mondo*dr 26.1

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Capitole Ghent chooses Bose RoomMatch ®


Managing director of Sportpaleis groep, Jan van Esbroeck

“You really hear the difference throughout the venue.” “It’s a fact that more and more artists and other parties who use the theatre wish to rely on a house sound and light system”, says Jan van Esbroeck. “With demand for intelligibility and overall sound clarity and quality being so high on the agenda, a portable or hired sound system cannot be adjusted with the same care and attention to detail as a fixed installation. In some venues you will not experience a big difference, but in a theatre like Capitole, with several levels, you really hear the difference throughout the venue. Visitors expect more than just some decent sound.”

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Concert-quality sound in even the most challenging venues


The 1600 seat Capitole Theatre in Ghent is one of Belgium’s largest theatre venues, frequented by high profile touring artists, and hosting concerts, musicals and live TV shows. The shape of the theatre, as well as its two balconies, make it acoustically challenging, but after hearing the Bose RoomMatch system during an event in Amsterdam, the theatre approached Bose and they arranged for the performance of the RoomMatch system to be demonstrated during a musical production of ‘Cinderella’ at the Capitole Theatre.

different coverage angles to match the listening area (stage L: 6 modules; stage C: 4 modules and stage R: 6 modules), four RoomMatch 218 VLF-subwoofers, four RoomMatch Utility 208 loud­speakers for front fill and six RoomMatch Utility 105 loudspeakers for under balcony, powered by eleven PowerMatch 8500N amplifiers and managed by a Bose ControlSpace control centre. ®








With the theatre confident that RoomMatch would offer the full even sound coverage that they wished for, an acoustic model of the space was created using Bose Modeler software. The resulting system design incorporates sixteen RoomMatch asymmetrical and symmetrical modules of



“The system performs very well, even with these complicated room acoustics,” says Hugo Van Oost, technical director. “Clarity of voice and intelligibility are excellent, and the coverage of the room is extremely accurate. The Bose approach enabled me to create asymmetrical RoomMatch arrays, which were a perfect match for the venue, and the system responds wonderfully for every type of event – theatre, musicals, live music & stand-up comedy.” ®

Learn more at:




President and CEO of Clair Companies recalls stories from years gone by


Adding a multitude of effects to any visual artists palette



A comprehensive guide to installation loudspeakers



X8, LIVE MONITOR - L-ACOUSTICS X SERIES In creating the X Series, we brought all of the experience gained in designing the K2 to bear on a new series of reference coaxials. Optimized design, ergonomics, acoustical performance and weight make the X Series the most advanced coaxials on the market. Four distinct enclosures with format, bandwidth, SPL and coverage angles perfectly adapted to short throw rental or install applications, the X Series offers studio monitor sound quality, compact design, consistent tonal balance, no minimum listening distance and exceptional feedback rejection.

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ON THE COVER Deep Web, Fête des Lumières, Lyon Photo: WHITEvoid GENERAL MANAGER Justin Gawne EDITOR Rachael Rogerson-Thorley SENIOR ACCOUNT MANAGER Jamie Dixon ACCOUNT MANAGER Laura Iles INTERN Ciara Rafter ACCOUNTS Amanda Giles GENERAL ENQUIRIES PRODUCTION David Bell, Mel Robinson, Dan Seaton GROUP CHAIRMAN Damian Walsh MONDIALE PUBLISHING Waterloo Place, Watson Square, Stockport SK1 3AZ United Kingdom 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 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 Limited, Waterloo Place, Watson Square, Stockport, SK1 3AZ, United Kingdom Subscription records are maintained at Mondiale Publishing Limited, Waterloo Place, Watson Square, Stockport, SK1 3AZ, United Kingdom Printed by Buxton Press, Palace Road, Buxton, UK

smart IP live production infrastructure.

Our Product Guide this issue focusses on loudspeakers and I think it’s quite possibly one of the largest product features we’ve ever had in the magazine. It spans across a whopping 16 pages and covers a staggering 55 products. The range includes anything and everything from loudspeaker drivers to small format cabinets for bar and restaurant installations, column arrays with beam steering technology, club-specific enclosures, large scale PA systems and much more. So if you’re in the market for a loudspeaker system to kit out a certain installation, our Product Guide would be a good place to start! The loudspeaker theme continues with our Interview this issue, as Phil Ward chatted with Roy Clair, co-founder of the company which shares his name. On the verge of celebrating 50 years in the business, most of us would consider Roy a veteran, and if you’re from the audio part of ‘our world’, the interview is well worth a read. In other news, you’ll notice I’m joined in my leader photo this month by XTA Technical Brand Manager, Waring Hayes. The photo was taken during the PRO show in Birmingham that took place in September and you’ll find a full report of the exhibition starting on page 104. The following month, it was PLASA’s turn to host its annual London tradeshow. On a global scale, the typical exhibition format has been suffering for the past few years, and prominently so on a regional level. However, at the close of both shows, each had news to announce. PRO told exhibitors and visitors alike that the exhibition would move from Saturday - Monday to Sunday - Tuesday, with the aim of appealing further to the professional sector (in comparison to the DJ market). PLASA, on the other hand, announced a relocation to London’s Olympia and a date change back to September. The two UK shows are now scheduled to take place a week apart next year, something which, in a somewhat difficult market already, is not going to help matters progress. Whichever camp you’re in - whether you’re attracted by new blood of PRO or if you’re a loyal PLASA fan - one thing is for sure, some difficult decisions lie ahead. I’m sure there are some of you who are not in either camp, but I do hope that collectively we can find a conclusion that can at least satisfy the masses - as let’s face it, to keep everybody happy is near impossible. RACHAEL ROGERSON-THORLEY EDITOR



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ROY CLAIR Phil Ward talks to President and CEO of Clair Companies encompassing Clair Solutions and Clair Brothers,


IN DEPTH 22 INTERVIEW Roy Clair - Clair Companies 30 REPORT Lasers

30 LASERS Introduced by laser control technology specialist, Pangolin.



86 3S ARTSPACE Portsmouth 88 SOUNDCHECK Washington DC

FRIEDRICHSTADT PALAST A new stage management system for the venue with the world’s largest theatre stage.

94 CLUB NEXT San Fernando 100 ARRAY CLUB Kyzylorda

IN BUSINESS 104 PRO Birmingham 108 LDI Las Vegas

112 iMAPP Projection mapping at the Palace of the Parliament.

112 iMapp Bucharest 116 IN DETAIL Clear-Com, Starway, LSC and Audix 124 PRODUCT GUIDE Loudspeakers 150 PRODUCT DIRECTORY 154 LAST PAGE INTERVIEW Ben Sinclair


Le Catalogue Produits de ce numéro se concentre sur les haut-parleurs et je pense que c’est probablement l’une des plus importantes présentations de produits que nous n’ayons jamais faites dans le magazine. Vous découvrirez 16 excellentes pages décrivant plus de 55 produits étonnants. La gamme comprend un peu de tout, allant des très grandes enceintes aux meubles plus petits pour les installations dans les bars et les restaurants, en passant par les colonnes de haut-parleurs dévoilant une technologie de mouvement des faisceaux, jusqu’aux installations spécifiques aux clubs de nuit, en plus des très importants systèmes sonores et de bien d’autres produits encore. Alors si vous cherchez un système de haut-parleur pour équiper une installation quelconque, notre Catalogue Produits pourrait être un bon point de départ. Il y a quelques jeunes entreprises aux palmarès qui pourraient également vous surprendre. Le thème des haut-parleurs est aussi décliné avec un entretien dans ce numéro, où Phil Ward échange avec Roy Clair, cofondateur de la société du même nom de famille. La majorité d’entre nous considérerait Roy un vétéran, car il est sur le point de célébrer ses 50 ans en affaires. Si vous œuvrez dans la partie audio de « notre monde », cette interview vaut la peine d’être lue !


Der Schwerpunkt unseres Produktführers in dieser Ausgabe liegt auf Lautsprecher und ich glaube, dass dies eines der größten Produktmerkmale ist, die wir jemals in dieser Zeitschrift hatten. Er spannt sich über sagenhafte 16 Seiten und deckt gigantische 55 Produkte ab. Das Angebot umfasst alles mögliche, von LautsprecherSteuereinheiten bis kleinformatigen Schränken für Installationen in Bars und Restaurants, Säulenanordnungen mit Strahlen-Steuerungstechnologie für Clubspezifische Anlagen, groß angelegte PA-Systeme und vieles mehr. Wenn Sie also ein Lautsprechersystem suchen, das eine bestimmte Ausrüstung ausstatten soll, kann unser Produktführer vielleicht ein guter Einstieg sein. Es gibt zahlreiche neue Unternehmen in der Vorschau, was Sie vielleicht ebenfalls überraschen könnte. Das Lautsprecherthema wird auch mit unserem Interview in dieser Ausgabe fortgesetzt, da Phil Ward mit Roy Clair, dem Mitbegründer des Unternehmens gleichen Namens gechattet hat. Kurz vor dem fünfzigjährigen Firmenjubiläum würden die meisten von uns Royals Veteran bezeichnen. Falls Sie vom Audioteil ‘unserer Welt’ sind, lohnt es sich, dieses Interview zu lesen!


La nostra Guida al prodotto di questa edizione si concentra sugli altoparlanti e penso che sia, molto probabilmente, una delle guide con le più grandi caratteristiche sul prodotto che abbiamo mai avuto nella rivista. Si estende su 16 pagine e copre un numero sconcertante di prodotti (ben 55). La gamma comprende di tutto e di più: dagli altoparlanti ai piccoli cabinets per bar e ristoranti; array a colonna con tecnologia ad orientamento del fascio di luce per unire chiusure specifiche; sistemi PA su larga scala e molto altro ancora. Quindi, se siete nel mercato e volete dare un’occhiata ad un sistema di altoparlanti per equipaggiare un determinato impianto, la nostra Guida al prodotto potrebbe essere un buon punto di partenza. Ci sono un paio di giovani imprese, tra le altre, che potrebbero anche sorprendervi. Il tema altoparlanti continua con la nostra intervista fatta da Phil Ward che ha chiacchierato con Roy Clair, co-fondatore della società che porta il suo stesso nome. Sul punto di celebrare 50 anni di attività, la maggior parte di noi considera Roy un veterano. Quindi, se siete dalla parte audio del ‘nostro mondo’ questa intervista merita una lettura!


Nuestra Guía de Productos en esta edición está enfocada a parlantes y creo que posiblemente sea una de las presentaciones de productos más grande que alguna vez hayamos tenido en la revista. Abarca 16 páginas gigantes y cubre a 55 asombrosos productos. El rango incluye todo lo necesario: desde los drivers de los parlantes hasta cabinas de formato pequeño para instalaciones en bares y restaurantes, formaciones acústicas en columnas con tecnología en el manejo de haces de luces y hasta recintos específicos para discotecas, sistemas PA de gran escala y más. De manera que si se encuentran en el mercado buscando un parlante para equipar alguna instalación, nuestra Guía de Productos puede ser un muy buen lugar como para comenzar. Existen un par de empresas jóvenes dando vueltas que también pueden sorprenderlos. La temática del parlante continúa con nuestra Entrevista en esta edición también, ya que Phil Ward conversó con Roy Clair, co-fundador de la empresa que comparte el nombre de la familia. Estando al borde de celebrar los 50 años en el negocio, la mayoría de nosotros considera que Roy es un veterano. Si vienen del lado del audio “de nuestro mundo”, bien vale la pena leer esta entrevista!

Advertising Index Absen 49 Adam Hall 115 Adamson 65 ADJ 39 Allen & Heath 79 Antari 4 & 5 APIA 138 ASC 84 Ashly Audio 143 Audio Focus 75 Audiocenter 58, 105 & 140 Audix 57 Camco 121 Chauvet Professional 111 Chromateq 146 Clair Brothers 107 Clear-Com 99 Coda Audio 143 d&b audiotechnik 93 D.A.S. Audio 151 d3 128 Daslight 6

DiGiCo 69 Digital Projection 27 Duratruss 89 Eagle Stage Equipment 66 EAW 61 & 133 Elation 29 EM Acoustics 59 Equipson SA 137 Erhgeiz 117 Fenix 148 Fine Art 153 Focusrite 85 Fohhn Audio 13 Funktion One 125 Genelec 141 Global Truss 17 GLP 63 Green Hippo 45 Havells Sylvania 131 Idea Pro Audio 97 ISE 20 Kling & Freitag 113

KV2 127 Kvant 33 L-Acoustics 2 Laser Animation 45 Laserworld 47 Lawo 7 Le Maitre 135 LiteLEES 59 Look Solutions 78 LSC 85 Lynx 114 Madrix 149 Martin Audio BC MBN 47 & 49 Milos 91 Music & Lights 41 & 149 Nexo 48 NEXT-proaudio 81 One Systems 149 Osram 129 Palm India 102 Pioneer DJ Europe 119

Powersoft 99 PR Lighting 67 Pro Tapes 113 Prolyte 141 Renkus-Heinz 137 Riedel 8 ROBE 15 Sennheiser 11 SHS Global 139 Sommer Cable 43 Starway 145 Steinigke 26 Studio Due 155 Sunlite 10 Tannoy 35 & 37 The GET Show 50 TW AUDiO 123 Wireless Solution 3 XTA 73


CREATIVE PARTNERSHIPS - INNOVATION THROUGH COLLABORATION Green Hippo Technical Director, Sean Westgate discusses how partnerships can accelerate product to market delivery. Innovation today is more critical to success than it ever was, especially in our industry. Technology is developing at a rapid pace and keeping up with it can be a real challenge. At the same time the barrier to innovation in technology is getting lower and lower. With 3D printing now available in mainstream, PCs and micro-controllers costing virtually nothing, Open Source software and hardware to draw on, ‘Makers’ and inventors can create new solutions at a rate not seen before. Gone are the days where a big business needed to spend millions to create a new product when those tools are now readily available. Granted, this doesn’t hold for all products - we are still a few years off to 3D print your own car - but in many areas new products can be effectively prototyped without a significant investment. So what impact does this have on our traditional route of product development? In my view there is a real opportunity for bigger businesses to collaborate with smaller specialist companies. Rather than developing solutions from the ground up they can integrate specialist tech into their own product portfolio. Apart from lower development costs, new ideas can be tested in the market quicker. If the new idea proves successful, the collaboration can be expanded to scale into a bigger market. Everyone wins: the big business has expanded its portfolio of solutions with little risk at a fast pace, the smaller business has a new market to deliver to and the customer benefits from something better or cheaper than they’re used to. Green Hippo is not exactly a huge company. Being a specialist media server manufacturer with a lot of knowledge in real-time image processing means that our products are targeted at specific niches in the digital display and entertainment industry. So recently we were speaking with the friendly folks at Martin Professional about product ideas and we hit on the idea of combining our award winning media server with their top class creative LED fixtures. Previously

those fixtures could only be driven as a video display from their P3 video processors, which was connected to a source, such as a media server. Whilst this works for larger projects, where you need to have ample processing power for both the controller and the player, smaller to medium size projects on a tighter budget could not be reached. Now the controller software can be installed directly onto a Hippotizer media server, you can effectively eliminate a box, making it a more compelling offer for those projects up to 20,000 pixels. The benefits are clear - Martin Professional sells their LED fixtures, we sell media servers and the customer gets a tailored solution for their budget - everyone wins. This is just one recent example, but we see a lot more opportunities in that direction. With our core knowledge in image processing, control and projection, there are more partnerships waiting to be explored. We have been in several discussions about collaborations - such as OEMs - over the last 10 years and I found they only succeed when both partners come to the table as equals. Quite often difference in size distorts the partnership and the bigger business will dominate and dictate terms. In our experience this results in

the smaller specialist becoming a supplier only and much of their expertise in their field is lost. This is counterproductive as this is exactly what the bigger partner wanted to get out of the collaboration. Too often the focus is on money - from both sides - and not enough attention is given to building a common vision and having a value driven discussion about what the end-user actually needs and wants. This focus, together with clear common goals, respectful IP arrangements, mutually beneficial marketing creates a platform of mutual trust and respect and then things become incredibly easy. Innovation is driving our industry and the conditions for inventing new systems and solutions are better than they ever have been. Large businesses should look towards young and upcoming businesses to explore partnerships to accelerate their ability to get new products to market. Inventors and entrepreneurs should seek collaboration with larger, established businesses to extend their reach and solidify their business. Exciting times I think - for inventors and businesses alike. The opinions expressed in this article are the opinions of the author and not necessarily of mondo*dr magazine.

• Above The Martin Professional LED triangle show using P3 on a recent tradeshow stand.


Doesn‘t need to be seen to be heard.

Do sound systems always have to involve large black boxes? Or isn‘t it time for a different approach to high-quality speech and music reproduction? The answer is Yes! LINEA LX – HYBRID LINE ARRAY TECHNOLOGY BY FOHHN. Made in Germany.

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The Energy, Education and Experience Center (EEZ) in Aurich, Germany is a spectacular and emotional multimedia installation using Barco’s IOSONO immersive sound solutions. An interactive exhibition spreading across 1,800 sq metres allows visitors to experience the central theme of energy with all the senses. One of the exhibition’s highlights is the so-called ‘energy tower’ that is equipped with an IOSONO immersive sound system by Barco. Combining enveloping soundscapes with 360º projection, the tower shows the enormous power of energy sources. Spanning across a height of almost 10-metres, the dome-shaped installation allows visitors to virtually experience the power of crashing waterfalls, sweeping storms or an erupting volcano both acoustically and visually. An IOSONO CORE audio processor and 32 Fohhn loudspeakers arranged in three layers fill the room with vivid soundscapes. The audio and video playback are synced via a TimeCode signal. Ultramar Labs did the sound design while FUNA took care of the system installation under the coordination of the Impuls Design agency, responsible for the overall exhibition concept.

Image by EEZ Aurich

Energy, Education and Experience Center

IOSONO Barco Audio Technologies is an innovative provider of 3D audio solutions for consumer electronics and professional audio. The business based in Erfurt, Germany successfully markets audio processors and production software under the brand IOSONO. Barco Audio Technologies was founded as IOSONO in 2004, and has become part of the Belgian company Barco in September 2014. With its products, Barco Audio Technologies strives to create high quality audio experiences, pushing back the boundaries of conventional stereo and surround sound.

Genius Loci Weimar

Image © The Living

Genius Loci Weimar is an annual festival for audiovisual art, for which Barco provided state-of-the-art projectors as well as an IOSONO immersive sound installation in collaboration with rental partner AED Germany. This year, for the first time, the festival jury also called for audioonly performances, the winning entry, Lukas Taido’s 3D surround composition ‘The Memory Trace’ premiered in the courtyard of the City Castle. The IOSONO sound system immersed listeners into Lukas’ fascinating sound universe. The system had a diameter of 20-metres and consisted of 32 three-dimensionally arranged loudspeakers driven by an IOSONO CORE audio processor. One group of listeners at a time could enter the area and listen to the 10-minute performance.

The Museum of Modern Art Barco IOSONO 3D sound features in The Museum of Modern Art’s Björk exhibition, which brings together sounds, videos, objects and instruments. Vivid three-dimensional soundscapes provided by the IOSONO system plunge visitors into an immersive experience of Björk’s most recent work. For the installation, the IOSONO CORE audio processor and 49 loudspeakers by Bowers & Wilkins fill the room with engulfing sounds. The sound was specially mixed for the IOSONO system by Marco Perry for Immersive Audio in his London studio.



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AWARDS The mondo*dr Awards 2016 is a new online platform to recognise the best installations in our industry from around the globe. Sponsorship opportunites:






Exclusive sponsor of European clubs - £2,000

Exclusive sponsor of The Americas clubs - £2,000

Exclusive sponsor of AsiaPacific clubs - £2,000

Exclusive sponsor of Middle East & Africa clubs - £2,000


Exclusive sponsor of European performing arts centres £2,000

Exclusive sponsor of The Americas performing arts centres - £2,000

Exclusive sponsor of AsiaPacific performing arts centres - £2,000

Exclusive sponsor of Middle East & Africa performing arts centres - £2,000


Exclusive sponsor of European houses of worship - £2,000

Exclusive sponsor of The Americas houses of worship £2,000

Exclusive sponsor of AsiaPacific houses of worship £2,000

Exclusive sponsor of Middle East & Africa houses of worship - £2,000


Exclusive sponsor of European stadia - £2,000

Exclusive sponsor of The Americas stadia - £2,000

Exclusive sponsor of AsiaPacific stadia - £2,000

Exclusive sponsor of Middle East & Africa stadia - £2,000


Exclusive sponsor of European integrated resort - £2,000

Exclusive sponsor of The Americas integrated resort £2,000

Exclusive sponsor of AsiaPacific integrated resort £2,000

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Headline sponsorship - £25,000 / Full regional sponsorship - £8,000 / Full category sponsorship - £6,000



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Clair Brothers is one of those brand names that has been associated with innovation in sound reinforcement for a number of years. Since its initial inception - almost 50 years ago - the company has evolved significantly. Today there are three arms: Clair Global (formerly Clair Brothers) which deals with the touring side of the business; Clair Solutions that carries out AVL integration; and Clair Brothers, the loudspeaker brand name that has been carried through from the beginning. Phil Ward talked to Roy Clair, who is President and CEO of Clair Companies encompassing Clair Solutions and Clair Brothers.


Other than tin mining or town crying, it’s hard to think of much innovation in sound reinforcement that wasn’t first associated with the revered name Clair Brothers. Whatever that entity has become, it’s an evolution that runs through the spine of this industry with genetic accuracy and it has at every stage contributed more than its fair share of quantum leaps. Now surviving his brother by two years, Roy Clair continues to play a crucial role in the half of the business now devoted to loudspeaker manufacturing, sales and installation - more of which later - while the next generation of Clairs continue the curatorship of the family silver - namely, one of the best reputations for quality of service that pro audio has ever generated. It all started with a concert by Frankie Valli & The Four Seasons, performing at Franklin & Marshall College in Lancaster, Pennsylvania. Roy’s account of this meeting, and its portents for the future, is refreshingly honest. “L-u-c-k, luck,” is what he puts it all down to. “We were from the area, and we looked Italian. Just timing. The Clair brothers were at the right place at the right time, with the right amount of luck and you can print that! I had two Altec Lansing A7-500 Voice Of The Theatre loudspeaker cabinets, one of the best HiFi cabinets ever built. The Four Seasons

had just come from the Fontainebleau Hotel in Miami where they were second on the bill to Herb Alpert & The Tijuana Brass. They always had to use the house system on the road with Herb Alpert - he wouldn’t let them use his - and at that date someone asked Frankie why his act never sounded as good as the headline. So from that point, he was driven to find the band’s own system. Guess where the next gig was?” Roy was 21 and in his last year at University, Gene was 24 and working in an electronics store. Right place, right time aside, you still need to know what you’re doing. There was a spark from much earlier. “When I was 11 and my brother was 13, my father gave us a small public address system for Christmas. I don’t know how many fathers in the small grocery business gave their kids a PA for Christmas, but this one did. Here’s the corny part: his name was Clair… we like to think he was Clairvoyant. I think it had a lot to do with us getting involved in announcements at football games: the high school had its own announcement system, and we must have mentioned that it would be fun to have our own system to do them. Once we had it, we then did dances at the school and every varsity club dance there was. We kept taking the money from each dance and buying new gear.”

• Above Roy and Gene Clair with their Audio Precision testing equipment. • Opposite, clockwise from top left Roy in 1975; Live Aid 1985; Brothers Roy and Gene.

That day in 1966, Frankie Valli realised that he had found the two guys he could trust to build a system around the band’s needs, and the brothers joined the Jersey Boys on the road. When back home, visiting artists to F&M College would benefit from nascent Clair brothers ministrations, some in tandem with early rental companies, and the experience and the gear - mounted. “Touring with Frankie meant we met all the promoters - at that time there was a promoter in every city - so we got to know the circuit, the other sound companies and a lot of people. After The Four Seasons, the next big break was in 1968 when Cream played The Spectrum Arena in Philadelphia.” To do Cream meant pooling two of the brothers’ now burgeoning sound systems to reach an unprecedented audience of 18,000 and the family business never looked back. From now on the innovations came with headlong velocity, ranging from the wedge stage monitor - yes, there was a time when they didn’t exist, before Roy thought of it - to flown systems as opposed to ground-stacked, the four-way cabinet, the foldaway FOH console… the list, as Roy will regularly confirm, would take him a week or two to explain. Success being what it is, the business milestones run alongside. To pick just


one or two relatively recent ones, there was the merger with great rival ShowCo in 2000, creating the biggest sound company in the world; a doubling in size for the headquarters of Clair Companies in 2012; and the completion, in 2013, of a journey that took concert sound from being one of the UK’s leading independent rental companies to being, quite simply, Clair UK – still, naturally, one of the UK’s leading rental companies. But it has been the division of Clair into separate business entities that has exercised many minds over the last quarter century. Further refinements have taken place recently, as the installation sector has boomed with more boom than a Ginger Baker drum solo, and it’s probably best left to Roy to put it all into context. “Approximately 25 years ago we realised that not everybody was going to stay on the road forever. Since they were professionals that wanted to stay in the audio field, and we were in an area that wasn’t exactly metropolitan, we thought it would be a good idea to start a sales division, and an install division, for those people who wanted to get off the road and stay home with their families. That was the main impetus for the sales and install side of the business. “Clair Global, which I used to be a part of, is celebrating its 50th year this year. My brother and I started Clair Brothers

Audio Enterprises, obviously, and then for definition and clarity we separated into Clair Global - which was Gene - and Clair Companies. We tried to do it in a way that people wouldn’t get confused - although they still don’t understand! You do your best, but it doesn’t always turn out. But we don’t care… we’re still servicing the public. “Very simply - one rents and one sells and installs. Clair Global rents, Clair Companies sells and installs.” The distinction used to be between ‘Enterprises’, which rented; and ‘Systems’, which sold and installed. Latterly ‘Systems’ became known as Clair Companies, and has been formally divided into Clair Solutions, which installs, and Clair Brothers, which manufactures and sells. The other important distinction is that while Clair Brothers is a manufacturer, producing such well-known products as the I Series line arrays and kiT Series, Clair Solutions is now a multiple-brand integrator and installer and will call upon all of the leading marques fit for purpose. “In some cases we are referred by consultants to a facility that has already been spec’d, and we bid on it,” Roy continued. “It could be that we’ll use JBL, it could be L-Acoustics, it could be anyone. We will install it, and it doesn’t have to be Clair product. It’s as varied as it can be. If someone says ‘explain the touring

“Touring with Frankie meant we met all the promoters – at that time there was a promoter in every city – so we got to know the circuit, the other sound companies and a lot of people.”


business’, it takes 10 hours even to give someone a hint as to what you go through in order to get a tour. The same thing applies to each particular situation as you prepare for installation. There are so many different ways that we get a job, and so many ways that we do a job, on any given day, we’ll get a call to bid on a job or to design a job.” Clair products are supplied through both channels, but there is a fine line. “There are more products of ours that go through installation than into touring,” Roy explained. “We have an agreement whereby they won’t compete internationally with Clair Global. Today, Clair Companies is just as international as Clair Global with representation worldwide.” Five years ago, Clair Brothers kick-started the international dimension of the

Specialists in The Netherlands and Germany; Prase Engineering in Italy; and Audio Concept in France. It’s through these channels that Clair Brothers products reach beyond the rental market. “I said it takes 10 hours to explain touring… well, to explain installation takes 24 hours - even 48, as to what has happened in this marketplace in the last 10 years,” Roy said. “Generally speaking, there are professional sound companies that are now being accepted by touring engineers - who have witnessed their products in venues - who will ask for a particular system when they go on tour. It is led by the installation examples, nowadays, and that could be anything from Clair to L-Acoustics, to d&b audiotechnik, to Meyer Sound, to JBL, they’re all accepted. “That wasn’t the case 20 years ago. Each

“We started Lake Processing. It was a Clair processor to begin with, back in the ‘90s. Bruce Jackson was our head engineer on that project, and we had an Australian company that we hired to help us out. We called it Lake.”

