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A STAR IS BORN...
Last summer, I shifted my focus from the land-based entertainment world and took my first editorial step into the cruise ship technology industry. Alongside the teams at Royal Caribbean and installer Control AV, I designed a supplement concentrated on the ship line’s Icon of the Seas, a project that gave me a real appreciation for just how innovative and high-tech today’s at-sea venues are. Since then, Royal Caribbean’s Icon Class has expanded, with its third addition, Legend of the Seas, expected in 2026, and a fourth, yet-to-be-named ship to launch in 2027. This special edition of MONDO-DR looks at Star of the Seas, the second cruise in the series, and the teams, manufacturers, integrators, and professionals behind building its ambitious entertainment spaces. A huge thank you to everyone who shared their insight and experiences for this issue, helping me paint a comprehensive picture of this gigantic ship.
Both MONDO-DR and I are excited to continue growing our presence in the maritime industry, and as always, we welcome your feedback on this publication and any news happening out at sea.
Enjoy the edition!
DAISY THOROGOOD
ASSISTANT EDITOR
STAR OF THE SHOW
Royal Caribbean presents ‘Star of the Seas.’
MONDO-DR last caught up with the Royal Caribbean team over a year ago, just after the launch of the lead ship in its newest class, Icon of the Seas. Whilst it was setting sail with resounding success, the building of Icon’s sister ship was already well underway.
This second ship, named Star of the Seas, arrived in August, and, similarly to its predecessor, houses a whole host of entertainment venues. Inside is an abundance of bars, restaurants, lounges, and unique offerings, such as the Absolute Zero ice rink, the AquaTheater aqua performance amphitheatre, and the Royal Theater, which stages the first-ever production of ‘Back to the Future: The Musical’ put to sea.
Star’s ability to provide high-quality, fresh entertainment is sustained by the comprehensive audiovisual solutions behind every venue. As on Icon of the Seas, Star’s AV systems were created with Christopher Vlassopulos, Manager, Sound & Light, New Building & Innovation at Royal Caribbean, at the helm.
Vlassopulos does not work alone, however; the entertainment technology solutions are designed and deployed by what Sascha Lang, Vice President of Architectural and Design, New Building & Innovation at Royal Caribbean Group, affectionately calls “CV’s (Christopher Vlassopulos’) army.”
Vlassopulos explained that this AV army spans a wide breadth of disciplines; he noted that installer Control AV was “a huge part” of this team, specifying and positioning the greatest amount of lighting, sound, and visual systems on the ship, with integrators Tennagels stepping in to reinforce these designs.
Additionally, Media Tailor implemented the ship’s entire broadcast and media networks, and Project International brought in a combination of architectural and entertainment lighting.
The rigging teams were key to ship success too, with Videlio HMS and SKS Control providing the stage machinery and the rigging control, respectively.
“Everyone had their own part to play, and they did it brilliantly,” Vlassopulos commented. “We rely on a lot of external partners. For Matt DeJong, the Lead Design Associate, and me, this army of installers, consultants, and professionals is absolutely crucial to our success.” Being only the second in the Icon Class series, Star is essentially a ‘twin’ to its sister Icon. This means that the AV equipment and the spaces inside the ship are relatively similar, though upgrades and advancements have been made, either to usher in newly released technology or to better suit exclusive features of Star
Vlassopulos revealed that this made the building process
“THE WORK DOESN’T STOP AFTER THE LEAD SHIP IN A FLEET IS COMPLETE; IT’S THEN ABOUT TWEAKING AND EVOLVING THE DESIGN TO MAKE SURE IT REMAINS MODERN AND RELEVANT.”
significantly smoother than Icon’s, stating, “Most of the team hadn’t changed between Icon and Star of the Seas, so everyone involved knew what the design was, was aware of the guidelines, and understood that if we met the Icon Class standards, it would be a success.” He continued, “Creating the first ship in a new class can be daunting. You start with a blank sheet of paper, and there’s no reference to reinforce decisions with. This is not to say that the construction of Star was simple, though. The work doesn’t stop after the lead ship in a fleet is complete; it’s then about tweaking and evolving the design to make sure it remains modern and relevant.”
The largest factor in ensuring that Royal Caribbean integrates only the latest and greatest technology in every new ship, as Vlassopulos said, is strong relationships. The organisation keeps in close contact with its technology manufacturers, which he noted, “forms a secure partnership that allows Royal Caribbean to get exclusive looks at upcoming products and series from brands.”
This benefits both the fleet and the manufacturer, as a huge, new ship showcasing a company’s outdated technology would reflect poorly on both parties.
“When Control AV and I began specifying the equipment for Star of the Seas, our connections with our manufacturers proved extremely helpful, as they were able to inform us of their most recent product changes or upgrades. These relationships are so important to us –the manufacturers are an extension of the CV army,” he added. “We’ve been so lucky with the audiovisual brands we’ve been associated with. Everyone has offered heaps of support. For example, Absen once flew across the world to fix a damaged LED! We’ve had this sort of advocacy from all of our manufacturer partners.” Vlassopulos concluded by again thanking the teams behind Star of the Seas’ now-thriving 20 decks. “This sort of installation is so complicated, so having the correct crews and technologies involved is critical.”
This special edition of MONDO-DR aims to highlight these installers, manufacturers, and professionals whose expertise underpins every aspect of the ship’s premium entertainment offerings.
www.royalcaribbean.com
Left: Christopher Vlassopulos, Manager of New Building & Innovation at Royal Caribbean Group.
1,3: The Meyer Turku shipyard in Finland, home of Star of the Seas during the building phase.
2: The Meyer Turku team at the start of Star of the Seas’ production.
CONTROL AV
Next page : Star’s upper deck, offering scenic views.
Behind every great entertainment venue is a great audiovisual system, something that experienced designer and installer, Control AV, knows all too well. The Miami-based integrators were brought on as part of Royal Caribbean’s core team for the build of its Icon Class of ship early in the fleet’s lifetime. After successfully delivering the bulk of the AV solutions for Icon of the Seas’ 68 leisure and entertainment spaces, Control AV was asked to reprise its role for Star of the Seas. Control AV’s President, Amir El Yordi, and CEO, Douglas Ellis, began by reminiscing on Icon of the Seas’ triumph. El Yordi explained: “We have evolved as a company since our affiliation with Royal Caribbean. I believe that because of Icon, we’ve been put on the map. We’ve previously worked on a multitude of exciting ships, but now that we’ve been recognised for our work on Icon, we’re really able to get involved with the latest and greatest ships. We really have the opportunity to set the standard when it comes to entertainment technology at sea.”
Even though Control AV as an establishment is relatively young, having been established in 2013, its team is rich in experience. Most of the professionals within the company have reportedly been active in the maritime industry since 1998, being involved in the creation of Royal Caribbean’s Voyager of the Seas. “We’re lucky in that our staff is intimately familiar with the Royal Caribbean brand,” El Yordi said.
“Not only this, but Control AV has a really deep understanding of other cruise lines, too, so we are aware of the latest trends, opportunities, and
Above: Star of the Seas’ Swim and Tonic bar, one of the many areas on board influenced by Control AV’s technological expertise.
challenges across the at-sea entertainment sector. This is what these sorts of projects need – such large and complex integrations require the designers to be mindful of the ship’s goals and demographics.” The president noted that the employees behind the installer have advanced in tandem with the company; across the years of Control AV’s operation, technical assistants have graduated to lead technicians, and then to head engineers. Mika Tuomi was a significant example here, beginning to work with El Yordi and CEO Douglas Ellis in 1999, and now acting as Technical Director.
El Yordi went on to comment that the integrator’s experience on Icon was beneficial when it came time to design for Star of the Seas
“We learnt some important lessons during the Icon project, and after too, when we saw it handed over to the client for its maiden voyage.
I think it’s clear that we’ve grown from our initial designs for the first-in-class ship.”
The differences between Star and Icon of the Seas are subtle, but the changes implemented are proof of Control AV and Royal Caribbean’s drive to utilise the most advanced, modern technology available.
“The Icon Class will consistently evolve, as entertainment technology is always evolving. With every ship, we want to try to get the best possible product from each manufacturer, meaning that ship designs will change as the market does.”
The largest difference between Star and Icon’s entertainment venues
can be found in their respective Royal Theaters. Icon of the Seas’ Royal Theater was introduced with a Broadway-ready version of ‘The Wizard of Oz’ as its main attraction, whereas a similarly high-quality production of ‘Back to the Future: The Musical’ has found a home on Star’s stage.
‘Back to the Future: The Musical’ has a slew of high-tech requirements that led the president, Mika Tuomi, and Károly Molnár, Project Director at Control AV, to need to redesign the audiovisual and staging solutions for Star’s theatre. El Yordi said this system “was a lot more challenging to put together, but we did it, and the result is amazing.”
Notably, the famous ‘Back to the Future’ scene featuring the DeLorean transforming into a time machine and travelling through space was initially a technical obstacle. Working alongside rigging teams, sound engineers, and mechanical staging experts, Control AV had to figure out a way to make a car appear to fly, all within the unique constraints of a theatre at sea.
“After a concentrated and thoughtful design period, we managed it,” stated El Yordi. “The lighting, sound, video, and rigging in Star’s Royal Theater make ‘Back to the Future: The Musical’ an incredibly immersive experience, just as it is on Broadway or the West-End.”
For a closer look at the audiovisual solutions at the core of ‘Back to the Future: The Musical’, turn to page 16 for a report on Gareth
Owen’s role as Sound Designer, which he performed alongside Control AV. Installations at the magnitude of Star of the Seas require a different approach from a typical land-based, single-purpose venue. With cruise ships containing a long and exhaustive list of all the entertainment and leisure spaces that a guest could possibly want, integrators must begin crafting solutions years in advance.
“We’re already working on the systems that will be deployed on the fifth ship in the Icon Class, to be launched in 2028,” El Yordi said.
Asked how Control AV continues to specify relevant and future-proof solutions for its maritime projects, El Yordi replied: “We’re thankful to have close relationships with the manufacturers we work with. This allows us to test and check out products that aren’t on the market yet, with some even still in the research and development phase. This helps us understand what technology will be significant in years to come – it’s like seeing into the future.
“It’s a really interesting facet of our design process. We make sure that we’re only working with manufacturers we truly trust, as we’re specifying technology from them that does not yet exist, so we need to be confident that it will actually come to fruition!”
One of the key ways the company stays connected to its partner brands is through a dedicated side project. El Yordi explained:
“Myself and a couple of industry friends noticed that there was no organisation targeted towards professionals in the cruise ship entertainment industry, so we formed ICSEPA, the International Cruise Ship Entertainment Professional Association.”
Christopher Vlassopulos, Manager, Sound & Light, New Building & Innovation at Royal Caribbean, has supported ICSEPA since the start, which El Yordi said he is extremely grateful for. “ICSEPA exists to try
and educate, help, and connect people who are either already in the cruise ship industry or want to get involved in it,” he continued. “The maritime sector is different from the land-based venue world, so we saw that it was important for there to be a dedicated space for the professionals within it.
“ICSEPA looks to bring together manufacturers, integrators, and end users. It can be difficult to find solutions for the specific challenges presented by at-sea entertainment venues; with this organisation, we’re trying to facilitate the communication and cross-pollination of knowledge, making things a bit easier for everyone.”
The association hosts networking events across trade shows internationally, with its biggest function happening during SeaTrade, Miami. “The members of ICSEPA, such as L-Acoustics, Martin Lighting, DAS Audio, Robe, Absen, Allen & Heath, and Shure, host meet and greets at their stands to promote the operation and create a space for professionals to chat and connect with the industry.”
Next for Control AV is a focus on the upcoming Icon Class ships, with the company contracted as the installer for all foreseeable ships in the fleet. El Yordi wrapped up the conversation by saying: “It’s an exciting time. We’ve had great feedback so far from both Star and Icon, and we expect the rest of the class to be received just as positively.
