminarium journey remains seamless. HOLOPLOT technology improves the homogeneity of sound level distribution and spectral consistency across multiple audience areas of any shape and size, giving every single visitor an authentic experience - even when moving around.

One additional challenge of the system design in the Illuminarium Atlanta venue, was the desire that the Audio Modules remain ‘invisible’ to the visitors. It was also imperative that they did not interfere with the video projection or mapping in the ceiling space. A solution has been found that allows them to be seamlessly hidden within the walls and concealed behind acoustically transparent wall-elements.

By deploying HOLOPLOT’s unique 3D correctional frequency filters, spectral uniformity is maintained by compensating for any impact of transmission loss through the screen. This is considered a huge achievement, enabling a whole new level of immersion by tying the audio content closer to the visual. Lastly, the technology’s unique control capabilities reduces the need of acoustic treatment and limits the noise breakout to other parts of the venue, despite the challenging room shape and acoustics.

Illuminarium’s immersive venue will transport millions of visitors to places they only dream of experiencing by placing them ‘inside’ the narrative, whether on a safari, at the bottom of the ocean, on top of the world’s highest peaks, surrounded by a once-in-a-lifetime sound performance or visual art exhibition, or being with the world’s most iconic personalities. llluminarium combines and amplifies techniques used in traditional motion picture production and virtual reality that allows visitors to experience real world, filmed content (like WILD, The World’s First Virtual Safari) and authentic, re-created worlds in an immersive environment, all without wearable hardware.

Illuminarium venues are super scaled, reprogrammable technological marvels that bring the immersive experience to a rarefied level. The Illuminarium’s ‘cinematic immersion’ will engage one’s entire visual and sensual framework at a breathtaking scale: visitors are completely surrounded by a massive 360×360 canvas, 350 ft in length, over 20 ft in height, with state-of-the-art laser projection, rich spatial beamforming audio (where natural and musical scores change with the listener’s location), in-floor haptics, scent and lidar-based interactive technologies.

Illuminarium Experiences is a breakthrough, global experiential entertainment company created by worldwide leaders in cinematic and interactive content (Radical Media), architectural and theatrical design (Rockwell Group) and venue operations (Legends). To contribute to the illusion of transporting audiences to the places, people and experiences they may never see in real life, Illuminarium has also assembled a team of world-class technology partners. Such partners include HOLOPLOT for its 3D Audio-Beamforming sound, Panasonic for 4K laser projection, disguise for unprecedented media playback systems and Electrosonic for total system integration. Illuminarium seeks the highest standard of immersive technologies available today with an ongoing commitment to research and development going forward.

Following Atlanta, Illuminarium will open in Las Vegas at AREA 15 in January 2022 and in Miami, at Mana in the Wynwood Arts District, in spring 2022.

www.holoplot.com

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M usic a da l M a re COMPANY: Outline LOCATION: Liguria, Italy

Although one of Italy’s smallest regions, Liguria, overlooking the country’s northwest coast, has countless places visitors to Italy definitely shouldn’t miss. From Genoa, famous for its old harbour (the fascinating city was once capital of one of the most powerful maritime republics and is still an extremely important port to this day), its huge aquarium and its fascinating age-old ‘carruggi’ (alleys), to the exclusive resort of Portofino, a favourite with the international jet setters, and quaint medieval hamlets such as Dolceacqua, famous for Monet’s painting of its suggestive bridge.

Liguria has always been a favourite destination for writers and artists, such as Byron, Shelley and D’Annunzio, and the picturesque villages of the Cinque Terre, with their colourful houses, cliff-hanging trails and terraced slopes are a UNESCO World Heritage Site.

It was therefore no surprise that the almost 500 events on the region’s 2021 summer season’s busy program to entertain tourists visiting the area’s popular beaches included many highly original projects, such as August’s ‘Musica dal Mare’ (Music from the Sea), a unique series of evenings in three of the riviera’s key locations (Calata Mandraccio in Genova’s Old Port, Giardini a mare in Santa Margherita Ligure and Rapallo promenade).

The technical set-up for these events comprised a maxi video screen, a lighting rig combining moving head fixtures and conventional units and an impressive sound system, but the unusual aspect was that the whole set-up was installed on a huge barge, towed into place by a tug.

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The Outline sound system chosen for the initiative, a ‘first’ in Liguria, comprised two vertical hangs with 15 Mantas elements each (in classic L-R format) and 12 DBS 18-2 twin 18-inch subwoofers under the stage.

Power was courtesy of the Brescia manufacturer’s T Series amplifiers.

Manning the console was DJ Federico Guttadauro, who treated tourists, after a hot summer’s day on the beach, to sets alternating his personal treatment of top international hits with sounds for the younger members of the audiences (chill-out, minimal and ambient), accompanying the splendid sunset.

Everything was staged in complete respect of social distancing and anti-contagion regulations and the first two dates in Genova and Santa Margherita attracted tourists and locals, who appreciated the initiative, which enabled them to stop and enjoy an aperitif or dinner with a unique musical background. In Rapallo, even the town’s mayor, Carlo Bagnasco, was among those who made certain not to miss the evening.

AV contractor for the events was Show Technologies, a company headquartered in Recco with 15 years experience in the design, rental, distribution and installation of professional audio, video and lighting systems for the entertainment and event industries.

Company partner, Sacha Bozzo, explained: “The event was anything but run-of-the-mill from a logistics point of view, and the Liguria Region’s initial concept underwent several changes as things proceeded, adapting to the weather conditions, which were unusual for August, with strong north-west winds causing the program to be postponed for a few days. We designed the sound system bearing in mind that it had to cover tourist ports with the public at a distance of between 50 and 150-metres from the points in which the barge was moored. The local coastguards then identified precisely the safest mooring areas, which unfortunately didn’t always coincide with the ideal positions, as far as we were concerned. For example, when we arrived in Rapallo, we found that there was a distance of approximately 250-metres of sea between the rig and the first spectators. In spite of this, the sound reached the promenade loud and clear, which surprised even us!” www.outline.it

O ne Wo r ld Obs er vato r y COMPANY: FLOAT4 LOCATION: Manhattan, USA

The One World Observatory, run by LEGENDS Hospitality, has welcomed more than 10.7 million guests since it opened in May 2015. Four digital installations act as a prelude to the Observatory experience; building anticipation from when guests enter the Global Welcome Center, to when they ride the SkyPods up to the observation decks, located on the 100th, 101st and 102nd floors. FLOAT4’s objectives were to streamline the customer journey and refresh the digital installations.

The result was an explorative voyage that connects each visitor’s origins to the future of the One World Trade Center. The four installations represent points in time, intertwining the timeline of Lower Manhattan to that of the visitor’s. The Reflection Screen, for example, serves as a visual introduction to the One World Trade Center in the present day and helps situate the visitors as to where they are in the city. The Portal Wall, right before the SkyPods, focusses on the future of the surrounding area and its changing skyline. The aesthetic of each piece becomes more and more futuristic as we travel through time.

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The largest of the four installations is the Welcome Wall – a 1,142 ft wide x 218 ft high LED video wall at the entrance hall. The content displayed oscillates between a broader view of the world and a portrait of the United States, conveying a global connectedness via the visitor’s journeys to the One World experience.

The Horizon Grid connects the visitors to the history of the area by highlighting events that have shaped it, such as the city’s beginnings as Mannahatta and Thomas Edison’s ‘Light Bulb’ moment. The threeminute piece has a defined language of layouts, colours and historical images to differentiate between the events. FLOAT4 met with One World Tour Ambassadors to gain insight on which landmarks visitor’s asked about at the observation deck, and on the history of the area.

The installations leading up to the experience deliver the necessary information and the right ambiance to take in the views at the top of the One World Observatory. FLOAT4’s content sets the stage for a quintessential New York moment.

A majority of the installation challenges were brought upon by the travel restrictions. The most recurring challenge came from data transfers and rendering. With team members in multiple locations across Canada, and one based in the United States, the team engineered a workflow that allowed collaboration on the terabyte-sized content pieces.

FLOAT4 relied heavily on pre-visualisation techniques to ensure that the narrative and the quality of the visitor’s experience was consistent throughout the space. The team rebuilt the space in the Unreal Game Engine and viewed it in Oculus Rift 2 and Oculus Quest headsets to

Fog is our passion!

Cobra 3.1

make design decisions from the safety of their own homes.

Each installation had its own technical specifications, which meant designing four pieces of content with their own irregularities. The team took advantage of the different specifications by creating ‘for‘ the installations, rather than ‘despite of.’

For example, the Welcome Wall is composed of two adjoining Planar TVF Series LED video walls that create one digital canvas around 1,142 ft wide x 218 ft high, and a curved floorto-ceiling Planar TVF Series LED video wall installation with a 1.8mm pixel pitch (TVF1.8).

The wall becomes a ‘global guestbook’ by using real-time data collected from ticket scans; for every visitor that scans a ticket, a greeting in their native language appears on the wall. An interactive particle system mirrors the movement of visitors using two Microsoft Azure Kinects. To optimise the installation’s interactivity for different entrance hall capacities, the system has three different pacing modes. The experience switches between the modes by reading the number of ticket scans throughout the day. It’s also customisable; if there are VIPs or special events, the greetings can be changed and personalised by the client.

The Horizon Grid is another example of the unusual technical specifications that FLOAT4 had to work with. The canvas is 38,000 native pixels wide, and consists of 145 LED screens of various depths. When creating content, the team had to design with the views from the different angles within the queuing experience. On the other hand, the triangular LED screens for the Reflection Screen installation inspired the team to design content with a ‘trompe l’oeil’ effect; the ambient piece gives the impression of a broken glass effect while providing a succinct view of New York City focused predominantly on Lower Manhattan.

FLOAT4 managed to successfully craft a globally accessible narrative through content and soundscaping, visually and sonically connecting all four installations to each other. www.float4.com

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OM V I nnovat i on & Te c h n ol og y Ce n ter COMPANY: Kraftwerk Living Technologies LOCATION: Gänserdorf, Austria

Kraftwerk Living Technologies was responsible for realising the technical vision of the project at OMV Innovation & Technology Center – planning, installation and programming of all technical components, including various displays, complex projections, building-wide audio system, as well as exhibit lighting. Provision was made for simple, intuitive mobile user interfaces, as well as a highlyflexible approach to automation and programming of the system. In due course, the audiovisual equipment for the various event and meeting rooms was included in the larger scope.

The system is based around a centralised concept with all head-end components housed in a single server room.

This includes video servers, audio servers, interactive computers and audio DSP/amplification. The racks are all under control with power sequencing, environmental monitoring and IP control of all devices.

The objectives were clear to provide an innovative and reliable technology system that met the needs of the project and the client, as well as the creative team.

Kraftwerk had to work closely with the various stakeholders and, whilst pushing some limits in presentation techniques, ensure that the system would entertain and educate for years to come.

The strong technological basis and interactivity combined with the aesthetic demands of the overall experience significantly influenced the audiovisual system design. In order to successfully translate the creative concepts into technical solutions, many of the setups had to be tested, in constant co-operation with other trades.

The project pushed several technical boundaries - many of the solutions had bespoke elements, or at least needed to be integrated into a bespoke exhibition element. The architecture also presented its own challenges, with the main journey taking place on a series of ascending ramps, meaning that everything had to be built according to a slope. The outer walls of the building have a torsional rotation, meaning that they are not parallel to any other surface and “twist” along their length.

These challenges required the entire project team of architects, engineers, designers and fit-out contractors

to work collaboratively in 3D, allowing for the simulation of each and every interface before any final design or production could proceed.

As a company focused on the latest available technologies, OMV wanted to reflect their state-of-the-art workflow in the same innovative way. Forces were joined to create a state-of-the-art and first-of-its-kind project in Austria.

OMV’s vision was to create an impressive space to bring the complex content closer to a broader audience in an interesting and interactive but also entertaining and educational way.

Also sustainability is an integral part of OMV’s corporate strategy. With this in mind, the team at Kraftwerk Living Technologies took several steps to reinforce these goals like using LED technology, choosing track systems that ensure no circuits are ever left on when not required and building rack systems with power management, allowing for selective control of devices from the master control and scheduling system.

The OMV Innovation & Technology Center is equipped with high end and complex media technology to create a unique visitor experience and offers various highlights.

It extends over four floors, hosts an exhibition, but also board room, meeting rooms and big event rooms for business purposes. The building structure is penetrated by an architectural cylinder like a drill – the main show.

Its rotating light staging connects the radially arranged thematic areas on a circumferential ramp – the whole exhibition “rotates” around this structure and is the guiding principle that characterises the architectural design. This can also be seen with the exterior walls of the new building, which are hyperbolically twisted by 15º.

