Mondo-DR 36-1

NO V E M B E R / D E C E M B E R 2 02 5

77 LONDON AMPS & PROCESSORS PARKS, ATTRACTIONS & MUSEUMS

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MONDO-DR 36.1 NOVEMBER / DECEMBER 2025 ON THE COVER 77 London Photo courtesy of Tim Shapcott EDITOR Todd Staszko t.staszko@mondiale.co.uk ASSISTANT EDITOR Daisy Thorogood d.thorogood@mondiale.co.uk ACCOUNT MANAGER Cameron Crawford c.crawford@mondiale.co.uk ACCOUNT MANAGER Bethany Price b.price@mondiale.co.uk MARKETING & EVENTS MANAGER Alice Clarke a.clarke@mondiale.co.uk MARKETING & EVENTS ASSISTANT Charlie Moore c.moore@mondiale.co.uk DESIGN & PRODUCTION Mel Capper, Jez Reid, Dan Seaton DIGITAL CONTENT MANAGER James Robertson j.robertson@mondiale.co.uk EDITORIAL DIRECTOR Peter Iantorno p.iantorno@mondiale.co.uk CEO Justin Gawne j.gawne@mondiale.co.uk FINANCE DIRECTOR Amanda Giles a.giles@mondiale.co.uk CREDIT CONTROL ar@mondiale.co.uk GROUP CHAIRMAN Damian Walsh MONDIALE PUBLISHING Strawberry Studios, Watson Square, Stockport SK1 3AZ , UK Tel: +44 161 476 8340 Fax: +44 161 429 7214 ANNUAL SUBSCRIPTION RATES (7 ISSUES) UK: £30.00 / Europe: £50.00 / Rest Of World: £65.00 Two year rates are available on request.

Subscribe online at www.mondiale.co.uk or call +44 (0)161 476 5580 ISSN: 1476 4067 Mondo DR (ISSN 1476 4067) is published in January, March, May, July, September, November and December by Mondiale Publishing Ltd, Strawberry Studios, Watson Square, Stockport, SK1 3AZ, UK Subscription records are maintained at Mondiale Media Ltd, Strawberry Studios, Watson Square, Stockport, SK1 3AZ, UK

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

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

Welcome to the final edition of 2025, which is again packed with an abundance of industry insight and venue deep-dives.

In the issue, Daisy reports from PLASA, while I attend LEaT con for the first time, and we cover intriguing projects ranging from nightclubs in Vietnam and London, to a haunted interactive experience in Wisconsin, and an ice hockey arena in Stockholm. There are profiles on ROXX Lighting and AtlasIED, updates from Martin Audio, ROE Visual, and Lightware, and we sit down with Adam Hall’s CEO Alexander Pietschmann for The Big Interview. This edition marks the 36th annual cycle of MONDO-DR and, having held the role of Editor for just over three years, it remains a privilege to be a part of this publication and industry – and we couldn’t put this magazine together without your participation.

Finally, keep your eyes peeled for a special supplemental edition focussed on the new Star of the Seas cruise ship from Royal Caribbean, which is available now both physically and digitally.

Enjoy the issue, and we welcome all feedback, so please don’t hesitate to get in touch.

TODD STASZKO EDITOR

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S E M E I T E OR M SO IS M S S E L

and y, ero t i r cla Bol io rom roven d u f p a t eet er, expec With discr ge w . po ou rm and llen ess ion y ler fo pact y cha l e r l t wi gra sma a com or an the s inte ter, in y f ts. l Al mles igh ance read even l sea in a rform ini is r live o now ro pe ero M orts, e Bol l p s o , B y, ast bod roadc in b

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IN T HIS ISSUE. . .

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EXPO DIARY

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INSIDE VIEW Martin Audio

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THE BIG INTERVIEW Alexander Pietschmann, CEO, Adam Hall Group

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VENUE REPORT Parks, Attractions & Museums

IN FOCUS 52

AMNESIA Ibiza, Spain

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HOUSE OF KONG London, UK

58

NIGHT GROUP London, UK

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BIERKONIG Mallorca, Spain

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77 London, UK

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AVICII ARENA Stockholm, Sweden

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MILLER CENTER FOR THE ARTS Reading, Pennsylvania, USA

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GHOST BOAT Wisconsin Dells, USA

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PLAZA BALLROOM Melbourne, Australia

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CINE SAIGON Ho Chi Minh City, Vietnam

90

MACARTHUR’S BALLROOM Gold Coast, Australia

IN BUSINESS 92

SHOW REPORT PLASA Show

94

SHOW REPORT LEaT con

96

IN DISCUSSION Lightware

98

COMPANY PROFILE ROXX Lighting

100

PRODUCT GUIDE Amps & Processors

106

SHOW PREVIEW LDI

108

IN DETAIL dBTechnologies

109

IN DETAIL ROE Visual

110

COMPANY PROFILE AtlasIED

114

BACK OF HOUSE Martina Ruff, Marketing Manager, LPS-Lasers

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NOVEMBER NOV

PRO INTEGRATION FUTURE ASIA SINGAPORE www.prointegrationfuture.asia

NOV

LiGHT25 LONDON, UK www.lightexpo.london

NOV

INTERBEE TOKYO, JAPAN www.inter-bee.com

11-13

19-20

19-21

NOV

26-27

JTSE PARIS, FRANCE https://jtse.fr

D E C EM B ER DEC 7-9

LDI LAS VEGAS, USA www.ldishow.com

J ANUARY JAN

CUE ROTTERDAM, THE NETHERLANDS www.cue.nl

JAN

LIVE ENTERTAINMENT EXPO TOKYO, JAPAN www.event-week.jp/en-gb/about/live.html

19-21

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Our portfolio management at Martin Audio is based on the ethos of providing two levels of product for each type of loudspeaker deployment solution – the first serving the ‘everyday’ professional, and the second that serves the ‘premium’ end of the market. With passive point source loudspeakers we have both a ‘dedicated installation’ offering including our ADORN and CDD series, and a ‘cross-over’ offering including the new BlacklineQ and FlexPoint series, which target primarily mobile applications and can then also be readily permanently installed. Blackline itself has tremendous pedigree in the market and represents 25 years of service in different guises.

BlacklineQ replaces the previous BlacklineX and has brought significant amount of improvements including differential dispersion horns for improved efficient coverage, better connection options for subs, easier to remove grilles, the use of recycled plastics, and improved industrial design and portability. Its perfect for everyday mobile applications such as corporate AV presentations and small gigs, while its range of accessories and industrial design also lends itself to be installed into hospitality or worship sectors.

MARTI N AUDI O With th e l a u n c h o f t h e Bl a ckl in e Q s e r i e s i n J u l y, M a r tin Au d i o a n n o u n c e d its f ir s t ev e r c o l u m n l o u d s p e a ke r.

H er e I n t e r n a t i o n a l S a l e s Dir ecto r B r a d l e y W a t s o n ta lks us th r o u g h t h e n e w l i n e ’ s d ev el o p m e n t p r o c e s s .

R&D Over the last decade Martin Audio has reinvigorated its portfolio, significantly adding new solutions such as our constant curvature series, TORUS, as well as replacement series like BlacklineQ. In total Martin Audio has launched nearly 100 products in that time and we are continually assessing the portfolio against market trends, product lifecycles, and innovation opportunities.

We had a clear gap without columns, where market demand has been both strong and consistent. So the process is one of prioritisation against our other developments and an understanding of the specific column solutions we wanted to pursue.

That discussion had been evolving for a few years, with the research and development team bringing concepts to the table, but when we started in earnest to develop BlacklineQ last year it became selfevident there was an opportunity to introduce columns that could easily serve both mobile and install applications, and could share the differential dispersion horns present in the point source loudspeaker.

Customer feedback Martin Audio is constantly investigating and researching the marketplace, and our customers’ view of trends and product usage is a critical part of the development process. What is always an interesting exercise when it’s a lifecycle update, is getting detailed feedback on the existing series that is being replaced. There were clear insights when reviewing BlacklineX with a view of updating and these centred around accessories, easier removal of grilles, and specific performance criteria, all of which were addressed with BlacklineQ. With regards to columns specifically, this was part of a separate research project which over time we saw a natural alignment to BlacklineQ. Product launch BlacklineQ was formally launched at InfoComm Asia for a number of reasons that converged. APAC is a key region for Martin Audio and has been since the turn of the millennium when the original Blackline series was launched and was quickly adopted by the APAC region.

25 years later and the timing of the BlacklineQ launch coincided with the trade show, and it felt appropriate to have this as a focal point.

We are growing further into the APAC region, and while China has its challenges right now, that will resolve over time, and our share of the wider market suggests we have plenty of scope for growth, even if the market is still measured. We have been extremely fortunate to partner with Generation AV to manage the APAC market for Martin Audio, but it is always important that we go the extra mile for this key region. We were rewarded with a wonderous welcome, with nearly all APAC distributors joining us at the show, and significant orders for BlacklineQ. Across the board in both Europe and APAC the launch of BlacklineQ has been warmly received and with the addition of the column speakers we already now know that this is the fastest selling

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Blackline series that we have ever had. Everything looks set to make good on the product promise of ‘intelligence in every application’, with product already ordered and set for usage with small bands and mobile DJs, and installs going into bars and churches.

Easy of deployment Ease of deployment has always been a core principle to Blackline because it is serving the ‘everyday’ professional, and this for them is a key criteria. With BlacklineQ specifically there are a number of core features. Weight is a consideration in terms of a one-person lift, and this, combined with new ergonomic handles, makes for a smoother process. Deployment options are the next consideration so with both industrial design improvements and available accessories, Blackline has dedicated transit covers and can be deployed on a pole, with a wall bracket or a yoke, and has plenty of eye-bolts. In addition, we’ve upgraded the paint finish to be more durable, and we’ve improved the connection options on subs. The products can all be deployed with any suitable electronics package, while the new differential dispersion drivers deliver targeted sound where it’s needed, with less energy lost into the reverberant field for clearer, more consistent coverage across the audience. www.martin-audio.com

B elo w: The B la ck lin eQ r a n ge is d e m o n s tr a t ed a t a n Open D a y held a t M a r t i n Au d io HQ in High Wycombe, U K, in Sept ember .

B o t t o m: The f u ll r a n ge of B la c k lin eQ l o u d s p e a k er s, in c lu d in g t he c ompa n y’s f ir st c olu mn spea k er , t he Q44.

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Portlantis, Rotterdam Photography: Ossip van Duivenbode

“THIS INDUSTRY BRINGS PEOPLE TOGETHER IN WAYS THAT NOTHING ELSE CAN. THAT BELIEF HAS MOTIVATED ME IN THE PAST, AND IT DRIVES ME EVEN MORE FOR THE FUTURE.”

ALE XA N DE R P IE T S C HM A NN C E O , Ad a m Hall Group

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From humble beginnings as a flight case hardware maker in the mid 1970s, Adam Hall Group now stands as a global enterprise that manufactures a huge array of AV solutions ranging from pro audio and lighting for integrated and touring markets, to cabling and MI accessories, and much, much more.

As the group celebrates its 50th anniversary in 2025, CEO Alexander Pietschmann is proud of the company’s journey as it remains true to its early path of being ‘for the industry, by the industry’.

“The Adam Hall origin story is one of true rock’n’roll pragmatism,” stated Pietschmann. “It began in 1975 in Southend-on-Sea, UK, developing robust flight case hardware that professionalised how instruments and equipment were transported and protected on tour.

“We often say we were ‘born backstage,’ because at the time, bands were still dragging their gear around in improvised boxes. By introducing fittings, handles, and incremental innovations, we helped shape what became the modern flight case — a system tough enough for the road and reliable enough for the industry. What started with hardware for cases evolved into a company that now supports all facets of event technology — but the DNA is still the same: make the live experience work better.”

The company, which was co-founded by David Kirby, a touring musician who understood the practical pain points of the road, moved to Germany at his behest in the 1980s after he recognised the growing demand for reliable, high-quality components across mainland Europe.

This move, Pietschmann believes, was a turning point for the company as it steadily expanded product lines, built up distribution, and launched its first own brands beyond hardware.

“Step by step, we professionalised not just case fittings, but the entire supply chain — adding global logistics and our first dedicated product

development,” said Pietschmann. “By the 2000s, Adam Hall was no longer just a parts supplier, but a provider of a broad range of event technology and AV solutions.”

With a portfolio of brands with a distinctive DNA, user profile and product philosophy, Adam Hall group covers all bases, something Pietschmann believes makes the company stand out.

“The Adam Hall Group acts as the enabler: providing R&D, logistics, services, and a shared culture of quality,” he said. “This balance allows each brand to stay independent and authentic to its community — but with the strength of a global backbone behind it.

“For our customers, this brings real advantages: one-stop convenience through our B2B webshop, strong logistics and service, and reliable availability across multiple categories — without losing the unique identity of each brand.

“They can mix and match what they need, while benefiting from integrated support and innovation. I compare it to a band: different instruments, each with its own sound, but together creating one groove.

That’s how we maintain individuality and unity at the same time.”

As the company celebrates its 50 year milestone, various celebrations have been taking place throughout the year, while the focus of the business remains on growth and diversification.

“Our motto this year is ‘Honouring the past, driving the future’, and that really is our compass,” said Pietschmann. “Honouring the past means staying true to our live DNA, our hands-on culture, and above all, our people. Driving the future means transforming those values into tomorrow’s world.

“We are investing heavily in product development and R&D, in a digital mindset, and in sustainability. With platforms like QUESTRA we’re combining audio, lighting, video and control hardware with software

L e f t : A select ion of C a meo light in g f i x t u r e s w er e select ed by Light u p f or a c o n c e r t a t Win d sor C a st le t o c elebr a t e t he c o r o n a t ion of Kin g C ha r les I I I in 2 0 2 3.

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Above (lef t t o ri gh t ) : A da m H a ll c o-fou nde r D av i d Kirby along s i de T om Jen ni ng s ( F orm er Wi n g s To u r B u s O wner) and A lex a n der P i ets c h m a n n ( CEO o f A d am H al l Group); Mark us Ja h n el ( CR O of A da m H a ll G r o u p ) w i t h t h e p s ychedelic doub le-dec k er b us us ed b y Win g s o n i t s 197 2 Europ ean t o ur, wh i c h wa s purc h a s ed b y A d a m H al l t h i s y e ar .

AD AM H A L L B R A N DS IN A L EX A NDER P IE TSCH M A N N ’ S W OR DS: AH Cables covers practical connectivity solutions.

Defender offers industry leading safe cable protection.

Gravity delivers reliable, stylish gear that empowers every performer.

LD Systems is our professional audio brand, engineered for powerful sound and seamless usability.

Cameo stands for high-performance lighting technology.

Palmer offers boutique gear for purists in the studio and on stage.

for integrated systems, while also launching eco-conscious products and expanding into immersive technologies.

“But innovation is not just about technology – it’s also about people. That’s why we have built training and learning opportunities into our culture. We want to invite everyone to reskill and grow, because the future of our industry depends on it. At the same time, we believe learning is also a selfresponsibility: each of us must stay curious, keep adapting, and take ownership of our growth.

“In short, the past gives us grounding, the future gives us direction — and the combination of both, powered by continuous learning, will carry Adam Hall into its next chapter.”

Pietschmann joined Adam Hall in 2006 as part of its management team, involved at first with marketing before taking over IT and legal responsibilities. Around the same time, CRO Markus Jahnel was driving business development and sales, and together, they brought complementary strengths that shaped the next phase of Adam Hall’s journey.

“During my student time, I founded an event company that organised student parties, which later grew into running a nightclub with gastronomy,” said Pietschmann. “That experience gave me both an entrepreneurial spirit and a creative mindset. I’ve always loved creating atmospheres, and bringing people together to have a good time. Looking back, I can see that my creativity and strong sense of hospitality also had a place at Adam Hall — perfectly combining my learned skills with my passion.

“Music had always been in my life. My father was a touring musician, so I grew up around live sound and the mechanics of performance. As a child I attended many concerts, and those early experiences shaped my appreciation for audio quality, the magic that happens on stage, and the technology that makes it possible.”

As Adam Hall moves into its sixth decade of operation, Pietschmann is keen to highlight some of the lessons that

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“TH I S A N N I V E R S A R Y W AS N O T J U S T A B O U T LOOKING BACK, IT IS ALSO O UR L A U N C H P A D FO R TH E F U T U R E : W I T H T H E UN VEI L I N G O F O U R N E W ADAM HALL CORPORATE I D EN TI T Y . ”

Below: For 2025 a new pla tform for Q UEST R A was int r odu c ed for i nteg ra ted c on trol — bring ing au di o, li g h ti ng , v i deo, a nd networ k s t oget her in on e ec os y s tem .

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both he and the company has learned along the journey so far.

“Adaptability is key, and a mindset of constant change is part of our DNA,” he stated. “But I want to be very honest — managing change in today’s world is very different to how things were before the pandemic. The speed of technological disruption, combined with geopolitical instability, is unlike anything we’ve seen before.

“In retrospect, I’m grateful that I grew up in a time of relative peace and freedom — and with that I feel a responsibility, in my own circle of influence, to spread that same spirit of hope. For the younger generation, I believe we can work our way toward a more peaceful future.

“And that’s where our industry comes in. Live events, music, AV — they create community. We are not just about delivering entertainment; we are champions of human connection and guardians of authenticity. That is our true superpower, and it won’t diminish, it will only grow in importance in the actual circumstances.

“We bring people together in ways nothing else can. That belief has motivated me in the past, and it drives me even more for the future. And I know it has been true for many decades before I joined this industry.”

Anniversary celebrations To celebrate its 50th anniversary, Adam Hall acquired Paul McCartney’s original Wings tour bus from 1972, which links to the company’s moto for 2025 of ‘Honouring the past, driving the future.’

“This psychedelic double-decker is more than memorabilia — for us it represents freedom, creativity, and authenticity,” said Pietschmann. “These were the values that defined the music world back then, and they are exactly the values our industry needs to defend for the future.

“We celebrated with a large campus event, together with all employees and their families. It was a heartfelt thank-you, because without their commitment, none of this would have been possible.

“But this anniversary was not just about looking back, it is also our launchpad for the future: with the unveiling of our new Adam Hall corporate identity. This includes a comprehensive corporate identity relaunch, including a completely new design, a new corporate website and a new claim.

“The new brand claim, ‘Engineering Fascination’, describes our motivation and our goal at the same time. With its double meaning, ‘Engineering Fascination’ resolves the tension between technology and emotion: opposition becomes cooperation. At Adam Hall Group, technology works on behalf of emotions.”

In addition to celebrations, the company has been busy rolling out new

products, with a focus primarily on software and systems, and its operability within the Adam Hall Integrated Systems, a division of the company which launched in 2023.

“This year has been all about software and systems,” said Pietschmann.

“With QUESTRA we introduced our new platform for integrated control — bringing audio, lighting, video, and networks together in one ecosystem.

“That step signals our move into AV control environments, intelligent automated lighting, and installation audio. Key application fields include hospitality, education, retail, leisure, houses of worship, and hybrid multipurpose venues — sectors where seamless integration and ease of use are critical.

“At the same time, LD Systems will expand the MAILA family with passive systems, following our strategic partnership with Powersoft.

“And looking ahead, 2026 will be a milestone year for Cameo as we are preparing to launch the complete new ZENIT G2 Series and more than 15 new products — the most extensive release in the brand’s history.

“In short, we’re building not just products, but full ecosystems to connect performance, integration, and the user experience across the AV landscape.”

Adam Hall Integrated Systems was launched to meet customer demands, and Pietschmann confirmed there are big plans for this division moving forward.

“We saw the growing need for easy-to-integrate, aesthetically flexible solutions, as architects and AV consultants wanted reliability without compromise,” he said. “In addition, we’ve also seen more event technology service providers establishing a second pillar of business with installation projects.

“Many of these hybrid companies have been working with our brands and products for many years. Now we can also offer them a one-stop solution in the integrated systems sector: from audio and lighting to signal distribution and control to mounting solutions, cables and racks.

“We’re scaling into Europe and the US markets. That means more local

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reps, more trainings, and more language-specific planning tools.

“What is almost more important is our project support. We accompany our customers through every phase of a project – from the initial concept to final commissioning and beyond. This includes simulations, drawings, programming and much more – internationally and, of course, directly on site.”

Seeing Adam Hall solutions make real-world differences inspires Pietschmann, and he is always happy to see the mark the company is making on the industry, and wider culture as a whole.

“We are proud of many great installation projects this year — from hospitality and education to houses of worship and cultural venues – but two projects stand out above all for me,” said Pietschmann.

“After the devastating fire that destroyed the main stage at Tomorrowland, Cameo joined forces with an incredible team of partners to help rebuild the magic. Our fixtures illuminated the reimagined stage, contributing to the revival of one of the world’s most iconic festivals. For us, it was more than just a technical achievement, it was a remarkable example of what can be achieved through collaboration. A true celebration of resilience, creativity, and the collective power of the live events industry.

“Another recent highlight for us was the immersive audio installation for Masquerade — a bold reinterpretation of Andrew Lloyd Webber’s Phantom of the Opera on New York’s Broadway. Set across five unique stages, the production required over 1,000 audio fixtures, including CURV 500, DQOR and MAILA systems, all discreetly integrated into the architecture. The result is an immersive sound experience that adapts to the audience’s movement throughout the space.

“This project doesn’t simply ask audiences to listen, it pulls them into the story, surrounding them with sound in a way that feels alive. For us, this is the realisation of Engineering Fascination — where rigorous acoustic engineering meets live event magic.”

One area where Pietschmann sees this industry’s strength is open communication. “Our industry thrives on dialogue, not monologues,”

he said. “That’s why we see connection as a two-way street.

“Of course, we are present on the big stages — from LDI to ISE — and active across webinars, films, and our social channels. But the real magic happens when we sit down together at our Tech Talks, in workshops at the Experience Centre, or when lighting designers and engineers test our gear and give unfiltered feedback.

“For us, these moments are not about pushing products, but about cocreating the future of live experiences. At the end of the day, Adam Hall is not just a manufacturer, we are part of a community, and our job is to help that community connect, learn, and grow together.”

