MONDO-DR 32.3

M A R C H / A P R I L 2 02 2

PACHA IBIZA MULTIPURPOSE VENUES LASERS & SFX

LICENSE II SCALE L-ISA PROCESSOR II Utilizing state-of-the-art object-based mixing technology, L-ISA Processor II provides sound creatives the ability to scale to their project by choosing the license that fits best. Upgrade from the standard 16 outputs license to either 32 for bigger events, 64 for large-scale installations and musicals, or hit the most significant projects at 128 outputs - all at 96 kHz for premium quality sound. As a Milan-certified device, L-ISA Processor II streamlines and secures audio distribution with a redundant AVB and elevates its reliability with a ruggedized 3U chassis and redundant PSU. Unlock the sound possibilities. l-acoustics.com

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03/11/2021 09:23:54

Pieces of Heaven #LEDmadeinGermany #LEDplayedinBerlin

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

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

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

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

Photo by KOY + WINKEL Fotografie

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MONDO-DR 32.3 MARCH / APRIL 2022 ON THE COVER Pacha Ibiza Image courtesy of Adam Mcloughlin EDITORIAL DIRECTOR Peter Iantorno p.iantorno@mondiale.co.uk DIGITAL CONTENT MANAGER James Robertson j.robertson@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

FR O M TH E E DI TO R...

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

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

We’ve all had the 2022 tradeshow dates pencilled into our calendars for a long time now, albeit with the constant threat of a new COVID-19 variant coming along and ruling out the possibility of travel for yet another year. However, with Omicron a distant memory and events season drawing ever closer, it seems that finally – fingers crossed – 2022 will be the year that the industry comes together en masse once again. The next couple of months certainly promise to be busy for us, with members of the wider Mondiale Media team heading to three different continents in the space of a month!

One event that always gets a good turnout is the MONDO-DR Awards.

Launched in 2017 to recognise and celebrate the best installation projects from around the globe, the awards now have 13 categories, including: Arena, Bar, Concert Hall, House of Worship, Multipurpose Venue, Nightclub, Parks & Attractions, Performance Venue, Restaurant, Retail & Leisure, Stadium, Sustainable Venue, and Theatre.

This year’s awards will take place in Las Vegas on Wednesday 8 June, with the winners decided by a panel of independent judges and previous award winners. Entries are still open, so if you’ve worked on a fixed installation from the entertainment world in the past 18 months that deserves to be recognised, head to www.mondodrawards.com and enter your project.

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PETER IANTORNO EDITORIAL DIRECTOR

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IN THIS ISSUE. . .

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EXPO DIARY

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IN DISCUSSION The Making of Elation Proteus

18

INSIDE VIEW Kvant Lasers

IN DEPTH 24

THE BIG INTERVIEW Josef Valchar, Robe

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REPORT Multipurpose venues

IN FOCUS 50

FÅRUP SOMMERLAND North Jutland, Denmark

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BLA BLA DUBAI Dubai, UAE

60

PACHA IBIZA Ibiza, Spain

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ANTIOCH BAPTIST CHURCH NORTH Atlanta, USA

70

WYNNBET SPORTS BAR Boston, USA

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TIKI TATSU-YA Austin, USA

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CATWALK+ Guangzhou, China

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TAIWAN TRADITIONAL THEATRE CENTER Taipei, Taiwan

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NATIONAL PARLIAMENT HOUSE Dhaka, Bangladesh

IN BUSINESS 78

SHOW PREVIEW Prolight+Sound, Frankfurt

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IN DETAIL Amate Audio, Genelec, GLP

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PRODUCT GUIDE Lasers & SFX

90

PRODUCT DIRECTORY

94

IN PROFILE d&b audiotechnik

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

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M A RCH MAR 27-29

MUSIC INSIDE RIMINI RIMINI, ITALY www.musicinsiderimini.it

A PRIL APR 13-14

APR

23-27

APR

26-29

EXPO SCENE MONTREAL, CANADA www.citt.org

NAB LAS VEGAS, USA www.nabshow.com

PROLIGHT + SOUND FRANKFURT, GERMANY www.pls.messefrankfurt.com

MAY MAY 8-11

MAY 10-13

MAY 10-11

MAY 16-18

THE GET SHOW GUANGZHOU, CHINA www.getshow.com

ISE BARCELONA, SPAIN www.iseurope.org

PLASA LEEDS, UK www.plasaleeds.com

SLS EXPO RIYADH, SAUDI ARABIA www.saudilightandsoundexpo.com

E XP O D I A R Y

JUNE MAY 17-19

MAY 19

MAY 23

MAY

26-28

CABSAT DUBAI, UAE www.cabsat.com

TPMEA AWARDS DUBAI, UAE www.tpmeaawards.com

TPi AWARDS LONDON, UK www.tpiawards.com

PALM EXPO MUMBAI, INDIA www.palmexpo.in

JUN 3-5

JUN 8

JUN 8-10

NAMM ANAHEIM, USA www.namm.org

MONDO-DR AWARDS LAS VEGAS, USA mondodrawards.com

INFOCOMM LAS VEGAS, USA www.infocommshow.org

TH E M A K I N G OF PRO T E U S T h e de ve lopme nt te am be h ind E lation P rof e ssiona l’s IP 65 P rote us line looks back on what h as be e n an e xpe rie ntial and f ruitf ul jou r n ey to a c h ie ving its late st line of h a rd-we a ring lu min air es.

It was early 2015 and Elation had gathered its worldwide engineering, product design, service and R&D personnel together in Los Angeles for a weeklong roundtable of debate, brainstorming and experiments to see how the company could push forward the engineering success gained from products such as the Platinum FLX into the realm of IP65. The talent was there among the thermal, mechanical, optical, electronic and software engineers present and the vision was clear – the creation of a reliable line of IP65-rated automated luminaires that would work under the harshest of conditions. The path to get there, however, was not.

Over the next several months, Elation would draft a well-thought-out development strategy complete with strategic goals, strengths, success measures, and challenges – all with the goal of launching a new brand of highest-quality ingress-protected products.

The seeds were sown but a lot of hard work lay ahead – there was a steep learning curve to conquer, resources to evaluate and procure, tests to undergo, mistakes to correct and obstacles to overcome.

Repetitive experiments would see a lot of wet and dusty professional engineers having their patience and dedication tested to the limit (as much as the hardware itself).

Elation’s Head of R&D, Irek Skoczowski, was present for that group symposium, a key member of a development team whose close working relationship stretched across the Atlantic to Elation’s European office in Holland and an R&D department, headed by Roger Hamers. “We knew the ‘why’ – that was driven by lighting designers, rental companies, and our own sales team,” Skoczowski recalled, “What we didn’t know was the ‘how’. How to develop a unit that could withstand the heat and sands of Dubai, Florida’s sweltering humidity or a freezing Austrian winter. The challenges were substantial.”

In the beginning IP65 wasn’t completely new territory for the company. Elation began delving into IP-rated products years earlier with the DLED and subsequent ELAR series. “I would call that the seed that started our path to the Proteus series,” said Elation Service Manager, Gines Gines, another important member of Elation’s Proteus development team.

“We found some of our early ELAR series fixtures in great operating condition years into use on maritime projects. That was important knowledge that we already had and helped us improve during the development stages with Proteus.” That early experience would aid in

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the development of marine-grade specifications for the Proteus line, providing greater resistance in corrosive saline environments.

One obvious challenge that hardly needed mentioning but would come to consume nights of sleep was how to keep an automated lighting unit fully sealed. The first attempts were anything but successful. “The first sample was not only too bulky,” – it looked like something from pre-history according to Skoczowski – “there were lots of leaks and condensation issues. When we opened the first prototype, we had to trash it. That was an early lesson in ingress protection – no screws into soft aluminium!” The solution proved to be helicoil inserts. “That was already a big improvement toward an IP65 solution.”

Early testing involved using inert gas to check for leaks, a method adopted from the automotive industry and its air conditioning systems.

The approach helped improve sealing by determining what gasket design was best, as well as what material would provide the best seal and stand up to repeated use.

Properly sealing the unit would prove to be only one small step of many, however. Preventing water from entering the unit is one thing; dealing with condensation within the unit is another. “Condensed water will normally vaporise and exit through air valves, but once cold weather experiments were undertaken, other issues arose,” remarked Roger Hamers from Elation R&D in Europe. “What we saw in very cold environments was condensed water that would tend to collect in certain areas of the unit. We isolated the issue and after considering several methods to deal with it, we eventually made very precise hardware modifications, which enabled collection and retaining of the moisture until the light heats up and the water is released as vapour. The system proved effective and also provided extra protection for important internal components like PCBs.” Humidity control, perhaps the biggest obstacle to overcome, had been perfected, or so Elation engineers thought. As the Proteus line expanded to include LED versions and their cooler, larger front lenses, condensation again reared its ugly head. “Because water condenses at the coldest place on a unit, often the front lens on an LED fixture, we noticed that it would sometimes fog up,” Hamers continued. “In this case, we looked outside our industry, to the auto industry, to see how they dealt with a similar problem.” The solution, which involved inserting a fan and heating element to blow a warm film of air beneath the lens, ensures that lenses stay fog free.

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Previous Pa ge: P roteu s b ei ng t es t ed on a rooftop i n Sea ttle.

Below: The fi x ture b ei n g ex pos ed t o t he heat a nd dus t i n A ri zona .

Thinking long term Progress felt slow but progress there was. A morning would be lost repairing a unit and replacing blown PCBs because a seal was half a millimetre too narrow, or a $1 connector failed. Even when individual problems were solved, the development team had to think long term – will it still work years down the line? How and where could it corrode?

The experiments were hard, often frustrating, involved a lot of cleaning up and constant laundry. But, even in the early days, progress was being made by a development group collectively learning, growing and sharing knowledge.

Meanwhile, other issues popped up. When initial prototype units had motor problems due to overheating that led to overstepping, Elation’s software engineers were called on to modify the software system. And when an early pole gliding system for focus and zoom had issues in high-heat environments, leading to overstepping and faster wear, a switch to a rail system with quality bearings and specially designed oils was implemented – a maintenance-free solution that worked very well in all environments.

Months passed with engineers modifying, changing, fixing, replacing and testing. In the meantime, Elation sales personnel began to scan their contacts to secure Proteus on real-world applications all around the globe, with lessons learnt along the way. Dubai, for example, was one of the harsh test environments where units were exposed for months on end to an unrelenting sun, high winds, and sandstorms.

Naturally, once rescued from their desert torment, curious engineers wanted to know what was happening inside the units.

“Our concern was for the internal components and how we could get rid of all that heat,” Skoczowski recalled. “We drew on experience we had with our Platinum lamp fixtures and how to cool them, but still it took us two full years to perfect the cooling system.”

Proteus uses an innovative cooling system of radiators and cooling ribs, which work with internal fans to transport heat out of the unit.

To lower the heat stress further, the cooling system ensures that an even temperature is transported throughout the entire unit to avoid any internal hot spots. Additionally, at each step, acoustic levels were carefully measured to ensure that sound levels stayed low.

The environments that Proteus fixtures find themselves in are diverse.

For fixtures exposed to high winds – for example on a skyscraper hundreds of metres above the ground – special wind tests are conducted that measure wind force tolerance. Other units undergo IK tests that measure lens impact levels, as well as 3G vibration testing. On top of that, fixtures are tested under CE, cETLus and IP65 certification and guidelines, along with other local testing when required.

The Elation Lab Other test environments are just as gruelling including hot and humid Orlando, and rain and saltwater environs in China. Perhaps the harshest test however comes in Elation’s own lab. “We create harsher environments than a customer would use the product in. Basically, we run them and test them until we kill them,” said Skoczowski, flashing that devious look you only see from an unrestrained test engineer.

Following a thorough visual inspection, prototypes must endure a litany of tests. A special IP chamber showers, sprays, and blasts the unit from every angle imaginable; a heat room exposes it to temperatures up to 50°C; and a freezer all the way down to -40°C. A trip out onto the roof of the Elation facility sees further tortures. Tests also include exposure to other substances a unit may encounter in real-

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Right and b elo w : Ma ri ne-g ra de s p ecificat ion s prov i de g rea ter res i s ta n c e in cor ros ive s a li n e env i ronm ents .

world environments like chlorine (swimming pools), bromine (spas) and large cups of beer (any festival).

Not all testing uncovers real-world problems, however. One example is from an early test site where direct sun shining through the lens of a unit caused damage to internal components – an issue that engineers hadn’t originally foreseen. “The sun had shone through the lens to create an exceptionally narrow beam into the unit, similar to a laser, and it burned some components in seconds,” Hamers recounted.

“We thought we had covered everything, but it just goes to show how important real-world testing is.”

The solution involved a combination of software and hardware modifications – a sun protection mode that uses sensors to tell the unit to position itself away from the sun in combination with special sealing plates that protect belts, fans and valves.

Other tests would uncover other potential weaknesses. Drop tests, for example, found that certain housing and bracketry construction needed slight tweaking, and other improvements were made to seemingly banal things like wiring systems and power sockets. “We learned a lot from those early prototype units – especially the Proteus Hybrid – and avoided those problems on following units,” Skoczowski noted.

A giant step for the industry As the proverb goes, necessity is the mother of invention and with units being opened and closed in Elation R&D daily, a high-quality IP tester was a necessity for the testing team. “The IP testers on the market could only vacuum test, which isn’t good enough, so we ended up making our own IP tester that can test for both vacuum and pressure leaks,” explained Hamers. “But why should it do both? With a vacuum-only tester, water is sucked into the fixture and it is hard to isolate where the leak is. There are problems you would never find with only a vacuum test, like leaks in a membrane. I want to see bubbles! We also pressurise the unit so that you can see bubbles and more easily identify where the leak is.”

That initial roundtable discussion sparked the evolution of an industryleading product line that has kept Elation at the forefront of IP-rated fixture development ever since. Eric Loader, Sales and Marketing Director at Elation Professional, was at that symposium and reflected on the journey. “It’s been a challenging task all along the way for sure, but nothing great comes easy, does it? The hard work and dedication our team puts into developing these world-class products ensures customers realise their vision while making sure their projects are successful from start to finish. It has been a giant step forward for our company but for our industry as well.” www.elationlighting.com

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Architect

KVANT L AS ERS A d eve l o pe r a n d m a n u f a cture r of wor l d-c l a s s l a s e r pr o j e c t ors.

www.kvantlasers.sk

Kvant Lasers is a division of the KVANT group with nearly 30 years of experience in developing and manufacturing quality lasers for entertainment, research and industrial applications.

In the years of making lasers, Kvant has achieved a great deal – some of the world’s biggest entertainers and brands use its lasers in their shows. But the company doesn’t stop there. Its mission is to keep improving and making the best laser projectors for those who want to produce the very best shows.

“The past two years were challenging for everyone in the industry but allowed us to stop, re-think and take action,” said Director, Martin Pelikán. “We gained some time and dived into a phase of intensive development. As a result, some new product lines came into existence, and some were improved or expanded. We believe that now is the right time to familiarise people with the overview of our laser projectors for 2022.”

Architect EXTREMELY BRIGHT SINGLE-BEAM ARCHITECTONIC AND SKY LASERS The new Architect range of high-power static-beam lasers (sometimes called sky lasers or landmark lasers) is Kvant’s reaction to the globally increasing demand for superbright lasers. “These are great for highlighting significant landmarks, structures and buildings,” Pelikán stated. “The beam coming out of the Architect systems draws attention from many miles away. It adds a great deal of sublimity to already majestic nature-made, or human-made objects, making them even more unique, appealing and desirable.”

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Atom POWERFUL YET AFFORDABLE PROFESSIONAL LASER DISPLAY PROJECTORS Kvant officially launched its first semiconductor diode laser system back in 2011 in Birmingham, UK, and today’s Atom series combines the latest semiconductor diode laser technology with battlefield-proven construction and an integrated FB4 controller. “Our Atoms already showed their potential in power-demanding applications,” he noted. “At the same time, we manage to keep their sales price at a reasonably low level. Atom lasers are the bridge between smaller Clubmax FB4 systems and our flagship Spectrum laser projectors.”

BeamBrush

BeamBrush NEXT-LEVEL LASER GRAPHICS AND SAFER AUDIENCE SCANNING The BeamBrush projector is a professional full-colour RGB laser display system that, apart from all conventional laser effects, can also change the size of the projected beam in real-time. This unique feature makes it capable of projecting laser graphics, animations and abstracts at a whole new level.

“This enables replicating the effects of moving heads and wash lights – making the BeamBrush laser projector suitable and effective for a much larger variety of lighting applications and with an unlimited number of gobos, as those can be programmed in the software,” Pelikán noted. The ability to change the size of the projected beam (which also changes the beam’s intensity) offers a sophisticated tool for much more efficient measures when it comes to laser safety for audience scanning shows. The BeamBrush is available in 3-, 6.8-, 10-, and 35W versions.

Burstberry Cluster A UNIQUE MODULAR LASER DISPLAY SYSTEM A pack made of six Burstberries offers more than 150,000 points-per-second drawing capability – at 8° projection angle and 20 frames per second performed. And being virtually a single unit makes the handling extremely easy and practical, with no misalignment between the projectors once they are set up, even if moved afterwards.

“Just imagine what you could do with over 150,000 points per second; how complex the content could be with absolutely no flicker when projected,” Pelikán proffered.

“The Burstberry offers endless creative possibilities and easy control when designing challenging laser effects.

Because it is intended to be operated mainly via Artnet or DMX, we see it ultimately as the product of choice for every lighting designer.”

Clubmax ICONIC CLUBBING BESTSELLER THAT CHANGED THE INDUSTRY FOREVER Over the years, thousands of Clubmax FB4 lasers found their customers worldwide. “Clubmax FB4 systems have an excellent reputation and hold their price up well,” Pelikán said. “Today we offer the third generation of our

Spectrum

all-time bestseller that we crafted to perfection.” Clubmax FB4 lasers are available in the range from 2 to 15W. The Clubmax FB4 series lasers are a radically simple solution for several thousand raves to the smallest private clubs and cosy venues. Developed with regard to challenging clubbing environments, the design is optimised to allow for long maintenance intervals and ensure a long life span.

LogoLas INDUSTRIAL-GRADE LASER PROJECTORS FOR ADVERTISING AND SIGNAGE The new LogoLas is a professional laser display system built into an industrial-grade housing, developed for outdoor laser advertising, high visibility signage, facade illumination and crowd flow management applications. Its inbuilt control interface and IP rated robust build make it a comprehensive solution for permanent installations in demanding environments.