The impressive venue with a total of 1,600 sq metre exhibition space and customised exhibits equipped with innovative media technology, the high-end presentation techniques, as well as the newly constructed building with its unique architecture make a highly innovative and exceptional overall attraction, which truly deserves its name Innovation & Technology Center. www.kraftwerk.at

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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

34 BLOOMSBURY THEATRE London 36 POP GOLF London 44 JOSHUA BROOKS Manchester 52 WORLD MESSIANIC CHURCH Brazil 54

WET REPUBLIC Las Vegas

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RADY SHELL San Diego

70 ONE22 Canberra

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

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IN B RI E F Bl oom s b ur y T h e a t r e Re - O pe ns with H A LO - C f r o m E M Ac o u stic s First opened in 1968 as the Central Collegiate Building Auditorium, The Bloomsbury Theatre, London, showcases the best of theatre, music, dance, and everything in between. In 2018, 50 years after its very first performance, the building reopened its doors following a major renovation project to update its main auditorium, which now boasts more than 500 seats. The final part of the renovation was the installation and commissioning of an EM Acoustics HALO-C PA system by theatre specialists, Autograph Sound.

Adam Broom from Autograph explained: “We predicted the space in EASE, re-hung and re-tuned the PA, added a pair of EMS-126s, and upgraded the system processing to Q-SYS as it offers a more flexible and unified control platform that suits the venue’s mixed programme and changing technical staff.”

The L-C-R system comprises three HALO-C per side for the stalls and a centre cluster of seven HALO-C supplemented by one EMS-118 subwoofer per side. Four EMS-61s serve as front fills.

Two EMS-126s serve as the circle L-R system with a further two EMS-81X as circle fills. www.emacoustics.com

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P O P GO L F EMEA

LONDON / UK

PHOTOS: ANDREW MEREDITH

Situa te d a t B O XP ARK Wembley, a 20,000 sq f t e ve nts space d escr ibed as ‘th e ultima te f an park d estin ation ’, Pop Golf of f e rs a uni qu e social e xpe rie nc e , c ombining cr azy golf with 21st c e ntury pop music in a br ightly c oloure d e nvironme nt. This u n u su al pla yg round is built on the belief that noth ing bring s pe ople together lik e music and play.

Based on a concept devised by Smith & Devil, Pop Golf features a course of nine pop-themed holes paired with a high-octane Martin Audio sound system and a visual system from CHAUVET Professional, Avolites, Samsung and Tripleplay, provided by partners, Middlesex Sound & Light (MSL).

“Key to the brief was the name, Pop Golf,” explained Darrel Oliver, Director and Project Manager at MSL. “The client wanted to provide a super high-quality audio and lighting solution that would allow for excellent playback of pre-recorded music of all genres throughout the venue, as well as good quality reliable LED based effects that could be controlled to create different themes, moods and shows during varying times of day.”

From Drake’s ‘Hotline Bling’ to retro 80s boomboxes and suspended cassette tapes, each hole is completely unique and has been designed to offer the experience of stepping straight into a music video. Hence MSL also applied some unusual twists and immersive customer interaction.

They were introduced to the project by designer, Zachary Pulman (Zachary Pulman Design Studio), with whom they worked previously on the similarly profiled, Swingers. Darrel won the pitch and was soon on-site discussing requirements for the multi-zone venue with owner, Allan Saud, of operators, Mighty Adventures. The client wanted cutting edge audio technology, that would do justice to the eclectic playlist, profiled by Creative Director, Kevin Mura (of Smith & Devil). The playlists were curated by Tin Drum, featuring different genres each night, while Open Ear delivered the platform for the music playout.

Stated Darrel: “The process began in September last year but became drawn out because of COVID. However, it was a joy to work on

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“T h e p l a ce i s l i k e a t i n c a n with high c e i l i n g s a n d h a r d sur f a ces , s o w e s pe c i f i e d a l a r ge quan t i t y o f loud s p ea ke r s w h i c h c o u l d b e under r u n , t o m i t i g a t e th e r ef l ect i o n s . ”

A bove & Below: Ea c h of th e ni ne cr az y g olf holes h a s i ts own uniq ue des ign.

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because the client had put together a complete 30-page AV presentation pack; they knew exactly what they wanted. There was a strong emphasis on powerful sound with some quirks.

For example, in the Sound Lounge experience they have used Ableton Live software run off a 32Gb iPad Pro to enable clients to interact and manipulate the sound.” Any sound source can be sent to any zone with local volume and source select by BSS remote control panels.

Explaining the loudspeaker selection, he said: “The place is like a tin can with high ceilings and hard surfaces, so we specified a large quantity of loudspeakers which could be underrun, to mitigate the reflections. We have used Martin Audio’s CDD6 many times; aesthetically it is a nice box, which works particularly well with the SX112.”

The operation exists on ground floor and mezzanine levels. In total MSL has deployed 22 CDD6 compact two-way loudspeakers.

In the Ground Floor bar, a pair of CDD6 are complemented by one 12-inch SX112 subwoofer

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concealed under the stairs.

Each of the nine crazy golf holes is served by its own CDD6 and colourcoded with its own individual RAL colour, which the Martin Audio enclosures are sprayed to match. Three SX112 subwoofers have been specified - two flown and one floor-standing - each providing coverage for three of the holes.

One twist is on Hole 3 where a giant set of headphones has been equipped with a pair of Martin Audio ADORN A55. “As clients walk through it, they trigger different sound effects,” explained Darrel.

Up on the Mezzanine, each of the two zones is identically equipped with CDD6 in each of the four corners and an SX112 handling the low frequency extension. Five Powersoft M28Q four channel amplifiers were also specified for their efficiency and high-power performance when combined with the Martin Audio loudspeakers.

DJ plug-in points have also been provided on Hole 9 - which is designed as a live stage set, with provision for live PA. Further DJ plugin points can be found in the mezzanine area for private hire clients.

Finally, MSL has provided a full AV infrastructure, with the custom lighting and many media displays used exclusively for digital signage and promo.

In each of the unique golf holes, MSL used a combination of LED and pixel lighting to bring the experience to life, creating an immersive and interactive environment for guests. 12 CHAUVET Colorado stage lights are deployed across the main golf course and mezzanine floor, with 16 bespoke Abstract AVR 500mm 360º RGBW individually controlled LED tubes placed underneath, creating a blanket of vibrant ceiling light across the venue.

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A b o ve : Th e CHAU VET Pr of ession a l light in g p r o v i d e s t he ven u e w it h spla shes of n eon colou r .

TECHNICAL INFORMATION SOUND 22 x Martin Audio CDD6 loudspeaker; 6 x Martin Audio SX112 subwoofer; 2 x BSS BLU100 audio processor; 4 x BSS BLU3 audio controller; 5 x Powersoft M28Q amplifier LIGHTING & VIDEO 12 x CHAUVET Professional COLORado Quad wash light; 1 x Avolites T1 control PC; 2 x Samsung 55-inch commercial display screen; 4 x Samsung 65-inch commercial display screen; 1 x Samsung 75-inch commercial display screen; 7 x Tripleplay TPS signage player www.popgolf.com

“We also installed eight Colorwash RGBW LED wash lights finished in a custom red RAL to provide high intensity red colourwash on golf hole one,” furthered Darrel. “Across the rest of the venue, Abstract AVR RGBW LED tape light has been used to create halo wash LED lighting effects and emphasise wall features, bar features, bar counter fronts, and golf club stands.”

Controlling the entire lighting system is an Avolites T1 control PC with touchscreen, Avolites software, Avolites T1 single universe USB interface and license. “The Avolites package offered a really simple and user-friendly interface for the client, and enabled us to create a number of patches and shows that could be easily recalled at the touch of a button,” furthered Darrel.

As well as the lighting elements of the project, MSL provided seven Samsung displays across the venue, including a large external 65-

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inch Samsung commercial display screen. All screens are set up and controlled using Tripleplay’s TPS cloud based digital control signage solution, and the original content displayed on the screens, created the project’s Creative Director, Kevin Mura, can be set up and scheduled to play at any point during the day, further enhancing the guest experience.

This is the first Pop Golf venue in what is being positioned as a gradual brand roll-out.

Allan concluded: “The audiovisual system, recommended and installed by the MSL team, has ensured we are able to deliver the unique music experience that we want for our clients. It is both powerful and versatile, making its mark in both the interactive features as well as over the nine golf holes, where the loudspeakers and lighting elements blend in seamlessly.”

The excellence of Made in Italy

www.tasker.it

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J O S HUA BR O O K S EMEA

MANCHESTER / UK

S i n c e i ts inc e ption in 1993, J osh ua B rooks h a s playe d h ost to some of th e big g e st n a m e s ac ross th e g lobal da nc e sc e ne .

Re c e n tly, th e long -standing Manc h e ste r c l u b r e launc h e d with a c a re f ully c urate d c a l e ndar and bra nd-ne w a udiovisua l s y ste ms f rom Void Ac oustic s a nd C H AU VE T Prof e ssiona l.

Joshua Brooks in the city of Manchester, UK, is somewhat of a clubbing cultural institution. After playing host to The Chemical Brothers’ first ever residency back in the early 90s, the venue has continued to welcome internationally renowned DJs to its bare-bricked basement, connecting the cities most committed clubbers to the chest rattling beats of house and techno greats.

During the COVID-19 pandemic last year, Joshua Brooks became available to take over, and, not wanting to see it fall victim to another COVID permanent closure, Director of JBM Music and Events, Jorge Meehan, snapped up the superlative space: “JBM Music has been running events in the city for years, so once I had the knowledge that it wasn’t going to reopen as a club/bar, we took it over on a 10 year lease.

We’ve spent a lot of money on the venue, redeveloping and renovating it. It’s always been such a popular space within the city, and we really didn’t want to see it go.”

As part of the venue renovations, Jorge and his business partner, Brian Murphy, wanted an audiovisual system that would make the club an immersive, decade defining space, bringing it out of its previously minimal aesthetic. Working with the venue’s Production Manager, Tim Hawes, and integration company, Neuron AV, new audio and lighting systems from Void Acoustics, Pioneer Pro Audio, CHAUVET professional,

Elation and Chamsys have been installed, constructing a creative space for clubbers to lose themselves in the music.

During the design process, the aim was to totally redefine the basement venue by taking out the existing DJ booth and replacing it centrally, with more of an open space. By moving the DJ booth out of its cramped corner and adding in risers for guests to stand on during club nights, it is now possible to see the DJ from any area of the venue. Three Pioneer CDJ 3000s, along with a Pioneer V10 mixer are used as the main mixing console, an easy choice for the Joshua Brooks team. “These consoles are like gold dust now. All of the events and festivals we organise specify this kit from Pioneer. To have this level of kit in a club this size is phenomenal!” explained Tim. Known for its commitment to creativity and club sound legacy, Void Acoustics loudspeakers were already in place at the venue, after being installed by Neuron AV back in 2014. Jorge and Brian decided to keep the existing system, as they were familiar with the brand and knew it was already a high-performing system.

“We were initially approached by the in-house promoter at the time back in 2014, who was unhappy with the previous installation at the venue,” explained Alex Morgan, Director of Venues & Installation at Neuron AV. “After lengthy negotiations, we were able to agree on the

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first part of the current system. This has been tweaked and added to over the years, but now that JBM Music have taken over, it finally feels like the venue has got the right team behind it who want to unleash its full potential.”

Neuron AV have a long-standing relationship with the team at JBM and worked with them on their redesign of the venue, advising on layouts and how to give the system a proper refresh. With a varied programme of dance music events planned, it was important to have a system capable of dealing with enough SPL, as well as having great bass impact.

The all-white Void Acoustics system is also aesthetically stunning. “We were totally behind the idea of bringing the fixed DJ booth back to a central position and making sure there was enough coverage from the system throughout the venue by adding some new fill loudspeakers and upgrading the monitors,” said Alex.

The main system comprises a pair of Void Acoustics Air Motion loudspeakers with two Stasys XV2 double 18-inch subwoofers. This is supplemented by a pair of Void Acoustics Air Motion loudspeakers with a Venu 215 V2 subwoofer in the bar area and a Cyclone 8 fill loudspeaker for the raised area adjacent to the dancefloor. A pair of Void Venu 12 V2s have also been added for DJ monitors to upgrade the existing setup. The venue runs on Void Bias amplifiers, mainly so that the team could access Void’s presets and warranty, with all the processing carried out by the internal DSP of the amplifiers.

Alex furthered: “We decided to keep a lot of the existing system as it was designed to cover the main space when it was first installed and does a great job of doing so. Just adding in a few extra fills now budget became

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B e l o w: The ba r a r ea in sid e t he clu b.

