Mondo-DR 37-1 by Mondiale Media

NOVEMBER / DECEMBER 2026

TIMEWALK MULTIPURPOSE VENUES LOUDSPEAKERS

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MONDO-DR 37.1 NOVEMBER / DECEMBER 2026 ON THE COVER Timewalk Photo courtesy of DEM Museums EDITOR Todd Staszko t.staszko@mondiale.co.uk ASSISTANT EDITOR Daisy Thorogood d.thorogood@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 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

FR O M TH E E DI TO R... Closing out 2026 with a bang, this final edition of the year is befittingly packed with industry insight and project deepdives. In the issue, I chat to members of the leadership team at consultancy firm Charcoalblue for The Big Interview (P18), while there are myriad venues covered including museums, jazz clubs, immersive walkthroughs, convention centres, performance venues, nightclubs, and karaoke bars. We report from four recent trade shows across Europe and Asia, and look ahead to LDI Show in Las Vegas, while also included are updates from SchnickSchnack-Systems and Sixty82, and a profile on Pascal. The product guide pitches its gaze on loudspeakers and there’s an indepth report on Multipurpose Venues, which highlights creatively adaptive AV solutions throughout. New cycle, new picture! This edition marks the 37th annual cycle of MONDODR and it remains a privilege to be a part of this publication and the wider industry – and without your active participation we could not put this magazine together. All feedback is welcome, so please don’t hesitate to get in touch. Enjoy the issue! TODD STASZKO EDITOR

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

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TRUE OUTDOOR PROTECTION

IN THIS ISSUE . . . 14

INSIDE VIEW Schnick-Schnack-Systems

THE BIG INTERVIEW Andy Hayles, Gavin Green, Ian Stickland, Charcoalblue

REPORT Multipurpose Venues

IN FOCUS 46

BLUE NOTE LONDON London, UK

TESTBED Leeds, UK

TIMEWALK London, UK

SPACE RICCIONE Riccione, Italy

MIC DROP Los Angeles, USA

HISTORY OTTAWA Ottawa, Canada

NATIONAL GEOGRAPHIC MUSEUM OF EXPLORATION Washington D.C., USA

GOLD COAST CONVENTION AND EXHIBITION CENTRE Gold Coast, Australia

DALI EDITION Dali, China

IN BUSINESS 90

SHOW REPORT PLASA Show

SHOW REPORT Prolight + Sound Bangkok

SHOW REPORT LLB Expo

SHOW REPORT leat con

OPEN DAY HK Audio Xperience Day

100

INSIDE VIEW Sixty82

102

IN DISCUSSION AJA Video Systems

104

IN DISCUSSION Integrator Insights

108

PRODUCT GUIDE Loudspeakers

116

SHOW PREVIEW LDI Show

117

PRODUCT FOCUS Doughty Engineering

118

COMPANY PROFILE Pascal

122

BACK OF HOUSE Rainer Brandstätter, Head of Marketing, AV Stumpfl Bliue Note London, UK

N O VEMBER NOV 18-19

NOV 18-19

NOV

25-26

NOV

25-26

D EC EM B ER

MEET 2026 VIENNA, AUSTRIA www.meet-austria.at

DEC

UK FESTIVAL AWARDS MANCHESTER, UK www.festivalawards.com

LIGHT 26, LONDON, UK www.lightexpo.london

DEC

LDI SHOW LAS VEGAS www.ldishow.com

DEC

GITEX DUBAI, UAE www.visit.gitex.com

JTSE PARIS, FRANCE www.jtse.fr

6-8

8-11

STADIA EXPO LONDON, UK www.stadiaexpo.com

FLES

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EXP O D I A R Y JANUARY JAN

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JAN

27-29

FE B RU ARY

NAMM SHOW ANAHEIM, USA www.namm.org

FEB

ISE BARCELONA, SPAIN www.iseeurope.org

FEB

TPI AWARDS LONDON, UK www.tpiawards.com

2-5

LIVENT EXPO TOKYO, JAPAN www.livent-expo.jp

FEB

24-27

THE GET SHOW GUANGZHOU, CHINA

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SCHNI CK S CH N A C K SYS TEM S M ON DO - D R s i t s d o w n w i th Sc h nic kS chna c k - S ys t e m s ’ S o l v e i g B usle r, in the w a k e o f t h e b r a n d ’s f ourth gener at i o n o f L E D b e i n g re le ase d, a s the com p a n y p o s i t i o n s i t se lf to bring its ente r t a i n m e n t a n d a r ch ite c ture , or ‘ a r ch itai n m e n t ’ , t e c h n o l o g y e xpe rtise to a w h o l e h o s t o f n e w p roje c ts and m a r ket s .

Above: Solvei g Bus ler, Schnick-Sch na c k -Sy s tem s ’ Global Dire c tor of Sa les a nd Market ing.

I N S I D E V I E W - SCH N I CK SCH N A CK SYSTE M S | W W W.MONDODR.COM

Schnick-Schnack-Systems develops and manufactures LED effect lighting and the technology that controls it, from pixel strips, tiles, and dots to luminaires and power supplies. Everything is designed and built on the company’s own production line in Cologne, and its products reach venues around the world. Schnick Schnack was founded in 2004 with a primary focus on entertainment and broadcast studios. Solveig Busler, Global Director of Sales and Marketing, detailed: “Everything we create has been born from decades of trial, usage, and research within the entertainment industry.” Looking at the brand portfolio from a MONDO-DR-specific lens, she added that the experience in broadcast has actually been hugely helpful in designing fixtures for venue installation. “Our products are very robust, and as a lot of our technology was created to be on camera, they’re flickerfree with colour accuracy when photographed or videoed. Now, in today’s world, entertainment and venues are being recorded by consumers on a mass scale, to publish on social media or send to friends. This means venues benefit massively from camera-ready technology that allows their space to be captured accurately.” With such a broad product capability, over the past few years, Schnick-Schnack has expanded its project portfolio to include structure facades, hospitality, cruise ships, and cutting-edge architainment builds that combine functional entertainment lighting and aesthetics. “Light has become more communicative and creative,” said Busler. “Rooms and buildings are taking a more artistic, dynamic approach.” Next gen LEDs The company’s latest launch, Generation 4, debuted at ISE in Barcelona this February and is the fourth generation of modules in Schnick-Schnack’s 22-year history. “We built it for the years after opening night,” said Busler. “Over the past eight years, we have learned a lot more about entertainment, system integration and long-lasting projects, and Generation 4 reflects that.” Each module can be mixed and matched with the rest of the range, as well as with luminaires and screens from other manufacturers. Using Schnick-Schnack’s Colour Config Tool, strips and tiles can be tuned to the colour temperature of the lighting around them, either as a factory preset or on site. In a restaurant with warm 2,700K chandeliers, for example, the bar lighting can be matched exactly, so the room reads as one design. Some features have come straight from customer requests. One client, which uses the strips as ambient lighting beside a large welcome screen, asked for them to follow the screen’s sRGB colour space and dimming curve, so content no longer needed re-rendering for the lighting. The feature is now part of the series. Generation 4 also keeps an eye on itself. Every module reports its temperature, voltage, data loss, LED failures and operating hours without interrupting the data stream, alerting operators by email and protecting the installation automatically. “In very warm environments, the system can decrease its luminosity, or eventually shut down, to avoid damage,” Busler explained. Schnick-Schnack at sea At the time of speaking, Busler had just returned from a Cruise Ship Interiors (CSI) event that saw Schnick-Schnack Systems board TUI Cruises’ Mein Schiff Relax vessel. Now a sponsor of CSI, Schnick-Schnack has been particularly focusing on the cruise industry this year, with the global director of sales and marketing explaining that it made

T o p : A S c h n i c k - Sc hn a c k - Syst ems in st a lla t ion f o r B r aa t h e n Pr oper t y. Phot o: Ein a r Asla k sen . A b o ve : Th e ma n u f a ct u r er ’s t ec hn ology w a s u sed in a n Ou t d oor Pixel For est pr oj ect by Pipilot t i Rist . Ph ot o: Schn ic k - Sc hn a c k - Syst ems. L e f t : Th e r e f i t t in g of n eon t u bes in her it a ge b u i l d i n g M e h r zw eck sä le Nor d er st ed t . Phot o: Albr ec ht Voss.

sense for the brand to home in on the market. “A cruise ship has a theatre, malls, arcades, casinos, and all manner of entertainment venues. This is, of course, our home ground – entertainment is at our core, so working on projects that are basically multiple venue projects in one was the natural progression.” The brand’s first cruise line client came through one of its Italian distributors, who was keen to introduce Schnick-Schnack to Norwegian Cruise Line. From the entertainment spaces, the company moved into spas, elevators, and restaurants, as well as kinetic chandeliers that rise, fall, fold and unfold. Today, it supplies Costa and Carnival, and Busler confirmed conversations are under way with other major lines. Busler agreed that Generation 4 should be especially useful for cruise lines. Salt water, wind, and humidity are hard on electronics, and a ship’s lighting runs almost constantly, so being able to see how every module is holding up, without sending someone to check, makes life much easier for the crews looking after it. The materials that are chosen during the manufacturing process keep in mind this cruise ship market focus, too. In harbour, a ship’s engines create constant micro-vibrations. “For the electronic components in the strips, that matters,” said Busler. “A ceramic capacitor might break after so many microvibrations, so we make sure to choose components that are not affected by them.” Busler continued, explaining how she sees cruise ship AV changing and progressing. “Lighting on board is not only white light anymore. The decks, restaurants, and bars where guests spend their time are becoming more animated. Guests do not just use a ship. They experience it, explore it and share it, so basically every space on a cruise ship becomes a set.” That suits a company that sits between lighting and AV. “We are light, but we are also video-controlled, and we work in single pixels,” Busler explained. “The challenge is to fulfil lighting standards and be bright enough, while also being ambient and entertaining.” The fixtures of tomorrow Looking ahead, Busler hopes the industry will start specifying lighting with its whole lifespan in mind. “Today, most specifications describe what the light does on opening night, and only a few people think about what happens to it in ten years,” she said. “I hope maintenance, total cost of ownership and replacement become part of the conversation. For us, the most sustainable luminaire is the one that does not need to be exchanged.” Generation 4’s artificial ageing feature is built around that idea. If a single module fails in a long-running installation, its replacement can be set to match the aged units around it, so only that one piece needs to change. The company’s power supplies follow the same philosophy, with new units still able to run modules installed 15 years ago. It’s an approach Schnick-Schnack has already tested in the field, with one installation in Dubai running 24/7 for 18 years. “It would be best if we did not need to change the system for the next 15 years,” declared Busler. “At Schnick-Schnack, we have proven that point.” schnick.schnack.systems/en/

T o p : Th e t h e a t r e i n on e of NC L’s Pr ima c la ss ships u t ilisin g Schn ic k - Sc hn a c k LED s. Mi ddl e : V o l k s w a gen a t I AA 2 0 19 f ea t u r in g LED t e c h n o l o g y b y S c h n ick - Sc hn a c k - Syst ems. Phot o: Sa sk ia Ga u lk e. A b o ve : K u n s t h a lle Ma n n heim, in c or por a t in g c u s t o m m ad e L E D St r ips. Phot o: Flor ia n Holz her r .

I N S I D E V I E W - SCH N I CK SCH N A CK SYSTE M S | W W W.MONDODR.COM

“WE’RE NOT AFRAID TO ASK AWKWARD QUESTIONS. THAT IS BECAUSE MANY OF US HAVE COME FROM THEATRICAL OR ENTERTAINMENT-BASED BACKGROUNDS, AND OFTEN WE ARE PUSHING BACK TO TRY SOMETHING DIFFERENT, WHICH OFFERS US THE CHANCE TO REINTERPRET A CHALLENGE IN A NEW WAY, AND TAKE INSPIRATION FROM THAT.”

A N DY H A Y LE S , G A V I N G R E E N & I A N S T I CKL AND Ch a rc oa lblue

I N T E RV I E W - CH AR CO ALBLUE | WWW.M O N DODR.COM

A ND Y H AYL E S Founder

G A V IN G RE E N

Chief Design Principal

I A N S T I C KL AND

Chief Executive Officer

“O UR E A R L I E S T P R O J E C T S W ER E A T T H E Y O U N G V I C TH EAT R E , T H E R O U N DH OUSE A N D TH E U N I C O R N T H E A T RE I N L O NDO N , A N D T H O S E V EN U E S P U T O N T H E I R OW N I N -H O U S E P R O DU C T I O N S . ”

Below: The UK Ch a rc oa lb lu e tea m ou ts i de t he St ep hen A . Sc h wa rzm a n Centre for th e Humanit ies a t O x ford Uni v ers i ty .

I N T E RV I E W - CH AR CO ALBLUE | WWW.M O N DODR.COM

Having started out in 2004 without any major ambitions beyond establishing itself as a specialist boutique consultancy firm in the United Kingdom, Charcoalblue has grown alongside the global performing arts and experience industries into a world-leading venue, acoustics and experience consultancy with expertise across many diverse disciplines. From its initial formation by ex-chief electrician Andy Hayles, architect Gavin Green, lighting and sound engineer Jon Stevens, and production manager Jack Tilbury, both Hayles and Green remain, and help guide the company’s direction alongside CEO Ian Stickland, who stepped into the role in 2025 having joined the company in 2009. With six international studios and a team of more than 150, their portfolio includes auditoria for the Royal Shakespeare Company and the National Theatre in the UK, the Perelman Performing Arts Centre at the World Trade Centre in New York, and many more ranging from the experience design for F1 DRIVE at Tottenham Hotspur Stadium to the venue and acoustic design of the purpose-built arena for ABBA Voyage in London. And while the trio now share the design duties with a much wider team, they all maintain the same passion for storytelling and optimising designs for venues and spaces to be able to function as the client desires. “When we started, we had the idea of being design-driven and in particular to be driven by production companies who put their own work on,” said Hayles. “Our earliest projects were at The Young Vic Theatre, The Roundhouse and The

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Above: C ha rc oa lb lue work ed wi th A n i a ra Lt d . a n d t he des ig n tea m a t A BBA V oy a g e, led b y St u f i s h Ent er t ainmen t A rc h i tec ts , to dev elop th e t h e a t r e p lanning an d a c ous ti c des i g n for th e 3 , 000 - c ap ac i t y venue in St ra tford, Ea s t London . Above right : F or F 1 DR I V E a t T ottenh a m H o t s p u r St adium, C h a rc oa lb lue work ed a lon g s i de th e c l i e n t and des ign pa rtn ers to c rea te a la y ered, i m m e r s i v e environmen t th a t b len ds di g i ta l tec h nolog y , b r a n d IP, and int eracti v e ra c i n g for fa n s of a ll a g es .

I N T E RV I E W - CH AR CO ALBLUE | WWW.M O N DODR.COM

Unicorn Theatre in London, and those venues put on their own inhouse productions. “We made great connections with those organisations who were creating work and involved in training and education, and we thought that we would be focussing on that for a while.” However, within the company’s first year, it won the project to turn the Royal Shakespeare Company’s temporary courtyard venue into a new 1,000-seater auditorium. “That was completed – from design to build - in less than two years, and from that point, our confidence grew and the floodgates opened,” said Hayles. Work followed for establishments such as The National Theatre and The Royal Ballet and Opera in London, and Massey Hall in Toronto, and their path would soon take on the world of experience design, with corporate clients including Google, Facebook and British Airways. “People sometimes assume we only do theatres,” continued Hayles, “but the same thinking applies to any space where people come together – whether it’s a school hall, a museum, or a stadium, the question is the same: how do people want to experience this space, and how do we make it work for them? Our background in theatre is what lets us ask those questions in any sector. “Suddenly, from relatively humble beginnings without bucketloads of ambition, we’ve built six design studios around the world – it’s been a crazy journey,” said Hayles. “We now have a team of highly skilled multidiscipline designers and we are increasingly taking on AV designers, because we are noticing how that discipline is becoming a leading point in so much of a venue’s design.” Stickland joined the company in 2009 with a background in live events, theatre and sound recording. “When I began, I was the only AV designer, and now we’ve got 15. What I find most interesting about the evolution of AV in my 17 years at Charcoalblue is that it is so much broader,” said Stickland. “Our world now encompasses broadcast technologies, production audio,

communications, and video conferencing. The world has got bigger, but in some ways our expertise has converged because things are so interlinked on a network.” For Stickland, when it comes to assessing the system designs and deployment of AV technologies, there are two key points to consider – operability and longevity. “Our role is to put ourselves in the ears and eyes of the audience members, and also in the shoes of the creatives using the space – and our advantage lies in that many of our team come from that sort of background,” he said. “In theatres, it’s more open, because they are flexible by nature, but for something like a cinema, that is a defined standard. The workplace events space is becoming a broader standard but with different pressures – and rather than flooding it with equipment, you must consider the value-add, and the operability for the people using the space. The consultancy model is evolving “The rising cost of operation concerns me. The capital cost of the technology is one thing, but the operational cost is something that we are really trying to get a better understanding of. “What you want is for an experiential project to be brilliant on completion and remain brilliant in the middle of its fifth year of operation. That is becoming part of our role during the design phase to consider this, because there is that worry of burdening a client with ongoing challenges and expenses. It’s a hidden cost – particularly in large-scale video installations. “The consultancy model is evolving from something that was a one-off, to a partnership for the full life cycle, and that evolution is ongoing. And partnerships are often extended to the operations provider, for guidance, which is sensible. “Particularly in large capital projects in arts and entertainment, often the team you start working alongside will get through the build process, but

then in a few years’ time after it has opened, they might have moved on. Our job is to listen to what the venue wants, but also to ask those difficult questions about what the future might look like.” What makes consulting a particularly rewarding job for Green is the level of collaboration needed throughout the project for a successful job to be realised. “We are so fortunate, because we’ve had the opportunity to work with people that really challenge us – both architects and clients – on phenomenally complicated buildings,” said Green. “We are not afraid to ask awkward questions. That is because many of us have come from theatrical or entertainment-based backgrounds, and often we are pushing back to try something different, which offers us the chance to reinterpret a challenge in a new way, and take inspiration from that. “The thing that I focus so much of my time on is how we as audience members and the people who work in these buildings, experience them. So much of what we do can be boiled down to that simple idea of storytelling; what we want to do is to create the architecture that enables that.” Looking to the future While the ways in which storytelling is delivered to audiences continues to evolve, it will always need a physical place, and that is where Charcoalblue’s expertise comes in. “Looking to the future, we can’t know exactly what will occur, but I think that we all think that live entertainment has got a really important role to play,” said Hayles. “I think the rise of reliance on computers and AI will make us step back and realise that spending time with other humans and experiencing the creative output of other humans is something that a computer can’t replace. “I’m sure that AI will have a role to play in some aspect, but communal gathering and congregation is going to be more attractive and exciting, and we all feel optimistic about the future of the live environment.”

With AV technology emerging as a major factor in a venue’s functionality, the Charcoalblue team feel that the opportunities for storytellers are becoming more widespread than ever, and their enthusiasm is palpable. “With venues like Sphere in Las Vegas and ABBA Voyage – just look at how much fun an audience can have as a result of the technology being that advanced and impressive, it really is something,” said Hayles. “At ABBA Voyage, that is a 3,000-capacity venue where every person is going hell for leather, losing themselves in… avatars. Consider that for a moment, and it seems we really are living in the future! “Hypothetically, is there a way that a similar-sized audience could experience Shakespeare in a similar way? That hasn’t been done yet because we’re still catching up with those emerging technologies, but it’s one thing that we can potentially look forward to in the future. Artists that transcend generations “With ABBA, the band rejected offers to go on tour and proposed something different, and ABBA Voyage was brought to life. At present, the four members of ABBA – the ‘ABBATARS’ – are quite a way upstage, and how that technology is deployed, whether it is viewed through a gauze for a pepper’s ghost effect or another type of visual effect, remains a mystery, which makes it even more compelling. But could they be transported to the middle of the room for an in-the-round gig? Could they become more 3D? “There are more artists that transcend generations that would have an audience for something similar – acts like Elvis, the Beatles, and James Brown. Could we resurrect the work of thespians such John Gielgud or Laurence Olivier? Should we? There is lots to explore from a cultural

IN T E RV I E W - C HA RCO ALBLUE | WWW.M O N D O D R .C OM

and moral level, and the possibilities are, seemingly, endless.” While legacy acts remain immensely popular, one area that Green is particularly concerned with is maintaining access to new storytelling methods and technologies for emerging artists. “We have to always be looking forward,” said Green. “Somehow, whatever it is, it needs to be accessible enough that if there is new talent, new artists emerging, that they can use a version of that technology to enhance their storytelling. “One venue that springs to mind when I think of that is Aviva Studios in Manchester, and the opening show Free Your Mind from the creative minds of Es Devlin and Danny Boyle, featuring lasers, directional audio, a flying LED screen, and choreographed dance – it was the most inspiring piece of work I’ve seen. “Now, that venue and show is three years old, but it’s an example that shows that more is coming through, and the boundaries are there to be pushed a little bit, so it’s a really exciting time.” The balance of creativity and technology is at the heart of many of the world’s leading experiences, with Hayles highlighting one project that he attended recently which utilises actors and a sleek, complex, venuewide audio system. “The last time I was in New York I went to Masquerade, an immersive walk-through experience based on Phantom of the Opera with live performers and guests in groups of around 50.” said Hayles. “At various times the group gets broken off into smaller groups, and at one point I was in a dressing room with 12 others and a single actor singing their heart out. “The soundtrack runs consistently and concurrently through every separate space without a drop, even with the splitting-up of people – it

is so accurate that the live performer sings along perfectly in sync. It’s unbelievably complicated, and an extremely sophisticated use of AV, soundtracking, and control of an audience. Once one group is around halfway through, the next group begins their journey, so the complexity is extreme. “Using that level of technology which then comes down to 12 people in a room with one singer, singing in sync with playback, that is very different from the Sphere from a viewing perspective, but is a hugely intelligent application of sophisticated AV in a tiny, intimate environment. So, the future is very bright when you consider the imagination and creativity coming through.” Green agreed, stating: “That balance is so important. Masquerade is such a good example, because when you get down to a single room with 12 visitors, that room is dressed, the singer has a costume that has been made for them, and you are there. There is nowhere to hide, so the quality of the experience has to be so high for you to fall into that world. There is a lot to be excited about.”

“AS CO N SU L T A N T S , O N E T H IN G WE W O U L D L I KE T O S E E I S A CL O SER R E L A T I O N S H I P WI TH I N TE G R A T O R S A N D IT B ECO M I N G A T W O - W A Y CO N VER SA T I O N E A R L Y I N T O A PRO JECT . ”

A two-way conversation One area of concern is the rising cost of entertainment, and the trio agreed that keeping performance and art accessible is an interesting provocation. “The entry tickets doesn’t seem to be entirely technology dependent, as far as I can tell, but it is a challenge to both the venues that we design and the teams with the equipment,” stated Hayles. “At some venues you can design shows that are relatively inexpensive, but the same is not true when it comes to converting a bookstore into a brilliantly conceived AV controlled environment – which is what the creators of Masquerade did – so it’s a balancing act. “As consultants, one thing we would like to see is a closer relationship with integrators and it becoming a two-way conversation early into a project. Often it is the case that we design a project, an integrator wins the bid, and away they go. “We always hope that we can get things such as ceiling space and rigging points for equipment 100% correct before they show up, but we don’t always, for all kinds of reasons, so having them outline their requirements to us early in the design phase is massively beneficial. “Similarly, sometimes there are elements of technology that one integrator is aware of and another one isn’t, so we’re keen to understand that from the marketplace. We have a good understanding of it, but things change very quickly, and keeping abreast of each other’s work and expertise is part of the challenge. “As an example, the F1 DRIVE project was integrator-driven by Electrosonic, which we were invited to consult on as experience designers, and that two-way street where we get to stay up-to-date with the technology and integrators recognise where a consultant can bring clarity or expand and enhance the experience for the client – there is real value in that, and as an industry I believe we are still in the foothills of getting that right.” One area of technological innovation that Stickland has been impressed with over the past 10 to 15 years is the increased use of spatial audio applications. “That has been brilliant for our industry and the way we perceive sound,” said Stickland. “We have ended the trend of having louder,

A b o ve l e f t : Th e o p e n i n g s h o w a t Aviva St u d ios in M a n c h e s t e r u t i l i s e d b o t h o f t h e ven u e’s per f or ma n ce s p a c e s – a t h e at r e a n d m u l t i p u r pose w a r ehou se – w it h t h e a u d i e n c e an d p e r f o r m e r s movin g bet w een bot h.

larger loudspeakers, to really think harder about what the audio experience should be. Lots of manufacturers have done great work in this realm, and that development has extended into projects as ambitious as Sphere, which has made people sit up and take note of directional audio. “This also makes us think about sound as a storytelling device in places outside of the traditional theatrical setting – places like restaurants, for example – which has been transformative and makes us as venue designers think about things in a different way. It’s no longer a case of ‘where am I going to hang these loudspeakers’, now it’s more a question of ‘what can we do with sound to enhance the overall experience’? A translator between vendor and client “The priority for us as consultants is to be a translator between vendors and client. We need to be the people who know enough about how the space will be used, the experience we are trying to deliver, the infrastructure and equipment, the construction process, and crucially, the venue design to make it workable. “At Charcoalblue, we don’t pick up the tools on a project, but we actively encourage our design team to work on shows. When I was designing systems, I would keep my eye in by working externally on shows and attending seminars, and I remember listening to sound designer Gareth Fry on how he was using Ableton for his design for The Cat In The Hat at The National Theatre in 2018. “Upon hearing that, I felt like I had to design a show in that software to see what that was like. For me, that was important because I needed to understand the implications of using different technologies, and I encourage our team to do that in different ways.” For Green, that element is extremely important in enhancing their knowledge and exploring new ideas. “We listen to our clients and then we are able to provoke ideas because of our relationship with the industry and our ability to recognise trends,” said Green. “And with how we are spread geographically, we can tap into a vast network of creativity across the world where we are able to witness things and take inspiration from. “To pool that knowledge and make it specific to a client is a big string in our bow. It’s no good turning up to a design team in Australia with a precedent from a UK venue; you must find a way for it to be relevant to them.” That international expertise and perspective is also important because it helps elevate a project. “On top of that, components such as accessibility and sustainability must be layered into designs, and these buildings will be there for a long time, and they will evolve over time,” continued Green. “We need to be able to look back on a building and say that we have done something that has its right place in the world, and that it works urbanistically for that community and its constituents.” The passion for knowledge and leaving nothing to chance when it comes to consulting on projects, often maintaining relationships that last for many years up until completion, is something that drives the Charcoalblue team. Hayles, Green and Stickland continue to be involved with clients and believe in leading by example. They bring the same enthusiasm to their project work as leading the studios and business, and all three share an immense pride at the talent and expertise of their international team. What unites Charcoalblue’s leadership is a shared passion for the business and a clear ambition for its future. As the company continues to grow, their focus is on building on its creative foundations, championing theatrical innovation and taking the business to the next level as a world-leading consultancy in the rapidly evolving experience economy. www.charcoalblue.com

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A b o ve : Th e c u l t u r al c e n t r e p i e c e o f the Wor ld Tr a d e C e n t e r s i t e i n L o w e r M a n h a t t a n , t h e Per elma n Pe r f o r m i n g A r t s C e n t r e (PA C NY C ). C ha r coa lblu e w o r k e d c l o s e l y w i t h PA C NY C , ar c h i tec t REX, a n d t h e w i d e r d e s i g n t e a m t o d e l i v e r a ven u e d ef in ed by e x t r e m e f l e x i b i l i t y an d t e c h n i c al i n n ova t ion .