Maxim SINGLE-COLOUR GREEN LASERS FOR OLD-SCHOOL CLASSICS “Our iconic Maxim green-laser series went through dozens of changes over the years, but the core remains the same; a quality laser source with laboratory-grade optics wrapped in a robust aluminium shell for confidence and peace of mind,” Pelikán described. “The whole package is as simple and effective as it can be.”

Spectrum STATE OF THE ART FULL-COLOUR HIGH-POWER LASER DISPLAY PROJECTORS The Spectrum went through vast number of changes and improvements throughout the years of its existence. “As a result, the brand-new Spectrum is all that a successfocused laser display professional needs for large scale outdoor shows and for whom failure is not an option,” Pelikán stated. “The Spectrum range represents power, precision, robustness, cutting-edge technology and includes technological features, which are often unique and make the Spectrums what they are – very bright, reliable and a pleasure to work with.”

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Kvant Show Production Kvant Show Production is a division of the KVANT group with nearly 30 years of experience with laser displays, and multimedia shows worldwide, offering laser and multimedia show design and production services, visual art installations, tour support, equipment hire worldwide, and more.

“Over the years, we have been presented with many opportunities to embrace exciting challenges and experiences,” said Pelikán.

“Being part of teams in entertainment shows of all shapes and sizes for various brands has exposed us to many different approaches. This has helped create who we are today – an awardwinning show production team.

“We specialise in combining a wide variety of multimedia elements into one cohesive show timeline,” he added. “Our success is based on topquality equipment in the right hands. Our team of selected professionals bridge the gap between technical expertise and visual art. Their dedication to excel in this field means that they always put 101% of their effort into the job, making the best show possible.”

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NYE 2021 in Belgrade The New Year celebrations in prominent metropolitan cities tend to be always magnificent and, if possible, unique. Unfortunately, this wasn’t the case in many European cities this year due to the ongoing restrictions. Luckily for Serbia’s capital city of Belgrade, the situation turned out to be very different.

The Kula Tower is a modern high-rise building that has not been finished yet, situated on the banks of the Sava River in the fanciest part of the city – Belgrade Waterfront. With its height of 168m over 42 floors, it will most likely become the tallest building in the region. “We made the decision and accepted the challenge,” Pelikán said of the project. “We participated in an international contest, won it, and then had to prove that we could do it.”

In cooperation with renowned Serbian partner SkyMusic Production and top-class firework company Fireworks by Grucci from the US, Kvant assembled a stunning multimedia show with a massive firework display.

According to Pelikán, the hardest part of the operation was installing all the equipment onto the tower’s facade, which was still undergoing

I N S I DE V I EW - KVAN T LA SE R S | W W W .M O N DODR.COM

works in progress, with several teams of workers present. Within 10 days, the climbers installed dozens of purpose-made and structurally certified fitting brackets to which all the lighting fixtures were attached afterwards. “We tested the functionality and water resistance of all the equipment and connections during this phase,” he noted.

At the same time, technicians were preparing laser display projectors and moving heads and descending them on ropes in special protection covers down to required locations. The rest of the team prepared all the signal and power cabling inside the building. “In the end, we ran the two 600m lines of the main-signal optical cable to the central control room,” he added. All of this happened with 500 builders working on-site, during building works in full swing, in all kinds of weather conditions and under strict health and safety regulations.

Kvant Spectrum and Atom full-colour laser display systems with an optical power output of up to 30W were used to accomplish the desired effect.

Every laser projector was fitted with a rain cover, protecting the device from rain, snow, frost and firework residues. Finally, after acclimatisation, the Kvant team tested every system several times and fine-adjusted its output for optimal performance. This was essential for the NYE and the six weeks following the entry to 2022, when several different projections and shows happened, each following a different theme.

“Our video developers tailored all the content, fitting nicely onto permanently installed screens on the two tower’s facades,” Pelikán recalled. “Of course, any of the content was not to be seen by the public before the event. So, we made all the zoning, testing and show adjustments during nights at strictly set times.”

Also, due to proximity to the town’s international airport, the lighting and lasers had to be dealt with 100% care regarding safety.

The show and its elements, including lasers, lighting, fireworks, video and sound, were timecoded, so there was no space for human-made mistakes in synchronisation. The show was broadcast live by several Serbian TV stations and screened on three large stages in the city. After the show, the lasers, moving lights, and some video content stayed running long into the night, drawing attention to the landmark from far away.

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THE BIG INTERVIEW Josef Valchar, Robe

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“IN TERMS OF BUSINESS, WE ‘MAINTAINED’ THROUGHOUT THE PANDEMIC, BUT WE GREW IN SO MANY OTHER WAYS – AS A BRAND, AS PEOPLE, AS A TEAM, AN ORGANISATION AND ULTIMATELY AS A ‘FAMILY’.”

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Josef Valchar, CEO, co-owner and very much a public face of Czech Republic-based lighting and LED manufacturer, Robe, is optimistic about the year ahead. He is looking forward to travelling again, to visiting live shows, events and music tours and festivals, to meeting people, driving business, being social and out there generally on the front line.

Valchar enjoys many things about this industry, including engaging with people, listening to real-life feedback and experiences, and learning from what those at the industry’s sharp end are wanting, needing, and thinking about, to fuel their creative and technical goals.

Robe was in a fortunate position going into the pandemic.

With several successive years of sustained growth and being independently and privately owned and run, Valchar and three shareholders have expediently and efficiently steered the operation without accruing financial liabilities.

The large, well-organised, contemporary factory located in the northeast of the Czech Republic is a significant source of regional employment, juxtaposed against the beautiful, undulating Wallachian hills landscape.

This much-appreciated environment and clean air has been a welcome backdrop during the pandemic as well as a source of inspiration for planning a strategic response.

Robe was one of the few manufacturers to maintain brand awareness and a strong marketing presence throughout the pandemic period – a textbook response to a crisis but not a route embraced by everyone. Valchar, integrally involved in all the new product development thanks to his engineering background, is also Robe’s head of marketing.

“We always believed, even during those very dark and uncertain first months as the world realised it had an unprecedented existential public health problem and no plans to deal with it… that things would return to some sort of normal,” he commented. “We were also realistic.

We knew almost immediately that it was massive and potentially disastrous for certain businesses worldwide – especially our own entertainment / leisure industry plus all the related areas of ‘hospitality’ and others that are inextricably linked, like travel, but we also knew it was important to continue. We didn’t think it was a doomsday scenario.” he recalled.

Robe completely shifted its marketing and communication emphasis and output during this time. It was a complicated process to gauge, especially initially, as no-one had any experience of a pandemic, and no real idea of how long the situation might continue, but the communication evolved organically, together with the general pandemic response.

“With no shows or events and no expos, locked in our countries and for some even in our regions – at one stage, without special permission people could not move locally or between towns in the Czech Republic, which had one of the most stringent lockdowns in Europe – we worked very hard both internally with our subsidiaries, and also in a wider context via our global distribution network,” elucidated Valchar. “Firstly, it was essential to keep the team together, keep everyone motivated and maintain morale,” he stated, referring to communication generally as well as producing marketing collateral and assets that could be used in a wider context across multiple platforms.

“All our news from that time and most of the first year is focussed on people, highlighting some of the amazing characters in this business and their responses and ingenuity,” he continued. “It was important to empathise and to encourage everyone we could. Many people put their time and energy into volunteering and helping their national efforts in beating the pandemic in different ways.

Others used creativity and resilience in getting through and

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A b ov e: Light in g a n d en vir on men t d esign er , Er a n Klein pu t Robe M e ga Poin t es a t t he cor e of B la ck C o f f e e ’s r ecen t show a t D r u mshed s, Lon d on .

B e lo w: T1 Pr of iles w er e d eployed a t C i t y Ha ll Au d it or iu m of Aa lt er in B e l g i u m , in Koen D e C ler ck ’s d esign f or t he C ogét a ma ba llet .

P h o to s : Lin d sa y C a ve a n d Koen d e Kler ck – KOD EC Phot ogr a phy.

“ WH I L E T H I N G S M I G H T N OT B E ‘ N O R MA L ’ U N T I L N E X T Y EAR , W E S T I L L H A V E A VER Y E X C I T I N G R A N G E O F PRO D U C T S L A U N C H I N G OVE R TH E CO M I N G M O N T H S . ”

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coming up with inventive ways of making ends meet and giving those in their immediate circles a sense of purpose.

“For our industry, which is normally incredibly busy, full-on, high pressure, in demand, one of the biggest shocks was for those who suddenly found they didn’t have any work or even a job or a career at that stage. Once we realised it was going to drag on beyond the initial months that everyone had hoped, keeping people motivated, upbeat, thinking ahead and through to the other side really became vital.”

Valchar and the Robe team found that there was generally a lot of support and collaboration for this bi-directional communication push from within their own ‘family’. “We all kept talking all the time,” he reflected. “In fact, I think that many of us have worked harder during this time than ever before.” As well as external and marketing, Robe’s internal communication continued at pace, as did the intense and relentless pace of R&D. Rapid rise Much of Robe’s rapid rise from a little-known ‘disco lighting’ manufacturer in eastern Europe to a professional show lighting market leader in two decades – the brand was officially launched in 2002 – has been due to having the right people in the right places, and with huge passion, energy, and commitment to move the brand forward. Like many businesses, 2019 was a boom year and 2020 was predicted to be even better, so, after recovering from the abruptness of the halt in business and the severity of the

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Previous pa ge: Sta v a ng er Conc ert H a ll, Nor way, r ec ently u pg ra ded i ts ri g to include 66 R ob e ESP R I T E m ov i n g li g h ts and 24 P arFec t 1 50s .

Above: FO R T E a nd CUET E fi x tures a re powered by R ob e’ s pa tented ‘ tra ns ferra b le ener g y’ (T E) tec h nolog y .

Above right : O v er 1 00 R ob e m ov i ng li g h ts s up port ed Mi k a el T roc h u’ s des i g n for th e Monument a l m a pped proj ec ti on s h ow a t C hat eau de P i errefonds , O i s e, F ra nc e.

Photos: Loui s e Sti c k la nd.

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hit to entertainment and hospitality, it has also provided a degree of breathing space and time for reflection.

2020 was not the time to officially launch any new technology or products as companies and people struggled to survive, but it was a great time to keep ears and eyes to the ground and focus on future developments and directions. The Robe factory remained fully functional throughout at some capacity. After the first three or four months of complete disbelief at the global situation, orders placed on hold then started reactivating and even that early on, some new business started coming in.

“It’s hard to measure how we have ‘grown’ in this specific time,” Valchar mused. “In terms of business, we ‘maintained’ throughout the pandemic, but we grew in so many other ways – as a brand, as people, as a team, an organisation and ultimately as a ‘family’. After three months, selected projects and particularly long-term installations restarted cautiously. Then of course, film and TV bounced back due to the huge demand for new content while the world was in lockdown. Then artists started wanting to release new music and reach out to their fans and the whole livestreaming and digital gig / broadcast / AR / XR area kicked off and started developing, then everyone started trying to make their streams appear more ‘live’, gig-like and better than before – all of which stimulated some business activity around different parts of the world.

Above everything else, I think this activity also highlighted how vital live events meetings and experiences are to us as human beings.”

Valchar also mentioned Anolis, Robe’s sister architectural LED lighting brand, which has been developed out of the spotlight and steadily gained prominence in that parallel world. “The potential for this longer-term installation and specification market and for Anolis to develop has been highlighted during this time.”

2021 brought a new vibe, with mass vaccinations on the horizon and a lot more expectation of ‘the end’ being in sight, and critically, people were now willing to look beyond the pandemic. It was time to strategically introduce some new and appropriate products, and for Robe that started

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“WE’ V E L EA R N E D T H A T T R A D E SH O W S A R E N O T T H E O N L Y AVEN U E F O R P R O MO T I O N , B U T W E ST I L L FE E L T H E Y AR E AN I M P O R T A N T I N PERSO N M E E T I N G P O I N T A N D A F O RUM F O R N E T W O R K I N G, D I SCU SSI O N , T A L K I N G B U SI N ESS A N D B E I N G S O C I A L. ”

with its new high-powered LED profile, the FORTE, featuring the company’s ‘transferrable engine’ (TE) technology.

Quizzed on whether Robe is adopting a “build back better” policy post-pandemic, Valchar touched on some of the challenges being faced worldwide, including the supply chain squeeze and electronic component shortages. “Semiconductors are a problem right now,” he said with a wry smile. “That’s the situation – what more can I say? And it’s not just for us, but for all manufacturing sectors.”

Valchar believes that while the car industry has a shortage of chips, so will the entertainment industry, as automotive has considerably more bargaining muscle and political influence. One of the many facts that the pandemic stripped bare was that for all its fabulousness, fantastic value and international revenue and GDP generating potential, the live entertainment industry had precious little real political lobbying power.

On the chip shortage, he deliberated carefully. “When we were predicting this last year, we hoped by now it would have already improved, but realistically we now think it will be Q3 or Q4.” After a deep breath, his characteristic zen optimism began to shine through. “Patience – that’s what we need. Patience and the flexibility to be able to purchase chips from a variety of different sources. It will improve, and while things might not be ‘normal’ until next year, we still have a very exciting range of products launching over the coming months.”

Valchar has voiced strong opinions about the influence of Chinese-manufactured products over the years, and when pushed on the subject, he stated: “It has been a constant driver in ensuring our own bars stay exceptionally high.

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Ultimately, the only protection we have against derivative products is that we keep proactively pushing R&D and our own innovations together with longevity – and therefore enhanced ROI. Plus, naturally, excellent quality in the quest to set new standards.”

Over the past 10 to 15 years, Robe has also concentrated on building its patent portfolio, which now includes over 100 issued or pending.

An element of Chinese manufacturing that is related to the current component shortage is political initiatives to supply domestic markets ahead of export markets, which he and most in this position, find “irritating to say the least”.

Pragmatically, in the next sentence he added: “Since Robe launched as an own brand, and before then, when we were an OEM manufacturer, the world has become a lot more global. Like most things, there are pros and cons.”

The complexities of climate change Valchar and the Robe team has been committed to creating cleaner, greener and more sustainable lighting products and refining their production processes for many years.

They are not just jumping on the green train now because it is trendy, high-profile and finally recognised as inevitable.

Robe’s first LED wash light – the LEDWash 600 – was launched in 2010, which was both ground-breaking as a piece of technology and game-changing for the brand, but it was also part of a thought-process that had commenced way beforehand. Predating that, Robe’s architectural LED lighting brand Anolis was founded in 2005, offering innovative high-quality product lines for interior and exterior built environments – a move that came from seeing the potential for commerce and technical innovation in that sector as well as the longer-term recognition of and

A b o ve : L i g h t i n g D e s i g n e r , R o b Koen ig s e l e c t e d R o b e B M F L s f o r t h e r ec en t M e t al l i c a 4 0 s h o w s a t C h a s e C en t er , Sa n F r an c i s c o .

P h o t o : R a l p h L ar m an n .

L e f t : R o b e T11 Pr o f i l e .

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commitment to sustainability. The company’s ‘Think of the Future – Consider Nature’ marketing initiative was also launched a decade ago, several years ahead of any legislation that would eventually start outlawing the light sources of the day.

Aware of the multiple wider geopolitical and societal movements and the sense in making the company and its products as sustainable as possible, Valchar observed: “People have been having serious debates about the complexities of climate change and its consequences for so many years, but only recently has the science finally got more serious traction globally and the problem recognised as urgent.”

All Robe’s entertainment lighting products have been LED-based for the past five years, and in spring this year, a major new eco plan will be announced that includes the factory complex becoming largely selfreliant in generating and running from its own green electricity. Recycling and other practical initiatives to reduce waste and materials were already implemented years back.

Valchar doesn’t envision a burgeoning new market for battery-powered moving lights for live events and touring, which he sees as neither ecological nor practical. He also mentioned that deliberations about the extraction of raw materials like lithium, cobalt and nickel that are essential to these technologies – and frequently disastrous to land, water, wildlife and people – have yet to hit centre stage. “Like all intelligent and responsible people and manufacturers, we will take all the steps we can to ensure our products are produced as cleanly and efficiently as possible, both now and in the future. It is a situation that’s constantly under review.”

Robe has become known for its strong presence and ever more ambitious and spectacular booth designs at industry trade shows in recent years, all helping to draw crowds and plenty of attention, and despite the devastating impact of COVID-19 on the trade show

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circuit, Valchar firmly supports expos as an important aspect of communicating the brand in different markets. “We will still be at the major international trade shows, and we will have a big presence there,” he confirmed. “I think we have all learned that trade shows are not the only avenue for promotion, but we still feel they are an important in-person meeting point and a forum for networking, discussion, talking business and being social.”

He also alluded to Robe doing more regionally based events of its own that will target specific disciplines and areas of business. However, right now, it’s all eyes on Frankfurt and Prolight+Sound, with positive signs that the show will go ahead as planned. If it does, Robe intends to make maximum impact and reveal a few surprises both inside and outside the exhibition halls. “There’s plenty on the horizon to look forward to this year and beyond.”

Looking after Robe’s core and wider teams and the mosaic of people and relationships involved on multiple levels has been a priority during the pandemic. While it has been an extremely tough period for the industry, Valchar is convinced that live shows and events will come back with a huge bang, offering an ocean of diversity, colour, vibrance and opportunities for business and work.

“Everyone is done with being stuck indoors looking at screens,” he exclaimed. “While it’s been an incredible learning curve and an achievement in staying connected, there is a massive appetite from all age groups, in all regions and across every area of entertainment – from music shows and festivals of all types, to theatre productions, sporting events and more – to get out and enjoy the human experience and camaraderie of all being together again. This phenomenon and not being able to engage in it has seriously affected every part of the hospitality sector, but it’s also proved itself as such a fundamental part of our existence – that’s lucky for us.”

Abo v e: The B MFL Wa shB ea m ha s been a Met a llica ‘a n chor ’ f ixt u r e f or ma n y yea r s.

Ph o to : Ra lph La r ma n n .

M U LTI PU RPO SE V EN U ES F l exi b l e s pa c e s w i t h t h e a bility to h o s t a w i d e r a n g e of e ve nts a l l u n d e r o n e r o of .

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H ow a premi u m a u d i o s y ste m c a n t ra n s fo rm a mult i pur po s e ve n u e COMPANY: Genelec

What does multipurpose mean?