• • • •

company by introducing the sales brand to new markets in Asia, South America and Europe. Subsequently, the loudspeaker manufacturing and sales business gathered rapid pace outside of the US. The Clair business began its European expansion with AudioRent in Switzerland, which remains the key provider of Clair Global rental systems throughout the continent. Clair Brothers products are distributed through a network of certified distributors in Europe: namely, The Audio

company had their own brand, and made their own brand, and toured with their own brand. The rental companies called it, and that is no longer true. Groups and engineers are accepting factory brands, and Clair Global may well be the only touring company that has its own brand. The rest of the companies are buying the leading brands. The uniqueness of Clair Global - which I’m not a part of any more - is that they still have their own brand.” True, Clair Companies is entirely

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• Above The Chizhovka Arena in Minsk, Belarus.

independent from Clair Global, but resources can be pooled in the right circumstances. “I’ll give a fast example,” offered Roy. “We did a stadium called Kyle Field at Texas A&M University, and they wanted to do half the refurbishment at a time rather than tear it all down and not have a season. They had to take all of the sound system out, though, and put in a temporary one. Clair Global, since they’re in the rental market and can put in a sound system faster than anyone, put that in until the stadium was built - and we installed the permanent system. That’s a good example of the two companies working together, as it was an advantage to the stadium to use us because, as well as the final installation, we could give them a temporary system faster than anyone else. “Other synergies include, for example, South American countries that are licensed to buy a Clair Brothers system - not Clair Global - but need a rental system to augment the one they’ve bought when they run out. That’s when we work together to supply them with something on a temporary basis, much faster than we could build it.” They are all Clair boxes, but there is another distinction. “There is a difference between what we build here as Clair Brothers and what they rent at Clair Global,” explained Roy. “They have their own distinctive boxes, and we have our own distinctive boxes. There are different theories of design, of course and different products as a result. I think we have something for everyone. I helped design speaker boxes when I was at Clair Global, and more here at Clair Brothers, and I was always a little different in believing uniqueness leads to innovation. I do

believe the theory that everything should be radiating from as close an area as possible: a coaxial design, where the highs and the mids emanate from the same waveguide. It makes for less interference. There are 10 million theories, and I’m not saying that my theory is the only one, I’m just saying that’s one of the theories. There are pros and cons in every design. But I believe in co-ax, so when I designed our box I kept that in mind.” So how do you combine them to build up SPL? “Isn’t that called a line array? With the co-ax, I would use the same waveguide for the mids and the highs - that’s where your coherent sound is coming from - and then that is part of a line array. So it would be a co-ax in a line array, upholding the principle of mids and highs emanating from the same waveguide. In conventional line array, everyone designed a device that would allow the signal to go from a circle to a rectangle, which makes the vertical pattern come straight out from the box instead of having a waveguide that takes it up 60° and down 60°. The box above does not interfere with the box below. Everyone designed a throat to take a circular compression driver into a slot, and the slot is the reason why the sound comes out of the waveguide straight, in one direction. And then, whatever you wanted to do in the other direction, you designed the waveguide to do that.” Typically, Roy did it differently. “Clair Brothers was the first company to develop a curved line array, which means that our particular waveguide had, for example, a 2.5° curve to it. When you put 2.5° and 2.5° together you’ve got 5° and, rather than take straight boxes and hope you could fill in between them, we were

the first to actually curve our waveguide so we could follow the curve we were putting together on tour. Everyone else had boxes that were, so to speak, 0° and then they would bend them by 5° and thought they got away with it. We never did that. We patented the curved array. So if we wanted to bend 10°, as an example, we had a system that used three boxes to cover 90° in a curved array with no interference between each box. That’s three point-and-shoot boxes that weren’t compromised by being in an array.” It might be tempting to place Roy solely in the point source camp that frequently mourns the advent of digital control and its propensity to fix things that shouldn’t be broken in the first place - and you’d be right. He clearly admires the reputations of people like Tony Andrews and David Gunness, people who rail against the sheer volumes of software that appear to be necessary to get a line array to behave itself. But this would be to overlook the pioneering work the Clair clan did in the development of DSP in pro audio too. “We started Lake Processing,” confirmed Roy. “It was a Clair processor to begin with, back in the ‘90s. Bruce Jackson was our head engineer on that project, and we had an Australian company that we hired to help us out. We called it Lake. That was one of the first algorithmic crossovers that all your frequencies timed correctly, rather than 9,000 cycles showing up quicker than 2,200 or whatever – I’m not a mathematician! But the algorithms in that processor were ahead of their time, and it’s probably still the best processing out there: not because it does tricks, but because it does what a crossover should do in the time domain.” Asked to pick just one innovation that stands out, Roy Clair pauses for a while and then makes his declaration. “The 4x4 S4 package, hung from a grid rather than stacked on a platform. We hung it two high and eight wide, with a grid that allowed us to point them accurately, and previewed it on the Rod Stewart show of 1974. Mick Jagger heard it and immediately wanted the same system for The Rolling Stones. He probably stole Ronnie Wood that same night.” And so the habit of being in the right place at the right time continues, and the stories flow. For Roy, it seems to have always been an upward curve. “I could go on telling you this stuff for years,” he laughed. “You know, these two brothers from Lititz, Pennsylvania… they did somethin’ right.”


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Image courtesy of CJC Productions

We have recently seen reductions in the costs associated with producing a laser light show and because lasers can produce a multitude of effects the industry has experienced rapid growth.


Entertainment lighting is a dynamic field, filled with a variety of lighting options, which artists and designers can choose from in order to achieve a desired effect. Over the past few decades, the entertainment lighting business has exploded as new technologies have come to market and the overall cost associated with entertainment lighting have come down. Be it a concert or tour, sporting event, theme park, festival, disco, or bar. Entertainment lighting has proven itself to be a vital element for today’s entertainment and production businesses. While there are a variety of lighting options to choose from, no other lighting source can produce the multitude of effects and have the same emotional impact that laser light can. These factors, combined with recent reductions in the costs associated with producing a laser light show, have contributed to the industry’s rapid growth, and analysts now estimate that laser entertainment has grown to become a quarter of a billion dollar a year industry While a variety of different effects can be produced with laser, there are four primary effects that have emerged as the main staple in laser entertainment. The first, and one of the most versatile effects is the ability to create projected text, logos and animations with a laser. These are known as graphic effects within the industry. You can also project these types of images and text through water screens or scrims to produce what appears to be a floating image. And finally, different laser graphics can be choreographed together to create full-on laser graphic shows. These can be set to a particular theme such as a birthday, wedding or holiday. The second effect, and one of the most popular is known as an overhead beam effect. This is where atmospheric laser effects are projected over the heads of people in the audience, and in some cases, a ceiling of sorts can be created out of laser light. Some companies call this Liquid Sky. When projected through fog or haze, it produces a sort of marbling look, which is quite captivating, and can literally give people the feeling that they are in another world. The third type of effect is an outdoor projection. These can be used just about anywhere, but have become very popular for use in large met-

ropolitan areas, as well as at theme parks, hotels and other attractions. Outdoor projections can be quite complex to setup, as they generally cover a large surface area. But even despite the complexities, these are becoming more and more popular around the world, as the need to entertain large audiences and attract consumers to a given location is growing. The fourth type of effect that can be produced with a laser, and considered by many to be the most beautiful, is called audience scanning. Audience scanning is where the laser light is projected directly into the audience, allowing people to interact and actually touch the light. While this effect is perhaps the most popular which can be produced with a laser, it is also requires that the laser operator take certain safety precautions to ensure the well being of those in attendance. In addition, there are certain restrictions surrounding the performance of audience scanning in different parts of the world, so as an entertainment lighting professional, you should be aware of these regulations in the areas you perform. Laser light shows have always been popular, but decades ago, when shows first got started, the costs involved and technical expertise required to produce a laser light show made them prohibitive for many applications. A laser operator had to essentially be a jack of all trades, encompassing electrical know how, plumbing experience, computer programming experience, as well as a variety of other skills just to put on one show. In addition to this, the equipment needed to produce a show could easily run into the hundreds of thousands of dollars. These factors combined together kept the laser show industry in the shadows, and years ago it took a back seat to other lighting options such as LED. As a result, lasers were mostly reserved as an elite special effect, only accessible to those with big budgets. However, over the years companies and institutions - such as the International Laser Display Association - within the laser industry have continually forged ahead, finding newer and more innovative ways to create and control laser light shows. As new technologies continually come to market, the costs and expertise

Image courtesy of Laser Dream

Image courtesy of Laser Dream

Image courtesy of Laser Dream


needed to produce a laser light show have been reduced, and as a result, laser effects have become a mainstay in a variety of venues and productions. This brings us to the present day, at a time when we can see laser light shows everywhere. From concerts and tours, to sporting events and festivals, to corporate events... Even live television and movies are using lasers as yet another element to their lighting lineup. In today’s entrainment marketplace, you’ve almost got to have a laser light show in order to even be considered a big or noteworthy production. So where is the laser entertainment headed, and how do you as an entertainment professional set yourself up for success in this ever expanding industry? In the past, the popular thing in laser entertainment was to get more power. Many believed that the more powerful the laser projector, the better the show. And with the high costs involved in purchasing or building a laser projector, individuals tended to try to get the most wattage for their investment. This was an obvious outlook, because in the past there was a real challenge to control multiple laser projectors. But as technology has advanced, and the price per laser projector has come down, an epiphany was realised that it is not just about power perse, but more about adding multiple laser projectors together, to produce an even more-stunning laser effect. In the past you might see only a few laser projectors at a show. But now, it is commonplace to see a multitude of laser projectors being used all at the same time, creating a vast array of laser effects. There are many companies in operation right now, who perform shows using 10 or more laser projectors all at the same time. Not only has the cost come down to purchase a laser projector, but the way in which you control laser projectors has also evolved, and has been simplified. With advancements being made in laser control technology thanks to companies like Pangolin, it is now easier than ever to create laser shows and effects, and play them back across a multitude of laser projectors. As a result of the technology becoming so much more affordable, and because it is so much easier to control laser projectors than in the years past, we are beginning to see special effects

companies who formerly stayed away from lasers, now bringing on the effect on full scale. Lasers are now being combined with effects such as pyro, video, fog, water fountains, and other lighting such as LED, to produce a true multimedia show. With this progression, the need to be able to control multiple laser projectors together with other lighting and effects in an easy to use fashion has grown. And this is where we believe the future of laser entertainment, and furthermore entertainment lighting is headed. A multitude of laser projectors, combined with pyro, video, fog, LED, etc. coming together to produce a full multimedia production. Over the past 27 years, Pangolin has become the world’s leading provider of laser lightshow control software and hardware. For many years, our award-winning Lasershow Designer 2000 laser control system was the industry standard among professional laser light show companies. In 2008, we released QuickShow - an affordable and easy to operate laser controller, which also allows the laser operator to produce some very powerful effects. As laser displays are becoming more popular, and as more and more laser projectors are being used in conjunction with other mediums, the need for a controller to address these requirements has grown. So in 2011, we launched version 1.0 of BEYOND. BEYOND combines the ease of use of QuickShow, together with the power of our professional level LD2000 product, and also incorporates a variety of new features, which help to address the growing trends emerging in laser entertainment. Namely, allowing operators to control multiple laser projectors in an easy to use way, and giving operators tools that allow them to easily combine laser with other effects, to produce a multimedia show. BEYOND addresses many of these growing trends in laser entertainment, and really focuses on simplifying the process of creating a laser light show. It helps operators control multiple projectors easily and interface with other mediums to create a true multimedia show.

Introduction written by Pangolin



The official opening of the biggest football stadium in Trnava, Slovakia became one of the greatest sport events of 2015 in the region. An audience of 16,000 people were awaiting the opening ceremony at which Kvant took an important role as the visual technology and show content supplier. One whole side of the football pitch was turned into a stage, which needed to be covered by different visual elements for a stunning visual experience. To cover a 120 metre wide area with the laser beams, Kvant used 26 Spectrum 20 full colour laser systems and another three units of the same model for the football pitch laser mapping. Additional equipment supplied by Kvant included 400 sq metres of PH6-10mm LED screen, high power video projectors and hazers. All the lasers were controlled by Showtacle Moncha.NET control interfaces built into the lasers running Fiesta.NET laser control software. The time code was used for the global synchronisation of all the show elements that included lasers, LED screen animations, video mapping, pyrotechnics and dancers’ costumes. Kvant’s production crew spent almost a week on the installation, programming and rehearsals before everything was set to go. The laser safety was as always, paramount to the whole project and this time Kvant used four-way metal masking plates on all the systems. This was carried out to limit the projection zones so that all the lasers were 100% safe, even if an unlikely emergency situation occurred. The massive applause of the 16,000 strong crowd spoke for itself.




Image courtesy of Trojan Peter

We’ve been challenging the new AMS range to the most rigorous environmental testing in Tannoy’s history. Achieving a category leading IP65 rating, the new AMS range have been designed to not just sound incredible on day one but to sound incredible years after being installed, in almost any challenging environment...



Following a competitive tender process, Swan Hill Rural City Council has engaged with Laservision Mega Media to design, develop and install a world-class, large-scale, night-time attraction on the picturesque banks of the Little Murray River at the Swan Hill Pioneer Settlement. The state-of-the -art attraction is the centrepiece for the revitalisation of the Pioneer Settlement, one of Victoria’s iconic regional attractions

in its 50th year of operation. November 2014 saw the announcement of a joint Victorian and Federal Government investment of AUS$2.8 million towards the development of the Swan Hill Pioneer Settlement ‘Heartbeat of the Murray’ experience project. Additional contributions from the Swan Hill Rural City Council, Friends of the Pioneer Settlement and Swan Hill Incorporated brought the project total to


AUS$3.85 million of investment into the state-of-theart multi-media laser light show, which also includes the Dumosa Hall Café, Horseshoe Bend Park and pontoon at the Lower Murray Inn. The redevelopment is supported by the Federal and State Governments, as well as the local Council and community as the project significantly enhances the cultural visitor experience at Swan Hill.

Emotion Media Factory has successfully developed, created and produced two 20-minute multimedia shows for the new indoor Romon U-Park in Ningbo, China. The two shows, the Source of Light and The Story of Zheng He, include video projection mapping, laser beams and laser graphic effects, digital water screen, fire bursts, lights, fog, music and sound effects. Shows are technically based on 10 Barco video projectors projecting onto the 30-metre by 30-metre pyramid, the 20-metre wide pyramid stage screen and the back wall, two High-End video servers, 12 full colour laser projectors, 48 moving lights, 20x flame bursts and 18 metre digital water screen all centrally controlled and synchronised. For each multimedia show, Emotion Media Factory produced individually composed music scores combined with multi-track sound effects. The individual music composition maximises the intensity of the shows and creates the unique multimedia experience, which can be enjoyed by people of all age groups. Emotion Media Factory was responsible for all aspects of project planning, from a rough sketch of the idea through design and installation all the way to full show production, as well as system operation and maintenance.


...TO A



HB-Laser recently set up a multimedia installation in the city of Schärding, Austria titled Winterzauber in Schärding am Inn and Lichtspiele Schärding / Neuhaus. The project was organised by the tourist agency of Schärding. The multimedia projection illuminated the whole city centre, with the faÇades of the buildings covered with video mapping and video projections, and the orchard covered by laser projections. Multiple informative projections were also displayed alongside the loop road in the city centre. The video projections were carried out using six video projectors, all controlled with two special Titan multimedia workstations. In order to be able to cover the whole place, a small tower was custom built for the project. The next Lichtspiele has already been announced for November 2015.

...This latest generation of Dual Concentrics have their genesis in many of the world’s high end recording studios, with that signature Tannoy technology being used to mix and master a rich collection of contemporary classics. AMS ensures that playback of recorded material sounds exactly as the engineer intended when it was mixed in the studio, making them perfect for entertainment and hospitality venues, as well as areas where true sonic clarity and reliability is required. We challenge you to a Dual.



“The last tour we did with David Gilmour was in 2006, it was the On an Island tour. We used a big 50W Laserscope and it still had to have a chiller to cool the water. There was also a copper vapor laser, which gave us a beautiful gold beam - and that was it,” states David’s longtime laser designer and operator, Mark Grega, who also happens to be a partner in the current tour’s effects supplier, Strictly FX of Chicago, USA. Times have changed; however certain things haven’t. For the production at the Royal Albert Hall on David’s current tour, Mark worked with production designer, Marc Brickman. Designing the lasers is a process that Mark has been through with Marc numerous times. “Marc can give me a look and I can understand what he’s saying. It can be a two second conversation as we’re passing each other backstage, and it’s understood what that meant. It could have been a half hour discussion, but in two seconds he can tell me what he’s looking for,” explained Mark. The moment that the lasers filled Royal Albert Hall was breathtaking and astonishing; it was made more so by the fact Marc decided to use the lasers in only one song: the legendary ‘Comfortably Numb’. Mark noted: “It’s only for that moment, and that moment was amazing. The audience had no idea that it was coming. Most designers would have used it throughout, and honestly, the impact of it would have been diminished if it had been

Image courtesy of David Kennedy


used earlier, because lasers are quite specific. The brilliance of Marc Brickman is the fact that he waited for that moment, and turned all the lights off when the lasers were used.” For the Rattle that Lock performances at Royal Albert Hall, Mark specified more than the two lasers he used in 2006. “We brought out three different types of lasers for their specific role,” he said. First, he chose three high powered hybrid lasers. “We had the 36W RGBY Arctos, which are our largest indoor lasers. They give us a really, really beautiful white, and that was for second


This year’s Electric Love Festival, located in Austria, featured a show-stopping laser show, implemented and controlled by Laserfabrik, partners of the Laserworld Group. The laser systems were manufatured by Ray Technologies (RTI). The laser show featured a set-up of eight RTI NANO RGB 30 high as well as eight RTI PIKO RGB 18 end laser systems, all controlled over Lasergraph DSP laser show control, combined with DMX remote trigger. The RTI NANO RGB 30 laser systems have an equal-power set-up per colour source, meaning 10W red, 10W green and 10W blue - resulting in an extremely good white balance at full power. As additional effects, four gigantic water shooters were provided by Laserworld’s partner Art2O - each ranging 45-metres in height. The special challenge at the festival was the requirement of high precision laser systems with long reach, as the public zone in front of the main stage was so large.

verse, which was a wave look.” From there, he added in six Lightline Excellent OPS lasers in an RGBO configuration and the proprietary Strictly FX Stinger, which is an audience scanning diode; there were 10 of them on the show. Grega noted: “There were moments that were big, but because we were able to do audience scanning, they became enormous. And the Stingers were perfect for that.” Mark ran the DMX laser elements on an MA Lighting dot2.



A novel kinetic installation uses laser beams to illuminate a multitude of spheres moving to the sound of music creating large sculptural structures. Deep Web will be shown during the famous Fête des Lumières, Lyon, France, in the Hôtel de Région Rhône-Alpes from 5-8 December 2015. Deep Web is a monumental immersive light art installation and live performance created by the visual artist, Christopher Bauder and the composer and musician, Robert Henke - aka Monolake. LaserAnimation Sollinger provided the technical expertise and development for this spatial laser setup. The motor winch systems and main control software are provided by Kinetic Lights and Design Studio WHITEvoid. The Kinectic Lights winch systems have a travel height of seven metres at a variable speed of up to 0.5-metres per second and a positioning resolution of 1mm, the DMX controlled winches

provide unparalleled performance and precision. The lifting systems with the attached spheres are arranged in a regular large scale array. The winches are real-time controlled via Artnet to DMX interface from the main control software. All winches communicate their actual positions back to the control software. The control software in return is linked to the laser system and forwards the real-time position data together with the laser colour and animation data. This allows the lasers to follow and hit the moving spheres. At the same time the main control software receives input from the audio software via OSC. This way audio and visual output are always 100% in sync. Sound is generated in real-time using Ableton Live, a performance and composition environment, co-developed by Robert Henke. Ableton Live also acts as host for devices written in Max / MaxForLive, which parse control data to the

movement control software. Live’s timeline editor acts as the main sequencer to arrange all auditive, visual and kinetic aspects of the show. Audio is mixed down to eight channels, plus additional channels for the subwoofers. The eight-channel set-up allows to incorporate precise spatial control of all sonic events. To create the Deep Web, individual small elements altogether form a large-scale super-structure. This analogy to digital networks acts as the canvas for the performance setup. The generative, architectural and luminous structure measures 25-metres in length and 10-metres in height. It consists of 175 motorised spheres filled with liquid and 12 high power laser systems positioned all around. In total eight highest quality Phaenon X AT RYGCB 25W and four Phaenon X RYGB 30W manufactured by LaserAnimation Sollinger are used. Each projector is responsible

Image courtesy of WHITEvoid

for targeting 90 spheres. Because of the high laser power special precautions are put into place to ensure that the targeted spheres are also hit. Each laser projector is controlled by a Lasergraph DSP Mark2 controller receiving OSC and ARTNET. Specialised software then sends laser beams precisely to the requested positions. While the spheres move up and down, choreographed and synchronised with music, they are followed and illuminated by coloured laser beams. When a sphere is hit by a laser beam, the sphere stops the beam and at the same time emits the scattered laser light. This way each sphere acts as a movable end point to the normally endless beams of light. Almost physical drawings made of light emerge from the darkness. Sculptural light arrangements are created and animated in three-dimensional space accompanied by a multi-channel musical score. Sublimating the architecture of the atrium of the Hotel de Region designed by Christian de Portzamparc, Deep Web plunges the audience into a ballet of iridescent kinetic light and surround sound music. /



Robert Henke’s Lumière II explores the limits of what can be done with lasers, pushing the medium to the extreme and playing with its very own properties to create previously unseen images of excessive brightness or near complete darkness, pure white or colours impossible to achieve with video, shapes and movements between boldness and complex elegance. A constantly refined piece of software written by the artist himself makes it possible to compose in a process that always links sound and vision. Sound is vision is sound, treated as one absolute

unity. Lumière II is a performance on the edge of concert and visual arts. It is the second iteration of a long-term exploration of a commonly underrated medium, an ongoing work in progress with every performance representing a unique snapshot of the current state. The title Lumière means light in French and also refers to the pioneers of early cinema, Auguste and Louis Lumière. The first version of Lumière premiered at Unsound Festival 2013 in Krakow and has been touring Japan, Europe, USA and Canada, including festivals and venues like CTM / transmediale

Berlin, FutureEverything Manchester, Donaufestival Austria, Elektra / MUTEK Montréal, Digital Revolution at the Barbican London, Teatro dei Rinnovati Siena, Palais des Beaux-Arts Brussels and The Rest Is Noise at Muziekgebouw aan ‘t IJ Amsterdam. Lumière II was premiered at Centre Pompidou in Paris in February 2015. LaserAnimation Sollinger supplied all the laser projectors for Robert’s exhibit.

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Whether lasers are an additional special effect or a show-stopping centre-piece, they bring life to every event no matter what the occasion. Lasers and video projection go hand-in-hand creating an incredible atmosphere for any event. LM Productions was commissioned by Ibercover, a Spanish production company, to create a stunning multimedia show for the Madrid City Council. A bright building mapping was complimented by stunning laser effects and choreographed to a custom soundtrack. The top of the range technical equipment and a dedicated crew who worked through the night created an award-winning 25-minute multimedia show which was enjoyed by thousands.



Matrix Laser has been privileged to be a part of one of the world’s richest horse race, the Dubai World Cup at Meydan Racecourse, Dubai. Matrix Laser was contracted by technical production company, SNAP, to contribute to the opening ceremony of the horse race. To fulfill the required output, 10 18W laser systems were used to project outline animations onto a fog screen. Flash Art Dubai used pyrotechnics to produce the fog screen, which consisted of several layers of smoke sufficiently dense to allow impressive laser projections. The laser outline animations were synchronised to animations being simultaneously projected on adjacent LED screens. Eight laser systems were positioned on top and around the LED screens and two were positioned on top of the LED screen supports at a height of 60-metres.

30 Celebrating


of World Class Laser Show Systems Our legendary products mark the path to our position today as one of the world‘s leading manufacturers of strictly professional laser show equipment. Innovation, knowledge, experience, unusual ideas, quality, persistence, credibility, sincerity and reliability are the keywords characterizing us. Together with our partners and clients we are looking forward to exciting new projects and products.


Version 4 bears the fruit of Green Hippo's dedication to software development including FlexRes, built in 3D visualiser, SHAPE integration, all new output management and a re-designed user interface. Every V4 system features front panel indications of system status, as well as removable hard drives as part of the STRATA Caddy System. Inside, Hippotizer V4 includes all Solid State Drives as standard and the latest graphics technology to deliver unmatched performance. • 6 Native Outputs (SDI, DVI, DisplayPort 1.2) • Integrated DVI or HD-SDI capture card and Genlock • Optional touchscreen • 4 removable STRATA drives • Supports greater than 8K WWW.HIPPOTIZER.COM

Par4Keet combines class-leading video playback at 4K resolution and beyond along with true realtime media manipulation and multi-screen configurability in a robust casing. • 4K+, up to 12 Megapixels in any shape or aspect ratio • Overlay Channel to superimpose logos or live video feeds • 4 Outputs featuring advanced output mapping to drive unusual display setups • Optional DVI/HDMI or HD-SDI input for overlay of external sources • SMPTE Timecode to lock video to external sync sources • External Control via TCP/IP • Timeline Controller to sequence one or more units to work together WWW.AVIARY-VIDEOTOOLS.COM


W W W. G R E E N - H I P P O . C O M


Today, it seems that no opening of a major intentional sporting event is complete without a stunning opening ceremony. Frequently, these combine live action, audio-visual effects and pyrotechnics. The inaugural European Games, recently held in Baku, Azerbaijan, were no exception. Sascha Kwasny of tarm Showlaser, Michael Sollinger of LaserAnimation Sollinger and Andreas Zuck from Coherent were all involved in bringing this project to life. One of the highlights of this nighttime opening ceremony was a laser-enhanced segment which portrayed the abduction of Europa by Zeus - in the form of a beautiful white bull. This is an ancient myth, often attributed to the Cretan/Minoan civilisation, frequently seen as representing east to west migration and the birth of Europe. Held in the purpose-built, 68,000-seat, Olympic stadium, this enactment featured a life size and articulated bull puppet which slowly and serenely flew across the darkened arena. A female dancer was suspended by invisible wires on the bull’s back, enabling otherwise impossible choreographed moves in mid-air. The arena floor was staged to represent the shore of the Caspian Sea. While the bull and female dancer slowly ‘flew’ across the sea, to the accompaniment of classical piano music, a high brightness, pure white laser display was projected below them on the floor of the arena. Beginning with an apparently random pattern of interconnected,

moving points of light, it coalesced near mid-flight to form the map of Europe, which then slowly moved across the floor to signify Europa’s trip across the sea. As the pair flew away, the laser projection again became a stunning and dynamic abstract array of interconnected points of light, which could be interpreted as the many cities of modern Europe. The show was concepted and directed by the creative group Five Currents, who contracted tarm Showlaser for the design and operation of the laser effects. They chose to make the Zeus bull/Europa sequence completely white to highlight the attractive bull and the purity image of Europa. As most readers will know, white laser shows are always a challenge, because white laser light can only be achieved by mixing beams of various different wavelengths. A white laser show in a large outdoor arena is particularly difficult because the large display demands substantial power, and the various combined colours have to stay perfectly aligned over large throw projection distances to avoid color fringes on the images and effects. Plus, light at different wavelengths behaves differently when passing through refractive optics. For these and other reasons, Tarm created these laser effects using a total of 16 high power Phaenon X AT projectors from LaserAnimation Sollinger controlled by built in Lasergraph DSP MK2 units. These full colour projectors each include five different lasers - all Coherent Taipan lasers based on optically pumped

Image courtesy of tarm


semiconductor laser (OPSL) technology. The various Taipan lasers were at standard non-custom Coherent wavelengths: red (639nm wavelength), yellow (577nm), green (532nm), cyan (488nm) and blue (460nm). Many colour laser projectors include just red, green and blue, but these alone do not produce a good, pure white or yellow. The red and green appear to separate in the eye of the viewer. Cyan and yellow together produce a good white. Combining RGBCY thus gives both a good white and the high brightness of five lasers, delivering a total power of 25W from each of the 16 projectors. For sharp images at long distances, such as the map of Europe in this Baku show, the pointing stability and low beam divergence of the OPSL technology is an important advantage. This divergence is reduced even further by proprietary optics in all PHAENON projectors. Reliability is also a factor, that is why Tarm choose LaserAnimation products and provided each projector with an UPS (uninterruptible power supply) to deliver up to 20-minutes of back-up power if needed. The entire system was centrally controlled using a LAN loop configured as a rapid spanning tree protocol, plus secondary backup loop. This included 2.75km of OM3-fibre and nearly 2.5km of Cat.6A cable.

