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Leuven arts centre adds more Coda Audio during refurbishment
STUK - an international arts centre in the Belgian University city of Leuven that seeks to connect its patrons with contemporary dance, visual and audiovisual arts, sound art and adventurous music - recently underwent a refurbishment to improve its sustainability, and upgrade its facilities.
The centre is housed in a large building, parts of which date back more than a century, and comprises multiple rooms including a main performance space. The STUKcafé is an important hub within the building, and as well as being an eaterie for visitors and students, also hosts a wide range of events.
Part of the refurb included provision for a new audio system in the café. Production specialist Stresske BVBA installed a Coda Audio system to meet the varied needs of the STUKcafé, as its owner Steven Stesmans explains: “We’ve been using Coda Audio systems since 2020 when we were introduced to them by our good friend Hans Engelen at Viladco (Coda Audio distributor for Benelux). Over the years we’ve worked with Hans on a variety of installation projects and have also added Coda systems to our inventory for live sound.”
“At STUKcafé, the choice of a Coda system was logical”, continues Stesmans. “Its large hall was already fully equipped with a Coda Audio system, meaning that the technical team at the centre were fully aware of the possibilities that Coda could deliver. We therefore didn’t hesitate to suggest a Coda system for this space as well.”
The wide range of programming at the café, from daily background music through light jazz to heavy electronic DJ sets and live bands, demanded a flexible system. Having taken this into account, Stresske’s experts worked in close collaboration with Hans Engelen on the design. Coda’s proprietary simulation software System Optimiser was used to obtain accurate predictions.
The main system at STUKcafé comprises six N-Aps, Coda’s ultra-compact arrayable point source, and four N-Subs, with five Hops8i deployed for outfill and delays. Three Coda Audio Linus12C 4-channel DSP amplifiers drive the system.
(Photos: Coda Audio/Stresske BVBA/Joeri Thiry/STUK)
RTS brings Palais des Congrès de Paris into the IP era
Situated in the heart of the French capital, the Palais des Congrès de Paris hosts every type of event from medical conferences to the Tour de France presentation. To ensure it can meet the needs of its various users, the convention center needs a flexible AV infrastructure. At the heart of this system is an RTS intercom backbone which has been modernized to work with Omneo IP networking architecture.
At over 40,000 m3 the Palais des Congrès is a vast complex boasting meeting spaces of all sizes. The largest of its 29 conference rooms, Le Grand Amphitheatre, can seat 3800 participants, while the smallest caters to 90 people. Various spaces within the complex are in daily use. For the intercom side of the upgrade, the venue turned to local RTS partner Pilote Films.
The team at Pilote Films recommended an Omneo IP networking architecture, as it allows RTS equipment to integrate into existing network infrastructure with the benefit of a range of built-in device control and audio technologies, such as Dante digital audio. Equally, the backwards-compatible nature of RTS equipment allows seamless integration with RTS legacy systems.
The fully IP-based system now features an Odin 96-port digital matrix interconnected with an Odin 48-port matrix alongside forty KP-Series keypanels and several PH-88 headsets. Completing the solution are thirteen Roameo AP-1800 access points and 24 Roameo TR-1800 beltpacks, with six of the access points and eight beltpacks reserved exclusively for Le Grand Amphitheatre.
“RTS intercoms allows us to distribute the intercom system over two Odins that have been placed as close as possible to the analog connections”, says Peter Siffre, Audiovisual Technical Coordinator at Palais des Congrès. “Some spaces are modular and could be arranged to comprise private meeting spaces. Our mobile PA systems have been equipped with an RTS intercom keypanel and are deployed to cover a single private room.”
“In this configuration it is important that the convention center’s general intercom system does not pass through these private rooms, and that is managed automatically by the smart internal logic of the RTS devices”, he adds. “We continue to evolve our infrastructure by connecting our old two-wire system to our IP components.”
Theater am Hagen turns to RTS’ Digital Partyline
After many decades of service, the management of the 320-seat Theater am Hagen in Straubing (Germany) chose to upgrade its legacy stage manager system and all staff communications. The goal was to find an economical yet future-proof solution that would meet their production standards, with an emphasis on intuitive and easy operation.
Working with Robert Ernst, Managing Director of the local company TRE Professionelle Audiotechnik, and the theater’s Technical Director Wolfgang Herrein, they opted for an intercom solution from RTS.
A wired DBP (Digital Beltpack) is available at the lighting control room’s fixed location in the Gallery. The beltpack features four channels, can be powered by PoE+ (Power over Ethernet 802.3af and 802.3at) and is connected via Omneo IP technology. The hybrid design supports both digital partyline and matrix keypad modes. The stage management system, ticketing office, dressing rooms and lighting control are equipped with a total of four DKP and KP series intercoms.
“Together with the Roameo wireless system, the new Omneo Main Station allows smooth communication, maximum flexibility and sustainability”, states Robert Ernst.
(Photos: Helmut Seidl/Theater am Hagen)
Powersoft supports new “Jumanji” attraction at Gardaland
A 96-channel audio system powered by eighteen Powersoft Quattrocanali 2404 DSP+D amplifiers is immersing riders in the soundtrack of “Jumanji: The Adventure”, one of the newest attractions at Gardaland, the largest theme park in Italy.
“Jumanji: The Adventure” is a multi-sensory dark ride that transports guests through twelve environments, bringing them face to face with physical threats including a venomous spider, falling ruins, a swamp full of hippos and an animatronic “Stone Giant”. As riders travel through the jungle in multi-motion off-road vehicles (resembling those seen in “Jumanji: Welcome to the Jungle”), their experience is elevated by a host of AV technology, including projection mapping, holography and immersive spatial audio.