The term ‘multipurpose venue’ is increasingly broadbased. It used to refer largely to performance venues that doubled as social clubs or reception venues, but these days it could refer to almost anything – cultural centres, casinos, cruise ships, town halls, even offices. Hotels are a case in point with several types of public area ranging from the lobby to the bar to any number of restaurants, and perhaps a ballroom (or indeed several), not to mention a full complement of corporate facilities. The common denominator is, of course, flexibility of purpose or the ability to host more than one kind of event.

Premium audio Audio is a key consideration, and one that is still all too often overlooked. After sight and smell, hearing is our next most important sense; as such, our auditory environment has a very significant impact on our behaviour. We’ve all experienced the restaurant with dreadful acoustics where you can’t hear the person opposite you, or worse, you have the impression that the entire restaurant can hear your conversation, so you feel obliged to whisper (or not talk at all). The same applies to the corporate function where you can’t understand a word the guy on stage with the microphone is saying (not necessarily such a bad thing, you may say…); or simply any environment where ambient noise levels are such that, after a while, you can’t wait to get out. In short, a sub-standard audio experience can have a serious impact on your business.

However, the opposite is also true – a premium audio experience, especially when combined with a visually pleasing environment, will encourage people to stay longer – and to return if they can. Genelec is a brand that fares particularly well in the kind of environment that sets store by such things. Firmly aimed at the premium end of the spectrum where quality and attention to detail are the order of the day, Genelec loudspeakers have made strong inroads into the installed AV market with a range of dedicated installation loudspeakers that look as good as they sound.

Ease of installation All Genelec installation loudspeakers feature an active design to facilitate installation; no amplifier racks or associated cabling is one less thing for integrators to worry about. The 4000 Series comprises four different sizes of loudspeaker, from the ultra-compact 4010 to the powerful flagship 4040, which can deliver precise, studioquality performance for applications requiring higher playback levels and greater low-frequency extension. The acoustic design of the 4000 Series is assisted by rear panel room compensation switches, which provide the ability to adapt to challenging acoustic environments, ensuring extraordinary coverage, clarity and intelligibility, whatever the playback level. A comprehensive range of mounting accessories means they can be installed quickly and conveniently in almost any location.

Getting networked Even easier to install are the growing family of Smart IP loudspeakers. They share the same sleek aesthetic as the 4000 Series, but thanks to a cleverly designed internal power supply, the Genelec Smart IP platform can deliver power, audio, calibration, control and monitoring over a single CAT cable. For integrators, the ability to have everything delivered over one cable is manna from heaven as it simplifies the installation and frees up both time and resources. Furthermore, a Smart IP solution can even run off the existing IP infrastructure if it’s planned at the design stage, for even greater savings. Smart IP Manager software allows the installer to configure and optimise the system, after which end users can control basic system functions using a house automation system (via a public API command set), or opt for Genelec’s elegantly simple Smart IP Controller app on their smartphone or tablet.

Supplementing both loudspeaker ranges are numerous high-quality in-wall and in-ceiling models for situations that require the loudspeaker solution to be hidden. They deliver the same precise and natural acoustic response for which Genelec is renowned in a discreet, unobtrusive format. The grilles and mounting frames can be painted in any colour for seamless blending with their environment. Finally, a range of active subwoofers are available for applications where further low-frequency extension is required – once again, they deliver Genelec’s trademark clean, precise reproduction, for complete LF control.

Consistency and reliability As a solution for multipurpose venues, Genelec offers several advantages; the first being the quality of the sound – Genelec loudspeakers can deliver the same detailed clarity at extremely low levels as they do at higher SPLs. Unlike some systems, they do not need to be driven hard to sound good – but if you do, they’ll still sound great.

Many venues are now commissioning specially designed soundscapes to create an alluring environment. Genelec loudspeakers are favoured by sound designers for their transparent, crystalline reproduction, even at low levels.

Along with the consistency of audio is the consistency of look – Genelec installation loudspeakers share the same minimalist, aesthetically beautiful design and sleek curves. Most are available in 120 RAL colours as well as an edgy “RAW” recycled aluminium finish which works well in environments with a more industrial feel, and has the advantage of being even more environmentally friendly.

Sustainable systems Genelec has been committed to sustainable development and manufacturing for over 40 years. Reliability and spare part support is a crucial part of sustainability, and Genelec still provides repairs and spare parts for loudspeakers manufactured in the early Eighties! If quality, reliability and sustainability are your watchwords, we’d warmly encourage you to consider Genelec for your next project. www.genelec.com

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Hull I c e Arena COMPANY: Adam Hall LOCATION: Hull, UK

The Hull Ice Arena in Kingston upon Hull, England, is an ice skating and hockey stadium and until 2015 was home to the Hull Stingrays in the Elite Ice Hockey League, the top ice hockey league in the UK. The British music elite have also played here – from Oasis to Robbie Williams and Ed Sheeran. After Hull Stingrays had to file for bankruptcy in 2015, the Olympic ice rink was used for leisure and semi-professional ice skating for a few years until the arena was temporarily closed in March 2020 and renovated for a seven-figure sum. In addition to a new ice rink and renovated changing rooms and toilet facilities, the Hull Ice Arena has recently also been lit up in new sound and light. JRG Productions relied completely on LD Systems for the PA, while 80 Cameo spotlights are used for the lighting.

The Hull Arena offers around 2,000 seats, with a covered ice surface for concerts, boxing events, conferences, and trade fairs. In fact, there is space for up to 3,750 people. Before the renovations, the sound from the in-house PA was not convincing, partly due to the age of the system, partly due to the centre cluster design. The existing trussing situation posed particular challenges for JRG Productions’ planning, as the installation of additional trusses or rigging points was not possible due to budget and timing constraints.

The solution: a centre array of LD Systems STINGER 15 G3 full-range speakers and STINGER SUB 18 G3 subwoofers, supplemented by STINGER 10 G3 speakers as circumferential, also flown infill systems. “The original PA was also based on a centre cluster, but without infills, which resulted in uneven coverage of the ice surface and was barely able to reach the grandstands,” explained Jason Rattle from JRG Productions.

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“With the new LD Systems STINGER centre array and the additional STINGER infills, we were able to solve this problem. In addition, the entire package of centre array, infills and Cameo lighting cost only slightly more than originally planned for the single centre array.”

Thanks to the connectivity of the DSP-K range of amplifiers, JRG Productions can remotely connect to the PA system and make changes to system settings if required. This also offers the venue peace of mind knowing that issues that may arise over coming years can be diagnosed in minutes online and without the costs associated to site visits.

JRG Productions fully relied on the all-rounder capabilities of the Cameo FLAT PRO 7 G2 RGBWA LED spotlights to illuminate the ice rink. The IP65-rated fixtures were specifically selected to provide the venue with a long term, reliable installation within what can be a wet and humid environment. The spotlights distributed throughout the hall are controlled via the Cameo DVC Pro software and can be controlled individually if required. This allows individual areas to be illuminated separately, as well as creating dynamic beam and chase effects for concerts or ice-skating events.

“The operational team have been particularly impressed with the DVC software. They are now able to produce their own scenes and chases for special events in house, without the need to recruit specialist lighting contractors,” said Rattle.

JRG Solutions used solutions from Adam Hall Cables and Riggatec rigging hardware for the installation and cabling of loudspeakers, spotlights and peripheral devices. www.adamhall.com

Tel egra fen O sl o COMPANY: Bose LOCATION: Oslo, Norway

Oslo’s latest nightlife addition, Telegrafen, is an experience all its own. Located in the historic ‘telegraph building’ in Kongens gate 21, it’s a trip back in time to the ’60s, ’70s and ’80s – but not without cutting-edge experiences and technology. The 3,200 sq m venue consists of six modern and flexible event rooms, five unique bars, and three game zones with over 40 games and activities, such as darts and the Dutch shuffleboard game Sjoelbak. Telegrafen Oslo is designed to give visitors the ultimate combination of delicious food, high-quality facilities, a pleasant atmosphere and engaging, memorable entertainment.

Modern amenities, art and furniture all combine with the original artwork and architectural elements from as far

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back as 1916 to make Telegrafen Oslo a blast-from-thepast experience. All this doesn’t mean that its designers would be satisfied with audio capabilities that were stuck in a bygone era – and system integrator Bravo turned to a robust suite of Bose Professional products to form a holistic solution that could keep pace with all the varied experiences guests can have within the space.

A day inside Telegrafen Oslo could include everything from a conference in a customisable event room to lunch from the venue’s impressive kitchen to a darts tournament in a bar with a distinctly ’80s vibe or a full, luxurious, threecourse meal and a late night of dancing and socialising.

That variety is attractive to visitors, but it presented a potential headache for audio engineers and staff. How can a space with so much to offer leverage a diverse, yet holistic audio solution that’s powerful and versatile enough to cater to all these experiences without interfering with the blend of heritage and high-tech?

“We needed a partner who could ensure high-quality sound in big, flexible spaces, larger educational facilities, restaurants, bars – in other words, we needed distinct solutions suitable for everything from fun, experiential sound to clear audio for conferencing,” said Steffen Johansen, Technical Project Manager for Bravo. “We needed a provider that could deliver products that met all of our needs, not one that only provides the loudspeakers.”

To ensure Skagstindgruppen, which owns Telegrafen Oslo, was satisfied with the final audio solution, Bravo turned to Bose Professional solutions. The final suite included 14 distinct products serving different roles throughout the venue for a cohesive, elegant audio solution. Products included DesignMax in-ceiling loudspeakers, Panaray MA12 family of modular columnar array loudspeakers, PowerSpace and PowerMatch amplifiers, and the Videobar VB1 all-in-one USB conferencing device.

“Everything in here is fantastic. I never worry that I’ll get a call on a busy night that something isn’t working – Bose solutions simply perform, and we really created the ideal solution,” added Johansen.

While the diverse selection of loudspeakers provided a superior sound experience and integrated into the different styles throughout the building, having the Bose Videobar VB1 in the conferencing space ensured transparent conferencing technology for high productivity and ease of use for guests. The Videobar VB1 provides truly intuitive and quick connectivity with the single cable.

“What’s so cool about this project is the breadth of Bose components used throughout the venue,” said Jørn Akerhaugen of Skagstindgruppen. “Telegrafen provides an amazing experience for the eyes and the ears thanks to Bose innovation and audio quality. In the restaurants is one experience, then as you move throughout the space – from

the meeting rooms to all the other gathering areas – it’s an incredible, immersive experience.”

The DesignMax family of loudspeakers enable the best possible audio experience for visitors in the conference rooms and restaurants, no matter where they are. Couple that with intuitive and simple control via ControlSpace products and powerful sound from Panaray loudspeakers and PowerSpace amplifiers, the resulting solution is truly ready for anything.

When guests enter the venue, the audio compliments the aesthetics, enhances their experience, and never becomes a distraction, regardless of where they are or their activities. “I had no doubt that Bravo and Bose would deliver exactly what was needed for each unique space,” said Akerhaugen. “The result exceeded my expectations, and I’m proud to show everybody how incredible each space is. I’m so proud of how everything fits into the aesthetic and character of our venue and how easy the solutions are to use.”

Bose also helped Johansen and Bravo ensure that the transition to the system was seamless.

“Bose did everything I needed as far as DSP programming and support,” Johansen noted. “They’re supportive, reliable, and easy to work with, even at a scale like this. www.bose.com

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Totte nha m H ot s pu r Sta d i u m COMPANY: Datapath LOCATION: London, UK

The Tottenham Hotspur Football Stadium in London has, quite rightly, drawn a lot of media attention as its state-of-the-art technology leads the way in a new era of ‘super stadia’ – and Datapath is proud to have played a part.

Designed to cater for a multitude of uses beyond football matches – the stadium is also the first NFL Stadium outside of the US, as well as the ultimate venue for concerts and conferences. With a sliding grass pitch, the single longest bar in Europe and the very latest in digital technology, the North London club can now boast one of the most advanced stadiums in the world.

AV technology is at the very heart of the design of the new stadium – keeping fans engaged and informed with all the on-pitch action. Four bespoke Daktronics LED video displays – with a total length of over 1,000 sq m over 10m in width – ensure everyone is kept informed.

Powering the huge displays are Datapath solutions that bring power and versatility to content control.

Two iolite 600 video wall processors, plus a further 40 Fx4 controllers power the wide selection of displays.

An additional two Daktronics screens are installed in the stadium’s south stand, measuring 325 sq m each. Pitch side are 10 12-pixel pitch,

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enhanced black face SMD digital signage system, totalling 354m in length. There are also around 1,800 LG HDTVs installed throughout the stadium in varying sizes, from 29in screens to 98in ultra-stretch screens, all based on an IP network.

Utilising Datapath allows for total flexibility and control over content input, as well as giving the stadium further scope for future digital developments. When transmission speeds are paramount to project success, Datapath’s multi-display products offer the perfect solution.

Even the largest, most complex video wall installations are possible.

With the ability to loop multiple products together, management is kept simple with Datapath’s Wall Designer software.

Advancements in requirements mean that customers demand greater freedom in creating and deploying small-, medium- and large-scale display projects. Datapath’s x-Series advanced hardware processing enables complete flexibility for multi-screen, projection and LED display projects. Display high-quality content from almost any source, in any creative configuration imaginable, at any size. Join multiple devices to support larger display areas, whilst maintaining synchronisation across all outputs. www.datapath.co.uk

H ol l y wood Eve nt Center COMPANY: Amate Audio LOCATION: Rotterdam, Netherlands

Hollywood Event Center is Rotterdam’s biggest leisure facility. The 4,500 sq m, two-storey indoor site is a fusion of interactive gaming and movie-themed hospitality, which boasts a 162-loudspeaker site-wide Amate Audio sound installation. With DMX-controlled lighting and projection mapping throughout, the challenge for Amate Audio Benelux distributor, Imagination AV, was to devise and install a system to provide sonically cohesive coverage, at levels for BGM, DJ and live performance, throughout a venue with varied acoustic characteristics.

Standardisation of loudspeaker models with a common audio signature was a starting point for MD and Project Manager, Jason Lupgens, selecting two models from Amate Audio’s Nítid dedicated compact, highperformance installation series as his principal designs.

“We chose the Nítid N26P as the ‘standard’ loudspeaker system throughout the venue, deploying it in ways required by the acoustics,” he explained. “The N26P is an adept and powerful solution. A column configured enclosure with dual 6in carbon-fibre drivers and a 1in neodymium tweeter, it has high intelligibility, full-range response and a 400W power handling capability, and yet is compact. We used 52 of them, in combination with 62 of its smaller S6P sibling to address any dead zones and achieve even coverage across the site.”

The entire site is configured as five main control zones. In the three separate audience zones, user control is locked off with automatic changes in volume triggered with switches in input mode between ‘restaurant’, ‘DJ’ and ‘stage’ settings. Other zones include the toilets where BGM is provided by 24 Amate Audio CS6FR in-ceiling speakers, and two meeting rooms on the upper floor, where eight G7 ultracompact, premium commercial audio design provide the audio source.

“An Audac M2 matrix system provides the zoning,” continued Lupgens.

“As well as central paging and automatic evacuation address in the event of a fire alarm. After the M2, four Amate Audio LMS608 digital loudspeaker management processors enable tuning of each zone and every individual speaker.” Each of outputs on each LMS608 processor feed a channel of an HD3200 power amplifier – 22 of these High Dynamic Power Class H amplifiers provide power for the installation.

Peter van Leeuwen’s GLOWGOLF DE KUIP owns of the centre. “Sound distribution in a building like this is hard,” he said. “We were well advised

by Imagination AV and our previous experience with Amate Audio had been positive. With a perfectly balanced installation of almost 170 speakers, we achieved great, even coverage and a warm sound.” www.amateaudio.com

Good t ime H otel COMPANY: 1 SOUND LOCATION: Miami, USA

David Grutman and Pharrel Williams opened The Goodtime Hotel in Miami Beach in April 2021. The hotel contains the 30,000 sq ft Strawberry Moon restaurant, which includes the rooftop pool club. The hotel soon became a celebrity favourite and DJs like Marshmello and Steve Aoki hosted performances at the pool club. However, due to the pool deck’s sound system and lack of sound control, it accumulated 29 noise violations and several city citations, putting the hotel at risk of losing its entertainment permit and furthermore, closure.

Michael Larkin, The Goodtime Hotel’s attorney, insisted that the club area is a critical “economic” component of the project. “The Goodtime Hotel will suffer greatly if it is not able to have outdoor entertainment on our pool deck. It will cause our hotel to shut down,” Larkin said.

Still, the hotel operators were called before the Miami Beach Planning Board in July to discuss the repeated noise infractions of the hotel’s outdoor entertainment permit, namely a condition that music should not be audible at the nearby Arcadia House Condominiums, located diagonally across from the hotel.

A September deadline for a permanent solution was issued by the Miami Board. In the meantime, the hotel did what it could to minimise disturbances by turning its music “all the way down” and even utilising staff to walk to the Arcadia Homes to verify the sound concentrations.

Committed to finding a solution, Grutman hired noise-cancellation and acoustic experts to determine how the pool could function as a club again, as originally intended. Groot Hospitality brought in Angelo Poulos, CEO of Anthem SSL Productions, who then contacted David Kotch, President of Criterion Acoustics, and Lou Mannarino, Designer of premium speaker manufacturer 1 SOUND, to take on the challenge.

1 SOUND, made in the USA, has created its catalogue of speakers based on audio solutions that were not available on the market.

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Together they proposed that the Miami Planning board agree on a decibel standard instead of opinions on what is “too loud,” allowing the install of a new system that would be 30dB less audible on the street.

The design transformed into the exclusive incorporation of 1 SOUND speakers for the pool club, satisfying the need for high SPL for the parties, while relying on the cancellation and steerable qualities of the speakers and subwoofers.

For the main DJ booth, 1 SOUND’s Tower System was the optimal choice – three Tower LCC44s for the top left and right, offered high SPL in a coherent 120° dispersion pattern, each unit containing three rear-facing 4in full-range drivers that make each speaker have 20 dB rear cancellation. These sit on top of CSUB610 subwoofers that were deployed in fully cardioid mode. Each left and right used three CSUB610s next to each other to create natural coupling that gave an even more powerful and directed bass.

For the main bar, they focused the design on sound in proximity for controlled coverage as opposed to higher SPL for coverage that would risk unwanted sound spillage. Cannon C4is, which have an extended low frequency, were implemented on pendants at a height of 8ft under the bar’s ceiling. In the VIP cabanas, Panorama MS34s were used in mono+stereo mode with 100° conical directivity, enabling true stereo to be heard in the full width of the cabana from one source. A proprietary technology that only 1 SOUND has developed, that preserves true mono in its field and surrounds the listener with a left and right stereo image.