L e f t & B e l o w : Th e ven u e is n ow a c omplet ely i m m e r s i v e e x p e r ien ce f or c lu bber s.

available helped fill a couple of dead spots. I know the JBM guys will look to continue to develop and improve the tech in the club into the future, too.”

Before Jorge and the team got their hands on the venue, Joshua Brooks was lacking a lighting package that could further enhance the sell-out shows the venue was holding every week. With a focus on vibrant colour and LED strip lighting, the team spent a lot of time exploring different manufacturers and finally arrived at CHAUVET Professional, chosen mainly for its range of products and appealing colour output.

56 CHAUVET Professional ÉPIX Strip Tour pixel mapping LED strips pulsate across the heads of partygoers pushing beams of light across the venue and into the bar and chill out areas. Behind the DJ booth, four CHAUVET ÉPIX Bar Tour LED bars create beams of light that bounce from the DJ across the venue, and six Showtec Sunstrips light up the DJ area, creating an accessible, well-lit space for performers, too. The control is handled by a Chamsys MQ80 desk.

“We’ve got 21 universes with 150 channels per strip, so we needed a control system that could deal with that amount of data. The Chamsys MQ80 was the obvious choice for us in terms of functionality, and I’ve been training people up on it as it’s simple and really easy to control, which is what we wanted,” explained Tim. As well as the strip lighting that runs across the ceiling, six CHAUVET Intimidator Beam 335s and two Elation Protron 3K LED strobes were installed to illuminate specific areas of the dancefloor, and the team kept and repurposed some of the original par lamps in the corners of the venue to create a completely immersive lighting package. “Before we did the refit, there wasn’t really much going on in terms of lighting. The main comment we get now that we’ve opened back up again is: ‘wow, I didn’t even realise it could look this nice!’, so getting feedback like that is great and has made working so hard on this project and going over budget totally worth it,” said Jorge.

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Shaping The World With Truss

Get an inspiration at www.taf.cz

Made in the Czech Republic | Truss Aluminium Factory a.s., Hodolany 1226, Olomouc 779 00, CZ | E: taf@taf.cz T: +420 730 893 969

As the project was conducted during 2020, the team ran into their fair share of troubles due to the COVID-19 pandemic. There were the obvious issues with building materials and access to labour, as well as onsite testing of staff, but as the venue was forcibly shut, it gave them the opportunity to work on the project without feeling the need to rush to reopen. “It was great that we were able to shut the venue for a few months and do the work, as in normal circumstances this would’ve been impossible,” furthered Jorge. “We knew that the date we’d be able to open would be around July time, so we tried to work to that being our deadline. It was still a frantic rush to get everything ready in time, though!”

With its newly renovated audiovisual systems and eye-catching clubbing calendar, Joshua Brooks is set to be a club that will continue to be at the forefront of Manchester’s legendary nightlife scene for years to come.

As venues start to reopen after such a turbulent year, Joshua Brooks encapsulates everything we’ve missed about nightlife, a captivating, carefree space to fully let go. “We went above and beyond to get the venue finished and looking like it does, and we’re now fully booked up until 2022!” concluded Jorge. “There are agents and DJs seeing the new space and thinking, ‘we have to play there’, the demand is insane. We’re punching way above our weight in terms of the artists we’re booking, and I know that’s down to the hard work we’ve all put into creating such a brilliant club.”

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VEN U E - EM EA | W W W .M O ND O D R .C O M

A b o ve : V o i d ’ s A i r Mot i on V 2 lou dspe ak e r s w er e a n o br ai n e r for t he c lu b.

R i g h t : T h e C H A U V ET P r ofe ssi on al LED b a r s p u lsat e ov e r t he au di e n c e .

“T h e re are a g e nts a nd D Js seein g the ne w spa c e and th inking , ‘we have to pla y th e re ’, th e de ma nd is in san e.

W e ’re punc h ing way a bo ve ou r weight in te rms of th e artists we’r e book in g, and I know th a t’s down to the har d work we ’ve all put into cr eatin g su ch a brillia nt c lub.”

TECHNICAL INFORMATION SOUND 2 x Void Acoustics Air Motion V2 loudspeaker; 2 x Void Acoustics Air Ten V2 loudspeaker; 1 x Void Acoustics Cyclone 8 loudspeaker; 2 x Void Acoustics Venu 12 V2 loudspeaker; 2 x Void Acoustics Stasys XV2 loudspeaker; 1 x Void Acoustics Venu 215 V2 subwoofer; 1 x Void Acoustics Bias VQ amplifier; 1 x Void Acoustics Bias Q2 amplifier; 1 x Void Acoustics Bias V9 amplifier; 1 x RC Audio Leveliza processor; 3 x Pioneer Pro Audio CDJ 3000 multi player; 1 x Pioneer DJM-V10 mixer LIGHTING 56 x CHAUVET Professional ÉPIX Strip Tour LED strip; 4 x CHAUVET Professional ÉPIX Bar Tour LED bar; 2 x CHAUVET Professional ÉPIX Drive 2000 IP processor; 6 x CHAUVET Professional Intimidator Spot 355 spotlight; 3 x CHAUVET Professional Intimidator Beam Q60 beam; 6 x Showtec Sunstrip; 2 x Elation Proton 3K LED strobe light; 1 x Chamsys MQ80 control desk www.joshuabrooks.co.uk

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IN B RI E F Star Lighting Division Captures the Cosmic Energy of the World Messianic Church Temple The beautiful, architectural design of the World Messianic Church Temple (Solo Sagrado de Guarapiranga), Brazil, was recently illuminated by Star Lighting Division.

The main building is a temple built in the shape of a ring, supported by 16 pillars of 18-metres high, in composition with a 71-metres high tower. The structure is said to represent all directions in the world that aim to capture cosmic energies, with an open ceiling surrounded by the natural world.

The main point of this project was the preservation of the history and traditions that this temple represents. From there, Star Lighting Division developed a lighting system using its highperformance equipment, creating a heavenly and harmonious environment that provided calm and peace, whilst also interacting with people and nature.

LED and wireless technologies reduced the energy consumption and use of materials, ensuring a more sustainable, efficient and intelligent result. www.starlightingdivision.com

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W ET REPU BLIC A M ER ICAS

LAS VEGAS, / USA

Part of MGM Grand Las Vegas, Wet Republic is the ultimate, 54,500 sq ft outdoor day club in the rolling hills of the city’s strip, comprising intimate pools, daybeds, banquets, bungalows, and party cabanas, making it the go-to day party destination for world class DJs and dedicated dancers alike. The club is part of the Tao Group Hospitality’s outstanding portfolio of venues, that also includes; Omnia, Hakkasan and Marquee to name but a few, and has been graced by some of the biggest names in the industry, including Calvin Harris and Steve Aoki.

The venue underwent a major renovation in early 2020, which saw new audiovisual systems specified and designed by Audiotek, who have a long-standing relationship with the team at Tao Group Hospitality.

“Audiotek has had a long and fruitful relationship with the management team and their previous international projects, including Godskitchen and the Global Gathering festival,” explained Frank Murray, Founder, Audiotek.

“This relationship has strengthened as their presence in Las Vegas and North America has grown, with iconic clubs like Omnia, Hakkasan and Jewel leading the way and establishing their stature worldwide. These landmark projects cemented the relationship we had nurtured with the individuals and the group, and was strengthened in Cabo, Mexico and Dubai, with the expansion of their beach club brands, too.”

However, two weeks after the ribbon cutting and unveiling of the brandnew, state-of-the-art technology, the club was forced to close due to the pandemic, mirroring the hospitality sector’s devastating COVID-19 experience. “We completed the project right before the pandemic hit, so we had two weekends of events and then spent the better part of a year with an empty venue with not much going on,” explained James Algate, Senior Vice President of Entertainment and Brand Strategy at Tao Group Hospitality.

During this time, the venue operated as an extension of MGM Grand’s resort pool allowing people to use the day beds and other facilities it provided, but the eclectic entertainment that it prides itself on was missing. “We were unable to book any entertainment due to local restrictions, social distancing and other mandates. However, since we reopened again in June this year, it’s been phenomenal. We’re now back to delivering the unforgettable experiences that we did pre pandemic, and the new technology installed has only heightened that.”

The brief from James and the team at Wet Republic was to create an ‘unbelievable experience for guests’ that would continue to position the venue at the forefront of Vegas’ day club scene. The original sound system had been in place for over 10 years, and, from the beginning, James knew that a brand-new system comprising L-Acoustics products would be the perfect match for Wet Republic. “We’ve completed other very successful projects across Vegas and the globe using L-Acoustics products. We’ve always been incredibly pleased with the quality and great service the brand offers, so we knew that using L-Acoustics on the

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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

C omprising lar ge pools, intima te d ippin g pools, daybe ds, ba nq uets, lu x u r iou s bung a low s, an d d elu x e c a ba na s, Wet Repu blic provide s gu ests with the ultimate pool par ty ex per ien ce.

B e l ow: T he m ai n pool ar e a at We t Re pu bli c .

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Wet Republic project would massively improve the guest experience.”

Frank and the team at Audiotek used L-Acoustics’ modelling software to maximise the performance of the system. The location presented several challenges due to the highly residential surrounding area, which also included guest accommodation, so they had to be aware of sound spillage and disruption, while also ensuring maximum performance and atmosphere within the venue. By using the modelling software, Audiotek was able to maximise high-energy audio on the more crowded parts of the club, and, for the quieter, private cabana areas, L-Acoustics X Series infill cabinets were supplied to provide good-quality sound and atmosphere.

Installed in the main area of the club are 18 L-Acoustics KARAiW two-way line arrays positioned L-R, along with eight L-Acoustics KS28 subwoofers. In the VIP areas, six KARAiW loudspeakers were specified, and the cabana / bungalow fills benefit from 10 L-Acoustics X8W two-way passive enclosures, as well as six L-Acoustics SB18iW subwoofers. Amplification comes from six L-Acoustics LA12X amplifiers and four LA4X amplifiers. “L-Acoustics is a great brand that we have been reassured by in the quality and integrity of the support personnel, as well as in the design and robust sonic quality of its components and products,” explained Frank. “Quality, reliability, accuracy, build quality, and attention to detail were all

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AUD I O TEK

C OMPAN Y PR OF I L E

Audiotek was founded by Frank Murray in Dublin in 1982, and quickly established a reputation for providing high impact audio installations in many of the country’s most favoured pubs, restaurants and nightspots.

Starting out with some very prestigious locals clients and venues, The Kitchen Nightclub for U2, Annabels ~Dublin for Doyle Hotels, and doing ground-breaking clubs such as Godskitchen, Birmingham, and Fabric in London, Audiotek started globetrotting with clubbing pioneers such as Coastline and Savannah in Ibiza and TLV in Tel Aviv.

Over the years, as clubbing became less an alternative cultural force and evolved into a mainstream element of hospitality, Audiotek has grown internationally as a company.

The team has also grown with key personnel; Chris Kmiec, Len Bolger, and Mags Morton leading its technical departments and worldwide installation teams.

Through dedication to its client’s vision, Audiotek became partner to high-end hospitality chains including; Sekaya, MGM Resorts, Mandarin Oriental, Alila Hotels, Hakkasan, Omnia, Jewel and Opium.

Today, Audiotek services a host of sectors and venues from commercial retail projects and corporate environments, restaurants and bars, racecourses and leisure centres, to large residential installations and hotel chains.

Above: W et R e pu b l i c i s c ompri se d of d if f erent a re a s i n c l u di n g pa rt y cabanas, bung a l ows a n d pool s, a l l provid ing gu e st s wi t h t he i r own unique ex p e ri e n c e .

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key elements in L-Acoustics winning over the management team and earning their loyalty across seven international and headline venue projects in three continents.”

Pioneer Pro Audio DJ equipment is also used at the club, with one DJM900NX2 and four CDJ2000NX2s installed, along with two Shure wireless microphones. However, Tao Group hospitality is currently in the process of upgrading all of its venue to Pioneer’s CDJ 3000’s. Six L-Acoustics KARAiW and four

SB18iWs are also in place as the main DJ monitors. “Pioneer is the DJ industry standard and the equipment we use in every one of our large-scale club and festival projects worldwide. We wanted this same high-quality equipment that performers will be familiar with at Wet Republic, too, that’s why we chose to go with the brand.”

Along with the venue’s sonic sound quality, an intricate cantilevered cube-shaped LED display was installed in the main pool area of

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the club, using products from Absen and Taylorleds. The video board is the backdrop of the venue and encapsulates the DJ, creating a parallelepiped portal to another world, with custom designed content and blue hues that bounce off the pool. “Our mantra throughout this whole project has been to not replicate what other institutions are doing, delivering our own bespoke experience for our guests,” furthered James.