To design and deliver the technical infrastructure for the €20 million attraction - the first based on the “Jumanji” film franchise - Gardaland turned to specialist integrator Bentin Projects, which was tasked with using technology to bring to life the vision of the ride’s creators.
Bernhard Blank, a system designer with Germany-based Bentin, explains the process: “With attractions like this you start with something called a theme book, which contains scene-by-scene information, like in a comic book, from the designer of the attraction. You then need to look closely to figure out what materials and technology are needed to tell the story the designer had in mind.”
Audio, in particular, plays a crucial role in enveloping riders in the world created by “Jumanji: The Adventure”, Blank adds. “To get a fully immersive experience you need to be able to place the speakers in the right place in the scenery”, he says. “Having those speakers hidden from guests and delivering audio from all angles is key to creating the correct atmosphere.”
To provide the power and flexibility needed for the 96 channels of audio providing the soundtrack to the ride through the rainforest, the Bentin team specified eighteen Powersoft Quattrocanali 2404 DSP+D, with each unit delivering 2,400 W of power (efficiently optimised using Powersoft’s patented Smart Rail Management technology) over four channels.
At Gardaland the Powersoft amplifiers are paired with a Q-Sys Core processor, with the audio system complemented by an Alcorn McBride V4X show controller and Pharos lighting controller.
Theater Erfurt rüstet auf LED-Technik von ETC um
Das Theater Erfurt hat in seiner 800 Plätze fassenden Hauptspielstätte die Lichttechnik mit einer ETC-ArcSystem-LED-Beleuchtung erneuert. Bislang waren in den Deckenplafonds ETC-PAR-Scheinwerfer mit konventionellen Halogenlampen installiert.
Die Technische Direktion des Theaters hatte sich für den Umstieg auf moderne LED-Technik entschieden, um das Haus nachhaltiger und energieschonender aufzustellen. Die in Chemnitz ansässige Theater-Architekturlicht Chemnitz GmbH (TAL Chemnitz) war bei der Aufgabenstellung eingebunden und stellte technische Lösungsansätze vor.
Die Wahl fiel schließlich auf ArcSystem-Pro-Four-Cell-Round-LED-Scheinwerfersysteme von ETC. „Bei der Installation der LED-Systeme fielen keinerlei Holzarbeiten an, da die vorhandenen Aussparungen in den Deckenelementen verwendet werden konnten“, sagt Mathias Meyer, Chef von TAL Chemnitz. „Das war ein gravierender Vorteil.“
„Mit der neuen LED-Beleuchtung sinkt der Energieverbrauch um rund achtzig Prozent“, so Meyer weiter, „außerdem vermindern sich die thermische Belastung des Raumes und - ganz erheblich - die Wartungskosten.“ Angesteuert werden die ArcSystem-Scheinwerfer über eine kabelgebundene DMX-Verbindung.
(Fotos: Lutz Edelhoff/ETC/Theater Erfurt)
EM Acoustics loudspeakers installed at Donmar Warehouse
Located in the heart of London’s West End, the Donmar Warehouse is a 251-seat venue for a diverse mix of productions. This not-for-profit theatre recently underwent a full refurbishment of its audio system. Leading the project were sound designers Sound Quiet Time and systems integrators Stage Sound Services.
Working closely with the team at Sound Quiet Time, who have been responsible for audio management at the Donmar Warehouse for several years, Stage Sound Services collaborated to deliver a seamless integration of EM Acoustics loudspeakers.
“The Donmar is a small but complicated space from a sound point of view”, says Rob Bettle from Sound Quiet Time. “The stage is thrust and all audience members are both extremely close to the action as well as possible rigging locations for loudspeakers. Therefore, you need a lot of loudspeakers for a small auditorium.”
Following Sound Quiet Time’s design, Stage Sound Services integrated an EM Acoustics left, centre, right system, complemented by delays and surround sound. At its core, the main PA system consists of six R8s from the brand’s Reference series. Two S-18 subwoofers are employed as the main subs. Twelve EMS-41 loudspeakers serve as stall delays, while an additional twelve EMS-51s are utilised for circle delays.
To create an immersive sound environment, twelve EMS-51 loudspeakers are dedicated to the stall surrounds, while a further twelve are placed in the circle surrounds. Four EMS-112 subs deployed across the circle and stalls complete the surround sound system. On-stage effects are handled by two EMS-122W, four EMS-51, two EMS-41 and four EMS-61 loudspeakers, all of which can be positioned as needed. The full system is driven by five Di20D 8-channel amplifiers.
(Photo: Donmar Warehouse/EM Acoustics)
Mooij Alkmaar equipped with Martin Audio CDD
When the new Mooij Alkmaar restaurant opened recently, it complemented its South American cuisine with music produced from matched pairings of CDD6s and SX210 loudspeakers from Martin Audio’s coaxial differential dispersion series.
The installation in the city of Alkmaar, Netherlands, was carried out by lighting and sound rental specialists Bleeker Group. The Heerhugowaard-based company is a customary Martin Audio user; owner Jacco Bleeker specified the solution as best fit for purpose.
That purpose was to reproduce background music during the week and live music to tape at weekends. In total, Bleeker have detailed fourteen CDD6 and a pair of SX210 subs for the ground floor distribution and on the first floor eight CDD6 and an SX210. The subs are tucked away, to become part of the furniture. The system was designed and tuned using Smaart.
The integrators had again recommended the Martin Audio solution to owners Remco de Boer and Daan Touw, after de Boer and Touw had already bought into the CDD6/SX210 combo at another restaurant, Marktzicht in Broek op Langedijk.
(Photos: Martin Audio/Bleeker Group)
Royal Shakespeare Company chooses Ayrton
The Stratford-upon-Avon based Royal Shakespeare Company’s main house, the 1018-seat Royal Shakespeare Theatre, underwent a rebuild and refurbishment between 2007-2010, and its smaller Swan Theatre (469 capacity) has reopened in April 2023 after a year-long post-pandemic refurbishment.
