Mondo-DR 35-5

THE

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MONDO-DR 35.5

JULY / AUGUST 2025

ON THE COVER

The Oceanographic Museum

Photo courtesy of Mathieu Felix

EDITOR

Todd Staszko t.staszko@mondiale.co.uk

ASSISTANT EDITOR Daisy Thorogood d.thorogood@mondiale.co.uk

ACCOUNT MANAGER

Cameron Crawford c.crawford@mondiale.co.uk

ACCOUNT MANAGER

Bethany Price b.price@mondiale.co.uk

MARKETING & EVENTS MANAGER Alice Clarke a.clarke@mondiale.co.uk

MARKETING & EVENTS ASSISTANT Charlie Moore c.moore@mondiale.co.uk

DESIGN & PRODUCTION

Mel Capper, Jez Reid, Dan Seaton

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

EDITORIAL DIRECTOR Peter Iantorno p.iantorno@mondiale.co.uk

CEO Justin Gawne j.gawne@mondiale.co.uk

FINANCE DIRECTOR Amanda Giles a.giles@mondiale.co.uk

CREDIT CONTROL ar@mondiale.co.uk

GROUP CHAIRMAN Damian Walsh

MONDIALE PUBLISHING Strawberry Studios, Watson Square, Stockport SK1 3AZ , UK

Tel: +44 161 476 8340 Fax: +44 161 429 7214

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Mondo DR (ISSN 1476 4067) is published in January, March, May, July, September, November and December by Mondiale Publishing Ltd, Strawberry Studios, Watson Square, Stockport, SK1 3AZ, UK

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FROM THE EDITOR...

After six months of seemingly nonstop travel to attempt to keep on top of all things pro AV, it’s time for us to take stock over the summer months and reflect on what has been another interesting year so far.

The trade show season cools off for a couple of months, so what better time to sit down and read another stunning edition of MONDO-DR?

This issue’s cover story is the spectacular installation within the Oceanographic Museum in Monaco for its latest multiyear exhibit, featuring a highly customised projection mapping solution. Also inside, we sit down with the co-CEOs of L-Acoustics, Laurent Vaissié and Hervé Guillaume, as they lead the company into its fifth decade of operation. There are updates from Shure and Obsidian Control Systems, and a Venue Report highlighting trussing and rigging solutions across myriad venues. Some of the projects we’ve covered range from nightclubs in India, China and Tunisia to large-scale immersive experiences in London and New York.

Lastly, as a team we can reflect on an enjoyable MONDO-DR Awards in Orlando where we celebrated some of the finest installs from the past 18 months. The post-event supplement is online now – congratulations to all the shortlisted and winning projects. Stay tuned for the announcement of next year’s Awards.

Until then, enjoy the issue!

TODD STASZKO

EDITOR

IN THIS ISSUE...

JUL 23-25

INFOCOMM ASIA BANGKOK, THAILAND www.infocomm-asia.com

AUG 27-29 SEPTEMBER

INTEGRATE EXPO SYDNEY, AUSTRALIA www.integrate-expo.com

SEPTEMBER

SEP 9-11

INFOCOMM INDIA MUMBAI, INDIA www.infocomm-india.com

SEP 12-15

IBC AMSTERDAM, THE NETHERLANDS https://show.ibc.org

SEP 23-24

CHURCH FACILITIES CONFERENCE & EXPO DALLAS, USA https://churchfacilitiesexpo.com/

SEP 7–9

PLASA SHOW LONDON, UK www.plasashow.com

OCT 9-11

PRO AVL INDONESIA EXPO JAKARTA, INDONESIA www.proavl-indonesia.com

OCT 13-17

GITEX GLOBAL DUBAI, UAE www.gitex.com

OCT 14-16 PRO INTEGRATION FUTURE ASIA SINGAPORE www.prointegrationfuture.asia NOV 11-13

LEAT HAMBURG, GERMANY www.leatcon.com

NOV 19-20

LiGHT25 LONDON, UK www.lightexpo.london

NOV 19-21

INTERBEE TOKYO, JAPAN www.inter-bee.com

NOV 26-27 JTSE PARIS, FRANCE https://jtse.fr

KLEINOD AM RING

IMMERSIVE EXPERIENCE

BULLANGINYA DREAMING

RESTAURANT

COQODAQ

MULTIPURPOSE VENUE

KUPPEL BASEL

RETAIL & LESURE CONCERT HALL

SWINGERS

QUEEN SILVIA CONCERT HALL

HAGIA SOPHIA HISTORY AND EXPERIENCE MUSEUM

MUSEUM STADIUM

AMEX STADIUM

CONGRATULATIONS TO ALL OF OUR WINNERS

OBSIDIAN CONTROL SYSTEMS

Koy Neminathan, Business Development Director at Obsidian Control Systems, sits down with MONDO-DR to discuss both the company’s latest and classic offerings, detailing how Obsidian is working to make its control solutions stand out.

With its backbone development team having been in operation for over 32 years, Obsidian has cemented itself as a quality manufacturer in the entertainment lighting control solutions market.

The company’s Business Development Director, Koy Neminathan, outlined that Obsidian’s mission is to provide venues with the solutions that can power “goosebumpcausing” moments.

As an example, the he cited the innovative use of Obsidian’s NX4 lighting control for the Ecosystem Exploration Craft & Observatory at the Loveland Living Planet Aquarium in Draper, Utah, USA. Here, the system manages all the immersive experiences on site, as well as a huge claw-like structure that is the base of a light show. Now a 16-storey illumination attraction of the popular aquarium, the claw was uniquely repurposed from U2’s ‘360°’ tour that ran from 2009-2011.

Neminathan explained that Obsidian’s offerings are most often used in the corporate market. “We do very well in this sector as our products give a great ‘bang for your buck’. However, it’s not just the lighting companies that are purchasing our products,” he commented. “Our NETRON product range of data distribution devices is being used in audio operations where super-reliable network switches are required. The audio world is now also a growing segment for us. We’re seeing more and more use cases of NETRON in these spaces.”

This year, Obsidian has partially set its focus on the optimisation of its proprietary lighting control software, ONYX, with multiple upgrades already announced. Neminathan explained that, as well as various enhancements, the newest ONYX software, 4.32, includes five key features. This includes cue list improvements that allow for even more precise control – “This new aspect will be really powerful in theatre programming,” he said.

Further, ONYX can now quickly be put into ‘fade’ or ‘delay’ mode, with a quick double-tap of the respective key.

ONYX’s pixel composer and media engine, DyLOS, was also refined in this upgrade. Users now have the ability to decide whether particular parameters in a DyLOS zone are controlled by the media engine or normal cue data.

Neminathan added: “Media can now also be applied to a single fixture through gobo mapping, essentially turning each fixture within a zone into its own mini ‘screen’.”

Additionally, ONYX PC and NX1 users will no longer need additional hardware to support the receiving of LTC timecodes, and the software’s 2D planning space has been made easier to use.

“We looked at what new features would help improve the programming process for our users, while also making sure we added elements that would intrigue those who were curious about ONYX, setting ourselves apart from other offering sets,” he noted.

Above: The ADJ Group Europe campus in Kerkrade, the Netherlands, is home to dedicated R&D labs for ADJ Lighting, Elation and Obsidian Control Systems.

“We know that innovation is key to both preserving current users and attracting new ones,” he added. “Through oneto-one sessions that we hold between our developers and users or non-users, we learn what we need to implement next in our software.”

Another major focus for Obsidian this year has been the NETRON range. “NETRON is a great range of products – we want to show the pro AV industry that you don’t have to break the bank to own top-quality gear,” he said.

The most recent additions to this series have been the DIN-Rail RDM6D and the EN6D, both of which are units dedicated to the install market. “This now means we can more easily cater to a wide range of vertical markets,” continued Neminathan.

This equipment follows on from the earlier NETRON release of the significant IP66 range for entertainment data distribution outdoors, notably the world’s first solution of its kind. The Business Development Director added that the NETRON IP66 range is an “award-winning line that provides data distribution for any location that requires dust and moisture protection”.

Asked how Obsidian Control Systems plans to keep its finger on the pulse of the AV community throughout the rest of 2025, Neminathan stated: “Not only will you see us at every major trade show and industry event, but we will continue to communicate with users around the globe.”

He explained that Obsidian hosts regular demonstration sessions both online and in person, where end-users, distributors, partners, and integrators alike can get to know both the brand’s team and its products.

“It’s simple – we find listening to the industry is one of the most important ingredients in being a successful manufacturer,” Neminathan concluded www.obsidiancontrol.com

Above: Obsidian’s NX4 lighting console controls the shows and events at the Ecosystem Exploration Craft & Observatory, including all the lighting on and around the claw structure, outside the Loveland Living Planet Aquarium in Draper, Utah, USA.

“OUR

CO-CEO ROLES BRING A DIVERSITY OF COMPLEMENTARY SKILLS AND POINTS OF VIEW, WHERE BUSINESS AND OPERATIONS WORK HAND IN HAND TO ACHIEVE OUR AMBITION.”

LAURENT VAISSIÉ & HERVÉ GUILLAUME

Co-CEOs, L-Acoustics

Having celebrated 40 years of innovation in 2024, the developments at L-Acoustics continue at pace as the company looks to build on its legacy as a market leader in professional audio solutions.

From humble beginnings in 1984 as a one-man start-up, L-Acoustics now has over 1,000 staff around the world and is led by Co-CEOs Laurent Vaissié and Hervé Guillaume, with Vaissié based in Los Angeles and Guillaume in France, at company HQ in Marcoussis on the outskirts of Paris.

The company began when Chrisian Heil took the knowledge gained from his Ph.D qualifications in particle physics and applied it to an area in which he had a strong passion – sound, with Heil’s desire to apply pragmatic solutions from physics to the audio industry.

What followed was a period of innovation, which is something that has remained at the heart of everything L-Acoustics does as it moves into its fifth decade of operation.

“The L-Acoustics story is closely linked to both innovation and people,” said Vaissié. “We have a very long list of remarkable inventions, and I like to highlight four major technology milestones. First, the invention of V-DOSC in the early 1990s and the birth of modern line arrays is the biggest impact on L-Acoustics and our industry as a whole.

“The evolution towards a full-system approach with the development of Soundvision and standard electronics in the 2000s was a major step towards consistently good and predictable sound for live events.

“We then turned our focus to the source with the development of L-ISA in the mid 2010s, to reconnect the artist with the audience and create hyperreal immersive experiences that free up sound as a creative medium that is no longer limited by stereo but lives and breathes in multidimensions.

“And most recently, I believe the bold and innovative concept of the new L Series, which we launched with L2 in 2023, is a major milestone for us in the reinvention of line arrays for quantum leap improvements in weight, performance, directivity, efficiency and sustainability, because it uses 30% less wood, 60% less steel, and takes up 30% less space than similar systems.” concluded Vaissié.

Noting that such levels of innovation aren’t achievable without a culture of people dedicated to the craft, Guillaume added: “Each milestone in L-Acoustics’ history is not just a technological achievement but a testament to a remarkable human adventure.

“From its humble beginnings to its rise as an industry leader, and from a modest team to a robust ecosystem, L-Acoustics’

Above: L-Acoustics L-ISA technology is at the heart of Cercle Odyssey.

Below: L-Acoustics’ L Series installed at the LIV Nightclub at Fontainebleau Miami Beach.

journey is a story of growth and connection. The company’s success has always been intrinsically linked to its ability to forge strong partnerships and create a thriving ecosystem, and since 2008, the integration of key suppliers has empowered L-Acoustics to master every aspect of its value chain, ensuring the design and manufacture of premium-quality systems.

“The establishment of the V-DOSC Network in the early 2000s marked the creation of the first network of client-partners, fostering a powerful synergy that has driven the brand’s success. Internally, L-Acoustics has cultivated a community of over 1,000 dedicated employees, united by a passion for innovation and excellence.”

That company-wide passion stems from its founder, Christian Heil, who remains deeply engaged with L-Acoustics, having seen his role evolve significantly over the years.

“Christian has always been driven by a profound desire to pass on knowledge,” continued Guillaume. “His strength lies in his conviction to surround himself with creative, engaged, and knowledgeable individuals to foster a culture of innovation and excellence. While Laurent and I define the strategy and oversee the day-to-day operations of the company, Christian continues to play a pivotal role as Chairman of the Board.

He brings his wealth of experience and his ‘out of the box’ thinking, constantly challenging us to strive for excellence.”

While a Co-CEO structure is not too common within many large companies in the AV industry, the pair agree that theirs works in line with L-Acoustics’ company culture of collaboration and mutual support. “It can be lonely at the top!” stated Vaissié.

“Our Co-CEO roles bring a diversity of complementary skills

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“YEARS AGO, OUR BUSINESS WAS SPLIT APPROXIMATELY 80% TOURING AND 20% INSTALLATION, BUT OVER THE PAST 10 YEARS WE’VE GROWN OUR FIXED INSTALLATION BUSINESS AND MARKET SHARE, AIMING AT BALANCING TOURING AND FIXED INSTALLATION ACTIVITIES.”

and points of view, where business and operations work hand in hand to achieve our ambition. There is a lot of crossover between us, and we always discuss important topics before a major decision, while at the same time, we are each more deeply involved in our respective areas of expertise to provide relevant guidance and support to our division directors,” he continued.

“Hervé is excellent at taking a high-level, no-nonsense view of group strategy, and his expertise in finance and operations helps him supervise our group entities and divisions around manufacturing, finance, R&D and people.

“Although my background is in engineering and physics, I am more focussed today on the topics of business, communication, application, and product management. Perhaps more importantly, it is not only about the two of us – we are heavily supported by our Chief People Officer, Anne Hamlett, and the members of the Executive Committee (COMEX) which steers the company roadmap and its execution.”

With Vaissié based on the West Coast of the USA and Guillaume in France, the time difference poses its challenges, but the pair see it as a benefit rather than a hinderance.

“The Co-CEO structure also allows us to give both European and American perspectives on each topic,” said Guillaume. “The time zone difference is certainly a challenge but it is also a key part of the dynamics and cultural fabric of L-Acoustics.

“We are an international company present in 80 countries, so there is pretty much always one of us working at any time of the day. We also both travel four to six times a year to either the USA or France for faceto-face meetings – a schedule we follow very seriously.

“Our skills are truly complementary,” continued Guillaume. “What is particularly valuable about this partnership is having someone outside of your domain who can provide that helicopter view – Laurent brings a broader business perspective to my operational focus, I provide the same strategic oversight to his areas. He is an excellent brainstorming partner and having that second perspective on major decisions has proven invaluable for the company.”

Beginning primarily as a company focused on supplying solutions for the live events and touring market, L-Acoustics naturally evolved towards the world of fixed installations, to the point where the company’s market share is becoming more even.

“This diversification was a natural evolution of the company, since we had solutions to offer to the challenges encountered by the fixed installation market,” said Guillaume.

“Years ago, our business was split approximately 80% touring and 20% installation, but over the past 10 years we’ve grown our fixed installation business and market share, aiming at balancing touring and fixed installation activities.

“We have always had a strong presence in venues such as houses of worship, theatres, and concert halls. But now, we are actively expanding into new areas that have a lot of growth potential, and we are especially excited about opportunities in nightclubs, hotels, corporate spaces, private homes, and even the marine industry.

“To support this move, we have been building specialised teams in business development, sales, and application, so we can bring the right expertise to each market. This has helped us better understand what each type of customer needs, and we have started to earn a solid reputation in these new areas for offering high-quality, high-performing solutions that deliver great value.”

One technological advancement that has cemented L-Acoustics’ place within the fixed install market is the L-ISA spatial audio platform, which creates a complete 3D sonic environment to surround the listener and move sound direction beyond the confines of a traditional stage.

“With the launch of L-ISA and object-mixing technologies in general, we have transformed sound into a creative force,” stated Vaissié. “L-ISA removes the physical constraints of stereo source localisation to allow instruments to be placed and moved anywhere in space, matching what you hear to what you see, and pushing music into a more dynamic, natural or hyperreal experience.

“Today, we see very obvious applications and rising adoption in musical theatre, classical music concerts, or house of worship, where

spatialisation reconnects the visuals with sound and shrinks the room to an intimate venue. Creatives, artists, and engineers now have access to a virtual 3D canvas to tell a story sonically.

“We’re only at the beginning of this new era; some big-name residencies by artists such as Adele and Janet Jackson, as well as jazz and electronic music festivals are starting to embrace it and push things where we never would have thought of going.

“It is very exciting to witness these interactions with artists and engineers, watching their brains suddenly open to the possibility of painting with sound, and we are learning right beside them,” continued Vaissié. “We’re excited to see L-ISA emerge in music festivals and musical theatre – especially with the very creative work being done by groups like Polygon and Cercle Music, and Tony award-winning musical designs like The Outsiders.

“The level of audio/video production seems to keep rising and more experiences are increasingly relying on great sound. The installation market continues to grow as well, with a trend towards more premium solutions in new verticals such as hospitality and corporate.”

Noting this trend, Guillaume stated that L-Acoustics is driven to maximise its growth opportunities and is well placed to do so thanks to the company’s internal and external networking capabilities.

“The hospitality market represents one of our most significant growth opportunities,” he commented. “These venues are increasingly recognising that audio quality is a key differentiator in the guest experience. Whether it’s a luxury hotel lobby, a high-end restaurant, or a premium retail space, the audio environment significantly impacts how customers perceive and remember their experience.

“Extending our Certified Provider network to this new market allows us to bring into the L-Acoustics family integrators and consultants who specialise in these sectors.

“Our CP network ensures that when venues and homeowners are ready to invest in professional audio solutions, they have access to partners who have the technical expertise and industry knowledge necessary for successful implementations.”

Keynote announcements

In 2023, L-Acoustics announced the L Series at its Keynote held at the Hollywood Bowl. This year, the company selected London’s Roundhouse to present its latest developments, which spanned new products, programmes and solutions.

Perhaps the most innovative announcement was L-Acoustics DJ, a revolutionary solution transforming stereo DJ setups into immersive spatial audio experiences. Using new, proprietary Source Separate technology, it separates stereo music into discrete stems in real-time,

Above: L-Acoustics arrays power Adele’s residency at the purpose-built, 80,000-capacity Open Air Arena, in Munich, Germany.

Left: The global L-Acoustics team gathers in Paris in late 2024 to celebrate the company’s 40th anniversary.

positioning them throughout venue space. “What truly sets this apart is how it integrates with existing DJ workflows,” noted Vaissié. “It simply expands the sonic canvas they can paint on, turning the entire venue into an instrument.”

The LA1.16i amplified controller – an ultra-compact 16-channel solution for the installation market was also launched. “We made a bold design choice with LA7.16i, the first 16 channel amplified controller platform,” explained Vaissié. “More channels per platform reduces cost, power consumption and size, while smart power management enables driving the right power to the right location at the right time. The LA1.16i is the perfect engine to drive efficiently distributed deployments in hospitality, sports lodges, cruise ships, theaters and house of worship.”

A new Certified Pre-Owned (CPO) programme for the K1 and K1-SB loudspeakers was unveiled. “The Certified Pre-Owned programme is fundamentally about sustainability and supporting and extending the already extraordinary lifecycle of our products,” said Guillaume. “We are never surprised when we see V-DOSC systems performing at festivals around the world after 20-plus years of service, and we are incredibly proud that our clients achieve such longevity from their L-Acoustics systems. CPO certification ensures used K1 systems work perfectly, supports sustainability goals, helps smaller partners enter the market affordably, and maximises resale value for established partners.”

Guillaume also confirmed that the company will evaluate extending the programme to other products based on market needs and availability, and stated that the CPO programme is a natural part of L-Acoustics’ bigger push for sustainability in its processes.

“Being environmentally responsible and delivering top-notch performance go hand in hand,” he said. “At L-Acoustics, we think about the environment at every stage of a product’s life — from how we design and build it, all the way to what happens when it’s no longer in use. Our gear is built to last, and the CPO programme helps make sure these systems keep delivering value instead of being retired too soon.”

Global footprint

With L-Acoustics continually looking to expand its global footprint while committed to minimising its environmental impact, the company – and the wider industry – faces all manner of challenges and is mindful of the rising cost of attending events. “This is something that the whole industry is concerned about, and we are keeping a close watch to see how it impacts the market,” said Guillaume. “However, it is also important not to overlook the network of small and mid-sized venues around the world.

“These places often host affordable shows with local or up-and-coming artists. They play a key role in keeping the live music scene alive and are often where future headliners get their start.

“On the supply chain side, the major issues we faced after COVID have mostly been resolved, but new challenges have popped up. We’re staying on top of these changes, and thanks to our flexible internal teams and strong relationships with our suppliers, we’ve built up a lot of resilience which has helped us to adapt quickly to keep delivering on our promises to customers.”

Seen as a major cog in the pro audio market, L-Acoustics can boast over 10,000 referenced venue installations, 700 certified providers, is present at 50% of the top 50 music festivals around the world, and conducts over 1,250 training sessions every year, delivering over 12,000 certificates. Reflecting on the company’s 40-year journey, Vaissié is proud of its many achievements and excited to see what the future holds.

“It is extremely rewarding to see where we are after 40 years of dedication to innovation and commitment to creating the best sound experiences,” concluded Vaissié. “Being able to gather close to 1,000 employees in Paris last year to celebrate together was an inspiring milestone we’ll never forget.

“Many of our key client relationships also go back at least 20 years, and we take great pride in this. I found the best way to reflect and take stock of what we’ve accomplished as a team is to visit our clients, artists, and crews in their element. The emotion I get from a great shared live performance remains quite magical and is a source of awe and inspiration for the future.”

www.l-acoustics.com

Above: Laurent Vaissié announces new products, programmes and solutions at this year’s Keynote at the Roundhouse in London.

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TRUSSING & RIGGING

A selection of trussing and rigging solutions from a variety of applications around the world.

Jacobs Music Center

COMPANY: Wenger Corporation

LOCATION: San Diego, USA

Wenger Corporation, a leading provider of innovative products and solutions for performing arts and music education, played a key role in delivering acoustic, rigging and control equipment for the recently reopened Jacobs Music Center (JMC) in San Diego. This renovation included advanced technology upgrades to improve acoustics, increase programming flexibility and elevate the audience experience. As the home of the San Diego Symphony, one of the nation’s top orchestras, this venue now shines with modern enhancements while preserving its rich historic character.

“Such an outstanding project is only possible through collaboration with world-class organisations like the San Diego Symphony, John Frane and Jim Moore of HGA Architects, Paul Scarbrough’s team at Akustiks and Joshua Grossman of Schuler Shook,” said Andy Knapp, Performing Arts Product Manager at Wenger Corporation. “Wenger’s involvement reflects the trust we’ve built over decades, delivering reliable, innovative solutions that bring our partners’ visions to life – often while overcoming unique challenges.”