Before the 1,200 sq ft Taylorleds P3 HD 4K IP outdoor video wall was installed, Wet Republic had a standard flat LED screen that ran content throughout the day. The idea behind the cube construction was to create something unique and different to what people would see in other clubs, as the panels can be assembled to achieve a 3D corner, creating more outstanding effects.

Absen and Taylorleds products were chosen for their high-quality video screen technology, and are brands that Frank has, again, always had faith in. “We have tested these screens indoors and outdoors across three continents, from Las Vegas to Mexico, Indonesia, Dubai and back to the UK and Europe. We’ve used them across a range of installations, from major universities to exhibition centres and retail projects, and each time audiences have been wowed by their amazing capabilities.”

The project was ran by Audiotek’s lead technical team on site, Rob Sherry, Chris Kmiec and Ash Attwood who worked

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tirelessly to complete the project under the looming threat of COVID-19. Vicent Congliaro of Salvin – Audiotek’s long time SFX collaborator – also added a touch of magic to the site, supplying CO2 and confetti canons to the performance spaces.

After a pretty quiet year for Vegas’ original day club, Wet Republic is now back and bigger than ever, with a calendar boasting big names such as Martin Garrix, eager to play the revamped venue. The importance of good-quality audio and video is more than apparent at the space that is sure to be at the top of every club-goers bucket list. “We’re a 3,500-capacity venue and since June this year, we’ve been filling it every weekend,” concluded James. “This summer has been incredible since we came out of lockdown and I’m really looking forward to seeing the club continue to excel over the next few years as our guests witness the new production elements.”

Frank furthered: “Tao Group Hospitality’s Technical Manager, Gerardo Gonzalez, provided invaluable support and assistance - as always – on this project, too, overseeing and smoothing the installation process at a time of deep uncertainty and upheaval within the industry and the city.

Gerardo has been a huge help and partner on all our Tao Group projects. Our thanks and gratitude is immense to this invaluable friend and associate.”

TECHNICAL INFORMATION SOUND 24 x L-Acoustics KARAiW line array; 10 x L-Acoustics X8W loudspeaker; 8 x L-Acoustics KS28 subwoofer; 6 x L-Acoustics SB18iW subwoofer; 6 x L-Acoustics LA12X amplifier; 4 x L-Acoustics LA4X amplifier; 1 x Crestron control screen; 1 x Pioneer DJM900NX2 mixer; 4 x Pioneer CDJ2000NX2 multi player; 2 x Shure wireless microphone VISUAL Taylorleds P3 HD 4K IP cuboid video wall

Lef t: T he ven u e i s Ve g a s’ ori g i n a l d ay club.

Above: T he i n c re di b l e Ta yl orl e ds vid eoboard .

Right: A chi l l - ou t a re a i n si de W e t Republic.

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San Diego Symphony

TH E RAD Y S HE LL A T JAC OBS PARK A M ER ICAS

SAN DIEGO / USA

A new , v i s u a l l y - s t u n n i n g outdoor concer t h a l l i s e n h a n c e d with state of -th e- a r t a u d i o a n d l i g h t ing syste ms tha t en v e l o p a n d i m m e r s e th e a udienc e .

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The $85 million Rady Shell at Jacobs Park, the new outdoor home of the San Diego Symphony, is an architectural wonder on the edge of San Diego Bay and in the heart of the city’s downtown. The captivating architectural construction, by lead architect Greg Mueller of Tucker Sadler, is a work of art in itself and the centrepiece of a newly-upgraded public park, will highlight the city’s worldclass orchestra, while hosting a variety of musical acts.

Designed to complement the sails of the nearby San Diego Convention Center, the concert shell is wrapped in a translucent flexible material that covers a generous 13,000 sq ft performance space for accommodating the full orchestra and guest artists. The sheer size of the bayside structure - 57 ft high, 92 ft wide at stage front - makes it amenable to hosting large productions, while enabling orchestra musicians to hear and respond to one other, as well as they would in a top-tier concert hall. Depending on the event, audience capacities and setups at the Rady Shell are able to vary widely, from intimate two- and four-person table seating arrangements to standing crowds of up to 10,000.

The Shell, as the venue has come to be known, is a striking addition to the San Diego skyline. However, as well as being

a spectacular architectural feat, it also packs a huge amount of state-of-the-art technology, with numerous companies working on the project to deliver audio and lighting that enhances the venue.

When it came to the audio, to create an optimum acoustical listening environment that can be fine-tuned for various performances, a Meyer Sound Constellation acoustic system was installed inside the shell - making it the first Constellation system designed for stage acoustics in an outdoor venue.

Equipping the shell structure with an active acoustic system for monitoring was strongly recommended by Shawn Murphy, an Oscar-winning film score mixer - and frequent FOH engineer for high-profile outdoor orchestral events who served as special consultant to the symphony. Meyer Sound’s Constellation team designed the acoustic system, with complementary physical acoustics entrusted to Salter, the project’s acoustical and AV consultant.

Because many performances at the venue - most notably amplified pop or rock - would not use the Constellation system, the Salter team was given a two-fold brief: design a baseline acoustic that would support Constellation, but would also provide a good environment when Constellation was off.

“As far as the acoustic signature inside the shell, it is quite similar to a large Hollywood sound stage,” said Salter Vice President, Jason Duty, who took over as principal acoustician on retirement of David Schwind. “It has a mixture of diffusive and absorptive elements, but little for reflection across the stage because that is handled by Constellation. We didn’t want it totally dry, as they wanted the stage to have a bit of life when the system was off. We definitely understood what the Constellation team was looking for.”

Jason Rothberg

A b o ve l e f t : Th e s p e c t a c u l a r l y designed Rady Shell.

A b o ve : E l at i o n l i g h t i n g at t h e venue.

L e f t : Th e R a d y S h e l l ’s s t a g e .

Jason Rothberg

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Jason Rothberg

A b o v e: T h e i n c r e d i b l e S an D i e g o s k y l i n e prov i di n g th e b ac k d r o p t o Th e R ad y S h e l l .

Belo w : Ela ti on , Me y e r S o u n d a n d L - A c o u s t i c s tec h nol o g y i n s t a l l e d at t h e v e n u e .

Jason Rothberg

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For Jason, the shell structure’s size, location and variety of performance styles made active acoustics the preferred solution: “Constellation is incredibly helpful in situations like this. The venue is right on the harbour, and having the control to let musicians clearly hear players on the other side of the stage is beneficial. In addition, there is the flexibility to adjust the acoustics to what you are hearing in the moment.”

The Constellation system, which was integrated by Solotech, comprises 25 UPM-1XP and 22 UPJunior‑XP remotely selfpowered loudspeakers, with 12 UMS-1XP remotely selfpowered subwoofers to extend the reverberation envelope to the lowest registers. DSP for driving the system is supplied by an eight-module D‑Mitri digital audio platform, with two modules dedicated to hosting the patented VRAS variable room acoustic algorithm. Ambient sensing for the regenerative reverberation is provided by 20 Schoeps MK41 microphones with CMC6 preamps.

The Shell also has an immersive L-Acoustics PA system, which was designed in Soundvision by François ‘Frankie’ Desjardins of Solotech. Working in tandem with Shawn Murphy, Solotech integrated the venue’s full AVL system.

The system comprises two main arrays of 16 L-Acoustics K2 per side, flanked by two hangs of eight cardioid-configured KS28 subwoofers per side and a centre array of nine K2.

Another 16 KS28, also in cardioid configuration, are located underneath the stage.

In addition, six towers comprise the surround elements of the 7.1-type system design: two side-surround towers per side (for a total of four) hold four A15 Focus loudspeakers each, with the rearmost tower on each side also holding six Kara II with mechanically adjustable high frequencysteering fins. Two rear-surround towers are fitted with

four Kiva II and two SB15m subwoofers each.

The system is powered by two dozen LA12X amplified controllers, with system processing

by L-Acoustics’ LA Network Manager.

While it’s designed to project the orchestra across the wide span of the open-air venue, this powerful PA system will also offer Rady Shell and the San Diego Symphony a highlyflexible venue that will easily accommodate a wide range of visiting artists. It will also give the orchestra the impact it desires when performing live scores from movies shown at the park. Solotech Business Development Manager and Senior Engineer, Aaron Beck, said the immersive design of the system reflects the growing demand by touring artists for that type of sound - and the L-Acoustics system at Rady Shell does just that - very cost-effectively: “One way we’re achieving that sense of immersion is by taking some of the reverb returns from the FOH console and sending them to the surround loudspeakers, which really enhances the immersive effect.”

Aaron also noted that the large number of subwoofers has less to do with impact than with directionality, always a difficult goal to achieve with low frequencies: “It’s not so much about output as it is about control of the low frequencies. There are very strict noisecontrol measures in place here and on nearby Coronado Island, and the KS28 subwoofers in the cardioid configuration give us tremendous ability to steer that energy where we want it to

be and away from where we don’t want it.”

The same goes for the K2 Panflex horizontal steering technology, too, which combines mechanically adjustable fins with DSP algorithms effective from 300 Hz. “It’s all about putting the sound on the seats and keeping it from escaping the venue,” Aaron added. “K2 gives us not only excellent sound quality but also the tools we need to stay in compliance with local noise ordinances.

Soundvision was incredibly helpful for that.”

San Diego Symphony Audio Director, Joel Watts, explained that the sound system is highly unique and particularly effective for amplifying a symphony orchestra in an outdoor environment: “In a space like this, where the seating goes back a full 200 ft, the only way to fill it with acoustical music, is with amplification. But it has to be done in such a way that everyone hears only the music, never the loudspeakers.

“And that’s especially true of a surround system like this. If you truly hear the surround loudspeakers, then they’re too loud. These are the only loudspeakers that can achieve this.

You hear only the music, not the system. And it sounds marvelous.”

Joel also pointed out that the asymmetric configuration and precise placements of the loudspeakers allow the orchestra to achieve full impact without exceeding the noise restrictions: “We have full dispersion to one side of the system and virtually none to the

other side, thanks to the fins on the K2. It focusses the sound and keeps it on the seats it never crosses the lease line.”

In addition to allowing the venue to achieve the rare goal of properly amplifying a symphony orchestra, the L-Acoustics system also makes the venue fully rider-ready. “We need to keep labor and time costs to a minimum, so we hope no one needs to bring in a PA; everyone should be happy using ours,” Joel added. “And ours is often the same one they’ll carry anyway.

That’s why we chose L-Acoustics.”

“It does look as good as it sounds,” said Aaron.

“The white exterior wrapping material is a kind of plastic cloth and the interior is covered with a white scrim material. L-Acoustics was able to provide an entire K2 system in white, as well, to match it. It’s only the second one like it; the other is the Hollywood Bowl. The way it all works together visually is quite wonderful.”

The immersive nature of the PA system required powerful and sophisticated mix platforms to control it, which is why the San Diego Symphony chose three DiGiCo consoles for the task. A Quantum7 is installed as the FOH mix desk, with a DiGiCo SD10 for monitor mixing and an SD12 on hand for any auxiliary mix and processing needs. The three consoles, three SD-Racks located on stage, and a MiniRack in the amplifier room are all on a dual Optocore network.

“There are several reasons why we chose the DiGiCo consoles, and they are all areas that the

Jason Rothberg

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Jason Rothberg

brand excels in,” explained Aaron. “First, there’s capacity - the Quantum7 can run 200-plus inputs. Then there’s the Quantum processing power.”

Aaron cited features like Quantum’s Mustard Processing channel strips, Spice Rack pluginstyle native FPGA processing options, and Nodal Processing all as standout features. “Plus, there’s the overall quality of the sound, which is exceptional,” he added.

The Rady Shell at Jacobs Park will see scores of visiting touring groups each year, many of whom will bring their own audio engineers and all of whom will be familiar with DiGiCo console architecture and operation. That familiarity will be important for more than just operational reasons. Jacobs Park is located within a major metropolitan area that, like many, has stringent noise regulations. San Diego has deployed NTi Audio noise measurement devices nearby that automatically issue reports via cellular data to key elements of the city’s environmental control, as well as directly to the house engineer at Rady Shell.

“The venue’s engineer can adjust the overall volume of the entire system from the FOH console when necessary to keep every show within compliance,” furthered Aaron.

