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

As I write this, I’m preparing to fly out to Prolight+Sound in Frankfurt, quickly followed by ISE in Barcelona. It’s going to be a hectic period, but I can’t wait to get out there and meet plenty of new faces as I embark my new role as Assistant Editor here at MONDO-DR. Add in NAMM and InfoComm in the USA in June and this summer is going to be a busy one for everyone connected to the industry – and I’m sure everyone is delighted to be getting back to face-to-face interactions after a lengthy period of video conferencing.

This year’s MONDO-DR Awards is also fast-approaching and we’ve had some fantastic entrants across our 13 categories – the judges will have their work cut out when it comes to selecting the winners! Head to www. mondodrawards.com to check out all the entries and tune into our socials after the ceremony on 8 June to find out this year’s winners.

In this issue, we have our Houses of Worship report, and we’ve covered a wide range of venues, from an Arts Centre in south London to nightclub in Melbourne’s historic ‘Banana Alley’.

As ever, we are always looking to improve our publication and vital to this is your feedback, so please let us know what you think – we can’t wait to hear from you.

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IN THIS ISSUE. . .

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IN DISCUSSION Datapath

18

INSIDE VIEW KV2 Audio

IN DEPTH 24

REPORT Houses of Worship

IN FOCUS 38

RULANTICA WATER WORLD Rust, Germany

40

THE ALBANY London, UK

52

LIBERTY FABAY HOTEL Fethiye, Turkey

56

THE MAINE London, UK

64

STEINMETZ HALL Florida, USA

70

FUTURE ATLANTA Georgia, USA

76

LUAU KALAMAKU Hawaii, USA

80

RED FORT Delhi, India

82

PLATFORM ONE Melbourne, Australia

IN BUSINESS 90

SHOW REPORT MIR Tech 2022

92

SHOW PREVIEW ISE 2022

94

IN DETAIL Cameo, Ayrton, Algorax

100

PRODUCT GUIDE Cables & Microphones

106

PRODUCT DIRECTORY

110

IN PROFILE Pro Media Audio Video

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

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MAY MAY 8-11

MAY 10-13

MAY 10-11

MAY 16-18

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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

EX P O DI A RY | W W W .M O N D O D R .C O M

MAY 17-19

MAY 19

MAY 23

MAY

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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

E XP O D I A R Y

JU N E 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

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D A TA PA TH : I N TH E SPOTL I G H T T h e c ompany looks bac k on some la n d mar k c r e a tive dig ita l display a nd c omma nd an d c o ntrol c e ntre proje c ts f rom a round t he wor ld .

Datapath has come a long way since its formation in 1982 when it set out developing low-cost colour graphics terminals for mini-computers.

Today, the company is a leader in control technologies for creative multi-display video walls, small- to medium-scale video walls in business environments, and command and control rooms of any scale. Datapath remains an expert in capture and graphics technology, offering a comprehensive range of capture cards to suit a variety of video modes and complementary graphics cards for multi-screen solutions.

The company’s products are distributed across five continents to customers in more than 100 countries, covering industries such as, national security, emergency services, utilities, medical, retail, and events and experiences, to list but a few.

Reliable command and control applications can be executed with Datapath’s latest solution, Aetria. Bringing system design, management, and operation of control rooms into a single, central interface, Aetria is fully integrated with Datapath’s VSN range of video wall controllers, video capture and graphics cards, and KVM products.

Creative solutions comprise the company’s multi-display technologies from its popular x-Series of video processors.

Datapath helps illuminate Melody Maker Cancun hotel Datapath helped the Melody Maker hotel in Cancun create a more immersive, more spectacular, and more memorable experience for guests attending its events.

Melody Maker took the decision to utilise the hotel’s exterior, transforming it into a giant 7,000 sq m canvas, creating one of the world’s biggest permanent 3D mapping displays.

Datapath delivered this by using four next-generation Fx4 display wall controllers and positioned projectors strategically outside the hotel.

The installation at the hotel is amongst the largest of its kind in the world and has helped Melody Maker stand-out from its competitors.

96 Datapath processors power 360 immersive 4k videowall A total of 96 Datapath processors power displays in a 360° immersive 4K video wall – the centrepiece of the Sir John Monash Australian National Centre in northern France.

The centre, designed to cater for 110,000 visitors a year, uses stunning immersive visuals to convey Australia’s story of their significant role on

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

the Western Front during the 1914-1918 conflict.

The result is a stunning visual spectacle which delivers a powerful message of sacrifice and bravery and one that is fitting for such a venue.

Stella use of Datapath Fx4 video wall controllers at flagship stores Luxury fashion house Stella McCartney is using 83 Datapath Fx4 video wall controllers to drive its flagship stores’ video walls around the globe.

The 11 flagship stores, including Manhattan’s Soho, London’s Mayfair, and Milan, drive the mosaic displays to promote its latest collection – as well as delivering all-important environmental messaging to customers and passers-by.

360 ° projection cinema experience at the National Space Centre Four Datapath Fx4 display controllers with 13 new laser projector units were used to upgrade a projection system for the UK’s National Space Centre’s 360° planetarium dome.

The Datapath Fx4 is a multi-faceted standalone display controller that supports a choice of inputs, high bandwidth loop-through as well as four genlocked outputs in either DisplayPort or HDMI.

L e f t : D a t a p at h h e l p s i l l u m i n a t e M e l o d y Ma k er C a n c u n hot el.

A b o ve : Th e c o m p an y ’s p r o d u c t s ar e u s e d a t Sir John Mon a sh A u s t r a l i an Nat i o n al C e n t r e , Na t i o n al S p a ce C en t r e, a n d St ella M c C ar t n e y f l ag s h i p s t o r e s .

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A b o ve : Th e v i d e o w a l l s o l u t i o n at S h i m i z u C o r p o r at i o n ’s S C C i n c e n t r al To k y o .

L e f t : D at a p at h s o l u t i o n s i n Colombia and the USA. Launching a space operation centre control room A world-renowned spaceport in South-eastern USA required a new control room-based video wall to meet new government requirements.

A Datapath VSN1182 wall controller was selected along with multiple Datapath Image graphics cards to support an LCD video wall.

The Spaceport now has a control room visualisation experience that is far superior and more secure than what was previously used.

Delivering a mission-critical collaboration in Colombia Datapath’s VSN range is used to power a unique three video-wall system in a control room for the National Police of Colombia headquarters, offering versatility, rock-solid reliability, crisp audio, and vivid images displayed from multiple sources.

Datapath’s technology offers robust flexibility all while giving the client the required performance, scalability, and redundancy they needed.

New smart control centre in Tokyo skyscraper The Shimizu Corporation, widely regarded as one of the top five contractors in Japan, required the design and installation of a large video wall solution for their multipurpose Smart Control Center (SCC) in central Tokyo.

The video wall is used for a variety of purposes: monitoring the construction site of the skyscraper via multiple camera sources; displaying construction design and progress and documents as well as conducting video conferences and presentations.

Shimizu adopted a Datapath VSN1182 video wall controller, running WallControl 10 Professional management software to power content.

Don’t forget to visit Datapath at ISE at booth 3E850. www.datapath.co.uk

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Baracca, the most powerful, most expensive machine ever developed and manufactured

by Starway With its exceptional opening angle of 0.8° and its 260 W laser source, BARACCA reinvents the automatic Beam. Equipped with an impressive 222 mm lens and capable of delivering 462,000 lux at 20 meters, it produces a beam that is extremely present in space at equally extreme distances. To express all your creativity, it integrates, in an IP aluminum housing, a CYM + CTO trichromy color system, a 17 color wheel, a 19 fixed gobo wheel and 4 prisms (8, 16, 6 linear, double linear) as well as a 6 colors and a frost.

www.star-way.com

KV2 AUD I O Cel eb r a ting t h e i r 2 0t h a n n i v e rsary th is yea r , KV2 Au d i o i s s t i l l t h e sa me sm a l l , vib ra n t c o m pa n y i t w as wh e n i t s ta r ted, m a i n t a i n i n g a pa s sion for b uil d in g h i g h - q u a l i t y pr o a udio p r od ucts t h a t d e l i v e r pe r f o r manc e b eyond expe c t a t i o n .

www.kv2audio.com

Top: George Kram pe ra , Fou n de r of KV2 Aud io, in th e workshop.

Ri ght: George Krampe ra a n d G eorge Jr, C EO of t he c ompa n y .

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IN S I DE V I EW - K V 2 A UD I O | W W W .M O ND O D R .C O M

For any company, the past two years have been challenging, but particularly for those operating within this industry. As KV2 Audio approaches its 20-year anniversary and reflects on what it has achieved, from humble beginnings in a small rented building, the company now has its own 100,000 sq ft facility with multiple paint shops, CNC, state-of-the-art surface mount electronics and one of the largest anechoic chambers in the world.

Still located in the small town of Milevsko, where it all began, the company employs local people and builds on those strong Czech traditions where George Krampera, Chief Designer, continues his absolute and unwavering resolve to reduce distortion and pursue the most natural reproduction of any source.

“When we set up the company in 2002, the line array movement was just beginning,” said Jonathan Reece, Head of Global Sales Strategy. “A couple of manufacturers had made some credible products, but what we experienced was a ‘me-too volution’ where we watched almost every other manufacturer indiscriminately rush to market with a similar offering, many without their own validation, research or USP. “Being one of the few genuine point source manufacturers not succumbing to this wave, it often felt like we were running uphill backwards and we began to realise the importance of an A/B demo if we were going to win business. To this day, almost every KV2 sale is the result of somebody who took the time to listen and compare our products, then heard the difference.”

“As a company, we champion use of ‘the best technology’ in all disciplines. This sounds obvious, but there are many simply using the ‘latest technology’. As George often reminds us ‘How old is the wheel?’ and they haven’t found anything better yet.

“We are known for the quality of our analogue electronics, but we also embrace digital and within our systems we boast the highest digital sampling rate of any loudspeaker manufacturer in the world at 20 MHz. That is no coincidence, and over distance you hear the difference.”

Over the course of KV2 Audio’s history, two particular moments stick out as important milestones. “As we began to gain popularity in the theatre market, two top Broadway

Sound Designers asked if they could fly over to Europe and audition a single VHD2.0 cabinet flown against the latest line array of a very famous European competitor,” continued Reece. “The competing manufacturer brought their own team from the factory and set up the system in a large field. Upon switching the other system on, our two Sound Designers walked back approximately 50m and were shocked that the high frequency had largely disappeared. From this point, we switched over to the KV2 system where they smiled again and continued to walk back to over 100m, equally shocked, but in a positive way that they could still hear everything so intelligibly.

“The second was when KV2 was asked to provide a system for the AES convention in Canada. At the end of the evening, the then Chairman stood up and exclaimed over

the microphone that this was the best sound quality they had experienced at an AES convention.

It is easy to get wrapped up on your own journey, or in your own beliefs, but when industry experts and outsiders, perhaps with their own preconceptions or alternative manufacturer allegiances tell you how well you are doing, then you know you are on the right path.”

The company’s latest projects include adding more digital control to their products and systems.

“It is well documented that digital signal processing was originally designed for telecommunications and understandably audio integrity was not a huge consideration,” said George Krampera. “That is unfortunate for many of the loudspeaker designers today, who have found themselves down a road where they are so heavily

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reliant on DSP processing to make their systems work. Some compromise over the resulting sound is inevitable. If we can provide the convenience of that digital control with the benefits of greater audio integrity, through our digitally controlled analogue, then that can only be a good thing.

“We offer a very real and natural reproduction of the source, recently demonstrated in the famous Volksoper in Vienna who chose KV2 for their new system. More famous clubs are also enjoying KV2 including Amnesia (Ibiza), Avant Gardner (New York), TAXX 2 (China) as well as the number of West End and Broadway shows that have experienced KV2 reaching almost 100.

“Our house of worship market continues to grow as consultants and designers recognise that our greater intelligibility lends itself to those reverberant environments and we’ll soon launch a set of 500 Series musical production tools for live and studio use that are immersed in the KV2 Audio philosophy.

So what does the long term future hold for the company? “In terms of the next 20 years for our company and the industry in general, the focus has got to move more towards sustainability and genuine eco solutions,

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which would benefit KV2,” said Reece. “Using fewer speakers and amplifiers to cover larger areas is already in KV2’s DNA and a much greener solution than many of our competitors. Add in the long life expectancy of a KV2 system, reduced transport requirements and setup times and it becomes a highly relevant if not revolutionary alternative for the future of sound reinforcement.

“We believe that with line array, we have created our own industry problem akin to plastic waste with thousands of these cabinets now decommissioned and piled up somewhere, unable to be broken down or recycled as smaller systems because they just don’t work that way. The industry giants have insisted, for many years, on reinvestment into the ‘latest systems’ to retain ‘preferred dealer status’ or rider friendliness. That is not sustainable as either an economic or environmental model and dealers as well as end users deserve better.

“It has been our strap line for many years, but our ethical approach of trying to offer longlasting systems with the very best sound and the very best value will hopefully go full circle in seeing KV2 earn its place as ‘The future of sound…. Made perfectly clear’.”

I N S I DE V I EW - KV 2 A UD I O | W W W .M O ND O D R.COM

IN DEP T H

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REPORT Houses of Worship

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R EP O R T - H OU SE S O F WO R SH I P | W W W .M O NDODR.COM

Vilaka Sa c red H ear t of J e su s Ch u rch COMPANY: Adam Hall LOCATION: Vilaka, Latvia

Every year during the festive season, the Roman Catholic church of Vilaka Sacred Heart of Jesus in Vilaka, Latvia, is illuminated in a rainbow of colour. From 24 December to 3 January, visitors experience a lighting installation that is as spectacular as the ambience in the church. Featuring a range of Cameo spotlights, the lighting was designed and implemented by Latvian dealer, rental firm, and event technology service provider, Diogens Audio.

For the lighting design, the Diogens Audio team divided the church into several sections and bathed them in a distinctive, multifarious sea of colours.

The main theme was the altar with the dome above it.

The latter provided a tasteful colour contrast to the pillars and thus to the rest of the nave. The area behind the altar was lit directly in a symbolic fashion. The direction of light from the uplights onto the pillars meant that a discreet and humble atmosphere could be maintained

in the congregation seating area. “The challenge was to emphasise the church architecture, with all its structural details and historical glass windows, and to incorporate it seamlessly into the overall concept,” said Ilgonis Punculs, Managing Director, Diogens Audio.