One such challenge was the extremely limited space in this historic facility. Originally built in 1929 as the Fox Theatre, the venue was transformed into Copley Symphony Hall following a major renovation in 1985. As with most older buildings, exact structural dimensions were not revealed until selective demolition was underway, which required Wenger to maintain flexibility – a key strength of the company. Jim Moore, AIA, Vice President and Principal with HGA, praised Wenger’s adaptability, saying, “Wenger was a key partner in solving problems creatively and very quickly.”

Wenger orchestrated the rigging for over 75 precision-engineered openings in the historic plaster ceiling, supporting projection screens, speakers, stage lighting and five chandeliers. The tight installation space posed yet another challenge, as all equipment had to be delivered through a small exterior door on a sloped street 30ft above the stage. Creating an acoustically superior environment for both music and performance events was central to the renovation. Wenger installed a striking custom acoustic canopy made of 20 fibreglass-reinforced plastic panels, most of which are adjustable in three dimensions, allowing musicians to hear clearly on stage and optimising sound projection to the audience. The panels’ curvature was engineered to diffuse middle and low frequencies, while fine-scale diffusion of higher frequencies was achieved through small divots machined into the surface by fabricator Kreysler & Associates.

Additionally, Wenger engineered and installed motorised variable acoustic curtains behind the stage and throughout the hall.

“Wenger’s deep well of expertise and ingenuity can tackle even the most complex assignment,” said Paul Scarbrough, Principal at Akustiks. “They thrive on finding solutions that translate design concepts into beautiful, functional realities.”

Wenger also streamlined the transition between events for JMC’s production staff by installing J.R. Clancy rigging equipment including numerous PowerLift and Titan hoists operated by a custom Vantis controls solution.

“Wenger was very flexible and collaborative in Vantis programming, customising it to meet the Symphony’s specific needs for ease of use,” noted Joshua Grossman, Partner with Schuler Shook. The system minimises button presses and displays real-time data for the precise location of acoustic reflectors and curtains, controlling more than 160 machines. Reflecting on Wenger’s role in this project, HGA’s Moore added: “Their genuine love of solving problems and their passion for accomplishing unique things are obvious. You can’t pull off projects like this without people who bring that level of curiosity and optimism.”

The Jacobs Music Center renovation has significantly enhanced its acoustical capabilities and programming versatility, ensuring its continued place as a premier destination for world-class symphonic music and entertainment in Southern California. By collaborating with renowned partners and leveraging decades of experience and expertise, Wenger continues to shape the future of performance spaces, bringing visions to life with precision and creativity.

www.wengercorp.com

Eurovision Song Contest

COMPANY: Broadweigh

LOCATION: Basel, Switzerland

More than 120 Broadweigh load cells were deployed at this year’s Eurovision Song Contest in Basel.

The competition, watched live on TV by millions of fans across the world, was technically complex and visually ambitious, with the comprehensive rigging solution managed by BIGRIG. Contracted by Swiss Television (SRG) as the production Head Rigger, Johannes Schau, BIGRIG MD, was involved from the earliest planning phase, working closely with rigging supplier Malecon to deliver a structurally sound and visually striking production under highly challenging conditions.

“Eurovision is always a demanding project, but this year’s venue presented a particularly tough brief. We were working with a roof that had limited load-bearing capacity and a restricted trim height,” Schau recalled. “The limited load-bearing capacity meant we had to bring in a significant ground support structure, which was also delivered by Malecon, supplementing the roof to achieve the overall creative vision.”

With the final site was selected, Schau led the development of the complex rigging plot and design, working closely with the venue team and structural engineers to meet the creative design intents while ensuring compliance with safety regulations and technical standards.

Once the tender was issued and Malecon selected as the rigging contractor, BIGRIG also supplied its own extensive rental stock of Broadweigh load cells to monitor critical loads throughout the venue.

The Broadweigh cells were integrated across three separate LOG100 systems to monitor different rigging zones and structures.

“We used LOG100 to split the system into manageable sections,” Schau

said. “Two were monitoring the spreader trusses directly connected to the roof – every single roof point was tracked in real time. The third was responsible for key elements like the LED wall, the stage frame and the 3D lighting grid.”

The 3D grid – “one of the most impressive scenic objects I have ever worked on”, claimed Schau – supported over 1,000 lighting fixtures and required multiple days to construct. Its design, divided into three loadmonitored sections, was subject to particularly strict scrutiny.

“When you are dealing with that scale and complexity, you need to be absolutely certain that the actual build aligns with the structural design intent,” Schau explained. “Broadweigh helped us verify that the provided weight specs from the lighting and scenic suppliers matched the realworld loads and that each individual rigging point in the roof structure stayed within structural limits.”

With more than 200 tonnes of flown equipment across the entire show, Schau stressed that real-time data was essential: “In my opinion you can’t do a show like Eurovision without Broadweigh... The new load cell series is robust and easy to use. We have been relying on Broadweigh for years now. With more than 450 Broadweigh cells in our stock we are one of the largest rental and service suppliers of load monitoring in Europe.”

For BIGRIG, Eurovision 2025 was again a showcase of technical excellence and expertise. “What we achieved here wouldn’t have been possible without the insight and reliability that Broadweigh brings to the table,” Schau concluded.

www.broadweigh.com

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Swiss Center for Design and Health

COMPANY: HOF

LOCATION: Nidau, Switzerland

At the Living Lab of the Swiss Center for Design and Health, HOF was responsible for the installation of the truss grid that supports an impressive 600 sq m projection surface.

The grid structure measures 25m by 18m and was constructed using the robust HOFKON 520-4K truss system. For precise and flexible projector positioning, underhung grids made from HOF’s 200-2 Grid Truss were integrated beneath the main grid.

One of the key challenges of the project was ensuring each of the 12 projectors could be positioned freely within a 2m by 1m area to allow for seamless transitions between overlapping projections. To solve this, HOF implemented 12 individual 2m by 1m grid frames using the 200-2 Grid Truss system. With the help of sliding connectors, these grids enabled precise, flexible positioning of each projector, allowing for exact image

alignment across the full projection surface.

The installed projector system is capable of covering an area of 35m by 16m, delivering a powerful, immersive visual experience ideal for architectural simulation and design innovation.

Another technical hurdle was minimising deflection within the truss grid, especially when additional equipment such as lighting and audio systems are added. To address this, HOF selected the HOFKON 5204K, their most powerful truss system of the HOFKON series. Featuring 60mm-thick connectors, this system ensures maximum load capacity.

With this project, HOF not only delivered a highly functional and technically advanced solution but also contributed to the future of architectural research and virtual space innovation in Switzerland.

www.h-of.de

The Science Museum

COMPANY: Unusual Rigging

LOCATION: London, UK

How do you get a 7.5-tonne sea turbine suspended on the second floor of London’s Science Museum? This was the task facing the team at Unusual Rigging when it was contracted to help bring to life the museum’s boldest permanent exhibition to date. Energy Revolution: The Adani Green Energy Gallery, explores the future of energy, technology, and climate change, with a dramatic centrepiece – the sea turbine.

Originally specified as a 1.5-tonne object, the turbine’s final weight presented a significant logistical and engineering challenge. With no goods lift available and disassembly not an option, the team was tasked with delivering the vast structure fully assembled and premounted — with zero margin for error. Unusual spent eight months planning a complex, multiphase lift operation, working closely with the museum’s curatorial and estates teams to ensure every detail was accounted for. A bespoke gantry crane was designed and fabricated specifically for the project, enabling the turbine to be hoisted externally up the side of the building. From there, it was floated with millimetre precision through a second-floor glass atrium and carefully landed onto a custom-built truss dolly. Once inside, a team of 20 carried out a coordinated manual move across the gallery floor – a process requiring close communication, careful choreography, and complete control. A secondary lifting frame was then installed to raise the turbine onto its final plinth, completing the installation safely and seamlessly. The entire operation was executed over four consecutive nights, with minimal site disruption and complete flexibility maintained throughout. Every phase was delivered with Unusual Rigging’s hallmark attention to detail, resulting in an installation that not only met the client’s expectations but exceeded them.

“This was a job where compromise simply wasn’t possible,” said Sam Carter, Senior Project Manager at Unusual Rigging. “The turbine had to be delivered fully intact – and the museum’s architecture offered no conventional access routes. We had to innovate at every step: designing from scratch, planning exhaustively, and executing with absolute precision. It’s a brilliant example of engineering and creativity coming together to realise the Science Museum’s vision.”

This flawless installation showcased precision engineering at its best, enabling one of the UK’s leading cultural institutions to tell the story of energy and climate innovation on a truly ambitious scale.

www.unusual.co.uk

Gladiators

COMPANY: LITEC

LOCATION: Sheffield, UK

Banbury-based Roadrunner Rigging, the company behind the design and provision of rigging structures and other essential elements for the rebooted iconic game show, Gladiators, worked closely with Area Four Industries UK on a set design incorporating various products from LITEC truss structures, to bring this show to life.

With a series of 11 episodes filmed in front of a live audience at Sheffield’s Utilita Arena, the show relies on the correct rigging, automation and manufacture of various scenic game elements not only for the safety of contestants, but also for visual impact. LITEC truss structures play a pivotal part in the design and construction of the new set design, managed by the team at Roadrunner Rigging, deployed in several of the key challenges including: ‘The Wall’, ‘The Eliminator’ and a new game called ‘The Edge’. LITEC QH30SA formed part of the scenic walls surrounding the two climbing walls, while the same product was also used for the finish gates in ‘The Eliminator’ – the final event

where contenders go head-to-head in the gruelling obstacle course spanning the whole arena floor. For ‘The Edge’ – an exciting new game featuring the gladiators chasing contenders on an elevated platform 9m above the arena floor – Roadrunner Rigging utilised LITEC QH40SA in the game base, owing to its good strength-to-weight ratio, while the Dado corner block system allowed standard truss lengths to be combined without changing the lengths of the sections. LITEC RL105A truss was used for the perimeter support for the catch net that sits under the game, with its very high strength for size and weight.

“LITEC was chosen to support the three key game areas due to the quality and flexibility of the products,” confirmed Damian Weymouth, Director at Roadrunner Rigging.

The re-vamp for the new series was led by Production Designer, Patrick Doherty, and show’s lighting design was managed by LD, Nigel Catmur. www.litectruss.com

National Theatre

COMPANY: EXE Technology

LOCATION: London, UK

London’s iconic National Theatre (NT) has made an additional investment in EXE Technology chain hoists, further strengthening its position as one of the most advanced and innovative theatrical institutions in the world. The NT has purchased additional 350Kg and 500Kg EXE Rise D8+ chain hoists to complement its extensive EXE hoist inventory as part of its ongoing upgrade and refurbishment programme, which has been taking place across the venue over the past few years. The new hoists are fitted with a custom hook attachment for ease and compatibility with the grids across the venues, matching the existing EXE hoist inventory as a vital technical pre-requisite for the theatre. The EXE Rise D8+ chain hoists are now an integral part of the National Theatre’s rigging infrastructure. This latest procurement enhances the theatre’s ability to manage increasingly complex productions and dynamic stage requirements.

Mike Rungen, the NT’s Lifting Operations Manager, commented: “At the NT, reliable and robust lifting equipment is essential to facilitate the demanding and constantly evolving requirements of productions across the organisation. With EXE Technology, we’re confident that the kit won’t let us down and that maintenance requirements are less likely to hold up operations.

“The frequency with which these assets are redeployed to create the next creative venture within our venues, means that form factor and manual handling considerations are key factors in sourcing. Our EXE Rise chain hoists are easier to handle than some others that we’ve used in the past and can fit within a smaller space, which allows greater flexibility in their use.

“We have a great relationship with Matt and the team at Area Four Industries who respond efficiently and knowledgeably to our needs and hope to collaborate further moving forward.”

The investment builds on a long-standing relationship between the National Theatre and Area Four Industries UK, partnering with EXE Technology. The National’s inventory includes 250Kg, 350Kg and 500Kg EXE Rise D8+ chain hoists, which have been instrumental in delivering smooth lifting operations on some of the venue’s most technically demanding shows across the three venues, which also include the Olivier and Dorfman Theatres. www.exetechnology.com

Citizens Theatre

COMPANY: Adlib

LOCATION: Glasgow, UK

Adlib recently completed the supply and installation of the stage engineering systems for the Citizens Theatre in Glasgow, which is due to reopen in August 2025, with a full season programme launching in September 2025.

The project saw Adlib working in partnership with architectural practice Bennetts Associates, specialist technical design consultancy Theatreplan, and KIER Construction, on the first comprehensive redevelopment of the iconic building since it began life as a working theatre in 1878.

The technical infrastructure has been designed to support more performances than ever before and to meet the needs of a new generation of modern theatre-makers. Adlib collaborated with delivery partners and manufacturers to provide a range of new and upgraded structures and capabilities – including a new counterweight flying system, updated motorised and fixed lighting positions throughout the auditorium, a rigid safety ‘iron’ curtain and an adaptive stage floor to accommodate diverse performance requirements.

The install included 42 new manual counterweighted linesets, which enable the venue technicians to suspend different theatrical items, such as lighting fixtures and show set pieces, and also allow scene changes in a performance by moving set pieces and cloths above the proscenium opening. The counterweight linesets have a capacity of 500kg, and were designed as a rear-guided system, to allow easy loading of the counterbalance weights for the venue technicians.

Counterweights

To complement the counterweight linesets, a series of motorised hoists are provided, to lift heavier items of equipment that do not need to be moved during a performance. Three of these sets are located in line with the counterweights, two in the middle of the stage and one at the rear. In addition, two linesets are located on the stage left side under the gallery, perpendicular to the stage linesets, and an additional two located on stage right. All these motorised hoists have a capacity of 500kg and include overload and underload sensing. A bespoke control is provided to enable a user-friendly operating experience.

The theatre also includes a rigid safety curtain, colloquially referred to as an ‘Iron’. This large engineering system is designed to isolate the stage area from the auditorium, to ensure the safe evacuation of the audience and backstage teams should a fire occur in the venue.

The safety curtain has smoke seal guides on each side of the steel framework and a bottom pad which will seal and restrict the movement of smoke when deployed. The system is counterbalanced, with a specialised motor to raise the curtain and open the proscenium.

Adlib constructed stage lighting perches on the downstage edge – one on stage left and one on stage right and split over two levels on each side. These perches included the construction of the platform, handrail and vertical access ladders with sprung loaded level access gates to allow easy and safe access to the lighting perches.

At the grid level above the stage, Adlib provided 10 rolling beams, which consist of a structural steelwork section, on custom rolling trolleys. These rolling beams enable a structural suspension point for chain hoists or other equipment to be suspended, to be located in a variety of positions on the stage. The rolling beams sit below the counterweight and winch pulleys, so space is provided to suspend chain hoists. Each rolling beam has a capacity of 500kg at any point along the beam.

The stage of the Citizens Theatre has a modular stage decking solution, consisting of a series of steel deck platforms. The deck platform sits on

a sub steelwork structure frame, with custom floor leg pots to locate the leg of each deck, ensuring a consistent repeatability each time the decks are removed and replaced. Facias are provided for the front edge of the platforms, and a bespoke stage decking lifting machine is provided to move the decks around and reduce the amount of manual handling the venue technicians are required to perform.

Further steel deck platforms are provided for the orchestra pit area, to infill when the orchestra pit is not in use. This includes custom shaped infill panels, step units for access, and pit edge handrails when the pit is in use to protect the audience from falling into the pit area.

The auditorium has motorised sets, which as the overstage hoists include a 500kg capacity, with ladder suspension bars, and adjustability to ensure the bars can be re-levelled as required. Integrated cable management has been provided, attached to the bars so that data and power connections could be provided on the motorised bars, without the need for large looms of visible cables being in view from the audience in the auditorium. The motorised winches have overload and underload sensing protection, and a bespoke control and touchscreen interface for operation.

Adlib also provided a series of fixed suspension bars in the auditorium, which include a curved circle lighting bar, two auditorium high level lighting bars and a rear auditorium lighting bar. These suspension bars enable lighting fixtures to be suspended in a variety of locations in the

auditorium, to tailor to the lighting designer’s requirements. The bars fit in with the architectural finish of the auditorium to avoid causing distraction for the audience.

A chandelier hoist was provided, in the form of a chain hoist, with custom steelwork bracketry, and an individual control system, which is used to suspend the main auditorium chain hoist. The hoist is suspended above the ceiling and so is obstructed from view, with only the chain protruding through the auditorium ceiling rose.

“Working with a Victorian theatre presents a unique set of challenges, and I’m proud of what we’ve achieved together across the wide-ranging teams involved in this project,” stated Mark Taylor, Applications Engineer and Project Manager, Adlib. “We’re looking forward to seeing how performers and audiences respond when the theatre opens later this year.”

Graham Sutherland, Technical Director, Citizens Theatre, added: “Adlib has been an outstanding partner throughout this complex and ambitious redevelopment. Their collaborative approach, technical expertise and attention to detail have been invaluable in helping us realise a modern, flexible stage infrastructure that meets the needs of today’s theatre-makers. What makes a truly great delivery partner is not just the ability to meet a brief, but to engage with the spirit of the project – and Adlib has done exactly that.” www.adlib.co.uk

Stargard Amphitheatre

COMPANY: GIS

LOCATION: Stargard, Poland

Stargard Amphitheatre recently underwent a comprehensive renovation, with GIS’ Polish entertainment partner, Lookban, playing a key role, installing a modern rigging system for the stage area, in which a total of 47 GIS electric chain hoists were used. Built in 1970 in the Polish city of Stargard, around 200km north-east of Berlin, the amphitheatre has been renovated and modernised in recent months, with the auditorium and stage redesigned in the process. With a capacity of 4,000 visitors, the cultural centre now offers a high-quality infrastructure for a wide variety of events and occasions. In addition to the GIS electric chain hoists, which were installed under the enlarged roof above the stage to lift and hold the trusses for the audio, video and lighting technology, Lookban also supplied and installed the trusses, stage fabrics and nets used, as well as the appropriate control system including control cabinet and cable material for the power and control connections. All chain hoists in the new rigging system, 47 in total, are designed in the D8+ version for holding loads above people. Various chain hoist types are used, from the smallest LPM250 for 250 kg to the LP1000 with a load capacity of 1000 kg. The LP1000 motors also have a load sensor for load measurement. Lookban worked on the project for around two months, and the completely renovated amphitheatre was officially opened on 21 June with the Stargard Festival. www.gis-ltd.co.uk

Riga Circus

COMPANY: GUIL

LOCATION: Riga, Latvia

Riga Circus, designed by the German architect Johann Friedrich Baumann, has been a landmark in the Latvian capital for nearly a century and a half since its construction in 1888. Built with the traditional round shape characteristic of circuses for hundreds of years, Riga circus has recently been the object of wideranging renovation work to incorporate more demanding safety requirements and greater spectator comfort, as well as allowing the building to be used for a wider range of activities.

GUIL contributed to the project with its distributor RJK of Riga, supplying more than 180 sq m of their TM300 stage deck platforms of various sizes and leg-heights, with safety rails, stairs and a large variety of rigging accessories and other staging elements.

GUIL manufactures five standard models of stage deck to satisfy customer requirements in any order, using 100% birch plywood boards with weight-bearing capacities from 750kg to 1,600kg per sq m, all tested to 1.95 times this maximum weight. While conserving the original structure and design, the renovation has reinforced the building, updated its technical facilities, and added improvements to the interior to allow the celebration of contemporary circus presentations and other artistic events. Riga Circus now houses not just classical circus productions, but also festivals, workshops and educational events that combine the more traditional circus arts with more inventive, present-day proposals. The project uses GUIL’s decks for staging, podiums, Sound Technician tables and risers, and in addition acquired storage trolleys for the decks.

The circus uses stage decks for all kinds of events and often requires special-sized or shaped platforms to provide the size or shape required. The circus has now taken on a new life as a cultural hub for the city and the whole country, and its reputation is spreading through Europe. www.guil.es

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Majales Open-Air Concert Series

COMPANY: TAF

LOCATION: Czech Republic

Held in four major cities across Czech Republic, the Majales Open-Air concert series draws huge crowds with performances by some of the country’s top artists, turning each location into a high-voltage celebration of freedom, fun, and fresh beginnings. Dealing with crowds this big and production this bold, only the strongest and most reliable structures will do, and ZL Production trusted TAF truss to deliver rock-solid support for every show. Each location where the Majales festival took place featured two massive stages – a POP stage and a RAP stage – with each support structure constructed with high-performance TAF truss. The POP stage spanned an impressive 45m by 13m by 12m, while the RAP stage pushed it even further at 50m by 15m by 15m. From roof to wings, TAF’s GS910

Super Beam and TT74 Super Heavy-duty truss provided the backbone for hanging heavy lights, booming speaker arrays, epic LED walls, and exciting pyrotechnics that lit up the night. Built to bear serious loads and long spans, TAF’s GS910 Super Beam truss features a fork connection system and high-strength construction. It boasts a distributed loading capacity up to 1,870 kg/m, point loading up to 7,514 kg, and spans up to 20m. Alongside it was TAF’s TT74 rectangle truss with quicklock connection system, which brought additional muscle, with a 32m span potential, 1,085 kg/m maximum distributed load capacity, and 3,122 kg maximum point load capacity. www.eu.taf.cz

Norwich University of Arts

COMPANY: Doughty Engineering

LOCATION: Norwich, UK

Duke Steet Riverside is a multipurpose building for the Norwich University of Arts. Standing tall by the waterfront, it sophisticated appearance is a strong presence in the city centre. Having opened in 2021, the building houses state-of-the-art teaching facilities, acting studios, 100 en-suite bedrooms for students, and a large production theatre. The Production Theatre can seat up to 300 people and is fully equipped with live streaming and recording facilities.

The seats in the Production Theatre are fully retractable, allowing extra space for rehearsals for NUA’s acting students. Doughty Engineering was the supplier of choice for Audio Light Systems when the company was contracted to kit out the Production Theatre and public event space at Norwich University of Arts (NUA).

Neil McLucas, project manager at Audio Light Systems explained:

“We were brought on board by NUA to supply and install cabling infrastructure with numerous facility panels, production lighting boxes, a bespoke truss/ hoist system, sound reinforcement and AV infrastructure, to allow for a multi-purpose space.”

Audio Light Systems has worked with the team at Doughty on several projects over the years and knew that Dan Phillips, Doughty’s special project manager, would understand the exact requirements of the project and deliver a workable solution.

Phillips commented: “Having been briefed by Audio Light Systems, we came up with a range of kit including all the facility panels, production

lighting boxes, backboxes and internally wired bars, combining some of our readily available off-the-shelf products with some bespoke items designed specifically for NUA.”

Unfortunately, due to the impact of the COVID-19 pandemic and current supply chain issues, the project experienced some delays.

McLucas explained: “Doughty did everything they could – back boxes, where free, were issued to the electrical contractor for install prior to our start date from Doughty.

“This has been an issue experienced by most contractors however, and there is sadly very little that can be done about it. Dan pulled out all the stops to make sure we had the kit we needed at the earliest possible opportunity.”

