mondo | stadia - Issue 02

OLYMPIASTADION

DANUBE ARENA

MIKE HEDDEN

VIDEO FOCUS

Electro-Voice’s audio revamp at the historic Berlin stadium ahead of the European Athletics Championships.

Thorn and Zumtobel create a state-ofthe-art sports lighting solution for the Budapest venue.

Danley Sound Labs’ President discusses the company’s impressive work in stadiums and arenas.

We take a closer look at specific products and eye-catching projects from the world of video.

ISSUE 02 - OCTOBER | NOVEMBER 2018

THE INTERNATIONAL PUBLICATION FOR TECHNOLOGY IN SPORTING VENUES

ISSUE 02 - OCTOBER | NOVEMBER 2018 WWW.MONDOSTADIA.COM

ALTIS SPORT FOR A NEW PERSPECTIVE ON SPORTS LIGHTING

02 WELCOME

hen it comes to stadium technological upgrades, it’s a given that the schedule for installations will be tight - however, in this issue, we’ve covered two venues in particular that required expert planning from some of the best the industry has to offer.

Firstly, our cover story, Olympiastadion, in which Electro-Voice and Dynacord had to plan its upgrade ahead of the European Athletics Championships, all while keeping the existing audio system in action for the busy summer schedule, as the new system was installed. Turn to page 40 to find out more about the impressive Berlin venue.

Elsewhere, a Thorn Lighting and Zumtobel sports lighting system had to be installed at Danube Arena following a last-minute decision that saw the FINA World Aquatics Championship held in Hungary rather than Mexico.

You can find out more on page 70.

In this issue, we also spoke to President of Danley Sound Labs, Mike Hedden, who gave us an insight into the incredible amount of stadium and arena projects that the company has worked on.

Not only that, we recently had a chat with T.J Smith, President of EAW, who updated us on the RCF Group’s acquisition of the company and what that means for the future - it seems to be an exciting time for the audio giant.

There’s plenty more, too, with a video focus, show reports, new products and lots of venue features.

We hope you enjoy Issue 02…

W

Sam Hughes Editor

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UK SPORTS & VENUES SUMMIT 2018 Meet with key stakeholders from UK hosted events, venue/stadia operators, governing bodies and domestic clubs 15th November 2018 | London Stadium, Queen Elizabeth Olympic Park

The inaugural UK Sports and Venues Summit follows a proven model from the MEI multi-sport internationally focused Major Events Summit. The Summit will bring greater focus on activities in the UK where venue development and support requirements are driving significant focus. With 4 significant major sports events taking place in the UK out to 2022, this is a unique window of opportunity to get connected to the right people and raise your profile.

The Summit includes the option of attending a networking dinner the night before with an open bar and a tour of the Olympic Park in full legacy mode. The invite only format is highly interactive with sector workshops, updates on major events initiatives and industry panels.

Request your invitation summit@majoreventsint.com

#UKSportsandVenues

Organised by

+44 (0)207 709 2350

OLYMPIASTADION

DANUBE ARENA

MIKE HEDDEN

VIDEO FOCUS

Electro-Voice’s audio revamp at the historic Berlin stadium ahead of the European Athletics Championships.

Thorn and Zumtobel create a state-ofthe-art sports lighting solution for the Budapest venue.

Danley Sound Labs’ President discusses the company’s impressive work in stadiums and arenas.

We take a closer look at specific products and eye-catching projects from the world of video.

ISSUE 02 - OCTOBER | NOVEMBER 2018

THE INTERNATIONAL PUBLICATION FOR TECHNOLOGY IN SPORTING VENUES

ISSUE 02 - OCTOBER | NOVEMBER 2018 WWW.MONDOSTADIA.COM

Cover image courtesy of Helmut Seidl, Bosch Security Systems GmbH.

Editor Sam Hughes s.hughes@mondiale.co.uk

Deputy Editor Emma Bilardi e.bilardi@mondiale.co.uk

Senior Account Manager Jamie Dixon j.dixon@mondiale.co.uk

Account Manager Laura Iles l.iles@mondiale.co.uk

02 INSIDE…

Production Zoe Willcox

TEAM TALK

VENUE FOCUS

z.willcox@mondiale.co.uk

006 Colin Farquhar, Exterity

AUDIO

Mel Capper m.capper@mondiale.co.uk

Managing Editor Rachael Rogerson-Thorley r.rogerson-thorley@mondiale.co.uk

062 UMBC Event Center | Baltimore, USA

050 Schar Center | North Carolina, USA

DRAWING BOARD

056 Rajamangala Stadium | Bangkok, Thailand

010 León Stadium | León, Mexico

LIGHTING

012 Stadion Hutnika Warszawa | Warsaw, Poland

070 Danube Arena | Budapest, Hungary

014 Sydney Stadium | Sydney, Australia CEO Justin Gawne j.gawne@mondiale.co.uk

Finance Director Amanda Giles

076 Coop Norrbotten Arena | Luleå, Sweden

KICK OFF 017 Video Focus

a.giles@mondiale.co.uk

Credit Control ar@mondiale.co.uk

VIDEO 078 AT&T Stadium & Nissan Stadium | USA ARCHITECTURE 084 Flemington Racecourse | Melbourne, Australia DIGITAL INFRASTRUCTURE

INTERVIEW

086 Matmut Stadium Gerland | Lyon, France

028 Mike Hedden, Danley Sound Labs

Group Chairman Damian Walsh

036 Funktion-One

MONDO | STADIA is published by Mondiale Publishing Limited, Strawberry Studios, Watson Square, Stockport, SK1 3AZ, UK Tel: +44 161 476 8340

THE FULL PITCH

EXTRA TIME 090 Outline

040 Olympiastadion | Berlin, Germany

092 Community 094 Pliant 096 Robycam 098 Tasker 100 EAW Acquired by RCF Group

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104 TW AUDiO VERA 20/S32 Event | Lanxess Arena 106 IBC 2018 | Amsterdam 108 World Football Summit | Madrid 112 Event Diary 114 Full Time

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TEAM TALK

COLIN FARQUHAR, EXTERITY Engaging tech-savvy fans with video

Images: Exterity , Marylebone Cricket Club tadiums and venues of all sizes

on-site programmes, live feeds of the jockeys

and the ability to update content quickly is now

know that financial success

being weighed and of the horses in the stables,

a prerequisite. Live video streams and digital

stems from more than just

repeats of races and other related feeds. These,

signage guarantees that the displays fans see

what happens on the pitch.

along with eight digital signage channels, help

in venues and stadiums are visually engaging,

Increasingly, fan engagement within the

new race goers to learn more about the sport,

and wherever they are in the stadium they never

facility - from merchandising through to the

understand the rules of betting and feel part of

miss any of the action.

bar and coverage of the team before the game

the experience that is often hidden away from

However, TV screens in stadiums do more than

- is just as important in ensuring a positive

spectators in the stands.

advertise information; they can also be used

overall experience and return on investment.

Communicating with tech-savvy guests

to help promote the sale of food, beverages

To help stadiums and venues deliver the kind of

Video has become an integral part of the in-

and merchandise to increase spend per visitor

experience that visitors expect today, they need

stadium experience, right from arrival at the

during their visit.

video technology that can be easily integrated

venue entrance, where screens are often used

While most visitors buy tickets for the stands,

into existing facilities and run smoothly.

to promote branding, engage with arriving fans

stadiums and venues also need to cater to

A perfect example of a venue that recognised

and add to the overall atmosphere and buzz. In

corporate visitors who are more likely to use the

the potential of video solutions to provide a

central atriums, displays can be used to provide

VIP areas with high-value seating. Managing

wealth of branding, advertising and operational

information about seating, restrooms, and

this additional revenue stream well is critical

benefits is ParisLongchamp. This iconic horse

other facilities for the guests. These signs are

for many venues and stadiums, with the

racing stadium decided to deploy an IP video

dynamically managed to cater for unique events

biggest challenge being the overall quality of

and digital signage system that delivers around

or special offers as well as for contingencies

visitor experience. This includes meeting their

60 channels of live broadcast TV, Video on

such as seating section changes or restroom

expectations of access to high-quality audio

Demand and internally-produced video to 500

facility closures.

and video media. Offering additional features

screens across the 55,000 sq metres of public

IP video and digital signage technologies have

such as special offers and merchandise, or the

enclosures. This enables up to 60,000 people to

been used effectively within stadiums for

ability to place food and beverage orders via

access high-resolution horse racing and sports

several years. As a result of this, the quality

TV screens also creates a unique experience

content via 18 internal channels, including daily

and size of displays has changed considerably,

that can lead to brands returning to the venue

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regularly.

menus, prices, sponsor adverts and to promote

who want to offer a truly unique experience to

While what is on the screens is important, it

Lord’s Shop and cricket store merchandise on

visitors.

is the functionality of these screens, which

match days. The system is also used on non-

The evolution of stadiums and venues into a

remains vital to ensure success. For example,

match days to create personalised, branded

tech-savvy environment is still ongoing, and we

the need to streamline communications to the

signage screens for meetings and conferences.

expect fan engagement will become even more

thousands of visitors at each match is a vital

For larger venues such as The Open annual golf

inclusive in the near future. Moving forward, the

system requirement for a venue such as Lord’s

championship, IP video also needs to distribute

rise of IP will help stadiums deliver more value

Cricket Ground, which has a large number of

in-house TV productions to VIP areas along with

while simultaneously reducing operational

screens throughout its new Warner Stand. IP

corporate hospitality content in a seamless and

complexity, resulting in new revenue-building

video and digital signage are deployed in the

flexible fashion. These requirements are now

avenues and increased engagement with fans

bar, lobby and the catering areas to display drink

becoming more common for smaller venues

wherever they are in the venue.

For the 2018 Open, C3i extended feeds directly

The system provides all off air and on-course

extended IP video coverage of the competition

into the adjoining hotel to ensure that both

channels in a flexible and scalable way, as well

to multi-screen. To avoid congesting the IP

players and guests staying on site could keep

as all the control and management features

network, The Open is now combining multiple

abreast of the action at all times.

we need, and ensures that everything can be

networks, including LAN, Wi-Fi, 3G and 4G,

Leveraging over 500 media players, HD-SDI

managed centrally by a single administrator.

extending the reach of the competition by

and HDMI encoders and satellite and Freeview

On top of consistently delivering high-quality

enabling fans to share their views online with

TVgateways as backup, the distribution of

video, the Exterity professional IP video system

accompanying video and broadcast coverage in

content from capture to delivery to every

is robust and easy to set up.”

real-time.

screen is controlled centrally from Exterity’s

One of the most recent changes for the 2018

“Video coverage has become an integral part

management system, AvediaServer. Broadcast

event was the implementation of HDCP Pro

of the fan experience during live events, and

coverage includes feeds from the main

across the entire video workflow delivered

we’re proud to be working with C3i Group to

broadcasters, which are encoded and distributed

across the site. The upgrade provides a secure

ensure high quality video streaming at events

through the Exterity IP video system. Enabling

path for content displayed on any of the 600

of the calibre of The Open,” Colin said. “As

fans to watch golf news and live commentary

screens now deployed across the site.

an Exterity StreamForce Program Platinum

during the quieter periods, adding value to the

The project, however, was not without it’s

partner, C3i Group has consistently shown an

fan experience. The Exterity system is also used

challenges. “Exterity helped us to reduce the

impressive capacity to easily and seamlessly

to deliver health and a safety message, ensuring

latency of video to under 300ms, which ensures

deploy temporary installations for large-scale

that information is disseminated quickly.

that the feed on the screens is synchronised

and complex events. We have extended our

The Open and AV specialists C3i Group have

with the action on the course, ” explained Jason.

collaboration by providing an on-site managed

worked with Exterity since 2010 to enhance the

“This is a significant technical achievement that

service alongside the C3i Group team to ensure

live coverage of the prestigious tournament, C3i

ensures that everybody at The Open is able to

that the delivery of the solution remains

Group owner Jason Hall explained: “The Open

see and hear the action as close to real-time as

seamless and to the utmost standard. This way,

requires months of planning and three months

possible.”

fans will feel even more immersed in the golfing

on site, streaming a competition of this scale

The Open also enables visitors to stream content

action.”

would have been impossible without Exterity.

via their mobile devices, opening the door to

www.exterity.com

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This means that camera operators are free to focus on creative framing and composition. The ATEM Camera Control Panel has been designed to be portable and simply placed on a desktop, or it can be bolted down for mounting in a slide out rack shelf. The controls are arranged in a familiar and logical layout, making it perfect for both experienced and new operators. Plus, it works with all ATEM switcher models!

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27/08/2018 1:45 PM

LEÓN STADIUM León, Mexico Conceptual renderings: HKS Architects / Club León.

he official design for the new León stadium has recently been revealed, with HKS Architects delivering the winning design. The project will be built along Boulevard Francisco Villa.

The design competition for the new venue saw six bidders take part, with American, Spanish and Mexican entrants all taking part.

HKS Architects, designer of the AT&T Stadium, was selected from the submissions, marking a huge success for the company’s Mexican branch.

According to the design, there will be capacity for 35,000 fans, with no less than 300 private boxes, along with various corporate hospitality options and luxury lounges.

As part of the plans, there is set to be major pavilions, with hotel rooms that overlook the pitch. There are sustainability features included, too, with a partly translucent canopy over three sides of the stadium – supported by four primary and 13 secondary pylons - which is specifically designed to collect rainwater for use within the stadium.

There is a historical element to the new León stadium, with a nod to

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the city’s longstanding leather tanning industry. Around the stadium, there will be thin strips of brown-coloured metal - all in place to resemble pieces of leather left to dry.

The plans will see León stadium become part of a 124,000 sq metre complex, with a hotel and major shopping centre included, as well as a Club León museum and car parking spaces for 3,500.

Groundbreaking on the new venue is expected early next year, with initial plans stating that the stadium will eventually open its doors in 2024.

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HUTNIK WARSAW STADIUM Warsaw,Poland Images: PIG Architekci

ork on the design for the new Hutnika Warsaw stadium was originally launched last year. Now, the renderings from PIG Architekci have been released, showing the revamp that is due to take place.

Hutnik Warsaw’s ground has suffered with underinvestment over the years, with the current venue overgrown by bushes and trees.

However, with the new plans, it is set for a major revival - becoming an impressive sports complex, perhaps one of the best in Warsaw.

The first phase of the project will see the main stadium and offices constructed at a cost of PLN 16 million.

The oval shape and running track that are currently in place at the existing stadium will be removed. The idea from PIG Architekci is to create a compact stadium that is specific to football, with a capacity of 1,200 - including two stands at either side of the pitch with 600 covered seats each. There is room for further expansion in the future, too.

The new venue will be in the orange and black colours of the football club.

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As well as the main stadium, there are plans for two full-size training pitches - one with natural turf and one using a synthetic pitch. Both would be weather-proof, too, with pneumatic dome covers to be used.

Construction of Hutnika Warsaw’s stadium is planned for the second quarter of 2019 after a construction tender. It is expected that the whole complex will be complete within two years.

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SYDNEY STADIUM Sydney, Australia Images: Bates Smart

ates Smart, a multidisciplinary design firm delivering architecture, interior design, urban design and strategic services across Australia, have put forward its vision for a new Sydney Stadium.

The Coliseum in Rome established the concept of the stadium as a public space embedded in the fabric of the city; a monumental piece of infrastructure for public spectacle. In modern times, however, with the advent of the motor vehicle and the suburbs, stadiums became mono-functional objects, isolated on the periphery of the city and surrounded by car parking.

Today, a renaissance is underway, with stadiums once again being integrated into the city fabric and acting as catalysts of urban renewal. Stadiums, such as Camden Yards in Baltimore and Docklands Stadium in Melbourne, are anchors for entertainment districts and have reintroduced urban spectacle into our cities.

The NSW State Government proposes to demolish the Moore Park Stadium and to replace it with a new stadium on the same site. There are three main issues with the proposal: - Moore Park Stadium is not well serviced by public transport - Moore Park Stadium does not have the surrounding entertainment and

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hospitality venues to extend the game experience and maximise visitor expenditure.