M U L T I P U RPO S E VENUES Upgrades and enhancements at multi-use facilities from around the world.

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Nu ba nk Arte L a b COMPANY: ON Creative Visual Tech Provider LOCATION: Sao Paulo, Brazil

ON Creative Visual Tech Provider has completed the audiovisual design and integration at Nubank Arte Lab, a large permanent immersive art space in Sao Paulo. The new 2,700 sq m venue is located within Conjunto Nacional, a modernist mixed-use complex, and at its heart is an extensive audiovisual platform which combines 29 1DLP WUXGA projectors across two immersive projection rooms, an 84 sq m transparent LED façade, an 8,352-point 3D LED sculpture, and a mirrored infinity room, together with digital signage and AV systems for corporate spaces. Designed to deliver immediate visual impact, the platform can be reconfigured for exhibitions, digital art, performances and corporate events. Opened in August, as the venue’s official audiovisual technology partner, ON was responsible for the technical AV and signal-distribution design, equipment specification and supply, installation, programming, calibration and commissioning. The client wanted a clear ‘wow factor’, but image quality and flexibility were equally important. The projection rooms had to deliver at least 150 lux, with strong contrast and consistent colour. The LED elements also needed to become part of the architecture, while the complete platform had to accommodate different content and uses. The main immersive environments are two rooms measuring 23m by 9m, with a 4m ceiling and a 207 sq m footprint. Projection covers three walls and the floor, reaching a height of 3.85m. Mirrored surfaces complete the visual field: Room 1 has a 23m by 4m mirrored wall and two structural columns, while Room 2 uses a 9m by 4m mirror. ON deployed 29 Barco WUXGA single-chip DLP laser-phosphor projectors across the two immersive rooms. Eighteen G50-W6 units handle the wall images and 11 higher-output G62-W9 units project onto the floors. Room 1 uses 14 projectors, with eight assigned to the walls and six to the floor; Room 2 uses 15, comprising 10 wall and five floor projectors. A further two projectors are kept as operational spares. The system produces 218 lux on the walls and 174 lux on the floors, exceeding the 150-lux target. A grey wall finish specified by ON to prevent highlights from washing out and preserves contrast. Eleven custom ON producer and player servers run Dataton Watchout, managing playback, warping and edge blending. The rooms can be recalibrated and remapped as exhibitions change, allowing them to function as neutral digital canvases rather than systems built around one production.

Facing the public circulation area of the Conjunto Nacional, an 84 sq m transparent LED façade creates the venue’s first digital encounter. The L-shaped display extends 17 m across the frontage and a further 4m around the corner, and is 4m high. It uses One Display and Kinglight technology, with a variable 3.9 to 7.8 mm pixel pitch, brightness above 4,000 nits and 75% transparency. The screen has an estimated resolution of 5,376 by 512 pixels, or approximately 2.75 million pixels, and uses 168 NovaStar A5s Plus receiving cards. Its lightweight structure preserves views through the display. Conceived by artist Muti Randolph in dialogue with Jacobsen Arquitetura, the façade integrates moving imagery into the entrance architecture without blocking sightlines through the screen. Elsewhere in the venue, the Voxel – a name referring to the threedimensional equivalent of a pixel – is a volumetric LED sculpture conceived as an alternative to a conventional chandelier or architectural lighting feature. Designed as a medium for generative content, it measures approximately two metres high, four metres wide and 5.7m long, with 8,352 individually addressable LED points. Bespoke software developed by Randolph allows images and movement to occupy a physical volume rather than a flat surface. Five suspended 65-inch professional 4K displays above the ticketing area provide information through the Foyosi digital signage platform. In the corporate room, an 11m by 4m LED wall with a 2.9 mm pixel pitch supports plenary sessions and auditorium use. A total of 28 ON specialists worked across design, procurement, importation, installation, programming and operations. The two immersive rooms were completed 77 days after contract signature, while the transparent LED façade, Voxel, foyer displays and infinity room were delivered within 114 days, allowing the venue to open on schedule. “Delivering a project of such technical and artistic complexity within such a tight timeframe, without compromising quality or visual impact, is a major source of pride for us,” said Hugo Rodrigues, CEO of ON Creative Visual Tech Provider. “ON was involved from the initial concept, before the final contract was signed, and remains responsible for the venue’s daily technical operation. As its technology partner, we helped shape many of the technical decisions that now define the Nubank Arte Lab experience.” www.onprojecoes.com

No rth ern F ilm St u d i o s COMPANY: CHAUVET Professional LOCATION: Hull, UK

The city of Hull has a rich heritage when it comes to film and television, making it a natural home for Northern Film Studios, a brand-new hub which provides opportunities for young media talent living outside the reach of London or Leeds. Its latest development, Studio One, offers a multi-purpose space for cinema screenings, live performances, rehearsals, industry events and more, where flexible lighting plays a vital role. Using a carefully curated selection of CHAUVET Professional fittings, including COLORado Solo Bar 4, Maverick Silens 2X Profile, Maverick Storm 3 BeamWash, WELL STX 180 and WELL POD 2, local av suppliers HPSS applied their expertise in delivering deliver an adaptive lighting system. “The versatility of these lighting fixtures is remarkable,” exclaimed Bart Wedolowski, Project Manager at HPSS. “This studio gives young people the opportunity to perform in a professional environment, it’s a multipurpose, flexible space that is easy to set up and disassemble – and it is such a compliment to the fixtures.” By applying a none-reflective filter, the WELL STX 180 can be used to create a comfortable cinema experience, and equally, the filters can be removed, allowing facial lighting or evocative washes during live acts. On the rig, silent moving heads Maverick Silens 2X Profile and Maverick Storm 3 BeamWash prevent any distractions when all senses are pinned on the screen. But when it’s time to perform, these fixtures can

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deliver sharp Gobo projections, high-output, and expert colour mixing for a professional theatre experience or live performance, while the COLORado Solo Bar 4s provide a vibrant wash. This dual purpose approach has allowed Northern Film Studios to host an impressive range of events. Stunt performers rehearsing for the Punjabi blockbuster DASTARR have used the space for choreography and camera tests. Local filmmakers have premiered new work, including The Last Trip, which featured emerging regional actors. The studio is also designed to host a range of live music and sports entertainment. Andrew Fenton, Group Managing Director at Northern Film Studios, sees the installation as a catalyst for regional growth. “This new system is tied into a city of culture, making it an accelerator for local people to think about film opportunities,” he said. It is a commitment to elevating Hull’s creative identity, boosting the local economy, and providing a platform for emerging filmmakers, performers, and production crews. With HPSS’s adaptable lighting solution in place, the studio now stands as a beacon for regional talent and a compelling example of how thoughtful, flexible installation design can transform a space into a cultural engine. www.chauvetprofessional.com | www.hpss.co.uk

Big stage? Paasito rni COMPANY: d&b audiotechnik LOCATION: Helsinki, Finland

No problem! Viper deLuxe 3050 W Orka deLuxe 9450 W

Helsinki’s historic Paasitorni facility has upgraded its main hall’s sound with a system based on d&b audiotechnik’s new CCL (Compact Cardioid Line Array), bringing greatly improved sound performance for the facility’s primary space. Designed and delivered by sound system consultant Tero Hölttä of Overture Audio Oy, the new system provides a top-quality, rider-friendly, powerful but discreet answer to the needs of this 800-capacity multi-purpose room. “We wanted a system that could handle a live band with ease as well as provide exceptional speech intelligibility for conferences,” said Paasitorni’s Head of Sound Mikko Kokki. “The previous setup, a column system, was often inadequate and not able to meet the high standard of touring bands and corporate clients.” At a CCL demo, Kokki was impressed by its compact form and cardioid dispersion, ideal for Paasitorni’s hard-walled, reverberant expanse. “Though the CCL was quite small, the sound was excellent,” he recalled. “That’s a huge benefit. And it was very focused, which was exactly what we needed here.” The system sees two CCL-SUBs and six CCL Tops per side, all ArrayProcessed and driven by 25D amps. Extra punch is available from two SL-GSUBs at floor level (driven by D90). Although the installation is in its infancy, the benefits have been realised quickly. “I’m extremely happy,” Kokki concluded. “The sound seems better; the reflections feel under control. With the old system, we had to push the level and the noise just built up: you couldn’t win. Now we don’t have any complaints.” www.dbaudio.com

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Any questions?

Look Solutions Fog machines made in Germany Look Solutions GmbH & Co. KG Bünteweg 3 · D - 30989 Gehrden Tel: +49-(0)5108-91 22 10 · Fax: 91 22 111 www.looksolutions.com · info@looksolutions.com

Co n gres s C enter B ade n COMPANY: Elation Lighting LOCATION: Baden, Austria

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Combining historic ambiance with modern event technology, Congress Center Baden has enhanced the lighting capabilities of its landmark venue by investing in Elation’s Fuze Series LED Fresnel fixtures. The upgrade replaces conventional and tungsten lighting that was over 20 years old in the venue’s largest event space, the Festsaal (Ballroom), providing flexibility, superior light quality, and quiet operation for the venue’s diverse event schedule. The venue hosts more than 200 events annually, from international congresses and corporate presentations to classical concerts, galas, fashion shows, and ballroom events. The historic complex is also home to Baden Casino, making it one of the region’s premier cultural and entertainment destinations. To modernise the Ballroom lighting system while preserving the character of the historic space, the venue installed eight Elation Fuze Wash 500 fixtures with motorised barndoors and twelve Fuze Wash 250 luminaires. An additional four Fuze Wash 250 fixtures have been installed in a smaller hall, with four more available for use throughout the venue as needed. The decision to invest in the Fuze Series followed a successful evaluation led by venue Technical Director Andreas Gallé, working with Elation’s Austria sales representative, Karl Lager. The goal was to replace conventional fixtures that had become quite old, Gallé says, as well as several tungsten lights. After the trial period, Congress Center Baden selected the Elation Fuze Series for its ballroom lighting upgrade “We were impressed by the light output, the wide zoom range, the vibrancy of the colors, and the quality of the white light in both Fuze models,” Gallé said. “Another key factor was that the lights are relatively quiet, which is essential in the ballroom because the acoustics of this room can make the fan noise of the lights particularly noticeable.” The Fuze Wash 250 and Fuze Wash 500 are full-spectrum RGBMA LED Fresnel luminaires that combine high-output performance with exceptional color quality. Featuring motorised zoom, up to 17,000 lumens of output, and CRI ratings up to 92, the fixtures deliver beautiful, uniform washes with consistent color matching across both models. “I was recently able to use all of them in Studio Mode at a classical orchestral concert without any noticeable issues,” Gallé said. “On that occasion, I also used video cameras to record the concert. Thanks to the wide adjustment range of the LED band width, the recording was possible without any banding or flickering.” The Fuze Wash 500’s motorised barndoors have also become an indispensable tool in the Ballroom. “Due to the building’s layout, these lights are mounted lower than we would prefer,” Gallé explained. “The barndoors are now frequently used to quickly and effectively mask off the edges of the stage, helping to mitigate glare for the audience or musicians, and we can do it on the fly.” For the more compact Fuze Wash 250, appearance was an important consideration given the venue’s historic architecture. “We were immediately impressed by its compact and, in my opinion, visually appealing design, which is, of course, an important factor in historic rooms such as this.” The new lighting system was immediately put through its paces during one of Baden’s signature celebrations, the annual “Baden in Weiß” (Baden in White) festival, where thousands of visitors dressed in white gathered throughout the city for two nights of entertainment. Three rooms at the Congress Center Baden, as well as the casino terrace, were transformed into dance venues, including the Festsaal, where the new Fuze fixtures provided lighting throughout the festivities. With the installation now complete, Gallé says the investment has delivered exactly what the venue was looking for. “We are happy with the Fuzes – they serve us well in our multifunctional Congress Center.” www.elationlighting.com

Lyzard-KZ1 I

Discreet sound. Distinctive surroundings. At Four Seasons Hotel in Florenze, discreet audio integration preserves the character of the interiors. In the reception area, Lyzard-KZ14 I loudspeakers are integrated into the wood panelling, with a custom wood-effect RAL finish that makes them virtually invisible.

In the corridor, compact Lyzard-KZ1 I speakers extend this discreet approach, providing audio coverage throughout the passage. Sound that supports the space while letting the architecture take centre stage.

www.k-array.com

Pen a ng Waterfro n t C o n ve n t i o n C e n t re COMPANY: Powersoft LOCATION: Penang, Malaysia

The Penang Waterfront Convention Centre (PWCC) is Northern Malaysia’s largest meetings, incentives, conventions and exhibitions (MICE) venue, spanning 10,443 sq m within a luxury waterfront development on the island of Penang. Its column-free multipurpose hall accommodates up to 10,000 guests across 7,318 sq m. This space is complemented by ten state-of-theart meeting rooms, a waterfront terrace for up to 2,000 guests, and a grand arrival hall. Each space required reliable, high-quality audio coverage capable of adapting to a wide range of event types and configurations, from international exhibitions to corporate meetings and private functions. Delivering an audio infrastructure to match the venue’s ambitions required a solution that could integrate fully with PWCC’s broader ICT backbone. The system had to support Dante audio networking alongside AVoIP devices, network amplifiers and control systems, all within strict requirements for network stability, bandwidth and cybersecurity compliance. Equally demanding was the requirement for speech intelligibility and consistent coverage across the large, divisible halls, where event layouts and audience positions change from one booking to the next. Plus, they needed a centralised control platform capable of managing multiple zones and event scenarios without adding operational complexity for venue staff. IHDesign Sdn Bhd, the project’s AV consultant, specified a Powersoft amplification platform at the heart of the audio system, with Concept Associates supplying the hardware and Integrated Audio Visual Sdn Bhd leading system integration. 24 Quattrocanali DSP+D amplifiers, comprising eight Quattrocanali 1204 DSP+D, 15 Quattrocanali 2404 DSP+D and one Quattrocanali 4804 DSP+D, drive the primary audio coverage across the exhibition halls, concourses and public areas. 19 Mezzo AD amplifiers, 18 Mezzo 602 AD and 1 Mezzo 322 AD, serve the meeting rooms and VIP spaces, where the Mezzo’s compact,

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mountable form factor allows amplification to be positioned close to the loudspeakers without a dedicated equipment rack. All 43 Powersoft amplifiers carry native Dante connectivity, enabling audio routing to run across the same Cisco C1300 network backbone as the venue’s IT and control infrastructure. Allen & Heath Dante I/O interfaces handle signal handoff between the QSC DSP processing platform and the amplifier network, while Crestron AVoIP and control systems manage room switching, signal distribution and real-time monitoring of Powersoft amplifiers across the facility. The result is a single converged infrastructure through which audio routing, DSP processing, amplifier control and remote diagnostics all run without a separate audio network or dedicated point-to-point cabling. The completed system gives PWCC a scalable, fully networked audio infrastructure capable of supporting any configuration across its ten versatile spaces, from intimate meetings to international exhibitions and immense live events. Amplifier monitoring, DSP adjustments and routing changes can be managed remotely through Crestron and Powersoft’s ArmoníaPlus platform without requiring technicians in the rack room. This reduces operational overhead during complex event transitions. Across the building, 70 Bose EdgeMax EM180 ceiling speakers were deployed, along with 235 QSC AC ceiling speakers, and with every element of the audio system sitting on the venue’s converged ICT network, PWCC is equally well positioned to accommodate future expansion as its event programme grows. “At this scale, the priority is creating a future-proof network without the clutter of traditional racks,” says Sandhi Soong, senior sales manager, Integrated Audio Visual Sdn Bhd. “Powersoft’s high-density Quattrocanali and Mezzo platforms allowed us to deliver massive power and sophisticated DSP over a single converged ICT infrastructure, giving PWCC total flexibility for any event configuration.” www.powersoft.com

A TOUCH OF NOSTALGIA FOR YOUR STAGE

Unipo l Arena COMPANY: dBtechnologies LOCATION: Bologna, Italy

The Unipol Arena can seat 11,000 fans for a basketball match and 15,500 fans for a concert, and with a total size of 5,300 sq m is one of Italy’s largest indoor venues. Equipped with a truss structure of 1,300 sq m with a weight capacity of 76 tonnes, it is a multi-equipped, cutting-edge place in constant evolution. With a strong vocation for live music it has hosted some the biggest concerts in Italian history with artists of the highest level and prestige including Paul McCartney, R.E.M., David Bowie, Black Sabbath, Oasis and Metallica. Having first installed a dBTechnologies VIO loudspeaker system in 2021, the venue has renewed its trust in VIO technology with a significantly upgraded audio system. By introducing the VIO L1610 and installing the flyable version of the VIO S218, Unipol Arena further enhances its audio performance. A total of 61 new VIO L1610 modules, divided into 11 clusters, and eight VIO S218F units complement 24 VIO L212. The new system is positioned 20m above the ground, and the upgrade results in increased power and a more accurate frequency response, with an offset on the audience of less than 2dB SPL. The tangible outcome is more uniform coverage across all seating areas, including the central parterre section. www.dbtechnologies.com

LED RETRO ABL Bar & Spot

VILC O C o nvent io n C e n t re COMPANY: L-Acoustics LOCATION: Bad Vilbel, Germany

Opened in 2023 adjacent to the historic Kurhaus in Bad Vilbel, north of Frankfurt, the VILCO Convention Centre features a Great Hall with soaring 10m ceilings and adaptable configurations that can transform from a single large event space to multiple smaller venues through movable walls and adjustable grandstands. The venue’s architectural versatility demanded an equally adaptable sound system capable of delivering exceptional audio for everything from corporate events to concerts by touring artists like Manfred Mann, Alphaville and Sisters of Mercy. When VILCO first opened, it featured an L-Acoustics A10 sound system primarily designed for speech reinforcement. However, as live music events began taking a more prominent place in the venue’s programming, it became clear that a full concert-grade system was essential. The temporary solution - renting in a K3 sound system for each performance - proved increasingly challenging, with crews spending hours on complex setup and teardown procedures for every show. Recognising the need for a permanent solution that could match the venue’s quick-change capabilities, VILCO’s management team turned to integrator Aveo, with supply and technical support provided by Certified L-Acoustics distributor satis&fy. “The changeover from concert to conference configuration is crucial and needs to be both efficient and quick to deploy,” explained Patrick Voccia, Commercial Director at Aveo. “With the venue’s movable walls and adjustable grandstands, we required a system that could adapt rapidly to different spatial arrangements while maintaining consistent sound quality throughout.” Martin Rode, Senior Application Engineer at L-Acoustics led the design phase using L-Acoustics Soundvision software, creating a system that

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could accommodate the venue’s multiple configurations. The final installation features a left/right system comprising L2 and L2D arrays, with a centre cluster of A10 Focus and A10 Wide speakers. Four KS28 subwoofers are ground-stacked per side, while eight X8 speakers provide near-fill coverage. The seven A10 speakers from the original installation now serve as a mobile sound system for smaller events – smart resource management that maximises the existing investment. The entire system is powered and processed by a P1 processor and four LA7.16i amplified controllers using Milan-AVB. To accommodate the venue’s transformative nature, the system incorporates innovative rigging solutions. The main arrays are flown from two points – one fixed with steel cable and a second using a hoist system – allowing technicians to quickly lower, adjust angles, and reconfigure the speakers to match the room’s changing layout. This adaptability is enhanced through stored presets that can be rapidly deployed for different event types, reducing changeover time from hours to minutes. “We chose the L Series based on our extensive positive experience with L-Acoustics across numerous projects,” noted Emmanuel Pankalla, Sales Manager at satis&fy. “The system needed to provide the flexibility this unique space demands. The preset capability allows the venue to adapt to different events and space configurations efficiently, while the L2 system integrates seamlessly with VILCO’s sophisticated acoustic treatment, creating optimal listening environments for everything from keynote presentations to rock concerts.” The system’s versatility particularly shines during Bad Vilbel’s busiest periods, when the venue might host a business summit in the morning and a concert that same evening. www.l-acoustics.com | www.aveo.de | www.satis-fy.com/en/home

MAX IM U M COMPANIES: Adam Hall Group | Profox | Danish Automation LOCATION: Copenhagen, Denmark Pho t o: Adam H al l Group

Covering an area of roughly 5,300 sq m, the new MAXIMUM Copenhagen brings together more than ten attractions under one roof. From bowling and laser tag to escape rooms and virtual reality, right through to minigolf, karaoke and an on-site restaurant, the venue offers a wide range of leisure activities for families, friends, companies and event guests. The demands placed on the technical infrastructure were correspondingly high: different areas, each with their own specific acoustic and atmospheric requirements, needed to blend together to create a harmonious overall experience. Danish integrator Profox was responsible for the planning and installation of AV technology, and the company relied, amongst other things, on audio and lighting solutions from LD Systems and Cameo. “We have been supporting MAXIMUM with AV solutions for many years and have evolved from being a supplier to a strategic partner,” explained Jonas Jensen, Sales Director Installations at Profox. Under the leadership of Profox’s Installation Manager, Rasmus Haack, the team developed a solution that met both the technical requirements and the operator’s expectations. The sound system at MAXIMUM covers almost every area, and depending on the application, Profox combined different LD Systems loudspeaker series to deliver both

powerful entertainment setups and subtle background sound. The heart of the system’s signal processing consists of several IPA 424 T DSP installation amplifiers combined with RAM ZETTA power amplifiers. STINGER 8 G3 and DQOR 5T loudspeakers provide sound coverage for the various experience zones, whilst the CFL 62 in-wall loudspeakers in the restaurant and other indoor areas ensure uniform background sound. In addition, STINGER 12 A G3, STINGER SUB 15 and DAVE 12 G4X systems are used in situations where higher sound pressure levels and greater dynamics are required. The venue’s lighting design has also been carefully tailored to the various areas of use. Cameo lights add a touch of excitement to the mini-golf, bowling, Laserforce, VR areas, karaoke rooms, bars and various lounge areas. The equipment used includes the AZOR SPOT Z300 spot moving heads, HYDRABEAM 4000 RGBW bars, and ROOT PAR 4 and ROOT PAR 6 LED-PAR lights. The setup is complemented by INSTANT HAZE 1400 G2 hazers, which create an extra atmospheric effect, particularly in the bowling area. A Cameo XNODE 8 8-port DMX Ethernet node allows all DMX components to be flexibly integrated into the lighting control system. With each zone requiring its own ambient atmosphere, its own rhythm and set of triggers, the venue’s lighting system was complex. Lighting designer and installer Peter Stenner from Danish Automation took on the

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challenge of designing and implementing a system that could tie all these environments together in a coherent and flexible way, with the products supplied by Visual Productions’ Danish distributor, Matrix Sales. At the heart of the installation sits a single CueCore3, quietly orchestrating the atmosphere across the entire venue. It handles everything from cleaning and night modes triggered by simple button inputs, to real-time responses when a VR game session kicks off – automatically transitioning the lighting to ensure players can actually see inside their headsets. The karaoke rooms, the staircases, and the decorative pixel elements scattered throughout the centre all come alive through the same system, running seamlessly in the background. Driving the SPI LED strips along the bowling lanes is a SpiNode, handling the pixel show that transforms the lane area from a calm daytime setting into a full entertainment experience at the flick of a switch – or the press of a button on the karaoke stage. While the installation currently focuses on the core entertainment zones, the system has been designed with growth in mind. It represents a solid foundation that can expand as the venue evolves, a principle very much in line with how MAXIMUM was built: ambitious from day one, and ready for what comes next. www.adamhall.com | www.profox.dk www.danishautomation.dk

dBTechnologies

IS 6C- TR F

I S6T-TRF

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ISE 2027 | 2 - 5 Feb 2027 Fira de Barcelona, Gran Via

THE STAGE IS SET. Get your free ticket Register with the code mondodr at www.iseurope.org

20,840 live events pros and cutting-edge industry tech unites at ISE 2027.

