BOB MARLEY HOPE ROAD PERFORMANCE VENUES LOUDSPEAKERS
LaserAnimation Sollinger is celebrating its 40th anniversary. We are immensely proud of our journey from humble beginnings to becoming one of the world’s leading manufacturers of show laser projectors.
None of this would have been possible without the support of our loyal customers and the inspiration of their ideas, nor without the dedication of our highly specialised team.
Thank you all.
Join us in Berlin on October 11th to celebrate. Friends and partners are warmly invited — register via the QR code below.
Two year rates are available on request. Subscribe online at www.mondiale.co.uk or call +44 (0)161 476 5580 ISSN: 1476 4067
Mondo DR (ISSN 1476 4067) is published in January, March, May, July, September, November and December by Mondiale Publishing Ltd, Strawberry Studios, Watson Square, Stockport, SK1 3AZ, UK
Subscription records are maintained at Mondiale Media Ltd, Strawberry Studios, Watson Square, Stockport, SK1 3AZ, UK mondo@mondiale.co.uk www.mondodr.com www.mondodrawards.com Printed by Buxton Press, Palace Road, Buxton, UK
FROM THE EDITOR...
We are proud to present another packed edition of MONDO-DR, upholding this publication’s long-standing tradition of showcasing a plethora of inspiring installations and providing a platform for companies to shout about their latest developments.
This issue’s cover story is the inspirational Bob Marley Hope Road experience in Las Vegas – a 75-minute, non-seated show that enthralls visitors with stunning scenography, powerful visuals, and live performers just feet away. Read our report on page 72
Also inside, we speak in depth with Gaetan Byk, owner of loudspeaker manufacturer Amadeus, and we hear from Martin Professional’s product developers as they look to take their stage lighting offering to the next level. We round up the latest upgrades at performance venues around the world and, in a special report, we look inside a selection of the pavilions at this year’s Expo 2025 in Osaka, where AV technology is playing a leading role in the visitor experience. There are company updates from TiMax Spatial and Christie Digital, and we profile LaserAnimation Sollinger and CONDUCTR.
Finally, a new addition to the magazine is the Back of House Q&A on the final page, with ARAM CEO Rafał Mrzygłocki taking the inaugural BOH hot seat on page 130
Enjoy the issue!
TODD STASZKO EDITOR
Sound, sculpted for your space. Infinite possibilities with steerable sound.
IN THIS ISSUE...
Kielce, Poland 60 BANIA MUSIC
64
66
Białka Tatrzańska, Poland
Oslo, Norway
72
Tokyo, Japan
Osaka, Japan
SEPTEMBER
SEP 7–9
PLASA SHOW LONDON, UK www.plasashow.com
OCTOBER
OCT 9-11
PRO AVL INDONESIA EXPO JAKARTA, INDONESIA www.proavl-indonesia.com
SEP 9-11
INFOCOMM INDIA MUMBAI, INDIA www.infocomm-india.com
OCT 13-17
GITEX GLOBAL DUBAI, UAE www.gitex.com
SEP 12-15
IBC AMSTERDAM, THE NETHERLANDS https://show.ibc.org
OCT 14-16
LEAT CON HAMBURG, GERMANY www.leatcon.com
SEP 23-24
CHURCH FACILITIES CONFERENCE & EXPO DALLAS, USA https://churchfacilitiesexpo.com/
OCT 22-24
INFOCOMM AMERICA LATINA MEXICO CITY, MEXICO www.infocomm-americalatina.org
NOV 11-13
PRO INTEGRATION FUTURE ASIA SINGAPORE www.prointegrationfuture.asia
7-9
LAS VEGAS, USA www.ldishow.com
NOV 19-20
LiGHT25 LONDON, UK www.lightexpo.london
INTERBEE TOKYO, JAPAN www.inter-bee.com NOV 19-21
NOV 26-27
JTSE PARIS, FRANCE https://jtse.fr
ROTTERDAM, THE NETHERLANDS www.cue.nl
19-21 JAN 22-23 NAMM ANAHEIM, USA www.namm.org
INTELLIGENCE IN EVERY APPLICATION
MARTIN PROFESSIONAL
MONDO-DR joins Martin Professional in Kristiansand, Norway, for three days of live fixture demonstrations and open discussions with the brand, its distributors, and end users, all set against the backdrop of the city’s Palmesus Festival.
Photos: Allan Toft.
Palmesus Festival is the largest beach party in Northern Europe and, year after year, is recognised for its vibrant lighting and visuals that work alongside its electronic music soundtrack.
This year’s event saw Martin Professional’s systems illuminate its two large stages, alongside its sister brand, JBL Professional, providing audio for the Cupra performance area.
Oscar Olsson, Production Manager at Nordic Rentals, the AV designers of the event, explained that they specified the lighting fixtures because “they provide amazing visuals and they’re always reliable, that’s what makes a good product in my eyes.”
He continued: “Nordic Rentals has worked with the manufacturer for over 25 years – we’ve always primarily been a Martin house.”
Though this magazine remains faithful to coverage of fixed and semi-permanent audiovisual projects, the visit to Palmesus Festival was extremely enlightening to how two seemingly contrasting areas of the industry, touring and installation, very often intersect and prompt similar discourses.
This was best illustrated in one of the Kristiansand trip’s most notable activities – the Martin Color Lab Innovation Panel. The discussion invited professionals with varying focusses, including
distributors, customers, installers, rental houses, and members of the press, to interact with and learn from Martin Professional spokespeople and experts.
Hosted within the city’s Kunstsilo, a significant museum that houses the world’s largest collection of Nordic Modernism, David Glaubke, Director of Global Corporate Communications at HARMAN International, moderated the panel.
Glaubke was first joined by Mark Buss, Global Product Line Manager at Martin Professional/HARMAN, who has been with the organisation for over 24 years and has been instrumental in the development of classic product families such as the ELP, ERA, and RUSH.
Also presenting at the seminar was Henrik Kristensen, Product Manager for Stage Lighting at HARMAN International. Kristensen has had a significant impact on the creation of workhorse fixtures, having been with the company for 28 years. During this time, he explained, he has been leading global teams of project managers, application engineers, and technical designers, while developing and researching new ways to illuminate a venue.
The final expert introduced was brought on to speak from the
perspective of someone outside of Martin Professional. This was Kevin Wetzels, Creative Director at TWOFIFTYK Media, an entertainment and brand experience agency, who arrived in Kristiansand fresh off activating the large-scale event, Defqon.1.
As the moderator, Glaubke began by explaining that the panel was to focus primarily on four ‘hot-button’ topics. These consisted of a general discussion on significant industry trends, how the industry is solving complexities in the production process (whether that be in the manufacturing period, design phase, or otherwise), balancing creativity and budget constraints, and lastly, the role of data in production.
Solving the problems of today and tomorrow
Opening the conversation, Glaubke turned to Kristensen. He asked, “Looking at current trends and based on what you and other professionals have been discussing, how is Martin, and how are AV brands in general, continuing to refine their portfolio to solve problems for the future?”
Kristensen commented: “For many years, we manufacturers have been in the race for lumens. It’s been all about who can produce the products with the most output. I think this has now changed –for us, we’ve reached an ideal level in terms of lumens.
“Brands instead are now prioritising flexibility and hybridity, as users and installers shift their attention to fixtures that can do everything at once, all for less space. We have many super flexible systems, so we’ve addressed that element of the trend. What we’re looking at now is optimising the weight, size, and mobility of our products.”
He continued to explain that it can feel difficult to build products for the future that fit the trends and necessities of a time not yet reached, when, naturally, nobody is sure what will be required by tomorrow’s industry, and the development of a fixture can take around three years.
To tackle this, the product manager said that they are constantly researching, contacting distributors and rental partners, and speaking to the wider industry, in manners similar to the Martin Color Lab Innovation Panel.
Buss added: “It’s events like this panel that allow us to meet and connect with so many professionals who provide us with
thoughts and opinions that we can then feed back into our own research teams.
“It’s always great to understand what people want, the pinch points in their use of AV tech, and what they want to change.
Discussions with absolutely everyone involved in the process, from the earliest researchers to the end users, eventually get translated into a product.”
Similarly, Wetzels emphasised the importance of designing with future trends in mind. “One way that TWOFIFTYK ensures this is by bringing young professionals into our team,” he noted.
“The younger members of the crew are doing amazing things and helping us figure out modern solutions with their preunderstandings of the most up-to-date tools.
“Also, this demographic is our next generation of customers for the entertainment experiences and events we build, so we must understand what it is they want.”
After moving on to the topic of manoeuvring around complexities in the production process, Glaubke questioned the panellists on how they deal with the ever-crucial detail of weatherproofing.
For Buss and Kristensen, this is critical, as Martin products are used for many outdoor installations and events. Comparatively, Wetzels has to specify and design AV setups that are typically exposed to the elements.
Kristensen said: “We came out with the XIP technology that weatherised our fixtures some years ago. This was a notable move, as the market was focusing on IP65 products at this time, but we saw an opportunity to go further on the weatherproofing, making fixtures that weren’t just able to be used outdoors, but were adaptable to virtually any environment.
“Our approach to weather resistance was different from many manufacturers, but it proved worthwhile: the market responded strongly, and now, XIP is a well-established technology.”
Buss corroborated this, explaining that at the time, when Martin was approaching the issue of protection against the climate, demand saw manufacturers creating heavy, robust “tanks.”
These were effective but were extremely loud, bulky, and heavy. Consequently, through extensive research and development, the engineering team came up with a new concept: an “open architecture fixture that allows water through and can ‘breathe’”.
Far left: Martin Professional’s Martin Innovation Seminar.
Pictured (left to right): Kevin Wetzels, Henrik Kristensen, Mark Buss, and David Glaubke.
Left: Music Producer FISHER illuminated on Palmesus’ main stage.
He commented: “In doing this we were disrupting the market and providing a lighter, quieter, and more flexible weatherised fixture. It showed us that it pays at times to try something different.”
During the three days of Palmesus, the value of the manufacturer’s XIP technology was clearly demonstrated. Nordic Rentals’ chosen Martin solution was put to the test when the festival faced intermittent heavy rain, despite Kristiansand’s reputation for ordinarily sunny weather. As expected, the systems continued to operate flawlessly.
Creativity versus cost
Budget limitations have long been a challenge for organisations and professionals across the industry, making conversations about balancing cost with inventiveness especially important. Glaubke reflected on how a manufacturer can make its product innovative and still sensibly priced, or how an installer can deliver a cutting-edge AV system for a venue with lower funds.
He asked Wetzels: “When you’re designing a solution for a client, how do you make sure that you both realise their vision and get the best value possible out of their budget?”
Wetzels responded: “Usually, the creatives on the installation want us to use the maximum budget, but the project manager is looking for something more cost-conscious. We’ve found it easier not to go in with a proposed price point, instead first presenting customers with an idea. If they like our concept, we can then find out their budget and tailor the offering from there.”
Buss agreed that it has always been essential to consider what clients can afford alongside what they want. He reported that to give customers a good return on their investment, Martin Prodessional creates products with strong materials, sturdy components, and flexible features; “this gives our fixtures more than five years of market relevance. They live on
longer than this, too, as we continue to quickly service products, even if they’re older.”
The final question of the session considered the role of data in the AV industry. Collecting statistical data from product lines can be an easy way to understand how, where, and for how long a fixture is being utilised. Glaubke noted that this type of information will be able to aid innovation, as it provides concrete proof of what consumers enjoy.
Kristensen chuckled: “Data tracking seems to be embedded everywhere now. Some people’s fridges are even tracking and displaying how much electricity is being used!
“Going forward, we have a really strong strategy for understanding such input from our customers. We want to be able to gain a general consensus on the lifecycle of an average Martin fixture, both for ourselves and the customers to benefit from.”
Buss said: “Even though every product we make is individually tested 70 times, the reality is that we can’t fully understand its performance until it is in use in the field. A larger comprehension of use data would assist this process.”
As the panel came to a close, the MONDO-DR team asked how Martin Professional balances serving both the fixed installation and touring sectors. Buss emphasised that the company’s strength across markets lies in adaptability, with its solutions designed to transition seamlessly between different environments.
“This can be seen in our MAC range, which is used everywhere from permanent deployment in opera houses to one-day EDM festivals,” he detailed. “We want to ensure our products aren’t limited to a single use case. However, in the manufacturing process, the most important detail for us to consider is that every fixture we create should feel unmistakably Martin – right down to the smallest par.” www.martin.com
Above and left: Palmesus Festival begins, flaunting strong, vibrant beams from its Martin Professional solutions.
“TECHNOLOGY FOR ITS OWN SAKE IS VANITY. TECHNOLOGY IN THE SERVICE OF A GREATER PURPOSE IS WHERE THE REAL MAGIC HAPPENS.”
GAËTAN BYK Owner, Amadeus, co-founder, HOLOPHONIX
Having spent his youth enveloped in the performing arts world, Gaëtan Byk is continually inspired as he makes his own mark on the pro audio industry via passion, research and a deep understanding of artistic expression.
As owner of loudspeaker manufacturer Amadeus and co-founder of spatial audio innovator HOLOPHONIX, Byk immerses himself in sound, taking both companies in directions that he believes too few in the industry are currently exploring.
“Our ambition is to remain the place where art, science, and technology meet on equal terms – the partner you call when you need something that doesn’t exist yet, or that others say can’t be done,” said Byk.
Byk took over Amadeus in 2021, acquiring the business from its former owners, including his father Bernard, who had co-founded the company in 1992 alongside Michel Deluc and others. In the company’s early years as Amadeus was establishing itself, Gaëtan was given an eye-opening introduction to the industry.
“From my earliest days, my father would take me everywhere: theatres, concerts, festivals, recording studios,” said Byk. “He introduced me to artists, engineers, and fellow professionals who opened my eyes and ears, and gave me this passion for sound, for music, for live performance, and for the technologies that serve these worlds.”
One person he met was Thierry Coduys – an artist, sound engineer, and creative technologist whose work bridges music, performance, and advanced sound processing – who mentored Byk during an internship in his teens.
“His world, where art and technology form a single creative language, shaped how I saw the possibilities of sound.
Decades later, in 2017, he would become my partner in founding HOLOPHONIX, our spatial sound venture developed within Amadeus in collaboration with IRCAM and CNRS,” said Byk, who went on to explain how his involvement with Amadeus began.
“I see myself first and foremost as an entrepreneur with a visceral passion for sound, music, and live performance. My academic background was in law, and then advertising, but sound has always been a constant undercurrent. I created my first live production company at the age of 20, in 2007, then another in 2012, followed by two consulting firms in 2013 and 2014.
“My story with Amadeus began in 2012, almost by chance, as an external consultant working part-time on intellectual and industrial property matters – trademarks, patents, brand protection. From there, my role expanded into marketing, product development, and eventually business strategy.
“Year after year, I was drawn deeper into the orbit of the brand, its clients, its projects, its creative challenges, until, in 2020, I proposed to the shareholders that I take over the company entirely. The acquisition was finalised in 2021.
“It has been a long journey to define a clear and obvious direction in an almost saturated audio market. The sheer number of manufacturers and products is overwhelming, and much of it feels uniform, interchangeable. Without genuine innovation and bold ideas, I believe the brand would not have survived.
“Our strength lies in the fact that we come from the studio world, where fidelity is not a marketing term but an absolute imperative, and to bring that philosophy into the live domain. Equally distinctive is our ability to design and manufacture entirely bespoke products for specific applications, projects, and needs.
“I believe we are the only brand in the world able to deliver true ‘Haute Couture’ in sound, because we have the DNA, the talent, the people, and the structure to make it a reality.
Left and below left: At the prestigious Festival d’Avignon in 2022, a complex HOLOPHONIX FOH system was deployed in the Courtyard of the Palais des Papes, integrating a 40m sound bar directly into the front of the stage.
Below: Amadeus Philharmonia speakers, codesigned with Jean Nouvel, originally for the Philharmonie de Paris studios.
“Projects like HOLOPHONIX, which I initiated within Amadeus before giving it its own life as a dedicated spin-off company, are part of this drive to push boundaries. This combination of craftsmanship and technological innovation is the space I have sought for Amadeus over the past decade, and it remains the space in which I want the brand to thrive for decades to come.”
Inspired by seeing performances in his formative years by jazz musicians ranging from Marcus Miller and Pat Metheny to Dee Dee Bridgewater and Diana Krall, Byk realised early on about the power of music and its ability to carry emotion.
“Sound is processed in the brain faster than visual signals, and the auditory pathway connects directly to the brain’s limbic system which governs emotion and memory,” continued Byk. “When we hear, we do not simply decode information, we feel. Music, for example, can trigger dopamine release in the brain’s reward centres, stir the mirror neurons that foster empathy, and awaken memories long thought forgotten. Certain qualities of sound – a slow tempo, low frequencies, an enveloping spatial field – can calm the nervous system, reduce anxiety, and anchor us fully in the present moment.
“And yet we live in an extremely retinal world, relentlessly visual. We are constantly bombarded with images, advertisements, and the addictive visual noise of social media. Even in theatre, opera, live performance, and fashion, the visual often takes precedence, and budgets overwhelmingly flow to what can be seen.
“I fight, alongside many believers, to place sound at the heart of projects, to give it as much weight as the visual, because it touches a sense just as fundamental and as essential to human experience.
“Since 1992, Amadeus has had a department dedicated solely to conceiving unique acoustic and electro-acoustic solutions for theatres, opera houses, studios, composers, research centres, and polymorphous artists.
“In this space, craftsmanship and technological innovation meet and amplify each other. We explore forms, materials, and technologies without compromise, shaping objects where performance and artistry are inseparable.
“Over the past decade, this approach has led us to projects our competitors could not, or would not, take on: oxidised Corten steel loudspeakers for the legendary Krug Champagne House; stone-clad, invisible speakers for the Panthéon; an electro-acoustic device hidden inside a flying grand piano; high-power, water-resistant subwoofers made of Corian solid surface; a 40m sound bar for the Cour d’Honneur at the Festival d’Avignon; gold-leaf loudspeakers for the Sainte-Chapelle; a spatialised wall containing 400 bottles of champagne; and hundreds more products created to meet ultra-specific requests for which no existing solution on the market could suffice.
“At present we are developing nearly 100 mirror-polished stainless-steel loudspeakers for a one-of-a-kind, mirrorfilled immersive art experience by artist Kenzo Digital. In
“THE TECHNOLOGY IS HERE; WHAT’S MISSING IS TIME, ENERGY, AND THE RIGHT TOOLS TO RESHAPE THE MARKET. IN LIVE PERFORMANCE ESPECIALLY, THE SECTOR IS STILL LARGELY STEREO BASED, BY HABIT, BY PORTABILITY CONSTRAINTS, AND BY WORKFLOW INERTIA.”
this installation, the speakers transcend their traditional role by becoming sculptures, integral to the artwork itself. None of the other manufacturers consulted by Kenzo Digital and the scenographers were able to conceive such a concept, and certainly not to bring it from concept to reality within such a short timeframe.
“We deliberately choose the complex, the un-standardised, the singular; projects that demand a rare combination of skill, creativity, and trust – where the loudspeaker is not just a tool, but a cultural and aesthetic statement.”
With a significant rise in the demand of spatial audio across a plethora of applications over the past decade and a half, HOLOPHONIX was created by Byk with the support of two research institutions.
“HOLOPHONIX is, by essence, a child of research and creation, and with the support of some of the world’s most visionary scientific and artistic minds, notably at IRCAM and CNRS, it is not just a technical partnership but a cultural alliance,” said Byk.
“The IRCAM – Institut de Recherche et Coordination Acoustique/Musique – is one of the most important research centres in the world, and The CNRS – the French National Centre for Scientific Research – is equally exceptional and represents a concentration of knowledge, vision, and scientific rigor that few organisations can match. Working with these two institutions is both an honour and a privilege; it means being constantly challenged and stimulated, exposed to ideas that push far beyond the frontiers of our industry.
“Since 2023, when HOLOPHONIX became an independent company with its own resources, legal identity, and a €3.9 million capital increase, our collaborations have only deepened.
“Our team at HOLOPHONIX now numbers around 15 people, bringing together expertise in software development, signal processing, hardware engineering, industrial design, and artistic practice.
“Coupled with the brilliance of the researchers at IRCAM and CNRS, we have the intellectual and creative firepower to rethink how sound is conceived and experienced, particularly in live performance.”
Byk believes that there are still barriers to overcome with spatial audio technology, and it will be a collective, industry-wide effort to see the technology thrive to its true potential.
Below: An example of a HOLOPHONIX user interface.
Bottom: The HOLOPHONIX Ultra Processor.
Below right: A custom-made, bespoke loudspeaker crafted from oxidised corten steel for a one-of-a-kind sound system in an immersive tasting room at House of Krug Champagne winery.
“The technology is here; what’s missing is time, energy, and the right tools to reshape the market,” he said. “In live performance especially, the sector is still largely stereo based, by habit, by portability constraints, and by workflow inertia. We need to evolve mindsets, optimise workflows until they’re simple and transparent, and train users extensively in these new approaches, technologies, and algorithms.
“We also need more ergonomic, affordable tools to democratise spatial practices. A key example is real-time performer tracking. If we want perfect sonic–visual coherence in live shows we need simpler, more accessible
systems that cost a fraction of current solutions. That’s why we are developing a proprietary, sound-only tracking system, which is less precise than advanced video or lighting trackers, and designed to be roughly 10 times cheaper.
“The only real limit today might be cost. Spatial FOH systems, immersive 2D/3D arrays, or active acoustics enhancement setups require investment, but when considered against the leap in audience experience and the richness of artistic possibilities, provided they’re used as genuine tools of expression rather than gimmicks, the value is undeniable.
“When spatial audio is deployed effectively, it’s not about ‘immersive’ in the buzzword sense; it’s about delivering what I’d call a real image (a kind of ‘next step’ after stereo) to the majority of the audience.
“In many projects, we’ve reached situations where almost 100% of listeners can perceive and localise sources across the stage, instead of everything collapsing to the centre or being reinforced only from one side. Since the advent of line arrays, we’ve had excellent L–R systems –but now we have tools to extend that image to nearly everyone, opening an entirely new chapter in live sound design.”
When it comes to sound design – for either a live event or a fixed installation – Byk prefers to work from the ground up and be in collaboration with the end users as early as possible.
“While we have always had a very flexible approach, in most cases when we work with closely with end users to design a bespoke solution, the contractual and implementation phases go through an integrator or, in some cases, a contractor,” continued Byk. “This ensures the project is delivered, installed, and supported in line with all technical, logistical, and compliance requirements.
“That said, a ‘direct’ relationship at the design stage is essential for us. Clients want to work with the people who design and build the hardware or software solutions. They want to share ideas without filters, dive deeper into technical detail, and address highly specific needs.
“Only a very small number of projects are handled entirely ‘direct’ with the end user, and this typically happens when there’s no integration required, the solution is an extremely unusual one-off, or when the client is in a region not yet covered by an official distributor or partner.”
With an increasing number of certified partners across the world, the path to growth is in place, as Byk explained: “The arrival of Yassine Zaim as our International Sales Director, formerly at Devialet and Roon Labs, is a big part of our global growth strategy.
“His experience at the intersection of music, technology, and complex international sales, combined with his ability to build strong ecosystems, is helping us expand both Amadeus and HOLOPHONIX into new regions and sectors, with a much more strategic approach to distribution.
“The challenge is always the same – finding partners who share our DNA, our philosophy, our obsession with detail, while also being able to sell and support more standard product lines, which still represent most of our business volume. Striking that balance allows us to stay close to the
“WE ARE BUILDING A FULL TRAINING AND LEARNING ECOSYSTEM FOR HOLOPHONIX, WITH FREE ONLINE RESOURCES, TECHNICAL GUIDES, TUTORIALS, AND E-LEARNING MODULES.”
Left: IRCAM’s Espace de Projection features nearly 350 Amadeus loudspeakers utilised for research into spatial sound developments.
field while extending our reach globally. Over the next five years, I see Amadeus and HOLOPHONIX continuing to move in directions very few in our industry are exploring. Our ambition is to remain the place where art, science, and technology meet on equal terms, being the partner you call when you need something that doesn’t exist yet, or that others say can’t be done.”
Education also represents a big part of the plan, in addition to scaling up both company’s manufacturing offerings.
“We are building a full training and learning ecosystem for HOLOPHONIX, with free online resources, technical guides, tutorials, and e-learning modules, and we are scaling our manufacturing in the opposite direction of most,” said Byk. “While others outsource more and more, we are bringing production increasingly in-house. Right now, we are building a brand-new 2,000 sq m factory in the Paris region to boost capacity for both Amadeus and HOLOPHONIX, equipped with new high-precision SLA 3D printers, five-axis CNC machines, and other advanced tools. It’s about being ready to meet demand without ever compromising the craftsmanship and quality that define us.
“On the R&D side, we’re already deep into projects that remain very confidential, tackling things like active noise reduction, active lowfrequency absorption, 3D beamforming, complex-field simulation, and even developing metrics to objectively qualify immersion.
“We’re also collaborating with scientific partners on sound-based therapy – an area I believe has huge potential.
“I believe so deeply in the power of sound that we are currently developing a project in collaboration with several major institutions to harness it for therapy, to help reduce stress and anxiety, to assist in pain management as a complement or alternative to medication and to slow the progression of neurodegenerative diseases.
“This is not about replacing science with art, but about recognising that the two can meet in a way that transforms both wellbeing and creativity.”
Tied to sound from an early age, Byk has been on a mission to provide aural clarity with as little aesthetic intrusion as possible, to make experiences more democratic and respectful of audiences.
“For me, the magic happens when technology disappears entirely into the artistic vision – when it feels so natural, so seamless, that the audience forgets the machinery and experiences only the emotion.
“My most memorable moments in theatre, opera, or live performance have come when artists wield the tools so intuitively that they become invisible, leaving only the work, the story, the connection.
“I belong to the school of thought that begins with a deep belief in why a technology should exist: to solve real problems, to inspire, to elevate experiences, to unleash creativity. Technology for its own sake is vanity. Technology in the service of a greater purpose is where the real magic happens.”
www.amadeuslab.com www.holophonix.xyz
ZOOM YOUR MOOD
SolaBulb, the new addition to Astera’s Bulb Family, is a zoomable bulb with a 15º–50º adjustable beam, the refined look of a classic Fresnel, power equivalent to a 50 W PAR bulb, and silent, fan-free operation.
eDMXPass-Through
PERFORMANCE VENUES
Technological upgrades and enhancements in amplified gig venues from around the world.
El Molino
COMPANY: Solid Stage Logic
LOCATION: Barcelona, Spain
Photo: Víctor Parreño.
Barcelona’s historic El Molino, a former cabaret theatre and a cultural landmark for more than 100 years, reopened in October 2024 following renovations and a total refresh of its installed sound, lighting and stage technologies. The club, which presents music, stand-up comedy and other entertainment five nights a week, now features a Solid State Logic Live L100 Plus mixing console at FOH that is tightly integrated with the venue’s new immersive audio system.
El Molino’s Technical Director, Ramon Sendra Entrena, a 20-year live sound veteran, was tasked with equipping the venue, which Mayor Jaume Collboni called ‘a symbol of Barcelona’s vibrant artistic soul’ at its reopening.
The principal challenge, Sendra reported, was “implementing high-quality audio in a relatively compact auditorium that measures around 1,500 sq ft (144 sq m) over three floors.”
“We opted for an immersive and enveloping audio system, ultimately selecting d&b Soundscape after extensive research,” he reported. That in turn demanded a mixing console that not only supported Dante and could communicate seamlessly with d&b’s DS100 processor, but could also deliver exceptional clarity and sonic quality.