Both houses have had Ayrton fixtures installed for the first time, replacing failing lighting stock with Ayrton Diablo and Eurus fixtures specified by the RSC head of lighting, Kevin Sleep. “Those most urgently in need of replacement were some of the moving heads in the Royal Shakespeare Theatre which we replaced with nine Ayrton Eurus S in May 2022”, explains Sleep.
Sleep was familiar with Ayrton from his previous position as head of lighting at the English National Opera in London, having thoroughly researched the range with the aid of Paul Roughton of Stage Electrics. “Pre-pandemic, the RSC team had also looked at the Ayrton range as possible options”, he says. “We contacted Paul who arranged further demos at the RSC, and we all agreed that, in comparisons with other manufacturers, Ayrton had the edge for our purposes.”
A second tranche of investment came in March 2023, focusing on the Swan Theatre: “As the Swan work was underway, we looked next at what could be achieved with available budgets. A priority was to replace our 100+ noisy, elderly colour scrollers with something that would give a wider a range of design opportunities, and as flexible a rig as possible”, says Sleep.
“We therefore chose to increase the number of moving heads and purchased fifteen Eurus TC (True Colour) and eight of the smaller siblings, Diablo TC, as dedicated Swan fixtures”, he continues. “These are now the mainstay of the Swan’s movers and are rigged in optimum positions as front, side, back and top light.” The Eurus TC fixtures are hung on the overhead truss bars. Both Eurus and Diablo are run on Quiet Mode.
With money still left in the budget, the lighting team then invested in a further six Eurus TC fixtures for the Royal Shakespeare Theatre. “We’ve received excellent service from Stage Electrics and Ambersphere (Ayrton’s exclusive distributor in the UK), and Briony Berning has been our very knowledgeable and helpful point of contact at Ambersphere”, adds Sleep.
Pictured: RSC’s “Richard III” and “Cymbeline” productions; lighting design by Matt Daw. (Photos: Royal Shakespeare Company/Ellie Kurttz)
K-array supports “Arte Residente” project at Marchionneschi Theatre
The Marchionneschi Theatre in Pisa, Italy, has installed a new K-array sound system. In an effort led by Italian musician Antonio Aiazzi, the system upgrade is part of a wider project, aimed at transforming the space into a hub for musicians and reclaiming the Marchionneschi’s position as a cultural centre following the challenges posed by the pandemic.
The “Arte Residente” project began at the end of 2021. Its aim was to revive the local theatre and encourage audiences back for live performances. Recognising the potential of this project, numerous companies, including K-array, decided to support the venue as it worked to set the standard for professional live audio.
“When I leave a concert where I have heard good music and experienced it fully, I can’t wait to return for another performance”, explains project founder Antonio Aiazzi. “That’s how you create and maintain an audience.” The recent installation at the Marchionneschi Theatre features K-array’s Pinnacle-KR802 portable amplification system. Additionally, Mastiff wedge monitors are used for on-stage monitoring.
The project has welcomed a diverse community of artists hailing from the music industry and beyond. From recording albums to rehearsing for upcoming tours, the Marchionneschi has become a focal point of the creative community. The end goal is to establish a circular system of services and hospitality for these artists and the entire village of Guardistallo, where the theatre is located.
“We’re thrilled to be a part of the Arte Residente project”, says Alessandro Tatini, CEO and President at K-array. “‘Arte Residente’ is a project that not only empowers musicians and creatives but also brings benefits to the local community here in Tuscany through the revival of their local cultural hub.”
Khawaneej-Moschee in Dubai nutzt Laserprojektoren von Digital Projection
Die Moschee in Al Khawaneej, Dubai, Vereinigte Arabische Emirate, wurde mittels Laserprojektoren vom Typ Titan und M-Vision von Digital Projection während eines der bedeutendsten kulturellen und religiösen Ereignisse des Landes in Szene gesetzt.
Während des gesamten Ramadan, vom 27. März bis zum 10. April 2023, präsentierte die Moschee den Zuschauern jede Nacht zwischen 20 Uhr und 2 Uhr morgens eine Video-Mapping-Projektionsschleifen-Animation von Artabesk, einem Partner von Digital Projection. Diese Show war Teil der „Ramadan In Dubai Reflection“, die von Dubai Tourism organisiert wurde und bis zum 23. April lief. Das Event bot Projection-Mapping-Shows, die unter anderem auch von durch Laternen beleuchtete Straßen begleitet wurden.
Die Video-Mapping-Projektionsshow in der Moschee in Al Khawaneej sollte die Atmosphäre des Ramadan durch eine visuelle Erfahrung intensivieren. Insgesamt setzte Artabesk dafür drei 3-Chip-DLP-Projektoren vom Typ Titan Laser 37000 WU mit einer Leistung von bis zu 37.000 (WUXGA) bzw. 31.000 (4K-UHD) Lumen ein, ergänzt durch sieben M-Vision-23000-WU-1-DLP-Laserprojektoren mit einer Leistung von je 23.000 Lumen.
Für die Mapping-Installation wurden sieben Projektoren strategisch um die Moschee herum angeordnet. Artabesk platzierte zwei Projektoren im Hochformat, um auf das Minarett zu projizieren, während die übrigen Projektoren im Querformat aufgestellt wurden.
Zur Bereitstellung von Inhalten für Bilder mit einer Breite von weniger als 20 Metern wurden die M-Vision-23000-WU-Projektoren mit einem Kontrastverhältnis von 10.000:1 eingesetzt. Für größere Bilder mit einer Breite von mehr als 20 Metern wurden die Titan-Laser 37000 WU verwendet. Die von Artabesk projizierten Inhalte waren eine Mischung aus leuchtenden Farben, geometrischen Mustern und Umrissen architektonischer Details.