“I want to conclude by thanking Christopher Vlassopulos and Matt DeJong, Royal Caribbean’s Lead Design Associate. Their expertise is what truly guides the right technology onto the ships.”
www.controlav.pro www.icsepa.com
ABSEN
Below: The Overlook on Star of the Seas, featuring integrated Absen LED displays that support ambient content across the day.
Stepping aboard Royal Caribbean’s Star of the Seas, guests are surrounded by an atmosphere of colour, motion, and light, much of which is enabled by Absen technology. Working with marine integration specialist Control AV, Absen delivered multiple highimpact LED installations designed to elevate guest engagement across the ship’s most dynamic entertainment and social spaces. Absen’s PL Plus V2 and NX Series LED displays anchor the visual experience on Star of the Seas, enhancing the Royal Theater, The Overlook, and the Embarkation Escalator. Each installation was engineered to integrate seamlessly into the ship’s modern architectural design, the Absen team reported.
Inside the Royal Theater, Absen’s PL Plus V2 LED walls transform live productions into immersive spectacles. During the theatre’s performances of ‘Back to the Future: The Musical’, the displays act as expansive digital backdrops that shift fluidly between eras to mimic time travel. From the DeLorean’s high-speed sequences to the glow of Hill Valley, Absen’s precision visuals enhance storytelling and audience immersion. In The Overlook, one of the ship’s most architecturally striking venues, Absen’s NX Series displays, featuring a fine 1.8mm
pixel pitch, complement the panoramic lounge’s glass-dome structure and natural light. The LED integration enriches the space with subtle, ambient visuals that evolve throughout the day, adding depth and atmosphere without disrupting the lounge’s tranquil aesthetic. Above the Embarkation Escalator, Star’s boarding area, Absen’s NX Series display also greets guests with vivid content as a visual introduction to the ship.
Emily Chan, President of Absen Inc, commented: “Our goal was to make every environment aboard Star of the Seas feel alive. Each installation was designed not only to perform flawlessly in a marine environment but to enhance the emotion and storytelling that define the guest experience.”
Amir El Yordi, the President of one of the installers on board Star, Control AV, concluded: “Cruise ships demand exceptional reliability. Between vibration, humidity, and salt exposure, every component must perform perfectly. Absen’s PL Plus V2 and NX Series have delivered consistent brightness, colour accuracy, and stability voyage after voyage, proving their resilience in one of the toughest environments imaginable.”
www.usabsen.com
ALLEN & HEATH
The long and successful relationship between Allen & Heath and Royal Caribbean continues, with the manufacturer working closely with integrators and the in-house crew during Star of the Seas’ AV installation. Jeff Hawley, Vice President of Marketing at Allen & Heath USA, talks to MONDO-DR about where the brand’s solutions are deployed on the ship, and all the hard work that goes into modern-day luxury cruises before they can set sail.
How long has Allen & Heath been working with Royal Caribbean, and why has this been an effective partnership?
Hawley: Allen & Heath has been working closely with Royal Caribbean since 2017. The relationship initially took shape through collaboration with Royal Caribbean’s design teams to provide versatile audio solutions across the wide variety of venues found on their ships.
What made Allen & Heath an attractive partner early on, and continues to today, is the breadth and flexibility of our product lineup. Our mixers are known for delivering exceptional audio quality and reliability, but just as importantly, we offer scalable solutions that suit virtually any environment.
What solutions from Allen & Heath were integrated within Star of the Seas?
Star of the Seas showcases one of the most comprehensive cruise ship deployments of Allen & Heath products to date. In fact, nearly the entire A&H ecosystem is represented on the ship. This includes our flagship dLive digital mixing systems, as well as the SQ and Qu Series digital mixers, and our ME Personal Mixing System for performers.
ME is especially valuable in this sort of application as technical staffing limitations don’t always allow for dedicated monitor system engineers. ME puts the performer in control of their own local audio monitor mix.
Where were these systems deployed on Star of the Seas, and what entertainment purposes are they serving?
The installations span virtually every type of entertainment space aboard Star: The Music Hall, a state-of-the-art live music venue, is home to the dLive S5000, providing FOH and monitor capabilities for a wide range of performances. Absolute Zero, a dynamic multipurpose venue that hosts large-scale productions including an ice-skating show, also features the dLive S5000, offering the power and flexibility required for such complex events. The AquaTheater, an open-air venue for acrobatics and diving shows, and the Royal Promenade, which hosts a range of pop-up performances and special events, are equipped with the compact yet powerful dLive C1500 surfaces.
Boleros (a Latin-themed dance club), The Attic, Star’s comedy club, Dueling Pianos bar, Empire Supper Club, the resort-style pool decks,
and Surfside all utilise the SQ-5, providing robust, easy-to-use 96kHz mixing capabilities in compact form factors.
Smaller venues like the Schooner Bar, Thorn & Thistle, and 1400 Lobby Bar are handled by the ultra-compact Qu-PAC, while the karaoke bar is supported by the Qu-SB, allowing performers to run their own mixes via tablet.
How closely did the Allen & Heath team collaborate with the AV integrators and Royal Caribbean’s design team during this project? Collaboration was, and continues to be, central to our work with Royal Caribbean. Allen & Heath works closely with both the ship’s AV integrators and Royal Caribbean’s in-house design teams across all project phases: from early-stage design through procurement, installation, commissioning, and even post-launch support.
Cruise ship AV systems are highly specialised and often involve multiple integrators. For example, one team might handle entertainment systems while another oversees broadcast or infrastructure. This complexity requires close coordination, and our team is deeply involved in facilitating communication across all stakeholders.
Finally, could you summarise your company’s involvement with Star of the Seas and what it means to be part of this project?
It’s a tremendous honour for Allen & Heath to be involved in a project as ambitious and iconic as Star of the Seas. Our participation reflects the strength of our long-term relationship with Royal Caribbean and the trust they place in our technology and our team.
On the ground, our regional sales partner, Mainline Marketing in Florida, played a key role, working directly with Royal Caribbean’s design and technical staff to provide product demos, conduct in-field testing other ships, and train crew members on A&H systems.
A special shout-out to Clinton Muntean from Mainline and Kevin Madden on the Allen & Heath USA team for their leadership on this front. We want to thank them, because their work ensured that each system was not only well-matched to its venue, but also fully supported in terms of usability and service.
Beyond the field team, Allen & Heath’s global sales and executive leadership supported the project throughout, helping with international logistics, procurement planning, and ensuring Royal Caribbean had confidence in our ability to deliver reliable, ongoing global support.
And of course, none of this would be possible without the support of the entire A&H marketing team, who helped tell the story, coordinate outreach, and share the incredible scale and success of this installation.
www.allen-heath.com
Right: Empire Supper Club, one of Star’s glamorous dining spaces, featuring live jazz powered by Allen & Heath’s SQ-5 digital mixer.
‘BACK TO THE FUTURE’ MAKES WAVES
After Robert Zemeckis and Bob Gale’s ‘Back to the Future’ debuted in 1985, it skyrocketed to success, becoming a cultural hit that earned numerous awards, including the Academy Award for Best Sound Editing. So, when Gareth Owen, one of Broadway’s leading theatrical audio specialists, was tapped to join Zemeckis and Gale to bring the film’s sound to the stage, he faced the tall challenge of honouring this legacy while reinventing it for a live, immersive theatre experience. Following the successful run of ‘Back to the Future: The Musical’ across the West End, Broadway, and a multitude of other renowned performance spaces worldwide, the show has been brought to Star of the Seas, with Gareth Owen again taking on the role of Sound Designer.
‘Back to the Future: The Musical’ took to Royal Caribbean’s largest stage, the Royal Theater, as the ship began its first journey, premiering to a standing ovation, and the show will be hosted in the performance space for the foreseeable future.
Speaking with MONDO-DR, Owen revealed that his work as sound designer extended well beyond simply managing what the audience hears. “As with all previous renditions of ‘Back to the Future: The Musical’, I took ultimate responsibility for everything auditory,” he began.
“I controlled not just the sound for the theatregoers, but what the cast hear on stage, what the orchestra hear in the pit, and everything occurring backstage.”
He explained that on a typical production of the musical, all the audio solutions that are brought in come under his and his team’s purview. “We usually manage everything, from the microphones to the acoustic treatment of the room.”
However, the adaptation for Star of the Seas presented a new challenge. By the time Owen was approached, there were already some elements of the sound system set into place,
and the structure of the Royal Theater could not be altered for acoustic remediation.
“We became a team with the installers that were already contracted to design the AV setups across the entire ship; our shared responsibility saw integrators Control AV specify some solutions for the theatre, whilst we implemented others,” Owen said.
In determining the optimal sound equipment configuration for ‘Back to the Future: The Musical’, the teams needed to consider that the Royal Theater would also need to be used for other productions in between musical showings, while also ensuring the system was efficient for the in-house crew.
The sound designer continued, “There were lots of factors in this Star of the Seas project that we don’t necessarily have to think about when creating an on-land musical. It was a really interesting job; it wasn’t just about producing another version of ‘Back to the Future’, but figuring out how to do it on a massive cruise ship!”
The design process also meant accounting for the film’s legacy. “The movie is so iconic. It’s so many people’s favourite film, so we can’t make any rendition of the musical anything less than completely brilliant... or else the fans will eat you alive.”
Turning up the Sound
At the core of the audio solution is a JBL PA system, specified by Control AV and subsequently enhanced by Owen. For a deeper look at this comprehensive setup, turn to page 27 for an interview with Keith Caggiano, Senior Business Development Manager for Installed Performance Systems at HARMAN Professional, where he discusses the manufacturer’s timeline with the Icon Fleet and the Royal Theater.
Central to the live sound workflow aboard Star of the Seas is the DiGiCo Quantum7 console. “We’re using the DiGiCo Quantum7 as our main house console because it’s the industry standard,” Owen commented.
“Everyone knows how to use it. You can buy it anywhere, get parts anywhere, and it’s just a good, reliable, solid bet.”
The choice of DiGiCo was as much about long-term sustainability as performance. “As well as being featured across other venues within Star of the Seas, we knew other Royal Caribbean ships were already using DiGiCo for theatre shows,” he explained. “Because the company rotates crew members across different ships, it made perfect sense to use a system that their engineers would already know inside and out.”
That decision also reflects the designer’s larger philosophy of consistency and reliability. “There’s no point putting in gear that nobody knows how to use,” he said. “If something goes wrong, you need the people on board to be able to fix it. With DiGiCo, you have a platform that’s trusted and supported globally.”
Tim Shaxson, DiGiCo’s Technical Sales Manager, stepped in to comment on Owen’s use of the console: “‘This musical is a modern classic – the story of ‘Back to the Future’ is a firm favourite for so many people. Bringing such high production values to a stage in the middle of the ocean requires a unique skill set, not just for the creatives and technicians, but also for the equipment.
“The need for reliability, flexibility and power cannot be overstated, especially in a multi-use venue like the Royal Theater. Knowing that the Quantum 7 can deliver the power, workflow and reliability that Gareth Owen needs from a front-of-house console really underlines the commitment that DiGiCo have made to producing the very best consoles for high-octane shows like these.”
As both a sound designer and a technology innovator, Owen brought a unique dual perspective to the creation of the Royal Theater’s audio systems. He is the CEO of Show Control Ltd and Co-Founder and Chief Creative Officer of Fourier Audio, the company behind the Fourier
Previous and right: Star of the Seas becomes the first to host ‘Back to the Future: The Musical’ on a cruise ship stage.
Left: Gareth Owen and his team, stood in front of the Royal Theater’s DiGiCo Quantum7 console.
transform.engine, a live VST3 plugin host. In 2023, Fourier Audio was acquired by DiGiCo, but Owen remains a board member and active part of the company.
“Honestly, the transform.engine was born out of frustration I felt in my own experiences working on shows,” Owen remarked. The designer felt that there wasn’t a trustworthy solution that allowed audio professionals to use studio plugins in a live environment.
“In a live environment, you need reliability. If a plugin crashes in the studio, you just restart it. If it crashes in a show, you can lose audio entirely. So, we designed a system that prioritises dependability first. It’s now used on Eurovision, Glastonbury, and tours for artists like Ed Sheeran and Madonna.”