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X-Laser’s work on Matilda The Musical on Broadway a few years ago featured the idea that a laser lattice would simulate being trapped in a web, and given the unique optical properties of laser, the effect could be extended out over the audience. The concept, which was developed by Hugh Vanstone, became the basis for the Inspiration Project. For the Inspiration Project, X-Laser outfitted a warehouse and brought in more than a dozen performing artists and actors to help create the scenes that would showcase just a few of the many potential looks that laser is uniquely suited to help create. While a much more powerful defiant laser had been originally specified to be used, the X-Laser team found that the effect was actually better using a lower power base with a small, single-beam source. Once the

tracing was completed, the effect was animated, which allowed the operator to highlight each feature of the vehicle design. In the last projection effect, a 700mW RGB laser was used to create a simple text effect above a corporate cocktail hour scene, effectively branding the venue, which could have been created using a custom gobo. However, in the case of laser, the text effect could be easily animated to rotate on all three axes, change colour, scroll or feature additional content all from one projection device. The first scene was a reimagined version of All That Jazz from Chicago, where piercing red laser beams danced and played along to create a fantasy look that could both serve as a backdrop to the performance or completely envelop the performer and audience.


SOUND THAT GOES THE DISTANCE NEXO loudspeakers deliver the high output levels necessary for long-throw applications. GEO S12-ST cabinets combine high SPL with a smooth frequency response, enhanced speech intelligibility and focussed dispersion to give system designers the performance and flexibility they need to achieve perfect crowd coverage throughout any venue. No wonder NEXO scores big in stadium and arena environments. #41873 - Throw ad - Mondo.indd 1

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Outline supplies waterfront venue in Beirut with a robust sound system.


Described as a green island in the heart of Beirut, Seven Sisters located at the Beirut Waterfront is an outdoor paradise that features several hidden gems, all of which surround the circular bar. Visitors to the bar will experience great drinks, delicious food and can enjoy a beautiful sunset while listening to live bands. The ethos at the venue is dine, drink, dance, repeat. It was vital the correct audio equipment was specified to cope with the harsh outdoor environment at Seven Sisters so the management team turned to local integrator, Sound Pressure Level to install the best solution. Needing high quality performance at high SPL level, Sound Pressure Level looked to its Outline portfolio for the answer, installing 38 Eidos

loudspeakers - 10 Eidos 12’s and 28 Eidos 10’s - alongside eight Eidos 218S subwoofers to extend the low frequency response. The system is driven by two Genius 24 digital controllers, four T-Five amplifiers and five M-5000 amplifiers, also manufactured by the Italian company. Special thanks for this project go to Elie Louaizi and Maya Louaizi of Sound Pressure Level, Karim Mohamadieh for the management and contracting, Rabih Fakhreddine for his trust and encouragement along with Joe Ziadeh and Tony Hayek who supplied the power and did a great job with the electrics.




Co-governed by the Minister of Culture and National Heritage, the Community of Wrocław and the Lower Silesian Province - The National Forum of Music is an institution of culture operating as a performing arts concert venue. Located in Wrocław, Poland, The National Forum of Music (NFM) is a performing arts organisation that also operates as a state-of-the-art concert venue catering as a space for creative ideas and artistic debates. The organisation was established in 2014 through merging the International Festival Wratislavia Cantans and the Wrocław Philharmonic. Managing Director of the two mergers and now of NFM, Andrzej Kosendiak is one of the initiators of the organisation. As the largest complex of its kind in Central and Eastern Europe, the NFM is an important landmark of the Polish city, focussing on providing opportunities for young people and adults alike with a collective aim to engage new audiences by encouraging active participation in cultural life. With a total usable surface area of 35,700 sq metres, the NFM building is home to the Main Concert Hall with a surface of 1,840 sq metres, and three smaller chamber rooms. The Main Concert Hall seats 1,800 guests and consists of three balconies, the parterre, amphitheatre and choir. It is outfitted with a shifting platform designed for choir singers; HVAC system nozzles fixed underneath every seat; digital cinema and sound system; and professional equipment for recording performances. The chamber rooms consist of the Red Hall with 400 seats, the Black Hall housing 230 seats, and the Chamber Hall made up of 220 seats. The chamber room area also includes storage rooms and recording production rooms, making them ideal for rehearsals, concerts and conferences.

Additionally, the NFM features a library, a music shop, restaurants, and an exhibition space. The building was designed by Kurylowicz & Associates Architecture Studio, which was selected through an international architectural contest. The design of the building was inspired by a musical instrument, with the shape resembling the body of a string instrument, whilst the foyer - covered with black and white Corian - connotes a piano keyboard. With the NFM in high demand to showcase a large range of events and performances, all the concert halls are adjustable for different kinds of events including orchestral rehearsals, musical concerts, various meetings, conferences, congresses and movie screenings. P.S. TEATR was responsible for the delivery and installation of the technology lighting equipment, stage machinery and the acoustic curtains system, as well as the audience lighting controlling system. The NFM is equipped in a complex light inventory, the main lighting rig includes 50 Vari-Lite 1100 moving heads that feature CYM colour mixing, rotating gobos and variable diffusion for a wide range of effects. It also features 276 ETC Source Four followspots with variable optics; 5°, 14°, 36°, 50°, 15°-30°, 25°-50°, 100 ETC Source Four PAR EA luminaires, 54 Selecon Rama Fresnel 150 luminaires, 40 Selecon Aurora asymmetrical floodlights and six Robert Juliat followspots. Offering dynamic effects and intense lighting, six Showline Nitro 510 strobe


INSIDER INSIGHTS NAME: Paweł Ziomecki JOB TITLE: Projects Coordinator LIKES ABOUT TECHNOLOGY: What I like the most about projection stage technology is there is always something new - different projects, new solutions, new places and co-workers. You can get to know other people’s way of thinking and their experiences, which is inspiring. DISLIKES ABOUT TECHNOLOGY: Sometimes the things I like are also the things I dislike - an individual approach to a project under time pressure and bureaucracy can be very demanding. Another hard aspect during projects is making agreements with companies that I collaborate with. But come the end, it is always very satisfying when we manage to create something new. THE NEXT BIG THING IN TECHNOLOGY WORLD: I am certain that LED technology will replace traditional lighting sources. It is hard to say how the technology world will appear in the future, because the technology is moving very fast; almost every day we have new solutions being invented.

lights feature in the Main Concert Hall as well as the chamber halls. While six Vari-Lite 3015 Spot moving heads were installed directly above the stage in the Main Concert Hall. Furthermore, 24 Selecon PLCYC2 asymmetrical floodlights were installed centre stage in the Main Concert Hall, as were 20 Selecon Fresnel PL3 LED luminaires. And under the balconies surrounding the hall are 12 Vari-Lite VLX moving heads and 12 Vari-Lite 3515 Spot moving heads. Due to the National Forum of Music’s diverse range of events, it was essential that a dynamic lighting design was selected, one that could efficiently adapt and cater for the diversity of the venue. For this reason, P.S. TEATR proposed additional fixtures, described as a directors lighting set. The company’s proposition received full support due to the directors lighting set - being a temporary assembly as required by the projects - offering the facility the possibility to create multi-purpose applications for almost any event. A total of 12 DTS MAX head projectors were installed - as part of the directors lighting set - allowing for four different types of projection with a single moving head - beam, spot, wash, and studio - allowing for impressive effects in all of NFM’s various performances. These sat along 12 Martin Professional MAC Quantum Profiles which were installed for their flat field, crisp image and high contrast, as were 12 Martin Professional MAC Quantum Wash fixtures. Paweł Ziomecki, Projects Coordinator of P.S TEATR explained that this combination of fixtures was chosen due to each of them perfectly complementing each other. She said: “The unique features of DTS, Martin Professional, Philips and ETC fixtures create a valuable synergy that increases the capabilities of lighting rig.” In total, the NFM is equipped with 892 ETC Sensor dimmers with the filtering efficiency of 400uS and 132 non-regulated circuits, controlled via ETC Sensor modules. Furthermore, the halls have been fitted with an advanced lighting control signal transmission system, which includes 135 Pathway ArtNet and DMX decoders. The venue’s lighting control is taken care of by ETC lighting consoles supported by NET3 - a remote control system. The EOS Titanium console has the responsibility of controlling the Main Concert Hall, while the GIO 2K systems control the three other rooms. The Main Concert Hall’s stage is equipped with three trapdoors and a Spiralift drive system, additionally fitted with

the choir and chair trolleys. Mechanical devices - panels, gates, curtains, acoustic barriers - are controlled from the central drive system, making it possible to fully synchronise the movement of all devices. The SIL3 security system enables the devices to work even during performances and concerts. The stage machinery setup control is performed by the AIDA controlling system. The NFM’s acoustics design was carried out by New York-based Artec Consultants (now part of Arup), which was also the theatre planning and audiovisual systems designer of the project. The architect was Cohos Evamy Partners. With a team of highly praised designers known for their acclaimed experience in designing concert halls around the world, Artec were invited to take part in the predesign process with partners IMG Artists and Davis Landon in order to define what the facility needed based on the market demand and comparable facilities locally, regionally and internationally. Once the pre-design part of the project was complete, ESS Audio was invited to design a full sound system for all four concert halls based on Artec’s system overview design. ESS Audio delivered and installed and launched all of the venue’s sound systems. ESS Audio’s Managing Director and Vice President, Witold Karałow, explained the company’s involvement in designing the sound system for the NFM. He explained: “Our design department had to meet the expectations of Artec specs, acoustics, aesthetics of the building, construction and design system that would be useful and reliable. We had to choose solutions, sketch plans of the system, and then choose products.” Witold went on to describe the long process and development of creating such a large and complex system: “We had to deal with 1,000’s of products and design the system as one well-functioning organism, a lot of simulations in EASE, CAD drawing, and coordination with architects, Artec / Arup specialists, contractors, re-adjusting system design multiple times.” Loudspeakers for the Main Concert Hall are provided by JBL and include 18 AC18/95 loudspeakers that Witold commented are, “great sound quality and also easy to assemble and disassemble, which was expected by investor,” and the perfect surround solution for when part of the hall becomes a cinema. The front cinema system comprise three JBL 5742 four-way high way screen arrays, and two 4642A subwoofers also feature in the hall. A total of 12 JBL CBT100LA line array column loudspeakers deliver intelligible sound for announcements.

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• Above The foyer’s interior, designed to resemble a piano keyboard.

Crown DSi and Crown DCi network amplifiers power all the JBL loudspeakers. When asked why ESS Audio chose Crown to power the system, Witold offered: “Crown DCi are 2/4/8 channel high performance, reliable and power saving amplifiers and its built in BLULink connection worked perfectly with the BSS Audio BLU processors we used in network to control zones and loudspeakers.” ESS Audio made the advised decision to use Meyer Sound loudspeakers in all four halls. ESS Audio team were informed that Meyer Sound offer the best solution according to the venue’s acoustic designers, as well as being the preferred system by NFM. A total of five Meyer Sound CQ-1 wide coverage loudspeakers, six Meyer Sound UPA-1P compact wide coverage loudspeakers, three Meyer Sound MJF-212A high power stage monitors, three Meyer Sound USM100P wide coverage stage monitors, three Meyer Sound UM1-00P stage

monitors, and five Meyer Sound Galileo loudspeakers, were installed throughout in the smaller rooms. While Meyer Sound Mica and Mina line arrays, as well as UPA-1P and UPQ-1P loudspeakers and 1100-LFC subwoofers are at home in the Main Concert Hall. Optocore is responsible for the venue’s audio networking, chosen by ESS Audio due to the optical cables meeting Artec’s expectations. Soundcraft digital consoles - Vi1, three Vi2, Vi6, and Si Performer were chosen for all four halls due to their compatibility with Optocore. The Vi1 is also used for archive recording. Witold continued to explain ESS Audio’s process, focussing on the products chosen for means of communication: “A total of 872 JBL Control 24 and Control 26CT were used throughout the building for communication. We also used BSS BLU Series processors to control and configure multizone communication and announcement loudspeakers and network amplifiers from Crown.” The acoustic panels in the Main Concert Hall are adjustable and can be altered depending on the repertoire and the size of the ensemble - the adjustable features include the acoustic control chambers surrounding the hall on multiple levels, the multiple individually motorised canopy reflectors above the platform and audience areas, and the adjustable curtain systems which absorb sound energy. Sound accesses the acoustic control chambers through motorised panels around the room. Above the balconies of the Main Concert Hall, there is also a technical storey where the acoustic panels hoists, banner, stage barrels and

speaker baskets winches, and 24 mobile chain hoists have been installed. All the halls are sound insulated, providing isolation from outside interference. This solution creates perfect acoustics for the entire building, allowing for the highest volume level to be played in all the halls with zero disturbances for audiences. Witold expressed the main challenge his team had to overcome throughout the project was cabling: “We had to work fast and be in constant communication with all contractors to coordinate cable routes with them. We installed almost 150 km of cables only for audio systems.” Both ESS Audio - its team including Adam Pieron, Lukasz Szymanowski and Wojtek Kopytek - and P.S. TEATR worked hard to design and install audio and lighting systems that fit the design requirements of both Artec Consultants and Kurylowicz & Associates. Overcoming this challenge posed as difficult for both companies. The dedication that the ESS Audio team brought in order to create a sound system that is compatible with the brief is unmistakeable, each element of the design has been refined, which meant the audio specialists faced a longwinded and repetitive process when creating a system that produces perfect acoustics. Witold also commented: “The design itself was a challenge because NFM is the biggest and most sophisticated concert venue in Poland and our goal was to design a setup which is easy to use, complete, harmonious and reliable, and I’m sure that we achieved the plan, 100%.” Paweł offered: “There was the unusual





Le Forum national de la musique est un organisme artistique et une salle de spectacles situés à Wrocław (Vratislavie) en Pologne. Le forum fut créé en 2014 à la suite de la fusion de l’International Festival Wratislavia Cantans et de l’Orchestre philharmonique de Wrocław. Le bâtiment présente une salle de concert principale accueillant les grands spectacles et trois autres salles pour les concerts de musique de chambre. L’entreprise P.S TEATR a fourni tous les dispositifs d’éclairage, la machinerie de scène et le système de rideaux acoustiques, et a également installé des lyres de chez Vari-Lite et Martin Professional, des projecteurs mobiles de chez Robert Juliat et des luminaires ETC, tandis que Artec Consultants a conçu l’acoustique du lieu. Le cabinet Artec était aussi responsable de l’organisation du théâtre et des systèmes audiovisuels du projet. L’entreprise ESS Audio a conçu, installé et lancé un système de sonorisation complet pour les salles de concert, basé sur la conception du système d’organisation du cabinet Artec. Des haut-parleurs JBL ont été installés un peu partout dans le bâtiment, tandis que des amplificateurs Crown, et des enceintes et des haut-parleurs de chez Meyer Sound ont été installés dans la salle de concert principale. En 2016, plusieurs spectacles seront présentés, dont ceux de Weinberg et Kwieciński en janvier.


Das Nationale Forum der Musik ist eine Organisation für darstellende Künste und ein Konzerttreff in Breslau, Polen, der 2014 durch die Verbindung des Festivals Wratislavia Cantans und der WitoldLutoslawski-Philharmonie entstanden ist. Das Gebäude umfasst eine Hauptkonzerthalle für große Aufführungen und drei Säle für Kammermusik. P.S TEATR lieferte die Beleuchtungsausrüstung, die Bühnentechnik und das akustische Vorhangsystem und installierte Moving Heads von Vari-Lite und Martin Professional, Punktstrahler von Robert Juliat und Leuchten von ETC, während Artec Consultants die Akustik des Standorts konzipierte. Artec war ebenfalls für die Theaterplanung und die audiovisuellen Systeme des Projekts verantwortlich. ESS Audio konzipierte, installierte und startete ein Vollsoundsystem für die Konzerthallen, das auf den Systemübersicht-Entwurf von Artec basiert. JBLLautsprecher wurden im gesamten Gebäude installiert und CrownVerstärker sowie Meyer Sound Line Arrays und Lautsprecher in der Hauptkonzerthalle. 2016 werden im Januar neben vielen anderen Konzerte von Weinberg und Kwieciński aufgeführt.


Il National Forum of Music è un’ organizzazione artistica e una sala concerti che si trova a Breslavia (Polonia) e che si è istituita nel 2014 attraverso la fusione del Festival Internazionale Wratislavia Cantans e della Filarmonica di Breslavia. L’edificio ha una sala concerti principale, per le grandi rappresentazioni e tre sale per concerti più piccoli. PS TEATR si è occupato dell’ illuminazione, dei macchinari da palco e del sistema di tende acustiche, oltre che ad aver installato delle teste mobili Vari-Lite e Martin Professional, dei seguipersona Robert Juliat e degli apparecchi di illuminazione ETC; mentre Artec Consultants si è occupato della progettazione dell’acustica dell’ edificio. Anche Artec si è occupato della pianificazione del teatro e dei sistemi audiovisivi del progetto. ESS Audio ha progettato, installato e lanciato un sistema audio completo per le sale da concerto, basato sullo stile di progettazione Artec. Degli altoparlanti JBL sono stati installati in tutto il locale, mentre gli amplificatori Crown, i line array e gli altoparlanti Meyer Sound si trovano nella sala concerti principale. Il 2016 vedrà le performance di Weinberg e Kwieciński (a gennaio) insieme a molti altri.


El National Forum of Music (Foro Nacional de Música) es una organización y lugar de conciertos dedicada a la representación de las artes y se encuentra ubicada en Wrocław, Polonia. La misma surgió en 2014 como consecuencia de la fusión entre el International Festival Wratislavia Cantans y la Wrocław Philharmonic. El edificio alberga a un Salón Principal de Conciertos para grandes representaciones y tres salas de cámara para conciertos de menor envergadura. P.S TEATR entregó el equipamiento de iluminación, las maquinarias para el escenario y el sistema de cortinas acústicas. Además, instaló cabezales móviles de VariLite y Martin Professional, focos móviles de Robert Juliat y luminarias ETC, a la vez que Artec Consultants diseñó la acústica del lugar. Artec también estuvo a cargo de la planificación del teatro y los sistemas audiovisuales del proyecto. ESS Audio diseñó, instaló y lanzó un completo sistema de sonido para los salones de conciertos con base en el diseño general del sistema de Artec. Los parlantes JBL fueron instalados a lo largo de todo el lugar mientras que en el Salón Principal de Conciertos se instalaron amplificadores Crown y columnas acústicas y parlantes Meyer Sound. 2016 será testigo de representaciones de Weinberg y Kwieciński en Enero, de la mano de muchas otras.

challenge of combining the equipment assembly with the interior aesthetic demands. Usually lighting fixtures do not interfere with the general appearance of the building’s interior, however, in this case, the installations had to be coherent with the interior. It was very important to combine the lighting rig with the general project objectives.” The aim to create perfect conditions for various entertainment concerts and musical performances was achieved,

despite these challenges, thanks to the commitment and hard work of the companies involved - allowing the National Forum of Music to excel as one of the most cultural, state-of-the-art facilities in Europe. The New Year will see a variety of performances at the new venue of the NFM including the Concert of the NFM Symphony Orchestra on 15 January, and Lutosławski Quartet plays Lutosławski, Weinberg and Kwieciński on 21 January, along with many more.

TECHNICAL INFORMATION SOUND MAIN CONCERT HALL: 12 x JBL CBT100LA loudspeaker; 18 x JBL AC18/95 loudspeaker; 3 x JBL 5742 loudspeaker; 2 x JBL 4642A loudspeaker; JBL LSR708i monitors; 6 x Crown DSi 6000 amplifier; 2 x Crown DSi 2000 amplifier; 1 x Crown DCi 2|600 amplifier; 2 x Crown DCi 8|600 amplifier; 1 x Crown DSi-8M amplifier; 1 x Crown DCi 8|300N amplifier; 1 x Soundcraft Vi1 mixing console; 1 x Vi2 Soundcraft mixing console; 1 x Soundcraft Vi6 mixing console, 2 x Soundcraft SiPerformer 3 mixing console; 150 x AKG CSX wireless audio system; 22 x Meyer Sound Mica line array cabinet; 12 x Meyer Sound Mina line array cabinet; 6 x Meyer Sound UPA-1P loudspeaker; 6 x Meyer Sound UPQ-1P loudspeaker, 4 x Meyer Sound 1100-LFC subwoofer; 5 x Meyer Sound Galileo processor RED HALL: JBL LSR studio monitors; 1 x Meyer Sound CQ1 loudspeaker; 2 x Meyer Sound UPA-1P loudspeaker; 1 x Meyer Sound MJF-212A monitor; 1 x Meyer Sound USM-100P monitor; 1 x Meyer Sound UM-100P monitor; 3 x Meyer Sound Galileo processor; 1 x Soundcraft Vi2 mixing console; 1 x Soundcraft Vi4 mixing console BLACK HALL: JBL LSR studio monitors; 2 x Meyer Sound CQ1 loudspeaker; 2 x Meyer Sound UPA-1P loudspeaker; 1 x Meyer Sound MJF-212A monitor; 1 x Meyer Sound USM-100P monitor; 1 x Meyer Sound UM-100P monitor; 1 x Meyer Sound Galileo processor; 1 x Soundcraft Vi2 mixing console CHAMBER HALL: JBL LSR studio monitors; 2 x Meyer Sound CQ1 loudspeaker; 2 x Meyer Sound UPA-1P loudspeaker; 1 x Meyer Sound MJF-212A monitor; 1 x Meyer Sound USM-100P monitor; 1 x Meyer Sound UM-100P monitor; 1 x Meyer Sound Galileo processor; 1 x Soundcraft Si Performer 2 mixing console THROUGHOUT THE VENUE: 872 x JBL Control (25T & 26CT) loudspeaker; 10 x BSS Soundweb London BLU processor; 12 x Crown DCi-N amplifier; 150 x AKG CSX distribution system; Optocore audio network; AMX controllers; Mics from AKG, Shure, Neumann, Earthworks, DPA, Sennheiser, Crown LIGHTING 50 x Vari-Lite 1100 moving head; 6 x Vari-Lite 3015 Spot moving head; 12 x Vari-Lite VLX moving head; 12 x Vari-Lite 3515 Spot moving head; 12 x DTS MAX head projector; 12 x Martin Professional MAC Quantum Profile moving head; 12 x Martin Professional MAC Quantum Wash fixture; 276 x ETC Source Four followspot; 100 x ETC Source Four PAR EA luminaire; 6 x Robert Juliat followspot; 54 x Selecon Rama Fresnel 150 luminaire; 40 x Selecon Aurora asymmetrical floodlight; 24 x Selecon PLCYC2 asymmetrical floodlight; 6 x Showline Nitro 510 strobe light; 892 x ETC Sensor dimmer; 1 x ETC EOS Titanium console; 1 x ETC Gio console

Aerial photograph ©DeSciose 2015

Make everyone happy. Even the neighbors.

“The rig almost defies gravity with the sound staying put exactly where you want it. The place was sold out every night and everyone in the venue had nothing but positive things to say… and we didn’t hear a peep from the neighbors – exactly what we were looking for.” Jason Decter

FOH Engineer, Bassnectar, at Red Rocks Amphitheater

The goal of any production is to make everyone happy. Artist. Audience. Promoter. Crew. And now more than ever – the neighbors. To uniformly cover the audience with breathtaking audio that easily meets the volume demands of the production is one thing. Staying within the limits of local noise ordinances is another thing entirely. But Adaptive Systems™ from EAW do all of that at once. In seconds. With only the click of a mouse. For a typical Adaptive System, EAW Resolution™ software harnesses the power of thousands of discretely controlled audio components to perfectly match any three-dimensional coverage requirement while simultaneously minimizing levels outside the venue. Everyone is happy. Every time. Find out more about EAW’s game changing Adaptive Systems at

Adaptive_ad NoiseOrdinance_Mondo.indd 1

9/21/15 5:07 PM

Image © Semec-Fabre



The Palais des Festivals et des Congres de Cannes hosts a huge variety of events, theatre productions, international fairs, private and public events. The Cannes Film Festival, MIDEM and MIPCOM to name but a few highlights. Simon Duff reports on a new Adamson installation.

The building of the Palais des Festivals was designed by the architect Bennett & Druet with construction completed in 1982. The project was driven by the success of the Cannes Film Festival, which had experienced tremendous growth since its inception in 1946. The goal of the new building was to rival the Venice Film Festival venue while also highlighting the glamour of the French Rivera. The Palais des Festivals expanded in 1999 with the construction of the Espace Riviera, bringing the venue size up to 25,000 sq metres. With five main auditoriums, 26 committee rooms and some 24 organisers offices the Palais des Festivals is one of Europe’s leading conference and entertainment venues. Its largest auditorium, the Auditorium Louis Lumière, has an audience capacity of 2,309, which includes 35 private boxes, balcony seating for 1,428, and orchestra space for 750 musicians. The opening ceremony of Cannes Film Festival is held





there annually. The historical combination of Adamson and the Palais des Festivals is a 15-year story. In 1997 Didier Dal Fitto and Guy Vignet formed DV2 to distribute Adamson products in Europe. Five years later, DV2 won the contract for the design and installation of a new sound reinforcement system for the Auditorium Louis Lumière. The system was designed around the Adamson Y10 line array. Since installation, the Y10 system has given acclaimed results for in-house and external productions and after 15 years of loyal service, the Y10 system is still upto-date and held in high regard. The Auditorium Louis Lumière features a L-C-R configuration with left-right arrays made up of 10 Adamson Y10 enclosures plus three Y218 subwoofers. The centre cluster consists of another four Y10 enclosures. Four Adamson SpekTrix Sub subwoofers are positioned on the floor to bolster low end. The second largest theatre in the Palais

des Festivals is the Claude Debussy Theatre, which boasts an audience capacity of 1,068. The theatre was initially designed as an auditorium for classical music. In 1982 it was equipped with a unique reverberation active control system designed by Siemens. Recently in need of an upgrade, the management at Palais des Festivals again contacted DV2 and the Adamson legacy continued. DV2 designed a system featuring the new Adamson S Series line arrays. Dushow, one of the biggest rental and installation companies in France, won the contract and started installation in July. The configuration, similar to the Auditorium Louis Lumière, is made up of left-right line arrays and a centre cluster. The left and right arrays each consist of 10 Adamson S10 enclosures with two Adamson S119 subwoofers, positioned at the top of each hang. The centre cluster is made up of a further six S10’s. Two additional Adamson E219 subwoofers are groundstacked, one



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• Left Adamson S10’s central cluster. • Top Right The Claude Debussy Theatre. • Below Didier Dal Fitto of DV2, Sound Crew Chief at the Palais Gerard Ignace, Sound TEchnician Paul Sableyrolles, Gilles Millo from the Palais, Julien Poirot Touring Support from Dv2, Production Manager Philippe Serveille and Eric Leloup of the Palais.

under each array. Two Adamson Point 12 two-way loudspeakers are stacked on the subwoofers for added musicality. The S10 is a two-way, full range line source cabinet containing two ND10LM Neodymium Kevlar drivers and an NH4TA2 1.5-inch exit compression driver. The critically optimised sound chamber produces a slightly curved wavefront with a nominal dispersion pattern of 110° x 10° (H x V). The chamber’s efficiency allows for increased vertical dispersion without sacrificing high frequency presence in the far field. For front fills Sonus ZX-101 loudspeakers, 18 in total, are installed horizontally along the lip of the stage to provide coverage for the first two rows of the room. “ZX-101’s line-source operating principle naturally creates wide directivity across the short axis, and highly confined directivity within the long axis,” explained Didier. “Used horizontally, the line-source creates a unique travelling sound source and issues an apparent sonic location exactly where the listener becomes perpendicular to the line. They have a frequency response of 200Hz - 16kHz, ideal for front fills as the Adamson subwoofers will cover the low end for those audience rows. They are a fantastic fixture, providing even coverage, and perfect for this install.”