The completed venue is a space that can also be used by NUA as a lecture theatre, but with the added infrastructure installed by Audio Light, it now has the capabilities to be opened up to outside parties as a performance space.

“We have a very happy client who is thrilled with the benefits the new theatre has to offer, a first-class space for students to learn with the added benefits of bringing in venue by hiring the venue out to third parties,” McLucas concluded. “Once again Doughty equipped us with attractive, reliable and good quality items that will ensure the venue is used to its full potential.”

www.doughty-engineering.co.uk

IN BRIEF

Norwich’s historic Church of St. Peter Mancroft gets a Pharos Architectural Controls upgrade.

As part of a renovation to improve aesthetics and safety at Norwich’s Church of St. Peter Mancroft, Pharos Architectural Controls solutions were installed to enhance worship and improve its eco credentials.

The church, nearly 600 years old, needed an upgrade to highlight its architecture while accommodating various events. Lighting designers Enlightened Lighting created a scheme to strengthen worship and support concerts and exhibitions. To fulfil the control element of the scheme, Enlightened specified a system from Pharos.

Over 300 fully dimmable fixtures were installed – all with individual control using a Pharos Designer lighting control system.

The lighting design, focused on enhancing worship, includes scenes such as warming the lights for congregational singing and then cooling them for the sermon. The fixtures are strategically positioned to illuminate the church and highlight the hammer beam roof and ceiling bosses. The system also supports concerts by ensuring proper lighting for the choir and sanctuary.

The lighting design also had to consider the sensitivities of the Grade 1 listed medieval building. Custom-designed and manufactured plates were used to mount the lighting fixtures, minimising the need for fixings on the structure itself.

The ability to recall pre-programmed lighting scenes via the touchscreen on a Designer TPC (Touch Panel Controller) and three Designer BPS (Button Panel Station) interfaces provided user-friendly control.

The entire Pharos Designer system, installed to create the desired lighting control effects, comprises the TPC and BPS interfaces, plus a RIO (Remote Input Output) 44 device, all connected with Designer PoE (Power over Ethernet) network switches.

The new energy-efficient LED lighting has formed a crucial part of the net-zero project, working alongside solar panels, battery storage and new air-source heat pumps. The new lighting is expected to reduce electricity consumption by around 80%.  www.pharoscontrols.com

BEAUFORT BAR, THE SAVOY

LONDON / UK EMEA

Right: Four customised 24 carat gold leaf finished d&b audiotechnik 8S loudspeakers enhance the vibe at the Beaufort Bar.

The Beaufort Bar inside The Savoy is one of London’s most alluring locations and is open from Thursday to Saturday, with DJs playing long into the night while guests enjoy anything from imaginative cocktails, rare vintages and prestige spirits.

As the exclusive entertainment partner for The Savoy, Molto Music Group found that the existing sound system inside the Beaufort wasn’t cutting it, and sought to rectify this with a professional solution.

“As live music curators by programming musicians and DJs, we have found that a big emerging market is the supplying of talent to luxury and hospitality clients which includes everything needed for a night of entertainment – meaning the technology and backline,” explained Molto Music Group’s founder, Nicky Caulfield.

“We had started working with The Savoy six months prior to discussions surrounding the Beaufort Bar’s sound system. The bar had DJs performing prior to us working with them, and the hotel wanted to keep that concept, but in conversation with them we highlighted the opportunity to elevate the experience by upgrading the existing sound system, ensuring it meets the expectations of both audiences and artists, and aligns with the latest in professional audio.”

With a background as a drummer across the UK’s touring and West End theatre circuit, Caulfield was well aware of pro audio solutions and familiar with d&b audiotechnik, as it was a popular choice for production crews.

“We are a partnership driven company, and we have built it from the ground up to make ourselves – and our partners – stronger,” continued Caulfield. “After speaking to theatrical sound designers about this project I then reached out to d&b’s UK office to discuss the needs of the room, and invited them to assess the space.”

With a site visit conducted, the initial plans were drawn up, with Molto working closely with the d&b team to ensure that the right equipment was being specified for the space.

“Initially we thought that regular black loudspeakers would work within the room’s décor, which is predominantly black and gold,” said Caulfield, “but during the conversations with d&b I was thinking of how to elevate this project to the next level.

“I knew that d&b offer a custom solutions package, and I jokingly remarked about having gold loudspeakers. The team confirmed that it was possible, and everything moved on from there.”

The explorations continued, to the extent that it was decided to create a 24 carat gold leaf finish for the four 8S loudspeakers which are deployed in each of the four corners of the room.

“When you enter the room, the loudspeakers are quite prominent, and in hospitality the clients don’t necessarily like the idea of the

A newly installed d&b audiotechnik sound system with a customised 24 carat gold leaf finish complements the dramatic jet-black and gold décor, and brings a fresh audio perspective at the Beaufort Bar in The Savoy.

technology being overtly noticeable,” said Caulfield. “But this room is very powerful looking, and the loudspeakers complementing the décor in this manner has become a great USP for the venue.

“Technology like this is expensive, but it is a worthwhile investment, and this extra finishing touch took this project to the next level.”

The production process to make the gold leaf 8S speakers took eight weeks from the order being placed, as Marvin Denk, Product Manager Loudspeakers at d&b audiotechnik explained:

“This particular customer request for a gold leaf finish is a great example of how the d&b custom solutions team can tailor a product to the specific aesthetic requirement, no matter how particular or unique.

“We pride ourselves on always looking into fulfilling any customisation requests. We’re not limited by a pre-defined range of options, and instead will explore how to make a brief happen.

“For this project, the loudspeaker enclosure was primed and sanded before the gold leaf finish was applied. In case of standard colour coatings, the PCP or PU finishes are often kept as a preliminary finish, to conserve the typical texture of the cabinet. In cases where we work with partly transparent water-transfer dipping treatments, coloured priming beforehand is common,” continued Denk.

Carefully considered

“Gold leaf seems like an opaque material, but when tightly applied to a surface it changes, appearing more transparent. These are factors that must be carefully considered individually in every project, which requires material knowledge, experience, and often patience, and at d&b we’ve made a variety of custom requests a reality over the years, giving us a lot of experience to draw from.

“When we look at the loudspeaker market, most companies offer defined standard colour, most often black and white. In some cases, they may also offer a small selection of additional colours, and in rare cases a colour configurator.

“At d&b, we are convinced that a professional audio speaker deserves the highest level of versatility options to allow it to integrate fully into a venue. Usually this is carefully worked out and defined by interior designers and system integrators. In addition to working with colours, they also consider materials, surface textures, reflection characteristics and more. So, we think it is logical to give them the opportunity to let the sound system be a part of their artist vision.”

A completed artistic vision applies at the Beaufort, and Caulfield is delighted by the outcome.

“As soon as the speakers arrived we knew it was worth the wait,” he said. “The hotel team were keen to be a part of the unveiling, and it

Right: Four Bi8 subwoofers positioned in each corner supplement the 8S, with two E6 loudspeakers set up as DJ monitors.

was quite a moment when it came to getting them out of the box and installed in the room.”

The installation wasn’t without its challenges, as the Beaufort was already a functioning space and its decoration long completed. “The building is Grade II listed, but luckily there is nothing listed within that room,” said Caulfield. “I wouldn’t say it was fun to attach them to the ornate woodwork, but we remained in constant conversation with the hotel to ensure nothing was disturbed. Overall, it’s been a really rewarding job.

“The new professional audio has raised awareness among staff that solutions like this exist, and this project highlighted just how weak and unbalanced their previous sound system was. It’s been eye opening.”

The four gold leaf-finished 8S are supplemented by four Bi8 subwoofers in each corner, with two E6 loudspeakers set up as DJ monitors, and the system is powered by a pair of 5D amplifiers.

“It seems like a lot of speakers for a small room, but because there is now a much more even distribution of sound, and the speakers don’t need to be driven hard to get the required energy levels and ambiance,” said Caulfield.

“Using this project as a starting point, we hope to encourage other venues to invest in professional audio solutions that will last them a very long time.

“We have built a lot of trust with our partners, and we are doing our utmost to ensure that a client’s technological offerings match the level of entertainment that they host, and d&b have really helped amplify this with their level of involvement in this project.”

Markus Basset, Head of Bars at The Savoy, concluded: “The audio experience at the Beaufort Bar has always been central to the atmosphere we create for our guests. With the new sound system, we have elevated that experience to an entirely new level.

“The bespoke gold leaf design not only reflects the opulence and character of the bar, but also marks a unique collaboration between craftsmanship and cutting-edge technology. It’s become a talking point for both guests and professionals alike, and we’re proud to be the only venue in the country to feature this remarkable setup.”

TECHNICAL INFORMATION

AUDIO

4 x d&b audiotechnik 8S

2 x d&b audiotechnik E6

4 x d&b audiotechnik Bi8-SUB Subwoofer

3 x d&b audiotechnik 5D amplifiers

www.moltomusicgroup.com www.thesavoylondon.com

DAS CENTRAL

SÖLDEN, AUSTRIA EMEA

Wilderness Studios outfits an upscale venue with an equally stylish, flexible sound solution, in close collaboration with Adam Hall’s Integrated Systems division.

Located in the Tyrolean Alps, Das Central, a five-star hotel, prides itself on offering only the most sophisticated wellness treatments and entertainment options for its guests. Its promise to remain at the height of high-quality hospitality was reinforced when the venue recently underwent a major expansion, now including a new spa treatment area, a fitness room, an outdoor terrace space, a pool area, and perhaps the most attractive of its added offerings, the ‘Summit Skybar’.

As part of Das Central’s renovation, a bespoke audio system had to be installed. For the multi-zone sound system in the various indoor and outdoor areas, the integrator responsible, Wilderness Studios, turned to the Adam Hall group.

The installation team decided on a setup using products from the manufacturer’s LD Systems branch, with its QUESTRA design and management platform at the core.

Wilderness Studios and the Adam Hall Group have worked together before, though this project was of particular significance for both the manufacturer and integrator alike. Das Central’s sound makeover marked one of the latest venues to be equipped with solutions from the Adam Hall Integrated Systems set of offerings.

Adam Hall Integrated Systems is a ‘onestop shop’ that draws on the Adam Hall Group’s broad portfolio of different brands.

Members of the proAV industry facing large, multi-faceted installations can turn to Adam Hall Integrated Systems for a complete, comprehensive design that utilises products from various divisions under the Adam Hall Group umbrella.

The backbone of this new programme is what Adam Hall Integrated Systems calls ‘integrated solutions, not individual products.’

Expanding on this, Uli Golka, Technical Support Engineer, Adam Hall Integrated Systems for the DACH region, explained: “We are a market division of the Adam Hall Group, utilising the synergies that result from the interaction between the group’s proprietary

brands, LD Systems, Cameo, Palmer, Gravity, Adam Hall Cables, and Adam Hall 19’’ parts.

“Each sector develops its own products, but these are always manufactured as part of a bigger picture. For fixed AV installations, users need customised solutions for specific environments.

“With our cross-disciplinary portfolio, plus the QUESTRA design and management software as a central planning and control platform, we can meet these requirements in a highly targeted manner.”

The Hotel’s New Sound System

Florian Fellier, Co-CEO of Wilderness Studios, noted: “We have been working with the Adam Hall Group for many years in various areas, so it made sense to utilise their installation portfolio for this design. They have a lot of impressive products that are easy to set up and of high quality.”

Felix Brunhuber, Co-CEO of Wilderness, added: “Furthermore, we use a lot of Adam Hall gear in our HQ space, where, as well as being experienced integrators, we produce and write music, working with large international artists. Therefore, quality sound is of high importance to us.”

As the Das Central renewal began, Wilderness Studios was joined by Golka, who travelled in to support the project on site.

Brunhuber said, “Uli was of great help during this installation. He’s a great guy with a lot of expertise who helped us create the best solution possible for this hotel.”

The venue management had three main requirements for its sound system. It needed to be of excellent quality, aesthetically congruent with the classy furnishings of Das Central, and it needed to be easy to use.

Brunhuber explained: “The system was to be run by the hotel’s staff, who had no special technical training. Therefore, they wanted an almost fully automated system that allowed for volume and atmosphere alterations at the press of a button.”

The installation comprised a total of six audio zones, all of which were equipped

with various LD Systems series. For the indoor areas, the CURV 500 miniature arrays were chosen as standard, some of which were supplemented by CURV 500 I SUB subwoofers.

For the outdoor areas, the team opted for the installation of speakers from the LD Systems DQOR series, alongside units of its large STINGER loudspeakers and subs. Brunhuber stated: “We deployed STINGER products when considering what the venue would need to craft the correct vibe for a large party or DJ set.

“The subs were a crucial design feature, as they provide the powerful energy and punch essential for those types of events. Also, the STINGER systems are all on wheels, so if they’re not in use, they can be stored. The venue really appreciated this flexibility.”

The Wilderness Studios team also relied on the directional array dispersion of the LD Systems CURV 500 systems, which are used in the lobby. The product’s ability to carefully control sound turned out to be pivotal, Brunhuber revealed.

The outdoor terrace stands high up in the alpine site of Das Central. This means that there are essentially a lot of neighbours who could be disturbed. To manage this, the integrator and Golka worked closely to fine-tune the system to ensure that all audio was targeted wholly at the terrace.

Controlling the Solution

An LD Systems ZONE X 1208D DSP matrix acts as the signal centre for the individual audio zones. In the lobby, an LD Systems IPA 424 T installation amplifier with QUESTRA integration is used.

To ensure that hotel staff have access to all important parameters − volume, source selection, etc. – at all times, the system is controlled via LD Systems QTP 8 touch panels with a customised QUESTRA user interface.

Golka said: “QUESTRA is the heart and brain of an Adam Hall Integrated Systems installation solution. The QUESTRA app can be used to create customised user interfaces for end users so that they can intuitively access the features via touch panels. This is what particularly impressed Wilderness Studios and also the hotel staffhow easy it is to configure the user panels and integrate them into everyday working routines.”

Using QUESTRA, a programme has been set up that allows the audio systems of each area to sync up, so the spaces can be utilised as one larger event area. Brunhuber said, “This way, the hotel can link the terrace and the Summit Skybar to create an idyllic wedding venue.”

He remarked that the Wilderness Studios crew viewed the outcome of the Das Central project as a success, noting that they had built a powerful multi-zone sound system. “We’re happy, but more importantly, the hotel is happy.”

“This project was only made possible through the combination of the custom offerings provided by Adam Hall’s Integrated Systems division, along with our experience as a high-end acoustic and recording facility,” the installer added.

Previous page: Das Central’s pool terrace is fitted with LD Systems DQOR series of installation loudspeakers.

Photo: Rudi Wyhlidal.

Left: One of Das Central’s many indoor dining areas.

Photo: Wilderness Studios.

TECHNICAL INFORMATION

AUDIO

24 x LD Systems CURV 500 S2

6 × LD Systems CURV 500 S2 W

5 x LD Systems CURV 500 I SUB 10

2 × LD Systems CURV 500 I SUB W 10

4 × LD Systems CURV 500 I

2 × LD Systems STINGER 15A G3

2 x LD Systems STINGER SUB 15 G3

16 x LD Systems DQOR 8

5 x LD Systems DQOR 8 T

2 × LD Systems IPA 424 T

1 × LD Systems DSP 44 K

1 × LD Systems DSP 45 K

CONTROL AND MIXING

LD Systems QUESTRA design and management software

2 x LD Systems QTP 8 QUESTRA

1 x LD Systems ZONE X 1208

2 x LD Systems X-EDAI Ethernet control expansion card for IPA

424 T

www.wilderness-studios.com www.adamhall.com/integrated-systems www.ld-systems.com

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IN BRIEF

The Corum Congress Centre makes a large investment in Robe

The Corum Congress Centre in Montpellier hosts over 300 professional events each year, including congresses, exhibitions, corporate events, conventions, and even live performances. It is managed by Montpellier Events, who encouraged the space to choose Robe products for their lighting refurbishment project. Equipped with three auditoriums – Berlioz Opera, Pasteur and Einstein – the venue has invested in Robe’s moving lights. In total, 46 of the manufacturer’s T1 Profiles, 20 T1 Fresnels, 12 ESPRITES and 10 FORTES were supplied by Texen, a specialist in production technology integration and sales.

The 12 ESPRITES are permanently installed on the advanced catwalk of the 1995-capacity Berlioz Opera auditorium. They throw light over a distance of approximately 30m to the stage and are used for front and key lighting. In the Pasteur auditorium 18 of the T1 Profiles are installed, while the remaining units are deployed on stage as needed.

Christophe Mora, Lighting Manager at The Corum, carried out this mission alongside Philippe Pujol, another of the venue’s lighting experts.

Sandra Vernier, CEO of Montpellier Events, trusted Mora, Pujol, and the team’s expertise to recommend the most suitable fixtures for the venue’s needs, as Mora explained: “Robe stood out for its low noise levels and excellent colour mixing, which drove our decision. Additionally, we were impressed by the zoom range and the smoothness of the dimming curves.

“It was a decision based on technical merit. These fixtures proved to be the best fit for our needs.”

Nicolas Bellini, Sales Director at Texen, concluded: “The Corum Congress Centre – Berlioz Opera is one of the most important venues in Montpellier and the region. It’s an exceptional showcase for us – and for Robe.” www.robe.cz

OUR STORY WITH DAVID ATTENBOROUGH

LONDON / UK EMEA

A prominent museum becomes the site of a new immersive experience, telling the story of the birth and subsequent existence of humanity, utilising a sophisticated audiovisual design including 50 loudspeakers and 17 projectors.

“Life has a superpower – the ability to evolve,” narrates renowned broadcaster and naturalist Sir David Attenborough, his voice guiding audiences through the Jerwood Gallery inside London’s Natural History Museum. While Attenborough is best known for telling stories through film or television, his most recent venture, Our Story with David Attenborough, produced by Open Planet Studios, delivers its message through an immersive experience.

With immersive spaces surging in popularity, Our Story distinguishes itself thanks in part to its poignant subject matter. Using a total of 50 speakers and 17 projectors, the four walls and floor of the Jerwood Gallery are transformed for 50 minutes, as Attenborough reflects on the Earth’s more than four-billion-year history.

Audiences are taken on a 360° journey through human evolution, reflecting on both the positive and, arguably more importantly, the negative impact of humans on our planet.

Having produced a great deal of environmentally focused documentaries, Open Planet Studios had a wealth of archived footage to draw from that would help portray a broad view of Earth within the experience. On the organisation’s motivation to create Our Story, Victoria Bromley, Producer and Director at Open Planet Studios, said:

“There has never been a more important moment to be talking about Earth’s future and our place in it. At Open Planet Studios, we know that telling provocative, exciting, and hopeful stories can create positive change, and we need to be telling these stories in every possible space and to all audiences.

“The immersive market has really exploded in the past few years, and we were excited by the idea of bringing powerful storytelling into this exciting and creative space.”

To realise their sound and projection-based immersive vision of Our Story, Open Planet Studios needed to recruit teams to design and deploy suitable audiovisual systems.

A Visual Solution

Technology and creative production team, Bild Studios, was among the earliest brought onto the project. Lauren Rogers, Head of Production at Bild Studios, observed: “There are two things that make a successful experience – one is the content and story being strong, and the other

is the installation being technologically sound. Open Planet Studios approached us early on with the fantastic concept and sought our guidance on how to bring their vision to life. From that point forward, we became an integral part of the team, offering production support throughout the process,” she continued.

“We helped shape the broader delivery team and facilitated introductions to key creative partners, including Video Content Designer Luke Halls and FOH and Interior Designer, Chris Pearson.

One of Bild Studios’ greatest strengths lies in our dual expertise – both creative and technical. With immersive projects, we know that striking the right balance between these two elements is essential for success.”

Rogers explained the early stage of the project involved Bild and Open Planet completing in-depth research into other, similar immersive installations, to figure out what worked and what didn’t. One of Bild’s largest responsibilities within the project became to design and then integrate a projection and media server solution that would target the entire experience space.

“Everything started to come together when we decided on the location,” Rogers continued. “Once we had firmly established that Our Story would take place in the Natural History Museum’s Jerwood Gallery, we were able to start understanding the constraints of the building, the installation necessities, and what equipment would be an appropriate fit.”

Bromley added: “The venue sets Our Story apart from other immersive storytelling experiences. Visitors to the Natural History

Museum arrive in a different state of mind than to a cinema or other event space - open to learning and to big ideas.”

The Jerwood Gallery is a Grade II* listed building, meaning the planning phase was not without its challenges. Jamie Sunter, Technical Director at Bild Studios, noted: “We knew we had to hang projectors from somewhere, but the venue’s listed status meant that we couldn’t fix anything to the walls or the ceiling.”

Instead, Star Rigging was brought onto the project, assisting the Bild team in designing a large mother grid, which Sunter described as “a room inside the room,” to deploy equipment from. “It was easier to simply create a new structure inside the gallery, rather than trying to install straight onto the architecture,” he added.

After receiving a 3D model of the venue, they used Disguise Mapping Matter software to previsualise and optimise projector placement. “We use this in most of our integrations,” Sunter revealed.

Ultimately, 17 Epson EB-PU2220B projectors were specified. Eight of these were fitted with ELPX02S lenses, and the remaining nine with ELPLU03S lenses. These are run by 18 Hive Media Control media servers, alongside one Hive Nucleus and one BeeHive.

The EB-PU2220B was chosen for its ultrashort throw capabilities. “We wanted our solution to allow audiences to stand as close to the walls or floor as possible without creating a shadow or interrupting the visuals,” Sunter explained.

“When you see your own shadow in an immersive experience, it can really take you out of it!” He also mentioned that the

TECHNICAL INFORMATION

VISUAL:

17 x Epson EB-PU2220B projectors

8 x Epson ELPLX02S lenses

9 x Epson ELPLU03S lenses

AUDIO:

16 x EM Acoustics EMS-51X

12 x EM Acoustics R8

14 x EM Acoustics EMS-41

6 x EM Acoustics S-18

CONTROL:

18 x Hive Media Control Media Servers

1 x Hive Media Control BeeHive

1 x Hive Media Control Nucleus

1 x TiMax SoundHub

Q-SYS Control

LIGHTING:

21 x Luxibel BPAR180RGBW V2

PREPRODUCTION:

1 x Disguise Mapping Matter

www.openplanetstudios.uk www.bildstudios.com www.raven.london

Below: Our Story with David Attenborough, produced by Open Planet Studios, delivers its message through an immersive experience.

smaller body and quiet operation of these projectors were key factors in decision making, again to maintain the visuals, and also to reduce audio disruption.

Rogers stated: “Creating a multisensory experience is all about balancing the ‘push and pull’ of various audiovisual elements. Initially, the ambient noise from our projectors was too strong, making it difficult for the audio team to clearly hear the dynamics of the dramatic score – its peaks and troughs were being lost.”

It was determined that the Epson equipment would need to operate in quiet mode. “This might seem like an easy solution,” Rogers continued, “but we had our concerns. There was a real possibility that this decision could compromise the visual fidelity of the content. These sorts of processes are about experimenting to find that ‘sweet spot’ that is suitable for all elements of the project.