“The system also had to accommodate the venue’s evolving needs,” Sendra said, “including immersive audio, broadcast signals for television and audio for live recordings for streaming and archival purposes.
“At the same time, it was crucial that the system remained intuitive, ensuring that every technician could apply their expertise without being hindered by an unfamiliar workflow.
Given these requirements, the SSL L100 Plus emerged as the ideal choice.”
Sendra, whose background includes working with SSL equipment in music production facilities, elaborated: “On stage, we use an SSL ML 32.32 analogue stagebox connected to the console via MADI, with a dedicated backup system. The DS100 receives Dante signals from the SSL L100 Plus through its primary and secondary card connections, which are routed via fibre connected switchers distributed throughout the venue.
“The DS100 then processes and sends these signals to the DS10 network bridge, which converts Dante signals into AES, directly driving the d&b amplifiers.” The entire system operates at 96 kHz.
“The system is networked so that, through d&b’s En-Bridge solution, we can control the positioning of DS100 Soundscape En-Scene
objects from SSL’s dedicated d&b Soundscape control interface,” added Sendra. “This integration allows operators to focus entirely on achieving the best possible mix without having to switch between multiple interfaces.”
The SSL Live software provides control of d&b Soundscape directly from the console GUI, enabling manipulation of object parameters, XY pan, spread, En-Space send, delay mode and mapping area from every input channel and stem. Those parameter settings can be stored and recalled from within the console’s showfile and scene memories.
The SSL Live TaCo mix app, which provides wireless control of SSL Live consoles from smart devices, has become an essential tool for the technical team’s workflow.
“Beyond enabling remote control of the console for on-stage monitor mixing, its realtime capabilities further streamline operations, allowing us to work more efficiently from an iPad,” said Sendra.
“We’ve even used TaCo to allow musicians to adjust their own monitor mixes independently, with the reassurance that they can only access the parameters relevant to their needs.
“The TaCo software provides a fast and intuitive way to directly control the console without having to learn how to operate the hardware, allowing us to focus on the soundcheck.”
Although the venue’s sound system might appear complex, Sendra concluded: “The seamless integration between the SSL L100 Plus control interface and d&b En-Bridge makes its operation very intuitive. This setup allows the operator to control sound object positioning directly from the SSL touchscreen, adjusting placement dynamically across different scenes to enhance the audience’s immersive experience.
“It almost feels like they were designed as a single, unified solution. Both companies have prioritised the sound engineer’s experience, ensuring that the technology is powerful, intuitive, efficient and highly effective.
“We’ve been thrilled to receive positive feedback from musicians, technicians and promoters. However, what has truly surprised us is reading praise from the audience –something that, in our experience, is quite rare.
“For them to highlight the sonic excellence of El Molino is, without a doubt, a shared success, and one that belongs to the technical team, the management, and everyone who made it possible.”
www.solidstatelogic.com
The Rave
COMPANY: dBTechnologies
LOCATION: Milwaukee, USA
Photo: Megan Johnson.
For the owners of Milwaukee live venue, The Rave – Joe Balestrieri and Leslie West – the installation of a pair of dBTechnologies VIO rigs is just one of many recent improvements made to the historic venue. Since purchasing the property in 1991, restoring the former Eagles Club to its original glory has been a labour of love.
“Many cities have iconic venues built in the 1920s - Radio City, the Chicago Theatre, the Lyric Opera House, and Fox Theatres. In Wisconsin, this is the largest example of classic 20s architecture,” said Balestrieri, who added that that restoring the building to create an architecturally spectacular, state-of-the-art venue “was just the right thing to do. And we’re still not done, but with the new sound system, the sound in The Rave Hall and Eagles Ballroom is spectacular - equal to anywhere else.”
Jeff Claveau, The Rave’s Assistant Production Manager and Audio Manager, noted that upgrades are taking place across the building at regular occurrences, including new acoustic treatments, HVAC systems, lighting, and, most recently, the installation of VIO PAs in the 1,800-capacity Rave Hall, and 4,000-capacity Eagles Ballroom.
The choice of dBTechnologies was based on hearing VIO in action at Irish Fest in 2023 – a system deployed by local dBTechnologies’ representatives Audio Biz and local production house Clearwing to showcase VIO products on two prominent stages.
“We were there on install day, and they had just turned the system on and before it was tuned and EQ’d we were impressed,” said Claveau. As with every upgrade, care was taken to ensure The Rave met the needs of incoming artists while preserving historic elements that are integral to its rich history. Designed by architect Russell Barr Williamson, a student of Frank Lloyd Wright, the building was constructed to serve as an 11,000-person social club for the Fraternal Order of Eagles and the surrounding community.
Initially, it housed athletic facilities and a variety of performance spaces, notably Devine’s Million Dollar Ballroom.
Although the Eagles Club continued to serve the community until 1983, by the time Balestrieri purchased it, the building had been condemned. Thanks to his efforts, however, The Rave’s four stages now host over 200 shows annually by artists including Bob Dylan, Slayer, T-Pain, Jack White, Florence and the Machine, Lainey Wilson, and many others.
A pair of demos undertaken in the Rave Hall and then the Eagles Ballroom by Audio Biz with the help of JEM Productions solidified Claveau’s initial impression of the system.
“Our Technical Services and Support Manager, Brian Christ and I deployed a dBTechnologies system in the Rave Hall first, and then, because they wanted to give the VIO rig a test run in the larger space, in the Eagles Ballroom,” explained Shawn McLoughlin, Senior Technical Sales Rep at Audio Biz.
Now, both rooms are home to dBTechnologies PAs: seven VIO L1610s and six VIO S218 Subs per side as mains, and four VIO L208 as front fills in the Rave Hall; and, in the Eagles Ballroom; per side, eight VIO L212s as mains, eight L1610s as out-fills, 10 VIO S218 subs ground-stacked, and five VIO L1610s for front fills.
Monitor systems in both spaces consist of eight VIO W15Ts, four VIO S118 Subs, four VIO C12 Tops as side fills, and one VIO S118 drum sub.
Although The Rave considered several different loudspeaker systems, dBTechnologies topped their list. “dB were cooperative, easy to deal with, and represented locally, so if we did need something, we could get service,” Balestrieri concluded. As for the result, he added: “This is, by far, the best the place ever sounded.”
Located in the Plaça Reial next to La Rambla, the Jamboree is one of the most famous jazz clubs in Spain and one of Europe’s oldest. Opened in 1960, the likes of Ornette Coleman, Lou Donaldson, Hermeto Pascoal, and Chet Baker have performed here in its Sala 1 basement room. Cosy and cave-like, reminiscent of the most traditional jazz clubs, this basement remains a reference for live music in the city. Since 1993, the space evolved to accommodate amplified music and became a space for lovers of blues, soul and R&B.
The sound system in the 257 sq m cellar vault, which has a standing capacity of 220 and seating capped at 120, was extensively renovated at the beginning of 2024. AV suppliers VTècnics en Ruta, based in nearby Lleida, was hired to design and install a new sound system for the room, and VTècnics owner and project manager Francesc Güell implemented a Voice-Acoustic Score-8 system.
A total of two Score-8 loudspeakers and two Paveosub-118 subs are used as the main PA, supported by a delay line of two Score-8 for even level distribution. A combination of Score-8 and a flown Paveosub-115 is used for the sound reinforcement in each of the three adjoining rooms – VIP area, bar area and the passageway.
Meanwhile a total of six Modular-12 (bi-amped) and two Alea-5 can be set up as monitors and at the DJ booth two Modular-12 have been installed for precise and powerful sound reproduction.
The entire system is powered by six Voice-Acoustic HDSP power amplifiers, featuring a total of 28 power amplifier channels. www.voice-acoustic.de
From small set pieces to stadium roof points, Broadweigh wireless load cells meet every rigging challenge — now with the BW-S900 9000kg variant for the heaviest lifts. Trusted worldwide, they deliver real-time load data with accuracy and reliability. Know more. Do more.
The Pageant – Delmar Hall
COMPANY: ProCo Sound LOCATION: St Louis, Missouri, USA
After more than a decade in the music industry, Sean Pierce, Head of Production for The Pageant and Delmar Hall in St. Louis, has seen firsthand the difference that well-built, durable cables, stage boxes and other audio equipment can make for a show.
With a reputation as one of the Midwest’s leading performance venues, The Pageant, a 2,000-capacity venue, has been the heartbeat of live performances in the city since 2000. Located next door is Delmar Hall, a 750-seat venue that offers a more intimate setting for music lovers. Both host a wide range of performances, from comedians and podcasters to the biggest acts in music. Despite their size differences, the venues provide flawless experiences for artists and fans alike. “Both are vibrant spaces for any kind of performance,” said Pierce.
The ability to manage these varied events with top-notch audio and stage equipment is critical, and that’s where ACT Entertainment’s ProCo Sound comes into play.
Pierce’s relationship with ProCo began when he joined the team at Delmar Hall, which is equipped with ProCo XLR cables, splitters and stage boxes. Over the years, the brand’s reputation for durability and reliability proved indispensable in keeping the shows running smoothly. With years of experience across different venues and tours, Pierce has seen his fair share of audio equipment failures, but with ProCo, that’s never been the case. “We’ve had many of our ProCo cables at The Pageant for at least 10 to 15 years, and they are still in pristine condition,” Pierce noted. “We never have to worry about cables failing.” When it comes to cables, the real value lies in the ability to withstand the stresses of live performances, constant movement and the wear and tear of heavy use.
That’s where ProCo’s superior build quality shines. The cables aren’t just durable, they last for years, performing consistently without the risk of sudden failure. “You don’t realise how much a bad XLR cable can degrade
the sound until you’ve had to deal with one,” explained Pierce. “Using poor-quality XLRs could lead to sound degradation due to loosened connections or electromagnetic interference, but these are issues that simply don’t occur with ProCo gear. The quality of the materials used for the ProCo cables means we don’t have to think twice about whether the signal will drop or not.”
This reliability also benefits the performers and engineers who come through the venues. While artists might not comment on the cables specifically, their confidence in the quality of the sound is apparent. As Pierce explained: “When the engineers see that we have ProCo gear inhouse, they know they’re getting quality equipment; and when the artists see the ProCo logo backstage, they know they can trust our setup.”
Whether it’s ProCo XLR cables, splitters or DI boxes, the minimal maintenance required with the equipment has been a game-changer for Pierce’s team. This seamless performance doesn’t just help keep things running in the background – it’s about having a system you can trust when things get hectic. The longevity and quality of the gear make life easier for the crew and better for the artists.
Though it all started with cables, Pierce’s venues now also utilise ProCo Sound stage boxes and snakes, from ACT Entertainment. At Delmar Hall, for example, the venue uses 12-channel and 24-channel snakes, equipment that’s essential for managing complex live setups. “These ProCo stage boxes, like the cables, are known for having superior build quality, and have lasted for years without needing repair or replacement,” continued Pierce. “It’s the same story as the cables, we don’t have to worry about the boxes failing, they’re solid.”
From small, local acts to high-profile international tours, the reliability of the ProCo Sound cables and stage boxes play a crucial role in keeping the music flowing seamlessly from stage to audience, night after night. www.actentertainment.com
Almaty Theatre
COMPANY: DiGiCo
LOCATION: Almaty, Kazakhstan
The Almaty Theatre has undergone many technological enhancements over the past few years, including the recent purchase of a brand-new DiGiCo Quantum 338 T, installed by Samat show technic LLP.
The theatre’s nightly performances are not limited to a single genre and span a full spectrum of theatrical, dance and musical performance. Sound engineer, Roman Dvoretsky, explained that searching for a mixing console that is flexible enough to facilitate this range of performance styles, while delivering high channel counts, and crystal-clear audio could only end with the purchase of a Quantum 338 T.
“The heart of any musical theatre show is the console, and in our case, the DiGiCo Quantum 338 T,” he said. “Sound Designer, Mikhail Sokolik, who came to our theatre to design the musical Juliet, prefers DiGiCo consoles, so when there was a choice, we chose the Q338.
“There are many consoles from other companies that could cope well with this task, but DiGiCo just does it better. There are a lot of functions that are very well suited to working with complex shows, a high channel count, and many commands.”
It is not just the audio that is controlled by Dvoretsky. Thanks to the ability to send commands directly from the console, he can simultaneously fire corresponding lighting, video and stage-automation cues, intensifying the impact of the drama on stage.
“All control comes from here,” he continued. “We send MIDI and time code to the lighting console, so that we can fire cues with the music. We are also controlling certain aspects of video, too, so the footage changes exactly when we need it to.”
Dvoretsky can also manage playback from the mix position, offering another layer of audio automation and reliability. The playback system is delivered by two computers, networked to run in-sync. When Dvoretsky sends a MIDI command from the console, each computer completes a variety of tasks, from starting playback or click, to time code and other commands. If one computer breaks, he can simply switch to the back-up and continue working from the other computer. Much of this
automation is controlled via Snapshots, and this ensures there is enough flexibility in the system to cope with the inevitable inconsistencies of live theatre.
“Snapshots help us to keep everything as similar as possible night after night,” he continued. “Everyone is human, and anyone can forget a phrase, or make a mistake. Automation is very helpful in providing a framework, or structure to the show. I have a single Snapshot that starts playback, timecode and a media command to the lighting console; it changes video content, and assigns the necessary channels to the DCAs. I can then use the DCA faders to control the microphones of the performers that participate in that number.”
Another feature of the console that is much appreciated by Dvoretsky and the team is its thoughtfully designed surface. Thanks to three high-resolution, 17in displays he can be sure that everything he needs to see is right where he needs it, with fully customisable surface placement.
“All consoles have layers, but on the Quantum 338, you can label each layer and immediately see where your microphones, drums, the rest of the band, and the effects are. All these little things greatly affect the speed of workflow and on a musical, every second is precious. If someone comes up to me to ask why they haven’t heard the third person in the ensemble, by the time they ask, I have already missed the fourth person in the ensemble!”
The ability to design his own workflow and work in the way that suits him best means Dvoretsky can respond at speed and stay in control. It is a system that continues to work well for him and the team.
“Control is very customisable and for any show, this really helps our work. After using the DiGiCo, you can no longer imagine how you could work differently,” he concluded.
“Previously, I worked with one screen and looked for everything somewhere on there. Now we have a Quantum 338, you can do everything in a second and see it all. It’s a real game-changer.”
www.digico.biz
La Cartonnerie
COMPANY: L-Acoustics
LOCATION: Reims, France
Since 2005 La Cartonnerie has served as a vital cultural cornerstone of Reims’ contemporary music scene. Now, with an upgrade to an L-Acoustics eco-friendly L Series system with inherent cardioid technology, the venue has written a new chapter in its musical journey. This significant enhancement to the venue’s Great Hall, which has welcomed artists such as Justice, Christine and the Queens, and Stromae, marks a milestone in La Cartonnerie’s commitment to maintaining its renowned acoustic performance standards.
When certified L-Acoustics partner MDS Audio and Orion first walked into La Cartonnerie’s Great Hall, they knew they were facing an acoustic puzzle. The venue’s distinctive multi-level architecture and challenging asymmetric configuration demanded a sound solution that could deliver crystal-clear audio throughout the space.
“The hunt for the perfect sound wasn’t just about technical specifications,” said Jérémie Valensi, Technical Director at La Cartonnerie. “L-Acoustics stood out through its sustainable manufacturing approach and commitment to French production.
The L Series, with its Progressive Ultra-dense Line Source technology, offered exactly what our complex space needed – exceptional sonic performance, impressive power-to-size ratio, and versatility that could handle our unique architectural challenges.”
The installation presented multiple challenges, including ensuring consistent sound coverage across a complex multi-level space while maintaining pristine sightlines. L-Acoustics Soundvision software became the team’s essential tool, enabling precise acoustic modelling that validated speaker placement before installation began.
“We had to be meticulous,” recalled Valensi. “Our goal was to create an
audio experience where everyone feels like they are in the best seat in the house. We needed to cover the entire room – from the front row to the back of the balcony – without visual compromise.”
Sound regulations added another technical challenge, particularly regarding dB(C) measurement. The team had to position subwoofers to meet decibel standards while maintaining sound quality throughout the venue. Their solution involved a central cluster of three subwoofers in cardioid mode, requiring the creation of new rigging points to achieve a visually discreet result.
The final installation features L-R hangs of one L2D per side, flanked by L-R hangs of two KS21 subwoofers in cardioid mode, a central flown cluster of three KS28 subwoofers, also in cardioid, plus one KS28 at the centre of the stage floor. Two X8 placed on stage left and right serve as in-fills, while three X8 spread across the stage provide front-fill.
The L-Acoustics team were integral to the process, with Valensi praising L-Acoustics training consultant Christophe Chapuis for comprehensive technician training and L-Acoustics Application Engineer Pascal Charousset for meticulous system calibration and fine-tuning of the system to meet their exact requirements.
“This isn’t just a sound system – it’s like we’ve brought a world-class recording studio into a live music venue,” Valensi enthused. “Visiting sound engineers are initially skeptical when they see the compact setup, but within seconds of hearing it, their doubts vanish. Areas that once presented acoustic challenges are now sonically indistinguishable. We’ve ensured La Cartonnerie’s reputation for exceptional sound and hope it will inspire the next generation of artists and audiences.” www.l-acoustics.com
Photos: L. Pochet.
The Fleece
COMPANY: Midas Consoles
LOCATION: Bristol, UK
The Fleece has been a fixture of the Bristol music scene since 1982 and is the largest independent venue in the city. A listed building, and named for its former role as a sheep trading market, the Fleece enjoyed a comprehensive refurbishment in 2021, upgrading its facilities for both audience and performers alike. The stage and associated production areas were completely redesigned. Technical Manager Rich Munday oversaw every aspect of the transformation which initially retained the venue’s Midas Pro 2 console at FOH. After the refurbishment, when the venue was in a position to upgrade its console, Munday wanted to maintain the Midas ecosystem and opted to bring in the HD96 console. “We had been using the Pro 2 for years and when we added a new monitor world as part of the stage rebuild, we used our old Midas Pro 1 for monitors,” explained Munday. “When we were able to upgrade we wanted to stick with Midas and invest in something special to match the powerful KV2 Audio PA system that we’d installed as part of the rebuild. The Midas HD96 was the obvious choice – we knew all about it and had seen it close up at Plasa.”
Having logged more than 1,000 hours of live experience with the HD96, Munday is committed to supporting those who are new to the console,
HD96 to cover the time taken to repair the console, the Fleece ownership decided that it would make good economic sense to buy a second HD96 to provide redundancy and continuity, such was their trust in its value. Munday was quick to compliment Midas’ UK distributor, POLAR.
From Studio to Stage in Two Clicks
Scaling Surfaces with TiMax SoundHub enables creatives to rescale a spatial show file from a studio playback environment to an auditorium – all with just two mouse clicks.
It’s time for TiMax Spatial.
Freemont Street Experience
COMPANY: RCF
LOCATION: Las Vegas, USA
With the implementation of an advanced TT+ Audio GTX system from RCF, the iconic Fremont Street Experience in Las Vegas has elevated the live music performance experience it offers its visitors. Spearheading this upgrade was Joe Pizzo, Fremont Street Experience Director of Entertainment Operations, who has been instrumental in delivering world-class sound to the thousands of visitors and performers alike that make Fremont Street a truly global destination.
The GTX 12 system was installed on the Fremont Street Experience’s 3rd Street stage, which is the main stage of the venue. The setup includes a L-R hang of nine GTX 12 ThreeWay Line Array Module units per side, currently supported by TTS 56-A Subwoofers. The system is powered and tuned by XPS 16K Four Channel DSP amplifiers. This configuration has transformed the sonic experience on Fremont Street, with unparalleled clarity, punch and vocal precision. Pizzo’s relationship with RCF spans well over a decade, beginning in 2013 when he first mixed on an RCF HDL 20-A Active Line Array Module rig during Fremont Street’s New Year’s Eve celebration. Reflecting on that pivotal moment, Pizzo remarked: “I was blown away with the sound quality and the carry – both the crowd and the band loved it. It was such a great experience, and that marked the beginning of our partnership with RCF.”
Over the years, RCF has continued to earn Pizzo’s trust through superior products and exceptional support. “The GTX system is a game-changer,” said Pizzo. “The quality of this GTX 12 box is unsurpassed, competing with the biggest names in the industry. The punch and clarity, particularly in the mid range, are phenomenal, visiting FOH engineers have been overwhelmingly positive, and I’ve never seen such universal praise for a system.”
The transition to the GTX system was hassle free. “Swapping out the previous RCF HDL 50 rig and flying the new GTX boxes took only a few hours. Configuration and tuning were intuitive, with RDNet system management utilised for time alignment and tuning,” explained Pizzo.
The system’s precision and versatility make it ideal for everything from local bands and DJs to large-scale headliner shows.
In addition to the GTX 12 system, the Fremont Street Experience features a robust audio infrastructure with over 300 RCF loudspeakers throughout its mall system, including HDL 20s and 30s, as well as active subwoofers like the 8005s and 8006s.
Q-SYS serves as the primary control mechanism for the venue, ensuring seamless audio integration.
Pizzo emphasised RCF’s support as a key factor in their success: “RCF’s partnership goes way beyond installation,” he said. “From top-level technical support to equipment maintenance, they’ve always been there for us. This flagship GTX system exemplifies what RCF is capable of, going forward, and I’m very proud to be part of this journey.” www.rcf.it
The Junction
COMPANY: Martin Audio
LOCATION: Plymouth, UK
The 235-capacity live music venue The Junction in Plymouth recently upgraded its ageing sound reinforcement infrastructure, opting for a Martin Audio premium PA.
The installation was carried out by locally-based Martin Audio rental and installation partner Nub Sound, and overseen by their Director of Operations, Josh Small.
He recommended the manufacturer’s powerful triaxial THS 15in point source loudspeaker, combined with SXC118 cardioid subs to provide both the requisite headroom and vocal clarity – far exceeding the capability of the ancient system that it was replacing.
The long-running venue has been operated by the independent Bedford Breweries for the past decade-plus, but has been trading as The Junction for over 20 years. The venue has been systematically upgrading its sound capabilities throughout 2024 into 2025, with loudspeakers always planned as the final jewel in the crown.
“The venue has transitioned from being a pub that did live music into a proper live music venue,” said Small.
The process to find the perfect sound solution began at an open day at Nub Sound, whose own relationship with the venue dates back many years. Martin Audio support engineer Ben Tucker attended, and several alternative Martin Audio PA systems were considered, including TORUS and FlexPoint.
Small’s recommendation was for a L/R THS system, with one enclosure on top of a pair of stacked SXC118 cardioid subs on each side. A pair of delayed FlexPoint FP6, one mounted each side of the room, provide the necessary fills.
Explaining the need for so much headroom, Small said: “The club stages a lot of punk, metal and rock music with loud guitars, so it wasn’t only about reinforcing their lowmid, core energy, but getting the vocal above that, which is why the three-way box made so much sense. I’m very comfortable with that decision.”
Processing for the THS and FlexPoint takes place within a dedicated Martin
Audio DX0.6 system manager, which feeds the amps. The system was set up with manufacturer presets and tuned with SMAART and pink noise. “All I had to do was time align the system,” continued Small. “I didn’t need to do any significant EQing at all – we just relied on the natural voicing of the system, which was great.”
The new PA has certainly been well received by visiting sound engineers. “Compared with the old system, it’s like night and day,” continued Small. “Having the cardioid subs, and bringing down the LF on stage, means that drummers are much happier, and it allows us to reduce monitoring volume and improve the sound in the room. At the same time, the pattern control on the THS is very good and that has helped improve how the room is performing.”
www.martin-audio.com
Venice Performing Arts Centre
COMPANY: Elation
LOCATION: Venice, Florida, USA
The Venice Performing Arts Center (VPAC) has recently undergone a significant lighting upgrade with the installation of Elation FUZE PAR Z175 luminaires, facilitated by production and integration company Thunder City Pro. The venue, which previously relied on conventional Lekos and Fresnels for stage lighting, now offers an enhanced visual experience using state-of-the-art LED wash luminaires with dynamic colour mixing and motorised zoom.
“The goal was to incorporate colour mixing and moving lights to enhance the concert experience,” stated Justin Stancil, President of Thunder City, who noted that the upgrade also included FOCUS SPOT 5Z moving heads from Elation sister company ADJ. “The new lighting system really allows for far more dynamic and exciting scenes for all of the concerts and theatrical shows they present.”
VPAC, managed by the Venice Institute for Performing Arts, is home to The Venice Symphony, The Venice Concert Band, and The Venice Chorale, and serves as Venice High School Performing Arts Department’s main performance space. The 1,090-seat, multi-use performance venue plays a pivotal role in the Venice community, accommodating over 120 events annually, including concerts, plays, musicals, and lectures. Lighting requirements included RGBW colour mixing with motorised zoom, as well as moving head luminaires for effects and gobo projections. Justin again turned to Elation’s FUZE series after having a good experience using the FUZE SFX LED Spot FX luminaire for an arena lighting upgrade at the Yuengling Center in Tampa.
This time he selected Elation’s FUZE PAR Z175, a full-colour LED PAR light with single-lens RGBW COB LEDs that projects a single homogenous beam of light with an evenly lit lens face
that appears as one colour instead of individual LED diodes. The uniform lens replicates the classic look of old-school PAR lights and moving wash fixtures that so many designers and artists prefer.
“The FUZE PAR Z175 was a great fit because of the consistent field that its COB LED engine delivers,” said Stancil, “and because of the flexibility the servo zoom allows when lighting a theatrical show or running effects for concerts.
“The RGBW COB engine, which creates a very nice even field of light, was essential as well as the fact that the zoom can be controlled from the lighting console, allowing venue personnel to perform dynamic zoom wave offsets between fixtures during concerts.”
The ADJ FOCUS SPOT 5Z fixtures were chosen for their ability to perform rotating gobos, prism, focus, and zoom, all while being cost-effective. “Being able to create contrast with the colour of the FUZE and the gobos from the FOCUS SPOTS is great. The FUZE fixtures give far more vivid colours than traditional lights with gels do.”
The installation included 16 FUZE PAR Z175 and 4 ADJ FOCUS SPOT 5Z moving head fixtures. Thunder City Pro provided the fixtures and guided the installation process, while the VPAC team executed the installation. All fixtures are mounted on a truss at centre stage and integrated into a fly rail system. This setup allows the fixtures to be flown above the curtains during theatrical shows and lowered to be exposed to the audience during concerts. The Venice Performing Arts Center is now better equipped to elevate the quality of performances and events, reinforcing its importance as a cornerstone of the Venice community’s cultural scene. www.elationlighting.com
Cannery Hall
COMPANY: PK Sound
LOCATION: Nashville, Tennessee USA
Standing as one of the most iconic concert venues in a city globally renowned for its slew of venues, Cannery Hall has anchored the famed Cannery Row at the edge of Nashville’s bustling cultural hub of Lower Broadway. Originally built as a flour mill in 1883, the structure served various commercial purposes through to its conversion into a multi-stage performance venue and restaurant in 1981. As part of its most recent transformation, Cannery Hall underwent a complete restoration and renovation to maintain its historic architecture and aesthetic appointments while simultaneously modernising its offerings for audiences and artist alike. That included an entirely new production technology package for each of the venue’s three rooms – including a state-of-the-art T10 robotic line source system from PK Sound for the 1,275-capacity Mainstage.