The new system was installed over the summer. The project was completed early September, followed by two days of tuning and performance validation with the Palais’ sound crew chief Gérard Ignace and his team. During the first day of tuning the DV2 team focussed on conformity, which is the verification of each device in the system, their mechanical position, acoustic coverage, tilt and pan of each fill box. The goal is to match reality and results of simulations made with Blueprint AV, Adamson’s predictive simulation software. The electronic chain, amplifiers, processing, Dante network was verified one week prior by DV2’s Lake specialist Pascal Guillaume. “During the second day, Julien Poirot, in charge of touring support at DV2, and I deployed a seven microphone measurement system based on Live Capture Pro,” he explained. “We proceeded step by step with each subsystem: right main array, subwoofers in the right main array; left array; left and right arrays, ground subwoofers (focussing on modes), then subwoofers plus L-R arrays, centre array, Sonus ribbons and fills. Listening, measuring, listening, measuring, quietly, after an entire day, we got a decent result. We were ready to introduce the full system to

the Palais sound crew the next day.” During the presentation the DV2 team produced two presets: a flat one dedicated to conference application and a second for live music. Users can switch between the two by turning on the Live Overlay in the Lake LM44 processors. “One of the main ideas in the sound design was to free the sight line of any cabinets - it’s what any production requires for congress, TV shows and event production,” Didier explained. “In the Auditorium Louis Lumière, the sight line is free from zero metres to nine metres. That means the flown system must be able to produce a decent level of subwoofer impact. In the case of the Claude Debussy Theatre front fills are crucial and we used a unique solution with Sonus ribbons as lip fills flush mounted in the edge of the stage. These ribbons produce a flat wavefront, as a line-array box, and cover the first seven metres with almost equal level from the first row to the seventh row. The result is much better compared to a point source cabinet.” Didier continued: “This design is usable for conferences, TV shows, dance and classical music. When it comes to covering live music application, a complement of stacked subwoofers and front fills cabinets are added, because

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in this case sight lines are less critical. This design has delivered exceptionally well for 15 years in the Auditorium Louis Lumière. As a result, the Palais’s sound crew decided to use the same concept for Debussy. Dushow installed two of the new S119 subwoofers at the top of the left and right arrays, which gives enough subwoofer pressure to cover conferences applications. A complement of two E219 stacked subwoofers and Point 12’s are used for more solid music programs.” Seven Lab.gruppen D120:4L amplifiers provide power to the main PA and subwoofers, while two Lab.gruppen D80:4Ls power the ZX101’s. A Dante digital network is the backbone of the system along with a Cisco SG300-20 20-port gigabit managed switch. The intercom system for the theatre was provided courtesy of Clear-Com. “Lab.gruppen is the natural choice for Adamson systems and it’s the most advanced platform on the market,” Didier added. “The D120:4L is based on the same foundation of robust, high-power amplifier technologies as the PLM Series, which has a proven record of reliability and sonic performance in high-profile, largescale installations like the Debussy. In addition, all D Series Lake versions provide extraordinary input flexibility, which is part of the design thinking for the Debussy. We required an internet connection to the Lake computer to control the installation with remote access because it’s important to offer full support during the first weeks the system is in use. With this, we can supervise the system by accessing log files, upgrading units with new firmware, and making small adaptations in accordance with user’s requirements as soon as they ask for it, which is very convenient.” Visiting and in-house engineers can make use of an Avid Profile console at FOH with an outboard rack loaded with Avalon 737

• Top Looking out from the stage at The Claude Debussy Theatre. • Above The Adamson S10 and S119 main left array with Point 12 outfill.



Le Palais des Festivals est le bâtiment dans lequel est organisée la cérémonie d’ouverture du Festival de Cannes tous les ans. L’édifice a récemment fait l’objet de rénovations visant à améliorer le système de sonorisation du lieu. Le Palais des Festivals est l’un des plus importants lieux de conférences et de spectacles en Europe avec cinq grands auditoriums, 26 salles de réunion et plus de 24 bureaux pour les organisateurs. Le plus grand auditorium, l’Auditorium Louis Lumière, peut accueillir jusqu’à 2 309 personnes, en plus des 35 loges privées et des balcons pour 1 428 personnes. L’espace dédié à l’orchestre peut accueillir lui, 750 musiciens. La deuxième plus grande salle du Palais des Festivals est le Théâtre Claude Debussy qui dispose d’une capacité maximale de 1 068 places. Dans le cadre de la mise à jour du système, on a demandé à l’entreprise DV2 de concevoir une installation mettant en vedette les nouvelles enceintes Adamson S Series. Dushow, l’une des plus grandes sociétés de location et d’installation de matériel en France, a démarré l’installation en juillet après avoir remporté le contrat. Le projet d’installation du nouveau système a eu lieu au cours de l’été et s’est terminé début septembre avec deux jours de mise au point et de validation de la performance auprès du responsable de l’équipe technique du Palais, Gérard Ignace. Au cours de la prochaine année, le Festival de Cannes occupera le devant de la scène en mai, suivi du MIDEM en juin et du MIPCOM en octobre.


Palais des Festivals, das Gebäude, in dem jährlich die Eröffnungsfeier der Filmfestspiele von Cannes stattfindet, wurde kürzlich saniert, um das Soundsystem des Gebäudes aufzurüsten. Mit seinen fünf Hauptauditorien, 26 Ausschussräumen und rund 24 Büros für die Organisatoren gehört der Palais des Festivals zu den führenden Konferenz- und Veranstaltungszentren Europas. Das größte Auditorium, das Auditorium Louis Lumière, verfügt über 2.309 Plätze, einschließlich 35 private Logen, 1.428 Balkonplätze und einen Orchesterbereich für 750 Musiker. Das Claude Debussy Theater ist mit seinen 1.068 Plätzen das zweitgrößte im Palais des Festivals. Für die Aufrüstung wurde DV2 für den Entwurf eines Systems, das neue Adamson S Series Line Arrays aufweist, kontaktiert. Dushow, ei nes der g rö ßten Verleih - u nd I nstal lationsu nternehmen Frankreichs, erhielt den Auftrag und begann im Juli mit der Installation. Mit der Installation des neuen Systems im Laufe des Sommers wurde das Projekt Anfang September abgeschlossen. Darauf folgten zwei Tage Abstimmung und Leistungsvalidierung mit dem Leiter des Soundteams vom Palais, Gérard Ignace und seinem Team. Im nächsten Jahr steht das Filmfestival von Cannes im Mai, MIDEM im Juni und MIPCOM im Oktober wieder im Mittelpunkt.


Il Palais des Festivals (l’edificio che ospita ogni anno la cerimonia del Festival di Cannes) si è sottoposto recentemente ad un nuovo progetto per il rinnovamento del sistema audio dell’intera struttura. Con cinque auditorium, 26 sale per le commissioni e circa 24 uffici dell’ organizzatore, il Palais des Festivals è una delle principali sedi congressuali e di intrattenimento in Europa. Il suo più grande auditorium, l’Auditorium Louis Lumière, ha una capacità di 2.309 spettatori e comprende 35 box privati, 1.428 posti a sedere sulle balconate ed il palco per l’ orchestra da 750 musicisti. Il secondo più grande teatro del Palais des Festivals è il teatro Debussy Claude, che vanta una capacità di 1.068 spettatori. Per il rinnovamento, DV2 è stato contattato per la progettazione di un sistema con i nuovi line array Adamson S Series. Dushow, una delle più grandi società di noleggio e installazione in Francia, ha vinto l’appalto e ha iniziato l’installazione nel mese di luglio. Con l’installazione del nuovo sistema, che è avvenuto durante l’estate, il progetto è stato completato all’inizio di settembre ed è stato seguito da due giorni di messa a punto e validazione delle prestazioni con il capo dello staff audio del Palais, Gérard Ignace, ed il suo team. Nel prossimo anno il Festival di Cannes sarà protagonista a maggio, MIDEM a giugno e MIPCOM nel mese di ottobre.


Palais des Festivals, el edificio que anualmente alberga la ceremonia de apertura del Festival de Cine en Cannes, ha sido sometido recientemente a un nuevo proyecto para actualizar el sistema de sonido del lugar. Con cinco auditorios principales, 26 salas para comisiones y otras 24 oficinas del organizador, el Palais des Festivals es uno de los lugares para conferencias y entretenimiento más importante de Europa. El auditorio más grande, el Auditorio Louis Lumière, cuenta con una capacidad para 2.309 personas incluyendo 35 espacios privados, una capacidad para sentarse en el balcón de 1.428 lugares y un espacio destinado para la orquesta con capacidad para 750 músicos. El segundo teatro más grande en los Palais des Festivals es el Teatro Claude Debussy, que presenta una capacidad para 1.068 personas. Para la actualización, se contactaron con DV2 para diseñar un sistema que presentara a la nueva columna acústica de la Serie Adamson S. Dushow, una de las empresas de alquiler e instalación más grandes en Francia, ganó el contrato y comenzó la instalación en Julio. Con la instalación del nuevo sistema, que tuvo lugar a lo largo del verano, el proyecto ha finalizado a comienzos de Septiembre, seguido de dos días de puesta a punto con el jefe de las personas a cargo del sonido de Palais, Gérard Ignace, y su equipo. El año próximo, el Festival de Cine de Cannes tendrá lugar en Mayo, MIDEM en Junio y MIPCOM en Octubre.

compressors, Klark Teknik DN504 EQ, Yamaha SPX 2000 processors and a Lexicon PCM 2000 reverb. Sennheiser, Shure, AKG, beyerdynamic, Neumann, Accusound and PZM microphones are also available. Depending upon the event, the Palais des Festivals has a variety of lighting consoles to deploy including an Avolites Expert Pro, an MA Lighting grandMA2 Light, a Celco 60 Major, an ETC Congo Kid and a Martin Professional M-DMX interface. Lighting fixtures available include ETC

Source Four PARs, LTM Pepper Fresnels and Martin Professional Stage Cyclo 04’s. In the upcoming months, Pygmalion, The National Dance Company of Korea, Dance School of the Paris Opera, National Company of Dance from Spain, Fiddler on the Roof and Othello will all experience the benefits a new sound reinforcement system brings to the theatre. Next year the Cannes Film Festival will take centre stage in May, MIDEM in June and MIPCOM in October.

TECHNICAL INFORMATION SOUND AUDITORIUM LOUIS LUMIERE: 24 x Adamson Y10 line array cabinet; 6 x Adamson Y218 subwoofer; 4 x Adamson SpekTrix subwoofer; Martin Audio LE 400 stage monitors; 1 x Avid Venue D-Show console; 1 x Avid Profile console; 1 x Midas PRO2 console; 1 x Yamaha M7CL console; Microphones from Neumann, AKG, Sennheiser, Shure, and Schoeps CLAUDE DEBUSSY THEATRE: 26 x Adamson S10 enclosure; 2 x Adamson Point 12 loudspeaker; 4 x Adamson S119 subwoofer; 2 x Adamson E219 subwoofer; 18 x Sonus ZX101 loudspeaker; 7 x Lab.gruppen D120:4L amplifier; 2 x Lab.gruppen D80:4L amplifier; Microphones from Sennheiser, Shure, beyerdynamic, Neumann, Accusound and PZM LIGHTING & SPECIAL EFFECTS ETC Source Four PARs; LTM Pepper Fresnels; Martin Professional Stage Cyclo 04’s; 1 x Avolites Expert Pro lighting console; 1 x MA Lighting grandMA2 Light console; 1 x Celco 60 Major lighting console; 1 x ETC Congo Kid lighting console; Martin Professional M-DMX interfaces

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As part of a £45million refurbishment of Bristol Trust’s Colston Hall, The Lantern - a 350-capacity concert hall - has recently received its upgrade and has been kitted out with a new L-Acoustics system. Run by Bristol Music Trust, Colston Hall is Bristol’s largest concert hall and sits right at the heart of the city’s cultural life. It has been providing musical entertainment to the area since 1867 and hosts some of the major names from the rock, pop, jazz, folk and classical worlds, as well as stand up comedy and light entertainment, plus local choirs, orchestras and schools. From 2007 to 2009, the building underwent extensive refurbishment with the construction of a new foyer alongside the present building. The addition of the new foyer meant that the old bar area, previously known as the Little Theatre or Lesser Colston Hall could once again become a performance space, which is now known as The Lantern. It is here that HD Pro Audio has installed a new L-Acoustics loudspeaker system. The Lantern is a 350-capacity venue and the in-house system needed to be flexible to deal with all the demands of the space, yet not blow the budget. With the Trust looking at a £45million refurbishment of its historic spaces, including The Lantern - which was carried out as part of the second stage of the upgrade - the system also needed to be practical and inkeeping with the future vision of the venue once the long-term project is completed. It was Colin Pegum, technician for Bristol Music Trust, who set out on the challenge to find a system that would tick all the required boxes, a process that started in late 2014 and was completed this year. The in-house team also included Jon Fox, Frazer Riches, Andy Collins and Nick Craney.

“The Lantern has become a very busy space with strong, diverse programming and the new PA system had to accommodate this wide range of shows,” said Colin. “With exposed stone walls, the emphasis was on directivity and minimising reflections.” The team at HD Pro Audio was called in, along with a number of other suppliers, to suggest a solution. HD Pro Audio’s Andy Huffer felt an L-Acoustics ARCS WiFo system was ideal for the venue. “I first became aware of the need for a new system in The Lantern after chatting to Colin at an event in the main hall where I was providing technical support,” said Andy. “They had originally ruled out L-Acoustics as an option because they perceived it to be beyond their budget, but I suggested that ARCS WiFo would not only be on or under budget, but also the best solution for the room. “The Lantern is a classic shoebox shape, which means that most line array solutions are inappropriate, throwing too much energy at the walls through their wider dispersion. The DOSC waveguide employed in ARCS Wide allowed us to create a detailed, high SPL source with two boxes per side that direct the audio exactly where it is required, optimising clarity and coverage.” The room is less than 25-metres to the back wall from the proscenium arch and is also relatively narrow, so the only option was for the system to be hung near to the sidewalls. Andy discussed the project with L-Acoustics’ Application Engineer for UK & Ireland, Dan Orton and a Soundvision model was made


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which confirmed Andy’s opinion. “The L-Acoustics ARCS systems work as a virtual point source, similar to a line array element positioned on its side but with a wider dispersion, allowing the ARCS waveguide to disperse the energy within the width of the box, making it a true ‘point and shoot’ cabinet,” said Dan. “The high frequency energy stops in line with the side of the ARCS cabinet, which allows you to keep the energy away from the walls and, when using multiple boxes in a design, to perfectly couple the boxes together, allowing for accurate pattern control depending on the space. The fact that you just need to look down the line of the box means it’s very easy to deploy the system and to know exactly where the energy is going.” “I revisited the venue to take measurements and created the Soundvision file,” said Andy. “That let us predict the best loudspeaker positions and angles, and confirm the SPL and coverage that would be generated. “We put our demo system into The Lantern for a trial period to prove that our design would work, using temporary ground support, and then replaced it with the new boxes once the order was confirmed and permanent rigging points were installed. Final system tuning took place in conjunction with the L-Acoustics technical team.” The final system comprises a pair of vertically arrayed ARCS Wide each side, a mono pair of SB18i subwoofers positioned on the floor, and three 5XT fills - an extremely compact cabinet that has the same signature sound in the mid high as the main system - along the front of the stage, which integrate seamlessly with the main system, with no obvious difference in quality of sound or tonal balance, ensuring every seat receives perfect audio. ·

“The ARCS Wide have been flown vertically, giving us 60°x 90° with even coverage front to back,” confirmed Colin. “We have three 5XT as front fills to ensure vocal / high frequency clarity in the first few rows and a pair of SB18is (mono) close coupled in the centre. The L-Acoustics system provides a universally recognised high standard of audio and has given us even coverage of the entire venue.” Powering the system is just one L-Acoustics LA8 amplified controller. ARCS WiFo is a passive box, allowing two ARCS WiFo per channel to be run from the single LA8; two channels for the left and right, with the subwoofers and fills run in mono using channels three and four. With individual control over each channel of the amplified controllers, it was possible to tune and time align the system as required. Pre-existing audio equipment at The Lantern includes four QSC HPR122i loudspeakers and four Nexo LS1200 loudspeakers for monitoring, a Behringer X32 console and outboard being two DC players - one from Denon, one from Tascam. Microphones available include a mixture of Shure, Sennheiser, beyerdynamic, Electro-Voice, AKG and Audix, plus DIs from Behringer and Radial. The lighting system was also already in place and is comprises: Martin Professional Rush MH2 Wash moving heads and Par 64’s on the upstage bar; Selecon Acclaim luminaires and LED Par Cans on the downstage bar; more Selecon Acclaims and ETC Source Four Junior followspots on the FOH truss; and Miltec Par Cans for the upstage floor. Lighting control is via a Chamsys MQ40 console. There is also a fixed projector hung in The Lantern, designed to project onto the screen positioned upstage centre.

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Colston Hall, la plus grande salle de concert de Bristol, propose des animations musicales depuis 1867 ainsi que des spectacles d’humoristes et de divertissement. Tout récemment, un nouveau système de haut-parleur L-Acoustics a été installé par HD Pro Audio dans l’ancien bar dénommé The Lantern, qui a été converti en un espace de représentations à la suite de grandes rénovations effectuées au sein du bâtiment de 2007 à 2009. L’espace The Lantern peut désormais accueillir jusqu’à 350 personnes, donc le système utilisé devait être adaptable afin de répondre à toutes les exigences du lieu, sans pour autant casser la tirelire. L’installation L-Acoustics correspondait au budget et a même offert à l’espace The Lantern, un système pouvant faire face à toutes les exigences du lieu, et ceci à un prix que l’équipe interne n’avait pas envisagé avec des produits L-Acoustics. De ce fait, le résultat final a suscité les compliments de la part d’ingénieurs invités et de l’équipe interne, et a offert à l’espace The Lantern la possibilité de se développer à long terme et de diversifier son calendrier de spectacles.

DEUTSCH Colston Hall, die größte Konzerthalle in Bristol, bietet seit 1867 musikalische Unterhaltung sowie Stand-up-Comedy und leichte Unterhaltung. Kürzlich hat sie ein neues L-AcousticsLautsprechersystem erhalten, das von HD Pro Audio in The Lantern - einem ehemaligen Barbereich, der nach der umfangreichen Renovierung des Gebäudes zwischen 2007und 2009 in einen Performancebereich verwandelt wurde, installiert wurde. The Lantern verfügt über 350 Plätze und die Hausanlage musste flexibel sein, um den verschiedenen Anforderungen des Bereichs gerecht zu werden und gleichzeitig durfte es das Budget nicht allzu sehr strapazieren. Das L-Acoustics-System entsprach dem Budget und verschaffte The Lantern ein System, das allen Anforderungen des Ortes gerecht wird und zu einem Preis, von dem das interne Team zuvor nicht realisiert hatte, das er eine Option der L-AcousticsProdukte war. Das Ergebnis entlockte im Gegenzug den externen Ingenieuren und dem internen Team zahlreiche Komplimente, verschaffte The Lantern viel mehr Wachstumsmöglichkeiten und fügt dem Kalender abwechslungsreichere Veranstaltungen hinzu.

ITALIANO Colston Hall, la più grande sala concerti di Bristol che fornisce intrattenimento musicale dal 1867, così come stand up comedy ed intrattenimento leggero, è stata di recente dotata di un nuovo sistema di altoparlanti L-Acoustics installato da HD Pro Audio nella Lanterna (un ex bar che è stato trasformato in uno luogo per spettacoli dopo che l’edificio è andato in contro a degli ingenti lavori di ristrutturazione dal 2007 al 2009). La Lanterna è un locale da 350 posti ed il sistema interno doveva essere flessibile, per poter fronteggiare tutte le esigenze del locale, ma senza gravare sul budget. Il sistema L-Acoustics rientrava nel budget e ha dato alla Lanterna un sistema che può far fronte a tutte le esigenze del locale al giusto prezzo, anche se il team interno non si era reso conto fin da subito che i prodotti L-Acoustics potessero rappresentare una buona opzione. Il risultato, in cambio, ha suscitato i complimenti dagli ingegneri esterni e del team interno e ha dato alla Lanterna un motivo in più per crescere ed aggiungere più spettacoli al suo calendario.

ESPAÑOL HD Pro Audio ha instalado recientemente en el Colston Hall, el salón de conciertos más grande de Bristol, el cual ha brindado entretenimientos musicales desde 1867, así como comedia stand up y espectáculos de entretenimiento, un sistema de altoparlantes de L-Acoustics en The Lantern -un área en la que hubo un antiguo bar- la cual fue convertida en un espacio para espectáculos luego de que el edificio se sometiera a una gran reforma que duró desde 2007 a 2009. The Lantern es un sitio con capacidad para 350 personas y el sistema interno necesitaba ser flexible, que pudiera cumplir con todas las demandas del espacio y sin salirse del presupuesto. El sistema de L-Acoustics entró en el presupuesto y le otorgó a The Lantern un sistema que puede hacerle frente a todas las demandas del lugar y a un precio óptimo en el que el equipo interno no se percató de que fuera una opción con productos de L-Acoustics. El resultado, en retribución, ha sonsacado cumplidos por parte de los ingenieros visitantes y del equipo interno, y le ha otorgado a The Lantern mucho más campo para crecer y agregar diversos shows a su calendario.

The entire L-Acoustics system came in on budget and has given The Lantern a system that can cope with all the demands of the venue and at a price point the in-house team did not realise was an option with L-Acoustics products. Not only has the team ticked all the boxes, they also have a brand and a system that visiting engineers are more than happy to use without question, which the hall has found is a refreshing change. The result, in return, has elicited compliments from the visiting engineers and the in-house team, and has given The Lantern a lot more scope to grow and add more diverse shows to its calendar. “The new system greatly improves the sound quality in The Lantern, with all other aspects of the venue also soon to be transformed as part of Colston Hall’s £45 million redevelopment campaign, set to commence in 2017,” said Andy Boreham, Marketing Manager at Colston Hall. “I would like to thank everyone for their

hard work leading up to and including the installation of our new L-Acoustics PA,” added Colin. “It really has proved to be the right system for the room. “The little space is a huge asset to us and we are all extremely proud of how it has developed. August is our dark(est) month and during that time The Lantern had a lot of cosmetic work done, with new house lights to be added soon. “L-Acoustics has helped broaden the possibility for our programming team, making next season an exciting and eclectic one. As an example to venues in a similar situation, we now have a superbsounding premium-quality loudspeaker system optimised for the room that was well within the budget allocated for a far less rider-friendly rig. We’re very pleased with the eventual result, as are the team at Colston Hall, and there’s been nothing but praise from visiting engineers using the venue.”

TECHNICAL INFORMATION SOUND 4 x L-Acoustics ARCS Wide loudspeaker; 2 x L-Acoustics SB18i subwoofer; 3 x L-Acoustics 5XT front fill loudspeaker; 1 x L-Acoustics LA8 amplified controller; 4 x QSC HPR122i loudspeaker; 4 x Nexo LS1200 loudspeaker; 1 x Behringer X32 console; Microphones from Shure, Sennheiser, beyerdynamic, Electro-Voice, AKG and Audix LIGHTING Martin Professional Rush MH2 Wash moving heads; Selecon Acclaim luminaires; ETC Source Four Junior followspots; Miltec Par Cans; LED Par Cans; Par 64’s; 1 x Chamsys MQ40 console


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Despite being open for over 15 years, Lux Fragil is still a popular party hotspot in Lisbon. It was recently treated to an audio upgrade that included XTA’s new APA Series and Funktion One’s new Evo Series. When Lux Fragil opened its doors back in 1999, it transformed the listed building along the Lisbon docklands from a sadly underused shipping silo into the top nightclub in the capital, and arguably one of the best clubs in mainland Europe. Working with only the best quality materials to furnish and fit the interior, and with amazing attention to detail, Lux Fragil lives up to its name by choosing high design and enviable style, aspiring to a level that has attracted celebrities such as Cameron Diaz and Prince over the years. Indeed it is part-owned by actors John Malkovich and Catherine Deneuve, and is still seen, 16 years on, as one of Europe’s most fashionable night spots. Over three levels, it offers a main first floor bar and lounge with a terrace that encompasses two sides of the building offering stunning panoramic views, a large dancefloor at ground level, and a rooftop looking out over the city and river Alfama. The décor in the main bar and lounge is kept fresh by contemporary artists’ installations, the controversial huge chandelier - a temporary fixture completely made of tampons - remains one of the most talked about! The venue is also particularly proud of its Brazilian hardwood dancefloor - a true luxury that has stood the test of time and now looks awesome after some years of ‘partying-in’. However, whilst some aspects of the interior have become better with age, such as that dancefloor, technology is always progressing and none quicker than audio - the beating heart of any club. In 2006 the club had an extensive refit including a cutting-edge Funktion One system for the main bar, lounge and dancefloor, powered by a combination of MC2 amplification and XTA processing,

with some of the less demanding areas such as lounge fills - utilising some of the original equipment. Time hasn’t stood still, and to bring the club’s main dancefloor system right up to date, a refit has been designed, specified and overseen every step of the way by Chris Hawkes, owner of Solution One audio specialists based in France. Swapping out the Funktion One Resolution system for a new Evo 7E system, and augmenting this with more subwoofers, has gone hand-in-hand with the need for new processing and amplification. Chris spoke first about the 2006 refit: “The first install 10 years ago was radical at the time, not only because of the quality level of the equipment used, but also due to the care and attention the club took in soundproofing and room treatment. With this update, we needed to ensure that not only was there going to be a step change in quality, but that we would be installing equipment capable of performing at such high levels (qualitywise) for another 10 years.” Moving forward to today, this is where XTA’s new APA Series comes in powering both the Evo 7E system and the new BR221 subwoofers. Two Evo 7E loudspeakers and two BR221 subwoofers either side of the DJ booth are powered by an APA, with additional F218 cabinets distributed around the venue being powered by MC2 E45 amplifiers and XTA DP448 processing. Side fills, rear fills and DJ monitors are all take care of by Funktion One Resolution 2’s and once again more MC2 E Series amplifiers and XTA processors. In the bar area, 12 Resolution 1’s and four Resolution 1.5SH enclosures, 12 F88 loudspekaers and 10 MB212’s are powered by four of Full Fat Audio’s new



FFA4004DSP G2 amplifiers, two Full Fat Audio FFA6004’s and a single Full Fat Audio FFA4004. Waring Hayes, Technical Brand Manager from XTA, flew to Lisbon to help with the commissioning of the APA amplifiers. He was also surprised by the attention to detail and quality of the current set-up. “Whilst the main bar is a very dynamic and exciting space, it’s acoustically quite challenging, due to the concrete floor and large areas of glass - you don’t need a massive amount of power in a room like this to get it going and potentially sounding messy - keeping things under control is the key,” he commented. “Downstairs in the main dancefloor area it’s a whole different situation. The room sounds great even before you play anything. It’s a little like moving from the pool to the library. It’s incredibly well treated - despite having the beautiful hardwood dancefloor, the acoustics are still superb, and doubtless even better when the room is full of people.” Chris commented on the choice of amplification for this high-status setting: “APA was chosen to drive the new Evo system for its audio quality as well as its power and flexibility. Set-up on a Mac in the middle of the room with a single Ethernet cable was simple and easy.

• Left The staircase leading down to the main bar area; the ceiling is decorated with wooden beams. • Right The amp rack.

The precise tuning of the processing in the APA was quick and the results are stunning.” Visiting DJs are treated to a level of luxury with the quality of the equipment and even their own bathroom beside the DJ booth. Waring was impressed by the efforts made to ensure all the equipment was well installed and maintained: “I’ve never seen such a clean and professional working environment for both the gear and the DJs - and this is over 15 years on from first opening! The APA installation was perfect and the final result, even before fine tuning, was fantastic - studio quality, club power, with great coverage

throughout the room.” Chris summarised the refit: “We’ve been planning this for about a year and Solution One have been working closely with the club, but things really ramped up in the last four weeks. The guys at Lux are brilliant to work with - such a helpful attitude and a really positive outlook. Waring flew out at short notice to offer his invaluable help and everyone pulled together to finish on time. The result isn’t just an audiophile’s system - it’s been recognised by both DJs and clubbers alike, commenting on how much they love the change up in quality - big smiles all round!”