Asked about what threats he perceives that the industry faces, in Adam Hall’s position as a manufacturer of a range of different products for different markets, Pietschmann noted one in particular.

“The biggest threat is commodification, a race to the bottom where price wars undervalue quality and creativity,” he said. “When everything looks the same, the soul of our industry is at risk.

“We counter that by focusing on relationships and by delivering solutions that are designed as ecosystems from the outset, with technology, operation, and design working seamlessly together.

“For us, it’s never just about an individual product, but about the experience it creates. Our answers to commoditisation are education, innovation, and empathy.

Because this industry is not about moving boxes or beams of light, it’s about trust, creativity, and authentic connection.” One area where Pietschmann expects growth is the use of AI in background processes of everyday tasks. “I think AI will transform certain things such as predictive maintenance, adaptive EQ, automated light mapping, but it won’t replace the show,” he said.

“We are already using within our R&D — enhancing, not replacing the human factor.

“We see AI as a spectrum. Today, it’s our backstage co-pilot. Tomorrow, it may even become part of the performance itself. Our role at Adam Hall Group is to stay ahead of these trajectories by building systems that are open, scalable, and human-centred, so professionals can decide how far they want to go,” he continued. “Whether AI remains invisible, becomes artistic, or even redefines live entertainment, our mission is the same: to empower creativity, not constrain it.”

The use of AI has grown considerably across the Pro-AV industry, and is one of a number of trends that Pietschmann pays close attention to.

“We see three powerful trends driving the future of our industry,” he stated. “Firstly, immersive experiences where audio, lighting, and visuals merge into one seamless, emotional journey. Secondly, a sustainable modularity, with products that are scalable, repairable, and designed for long-term value. Thirdly is the rise of intelligent software and AI, making systems adaptive and upgradeable.

“Monitoring these trends lies at the heart of the launch of QUESTRA, our platform for integrated AV control. It brings audio, lighting, video, and networks together, making immersive environments easy to design and operate.

“And because creativity should never be limited, we designed QUESTRA as an open solution that integrates smoothly with third-party control systems. Our customers love the freedom to combine products in ways that perfectly fit their projects, and we believe partnerships and open platforms are the key to unlocking that freedom.

“But beyond technology, there’s a deeper shift,” continued Pietschmann. “Young people today spend most of their time in front

Lef t: C ameo fi x tures u ti li s ed a t th i s y ea r’ s T omorr owla nd fes ti v a l, wh i c h wen t a h ea d d e s p i t e a huge fire wh i c h des troy ed m uc h of th e m a i n s t a g e jus t days ea rli er.

Above and ri gh t : A n i m m ers i v e s ound i ns t a l l a t i o n at Mas quera de, a rei n terpreta ti on of A n dre w L l o y d Webber ’s Ph a n tom of th e O pera , wh i c h i s se t ac r o s s five s t ag es a n d uti li s es ov er 1 , 000 LD Sy s te m s louds p eakers .

(Above p hoto: Lu i s Su a rez. R i g h t ph oto: O sc ar O u k ).

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of screens. They’re constantly connected — but often not truly connecting.

Many feel lonely, and increasingly they question what is authentic and what is artificial.

“At the same time, the cost of producing digital content is falling rapidly, creating an endless flood of material that makes it harder for anything to truly stand out. This fuels a powerful countertrend: the human desire for real, shared experiences, and that is where our industry comes in. Live entertainment and brand encounters are becoming more valuable than ever. Every company should invest at least as much in live formats as they do in digital productivity, because this is how you build relationships that last. At Adam Hall Group, our role is to provide the professional audio, lighting, and stage solutions that enable brands and creators worldwide to engineer these unforgettable, authentic moments, precisely the kind of experiences that digital alone can never replace.”

An area where Pietschmann admits there is always plenty to see is the company headquarters, located in Neu-Anspach, to the north of Frankfurt, where they have built up quite the archive of memorabilia.

“The latest addition of the Wings tour bus from 1972 is a real highlight, but that is a bit of an exception because normally we’re not adding treasures of that size to our collection,” he smiled. “It’s slightly unhandy, you could say, but it represents so much more than a piece of music history. For me it is a symbol of vision, reinvention, and creative spirit. The moment it arrived, it sparked imagination and dialogue across generations.

“Beyond the bus, we also have an original Edison phonograph from the 19th century, a vintage audio and vinyl room, iconic guitars, fashion pieces, and our Rock ’n’ Roll Library with over 500 books on the history of music and creativity. Everywhere you look, there are hidden gems to be discovered.

“And we’re not stopping there; we are already working on adding another special piece to the collection. For me, it’s not about memorabilia, but about keeping the spirit of music and live culture at the heart of our company.”

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I N T E RV I E W - ALE XAN D E R PI E TSCH M AN N | WW W.MONDODR.COM

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A r t of Foot b a l l COMPANY: NaoStage LOCATION: Manchester, UK

Football and art share a deep connection – evoking human expression and emotion, with the sport globally known as ‘the beautiful game’. Internationally renowned artist Ryan Gander sought to explore how the integration of technology could combine art and football to create a playful exhibition at this year’s Manchester International Festival. Collaborating with Naostage, Gander was one of six artists to work with football stars – including Manchester United legend Eric Cantona, Lioness and current Manchester United player Ella Toone, and Edgar Davids – to create Football City, Art United, an interactive group exhibition conceived by World Cup winner Juan Mata. Using Naostage’s K SYSTEM, a spotlight dynamically tracks visitors throughout the gallery, creating an interactive, ever-changing experience. This gave visitors the ability to envision the spotlight their favourite football hero is placed under. The collaboration began through discussions with Gander and his studio, Holly Shuttleworth’s team for Factory International, and Naostage’s team, focusing on a concept that merges cutting-edge technology with artistic vision. The project called for a spotlight capable of automatically tracking visitors as they move through a space, following each individual until they exit, and then engaging with the next visitor entering the gallery. The system adapts fluidly to multiple viewers in the space, creating a playful and unpredictable interaction.

The installation needed to feel simple, plug-and-play, and adaptable to a variety of gallery spaces. Both Naostage and Ryan Gander’s team were very committed to ensuring this became a full-fledged artwork, and Naostage’s K SYSTEM provided the precise technology needed to bring this vision to life.

The project was initially tested at Ryan Gander’s Studio, Solid House, in early 2023, allowing the team to refine the system’s capabilities before installation at MIF. Testing at the studio provided the opportunity to calibrate the tracking behaviour and ensure the spotlight responded seamlessly to visitor movement. The installation was executed by 2B Heard, Naostage’s UK distributor, using two KAPTA units to cover the exhibition space.

The K SYSTEM, with its beaconless tracking capabilities and intuitive KRATOS interface, enabled conditional logic scripting to control spotlight behaviour which allowed the light to switch between targets, follow visitors precisely, and adapt dynamically to multiple people in the gallery. Naostage’s technology removed the technical limitations often associated with traditional interactive tracking systems, giving the exhibition an easy-to-use, reliable platform to realise a creative vision that would have been extremely complex to achieve otherwise.

The success of this project has informed future development at Naostage and opens the door for further international artistic exhibitions, demonstrating the K SYSTEM’s versatility beyond traditional AV applications.

“The public reaction has been incredible,” said Alexis Reymond, CSO at Naostage. “Visitors were delighted and amused to realise they were being followed by the spotlight, bringing a sense of wonder and engagement to the gallery experience.”This collaboration between Gander and Naostage highlights the potential of technology in contemporary art, setting a new standard for interactive installations in museums and exhibitions worldwide. www.naostage.com

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Nik ito D o mus Wo rl d COMPANY: Yamaha LOCATION: Paris, France Photo: Ka rl C h ris t m as Wo rds : Ro bin J oh ns on

Nikito Domus World is a large, immersive activity centre in the Paris suburbs, featuring a wide range of entertainment for families, celebrations, team building and more. High quality, background sound was crucial to the experience, but its location meant it needed to be closely contained. Yamaha’s flexible range of installation speakers has helped to make the venue a major success.

Activities across the large, two-floor complex range from arcade games, immersive quizzes, darts and karaoke to crazy golf, axe throwing, bowling, trampoline rooms, escape rooms, laser quest and an e-karting circuit. With a restaurant, bar, stage area for live entertainment, a conference room and eight bookable ‘anniversary’ rooms for private events, it’s a labyrinth of different amusements for everyone.

Acoustic consultant and systems integrator Pierre Hugonnet of Paris-based Immersound installed the acoustic treatment in the venue’s basic shell, but he realised the planned audio system would not deliver the tight acoustic control needed in the 10,000 sq m venue.

There were two critical factors that had to be satisfied. Firstly, it had to deliver high quality background sound which added to the sense of excitement, but without being overpowering for people who were not taking part. Secondly it was essential not to disturb neighbouring businesses by minimising acoustic bleed and the transmission of

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vibrations through the structure. Hugonnet knew the speakers for the project had to be carefully chosen for their quality, SPL and coverage, but also able to accept custom mountings. “We had to avoid letting sound travel through the concrete, but architectural safety meant we could not fix brackets directly to the beams,” he said.

Hugonnet’s experience in houses of worship and other public spaces led to him suggesting a combined approach of equipment and extra, localised acoustic treatment to deliver unified, ‘present’ sound, while maintaining the allimportant containment. Yamaha loudspeakers were chosen, thanks to the wide product range which can solve many problems in this kind of situation, where very close attention to detail in the design is essential.

A total of 128 were installed in a zoned system, managed by an MRX7-D signal processor. VXS8 and VXS5 units were chosen for areas where speakers had to be fixed on concrete beams, using custom-designed, spring-loaded mounting brackets which isolated the sound from the concrete. In the indoor bar and restaurant areas where the ceiling is higher, VXH series pendant speakers were specified, while in bathrooms and corridors, VXC series celling speakers were installed. All are powered using Yamaha XMV series multi-channel amplifiers.

“For me the secret is to set the level of the speakers individually, but then you need each

R E P O R T - PAR KS, ATTR ACTI O NS & M U SE U M S | W W W.MONDODR.COM

speaker to be on a separate channel. The budget didn’t allow this, so there was a degree of compromise. but we delivered an even sound throughout the venue, with no volume hotspots,” said Pierre.

In the eight ‘anniversary’ rooms Yamaha VXL series slimline array speakers were chosen, discreetly installed in pairs each side of a video screen. A Yamaha MTX5-D matrix processor provided 24 inputs and 16 outputs to accommodate any party. Each room also included a Audac Bluetooth receiver.

Staff can control the volume of the various zones, either wirelessly using an iPad with a custom ProVisionaire Kiosk interface through Octavio Stream streaming audio players to choose the music in the different zones, or using an MCP1 surface mount touch panel in the main office. In the live performance stage near the bar area, a Yamaha DM3 digital mixer and a NEXO PA system were installed, the latter also featuring customised spring mounts to minimise sound transmission through the structure. The installation of the system took a three-strong team two weeks, with Frédéric Borde from Yamaha France assisting the programming. “The relationship with Yamaha has been great,” said Hugonnet.

“Frédéric has been very helpful, always available to answer programming queries and to help find solutions, and I really appreciated that.” www.yamaha.com/2/proaudio

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Yebis u Brewer y COMPANY: Powersoft LOCATION: Tokyo, Japan

Powersoft’s Mezzo and Dynamic Music Distribution (DMD) are at the heart of a sound system delivering three zones of high-quality audio in Yebisu Brewery Tokyo, a historical brewery and museum in Tokyo.

Once a quiet museum, the new sound system overhaul and installation of the brewing facility have transformed it into a vibrant, multi-zone audio experience with beer tastings in the taproom, exhibitions and a shop for visitors to find the perfect souvenirs.

Yebisu Brewery Tokyo’s audio revamp was driven by the need to shift its image from “classic” into a lighter and more playful one, aligning with the changing taste of the modern audience.

“We wanted to create a vibrant atmosphere that would change the Yebisu beer’s previous reputation,” said Takako Okii, Marketing Division Deputy Manager from Sapporo Breweries. “We also needed to get rid of the echo issues and we believed that high-quality sound was crucial in delivering an exciting and memorable experience. This is why we needed a new music system.”

Tasked with this challenge was Mood Media Japan, which undertook the audio overhaul in the entire area. “We installed the system in three zones, with each area playing a different sound,” said Yamato Shibasaki, from Mood Media Japan Inc. “We designed it in a way that minimises the sound from overlapping.”

Stepping into the brewery, the visitors are welcomed by the Yebisu Beer theme song, ‘The Third Man Theme’ by Anton Karas, played from two different sources to draw attention to the centre of the facility and convey the message of brand’s diversity. Shibasaki explained that using two different music sources highlights the many ways a single piece of music can be experienced. In the museum area, soft background music allows visitors to focus on the exhibition and feel the atmosphere of Yebisu Beer. In contrast, the taproom features livelier music, creating a

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dynamic transition between the brewery’s history and its future.

“It was a very interesting project for us,” stated Shibasaki. “The brewery’s open layout posed acoustic challenges, particularly with high ceilings and minimal partitions.”

To overcome this challenge, Mood Media adjusted loudspeaker positions and utilised the DSP capabilities of a Powersoft’s Mezzo amplifier to fine-tune sound quality. “We lowered the loudspeaker positions and adjusted the direction and used the DSP on Mezzo to regulate the EQ,” confirmed Shibasaki.

The build-in delay function on Mezzo further synchronised audio across the entrance and the museum, eliminating any perception of sound lag between the zones.

In addition to Mezzo’s advanced sound management, Powersoft’s Dynamic Music Distribution (DMD) offered significant flexibility.

DMD offers system integrators the ability to scale inputs and zones conveniently with dynamic routing capabilities embedded in its amplifier platforms. This makes it simpler to share music between different zones independently from the source location without the need of a centralised DSP. According to Shibasaki, DMD allowed him to conveniently design the sound system, as he was able to define the core equipment early in the process, simplifying budgeting and future adjustments. “We could modify the number of sources and zones without reworking the wiring or adding extra hardware,” he added.

Ease of operation was also a key consideration, which is why Mood Media Japan integrated Powersoft’s WMTouch control panel, making the system highly intuitive, while the compact design of Mezzo amplifiers also addressed practical controls because the venue’s rack room is small. www.powersoft.com

Merli n T heme P a r ks COMPANY: Clear-Com LOCATION: UK

A successful implementation of Clear-Com’s EQUIP intercom systems has enhanced ride operations, safety and guest satisfaction through improved team communication across Merlin Theme Parks in the UK. As a long-standing trusted technology partner, Tyrell introduced Merlin to Clear-Com’s EQUIP system, a hands-free, full-duplex intercom solution designed to streamline real-time conversations between ride operators, loaders, and platform staff.

From the outset, Tyrell worked closely with both Merlin and Clear-Com to scope the technical requirements, facilitate product demonstrations, and ensure each deployment was tailored to the unique footprint of individual attractions. Kiran O’Connor, Continuous Improvement Lead at Merlin Theme Park, highlighted the communication challenges the park faced. “People would stand at a phone or a point on the ride having conversations, they weren’t checking bars or batching people into lanes. That was a bottleneck we set out to solve. “We needed a handsfree, full-duplex communication system without the need to press a button or pick up a phone. After evaluating several suppliers, Clear-Com’s EQUIP system hit everything we were looking for.”

The EQUIP system’s integrated battery life lasting a full operating day, with no trailing battery packs, and natural full-duplex conversation capability have revolutionised communication for the teams.

“Initially, some team members were hesitant, wondering if they should talk because suddenly everyone could hear them. But very quickly, they settled in and understood when the right time was to have those conversations. Things that previously required stopping operations to speak to a ride operator can now happen instantly over the headset,” said O’Connor.Clear-Com partnered closely with Tyrell throughout the rollout, customising the solution for each attraction’s unique needs. “Tyrell has been instrumental in making this project a success,” said Ben Turnwell, Clear-Com’s EMEA Regional Sales Manager. “They have been involved at every stage, from technical planning to on-site support and aftercare.” O’Connor concluded: “At each new attraction, Clear-Com visits our site, understands our operation, and makes bespoke recommendations on transceiver placement and cabling routes to optimise performance.” www.clearcom.com

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Hund er fo s s en Fa i r y ta l e P a r k COMPANY: Genelec LOCATION: Hunderfossen, Norway

Known as Norway’s Fairytale Park, Hunderfossen is an awardwinning tourist destination, welcoming more than 250,000 visitors each summer with over 60 family attractions. The park recently unveiled its newest adventure, Musikkfabrikken (The Music Factory) an interactive exploration of classical music that blends visual art, animated characters, and a cutting-edge sound system powered by Genelec Smart IP loudspeakers.

Housed in an unused 4D cinema, Musikkfabrikken attraction was developed by Sigurd Slåttebrekk, a Norwegian classical pianist and professor of piano – who worked with Hunderfossen and the Oslo Philharmonic Orchestra – to make classical music more accessible and exciting for adults and children alike.

Norwegian integrator, Bravo, was tasked with finding a sound system capable of delivering an exciting yet comfortable musical experience for visitors of all ages. Norwegian audio-visual consultants, Benum, played a pivotal role in the attraction’s success, demoing a variety of loudspeaker systems for Slåttebrekk and the Bravo team. Slåttebrekk’s classical expertise meant he knew exactly what he was looking for when it came to sound quality and impact. “Sigurd was heavily involved in the selection process,” said Benum’s Bjørn Erik Hexeberg, who led the sound design and testing for Musikkfabrikken.

“We ran about five or six demos, each time testing new elements – volume, control, and so on.” After listening to the music and sound effects that had been mixed for the attraction through each loudspeaker, it became clear that Slåttebrekk and the Bravo team were leaning towards Genelec Smart IP. “Not only did it sound incredible, but the control and easy integration with Q-SYS was a major plus for the smooth operation of the interactive attraction,” he explained. “During the demos, we spent a lot of time discussing PoE loudspeakers and using Q-SYS to manage different zones.

As Q-SYS formed the backbone of the whole project, integrating Smart IP loudspeakers was straightforward. It gave us precise control and real-time status monitoring of each loudspeaker.”

When it came to the installation, loudspeaker placement was crucial. In the waiting area, colourful animated characters appear

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on screen to perform for the visitors waiting to enter the main cinema show. “My original plan was to position loudspeakers in a straight line from the front to the back of the room,” Hexeberg said. “We set everything up in the Benum office first – replicating the size, layout, and ceiling height of each zone.”

The waiting area features sloped zig-zag ramps, giving visitors clear sightlines to the front screen. “After testing in the office, I found that placing loudspeakers along the sides of the room, in line with the viewing ramps, offered a far more immersive listening experience.” After the main cinema show, guests enter an interactive room, featuring touch walls and projected displays.

“A major part of Musikkfabrikken is the interactive displays,” said Hexeberg. Due to its interactive design, this room posed a much greater challenge. After finding that the sound was not direct enough when the loudspeakers were placed under the screens, Hexeberg installed eight 4420s in the floor and eight 4420s in the ceiling, complemented by four 7360 subwoofers.

“The result is incredible, the ceiling speakers provided the power and clarity directly to visitors, while you could feel the under-floor speakers adding depth to the immersive experience,” he said.

Since Genelec Smart IP loudspeakers feature built-in Dante and AES67 networking, this meant that the entire system could handle audio, power and control over a single CAT cable.

“The single-cable setup made the installation so simple,” added Hexeberg. “It simplified routing and minimised the need for additional power outlets, which was essential for placing loudspeakers in the floor and ceiling.

The integrators were able to hide the loudspeakers discreetly without interfering with the interactive displays, while maintaining powerful and direct surround sound. “The guest feedback has been outstanding, and the sound experience is essential to the success of such an attraction,” concluded Hogne Høstmælingen, Hunderfossen’s CEO. “We invested significantly more in the audio than we typically do for the park’s other attractions – and it has truly paid off.” www.genelec.com

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LifeWave Wel c o m e Ce n te r COMPANY: AV Stumpfl LOCATION: Draper, Utah, USA Photo: Orig inal S y nd ic at e.

High-end LED technology driven by PIXERA media servers is taking sales reps on an immersive journey to the stars and back at the sci-fi-themed LifeWave Welcome Center in Draper, Utah.

The Welcome Center, commissioned by LifeWave founder and Star Trek enthusiast David Schmidt, is a permanent experiential space designed to inspire and engage the wellness company’s most senior ‘brand ambassadors’. Emmy Award-winning designer Doug Drexler – known for his work on various Star Trek series and films – was brought in to oversee the creative design of the space, with California-based integrator Original Syndicate tasked with systems design and the technical integration of the ambitious project.

Visitors to the Welcome Center (typically groups of successful LifeWave sales representatives, who are given 20-minute guided tours of the space) begin their journey in the Hologram Room, where they’re greeted by a life-sized holographic introduction from Schmidt, delivered via a Proto Epic holographic display. From there, they enter the Time Travel Tunnel, a cinematic corridor lined with ultra-fine-pitch Megapixel Ventana microLED panels – including 0.8mm-pitch walls and a custom ceiling configuration using 1.25mm Ventana – displaying content related to the company’s history and product offering.

“The initial design called for a series of portrait LCDs in the tunnel,” recalled Marcus Bengtsson, CTO of Original Syndicate. “But we were able to show, through real-time pre-visualisation, how a seamless LED solution would vastly improve the experience.”

The LED display system – the largest architectural deployment of

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Megapixel Ventana to date – is driven entirely by a stack of PIXERA two QUAD Gen.2 media servers. The tour continues to a series of interactive kiosks, each using 55-inch Sony OLED displays to showcase product information, ambassador success stories and company milestones.

Finally, the futuristic Beyond Tomorrow area uses transparent LG OLED cylinders to display layered content about the company’s upcoming products, giving the impression of the content floating in space.

The PIXERA platform not only handles playback for all four zones but also allows easy integration with third-party systems, according to Bengtsson. For example, the server software’s built-in PIXERA Control allowed Original Syndicate to write custom code within PIXERA to trigger specific content – such as automatically switching languages in the hologram sequence based on the group being hosted. “That was a huge value-add,” he said. “We didn’t have to rely on external show control systems – we could do it all natively within PIXERA.” Ease of use was also a major factor in the choice of PIXERA. For simplicity, the entire system is operated via a single-button interface using a Stream Deck (linked to PIXERA), although operators also have access through a 4K KVM system linked to a dedicated control room.