“I believe we managed to achieve this middle ground; the visual fidelity looks fantastic, both in terms of the content and the brightness of the room.”

Audio Integration

Rogers revealed that there was a great number of individuals invested in the success of Our Story. Another key contributor to the delivery was Raven AV, who completed a sophisticated sound installation for the experience.

Rogers noted: “We’ve been collaborating with Dan Roncoroni, Managing Director at Raven AV, and his team for several years. It’s a strong, trusted relationship; Raven supports us on many of our projects. So, as soon as we entered the ideation phase, we brought them on board.”

When asked what he took from the concept of Our Story, Roncoroni explained: “This experience is about bringing together the world of the natural and the technical and trying to create a digestible story for audiences of any age. The museum receives visitors of all nationalities and ages, so it needs to work and be relevant to everyone. Through technology, Raven AV helped to tell the story of how humankind has engaged with the planet throughout history.”

The Raven AV team has a background in theatre, venue design, and spatial audio, all of which were of great help in bringing together this immersive piece. Roncoroni detailed how they were tasked with

creating a sound system that could be “as hidden and behind the scenes as possible,” to avoid disrupting the projections.

Jerwood Gallery is almost cathedral-like in its architecture. Though this looks magnificent, from an acoustic perspective, this meant that Raven AV had to tackle a lot of reverberation.

The listed status of the building, alongside fire regulations, forced the sound integrators to get inventive with acoustic treatment. “Instead of one big audio-dampening win, we had to concentrate on achieving multiple smaller, yet still impactful, victories,” Roncoroni explained. “Consequently, we deployed heavy draping across the room, and even things like the pillows on the benches across the space were a clever final addition to further try to control the sound.”

The complex architecture of Jerwood was further quelled by intelligent hardware placement. With the majority of the speakers hidden behind fully treated panels, both the visual and audio needs of Our Story were met. “You walk into the gallery and you can’t see a single loudspeaker, but it still sounds great,” Roncoroni added.

“We love to come into these sorts of projects to provide spatial, 360° audio, preferably without the audience even knowing there are any speakers there!”

An EM Acoustics-based solution was chosen for the experience, with 16 EMS-51X speakers deployed at mid-height and 12 new R8s above. Overhead, 14 EMS-41 speakers were integrated, picked for the model’s discreet build. These are supported by three pairs of S-18 subwoofers, running alongside the ‘spine’ of the mother grid.

Show control is led by Q-SYS, and TiMax’s SoundHub handles spatial audio processing. Having a strong relationship with TiMax and an in-depth understanding of its software, Raven AV utilised the programme to craft an easy-to-use application that the Natural History Museum’s staff can control the show from, if the automatic cues ever fail.

“We focused on implementing high-quality, reliable systems,” Roncoroni commented. “As well as this being such an important and significant experience, Attenborough has such a well-known voice, so even the untrained ear would immediately be able to tell if the sound was off.”

Sustainability was also a crucial characteristic of Raven AV’s design. Environmental conservation and man-made damage of the earth are

such critical parts of the show; Roncoroni wanted his chosen solutions to reflect this concern. “If you can’t tell by our name, we’re a team that deeply cares about nature,” he remarked. EM Acoustics’ offerings fit this brief, with the company’s manufacturing and research all completed in Surrey, which is a proportionately short distance from London, the home of Our Story. Further, TiMax’s office is located relatively close to the Natural History Museum, making the control solutions reliably sustainable, too.

The Experience

Visitors are now welcome to the Our Story with David Attenborough experience. The immersive spatial audio and visuals are perhaps showcased best during a significant moment when archival footage of a gorilla is projected, with accompanying sounds shifting in real time to follow its movement.

Bromley stated: “With Our Story, we wanted to bring a strong, cohesive narrative to an immersive experience, and we had one of the world’s best storytellers, Sir David, to guide us! While some recent immersives have moved in this direction, I think this show distinguishes itself by having a clear beginning, middle, and end, and a message to share.

“It’s been a pleasure to watch different people react to the show, from six-month-old babies fixated by the images, to a six-year-old jumping on the lights on the floor, to adults wiping their eyes and smiling as Sir David delivers his powerful reflections.”

Roncoroni said: “I think Our Story is a really successful bit of storytelling – especially in this relatively new medium of immersive experiences.”

This show envisions a future where humanity overcomes its largest challenges and lives in greater harmony with the planet, encouraging audiences to take meaningful steps toward making that vision a reality.” Bromley concluded: “We hope the combination of the visuals, music, and sound design inspires powerful emotions.

“Research is showing that by eliciting a sense of awe, immersive experiences can inspire environmental action more effectively than traditional media. With this project, we are telling an epic tale, where Sir David invites us to help write the next chapter in our story and the Earth’s story.”

Project Credits:

Produced by Open Planet Studios in partnership with the Natural History Museum

Production Management and Principal Contractor: Bild Studios

Projection Solution and Video Programming: Bild Studios

Video Content Design: Luke Halls Studio

Audio Design and Installation: Raven AV

Lighting Design and Installation: Full Production

Front of House and Interior design: The Experience Machine

Rigging Design and Installation: Star Events Group

Scenic Design and Construction: Firecracker Works

IN BRIEF

HOFtheater in the Netherlands transitions to LED, ushering in a new era with Elation Lighting

The HOFtheater, a prominent cultural venue in the Dutch town of Raalte, has taken a major step towards the future by investing in cutting-edge LED lighting technology from Elation. The investment, facilitated through Elation’s Dutch distributor, Rolight, has elevated the theatre’s creative capabilities and opened up new possibilities for both artists and technicians.

After an extensive search to find lighting that met the venue’s high standards for quality, versatility, and energy efficiency, the HOFtheater selected a combination of 24 Elation KL PROFILE FC ellipsoidals, 16 FUZE PROFILE moving heads, and 24 KL PAR FC.

The new fixtures are now providing high-quality overhead, front, and backlighting for performances, offering a substantial upgrade from the theatre’s previous conventional halogen fixtures, some of which dated back as far as 1965. The integration of RGBMA LED engines

across all three fixtures ensures consistent output and colour matching, creating a visually cohesive lighting system, while the beam manipulation options allow for more precise illumination. Additionally, technicians no longer need to climb up on a ladder to change colour filters or swap out lens tubes, and the system consumes much less power than the old system.

Hans Blokpoel, Head Technician at the HOFtheater, who has worked at the venue for over 30 years, explained the benefits of the new system: “The more we use it, the more we see the possibilities. The lights are quiet, user-friendly, and the output is outstanding. We no longer need to change color filters or purchase new lens tubes, and the reduced power consumption is a huge cost-saving. We’re thrilled with the results.”

www.elationlighting.eu

UNDERBANK

STOCKPORT / UK EMEA

A custom VOID Acoustics set-up grants an old bank a second life in the launch of this quirky bar and social space.

Within the UK, Stockport is perhaps best known for its unique musical legacy. Legendary names like 10cc, Joy Division, Inspiral Carpets, and New Order produced some of their greatest hits in the town’s recording facility, Strawberry Studios, a building that today is home to the MONDO-DR office.

Therefore, when Des and Nina O’Malley took over a disused bank in the area’s underbank, they set out to create a venue that would honour Stockport’s rich history of sound and encourage residents from all over the Greater Manchester region to do the same.

Aptly named Underbank, this new spot is the town’s first beer hall and margarita bar and will host all manner of DJ sets, live bands, and the like. To support this, a flexible and robust audio solution needed to be integrated – which is when Hollowsphere AV, an installer well-known in the area, entered the project. A business that has continued to steadily grow over the past few years, Hollowsphere AV is a team made up of people with experience in DJing, graphic design, tour management, and all manner of musical instruments. Adrian Ball, Director of Hollowsphere, commented: “Everyone’s been in theatre or sound. This means we are really passionate about the work that we do.”

Underbank was created with a clear atmospheric goal in mind. Des and Nina O’Malley explained to Hollowsphere that they wanted to build a vibrant place where people could have a beer or a cocktail whilst dance music and DJs played, but also somewhere that could, albeit less frequently, be transformed into a more relaxed venue for a casual bar vibe.

Ball added: “They needed to be able to ramp the sound system up for a dance event, which will be a huge selling point for Underbank, or tone it down for calmer evenings.”

Consequently, Hollowsphere chose to base their solution around VOID Acoustics’ offerings, which Ball says he thinks are “built for dance music but work great for all genres.”

He added: “You’ve always got to pick the right products for the right application. Simple. It varies from project to project – for Underbank, VOID Acoustics really fit our needs.”

Figuring out placement for this equipment, however, was not completely straightforward. Being an old bank means that the building was not constructed with sound in mind.

The space is unconventionally structured, with the stage sitting at the tail end of an L-shaped room. Hollowsphere AV had to ensure that audio did not get trapped in this corner, creating a large dead zone throughout the rest of the venue.

Two of VOID Acoustics’ Venu 12 speakers were horizontally mounted, pointing out of the corner and towards the audience. Then, five Venu 6 were deployed in the quieter areas, products

TECHNICAL INFORMATION

AUDIO

2 x VOID Acoustics Venu 12 speakers

5 x VOID Acoustics Venu 6 V2 speakers

2 x VOID Acoustics Venu 212 V2 subwoofers

1 x VOID Acoustics Bias Q1.5+ amplifier

1 x Powersoft Duecanali 4804 DSP amplifier

1 x Cloud Electronics CX242 mixer

www.hollowsphere.org

that Ball called “highly efficient smaller boxes with a great output.”

With french windows covering one side of the building, Hollowsphere was conscious that if the audio’s volume got too loud, neighbours may complain. To account for this, the smaller Venu 6 was integrated near the feature, compact enough not to cause environmental disturbance, but powerful enough so that there could be concise sound throughout Underbank.

Ball continued: “When it came to fitting subwoofers, we needed to fabricate a bespoke set-up, as we wanted to put some under the stage, where there was not much room.”

Hollowsphere AV picked the flatter, highly compact Venu 212 V2 subs, installing them beneath the platform, before fabricating a breezeblock structure to place alongside it, to, as Ball said, “give the subwoofers something to push against.”

He added: “The subs are hidden behind a custom-made grill, which makes everything really neat. We deployed them to the left of the stage, the furthest away from the corner, so that the sound energy travels to the middle of the room where the crowd will collect. It sounds incredible.

“It also helps to lure the audience over to the stage by creating almost a path

of audio. The music is everywhere throughout the venue, though – there are no dead zones.”

The solution is powered by one VOID Acoustics Bias Q1.5+ amp alongside one Powersoft Duecanali 4804 DSP.

This is all controlled by a Cloud Electronics CX242 mixer, which the owners can easily operate from behind the bar.

The initial integration is complete, though Underbank and Hollowsphere’s relationship is far from over. In later phases, the building will be extended, and will eventually have a rooftop bar, to be similarly fitted with quality sound solutions.

With a noticeable number of Greater Manchester’s music venues closing within the last year, new spaces like Underbank are a great sign that the renowned nightlife industry in the Northwest of England will live on.

Ball concluded: “Stockport’s incredible musical heritage means that it’s always been an artsy hub, but it’s only more recently that people are starting to catch wind of it. Attractive independent venues are on the rise, and the town is growing massively from what it has been over the past decade or so. Something in the area has been kickstarted, and I’m excited that Underbank is a part of it.”

DRENTS MUSEUM

DRENTHE / THE NETHERLANDS EMEA

An impressive new permanent exhibition is brought to life by systems integrator Ata Tech with a comprehensive AV package from Pharos Architectural Controls and audio specialists Genelec.

The Drents Museum is a renowned museum specialising in both archaeology and contemporary art with an impressive collection ranging from prehistoric artifacts to modern installations, with a strong focus on the cultural history of the region of Drenthe in The Netherlands.

The museum is particularly well-known for its exhibitions that combine historical artifacts with innovative displays.

The latest permanent exhibition, Labyrinthia, was designed to explore the concept of labyrinths in art, culture, and history.

This exhibition blends physical and digital experiences and emerged as part of the museum’s ongoing efforts to create immersive, interactive experiences that engage visitors in new and exciting ways.

The integration of AV technologies, including projections and soundscapes, creates a dynamic and captivating environment where visitors can experience the exhibition in a more sensory manner.

The exhibition comprises 15 rooms that create a labyrinth of interactive storytelling, revitalising the northeastern province of Drenthe in the Netherlands.

Visitors experience an array of unique interactive adventures, from a mammoth hunt to a farmer’s wedding.

The challenge in the Labyrinthia project was implementing a soundscape throughout the museum while ensuring the audio synchronised seamlessly with the lighting in each room.

Additionally, museum hosts and tour guides needed to easily mute the sound in each exhibition space during guided tours.

To achieve this, the show control capabilities of Pharos Designer LPC (Lighting Playback Controller) were utilised, and an interface to handle the complex lighting and sound requirements for the exhibition was created, which includes a full universe of DMX-patched lighting fixtures, as well as control of other AV devices. This enables tour guides to manage the audio effortlessly via a phone or tablet.

A monitoring system was also installed, allowing Ata Tech to remotely check the functionality of the lighting and audio system.

The system can be monitored globally via Pharos Cloud, enhancing maintenance efficiency and reliability from a single remote management solution.

Ata Tech chose Genelec’s 4430A Smart IP installation loudspeakers in combination with 8000-202 Short Ceiling Mount ball joints for the project.

“Genelec Smart IP loudspeakers support Dante, a network protocol that enables audio to be easily transmitted over a network,” said Ata Tech General Manager Tom Aarts. “This provides a versatile platform where different brands and systems can seamlessly work together.

“Additionally, Genelec offers high sound quality and reliability, which are essential for creating a consistent and immersive experience within the museum.

“The system is easy to integrate, provides flexible audio settings, and can be remotely monitored, simplifying maintenance, which makes Genelec an excellent fit with our vision of effectively managing museum systems on a global scale.”

The additional flexibility provided by Pharos

Left: The integration of Pharos Architectural Controls with Genelec allows the various technologies at the Drents Museum to be combined in a flexible and efficient way.

Cloud enables both Ata Tech and the team at the museum to respond quickly to any programming changes or new requirements that arise, without the need for physical intervention.

Not only does this ensure optimal operation of all systems, but does so in a way that is user-friendly, allowing museum staff to easily manage the various systems through an intuitive interface.

The choice of Pharos Architectural Controls and its seamless integration with Genelec allows the various technologies at the Drents Museum to be combined in a flexible and efficient way, contributing to a dynamic and immersive experience for visitors.

The integration between systems has created something very special at Drents Museum and demonstrates perfectly the continued versatility of Pharos controllers.

These advanced technologies from Pharos and Genelec were utilised to create the interactive soundscapes that also enable guests to participate in games such as spear throwing and canoeing.

“The feedback from the client and from visitors alike has been fantastic and we are thrilled to see the exhibitions in action; entertaining, engaging and educating guests that visit the museum.

“The choice of Pharos and its integration with Genelec allows the technologies at the Drents Museum to be combined in a flexible and efficient way, contributing to a dynamic and immersive experience for the visitors,” concluded Aarts.

PROJECT CREDITS:

Systems Integrator: Ata Tech B.V.

Audio Specialists: Genelec

Lighting Controls: Pharos Architectural Controls

Designer: NorthernLight

Exhibit Builder: Bruns

Interactives: YIPP

Content: WIRTZ Film & Experience Agency

www.ata-tech.nl

THE OCEANOGRAPHIC MUSEUM

MONACO EMEA

The newly opened ‘Mediterranean 2050’ exhibition takes visitors on an underwater journey with a spectacular projection mapped immersive room designed to engage and inspire.

Photos: Frederic Pacorel.

Opened in 1910, The Oceanographic Museum in Monaco has a long history of holding exhibitions with a focus on oceanic life and how to project it. With an average of 650,000 visitors a year, the museum holds temporary exhibitions that are open for a minimum of two years. Its latest multi-year exhibition premiered earlier this year with the goal to raise awareness and inspire action, as ‘Mediterranean 2050’ allows visitors the opportunity to explore the neighbouring sea.

The four-zoned exhibition highlights the Mediterranean’s past and gives an idealised vision of its future – in the heart of a Marine Protected Area teeming with life – all on the proviso that correct decisions are made today. The third of its four themed spaces is the Oceano Odyssey zone, which was specifically designed and integrated for this exhibition, and features a 16-minute video set across 310 sq m of projection surface.

“For Oceano Odyssey, we wanted it to be a sensory experience and touch people’s emotions through a journey of what life will be like in the Med in 2050,” said Eva Muller, Exhibition Project Manager at the Oceanographic Institute. “The video content begins on the surface and is set from the point of view of being inside an underwater vessel, and then it dives into the water to explore the habitat and species.”

Unlike the museum’s last immersive exhibition, which focussed on the world of the coral reefs, the Oceano Odyssey room brings the building’s architecture into view.

“The previous exhibition was an immersive exhibition with 10m walls with projection mapping on the floor and wall surfaces,” said Muller, “but for this project, the design concept by Artisans d’idées which revealed the room’s décor and architecture really stood out to us.”

Having won the tender for the project, Youenn Le Guen, CEO of Marseille-based creative agency Artisans d’Idées, got to work, and admitted to spending around 70% of the budget on the digital technology at the heart of the exhibit.

“As specialists in creating exhibition design, producing content and installing equipment, we offer a turnkey solution for projects such as this,” said Le Guen.

“THE ONLY DIFFICULTY WE FACED WAS SETTING UP SOME OF THE PROJECTORS IN THE CEILING, BECAUSE THERE WERE MANY CONSTRAINTS –INCLUDING THE SKELETONS OF SEA CREATURES WHICH FORM PART OF THE MUSEUM’S REGULAR DISPLAY INFRASTRUCTURE”

“In the past we had produced what are now typical immersive exhibitions with 360° projection mapping in a four-sided room with high walls, and we could have implemented something similar here, however I felt that it would be better to try and utilise this room’s beautiful architecture and features.

“There are a lot of constraints in the room, but we knew that we wouldn’t need a huge number of projectors, and so we looked at the creation of specific scenography that fit with the room, and look at it as if the room was a submarine vessel.”

Le Guen chose projection over LED screens to make the exhibition as artistically impactful as possible. A total of 27 Epson projectors are set up, with each one individually connected to a BrightSign HD1025 Digital Signage Player to store and drive content.

“We chose two different models of Epson 4K projectors on the basis of their brightness,” said Le Guen. “Downstairs we setup rear projection onto screens which were custom ordered from Paris-based SAS Demospec.

“This required projectors with shorter lenses, so here we placed 12 Epson EB-PU1008 projectors, each with an ELPLX01S short throw lens.

“Using rear projection doesn’t allow for too much light to pass through the surface which keeps the audience in a relatively dark environment so they can enjoy the visuals, and the room’s architecture.

“We tried and tested a lot of different screens, because some work better than others in different applications, and thankfully we had the time and resources to do this for the benefit of the project.”

Upstairs, the projection surfaces are larger and the distance is longer, which required more brightness, so 15 Epson EBPU2010 are deployed.

“The only real difficultly we faced was setting up some of the projectors in the ceiling, because there were many constraints – including the skeletons of sea creatures which form part of the museum’s regular display infrastructure,” said Le Guen. “We had to work around them, which was time consuming, and also supplying the power cables to

them as discreetly as possible was also a challenge.

“The set-up took some time, but it was worth it. The show control is run through a Medialon programme in a custom built PC.”

The projection surfaces on the upper level are customshaped plywood, which was required to block the light coming through the windows. These were then painted white to reveal the brightness from the projected content. Meticulous work went into creating the content, with Institute staff collaborating with Le Guen’s team to make the movement of sea creatures in the content as accurate as possible.

“The project took around one and a half years to come to fruition,” said Muller. “It was very labour intensive as we worked together to make the behaviour and movement of the species in the content ultra realistic, it was a really strong collaboration.”

Complementing the video content is a specifically designed audio soundtrack, which Le Guen made using REAPER audio software.

“It was important that we could play with the sound to enhance the whole experience,” said Le Guen. “We set up 24 Frenetik Spik 3 loudspeakers around the perimeter of the room, at roughly 3m intervals. These are hung from the underside of the upper level, so only provide audio for the people on the ground floor. Six Alto TX212s powered subwoofers to add more weight to the experience.

“What was interesting for us was to use speakers that are PoE, with no need for a power input. This was important for us during the installation because it is one less cable to be concerned with. We have used these loudspeakers in other exhibitions and have always been happy with them, and their Dante compatibility made it easy for DSP.”

The whole exhibition is teeming with interactivity, and the first of its four zones is the Oceanmania hall located on the first floor. The focal point here is a 4m sculpture of a sperm whale, which serves as a canvas for interactive projection triggered by visitor movement.

Creative studio Dreamed By Us was entrusted with the artistic direction of this space, and partnered with

audiovisual provider ID Scènes to install the sculpture.

To meet the challenges of this technically complex setup, ID Scènes deployed four Epson projectors, all powered by the Modulo Kinetic media server platform from Modulo Pi.

One Kinetic Designer workstation and one V-Node server with six outputs manage the content and real-time interactivity.

The video mapping on the sculpture was achieved by importing the 3D model of the cachalot into the Kinetic Designer interface. “The whale’s highly detailed shape required a hybrid approach, using partial 3D calibration followed by manual warping to achieve a perfect alignment,” explained Quentin Grêlé, Visual Designer at ID Scènes.

Interactivity is based on Hokuyo LiDAR sensors integrated into the base of the cachalot sculpture. The base is divided into seven zones, each physically equipped with a UST-10LX LiDAR and associated with a specific theme.

Utilising Modulo Kinetic’s support for Hokuyo LiDARs, when a visitor steps into one of the detection zones, the content linked to the corresponding theme is automatically triggered and projected onto the sculpture.

Once a theme is activated, it is locked until the end of its playback. Only wave-like effects can be triggered simultaneously to ensure a smooth and coherent experience.

Modulo Kinetic also handles additional layers of interactivity in the installation, all based on visitor movement, triggering animated particles that simulate foam, spatialised sound effects, and the display of short texts and key figures about the Mediterranean’s history.

The system is fully automated and customised for the museum’s team, with Modulo Kinetic’s show control tools allowing for the management of sequencing and settings via a control panel - powering the video projectors on and off, switching between thematic media, and background ambiance, and more.

For Muller and the staff at the Institute, the exhibition has been a massive success.

“The feedback from visitors so far has been excellent, with many people saying they got goosebumps watching the video,” said Muller. “As a major section of the ‘Mediterranean 2050’ exhibition, it serves its purpose superbly before visitors move into the final room. Here they are faced with an interactive space which helps them to understand how to act and protect a Marine Protected Area, and help shape the future of the oceans, and also highlights the roles of companies and politicians too.”