Tower Systems were distributed throughout the rest of the space, some SUB310s and CSUB610s in omni, but when placed in the gardens towards the roof’s edge, CSUB610s were in full cardioid.

“This design required a lot of attention to placing the speakers in proximity to the crowd and avoiding sound from spilling over onto the streets. But we still needed the club ‘adrenaline-rush’ sound. That is where having 1 SOUND’s Towers and the cardioid CSUB610s really became the ideal tool to work with for this design,” said Angelo Poulos, Anthem SSL Productions.

This was a challenging project. Even though many acoustical solutions were discussed, this design was able to rely on the cancellation qualities of 1 SOUND speakers for success. The board approved the installed audio design as it achieved diminished noise pollution. “I designed these products for exactly this purpose,” said Mannarino. “In my 40-year career as a sound engineer, I would often run into roadblocks and there was nothing like this that existed. So, it was really satisfying when I went to listen and do final tuning.” www.1-sound.com

2022

NEVER STOP EVOLVING

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23/02/2022 09:55:16

I llumina r i um At la n ta COMPANY: HOLOPLOT LOCATION: Atlanta, USA

Illuminarium venues are transporting visitors to places they can only dream of experiencing. With Wild: A Safari Experience, the guests experience strobe effects, gentle floor vibration, immersive, authentic sounds and scents, and realistic and responsive projection.

Through the two rooms of the Atlanta’s Illuminarium, visitors are immersed in Tanzania, Kenya, Rwanda, and South Africa without leaving Atlanta’s BeltLine.

The Illuminarium team chose HOLOPLOT and the X1 System to realise their vision, introducing a new kind of immersive experience for their audiences. The complete audio system, including all audio modules are concealed. The room is mapped with authentic audio objects, that together with the visual content, build up a rich and compelling story. The sound perfectly matches with the visual projections – fully immersing visitors in a new world, unaware of the cutting-edge sound technology behind.

The primary challenge for the audio installation was to create a sound environment that accurately matched the visual projections, further enveloping audiences in the immersive experience. Unlike conventional technologies, HOLOPLOT audio objects are not restricted to the 2D surface of a projection wall. Sound designers can play with depth, so an audio object can appear to be far away or, on the other hand, whisper in your ear.

A combination of HOLOPLOT spatialisation algorithms, homogeneous coverage and optimised arrival times enable visitors to localise audio objects with incredible accuracy. In addition, visitors can track the

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trajectory of an object across the venue in perfect synchronicity with the distinct visual show elements. HOLOPLOT 3D audio-beamforming technology also allows for the creation of multiple precise audio zones in a single space, generating multiple sound fields simultaneously – each with its own content, equalisation, level, shape, and position.

For each zone, the modules in that section form a soundfield capable of enveloping the listener and operating as an independent spatial audio system. Designers can create separate scenes within a single space and ensure the synchronicity of audio content to that scene.

Another major challenge faced by the project team was ensuring that the audio installation was invisible to the eye. A discreet solution was essential for creating true audience immersion in the experience.

Accomplishing this without negatively impacting the sound system’s performance was achieved by positioning each speaker behind a specially designed micro-perforated wall panel. Transmission losses from the panel were measured in 3D space and fully compensated for in the HOLOPLOT optimisation engine.

The result is clear, full-range sound with virtually no colouration and a completely unobstructed visual projection surface.

On top of the state-of-the-art immersive sound system, the venue also boasts 22ft-high projection surfaces driven by the world’s most advanced 4K projectors from Panasonic delivering up to 3 billion pixels. The audio and visual technology works together in harmonious synchronicity, on a scale and level of sophistication not seen before. www.holoplot.com

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Alezz i Ya c ht COMPANY: Ara Events Solutions LOCATION: Constanta, Romania

Created as a fun destination, Alezzi Yacht has been designed on three decks, each with its own needs and characteristics.

The lower deck is the ideal place to relax, where guests can enjoy a brunch or a drink while admiring the sea waves through the windows or the panoramic floor. The middle deck is the club where you guests head to dance, enjoying the music and the sea breeze. The upper deck is an outdoor club, specially designed to enjoy spectacular parties and all that the Black Sea has to offer.

Each deck had its specific acoustic needs; a restaurant, a club and an outdoor festival. Ara Events Solutions’ technical solution aimed at optimally adapting to each space and multi-area sound management.

Alezzi Yacht is designed as a yacht for fun, unique in the area, as a way to escape from everyday life. The goal of the installation was to complete the experience with professional sound and lighting equipment, special effects and LED screens, to create the experience of a yacht festival.

With the help of professional KV2 Audio loudspeakers, clear and powerful sound is present on every deck. The premium equipment from KV2 Audio was distributed according to the needs of each area: for deck 1, restaurant, the ESR system, for deck 2, club, SL412 and VHD2.18J systems for the main and ESD series for out-fills and for deck 3, outdoor club, ES1.0 system.

The core of the DJ desks is provided by Pioneer equipment and monitoring is provided by the EX KV2 Audio active speaker series, including ESR 212, ES2.6, SL412, VHD2.18J, ESD 10, ESD 12, ES1.0, ES 2.6, ES 1.8, EX 12, and EX10.

A complete seaside festival sensation was created with the help of intelligent lights from ProLights.

The first deck is equipped with ProLights Ruby Beam, Ruby FCX and Diamond 7; the second deck with Ruby Beam, Diamond 19, Diamond 7 and Sunrise blinders; while the third deck – as well as the surroundings for several kilometres – benefit from the input of the Panorama IP series, AirBeam and WBX Wash and the impressive SunBlast 3000FC. The ProLights fixtures include: Ruby Beam, Ruby FCX, Diamond 19, Diamond 7, Sunrise 2L blinders, Panorama IP AirBeam, Panorama IP WBX, and SunBlast 3000FC, as well as wireless control by Wireless Solution Sweden.

The LED screens installed on board complete the experience both in terms of the general setting and in terms of the entertainment sessions.

Present on each deck, even on the club ceiling, they offer impressive resolutions and a 3mm pixel pitch.

The special effects provided by Magic Effects complete the experience.

Included onboard are FLAMEBLAZER, SPARXSTAR, CO2 JET II, CO2 Guns, and Confetti Guns, complemented with Smoke Factory Tour Hazers. www.audiovision.ro

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IN FOC U S

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FÅRUP SOMMERLAND North Jutland, Denmark

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BLA BLA DUBAI Dubai, UAE

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PACHA IBIZA Ibiza, Spain

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ANTIOCH BAPTIST CHURCH NORTH Atlanta, USA

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WYNNBET SPORTS BAR Boston, USA

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TIKI TATSU-YA Austin, USA

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CATWALK+ Guangzhou, China

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TAIWAN TRADITIONAL THEATRE CENTER Taipei, Taiwan

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NATIONAL PARLIAMENT HOUSE Dhaka, Bangladesh

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

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IN B RI E F Ca m eo Lig h t s U p Få r u p S o m me rla nd i n Denm a r k More than 200 Cameo spotlights helped transform Denmark’s Fårup Sommerland amusement park for a special illumination event visited by more than 82,000 guests from 18 to 24 October 2021.

Due to the huge installation area, Danish AV provider, Profox opted to use spotlights that could be controlled from a central point via W-DMX. In total, 120 ZENIT W300 and 24 ZENIT W600 outdoor LED wash lights were deployed, along with 72 DROP B4 outdoor uplights, and eight Q-SPOT 40I outdoor spotlights.

While the ZENIT W300 units were used to illuminate the large rides and trees, the ZENIT W600s were deployed in the forest areas. “The W600 is so bright that we can illuminate huge areas with just a few units,” explained Profox’s Rasmus Stoltenberg.

The DROP B4 uplights were distributed over several kilometres along pavements and the site’s access road, while the Q-SPOT 40i spots were used to illuminate objects from a distance.

Profox further expanded its existing Cameo portfolio especially for the project, adding around 150 new units. “For us, the workmanship is a key factor,” said Simon Aagaard, Profox’s Managing Director. “All the models are extremely durable and offer an impressively high level of light quality.” www.adamhall.com

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BLA BLA DU B A I EMEA

DUBAI / UAE

More th a n 200 Ma r tin A u d io loudspe a ke rs c ombine with a vast inve ntory of P owe rsof t amplifier s to e nsure c omple te audio cover age at th is h ig h -prof ile Duba i beach clu b c omple x.

With 20 bars, three restaurants, and a beach club all in one venue – Bla Bla Dubai was created to offer a full day-to-night experience for visitors, with a breath-taking backdrop of Bluewaters Island and Ain Dubai, the world’s largest observation wheel. Set on 100,000 sq ft of prime beach front in the buzzing Jumeirah Beach Residence (JBR), Bla Bla is the brainchild of CEO and Executive Chef, Mohammad Islam.

He worked alongside Co-Founder, Steve Taylor from Autus Partners Management Consultancy, who masterminded the design and managed the project.

As well as a vast range of themed bars in the venue – including an Irish Bar, a Butterfly Bar, a Bali-themed beach bar by the pool, a Hollywood-themed bar, a classic British pub, a Japanese bar, and many more – nightclubs exist on two levels, each with their own DJ booth.

With such a variety of spaces to cater to, the audio solution had to be comprehensive. In all, more than 200 Martin Audio loudspeakers – including many of the company’s front-line ranges – were specified by design consultant, Bengan Hovgard, from Loud and Clear Audio Visual, and installed by Pulse Middle East. “We have worked a lot with Bengan, and he is familiar with CDD and its performance,” opened Pulse Operations Director, Greg Brown.

Stating his rationale, Hovgard himself added: “I chose Martin Audio because the brand is well supported in the region. The CDD range was suitable for this project as it is available in both indoor and outdoor versions, which enabled us to achieve the same look and sound throughout the venue. The CDD range also provided the best coverage for some of the narrower terraces and balconies in the venue.”

Pulse first visited the site back in June and was awarded the audio contract the following month. “From then on, it was a fairly fast-fit process between August and December,” he stated.

The consultant and integrators have dipped heavily into the Martin Audio catalogue, deploying many CDD6 but also CDD8, CDD10, CDD12 and CDD15. All outdoor areas, or those exposed to the elements feature the ‘WR’ weatherised versions. Also in the outdoor areas,

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Above a n d ri ght : A ll ou tdoor ar eas , o r th os e ex pos ed to th e elem en ts , fea ture th e ‘ WR ’ weat heri s ed v ers i ons of Ma rti n A u di o louds pea k ers .

SX118 provides LF reinforcement at the pool stage with SX112 doing likewise in the surround areas.

Further quantities of Martin Audio ADORN A55 are mounted in ancillary areas and some on the cabanas outside. C4.8T ceiling speakers feature in the reception area, and one of the popular bars, the Irish-themed bar, features Blackline X8 and X115 subs. Finally, reference sound for acts appearing onstage outdoors is provided

by Martin Audio’s 15in LE200 floor monitors, while indoor stage monitoring is via the portable BlacklineX Powered series, which is sufficiently flexible to be deployed as both stage and DJ monitors and is not required to be as water-resistant. Martin Audio supported the installation from base, creating presets and custom EQ, while all the equipment was supplied by their local distributor, ProLab. Inside the Graffiti Bar, which has all the interior spray painted, a special design tweak was incorporated into the looks of the white Martin Audio CDD6-WRs. “We graffiti-sprayed them to ensure they blend invisibly into the background,” Brown explained. “We had to be extremely careful to protect the grilles and ensure the water resistance wasn’t compromised.”

Every zone in the complex is networked and runs on a Dante backbone. “Any source can be played anywhere in the venue including from any of the stages,” Brown confirmed. “There are a total of 140 channels of amplification and all routing is handled by Symetrix Radius NX devices.”

As for the performance, Brown reported that the CDDs had the versatility to tick all the boxes, and confirmed that the client was delighted. He was also full of praise for ADORN. “We have used these a

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lot; they are impressive and pack a lot of punch.”

Martin Chiervo of events management company, Empire Stages, which was brought in to supervise the technical side of the operation, commented: “We have a great variety of Martin Audio speakers covering absolutely all the audio requirements at Bla Bla Dubai with exceptional quality. From our main poolside stage, all the bars, reception and even down to the toilets, Martin Audio has shown it’s capable of delivering the best coverage to every single corner of our venue with pristine quality.”

Intuitive power Powersoft amplifier platforms, also purchased from ProLab, make up the remainder of the complex, three-zone audio system in place at Bla Bla Dubai.

“I strongly recommended Powersoft to the client as it excelled compared to other brands during the tender process,” noted Hovgard, who was key in the recommendation of Powersoft for this particular job. “Their products have myriad strengths, namely their system integration flexibility, intuitive power sharing and software features, and the availability of presets for many brands. They are also incredibly reliable, and the support is second to none.”

“In terms of the amplifiers, there aren’t many products on the market other than Powersoft that can handle this quantity of channels with ease,” added Audio Project Manager at Pulse Middle East, Jacopo Fois. “There were so many different zones and speakers, but with the ArmoníaPlus software, it doesn’t matter where you’ve assigned your speakers, you can see them as individual objects and adjust them

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TECHNICAL INFORMATION SOUND Martin Audio CDD6, CDD8, CDD10, CDD12 and CDD15, SX118, SX112, ADORN A55, C4.8T, Blackline X8, Blackline X115, LE200, BlacklineX Powered series.

Powersoft T604, Quattrocanali 2404 DSP+D, Quattrocanali 1204 DSP+D, Duecanali 804 DSP+D, T304. www.martin-audio.com www.powersoft.com

Left: A variety of cuisines are s e r v e d at B l a B l a , i n c l u d in g J a p an e s e , It a l i an an d t r ad i t i o n al s m o k e h o u s e .

without a moment’s thought. This makes it very easy to return to the project later on to make adjustments, and for remote management, too. You don’t have to find all the schematics and drawings and figure out what’s connected to where; you just open the file, go to the speaker and do what you need to do.”

With regional lockdowns still an issue that has necessitated that many workers stay at home, the ability to be able to work remotely on the Powersoft amplifier platforms was an advantage for Pulse in terms of time efficiency. “The monitoring tools in the amplifiers also make it very easy to manage such a massive system and troubleshoot issues when they arise, “Fois continued. “If there’s an issue with a particular speaker or speaker line, for example, it’s very simple to connect remotely, navigate to the speaker, check its signal and impedance graph, and identify the problem in a matter of minutes, without setting foot in the venue.”

The raft of Powersoft products specified for Bla Bla Dubai were distributed between three distinct ‘AV rooms’. In the first, Pulse installed 13 T604s, a Quattrocanali 2404 DSP+D, a Quattrocanali 1204 DSP+D, and a Duecanali 804 DSP+D, while the second room’s audio system required four T604’s, two Quattrocanali 2404 DSP+D, a Quattrocanali 1204 DSP+D, and a Duecanali 804 DSP+D. In the final room, Pulse deployed nine T604s, two Quattrocanali 2404 DSP+D, and a T304 for stage monitoring.

“As there wasn’t a high demand for touring products at the time, the flexibility of the T Series amps really helped a lot,” Fois recalled.

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“Obviously they’re not designed for installation, but they still do a fantastic job. One nice feature was the ability to pipe control and Dante down one cable, which reduced the number of required network switch ports. With the sheer number of amps in each AV room, this made a lot of difference between using one network switch in each compared to two.”

Fois also cited numerous strengths that the more conventionally deployed Quattrocanali and Duecanali amplifier platforms can give to this kind of project. “Power sharing is a massive convenience on a project like this, from specifying the amplifiers through to installing and configuring them,” he said. “With a bit of help from the power sharing calculator and a simple spreadsheet, it’s very easy to calculate the required quantity of amplifiers en masse, saving a whole load of time. In addition to this, we can be sure that we’re not wasting any power on each of the amps, by balancing the load between the four channels and making sure each amplifier is handling an even load. No power is wasted, and no amplifiers are overloaded, meaning a very cost-effective installation, both at the time installation and later down the line when it comes to maintenance, as we can be confident these amps are going to last for years.”

Despite the three AV rooms being distributed throughout the venue to minimise cable lengths, some of the long runs could not be avoided.

Thankfully, the Damping Control on the Powersoft units allowed Pulse’s engineers to compensate, keeping a consistent subwoofer response throughout the venue. “On such a large installation, the

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physical size of the amplifiers was also important to minimise floor footprint in the venue,” Fois noted. “This meant that we could fit all 144 channels (or 175,000W of potential power) into just three racks.

“Power efficiency is another factor, with such a quantity of amplifiers throughout the venue and different zones operating at different times, the very low idle power consumption saves significant power over time, which is good for the environment as well as the client’s wallet,” he added. “By the same token, the amplifiers’ heat efficiency is also significant, given that, in the Middle East, cooling costs can quickly add up, so the efficiency of these amplifiers saves on cooling, too.”

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

“Setting the delays and gain in the super matrix would be a laborious process, but thankfully the sleek user interface of ArmoníaPlus helped out with that,” Fois said. “By mapping all the speakers onto a layout of the venue, delays and gains were set for each individual speaker, for each set of delays (the venue was effectively tuned five separate times), saved into individual files, and then these parameters were copied into the super matrix.”

Although COVID-19 certainly influenced the installation and meant that the early days of the venue were, by necessity, much more understated than anyone would have hoped, with the venue now celebrating its one-year anniversary, the system is starting to come into its own. “Overall, the venue is very happy with the audio installation,” Fois concluded.

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“ W ith suc h a qu an tity of a mplif ie rs th ro u ghou t the ve nue and dif fer en t zon es ope ra ting at differ en t times, th e ve ry low id le power c onsumption saves sign ifican t powe r ove r time, which is good f or th e e nviron men t as well as th e c lie nt’s wallet. ”

A b o ve : Th e B l a B l a c o m p l e x b o as t s 2 0 b a r s , t h r e e r e s t a u r an t s an d a b e ac h c l u b .

PACHA I BI Z A E ME A

IBIZA / SPAIN

T h e w o r l d - f a m o u s I biza institution g e ts a h i g h - t e c h u pg r a d e , with a be spoke f ully au t o m a t e d c e i l i n g rig th at wa s ove r two y e a r s i n t h e ma king .

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Utter the name, Pacha, to any dyed-in-the-wool clubber and their eyes will immediately light up, dreaming of balmy Balearic evenings spent in the storied former farmhouse venue, which has been enthralling electronic music aficionados ever since it was created in 1973.