Artabesk hat die Moschee in Al Khawaneej mit sehr kleinen Bildebenen gemappt, um detailreiche Animationen mit verschiedenen Farben und Mustern zu ermöglichen. Ein Medienserver vom Typ Dataton Watchout, der hochauflösende Mediendateien verarbeiten kann, sorgte dafür, dass jedes projizierte Bild eine Fläche von etwa 20 x 13 Metern abdecken konnte.
(Photos: Monsieur Benj)
Auckland’s Basement Theatre invests in Robe
The Basement Theatre in Auckland, New Zealand, purchased its first Robe LED fixtures, two CycBar15s, in 2022 - a sale in proportion to its production needs that has made a big difference to how shows can be lit.
Squeezed into an old industrial building, once part of a large grain silo development, the theatre has been on the site for fifteen years, making the most out of a challenging layout with some out-of-the-box reimagining that has ensured it has everything needed for a busy venue to function as a cultural melting pot. A diverse programme of shows run Tuesday to Saturday in the two intimate spaces, attracting generally younger audiences together with those who might not necessarily entertain more traditional theatres.
The Robe fixtures are rigged in the 100-capacity main space and were purchased with support from Robe distributor Jands New Zealand at the start of 2022. The venue’s then technical manager Michael Trigg was looking for a specific piece of kit. It had to be low profile due to the 2.5-metre ceiling height, and had to be an LED source with a good throw as well as decent angles that would work in the space.
“The CycBar 15s can be a front wash, a back light, a wash or a top light or they can be rigged vertically for more of an effects look, and the individual pixel control was something that really appealed for this”, says Trigg, adding that the fixtures can also be rigged on side booms for dance shows. They can paint the walls with light using the CycBar 15s, then change the colour one minute and flip the fixtures around the next and use them for key lighting using the diffusion panels.
Most incoming Basement productions there will bring their own lighting designers and will use the house rig which contains about forty fixtures, sometimes augmenting this with a few of their own specials. Michael Trigg, who was already familiar with Robe products through his work in events, left Basement Theatre earlier this year after several years in the post. The new technical manager is Paul Bennett.
The theatre confirmed an order to triple their Robe inventory, adding two iBar 15s - an updated and IP65 rated version of the original CycBar - and two ParFect 150 LED source ACL style beam fixtures.
(Photo: Louise Stickland/Paul Clarke)
Amberger Congress Centrum erneuert Saalbeleuchtung mit Anolis Lighting
Die Lichtinstallation im Großen Saal des Amberger Congress Centrums (ACC) wurde vom Amberger Congress Marketing komplett auf LED-Technik umgestellt. Dafür wurden Deckenleuchten der Ambiane-Serie sowie Linearleuchten der Eminere-Serie von Anolis Lighting gewählt.
Das im Jahr 1996 errichtete Gebäude wird für Kongresse, Tagungen und Messen ebenso genutzt wie für Konzerte, Ausstellungen, Firmenevents und Workshops. Insgesamt zählte das ACC seit seiner Eröffnung rund 1,6 Millionen Besucher, die an mehr als 7.000 Veranstaltungen teilgenommen haben. Über 330 Veranstaltungen finden aktuell pro Jahr im ACC statt.
Vor der Installation waren im Rahmen eines Audits Themen zur Energieeinsparung sowie den neuesten lichttechnischen Anforderungen gemäß DIN EN 12464-1:2021-11 evaluiert worden. Anolis Lighting begleitete diesen Prozess hinsichtlich Beratung, Visualisierung, Planung und Produktauswahl.
Für die Saalbeleuchtung wurden 223 Deckeneinbauleuchten des Typs Ambiane HP111 und zehn Deckeneinbauleuchten des Typs Ambiane SP16 ausgewählt, jeweils in Tunable White, um unterschiedliche Veranstaltungsformate mit einer entsprechend veränderbaren Farbtemperatur von Warmweiß bis Neutralweiß illuminieren zu können. Da die Leuchten der Ambiane-Reihe eine integrierte Notlichtfunktion besitzen, wurden einige der HP111 in das Notlichtsystem eingebunden.
Die sieben Deckensegmente des Saals, mit unterschiedlichen Höhen und Flächenmaßen sowie geraden und konvexen Formen, mussten bei der Planung bedacht werden. Mit der Verwendung verschiedener Optiken wurde eine gleichmäßige Beleuchtung in der Fläche sowie in den Randbereichen mit holzverkleideten Wänden erreicht. Der Bereich des Orchestergrabens wurde ebenfalls speziell akzentuiert. Auch prüfungsrelevante Sehaufgaben können jetzt normgerecht angeboten werden.
Mittels der patentierten L3-(Low-Light-Linearity)-Dimmung von Anolis ermöglichen die Ambiane-Modelle eine stufenlose Dimmung der Saalbeleuchtung nach Schwarz. Bei den HP111 sind zudem Steuermöglichkeiten über DMX und DALI sowie eine RDM-Kompatibilität gegeben. Aufgrund der geringen IR-Emissionen der HP111 wird das bestehende Funksystem des ACC nicht gestört.
Umgesetzt wurde auch eine flächige Beleuchtung der Deckensegel mit achtzig LED-Linearleuchten Anolis Eminere 4 in RGBW, welche die alten T8-Leuchtstoffröhren ersetzen. Die konvektionsgekühlten Eminere-LED-Linearleuchten können über den Pixel-Mode fließend die Farben überblenden.
Die Installation wurde in Zusammenarbeit mit dem Amberger Ingenieurbüro E-AM, der Firma Elektro Schertl und dem Anolis-Lighting-Lichtplaner Artur Frantz im Zeitraum von August bis Dezember 2022 umgesetzt.