TECHNICAL INFORMATION

(Oceano Odyssey room)

VISUAL

12 x Epson EB-PU1008

15 x Epson EB-PU2010

27 x BrightSign HD1025

Medialon for show control

4 x WyreStorm MXV-0808-H2A (HDMI to HDBaseT)

AUDIO

24 x Frenetik Spik 3

6 x Alto TX212S

4 x Frenetik Core 8 PoE DSP

www.oceano.org/en www.artisansdidees.com www.idscenes.com www.dreamedbyus.com

Below: The Oceanmania hall features a 4m sculpture of a sperm whale, which serves as a canvas for interactive projection triggered by visitor movement.

Wave-Based LF Prediction. A New Standard in System Design.

Funktion-One’s Projection system design software introduces a fast, wave based low frequency model. This breakthrough technology fully predicts the complex wave behaviour of bass arrays, including the effects of the physical presence of enclosures on directivity and wave propagation. funktion-one.com

BSMNT CLUB

GAMMARTH / TUNISIA EMEA

In a significant upgrade, Sound Source utilises KV2 Audio to provide a robust, high-output system fit for the busy summer season.

Run by the organisers of Fabrika, Tunisia’s largest electronic music festival, BSMNT Club was born from a team that understands just how crucial audio quality can be to impressing customers. The Fabrika group is a collective of artists, DJs, and the like, many of whom have decades of experience in notable techno events and venues under their belts.

Consequently, when the team took over BSMNT, a nighttime destination in Gammarth, a clubbing hotspot along Tunisia’s Mediterranean coastline, they quickly turned their attention to providing a sound system that would be able to provide the energetic music and atmosphere that customers came to expect from the organiser’s festivals.

The collective’s vision for an upgraded BSMNT was to create a space that showcased both live performances and DJ sets, spotlighting the club’s already reputable genres: electronic, house, techno, and underground music.

Having worked with the integrators in the creation of its Fabrika festival, these new owners turned to Sound Source to realise their venue aspiration, through the design and installation of a high-quality, robust audio solution.

Zied Riahi, Founder and CEO of Sound Source, explained: “When the Fabrika community decided to take over BSMNT Club, they wanted fresh ideas and a new direction. Their goal was to install a sound system that could meet the high standards of international DJs whilst also delivering an upscale customer experience.”

As distributors of KV2 Audio equipment, Sound Source were immediately confident in the manufacturer they would choose to base their audio system around. Furthermore, the venue was already familiar with KV2 products.

In fact, Fabrika 2024 saw KV2 equipment used across all areas of the event, appropriately integrated by Sound Source.

Riahi expanded on this close partnership: “Our relationship with KV2 Audio has been a key part of our business for several years. We have been proud to distribute their systems for five years, during which we’ve consistently appreciated the manufacturer’s commitment to innovative design and high-quality sound reproduction.”

A detailed venue brief was then presented to Sound Source, with Riahi recalling that the project was an “exciting challenge” from the start. “We had to tailor our equipment to the club’s unique setting, which is basically a large basement converted into a dance floor,” said Riahi. “We collaborated closely with the Fabrika team, who trusted us to create an immersive soundscape.”

Enhanced experience

Furthermore, whilst the integration guidelines emphasised the importance of clear, powerful audio, Riahi added that it was important to the owners that they enhanced the clubbing experience without causing noise disturbances to the surrounding area, adhering to local noise regulations.

“Additionally, the owners expressed a preference for reliable solutions that would provide flexibility for different event types and future upgrades,” said Riahi. “We carefully balanced all these considerations to deliver a tailored audio system that met all their expectations.”

For the main club area, Sound Source selected two of KV2’s SL412 loudspeakers.

“The SL series was the ideal choice,” Riahi said. “These speakers deliver precise sound, essential for a club environment, and allow DJs to play a wide range of genres while maintaining optimal quality.”

The loudspeaker’s ability for uniform coverage was another attractive feature to Sound Source, as the basement setting of the club could have caused issues with dead zones and inconsistent sound.

To enhance the club’s deep, resonant bass, Sound Source installed two VHD2.21 subwoofers in the main area. This setup was powered by two VHD3200D amplifiers and one SL3000D amplifier. In the DJ booth, Sound Source opted for two EX12 monitors and one EX1.8 subwoofer, ensuring DJs could hear every detail of their sets.

“Overall, our chosen design ensures a powerful, clear sound with minimal

acoustic issues, creating the best possible environment for the venue,” the installer said. Looking back, Riahi revealed that designing and retrofitting an audio solution for a large basement was not without its challenges.

“One of the main obstacles we encountered during this installation was navigating the complex architectural features of the venue, which required careful planning to ensure optimal speaker placement without compromising the design,” he said.

Being an already existing building, the integration team also had to address constraints related to access points for wiring, which required precise coordination to minimise disruption.

“However, despite these challenges, our team’s expertise and tailored planning allowed us to succesfully overcome these obstacles, delivering a high-performance, aesthetically integrated sound system,” Riahi assured.

Riahi stated that Sound Source is extremely happy with the installation’s result. “The system meets all the technical specifications and performance expectations we were given, providing clear, powerful, and evenly distributed sound throughout the venue.

“We personally believe the integration is seamless, both aesthetically and functionally, and it has successfully enhanced the overall atmosphere and experience for the venue’s users. The client’s feedback has been very positive, and we are confident that the system will serve their needs for years to come.”

The Fabrika team were also thrilled with the impact of the installation, further cementing the relationship between the festival team and Sound Source.

Fabrika concluded: “The response from our clubbers and DJs has been overwhelmingly positive. People come to BSMNT for our superior DJ lineup, but when they leave, they always talk about the sound system. The immersive audio experience that KV2 Audio equipment delivers has been a game-changer, elevating the overall ambience of our club.”

Above and left: Two KV2 SL412 loudspeakers are paired with two VHD2.21 subwoofers in the club’s main area.

TECHNICAL INFORMATION

AUDIO

2 x KV2 Audio SL412

2 x KV2 Audio VHD2.21

1 x KV2 Audio SL3000D

2 x KV2 Audio VHD3200D

2 x KV2 Audio EX12

1 x KV2 Audio EX1.8

soundsource.tn

IN BRIEF

Masque Sound designs a vibrant, complete audio system to bring Garcia’s Chicago to life

Garcia’s Chicago, a new concept restaurant and live music venue, was developed by Dayglo Presents in celebration of the legacy of its namesake, Jerry Garcia.

To realise its vision, Dayglo Presents brought in Masque Sound to specify and install an audio solution that would complement the elevated dining and live music experience of the space.

Jesse Lauter, Head of Production & Media at Dayglo, spearheaded the collaboration and has worked with Masque Sound on projects for more than a decade.

“I have this great relationship with Matt Peskie and the entire team at Masque Sound,” said Lauter. “They are best in class, great to work with, and flexible. When Anthony Nittoli joined Masque Sound as Installation Division Manager, it was a match made in heaven.”

While the project presented some challenges, including design limitations set years earlier, the team rose to the occasion. Lauter added: “Through close collaboration between Meyer Sound and Anthony at Masque Sound, we overcame all obstacles and created one of the bestsounding clubs I’ve ever been in.”

Masque Sound’s work included a full systems integration featuring a Meyer Sound loudspeaker system comprised of seven Ultra X-40s, seven Ultra X-20s, two 900-LFC subwoofers, one 750-LFC subwoofer, and six MJF-208 stage monitors.

The system is anchored by a Yamaha DM7C-EX digital console with Rio 3224-D2 and Rio 1608-D2 stage boxes, which were chosen for their compact footprint and high performance.

A range of Shure, Audix and Sennheiser microphones paired with König & Meyer stands supported the venue’s input needs. For video capture, the venue was equipped with five PTZOptics 4K HD cameras operated via a PTZOptics controller, allowing seamless content creation and livestream capabilities.

“Masque Sound also supported the venue through its opening nights and was great in commissioning the system and staying onsite to ensure seamless operation,” concluded Lauter. “There were no issues or complaints. It was a flawless launch.”

www.masquesound.com

TOP OF THE ROCK

A substantial makeover to a renowned skyscraper creates multiple new and extravagant entertainment spaces fitted with a host of inventive audiovisual solutions.

Standing at a whopping 850ft tall, 30 Rockefeller Plaza is one of the landmarks of Manhattan, due in large part to its cultural significance and prominent role in the New York City skyline.

Over its almost 100 years of operation, 30 Rockefeller has cemented its relevance within the United States by hosting and being featured in television shows and films alike; its earliest days were noteworthy, with the site being the birthplace of the legendary ‘Lunch atop a Skyscraper’ photograph. Consequently, when THG Creative partnered with venue owners Tishman Speyer to reimagine the visitor experience at 30 Rockefeller, they knew they were taking on an extraordinary construction challenge. They would have to balance the space’s classic Art Deco aesthetic with modern, inventive entertainment offerings.

Jared Peter, Senior Producer at THG Creative, commented: “From the start, our vision was to honour the legacy of 30 Rockefeller Plaza while reimagining the guest experience for a new generation. We wanted every moment, from entry to the observation deck, to feel like a tribute to the building’s iconic history, but told through modern storytelling and immersive technology.”

The experience, titled Top of the Rock, honours the building’s history with multiple immersive exhibitions.

Guests begin by walking through the welcome area, where they are greeted by a video show mapped onto a detailed 10ft rendition of the Plaza, before heading inside a theatre space that includes projections which depict the venue’s creation. Elevator systems then carry the visitors up the building’s many floors to its observation deck, deploying further audiovisual measures to make even the lift journey emotionally stimulating.

The observation deck spotlights two aerial attractions – The Beam and Skylift. Respectively, these rooftop features prompt guests to take a picture on top of a beam, recreating the famous ‘Lunch atop a Skyscraper’ shot, and stand upon a platform that elevates guests 30ft off the 70th floor, allowing for 360° views of New York.

The new and improved Top of the Rock visitor experience is a feat in immersive technology. Completion of such a largescale project was far from simple, though; THG Creative was required to form a strong production and technical team that promised to be as highly invested in the venue as they were.

“What made this project possible was the strength of these teams,” Peter commented. “This was a multi-year, full-building transformation with no margin for error. Everyone’s ability to see it through creatively, technically, and logistically was essential to delivering an experience worthy of this historic landmark.”

With patrons welcomed from all over the world, seven days a week and 16 hours a day, those involved in the Top of the Rock revision were chosen for their ability to deliver features that are not only durable and robust, but also visually and audibly distinctive.

TECHNICAL INFORMATION

AUDIO

16 x JBL Control 24CTB

4 x JBL CBT-1000

4 x JBL CBT-1000E

28 x JBL AC18/95

1 x JBL Control SB2210

36 x JBL Control 67 P/T

5 x JBL AM5212/26

1 x JBL AM5215 95

78 x JBL Control 45C/T

5 x JBL 18/26

16 x K-array Truffle-KTR25

8 x VUE Audiotechnik es-269

16 x VUE Audiotechnik e-351B

4 x Powersoft Mezzo 324 AD

4 x Powersoft Mezzo 604AD

12 x QSC CX-Q 8K8

VISUAL

13 x BrightSign HD5

11 x BrightSign XD235

2 x DynaScan 55″ LCD display

5 x DynaScan 75″ LDC display

4 x Elo Touch Solutions 1002L

16 x Panasonic PT-REQ10LBU

2 x Epson EB-PU1008B

2 x Epson ELPLX01WS

2 x Extron DA HD 4K PLUS

18 x Extron XTP R HD 4K receivers

18 x Extron XTP T HD 4K transmitters

10 x LG Transparent OLED Display panels

CONTROL

TAIT Navigator Automation Platform

8 x Disguise EX 3

8 x Disguise OmniCal MV System

4 x QSC Core Nano

4 x QSC Core 8 Flex

4 x QSC Core 110f

1 x KVM console drawer

1 x Enttec S-play

4 x Enttec Octo

13 x Brightsign HD1024

www.disguise.one www.electrosonic.com www.taittowers.com www.thgcreative.com

Left: The observation deck at 30 Rockerfeller Plaza spotlights two aerial attractions – The Beam and Skylift.

An Audiovisual Assignment

Brought in to design and integrate the entertainment systems across all of Top of the Rock’s ambitious offerings, Electrosonic, an international AV and technology services company, joined the team during the engineering phase of the project.

Jackson Benedict, Director, Sales (Museum & Cultural) at Electrosonic, spoke on the integration from the company’s New York office, only a 15-minute walk from the venue.

“We’re so close to the Top of the Rock, which helps in knowing the space,” Benedict said.

“We were honoured to be chosen as the audiovisual partner; it’s a testament to the strong partnership we’ve built with THG Creative through our past collaborations.

“We’ve worked with them a lot over the years for similarly culturally significant projects. For example, we delivered the audiovisual systems for the One World Trade Center Observatory – another New York-based, meaningful experience space.”

After winning the bid, Electrosonic became involved in the engineering phase of the Top of the Rock. Benedict explained: “There was a former experience centre, but it had become dated. Everyone involved was keen to reimagine what it could be.

“As we always do with our projects, we wanted to understand what THG’s objectives were, so we could design a system with tech that best targets their needs. A task like this is about working closely with the client.”

Entering the Experience Centre

The first space they focused on was the welcome area. As guests enter, they are greeted with warm background music from 36 JBL Control 67 P/T pendant speakers.

Benedict said: “These were specified because, simply, they’re of high quality. They’re built to last.” He noted that this robustness was a non-negotiable in audio design, referring back to the Top of the Rock’s planned schedule of seven days a week.

Next, Electrosonic concentrated on bringing the 10ft sculpture of the Plaza to life. A total of 12 Panasonic PT-REQ10LBU projectors cast dynamic visuals across the model, selected after a lengthy comparison exercise.

“They were great partners,” Benedict continued. “As it was such a noteworthy project, they helped us get our hands on new products before they had been released. This equipment was ideal for what we wanted to achieve; because of the complex angles of the sculpture, we needed specific lenses, which Panasonic worked with us to choose.”

Disguise EX 3 servers drive this content, projection mapping onto the complicated surface. “We did some testing to find a suitable solution for this complex task, and we chose the technology because of its OmniCal auto calibration functionality,” Benedict said.

The resulting projection-based show is a 10-minute loop that runs through all the

seasons in New York. Within this, guests are shown different aspects of 30 Rockefeller’s offering – for example, the model’s ice rink comes to life, and billboards show posters for Saturday Night Live, filmed within the building.

Disguise’s involvement in the project was a great deal more hands-on than the traditional manufacturer/integrator collaboration.

“The Disguise crew spent a lot of time on-site with us to help the integration go smoothly. It was one of the first large projects we completed with the manufacturer, so it was a fun and new experience for both of our teams,” Benedict added.

Ollie Newland, Product Manager for Live Events & LBX at Disguise, commented: “As well as deploying our media servers, one of our main focuses in the project was on OmniCal, our camera-based projection calibration system. It’s designed to improve projection quality and set-up times. It’s a way to optimise how visuals look.”

Working so closely on the project allowed Disguise to develop a new capability for OmniCal, created with and for the Top of the Rock. This update, titled RigCheck API, enables AV teams to complete calibrations from a third-party show controller without having to access its Designer software, ensuring imagery can be projected onto complex structures in a matter of minutes.

With the Top of the Rock’s mapping surface a sophisticated 3D rendition of the building,

this kind of technology was ideal. “We worked closely with THG and Electrosonic, alongside the production team, Fury, when the sculpture was built. During this time, we developed RigCheck API and began helping set up the projection. When the model was moved to New York, we went on site. The venue is now open and everything is running brilliantly,” Newland reported.

“With most of our projects, we end up going back into the core product and seeing if there’s anything that could be altered,” he continued. “You have to think ‘how can we fit people’s project needs?’ and if you can help solve someone’s problem, that’s how you know you’ve created a good product.”

The projection show is set to ambient music, again provided by a sophisticated JBL setup. Describing one innovation of this attraction, Benedict explained how Electrosonic placed JBL subwoofers in the base of the sculpture. “When guests are close to the model, they can hear localised audio that matches what’s happening in the projection show, related to where they are standing,” he said.

Creating Immersive Attractions

Moving to the reimagined theatre space, visitors can experience a five-minute projected film on the history of 30 Rockefeller.

Disguise servers also power this attraction, with four more Panasonic PT-REQ10LBU and two Epson EB-PU1008B projectors providing

“This isn’t a new building, nor was it engineered to withstand theme park-level machinery fixed to its roof. So the project became about working together with the building’s stakeholders to creatively solve the challenges presented to us.”

the visuals. On this mix of manufacturers, Benedict commented: “We’re brand agnostic. Electrosonic always picks exactly what’s best for the space. We needed to add Epson projectors here as their ultra-short throw lenses helped us get to even the hardest to reach locations across the room.”

The final large area Electrosonic worked on was the elevators. This is perhaps the most unique element of the experience; as guests begin their journey on what seems to be a completely traditional lift, the ceiling reveals it is, in fact, a custom transparent LCD screen. Vibrant graphics dance across the ceiling before the screen turns transparent to show the elevator infrastructure.

Designing a sound solution for the lifts was one of the most challenging aspects of the project, Benedict said. “They aren’t new elevators, so we had to work with the existing architecture. Also, all equipment had to meet New York’s strict fire codes.

“We specified K-array products, as they offer low-profile, easy-to-use speakers. With elevators, you must be very careful around weight, space, and size, so we spent a lot of time finding the perfect system.”

This equipment is deployed in cubby holes within the cabs, designed to house kit.

Each attraction across the Top of the Rock experience centre is driven by Q-SYS – Benedict explained that its Core processor series is the backbone of the space. “We’ve been using Q-SYS quite a bit lately. In the control area, we look at usability for our engineers, but also for our clients, so that they can run the solutions without needing a professional,” he commented. “With some additions made by us, the venue now has an easy-to-use control system for the end-user.”

Much like the guests and the client, THG Creative, Electrosonic is excited about the result of the project. “Everything went really well,” Benedict stated. “Everyone involved is pleased with the result, and that’s what makes us happy. We’re now on site to support the audiovisual solution, which keeps everything running smoothly. “I feel so much pride around it. It’s just nice to be able to look at something so significant to the city and say, ‘yeah, we did that!’”

Building the Skylift

After taking the elevator up 70 floors to the Plaza’s observation deck, guests at the Top of the Rock experience reach the ambitious engineering feat that is Skylift. Continuing the venue’s theme of hosting unique attractions, Skylift sees visitors step onto a glass platform

before being elevated 30ft, giving them a spectacular 360° view of the city. After crafting the concept, THG Creative suggested TAIT be chosen to fabricate the impressive mechanism.

Jim Shumway, VP of Project Delivery at TAIT, recounted: “We were humbled that the team at THG advocated for TAIT to help bring their vision to life.”

Similar to the indoor experience spaces, the intention was for Skylift to run for 16 hours a day, 365 days a year, and through any weather conditions. The team at TAIT estimates that the attraction will run for a total minimum of 1.7 million lift operations over its lifetime.

Understandably, one of the first considerations for TAIT was to carry out extensive fatigue analysis to figure out the materials and features that would help the mechanism withstand this constant use.

Shumway commented: “The first thing to say about 30 Rock is that it isn’t a new building, nor was it engineered to withstand theme parklevel machinery fixed to its roof. So the project became about working together with the building’s stakeholders to creatively solve the challenges presented to us.”

Thanks to TAIT’s decades of work in theme park machinery internationally, they had the knowledge required to build a robust Skylift. Their design process and hazard analysis required to create this seamless elevation experience led the TAIT team to solutions such as fabricating with corrosion-resistant materials and an automated lubrication regime, among others, to recognise the seismic, wind, and thermal expansion risks of an outdoor mechanism.

To reach the 30ft height required for Skylift, TAIT had to utilise the existing space available for the machine, leading to the creation of an intelligent four-layer mechanism.

“However,” Shumway said, “there objectively wasn’t enough space to extend the lift as high as we wanted it to go. All manner of ideas had to be tried and discussed. Eventually, Tishman Speyer agreed to lower the ceiling of the gift shop below the proposed machine room, giving us an extra foot and a half of space for the machine itself. This relatively small additional distance is the only thing that made Skylift possible!”

A further challenge was transporting the materials up all 70 storeys of the building; the team had to use the exact same lifts that guests now use. “On a more average construction site, you could take everything up using a crane,” Shumway explained. “But 30 Rock was still an active tourist zone as we were building. This meant that we had to create and then subsequently deconstruct the Skylift, breaking it into parts that

Far left : Custom transparent LCD screens inside the elevators enhance the experience of guests as they make their way up to the observation deck.

were small and light enough to fit into the passenger elevator. This is where TAIT’s experience in rock ’n’ roll touring came in handy. We can disassemble and reassemble things really quickly. The team is always pulling from past experience like this; we’re able to take our learnings from one sector of the industry and apply them to another one.”

After construction, TAIT brought in its Navigator Automation Platform to provide smooth motion control. This was equipped with a bespoke, easyto-use user interface.

Shumway added: “What makes Navigator so unique is that the user interface is altered from project to project, ensuring those using it have the perfect set of controls for their specific needs.

“In the case of Skylift, the venue team wanted everything to be easy to use, as those operating it wouldn’t be trained in complex control technology. So, the resultant system tells the worker everything is operating as it should, they press a button, and then it activates.

“All the safety elements are handled digitally within the machine, thanks to preprogramming by us. With all our projects, we take time to think about literally every possible thing that could go wrong, and then programme a fail-safe for these potential outcomes.”

Venue aesthetics were also taken into consideration for Skylift. TAIT fitted the revolving platform with marble-like tiers that embrace Rockefeller Plaza’s Art Deco heritage. Further, it is adorned with 96 LED pixel flutes containing 51,000 channels of LED lighting that create a light show.

“When flying into the various New York airports, you can see the twinkling Skylift!” reported Shumway. “I’m from this city originally, so it’s incredibly humbling to have been invited to modify its iconic skyline.”

Now open to the public, the revitalised Top of the Rock honours the legacy of 30 Rockefeller Plaza with its multiple innovative attractions, all providing both entertainment and education for guests.

Crucially, the success of this project rested on the seamless collaboration between THG Creative, Electrosonic, Disguise, TAIT, and many other partners, each bringing specialised expertise to breathe new life into a historic landmark.

MOSAIC

KANSAS CITY / USA AMERICAS

A staple of the Kansas City clubbing scene, Mosaic receives a longawaited technological upgrade to bring it upto-date and stand out among nightclubs in the American Midwest.

Pictures: Patrick Binder.

Situated on the second floor of Kansas City Live! within the Power & Light District, Mosaic recently re-opened having undergone an extension and a complete interior renovation. The new club now boasts a sound system featuring 1 SOUND loudspeakers and Powersoft amplification, atmospheric LED lighting with a wide selection of CHAUVET Professional theatrical lighting units, and a hi-res LED wall supplied and installed by The LED Studio.

Taking charge of the project from the production perspective was Jason Bradley, Director of Production at Kansas City Live!.

“We gave the club a full remodel, even changing the routing in and out of the room, and we leaned heavily into the production to make it into something that you wouldn’t normally see in the Midwest,” said Bradley.