In the almost half a century since, what began as a humble finca in Ibiza Town has grown into the most iconic clubbing brand in the world, spawning numerous international outposts and morphing into a major force in the hospitality sector, with successful hotels, bars, and restaurants the world over. Yet despite its massive international expansion, the jewel in the Pacha crown very much remains the original nightclub that started it all. The venue is inextricably linked with Ibiza and, over the years, its reputation for providing elite clubbing experiences and attracting the world’s biggest DJs to perform there has grown as the island’s has. Now known as the world’s most iconic nightclub, where heritage, music and glamour combine, the brand’s iconic cherries and the island of freedom go hand in hand.

In 2017, Pacha’s founder, Ricardo Urgell, came to an agreement to sell a major stake in the business to private equity firm, Trilantic Europe.

All too aware of the responsibility of taking over such a cherished and iconic brand, the new owners took a cautious approach to their stewardship of the company. For the landmark venue to continue

to shine among Ibiza’s best, a certain amount of regeneration was required. Technical aspects of the building needed to be modernised and streamlined to meet the extraordinary production demands of modern club touring. However, the need to protect the DNA and unique atmosphere that has been built from decades of legendary parties within the building and remain respectful to the heritage of the brand remained paramount.

“Pacha Ibiza is an iconic venue enjoyed by clubbers from around the world, attracted by the different musical styles and residencies of the world’s most eminent DJs. With a capacity to hold more than 3,500 people, the Ibicencan finca, with its corridors and secret stairways, helps create a unique clubbing experience very different from the standard ‘box style’ club,” explained Sanjay Nandi, CEO, Pacha Group. “We were excited for the refurbishment as, for us, it was important to give the artists the best possible platform to produce their incredible shows while preserving the legacy of the old Pacha as an institution of the Ibiza clubbing scene and remaining true to the island’s original party spirit.”

Architect, Tibor Martin talked to MONDO-DR about design inspirations behind the refurbishment. “When we began thinking about a refurbishment of the club in 2019, two of the main goals were to maintain the heritage and look of the old ‘payesa’ house and to bring

L eft: The st a t e- of - t he- a r t r ig ca n be u sed a s a ba c k d r op, a c a n opy, or a vid eo light show .

Ph o to s : Ad a m Mc lou ghlin .

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Fog is our passion!

Cobra 3.1

the club to the next level as far as technology, operation, and client comfort were concerned,” he revealed.

“For the overall design, we reduced the material palette to wood, stone, plaster walls and glass – all of them part of the traditional construction.”

As for the technology side of the refurbishment, Martin was clear that only something that was eye catching and that no one had seen in a club before would do. “We also didn’t want to break the traditional house structure, so we had the idea to create a kinetic LED screen that would help us create movement to allow for the DJs to create and deliver their content and make the club different every day, and even every minute,” he noted.

With this brief very much in mind, specialist designer, supplier and installer of high-end sound, video, and lighting systems, Audiotek was commissioned to design a state-of-the-art, dynamic, motorised rig, which would be capable of being used as a backdrop, as a canopy or as a video light show. Martin, along with Technical Director for the Pacha Group, Toni Prats, and Audio Production Manager, Toni Torres, were central throughout the process, working closely with the Audiotek team, which is led by Frank Murray.

“The brief was to come up with something that was very versatile, expandable and shrinkable to be able to accommodate

the various sizes of shows and club nights that are held inside Pacha throughout the season and beyond,” Murray explained.

Since Pacha is one of very few clubs on the island that typically stays open throughout the year, this ability to expand and contract was crucial. “The rig needed to be able to change yet still be fully operational whether that was for a 3,500-capacity headline show at the height of summer or an 800-capacity club night off-season,” he added. “Even when it was in its smaller configuration, it needed to retain that intimate feel and have the ability to adapt to various disparate productions and stage settings, meshing with a range of artists and set designs.”

Martin explained how the Pacha and Audiotek team produced some early sketches of a kinetic system that would be composed of screens, which could project different images or a single large image, depending on the creative demands.

“After weeks of development, we came up with the solution to use the hexagon as the most efficient shape to create the largest screen, while giving us the most movable parts possible,” he commented.

Prats added: “In our venue, the action is a 360 experience, from the main floor to main VIP areas, side areas and balconies. That’s why we decided to create a hexagonal rig to make sure every customer has the same experience in terms of video and lighting.”

 New, extremely silent nozzle Noise at max. output: 82.5 dBA  Constant fog output at any pump level due to the use of two pumps  Control via Ethernet, DMX512, analogue (0-10V) or directly at the machine  RDM-capable  Touchscreen with simple navigation  Finest adjustments of the output  Adjustable pump characteristic: Impulse, Extended, Flood, Continuous  Adjustable performance curve to balance different fog amounts  Internal Timer  Internal working hour meter  3100 W, 230V/50Hz

Look Solutions Fog machines made in Germany Look Solutions GmbH & Co. KG Buenteweg 33 · DE - 30989 Gehrden Phone: +49 - (0)5108-91 22 10 · Fax: 91 22 111 www.looksolutions.com · info@looksolutions.com

TECHNICAL INFORMATION SOUND d&b audiotechnik V Series line arrays, B6, B22 sub-woofers, D80 amplifiers, DS10 Audio network bridge, R1 Control software. Yamaha QL Series mixing console.

LIGHTING Claypaky Axcor Beam 300, Sharpy Plus Hybrid, A.leda B-EYE. VISUAL Custom-designed hexagons – TaylorLED 3.9mm LED, 24V LED tape, Madrix control, Wahlberg Motion Design Winch 25 DMX-controlled winches, Stage Ninja retractable cable reelers. www.pacha.com

L e f t : Th e m o t o r i s e d c e i lin g c o m p r i s e s 3 7 1. 8 m - w i d e hexa gon s, w i t h e a c h s u s p e n d e d o n f ou r b e s p o k e W a h l b e r g M o t i on D esign Winch 25 winches.

A radical technical solution With a detailed brief from Pacha’s in-house team, Audiotek worked closely on the project with Lucid Creates – a design and fabrication studio that produces spectacular structures, spaces, and art pieces across a range of disciplines, specialising in integrating visual technology. The seeds of the collaboration were sown when Audiotek’s Chris Kmiec, met with Lucid Creates Co-Founder, Chris Carr, and the pair found a synergy in their approach. “Audiotek was working in a way that naturally complemented our approach in terms of design,” revealed Lucid Creates Director and fellow Co-Founder, Helen Swan, explaining how they came to be a part of the project. “There was already a good relationship and the Pacha project was the ideal fit to see what it could produce in the real world.”

The radical technical solution consisted of a fully motorised ceiling, comprising 37 1.8m-wide hexagons, with each suspended on four bespoke Wahlberg Motion Design Winch 25 DMX-controlled winches – supplied and installed by long-term Pacha supplier, Fluge’s Barcelonabased team – which enable each panel of the rig to be moved in every direction and positioned at any level or angle.

Wahlberg Motion Design’s Mads Wahlberg worked first with Audiotek’s Rob Sherry, then with Ash Attwood to customise the motors to perform the intricate movements required of the rig. The minimal size and footprint of the motors allowed the design to be implemented within the tight tolerances of the space available. “The Wahlberg motors are capable of extremely fast movement and speed with pinpoint accuracy,” Murray noted. “Positioning is millimetre precise, and control

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is versatile and smooth – two factors that are integral to the success of the design.” Cable movement integrity is achieved using custom Stage Ninja retractable cable reelers. “These ensure cable stability and cable tension, whatever the position of the individual rigs,” Murray added.

Each hexagon is populated with custom-manufactured TaylorLED 3.9mm LED – which displays high-definition dynamic video – and surrounded by a high-powered LED pixel-addressable ‘halo’ made from 24V LED tape, which is controlled via a Madrix system and allows for fully configurable LED colour and movement that can be used independently from the LED panels, providing a subtle counterpoint to the video content.

Pacha Ibiza’s visual offering is further boosted by a combination of Claypaky fixtures including Axcor Beam 300, Sharpy Plus Hybrid, and A.leda B-EYE, combined with lasers, strobes and blinders. “Everything forms a hexagonal kinetic truss with Movecat hoists to complement the new main ceiling screen,” said Prats. “The lighting rig combines with the ceiling screens, allowing us to make different scenes for a more immersive experience.”

Audio is handled by a d&b audiotechnik system, formed primarily of V Series line arrays and B6 and B22 mixed sub-woofers, powered by D80 amplifiers. “Also, we have V point sources all around the balconies and VIP areas to keep same colour and pressure over all zones,” Torres expanded. “This series was the best size and power output ratio we can have and fits perfectly with this venue.”

Audio control meanwhile operates through a Dante system formed by d&b audiotechnik DS10 and a Yamaha QL Series mixing console.

CONGRATULATIONS TO THE PACHA TEAM WE’RE SO PROUD TO HAVE BEEN PART OF THIS LANDMARK PROJECT.

L eft: Pa c ha Gr ou p C EO, Sa n j a y Na n d i, a n d Ar c hit ec t , Tibor Ma r t in .

“Both systems allow us to work in digital mode from the source until the final amplifier, voiding analoguedigital-analogue conversions, which keeps the audio quality high,” Torres explained. “We use d&b R1 control software to monitor and tune every zone and parameters needed live during each show.”

The essence of the venue The hexagonal ceiling rig was fabricated in Lucid’s workshop in Kent, UK. “It was a massive undertaking as there were a lot of pieces, including thousands of tiny screws,” recalled Swan. And little did anyone know that the task was to become even more challenging, as in February 2020, with the fabrication in full swing, the emergence of COVID-19 threw the ultimate spanner in the works. “demanding that everycompany involved in the build would have to create working ‘bubbles’ to stay on track with production. “It was a huge commitment for everyone to alter their lifestyles for the sake of the project,” Swan said, praising her team.

Of course, as the impact of the pandemic became clear, with flights grounded and no sign of the hospitality sector opening anytime soon, it was quickly apparent that the initial delivery date would not be required and the project was put on ice, with a loose plan to deliver later that year with a view to installing and programming in time for the following season. “It was an incredibly tough time and a huge challenge to adapt to a different way of working, without any of the usual site visits and even before anybody had got used to remote working,” she reflected.

As the 2021 season also fell victim to the pandemic, to see the project finally installed after more than two years in the making was extremely satisfying for Swan.

“I am particularly pleased with how the team brought together the kinetic elements,” she revealed. “It is something that we have worked on in our workshop for a while and it is an exciting bit of tech integration to be able to use the mechanical and electrical in that way to produce something that is visually strong and an exciting experience in such a high-profile and

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prestigious nightclub as Pacha Ibiza.”

Swan’s sentiments were very much echoed by Murray.

“It looks sensational,” he beamed. “It is a design feature in its own right, but it hasn’t taken anything away from the essence of the venue. We all know the history and the heritage of Pacha and how important it is to preserve that, and with this project, we have certainly played our part.”

Commenting on the venue’s design as a whole, Murray was full of admiration for Architect, Tibor Martin. “The element of drama and surprise when you pass through the old whitewashed front door, arrive at the top of the steps and look down onto the dancefloor in the main auditorium remains just as magical as it always was,” he praised. “All the intricacies and the little touches that make Pacha what it is today are still there. The rough stone back wall, the whitewashed surfaces, the little alcoves accentuated with candles… At every turn, the patrons encounter visual references to the venerable past, emphasising the long history and memories created within the original iconic farmhouse and club.”

Martin added: “For us, it is extremely important that when you come in, the club feels like it has for the past 50 years. The result we wanted was that the club must always look good, even if it’s closed and with no FX lighting, and I think we have created this with the renovation. At the same time, we wanted people to feel the latest in tech with the highest quality in all aspects.

We wanted to integrate sound, lights, and video into the architecture, giving us endless possibilities for content creation and production. I think you will see that we have achieved this on the Grand Opening Party on 29 April!”

CEO, Nandi had the final word: “Our main priority has been improving customer experience with a larger dance floor, market-leading AV technology, better ventilation with energy-saving systems, and improved access and focus on the artist,” he concluded. “We are proud that the project has been executed in collaboration with our key stakeholders, DJs and clubbers alike.”

IN B RI E F Antioch Baptist Church North completes its remodel with a new EAW audio system.

Antioch Baptist Church North officials recently greenlighted a full remodel of the historic house of worship, tasking AEE Productions with designing and integrating new audio, video, and lighting systems. As part of the audio upgrade, AEE President, Yergan Jones chose the new Eastern Acoustic Works KF810P system.

“We have been using EAW gear for years on all of our projects including our high-profile touring productions and permanent installations and have complete faith in their products and team,” said Jones.

The AEE team’s design, headed by Vice President of Operations, Mark Howard, called for the installation of three EAW KF810P line arrays, three MKD1096 loudspeakers and three SB828P subs, running through an Allen & Heath digital console.

“Everything went smoothly,” Howard recalled. “It all came together as drawn and we love the durability, crystal clear sound and SPL levels that this system provides. The flexibility of the system is wonderful. From spoken word, to singing to musical performance, it sounds great. There is no bad seat in the building.”

Jones was also complimentary of the support and service he receives from EAW. “The sales and support teams were very responsive throughout the process,” he said. “We were thrilled to work with EAW once again to bring pristine sound to such a historical house of worship.” www.eaw.com

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WYNNB ET S P O R TS BA R A M ER ICAS

BOSTON / USA

A h os t o f h i g h - s pe c LE D tec h n o l o g y is on s h o w a t t h e s p or ts b a r i n s i d e t h e new E n c o r e B o s t o n H a r b or Ho t e l .

Above: T he 2 0 K Mi t su b i shi Electric LED vi de owa l l spa n s three walls of t he sport s b a r.

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A five-star waterfront resort accessible by land and sea, Encore Boston Harbor boasts a range of dining and entertainment options, including a grand casino. Located on the casino floor, the hotel’s WynnBET Sports Bar offers sports fans the perfect location to watch their favourite team on the big screen close to the gaming floor action.

Naturally for any sports bar, the video offering was of paramount importance, with Oxford, Connecticut-based Metinteractive, part of the original construction team for the resort, partnering with Mitsubishi Electric DiamondVision to deliver the massive LED video canvas inside the venue. The 123ft by 10ft Mitsubishi Electric LED videowall, with sports ticker below, is the showpiece of the venue with its rarefied size and resolution making it one of the biggest fine-pitch LED displays located outside Las Vegas.

The nearly 20K Mitsubishi Electric direct-view 1.56mm LED videowall, with a pixel resolution of 19,800 by 1,680 and full 10-bit HDR-ready

display for the highest image quality and color fidelity, spans three walls of the sports bar with two 90° wraparound corners.

“It’s built off of our Flagship XL Series including custom curves on the fine pitch with zero clearance technology,” noted Michael Mascari, North American Sales Manager for Diamond Vision Systems at Mitsubishi Electric Power Products. “It installed quickly with precision connections and did not need a custom mounting frame behind it, which helped reduce costs. Our custom bracketry enabled us to create the smoothest corners with the angles and radius.”

The sports ticker below is the same Mitsubishi Electric LED product as the main screen and has a 19,840 by 180-pixel resolution; it streams scores driven by C-Scape’s data service as well as custom content. “The challenge for the physical display was fitting it within the bar’s architectural design and construction to minimise changes and cost,” Mascari added.

“The other challenge was delivering content

NO TOY NO JOY

20 TONS ON 30 METRES. THE NEW BIG BOYS TOY-TRUSS FROM HOF. The new BBT truss from HOF is the strongest aluminium truss in its class and can take a distributed load of 20 tons over a span of 30 metres.

It offers maximum flexibility with a minimum volume: the BBT has not a single welding seam and is completely bolted. This makes it possible to replace - for example - damaged truss directly at the venue. The BBT is available with 3 different bracing sets; depending on the load requirements, the appropriate bracing can be installed. The truss can be dismantled very easily if necessary, and thus offers an incredibly low transport volume: up to 150 metres of truss can be transported with only one truck.

hof_bbt_anzeigen_print_Mondo_TPI_rz.indd 4

PRO L I G H T + SOU ND Hall 12.0 Booth D47

16.02.22 17:16

Above: T he syst e m u t i l i se s Analogue W a y v i de owa l l processors, wi t h Aq u i l on C+ dri v i n g the wraparou n d L E D v i de owa l l .

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to a screen that big. Metinteractive led the charge to design a content system and a graphical interface that made operation easy for staff who are not AV professionals. Our collaboration was key to making it work – delivering the best resolution possible within the budget, displaying the content everywhere and anywhere the client wanted it, installing the display with as little impact on cost and scheduling as we could, and providing an architectural fit and finish to match a very architecturally aesthetic building.”

“It was a very collaborative process from start to finish,” added Metinteractive Senior Engineer, Richard Gold. “Determining the resolution; driving the screen with NovaStar MCTRL4k processors; the up-signal chain with DirecTV, Tripleplay and in-house video distribution; the Crestron control. Everything went smoothly thanks to all time spent in the preparation process so everyone knew what was going on and could contribute to the success of the team. This was a large wall to install in an area where there were many trades working, but we were still able to get it up in under two weeks.”

Metinteractive and Mitsubishi Electric also collaborated on the double-sided LED video ring that encircles a huge hanging LED sphere near the entrance to the venue. The ring can display promotional content or the sports

ticker feed. Additionally, the company installed 24 channels of distributed audio throughout the lounge, two bars and two restaurants as well as 95 flat-panel displays, including seven in the control room.

“Any sources available to the system can be sent to any TV on the floor through a unified control interface,” said Gold.

The system also utilises Analogue Way videowall processors, with Aquilon C+ driving the main wraparound LED videowall.

“We were honoured to be tapped by Richard Gold and the Metinteractive team to assist with another of their high-profile projects,” said Seth Teates, Analog Way’s Regional Sales Manager. “In this case, we needed to solve for a nearly 20K resolution LED wall, with up to 24 4K HDR sources, and drive a 10-bit HDR10 display. The system needed to be mission-critical reliable, flexible, and easy to operate by non-technical staff. We also had to provide a futureproof platform that would upconvert SDR sources today and be ready for full 4K 60Hz HDR sources on all inputs in the future. The Aquilon C+ was a perfect fit, easily checking all those boxes.”

“We’re very happy with Analog Way’s support,” Gold concluded. “It was great to have Analog Way’s very skilled field engineer, Todd Stark, on site to fine tune the system and train our client’s operators.”

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T I K I TA TS U- YA A MERIC AS

AUSTIN / USA

AD J L E D f ixture s a nd dimme r pa c ks c re ate i s l a nd vibe s at Austin’s ne w tiki ba r.