Live Events is changing fast. Technology? Even faster. Falling behind today means quickly becoming irrelevant tomorrow. That’s exactly what ISE is here to address - from showcasing next-gen solutions for now-urgent problems, to delivering showstopping content that inspires the start of something big. So if technology in the entertainment industry impacts you, then come and make an impact with us.

A joint venture partnership

Pathé E de COMPANY: Highlite LOCATION: Ede, The Netherlands

At Pathé Ede, the largest cinema hall in the Netherlands has been successfully transformed into a high-impact event location, suitable for anything from corporate presentations to large-scale conferences with up to 1,000 guests. To make this ambitious setup more flexible, adaptable and visually engaging, Pathé Ede worked closely with its Facilities Department and Peter Bottema Techniek, resulting in a futureproof event solution built around smart lighting, staging and atmospheric effects. Pathé Ede is one of several Pathé cinemas where light fixtures by Infinity and Showtec have been used to help turn cinema halls into event venues when movies aren’t screening. At Pathé Ede, the location is used extensively for business events, ranging from presentations to large corporate gatherings and public sector events. A key part of this transformation is the lighting system. Instead of opting for one fixed solution, Pathé Ede chose equipment that balances performance, flexibility and cost efficiency, and now, depending on the desired application, different light fixtures can be selected. The range of lighting fixtures used includes Infinity’s Raccoon P14/4, Raccoon Junior P7/4 and iW-741 RDM. Showtec’s Titan Strobe 1000 FX, Illumisphere 30 and Phantom 130 Spots are also part of the fixtures available. This selection gives the location versatile lighting options for creating the perfect setup for any event. Controlling all the light fixtures is Showtec’s LAMPY DMX light controller that was chosen for its intuitive, user-friendly interface. Lighting alone isn’t enough. Atmosphere also plays a crucial role in how guests experience an event. To support beams, highlights and stage visuals, Pathé Ede uses Antari Z-350 Pro Fazer for fine, consistent haze, and Antari AF-3E DMX Effect Fan for controlled airflow. This combination ensures that light beams remain visible without overwhelming the space, even during long corporate events. One of the most important upgrades lies not above the audience, but around it. To make the large hall feel comfortable for smaller audiences, Wentex Pipe & Drape curtains are used. Up to 35m of curtains can be set up quickly and easily, allowing Pathé Ede to adapt the room from 1,000 seats down to a few hundred without compromising the audience experience. By investing in flexible lighting, atmospheric effects and modular staging, Pathé Ede has created an event space that adapts effortlessly to corporate meetings, conferences and presentations, charity events and film screenings combined with live speakers. What was once “just” a cinema hall is now a multi-purpose event venue that proves how smart AV choices can completely redefine a space. www.highlite.com

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Mi lan E xhibit io n Ce n t re COMPANIES: CHAINMASTER | DHS LOCATION: Milan, Italy

Considered one of the most modern exhibition centres in Europe, Milan Exhibition Centre recently called upon DHS Event Solutions to update the rigging solutions across its halls. With a need for new chain hoists, DHS invested in 340 CHAINMASTER solutions, broken down into 300 units of the D8Plus Ultra 199kg model and 40 units of the 500 kg version. The package underlined DHS’s commitment to quality, safety, and performance, with CHAINMASTER’s D8Plus Ultra series featuring outstanding safety features, compact design, and robust construction – ideal for demanding exhibition installations. With two independent DC brakes and an FEM classification of 2m, the hoists are engineered to meet the highest standards of reliability and longevity. This investment marked a first step in a strong and growing collaboration between DHS and CHAINMASTER. “We are proud to support DHS with hoists that meet their exacting demands and help power Italy’s premier exhibition venues,” confirmed a CHAINMASTER spokesperson. www.chainmaster.de | www.dhseventsolution.com

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R EC P hilly COMPANY: Symetrix LOCATION: Philadelphia, United States

Creativity often faces societal undervaluation and underfunding, especially as schools and communities struggle to sustain the right kind of infrastructure. Enter REC Philly, a trailblasing creative hub in Philadelphia that encourages individuals to unlock their best creative selves. Through innovative spaces, tools, and a thriving community, REC is redefining how creators build and sustain their creative journeys. Founded in late 2019 by high school friends, Will Toms and Dave Silver, REC Philly was born out of a desire to address the challenges faced by creatives striving to turn their passions into full-time careers. “We decided to take control of our own destiny and not hope that opportunities would come our way – we created our own opportunities,” said Silver. The duo began organising events, building studio spaces, and ultimately creating an infrastructure to support other creatives. Over time, this vision evolved into what REC Philly is today: a 10,000 sq ft facility designed to foster creativity and empower artists. Located in the Fashion District in Central Philadelphia, the REC facility includes 12 private production studios for music, podcasting and photography, as well as two concert venues: a 100-person venue and a 300-person venue. However, as REC Philly scaled its operations, it needed a technological infrastructure that

matched its vision. The space required systems that could adapt to multiple use cases, handle high-performance demands and remain userfriendly for a variety of creators – and that’s where Symetrix technology became pivotal. At the core of the setup is the Radius NX12x8 IP Protocol Digital Sound Processor, which offers exceptional flexibility and power to manage the Dante channels used to meet the diverse audio needs of the facility. Whether hosting a live music performance, recording a podcast, or facilitating a photography session with ambient sound, the processor ensures crystal-clear audio and seamless integration across the various studios and venues delivering the studio quality sound that Symetrix is renowned for. To enhance connectivity and simplify the user experience, REC Philly also installed two Symetrix xIO Bluetooth RCA-3.5 endpoint wall plates, allowing members to connect their mobile devices. This feature enables creators to play music, integrate sound effects or connect directly to their projects with minimal setup time. Additionally, four xIO XLR 2x2 endpoint wall plates were strategically placed in different studios, providing reliable input/ output connections for various equipment uses. Control and accessibility were further enhanced with the inclusion of two T-10 touch

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screen controllers with stands, providing an intuitive interface for managing the audio system. Symetrix didn’t just supply the technology – the team also provided personalised training for REC Philly’s staff to ensure the systems were fully optimised and easy to use. “Symetrix just wants to make life easier for you,” said Silver. “The system’s definitely running more smoothly now, and it is way easier to use with the stuff we already have, which then makes a big difference in the tasks my staff handles every day.” By equipping the space with tools that are both innovative and approachable, REC can cater to a broad range of creative disciplines. Musicians can record professional-grade tracks in the production studios, podcasters can create polished episodes with reliable audio inputs and performers can captivate audiences in the venues – all supported by the seamless, highquality infrastructure designed by Symetrix. “I know folks are deeply appreciative of the opportunities that we create, and to have this kind of space for it all is a real asset to that,” Silver noted. “Whether they are musicians, podcasters, photographers, or performers, this environment ensures that artists have access to the resources they need to flourish, and Symetrix really helped bring that to life.” www.symetrix.co

FOC U S 46

BLUE NOTE LONDON London, UK

TESTBED Leeds, UK

TIMEWALK London, UK

SPACE RICCIONE Riccione, Italy

MIC DROP Los Angeles, USA

HISTORY OTTAWA Ottawa, Canada

NATIONAL GEOGRAPHIC MUSEUM OF EXPLORATION Washington D.C., USA

GOLD COAST CONVENTION AND EXHIBITION CENTRE Gold Coast, Australia

DALI EDITION Dali, China

TE S TB E D , L e e d s , U K .

Photo: Jake Philip Davis

Photo: Rob Jones, Khroma Collective

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BLUE N O TE LO N D O N EMEA

LONDON / UK

S t o r i e d v enue ope ra tor bring s its world-f amou s J a zz C l u b to London, with AV inte g ra tor P e ltri x i n s t a l l i n g a d& b a udiote c h nik audio syste m f o r c le ar and c ulture d sound.

Founded in New York in the early 1980s, the iconic Blue Note Jazz Club has launched its first venue in London, which opened in September on the centenary of John Coltrane’s birth. Part of the Blue Note Entertainment Group’s global family of clubs, spanning Los Angeles, Tokyo, Milan and beyond, the London venue brings together the best of British and international jazz, and welcomes the next generation of artists to its 300-capacity main space. Pairing an intimate atmosphere with world-class programming, Blue Note London sits on a par with its global counterparts with performances from celebrated icons, rising stars, and genre-defying collaborations. In order to stage its diverse programme of performers, Blue Note Entertainment Group turned to long-time AV collaborator Peltrix, based out of New York, to design and install its technological backbone. Company President and founder Amit Peleg explained: “I began working for Blue Note New York in 1988, and from there I segued into forming my own company to do venue installations, which started in 1990.” With a relationship in place, Blue Note Entertainment Group became a client of Peleg’s, with Peltrix completing upgrades to the sound systems across the Blue Note venues in the United States. The London project marked a first for Peltrix outside of the USA, and he admitted that systematically it is very similar to Blue Note Los Angeles. “It is always a case of designing an audio system which is right for the room,” he said, “and while both Blue Note Los Angeles and Blue Note London are d&b audiotechnik systems, and are similar systems with the main loudspeakers being the same model, there are big differences in how they had to be designed.” With Blue Note London having a completely different layout to the typical style of a Blue Note Jazz Club, the system required very detailed pre-visualisation and planning. “The layout of this room dictates that the hallmark Blue Note club arrangement can not be done, because this space is more in line with that of a theatre or concert hall- style layout. “The formula for a Blue Note club is essentially to have the stage in the centre, and the audience sitting around it. That creates the intimacy and the closeness between the audience and the artist, and that was the hallmark of a Blue Note design from the very beginning. “At the location in London that can’t really work, so this system is the first Blue Note that has a more conventional L/C/R system.”

The main system comprises two clusters of four horizontally deployed d&b audiotechnik Ali90 loudspeakers hung left and right, with seven of d&b audiotechnik’s new U5 two-way point source loudspeakers utilised for front, out fill, and delay. Another major difference is a mezzanine level with an extremely low ceiling, which Peleg admitted would be nearly impossible to cover accurately without the assistance of d&b’s ArrayCalc simulation software. “ArrayCalc was crucial for us to provide the right design to achieve the necessary coverage for the whole venue,” continued Peleg. “And the coverage is so good, I was surprised that it converted so well between what was drawn up on ArrayCalc and the real world results. “The ALi90 is ideal for this space. I wanted the sonic characteristics of a point-source system, but with wider coverage. The main clusters cover the mezzanine wings and most of the seated area, while the delay loudspeakers provide additional coverage for the front of the mezzanine and the outer seating areas.” Preserve sightlines The U5 loudspeakers are flown to keep the stage clear and preserve audience sightlines, while four 44s loudspeakers are set up as delays to cover the bar area. “The U5 loudspeakers have excellent pattern control and maintain a consistent frequency response off-axis throughout its entire dispersion angle, so it made sense to go with those,” said Peleg. Under the stage, four d&b Vi-GSUB provide low-frequency support while two Vi-SUB are flown to provide even low-frequency response across the entire club. The system is powered by three 40D four channel amplifiers, four 25D four channel amplifiers and a single 5D four channel amplifier. For the venue’s console, Peleg acknowledged that the majority of audio engineers that come through Blue Note Jazz Clubs will be comfortable with a Yamaha DM7. “Generally speaking, you won’t get someone who needs their hand holding through an audio console at a Blue Note, and the DM7 is an interface that the majority of touring sound engineers will have some familiarity with,” he said. “It’s also a compact console that can do a lot, and its small footprint definitely came into our thinking.” The venue features a fully digital four channel Shure microphone and

TECHNICAL INFORMATION LIGHTING 10 x ADJ Encore Profile Mini 4 x Elation FUZE SFX 4 x Elation FUZE Rebel Wash 250 4 x Elation Rebel Wash 4 6 x Elation KL Batten 72 2 x Elation KL Batten 48 1 x Elation Magma Prime Tour 1 x Obsidian NX1-16 AUDIO 8 x d&b audiotechnik ALi90 7 x d&b audiotechnik U5 4 x d&b audiotechnik 44S 4 x d&b audiotechnik Vi-GSUB 2 x d&b audiotechnik Vi-SUB 6 x d&b audiotechnik MAX2 wedges 1 x Yamaha DM7 4 x Shure P9T 4 x Shure 9PRA 4 x Shure AD2/SM58 1 x Shure AD46 MICS & STANDS 2 x Sennheiser MD431 II 4 x Sennheiser MD421 II 3 x Sennheiser e906 2 x Sennheiser MD 441-U 2 x AKG PZM 30D 2 x AKG C451 B 2 x AKG C414 XLS 1 x AKG D112 MkII 1 x Shure Nexadyne 8/S 4 x Shure SM81-LC 8 x Shure SM57-LC 8 x Shure SM58-LC 4 x Shure Beta 58A 4 x Shure Beta 57A 5 x Shure Beta 56A 1 x Shure Beta 52A 2 x Shure VP89M 2 x Electro-Voice RE320 1 x DPA 4099-DC-1-101-P 8 x König & Meyer 21090 8 x König & Meyer 25950 16 x König & Meyer 26010 4 x König & Meyer 25900 www.bluenotejazz.com www.peltrix.com

monitoring signal chain built around Shure AD4Q, with AD2/SM58 mics and P9 in ear monitoring equipment, while a wide selection of Shure vocal, instrument and ambient mics were also specified including two VP89M shotgun mics, and Nexadyne 8/S and SM810LC models. Completing the mic package are Sennheiser instrument and supercardioid mics including the MD 421 II and MD 441-U, AKG instrument mics including the C414 and D112, an Electro-Voice RE320 dynamic cardioid mic, a pair of DPA 4099-DC-1-101-P for micing a piano, and a selection of König & Meyer mic stands. “One thing I learned from working with a lot of guest engineers is that the human ear takes a little while for to get used to a certain sound,” said Peleg, discussing the consistency of equipment across Blue Note locations. “And when you work in a certain venue for a residency over a few days, your brain can gets stuck on a certain sound, and you expect it to be similar when you move on to the next venue, and so with that, the more consistent we can keep each Blue Note venue, the better.” Primary application While lighting isn’t a primary application during showtime, it was given its due attention with Peleg stating that most of the time, the lighting equipment will be operated by the sound engineer. “The lighting in a Blue Note needs to be very user-friendly and have pre-sets on a desk which is intuitive,” said Peleg. “This is a jazz club, so when it comes to lighting it is more about creating an atmosphere and not about flashing lights and quick movement.” An Obsidian NX1-16 controls the system with pre-sets loaded for moments in the show such as solos and changes between songs, while the most important element is the consistent illumination of the Blue Note sign hung upstage. For that application, a pair of ADJ Encore Profile Mini WW with 25/50° lenses were selected, while eight additional ADJ Encore Profile Mini WW with 15/30° lenses are utilised for profiling. A selection of Elation Lighting fixtures, including four FUZE SFX, four FUZE Wash 250 and four Rebel Wash complete the system, which are hung on a pair of black Global Truss four-point F34 PL truss. Additionally, eight Elation KL Batten fixtures were selected. “These bars are really expressive and create a nice feeling of depth on the stage,” said Peleg. “The combination of the curtain and those fixtures, with specific colour matches, creates a depth that isn’t really there. It’s a very capable lighting system and the choices behind it were based on it primarily being operated by someone trained in sound, and not a trained LD. It is all intuitive and straight-forward to use – that was the objective.” Blue Note London also follows the Los Angeles location in utilising haze effects, with a single Elation Magma Prime Tour fazer installed for a dry haze effect. With plans to open a second performance space within the building and a listening lounge built in the style of a mastering control room, Blue Note London is set to establish itself as an important part of the fabric of the city’s diverse music scene. “Jazz is not what it used to be, it has evolved into the modern world with elevated technical requirements,” concluded Peleg, “so when it comes to equipping a new venue like this we have to consider the calibre of engineer and artist coming through the door and give them the best, and that’s what we’ve done with Blue Note London.”

L e f t : Th e m ai n s y s t e m c o m p r i ses t w o c l u s t e r s o f f o u r d & b au d i o t e c h n ik Ali9 0 l o u d s p e a k e r s h u n g l e f t a n d r i ght , w it h s e v e n o f d & b ’s n e w U 5 t w o - w ay poin t s o u r c e l o u d s p e ak e r s u t i l i s e d f o r f r on t , ou t f i l l , a n d d e l ay . Ph o t o : R o b J o n e s , K h r o m a C o l l ect ive.

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Bred to Adapt. The U-Series Welcome to System Architecture Freedom

dbaudio.com/the-u-series

TES TBED EM EA

LEEDS / UK

Photos: Elliot Young

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A sig nif ic a nt r eb u ild con ver ts Th e W under d og V en u e L td ’s Le e ds w ar ehou se in to an e ne rg e tic 2,500-capacity clu b and pe rf orman ce ven u e, with Audiote k ste ppin g in to d eliver a f ull a nd f lex ib le au d iovisu al se t-up built f o r clu b n ights an d tou r in g r id er s alik e.

Built around the motto of “bringing people together still matters”, TESTBED in Leeds reopened in October with a busy and varied events calendar ahead. This is very much the guiding premise behind the multi-purpose space; the ability to host all manner of large live music and clubbing functions is what TESTBED’s Co-founder and Director, James Abbott-Donnelly, explained will fill a gap in Leeds’ venue market. “It felt like artist and event tours would often skip Leeds, travelling instead to other major cities in the north of the UK like Manchester and Liverpool. It felt like there wasn’t a suitable venue in the city for these performances to go. The mission with TESTBED was to create this space and make sure Leeds was no longer easy to miss out.” To pursue this mission, TESTBED holds 2,500 for club nights and 1,500 for live shows after its recent and very transformative upgrade. The industrial warehouse space now spans a total 23,000 sq ft, from a previous 10,000 sq ft. Leeds has plenty of strong rooms holding under 1,000 people, Abbott-Donnelly explained, and then a jump to venues of 2,000 capacity and above, which leaves acts in between with nowhere obvious to play. TESTBED 2.0, as the update has been termed, caters to this demographic in between, and will see everything from electronic music club nights, live concerts, cultural festivals, brand activations, art installations, and corporate functions go through its doors. Reminiscing on the earliest TESTBED 1.1 version, AbbottDonnelly detailed how he and his partner in both life and business, Laura Wellington, took on the building in January 2020. It is a former train shed on Leeds’ South Bank, and it was meant to become a bigger sibling to Sheaf St, their 400-capacity venue across the road. They named it TESTBED because they planned to develop it in stages, learning from each one as they went. A finished version 2.0 was always the dream, but it often didn’t feel realistic with the pair self-funding every element of construction. This changed after a meeting with A Man About A Dog

(AMAAD), the festival and venue operator owned by Eventim. Instead of just funding the next stage, they offered to fund every stage at once. TESTBED then closed for five months and reopened as version 2.0, a fully equipped venue where, as Abbott-Donnelly put it, a touring band can arrive in the morning and put on a show the same day. The build begins Kicking off the progression to 2.0, AMAAD employed Audiotek to fit the venue with a complete AV package. This was a natural collaboration, as the team had installed and designed the audiovisual systems for AMAAD’s newly opened permanent venue, Quarters in Brighton, the previous summer. “We’d worked with some of the team and some of the organisers before,” said Chris Kmiec, UK Director at Audiotek. Leeds was a different kind of job, though. TESTBED is a club most nights, with touring shows coming through roughly once a week. “With something that needed club, live music, and other diverse event capabilities – such a wide brief – we thought, which way do we start?” recalled Kmiec. “Do you start with live music, or do you start with the nightclub?” Audiotek’s answer was to treat the stage and the room as two jobs. The stage area has the equipment a touring act would expect to find, while more kit runs down the length of the room for club nights and events, when the crowd isn’t all facing one way. Kmiec called the result a dance venue “that then has a regular rotation of touring acts coming through”. The loudspeaker brand was settled before Audiotek arrived. Both TESTBED and AMAAD wanted L-Acoustics, as they knew it would undoubtedly please visiting productions. “There needs to be no reason for somebody to say, ‘We’d like to come and do this, but we need to take equipment out and put something else in,’” noted AbbottDonnelly. “It wasn’t a choice between brands. We knew L-Acoustics would be up to both our standard and that of any rider coming in. It was instead a choice of how far up the product range we go.” They went for L2. “Everyone had looked at all the options and

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eventually decided it was only right to go with the latest, greatest one,” said Kmiec. For Abbott-Donnelly, buying anything less would only have meant replacing it sooner. “If we don’t, we’ll spend the rest of the time kicking ourselves that we didn’t just go for it,” he said. The L2 feature Kmiec talked about most was L-Acoustics’ Autofilter, which shapes the system’s output to even out levels across the audience area. The room is hard and reverberant, but thanks to the Autofilter, Audiotek didn’t need to implement physical acoustic treatment. “It’s all managed by software,” he said. “You stand in front of the stage, and it’s the same volume as standing all the way at the back. It doesn’t get any louder as you walk to the stage. It’s just really even, even though it’s quite a difficult room. I think that’s amazed quite a lot of people, especially the audio techs coming through.” The cabinet size helped as well. TESTBED’s stage is 10m wide, which is reasonable but tight for the size of the bands coming through. “Having the L2 that can fly quite high and be quite small for its size is an advantage,” said Kmiec, “just to try and free up a bit more room on stage.” To manage the sound, the venue then specified two DiGiCo Quantum225 consoles and expanded its event capabilities by bringing in an AlphaTheta DJ booth and equipment. Illuminating TESTBED Lighting is almost entirely CHAUVET Professional. Kmiec said the choice was partly about the cost-to-benefit ratio and partly about using one brand across the whole room. Further, some of the Audiotek team had used Chauvet before, and they knew the fixtures would provide the vibrant, versatile show lighting that was needed. Maverick series fixtures sit above the stage as the primary solution, with the Rogue series studded down the room, which Kmiec described as having “a really great output but more budget-friendly”. ADJ circular LED fixtures rigged on the ceiling add a visual feature, and the rig is run from an Avolites D7-215 with a Titan Net Processor. Behind the stage is a TaylorLED video wall at 2.6mm pixel pitch,

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making it a 4K screen. “It’s a lot higher quality than a lot of other similar sized venues,” said Kmiec. Audiotek has had a working relationship with TaylorLEDs for around a decade, having utilised its equipment on a variety of builds. “We’ve used TaylorLED on quite a few projects, and we’re always happy with the quality of the product,” he added. The biggest challenge, Kmiec said, was time, with five months to turn a warehouse shell into a working venue. The brief also took some negotiation. “There’s been quite a lot of compromises between ourselves and the music people,” he said. “We’re trying to build a nightclub, and they’re trying to work out how it becomes a touring venue.” The aim was to give touring productions what they need without letting those requirements completely drown out every other function in the venue that is a club most nights of the week. Much of that came down to installation and handover. “We’re making sure we’re using touring-grade products and installing them in a manner that means they’re out of the way and easy to read,” Kmiec explained. Visiting crews should be able to see what Audiotek has done and what they are free to change, and the house technicians were briefed so they can explain the system to touring engineers. “It’s laying out software and things in a way that makes it clear to touring engineers what can and can’t be done,” he said. Finding where TESTBED fits into the UK venue scene Kmiec said TESTBED is exactly the kind of project he enjoys doing. The company also works on corporate events, theatre and large nightclubs, “but this kind of scale of nightclub slash gig space slash live events space is something we do great,” he said. “Creating venues with a mix of use cases is particularly where we thrive.” He was wary of venues that try to do everything, though.