The Kansas City Power & Light District is a dining, shopping and entertainment district in Downtown Kansas City developed by The Cordish Companies, and opened in 2008. During the early years of The Cordish Companies’ development of entertainment districts and facilities in Baltimore and further afield, they met Peter Bonavota, owner of Definitive Pro Sound in New Jersey. As a long-time connection, Bonavota was approached to specify the new sound system for Mosaic, and he had no hesitation in choosing 1 SOUND.

“I immediately looked to 1 SOUND because of the compact design, incredible output, aesthetics and that amazing clarity, with the punch right where it needs to be for electronic music,” said Bonavota. “The design and technology of all the 1 SOUND speakers is impressive, and the shape and size of the room called for a point source box – and the pattern control, coverage and range of the 1 SOUND Contour CT212 rival and line array in a single box. Not only that, the look of these speakers also blows away line arrays.”

Below: The remodelled Mosaic now boasts a sound system featuring 1 SOUND loudspeakers and Powersoft amplification.

The system is centred around two Contour CT212 loudspeakers paired with SUB2112 subwoofers to form a 5-way system that is both articulate and clean, and impressive at high volumes.

Two CT212s are flown as the main left and right loudspeakers using CT212 Fly Bars, with two SUB2112 subwoofers mounted in the ceiling to deliver deep, room-filling bass across the dance floor.

For monitoring in the DJ booth, two Contour CT28 loudspeakers are paired with two SUB215 subwoofers and installed using 1 SOUND accessories for clean, integrated mounting, while supplemental fill coverage for the crowd – particularly in areas exposed to the club’s open-air layout – comes from eight marine-grade Cannon C8m loudspeakers installed using C-Clamps and L-Brackets for flexible aiming.

Two Powersoft Unica 12K drive the flown CT212 loudspeakers and Sub2212 subwoofers, while a single Powersoft Unica 9k drives the monitors. Two Powersoft Quattrocanali with DSP + Dante power the Cannon C8m loudspeakers.

For Bonavota, what made the project so enjoyable was the collaborations – both with Bradley and 1 SOUND’s founder Lou Mannarino, with the loudspeaker manufacturer’s HQ also located in New Jersey.

“I’m fully hands on with the project from the design, drawings, DSP, network and video programming to supervising onsite installation and commissioning,” said Bonavota. “Jason’s team is great to work with, and we’ve worked together on projects since 2016, and Lou and his

team at 1 SOUND are exceptional to work with. I often demo speakers in his shop, which is about 40 minutes from my shop, and they will do whatever they can to help us out in any way that they can.”

When it came to tuning the system, Bonavota was delighted to work with Lou on site. “The proprietary tunings for the Powersoft amps are a very good starting point, and final commissioning with 1 SOUND Auralis software with Lou really brought it all together,” he said.

“Having the designer of these products onsite with you at the final stage is a real advantage, and great selling point.”

While Bradley had no prior experience of 1 SOUND, he was thrilled by the outcome.

“I was a little sceptical at first, but after I was introduced to the product, and to Lou, I was super impressed with it. I like the boutique style of the loudspeakers and the attention to detail, and having taken Peter’s word for it on the sound quality, I was blown away when it was first installed in the room, smiling from ear to ear.

“For the relatively few loudspeakers and subs that we have in the room, it sounds so clean at high volume. It’s a great system for the space and I’m hoping to work with Lou more on future projects, because he’s great to work with and I’m super happy with the results here.”

To elevate the visual experience at Mosaic, Bradley allocated more of his available budget into the production technology, to bring the venue in line with establishments found in renowned clubbing destinations like Las Vegas and Ibiza.

“I have past experience of working in concert and festival production,

“I REALLY WANTED TO DO SOMETHING THAT I PERSONALLY HADN’T SEEN IN A CLUB.”

and I took the lead on the overall design of this space, and then collaborated with some really great people to make it work from a technical level,” said Bradley.

Taking inspiration from LED halos found in stadia and arenas, using Vectorworks Bradley designed the centrepiece octagonally shaped structure in the ceiling, and inside the shape placed nine circular kinetic rings, each with a moving head inside. The octagonal shape was hand built, with groves routed in the base specifically for LED tape to be mounted flush to it.

For all the venue’s LED lighting elements, Bradley enlisted Denverbased company Electronic Sales and Production (ESP), with Jason Goetz leading the project.

“I had never designed anything with kinetic lighting before,” said Bradley. “I really wanted to do something that I personally hadn’t seen in a club.”

In addition, ESP installed the kinetic rings, which have three winches and can be moved in different ways, and extra LED tape was wrapped around the bottle rack behind the bar, to tie in with the main features above the dance floor.

Inside each of the kinetic rings is a CHAUVET Professional Rogue

Give the pe ple what they want

Follow the crowd here

The NEW Quantum326 Pulse incorporates all of the new design features introduced with the Quantum338, and of course uses three large-scale seventh generation FPGAs to continue the unrivaled Quantum legacy. The console merges tried and tested workflows with immense processing muscle, bold innovation and all of the Quantum features, giving you the ultimate tool set that is

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• LR/LCR/LCRS/ 5.1 Master Buss

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• upto 330 D ynamic Equalizers

• 48/96 kHz Sample Rate

• Theatre Specific Software

• Fourier Audio VST

Outcast 1 BeamWash, and on the exterior of the octagon shape are 12 CHAUVET Professional Maverick Force S Profiles.

Meanwhile, behind the DJ booth is a symmetrical design of CHAUVET Professional fixtures, including Rogue Outcast 1 BeamWash, Color STRIKE M, and COLOrado PXL Curve 12.

“These fixtures are all independently controlled and can move in a variety of patterns, and I feel like the PXL Curve 12 is the star of the wall, among all that great eye-candy,” said Bradley, who was assisted in the design by David Hauss of Hauss Collective.

“David is production designer for the Lost Lands festival, and his expertise lies in making multiple different technologies work together, because I’m not a lighting programmer, by trade,” continued Bradley. “He was the glue who brought it all together. I sent my design off to him, and he took the scope of the ideas and figured out how to make everything controllable from the venue’s MA Lighting GrandMA3.

“It was also David who recommended ESP to us for the LED and kinetic elements – that was his connection – and he introduced us.

“There are 64 universes of the neon LED running through Madrix software, and with Madrix also running the video content, it intuitively maps it, and we can run programmes through the neon and LED rings, and it runs smoothly to create some really impressive looks.”

Commenting on the choice of CHAUVET fixtures, Bradley stated:

“We use CHAUVET Professional fixtures across our properties, and I was an early adopter of them. They’ve made big strides in terms of product development and functionality, and it comes at a really great price point.”

At the outset of the project, Bradley had the vision of panelling the entire wall behind the DJ booth with high definition LED, but quickly reigned it back to allow for extra lighting fixtures.

“Once I scaled the LED wall design back it opened the path for the lighting effects to be placed symmetrically either side, so it was the correct move for the benefit of the club,” said Bradley.

The screen behind the booth was supplied by The LED Studio, another long-time collaborator with The Cordish Companies.

“The installation was excellent and the team was super accommodating,” said Bradley.

Zach Molin, Director of Project Delivery at The LED Studio, outlined the project: “Having supplied LED products to venues owned by The Cordish Companies for a number of years we know to keep it consistent with the type of product that we use across their venues,” he said. “That way their regional technicians and head of technicians are familiar with what they are working with, and this also means that certain components can be shared with venues, if necessary, and it often makes servicing easier.

“For Mosaic, we used the EDGE Pro 43” 1.5mm pixel pitch with a GOB (glue on board) finish. This was important, because it is a nightclub environment and drinks may get spilled on it. The added protection helps it stand up against any kind of physical wear and tear, as it is situated right behind the DJ booth in a high traffic area.

“The screen installed at Mosaic was built to order because the screen was to be hung from an I-beam, rather than wall mounted. With our factory capabilities we were able to produce custom bracketry and metal work, and so we were able to create a custom hanging mount, all done in house.”

After months of hard work, the finished club is one of the finest in the city, and the final word on the venue’s overhaul belongs to Bradley: “These projects are often crazy to work through because there are so many different trades working together – and often on top of each other – but what sets it apart is that they’re all willing to go that extra mile and get the job done.”

TECHNICAL INFORMATION

LIGHTING

4 x CHAUVET Professional Color STRIKE M

8 x CHAUVET Professional COLORado PXL Curve 12

12 x CHAUVET Professional Maverick Force S Profile

12 x CHAUVET Professional Ovation F-55FC

17 x CHAUVET Professional Rogue Outcast 1 BeamWash

1 x MA Lighting GrandMA3

AUDIO

2 x 1 SOUND Contour CT212

2 x 1 SOUND SUB2112

2 x 1 SOUND Contour CT28

2 x 1 SOUND SUB215

8 x 1 SOUND Cannon 8

2 x Powersoft Unica 12k

1 x Powersoft Unica 9K

2 x Powersoft Quattrocanali with DSP + Dante

www.powerandlightdistrict.com www.dpsav.com

www.electronicsalesandproduction.com www.theledstudio.co.uk

Above: The screen behind the DJ booth was supplied by The LED Studio and features a GOB finish for extra protection in a high traffic area.

IN BRIEF

Amplification from XTA drives EM Acoustics system at SHENG Live Show

SHENG Live Show is a large multi-use entertainment venue in the Chinese city of Ganzhou. Presenting a wide range of DJ sets and live performances, the venue is the second project by the SHENG Live Show brand.

Needing a complete, powerful sound package, SHENG approached suppliers ST Audio, whose role in the project included designing a system, supporting the local integrator’s team, tuning, and after-sales support.

Having assessed SHENG Live’s requirements, Xian Shengtao, founder of ST Audio, recommended an EM Acoustics system which combined elements of line array (eight HALO-A speakers and four HALO-B), point source (six i-C15 speakers, eight EMS-81X, and eight EMS-159), and subwoofers (eight EMS-218 subs and 12 EMS-118).

ST Audio also specified XTA processing and amplification to drive the system. Shengtao commented: “I started using XTA products way back in 1999 and was first involved in

distributing XTA as long ago as 2006 – a partnership which has continued through ST Audio.

“XTA power amplifiers deliver high-quality sound that is rich, accurate, and stable, and is supported by reliable after-sales support. This combination ensures a worry-free experience for users, making them a trusted choice for so many projects.”

The SHENG Live system benefits from 10 XTA digital audio network amplifiers, including three DNA100 and seven DNA120. Four XTA audio management units complete the picture.

“The combination of EM Acoustics loudspeakers and XTA amplification is fantastic,” concluded Shengtao. “We remain committed to working closely with our partner brands like XTA to deliver more premium products and enhanced services to our customers throughout China.”

www.emacoustics.co.uk | www.xta.co.uk

OSAKA / JAPAN APAC

250 NEXO speakers bring the love to the France Pavilion at Expo 2025.

World Expo 2025 opened in Osaka in April, returning to the Japanese city that hosted its first World Expo in 1970. Covering a 960 acre site on Yumeshima island in Osaka Bay, more than 160 countries are showcasing their cultures, crafts, technologies in a series of exhibits under a theme of ‘Designing Future Society for Our Lives’.

The France Pavilion has been designed and operated by the official French exhibition organisers Cofrex, and enjoys a prime location at the entrance to the Expo site with 20,000 visitors expected to walk through the doors every day.

The Artistic Director for the project was Justine Emard who worked with international visitor experience designers GSM Project to create a multisensory experience showcasing French creativity and excellence, as exemplified by sponsors including LVMH, AXA, LES VINS D’ALSACE and NINAPHARM, and the profound connection between France and Japan.

“The way we chose to embody the theme of love is through Pulsations, guided by music and a steady heartbeat in a journey through eight different art installations,” stated Emard.

With music and sound being essential to an immersive visitor attraction, specially composed music and sonic content developed by IRCAM, the French institute dedicated to the research of music and sound, is delivered by a system comprising of more than 250 individual NEXO loudspeakers installed throughout the building.

Compact GEO M line arrays cover the area in front of the Pavilion, while an ID14 L-C-R system is discreetly deployed in the entrance lobby.

Also visually discreet is an ID14 system within the first art installation, which features one of the six huge Aubusson tapestries by Studio Ghibi founder Hayao Miyazaki, as well as up a walkway covered from above by

16 NEXO ID14s delivering a wavefield synthesis by IRCAM composers.

Aural and visual experiences from AXA combine work by musician Rone, choreographer Angelin Preljocaj and filmmaker Thierry De Mey, delivered by a powerful ‘cinema style’ P18 system, with L20 subs hidden behind the curved screen and complemented by ID14 and ID24 top and surround speakers.

The next display pays a vibrant tribute to Louis Vuitton’s with 85 wardrobe trunks surround the united hands of Rodin’s La Cathédrale which is soundtracked by the characteristic rhythm of the mechanical murmur of the workshops, which is reproduced by an entirely invisible series of NEXO ID14s.

In Dior’s space, compact ID14s are mounted on hidden brackets and finished in white to complement the display of collections that create an ode to the virtuosity of the Parisian Ateliers.

Setting the mood in an outdoor tranquil garden are ePS Outdoor speakers, while underground in the cellars of the Alsace vineyards P8 loudspeakers and L15 subs create the atmosphere.

Resonant with the geography of Japan comes an archipelago of three islands, the first showing the rebirth of Notre-Dame de Paris following its catastrophic fire in 2019, the second featuring MontSaint-Michel Abbey which has benefited from a campaign to restore its island character and ecosystem, and the last illustrating France and Japan’s fascination with the Pacific coral lands through the imaginary representation of two of them: Bora-Bora and Iriomote. Although each space has a very different soundtrack, ID and P+ Series systems have been designed to help maintain a consistent sonic signature and promote a fluid journey through the spaces.

Amplification and processing for the installation comes from a total of 65 NEXO Powered TD Controllers, drawn from both nanoNXAMP and NXAMPMk2 ranges.

“The sound quality is really good, it really covers all the spaces,” reported Maxime Poirot, who was in charge of sound installation at the France Pavilion for Cofrex. “The speakers proved to be ‘plug-and-play’ in the sense that once the speaker is installed in in the space, it already sounds very good.

“There were very minimal adjustments required for the different locations as some reverberate more than others, but I find the quality to be very good, and I received very good support from NEXO, even before my arrival on site.”

NEXO Engineering Support Director François Deffarges, stated: “We started working with Cofrex in September last year, advising on the system design and performance modelling, then the network configuration, naming devices and setting IPs so that the installers could arrive on-site with everything already prepared offline.

“The amplifiers and speakers were delivered on site in January by the supplier Loct’ambule, and the NEXO ES team were on site since February, assisting with installing speakers, cabling, building racks and so on.

“During the tuning stage the NEXO NeMo App was extremely helpful as we could work wirelessly in each zone to EQ the speakers as required. Then in the final stage before opening, we were able to assist with synchronising the spaces to ensure the consistency of the ‘beat’ that takes visitors on their journey through the Pavilion.”

Speaking on behalf of Cofrex, Pavilion Director Philippe Mille said:

Above: 65 NEXO Powered TD Controllers the both nanoNXAMP and NXAMPMk2 ranges power the audio throughout the building’s areas.

“This is a complex project which required a very specific sound system. There are more than 240 channels with innumerable loudspeakers and multiple challenges, both because of the very high demands of the experiences’ design and the installation constraints related to this very distinctive building.

“With that in mind, we were looking for a French technical service provider with a high skill level. We reached out to a couple of manufacturers and NEXO immediately responded and met the demand, and has supported us very well in the development and engineering stages, in pre-production and then in production, and on-site with the daily presence of their in-house engineers who have not only guided us, but were also extremely active during the installation period.”

NEXO, President Jean Mullor concluded: “As a French company, manufacturing in France, we are proud that our products have been chosen to help represent to the world the best of French culture, craft and technology.

“And as part of the Yamaha group of companies, we are particularly proud that our speakers have been selected for this prestigious event in Japan, the home of Yamaha.”

www.franceosaka2025.fr

www.cofrex.fr

www.nexo-sa.com www.gsmproject.com www.ircam.fr

www.justineemard.com

BIG BULL

HYDERABAD / INDIA APAC

Boasting the first permanently installed Funktion-One Vero VX sound system in India, Big Bull in Hyderabad marks an exciting new era for the country’s nightclub scene.

Hyderabad’s newest nightclub, Big Bull, opened in March with the vision of bringing a high-class clubbing experience to the city’s passionate music fans.

The venue’s co-founders and managing partners Shashidhar Kasi, RamaRaju Kallepalli and Sai Surepally travelled to destinations like Dubai, Ibiza and New York to visit a plethora of famous clubbing hotspots and get a better understanding of what sets the premier nightclubs apart.

Upon returning, they understood that in order to make Big Bull stand out, they needed to invest heavily in the production values at the club.

“For us, clubbing is all about the experience, and when we jotted down a list of our top clubs and looked at the sound systems that they have, around half of them had Funktion-One systems,” said Shashidhar.

“We visited Dubai to see some clubs there and most of them had Funktion-One installed. That made up our minds up on which direction to take.”

With a decision made, Shashidhar reached out directly to FunktionOne’s Director of Sales, Andrew Low, who introduced Big Bull’s founding partners to Em-Tec – the loudspeaker manufacturer’s distributor for the GCC and India.

“We knew that Funktion-One was the best option for us and that it would be very important to source the equipment from an authorised dealer,” said Shashidhar. “We approached Em-Tec and the conversations developed from there.”

With a plan in place to purchase a sound system, Shashidhar’s team met with Em-Tec and invited them to visit the space for a better understanding, as Em-Tec’s General Manager Armand Bulder explains:

“After we returned to Dubai, we started to formulate some plans with different options, which were either a Funktion-One Evo 6 or Evo 7 system, or Vero VX,” said Bulder.

“We discussed these options with the client and also directly with Funktion-One’s engineering team, utilising Projection system design software to determine the optimal loudspeaker positions.

“This helped us understand how the speakers would perform in the space and enabled us to present the owners with a detailed plan and sound map of the venue.

“Following a second site visit and further discussions with the client and Funktion-One, it was confirmed that Vero VXi was the preferred choice for its exceptional audio performance, compact footprint, and sonic presence - resulting in the first permanent Vero VX installation in India.”

The main club system on the ground floor is built around left-right hangs of three Vero VX90i arrayable medium-format loudspeakers per side, flanking the central DJ booth and stage, together with four

powerful and dynamic F124 bass speakers. To ensure full and even coverage across the space, the system is supplemented by eight F1201.2 loudspeakers, a single F101.2 and a pair of Res 2U units positioned in peripheral areas. Additional low-frequency reinforcement comes from three F218 MkII and an MB212 bass enclosure. Monitoring is handled by two PSM12 loudspeakers and a BR218 bass cabinet.

Upstairs in the first floor bar, the system comprises FunktionOne F101.2 mid/high speakers configured in stereo zones, together with BR218 and BR118 bass reflex speakers.

Funktion-One Founder Tony Andrews commented: “It’s a real moment to see the first installed Vero VX system in India, and even more pleasing that it’s in our signature violet. We’re proud to support venues that prioritise audio.

“Vero VX was conceived to be equally at home on the road and in permanent installations. From live acts to DJs, classical to electronic, it performs with consistent precision and impact.”

Commenting on the install, Em-Tec’s Andy Williams said: “The entire process, in collaboration with local AV integrators, who oversaw the cable runs, and the venue ownership team, was seamless. Everyone involved remained focused on optimising the system’s performance to deliver a world-class audio experience, and I was incredibly satisfied with the final outcome and the dedication and expertise of the entire team in delivering an exceptional sonic result.

“While installing the Big Bull project, we were fortunate enough to meet our new partner Audio & Beyond at their Hyderabad showroom, who we will work with to bring the Funktion-One product range to all parts of India.

“We are very excited for this new journey and looking forward to working on many more amazing projects in the country.”

At the system’s core is a 10ft rack, featuring 12 Full Fat Audio amplifiers and 5 NST Audio processors specifically chosen to uphold Funktion-One’s signature audio quality. In addition, EmTec also supplied a UPS power solution to maintain consistent voltage and protect against power fluctuations.

In addition to its pristine new sound system, Big Bull boasts impressive visual technology, with a kinetic rig in the ceiling marking the jewel in its tech infrastructure.

Featuring 40 individually controlled motors, the kinetic system dynamically transforms the space, creating a constantly evolving environment, and the custom-built control system seamlessly integrates with LED structures and lighting trusses, allowing for synchronised movement and immersive visual storytelling.

The club boasts over 3,000 sq ft of LED, spread across 71 individual displays, forming a seamless volumetric 3D canvas for immersive visuals to enhance the atmosphere.

The ceiling is adorned with 12 five-sided LED cuboids, each mounted on dual kinetic lifts for stunning aerial transformations.

The system delivers a 7K pixel-wide mapped experience, utilising a diverse range of high-resolution, lightweight transparent mesh LED for versatile applications.

The main performance area features a split-screen setup with 90° panels, designed to complement the venue’s architectural aesthetics.

Included in the lighting and FX package are over 260 ATD lighting fixtures, lasers and haze, and 5,000m of LED strips, which are powered by an Obsidian Control Systems solution.

Commenting on the visual technology, Shashidhar concluded: “When we designed this nightclub we wanted to ensure that everyone who steps through the doors enjoys a different dynamic experience, every time they visit, and I feel like we achieved this.”

TECHNICAL INFORMATION

AUDIO

6 x Funktion-One Vero VX90i

8 x Funktion-One F1201.2

1 x Funktion-One F101.2

2 x Funktion-One Res 2U

3 x Funktion-One F218

1 x Funktion-One MB212

4 x Funktion-One F124

1 x Funktion-One BR218

2 x Funktion-One PSM12 Monitors

First Floor:

12 x Funktion-One F101.2

2 x Funktion-One BR218

2 x Funktion-One BR118

3 x Full Fat Audio FFA-10000

5 x Full Fat Audio FFA-8004

4 x Full Fat Audio FFA-5004

1 x NST Audio VMX88

2 x NST Audio VM016

2 x NST Audio VR2

www.emtecav.com

SHURE UK AND IRELAND ROADSHOW

MONDO-DR catches up with the Shure UK team amid the manufacturer’s centennial anniversary celebrations, including a roadshow that sees the brand tour the United Kingdom and Ireland to connect with customers across the nations.

Beginning on 5 March, 2025, in Manchester, the roadshow enjoyed a large audience at each of its renditions, culminating in a lively grand finale on 1 July, hosted at The Rose Shure Experience Centre, London. James Hill, the Director of Shure UK, and Stuart Moots, Director of Market Development, explained what each stop on the roadshow entailed and the motivation behind allowing Shure users, distributors, partners, and integrators to “become a part of the story”.

What inspired Shure’s UK and Ireland roadshow?