That focus on stability extends to software, too. “From Show Control Ltd, we’re using rTracks, our dedicated click-track playback system,” he continued. “It’s purpose-built for high-end productions where reliability is non-negotiable. It’s in use on almost all our shows, on the West End, Broadway, and now here on Star of the Seas.”
The mix of DiGiCo consoles, Fourier plugin hosts, and Show Control software was specified as part of Owen’s wider mission to provide 360° sound for all his major projects.
The designer’s work has seen him win both Tony and Olivier Awards for his achievements in immersive theatre audio.
“Fundamentally, ‘Back to the Future’, as a story, really suits immersive, all-around-the-audience sound. We made sure that the equipment we brought in allowed for this, as anything less would not be doing justice to either the show or the ship,” he stated.
“Most importantly, visitors don’t want to be going on one of the coolest cruises in the world and thinking ‘oh, the theatre doesn’t sound very good...”
Perfecting the System
Complementing the theatre’s backbone is a collection of equipment that was trusted to be “the right tools to get the job done.”
For its radio mic solution, the show uses Shure Axient wireless systems. Owen commented that these were picked for their frequency agility, which he sees as an essential feature aboard a ship where countless communication systems compete for spectrum space.
“On a cruise, there are so many functions that utilise radio mic frequencies. A lot of these are more crucial than the microphones for the musicals; everything from emergency comms to navigation radios,” he said.
“Shure Axient gives us the flexibility to work within those constraints safely, providing a wide selection of available frequencies, allowing the mics used in ‘Back to the Future: The Musical’ to fit within the rest of the operations on the ship.”
For orchestra monitoring, the team deployed Allen & Heath DM64 mixing engines feeding ME-1 personal mixers, allowing musicians to craft their own headphone mixes independently. “It’s a brilliant system,” Owen added. “We use it on all our shows as its compact and efficient.”
Microphone choices include DPA 4066 headsets for the cast and a range of DPA and Neumann models for the orchestra, from 4099s on strings to U87s on brass.
“Every time I try something else, I just end up coming back to the DPA 4066,” Owen said. “It just works.”
When fans think of ‘Back to the Future’, one of the motifs that will likely stand out in their minds is the retro-futuristic DeLorean, the sports carturned-time machine that acts as a catalyst for the film’s plot.
The image of the DeLorean flying through space and time is one that Owen and his team knew they had to perfect in the musical. He realised that traditional sound equipment would not do this scene justice, however, and instead turned to more novel methods.
“We noticed that the video designers were using a gaming engine called Krotos Igniter, a sound design plugin for game production, running in Unreal Engine. When combined with the DeLorean prop, this setup created the illusion of movement, as the changing backgrounds simulated the car travelling through space. I thought, if they can use this for video creation, surely, we can use it for audio too.”
The sound crew consequently employed Krotos Igniter to simulate the car’s sound, matched to both the visuals and the actual movement of props, so that the audio is affected by what is happening on stage, in real time. “I believe this is the first time something like this has been done in the theatre,” the designer added.
Unintelligible sound in a musical should be as rare as a leading actor’s costume falling off mid-performance, or the lights completely shutting off, claims Owen. “Whilst the latter two are extremely rare, it seems to be acceptable that during some shows, the audience just can’t hear the words that are being sung. I’m determined to try and correct that.
“I’m a big believer in the fact that bad sound kills good musicals. It’s imperative that every new show is equipped with perfectly tailored audio tools, and I believe we achieved this for Star of the Seas’ ‘Back to the Future: The Musical’.”
www.garethowensound.com @garethowensound
CRESTRON
As Star of the Seas sails, much of what visitors see and hear across its restaurants, bars, and entertainment venues is powered quietly by Crestron. The company’s AV-over-IP and control solutions form the connective tissue linking hundreds of displays, projectors, and lighting systems across the ship.
Crestron’s collaboration with Royal Caribbean began only a few years ago, during the creation of the first Icon Class ship, when its control systems were introduced to streamline management. The collaboration was spearheaded by integrator Control AV, whose prior experience with Crestron’s solutions made the brand a natural choice for the project.
This relationship has evolved to see the manufacturer’s equipment deployed on Star of the Seas, to which Michael Short, Crestron’s VP of Marketing, said was an ideal partnership. “Royal Caribbean’s decision to select Crestron was driven by our proven track record in the marine market, where our solutions are trusted for their reliability, scalability, and ability to perform in demanding environments.”
Across Star, Crestron’s systems underpin a wide range of entertainment environments, from Broadway-scale theatre shows and live music venues to intimate lounges and immersive dining spaces.
Central to this integration is the company’s DM NVX AV-over-IP platform, which ensures high-quality content distribution throughout public spaces, maintaining visual and audio consistency across vastly different venues. For the crew, the benefits are equally tangible. “With Crestron control, the centralised system offers a simplified solution with one point of management,” Short explained of the solution that offers a unified interface that once would have been fragmented. “At their fingertips, the crew can control screens, adjust safety lighting, bring down projectors, and more.”
While Control AV took the lead on integration, Crestron worked closely alongside them throughout the project lifecycle.
“Marine projects of this scale demand constant communication,” Short said. “Working with an installer we trust like Control AV meant
that technical hurdles could be resolved quickly, maintaining the high standards Royal Caribbean expects.”
Though Crestron’s collaboration with Royal Caribbean is still relatively new, the company is far from a newcomer to the maritime AV world. Its solutions are featured across superyachts and cruise ships globally, which, over time, has allowed its research and development teams to establish a process for ensuring its technology is fit for demanding maritime installation projects.
“Every product undergoes rigorous testing and is built using marinegrade materials to withstand constant vibration, humidity, salt air, and temperature fluctuations,” said Short. “Our systems are engineered specifically for the challenges of life at sea.”
Beyond maritime durability, adaptability was a core concern of Control AV when deploying the control solutions. As well as use in entertainment spaces, Crestron systems are designed to integrate with other technologies on the ship, including navigation, climate, and security controls, creating what Short noted is effectively a “smart ship” ecosystem.
He continued, revealing how this level of technological management produces some interesting opportunities within the maritime industry.
“The ability to unify all systems and ship functions under a single platform not only simplifies operations for crew but also enables new levels of personalisation and automation for guests,” he said. “For example, with Crestron, AV systems can be programmed to adapt to different events, moods, or times of day, creating environments that respond dynamically to visitor needs.”
Reflecting on the delivery of the second ship in Royal Caribbean’s Icon Class, Short concluded: “These sorts of maritime projects are always fun to be a part of. Star of the Seas’ debut has proved that it’s an impressive ship that’s already creating unforgettable moments for guests, and we’re proud to help power these experiences.”
www.crestron.com
Right: Star of the Seas’ Pearl Cafe.
DAS AUDIO
Left and Right: Star of the Seas’ Central Park, a green, relaxing space with DAS Audio solutions deployed throughout.
Bottom left: Star’s top deck, similarly fitted with DAS Audio systems.
Beyond Star of the Seas’ indoor venues, the ship’s exterior decks offer multiple, varied entertainment experiences. Star’s outdoor zones host everything from traditional facilities such as large pools, bars, and alfresco dining to more unique areas, including technologically advanced live entertainment stages and an extensive waterpark that accommodates record-breaking waterslides.
As well as possessing the standard features of a high-quality loudspeaker, intelligibility and power, the audio systems in the ship’s exterior venues needed to be able to endure the harsh elements typical of maritime environments, such as salt spray, intense sunlight, and high humidity.
The answer to this, for Royal Caribbean and integrators Control AV, lay within DAS Audio’s solutions. Jaime Villegas, General Manager at DAS Audio, provided insight into how the manufacturer’s systems were chosen for deployment not just on Star of the Seas’ outdoor venues, but for future ships of the Icon Class.
“Our relationship with Royal Caribbean was formed many years ago, when we worked alongside the team at dry docks,” Villegas began.
“After watching their design process and listening to what they wanted out of their ships and the entertainment spaces, we knew that DAS Audio’s weatherised products would bring the improved acoustic performance and durability that was necessary.
“From there on out, our business with Royal Caribbean continued, and we’re excited to have been selected as their speaker brand of choice for all exterior installations on their new builds moving forward.”
The story of DAS’ weatherised solutions started long before this collaboration, however. Maritime integrators had approached the brand, needing a speaker system that was built specifically for the harsh conditions of the cruise ship exterior.
A new research and development avenue was opened, where partners, installers, and AV at sea professionals stepped in to provide feedback and thoughts on what was most necessary for a premium weatherised product.
The general manager said that thanks to this strong line of communication, DAS Audio is able to continuously improve the durability, reliability, and performance of its various equipment lines, notably including its WR series.
Now released several years ago, the WR series, fittingly standing for weather-resistant, has over 400 of its units deployed throughout Star of the Seas’ outdoor venues. Considering the wide
selection of entertainment across the ship, these solutions provide all manner of audio, from background music to performance dialogue. Granting the series its distinctive weatherproof build, it is crafted from birch plywood and is enveloped in a protective fibreglass layer. Metallic components made from AISI 316 stainless steel shield the speakers from corrosion that could be caused by the saltwater, with other unit materials consisting of low carbon steel with protective coatings that amplify robustness against the elements.
Furthermore, more than 500 units of DAS Audio’s Quantum series speakers are used in visually sensitive areas where the environment’s aesthetics are just as important as equipment durability.
A particularly innovative use of the Quantum series can be found in Star’s Central Park, a lush, green space for guests to walk through.
Complementing its decor of plants and living flora, this area of the ship broadcasts atmosphere-augmenting noises from discreetly placed Quantum speakers, such as birds chirping and ambient nature sounds. This produces a surreal, creative effect, with the ship able to mimic the calming sounds that are typical of a traditional, land-based garden. Villegas explained that the Quantum series offers an equally robust build to the WR, having an aluminium enclosure and IP-66 kit, designed to be strong and reliable without sacrificing aesthetic appeal. Beyond their physical construction, both the WR and Quantum series were installed with added protective measures from Control AV. To their design, the integrators incorporated acoustic cloth, filter foam, and a hydrophobic mesh, alongside strategically placed drains to prevent water accumulation.
Additionally, DAS Audio’s solutions appear inside the ship, with the busy Royal Promenade, Star’s interior boulevard area, featuring more than 100 units of its ARTEC series systems. These were implemented to deliver clear sound in the dynamic, guest-filled environment. All DAS Audio equipment on Star is controlled with a Q-SYS centralised control system for ease of management.
In carrying out the integration project, Control AV had to consider the sea’s unpredictable motion, Villegas explained, an inevitable factor in
cruise ship installations. The team consequently employed specialised marine-grade mounting hardware designed for high durability and safety. Furthermore, every deployment point was carefully evaluated to ensure that it could withstand the dynamic marine environment, ensuring the safety of both equipment and passengers.
Villegas said: “Each system’s installation is designed to adhere to the highest standards of maritime durability, ensuring they not only withstand the gentle sway of calm seas but also remain secure and functional during tumultuous storm conditions.
“Control AV, with its extensive experience in maritime projects, has been instrumental in the expert installation and integration of these advanced, weatherised sound systems. Thankfully, Control AV and Royal Caribbean know our product line very well, due to previous projects and designs that we worked on with them.”
Reportedly, a smooth installation process ensued. Looking back at the project, Javier Navarro, CEO and Chief of Engineering of DAS Audio, explained: “Partnering with companies like Control AV has been instrumental in refining products like our WR series. These collaborations help us push the limits of what’s possible with weatherised solutions. We aim not just to combat the elements but to create systems that endure over time, ensuring our products are as reliable as they are innovative.”
Villegas concluded by stating that DAS Audio strives to continue growing its footprint in the cruise market by offering high-quality, durable, and, importantly, great-sounding products to enhance the guest experience.
“When we first entered the maritime industry, we were working only on smaller drydock retrofits. Whilst this area is still extremely valuable, we are excited that DAS Audio is now also able to be included and specified in new, large ship builds. We’re really proud and grateful to be part of such a prestigious brand and technologically advanced ship.”
www.dasaudio.com
EM ACOUSTICS
EM Acoustics’ presence in the cruise sector is demonstrably growing, with the British loudspeaker manufacturer’s flagship Reference Series enhancing entertainment experiences aboard multiple zones on Star of the Seas, Royal Caribbean’s latest ship.