- The redevelopment does not catalyse wider economic benefits for urban or infrastructural renewal.

We propose that Moore Park Stadium’s replacement be built over Central Station’s railyard; creating the benefits of public transport accessibility, catalysing the development of the railyards to connect Surry Hills to Chippendale, and having broader economic benefits for the state, the city and surrounding neighbourhoods.

The relocation of Moore Park Stadium to Central Station Railyards has major public and economic benefits for Sydney & NSW: Public Transport Stadiums are required to be accessible to vast numbers of people in a short period of time. Central Station is the most accessible public transport node in NSW; and will capitalises on the NSW Government’s investment in transport infrastructure with the new Metro Station, and the Light Rail line both being implemented at Central.

DRAWING BOARD

Urban Renewal A stadium over Central Railyards would create an ideal link between Surry Hills and Chippendale; reconnecting the two sides of the railway lines that have long been disconnected; and anchoring a vibrant new precinct.

Major Events and Urban Spectacle Embedding a stadium in the fabric of the city creates an urban spectacle, enhancing the experience of attending events. The spillover benefit is that the broadcasting of major events will promote Sydney as a destination to broader audiences. Further, crowds from major events will have a multiplier effect on the economy of Sydney as people access surrounding entertainment and hospitality venues in the city.

only does this off-set the cost of the stadium to Government, it also provides a revenue generating attractor to catalyse further development, creating value for the state and the developer.

More Park for Moore Park Finally, of course, there are benefits for the existing Moore Park Stadium, which can continue to operate during construction of the new stadium without interruption; and upon completion the Moore Park Stadium and surrounding carpark can be returned to public parklands. Restoring Moore Park to its original size and replacing parkland lost to the light rail line will have immeasurable public benefits to the local community.

Value Capture The NSW Government has a highly valuable land holding in the Central Railyards; which should have demonstrable public as well as economic benefits for the State. We propose that the development rights for Central Railyards be provided in return for the construction of a new stadium. Not 015

KICK OFF | VIDEO A closer look at products and projects from the world of video...

ROBERTO MELÉNDEZ STADIUM AVOLITES The 2018 Central American and Caribbean Games kicked off with a spectacular opening ceremony at Barranquilla’s Roberto Meléndez Stadium, featuring projection mapped visuals to the stadium pitch and huge LED screens using Avolites AI RX8 servers. Victor Ariza from Performa SAS produced the opening ceremony, while Miguel Carillo from For IQ designed the stages. During the ceremony the 47,000 capacity crowd experienced a video concept based on a story of time travel from the future to the present, offering unique perspective of Barranquilla, which highlighted local culture, folklore and its vibrant music scene.

The main stage was backed by video-mapped content, displayed on a 664 sq metre LED screen. “We needed to manage a lot of pixels for this project, six outputs for mapping and six outputs for LED screens, DMX and SMPTE control and direct SDI outputs,” Victor said. “We needed a server that had all of these things and features, like the option to quickly warp the geometry of the outputs - and be robust and trustworthy.

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“But perhaps most importantly, we were looking for customer service and support. Machines are machines - it’s the people that define a brand’s success.”

Technical Director for Performa, Fernando Albanés added: “We could find all the technical specifications we required in the Ai RX8 and SDI output card. The RX8 was the heart of the video system - a machine that you can trust, is robust and reliable, and has everything that you need to do a great show. But Victor is correct, when we started to work on this project, we dealt with Avolites’ South American Sales Engineer, Francisco Yáñez Valdivia, Koy Neminathan at Avolites’ London office and Javier Pastor, and it was amazing, everything was fluid; we had training on-site and support for the opening.

Avolites’ Maciej ‘Magic’ Siedlecki was in charge of this part and it was really great to have him on board.” www.avolites.com

KICK OFF

IMAGEPRO 4K BARCO ImagePro HD revolutionised live events in 2004 with its 1:1 pixel-sampling scaling technology and extremely fast source acquisition and has been a problem-solver ever since.

With 4K resolution, industry demand has driven the development of the ImagePro 4K, built with two independent 4K scalers in a 1RU package.

Designed to go even further than the ImagePro HD, the ImagePro 4K scales, rotates, converts and switches the highest quality signals with results delivered with an ultra-low latency of one frame.

The ImagePro 4K supports 4K 4:4:4 color sub-sampling and 60 progressive frames per second at 10-bit grayscale. Using 12-bit internal processing, ImagePRO 4K delivers uncompromising video quality.

Supporting the latest signal standards, ImagePRO 4K allows users to seamlessly convert HDMI 2.0, DP 1.2 and 3G/12G SDI signals and use every format from NTCS to 4K DCI. From the LED display, the push of a single button will bring users to a setup menu where they will be guided through the process of achieving pixel-

perfect images. The flexibility and power of ImagePro 4K offers a reliable backbone for live events, ensuring installations run without a hitch.

Critical setups need to run flawlessly 24/7; the ImagePro 4K is built for maximum up time with a steel chassis that is tested to withstand G-shock, vibration, and extreme temperatures, offering peace of mind.

Popular LED screens used in arenas often need to be adjusted to fit the area or to navigate the difference between content and screen, the ImagePro 4K responds to these demands with ease. With live-source preview on the front panel users are provided with a clear view of the incoming signal, giving the confidence needed to keep an event or installation running flawlessly. www.barco.com

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ST MARY’S STADIUM ADI TV ADI have just completed work to install a stunning new Virtual Hybrid perimeter LED display for Premier League team, Southampton FC. The system integrates groundbreaking Augmented Reality technology that makes it possible to change the perimeter content seen by different viewing audiences around the world. It means fans in the stadium will see traditional LED content, whilst viewers watching the same match in different countries could see brand content tailored to their region.

The digiBoard system was developed by ADI, together with augmented reality (AR) experts, Supponor.

The new 960mm high UEFA compliant system is a significant upgrade to the clubs old technology, offering a future proof solution that will enable The Saints to compete at the highest level, whilst being ready to adopt the new virtual advertising standard.

A virtual Hybrid system makes it possible to commercialise the same perimeter media space multiple times over. It means, for example, that 90 minutes of inventory could become 900 minutes if sold in 10 different territories.

Southampton FC’s Commercial Director, David Thomas said: “We’re excited to be one of the first clubs in English football to have a fully functioning Virtual Hybrid system. Following a competitive selection process we chose ADI because of the functionality and quality of their technology, the market is clearly heading towards the adoption of virtual advertising and there is definitely demand from sponsors. The ability to combine that functionality with a system that is UEFA compliant is extremely appealing to us.”

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installed at St Mary’s Stadium using the same LED technology deployed in Germany’s Bundesliga, which has been delivering virtually modified match feeds since the start of the 2018/19 season.

In the UK, more clubs are gearing up for the arrival of virtual replacement, with 10 clubs having now invested in systems that either feature full Virtual Hybrid functionality, or have the ability to be easily upgraded.

The team at ADI’s fibre connected production hub, which connects over 100 stadia and broadcasters, will remotely manage the perimeter display content and any potential virtual ad insertion.

ADI’s CEO, Geraint Williams, commented: “We’ve worked with Southampton for a number of years and they’ve always displayed huge ambition. We are delighted to have the opportunity to help the club realise some of that ambition by taking their commercial platform to the next level.

We’re entering a new era in the way clubs activate commercial partnerships, sponsors are demanding greater value and more opportunities to reach their audiences, and virtual advertising certainly offers a platform through which to achieve that.” www.adi.tv

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Narrow Pixel Pitch LED displays Daktronics Daktronics Narrow Pixel Pitch (NPP) or fine pixel pitch LED displays make a premium impression on viewers with Ultra-High Definition (UHD) and 4K imagery, which elevates the industry, standard for video quality. The NPP technology features pixel spacing of less than 3mm to sharpen images and bring bold colours with crisp clarity, well beyond the capability of the advanced televisions and projectors.

NPP LED video walls provide new opportunities for content previously restricted to LCD screens while adding an element of luxury and high quality to the application. This product comes with seamless, smooth processing without any tearing or stuttering at resolutions beyond the 4K threshold.

With this capability, our LED video walls exceed the digital cinema DCI-P3 colour gamut and take full advantage of the expanded colour capability of 020

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High Dynamic Range (HDR) imaging. No bezels and tighter pixel spacing’s create a more details and crisp appearance.

The NPP displays are designed with installation in mind. Due to the nature of the product, NPP displays can experience damage when removing and replacing tiles, this is because they require powerful magnets to secure LED tiles rather than traditional mounting and latching systems. Our patented latching system virtually eliminates potential damage to surrounding tiles.

This is accomplished through manual magnet disengagement, which gently attaches and releases LED tiles when installing and servicing the display. www.daktronics.com

KICK OFF

Brooklyn Studios Renewed Vision Created by Meptik, an Atlanta-based experiential design studio, the NBA 2K League is produced on a 7,433-sq ft soundstage at Brooklyn Studios for live and on-demand audiences watching on the Twitch.tv online network.

The League brings together two teams of professional e-sports athletes that use specialised gaming controllers to move NBA star avatars on a virtual court.

In a typical match, the two teams sit centre stage at a large round console with five players on either side, each player controls gameplay while watching the virtual game on their individual monitors. Live camera headshots of each player are shown on large LCD displays above the player to inform studio and online audiences.

Throughout the game Renewed Vision’s PVP3 Media Server and screen control system effortlessly powers multi-channel delivery of high-resolution video presented across the LCD cluster and several massive LED video walls.

Renewed Visions PVP3 is invaluable to the high-quality, multi-channel content delivery and presentation for each game. Its video engine allows multiple channels of video and graphics to reliably display as separate, jitter-free images on individual or groups of monitors, as well as a single, continuous image that fills the video walls and display clusters.

“We chose PVP3 because it has the power to output a high volume of highresolution content, with the flexibility to creatively compose the layout of the displays, all virtually on the fly,” Nick Rivero, Meptik’s co-founder said.

“Considering it’s power, PVP3 is unusually user-friendly, to the point where we could set up a full turnkey system to play-out an elaborate multi-screen experience and then turn over the daily operations to users. In this workflow, users can simply take the ball and run with it without any further technical support from us. Compared to the other high-end broadcast servers we considered, PVP3 was a fraction of the cost and its price point fit really well within our production budget.”

According to Nick, PVP3 offered a significant operational advantage through

native integration with the studio’s HD-SDI infrastructure and workflow. This ensured seamless interoperability with a Ross production switcher, high-end Sony cameras, live graphics and a house router.

With 20 HD-SDI connections available, PVP3 ingests four live video feeds originating from both the gaming system and camera shots. The system is then used to mix and map live content with pre-rendered content, and output 12-channels of video to the various on-set displays including a 20ft LED video wall on each side of the stage.

To power the operation, PVP3 is installed on an Apple iMac Pro, connected to two sonnet SE Thunderbolt 3 chasses and outfitted with five Blackmagic Duo 2 cards. An Elgato Streamdeck triggers cues within PVP3 of various scenic changes, each with a clearly labelled button. Some of Meptik’s experiencedriven designs include pre-rendered overlays and graphical elements, such as sponsor logos, ads and player statistics, composited with the live video feeds dynamically in the PVP3 system.

“Since we needed to train a three-person crew to take charge of the entire PVP3 operation, it was essential for this system to be extremely intuitive to learn and user-friendly,” Nick said. “Over the years, our firm has used PVP for a variety of installations, each time implementing it in new and innovative ways. This really speaks to its power, flexibility and versatility - something that Renewed Vision is able to deliver at a much lower price point than its competition, without any adverse effect to quality and performance.” www.renewedvision.com

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KICK OFF

Pro Range disguise The disguise Pro Range allows users to play huge video content on large canvasses, designed to withstand the toughest of live environments with a ruggedised aluminium chassis, lockable connectors and TrueCon power connectors.

Every feature of the Pro Range is focused on delivering the smoothest possible video playback experience, including twin 10G Ethernet ports to transfer huge media files in minutes, the ability to output multi-channel audio to the largest PAs via optical or balanced XLR and receive up to four HD-SDI (or two 3G SDI) video feeds per machine and render them to the outputs with an industryleading latency of 50 msec. The disguise pro range also features gunlock 022

WWW.MONDOSTADIA.COM

which allows users to synchronise multiple machines to create a single large video canvas; up to 16K pixels across (per surface).

The disguise Pro Range also features unique Video Format Conversion (VFC) technology, a swappable output card that slots into the back of the server, allowing users to change the video output signal on the server quickly and easily, Output DisplayPort, DVI, SDI or HDMI without changing the system.

The Pro Range enables users to mix signal formats and resolution types in the same project, with guaranteed frame synchronisation and near-zero latency. www.disguise.one

024

Camp Nou Goal Sport

Barcelona F.C. chose Goal Sport Playout Software to run advertising and infotainment on perimeter screens at Camp Nou. Playout is an easy to use content management software with full synchronisation of outputs allowing users to play any kind of media on any size screen, edit and display scoreboards, present players and sends messages to spectators. Playout creates scenes including video, audio and DMX, and also sends a timecode to OB vans or other third party systems.

• Single workstation for all outputs • Supports any resolution • Automated player presentations, scoreboards and statistics • Designed to manage content on perimeter screens • Built-in graphical editor

• • • •

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Supports social media Intuitive operation by touch screen Synchronises different content on multiple screens DMX and audio control

www.goalsport.software

KICK OFF

MADRIX 5 MADRIX The MADRIX 5 is an LED pixel mapping system designed for creative projects and broadcasting display systems.

The software can produce a complete LED light show from a normal computer or laptop, driving tens of thousands LEDs. Users can directly connect to a wide range of LEDs and compatible first-party or third party LED controllers.

• Pixel mapping in 2D and 3D • 64-bit render engine for effects and visuals in real time • Easy customisation of all lighting scenes • Flexible and quick CSV fixture list import for complex patch layouts

• Media control, including images, logos, scrolling text, live signal capturing, screen capturing and videos including audio playback • New license system with a maximum of 2,048 DMX universes and Full HD resolution www.madrix.com

025

A NEW EVENT FOCUSSING ON SPORTING VENUE TECHNOLOGY, THE LATEST DEVELOPMENTS IN THE INDUSTRY AND FUTURE PROJECTS. SPONSORSHIP ENQUIRIES: J.DIXON@MONDIALE.CO.UK

PRE REGISTER: WWW.MONDOSTADIA-AGORA.COM

02 INTERVIEW

“The intent always was to create an incredible audio experience, one that keeps up with the video. What has really driven a lot of our stadium work is this bloodlust for larger video - everybody wants the bigger screens, because its ad revenue, right?”

“We believe that our waveguide and cone midrange technology is capable of positively transforming the stadium audience experience with its huge improvements in intelligibility and coherancy.”

Mike Hedden President Danley Sound Labs

Tony Andrews Founder Funktion-One

MIKE HEDDEN President, Danley Sound Labs

INTERVIEW

Firstly, tell us a little bit more about your background…

that can be 105dB and higher. You really need a loudspeaker to get over the top of that. In the States, it’s a bit different than it is in Europe, as the trend

I’ve been in the audio industry for about 30 years, both as a contractor and

is to install giant video boards and put all the audio into that video setup.

a design / build firm.

It’s not like Europe where most of the audio is distributed around the

So, I helped design and install one of the systems for the Atlanta Olympics

venue - rather it’s coming from one point. Don’t get me wrong, we prefer

back in ’96. But, overall, I’ve worked on well over 2,000 projects - I mean,

distributed systems when possible but currently we’re in a very small club

I’ve lost count!

of manufacturers that can succeed from a single scoreboard position.

The other thing that’s paramount in importance is intelligibility, be that

How about Danley Sound Labs - how did the company start?

with music, general public address announcements, referee’s mic, and especially in emergency communication, it’s an area that we shine very

So, 13 years ago, we started Danley Sound Labs and, because I had that contracting background, every product that we have developed has been through that perspective of a contractor that says ‘I need this type of tool’ as opposed to some of the stuff that we see from other manufacturers who have never done the job. If you go that way, you create tools for a project that doesn’t exist.