“Every choice we made in the restoration and modernisation of Cannery Hall was to create the best show possible for music lovers and artists. We built brand-new systems from scratch, while simultaneously redesigning the spaces,” said Brent Hyams, General Manager of Cannery Hall. “Each room has its own energy, vibe, and sound, integrated into the stage and building. Every genre of music sounds great and artists can put on a show with the technical capabilities of a much larger venue, no matter which of our stages they play.”
The largest of Cannery Hall’s three rooms, the Mainstage features an intimately low corner stage flanked by asymmetric exposed brick walls. While the brick offers a truly stunning homage to the venue’s history, it also presents a significant acoustic challenge, hence the specification of the T10 system installed by Full Spectrum Nashville.
“PK Sound systems are designed to deliver crystal-clear sound, powerful bass, and a truly impactful audio experience,” said Hyams. “Each module offers real-time control of both vertical and horizontal acoustic coverage, so the system provides the best sound in the city even in a 142-year-old, mostly brick building.”
Owing to T10’s multi-axis robotic coverage control, the Mainstage system’s acoustic output is mechanically optimised to the room’s unique
parameters via PK .dynamics software, which unites every stage of the modern live sound workflow in a single application. In the vertical plane, the coverage angles between each T10 module in the array is variable from 0-12 degrees with an unprecedented 0.1-degree of precision.
More significantly for the room shape, though, the horizontal dispersion of each module is variable from 60-120 degrees in 49 symmetric and asymmetric configurations.
Subsequently, the horizontal dispersion of each of the five modules in the left and right arrays is precisely configured to direct acoustic energy solely on the audience and off the reflective side walls, significantly enhancing intelligibility and maximising impact for the myriad artists spanning virtually all genres that grace the stage.
“The system is designed to deliver crystal clear sound, powerful bass, and a truly enveloping audio experience, which can adapt in real-time to shifts in the audience configuration of the room – even after the system is flown,” noted Hyams.
Considering the stage’s low profile, a front fill solution using a single T10 was devised as to not compromise sightlines or acoustic coverage. The module, with its horizontal dispersion set to the widest-possible 120 degrees, is flown centrally between the L-R arrays and aimed steeply downward to cover the front-and-centre portion of the audience area.
For low-frequency reproduction, six of PK Sound’s T218 intelligent subwoofers line the front of the stage in two uniform front-back-front cardioid rows. Finally, a complement of K12p multipurpose point source enclosures serve as stage monitors, or a portable standalone solution for other applications throughout the multipurpose building. All loudspeakers are fed via PK’s SC1 – Signal Cell, which manages audio and data connectivity in a modular, globally standardized package.
To date, venue administration has been incredibly pleased with the response from production professionals, performers, and patrons alike, with many comments on the improved audio and overall production experience in this long-heralded piece of Music City history. www.pksound.live
Photos: Hunter Storch.
The Forum
COMPANY: EM Acoustics
LOCATION: Royal Tumbridge Wells, UK
In operation since 1993, The Forum is an award-winning independent music venue situated in the heart of Royal Tunbridge Wells, Kent. Hosting an eclectic mix of genres, from rock and punk bands to singer-songwriters, hip-hop acts and everything in between, The Forum is a landmark venue for live music lovers from across Southeast. The venue recently upgraded its existing sound system, working closely with sound designer Dan Roncoroni and British loudspeaker manufacturer EM Acoustics.
“I became involved with The Forum via a project at the nearby Assembly Hall Theatre,” said Roncoroni. “Impressed with the results, the Assembly Hall recommended my services to The Forum, which eventually led to the system PA upgrade project.”
On hearing the existing system, which was largely as old as the venue itself, Roncoroni suggested an upgrade to the PA system. “We set up a demo of the EM Acoustics system at their factory to showcase the entire product line-up to The Forum team,” recalled Roncoroni. “They were impressed by the power and slim form factor of the boxes and decided to invest in a couple of EMS-81Xs as small front fills for the existing PA system, before committing to a full EM system.”
EM Acoustics allowed the venue to borrow a demo system for a month, further solidifying The Forum’s plans to upgrade with a full solution from the British brand.
“I’ve had a long relationship with EM Acoustics,” continued Roncoroni. “Over the years, they’ve proven to be a reliable and high-performance option with added value and customer support. Furthermore, their ethos aligns perfectly with The Forum’s values of minimal waste and efficiency, so I had no hesitation in recommending a Reference Series solution.”
R10 loudspeakers, with their slim form factor, play a crucial role in navigating the challenges presented by the venue’s unique space, which was once a public facilities building before being renovated. “The R10s are rigged horizontally against the ceiling, one unit per side, and provide generous headroom for the heavier rock and metal acts that play at The Forum,” said Roncoroni. “These are supplemented by EMS61s, which match the tonality of the R10s perfectly, plus EMS-81s as delays and an S-218 subwoofer, which is installed beneath the stage.”
James Wilson, Production Manager at The Forum, said: “Opting for an EM system was an easy choice. The Reference Series combined with the S-218 sub is an incredibly powerful combination within a small footprint. The ease of rigging, lightweight design of the boxes and interchangeable waveguides made installation and tuning easy, something that we managed entirely in-house.
“The new system represents a huge step forward for The Forum in ensuring we can cater to the highest level of artists and events for a long time to come,” continued Wilson. “The value and customer service from EM is second to none, and they have supported us every step of the way from initial consultation to installation.” www.emacoustics.co.uk
P3 Poppodium
COMPANY: Robe
LOCATION: Pumerend, The Netherlands
A dynamic package of Robe moving lights has been installed at the busy P3 Poppodium music venue in Purmerend, the Netherlands. The upgrade, originally planned before the pandemic and delivered once the restrictions started being lifted, comprised 14 ESPRITES, eight PAINTES, 16 LEDBeam 350s, eight LEDBeam 150s and four T1 Profiles. P3 has two music halls – of 850 and 350 capacity – and a theatre space that accommodates 130 people.
The venue opened in 2006, and the now Head of Technical and Production, Ferry Veenman has worked there for 17 years, the first six as a bartender, and one of the regular lighting technicians, Edo van Randen, has clocked up 18 years.
Ferry looks after all things technical in the three live music halls and five rehearsal rooms, one of which is a studio. The venue features a striking functional modern architecture look compete with a super-cool hydraulic entrance door, and is a well-known regional creative hub.
At least two or three shows and events are hosted each week and P3 also produces its own, so it’s a busy and dynamic environment requiring flexible lighting.
When P3 opened nearly 19 years ago, some Robe 575 ColorSpot and ColorWash moving lights were in the main hall rig.
At the time they were among the first installed in the Netherlands, and impressively, they were still working when recently removed and replaced.
In 2012, 10 Robe LEDWash 300s were purchased from Controllux, Robe’s Benelux distributor, and at the time, these were again among the first in the country in a fixed installation.
Like many venues in the Netherlands, P3 is local governmentfunded and run via a foundation. The discussion about revamping the lighting was prompted by the requirement that
all venues nationwide transition to LED lighting to be more sustainable and consume less power.
Ferry, who also works as a freelance LD, consulted his crew, including P3’s most regular freelancers, plus the management board and some external lighting professionals. He wanted to get a clear understanding of people’s opinions on the best fixture combinations from all their different perspectives.
Naturally, they looked at other brands as well as Robe. However, a primary reason they chose Robe again was that those old ColorSpot 575s were still going 18 years later. “If you can get that long out of a fixture, it represents excellent value for money,” said Ferry. “It’s not rocket science.”
Robe’s TE lightsource in the ESPRITES and PAINTES reinforced this thinking. “I’ve seen firsthand the potential longevity of the Robe hardware,” he noted. “Being able to replace the LED engine is a definite bonus.”
Another plus is the great relationship and support they enjoy with Controllux, so taking all these considerations together, Robe was a clear winner.
P3 has had Avolites consoles in house since 2008, initially purchased on the recommendation of Maikel Sakkers, who was working as a lighting tech and programmer at the time, and is now one of Controllux’s key account handlers for lighting. Ninety-five per cent of the shows held at P3 will be lit by Ferry and his team.
He recalled that the sheer intensity of the new fixtures and raft of creativity they unlocked took a little acclimatisation, but the new lights are making a massive difference to how shows can be lit, boosting the production values for all involved including, importantly, the audience. www.robe.cz
Photo: Louise Stickland.
Princeton University Performance Venues
COMPANY: Allen & Heath
LOCATION: Princeton, New Jersey, USA
Princeton University’s Performing Arts Services department oversees several performance venues on campus, including an 800-seat concert hall, several black box theaters, and a smaller performance space in the student union building.
Lucien Dowdell was brought on as the department’s Production Manager in 2020, and was immediately tasked with overhauling the campus’ ageing audio equipment.
“I met with the various production teams – the crews actually working with the gear,” recalled Dowdell. “It became clear to me that, with such a diversity of performances, we needed some versatility.”
The university’s main concert hall is host to many classical and chamber music performances, which are unamplified.
Other times, the venue features events with greater technical demands – such as discussion panels, film screenings, and fully amplified Jazz and Big Band concerts.
If Dowdell had opted for a one-size-fits-all console solution, it would have required a member of the technical staff to be present during all performances – even those that were unamplified – since it requires operating a full-fledged mixing console to control simple wireless microphones.
“In the old system, there wasn’t much flexibility in how we approached different types of events,” Dowdell recalled.
“I wanted to view things more holistically and use current network audio technology to make us adaptable.”
Dowdell had previously worked as Director of Production for a small AV company, and had some familiarity with Allen & Heath products. “I had used the SQ series mixers before and really liked them,” he recalled. When seeking a solution for Princeton, Dowdell decided to research Allen & Heath’s current offerings. “I watched every video the company published over COVID, and had some discussions with our team – eventually, that’s where we landed.”
The final system for Princeton’s main hall now features a dLive S5000 control surface, with 28 faders and dual 12-inch touchscreens; and a DM0 MixRack, which handles up to 128 channels of 96kHz audio processing and 64 fully
configurable busses. Dowdell opted for dLive for its power, value, and intuitive workflow. “The dLive platform is just way more user friendly compared to other consoles out there,” he noted. “It also costs considerably less than other consoles at that level.”
The dLive is fed by multiple DX stageboxes strategically positioned around the venue, and a gigaACE card in the console allows digital splitting to an SQ mixer that can be used for monitor mixing if needed.
Using a Dante expansion card, the dLive console feeds its outputs to an Allen & Heath AHM-64 matrix processor, which is key to the system’s new flexibility. “The AHM is really the last mile, and touches the outputs of every audio source in the venue,” explained Dowdell. Depending on the type of performance, the production team can recall different presets on the AHM to have it take input from the dLive console in the case of an amplified performance, or simply act as a standalone mixer for wireless handheld mics dursing conferences or classical performances when the conductor wants to address the audience.
“We have a preset lovingly called ‘HH Talk’, which activates two handheld microphones already fully rung out and some floating room mics,” explained Dowdell. “All of that happens in the AHM, and we don’t have to think about anything else.”
The AHM-64 at Princeton acts as a central audio hub, feeding outputs to the concert hall’s main PA, assisted listening system, lobby, streaming system, and two-track recorder – each being different Zone outputs within the AHM. Despite the complex nature of the new system, Dowdell noted that setting it up was a breeze.
“The nice thing about working in a venue like this is that we can constantly go back and make adjustments if needed,” he explained.
“We are frequently fine-tuning to ensure that the various system controls do what we need, and thankfully this system keeps us very flexible as our needs change.”
www.allen-heath.com
Various venues
COMPANY: NEXO
LOCATION: Melbourne, Australia
The NEXO P15 appears to be carving a niche for itself as a leading choice of foldback wedge for premier venues across Melbourne, rapidly gaining the reputation as ‘the wedge that never says no’.
The P+ curvilinear enclosures are a NEXO design which enables them to remain lightweight and compact, while offering a sonic quality and SPL output surpassing many larger and heavier alternatives. And the facility to change dispersion characteristics in seconds through the addition of optional magnetic horns or horn flanges optimises the speakers for a wide range of applications.
Recently spotted at Melbourne live music hotspot Max Watts during Mammal’s ‘The Penny Drop’ album launch party, P15 wedges were on stage as part of the venue’s highend technical loadout. A leading entertainment destination since 1997, the 850-capacity venue has long been a favourite of major touring acts, thanks in part to its highly impressive audiovisual capabilities.
The P15 was also recently spotted just a few blocks away at The Workers Club in Fitzroy where western Sydney’s Breakfast Road recently took to the stage as part of a tour for their new single ‘Global Warming’. A Brunswick Street institution, the venue is a selfappointed ‘old-school pub’, hosting live music six nights a week, from up-and-coming locals to international acts alike.
A short walk up Brunswick Street to The Evelyn Hotel for Jimmy Harwood’s ‘Flip It’ East Coast tour where multiple P15 wedges were seen deployed for the Melbourne-based singer-songwriter’s latest EP launch while over on Lygon Street at The John Curtin Hotel, P15 wedges were on stage throughout the evening during a performance by The Belair Lip Bombs, which showcased not only the Melbourne quartet’s punchy hookpacked songwriting, but also the venue’s technical proficiency, with the P15s excelling in their role and contributing to the smoothness of operation for each of the band’s accompanying engineers.
In the bustling neighbourhood of Collingwood, The Gasometer Hotel has long been a cornerstone of Melbourne’s live music scene. P15 wedges at ‘The Gaso’ for MAMMOTH’s ‘The Westside Junkie’ album launch helped optimise the Hip Hop collective’s ‘Orchestrated Experience’, where Classical elements met Contemporary rap and gritty storytelling. And up in Thornbury, the P15’s distinct shape was recently spotted at The Croxton Bandroom during Beddy Rays’ ‘Schooner or Later’ tour, deployed as floor monitors. Built in 1844, The Croxton Park Hotel has had a long view of Australian history, stretching all the way back to Australia’s Gold Rush era. The venue eventually became one of Melbourne’s most successful live music destinations across the 70s and 80s, and a fresh look and recent PA overhaul has seen NEXO P15s sharing yet another stage imbued with Australian history: graced by the likes of AC/DC, INXS, Men at Work, Rose Tattoo, Mondo Rock, Midnight Oil and many more. www.nexo-sa.com
POWER IN STYLE
_ Moving spotlight with 640 watt COB LED _ CMY color mixing for infinite color variety _ Zoom from 10° to 47° _ Frost filter + 2 gobo wheels
Rockhal
COMPANY: Ayrton LOCATION: Luxembourg
To enhance its lighting rig, Rockhal in Luxembourg has taken stock of Ayrton Mistral S and Levante S fixtures, which were supplied to the venue through Ayrton’s Belgian distributor, FACE.
Rockhal is at the centre of Luxembourg’s live music scene. Situated in the Centre de Musiques Amplifiées on the Avenue du Rock’n’Roll in the industrial heritage area of Belval in Esch-sur-Alzette, Rockhal has two main venues among its rehearsal and creative studios.
The 6,000-capacity Main Hall has seen many world-renowned bands and performers pass through its doors, while the club can accommodate up to 1,500 spectators, has a full loaded and equipped stage with a fixed lighting rig and sound setup. A large part of this fixed grid is equipped with Ayrton fixtures, which replace outmoded stock.
“We have 20 Ayrton lights installed as permanent fixtures in our standard club package, which is used by nearly all the artists playing in our ‘smaller’ venue,” said Daniel Robinet, Production Supervisor at Rockhal. “We have eight Mistral S and eight Levante S are rigged in our top light package, while the floor package is completed with four Mistral S.”
The choice of Ayrton Mistral S and Levante S was unanimous among the Rockhal Lighting Team, which organised a shootout between different lighting brands with comparable fixture types. “This gave us the opportunity to rate the fixtures objectively and see how they measured up to the important criteria that we had laid out in advance,”
explained Rockhal’s LD, Tom Wagner.
“The biggest plus in the whole package proved to be the Levante, as it has all we want from a washlight, with added beam effects and barn
doors. This gave us more flexibility for the variety of artists and shows that we receive in our club. We decided in favour of the S version, because we don’t necessarily need the TC version’s higher CRI for our applications, but do need the extra output that the S version delivers.”
Ayrton was already known to the club’s venue technicians from visiting tours that had Ayrton in their rigs, but these are the first Ayrton fixtures the club has purchased for its own inventory. “FACE’s Account Manager for Light, Koen Ceulemans, guided us perfectly through the whole process right through to the day of delivery, and we are very happy with our choice,” said Wagner.
“Both Mistral and Levante work well together and are versatile, small and lightweight, yet still have plenty of punch. The zoom range is outstanding for this size of fixture and still punchy at full zoom out. Consequently, they do a great job in any situation, from a traditional rock show through to VIP receptions. In this power range, the Levante stands out because of the blades and the beam effect. We also love its traditional washlight look, and its big frontal lens.
“The size and weight of the fixtures make them nice and easy to handle and gives us flexibility for the setup. As we’ve replaced our setups one by one, it’s been cool to see that the weight and size reduction made possible by the new technologies means you can push limits in the same environment on a daily basis. Lastly, it’s very satisfying to witness the acceptance of our new Ayrton fixtures by the touring productions –we have only received positive feedback on our choice!”
www.ayrton.eu
Photo: Tom Wagner.
Superior clarity with extraordinary scalability. GTX delivers consistent performance to the most demanding events with power and precision. Engineered for touring professionals and world-class Artists.
Bearsville Theater
COMPANY: Meyer Sound
LOCATION: Woodstock, NY, USA
The historic Bearsville Theater in Woodstock, NY, offers a worldclass sonic experience that befits its storied legacy, thanks to a new Meyer Sound system provided by Masque Sound.
The Bearsville Center, nestled in the heart of the Catskills, was built in the 1960s by music impresario Albert Grossman, manager of artists including Bob Dylan, The Band, and Janis Joplin. Conceiving the complex as a home for creative inspiration, Grossman built cabins, a record label, and a recording studio that hosted the likes of the Rolling Stones, R.E.M., Muddy Waters, and The Pretenders. Today, the complex comprises two restaurants; a café and bar; residences; Utopia Studios, designed in 1979 for Todd Rundgren; and the Bearsville Theater, celebrated for its exceptional acoustics and historic charm.
The Bearsville Theater entered a new chapter in 2024 under the direction of Dayglo Presents, led by concert promoter and multivenue proprietor Peter Shapiro. For Shapiro, it was time for the venue to realise its full sonic potential. “The performance space was built to be acoustically perfect,” he explained. “It was designed by John Storyk, who created Electric Lady Studios, and was constructed from an 18th-century barn by master craftsmen, but it never had a perfect sound system.
“When I was fortunate enough to take it over, there was only one plan, really, which was to put in the best sound in the world because it deserved it. So, we reached out to Meyer Sound.”
Event production company G4D Productions, led by Jon Dindas, was instrumental in the renovation. G4D has partnered with Dayglo to build or renovate numerous venues, including Brooklyn Bowl clubs. Dindas’ connection to Woodstock dates back decades, to his work with Levon Helm at his legendary Woodstock studio complex, The Barn.
Dindas says that while acoustically pristine, the intimate 500-capacity venue presents some sound reinforcement challenges, with its asymmetrical space that features a bar along one side wall, and a steep balcony.
“The concert area is in front of the stage, and it’s not very big,” he explained. “On the left side, you have this area that is not
directly attacked by the mains. For me, it was all about balance and making sure that that immediacy and the in-your-face clarity was going to be the same whether you’re seated in the third row, whether you’re standing for a rock show, whether you’re back up in the severely raked balcony, or if you’re over to the side; that there are no dead spots.”
The new Meyer Sound system, installed by Masque Sound’s Anthony Nittoli, Dave Francisco, Matt Garvey, and Leigh Pietz, with support from Meyer Sound Technical Design & Services Specialist Brian Bolly, is cantered around a pair of UPQ-D1 wide-coverage full-size loudspeakers, which are soffit-mounted stage left and right. The system is supported by 2100-LFC low-frequency control elements and ULTRA-X20 compact wide coverage loudspeaker front fills and delays, and is managed by a Galileo GALAXY 408 Network Platform.
“We’re not hanging a line array,” Dindas explained. “They gave me array renderings and it just didn’t feel like the Bearsville Theater. So we went with cabinets set into the wood. I think it feels right in terms of the aesthetic. And it sounds great.”
Dindas adds that the wide-coverage UPQ-D1 loudspeakers are perfect for providing uniform coverage over a broad listening area.
“You have the seated or the standing room right in front of you, but then you have the stage right area,” he explained. “So having the wideness of those boxes was really great for the room. There were dead spots in the past, which the UPQs have addressed.”
A pair of 2100-LFC low-frequency control elements, positioned under the lip of the deck, bring low-end clarity. “For the most part, we’re not going to be shaking the room,” said Dindas. “Not everyone has a subtle sub – something that can make you feel like you’re sitting in your living room with a really good sound system, that’s a treat. And that’s what these subs sound like.”
Shapiro concluded: “I believe that the Bearsville Theater now has the preeminent sound of any comparable venue of its size in America. It was built to be acoustically perfect, and now it has the acoustically perfect sound system. It’s extraordinary.”
www.meyersound.com
Photo: Chase Pierson.
FOCUS
Kielce,
Białka Tatrzańska, Poland
Norway
Wuppertal, Germany
Dallas, Texas, USA
Las Vegas, Nevada, USA
IN BRIEF
Star Live completes highperformance modular venue
NEON at Battersea Power Station
Completed in May following an 18-month concept-tocompletion programme, NEON is a 3,200 sq m modular exhibition and event venue which was constructed using Star Live’s proprietary modular truss and hybrid steel frame system. Commissioned by NEON Global and designed by Expo Pavilion Group, NEON is a showcase of modular engineering, rapid construction methods and collaboration within a high-profile, heritage-constrained site. The venue offers a clear 15m internal height and includes programmable LEDlit polycarbonate façades, full MEP, a mezzanine level, and back-of-house infrastructure. Approximately 60 per cent of the structure was fabricated off-site, including steel framing, MEP units and cladding components. The 128-tonne roof was assembled at ground level and lifted into position using 48 synchronised hoists, powered by Star Live’s proprietary smART control system, which enabled real-time synchronisation and precise lifting of all hoists. This approach delivered a 60% time saving on structural works, with the entire onsite phase completed in under eight months. Michael Reid, Project Director at Star Live, commented: “Delivering NEON at Battersea Power Station within a sensitive and high-profile site meant rethinking traditional construction methodologies and timelines. By applying our live event engineering DNA and vertically integrated delivery model, we were able to progress simultaneous design development, manufacturing and site works, which is essential for complex fast-track projects.” Key construction challenges included public realm coordination, strict planning controls, and logistics within a live estate. Star Live coordinated all works via secure logistics routes, phased night-time activity and regular estate liaison to ensure minimal disruption. www.stargrouplive.com
STEFAN ŻEROMSKI THEATRE
KIELCE / POLAND EMEA
Right: The technological upgrades to the venue’s staging capabilities were overseen by PS TEATR.
With a plethora of high-class theatrical institutions in the city of Kielce, Poland, the Stefan Żeromski Theater is widely regarded as one of the strongest thanks to its ability to host a wide variety of performances, and its status has been further strengthened thanks to a major four-year renovation.
The project began in 2020 and created a challenge for both architects and contractors, with the concept of maintaining the building’s character while restoring its interiors and upgrading its technological infrastructure.
The reconstruction and expansion included making the building fully accessible, implementing new stage technology, launching a new smaller stage which opens into an inner courtyard, and restoring historic elements of the building.
The undisputed gem among its interiors is the Grand Stage, within which medallions with the faces of great Polish poets and authors have been restored to former glory, while the passive acoustic experience has been boosted with the installation of a brass acoustic plafond under the ceiling, with a hammered texture that not only improve the audible characteristics of the interior, but also enriches it visually.
The purchase of an adjacent space increased the size of the Grand Stage, allowing the room to now become one of the most technologically advanced stages in Poland.
Within the modernisation of the building, the technological upgrades to its staging capabilities were overseen by PS TEATR who installed and configured the venue’s staging power infrastructure, stage automation, curtain system, immersive sound setup, lighting solutions, and multimedia technology.
Illuminating the Action
In the theatre’s Grand Stage and Chamber Stage, PS TEATR integrated flexible lighting systems anchored by an extensive array of more than 330 luminaires.
The Grand Stage required powerful moving head fixtures with a range of effects to achieve the desired creative flexibility, and the centrepiece of this transformation includes six each of Elation FUZE MAX PROFILE and Elation FUZE MAX SPOT luminaires, intertwined with 20 CLF Poseidon Wash XL washes, while six Elation ARTISTE PICASSO framing profile luminaires provide rich beam animation and theatrical impact.
These are complemented by 30 Elation KL FRESNEL 8 warm-
Major renovation of historic theatre brings its facilities in line with modern expectations, with PS TEATR overseeing its staging technologies upgrades.
Photos: Piotr Piekut
white floodlights, while to enhance visual depth and colour flexibility, 36 Elation KL PAR FC lights and 10 Elation SIXBAR 1000 LED bars have been deployed for vibrant washes and colour effects.
For traditional theatrical lighting solutions, 60 ETC Source Four spotlights were supplied, alongside 14 ETC Source Four LED Lustr Series 2 spotlights, while 70 DTS SCENA S fixtures complete the conventional theatrical lighting across both the Grand Stage and Chamber Stage.
The lighting of the smaller Chamber Stage is supported by DTS ALCHEMY 5 wash, DTS NICK NRG 1401 and Elation FUZE SFX fixtures.
To manually track performers, fixtures from Spotlight’s Hyperion range were specified, with two large 700W LED and two smaller 300W LED luminaires chosen.
Two Hazebase THE FAB hazers were selected to enhance beam visibility, while where a heavier haze effect is required two Briteq H2FOG II were chosen, with an Elation MAGMAFAN 1 controlling the haze distribution.
For controlling the light fixtures, a ChamSys MQ250M STADIUM digital console was specified, while two each of ChamSys MQ70 and MQ50 consoles were added to be used in mobile applications in other areas of the building.
The lighting system uses reliable signal distribution using Obsidian NETRON nodes and splitters, offering flexibility across multiple performance spaces. Control racks are equipped with six Obsidian EN12, 1 RDM10, and 4 DMX 10-5 splitters, while 20 EN4/EP4 nodes support the local DMX/ETH conversion. The distribution system, based on sACN parallel to the DMX protocol, is both flexible and scalable. In order to position the spotlights at different locations on the stage, a selection of GUIL stands were supplied, including the ALT-34, TF07, FC02R, and ELC740 models, while the suspended truss is UNO-H from ConteStage.
A total of 14 ETC ThruPower wall-mount voltage regulators are responsible for powering all traditional and LED luminaires.
Sound Reinforcement System
At the heart of the new sound system is the Kling & Freitag SCALA immersive audio processor, which distributes all incoming signals to the speaker system and positions the sound sources within the space. The main sound system consists of five Kling & Freitag SPECTRA 212 arrays installed above the proscenium, each separated by a NOMOS LS II subwoofer. This SPECTRA system ensures powerful sound reinforcement with impressively fine resolution for source positioning. The audience in the stalls is surrounded by a ring of GRAVIS 8 point sources, while the balcony features CA 106 PRO speakers, which are also used along the stage edge.
For immersive sound reinforcement, six positions on the ceiling are equipped with GRAVIS 12 speakers. Thanks to the extensive routing options of the Kling & Freitag SCALA processor, all sound sources can be seamlessly tracked from virtually any seat in the house.
Using matrix buses, the on-site team was able to faithfully and accurately reproduce both horizontal and vertical source movements — even for seats under the balcony or at the sides of the upper tier. This ensures that every seat benefits from spatial localisation.