A Cameo STUDIO PAR 64 RGBW AU 12 W PAR spotlight was placed next to each pillar in the church interior and used as an uplight, so that the respective pillar and the immediate surrounding area on the ceiling radiated a rainbow of harmonious colours. Three Cameo PIXBAR 600 PRO IP65 units were positioned behind the altar at 1.5m from the wall. This lit up the glass windows, the walls and the ceiling behind the altar. The setup was rounded off with four Cameo FLAT PRO 18 G2 RGBWA LED spotlights in the corners of the space to stylishly showcase the beautifully curved church ceiling. www.adamhall.com

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Ch u rch of St. J o hn t h e D evi n e COMPANY: Danley LOCATION: Texas, USA

Founded in 1940, the Church of St. John the Divine in Houston, Texas, today hosts 900 attendees on any given Sunday across its traditional, contemporary, and family services. While the church’s sanctuary is ideal for traditional hymns, providing amazingly long reverb times, there were notable challenges with an ageing sound system. With such challenges, a new system was needed. Brightengale – formerly Houston Sound Service – was selected for the project through a recommendation from another area church.

“The prior installation leaned heavily on digital signal processing and beam steering to fill the room with intelligible sound,” said Adam Keho, System Designer at Brightengale. “Acoustically, the room is fantastic for pipe organ or choral music, but it’s very difficult for speech intelligibility.

When the system was installed, it was only designed to deliver speech reinforcement – not all the music necessary for a modern church.”

According to Dawayne Gaspard, Director of Audio-Visual Services at the Church of St. John the Divine, the new installation had numerous requirements. “We wanted to improve intelligibility in a live acoustic environment without losing the look of the space and adding some additional sonic capability,” he explained. “Over time, we’ve brought in other equipment for certain events, which we no longer wanted to do.

The capability of music playback and quality sound performance were paramount as well.”

The existing sound system featured ageing powered column array loudspeakers that had been in place for 15 years and repaired multiple times. These existing speakers stood at 12 ft tall and were recessed into the wall. Any replacement would need to both fit into the existing space and meet the sonic requirements of the installation. Working alongside Brightengale, church staff agreed that a steerable column array was not the ideal solution, however the Danley SBH20LF loudspeaker was ideal due to its size and capabilities.

“With the prior column array speakers being so tall, Danley could provide a more clear and intelligible sound at roughly a third of the height,” Keho said. “Given the size of the existing recesses, we discussed a variety of options, from filling the gap with stonework to designing something new for the space, but none were feasible. So, we were creative and simply requested that Danley provide us with four ‘dummy’ or empty SBH20LF loudspeaker cabinets to create the look of one tall 12ft speaker, but in fact only one speaker functions as the additional speakers weren’t necessary in the space.”

In addition to the SBH20LF speakers, Brightengale installed additional Danley SBH20 column loudspeakers as delay and balcony speakers, FLX12 loudspeakers as stage monitors and utilised Danley DNA amplifiers to power the system. The additional delay and balcony speakers are run at lower levels to provide coverage throughout the room. While Keho designed the system, Danley Western Regional Sales Manager, Kim Comeaux demonstrated the system onsite.

“It was nice to have a Danley representative personally attend and do a demonstration,” Gaspard said. “All our clergy and senior staff were able to attend and hear the sample.”

The congregation is very pleased with the installation. Gaspard said: “The feedback has been great thus far. We’ve had some say ‘this is the first time I can really hear what is being said throughout the church.” www.danleysoundlabs.com

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E l Lu g a r d e S u P re s e n ci a R e z i denc a COMPANY: L-Acoustics LOCATION: Bogotá, Colombia

Bogotá’s Suba district is celebrated for its inclusivity. It’s also where Iglesia El Lugar de Su Presencia wanted to make sure its message would be clearly heard by everyone filling the nearly 4,000 seats of its newest church location. Bogotá-based AVCOM, an L-Acoustics Certified Provider for install (CPi), integrated a full L-Acoustics loudspeaker systems at the new church. COVID-19 delayed work on the entire facility; the L-Acoustics system components were delivered onsite in June of 2020, but assembly couldn’t commence until a year later.

In the meantime, AVCOM worked closely with L-Acoustics House of Worship Applications Project Manager Josh Maichele and Alex Soto, L-Acoustics Applications Engineer for Latin America and The Caribbean, using the manufacturer’s Soundvision software to design, implement, and calibrate a system that would fulfil the church’s high expectations.

“We decided on a combination of K, A, and X Series speakers that would give us a completely customised solution to cover the entire seating area evenly and uniformly,” said AVCOM Live Application Specialist, Marco Pineda. “The church’s audio tech director wanted no more than 3dB SPL variation to any seat, front to back and side to side, as well as even distribution of the low-frequency energy, and L-Acoustics had an answer to every question in the system design.”

The church’s new loudspeaker system features four arrays of six K2 plus three KARA down-fill enclosures, with three KS28 subs flown behind each hang and eight more KS28 arrayed on the ground. Ten short-throw coaxial X8 serve as front-fills along the lip of the stage. Six A10 and two X8 are flown as under-balcony fills, with three A15i delay out-fills complementing the far back corners.

“The main hangs of K2 offer tremendous presence and power without being overpowering, and the A Series and X8 are the perfect fill speakers for this room. There is no more than a 2dB variation in SPL throughout the seats, so no matter where you sit, you hear everything, and you hear it clearly.”

“Every person from the church that has heard the PA has been amazed by the coverage, clarity, and warmth from the K2. They’re also very happy about the precision and punch, right down to the lowest frequencies from the KS28 subs.” Church Audio Tech Director, Juan Pablo concluded. www.l-acoustics.com

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R EP O R T - H OU SE S O F WO R SH I P | W W W .M O NDODR.COM

Sanb o n C at ho li c Ch u rch COMPANY: Amate Audio LOCATION: Gyeonggi, South Korea

Daelim Musical, is Amate Audio’s long-time exclusive distribution partner in South Korea, which has has been installing the manufacturer’s line array systems in churches across the country for many years. “Since 1996, we have installed Amate Audio systems in more than 1,000 large and medium-sized churches, and many more if you include the smaller churches,” explained Sun Uk Ji, Daelim Musical General Manager.

In recent years one product in particular has found favour with the company in achieving exceptional levels of sound reinforcement in larger worship spaces. In the majority of these installations, the company has deployed Amate Audio’s Xcellence series X12CLA compact constant curvature array. An advanced active/self-powered system, it provides extraordinary sonic performance, in terms of signal quality, output levels and coverage; as well as major operational efficiencies in configuring and installing the systems.

A custom isophasic wave-guide and 2.5-inch titanium diaphragm neodymium driver provides exceptional throw with consistent frequency and directivity. It is matched with a specially developed lightweight 12-inch LF driver, extending the full frequency response down to 58Hz, with continuous output levels up to 129dB. Third-generation Class D bi-amplification delivers 1.5 kW of constant musical signal power. This is integrated with advanced DSP loudspeaker management, greatly enhancing the efficiency with which systems can be deployed and the levels of performance that can be achieved.

As a constant curvature array, it provides 15˚, 30˚,45˚ and 60˚ vertical directivity respectively in arrays comprising one two, three and four cabinets. Daelim Musical’s installations fly the X12CLA together with Xcellence series X18T active subs. “Four cabinets of X12CLA will provide 110˚ by 60˚ with a fully uniform coverage for a hall throughout two floors,” Ji explained. “The DSP control parameters can be set to expectation and then very rapidly modified via Wi-Fi once the cabinets are flown and in position.”

Ji also cited long delay lines available within the DSP, that enable cabinets to act as fills for dead zones, rapidly time-aligned with the main system. “The sound is homogeneous and stable and will need little or no additional equalisation to achieve exceptional levels of quality.”

While many of the company’s installations are in modern style evangelical halls, in February it completed an installation in the more traditionally designed interiors of Sanbon Catholic Church in Gyeonggi. www.amateaudio.com

C athedra l o f S a i nt Ma r y of t h e S e e COMPANY: GUIL LOCATION: Seville, Spain

The Catheral of Sevilla (Spain) has been equipped with GUIL’s platforms to create a large area from the existing altar space for this Easter celebrations.

The beautiful Cathedral of Saint Mary of the See (known as Seville Cathedral) was registered in 1987 by UNESCO as a World Heritage Site, being the fourth-largest church in the world and the largest Gothic church.

With an influx of events and celebrations taking place of the the busy Easter period, the Cathedral needed to increase the floor area available for the altar-space. For that purpose, GUIL TM440 stage platforms (with a load load capacity of 1,200 kg per sq m) have been the choosen as the platforms to increase the altar.

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R EP O R T - H OU SE S O F WO R SH I P | W W W .M O NDODR.COM

They were supplied by GUIL’s distributor, Escenarios ESSON S.C. As well as increasing the floor area available for the altar-space, GUIL’s stage platforms have been used to create enough space for a choir and for other events during these days in Seville. GUIL platforms have been adapted to work around and incorporate pillars and steps, and the height of the platform legs were custom made to achieve a perfectly level surface for the occasion.

The company’s platforms were also used for providing access to the stairs, and a special custom-designed ramp for easy access – to the platform or to the place of worship – for wheelchair users and others who cannot use the stairs. www.guil.es

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C HO O S E L I F E C hurc h COMPANY: Stage Audio Works LOCATION: Pretoria, South Africa

CHOOSE LIFE Church tasked Stage Audio Works (SAW) with implementing a large Pixel Plus LED wall to act as the backdrop for its stage, as well as upgrade the church’s hardware and streaming infrastructure.

The relationship dates back to 2011 when the church called upon SAW to supply and integrate a d&b audiotechnik T-Series system in its main auditorium, constructed around three core line arrays, each consisting of a seven stack of d&b Ti10Ls. These are supported by four Qi Subwoofers, recessed into the front of the stage.

Grant Boswell, Technical Support Officer at CHOOSE LIFE Church, explained how the system has stood the test of time: “Recently, we had Nathan from SAW visit and listen to the system. He said that it still sounds as good as it did when it was originally installed 12 years ago, if not better thanks to acoustic treatment that has been carried out since. He also said that they wouldn’t easily be able to replace it with a comparable system today that would make a noticeable difference without spending a lot more money – a true sign of quality engineering.”

Having previously delivered such a durable system, CHOOSE LIFE Church returned to SAW when it was next in need. “Our old stage backdrop was boring and dark, so we wanted to brighten and liven it up to make our auditorium look more contemporary and create an exciting stage feature,” declared Boswell.

For the primary solution, SAW implemented a 108-panel Xcell-i LED wall from its Pixel Plus range. “This visual element will greatly improve the quality of our livestreams, especially with the additional upgrade to our video framework throughout our facilities,” said Boswell.

SAW upgraded to HD-SDI cabling for all projectors and equipment in the auditorium, additional rooms, and foyer. Likewise, the team upgraded their original streaming PCs to a more sophisticated network of custom-built Dream Machine Light PCs. On a software level, the integrator galvanised the adoption of ProPresenter 7 and supported the transition towards the Resi streaming platform, affording the church increased flexibility and scalability.

“The experience has only served to strengthen what was already a strong relationship with SAW, that predates even the 10 years that I’ve been working at CHOOSE LIFE Church,” affirmed Boswell. “They have proved time and again their ability to provide industry-leading solutions. This, combined with their willingness to help, provides exceptional peace of mind. We are extremely comfortable with SAW and appreciative of their support, their professionalism and expert advice.” www.stageaudioworks.com

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All Nat i o ns C hurc h O n n u r i COMPANY: CODA AUDIO LOCATION: CALIFORNIA, USA

One of the biggest Korean churches in Southern California, All Nations Church Onnuri (ANC) has a thriving membership of around 3,500 and attracts large congregations to its principal services. Recently, ANC upgraded its sound system to better meet the needs of its congregation.

The Church wished to significantly improve the clarity and coverage for both music and speech reinforcement and invited numerous vendors to demonstrate different systems. One of those invited was Troy Choi of Solid Sound Solution, who demonstrated a CODA Audio N-RAY system.

“The N-RAY is a beautiful, high-quality, and compact box that looks gorgeous when it hangs in the air, and produces crystal-clear, high frequency even at low SPL. For all its compact appearance, it’s a powerful beast.”

The early stages of the job saw Choi and CODA Audio USA’s Technical Director, Michael Creason take close account of this large space where reflected sound could prove challenging. Using CODA’s System Optimiser software, they made accurate predictions that would ensure that their system design matched the precise requirements of the site.

“The system needed to be aesthetically acceptable whilst retaining concert-level headroom for high-energy praise,” Creason explained. “It also needed to serve both the existing mix position at the front of the

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balcony and a new one at the rear of the main floor, whilst giving the ability to separate the balcony zone when not in use. The main N-RAY hangs are supplemented with loudspeakers from our APS (arrayable point source) and HOPS (high output point source) ranges to take care of the balcony, outfill and frontfill areas. The uniform sonic signature across our range of loudspeakers means that we are able to ensure total consistency of quality and coverage.”

The main hangs comprise eight N-RAY and a single SCN sensorcontrolled low-frequency extension per side, supplemented by four SCV sensor-controlled subwoofers flown in a cardioid array. A central array of three APS act as a delayed fill for the balcony, while a single HOPS8 per side acts as outfill. Four HOPS5 act as frontfills across the stage lip, with three CUE Four and four HOPS8 as stage monitoring.

“Everyone is blown away by N-RAY,” Choi reflected. “After the first Sunday service with the new system in place – I was there to mix and train – the Senior Pastor, Tae Kim, came to me with a big smile and said that he felt immediately comfortable delivering his sermon, and that members of the congregation had commented to him about the improvement in clarity.” www.codaaudio.com

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C ityg ate C hurc h COMPANY: Elation Professional LOCATION: Ohio, USA

In the tri-state area where Indiana, Kentucky and Ohio meet, just north of Cincinnati, lies Citygate Church’s new campus, Forest Park.

The church, which originated in Cincinnati and was once mobile, has grown from a small congregation into a thriving, multi-site ministry that enhances services for live and broadcast audiences using customisable lighting from Elation Professional specified and installed by integration company S&L Integrated Systems.

Citygate is a multi-ethnic, outreach-driven church with a vision to positively impact the community and share the word in a creative and dynamic way. “Pastors Eric and Kim Petree have always had a vision to become a multiple campus church – one church, multiple locations,” said Dustan White, Production Director at Citygate Church.

Although expansion into a new community was a long-time vision of the church, an expensive new build wasn’t necessarily on the agenda.

The Forest Park property – an existing church space that had become available under auction in early 2021 – was an opportunity that the church couldn’t pass up.

Citygate engaged S&L Integrated Systems to design and install a highquality lighting that was LED based for cost savings, easier maintenance,

and durability. There were predominately two areas to light in the 1,500-capacity sanctuary – a raised band riser that supports a full band and a larger lower deck. Nathan Tomberlin, Account Executive at S&L Integrated Systems, put together a cohesive three-point focus package that serves as a foundation design with key lighting and rear wash, a ‘phase one’ package that he says the church can add to over time.