With its state-of-the-art audio system, The Rady Shell is one of the most acoustically superior outdoor concert venues in the U.S., though it also has a first-class lighting system to match, supplied by systems integration, sales and production firm, JRLX, Inc. Chicago-based JRLX provided lighting fixture specification, consultation, and application support for the venue’s lighting fixture package and installation, while Solotech handled the lighting infrastructure, data distribution, audio and video.

The Rady Shell’s lighting design is by Jason Rothberg, who has served as Technical Director

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at the San Diego Symphony since February 2020 after working for more than 20 years as a touring designer/director. Acclaimed theatrical consultants, Schuler Shook, originally completed the initial design months prior to Jason’s arrival.

As the needs of the venue were further defined and modified, Jason worked with Schuler Shook and JRLX to assemble a revised specification and multipurpose lighting system.

“As a touring LD and having worked in many venues over my years on the road, I knew we wanted the design to be very tour friendly, rider friendly and LD friendly,” stated Jason. “That was the idea behind the design. A super simple, clean, symmetrical design that uses only a few fixture types, something anyone could come in and clone from to make any kind of show happen.”

Jason consulted with Jason Reberski, CEO at JRLX, for hours to hash out the details of the lighting package: “It became apparent in talking with Jason early on that this was no ordinary lighting system,” Jason Reberski explained. “The demands placed on it would be tremendous; throw distances of 300 plus ft, overcoming daylight, the need to be flexible and capable of achieving many different aesthetics, and all while needing to be 100% IP65 rated. We worked closely with Elation and Jason to aid in specifying a package to achieve these goals.”

While ease of use for lighting pros who come into the venue was essential, the rig had to work best for the venue’s resident symphony orchestra, which meant lots of top down white light. With trim heights ranging from 25-40 ft, they needed a fixture that could get wide enough at the lower trims but then stay bright enough from the higher positions. Moreover, sitting right on the ocean, moisture, dew, and worst of all salt-air, were problems to contend with.

“We wanted to avoid ugly-looking enclosures,

Abo v e: The Ra d y Shell of f c ia lly open ed in Au gu st 2 0 2 1.

© Photo by Mihály Podobni

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so we needed the rig to be fully IP-rated,” Jason said. “There were already 12 Proteus Maximus on that original spec when I came onto the project, for the towers out on the lawn, but I didn’t know anything about them. As I looked into them, and then the rest of Elation’s IP-rated line, I discovered they had all the options we needed - Leko, moving wash, static wash, and profiles.”

The original spec listed a wash, a profile and a spot fixture but Jason found the Maximus could do it all in one fixture: “I went from three fixture types to one fixture type that could do the same thing and then some. Plus, it gave me a purer white, was brighter and had CMY.” The 13,000 sq ft concert stage is covered by a canopy of concentric, oval rings with an inner liner slit five times to expose catwalks. 37 Proteus Maximus hang from five overhead electrics, while 12 units work from six towers (two per tower) that range from 120 to 320 ft from the stage.

The six towers surrounding the venue also house 36 compact Paladin Cube RGBW floodlights, six fixtures per tower, that set the towers aglow from within. It’s an eye-catching sight that adds to the immersive feel and amplifies the overall beauty of the space.

Joining the Maximus fixtures on all five overhead electrics are 34 IP65-rated Proteus Rayzor 760 wash and specialty effect lights.

Paladin Panels, outdoor floodlights with 50 15W RGBW cells, work from electrics 2-5 for toplight washes for the orchestra while doubling as strobe lights for other shows. “One aspect that I’m particularly happy with is the use of Elation Paladin Panels as symphony top-light with custom City Theatrical egg crate louvers,” stated Jason Reberski. “We designed the accessories to both reduce glare and also accommodate an internal filter media frame to accept holographic diffusion so that as the fixture trim height changes we are able to achieve a homogenous stage wash. When Jason mixes a CTO, it looks just like a traditional tungsten top light system.” Additional Paladin Panel fixtures work from all six towers.

Not only can the rig cover a wide range of musical genres no matter who graces its stage, the lighting system is all LED, meaning the venue is saving on power, maintenance, and expendable costs like bulbs versus a traditional rig of halogen fixtures.

“I’m super happy with the way everything has worked out,” Jason concluded.

“Going with Elation, we were able to double the fixture count while maintaining the quality, performance and brightness. It’s a rig the Symphony will benefit from for years to come.”

Thanks to San Diego’s famously mild weather, the new venue anticipates year-round operation. It will host more than 100 concerts and events a year, either by the symphony or other organisations, promoters or convention groups. The Symphony’s opening weekend at The Rady Shell at Jacob’s Park was on August 6-8, with an inaugural season of concerts running through to November, featuring musical talent such as Smokey Robinson, Yo-Yo Ma, Brian Wilson, the Symphony’s Music Director Rafael Payare and many others.

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TECHNICAL INFORMATION SOUND 25 x Meyer Sound UPM-1XP loudspeaker; 22 x UPJunior‑XP loudspeaker; 12 Meyer Sound UMS-1XP subwoofer; Meyer Sound D‑Mitri digital audio platform; 20 x Schoeps MK41 microphones; Schoeps CMC6 preamps; 1 x DiGiCo Quantum7; 1 x DiGiCo SD10; 1 x DiGiCo SD12; L-Acoustics K2 loudspeakers; L-Acoustics KS28 subwoofers; L-Acoustics A15 Focus loudspeakers; L-Acoustics Kara II loudspeakers; L-Acoustics Kiva II subwoofers; L-Acoustics SB15m subwoofers; L-Acoustics LA12X amplified controllers; L-Acoustics LA Network Manager LIGHTING 55 x Elation Proteus Maximus lighting fixture; 36 x Elation Proteus Rayzor 760 lighting fixture; 48 x Elation Paladin Panel floodlight; 40 x Elation Paladin Cube floodlight; 11 x Elation WW Profile HP IP (five-degree) ellipsoidal; 33 x Elation WW Profile HP IP (19-degree) ellipsoidal; 16 x Elation WW Profile HP IP (26-degree) ellipsoidal; 9 x DTW Blinder 350 IP www.theshell.org

IN B RI E F Fir s t A s ter a NY X B u l b I n s t a l lation i n A us tr a l ia The first Astera NYX Bulb installation in Australia has been completed by Elite Event Technology (EET) at One22, a brand-new music-driven bar and night entertainment concept in a meticulously reimagined space that has long served night and party people in Canberra.

One22’s new lighting design includes 60 Astera NYX bulbs in an individually mapped ceiling art piece. The NYX Bulbs are controlled via a ChamSys MagicQ PC with data fed to the bulbs via a Lumen Radio wireless network. The club has an iPad in an iPort ‘ruggedised’ induction charging case which is running on a dedicated enterpriseclass mesh Wi-Fi network also installed by EET. The ChamSys remote app on the iPad is used to access preprogrammed pages so the duty manager can select a variety of different lighting looks and effects to suit the mood and the music of the moment.

Everyone is blown away by the NYX Bulb installation and its impact which is getting plenty of attention. www.astera-led.com

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Photos: Darren Russell

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NEW WEBS I TE GUIL A UNITED WEBSITE TO SHOWCASE THE GUIL GROUP’S DYNAMISM

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The GUIL Group has been manufacturing lifting, staging and other equipment - under its own name and for other companies - since 1983, with different lines of production aimed at various professional sectors. This diversity of output was previously reflected in its online presence, but now the group’s production is being united in a new website at www.guil.es.

The GUIL Group’s two logos - the spirit of the lion and the strength of the bull - represent the two main branches of its factory’s production; events and entertainment on one side, and industrial use on the other. The image of the group is now united under one (digital) roof.

This new website showcases all the standard products manufactured to supply stock for

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the warehouse at the GUIL Group’s factory in Spain, with the industrial division showing only those lifters which lift goods to a maximum of eight-metres in their manual and electric versions. The company has a wide range of standard products, but, at the same time, is always glad to receive ideas and suggestions from distributors and end users if the article that they require is not in the catalogue.

GUIL is continually looking for ways to expand its product range and to improve existing models. By keeping up with the latest advances in technology, the company can incorporate those that it considers efficient, safer, easier to use, or better for its customers in any other way. GUIL appreciates the loyalty

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of its distributors, and the input that it receives from them and from the end users of its products, and is constantly alert and ready to develop a new product for its catalogue, or even a special item to meet a customer’s specific need.

The GUIL Group is currently preparing a new section for the website, where it will have videos of parts of the production process in its factory. This will allow distributors and end users to see how GUIL’s products take shape, and appreciate the care and quality that GUIL guarantees in all its merchandise.

GUIL’s confidence in the future, and in the quality and reliability of the machines produced in its factory, is evident in the new

premises that it has built to house four new production lines for its devices. With an area of 3,000 sq metres, the building provides muchneeded space, both in this new building, and in areas of the existing premises now freed up for new use.

As the website assumes its new identity, expressing the GUIL Group’s DNA by presenting different product lines at the same web address, GUIL looks forward to the opportunities that the new site will give it to build on the company’s work over the last 40 years, and to develop and grow with its customers over the next four decades - and beyond.

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DT S LI GHTI NG ALCHEMY 7

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Alchemy 7 is the new LED wash moving head from DTS featuring a more powerful lumen output and a two-blade framing system.

The Alchemy range was labelled a ‘new generation’ of Fresnel moving heads. Same as Alchemy 3 and 5, this projector is designed to meet the needs of theatre and television. Particularly, Alchemy 7 was added to the range in order to offer a more powerful option that would perform well in bigger venues.

Raffaella Scaccia, Sales Director at DTS lighting, explained that Alchemy 7 was developed in order to achieve a perfect combination of precision and creativity: “The entertainment industry requires lighting equipment that can easily adapt to different kinds of scenery, while continuously delivering high-quality - that’s why we made sure to combine both artistic and functional features” The newest technical feature that sets Alchemy 7 apart is a two-blade framing system with a 180° full system rotation. The two blades operate on discrete planes and can rotate up to 60°. Moreover, they are able to recreate a complete curtain effect fully entering the visual field in order to contain the light projection.

Alchemy 7’s enhanced output allows the projector to deliver up to 22,000 lumens. Its linear CCT goes from 1,800 K to 10,000 K, allowing excellent CRI and TLCI values, up to 98 and 96.

The outstanding variety of colours and whites that can be generated is reconfirmed in Alchemy 7.

Thanks to the RGBACL LED source, it is possible to recreate a wide range of colours and pastel shades. Like its predecessors, it presents the ability to select between 100 gel filters and the option to both desaturate and linearly crossfade between them, as well as generate a true rendition of colour against any CCT value. Furthermore, its adjustable green-magenta point makes it possible for the projector to adapt to any kind of skin tone, paramount in theatre and television. The remarkable colorimetric features found in Alchemy 7 allow it to develop a “Tungsten emulation” function, which recreates the same effect of halogen lamps on the dimming curve.

Regarding operational functions, Alchemy 7’s ‘Silent mode’ was designed to deliver excellent quality while producing the least amount of noise. In fact, it’s been observed that in normal operation in full power, Alchemy produces 38dBA, which is even quieter than a library, where the observed noise is 40dBA. Alchemy 7 combines advanced technical features while still allowing a lot of creative options, making it a great solution for designers across the world who are always looking for the highest quality wash projector in their lighting equipment. www.dts-lighting.it

NEXO EPS SERIES Drawing on 25 years of success with the PS Series, NEXO engineers have taken a no-frills approach to this new range, slimming down connection and mounting options, and taking advantage of new manufacturing techniques and driver design to hit unprecedented price points for its industry-standard point source products. ePS models will provide a way for many public and private installation projects to access a NEXO-badged system without breaking the bank.

Designed specifically for fixed installation, the ePS Series packages all the NEXO hallmarks of high output, superior coverage patterns, directional control and musical performance into compact trapezoidal-shaped wooden enclosures, with steel grilles for IP54 (and IP55) certified weather resistance.

The ePS range features three lightweight point source models, in six-inch, eight-inch and 10-inch iterations. Each cabinet includes a 1.4-inch high frequency driver and lightweight low frequency driver, with NEXO’s trademark rotatable horn design offering dispersion options to the user.

Presented in Baltic birch plywood, the ePS6, ePS8 and ePS10 offer Peak SPL stats of 125, 128 and 130dB respectively. The ePS6 weighs in at just 7.1kg, with a footprint of 367 mm x 200 mm x 182 mm, and has a frequency response of 90 Hz – 20 kHz. The ePS8 weighs 8.1Kg, has a profile of 425 mm x 252 mm x 227 mm and a frequency response of 80 Hz – 20 kHz. The most powerful of the three models, the ePS 10 weighs 14.8Kg, is 533 mm x 318 mm x 283 mm and has a frequency response of 70 Hz – 20 kHz. All three cabinets are minimally fitted with a hard-wired strip for connection, offering generic 2 x 7mm pitch IN/OUT screws connectors. The IP cover protects the connectors from moisture in outdoor applications. On each side of the cabinet, two M6 with 80mm pitch and one M10 fitting allow connection to U Bracket, bumper or eye bolts. The back of each loudspeaker is fitted with three M6 with 70mm pitch for wallmount in both horizontal and vertical positions.