James Hill: “The roadshow was born out of a desire to reconnect with customers and partners and celebrate our 100th anniversary with them. There’s a huge appetite for in-person engagement. People want to see and hear products in real-world settings and have proper conversations. We also recognised that not everyone can easily get to the major trade shows, so we decided to take Shure on the road and bring the experience to our customers’ doorsteps across the UK and Ireland. It was about connecting in a way that’s personal and local, and there is no better time to do it than now whilst we are celebrating our 100th anniversary.”

What did the schedule look like at each stop on the tour?

Stuart Moots: “Each stop followed a consistent format. We structured the day into three sections: pro audio, content creation and

conferencing. The stations were seminar-led, with deeper dives into our ecosystem solutions and real use cases, followed by an open housestyle for more hands-on demos and informal discussions. We also made sure there was plenty of space for networking and catching up over coffee – those moments are just as valuable as formal presentations.

Which products did Shure showcase?

Moots: “We focussed on our ecosystem for conferencing and collaboration, including our new IntelliMix Room Kits for Microsoft Teams Rooms and Microflex Wireless neXt four- and eight-channel configurations, among other solutions.

“For large-scale productions we showcased our wireless microphone systems like Axient Digital, including our new Axient Digital PSM Advanced Digital In Ear monitoring system and SLX-D Quad-Channel Digital Receiver for the live events and performance crowd.

“Another key area was our solutions for content creators, including the new MV7i Smart Microphone & Interface, MV7+ and SM7dB microphones. With the rise of podcasting, streaming, and gaming, we’re seeing these tools used in everything from home studios to professional broadcast setups.

“The goal was to reflect the full scope of Shure’s offering and show how we support users across all stages of content creation, collaboration, and performance.”

The roadshow welcomed everyone from students to seasoned AV professionals. What value did you see in attracting such a diverse audience?

Hill: “It was really important to us to open the doors widely. Seasoned professionals bring a wealth of experience, and it’s always great to hear their feedback and insights.

“At the same time, students and early-career professionals are the future of the industry. By creating a space that welcomes both of these categories of guests, we encouraged knowledgesharing across generations and helped to build a more connected and informed community.”

One of the tour’s taglines was “Become part of the story”. What exactly does that phrase mean to Shure?

Hill: “‘Become part of the story’ is about inclusion, engagement, and our heritage in innovation. We don’t just want to talk to people – we want them to contribute, to challenge us, to share their needs and experiences. This roadshow gave us that two-way dialogue. It made the people using Shure products an active part of the journey.”

Have there been any particularly insightful or surprising conversations during the tour that you’d be willing to share?

Moots: “There have been many! For example, one particularly insightful conversation I had was with a university AV lead who shared how hybrid learning had completely shifted their technology strategy –but also their internal processes and expectations from students.

“It was a fantastic example of how AV isn’t just about kit anymore – it’s about solving bigger, more humancentred challenges. That kind of insight is gold, and

it helps us ensure that we are developing solutions that genuinely fit evolving needs.”

Across the different locations, were there common themes or recurring questions in your conversations with attendees?

Hill: “Absolutely. There was a clear focus on interoperability, remote monitoring and management, and the increasing crossover between AV and IT.

“People are looking for scalable, reliable systems that can be managed efficiently and deliver consistent performance.

“It tells us that the industry is maturing and becoming more strategic – AV is no longer a bolt-on; it’s a core part of organisational infrastructure.”

How did the London finale reflect the spirit and goals of the entire roadshow?

Hill: “We chose to run the finale a little differently. We gave the event to our customers and users of Shure, and let them lead the evening. After all, we wouldn’t be where we are without them, and ultimately, it’s the relationships and experiences our customers have with us that has driven our innovation for the past 100 years.”

Looking at the rest of 2025, how will Shure continue to celebrate its 100 years of operation?

Moots: “We are celebrating throughout the year with customer parties during our trade shows and internal associate celebrations in our regions around the world. We’ll be continuing to connect with our UK users at different trade shows, and they’re always welcome to visit us at the Rose Experience Centre in London.”

www.shure.com

Top left: Stuart Moots (left) and James Hill at the Shure Roadshow’s London finale.

Above: Stuart Stephens leading a seminar at one of the stops on the tour.

INFOCOMM 2025

AMERICAS

ORLANDO, USA / 11 –

13

JUNE, 2025

InfoComm is the largest professional audiovisual trade show in North America, and while the level of international visitors to Orlando remains fewer than when it is held in Las Vegas, this year’s expo boasted its highest number of registrants since 2019. The show’s one-big-hall layout is favoured by many compared to the criss-cross nature found in Las Vegas, and this year’s event featured a dark area where pro lighting solutions could be demonstrated to their full effect. As ever, the show was packed with new advancements in technology and the walkways were a hive of activity across its three days.

Genelec brought its Smart Ip installation loudspeaker solutions to the show, and highlighted its 120 colour options for the 4000 and 4400 Series. Equipson launched its new LightShark X-Series at the show, a line of

professional DMX/RDM control devices designed to deliver maximum compatibility, advanced connectivity, and full configurability for demanding lighting applications. BASSBOSS launched its free 3D roommodeling software, PredictBASS, which will help users visualse how subwoofer placement affects bass clarity and coverage. Void Acoustics presented the new Kinesys and Air 12 loudspeakers for the first time in North America, while Audio-Technica announced an integration partnership with NETGEAR to streamline networked audio deployments. PunQtum debuted the Q310 Wall / Desktop Panel, a two-channel intercom outstation designed to be installed in any kind of venue or facility that stages live events, and integrates flawlessly into an existing PunQtum portfolio. Panasonic announced the launch of MEVIX, a new sub-brand created for its visual solutions including projectors, flat panel displays, and DvLED displays, to deliver innovative and meaningful visual experiences across the AV industry. DPA Microphones presented its new N-Series Digital Wireless Microphone System to North American audiences for the first time. A fully digital, true diversity wideband solution, N-Series is well-suited to a wide array of live, house of worship and corporate events as well as installed systems applications.

Bluesound Professional highlighted its patented BCS300 ceiling/pendant loudspeaker, which is a PoE-powered, networked loudspeaker and a fully self-contained, high-quality music distribution system. A single Ethernet cable delivers power and network connectivity to the built-in amplifier

and audio streamer, eliminating the need for a separate audio rack and significantly reducing cabling requirements. Clear-Com presented its FreeSpeak Icon beltpack, a next-generation wireless unit with eight channel buttons, a configurable reply key, and Bluetooth 5.3 support, while making its InfoComm debut was the release of Arcadia version 4 – the latest addition to Clear-Com’s flagship intercom platform. Nanolumens and Barco jointly demonstrated the powerful interoperability of their flagship products, showcasing how Barco CTRL, the innovative control room software platform, seamlessly integrates with Nanolumens’ new Aurora LED image processor. MEGA-LITE exhibited alongside Alcons Audio, and presented several new lighting and control products, including the Deco Line Series – which includes the Light Pipe, Light Pipe 90’, Light Truss, and the Tetra Drivers 4 and 16 – all designed for integration into residential, hospitality, and commercial spaces operating with low voltage. Renkus-Heinz utilised its demo room to simulate real-world applications using active acoustics and immersive audio and showcased the beam-steering capabilities of the company’s flagship ICONYX series loudspeakers, including Iconyx Gen5, IC Live Gen5 and IC Live X Series arrays. tvONE showcased the new 1RU version of the CALICO PRO video processor (C7-PRO-1200) and MX Series of Hippotizer Media Servers at the show, exhibiting alongside its north American distributor ACT Entertainment. Elation brought an array of new product lines, including the PARAGON, its flagship automated lighting series. With TruTone variable CRI technology, interchangeable lenses, a comprehensive FX package, and a weatherproof IP54 rating, PARAGON combines multiple fixture roles

1 Martin Hildred from Linea Research.

2 The Powersoft team pose for a post-show photo.

3 Lucas Alonso and Frank Luppino from Blizzard Lighting.

4 Kati Pajukallio and Anthony Berry from Genelec.

5 Michael Johns and Allison Dolegowski from Shure.

6 Solveig Busler from Schnick Schnack Systems.

7 Steve Capling from Christie Digital.

8 Steve Harder and Mary Beth Henson from L-Acoustics.

9 Austin Freshwater and Maria Cristina Fiorellino from DiGiCo.

10 Felipe Andres Namen Bornacelly and Kevin Shove from Lavoce.

11 Nancy Crowe from Williams AV.

12 Andrew Richardson, Gianluca Turra and Greg Helm from Faital Pro.

13 The MEGA Systems team.

14. Christian Strehl and Ilona Utriainen from dB Technologies

in a single design, representing a leap forward in intelligent lighting for entertainment. Also new is the first luminaire in a bolder breed of workhorse lighting, REBEL. The REBEL PROFILE is a powerful, compact LED profile moving head with IP65 rating designed for attention-grabbing visuals in both indoor and outdoor applications. Shure announced two new conferencing solutions to enable AV and IT integrators to better support varied meeting spaces – the IntelliMix Foundation System and Microflex MXN-6 Networked Pendant Loudspeaker, while Visionary debuted the XB5, a USB-C conferencing bridge which offers single-cable connectivity for video, audio, Ethernet, and charging, in AV-over-IP environments. ENCO showcased its new AI innovations that add extra dynamics to live event production and the audience experience, including two award-winning automated captioning and real-time translation solutions. Visitors to the LEA Professional booth got a glimpse inside the new Connect Series 3004/3004D, a powerful addition to the lineup that completes the Connect Series family. The 3004/3004D adds power and expands the options in the Connect Series IoT-enabled smart amplifier lineup. L-Acoustics presented all of its latest announcements made at its Keynote for the first time on US soil, including the LA1.16i ultra-compact 16-channel amplified controller, and L-Acoustics DJ, which unlocks new creative possibilities for artists while offering venues a crucial competitive advantage in delivering premium audio experiences. Amadeus Acoustics showcased its new Q-SYS plugin integration, Amadeus Acoustics Plugin, which creates a market-

ready control solution that integrates seamlessly into Q-SYS, a cloudmanageable audio, video, and control platform. Yaham presented a full lineup of its next-generation LED display solutions, designed to redefine visual experiences across industries, including the A0 Series, which is designed for large-scale media facades and architectural displays with a brightness level of 6,000-plus nits. Meyer Sound demonstrated its new ULTRA-X80 versatile point source loudspeakers and presented Gen-1, the next step in the company’s digital signal flow. This new input card will deliver Galileo processing, redundant Milan connectivity, telemetry, and AES67 compatibility. Theory Professional announced PLC, a new line of Loudspeaker Controllers comprised of two eight-channel and two four-channel models, which leverages Powersoft’s patented amplification and signal processing technologies, and also presented its new SR Series of sound reinforcement loudspeakers and manfiold subwoofers. ADJ presented an ‘AVL Experience’ in a dedicated demo room, with attendees immersed in a high-impact showcase of professional lighting, LED video walls, and audio solution, bringing together lighting and LED video technology from ADJ with audio equipment from its sister company, Avante Audio, highlighting the synergy between visual and sound production. Navori demonstrated StiX 3800, the industry’s first all-in-one digital signage player with built-in screen monitoring and AIpowered audience analytics, while VITEC showcased its latest innovations in IPTV, digital signage, and video streaming, with Avedia Platform v11 making a public debut at the event. Pliant Technologies debuted two

new additions to its CrewCom system – the CXD-32CF 32x32 I/O Digital Audio Network Interface and its new Six-Bay Battery Charger (PBT-6BAY-01). The newly available PHS-IEHU in-ear universal fit miniature headset was also on display. Powersoft’s 30th anniversary tour continued to Florida where the company exhibited a selection of its next-generation solutions, including the ultracompact Nota 142 amplifier platform, the rugged Unica T platform for touring applications, and DC Rider, the industry’s first amplifier platform designed specifically for high-vibration visitor attractions. Building on the momentum of its 40th anniversary last year, Adamson unveiled its new XG Integration Amplifiers, which are designed with real-world installations in mind. The XG line is Adamson’s first dive into producing amplifiers, and the range combines native Milan-AVB for audio and control over a single cable, DSP and integrated protection and monitoring. Peerless-AV’s all-new SEAMLESS Connect Universal dvLED Mounting System debuted, with a 1.6-inch depth, it is the slimmest universal mount available and offers enhanced functionality for flat-to-wall and inside/outside corner-wrapping dvLED video walls. Eastern Acoustic Works (EAW) highlighted its new UXA4807D from the company’s installation amplifier line. With this addition, UXA installation amplifiers are perfectly matched with EAW’s Engineered Solutions Loudspeakers for fast, seamless system integration and reliable performance. Oak Amplifiers unveiled the Solid Oak 8K2, a new two-channel module that expands the Solid Oak product family, extending the high-performance legacy of its single-channel sibling, the 10kW Solid Oak 10K1. RCF unveiled its latest fixed install solutions with the Compact C-WP Series of loudspeakers, which includes the C 45 and C 32, multipurpose two-way point

1 Luke Jenks from CODA Audio.

2 Miles Kipper and Abbi DeLeve from AV Stumpfl.

3 Diego Becerra from Inner Circle Distribuion.

4 TJ Smith from EAW.

5 Carrie Kaumans from Listen Technologies.

6 Juan José Vila from Equipson.

7 Beky Cann from Peerless AV.

8 James King and Paul Lamarre from Martin Audio.

9 Filip Vindevogel and Inge Govaerts from Barco.

10 Marco Lopez and Katherine Moore from Clear-Com.

11 Jan Sander from Riedel.

12 Katie Pietzka and Jason Clairy from Disguise.

13 Andy Davies from Meyer Sound.

14 Santiago Lengua and Pieter van Hoogdalem from Adamson.

source speakers designed for near- and mid-distance applications in venues ranging from sports halls and nightclubs, to corporate and performance spaces.

Sennheiser celebrates its 80th Anniversary this year and presented its state-of-theart Business Communication solutions, highlighting the latest innovations in the TeamConnect Family, including TeamConnect Bar S and TeamConnect Bar M. The standout on Digital Projection’s booth was its new 1-chip DLP projector, the E-Vision 10000i 4K+ RGB., which is powered by Texas Instruments’ High-Efficiency Pixel (HEP) DMD to give it outstanding colour fidelity and native contrast. dBTechnologies highlighted scalable solutions from its IS Installation Series, which features passive, weather-resistant loudspeakers designed for seamless integration in permanent installs, including hospitality, retail, and outdoor environments. Also on display was its Constant Curvature VIO C Series and the Fifty Line, which is purpose-built for highenergy club environments and nightlife venues. HARMAN Professional Solutions premiered the JBL Control 400 series, its next-gen evolution of ceiling speakers with innovative Coplanar RBI technology for seamless coverage, and installer-friendly enhancements, tailored for retail, office, and transit spaces. Also launched was the PRX925 and PRX935 loudspeakers from its PRX900 family, while a new flyable subwoofers, the SRX915SF and SRX918SF, were announced from its SRX900 series. Meanwhile Martin Professional debuted the MAC Aura Raven XIP, which is powered by an RGBL LED engine and delivers over 24,000 lumens. With the ever-increasing array of broadcast solutions also displayed at the show, InfoComm remains a strong event on the global calendar, and next year’s show in Las Vegas should be even better given the city’s appeal. www.infocommshow.org

1 Tom Riby and Sarah Puerini from K-array.

2 Daniella Kohan, Glenn Rossney and Jeffrey Horan from Sennheiser.

3 Coleen Leith and Shannon Humphrey from Soundtube.

4 Marc Bertrand, Erin Phillips and Paul Hales from Theory Professional.

5 Madeline Dachs from HARMAN Professional Solutions.

6 Mark Wadsworth from VIOSO.

7 Diana Rosenblatt, Matt Czyzewski, Gina Sansivero and Michael Bridwell from AtlasIED.

8 Marisa Lainson from Renkus-Heinz.

PRODUCT GUIDE: LED SCREENS

ADI

MT Series

MT is a new generation of modular LED displays – a revolutionary all-in-one platform, providing a unified architecture across our entire screen range. Designed, developed and manufactured exclusively by ADI, MT provides the vision behind every one of its installation projects. Lighter, slimmer and simpler to install – MT makes it easier to put LED screens and signage in more locations that ever before. MT is ADI’s greenest screen range ever, with lower running costs and dramatically decreased environmental impact throughout its lifetime. All MT panels are in 16:9 ratio and can be specified in either landscape or portrait (9:16) format, helping to widen the sixing opportunities further still. Available in pixel pitches ranging from 1.5 – 10mm, the MT suits different uses and viewing distances. www.adi.tv

Absen X 4K Series

The Absen X 4K Series is a premium interactive LED display solution. Featuring a stunning 163-inch 4K UHD screen, integrated Android system, and seamless wireless casting, the X 4K Series is purpose-built for corporate collaboration, education, and high-end conferencing. It transforms any space into an immersive and dynamic interactive environment. Integrating multiple Absen image optimisation technologies, the X Series enhances the clarity and visibility to bring out natural details and vivid colours for realistic and incredible images. The X Series comes as a complete kit ready to install, including controller, audio, PSU and all necessary display elements needed for the installation. Equipped with a high-precision infrared touch system, the X Series revolutionises interactivity and elevates user engagement. With 1mm touch accuracy and support for 20-point multi-touch and smart gestures, it delivers seamless and intuitive interactions. The Absen X Series is fully compatible with Crestron, Extron, and Yealink ecosystems, allowing for easy deployment without complex installations. www.absen.com

ADJ EVS3 FLEX45

The EVS3 FLEX45 LED video panel from ADJ is a cutting-edge display solution engineered for adaptability, vibrant image quality, and seamless integration into dynamic visual environments. With the ability to flex up to a 45° angle, either concave or convex, this versatile panel offers new creative three-dimensional possibilities for lighting and video designers to create high-res video display surfaces that blend seamlessly with venue décor, stage sets, exhibition stands, and immersive environments.

Equipped with a 3.91mm pixel pitch using Kinglight Copper 3-in-1 SMD 2121 LEDs, the EVS3 FLEX45 ensures remarkable clarity and brightness, with a pixel density of 65,536 per square meter. Each panel features a 128 by 128 pixel resolution in a compact 19.68-inch by 19.68-inch by 2.96-inch design, making it lightweight and easy to transport at just 15.6lbs. Its brightness of 800 NITS, combined with a 160° horizontal and 140° vertical viewing angle, guarantees a vivid display from multiple perspectives. www.adj.com

Alfalite SKYPIX

Alfalite’s SKYPIX RGBW & IM is a new series of ceiling-mounted LED panels designed specifically for virtual production (VP XR) environments. This new solution introduces a capability previously unseen in the industry: combining RGB video playback with an integrated white lighting channel to deliver more natural, coherent, and adaptable scenes from above. With a 3.9mm pixel pitch, up to 9,000 nits of RGB brightness, and a 7,680Hz refresh rate, SKYPIX offers precise light control, a colour temperature range between 3,200–6,504ºK, and a TM-30 colour rendering index (Ra) of 90. Its average power consumption of just 35W (90W max) makes it an energy-efficient option for long studio sessions.

A standout feature of SKYPIX is its Invisible Marker (IM) system, which replaces traditional physical tracking markers with a virtual, invisible sticker compatible with existing tracking technologies. This system ensures accurate, real-time synchronisation and allows for the configuration of customisable IM constellations that embed metadata directly into the shoot. Lighting control is managed through a dedicated application that enables real-time adjustment of both colour and intensity, by zone or by pixel, with user-defined presets tailored to production needs. www.alfalite.com

AOTO’s CV-MIP Series fine-pitch LED display redefines indoor experiential environments for retail and commercial display applications.

With a pixel pitch range of 0.9mm to 1.8mm, 7,680Hz refresh rate, and 35,000:1 contrast ratio, CVMIP delivers ultra-smooth, glare-free visuals across walls and ceilings. Its modular, ultra-thin (38mm) panels allow seamless, flush-mounted installations – even in tight spaces. Featuring advanced black nanocoating, IP-rated protection, single-lamp repairability, and up to 34% lower peak power consumption, CV-MIP balances top-tier performance with operational efficiency. The product also integrates easily with AI-based analytics for immersive, interactive brand experiences.