“Our aim was to create something immersive, reliable and futureproof,” Bengtsson concluded. “This isn’t a typical corporate activation – it’s a permanent experience space, built to the same visual standards as a virtual production or broadcast environment. PIXERA helped give us the creative freedom and technical scalability to make that happen.” www.avstumpfl.com

Playa M a ya Water P a r k COMPANY: EAW LOCATION: Beijing, China

Playa Maya Water Park at Beijing Happy Valley is a new destination for locals and tourists, featuring a large wave pool, China’s first white water roller coaster, and 35 water-based attractions. Chinese AV distributors and solution providers EXPro was tasked with delivering a clear and reliable sound reinforcement system for the almost 7,000 sq m wave pool. The large outdoor performance stage needed a sound reinforcement system that delivered high SPL and wide coverage to ensure clarity and intelligibility across the entire audience area. The loudspeakers chosen needed to be installed at high positions, requiring a specialised and secure installation method. To address the challenges presented, EZPro chose EAW loudspeakers to ensure optimal sound quality and durability. For the main stage setup, 24 KF210 loudspeakers were installed, with 12 cabinets hung on each side of the stage in single columns. The system’s proprietary 3-point rigging system ensures secure and discreet installation, and to provide deep, powerful bass, 12 SB1000zP subwoofers were stacked in arrays of six on each side of the stage. For stage monitoring, four MK5394i loudspeakers were selected, while an additional eight MK5394i loudspeakers were installed around the wave pool to serve as fill speakers, providing consistent sound coverage throughout the area. EAW’s Resolution 2 software was used to design the audio system to achieve uniform SPL coverage, with a minimum SPL of 105 dB Broadband. The EAW sound reinforcement

system not only met the challenges of operating in a harsh water environment but also effectively conveyed the excitement and energy of the venue. www.eaw.com

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B YD Z hengzho u D i S p a c e COMPANY: Christie LOCATION: Zhengzhou, China Photo: Orig inal S y nd ic at e.

An immersive experience at electronic car maker BYD’s Zhengzhou Di Space museum is being powered by Christie’s Inspire Series 1DLP laser projectors. Within the 15,000 sq m complex is an holistic exploration of the power and artistry of new energy vehicles which spans four floors and over 300 exhibits. Visitors are guided through interactive visual narratives that merge science, technology, and innovation, providing a comprehensive view of BYD’s automotive vision, and the potential of new energy for future mobility.

A total of 26 Christie DWU860-iS laser projectors are at the heart of Di Space’s dynamic visuals, delivering vibrant, lifelike imagery that enchants visitors in each themed area.

Christie’s trusted partner Jianye Display installed and commissioned the projectors, which illuminate the facility with attractive content, from the striking feature wall on the first floor to the expansive ‘ribbon space’ exhibition hall, and detailed displays on the second floor.

“Our choice of the Christie Inspire Series projectors for Di Space is driven by their exceptional quality and reliability,” said Yong Hong, Project Manager at Jianye Display. “These 8,500-lumen projectors consistently deliver astonishingly vivid visuals that delight and engage visitors in every exhibit. With its robust design, quiet operation, and reliable performance, the Inspire Series empowers us to create an unforgettable, immersive experience throughout this new energy vehicle museum.”April Qin, Senior Sales Director for China, Enterprise, Christie, added, “BYD’s vision for Di Space aligns perfectly with our commitment to delivering impactful visual experiences that educate and inspire.

“We’re proud that the Inspire Series laser projectors are contributing to such a unique and engaging space where visitors can experience the potential of new energy vehicles firsthand. Christie’s technology brings BYD’s mission to life with every remarkable display.”The visual displays across the facility vary in size, with the largest measuring an impressive 14m by 4m, and smaller exhibits at 1.6m by 1.6m. This variety creates a fascinating array of experiences for visitors. According to Hong, one of the project’s highlights was navigating site-specific challenges, such as manually aligning projection angles to accommodate intricate design details. These efforts were aimed at optimising the displays’ impact, ultimately enhancing visitors’ knowledge and confidence in science and technology, while contributing to the goal of a robust, sustainable automotive future. The Christie Inspire Series projectors deliver WUXGA or 4K UHD resolution and produce up to 9,600 lumens of brightness, making them ideal for small-to-mid-size environments. Equipped with 1.25-2.0:1 fixed motorised zoom lens, an IP5X dust-resistant optical engine, and 24/7 performance, the Inspire Series projectors are highly regarded for their ability to create immersive and amazing experiences that delight guests. www.christiedigital.com

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Luna L una COMPANY: Adamson LOCATION: New York City, USA

Luna Luna, Forgotten Fantasy is the brainchild of Viennese artist André Heller, who conceptualised an art amusement park and opened it in Hamburg, Germany in 1987. The park featured rides and attractions designed by contemporary artists like Jean-Michel Basquiat and Salvador Dalí. However, the park eventually fell into obscurity and eluded Heller for decades, despite his efforts to rediscover it. That is, until a series of individuals, including hip-hop artist Drake, helped revive the long-lost project. To power this amusement park’s audio experience, the team behind Luna Luna turned to Adamson to provide a comprehensive and flexible audio solution to meet their needs. The setup consisted of 18 CS10p, 11 CS7p and seven CS119 intelligent loudspeakers. An additional eight IS5c and five PC5 passive fills were used for smaller, discreet locations, powered by Lab Gruppen D-Series amplifiers. Signal distribution was handled by an RME AVB Tool converting MADI to AVB and a Gateway to convert AVB to AES3. All networking was handled by a single Luminex Gigacore 14R. CS10p loudspeakers with 100˚ by 50˚ waveguides were mounted on columns to provide ambient background music while patrons browsed the Forgotten fantasy.

“The versatility, especially with power distribution and the AVB networking in this current system, was crucial,” said Head of Audio, Demetrius Moore. www.adamson.ai

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C ité I mmer s ive V i k i n g COMPANY: Cameo Lighting LOCATION: Rouen, France

Event technology service providers Novelty have designed and implemented a sophisticated lighting system utilising Cameo fixtures at the Cité Immersive Viking museum in France. The multimedia exhibition retraces the Viking invasion of Normandy in the ninth and tenth centuries, and brings the culture and history of the region to life in a multimedia and immersive way. Mathieu Cabanes was responsible for the lighting design of the various exhibition rooms. The renowned French LD originally comes from the world of opera, but has also made a name for himself with major corporate and sporting events. In the Cité Immersive exhibition, Cabanes relied on the versatile LED bars from the Cameo PIXBAR G2 series and the RGBW PAR spots from the Q-SPOT series, among others. “My aim was to convey emotions to visitors through the world of the Vikings,” explained Cabanes. “Inspired by real stories and facts, we have created an evolving cycle in each room that tells about different moments in the life of a Viking.”

With its numerous video walls, 360° video mapping, 3D sound design, historical reconstructions, and the use of evocative scents, the exhibition combines classic and modern techniques to bring the ways of the Viking to life. “It was important to the client to create an exceptional visual experience for visitors.” added Novelty’s Morgan Coeurdray. “For this, we needed an aesthetic, reliable, precise, and high-quality lighting solution that also stayed within the budget.”

Within Cité Immersive Viking, every room is different featuring its own dramatic composition and characteristics. No room makes this clear quite like ‘Bifröst’ – a space-time corridor that takes visitors from the Viking age to the present day. Cabanes and set designer Sophie

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Liger worked with dichroic glass for this room. To further enhance the sparkling, iridescent effect of the glass, Cabanes placed the PIXBAR SMD IP G2 IP65 SMD LED bars in a specific pattern on the ceiling for a dynamic and multicoloured visual effect.

In contrast to his work in theatre and opera, Cabanes was able to decide independently which lights he wanted to use for the exhibition.

In addition to the PIXBAR SMD IP G2, the PIXBAR 400 IP G2 and various Q-SPOT LED PAR spots in different wattages and LED configurations were also used to show off Liger’s set elements to their best advantage. Cabanes was particularly impressed by the Fresnel spots in the F series which were used to precisely illuminate the longboat (drakkar) in the exhibition. “In addition to the different sizes (F1 to F4), I like the variety of LED modules and housing versions (T, D, FC, PO, IP, FC+),” said Cabanes. “This means I can always find the right light for the application in question. At the same time, the devices can be operated quickly and intuitively. The zoom controls, shutters, and physical potentiometers on the devices remind me a lot of products that we regularly use on TV sets.”

In addition, the lights had to be as compact as possible in order to be integrated discreetly into the exhibition rooms, which had low ceilings.

“The technology used forms the basis of the immersive experience, but must not distort the creative and historical aspects of the exhibition,” explained Coeurdray. “Ideally, the technology isn’t even perceived as such by visitors. Of course, the budget also played an important role, for me, the price-to-performance ratio of Cameo is almost perfect.” www.cameolight.com

Nati o na l M a r i t i m e Mu s e u m COMPANY: A.C. Special Projects LOCATION: London, UK

A lighting and rigging system at Ocean Court, which forms part of the National Maritime Museum in Greenwich, London, has been supplied and installed by A.C. Special Projects (ACSP) in partnership with GVAV. The project delivered a robust, high-specification solution that enhances the flexibility and visual impact of the Museum’s events programme, while seamlessly complementing the architectural elegance of the glassroofed atrium. Working closely with GVAV and project managers, ACSP designed and delivered a complete turnkey system comprising LED stage lighting fixtures, lighting control console and distribution network, and a truss grid and banner truss system with motorised control. Lighting control is managed by an Avolites Quartz Lighting Console, running Titan software and offering powerful performance in a compact footprint. It outputs sACN lighting data, which is distributed by a Luminex GigaCore 30i network switch and converted to DMX by the Luminex LumiNode 2.

Power distribution is handled by the Vari-Lite RigSwitch+ Performance 24, with external relay control from the Quartz console via sACN for efficient, flexible operation. The rigging structure features various sizes of SIXTY82 TPM29S truss, providing a robust and adaptable grid structure, along with custom Tourflex Cabling for DMX, Ethercon, and power distribution. The installation features a range of PROLIGHTS LED fixtures, selected for their output quality, efficiency, and versatility, made up of 12 each of the Astra Profile400, Astra Wash37Pix and Solar48Q fixtures.

Together, these lighting fixtures provide a balance of performance, colour precision and energy efficiency to suit a wide range of event applications.

The combination of PROLIGHTS, SIXTY82, Avolites, Luminex, and VariLite products offers a fully integrated and future-ready system for the National Maritime Museum’s busy events programme. www.acspecialprojects.com

Ingen i um M us eum N e t wor k COMPANIES: Carousel Signage, BrightSign LOCATION: Canada

The corporate parent of three Canadian museums has found new freedoms in digital signage content management and network expansion with its recent transition to a holistic cloud-based architecture.

Fuelled by Carousel Cloud software, BrightSign media players and BrightSign’s BSN.Cloud service for secure media player management, the Ingenium AV/IT team has quickly scaled from 15 end points on its Canada Science and Technology Museum campus to 50 across all three museums. Based in Ottawa, Ingenium also owns and operates the Canada Aviation and Space Museum, and Canada Agriculture and Food Museum. All Carousel and BrightSign components live on a common IT infrastructure with native cloud connectivity between all points, empowering network operators through remote management software, secure content delivery and seamless technology integrations.

Carousel Digital Signage and BrightSign established an official partnership in 2017, with Carousel Digital Signage among the first to integrate BrightSign’s BSN.Cloudservice into its software ecosystem in 2019.

The Canada Science and Technology Museum campus also includes the Ingenium Centre, an artifact and archive collection storage facility that is open to the public and is part of the Carousel Cloud network. In addition to public-facing signage, Carousel and BrightSign feed corporatethemed content to staff and visitors on seven displays within Ingenium’s corporate office areas. This was in fact the first sign of what was to come.

“I was on staff with the systems integration firm that installed the initial on-prem Carousel servers and corresponding displays in the staff lunch rooms,” said Brian Wragg, AV Specialist for Ingenium.

“We installed Windows-based media players with those servers. I later joined Ingenium around the time that the Science and Technology Museum went through a major renovation, which included digital signage for visitor information and visual content. We decided to stay with Carousel, but transitioned to BrightSign for media players.”

Ingenium stayed with Carousel because mainly because of its ease of use.

“We evaluated other systems but they all proved too complicated,” said Wragg. “Our creative services team handles most of the content creation,

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scheduling and uploading, and other users have access to certain zones.

There was no reason to shake up that formula, and our decision to shift to BrightSign was another reason to stay with Carousel.

“Now that we have moved to Carousel Cloud, there is an entirely new layer of simplicity and harmony across the network. The BrightSign players are rock-solid. We can synchronise content between them, and we can pipe content from indoor to outdoor screens without having to switch player inputs. BSN.Cloud allows for that freedom, and gives us the power to remotely manage, monitor and control all players.”

All museums feature admission screens, which list prices, membership promotions and brief overviews of the daily schedules.

The Science and Technology Museum includes a cluster of five screens that offers overviews of current and future events across all three museums plus wayfinding maps for visitor navigation.

New to the network are interactive screens that prompt visitors to submit photos for presentation in the Science and Technology Museum and Aviation and Space Museum. The BrightSign devices installed behind each screen are a mix of players powering 1080p and 4K content. “We have a lot of artifacts with national historic significance at the Ingenium Centre, and very nice images of our staff working with artifacts and prototypes for interactive exhibits,” said Wragg. “It made sense to present these in 4K, which visitors see on a 65-inch display.”

The transition to a cloud network has also made life easier for the IT department and the creative service staff, the latter of whom typically work from home. “They no longer have to VPN 500MB files to the on-prem server, and they can preview new content without having a physical player in their presence,” said Wragg. “Carousel Cloud manages everything efficiently, and the supervisor in charge of the IT network loves that Carousel consumes minimal bandwidth and has no VPN requirement. Overall, Carousel Cloud makes it easy to create, schedule and change content, and BrightSign brings everything to life with exceptional reliability. Everyone benefits.” www.carouselsignage.com | www.brightsign.biz

B eeld & Gelui d M u s e u m COMPANY: PPDS LOCATION: Hilversum, the Netherlands

The Beeld & Geluid Museum in Hilversum is home to one of the largest media archives in the world, and recently it turned to PPDS to successfully reduce paper wastage used for its daily welcoming posters and communications, seizing the unique and highly sustainable benefits of ‘zero power’ remotely managed Philips Tableaux ePaper displays.

Located on Media Park, around a 30 minute drive from central Amsterdam, the museum is one of the country’s most recognisable buildings, with a colourful façade of 2,244 rotatable glass panels, which is matched only by the institution’s awe inspiring internal architectural design. Opened in 2006, all areas of the building – from 16m underground to 26m above – are dedicated to managing, safeguarding (archiving), and showcasing all types of media, from radio and television programs to video games, podcasts, and social media.

In addition to revolving exhibitions, the venue also regularly hosts a variety of public, educational, and corporate events, and features two large theatre halls, each with large screens and coloured LEDs incorporated into the walls and ceilings.

With a rich history of visual technology innovation dating back to the dawn of the commercial audiovisual era, Philips products – both old and new – feature prominently throughout.

Hylke Thiry, Team Manager Sales and Business Developer, Beeld & Geluid, commented: “Philips has been at the forefront of audiovisual innovation since the very beginning, and with its Dutch heritage, we are immensely proud to be home to many of its products.”

Aligned with their commitments to sustainability, the Beeld & Geluid team wanted to cut down on the amount of paper wastage generated through the museum, which included personalised welcome messages, upcoming events, exhibit information, wayfinding, and more. Seeking a digital alternative and working closely with PPDS, Beeld & Geluid were able to seize the latest innovations and breakthroughs in ePaper display technology, a market being driven by PPDS and long-term technology partner, E Ink. Capable of displaying a constant static image

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for days, weeks, months, or even years without using a single kilowatt of energy (or even needing to be plugged in) PPDS’ multi-award-winning 25-inch Philips Tableaux displays were the standout choice and a true game changer for the museum, adding an ever-growing list of benefits and capabilities. Versatile and portable by design, the Philips Tableaux displays can be placed anywhere in the museum, including in permanent and temporary installations. Running on an Android SoC, the museum’s team can manage and update content either manually or entirely remotely. This allows effortless tailoring of screens to meet the unique needs of guests and visitors; content can easily be changed based on factors like location, time of day, current event, personalised greetings, or important safety information. Displays only require a connection to an electricity source in the museum when content is being updated, immediately reverting to zero power upon completion.

One image change uses just 0.0025 kWh. For context, boiling a kettle uses the same amount of energy as 17 image changes, while 208 image changes would translate to eight hours of average laptop usage. With no cables required, the setup in the museum is hassle free, and the team were quickly in command of content creation and management, able to simply swap out content when required. The installation has been deemed a complete and immediate success by the museum, with reductions in paper usage and wastage throughout the venue, while also cutting printing costs. The introduction of Philips Tableaux displays has also brought time management savings for staff, with content updates able to be handled centrally and instantly, as well as scheduling and revolving messaging to suit. Hylke Thiry concluded: “Philips Tableaux are at the forefront of a new and more sustainable display era. The Philips Tableaux has led the way again in digital display innovation, and we are very pleased to be able to welcome our visitors with these most sustainable ePaper displays. Perfect to highlight innovation in action and the ongoing story of AV here at Beeld & Geluid.” www.ppds.com

NEOlite Lig ht ro o m U ls a n B a e k y a n g sa COMPANY: HARMAN Professional Solutions LOCATION: Ulsan, South Korea

In the heart of Ulsan, a city long known as a pillar of South Korea’s industrial might, a powerful new cultural landmark has emerged in the form of Lightroom Ulsan Baekyangsa, an immersive multimedia exhibition hall, which opened in April 2025.

Driven by the vision of Baekyangsa Temple, an institution with more than a thousand years of history in the Jogye Order, Lightroom Ulsan was established to bridge heritage and innovation. The venue offers state-of-the-art exhibitions where digital artistry comes alive across towering screens, amplified by multidimensional audio that draws guests into each scene. To meet the venue’s ambitious demands for clarity, uniformity, and immersive audio coverage, Kinoton Korea, Inc. partnered with the integration team at Lightroom Ulsan to deploy a comprehensive HARMAN Professional audio system. The goal for the Lightroom Ulsan integration team was never to create a traditional exhibition space, because they needed an environment that immersed the audience both visually and acoustically. High-resolution projection alone wasn’t enough, and they required sound that was precise, powerful, and evenly distributed throughout a highly reflective space.

To overcome acoustic challenges caused by the venue’s high ceilings and open architectural layout, the team installed sound-absorbing panels across all four walls and finished them with fabric materials. This approach effectively minimised reverb and ensured acoustic consistency across the venue.

For the install, six JBL’s VTX A6 loudspeakers provide compact yet wide coverage, while twelve JBL VTX F15 loudspeakers deliver accurate point-source clarity. Six JBL VTX B15G subwoofers add immersive low-end presence, and six Crown’s I-Tech 4X3500HD amplifiers, complete with built-in DSP, supply intuitive control and system reliability that the venue stated was one of the biggest advantages in deploying a JBL Professional and Crown system.

One notable element to this project was the use of JBL’s Venue Synthesis software in the early stages. The Kinoton Korea team reported that using Venue Synthesis instead of CAD (Computer-Aided Design) during speaker placement significantly accelerated planning and improved collaboration with the architectural team, while also helped them prepare tuning data early, reducing overall setup time.

“The immersive visuals surrounding all four walls were stunning, and I was impressed by the high-quality sound that elevated the entire experience. It felt like I had truly stepped into featured artist David Hockney’s world, filled with vibrant colours and light,” said Jay Ko from Lightroom Ulsan Baekyangsa. http://pro.harman.com/

www.roxxlight.com ROXX GmbH Cologne/Germany

The A r t o f J a mes Ca m e ron COMPANY: dBTechnologies LOCATION: Turin, Italy

The Art of James Cameron is a journey into the heart the film director’s cinematic imagination. From the dystopian vision of The Terminator to the poetic worlds of Avatar, through the epic tales of Aliens and Titanic, the exhibition is housed in the Museo Nazionale del Cinema located inside the Mole Antonelliana, a renowned architectural landmark in Turin, Italy. The exhibit is far more than a retrospective or an audiovisual experience. It is a monumental, immersive, multisensory installation — an ‘autobiography through art’, to quote Cameron’s own words. The exhibition unfolds across six thematic sections and showcases over 300 original props including drawings, paintings, costumes, photographs made or adapted by Cameron himself.

His inexhaustible search for new techniques to realise his creative vision is also expressed through rich multimedia experiences. The exhibition’s meticulous sound design is delivered by dBTechnologies’ IS passive installation series, which was selected for its high-definition acoustic performance and seamless aesthetic integration within the museum environment. Creative Lead Giorgio Ferrero of the creative studio MYBOSSWAS describes the project’s genesis: “The museum’s management approached me with the idea of designing an installation dedicated to James Cameron, and we envisioned a great translucent magic lantern at the center of the Mole, harmonising color and sound to make the entire building resonate within a single imagined space,” began Ferrero. “The artistic direction at the Avatar Alliance Foundation loved the concept — and so we brought it to life.”

The audio design was developed by MYBOSSWAS, with implementation and operational support from DADA Servizi Musicali. Quadraphonic

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configurations enhance the realism of the sound through four channels resulting in a wider dynamic range, allowing for more detailed and nuanced sound reproduction across six audio stations distributed along the museum’s spiral path. Each station is defined by an original track and a unique sonic identity. The soundscape was composed

by Ferrero and Rodolfo Mongitore. “We imagined and composed a musical and sonic landscape capable of resonating harmoniously within the Mole, aligned with the energy and emotional charge found in James Cameron’s art,” continued Ferrero. “Each station represents a component in the score — a kind of orchestra stretched along the museum’s ramps. It’s an immersive sonic experience, resonating at low volumes and enveloping visitors in the ether of the exhibition.” An important factor in creating the immersive experience effectively, was the selection of dBTechnologies’ IS series loudspeakers. “We needed highly directive speakers able to define the sonic space precisely, without interfering with adjacent stations,” Ferrero explained. “The quadraphonic setup proved optimal as the IS series speakers are visually discreet and naturally blend into the museum space, while delivering the required SPL with excellent acoustic dispersion control.