All units are finished in black structural paint (white and all other RAL colours are available to order), with a UV-resistant acoustic fabric stretched over the front grille.

All NEXO loudspeakers are partnered by a dedicated sub-bass option, although they are phase-compatible with any model from the NEXO range. In the case of the ePS Series, two powerful compact subwoofers are being released – the single-12-inch eLS400 and single-15-inch eLS600, which match the aesthetic of the full-range cabinets.

The eLS400 is a compact installation subwoofer that can be stacked or flown, thanks to its discrete easy-to-integrate design. Weighing just 14.5kg, and

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measuring 365mm x 425mm x 447mm, this single 12-inch subwoofer has been conceived as the partner for both the ePS6 and ePS8 cabinets.

The eLS600 is 425mm x 533mm x 562mm and weighs 26.3kg, using a high-excursion 15-inch driver in a bass-reflex enclosure design capable of 136dB peak output. It is designed to partner the ePS8 and ePS10. Cleverly, the width and height dimensions of the rectangular subwoofers perfectly match their partner main cabinets: a dedicated accessory allows the ePS to be flown beneath the subwoofer, creating small-footprint wideband systems that are visually pleasing.

On the four sides of the cabinet, two M10 fittings connect the eLS600 to U bracket, eye-bolts or dedicated accessories. Unused M10 fittings can be used for extra rigging points in areas where legislation requires it. Rear connection is via two (in/out) pairs of screws terminal blocks, while the included IP cover protects the connectors from moisture in outdoor applications.

Systems composed of ePS and eLS elements have the advantage of high-quality components familiar to all users of NEXO’s premium systems, coupled with the unique processing capabilities of the NXAMPmk2 amplifiers. www.nexo-sa.com

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ETC LONESTA R The High End Systems Lonestar brings the renowned brightness, quality and performance of its bright white LED framing fixtures in a more compact and powerful package.

With 15,400 lumen output and a rich feature set, Lonestar is a perfect addition to lighting systems in small to mediumsized venues. The luminaire’s rich colours, powerful zoom, full curtain framing, diffusion and prism effects make Lonestar a versatile and affordable tool for designers who want maximum performance from a mid-sized automated fixture.

Automated Lighting Product Manager, Matt Stoner, commented: “With the Lonestar, we aggressively reduced fixture size and cost to make a luminaire that fills the needs of venues of all sizes and design aesthetics. With punchy output, framing, and a full complement of effects and colour capabilities, Lonestar will bring high quality and professional feature sets to a size and price where professional quality was formerly out of reach.”

Tania Lesage, Brand Manager for High End Systems, added: “Lonestar is a simple yet powerful mix of three ingredients; an impressive feature set, ETC’s quality service, and a great price tag. From upgrading your lighting in churches or clubs to switching your school stage to all LED, Lonestar does any job in the most effective, reliable, and economical way. We are very excited to bring this product to the market. www.etcconnect.com/Lonestar

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S EP T EMBER / O CT O BER 2 0 2 1

STANLEY CUP FINALS

OLYMPISCH STADION

MAASPOORT SPORTS & EVENTS

COMMS, MIC & BODYPACKS FOCUS

PixMob create an atmosphere for the limited-capacity crowd at Bell Centre for the Montreal Canadiens.

FACES and PFL install a new audio system, featuring Powersoft, Martin Audio and Dynacord.

State-of-the-art Bose Professional and Color Kinetics technology for the venue’s audiovisual upgrade.

We showcase projects and products from those supplying comms, mics and bodypacks to the sporting industry.

POP GOLF P ARK S & AT T RACT I O N S L I GH T I N G CO N T RO L

ISSUE 19 - AUGUST | SEPTEMBER 2021

THE INTERNATIONAL PUBLICATION FOR TECHNOLOGY IN SPORTING VENUES

ISSUEISSUE 19 - AUGUST 17 - APRIL | SEPTEMBER | MAY 20212021 WWW.MONDOSTADIA.COM

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

PROD UCT GUID E: LIGHTI NG CON SOL E S SPONSORED BY MA LIGHTING

Since its foundation in 1983, MA Lighting has expanded to become an international leader for computer-controlled lighting consoles and networking components. This success is based on solid reasons: commitment and power to innovate, MA Lighting meets the growing demands of a constantly changing industry and develops product solutions for tomorrow.

Its mission is to offer the best products with constantly evolving and free software for life. MA products come with a package of unparalleled value such as training, support and service. All of the company’s activities aim to deliver the highest quality and to create value and trust towards customers, all while striving to constantly improve in all its areas.

MA Lighting strongly believes that it is the people that make the difference. This is what it calls the huMAn touch. Always looking to find the best solution for your customers is its first aim. The people at MA are experts in their fields and, working as a team, combine their knowledge. www.malighting.com

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Adam Hall Cameo DVC PRO In the club, DJs naturally take centre stage – and the lighting control disappears in the far corner. When every single inch counts, a lighting control solution needs to be as compact and convenient as possible, yet flexible and powerful. With the DVC PRO interface and the accompanying D4 software, Cameo offers a comprehensive hardware and software package to handle up to 1,024 DMX channels (two universes) via PC and Mac. Besides the Live mode with 1,024 DMX channels, DVC PRO allows for stand-alone operation with 256 channels (upgradeable up to 1,024 channels). Just copy your programmed lightshows into the integrated flash memory. The interface features a USB-C input, two three-pin XLR outputs and is powered by the USB output of your computer.

The free-of-charge Cameo software package contains over 15,000 device libraries as well as a ScanLibrary editor for creating and editing your own device profiles. Create, arrange and layer dynamic scenes, the palette function allows lighting control without fader movements, while the XEEL engine creates hundreds of impressive pixel and video effects. The software includes an extensive toolbox for live edits, an audio analyser and a MIDI clock for synchronising light and music tempo, as well as a 3D visualisation of the programmed light show in real time. The screen layout can be completely customised to your individual needs, while the cost-free “Easy Remote Pro” App makes remote control with iOS and Android devices a breeze. Thanks to the integrated Wi-Fi Access Point in the DVC PRO, no external peripherals are required. www.cameolight.com

ADJ LINK The ADJ LINK is a new hardware/software system that combines the processing power, wireless connectivity and multitouch screen of an iPad, with lighting-specific tactile controls and a four universe DMX interface to deliver a unique control solution.

Powerful and user-friendly, the LINK fills the void between small single universe DMX controllers and large format lighting consoles. It is designed to simplify control for aspiring lighting designers, small production companies, churches, community theatres and performances spaces, providing a new connection between lighting and creativity. The ADJ LINK control system is powered by the dedicated Airstream LINK iOS App for iPad, which is available as a free download from the Apple App Store.

This feature-rich lighting control platform includes an extensive fixture library, making it easy to setup for different shows and equipment configurations. It incorporates powerful tools to allow the easy creation of complex movements and colour chase effects, and allows the iPad’s memory to be utilised for storing custom scenes and shows that can be quickly re-loaded when required. To augment the iPad’s screen interface, the LINK hardware offers a selection of ergonomic controls designed to give lighting designers the hands-on experience of a traditional lighting console. Combined, the physical dials, buttons and faders of the console, along with the visual interface facilitated by the iPad screen, provide an intuitive and comprehensive lighting control solution suitable for a wide variety of applications. www.adj.com

Avolites Arena The Avolites Arena is the ideal desk for festivals, theatres and anywhere that a larger control surface is required. It combines the popular interface of the Tiger Touch II with more live control than ever before.

Alongside the vibrant main display, a second touchscreen provides an additional workspace window, also labelling the adjacent macro buttons and rotary pots. These fully assignable playback encoder pots allow intuitive control of channels and effects. The six LCD screens display electronic legends for 30 faders, for speedy access to all your playbacks, fixtures and palettes. A brand-new optical output means the Arena is equipped for fibre connections, with no signal loss over long distances, from FOH to the stage – essential in large and outdoor venues.

Offering seamless Multi-User compatibility, the Arena can be used as master, back-up or extra programming surface, considerably cutting your programming time by allowing multiple Titan programmers to work simultaneously, before the main console takes charge. www.avolites.com

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Chroma-Q Vista The Vista lighting and media control platform has been embraced by leading designers, production companies and venues around the world since its launch in 2004. With its legendary timeline, visual interface, speed and ease of use, Vista lets users focus on creating great looking shows, whilst still providing the power to control the finest details.

Vista provides the tools to be able to put on any style or scale of event. Comprehensive structured cuelist features all the way to live ‘busking’ tools ensures that Vista is suitable for your current event.

Vista can run software only, with native Windows and MacOS support, or if you require some physical hardware you can choose from the portable and cost effective Vista MV or the Vista EX control surface, which provides large amounts of physical control, still within a compact footprint.

Modular, expandable, DMX channel licenses ensure that you have the flexibility to expand your lighting control system as and when you need to, and users can quickly and accurately transform ideas into stunning lighting designs. www.vistabychromaq.com

is going to change your expectations

Chromateq CQSA-E Chromateq’s CQSA-E is a versatile multiprotocol lighting control hub that offers a multitude of functionality for both live applications and fixed installations, including: • DMX: In/Out, Split, Merge, Record, Trigger, Stand Alone playback • Art-Net / sACN: In/Out, Record, Node (Art-Net, sACN to DMX converter), Stand Alone playback and triggers • Stand Alone Triggers: RTC (Real-Time Clock), Calendar, Dry contacts, JSON, UDP , Infrared • Software Triggers: MIDI, Sound-to-Light, BPM, UDP, MTC Connecting to a WiFi router allows for wireless configuration and control by Android and iOS mobile devices, using the Wi-Light 2 app.

With its latest firmware release, the CQSA-E can now be configured and easily controlled over the Internet, delivering an affordable solution for remote project management. www.chromateq.com

City Theatrical Choreo Choreo Lighting Controller provides full-featured, stand-alone programming and playback for DMX512 lighting systems, all in a three-gang wall box. Choreo’s natural language interface makes the selection of lights, adjustment of their attributes, and the recording of reference libraries, memories and cues fast and simple.

Once programmed, use the screen as a virtual button/ fader station, or run shows from time code, serial input or contact closures. www.citytheatrical.com

Crestron Horizon Horizon keypads from Crestron are available in highly-configurable, single-gang models that combine up to four across. The new line offers designer aesthetics, superior button feel, four different button styles, programmable multicolour backlighting, interchangeable custom top and bottom trim pieces, and Cresnet wired communications.

The Horizon line is available in single-gang and up to four keypads can be ganged together. Dealers can choose from four button styles: single, side-to-side rocker, small up-down rocker, and large up-down rocker. Top and bottom trim pieces are interchangeable to suit any décor and provide the ultimate in style.

For enhanced readability under any lighting conditions, every model in the Horizon line includes multicolour backlighting that illuminates the high-quality laser engraved text on the buttons. When the button is pressed, it glows two to three times brighter than the inactive buttons. Moreover, each button can be programmed to glow in any colour.

The Cresnet bus is the communications backbone for Horizon keypads, along with many Crestron lighting controllers, shade motors, sensors, and other devices. Cresnet is a simple, yet flexible four-wire network that provides bidirectional communication and 24VDC power for Cresnet devices. Cresnet supports up to 252 keypads and other devices. www.crestron.com

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WorkPro LS-Wing LightShark LS-Wing is the latest addition to this award-winning DMX-based hardware lighting console range.

This product gives professionals a multiprotocol, fully configurable controller that can be used for audio, video or lighting requirements.

LS-Wing uses Open Sound Control technology to send commands to any device or software operating on the same protocol. Its fully configurable control surface uses ethernet networks to send UDP/IP or TCP commands to other devices, making it compatible with virtually every lighting, music, video and media server software in use today.

LS-Wing can also be configured as a straight-forward fader wing and a standalone MIDI console for use with any device accepting MIDI control via USB. A total of four USB ports are provided, including a USB-B port, making it easy to connect to MIDI devices and charge smartphones and tablets.

The three-in-one design of LS-Wing is enhanced by a built-in ArtNet/sACN to DMX converter node offering two Direct DMX universes. WORK PRO’s existing LightShark products - the LS-1, which includes a hardware console, and the more affordable LS-Core - already offer two Direct DMX universes via an XLR connector, so adding LS-Wing doubles the number of Direct DMX universes available to each console. www.workpro.es

High End Systems Hog 4-18 The flagship console of the Hog family, Hog 4-18, is designed for the largest stadium shows, theme park installations and concert tours.