“I’ve commissioned many immersive systems, but the Stefan Zeromski Theatre is definitely one of my personal highlights,” said Kling & Freitag’s Marco Kuhnmünch. “Together with my colleague Christoph Wöhler and the fantastic team from dsitributors ABLO Group, I calibrated the system, and it was amazing how quickly and precisely the speaker alignment worked.”
A TTA StageTracker tracking system was also installed, giving technicians the 3D position of every artist on stage, allowing them to track their movement so that lighting effects keep them illuminated.
PS TEATR company, in partnership with ABLO Group, in addition to the immersive sound system, fitted the facility with a comprehensive array of equipment, including digital mixing consoles, stage monitors, a Shure Axient Digital Wireless Microphone System, and an RTS ODIN intercom system.
Above & right:
The lighting system uses reliable signal distribution using Obsidian NETRON nodes and splitters.
Right: At the heart of the new sound system is a Kling & Freitag SCALA immersive audio processor.
For productions that have little to know scenery, a projection solution has been sought, with a Barco UDM W30 4K and an Epson EBPU2116W specified for the Grand Stage, with a second Epson projector serves the Small Stage. Each of the stages features a separate production rig with a Resolume Arena 7 media server (with VMIX Pro software) and a single Blackmagic Design ATEM Television Studio 4k8 video mixer.
The Żeromski Theatre’s calendar is packed with both well-known plays adapted for local stages and new productions. Additionally, it organises workshops, meetings with artists, panel discussions, readings, and other various theatre-related events. During the renovation, the theatre rented space from the Voivodeship Cultural Center to continue its schedule, albeit in a somewhat limited format.
The return of the Żeromski Theatre’s actors and staff to the newly renovated premises coincided with the sixth staging of the Kielce Theatre Festival.
“This was a real test for both the artistic and technical crew, as well as the installed technology itself. The amount of information required to learn about operating the individual technological subsystems in such a short time was incredibly large, and we also had to familiarise the visiting technical teams from various countries with their capabilities and configuration,” said Dominik Drobisz, MSc. Eng., who supervised the work on behalf of PS TEATR and provided technical support during the Festival.
“Teams from various parts of Poland, Iceland, Germany, and France were very positive about the existing technology and their collaboration with the Theatre’s technical team – they are truly a team of specialists with extensive experience and skills.
“From my perspective, I can say that I could always count on their professional approach during both the ongoing consultations during the implementation and commissioning stages,” concluded Drobisz.
The elegance of the newly modernised building can be seen in the details, and after 145 years, this historic cultural establishment has regained its former splendour.
TECHNICAL INFORMATION
LIGHTING AND FX
6 x Elation FUZE MAX PROFILE
6 x Elation FUZE MAX SPOT
6 x Elation ARTISTE PICASSO
30 x Elation KL FRESNEL 8
36 x Elation KL PAR FC
10 x Elation SIXBAR 1000 LED
20 x CLF POSEIDON WASH XL
60 x ETC Source Four spotlights
14 x ETC Source Four LED Lustr Series 2
70 x DTS SCENA S
2 x Spotlight Hyperion 700W LED
2 x Spotlight Hyperion 300W LED
1 x ChamSys MQ250M STADIUM
2 x ChamSys MQ70
2 x ChamSys MQ50
2 x Hasebase THE FAB
2 x Briteq H2FOG II
1 x Elation MAGMAFAN 1
AUDIO
5 x Kling & Freitag SPECTRA 212
4 x Kling & Freitag NOMOS LS II
6 x Kling & Freitag GRAVIS 12
Kling & Freitag SCALA processor
VIDEO
1 x Barco UDM W30 4K
2 x Epson EB-PU2116W Resolume Arena 7
1 x Blackmagic Design ATEM Television Studio 4k8
www.en.teatr.com.pl www.teatrzeromskiego.pl
BANIA MUSIC CLUB
BIAŁKA TATRZAŃSKA / POLAND EMEA
With its sophisticated sound system and hightech accessibility features, Hotel Bania’s revamped club has become a standout in Poland’s nightlife scene.
Photos: Wojciech Wandzel.
Located in Białka Tatrzańska’s Tatra Mountains, Bania Music Club is among the most frequented venues within the Hotel Bania Thermal & Ski complex.
Keen to keep the venue at the forefront of entertainment and to meet the growing expectations of guests, the hotel’s owners enlisted Grupa CLUE, who carried out a system integration under the supervision of Radosław Janusz, CEO and lead designer.
Grupa CLUE, well-versed in the creation of solutions for the hospitality and leisure industries, was more than ready for the challenge. However, Bania’s audio upgrade presented several unique obstacles, mainly in its location; the club sits right below the hotel’s rooms.
“From the very beginning, I wanted the sound to remain confined strictly to the dance floor. That was the guarantee I gave to the investor,” recalled Janusz.
“The club’s ceiling is low, only about 2.6m high, so we wanted to avoid protruding wall speakers and rely on ceiling-based solutions. That’s when Jarosław Repeć, Sales Manager at Bose Professional, suggested an unconventional approach – using Bose Pro’s EdgeMax series, typically associated with conference or commercial spaces rather than nightclubs.”
The first major hurdle was sound isolation. The goal was to completely contain the powerful low-frequency vibrations and high sound pressure levels within the club walls. Consequently, advanced acoustic isolation was carried out, including the implementation of floating floors, decoupled walls, and reinforced ceilings, all built with carefully selected sound-absorbing materials.
Janusz stated, “This created a ‘room within a room’ effect, significantly reducing audio leakage.”
He continued, revealing that this level of treatment demanded a collaborative approach. Construction teams worked closely alongside Grupa CLUE to help them achieve the desired level of sound dampening.
After working to optimise the site’s acoustic qualities, the installer was then tasked with designing a stylish and flexible audio system.
A long-time partner of Bose Professional, Grupa CLUE was confident in selecting its solutions for Bania’s upgrade.
Large EdgeMax EM90 and EM180 models were positioned around the edges of the dance floor, with the 90s in the corners and the 180s in more open spaces.
In areas where discreet integration was paramount, EdgeMax Low Profile units were deployed. DesignMax speakers were then installed in additional spaces such as the entrance hall, bowling alley, and bathrooms, ensuring even, ambient sound.
Repeć explained: “The choice of EdgeMax allowed us to achieve a situation where on the dance floor we have full energy, whilst just 1m away the sound level drops by more than 6 dB, making it possible to have reasonably normal conversations. It shows that in such projects, it’s not only about power, but also about precision in sound control.”
Above the DJ booth, Bose Pro’s DM8C-Sub and MB210-WR cardioid subwoofers direct bass energy where needed, cutting reflections from the club’s LED wall and reducing leakage into the hotel above. Janusz emphasized that the use of cardioid subwoofers was absolutely essential. “With multiple low-frequency sources, chaos quickly arises, and we needed one clearly defined, directional bass. This way, energy stays where it belongs – on the dance floor – rather than spreading throughout the entire venue.”
The CEO added that the system is powered by the new Bose Professional PowerShareX amplifiers.
Another notable element of Bania Music Club’s transformation is the deployment of Powersoft’s Mover
haptic technology, a system that converts low-frequency audio into vibrations that can be physically felt through the dance floor.
“Guests literally feel the music throughout their bodies,” explained Repeć. “The Powersoft Mover transducers make it possible for people with hearing impairments to ‘hear’ through bone conduction.”
Janusuz said that this harmonised with one of Grupa CLUE’s main goals, to make the club truly inclusive.
32 compact Movers are mounted beneath the dancefloor.
Importantly, the energy from the Movers is tightly controlled: the system focuses its impact on the floor itself, without transferring unwanted vibrations to the hotel above.
“Overall, it creates a physical, multisensory musical experience – especially meaningful for guests with hearing loss,” Repeć noted.
This addition makes Bania Club the first venue in Poland to have Powersoft’s Mover technology. As more venues worldwide look for innovative ways to improve accessibility, though, it may be only the first of many to adopt such a solution.
Repeć continued, “It’s important that nightclubs don’t forget about their visitors with hearing difficulties.”
Janusz concluded by happily reporting that everyone involved in the project is excited about its outcome. He said, “We managed to achieve what I had promised the investor –powerful sound that remains contained on the dance floor.”
Previous: Bania Music Club’s primary dance floor is fitted with 32 Powersoft Mover transducers.
Below: Bania’s bar area, where guests can listen to high-energy music from Bose Professional loudspeakers.
TECHNICAL INFORMATION
HAPTIC FX
32 x Powersoft Mover HiZ lowfrequency transducers
2 x Powersoft Quattrocanali 4804 amplifiers
AUDIO
7 x Bose Professional DM8C-SUB subwoofers
3 x Bose Professional DM3C speakers
4 x Bose Professional DM5C speakers
5 x Bose Professional EM180 speakers
4 x Bose Professional EM90 speakers
9 x Bose Professional EM180-LP speakers
4 x Bose Professional EM90-LP speakers
3 x Bose Professional MB210-WR subwoofers
6 x Bose Professional PSX1204D amplifiers
1 x Bose Professional PSX2404D amplifier CONTROL
1 x Bose Professional ControlSpace EX-4ML
1 x Bose Professional CC-2D controller
www.grupaclue.pl
IN BRIEF
Renkus-Heinz transforms Oslo’s
Byens Tak into a premium audio experience
Perched atop the historic Folketeater Building in Oslo, Byens Tak is an event space that offers stunning panoramic views of the cityscape, fjords, and surrounding forests. This twelfth-floor venue has long been a hub for cultural and social gatherings. When Rodeo Architects took over the space, they envisioned a venue that blended modern functionality with its rich historical character. To achieve this, they needed a dynamic audio solution that could deliver pristine sound while preserving the venue’s aesthetic integrity. That’s where Renkus-Heinz came in.
With its long, narrow layout and intricate acoustics, which included two large domes originally designed for natural sound amplification, ensuring even sound coverage without intrusive equipment was a critical requirement.
“The whole space is protected, so we had to work around the existing architecture. The client wanted the speakers to be as integrated and as invisible as possible while still delivering high-quality audio,” explained Daniel Glaister from Benum, Renkus-Heinz’s distributor in Norway.
To meet the venue’s diverse needs, Benum specified a system featuring two Renkus-Heinz IC Live Gen5 digitally steerable column arrays, permanently mounted on the long wall. These were complemented by two Renkus-Heinz SA118 subwoofers, which were mobile on wheels for flexibility. The IC Live Gen5 Series was the ideal choice for Byens Tak, as the beam-steering technology allowed for precise control over sound dispersion.
“The IC Live Gen5 models are powerful yet incredibly discreet. We could colour-match them to the venue’s walls, making them almost invisible,” Glaister noted. “With beam steering, we could direct the sound exactly where it needed to be, avoiding problem areas and ensuring speech clarity as well as high-energy sound for DJ performances.”
Additionally, the placement of the subwoofers – one on each side of the room rather than in traditional stereo alignment – allowed for even low-frequency distribution, avoiding hotspots and dead zones.
Since the installation, Byens Tak has received overwhelmingly positive feedback. The venue’s owners and event organisers have praised the system’s flexibility, coverage, adaptability, and ease of use. “Most importantly, they love how it blends into the space without disrupting the venue’s character,” Glaister concluded. www.renkus-heinz.com
optical CON ® MTP
Easy cleaning. Easy maintenance. When the show must go on, trust opticalCON.
Reliable, ruggedised fiber optic solution. Available in 12-channel, 16-channel, 24-channel & 48-channel
OPEN GROUND
WUPPERTAL / GERMANY EMEA
The installation of a bespoke sound system designed in collaboration with Markus Riedel, Funktion-One, and Bentin Projects, has contributed to an extremely successful opening period for this new club.
In its first seven months, Open Ground, an underground bunker-turned-nightlife hotspot in Wuppertal, Germany, has found its way onto the wishlists of DJs and clubbers alike, as its reputation has spread around Europe’s electronic music community and beyond.
When DJ Mantra appeared on Martha’s Radio 1 show a few weeks after her first visit to the venue, it was clear she had been moved by the experience.
“It’s truly special. Standing in the middle of the dance floor, enveloped by that sound, is emotional. It can almost bring you to tears. The space and the sound create the perfect environment to hear music as it should be. It’s deep, weighty and incredibly clean.”
Open Ground was created and is operated by both a local and an international team. At its heart is Markus Riedel working in collaboration with Mark Ernestus. Riedel’s brother, Thomas, made the Open Ground project possible with his support and financial investment.
The club’s unique site is an old underground shelter, taking a total of seven years to be transformed into the venue it is today. “We realised that converting the bunker into a club
was quite a task,” said Markus Riedel. “We spent a long time planning, then a long time undertaking the development, but in the end, we’ve created something really special, with amazing sound in the two rooms and the area in between them too.”
From the outset, audio was at the top of the agenda, and the choice of sound system was clear. Ernestus first connected with Funktion-One founder Tony Andrews in 2015.
At the time, Andrews was working on the prototype of a 32-inch bass speaker, with the aim of achieving the lowest frequencies ever produced by a big system.
On hearing the F132 for the first time, Ernestus said he was hooked. Andrews and the Funktion-One engineering team have been involved in Open Ground’s sound design from the very early stages of the venue’s development, working in close collaboration with Funktion-One Germany and Bentin Projects.
The distributor and integrator, which is also headquartered in Wuppertal, has strong links with the Riedel family through company founder Benedikt Koch.
“It was a real pleasure to be part of this right from the
beginning,” noted Koch. “Markus and his team were really supportive in making sure we could place the speakers in the right positions. It’s the first time ever in my working life that the air conditioning system was changed to give us the positions we needed!”
Open Ground’s main room system comprises four FunktionOne Evo 6E with Evo 6EL, two F221 bass speakers and, of course, a pair of F132 subs. The booth is home to two PSM318 DJ monitors. In the second room, the system has been designed with two Res 2, two F121, one F124 and an F132, along with two F1201 for monitoring.
To achieve an optimal listening environment, the venue has extensive acoustic treatment throughout (designed by acoustician Willsingh Wilson) to manage the reflections of the space, which is naturally abundant in hard surfaces.
Until now, Wuppertal wasn’t a city associated with electronic music, particularly the kind that Open Ground programmes.
Germany’s major clubbing hubs are mostly known for techno, but the club is striking out into more eclectic sounds.
“At Open Ground, we like to present all genres,” said Riedel.
“Of course, techno is important, but there are other sounds
we love, from dubstep to bass and grime. That’s what makes our club so special.”
Ernestus added: “I thought that for it to be worthwhile, we need to have international ambitions. That’s the only way to make something work in a relatively small city.
“Many factors are out of your control, but the one thing you can commit to is providing the highest quality sound system and acoustic treatment. If you do that and get it right, then you have something that will put you on the map and make the project worth pursuing for you and for artists who want to play there.”
Riedel concluded: “Ultimately, our space is all about the sound. We want Open Ground to be filled with nice people celebrating a good party, who are all there for the music.”
Seven years of setbacks, solutions and hard work have been rewarded with a genuine excitement circulating Europe’s electronic music and clubbing community that’s rooted in the quality of Open Ground’s sound and the dance floor experience, rather than an elaborate marketing strategy.
“The result of all this effort and attention to detail is incredible,” said Koch. “Special thanks to Tony Andrews and the Funktion-One team for their support, and Bernhard Blank, Hannes Volk and the Open Ground team for their hard work. I am really proud of what has been achieved here.”
Above left: Funktion-One systems installed at Open Ground.
TECHNICAL INFORMATION
AUDIO
4 x Funktion-One Evo 6E with Evo 6EL
2 x Funktion-One F221 speakers
3 x Funktion-One F132 subwoofers
2 x Funktion-One PSM318 DJ monitors
2 x Funktion-One Res 2
2 x Funktion-One F121
1 x Funktion-One F124
2 x Funktion-One F1201
www.bentinprojects.com www.funktion-one.com
EVELYN
AMERICAS
DALLAS / USA
Bespoke Technology Group and 1 SOUND join forces to outfit Dallas’ newest venue, a glamorous lounge inspired by a popular book, with an audio system that’s striking in both design and sound.
Upon its release, Taylor Jenkins Reid’s novel ‘The Seven Husbands of Evelyn Hugo’ quickly became a critically acclaimed bestseller. The OldHollywood-influenced story has since garnered a passionate fan base, only growing in relevance within the romance and drama genres to this day.
One member of its following is a co-owner of Reach Hospitality, the organisation behind multiple upscale venues, who found that the novel made the perfect backdrop for their latest dining experience.
The proposed space was to be an elegant steakhouse and lounge, located in Dallas’ Design District. With an aesthetic and atmosphere derived from The Seven Husbands of Evelyn Hugo, the venue fittingly has seven different rooms and was named EVELYN.
When it came to designing an audiovisual solution for EVELYN, Reach Hospitality pursued an alternative approach to the conventional model. Instead of first meeting with an installer, the company reached out to 1 SOUND, informing the manufacturer that they already knew they needed a 1 SOUND setup for their desired outcome.
1 SOUND subsequently introduced Reach to integrator Bespoke Technology Group, who entered the project in collaboration with the manufacturer’s CEO, Lou Mannarino.
Phil Ayache, President of Bespoke Technology Group, recalled the beginning of the installation.
“From the very first meeting with the owners and Lou, it became very apparent that every aspect of EVELYN was being built around having the greatest sound possible. The materials used to furnish and finish the rooms, and even the way the venue was constructed, it was all in aid of curating the best acoustic environment.”
He continued, “For this project, the way the space sounded was the most important consideration. As an audiophile, I love working with clients who have this mindset.”
Reach Hospitality had an extremely positive experience with 1 SOUND’s products before, which inspired this latest utilisation. Similarly, Ayache’s relationship with the brand was strong.
“I first worked with 1 SOUND in 2021, and honestly, I haven’t looked back,” he noted. “It’s always going to be my go-to manufacturer. It also helps that Lou is so great. He’s an absolute wizard of an audio engineer who really cares about the acoustics.”
When it came to positioning the 1 SOUND systems for EVELYN, Ayache explained that the three main rooms, the dining room, the primary
bar, and the lounge, had very distinct and different requirements.
“The dining room has a classical, refined feel to it; this was probably the simplest of the rooms to create an audio system for, as the only music to be played was to be a live pianist. The space didn’t call for much, we deployed four of 1 SOUND’s FSUB45 floor subs alongside several CANNON C6 loudspeakers,” he said.
Bespoke Technology then moved on to the large bar area with a high-energy late-night vibe. Ayache commented that this was his favourite space to work on; “acoustically, the room required next to no tuning,” he stated.
“It’s all curved corners, and the entire room is covered in velvet fabric, so it was built almost perfectly for the addition of a sound system.”
Around the bar, more of the manufacturer’s C6 speakers were deployed. Supporting this are eight SUB310 subwoofers, which the installer revealed are “one of my favourite products from 1 SOUND.” However, he explained, the implementation of the subs did initially cause challenges with EVELYN’s interior designers.
“They didn’t want them anywhere near the ground or the furniture, as they were worried about visual impact. This meant we had to come up with an alternative solution. We just said to them, ‘Trust us, you’re going to love the way this setup looks when we’re done.’”
To overcome this obstacle, Ayache worked with a millworker team to frame out recesses in the ceiling for the subs and speakers to be installed seamlessly above visitors. “We spent a long time ensuring that the kit was perfectly plumb and completely level with the ceiling.”
Further pleasing EVELYN’s designers, the installers were able to take advantage of 1 SOUND’s proprietary Custom Shop. This is a unique feature of the brand wherein clients can ask for their solutions to be delivered in absolutely any colour, texture, plating, or fabric finish, from the body of a speaker itself to the grille covers.
Julia Mannarino, 1 SOUND’s Custom Shop Director, was at the helm of transforming the products to fit the aesthetic of the venue. In
collaboration with the interior designers, the Custom Shop matched to the exact shades, and finished the units in seven different colours, allowing them to seamlessly blend into their positions, and fitted fabric grilles, alike the velvet walls, which further make the solutions ‘invisible’. Bronze metal grilles were added to some speakers to suit the luxurious venue.
Ayache said, “Companies like 1 SOUND are few and far between. They allow us to get really creative with our customisation, making them a fantastic partner. Nothing is impossible with Lou Mannarino. Apart from a couple of speakers outside the bathroom, every part of the system for EVELYN has been treated with 1 SOUND Custom Shop.”
For the lounge, a disco and dancing zone, two Contour CT28 point sources were integrated across the bar, and some C6s were positioned across the room’s perimeter to manage delay and echo. This was paired with two SUB215s. “It sounds phenomenal,” Ayache commented. Amplification was provided by Powersoft Quattrocanalis and Duecanalis. The installer remarked, “Powersoft’s been a great partner to us over the years. It’s always my first choice for amplifiers, so I must have installed hundreds, if not thousands of them. Funnily enough, I’ve only ever had one of their amps stop working, and that was only because it was hit directly by a lightning bolt – the three amps next to it still somehow survived!”
Finally, he continued, Crestron’s CP4 was specified for control. He noted that Bespoke Technology has always been a Crestron house and utilises it for its reliability.
Now, thanks to the partnership between 1 SOUND, Ayache, and his team, EVELYN has opened with excellent reviews and high-fidelity audio. Ayache concluded: “Reach Hospitality was a wonderful client as they gave us so much creative freedom, but they still had a really strong vision. Excitingly, we’re now working on two other projects with them, and obviously, they’re going to be equipped with 1 SOUND solutions!”
Left: EVELYN’s ‘Ruby Room’, with 1 SOUND Custom Shop. systems tailored to match. Above: The lounge’s ‘Room Seven’.
TECHNICAL INFORMATION
AUDIO
6 x 1 SOUND FSUB45 subwoofers
27 x 1 SOUND CANNON C6 speakers
6 x 1 SOUND CANNON C5 speakers
22 x 1 SOUND CANNON C4 speakers
8 x 1 SOUND SUB310 subwoofers
2 x 1 SOUND Contour CT28 point sources
2 x 1 SOUND SUB215
8 x Powersoft Quattrocanalis
2 x Powersoft Duecanalis
CONTROL
1 x Crestron CP4 processor
www.bespoketech.com www.1-sound.com
BOB MARLEY HOPE ROAD
AMERICAS
LAS VEGAS / USA
A team of entertainment experts, lighting designers, visual artists, and sound specialists unite to create a large-scale, moving tribute to one of music’s most inspiring figures.
More than four decades after his passing, reggae pioneer
Bob Marley’s influence shows no signs of fading. This enduring legacy, built on his music and messages of resilience, is what forms the foundation of the Bob Marley Hope Road experience, a production staged at Vegas’ Mandalay Bay Resort and Casino.
Hope Road is arguably the most genre-defying rendition of Marley’s story yet, illustrating his life through a 75-minute immersive, non-seated performance that is, uniquely, simultaneously an interactive musical, an art installation, and a walking tour.
Bringing this experience to life fell to FiveCurrents, a live entertainment and event production company. Jared Sweet and Amy Tinkham took on the roles of Co-Directors, with Scott Givens, Owner of FiveCurrents, as Executive Producer.
The three led an extensive crew to translate Marley’s history into a sensorily and emotionally engaging, technically ambitious production.
Amid a demanding schedule of hourly performances running from afternoon until late into the night, seven days a week, Sweet explained to MONDO-DR how Hope Road was built from the ground up.
“It’s an immersive live show that takes audiences on a journey through Bob’s music, life, and beliefs,” he began.
“This isn’t a performance you just watch; visitors journey from room to room, moving through environments that are inspired by Jamaica that tell the tale of Marley.
“Each area contains live performers, lighting, sound, and visuals that work to make this an experience that goes beyond a tribute, capturing the values he lived by.”
To recruit audiovisual professionals and teams to help bring this project to fruition, Sweet said that FiveCurrents looked for “collaborators who could tell a story through their use of light, image, movement, sound, and space.
He continued, “They needed to respect and honour both Bob’s life and Jamaica’s culture. This meant finding designers who could merge a deep cultural understanding with technical innovation. It’s a rare mix, but essential for a project that’s equally rooted in history and pushing into new tech territory.”
With an understanding of FiveCurrent’s vision, MONDO-DR sat down with the production and creative teams behind Hope Road to discuss the audiovisual systems that underpin the experience – a show that Sweet noted has moved audiences to “dance, sing along, and even cry.”
Recruiting a Crew
Based on a 20-year strong professional relationship with the directors, Benny Kirkham, Founder of Overnight Production, stepped forward as Hope Road’s Lighting Designer.
Kirkham brings over 35 years of experience illuminating some of the most complex theatrical, musical, and broadcast productions. Even so, when he first learned of Hope Road, he recognised that the project would demand unprecedented levels of creativity and technical precision.
“When I first heard about the show, I knew I had to be a part of it,” Kirkham began. “All I could think was, wow, this is unlike anything I’ve done before. I wasn’t even sure where to start. From the outset, everyone involved knew we’d have to be extremely collaborative. This was a project where shortcuts weren’t an option; what we were creating was completely unique.”
Strengthening the lighting crew, Solotech’s US team was also brought on board, providing equipment and participating in the installation and design phases.
Inga Kalvaitis and Marcus Randolph, Solotech’s Project Manager and Business Development Representative, respectively, took on highly involved roles. Kalavaitis said: “As soon as we were introduced to the project, I was on site every day. Everyone needed to be really dedicated to the creation, as it was such a tight timeline, and we had so much we wanted to achieve.
“To give you an idea of how seamlessly we had to work, we were brought onto the production in February of 2025, before the show opened five months later!”
Illuminating Hope Road
The five-room experience welcomes audiences into each theatrical and interactive environment in pulses of 100 to 150 people, sequentially, allowing them to explore a new
aspect of Marley’s life in each space. Guests begin in a gallery where the artist’s album covers and iconic imagery decorate the walls, before being guided by performers through various famed Jamaican settings that shaped Marley, such as a colourful dancehall and the hometown of multiple reggae musicians, Trench Town. In each room, the performers interact with the visitors and the lively sets around them, framed by Hope Road’s expert audiovisual designs.
In specifying equipment for each area of the venue, Kirkham explained that the team focused on “dynamic visuals, lead-time, and of course, the budget.”
For strong profile lighting that could be flexibly used throughout the space, ClayPaky’s Arolla Profile MP was chosen, with 43 deployed. These act as the key lights to illuminate performers as well as the intricate set.
“The Arolla is a very good fixture and extremely versatile. It’s got all the tools needed to form the basis of the actual show, so we used it as one of our primary pieces of equipment,” Kirkham noted.
The theatrical design of Hope Road required substantial sets and dynamic furnishings in every room. To highlight important elements and fill niches made by scenery, 40 Astera Helios Tubes were installed, alongside 16 Astera Titan Tubes and 16 Hyperion.
The designer stated, “We used a lot of Astera products. These were great for ensuring audience immersion, creating the illusion that you’re in these vibrant scenes, like the lively dance hall or the outdoor street party, by adding depth to set niches. Without the Astera, it could have become very apparent to visitors that they’re just inside a building.”
Filling in darker areas and enhancing colours, 18 of ETC’s Source Four and 47 ColorSource Spot V were added to the design. Kirkham said that he appreciates their vibrancy, output, and value for money within a tight budget.
For larger, broader washes, particularly in the dance hall scene, VariLite’s VL800 EVENTPAR was specified. As well as their functionality, these were chosen for their aesthetics, Kirkham explained.
“These fixtures’ exteriors look like old PAR 64 cans, the big cans with the chrome exterior. It was like digging into my past! Their vintage vibe really fits the dance hall scene, where we installed 99 units.”