Around eight years ago, we developed the Jericho Horn series of Synergy Horns. The original intent was to develop a loudspeaker - one box without subs - to cover five or six thousand people at a festival. We premiered the first Jericho Horn at InfoComm Las Vegas - we started that demo off the back dock to probably 50 folks and it lasted maybe five or 10 minutes. It was shut down by the venue staff that had approved it, saying it was too loud, so we weren’t too happy as we didn’t get to do our full demo. As we were putting all the gear back in the room, I had the head of audio visual from Brigham Young University come up to me and say ‘I don’t care what

“It’s no bad thing to be able to point to the majority of the top ten stadiums in the States... and say they have Danley providing the audio there.”

it costs, can I have that system in Lavell Edwards Stadium by August?’

- and this was in June - so, I said sure! That was the first installation, a 75,000- seater stadium. From there, it has just snowballed to the point where we’ve now completed something like 60 stadiums and arenas in the last eight years. Compared to our competitors, I don’t know anyone who has done as many stadiums as we have. brightly. It’s not just bandwidth or that it sounds cool, it’s also about being Was stadiums and arenas something you specifically targeted?

able to easily understand what’s being said from great distances. It’s so important - it could be people’s lives at stake.

It’s kind of funny, as we didn’t start off with that as a focus. For a while, we were referred to as the ‘house of worship audio guys’. I mean, we did a lot

How does a stadium / sporting venue project start for Danley?

of churches and auditoriums but that’s because there’s thousands of them, but now, we occasionally get people calling us the ‘stadium audio guys’, I’ll

Well, due to the sheer number of projects, we now get the end user

take that! It’s no bad thing to be able to point to the majority of the top 10

getting in touch often referencing the system that they experienced

stadiums in the States that seat 95,000 to 100,000 plus people and say they

like Nationwide Arena or Atlanta Mercedes-Benz Stadium or one of our

have Danley providing the audio there.

collegiate venues such as Georgia, Alabama, or Penn State, so they enquire

The intent always was to create an incredible audio experience, one that

about what would be involved in getting a Danley system. We then involve

keeps up with the video. What has really driven a lot of our stadium work

a consulting firm or design build firms in the process. If we can get in

is this bloodlust for larger video - everybody wants the bigger screens,

front of the customer and do a demo, we’ll win it - the demo sells the

because its ad revenue, right? It’s been beneficial for us that we’ve

job. Computer models are helpful and have their place, but at some point

perfected the Synergy Horn, as those in the line array world can only

you’ve got to say ‘park your ears in front of this system and you’ll get it.

answer the need for more pattern control or output by using more cabinets.

The Synergy Horn design allows us to specifically put more sound in a

What are the main things you have to take into consideration when

single cabinet. Take the most extreme - the Caleb - there’s a 108 drivers.

working on a stadium / sporting venue?

There are 64 compression drivers in a single loudspeaker. It’s insane, but it sounds like a giant Hi-Fi box.

Typically, there’s only going to be a couple of approaches - you’ll either do

We had a group from a prestigious UK consulting firm with us just three

a distributed system or a system that comes from one or two areas tied to

weeks ago. I took them to Alabama, LSU, Florida State, Disney and

the video screens. With us, when we get a request for a design, we will build

Mercedes-Benz Stadium in two days-and they walked away understanding

a computer model - we will often use our own computer modelling product

just how different Danley really is.

called Direct. One thing we do, for example, is coverage maps over the

What was exciting was that they walked away understanding even in

top of a Google Earth map, so they can literally see what the loudspeaker

extremely difficult acoustics we deliver highly intelligible, broadband

is covering, as opposed to some grid where you really have to use your

audio at very high SPL levels. Sometimes, you go to gigs and what you hear

imagination. Of course, we always have to consider budget and design

is perhaps even too loud, but it is unintelligible, harsh and bandlimited.

criteria - how loud does it need to be, what distance and so on. Honestly,

With our products you get loud, clear, clean, and low.

we don’t even consider bandwidth as an option anymore. In fact, on our recent tour with our UK consulting firm they mentioned how much we in

Would you say that is your recipe for success in the stadium market? The

the States like our bass! I said to them that you can always turn it down -

fact you can offer that quality?

the problem is that you can’t get it if you don’t have it to start with.

Maybe it’s a US thing, but when those teams come on the field, they want

We’re allowing them to have broad bandwidth, so it’s not just 250 to

to feel it -they want it to be rocking! But it’s soccer, too - we have Atlanta

500Hz horns - it’s true, full-range loudspeakers. We’re giving them the

United, the MLS team, they’ve had 75,000 at their games around five or

output that they have to have, because we’re dealing with crowd noises

six times the past year. It’s very well attended, but at the soccer games,

INTERVIEW

what’s expected of the sound system is dramatically less than at an NFL or

environments, but they also want great intelligibility. There’s a massive

collegiate game.

conflict coming - for 2020, FIFA is saying it wants 0.7 STI and it wants 107dB. Now, we can do that. I personally cannot wait for that standard,

Is there a difference in approach from a professional team’s stadium to a

because the line array will struggle. One of our biggest hurdles is getting

college team’s setup?

the venues to where we can have really good intelligibility, because the only way you’re going to do that in a hostile space is by decreasing the

The funny thing is that the college teams are typically more demanding -

distance between the loudspeakers and the listeners - that’s one of the

the crowd noise gets dramatically louder, so what you have to design for

fundamental tools of a designer. But, if you start doing that, then you’re

the major universities is actually more demanding than the professional.

messing with the sightlines as most stadia nowadays will have video displays everywhere. Also, if a stadium has a fabric roof, for example, you

Are there any difficulties that you experience on a regular basis?

start getting concerned with structural loading. However, that’s where Danley has an advantage - we’re typically a fraction of the weight of other

One of the biggest ones is that the stadiums are built to enhance crowd noise - they want them to be loud, so you have hostile acoustic

030

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and I’ve known people within management at the team for around 25 years. So, when it was reported that they were going to build it, I started to

“Whoever can go low, little and loud is going to win the day - and I think, here at Danley, we’re in a really nice place to do that.”

reach out through my contacts - though, I knew it was going to be tough.

We got a chance to do a couple of events for The Falcons where we supplied loudspeakers. Then we did a demo at their complex and it made them realise that we had something different. From there, we went through a series of meetings and presentations, but, honestly, we got that job through a lot of tenacity. Plus, every product that we installed was built within two or three hour’s distance of the facility - a real southern US product. We’re very, very proud of it.

Any others that you’ve worked on recently?

There a plenty of others that we’ve done. This year, we’ve completed work at Purdue University and Indiana University. The funny thing is that

The Mercedes-Benz Stadium was a project that amazed everyone in the

those are two bitter rivals! We’ve probably done six or seven stadiums this

industry - how did that come about?

summer, but the major project in recent times was certainly MercedesBenz Stadium.

Well, The Falcons’ training facility is literally five minutes from my house

032

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INTERVIEW

033

Is there anything new in the pipeline for Danley?

What would you say has been your favourite stadium / sporting arena project so far?

We have developed and are developing more tools. At InfoComm, we showed our new approach called the Sharc Fin, which we think is going to

Well, Mercedes-Benz Stadium would be right at the top, probably followed

give us a tremendous boost. It compensates for the inverse square in a way

by Florida State, which is gorgeous - it’s a beautiful facility and the audio

that’s very unique. In a distributed system, the first listener is, say, 100ft

is just staggering. The University of Georgia is another - I mean, there’s

away and the furthest listener is 200ft away, inverse square says that it’s

95,000 people sitting there and the audio sounds like a huge Hi-Fi. The

doubling the distance and it’s 6dB down in level, but, with the Sharc Fin’s

intelligibility is fantastic, too.

acoustic level shading to the first and further listener are essentially on the

I love the fact that I can literally start reeling off a list of stadiums for this

same.

question - we have a whole bunch of them

As far as new stadiums in the pipeline, 2019 appears to be shaping up to be

It is also refreshing to go to these smaller high school facilities that don’t

our biggest year without question.

have a huge budget and see the smile on their face once we’ve installed our system. They may only have, say, 4,000 seats, but it’s the same technology

034

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INTERVIEW

that is in Alabama or Florida State. We’re really giving people true value

bouncing around as they won’t have acoustic panels or let you treat it

that’s scalable.

because they don’t want you covering their clear panel. That’s going to be a big one in the future, I think.

What would you say is the next big thing in terms of stadium / sporting

Other than that, whoever can go low, little and loud is going to win the day

venue technology?

- and I think here at Danley, we’re in a really nice place to do that. If you start hanging 16 or 32 boxes from the ceiling, you’ll start picking a fight

At Mercedes-Benz Stadium, they went with what they call ‘the window to

with those video display sightlines and you will lose that battle.

the city - if you’re on the west end, opposite you is a giant fabric window

Another huge push will be on products that last longer. We are, I think, the

that makes it look as though you’re outdoors. We’re seeing more of the

first manufacturer that offers an all composite material option, so there

larger stadiums - like Los Angeles and Las Vegas - wanting to incorporate

is no wood to break down - dramatically increasing the life span of the

that. They want that covered facility that is clear - it looks like an outdoor

cabinets.

stadium, but they still have control of the weather. The downside to that is acoustically it becomes even more demanding - now you have energy

035

TONY ANDREWS

JOHN NEWSHAM

Founder, Funktion-One

Founder, Funktion-One

JAMES HIPPERSON

DAVID BRUML

Design Engineer, Funktion-One

Technical Sales Director, Funktion-One

INTERVIEW Funktion-One’s involvement in sports venues goes back to the company’s

The installation at Sliding Center Sanki demonstrated another key

early days. Though it formed in 1992, Funktion-One didn’t fully enter the

Funktion-One trait - bespoke solutions that ensure the best possible audio

public arena as a pro audio brand until 2000 - when its first loudspeakers

outcome. When it seemed like the project was nearing completion - in good

were released for the UK’s Millennium celebrations at the Millennium

time for the Winter Olympics starting - the client changed the original

Dome. By 2002, the UK manufacturer was making its mark in the sports

brief asked about extending the system’s lower frequency range to make it

world with the audio installation at Portman Road - home of Ipswich

a full music bandwidth system. Tony had commented during an informal

Town FC. It came at a time when sports venue operators were starting

conversation that the best way of doing this would be a huge bass horn.

to look beyond basic - often indecipherable - PA systems towards audio

To Funktion-One’s surprise, with six weeks to go, the Russian authorities

infrastructure that could cater for the changing demands of spectators.

placed an order for a Mega Bass Horn.

The system at Ipswich Town was based around Funktion-One’s AX88 - a

While many people would be defeated by the almost impossible timeframe,

total of 54 were deployed in pairs to cover the stadium’s four stands. It was cited at the time that, ‘the driving force behind such a high-quality installation has been the need to provide high-level music, as well as conventional paging, emergency messaging and background music’.

It’s a theme that has continued to develop over the last 15-plus years, but not as quickly as one may have predicted at the turn of the century.

It is of no great surprise that Funktion-One has found appreciation in the sports world, where fluctuating, high peak crowd noise demands high SPL and good speech intelligibility. One of Funktion-One’s primary distinguishing features is its pioneering development of paper cone transducers for the reproduction of mid and upper mid-range frequencies as opposed to conforming to the widespread use of compression drivers with their characteristic ‘screechy’ and confused sound.

Funktion-One founders, Tony Andrews and John Newsham explain why the sports stadia market is important. John said: “We are very keen to provide audiences with a great audio experience at sporting events, where sound should be loud and exciting but also comfortable to listen to.

Announcements and commentary should be clear and intelligible without being painful.”

“We are very keen to provide audiences with a great audio experience at sporting events, where sound should be loud and exciting but also comfortable to listen to. Announcements and commentary should be clear and intelligible without being painful.”

Tony said: “We believe that our waveguide and cone midrange technology is capable of positively transforming the stadium audience experience with its huge improvements in intelligibility and coherency. This is in accord with our philosophy of global sonic improvement.”

Design Engineer, James Hipperson, added: “Funktion One’s unique driver

Tony and the Funktion-One design team, driven by obligations to both the

and waveguide technology enable the mid/high crossover point to be

client and audio quality, accepted the challenge. From a standing start,

raised to at least two octaves higher than in many conventional systems.

work began on designing and building what is believed to be the world’s

The principal advantage of this approach is a vast - typically 20dB -

largest commercially available bass horn.

reduction in both harmonic and modulation distortion in the critical

Using an extremely rigid and weight saving construction, Tony and the

intelligibility band of 1-5kHz. With the midrange covering four to five

team at Funktion-One designed and built the huge horn as a flat pack, to

octaves - depending on the model - we can use specialised, high sensitivity

be assembled on site. Tony then travelled to Sochi to meet the delivery and

components for the remaining frequency bands, resulting in acoustically

worked with Funktion-One Russia on its installation, at one point working

flat, high efficiency systems that do not require corrective equalisation.

a 17-hour day, in freezing temperatures, 40ft above the ground on an open

This also ensures the loudspeaker’s frequency response at maximum

platform.

SPL is much closer to the small signal response - a critical performance

Though it was brazenly ambitious, the design, build, delivery and

characteristic considering the extremely high noise levels in stadia.”

installation of the Mega Bass Horn were tethered to an ideology that

While there are installations at Allianz Park in the UK and the Steel

runs through Funktion-One’s DNA. The objective, regardless of the

Arena in Slovakia, it is the recent flurry of projects in Russia that best

environment in question, is to deliver the best audio quality possible -

demonstrates that Funktion-One is a leading innovator when it comes to

even if it means doing something that has never been done before. More

sound reinforcement for sports venues.

accurately, particularly if it means doing something that has never been

In 2013, the company released the MST10 - a large format horn which

done before.

allows sound to be focussed where it’s needed without exciting the

“It’s very accurate and very smooth bass,” said Funktion-One Russia’s

reverberant space, leading to clear message transmission and intimate,

Andrei Kremenchugskiy. “It’s all around you - you can feel it and hear it.

intelligible and involving sound. Subsequently, MST10s were deployed by

It’s soft but it still pushes you.”

Funktion-One Russia at Bolshoy Ice Dome and at the Sliding Center Sanki -

Next came Krasnodar Stadium and a specially developed Funktion-

both major venues of the 2014 Winter Olympics in Sochi.

One Evo system. In the years since 2014, Funktion-One has been in a

Speaking at the time, Tony said: “Funktion-One has been investigating

particularly productive period of innovation and product development.

and developing composite structures since our installation at The

New technological discoveries gave rise to Vero - the company’s large

Millennium Dome in London. We have achieved a combination of structure

format vertically arrayable system - and the Evo Series. While Evo systems

and materials which integrate strength, light weight and weather

have been specified for a wide range of applications, Krasnodar was the

resistance with outstanding acoustic properties.

first stadium in 2017.