(Fotos: Philipp Klak)
Genelec helps create immersive experience at Zukan Museum Ginza
Inspired by Shogakukan’s “Neo” series of picture books, the Zukan Museum Ginza in Tokyo fuses the digital and the real, offering an immersive and interactive journey to discover the natural world beyond time and space. Over 100 Genelec loudspeakers, combined with video technology, help drive the experience where natural environments of forests and water are seamlessly connected for a journey through the world of living things.
“The museum faithfully recreates the ecosystem of the natural world, with different creatures appearing in each area, such as the forest, savanna, underwater, etc., where the act of observing and recording the creatures is interactive”, says Jun Fujiwara of Invisi Ltd, who handled the sound production and UX design. “For example, if you get too close to a creature, it will be startled and run away.”
“The acoustical element is made up of three components: sounds produced by living creatures; background environmental sounds; and musical elements”, says Takashi Miyamoto of Coton Inc, who was responsible for implementing the audio system and sound design. “The environment changes according to the time of day, just as it does in the real world. The musical elements are generated using coton’s original music generation technology called ‘soundtope’ which automatically produces the most appropriate music based on the season and time of day.”
These three acoustical elements, with a total of 150 channels of sound, create different worlds in each of the multiple areas within the museum. There is no physical separation between areas, so it was particularly important to ensure that transitions from one area to another are smooth and coherent.
“In order to ensure seamless transitions between naturescapes, we used a common tonal scale between adjacent areas to prevent sounds from clashing with each other”, says Miyamoto. “Furthermore, in terms of timbre, the placement of intermediate common tones between areas has the effect of a boundary partition, like a sound curtain. Another acoustical issue that emerged was the panning system, which pans the sound produced by the creatures. The loudspeaker arrangements didn’t allow us to use existing panners, so we had to develop our own panning system.”
“As we wanted to prioritise the atmosphere of the museum, we tried to make the loudspeakers as invisible as possible”, says Fujiwara. “We explored various options, including high positions on the ceiling and gaps in the structure. This meant the loudspeakers had to be as small as possible, and when it came to the size/performance ratio, Genelec was the obvious choice.”
At the Zukan Museum, 85 compact 8010 active studio loudspeakers, 23 of the slightly larger 8020 models, and seven 7360 subwoofers were installed throughout the space. The 8010 is used widely throughout the museum, while the 8020 is used specifically for reproducing creature sounds which require more low-end. Genelec’s 8000-420 short wall mount and 8000-416 truss mount were both employed to achieve flexible installation tailored to the space.
(Photos: Genelec/Yashima Takashi/Zukan Museum Ginza)
Powersoft audio systems for adriatic cruise ship
Based in Croatia, the MS My Wish offers a deluxe, intimate experience for its 38 guests. With an advantage due to its a smaller, yacht-like size, the ship can navigate narrow waterways and explore not only Croatia’s cities but also its smaller, quieter islands hardly explored by bigger vessels.
The MS My Wish boasts an onboard restaurant, a sundeck, a rooftop hot tub, a swimming platform for access to the Adriatic ocean, and an audio system comprising Mezzo 324 A and Mezzo 604 A models from Powersoft’s Mezzo series.
The Mezzo install amplifiers come with built-in DSP. There are two power sizes with a two or four-channel output. The Mezzo, in its smaller versions, is a sealed design and approved for hidden placement, such as mounted above a ceiling or tucked into a wall box.
“The ship required an audio system that could be spread over twelve zones and could be adjusted accordingly”, says Captain Marin Crncic of the MS My Wish. “One of the most demanding areas is the sun deck, which uses two subwoofers, six ceiling all-weather speakers and two professional two-ways for the jacuzzi.”
The system needed to allow for alternative audio content, accommodating the different zones where audio was required, such as the main saloon, lounge, and two rear decks. Audiotehnika chose to go with a Wi-Fi controlled system, meaning that crew members on the ship could monitor the system regardless of location and, if need be, change the audio.
“The speakers can play a variety of audio - CDs, USB and radio - and can be played in each zone independently, which was a key part of the design”, says Crncic. “It allows us to tailor the music to different areas of the ship.” The audio design also allows for microphone input. In the five main zones of the ship, the crew can plug in a microphone and make announcements or provide tourist information.
(Photos: MS My Wish)
SAW Namibia deploys Samsung systems for banking group in Namibia
One of the largest banking groups in Namibia recently opened a new branch in Windhoek’s Maerua Mall. On a mission to innovate the banking sector in Namibia, this banking institution designed its latest branch with the digital age in mind and rolled out the upgraded format to two further branches at Rehoboth and Windhoek Lifestyle Centre.
The integration of all three sites was led by Stage Audio Works (SAW) Namibia, in close cooperation with the client and suppliers. The brief called for the installation of multiple digital screens, intended for the purpose of displaying information and showcasing branded content. SAW Namibia specified and installed a Samsung visual system in each of the branches.
“The client was clear that the content on the digital screens needed to be managed remotely through a centralised system”, says Joppie Maritz, Managing Director at SAW Namibia. “We worked with the client to understand each branch’s specific requirements and use cases in order to specify three unique systems appropriate for each of the premises.”
Maerua Mall stands out as the largest of the three installations. It includes 85-inch HDR 4K UHD Commercial wall displays and a 55-inch video display wall that commands attention due to its placement in the branch window. Device and content management is provided through MagicInfo, whilst playback to the video wall is controlled via a single Samsung Signage Player Box.
The Rehoboth and Windhoek Lifestyle Centre each received one 75-inch HDR 4K UHD Commercial Smart LED Display, also with MagicInfo support, allowing for content to be managed remotely. “MagicInfo allows the client to manage content and devices within a single solution,” explains Maritz. “This offers unity across the bank’s visual merchandising.”