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“I think the mistake a lot of people have made with these multi-purpose spaces is making them too flexible,” he said. “A good venue has to know what it does well. It has to really excel at two or three main things, and then all the other things, it just has to be flexible enough to do.” Spaces that chase every booking, in his view, “end up looking a bit soulless and corporate”. His comments come at a difficult time for UK venues, many of which are closing due to operating costs rising sky-high. Abbott-Donnelly admitted TESTBED could not have stayed independent and still meet its ambitions. “We were previously at a place where, if one event didn’t do well, that’s it,” he said. He described AMAAD’s backing as one that is hands-on with supporting the original vision for TESTBED. Therefore, even though the venue is no longer completely independent, it hasn’t lost any of its original spirit. The early response has been strong. By Abbott-Donnelly’s estimate, around 95% of the 1,500 people at the first live gig with Don Broco were new audience members who hadn’t seen the earlier renditions of the space. Abbott-Donnelly laughed that visitors who had seen the old TESTBED were “blown away” by the transformation, bewildered that it could even be the same venue. “We’re getting lots of positive reactions all across the board, whether people are familiar with the place or not,” he added. The multi-purpose mission of TESTBED is being fulfilled, too, with the co-founder reporting that corporate clients are also expressing an interest in the venue. Though TESTBED has reached the once seemingly elusive 2.0 stage, the team behind it show no sign of slowing down. “It’s never finished. We will always be looking at how we can improve,” declared Abbott-Donnelly. www.audiotek.com www.amaad.co.uk www.testbedleeds.com

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TI ME WA L K EMEA

LONDON / UK

Photos: DEM Museums

DEM Muse ums make s its in ter n ation al de but at Imme rse LDN with T imewalk Imme rsive Expe rie nc e Mu seu m, a 1 2,000-ye a r journe y th rou gh hu man h istory broug h t to lif e by n ear ly 200 la se r proje c tors, L-ISA spatial au d io, a nd a f ully a utoma te d show-con tr ol syste m. Centred around the idea that people should “become part of history instead of simply observing it”, Timewalk opened at Immerse LDN on the ExCeL London waterfront in July as the first international project from Turkish experience museum specialist DEM Museums. Over roughly an hour, visitors walk through 22 civilisations and 12,000 years of history, starting at Göbeklitepe, one of humanity’s earliest known communal gathering places, and finishing among the towering Moai of Rapa Nui. Eda Bildiricioğlu, CEO of DEM Museums, the team behind the exhibition, was extremely clear on what the company hopes visitors take away. “Ultimately, our mission is to share the story of human history with audiences around the world,” she enthused. “We want to make history and education accessible, and to show that although civilisations may differ, our past connects us all.” The experience spans around 2,500 sq m and is built around five main gallery spaces, each devoted to a principal civilisation: Göbeklitepe, Babylon, Ancient Egypt, the Maya and Rapa Nui. Deciding who to feature was central to the vision. “We all have familiar favourites, of course,” noted Bildiricioğlu, “but through Timewalk, we also introduce audiences to civilisations that, while less widely known, have left a profound and lasting mark on human history.” This mission of education surrounding unsung histories is strong throughout the experience – audiences are not only introduced to yesterday’s diverse communities, but they are also taken on a deep dive of the daily lives, struggles for independence, and impact of each group. These ancient stories are told in a modern way; a mix of cutting-edge immersive technologies and sculptures set each scene. From Türkiye to the Royal Docks DEM Museums was established in Türkiye in 2020, growing out of the Astel Group, which had been pioneering technology across television, cinema and cultural projects since 1991. The company has since built a strong reputation at home with its award-winning Hagia Sophia History and Ephesus Experience Museums, alongside running visitor operations at the Hagia Sophia and Kariye mosques. Today, its sites welcome more than 10 million visitors a year. After collecting a string of international awards, the team set its

P i ct u red : A n a rra y of c u tt i n g edg e tec h n olog y tells a s t o r y o v e r 1 2, 000 y ea rs i n th e m a k i n g .

sights on audiences abroad, and London quickly rose to the top of the list. “London seemed like the natural home for Timewalk,” said Bildiricioğlu. “In recent years, the UK’s experience economy has grown exponentially and become a global hub for revolutionary immersive experiences. This year’s Innovate X conference valued it at £130 billion.” Immerse LDN, which has welcomed over 1.75 million visitors, provided DEM with a venue that met the project’s specific requirements and ambitions. “It has quickly established itself as the city’s largest nextgeneration entertainment and culture district,” she added, “and it had the scale and technical capabilities to bring our vision to life.” DEM oversaw every stage of the project itself, from first concept through to opening day, bringing together a multidisciplinary team of more than 250 people. Historians, archaeologists, curators, architects, graphic designers, engineers, AV specialists, composers, and installation experts all had a hand in the build. Stepping back in time Entering the experience, a visitor’s journey begins in the 360° Timewalk Tunnel, wrapped in around 100 sq m of Claro fine-pitch flexible LED and driven by a NovaStar H9 processor. A smooth, glowing starfield fills the curved surfaces as visitors made their way through. LED was the obvious choice for this stretch of the route. “In a narrow tunnel, LED gives a sharp, shadow-free image where visitors would block a projector,” explained Bildiricioğlu.

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Every guest is handed a personal audio guide from Look2Innovate, a specialist in museum and exhibition audio devices. Narration comes in 25 languages, with a dedicated children’s track, and the English version is voiced by actors David Schofield and Olivia Williams over an original orchestral score. “Although hosted in London, we wanted the Timewalk experience to be a universal one, and as accessible for global audiences as possible,” said Bildiricioğlu. The guides are location-aware, playing content based on where each visitor stands and what they interact with. In the first main room,guests are encouraged to walk up to a series of pillars, each marked with symbols from a different civilisation and, as they get closer, their audio guides automatically activate, revealing the story behind each culture. It’s a hands-on introduction that lets visitors get to grips with the audio guide at their own pace before the main shows begin. From there, visitors step into the four main halls, where floor-to-ceiling projection surrounds them on every side. Timewalk threads a single story through every room and adds physical pieces for the content to play off. The projection system runs on nearly 200 Panasonic laser projectors across the walls and floors, which Bildiricioğlu explained were chosen for their ability to handle continuous operation. Lenses were specified to suit each room’s architecture and throw distances, while IPZ produced specialist mounts for the project. Edge blending and warping then join the images across every surface,

leaving no visible seams. Outside the halls, Hisense professional displays ranging from 55 to 100 inches support an interactive area where visitors’ movements are tracked and mimicked in real-time on screen by portrayals of people featured in the experience. “Together, these surfaces add up to a canvas of around 1.5 billion pixels,” said Bildiricioğlu. “Lighting was designed as an extension of the projection rather than a separate layer,” she continued. “LED fixtures pick up the colours of the content and carry them into the room, so the space itself changes with each chapter of the story.” The rig combines Elumen8 MP 75 RGBW MKII Fresnels, ADJ Saber Spot RGBW pinspots, Light Projects Evica ES12 architectural spotlights, and Altman Gallery LED spots, with haze drifting through the halls and the Transition Tunnel to give the light a physical presence. In the Babylon, Ancient Egypt, Maya and Rapa Nui halls, a mesh sculpture integrated with the show lighting becomes the focal point, with projection mapped around it. One of the most striking moments comes when a floor projection of waves rolls and crashes around the base of a sculpture, as though the water were reacting to it. Sound that moves Audio at Timewalk is built on L-Acoustics, with L-ISA object-based spatial audio at its core. More than 130 loudspeakers are distributed throughout the venue, among them more than ten high-capacity subwoofers.

With narration delivered through the guides, the room system is free to carry the score and spatial sound design. Object-based audio gave the team precise control over where each sound sits in the space. “We chose L-ISA because it treats each sound, from a whisper to a ceremonial rhythm, as an independent object that can be placed and moved in three dimensions,” explained Bildiricioğlu. “The aim was never to make the experience louder, but to make each environment feel physically convincing.” L-Acoustics amplified controllers drive the system over a Milan-AVB network, and every cue is locked to the same timecode as the visuals. With each hall differing in size and content, the system was also calibrated room by room. Holding all of this together is a centralised show-control backbone. “Timewalk runs on a real-time synchronisation infrastructure in which projection, audio, lighting and effects work as one system,” said Bildiricioğlu. Content is played out from 100 HP Z2 Mini workstations, custom-configured by DEM’s own team and running Twoloox Pandoras Box. Kilometres of specialist cabling, along with hundreds of transmitters, adapters and extenders, carry every output across the site with minimal loss and latency. Twoloox Widget Designer and Pandoras Box then manage the venue as a whole. “Every server, projector, loudspeaker and light is tied to a universal timecode, so each show runs frame-accurately and fully automated,” she noted.

The doors are tied into the same system. “Relay control, triggered by timecode cues, opens each door exactly as one chapter ends and the next begins,” Bildiricioğlu explained. This keeps visitor flow consistent for groups of up to 100 people, with the pacing of the story and the movement of guests through the building controlled by the same cues. Behind the scenes, DEM’s Network Operations Centre monitors critical systems across all of its museums worldwide throughout opening hours, seven days a week. Working to defined SLAs, the team “resolves issues before they affect visitors,” she said. Where the story will travel next DEM put just as much work into getting the history right. “Historical accuracy was a fundamental cornerstone to aid both Timewalk’s development and reputation,” said Bildiricioğlu. The team worked closely with leading historians, archaeologists, and experts from across the world, who advised on the content and narrative from initial conception right through to the final audio narration and graphics. The sense of connection to ancient humanity that DEM wanted to create carries all the way through to the end of the experience, with the final narrative section including the powerful, uniting line: “All civilisations have always and will always be part of the universe.” London marks the start of a much bigger plan for DEM, with projects scheduled for the Colosseum in Rome in 2027, followed by Japan, China, and the United States in 2028. “The UK is just the beginning,” declared Bildiricioğlu. “To date, we have overseen the development of 18 experiential museums and cultural destinations, and Timewalk has cemented the first step for continued work across the globe.” www.demmuseums.com

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RIGHT

HERE

SP A CE RICCIO N E E ME A

RICCIONE / ITALY

One o f t h e w o r l d ’ s t o p -rate d s up er cl ub s r e c e i ve s a m a s sive a udio ov er ha ul a h e a d o f t h e 2 0 2 6 se ason, w ith Loud P r o f e s s i o n a l a n d Powe rsof t at the heart. Ranked as Italy’s top nightclub and sitting at No.26 in DJ Mag’s Top 100 Clubs for 2026, Space Riccione carries forward the legacy of Space Ibiza, one of the iconic clubs in EDM history. Space Ibiza ran for 27 years before closing in 2016, and after opening in 2024, Space Riccione has quickly established itself as one of Europe’s most ambitious nightlife destinations. Ahead of the 2026 season the Adriatic superclub called upon Romebased professional sound reinforcement manufacturer and integrator Loud Professional to design and install the club’s new sound system. “Loud Professional has a primary focus on nightclub installations and other hospitality venues in need of smooth yet high-impact sound systems,” explained Loud Professional CEO Valerio Cherubini. “Space Riccione has been a highly respected club since it opened, and for its third season in 2026 we knew that this would be an exciting project to be involved in.” The project required consistent, high-impact coverage across a multizone open-air venue capable of hosting up to 7,000 guests, spanning the main arena of 1,600 sq m, upstage areas, a VIP zone, six skyboxes, and dedicated DJ monitoring positions, each with distinct coverage and SPL requirements. The install marked the first public deployment of the company’s new Formula F1512, the flagship line array element from its Formula Series. “This club carries the weight of the Space Ibiza legacy, and the venue’s ambitions are evident in everything it does,” continued Cherubini. “We had developed the Formula F1512 for an environment exactly like this. It’s perfect for a large-format open-air venue where consistent coverage, very high SPL, and emotional impact across every zone are all non-negotiable.” Loud Professional’s Mauro Casazza was the sound engineer tasked with tailoring the sound across the venue. “When I started designing the audio system for Space I was immediately inspired by the new F1512 due to its ability to extend the low-end frequency response down to 40 Hz without undergoing any stress, firmly guaranteeing a major sonic impact and always maintaining the high-frequency clarity that has long distinguished Loud Professional in delivering a comfortable, never aggressive sound,” said Casazza. “But it is not only a matter of achieving depth and control; it is also about the overall blend between the low and mid-low frequency sections—a crucial and extremely critical point where the workload for any loudspeaker is exceptionally demanding,” he continued.

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“ F EED B A C K H A S B E E N EXTR EME L Y P O S I T I V E , W IT H M A N Y DJ S S T A T I N G T H A T TH E SY S T E M E X C E L S A T B O TH I MP A C T A N D C L A R IT Y , PERF EC T L Y B L E N DI N G T HE SM O O T H N E S S A N D C O MFORT O F H I -FI S O U N D W I T H T HE EXTR EME P E R FO R M A N C E OF PRO A U DI O . ”

Below: Formi n g th e b a s i s of t he ins t a ll, 1 4 Loud Pr ofes s iona l F orm ula F 1 51 2 t hree-way li n e a rra y elem ents for m t he ma i n c lus ter a n d delay arr ays .

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“In the F1512, the transition between these two sections occurs with absolute integrity and coherence, always ensuring maximum expression for both. “This marks a huge installation, and the club is built on top of an historic hill above the town of Riccione, with stunning views of the sun rise in the morning.” At the heart of the install, 14 Loud Professional Formula F1512 three-way line array elements form the main cluster and delay arrays. Eight loudspeakers serve the main L-R array covering the arena, while four further F1512 cover Delay 1 and two cover Delay 2. A 12-unit SUB218R subwoofer array, configured in a cardioid arrangement, anchors the low-frequency system across the main arena, while SUB121H subwoofers support each delay position, which are stacked at distances of 25m on the dancefloor. Six Layer112H two-way elements

provide front-fill coverage across the arena floor, and additional Layer112H arrays with SUB218R subwoofers serve the upstage and DJ monitoring positions. “The sound is well calibrated, and it took some time to tune the system, but the results are fantastic,” said Cherubini. “Feedback has been extremely positive, with many DJs stating that the system excels at both impact and clarity, perfectly blending the smoothness and comfort of hi-fi sound with the extreme performance of pro audio, which is exactly what we wanted to hear, because that is at the heart of our philosophy as manufacturers and installers.” Casazza utilised EASE Focus 3 acoustic simulation software to design the system and predict the coverage, while the system’s amplification is provided by six Powersoft X8 eight-channel amplifiers and six Powersoft X4 four-channel amplifiers, drawn from Powersoft’s X Series touring

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Each Beeblade is a compact, single - output media server One of HIVE‘s key innovations is its ability to distribute a Complex installation deployment  Simpflified that fits directly into the Intel® SDM slot of a compatible play single ultra-high-resolution canvas across multipleplayPanasonic projector or LED display. Connected via a stanstan back devices. Rather than relying on a large central media dard Ethernet network, multiple Beeblades operate as a server, each Beeblade renders only the portion of the single synchronised system capable of driving immersive image assigned to its display while maintaining frame environments of virtually any size. accurate synchronisation with every other playback mode. The Beeblade ecosystem spans four performance tiers — from HD playback through to native 8K and Video over IP workflows — allowing organisations to select their perper formance level best suited to each application while maintaining a common software platform.

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Why Distributed Architecture is the Next Evolution for Immersive Experiences 08

The Technology Ecosystem

Photo: Roberto Conti

TECHNICAL INFORMATION AUDIO Main Array 8 x Loud Professional Formula F1512 12 x Loud Professional SUB218R Front Fill 6 x Loud Professional Layer112H Delay 1 4 x Loud Professional Formula F1512 4 x Loud Professional SUB121H Delay 2 2 x Loud Professional Formula F1512 4 x Loud Professional SUB121H DJ Monitoring 4 x Loud Professional Layer112H 2 x Loud Professional SUB218R Upstage 6 x Loud Professional Layer112H 4 x Loud Professional SUB218R Skyboxes 4 x Loud Professional Gamma10 6 x Loud Professional Gamma6 4 x Loud Professional GammaS115 2 x Loud Professional MicroSub112DR platform. The X8 units carry the main arrays and primary subwoofer system, with the X4 units handling zone-specific coverage across the delay arrays, upstage and monitoring positions. Both models share Powersoft’s threephase power supply architecture, accepting mains voltages from 85 V to 440 V without manual switching and managing load balancing internally, simplifying power infrastructure planning at an outdoor venue. System-wide DSP and control run through Powersoft’s ArmoníaPlus platform, providing independent EQ, crossover, delay, and TruePower limiting per channel across all zones. “We have utilised Powersoft in club installations for a long time with great success,” continued Cherubini. “Powersoft is an excellent partner for our applications, and the management software is extremely user friendly. “For a project of this scale and complexity, we needed amplifiers capable of sustained high-power output across a large number of channels in a multi-zone system,” he said. “The Powersoft X4 and X8 met every requirement. The power density and three-phase supply flexibility were both important for an outdoor venue, and the level of control available through ArmoníaPlus made managing a system of this size genuinely straightforward. For control, we selected an Allen & Heath SQ-5 because of its reliable performance, flexibility and compact footprint.” The club’s new visual design was

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overseen by lighting designer Francesco De Cave, who specified more than 100 Claypaky fixtures, which were supplemented by 12 Laserworld PL-30.000RGB lasers and eight special effects units from Antari, including two each of the F-7 Smaze and F-7X Smaze. Forming the central point of the stage is a cluster of 48 Claypaky Xtylos Aqua, which are supplemented by 32 Claypaky Arolla Aqua and 72 Claypaky Tambora Flash hybrid fixtures. For the stage’s four massive LED wall pillars, 118 panels of CreateLED AirBLADE-15 indoor LED display were utilised and deployed in V-shape apexes. Finally, 50 Briteq BTXLightstrike bars are fixed horizontally across the stage and in vertical rows in the centre of each of the LED wall’s V-shape. The completed installation marks a significant moment for Loud Professional, with the Formula F1512 making its public debut at one of the most prominent club venues in Europe. “This is the only Space club in the world, so it is an important and prestigious venue,” concluded Cherubini. “We are genuinely proud of this installation and to see the Formula F1512 performing night after night at a venue of this standing, and to hear how audiences and artists are responding to the sound, that’s just been enormously satisfying. “Powersoft’s amplification was integral to achieving the results we were aiming for, and the two brands together deliver something we believe is truly exceptional.”

Louge 2 x Loud Professional Gamma8 1 x Loud Professional GammaS218 Amplifiers 6 x Powersoft X8 6 x Powersoft X4 4 x Powersoft Qauttrocanali 2404DSP Mixing Console Allen & Heath SQ5 LIGHTING AND EFFECTS 32 x Claypaky Arolla Aqua 72 x Claypaky Tambora Flash 48 x Claypaky Xtylos Aqua 50 x Briteq BTX-Lightstrike 12 x Laserworld PL-30000RGB 4 x Antari AF-5 Fan 2 x Antari F-7 Smaze 2 x Antari F-7X Smaze www.spacericcione.com www.loudprofessional.com

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02/11/26 11:39

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MI C D R O P A MERIC AS

LOS ANGELES / USA

B e s p o k e Ka ra oke spot ups th e ante with a g l a m o u r o u s, te c h nolog y-drive n c onc e pt in a f ormer r e c o r d i n g studio, and a f ull AV pac ka g e insta lled a n d inte g rate d by Pine apple Audio.

Making its home in the former location of Larrabee Studios, Mic Drop’s ‘art disco’ sensibilities compliment the building’s legacy thanks to the vision of its two creators, Leo and Oliver Kremer, and a host of sophisticated AV solutions. Inspired to combine the glamour of the 1920s with the glitz of the 1970s, the duo’s vision extends throughout 13 private karaoke suites, each named after a famous recording studio, alongside a public bar and small main stage for performances. Opened in April, Chicago-based integrators Pineapple Audio earned the contract to equip Mic Drop with an AV backbone having had previous successful installations in the Karaoke realm, as its President Matt Edgar explained: “Pineapple Audio were recommended to the Kremer brothers by KaraFun, the French company supplying the karaoke software and backing tracks for the venue, as experts in AV and lighting for the hospitality sector,” he began. What makes the venue particularly distinctive is the way its lighting has been integrated directly into the karaoke experience. Every backing track automatically triggers a custom DMX-programmed light show, with metadata from the songs used to select and trigger lighting cues. As a result, each performance can have its own unique visual identity, with thousands of songs available to guests, which is a first for an independent venue in the United States. Edgar oversaw the project, with Scott Owens serving as Lighting Designer and Alex J. Specht handling the programming for the main stage, while the Pineapple Audio team worked closely with KaraFun, to integrate the

lighting system with the music system. One of the project’s key challenges was fitting a high-impact lighting system into suites of very different sizes and dimensions. While the larger rooms offered more space, they still had low ceilings, and the smallest suites demanded an exceptionally compact approach without compromising the visual impact. “When it came to selecting lighting brands for the project, ADJ and Eliminator were an obvious choice,” explained Edgar. “We already had a good relationship, and we needed products that were reliable – because they’re going to be used a lot in this place – and also backed by good US-based support. “Because of the scale of the project, price was also an important factor, and ADJ and Eliminator delivered exactly what we needed.” The private suites combine the compact Eliminator Stinger Spot 30 automated spot fixtures with shallow ADJ UBL12H linear wash fixtures, which feature 12 lime-infused 6-in-1 LEDs. Fixture quantities vary according to the size and layout of each suite, allowing Pineapple Audio to tailor the lighting system to each room while maintaining a consistent experience throughout the venue. “Size was very important when choosing the fixtures themselves, because the smallest suites really are very small,” said Edgar, “but we still wanted to deliver the same experience with moving lights, rich colour washes and dynamic chase patterns.” Mirror balls are another defining feature of the private suites, with each room centered around one of two different-sized models. Seven rooms feature Eliminator EM8 8-inch (20cm) mirror balls, while the remaining six use larger Eliminator EM12 12-inch (30cm)

L e f t : E a c h r o o m f u n ct ion s a s it s ow n c o n t r o l l e d e n v i r on men t , w it h r ed u ced bleed between suites.

models. All 13 are suspended from Eliminator MBDMXPLUS mirror ball motors, allowing both rotation direction and speed to be controlled as part of the custom lighting programmes. The largest private suite, Skywalker, takes the experience a step further with its own small stage, above which a pair of ADJ 12PX HEX LED-powered PAR fixtures provide illumination for performers, giving the room additional flexibility for larger groups and more theatrical karaoke performances. The venue’s public bar provides an even larger canvas. Designed around a concert-style main stage, this space features a more substantial rig incorporating additional Eliminator Stinger Spot 30 fixtures alongside 13 Eliminator Stealth Wash Zoom automated luminaires. For key stage illumination, a pair of ADJ Encore Profile Pro Color ellipsoidal fixtures are fitted with EP LENS 2550Z 25–50-degree zoom lenses and DF 64 diffusion filters. These provide controlled, flattering illumination of the performers while complementing the more dynamic effects generated by the moving heads. The result is a lighting system that goes far beyond simply illuminating a karaoke venue, with private suites becoming their own miniature entertainment environment, while the main bar and stage offer a more traditional concert and nightlife experience. Most importantly, the DMX integration means that the lighting is directly connected to the music, allowing guests to experience their chosen songs not just as performances, but as fully realised visual shows. In addition to designing an impactful yet discreet lighting

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system, Edgar and his team had various challenges to overcome in delivering a full AV package. With 30 wireless mic channels running at the same time across 13 private suites and a main stage, Edgar noted that the main hurdle of integration was delivering acoustic separation while keeping that high-end studio feel across a 6,000 sq ft floor plan. “We were intentional about preserving the building’s integrity,” continued Edgar. “Each room functions as its own controlled environment, and our goal from the start was to reduce bleed between suites while maximising clarity. We wanted guests to get the same performance they’d expect in a professional studio, no matter where they are inside the venue.” To achieve this, Edgar leant on a technical backbone powered by the Sennheiser EW-DX digital wireless system, which features an ultra-low 1.9 ms latency, which is the difference between a singer feeling “in the pocket” or feeling a distracting delay in their monitors. Managing 30 channels in the middle of West Hollywood had the potential to become an RF nightmare, but Edgar’s team handled this by utilising Sennheiser’s Wireless Systems Manager (WSM) software to perform floor-byfloor environmental scans. By mapping the RF floor and using a centralised receiver setup, they assigned frequencies with surgical precision. “The EW-DX system uses an equidistant frequency grid,” said Edgar. “It makes coordination way simpler because it gives us consistent audio across every channel without intermodulation risks.

TECHNICAL INFORMATION LIGHTING 89 x Eliminator Stinger Spot 30 48 x ADJ UBL12H 13 x Eliminator MBDMX-PLUS 13 x Eliminator Stealth Wash Zoom 7 x Eliminator EM8 Mirror Ball 6 x Eliminator EM12 Mirror Ball 6 x Eliminator Stealth Beam 3 x ADJ Saber Spot RGBL 2 x ADJ Encore Profile Pro Color 2 x ADJ Lens 25-50Z 2 x ADJ DF 64 2 x ADJ 12PX HEX www.micdrop.la www.pineappleaudio.com

“We used Sennheiser Control Cockpit for the initial naming and network setup, but now we handle the ongoing management through remote monitoring.” On the operational side, Mic Drop uses CHG 70N network-enabled chargers. When a group leaves a suite, the handhelds go right back into the docks to top off the BA 70 rechargeable batteries. This allows the staff to monitor battery health from the front desk, ensuring that no guest is ever interrupted by a dead battery. At Mic Drop, the gear is part of the art. The venue uses bespoke, gold-plated Sennheiser microphones that stand out against the décor. And they aren’t just for show; they’re the primary connection between the singer and the stage, as Oliver Kremer confirmed: “The microphone is the ultimate touchpoint. You feel the weight. You feel the power the second you grab it. It changes how you perform.” That love for the hardware is even built into the ceiling. The main room’s centrepiece is a functioning disco ball sculpted as a 30,000-tile replica of the Sennheiser e 835 mic dubbed the “Macrophone.” Which is illuminated by three ADJ Saber Spot RGBL 20Watt colour-mixing pinspots, ensuring that it becomes an integral part of the room’s aesthetic. In a venue where the technical specs drive the fun, the audio system was designed to be as clear and discreet as possible, with Powersoft amplification and DSP selected alongside Celto Pro loudspeakers. “With every room being separate there was no need to network them, other than for internet and data, so there’s no need for Dante,” said Edgar. “Inside each room we constructed custom kiosks with an amplifier, DSP and audio interface for the mics, while the Karaoke system runs KaraFun’s software on an iPad.” The main stage’s audio is run by a Yamaha DM7 Compact and GrandMA on PC is running the lights, while the venue’s spatial constraints also came to the fore when considering the loudspeaker options, with Edgar and his team building custom subwoofers which are installed under the seats in each suite. “We had to think on our feet, and so we used 12-inch Eminence LAB-12 drivers in the custom subs,” he said. “Some rooms have a pair, some only one, but they are super-high output and sound great.” Every suite features a Froggy’s Fog Titan H4 Hazer, and there is a single Froggy’s Fog Thanos Fog Blaster gun for the main stage, while Unity 10W lasers were installed to add to the main stage’s atmospherics. At Mic Drop, whether it’s a pro singer or a first-timer, the sound stays crisp and the ambience is on point. When the lights hit the golden mic disco ball and the vocals are crystal clear, every guest is made to feel like a headliner.