Recounting the project’s design stage, Randolph noted: “We worked closely with ClayPaky, Astera, and Vari-Lite on this project, and they’re all great vendors. The kit we helped specify from these manufacturers was high-quality equipment that we knew we really wanted to integrate from the very beginning of the project.”
Perhaps one of the most stunning and technologically ambitious areas of Hope Road is what Kirkham called “the dreadlock lights” in the dance hall scene. Evoking Marley’s famed hairstyle, 400 Astera NYX bulbs are hung at varying heights above the hall.
The set up creates a cluster of point sources that float above the audience’s head, reminiscent of both hanging dreadlocks and constellations. The team revealed that it took over two days of dedicated work to deploy the bulbs at the appropriate heights. The result, Kirkham said, looks fantastic.
“It’s always so awe-inspiring seeing audiences come into this room, look up, and see the space entirely filled with these lights. We made sure to control the levels and heights of the bulbs, so this installation doesn’t wash out the room,” he stated.
Running the entire entertainment lighting solution is a GrandMA 3, with show control software built into five iPads, one for each new room. Each iPad has a unique, programmed time code that runs when a venue employee simply presses a button. Kirkham noted, “The GrandMA 3 was the only console for the job, as it’s the only option that would be able to stream five separate time codes simultaneously.”
Behind the Music
Eager to join the effort in producing Hope Road, a project he described as “a great yet welcome challenge,” Jason Pritchard, Owner at Bright and Loud, was offered the roles of both Sound Designer and Audio, Video, Theatrical Lighting, and Control Consultant.
Joining the team in April of 2023, Pritchard saw the experience undergo a complete reinvention after some unforeseen architectural obstacles. Hope Road was not originally conceived as an immersive, walk-through production. Instead, its proposal saw a traditional theatre show.
The site, having previously been the old buffet space at the Mandalay Casino, had some walls and physical infrastructure that couldn’t be knocked down or altered, leading FiveCurrents to rework the idea into the innovative multi-room production it is today.
Pritchard said, “It was an exciting obstacle transitioning from one immersive sound system (in the original show concept) to the seven that were needed to accomplish various tasks throughout the different spaces. The creative direction for the show remained largely intact throughout these concept alterations, and in my opinion, became more finely focused when applied to the multi-space experience.”
Crafting the main audio system for the various rooms throughout
Above: Photo by Stephen Phung.
Left and previous: Photos by Mike Kirschbaum.
NEXT-GENERATION EVID CEILING SPEAKERS
SUPERIOR CEILING SOUND, SIMPLIFIED
• The next generation of the successful EVID-C series ceiling speaker series features two families with 12 new models.
• Including seven “C” standard Ceiling versions and five “EC” Entry Ceiling versions.
• Providing mix-and-match price/performance options tailored to precisely address the audio requirements of each area in an installation.
SIMPLE, FAST AND SAFE INSTALLATION
The EVID-C-G2 models feature a new SwiftLock mounting mechanism. It supports quick, precise and secure attachment to the ceiling with a simple push-and-lock mechanism forhassle-free installation or replacement.
DESIGNED WITH THE INTEGRATOR IN MIND
The easy-access front-baffle wattage tap and side-access terminal blocks make adjustment and connection simpler than ever. All models feature easyto-attach magnetic grilles.
Hope Road, Bright and Loud turned to Meyer Sound. 13 of the manufacturer’s Ultra X-40 speakers and 12 900-LFC subs were installed, complemented with a total of 30 Ultra X-23s for surround sound and overhead speakers, as well as five 2100-LFCS.
Pritchard explained that he used similar equipment for each room’s audio solution, subsequently arranging and programming the systems to fit the narrative needs. “In each room, I first use sound to direct the audience’s attention to the action, before employing it to help the cast pull guests to the next section as the show moves forward.”
Facilitating mixing, Meyer Sound’s NADIA solution was specified, with music playback supported by the manufacturer’s Wild Tracks software. To ensure that the sound is clear and consistent enough to maintain complete audience immersion, live cast mics are mixed on an Allen & Heath D-Live console with a control surface (either a C1500 or an IP8 and an iPad) in each of the rooms. These are run by engineers that move from scene to scene with the cast.
Following this, the venue invested in a Shure wireless audio solution, including microphones and in-ear monitors, all supported by Clear-Com communication systems.
As the show’s multiple rooms operate concurrently for the steady flow of guests, treatment to acoustically separate the scenes was a necessity. For this, Pritchard credited Mike Schwob of Schwob Acoustics. “He did a great job designing some pretty heavy-duty acoustic barriers that allow the sound systems to perform at volume with minimal impact to adjacent spaces,” the sound designer stated.
Though today’s Hope Road looks different from when he first entered the project, Pritchard sees the final immersive experience as the perfect way to honour Marley. “I think that having multiple smaller spaces allows the audience to be truly inside the music, not just watching from a distance. There is a wonderful dynamic to this show that can only be achieved in this kind of environment,” he commented.
Projection Mapping Marley
Rounding out the entertainment design for the Bob Marley Hope Road, Luke Halls Studio was contracted to build video systems for the experience. At the helm of the team were Creative Director Luke Halls, Technical Designer Zakk Hein, and Video Designer Charli Davis. The studio’s varied experience with projection and video solutions, spanning multiple mediums, ambitious projects, and large theatrical events, made it especially well-suited for such a visually and technologically demanding project.
Detailing the brief that the venue gave the studio, Davis said, “The directors, Jared Sweet and Amy Tinkham, had a clear idea of what they wanted to achieve. They had the story and the contextual information surrounding how they wanted to portray Marley. It was then up to us to help them bring this vision to life using projection.”
Luke Halls Studio set to work designing Panasonic projector-based systems that were not only technologically innovative, given a brief to create visuals with an almost magical quality, but also powerfully conveyed the messages of resilience that the reggae artist championed. A total of 10 Panasonic MZ17K and six Panasonic RZ790 projectors were selected, deployed across each room.
Beginning in the experience’s opening gallery, Davis recounted projectionmapping the images of Marley and the record sleeves hung throughout the room. “We brought the illustrations and archive imagery to life,” she said. “For example, there was a photo of him smoking that we mapped a curl of projected smoke onto, so the flat image became a 3D, breathing visual.”
Projection was also used to reimagine the building’s architecture, creating the illusion of vibrant Jamaican settings and concealing the reality of the physical space. For example, the stone pillars in one area have dynamic, flowing cloth mapped onto them.
To highlight Marley’s teachings, the video systems mapped imagery such as breaking glass and key lyrics onto the walls, accompanying the performers’ choreographed scene to his song, ‘War’.
Playback for these visuals was facilitated by Hive’s Beeblade Minima and Osmia media players, housed in their Beehive chassis. Davis explained: “We used Hive as it’s always very reliable and good value. It is able to
Below: Photos by Stephen Phung.
PROFESSIONAL
COSMO
THE INTEGRATIVE LINE ARRAY
HK Audio’s COSMO line array system combines state-of-the-art audio quality with ingeniously simple handling, utmost utility and remarkable economy to provide an extremely flexible, easily configurable PA for professionals.
COSMO raises the performance bar for line arrays, setting a whole new standard for productivity and efficiency. Integrative and versatile by design, it delivers measurably higher effective SPL in the HF range than comparable systems.
With horizontal directivities of 100°, 80° and 60°, this formidable family of ultra flexible systems provides the bandwidth needed to cover the most diverse live scenarios.
follow timecode cues and automatically trigger functions at certain times of the day.”
However, for Luke Halls Studio’s most impressive installation within the experience, they needed to programme their own, bespoke mapping and playback solution. “We couldn’t just get the software we needed off the shelf,” Davis stated.
This part of the design was more complex, she continued, as this area is planned to be open during the daytimes too, instead acting as an interactive exhibition, rather than the nighttime theatrical performance space. Davis said: “We needed to design a system that could be real-time activated and interacted with by audience members during the way, and then work seamlessly in the evening’s theatrical show. To do this, we created a solution that can switch from ‘day’ mode to ‘night’ mode, with the click of a button from one of five programmed iPads.”
During the nighttime theatre show, this scene sees parts of Marley’s spiritual and physical life journey projected, illustrated through visuals like his spiritual lion counterpart and a trip through Trench Town. Davis explained that the walls in this section include small ledges and pegs, allowing the performer to physically connect with the projected environment. As he leaps from one ledge to another or hangs from a peg, the projection-mapped visuals responded in real time, rocking and swaying as though bearing his weight. Beyond engineering the visual systems, the studio also created all of the projected content they delivered.
“For inspiration, we observed painted
murals, as they’re important not only in Jamaican culture and street art, but they’ve always been significant in portraying musical icons. We also looked to politically focused artists like Barbara Kruger to guide how we could represent Marley’s activism,” said Davis.
“For us, it was essential that we weren’t trying to speak on behalf of Bob Marley; we wanted to show the incredible value and substance of his life and message through both technology and design.”
Though the experience has evolved from the initial concepts, director Sweet sees the result as the ideal medium to celebrate the artist. “The format lets us blend live performance with visual storytelling and interactivity, creating something that feels alive,” he said.
“Bob’s journey was one of movement –cultural, emotional, and physical – and immersive storytelling lets audiences experience that movement firsthand.
“The audience moves through this together and is immediately engaged by the cast and the story that invites them to participate in ways they wouldn’t typically in traditional shows.”
Sweet concluded, detailing the audience reaction from Hope Road so far: “The response has been amazing. Longtime fans say it brings back powerful memories, and younger audiences tell us it’s opened a new connection to Bob’s music.
“The most rewarding thing is seeing people from different backgrounds, together in one room, sharing the same song. When strangers sing ‘One Love’ side by side, it feels like we’re honouring Marley’s legacy in the best way possible.”
Representing a dramatic leap forward in power and connectivity within a remarkably compact format, Quantum 338 Pulse follows the Quantum 7 in defining the future of audio mixing. Boasting a wealth of new design features and enhancements to create ultimate flexibility of use plus the speed of operation that only Quantum can deliver, Quantum 338 Pulse is based on seventh generation FPGAs with an entirely new system architecture.
Main Features:
• 156 Input Channels
• 72 Aux / Sub-Group Busses
• LR/LCR/LCRS/5.1 Master Buss
• 24 x 24 Full Processing Matrix
• 330 Dynamic Equalizers
• 48/96 kHz Sample Rate
IN BRIEF
Genelec delivers precision sound to FUEGUIA 1833’s multisensory Tokyo gallery
Established in 2010 by Argentinian artist Julian Bedel, FUEGUIA 1833 is a premium fragrance brand, and its latest gallery finds its home in Tokyo’s Azabudai Hills – a large-scale multi-purpose urban village designed to exist in harmony with nature, while supporting healthy living. Tucked into a corner of the main tower, the Azabudai Gallery has the air of a cosy hidden retreat – its inviting interior, alive with pleasant aromas, is brought to life with transparent, detailed audio from Genelec. At the heart of the space is a collection of perfume bottles which are accompanied by several wall-mounted guitars against the backdrop of a wooden interior. An in-store bar serves a selection of wines, carefully chosen to pair with the fragrances, offering guests a relaxed and layered sensory experience. The final element of the experience is sound, which according to Uraoka, Julian insisted not be an
afterthought. “It had to be part of the architecture, part of the wider experience,” said Uraoka. “Julian uses Genelec loudspeakers in his personal studio at home in Italy – he’s relied on them for years because, he needs to trust what he hears. So, when we began planning the Tokyo gallery, he didn’t even consider another brand.”
The audio system comprises eight 8320A SAM studio loudspeakers distributed discreetly throughout the gallery. “We chose the 8320s because they offer the clarity and control we needed in a very compact format,” said Uraoka. “There was no room for compromise. We needed pure, accurate sound that supported the space, not something that imposed itself on it.” The result is a calm, enveloping soundscape that supports the sensory experience of fragrance discovery. www.genelec.com
COMPACT C WP SERIES BUILT FOR THE ELEMENTS.
The RCF Compact C WP Series combines high-definition sound and powerful bass in a robust, weather-resistant enclosure. Designed for permanent indoor or outdoor installations, each enclosure features a durable birch plywood structure, heavy-duty polyurea coating, and a powder-coated steel grille with water-repellent, acoustically transparent fabric. Available in 12” and 15” models, both equipped with titanium compression drivers (3.0” or 4.0”) and lightweight neodymium magnet, it features a 100° x 50° rotatable constant directivity waveguide to ensure precise coverage, with the optional accessories for 100° x 25° or 60° x 25° dispersion. Rated IP67 with Amphenol connectors and multiple mounting options via M8 and M10 inserts, the Compact C WP Series is engineered for reliable performance in stadiums, arenas, clubs, and demanding applications.
EXPO 2025 OSAKA
A SPECIAL REPORT ON THE TECHNICAL INTEGRATIONS ACROSS A SELECTION OF THIS YEAR’S WORLD EXPO PAVILIONS
KSA PAVILION
One of the standout pavilions of Expo 2025 dazzles visitors with an array of immersive technologies as designed by Journey studios 59 and Squint/Opera, and installed and integrated by BeWunder, with video and audio content created on site by artists in residence.
The Kingdom of Saudi Arabia Pavilion creates an evolving spatial experience that echoes the exploration of Saudi Arabian culture, while providing a setting for immersive engagement that connects visitors with the unexplored marvels of the Kingdom. Visitors enter through the forecourt and travel through narrow streets to the Saudi Courtyard, which is the pavilion’s beating heart and transforms from a place for quiet reflection during the day into a venue for performances and events at night.
From the courtyard, visitors explore a village of meandering avenues, with windows and doorways into a series of indoor immersive spaces, each with a different function – from content creation to storytelling. There are two cultural creative studios – one for music and one for visual arts – and four exhibition rooms telling the story of Saudi Arabia: Unlimited Human Potential, Sustainable Seas, Evolving Cities and Pinnacle of Innovation.
With a complete AVL technology package designed by 59 Studio and delivered and integrated by BeWunder, the scope of the pavilion is significant, as Benjamin Pearcy, 59 Studio Director and designer for the pavilion’s AV infrastructure, explained.
“The concept is complex in that visual and musical artists work in residence inside two creative studios in full view of a visiting audience,” began Pearcy.
“That work is then displayed, and also forms part of the nightly projection show in the outdoor courtyard, which changes throughout the Expo. This means that a visitor in August will have seen and heard completely different artistic expression to someone who went in May, making it a dynamic experience.”
59 and Squint/Opera worked side by side, designing and creating all the content for the four exhibition spaces, while 59 handled the AV design for the courtyard and two artistic studios.
“59 has a long tradition of drawing up technical designs, and while a lot of creative studios would outsource this, we like to do it ourselves – because this technology is the vehicle that delivers the art to the audience, and we like to be in control of that,” commented Pearcy.
Knowing that the content for the projection shows would be created in state-of-the-art recording and visual arts studios, Pearcy required reliable
equipment for the recording, programming and content playback.
Panasonic solutions were selected for all projected content delivery across the pavilion, supplemented by LED solutions from INFiLED and AOTO, with media playback handled by a backbone of Disguise media servers, except for two exhibition spaces where BrightSign media players were utilised.
A partnership with d&b audiotechnik was established early in the project for the audio needs across the pavilion’s various zones, with a few minor exceptions in localised areas.
“The concept of the pavilion drove the decisions on the equipment – because you need high-end equipment to facilitate the creation of the content and its playback,” said Pearcy.
“The two cultural studios are both fully equipped, and the artists processes are filmed and played back within the video studio on displays, and with the content they create forming part of the courtyard shows, this makes the infrastructure of the pavilion very much like that found in a performing arts centre – everything under one roof.
“Because we had always envisioned the major elements of this pavilion as being something that would change throughout the Expo’s lifespan meant that it wasn’t a simple case of having preprogrammed content played back on repeat for visitors as they make their way from room to room.
“While this is true of the exhibition spaces, for the courtyard, which is the heart of the pavilion, this content changes, often on a daily basis.
“Technologies from companies such as Panasonic and Disguise for the projection purposes are seen as the ‘go-to’ for 59, but as a rule we tend to be relatively brand agnostic on equipment choices, because competition in the market is good for pushing new developments.
“Knowing that the content and life of the pavilion was going to evolve led us to requiring 11 Disguise GX 3 media servers for the majority of the projected content delivery.”
Daniel Charles, BeWunder’s Senior Project Manager for the KSA Pavilion, acknowledged that the scope of the project was unlike anything else the company had worked on at Expo 2025. “BeWunder delivered
full turnkey solutions at four of the Expo pavilions, and the KSA Pavilion was the largest for us,” he said. “Technology is what we do, and we have taken a big step forward since the previous Expo, and having four turnkey executions is a big thing for the company.
“As contractors for Rimond, we delivered the full AVL technology package to the pavilion as a rental solution, as it is a tried a trusted way for us to work and is especially beneficial in a market like Japan where this kind of long-term rental contract is quite rare.
“As an example of that, we purchased the LED for this project ourselves; it is rented to the client for this purpose, and then after its use we will dismantle it.”
Visual spectacle
Within the courtyard, eight Panasonic PTRQ35K were selected, with two placed in individual projection huts towards the top of four large pillars, which form part of the border of the space.
The central hydraulic stage features 10 lift systems and retractable parapet lighting elements, which were designed and installed by TAIT.
Motion control and safety were facilitated by the TAIT Navigator Automation Platform, and the ability to recall preset positions were a feature of the opening ceremony and the subsequent day-to-day operations.
The four indoor exhibition spaces are individually themed and showcase various elements of Saudi culture, including its sustainable seas, infrastructure developments, sporting potential, scientific innovations, and the developments from NEOM, specifically The Line.
Pinnacle of Innovation features a 36 sq m curved LED screen, made up of INFiLED
IL-RSS-IRX1.95MK2 panels powered by 14 BrightSign XC4055 media players. Audio here comes from a d&b audiotechnik system comprised of mostly 5S loudspeakers and also includes seven B8 subwoofers, with four placed for haptic effect.
Within Unlimited Human Potential a large AOTO LED screen is deployed, with audio again coming from a d&b audiotechnik system comprising 5S loudspeakers.
Elsewhere, 11 Panasonic PT-RZ690 projectors installed in the Evolving Cities room, and six of the same models are set up inside Sustainable Seas. The main sound system in both of these rooms revolves around d&b audiotechnik loudspeakers, which is supplemented by six Genelec 4436A Smart IP pendant loudspeakers for localised sound in both, and within Evolving Cities extra SoundTube DS31EZ-TS pendants were required.
Spatial audio
The audio system for the courtyard is a discreet d&b Soundscape system, which was specified early in the project. 59 Studio brought in audio engineer Dan Roncoroni as the project’s Sound Designer to bring the concept and design to life.
“With d&b Soundscape already specified, we effectively worked backwards from that, meaning that we needed a Dante infrastructure,” began Roncoroni. “Knowing this, we selected Yamaha mixing desks because they are available locally, widely known by global touring engineers, and could interface with a Dante network.
“This presented user-friendly controls for people who may have never touched a d&b Soundscape system before, and familiar to engineers with a touring background who may have been assigned to an Expo project.”
Roncoroni selected a Q-SYS based backbone because of the pavilion’s need for audio DSP in its numerous zones and it presented a simple interface, while a Yamaha DM7 was chosen for the courtyard and a Yamaha DM7C for the music studio.
“There isn’t a single visible loudspeaker on site,” continued Roncoroni. “What small black boxes you may see above a projector screen or LED wall in the exhibition spaces are only visible when bright content might expose the bottom of them – and only if you’re actively looking for them.
“In the courtyard and cultural studios, they are placed behind colour-matched grilles or tucked away, out of sight.
“This made the commissioning and the design processes much harder, but we knew it would result in a better experience. It also made value engineering easier, because going to smaller, unobtrusive loudspeakers made our lives easier, but it was more challenging on a design front.”
Across the site, more than 180 d&b audiotechnik loudspeakers are set up, with the compact 5S loudspeaker utilised across all indoor exhibitions, and as surround speakers within the music studio.
In the visual arts studios, 18 of the flush mountable 44S loudspeakers were selected, while for the courtyard, a mix of 44S, V10P, 5S and 8S loudspeakers were utilised. Low end support in all locations comes from a mix of 12S, 18S and B8 subwoofers. A number of DS10 Audio Network Bridges and DS100 Signal Engines were utilised for DSP, while a mix of D40 and D20 amplifiers were selected across the pavilion.
BeWunder’s Charles said: “There were six content partners to liaise with throughout the project, and we worked across them all to ensure the final results were achieved
to everyone’s satisfaction. “We had some influence on the technology choices having arrived on this project late into the process. We made minor alterations to the equipment list and concepts during the value-engineering process, and after this we had the full technical design of the pavilion. It was a 12week sprint to get the design finished, the procurement covered and shipped to Osaka, and get it completed in time for Expo to open.
“Overall BeWunder provided preventive and reactive maintenance during the Expo phase, and ensured seamless integration by coordinating with exhibition fitout, MEP, and base build teams.
“We also aligned and evolved the AV system design in close collaboration with exhibition designers and content partners to bring their creative visions to life.”
In addition to its work on the KSA Pavilion, BeWunder delivered full turnkey solutions for the USA, Netherlands, Philippines and ITER Pavilions, and worked across 15 projects with 250 staff on site during the build phase.
“Working on Expo projects is so important to BeWunder and, for us, in the future we will have a major focus on full turnkey solutions,” said BeWunder’s Managing Director, Felix Erdmann. “These days visitor attractions like this are increasingly more interactive and multimedia driven, meaning that the AV technology should really take the lead and guide the experience.
“This makes it a natural progression to take on more elements – such as exhibition fitout and scenography, to the fabrication of the exhibits – and to integrate everything into a holistic system that brings the visitor journey to life.” www.bewunder.com www.journey.world www.59.studio www.squintopera.com
Portugal Pavilion
COMPANY: ON
ON, an international provider of audiovisual solutions with operational hubs in Brazil and Portugal, was entrusted with the full AV integration and daily operation of the Portugal Pavilion, which was designed by architect Kengo Kuma and explores the theme ‘The Ocean: The Blue Dialogue’ through immersive storytelling, interactive installations, and large-scale projections.
ON was contracted by Rimond SRL, the general contractor for the project, to deliver the complete AVL infrastructure, covering everything from equipment acquisition and system design to installation, integration, and daily operation throughout the Expo’s lifespan. Their scope included projection systems covering walls, floors, interactive surfaces, and a custom-built minidome, architectural and scenic lighting, multichannel sound systems, LED installations, touchscreen displays, and centralised control automation.
As the pavilion is entirely driven by audiovisual content, the seamless integration and reliability of these systems were critical. A team of eight professionals from ON worked on-site collaborating closely with local Japanese teams and Portuguese partners to meet tight deadlines and navigate challenges. The conceptual development and exhibition design were led by MUSE – Museums & Expos, a company specialised in curating museum and cultural projects.
Immersive journey powered by AVL
The pavilion spans 1,836 sq m and combines open-air architecture with a carefully orchestrated interior flow, where audiovisual technology acts as an invisible guide, shaping atmosphere, rhythm, interaction, and emotional impact at every step.
From the first moment outside to the final immersive space, the visitor journey is a seamless traversal of history, culture, sustainability, and maritime exploration – all narrated through AVL. Inside the pavilion, the experience begins in the waiting area, where a multichannel
soundscape envelops visitors in the sonic atmosphere of ocean waves and winds, created by composer Diogo Alvim. This ambient audio, delivered through discreet weatherproof loudspeakers, marks the first act of a journey where AVL becomes the storyteller.
The next space, known as Room 1, is a darkened environment organised around five thematic islands, each offering a different layer of interpretation through light, projection, image, and sound.
A highlight is the Minidome installation, featuring a hemispherical projection surface animated with navigational maps and animated cartography. To achieve this, ON commissioned a custom fisheye lens manufactured with a bespoke optical solution that allows a single Epson EB-L730U projector to cover the entire dome with uniform image quality and no visible distortion.
The lens ensures image fidelity from every angle and eliminates the need for complex multi-projector setups.
The result is a continuous, realistic visual experience that reinforces Portugal’s maritime legacy through innovative AV engineering. Other islands include interactive 86in Sharp PN-LA862 multi-touchscreen displays with content on marine biodiversity and technology; embedded Iiyama monitors designed to mimic Japanese byōbu screens; and an audio-light installation that explores linguistic parallels between Portuguese and Japanese using LED-synced words and directional sound. The system also incorporates BrightSign XD4 players to drive synchronised video playback.
Five Optoma ZK708T 4K DLP laser projectors provide ambient environmental visuals throughout Room 1. All of Room 1 is tied together by an LED ribbon integrated within the islands and a surround audio system built with Audac loudspeakers and Prolights fixtures, creating a cohesive audiovisual envelope. The technical rack includes MA Lighting grandMA3 lighting control and Watchout 6 media servers, which form the backbone of the control system. The journey continues into
Room 2, the pavilion’s immersive climax. Here, 16 Barco G62-W9 laser projectors, combined with a Watchout 3D-modeled content engine, create a fully enveloping animated underwater landscape across curved walls and floor.
This room, with surround sound and kinetic lighting, invites the visitor to sit on the ground and absorb a sensory narrative about sustainability and the future. It is a contemplative, emotionally resonant experience that many visitors repeat. AVL here acts as both guide and narrator, seamlessly integrating visual, auditory, and spatial cues.
Beyond the exhibition, ON also equipped the restaurant, terrace, shop, and multipurpose room, providing ambient audio and versatile AV setups for concerts, film screenings, diplomatic receptions, and other cultural events.
The Multipurpose Room includes dual Barco projectors, Shure microphone systems, live streaming equipment, simultaneous interpretation infrastructure, Panasonic PTZ cameras, and Bose L1 Pro 16 sound systems, as well as Roland V-60 and Behringer X32 mixers, and laptops running Resolume and Vmix software for video control and real-time projection.
All audiovisual equipment was acquired brand-new in Portugal specifically for the Expo and shipped to Japan on more than 20 pallets, totalling around four tonnes. The entire system was customised and built to meet both Portuguese and Japanese technical standards.
Sustainability was a guiding principle throughout the AV system design. All lighting systems use high-efficiency LED technology, and projection relies on laser-based systems that consume significantly less energy than traditional lamps. Equipment such as Audac amplifiers and Epson and Barco projectors were selected for energy efficiency and long lifecycle, reducing waste and power demand.
Modular mounts and racks were chosen for future reuse, and Japanese recycling protocols were followed for packaging and installation waste. Throughout the project, ON had to respond to challenges well beyond AVL, including adapting mounting structures, modifying scenography, handling equipment delays, and communicating across three languages and cultures.
Their team remained on-site for final commissioning, and continued to operate and maintain all systems on a daily basis.
“This project was not only a technical challenge, but also a defining moment for us as a company,” said Hugo Rodrigues, CEO of ON. “It validated our ability to deliver highly customised, complex AV solutions in an international environment, working hand in hand with foreign teams under demanding operational and cultural standards. We’re proud not only of what we delivered, but of how we earned trust, solved problems, and became a trusted part of a multicultural team delivering an ambitious and impactful experience.”
www.onprojecoes.com
Australia Pavilion
COMPANY: Absen
With this Expo’s national showcases presented under the theme ‘Designing Future Society for Our Lives’, Australia attracted wide attention with its immersive pavilion, ‘Chasing the Sun’. Designed to reflect the country’s vibrant energy, creative spirit, cultural heritage, and aweinspiring natural beauty, the pavilion immersed its audiences with dynamic storytelling and innovative displays. Absen brought this vision to life with its advanced visual technology to create a compelling visitor experience. The Australian Pavilion incorporated four major Absen product ranges, totalling over 240 sq m of high-performance LED displays.