EM Acoustics has reported that this project marks yet another important step in a developing relationship between the manufacturer, Royal Caribbean and Star of the Seas’ installation specialists, Control AV. This relationship began around three years ago through consultant Shaun Trotter, who specified EM Acoustics loudspeakers on several Celebrity Cruises refit projects.
Those successes paved the way for the manufacturers’ first involvement in a new build cruise ship for Royal Caribbean.
Karoly Molnar of Control AV, Royal Caribbean’s long-standing AV design partner, was pivotal in the decision to specify EM systems, as Roger Harpum, Business Development Manager at EM Acoustics, explained: “Control AV were seeking the right loudspeaker solutions for several venues onboard Star of the Seas
“They had faced challenges with delay systems in one of the theatres and immediately recognised the performance and reliability our flagship Reference Series could bring.”
An engineering-led organisation informed by acoustics research, EM operates an end-to-end manufacturing operation at a 30,000 sq ft facility in Surrey, England.
Molnar visited this HQ to see the company’s design and manufacturing process, and to listen to the product portfolio first-hand. “For us, the relationship with both Royal Caribbean and Control AV is incredibly important,” continued Harpum. “Although we’re at an early stage of the journey in the cruise sector, there’s a real sense of momentum as we continue to work together.”
On Star of the Seas, EM Acoustics’ Reference Series loudspeakers have been installed across two key entertainment zones, including the ship’s main theatre, the Royal Theater, and a multi-functional space. In the theatre, the Reference Series provides elegant voicing to support
a diverse range of productions to the standards now expected by audiences and production teams alike.
In the multi-functional space, R4 loudspeakers and S-12 subwoofers provide flexibility for a versatile range of use cases. EM Acoustics’ DQ series amplifiers power the systems.
EM Acoustics collaborated closely with Control AV and Royal Caribbean’s design team throughout the process, with Christopher Vlassopulos, Manager, Sound & Light, New Building & Innovation at Royal Caribbean, personally visiting EM Acoustics’ manufacturing facilities to gain a deeper understanding of the products.
Harpum said: “We’re proud to be genuinely approachable and responsive, whether that’s inviting partners to the factory or providing our own expertise and support during the design stage and installation. We stand ready to offer a real depth of technical insight and practical support whenever it’s needed, and that’s something our partners appreciate and value very highly.”
Whilst maritime projects are a new and already fast-growing sector for EM Acoustics, the manufacturer sees it as an important part of the business moving forward.
“We are working on the development of custom products for the cruise sector in response to client demand, which speaks to the agile and fluid nature of our R&D process,” confirmed Harpum. “With several more cruise projects in the pipeline, it’s safe to say that this is an exciting vertical that we are actively developing.”
Harpum reported that EM Acoustics’ contribution to Star of the Seas is a point of pride for the manufacturer. “Royal Caribbean sets the global standard for best-in-class cruising, and to have our loudspeakers supporting that experience is an honour. We see this project as a clear reflection of the growing trust in the EM Acoustics brand across the cruise industry, and we’re delighted to be involved in the incredible offerings that Royal Caribbean create.”
www.emacoustics.co.uk
Below: Star of the Seas’ Royal Theater, enhanced with EM Acoustics systems.
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ETC
From dimming systems to advanced lighting consoles and fixtures, ETC products are now a staple on Royal Caribbean’s Icon Class ships.
Daniele Peroni, Global Cruise Ship Sales for ETC, shared with MONDO-DR the backstory behind the company’s long-standing relationship with Royal Caribbean, the challenges of delivering high-level lighting systems at sea, and the ETC innovations deployed aboard Star of the Seas.
Can you describe ETC’s history with Royal Caribbean and the Icon Class ships?
Peroni: We’ve been working with Royal Caribbean since the beginning of the Icon Class. Many of our products are also installed across older ships, especially when it comes to dimmers and profiles.
Our relationship with the cruise line has been long-lasting because our lighting control systems have proven reliable and adaptable in maritime environments. Essentially, ETC has been part of Royal Caribbean’s lighting ecosystem for decades.
What specific ETC solutions were integrated into Star of the Seas?
For Star of the Seas, the bulk of the lighting control desks are from ETC, with the ship’s equipment list including products from our high-end Hog console family. ETC controls are used throughout the ship, from the Royal Theater and the Absolute Zero ice rink to the Royal Promenade.
ETC BlueSystem lights, specialised lowvoltage LEDs for backstage areas, have also been integrated. These blue lights allow performers and crew to move safely without disturbing shows or being seen by audiences. For example, this system is used behind the scenes of the AquaTheater aquatic performance stage, where quick performer changes and production team movement are a necessity.
Furthermore, the Latin dance club, Boleros, features our ArcSystem Navis luminaires as a downlight solution, controlled by F-Drive systems.
How closely did ETC collaborate with Star’s integrators and Royal Caribbean’s team?
Collaboration is constant. We work directly with Royal Caribbean’s staff, including Christopher Vlassopulos, Manager, Sound & Light, New Building & Innovation, to share information about new products and updates.
We also have a very close working
relationship with one of the fleet’s main integrators, Control AV, particularly its President Amir El Yordi, Project Director Károly Molnár, and Technical Director Mika Tuomi. They are critical in helping integrate our products into the ship environment.
We don’t have some sort of businessonly, product-focused relationship; it’s a friendship. We chat a lot... some of this is on topic, but a lot of it is off topic too! Because these projects are large and complex, strong personal relationships help everything run smoothly.
How do ETC systems perform in the maritime environment?
Our products are built to handle daily, long-term operation, which is essential at sea. Our warranties, global support network, and extensive dealer presence ensure that wherever a ship is operating, be it the U.S., Europe, or Asia, technical teams can rely on ETC for assistance. Control AV’s expertise as an official ETC dealer also helps ensure smooth integration.
How involved is ETC in the cruise ship sector, and how do you see this evolving?
We see it as a marathon, not a sprint, to cement our name in this area of the market. ETC continuously collaborates with shipowners, integrators, and manufacturers to improve maritime lighting solutions.
While there are already over 350 cruise ships globally, the cruise industry continues to expand, and there’s growing demand for better entertainment and hospitality systems. LED technology, networked controls, and intelligent lighting are now integral, and ETC continues to adapt to meet those challenges.
Could you summarise ETC’s involvement with Star of the Seas and the significance of being part of the Icon Class?
We’re thrilled to be part of the Icon Class. Our solutions help Royal Caribbean deliver high-quality entertainment and hospitality experiences at sea, and we’re proud of the trust they continue to place in us. With each new ship, we refine our products, offer enhanced capabilities, and ensure the technology keeps pace with both operational needs and creative ambitions. Being part of these flagship projects is both an honour and a testament to ETC’s ongoing commitment to the cruise industry.
www.etcconnect.com
Above: Lou’s Jazz ‘N Blues on Star of the Seas, featuring tailored ETC solutions.
Below: Dueling Pianos bar, also equipped with ETC systems.
HARMAN PROFESSIONAL SOLUTIONS
One of the largest entertainment venues aboard Royal Caribbean’s Star of the Seas is the Royal Theater, a prosceniumarch performance space seating more than 1,200 guests. A signature attraction on the Icon Class’ first ship, Icon of the Seas, the theatre’s popularity made bringing it to Star an easy decision. What separates Star and Icon’s Royal Theater, though, is what takes place on stage. Whilst Icon debuted with a performance of ‘The Wizard of Oz’, Star of the Seas’ initial theatrical schedule has kicked off with ‘Back to the Future: The Musical’, the first version of this celebrated production to take place at sea.
Understandably, a different show means different audiovisual needs, with ‘Back to the Future: The Musical’ being particularly technologically demanding, as installers Control AV noted. Therefore, the sound solution for the Royal Theater needed to be redesigned for Star JBL Professional systems make up the core of the Royal Theater’s updated audio system, which according to Morten Gjotz, Global Sales Director for Cruise, Marine, and Theme Projects for HARMAN Professional Solutions, began through the cruise line’s pre-existing positive relationship with HARMAN Professional, including Martin Lighting. “Martin Lighting has been prominent on Royal Caribbean fleets for years, and the Icon Class is no exception. For Star of the Seas, we worked closely with Royal Caribbean to deploy Martin Lighting solutions ship-wide, which included some of our most innovative fixture ranges to fulfil the many, many different needs throughout the ship,” Gjotz explained.
“When the need arose for a world-class theatrical sound system, our more than 20-year partnership with Royal Caribbean led them to explore our other HARMAN Professional brands.
“With JBL’s proven, rider-friendly audio solutions, we were able to present a setup capable of meeting the wide array of complex challenges that come with both a multi-use theatre and cruise ship environment.” Keith Caggiano, Senior Business Development Manager for Installed Performance Systems at HARMAN Professional, detailed the way in which the JBL Professional system was carefully designed to support this varied performance schedule.
“We knew the sound system needed to adapt to various stage configurations and performance styles,” he said.
At the core of this setup is a traditional left-right concert system built
around a total of 18 JBL VTX A8 line arrays, supported by 13 VTX B18 subwoofers, both flown and ground-stacked for even, low-frequency coverage that would not bleed into adjoining areas. A centre array of JBL A6 line arrays provides not just fill but also serves as a standalone centre channel for speech and cinematic playback.
Additional JBL AC15 and AC16 loudspeakers provide front fill and balcony delay, while an immersive surround setup of 44 JBL AC18 speakers integrated into the walls and balcony extends coverage throughout the theatre. Powering the entire system was again down to HARMAN Professional, with 11 Crown I-Tech 4x3500HD and eight DCi 8x600DA amplifiers deployed.
“Designing and installing a system like this takes constant communication between all parties,” Caggiano said. “We started with detailed room modelling to explore multiple speaker configurations and address specific pain points based on the previous ship’s experience. Once we finalised the concept, we worked closely with Control AV’s engineering team through the prep, installation, and tuning stages.”
Furthermore, JBL Professional engineers attentively supported the onsite commissioning process, assisting with final system equalisation and training of the ship’s audio crew to ensure that they could utilise the solution to its highest potential.
“This project was built upon the relationship HARMAN Professional had already established with Royal Caribbean through Martin Lighting,” he said. “Being trusted to extend that collaboration into audio, especially on one of the largest ships operating today, means a lot to us.”
He concluded, “We’re a large AV manufacturer, but we take a personal stake in every single installation. Our success is tied to how our products are actually used in the real world. JBL designs world-class systems, but it’s the owners who invest in us and the integrators who bring these solutions to life that make what we do meaningful. So, anytime we are given the opportunity to bring a project like this to life, we are grateful.”
pro.harman.com www.jblpro.com
INTERACTIVE TECHNOLOGIES
Breaking into the entertainment technology game 30 years ago with its line of hand-held tools for roadies, Interactive Technologies’ focus has substantially grown and evolved, with the team now committed to its intelligent lighting control instrument, CueSever, that Interactive Technologies’ CueServer Product Manager and Lead Engineer, Rob Johnston, calls “the Swiss army knife of light management.”
Johnston explains to MONDO-DR how CueSever is used on Royal Caribbean’s Star of the Seas, joined by freelance Lighting Designer Nick Mugnaini, who was responsible for the system’s programming and commissioning on the ship.
Can you introduce me to Interactive Technologies?
Johnston: We started the company in 1996, crafting hand-held tech for tour crews to test their rigs. Then, LEDs entered the pro AV scene, and we saw that there was a real need for lighting control systems that could effectively manage them, as well as moving lights.
A lot of our customers were taking large lighting consoles into venues where what they really needed was a standalone processor that could be left in a venue without a professional having to manage it.
Places like restaurants, performing arts venues, bars, etcetera, wanted something that could trigger the lighting set-up by a designer, at just the push of a button, without having to call someone in every time they needed it to run.