L e f t : B e s p o k e , g o l d - p l at ed Sennheiser microphones s t a n d o u t a g a i n s t t h e d é c or at Mic Drop.

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HIS T ORY OTT AW A A M ERI CAS

OTTAWA / CANADA

A new p e r f o r m a n c e ve n ue op ens i n C a n a d a ’ s c a p i t a l, fil l ing a g a p i n t h e m a r k et and off er in g g u e s t s a n e n h a n c e d ex p er ie n c e , w i t h i t s p r o d uc tion techno l o g y e xp e r t l y i n t e g rate d by Sol o t e c h .

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Owned and operated by Live Nation Canada, HISTORY Ottawa was announced in February 2025, and opened 18 months later. The 2,000-capacity venue fills an important gap in the city’s infrastructure for live entertainment, offering a place for touring artists to give fans an intimate live experience. Located in the former Chapters department store on Rideau Street in the heart of the downtown area, the venue has been designed in partnership with global superstar Drake, with the design of its spaces drawing heavily on the concepts of HISTORY Toronto, which opened in 2021. “With a convertible general-admission floor and reserved-seating configurations, HISTORY Ottawa is designed to host a wide range of events – from live entertainment and galas to community programmes and corporate events,” said Ali Shafaee, Regional Vice President – Live Nation Canada. “The core design concept for the performance space was to create an intimate experience that brings fans closer to the artist and the music, while offering the premium quality and guest experience typically associated with an arena. HISTORY Ottawa strengthens the city’s live entertainment ecosystem and helps position Ottawa as an essential stop between Toronto and Montreal.” Solotech was enlisted to deploy the venue’s production infrastructure, which included an Adamson Systems Engineering sound system, a lighting rig featuring more than 40 GLP fixtures, and consoles from DiGiCo and MA Lighting. Project Manager for Solotech was Chris Washkau, with Technology Specialist Mathieu Guilbault leading the integration and installation

efforts on the ground. “Solotech was brought into the venue towards the end of the build,” explained Guilbault. “The timeline we had was between nine and 10 weeks from the day we won the contract to complete handover. This also included the initial procurement of products, so it was a very tight turnaround.” Throughout the project, Washkau and his team leant on Solotech’s Live Production department, which supports Live Nation in various markets across Canada. “Because of this truncated timeline, we were able to utilise that department’s expertise and inventory when any equipmentrelated issues were raised,” said Washkau. Having been presented with a bill of materials, Guilbault began a process of reverse engineering the equipment for its suitability from a schematic standpoint. “The systems were built step by step, piece by piece, and on site I led the team through the installation and integration of the equipment, and programming,” he said. Underpinning the venue’s audio capabilities is an Adamson system based on its CS series, with L/R hangs of CS10 and CS10n line array elements supported by 11 CS119 subwoofers, three of which are deployed behind each hang, with five placed underneath the stage for even low frequency distribution. Four additional CS10p loudspeakers are deployed as delays for coverage under the balcony. “Due to the width of the stage and the way the main arrays had to be hung to ensure clear sightlines for the extreme wings of the VIP balcony, we found that we couldn’t quite cover the first few rows of the audience at the barrier,” said Guilbault. “Because of this, we added front fills, with a pair of Adamson CS10p loudspeakers to the left and right side of the stage, and a pair of CS7p in the centre.” Design pivot This system design pivot was supervised by Adamson’s Product Specialist Jeremiah Karni, who assisted and supported Guilbault during installation and commissioning, and the manufacturer’s location on the outskirts of Toronto proved very important to the success of the project. “Jeremiah was a tremendous help to us throughout,” said Washkau. “We had a few stumbling blocks which he helped us get over. He spent time with us when we installed the sound system, taking measurements for coverage, and it was during this time that we realised we needed the front fills, so his input was very, very important. “Working alongside Jeremiah has been massively beneficial as it has grown our relationship with Adamson, and with them being located in Port Perry, it was easy to collaborate and get the equipment on time.” Guilbault praised the system, having had far fewer experiences with Adamson than other audio manufacturers. “Having active line arrays, which saves on cabling, is a big benefit for an installation of this size, and the hardware is impressively made,” he said. “Having a single cable for power, AVB, and redundant analogue makes it a very well-developed system, and for a venue which will be used for different applications – it is excellent.” For the non-powered loudspeakers in the system, three Adamson XG4 and four XG8 amplifiers were utilised, while DSP which isn’t on-board the powered CS10 models is handled by an Adamson CS Gateway, a 16x16 audio matrix and Milan-compliant network switch. Two DiGiCo Quantum 225 consoles were supplied for FOH and monitor mix positions, while a wide selection of Sennheiser and Shure instrument and vocal mics were chosen to aid the venue’s myriad production needs. The lighting package of GLP fixtures comprises 10 Exo Hybrid IP, four JDC Burst 1 strobe, 12 impression S500 HO, and 20 impression X5 Compact, and was purchased from GLP’s Canadian distributor, Data Visual. “These fixtures are familiar to the venue’s techs, and since we wired them into the system they have been working very well,” said Guilbault, with Washkau adding: “They are reliable fixtures at a good price point. Solotech currently has a quote to replace the ageing lighting fixtures at HISTORY Toronto, and some GLP products are on that list.” Lighting control is handled by an MA Lighting grandMA3 compact XT, while stage effects are provided by a single MDG ATMe hazer and

TECHNICAL INFORMATION AUDIO 10 x Adamson CS10 8 x Adamson CS10n 4 x Adamson CS10p 8 x Adamson CS7p 8 x Adamson CS119 6x Adamson IS219 3x Adamson IS7P 2 x Adamson XG4 1 x Adamson XG2 10x Adamson MG10 2 x DiGiCo Quantum 225 LIGHTING AND EFFECTS 10 x GLP Exo Hybrid IP 4 x GLP JDC Burst 1 IP Strobe 12 x GLP impression S500 HO 20 x GLP Impression X5 Compact 1 x MA Lighting grandMA3 compact XT 1 x MDG ATMe 1 x MDG theFAN VIDEO 132 x Absen NX 2.5 1 x NovaStar H2 1 x Analog Way Pulse 4K www.historyottawa.com www.solotech.com

L e f t : Th e v e n u e i s d e s i g ned t o bring the audience closer to t h e a r t i s t an d t h e m u s i c . Ph o t o : G r e g K o l z .

MDG theFAN. A 20ft by 40ft Absen LED wall, made up of 132 panels of the company’s NX series in a 2.5mm pixel pitch, fed by a NovaStar H2 processor in 4K, is a semi-permanent fixture behind the stage, and is held in place by a ModTruss rigging system. “In my 13 years at Solotech I have overseen a number of high-profile performance venues, and one of the things that Mathieu brought to this project which I had not seen before is ModTruss, which we used to hang the line arrays and the LED wall,” said Washkau. “It is slick, user-friendly, very strong, and by far the most aesthetically pleasing rigging and truss system I’ve seen in a long time.” For Guilbault, ModTruss is something that he always looks to utilise, should a project require it. “From a design standpoint, ModTruss is a dream, and the possibilities are countless,” he said. “It is very easy to install with pre-engineered parts, and is customisable. It’s a scalable solution, compact, and extremely cost effective. I try to bring it to as many projects as I can. And with it being compact, it is barely noticeable when it comes to show time.” Elsewhere an Analog Way Pulse 4K is utilised for video source selection with content stored on a custom Resolume Arena 7 server

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for distribution to the video wall, while more than 20 Samsung UHD displays are deployed around the venue for various purposes, based on a Visionary Solutions D5200 system. “The venue’s network is based off NetGear 4350 switches, and this is a system which we know well and have lots of experience with, so there were no major issues thrown up here,” confirmed Guilbault. For Live Nation, the completed facility represents an important addition to its portfolio of performance venues. “The lighting heightens the energy and atmosphere of each performance, while the sound system delivers a clear, powerful experience throughout the room,” concluded Lea Ghazal, Director of Architecture – Live Nation Canada. “Materials, textures, and finishes were selected to create a distinct, elevated identity and support the feeling of being fully present in the moment. Regardless of the genre or style of performance, the intent is for fans to feel surrounded by the music and connected to the artist on stage,” Ghazal added. “The venue is designed not simply as a place to watch a show, but as a shared experience between the artist and the audience.”

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TH E NATIONA L GEOGRAPH IC MUS E UM OF EX PLORATI O N A M ER IC AS

WASHINGTON D.C. / USA

Photos: Moment Factory

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A host of creative and technical collaborators including Moment Factory, Eos Lightmedia, and Videlio-HMS, help the National Geographic Society bring its mission to life across three distinct experiences at its new Museum of Exploration.

Righ t a n d b elow : T h e Soc i ety ’ s P h ot o A r k : An i m a ls of Ea rth ex h i b i ti on, di s p l ay i n g ph otog ra ph s from N a ti on a l G eog r a p h i c Ex plorer Joel Sa r t o r e .

After dark, the ocean takes over the front of the National Geographic Society’s headquarters in Washington D.C. Waves appear to crash inside the building, its glass facade seems to freeze over as the story heads to the poles, and a courtyard full of visitors watches as marine life swims across the multi-storey glass facade. Wonders of Our World: Ocean is one of three experiences Moment Factory created for the new National Geographic Museum of Exploration, and each of them was given a very different job to do. Inside the museum, Geoverse, puts school groups in the field with National Geographic Explorers through 270° projection and an interactive floor. In the South Gallery, Photo Ark: Animals of Earth brings visitors eye-to-eye with more than 1,000 of the species photographer Joel Sartore has documented over two decades. For Moment Factory, the National Geographic Society’s creative collaborator on these three projects, building each experience required a different outlook. Wonders of Our World: Ocean is permanent and plays nightly, the Geoverse was designed to switch content for different audiences, and Photo Ark: Animals of Earth was built from day one to be packed into road cases and sent on tour in the future. What ties them together is the Society’s mission to protect the natural world. For Wonders of Our World: Ocean, the brief was to give visitors a sense of wonder and connection to the ocean and, as Moment Factory Creative Director Nadia Lakhdari put it, to “prompt a desire in people to join the Society’s mission in protecting the ocean”. Photo Ark: Animals of Earth carries the same message. “The story that’s being told is about saving and preserving the life of the creatures,” said Michael Stone, Vice President of Global Strategy at Videlio-HMS, who worked alongside Moment Factory to install the audiovisual technology powering the art. “The exhibition highlights every creature from elephants and tigers to bugs, lobsters, and spiders – it’s about protecting them all and saving the Earth.”

Below: The ex teri or of th e m u s eum , a s th e n i g h t l y Wonders of O u r World: O c ea n i m m ers i v e sh o w r u n s .

The museum opened on 26 June 2026 on the Society’s campus on M Street. The more than 100,000 sq ft, $300 million renovation is the largest campus expansion in National Geographic’s history. The exhibitions drew on a wide range of creative and technical expertise. Moment Factory designed all three experiences, while Eos Lightmedia handled audio, video, control and show network integration across the campus, and Videlio-HMS delivered the technical systems for Photo Ark: Animals of Earth. Opening the doors The project started with a building designed to literally make it clear to audiences what the Society is about. Architects Hickok Cole drew up a glass pavilion for the museum, and Moment Factory’s Lakhdari believes the material said a lot about the client. “The glass facade really speaks to The Society’s willingness to be completely transparent with their mission,” she explained, “letting the public in, in a way that hadn’t been done before at the headquarters.” The idea for a nightly outdoor show came out of early workshops between National Geographic’s executives and a group from Walt Disney Imagineering, who wanted to create “a dialogue between the building and the rest of the city”. Moment Factory was asked to develop the concept, and five years later would deliver it. “They wanted this nighttime experience around the theme of the ocean that would bring visitors this sense of wonder, awe and connection,” continued Lakhdari. The other two briefs arrived about a year later and served different

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purposes. The Geoverse was designed first to welcome school groups, before National Geographic asked for a second experience for young families at weekends. Photo Ark had to work in D.C. and anywhere else the Society might travel the exhibit. An unconventional solution Wonders of Our World: Ocean immediately prompted Moment Factory to think outside the box, with the exhibition’s mission of projecting dynamic visuals onto the building’s glass exterior. “The first question that was asked was, ‘well, what’s our canvas?’” recalled Lakhdari. “Glass is beautiful and it’s see-through, but it’s not an ideal surface to work on for projection.” Roll-down screens were suggested and quickly rejected, as they would have turned the facade into “an outdoor movie screen” and closed the building off. Instead, Moment Factory’s R&D team proposed smart glass, a material it had been previously lightly experimenting with. Smart glass is usually a privacy product, the kind of window that frosts over at the press of a button. Turning it into a show surface across a whole facade is exactly the sort of challenge Moment Factory enjoys. “We often say we hack technologies,” said Lakhdari. “We take a technology that has one intended purpose, and then we think about how we can use it in a whole other, unique way.” Suppliers took more convincing. “We approached many vendors, but none of them did what we wanted to do,” said Julien Roberge, Moment Factory’s Technical Director on the project. “There were also some vendors that didn’t respond to us, because it was at such a large scale that it scared them away.” The team settled on Gauzy, which embeds its technology into glass panels, and spent years testing tint, thickness, viewing angles and image quality with Hickok Cole and the Society, from tabletop models to outdoor mock-ups close to the height of the real building. Each panel is controlled individually through the video player, as if it were a lighting fixture. “We could have used a lighting desk, but we made it even more complicated!” joked Roberge. “It becomes a light language using Art-Net.” The result is nearly 3,000 sq ft of floor-to-ceiling glass, which is the world’s largest application of smart glass. Behind the glass hangs a 45ft Planar LED screen, hidden when the facade is opaque and revealed as it clears. “It’s the depth between the two that allows you to feel like you’re moving forward, or the content’s coming to you,” said Lakhdari. Projection covers the courtyard floor, with motion-tracking zones for the interactive pre- and post-shows, while theatrical lighting reaches the surrounding buildings and spatial audio carries an original score recorded with a symphony orchestra. Moment Factory specified Panasonic projection, Planar LED, and audio largely from Kling & Freitag and Coda Audio. Lakhdari described the setup with a musical metaphor. “You don’t play all your instruments at once in an orchestra,” she explained. “Sometimes we focus more on the lighting, the sound, the smart glass, or the LED, but it’s really having all of these different instruments that made this canvas so special.” The 17-minute show is built from footage shot by National Geographic Explorers in the field, extended with custom visual effects while keeping the original footage intact. Arriving early also meant Hickok Cole could design housings for the equipment into the building itself. Lakhdari noted: “So often, you see beautifully designed buildings, and then people go and pop lots of equipment in that sticks out, because it clearly wasn’t part of the original vision. This is not something you can do after the fact once it’s built. If you do try, it can be very complicated and expensive.” Using technology to emphasise the natural world The Society’s goal was for the entire campus to work as one system, which led to the contracting of creative technology design-build firm, Eos Lightmedia. The integrator then focused on installing the AV systems behind the Wonders of Our World: Ocean and the Geoverse exhibitions, among other spaces inside the museum. Eos Lightmedia’s work was highly collaborative; the designer was led by the Society’s Experience Technology team including Senior Director Chris King,

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T o p : G e over se is a sen sor y, immer sive e x p e r i e n c e tha t a llow s visit or s t o in t er a ct w i t h t h e i m a ges a n d in f or ma t ion pr oj ect ed a t t heir f in ger t ips a n d t oes. A b o ve : Phot o Ar k : An ima ls of Ea r t h u s e s p r o j e c t ion t ec hn ology t o cen t r e a ll ma n n er of species.

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Above: P hoto A rk : A n i m a ls of Ear t h creat es a n educ a ti on a l and ent ert a i n i ng ex peri enc e t hroug h an a rra y of di s pla y s .

Jordan Frankenthaler, and Amy Goodwin. Day-to-day, its role was carried out closely alongside Hickok Cole and general contractor HITT Contracting. Scott Hendrickson, Director of Special Projects at Eos Lightmedia, described the gallery as “the spectacle of a major attraction, with the depth of a museum”. At its heart is a dedicated show network, kept separate from the Society’s own systems. “It carries every pixel of streaming video and content from the server rooms to each space where stories are told, over a 10-, 25- and 100-gigabit fibre backbone,” said Hendrickson. Around 150 manufacturers are represented across the campus, including about 90 Panasonic 4K laser projectors, nearly 2,000 sq ft of Planar LED and more than 550 loudspeakers fed by roughly 550 channels of Dante and Q-LAN audio. Pixera media servers play back the largest mapped canvases, with the courtyard show alone spanning about 65 million pixels It’s able to generate real-time content from LiDAR tracking over a largely Netgear Pro AV network, with video between spaces carried as uncompressed SMPTE ST 2110. Despite all that hardware, the aim was for visitors to forget it was there, Hendrickson explained. “Every choice came back to one of our guiding principles: the technology should disappear so the natural world can come forward,” he noted. In the courtyard, 32 audio channels give each of the six ecosystems its own soundscape, so visitors hear the natural world before they step inside. In the Geoverse, projection and LiDAR

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tracking let young children explore Australia’s Great Victoria Desert and discover its plants and animals by interacting with them, while a seven-minute show for school groups places students alongside Explorers working on realworld problems. “Accessibility was designed into every space, not added on,” Hendrickson detailed. Storm Interface devices give visitors tactile and audio access to the interactives, Williams AV assistive listening covers seven spaces across the campus, and the Geoverse includes bilingual captions and an optional American Sign Language video guide. Again, the Society’s mission was for everyone to be able to experience the wonders of Earth, so the exhibitions needed to be accommodating and adaptable at their core. For an organisation and a HQ devoted to sustainability, a system that would date quickly would completely go against the mission. Over the course of the five-year project, technology had, predictably, moved on. “The original 1080p projectors were no longer sustainable for the museum’s lifespan, so 4K became the project’s standard,” Hendrickson commented. That set off a chain of changes, from video transport and the network to building engineering for heavier projectors and different cabling. Hendrickson named it as a project highlight: “The team kept adapting every system, so a design that began five years before opening was still current on the first day the doors opened.”

Every species counts Photo Ark: Animals of Earth carries the museum’s conservation message most directly. The exhibition is built around National Geographic Explorer Joel Sartore’s mission to photograph every species living in human care, and Keith McLane, Senior Project Manager at Videlio-HMS, explained how it began. “He was a field photographer for years, and his wife became ill, so he stayed home to care for his family,” McLane said. “So, he started going to the zoos nearby, and from that point on he went on a mission to document these animals.” Visitors follow Sartore from his early career into his working methods, including the portable photo tents he uses for smaller animals, then on to the data the programme has gathered and, finally, to how the audience themselves can support the conservation message in their day-to-day lives. “It’s about your role in how you can help save the planet,” McLane added. Moment Factory designed the exhibition to be able to travel after its initial stint in the Society’s HQ. “The challenge was to create a light experience, and I use the word light in terms of infrastructure, setup time, travelling and cost,” said Lakhdari. Videlio-HMS, an audiovisual systems designer and integrator serving international theme parks, attractions, and museums, provided the engineering, installation, and programming for the exhibition. Everything sits in road cases, and the layout adapts to each venue: the loop of rooms in D.C. can unfold into a straight route somewhere else. The six-room exhibition runs on Pixera media servers feeding 30 Panasonic projectors. Q-SYS handles DSP and show control, a grandMA Replay Unit runs more than 50 CHAUVET Professional fixtures, and more than 50 NEXO and Yamaha loudspeakers and subwoofers carry the audio. A wall of LG displays presents data gathered through the Photo Ark: Animals of Earth programme. Each morning, staff start the day from a touch panel and the show runs itself. Lighting an immersive exhibition built around projection required a careful balance, McLane explained. He said: “You have to keep the lights off the projection surfaces to keep the visuals untainted, but at the same time illuminate the pathways so people don’t trip and fall!” Each of the exhibition rooms offers a unique experience, with the ‘Reason to Care’ gallery standing out as a particularly ambitious example of immersive storytelling. Its eight wall and eight floor projectors create a seamlessly blended visual environment, while LiDAR sensors installed by Videlio-HMS and calibrated by Moment Factory support the interactive elements. “If you step on a spot, it will send a signal, and an infographic gets projected on the wall across the room,” McLane described. “You step on a spot that creates a showcase about a whale over there, whilst somebody else triggers a display of monarch butterflies. It is a really personal and different experience for each visitor.” McLane and Videlio-HMS VP Stone were at the grand opening alongside Sartore and many of the Society’s Explorers. “To see how grandiose the entire space is, it is something to behold,” said McLane, commenting on the finished space. For Hendrickson, the Museum of Exploration shows how far a building can carry a cause. “It demonstrates what a venue can be when the mission is built into the infrastructure,” he said. “Every visitor, group and event is wrapped in the natural world, so people don’t just attend; they interact with the environment and hopefully leave inspired to be better stewards of our planet. I think it sets a new high-water mark for what a building can be, and how it can propel a mission forward.” www.moe.nationalgeographic.org/en www.momentfactory.com www.eoslightmedia.com www.videlio.com

A bo v e: B ot h t he w a lls a n d f l o or s of Geover se u se p roj ec t or t echn ology t o t r a n sf or m t he spa c e.

R i g ht : L i g h t i ng c on t r ol a t t he Gold C oa st C o n v e n t i o n a n d Exhibit ion C en t r e ha s been u p g r a d e d f r o m MA Light in g gr a n d MA2 t o grandMA3.

GOLD COAS T CONVENT ION A N D EXHIB IT ION C E N TR E A PA C

GOLD COAST / AUSTRALIA

P h a s e o n e o f a l a r g e - s c ale AV inf rastruc ture up gr a d e s e e s a n Au s t r a l ian-f irst lig h ting s y s tem i n s t a l l e d t o c u t c osts and e nh a nc e th e v en u e ’ s a m b i e n t o f f e ring s.