“This composite technology has opened the door to manufacturing large

Andrei worked closely with John and others at Funktion-One in the UK

waveguide developments of Funktion-One’s cone driver loading technique

to come up with a solution for Krasnodar, resulting in the development

weighing only 60kg. This technology offers the level of directivity control

of a new customised product - the Evo 6EHQ. These specially designed

to be expected from a near two-metres waveguide. The controlled

enclosures house four Evo 6 waveguides arrayed two wide and two deep.

directivity behaviour of the waveguides allows them to be combined at

A total of 18 Evo 6EHQ enclosures were deployed around the stadium,

angles varying between 1º-22.5º to achieve desired SPL and coverage

approximately 20-metres apart. Funktion-One F215 Mk2 bass enclosures

footprint.”

were paired with the new F124 24in bass enclosures and installed between

INTERVIEW

038

the Evo 6EHQs. Six standard Evo 6EH loudspeakers were supplied for pitch

50º horizontal dispersion for the closer seats and Evo 7SH loudspeakers

coverage.

with narrower dispersion and resulting higher intensity for the further

Funktion-One Technical Sales Director, David Bruml, explained:

seats. To help spread the load on the suspended roof, alternate clusters

“Funktion-One’s Evolution Series has a very high sound to weight ratio

are supplemented with either two F215 Mk2 midbass or a single F221 bass

which means they can be deployed in places where more conventional

enclosure. Under-balcony coverage is provided by Funktion-One’s highly

loudspeakers wouldn’t be able to be suspended. The loudspeakers are

intelligible and compact F81 and F101 loudspeakers.

very efficient which leads to naturally high and responsive output levels

David said: “Funktion-One’s whole raison d’être is to provide audiences

that are able to meet FIFA stipulations for performance level and exceed

with the highest quality audio experiences. If a stadium is planning to play

intelligibility requirements. The loudspeakers are also highly accurate in

music to enhance the match-day experience, the audio needs to be good,

the time domain and inherently linear in phase and frequency response

otherwise it works in the opposite way to that intended. Sports stadia

without requiring corrective equalisation.

and arenas, where large crowds gather, have historically had poor sound

“Their controlled directivity and pattern control mean that sound can

quality. The reverberance of stadia, combined with crowd noise present

be focused on audience areas with minimal excitation of the reverberant

a real challenge to delivering clear messaging and musical fidelity whilst

field. This all has the effect of making sound feel perceptibly close to

poor system design and deployment combined with the harshness and lack

the audience, lending a sense of intimacy to announcements and a truly

of control of typical stadia sound systems have combined to short-change

immersive and involving feeling to music playback. Funktion-One bass

arena audiences when it comes to their auditory sense - that most directly

loudspeaker enclosures are also highly efficient and powerful, which

linked to people’s emotional response.

extends the frequency response of Evolution systems to physical and

“Funktion-One’s advanced sound system technology offers a pathway to a

enjoyable full range performance. Reliability and longevity are also key

new era of sound clarity, both for announcements and musical experience.

features of Funktion-One systems.”

When it comes to critical life-safety announcements, sound becomes even

John added: “By focussing the power closely on the audience areas,

more vital. Clear and intelligible messaging significantly helps manage

avoiding overlapping coverage patterns and avoiding spill over a broad

emergency situations.”

frequency band we can reduce or eliminate secondary reflections which

On the future of Funktion-One and sports venues, David concluded: “We

corrupt the sound image and reduce STI. Sound is directly linked to

now look forward to expanding our reach in this market, working with

people’s emotional responses and with Funktion-One technology properly

more sporting venues around the world, particularly those that are looking

deployed, messages are clearer and music is more involving.”

to deploy leading technology for their visitors. Funktion-One’s innovative

Soon after Krasnodar, work began on Volgograd Arena (featured in

design approach extends way beyond the loudspeakers themselves to

MONDO STADIA Issue 01). The solution there was again based on the

the system design detail as well. Our understanding and advice is widely

Evo Series. The loudspeakers are accurately arrayed and aimed using

respected in the audio community and is now available to sports venue

bespoke metalwork - 24 C-shape clusters along the sides and 12 Y-shape

managers and designers. If you’re planning a new venue, or refreshing an

clusters for the corners. Each array features Evo 6SH loudspeakers with

existing one, please contact us for advice.”

WWW.MONDOSTADIA.COM

02 THE FULL PITCH

040 Olympiastadion | Berlin, Germany

THE FULL PITCH

OLYMPIASTADION Berlin, Germany

Images: Electro-Voice

B

erlin’s Olympiastadion is one of the most

The site of Olympiastadion was originally a 2,400-metre

historic venues in the world, with its instantly

horse-racing track in the Grunewald district, which was

recognisable design often the backdrop to

designed by Otto March in 1909. This was demolished in

some of the most memorable sporting events

1934 - to be replaced by a new national stadium designed

and concerts.

by Otto’s sons, Werner and Walter March.

THE FULL PITCH

042

Built as part of a full-scale sports complex for the 1936

was given to gmp architects, with the comprehensive

Olympic Games, with the stadium seating 110,000

renovation project taking four years in total before being

spectators, a track field known as Maifeld - intended

completed in 2004.

as a marching ground for large rallies - and an Olympic

Able to seat over 74,000 fans, Olympiastadion is one of

swimming pool. Also part of the complex is The

UEFA’s few five-star stadiums and has since created

Waldbühne, one of Berlin’s most popular open-air

even more sporting history. As well as being Hertha

venues with 25,000 seats, which was built for gymnastics

Berlin’s home ground, the stadium has hosted the 2006

competitions. Completing the complex is the 78-metre

World Cup final as Italy lifted the trophy, the 2009 IAAF

Bell Tower, in which an exhibition displays iconic images

World Championships in Athletics where Usain Bolt won

of African-American sprinter, Jesse Owens, whose four-

the 100-metres with a world record time, as well as the

medal victory at the 1936 Olympics shook the world at

German DFB cup final every year. Not only that, but there

a time of deep-rooted segregation, tearing apart Adolf

has been an array of huge acts performing at the stadium,

Hitler’s theory of the supremacy of the Aryan race.

including The Rolling Stones, Madonna and Beyoncé, to

With history of such magnitude - as well as huge potential

name but a few.

to create a very special venue - in 1998, the Berlin Senate

In August 2018, the European Athletics Championships

made the decision to give the site a full transformation,

were held at the venue, which made for an interesting

creating a modern, multifunctional venue. This task

summer, as the team at the stadium looked to significantly

WWW.MONDOSTADIA.COM

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044

upgrade the audio system and LED displays.

Palm, Application Consultant, ProSound for Electro-

Frank Neubauer, Head of Technical at Olympiastadion,

Voice and Dynacord. There was a clear brief from the

takes up the story: “The original audio system before the

team at the venue, which Christoph Meyer, Director of

upgrade was from the original project back in 2004, so

Events & Communications at Olympiastadion, explained

it had aged quite a lot in that time and was in need of a

further: “It is all about the experience when you’re in the

renovation.

stadium. If you can’t understand what is coming from the

“The project started in June, so there was around

loudspeakers clearly, not only is it a safety risk, it’s not

two months until the start of the European Athletics

particularly satisfying for those fans in the venue either.”

Championships – that was our deadline for completion of

The team wanted to invest in the latest audio technology,

the new system. There was a lot of work to do in a short

featuring IP and Dante. On top of that, energy-saving

space of time. Plus, we had five concerts scheduled during

features had to be considered, along with lowering the

that time, so it was vitally important that the existing

total cost of ownership. Lastly, the new audio system had

audio system still worked during the upgrade for safety

to comprise enough headroom for higher sound pressure

announcements at the events.

levels and even better intelligibility, as well as offering

“The Championships were a big part of it, too – it had lots

the option for powerful sound reproduction for music

of announcements and music, so we had to make sure that

playback.

the sound was perfect ahead of the event.”

With all this taken into consideration, the decision

Having completed the audio installation back in 2004,

was made to stick with the loudspeaker design that

Electro-Voice was once again enlisted to help upgrade the

was originally installed in 2004. Instead of completely

sound at the stadium. Back then, the German manufacturer

replacing the loudspeakers, Electro-Voice’s system

won the project ahead of the 2006 World Cup and opted

engineers, working closely with the application support

for an extensive, new sound system, featuring a state-of-

department at the stadium, decided that the best course of

the art XLC line arrays and Precision Series amplifiers by

action was to upgrade the existing XLC 127 loudspeakers to

Electro-Voice.

the more powerful high-performance DVX versions.

“The Olympic Stadium was our first, big stadium reference

“The existing 171 Electro-Voice XLC 127 two-way line

in Germany and it was known as the best sounding

array elements were upgraded to the XLC127 DVX versions

stadium in Germany at that point,” explained Fredi

with high-performance DVX drivers. The previous XLC

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THE FULL PITCH

line array worked in biamp mode using passive crossover

have more power while using significantly less rack space.

network for mid/hi, now the XLC line array is driven fully

They consume a lot less energy, too, due to technology

active in triamp mode,” said Fredi.

called Eco Rail that’s patented by Dynacord,” added Fredi.

“Dynacord IPX series DSP amplifiers were the ideal choice

Elsewhere, two N8000 amplifiers are used for collection

in terms of installation flexibility, supporting Dante audio

and distribution of audio signals and as an interface to

thanks to OMNEO IP-architecture and superior sound

the EVAC system. The stadium’s mixing console is a

quality.

Soundcraft VI3000.

“Besides, IP technology featuring Dante leaves all options

Moving beyond the tight schedule, the audio install wasn’t

for future expansion. It also allows constant supervision

without its challenges, as Fredi mentioned: “The biggest

and monitoring of all parameters of the entire sound

challenge was to plan a seamless transition from the old

system via IRIS-Net software and the customised GUI.”

to the new sound system. During the installation, the

The 64 IPX10:4 amplifiers used at Olympiastadion handle

previous system had to be operated in parallel to the new

the signal processing in its entirety, offering the highest

system, especially due to emergency tasks.

performance, internal analogue-to-digital conversion

“Retrofitting the line array elements is always a challenge,

with ultra-low latency, and a superior signal-to-noise

given the fact that the boxes are located under the roof.

ratio. The three DSP blocks are split into user, array and

Besides, the installation took place in mid-summer and

loudspeaker processing controls, each featuring a wide

the temperatures were extremely high.”

range of equalisation, delay, level options and even

The new audio configuration made its debut at the

asymmetric filters to adapt to almost any application.

European Athletics Championships, as per the plan. The

Complete remote control and supervision is available

whole audio system works flawlessly and has a powerful

via the powerful IRIS-Net software, allowing system

sound reproduction with even coverage and improved

parameters, such as online, power, temperature, network

intelligibility. The energy consumption of the entire sound

status and mains power to be constantly monitored. This

system could be reduced to even more than 50%, according

allows for the creation of a fully-customisable graphical

to the Olympiastadion team, who were left delighted with

user interface.

the upgrade.

“In terms of an installation point of view, our amplifiers

“With the new system, it is so much clearer in terms

045

THE FULL PITCH

TECHNICAL INFORMATION AUDIO: 171 x Electro-Voice XLX 127 DVX three-way compact line array | 64 x Dynacord IPX10:4 power amplifier | 2 x Electro-Voice N8000 digital matrix controller | 1 x Soundcraft Vi3000 audio mixer | Electro-Voice IRIS-Net software VISUAL: Expromo LED displays

of audio coverage. For example, in the stands, you can

Olympiastadion now has approximately 300 sq metres of

address people directly. Before that, the sound just wasn’t

LED display - an increase of more than 100 sq metres.

clear enough - especially with the crowd noise - but now,

Expromo Europe increased the resolutions of the East

that just isn’t a problem,” Christoph revealed.

curve LED display to 1560 x 880 pixels, with the North and

“On one of the days at the Championships, there was

South LED displays at 1200 x 680 pixels. The sharpness

a huge storm, so the event organisers decided to keep

of the screens was improved, too, with the distance

everyone inside the stadium for safety reasons. They put

between the pixels reduced from 23mm to 10mm, while the

displays on the video screens and invited everybody to

brightness was improved from 4,000 nit to 6,500 nit.

dance. So, with the new audio system, we essentially had

With the improvements in place, Olympiastadion is sure to

a giant disco in the stadium - something that we couldn’t

remain one of the go-to stadiums in Europe. It seems there

have done before, for sure!”

will be plenty more historic sporting moments created at

Frank added: “Normally for the Championships, we need

the Berlin venue, with Germany winning the race for Euro

additional boxes for the lower tiers, however, with this

2024. Olympiastadion will host the final of the 24-team

system, that’s no longer needed. That really highlights the

tournament, which is sure to highlight the impressive,

improvements that have been made. We are really, really

state-of-the-art audio and visual technology installed

happy.”

over the summer.

For the LED screens, Expromo Europe was enlisted to modernise the existing displays that were in the stadium, while also installing a third one. With these upgrades,

DESIGN & SYSTEM INTEGRATOR: Electro-Voice | BRANDS: Electro-Voice, Dynacord, Soundcraft, Expromo | WEBSITES: www.electrovoice.com, www.expromo.eu, www.soundcraft.com, www.dynacord.com 046

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02 VENUE FOCUS

AUDIO

ARCHITECTURE

062 UMBC Event Center | Baltimore, USA

084 Flemington Racecourse | Melbourne, Australia

050 Schar Center | North Carolina, USA 056 Rajamangala National Stadium | Bangkok, Thailand

LIGHTING

DIGITAL INFRASTRUCTURE

070 Danube Arena | Budapest, Hungary

086 Matmut Stadium Gerland | Lyon, France

VIDEO 076 Coop Norrbotten Arena | Luleå, Sweden 078 AT&T Stadium & Nissan Stadium | USA

AUDIO

SCHAR CENTER North Carolina, USA

Images: Fulcrum Acoustic, Linea Research

T

he foundations for the Schar Center at Elon University dates back as far as 2010, and this Summer the 160,000-square-foot facility has been completed, and is now home to the

Phoenix basketball and volleyball teams. The university in the South in the Piedmont area of Central North Carolina, between Greensboro and the Raleigh-Durham-Chapel Hill triangle sits on 636 acres, and has been described as one of the most beautiful college campuses in the country.

In addition to the newly completed main arena, the Schar Center boasts a spacious entry atrium, a large practice gymnasium, locker room and team facilities, and a hospitality room for social events and gatherings.

Greensboro, North Carolina’s Audio & Light was selected to design and install a sophisticated, distributed sound reinforcement system for the new multipurpose arena.

Audio & Light’s lead system integration engineer, Brian Cox based his design on Fulcrum Acoustic’s pattern control coaxial driver/horn systems and proprietary cardioid subwoofers, which rely on Linea Research power amplifiers.

The arena required a high-output, high-fidelity sound system with precise directional control and the ability to easily configure coverage for programming ranging from athletic events and convocations, to guest speakers and galas. “Like most arenas, the Schar Center’s steel, wood, sheetrock and glass surfaces make for a very loud and reverberant space,” explained Brian. “I specified Fulcrum Acoustic loudspeakers for the directivity, output and intelligibility we needed.”

“For the main system, we designed eight loudspeaker clusters, each consisting of three Fulcrum AH96 fullrange coaxial horns paired with a CS121 21-inch cardioid subwoofer,” he continued. The main clusters are flown above the arena’s north and the south sides to cover the court and stands. The AH96’s provide all the output we need and their fully horn-loaded design increases sensitivity for more efficient use of amplifier power to reduce overall system cost. Fulcrum’s unique CS Series passive cardioid subwoofers deliver low frequency punch while minimsing reflections from the Schar Center’s steel ceiling.

“Five Fulcrum DX1265 dual 12-inch coaxial loudspeakers

AUDIO

052

serve as fills for the north side stands,” he added. “We also

worry about the low frequencies.”

installed 12 GX1295 single 12-inch coaxial loudspeakers

Linea Research 88C10 and 44C20 power amplifers fully

above the arena’s east and west ends for concourse and

integrate 9 kHz DSP with algorithms designed in-house

lower seating coverage. Fulcrum was very helpful with

at Linea. Users can create custom FIR filter sets on each

loudspeaker selection and confirming our thoughts on the

channel with up to 384 taps at 48kHz resolution, or

system design.”

768 taps at 96kHz. Linea Research amplifierss boast

Sitting alongside the Fulcrum Acoustic loudspeakers

Level 1 compatibility when used with Fulcrum Acoustic

are Linea Research 88C10 and 44C20 power amplifiers

loudspeakers.

and Symetrix Edge DSPs. “This is the first time we have

“This was one of our first projects using Fulcrum

spec’d or used Linea Research amplifiers, and so far, they

Acoustic Level 1 presets,” offered Rik Kirby, President of

have been very impressive,” continued Brian. “We’ve

Allied Professional Technologies, Linea Research’s US

been impressed with Linea Research amplifiers’ DSP

distributor. “This compatibility has been proving very

capability and ability to do all of our speaker processing

popular, and the end result sounds great. And Fulcrum

in the amplifier per channel - and the power output is

Acoustic have been able to implement Linea’s Virtual

incredible.”