(Photos: Sonja Kilian Art & Photography)
Belgium’s leading opera house upgrades with Robe T2s and Tetras
The Theatre Royal de la Monnaie de Munt (Royal Theatre of the Mint), located in central Brussels, Belgium, has just made a new lighting investment comprising Robe T2 Fresnels plus Robe Tetra1 and Tetra2 moving LED battens, which join its existing Robe T1 Profiles, two RoboSpot Systems running with T2 Profiles and sixteen Robe DL7S Profiles which were the first Robe purchases back in 2016.
Head of lighting Koen Raes (pictured) explains that the main house will typically stage eight opera productions per year in their 1200-capacity main house, of which around seven are usually new works plus one revival. The house crew works with different external creative teams, but all the production elements are sourced where possible from the in-house resources.
When the initial Robe investment in 2016 was made, they already saw the writing on the wall and had the foresight to start converting the stage lighting to LED light sources. When the budget became available for this most recent purchase, Raes and his department - which includes eleven full time technicians and programmers - were focused on furthering this mission.
Robe’s RoboSpots have revolutionised how the follow system can work in the venue. They now have the flexibility of being able to utilise different positions for their T2 Profile follow fixtures, choosing the optimal for each individual production, although taking advantage of the height and angle of the 4th balcony has become a favourite.
Before, using conventional follow spots, the positions were higher up. It was more challenging to contain the light spillage onstage, it involved seat kills and they were noisy, so the RoboSpots eliminated all of those issues. It also allows other elements of the Robe lighting rig to be used with them if desired.
The operators are positioned in the left and right side technical loges, a preferred position as they can feel the sound and atmosphere of the show right there beside them. Six of their existing T1 Profiles are rigged off the highest balcony.
The Tetras - 24 x Tetra2s and 4 x Tetra1 bars - were purchased to have something different and multipurpose, says Raes. Rather than getting a quantity of PCs, they thought the Tetra2 would be more useful and functional as they can be footlights as well as cyc and set washes. On top of that, they can also be used as FX lights and specials.
A labyrinthine series of underground passages and tunnels - some large enough to drive a vehicle - connect the venue with multiple other adjacent buildings housing rehearsal studios, substantial scene storage areas, warehouses, technical rooms and workshops and specialist ateliers, all helping to facilitate their operas.
(Photos: Louise Stickland/Paul Clarke)
Neue Bogen-Beleuchtung über der Lanxess Arena
Die Lanxess Arena hat in eine neue Bogen-Beleuchtung investiert: Von nun an strahlt der Bogen des „Henkelmännchens“ mittels neuer LED-Beleuchtung in den Kölner Nachthimmel. Die neu verbauten Lichter sind nachhaltiger und sowohl in ihrer Farbe als auch in der Bewegung individuell programmierbar.
Nachdem sie beim vergangenen EHF Final4 bereits in kräftigem Blau erstrahlte, wird die neue Bogen-Beleuchtung am Wochenende zum alljährlichen Christopher Street Day ihren ersten großen Einsatz haben. Dann wird sie den „Henkel“ drei Abende lang in Regenbogenfarben erleuchten lassen - sowohl statisch als auch bewegt.
Die neue Beleuchtung benötigt etwa sechsmal weniger Energie als ihr Vorgänger. Weitere Neuinstallationen im Norden und Süden des Bogens sollen folgen.
(Foto: Lanxess Arena)
Robert Juliat Arthur LT followspots in a first for Seoul Broadcasting System
Robert Juliat announces the arrival of its first Arthur LT followspots in South Korea. Five of the 800 W LED long-throw followspots were installed at the Seoul Broadcasting System (SBS) Open Hall studios in Deungchon-dong, South Korea, by RJ’s exclusive distributor for the region, C&C Lightway.
Established in 1990, SBS is the largest private broadcaster in South Korea, with a nationwide network of ten regional stations, and three radio networks. SBS Deungchon-dong Open Hall is one of the region’s main production venues hosting a broad programme of entertainment and variety shows.
The Arthur LT 800W LED followspots were installed in a bespoke followspot box located at a distance of approximately 20 m from the production floor. They will primarily be used on SBS’s flagship K-pop program, SBS Inkigayo (The Music Trend), in addition to all other programmes requiring similar key lighting capabilities.
“The control through DMX allows for the utilisation of many features that were not achievable with traditional Xenon lamp followspots”, says Seung-Hoon Chun, who has been Lighting Director and Lighting Designer at SBS since 2013, relating to the Arthur LT’s DMX control capabilities. “DMX allows for accurate On/Off control, providing fine-grained control over individual lighting fixtures. By utilizing DMX protocol, it becomes possible to send specific commands to each followspot or channel, enabling precise control over their states.”
(Photos: Robert Juliat/C&C Lightway)
Dynacord sound system installed at historic Paisley Abbey
Founded in 1163, Paisley Abbey in Scotland has been restored and renovated several times throughout its long history. The latest renovation is one that is helping the Abbey in its role as a meeting point for the whole community, where it hosts a variety of events throughout the year.
With more external companies coming in to use the Abbey for special events such as music recitals, exhibitions and weddings, the thirty-year-old sound system was no longer able to deliver the service required. The Abbey turned to Adlib to design and install a new sound system that could meet the various needs of the facility.
“They required a sound system that was very simple to use but that could also be augmented by external production companies”, explains Andrew McCully, Applications Engineer/Project Manager at Adlib. “They also needed to be able to zone the speaker system, as they might have a small communion service just in the chancel area, or a small meeting in the chapel or, of course, a full Sunday service using all zones.”