So, we launched CueServer back in 2003, and that’s pretty much been Interactive Technologies’ focus since. CueServer achieves what these customers wanted, a solution that allows venue employees to attain light effects without needing the knowledge to program them on the spot. We really made the CueServer a jack of all trades, a Swiss army knife of lighting control. We aren’t trying to reinvent or recreate the console – this is completely different.
How did the partnership between Royal Caribbean and Interactive Technologies begin?
Johnston: Royal Caribbean approached us around 15 years ago. They told us that they’re trying to create really unique, awesome-looking spectacles inside a wide array of entertainment spaces. They discovered that our product, CueServer, could allow them to automate all this, store all their shows, and be set up to practically run itself based on time codes or network triggers.
Mugnaini: I was responsible for commissioning and then programming the CueServer alongside venue lighting. I brought CueServer 3 onto Star of the Seas,
Photos: (Left to right) Star of the Seas’ Hideaway Beach Club, Rye & Bean coffee shop, and Pier 7, all supported by CueServer.
the third generation of the product, and the latest and most capable version of the control. I brought it on to record and then play back the lighting for shows. Before I joined the lighting installation industry, I was a crew member for five years on board Royal Caribbean ships, so when I joined the lighting programming team for Star, I already had an understanding of what the ship would need and how CueServer 3 could really work for it.
Where and how is CueServer 3 used on Star of the Seas?
Johnston: There are 17 CueServer 3 units installed on Star. Four are dedicated to the main theatre for worklight configurations, while the rest run smaller venues like Boleros, Lou’s Jazz ‘n Blues, Spotlight Karaoke, and other entertainment and leisure spaces. What makes CueServer unique is that it bridges both entertainment and architectural control. It can run cue lists and shows like a console would, but it also understands zones and presets like an architectural processor. So, depending on the venue, it might run live looks, scheduled events, or day-to-night transitions, all from the same piece of hardware.
Mugnaini: For example, the pool deck uses a single CueServer divided into seven zones, controlling separate areas like the bandstand, eating area, and the pool. Each can run independent looks, with ambient daytime lighting in one area while a full light show happens in another. Boleros, one of the more complex installations, uses pixel mapping across the ceiling feature, which CueServer handles effortlessly.
I understand that CueServer has a long lifespan. How does sustainability influence Interactive Technologies’ philosophy more broadly?
Johnston: I appreciate you picking up on that, because sustainability is a huge part of our thinking. We design CueServer to be the opposite of disposable. It’s built to last a decade or more, with software updates and modular components that extend its life even further. The idea is that customers don’t have to replace the core system every few years; they can just update it. That’s more sustainable for them and for us.
Mugnaini: And from the shipboard perspective, that reliability and low maintenance are key. Space and resources are limited at sea, so you can’t just swap out hardware mid-voyage. CueServer systems keep running with minimal support, which reduces waste and avoids constant shipping or servicing.
Finally, what’s next for Interactive Technologies and CueServer?
Johnston: CueServer continues to be specified for every new Royal Caribbean ship we’re aware of, and it’s now part of the standard architecture. We’ve already started work on the next ship, Legend of the Seas, and continue to see CueServer used in both new builds and refits.
Mugnaini: It’s constantly evolving. The feedback loop between Rob’s team and the programmers out in the field means the product keeps getting better. It’s flexible, it’s stable, and it’s keeping the entire fleet’s lighting control standardised, which is great for everyone involved.
www.interactive-online.com
L-ACOUSTICS
Following the precedent set by its sister ship, Icon of the Seas, Royal Caribbean’s Star of the Seas has been outfitted with over 400 L-Acoustics speakers. This comes after Icon’s audio solutions, designed and deployed in close collaboration between the manufacturer and the installer Control AV, performed with great results.
In fact, L-Acoustics and Royal Caribbean’s relationship has been one of many achievements, with the two working together for over six years and across multiple ships.
Scott Wakelin, Global Director of Business Development at L-Acoustics, told MONDO-DR, “We’re specified into all of Royal Caribbean’s new-build projects; they’re committed to offering premium audio solutions for all their entertainment venues and are always some of the earliest adopters of new technology.
We’ve found this really aligns with L-Acoustics’ mission of creating the best shared sound experiences.” When the manufacturer first met with Royal Caribbean, the cruise line explained that they needed an audio brand that was recognised worldwide and, on top of this, would be rider-friendly.
Three of the Icon Class’ most distinctive venues, the Music Hall, the Absolute Zero ice skating rink, and the AquaTheater, a synchronised swimming and diving performance space, were to host vibrant shows. “They needed a name and a standard that professional productions recognised and trusted. L-Acoustics fit this bill,” Wakelin continued. Across Star of the Seas, the manufacturer’s technology features within a wide array of venues. Ben Baczenas, Application Project Engineer, Hospitality, at L-Acoustics, clarified that primarily, the ship leverages three of the brand’s product lines for its speaker systems.
The X Series point-sources, the S Series colinear loudspeakers, and the A Series line source systems, what Baczenas calls three of L-Acoustics’ “principal lines,” support a multitude of Star’s entertainment spaces.
“From the A Series, the A15 systems are used in the large-scale entertainment spaces – the Music Hall, Absolute Zero ice arena, and the
AquaTheater,” Baczenas said. “Syva speakers feature in several other locations, including the Empire Supper Club and the outdoor rear deck. The X Series handles more intimate spaces such as the comedy club, karaoke lounge, and jazz bar.”
To complete the solution, subwoofers including the KS21i, SB15m, and SB18 models are distributed throughout the ship. Powering these systems are L-Acoustics’ LA7.16i amplified controllers, some of the latest technology from the manufacturer.
“As Scott said, they really wanted to be able to leverage relevant, brand-new solutions,” affirmed Baczenas.
He stated that Royal Caribbean was particularly pulled to this tech as “it’s extremely green.” The higher-density amplifier’s power draw is managed intelligently, in a manner that limits heat and energy consumption. “This is a big benefit for cruise ships, where HVAC demand and, on the value side, the operational costs of power use are constant concerns.”
While Icon and Star of the Seas share similar audio blueprints, several refinements were introduced for the latter. “The system design is almost identical,” Baczenas said, “but, alongside Control AV, updates were made based on lessons learned. For example, we revised amplifier topologies and integrated AES67 audio networking directly into the system to simplify routing and reduce thirdparty components. In short, it’s cleaner and more efficient.”
Sound management also received attention, with the sub design being upgraded for Star The team enhanced cardioid subwoofer deployment in venues like Absolute Zero and Lou’s Jazz ‘n Blues to better control lowfrequency dispersion and reduce sound bleed between spaces.
Baczenas added,“Royal Caribbean’s team is very proactive. They always ask, ‘What’s new? How can we make it better?’ That mindset ensures every new ship benefits from the experience of the last.”
Beyond the technical complexity, Wakelin explained that a big consideration for cruises
is structure-borne noise transfer. “Sound and vibration can easily travel through a ship’s frame, so we’ve refined our design philosophy to control those effects.”
Many venues on Star of the Seas are located in close proximity, sometimes directly above or beside one another, particularly along the Royal Promenade. Baczenas noted, “We had to manage both vibrational and environmental noise so that spaces could operate simultaneously without interference.” This meant precise tuning, isolation, and careful alignment of cardioid sub arrays. The scope of L-Acoustics’ presence aboard Star of the Seas is extensive. Wakelin said that “if you follow the ship’s central spine, starting at the Royal Promenade, you’ll encounter L-Acoustics systems everywhere. Essentially, if there’s live entertainment, there’s an L-Acoustics system behind it.”
Such a large-scale maritime installation demands precise coordination between manufacturer, integrator, and shipyard. Baczenas called the process “very symbiotic,” with L-Acoustics working closely alongside Christopher Vlassopulos, Manager, Sound & Light, New Building & Innovation at Royal Caribbean, and installers Control AV. “We crafted the solutions to be ship-ready, and Christopher turned these designs into a reality under the demanding conditions of the Finnish shipyard.”
Wakelin and Baczenas explained that the tight time scales, environmental factors, and concurrent construction activities add a unique complexity to cruise ship projects. Baczenas said, “You’re constantly working around other trades, stage builders, lighting teams, flooring crews, all sharing the same limited space. Moreso, you’ve all got the same deadline!”
Wakelin added that the close-knit collaboration was instrumental to Star’s audio success, despite these challenges. “It’s not a typical installation,” he said. “Only a handful of integrators globally have the expertise to execute at the level that Star of the Seas and other high-end cruise ships need. Control AV is great, and Christopher deserves credit too for setting the tone, with his ‘no compromise’ mindset that pushes everyone
Left: Star of the Seas’ Empire Supper Club, with L-Acoustics speakers installed for premium audio quality
Previous: A performance taking place in Star’s AquaTheater, enhanced by L-Acoustics systems.
involved to deliver their best.”
Asked why L-Acoustics feels that its products are suitable for the undeniably difficult world of maritime installations, Baczenas pointed to its products’ robustness, with every unit being built to the same durability standards as its touring gear.
“There’s no lighter version for installation. The same materials, coatings, and hardware that survive global tours are what we send to sea. These systems are designed to withstand vibration, humidity, and salt exposure without performance degradation. We’ve got that proven ‘road-readiness’.”
Wakelin noted that this reliability has proved essential in the at-sea entertainment industry, as “cruise ship systems need to deliver every night, without fail. On a ship, there’s no quick equipment swap-outs from the warehouse; everything needs to just work as soon as it is installed.”
Cruise ship entertainment is undoubtedly growing increasingly ambitious, an evolution that Baczenas said L-Acoustics wants to be a part of. “We want to help cruise guests experience the same sonic quality at sea that they would at venues like Radio City Music Hall, the Barbican, or the Royal Opera House. Because there’s no reason why ships shouldn’t be able to assimilate the same production value as any on-land space.”
As the manufacturer continues its work in the maritime sector, being active in the market for 10 years, with a reported acceleration in the past seven, Baczenas stated that being a part of the Icon Class has been a milestone. “This is Royal Caribbean’s flagship class of ships. It represents the highest standard they’ve built to, so obviously, being part of this is a huge point of pride for us.” He added a final note of appreciation for the team effort behind it all. “Christopher Vlassopulos, Control AV, and all the other installers who worked on the vessel, really drive the premium quality across these projects. It’s because of that shared philosophy between everyone involved that this huge ship was completed.”
www.l-acoustics.com
MAINLINE MARKETING
With more than 35 years of experience in the professional AV industry, Mainline Marketing, based in Winter Park, Florida, has become a trusted bridge between manufacturers and the integrators who bring their technologies to life.
The representative’s influence extends well beyond traditional venues; it has played a pivotal role in Royal Caribbean’s Icon Class of ships, most recently, in Star of the Seas. With the cruise line also being headquartered in Florida, Mainline has acted as a representative for many of the key manufacturers with systems on its ships.
MONDO-DR sat down with Clinton Muntean, President of Mainline Marketing, to discuss the company’s evolving role in the cruise sector, its experience working on the Icon Class, and how collaboration remains central to success on projects of this scale.
Who is Mainline Marketing, and what sets the company apart?
At Mainline, while we sell products, more importantly, we sell solutions. Our team partners closely with integrators and consultants to demonstrate the latest technologies from our manufacturer clients, training industry professionals in these systems, and then supporting projects from concept through installation.
What really sets us apart is our hands-on approach. We operate an experience centre where industry partners can see, hear, and test equipment in action, and we host events, trainings, and roadshows. We also work with our customers on field trials for products. These sorts of meetings and trials helped Royal Caribbean decide which products for were a good fit for the Icon class ships from the brands we represent, namely Absen, Allen & Heath, DAS Audio, Draper, and Shure.
Specifying technology for a cruise ship happens years before installation. How do you ensure that the equipment you recommend to ships remains relevant and future-proof?
Because we work directly for the manufacturers, we’re often aware of new products or technologies long before they hit the market. That insight allows us to plan ahead with both the integrators and Royal Caribbean. For example, when Star of the Seas was being designed, we already knew that Shure’s PSM 1000 In Ear Monitoring System would be replaced by the new Axient Digital PSM system. That meant we could alert the design team early, provide demos and training, and ensure the system was ready to integrate when the ship launched. That kind of foresight helps us keep the technology relevant, even on projects that take years to complete.