Hog 4-18 shines in any environment requiring a multi-console setup and networking.

Hog 4-18 embraces the latest technology while retaining the familiar control surface of previous generations. Programmers will power through cueing sessions using touchscreens, high-resolution encoders, jog shuttle wheel, LCD keys and motorised faders.

Hog 4-18 includes new 18.5-inch multitouch screens and an updated industrial design with aluminum encoder knobs and integrated accessory mounts. A host of other hardware features make Hog 4-18 the programmer’s choice. www.highend.com

MADRIX RADAR 1.1 MADRIX RADAR packs Remote Device Management into an easy-to-use and immensely practical tool for remote access. The software simplifies the configuration and management of your RDM devices. Collected data, like temperature and voltage values, is shown graphically and can continually be monitored - even during live operation. Having initially been introduced in the beginning of 2020, the first major update is now available.

The new version includes many improvements, such as visual refinements of the user interface and additional definitions. With MADRIX RADAR 1.1, the connection to hardware interfaces and to RDM devices can now be monitored. MADRIX software engineers found ways to identify if controllers or devices are still connected or not.

On the one hand, a new section provides a quick overview over all connected Art-Net nodes. The user interface provides a clear warning in case the connection to an interface has been lost. On the other hand, four new events were added to the software’s logic. They notify you if a node or RDM device has been disconnected or if communication could be restored. As usual, notifications are presented in their designated section on the user interface. More importantly, they can be set up to trigger actionable e-mail reports and automated shell scripts.

All MADRIX RADAR features are automatically unlocked for any RDM device that is connected to MADRIX STELLA Art-Net nodes. When using third-party RDM controllers, extra software licenses are available for purchase. Demo mode unlocks two RDM devices for free. www.madrix.com/products/madrix-radar

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MA Lighting grandMA3 onPC rack-unit The 19-inch grandMA3 onPC rack-unit is a perfect lighting control solution for fixed installations, or for a reliable grandMA3 lighting control system backup solution. It can also be implemented as a stand-alone lighting control system for shows that run automatically, due to external triggers or the Agenda function.

The latest grandMA3 onPC software version 1.5 is already pre-installed on a powerful computer, so all the features and software functionality of the grandMA3 console are at hand. A mouse, a keyboard and up to two external monitors can be connected for the direct control of 2,048 parameters. In combination with other onPC products, this can be extended to a maximum of 4,096 parameters.

It is not only a powerful control solution, but also an optimal playback device. All relevant connections, DMX out/inputs, MIDI in/out, Timecode and DC remote for direct use are already built in.

It is possible to combine the grandMA3 onPC rack-unit with a grandMA3 onPC command wing and/or up to two grandMA3 onPC fader wings to control or pre-program a show. In addition, it can act as a fully-fledged and reliable backup unit in your grandMA3 lighting control system. www.malighting.com

Nicolaudie SUNLITE-EC The new SUNLITE-EC is the latest generation of DMX interface for Sunlite Suite 3 software. Featuring 1,024 DMX channels and Sunlite Suite 3 EXPRESS out of the box, the interface can be upgraded to 2,048 channels or the full software version.

Along with its sleek anthracite dark gray design, the SUNLITE-EC provides four DMX connectors and a backlit keyboard to control your lights.

The interface also comes with a microSD stand-alone memory, allowing for programmed shows to be run in stand alone without a computer. This powerful feature is perfect for smaller shows where a computer is not needed, as a backup in case of computer failure, for rental applications or for architectural installations. The stand-alone scenes can be changed via the backlit keyboard. www.sunlitepro.com

PXM PX340+ DMX Controller PX340+ is an advanced DMX-512 controller. It can be used in a variety of applications, such as architectural lighting, multimedia control, museums or fountain control. It supports very dynamic and fast light changes, as well as slow and smooth transitions. It can play many scenes and programmes simultaneously.

The device is equipped with; DMX-512 output line, DMX-512 input line, 16 ON/OFF inputs, four analog inputs, two analog outputs, and an Ethernet connector.

The controller has a built-in, real time and astronomical clock, supporting the Modbus protocol, and NTP clock synchronisation.

The new generation of controllers are equipped with an LCD display that allows easy network configuration and controller status checkup.

PX340+ can be programmed using PxDesigner - an advanced PC software tool. PxDesigner has a built-in library of executive devices that allows configuration in the graphic mode and supports the simulation of controller’s behavior.

The device can also be controlled by the mobile app (Android and IOS).

The capacious internal memory gives the ability to create complicated and extended configurations with complex logic including recording DMX input data streams. It supports dividing output channels into separate zones and creating user accounts with different permissions. www.pxm.pl

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1. AMX by HARMAN Matrix Switching, Window Processing & HDMITO-USB Capture Products

HARMAN Professional Solutions has introduced six new products that transform today’s meeting and lecture spaces.

The debut includes four new Precis PR-Series matrix switchers supporting up to eight sources and eight outputs, the new Precis PR-WP-412 windowing processor to dynamically window up to four sources, and the new UVC1-4K HDMI to USB 3.0 capture device.

Ideal for affordable yet beautiful video routing in small to medium installations, the new Precis PR-Series Matrix Switchers are available in four configurations - 4x2, 6x2, 4x4 and 8x8. All models include best-in-class capabilities like pixel-for-pixel video reproduction, fast switching, comprehensive EDID management, HDMI audio deembedding, an open control API, and a simple-to-use web interface. The PR-0402 also supports auto-switching to provide touch-free video switching in small applications.

The new AMX PR-WP-412 combines a 4x1+1 windowing and a 4x2 seamless matrix switcher in a single, compact unit. Collaboration in meetings and distance learning can be amplified with included technologies like truly seamless switching, class-leading 4K60 4:4:4 video quality, integrated audio breakaway, an open control API, and a simple-to-use web interface.

The new UVC1-4K capture device solves the immediate issue of PCs that lack HDMI or other video inputs. The UVC1-4K seamlessly delivers content from video cameras, document cameras or other HDMI sources into software-based conferencing and streaming applications via the computer’s USB port. Features include 4K60 4:4:4 video input, HDMI and separate analog audio input, standard UVC interface and control, and USB 3.0 output up to 3840x2160p@30fps. www.pro.harman.com

2. Antelope Audio Galaxy 32 Synergy Core

Galaxy 32 Synergy Core is a multi-channel audio interface and high-end AD/DA converter. It brings Dante audioover-IP networking, 64-bit AFC technology and Synergy Core real-time effects processing to an attractive 1U rack-mountable chassis combining 32 channels of analogue line level I/O with extensive digital connectivity.

Flexible, full integration is at the core of Galaxy 32 Synergy Core’s design. Discerning users can connect all their gear to an attractive 1U rack-mountable chassis with the audio interface itself handling all routing, recording, and monitoring thereafter. To have Galaxy 32 Synergy Core acting as the hub of an interconnected system is to have an I/O channel count of up to 64 channels of recording and playback via Dante with all I/O of the audio interface always available. www.antelopeaudio.com

3. Astera AX9 PowerPAR

The AX9 is a high-intensity, rock-solid, all-purpose everyday LED lighting fixture with all the advantages of Astera, including battery operation, wireless control, and quality engineering.

AX9 is the ‘big brother’ of Astera’s hugely successful AX5 TriplePAR which became an industry-standard LED PAR. AX9 is bigger, brighter and benefits from all Astera’s latest innovations, like the Titan LED engine, an optimised bracket with Airline Track, a Titan-style keypad for fast and easy local control and direct control via the versatile AsteraApp. Effectively it is a three-in-one solution offering a wireless PAR light source that can also be run as a wired PAR for longer-term installations and an elegant up-lighter, with the fixture’s 105W output offering over 3,000 Lumens of beautifully homogenised light.

Being wireless, AX9 can be used anywhere – on set, onstage, in the studio or on location – and at short notice, quickly deployed as and when needed.

AX9 is an excellent wall or surface washing up-lighter – without a flex cover and with the bracket removed – which can produce a sleek, streamlined effect to transform any space.

The AX9 is overall a fantastic multi-purpose lighting fixture that is hugely efficient and can be used on the widest range of jobs as a cost-and-carbon-efficient quick ROI solution offering extreme brightness in a compact, stylish housing.

The main applications will be for film and television productions, stages and concerts and all indoor and outdoor events. www.astera-led.com

4. Blizzard Lighting IRiS ICONTM LED Series

The ICON Series consists of four different video panels, with a combination of indoor and outdoor IP65-rated models; IRiS ICONTM 2.6, IRiS ICONTM 2.9, IRiS ICONTM IP3, and the IRiS ICONTM IP3 XL. ICON panels are built with NovaStar’sTM A8s series of receiving cards, which feature HDR10 and HLG support, automatic module calibration, image rotation, and more. This advanced technology is coupled with NationStar RGB 1921 LEDs, fitted into an extremely lightweight aluminum die cast frame.

At only sixteen pounds, ICON panels are designed to be more efficient and user-friendly. Panels are in perfect locking position right out of the case, and lock together with a single flick of the thumb. ICON video panels also include one-touch retractable metal corner protectors, blackout gaskets and ground support locks within a twomodule frame that allows for both front and back maintenance.

The series has one exception - an exceptional upgrade - the ICONTM IP3 XL panel which is 500x1,000mm in dimension, offering double the star power with the same, great technology and special features. It’s ideal for rental, installation and virtual production, as are all of the ETL- listed panels in the ICON series. www.blizzardpro.com

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5. Christie CP4415-RGB & CP4420-RGB

The CP4415-RGB and CP4420-RGB are premium RGB pure laser projectors delivering advanced yet affordable DCI compliant cinema projection. Suited to small-screen auditoriums, boutique cinema, post-production, screening rooms and more, these all-in-one projectors deliver an outstanding cinematic experience with 4K resolution.

The Christie CP4415-RGB is designed for screens up to 58 ft wide and can deliver up to 15,000 lumens, while the 20,000 lumen capable CP4420-RGB is suitable for screens up to 67 ft wide. Both models feature a Real|Laser RGB pure laser illumination light source capable of providing over 50,000 hours of optimal performance.

The projectors deliver a powerful and vibrant visual experience, utilising Multi-Laser Pack Devices (MPDs) to produce a wide colour gamut - greater than 95% of Rec. 2020 coverage - as well as offering outstanding brightness, image uniformity and contrast. www.christiedigital.com

6. Dynacord SONICUE Control app

SONICUE Control is a panel-viewer app that allows users to operate SONICUE control panels created using the SONICUE control panel designer. The app, which monitors and controls preassigned sound system parameters, is now available for mobile devices for free download from Apple’s App Store, enabling iPads and iPhones to be supported for the first time. The previous version of the SONICUE Control panel-viewer app was already available for desktop PCs and is running on the TPC-1 touch-panel controller.

With the panel designer, an integral part of SONICUE sound system software (version 1.2 and higher), system designers and engineers can create standalone control panel applications for end users that will run on the SONICUE Control app. The design of the user interfaces is customisable with different control functions and access-protected according to user type, such as system engineers, facility managers or service personnel in hospitality areas. Once connected to a compatible hardware device, such as the Dynacord MXE5 matrix mix engine, the operator is able to monitor and control all assigned functions.

In addition to fully supporting the new SONICUE Control app for iOS, the 1.2.2 software version improves the functionality of the SONCIUE panel designer with further control parameters, more design options and faster installation routines. www.dynacord.com

7. JBL Professional PRX ONE

PRX ONE meets the needs of a broad range of portable and installed applications, delivering unmatched power, acoustic performance and functionality in a sleek, compact package weighing just 56 pounds. The system delivers a stunning 130 dB of wide, full bandwidth SPL with consistent front-to-back throw, thanks to its custom-engineered, 12-tweeter column array, featuring JBL A.I.M. (Array Inumbration Mechanics) acoustic design, 12-inch bass-reflex subwoofer, and a built-in 2,000W (peak) Class D amplifier.

Performers at any experience level will dial in great sound, fast, using PRX ONE’s comprehensive suite of professional-grade Lexicon and dbx processors and eight customisable presets. Built-in effects include reverb, eight-band EQ, delay, compression, limiting, ducking, echo, sub synth and dbx DriveRack Inside technology, featuring AFS Pro Automatic Feedback Suppression; Triple Tier DSP control offers multi-level user experiences based on knowledge level.