TECHNICAL INFORMATION SOUND 4 x Funktion One Evo 7E loudspeaker; 6 x Funktion One F218 bass enclosure; 4 x Funktion One BR221s subwoofer; 8 x Funktion One Resolution 2 loudspeaker; 12 x Funktion One Resolution 1 loudspeaker; 4 x Funktion One Resolution 1.5SH loudspeaker; 10 x Funktion One MB212 monitor; 14 x Funktion One F88 loudspeaker; 2 x Funktion One Satellite Tweeter Pod; 1 x XTA SIDD processor; 1 x XTA DP448 processor; 2 x XTA APA adaptive power amplifier; 1 x XTA DP444 processor; 1 x XTA DP 446 processor; 5 x MC2 E45 amplifier; 5 x MC2 E25 amplifier; 4 x Full Fat Audio FFA4004 G2DSP amplifier; 1 x Full Fat Audio FFA4004 amplifier; 2 x Full Fat Audio FFA6004 amplifier


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“Listening, understanding, thinking things through – this may be the most important added value that we provide to our clients.” STEFAN THOMSEN Communication Systems Specialist



VUE Audiotechnik inspires at 3S Artspace.


When 3S Artspace built its location from the remnants of an old warehouse, it required a sound system capable of catering to the 10,000 sq ft building’s variety of activities. It called in audio consultant Swell Sound to apply its acoustical expertise. Swell Sound implemented a number of VUE Audiotechnik products for several installations within 3S Artspace. The performance space installation includes eight al-4 subcompact line array elements, two as-418 quad 18-inch isobaric subwoofer systems, and two i-8 compact full range foreground systems, powered by three V4i installation series systems engines. The Block Six restaurant and theatre lobby installation features 10 i-2×4.5 dual 4.5-inch surface mount foreground systems, two i-8 compact full range foreground systems and three is-26 compact surface mount

subwoofers. “The ultimate design objective of the 3S Artspace founding team was to get the highest possible audio fidelity and a rider friendly system within a reasonable budget,” said Ron Ulrich, owner of Swell Sound. “I reached out to VUE and explained that 3S Artspace was a nonprofit organisation with these goals in mind. Not only were we able to get very high-quality products within the budget we were targeting, but VUE was willing to work with us closely on the final installation. From a technical, engineering and design perspective, they worked hand-in-hand with us to deliver an incredible solution. Every act that has come through has not needed any additional PA equipment; the VUE system meets all of their needs to the fullest extent.”



Soundcheck is the latest nightlife venture from Panorama Productions, it has been designed to cater for a diverse range of clientele including up-and-coming DJs.

Panorama Productions is the largest nightlife entertainment group in Washington DC, USA. So far it owns and operates the concert venue Echostage, weekly party ‘Club Glow’ and bars and restaurants including Barcode and Ultrabar. But recently another nightlife venue has been added to the line-up… step forward Soundcheck. The retro-inspired nightclub has been designed as a no-frills nod to the ‘80s and ‘90s club decades and aims to deliver an underground party atmosphere to Washingtonians. “With Soundcheck, we’re interested in tapping into the atmosphere of early DC nightlife while still delivering what makes Echostage so popular: quality sound, outstanding artists, and an unparalleled









All images courtesy of Joy Asico





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• Above There are three delay lines in the club.















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sensory experience,” said Soundcheck Managing Partner, Antonis Karagounis. To cater to DC’s diverse dance clientele, nightly events will change in theme, ranging from Glow’s signature EDM parties, to latin and hip-hop nights and up-and-coming DJs. To be able to manage the different musical genres, it was vital Soundcheck was equipped with a high-end sound system. Having already kitted out Echostage - a 30,000 plus sq ft concert venue also located in DC - with a d&b audiotechnik system, which was provided by production company, Ohm Productions, it wasn’t too difficult to come to the same conclusion again. Despite the space and vibe of the two venues being very different, Soundcheck




































being more of an underground, intimate club, holding up to just 300 people, there were some techniques that were transferable - the system of honeycombed acoustic panels on the walls and ceiling, and the reinforced cork floor. Ohm Productions worked alongside d&b audiotechnik USA sales partner, Overland Pro Audio and specifically Bill Mills to specify the design for the audio system and complete the installation. Bill described the brief: “The profile was for a top-shelf system that would deliver clear even coverage throughout the entire space. The owners wanted every customer to have the same sonic experience regardless of where they were in the space. That might sound a bit obvious but this a long narrow space - relative to its length with fairly low ceilings. So providing even coverage was not going to be an easy task given parameters of the room.” The pair worked together to come up with a plan. “Jeff Darby, the owner of Ohm Productions, came up with a concept of the sound being directional in this space,” continued Bill. “Soundcheck is not quite as much of a live event space as Echostage but it still has a performance aspect to it so, the concept of not ‘four cornering’ the sound does have a sensibil-

• Above Soundcheck has a capacity of 300 people.

ity to it. It gives the guests a sense of the sound coming from a stage and when appropriate helps to focus their attention in that direction. It also makes for a much more successful result when distributing the sound in a space where using multiple loudspeaker sources to achieve coverage that is even both spectrally and in amplitude is necessary.” Taking into account the size of the room, the SPL and frequency response required, Bill and Jeff determined d&b audiotechnik’s Y Series with additional subwoofers from the J Series to be the best solution. And after using d&b audiotechnik’s Array-Calc prediction software to model the system their proposal was confirmed as correct. Once the product line-up for Soundcheck had been finalised the owners were invited to Overland HQ to sample it in a realistic environment. “They were very impressed with the wide band response, dynamics and SPL to size ratio of the system,” said Bill. “We were able to demonstrate the system can get quite loud with without sounding strained or overtaxed. One thing you will notice with d&b systems is it can sometimes be a bit hard to tell how loud they really are because of this trait. It sounded very clean at a level where it was

almost impossible to have a conversation with someone standing right next to you and I’d say there was a comfortable 12dB15dB of headroom - two more doublings of the sound level plus - at that point.” The DJ booth at Soundcheck is located at one end of the long rectangular room and it is here that the main PA is housed. It comprises a left and right hang flown either side of the booth, each made up of four d&b audiotechnik Y8 line arrays cabinets. To supplement the line arrays, four d&b audiotechnik Y-SUB subwoofers - in two stacks of two - flank a single d&b audiotechnik J-INFRA subwoofer which are located underneath the booth, all of which help to extend the low frequency levels on the dancefloor. There are three delay lines in the club as well. The first sits in a central position. Four d&b audiotechnik Y8 line arrays cabinets are housed in two pairs on either side of the room, while four d&b audiotechnik Y-SUB subwoofers are flown in a horizontal array between the two line mini arrays. “The form factor of the Y Series provides an incredible amount of punch from a very compact system and space is a premium in the part of DC where Soundstage is located,” said Bill. “The cardioid

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“In addition to booking the superstars, we are able to take more risks by welcoming up-and-coming talent during our new Afterglow party on Sundays. We want to be a part of their growth as artists.” subwoofers available in the Y Series line made adding delay subwoofers possible. If we tried doing this with a typical omnidirectional subwoofer the results would have been less than ideal due to cancellations and time alignment issues.” The second set of delays are located in the end section of the room, here two d&b audiotechnik Y7P loudspeakers are in place. The third contains two d&b audiotechnik E8 coaxial loudspeakers, which primarily look after the VIP area. A further two d&b audiotechnik Y7P loudspeakers have also been specified for stage monitoring. The loudspeakers are all powered by a total of five d&b audiotechnik D80 amplifiers and currently there are two spare amplifier channels for possible future expansion. DJs who play at Soundcheck will have access to Pioneer CDJ-2000 multiplayers, a Pioneer DJM-900 Nexus mixer, an Allen & Heath Xone:DB4 effects mixer and a Rane SL4 for Serato interface. “Soundcheck is the perfect complement to Echostage,” said Soundcheck Partner, Pete Kalamoutsos. “In addition to booking the superstars, we are able to take more risks by welcoming up-and-coming talent during our new Afterglow party on Sundays. We want to be a part of their growth as artists.” Despite the minimalist design implemented at Soundcheck, there are two

• Above The DJ booth is at one end of the venue.

larger-than-life LED walls - one at the entrance and one at the DJ booth - made from Tourix XR Series LED tiles, two jumbo disco balls and more than 85 intelligent lighting fixtures. That’s quite an inventory to cram into a small space. There are two trusses mounted to the ceiling, one in each half of the elongated room and between the two trusses the lighting rig includes four Elation Sniper hybrid effects projectors, 10 Elation Razor beam moving heads, two Elation Razor Q7 wash moving heads and two Robe

MiniMe’s, as well as Ultra Bar 6’s and 12’s, Par Dotz and UV cannons from American DJ. Eight Chauvet Professional Epix LED tiles are also at home in Soundcheck. A venue with such a gamut of lighting and visual effects means Soundcheck is ready for any kind of event that comes its way. Experience is always an advantage when setting out on a new venture, coupled with sticking to what you know works best and putting trust in those around you, all of which makes for a winning combination.

TECHNICAL INFORMATION SOUND 12 x d&b audiotechnik Y8 line arrays cabinet; 8 x d&b audiotechnik Y-SUB subwoofer; 1 x d&b audiotechnik J-INFRA subwoofer; 4 x d&b audiotechnik Y7P loudspeaker; 2 x d&b audiotechnik E8 coaxial loudspeaker; 5 x d&b audiotechnik D80 amplifier; 4 x Pioneer CDJ-2000 multiplayer; 1 x Pioneer DJM-900 Nexus mixer; 1 x Allen & Heath Xone:DB4 effects mixer; 1 x Rane SL4 for Serato interface LIGHTING, VISUALS & EFFECTS 4 x Elation Sniper hybrid effects projector; 10 x Elation Razor Beam moving head; two Elation Razor Q7 moving head; 2 x Robe MiniMe moving head; 4 x American DJ UV cannon; 4 x American DJ Par Dotz stage lighting lamp; 2 x American DJ Ultra Bar 12 LED batten; 4 x American DJ Ultra Bar 6 LED batten; 2 x Laserworld DS1800 laser; 8 x Chauvet Professional Epix LED tile; 2 x Tourix XR Series LED screen

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Princess International Group has recently opened another casino. Streamline Systems was once again the integrator of choice for Club Next, which is housed within the complex.

Under the umbrella of the Princess International Group lies a number of hotels and casinos around the world with the largest concentration of its portfolio housed in Central and South America. Last year, the group opened the Ramada Paramaribo Princess Hotel in Suriname, and just recently the company has added another establishment to its collection, the Royal Princess Casino at SouthPark integrated resort in San Fernando, Trinidad. Once fully finished, the complex will include retail outlets, a multiplex cinema, hotel, casino, restaurants, cafes, office spaces and a conference centre. Having worked with the Princess International Group on five previous occasions - including two nightclubs - designer and system integrator, Streamline Systems was asked to take on the project, taking the total to six complexes and three clubs.

Director of Streamline Systems, Michael Pereira said: “The last installation, Club Next Suriname, went so well that the client knew that we would also install their latest venue which also happens to be in Trinidad, Streamline’s headquarters.” Streamline Systems worked alongside award-winning architect, Julian Tahov on this project. With an existing relationship in place, Michael and his team were confident they had the backing of the owners and in actual fact, the products used for the sound system were the same as Club Next Suriname, but the design did have to be tweaked slightly due to the different layout at Club Next Trinidad. “The client was so impressed with the last installation that they didn’t want much changed, we used the exact same system as we did in Suriname, EV EVF-D front loaded


• Above The central circular bar had quite an impact on both the audio and lighting designs.

loudspeakers for high quality tops and QRX218S subwoofers. EV CPS2.12 amplifiers were used for ample power from highs to lows,” continued Michael. “To be honest the only thing we were wary of with the installation was the existence of the round bar in the middle of the club. This really took away a ‘sweet spot’ in terms of a dedicated dancefloor for customers and spread the majority of the sound around the club.” Taking this into consideration, Michael specified 11 Electro-Voice EVF-1122D/126 twoway loudspeakers, nine of which were installed firing outwards from the main bar around the club, while the other two act as a second zone that fire inwards in the direction of the central stage. These are generally utilised by performers rather than clubbers. Every loudspeaker in the club runs at eight ohms keeping

the system cruising even at high volumes with ample headroom. “Electro-Voice has become our goto brand in terms of quality nightlife loudspeakers. Electro-Voice’s EVF-D loudspeakers offer excellent clarity at very high SPL and with the correct selection of coverage angles along with proper placement we are able to find the perfect match for every venue, rather than trying to supply a one size fits all design,” said Michael. “The Electro-Voice EVF-D loudspeakers are also available with six patterns with coverage from 60º to 120º.” For low frequency extension, Streamline Systems also added six Electro-Voice QRX218S subwoofers. Outside in the smoking area - indoor smoking was recently classed as an offence - Michael selected three Electro-Voice ZX3-90PI loudspeakers so that

smokers ar still able to feel part of the clubbing experience even when outdoors. Electro-Voice CPS2.12 amplifiers are used to power the entire system. “They offer excellent clarity, an abundance of power and implement standardisation across the system,” he explained. And, he was so impressed by Ashly’s 24.24M processors from the Suriname installation, that he opted to utilise another one here too. Michael cited quality and reliability as two of the key factors of the processors. To complete the audio inventory, Club Next is also equipped with Pioneer CDJ-2000 Nexus multiplayers and a Rane Sixty-Two DJ mixer - although a little unusual not to have a full complement of Pioneer DJ equipment, Rane is in fact the go-to DJ mixer in Trinidad. A Yamaha MG124CX analogue mixer is


also in place for simple live mixing when required. Prior to the audio installation, Streamline Systems decided to implement sound insulation, because the club is sandwiched between the casino and cinema complex, therefore it was vital sound did not escape. Michael used a combination of Auralex Mineral Fibre and Auralex Sheetblok for the job. The lighting set-up at the Trinidad club differs to that at the Suriname venue because Michael was eagar to carry out a full Blizzard Lighting installation and given he has built up a good working relationship with the club owners, he felt this was his opportunity when he was given a carte blanche to work with. “We wanted to create a mixture of ultra tight beam effects with a few wash effects which could be used to light both performers and guest DJs. Blizzard Lighting really stepped up with their full line and their two year warranties put us at ease,” said Michael.

“ElectroVoice’s EVF-D loudspeakers offer excellent clarity at very high SPL and with the correct selection of coverage angles.”

• Top This is Streamline Systems’ first full Blizzard Lighting design. • Left The outer edges of the room house the VIP areas. • Right The control station.

Due to the circular appearance of the club, having a 360º lighting design was imperative for an all-encompassing atmosphere. Michael explained further: “With a round centre stage we knew we would have to focus many of the washlights onto this area and also wanted to create a real 360º approach to the lighting so there would be no real hot spots as you move around the club.” The moving spot of choice was the Blizzard Lighting Torrent F5. They have a super-bright 150W LED light source with 15º beam angle, fast and precise pan/tilt motors, dual gobo wheels, and a seven colour plus white colour wheel. Michael installed six pf the fixtures around the periphery that were further supplemented by 10 Blizzard Lighting Torrent XRay moving heads, eight Blizzard Lighting Blade RGBW moving heads and four Blizzard Lighting BladeRunner White moving heads, which altogether made a huge contribution to the total visual excitement of the project with all of their


“With a round centre stage we knew we would have to focus many of the washlights onto this area and also wanted to create a real 360º approach to the lighting.”

TECHNICAL INFORMATION SOUND 11 Electro-Voice EVF-1122D/126 two way loudspeaker; 6 x Electro-Voice QRX218S subwoofer; 3 x Electro-Voice ZX3-90PI loudspeaker; 9 x Electro-Voice CPS2.12 amplifier; 1 x Ashly 24.24M processor; 2 x Pioneer CDJ-2000 Nexus multiplayer; 1 x Rane Sixty-Two DJ mixer; 1 x Yamaha MG124CX analogue mixer; Shure microphones and headphones LIGHTING & EFFECTS 6 x Blizzard Lighting Torrent F5 moving head; 10 x Blizzard Lighting Torrent XRay moving head; 8 x Blizzard Lighting Blade RGBW moving head; 4 x Blizzard Lighting BladeRunner white moving head; 1 x MA Lighting grandMA onPC software package; 2 x X-Laser Mobile Beat Max laser; 8 x X-Laser X-Pod blue laser; 4 x X-Laser X-Pod red laser; 4 x X-Laser X-Pod green laser; 2 x Martin Professional Atomic 300 DMX strobe; 2 x Robe Faze 800 FT faze machine

unique, colourful and intense moving beam effects. On either side of the club are VIP booths and these too needed to be washed in colour. However, Michael was keen for the lighting to be slightly more subtle in these areas due to a difference in ambiance. “We worked closely with the Blizzard engineers in selecting the right products and never questioned the build quality due to our experience with the line and the two year warranty included on all Blizzard products,” said Michael. The lighting rig is controlled by MA Lighting’s grandMA onPC software package. For added special effects, Streamline Systems opted for a selection of lasers from X-Laser - X-Pods in green, blue and red, along with a pair of X-Laser Mobile Beat Max which are operated via Pangolin’s QuickShow software. These sit alongside two Martin Professional Atomic 300

DMX strobes and a pair of Robe Faze 800 FT faze machines. Club Next Manager, Kieron Valadere summed up the project: “The nightlife in the beautiful islands of Trinidad and Tobago just got better with the opening of the newest jewel in the crown by the Princess International Group. It has been five months since the opening of the Royal Princess Casino SouthPark in San Fernando and now the exciting Club Next has opened as well. This is the latest nightclub to be opened following the success of similar projects in Guyana and Suriname where our customers enjoy the talents of the best local DJs and entertainment by professional international dance groups. Club Next features a state-ofthe-art light and sound system, which is the evolution into an all-encompassing nightlife experience.”


8-Channel High-Performance Amplifiers with DSP and DanteTM

Designed and manufactured in Italy

Powersoft_Mondo_XSeries_Jul/Aug_Ottocanali.indd 1

30/10/15 12:01


NEXT-proaudio brings a taste of Las Vegas to Kazakhstan.


Aiming to bring a ‘taste of Las Vegas’ to Kyzylorda in Kazakhstan, Aray Club has recently been equipped with a NEXT-proaudio sound reinforcement system, installed by the manufacturer’s Kazakhstan distributor, Sound Light Systems. The club boasts a contemporary lighting design, a dynamic dancefloor area and offers luxury for to up the 300 guests who will be wowed by

international performers. The audio set-up comprises the NEXT LA Series and the PFA Series featuring eight LA122 and four LAs218 for the main system, plus 16 PFA12 distributed around the periphery. The whole system is powered by the NEXT MA Series of amplifiers and an LMS242 digital signal processor.

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104 EX P O

• Brian Dowdle and Kris Dawber of ADJ

• The Adam Hall team

• The guys on the Faital stand line up

• The Dynacord team

• Hands on at Allen & Heath

• Flipside exhibited for the first time

• Polar Audio strike a pose



The month of September saw the second edition of the PRO show at Birmingham’s NEC, which boasted big-name exhibitors, new feature areas and an expansive educational programme. This year, the combined visitor figures for PRO and BPM - the DJ and electronic music production sister event - totalled over 9,500 people. PRO attracted 4,079 dedicated visitors as well as additional visitor traffic crossing over from BPM’s 5,594-strong audience, which included venue owners and managers, event organisers and live music industry professionals, as well as students studying performance or music technology courses. Impressed by the show’s varied visitor profile, Lee Brooks of headline sponsor Production Park, said: “This year saw us intent on engaging with the whole of the industry, from grassroots to industry leaders, as part of our Production Park

launch. PRO 2015 delivered, creating a great networking platform and appealing to a wide and varied audience.” The chance to engage with visitors out on the show floor was also a highlight for Nexo, its joint stand with Yamaha proving popular with attendees. Sales Manager Gareth Collyer reiterated: “PRO was rather a landmark show for us, the first time that Nexo and Yamaha have exhibited together. We saw an encouraging number of high-quality prospects and many well-known industry faces, including most of the top-flight audio rental companies.” While large numbers of visitors enjoyed speaking to brand representatives on the exhibition floor, the 2015 show also included an expanded PRO Audio Demo Space and extended PRO Sessions learning programme. The latter of these played host to detailed discussion panels across

• The RCF stand

• Joe Fucini, Caroline Chauvet and Patrick McCumisky on the Chauvet stand

PRO’s three days, including one focussing on HOME, the new multi-faceted arts centre that opened in Manchester recently, another that discussed the reinvention of super clubs and a final one - moderated by mondo*dr Editor, Rachael Rogerson-Thorley - on the future of LED lighting. Exhibiting for the second time, Chauvet Professional took the opportunity to unveil five new products, including: the PVP X3, the Strike 4, and the Rogue RH1 Hybrid. “At Chauvet Professional, we put a lot of thought into developing products that meet lighting professionals’ wish list and offer the performance enhancements and features that our customers demand, so we were very excited to display our latest offerings at PRO 2015,” said Chauvet General Manager for Europe, Michael Brooksbank. • The team on the LMC stand representing Cadac

105 EX P O

• Tom Weldon and Jonathan Reese-Farran of KV2 Audio

• The Bose team

Elsewhere, Allen & Heath’s dLive mixing system received its UK exhibition debut at PRO. All three of the new mixing surfaces - the S3000, S5000 and S7000 were on show. Among those making an inaugural appearance at PRO was A.C. Entertainment Technologies (ACET). On display was a selection of products from its vast portfolio of leading technology brands, including the extensive ProLights lighting and LED video screen ranges; Jands lighting control solutions; and the Green Hippo Hippotizer V4 media servers. Adam Hall was also present at the NEC, highlighting products from LD Systems, including LD Systems’ CURV 500, MAUI 5 and VIBZ, while ADJ showcased its

• Nexo and Yamaha exhibited together this year at PRO

Warlock and Ricochet lights to the PRO show visitors. Run by AED Distribution in partnership with High End Systems, the Hog Factor competition - which seeks to the find the best young lighting design and programming talent - held its UK finals on the Sunday at PRO. The event gave young lighting designers a chance to compete in front of industry judges for the chance to win a HedgeHog4 lighting console. FBT used PRO for the exclusive first showing of its latest X Series active speakers. All three ranges - X-PRO, X-LITE and X-SUB - were present, as well as a wide selection of microphone products and its latest modular line array range, MUSE.

• The HOME panel

106 EX P O

• The FBT stand

• The TW Audio team

• The AED stand

The purpose-built FX Stage area at PRO gave visitors a chance to experience pyrotechnics and special effects from the industry’s top brands. Le Maitre gave hugely successful demos each day, where it utilised a range of pyrotechnics, including its new gerb flames, ice gerbs, volcano mines and multi shots. UK Events Group also demonstrated a variety of products on the FX Stage including CO2, flame effects and confetti, with its displays taking place twice-daily throughout the show. “Le Maitre was delighted to be at PRO this year,” said Elaine Peake, the company’s Head of Sales. “There was a real buzz all around the show, and the introduction of the FX Stage provided us with the perfect opportunity to demonstrate a wide variety of our latest pyro products, flames and low fog. We’re definitely looking forward to the show again next year.” LMC Audio Systems showed a range of its products including the Roland UK M-5000 live mixing console, the Cadac CDC six, the Nexo GEO M6 array, the Martin Audio MLA Mini multi-cellular loudspeaker array, and the Shure UK QLX-D digital wireless system. KV2 Audio returned to PRO to launch its hugely-

• The AC-ET stand

• Avolites Prads Vigneswaran and Arenna Matthewson

• The new FX Stage

anticipated active VHD 4.21 ultra low frequency subwoofer. Attendees had the opportunity to hear the new VHD 4.21 in action as part of a complete VHD 2.0 system within the PRO Audio Demo Space. Polar Audio’s PRO stand was the place to check out all the latest equipment from brands including Mackie, Beyerdynamic, Biamp Systems, XTA and Renkus-Heinz. Another new exhibitor at PRO was rental titan, PRG. Marketing Executive Matt Rakowski explained why the company chose to take part: “This was the first year PRG has exhibited at PRO, and we decided to use the event to raise the profile of the PRG Proshop, our used equipment sales platform. There was a warm-hearted atmosphere at the show and we were able to make some excellent contacts.” Laserworld showcased its laser systems for DJs, entertainers and small nightclubs at BPM, and its professional laser gear for high-end customers at PRO. RCF took advantage of the sound demo possibilities on offer, using the PRO Audio Demo Space to demonstrate its TTL6-A. TW AUDiO was another newcomer to the PRO

• The celebratory cake for the launch of Production Park and mondo*dr’s 25th anniversary

• Martin Pelikan of Kvant

experience, and had demos set up in the Pro Audio Demo Space. The listeners were reportedly very impressed by the TW AUDiO sound quality and the performance of the compact PA-SYSONE, supported by BSX. Looking to the future of PRO, Show Director and Sales Director of Marked Events, Mark Walsh, said: “It is an exciting journey we are on, and in an industry that is changing quickly it is important that the events we deliver reflect that. “We are very pleased with the growth of PRO from our launch show last year to 2015’s significant event. The team now look forward to listening to feedback from exhibitors and visitors alike, before acting on this input to create an even bigger and better show for 2016.” With news of PRO changing its days to Sunday to Tuesday - instead of Saturday to Monday - and the announcement of PLASA London moving to Olympia and taking place the weekend after PRO, some companies might be forced to make some difficult decisions. PRO will take place at the Genting Arena adjacent to the NEC - on 11-13 September 2016. For more information go to:

• The VME team



*These people are not stock photography models. They are genuinely rocking out to the C15 at the amazing, new Fillmore Philadelphia.