Crossover (VX) Limiter, allowing them to limit low

Five eight-channel Linea Research 88C10 power amplifiers

frequency and high frequency separately despite using a

drive the 40 channels of mains and fills, while a pair of

passive crossover in a mid-high device.”

four-channel Linea Research 44C20 amplifiers drive the

“We wanted this to be a Dante digital system so we could

eight subwoofers. A sixth Linea Research 88C10 is kept in

make it as flexible as possible,” added Brian. “The Linea

the rack, unpowered, as an emergency spare. “Using the

amplifiers come with an option for Dante I/O, and they

full passive loudspeakers was made possible by the Linea

work very well with the Symetrix Edge DSPs. We have

Research amplifiers,” Brian explained. “Fulcrum Acoustic

one Edge for arena processing, one for auxiliary area

loudspeakers work extremely well with Linea amplifiers.

processing in other parts of the Schar Center, and a third

The Linea Research amplifiers’ built-in DSP gave us

Edge for routing and switching. The Linea amplifiers have

the ability to process the limiting by frequency, rather

three network ports: one for control and the primary and

than just limiting by level. They can close down on high-

secondary Dante ports. The Symetrix DSPs, Linea Research

frequency damage before it happens, without having to

amplifiers, and Fulcrum Acoustic speakers have so far

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AUDIO

TECHNICAL INFORMATION AUDIO: 24 x Fulcrum Acoustic AH96 full-range coaxial horn | 3 x Fulcrum Acoustic CS121 21-inch cardioid subwoofer | 5 x Fulcrum Acoustic DX1265 dual 12-inch coaxial loudspeaker | 12 x Fulcrum Acoustic GX1295 single 12-inch coaxial loudspeaker | 6 x Linea Research 88C10 power amplifier | 2 x Linea Research 44C20 amplifier | 1 x Yamaha TF1 16-channel mixer with a NY64-D Dante I/O card | Symetrix Edge DSPs

worked together flawlessly.”

When deciding on Linea Research amplifiers, Brian considered multiple factors. “It seemed like the Linea Research amplifier was designed for the Fulcrum Acoustic speakers we wanted to use,” he detailed. “In fact, the Fulcrum Acoustic rep first brought Linea Research amplifiers to our attention. We looked at other brands but anything else that had Dante didn’t have enough DSP horsepower, and the Linea Research amplifiers’ powerto-size ratio and output capabilities are among the best on the market. To go with another brand, we probably would have ended up with more external DSP power and larger amplifiers with more heat load. And programming the Linea Research DSP was easy; we had the amplifiers updated, loaded, and ready to go and passing audio in one morning.”

Audio input for the arena system is through a Yamaha TF1 16-channel mixer with a NY64-D Dante I/O card. The mixer rolls out in a mobile cart, which includes a headset and computer inputs, providing a complete solution that can be located at the scorer’s table for sporting events.

Floor pockets enable the mixer to send Dante audio to the

“This was one of our first projects using Fulcrum Acoustic Level 1 presets. This compatibility has been proving very popular, and the end result sounds great. And Fulcrum Acoustic have been able to implement Linea’s Virtual Crossover (VX) Limiter, allowing them to limit low frequency and high frequency separately despite using a passive crossover in a mid-high device.”

network.

Rik Kirby

“The Schar Center is great; it’s a beautiful building,” concluded Brian. “The athletic departments are now using their new offices, and the basketball and volleyball teams have moved in. The arena opened with a women’s volleyball game on August 28, and the sound system did a really good job. The Linea Research amplifiers’ sonic

coverage for any use. The Athletics and Events

performance so far seems to be above everything else.

departments, and support staff all love the system’s sound

Everybody here is very happy.”

and configurability. Audio & Light delivered an amazing

The final word goes to Elon’s Assistant Director of campus

sound system that adds to the Schar Center’s wow factor,

technology support, Joe Davis: “To ensure a flexible

and is worthy of Elon’s stature and commitment to

and reliable sound system, we required that each of its

excellence.”

loudspeakers have the ability to be controlled individually.

This allows us to easily tailor the 49 loudspeakers’

INSTALLERS: AUDIO & LIGHT | BRANDS: Fulcrum Acoustic, Linea Research, Yamaha WEBSITES: audio-light.com, www.fulcrum-acoustic.com, linea-research.co.uk, www.yamahaproaudio.com 054

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AUDIO

RAJAMANGALA NATIONAL STADIUM Bangkok, Thailand

Images: HARMAN Professional Solutions

T

he Rajamangala National Stadium was built in

by locals - which is somewhat unusual - its form is very

1997 as part of Thailand’s preparations for the

dynamic, as stands rise twice in height starting from the

1998 Asian Games. It is the largest national

lowest point behind goals and finishing in a three-tier

stadium in Thailand that includes a standard

combination along the pitch. Since its construction, it has

pitch used for football tournaments, as well as track and

been used for a number of major events, and is the home

field events. Originally designed and constructed entirely

ground for the country’s national football team.

058

The management at the stadium recently decided it was

were chosen for their high output, focussed dispersion

time for a technology upgrade. Mahajak Development

patterns and WRC weather protection. Strategic placement

deployed a complete HARMAN Professional Solutions

of the PD speakers and the addition of subwoofers created

system featuring JBL, Soundcraft, Crown and BSS. Audio

a powerful full-range system that could project evenly

integrator, Mahajak Development selected an array of

across the stadium.”

JBL Precision Directivity loudspeakers along the roof of

“Our challenge was to install the loudspeaker at its

the stadium, alongside a robust network of Crown DCi

position on the roof structure which was very high.

Series amplifiers, Soundcraft digital mixing consoles and

Moreover, to arrange the delivery of specific loudspeakers

BSS signal processors. The aim of the new system was to

from abroad so they could be installed on time. Another

offer a high-impact audio system that could deliver even

thing was to set up the sound level to cover all areas in the

coverage and intelligible sound to every seat, while also

stadium, it was difficult work because of the size of the

streamlining and simplifying production requirements.

stadium,” said a spokesperson from the Mahajak team.

“The new system comprises two main clusters which are

The PD6000 Series loudspeakers deliver high power

mid-high and low with a total 28 loudspeakers working

and constant coverage in a low profile form. The series

together with amplifiers, CD players and a mixer.” JBL

also feature newly developed 24-inch by 24-inch

Precision Directivity 6212, 564, 595, and 5122 loudspeakers

PT Progressive Transition mid-frequency rotatable

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AUDIO

waveguides that provide versatility, excellent pattern

music during the performance. All equipment had to be user

control with low distortion and extremely natural sound

friendly, durable and easy to maintain including excellent

character. “Rajamangala is a huge stadium, so covering

after sales service,” said the Mahajak spokesperson.

every seat evenly was a challenge in itself,” added the

Loudspeaker management is taken care of by BSS

spokesperson from Mahajak. “Mounting the speakers on

Soundweb London BLU-100 digital signal processors,

the roof of the stadium was highly challenging as well, and

which route audio seamlessly with a convenient and

we had to carefully balance their weight and position when

stable digital architecture. All mixing is carried out using a

rigging up the system.”

Soundcraft Si Impact digital mixing console. Designed to be

Six Crown DCi4 1250N and two 2400N amplifiers provide

as simple as an analogue mixer, but offers radical workflow

high-efficiency power to the array while integrating

enhancements such as the unique FaderGlow system,

with the stadium’s digital network. Both four-channel

massive DSP power, and a pristine 32-in / 32-out USB audio

amplifiers have digital audio transport via HARMAN’s

interface, Si Impact delivers digital live sound mixing and

proprietary BLU-Link, plus balanced analogue inputs and

recording without compromising on audio quality.

their GPIO ports can be configured in many different ways.

“Large-scale, multi-use venues like Rajamangala require

“The Sports Authority of Thailand expected us to provide

advanced audio systems to deliver clear voice and music

an audio system with clear sound, both for vocals and

coverage across all seating sections,” continued the

059

AUDIO

TECHNICAL INFORMATION AUDIO: 6 x JBL PD6212/66 loudspeaker | 6 x JBL PD6212/43 loudspeaker | 6 x JBL PD564 loudspeaker | 4 x JBL PD595 loudspeaker | 6 x JBL PD5122 loudspeaker | 2 x JBL LSR305/230 | 6 x Crown DCi-4/1250N amplifier | 2 x Crown DCi-4/2400N amplifier | 1 x Soundcraft Si Impact mixing console | 2 x BSS Soundweb London BLU100 signal processor | 3 x Shure PGA-81LC microphone | 1 x Shure SRH840A-A headphone

Mahajak spokesperson. “HARMAN’s audio solutions not only provide great sound to the entire stadium, but they’re durable enough for constant use and inclement weather with excellent after-sales service.”

“Elevating the audience’s experience at Rajamangala National Stadium is an absolute delight for us at HARMAN Professional Solutions,” said Ramesh Jayaraman, VP & GM HARMAN Professional Solutions, APAC. “We thank Mahajak Development for their expertise and thoroughness in safely installing a world class HARMAN audio system in this international sporting venue.”

INSTALLERS: Mahajak Development | BRANDS: HARMAN Professional Solutions, JBL, Crown, BSS, Soundcraft WEBSITES: www.mahajak.com, pro.harman.com, www.jblpro.com, www.crownaudio.com, bssaudio.com, www.soundcraft.com 060

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AUDIO

UMBC EVENT CENTER Maryland, USA

Images: Matthew Tennison

T

he UMBC Event Center is the long-anticipated new home for indoor sporting events at the University of Maryland, Baltimore County. As well as sports, the new, $85 million venue will

also host concerts, convocations, tradeshows, graduations and other events.

First and foremost, though, the UMBC Event Center will be the home of UMBC Retrievers’ basketball and volleyball teams, with a seated capacity for approximately 5,000 fans and around 1,000 on the floor. With these fans and the potential for a variety of events, it was key that the UMBC Event Center had audio coverage that offered powerful, uniform coverage and flexibility - allowing for the

AUDIO

064

transition from NCAA sporting events to major concerts

consultant which we didn’t believe was the most effective

and community events.

solution for the arena. We worked with Meyer Sound to

Baltimore-based firm, Design & Integration, was enlisted

develop an alternate LINA solution and were successful in

to help with the new audio system at the venue. It worked

getting the client to accept those plans.”

alongside the university’s technical and managerial staff

The selection process for the audio system was thorough,

to come up with the optimum, long-term solution for a

though it also factored in the prior experience the

house reinforcement system.

university had with Meyer Sound’s LEO line array system.

Project Engineer, Kevin Barrett takes up the story: “The

“We have a portable system based around 24 LEOPARD line

audiovisual consultant based a performance specification

array loudspeakers and it has served us very well in the old

on an alternative, externally powered system, but listed

Retrievers Activities Center and for many outdoor events,”

Meyer Sound as an approved option.

explained Sam Zuckerman, Head Audio Technician and

“We decided to pursue the Meyer Sound solution and

Sound Engineer for university events.

discovered it offered a number of advantages. We came

“We were very happy with the LEOPARDs and wanted to

up with a design that not only would meet or exceed

continue working with Meyer Sound. And the new LINA

all the performance numbers, but also would fit into a

system has delivered as promised. The coverage is very

smaller footprint, reduce installation costs, and provide

even, and the clarity is outstanding for spoken word events

more configuration flexibility along with detailed system

such as commencements. At the games I’ve attended, it

confidence monitoring.”

really gets the crowd pumped up. It definitely has plenty of

Ken Rosier, Project Manager and Engineer, from Design &

punch.”

Integration added: “We were contracted to provide all of

Ken explained the new system in the arena: “The custom

the audiovisual technology solutions for the UMBC Event

solution consists of five Meyer Sound LINA arrays with

Center, inclusive of the sound reinforcement systems,

eight LINA per array. Three Meyer Sound 1100-LFC low

CATV, broadcast systems, video displays and BOH systems,

frequency subwoofers flown centre count provide the low

including event spaces and meeting rooms.

end.

“An alternate sound system had been specified by a

“We also incorporated two Meyer Sound UPQ-1P

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AUDIO

loudspeakers flown as court fills. We utilised two GALAXY 816 processors to handle overall system drive and performance optimisation. A Meyer RMServer was also included for system monitoring. The distribution of audio through the venue is via QSC Q-SYS networked audio and HP managed network switches.

“The UMBC Event Center is a challenging room to effectively cover due to the height from the floor to the upper most seating and the 360° horizontal coverage.

“Through room modelling, Meyer Sound was heavily relied on to select the best solution, array placement and splay angles.”

Ken Rosier

Through room modelling, Meyer Sound was heavily relied on to select the best solution, array placement and splay angles.”

The line array and subwoofers are robust options and provide excellent room coverage - from an audio

outfitted with a complete broadcast cabling system,

standpoint; there isn’t a bad seat in the arena.

inclusive of a broadcast truck dock for broadcasting

Ken continued: “The LINA arrays are self-powered and

basketball games and other events.”

utilise internal Meyer Sound amplifiers. QSC amplifiers

Although specifying a highly compact line array system for

were utilised for the back of house systems, enabling us to

a mid-sized auditorium may seem somewhat audacious,

utilise Q-SYS as our distribution medium.

Design & Integration’s Kevin Barrett was confident of the

“As part of the integration, we also supplied an Allen &

outcome.

Heath dLive-DLC25C2500 Surface and dLive-CDM32

“Although LINA was not even shipping when we did our

MixRack 32x16 I/O. In addition, the venue was also

initial design, we were confident based on Meyer Sound’s

067

AUDIO

TECHNICAL INFORMATION AUDIO: 40 x Meyer Sound LINA loudspeaker | 3 x Meyer Sound 1100LFC subwoofer | 2 x Meyer Sound UPQ-1P loudspeaker | 2 x Meyer Sound Galileo GALAXY 816 processor | 1 x Meyer Sound RMServer remote monitoring system | 1 x Allen & Heath dLive console | 1 x Allen & Heath dLIVE-CDM32 MixRack | Clear-Com intercom system | QSC Q-SYS digital network audio | QSC touch panels

reputation and on what we had heard from its predecessor,

versatility of the house audio system at his disposal.

MINA, at another installation we’d done recently,” he said.

“The major touring acts that play concerts here will carry

“I knew that with the power inside the box, and with the

their own production, but we’re delighted with the way

precise tuning options available in GALAXY to deal with

our house system is taking care of everything else,” said

the reverberant space, we could make LINA work. I knew it

Frantzer.

would sound great, and it does.”

“In addition to UMBC Retrievers games, we’ve hosted

The project wasn’t without its challenges, though, with

community church services, well-known speakers, martial

Design & Integration having to deal with a very tight

arts competitions and trade show events. The performance

installation schedule.

has been really, really good for all of them.

Ken explained: “We basically had to compress four

“The sound conforms to the bowl in a way that gives

months of work into less than two months. Access to the

a sense of intimacy, despite the size. We also really

event floor was challenging, as we had to work around

appreciate how easily and effectively we can zone the

retractable seating being built, as well as a removable

system to cover only designated seating areas when we’re

basketball court being installed and later removed - all

using part of the arena.”

while flying arrays 60ft in the air and subwoofers 80ft in the air.”

Although owned by the university, UMBC Event Center contracts with the Oak View Group to handle venue operations and outside concert and event bookings.

Frantzer LeBlanc, Oak View Group’s Director of Events & Operations at UMBC, is pleased with the power, clarity and

INSTALLERS: Design & Integration | BRANDS: Meyer Sound, Clear-Com, Allen & Heath, QSC | WEBSITE: www.designandintegration.com, www.meyersound.com, www.clearcom.com, www.allen-heath.com, www.qsc.com 068

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• Twenty years of sports and entertainment technology financing

Medialease finances entertainment technology, stadium and arena fit-outs

• Range of finance options available, including medium and long-term rental, leasing and hire purchase • Projects financed include pitchside replay screens, hospitality areas, public address/voice alarm systems, fire and lighting systems, plus complete stadium fit-outs

Whatever you need to finance, we can help – to discuss your next project, please ring 01327 872531, email sales@media.lease or visit www.medialease.com

Medialease stadia ad update Oct 18.indd 1

05/10/2018 09:29

LIGHTING

DANUBE ARENA Budapest, Hungary Images: TamĂĄs Bujnovszky

T

horn and Zumtobel helped create a state-ofthe-art sports lighting solution for the latest addition to Budapest’s cityscape.

The pressure of time constraints when it

comes to installation projects at sporting venues is nothing new. Almost every stadium or arena will have seemingly impossible deadlines, however, at the new Danube Arena, it was taken to another level.