PRX ONE is ideal for DJs, musicians, entertainment venues, corporate presenters, rental companies and houses of worship. It’s the perfect solution for anyone who demands best-in-class power, acoustic performance, creative control and connectivity in a stylish, full-featured column PA that’s perfect for both installed and portable applications. pro.harman.com

8. J.R. Clancy PowerLift & PowerLite

The new PowerLift design begins with the same reliable platform and now offers more capability. With significantly increased capacities, improved load sensing design, and optional continuous beam to mitigate horizontal forces, PowerLift provides more options than ever. PowerLift’s single layer cable drum enables stored locations to be accurately repeated, preventing scenery from hitting the stage floor and light leaks below drapery.With capacities of up to 2,500 pounds, PowerLift can now be used for heavier shell ceiling and electric sets. The new variable speed PowerLift models allow for larger scenery sets and main curtains to be motorised. The key features of the PowerLift include the option of having up to 49 ft of travel with eight lines, and up to a 62 ft of travel with seven lines. As always, safety is paramount, so the PowerLift comes with load sensing standard, redundant braking system and is ANSI E1.6 compliant.The new PowerLite hoist is an economical entry into motorised rigging. Load sensing and a redundant braking system are standard, making PowerLite a safe and secure solution. The optional continuous beam to mitigate horizontal forces enables installations in facilities with light weight roof steel. PowerLite has up to 49 ft of travel with eight lines, operates quietly, and offers either underhung or vertical installation options. www.jrclancy.com

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1. Kramer VP-427X2

Kramer has unveiled the VP-427X2, a 4K receiver /scaler tool that features dual HDBaseT inputs and a local HDMI to facilitate multiple device connectivity for automatic signal switching in meeting and conference spaces.

The VP-427X2 ensures superb 4K picture quality is delivered through up, down and cross-scaling to the display’s native resolution, or any resolution up to 18G 4K. It has been designed to deliver an intuitive user experience by automating meetings to ensure smooth switching between multiple inputs and is ideal for BYOD environments such as meeting rooms, as well as for signal extension in auditoriums and lecture theatres.

Ethernet, RS-232 control and data tunneling allows simultaneous remote control of the device and display settings. Plug-and-Play automation and auto-switching enhance usability and connectivity, and support for an occupancy sensor and CEC controls with a timeout period support sustainability initiatives.

VP-427X2 is simple to set up, intuitive to use and features Kramer’s Pix–Perfect Scaling Technology to ensure precise pixel mapping and high–quality scaling. www.Kramerav.com

2. L-Acoustics SB10i

Equipped with a single 10-inch driver, 27 Hz bandwidth limit, and 124 dB maximum SPL output, the high-powered SB10i measures only 21.3-inches L x 21.3-inches W x 6.7-inches H (540 x 540 x 170 mm) and weighs a mere 33 pounds (15 kg). Sonically corresponding with LAcoustics X4i and 5XT ultra-compact coaxial loudspeakers, the new subwoofer has an elegantly discreet design, and is available in RAL colours, making it a prime choice for high-end residential and commercial environments, and sophisticated hospitality settings, sports luxury boxes, museum installs, and much more.

The SB10i offers flexible and limitless installation possibilities. The integrated ‘tech face’ contains all connectors and mounting points in one unobtrusive panel, so mounting hardware, cables, and connectors can be tastefully hidden, regardless of where or how the SB10i is installed; freestanding on a shelf or tucked away under a couch, chair, or architectural feature. www.l-acoustics.com/products/sb10i/

3. Marshall Electronics CV420-30X

This all-in-one model from Marshall with 12GSDI, HDMI and IP (HEVC/SRT) simultaneous outputs fits into a wide variety of broadcast and professional audiovisual workflow capable applications.

The CV420-30X utilises a high performing Sony Exmor-R sensor to capture crisp 4K (UHD) video up to 3840x2160p at 60fps through a long 30X optical zoom range. Its straightforward design and ease of use make this a valuable camera for live broadcast, houses of worship, sportscasts, newscasts, reality television, concert production, corporate video, courtroom capture, government assembly, education, social media streaming and more.

The long 30X optical zoom lens offers an extended zoom range from 4.6- to 135mm, starting at just under 70° all the way out to 3° horizontal angle-of-view for maintaining image crispness from ultra-wide to ultra-long telephoto shots. The CV420-30X also operates with exceptional low-light sensitivity, ensuring a clear picture in variable and challenging lighting conditions. www.marshall-usa.com

4. NewTek NC2 Studio I/O Module

Supporting 12G-SDI and 10 Gigabit Ethernet connections, the NC2 Studio I/O Module breaks down barriers to visual storytelling by uniting traditional SDI equipment and infrastructure with the flexibility of IP networks.

The turnkey design of the NC2 Studio I/O Module offers up to eight channels of dynamic I/O including media file playback and recording in a one RU chassis - all underpinned by its connectivity with the revolutionary NDI 5.

The all-new module connects multiple video and audio formats including NDI, SDI, and other IP formats. The NC2 Studio I/O Module also provides a unified interface including selectable multi-viewers, and professional video scopes. This offers users greater control of their signals through built-in precision colour correction. The feature set makes the module a perfect drop-in solution for interconnecting video signal types with a complement of audio formats, creating adaptable workflows through Dante, AES-67, and ASIO/WDM software audio drivers.

Management of each channel can be harnessed locally, through integrated NDI KVM technology, or a webbased API. This new edition offers a module optimised to work with all the latest features of NDI 5. NDI 5 makes it possible, for the first time in history, to connect to any device, in any location, anywhere in the world. Combined with the NC2 Studio I/O Module, it creates a game-changing future for producers seeking to expand their productions. www.newtek.com/connect/nc2-io

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5. Obsidian Control Systems NETRON DMX10

The NETRON DMX10 is a flexible, rackmount, 10-port DMX splitter with dual inputs and freely assignable XLR DMX outputs. Available with five-pin XLR connectors (DMX10-5) or as a three-pin unit (DMX10-3), the DMX10 is easy to configure and is ideally suited for installations and live event applications that do not require RDM communication. Both NETRON DMX10 devices are ETL approved.

The DMX10 boosts and distributes the DMX signal from dual inputs to 10 separate port outputs. Utilising longlife toggle switches, each port is easily routed to either the A or B input, providing configuration flexibility to accommodate any situation. Each output is optically isolated from the others, providing protection in the event of a short. The DMX10 can also be used as a repeater when transportation of a DMX signal across longer distances is needed. Lightweight yet of a solid construction for years of reliable use, each DMX10 unit is encased in a rugged metal chassis with impact-resistant paint. www.obsidiancontrol.com/netron

6. Robe CUETE

This latest moving head spot light fixture from Robe is a compact, high-quality solution for small-to-medium productions, performance spaces or installations.

Robe addresses the demands of this vibrant and vital market with CUETE which has some outstanding features, including the fast pan and tilt movement that is so essential for lighting all genres of electronic music, for highlighting the creative work of DJs and enhancing club environments.

Creating dynamic effects and projections is quick and simple with the CUETE, which offers an excellent CMY colour mixing system and an impressive 4,200-lumen output of sharp, crystal clear white light, making it stand out on any lighting rig.

To achieve this output and to easily maintain the light quality and consistency across any lighting rig or inventory, CUETE utilises Robe’s patented TE 120W White LED Engine, which is at the core of the manufacturer’s TRANSFERABLE ENGINE technology.

The CUETE’s 16º fixed beam lens has remote control focus and can be swapped to the optional 24º lenses for shorter throw and low ceiling scenarios. www.robe.cz

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FULCRUM ACOUSTIC U.S. LOUDSPEAKER MANUFACTURER, FULCRUM ACOUSTIC, HAS ANNOUNCED A NUMBER OF NEW DISTRIBUTION PARTNERSHIPS IN EMEA IN RECENT MONTHS. MONDO-DR CAUGHT UP WITH COMPANY PRESIDENT, STEPHEN SIEGEL, TO FIND OUT WHAT LIES BEHIND THE BRAND’S EXPANSION IN THE REGION.

What are the origins of Fulcrum Acoustic?

Chris Alfiero, David Gunness and I formed Fulcrum Acoustic back in 2008. Dave was already well known for his loudspeaker designs for Electro-Voice and EAW; Fulcrum Acoustic was created as a vehicle for pursuing his ideas for marrying innovative acoustical design with the latest DSP techniques. Since that time, we have pioneered important new technologies and earned a place in many stadiums, theme parks, houses of worship, theatres and other prestigious venues, with every piece designed and built in Whitinsville, Massachusetts.

Fulcrum Acoustic loudspeakers are a familiar sight in venues across the United States, but until recently we have not seen so much of you in EMEA. What is driving your focus on the region?

It has really been led by the customers. One striking impact of the pandemic is that people are re-evaluating their choices in all areas of their lives. We have been approached by integrators and consultants from Europe and the Middle East who are taking the time to look beyond their usual go-to brands to find solutions that better address specific challenges. To offer a true solution you need strong local support, which is why we started conversations with great partners like XLR in the Benelux countries, Pro Audio & Light Systems in Russia and Ligra in Italy, all of which have the in-house expertise to take care of their customers.

The loudspeaker market is notoriously crowded, with a handful of well-known names and a plethora of smaller brands.

How does Fulcrum Acoustic stand out from the pack?

First of all, we’re an installation-focussed loudspeaker brand, not a touring loudspeaker brand dipping a toe into the installation market. That’s an important distinction.

From the way our enclosures fit different architectural styles to our install-friendly mounting hardware, you just know that these loudspeakers were designed by someone who has put in the time on the ground to understand the needs of venues and integrators. Beyond that, we’re very much an R&D led company, with important

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innovations such as our Passive Cardioid Technology, Pattern-Control Coaxial Drivers, Temporal Equalisation and the Occulus Phase Plug under our belts (amongst others). These technologies result in solutions that you won’t find anywhere else. Our products offer a unique value based on innovative solutions.

For those who aren’t familiar with it, how would you summarise Passive Cardioid Technology?

Generally speaking, loudspeakers become progressively less directional with decreasing frequency, so you get a lot of low frequency radiating behind the loudspeaker. This adversely impacts system clarity, speech intelligibility and can adversely affect ‘spill’ of sound outside a venue. In fact, there really is no situation where uncontrolled low frequency coming from the back of loudspeakers is helpful. At subwoofer frequencies, the traditional way to combat this effect is with active cardioid arrays, but these require additional cancellation loudspeakers, as well as additional amplifier and signal processing channels, so you end up with a rather large, complex and expensive solution. David (Gunness) created an acoustical circuit which balances the position of the low frequency driver, the enclosure depth and volume, and a unique arrangement of acoustical elements including rear-mounted ports and calibrated resistive elements. With Passive Cardioid Technology a single loudspeaker can do the work of an active cardioid array in a much smaller footprint and without the extra cost and hassle. This allows integrators to introduce all the benefits of a cardioid system to installations where the space and budget would have never allowed an active cardioid solution.

All of your products are built in the United States. How does that influence the way you work?

To make excellent, durable loudspeakers everything has to be just right, from the raw materials right through to quality assurance, so it makes a lot of sense to retain full control of the whole process. Building our complex enclosures is a highly skilled job, and we’re fortunate to have expert woodworkers who take pride in every joint and seam. Having our

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President, Stephen Siegel VP of Engineering, David Gunness The Hershey Center, Ontario Loudspeaker building in Whitinsville, Massachusetts

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own manufacturing facility with close links to the R&D teams also gives us a lot of agility when it comes to custom designs, new product development and fast turnaround times.

approach. Each new product provides more options for our customers to pick from when they are devising the best possible system for the space and budget they are working with.

The Fulcrum Acoustic range is already quite extensive. How do you decide what products to focus on next?

Many of our products and technologies started out as custom solutions for a specific project. As the company has grown, we have been determined to keep our door firmly wedged open to integrators and engineers, so we sometimes get involved in projects where there’s a very specific requirement that is not truly met by any off-the-shelf loudspeaker.

That’s the kind of challenge that gets us fired up! Where we have developed a bespoke solution, sometimes it’s clear that there’s a wider need for the product and it duly takes its place in the line-up. It has become something of a cliché to talk about providing solutions rather than products, but that really is our

What is Fulcrum Acoustic looking forward to in the next 12 months?

Travelling! We thrive on getting to know our customers and sharing our technologies with them, so I can’t wait to get involved in more product demos in those countries where Fulcrum Acoustic is not so well known yet.

It’s one thing to talk about the benefits of our products, but when people can experience them with their own eyes and ears, you get those wonderful lightbulb moments. We also have some important new product developments coming through the pipeline and further distribution partnerships taking shape, so it promises to be an exciting time for the team.

I N P R O F I LE - F U LC R U M AC O USTI C

www.fulcrum-acoustic.com

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