“Their flexibility makes them ideal for multichannel installations, and I would confidently use them again in other exhibition settings.”

Each of the six multichannel listening stations positioned along the helical path deploys four IS4T units mounted on brackets, with additional two IS25T-WP units providing sound for the exhibit entry area. www.dbtechnologies.com

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B lack ro c k C a st l e O b se r vator y COMPANIES: Bytek Office Systems, POLAR LOCATION: Cork, Ireland

Originally constructed in the 16th century as a fortress to protect Cork Harbour, Blackrock Castle has undergone numerous transformations.

In 2001 the building was reacquired by Cork Corporation and renovated and repurposed as an observatory and museum under a joint venture between the City Council, Cork Institute of Technology, and a private benefactor. Since opening in 2007 as a centre for scientific research, outreach and communication, the observatory, which houses an interactive astronomy centre open to the public, has welcomed more than 1.4 million visitors. Earlier in 2025, the facility was closed to allow the upgrading of its technological provision, to better serve the wide range of educational and scientific activity on the site.

The Blackrock Castle Observatory (BCO) team engaged experienced Dublin-based integrator Bytek Office Systems to supply and install a variety of AV equipment, and they in turn worked with distributor POLAR in respect of product supply, design support, and commissioning.

To meet the extensive brief, a complete range of AV equipment was sourced from POLAR and installed at BCO to meet its wide remit of usecases, including education programmes, corporate conferencing, public presentations, live-streaming, and visitor experiences.

All audio processing at BCO is by ClearOne using ClearOne CONVERGE Pro 2 128 VT and 48VT multi-channel microphone automixers (DSP with VoIP and telephone). Multiple ClearOne microphone options were supplied, with beam-steering microphones chosen to ensure a full 360° coverage within the space. These multiple microphone ceiling tile systems can automatically direct listening focus, isolating the presenter’s voice from background noise. ClearOneDIALOG 20 wireless headsets provide presenters with a high-quality personal microphone. and the freedom to move around the space.

The AV system is managed with an AMX NX1200 controller and a Varia Panel. Video sources are distributed over the network using AMX N2600 series encoders and decoders, then routed through a Precis switcher that supports up to four HDMI sources routed to two separate outputs.

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To enable broadcast and live-streaming of presentations and events, two Maxhub UC P20 12 zoom PTZ cameras were installed – one at the back of the room to capture presenter views, and one at the front for capturing audience reactions, whilst a Vissonic VISCRS-05-B professional AV Recorder with camera tracking allows multi-functional recording and live broadcast. Bytek installed a Cornered Audio sound system for the space (including an on-wall subwoofer) to deliver immersive audio experiences for presentations and entertainment events. With a 90˚ triangular design, Cornered Audio specialises in offering elegant and discreet high-quality sound systems for commercial and custom settings. The system was supplemented by WorkPRO commercial audio ceiling and surface mount loudspeakers, with all amplification by Lab Gruppen.

“Our aims have been met through the use of premium, state-of-theart equipment and we enjoyed excellent engagement with Bytek from the outset,” said co-founder, CTO, and Centre Manager Alan Giltinan.

“Their team showed a keen knowledge of the technology and clear understanding of the vision, and throughout the design phase and into the installation and commissioning, Bytek interacted with us constantly and consistently to bring the highest level finish to the project.”

Will Turney, Head of POLAR Integrated Solutions team added: “This project demonstrates our ability to support creative integrators like Bytek with comprehensive product solutions and technical expertise.

“Working within the constraints of this heritage setting, while delivering cutting-edge AV technology, required some careful co-ordination between all parties. “POLAR did not just supply all of the products but provided the design support and commissioning expertise that made seamless integration possible. The project’s success demonstrates how we are much more than just a distributor – we’re a strategic partner who understands the technical requirements and the vision behind ambitious installations.” www.bytek.ie www.polar.uk.com

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AMNESIA Ibiza, Spain HOUSE OF KONG London, UK

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NIGHT GROUP London, UK

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BIERKONIG Mallorca, Spain

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77 London, UK

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AVICII ARENA Stockholm, Sweden

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MILLER CENTER FOR THE ARTS Reading, Pennsylvania, USA

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GHOST BOAT Wisconsin Dells, USA

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PLAZA BALLROOM Melbourne, Australia

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CINE SAIGON Ho Chi Minh City, Vietnam

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MACARTHUR’S BALLROOM Gold Coast, Australia

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IN B R I E F Redefining sound at Ibiza’s iconic Amnesia with KV2 Audio As one of Ibiza’s most iconic clubs, Amnesia has hosted many of the world’s leading electronic music artists, establishing itself as a cornerstone of the island’s club scene. In 2022, the Main Room underwent a major upgrade with a sophisticated KV2 Audio sound system, customconfigured by club sound specialists PLUSMUSIC Ibiza, and following this success focus was shifted to Amnesia’s expansive Terrace which was an open-air space, now enclosed by a windowed roof.

Earlier this year, PLUSMUSIC Ibiza was once again entrusted to design a system that would deliver the next evolution of club sound – building on the success of their custom-engineered setup in the Main Room.

Working alongside Amnesia’s in-house team and renowned nightclub acoustics expert, George Stavro, PLUSMUSIC Ibiza’s Fernando Cerdeira designed a system that balanced

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power, coverage, and reliability for long sessions while staying true to the club’s legendary essence.

To deliver full coverage throughout the Terrace, the system features eight SL412 wide-dispersion loudspeakers, ensuring powerful, consistent sound across the dancefloor.

These are supported by a range of VHD8.10 mid-bass units and 16 VHD2.18J subwoofers, driven by ten VHD7000D amplifiers. Every area of the Terrace was carefully tuned for optimal sound.

The bar uses 12 ESD10 loudspeakers to maintain clear, low-volume audio ideal for conversation while VIP zones are equipped with a mix of EX15, EX12, and ESR215 speakers, supported by 12 ESD1.12 subwoofers powered by three ESP2000 amplifiers, delivering rich bass without overwhelming the space. www.kv2audio.com

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HO US E O F K O NG EMEA

LONDON / UK

As th e g e nre -be nding vir tu al b an d Gorilla z turne d 25 th is year , fan s’ c uriosity was piq ue d, wo n d er in g how th e mile stone f or th e un con ven tion al ba nd would be c e leb r ated .

P ho t o s : @s h o t b y p h o x.

The group, created by musician Damon Albarn and artist Jamie Hewlett, is far from traditional; an animated outfit with four fictional members, each with their own fantastical lore, Gorillaz exists in a surreal universe.

Therefore, when the band officially announced its anniversary would be commemorated with House of Kong, an experience billed as ‘an exhibition like no other’, it was clear that audiences could expect a fitting tribute to the over two-and-a-half decades of Gorillaz.

At London’s Copper Box, the show ran from 8 August to 3 September.

House of Kong could perhaps best be described as a Gorillaz-themed pilgrimage, structured as an hour-long, immersive ‘studio tour’ that honoured the artists and collaborators behind the virtual group.

The exhibition was a love letter to the band’s history and fan base, comprehensively telling the story of Gorillaz through the use of advanced audiovisual technology and intricately designed sets packed with Easter eggs. With Albarn and Hewlett at its head, House of Kong was created in partnership with Eleven Management and developed by Creative Director Stephen Gallagher, alongside his studio, SWEAR. Gallagher and SWEAR have been closely involved with Gorillaz for almost a decade now, as he explained that he has been the Creative Director for the group’s live appearances since 2016. “I work very closely with Damon and Jamie,” he began.

“Our work on Gorillaz’s live shows or for broadcast always tries to balance the virtual world of Jamie’s drawings and music videos with the incredible live performances from Damon and featured artists.”

The creative director was a key player in the conception of the House of Kong experience. “It started to take shape over a lunch I had with Gorillaz’s Manager, Niamh Byrne.” He noted. “We were chatting about how we could best celebrate 25 years in a unique way, and the idea of an immersive studio tour came up. This idea evolved into something that could also reference the live shows the band were playing at Copper Box during the exhibition’s run, and we decided to lean into the feeling of being backstage at a concert.” Gallagher detailed how he then sat down and wrote the framework of the journey through House of Kong; “The experience highlighted key moments of Gorillaz’s music and art. A great deal of that initial concept that I wrote made it through to the final version, but it was fleshed out through collaboration with Damon, Jamie, the wider Gorillaz team, and lots of incredibly talented creatives that we brought in to add detail and depth...and to provide reality checks where needed!”

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Above a n d ri gh t : T h e b a nd’ s recurr ing m oti f of a P a zuzu s ta tu e comes a li v e th roug h c rea ti v e a u di ov i s u a l des i g n .

The SWEAR team, led by Studio Director Steph Allen with Producer Alexa Pearson and Lead Designer Sam Coulton, developed the architectural and experiential design of the project, with Larmac Live coming in as overall producers. Then, to craft the audiovisual systems that would, in Gallagher’s words, “create an environment that immerses you in Gorillaz’s world,” the studio joined forces with several expert collaborators. The overall technical design and installation was piloted

by Callum Phenix. Under Phenix, the band’s live show lighting designer, Matt Pitman of Pixelmappers, designed a dynamic LED and lighting solution. Joe Callister of Auditoria then entered the project, partnering with SWEAR to build House of Kong’s sound systems.

Throughout the exhibition, multiple manufacturers’ sound equipment was brought in, with the design and installation teams specifying kit based on its creative and audio potential. The largest portion of the experience saw guests arranged into small groups and given timed audio tours that detailed Gorillaz’s rich history. To enable this, every audience member was given a Sony WH-1000 XM5 headset.

“Outside of these headphones, around 90 speakers and subwoofers were installed throughout the space,” Gallagher said.

This setup included Martin Audio A40, d&b audiotechnik E3, and Q7 speakers. Supporting this were d&b’s E12 and B4 subwoofers, alongside K-Array Rumble-KU26s. Most of the amplification came from LEA Professional’s Network Connect 168Ds, with a few d&b D20s added to round out the system.

Gallagher added, “With these solutions in place, we worked with Experience Director, Hector Harkness, and Sound Designers, Ben Ringham and Joel Price, to design everything that the guests would hear. The efforts of everyone involved in House of Kong’s audio made for a beautiful, immersive soundscape that guides audiences through

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Gorillaz’s universe using innovative loudspeaker and headphone technology.” Crucial to House of Kong’s success was ensuring that the exhibition was timed to perfection, a feat achieved using QLab. A new group begins the hour-long audio tour every five minutes, which Gallagher said, “left little room for error.” The show posed the same technical and audience-based challenges as running any other live environment, which is where SWEAR’s extensive portfolio of producing and directing concerts and stage shows proved beneficial. The rapport between teams was key to pulling the experience together, too.

With just two weeks from mark-out to opening night, the project relied on a high level of trust and rhythm among the crew. “This short period had to include the installation of all the set, props, dressing, and technology, as well as allowing time for programming and rehearsals.

It was quite a challenge, but it was expertly managed by Production Manager Joe Frisna!” said the creative director. Gorillaz’s unmistakable individuality meant that designing an anniversary celebration for the group was uncharted territory. SWEAR Studio and the rest of the creative team used this blank canvas to create a contemporary way to honour the virtual band. When asked why a multi-sensory installation felt like the best way to capture Gorillaz, Gallagher explained, “I love finding different ways of fusing art, video, music, and drama to create deeply immersive experiences.” He concluded: “For me, the beauty of Gorillaz is in the limitless potential that lies at its core. The animated band are like characters in a novel or film. Because they’re virtual, they can do anything, go anywhere. They have been on an extraordinary adventure over the past 25 years, and House of Kong was the perfect way to let fans join them on the journey.” www.swear.studio www.elevenmgmt.com

FLY WEIGHT Mix Anywhere. Fly Everywhere www.digico.biz DiGiCo, No.5 The Distillery, Silverglade Business Park, Leatherhead Road, Chessington, Surrey KT9 2QL. Tel: +44 (0) 1372 845 600

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Nig h t Gr ou p an d Sou n d Se rvic e s: A collab or ation built on c o mmu n ity, cu ltu r e and ex cellen t au d io.

L eft and belo w: Night Ta les is Night Gr ou p’s f la gship 1,0 0 0 - c a pa c it y mu sic ven u e.

Few collectives embody East London’s creative pulse quite like Night Group. Hosting everything from album launches and live jazz to club nights, the Hackney-based independent operator has built a reputation for delivering exceptional cultural experiences and doing so with a sound quality at the heart of its offer, courtesy of Funktion-One partner Sound Services Ltd. It’s a collaboration that began in 2013 with intimate popup events and has since evolved to three of Hackney’s most distinctive venues.

Night Tales, the group’s award-winning flagship, is a 1,000-capacity music venue and events space spread across three vast industrial railway arches. NT’s Loft offers a 2,000-sq ft New York loft-style club with a large outdoor terrace, while Netil 360 crowns a Hackney rooftop with panoramic city views.

Through it all, the formula for success has been built on a sustaining ethos, explained Night Group’s Co-Founder and Director Jamie Rule: “Each venue has its own energy and musical identity, but the common thread is a deep respect for the culture, the community and the sound. I’ve always been obsessed with sound quality. It’s our ongoing mission to deliver the best sound experience in town - music is at the heart of our identity.”

That dedication to sonic excellence underpins Night Group’s wide-ranging weekly programme, which spans around 12 events across its venues. At Night Tales, house, disco, garage, soul and transcultural sounds define the weekends, while NT’s Loft focuses on intimate DJ sets and live performances from artists such as Mad Professor, Todd Terry and Jamz Supernova. Netil 360 serves up a changing lineup of DJs - Fridays are for soul, hiphop and world sounds. Saturdays go deep with house, disco and Balearic. Mid-week live jazz sessions and residencies connect the venues to grassroots and emerging talent.

“Our aim is to build meaningful cultural experiences,” said Rule.

“We’ve always been driven to create spaces that feel unique, inclusive, and emotionally resonant - where people can truly connect and feel free.”

Helping make that vision possible is Night Group’s long-time technical collaborator, Sound Services. Based only six miles away in South London, Sound Services has been an important part of the story since the very first pop-ups, and was instrumental in the transition to permanent venues in 2015.

“They understand the balance we’re trying to strike - delivering

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Righ t: Nigh t G rou p own a n d operat e t hree of H a c k ney ’ s mos t dis t inc ti v e v en ues .

high-fidelity sound while navigating the realities of urban spaces,” said Rule. “From noise restrictions and licensing challenges to the quirks of each room’s acoustics, it’s never a ‘set and forget’ job. It’s an ongoing process of refinement and I’m fully committed to it.”

Over the last decade, that process has seen every Night Group space equipped and continually enhanced with Funktion-One systems.

The most recent addition is on Night Tales’ outdoor terrace, now powered by an Evo 2 system with four BR118 bass speakers.

“We’ve got the Evo 2s and BR118s in a single four-high stack, which gives us even dispersion in a noise-sensitive setting,” explained Rule. “They’re paired with F1201s, F101s, and an F81 as delays to extend coverage along the terrace, plus F101s and an SB210A for DJ monitoring.”

The main club room has Evo 6Es, F121 subs, F101 fills, and PSM318H (mid/high section) with BR118s for monitoring, while Arch 14 – the third arch at Night Tales – features four F1201s in a four-point configuration with two BR118s, delivering “excellent stereo imaging and clarity.”

At NT’s Loft, the terrace now benefits from F101.2s, while the main space runs Res 2s deployed horizontally and mounted tight to the ceiling, BR118 bass in a single stack, F1201 fills, and PSM12 monitoring - perfect for the venue’s mix of live bands and DJs. “The careful selection of Funktion-One speakers across our rooms gives us perfect coverage and levels with minimal reflections,” said Rule. “Their expansive product range means that we can always specify the best tool for the job.”

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In a densely populated area like Hackney, precision is just as important as power. Funktion-One’s trademark directionality and accuracy enable Night Group to meet strict noise limits without sacrificing the dancefloor experience. “We’ve always wanted to use the terrace more for daytime events, but noise limits made it tricky,” admitted Rule. “Funktion-One lets us achieve great levels in the right places without leakage. Combined with NST processing, we can cut problem frequencies, use dynamic EQ and limiters, and deliver an incredible dancefloor sound while keeping our neighbours happy.”

With a brand-new South London venue on the way – ‘Palais’ will feature Night Group’s most ambitious sound system yet – the cultural expansion shows no signs of slowing. As ever, both Sound Services and Funktion-One are at the heart of the plan.

“It’s an ambitious project that pushes the boundaries of what’s possible in a venue of that size,” hinted Rule. “We’re incredibly excited about the experience it will create.

Something truly special is coming to London.”

Rich Cufley Sound Services’ Technical Director, concluded: “Working with Night Group has always been a pleasure.

There’s a real trust in the relationship, which makes collaboration easy and enjoyable. We both have a deep appreciation for great sound, so every project is about finding the best possible solution for each space. That shared passion has kept us moving forward together from the very first pop-up to the collection of special venues they have today.” www.nightgroup.com www.sound-services.co.uk

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BIER K ÖNIG EM EA

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Ge rma n inte g ra tion spe cialists Rh e inlandAkustik a dds the spar k le to a le g e ndary party ve nu e with a spe c tac ular f ull AV kit out.

Situated in the heart of the Mallorca’s Schinkenstraße and only 50m from the beach is Bierkönig, an institution within the Playa de Palma party scene for nearly 40 years.

The popular live performance venue and beer garden spans more than 5,000 sq m and has become the undisputed meeting point for lovers of German music, culture, and atmosphere – from morning until late at night.

With daily live performances and DJ sets, the venue demands high quality professional equipment capable of delivering on a daily basis.

A major renovation to Bierkönig’s 1,250 sq m main hall, ‘Neuer Bereich’,

which began in late 2024, included a complete audio system overhaul, and new lighting and video walls.

The team from RheinlandAkustik VT was responsible for the customised lighting and video design, using over 300 Cameo fixtures, INFiLED and LANG AG LED solutions, and partnering with long-time collaborators and L-Acoustics Certified Partner Babbel & Haeger, to design and install a new professional sound system.

The collaboration between Bierkönig and RheinlandAkustik began in 2023 as part of ‘Kölsch Week’, during which Bierkönig dedicates itself to Cologne carnival.

The successful organisation of this event developed into an ongoing partnership, which has now reached its climax with the expansion of the new area.

“As head of technical planning, we were involved in the project at an early stage and were able to coordinate our vision closely with the customer,” explained Hendrik Brock, Managing Director of RheinlandAkustik.

The conversion work, which began in 2024, extended into spring 2025 and required close coordination with the other trades involved from the electrical, decoration and metal construction sectors. The final technical installation on site took place seven weeks before the opening of the new area.

The main performance space can host up to 2,000 guests, but had long suffered from an audio system that couldn’t match the venue’s legendary status.

With uneven coverage and an undefined sound profile detracting from artist performances, the time had come for a complete transformation.

Overcoming architectural obstacles The renovation presented unique acoustic challenges and constraints that required innovative solutions. Limited ceiling height made traditional central array deployment impossible, while the venue’s complex architecture - featuring a balcony, multiple columns, and varying ceiling heights - demanded surgical precision in speaker placement. Precise positioning of suspension points and coordination with other trades during the six-month renovation also posed challenges during the implementation phase.

“This wasn’t a project where you could apply standard approaches,” explained Nico Decker, Event Technology Specialist at RheinlandAkustik.

“The client’s vision was crystal clear: even coverage throughout the entire audience area with maximum indoor sound pressure while protecting neighbouring residents from noise spillage. Achieving that balance required innovative thinking.”

Markus Drols, Event Technology Specialist at Babbel & Haeger,

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added: “The architectural constraints at Bierkönig presented complex challenges. Every column, every ceiling variation, every sightline had to be carefully considered. The decentralised approach wasn’t just a design choice – it was the only way to achieve the coverage uniformity and sound quality this legendary venue deserved.”

RheinlandAkustik’s design team turned to L-Acoustics Soundvision software to navigate the complex acoustic environment, which proved essential for optimising coverage patterns and ensuring consistent sound distribution across varying audience heights and architectural features.

“Soundvision was absolutely instrumental,” said Tim Goldhahn from RheinlandAkustik. “Combined with the L-Acoustics Cable Length Acceptance tool, it allowed us to map out every coverage challenge and optimise system placement for seamless integration. Without that level of precision planning, this project wouldn’t have achieved its objectives.”

The solution centred on L-Acoustics A Series loudspeakers, specifically chosen for their Panflex technology enabling precise directivity control.

This flexibility allowed the team to craft a decentralised speaker configuration that overcame ceiling height restrictions while maintaining optimal performance throughout the venue.

“Managing a project of this complexity requires seamless coordination between all stakeholders,” said Tobias Hemmersbach, Project Manager at Babbel & Haeger.

“From the initial site surveys through final commissioning, every detail had to be meticulously planned. The six-month renovation timeline demanded precision execution, and the L-Acoustics ecosystem provided the reliability and flexibility we needed to deliver on schedule while maintaining the highest quality standards.”

The final installation showcases the versatility of networked professional audio systems. Four strategic main PA lines provide comprehensive coverage: Lines 1 and 2 feature L-R hangs of two A15i Wide with central hangs of two A10i Wide; Line 3 deploys L-R hangs combining one A15i Focus and one A15i Wide unit, complemented by A10i Wide central and outside right hangs; Line 4 mirrors the configuration of Lines 1 and 2

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with L-R hangs of two A15i Wide plus central hangs of two A10i Wide, ensuring consistent coverage patterns.

Monitoring is handled through four rear-ceiling-flown X8i units for frontof-house, four floor-mounted X12 units serving the main stage, and two X8 units for the main DJ booth while three X8i units provide front-ofhouse-fill.

Low-frequency reinforcement comes from six KS21i subwoofers, with two configured in cardioid mode for directional control, plus centrally flown delay subs comprising four KS21i in cardioid configuration. The outdoor terrace receives coverage via six X8i loudspeakers, while VIP areas are served by dedicated L/R X8 hangs.

The system is powered and controlled by LA7.16i amplified controllers, with an LC16D format converter handling signal distribution from the venue’s matrix mixer, converting MADI to Milan-AVB for seamless network integration. Signal distribution utilises Milan-AVB networking, chosen for its reliability and straightforward implementation across the L-Acoustics ecosystem. The system calibration was conducted by L-Acoustics, providing expert support to ensure optimal performance.