Absen’s K1.8 V3, is at the heart of the pavilion, totalling 29 screens and covering 123.5 sq m, with an installation combination of steel structures and wall integrations. The LED is strategically positioned throughout the pavilion’s key thematic zones, including Sea Country, Land Country, the Entrance and Exit Portals, as well as the VIP Entrance. The installation encompasses the rear wall, east and west façades, as well as three tree-shaped displays and three Australian map-themed LED features. Together, these elements form a cohesive and compelling visual narrative, enhancing the storytelling experience. Also located in the Sea Country zone is a dynamic overhead display from Absen’s PL 2.9 Plus V2 series. Totalling 45 sq m across five screens, the installation is suspended using a combination of steel structures and ceiling beams. The configuration includes four ceilingintegrated panels and a striking ‘sunscreen’ feature, enhancing the thematic atmosphere
with vivid visual effects that draws the visitors’ attention upward.
In the VIP function room, three Absen X136” allin-one screens were installed via wall-mounting, providing high-definition presentations for private events and meetings, while a large format 12m by 16m forecourt screen, made up of Absen’s PL 2.9W Plus V2, was installed using a fixed steel frame, covering 70 sq m of display surface, providing dynamic visual content for arriving visitors.
Through Absen’s LED display solutions, the pavilion encourages visitors to partake in a multisensory journey across Australia’s unique landscapes and cultures. Inside, visitors are taken on a captivating journey, following the sun across Australia’s diverse landscapes, gazing into star-filled skies, exploring deep-sea environments, listening to the distinctive calls of native wildlife, and learning about Indigenous Australians. The immersive visuals powered by Absen’s high-resolution LED displays have drawn large crowds, with many attendees stopping to admire the immersive features and capture unforgettable moments. With an innovative fusion of cultural storytelling and next-generation technology, the Australian Pavilion has quickly become a highlight of Expo 2025. Absen’s display solutions not only bring the exhibition to life, but also elevate global immersive exhibition standards. This crosssector collaboration exemplifies the power of visual technology to inspire, engage, and connect audiences - inviting visitors to pause, interact, and share memorable experiences. www.absen-europe.com
Mugello Line Array Speaker with Electronic Beam Steering
The Mugello line redefines audio installation: forget complex rigging angles. Thanks to Electronic Beam Steering, you can now control sound with pinpoint accuracy—at the click of a button.
Install the system completely straight for a clean, streamlined look. Then, via software, steer the sound exactly where it’s needed, optimizing coverage for every single venue.
Austria Pavilion
COMPANY: Lawo
Austria is represented at Expo 2025 in Osaka with a pavilion that not only explores the future but also makes it tangible — through architecture, content, and, above all, music.
In the pavilion foyer, visitors are greeted by an audiovisual installation that brings the main theme, ‘Composing the Future,’ to life, both artistically and technologically, as a self-playing grand piano appears to interact live with an invisible orchestra.
It is a synchronised performance by a MIDI-controlled instrument with a multichannel audio recording that meets the highest professional studio standards. Mozarteum Salzburg University was responsible for the technical realisation of this elaborate sound installation, for which it relied on IP-based Lawo technology.
The entire audio production for the installation took place at Mozarteum Salzburg University’s Max Schlereth Hall.
The production team used the IP-based Lawo production infrastructure installed there as part of a recent modernisation project: an mc²56 production mixing console with 48 faders, redundant A__UHD core units, A__stage64 and A__mic8 audio I/O interfaces, and IP networking via Lawo HOME. This IP infrastructure management platform provides direct access to all networked resources and enables centralised configuration and system control via an intuitive user interface.
The orchestral recording was carried out in two stages: first, the piano part was played on a Bösendorfer Enspire grand piano. Both its MIDI data and its audio signals were recorded. In the next step, the audio tracks were played back to the conductor and the ensemble as a headphone guide – allowing the orchestra to perform in perfect sync with the piano, without any acoustic interference from the instrument itself. Lawo A__stage interfaces were used to record the various instruments and sections with a 7.1 microphone array and additional spot mics, and the recording was mixed on an mc²56 console.
The Lawo console’s flexible routing and monitoring capabilities made it possible to precisely balance both the MIDI-controlled grand piano
and the orchestral recordings. With the help of dynamic automation functions and the integration of directly controllable Waves SuperRack plug-ins, a detailed sonic image was created – one that combines orchestral depth, spatial definition, and transparency.
At the pavilion itself, an automation system ensures that the musical installation operates reliably throughout the duration of the Expo. A media server controls both the MIDI data for the Bösendorfer grand piano and the playback of the multichannel orchestral recording. Audio output is delivered via a room-tuned multichannel system, offering visitors an immersive listening experience – as if the piano and the orchestra were actually performing live in a premium concert hall. Thanks to the integrated media and control systems at the pavilion, the playback environment is fully automated, redundantly secured, and designed for continuous operation with consistently high playback quality. The clarity and spatial dimension of the sound installation are largely made possible by the Lawo technology used for this production. In preparation for such complex productions, the Mozarteum University Salzburg modernied its audio control rooms. By choosing Lawo mc² consoles — including both an mc²56 and an mc²36 xp — and fully transitioning to IP-based audio technology, the university’s infrastructure meets the highest professional standards.
The HOME platform supports networked operation across multiple control rooms, offers swift access to all signals, and significantly simplifies session management. This technical foundation has not only proven its worth in the Expo project, but also offers major benefits in day-to-day academic applications.
Students and staff gain hands-on experience with professional workflows — from microphone setup and complex multitrack recording to automated mixing and final mastering. The installation created for the Expo is therefore more than just a showcase of Austrian innovation; it is also a milestone for hands-on education.
www.lawo.com
Multiple Pavilions
COMPANY: Brompton Technology
Brompton Technology is playing a pivotal role in powering LED displays at Expo 2025 Osaka, with the company’s advanced Tessera LED processors used to power AOTO and INFiLED LED screens across multiple key pavilions, including the Japan Pavilion, the Indonesian Pavilion, and the Immersive Entertainment Zone, delivering exceptional image quality and reliability. With more than 150 countries and regions participating, and a focus on the theme ‘Designing Future Society for Our Lives’, Expo 2025 showcases a compelling vision of our future, forged through technological innovation, cultural exchange, and global partnership. At the heart of the event’s impressive displays are Brompton’s Tessera SX40 processors and XD data distribution units, configured specifically for optimal performance in each pavilion environment.
“The technical requirements for an event of this magnitude demand the highest standards of visual processing,” said Sebastian Kanabar, Head of Sales (APAC) at Brompton Technology. “Our Tessera platform was selected for its ability to deliver not just exceptional image quality, but also for the robust reliability required for continuous operation throughout the exposition’s six-month duration.”
The Japan Pavilion, located adjacent to The Grand Ring, represents a collaborative design achievement between renowned Tokyo-based architectural firm Nikken Sekkei and acclaimed designer Oki Sato, founder of Nendo. Distinguished by its innovative circular structures crafted from cross-laminated timber, the pavilion features exhibition spaces thoughtfully integrated between these wooden formations. Following the conclusion of the Expo, the pavilion’s materials will be repurposed throughout Japan as part of a comprehensive sustainability initiative. Argo Visual, as technical contractor for the Indonesian Pavilion, have demonstrated the country’s world-class capabilities in AV technology and design. The pavilion showcases Indonesia’s technological prowess through an impressive array of equipment including 26 Barco UDM & UDX 3DLP projectors, and INFiLED 1.9 LED screens which utilise Brompton Technology processors and Disguise Media Servers. Meanwhile, Brompton LED processing plays a key role at the immersive Entertainment Zone, captivating visitors with cutting-edge interactive installations, multisensory experiences, and digital art displays that blend Japanese cultural heritage with futuristic technology. Brompton Technology also played a crucial role in the Expo’s spectacular opening ceremony, with a single SX40 processor managing AOTO RM2.3
LED panels across 112 individual units. This configuration provided the technical backbone for the ceremony’s dazzling visual presentation that welcomed the world to Osaka.
“The opening ceremony required absolute precision in visual delivery,” added Kanabar. “The SX40’s frame-accurate synchronisation capabilities and low-latency processing ensured that every moment of this historic event was presented with perfect timing and uncompromised quality.”
The Brompton Tessera system brings several advanced technical capabilities that are essential to the visual excellence on display throughout the exposition. Dynamic Calibration technology enables Brompton HDR, ensuring remarkably accurate colour reproduction throughout the entire image processing pipeline, maintaining precise colour consistency across all LED panels and creating visually cohesive experiences across different pavilion zones and delivering strikingly vibrant visuals with expanded contrast ratios, deeper blacks, and more luminous highlights. This technology significantly enhances the immersive storytelling capabilities of each pavilion’s content. Visitors experience content exactly as creators intended, with true-to-life colours that remain consistent across every display, and allows for more emotionally impactful and visually stunning presentations.
The system’s OSCA (On-Screen Colour Adjustment) feature provides technical teams with intuitive tools for rapid on-site calibration and adjustments. This capability enables efficient installation and ongoing optimisation without disrupting the expo schedule, ensuring that displays maintain peak visual performance throughout the six-month event.
“With an event of this size, we knew we could rely on Brompton Technology’s SX40 to deliver the quality and reliability that we needed,” said Alvin Antono, CEO of Argo Visual. “The combination of Brompton’s processing and INFiLED’s LED gave us the quality we needed for this highprofile occasion.”
Kanabar concluded: “The collaboration between AOTO and Brompton Technology at Expo 2025 represents a significant international technology partnership. While AOTO is providing the high-performance LED display hardware across multiple pavilions, Brompton’s Tessera processors ensure these displays operate at their fullest potential, delivering exceptional visual experiences that support the exposition’s themes of innovation and global connection.”
www.bromptontech.com
Take Control of Your Sound
Built for the demands of stadiums and arenas, ADAPTive Systems ensure every audience member hears at a level of detail previously unrealized from a line array system.
By offering unmatched frequency response from a line array coupled with unrivaled user control of coverage through EAW’s Resolution software, ADAPTive is the ideal solution to match the scale, energy and expectation of any event.
USA Pavilion
COMPANY: INFiLED
INFiLED’s versatile, high-impact MV Series, seamlessly integrated into the USA Pavilion’s sweeping architectural lines, is engulfing visitors with icons of American culture. Tasked with delivering a robust, high-impact visual display, INFiLED partnered with turnkey solution partner BeWunder to create two massive outdoor LED walls that are captivating millions of visitors with immersive imagery of iconic American landmarks.
BeWunder served as the turnkey solution provider for the USA Pavilion, delivering the full design development, engineering, and audiovisual integration. This included not only the AVL systems for the immersive interior experience but also the engineering and installation of the two towering exterior LED screens which welcome guests.
The screens are the first thing visitors see as they approach the pavilion, and they’ve become an unmistakable symbol of the USA’s presence at Expo 2025. The installation utilises INFiLED’s versatile MV Series, covering an expansive 338 sq m across the façade. Installed on the exterior of the façade, two displays, each measuring 26m by 6.5m, are mounted 6m above ground level, creating a floating visual canvas on the pavilion’s bold, triangular architecture. A 5.9mm pixel pitch was chosen to ensure optimal
image quality. Configuration of standard panels measuring 1,000mm by 1,000mm with additional 1,000mm by 500mm panels used for the final 0.5m section at top securing structural alignment with the building’s unique shape.
“The feedback has been overwhelmingly positive. INFiLED’s LED screens fully met the design vision in terms of both aesthetics and functionality,” said Kiril Petrovski, Project Manager at BeWunder. With content delivered using an AV Stumpfl PIXERA media server, the LED walls display looped video content featuring American landmarks, space exploration footage, and national baseball games, showcasing to visitors a visual narrative of American innovation, culture and achievement. This project continues INFiLED’s mission of delivering high-performance, architecturalgrade LED displays for major global events.
“Expo 2025 Osaka is a world stage, and we’re honoured that INFiLED technology was selected to represent the US in such a bold and visual way,” said Marco Bruines, CEO at INFiLED. “This collaboration with BeWunder demonstrates how our products support users’ creative vision while offering seamless integration into even the most demanding architectural environments.” www.infiled.com
Photo: Hufton+Crow.
UK Pavilion
COMPANIES: Martin Audio, Ampetronic
Photos: Allan Abani / Immersive International / ES Global.
Martin Audio loudspeakers feature exclusively in the UK Pavilion where audio system designer and spatial sound consultant, Dave Parry – a long-time admirer of the brand – equipped the visitor experience, working for experiential master planner and exhibition designer, Immersive International.
The initiative was led by the UK’s Department for Business and Trade, with the aim to promote trade and understanding between the UK and Japan. The design, build, maintain and deconstruct contractors were ES Global. Having won a competitive tender, Immersive International were charged with delivering end-to-end concept design and strategy, including interior spatial design, animation production of the content, and mascot design (the playful children’s character PIX).
This interactive, story-led journey which takes visitors through four immersive rooms with a single narrative is brought to life by inspired projection mapping, spatial sound and interactivity.
“The idea was to showcase the UK as an attractive place to visit, study or do business with, to a predominantly Japanese audience,” said Thomas Ludewig, Immersive International Head of Architectural Services & Innovation.
Dave Parry’s long relationship with the Immersive International team – then as Pixel Addicts – dates back nearly two decades when they collaborated on the nightclub Matter at the O2.
“We trust Dave completely, having worked together for over 15 years,” said Ludewig. “He continued to support us throughout the oversight and management phases which saw the designs progress to delivery onsite and ensured his vision and aspirations were achieved for the final installation.”
Inspired by children’s building blocks, the animated PIX cartoon character accompanies visitors throughout the 20-minute experience. This developed from the pixel visual language, inspired by the fact that when small blocks or ideas come together, great things can happen.
The zones themselves consist of The Undercroft and Lobby, the Exhibition, PIX Lobby and PIX Room and the Finale, for all of which mission critical audio was key.
Parry drew on a variety of Martin Audio solutions, sensitive to the requirements and constraints of each space, working within a trussbased interior, and to a brief that speakers should be hidden from view. The experience’s narration was combined with a soundtrack composed by We Sound Loud.
“An important part of their workstream was developing an adjusted version for the sensory mode as well as producing the audio descriptions, that are available in both Japanese and English for those with additional needs visiting the Pavilion,” said Ludewig.
When he first embarked on the project Parry’s insistence was for British loudspeakers. “I opted for Martin Audio as I knew the people there; they had Linea Research and TiMax in the group so I could keep it all in one family, knowing it would sound great.”
He worked closely with Martin Audio’s Simon Honywill to mitigate the sound reflections endemic to a temporary construction of this nature.
“We put the prediction through EASE to find out where the reflections would be.” Explaining further, he continued: “I knew once the speakers were hung the sound would just run through the building.”
Isolation was essential, therefore he adopted largely Blackline XP loudspeakers “because it’s self-powered, and a lot easier in this application than using amplifiers.”
The show control system was built in collaboration with Dan Sloane and Creative Technology to seamlessly run all the video, lighting and
audio content in the visitor journey. This system allows staff guides to trigger the content on a room-by-room basis to account for varied pulse timings and even run a lighting-based cue system, indicating when visitors can progress to the next room. Each room is independent so that they can be running in parallel, all at the same time.
Of the zones, the Undercroft features four C8.1 ceiling speakers, but in The Exhibition space, the presence of a 20m projection screen with angular sub-screens, and the nature of the visitor flow presented placement challenges.
“We couldn’t use smaller speakers because there was nowhere to hang them, so we used eight XP12, set further back with a pair of XP118 subs – all of which had to be concealed in a projection led environment,” commented Parry.
The PIX Room – a 1.8m projection cube set above a projection floor –had the audio specialist further scratching his head. His solution was to deploy no fewer than 16 C6.8T ceiling speakers and a pair of SX212 subs, knowing that by using large quantities he could guarantee the required audio coverage.
The end zone – fittingly known as The Finale – was a crescendo of sound, reflecting the uplifting nature of the script. Thus six further Blackline XP12 and a pair of XP118 subs were deployed.
Completing the complement of speakers, a pair of FlexPoint FP8 are sited at the Entrance Lobby, and two CDD6 at the PIX Lobby. All the passive speakers are driven by a pair of 8-channel Linea Research amps. Reflecting on the project, Ludewig praised Parry for his nimble approach and ability to “adjust the designs as required to deliver the brief”. This resulted in a top-quality sound.
Both believe the end result reflects all the hard work put in over several years as the concept evolved. “We are extremely proud of the experience we delivered,” concluded Ludewig. “We knew from the initial client feedback, staff training and pre-opening testing that the Pavilion was well received and that it was resonating with both the Japanese and international audiences.”
Meanwhile Ampetronic is ensuring clear audio is accessible to all UK Pavilion visitors so they can fully engage in the entertaining experience. Ampetronic is offering ListenWIFI, an audio over Wi-Fi-based assistive listening solution from strategic partner Listen Technologies, to optimize the audio experience for all visitors to the animated exhibit. Visitors can download the free ListenWIFI app on their smartphone, select Japanese or English audio, and stream audio accompanying the displays to their smartphone in either language. They can listen to the audio with their earbuds or headphones. Visitors with Bluetooth enabled hearing aids and cochlear implants can stream the audio from their smartphones directly to their hearing aids and cochlear implants.
Visitors also have the option to stream audio descriptions in either language to their smartphone.
“Ampetronic is honoured to be part of Expo 2025, an event that celebrates innovation, inclusion, and international collaboration,” said Ed Beck, International Business Development Manager, Ampetronic. “We are committed to increasing audio accessibility for all guests and looks forward to demonstrating the power of assistive listening solutions to overcome communication barriers and enhance visitor experiences. We hope everyone will enjoy the events and exhibits at the UK Pavilion and be inspired by their experience to request and utilise assistive listening systems whenever they visit a public venue.”
www.martin-audio.com www.ampetronic.com
Bulgaria Pavilion
COMPANY: VIOSO
Photos: MP-Studio.
The Bulgarian pavilion delivered the ‘wow’ factory courtesy of a memorable, tech-driven experience created by MP-STUDIO, a Sofiabased experiential company known for its expertise in 3D projection mapping and visual effects.
With audiovisual technology at the heart of the installation, MP-STUDIO turned to its trusted partner, Vioso, to supply the systems that would bring the vision to life.
The exhibit was divided into three main sections: ‘The Past’, ‘The Present’, and ‘The Future’.
The Past embraced the analog charm of history, showcasing Bulgaria’s rich cultural heritage through traditional display methods.
The Present transitions visitors into the digital realm, powered by EXAPLAY running on Vioso’s newly launched Anystation Pico players.
These ultra-compact devices each output two WUXGA signals, allowing just seven units to seamlessly drive 14 wall-mounted monitors.
A central Pico server handled synchroniaation via OSC commands, enabling smooth playback across a single expansive canvas, or multiple independent video streams.
The Future presented the most dynamic and innovative part of the pavilion – a fully immersive space where visitors interact with their surroundings and contribute ‘messages for the future’.
Spanning an area of 160 sq m, the environment relied on Vioso’s ProjectionTools autocalibration software and four calibration cameras to achieve a flawless blend across 14 projectors.
A custom-built Vioso Anystation server, equipped with an Nvidia A6000
GPU, powered EXAPLAY to deliver four 4K signals via HDBaseT matrix switchers, ensuring crisp, synchronised visuals.
What truly set the experience apart was its use of AI. Visitors scan a QR code to submit their messages via a website, which then relayed them to an AI system that generated real-time responses.
These were instantly displayed on screen using NDI to feed content directly into the EXAPLAY playback engine. At the conclusion of the Expo, all visitor messages can be collected to form a digital archive of collective hopes and ideas for the future.
Reflecting on the installation, Marin Dimitrov, CEO of MP-STUDIO TECH (the AV division of MP-STUDIO), said: “We are proud to be among the first to implement such a large-scale setup using Vioso’s new Pico servers and EXAPLAY platform.
“We pushed the software to its limits and were genuinely impressed by its performance. EXAPLAY provided everything we needed – playback, timelines, NDI and OSC control, and synchronisation – all without the complexity of larger media servers.”
Raul Vendeburg, Executive Director of Vioso, who was on-site during the installation, shared his enthusiasm for the project:
“It’s incredibly exciting to see our new EXAPLAY solution play such a central role in the pavilion,” he said. “We developed it to offer a streamlined, user-friendly interface that covers the majority of needs in installations like this – while still supporting advanced capabilities like HAP-encoded content playback.”
www.vioso.com
TIMAX
TiMax’s new immersive audio hub at London’s Tileyard is now open, offering the industry a chance to check out its proprietary spatial sound technology firsthand.
MONDO-DR sat down with the manufacturer’s Product Manager, Dan Higgott, and Commercial Manager, Rik Kirby, to talk through the backstory and future of the facility, aptly named the TiMax Spatial Studio.
What was the main purpose behind creating TiMax’s Spatial Studio, and why was now the right time?
Dan Higgott: There were a few reasons. While our technology makes immersive experiences possible, those experiences start with strong audio content. The TiMax Spatial Studio gives artists, composers, and sound designers a high-tech place to develop such a soundtrack. Secondly, TiMax is the kind of technology you can’t fully understand on a computer screen. You need to hear it. So having a demo environment makes a big difference.
It’s also our research and development home. When we’re not running sessions, the space is used by the team to test new features and ideas. So, it’s designed to serve multiple purposes.
Rik Kirby: Also, location really mattered. There’s a huge community of creative talent in London; we’re only ten minutes from King’s Cross station, meaning we can have a conversation with someone one day and bring them in the next to hear their ideas realised. That immediacy was something we couldn’t completely have with our previous, smaller space in Cambridge.
Can you tell me a bit about the room itself and its capabilities?
Higgott: We inherited the room from Novation, our sister brand at Focusrite, but acoustically, it wasn’t fit for purpose. So, we brought in consultants, added bass traps, acoustic treatment, carpeting, and a partition wall for the R&D office. The transformation has been huge; it’s now a really nice-sounding space and a great environment to be in.
Kirby: In fitting the sound systems for the studio, we’ve partnered with another brand from Focusrite, Martin Audio, using their popular FlexPoint coaxial point source series to show off the unique spatial audio and show control capabilities of TiMax.
Providing the spatial audio magic is our renderer, the TiMax SoundHub. Our tracking solution TiMax Tracker D4 is also installed with an eightsensor system, and the studio also offers opportunities to work with TiMax panLab, our application for creating and controlling 3D spatial audio experiences. Further keeping it in the Focusrite family, amplification is delivered via Linea Research 88C06 amps.
Higgott: The room has over 40 speakers! Most don’t have access to that many speakers in their own setups, so it’s an opportunity for people to come in, experiment, and hear what’s possible.
Who have you had through the doors so far?
Kirby: It’s been an exciting mix, with West End sound designers, acoustic consultants, EDM producers, video companies, complementary manufacturers, and a wide host of industry partners.
Higgott: We’ve already seen designers bringing in producers and financiers to show them what’s possible with TiMax. That’s part of the value – it’s not just for creatives; it’s also a space to help sell ideas to the rest of a production team.
What kinds of events and sessions are you running?
Kirby: Twice a month at our Tileyard Studio, we’re hosting Exploring Spatial Audio sessions. These aren’t demonstrations of our products per se; it’s more of an educational program that teaches visitors about the concepts and science behind spatial audio, techniques like delay-based and level-based panning, and how our tools apply them.
Beyond Tileyard, we collaborate with our sister brands, like Martin Audio, Linea Research, and Optimal Audio, to host open days and demonstrations at other sites, such as Focusrite’s High Wycombe base. Also, with our multitude of international distributors, we can somewhat provide TiMax experience centres around the world!
Higgott: Overall, what we’re looking to do with our technology is to engage an audience and create an emotional response. With educational events and sessions, we can empower others in the industry to deliver these experiences too.
Education is a big part of what we do. Our Tileyard Studio runs programs for students, wherein we bring sound design students, contemporary music producers, and emerging theatre sound designers into the space so they can learn and experiment with cutting-edge immersive audio.
The Tileyard spatial audio space was created in collaboration with Sonosphere. Can you tell me more about this partnership?
Higgott: Our relationship with Sonosphere has been strong for a while now. We have already collaborated on events, such as the sold-out ‘Binaural Human’ event at Riverside Studios. This interactive seminar traced the history of recorded sound, all the way back to wax cylinders, through to full spatial audio systems.
Kirby: We’ve known their team for years, and we were both looking for studio space in London at the same time. We bring strengths in product and software development; Sonosphere bring artist relations and world-class mixing skills. It’s a complementary and mutually beneficial relationship.
TiMax has recently announced the new Scaling Surfaces feature. Can you explain what that brings?
Higgott: Scaling Surfaces is about workflow. It lets users easily rescale a spatial mix from a studio playback environment to an auditorium, or from one venue to another, with just a couple of clicks. Movement automation stays intact, so the creative intent is preserved.
We’re also rolling out new integrations – with SSL consoles, the Atlas show control solution, and Grapes 3D – plus adopting the ADM-OSC standard, which makes interoperability with platforms like QLab and Nuendo seamless. The focus is on making spatial audio easier and more practical for real productions.
Immersive experiences are everywhere right now. Have you noticed any shifts in market demands?
Higgott: Definitely. The big one is that everyone wants the ability to work in a studio and then take that work into bespoke immersive environments without losing translation. That’s exactly what Scaling Surfaces is addressing.
Kirby: We’re also seeing audio catch up with what video has been doing for years, dynamic content that changes with the audience’s perspective. With tracking, for example, audio can follow someone through an exhibit in a museum or gallery, which is becoming more of a requirement than a novelty.
Further, as audiences become accustomed to immersive experiences in their living rooms, expectations for live productions are rising. If you watch a concert on TV, the noise of a tom roll moves naturally across the sound field, with the popularisation of spatialisation technology in home entertainment devices. At the concert itself, you often lose that. We’re asking, why should it sound better at home than live, in the venue?
Higgott: Expectations for sound have increased, and TiMax’s tech is working to meet these. We think we’re doing this; at 2025’s British Summer Time Hyde Park Festival, the Royal Philharmonic Orchestra’s TiMax-enhanced performance was described by the composer as ‘the best-sounding outdoor orchestral quality he had ever heard.’
Finally, what do you want visitors to take away from TiMax’s Tileyard Spatial Studio space?
Kirby: A whole bunch of sound processors... just kidding. We want everyone to know that we’re here to help them achieve their creative goals. I’m a former sound engineer, and Dan’s a former sound designer, so we know how important it is to have the right companies and products behind your production. When people come to the Spatial Audio space, we want them to be able to learn about our products and our team, and how both of these things can aid them in their sound journeys.
Higgott: We want visitors to our Tileyard venue to feel that they know us personally. TiMax was born out of our own lived experience with real-world sound design challenges, not a corporate boardroom. That ethos remains: we want people to feel ownership of the product because they know the people behind it. www.timaxspatial.com
Previous : Dan Higgott (left) and Rik Kirby of TiMax.
Above : TiMax’s new Spatial Studio in London’s Tileyard.
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
info@mbn-eventproducts.com mbn-eventproducts.com A brand of MBN Eventproducts
ELEVATING THE LIVE ENTERTAINMENT EXPERIENCE WITH AURACAST BROADCAST AUDIO
Kim Franklin, Vice President of Global Marketing at Ampetronic | Listen Technologies
When guests attend a concert, theatre performance, or live event, they come to hear something powerful. Whether it’s the emotion behind a lyric, a line of dialogue, or a solo in a symphony, audio is at the core of the experience. It shapes how guests connect with the performance, and when the sound is hard to hear or understand, it diminishes the entire moment. Ensuring every guest hears clearly can be challenging because venue acoustics vary.