108 EX P O

• The Antari stand

• The ADJ boys - Kris, Brian, Alfred

•Martin Palmer and Bryan Matthews of Philips

• MA Lighting’s Ansgar von Garrel

• The Avolites team

• High End Systems Hog Series were on display



As LDI successfully reached its 28th year, I made the flight from Manchester to Las Vegas to tick off mondo*dr’s 28th tradeshow of the year. We have been lucky enough to witness the launch of some incredible and innovative products, as well as cleverly and carefully designed stands at tradeshows this year. And, it was time to see if LDI could sustain those high standards, as we draw ever closer to the end of another calendar year. Although it was only my second visit to LDI, I am no stranger to Las Vegas. The familiar sound of slot machines and dazzling lights provided a sensory overload that I’ve become accustomed to

in the city labelled the ‘entertainment capital of the world’. No time for jet lag in a place like this. Day one kicked off with the usual buzz of a strong, seasoned, international tradeshow and it was clear that both visitors and exhibitors had come from far and wide to be involved. LDI boasted an impressive 350 exhibiting companies, as well as over 10,000 attendees. The highlights I came across on the showfloor included ADJ introducing new products such as the WiFLY Chameleon, Revo 4 IR and COB Cannon Wash Pearl. Le Maitre unveiled two new special effects; the G300-SMART, a professional smoke machine, and the X2 Wave Flamer, a fluid

• The AV Stumpfl stand

based flame machine. And the show played host to the launch of Robe’s BMFL Wash and BMFL Wash XF. Philips Entertainment displayed two new Showline LED luminaires at this year’s LDI with the release of the SL BEAM 300FX and the SL PUNCHLITE 220. While Vari-Lite showcased its Series 4000 automated luminaires and Strand Lighting presented a variety of products including: NEO wings and playback controller, 500ML lighting console, and PL Series Mark II LED luminaires. High End Systems gave visitors a closer look at its latest LED moving light innovations - SolaWash

• The Robe stand

• The Nicolaudio, Sunlite and Daslight brands exhibted together

109 EX P O

• Leigh-Anne Aiken of SHS Global and her worldwide team of rockstars

• Cui Lin of Lite Lees

• The Lumen Radio stand

• The RGB Link team

• Dataton had a constant stream of customers

• The Le Maitre team

• The GLP stand

• Agnes of ArKaos and Tracey of A.C. Lighting US

• Elation’s Eric Loader

• The Spotlight stand

• Martin and Dusan of Kvant

• Harman displayed Martin Professional products

• Dan Goldsmith of X-Laser

• Visual Productions’ Zoe Castle

110 EX P O

• The Proltye team

• Vectorworks out in full force

Pro 2000 and SolaSpot Pro 2000. The show also saw the launch of Clear-Com’s HelixNet 3.0, a free software-only update to the acclaimed HelixNet digital network partyline platform. And making its Americas debut at LDI 2015 was the award-winning Wings Engine Raw, a triple-stream 4K uncompressed media server that uses a custom engineered RAID 10 system from AV Stumpfl. Avolites Media exhibited its industry-leading range of Ai media servers, as well as its Avolites Arena console and Optical Titan Net Switch, both of which are now shipping. City Theatrical launched its new product SHoW DMX SHoW Baby 6, which is the latest version of the popular SHoW DMX SHoW Baby wireless DMX transceiver. And several new Elation products saw their North American debut including the Platinum HFX, a new mid-sized addition to the hybrid family of beam, spot and wash luminaires; the Satura Profile, a new LED-based CMY colour mixing moving head; and the ACL 360 Roller, a moving head luminaire. Ayrton presented six new products on the stand of its US distributor Morpheus Lights. The display of new products included MagicDot-R, CosmoPix-R, and VersaPix-RS as part of the Creative solutions line, as well as the US premiere of DreamPanel-Shift, DreamPanel-Twin and WildSun-K25. While d3 Technologies’ innovative Video Format Conversion (VFC) technology took centre stage on its stand as the company presented demonstrations of the new VFC cards for d3’s flagship 4x4pro media server. Martin Professional also welcomed the new Atomic

• The d3 team line up

• David Ferraz of W-DMX

• Blizzard Lighting

3000 LED strobe. Making its global debut at LDI was the Christie M Series line of 3DLP projectors featuring enhanced performance with both longer lamp life and portrait capabilities for the 450W models. Over on the Chauvet stand, among the new products attracting attention were the ÉPIX Tour Series of LED battens, the Ovation E-910FC, a new five-colour LED ellipsoidal, and the STRIKE 4 and Synapse 4. LD Rachel Miller created the design for the company’s booth. And finally, Wireless Solution released the new UGLYBOX MK2 and introduced Generation 5 of the W-DMX range to the North American market. As expected, the final day of the show was a quiet one and I took the opportunity to speak with exhibitors to gauge the reaction of those involved in this year’s show. Overall feedback was positive and the feeling was that the first day and second morning were particularly busy, a combination of healthy enquiries with a good mix of international and local visitors. A much talked about topic on the show floor was the news of Green Hippo opening a office in the USA, which will eventually dissolve its long-standing distribution partnership with TMB. This is rather bold move by the UK company, it suggests big things for them across the pond.

LDI returns to the Las Vegas Convention Centre next year on 23-25 October. For more information, go to:

• The Doughty stand

• Area Four Industries

• The Chauvet stand

• Lightwave displayed some impressive lasers

• City Theatrical

• David Venus of PixelFLEX

Image courtesy of creart.




Dirty Monitor that promised to deliver visual experiences for any atmosphere and any surface; URBANSCREEN, an artist collective and creative company based in Germany; RadugaDesign of Russia that describes its artistic style as non-standard original thinking; Light Event Consulting from France founded by well-known artist Laurent Lhuillery; and finally, MotionScape of Romania, a collaborative project between Mindscape Studio and MotionLab. Jean François Zurawik - best known as the Director of Events in the city of Lyon, France and coordinator of the famous Festival of Lights - was the Jury President. Alongside Jean François sat art critic and curator and Head of CuratorialResearch Department of the National Museum of Contemporary Art, Raluca Velisar; László Zsolt Bordos, also known as Bordos.ArtWorks, a 3D artist from Budapest, Hungary; Alexander Us, Creative Director and co-founder of Sila Sveta, a Moscow based projection mapping studio; and myself, to bring a journalistic perspective to the proceedings. iMapp was possible thanks to the organiser, creart - The Center for Creation, Art and

• The AVA Animation and Visual Arts entry had a traditonal feel and was full of colour

Tradition of the City of Bucharest; the producer, 360Revolution; and event production company and curator, Maxin10sity. Managing Director of Maxin10sity, Tamás Vaspöri said of this year’s event: “It was a great success. The people liked it, the city liked it, the jury and artists were all very happy.” The theme for the competition was The Elements, which sparked a combination of abstract, dynamic, colourful and storytelling animations. The teams took turns to present their work to the waiting crowd, each projection lasting four-anda-half minutes. Once all six entries had been delivered the jury deliberated to find a winner and the audience also selected a winner using a texting vote - MotionScape of Romania. The jury award went to URBANSCREEN. Daniel Rossa explained the company’s delight: “In accordance with the proposed theme of The Elements, we chose an artistic, abstract perspective to approach the concept. Similar to the four elements of nature, we tried to describe the elements of creation through its very basic components: point, line, surface and solid. By describing the

• URBANSCREEN won the pixel mapping competition

Image courtesy of creart.

Image courtesy of AVA.

Projection mapping festivals take place all over the world, however, iMapp in Bucharest, Romania was the first time mondo*dr had been invited to experience such an event first hand. In fact, the honour was even bigger than simply a spectator invite as I was asked to be a member of the judging jury, a request I was happy to fulfil. The second edition of iMapp took place on Saturday 19 September at Palace of the Parliament. The building - also known as the People’s Palace - is the second largest administrative building in the world after the Pentagon, USA and therefore provided a spectacular projection surface for the competition, a staggering 23,000 sq metres in total. It was a combination of 104 Panasonic DZ21 projectors and five coolux Pandoras Box media servers that were at the heart of making the competition possible. This year six finalists were selected to showcase their visual art display to a live audience. The contestants included: AVA Animation and Visual Arts from Mexico, who were very happy to be a part of one of the most spectacular mapping festivals in the world; Belgium’s

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Image courtesy of creart.


• Jury President, Jean François Zurawik presented URBANSCREEN with its award

• The judges

inherent process of growth from point to solid through the means of architectural aesthetics, a homogenous dialogue between graphical visualisation and physical structure was established. Within an abstract visual journey the work approached a depiction of materialisation and dispersal of volatile light and existent structure. “Winning the jury award took us by surprise and we were overwhelmed by the enthusiasm of the audience. We are very thankful for the professional set-up of the overall event, its precise technical expertise as well as the warm welcome through the people of Bucharest.”

Judge Laszlo described the experience: “The jury had a large variety of works to choose from which included colourful cliché mappings, as well as hard edge minimalistic styles too. It was a great experience to debate with the other jury members and decide on a winner. The duty of the jury was to define a direction that may potentially influence future mapping contests. It was also surprising yet wonderful to see the audience give a high mark to the jury’s winner after choosing their own winner.” (URBANSCREEN came second in the audience vote too). The preparation for iMapp 2016 are already underway and Maxin10sity hopes that it will be even bigger and better than ever.


CLEAR-COM | FreeSpeak II

Since its global launch, FreeSpeak II 1.9 GHz has already proven to be an exceptional wireless intercom system for large scale productions. Shortly after its introduction in April this year, a 2.4 GHz variant of FreeSpeak II was debuted to allow broadcasters and live production crews to expand their wireless intercom system in ways that have not been possible until now. FreeSpeak II 2.4 GHz provides full-duplex audio paths for simultaneous talk and listen as well as multichannel operation. It can function with a standalone base station or as part of an integrated solution within Eclipse HX matrices. The 2.4 GHz FreeSpeak II system shares a base station, Cat5 antenna distribution splitter, and battery charger with the 1.9 GHz FreeSpeak II intercom. However, it has 2.4 GHz band specific wireless beltpacks and active antennas. By design, the same base station or matrix integrated FreeSpeak II system can cooperate a mix of both 1.9 GHz and 2.4 GHz beltpacks and antennas. The two bands work together seamlessly within the base station or matrix intercom, allowing a single system to expand into a larger wireless system for supporting a growing number of users. The five-channel digital beltpacks have

similar ergonomic form factor, intuitive operation and a rugged housing that is IP-65 rated for water and dust resistance. The FSII-BP19 (for 1.9GHz operations) and FSII-BP24 (for 2.4GHz operations) beltpacks feature five intercom channels, 4 button user interface with an additional reply key, internal antennas, ‘Listen Again’ memory replay of the last 15 seconds of audio, technician’s flash light on the underside, and real-time battery monitoring. The Li-Ion battery delivers 18 hours of continuous talk time - about 12 hours with alternate AA cells. Beltpack users experience 7kHz digital audio ‘Clear-Com Sound’ for clear intelligibility and ultimate audio comfort. Pairing the new beltpacks with the new distributed Active Antennas allows users to simultaneously roam across an expansive area while maintaining reliable wireless connections. When using the base station, a maximum limit of 50 1.9 GHz beltpacks and 40 2.4 GHz beltpacks in the same radio space is possible. Today, FreeSpeak II is being used by broadcasters and in live stage performances such as Television Galicia, UK’s BBC Northern Ireland, Spain’s Telecinco and Broadway’s Tony awardwinning best musical, The Lion King.

• Above FreeSpeak II - base, beltpack, headset and antenna. • Right Top The top view of the FreeSpeak II • Right Bottom The front view of the FreeSpeak II


CHROMA RGBW \ 40 RGBW 15 W class LEDs \ 30.000 lumen \ 5 controllable zones \ IP65 rating \ eventCON® system




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Starway’s Servo Color 4K is a new addition to its famous range of Servo Color products. This new generation of LED moving head washlights is equipped with 19 LEDs of 15W, in order to deliver a superior lighting intensity. Its highefficiency optical system allows to obtain a perfect spreading of colours on a broad palette with RGBW colour mixing. Furthermore, a powerful and fast zoom feature allows great freedom of creativity with an immediate adjustment between beam and wash lights. Fast and powerful, the new Servo Color 4K is an ideal solution for light designers involved in the production of large and medium-sized performances.

Technical Specifications • Light Source: 19 LEDs RVBW 15W • Total output: 8,000 Lux at five-metres (11ft) • Pan: 540° • Tilt: 270° • Zoom range: 11°- 48° • Control mode: DMX 512, auto, master / slave • DMX channel : 15/20 • Connectors: XLR three-pin and five-pin • Control panel with LCD display • Power consumption: 300W • Dimensions (L x W x H): 222mm x 313mm x 370mm • Weight: 9kg

• Above L-R and Right Starway’s Servo Color 4K.

The Eiffel Tower 2015 Thanks to Magnum and Starway’s TourKolor, the Eiffel Tower was lit in pink during the month of October for the association ‘le cancer du sein, parlons-en’.

ERRATUM: September / October 2015, issue 25.6 The Eiffel Tower Illumination In the Albert & Berenice Chauvet interview in the September/ October 2015 issue of mondo*dr, there was an image of Albert Chauvet in front of the illuminated Eiffel Tower. The illumination of this Eiffel Tower project was given to the French company CITELUM (Paris) by the SETE (Société d’exploitation de la Tour Eiffel). The installation was carried by the French company MAGNUM with lighting equipment including Starway projectors provided by the French distributor CSI. The Eiffel Tower illumination pictures, rights owned by CSI. Pictures by Jean-Marc Charles.

The Sankeys installation comprises the GS-WAVE series 3-metre dance floor

comprehensive line-up guarantees versatile installations that deliver superb

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sound and complete coverage throughout venues of every shape and size.


stack with GSA technology, and the XY Series in-fill speakers. All powered by Powersoft’s high performance K Series amps with built-in DSP. This



03/11/2015 17:27



With the advent of more affordable LED lighting fixtures coupled with the demise of the incandescent fixture, small to medium sized venues around the world are slowly transforming their somewhat tired performance spaces into a space awash with colour, beams and drama. What was once the sole domain of venues with large production budgets is now within the reach of schools, churches and other live performance spaces. However, inexpensive lighting fixtures are one thing, but to control and program them is another issue altogether. In most situations, it is the drama teacher, church volunteer, student or local technician that is faced with the demands of programming the show. The biggest learning curve for any budding lighting designer or programmer is how to understand the complexity involved in getting LED and moving lights to do what they want for the school play in the 20 minutes of programming time they have before the curtain goes up. LSC has designed the Mantra, an entry level and affordable lighting console that takes away the steep learning curve required to operate complex lighting fixtures. Simple to setup, program and run your show at any user level.

The Mantra can control virtually any type of fixture including LEDs and moving lights. The majority of the fixture templates of the branded fixtures are all accessible from the on-board library. You can even create your own on the console quickly and easily with the built-in Fixture Template Wizard, always handy when you rock up to a venue that has the new 250W shiny LED wash. The Mantra has a custom designed App-driven user interface that offers the user a colourful, simple and intuitive programming experience. Simply select any of your 24 fixtures - expandable up to 48 fixtures via a Mantra USB wing due in Q2, 2016 - select your icon for colour, beam or position, pick your look and record it as a playback. Simple. For more complex colour and position effects, the ‘Animate’ function is a powerful effects engine that allows the user to easily create complex colour and position chases in seconds. With 10 playbacks over 10 pages, dedicated flash buttons and 250 cues per cue-list, the Mantra will provide you with everything you need for a great looking production on a tight budget.

• Above and Right LSC’s Mantra



1. i5 - Snare The i5 accurately captures the backbeat of every drum kit - the snare drum.

2 1

• Reproduces snare sound without unwanted colouration • Extremely durable - no plastic parts • Proprietary VLM (very low mass) capsule for superior transient response

2. D6 -❭❭ Kick Drum Lightweight, compact and easy to position, the D6 is an excellent choice for mic’ing kick drums.


• Ground-shaking low end with excellent definition and clarity • Industry standard for today’s modern drummers • Designed, machined, assembled and tested by Audix in the USA

3. D2 & D4 ❭- Rack Toms & Floor Toms VLM (very low mass) capsule technology provides exceptional attack and decay, critical for a great drum sound. Each award-winning mic in the pack is recognised for clarity and accuracy under high SPLs. The DP7 mics satisfy the most demanding ears in the industry on stage and in the studio. The DP7 Drum Mic Pack includes • D6 kick drum mic • i5 snare drum mic • D2 rack tom mics • D4 floor tom mic • ADX51 condenser overhead mics • DVICE rim-mount mic holders • DCLIP mic clips • Rugged aluminium carrying case

• Isolates each drum from the rest of the kit • Compact and lightweight for easy positioning • Designed, machined, assembled and tested by Audix in the USA

4. ADX51 -❭❭ Overhead Mics With a 10dB pad and 150Hz roll-off, the ADX51 pre-polarised condenser is at home on stage or in the studio. • Perfect for overheads, high hat, and acoustic instruments • Cardioid pattern for focussed sound




[loud-spee-ker] n.

A device for converting audio frequency signals into the equivalent sound waves by means of a vibrating conical diaphragm.




“We have been working with Martin Audio since we established our 1996. When Martin Audio introduced the MLA technology, we immediately felt that it was revolutionary and was going to change the industry forever. Our predictions came true, Now, thanks to the new CDD Series we’re delivering MLA-like coverage consistency to the more intimate spaces of the installation market and the demand so far, has exceeded initial forecasts.”


“In our business, it is first location and second the choice of loudspeakers. T h e E AW QX a r e o u t s t a n d i n g loudspeakers that enabled us to meet the criteria set by the owners and consultant. I honestly doubt any other loudspeakers would have met all the criteria [for the Singapore Sports Hub}.”


“You know you’ve achieved good sound when your audience is passionate about what they are h e a r i n g . P e r s o n a l ly , t h e m o s t passionate and fanatical audiences I’ve experienced have been in environments with Funktion-One loudspeakers. I guess the root of that passion starts in the design process but more than anything, it’s the clarity and integrity of what’s coming out of the loudspeakers that connects with people’s emotions.”














Active Audio RayOn Rmini After the launch of the RayOn R200 and R60 column loudspeakers this year, French manufacturer, Active Audio has now introduced the RayOn Rmini. The RayOn range comprises four passive columns that re-use the DGRC technological principles developed for the high-end StepArray active DSP columns. Active Audio’s Digital and Geometric Radiation Control patented technology consists in a synthesis of geometric and electronic arrays in a way that reduces the number of DSP and amplification channels. The result is an increased price to performance ratio compared to competing products. Like the other columns in the range, Rmini sports an aluminium enclosure and is EN24-54B compliant, IP54 and IK08 certified. It can be used in either 100V line or low-impedance modes too, making it a very versatile loudspeaker. Active Audio created this product to answer two specific demands - it can be used as a complement to the other RayOn loudspeakers in smaller spaces, and more specifically it is a solution for those long corridors in airport terminals and train or underground stations, where intelligibility is crucial and larger loudspeakers are unadapted.

AdamHall CURV 500 Series With the CURV 500, Adam Hall LD Systems presents the first really portable array with WaveAhead technology for high-definition audio quality with great sound pressure and balance. Thanks to the expandable vertical and horizontal coverage, the system is completely scalable. The unibody aluminium construction of the CURV 500 array satellites sets new standards and is essential for the outstanding sound quality of the system. Users can connect up to four interlocking satellites connected to the subwoofer base. The unique SmartLink plug-and-play adapter also offers numerous mounting options. For all-in-one comfort, the four-channel mixer integrated in the CURV 500 provides a range of digital effects, as well as modern Bluetooth wireless technology. Three sets are available for mobile and fixed installation. They feature a low weight and a wide, far-ranging sound dispersion. Thanks to optional extensions, the systems can be perfectly expanded further. Black and white housing designs for the audiovisual set allow for harmonious integration into the surrounding architecture.

Alcons LR28 The Alcons LR28 is a large-format line-array system with a quad-amped, fully-symmetrical threeway configuration. The LR28 combines the high sound quality with high SPL capabilities and throw. It offers an intuitive, predictable linear response behaviour, with perfect intelligibility and identical tonal balance up to even the highest SPLs. By implementing Alcons’ pro-ribbon technology for mid and high frequencies, a super-fast impulse response with up-to-90% less distortion and a flat frequency response beyond 20kHz is achieved. The LR28 features the proprietary and multiple-patented RBN1404rsr 14-inch pro-ribbon driver - with 3,000W 14-inch voice-coil - quad 6.5-inch slot-loaded midrange drivers and double customised 14-inch woofers with large motor structures for prolonged dynamic headroom. The LR28 is powered and controlled by the Sentinel10 amplified loudspeaker controller with LR28-specific drive processing with array-compensation, active-steering, filterpresets, system EQ, phase-matching and ALControl remote. The Signal Integrity Sensing pre-wiring of the LF and MF sections ensures fully dynamic cable / connector compensation between the LR28 and sentinel, resulting in a pro-ribbon matching 1:1 mid and bass response, while reducing distortion even further. The unique, patent-pending rigging system facilitates two different ways of array assembling, caterpillar and pre-rig-style, with compressed and non-compressed suspension. It has a WLL of 24 cabinets under 10:1 safety.

Adamson S10 The S10 is a two-way, full range line array enclosure ideal for mid-size arenas, theatres, churches and dance clubs. It is loaded with two newly designed 10-inch ND10-LM Kevlar Neodymium low frequency drivers and an NH4TA2 1.5-inch exit high frequency compression driver. A wave shaping sound chamber produces a slightly curved wavefront with a nominal dispersion pattern of 110° x 10° (H x V). Due to extensive boundary element testing, the chamber exhibits increased vertical response with minimal sacrifice of high frequency energy in the far field. Patent-pending Controlled Summation Technology further eliminates low-mid lobing normally associated with two-way line source systems. Controlled Summation Technology is a design method that brings the LF drivers as close together as possible, while symmetrically outwardly splaying them. The end result increases usable frequency range while decreasing summation at the crossover point, reducing interference. The S10 offers a max peak SPL 141.3dB, which is notable for such a compact enclosure. The compact solution - 10.4-inch x 29-inch x 207inch - weighs in at a mere 27kg. The cabinet is made of marine grade birch plywood as well as aircraft grade steel and aluminium, and is equipped with two Speakon NL8 connectors. The rigging system incorporates Slidelock rigging technology.

Amadeus Philharmonia Unveiled as a concept loudspeaker earlier this year, the Philharmonia from Amadeus is a high definition monitoring system combining innovation and technology, with style, and a pristine sonic character. The loudspeaker features a curved structure that is both simple and complex, consisting of 547 wood veneers accurately machined and assembled, offering a distinctive look and volume. It also features a 28mm soft-domed tweeter and a custom eight-inch woofer, and boast analogue and digital inputs with a customised integrated DAC and an amplitude linearity range (±2dB) from 43Hz to 22kHz. The high-frequency driver features very low dielectric losses and high thermal conductivity, loaded behind a fast exponential waveguide machined in wood, which yields exceptional control over spatial dispersion. Philharmonia is bi-amplified using two dedicated very high resonance digital custom-built amplifiers, each amplifier delivers 700W under eight ohms. These proprietary PPM-PWM fixed frequency Class-D amplifiers are equipped with a high-efficiency switched mode power supply. Each loudspeaker channel is under control by a powerful, 64-bit digital processing unit capable of a 118dB dynamic range. Each of these on-board DSP units include a module dedicated to managing core system parameters including system EQ, time alignment between sections, limiting, transducer thermal protection. This level of control makes Philharmonia fully protected and able to operate at the full extent of its abilities.

Amina ALF120 Amina’s ALF120 maintains the company’s ethos of providing custom installers with near invisible subwoofer solutions to complement its range of completely invisible in-wall and in-ceiling loudspeakers. Amina has designed the ALF120 to produce deep, loud and fast low frequencies from an ultra slim in wall enclosure. Developed specifically for use in discreet, high performance stereo and multichannel cinema systems, the efficient ALF120 transmission line based design operates on extremely small amounts of power. The ALF120 is 1.6-metres tall and will comfortably fit within standard a 400mm stud-wall bay. Its slot vent is only 315mm x 14mm and can be positioned behind a suitable matching slot created in the room’s skirting board. The slot vent itself has a unique design that allows the orientation of the port to be changed by 90º allowing the subwoofer to be alternatively placed flat under sofas, in ceiling soffits, or built into joinery that cannot accommodate the product in an upright position. Performance wise the fully passive ALF120 generate a flat response between 26Hz - 120Hz with typical in-room sound pressure levels of 110dB and even greater if corner loaded. Amina recommend that high quality power amplifiers with as little as 75Wrms into four ohms are sufficient to drive the ALF120, giving installers and specifiers the added benefit of helping them design systems with smaller rack space requirements and lower energy consumption.

ESD5  NEW ADDITION TO ESD FAMILY This tiny enclosure produces true and accurate reproduction in a cleverly designed cabinet. Ideally angled for ceiling or under balcony mounting, installation is quick and easy with the integral mounting bracket. Suitable for all applications where a robust, high quality compact speaker is required. Like all KV2 speakers, the ESD5 delivers sound performance beyond expectation!

The ESD Range Time Aligned Passive Speakers


Apia MIO Apia Pro Audio has created the MIO System with performance, aesthetics and ergonomics as integral criteria in its design. Realising high performance in a small package the MIO is a great fit for all medium size audio applications. The MIO has a unique loudspeaker in design integrating two 6.5-inch cone drivers and 1.4-inch exit compression driver. MIO’s aesthetics and user friendly mounting abilities fill the demanding needs of architects and sound engineers alike. The MIO cabinet has a fixed tilt mechanism of 110° horizontal and a variable 0 ° to 10° vertical angles. MIO, when used with the high-tech QDS-13 amplifier reproduces a surprising performance according to its size. The MIO line array system is also supported by MIO Sub or RS Sub. Apia has also announced the next GLL files for EASE Focus 3 and the new preset-pack for Powersoft amplifiers for use with MIO.

AudioFocus ARES The ARES line array system is suitable for a wide range of sound reinforcement applications from small-scale concerts to theatres where sound quality is crucial. A plug ‘n’ play, compact, wide dispersion, two-way line array that offers high performance in its category. It’s equipped with a Powersoft Class-D module amplifier and DSP presets. ARES offers dual eight-inch FaitalPRO drivers, which handle low-mid frequency range while an 1.4-inch exit compression driver coupled to a waveguide provides smooth top end. With this compact and lightweight cabinet, it is possible for a single operator to set up a system of eight elements in just 10 minutes.

Anchor Audio Bigfoot The Bigfoot is the newest, biggest, and most powerful portable sound system available from Anchor Audio. Designed to cover a football field, this thunderous battery powered system is up to any challenge. With a line array consisting of five eight-inch neodymium loudspeakers and one high efficiency neodymium compression driver, this product delivers and easily sets up in seconds. The Bigfoot is the first Anchor Audio portable sound system that offers four built-in wireless receivers - allowing everyone to be involved. It also boasts standard builtin Bluetooth and an optional built-in CD/MP3 combo player to easily connect to anything users need for an all-inclusive sound coverage.

there’s a new kid in town.

meet the d3 2x2plus, for smaller shows and installations.


Light is entertaining A collaboration that shines onstage: OSRAM & ROBE Renowned for fixtures that shine on the world's largest stages, Robe's moving heads, paired with OSRAM's advanced lighting solutions, deliver staggering light effects. Combined in ROBE's BMFL™, Pointe ®, and miniPointe ® fixtures, this collaboration infuses crowds with excitement and energizes stages. ROBE and OSRAM bring you lights that not only illuminate, they perform. Offi cial campaign partner:

Light is OSRAM


Clair Brothers kiTCURVE12+

B&C Speakers MBX Series

kiTCURVE12+ is a full range, curved array high output loudspeaker ideal for speech and music reproduction. The kiTCURVE12+ is one of Clair Brothers most versatile full range loudspeakers. kiTCURVE design technology is rooted in Clair Brothers Curved Array Technology (CAT). The kiTCURVE combines the array ability of the CAT with the portability and versatility of the kiT Series. Exceptional intelligibility, high output performance and durability make the kiTCURVE12+ an excellent choice for virtually any indoor or outdoor application. The kiTCURVE12+ has been engineered for optimal individual performance or as part of a multiple cabinet system with added flexibility to mount vertically or horizontally, or on pole mount with subwoofer base. The cabinet features a custom OEM 12-inch transducer and two 20-inch exit / three-inch voice coil diameter and high frequency drivers coupled to a 90º H x 15º V constant curvature, constant directivity horn that delivers naturally smooth uniform coverage in both near-field and medium throw applications. Multiple cabinets may be arrayed, up to five high when flown, to create a seamless vertical coverage of 75°. The kiTCURVE12+ is powered by an integrated two-channel 3,200W power amplifier module that includes internal DSP loudspeaker processing: crossover, EQ and limiter. The processing is factory programmed and provides the user with the choice between four presets that are specifically designed for various applications and array configurations. Amplitude shading of high frequency output for array applications is integrated into the factory presets.

B&C has added a few new members to its woofer family, with the addition of the MBX Series. This new range is designed as a general-purpose woofer, well suited to application in two-way, point source systems. The MBX Series offer an excellent balance between low and mid frequency reproduction, with higher sensitivity than current, similar alternatives. As full range enclosure sizes continue to shrink, the MBX Series is a logical alternative. The MBX Series feature a neodymium ring magnet, copper clad aluminium wire voice coil wire, ventilated voice coil gap, and an aluminium demodulation ring that reduces distortion. Current models include the six-inch 6MBX44 and eight-inch 8MBX51, a 10-inch model is also in development.

Bose RoomMatch RoomMatch array module loudspeakers deliver concert-quality sound for fixed installations in theatres, arenas, houses of worship, clubs and performance centres. Through Bose proprietary technologies, RoomMatch modules offer unprecedented scalability that allows them to be used singularly in applications with modest SPL and coverage control requirements, or to form progressive directivity arrays for the highest SPL and coverage-control requirements. Overcoming the acoustic limitations of both line array and point-source conventional designs, RoomMatch modules form a new class of curvilinear array that allow seamless audio quality, with consistent front-to-back and side-to-side tonal balance. With 42 full-range array modules, including new asymmetrical pattern modules, two companion subwoofers, and rigging accessories, the RoomMatch modular design allows progressive directivity arrays to be optimised for almost any room size, shape, acoustic requirement or budget. For additional low-frequency impact, two companion subwoofer modules are available. The RMS215 module extends usable array response down to 40Hz and features dual Bose 15-inch high-excursion woofers. The new RMS218 module extends usable array response down to 25Hz and features dual Bose 18-inch high-excursion woofers. Both subwoofers can be integrated in suspended arrays. For the highest performance requirements, the RMS215 and RMS218 subwoofers can be combined with fullrange modules to form four-way RoomMatch systems.