Tiki Tatsu-Ya is the latest addition to the vibrant nightlife scene in Austin, Texas. The heavily themed bar and eatery combines new twists on classic Tiki cocktails with a gourmet menu of Pacific inspired dishes devised by Owner and Chef, Tatsu Aikawa. An immersive lighting system for the venue, featuring 30 ADJ LED fixtures and 16 ADJ dimmer packs, was designed by local lighting specialist, Natalie George. Working in collaboration with the venue’s management and décor company, she created a complex integrated system that blends in seamlessly with the theming. Not only does it enhance the venue’s atmosphere, but it also allows for a variety of signature effects to be triggered throughout each evening.

Essential of any successful Tiki restaurant is the theming, allowing patrons to feel as if they have been whisked away to a tropical island – even if just for an hour or two. Aikawa and his team went all out with the theming of Tiki Tatsu-Ya, working with local design studio McCray & Co. to develop a complex back story of island adventures that are brought to life throughout the venue.

Austin-based Blue Genie Art Industries, which specialises in large-scale commercial art and theming, had created bespoke pieces for several of the Chef’s previous restaurants, which made their team the obvious choice for creating Tiki Tatsu-Ya’s immersive theming.

Likewise, Blue Genie Art Industries had previously worked with local Lighting Designer Natalie George on numerous projects, so she was the obvious choice when it came to bringing the space to life with light. George, and her company Natalie George Productions, worked closely with the teams from both Tiki Tatsu-Ya and Blue Genie Art Industries to create lighting that enhanced the storytelling and blended seamlessly with the aesthetic of the theming.

“The most amazing thing about working on this project is that it’s very story-based, which spoke to my theatre heart,” enthused George. “There is a full story behind this bar that you can hear about on their website, and the inside of the bar continues that tale. Each of the seating sections have a different theme, all related to the backstory, and right when you walk in downstairs there’s a giant map that shows all the locations in the adventure story and bits and pieces of that story are represented throughout the bar.”

Initially, the designer was brought in to supply and install colour wash fixtures to enhance the overall aesthetic of

the space. However, as she got to know the rest of the creative team, other ideas developed organically for using lighting to create specific effects and artistic touches. From a relatively small project focused on the ground floor, it expanded to the point that George and her team designed and installed a system that provided DMX control of the lighting throughout the whole two-storey venue. They were then able to program special effects to be triggered throughout an evening that combine lighting, audio, and projection effects to generate an immersive experience.

A total of 16 ADJ DP 415R four-channel dimmer packs are used to provide independent DMX control of each of the conventional pendant light fittings throughout the space.

These can then be dimmed, flashed, or flickered as part of the special effect programmes, adding to the atmosphere created by colour changing and strobing effects generated by the natively DMX-controlled entertainment lighting fixtures that are also spread throughout the venue.

The fixture George chose for colour washing was ADJ’s 12PX HEX, which combines 12 12-Watt 6-in-1 RGBWA+UV LEDs into a versatile par fixture. It’s 25° beam angle makes for a punchy soft-edged wash, while the inclusion of both white and amber as well as UV chips within the LED light sources allows for a huge gamut of colour possibilities, including UV-infused colours such as hot pink, lime green and electric blue. The UV element also means that the fixture can create the classic ‘black light’ effect that causes white and neon-coloured surfaces to glow brightly.

“The ceiling of the main bar area is filled with hanging glass globes, some of which are fitted with pendant lights,” she explained. “We positioned the 12PX HEX fixtures above these, so that they are largely hidden but can fill the room with rich colour washes as well as lightning flashes for some of the signature effects. I love the amount of light that comes out of them – the punch, which is particularly important for doing the lightning flashes! We also used them for the main entrance, which is in the back alley and is themed like a cave.”

Six fixtures illuminate the rock structure in amber while two more highlight the door in blue. “The vibrancy of these colours creates the initial impact when you first arrive,” she added. “This really sets the stage for everything patrons are about to experience in the bar.” ADJ Saber Spot RGBWs are used for highlighting props and other thematic elements,

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including the large map in the atrium area. This compact pin spot fixture houses a 15W 4-in-1 RGBW LED light source focused through an ACL lens to create a 4° beam of coloured light.

Through smooth and precise mixing of the four primary LED colours, the fixture can create a vast palette of different colour hues, while the supplied 10° and 45° frost filters can be easily applied to switch the output to a soft-edged wash. The unit is also supplied with a flexible scissor yoke, which locks into place by plastic thumbscrews located on either side and can serve either as a floor stand or hanging bracket. Because of its extremely compact size, George and her team were able to conceal Saber Spot RGBW fixtures within Tiki Tatsu-Ya’s rock work and greenery. This allows props and specific areas to be highlighted while the fixtures remain largely obscured.

“I really like the combination of small size and bright punch offered by the Saber Spot RGBW,” she stated. “When I was looking for the right fixture for the atrium, I knew I needed pin spots, but didn’t think I’d be able to find something so small and powerful that also provided full DMX colour

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mixing control. However, Craig Johnson at my local ADJ dealer – Rock N Roll Rentals in Austin – recommended the Saber Spot RGBW and I knew right away that it was perfect for this project. The amount of colour that comes out of such a tiny compact fixture is incredible and the switchable lenses are very useful. Using the wide lens, I was able to smoothly cover the whole 8in by 5in giant map with just two fixtures.”

Above the main bar is one of the most striking themed elements created for Tiki Tatsu-Ya by Blue Genie Art Industries: a large carved wooden face. George was given the task of bringing this to life by installing lights within the two eye holes behind translucent resin casts. For this task, she selected two ADJ Profile Panel RGBA fixtures, which are slimline units that each feature an array of 288 10mm LEDs. These are split equally between red, green, blue and amber diodes, which are arranged into eight independently controllable square zones.

“I was going to use more 12PX HEXs, but the eye slots were too wide, and I also had to negotiate with the beverage team as it was above the bar, and they needed the space

Frankfurt am Main 26 - 29 April 2022

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

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

MODENA renews the wash moving head with its 7 RGBW LEDs of 40 W, its zoom range from 4.35 to 55° and its 3 cooling modes. MODENA is Flicker Free and Pixel to Pixel to generate patterns, both through internal programs and external DMX, ArtNet or KlingNet management.

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

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TECHNICAL INFORMATION LIGHTING 14 x ADJ 12PX HEX, 14 x ADJ Saber Spot RGBW, 16 x ADJ DP 415R, 2 x ADJ Profile Panel RGBA www.adj.com

for bottle storage. So, the panels were ideal – they were wide enough to fill the eyes but narrow enough to allow space for bottles behind. They do amazing things during the programmed sequences; the zone control over different sections of the LEDs is so cool – it allowed me to create some really fun effects.”

Due to the impact of the COVID-19 pandemic on the hospitality industry worldwide, the opening of Tiki Tatsu-Ya was significantly delayed. However, this had the positive consequence of providing everyone involved in the project the time to invest in honing each element of the venue’s offering ahead of the launch. This included the backstory, food menu, drink selection, theming and, of course, the lighting. The result is an immersive experience which has proved a big hit since the venue officially opened its doors last October.

“This is definitely the biggest, coolest project I’ve done so far in my career,” George concluded. “It gave me the opportunity to work in my theatre background and my events experience to do something that is fun and exciting but also has permeance. It has given me a thirst for more, so I’m wondering, ‘who else would be crazy enough to let me loose on a project this big?’ I was able to take my whole team to the soft launch the week before opening, which was great fun. I’ve also been back a couple of times just to sit at the bar and soak up the atmosphere; see people enjoying the space and when the triggers happen it’s so great. People often break out into spontaneous applause, which is real validation for me as an artist for what I accomplished, along with everyone else who worked on creating Tiki Tatsu-Ya.”

Above and ri ght : A DJ 1 2P X H EX fi x tu res fil l t he r oom w i th ri c h c olour wa s h es a s well a s lig ht ning fla s h es .

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Expect the unexpected 26.04.22

Prolight+sound 2022 26-29 April 2022 Frankfurt am Main Hall 11.0 | Booth B23

www.dasaudio.com

IN B RI E F P K S ound E l e v a t e s t h e E xpe r ie nc e at G ua ngz h o u ’ s C a t w a l k + .

With the successful Catwalk Disco and Club already in operation in Guangzhou, China, when the organisers opened a second nightclub, Catwalk+, in August 2021, they turned to PK Sound and its exclusive Chinese distributor, Polar Audio, to elevate the experience in its main hall.

“PK Sound’s Trinity series is a global leader when it comes to innovative and impactful audio technologies, which we’re proud to now offer to our patrons in the brand-new Catwalk+,” stated club designer, Cheng Jiheng on behalf of owners Guangdong Haiwo Cultural Development Group.

The system is anchored by PK Sound’s Trinity Install and T10 Install line source elements, which offer the tour-proven performance of the company’s robotically controlled Trinity and T10 modules in sleek, architecturally friendly enclosures.

The main left-right arrays flanking the stage comprise four Trinity Installs over four T10 Installs per side, with two smaller arrays of four T10 Installs each serving as delays midway through the hall. Low-end reinforcement is handled primarily by eight G218 Install and two G30 Install subwoofers, with an additional six CX800 subs throughout the venue. CX215 point-source cabinets and K218 subwoofers handle monitoring for the DJ booth and supplemental fills for adjacent spaces.

“Polar Audio has made impressive inroads with PK Sound in China’s booming nightlife scene, and their work at Catwalk+ makes it clear why,” said Trevor Grenier, Global Partner Support with PK Sound. “Catwalk+’s new Trinity Install system will serve them, their performers, and patrons very well and reinforce their reputation as one of the top nightlife destinations in the world.” www.polarkinetic.com

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TAIWAN TRADI TI O N A L TH EA TRE CENTE R A PA C

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Taiwan’s f irs t Meyer Sou n d C onste llation acou stic syste m boosts the au d ien ce e xpe rie nce an d r ed u ces oper atin g costs.

Designed by Taiwanese architect Kris Yao of Artech and located in the Shilin District of Taipei, the Taiwan Traditional Theatre Center is the permanent home to the Guoguang Opera Company and the National Chinese Orchestra as well as a wide variety of other events on a rental basis.

With the recent installation of a Meyer Sound Constellation acoustic system — the first in Taiwan — the venue enhanced the audience experience across all musical genres while reducing operating expenses and often eliminating costly down time between performances. The impetus behind the eventual installation of Constellation stems from the original concept behind the Center’s main 1,055-seat performance hall, as explained by Technical Director Huai-min Jen. “When the Center was first proposed nearly 10 years ago, the resident opera company was transitioning to the use of wireless reinforcement for the singers,” he recalled.

“The hall was designed with a relatively dry acoustic to accommodate amplification, which meant that a large and very cumbersome stage shell had to be erected to support orchestral performances. It required a crew of 10 or 15 to bring up from the basement as well as an entire day to set up and then take down, which cut into rental availability.”

Operating costs aside, the physical shell also introduced acoustical compromises. “The shell was not optimum for all performances,” Jen continued. “You can’t adjust it to provide the perfect environment for all performances. But now, with Constellation, we can instantly optimise for every performance and ensure the same listening experience for every seat.”

The Center is operated by a government entity, the National Center for Traditional Arts, so a rigorous tender process was required prior to selection of the active acoustic system.

Four systems were evaluated, and Constellation was eventually chosen. “Because they use a higher density of loudspeakers and microphones in the space, it is the only system that is natural,” said Jen. “You never feel like the sound is localised to a nearby loudspeaker.”

As installed, the Constellation system incorporates 128 fullrange loudspeakers (Ashby-8C and Ashby-5C, MM-4XP, UP4slim, ULTRA-X20XP) along with 16 subwoofers (MM-10XP and USW-112XP) provided by Meyer Sound’s Taiwanese distributor, To Gather, with Taipei’s IN LI CHA consulting on complementary physical acoustics. Nancy Chen served as Project Liaison for To Gather.

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Above: T aiwa n Tra di t i on a l T heatre Cent e r b oa st s t he f i rst Meyer Sound Con st e l l a t i on system in th e c ou n t ry .

The system was operational within the deadline, with final tuning following shortly thereafter. It was programmed with 17 presets – 10 for the orchestra, one for opera and six options for rental clients. The longest preset, for choral music, extends the baseline RT60 of 1.2 seconds out to 3.8 seconds. The system was also programmed to offer Spacemap dynamic panning for spatial sound effects.

“When they brought in the 80-piece orchestra for final tuning, it almost brought tears to my eyes, it was that good.” Jen reminisced. “I felt that now we truly have a theatre that also can be a world-class concert hall. Because we are the first [Constellation system] in Taiwan and we belong to the government, we can demonstrate to other multipurpose venues in the country how the experience of active acoustics can enhance and transform all types of performances. When other venues do renovations, they should consider this as an option to physical shells.”

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TECHNICAL INFORMATION SOUND Meyer Sound Constellation system – Ashby-8C, Ashby-5C, MM-4XP, UP-4slim, ULTRA-X20XP, MM-10XP, USW-112XP. www.meyersound.com

Lisa Elmqvist Restaurant, Stockholm

“Smart IP solved all my problems” Dragan Nedeljkovic, JAM Stage & Proaudio Installers around the world are embracing the exceptional sound quality and single-cable convenience of Genelec Smart IP networked installation loudspeakers.

With PoE, AES67 and Dante compatibility, plus sophisticated loudspeaker management all supported via a standard CAT cable, Smart IP delivers simplicity and cost effectiveness – even in the most complex installations.

Find out more at www.genelec.com/smart-ip

N ATIONAL P ARLIAMENT HO US E A PA C

DHAKA / BANGLADESH

S p ectr u m AV d e pl o y s B a rc o p r oject i o n - m a ppi n g s o l u t ion to b r ing a l i v e B a n g l a d e s h ’ s ic onic J a tiya S a n g s a d B h a b a n .

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16 December 1971 is noted as a day of historical significance as it witnessed the birth of Bangladesh as an independent country. In the years since, the date has been cherished

by Bangladeshi nationals as the country’s official Independence Day, commonly referred to by the local population as Victory Day. 2021 was a particularly special year in the country’s Victory Day celebrations, as not only did the date mark the country’s Golden Jubilee, but it also coincided with the 100th anniversary of the birth of Father of the Nation, Bangabandhu Sheikh Mujibur Rahman.

To honour the extra-special occasion, an itinerary more extensive than any other that the country has ever witnessed was arranged.

With Indian President Shri Ram Nath Kovind in attendance as the guest of honour, the celebrations included a 31-gun salute, placing of wreaths at the monuments to pay homage to martyrs, as well as the hoisting of the national flags and illumination of various significant buildings across the country.

Among the most important buildings to be illuminated was Jatiya Sangsad Bhaban – also known as the National Parliament House of Bangladesh – which is considered the most prominent and remarkable architectural landmark in the country and a prime example of Bangali culture and heritage.

Entertainment and live experience agency, Grey Advertising Bangladesh was entrusted with the responsibility of bringing the building’s façade to life. It was decided that the most effective solution would be use the building as a canvas to display a range of visual content, which provided an insight into the history of the nation.

The GREY team brought in Mumbai-based audio-visual service provider, Spectrum AV, which presented a meticulous plan to bring the project vision to life, based on several preliminary consultations.

“After understanding the grandeur of the event and the client’s expectations, we realised that the key priority on this project would be for us to ensure the optimal usage of the entire National Parliament House building as one single projection canvas,” commented Jay Mathuria, Founding Director of Spectrum AV. “We wanted to fill every inch of this canvas space with crisp images and brilliant colours that would accurately represent Bangladesh’s rich culture and heritage, while also spotlighting the country’s journey and the progress it has made thus far.”

Keeping all priorities in check, the Spectrum AV team carried out an extensive analysis of the building, which involved securing accurate measurements of every nook and cranny of the building’s façade so a detailed technical charter could be devised to commission the task efficiently.

The analysis revealed the need for multiple units of the brand-new Barco G100 W 22,000 lumens projectors – which Spectrum AV decided to acquire specially for this project.

strand_acclaim_led_ballet_ad_Mondo_dr_hpl_0222.indd 1

14/02/2022 12:49:30

TECHNICAL INFORMATION PROJECTION Barco UDX-4K32 and G100-W22 laser projectors www.barco.com www.spectrumavindia.com

Above: Bar c o UDX -4K 3 2 a n d G1 00-W22 la s er proj ec tors covered t he en ti re N a ti ona l P arliament Hou s e fa ç a de.

Below: The s pec trum A V tea m .

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While on-site, the Spectrum AV team stuck to its meticulous plan that detailed the deployment of over 24 units of Barco Laser Projectors (UDX-4K 32,000 lumens and G100WUXGA 22,000 lumens) at extremely precise strategic locations, such that the projected content would cover the entire stretch of almost 250m across the National Parliament House with crisp colours and sharp images.

The projection system included Dataton WACHOUT playback servers, Lightware Matrix switchers, as well as additional transmitters and receivers from Lightware, all of which came together seamlessly to assure 100% redundancy in networking across the entire stretch. The team also deployed double the amount of WATCHOUT Server Channels used in conjunction with Lightware Matrix Switchers to provide an additional layer of backup.

Naturally for a project of this scale, the entire process of bringing all the technical brilliance together on-site was far from simple. “There was an unbelievable amount of time and effort that went into planning every detail of the project, most of which began before we could even board the aircraft to Dhaka,” Mathuria revealed. “From narrowing down on products and quantity that would be perfect for the mapping, to the transportation and logistics of the equipment, to sorting out important formalities and securing a thorough understanding of international health and safety protocols so that our team could work safely and efficiently in line with all directed mandates – all of it demanded the utmost level of commitment from our entire team.”

He added: “Luckily, Spectrum AV is blessed to have a team workforce of expertly talented, thorough professionals, which is why we could

mitigate these and several other challenges with relative ease. I cannot commend our team enough for their sheer brilliance in bringing this monumental project to life.”

The team spent 48 gruelling hours setting up the technical infrastructure for the show, which ran for 90 minutes on the evening of 16 and 17 December.

Due to the outdoor nature of the event, the team had to take prevailing weather conditions and other environmental factors into account, with special arrangements made to protect the equipment from the elements – especially from the heavy dew that began to set in as the sun began to set. In addition to the 48-hour set-up time, the team invested around 20 hours in programming the visual content for the show, which involved multiple checks on the resolutions, video codecs and the reproduction of the content on the building façade.