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Opened in 2004, the Gold Coast Convention and Exhibition Centre (GCCEC) is a massive business events venue in the heart Queensland which has welcomed millions of delegates and hosted conferences, exhibitions and live events of every scale. With flexible, purpose-built spaces backed by award-winning in-house catering, technical production and an experienced events team, GCCEC is recognised for leadership in sustainable event practices, and recently it completed a multimillion-dollar upgrade to the lighting, sound and technical infrastructure across its four exhibition halls. An Australian-first GDS lighting system features 168 new LED fixtures and more than 840 individually controllable colour channels, giving users precise control. The lighting can be programmed as one unified environment or tailored individually, enabling everything from subtle exhibition ambience to bold colour washes for gala dinners and special events. “The Exhibition Halls have been upgraded with 168 GDS Sirius Pro 120W RGBWW LED fixtures, powered by the GDS DriveHub system,” said Chris Davey, Director of Technology Services, GCCEC. “Rather than replacing the existing 22-year-old track infrastructure, the project converted the legacy 240 VAC track to 48 VDC, allowing the existing infrastructure to be retained while significantly reducing installation costs and increasing the number of fixtures that could be supported on each circuit. “Lighting control has been upgraded from MA Lighting grandMA2 to grandMA3, with the venue’s house show file migrated to the new platform. The system has also been integrated with Q-SYS, allowing everyday lighting control from iPads while retaining full grandMA3 functionality for productions requiring individual fixture control.” The collaboration between GDS and distributor Jands was central to delivering the project, with Eddie Galak of Jands and Bill Price of GDS working together to a challenging programme. The installation and commissioning of this system was completed over a single weekend. The initial phase also includes new speakers, upgraded cabling and a broadcast-standard network-based signal distribution system. The new network allows visual content and AV systems to be distributed more efficiently across the venue, supporting seamless event delivery. “The Exhibition Hall public address system was upgraded from six-inch

Electro-Voice 100 V loudspeakers to 12-inch Electro-Voice 100 V loudspeakers, significantly improving speech intelligibility, dynamic range and overall audio quality,” added Davey. “New amplification, zoning and cabling infrastructure provide greater operational flexibility and allow the system to support a wider variety of event formats.” The venue has also added its first deployment of Riedel MediorNet. “A combination of MicroN UHD and HorizoN nodes are connected via a new venue-wide fibre infrastructure, which provides real-time routing of video, audio and data, allowing signals to be distributed anywhere in the Exhibition Halls without the need for dedicated point-to-point cabling,” continued Davey. “The MediorNet deployment forms the foundation for future expansion into the Arena as part of the venue’s staged technology roadmap.” This investment will give the venue’s clients a wider range of production solutions across different budgets, including lighting

treatments that can deliver maximum visual impact at minimal additional cost. More complex briefs can now draw on a full suite of upgraded lighting, sound and network infrastructure. “Our clients should not have to choose between creative ambition and efficient delivery. This product gives them both, with greater freedom to transform our Exhibition Halls while reducing the time, complexity and cost involved in bringing an event to life,” said Nick Jeffrey, General Manager, GCCEC. “We want organisers to see the Exhibition Halls as a creative canvas, not simply a space to fill. This technology gives us greater scope to shape the atmosphere and identity of an event from the moment delegates walk through the doors.” The project forms part of a $3 million investment in technology across the venue, enhancing the centre’s ability to deliver more creative, efficient and technically sophisticated events. www.gccec.com.au www.jands.com.au

I N BR I E F K-array delivers a concealed, zonetuned audio system for Dali EDITION resort in Yunnan, China The Dali EDITION is the third EDITION hotel in Greater China and the first in Western China, set at the foot of Cangshan Mountain with uninterrupted views across Erhai Lake. Designed by CCD, the property has 151 guest rooms, suites and private pool villas with mountain or lake views, alongside four dining venues, a banquet and meeting space, a spa, a fitness center, semi-open terraces for casual drinks and outdoor lawns used for weddings and private events. The project was sourced through an audio consultant, with K-array selected for how closely its loudspeakers could integrate visually with CCD’s interior design without compromising audio performance. Shanghai JETA, K-array’s official distributor in China, provided technical support throughout, from careful component selection through to on-site tuning. Jason Zhao, Director of Sales and Operations

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at K-ARRAY.CN LTD, worked with the consultant to match speaker models, mounting solutions and coverage patterns to each zone’s function and site conditions, coordinating with the architecture, mechanical, electrical, plumbing, and hotel operations teams as the design developed. Across the properly, more than 100 K-array solutions are installed, including 70 KT2C ceiling loudspeakers, 16 KT2 point source models, and eight KGEAR GF82 weatherproofed line array loudspeakers. Unlike traditional standalone speaker installations, the audio system at the Dali EDITION integrates with architecture, interior finishes, landscapes and hotel operations. Every zone features tailored audio treatment unified under the resort’s core ethos – natural, refined, understated design harmonized with scenery.

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BACK OF HOUSE Rainer Brandstätter, Head of Marketing, AV Stumpfl

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PLASA Show EM EA

LONDON, UK / 06 – 08 SEPT, 2026

PLASA Show recorded over 11,000 visitors this year, an increase of just over 10% on the 2025 attendance figures, as the event continues to expand across Olympia, with the Gallery Level becoming a destination in its own right with a broader mix of stands, features, and activity. Visitor attendance grew across every day of the event, while 243 exhibiting brands – including 70 new brands – filled the room with the latest technology, demonstrations and expertise from across the entertainment technology sector. ETC showcased its latest MegaPix, GigaPix and Dataflash 5000 fixtures for the first time to a British audience, and also presented showcase the latest in entertainment and architectural lighting and control, including ColorSource V family fixtures, Eos Apex FP control, Pharos Express, and F-Drive RX, in addition to a wider selection of ETC’s latest solutions.

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Antonella Stanco from DTS Lighting John Jarrard from Pharos Architectural Controls Vincent Liu from ACME Lighting Henk Versteeg and Adela Vagnerova from Prolyte James Bottrill and Alvaro Salgado from DAS Audio Kati Eismann, Elisa Posteraro and Alexander Pietschmann from Adam Hall Group Jasper Ravesteijn from Adamson Richard Fleming from XTA Electronics on the POLAR stand.

Distributors Live Technology highlighted JBL’s expanded SRX900 loudspeaker series, the BSS OMNI 256p networked audio processor, and SOWA’s innovative wireless audio ecosystem, featuring FOH transceiver and microphone system. d&b audiotechnik presented the new networked versions of its U-Series point source solutions. Supporting both Milan networking and PoE++, the networked U3N, U5N and U7N loudspeakers can receive signal and power over standard network infrastructure and support hybrid system topologies that combine networked and passive loudspeakers, allowing them to be managed together within the same deployment. Area Four Industries showcased the latest products and innovations from its brands: MILOS, EXE TECHNOLOGY, LITEC and PROLYTE, including the full family of EXE Rise D8+ chain hoists, including the NEW compact small frame 250Kg to the 2000Kg extra-large frame. Outline brought its new H-Series to the CUK Group stand, while Robe launched new products in its Arianne series including the Arianne 4 and Arianne 12, which followed the release of the Arianne 2 and 6 earlier in the year. Robe also announced the LEDBeam 400, the iT10 Profile, and the mySVOPATT – a new version of the unique SVOPATT luminaire - now with pan and tilt. GLP marked 10 years of its UK subsidiary by bringing its latest additions including the impression FR2, WildBar 8 and TWYN, while Broadweigh joined its long-standing product partner Rigging Team to give visitors the opportunity to get hands-on with its latest developments. www.plasashow.com

Small Device. Big Impact. PIXERA zero delivers powerful, reliable media playback in a compact footprint — ideal for museums, themed attractions, retail and corporate environments. Designed for seamless integration and long-term stability, PIXERA zero gives system designers and integrators maximum flexibility with minimal space requirements. Compact. Capable. Installation-ready.

Scan for more

www.pixera.one

Unbenannt-1.indd 1

03.03.2026 09:25:32

PR OLI GHT + SOUND B A NGKOK A PA C

BANGKOK, THAILAND / 30 SEPTEMBER – 2 OCTOBER

Jointly organised by Messe Frankfurt (HK) and VNU Asia Pacific, Prolight + Sound Bangkok (PLSB) made its debut at the Bangkok International Trade & Exhibition Centre (BITEC) this year. Backed by the Frankfurt and Guangzhou editions of Prolight + Sound, the new show is positioned as a gateway for international suppliers looking to expand across The Association of Southeast Asian Nations (ASEAN). Spread across three days from 30 September to 2 October, the inaugural edition drew 4,547 trade visitors from 51 countries and

E X P O - P R O L I GH T + SO UN D BAN GKO K | WW W.MONDODR.COM

regions, despite flooding in the city at the time, with around a third travelling from overseas. More than 160 exhibitors and brands filled 7,000 sq m of exhibition space, among them ACME, Allen & Heath, Betopper, and Yamaha, the latter also appearing on the show’s Main Stage. “Of course, it’s a young show, but all the main players seem to be here, which shows the interest,” said Edoardo Morganti of Visual Productions. “It has the potential to become a very important show internationally, and for us, it’s very important to be present in this region.” Italian manufacturer FaitalPRO showed a component range that runs from compact and high-frequency drivers to 21-inch subwoofer drivers, coaxial loudspeakers and horns, while on the Giant Truss stand, Altimate presented its classic and digital controllers alongside ROLY-Systems products. Also in attendance was HK Audio, one of the show’s founding exhibitors, which displayed its diverse, complete loudspeaker offerings at its booth. Thai manufacturer ICE Prosound used stand B24 to show its locally built systems, which incorporate FaitalPRO drivers, and ran daily live demonstrations on BITEC’s second floor. Marani Pro Audio brought its MIR-F/I processors, including the MIR480I with FIR filtering, dynamic and auto EQ and Dante networking, while Neutrik covered the connections between it all, from its familiar XLR, speakON, powerCON, and etherCON connectors to opticalCON fibre and data solutions. Reyn

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a range that takes in its RL line arrays and RX and RA point-source series. The Singapore Pavilion, led by AVLIAS, gathered exhibitors including MA Lighting, Robe, and Total Solution Marketing. On the latter’s stand, Advatek showed its PixLite Mk3, and LumenRadio’s Josef Hederstrom, Global Product & Application Specialist, hosted a ‘Get to know CRMX’ session for visitors taking their first steps into wireless DMX. Thailand’s VL Audio, which has been manufacturing loudspeakers, amplifiers, cables, and DI boxes locally for more than 30 years, also exhibited, as did ETC, Pharos Architectural Controls, and SIXTY82 Doughty Asia. “Southeast Asia is a growing and emerging market for the entertainment industry because that’s where a lot of international artists, expos, and events are now visiting,” said Vijay Thaygarajoo of Total Solution Marketing. “It’s a very exciting time to be here.” The fringe programme brought together 42 speakers for workshops, masterclasses, and forums, including The Future of Entertainment in ASEAN and a series of GoldenDuck technical sessions covering AI production, projection mapping, and AV over IP, one of them in collaboration with Appotronics. After hours, the exhibitor networking night featured a traditional Thai Morlam performance, and the Light Up the Future drone show lit up the skyline outside BITEC. The show will return to Hall 98 at BITEC from 29 September to 1 October 2027. prolight-sound-bangkok.hk.messefrankfurt.com

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Ella Li from Hong Kong ACME Electric Limited Jonas Class from SIXTY82 Doughty Asia Shuli Hu from Dongguan Prolight Electronic Technology Co Yi Man from Taishan CJS Technology Co Abby Wu from DJPOWER Taylor Chadwick from ADVATEK Edoardo Morganti from Visual Productions William Yeung from ETC & Pharos Controls May Thet Khine from New Wave Display Pooja Joshi from Hemona Electroacoustics Private Limited Urs Koch from GIS AG Dave Shi from GoldenDuck Muhammad Ali Selamat from Event Venture Cholatis Payakken from Acoustic & Lighting System Thailand Chris Feng from Resonance Audio Equipment Haiyan Wu from VELLO Light Vick Yuan from YLIGHT Norbert Bau from Stagetec Asia Liping He from Guangzhou Sigwon Electronics

LLB EXP O EM EA

STOCKHOLM, SWEDEN / 06 – 08 OCT, 2026

Held biennially at Stockholmsmässan, LLB Expo is the Nordics’ largest audiovisual trade fair. Building on the success of the 2024 edition, this year’s event noted another improvement in stand design, educational seminars, and visitor engagement. Spread across three days in early October, the event occupies a convenient slot in the calendar and attendance was strong, with the majority of Sweden’s major distributors showcasing their brand’s latest solutions. On the ARVA Trading stand the team shared updates from DirectOut, including its new integration with Yamaha DM5 and DM7 consoles, the new DPA Microphones 6388 Core+ headset

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mic, and a selection of new products from d&b audiotechnik, including its new U Series of point source loudspeakers. Distributors Intersonic premiered the new F40 Wash from JB-Lighting, while Bellalite returned to the show for the first time since the pandemic and showcased a wide selection of Robe fixtures alongside ADJ products, Astera solutions, and previewed the new Wolfmix WING expansion. Interlite built an impressive stand, with a pre-programmed light show highlighting myriad solutions from its range of brands, including Claypaky, Laserworld, Advatek, and two new products from Portman Lights – the FREAX and ZYAVA luminaires. Topstage demonstrated the capabilities of its brands with a huge deployment of solutions, including fixtures from Ayrton and GLP, a desk lined with Schnick-

Schnack-Systems LED which was pixel-mapped from a ChamSys console, and a selection of Doughty Engineering rigging solutions. Elsewhere, Starfelt demonstrated three new product releases from Audac, including the MAIA DSP unit, VIRO-C compact column speaker, and the RIVEA touchscreen control panel, while Winther Sound Solutions presented its portfolio of Martin Audio, Linea Research, Amadeus Acoustics, Microtech Gefell and Stagetec solutions. L-Acoustics and DiGiCo were presented on the Soundware Sweden stand alongside solutions from ClearCom and Genelec, while Danmon Group showcased broadcast solutions from Blackmagic Design and Ross Video. The show will return to Stockholmsmässan in 2028. www.llbexpo.se/en

1 Lorenzo Sassi from DirectOut on the ARVA Trading stand 2 Linnea Ljungmark (centre) and members of the Topstage team with Menno Appelhof from Follow-Me Tracking Solutions (second left) and Koen Ceulemans from Ayrton (second right) 3 The Winther Sound Systems team of Märten Ihre, Magnus Hult, Mattias Winther and Pontus Svensson alongside Brad Watson from Martin Audio (right) 4 Anton Moller, Jeanette Eriksson and Joseph Persson from Ambisonic Herman Crins from DATEQ, Tom Back from Alcons Audio, Anders 5 Nyberg from distributors Electrosound, and Ray Kirby from TiMax 6 Niclas Hobro from Bellalite AB 7 Roger Johansson from XL Audio 8 The Areal Technologies team of Geoff Wright, Anastasis Petrellis, François Villaret and Kristof Jeuris 9 Ralph Ryder from Captech 10 Karin Carlström from Intersonic AB and Michael Nothelfer from JB-Lighting 11 Douglas Poppelman and Mats Mattsson from Benum Sweden AB 12 Lucas Söderberg from TLP and Jeroen Woolderink from BeamZ Lighting 13 Lasse Sartou and Uffe Pedersen from Adam Hall Group 14 Simon Hansen (left) and Niclas Arvidsson (centre) of Interlite AB with James Walton of Advatek, Lee MacFarlane of Laserworld, and Michal Malinowski of Portman Lights 15 Sam Swerts and Steven Embregts from ROE Visual

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l eat con EM EA

HAMBURG, GERMANY / 6-8 OCTOBER 2026

The leat con expo returned to Hamburg Messe from 6 to 8 October, and with more than 11,700 professionals through the doors, the networking convention set a new attendance record. For the first time, the show spread across three halls, A1, A2, and A4, bringing five sectors under one roof: live tech, install, stage tech, broadcast and communication. In Hall A1, Adam Hall presented its LD Systems, Cameo, Palmer, Gravity, and Defender brands alongside Adam Hall Integrated Systems, with Cameo’s new SUNO Series and complete ZENIT G2 family on hand for visitors to test, while Claypaky introduced new members of its B-EYE family and its Arolla Aqua LT range. Audio-Technica shared its stand with Allen & Heath, Martin Audio, TiMax, Optimal Audio, Linea Research, and Clear-Com, the latter of which was running and demonstrating the Arcadia scalable intercom system core. Cadac exhibited a CM-J50 console and CM-SR series stage rack with its Finnish distributor Aura Audio, running V3.20 console software in public for the first time, with new features including programmable Quick Access buttons, Relative Cue Ripple, and a Quick Console Setup page. Neutrik introduced a range of new connectivity products for signal, data, and power, with more compact form factors and improved handling, and Voice-Acoustic debuted its Convert-412PS, a fully hornloaded three-way point source reaching 149dB SPL peak from just two

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Marina Prak, Erik Baum, and Christian Czimny from ROE Visual Rosi Marx from ETC Lasse Emil Støvring Larsen from Sonance Professional Holger Quattelbaum and Mika Isotalo from Aura Audio Rico Weber from STAGETEC Waring Hayes from NST The Robe team on its stand Gina Herweg and Daniela Niewiadomski from ROXX Eva Gerlach from INDU-ELECTRIC The Laserworld Group team

amplifier channels. Brompton Technology was also in attendance, demonstrating its Tessera SQ200 processor driving an INFiLED DB1.5 screen from an ST 2110 feed via a Matrox ConvertIP, while TW AUDiO focused on its ELLA6 with two B12 subs in cardioid mode, alongside the new TOURACK-II and VERA20. HOF showed its rotatable HOFFORK 350-5 RF truss forks, and on the Install Stage, WSDG Project Engineer Miriam Reinhardt explored how acoustics and aesthetics can work together, using the Fondation Beyeler pavilion in Basel as a case study. Outline was among the brands using the show to reconnect with the market. “Attending this show is part of a larger strategy for us, going back to markets where we used to have a presence and a history, and bringing everything we’ve upgraded and updated,” said Laura Gaffurini of Outline. “It’s important to tell people, ‘Hey, it’s still us.’ The logo might be new, but the quality is still there. We’re here, and we’re here for you.” www.leatcon.com

HK AUDI O XPE RI E N C E D A Y S At various points throughout the year professional audio manufacturers HK Audio hosts free-to-attend Xperience Days at its headquarters in St. Wendel, Germany, to offer customers a hands-on understanding of the inner workings of the company and its product offerings. For the latest event in mid-September, 30 participants were given a tour of the company’s facility, and the programme included detailed demonstrations of the LINEAR 9 and LINEAR 5 MK2 series, alongside LUNAR and PORTABLE SUB. Attendees also had the opportunity to explore the company’s newest additions and experience their performance first-hand. The guided tour of the manufacturing and assembly process provided insight into product development and the company’s attention to detail. “We are overwhelmed by the positive feedback and the great response to our Xperience Days,” said Andreas Mayerl, Chief Product Owner at HK Audio. “The direct exchange with our customers and partners is invaluable to us – and we are already looking forward to the next Xperience Days.” Guests of the event were also impressed by the openness of HK Audio in inviting customers to go behind-the-scenes at its manufacturing factory. “I have had contact with HK Audio several times before - various different product series, including LIVE SOUND and CONCERT SOUND, and I went into the day with the expectation that I would get to know the series better and also get a product overview,

HK A U D I O XPE R I E NCE D AYS | WWW.M O N D ODR.COM

so that I could form my own picture of what we could acquire in the future,” said Jannis Harter from JBeventtec. “The day itself was a lot of fun. I was able to take away a lot about the different product series, but it also confirmed my expectation that HK Audio stands for quality: Made in Germany.” Alongside the demonstrations and tour, there was plenty of opportunity for discussions and exchanges of ideas, as British freelance sound engineer Lucas Falloon explained: “Having recently relocated to Germany I’m very interested in getting into the audio industry here as opportunities seem limited back home with supply outweighing demand for technicians,” he began. “I’ve known HK Audio since I was a child as my dad has used their equipment for many years, and my experiences with their POLAR range has meant I’ve been a fan ever since. “I came along to the Xperience Day for a chance to mingle and speak to people within this industry and learn how this industry is evolving, as I find it moves incrementally, with changes made little and often. “The new products are technically excellent and very user friendly, and someone who is not an expert in sound deployment could use some products with basic instructions. “It can get complicated when you delve into the world of EQing and delays, but I like to see that things are generally getting more user-friendly.” www.hkaudio.com

WHEN LIGHT MEETS INNOVATION

One technology. Four innovations.

TECHNO

CORE

Spectral Core™ The multispectral LED engine.

PikR Core™ The embedded intelligence.

Power Core™ The dynamically controlled power management system.

Filter Core™ The colour heritage of live entertainment.

Find us at

La magie de la lumière STARWAY.EU

Stand 6P900

SI XTY8 2 D u t c h t r u s s i n g a n d sta g ing manuf ac ture r SIX TY8 2 is in cr easin gly f o c u s e d o n p r o j e c ts and struc ture s built a round its c ustomer s’ n eed s, f r o m a n e w r o o f s yste m f or Gre e c e to a c ustom h ouse stage for London’s The O2. Since it was founded around eight years ago, SIXTY82 has paired industry veterans with a younger generation of talent, and over the past nine months the Drachten-based manufacturer has made a point of bringing in more new faces. “The veterans have so many skills and so much expertise, built up over many years, and they’ve helped shape the trussing industry,” explained Sales Director Rainier Smeding. “The two groups have grown up in completely different worlds, so they each bring different ideas, and those end up merging really well. It helps us so much with innovation.” About four years ago, SIXTY82, which already had its own manufacturing operations, decided to bring production back to the Netherlands and regain full control over the entire manufacturing process. A robotics project designed by its own engineers made that possible. “We’ll never be the cheapest, and that’s not the goal,” noted Smeding. “We want to differentiate ourselves through unique, better solutions for our customers rather than compete purely on price, and partly automating the factory helps us stay competitive.” Where customers need it, SIXTY82 is also willing to customise, which plays to what Smeding sees as its biggest strength. “We can very quickly take a custom request and turn it into a delivered solution,” he said. One of the clearest recent examples is the Olympion Roof System, developed for a customer in Greece. The first enquiry arrived in September 2025 for two large roof systems with full staging. SIXTY82 developed the design specifically for the project, and the main challenge was a roof size it had never built before, which

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called for new, larger truss types, new towers and sleeve blocks, and a new deck system for use on scaffolding. The final go-ahead didn’t come until between Christmas and New Year, with the first complete roof due to be shipped in early May 2026. “We had around four months to finish the design, make new tooling for the factory, programme the robots, get all the structural engineering done, and get the materials in,” recalled Smeding. “It was a huge team effort, with some sleepless nights along the way. We worked incredibly hard to get everything ready, and we delivered.” For Smeding, the project shows what SIXTY82 can achieve when the whole company pulls together. The system is rated for 50 to 85 tonnes, but Smeding said that for SIXTY82, high figures like that are the easy part and to be expected. “Every manufacturer can put a load capacity on their website,” he said. “What’s much more important is how it’s designed for the user. Is it easy to build? Is it safe to build? Do we sleep well when it’s up there in high winds?” That user-focused design and execution, he explained, is the Olympion roof’s real strength. Olympion is based on standard 2,072mm scaffolding dimensions, so its crews don’t need special adapters, and its new XXL119 trusses can be pre-cambered across spans of around 26m. “A span that big wants to sag and look like a banana,” Smeding explained. “That’s fine strength-wise, but we want the structure to look straight, tidy and safe.” Faster builds also mean fewer crew and build days, a significant operational benefit in today’s European market.

The real test came on site. An experienced crew leader was impressed by the build speed and by how few issues surfaced on the first build of a new system. The roof then stayed up for several weeks, and when strong coastal winds later hit Athens, it held firm. “He said it was solid as a rock,” said Smeding. “Hearing that from someone with field experience is exactly what we want.” SIXTY82’s work at The O2 took a different route. Working with AC-ET, the company adapted its Arena Frame rolling house stage for the venue, refining it with the arena’s team over several rounds of demos and visits. “They probably have the best field experience there is, with back-to-back shows and long nights, breaking down a stage at four in the morning and building another at seven,” said Smeding. Delivered in October 2025, the system has no loose parts to go missing during tense overnight changeovers, and several of the changes, including a leg locking bolt and a stiffer doublebeam deck, have since been added to the standard Imperial Arena Frame. “You saw the crew building it and having fun with it,” Smeding added. “In the end, they’re the ones working with it.” Time is now the biggest pressure customers bring, with decisions made later and projects getting larger. A recent custom circular solution for an artist’s tour involved numerous add-ons and changes along the way, and SIXTY82 was only able to meet the required lead time because it has direct control over its engineering and production. Asked what other parts of the industry tend to underestimate about trussing and staging, Smeding pointed to the complexity and

safety considerations involved. “We have thousands of different articles in our range, and they make up constructions that are often flown over people’s heads,” he said. “Just because you can physically put something together doesn’t mean it’s safe, and, importantly, a successful truss is a safe truss.” www.sixty82.com

C lo c k wi s e fro m left: SI XTY 82 Sa les D ir ec t or , Ra in ier Smed in g. Th e br a n d w or k in g on a pr oj ec t a t At hen e- Pa d elis. Th e r esu lt of t he Olympion r oof syst em in st a lla t ion . The SI XTY 82 t ea m begin n in g in t egr a t ion a t t he O2 . On sit e d u r in g t he At hen e- Pa d elis in st a lla t ion .