The 2017 FINA World Aquatics Championship was due to be held in Mexico, but, due to a last minute relocation, Hungary was announced as the new hosts, leading to an extra-tight deadline for the Budapest venue. The water sports venue on the banks of the River Danube had to be completed in just two years.

Danube Arena includes two full-size swimming pools, a diving pool and a training pool, with a total capacity of 5,300 spectators, making it a very impressive facility ideal for hosting sporting events.

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A hugely important aspect of the project was the lighting,

Thorn Lighting’s Altis LED floodlights, while the training

which was delivered by local company, BE LIGHT!, who

pool utilises 200 CRAFT high bays LED from Zumtobel. For

were the lighting consultants. Working closely with

the entrance and common areas, BE LIGHT! used 569 of

Thorn Lighting and Zumtobel, which were involved with

Zumtobel’s PERLUCE ceiling luminaires.

the project right from the planning stage, BE LIGHT!

Altis LED from Thorn features a flexible optical system

Implemented an impressive lighting solution throughout

that can be optimised for different applications, and it

the latest addition to the Budapest landscape.

is highly controllable, enabling instant light and even

Zoltan Morvai, CEO of BE LIGHT!, takes up the story: “Due

dynamic lighting displays. The lightweight, compact

to the tight deadline, we had an extraordinary task, so

design of Altis LED keeps structural costs down, too.

there was no room for mistakes. A lighting system had to

CRAFT high bay LED luminaires unite multiple benefits:

be designed and implemented which both had to meet the

starting from a unique thermal management, it combines

requirements of the world class event and, after the event,

high resilience with a long service life. The light’s inner

had to perform economically in everyday life.”

workings and appearance have been designed from

When coming up with the plans for the new lighting

scratch - this was the only way to make CRAFT achieve its

system at Danube Arena, there were high standards to

outstanding efficiency level.

meet, especially when it came to the demands of HDTV

The lighting system for the whole arena is digitally

broadcasting. From that point, BE LIGHT! decided that the

controlled, with a total of 15,000 digital addresses - as

new lighting system inside the venue needed to be LED. In

many as the number of spectators the arena can hold.

fact, Danube Arena is believed to be the first sports venue

Zoltan explained the work of BE LIGHT! at Danube Arena

in Hungary to be lit predominantly with LED.

further, discussing the façade lighting: “The arena

The main pools in the arena are illuminated with 280 of

was given an undulating metal façade cladding, which

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LIGHTING

imitates water itself and the flow of the Danube. Our

the surfaces themselves. The floodlights contain optical

team at BE LIGHT! considers light an element that is part

lenses; the use of barn doors was not necessary.”

of architecture and whose task, beyond functionality,

Zoltan added: “The system is operated using DMX control

is to highlight the architectonics and reinforce the

and a timer program, essentially through manually

characteristic features of the building.

launched sequences. The lighting of the façade can be split

“The structure was a given - we had to emphasise the wave

into several parts and can be controlled and switched both

structure and, in a wider context, give movement to the

together and separately, by individual luminaires. Each

building using transitions and drifts, recalling the flow of

luminaire has its own address; as a result, when creating

water with its blue-azure green and akin colours.

lighting images, the sky is the limit. Timer programs

“As for specifics, the façade of the building was given

and intensity control enable optimal operation, which

a two-tier lighting: luminaires mounted on lamp posts

reduces operating costs and the chance of human error.

provide fill light for the façade from afar, while the

The constructed control system continuously monitors the

luminaires installed inside the wave structure of the façade

luminaires in the lighting system, therefore, should any

cast their light downwards from the inside. The units

problem arise, we can immediately identify and correct it,

used for the fill lighting of the façade of Danube Arena are

and can also check switching processes, tracking the exact

RGBW luminaires with DMX control, of which three types

location and time of switching operations.”

were installed, with typical power consumption of 140W,

Along with the aforementioned tight deadline, other

420W and 450W.

challenges when it came to the installation of the lighting

“Due to the low lighting level of its environment, a high

system included the requirements for homogeneity on

level of illumination was not required on the façade. In

the vertical and horizontal planes, flicker-free light at

order to avoid light pollution, the system illuminates

a specific colour temperature of 5,700K to support HD

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LIGHTING

products to be able to resist high ambient temperatures

decades to come.

and moisture in the air. The light fixtures also needed

“Lighting is a key part of this. This building shows how

strong chemical resistance for use around the chlorinated

light can be the most important building material for

pools.

architects. The team combined creativity, technology and

Despite the demanding requirements and exceptional

a lot of hard work to get it just right. They have created

circumstances surrounding the Danube Arena project,

something very special, that Budapest can really be proud

overall, it has been a huge success.

of.”

“We created a sports centre that we can be really proud of.

From a lighting perspective, it is one of the most modern complexes,” said Zoltan.

István Zentai, Technical Director for the FINA World Championships Budapest, was in agreement: “The Danube Arena was planned and constructed in a very short timeframe for a particular event. What’s really wonderful is that, in that short time, the team managed to create something that not only performed brilliantly at the World Championships, but that will stand the test of time for

TECHNICAL INFORMATION LIGHTING: 280 x Thorn Lighting Altis LED floodlight | 200 x Zumtobel CRAFT high bay LED luminaire | 569 x Zumtobel PERLUCE ceiling luminaire | SGM Light P-5 LED wash light | SGM Light Q-2 RGBW LED fixture | Flos UT Spot light | Pharos DMX controller | Helvar DALI controller

ARCHITECT: NAPUR Architect | CONSULTANT: BE LIGHT! | BRANDS: Thorn Lighting, Zumtobel, SGM Light, Flos, Pharos, Helvar | WEBSITES: www.napur.hu, www.belight.hu, www.thornlighting.com, www.zumtobel.com, www.sgmlight.com, architectural.flos.com, www.pharoscontrols.com, www.helvar.com 074

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Extraordinary Projects Demand Extraordinary Solutions

The complete solution for digital audio processing, distribution, amplification and control

pcasupport.emea@peavey.com peaveycommercialaudio.com

The most powerful drag and drop audio, video and control platform featuring the award winning Kiosk2Go, web browser user interface and application for full system control.

MediaMatrixÂŽ NWare 2.0 now with freshly updated features including a new-look configurable interface, new devices and plugins, plus built-in project templates.

COOP NORRBOTTEN ARENA Luleå, Sweden Images: InfiLED

L

ocated in the coastal city of Luleå, Sweden, the

order included specialised chamfered-edge cabinets,

Coop Norrbotten Arena is home to the Luleå

which would normally require at least 75 days just for

HF ice hockey - previously known as Elitserian

manufacturing.

- who are the northern most team to play

InfiLED carefully decided on the right product to install at

in the top division of Swedish ice hockey following its

Coop Norrbotten Arena - coming to the conclusion that the

promotion in 1984. Since then, Luleå HF has been national

InfiLED ER Series, with a special chamfered edge, was the

champions of the Swedish Hockey League (SHL) once, back

perfect choice to achieve the curve needed.

in 1996.

The LED display that has been installed at the arena is

Formerly known as Delfinen (The Dolphin), the arena was

made up of approximately 150 sq metres, comprising of

originally opened in September 1970. When the venue

150 ER Series 6.94mm pixel pitch indoor LED screens.

first opened its doors, there was a total capacity of 5,600.

A total of 64 of these models have specially-made 3°

However, following renovation in 2002 and expansion in

chamfered edges for the outer ring. Another 146 ER Series

2009, Coop Norrbotten Arena now boasts 6,300 seats for

6.64mm pixel pitch indoor LED screens were used, too,

fans and visitors. There’s room for an extra 2,000 seats

with another 60 of these displays also including the three

on the parquet, too. The name of the arena was changed

degree chamfered edges. To hang the LED display itself,

in 2002 after Swedish retail company, Kooperative

there are 240 special singled mounting brackets in use.

Forbundet, bought the venue.

For the power, two Novastar VX4s HD processors are used,

Along with ice hockey games, Coop Norrbotten Arena

with an additional two more used to provide the signal

hosts basketball, figure skating, and athletics. There

redundancy for the visual system.

are community events held there, too, including school

There were some challenges along the way during

activities, fairs, concerts, shows and dances. As well as the

the install at Coop Norbotten Arena, with the factory

main part of the arena, Coop Norrbotten Arena includes

acceptance test and ageing process having to be carried

different halls. There’s the B Hall, with a 500-person

out with the client over a live video call, as the client

capacity, which is used for ice hockey, figure skating and

was unable to travel to the factory for the process. This

other events. Hall C is for indoor ice hockey, figure skating

left arranging and carrying out the factory acceptance

and school activities with no public places. Finally, there is

test difficult, due to time differences. The collection and

D Hall, which, again in used for ice hockey, although it is

delivery of the consignment was another difficult aspect,

for younger players in the Municipal Series.

with the products needing to be split due to the size and air

However, when it came to improving the visual element of

freight method. After arriving at Stockholm Airport, the

Coop Norrbotten Arena, the focus was entirely on the main

products were to be transported via road - over 900km to

part of the arena. The team at the venue turned to InfiLED

Luleå - and organising this within different countries and

for a new LED screen to be installed.

time zones was a big challenge.

The project was a fairly complicated one due to timings.

Despite the challenges that are often thrown up on these

With the ice being laid at the arena, the manufacturing

type of projects, the InfiLED install has dramatically

and delivery timescales were extremely short. After the

improved Coop Norbotten Arena. The new displays work

order had gone in, InfiLED had just 60 days to manufacture

incredibly well, with the ER Series offering exceptional

and deliver the ordered products. Not only that, but the

quality for all those inside the venue.

BRAND: InfiLED | WEBSITE: infiledeminternational.com 076

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VIDEO

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VIDEO

AT&T STADIUM | NISSAN STADIUM TEXAS, USA | TENNESSEE, USA Images: EVS

E

VS, a leader in live video technology for

for every camera put in place by the production team.

broadcast and new media productions, offer

Replays are created either from 12 live camera feeds from

solutions to deliver an immersive, unique

the mobile production units on site or from the team’s

experience for fans in the stadium - further

14 in-stadium cameras - four of which are UHD-4K -

enhancing game day.

and played out to both sides of the stadium’s display, a

We take a closer look at two examples of how EVS is using

Guinness World Record holder for the World’s Largest

its technology to engage and entertain fans.

High-Definition Video Display.

The XT4K servers have replaced existing EVS XT2+ servers,

AT&T Stadium

which were installed inside the stadium that’s now

Ahead of the 2018 NFL season, AT&T Stadium - the home

affectionately known by fans as Jerryworld, when it opened

of The Dallas Cowboys - installed three new XT4K live

in 2009. As well as to produce live in-stadium replays at

production servers from EVS. Sitting alongside several

the more than 100 live events each year, including the 10

other EVS products already in place, the new servers

Cowboys home games of the NFL season, the servers are

have been implemented into one of the stadium’s three

used as the production control room’s main recording

control rooms, which becomes the main replay hub during

devices. While the servers record the action, the control

Cowboys home games. They will be used to create both HD

room’s upgraded IPDirector production asset management

and UHD-resolution replays and as the main recording

system will be used to manage media throughout the live

device for all events taking place inside the 100,000-seat

workflow. The team also has an LSM Connect application

capacity venue.

in place, which is used to create playlists of the in-game

Two XT4Ks will be used for the production and output of

highlights on the fly for playout.

HD replays inside the stadium while the third will be in

“We’ve always been an EVS house and so when it came

a UHD-4K configuration. This server will be used by the

time to upgrade our facilities, we knew it would be easy to

Cowboys’ production team to create higher-resolution

transition to new solutions and that those systems would

replays that are zoomed in on using EVS’ Emmy award-

quickly improve the functionality inside the control room,”

winning Epsio Zoom application. Operators using the

added Dwin. “Using EVS equipment means we always have

server’s LSM controller zoom into the replay to produce

access to a pool of EVS operators and know the technology

more in-depth, closer angles of the action inside the

will continue working hard, all the time. At the end of the

stadium.

day, we always go for top of the line equipment at the

“Whether it’s part of a controversial play or to give fans a

Cowboys’ facilities. And that’s why we went with EVS.”

better look at what’s happening on the line of scrimmage,

Operating at the same time as the in-stadium control

using Epsio Zoom to make the most of higher-resolution

room, The Dallas Cowboys also uses an EVS server and

content brings a higher level of in-stadium engagement,”

IPDirector workflow in the production and studio facilities

said Dwin Towell, The Dallas Cowboys’ Director of

at its world headquarters, The Star in Frisco. Content is

Broadcast Engineering. “For the HD replays, we also

transported from AT&T Stadium some 40 miles away, via

use reverse camera angles that correspond to each side

fibre links, and is ingested by the server. IPDirector is used

of the in-stadium display. We do this because if a fan is

to instantly access and exchange the content between the

sitting on one side of the stadium, it’s very jarring to see

servers in The Star and those in the stadium on gameday

replays where player movements are going in the opposite

so that the production teams can master, edit and output

direction.”

even more media to engage with the fans of America’s

This attention to detail for fans requires a mirrored angle

team.

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VIDEO

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Nissan Stadium

substantial upgrade in the number of channels available to

Before its 20th season in the NFL, the Tennessee Titans

the production team. It enables them to add a third replay

will install several new live production technologies from

operator inside the control room on gameday, making for a

EVS into the control room of their Nissan Stadium home.

faster, more efficient workflow.

The leading provider of live production solutions will

“When looking at upgrade options for the control room

deliver to the team two XT4K live production servers in

we briefly discussed with other technology providers, but

ChannelMAX configuration, an extended IPDirector asset

it was clear to see that EVS would continue to provide the

management system and an LSM Connect interface.

best overall value for the team,” said Jeff Volk at Alpha

The facilities upgrades will help the Nashville-based

Video. “This is because the XT4K addresses our current

team to produce higher-quality content for its fans while

needs and will allow us to start to operate in higher

futureproofing their workflows to begin producing UHD

resolutions when we need to, without having to upgrade

media when needed. All the new technologies will be

again.”

implemented by leading systems integrator and long-term

The Titans also noted the ability to call on a nation-wide

partner of EVS, Alpha Video.

community of operators that know the replay systems

The XT4K units are serving as upgrades to the Titan’s

inside out as a benefit to putting in place updated EVS

existing XT3 servers, which have been in place since

equipment. Needing to find operators that know other

the franchise’s move from standard definition to HD.

replay systems wouldn’t be as easy or would require more

Operating in 1080i, the new servers will be installed in

training.

the control room in an 18-in/ six-out configuration - a

The workflow is used by the production team for all Titans

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VIDEO

TECHNICAL INFORMATION AT&T STADIUM VIDEO: 3 x EVS XT4K live production server | 1 x EVS Epsio Zoom application NISSAN STADIUM VIDEO: 2 x EVS XT4K live production server | 1 x EVS IPDirector assest management system | 1 x EVS LSM Connect interface

home games, for The Tennessee State Tigers college

Executive Producer of Game Presentation and Production.

football team and a host of other sporting events held

“By deploying live production technology like this, we can

inside the stadium. Operators ingest live feeds, create

create a direct link to fans, something that wasn’t possible

replays and output them both to the giant screens inside

10 years ago.”

Nissan Stadium and to the wider post production workflow.

The new live production technology from EVS will be in

During production IPDirector is used to manage assets

place and ready for operation before the 2018/2019 NFL

within the live production environment while LSM Connect

season, which will see Tennessee Titans celebrate their

creates playlists of content. This management workflow

20th season in the league.

makes it easier for production teams to create and manage highlights packages, supplementary video content and studio shows throughout the season.

“Video content is more important to a sports team than it’s ever been. Internally we’re able to create high-quality content that we can use to engage with our fans,” said David Schindler, the Tennessee Titans’ Senior Director /

INSTALLER: Alpha Video | BRAND: EVS | WEBSITES: www.alphavideo.com, evs.com 082

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PROFESSIONAL

ShowMatch DeltaQ loudspeakers provide better coverage for outstanding vocal clarity.

With DeltaQ technology, new ShowMatch array loudspeakers more Š2018 Bose Corporation.

precisely direct sound to the audience in both installed and portable

Bose_Showmatch_O2_V2.indd 1

applications. Each array module offers field-changeable waveguides that can vary coverage and even create asymmetrical patterns. The result is unmatched sound quality and vocal clarity for every seat in the house.