Ambient noise, hearing loss, and seating position can affect audio quality. That’s where Auracast broadcast audio comes in, as it presents a new way for entertainment venues to deliver high-quality sound, directly and wirelessly, to each listener’s own device, or dedicated receiver, enhancing the experience for everyone in the space.
Auracast broadcast audio is a Bluetooth technology that allows audio to be broadcast to an unlimited number of compatible devices, including smartphones, hearing aids, earbuds, receivers, and more.
Guests simply connect to a venue’s audio broadcast with devices they already use. In a live setting, audio is transmitted from the venue’s sound system to a transmitter.
Audience members can then discover and connect to the stream on their device, controlling the volume and listening through the audio interface they prefer (earbuds, headphones, hearing aids, etc.).
An Auracast broadcast audio-based assistive listening system can be installed quickly and easily in an entertainment venue, without disruption. There’s no need to close a space for retrofitting, and transmitters are small and unobtrusive and can be mounted on walls or polls so that they do not interfere with venue aesthetics.
An Auracast-based assistive listening system can also be used with a venue’s existing audio system and assistive technologies such as hearing loops. Having multiple channel broadcasts to an unlimited number of compatible devices means venues can offer more personalised listening experiences for guests.
Consider these applications for the technology in theaters, concert halls, performing arts centers, arenas, and other entertainment venues:
Assistive listening
A channel can be used to provide assistive listening support to guests with hearing loss or anyone who wants to hear audio more clearly. Audio is delivered directly to the listener’s ears and ambient noise is filtered out, providing a more immersive experience and powerful performance. Imagine guests hearing the different instruments in a symphony, every word of an actor’s speech, or a stand-up comedian’s jokes, despite distracting seatmates, background noises, and laughter. That’s the power of Auracast.
Right: The Everyman Theatre in Cheltenham, UK, has implemented a groundbreaking assistive listening solution powered by Auracast.
Below: The WYO Performing Arts & Education Center in Sheridan, Wyoming, has installed Auri, powered by Listen Technologies and Ampetronic, the first Auracast broadcast audio-based solution for assistive listening.
Language interpretation
Language doesn’t have to be a barrier to guests enjoying performances or limit their engagement. In venues that offer interpretation, guests can select the broadcast stream featuring their preferred language and listen via compatible earbuds, headphones, or hearing aids.
Audio description
Multiple channels mean an entertainment venue could use an Auracastbased assistive listening system to offer guests live audio descriptions of what’s happening on the stage. This information provides important context and descriptive information for visually impaired or low-vision guests.
Silent concerts
Entertainment venues can optimise space and offer multiple events simultaneously using an Auracast-based assistive listening system. Guests simply select the channel broadcasting their concert or performance and listen without interference. This option can also benefit neurodivergent guests who may find traditional concerts too loud or overwhelming.
Audio from screens
In a multi-screen environment like a club, an Auracast broadcast audiobased assistive listening system lets guests select the broadcast channel featuring audio for their preferred screen and listen from anywhere in the space.
This level of personalised listening changes the game. Guests can hear every word, note, or cue, clearly and comfortably, from any seat. No more missed moments, no more straining to catch dialogue or lyrics. Auracast isn’t just about compliance or assistive listening. It’s about creating better experiences for everyone.
Whether someone uses a hearing aid, wants audio in a different language, or simply prefers more clarity, Auracast broadcast audio offers flexible access to the sound that matters.
In the competitive world of live entertainment, delivering a standout experience is what brings people back. With Auracast, venues can ensure every guest feels connected and immersed. Because in the arts, sound isn’t just ‘nice to have,’ – it is everything. And Auracast helps make that sound personal, powerful, and accessible to all.
www.ampetronic.com www.listentech.com
LASERANIMATION SOLLINGER
AS LASERANIMATION SOLLINGER CELEBRATES ITS 40-YEAR ANNIVERSARY IN 2025, WE SIT DOWN WITH ITS FOUNDER, MICHAEL SOLLINGER, AND CURRENT LASERWORLD GROUP CEO, MARTIN WERNER, TO DISCUSS THE PAST AND LOOK TO THE FUTURE.
Can you take us back to the very first steps of LaserAnimation Sollinger? What ambitions did you have and did you already believe back then in the potential to elevate the company to its current level?
Michael Sollinger: The beginnings were purely pragmatic. While I was working on my PhD, I found the laser shows that I experienced relatively boring and not good enough. Accidentally I was asked if I could develop a laser control system and I took the challenge, not even knowing the available laser controllers. Combining the latest technologies with my ideas I developed the Lasergraph II in my small apartment. The first order from ACR in Zurich led to the founding of the company in 1985. At that time, I could not even dream this operation will become something bigger. The focus was always on finding niches, using new technologies and making things better. This applied to scanner drivers, fiber optics, and the transition to solid-state technology. These innovative approaches and the commitment to quality ultimately led us to our current position within the industry.
Which key events or pioneering installations over the past four decades have particularly shaped the company and helped put LaserAnimation Sollinger on the map?
Michael Sollinger: Thinking about key events, I always felt like I was trying to build a wall, and as soon as I put bricks on it, something would happen to knock them down. But looking back, all those challenges built a strong foundation. Our focus from the beginning was to occupy the top-end niche. We always looked for ways to do things better. This led us to become the go-to provider for most major productions and installations, though NDAs often limit what we can reveal. The main keystones are quality, innovation and partnership with our customers . What truly defined us were the especially demanding art projects. These were not just about volume but about the precision and detail that only our systems could deliver. It was the technical challenge of these artistic visions that drove our innovation. Iconic installations like at Disneyland in California, the Deep Web in Lyon and Berlin, or the Olympic Games, are just a few examples of where our equipment has been used in pioneering
ways. They required a level of accuracy and performance that was unique, reinforcing our position in the industry.
The connection of LaserAnimation Sollinger and the Laserworld Group, as well as the appointment of Martin Werner as CEO, mark the beginning of a new era. How significant is this milestone?
Michael Sollinger: It was important for me to secure the company’s legacy and ensure the future growth of LaserAnimation Sollinger. After 35 years, I wanted the company to thrive for another forty years and beyond. LaserAnimation Sollinger has always been a fiercely independent company that grew organically. We developed through our own innovations and always stayed close to the market. The connection to the Laserworld Group is a truly unique and significant milestone. The strategic consideration was clear: we wanted to partner with an entity that shared our passion for innovation and quality but also had the global reach and resources to elevate us to the next level. With Martin Werner as CEO, and the strong and global team of the group, we have now brought on board a renowned business expert. I am convinced that this represents the best foundation for the future of our company, our products, and the high-quality demands of laser professionals. The Laserworld Group is a powerhouse in the industry, and their infrastructure and market access are something we could never have built on our own in the same timeframe. Our growth was always based on our internal development and listening closely to what the market in general and our customers in particular need.
Martin, as the new CEO, what were your first steps and what is your vision for the future of the company?
Martin Werner: I am very happy to be working with Michael Sollinger and my first step was to grasp his vision and the company’s technological foundation in order to build upon it. My vision is to combine the strengths of all companies in the group. Michael and his team should be able to fully concentrate on their core competencies: the research and development of top-end laser systems. As the Laserworld Group, we complement that with
1 The interactive installation
2 The production of ‘Traumtexte’ at Tafelhalle in Nuremberg, Germany, utilised four PHAENON accurate projectors, as designed by laser artist Bahadir Hamdemir.
3 TimeLine by artist Jessica MacMillan was held in Svalbard with a single 10W PHAENON X Blitz used to create a single beam that marked the direction in which our solar system moves in space. Photo: Preben Irgens.
4 Michael Sollinger.
5 Martin Werner.
6 Outdoor installation ‘Another Moon’, designed by Kimchi and Chips, created a 3D shape consisting of laser beams to symbolise a second moon in the sky.
‘Limited Sky’ by Ephemeral Tomorrow. Photo: Leonardo Bertuccelli.
our global network, our established sales and customer structures, as well as the synergy effects within our group of companies. This allows us to make excellent products from a niche market available to a broader, global market, and meet the high-quality demands of our customers.
Michael, with a focus now fully on R&D, how do you reflect on the company’s legacy, and what is your perspective on the future under the new leadership?
Michael Sollinger: The transition is an opportunity for me to concentrate on my strength: research and development. I can dedicate myself to the things that initially drove me – seeing the need for development, sculpting the idea in an unconventional way and finding creative solutions to the challenge. I see the future with Martin at the helm with absolute confidence. I am convinced that the company is in the best hands and will achieve even greater success, while preserving the core values that have made us who we are. It is exciting to witness this next chapter unfold.
Martin, what is the nature of your relationship with Michael, and what role does his experience play in your plans?
Martin Werner: I am convinced that Michael’s words truly capture the essence of what he and his team have built. We had known each other for years from the industry, and our communication has always been characterised by respect, appreciation, and reliability. This created a deep trust that allowed his life’s work to live on. Our relationship isn’t a formal collaboration; it’s a partnership rooted in mutual respect. Michael’s experience and knowledge are invaluable. He didn’t just build a company; he built an institution based on a
culture of excellence. That is a culture we are absolutely committed to nurturing and building upon. Michael is far more than an advisor. He is a trusted partner and guide. We lean on his expertise and unique perspective. The history he created, the connections he built, and the standards he set are the foundation for this next chapter. Our shared goal is to continue to ensure high quality and maintain our standards. The team is growing at both locations, in Berlin and in Valley, Bavaria, and development and production have been significantly expanded. Within this short period of just three years together, we already managed to double the company’s annual revenue. We are firmly determined to build on the legacy of precision and pioneering spirit that Michael created and to push the boundaries of what is physically possible.
What role does feedback from clients and end-users play in shaping the direction of product development?
Martin Werner: Customer and end-user feedback is more than just input; it’s a vital part of our product development process. We do not develop our products in a vacuum. Product quality is our top priority and is regularly checked as part of our ISO certification. We place great importance on incorporating our customers and their feedback into our product development process because it is the professionals who are on the front lines. This direct exchange helps us to understand what users actually need. Ultimately, this feedback allows us to translate our passion for innovation into solutions that are relevant and to ensure that our products are not only technically advanced but also truly useful and meet the needs of our customers to create spectacular experiences.
How is LaserAnimation Sollinger celebrating its 40th anniversary, and what message do you want to send to the industry?
Martin Werner: The 40th anniversary is a remarkable milestone. It is not just a celebration for a company, but a celebration of a legacy based on a tireless passion for perfection. We are marking this anniversary by celebrating the people who have made it all possible: the team, the dedicated partners, and the customers who have placed their trust in the company for four decades. We cordially invite all our customers, partners, and of course the readers of MONDO-DR to celebrate with us. The festivities will take place from 9 - 11 October in Berlin as part of a Laserworld Group Open House event. A central highlight will be a keynote speech that will showcase the innovations from LaserAnimation’s development, and from other parts of the company group. The grand finale is the big party on 11 October, during which Michael Sollinger will give a short insight into the journey of LaserAnimation.
The past 40 years have been about pioneering technology. The next chapter is about building on that remarkable legacy, combining our strengths, and setting new standards together. We are committed to pushing the boundaries of what is possible and continuing to deliver the kind of innovation and quality that has defined this company for so long. We are just getting started.
1 & 2 Fusion Festival 2025, organised by Kulturkosmos e. V., Müritz. Photo: Jaspar Wessel.
High Performance Loudspeaker Systems
OPERA’S LASER-FOCUSED STORYTELLING REVOLUTION
How projection technology is enhancing visual storytelling at opera houses around the world.
Opera houses have long played host to some of the most memorable theatrical moments in history, with ornate sets, soaring arias and high drama enthralling guests for hundreds of years. Since Henry Morton first used an opaque projector at the Philadelphia Opera House in 1872, projection has established itself as a key storytelling tool to accompany scenography and enhance operatic performances. Today’s venues require technology that meets modern audience expectations, matching the scale and emotion of the performance with visual storytelling.
Thanks to continued advances in projection technology, the choice is now greater than ever, with models delivering higher brightness, superior colour accuracy, longer lifespans, and improved energy efficiency compared to predecessors. In historic venues these innovations are helping opera houses bridge centuries of heritage with added visual flair, bringing immersive performances to 21st-century audiences. Premium performance for the most prestigious of venues
The Teatro Real in Madrid, one of the most prestigious opera houses in Europe and recipient of the International Opera Award for Best Opera House in the World, invested in five Christie M 4K25 RGB pure laser projectors to deliver visuals that match the grandeur of its performances. Following a series of rigorous tests, the venue decided to upgrade from three Christie lamp-based 3DLP projectors previously installed a decade ago. The new models have quickly proved their worth, delivering an impressive visual upgrade for its performances.
“Its RGB pure laser technology that approaches the Rec. 2020 colour volume – a colour standard closest to what the human eye can see – provided us with colour nuance that far surpassed the old lamp technology,” said Fernando Valiente, head of Audiovisuals at the Teatro Real. “In fact, we saw it in Luigi Cherubini’s opera Medea, where Christie’s RGB laser technology allowed us to get the punchy reds we needed to project fire and lava onto the stage.”
RGB pure laser projectors benefit high-impact performances in large venues like Madrid’s thanks to their expansive Rec. 2020 colour gamut, a three-primary system of red, green, and blue lasers that captures realworld colours better than any other form of projection. This technology is used extensively at Teatro Madrid to enrich opera, dance, concert, and recital programming.
The projectors’ compact form factor and omnidirectional capabilities allowed for flexible installation. The M 4K25 RGB’s quiet operation enables models to be placed close to the stage without distracting from performances, a feat previously difficult to achieve. The new models are also compatible with the lenses from the theatre’s previous projectors, offering significant cost savings and operational efficiency. This compatibility, combined with the intelligent lens system (ILS1) that
Below: The Teatro Real in Madrid invested in five Christie M 4K25 RGB pure laser projectors.
Photos: Xaume Olleros
allows remote-controlled zoom, focus, and offset, makes the technology particularly well-suited to the dynamic demands of live performance. RGB pure laser projectors are also deployed at several other prestigious opera venues across Europe, opting for the best projection technology on the market, benefitting from the best visual performance, reliability, operational efficiency, and return on investment.
At Zurich Opera House, the drive for innovation and creativity led to a host of visual infrastructure upgrades to enhance both performances and audience experience. The multi award-winning venue has continued to push boundaries, including a bold staging of Claudio Monteverdi’s L’incoronazione di Poppea. In a nod to contemporary selfie culture, oversized images of the performers were projected onto 16:9 screens mounted on the auditorium’s balconies, creating a visually stimulating experience that blended classical opera with modern media aesthetics. To achieve this, the opera house deployed Christie 3DLP projectors in tandem with Pandoras Box servers and a Christie Terra AV over IP system. Given the complexity of the 14-screen set design, projection was deemed the most effective display technology for the application. The Terra system, built on SDVoE (Software Defined Video over Ethernet) technology, enabled seamless switching, scaling, and extension of 4K video signals across the venue. Christie partner smARTec supplied nine Terra transmitters, seven receivers, and two controllers, allowing for flexible routing and multiviewer confidence displays; an efficient alternative to traditional fibre switching designs.
Three Pandoras Box servers were upgraded to accommodate the demands of native 4K content, while Widget Designer ensured precise control over playback. The system’s modularity meant that additional receivers could be added with ease, supporting future productions without the need for extensive rewiring or hardware changes. For venues requiring multiple projectors, Zurich’s approach exemplifies how AVover-IP infrastructure can streamline operations, reduce complexity, and support creative ambition.
Taking opera outdoors
In Berlin, the Deutsche Oper found a compelling new way to celebrate its multicultural identity and attract onlookers with the help of 1DLP laser projection. Once destroyed during World War II and reopened in 1961 as a ‘Bürgeroper’ or ‘People’s Opera House,’ the venue remains one of Germany’s largest, seating nearly 2,000 guests. It turned its attention outward by projecting iconic operatic lines in multiple languages onto its striking exterior façade, using a Christie GS Series 1DLP laser projector deployed by Christie partner b.MEDIA GmbH.
The goal was to create a 15m image visible from 55m away in Berlin’s
Below: The Teatro Mariano
gloomy winter weather. This was delivered with a 10,000-lumen output and Christie BoldColor Technology – a unique combination of blue and red lasers that ensures vivid colour reproduction aligned with the Rec. 709 standard. The result was a crisp, high-luminance display that brought phrases like Mozart’s “Der Vogelfänger bin ich ja” and Rossini’s “Largo al factotum della città” to life, captivating passers-by.
“Despite the large image, the heavily structured surface of the façade and the high degree of ambient brightness from the main street, the projector produced an optimum image thanks to its brightness and good contrast,” commented Ronny Zielke, Director of b.MEDIA. “Since we needed to position the projector off-axis in a building across the street, the integrated warping also proved extremely useful.”
Above all, operational efficiency was key for this project. The projector ran nightly from 5pm to 11pm for three months with no need for a lamp replacement or weatherproofing, saving the team both time and money. While projection canvases continue to grow in scale, the technology powering them is becoming increasingly compact, which can be a key advantage for venues with complex rigging requirements or limited space.
The historic Teatro Mariano Matamoros in Morelia, Michoacán, Mexico, is another opera house which opted for RGB pure laser projection as part of a visual upgrade. The UNESCO-listed venue now features a Christie RGB pure laser projector illuminating Latin America’s largest removable cinema screen, measuring an impressive 18.30m by 9.89m.
“We chose RGB pure laser illumination because it provides 4K resolution and an unmatched image brightness, and colour with a long-lasting stable light source,” said Sonia Mejía, the architect behind the project.
The all-in-one unit, installed by Jds Home Entertainment, delivers 28,000 lumens at 4K resolution, and features CineLife electronics and Christie Real|Laser illumination, ensuring more than 50,000 hours of stable, virtually maintenance-free operation. With surround sound and 43 strategically placed loudspeakers, the theatre now blends historical significance with the latest visual technologies, proving that powerful projection doesn’t have to be bulky.
As opera houses across Europe and the rest of the world continue to invest in technology upgrades to enhance audience experiences, projection has become a key tool in modern operatic storytelling, helping to add further visual punch to scenography. The latest projection technology is helping these venues honour tradition while captivating contemporary audiences, proving that even the oldest stages and best-loved operas can benefit from the brilliance of today’s audiovisual technologies.
www.christiedigital.com
Right: The Zurich Opera House has undergone a host of visual infrastructure upgrades to enhance both performances and audience experience.
Matamoros in Morelia, Michoacán, Mexico, features Latin America’s largest removable cinema screen.
COLOR STRIKE M
STRIKE V
STRIKE BOLT 1C
STRIKE ARRAY 2C
STRIKE ARRAY 4C
STRIKE SABER 10
STRIKE ARRAY 1
STRIKE ARRAY 2
STRIKE ARRAY 4
STRIKE 1
STRIKE P38
PRODUCT GUIDE: LOUDSPEAKERS
SPONSORED BY:
The LINEAR 9 Long Throw Pack is HK Audio’s premier solution for demanding sound reinforcement applications. As the flagship of the LINEAR series, it delivers high sound pressure, long-throw coverage, and advanced remote control – making it the perfect system for rental companies, event professionals, and touring applications. With rugged construction, intelligent networking, and flexible scalability, this system offers long-lasting performance and German-engineered reliability.
High-Power Mid/High Units
The system features two LINEAR 9 210 LTA mid/high units, each equipped with a rotatable 60° by 25° horn, a 1.4-inch driver, and two vertically aligned 10-inch speakers. The waveguide design ensures focused dispersion and even frequency response across the entire listening area.
This design achieves excellent projection over long distances, delivering crystal-clear mids and highs even at the back of the venue. Ideal for outdoor events, concerts, and large gatherings, the 210 LTA is all about clean, controlled output.
Powerful Sub Bass
Low-end reinforcement is provided by six LINEAR 9 118 Sub BA subwoofers. Each features an 18-inch driver in a dual-vented bandpass enclosure, designed for high SPL and a low cut-off frequency. Thanks to its larger cabinet size, the 118 Sub BA delivers impactful bass that’s both deep and defined – whether used on its own or as an extension for other LINEAR 9 subs.
Scalable System Design
Whether users are handling a mid-sized indoor gig or a full-scale outdoor show, the LINEAR 9 Long Throw Pack adapts with ease. The horizontal cluster capability of the 210 LTA allows for tailored coverage to the venue, while the subwoofers offer flexible deployment options such as cardioid or end-fire arrays. This modularity makes the system both technically adaptable and economically scalable.
Advanced Control with DSP CONTROL Software
All LINEAR 9 speakers include network-enabled DSPs and integrate seamlessly with HK Audio’s free DSP CONTROL software (Mac/PC). Control everything remotely from FOH with intuitive tools including: 10-band fully parametric EQ, high-/low-pass filters, delay and limiter, mute, invert, and volume control, and preset management for different venues and setups.
Whether users are fine-tuning systems before the show or making live adjustments, the software allows for complete control.
DSP OUT – Integrate Legacy
Speakers
A standout feature of the LINEAR 9 series is the dedicated DSP OUT, allowing integration of non-networked or passive speakers into your system.
By routing signal through DSP OUT, older cabinets can benefit from the same high-end processing and remote control as the LINEAR 9 speakers – breathing new life into inventory and ensuring sonic consistency across setups.
Milan Network-Ready (Free Update)
As of May 2025, all LINEAR 9 units can be upgraded to support MILAN, the industry-standard AVB-based network protocol for audio. This free firmware update makes the system future-proof and compatible with modern digital audio networks – no additional hardware required.
Road-Ready Build Quality
Designed for real-world touring, every component of the LINEAR 9 system is built tough. The PU-coated enclosures resist wear and tear, while robust EtherCon sockets ensure reliable connections throughout demanding events.
Made in Germany, the system reflects HK Audio’s commitment to durability, reliability, and premium sound quality. With the LINEAR 9 Long Throw Pack, users get the tools, the technology, and the flexibility to deliver flawless sound every time.
www.hkaudio.com
HK Audio LINEAR 9 Long Throw Pack
PRODUCT GUIDE: LOUDSPEAKERS
SPONSORED BY:
L-Acoustics L Series
The L2 represents the pinnacle of L-Acoustics’ three decades of intensive research and development in line array technology, delivering unprecedented power density and consistency in a revolutionary compact format. As the upper element in the groundbreaking L Series system, the L2 embodies the company’s patented Progressive UltraDense Line Source (PULS) technology, fundamentally redefining what’s possible in professional concert sound reinforcement.
Revolutionary Design and Performance
Each L2 element delivers the acoustic performance equivalent to four traditional K2 elements while occupying 46% less space and weighing 40% less. This dramatic size and weight reduction doesn’t compromise performance – instead, it enhances it through advanced engineering that achieves excellent SPL per size ratios. The result is unparalleled consistency across the entire audience area, with improved rejection characteristics that minimise unwanted sound spillage beyond the target coverage zones.
The power density of the L2 is truly unprecedented in the professional audio industry. Each element houses an impressive driver complement: eight precision-engineered 3-inch high-frequency drivers paired with eight 10-inch low-frequency drivers. This configuration is enhanced by four strategically side-loaded 12-inch drivers featuring both front and back exits, enabling efficient, high-precision broadband coverage with selectable cardioid or supercardioid polar patterns. This sophisticated driver arrangement ensures optimal acoustic coupling and seamless frequency response across the entire audio spectrum.
Advanced Directivity Control
The L2 incorporates L-Acoustics Panflex technology, providing sound designers with unprecedented flexibility and control. Each L2 element features four Panflex modules, offering quick access to four distinct horizontal directivity patterns: 70° symmetrical, 110° symmetrical, or 90° asymmetrical coverage on either side. This adaptability allows engineers to precisely tailor coverage patterns to match venue geometry and audience distribution, ensuring optimal sound quality for every listener while minimising acoustic interference in non-audience areas.
The fixed progressive angle design eliminates the complexity of inter-element adjustments while providing incredible gains in quality, efficiency, and sustainability. This approach, developed through analysis of hundreds of real-world projects across all genres and venue types, recognises that most audience geometries follow predictable patterns, allowing for optimised preset configurations that consistently deliver superior results.
Deployment Revolution
Beyond acoustic excellence, the L2 revolutionises system deployment and logistics. The compact, lightweight design significantly reduces truck space requirements and minimises the number of elements needed for coverage, directly translating to reduced transportation costs and environmental impact. The pin-less auto-lock rigging system and single cable connector design dramatically reduce setup complexity, cutting repetitive load-in and load-out actions by up to three times compared to similar K2 configurations, and up to five times faster than traditional Kara II deployments.
This efficiency isn’t just about speed – it’s about reliability and error reduction. The streamlined rigging system creates a setup environment that minimises human error while maximising consistency and safety. Sound engineers and technicians consistently report that the L2’s intuitive design reduces physical strain and setup anxiety, allowing crews to focus on achieving optimal sound quality rather than wrestling with complex mechanical systems.
Environmental and Economic Impact
The L2’s environmental credentials are as impressive as its acoustic performance. Each element requires 56% less paint, 30% less wood, and 60% less steel compared to equivalent traditional line array solutions. At 30% less volume and 25% less weight than comparable line source arrays, the L2 significantly reduces transportation fuel consumption and carbon footprint.
Proven Performance
The L2 has been extensively validated through high-profile deployments including the BRIT Awards, Coachella Valley Music and Arts Festival, and major international tours. Sound engineers consistently praise its remarkable tonal consistency, describing coverage so seamless that individual array elements become acoustically invisible. The system’s exceptional off-axis performance and cardioid behaviour ensure clean broadcast feeds and optimal gain-before-feedback characteristics in challenging acoustic environments.
The L2 works seamlessly as a standalone solution or as the upper element in complete L Series configurations paired with L2D elements below. This flexibility, combined with support from the LA7.16 highresolution amplified controller and advanced Autosolver processing tools, makes the L2 an ideal choice for applications ranging from intimate venues to massive festival stages, consistently delivering the precise, powerful, and musical sound that defines the L-Acoustics experience. www.l-acoustics.com
PRODUCT GUIDE: LOUDSPEAKERS
SPONSORED BY:
Power and Performance, Integrated
Yamaha’s DZR Series delivers best-inclass SPL performance, sophisticated DSP processing, and unrivaled low-frequency reproduction, achieving truly professional sound with a power that belies its compact, lightweight form. The culmination of Yamaha’s decades of expertise in sound reinforcement, acoustics, and signal processing – enhanced with Danteenabled models – DZR is Yamaha’s first fully integrated, smart/editable range of professional powered loudspeakers. These speakers not only sound exceptional, but also visually complement their surroundings in permanent installations. The DZR Series, along with the DXS XLF subwoofers, are available in both black and white finishes to suit any venue aesthetic. At the heart of DZR’s performance lies Yamaha’s newly developed Advanced FIR-X tuning. Using 96kHz DSP processing with linear phase FIR filters for crossover and EQ, the system achieves ultra-smooth frequency response with stunning clarity and precise sound imaging without phase distortion. The onboard LCD screen allows quick navigation of DSP functions, enabling precise PEQ, delay, and routing adjustments. Users can store up to eight presets or use optimised factory settings, easily transferring them to a USB flash drive for streamlined setup.