Tomberlin specified two key luminaires from Elation Professional to realise the design – the compact Fuze SFX and the WW Profile HP. “The catwalk angles stage right and stage left are at about 45°, so it was perfect for key and fill from the WW Profiles,” he explained. “We also have them on a 50 ft stick of truss over FOH for the downstage and altar, and additional fixtures on another truss at proscenium over the altar area for front wash for the band riser. The SFX are on the ground and upstage left, centre, and right.” Elation Platinum Wash ZFX moving head wash fixtures were transferred from Citygate’s Lebanon campus to supplement the SFX and WW Profiles.

S&L Integrated designed, supplied, and installed the lighting system along with motors, rigging, structure, audio and comm systems.

Tomberlin also designed a patching system for DMX. “Forest Park has given us an opportunity to set a standard for production for our campuses while establishing the look and feel that we want. It’s a system we can translate from one campus to another as we grow,” White concluded. www.elationlighting.com

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C hurc h U nl i mited COMPANY: DWR DISTRIBUTION LOCATION: MBOMBELA, SOUTH AFRICA

Mbombela’s Church Unlimited recently expanded its building to a capacity of 1,100, upgrading its AV offering to include an L-Acoustics A15i system, a DiGiCo S21, KLANG:kontrollers, KLANG:vocal, an Absen DW2 2.9mm LED screen and lighting to complement their existing stock, all supplied and installed by DWR Distribution.

Kyle Nel of AVS Hire was appointed consultant for the project, working closely with the church’s Project Manager, Louis Nel. “The greatest challenge was planning the different phases of the new building and installation as finances allowed,” said Nel. “We were grateful that we could complete the new audio system together with the media upgrade.

We love the new sound and have only had positive comments. It has been a great improvement to what we had in the past.”

The new audio system comprises an L-Acoustics A15i system consisting of four hangs of two A15i Focus and an A15i Wide each. Six KS21i 21inch subwoofers are evenly distributed in front of the stage. This is all powered by one LA12X and two LA4X amplified controllers.

The console is a DiGiCo S21 worksurface with a D2-Rack. “We installed a MOD-DMI-Dante2 Dante Card into the console for integration with the KLANG Personal Monitoring system, and other possible Dante devices,” said Richard Smith of DWR, who was Project Manager and Audio System Designer for the installation. “The Personal Monitoring System consists of a KLANG:vokaal processor, and six KLANG:kontrollers for the main band members. The church already owned six wireless in-ear systems, and these were fed by the console, and controlled wirelessly via the KLANG App.” Kyle Nel added: “The response from our musicians is that KLANG is revolutionary. The ambient mics are such a great complement, and with the immersive audio positioning that is possible with the system, the band members are getting more involved in the purpose than the process. They can focus on their art – not on their monitor sound.”

The church also wanted a neat and easy way for the church band to

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plug their instruments into the system. “We used a box designed by DWR Distribution’s manufacturing department to create a system of 13 Stage Dip Boxes to plug in instruments or KLANG:kontrollers anywhere onstage, without having long cabling running over the stage creating a mess,” said Smith.

The new Absen DW2 2.9mm indoor LED screen (5m by 3m), driven by a NovaStar VX4S Screen Processor, is used as the main media screen at the centre of the stage, with the church’s existing screens, which make use of a projector, positioned on either side. The install includes a new cabling infrastructure and DWR’s Bugs 32A 3-Phase Distro. “Keith Pugin and the team did an amazing job manufacturing 10 custom brackets to hang the screen off the main H-beam,” explained Smith.

“The vivid and clear screen greatly enhances the media presentation during our services,’ added Louis Nel. “The feedback from our church members has been positive and it produced a ‘wow’ factor the first time they saw it. The screen is easy to operate and presently runs at around 20% brightness level.”

“Working with Kyle Nel and the team from DWR has been a pleasant experience,” said Louis Nel. “I was impressed with the professionalism of Richard and his team and would recommend DWR any time.”

Smith concluded: “This was a team effort and it was a great pleasure working with the church’s Louis Nel and technical support, Zander de Beer. Thank you very much to Kyle Nel and JP Ridgard from AVS Hire for trusting us with the project. I would also like to thank Robert Izzett for his contribution as rigging consultant, for the screen set up and installation work completed, to Jaco Beukes for the audio system tuning and audio install, and then to Keith Pugin, Rob Young and the DWR Manufacturing department. We called on the services of the Install Crew to help with the installation, and were grateful to be so ably assisted by Mpho Sediane and Patrick Buthelezi.” www.dwrdistribution.co.za

IN FOC U S

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RULANTICA WATER WORLD Rust, Germany

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THE ALBANY London, UK

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MAIORA 30 WALKAROUND YACHT Italy

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LIBERTY FABAY HOTEL Fethiye, Turkey

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THE MAINE London, UK

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

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IN B RI E F R ul a ntica W a t e r W o r l d c a l l s on CH A UV ET P r o f e s s i o n a l t o i l l uminate sta r a ttr a c t i o n .

An assortment of CHAUVET Professional fixtures are used at the award-winning Rulantica Water World on the edge of Germany’s Black Forest, to bring the theme park’s imposing outdoor centrepiece, Svalgurok, to life.

The structure is accentuated by a lighting design by Germanybased AV technology specialist, multi-media systeme. A total of 12 Maverick Storm 1 Wash, four Maverick Storm 1 Spot, and 19 Ovation E-260WW IP fixtures light Svalgurok from the outside, while 16 COLORdash Par-H12 fixtures are inside the structure.

“The Mavericks were instrumental in bringing the serpent features of the play structure to life,” said Elias Jenny, Project Manager for multi-media systeme. “We placed 12 fixtures in and around the structure to create an overlapping set of saturated coloured wash effects. This had the effect of creating a brooding and mystical overall appearance.”

The compact nature of the COLORdash Par-H12 fixtures afforded the design team the ability to seamlessly integrate them inside the structure, bringing Jenny’s vision of creating a menacing, beacon-like effect to life.

Combined with Svalgurok’s automation features, the interplay of the various lighting fixtures positioned around the slide gives it a distinct personality, which seems to make it come alive. www.chauvetprofessional.com

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TH E ALBANY EM EA

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LONDON, UK

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

H istoric multidi sciplin ar y ar ts c e ntre g e ts a n up gr ad e with EM Ac oustic s Re f e re nc e Ser ies system.

After years of regularly manoeuvring a heavy, ageing speaker system to facilitate the wide variety of events held at The Albany, an Arts Centre which sits in the heart of Lewisham, southeast London, Ben Stephen, Head of Production, is delighted with the installation of a new EM Acoustics Reference Series setup.

“The theatre is designed as an Elizabethan courtyard theatre in the round,” explained Stephen. “So, it feels a bit like the Globe – but different, and also feels a bit like the Roundhouse – but different. It is smaller than those two, but we get asked to do everything you can imagine, and with extremely high production values.

“In 2019, in the middle of a season, there would be occasions when we were swapping the configuration from end-on staging for standing gigs, to seating banks for theatre shows, and even in-the-round productions two or three times a week. That challenge pushed us, we solved a lot of the physical challenges during a refurbishment in 2016 but one thing we had not been able to solve was the PA. Way back in 2005, we inherited a system from the National Theatre, and it was great at the time, but it is big and heavy and awkward to rearrange.

We knew we needed to plan for something to change because as time passed, spare parts were getting harder and harder to get hold of.”

After looking at various options, Stephen described a “Eureka moment” when EM Acoustics’ Ed Kinsella visited to demonstrate the company’s R10 and EMS Series speakers. “Being able to talk to the person who designed the loudspeakers in the context of what we have to achieve every day was amazing,” he recalled.

In discussion with Kinsella, it was decided that a point source solution would be most appropriate for the space and, after testing various products, the best results came from the Reference Series R10 speakers, as they offered superb flexibility as well as sound.

“Acoustically, the space is extremely demanding,” Stephen noted.

“Sonically it’s like an 18-sided mirror ball – or theatre in-the-round with angles if you prefer. Our previous system was difficult to reconfigure, but the new one is wonderfully agile.

The Head of Production explained how the system can be reconfigured at the drop of a hat. “We treat it a bit like a touring system,” he commented. “The interchangeable waveguides of the R10s are a real bonus; they are quick to change over, and effectively give us four systems in one. When you’re switching from a full-on music gig in the round or club night on a Friday, to end-on children’s theatre on Saturday morning, you really appreciate a versatile system.”

‘A sophisticated yet old-school solution’ The original Albany Institute opened in 1899 with the aim of improving the lives of local people. In the 1970s it became the Albany Empire and gained a reputation for pioneering work in the radical community arts. The building was destroyed by fire in 1978 and rebuilt, and today it plays host to a hugely diverse range of disciplines from music and theatre of all types to children’s shows, workshops and lectures.

“It’s really good fun,” smiled Stephen, who has held his role since 2013 after previously working for Fireworks Company: The World Famous, Stage Electrics and Enlightened. “There is a challenge every single day with every single show. Part of the challenge was a need for flexibility and the in-person demonstrations by Ed – who said we were his first

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Right: An EM A c ou s ti c s R 1 0 louds p eaker h a ng i ng from th e balcony and two S-1 5 comp ac t reflex s ub woofers .

coming out of lockdown – was great. There was lots of discussion about point and shoot and how to hang the boxes, and he showed us the slot and lock system on the rigging – which is great – but it’s the simplicity that we can just move the box and it behave, and it is lightweight, these are huge for us.

“We were looking for a solution that could cope with all these different parameters and a wide disparity in the experience of the sound operator. Our Deputy Production Manager, Ed Burton is a very experienced sound engineer who previously freelanced for us for years, and one thing he needs is responsive control of everything – and for everything to be working for big-name FOH engineers,” Stephen highlighted, giving the example of production rehearsals for Kae Tempest’s International Tour, followed immediately by a children’s theatre show. “Everything has to do exactly what their sound engineer needs it to do – and we needed to facilitate that – but I also need to

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arrive here at 8am on a Sunday morning and do a kids’ theatre show with 30 minutes time for sound, and speakers may or may not be where I need them to be.

“So, we spoke about that with Ed at EM Acoustics,” he continued. “He came along and did his demo, and we would put the box in pretty much any position, and it just worked. We didn’t need to tweak things – we just plugged it in. Now I just make sure the speakers are pointing at me, I push the faders up, the sound comes out and it sounds beautiful. It’s a sophisticated yet old-school solution, and it has made a big difference.”

‘The perception of loudness’ The full system comprises four R10s, two S-15 compact reflex subwoofers, two S-215 high-power compact subwoofers, four EMS-61 fills and eight M-C12 stage monitors. Power is supplied courtesy of a

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TECHNICAL INFORMATION SOUND EM Acoustics 4x EM R10, 2 x EM S-15, 2 x EM S-215, 4 x EM EMS-61, 8 x M-C12, 1 x DQ20, 1 x DQ10, 3 x DQ6; Yamaha CL series consoles and stage boxes LIGHTING 4 x Robe ROBIN DLF, 4 x Robe ROBIN DLS, 12 x CHAUVET Professional Rouge 1, 12 x ARRI L7-C. MA Lighting grandMA2 consoles www.emacoustics.co.uk www.thealbany.org.uk

“ T h e sound is mu ch mor e c onsiste nt be t ween the balc ony a nd the stalls an d , be c a use we h ave so man y more options, we can ad apt th e syste m to whatever we ar e doing .”

DQ20, a DQ10 and three DQ6 advanced system amplifiers. “We used to run six main top boxes, but we can do the same job with just four R10s,” the Head of Production noted. “Fewer sources mean fewer reflections, so we have gained enormously in clarity and punch, not to mention space and weight.”

Due to the shape of room, sub placement is a challenge. “There are so many reflections, and under the balcony is a big sub trap,” Stephen described. “So, for theatre productions now, we can just run a single 15-inch, whereas we had two twin 18-inches in the old system. As a result, we have gained an extra 1.5 sq m of stage space, because previously our subs often served only as very expensive speaker stands for our top boxes; in fact, they were so obtrusive, we could only put them in one place, which used to result in a lot of sub traps and, of course, took up space on the stage.

Now, the subs can be placed anywhere according to the application – for example, they can be positioned under the seating rake for a theatrical system that might require effects like a rumble of thunder or an explosion. “The sound quality with the new system has improved beyond all measure,” Stephen beamed. “For end-on work, the R10s can stay in place and are another 1.5m off the floor, which sounds much better than previously. The sound is much more consistent between the balcony and the stalls and, because we have so many more options, we can adapt the system to whatever we are doing.”

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It’s not just the audience who will benefit from the upgrade in system – the sound for performers has improved dramatically thanks to the purchase of the stage monitors. “Now the guys on stage can have whatever they ask for – and we can still put out what we need into the house,” smiled Stephen.

“This system is so clean and crisp in comparison to the outgoing one, it read as 10db louder on the meter when we did a side-by-side test.

What we found was that the old system was hitting the limiters and was effectively being strained. And one of our engineers was so used to hearing that in the venue over time, that this new system didn’t seem loud – it was the perception of loudness!”

‘Huge smiles on our faces’ The upgrade of the PA system had been overdue after the venue did a £565,000 refurbishment in 2016, which included physically changing the theatre to increase the seating capacity and improving the infrastructure and lighting. “We couldn’t afford to do the PA at that time,” recalled Stephen. “The biggest change we made was to the balcony fronts and how they worked, it was architecturally quite aggressive. The capacity for end-on theatre was low because of the custom geometry. We could only get about 150 in for that setting, which has now improved to 206 seats. The main technical sacrifice was that we didn’t do anything with the PA at the time, but that extra

50 seats make a huge difference to theatre productions.”

The original upgrade included four each of Robe ROBIN DLF and DLS fixtures, 12 CHAUVET Professional Rouge R1 Washes and 12 ARRI L7-Cs. “Most of the money we spent back then was on the physical space and how we got the extra out of those new seats,” Stephen revealed. “These lighting solutions we made were mostly about speed of turnaround and having the ability to walk in and light a gig and it be a completely different format to how it was the previous day. That was the priority.”

That same line of thinking clearly came into play when selecting the new audio solution, and Stephen couldn’t be happier with how user friendly everything is. “Our technical and production team absolutely love the new equipment – especially the R10s. We took them out of the box, hung them up, turned them on and they sounded phenomenal,” he concluded. “We can put on gigs with huge smiles on our faces and the team at EM have been brilliant. We simply couldn’t have asked for more.”