Community I Series I Series is an innovative family of high-performance, arrayable loudspeakers with matching-height subwoofers. By combining I Series loudspeakers with Community’s exclusive BalancePoint Flyware, system designers can implement complex audio solutions that meet a venue’s performance requirements while pleasing architects and interior designers. Designed to provide exceptional musical quality and vocal clarity, the I Series includes point-source, compact and high-directivity models in two performance levels for applications ranging from hospitality, leisure and music venues to live performance theatres, multi-purpose auditoriums, exhibition spaces, educational facilities, houses of worship and other professional and commercial venues. BalancePoint Flyware is a versatile flying hardware system that complements I Series allowing individual loudspeakers to be precisely aimed and arrays to be quickly assembled in the shop or on-site. Available in black or white, BalancePoint Flyware enables low-profile arrays that hug the ceiling and eliminate unsightly flying cables.

CODA Audio HOPS8i CODA Audio offer a wide range of innovative loudspeaker systems that can cater for every possible installation application. From bars and restaurants to sports venues, theatres and stadiums, there is a CODA system to meet the widest possible diversity of sound reinforcement requirements. Innovation and development are key to CODA’s outlook and this year saw the launch of the HOPS8i (High Output Point Sources) system, whose advanced design and state-of-the-art drivers offer an optimum solution for near field applications in small-to-medium venues where compact size, high output, superior dispersion control and high fidelity sound are required. This superior, compact and versatile system is an ideal choice for corporate events, product presentations, exhibitions, small live reinforcement systems, DJs, small nightclubs, audiovisual rooms, stage monitor, front fill, under balconies and many more. An extensive range of special hardware kits and accessories means that CODA systems can be installed into even the most challenging of environments. Examples such as the ultra-compact CoRAY4i column system for medium installations and recently launched AiRAY line array for large applications are complemented by the G300-Series system that offers an exceptional small venue solution.

D.A.S. Audio Artec 300 Series The new D.A.S. Audio Artec 300 Series of loudspeakers are designed for use in fixed sound reinforcement applications. They are presently available in eight passive models comprising 6-inch, 8-inch, 10-inch, 12-inch and 15-inch two-ways, a double six-inch two-way, a double 10-inch line array and a passive double 12” subwoofer. The 10-inch, 12-inch and 15-inch two-ways are available with 90º x 60º or 60º x 40º horn dispersions. All horns are rotatable allowing the systems to be used in either the vertical or horizontal position. The enclosures are manufactured using birch plywood and are finished with the durable ISO-flex coating. They are available in black or white. With a wide range of accessories, including C-clamps for truss mounting, U-brackets for surface mount applications, and special rigging kits, the new Artec Series loudspeakers make a great choice for everything from quaint bars to elegant nightclub installations.


EAW Anna EAW has expanded the Adaptive Performance Series with Anna, a system designed for the touring, regional sound reinforcement and permanent installation markets. Anna’s smaller footprint and lighter weight make it ideal for permanent or temporary use in sheds, theatres, clubs, mobile staging and corporate audiovisual. Anna arrays also work seamlessly with Anya to horizontally expand Anya-based systems for outfill or delay. Both Anya and Anna integrate perfectly with the Otto subwoofer to form a cohesive solution for any application. Each Anna module includes eight HF compression drivers that provide a continuous line of apertures on a horn that expands to fill the entire face of the enclosure; four five-inch MF cone transducers combined with Radial Phase Plug and Concentric Summation Array technologies to sum coherently with the HF wavefront; and dual 10inch LF cone transducers employing Offset Aperture loading to extend horizontal pattern control. A total of 14 built-in amplifier and processing channels enable independent power and control of each loudspeaker component. Resolution 2 software controls the processing of each acoustic cell individually to generate the ideal coverage pattern for the venue. Anna modules are sold in groups of 24 or 12 enclosures. All accessories including, power distribution, data networking and cabling are included with the system.

d&b audiotechnik V7P and V10P The compact three-way passive V7P and V10P are a new breed of point source loudspeaker. Their unprecedented overall performance, sonically and in SPL and headroom, make the application possibilities virtually unlimited in the mobile and installation markets. Both house two 10-inch LF drivers, a rear mounted eight-inch MF driver, attached to a dual chamber horn, and a centrally mounted single 1.4-inch exit compression driver with a rotatable CD horn. Due to the dipolar arrangement of the LF drivers, broadband dispersion control is maintained down to approximately 350Hz in the same plane as the dipole. The bass-reflex design utilises an advanced LF venting arrangement that delivers an impressive LF performance extending from 59Hz to 18kHz. When powered by the d&b D80 amplifier, V7P and V10P have a peak SPL of 142dB and 141dB, respectively. Offering 75° x 40° and 110° x 40° (H x V) dispersion characteristics, these point sources use an advanced horn loaded mid range section to provide a remarkable MF sensitivity. This exceptional performance, particularly in the vocal range, makes them perfect for applications demanding high SPLs with full bandwidth capabilities from a single box solution. The companion V-GSUB is an actively driven cardioid subwoofer powered by a single amplifier channel.

Electro-Voice EVID Compact Sound Series The EVID Compact Sound Series joins the globally popular EVID family of small-format installed audio products from Electro-Voice. EVID Compact Sound is designed to offer an unparalleled performanceto-size ratio in the small-format installed sound category. The series includes five sonically and aesthetically matched models which allow complete systems to be customised more effectively and more economically: subwoofer and satellite loudspeakers for surface-mounting, subwoofer and satellite loudspeakers for ceilings, and a pendant loudspeaker. Customers can purchase either a complete pre-packaged system or mix-and-match satellite models with any subwoofer for optimal results according to application. All models stand apart from other available products by providing a unique combination of superior sound quality, stylish design, smaller size, and simpler installation. A direct connection of satellites to subwoofer substantially simplifies wiring while high-quality audio with an acoustically balanced crossover point eliminates localised subwoofer effect so that the system sonically disappears. The subwoofers feature a large eight-inch woofer for increased low frequency output and more pleasing sound at lower volumes. The new EVID Compact Sound Series supports 100W, 70V / 100V, and eight ohm audio connections.

EM Acoustics HALO Compact When EM Acoustics first introduced the HALO Compact line array it was to an already mature marketplace with some very popular products from prominent American and European manufacturers. The result of this was that everybody already had an idea of what to expect from a compact line array. Halo Compact arrived and continues to surprise time and time again with its amazing throw, clarity and speed, providing an astonishingly large sound for its diminutive footprint. HALO Compact is different to all other compact line arrays, in that it uses a single eight-inch low / mid-range which gives it a much larger, richer sound, and an eight-inch AMT device on a dedicated waveguide. This device gives an incredibly natural sound to the system and provides a true plane wave. HALO Compact has gone on to become the loudspeaker system of choice for many venues, including the internationally renowned Royal Albert Hall.

Avalon Hollywood

Droppin’bombs with the .twos + .threes. “As a clubber, I like to be in front of a DJ and feel the sound in my heart and stomach but still be able to speak to the person next to me – I can do that at Avalon. And given the choice, I prefer performing at clubs with Avalon systems. No doubt about it.”

Avalon by EAW™ CLUB.twos. CLUB.threes, CLUB.fours, CLUB.fives. SUB.twos. World-acclaimed DJ Erick Morillo loves them: “When I throw a party, I throw a party – I installed Avalon systems in my homes to make sure we’re guaranteed a great time.” Avalon by EAW is a comprehensive line of preeminent EDM/club-specific loudspeakers. They push sound that becomes a physical force to dancers. Maximum, distortion-free output. Seismic lows. Crystalline highs. Simple, elegant, symmetrical modern design. The most advanced transducer technologies and horn design. Automotive-class finishes. Visit for more information on Avalon by EAW and see why high caliber DJs like Erick demand them.

Avalon Morillo_Mondo2.indd 1

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FBT Vertus CLA 406A & CLA 118SA The CLA406A enclosure from FBT comprises four custom 165mm woofers and a 35mm large format Neodymium compression driver with 64mm voice coil for a frequency response that extends from 65Hz to 20KHz.The waveguide, specifically designed for this product and optimised by finite element simulation BEM, has a horizontal dispersion of 100° and 25° and a vertical low distortion thanks to the optimal load seen by the diaphragm of the driver. The height dimension of the waveguide allows an excellent vertical control throughout the operating range of the driver and enables the linking of the two systems in a consistent manner to beyond the 18KHz. The CLA406A amplifier module has a die-cast aluminum with natural convection 600W for LF section and 300W for HF Class-D switching power. Latest generation DSP algorithms offer eight presets, ensuring that users will achieve great sound for every application, as well as generous headroom for maximum reliability and signal integrity. The CLA406A is a truly professional line array that, despite its compact size, still delivers an impressive SPL of 133dB. It can be integrated elegantly and with minimal intrusion into any environment that requires high quality sound with powerful directional control. The CLA 118SA is a subwoofer featuring a 460mm woofer from B&C in a bass reflex port with an extensive laminar airflow, minimising turbulence and power compression. The Class-D, switching power amplifier module is constructed in die-cast aluminium with natural convection, and is rated at 1,200W. Onboard DSP also offers functions such as filtering, equalisation and protection. The CLA118Sa is also modular and can be stacked thanks to special milling, increasing the SPL and raising the base of CLA406A.

Flipside FS-8.1 The FS-8.1 is a completely fibreglass, fully horn-loaded mid-high frequency loudspeaker that’s lightweight and capable of producing the transparent sound. The high efficiency, controlled dispersion and great throw of the FS8.1 makes it a powerful tool for both outdoor and indoor venue use. The unit also provides a variety of flying and pole mounting options requiring the minimum of specialist equipment or unnecessary add-ons. The innovative throat entry design eliminates all throat reflections and phase coherence issues. This loudspeaker pairs perfectly with the FS-15DR.

Flare Audio Zero Pro audio manufacturer, Flare Audio has unveiled Flare Zero, which is aimed at discerning studios, musicians and audiophiles. This high-spec system features the company’s patent-pending 3D printed spiralled Vortex exhausts and Space technologies, utilised to the max for minimal distortion, high-power, high-definition sound. Fabricated in aerospacegrade aluminium by the company that produces parts for Rolls Royce, Flare Zero, stands at 1.8-metres high and is mounted on delicate, machined supports, making it appear to float in mid air. It throws out 3.5kW of sound, the equivalent of a club audio installation, in a studio or private space.

Fohnn Audio Focus Modular Fohhn Audio’s Focus Modular range is designed for both fixed installations and mobile applications. Systems include the FM/I100 and FM/I-110 high-frequency modules - containing one-inch compression drivers, waveguide and horn - and the FM/I-400 low-mid module with 32 x four-inch long excursion loudspeakers. All models incorporate state-of-the-art, multi-channel Class-D amplifiers and multi-channel DSP technology. Focus Modular systems feature high SPLs and wide dynamic ranges that result in powerful coverage, long reach and high-grade speech intelligibility / music reproduction, even in the most challenging acoustic environments. The loudspeakers’ innovative beam steering capability includes precise real-time adjustment (in 0.1 increments) of the vertical sound inclination angle (-40°/+40°) and vertical beam width (0°-90°). Dual-beam technology enables simultaneous coverage of different audience areas. A digital high pass filter can be separately applied to each beam, and the acoustic centre of individual beams adjusted in real time and set at any point of the loudspeaker’s line length. A specially developed algorithm enables the suppression of unwanted side lobes in the beam. Systems can be combined, cascaded, networked and remotely controlled in real time using Fohhn’s Audio Soft control software.

Funktion-One SB210A The Funktion-One SB210A is an active bass unit that has two dedicated channels for a pair of satellite loudspeakers. Answering the demand for Funktion-One sonic quality in smaller applications, such as studio and small entertainment spaces, the SB210A - together with a pair of Funktion-One F55’s, F81’s or F101’s - delivers a complete and easy to set up system. The SB210A enables users to experience Funktion-One sound in smaller environments without having to invest in all of the separate elements loudspeakers, a bass unit, an amplifier and possibly a crossover unit. The extremely low fan noise, which is a fundamental part of the amplifier’s design, minimises environmental disturbance for noise-sensitive applications, like studios. Taking a stereo input from an XLR or quarterinch-jack connection, the SB210A offers three set crossover points at 100Hz, 125Hz or 150Hz. It features separate level control for bass and for the satellite loudspeakers, and a polarity reverse switch for the bass output. The unit has been designed for the specific requirements of Funktion-One’s drivers and has been optimised accordingly. It comes with limiting and protection configured for both the bass unit and the satellite loudspeakers.

Genelec 4000 Series The Genelec 4010, 4020, 4030 and 4040 are compact and powerful twoway active loudspeakers designed for indoor commercial and professional installations. All models contain an integrated amplification unit comprising an active electronic crossover, overload protection circuitry and two power amplifiers, one for each driver. Designing the power amplifiers, active crossover, drivers and loudspeaker enclosure as an integrated unit, presents a number of benefits, which include excellent sound quality due to the exact matching of the crossover, amplifiers and drivers, and a high sound pressure capability, despite the small enclosure size. One of the most important advantages of active loudspeakers in an installation scenario is there is no need for external amplifiers, which equals a saving on valuable rack space. The 4000 Series is also fitted with Phoenix connectors for ease of installation and connection. Genelec has a wide range of mounting options is available and the units come complete with an integrated support point for Omnimount mounting hardware on the enclosure back panel, and a three / eight-inch UNC (M10 on the 4040A) threaded hole at the base of the enclosure.


Highlite DAP Audio Xi Series Highlite’s DAP Audio has presented its Xi Series; a product specially developed to fit into a space discreetly, whilst still ensuring superb sound quality. The Xi Series is an offshoot of DAP’s high-level touring loudspeakers. The products share similarities in terms of the characteristic grill and the drivers, with the difference being that the Xi Series is used as a built-in loudspeaker. It includes no handles, features recessed Speakon connections, and can be installed in many ways. The high driver can also be turned in order for sound to be distributed optimally. One of the most popular cabinets from this series is the Xi-6. The compact enclosure, which is available in black and white, can accommodate a 6.5-inch low driver and a one-inch high driver. Despite its compact dimensions, the loudspeaker can achieve high SPLs and delivers pure and neutral sound even when pushed to its limits. The Xi-6 can also be easily combined with the compact Xi-28 subwoofer.

JBL PRX700 Series The PRX700 Series represent an evolutionary step in the efficient use of amplifier power, rugged durability and enhanced versatility in a selfpowered loudspeaker designed from the ground up to perform in the real world of sound reinforcement where challenging audio environments, high ambient noise levels and loud volumes are typical. They are the first systems to use JBL’s patented Differential Drive technology with ferrite drivers featuring high power, wide bandwidth and low distortion. Versatile, scalable, easy-to-transport and set up, the PRX700 Series use JBL’s tour tested technology throughout for a lifetime of reliable performance you can trust.

IDEA Pro Audio EXO66 EXO66 is a stylish, compact multipurpose mini monitor conceived for those applications in which high power-density with superior quality audio reproduction and optimum, unobtrusive integration are required. The design goal of EXO66 is to tightly package the SPL of standard 10-inch driver into a cabinet compact enough to be easily transported in mobile and portable sound reinforcement applications and to be discreet and elegant in any installation project, while using the same materials and finish that are found in the touring sound larger loudspeaker systems from the IDEA product portfolio. EXO66 / EXO66-A feature a 6.5-inch coaxial and a high performance 6.5inch woofer, in a very compact cabinet. This configuration delivers pristine audio clarity at any level with minimum distortion, making the EXO66 a pleasure to listen to, due to the excellent definition of the HF section and the natural fast and controlled transient response of the custom 6.5-inch IDEA LF woofers. Together with BASSO24t, EXO66 will turn into a really versatile, powerful multipurpose combo for a variety of mobile, audiovisual applications and fixed installations, both as their active or passive system.

HK Audio Linear 5 LTS A & Linear SUB 4000 A HK Audio’s two latest additions to its pioneering sound reinforcement product portfolio are the Linear 5 LTS A mid / high unit and the Linear SUB 4000 A subwoofer. The first loudspeaker to deliver genuine long throw performance in an ultra-compact format, Linear 5 LTS A makes use of HK Audio’s proprietary Multicell Transformer technology to deliver 138dB maximum SPL and top-end frequencies all the way to the back row. LTS A offers a remarkably affordable price, a small footprint and a fast setup. Thanks to its straightforward design - which allows it to be stacked on the ground or on its head, or to be clustered with remarkable ease and flexibility - LTS A is not only the easiest way of treating audiences to the best sound; it’s also the most economical option. Linear SUB 4000 A is a flexible 18-inch subwoofer which delivers high maximum SPL paired with dynamic, deep-ranging response, and renders signal peaks with remarkable fidelity even when pushed hard. Its robust wood housing is built to withstand the wear and tear of daily use, making it perfectly suited for professional gigs and installation in clubs. LTS A and L SUB 4000 A are particularly effective when used together, but both are compatible with all existing Linear 5 series components.


KV2 Audio SL Series K-array KH5 K-array’s self-powered KH5 is the biggest loudspeaker of the company’s Concert Series. It boasts two 15-inch Neodymium woofers with a three-inch voice coil and four 1.4-inch compression drivers. The KH5’s biggest advantage is that it features K-array’s Slim Array Technology (S.A.T). Just by looking at its form, it’s apparent that the KH5 is a lightweight solution which saves space along with transportation costs. But the most significant benefit of S.A.T is that it improves upon traditional loudspeakers by producing better sound. The compact design allows sound to exit instantaneously without resonance generating a generous amount of sound pressure in the low and low-mid range which results in a better impulse response and maximum clarity and definition. After various optimisations of the acoustic loading, the resulting directivity of the KH5 does not produce dispersion in the form of a figure eight, but a hyper-cardioid figure which maintains the desired directivity with minimal back emission. The KH5 also boasts digital steering capabilities that allows the user to direct the sound beam to concentrate the audio in a targeted area or provide continuous, even coverage. Results are maximised with the ability to precisely and independently control each element of KH5 array.

KV2 Audio’s SL412 and SL2.15 loudspeakers, designed to integrate either externally through simple wall mounting, suspension, ground stacking, or internally into walls and surfaces, these units can be designed and supplied with custom colours, grill templates and logos, offering a flexible and true designer integrated product. Using KV2 VHD technology, the SL412 loudspeaker utilises four 12-inch low mid-range components and the proven and highly respected horn assembly from the VHD1.0, with a single eight-inch mid-range and three-inch large format NPVD compression driver. This mid-high horn has an extremely coherent-wide horizontal dispersion of over 110° while the purpose designed four 12inch configuration dramatically reduces the most common problem of immediate reflections within the 300Hz to 800Hz range usually associated with wide dispersion loudspeakers. While the SL412 can be utilised with any of KV2’s wide range of subwoofer systems depending on the actual application, the accompanying SL2.15 utilises the same slim line design to allow for an aesthetically pleasing and acoustically punchy system that can virtually disappear against a wall. The SL2.15 is a two 15-inch specially designed to output maximum bass response from a its shallow cabinet design. To achieve deep low bass extension it is recommended to use the SL2.15 with KV2 VHD2.21 subwoofer.

Kling & Freitag VIDA K&F’s latest product, VIDA, is an solution for high-quality, fixed installations as well as for demanding mobile applications. The product features a total of 48 DSP and Class D power amplifier channels distributed on three loudspeaker routes in a coaxial arrangement. Each VIDA L module is equipped with six 6.5-inch woofer chassis, 12 3.5-inch mid-range drivers and 32 0.8-inch dome tweeters. For the beam steering, typical artefacts of up to 10kHz are avoided in combination with the special waveguide system. Through active allocation of the frequency spectrum to each optimised woofer, mid-range and tweeter chassis, dynamic playback of up to 60Hz can be achieved. If required, the optional VIDA C module that can be mounted on the back of the VIDA L, further extends the low frequency range or, alternatively, optimises the system’s low frequency radiation in cardioid mode. An auxiliary DSP output is available for the expansion of infra subwoofers. VIDA L offers all common input variants such as DANTETM, AES3 and analogue that can be switched in case of breakdown. All loudspeakers within an array are connected to each other via an Ethernet cable and are automatically recognised and grouped in the software. The highquality and subtly hidden connection mechanics of the VIDA L can be used easily and safely. Using the optional flying frame, individual and coupled elements can be vertically flown or mechanically tilted forward. The inclination of the system is thereby recognised via the integrated goniometer and is fed into the calculation of the beam steering algorithm.

L-Acoustics X Series L-Acoustics X Series comprises four distinct enclosures with format, bandwidth, SPL and coverage angles perfectly adapted to short throw applications for fixed installations. L-Acoustics brought all of the experience gained in designing the K2 to bear on a new series of reference coaxials offering studio monitor sound quality, sleek design, consistent tonal balance over distance and exceptional feedback rejection coupled with high SPL. Choose from four different formats to create a complete install solution, adaptable to any project. Robust, with a low profile and ellipsoid directivity, the X15 HiQ is the reference active stage monitor. Versatile and strong, the X12 is the work-horse of the series, ready for stage monitoring, fills and FOH applications. The X8 has been optimised for high SPL fills and live monitoring with a compact footprint. The X5 is discreet and works well as fill or in distributed solutions. The X Series is the result of an intense R&D process to optimise design, ergonomics, acoustical performance and weight, making them the most advanced coaxials on the market.

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Lynx Pro Audio CXA The CXA is intended as a flexible solution for both fixed installations and touring where wide coverage is required from as few line array elements as possible. It comprises a 12-inch line array module with an 18-inch sub bass cabinet. Designed to be flown either horizontally or vertically, this line source system can be used as a single element or a combination of a maximum of four cabinets in array configuration delivering a 72º coverage in the vertical plane. The HF multidriver waveguide system delivers 100º H x 18º V precise coverage for a multitude of installations. Thanks to its careful construction it can also be installed for symmetrical HF dispersion. The CXA models are self-powered (Class D) with switching power supply and 1,400W of amplification each. They are also controlled by the latest generation of digital signal processing with a DSP (FIR Technology) integrated in to each cabinet, optimising all the system components and electronics, providing maximum system efficiency and total protection.

Meyer Sound LEOPARD

Martin Audio CDD Series Martin Audio brings engineering innovation to installed sound with the all-new CDD Series - combining distinctive curved enclosures with unique Coaxial Differential Dispersion technology to deliver class-leading performance, fidelity and coverage consistency to venues that demand the ultimate in cutting-edge technology and style. Whether it’s a bar, an audiovisual installation, a church or a prestige nightclub, the CDD Series combines the single point-source benefits of coaxial designs with the consistent, wide coverage of Differential Dispersion technology to deliver perfect sound to every member of the audience. Six two-way full-range coaxial systems - from the micro CDD5 to the powerful CDD15, complemented by high-performance subwoofers - are changing the shape of installation worldwide. Available in black or white as standard with RAL colours available by special order, the range is complimented by DX0.5 adding affordable loudspeaker system management to a very affordable product range.

The LEOPARD linear sound reinforcement system is the smallest, lightest, and most versatile member of Meyer Sound’s acclaimed LEO Family. Boasting tremendous power-to-size ratio with ultra-low distortion, the patent-pending LEOPARD line array loudspeaker and the 900-LFC low-frequency control element offer an unprecedented level of clarity, power, precision, and ease of use. LEOPARD and 900-LFC are designed to create an exceptional listening experience across a wide variety of applications from rental to install and rock ‘n’ roll to classical. As a line array solution, LEOPARD provides integrators with a full suite of tools for efficient systems design, array configuration, and final commissioning. A two-way, self-powered system, LEOPARD measures less than 30-inch wide making it an ideal choice for installations where sight lines and visual aesthetics are a concern yet where sonic performance cannot be compromised.

OHM Vela The OHM Vela line array system is a versatile compact line array cabinet for small to medium, live and install use. The integrated flying system makes it easy to ground stack four or six cabinets on the TRS218 subwoofer or fly up to eight cabinets per side for up to 7,500 capacity coverage. Rated a 32-Ohm bi-amp cabinet, with two Ohm eight-inch drivers and two one-inch compression drivers, a hang of eight can be powered off a single amplification channel per string of HF / LF. Each cabinet weighs 23.1kg and is very compact. The Vela system has been designed around portability and flexibility.

Photo © Presson Oy



Audio Excellence for AV Installations Genelec is the leading loudspeaker brand amongst audio and music professionals. This position is built on products that deliver unrivalled sound accuracy and reliability, and Genelec 4000 Series brings these qualities to AV installations. Installation of Genelec loudspeakers is extremely easy. Our extensive selection of accessories provides you numerous mounting options.

4030 Four models 4010, 4020,4030, 4040 – pick a size to suit your project

Compact and powerful loudspeakers


All models in white or black

Wide range of installation accessories available

Environmentally friendly ISS™ (Intelligent Signal Sensing) also saves money for your client

Active loudspeakers that save on rack space and amplifier set up and cost Genelec also manufactures a range of active in-Wall and in-Ceiling loudspeakers for architectural installations


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NEXT-proaudio LA 122A The LA122A joins the LA family and is the powered version of the popular LA122. It incorporates advanced neodymium speakers, custom made by B&C and a high performance DPA amplifier module, capable of generating 1,650Wrms of high-definition power for a very high acoustic pressure for medium to large-scale applications. This system is ideal for use in permanent installations as well as in mobile systems. The new system comprises three models, two line arrays elements, with different coverage angles (8º x 90º and 15º x 120º) and a companion subwoofer system (LAs118A) allowing for great configuration versatility. As it shares the same rigging technology with the LA122A and LA122WA, a flexible integration, both on the ground and on the top of the LA122A arrays, is possible. The integrated DSP with A/D-D/A low noise converters, provides eight selectable presets - six factory defined and six user defined - that can be accessed by an easy selector, or real time edited by a PC, using the supplied SOUNDWARE software making possible to edit the six pre-loaded presets and store them in any of the two free memories. This allows users to easily customise the sound program, for different applications or venues.

NEXO ID Series The new NEXO ID Series products are problem-solvers for the tool kits of audio system designers and installers. Using a variety of mounting options, the ID24 compact cabinet fits into almost any environment, whilst its ability to offer high SPL output with variable directivities enables it to beam sound into difficult spaces. The ID24 full-range compact loudspeaker uses twin four-inch drivers in a V formation in combination with an HF compression driver offering two preset directivity options. It has a unique user-adjustable horn, easily rotatable without tools by a switch on the rear panel, giving 60° or 120° HF coverage with the standard horn fitted. This allows HF horizontal dispersion to be tuned for the given application - installed or touring. As the ID24 can be mounted vertically or horizontally, this effectively gives the user four different directivity options in each cabinet. In live performance situations, the ID24 can pole-mount or clip onto truss. Purpose-designed accessories allow it to be precisely angled for stage front-fill applications or deployed as an under-balcony reinforcement module. ID24 can even be used as a wedge monitor, when stood upright in the horizontal plane. Complementing the ID24 are two striking low-profile powerful subwoofers, ID S110 (one x 100-inch) and ID S210 (two x 10-inch).

Outline DBS 18-2 iSP The DBS 18-2 iSP is a dual 18-inch self-powered subwoofer enclosure using phase inversion type loading, which, coupled with the use of several innovative loudspeaker technologies allows it to deliver consistent performance at the highest levels over many years. The system embodies Outline’s proprietary iMode technology which provides unparalleled real-time access to system control using iOS and Mac OS X devices or a PC web browser - a first in professional audio. The DBS 18-2 iSP has a useable frequency range at -10dB of from 28Hz to 160Hz (+/-3dB from 34Hz to 107Hz). The SPL is 139.5dB at one-metre in half-space. The cabinet has 24 flying points and can accommodate a trolley-board for handling and transporting on even or uneven surfaces.