“The A Series flexibility, particularly the adjustable directivity enabled

by Panflex technology, proved absolutely essential,” said Decker. “We achieved precisely what the client envisioned—even sound distribution that enhances every performance while respecting the surrounding community. The collaboration with Babbel & Haeger and L-Acoustics,

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combined with thorough Soundvision planning, were critical success factors.”

DSP is handled by two Yamaha MRX7-D signal processors, while a Yamaha DM7C compact mixer was selected for its ease of operability.

Effective lighting When it came to selecting the lighting technology, there was a conscious decision to opt for Cameo products.

“We wanted as many lights as possible from a single source – and Cameo impressed us with its product variety, quality and strong priceperformance ratio,” continued Decker, who explained that experience gained from previous projects utilising Cameo fixtures also played a positive role in their selection.

The lighting design was designed for versatility, atmosphere and effects, and the focal point is the compact AZOR B1 beam moving heads, which are installed on two truss circles above the stage, and along the ceiling at the rear.

These are supplemented by AZOR S2 spots above the stage and the counters, as well as AZOR W2 wash lights above the stage and on ladder trusses in the stage backdrop.

ZENIT W600 SMD, ZENIT W300 SMD and PIXBAR SMD IP G2 LED bars are used for pixel effects, blinder and strobe looks, with the latter arranged on risers at the back of the stage. Meanwhile, ROOT PAR TW LED

L e f t a nd b e l o w : B i e r k ö n i g n o w f ea t u r es s p e c i a l l y d e s i g n e d au d i o a n d l ight in g systems for its all-day parties.

TECHNICAL INFORMATION AUDIO 14 x L-Acoustics A15i Wide 2 x L-Acoustics A15i Focus 8 x L-Acoustics A10i Wide 11 x L-Acoustics X8i 10 x L-Acoustics KS21i 4 x L-Acoustics X12 2 x L-Acoustics X8 6 x L-Acoustics LA7.16i 1 x L-Acoustics LA2Xi 1 x L-Acoustics LC16D 1 x L-Acoustics P1 1 x Yamaha DM7C 2 x Yamaha MRX7-D

PAR spots provide customisable white light at the counters, while the THUNDER WASH 100 RGB and THUNDER WASH 600 RGB units are used for indirect lighting of the ceiling and dome.

“The lighting design in the new Bierkönig area can be summarised simply in three words,” concluded Decker. “Versatile, atmospheric and contemporary.”

Controlling the lights is an MA Lighting grandMA 3 Light CRV console, while 16 Smoke Factory units form part of the installation, with 10 Smoke Factory Fog Blaster MKII and three Smoke Factory Hazer II supplemented by three Blaster Refill Stations.

Bierkönig also benefits from newly supplied LED wall solutions, with RheinlandAkustik specifying panels from INFiLED’s MV Series in 3.9 pixel pitch to make up the 112m by 1m banner wall.

Three other new screens installed in the venue are made up of the LEDGEND series from LANG AG, with the 1.8 pixel pitch chip-on-board model chosen. The main screen measures 6m by 3.4m, while two smaller screens of 2.7m by 1.87m are also deployed in addition to two more measuring 3.6m by 2m.

NovaStar processing units were selected while image processing is driven by an Analog Way Aquilion C processor and a Resolume Arena media server.

With its new infrastructure, Bierkonig can now offer a state-of-the-art space for live shows, DJ sets, themed events and public screenings.

LIGHTING & FX 14 x Cameo Azor S2 4 x Cameo Azor SP2 (Front Light) 46 x Cameo Azor B1 18 x Cameo Azor W2 190 x Cameo Root Bar SMD 8 x Cameo Zenit W300 SMD 4 x Cameo Zenit W600 SMD 12 x Cameo Pixbar SMD IP G2 24 x Cameo RootPAR TW 22 x Cameo Thunder Wash 100 RGB 2 x Cameo Thunder Wash 600 RGB 4 x Cameo H1T 10 x Smoke Factory Fog Blaster MKII 3 x Smoke Factory Fog Blaster Refill Station 3 x Smoke Factory Tour Hazer II 1 x GrandMA 3 Light CRV VIDEO INFiLED MV Series 3.9 pp LANG AG LEDGEND 1.87 pp 1 x Analog Way Aquilion C 1 x Media Server Resolume Arena 2 x Novastar MX2000 Pro 2 x Novastar MX20 10 x Novastar CVT10 www.rheinland-akustik.de www.bierkoenig.com

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77 EMEA

LONDON / UK

Au d i o t e k e q uips London’s late st nig h tspot with a t a i l o r e d s o lution inc luding an L-Ac oustic s sou n d s y s t e m , k i n e tic lig h t e f f e c ts and a ma ssive c urved LED wa ll.

P h o t o s : Ti m S h a p c o t t

Housed in the basement of the BoTree Hotel near Oxford Circus, 77 opened in September and features cutting-edge AV equipment, including a modular lighting design which can be adapted to an event’s requirements.

Behind the new venue are seasoned venue operators Jonathan Wade and Sebastian Banovic, and programmer and festival host Eniz Hilmi, whose vision for the club was to “create one-of-a-kind experiences where both DJs and live acts can truly connect with the crowd,” as outlined by Hilmi.

In order to achieve this, AV design and integration company Audiotek were enlisted to get to work on the visual concepts and audio system design, and install the chosen equipment. A 4-point L-Acoustics system was deployed, centred around eight A10i loudspeakers which are supplemented by six X12, and five X8 loudspeakers.

“The owners really wanted an immersive 4-point system, and we faced some design issues with the shape and limited size of the room,” explained Audiotek’s Sales Director Christopher Kmiec.

“The way the room is un-symmetrical down one side meant we needed something with a small format to be as unobtrusive as possible, and the L-Acoustics A10i was the perfect solution as it offers exactly what is needed, sonically, as well as fitting into the constraints of the room.”

For low end, L-Acoustics KS21i subwoofers were selected, clustered together and built into the DJ booth, which itself is demountable to allow the dancefloor to be open up if required. Around the venue’s seating

area and along the balcony level, compact L-Acoustics SB10 subwoofers are flush mounted within the joinery for seamless integration. While in the DJ booth four L-Acoustics KARA II and two SB18i subwoofers were selected.

The system is powered by L-Acoustics LA4X amplifiers with DPS handled by L-Acoustics P1 processors, while a Q-SYS system management control package allows for staff to select from various audio presets based on the configuration of the room.

“A lot of the thoughts we had when it came to the equipment choices was the idea of the venue being ‘rider friendly’,” said Kmiec. “We have great support from L-Acoustics as one of their distributors, and also from CHAUVET and Robe when it came to lighting solutions, so we knew we had high-level brands involved from the get-go.”

77’s lighting package consists of 24 Robe PAINTE moving heads, 24 Robe Tetra2 linear bars, and eight CHAUVET Professional Color STRIKE M fixtures, while two Laserworld lasers set up on the DJ booth add to the array of visual effects.

“The whole package is very effective and works incredibly well in the space, allowing the room to be themed to match the creative vision of whatever is booked in there – be it a club night or a brand activation event,” continued Kmiec.

The Robe Tetra2 fixtures are deployed under the balcony level along one side of the room, and on kinetic truss on the other, which can be lowered to the same height to form a symmetrical look.

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L e f t : F o r m i n g t he cen t r epiec e of t he visu a l p ac k ag e i s a c u st om cu r ved LED w a ll, w hich r u n s u p b e h i n d a n d over D J boot h a lon g t he c e i l i n g t o c o v e r t he d a n c ef loor .

“The motorised truss was designed because the room has an L-shaped balcony, which leaves the space a little unbalanced,” said Kmiec. “To give the room that balance, the truss, which is from Global Truss, is lowered into place, meaning there are lights running along both sides of the room.”

Forming the centrepiece of the visual package is a custom curved LED wall, which runs up behind and over DJ booth along the ceiling to cover the dancefloor.

“All of the LED and trussing is all hung from a completely customised steel frame which was designed by Lucid Creates with assistance from Momentum Engineering,” said Kmiec.

“This substructure then supports all of the screen and trusses from set points on the concrete slab above.

“This design was an iteration through many of the ideas brainstormed and presented during our design process.

“Audiotek took on the full scope of design and creative process on this job, and our designers James Bentham, Ash Attwood, Frank Murray and myself presented the ideas – and we settled on the large LED screen wrapping around the end of the club.

“A big driver behind this was trying to bring the height in the void next to the balcony into context, while the spaces under and above the balcony are quite tight.

“This curve also adds a centre focus to an asymmetrical space in a way that draws the eye to the DJ, and adding

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the linear strips of lighting along the LED ceiling really frames it incredibly well.”

In addition, LED panels are set up in frames across the highest wall in the room, and content is synchronised across the main wall and these supplemental panels.

The visual concepts for the venue’s video were designed

by Simon Evans of Visual Artform.

“With such a dramatic long, curved LED screen, and given that 90% of the crowd will be looking at the screen from the other side of the curve, it allowed our studio team to really play with depth perspective visuals, as the viewpoint for the audience from the moment you walk into the room enabled us to present visuals that truly look like they come out of the screen,” said Evans.

“Given how large the video screen is in such an intimate venue, it was imperative that our visual show design incorporated lots of negative space within the compositions, to provide balance between the LED and lighting production so that they could live harmoniously within the refined space.”

Visual Artform’s Lead Animator Alen Mehic added: “We used Cinema4D to build out the 3D animations, but also combined the content with real human character shoots, filmed in 8k with a Sony A1 II and then edited to a precise pixel map to ensure the characters fit perfectly on the unique LED screens for a truly tailored look.”

Evans concluded: “With Audiotek’s precision on the

77 London - super club sound & visuals in an intimate space.

We’re proud to have designed the Audio, Lighting & Video Installation for 77 London.

Audio | Video | Lighting Professional Solutions Nightclubs Day Clubs Concert Halls Theatres Live Music Sporting Venues Casinos & Resorts Retail Corporate Education Pubs Restaurants

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TECHNICAL INFORMATION AUDIO 8 x L-Acoustics A10i 6 x L-Acoustics KS21i 6 x L-Acoustics X12 5 x L-Acoustics X8 4 x L-Acoustics KARA II 2 x L-Acoustics SB18i L-Acoustics LA4X Amplifiers QSC- Core 110F processor LIGHTING 24 x Robe Robin Tetra 2 24 x Robe Painte 8 x CHAUVET Professional color STRIKE M 1 x MA Lighting Grand MA3 Lite 2 x Laserworld Lasers VIDEO: Custom curved LED Wall and panels 6 x 16-Way LUNA16 Madrix LED Controllers Resolume Video Server www.audiotek.com www.77london.com www.Visualartform.com

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venue production design and 77’s forward thinking brand aesthetic, it provided the Visual Artform team with the tools they needed and clear direction to develop an eclectic mood board which was then crafted into a unique array of visuals to really bring the LED screens to life.”

Controlling the LED content is six LUNA 16 controllers from Madrix and a Resolume server was specified for the LED wall content, while an MA Lighting GrandMA3 light was supplied for lighting, video and laser programming and control.

As with many installations of this kind, it wasn’t without its challenges, which Kmiec outlined in conclusion.

“Working in central London can be difficult because space is tight and deliveries can be restricted,” he said. “For this project, everything had to be brought down to the club in a freight elevator, and all items needed to be smaller that 2.5m in length, so it took a bit of time, patience and co-ordination.”

Audiotek founder Frank Murray concluded: “Working with Music Director James Algate and Video Artform’s Simon Evans was a pleasure, and a superb collaborative process which united the creative teams to achieve a landmark result on every level.

“Overall, owners Shiva Hotels are to be commended for their ambition and vision in their investment in West End London nightlife, providing a new level of sophistication and clubbing luxury to the centre of the UK dance scene.”

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Ic on ic ar en a r eceives an immer sive au d io upgr ad e to en han ce th e fan ex per ien ce at spo r tin g an d mu sical even ts.

Opposite Page and left: A landmark Meyer Sound Constellation active acoustic system has been installed at Avicii Arena.

The Avicii Arena is an architectural marvel and the largest spherical building in Europe which towers 85m high and spans 110m in diameter. With seating for up to 14,000 at sporting events and also able to host all manner of touring productions, the venue recently underwent a massive renovation of its audio capability and now features a landmark Meyer Sound Constellation active acoustic system. The project showcases a Constellation installation of unprecedented scale, featuring 84 loudspeakers installed in the ceiling, 72 microphones, two racks of processors, and an array of network switches.

The system was designed by Meyer Sound’s John Pellowe, Project Director for Constellation, and Ana Lorente, Senior Acoustic Engineer, in collaboration with Anders Jørgensen and the installation team at Danish AV integrator and consultancy firm Stouenborg, based on the original concept from acoustician Adam Foxwell and Sebastian Holm from Efterklang, who designed and constructed the venue’s new acoustic ceiling.

“This is far from a typical Constellation system,” began Jørgensen.

“We call it an audience enhancement system, because it has been designed to create the feeling of being embraced by the crowd, meaning that spectators can actually hear each other across such a vast space.”

For sporting events, Constellation’s real-time processing ensures that crowd noise, chants, and music are evenly redistributed throughout the arena to elevate the emotional connection.

“One of the key motivations for this install was ice hockey,” continued Jørgensen. “In Sweden, fans sing to each other from opposite ends of the arena. Before the upgrade, fans couldn’t hear each other properly, but now they can – and it sounds like it is coming from the direction of the source.”

Achieving that kind of seamless coverage in a venue of this scale required extraordinary precision and planning. Fitting the loudspeakers in the ceiling grid with the constraints of the new acoustic panelling was one of the major hurdles in the design phase.

“The acoustic panels run on rails, with I-beams and walkways located above,” said Jørgensen. “It was calculated that each speaker has only 50mm of clearance on each side, and we used 3D modelling to calculate the precise positions, down to the last millimetre.

“Each speaker had its own mounting system, which was pre-built in our warehouse. The loudspeakers were attached and angled per our

design, and tested, before installation. Once tested, we had to take them up to the ceiling, hang them and connect them.”

All 84 loudspeakers are attached to an individual pole, which was cut to a specific length defined by its position within the ceiling.

“The simplest way to describe the acoustic ceiling is to say that it is contorted like a Pringle potato chip – bent upwards in two directions,” said Jørgensen. “And this presented us the major challenges in the mounting, aiming, and spacing of the speakers and microphones.”

Adding to the challenge of placing the equipment was the rails on which the acoustic panels run – nothing could be hung which could interfere with the moving panels, or a speaker or mic would get damaged.

“The grid is 35 meters above the arena floor. You can’t just send someone up to tweak a speaker angle. It all had to be perfect on arrival,” added Pellowe.

The retrofits, based on an array of 12 Meyer Sound ULTRA-X40 and 72 ULTRAX42 compact point source loudspeakers and 72 DPA 2017 shotgun microphones, are all precisely angled and suspended from the custom-built acoustic ceiling.

The new acoustic ceiling dramatically improves the reverberation time of the venue, and was key in allowing the Constellation system to work as designed.

Everything is driven by Meyer Sound’s Nadia digital audio platform that runs AVB Milan and overviewed by Nebra, which is a software platform by Meyer Sound designed for controlling, routing and monitoring networked audio systems using the MILAN AVB protocol.

The two racks are installed at the top of the concrete level of the building, before the curve of the domed roof begins.

At this level, technicians have access to walk onto the acoustic ceiling – made up of netting which is fixed between the beams – which was intimidating for the Stouenborg team who had to walk onto the netting in order to access some of the rigging points for the loudspeaker poles. The entire system is segmented into eight distinct zones, enabling precise spatial control, with Spacemap Go functionality built into the system.

“We created six different presets that you can choose from, with six discrete inputs,” said Jørgensen. “Each of those inputs is routed differently depending on the preset. You just load one, listen, and go, and that kind of quick turnaround is what we’re aiming for. The inputs and presets can be utilised for different stage or audience arrangements, meaning that a touring show can connect quickly

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and use the system. The presets allow for in-the-round stage setups, delay configurations, and east/west stage blocking.”

The project’s time constraints were extreme. What would typically be a three-month on-site installation had to be completed in two weeks due to scheduling demands surrounding the 2025 IIHF World Championship.

The Stouenborg team pre-built and tested the entire system in its Copenhagen workshop, with each loudspeaker and microphone pre-angled, rigged, and labelled for pinpoint placement.

“We knew we had zero margin for error,” said Jørgensen.

“That meant months of planning, modelling, and building off-site so that the install could be completed without hesitation. We created a suspension system that would work, and each speaker had its own individual angles and off-center mounting.”

Microphones were also installed on truss around the venue’s LED cube, and within each of the audio zones is a mixture of loudspeakers and mics, which meant for a complex active acoustic system design.

“The project is groundbreaking for arenas of this type,” said Jørgensen. “The culture of fans singing to each other is common at sporting events in countries such as Germany and the UK, and adding immersive capabilities and the scalability of the system makes this project truly stand out, internationally.”

This project also reflects an expansion in Meyer Sound’s

approach to large-scale venue audio. “We’re proving that immersive audio and active acoustics have value far beyond the concert hall,” said Pellowe. “It’s about delivering a richer, more connected audience experience, and here we are redistributing the excitement.

“If the north end of the arena starts a chant or cheer, the system can carry that energy across the entire venue. It’s about creating a more unified and visceral experience.”

The new system made its debut during the IIHF World Championship in May, delivering powerful, immersive sound engineered to match the venue’s monumental scale and architectural ambition.

“We wanted to create a space that delivers more than just sound – it brings people together,” said Mats Viker, CEO of Stockholm Globe Arena Fastigheter AB, the venue’s owner. “Whether fans are cheering a goal or on the edge of their seats in overtime, Constellation makes every moment feel shared.”

For Stouenborg, the project was a landmark one. “Every ten years or so, it seems that a prestigious project of this scale and complexity comes along, and the value we see in this is in the testing of our knowledge and skill – which becomes invaluable for us in the years ahead,” said Jørgensen. “It proved to us that with preparation, a system of this scale can be installed in such a short timeframe.” www.stouenborg.dk www.aviciiarena.se

L eft: St ou en bor g’s t echn ic ia n s i n st a ll t he n ew a u d io syst em on t he ven u e’s a c ou st ic c eilin g.

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IN B R I E F Sonic clarity delivered by JBL VTX A6 at the Reading Area Community College The Miller Center for the Arts at Reading Area Community College is a visually striking, acoustically refined performing arts center renowned for hosting a wide array of national acts, local productions, student showcases and community programming. STRAY Production Services, a longtime user and integrator of JBL Professional products, partnered with the college to deliver a comprehensive audio upgrade anchored by the JBL VTX A6 line array system and Crown iTech Series amplifiers. The new setup provides pristine clarity, even coverage and a sleek aesthetic that complements the unique design of the room.

“This beautiful venue hosts everything from national music acts and spoken word performances to film studies,” said Eric Lizotte, Vice President of Systems Integration at STRAY. To minimise visual distraction, STRAY specified white JBL VTX A6 enclosures that blend cleanly into the architecture. The room’s dimensions presented coverage challenges, especially with the previous system that lacked clarity and failed to consistently reach all seating zones.

The JBL VTX A6 system, with its 120˚ horn, allowed STRAY to deliver seamless coverage while keeping the rig out of the sightline. The system is supplemented with JBL B15 subwoofers on the main hang, additional flown JBL ASB7128 subwoofers, JBL AM5212/64 speakers for the upper balcony, JBL AC18/95 speakers for the under-balcony and JBL AC 18/95 speakers for front fills. The PA system is managed by BSS BLU-160, connected to the venue’s existing Dante network for streamlined audio control and connectivity, and is powered

by Crown iTech amplifiers, which are purpose-built to drive the VTX Series. STRAY leveraged JBL’s Line Array Calculator and Performance Manager software from design through commissioning, ensuring optimal configuration and giving the client real-time system monitoring capabilities. https://pro.harman.com/

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POWER IN STYLE DMH-640 _ Moving spotlight with 640 watt COB LED _ CMY color mixing for infinite color variety _ Zoom from 10° to 47° _ Frost filter + 2 gobo wheels

GH OST BOAT A M ER ICAS WISCONSIN / USA

U s ing cutt i n g - e d g e a u d i o v i sual technol og y , M o m e n t F a c t o r y tr a ns f or m s t h e C o l d W a t e r Ca nyon i n to a f ul l y i m m e r s i ve , s p i n e-c h illing s ca r e ex p e r i e n c e .

Founded in the interest of opening Wisconsin’s scenic views to a wider audience and combining entertainment and education, Dells Boat Tours invites visitors to explore the midwestern state through its themed river cruises. The operation’s more standard tours guide audiences across the Wisconsin River, focusing on the natural scenery and the site’s rich history. However, one of its most distinctive offerings follows a different model. The Ghost Boat experience, an after-dark excursion built around a horror-driven, mostly fictional narrative, has long been a customer favourite. Honouring its fan base, the Dells team decided to upgrade the attraction at the beginning of the year, introducing a bespoke audiovisual set-up that serves to further frighten and entertain tourists.

Moment Factory, a Montreal-based studio, was responsible for delivering this multimedia transformation.

Virginie Valastro, Producer at Moment Factory, recounted the earliest days of production. The studio was brought onto the project after Dells Boat Tours became aware of Moment Factory’s proprietary Lumina experiences opening nearby. These outdoor night walks merge natural environments with tailored AV solutions, structured around a whimsical storyline. Valastro explained that before the technological design could begin, the team first sat down with the Dells crew to discuss both the scope of the installation and a refined narrative for Ghost Boat.

“In joining the reconstruction effort, we wanted to be mindful of the experience’s already-established presence,” said Valastro. “It had been running successfully for over a decade already, so we worked in very close collaboration with the Dells team to ensure our wild ideas fit with their expectations. Luckily, they loved our concepts and were more than happy to listen to our thoughts.

“Our multimedia director came up with a way to blend our suggestions with the recognised aim. The programme of the experience sees tourists go on an upriver boat cruise, before taking an immersive walk through the site’s Cold Water Canyon.