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“ O ur te c h nic al an d pr od u ction te am a bsolutely love the n ew e q uipme nt – especially the R10s . W e took them ou t of th e box, h ung them u p, tu r n ed th e m on a nd t hey sou n d ed ph e nome na l.”

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Right: K-arra y Vype r- K V2 5 blend ing int o t he dé c or.

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The Maiora 30 Walkaround by NEXT Yacht Group boasts an extraordinary design, with K-array audio solutions at its heart.

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with ultra-flat K-array Vyper-KV25 speakers nestled into the motif of the walls, wood and mirrors, which were installed to convey the idea of spaciousness – together with Samsung’s The Wall LED TV technology.

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external areas of the flybridge to the bow without the need for stairs.

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Electro-Voice loudspeakers and Dynacord amplifiers are driving the entertainment experience at Liberty Fabay Hotel. Located on Turkey’s southwestern Turquoise Coast, the recently opened five-star hotel had its audio, visual and lighting needs met by local ElectroVoice and Dynacord partner, Atempo.

The installation covered a variety of areas at the hotel complex, from the nightclub inside to the pier stretching into the Mediterranean Sea. Keeping its guests entertained was central to the vision of the hotel, and this is where Atempo focused the Electro-Voice and Dynacord equipment.

The outdoor performance area is a hub for the live entertainment that takes place at the hotel. The stage caters to all types of productions and required a powerful and versatile sound system that could cover the audience area with ease. To meet this need, Atempo opted for the X1 line-array system and specified two hangs of four flown cabinets per side, supplemented with low-end reinforcement from X12-128 dual-18-inch subwoofers under the stage. The compact 12-inch two-way line array has been designed for a wide variety of applications where wide bandwidth, vertical and horizontal directivity control, and high efficiency are required. This made X1 the ideal solution for the stage.

“The horizontal length of the target area for sound propagation is not too long, and we’ve

Above: The ou tdoor perfor mance a rea i s a h u b for t he hot el’s l i v e enterta i nm ent.

Below: X 1 lin e-a rra y s y s tem . been able to cover it sufficiently with four X1 modules per side,” explained Volkan Konuralp, Board President at Atempo.

“After the installation, we carried out a series of demonstrations to the hotel management and several rental companies in the area, for which we received great feedback. More importantly, we’ve also had positive comments from hotel guests.”

TGX series power amplifiers were selected to drive the solution due to the added capabilities they would present, while SONICUE sound system software provides the control.

“TGX with SONICUE was the right choice to ensure the X1 released its real ‘power’,” said Konuralp. “TGX amps are absolute beasts that give another level of headroom to the line arrays and subs.”

Away from the stage, ZX5 cabinets powered

by L-Series amplifiers have been selected to provide the soundscape around the outdoor swimming pool. Eight of the cabinets have been mounted on specially constructed covered pylons and hung in pairs around the pool. These are driven by two L2800FD amplifiers to ensure smooth, even sound for the animated show that takes place at the

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pool. The Atempo team faced entirely different challenges when it came to the nightclub inside the hotel. Here they opted for ELX200 loudspeakers to provide the precise and consistent coverage required within the venue.

“The floors above the nightclub are accommodation, so we didn’t want the sound system to disturb guests,” explained Konuralp. “We prioritised homogenous sound distribution and clarity to deliver balanced, high sound reinforcement for this area.”

The 12 ELX200 cabinets (four of each of the passive 15-inch, 10-inch and 18-inch subwoofer) are driven by three L-Series amplifiers. “L-Series gave us the best price-toperformance choice and delivers the highest performance within its class,” stated Konuralp.

Reflecting on what has been a very positive result at the 553-room hotel, Konuralp is clearly pleased with the work of his team and the performance of the sound systems.

“We have always had a very good experience using Electro-Voice and Dynacord equipment, and the Liberty Fabay Hotel provided yet another example of this,” he reflected. “We’ve had a great outcome here and we haven’t faced any difficulties.”

TH E MAINE EM EA

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LONDON, UK

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K -a r r a y b r i n g s o pu l e n c e t o lif e in ever y r o o m a t t h i s u pm a r ke t L o n d o n r e s t a u r a nt.

Below: K-arra y l i ve pe rf orma n c e a n d B G M sp ea k er syst e ms i n t he B ra s s er i e.

The former London residence of the Duke of Montrose could not be a more auspicious setting in which to launch a new high-end culinary venture, and that’s exactly what Montreal-born Dubai-based entrepreneur Joey Ghazal has managed to accomplish.

Occupying three floors of the magnificent Grade II listed Georgian townhouse in Mayfair’s Hanover Square, and blending old world British elegance with New England extravagance, The Maine is a classic brasserie with a typically modern twist.

And to create just the right ambience for The Maine’s well-heeled and discerning clientele, why not equip the sumptuous chandelier-strewn interior with sound systems par excellence from Italy’s finest style-led speaker designer?

Such was the challenge that fell to technology specialist KNEKTD, the Richmond-based systems integrator well known for its super-prime commercial and residential installations.

Introduced to Ghazal’s new venture by project management company Gardiner & Theobald, and having been impressed by the K-array audio system at a private members club in South London, KNEKTD director Shaun Wilson got in touch with the Italian manufacturer’s UK distributor 2B Heard, and began to talk about how to realise the restaurateur’s latest dream.

“One of the reasons we were taken on for this project is that we offer every facet of the technology required for a prime installation such as The Maine, whereas a lot of companies can only offer AV or offer IT in isolation – we offer the whole package,” explained Wilson.

“Our experience in integrating cutting-edge technology into high-end commercial spaces led to an introduction, and we were delighted to get involved.” Ghazal has developed, owned and managed highly successful restaurant and bar concepts in Beirut and Dubai, and has long had his

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T op: T he Br a s s eri e feat ures P yth on-K P 52 line ar rays on c us tom column brack ets .

Above lef t: T h e Sec ret VIP Loung e.

Above centr e: T ornado-KT 2 s a telli te Above right : Ba th room lobby.

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eye on a premium London spot, having originally started his culinary career at the Soho House. The Maine at Hanover Square is the fulfilment of carefully laid plan.

“Joey is an incredibly visionary guy,” expanded Wilson. “He has an unbelievable imagination and has the ability to transform his vision into reality. He came to us with a sequence from a movie scene from Blade Runner where Harrison Ford goes into the casino. There’s just a single spotlight focused on the singer standing at the really old-school mic on the stage, as if there’s nobody else there. ‘This is what I want…’ he told us. His brief to myself and the lighting designer was that he wanted to be able to showcase the singer as if they’re the only person in the room.

So that’s what we set out to do.

“With aesthetics and performance firmly at the top of the list we looked for a speaker brand that would help us create the atmospheric mood that Joey had envisaged. I knew from experience that K-array speakers would really suit the space in a way that few other brands could, so we approached 2B Heard to see if they wanted to get involved.”

Together with 2B Heard Director Dave Wooster, he set about designing the sound systems and infrastructure for the main spaces at The Maine.

Wooster recalled: “We modelled the rooms with a KF3D K-framework simulation, and once we arrived at a satisfactory co-existence of acoustics and

V EN U E - EME A | W W W .M O N D O D R .C O M

aesthetics after a few iterations, we came up with a specification based on Kayman, Python, and Vyper line arrays, supplemented with Rumble and Thunder subs. Once we got on site, the predictions proved accurate and I’m very happy with the result. It’s a great system for what they are trying to achieve.”

As live music is such a prominent and integral feature of the restaurant experience, a high degree of functionality and interactivity has been made available within the audio systems and this allows sound techs to take full control of the system.

The Brasserie features a full-on live performance rig with a Yamaha audio console and stagebox augmenting the acoustic drum kit and full complement of Sennheiser microphones and IEMs. All the live and BGM sources play through KaymanKY102 and Python-KP52 line arrays on custom lowprofile wall mounts designed to maintain accurate alignment while being visually discreet. Vyper-KV25 mini line arrays are deployed as in-fills in subtle corner locations. All the speakers are reinforced on the low end by Thunder-KMT218P subwoofers hidden in custom enclosures and an array of Rumble-KU210 subwoofers hidden in the ceiling.

In the ground floor Tavern, twin decks and a Pioneer desk are at the front end of the mostly hidden K-array sound system, with the Vyper-KV25 mini line arrays located behind custom fabricated wall grilles and Rumble KU-26 subwoofers providing low end

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grunt from bespoke floor-mounted cabinets.

Downstairs in the secret VIP lounge on the lowest level, accessed only through a mirrored door so you wouldn’t even know it’s there, is an opulent hide-away equipped with a high-SPL DJ system consisting of Python-KP52 line arrays on custom low-profile mounts and under-seating Rumble-KU212 subwoofers that just disappear into the subtly lit, highly plush environment. For those with the right credentials and a strong desire for a party scene, it’s a thumping nightclub down there.

Even the toilet lobby has been given the full sonic treatment, with custom finish Tornado-KT2 point source satellites covering the space supplemented by RumbleKU44 subwoofers concealed in the central island.

The main speaker systems are mostly powered by Kommander-KA84 Dante-equipped DSP amplifiers located in the lower ground floor rack room, together with an Innosonix MA32/D multi-channel DSP-amplifier with Dante providing power for some of the BGM systems.

Wilson acknowledged the many challenges during the project, including knock-on effects felt due to COVID. “We were supposed to begin in February last year but delays set us back to April,” he said.

“The primary challenge was more to do with the aesthetics than anything else, making sure that the speakers fitted in well and suited the environment, making them disappear into the room and feel a part of the room so you don’t even notice that they’re there.

“I’m extremely pleased with the K-array system. It’s performing exactly as I would have expected and I’m super happy with the end product. The speakers look great and they suit the space beautifully, which is what the client was really focused on. It’s all about the environment. I’ve really enjoyed working with Joey and I’m really proud to have been part of helping to fulfil his highly imaginative dream.

He’s loving the system and it’s working well.”

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TECHNICAL INFORMATION SOUND K-array system comprising: 8 x Vyper-KV25 mini line arrays, 2 x Kayman-KY102 line arrays, 12 x Python-KP52 I line arrays, 5 x Tornado-KT2 point-source satellites, 4 x Rumble-KU210 subwoofers, 6 x Rumble-KU212 subwoofers, 2 x Rumble-KU44 subwoofers, 2 x RumbleKU26 subwoofers, 2 x Thunder-KMT218P subwoofers, 5 x Kommander-KA84 DSP-amplifiers with Dante, 1 x Innosonix MA32/D DSP-amplifier with Dante www.themainemayfair.com

A b o ve l e f t : V y p er - K V 2 5 m i n i li n e ar r ay .

A b o ve r i g h t : P y t h o n- K P 5 2 li n e ar r ay s w i t h R um b l e K U - 2 7 s ub s .

IN B RI E F SJ Lighting u pd a t e s D AE R S o uth Fl or ida wit h E l a t i o n P r o f e s s i o na l Fuz e S F X lu m i n a i r e s .

After designing an eye-catching lighting and video package for DAER South Florida when it opened in Hollywood’s Seminole Hard Rock Hotel & Casino in 2019, SJ Lighting returned to the popular nightclub earlier this year to update its dancefloor lighting rig, selecting 26 Elation Professional Fuze SFX LED Spot FX luminaires for the task.

“Elation sent us a Fuze SFX fixture to evaluate in our office and we were ecstatic with the results,” reported SJ Lighting Owner, Steve Lieberman. “Not only did we upgrade DAER, but we decided to specify the Fuze SFX into several new projects.”

Mounted above the dancefloor, the fixtures play an integral part in a custom system that includes lighting from a mix of manufacturers and complements a large 3D-mapped LED chandelier centrepiece and automated, custom-designed theatrical lighting pods.

Project Manager and Associate Designer on the project was Ben Rehm of SJ Lighting, “without whom this project never would have happened,” Lieberman concluded. www.elationlighting.com

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S TE I N ME TZ HA LL AMERIC AS

FLORIDA / USA

M e t r o po l ita n Inte ra c tive and Sound Assoc iates pr o v i d e h ig h -te c h AV solution f or th e ne w 1 , 7 00- s e at a c oustic th e a tre inside O rlando’s D r .

P h i l l i ps C e nte r f or th e P e rf orming Arts.

It’s been 10 years in the making, but Orlando finally has a world-class concert venue in Steinmetz Hall – the 1,700seat acoustic theatre at the Dr. Phillips Center for the Performing Arts. Metropolitan Interactive (Metinteractive), worked closely with Phillip Peglow and Domonic Sack of Sound Associates to supply AV systems design, engineering, and installation for the unique metamorphic space, which has already attracted top-calibre national and international artists.

“Steinmetz Hall gives upper central Florida the same kind of performing arts cachet that you’d find in Miami,” began Metinteractive CEO, Jeff Mele. “It’s an important step in making the city of Orlando a relevant destination on the performing arts map.” Steinmetz Hall was added to the building housing the Walt Disney Theater, which opened in 2014, as part of phase two of its development.

Metinteractive became involved with Steinmetz Hall in 2016 and continues to work with the Center on the construction of Judson’s – a 3,000-sq ft performance space due to open in late 2022.

“Steinmetz Hall is a world-class building and quite special in its architecture and design,” added Rich Gold, Senior Engineer at Metinteractive. “It – quietly – boasts an N1 sound rating with an ambient noise level of 18dB, making it one of the quietest concert halls in the world.

Retractable sound banners throughout the auditorium allow the acoustics to be adjusted to suit the nature of the performance – more absorption for amplified events, more reflection for acoustic performances.”

Steinmetz Hall’s unique multi-form design enables the space to be transformed into a symphony concert hall, a more intimate recital hall or a traditional proscenium stage.

A massive architectural acoustic shell, which moves up and down the space on railroad tracks, and a pair of six-storey towers that fly in and float above the stage deck create the concert hall. Removing the towers and closing off space

with the shell turns the space into a recital hall. And a large, motorised proscenium stored invisibly in the grid flies in and out as needed to make a conventional theatrical stage.

A customised Gala floor system has each row of orchestra seating on independent lifts so the seats may be either on top of the lift or stowed below. That enables the room to be reconfigured with a flat floor for a ballroom or banquet setup; the stage depth is also adjustable, and an orchestra pit may be created by lowering the first several lifts.

“The heaviest part of our work on Steinmetz Hall began at the outset of the coronavirus pandemic,” Mele recalled.

“We were steadfast about never leaving the construction site. We voluntarily paid a premium to workers to work a second shift to maintain safety on site at a time when other contractors were not able to maintain full crews. This key strategy yielded an awesome product in the end.”