CV-MIP is trusted by flagship projects like Future Stores on Oxford Street, the world’s first immersive retail media store, offering brands dynamic content flexibility and measurable engagement. www.aoto.com

CHAUVET Professional REM MIRA 1.9mm

The REM MIRA 1.9mm is a high-performance indoor video wall solution designed to elevate visual storytelling while simplifying the installation experience. Built with a sleek, ultra-thin profile ideal for direct wall mounting, the REM MIRA blends cuttingedge technology with user-first engineering. Featuring universal magnetic LED modules, it allows for effortless front installation and maintenance, reducing setup time and complexity. Powered by premium NovaStar A10s Pro receiver cards and MX series processors, this system delivers stunningly accurate visuals across a wide DCI-P3 colour gamut with ultra-low latency, making it a favourite for camera-friendly applications. The included COEX VMP software streamlines video mapping and scaling through an intuitive interface, empowering users to focus more on creativity and less on configuration. Mira comes in two form factors and two pixel pitches that pair beautifully with CHAUVET’s REM 1 and REM 3IP rental models.  For special events, add rented screens to a venue’s fixed screens with confidence. REM MIRA’s integrated frame linking hardware and anti-reflective black panel design ensures seamless alignment, vibrant imagery, and exceptional adaptability. With 22-bit+ greyscale rendering and a 3,840Hz refresh rate, the REM MIRA 1.9mm is not just a display – it’s a collaborative tool that enhances visual impact and creative freedom. www.chauvetprofessional.com

Clear Motion Glass’ ClearView LED offers a solution for seamless digital displays integrated into glass surfaces. Featuring HD quality, ClearView LED ensures vibrant, sharp visuals while maintaining a transparent appearance. This innovative technology can be embedded within laminated glass during manufacturing, creating a sleek, unobtrusive display that blends seamlessly into architectural designs. Additionally, it can be applied to existing glass panes, transforming ordinary windows or partitions into dynamic digital canvases without compromising transparency or natural light. Made for retail, corporate, or architectural applications, ClearView LED combines high-definition visuals with the aesthetic and functional benefits of glass. Its versatile design allows for immersive advertising, interactive signage, or artistic displays, all while preserving the clarity and openness of the glass surface. With easy integration and maintenance, ClearView LED redefines how digital content interacts with architectural elements, offering a cuttingedge, transparent display solution that enhances both form and function. www.ClearMotionGlass.com

Christie MicroTiles LED

To develop Christie MicroTiles LED, its engineers applied everything that made their original MicroTiles so popular and incorporating the latest in LED display technology. MicroTiles LED has limitless design freedom. Proprietary cabinet-free Click-n-Go LED tiles can be arranged in near-limitless ways, including 90° inside/outside corners and concave and convex curves. Further, there is superior visual quality. Powerful processing including 12-bit input sources, 4K@120Hz and HDR10 compatibility, combined with high-brightness and cinema-quality colour, produces true-to-life detail. Christie’s propreitary QuickMount system, laser-cut steel mounting sheets and machined wall anchors, reduce installation complexity and eliminate the alignment challenges of traditional LED products. Patened Neighbour Detection means indivual tiles automatically detect and self-locate, whilst the sensorbased AutoMatch feature automatically matches colour and brightness to achieve >97% uniformity across the entire display for the entire operational lifetime. Finally, users can experience robust, flickerfree, and uncompromised Active 3D at 60Hz per eye with MicroTiles LED Active 3D. Christie designed this display application to enhance visualisation and collaborative design processes. www.christiedigital.com

Leaving an LED screen in standby mode? That black screen is quietly costing you a fortune. LED displays still draw power when idle – and over time, that adds up. Whether you’ve got a single screen or a network of them, the energy wasted during standby can seriously hit your bottom line. This patented, award winning, industry-first technology cuts standby power to zero. It completely shuts off the display’s power draw when not in use – not a trickle, not a little less – but nothing at all. The result is instant savings. The bigger the screen, the more you have, or the longer they sit unused, the greater the impact. You’ll save money on energy costs, reduce your carbon footprint, and help extend the lifespan of your displays by easing unnecessary strain on the components. It’s a simple change that pays off from day one – no compromises, no extra hassle. Just less waste, and more value from your LED investment. Why keep paying for power you’re not using? Switch to zero-standby and take control of your energy use. Why waste when you can save. www.digiled.com

Highlite DMT Alpha Series A2.6i

DMT’s Alpha Series A2.6i is an indoor HD LED screen with a pixel pitch of 2.6mm and fully black LEDs, making it suitable for short viewing distances and offering a high contrast ratio for first-rate image quality. Featuring a built-in A5s PLUS receiver card, the A2.6i works seamlessly with any NovaStar video processor. Its lightweight and modular design makes it ideal for both fixed installations and the rental market. Connecting screens together is quick and easy, thanks to a quick-lock system that uses magnets to aid positioning. Angled connections between -5 and +10º also allow for the creation of curved displays. For easy servicing, the A2.6i can be accessed from both the front and rear. For safe and secure rigging, two rigging bars are available: the single rigging bar can hold up to 18 LED panels hanging vertically, while the double rigging bar can support two rows of 18. Thanks to their adjustable feet, they can also be used as stacking bars.

www.highlite.com

i5LED IllumiWrap

IllumiWrap powered by LightnTec is an ultra-thin, ultra-light LED display system designed for fast deployment across a wide range of environments. With a 1-inch depth and up to 90% less weight than traditional LED cabinets, it significantly reduces structural demands while maintaining stunning visual impact. Available in 5mm, 8mm, and 15mm pixel pitches, IllumiWrap delivers up to 6,000 nits of brightness and is rated IP66 for reliable performance in both indoor and outdoor settings. It’s ideal for temporary signage, building wraps, touring activations, and creative architectural displays. Installation is fast and tool-free using Velcro and custom tarp backing that attaches directly to frames or substructures. Front or rear access is available for easy maintenance, and the flexible format supports large-scale, unobtrusive integration. IllumiWrap offers a modern, efficient alternative to bulky LED systems, providing vivid, highvisibility content for indoor or outdoor installations. www.i5led.com

INFiLED Xmk3 Series

INFiLED Xmk3 is a flexible LED solution made for immersive indoor spaces. With its ultra-adaptable structure and ±45° curve range, Xmk3 lets creators bend, shape, and sculpt displays that follow the story, not the frame. Whether it’s a smooth wave or a perfect cylinder, Xmk3 adapts to a space with precision. It also connects seamlessly with INFiLED’s other rental series – including DBmk2, EZmk2, MagCube, and RS – enabling creative hybrid builds with wave and rightangle designs. Xmk3 isn’t just flexible, it’s built for fast, repeated setup. Push-button curvature control enables precise angle adjustments, while alignment pins ensure seamless screen alignment. ArmorLED tech and auto-retractable corner protection reduce LED damage during handling, while SolidSkin tech adds a protective coating to resist dust, moisture, and wear, ideal for high-use environments. From themed environments and touring shows to interactive brand spaces and XR studios, Xmk3 transforms LED from surface to structure. www.infiled.com

LED Studio VIVID

VIVID is built to bring spaces to life. Whether it’s lighting up a sports bar, adding energy to a casino, or setting the scene in a museum or cruise ship, this adaptable LED display delivers stunning visuals in any environment. Users can expect bold colour, sharp contrast, and smooth integration for all applications. With options for indoor and outdoor use, pixel pitches from P0.75, and easy front or rear access, VIVID fits right in – on walls, ceilings, columns or custom builds. It’s designed to be eye-catching without being overcomplicated, perfect for creative installs with tight timelines. Paired with ECLIPSE, the power management platform, VIVID becomes even more efficient. ECLIPSE reduces energy use by up to 40%, protects against surges, and keeps long-term running costs in check, which is ideal for 24/7 environments like casinos, nightclubs, and entertainment venues. www.theledstudio.co.uk

Ledman DS Series

The Ledman DS Series redefines indoor LED performance with its proprietary PSE Energy-Saving Display Technology. Ideal for retail, corporate, and control rooms, it sets new benchmarks for sustainability and safety. Key innovations include its PSE technology which enables 50% greater energy savings vs. conventional displays, drastically cutting operational costs. There is also an ultra-low surface temperature – PSE’s efficient thermal management ensures safe, cool operation near audiences or sensitive materials. Furthermore, it is silent and reliable, with a fanless design and 24/7 durability for critical environments. Modular construction enables seamless video walls with minimal bezels. Fine pixel pitches support diverse applications, from detailed information displays to immersive advertising. Engineered for digital signage, broadcasting, and corporate spaces, the DS Series leverages PSE technology to merge vibrant visuals with radical energy efficiency and operational safety. www.ledman.com

Leyard TVF Series

Offering pixel pitches of 0.9, 1.2, 1.5 and 1.8mm, the Leyard TVF Series provides high-quality fine pitch LED video wall displays. This series is recognised for its superior visual quality and ease of installation. The stackable, cableless design simplifies setup by eliminating cabinet-to-cabinet cabling, while front serviceability ensures quick and easy maintenance. The versatile, always-on displays are perfect for a variety of applications and deliver stunning visuals every time. The quality of the Leyard TVF Series has been proven in numerous installations across Europe, redefining multi-functionality and installation simplicity. Additionally, the TVF Series is manufactured in Europe to the highest European quality standards at Leyard’s state-of-the-art factory in Prešov, Slovakia, ensuring short lead times, stable pricing, and reduced transportation routes. www.leyardeurope.eu

LiKYLIN NX Series COB Display Solution

As entertainment spaces demand ever-higher standards of visual impact, LiKYLIN NX Series rises to meet the moment. Engineered with full-flip-chip COB MicroLED technology, the NX delivers 8K resolution, a 100,000:1 contrast ratio, and an ultra-smooth 3840Hz refresh rate, making it the perfect visual canvas for immersive indoor entertainment spaces. Whether it’s a high-energy concert backdrop or a dazzling installation in a theme park or studio environment, the NX Series provides unmatched visual fidelity and colour depth even under extreme lighting conditions. Its ultra-slim die-cast construction ensures a lightweight yet durable form factor, ideal for fast-paced setups or intricate set designs. With a high-integration all-in-one power, receiving card, and HUB board architecture, the NX is built for seamless 24/7 operation, crucial for mission-critical installations. Combined with a common-cathode energy-saving design, the NX Series is not only a visual powerhouse but also a sustainable choice for modern entertainment venues. www.likylin-led.com

ROE VISUAL Sierra

SACO M-Series

The SACO M-SERIES is an innovative LED video screen system using state-of-the-art electronics in a sturdy, durable design. This tileable media system can be used in a multitude of applications, for both temporary or permanent installations. Based on SACO’s proprietary V-STREAM communication protocol, the M-SERIES is fully compatible with SACO’s architectural lighting and media touring solutions, as well as SACO’s line of video processors and video-enabled light fixtures. www.saco.com

YES TECH MG7S Series

YES TECH MG7S Series features adjustable brightness to accommodate various lighting environments, with customised with full black LEDs and high grey & refresh IC. Suitable for outdoor and indoor deployment, it can also be used as dance floor with a maximum bearing capacity of 4.6 tonnes. The MG7S offers excellent stability, high refresh, high brightness and contrast ratio, ensuring clear and smooth visuals. The cabinet is light and thin, single cabinet is only 73mm thick and weighs 6kg, making it an option to install on the ceiling, and boasts a strong tensile force, allowing for a hanging height of up to 10m. Featuring customised with premium-quality lamps, this creative LED display has excellent brightness and bright colours, showing wonderful visual effects in all kinds of applications. The 3840Hz high refresh rate ensures a stable and smooth output. www.yes-led.com

Sierra features state-of-the-art common cathode flip-chip 4-in-1 LED technology in a mere 1.2 mm pixel pitch. Featuring a standard 16:9 aspect ratio, Sierra delivers reduced reflection, striking contrast, and an impeccably uniform black surface. A high-efficiency power supply reduces Sierra’s power consumption by 40%. The resulting low operating temperatures enhance colour performance and significantly extend the panels’ lifespan. The Sierra LED panels are ideal for system integration, these innovative LED panels will excel in any bright environment where high contrast is essential and where exceptional visual performance is paramount, like broadcast studios, auditoria and corporate environments. Sierra’s 4-in-1 LEDs with anti-glare surface treatment deliver deeper blacks and superior contrast, making it ideal for bright environments requiring high visual clarity. With its low-scan rate design, reducing on-camera artifacts, Sierra is perfect for broadcast studios, TV stations, and other on-camera applications. Utilizing common cathode design and flip-chip LEDs, Sierra achieves up to 40% energy savings, resulting in lower heat generation. The stable, low operating temperatures of the LED panel enhance color performance and significantly prolong its lifespan. www.roevisual.com

PHAROS ARCHITECTURAL CONTROLS

EXPERT

Pharos Architectural Controls’ new Expert range is centred around Expert Control, a reliable and easy-to-use controller that provides a credible and cost-efficient alternative to its established cousin, the popular Designer LPC.

Pharos has positioned its new range as ‘your expert in DMX and DALI control’. Expert Control is a single-platform control solution with DMX, DALI, and some I/O on board for straightforward architectural lighting requirements, plus a handful of accessory devices if the system needs any additions.

Specifying and installing Expert is simple; there’s just one device to get connected, and it even has out-of-the-box test modes. The commissioning software is designed to guide users, giving them a curated programming experience with innovative but easy-tounderstand ways to schedule and activate lighting for predictable playback, ideal for most architectural lighting installations.

The Designer LPC is the go-to Pharos controller for show control requirements and advanced integration, or where high channel counts are needed. Most projects don’t need that level of complexity but do want the benefits of controlling DMX fixtures to create dynamic lighting for beautiful results. That’s where Expert comes in.

Expert’s reliable, easy-to-install DIN-rail hardware can be left to operate 24/7, year in and year out, with no PC or other hardware. Users can rest assured that scenes will play on time, every time.

Expert’s onboard clock and configurable schedule, including astronomical events like sunrise and sunset, ensure the lighting runs with no intervention throughout the year. Watchdog failsafes guarantee smart recovery in the event of power interruptions or spikes, so users can be confident that it will get on with its job, providing the exact lighting control needed.

Building interiors, building exteriors, art installations, bridges, parks, heritage façades, landmark structures: any architectural lighting application that needs to operate autonomously and reliably can benefit from Expert.

When connected to the internet, Expert Control allows users to get secure remote access for site management and lighting control from anywhere in the world, on any device with a browser. Support customers without the costs and time of travelling to site. Ideal for busy installers, or when local authorities need a unified installation management solution. Every Expert Control comes with a three-month free trial of Pharos Cloud.

Expert allows installers to give personnel/end-users on site access to lighting controls with touchscreens. Let the customer select scenes at will, dial up a colour or set a new lighting level to set the mood or change the look at a moment’s notice. Configurable interfaces can be personalised to each connected device, and the automatically generated pages provide easy access to scene selection, sliders and colour-pickers, and to view and override upcoming calendar events on the pre-programmed schedule.

Expert has a free mobile touch app for Android and iOS phones and tablets and works over local Wi-Fi connections.

For permanent installation solutions there is the elegant companion Expert Touch – wall-mount stations available in 5-inch and 8-inch versions, in black and white. Furthermore, Pharos has given Expert a healthy set of integration tools for applications that have some I/O needs for triggering lighting events. As well as outputting DALI, Expert can receive DALI commands from existing DALI panels and sensors to activate scene playback, allowing it to augment a functional lighting scheme with decorative DMX control.

On-board configurable contact closure, digital or analogue inputs and low-voltage relay outputs extend the ability of systems to interact with the local environment, and UDP, HTTP, and Cloud API allow Expert to seamlessly communicate with other systems for a truly unified control solution. Expert provides users with a powerful lighting control solution that is easy to specify, easy to install and easy to commission, providing seamless integration, full operability, and high-quality result.

www.pharoscontrols.com

DYNACORD IX SERIES MULTICHANNEL DSP POWER AMPLIFIERS

Dynacord’s IX Series redefines the landscape of modern sound amplification in fixed installations with state-of-the-art, IP-networked multi-channel DSP power amplifiers. Engineered in Germany, the IX Series introduces a versatile addition to Dynacord’s product portfolio. The lineup consists of five models tailored to industry-standard power specifications of 1.5k, 3k, and 6kW across two 8-channel and three 4-channel configurations in a compact 1U form factor.

This series is ideally suited for AV system integrators, installers, and consultants, meeting the diverse requirements and flexibility demanded by most small to midsized installation projects, such as office spaces, hospitality areas, educational facilities, performance centers, houses of worship, stadia, and beyond, accommodating both centralised and decentralised sound system configurations. Offering the same functionalities as Dynacord’s IPX flagship series, the IX power amplifier range is tailored for sound system installations that require comparatively less output power. Dante break-in capabilities for mic/line inputs, a comprehensive DSP featuring a matrix mixer with Dynacord’s studio-quality effects, and system logic for automation and system control make the IX Series ideal for standalone use in smaller projects, simplifying system complexity and eliminating the need for an extra DSP matrix.

The models can also be specified for complementary amplification duties in larger installations, making them a highly flexible and cost-efficient solution in many projects. Furthermore, the IX Series ensures seamless integration with third-party platforms such as Crestron and Q-SYS via software plugins. Its ability to streamline system setups by eliminating the need for additional DSP devices, Dante break-in boxes, or separate system controllers, further enhances its value. Each IX model comes with eight (8-channel models) or four (4-channel models) high-quality mic/line inputs with switchable phantom power. Each of them can be utilised as Dante break-ins with redundancy and supervision. The Dante input/ output channels include direct, mix, and amplifier outputs, providing extensive routing options.

The onboard DSP features high-resolution processing at 96kHz, advanced DSP capabilities with input processing, a 16 by 16 / 12 by 12 channel matrix mixer, FIRDrive, and Dynacord’s studio-quality effects. Additionally, the IX Series integrates taskENGINE for system logic derived from the MXE5-64 open architecture DSP to facilitate system automation, scheduling, and third-party integration.

Equipped with the same advanced supervision and protection circuitry as the IPX top-of-the-line series, the IX Series incorporates sophisticated amplifier technologies that significantly enhance versatility, adaptability, and sustainability across sound systems. Dynacord’s ghostPOWER via PoE is an extension of ghostPOWER technology implemented in the IPX and TXG series. It ensures that the DSP, Dante/control network and all analogue mic/line signal inputs and mixes remain alive in the absence of mains power, providing a crucial advantage in mission-critical applications. Additionally, overall power consumption is significantly reduced with ecoRAIL, conserving energy and lowering ownership costs, while powerTANK provides flexible power allocation by acting as a power reservoir.

With direct access to the total amp capacity, powerTANK can dynamically deliver power of up to 1kW or even 1.8kW per channel as needed. For maximum installation flexibility, the IX Series can individually drive both high and low impedance loads.

The IX Series seamlessly integrates into the SONICUE Sound System Software and works perfectly with all peripherals within the SONICUE ecosystem.

www.dynacord.com

LAIRDS AV

FOUNDED

IN

2007 BY MARK LAIRD, LAIRDS AV HAS GROWN FROM A HOME-BASED STARTUP INTO ONE OF SCOTLAND’S MOST RESPECTED NAMES IN SMART HOME INTEGRATION AND AUDIOVISUAL DESIGN.

A veteran-founded and family-operated business, Lairds AV combines deep technical knowledge with a customer-first approach, offering bespoke solutions in home automation, commercial AV, and secure networking systems.

“Our mission has always been to design systems that work seamlessly for the client no overengineering, just simple, powerful control,” said Mark Laird, the company’s Founder and Managing Director.

Laird leveraged his background in network security and cybersecurity to launch Lairds of Troon, bringing a combination of cybersecurity rigour and AV system design to the residential and commercial tech sector, holding both a BSc and MSc in Network Security from Glasgow Caledonian University and an MSc in Cyber Security from the Open University, as well as certifications including AVIXA, Fluke Networks Fibre & Copper, and CNCi.

In the beginning, Mark and his wife Johanna operated the business from their home, handling consultations, quotes, and installations directly. The following year, word had spread about their high standards, and Lairds AV began securing larger projects and building long-term relationships that remain active today.

“It was clear early on that our homeowners and commercial clients wanted more than offthe-shelf tech – they wanted tailored, discreet systems that just worked, and that’s where we found our niche,” said Laird.

Over the years, Lairds AV has contributed to some of Scotland’s most ambitious integration projects. Among the company’s standout achievements are the full AV and automation fit-out for the £13m Firth Pavilion at Seamill Hydro, including the main function suite and bridal suite; securing trusted supplier status with global brands such as Barclays and William Grant & Sons, and delivering systems for government framework contracts, thanks to enhanced PVG certification and security clearance. Laird’s also completed the complete AV and conferencing systems in the Ayrshire Hospice new Capital Build project, and the company has been recognised with multiple awards including Regional Winner at the Chamber of Commerce Awards, and Business of the Year at the Scottish Veterans Awards.

“We’re proud of every project, but the Firth Pavilion work stands out, because it was a true test of scale, complexity, and elegance, and that’s exactly where we thrive,” said Laird.

Today, Lairds AV sits in a distinctive position within the UK market. As one of the only AV integration firms locally with highsecurity clearance, Lairds regularly works in environments requiring discretion, reliability, and robust technical standards. This includes private clients, secure government facilities, and enterprise-grade commercial spaces.

Clients range from affluent homeowners and restaurant chains, to healthcare providers and aviation companies. What unites them is a need for robust, reliable technology that blends into the background and never fails to deliver.

“We serve clients who don’t want gimmicks, they want systems that enhance their homes or businesses without needing a tech degree to operate them,” said Operations Director Johanna Laird.

“Every project starts with a thorough consultation and design phase, balancing budget, function, and aesthetics. From there, a full-service model kicks in, covering installation, programming, commissioning, and optional maintenance contracts, and our in-house documentation processes ensure transparency and simplicity for clients throughout.

“We design every job like it’s going in our own home, and that level of care and attenttion has helped us build trust and win work purely through word of mouth.”

Looking ahead, Lairds AV is poised to evolve into a full-service smart property contractor, with plans already underway to bring electricians, joiners, decorators, and other key trades under the Lairds umbrella.

“We want to give clients a one-stop-shop,” stated Mark. “They shouldn’t have to coordinate five different contractors to get one room done. That’s where we see our next growth step.”

In addition, the team is also expanding its focus to energy-efficient automation, acoustic design for media rooms and multi-use spaces, and garnering national coverage through new supplier and integrator partnerships. And behind it all remains a commitment to technical excellence and a focus on human-first design. www.lairdsav.com

1 Lairds AV Founder, Mark Laird.

2 A new sound system supplied and installed by Lairds AV improves the atmosphere at The Spanish Butcher in Edinburgh.

3 - 5 Lairds delivered a fully integrated installation AV solution in an interactive exhibition room within the Billy Connolly Interactive Art Exhibition Room at Castle Fine Art in Glasgow, without compromising the acoustic integrity of adjacent rooms.

6 A discreet AV solution designed and installed by Lairds enhances the functionality of the lecture theatre space within Hendrick’s Gin Palace.

1. Claypaky

Ultimo Sharpy

Ultimo Sharpy is the next evolution of an icon: a compact IP66-rated beam moving head, purpose-built for the most demanding environments, productions, and expectations. It carries the legacy of the original Sharpy into a new era — faster, brighter and tougher than ever before. With groundbreaking power-to-size ratio, advanced optics, and fast, true CMY colour mixing, it delivers stunning mid-air effects, infinite motion, and absolute precision. Whether on the biggest stage, under the harshest conditions, or inside a tightly cued broadcast, Ultimo Sharpy performs with effortless brilliance. www.claypaky.com

2. Laserworld

Purelight IP65 Series

A new generation of laser systems, developed for tough outdoor use, the Purelight IP65 offers maximum flexibility for professional applications at festivals and large events, and creates new creative possibilities through high compatibility. The new Laserworld Purelight series includes models from 5 to 70 watts of power, which are characterised by an IP65 rating, special robustness, and excellent beam quality. Laserworld designed the systems as a direct solution for the increasing number of outdoor events. www.laserworld.com

3. Panasonic

PT-RQ45K Series

Panasonic Connect’s new PT-RQ45K is a next-generation 3-Chip DLP projector offering an impressive 40,000lm brightness at 4K resolution - all packed into the world’s smallest and lightest body in its class. This product marks Panasonic’s debut in the 40,000lm projector class, delivering a compact and highly reliable solution designed for the demanding workflows of rental and staging professionals, including large-scale events and outdoor projection mapping.As projection mapping and immersive experiences continue to grow in scale and complexity, there is greater demand for higher-brightness projectors that simplify integration without sacrificing performance. https://connect.panasonic.com

4. PROLiGHTS Gallery WashDAT

The Gallery WashDAT is a compact and efficient LED wall wash luminaire, purpose-designed for precise, uniform illumination of walls, exhibits, and shelving in galleries, events, and venues. Its advanced optical system combines a custom linear LED source with an asymmetrical reflector, significantly reducing the required number of fixtures by enabling greater spacing without compromising visual comfort or uniformity. The Gallery WashDAT FC model features a 60W RGB + Warm White LED engine, providing a versatile combination of dynamic colour mixing and tuneable white illumination. This model is ideal for creating customisable ambiances or highlighting architectural and exhibit features with precision. www.prolights.it

Built To Inspire

Made in Germany for 70 Years

Put your equipment on a sound footing with a König & Meyer stand. Robust and durable, it will be your companion for a long time to come. Made in Germany from finest quality materials and according to our high-quality assurance standards. Rely on innovative designs and user-friendly functionality, plus a five-year warranty. www.k-m.de

PowerLightsAugsburg Hofrat-Röhrer-Straße 16 D-86161 Augsburg

Tel.: +49/821/2 63 94 47

Fax: +49/821/2 63 94 69

FOAM MACHINES, CANONS & FLUID

info@mbn-eventproducts.com mbn-eventproducts.com A brand of MBN Eventproducts

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