“We thought it would add to the scare-factor to make it seem as if visitors were taking a ‘normal’ tour, before the boat’s communication system begins to glitch, and it becomes apparent that something much darker is going on, with mentions of lost spirits from previous travellers.

“Then, as guests begin the on-foot section of the excursion, more haunting moments occur, before a climactic show moment brings them face-to-face with a sinister creature.”

To realise this spooky vision, Moment Factory began to build a complete narrative and multimedia environment for the Ghost Boat attraction.

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The tech behind the tour Technical Director Pierre Corsy revealed that in designing suitable solutions for Ghost Boat, he had to keep in mind the various constraints of the site. Moment Factory’s proficiency in outdoor installations aided the process, however, Corsy said that it was one of the most environmentally unique terrains they had worked on.

“We were integrating solutions along the walking segment of the experience, and as it is a canyon, it is naturally a riverbed, meaning that every time there is rainfall, the area can become like a river in itself,” began Corsy. “Therefore, we needed to make sure everything we installed was of a high IP rating.”

Further, the brief required the studio to enhance the canyon, not disfigure it. “To begin with, it was difficult to figure out how to integrate the technology without drastically altering the shape of the canyon, as the walls were extremely narrow,” continued Corsy. “This introduced problems in both physically deploying the equipment and in making sure it was still effective in tight areas. We needed to specify solutions that were compact enough for these situations.

Making up a large portion of the lighting fixtures installed, Blizzard Lighting’s Motif Fresco, a product that Corsy described as “an efficient, small, rectangle wash,” was brought in to light the canyon walls.

Blizzard’s Motif Vignette was also added in wider areas, and as with the rest of the lighting solutions supplied, these products are controlled by a GrandMA3. “We hadn’t had the chance to work with Blizzard for

a while. As they’re a Wisconsin-based company, though, Ghost Boat gave us the great opportunity to rekindle our professional and creative relationship with them and we were really happy with this.”

Having had positive experiences utilising their products for various Lumina experiences, Moment Factory then specified Flood Wash lights from CR34TE. CHAUVET Professional systems were also integrated, included in what Corsy dubbed the excursion’s “climactic moment”. The manufacturer’s Rouge Outcast 2 Beam moving head and fixtures from its COLORdash series were installed in a bigger area of the experience, at first creating tension through atmospheric illumination. The equipment is then used as more theatrical lighting, as Ghost Boat’s central monster is revealed, with its intimidating visage intensified by the solutions. This final scene is enhanced by Epson’s

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EB-PU2010B projectors controlled by a PIXERA zero media server, casting frightening silhouettes on the canyon walls before the creature appears – “this creates a scary effect intended to fill the audience with dread,” Corsy added.

Sound was another extremely important aspect of producing a horror excursion, the technical director remarked – “it was one of the elements that the owners wanted us to pay careful attention to.”

A spatial audio solution was built around Yamaha VXS5 and VXS8 loudspeakers, reinforced by VXS10S subs. These emit an eerie soundtrack filled with screams, footsteps, and falling rocks, with the latter mimicking the canyon closing in on itself and visitors.

“These are excellent products, we work with them on many outdoor projects. However, positioning them within the canyon was definitely a challenge,” he said.

“Some areas of the sandstone formations weren’t strong enough to hold the equipment. We ended up coming up with the idea to reinforce things with small, non-disfiguring amounts of concrete, so that the build was safer for both the audience and the team members going in to physically install everything.

“As the experience is outdoors, we needed to make sure the speakers we chose were extremely high quality so that coverage was not an issue. Yamaha was ideal for this – the sound was so vivid that even our own team was caught off guard!”

SFX and specialised scare kits The Wisconsin River and Cold Water Canyon are both inherently damp, foggy environments. To intensify this and incorporate the natural surroundings into the horror narrative, Moment Factory turned to LookSolutions, deploying its VIPER NT fog machines across the site.

Corsy commented: “We’ve long been a customer of LookSolutions – their products are efficient, and despite the quality of the systems, we did encounter a slight obstacle during installation. The location’s naturally produced fog was unpredictable: some days it was thick, while on others it was barely noticeable. To address this, we created a solution that allows the experience’s operators to easily adjust the intensity of the artificial fog, ensuring the right amount is used at all times.” Valastro was enthusiastic about the impact of Moment Factory’s

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fog system on Ghost Boat, declaring: “One of the strongest aspects of the project is that we’ve been able to almost choreograph the Canyon’s natural elements, and tie in the actual environment with our audiovisual intervention.”

The final aspect of the special effects package Moment Factory delivered was the miniFLICKER from LightsAlive, simulating small candle flickers. Corsy explained they had noticed this product across other scare-based entertainment experiences. Although they are renowned for outdoor immersive installations, this was their first foray into the horror genre.

This prompted Moment Factory to undergo a lengthy research and development process before they finalised Ghost Boat’s audiovisual solutions. Valastro said: “We were lucky to have multimedia director Declan O’Mara here. He is a big horror fan, so he knew the most significant scary experiences for us to investigate. For inspiration, we attended the Midsummer Scream convention and Universal Orlando’s Halloween Horror Nights, among many other similar venues.”

By far the most distinctive feature of Moment Factory’s design is the Scare Actor Kits, custom interactive systems the studio created solely for Ghost Boat. The tour features several actors who stand throughout the site, jumping out at visitors to startle them. To be used by these actors, Moment Factory manufactured 11 custom Scare Actor Kits – small boxes they can control during their performance to trigger parts of the site’s audiovisual system.

For example, a quick press of the kit can activate flashing lights or cause the speakers to emit an additional ghostly sound as an unsuspecting tourist walks by.

“The element of surprise is key in horror experiences, and our bespoke Scare Kits really helped harness this,” said Valastro. “It has been really successful at getting a reaction out of audiences and is a truly brandnew component that has come as a result of our research.”

The completed installation Taking on their first-ever horror-focused experience and building on the already-passionate fanbase of Dells Boat Tours, Moment Factory understandably faced significant pressure to deliver an innovative audiovisual upgrade. Through meticulous research and careful

selection of high-quality technology, the studio successfully brought this vision to life. Valastro reported positive feedback from the studio’s team, the Dells crew, and audiences alike.

“Everyone’s been really happy with the experience – the narrative combined with the AV tech has produced a thrilling, spooky excursion,” she said.

“It’s been a totally different adventure compared to building one of our Lumina projects. This introduction to the immersive scare world has got us hooked, we’ve loved developing it and we’ve already got lots of similar ideas we’re keen to develop.”

Corsy seconded this, implying that the success of Ghost Boat means we can expect to see Moment Factory at the core of comparable experiences in the future. “We’ve been trying to get into the scare market for a while, and this installation has proved we can do it. I personally can’t wait to see and design more,” he concluded.

Abo v e: Pr oj ec t ion a n d light t e c h n ology a mp u p t he f ea r f a ct or a t Ghost B oa t .

TECHNICAL INFORMATION LIGHTING Blizzard Verismo Blizzard ToughPAR Blizzard Tornado Blizzard Motif Sketch Blizzard Motif Fresco Blizzard Motif Vignette CHAUVET Professional Rouge Outcast 2 CHAUVET Professional COLORdash CR34TE Flood Wash 200W GrandMA3 lighting controller AUDIO Yamaha VXS5 speakers Yamaha VXS8 speakers Yamaha VXS10S subwoofers VIDEO AND SFX Epson EB-PU2010B projectors PIXERA zero media server Look Solutions VIPER NT fog machines LightsAlive MiniFlicker effects Moment Factory Scare Actor Kits www.momentfactory.com

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IN B R I E F Clearlight Shows revamps Marriner Group’s Plaza Ballroom with Highlite International A major lighting upgrade has completely revamped the historic Plaza Ballroom in Melbourne, with a combination of Infinity and Showtec fixtures from Highlite International providing a robust, modern rig optimised for live performance, broadcast, and high-end event lighting. The venue, which is part of the Marriner Group, is a richly decorated venue with no natural light – making colour accuracy and flicker-free performance essential. Having worked closely with the theatre group on many occasions, Clearlight Shows was invited to propose a system based on Highlite products, which the venue had successfully hired in the past. John McKissock, founder of Clearlight Shows, explained: “The venue team had been trialling LED replacements for some time. When they saw the Infinity range in action, particularly the Performer Profile Zoom 150 Q6 from Showtec, they were pleasantly surprised by the output and beam quality.”

The final rig includes 12 Infinity Furion S201 Spot moving heads, 20 Infinity iW-1941 RGBW Wash lights, eight Infinity TF260C7 7-colour Fresnels, 18 Infinity TS260C7 Profile Engines, 40 Showtec Performer Profile Zoom 150 Q6 RGBACL spots, two Showtec Phantom 1220 Zoombars and two Showtec ACT Par 200 W RGBAL spots.

This tailored combination of profile, wash, and effect lighting allowed Clearlight to move away from a conventional Fresnelbased rig and instead focus on precise, energy-efficient LED profiles – offering the venue more flexibility, reduced power usage, and lower maintenance. www.highlite.com/en

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CINÉ S AIGON A PA C

HO CHI MINH CITY / VIETNAM

S up er l a ti ve b r i n g s t h e c r e ative v is ion a nd f l a i r t o a n e w n i g h tlif e des ti n a t i o n i n Vi e t n a m .

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Tasked with transforming an historic grand old cinema into a modern nightlife destination, creative studio Superlative worked tirelessly over the course of a year alongside local architects and interior designers to bring Ciné Saigon to life in downtown Ho Chi Minh City.

“Superlative has a deep-rooted connection with Vietnam, and especially Ho Chi Minh City – where the clubbing and entertainment scene is evolving at an unprecedented level,” said Miquel Clot, CEO and Co-Founder of Superlative, which has offices in Barcelona, Dubai and Jakarta.

“When we were given the opportunity to design what is now, in my opinion, the most iconic club in Ho Chi Minh City, we knew this would be a project that would push boundaries and redefine expectations.”

The venue is housed in the old Thang Long cinema, which features a 13m tall ceiling and an architectural legacy that the client wanted to preserve during its transformation into a nightclub.

“From day one, the challenge was immense, and the scale of the project brought a series of technical and logistical hurdles,” said Gabriel Scapusio, CEO and Co-Founder of Superlative. “Integrating a highly technical kinetic lighting system in an old building was no small feat, and the pre-rig installation required extreme precision, as we had to carefully reinforce the structure while seamlessly incorporating variable-speed motors.

“To fuel this electrifying experience, we needed to bring in a 350A power supply – a massive undertaking in a city with strict regulations and challenging access points.

“Navigating permits and logistical constraints in an urban environment of this scale required relentless coordination and problem-solving.”

Despite the complex challenges, Ciné Saigon’s lighting and video systems were installed in one month, which Miquel Clot admitted would have been impossible without his teams’ dedication and the assistance of local partners.

At the heart of the venue’s aesthetics is its professional lighting offering, with Clot sharing that almost 200 luminaires were installed to meet the client brief.

“At Ciné we utilised robotic luminaires from various brands to create a spectacular 360° vision, which is supported by more than 1km of digital LED bars, controlled pixel by pixel to enhance the immersive lighting effects,” said Hendra Winata, Partner, Superlative PT Indonesia. “And some of these luminaires have been installed in the kinetic truss system.”

The lighting rig consists of 22 Prolights Astra Hybrid330, 12 Minuit Une IVL Dice, and a massive selection of Polar Lights, including 32 Polar Beam Light, 20 each of Polar Wash B-eye and Polar Blinder 2 Lite, and 33 Polar Strobe Light.

An array of special FX units were also specified and installed

by Superlative to enhance the atmosphere, including eight RGB lasers, MAGIC FX CO2JET II, MAGIC FX POWERSHOT II, MAGIC FX CLUBBLOWER and MAGIC FX FX-BLOWER units, and Antari HZ-500 haze machines.

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Controlling the lighting and FX fixtures is an MA Lighting grandMA3 compact XT console, while Madrix software and hardware was selected for all pixel control.

The venue’s LED video walls were supplied by Nam Hai LED, consisting of a total of 180 sq m of Unilumin UVF 3.9-7.8 transparent display, with video content control handled by a Resolume Arena server.

Vertical kinetic movement is conducted by Cybermotion Cyberhoist II motors, two of which are locked onto four individual 8m Prolyte H30 truss, to raise and lower lighting fixtures, while the venue’s LED screens are mounted onto a horizontal kinetic system.

Utilising Wahlberg Rotracktor technology, the screens move horizontally along approximately 30m of beam track and rotate on their axis to form a huge LED video wall centrepiece in the middle of the club.

The venue’s audio system was supplied by PROALV Vietnam, consisting of L-Acoustics A Series loudspeakers and KS28 subwoofers, with an Allen & Heath Avantis Solo desk specified.

“Ciné Saigon is the result of a seamless partnership between Superlative and a diverse, multi-disciplinary team of architects, engineers, and local experts,” concluded Scapusio. “The result is a cohesive, well-integrated masterpiece that showcases the power of teamwork.”

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TECHNICAL INFORMATION LIGHTING & FX 22 x Prolights Astra Hybrid330 32 x Polar Beam Light Polar 20 x Polar Wash B-eye Polar 20 x Polar Blinder 2 Lite Polar 33 x Polar Strobe Light Polar 28 x Polar Pixel LED bar Zoom /Tilt L-480 12 x Minuit Une IVL Dice 8 x Laser RGB 10 Watts 12 x MAGIC FX CO2JET II 12 x MAGIC FX POWERSHOT II 4 x MAGIC FX CLUBBLOWER 4 x MAGIC FX FX-BLOWER 4 x Antari HZ-500 1 x MA Lighting grandMA3 Compact XT 6 x Obsidian Control Systems DMX Netron 10-5 9 x MADRIX Luna 16 1 x MADRIX Professional License 1 x MADRIX Basic License AUDIO 12 x L-Acoustics A15 Focus 10 x L-Acoustics A15 Wide 10 x L-Acoustics A15 BUMP 6 x L-Acoustics KS28 5 x L-Acoustics LA4x CE 2 x L-Acoustics LA12X CE 1 x Allen & Heath Avantis Solo 1 x Allen & Heath DX168 www.superlative.live

IN B R I E F NEXO provides the ideal solution for MacArthur’s Ballroom Sitting by the banks of Gold Coast’s Coomera River, InterContinental Sanctuary Cove is resort set amongst tropical paradise and features 15 spaces catering to gatherings from business meetings to grand celebrations, headlined by its largest space, the versatile MacArthur’s Ballroom. Recently receiving a completely upgraded audio system powered by NEXO’s P+ Series, the ballroom’s AV capability has been elevated to match the premium nature of the resort.

With the guidance of dedicated on-site audio specialist Mitch Grant of AVPartners, the InterContinental’s upgrade centred around providing greater flexibility for its wideranging clientele.

For the MacArthur’s Ballroom, a space embodying a distinguished, polished character, designed to host large-scale events

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for up to 500 attendees, a selection of NEXO’s P+ Series cabinets were deployed alongside ultra-compact ID24 speakers to supply a high level of SPL, exceptional clarity and coverage across the ballroom.

“The system is centred around P10 cabinets positioned on the front bar, with P8 speakers used as rear fill to ensure smooth, even coverage. ID24 speakers run across the front as subtle near-fill, and L15’s deliver tight, wellcontrolled low-end,” explained Grant. “We’ve always known NEXO to be a well-established brand with a strong reputation for reliability and sound quality and it felt like the right fit for this install, both from a performance perspective and a presentation point of view.

We are extremely pleased with the system and its capabilities in the ballroom.” www.nexo-sa.com

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SHOW REPORT PLASA Show

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SHOW REPORT LEaT con

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IN DISCUSSION Lightware

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COMPANY PROFILE ROXX Lighting

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PRODUCT GUIDE Amps & Processors

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SHOW PREVIEW LDI

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IN DETAIL dBTechnologies

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IN DETAIL ROE Visual

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COMPANY PROFILE AtlasIED

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BACK OF HOUSE Martina Ruff, Marketing Manager, LPS-Lasers

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PLAS A S h ow EM EA

LONDON, UK / 7 – 9 SEPT, 2025

Over three bustling days, the halls of Olympia London once again played host to PLASA Show, attracting a vibrant mix of industry professionals eager to network, learn, and celebrate the latest innovations and trends in the audiovisual sector. This year’s expo saw growth across the board, with increases in both visitors and exhibitors, and a particularly notable 31.5% rise in student attendance.

The Adam Hall Group used the tradeshow to launch its new UK show space, as well as inviting visitors to view the latest products from its brands, highlighting the Cameo P6 LED profile spotlight and the LD Systems ICOA Pro PA speaker series.

CHAUVET Professional exhibited alongside ChamSys, where CHAUVET’s Maverick Force X Profile had its world debut. Alongside this, hands-on demonstrations of ChamSys solutions took place, involving the MagicQ MQ500M+ and MQ250M Stadium Consoles.

Claypaky and distributor Entedi together welcomed visitors to stand E20 for a celebration of Claypaky’s 50th anniversary. Alongside the festivities, Claypaky’s new Arolla Aqua HP fixture was given its international debut.

The d&b audiotechnik stand saw the manufacturer showcase some of its newest innovations, including the CL-Series, D25/D25D, and the latest addition to d&b Soundscape - Create.Control.

For EM Acoustics, the 2025 edition of PLASA allowed for the highlighting

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Elisa Posteraro and Ivan Klepac of Adam Hall Group.

Theresa Gibson of Area Four Industries.

The TSL Lighting and the CHAUVET Professional teams.

Greg Clarke of EM Acoustics.

Kirsty Lamport and Alex Lane of d&b audiotechnik.

The Avolites team.

Opasna Randev of ETC. James Hill, Mercedes Frígols Ballester, and Stuart Moots at Shure.

of its newly completed Reference Series, with the R4 loudspeaker’s arrival cementing this milestone for the brand.

Further celebrations took place as ETC honoured its 50th birthday on the show floor. The manufacturer exhibited a wide range of new technologies, including its recently launched F-Drive RX centralised LED driver system.

KV2 Audio’s UK team took to PLASA to host live demonstrations at Olympia’s Gallery Level, exhibiting its trusted product combinations such as its SL system complemented by the VHD4.21 subwoofer system.

L-Acoustics’ stand housed some of its innovative installation solutions, including its X Series, featuring the X4i, X6i, and X8i. Furthermore, its ultraslim loudspeaker, Soka, was prominent at the show.

Powersoft’s all-new Unica T amplifier made its UK debut at PLASA, officially joining the brand’s T Series. Purpose-built for touring and live events, Unica T delivers the power, efficiency, and reliability that professionals demand.

Robe and all its brands – Avolites, Anolis, LSC Control Systems, and Artistic Licence – took up the largest footprint on the show floor, revealing a vibrant new live expo show ‘Excalibur & the Lights of the Round Table’. The manufacturer also used the show to launch six versatile new LED lighting products – T3 Profile, iPAINTE LTM, SVOPATT Classic, Footsie1 MC, Footsie2 MC, and the PowerDolly.

Sennheiser’s team of experts were available on the show floor to guide show visitors through their product line-up, including the Spectera wideband wireless ecosystem, the SoundBase RF planning tool, and the EW-DX wireless range.

Finally, TiMax revealed the latest updates to its spatial audio offerings and hosted demonstrations of its solutions, such as PanLab, SoundHub, and Tracker. www.plasashow.com

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LEaT con EM EA

HAMBURG, GERMANY / 14 – 16 OCT, 2025

LEaT con, held annually in the German city of Hamburg, blends the best elements of an expo and conference, fostering inspiration and a feeling of unity within the local AV community.

Now in its fourth year, the event is spread across three days and this year it expanded into a second hall, highlighting LEaT con’s growth and importance for those exhibiting. Before stepping into the halls, visitors were greeted with an installation in the foyer.

Belgian companies Painting With Light (PWL) and FRAMELED joined forces to present Eternal Pulse, a hanging artwork with a dynamic interplay of design, technology, and sustainability. Built with FRAMELED’s modular Pulse system and designed by PWL, the installation features two intertwined helix shapes that represent

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collaboration between artistic vision and advanced technology.

The piece also reflected a broader shift in the industry toward reusable and sustainable materials. Inside the show, the stands are kept relatively small, with a mixture of distributions and stand-alone manufacturers showcasing the latest innovations.

But this event is more than a product selling exercise, with many exhibitors outlining similar positive messaging with regard to networking being the main focus. Sean Kollak, Head of Marketing Communications at HK Audio, said: “For HK Audio, LEaT con has become an essential meeting point for the pro audio community across the DACH region. It offers the perfect balance between business and personal exchange, allowing us to connect with long-term partners and discover new opportunities in a relaxed yet highly professional environment.”

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Simone Scaramuzza of Powersoft.

Andreas Möller of Sennheiser and Sebastian Schull of Sennheiser.

3 Lasse Larsen, Anders Wisbol and Christian da Silva Santos of Sonance Professional.

4 Otto Pfeifer, Uli Golka and Heinz Bouwer of Adam Hall.

5 Michael Vößing of MediasPro and Michal Poplawski of Renkus-Heinz.

6 Michael Stötzel of Bose Professional.

7 Nils Westerwelle of Klotz.

8 Mika Isotalo of Aura Audio.

9 Stephan Zapotocky of zactrack.

10 Harry Gladow and Jan Walter of AV Stumpfl.

11 Christian Strehl of dBTechnologies.

12 Ulf Krynojewski of distributors Publitec.

13 James Bamlett of EAW. 14 Sean Kollak of HK Audio with Ines Töws, who brought some Oktoberfest vibes to the show.

15 Mate Lukacsovics and Alexander Geszler of NXT Lights.

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THE FUTURE OF AV-OVE R IP: TH E IM PORTANCE OF IN TE LLIG E NT FLE XIBILITY B y T am á s L eh el , P r od u c t P or tf o l io M a n a ger , L i g h t ware .

For years, the AV industry has looked toward a single, universal standard for AV-over-IP, but as the technology matures, a different reality is emerging. Rather than converging, the AV-over-IP landscape is diversifying, shaped by a growing ecosystem of protocols, performance demands, and user expectations. Choice, context, and user experience matter as much as technical features, which means it is more important than ever for technology to be able to adapt to suit these needs.