“The National Parliament of Bangladesh is considered as one of the 20th Century’s most significant buildings, and seeing the building come alive with the 35 million pixels all synced with music and lights was truly a sight to behold, Mathuria concluded. “We’re very grateful to Grey and the government of Bangladesh for trusting us with the responsibility of such an important project, and we’re really pleased to take note of all the appreciation and praise that the show has received from all quarters. Commissioning a one-of-a-kind projection-mapping experience onto one of the finest parliament buildings in the world, in a matter of just 72 hours, on one of the most important days in the country’s entire history, is truly a proud moment for the entire team at Spectrum AV.”

IN BUSINE S S

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SHOW PREVIEW Prolight+Sound, Frankfurt

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IN DETAIL Amate Audio, Genelec, GLP

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PRODUCT GUIDE Lasers & SFX

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PRODUCT DIRECTORY

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IN PROFILE d&b audiotechnik

IN B US INE SS | WWW. M O NDO DR. C O M

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PROLIG H T+SO U N D P R EVI EW

Adam Hall Cameo OTOS H5 Beam Spot Wash Hybrid Moving Head IP65 Hall 12.1, Booth B24

• IP65-rated beam spot wash hybrid moving head with 19,000 lm luminous flux.

• Continuously adjustable CMY colour mixing in addition to 15 dichroic filters for saturated colours and white tones.

• High-quality optics with 135mm front lens and wide zoom range of 2° to 42°.

• Rotating gobo wheel with eight indexable and rotatable replaceable glass gobos + open.

• Static gobo wheel with 19 gobos + open. www.cameolight.com

Ayrton Domino LT

Hall 12.0, Booths D74-D75 • • • •

First IP65 LT (long throw) fixture.

Ultra-intense beam.

Designed for stadiums and arenas.

13-element, 15:1 zoom, high-resolution optic system for 3.5° to 53° beam spread.

• Multiple effects options for gobos, framing, iris, frost, prism, animation, and more. www.ayrton.eu

Admiral Staging Transport Solutions Hall 12.0, Booth D93 •

Suitable for a wide range of applications, from stage equipment to rigging essentials.

• Can be used for transportation as well as for storage.

• Includes a modular system that allows the user to build their ideal cart step-by-step, choosing the configuration that best fits their needs.

• Designed cleverly, with attention to detail, so that the carts are efficient and ergonomic.

• Equipped with rubber studs, Strong Family dollies ensure an optimal friction and positioning of both straight and circular trusses. www.admiralstaging.com

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DAS Audio INTEGRAL series Hall 11.0, Booth B23 •

A family of professional electronic equipment, dedicated to providing complete solutions for commercial and professional installation.

• Control, configuration and management of the devices is done via ALMA software over IP or using Open Sound Control (OSC) protocol.

• Integrates an Ethernet Switch for daisy-chain connections. No external switch needed.

• Analogue, AES67, and DANTE connectivity.

• Up to two levels of priority per channel. www.dasaudio.com

Elation Professional Proteus Excalibur

Hall 12.1, Booths B49 and C49 • IP65 beam moving head (0.8° beam angle / 3.5° beam expander).

• Up to 200,000 lux at 20m.

• CMY / gobos / dual overlapping prisms.

• Ultra-wide 260mm front lens.

• 4,000-hour long-life 550W lamp. www.elationlighting.com

Harmonic Design Audiotechnik hd HLS20/HLS24-TourSys

Hall 11.0, Booth C01 and Live Sound Arena F12 •

Revolutionary HybridLineSource technology for unreached performance and sound quality.

• Stand-alone usage or as a vertical array of up to five elements.

• The best out of three worlds: large throw of a line array, maximum efficiency of a horn-loudspeaker and homogeneous coverage of a coaxial loudspeaker.

• Unique specifications: max. SPL >144dB, power handling 1200W / 4800W (AES/ PEAK), weight < 45kg.

• Daily sound demonstrations @Live Sound Arena F12. www.harmonic-design.com

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HOF Big Boys Toy Truss Hall 12.0, Booth 47 •

The BIG BOYS TOY TRUSS is the strongest aluminium truss in its class: it can take 20 tons of distributed load on a span of 30m and is perfect for large and elaborate openair stages as well as large indoor events.

• It can be built in the heights of 1,400mm, 1,200mm and 800mm, thanks to three different bracing sets.

• It has an incredibly low transport volume: up to 150m of BBT can be transported with only one truck. This results in a 50% reduction in transport volume compared to standard truss, which in turn leads to considerable savings in transport costs and CO2 emissions.

• It has not a single weld and is fully bolted with the patented Ripp Lock Nut System.

The Ripp Lock Nut can be reused and loses less than 20% of its preload force after multiple uses.

• It offers enormous flexibility with minimal volume: as there are no welded parts, damaged bracing can be replaced directly at the venue. This saves costs and time. www.h-of.de

Lucenti PixelDrive8 • 3,200 RGBW pixels individually controllable.

• Power and signal on one single cable.

• Merge from up to four sources.

• KLSTR natively built-in for automated configuration and advanced monitoring.

• IPv6 and IPv4 connectivity. www.lucenti.lighting

Visual Productions CueCore3 Hall 2.1, Booth B45

• Solid-state architectural lighting controller.

• 2,048 DMX/RDM channels.

• 16 Playbacks.

• DMX recording from third-party consoles.

• Time and date scheduling. www.visualproductions.nl

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107 dB

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34 kg

400 x 520 x 540

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108 dB

144 dB

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45 kg

480 x 675 x 560

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SPLmax Peak level measured at 1m under free-field conditions using pink noise with crest factor 4

Harmonic Design is a German manufacturer of high-quality loudspeaker systems and stands for research, development and engineering of cutting-edge technology for more than 40 years!

Harmonic Design Audiotechnik GmbH Rudolf-Diesel-Straße 11, DE-74382 Neckarwestheim sales@harmonic-design.com harmonic-design.com

Engineered Made In Germany

AM ATE AU D IO X14FD Amate Audio has launched the ultra-compact, high-performance X14FD; a point source, dual-purpose PA and stage monitor system. The X14FD is the latest and the most powerful iteration of an extended pedigree of successful coaxial based dualpurpose designs; beginning with the X12CE and X15CE models and including the X14T, a previous 14in based design. The X14FD is a latest generation Xcellence series self-powered active system, and incorporates Amate Audio’s uprated Active+ digital power and control platform with high order high-order FIR filtering and Dante audio networking.

The single revolutionary low-distortion, high-power handling 14in coaxial driver provides an exceptionally smooth full frequency response, characterized by a low frequency response comparable with a conventional 15in driver, combined with the mid-frequency resolution and crystal clear vocal articulation of a conventional 12in driver; together with exceptionally transparent HF response and peak handling characteristics.

Use of a single driver consequently enables the design of an enclosure with a greatly reduced form factor, relative to the X14FD’s power and frequency range.

With its superb sonic characteristics, high output and low profile, asymmetric cabinet the X14FD can be hung, flown, stacked or pole mounted in FOH, front and side-fill PA applications or, floor-standing on its horizontal axis, deployed as a stage monitor. Portability and handling is made easy with top and bottom flush carry handles. Integrated rigging points and pole mount socket facilitate easy rigging or stacking of the cabinet with its ‘tour proof’ construction of reinforced Baltic plywood and weather resistant Polyurea coating with integrated protective rubber profiles.

With its dual-purpose form factor, the X14FD is both the optimal stage monitor for the company’s flagship X212AFD line array, both in horizontal floor monitor and vertical side-stage or drum monitor applications. As a highly portable FOH system, it can be matched with Xcellence series sub-base systems.

Onboard power and control from the Active+ electronics includes 1,500W Class D bi-amplification and industry leading DSP system management, with LCD colour touchscreen operation and monitoring. Active+ provides a suite of tools to setup and tune the loudspeaker system in a fraction of the time required for conventional active systems. Features include high-order FIR filtering, for fully phase coherent PEQ adjustment and absolute phase alignment of common cabinet couplings, independent dual limiting (RMS thermal and peak) on each power channel, high-order crossovers, delays of up to 300ms/100m, and EcoMode power settings.

System presets, extensively researched and developed by Amate Audio’s engineering team, are included. These optimise control parameters for configurations with other Xcellence series loudspeaker systems in the most commonly occurring applications. Additional parameter adjustments are storable in PIN-protected user settings. Dante audio networking and full Ethernet remote control, via the company’s latest DSP Studio 3 software, are via dual Ethernet ports; Wi-Fi remote control is possible with the CWK-D Wireless Communication Kit. www.amateaudio.com

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EURUS PROFILE

PERSEO PROFILE

PERSEO BEAM 5 Series - Source

5 Series - Source

5 Series - Source

650 W - 6700 K

500 W - 6900 K

450 W - 6800 K

Lumens

Lumens

Lumens

Lux at 10m

36,000

30,000

18,000

41,000

Zoom aperture

Zoom aperture

Zoom aperture

4.5° to 50°

7° to 58°

2° to 42°

Ayrton's 5 series allows you to express your daily creativity without compromise.

Whether you play inside or outside.

9S 7S 3S

5S

Hall 12.0 - Booth D74-D75

w w w. a y r t o n . e u

EXCLUSIVE DISTRIBUTOR FOR THE UK AMBERSPHERE SOLUTIONS LTD - Phone: +44 20 8992 6369 - info@ambersphere.com - www.ambersphere.com

GENEL EC 4410 LOUDSPEAKER & CONTROLLER APP

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Genelec has further expanded its Smart IP family of installation loudspeaker systems with the introduction of the super compact 4410 loudspeaker model and a new Smart IP Controller app. The 4410 joins the existing 4420 and 4430 Smart IP models to cater for an even wider range of applications and room sizes, while the free Controller app provides the end user with instant and intuitive control of key loudspeaker system functions including mute, volume control and power on/off, plus overall zone control.

Originally launched in 2019, the Smart IP loudspeaker range combines exceptional sound quality with single cable convenience, providing scalable power, audio and management features via a standard CAT cable.

Offering extraordinary coverage, clarity and intelligibility, all models in the range are compatible with both Dante and AES67, and derive power via PoE and PoE+ Powerover-Ethernet formats.

Measuring just 181mm in height, the active two-way 4410 is perfectly suited to smaller spaces, yet its proprietary internal power supply helps to produce an impressive 100dB of short term SPL. Created in conjunction with leading industrial designer Harri Koskinen, the 4410’s aesthetically beautiful Minimum Diffraction Enclosure is fashioned from recycled aluminium and utilises Genelec’s trademark

Directivity Control Waveguide, to ensure precision and clarity both on and off axis.

Built to the highest environmental standards in Iisalmi, Finland, the 4410 is available in black or white finishes, and a wide range of accessories ensures that the 4410 can be mounted quickly and conveniently in almost any location.

As well as receiving both power and audio-over-IP, the 4410’s single rear panel RJ45 connector also allows access to Genelec’s Smart IP Manager – a sophisticated downloadable software tool running on Windows 10 that allows installers to configure an almost unlimited number of rooms, zones, loudspeakers and audio channels, and includes device discovery, an extremely versatile room equalisation tool set, system organisation and status monitoring.

Once the installer has used Smart IP Manager to configure and optimise the system, the end user can then download the free Smart IP Controller app onto their smartphone or tablet (iOS or Android) for instant fingertip control of mute, volume control and power on/off. The Controller app will automatically discover the loudspeakers on the network, and offers a clean and intuitive user interface that’s perfect for less complex installations where comprehensive touchscreen control of the system isn’t always required. www.genelec.com

WWW.TPIAWARDS.COM

SPONSORED BY

SUPPORTED BY

DERIVED FROM IMAGE BY: PARKERDR

G LP IMPRESSION X5 The GLP impression X5 is the next generation of highperformance, professional LED washlight. Building on the legacy of its renowned predecessors, it incorporates cutting-edge technology with extensive user input.

The 19 powerful and exclusive 40W LEDs provide enormous power and allow the fixture to penetrate through even the most difficult lighting environments.

The light source at the heart of the impression X5 was developed specifically to offer an expanded and more comprehensive colour gamut. Incorporating a brand new algorithm, called iQ.Gamut, the impression X5 is able to deliver accuracy, quality and consistency on every occasion. White points are calibrated perfectly to the black body line and the expanded gamut can be accessed via three different colour control modes, depending on user preference. Beyond standard mixing, a virtual colour wheel is included with 64 referenced LEE colour filters.

Each LED source in the impression X5 can be individually controlled for full pixel mapping effects and a comprehensive effects section is included that has twin layers and many dynamic pattern macros.

Using the new iQ.Gamut algorithm, the impression X5 creates perfectly calibrated white spectrum outputs with CRI 90 at 6,500 Kelvin and the ability to select other fixed white points down to 3,200 Kelvin, maintaining a high CRI of 85+. Colour temperature changes to the output – whether in white or colour – can be achieved through a separate, dedicated channel. Further settings for comprehensive control are standard and include Magenta/Green-Shift and a Tungsten Simulation mode with 2x5 settings for different simulations.

With new super-fast zoom mechanics, the impression X5 offers a staggering 1:16 range running from a punchy 3.5° to 60° with homogenous light distribution across its entire range and without visible hotspots. A new front face with a circular design has been conceived to include geometric patterns for great looking effects without any effort.

Featuring GLP’s trademark Baseless Design, the impression X5 weighs just 13.3kg, and since it can rig in any orientation with the X5 Bracket, the impression X5 looks elegant in any environment. The impression X5 has been designed for use in live concerts, television, film and broadcast, theatre and musicals, live events, exhibitions, music festivals, houses of worship and other application settings, and can easily be mounted into set pieces. Built-in accessory mountings on the front of the impression X5 allow users to easily add front accessories such as top hats or honeycomb shields.

16-bit movement, with speeds that go from silent to breakneck speed, the impression X5 runs through 540°/650° of Pan and 220° of Tilt with full feedback control. The impression X5 can be controlled via DMX, ArtNet or sACN and has an integrated Near Field Control Sensor for setup and adjustments from a smart device. Also onboard is a GLP iQ.Service Module, compatible with the GLP iQ.Service App, and the new GLP FPO (Flexible Protocol Option) Port for alternative control protocol options. www.glp.de

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PR OD UCT GUI D E: LAS ERS & S FX

ADJ Fog Fury Jett Pro Featuring a 1,450W heater, the ADJ Fog Fury Jett Pro vertical fogger can generate a massive 40,000 cubic feet of fog every minute. It is equipped with a high-performance Italian pump system for optimum output and ADJ’s Electronic Thermo Sensing (ETS) technology to maintain optimum heat levels for short warm-up times between fog blasts.

The Fog Fury Jett Pro produces a dry even blast of fog that can shoot over 40 feet into the air. It can be used either vertically or horizontally and its reservoir tank can be mounted in the front or rear of the unit so that the machine can be pointed up or down.

A total of 28 3W LEDs are arranged around the fog machine’s output nozzle, which are made up of six red, seven green, six blue, three amber, and six UV diodes.

It is fitted with XLR input and output sockets to allow for use as part of a cabled DMX setup but is also equipped with ADJ’s proprietary WiFLY EXR wireless receiver allowing for wireless DMX control from up to 2,500 feet away (line of sight). This product is a great alternative to CO2. www.adj.com

Antari CH-1 Cinema Haze Antari’s new CH-1 Cinema Haze is a slim and compact haze machine. The new CH-1 Cinema Haze produces a large amount of fine and uniform haze with low operating noise. The super quiet haze machine mixes oil-based liquid with either CO2 or N2 Gas to achieve particularly long hanging time for the haze. It also comes with a universal power supply, an adjustable fan to create different angles, and is equipped with a colour touch panel for intuitive operation. www.antari.com

CHAUVET Professional Amhaze Eco Amhaze Eco is a professional water-based haze machine that delivers high output while utilizing economic fluid consumption. With a rapid 30-second heat up time, and continuous output that doesn’t require any reheating, you can quickly get the maximum output of 120 cfm with a single fluid container lasting over eight hours.

Easily control the output and fan speed via DMX or on the onboard control knobs. Amhaze Eco comes ready to rest on the floor and is also equipped with M12 threaded inserts for truss clamps, an easy way to mount the 25lb machine. Amhaze Eco combines high output with efficient operation for a complete atmosphere solution for medium to large venues. www.chauvetprofessional.com

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T H E A L L N E W K 1 W I T H O K TA G O N B I B

S I M P L E R , S M A L L E R & E C O -F R I E N D LY

Experience the new K family of hazers and foggers @ swefog.com

THURSDAY 19 MAY HARD ROCK CAFE - FESTIVAL CITY For Sponsorship and General Enquiries contact Fran f.begaj@mondiale.co.uk WWW.TPMEAAWARDS.COM SPONSORED BY

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Laserworld PL-10.000RGB MK2 The Laserworld PL-10.000RGB was released in its second generation as MK2 version, with several improvements, including increased visibility due to better beam specifications with only 5.5mm and 1.0 mrad and a great colour balance with 3W bright red, 3W high-visibility green and 4.5W royal bright blue. The colour balance makes for a great white and homogenous colour fading.

Included as standard is the powerful ShowNET laser mainboard with a colour display. This mainboard makes the laser an intelligent lighting device by not only adding professional DMX and ArtNET features, but also providing an integrated DAC for direct laser control (a full laser software license is included) and many more features. With its high scan speed of 40kpps @ 8° ILDA the Laserworld PL-10.000RGB MK2 is also capable of doing graphics projections and smooth aerial effects. www.laserworld.com

LaserAnimation SOLLINGER PAENON accurate The PHAENON accurate from LaserAnimation SOLLINGER is an extremely compact full-colour laser that differs from many standard show laser systems. Unlike other projectors, the components of the PHAENON accurate are inside a durable and shapely carbon housing, which makes the laser projector very lightweight, tipping the scales at just 5kg.

The integrated laser module ‘White 7000’ combines red, green, and blue laser diodes and the specially designed laser diode driver ‘LDT triple’ ensures a long lifetime as well as a perfectly balanced laser projection. Even the colour curves are calibrated to each other so that the mixed colours don’t change when fading in and out. Laser modules and the drivers are expertly manufactured in house by LaserAnimation SOLLINGER in Berlin.

The PHAENON accurate has a LAN AVB as well as an analogue ILDA interface. All main functions can be monitored via the LA.toolbox software. Settings can also be changed via this intuitive software. This professional show laser system has a laser power of 2,800 mW true white D65, 7,600 mW at laser source and is specially designed for mobile use and easy installation in indoor areas. www.laseranimation.com

LPS Lasersysteme LPS-Bax SixSCAN SixSCAN is designed for all kinds of professional staging and is available with different RGB laser power and models as LPS-Bix SixSCAN Club Version and Pro Version.