Metinteractive teamed with AV consultant Pete Cosmos and Tom Clark of Acme Professional on the new venue and partnered with Sound Associates Inc., which provided equipment for the project under a separate contract.

“Orlando should be very proud of this versatile, new space. Visitors can attend 10 productions and see 10 different configurations of Steinmetz Hall,” said Domonic Sack, Executive Vice President of Sound Associates. “For us, this project wasn’t just about the install but about providing a service to the Hall and its productions. Much of our business is rentals and touring shows, some of which will come into the venue. We’ve already had two musicals in the Walt Disney Theater this season, so we take a comprehensive approach, doing our best for the design team and augmenting that with the knowhow we’ve acquired from servicing productions.”

The PA system had to be flexible enough to account for the multiple room layouts possible in the metamorphic space of Steinmetz Hall. The consultants specified d&b audiotechnik loudspeakers and a DiGiCo SD-12 96 mixing

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console. “We have three line arrays, each with nine V-Series speakers; the stacks at stage left and right can be raised up and out of sight above the ceiling, while the centre stack can be lowered and removed if not needed,” Gold explained. Metinteractive worked with Polar Focus to design custom hardware brackets that would be more functional and aesthetic than out-of-the-box models.

The Hall’s DiGiCo console is mobile, so removable seats in the theatre can accommodate it in various positions. It is compatible with the system installed in the Walt Disney Theater; when not in use in Steinmetz Hall, it may be deployed as an extra FOH or monitoring console in Disney.

Metinteractive also installed the video system that runs throughout Steinmetz Hall, from the lobby to backstage, which may be used for production, monitoring and archival recording. The system includes three Panasonic 4K cameras and four Blackmagic Design 40x40 video routers, plus a Panasonic all-in-one 12G switcher and camera controller in the control room.

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Metinteractive wrote a custom program to control video switching from the four routers to simplify their operation.

The video system is integrated with the Hall’s extensive digital signage, sending content to some 24 lobby displays.

The video system, the lobby’s signage and background music and paging, as well as backstage monitoring and paging, are all run from a QSC Q-SYS Core 110f processor.

“We wrote custom code to enable Q-SYS to handle all the dressing room feeds,” Gold explained. “Any dressing room can be associated with any of the building’s four main performance spaces. If there’s a large cast for a production at Disney, they can be assigned dressing rooms at Steinmetz but still get the Disney program feed and stage manager pages.” The Q-SYS system can also send content to receptions in semi-private lounge areas.

A combination of wired and wireless intercom stations at Steinmetz include a 12-channel Clear-Com digital intercom system and Clear-Com’s HelixNet and FreeSpeak II digital wireless systems. The systems are expandable to unify

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TECHNICAL INFORMATION AUDIO 27 x d&b audiotechnik V-Series loudspeakers, DiGiCo SD12 VIDEO 3 x Panasonic 4K cameras, 4 x Blackmagic Design 40x40 video routers, Panasonic all-in-one 12G switcher, QSC Q-SYS Core 110f processor COMMS Clear-Com FreeSpeak II digital wireless system www.drphillipscenter.org.com

communications throughout the centre in the future.

In fact, unity is something of a hallmark of the spaces and systems at the centre. “Steinmetz and Disney are adjacent to each other, their lobby areas are open to each other and their backstage areas have various connection points,” Metinteractive Project Manager Don Ellis pointed out.

“So, the two halls’ interoperability and flexibility are very important and played a key role throughout the project.”

“Working with Metinteractive and Sound Associates was fantastic. They are both terrific professionals in their respective spaces,” stated Spencer Tong, Executive Vice President of Operations at the Dr. Phillips Center for the Performing Arts. “Rich and Don from Metinteractive and Domonic and Phillip from Sound Associates were here during construction and commissioning and assisted us with our opening celebration events. We’re happy to be associated with them and to continue our relationship as we build out Judson’s. They are very special partners who have helped us realise everything we envisioned.”

“I can’t say enough about working with Metinteractive’s Rich Gold, Don Ellis and Commissioning Specialist, Peter Briggs,” added Sound Associates’ Sack. “I’m so pleased to have partnered with them. Project management, engineering, installation – nobody can even come close to our combination of skills. And we did it all during a pandemic!”

Above and ri ght : T h e v en ue b oa s ts a n N 1 s o u n d rat ing wit h a n a m b i en t n oi s e lev el of 1 8dB, m ak i n g it one of t he q ui etes t c on c ert h a lls i n th e w o r l d .

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FUTUR E A TL A NT A A MERIC AS

GEORGIA / USA

U nde rg round Atla nt a’s latest nig h tc lub trusts Pione er PRO A UDIO to ke e p th e pa rty thu mpin g.

The new Future Nightclub, located in the famous Underground Atlanta district of Atlanta, Georgia, is a crowd-favourite dance and entertainment venue for the city’s music lovers. With the goal of creating a unique and contemporary experience within historic surroundings, Future Nightclub worked diligently to design an impressive production with video, lighting, and audio for the twostorey venue. The club’s management team worked alongside local AV systems integration company, House of Music Productions, to accomplish this lofty goal, selecting the Pioneer PRO AUDIO XY Series sound system.

Future Nightclub owners Keith Young and Hoosh Mishu approached House of Music Productions in late 2019 to begin the system design process after acquiring a large, oddly shaped, two-storey retail space with a large staircase in the middle. The space was almost completely gutted, giving the new nightclub a large, open, main downstairs dancefloor and an upstairs stage and show area; both with bars, lighting, video, and audio to immerse the audience all night long.

“Once we understood the final space design, we started looking at different loudspeakers and sound systems to deliver the experience the club owners envisioned,” explained Mario Auda and Jeremy Ladd, Owners of House of Music Productions. “The owners wanted a sound system that looks great and sounds even better, and that could cover both floors of the club with the fidelity and dynamics needed for today’s high-end, live DJ and EDM performances.”

Auda worked directly with engineers at Pioneer PRO AUDIO to specify an appropriate sound system and modelled the downstairs and upstairs spaces to craft a precise speaker placement plan. Once a concept design was in place, Auda and the team brought in Pioneer PRO AUDIO’s latest XY Series system for a live demonstration.

“The demonstration was perfect, and everyone loved the system. The XY Series has a great look that fits the new club atmosphere, but more importantly, it delivers a great sound,” he noted. “The audio quality of XY is smooth, natural, and accurate, while punchy and impactful.

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TECHNICAL INFORMATION AUDIO 4 x XY-3B loudspeaker, 6 x XY-2 loudspeaker, 4 x XY101 loudspeaker, 8 x XY 218HS subwoofer, 2 x XY-118S subwoofer, 4 x XY-152 loudspeaker, 2 x XY-218S subwoofer, 4 x XPRS Series active PA speakers from Pioneer DJ Midas M32R, Powersoft XL4 amplifiers, Pioneer DJ CDJ3000 Professional DJ Multiplayers www.future-atlanta.com

L e f t : Th e c l u b i s e q u i p p ed w i t h Pi o n e e r D J C D J - 3 0 0 0 Pr o f e s s i o n a l D J M u l t i p l a yer s.

Listeners can really feel the music, and that’s what the owners imagined with this space.”

Each system can be used independently to support different events or work together to deliver the same audio throughout the entire club. A Midas M32R console is set up in the main floor DJ booth for expanded mic and instrument control, with installed stage boxes available on the upstairs stage to easily accommodate bands or special events. The entire system is powered by Powersoft XL4 amplifiers, all networked together. The amplifiers’ onboard DSP is used to control the complete system. To round out the workflow, the downstairs DJ booth is equipped with all Pioneer DJ equipment – including the newest Pioneer DJ CDJ-3000 Professional DJ Multiplayers.

“Sean Delaine, House of Music’s main sound engineer and system tech, got into the details of dialling in the sound and DSP for the space, and he’s been very impressed with what Pioneer PRO AUDIO can do,” said Auda. “The club has had many good-sized events, and they’ve been cranking up the volume – all DSP/system-protected, of course – and they have not had any issues. The XY System perfectly fills the space, and you can absolutely feel the music anywhere in the building.”

Keith Young, Owner, Future Nightclub, concluded: “The thing I like most about the system other than how great it sounds, is that we have yet to fix anything after being open for almost a year. I like that we have not had to change or tweak anything since the install.”

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Adamson’s ability to meet Marion Palace’s precise sonic and aesthetic requirements was integral to the choice of the Canadian audio manufacturer’s IS-Series and Point Series loudspeakers for the historic venue. “It’s a very high-quality system, and the company’s ability to deliver was huge,” said Tom George, Senior Design Engineer at Clair Global Integration’s Cleveland office, citing the loudspeaker’s highquality sound and Adamson’s capacity to provide a solution that blended seamlessly with the Palace’s spectacular décor.

Constructed in 1928, the approximately 1,500-seat theatre-style venue is a cornerstone for cultural activity in downtown Marion, Ohio; a decidedly multipurpose facility that hosts a mix of concerts, theatre productions, films, and special events.

Designed by Architect John Eberson, the venue was constructed to give audiences the impression of attending a show at a ‘Palace in Old Spain’. Over time, great care has been taken to ensure that the theatre’s setting remains as impactful as it’s ever been. After Marion Palace was acquired by the non-profit Palace Cultural Arts Association, it underwent a comprehensive restoration and renovation, and has since been upgraded via a series of structural improvements and

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updates to the backstage and FOH areas. Naturally, the Palace’s audio systems have evolved as physical changes to the venue were made.

But, until the replacement of the venue’s previous 1980s-era point source loudspeakers with the Adamson rig in January 2022, the systems inhabiting the space didn’t provide optimal coverage, output, or quality.

The new system is comprised of three arrays of Adamson IS7 in an LCR configuration, with two IS219 subs placed on the floor to either side of the orchestra pit, and eight Adamson Point 8 as under-balcony fill. “We basically did a vocal tuning for the centre cluster and a more ‘musical’ tuning for the left and right arrays,” George recalled.

System tuning was done within the Lab Gruppen amplifiers driving the system (multiple D 120 amps for the LCR elements and one D 200 for the subs) and is “locked out” in the amps. However, visiting engineers can put their own stamp on the sound via a pair of Lake LM44 processors at FOH and the venue’s pre-existing Yamaha GL5 console.

The system was also reconfigured to be run on Dante. “We go into the LM44s and then to the amplifiers (over Dante), and we have an interface there for visiting operators to drop in a visiting console,” George added.

That provides a welcome degree of flexibility. “It allows guest engineers,

touring artists, anyone who uses the space, to utilise Dante and reroute things easily,” said Acting Technical Director and head of local audio firm JCR Studio & Sound, Brian Jester.

The size and weight of the loudspeakers were also beneficial. “The IS7 has such a compact footprint and being able to have a large enough array to cover the room and fit within the physical parameters was a big part of the choice,” George noted. “We’re also fortunate because they’re about the same weight as what we took down – the centre cluster was lighter. So, we were able to reuse much of the existing rigging.”

Other longstanding issues were also addressed – among them, the replacement of a 70-Volt system that the under-balcony loudspeakers previously used with a low-impedance system. New cabling was also installed for the roughly 100ft run from the stage to the balcony FOH mix position.

The result is an incredible improvement. “Far superior coverage of the venue and far better audio quality overall,” George summed up.

However, as much as those involved in the project wanted patrons to hear the difference, it was important they didn’t see a difference.

Consequently, Adamson’s willingness and ability to provide custom colour matches (to blend with the Palace’s ‘courtyard’ walls to either side of the stage and make the centre cluster virtually disappear into the background of the rich, red velvet drapes framing the proscenium) was critical to that effort.

While selecting RAL numbers to match the colour and texture of thick velvet drapes was a challenge, it’s one Adamson’s Port Perry, Ontario facility is purpose-designed to meet. “We’re completely vertically integrated,” explained Adamson CEO, Marc Bertrand. “So, when matching RAL numbers, we’re able to control the result seamlessly, from the machine shop and wood shop, all the way through wash, powder, and wet spray. Because we’re not outsourcing the job and just waiting for product to come back, we can ensure the coverage is right, the metal is matched properly, the powder matches the wet spray on the wood, and we can choose other colour elements for the silkscreen to make the match even closer.”

“Adamson matched the curtain colours without overshadowing the architecture of the proscenium, and the two side arrays also blend in very well,” said Kirk Detweiler, Marion Palace’s Executive Director.

“We haven’t had a big show in since the system was put in, but for the movies, it’s sounding great, and we had a four-person vocal group in that sounded awesome.”

The new Adamson system allows Marion Palace to continue to fulfil the role it has had in the community for almost a century, and in a way that’s as easy on the eyes as it is on the ears. “The sound almost feels like it’s coming from the walls, rather than from the speakers,” Jester concluded.

“The way the loudspeakers were placed, tuned, and deployed – sonically, the system complements the visual aesthetic of theatre.” www.adamsonsystems.com

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LUAU K ALAMA K U HAWAII / USA

P ho t o s: L o ui s e S ti c k l and

A M ER IC AS

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M eye r S o u n d s y s t e m s a dd cl a r i t y a n d m o v e m e n t to ce l e b r a t i o n s a t Ka u ai’s fa m e d L u a u Ka l a m aku.

Bel o w : L u a u Ka l a ma ku re c ent l y i n st a l l e d a 46 - l ou dsp ea k er Me y e r Sou n d sy st e m e q ui p p ed f or Spa c e ma p G o spa t i a l s o und c a pab i l i t y .

A top attraction on the island of Kauai for years, Luau Kalamaku is a celebration of Hawaiian history, culture, and cuisine centring around an hour-long programme of music, dance and storytelling. To enhance the audience’s experience of instrumental and vocal music, narration and sound effects, Luau Kalamaku recently installed a 46-loudspeaker Meyer Sound system equipped for Spacemap Go spatial sound capability.

The event venue is a combination of a wood frame building and an open-sided rectangular tent with a very high ceiling. An audience of up to 800 is seated at tables surrounding a main centre stage, where the performance takes place, while a supporting band is situated on a separate side stage. The venue’s problematic acoustics along with the need to focus the sound from two stages at one point with 360° coverage presented challenges to achieving optimum sound reproduction. Although the show long had received high marks for its overall production quality, there were occasional complaints about not understanding the storytelling, and management was aware that audio coverage was not uniform throughout the venue.

Following a recommendation from Mark Witteveen at Chicago Flyhouse, who earlier had provided the trusswork for the production, the venue’s management reached out to Chris Gille of the audio, visual, and lighting design and integration firm, HouseRight Production to consult on an audio system upgrade.

“From our initial contact with Chris, we felt confident that HouseRight was the company we wanted to work with,” said Kevin Fischer, a coowner of Luau Kalamaku’s parent firm. “Chris and his team strongly recommended that we use Meyer Sound products as not only would they deliver the best performance, but they would also endure the humid climate of Kauai.”