How have global economic factors, such as inflation, tariffs, and exchange rates, affected your work on projects like this?
These realities have had a huge impact. Normally, year-over-year price changes are small and manageable, but in the last couple of years, we’ve seen a perfect storm – component supply chain issues, logistics challenges, and tariffs all driving costs up.
Because most AV products are manufactured outside the United States, tariffs have made importing more expensive and currency fluctuations sometimes result in an integrator choosing to buy products outside the US which adds some complexity to procurement and logistics.
To navigate that, we’ve had to get creative. We work with our global manufacturer partners, who often have European offices as well, to find ways to maintain competitive pricing while still supporting the project locally. It’s a balancing act, but collaboration and flexibility have kept everything on track.
From your perspective, what are the biggest opportunities within the cruise ship industry, particularly in AV technology?
The opportunities are virtually limitless. The demand for immersive experiences is growing fast, and cruise lines like Royal Caribbean are leading the charge.
Think of what’s been done with The Sphere in Las Vegas. It’s only a matter of time before we see that level of experiential design on cruise ships. Royal Caribbean’s creative team is constantly pushing boundaries, and the technology is catching up fast.
Looking ahead, what is Mainline Marketing focused on now that Star of the Seas is in operation?
There’s always another project on the horizon. Now that Star of the Seas is complete, we’re already working on the next Royal Caribbean new build, as well as scheduled dry dock upgrades for existing ships.
We also continue to support Royal Caribbean’s operations team to ensure the fleet’s systems perform long after launch. Cruise ships are harsh environments, with salt air, humidity, and vibrations, all of which can take a toll on AV gear. That’s why responsive service and close manufacturer partnerships are so critical.
Ultimately, our goal is to ensure Royal Caribbean’s teams feel supported for the lifetime of every ship. That ongoing relationship is what maintains our role in these projects.
www.mainlinemarketing.com
Right: Clinton Muntean, President of Mainline Marketing.
ROBE Maritime Lighting onboard cruise ships.
PANASONIC
Delivering a ship that looked as extraordinary as it performed was central to Star of the Seas’ design, continuing the legacy of Icon of the Seas, whose striking visuals drew global media attention at launch. Behind crafting this all-important look for Star was Panasonic, which supplied a wide array of solutions, including several complex custom systems, enabling high-quality projection and display.
As cruise ship entertainment continues to evolve toward more ambitious, multimedia-driven productions, Panasonic’s visual solutions have increasingly found a home at sea, as Hartmut Kulessa, Head of Marketing, Visual Systems at Panasonic, told MONDO-DR.
“Panasonic has a long history of providing presentation and imaging technologies for corporate, education, and event spaces,” Kulessa said. “But in recent years, our focus has shifted strongly toward entertainment, theatres, museums, touring, and live events. We’ve found that the same qualities these large attractions on land demand, durability, stability, and manageability, are exactly what cruise lines like Royal Caribbean need for their venues.”
This alignment has made Panasonic a natural fit for the Icon Class. Panasonic’s equipment is deployed all throughout Star of the Seas, from digital signage to high-brightness projectors driving the ship’s most grand performances.
“In a ship like Star, our technology is virtually everywhere,” said Kulessa. “You’ll see it in corridors, where LCD projectors power flexible signage for announcements and promotions, and in the main entertainment venues like the synchronised swimming and diving performance space, the AquaTheater.”
Each environment called for a tailored solution. For example, in Absolute Zero, the ship’s ice-skating theatre, large-scale projection is used to create dynamic scenic backdrops that transform the stage for daily performances. The requirements there differ from those in the AquaTheater, a complex open-air space where moisture, humidity, and airborne chlorine presented unique challenges.
“In the AquaTheater, we installed projectors with specially coated circuit boards to prevent corrosion and deterioration. It’s a customised approach designed to ensure the technology performs flawlessly for years, despite the demanding maritime conditions,” the head of marketing noted.
Central to Star of the Seas’ visual infrastructure are Panasonic’s RZ34 3-Chip DLP laser projectors. These high-brightness units are designed for continuous operation with built-in redundancy across power and light sources. Kulessa explained that the manufacturer designed these projectors to deliver ideal image quality with minimal maintenance needed. “They include dual-laser modules, redundant power supplies, and a constant brightness mode that allows them to maintain consistent output over extended periods. For cruise ships, that means maximum uptime and predictable performance.”
This reliability is further supported by remote monitoring and advanced control capabilities, enabling shipboard technicians to oversee all AV systems from a central interface. Kulessa continued, “Every system on the ship has to interact seamlessly. Our technology’s monitoring and control features make it ideal for integration into the ship’s broader AV network.” As with many of the ship’s technical systems, Panasonic’s work began well before Star of the Seas entered the water. The company was involved from the early design and specification stages, working closely with Royal Caribbean and installer Control AV.
“Being brought in early allowed us to properly assess each application and anticipate challenges,” Kulessa recalled.
Regular dialogue continued through to delivery and commissioning. “We had multiple meetings involving our engineers, Control AV’s technicians, and Royal Caribbean’s project managers. It was truly a joint effort with everyone at the same table, looking for the best possible solutions for each environment,” he noted
Star of the Seas builds on the technological foundation established by its sister ship, Icon of the Seas, and Panasonic’s contribution reflects the latest advances in its visual systems portfolio.
“It’s been such an honour to be involved in such an iconic project,” he remarked. “Royal Caribbean pushes the boundaries of guest experience, and we share that same mindset. Our goal is always to deliver visual systems that bring creativity to life reliably, beautifully, and for years to come.”
www.panasonic.com
Left: The AquaTheater on Star of the Seas, featuring Panasonic projectors that help bring the colour to every performance.
PROJECT INTERNATIONAL
When Royal Caribbean needed a fashion-meets-function lighting design, they turned to long-time partners and ‘architainment’ professionals, Project International. With their installations combining the performance of entertainment lighting with the aesthetics of architectural, Project International helped give the Icon Class of ships its renowned luxurious look.
Richard Dixon, Projects Director at Project International, sat down with MONDO-DR to discuss the designer’s work on Star of the Seas and its place in the extensive team behind the Icon Class.
Can you explain Project International’s ongoing relationship with Royal Caribbean?
Dixon: Project International (PI) has assisted Royal Caribbean Group (RCG) on the development of ship-wide lighting design for the Icon Class since 2018.
PI have worked specifically on the architectural lighting for both the interiors and exteriors of the ship line, acting alongside multiple architects, in-house designers, and the teams behind the entertainment venues. We’ve been able to provide well-balanced, high-impact installations for multiple public areas across RCG ships, and we always focus on how we can empower the crews on the ships with effective and clever control solutions for this lighting.
Above: One of Star of the Seas’ dining spaces, complemented with architectural lighting. Next page: Star’s Thrill Island, again equipped with architectural luminary fixtures.
Can you tell me about the solutions that Project International integrated within Star of the Seas?
We worked with a multitude of manufacturers that have products and control systems we know and trust. For dynamic lighting, we spoke with Martin Lighting and the wider HARMAN Professional team, Robe, Traxon, LedFlex, and GDS. When we needed brands for more general or wash space lighting, we looked to Bega, Rutec, and TVV.
Alongside Videlio HMS, networks from Helvar and Madrix were deployed to manage this equipment. We relied on Helvar for controlling our installations in public spaces and Honeywell for the cabins and suites. A dedicated Bridge server helps us with monitoring for safety and operational needs. Our design on Star has been the largest and most sophisticated of our project catalogue so far.
How does your system design suit the cruise ship environment, for example, in terms of its durability, reliability, and adaptability at sea?
We know that when we are creating a design for a maritime venue, we need to take a completely different approach than what we would if it were on land. We make sure that we choose only products with robust qualities and a long life span, so that maintenance is far less likely to be needed. We also have a close relationship with the shipyard,
so we work through our list of manufacturers with them to check everything meets requirements. As cruise ships are essentially 24-hour venues, to make sure our system design suits the environment, we must pay a lot of attention to lighting control. Automated functioning is necessary, as the lighting needs of venues change, whether it’s morning, afternoon, or night.
Understanding Royal Caribbean’s operational needs and the schedules of its venues has helped us craft the best control system possible.
What is Project International’s history within the cruise sector, and what market changes have you personally seen throughout your career in the industry?
PI has been involved in the maritime sector, both yacht and cruise, for the past 30 years. We have worked on numerous firstin-class projects, and we enjoy working closely with the clients during the creative development process. It’s really exciting to
help bring their ideas to life and extremely rewarding for our teams. I think that right now, the industry is healthy! Much of today’s focus is on sustainability and energy conservation, making sure that ships are efficient well into the future. We’re also seeing a concentration in the ship refurbishment side of the market, with a lot of the ships we had originally designed calling us in for fast-track refits as their fleets are modernising.
What does it mean for Project International to be part of Star of the Seas?
PI has managed to refine Star of the Seas compared to our work on the first ship, Icon of the Seas. We plan to keep developing and perfecting our designs as we work across the future ships in this fleet. Royal Caribbean will continue to develop its attractions and venues for future ships in the Class, and we’re going to keep crafting light innovations to help enhance these.
www.projectinternational.com
Iconic lighting designs
Q-SYS
As the audio, video, and control needs of cruise ships evolve, technology needs to evolve alongside them.
Torsten Haack, Q-SYS Sales Director for Marine & Theme Parks EMEA, sits down with MONDO-DR to discuss how the manufacturer has grown to become a key partner in Royal Caribbean’s Icon Class, leading to a reflective conversation about the maritime AV industry as a whole.
Can you introduce me to the partnership between Royal Caribbean and Q-SYS?
Haack: Royal Caribbean has established itself as one of the most innovative cruise lines in the industry. Each consecutive ship is renowned for its record-breaking design and revolutionary integration of technology, providing guests with unforgettable and unparalleled voyages. Q-SYS has this same commitment to innovation and aims to deliver similarly extraordinary experiences. In this way, our core values could not be better aligned. Our partnership began with Quantum of the Seas, which had its maiden voyage in 2014. At that time, the Q-SYS platform was in its infancy, and it has since evolved into the full stack AV platform it is today. As the audio, video and control needs of the fleets evolve, the software-based nature of Q-SYS means we can evolve along with it. Each new ship provides an exciting opportunity to collaborate and enhance the marine AV environment.
Additionally, both Q-SYS and Royal Caribbean take pride in empowering teams through training. With standardisation being key, the training we provide ensures consistency across Royal Caribbean’s fleet of ships, while also ensuring every type of new ship benefits from the latest AV advancements. This has resulted in a strong and longlasting relationship that is a testament to the enduring power of collaboration in the cruise ship industry.
Inside Star of the Seas, what Q-SYS solutions can be found?
Star of the Seas’ AV infrastructure is built around the Q-SYS full stack AV platform, which handles audio, video, and control across the ship’s public spaces. While the technology itself remains largely invisible to guests, it plays a central role in shaping their experience, from the clarity of sound in a lounge to the seamless control of lighting and media in a theatre.
More than a dozen mid-sized Q-SYS Cores are deployed throughout the ship, each managing a cluster of zones. These are supported by CX-Q amplifiers and a range of audio I/O devices, all of which are, by nature of Q-SYS, networked and software-driven. This architecture allows for flexibility in how spaces are used and adapted, whether for entertainment, communication, or ambient control.
Above and next page: Star of the Seas’ Overlook, with audio, video, and control supported by Q-SYS.
Below: The 1400 Lobby Bar, also managed by Q-SYS.
What entertainment purposes are these Q-SYS systems serving across the ship?
Q-SYS is present in nearly every public area on Star of the Seas
From bars and restaurants to theatres and sports centres, the platform supports a wide range of entertainment formats, often switching between live performance and ambient audio with minimal intervention. More than 90 touch panels are installed across the ship, giving crew members intuitive control over their environments. One of the most complex zones is the AquaDome. the space housing the AquaTheater. As well as the performance space, the dome also accomodates bars, restaurants, and retail spaces. A single Core 510i manages this entire area, distributing audio to the front PA, delay lines, and surround loudspeakers, while also supporting the adjacent venues. This kind of integration allows for a cohesive guest experience, even as the function of the space shifts throughout the day.