Learn more at SHOWMATCH.BOSE.COM

NEXT-GENERATION ARRAY TECHNOLOGY

02/08/2018 14:10:01

FLEMINGTON RACECOURSE Melbourne, Australia

Images: Peter Clarke

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084

ates Smart was approached by VRC in 2012

The perimeter of The Club Stand features floor-to-ceiling

to design a new $128 million, 12, 967 sq

glazing, treated as frameless walls; visibility throughout

metre grandstand and hospitality facility at

the building is achieved with curved, full height glass

Melbourne’s Flemington Racecourse.

dividing walls. The principle white ceilings are curved to

The tenth grandstand to be built at Flemington since

mimic the underside, and the balconies of the external

1865, the five-level Club Stand sets a new benchmark for

façade to bring the architectural expression within.

racecourse facilities. Inspired by the shape of the iconic

A key driver of the design was to create opportunities

racetrack and it’s much-loved rose gardens, a signature

to improve sightlines to the racetrack and to ensure the

feature of the project is its petal projections, which form

floorplate remains flexible to accommodate any alterations

the perimeter of The Club Stand at each floor, constructed

and meet future needs. The Club Stand significantly

using 90 precast panels, each weighing up to 30 tonnes.

increases the capacity for the VRC with unprecedented

The Club Stand is designed to celebrate the rich history and

sightlines as well a broadening the offer of unique

character of Flemington Racecourse, giving the heritage

premium bars and restaurant for members.

racecourse new relevance whilst continuing the traditions

Bates Smart Director, Kristen Whittle, who led the design

of racing. Its sweeping sculptural form is a focal point for

for the architectural team, said: “The highly sculptural

the venue, offering connectivity and a 360° view of the

curvilinear form of the building with its tilting sunshade

mounting yard, race track, members lawn, parade ring,

and tiered seating create an immersive in-the-round

betting ring and winning post.

experience for members and their guests who will enjoy

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ARCHITECTURE

each of the beautifully curated venues with impressive

language from the outside in. Every detail has been

views of the racetrack.”

carefully considered to minimise the impact on the views

The Club Stand’s interior venues are defined by

and expand the extraordinary frameless glass floor-to-

transparent thresholds; seamless glass screens grow out

ceiling perimeter.”

of the architectural facades on each level to create elegant,

The Club Stand is crowned by the roof garden, providing patrons with exceptional views of both the racecourse and Melbourne’s city skyline. The Roof Garden offers landscaped areas with open and enclosed spaces beneath

“The Club Stand celebrates the elegance and legacy of Australian horse racing through the delivery of a world-class hospitality venue.”

canopies, a signature design element of the Club Stand’s

Jeff Copolov

international entertainment standards,” Jeff explained.

architecture.

To further improve circulation, a new external walkway on the first-floor wraps around the club stand and is connected to the existing members grandstand and parade ring. A new north-south corridor forms the heart of the new club stand and links the betting ring with the member’s lawn and mounting yard.

“The Club Stand celebrates the elegance and legacy of Australian horse racing through the delivery of a worldclass hospitality venue that rivals and even exceeds “It accomplishes this through its thoughtful and elegant design that takes inspiration from Flemington’s iconic rose garden beds. The result is an immersive, in-theround experience for members who will enjoy each of the

curvilinear bay windows. Thresholds between the interior

beautifully curated venues with impressive views of the

spaces, the terraces and the circulation spaces dissolve,

racetrack.”

continuing the theme of transparency, while providing outstanding sightlines to the track.

Bates Smart Director, Jeff Copolov, who was responsible for the interior design, said: “It was important to create a seamless transition from the exterior architecture to the interior spaces to ensure a premium raceday experience for members, offering a cohesive and consistent design

ARCHITECT: Bates Smart | WEBSITE: www.batessmart.com 085

MATMUT STADIUM GERLAND Lyon, France

Images: Exterity & Lyon OU

H

086

ome of French Rugby Union team Lyon

stadium obtained its two turns and recognisable arched

OU, The Matmut Stadium Gerland in Lyon

roofs. Albert Constantin was involved again in the stadiums

France has a seating capacity of 25,000.

last major renovation in 2017 when the grandstands were

Situated in the Gerland quarter, the stadium

completely rebuilt to accommodate the new team, offering

was originally used by French professional football club

wider seats and a closer view.

Olympique Lyonnais before their move to the newly

Matmut Stadium Gerland also decided to overhaul its

constructed Parc Olympique Lyonnais in 2016.

digital services last year, in order to adapt the space for its

Originally built by architect and urbanist, Tony Garnier in

new purpose, implementing an IP video and digital signage

1919, The Matmut Stadium Gerland is one of the oldest in

system across the public areas and hospitality suites, as

France. Today’s version still features an oval concourse

well as the on-site restaurant and shop.

and has undergone a further three, major refurbishments

Deployed by AV specialists, GL events Audiovisual,

since its opening.

Exterity’s full end-to-end IP video installation spans

Architect, René Gagès, led the construction of the two

90 screens, providing access to 42 channels and rugby

grandstands in the ‘80s, for the 1984 European Cup. The

TV packages, including three beIN channels, Canal+ and

metallic structures were built closer to the football pitch

multisport, as well as replays of the games for the team

after the removal of the velodrome and the athletics track.

and coaches. Fans visiting the on-site restaurant, La

The more drastic changes were down to architect, Albert

Brasserie can also watch music videos from MTV on five

Constantin in 1998 for the World Cup in France, when the

screens equipped with the Exterity system.

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DIGITAL INFRASTRUCTURE

To ensure the highest level of security, all of Exterity’s

and event hall. Via Artisign, LOU Rubgy offers interactive

solutions have been equipped with content protection

information and promotion about new merchandise,

using Samsung LYNK Digital Rights Management

upcoming events and games, as well as the weather

(DRM). This guarantees that all content transmitted over

forecast and public transport timetables. The stadium

Exterity’s IP video and signage solutions is fully secure at

is also hired by third-party organisations looking for a

every step of the way.

unique day out, so Exterity’s ArtioSign enables corporate visitors to create their own signage, guaranteeing unique and consistent branding for their guests.

Germain Botteau, Project Manager at GL events

“...the LOU team wanted to give sports fans a Top 14 experience with a tech- savvy, personal touch.”

Michael Franchitti

Audiovisual explained: “Organisations renting Matmut Stadium want to be able to create a unique event without compromising on their brand. Being able to achieve it can be difficult and this is where the Exterity system is so valuable: both easy to use and highly flexible. It provides non-specialists with an effective method to deliver their message in their colours and at the time they want. For a company like GL events Audiovisual, who specialises in technical services for custom events this is a perfect addition to the sound, lighting and other solutions that turn a venue into an immersive event.”

Sports fans and corporate visitors expect their visit to the stadium to be memorable and the LOU team wanted to give them a Top 14 experience with a tech-savvy, useful and personal touch. Michael Franchitti, Technical Manager

“While it is clear that visitors come for the matchday

at LOU Rugby said: “The Exterity solutions and the work

experience, content security is a must-have for any venue

done by GL events Audiovisual enabled us to immediately

that wants to offer live news and entertainment over the

use the system to make each visit unique and we’re finding

air, and we’re pleased that Matmut Stadium immediately

the system so flexible we keep adding new features for our

understood the importance of content protection,” Myriam

guests.”

Calaber, Europe and Mediterranean Sales Director at Exterity said. “We are committed to offering high-quality, easy to use and efficient solutions that comply with the video industry’s requirements and we are delighted to see such an iconic venue take content protection so seriously.”

The IP video system is complemented by Exterity’s digital signage solution ArtioSign used in the LOU shop and throughout the stadium, including the VIP lounges

INSTALLER: GL events Audiovisual | BRAND: Exterity | WEBSITES: www.gl-events.com, www.exterity.com 087

02 EXTRA TIME

PRODUCT FOCUS

EVENT DIARY

090 Outline

112 Conferences & Exhibitions

092 Community

094 Pliant 096 Robycam 098 Tasker

BUSINESS

FULL TIME

100 EAW Acquired by RCF Group

114 Scott Willsallen, Auditoria Pty Ltd

104 TW AUDiO VERA 20/S32 Event | Lanxess Arena

106 IBC 2018 | Amsterdam 108 World Football Summit | Madrid

EXTRA TIME

Outline | Stadia100 LA utline’s vast experience in stadiums and sporting venues led to the creation of Stadia, a one-ofa-kind loudspeaker product toolbox, conceived exclusively for sound reinforcement in stadiums and sports venues regardless of their dimensions. Stadia is a completely new concept, designed from the ground up to deliver the ideal audio solution for stadium applications.

By combining in a single element four modules of Outline’s famous and road-proven Mantas line-source design, Outline’s R&D department has created a compact device which meets and exceeds the very tough SPL and dispersion characteristics required by this application.

The Stadia100 LA range comprises three loudspeaker modules of very similar dimensions but identical horizontal directivity (100°), which offer a choice of 10°, 20° or 30° dispersion in the vertical plane allowing modules to be combined to provide optimum coverage for the location. This allows the system designer to create a sound reinforcement solution that is extremely accurate at distance, which keeps audible reflections and unwanted reverberation to a minimum, providing maximum intelligibility.

The acoustic and physical performance of the Stadia100 LA range is a result of several different design criteria. These include frequency specific coupling of dedicated components by carefully controlled proximity, the design of Outlines own D.P.R.W.G. waveguides, special mid/high frequency

O

090

WWW.MONDOSTADIA.COM

horns (V-Power Concept) and the physical construction of the enclosure including resonance-eliminating internal and external bracing and a unique system of weather proofing.

All three variants are two-way active designs, each containing eight-inch mid-range transducers and four 1.4-inch exit compression drivers mounted on Outline’s unique D.P.R.W.G. waveguide, which provide the designated vertical directivity.

Each module can handle in excess of 8kW peak input power, will produce a maximum SPL of 149dB and coherent reproduction down to 300Hz with full directional control. The frequency response of each module is 65Hz to 19kHz. The enclosures are constructed from birch ply finished with ‘outSIDE’, an extraordinarily tough and waterproof elastoplastic coating, which interacts with the cabinet material to provide extreme levels of long-term protection.

The front grille is treated with an epoxy and polyester-based thermosetting powder paint and matched to an acoustically transparent waterproof sheet, so protecting the components from moisture and other contaminants, while amplifier connections are recessed so that a weather-proof plate with cable retention can be fitted. The Stadia100 LA modules are all fitted with 16 M10 rigging points allowing plenty of mounting options, while all the external screws are corrosionresistant stainless steel. www.outline.it

Outline’s Stadia100 LA Loudspeakers.

Stadia is a one-of-a kind loudspeaker product toolbox, conceived exclusively for sound reinforcement in stadiums.

power to scale.

We created the pro range with one thing in mind: to play huge video content across massive canvases, in the toughest of live environments. disguise.one/en/products/pro/

NBA Playoffs’ - Portland Trail Blazers The disguise pro range powering the Portland Trail Blazers NBA Playoffs’ Pre-Game Show

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Community | R.35-3896-EN ommunity’s R Series has long been a standard for stadia and other large scale, all-weather applications worldwide. The company has consistently invested in improving performance across the range, introducing new models, and meeting increasingly stringent worldwide standards. Since gaining EN54-24 certification on the larger R1, R2 and R6 models, permitting their use in voice alarm systems in venues across Europe, Community has seen demand for these certified versions building significantly year upon year.

The R.35-3896-EN meets the need for a high performance compact loudspeaker for fill and supplementary areas in larger venues and for smaller venues wanting to conform to EN54 standards. With outstanding voice and music quality, the R.35-3896-EN is equally suitable for indoor and outdoor use in a wide variety of applications, including background and foreground music and announcement systems in corporate audiovisual, leisure centres, swimming pools, theatres, nightclubs, shopping malls, stadiums, cruise ships, theme parks and factories.

The R.35-3896-EN is a fully horn-loaded triaxial threeway, full-range loudspeaker system, designed to provide high quality voice and music reproduction normally only

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associated with indoor loudspeakers. Featuring Community’s innovative MultiSource Waveguide horn design, the output from the dual midrange compression drivers and one-inch exit HF driver are combined seamlessly into a single timecoherent source, resulting in excellent musicality, intelligibility and dispersion consistency.

The high output, three-inch voice coil, eight-inch carbon ring cone LF driver features a flange-less frame design that permits a cone area nearly equivalent to a typical 10-inch driver, resulting in high sensitivity and increased LF extension.

The low LF/MR passive crossover point results in improved midrange pattern control and elimination of horn colouration in the LF response. With a built-in autoformer, the R.353896-EN is certified for use in 100V distributed system applications.

Jamie Ward, Community’s EMEA Sales Manager, commented: “Along with our existing R1, R2 and R6 EN54 models, this new compact loudspeaker presents a much stronger family of products to deal with a wider range of life safety demands. The R.35-3896-EN opens up many opportunities and I have no doubt we can gain significant new market share going forward.” www.communitypro.com

Community’s R.35-3896-EN high performance, compact loudspeaker.

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Pliant Technologies | CrewCom liant Technologies’ updated CrewCom wireless intercom system v1.2 incorporates improved ease of system configuration and RF range, enhanced audio, as well as many other additional enhancements. Pliant has also introduced the system’s new Fibre Hub for a more efficient system deployment. The Fibre Hub (CHB-8F) expands system capabilities by allowing up to eight fibre connections using standard SFP-based single mode fibre ports along with a single RJ-45 copper port for interface to existing CrewNet connections.

CrewCom offers the industry’s smallest, fully featured professional full-duplex radio packs, multiple simultaneous frequency bands, unparalleled range and scalability for a variety of broadcast, live sound, installation, and industrial projects. The system’s reliability and award-winning ergonomic radio pack design has been proven in use during award shows, sporting events, broadcasts, and live productions.

CrewCom wireless products give the ability to easily put global-friendly, dependable RF coverage where needed, all while employing a consistent user interface throughout the system; this enables the system to easily adapt to the RF challenges facing production and industry professionals.

Unlike a matrix-based architecture, CrewCom is based on a decentralised network platform that puts system resources where they are needed. Production crews of all sizes can

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easily and quickly deploy the system to connect more people in more places.

The revolutionary design of CrewCom offers a significant price advantage for larger demanding applications, when comparing the actual cost of deploying many wireless users in a production. Even the most basic CrewCom system offers full features at an exceptional value. CrewCom’s distributed architecture design provides the flexibility of a matrix / party-line without the cost or limitations of either system.

This innovative approach to professional wireless intercoms enables CrewCom to handle almost any application-from simple out-of-the-box solutions to large-scale designs.

CrewCom’s graphical user interface software, CrewWare provides comprehensive offline configuration, online control, and real-time monitoring of all system components. These software tools augment CrewCom’s ease-of-use and flexible system scalability for productions of any size. While this is a powerful tool available at no additional charge to all users, it is not required to operate the system. CrewCom’s CrewNet proprietary network coordinates and transports all system timing, audio conferences, signalling, and control. CrewNet can operate over standard Cat-5e (or above) and single mode fibre lines, breaking the current barriers for wireless intercom range.

www.plianttechnologies.com

Pliant’s CrewCom wireless intercom system v1.2 incorporates improved ease of system configuration and RF range.

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Robycam | Robycam Compact he recently founded Robycam Germany premiered a new Robycam system at the IBC show in Amsterdam.

Named Robycam Compact the new system was at the stand in full function flying over visitors and showing augmented reality integration.

Robycam Compact is a smaller version of the Robycam 3D cable-suspended camera system. Just like its bigger brother, the camera can move freely through space in vertical and horizontal dimensions allowing to shoot spectacular images from all viewing angles that no other camera can achieve.

Robycam Compact is designed for TV studios and small and medium-sized sports venues, for example, basketball or ice-hockey halls. The winches of the system may be easily placed in venues with limited space still providing enough

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pulling force to maximise the working height of the camera.

The compact and lightweight dolly with a gyro-stabilised camera-head allow for the control of camera orientation and lens parameters. Robycam Compact is available both for fixed installations and in a mobile variant for multi-event applications.