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M AKING A 4K H DR AV INFRASTRUCTURE UP GR A DE YOUR NE XT BE ST M O V E By A n d y Bel l a m y , A J A E M E A Tec h n ic al D i re c t o r

Whether or not you realise it, you’ve likely experienced 4K/UltraHD, high dynamic range (HDR), or high frame rate (HFR) video in some way, shape, or form. From concert LEDs to stadium jumbotrons, in-venue signage, and video streaming, higher quality content has quickly become the norm in live event production. These visuals make for more engaging audience experiences with truerto-life colour, and the more compelling a main event, the less likely audiences are to turn their eyes away. But even when delivering HD standard dynamic range (SDR) content, there’s value in integrating 4K/UltraHD, HDR, and HFR tools into the AV pipeline early, as it makes for a better result. Recognising this, more facilities are overhauling their AV infrastructures to work with the highest quality source material and higher end displays. Fortuitously, technological advancements have made high-quality image capture and delivery more accessible, with production tools that once seemed overly complex now more intuitive. The most successful 4K HDR infrastructure implementations, however, are the ones that carefully consider signal conversion, colour management, and bandwidth needs. Establishing flexible signal flow Every camera in today’s live event production chain serves a purpose, whether a high-end one to capture cinema-quality footage, or a drone camera for aerial shots. This means teams are working with a range of different 4K and HD cameras, often with different frame rates. Having an infrastructure that lets you easily scale sources to adjust for those differences is key to handling higher quality content. Being able to convert 4K signals to HD (and vice versa) and bring all sources into one common frame rate is quickly becoming a requirement. This is where integrating the right up/down/cross conversion toolset into an infrastructure upgrade can reduce workflow friction. Leveraging a simple but multi-functional mini-converter like UDC-4K, or a powerful media processor like FS8, with those capabilities built in, can reduce countless production headaches. Tools like these save time, making it easier to convert between signal formats as needed without impacting their quality or colour accuracy. Managing colour and conversion More AV teams are employing a combination of traditional broadcast and cinema-quality cameras to deliver more vibrant colours and custom looks. Of these, many are also embracing HDR, which produces striking visuals compared to even 4K/UltraHD SDR. But the reality is that most infrastructures need to support both HDR and SDR sources and viewing destinations, as well as different camera log and display formats, since every camera and each end viewer screen handle colour differently. Technologies like FS8 and ColorBox support the camera log conversions required to achieve this parity. Tools like these help ensure a consistent colour and look across the board when navigating a variety of sources and destinations. For instance, if a production is using both ARRI and Sony cameras, it can easily use available technology today to get those signals into a

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common format to achieve the desired result. Conversion technologies can also assist with shading and colour correction on individual cameras to take them from SDR to HDR and the reverse, with low latency. Colour matching across cameras becomes much more intuitive with the right toolset. In live event environments, end-viewer displays emit light and handle colour differently, which can make for noticeable colour mismatches that can cancel out the benefits of using HDR and higher resolution technology in the chain. Investing in the right colour management and conversion, display calibration, and live grading equipment is important to ensure consistent, accurate colour across displays. Securing sufficient bandwidth Naturally, working with 4K/UltraHD, HDR, and HFR content translates to larger file sizes. Having the appropriate amount of bandwidth to manage it all is non-negotiable. It’s imperative to implement a pipeline that provides sufficient bandwidth to support 4K HDR content whilst also preserving all the metadata required for HDR delivery. Without it, the target display won’t be able to render the images properly, which could result in flat- or washed-out visuals. Embracing higher quality content can transform how audiences experience live events, but only with proper care taken across the production chain. A smart upgrade is one that includes the right planning and tools that can support needs today and further down the line. www.aja.com

August 26.pdf

CMY

26/06/2026

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H OW I N TE G RA TORS A R E RE TH I N K I N G D E SI G N A N D D E PL OY M E N T TO D E L IV E R PROJE C TS FA STE R, R E DU C E ON - SI TE L A B OU R, A N D I M PROV E M A RG I N S. by M a r k G r a h a m , P h il M a r l o w e a n d J oe A n d ru li s.

With a shortage of labour and increasing system complexity, integrators are under pressure to deploy across multiple locations on tighter timelines. Time to install is quickly becoming a key factor in profitability and competitiveness, yet it is rarely addressed directly in industry conversations. In response, firms are adopting new approaches to system design and delivery, including software-defined architecture, modular workflows, and remote commissioning, to streamline deployment and support long-term flexibility. Mark Graham, CEO at Symetrix, Phil Marlowe, Managing Director at AVI-SPL Middle East, and Joe Andrulis, Executive Vice President, Corporate Development at Biamp, discuss the issues…

Phil Marlowe: Time to install is becoming increasingly important, but I would broaden the definition slightly. For an integrator, the real measurable is total labour consumed from design through commissioning and final acceptance. Site labour is particularly important because it is normally the most expensive and least flexible part of that equation. If a project needs another five days on site, you are not simply adding five days of labour. You may also be extending supervision, project management, travel, accommodation, access requirements, equipment rental and other associated costs. More importantly, those people are now unavailable for the next project. That directly affects margin and the ability to grow. Mark Graham: Labour time is the single largest, and least predictable, threat to an AV project’s profitability. For years, the profitability conversation in AV integration has focused heavily on hardware margin. It’s easy to see why: equipment costs are visible, discounts are easy to compare, and profits are easier to calculate when it’s a simple equation between what hardware costs you and what you are able to sell it for. Labour costs are far more murky. It’s also where a growing share of project risk now lives. Joe Andrulis: From a client satisfaction perspective, speed matters enormously. End users want their spaces to become operational as quickly as possible. Every day, a conference room or collaboration space sits incomplete is a day they can’t use it for its intended purpose. When you can compress timelines, you’re delivering tangible business value to your clients.

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Lef t: Mar k G ra h a m , CEO , Symet r ix. Righ t: Phil Ma rlowe, Ma n a g i n g Direct or, AV I -SP L Mi ddle Ea s t. Far r igh t: Joe A ndru li s , Execut ive V i c e P res i den t, C orp orat e D ev elopm ent, Bi a m p.

Phil Marlowe: One of the biggest risks in the AV world is discovering problems too late. If an issue is identified during engineering, rack build or pre-configuration, it is normally relatively inexpensive to resolve. Discover that same issue with 10 technicians standing on a construction site waiting for an answer, and the economics change very quickly. A lot of improving project margin comes down to process improvement to move problem-solving earlier in the process. Mark Graham: AV still pushes too much problem-solving toward the job site. Integrators are working in a market where experienced technical professionals remain difficult to find, while the systems they are being asked to deliver are becoming larger, more connected, and more complex. That makes every hour of a skilled employee’s time more valuable. If a designer spends an extra day configuring a system, or a commissioning engineer spends two days solving problems that could have been identified earlier, those hours have a real cost. Time is money when a crew is on site. Every hour spent debugging on-site is an hour that should have been spent validating off-site at a fraction of the on-site cost. Joe Andrulis: Hardware dependencies create another layer of complexity and cost. When systems require specific hardware configurations or proprietary components, you’re locked into longer lead times, inventory management challenges, and reduced flexibility. If something fails or needs to be changed, you’re might have to face shipping delays and additional site visits. The good news is that both vendors and integrators are recognising these inefficiencies and addressing them. Phil Marlowe: The biggest benefit of software-defined systems is not necessarily the software itself. It is what software allows you to move away from the job site. The more configuration, firmware management, DSP programming, control programming, network validation and device provisioning that can happen before equipment reaches site, the more predictable installation becomes. Mark Graham: As AV systems become more intelligent, connected, and software-driven, success will increasingly depend on how much can be accomplished before anyone arrives on site. Designs that can be validated in advance, issues that can be resolved before deployment, and systems that can be commissioned with confidence all significantly reduce risk and improve profitability.

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Joe Andrulis: Software-defined AV and reusable design frameworks represent what I’d characterise as a new battlefront in our industry. The fundamental shift here is moving intelligence and configuration from hardware to software. In a software-defined architecture, much of what traditionally required physical presence and hardware manipulation can now be done virtually. This opens entirely new workflows that simply weren’t possible before. Phil Marlowe: Remote commissioning has changed the economics of how specialist engineering resources can be used. Previously, if you needed a particular engineer to commission or troubleshoot something, that person physically had to travel to the project. Today, increasingly, that expertise can be provided remotely. That means one specialist can support several projects, potentially in several regions, without spending a significant percentage of their time travelling. It also changes how we support systems after handover. If we have visibility into a system remotely, we can often determine what is wrong before sending anyone to site. In some cases, we can resolve it without a site visit at all. Mark Graham: Integrators who gain the greatest advantage over the next decade won’t simply be the ones who install faster. They’ll be the ones who eliminate uncertainty earlier and redirect valuable engineering time toward the work that has the greatest impact on the customer experience. The future of AV is more than accelerating deployment. It’s about shifting expertise away from repetitive troubleshooting and toward creating greater value for both integrators and end users. That’s what creates healthier margins, better customer experiences, and ultimately, confidence before commissioning. Joe Andrulis: Remote monitoring and management, which has been standard in IT for decades, is now becoming table stakes in AV. The ability to proactively monitor system health, identify issues before they impact users, and manage updates remotely is transforming how AV systems are supported. What’s interesting is that this isn’t just integrators

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adopting these practices – vendors are building these capabilities into their platforms. We’re seeing AV manufacturers develop products and ecosystems that support these IT-inspired workflows, recognising that this is where the industry needs to go. Phil Marlowe: Automation also matters. Any repetitive engineering task that requires a skilled person to manually perform the same process hundreds of times should make us question whether there is a better way of doing it. The intent is not to reduce the importance of skilled engineers. It is to make better use of them. We want our best people concentrating on the difficult problems rather than repeating tasks that a tool or standardised process can perform consistently. Mark Graham: There is a lot the AV industry can learn from software development and IT operations. Standardisation, reusable templates, automation, offline validation, and remote management all reduce the amount of work that has to be recreated or solved under deadline pressure. The point is not to diminish the role of talented designers or technicians, but to increase the value of their expertise by freeing them so they can focus on higher-value problem solving. Joe Andrulis: Ultimately, what distinguishes high-growth integrators is a mindset of continuous improvement and operational excellence. They recognise that in a maturing industry where quality is expected, competitive advantage comes from execution efficiency. They’re building organisations and processes that can deliver consistently excellent results faster and more profitably than their competitors. That’s what separates the winners from the rest of the pack. Phil Marlowe: For me, speed is really the result of predictability, this is where a ‘lessons learned’ chat after each project is important. If we remove uncertainty early, standardise what should be standardised and reserve skilled labour for the areas where it adds the most value, projects naturally become faster, more consistent and more profitable.

www.outline.it

PR OD UCT GU I D E: LO UD S PEAKE RS Adamson VGx The Adamson VGx is a large-format true line source enclosure and the largest line source enclosure in the Vergence Group. Building on the success of the VGt, the VGx has been designed for large-scale applications such as stadiums, festivals, and arenas. Three patent-pending M140 MF compression drivers redefine the reproduction quality in the mid-frequency range. The HF section uses three high flux density compression drivers with 3-inch diaphragms. Nextgeneration sound chambers optimise sonic consistency and inter-element summation over long distances, offering minimised distortion, increased HF resolution, and superior output capacity. The LF section comprises dual front-facing 18-inch and side-facing 13-inch woofers, capitalising on the benefits of Adamson’s Advanced Cone Architecture. www.adamson.ai

APG Uniline Max UM210 Designed for midsized to large indoor and outdoor concerts and events, Uniline Max is APG’s line array system. It is built around the UM210 three-way, bi-amplified line source enclosure. Its acoustic design draws on APG’s 40 years of expertise in diffraction control and coaxial assembly, delivering powerful, faithful reproduction of both voice and music. Low frequencies are handled by two 10-inch neodymium drivers positioned behind a specific radiation-optimising piece. This element loads the woofers to increase their efficiency, optimises low-frequency coupling between drivers, and acts as a horn expander for the mid and high frequencies with minimal diffraction. Mids and highs come from a coaxial assembly, which is a 6.5-inch neodymium midrange driver with a 1-inch compression driver mounted at its base, loaded by SIGMA, APG’s patented phasealignment device that optimises the dispersion pattern and coupling between adjacent cabinets. The UM210 delivers 142dB SPL max, a 48Hz–20kHz operating range and 100° by 10° nominal dispersion. It weighs 42kg and features an integrated rigging system for tension and compression flying as well as ground-stacking, and it pairs with the UM121 subwoofer and APG’s DA8 and DA12 amplifiers. www.apg.audio

Aura Audio S1 S1 is a compact passive 3.5-way speaker system. It consists of folded horn-loaded 10inch neodymium magnet cone driver, two side-firing reflex tuned 6.5-inch cone drivers, 6.5-inch neodymium magnet cone driver loaded with a multi-path waveguide coaxially mounted with two 1-inch exit compression drivers loaded with dual exit waveguides. Horn-loaded 10-inch driver and side-firing 6.5-inch drivers create cardioid polar pattern utilising patented Passive End Fire Technology. This is due to carefully matching the sound wave travel distances between side-firing drivers to the internal propagation delay of the horn sound paths. This arrangement of the two bands overlapping also increases the sound pressure level at low frequencies. The heart of S1 is M6 mid frequency driver consisting of 6.5-inch neodymium magnet cone driver loaded with patented multi-path waveguide. This waveguide technology increase the sensitivity while it also helps to cancel harmonic distortion. Coaxially mounted HF section combined with the M6 waveguide with wide horizontal and narrow vertical beam width helps when creating arrays of multiple S1 enclosures with very precise directivity character and high MF cut off frequency of 3kHz makes it possible to use small diaphragm lightweight compression drivers for high frequencies for increased sensitivity and HF resolution. www.auraaudio.fi

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Audiofocus CC210Wix The ARROCC CC210Wix is a wide-dispersion constant-curvature loudspeaker designed for medium-throw installations. Combining high SPL and precise directivity with ease of installation and cost efficiency, the ARRoCC series occupies a sweet spot between conventional line array and point source systems for mid-sized venues. CC210Wix mounts twin 10-inch LF transducers in a V formation, and features Tetracoil Double Voice Coil technology for exceptional power, control, impulse response, and transient handling. A large, next-generation 4” HF compression driver with a titanium diaphragm delivers superior linearity and midband clarity. A horn plug option allows the CC210Wix’s 90° by 25° coverage to be adjusted to 70° by 25°. Ultra-precise directivity is ensured by a 3D-printed SEVERIN waveguide, delivering an optimal listening experience across the audience. www.audiofocus.eu

CODA Audio ViFORCE ViFORCE is a compact cardioid four-way line array system with adjustable 3D polar pattern. Developed from the ground up, the product combines new drivers, advanced materials, and CODA’s patented technologies – including WIDE BAND Cardioid. With a width of 60 cm and a weight of 29 kg, ViFORCE delivers unparalleled performance for its size. The two forward-facing 8-inch woofers, together with the side-firing 6.5-inch drivers, form a configuration that delivers the low-frequency performance of a larger system while achieving superior rear cancellation across a much wider frequency range than conventional cardioid designs. This allows for a quieter stage environment and greater low-frequency extension across the entire array. ViFORCE offers adaptability in both horizontal and vertical planes. The InstaFit coupler and quick-release grille allow for tool-free switching between symmetrical nominal beam angles of 90°/120° or asymmetrical 105° in seconds. www.codaaudio.com

DAS Audio MIA-X8 MIA-X8 is a two-way passive coaxial point source system designed to deliver accurate and consistent sound performance in applications requiring a compact, discreet, and high-quality solution. It features an 8-inch coaxial transducer that ensures excellent phase coherence and a balanced response across the audible spectrum, with a frequency range of 58 Hz to 20 kHz and a maximum sound pressure level of 130 dB SPL. The coaxial configuration provides uniform 110° conical coverage, ensuring even sound dispersion and outstanding intelligibility regardless of the system orientation. This allows MIA-X8 to be integrated into projects that require a compact, discreet solution capable of maintaining consistent coverage. Its multi-angle design allows for flexible mounting in a wide variety of installation configurations, while the black finish enables discreet aesthetic integration into professional installations. The system is equipped with M5 fixing points on the rear panel, allowing the use of dedicated mounting accessories for wall and/or ceiling installation. These accessories enable precise adjustment of both horizontal and vertical aiming angles, ensuring optimal coverage in each project. With a nominal impedance of 8 Ω, MIA-X8 allows up to four systems to be connected per amplifier channel, optimising amplifier channel usage. www.dasaudio.com

d&b audiotechnik U-Series Networked The U-Series Networked expands the capabilities of the d&b U-Series by combining the renowned performance of d&b loudspeakers with advanced networking, power, and control options. Unlike passive variants, which are powered by d&b amplifiers, Networked models can operate via AC power, PoE++, or both simultaneously for dual power redundancy. Audio can be delivered through MILAN, Analog, or a combination of both, providing resilient signal paths for demanding applications. Designed to streamline deployment, the U-Series Networked supports single-cable operation, where power, audio signal, remote monitoring, and system control are carried over a single CAT6 Ethernet connection. By integrating PoE++, MILAN networking, and R1 software control into one infrastructure, the system significantly reduces cabling complexity, installation time, and overall deployment costs. Available in U3N, U5N, and U7N models, the series introduces a pioneering hybrid architecture that offers unprecedented flexibility in system design. This allows engineers and system designers to tailor power and signal distribution to the specific requirements of each installation or event. www.dbaudio.com

dBTechnologies OPERA NONA 210 OPERA NONA 210, with dual 10-inch woofers, combines its LF section with a coaxial mid-high driver in a true coaxial Quasi 3-way acoustic design. Powered by 1000 W RMS Class-D amplification and equipped with onboard DSP, flexible connectivity and multiple mounting options, NONA is ready to move between main PA, stage monitoring, mobile applications and fixed installations. The dual-woofer architecture is at the heart of OPERA NONA. Using two LF transducers increases the available radiating surface while maintaining a compact enclosure. The 2 by 10-inch configuration of OPERA NONA 210 provides 39% more LF radiating surface compared to a single 12-inch LF woofer, combining compact handling with a maximum SPL of 131.5 dB. Together with a controlled 90° by 60° directivity pattern, the acoustic architecture provides the foundation for consistent coverage across different professional applications. OPERA NONA has been conceived to adapt to different applications without changing its fundamental operating concept. Onboard DSP presets support both speaker and wedge use, while two combo XLR/jack inputs and selectable output routing provide flexible connectivity for different system configurations. www.dbtechnologies.com

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EAW NT208L The NT208L line array is a dual 8-inch active line array that joins the existing NT206L and NTX210L. It delivers 141 dB Max SPL with low-frequency extension to 50 Hz ̶ an output typically reserved for much heavier dual 10-inch or 12-inch systems. It is designed with a 2000W Class-D amplifier and field-adjustable horn (80°, 95°, or 110°). Additionally, the NT208L features EAW’s Adjustable Horizontal Directivity (AHD). With AHD, users can quickly choose between four horizontal coverage profiles through simple, toolless adjustments in the field. Cabinets are constructed from high-quality Baltic birch, steel and aluminium, resulting in some of the lightest professional systems on the market. Each module is built with premium materials and road-ready finishes. www.eaw.com

Electro-Voice LRC Series Available in white or black, the paintable LRC-1060, LRC-1100, and LRC-2100 are passive column loudspeakers that are based on purpose-built 2.5-inch drivers and Electro-Voice’s proprietary PaSS dispersion control technology with custom-designed phase plugs. These column loudspeakers are built for main, delay, or distributed sound reinforcement in houses of worship, outdoor performance structures, hospitality venues, mass transit, commercial interiors, and more. The SwifTilt System on Electro-Voice’s LRC column loudspeakers is a multi-function flush/pan/tilt bracket that allows mounting very close to walls while concealing cables and hardware. All models support inverted mounting, up-tilt, and suspension via multiple rear fly points. The LRC-2100 model extends response to 45 Hz from a single column, the widest bandwidth in the three-model LRC series. Designed for premium installs and offering 180° horizontal coverage, the IP55 rated speaker uses a two-way design with dual 6.5” woofers, extending response to 45 Hz for true full-range performance in a single-column format. Perfect for houses of worship, hospitality and retail applications, the LRC-1060 and LRC-1100 are both IP56c rated for outdoor use. They employ passive radiators to extend low-frequency output to 70 Hz and 65 Hz respectively and include integrated 70/100V plus Lo-Z transformers. The LRC-1060 and LRC-1100 also feature Electro-Voice’s patented Automatic Saturation Compensation (ASC) technology, which protects system electronics while maintaining low-frequency response. www.electrovoice.com

EM Acoustics R6 The R6 is a three-way passive system engineered to convey the elegance, performance and headroom of the Reference Series in a compact, discreet and versatile package. Intended to bridge the application gap between the R5 and R8, the R6 retains the same DNA as its siblings, delivering truly abundant audio that defies its physical size, making it perfect for powerful front fills and delays in theatres, sleek speech reinforcement in a corporate or audio/ visual setting, or subtle and sympathetic deployment in Houses of Worship. A surprising overall output that defies its physical size, the R6 is also capable of discreet front-of-house reinforcement in smaller live music settings. The slim enclosure houses a pair of bespoke state-of-the-art 2-inch voice coil 6.5-inch neodymium LF drive units, and a 3-inch/2-inch coaxial MF/HF compression drive unit. In keeping with the other Reference Series models, the R6 is supplied with two bespoke waveguide options – 80° by 50° and 110° by 50° – giving unrivalled flexibility and return on investment for rental users and installation applications alike. www.emacoustics.co.uk

FBT MITUS 215 MITUS 215 is a high-performance passive loudspeaker engineered for professional sound reinforcement applications. It features two 15-inch B&C neodymium woofers with 3-inch voice coils, paired with a 2-inch exit B&C neodymium compression driver with a 2.5-inch voice coil. A rotatable horn with 60° horizontal and 40° vertical coverage ensures optimal dispersion in both horizontal and vertical installations. Capable of handling up to 1600W at 4Ω and delivering a maximum SPL of 138 dB, the Mitus 215 offers exceptional output and full-range clarity. The high-quality internal passive crossover includes “soft-trip” circuitry to protect both LF and HF transducers. Built from durable 15 mm birch plywood and coated in a scratch-resistant black finish, the cabinet incorporates twelve M10 fly points, a 35 mm pole socket, and two ergonomic aluminum handles designed by FBT. Connections are managed via Speakon NL4 connectors for input and link-out. With its powerful dual-woofer configuration, the Mitus 215 is ideal for front-of-house use in demanding live sound scenarios or fixed installations requiring high SPL and defined coverage. www.fbt.it

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Funktion-One Evo 6E Evo 6E is a high intensity, fully horn-loaded point source loudspeaker with wide 50° horizontal dispersion, and physically arrays at 40°, with two wide giving smooth coverage over 90°. The Evo 6E combines horn-loaded 15-inch mid-bass, 10-inch Funktion One signature mid-range and a 1.4-inch compression driver into a very compact enclosure, which is designed for all applications and genres of music. Fitted with M10 flypoints and available with an optional wheelboard, the Evo 6E weights 57kg and features a sturdy grille for a discreet appearance. www.funktion-one.com

Fohnn DFM-100 DFM-100 is an active high frequency module with Fohhn Beam Steering technology. It can be flexibly combined with the low-mid modules DFM-400. The new generation of our renowned Focus Modular system is now fully digitized and provides further developed Fohhn DSP and digital signal connections. Acoustically redesigned and equipped with even more powerful drivers, DFM delivers excellent, audiophile sound and best speech intelligibility. A high-quality and high-performance solution for larger conference rooms, theatres and even open-air concerts. And all of this with an enclosure that is just about 22 cm wide and can be flown straight and integrated seamlessly thanks to beam steering. www.fohhn.com

Genelec 4040A The largest of the 4000 series models, the flagship 4040A is designed for larger fixed installations that demand higher playback levels and greater low frequency extension. With beautiful aesthetics and 120 RAL colour finishes, the 4040A delivers Genelec’s trademark precision and clarity, with controlled directivity and the ability to adapt to challenging acoustic environments via simple rear panel room compensation switches. This ensures clean, intelligible, nonfatiguing audio whatever the playback level, plus bulletproof 24/7 reliability as standard. For larger indoor installations such as theatres, restaurants, conference rooms, museums, art galleries, and sport centres, the 4040A is unrivalled. www.genelec.com

HH Audio TNi-W8PRO-BK The HH TNi-W8PRO is a high power, compact, two-way, full-range loudspeaker system comprised of the HH 8-inch (2-inch voice coil) high power HH low frequency driver and 1-inch Celestion CDX1-1070 high-frequency compression driver. The HH/ Celestion designed waveguide is rotatable so the loudspeaker can be used in either vertical or horizontal orientation. Flexible input connections via either M4 barrier strip or Euroblock provide versatile connecting options. Mounting options include: 7 by M10 Penn-Elcom fly points, four M8 mounting points for optional TNi-BRK30 mounting bracket. All enclosed in a robust wooden enclosure, powdercoated steel grille with acoustic foam backing in black or white finish. www.hhaudio.com

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HK Audio SI SERIES With the SI SERIES, HK Audio offers loudspeaker solutions developed in collaboration with planners and installers to meet the needs of today’s installation market. The range comprises the P10i and P10j column speakers, plus the S210 V and S210 P subwoofers. The P10 models provide precise vertical directivity: the P10i has a narrow 5° dispersion angle for long-throw applications, while the P10j’s 15° pattern is directed asymmetrically downwards-achieved mechanically, without DSP. In reverberant rooms and outdoor applications, they deliver excellent speech intelligibility and high-quality music reproduction, including when paired with subwoofers. For demanding outdoor environments, the P10 and S210 P are certified to IP66; the S210 V is rated IP44. The P10 speakers are designed for voice alarm systems and certified for outdoor use (Type B) under EN 54-24:2008. Ball-impact safety in accordance with DIN 18032-3 and a comprehensive range of mounting accessories make installation in sports facilities easier. Optional, fully encapsulated 100/70 V transformers offer three power taps. More than 40 available colours support seamless integration into a wide range of settings. www.hkaudio.com

K-array Python K-array’s Python line is expertly designed for spaces that need a loudspeaker which can do more than one job. Available in half-meter (KP62I) and one-meter (KP102I) lengths, this passive line array speaker combines closely spaced 3.15-inch drivers with Pure Array Technology, using full-range sources with no crossover and no reflex for a phase-coherent response in both the near and far fields. Control is at the heart of its appeal. A selectable SPOT or FLOOD setting lets installers tighten coverage for clear speech or widen it for a fuller sound, while narrow vertical coverage keeps energy off ceilings and hard floors, limiting the reverberance that can undermine intelligibility in reflective rooms. Full vocal-range reproduction keeps voices clear, whether in a lecture hall, a house of worship or a corporate boardroom. Its adaptability also suits venues whose character changes through the day. A restaurant or hotel lounge can move from lunchtime background music to a livelier evening atmosphere with a system tuned to suit both. Python’s slim stainless-steel profile remains visually discreet, with premium, color-customizable finishes to blend into the interior. Corrosion resistance and an optional marine finish extend its reach to outdoor installations. www.k-array.com/en/products/line/python