During Star’s development, how closely did the Q-SYS team collaborate with the AV integrators and Royal Caribbean’s design team?
The success of Star of the Seas was built on close collaboration between Q-SYS, Royal Caribbean themselves, and the ship’s AV installers. This meant working hand-in-hand with Control AV and Tennagels Medientechnik, whose teams were deeply involved in the detailed planning and execution of each entertainment venue. The role of Q-SYS extended beyond supplying technology. The team was involved early in the design phase, offering training and technical orientation to the team at Royal Caribbean. These sessions helped
define what was possible with the Q-SYS platform and shaped the scope of the AV systems before any hardware was specified.
Once the design was locked in, Q-SYS remained closely connected throughout procurement and installation, ensuring that the systems were not only technically sound but also aligned with operational needs.
How is Q-SYS technology positioned to perform reliably at sea?
A maritime environment is a relentless test of endurance for every piece of technology on the ship. Salt air, moisture, constant vibration, and fluctuating power sources challenge even the most robust systems.
We see these challenges not as obstacles, but as an opportunity for our solutions to prove their durability. Q-SYS is engineered to minimise these risks with hardware designed to withstand the harshest conditions, and software-based flexibility that allows the system to adapt. Being at the heart of the system, many of our products benefit from living in climate-controlled technical rooms that offer a measure of protection, but even these feature redundancy, ensuring reliability and consistency.
Other components, loudspeakers in particular, must face the elements head-on. Our AD-DWL loudspeakers, for example, are subjected to rigorous testing, from salt-mist exposure to ingress protection, and comply with MIL-SPEC requirements. Years of service in similarly harsh environments have allowed us to fine-tune the balance between excellent sonic performance and peak durability.
Looking at the cruise industry more broadly, what do you see as the biggest opportunities or challenges for maritime AV technology?
Cruise ships are practically floating cities, and their public spaces are expected to deliver high-quality entertainment around the clock. Maintaining those standards not only relies on the technology, but also on the people who operate it.
Finding skilled AV personnel who understand both the technical systems and the unique demands of maritime environments is one of the biggest challenges facing the industry. Ships rely on teams who can troubleshoot, adapt, and keep things running smoothly, often with limited access to spare parts or external support. This challenge opens the door to innovation from those in the industry. There’s a growing opportunity to simplify AV systems, not by reducing their capabilities, but by making them easier to use and maintain. Automating routine tasks, streamlining user interfaces, and introducing intelligent features like AI-assisted show control or remote monitoring and management can help reduce the burden on crew members and ensure consistency across the fleet.
How involved is Q-SYS in the cruise sector overall, and do you expect its presence in this area of the industry to grow or change?
Over the past fifteen years, we’ve seen Q-SYS become a familiar name in the cruise sector, largely owing to the Q-SYS platform and its innate ability to handle complex hospitality and entertainment environments. Today, it’s rare to find a new-build cruise ship that doesn’t include Q-SYS as part of its AV infrastructure. This level of involvement is the
result of consistent collaboration with shipbuilders, integrators, and cruise operators who are looking for systems that can keep pace with the demands of modern maritime entertainment. The nature of cruise ship construction means that decisions made during the design phase can shape operations for a decade or more. With that in mind, Q-SYS has focused on building long-term relationships and offering tools that are flexible enough to evolve over time.
Looking ahead, though, there’s still room for growth. As cruise lines continue to expand their fleets and explore new ways to elevate the onboard experience, the demand for scalable and reliable AV systems expands with it.
What does it mean for Q-SYS to be on board Star of the Seas?
Being involved in Star of the Seas has been a milestone for our team, not just because of the scale of the project, but because of what it represents. This ship is a convergence of entertainment, engineering, and guest experience at its highest level, and we’re proud that Q-SYS plays a role in making that possible.
Our technology supports a wide range of spaces, each with its own requirements. It’s a privilege to contribute to something that brings people together in such a memorable way, and to do so in collaboration with partners who share our commitment to quality and innovation.
www.qsys.com
ROBE
Below: The AquaTheater, illuminated by colourful Robe fixtures.
Next page: Star’s top deck, another space where bright architectural and entertainment lighting combine to create a vibrant atmosphere.
Right: Star of the Seas’ The Pearl, an architectural feature on board the ship, benefitting from ‘architainment’ lighting.
“WE’RE RELIABLE, TRUSTED, AND IMPORTANTLY, WE MAKE OUR OWN TECHNOLOGY, INSTEAD OF OUTSOURCING THAT SIDE. WHAT I LIKE ABOUT THIS IS THAT ROBE REALLY SETS THE DESTINY OF ITS OWN TECHNOLOGY, WE DON’T HAVE TO ANSWER TO ANYBODY.”
For Robe, Royal Caribbean’s new Icon Class is significant in that it’s the first large project that the manufacturer and ship line have collaborated on. Despite this, with maritime industry veteran and Robe’s Global Maritime Sales Director, Tony Perez, on board, alongside a whole host of similarly passionate at-sea AV professionals, the integration was far from ‘beginner’.
Perez commented, “One of the main things to understand is that the success we had in bringing Icon and Star of the Seas to life is because of the massive team effort behind them.”
The result of this wide partnership saw that on the latest ship of the pair, Star of the Seas, two of the main entertainment venues have Robe moving lights installed at the heart of their rigs, while approximately 250 other Robe and Anolis fixtures are dotted throughout the ship in separate areas.
Perez enlightened MONDO-DR on how he joined Robe in early 2020, becoming the brand’s Maritime go-to guy, supported by his many years of experience in the at-sea entertainment business. This new role kick-started his mission to see Robe’s systems, renowned on land, become staple solutions within the cruise ship world too.
“I had a chance to get in there and tell the industry what Robe’s story was, and how, why, and where our products could be used.” Control AV, installer on the Icon Class and long-time friend to both Perez and the manufacturer’s late Chief Sales Officer, Craig Burrows, took notice of this, deciding that Robe products were ideal for some of the more dynamic, challenging venues that Royal Caribbean had conceptualised for its new ship line.
“Having Amir El Yordi, President of Control AV, in our corner has been paramount to Robe’s success with Royal Caribbean,” Perez said. Throughout Star’s venues, an extensive Robe lighting package was specified by Ben Couling from Tristwell Solutions and Christopher Vlassopulos, Manager, Sound & Light, New Building & Innovation at Royal Caribbean, and the overseer of entertainment technology across the ships. Perez explained his trust in Couling and Vlassopulos when it came to handling Robe’s products; “Ben and Chris are experts in all AV disciplines,
but he has a particularly rich background in lighting. This makes such complex projects a lot easier.”
One of the more specialised aspects of the integration was for Star’s Royal Theater. This proscenium-arch theatre seats over 1,200 guests and is currently hosting the first tour of ‘Back to the Future: The Musical’ at sea.
In the venue, 24 ESPRITE PCs and 28 ESPRITE Profiles were chosen as key fixtures, most flown in the overhead rig, with some deployed along the high sides of the stage.
Two FORTE FS FollowSpots with motion cameras are running on two RoboSpot controllers positioned on the lighting bridges, with the FORTE FS luminaires on the most downstage catwalk. There are also 32 PAINTES in the space, chosen for their small size and powerful output, positioned front of house.
Next, in the ship’s Music Hall, a two-story bar, nightclub, and lounge, 24 TetraX units are used as one of the main effects. Alongside them sit four LEDBeam 150s, strategically positioned to hit the mirror ball.
Couling and Vlassopulos then moved to designing the solutions for the unique Absolute Zero, an ice arena located at the aft end of the deck. Absolute Zero has four FORTE FS FollowSpots running in pairs on two RoboSpot systems, which are each positioned at 90 degrees to one another around the rink, used for specials and highlighting soloists as they perform on the ice.
In the Royal Promenade, the boulevard at the heart of Star and the connector between bars, restaurants, and entertainment venues, nine white ESPRITES and two RoboSpot systems with four white Motion cameras are rigged on both sides – port and starboard. Perez noted, “The RoboSpot system was chosen for its flexibility, with the BaseStations concealed in a remote room offsite from the main Royal Promenade neighbourhood.”
The AquaTheater, a high-energy aquatic theatre that hosts synchronised swimmers, fountain shows, and robotic arms, was also among the venues treated with Robe fixtures.
The space’s two dive towers are lit with 12 white iSpiiders rigged underneath and on the inner sides of the stage in between them to great effect, alongside six white iFORTES and two RoboSpots to capture the action of performers.
Similar to his relationship with Couling and Vlassopulos, Perez has enjoyed a long partnership with the rest of the Royal Caribbean team, spanning over 20 years. “They’re a top-tier cruise line,” he said. “I’ve worked very closely with Christopher, Ben, Matthew DeJong, Royal’s Lead Design Associate, and Nicholas Shadheen, IT (GET) Project Manager. These are guys that really know what they’re doing. Furthermore, we had some incredible internal support from our internal Robe team. Light House, our Robe distributor, has been a significant factor in delivering all the Robe & Anolis technology to our different dealers. We also have major support from Peter Moore, Product Manager, Ingo Dombrowski, Maritime European manager, Lorienn Cochenour, CEO, Robe NA, and, of course, our Robe Factory and excellent internal inside sales team!”
Perez again proved his earlier statement of the Star of the Seas integration being “a massive team effort” as he explained that installers Tennagels and Project International were also key in delivering Robe solutions to the ship.
Project International, run by Richard Dixon, deployed Anolis systems throughout the ship, serving an ‘architainment’ purpose. “I’ve known Richard for a long time, he’s lovely. He and his team have been expertly working with Anolis for a while now.” For a more detailed look at Project International itself, turn to page 37 to read an exclusive interview with Dixon.
Firstly, throughout Star’s Thrill Island and Chill Island, where guests can choose between four pools, nine whirlpools, and six water slides, among other experiences, Project International fitted over 60 Anolis Calumma M MC RGBW fixtures, mainly used as accent lights for the structures and water features.
These Calummas were supplied with Robe’s special Harsh Environment coating to withstand the salt, humidity, sea spray and UV conditions. Then, in the AquaTheater, 12 white Anolis Calumma L MC fixtures uplight the diving towers, picked for their durability and quality of light. Finally, several sets of Anolis Ambiane AP RGBW fixtures are installed in The Attic, Schooner Bar, and Thorn & Thistle.
Asked why he sees Robe as a suitable manufacturer to light up a large portion of Star’s spaces, Perez referred to the brand’s product-building process. “We’re reliable, trusted, and importantly, we make our own technology, instead of outsourcing that side. What I like about this is that Robe really sets the destiny of its own technology, we don’t have to answer to anybody.
“We’re building our own engines, driver tech, our electronics – we create everything from soup to nuts!”
He went on to note that a big portion of his process for working alongside professionals in the maritime industry is making sure that clients are getting the suitable solution for their application needs, with no frills to bulk out profit.
“I pride myself on this. If I don’t think a product is right for a customer, I’m going to tell them. I want to make sure that every fixture from Robe sold is perfection for the users.”
The maritime manager concluded, “The cruise market is growing. If you look at some ships now, they’re so cutting-edge that they can pretty much rival any land-based venue. Star of the Seas is most definitely one of these ships, and the involvement of Robe and Anolis on this iconic vacation speaks volumes about the reputation of both brands.”
www.robemaritime.com
SHURE
Shure’s relationship with Royal Caribbean spans more than a decade, rooted in trust, technical expertise, and the ability to navigate the unique challenges that come with installing AV at sea.
The manufacturer’s collaboration with Royal Caribbean brought together expertise from across its organisation, including Market Development’s Ben Escobedo, Product Management’s Jason Waufle, and Sales Manager Joe DiFalco, working alongside Clinton Muntean and the Mainline Marketing team. Together, they’ve supported Royal Caribbean on numerous ships, including Icon and Star of the Seas, combining Shure’s engineering depth with Mainline’s hands-on experience in the maritime industry.