It is fitted with six laser scanners and six RGB (white light) laser modules, each individually controllable. Thus, each scanner emits either the same animation or, if you like, a different one. The LPS-Bax SixSCAN is controllable via DMX (121 up to 157 channels), Art-Net and ILDA. Modified by LPS, it convinces with a smart design for rough use on stage, festivals, in theatres and other kind of events. That is why it is fitted with PowerCon True1, 5-pin DMX, LCD-Display, key switch, interlock, safety by an e-stop. Thanks to the ironing holder, the bar can be perfectly attached to trusses, whether horizontally, vertically, diagonally or individually. www.lps-laser.com

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NEW GENERATION ELECTRIC CHAIN HOIST LP

WEATHERPROOF LIGHT ROBUST

RTI PIKO 55 With 55W of guaranteed full-colour total output, the RTI PIKO 55 measures just 491mm by 271mm by 296mm. The fixture is equipped with the latest generation of RSL semiconductor laser modules. The result is a perfect beam profile across all colours and an excellently uniform beam divergence of only 0.7 mrad. RSL technology is maintenance free and no realignment is necessary.

On the rear of the unit, in addition to the already familiar interfaces for ILDA, DMX, ArtNET and network and the display for selecting the operating modes, there is now also a second integrated display that can be used to make basic settings directly via touch function. The control options can additionally be selected via the ShowNET mainboard, which include ILDA, DMX, ArtNET and LAN (computer control, integrated DAC), stand-alone operation, ILDA streaming and master-slave. An alternative integration of Pangolin FB4 is possible.

The RTI PIKO 55 full-colour laser is ideal for large events, festivals, laser shows over long distances, but also for quality laser projections. www.laserworld.com

QUIET POWERFUL DURABLE

Showcontroller Laser software Professional laser control software Showcontroller is becoming more and more popular, as it no longer requires additional external converter hardware (digital-to-analogue converter) with many laser systems, as it is already included in the laser mainboard.

New features include a completely redesigned drag-and-drop programming interface with dockable window elements, allowing the creation of an individual user interface, and a greatly expanded content library with many newly added shapes, figures and animations. www.showcontroller.com

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Steinigke Showtechnic Eurolite Spark Master Safe and without the need for a licence, the Eurolite Spark Master is a spark effect for stages and events that uses special granules to create safe fountains up to 5m in height.

Since the Spark Master does not use pyrotechnics, it can be operated without a license. It is easy to operate and safe.

The Spark Master is filled with dry granules and can be operated for up to 15 minutes with one tank filling. The effect can be controlled via DMX as well as triggered by remote control. It is also possible to operate multiple machines simultaneously with an optional radio transmitter. www.steinigke.de

Swefog K1 Hazer The K family is designed for the up-and-coming light designer and DJ as well as for the most experienced Swefog user. The K family is smaller, lighter, simpler, and even more affordable, yet still as genuine as its bigger sisters.

Presented here is K1, a water-based haze generator. K5 and K7 are two powerful fog generators, and the K9 is the first water-based fog generator with fully variable fog density control.

The K1 molecular haze fluid is a newly developed water-based haze liquid. K1 creates a superior, light haze that renders the natural colours from light fixtures without colouring the light beams grey or yellow.

The K family uses Swefog’s Oktagon bag-in-box fluid containers, which saves 75% of plastics and is 100% leak-proof. It also prevents the fluids from ageing, saving both money and the environment by reducing its ecological footprint. And as a bonus, the whole box including the PE plastics is fully recyclable. It comes as a 3l BiB as standard, with 25l and 220l cans available for permanent installation. www.swefog.com

Ultratec Radiance Arena System The Radiance Arena System is a touring system developed for live events in large arenas. It includes the Radiance Hazer and a TwisterX Fan and is also packaged in a durable wheeled road case. The TwisterX Fan pushes haze up to 1,500 cubic feet per minute. It also includes a built-in DMX with RDM capability and heavy-duty angle adjustment.

With over 12,000 Radiance Hazers in use globally, the Radiance Hazer sets the industry standard for haze machines using their award-winning four-port Rapid Vaporizer technology. www.ultratecfx.com

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T H E S M A RT WAY T O C O N N E C T

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CONNECTORS FOR LED PANELS REAN delivers a comprehensive range of connectors featuring ultra-robust, high-reliability designs that promise unrivalled cost-performance ratios.

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1. AJA Video Systems Io X3 Thunderbolt

The Io X3, a Thunderbolt 3-connected professional video and audio I/O device offers HDR or SDR 2K/HD capture and output via 3G-SDI and HDMI. Compact, rugged, and portable, Io X3 streamlines high-quality HDR I/O up to 2K/ HD 60p on compatible Thunderbolt 3-equipped Mac or PC hosts running professional video and audio applications.

Whether working remotely, on-set, or in a studio, Io X3 provides a powerful mobile solution for single-, dual-, and multi-channel SDI workflows, offering pristine 2K/HD/SD I/O with HDR directly from any laptop or computer. www.aja.com

2. Biamp Desono DX

Biamp has introduced Desono DX, a new line of attractive, high-performance, high-output ceiling and surface mount loudspeakers that will replace Biamp’s Desono D Series loudspeakers. Desono DX loudspeakers integrate the most notable features from the D Series – including the same high intelligibility, exceptionally uniform coverage, and the shallowest back cans in the industry – with a sleek, edgeless magnetic grille design, uniform voicing across all models, and time-saving installation features. An additional line of Desono loudspeaker accessories offers even more options to address any installation challenge. www.biamp.com

3. Chromateq CLUB-E 1024

Chromateq has launched its next generation interface designed for live performances using the suite of Chromateq software that transforms any computer into a powerful lighting control console.

The new CLUB-E 1024 features a sleek, stackable modular aluminium housing with dual DMX IN/OUT ports, Ethernet jack for wireless control over Wi-Fi via standard routers, Art-Net/sACN-to-DMX decoding/conversion/ node functionality in a single device without the need for a separate decoder, and DHCP or static IP addressing.

With a five-year international warranty with lifetime free software updates, users can unlock up to 30 minutes of free timeline synchronisation with Chromateq software, with no additional monthly or yearly fees. www.chromateq.com

4. eLumen8 Tank Trap with Wheels

Tank Trap consisting of a 600mm square steel plate fitted with a 50mm receiver that features wing bolts to firmly secure aluminium or steel tubes in place. A cut out in the base allows compact stacking for transport and storage. Heavy-duty 75mm wheels are fitted to one edge for ease of transportation. www.prolight.co.uk

5. Optimal Audio Up 6O

Optimal Audio has announced an addition to its range in the shape of the Up 6O, a 6in two-way passive, full range open back ceiling speaker. Delivering a consistent conical 110° coverage pattern, Up 6O features a 6in lowfrequency driver paired with a 0.7in metal dome tweeter, and is supplied without a back can for ceilings with a minimum cavity depth. An integral fixing system achieves a simple and clean installation.

Up 6O is suitable for both high-quality speech and music reproduction in a wide range of cost-conscious commercial environments, from hotels and concourses to retail outlets, bars and restaurants. Each Up 6O can be run on a series of 70 or 100 Volt taps or at low impedance, and with a 16-ohm setting allows up to four units to be connected to each amplifier channel at low impedance for an efficient install. www.optimal-audio.co.uk

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6. PROLED Performance Series

The Performance Series offers downlights in two styles and five different sizes. Available as a standard or trimless downlight with a round or square aperture, the optic comes with a range of beam angles between 20° and 60° to suit diverse use cases and requirements. The secondary reflectors are also available as spotlights, downlights or wallwashers.

With a lumen package of up to 120 lm/W and a UGR value of less than 19, Performance is well suited to installation in hospitality, retail settings and office buildings alike. Dimmable and available in colour temperatures of 2,700K to 4,000K, these downlights can also be used for mood lighting – perfect for residential applications. www.proled.com

7. Tasker C128 Microphone Cable

The C128 is a classic Tasker microphone cable, with red and tinned OFC copper formation, cotton filler to avoid distortions and an OFC tinned copper braid shielding covering 90%. Starting from the original, extra soft and flexible, the cable is available in seven different colours, with low-smoke and zero-halogen sheath available with or without homologation for low and medium fire resistance.

The C128 PE, with Polyethylene outer sheath is water resistant and specific for outdoor, while the C128 PUR has several features like being flame retardant and halogen free and resistant to friction, treading, atmospheric agents, UV rays and to cold or heat. Finally, the C128 AR boasts a special steel armour sheath for underground installation even in presence of rodents. www.tasker.it

8. Void Acoustics Bias Q3

Void Acoustics has released the latest addition to the Bias family of amplifiers. The Bias Q3 DSP touring amplifier carries the same attributes of excellence, durability and reliability associated with all Void Acoustic products. The design and launch of the Bias Q3 addresses the need for a more traditional type of amplifier in the Bias range. It is ideal for small to medium sized installations and short-term mobile deployment.

With four-channels and an intuitive touch screen front panel control, the Bias Q3 offers total integration with the Armonia Pro Audio Suite, enabling extended control on smartphones and tablets. www.voidacoustics.com

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D&B AUDIOTECHNIK FOR MORE THAN 40 YEARS, D&B AUDIOTECHNIK HAS BEEN ON A MISSION TO ENSURE THAT EVERYONE EXPERIENCES THE SAME IMPECCABLE QUALITY OF SOUND, REGARDLESS OF THEIR POSITION IN A VENUE. BUILDING ON THAT FOUNDING PRINCIPLE, THE COMPANY IS EXPANDING ITS HORIZONS TO FOCUS ON INTEGRATED SOLUTIONS INCORPORATING AUDIO, VIDEO, LIGHT, AND MEDIA TO CREATE FULLY IMMERSIVE EXPERIENCES FOR AUDIENCES. HERE, AMNON HARMAN, D&B GROUP CEO, SPECULATES ON HOW MANUFACTURERS CAN ADAPT TO THIS FULLY INTEGRATED WORLD AND SHARES HIS VISION FOR THE FUTURE OF THE COMPANY.

How has d&b changed since you became CEO in 2014?

When I joined, we focused purely on loudspeaker systems. Today, we speak about immersive solutions where the audio system is a central part of a broader solution incorporating other media like video and light.

In the future, we expect to focus on integrated Audio-Video-Light and Media solutions (AVLM), where the loudspeaker system is still the heart for us but is complemented by other components to create hybrid event technologies to connect audiences offline and online. So, we have been evolving over time from being a loudspeaker system company to becoming an event technology company with a strong audio core complemented by different media. This way, we continue to transfer passions via solutions that enable exceptional experiences for the audience.

What have been your biggest achievements in that time?

In one word? Growth. We have grown a lot over the past five years, from being a €70 million company to becoming a €170 million company pre pandemic. Today, we offer high-end AVLM solutions with a global reach and with a leading position in many of our market segments. What I am most proud of is that during this time we have still maintained a culture where passionate people focus on innovation and quality. Not only have we created a positive environment within the company, but also with the community of creatives, planners and partners who we are working with. I am really proud of the part I have played in that.

What have been your biggest challenges?

Aside from the pandemic and the unique challenges that brought, the evolution of the industry is a constant test. With new trends taking centre stage, technology is advancing constantly, and so too are customer’s needs.

It is a constant challenge to understand these changes and get ahead of them.

These changes are mostly driven by ongoing digitalisation, the general desire for more sustainability, and the customer’s need for

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faster and broader access to end-to-end services – trends which we are taking proactive steps to address.

How has the company been affected by the current global supply chain issues?

It’s fair to say everyone in the industry has been affected by global supply chain challenges. While globalisation has taken a U-turn and is expected to become ‘glocalisation’ – meaning the mix of local and global supply – managing supply chain issues will be a mission-critical priority for all technology-driven manufacturers and our community in the years ahead. Short term, we have been intensifying interactions with our suppliers, working with material brokers and occasionally managing component availability for our suppliers.

Currently, our team is successfully working with our partners to project the material situation and shortages with more sophisticated tools we have built during the pandemic to mitigate interruptions. Although I believe the material situation will swing back into an oversupply during this year, I am aware that managing this side of our value chain will need more attention in the future.

How important do you see major industry trade shows being to your plans in the future?

One of my favorite aspects of my role is being able to gather with partners, customers and industry colleagues. I especially take huge pride in seeing their expression of awe when they experience our new technology for the first time – but also in a very humble way, learn from them when they share industry insights with us. Whether this be at trade shows or other industry events, this way of connecting is essential, especially when we were devoid of it for so long. People work with people, and personal interaction is key for sustainable success.

How much of a focus is being placed on d&b Soundscape, and where do you think the technology can take us in the future?

There is no question that immersive audio is

| WWW.MONDODR.COM

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Amnon Harman, CEO, d&b Group. d&b SL family.

Crowded House New Zealand Tour – Photo: Aaron Leep Photography.

Andrew Lloyd Webber’s Cinderella – Photo: Tristram Kenton.

Electric Avenue Festival – Photo: Lucy Hammond.

Soundscape in action at Oper Frankfurt.

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the future. In fact, immersive is not new at all.

If I speak to sound designers and consultants, they tell me that they have been trying to do immersive designs for the past 10 to 15 years. It is only now that systems like d&b Soundscape can give them the possibilities and efficiency to implement immersive experiences in an easy and scalable way.

Based on new technologies and the fast adoption by the creative community, we are currently experiencing a tremendous acceleration of new sound designs based on En-Scene, our object-based mixing tool, and En-Space, our room-emulation tool, to improve sound quality or simulate new environments across all areas of live entertainment and corporate events. What we are currently seeing is a clear change from the conventional left-right (stereo) audio coverage to a fully immersive sound experience that pulls the listener into the play. In the future, we assume that most of the high-end productions will be immersive and will require design, planning, technology and event support services to address this trend.

With d&b Soundscape, new loudspeaker designs and our service capabilities through d&b solutions, we have established a complete, end-to-end offering to provide everything for creatives in their desire to create extraordinary experiences for their audiences. We have focused on the continuous improvement of Soundscape, from new software updates to game-changing additions such as the Soundscape simulation tool, the technology will continue to adapt in the future.

So, when you ask me about focus, the answer is: my top three priorities are Soundscape!

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How is the company working with sound designers and audio engineers to ensure its new products hit the mark?

When I refer to the d&b community, I am talking about our d&b team but also sound designers, FOH engineers, distributors, partners, venue owners, creatives and even artists. They all play a major part in our success. We are in constant communication with our community; many of our partners test and experience products before they ever go to market and the feedback they provide us is vital to our R&D and market application and support processes.

Where do you see the main growth opportunities for d&b?

The pro AV industry was for many years, very specialised and an industry for itself. For some time now, we have seen the ongoing digitalisation of products, the convergence of audio-video-light as well as an increasing influence of hi-tech, AI and VR. Hence, the AV industry is merging more and more with the broader and more consolidated IT industry. Another aspect is the awareness for environmental protection and the reduction of our carbon footprint. Many venues are already trying to turn green and artists who are going on tour have an increasingly strong desire to do that in an environmentally friendly way. This will put much more focus on topics like reduced power consumption, noise management, sustainable production methodologies by the manufacturer and so forth. As a result, venue and artist management will seek to work with professionals who can offer green technology and end-to-end expertise in the areas of

| WWW.MONDODR.COM

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Electric Avenue Festival.

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project development, manufacturing, system planning, installation and maintenance. They will want experts who have consulted with end customers and creatives to generate insightdriven innovations. This is how we at d&b prepare for the future.

What do you predict your biggest challenges will be in the next few years?

More than ever, the past few years have reinforced the importance of gatherings and community. However, during the pandemic, a lot of interaction took place online – some of that will also stay post-pandemic as part of a more virtualised world. For us in the entertainment technology industry who are surrounded by sound, but also video and light every day, we have always appreciated it as a fundamental value driver in live experiences (and everywhere else!).

In the next few years, I think this understanding and appreciation for the role that integrated AVL solutions play will grow in audiences.

Customers and creatives will demand more and want to put that more in context with their art or purpose.

The quality of sound evolves to become the quality of experience and this continues to become exceedingly important. This new level of integration and the desire for a fullyimmersive experience will require the AVL industry to look at new technology solutions.

Finally, the introduction of hybrid events will establish another level of experience. Then we are only one step away from moving certain

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parts of the entertainment solution into the Metaverse, with significant implications for future requirements towards AVLM companies.

Every manufacturer should be asking themselves, are we ready?

What are your plans for the short, medium and long term?

For the past few years, d&b has been in the mindset of an evolution from audio manufacturer to event technology company for integrated audio, video, light and media solutions. With d&b solutions, we formally announced a new entity of our business at the beginning of last year. d&b solutions was born out of customers’ increasing demand for the integration of full AVLM solutions and a rise in requests for manufacturer support in design, planning, integration and post-installation services.

With the acquisition of SFL and White Light in the UK, we made a major step forward in our strategy. Future plans will see this evolution in global markets, all the while continuing to work side by side with our partners to ensure we are offering pioneering technologies, methodologies and services.

Personally, it is important to me that d&b remains the place in the long run where people come together, work and celebrate, because they have a passion for entertainment technologies and the amazing things that can be done working with artists, creatives and audiences in this fantastic industry worldwide. www.dbaudio.com

| WWW.MONDODR.COM

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Brian Eno at Odeon of Herodes Atticus.

The XSL System.

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AD I N D E X 29

ADJ

67

Amate

43

Ansem

87

290mm

400mm

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Antari Arno

220mm

3 5

400mm

290mm

Audiotek

65

Ayrton

95

Chauvet

Digital Projection

17

580mm

290mm

Elation

400mm

148mm

580mm

Harmonic Design 9 HOF

148mm

530mm

580mm

Guil 400mm

290mm

580mm

Kvant

71

57 7 63

LPS

99

Lucenti

33

Martin Audio

55

Neutrik 580mm

3

580mm Look Solutions

530mm

148mm

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

400mm

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148mm

580mm

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290mm

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Laser Animation

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39

L-Acoustics

220mm

15 85

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353mm

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194mm

400mm

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45 114

Duratruss 290mm

105

Powersoft

BC

Ridel

47

Robe

31

Schnick Schnack Systems

6

Showven

4

Signify

87

Starway

77

Steinigke

111

Swefog

101

Tasker

36

Tech Team

27

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580mm

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530mm

73 530mm

Datapath 400mm

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GIS

400mm

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Genelec

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D.A.S. Audio

DRS

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353mm

257mm

194mm

400mm

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CLF

290mm D&b audiotechnik

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115

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Adam Hall

POWERSOFT.COM

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