One Systems 112HTH One Systems’ 112HTH is a universal direct weather loudspeaker system designed for use in both marine environments and general purpose inland environments. It is optimised for outdoor short throw to medium throw applications such as theme parks, parade routes, baseball and football stadiums, and other entertainment / sports venues where permanent installation is required. The 12-inch two-way design provides high-level acoustic radiation and extended low frequency response from a compact enclosure. The 112HTH utilises 316-grade stainless steel (marine-grade) for all structural and rigging points with all rigging accessories also 316-grade stainless. Metal components that are not structural feature a newly developed marine-grade powder coat over 304-grade stainless steel, which allows the loudspeaker to be used in oceanfront and cruise ship applications. The 112HTH offers an installer configurable High Z or Lo Z mode. The High Z mode has a wide bandwidth 150W auto former that presents input taps of 150W, 75W, and 37.5W. The Lo Z mode is eight ohms. The 112HTH provides superb intelligibility, extended bandwidth, as well as excellent system dynamics. The compact 112 HTH coupled with the 118HSB subwoofer in a bi-amp configuration provides full bandwidth operation at very high sound pressure levels.

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Experience the Ashly Difference. You may not see us, but we’re there. We’re the quality audio behind your listening experience wherever you go. Find out what our Integrators have known for 40 years―customers love Ashly reliability, technical flexibility and sound clarity. All while keep your business profitable with value engineering that lasts for years to come.

Build your next audio system with us! Learn more: ©2015 Ashly Audio, Inc. Ashly is a division of Jam Industries, Ltd. iPad® is a trademark of Apple.

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Renkus-Heinz VARIAi Renkus-Heinz VARIAi modular installation array systems are designed to be the most flexible and versatile loudspeakers available. Highly configurable enclosures and ingenuous hardware make it easy to tailor each loudspeaker to every application. Integrating only the highest quality components, VARIAi employs powerful low-frequency woofers and lightweight neodymium compression drivers, all coupled to the most advanced cabinet and waveguide designs. The result is a system that delivers only the highest quality sound and performance. VARIAi 101 full-range models are available in three vertical cabinet angles, 7.5º, 15º and 22.5º allowing vertical coverage to be easily tailored to meet shape and SPL requirements for every venue. 15º and 22.5º cabinets can be used to cover greater vertical angles while 7.5º cabinets provide tighter control. Each cabinet can be ordered with one of five WaveGuides, choose from 60º, 90º or 120º standard waveguides or VARIAi’s unique 60º to 90º, or 90º to 120º, transitional waveguides.

Pioneer Professional Audio XY Series Pioneer’s XY Series is a range of robust, high power, compact loudspeakers designed for multiple applications including DJ booth monitors, PA loudspeakers in bars, restaurants and mid-sized rooms. The recently expanded range offers the widest possible scope for venues to mix and match to meet their specific requirements and enjoy the ultra clear and immersive sound on offer. There are multiple installation options, with brackets, pole mounts, top hats, flying cradle and other accessories to enable quick set-up. The XY Series is supported by Powersoft K-Series DSP amplifiers, which are supplied with pre-set data to maximise the performance of the loudspeakers. The XY line-up comprises widedispersion (90º x 60º) two-way full range loudspeakers with either eightinch, 10-inch, 12-inch or 15-inch LF drivers, all with rotatable horn for horizontal installation; XY-81, XY-101, XY-122, XY 152. These loudspeakers are complemented by single or dual bass reflex subwoofers with either 15inch or 18-inch drivers; XY-115S, XY-118S, XY-215S, XY-218S, capable of reproducing rich deep bass without distortion. The whole range is available in black or white.

QSC AcousticDesign Surface Series The AcousticDesign Surface Series by QSC offers pristine sonic performance in a robust environmental design. With models ranging from four-inch to 12-inch two-way systems and a 12-inch subwoofer, the series offers great solutions for a wide variety of applications. Equipped with low saturation 70V / 100V transformers, including eight ohm bypass, the series is ideally suited for either distributed or direct system deployments. The rugged IP54 rated ABS enclosures are elegantly designed and feature powder coated aluminum grills free of adornment or badging for architectural acceptance. The patented X-Mount mounting system allows for quick and easy installation without drift or sag by utilising knurled surfaces on the pivot planes. Demarcations on the X-Mount allows for repeatable angles that can be securely adjusted while on the ground, speeding the installation.

RCF TTL33-A RCF’s TTL33-A II is a compact, wide dispersion, three-way active line array module that offers the highest performance from a small-sized line array. Highly recommended for outdoor sound reinforcement, live performances and fixed installations in theatres or auditoriums, the TTL33-A II ensures high output and dynamics, extreme accuracy and high frequency extension – everything in a compact size. All precision transducers - two 8-inch neo woofers, one 8-inch neo midrange, and three one-inch neo compression drivers - have been designed with RCF’s decades-long experience. Thanks to the use of neodymium and new basket designs, the six transducers weight less than 8kg. The TTL33-A II is equipped with a 32-bit floating-point DSP running at 96kHz, and RCF’s proprietary RDNet protocol that allows full monitoring of the system.


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Tannoy VX Series With VX Series, Tannoy pushes loudspeaker technology even further, setting new benchmarks in versatility and acoustic excellence. With an expanded range of enclosures and transducer complements, the new VX Series combines next-generation Dual Concentric driver technology with smart, ergonomic, portable and install-friendly new cabinet designs, enhanced build quality, and carefully thought-out functionality. VX Series promises to give installers, systems designers and engineers that critical advantage. With 10 passive models in the range - nine of which are available in VXP self-powered form - each with Tannoy’s acclaimed Dual Concentric point-source driver at their heart, VX delivers classleading acoustic performance in an aesthetically refined and robust plywood enclosure. Among the new driver complements, are 12-inch and 15-inch models with Tannoy’s innovative Q-Centric Waveguide (QCW) delivering enhanced pattern control, as well as twin driver models for enhanced LF performance and versatility. The brand new cabinet design features double-chamfered edges, with innovative new Integrip handles ergonomically integrated into all but the two smallest enclosures, making one-hand or two-handed lifting of even the largest models easy - ideal for portable applications. Each cabinet benefits from a range of fixed install and portable mounting points as well as road-ready powdercoated steel grille and flush inset termination panels on the rear of the passive devices (with both connector strip and NL4 speakON) and Lab.gruppen’s new IntelliDrive Energy-Efficient Amplifier (IDEEA) module in the case of VXP Series.

SYNQ Coaxial Series SYNQ’s Coaxial Series is made from Baltic birch plywood and scratch free Chemline polyurethane paint to produce a road-proof and attractive design. But more important are the high-end components used inside. The choice for Faital Pro and Beyma drivers, combined with the tailor-developed filters and components, guarantees an excellent audio experience. The SYNQ SC Series included four models - five-inch, eight-inch, 12-inch and 15-inch cabinet. The SC05 and SC-08 can be used in a wide variety of small-medium applications and the larger types - SC-12 and SC-15 - serve users needs for stage monitoring and full range applications. The SC-12 and SC-15 also have three speakONs onboard, which allows a cable-bypass on stage.

VUE Audiotechnik al-4 The al-4 Subcompact line array system utilises advanced technologies to extract unparalleled performance from an ultracompact and highly scalable package. With cutting-edge technologies such as a beryllium compression driver, Kevlar / Neo low frequency transducers, and precision amplification and DSP, the highly scalable al-4 system brings pristine sound quality and coveted line array performance to more applications than ever before. The al-4 line array system is made up of the al-4 Acoustic Element and the rack mount V4 Systems Engine, which provides amplification, DSP and system control for up to eight elements. The system is sold in standard blocks, with eight al-4 Acoustic Elements and a single V4 Systems Engine comprising a single block. Multiple al-4 blocks can be combined to address larger applications. Unlike other compact line array systems that have fixed vertical coverage, the al-4 functions more like full-scale line array systems, with the vertical coverage limited only by the number of elements in the array rather than by the physical limitations of the cabinet design. This flexibility allows al-4 rental inventory to serve a variety of uses. From small one-man shows to more demanding productions, scaling up or down is simply a matter of adding more elements to the array. For applications where extended low frequency is required, the al-4 is fully compatibility with a variety of VUE subwoofers.

Turbosound Athens TCS122-96-AN The TCS122-96-AN 2,500W two-way 12-inch loudspeaker features a carbon fibre loaded 12-inch low frequency driver with an aluminium voice coil for improved transient response. The titanium dome 1.4-inch neodymium motor compression driver is mounted on a rotatable 90° horizontal by 60° vertical proprietary Dendritic waveguide, which features multiple hornlets with identical path lengths to provide a flat constant-phase wavefront. The built-in Klark Teknik Class-D power amplifier provides up to 2500W of power and a Klark Teknik DSP provides dynamic EQ for impressive full range response at low volume levels and transparent limiting for clarity at high output levels and for long-term reliability. The user interface’s LCD display and single rotary encoder provide intuitive access to array, position, user EQ control, and signal routing features. In addition to the combination balanced XLR / jack input, an XLR output is provided for daisy-chaining or for use with an active subwoofer. An onboard USB port provides access for remote control of the TCS122-96-AN loudspeaker via PC computer, as well as DSP firmware updates. The TCS122/96-AN is equipped with proprietary ULTRANET technology, using CAT5 cables to transmit pristine quality multi-channel audio signals and other information between ULTRANET enabled products such as digital mixers and personal monitor systems. Mains power is connected via a locking Neutrik powerCON connector.

Voice-Acoustic Ikarray-12 The Ikarray-12 from German manufacturer Voice-Acoustic has a total width of just 60.5cm, keeping it within the advantageously European trucking dimensions. The main focus of the design has been to achieve an even coverage and linear frequency response even off axis. On the horizontal level a single mounted 12-inch (B&C) gives a wide dispersion without restrictions. A 1.4-inch exit high frequency driver (B&C) is coupled on a special double-twin waveformer, which splits the sound source into four subsections. A newly developed V-plug has been mounted in front of the 12-inch low-mid transducer to segment the large membrane into two sections, shifting the acoustic centre outwards. A proper angle adjustment between several loudspeaker cabinets can be easily done with the newly developed spindle mechanism under load. The innovative OnePoint-Electro-Rigging-Frame (OPER) enables an electronic angle adjustment during mounted flying and stacked applications via a servomotor and wireless remote control. Up to eight Ikarray-12 can be driven economically with one Voice-Acoustic HDSP-4 DSP amplifier in bi-amping mode. To create a sleek and discreet look, the line array locking pin connection has been sunken into the loudspeaker body without extending parts.

Void Acoustics Air Vantage

The new addition to Void Acoustic’s Air Series, Air Vantage sits between its smaller counterpart the Airten and the iconic Air Motion. The Air Vantage is equally at home when used with the low frequency enclosure Sub Vantage for monitoring duties or as a stand alone mid top with LF enclosures in a main club system. The same attributes that make it eminently suitable as a DJ monitor, such as true point source transmission and a smooth frequency response, also shine through when it comes to filling a dance floor with high SPL and accurate sound. Particular attention was paid when designing its internal crossover to achieve the best possible phase response, which has allowed for prolonged listening periods at very high SPLs with the minimum of fatigue. Venues with a low ceiling are also a prime candidate for the Air Vantage, as its diminutive vertical dimensions and tight pattern control allow for close mounting to a ceiling.


The T24 was the first loudspeaker for German manufacturer TW AUDiO and a benchmark for almost 10 years for numerous users in the live and installation market. The innovative two 12-inch horn in horn construction enables an outstanding dynamic and 143dB top acoustic pressure with an enclosure front surface of just 70cm x 40cm. It has now undergone a substantial upgrade followed - T24N. The specifically developed 12inch neodymium chassis together with the new enclosure construction make the horn-loaded top full range capable just under 70Hz. The new 1.4-inch mid high range driver with a three-inch titanium membrane reproduces silky highs exact and free of distortion even on the highest levels. The standard fitted 60º x 40º horn can, without the use of tools, be exchanged for a 90º x 50º horn. And the standard fitted bi-amp / passive switch now allows next to the economical passive mode, the uncompromising two-way active mode. The T24N is convincing with excellent speech intelligibility and musicality, as a single box, upright on a stand or hanging from a rig, paired up next to each other, one below the other or in a cluster of several components up to a 360º all round application. The loudspeaker can be used for installations in clubs or big stadiums and in the live sector.

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Waveburg Acoustics LA8 When Waveburg Acoustics decided to build a compact, high efficiency line array, the decision was set on creating a near Hi-Fi component. It was decided to opt for efficiency rather than power handling and wooden waveguides rather than plastic or metal. Smaller sized mid-bass woofers and only one-inch compression drivers were redesigned to create softness. A critically chosen crossover point was selected along with reflex ports shape and placement to control a group delay below the 11 ms mark. The result was the LA8, a soft, transparent and tight loudspeaker capable of extreme SPL considering the compact weight and size.

Wembley Loudspeakers B.Line 18 - 850 & 18 - 850i Wembley Loudspeakers has upgraded and resigned the B.Line 18-850 loudspeaker driver. A work in progress, the company has been reconing and repairing assorted 18-inch drivers since 1971 and has taken note of various improvements and innovations made by the different manufacturers. B.Line 18-850 features a double-stacked magnet, along with a long throw four layer voice-coil, similar to Wembley’s Cerwin-Vega 189 model. An extra weighted cone and double spider made this unit a unique and a very powerful loudspeaker. The upgraded loudspeaker, the B.Line 18-850i is a subwoofer for top professional applications. It now features a four-inch, four layer long coil. The magnet system has an extended pole piece and cleverly channelled vents to aid cooling. A new spider design ensures this woofer can move more air than just about any other unit in current circulation.

Work Pro Audio UDA 16 UDA 16 is a smart solution that solves most of the situations where reflections and distance are issues that need to be solved in order to improve the intelligibility. Thanks to an elaborated system of filters and 16 wideband transducers placed in array configuration, this column array concept is designed with an audio beam with a controlled dispersion in the played bandwidth. UDA 16 has been designed to maintain a total control of vertical beam width - one column: 22º / two columns: 11º - in almost all the reproduction band of the column. It allows to control the presence of unwanted effects such as reverbs and echos induced by walls and ceiling reflections. UDA 16’s acoustic pressure focuses on the area that has to be covered, minimising reflections. By focusing the sound to the audience area, UDA 16 guarantees excellent results and perfect speech intelligibility. This is particularly noticeable in reverberant acoustic conditions, like churches, airports or train stations. It is possible to stack two columns to get a higher SPL and controlled bandwidth, as it is possible to double the covered distance and improve the controlled bandwidth. It is also possible (on-demand) to stack more than two units, being especially useful for large installations.

MOTHER NATURE HAPPENS One Systems Direct Weather speakers provide extraordinary intelligibility, wide bandwidth, superior time domain performance and the best corrosion resistance in the industry. Our new “HYBRID� models include marine grade (316) stainless steel suspension hardware, as well as a host of other special weather treatment features allowing installation anywhere outdoors and in nearly any indoor sports or entertainment venue. For more information, contact One Systems today.



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1. Absen N Series

4. Doughty Engineering Projector Mount

Absen has announced the latest addition to its repertoire of high quality LED displays, the N Series. The N Series of LED cabinets - comprising the N2 and N4 cabinets with 2.4mm and 4mm pixel pitch, respectively - have been designed with two key market sectors in mind: high-end retail and advertising. The Absen N Series N4 smart and slim flat panel screen pixel pitch LED display is a fully front serviceable panel housed in a rectangular shaped high-grade die cast aluminum cabinet, available in three different lengths: 1,152mm, 1,440mm or 864mm x 288mm for N4, and 576mm x 288mm for N2. With a thickness of just 54mm, the N4 has an incredibly sleek looking outer chassis ideal for retail installations where space is both scarce and expensive. Thanks to a shallow depth, each N4 1152mm x 288mm cabinet weighs in at just 7.5kg, ensuring that installation and maintenance is effortless. As usual for Absen LED panels, the N Series has an extremely high definition and vivid image. One of the most technologically progressive features of the N Series is its built-in remote control device, which allows users to control the display over Wi-Fi, making monitoring easier and simpler, and also allowing for real-time monitor work status.

Doughty Engineering has recently introduced a new Projector Mount for use with its Modular Rigging System. The aluminium mount is designed to work with any projector and simply clicks into the barrel of the drop arm but could also have a clamp fitted if required. It offers adjustment in all three planes and fits most domestic size modern projectors.

2. ArKaos MediaMaster 4.2 ArKaos has announced the latest version of its MediaMaster software, which has consistently remained at the forefront of the industry’s creative projection and LED applications. MediaMaster 4.2 adds an integrated Cue Player for reliable, accurate playback of visual sequences, and 4K support which enables three layers of 4K video to be played on servers with a Core i7 processor. It is available as a free upgrade to existing MM 4.x users.

3. d3 Technologies r12 d3 Technologies has unveiled new innovations to its product line, the r12. The new r12 software release offers a mix of new and improved features for all the power users require to deliver outstanding projects. The new dynamic blend feature calculates edge-blend masks in real time, even if objects are moving. No more need to build blend masks in third-party software; d3 can handle it automatically with a single switch. d3’s r12 offers new content management features for faster workflows with built-in version management and the ability to introduce file proxies. The universal crossfade feature enables a soft transition between any two sections, tracks or external triggers of a show without being restricted by the timeline sequence. d3’s legendary failover and understudy ability has been improved with the use of individual matrix routing instructions to allow re-routing during failover situations. A complex understudy failover system can now be constructed without using up limited matrix presets. And r12 now supports CAST Software’s BlackTrax, a popular external solution allowing real time tracking of moving objects and people using infrared cameras.

5. DPA Microphones d:screet Slim DPA Microphones has announced its new d:screet Slim microphone. Developed in response to a growing need, especially from the film industry, for a near-invisible bodyworn microphone, d:screet Slim features the company’s omnidirectional capsule element in a flat head, a slender cable and an exciting new button-hole mount accessory. The microphone’s new button-hole mount, which comes as an enclosed accessory, provides a 90° sound input angle, allowing the cable to lay flat against a surface rather than sticking straight out. It is also designed to fit into a space as small as 2mm. The combination of the size and available accessories increases the number of mounting solutions as it can be placed virtually anywhere without being seen. The d:screet 4060 capsule with high sensitivity and the 4061 capsule with low sensitivity used on the d:screet Slim offer exceptional audio quality with low self-noise. As with all DPA microphones, this latest solution is compatible with all major wireless adapters. It is available in four colour options - beige, white, black and brown.

6. Fenix Stage AC-613 FENIX Stage has recently created the AC-613, a new accessory for its SQ-29 truss, 29mm squared truss - also available for SQ-40, 40mm squared truss. It is a union hinge, which replaces most angular corners. It allows opening from 0° to 60°, and two large central ribs give stability to the assembly, made of a 1cm thick aluminium plate. Not being limited to one angle, users can perform multiple projects such as sloping roofs and gable roofs, scalable in size without making special parts. It weighs only 6.2kg; compared with the old hinge joints it’s a significant reduction, which makes this accessory very manageable and easy to install. To set the angle, it has a safety pin plus two screws that secure the top plate to the bottom plate, providing greater robustness and therefore a greater security to the whole.






6 5

1. Focusrite RedNet AM2

4. PR Lighting XR 330 BWS

RedNet AM2 is a Dante-compatible stereo monitoring unit combining headphone and line outputs for flexible monitoring of signals sourced from the Dante network. RedNet AM2 features a 0.25-inch front-panel headphone socket plus a pair of balanced line outputs with male XLR connectors mounted on the rear panel, which may be used for loudspeaker monitoring and other applications. The headphone output delivers significant audio output power, sufficient to drive even high-impedance headphones at substantial levels. RedNet AM2, fitted with non-slip feet, is designed to either sit securely on a flat surface or be mounted on top of a mic stand using a standard 3/8-inch BSW threaded bush in the base. RedNet AM2 includes a two-channel Dante receiver based around the latest ‘Ultimo’ hardware - allowing up to 24 bit, 96kHz operation - and features a road-worthy aluminium extrusion-based enclosure. Two large volume control knobs are provided for Headphone and Line output levels; the latter also features a mute button with associated LED. Other indicators show the presence of power, network and signal. The unit may be powered either via PoE (Power over Ethernet) or via the 12V DC input barrel connector. Dual etherCON connectors are included to connect the network and to daisy-chain to additional network devices.

PR Lighting’s XR 330 BWS is a newly launched, high-output moving head, which integrates three features - beam, wash and spot - in a single unit. This fixture has adopted PR patented technology, and combines advanced 330W lamp technology (via Sirius HRI 330W discharge lamp) with a superb optical system. All models support wireless DMX and offer CYM colour mixing with macro. With a typically comprehensive feature-set contained in a chassis weighing just 22.2kg, the XR 330 BWS outputs an impressive 15,000 lumens. As with all models it contains two rotating prisms (eightfacet and 16-facet); colour wheel with 13 colours (plus CTO) and white. In addition to the CMY colour mixing system, it boasts a fixed gobo wheel (with 13 fixed gobos plus white, shaking and bi-directional scrolling at variable speeds) and a fixed wheel with nine interchangeable rotating gobos; individual frost filter and uniformity lens, which can be chosen to adjust the gobo clarity; mechanical dimmer 0-100%; mechanical shutter 0.3-25 fps (with macro); motorised linear focus and zoom. As for beam movement, in beam mode the aperture is 2.3°-10°, linearly adjustable; in spot mode, 5°-22° linearly adjustable, and in wash mode, 5°-40° linearly adjustable, while the head movement offers 540° of pan and 270° of tilt movement, with auto position correction.

2. Lite Lees Big Hero 330

5. Trantec Ear Monitoring System

The Big Hero 330 from Lite Lees is a multi-functional three-in-one lighting fixture with an optical system that gives it more advantages over the hybrid fixtures. It can zoom from 0°-40° and allows for a narrow beam angle and brighter central point in the beam mode: 0-7° and a more uniform, clearer and brighter spot field: 5°-40° and creates smooth even wash effect with a frost filter. It offers 13 dichroic colours and two gobo wheels including 12 rotating-interchangeable gobos and 17 fixed gobos. The prisms effect is another advantage and it gives eight-facet and 24-facet prisms effects. Equipped with Philips Platinum 16R 330W lamp, it is a powerful and energy efficient light for a variety of application.

Trantec has been synonymous with wireless technology for over 30 years and is proud to present its latest addition the IEM S4.16 personal in ear monitoring system. Available in channel 38 and 70 makes the IEM S4.16 an affordable choice for semi-professional and professional musicians broadcasting up to eight simultaneous channels. Features include: rugged metal mainframe, stereo and mono mode options; 16 selectable preset frequencies; PLL synthesised technology; built-in limiting circuitry avoiding distortion; and long battery life. The product’s lightweight and durable body pack receiver with infrared interface makes programming and pairing simple, quick and easy.

6. Vivitek DH558

3. LPS RealVIEW RealVIEW is integrated directly into LPS-RealTIME Pro software as visualisation function. RealVIEW combines images of the actual location with realistic 3D animations of laser projection to a 2.5 D scene. Beam shows as well as laser graphic projections are simulated. The virtual screen mode simulates projections as with gauze screens up to projections on buildings. RealVIEW supports the user in the programming of shows, replacing the previous preview. The user can see during programming how the laser show would look like at the venue. In particular it makes the programming and tune up of several laser projectors as well as laser graphics with beam shows easier. With mobile events the programmers can simulate with RealVIEW their events in advance and comfortably plan and test the placement of the laser show systems at home. Therefore simply an image of the location of the event can be loaded, the projectors can be placed in and positioned simply with the mouse. To view the virtual artwork now only press Play. Snapshots or whole video sequences, also in HD, can be created easily. The 2.5 D technology allows the user pans and zoom rides to produce a realistic preview of the show - for self promotion on the own home page or for offers to customers.

Vivitek has launched the DH558, a mobile digital projector with a fully-fledged feature set. An addition to Vivitek’s D5 series, the new projector brings outstanding performance with its 1080p HD resolution and 3D ready capability at a price-performance that matches also the smaller budgets. Its quality combined with its handy ultimate portability makes it perfect for small businesses and entrepreneurs doing presentations, lectures or seminars on-the-go. Weighing in at 2.3kg, the DH558 is highly portable, and ideal for taking on the road. The DH558’s full HD native resolution features DLP and BrilliantColor technologies to display distinct, vibrant images in a widescreen format. The DH558 also features numerous connectivity options including MHL / HDMI v1.4, a brightness level of 3000 ANSI Lumens, and a 15000:1 contrast ratio. With direct-3D capabilities, the DH558 is more than capable of handling media applications available now and in the future. The Dynamic Eco Mode power management system saves energy consumption and increases lamp life of up to 10,000 hours for low total cost of ownership. The DH558 has built-in audio out of the box, and its top sided lamp cover ensures simple lamp removal and insertion.


“Our success is clear - in five years we’ve produced four different line arrays and we have just released a plethora of new products.”

BEN SINCLAIR Sales Director of VMB and Lynx Pro Audio Tell me about VMB and Lynx. How did you get involved? What do you do? I went to Spain 10 years ago and started working for VMB. Five years ago the company split. It was involved with sound and lifts and when the two went their separate ways, VMB became dedicated solely to the manufacture of towers and truss and Lynx to audio.

is good, the quality is excellent, we are sourcing some of the best components available in the world and we do all our own designs.

• Above Ben Sinclair

What is the five-year plan? We want to concentrate on Europe and get more brand recognition there, because once people take it, listen to it and install it, they like it and they come back. We tend to spend most of our money on R&D and getting the product right. Marketing is very important but also very expensive, and we haven’t traditionally had the budget for marketing, but recently we have spent a lot more on creating a new website and we are spending more time on social media.

What’s your involvement with each of the companies now? I run the sales for both of them. As they are two completely separate companies now in different places and with different ownership, one day I will be in one location, next day in the other. I spilt my time between them, so it’s like having two jobs really.

Is everything manufactured in Spain? Yes, everything is manufactured in Spain at our premises. But one thing where we differentiate ourselves from the competition is our electronics. We have both acoustic and digital engineers and all of the electronics are designed in-house by us, so all of our self-power products are DSP controllable as well. In Spain, we are doing very well now; but the national market has been dire and it has been very difficult. That said, we’ve just had the best summer in about eight years, which is really good for us.

Are there a lot of staff / customers that cross between the two? In terms of staff I am the only link, but customers, yes. In this sector you have the same customers whether it’s lighting, sound, trussing, rigging, video, projector, smoke machines, and so on. Both of the companies like so many others are often at the same tradeshows. It’s great because it makes it really easy to stay in touch will all the customers.

What are the percentages for the Spanish market versus export? About 10 years ago, when I first came to Spain, export was about 30% and now it has significantly grown - four years ago during the recession, it grew to 80% but local sales are pulling up again. Export is doing well in Asia; countries such as Malaysia, Indonesia, Korea, China, Vietnam and India; all have large line array systems for example.

Is it a case of the sales team going to network in the countries that you want to expand? Yes, we go to all the normal tradeshows. Lynx is actually going to at ISE for the first time in 2016, so I am hoping that will help to break into the install market a bit more. We are really excited about that and the prospect of getting more installers to recognise our brand and take it on. We have just released new column loudspeakers - Ionic Columns and from the first two production runs they were all pre-ordered and sold so this product has been extremely popular. We will be presenting the product at ISE.

Let’s focus on Lynx, where do you see the brand within the market? Lynx is a relatively new company, having only been around for five years. However, our success is clear - in five years we’ve produced four different line arrays and we have just released a plethora of new products, so we have a portfolio, which is larger than many companies out there. Still, there is a lot of work still to be done because audio is such a competitive market. The product

How is Lynx regarded in the installation market? The install market is growing, we have just released our new HR Series - a brand new passive series of cabinets and that is receiving recognition and getting more and more installs, whereas before, about 80% of our business was rental and touring. We’ve recently done a few churches, a gym, bars and clubs as well.

What is your favourite holiday destination and why? Well, because living in Spain is so hot, I like to come back to England and see the rain, as well as family and friends. So, probably London, because I have been living in Spain for 10 years and I actually hate the heat, so for those months of July and August, it is nice to come back to England. It is nice to actually be able to breathe cold air and put on a jacket.

graphics: Vilfredo Maria Ricci - © 2015 Studio Due


MORE minimum space maximum performance is the most powerful and efficient LED lighting fixture you can find within the single head category. Using 60 high powerful LEDs RGBW/FC combined with an effective fan system, the key feature of the product is the incredible performance of the optics. The innovative optic system generates a rectanlungar and uniform light projection. The product is suitable for applications where a tremendous light output is required.


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Combination of wide dynamic range, extremely low distortion and flat frequency response.


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