“Large cruise ships present difficult radio frequency environments, with their extensive metal structures, the port visits that can cause interference with local broadcast and cellular signals, and neighbouring ships,” Muntean explained.
To combat these inevitable frequency concerns, Shure and Royal Caribbean struck a deal for the manufacturer to provide robust RF platforms and customised antenna-distribution designs for the ships. This began in 2018, following the FCC auction that cleared portions of the 600 MHz band. To replace its wireless systems fleetwide, Royal Caribbean engaged Shure. Muntean added: “Shure worked closely with Royal Caribbean stakeholders and integrators to design, procure, ship, and deploy new solutions for each ship. This was a large, coordinated effort.” In a similar set-up to that of Icon, Shure can be seen throughout Star of the Seas’ most popular and unique entertainment venues.
The brand’s Axient Digital wireless microphones and PSM1000 in-ear monitors are used within the AquaDome, the Music Hall, and the Royal Theater’s production of ‘Back to the Future: The Musical’.
Absolute Zero, Star’s ice-skating performance space, benefits from ULXD mics for its dynamic shows, as do the ship’s leisure venues with more quintessential sound needs, such as Lou’s Jazz ’n Blues, Spotlight Karaoke Bar, and the resort-style pool decks.
On the suitability of Shure solutions for this project, Muntean commented, “These systems are engineered for durability and reliable
RF performance in demanding environments. Robust RF platforms and advanced antenna distribution maintain consistent reception amid reflections and multipath interference common on ships.
“The equipment is adaptable to varying regulatory frequency allocations encountered when calling different ports. These elements deliver dependable operation and long-term serviceability at sea.”
Notably, Axient Digital wireless microphones have been a standout solution for the team throughout this installation, Joe DiFalco, Senior Manager of Sales at Shure, reported. “These mics are widely adopted for this sort of demanding venue, offering features such as quadversity for improved reception.” President of installer Control AV, Amir El Yordi, seconded this, stating, “On cruise ships, RF reliability is critical. Shure’s Axient Digital and ULX-D systems give us the spectrum efficiency, network integration, and stability that we need in a dense RF environment. Their tools make coordination and monitoring straightforward, and the performance has been rock-solid compared to other wireless platforms.”
Close collaboration has been present throughout Shure and Royal Caribbean’s long partnership. On-site for the build of Royal Caribbean ships, Shure works closely with integrators and ship technical teams, providing training, design consultation, and tools such as Wireless Workbench, which allows crews to scan frequencies, monitor spectrum, and deploy interference-free channels that can be saved for repeat ports. According to Muntean, Michael Casey, Mainline Marketing’s Director of Technical Services, has been central to this process. Casey manages field trials, conducts RF training for nearly every ship that ports in Florida, and supports integrators with guidance, demos, and crew instruction. DiFalco remarked that Shure is a proud supporting member of ICSEPA, the International Cruise Ship Entertainment Professional Association. “We plan to continue to collaborate closely with integrators and ship technical teams to ensure successful, reliable guest experiences at sea,” he concluded.
www.shure.com
Right: Star of the Seas’ Spotlight Karaoke Bar, a busy evening venue where ULXD mics were supplied.
LESSSOMETIMES ISMORE
All the wireless power, audio clarity, and seamless integration you expect from Bolero now in a lighter, smaller form. With proven Boleroperformanceinacompactanddiscreet body, Bolero Mini is ready for any challenge inbroadcast,sports,orliveevents.
Behind the headline shows and immersive venues of Star of the Seas, a sophisticated broadcast and communications structure connects every deck, stage, and production space. Key to this achievement was integrator Media Tailor, who, alongside their long-time partner, Riedel, created a clever, ship-wide media system.
For Tuomas Niemelä, Business Director of Shipbuilding at Media Tailor, Star of the Seas was an opportunity to refine and expand upon a blueprint first realised aboard Icon of the Seas.
“We’re proud to say that, for Star, we designed and implemented the entire broadcast and media system for the ship,” Niemelä explained. At the core of these media operations is the Broadcast Center, home to two production galleries and a main rack room. It houses all the signal routing, recording, playback, post-production, and graphics tools needed to support live shows, ship-wide announcements, and internal productions. The scope of Media Tailor’s work spans nearly every major entertainment area onboard, from the Royal Theater and the AquaDome to the Music Hall, Royal Promenade, Absolute Zero ice arena, and around 25 smaller venues.
Each space integrates seamlessly into the same decentralised network, ensuring smooth coordination across departments and flexible support for any type of production.
To achieve this level of interoperability and reliability, Media Tailor relied heavily on Riedel’s MediorNet and Artist platforms, which Niemelä noted are proven technologies in both live production and maritime applications. “Creating a broadcast environment of this scale requires a unified system that functions as one,” Niemelä said. “That’s what Riedel enables. Its decentralised architecture allows us to route video, audio, and data in real time across the entire ship without relying on point-topoint cabling. It’s incredibly efficient and resilient, which is vital when you’re working in the middle of the ocean.”
The Star of the Seas installation includes 20 Riedel MediorNet MicroN UHD and MicroN nodes, providing distributed routing, signal processing, and multiviewing across the ship. Each unit combines multiple functions that traditionally required separate devices, optimising space and power consumption, both of which are crucial in a maritime context. Integrated with MediorNet is the hi human interface (hi) control system. On the ship, it operates through three servers and multiple hardware and web-based panels, giving operators centralised, intuitive control over every AV signal on the ship.
“Through hi, all SDI and Dante audio sources are unified,” Niemelä explained. “It gives operators complete flexibility to manage routing and monitoring, whether they’re handling live entertainment, video playback, or shipwide communications.”
Complementing the broadcast infrastructure is Riedel’s Artist intercom platform, which forms the backbone of onboard communication for production teams. The Star of the Seas deployment features an Artist-1024 matrix with more than 50 SmartPanels (RSP-1216HL and DSP-2318), 55 Bolero wireless beltpacks, and PunQtum wired partyline systems.
“The combination of Artist, Bolero, and PunQtum creates a unified and scalable intercom ecosystem,” noted Niemelä. “It means stage crews, broadcast engineers, and technicians across multiple decks can communicate clearly and reliably, whether during a live show or routine operations.” For Philippe Genar, Regional Sales Manager at Riedel, Star of the Seas marks the latest chapter in a partnership with Royal Caribbean that began over a decade ago.
“Our relationship started in 2014 with Quantum of the Seas, the first Royal Caribbean ship to feature Riedel’s video and intercom systems,” Genar explained. “That project was made possible through our collaboration
Above: Media Tailor’s installed Riedel broadcast systems enable entertainment throughout the whole ship.
with Media Tailor, which is an alliance that continues to drive innovation today.”
Since then, Media Tailor has deployed Riedel technology on eight Royal Caribbean ships, including the upcoming Legend of the Seas.
“Through this ongoing partnership, Riedel and Royal Caribbean, together with partners like Media Tailor, have continuously advanced shipboard communications and video solutions, ensuring seamless connectivity, enhanced operational efficiency, and an exceptional guest experience across the fleet,” said Genar.
Reliability is paramount at sea, where maintenance access can be limited and system downtime is not an option. Riedel’s technologies are engineered to handle these challenges.
“Artist and MediorNet are built for 24/7 operation,” Genar explained. “They use industrial-grade components designed to withstand vibration, humidity, and temperature fluctuations. Their distributed, software-defined architecture ensures redundancy and scalability, so operators can adapt quickly to evolving requirements and maintain optimal performance under any conditions.”
Working alongside other onboard installers like Control AV, Media Tailor served as the connective tissue between numerous AV systems. “We make it all work together as one ecosystem,” Niemelä stated.
“That requires close collaboration with every supplier involved. The more components there are, the more essential it is that both technology and people communicate seamlessly.”
Thanks to lessons learned from Icon of the Seas, the Star build went more smoothly, he added. “Every ship has its own story, but after the first one, processes naturally refine. The feedback from Star has been extremely positive, and we haven’t had to return for any fixes, which is the best feedback of all!
“A big thank-you goes especially to Royal Caribbean’s Christopher Vlassopulos, Manager, Sound & Light, New Building & Innovation, and installer Tennagels, whose trust in our expertise over the past 26 years has been truly invaluable.”
Genar then concluded: “Being part of Star of the Seas is both an honour and a testament to the quality, robustness, and versatility of Riedel solutions. It showcases how our technology, and our partnerships with teams like Media Tailor, can travel the world and perform flawlessly, even at sea.”
www.mediatailor.fi
www.riedel.net
VIDELIO-HMS
With a 50-year legacy in maritime and entertainment technology, Videlio-HMS and Videlio-FUNA stand as experienced stage engineering and machinery specialists, with their primary focus being on providing creative solutions for large-scale theatrical spaces. For Star of the Seas, Videlio-HMS played a crucial role in bringing Absolute Zero, the ship’s signature ice arena, to life. Jari Koivisto, General Manager at Videlio-HMS, speaks with MONDODR about the company’s long-standing collaboration with Royal Caribbean and the complexities of delivering large-scale stage systems at sea.
Can you introduce Videlio-HMS to the MONDO-DR audience?
Koivisto: Videlio-HMS and Videlio-FUNA are part of a global company with locations in France, Italy, the USA, Germany, and Finland. We’ve been active in the maritime industry for over half a century, providing bespoke solutions tailored to shipowners’ needs, from consulting to commissioning. Our expertise covers audio and visual technologies, stage machinery, and shipwide systems such as PA/GA, dimming, architectural lighting, IT, broadcast control, and talkback. We manage every stage of a project, from consulting and engineering through integration, installation, commissioning, and maintenance.
What is Videlio-HMS’ ongoing relationship with Royal Caribbean?
Have you worked on their vessels before?
We’ve worked with Royal Caribbean for more than 35 years on both new builds and service projects. Our collaboration began with the Sovereign of the Seas in 1988 and has continued through multiple classes, including Legend, Freedom, Quantum, and Oasis of the Seas Now, we’re heavily involved in the Icon Class. We’re currently working on Royal Caribbean ships under construction in Saint-Nazaire and Turku. The Royal Caribbean team, led by Christopher Vlassopulos and Matt DeJong, continuously challenges us to innovate and deliver beyond our expectations.
Can you tell us about Videlio-HMS’ role in building Star’s unique ice rink, Absolute Zero?
Absolute Zero first appeared on Icon of the Seas, the predecessor to Star of the Seas, and it’s planned to appear on the next Icon Class ship, Legend of the Seas. We first joined the Absolute Zero project team in 2020, becoming involved really early in the stage machinery design.
The performance space needed to allow for energetic productions and ambitious choreography, including feats such as axels and spins, so we had to consider this when drawing up our design.
Royal Caribbean’s brief focused on four core principles: reliability, efficiency, safety, and ease of operation. The client expected systems that could deliver exciting visual effects while remaining as invisible as possible to the audience. It was about achieving technical excellence without distraction.
Eventually, we brought in three stage lifts and eight chain hoists, both as fundamental show and venue functions, and to be directly used by the performers.
Can you explain how Videlio-HMS decided upon this final stage machinery design for Absolute Zero?
Our experience from the Oasis Class, particularly the Studio B ice rinks, guided our approach for Absolute Zero. We engineered and selected proven products that have already demonstrated efficiency in similar environments. Reliability is always a cornerstone of our design philosophy. Every component must function flawlessly to ensure the show can run daily. We also emphasise user safety, intuitive operation, and straightforward maintenance, keeping systems user-friendly for technical staff working on the ship.
What can visitors to Star of the Seas’ Absolute Zero expect to experience?
Guests can look forward to a show that rivals the scale and creativity of productions on Broadway or in Las Vegas. It’s an immersive experience that blends precision stage engineering and performance design, all happening on board a ship. It’s a perfect example of how advanced technical integration and creative vision can coexist at sea.
www.videlio.com
Right: Star of the Seas’ Absolute Zero Ice Rink, fitted with an efficient and reliable stage machinery design by Videlio-HMS.