Gille’s design had four principal goals. First, the system would ensure uniform, full-bandwidth coverage of the entire audience with excellent speech intelligibility. Second, the system would seamlessly integrate sounds from the band stage and the centre performance stage with dynamic localisation. Third, implementation of the Spacemap Go spatial sound design and mixing tool would open new possibilities of creativity and audience involvement. And, finally, the system would provide years of reliable service despite exposure to rainforest humidity and power washing maintenance.

As installed, the central in-the-round system is anchored by 16 LINA very compact linear line array loudspeakers flown in four hangs of four each, plus four ULTRA-X40 fills and a single 1100-LFC low-frequency control element supplying bass. The band stage deploys four LINA loudspeakers under a 750-LFC element with one ULTRA-X40 fill. A total of 16 ULTRA-X20 compact loudspeakers serve as delays and Spacemap Go laterals, with two additional upward-facing ULTRA-X40 loudspeakers providing ‘bounce back’ from the ceiling for Spacemap Go late/wide effects. Three GALAXY 816 Network Platforms provide system drive and

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optimisation, along with Spacemap Go dynamic panning.

“Spacemap Go was the perfect solution to give the creative team immersive capabilities and allow them to grow over time,” stated Gille.

“The audio engineers can simply sprinkle a few of the existing show features into aux feeds for effects, then grab the iPad to expand the movement of birds, drums, thunder, or ancestral voices.”

According to Terry Chuckas, Operations Manager for Luau Kalamaku, the power of Spacemap Go has already enhanced the sonic impact of the existing show. “For example, now we have storm scenes where the thunder rolls through the room, then the rain sound washes from one side to the other. We will be doing more as the show evolves in future.”

The most striking difference, according to Chuckas, was the sound clarity and uniformity. “I think we have the best sound and light equipment anywhere in Hawaii,” he attested. “The clarity is awesome.

Every word spoken, it’s like you are standing right next to the person on stage. There are no dead spots in the room, and we can do it without blasting the system at any seat. I’ve been here for 14 years, and it is night and day compared to what we’ve had in here before.”

The purpose of all the technology is to bring the music and stories that define Hawaiian history and culture to the eyes and ears of the visitors.

“Excellent sound and lighting are paramount to the telling of our story, or mo’olelo,” explained Hunani ‘Nani’ Asing Marston, the Creative Director and Producer of Luau Kalamaku. “Combined with organic performances, these tools separate us from other luaus, bringing guests closer to the early Hawaiian experience. The team from HouseRight are focused professionals who brought their talents to bear and delivered results that my people and show demanded. We are eternally grateful.”

Luau Kalamaku is located on the grounds of the historic Kilohana Estate, which dates back to its establishment as a cattle ranch in 1896. The estate’s 16,000 sq ft mansion, built in the late 1930s, is fully restored and open to the public with no admission charge.

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“Spacemap Go was the perfect solution to give the creative team immersive capabilities and allow them to grow over time.”

A b o ve : T h e c e n t r al i n - t he - r ou n d sy st e m i s a nc h o r ed b y 1 6 LI NA v e r y c om pac t li n e ar l i ne a r r a y l o udspe ak e r s flow n i n fou r h a ngs o f f o ur e ac h.

IN B RI E F Ch r is tie l a s e r pr o j e c t o r s l i g ht up i c onic R ed Fo r t t o c o m m e m o rate 7 5 yea r s o f I n d i a ’ s i n d e pe n d e nc e .

The historic Red Fort in Old Delhi, a UNESCO World Heritage Site, was lit up using Christie laser projectors to celebrate 75 years of India’s independence.

Titled “Matrubhumi” or motherland in Hindi, the 30-minute visual spectacle made its debut on March 25 as one of the major highlights of the Red Fort Festival, which showcases India’s rich history and a kaleidoscopic diversity in art, heritage and culture.

For this performance, the iconic Lahori Gate and its surrounding walls are illuminated by 19 Christie D20WU-HS 1DLP laser projectors installed and commissioned by Christie’s longstanding partner, MSS World, known for numerous highprofile, large-scale projects across India. The show’s contents were designed by Knownsense Studios, which specialises in content creation for 3D projection mapping displays.

Ranging in brightness levels from 7,000-20,000 lumens and resolutions including WUXGA, HD and 4K UHD, the Christie HS Series offers a powerful and reliable option for almost any highuse application.

“The Christie D20WU-HS projectors are housed in projection towers overlooking the Lahori Gate and surrounding walls. Its compact, lightweight and omnidirectional capabilities provided us with a lot of installation flexibility, reducing the on-site complexities. As a result, we were able to confidently deliver this one-of-its-kind, large-scale visual and cultural spectacle on time for the show’s inauguration,” said Pratik Wadhwa, CEO, MSS World. www.christiedigital.com

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P LA TFO R M O N E A PA C

MELBOURNE / AUSTRALIA

An ic onic Me lbourne institution re c eives a ma jor upg rade with th e insta llation of a NE XO audio syste m.

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Melbourne’s Platform One nightclub has been a mainstay of the city’s scene for over 20 years and has played host to some of the world’s biggest names in dance music and entertainment. With a cultural and historically significant background, the venue has carved itself as a stronghold among Melbourne’s premier event space offerings.

Housed in the iconic Banana Alley Vaults, Platform One is comprised of two long, domed tunnels which stretch over 65m from Flinders St. to the Yarra River.

The Banana Alley Vaults were first constructed in 1892 and were used primarily by local fruit merchants, who rented them for fruit storage. The name ‘Banana Alley’ was coined after merchants began storing and ripening Bananas onsite before they were taken to market. By the late 1980s, the vaults had all been put up for lease and began serving a variety of retail purposes. In 2001, vaults 7 and 8 underwent a major interior conversion – and Platform One was born.

Since opening its doors, the venue has seen countless internationally acclaimed musicians and DJs grace its multiple dancefloors. The nightclub’s close proximity to public transport and a unique underground aesthetic has made it one of Melbourne’s most sought-after event spaces for almost 20 years, and in August 2019

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it underwent a series of extensive renovations. The multimillion-dollar upgrade includes a completely new air conditioning system, a multitude of new fixtures, internal structural changes, the addition of an addressable venue-wide LED lighting system – over 3km in length, and a complete overhaul of the primary sound system in both the main room and side rooms.

After exhaustive listening tests comparing multiple highend loudspeaker brands within the venue space, NEXO’s latest P+ series was chosen for its compelling balance of pristine sonic performance, weight and physical footprint.

Working with Concert Audio Visual, one of Melbourne’s premier DJ and audio visual retailers, a scope of P8, P10, P12, L15 and MSUB18 systems from NEXO – supplied by Group Technologies Australasia – was installed throughout the venue.

“We performed two separate on-site demonstrations of a number of different brands for the customer to compare,” said Joe Sofo, Director, Concert Audio Visual. “In their eyes, the only true way to choose the right system for their venue was to hear each brand side by side in the venue and A/B their selection of boxes. This way we could not only get the most comprehensive testing for sound, but also judge the size and styling of each speaker cabinet in

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the venue and look at the positions that they will ultimately end up in.”

NEXO’s P+ series offers a refined combination of heritage and contemporary design engineering in a range of powerful, compact twoway coaxial speaker systems. Completely designed and manufactured in France, P+ is NEXO’s most recent addition to a set of pioneering technologies in sound reinforcement, that has seen the company become a favourite of installers and production companies for over three decades.

The P+ range’s sleek look and sound quality make them a perfect solution for club audio, while their compact nature and scalability lend advantage to installers faced with tricky architecture such as Platform One’s uniquely shaped rooms and curved ceilings. While the famous tunnels are an iconic feature of Melbourne’s heritage, they are also acoustically hostile with regards to professional sound reinforcement applications. “Aesthetically, the venue is gorgeous and a beautiful example of what a lot of time and money can do to a concrete bunker,” continued Sofo. “However, it is an extremely difficult room with regards to getting good sound. The combination of alucobond ceilings, curved/

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dome ceilings, only 3m of ceiling height, a mass of aircon and cable ducts to avoid, hard carbonate flooring and basically no soft surfaces, proved very difficult.

“Facing that challenge we used precise positioning and angles to create a smooth and consistent sound throughout the entire venue. We also used the 40m long tunnel to our advantage when coupling subs and channelling low energy with some amazing results, 47m from the stage.”

The advanced technology underpinning the NXAMPMK2, NEXO’s amplifier/controller combination hardware, was engineered to overcome precisely these kinds of hurdles. Combining multichannel, high powered, networkable amplification with sophisticated loudspeaker processing and control, the NXAMPs work in tandem with the P+ series loudspeakers to deliver a tailored audio experience that is nothing short of world-class.

“The system installation went in seamlessly,” said Sofo. “Quick and easy but spread over a number of months to cater for other trades. Cabling was first to be installed over a few days, then speaker brackets went in while the rest of the trades finished. Finally, the speaker cab install took

“ W e use d pre c ise positioning a nd a ng le s to cr eate a s m o oth and c onsiste nt sound th roug h out the ven u e. ”

Lef t a n d ri ght : P lat f orm On e i s now c a pa b l e of accommoda t i n g ov e r 6 80 guest s a t a t i me .

a few days and another day for commissioning. We spent some time on tuning with the client to ensure they had a few presets for different music genres, and they’re now extensively happy with the result.”

Engaged in renovations throughout 2020 and the ensuing Covid-19 crisis, management and crew were determined to emerge from Melbourne’s dormant period with a nightclub that would rival even the most distinguished international venues.

Borce Kajmakoski, Co-Owner of Platform One, says the intention behind the upgrade was to take an already-iconic venue and elevate it to a higher tier.

“It was a great venue, but now it’s a superclub,” said Kajmakoski. “We were aiming for a sleek, high-line experience and one which also gives an impression of exclusivity. The new lighting and fixtures go a long way in helping establish that feeling, but we also needed to make sure the club audio had the same kind of wow-factor. We feel the NEXO system is certainly up to the task.”

Adding to the P10, P12 and subwoofers making up the FOH system, are additional P12s placed as DJ monitors and an ID24 system in the VIP area. NEXO’s immersive audio-oriented line, the ID series, was chosen for its ability to deliver full range audio in a super-compact format, well suited to the venue’s private booth.

Platform One’s lustrous new retro-futuristic looks extend into its three rooms, now capable of accommodating over 680 guests. Originally

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designed around a neon pink and orange theme, the venue walls can be re-skinned with any colour scheme imaginable thanks to cascading rows of fully addressable LED strips.

“We have 3km worth of 144 pixel per metre RGBW LED strip lights, fully pixel mapped and controllable across the whole club,” said Kajmakoski. “It has really taken the club to a new level of uniqueness as you don’t see this in many venues around the world, and the control we have with all the LED lights is just second to none.”

The LED strips run over 250 universes of Artnet channels for control; there are banks of four-universe Artnet Controllers and power supplies in six custom purpose-built enclosures around the venue, which serves the purpose of cooling, data and cable management, and visual monitoring of the system.

After installation was complete, the team spent three months building Advanced Maps in Resolume, ensuring all IP Addresses and Alignment was perfect.

The LED Strip is controlled by six high-spec custombuilt PCs, each running Resolume Arena with 8K Advanced outputs for full control of each Pixel. Due to the high data rates, a 10 and 40 gigabit network has been installed to manage the backend.

The Main Room DJ Booth is wrapped in 2.5mm Flexible Magnetic LED Screen to display Artist and Club content.

The screen is curved outward to follow the theme of the curved tunnels.

Lighting is controlled off its own separate network with a purpose-built rack for all data transmission. Lighting

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is run off an MA Lighting grandMA3 OnPC Artnet Node running in Mode2 to ensure the technicians have full and uninterrupted control over all the rooms.

This customisable nature extends to the venue audio, where each room can be run as an independent zone or combined from a single source.

“When we are hosting our own regular nights here, the main room will play pop and RnB, and the side room will play house music,” Kajmakoski commented. “We are excited to resurrect ‘P1 Saturdays’- which was one of Melbourne’s biggest regular club events around 2006, along with ‘Infusion’ which was also running here at the time.

“I have fond memories of Platform One having a great sound system at that time, but standards in audio technology are a lot higher now, and we felt that going for something state-of-the-art, like the P+ series, was the most appropriate choice.

“We needed something that would be suitable for both DJs and live performances, and the P+ series has enough muscle and clarity to cover both.”

With the ability to not only excel at the DJ-oriented events that are a mainstay for Platform One, but also deliver enough power for contemporary live music performances, the P+ series reflects NEXO’s recent focus on innovative, multipurpose audio solutions.

Armed with a major facelift and the sonic excellence of NEXO, it would be hard to argue with Platform One being called one of the best nightclub spaces in Melbourne right now.

Abo v e: The LED St r ip is c on t r olled by six high- spec c u st ombu ilt PC s, ea c h r u n n in g Resolu me Ar en a .

IN BUSINE S S

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SHOW PREVIEW ISE 2022

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IN DETAIL Cameo, Ayrton, Algorax

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PRODUCT GUIDE Cables & Microphones

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PRODUCT DIRECTORY

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SHOW PREVIEW InfoComm 2022

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IN PROFILE Pro Media Audio Video

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

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MIR TECH 2022 13

EM EA

RIMINI, ITALY / 27 - 29 MARCH

Organised by Italian Exhibition Group, MIR Tech is the only Italian expo dedicated to the entire lighting, sound, visual, integrated systems and broadcast chain.

After a two-year break, the 2022 edition was held from 27 to 29 March at Rimini Expo Centre.

Now at its fifth edition, the Rimini event gave a strong confidence boost to one of the sectors hardest hit during the COVID-19 pandemic. This year, the tradeshow occupied five halls (20,000 sq m) – including one dedicated entirely to the large Live You Play stage, one to broadcast technology and one to the DJ world, all animated by the very latest in audio, video and lighting technology for concerts, entertainment, and live shows.

For the three days of the expo, there was a busy schedule of events for entertainment and enjoyment, as well as some with a greater focus on training and education, such as workshops and talks. www.musicinsiderimini.it

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MIR Tech entrance The ZZIPP Group stand The Area Four Industries team The Prase Media Technologies stand The NEXO team The FBT stand The Tasker stand The Axicom stand The Lawo booth The Live You Play stage

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480 x 675 x 560

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The HybridLineSource is a new and worldwide unique loudspeaker system invented by Harmonic Design. It dramatically reduces the space, required for a conventional system, and improves the quality of a PA-system to a new level.