Futureproofing by embracing diversity The evolution of AV-over-IP continues to expand in multiple directions rather than converging on a single protocol. While some may view AV-over-IP as the ultimate solution for all connectivity challenges, the reality is more nuanced. Some technologies position themselves as the ultimate solution to all AV connectivity challenges, however the industry is still far from that vision. There are many different technologies, with various capabilities and limitations, compatibility challenges and offered functionality. Popular platforms such as SDVoE, IPMX (ST-2110), NDI, and various proprietary technologies are each carving out their own segments, optimised for specific use cases and levels of integration. Instead of a single standard emerging, we’re seeing parallel innovation across these protocols responding to different market needs.

Understanding customer needs There are many factors that make one AV-over-IP technology more suitable than another, but customer preferences often extend beyond technical specifications such as bandwidth, latency and image quality requirements. Personal experience, habits, or even subjective taste can strongly influence choices. We’ve seen some projects where the customer has had a fixed mindset of what they wanted and how to solve it. In these cases, it is challenging to divert the customer to another technology, even if that could serve the purpose better. At Lightware, our approach is to understand the customer’s needs in relation to the application scenario, as well as consider the project’s broader context before recommending the technology that best meets those goals. By contrast, there are some manufacturers who focus on promoting one single platform and steer customers exclusively in one direction. We believe that flexibility is the best solution, helping clients to make informed choices rather than predefined ones.

1G vs 10G solutions When it comes to choosing between 1G and 10G solutions, clients often have preconceived ideas about which they should be using. The most obvious difference between the solutions of course is the bandwidth versus image quality. Often clients believe that 10G infrastructure will be too expensive, or 1G solutions will have bad image quality. These are generalities which must be refined with the context of the application. In many cases a 1G solution can provide perfect image quality, depending on the content and the viewing circumstances. The extra cost for 10G infrastructure is becoming less, as Ethernet switches become more accessible. However, if CATx cabling is already in place, this may be a limiting factor, as 10G needs at least CAT6A. Scalability is an important

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L e f t : S t . J o s e p h C o l l e g e i n B r isba n e u t ilises a n AVo v e r - IP s o l u t i on w it h Light w a r e U B EX. B e l o w : G e m i n i G V N i s u sed a t t he immer sive a r t e x p e r i e n c e a t C O D A Vesz pr em in Hu n ga r y.

B o t t o m : Th e A l M aw ad d a h M osqu e in Sin ga por e u ses A V - o v e r - Ip w i t h G e min i GVN- HD MI - TX2 10 AP.

aspect in an AV-over-IP system, and total network throughput is a critical factor. 1G-based platforms often offer greater flexibility, as they typically operate well below their maximum bandwidth.

This headroom allows for easier expansion and a more forgiving margin for error. By contrast, 10G systems tend to operate closer to their bandwidth limits, which can make them more sensitive to configuration and network performance issues. 10G AV-over-IP solutions bring significant advantages beyond raw bandwidth. Many platforms, such as Lightware’s TPN system based on SDVoE, include an additional 1GbE channel that supports general Ethernet communications, providing enhanced network functionality.

Some 10G products also integrate USB 2.0 over Ethernet, enabling flawless connectivity for peripherals within the same bandwidth framework.

Lightware’s UBEX platform exemplifies the versatility possible with 10G technology. Its dynamic bandwidth management allows users to transmit two Full HD signals and a 1GbE channel over a single 10G link, or alternatively, deliver an uncompressed 4K UHD 60Hz 12-bit HDR signal across a dual 10G aggregated link. This flexibility ensures that system designers can optimise performance precisely to the needs of each application.

AV-over-IP audio strategy Audio is no longer an afterthought when it comes to AV-over-IP, in fact it plays a vital role in creating a high-performance system that enhances the user’s overall experience. At Lightware, we design systems which manage audio effectively, offering robust audio capabilities that align with the needs of modern networked installations. All of Lightware’s AV-over-IP product lines include a dedicated audio transmission layer alongside video, ensuring seamless integration across both media types. Thanks to the inherent flexibility of IP-based routing, our protocol allows complete freedom in how audio is managed. Users can configure systems for traditional audio-followvideo operation or route audio channels independently to meet specific design or operational needs. Additionally, some of our products support Dante audio connectivity. In these systems, audio can be extracted directly from the AVover-IP stream and integrated into a Dante network.

The influence of AI on AV-over-IP Artificial Intelligence has the potential to transform how AV-over-IP systems are designed and deployed, helping integrators to unlock new levels of performance. One of the biggest challenges of AV-over-IP is setting up the network endpoints. This configuration not only requires expertise, but often involves repetitive, time-consuming manual setup tasks. AI’s intelligent assistant tools could automate much of this work, dramatically reducing system deployment time. AI could also be a great help during the system design phase of AV-over-IP systems. An AI assistant could compare product specifications to find a perfect fit for the user’s requirements, as well as recommend components, suggest system layouts or even point out potential risks which may affect system performance.

Of course, both ideas would require AI tools specifically trained in AV environments. As the technology improves, AI assistants could become invaluable for helping to make AV-over-IP systems faster to deploy and easier to manage. www.lightware.com

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ROXX LIGHTING FOUNDED IN 2019, ROXX LIGHTING HAS BEEN STEADILY GROWING ITS PRESENCE IN THE MARKET AROUND THE WORLD, OFFERING LIGHTING DESIGNERS A SELECTION OF ROBUST FIXTURES, DESIGNED AT THE COMPANY HQ IN COLOGNE, GERMANY, WHICH CAN BE USED ACROSS BOTH THE INSTALLATION AND LIVE EVENT MARKET.

Above: The NEO lite (left) and fixtures from the Show Series (right) from ROXX’s product portfolio.

Left: ROXX’s CLUSTER Blinders used at Circoloco festival in 2024.

ROXX Lighting began six years ago with the coming together of three industry veterans with deep roots in the event and lighting sector, and their combined knowledge and decades of experience laid the foundation for a company dedicated to innovation, reliability, and professional service.

The trio’s vision was clear from the beginning – to create highly innovative products tailored to the needs of professionals, which are supported by outstanding service and strong customer partnerships.

ROXX started with just a handful of employees and has since grown to over 20 permanent employees to cover all core areas from R&D and sales, to logistics and service. This steady growth reflects the increasing demand for the company’s products worldwide. On the product side, ROXX began with the SHOW Series in 2021 and has since expanded to more than 20 innovative products across four complete product series, offering a broad range of solutions for both entertainment and architectural applications. Recent highlights include the NEO lite, a compact yet extremely powerful battery-operated washlight that delivers over 9,000 lumens and full output even off the grid, underscoring ROXX’s focus on combining performance with portability and user-driven design.

The founding team at ROXX combines strategic expertise, market proximity, and innovative strength. Michael Herweg is responsible for finance and marketing, ensuring ROXX’s economic strength and visibility with his financial strategy and brand work. Thorsten Sattler contributes his extensive network and deep market understanding to drive sales in a targeted manner, to tap into new growth potential and gives strong feedback from the market about the company’s new product developments. Daniel Garcia heads up product management and R&D, shaping the future of the ROXX product world with his innovative expertise. This complementary leadership

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ensures sustainable commercial growth – and ensures that ROXX is equally convincing as a brand, product provider, and partner.

“ROXX has ambitious plans for continued growth in all areas – expanding staff, developing new products and series, increasing warehouse capacity, and further strengthening global market presence,” said Herweg. “Some of the key building blocks — such as a strong team, innovative product portfolio, and reliable partner network — are already firmly in place, while others, like infrastructure expansion, are being actively developed.”

Earlier this year the company announced distribution deals for the UK and Indian markets, in addition to the establishment of ROXX France.

“It’s been really exciting to watch the ROXX Nation expand globally in 2025,” continued Herweg. “Entering the UK and India, and opening our own branch in France, were big milestones for us, and we’re very happy with how our distributors have been pushing our products and building awareness in these new markets.

“In Europe, we’ve been able to complete much of our distribution map, while in the Middle East and India we’ve established strong new partnerships that are already up and running.

Those steps give us a solid base to grow from.” added Sattler.

ROXX plans to launch a number of new products in 2026 and roll out more training opportunities to support lighting designers and existing customers.

“Expansion remains a top priority,” continued Sattler. “We’ve got our sights on Canada and South America, as well as parts of Asia.”

With global growth in the foreground, the focus of product development remains on the company’s existing offerings of static spotlights.

“Here, we focus on innovation, maximum performance, and genuine customer proximity,” explained Garcia. “Whether (and

C O M PA N Y P R O F I LE - R OXX LI GH TI NG | WWW.MONDODR.COM

when) this will lead to new developments in the field of moving light systems remains to be seen – but one thing is certain, we are passionate about what we do and have clear standards when it comes to quality and benefits for our customers.”

The product development ethos at ROXX is based on practice and feedback. Working closely with lighting designers and users, ROXX develops solutions early on in the product phase that are based on the real requirements of the market, not assumptions.

“In line with the design thinking principle and the central question of “why,” we consistently focus on the needs of our users in order to solve complex challenges with well-thoughtout, practical innovation,” commented Garcia.

“This user-centered approach has led, among other things, to the development of our innovative, tool-free connection system for the CLUSTER series – a solution derived directly from practical experience for practical use.”

ROXX develops lighting solutions with the aim of serving both live entertainment and architecture, and its portfolio clearly focuses on live events and tours, where the highest standards of performance, flexibility, and design are required.

At the same time, ROXX has further developed selected products specifically for architectural use – for example, with variants featuring IP66 protection and a highly resistant C5-H powder coating, which is specially designed for use in extremely corrosive, maritime, or industrial environments.

“We’re very excited about what lies ahead for ROXX, with new innovations already in the pipeline and strong momentum in our global expansion,” concluded Sattler. “Most importantly, we’ll continue to focus on listening to our customers and delivering products that make a real difference in their daily work.

We look forward to sharing more at LDI in December, and ISE in February.” www.roxxlight.com

Mic h ae l H e rweg

With more than 25 years of experience at companies such as SGM and dBTechnologies, Michael brings both commercial and financial expertise.

D a n i e l Ga rc ia

Formerly with Adam Hall Group and Music Store as senior brand and product manager, Daniel 17 years of experience in market positioning, product development, and strategy.

Th orste n Sa ttler

With roughly 20 years in professional sales at companies such as SGM, dBTechnologies, Selecon, dblux, and LMP Lichttechnik, Thorsten brings global market knowledge and customer relationships.

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PROD UCT GU I D E: AMPS & P R OC ES S ORS SPONSORED BY

VHD7000D Subwoofer Amplifier KV2 Audio has introduced the VHD7000D Subwoofer Amplifier, a powerful and versatile new addition to its VHD Series. Designed to drive KV2’s VHD, ES, and SL subwoofers, as well as third-party systems, the VHD7000D delivers unmatched energy and precision for touring and fixed installations alike.

The amplifier’s innovative power management delivers 7 kW of shortterm power and peak output of up to 14 kW from a single 16 A circuit, outperforming conventional amplifiers in its class.

Its integrated RMS limiter ensures reliable thermal protection and long-term stability, maintaining high SPL levels and natural dynamics without distortion or compression during extended operation.

A tunable notch filter suppresses unwanted resonances, improving bass clarity and protecting drivers, while a peak limiter prevents mechanical overload.

These tools guarantee precise, impactful low-frequency reproduction with consistent performance across any environment.

The VHD7000D also features a high-power switching mode supply, advanced overdrive protection, and full remote control and diagnostics, making it a future-ready solution for system designers and sound engineers.

With cutting-edge efficiency, precision control, and exceptional output, the VHD7000D sets a new standard in subwoofer amplification. Whether used with KV2 systems or third-party loudspeakers, it ensures clean, controlled, and powerful low end for events of any scale.

KV2 treats amplification not as an accessory but as the system’s core. Its amplifiers feature ultra-fast slew rates and precisely matched frequency bands for high, mid, and low frequencies, ensuring all components clip simultaneously and maintain coherent dynamics.

Every KV2 system is built in Milevsko, Czech Republic, where engineering, manufacturing, and testing share a single 10,000 sq m facility.

Czech engineering tradition plays a key role, with many team members hailing from the local community, combining generational craftsmanship with modern production. This has helped KV2 maintain exceptionally high quality while remaining agile.

KV2’s commitment has earned the trust of some of the world’s most demanding venues. Its systems power prestigious installations such as the Volksoper Vienna, Prague’s Rudolfinum, Broadway’s Paramour, and Disney’s The Lion King. They can be found in hundreds of theatres across the UK, major European opera houses, and world-famous clubs including Amnesia Ibiza.

Now entering its third decade, KV2 is preparing the next generation of highdefinition audio technologies. The company’s roadmap includes expanding SLA applications, refining point source designs for even larger venues, and passing its engineering principles to new generations.

In an industry often dominated by trends and marketing, KV2 Audio stands apart through rigorous engineering, respect for physics, and an unwavering focus on the listener’s experience. www.kv2audio.com

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ADAMSON XG 1 Adamson’s XG Integration amplifier series embraces an array of technologies. Up to 16Kw of highly efficient class D amplification with an array of features to fulfil all installed power needs, from demanding SPL requirements to multichannel flexibility. Featuring leading Class-D and SMPS designs, XG amplifiers allow for worldwide operation. With integrated powerful DSP, comprehensive GPIO, interactive touch display and open-source control protocols, XG Amplifiers are a comprehensive solution for integrators designed and built entirely in North America.

The series’ XG1 amp offers 4000W total power across four channels, packed into a single rack unit format. Offering Milan and Analogue inputs, as well as software integration, a touchscreen and comprehensive GPIO, the XG1 is an attractive option for small to mid-sized systems. www.adamson.ai

Blaze by Sonance PowerZone Connect 1008D The PowerZone Connect 1U series is a line of DSP-enabled Class-D amplifiers designed to make system installers’ lives easier, offering unparalleled reliability and efficiency, along with exceptional system configuration. The amplifiers have a built-in wireless access point for simple connection and easy system setup via Wi-Fi. Select models offer compatibility with Audinate Dante AoIP networks and installations.

The 1008D is the latest in this line of amps. Blaze by Sonance’s intuitive PowerZone Control web app is built into the 1008D, as it is for all its PowerZone Connect amplifiers, for easy system setup. www.blaze-audio.com

BOSE Professional Veritas 250BL The Veritas series from Bose Professional delivers superior background/ foreground music, paging and multimedia for commercial applications.

Bluetooth 5.0 wireless input and user-intuitive OLED screen with quick-start QR code simplify setup – whether users are a pro installer or a DIYer. With four models to choose from, Veritas amplifiers offer the perfect combination of power, performance, and flexibility. The Veritas 250BL is the ideal choice for DIYers looking for professional-grade audio without the complexity. A flexible choice for low-impedance 4/8-ohm systems, the 250BL is good for smaller rooms, boutique shops, and localised sound installations. Weighing 4.4lbs, its compact half-rack design allows for easy, discreet mounting virtually anywhere. www.boseprofessional.com

Cloud Electronics CVA Series Cloud Electronics’ CVA Series multi-channel digital amplifiers deliver up to 1kW of power sharing, intelligently distributing it across two, four, or eight channels at either 100V Line or Low Impedance. Built-in DSP gives users precision control over EQ, routing, delay and limiting, while Ethernet and RS-232 connectivity, plus optional Dante cards enable remote management and system integration. Auxiliary outputs provide flexible signal routing, and compatibility with Cloud’s RL remote-level wall plates adds seamless control. Energy-efficient by design, CVA amps bring high-performance, scalable audio to retail, hospitality, leisure, and industrial installations. www.cloud.co.uk

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d&b audiotechnik 25D and D25 amplifiers Based on the company’s most advanced amplifier DSP platform, the 25D and D25 amplifier models integrate Milan networking and offer full compatibility with d&b’s software suite, ensuring seamless performance and improved workflow efficiency.

For rental companies, venue operators and system integrators looking for efficient amplification, the D25 and its installed counterpart- the 25D - offer a balance of power and adaptability. Both models provide the optimal output voltage for mid-size sound reinforcement requirements.

When combined with d&b loudspeaker systems, such as the CCL System, A-Series, Y-Series, E-Series, xC-Series, or Xs-Series, these amplifiers provide a fully integrated d&b system. www.dbaudio.com

Dynacord VZX-8 multi-zone audio processor Dynacord has added a powerful new tool to its lineup: the VZX-8 multi-zone audio processor. Designed for flexibility and ease of use, the VZX-8 is built to streamline installations where multiple audio zones need to be managed independently yet still feel cohesive as a system. For dealers and installers, it’s the kind of product that makes complex projects easier to design, deploy, and support. At its core, the VZX-8 is an 8-zone digital audio processor that combines signal routing, DSP, and control in a compact package. www.dynacord.com

Full Fat Audio FFA-10000 The FFA-10000 dual power dual mono professional audio amplifiers are ideally suited for driving very high output bass and sub bass loudspeakers or high-power full range systems. They are designed to drive sustained, very high output audio into 2 Ohm loads. The FFA-10000 is dual mono - each channel is totally independent. FFA dual mono power amplifiers are mains supply power efficient and operate cool, even in the most demanding environments.

Mechanical construction is tour grade with aluminium used throughout the chassis design. This provides a robust and rigid but lightweight housing for the electronic systems. www.fullfataudio.com

L-Acoustics LA1.16i Building on the approach introduced with the LA7.16i, L-Acoustics’ LA1.16i is an ultra-compact 16-channel amplified controller specifically engineered for the installation market. This product delivers unmatched channel density in a space-saving 1U format, making premium L-Acoustics sound accessible for a wider range of venues and applications.

Purpose-built for near-field and short-throw applications where higher sound pressure levels aren’t the priority, it is ideal for hospitality venues, retail environments, cultural spaces, and residential installations. Its high channel count enables the deployment of large quantities of speakers – for example, up to 48 X4i compact enclosures – while its space-efficient design maximises rack space utilisation and optimises installation costs. www.l-acoustics.com

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LEA Professional NETWORK CONNECT The NETWORK CONNECT smart amplifiers are suited for small to medium-scale installations. These two, four, and eight-channel amps feature direct HiZ (70V or 100V) or LoZ selectable by channel. With three ways to connect, users can engage the built-in Wi-Fi access point, connect to the venue’s Wi-Fi, or use the FAST Ethernet to connect to any local area network via Cat5 or Cat6 cable. NETWORK CONNECT is the first professional amplifier family to feature Cloud connectivity. Users can harness the power of the Cloud for remote control, monitoring, notifications, and more from any personal device. www.leaprofessional.com

MYTH OR TRUTH? Digital audio consoles all sound the same.

Outline ISA 4D32 The ISA 4D32 is specifically designed for installation applications. In just 1 RU, it offers smaller dimensions, lighter weight and the high sound quality and reliability of all Outline products. ISA 4D32 amplifiers implement a high-efficiency microprocessor-controlled power supply with built-in PFC (Power Factor Correction) that allows flawless worldwide operation with any AC mains voltage in the range 90-264 VAC, tolerant to peak up to 400 VAC. The patented SRM (Smart Rails Management) technology allows users to maximise the efficiency of the system and drastically reduce power consumption at any load and usage condition. www.outline.it

Peavey Digitool series The Digitool MX16a, MX32a and Live are a family of digital audio processing units built on the rich history of the original Digitool MX and designed for the audio professional. These products have the power and flexibility to perform loudspeaker management functions in addition to matrix mixing, room combining and other audio processing functions for installed and portable sound systems. Each model features a full-colour display screen, front navigation and editing controls, front panel input and output mute buttons and LED meters to simplify configuration. They can also be configured using a Windows application via USB or Ethernet. www.peavey.com

The mc2 Series Find out yourself — Hearing is believing.

LAWO.COM

Powersoft NOTA 142

Q-SYS Core 24f

NOTA is an ultra-compact, versatile PoE/PoE+ amplifier designed for networked AoIP applications where space and wiring constraints are a concern. Tailored for AV and IT system integrators, it offers an intuitive installation process with a single Ethernet cable for power and data. With its modular design and flexibility, NOTA seamlessly integrates into existing systems and expands them as needed, ensuring efficient operation in any networked environment. Whether starting with a single zone or scaling up to large, complex installations, Nota is designed to grow with users’ needs. Ideal for commercial and conferencing installations, it adapts effortlessly, ensuring both immediate and longterm scalability. www.powersoft.com

As the evolutionary successor to the Q-SYS Core 110f, the Core 24f expands on the foundation set by the industry’s first truly integrated audio, video, and control processor, offering a significant increase in processing power and updated I/O to meet the performance needs of modern AV environments. It features 24 onboard audio channels, integrated AV bridging via USB-C, GPIO and RS232 control connectivity and four network ports for a variety of applications requiring in-room processing.

The Core 24f processor leverages the full capabilities of the Q-SYS control engine without the need for feature licenses. www.qsys.com

Theory Professional PLC Series The PLC Series is Theory Professional’s newest line of amplified loudspeaker controllers. Built on Powersoft’s patented amplification and signal processing technologies, Theory’s PLC Series provides integrators, consultants, and specifiers the ability to incorporate Theory systems into large and complex professional, large venue, and live sound applications, including elaborate Dante or AES67 networks. The PLC series, comprised of two 8-channel and two 4-channel models, are compact (only 1RU) but extremely power dense. Each model is reliable, scalable, and features all-channel power sharing. Add in Theory’s proprietary loudspeaker presets and you get big, clean, high-fidelity sound – everywhere. www.theoryprofessional.com

Yamaha DME7 The DME7 is an open architecture-type digital signal processor that boasts superior processing capacity and supports up to 256 input/output channels. Featuring 96-kHz processing, the DME7 delivers the high-quality sound of Yamaha digital mixers. It is an outstanding processor for both musical expression and sound field generation, giving you the ideal sound whether you are using it for a theatre, concert hall, or a wide range of other venues. The DME7 hardware provides 64 channels of Dante I/O and matrix mixer as standard, which can be expanded by an additional 64 channels with a DEK-DME7-DX64 expansion kit license. www.yamaha.com

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LDI PR EVI EW

City Theatrical DMXcat-E Booth 1903

Broadweigh

• Send and test Ethernet lighting protocols (Art-Net, sACN).

• Check DMX and Ethernet cables for faults or length.