Yamaha’s D-CONTOUR intelligent multiband compressor ensures consistent sound quality at any output level. Whether in FOH/ MAIN mode, which boosts low frequencies for flown or stand-mounted setups, or MONITOR mode, optimised for floor monitoring, the DZR maintains outstanding clarity and musicality. These modes were perfected through extensive listening tests with professional engineers, guaranteeing low distortion and a balanced response. DSP protection functions safeguard every component, continuously monitoring amplifiers, power supplies, and transducers. This precise control extends performance longevity while maintaining optimal sound quality, leveraging technology from Yamaha’s high-end
professional amplifiers.
As the first Dante-equipped professional SR loudspeakers, “D” models of the DZR and DXS XLF integrate seamlessly with Yamaha consoles and other Dante devices via Dante I/O, including SRC (sample rate conversion) for compatibility with 48kHz systems. Combined analogue and Dante connectivity opens up flexible routing and configuration possibilities, while ProVisionare Control PLUS for Windows and ProVisionare Kiosk for iPad enable straightforward remote management.
The DZR’s Class-D amplification delivers an impressive 2000W of power and up to 143dB SPL, with each amplifier optimised for its specific transducers. High-frequency drivers feature titanium diaphragms with neodymium magnets in heat-resistant aluminum cast frames. The 3-way DZR315 includes a dedicated mid-frequency driver for enhanced low-mid clarity, while the proprietary LF transducers use lightweight yet robust neodymium magnets and large voice coils for powerful, distortion-free bass.
Designed for professional versatility, DZR10, DZR12, and DZR15 models feature rotatable horns for vertical or horizontal mounting, ensuring smooth, even coverage. Their high-grade plywood cabinets, coated with military-grade Polyurea, incorporate butterfly joints for strength and reduced vibration, as well as ports designed to minimise noise at high outputs. The mirror-mode monitor placement on certain models delivers a symmetrical sound field, creating a larger, more defined “sweet spot” for performers.
With multiple rigging points for safe installation and U-bracket options, the DZR Series offers adaptability for any application. A panel lock protects settings, while settings and log data can be saved to a USB flash drive and transferred for faster setup and troubleshooting. The DZR Series includes the DZR10, DZR12, DZR15, and DZR315, along with their Dante-enabled counterparts, each available in sleek black or white finishes to match any installation. www.yamaha.com
PRODUCT GUIDE: LOUDSPEAKERS
AtlasIED
Aimline ALX-D
The AtlasIED Aimline ALX-D series comprises digitally steerable, multichannel array loudspeaker systems for the commercial installation market. In the most challenging acoustical environments, such as modern passenger terminals and traditional houses of worship, Aimline column arrays precisely control directivity in the vertical axis, resulting in optimal coverage and the reduction of reflection from hard surfaces for enhanced intelligibility. The combination of advanced steering algorithms, powerful DSP, and efficient amplification gives the system designer a unique set of tools for controlling sound in large, highly reverberant spaces. www.atlasied.com
Audiofocus
ELIZ 210
ELIZ 210 is a compact line array series employing V-mounted twin 10-inch Tetracoil Double Voice Coil LF transducers for enhanced low-end performance, precision control, faster impulse response, and improved transient handling. A 4-inch titanium diaphragm HF compression driver ensures excellent linearity and mid-band clarity. ELIZ 210 delivers a peak SPL of 140dB Mtone, with a frequency response of 55Hz - 19kHz.
The 90° by 8° dispersion of each ELIZ 210 cabinet can be adjusted to 70° using custom 3D printed magnetised ABS horn plugs, allowing the system to be quickly tailored to the coverage requirements of different spaces, or to manage reflections. Like all Audiofocus loudspeakers, ELIZ 210 is built to order in Belgium. www.audiofocus.eu
1 SOUND Level L35
This 3-way loudspeaker delivers musical and refined sonic quality while having great volume capability and throw for its size. With a max SPL of 122dB and bandwidth down to 65Hz, the Level L35 is meant to be mounted flush on a wall or ceiling, standing only 6-inches from the surface, utilising its included hardware that is already recessed into the cabinet.
This loudspeaker has a unique dispersion pattern using its progressive horn design. The directivity of sound is very controlled, being wide in the near field and narrowing slightly in the far field, working comfortably at a height of 8-15ft. www.1-sound.com
AUDAC VEXO206
The VEXO206 is the latest addition to AUDAC’s VEXO family of high-performance loudspeakers. Designed for applications requiring clear sound and sleek design in a compact format, it offers a powerful solution for hospitality, retail, sports, and commercial spaces. This 2.5-way speaker features dual 6.5-inch coaxial low-frequency drivers and a 1-inch compression driver, delivering rich, full-bodied sound with 250W AES continuous power and a max SPL of 119dB. With a frequency response of 69Hz – 20kHz (±3dB), it ensures exceptional vocal clarity and audio reproduction, and its 90° by 110° dispersion pattern guarantees wide and even coverage.
www.audac.eu
The S1D is a passive 3.5-way horn-loaded point source speaker which has been designed for use in clubs, live music applications, auditoriums and mobile stages, featuring multiple HF directivity patterns: 90º by 60º, 120º by 40º and 60º by 40º. What sets the S1D apart is the broadband directivity control without DSP thanks to Aura Audio’s patented Passive End Fire Technology, which reduces the leakage behind the speaker. S1D complements the S18C passive cardioid subwoofer and the D100DSP system amplifier.
www.auraaudio.fi
Aura Audio S1D
Biamp LVH-900
The Community LVH-900 Steerable Venue Horn from Biamp is a large-scale, high-output, arrayable point source loudspeaker that allows designers to tailor the coverage of a single loudspeaker, dual-cabinet array, or an array of multiple loudspeakers to precisely cover any audience area with smooth, even, full-range sound distribution. Each loudspeaker includes a high output of 137dB at 1m continuous, along with a smooth, full-range response at 60Hz - 18kHz. From a single-cabinet point source system to large-scale arrays, LVH-900 offers unmatched configuration flexibility with softwareconfigurable coverage patterns. Meanwhile, two-horn patterns offer fixed horizontal coverage of 60° or 90°. www.biamp.com
Bose Professional DesignMax Luna
Beyma 14MLEX1000Nd
Building on the legacy of its P80 family, Beyma’s new 14MLEX1000Nd high-performance loudspeaker integrates the company’s Malt Cross cooling system with advanced engineering solutions from its LEX subwoofer series. Featuring a 4-inch voice coil, the 14MLEX1000Nd delivers 1000W AES power handling, sensitivity exceeding 100dB, and ultra-low distortion, ensuring superior performance and long-term reliability. Designed for versatility, it is ideally suited for integration in point source systems, line arrays, and stage monitors. Its ability to produce high SPL levels while maintaining excellent lowfrequency response makes it a valuable component in modern sound reinforcement solutions. www.beyma.com
Blaze by Sonance CBL series
Engineered for demanding environments, the CBL series loudspeakers feature a tightly controlled, symmetrical dispersion pattern that ensures consistent frequency response both on and off axis – delivering crystal-clear speech to every seat in the room, while minimising destructive interference and acoustic hot spots. At the core are custom 5-inch low-frequency drivers with meticulously designed acoustic centres, paired with vertically arrayed 2-inch high-frequency drivers that maintain wide, symmetrical horizontal coverage and ultra-low distortion. For venues demanding powerful low-end extension, the BL18S companion subwoofer delivers deep bass down to 36Hz and peak SPLs up to 136dB. www.blaze-audio.com
The Bose Professional DesignMax Luna pendant loudspeaker system delivers high-quality extended-range performance in a sleek, modern form. At the heart of Luna is Bose Professional’s Ring Array design: eight precisely aligned 2-inch mid-high drivers encircle an integrated 8-inch woofer, creating a powerful, full-range system with consistent 140° coverage and lowfrequency extension down to 40Hz.
With a max SPL of 111dB and wide dispersion, fewer speakers are needed to cover large areas, reducing installation cost. Installation is fast and flexible. Use a single cable for clean installs or take advantage of two-point suspension when the ceiling structure requires it – Luna stays balanced either way. www.boseprofessional.com
d&b audiotechnik CCL System
The d&b CCL System (Compact Cardioid Line Array) combines advanced cardioid technology with a compact, passive design. It offers broadband directivity control and low-frequency cardioid behaviour via single-channel amplifier operation. It has a unique driver configuration: two 7-inch front-firing drivers, two 5-inch side/rear drivers, and two newly designed 1.75-inch highfrequency transducers. Together, they deliver exceptional headroom, precise low-frequency control, and acoustic clarity. The system includes mobile and installation versions (CCL and CCLi), with 80° and 120° dispersion models, plus the CCL-SUB, a flyable subwoofer that extends bandwidth and reduces port noise.
www.dbaudio.com
dBTechnologies IS210L
DAS Audio ARA-P28
The ARA-P28 point source system series from DAS Audio combines advanced DSP technology with high-performance transducers to deliver premium sound in a compact format. Both the ARA-P28.74 and ARA-P28.115 feature dual 8-inch speakers and the same powerful class D amplifier, offering 1200W continuous power and peak SPLs of up to 140dB. ARA-P28.74 offers a focused 70º by 40º dispersion, ideal for throw-oriented applications, while the ARA-P28.115 provides a wider 110º by 50º pattern, perfect for broader coverage needs. Both units incorporate custom-designed 8GXN neodymium transducers and the same M78N compression driver found in the ARA line arrays, ensuring clarity and consistency across the family.
www.dasaudio.com
The IS210L is the first passive line array module in dBTechnologies’ IS Series, bringing touring-grade performance into a format optimised for permanent installations. Delivering a maximum SPL of 133dB and a frequency response from 65Hz to 17.5kHz, the IS210L provides the output, clarity, and controlled coverage required in large venues. Its symmetrical design features dual 10-inch woofers and a 1.4-inch high-frequency driver mounted on a waveguide, ensuring consistent projection across the listening field. Engineered for durability, the IS210L is IP55 certified. www.dbtechnologies.com
NT206L is a compact, self-powered line array loudspeaker that delivers high sound quality, premium materials, and an easily adjustable horizontal horn dispersion in an enclosure made of both wood and metal. Engineered for power and precision, NT206L features two 6.5-inch low-frequency drivers with 2-inch voice coils and a 1.75-inch high-frequency driver, driven by 1500W of onboard power. A patented EAW waveguide leverages EAW’s Focusing technology to provide an exceptional high-frequency response. NT206L also debuts a new EAW Core Technology called Adjustable Horizontal Directivity (AHD). With AHD, users can quickly choose between four horizontal coverage profiles through simple hand-operated adjustments in the field. www.eaw.com EAW
Funktion-One
Evo 2 Range
Funktion-One has expanded its Evo 2 loudspeaker range with two new additions – the Evo 2L and Evo 2SH. The Evo 2L is a dedicated mid-bass addition for the Evo 2, delivering increased headroom and unlocking the full output potential of the system’s mid-high section. An intuitive coupling mechanism enables the Evo 2L to be quickly and securely attached above or below an Evo 2, with the combined unit lifted via the user-friendly Butterfly Plate. Pairs of Evo 2 and Evo 2L can be flown together to create a powerful system for medium-sized live music venues and clubs. www.funktion-one.com
Harmonic Design
hd BS10
The hd BS10 combines wireless freedom, performance, and advanced DSP technology in a lightweight 10kg multiplex cabinet with a robust polyurethane coating. Two hot-swappable battery slots for standard 18V packs, or mains operation with an integrated 1000W Class-D amplifier, provide maximum flexibility. Equipped with a 10-inch woofer and a 1-inch high-frequency driver, the BS10 delivers a frequency response from 50Hz to 20kHz and a maximum SPL of 126dB. Its 90° by 60° dispersion ensures even coverage, making it ideal for conferences, town festivals, DJ sets, or mobile stage setups. www.harmonic-design.com
K-array Mugello
Thanks to Slim Array Technology, K-array’s Mugello line array series achieves two crucial goals: a lightweight, discreet build that makes transport and installation require less effort, and a cardioid emission that directs energy to the front, maximising coverage across distance while reducing unwanted spill on stage and behind the system. The passive modules – KH2P I, KH3P I, and KH5P I – cover everything from theatres to outdoor events. At the core of their flexibility is Electronic Beam Steering, managed through K-array’s K-framework 3 software, which allows engineers to steer coverage electronically instead of mechanically angling the cabinets. www.k-array.com
Genelec RAL colour loudspeaker options
Genelec’s 4000 Series and Smart IP Series active loudspeakers are now available in a choice of 120 RAL colour finishes. This broad palette of colours allows Genelec loudspeakers to either blend discreetly with any interior colour scheme or make a visual statement.
The 4000 and Smart IP families both offer studio-quality sound and are manufactured to high environmental standards in Iisalmi, Finland. Both ranges utilise efficient onboard Class D amplifier stages with ISS intelligent signal sensing technology that can put the loudspeaker into sleep mode when no signal is detected. Recycled aluminium loudspeaker enclosures use less energy to produce – and also help facilitate the wide range of colour options.
www.genelec.com
HH Audio APT-C6
The APT-C6 harnesses a 6.5-inch Celestion coaxial driver, with a 1.5-inch LF voice coil and a 1-inch HF voice coil, enabling crystal-clear, well-balanced sound reproduction. The custom horn flare profile enhances audio clarity and provides uniform sound throughout the coverage area. The APT-C6 has a sensitivity of 90dB (1W/1M) and a 120W AES power rating, yielding a maximum SPL of 110dB SPL. Its frequency response of 70Hz to 20kHz ensures balanced audio, making it an excellent standalone solution or the perfect companion to the APT-C8S ceiling subwoofer or the APT-W8S surface-mount subwoofer for deeper bass extension. www.hhaudio.com
KV2 Audio ESD312 loudspeaker
KV2 Audio’s ESD312 is a new addition to its loudspeaker range that brings together versatility, high performance, and precision monitoring. The three-way cabinet combines dual 12-inch bass reflex woofers, a 6-inch horn-loaded midrange, and a 1-inch compression driver, delivering full-range output while operating on a single amplifier channel. Its flexible design allows it to serve multiple roles: from an accurate DJ monitor ensuring flawless mixes, to a fill or centre speaker supporting larger VHD systems, or as a standalone immersive element in performance spaces. For practical deployment, the ESD312 comes with a dedicated vertical mounting bracket, enabling integration with VHD2.18J subwoofers or easy standalone use. www.kv2audio.com
LD Systems ICOA PRO series
LD Systems’ ICOA PA series has been further developed to include two active full-range coaxial speakers – ICOA PRO 12 A and ICOA PRO 15 A – as well as the active 21-inch bass-reflex PA subwoofer ICOA PRO SUB 21 A. With its professional features and high output power, the ICOA PRO series is aimed at bands, musicians and DJs, as well as hire companies and commercial customers looking for a compact, robust, and powerful PA sound system. While the series was primarily developed for the MI market, it also addresses the needs of event technology service providers and dry hire companies. The new Class D power amplifiers have a high power consumption of up to 3000 W peak and offer great performance and application versatility for coaxial systems in their class. www.ld-systems.com
Optimal Audio Cuboid on-wall series
Optimal Audio’s Cuboid on wall series includes full range, two way passive models from the compact Cuboid 3 unit, through Cuboid 6, and Cuboid 8, up to the robust Cuboid 15. All deliver rich, clear sound with mounting flexibility (portrait or landscape), and some models (Cuboid 3/5/6) feature ABS cabinets with aluminium grilles and optional IP54 protection for outdoor use. Larger Cuboid models feature wooden cabinets, steel grilles, and user-rotatable horns for consistent high frequency coverage. The ecosystem design – featuring Zone or SmartAmp amplification, DSP presets, and control via WebApp and ZonePad – ensures efficient setup, consistent performance, and speaker protection. www.optimal-audio.co.uk
Renkus-Heinz IC Live X Series
Martin Audio BlacklineQ series
Martin Audio’s BlacklineQ series features nine products engineered for flexibility across portable and installed sound applications. The range integrates passive two-way point source loudspeakers, subwoofers, and column loudspeakers. The four point source systems (Q8, Q10, Q12, Q15) are symmetrical, multi-angle designs that support horizontal or vertical orientation with brackets, yokes, eyebolt suspension, or polemounts. The two column loudspeakers, the QC44 and QC26, have versatile enclosures tailored for both speech and full-range content. Low-frequency extension is provided by three passive subwoofers: the Q210 (2 by 10-inch), Q118 (1 by 18-inch) and Q218 (2 by 18-inch).
www.martin-audio.com
PK Sound
T8 Line Source
The T8 compact robotic line source element pairs precise mechanical control of vertical and horizontal acoustic dispersion with tight, variable pattern control down to 375Hz. This includes a 0.1º of precision in vertical angles between modules and variable horizontal coverage spanning 60-120º in 49 symmetric and asymmetric configurations. These capabilities empower users to mechanically tailor acoustic output to the parameters of any mobile or installed application, focusing sound only where it’s desired while avoiding walls and other reflective obstacles; minimising noise pollution; adapting in real-time to different room configurations or use cases; and expanding the stereo image for wide audiences.
www.pksound.live
The IC Live X Series’ modular steerable line arrays with advanced OmniBeam technology deliver high-quality audio performance with precise control for live sound. Featuring Renkus-Heinz’s Acoustic Source Multiplier (ASM) waveguide, the IC Live X Series delivers consistent and symmetrical performance for both high and low frequencies. Made up of three freely combinable and steerable array modules – the ICLX, ICLXL, and ICLLX – the series also features two matching subwoofers: the 18-inch ICLX-118S and the all-new ICLX-48S column subwoofer www.renkus-heinz.com
SoundTube Entertainment
IPD-CM62-BGM-II-US
The IPD-CM62-BGM-II-US is a Dante-enabled in-ceiling speaker designed to simplify and enhance audio integration in commercial environments. This PoE-powered loudspeaker features a 6.5-inch coaxial driver with a 1-inch silk dome tweeter, delivering high-fidelity sound with wide dispersion. Equipped with SoundTube’s BroadBeam Ring technology, the IPD-CM62BGM-II-US ensures smooth off-axis performance. Built for the networked AV era, the speaker supports low-latency digital audio, power, and control over a single category cable. www.soundtube.mseaudio.com
Theory Professional SR Series
The Theory SR Series sees eight new multi-purpose loudspeakers and manifold subwoofers unite lively dynamics, high maximum output level, and refined acoustic performance. Surprisingly compact, the powerful, high-fidelity SR models won’t interfere with aesthetics – they can be installed discreetly, and in tighter locations. The SR Series has ergonomic horizontal and vertical handles, multiple fly points, anti-skid feet, industry-standard mount points, and pole cups. Optional accessories include Theory SplitYoke multipurpose mounting brackets, intelligent permanent and quick-release (tool-less) Caster Kits, and a meticulously engineered Universal Dolly Board. www.theoryprofessional.com
TT+ Audio GT 8
The GT 8 is a versatile point source speaker engineered for precise sound coverage in high-powered professional audio applications. Its enclosure is constructed from durable, highquality marine-grade plywood, housing two 8-inch neodymium woofers in a symmetrical configuration and a central 3-inch titanium-dome neodymium compression driver mounted on a rotatable magnetic constant-directivity TRW waveguide. The magnetic grille allows for easy waveguide rotation without tools, with easy inspection of the orientation from a lateral window. For scalable, high-performance sound reinforcement and a perfect match with GTX signature sound, it integrates seamlessly with XPS 16K amplifiers. www.ttaudio.com
TOA Corporation F-Box Series
The F-Box Series is a range of high-performance surface-mount box speakers offering a versatile and sleek solution for both indoor and outdoor use. The F-Box speakers’ unique design and bracket ensure safe installation, even at height, whist being aesthetically pleasing. They are available in two colours and three sizes – a 3.5-inch full range speaker and 5-inch or 8-inch two-way speakers plus an optional 8-inch subwoofer. The outdoor models are IP65 rated and certified to EN54-24, making them ideal for voice alarm systems.
www.toa.co.uk
CONDUCTR
CO-FOUNDER AND CEO OF CONDUCTR, JOS VAN DER STEEN, SITS DOWN WITH MONDO-DR TO LOOK BACK AT THE CREATIVE INNOVATION STUDIO’S JOURNEY OVER THE PAST THREE YEARS.
Established in 2022, CONDUCTR entered the attraction industry in tandem with immersive experiences rising in popularity.
The company designs and invents large-scale, guest-led spaces that find unique ways to get visitors to engage with entertainment.
Providing a turnkey service, CONDUCTR sees projects across theme parks, cruise ships, museums, and brand activations, to name a few, from idea formation to a finished build.
“We saw an interesting gap in the market in bridging physical and digital experiences,” van der Steen noted. “Mobile games, VR games, online games, and the like, can saturate the entertainment market. These are all fun, but can sometimes be isolating. We wanted to offer a new way to play. We’re taking gaming and experiential entertainment out of the living room environment and putting it somewhere live.”
Alongside Co-Founder Peter Cliff, whose background is in creative direction, van der Steen’s technical expertise means the brand is built on know-how in both the entertainment and audiovisual fields.
He continued: “We noticed the growing trend of immersive experiences and social competitive gaming. Large corporations were able to launch their own interactive venues, but lots of businesses didn’t necessarily have the development capital to do the same.
“So, we build these projects for them, working business-tobusiness rather than businessto-consumer. Our value comes in creating these unforgettable experiences for brands that want to engage an audience.”
Asked what he saw as
CONDUCTR’s main markets, van der Steen explained that its initial focus was theme parks, though
the team soon realised that the model of an attraction for a theme park, being an area where groups of people go for leisure and fun, could be extended to fit practically all entertainment venues.
“We’re working with all manner of spaces. What they all have in common is that they see a highquality guest experience as crucial to success. Businesses that want to not only increase audience dwell time, but also actual engagement are perfect partners for us.”
The founder noted that one significant recent installation for the brand was their Glow Court project, produced for Norwegian Cruise Line, described as “the world’s first weatherproof, interactive LED sports court.”
This attraction’s LED floor and walls transformed the ship’s unused top floor area. Now, the company’s proprietary tracking technology allows groups of visitors to take part in fast-paced, high-energy competitive games.
The digital overlays support a wide range of content, from gamified football and basketball drills to casual interactive games.
“Throwing LED technology into an outdoor environment, in corrosive sea air, and exposed to vastly varying temperatures was a technical hurdle. We developed cooling and durability systems through rigorous lab testing and added multiple layers of redundancy, so guests experience only seamless play.”
The business also operates a separate product arm, Game Volt, which develops competitive socialising hardware and software. This division focuses on building plug-and-play interactive solutions that are being deployed worldwide, though the testing phase for these products began in the UK.
van der Steen said that this was an
1
On site at CONDUCTR’s 2023 installation for Alton Towers Resort’s ‘Curse at Alton Manor’ attraction.
2 Jos van der Steen (left) and Peter Cliff of CONDUCTR.
effective location to first start rolling out the proprietary technology, citing “the link that Britain’s always had to the pub” as why the UK welcomed the idea of social competitive gaming and immersive entertainment in group settings.
“Here, we found an audience keen to take part in engaging, high-energy activities with peers. We’re offering a new option for people who want to go out with their friends, but don’t want to centre their activities on drinking or clubbing.”
The founder emphasised that research and development in all technological product departments of CONDUCTR and its related businesses is integral to its offerings. “We’re not just a creative agency,” he said. “Though our unique entertainment concepts are a key element of who we are, we also physically build the tech and then bring all components together, and a big part of our value is that we provide this turnkey service.”
Alongside immersive experiences, artificial intelligence is one of the prominent discourses of the modern audiovisual industry. On the topic, van der Steen explained: “I feel like we are at a turning point right now where AI has been rationalised to the point where most people can engage with it to help create cool and expressive content.”
In one gallery project, the company used
AI-driven mapping to animate one of Vincent van Gogh’s self-portraits against a live actor, enabling audiences to interact with the artwork in real time.
“We’re in a time where guests can be engaged in an experience far more quickly, and a venue can adapt to its visitors easier and better.”
He continued to reason, “However, AI does have complicated implications for our industry. Many products now come with intelligence built in – for example, most projectors feature AI-driven autoalignment, a once unique capability. As formerly proprietary features become commonplace, professionals and manufacturers must find new ways to stand out.”
Alongside its installations, a defining part of CONDUCTR’s identity is its workplace culture. This year, as well as being acknowledged as the UK’s fifth fastest growing founder-led company, it was recognised with three UK Great Place to Work awards.
Reflecting on the achievement, van der Steen concluded: “Establishing CONDUCTR and reaching this point has been both chaotic and wild, but also deeply rewarding. What matters most is that we’ve been able to do it while creating an environment where people want to come to work and enjoy what they do.”
www.conductr.com
‘Glow Court’ for Norwegian Cruise Line
CONDUCTR’s collaboration with Oceania Cruises, wherein the ‘Art App’ was created, an application for guests that allows them to scan the ship’s art to learn more.
RAFAŁ MRZYGŁOCKI
RAFAŁ MRZYGŁOCKI IS AN AWARD-NOMINATED ENTERTAINMENT ENTREPRENEUR WITH OVER 30 YEARS OF EXPERIENCE IN THE EVENT, AV, AND IMMERSIVE TECHNOLOGY SECTORS, AND IS CURRENTLY THE CEO OF ARAM.
How has technology changed in your 30 years in the industry?
It’s been a revolution. When I started, we were still working with analog lighting desks and CRT monitors. Now, we control 4K LED walls with software from a tablet. Automation, real-time rendering, augmented reality – it’s an entirely new world. But the fundamentals remain: timing, precision, and understanding the audience.
What are the current trends and future directions in AV production? Immersive experiences are the future. Whether in entertainment, culture, or marketing – people want to feel inside the story. Modular, adaptive systems, AI-driven content, interactivity – that’s where we’re heading. Also, sustainability is becoming increasingly important –lighter, more efficient setups that leave a smaller footprint.
Is a good AV setup more about the budget or the creative concept?
It’s a mix of both. Budget helps, but I’ve seen modest productions shine because the concept was sharp and wellexecuted. Creativity and experience are often more valuable than raw money. We often help clients optimise their ideas, and make them work within their means. The smartest event is one that looks expensive, but was wisely planned.
Which ARAM projects have been the most memorable for you?
There are many, but if I had to choose, I’d say the immersive exhibition ‘Sistine Chapel: Heritage’ stands out. It combined high-end multimedia with storytelling
and space design in a way that truly moved people. It was a technical and emotional challenge – and proof that Poland can deliver projects at a worldclass level. Also, our early involvement in esports, particularly the Intel Extreme Masters, was a game changer – not just for us, but for the industry.
What’s the hardest part of creating a successful audiovisual project?
The most difficult part is the alignment between creative vision, technical feasibility, budget, and logistics. Each part has its own constraints, and finding the common ground takes both experience and diplomacy. Also, the timeline. If planning is rushed, the execution suffers. That’s why we push for early involvement.
What types of events benefit most from strong AV and technical production?
Large-scale conferences, hybrid events, live concerts, immersive exhibitions –those need solid AV to truly engage the audience. But even small events can benefit from well-designed technical elements. It’s about experience, not size.
What are your interests and hobbies outside of work?
I love exploring new technologies and trends – even outside the AV world. I’m also passionate about architecture and space design, which influences how I think about immersive installations. And whenever I get the chance, I travel – it helps me recharge and gain perspective.
www.aram.eu
GREGORY CHOSSON
CEO AUDIOVISTA / FOUNDER MARCH ON MARS
To me it‘s all about creating a reliable and technically safe work environment for my customers as well as my teams.
Artist Intercom allows me to provide intuitive workflows and to onboard new team members swiftly.“
ARTIST INTERCOM
Professional and reliable live communications.
Seamless integration of Riedel‘s SmartPanel and Bolero wireless intercom.
Easily scaling from 16 to 1024 ports with flexible licensing.