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Engineered Made In Germany

ISE P R EVI EW Allen & Heath AHM Matrix Processors Booth 7K400

• Two new products harnessing technology from the AHM-64 Audio Matrix Processor.

• AHM-32: 32x32 processing matrix, with optional AEC, for multi-room installations and conferencing.

• AHM-16: 16x16 processing matrix for single room applications and smaller multi-room environments.

• Scalable audio networking and I/O capabilities.

• Simple programming and control. www.allen-heath.com/ahm

Datapath Excellence by design Booth 3E850 •

Amadeus HOLOPHONIX Processor Booth 7Q901 • • •

Up to 128 inputs and 16 outputs.

Internal audio routing with zero additional latency.

All HOLOPHONIX Processor features available in native app.

• Legendary spatialisation algorithms available including Wave Field Synthesis, Higher Order Ambisonics, Binaural, and Amplitude Panning. www.holophonix.xyz

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View Datapath’s creative digital signage displays powered by the x-Series range of controllers.

• Build dynamic video walls, large or small and display high quality content from almost any source.

• Experience a demonstration of Wall Designer, a free software that works with the x-Series range.

• Get a live demonstration of Aetria, Datapath’s powerful AVoIP solution for command-and-control applications.

• See the intuitive Aetria interface operate and control sources on video walls and workstations. www.datapath.co.uk/ise-2022

Listen Technologies ListenTALK Booth 3N885 •

Support language interpretation (simultaneous, whisper, relay, liaison, and consecutive).

• Meet legislative compliance for assistive listening.

• One or two-way communication in any environment.

• Portable, secure, and reliable.

• Easily manage up to 30 groups with range of 100 meters indoors (200m outdoors). www.listentech.com/listentalk

Shure Sound Extraordinary Booth 3N250 •

Shure will be participating as Platinum Sponsor with an exhibition space at the trade show and as the Conference Audio Partner, bringing impeccable audio to ISE with its industry leading Axient Digital Wireless System.

• A major new addition to the Microflex Ecosystem portfolio will be showcased for the first time at ISE 2022.

• Stem Ecosystem is ideal for situations that require straightforward, deployable audio solutions for their daily conferencing needs.

• Part of the new IntelliMix Room DSP 3.1, IntelliMix Room Denoiser actively reduces background noise while ensuring voice audio is preserved.

• Shure is collaborating with Logitech to provide innovative conferencing solutions certified for both Microsoft Teams and Zoom. www.shure.com

Lightware Visual Engineering AV-over-IP, networking and collaboration technologies Booth 3N100 •

Attendees can experience the company’s latest technologies through interactive real-world demonstrations.

• As a natural progression from Lightware’s widely embraced HDMI-TPS lineup, the new TPX extenders will debut at ISE 2022.

• Lightware is unveiling firmware version 1.4 for its Taurus UCX switchers.

• Visitors can see Cisco-based bundles in action and witness how these add power, simplicity and consistent controls to their Touch 10 and Room Navigator panels.

• Lightware is also adding bulk management capabilities to the Taurus line. www.lightware.com

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C A MEO OTOS H5

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Cameo has introduced its groundbreaking beam spot wash hybrid moving head, the OTOS H5. With this, Cameo is directly targeting the needs of professional lighting designers and rental companies looking for a fully roadand rider-ready hybrid fixture for indoor and outdoor use.

In addition to use in clubs and locations with large capacities, the multifunctional spotlight with its high light output is particularly convincing in outdoor areas, such as open-air concerts and festivals. Thanks to IP65 certification, even maritime applications on cruise ships and other events near water are no problem. The extremely flexible hybrid moving head combines a powerful light and effect output with a low weight of only 33kg, making the OTOS H5 currently the lightest product in its performance class.

The 480 W discharge-lamp moving light impresses with a powerful output of 19,000 lm, while the OTOS H5’s flat field filter enhances the uniform distribution of brightness at the same time. A beam angle of 2° to 42° is possible due to the high-quality optics and motorised zoom. From tightly focused effects to wide-area illumination, anything is possible. 16-bit resolution and four selectable curves also enable smooth, uniform dimming. There is a full range of colours to work with thanks to CMY colour mixing and additional colour wheel with 15 dichroic filters.

A fascinating array of lighting effects is achievable by using prisms on two prism levels, the animation wheel and the variable frost filter for wash light applications. The prisms open up unheard-of possibilities in terms of creating diverse mid-air effects. Multifaceted lighting is further enriched by two gobo wheels with 27 gobo templates in total, eight of which are exchangeable and rotatable glass gobos and 19 of which are static gobos.

With the OTOS H5, lighting designers and operators can create fascinating light shows and, thanks to its three-inone multifunctionality, give free rein to their creativity in both indoor and outdoor applications. In combination with the CRI filter (>80) for brilliant color rendering, the highend spotlight is also suitable for use in TV and film shoots.

The OTOS H5 becomes even more flexible thanks to the integrated W-DMX transceiver for wireless DMX control.

The OTOS H5 Beam-Spot-Wash Hybrid Moving Head IP65 competes as an all-in-one fixture to help lighting professionals ease the workload of hectic day-to-day production with effective and multi-faceted light output. www.adamhall.com www.cameolight.com

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AYRTON ZONDA 9 WASH & ZONDA 9 FX Ayrton has launched the Zonda 9 Wash and Zonda 9 FX, the first luminaires in a new family of products devised for stage lighting. Equipped with a high-performance 40W LED source with RGB+W additive colour synthesis, these new products fit into Ayrton’s Multi Sources 9 Series category.

Zonda 9 Wash is a radical luminaire intended for stage lighting in the true sense. Ayrton has developed a silent ventilation mode specially for this fixture to accommodate the quieter environment often required by stage lighting. The careful colour mixing of the sources allows for perfect colour reproduction, and each concentric circle can be controlled independently to adjust the size of the emitting surface and the luminaire’s power. A complete library of pre-programmed colours - created in collaboration with lighting designers - is instantly accessible.

Zonda 9 FX is a versatile fully equipped luminaire designed for a multitude of applications. It borrows from the main features of the Wash version and offers infinite continuous rotation on the pan and tilt axes (I.R.S.). Individual control of each LED allows 3D volumetric effects to be achieved. Zonda 9 FX can produce a high-definition liquid effect from between its main lenses to create complex graphic effects, known as LiquidEffect. This effect can be used alone or in combination with the main LED matrix.

Zonda 9 Wash and Zonda 9 FX share the same proprietary optical system which consists of a wide, 384mm diameter, dial of 37 lenses in PMMA, combined with 37 glass light guides with an output surface made of an optical micro-structure.

This LED/optical system combination can produce powerful light output of 25,000 lumens and a perfectly homogeneous mixture of pastel and saturated colours, regardless of the colour mix chosen, with a CRI of <86.

The perfectly crisp separation between the light sources helps to reinforce the level of contrast. Endowed with a 50mm truncated transmitting lens with an optical surface equivalent to that of a 70mm round lens, Zonda 9 Wash and Zonda 9 FX can obtain a highly intensive beam with a zoom ratio of 14:1 and a wide zoom range of 4° to 56°.

A new optimised cooling system, simplified lens guidance systems, and smart design of the internal structure have made it possible to reduce the size and weight of these luminaires considerably, in keeping with Ayrton’s Slim-21 programme which miniaturises and reduces the weight of its fixtures. www.ayrton.eu

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Unlock the Power

ISE Stand #7M925 InfoComm Booth #W1447 www.clearcom.com/arcadia

A LGORAX D.REX

Algorax, a software and hardware company which specialises in developments for the world of retail, has launched D.REX, a digital shelf management system that sends an alert to the control centre when there is low availability of off-the-shelf products in store.

This smart and sophisticated digital shelf management system facilitates and supports retail product management and provides a friendly, digital shopping experience at the store.

Powered by artificial intelligence, D.REX includes additional features such as updating price tags, repositioning, advertising messages, editing price tags and more – all in real time. This system, which can be integrated on existing shelves, is in use across the retail market in Israel and various locations around the world, and offers a modern and product-oriented shopping experience.

D.REX system was developed by Algorax, a company that forms part of Protouch Advanced Multimedia Systems Group, which specialise in the design and development of software programs, from spec to implementation. The D.REX smart system can be incorporated into new shelves without having to set up a new system, and it features an intuitive and friendly interface.

It provides a modern and appealing shopping experience, improves the appearance of products on the shelf, highlights the prices of products next to their images and pertinent information, such as new product launches and special offers of fresh products is readily presented.

D.REX offers many advantages for marketing chains including lowavailability notifications, which are AI-based. The user can determine the

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percentage of product availability at which notifications are sent. The system then sends a message once an operation is completed and the shelf is once again full. Product unavailability is a problem in the retail world which can affect revenues and customer loyalty to certain brands and chains. Using a terminal, the system enables users to completely control the planogram and immediately synchronise every action.

The system enables real-time or scheduled advertising, and a simple implementation of special offer campaigns, which include: advertising in the form of free texts and animations that encourage buyers to act, information about the products and price changes in real-time, such as special offers. Customers therefore enjoy a digital shopping experience through a touch screen that enables them to quickly find each product.

D.REX. includes an advanced wireless telecommunications system that incorporates automatic load balancing mechanisms, remote command and control, non-availability notifications, price change management, special offer campaigns and related adverts, product relocation, a clear presentation of product images next to prices and barcodes, ad videos and special offer ads according to the chain’s policy on small digital screens that are tailored to currently available shelves.

This system enables users to implement planograms; to meticulously control them; to optimise and improve performance by means of collecting “big data” about ads and advertising messages; revenues from the sale of advertising spaces to the chain’s vendors, which enables the chain to save money on printing materials and human resources. www.protouch.tech

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23.08.21 16:37

PROD UCT GUID E: CABLES & MIC ROPHONES

AKG Ara microphone

Adam Hall ORGAFLEX Cable Bag

AKG Ara is a two-pattern USB microphone that lets content creators and musicians effortlessly capture studio-quality, 24-bit, 96kHz audio for superior speech clarity and stunning vocal and instrument tracks. Two pickup patterns focus on a single source or everyone in the room. The directional Front (cardioid) pattern captures sound directly in front of the mic while rejecting sound from other sides, making it perfect for podcast hosts, bloggers, gamers, videoconferencing and for recording voice and instruments. The Front + Back (omni) pattern picks up sound evenly from all sides, making it ideal for recording interviews with multiple speakers. Ara’s essential functions, including pattern selection, mic mute and a headphone volume knob, are located on the front of the mic for easy access; a 3.5mm headphone jack allows latency-free monitoring.

Ara’s compact footprint and versatile mounting options make it ideal for both desktop use and studio scenarios. Set Ara on a desktop using the included yoke and base stand or attach to a boom or standard mic stand; record on the go with a mobile device and optional adapter. www.akg.com

Cable clutter is now a thing of the past thanks to this effective and high-quality solution for organising and sorting cables and other accessories. The ORGAFLEX organiser bags come with an ergonomic handle and detachable shoulder strap and the inner compartment consists of three mesh pockets specially made for shorter or longer cables. In addition, there is a zippered mesh pocket for storing mobile phones, tuners or similar items, making the bag perfect for studio, stage or rehearsal situations. They are available in three different sizes: Large (19-inch), Medium (17-inch) and Small (14.5-inch). www.adamhall.com

Audix A127 The A127 is an omnidirectional metal film condenser microphone, designed to capture the most accurate and purest form of instruments and sound sources. With its detailed response and lownoise circuitry, the A127 can be used individually or setup overhead as a premium stereo pair. The A127 delivers unmatched performance for music recording, broadcast, film, and sound design. www.audixusa.com

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Audio-Technica BP898 & 899 lavalier microphones The latest additions to Audio-Technica’s lavalier microphone line-up, the low-profile BP898 subminiature cardioid condenser lavalier microphone and omnidirectional BP899 deliver intelligible, natural-sounding audio that’s ideal for use by stage and television talent, lecturers, and worship leaders. The low-profile design (5.3mm in diameter) is ideal for applications requiring minimum visibility.

The BP898 and BP899 are available in various terminations for both wired and wireless use. The BP898 is available in five blackfinished models, all with permanently attached cables and varying termination and power configurations – each of the BP899 options are available in black or theatre beige finishes.

Building on the performance of the existing AT898 and AT899 lavalier mics, the BP898 and BP899 offer significant upgrades, including higher quality cable-build (the signal line of the cable employs a high-durability CuSn [copper and tin] alloy that greatly enhances corrosion resistance and increases longevity); improved connectors that better reduce moisture; an included clothing clip (with 16 distinct angle adjustments over 360°) and two new included windscreens that snap onto the mic, each featuring a clasp that keeps the windscreen secured to the microphone. www.audio-technica.com

DPA Microphones 488 CORE Directional Headset Microphones DPA Microphones’ 4488 CORE Directional Headset Microphones feature the brand’s popular 5mm round microphone capsule and provide the security, durability, and flexibility necessary for use in theatre, broadcast, worship, and corporate conferencing.

With a purposefully designed, one-size-fits-all design and adjustable height and boom length, the 4488 headsets accommodate small to large head types. This is especially important for the directional option, for which the correct placement is so important. A unique, three-point gripping system (above, below and behind the ear) ensures a greater level of security, while the flexible ear hooks provide continued comfort during extended use.

In addition, the new headsets share the same interchangeable cable and boom options as the 6066 Subminiature Headsets. This includes the 90° cable management at the neck. The headset frame, boom and capsule have a nonreflective surface for unobtrusiveness and ease-of-use for camera crews. With a high-quality, professional look, the 4488 are available in the company’s standard black, brown, and beige options. www.dpamicrophones.com

Electro-Voice RE20-BLACK The RE20-BLACK is a new colour option for the classic RE20 microphone from Electro-Voice, sporting an elegant, low-reflection dark charcoal finish.

The RE20 continues to be a firm favourite of broadcasters, musicians, podcasters and sound engineers around the world since its introduction more than 50 years ago. The RE20-BLACK offers customers an aesthetic alternative to the iconic original finish, while being acoustically, electrically and mechanically identical. The classic RE20 finish will continue to be available under the current RE20 model name.

A key to the RE20’s enduring popularity is its unique Variable-D design.

Variable-D minimises proximity effect, giving users the confidence that their tone will remain full, pure and accurate while they enjoy the freedom to work naturally around the mic at varying distances. Additional features include a mid-bass tone-shaping switch, a substantial integrated pop filter, and a humbucking coil to guard against line hum – all of which combine to provide a supremely smooth, natural and controlled sonic character. www.electrovoice.com

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G U I DE - C A B LE S & M I C RO PH O N E S | W W W .M ONDODR.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

LD Systems U500 Series Whether for voice, instruments or as a wireless conference system, sets from the U500 Series will meet expectations across sound quality, reliability, and ease of operation.