Adlib worked out a future-proof solution that revolves around Dynacord electronics. An MXE5 Matrix Mix Engine provides the control and sound processing required by the different functions of the site, while Sonicue Sound System Software was utilized for system setup and customizing a GUI for the TPC-1 Touch Panel Controller. “We spent a lot of time around the user interface, as that is such a key element to the success of the project”, recalls McCully. “Sonicue was used to create a GUI with presets for the TPC-1 specific to the needs of the user.”
Control is delivered to the user via an iPad or the IP-networked TPC-1, which both allow scene recall and level adjustments. The church selects one of three presets, a Normal Mode, a Chapel Mode and a Chancel Mode. Each preset activates different elements of the system and a different combination of mics.
When it came to installation loudspeakers, Adlib chose Dynacord TS models from the vertical-array series. Four TS 400 cover the main nave of the Abbey, with a further three TS 100 and the same number of TS 200 in place to cover adjacent spaces. To complete the setup, an Electro-Voice EVU ultracompact loudspeaker has been positioned discretely under the pulpit to provide front-fill.
Dynacord also provided the solution for driving the loudspeakers, with Adlib combining different members of the manufacturer’s installation-dedicated amplifiers. A pair of IPX 5:4 four-channel amplifiers are joined by a C1300FDi model.
The age and historic nature of the building provided the main challenge for the project, as Adlib faced limitations in the loudspeaker positions and fixings that could be used. A Dante audio network infrastructure was used to reduce the cabling.
“This is predominantly a Dante system, though with the flexibility of the MXE5 we’re feeding the C1300 with an analog output”, explains McCully. “We used a couple of Dante I/O plates to allow the church to connect additional mics when needed, or to plug a mixing desk at a FOH position for whenever there are additional requirements and the need for a dedicated operator on faders. We also had to strategically position an induction loop amp which is fed from an output from the Dante I/O plate, again meaning that we could run a single Cat-6 cable instead of a four-pair multicore.”
AES lights Fourmi Rouge with Chauvet
Recently, The Fourmi Rouge - Cabaret Spectacles (“Red Ants Cabarets”), a live performance space and cultural center in Laàs, France, got a new LED lighting system featuring Chauvet Professional projectors. The system was installed by Audio Equipements Spectacles (AES).
For AES, the project involved two phases. The first one was an ask from the city hall, where the request was a front and backlight with colors. For this, the design team chose the Colorado 2 Solo. A total of eight of the RGBW wash lights were installed to add splashes of color around the venue.
Part two of the creative brief was from the company that manages productions at the venue. It involved specifications for stage lighting. A key request of theirs was for UV projectors to bring out the fluorescent costumes of the cabaret dancers.
To accomplish this, the AES team specified two Ovation P-56UV ultra violet pars. AES also installed four Rogue R3 Beam projectors on one side of the stage, and five Rogue R3 Spot units on the other. For background lighting four Ovation Cyc 1 FC washes were also installed.
(Photos: Jean Sarsiat)
Atlanta artist Locs relies on KRK studio monitors
For his latest project, the single “Good Time”, rapper/recording artist/producer Locs once again relied on KRK studio monitors, which most recently included the Rokit 7 G4 and Classic 7 monitors.
“KRK has been all over my releases since I began making music”, he explains. “The producer I worked with when I first started had KRK Rokit 8s in his studio, and that was the first time I really got to hear them in a professional setting. Now that I’m working on new music, I’ve been using my Rokits and Classics in my studios in Los Angeles and Atlanta. Having the ability to use both lines has been a game changer for me.”
Locs prefers to rely on each of his sets of monitors for different applications. “If I was doing just production, I would use my KRK Classic 7s”, he says. “Those studio monitors are perfect for when I want to listen to straight instrumentals. They are a little bit warmer and provide great coloration. For things like mixing and mastering, the KRK Rokit 7 G4s are my go-to. I get a really nice, neutral tone from these speakers, which is why they are ideal for my mastering, mixing, and as an all-around solution. Having the option to switch back and forth between these two lines has really allowed me to open up and get what I want out of my music.”
Locs recently also added the KRK GoAux Portable Monitor Solution to his setup.
Stage Audio Works Namibia upgrades operations at new office space
Stage Audio Works (SAW) Namibia, an international supplier, manufacturer, and distributor of technology solutions, recently moved into new offices in Faraday Street, Windhoek. Leaving behind their old headquarters in Diesel Street, the new facility provides a demo space for clients to experience SAW’s solutions.
The office changeover was carried out in multiple phases to ensure that SAW Namibia’s service to active clients remained unaffected. The technology deployed at Faraday Street was implemented by SAW Namibia’s own integration experts.
“Our decision to move was motivated by the desire to separate our traditional musical instrument (MI) vertical from our physical showroom. Whilst the showroom played a crucial role in our business’s foundation and growth, we recognise that times have changed”, says Joppie Maritz, Managing Director of SAW’s Namibian branch. “We continue to provide our service to the MI industry, but we have shifted to an online retail model, which has proven to be a win-win solution for everyone involved. This has enabled us to streamline our showroom experience and showcase our corporate installation and communication solutions more effectively.”
“Our new building is smaller but meets our needs and vision for the future”, he continues. “Originally, the space was a large, open-plan room - a blank canvas. We worked closely with an architect to plan the layout, tailoring it to our specific needs and constructing partitions and zones exactly where we wanted them.”
The premises consist of four key areas: the showroom, a large meeting room and a smaller meeting room, alongside a general office space. Each area is equipped with technology from SAW Namibia’s portfolio, such as the Audac sound solution in the showroom and main boardroom. SAW’s visual solutions are also represented in the showroom, in the form of four Samsung 55’’ OMN Smart Signage screens, whilst MagicInfo server integration allows for content control and playback.