• Measure PoE voltage on network links.

• Read and monitor SMPTE and MIDI timecode.

• Control and test fixtures via the DMXcat mobile app. www.citytheatrical.com

Booth 2200 •

Know your best work - wireless load monitoring for festivals, touring shows, theatres and hospitality.

• Monitor outdoor structures during weather events with the Wireless Anemometer Wind Speed Sensor.

• Discover new product releases – Broadweigh’s latest innovations designed for the live events industry.

• See live load monitoring in action – Watch real-time demos of Broadweigh’s wireless load cells work on a rig.

• Meet local distributors and find out how you can use Broadweigh to push innovation in your live events. www.broadweigh.com

NEUTRIK Glow Motion Booth 5235 •

Full-color, pixel-controlled Kinetic LED Bar for dynamic lighting and motion effects.

• 12 meters of smooth, precise travel controlled directly from any DMX console.

• Power-efficient design at only 160W per unit.

• Scalable system adaptable to any creative design or budget.

• Available in 1.2m and 2m lengths (in stock now). www.glowmotion.tech

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Booth 2400 • Designed for easy integration and high performance.

• D-size form factor is ideal for installation in AVL settings.

• UL94 and UV-resistant flange material.

• Includes integrated fly-lead patch cables at the rear.

• Well-suited to both harsh and space-limited environments. www.neutrik.com

N E U T R IK OVER ITS 50 YEARS OF OPERATION, NEUTRIK HAS SHAPED AND DEFINED GLOBAL STANDARDS FOR PROFESSIONAL CONNECTIVITY IN BROADCAST, ENTERTAINMENT AND MEDIA PRODUCTION. WHAT BEGAN WITH A RE-ENGINEERING OF THE XLR CONNECTOR HAS EVOLVED INTO A PORTFOLIO OF INNOVATIVE, SECURE, RELIABLE, AND ROBUST CONNECTIVITY SYSTEMS FOR AUDIO, VIDEO, LIGHTING, POWER, AND DATA APPLICATIONS. Continual refinement of its XLR Series led Neutrik to introduce the D series chassis connector and the X series second-generation XLR iteration in 1984. With its four-component assembly that eliminates screws entirely, it remains the engineering foundation of Neutrik’s XLR lines today. Neutrik’s first fully original pro-audio connector, the speakON (1987), redefines loudspeaker and amplifier connectivity, offering a twist-lock mechanism, solderless terminations, and high current handling that surpassed EU safety directives.

A second wholly original design, the powerCON (1996), is highly safe regarding its mains power connectivity, with a twist locking mechanism and pre-mating ground connection. A later TRUE1 evolution, part of the TOP (True Outdoor Protection) range, extended these capabilities to rugged outdoor application environments.

The rise of digital networking, in event production, touring and outdoor venues, has demanded new cabling and connectivity requirements.

Neutrik developed hardened data solutions with etherCON (2001), enclosing the RJ45 Ethernet connector in an XLR-style shell, and

opticalCON (2005), a ruggedised fibreoptic system resistant to dirt and mechanical stress. This series has expanded to include LITE, DUO, QUAD, and MTP variants, providing for up to 48-channel fibre connectivity. Recently, Neutrik began manufacturing pre-assembled cable sets, offering pre-certified powerCON power cords and etherFLEX TOP CAT5e CAT5e cables with 1 Gbit/s, 100W PoE performance over 30 m, designed for extreme conditions.

While new product lines, including etherCON Magnetics and mediaCON, extend the company’s digital product ecosystem.

Today, Neutrik offers over 5,000 connectivity products for audio, video, lighting, power, data, industrial, and medical applications.

Looking forward, Neutrik reports that it envisions intelligent connectors that integrate sensors to monitor temperature, wear, and performance –merging rugged hardware with smart diagnostics, to make professional systems safer, smarter, and more reliable. www.neutrik.com

d B Te ch nologies VIO W12T

dBTechnologies has unveiled the latest addition to its VIO family: the W12T, a 12-inch active coaxial stage monitor engineered to address the evolving needs of professional sound reinforcement. Compact, powerful, and versatile, the W12T is designed as both a highperformance wedge and a flexible cabinet capable of fills, mains, and installations. In essence, it’s your ‘Sonic Toolbox’ for modern stages – one enclosure that adapts seamlessly to multiple roles.

At the heart of the W12T is a coaxial transducer architecture featuring a 12-inch LF driver and a 1.3-inch HF compression driver, each with neodymium 3-inch voice coils. This design ensures a single acoustic centre, providing superior phase coherence, accurate imaging, and consistent coverage. A rotatable 60° by 40° horn adds flexibility, allowing system techs to tailor dispersion – whether keeping energy focused on stage for wedge use or directing it toward an audience zone.

With a maximum SPL of 138 dB (AES75), the W12T positions itself among the most capable monitors in its class. The frequency response of 60 Hz–16.7 kHz (-6 dB, usable down to 56 Hz) provides full-range performance, and selectable high-pass filters (60–120 Hz) allow operators to adapt the response to different stage environments.

The W12T is powered by a 1600 W RMS Class-D amplifier operating on dBTechnologies’ proprietary Digipro G4 platform. The onboard 96 kHz DSP provides linear phase FIR filtering, real-time impedance monitoring, and dual-stage limiting (peak, RMS, and thermal) to ensure both sonic integrity and system protection.

Control and integration are central to the design. Standard RDNet connectivity with AuroraNet software enables remote monitoring and tuning, while an expansion slot accepts optional A2Net or Dante cards for advanced digital networking. Equally at home in analogue or digital systems, the W12T offers maximum flexibility.

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The W12T weighs 22.5 kg (49 lbs) and is housed in a low-profile wooden cabinet finished with a durable polyurea coating. Its wraparound metal grille and rugged hardware make it a true road-ready enclosure designed to endure the rigors of touring and festival use.

Ergonomic handles ensure easy handling, while two integrated M10 rigging points allow for flown configurations. Optional accessories enable pole or wall mounting.

Although marketed primarily as a stage monitor, the W12T’s acoustical design extends its utility far beyond the wedge position. It can serve effectively as a main PA in small venues or as a fill cabinet in festival rigs, theatres, houses of worship, and broadcast environments.

The W12T stands out through its adaptability. As a wedge, it delivers clean, high-output monitoring with precise dispersion. As a utility cabinet, it performs confidently as a front fill, side fill, or delay line – its coaxial design ensuring coherent imaging even in short-throw applications. On the road, its compact footprint and wide range of rigging options make it an ideal choice for rental companies and touring productions that demand reliability, quick deployment, and consistent voicing across configurations.

The W12T embodies the concept of a Sonic Toolbox – one box that does it all. For rental companies and production houses, this flexibility translates to streamlined inventory and efficient setups – never compromising performance.

With the W12T, dBTechnologies delivers a coaxial 12-inch monitor that combines high output, precision coverage, and advanced networking in a compact, road-ready package. More than just a wedge, it’s a futureready solution for modern touring, fixed installations, and hybrid workflows – equally at home on stage or supporting a full VIO system. www.dbtechnologies.com

RO E V ISU A L CORAL In today’s fixed-install AV environments, such as corporate boardrooms, broadcast studios, control rooms, high-end retail, and digital signage, performance is not measured solely by brightness or pitch. It’s about long-term reliability, consistent colour fidelity, energy efficiency, ease of servicing, and seamless integration into buildings that demand the full complement of AV, lighting, and control systems. With its Coral series, ROE Visual has engineered an LED panel platform explicitly designed to meet this modern integration challenge. At its core, Coral employs Chip-on-Board (COB) flip-chip LED technology, which offers several immediate advantages for AV integrators: higher LED packing density, greater LED surface stability and protection (including anti-static and water-resistant treatments), and a flat, flawless surface for ultra-smooth imagery. At ROE Visual, we’re confident that the COB architecture significantly reduces failure rates and maintenance demands, making Coral a compelling choice for permanent installations where uptime is critical.

Pixel pitches and size versatility The Coral series is available in 0.9mm (CR0.9), 1.2mm (CR1.2), and 1.5mm (CR1.5) pixel pitches, with half-module options that support flexible screen sizes. Each full panel measures 600mm by 675mm and is 63mm deep; half-sized panels can be either 29.2mm or 63mm deep, delivering a modular format that simplifies build-out and service access. This makes Coral ideal for environments where high-resolution visuals are required at close viewing range.

Visual performance metrics Coral offers calibrated brightness of 1,000 nits in all pixel variants, delivering sufficient output for most fixed-install ambient-lit scenarios, while prioritising colour accuracy over sheer brightness. It supports an industry-leading refresh rate of 7,680 Hz and an 8:9 or resp. 16:9 aspect ratio, designed for native 4K and 8K resolutions, making it well-suited for applications where high definition is crucial.

Color fidelity is enhanced via the wide gamut, and high contrast is enabled by the COB design and ‘black-mask’ architecture. For integrators, this means less colour calibration effort, tighter matching across modules, and better performance in camera-capture scenarios (e.g., boardrooms with video conferencing, broadcast backgrounds).

Sustainability and operational costs Coral emphasises integrations built for the long haul. Using a common-cathode electrical design and carefully selected components, ROE Visual reports up to a 50% reduction in energy consumption compared to traditional LED panels in similar classes.

The custom PSU includes a standby/power-off mode, which automatically shuts down when idle, reducing wasted cycling and heat output. Lower heat generation improves lifespan and reduces HVAC burdens in enclosed rooms. For integrators concerned with total cost of ownership, Coral delivers a meaningful advantage.

Installation and integration advantages From the mechanical side, Coral panels are designed with integratorfriendly specifications. The 29.2mm or 63mm depth allows for wall-mounting or recess installation; custom mounting frames (600mm and 1200mm lengths) support hanging, stacking, and precise alignment. The user manual documents full x-, y-, and z-axis adjustment of mounting frames, ensuring seamless wall flatness, even during retrofits. Data and power cabling is standardised (RJ-45, IEC connectors), supporting compatibility with leading control systems and simplifying system design. For the AV integrator, that means fewer custom parts, more repeatable installation routines, and lower risk of onsite surprises.

Serviceability and reliability The COB surface offers durability, minimal maintenance requirements, fewer LED failures, and easier cleaning. Front service access is standard across the range, which is crucial when installations are mounted flush behind Coral’s sturdy design. Coral’s dual-power option adds an extra level of reliability to mission-critical operations.

Power redundancy is a valuable add-on for high-use environments, such as broadcast walls or corporate communication centres, where reliability is key.

Value for AV integration projects For specifiers and integrators tackling high-end fixed projects, Coral brings together many of the features they demand: fine pixel pitch, high refresh rate, deep contrast, and a durable form factor, delivered in a modular, service-friendly platform. Whether the requirement is a 4K video wall in a C-suite, a broadcast studio feature wall, an immersion area, or a digital signage installation in a high-end environment, Coral provides a robust solution. In summary, if a project requires more than “just another LED wall” and demands technical precision, operational longevity, and integration-friendly features, the Coral series from ROE Visual deserves a close look. With its combination of advanced COB engineering, installation flexibility, serviceability, and cost-effectiveness, Coral positions itself as a smart choice for integrators committed to delivering enduring visual excellence. www.roevisual.com

IN DETAIL - ROE V ISU A L | W W W. M OND OD R. C OM

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AtlasIED ATLASIED IS A GLOBAL LEADER IN COMMERCIAL AUDIO AND COMMUNICATION SOLUTIONS, RENOWNED FOR DELIVERING INNOVATIVE, SCALABLE, AND RELIABLE TECHNOLOGIES THAT ENHANCE MUSIC REPRODUCTION, LIFE SAFETY, SECURITY, AND INTELLIGIBLE COMMUNICATION.

AtlasIED is a global leader in commercial audio and communication solutions, renowned for delivering innovative, scalable, and reliable technologies that enhance music reproduction, life safety, security, and intelligible communication.

Headquartered in Phoenix, Arizona, and in business for more than 90 years, the company operates multiple engineering, manufacturing, and distribution facilities across the United States and Europe, serving a diverse range of industries, including transportation, education, healthcare, corporate, hospitality, government, and worship.

AtlasIED is an engineering-driven organisation with decades of innovation and a rich history of industry firsts, including being the first company (Atlas Sound) to combine the horn shape of the megaphone with electroacoustic technology to create a true outdoor PA loudspeaker. This breakthrough vastly improved public address capabilities in outdoor environments and laid the groundwork for modern commercial audio systems seen today in airports, hospitality venues, and more.

More recent industry firsts that have helped support the growth and advancement of the AV industry include the I8SC – the first IP-enabled loudspeaker; IsoFlare driver – point-source technology that delivers off-axis clarity across all frequencies; and SafetyFirst clamp – a toolless clamp that incorporates locking dog legs to reduce installation time and increase the safety

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of in-ceiling loudspeakers. These innovations and more, spanning from the earliest days of outdoor sound reinforcement to today’s cutting-edge digital platforms, underscore AtlasIED’s longstanding role as a pioneer in shaping the AV industry. Each milestone reflects the company’s commitment to solving real-world challenges through engineering excellence, setting standards that continue to influence how people experience sound and communication worldwide. To appreciate the depth of this legacy, it’s worth looking back to where it all began and the vision that first set AtlasIED on its path of innovation.

AtlasIED traces its roots back to 1934, when founder Loy E. Barton established the Atlas Sound Corporation in Brooklyn, New York.

Initially, the company focused on producing horns, loudspeakers and sound systems, quickly gaining a reputation for durable, highquality products tailored for commercial and industrial environments. Barton, a pioneer in the field of audio engineering, helped lay the groundwork for what would become a trusted name in professional audio. In the decades that followed, Atlas Sound expanded its offerings to include a wide range of products, including amplifiers, paging systems, intercoms, and racks, addressing the growing needs of schools, hospitals, airports, and other public spaces.

Meanwhile, Innovative Electronic Designs (IED), founded by Hardy Martin in 1978 and headquartered in Louisville, Kentucky, emerged

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as a key player in the realm of digital audio systems and mass notification technology. IED’s advanced software and hardware solutions became widely adopted in transportation hubs, such as airports and train stations, where precision and reliability are essential.

The company was known for its sophisticated, centralised control systems and its ability to integrate audio with other building systems such as fire alarms and security protocols.

Forming AtlasIED MiTek Corporation, AtlasIED’s parent company, began with humble origins in the late 1960s with a garage-built audio venture and evolved into a private, family-operated audio powerhouse. Audio innovator Loyd Ivey originally manufactured premium audio products under the Ivey Electronics brand. In the late 1970s, Ivey founded MiTek Corporation as the umbrella entity for a collection of emerging audio companies.

MiTek’s relationship with Atlas Sound developed out of a shared focus on professional and commercial audio markets, where Atlas Sound had long been a respected brand. By the late 1990s, MiTek — already successful in car audio through MTX and other brands — sought to diversify into the installed sound and communications sector.

Recognising Atlas Sound’s strong dealer base, extensive product catalog, and credibility in the commercial audio industry, MiTek purchased

Atlas in 1999. This partnership enabled the creation of a broader portfolio that combined MiTek’s innovation in high-performance audio with Atlas Sound’s deep roots in professional sound. MiTek formally acquired IED in 2009, as part of its broader expansion and diversification strategy. This acquisition coincided with MiTek’s opening of an AsiaPacific location, reflecting an international growth push.

As the industry evolved, MiTek brought Atlas Sound and IED into operational alignment. This merger reflected a shared vision for combining commercial audio and communications technologies. By 2015, Atlas Sound and IED had merged not only as a marketing entity, AtlasIED, but also sales, services, support, and engineering were merged, paving the way for shared skills and expanded expertise. This merger unified Atlas Sound’s legacy of durable audio hardware with IED’s cutting-edge digital and networked communications technology.

The integration enabled the new brand to offer end-to-end solutions for mass communication, life safety, and sound reinforcement across a wide range of verticals.

AtlasIED’s portfolio is vast and diverse — encompassing more than 2,000 specialised products, making it one of the most comprehensive commercial audio catalogs in the industry. This includes IP-based loudspeakers, amplifiers, paging and intercom systems, sound masking solutions, and enterprise-wide mass communication platforms. These systems are designed not only to deliver high-performance audio but also to integrate seamlessly with building systems, supporting mission-critical applications in environments where clarity, reliability, and control are essential. This is particularly true in airports, where AtlasIED is installed in 87% of United States airports and 67% globally. The IPX Series endpoints, an IP-audio solution with more than 350,000 endpoints

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deployed, bring audio and visual messaging to education, industrial, and healthcare facilities, complete with automated alerts and unified communications integration with mass notification software, such as Singlewire’s InformaCast. The company continues to expand its ecosystem with offerings like IntelliSee, an AI-powered video analytics and threat-detection platform.

Global reach is also a key aspect of AtlasIED’s identity. The company operates across nine locations in the United States, covering engineering, manufacturing, sales, and administrative functions, and maintains international facilities in Thailand, France, Germany, Belgium, and Australia, with engineering support teams in China.

This scale ensures strong logistical coverage and local support to a global network of dealers and integrators. What sets AtlasIED apart is not just its extensive product range but also its commitment to providing partner support.

The company offers extensive pre-sale design assistance and post-sale support, as well as integrator tools for system specification and placement. Additionally, it facilitates the AtlasIED Academy, a comprehensive collection of on-demand and instructor-led online courses, as well as classroom AV training sessions at its training center in Louisville, Kentucky. Driven by a customer-centric approach and continuous innovation, AtlasIED has earned a reputation for engineering excellence, manufacturing quality, and strong channel partnerships. Its systems are deployed in some of the world’s most demanding environments, including major airports, school districts, and corporate campuses.

With a focus on future-ready technologies, AtlasIED continues to evolve, leveraging advances in networked audio, cloud-based offerings, and software-driven control to create smarter, safer, and more connected spaces. www.atlasied.com

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The assembly of an IP Endpoint loudspeaker.

AtlasIED’s IsoFlare Series of in-ceiling and surface mount loudspeakers.

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Can you explain your role within LPSLasersysteme and how this has evolved over the last 30 years of your career?

Today, I am the Marketing Manager at LPSLasers, and I really enjoy my work. I started 30 years ago as a production employee. I produced the water-cooled LPS-Event and LPSBigRock systems, later developing more of our products. On weekends, I helped with the setup and implementation of laser shows, which previously included the programming of laser shows. Back then, we traveled all over Germany in a packed car, without a navigation system! It was mostly fun, but sometimes nerve-wracking.

As our staff expanded, my responsibilities have shifted. Even though I enjoyed working in production and at laser shows, my marketing role has proven to be incredibly exciting and full of opportunities, too.

MARTINA RUFF MARTINA RUFF, MARKETING MANAGER AT LASER MANUFACTURER LPSLASERSYSTEME, SPEAKS TO MONDO-DR ABOUT HER CAREER IN THE AUDIOVISUAL INDUSTRY AS SHE CELEBRATES 30 YEARS IN THE FIELD.

What keeps you invested in and passionate about the audiovisual industry?

It’s a very diverse environment I work in. You get to see a lot of the world and meet different people at all the installations, festivals, and other events. In the 30 years at LPS, I’ve never been bored for a second. For me, the events industry is the best place to work.

How have you seen the use of lasers evolve over the last three decades?

Initially, our use of lasers was focused on installations in discotheques, including many large-scale clubs and laser shows throughout Germany. As the company’s reputation grew, collaborations with cinemas, theaters, well-known companies for automotive and government projects around the world followed. Our products are now also used in big sporting events and other large entertainment spaces. Lasers, or rather laser shows, were once something out of the ordinary.

But today they have established themselves as an integral part of every professional event, enhancing every audiovisual spectacle in a way that I still think is very mystical.

Looking ahead, what do you see in the future of laser technology?

Laser technology has become indispensable in every field. There is definitely a desire for everything to become smaller and more userfriendly, coupled with a need for increasinglyhigh laser power, and I see this demand as a positive thing. Handling and control have become easier over the last 30 years thanks to developments in these areas. Taking the laser source as example – it used to be a large, water-cooled glass or ceramic tube with a maximum output of 20W of white light.

Today, we’re using small, air-cooled diodes, with laser outputs sometimes in the tripledigit RGB watt range. A lot has also changed in software. Programming laser shows used to be complicated. A small mistake often meant

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having to start over. Today, software solutions are significantly more user-friendly. The current demand for IP65 protection will also usher in innovations, redefining design and application.

Which LPS-Lasersysteme projects have been the most memorable for you?

That’s a difficult question to answer, as there are many projects I could name. But I’ll limit myself to three: Firstly, the 1999 laser show for BVB in Dortmund for the last Bundesliga match of the millennium. The atmosphere in the stadium gave me goosebumps. Especially when the BVB fans celebrated loudly because we projected the BVB logo onto the Hertha BSC fan block. The Hertha fans took it in their stride, and the mood remained positive, luckily!

Secondly, an installation in a highly popular discotheque comes to mind.

In 1999, an indoor laser show with an additional laser beam over Medellín, Colombia, was one of our largest overseas contracts.

Our equipment was delivered damaged and incomplete. The pressure was high, but in the end, everything worked out.

Finally, in 2003, we developed a special, compact laser centre for the Serfaus ski area in Austria. This had to be able to cope with the weather conditions and thus protect the water-cooled laser technology used from both heat and cold. This project also presented some logistical challenges until it found its final location on the mountain. From time to time, there have been upgrades, such as a conversion to diode lasers. Today, this system still runs reliably.

What do you think makes a visually exciting performance or event?

You have to know your audience and have a sensitivity for not just laser shows, but also all the other AV technology involved in an event.

Professional lighting designers know that lasers, lights, LEDs, pyrotechnics, the stage design, and, last but not least, the artists, must be brought into harmony – it must be appealing, captivating, and create goosebump moments for the visitors. People need to be able to immerse themselves, because that is how you stay in the memory of the visitors, who will then be happy to come back for your next event.

What are your interests and hobbies outside of work?

As a manager, you don’t have a lot of free time.

Even when you’re not sitting at your computer in the office, you’re constantly planning and organising. But when I do have time, I enjoy being outside in nature and taking long walks. I enjoy taking photographs and often discover beautiful subjects. Otherwise, I enjoy exercising. HIIT is the perfect way for me to work out after a busy day. www.lps-laser.com

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