KV2 Audio ESD15 The ESD15 incorporates a coaxial 15-inch transducer with a 1.75-inch Nitride Titanium Neodymium Compression Driver on a wide dispersion 80 by 60 horn. Whilst most coaxial speakers will try to cover the full frequency response, the ESD15’s coaxial driver only covers bass and highs leaving the all-important mid-range to a 6-inch neodymium speaker mounted on a large 80 by 60 horn. This resolves the issue of the 15-inch driver trying and failing to reproduce mid-range, a common problem with conventional coaxial designs. The ESD15’s design provides extremely flat, full range reproduction from a compact yet powerful package that out-performs speakers twice its size, weight and price. www.kv2audio.com

L-Acoustics L1 L1 represents L-Acoustic’s boldest step forward in large-format sound, engineered for the world’s most demanding stages. From stadium tours, arena productions, the largest festivals, and prestigious venues, it delivers the scale and power these environments require while preserving the tonal integrity that connects audiences through the best shared sound at any scale. With a new level of control and system efficiency, L1 ensures consistent performance and enables repeatable excellence, show after show. The L1 system comprises L1 and L1D – L1 is designed for long-throw performance, while L1D serves as the final element, extending the coverage to the near field and completing the array’s vertical profile. www.l-acoustics.com

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LD Systems MAILA passive MAILA passive is LD Systems’ new solution variant of the modular and scalable MAILA Modular All-Round Intelligent Line Array. MAILA passive was developed for fixed installations as well as for professional rental and corporate use. The system combines the acoustic properties and modular mechanics of the proven MAILA concept with a classic, power amplifier-based system architecture and can be seamlessly integrated into existing DSP, network, and control infrastructures. This system dispenses completely with integrated power amplifiers and instead relies consistently on external amplification. The MAILA SAT, which already functioned as a passive component in the previous system, remains the central array element. www.adamhall.com

Martin Audio Wavefront Precision Martin Audio’s four Wavefront Precision optimised line arrays suit everything from intimate house of worship spaces to large auditoriums, as the WPM, WPS, WPC and WPL step up from twin 6.5-inch to twin 12-inch drivers. Every array uses mechanical angle optimisation and advanced DSP filtering to hit the SPL and frequency response the designer requires, and the series has become the best-selling line array family in the company’s history. Scalable resolution brings real flexibility, because iKON multi-channel amplifiers let integrators drive more boxes individually in the main hangs, where finer control matters most, and run delays and outfills at a lower resolution. Venues can also start with fewer amplifiers and add more over time, and Penguin Media’s Dylan Thompson says that freedom lets his company “balance acoustic control with budget to suit each project brief”. The series also works as a complete system, so the settings DISPLAY 3 calculates go straight to the iKON amplifiers through VU-NET, Dante carries the audio, and SX subwoofers fill in the low end on the ground or in the air. Its IP54-rated enclosures resist humidity, corrosion and UV for long-term fixed installation, and the series won Martin Audio a 2021 Queen’s Award for Enterprise in Innovation. www.martin-audio.com

Meyer Sound ULTRA-X80 The ULTRA-X80 is an evolution of the ULTRA family’s innovative concentric-driver design, which couples two 12-inch neodymiummagnet cone drivers to a rotatable 95° by 40° waveguide coupled to a 4-inch high-frequency compression driver. This configuration ensures smooth response across the speaker’s range and impressive directional control. And for maximum flexibility in coverage, an ULTRA-X82 variant offers a more tightly focused 50° by 40° dispersion pattern. Leveraging Meyer Sound’s ultra-light Class D amplifier technology, it delivers a total linear peak output of 140 dB SPL in a cabinet weighing 138 lbs (62.6 kg). The result is an easy-to-rig point source loudspeaker capable of providing the performance of multiple line array loudspeakers in a single box. www.meyersound.com

NEXO Alpha+ Three decades on, original NEXO Alpha systems are still exciting audiences over the globe with their power and presence. Now, the manufacturer has drawn on the spirit of that ‘90s classic to create Alpha+, an ultra-powerful, long-throw, ‘three-box’ FOH system that combines the benefits of line source coupling with the easy deployment typical of point source speakers. Stacked on a mid-sized festival stage, installed in a club, or deployed in a theatre where a line array can’t be flown, it’s all Alpha, reimagined for the modern age. www.nexo-sa.com

RCF X Series The RCF X Series of loudspeakers are designed for premium installations, offering exceptional performance and durability in an IP 55, UV-protected, and corrosion/ resistant polyurethane enclosure. Focusing on heavy-duty outdoor and indoor applications in large spaces, X Series speakers are capable of true, concert-level high performance in a compact and robust polyurethane enclosure, installed individually or coupled in array configurations. Featuring line array and point source speakers, all modules are equipped with RCF technologies including Precision Transducers, horns, and crossovers for optimal coverage and sound clarity. Engineered in Italy, RCF drivers and woofers feature premium materials such as neodymium magnets and advanced diaphragms in pure titanium or PKX. Every component is designed in-house to ensure maximum reliability and seamless integration. www.rcf.it

Renkus-Heinz IC Live X Series The IC Live X Series is a versatile steerable line array, ready to solve even the most challenging projects with directed, intelligible sound. As the intelligent evolution of the small-format line array, the IC Live X Series represents over 15 years of research and development of digital beam-steering technology. The ICLive X Series offers a compact, high-output and high-fidelity integrated system to meet the needs of nearly any live sound environment — perfect for both portable or performance-based fixed installations. The IC Live X has been designed from the ground up to be a scalable sound system. Each mid-sized IC LX module can stand alone or be arrayed with up to 12 units to deliver precise and predictable coverage for any venue. The complementary IC LX-118S subwoofer adds powerful low-frequency energy to any IC Live X system, and a wide range of rigging and cabling accessories help simplify integration and deployment of the IC Live X Series. With ultimate flexibility, coverage and powerful beam-steering technology, the IC Live X Series offers peak sound performance in a versatile, sleek design — something no traditional loudspeaker system can match. www.renkus-heinz.com

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Outline VEGAS 24 The VEGAS 24 is an ultra compact, high power, wide-dispersion externally powered loudspeaker specifically designed for under balcony fill, front fill and delay applications for professional sound reinforcement and installations of any size. With two four-inch LF and a 1.5-inch HF diaphragm, this high bandwidth, low profile device is optimised for vocal and instrument intelligibility and clarity due to its high level Common Intelligibility Scale (CIS) rating. The cabinet is coated with a high-tech textured polyurea scratch free finish and custom RAL colour repainting options are available for installations with specific aesthetic requirements. www.outline.it

Void Acoustics Air Motion The Air Motion features a three-way configuration with three transducers, each loaded by a conical horn, delivering precise and consistent audio performance. The conical horn geometry provides optimised dispersion and stable directivity, enabling accurate beamwidth control across the listening area. With a low-resonance fibreglass composite construction, the Air Motion is visually striking for style-led environments, and features wide 60°H by 50°V dispersion for controlled coverage. With an integrated flying and mounting system, it is available in custom RAL and KROME finishes upon request. www.voidacoustics.com

WorkPro NEO 5 Air The NEO Air system redefines wireless audio simplicity and performance, combining the exceptional sound quality and compact design for which the NEO range is renowned with an advanced integrated wireless digital audio transducer. This feature transforms the NEO Air loudspeakers into a seamless transmission system in which any unit can function as a master or receiver. In multi-speaker installations, one speaker can act as a master to distribute audio to an unlimited number of receivers, creating synchronised, immersive audio environments. The Master loudspeaker can operate via Bluetooth or AUX IN (mini-jack) signal. It can be controlled via AIR DOCK bluetooh transmitterSold in pairs. www.workpro.es

Yamaha DZR315-D The DZR315-D is a Dante-equipped three-way bi-amped powered loudspeaker with a two-inch HF driver, an eight-inch MF driver and a 15-inch LF driver, and is the most powerful model in the DZR Series producing a maximum 143dB SPL with supreme clarity. High quality SPL performance, sophisticated DSP processing, unrivalled low-frequency sound reproduction – the DZR315 delivers on all fronts realising a professional sound delivered with a level of power that belies its compact, lightweight design. Ideal for use in a front of house main PA, it also includes integrated M10 rigging points for suspended applications. Available in a durable black or white finish, the DZR315-D features an onboard 2000W Class-D amplifier module and is equipped with Dante I/O (2in/2out) and features SRC (sample rate conversion) allowing 48kHz device compatibility. www.yamaha.com/2/proaudio

Easylink

CONTROL SERIES

Supports various motor configurations & channels Direct & Low-Voltage Control available Same interface across all versions Precise & safe control for every application

CHAINMASTER GmbH info@chainmaster.de • www.chainmaster.de

L D I SH OW PR EVI EW

CHAUVET Professional Maverick Storm LT Booth 2825

Avolites D9-330

Booth 1327

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Powerful output: 1400W source for long-throw performance. Wide zoom: 18:1 range for tight beams and broad coverage. Flexible colour: CMY + CTO colour mixing. Creative control: Four-blade framing, dual gobo wheels, dual prisms and animation. • Tour-ready design: IP65 protection, followspot camera integration, Sky Tracker mode and Failsafe Ethernet. www.chauvetprofessional.com

• 11 screen experience providing the most harmonious visual control experience, including three 4.3-inch preview screens ideal for media ensuring that the main screens remain uncluttered • 32 motorised and touch-sensitive Penny and Giles faders, with optical high-res rotary faders with RGB level indicators • Cherry MX Low Profile keys with RGB illumination provide optimal tactility with low fatigue for programming sessions. • Intuitive media control integration, allowing seamless integration between media and lighting control • T-Bar delivers more refined control with even smoother manual fades. Paired with our unique Scene Master functionality it brings total professionalism to live creativity. www.d9.avolites.com

City Theatrical QolorPoint Mk3 Wireless LED Uplighter Booth 1903 •

Powerful 4,000-Lumen Output – RGBW LED technology delivers vibrant colours and even colour mixing, illuminating trees and structures up to five stories high. • Built-In Multiverse Wireless DMX/RDM – Integrated 2.4GHz wireless control with a range of up to 200 feet, eliminating the need for an external wireless receiver. • Zoom Lens Option – Electronically adjustable beam angles from 15° to 55°, with remote beam control via wireless DMX. • Long-Lasting Rechargeable Battery – Provides 8 - 20 hours of battery life, depending on operating mode and output, with a recharge time of under five hours. • IP65-Rated & Flicker-Free Operation – Suitable for indoor and outdoor events, with PWM-free DC dimming ideal for television, film and video applications www.citytheatrical.com

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S HOW P R E VI E W - LD I SH OW | WWW.M O ND ODR.COM

Elation Fuze Profile+ Booth 3410

• Extended colour RGBMA LED Engine, 92 CRI • Rotating and Fixed Gobos plus Animation Wheel • Full Blackout Framing System • Iris, 2x Prism, and 2x Variable Frost • Wide Zoom Range from 4° to 54° • Interchangeable Front Lens with Fresnel option www.elationlighting.com

DOUGHTY ENG I NE E RI N G IP 5 86200 1 PRE - RI G QU I C K TR IG GER HOO K C L A M P MEETING MODERN RF CHALLENGES WITH DPA’S NEW N-SERIES DIGITAL WIRELESS MIC SYSTEM As pre-rig truss continues to gain popularity across touring, live events and fixed installations, manufacturers are increasingly being challenged to develop products that can operate seamlessly across a variety of structural formats. Recognising this shift in the market, Doughty Engineering has introduced the IP5862001 Pre-Rig Quick Trigger Hook Clamp, a new addition to its industry-standard Quick Trigger range that has been designed specifically with flexibility and efficiency in mind. The new clamp is the first Quick Trigger model capable of accommodating both 50mm (2-inch) square tube and Ø48-51mm round tube, providing users with a single solution for a broad range of rigging applications. For rental companies, production suppliers and installers working across multiple truss systems, this dual compatibility removes the need to stock separate clamp types, helping to streamline inventory management and improve operational efficiency. While compatibility was a key design objective, Doughty also focused on expanding the mounting options available when working with squaresection pre-rig truss. To achieve this, both the clamp body and trigger mechanism have been indexed at 45° intervals, allowing equipment to be mounted in multiple orientations. This enables secure outrigging and over-rigging on square sections, giving users greater freedom when positioning luminaires, video equipment, and other production technology. As with all products in the Quick Trigger range, ease of use was central to the development process. The clamp has been engineered for rapid, tool-free installation, allowing technicians to achieve a secure fixing by hand. A fine-thread adjustment mechanism increases tightening torque and enhances grip, ensuring a reliable connection while reducing installation time. The result is a product that not only offers increased functionality, but also supports faster deployment during demanding production schedules. Further attention has been given to practical installation considerations. The body incorporates a slotted fixing arrangement designed to securely retain an M12 nut or bolt head, preventing unwanted rotation during assembly and simplifying the mounting process. Each clamp is supplied complete with an A4 stainless steel M12 by 45 fixing kit. The Pre-Rig Quick Trigger Hook Clamp also forms part of Doughty’s growing All Weather range. With outdoor festivals, semi-permanent venue installations and architectural lighting projects becoming increasingly common, demand continues to increase for rigging hardware capable of delivering reliable long-term performance in very challenging environments. To meet these requirements, the clamp is manufactured using a carefully selected combination of corrosion-resistant materials. The main body and trigger are produced from high-strength AW6082 T6 aluminium extrusions, offering an excellent strength-to-weight ratio, while the eyebolt assembly is manufactured from marine-grade 316 stainless steel. Stainless steel roll pins further contribute to the product’s durability and resistance to corrosion. Despite its robust construction, the clamp weighs 0.62kg, making it easy to handle while maintaining a WLL of 100kg. This combination of low weight, high strength and environmental protection makes it suitable for

a wide variety of professional applications, from touring productions and temporary event structures through to permanent outdoor installations. Manufactured in the UK, the IP5862001 Pre-Rig Quick Trigger Hook Clamp is TÜV approved and protected by registered design rights. By combining compatibility across square and round tube systems with the speed and simplicity of the Quick Trigger concept, the new clamp delivers a highly adaptable rigging solution designed for the demands of modern production environments. www.doughty-engineering.co.uk

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PASCAL PASCAL HAS SPENT 20 YEARS QUIETLY POWERING SOME OF PRO AUDIO’S BEST-KNOWN BRANDS, UNTIL THIS OCTOBER, WHEN THE ONCE LOW-PROFILE COMPANY OPENED THE DOORS OF ITS DANISH HEADQUARTERS TO THE PRESS FOR THE FIRST TIME. ALONGSIDE A CREW OF AV JOURNALISTS FROM ACROSS THE GLOBE, MONDO-DR VISITED HERLEV, JUST OUTSIDE COPENHAGEN, TO GET THE INSIDE SCOOP ON THIS BRAND-BEHIND-THE-BRANDS. Photos: Pascal

The Danish company likes to describe itself with the concept that you can’t just buy a Pascal amplifier, but you’ve most probably heard one in action. Pascal has designed the amplification, DSP, networking, and control technology inside loudspeakers from leading audio brands, with almost none of it carrying the Pascal name. On 20 and 21 October, AV press travelled to the company headquarters to mark its 20th anniversary. CEO Gustaf Høskuldsson used the occasion to define the three main pillars driving the company as of right now: building on 20 years of proven expertise, taking Pascal into live sound with the new PX Series, and doubling its alreadysubstantial investment in R&D. Founded in 2006 in a summer house, Pascal made its name with compact Class D amplifier modules, including the S-PRO2, the world’s smallest 1,000W module upon its launch in 2015. Since then, its grown into a full technology partner covering amplification from 60W to 4kW per channel, DSP, networking, control, and software. Today it employs more than 68 people and sells into more than 30 countries, with manufacturing in Thailand, China and, since this year, Mexico. Staying out of the spotlight, letting partners put their own logo on its technology, has been deliberate. “We want to be known, we don’t want to be seen,” noted Key Account Manager, Mads Hother Høpfner. Høskuldsson joined in 2019 and became CEO in 2021, arriving from aerospace and defence, where he worked out of London. Pascal is his first company in pro audio, and the culture took some getting used to. “At my first trade show, I came in a suit, and I was completely the odd one out,” he laughed. “Pro audio is a high-tech industry, but it’s driven by passion and relationships much more than other industries are. If you don’t understand that, you fail, but if you do, you’ll enjoy a career in the field for the rest of your life.” Høskuldsson began the trip by expanding on the first of the three key Pascal pillars. “We want people to know that through our 20 years, we bring reliability, expertise and a partner you can trust,” he said. Pascal backs that up with a verified field return rate of 0.08% over the past two years.

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Pascal live and direct The introduction to the second cornerstone of today’s Pascal was one that was up close and personal, with a live demonstration of the PX Series. Stepping into DR Koncerthuset’s Studio 3, the press group heard the system in action. Launched in January, the PX is Pascal’s first rack amplifier platform for all kinds of entertainment spaces like theatres, performance venues, clubs, stadiums, and touring applications. The range includes the four-channel PX2500.4 and PX4000.4, delivering up to 4 x 2,500W and 4 x 4,000W at 2.7 ohms, paired with Pascal’s MoBeat system and control software. Configure-to-order production aims to keep lead times to around four weeks. Pascal spent four years and $5 million developing the platform so that its partners don’t have to. “We want to make live sound available for everyone, which we aim to do with the PX launch,” explained Høskuldsson. In the small-group table talks that followed the demo, Andy Lewis, Key Account Manager for North America, assured that PX isn’t only built for the road. He explained that for permanent performance integrations, many venues prefer their amplification in a rack rather than built into the loudspeakers. “In a stadium or a concert hall, you’re not bringing the system in and out, so having the amps in a rack on the ground is an advantage. Being able to service them without having to get a lift or having to drop the speakers in a busy arena is another advantage.” For venues with a mix of loudspeakers, PX can also sit alongside Pascal’s IP Series, which covers smaller boxes such as side fills, so everything runs within one ecosystem. Partners can adapt the hardware to suit each venue too, from the connectors on the back, with club installs often favouring screw terminals, to the audio protocols it supports. Just as importantly, it gives loudspeaker brands the chance to put their own name on the amplifiers that drive their systems. Rasmus Pforr-Weiss, Director of Portfolio Management, joked that he was “the only one here without a sales badge”, and the person who turns his colleagues’ promises of

C O M PA N Y PR O F I LE - PA SCAL | WWW.M O N D ODR.COM

1,2 ‘Table Talks’ during the Pascal press visit. 3 A brand presentation was shown to Pascal ‘s visitors. 4 Pascal’s IP series 5,7 Pascal’s PX series. 6 CEO Gustaf Høskuldsson presenting. 8 The members of industry press with the Pascal team.

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“rainbows and unicorns” into real products. He said smaller speaker brands have been among the most excited. “These companies have spent years doing their proprietary speaker designs, and they want to get them out there,” he said. “Now they can embed all of their voicings and limiters and sell a full experience, which was previously not available to smaller companies.” Building high-power amplification is no small task, which is why so few loudspeaker brands do it themselves. “It’s very hard to obtain, especially at 4,000 watts. It’s not easy to produce those modules,” said Hother Høfner. “That’s why we are full of confidence launching PX.” Pforr-Weiss sees PX as the top end of a much bigger plan. “Whether you’re using a tiny little speaker or the largest PX, we want it to be one ecosystem, one way to handle it,” he said. “The interface will be different for a big live set-up than for a small venue, but everything happening behind the scenes has to be very versatile, so that whatever the venue, it has the correct amplification.” Doubling down Pascal’s third pillar is R&D. The company has more than 30 engineers and plans to double its engineering bandwidth over the next 12 to 18 months. “To us, this is a key mission in innovating, which we want to continue to do for many years to come,” said Høskuldsson.

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“We want to keep showing the world that we are here to stay, and that we are investing in innovation so we can bring out more new, inventive, and sustainable solutions.” The extra capacity will also support Pascal Custom Solutions, which lets partners build on existing Pascal platforms (ODM), adapt them (ODM+), or develop something fully custom (JDM), with the finished product always carrying the partner’s name, as is intrinsic with the brand. A conscious design Sustainability also came up during the trip, with Høskuldsson explaining how it has shaped Pascal’s engineering. He assured that for Pascal, environmental consideration and longevity of products isn’t about jumping on a ‘green washing’ bandwagon and has been a firm linchpin of the company since the very beginning. “When the engineers first made our amplifier modules, they thought about the most effective way to make them, which includes the number of components you use and their durability,” he explained. “Fewer components means less waste in manufacturing and materials, and once a product is made, it’s typically in an installation for many years. The longer the quality lasts, the better for the environment.” Around five years ago, as part of its ‘Changing the Game’ strategy, Pascal made sustainability

C O M PA N Y PR O F I LE - PA SCAL | WWW.M O N D ODR.COM

a formal part of its plans and committed to science-based targets. “I think, over time, this will become the standard way of making these products – it will be required,” Høskuldsson said, on how he thinks environmental expectations are changing across the industry. “Once everybody can do it, a low level of energy consumption and material usage will be the standard for manufacturers and installations going forward.” The CEO admitted that geopolitical tensions have pushed sustainability down some agendas but said it is still discussed very regularly in his conversations with the CEOs of partner brands. “We want to be at the forefront of this, and we want to be known for it,” he said. “It’s such an important part of our company culture.” Two decades later Twenty years on from the summer house, Pascal is clear about the role it wants to play. Høskuldsson shared the question he uses to test any strategy. “If you are not there, what kind of hole do you leave?” he asked. “If you don’t leave a hole, then why are you relevant at all? We work and create in a manner so if we were to disappear, customers and partners would say, that sucks, we don’t have anywhere else to go now!” www.pascal-audio.com

A D IND EX Adamson

Allen & Heath

Antari

121

Audiotek

AV Stumpfl

Avolites

Axion Displays

Celestion

CHAINMASTER

115

CHAUVET Professional

d&b audiotechnik

dBTechnologies

DPA Microphones

Elation

Electro-Voice

EM Acoustics

Fenix

10, 11

Genelec

GET Show

IBC

Harlequin Floors

103

ISE

40, 41

K-array

L-Acoustics

IFC

LAWO

LINK

113

Look Solutions

Modulo Pi

NEUTRIK

Outline

107

Panasonic

Pharos Architectural Controls

Powersoft

Riedel

ROBE

12, 13

ROE Visual

Showven

Sonance Professional

Starway

Steinigke

Symetrix

tarm

Yamaha

27 W WW. M OND OD R. C OM | A D IND EX

You’ve had two chapters with AV Stumpfl. What took you away, and what drew you back? I studied media technology at FH St Pölten, then worked as a media technician at the Landestheater Linz and briefly for a small integrator before joining AV Stumpfl in 2015, first as a support technician and later as a project manager and trainer. During COVID-19, I honestly thought the industry would go south and there wouldn’t be many jobs left, so I moved into IT consulting. But I kept in touch with people here, and after about a year and a half, I knew I wanted to come back. I missed the industry, the conversations and talking to genuinely nice people. And I missed the company, because the people here are great. What had changed when you returned, and how did it feel? It still felt like home. Being away wasn’t a big disruption. I was really impressed by the leaps PIXERA had made in those two years, and I came back to more or less the same team, with a few new faces. Everyone made it really easy to dive straight back into the industry and the products.

RAINER BRANDSTÄTTER THE HEAD OF MARKETING AT AV STUMPFL REFLECTS ON TWO CHAPTERS WITH THE AUSTRIAN MANUFACTURER, THE STORYTELLING ROOTS BEHIND ITS PIXERA MEDIA SERVER PLATFORM AND WHY THE INDUSTRY NEEDS TO DO MORE FOR THE NEXT GENERATION.

Is there a recent project that shows what PIXERA can do? One we are all really proud of is the National Geographic Museum of Exploration in Washington, D.C. as it shows our roots really well. Our whole product line evolved from the presentation market, where people travelled the world and then presented their adventures to audiences. And now, some of the world’s greatest adventurers are presenting their stories to thousands in a huge auditorium. Lots of applications can push pixels, but PIXERA has community and usability at its heart, and listening to our customers is baked into our DNA. We develop products with our customers and for them, and that makes the difference. You’ve also lectured in media server technology. Has teaching shaped the way you work, and does the industry do enough for the next generation? Teaching is one of the most important skills anyone can develop. Conveying knowledge and sparking interest, whether in front of ten people or thousands, develops you as a person. I’ve always loved discussing technology, and in marketing that’s exactly what we do. We show the world our products and the soul of AV Stumpfl. As for the next generation, I can mostly speak for Austria, where education in our field is still pretty weak. There are initiatives in other countries, and I’d love to see more universities getting up to speed. It’s difficult because the industry moves so fast, but it’s worthwhile. Is there a tool in your toolbox – hardware or software – that you can’t do a project without? My noise-cancelling AirPods. They’re essential for calls, shutting out distractions and staying focused. www.avstumpfl.com

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EM MONDO Fp PointSourceDoneRight.pdf

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The Reference Series emacoustics.co.uk

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