The larger of the two meeting rooms is designed around a Microsoft Teams Room on Windows (MRToW). Two 55’’ display screens provide video, while the Sennheiser TCC 2 ceiling microphone offers audio for all meeting participants. The smaller meeting room is designed around a Microsoft Teams Room on Android (MTRoA) system, which natively offers BYOD capabilities. Participants can share directly to the 65’’ LED screen from their own laptop and utilise other installed technologies in the room. Both meeting rooms include room scheduling touch panels, integrated seamlessly with the rest of the unified communications.
(Photos: Stage Audio Works Namibia)
MuMu nightclub receives AV set up with Martin Audio
The MuMu nightclub in Maidstone, UK, recently underwent a major refurbishment after a fire in 2021. The club had to shut down for several months to carry out repairs and refurbishment. Middlesex Sound and Lighting installed a Martin Audio stereo monitoring solution at the venue, which includes an Irish pub, a speakeasy, a hidden laundromat room, an eatery and dining restaurant, a newly refurbished cabaret bar, and a basement club area.
“The whole space is like a labyrinth”, says Darrel Olivier, Director of Middlesex Sound and Lighting. “The main room is accessed via a small corridor which leads upstairs and along the way, there are these washing machines with quirky content displayed in the centre of them, spinning around. On the upper level, there’s an eatery and dining restaurant with a newly refurbished cabaret bar, and then downstairs in the basement is a new club area, which we were involved in creating.”
The AV crew had to pay attention to the aesthetics, such as using more compact enclosures in the booth seating areas, concealed subwoofers, and a clean finish from both the lighting and audio perspectives. For audio, the crew went with Martin Audio boxes throughout the venue.
It is the Adorn family that greets guests, with ACS-55TS ceiling speakers covering the entrance lobby, customer routes and toilets. In the club itself the main dancefloor is covered by Blackline X12s with low end support from a pair of Blackline X118 single 18’’ subs. The Blackline family is also in the DJ booth with Blackline X10s serving as stereo monitors. Supplementing the dancefloor system in the booths and peripheral areas are CDD6 cabinets with SX110 10’’ slimline subs conceiled within the banquette seating.
The amplification is driven by Powersoft and controlled by a Symetrix Prism DSP and controller in the DJ booth. They also have full zoning control and have included pre-sets for the venue’s staff, as they plan to use the space for brunch and lunch events in addition to operating as a nightclub.
(Photos: Dean Osborne Photography)
Equipson gear installed at Saoko Night Club
Spanish AV company Project Sound chose Equipson Group to supply all the equipment needed for a sound and lighting installation at Saoko, a new nightclub in Huelva, Southern Spain. Located in the Aqualon shopping centre complex, Saoko officially opened at the end of 2022 and has already hosted nights with DJs such as Baste, David Rojas, Mike Morato and Juan Mendoza.
Project Sound installed a wide range of products including a Workpro Arion Series sound system consisting of six SL 210 A line array powered speakers and six SL 218 SA powered bass woofers. Also installed are four Workpro Entar 12 passive speakers, six Entar 15 passive bass woofers, eight Workpro IC8K-Pro ceiling speakers, three Workpro Zenith 2500 power amplifiers and one Workpro PA240 USB/R amplifier that incorporates a five-input mixer for audio control and independent volume control.
The lighting installation includes twenty Mark Beam 201 moving head LED beams; four Mark Moviled 304 moving head LED beams; two Mark MF 1500 VT fog machines and four Mark FLM 200 RGBW flash effects. These are all controlled by a Lightshark LS1 DMX-based hardware lighting console that offers assignable faders, encoders, rotary controls and a separate DMX engine.
“The lighting technician at Saoko was given training on the LS-1 by our staff”, says Project Sound’s Director Manuel Cardenas. “We didn’t need to offer training for the audio equipment because we set it up so that it was ready to use.”
Cardenas adds that the only major technical challenge his team faced during this project was structural - namely that the ceiling of the nightclub was made of plasterboard, and to hang the Arion line array, the installers had to locate the main beams of the shopping centre, which were strong enough to take the weight of the cabinets.
(Photos: Equipson/Project Sound)
Martin Audio Torus installed at Tsukuba’s Capio Hall
The Tsukuba Capio complex in Japan’s Tsukuba city, Ibaragi, incorporates indoor sports halls, theatres and meeting rooms. Capio Hall recently underwent a major sound system overhaul, and new rigs were introduced, including the new Martin Audio Torus as the main PA.
“Originally, the proscenium centre loudspeakers were exposed, and a cluster of several point-source systems was flown from the grid”, explains Nobuhito Endo, technical manager of rental company Sigma Communications. “Naturally, we considered utilising a line array replacement but found a problem. While the hall wasn’t very deep, the three-storey horseshoe layout of the auditorium was vertically too great for the coverage angles. It was quite clear that a considerable number of line array cabinets would be needed if we wanted to provide complete vertical area coverage from its highest point, without converging on the frame of the stage.” It’s then that the Constant Curvature array solution came to mind.
During the renovation process a vertical array comprising four cabinets - two each of the T1215 and T1230, offering 15° and 30° vertical dispersion respectively - were deployed in grids at the proscenium to cover the vertical 90°, angled to deliver the sound from the third floor to the front seat of the first floor. Furthermore, a Martin Audio XD12, supplemented by SX118 subwoofer, was specified for the side column and powered by iK42 DSP amplifiers. For infills and balcony seats, six Blackline X8 were deployed.
“Originally, we planned a front wide/back narrow dispersion pattern, but as we adjusted this while listening to the sound, we discovered that specifying everything to a horizontal 90 degrees would give a better coverage”, says Takahisa Ota, who was responsible for the tuning of the system. “In that way, the proscenium could cover 80 percent of the venue. We adjusted the delays and SPL of the Blackline X8s so that they were blended to the proscenium, to cover the remaining tiny area.”
(Photos: Martin Audio)