With automatic channel scanning, convenient infrared synchronisation, intuitive menu navigation and an easily readable OLED display featuring battery status indicator and user name assignment, the U500 Series True Diversity UHF radio systems are ready to use in an instant. The selectable transmit power of up to 30mW and squelch control with pilot tone ensure optimum audio and transmission quality without artefacts and a free-field range of over 100m. Interchangeable microphone capsules enable the hand-held transmitter to be tailored to suit different speaking or singing voices. www.ld-systems.com

NEUTRIK powerCON TRUE1 TOP-L The powerCON TRUE1 TOP-L is the latest addition to NUETRIK’s powerCON TRUE1 TOP range of heavy-duty sealed power connectors for use outdoors in the harshest environments and most demanding applications. powerCON TRUE1 TOP-L provides a connector compatible with the largest diameter power cables required for outdoor event and production applications, capable of accepting cable from 10 to 16 mm in diameter, making them ideal for extra heavy-duty type cables.

The connectors are certified to EN 60320-1, IEC 60320-1, and UL 60320-1 when applied to appropriate cables (H07RN-F3G2.5 and SOOW 12/3, SJOOW 12/3). This allows mains cables to be assembled in accordance with UL 817, CSA C22.2 No. 21, and IEC/EN 60799.

Conforming to NEUTRIK’s TOP standard, UL V0 and UL-F1-rated UV resistant materials, exceptional component quality and rugged construction are standard.

Features include breaking capability – CBC @ 16A 250VAC VDE (20 A 250 VAC) – and a patent-pending design that meets requirements preventing disassembly by hand. New HTLACA and HTLACB assembly and disassembly tools are designed for use with these connectors, and facilitate faster disassembly for periodic safety testing. www.neutrik.com

Tasker Premade heavy-duty cables Tasker has enhanced its range of assembled cables with new premade cables, with PUR sheath cables and high-quality connectors. The first cable is for DMX applications for audio and lighting and includes the TSK1038 PUR and C862. The second series is for video broadcast transmission and includes T42 PUR and TR11 PUR Extraflex. The T42 PUR is a coaxial HDSDI with a stranded conductor and tinned copper double braid, allowing the 12GSDI signal transmission up to 70m or 3GSDI up to 100m. The third series is dedicated to data transmission across LAN cables, which nowadays does not only involve data but also digital audio and video over IP. Specifically for this purpose there is the Tasker C725 PUR, C728 PUR e C726 PUR. www.tasker.it

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Re-defining durability in professional audio products, the IS-Series Weatherized delivers pristine audio in every extreme environmental condition. With full corrosion resistance and an IP55 rating, a long lifespan is ensured.

Visit: ADAMSONSYSTEMS.COM

Don’t miss us at: ISE 2022 | May 10th - 13th Booth 7Q800

1. Analogue Way Picturall Media Server 3.4 software release

Analog Way has released a major software update for its Picturall series of media servers. The new features include support for NDI live video streaming (input and output), advanced audio features, synchronised layer timecode over the network and enhanced show and server synchronisation for back-up. In addition to support for the latest v5.0 version of NDI technology, Picturall media servers that were already capable of receiving multiple NDI streams from the network are now capable of streaming one or more NDI streams over the network at up to 4K60Hz resolution, including with audio and alpha channel. www.analogway.com

2. Elation Professional Fuze MAX

Elation Professional is now shipping the new Fuze MAX full-spectrum LED luminaire. Available in Spot and Profile framing versions, the Fuze MAX has been designed for precision lighting applications such as theatre, broadcast and houses of worship, where a wider chromatic spectrum (including dynamic whites), a full feature set and outstanding quality is required, a specification that rivals 1000W/1200W class discharge fixtures. www.elationlighting.com

3. Lumens Digital Optics VC-R30

Lumens has launched its new Full HD IP PTZ camera with VISCA control and a new generation 1/2.8-inch Sony sensor, VC-R30. Delivering broadcast-quality pictures and a European five-year warranty, the VC-R30 features simultaneous 3G-SDI, HDMI, USB 3.0 and Ethernet video conectors for a high degree of connection and workflow flexibility, which is ideal for users in video production, and live events. www.mylumens.com

4. TSL Power Distribution Unit updates

TSL has launched new updates to its Power Distribution Units. The new Intelligent PDUs have increased functionality, offering enhanced levels of power monitoring and management. TSL’s new ethernet-connected PDUs have been designed to handle up to 32 amps with optional auto-failover/auto supply and lifted the entry level amps from 16 to 20, as customers deploy more high-powered equipment. The new design also includes an upgrade from 12 to 14 outputs, each one capable of delivering up to 10A, enabling customers to power more units from one PDU. www.tslproducts.com

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5. RCF NXL MK2 Series

NXL modular line-source active speaker systems are specifically designed for rental companies, professional DJs, and musicians but also intended for permanent installation. Their sleek and innovative design commands an incredible size-to-power ratio, featuring powerful amplifiers, full onboard DSP, and a complete set of rigging accessories. The vertically asymmetrical waveguide’s design delivers accurate sound to the coverage area without tilting the enclosure. The woofers’ vertical configuration takes inspiration from line array technology for hemicylindrical coverage. It’s easy to set up, and the flyware accessories allow multiple speaker configurations in line for extended coverage both flying or stacking. The sturdy, ergonomic cabinets are easy to move with several handle positions. www.rcf.it

6. Vari-Lite VL1600 PROFILE

Vari-Lite, a Signify entertainment lighting brand, has released the VL1600 PROFILE, an advanced moving head profile luminaire designed for theatrical key lighting applications. The fixture brings a high CRI tunable white source and the same CMY color mixing system found in the VL2600 PROFILE, along with a feature set targeting theatrical productions, TV studios and productions, opera houses, music halls, and performing arts centres. One of the key features in the VL1600 PROFILE is the Vari*frost adjustable frost system, which provides designers with a seamless graduated frost that diffuses the entire aperture at once, allowing for the lightest of image and edge softening all the way to the heaviest wash diffusion, while always maintaining an even frost across the entire beam. www.vari-lite.com

7. Blackmagic Design ATEM Constellation HD switcher

Blackmagic Design has released its new family of live production switchers that include powerful broadcast features, while including the latest electronics technology. The new models are a 1 M/E model with 10 x 3G SDI inputs, 2 M/E model with 20 x 3G SDI inputs and a 4 M/E model with 40 x 3G SDI inputs. All models include full standards conversion on every SDI input, four ATEM advanced chroma keyers per M/E row, a DVE per M/E row, media players, larger media pool and much more. These new switchers are designed as a professional upgrade for ATEM Mini customers who need to expand, or for large broadcasters who want to upgrade their studios to get a modern switcher. www.blackmagicdesign.com

8. GLP impression X5

The impression X5 is a “next-generation LED wash light” – a new workhorse that brings all the benefits of the iconic X4 series with cutting-edge technology and much anticipated new features. The fixture weighs only 13.3 kg and is equipped with 19 powerful 40-watt RGBL LEDs that provide an incredible light output and an expanded colour gamut. GLP’s new iQ.Gamut colour algorithm, for example, ensures that the impression X5 produces a clean white point at 6,500 K with high colour rendering (CRI 90 / TLCI 90) as standard, plus the option to switch to other fixed and precisely calibrated white points. With the new super-fast zoom mechanism, the impression X5 offers a 16:1 zoom from 3.5° to 60° with homogeneous light distribution across the entire range. www.glp.de

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I NF OCOMM P R EVI EW NEUTRIK NAC3FX-W-TOP-L Booth N1413 • • • •

Accepts cable from 10 to 16 mm (0.39” – 0.63”) in diameter.

Breaking capacity – CBC @ 16A 250VAC VDE (20 A 250 VAC).

IP65 rated and certified outdoor protection to UL 50E like UV resistance.

Connectors certified to EN/IEC/UL 60320-1 when applied to appropriate c ables (H07RN-F3G2.5 and SOOW 12/3, SJOOW 12/3).

• Allows mains cables to be assembled in accordance with UL 817, CSA C22.2 No. 21, and IEC/EN 60799. www.neutrik.co.uk/product/nac3fx-w-top-l-1

Listen Technologies ListenTALK Booth W1323 •

Support language interpretation (simultaneous, whisper, relay, liaison, and consecutive).

• Meet legislative compliance for assistive listening.

• One or two-way communication in any environment.

• Portable, secure, and reliable.

• Easily manage up to 30 groups with range of 100 meters indoors (200m outdoors). www.listentech.com/listentalk

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Mega Systems MEGAVIEW Promotile 3 Booth W735

• Built-in strut system for direct wall mountable capabilities.

• 1’ X 4’ Slim Design .

• Intuitive Control Open API. • Completely front serviceable.

• 3.1mm pixel pitch. www.megaview.us/promotile-3

ISE 2022 - Stand 7V725 Barcelona - May 10-13

Lighting Control and DMX Solutions

CLUB-E & CQSA-E

New Ethernet Stand Alone Lighting Controllers Easy Ethernet communication anywhere on LAN 2 DMX Stand Alone or 8 Art-Net Stand Alone NODE 2 ports for Art-Net, sACN to DMX decoder Easy Global control with the Wi-Light 2 APP 1 to 5 zones and Micro SD show backup Numerous triggers: Time Clock, calendar, buttons, smart contacts, infrared, RS232, DMX input, UDP

CHROMATEQ Explore more product features and possibilities at www.chromateq.com Free software and App download updates with no additional fees

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

ROBUST COMPREHENSIVE RELIABLE

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

www.rean-connectors.com

PRO MEDIA AUDIO VIDEO TWELVE MONTHS ON FROM PRO MEDIA AUDIO VIDEO EU’S STRATEGIC LAUNCH, BUSINESS DEVELOPMENT MANAGER ANDY RIGLER SPEAKS EXCLUSIVELY TO MONDO-DR ABOUT THE SPORTS AND LIVE ENTERTAINMENT INTEGRATION PERFORMANCE SPECIALIST’S FIRST YEAR ON UK SOIL.

It’s been one year since Pro Media launched its European arm. How has the company grown and developed during this time?

It’s been an incredibly exciting and busy period as we have worked to establish the Pro Media AV name across the UK and overseas, including communicating our unique offer to key consultants and manufacturers. Our income stream has kicked in pretty quickly and remains ahead of plan, meaning that we are able to accelerate our growth plans.

You were the second member of staff to be added to the core senior management line-up following the appointment of Eddie Thomas as Director. Who else has been brought into the team, and in what roles?

Tom Williams joined in May 2021 as our Technical Lead, bringing his extensive design expertise and connections. Jake Miller joined us in September 2021 to head up our project delivery team – again, he brings a wealth of experience having worked on large-scale projects, such as the Tottenham Hotspur Stadium. The global team also takes in Ted Leamy in the US and Lez Dwight in the UK. Are there any plans for the team to expand further this year?

Yes. We anticipate making another announcement over the coming weeks, as we grow capacity to take on more clients and projects. Our business plan allows for us to grow quickly, identifying and recruiting the talent to support this objective.

You each come with a lot of previous, proven industry experience. How are the current team nurturing the reputation of the EU brand?

As a team, we each bring the benefit of different backgrounds and experiences. Our key drivers are to ensure we deliver quality and innovation to our clients’ projects. As a team, we won’t compromise on projects when doing so will harm the outcome and the result

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won’t meet client expectation. Pro Media’s long-term plan is to develop a reputation associated with iconic projects.

There’s always been a long-term plan to bed deep into the marketplace across both the UK and Europe. How are you collectively making effective change here?

For the first year, our focus was mainly on becoming established in the local market, but we have already created good ties in certain overseas markets, bidding for business in those countries. Having Clair bases in Madrid and Switzerland has been most useful in supporting our European business.

What do you feel the UK/EU marketplace could improve upon?

We see a welcome shift towards providing audiences with higher quality, entertainmentgrade audio in stadia, alongside investment in video screens. Additionally, our clients are looking to exploit capable Wi-Fi systems to deliver interactivity, including the use of AR. Adding features and benefits to a project naturally creates an impact on costs, but doing so also increases the return on investment, especially over the mid to long term. Most of our end customers understand the benefits, but we still see pressures to reduce costs, often to the detriment of a project, and usually through the contracting path. Our industry’s services should not be commodified; we deliver experiences and, as each system is bespoke, it is not helpful to compare solution A with solution B, based only upon cost as a measure, ignoring other parameters.

With the team’s extensive technical and project delivery knowledge, alongside Pro Media’s decades-long history with key sporting venues in North America, which local sectors have you been collaborating with in the first year of business?

Initially, within the sports sector, we have been working for some top-flight football clubs

| WWW.MONDODR.COM

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Andy Rigler.

Eddie Thomas.

Home to the Los Angeles Rams and Los Angeles Chargers, SoFi Stadium.

Tom Williams.

Jake Miller.

The O2 - Photo by Laurie Piece.

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dealing with the certification, maintenance, and upgrades to existing systems. However, we do have active proposals out for projects – some of which we anticipate starting in the spring.

Can you reveal any information about upcoming project wins?

We recently won a project for a notable new London music venue, with work on the site already underway, and have become the technology partner for another large multiuse venue in London where we are looking at upgrading the facilities across the site. Our work at The O2 Arena is ongoing, with planned upgrades and new facilities.

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of sports and arena venues, as our local brands, Britannia Row and Eighth Day Sound.

Prospective Pro Media AV clients are certainly impressed when they learn about the scale and reach of the broader Clair Global business – especially so if they operate in locations outside of the UK. Our work on events with a global audience, such as the Superbowl half-time show, really helps to reinforce our credentials.

How does the rock ’n’ roll production pedigree of Pro Media, a Clair Global company, help to inform and enhance what can be achieved in the fixed venue installation sector for live audiences?

It’s been interesting to see that, for the UK, the Clair Global brand is not as generally well-known, certainly within the management

The whole EU team will be in Barcelona for ISE on 11-13 May. You’re both exhibiting and delivering talks. Where can we find you?

After the recent postponement, plus the absence of a show these past couple of years, it will be fantastic to be back at a busy show. We are using the event to help drive our European business and to meet new and existing contacts. We will be on stand 7T750 and are on the schedule to deliver talks in the Live Events Arena, Hall 7. Exact timings are still to be announced by the organisers. www.promediaaudiovideo.com www.clairglobal.com/integration

C O M PA N Y P RO F I LE - PR O M E D I A AUD I O V I D E O

| WWW.MONDODR.COM

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The O2 ahead of the 2018 FIFA World Cup Semi Final - Photo by Luke Dyson.

Lez Dwight.

Ted Leamy.

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