Robycam Compact key-features a flying area of 260ft by 260ft, a top speed of up to 4.5-metres per second, fibre optic lines integrated into all catenary cables, HD, UHD, HDR and integrated AR-camera tracking solution.

Robycam Compact can be equipped with all standard compact cameras.

www.robycam.de

Robycam Compact, 3D cable suspended camera system.

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Tasker | C128 Range ervice customers prefer the flexibility and excellent mechanical resistance of Tasker’s Polyurethane material, considered a highly versatile material thanks to its high resistance to cutting, abrasion, trampling, UV rays, water, chemical and atmospheric agents, it is also flame retardant and halogen free. Perfect for continuous winding and unwinding it maintains an excellent operating temperature of -40° / +80°C. Suitable for both indoor and outdoor applications, Tasker recommends the Low Smoke Zero Halogen sheath for underground installations, even if not protected, the metallic braided armour that covers the entire cable sheath offers excellent protection, perfect for public installations, and is flame retardant and halogen free.

Each Tasker cable can be produced with different sheaths depending on the specific application.

CPR certified cables have been mandatory in Europe since 1 July 2017 for construction and buildings installations, to be compliant, Tasker has already certified over 60 products,

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annually retested by a certified third party. This range of products includes microphone cables suitable for long distances and speaker cables with sections from 1.00 sq mm to 8.00sqmm, video cables and multipolar-shielded braided cables with a number of conductors from 1 to 60.

In order to have an even higher level of fire protection, Tasker offer a complete new range of products made to withstand two hours of direct fire (PH120) according to EN50200.

Specifically, a line of unshielded EVAC cables, with purple sheath and sections of 1, 1.5 and 2.5 sq mm and shielded EVAC cables with a red sheath which has the same sections as the non-shielded version.

To complete the range, a Cat.6 S/UTP cable has recently been introduced, the Tasker C729 with the same sheathing features and the possibility to maintain the signal transmission throughout the two hours up to temperatures of 850°C. www.tasker.it

Tasker’s CI28 cable range. Highly versatile thanks to its high resistance to elemental damage.

EAW ACQUIRED BY RCF GROUP T

he announcement that Italian professional audio giants, RCF Group, had acquired Eastern Acoustic Works (EAW) from Loud Audio was certainly an interesting development in the

industry.

It’s always intriguing to see how these type of acquisitions develop and, despite still being in the early days, it seems that it’s an exciting time to be part of EAW as it looks firmly towards the future.

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EAW is a recognised and respected brand with one of the strongest audio technology portfolios in the industry.

Based in Whitinsville, Massachusetts, EAW has delivered significant innovations in loudspeaker technology and now sees those innovative ideas used to support sporting events and performances in stadiums and arenas - not to mention houses of worship, theatres and other venues, too.

RCF Group CEO Arturo Vicari, said in a statement: “We can look at a bright future together. Being part of our group will provide EAW with the necessary investments

Above: T.J Smith, President of EAW. Right: Chesapeake Energy Arena, the home of Oklahoma City Thunder, which is equipped with a EAW system.

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and focus for a fast and solid growth. We are very proud to have EAW with us.”

Under the new structure, EAW will remain an independent company, as T.J Smith, President of EAW, explained to MONDO | STADIA: “We’re going to be supported by RCF, though we’re very much still EAW. Being part of the RCF Group will allow us to focus fully on what we do best - developing the technology to deliver the best sound possible.

“We’re going to be putting a huge focus on research and

development moving forward. This is something we’re really excited about - EAW will continue to improve and grow under RCF.” EAW’s Adaptive loudspeakers are an example of what can be developed when working with a team that is dedicated to advancing the industry through state-ofthe-art technology. Many notable sound companies have embraced Adaptive systems and the business it has added to their bottom lines. Anderson Audio, Sound Image, Mix3, Blackhawk Audio, Live Space, Ic9, Service Solutions 101

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AV, TMG Group and McNally Enterprises are just a few of the companies experiencing the advantage of Adaptive products - the loudspeakers series that can change coverage patterns at the touch of a button.

“The type of advanced thinking that created Adaptive is alive and well in Whitinsville,” said T.J. “We are looking forward to seeing where products like Adaptive and RADIUS can lead us and the industry.”

As well as the focus on R&D, the customer is at the forefront of EAW’s plans, according to T.J: “The announcement of our acquisition has served to not only excite our expanding customer base, but also inspire interest from companies serving market categories that have been neglected for some time.

“We have a strong and knowledgeable sales team in place that is working hard to further our presence in the industry with great success. With the RCF Group behind us, I can’t imagine a brighter future.”

That bright future extends to stadium and sporting venues for EAW, with the area seen as a huge market for the 102

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company.

“We do some amazing projects in stadiums and arenas, using our audio systems to provide incredible sound at a variety of sporting venues,” added T.J. “Recently, we have completed projects at the Capital One Arena in Washington - home of the Wizards and Capitals - and the Chesapeake Energy Arena in Oklahoma. There’s also the work we did at ASU (Arizona State University) they use a Anya system at their Sun Devil Stadium. Bryce Jordan Center on Penn State University’s campus is another that we have completed recently, too, with Anya and Otto systems being products - the list is long. We have a very bright future in front of us and welcome you along for the ride.”

APRIL

JUNE

COMING SOON New categories for 2019… Best Stadium and Best Arena

www.mondodrawards.com

TW AUDIO VERA 20/S32 EVENT | LANXESS ARENA hen MONDO | STADIA was invited to the TW AUDiO VERA 20 event, we jumped at the chance to see the German manufacturer’s impressive loudspeakers. However, there was an added bonus - the whole event was hosted at Cologne’s Lanxess Arena, where a TW AUDiO system has been installed.

The whole event was dedicated to TW AUDiO’s VERA20/ S32, with breakout sessions for guests to learn more about the proper setup of the loudspeakers, system alignment and rigging. There were sessions on Ease Focus and Smaart v.8, too, as well as a full venue tour and a listening session towards the end of the day.

Upon arrival, we were immediately struck by the amount of guests attending - no mean feat for a demo session.

Following networking opportunities and refreshments, we set off on a tour of Lanxess Arena, with TW AUDiO’s Tobias Wuestner leading the way.

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Built in the late 1990s, the Cologne venue is among the highest-ranking arenas for ticket sales, thanks in part to it being one of the largest ice hockey arenas outside the USA. As the venue started to near its 20th anniversary, it was decided that it was the perfect time for a technology upgrade.

The system was required to have different sound zones, it had to function as the voice alarm system 24/7, as well as the main sound system for the arena, and part of the system had to be capable of acting as a delay line when the venue is used for music concerts. All of this, on top of the catering for the games of Kölner Haie, the arena’s home team.

A fundamental issue was meeting the legal obligations of a speech intelligibility index of 0.5 that has to be delivered to all seats in the arena, which has a reverberation time of three seconds, as well as the legally specified value of the minimum SPL during an evacuation procedure. But, after a number of lengthy discussions, demonstrations and acoustical tests

Cologne’s Lanxess Arena. Right: A combination of 56 VERA 36 line array cabinets and 16 VERA S33 subwoofers were chosen as the main system to surround the central video cube.

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of various brands and products, a TW AUDiO system was deemed the best solution.

A combination of 56 VERA36 line array cabinets and 16 VERA S33 subwoofers were chosen as the main system to surround the height-adjustable central video cube. These were supported by 10 T24Ns for the playing field and the stands.

Ease 4.4 and Ease Focus 3 were used during the planning period to ensure the system would meet all the criteria. This did require custom-made suspension devices for the arrays and amplifier racks for the catwalks.

Following the tour, guests were invited to join in on the sessions, which proved extremely popular. Then, finally, we took our seats in the arena for the listening session as VERA20/S32 loudspeakers played. It was certainly an impressive setting for a demo and guests were able to get a real feel for the quality of the loudspeakers, as they were able to move around the venue, listening from all angles.

The VERA20 loudspeaker is equipped with two 10-inch chassis for the low-mid frequencies and a newly developed waveguide with an 1.4-inch mid-high compression driver.

Compared with typical double 8-inch systems, the VERA20´s two 10-inch drivers are able to reproduce up to 6dB more output in the low-mid frequency range with lower distortion.

The VERA S32 is a compact, flyable subwoofer, equipped with an 18-inch driver in the front and a 14-inch driver rearwards.

VERA20 implements an outstandingly innovative rigging hardware allowing straightforward, fast and cost efficient setup of up to 24 elements at just 60cm system width, being a true member of the TW AUDiO VERA family.

In the evening, guests were given the chance to unwind with dinner on a boat as it cruised down the River Rhine, which was the perfect chance to catch up with industry specialists, rounding off a very successful event.

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IBC 2018 e flew out to Amsterdam in September for the 2018 edition of IBC, which continues to be one of the key shows in the industry calendar.

Upon closing its doors, it was revealed that IBC 2018 had visitor figures of 55,884. As well as providing a host of new initiatives this year, the exhibition grew by 667 sq metres, while conference delegates were up by 14% year on year.

One of the most important growth figures lies in the diversity of its content with a targeted effort increasing women speakers at the conference up from 14% to 37%.

Michael Crimp, IBC’s CEO, said in a statement: “The show is about engagement, engagement, engagement. The stats are up in almost all areas and re-bookings are ahead of last year. IBC is much more than a tradeshow, we have developed a basket of data-driven statistics including sales leads generated on stands, conference attendance and IBC365 views and this sharing of information is pivotal to the longevity of IBC’s success and sits at the core of the organisation.”

“All of the initiatives this year have been aimed at bringing together the best minds, the original thinkers, to network and share their knowledge. As all communication becomes video and audio, IBC continues to be the place to debate

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the future of media, technology and entertainment,” added Michael.

The show floor, as ever, was extremely busy, with stands packed with visitors as companies showcased their latest products.

We visited a whole host of manufacturers, including Pliant Technologies, who had the latest version of their CrewCom wireless intercom system on display.

NewTek’s impressive stand was a huge draw for visitors as they delivered a full presentation on their range of impressive products, such as VMC - the ultimate platform for modern video production.

Elsewhere, Blackmagic announced its advanced new Blackmagic Raw codec, while Ross Video showcased its fan engagement and game-day experience technology with a 5760 x 2160 resolution display being driven pixel accurately with video and live, data-driven 3D graphics.

EVS displayed its Connected Live technology and Creative Live solutions, which come together to deliver the most engaging viewing experiences, allowing content producers to generate a return on the emotion of audiences.

IBC was a fantastic opportunity to network and make new contacts, as well as catch up with some friends, too. MONDO | STADIA will definitely return next year for IBC 2019.

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World Football Summit eld on 24-25 September 2018, the third edition of the World Football Summit (WFS) took place at the Goya Theater in Madrid.

With a record number of attendees - 48% of which coming from different countries - the WFS confirmed itself as the most important football congress for the industry.

The congress, which is specifically targeted at the football and sports industry, ended with a total of 2,360 unique visitors; 1,758 during on the opening day and 1,507 on the second. WFS increased its international reputation at the 2018 event, bringing together attendees, speakers, media and accredited foreign correspondents from 80 different countries.

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Visitors had a choice of more than 100 high-level speakers, with over 160 clubs from around the world brought together, too.

Experts in their respective fields analysed a wide range of industry topics, including the project of the third continental club competition announced by the European Club Association (ECA), the organisational success of the 2018 World Cup in Russia, the use of technological advances such as fingerprint biometrics to improve security in football stadiums and the new format of the Davis Cup, promoted by Gerard Piqué’s company Kosmos Holding, whose final phase will be played in Madrid in 2019 and 2020.

The impressive line up of speakers included Javier Tebas;

Images provided by WFS and Inés Rojas.

SETTING THE STANDARDS FOR STADIUM SOUND

EKATERINBURG ARENA - RUSSIA | FIFA WORLD CUP - RUSSIA 2018

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the President of La Liga, Andrea Agnelli; the President of Juventus and ECA, football legend, Ronaldo, who is now a shareholder at Real Vallodolid, the Belgium coach, Roberto Martinez, Edmund Chu, co-founder of Kosmos, the Legal Director of FIFA, Emilio GarcĂ­a and its Digital Transformation Director, Luis Vicente, among many others.

The third edition of the Industry Awards also took place, with 120 nominations from 23 countries submitted. Wanda Metropolitano, the home of Atletico Madrid and the chosen venue for the 2019 Champions League final, took home the award for Best Stadium.

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in the category awarded by the jury, whilst NFCSound, also based in the USA, was awarded the prize chosen by the audience.

Following the success of the WFS, next up for the organisation is the second edition of WFS Bilbao on 13-14 February 2019. At the event, there will be a focus on the role of technological advances in the different areas of the football industry and on the preparation of the Biscayan capital before the European Football Championship of 2020.

It doesn’t stop there for WFS, though, with the first edition of the World Football Summit Asia in Malaysia on 29-30 April 2019 in Kuala Lumpur.

WFS Madrid will return in September 2019.

EVENT DIARY 2018 - 2019

ALSD International 11th – 12th October, London, UK www.ALSDInternational.com

ESSMA Summit 22nd –23rd January 2019, Porto, Portugal www.essmasummit.eu

Coliseum Summit ASIA-PACIFIC 24th – 25th October, Beijing, Chine www.coliseum-online.com

ISE 6th – 8th February 2019, Amsterdam, The Netherlands www.iseurope.org

The Stadium Business Design & Development Summit 13th – 14th November, London, UK www.stadiumdesignsummit.com

Coliseum Summit EUROPE 20th - 21st March 2019, London, UK www.coliseum-online.com

LuxLive 2018 14th - 15th November, London, UK www.luxlive.co.uk

Prolight+Sound 2nd - 5th April 2019, Frankfurt, Germany www.pls.messefrankfurt.com

UK Sports & Venues Summit 15th November, London, UK www.majoreventsinternational.com

Soccerex China 17th - 18th April 2019, Zhuhai, China www.soccerex.com

Soccerex USA 15th - 16th November, Miami, USA www.soccerex.com

Coliseum Summit US 9th - 10th May 2019, Detroit, USA www.coliseum-online.com

International Sports Convention 5th – 6th December, Geneva, Switzerland www.iscgeneva.com

The Stadium Business Summit 4th - 5th June 2019, Manchester, UK www.stadiumbusinesssummit.com

BLV STATURION®

Sports lighting solutions

Perfect illumination of sports facilities As a lighting specialist and one of the leading suppliers of sports facility lighting, BLV provides optimum lighting conditions. With 50 years of experience in the lighting sector, we know the different areas of application and the diverse requirements in the sports sector! In addition to our globally established STATURION® metal halide lamps Made in Germany, we offer a broad portfolio of LED floodlights. We advise our customers intensively on the advantages of both conventional lighting solutions and LED lighting systems: individually, project-related and objective, because as one of the few market players we offer everything from a single source.

Contact us, we are happy to answer all your questions: BLV Licht- und Vakuumtechnik GmbH • phone: +49 8094 906-400 • email: sales @blv-licht.de

1968 I 2018

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www.blv-licht.com

YEARS OF INNOVATION

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Who? Scott Willsallen.

Job title?

Director, Auditoria Pty Ltd. Favourite stadium or sporting venue?

Two favourites: ANZ Stadium and Melbourne Cricket Ground (MCG).

Why? ANZ Stadium is a favourite as I’ve had such a long history with the venue and our upgrade in 2013 had such impact. The MCG is a favourite for reasons that will become clear in the coming months.

Life motto?

Live deliberately.

THE NEW REFERENCE POINT

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IPX

IPX5:4 | IPX10:4 | IPX20:4 | IPX10:8

THE PINNACLE OF AMPLIFIER ENGINEERING IPX series multi-channel amplifiers mark the new, unprecedented standard for sound system amplification in mid to large-sized fixed installations. These amps offer seemingly unlimited power and have the most advanced DSP with FIR-Drive processing on board, supporting Dante audio and OCA. All models embody several proprietary amplifier technologies, such as Eco Rail, which can reduce power consumption up to 50% while maintaining outstanding audio and operational safety. Learn more: Dynacord.com/ipx

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