Installationen News
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Nicolas Ramirez favors KRK monitors
07/01/2025
Alfatron Electronics brings enhanced learning capabilities to Eastern Washington University
25/11/2024
SML picks Anolis for Hordern Pavilion
14/11/2024
Infiled’s WP Wrap installed at healthcare experience centres in Cologne and Düsseldorf
System integrator Sigma AV has installed Infiled’s WP Wrap series of curved LED displays in two healthcare experience centres in Germany. Praxis4Future is an initiative of the KV Nordrhein doctors’ association that seeks to demonstrate how technology can transform medical practices. Its experience centres, located in Düsseldorf and Cologne, utilise LED technology to illustrate how digital tools can streamline workflows and transform patient care.
Christian Backes, head of AV integration for Sigma AV, explains that Praxis4Future’s goal is to encourage doctors and medical professionals to embrace digitalisation by demonstrating the possibilities offered by new technologies. “The client wanted a space where doctors, medical staff and administrators could explore the possibilities of a more connected, digital future”, he comments. “It’s designed to illustrate how technology can modernise patient interactions and streamline workflows in healthcare settings.”
At the Praxis4Future experience centres, Infiled’s WP Wrap-series screens are used to create seamlessly curved LED walls that envelop visitors in an immersive 180° visual environment. In Düsseldorf, Sigma AV specified a 10.8 m x 2.02 m WP Wrap 1.56 display, while the Cologne centre employs WP Wrap 1.25 at 7.2 m x 1.35 m.
Sigma AV opted for LED technology to create an all-encompassing display without visible seams or corners. “From the beginning, the client wanted a futuristic, sleek setup - white, clean, and seamless. LED was the perfect choice for this, as it offers a more immersive experience”, says Backes. “Very often, LED screens are flat panels side by side and have corners, but we didn’t want that.” Working closely with Infiled, Sigma AV tailored the displays to the specific dimensions and visual requirements of each Praxis4Future centre, aligning pixel pitch and resolution to maintain consistency in the visual content across both locations.
From early planning to final installation, the Infiled team, led by VP of sales for Europe Andreas Voss, provided support in customising the displays and delivered technical guidance on resolution and pixel density. “Infiled's support went beyond standard consultations”, says Backes. “They provided detailed plans, drawing adjustments, and technical insights tailored to each location.”
(Photos: Kassenärztliche Vereinigung Nordrhein)
Nicolas Ramirez favors KRK monitors
Grammy- and Latin Grammy-winning producer, composer, and mixer Nicolas “Nico” Ramirez has worked with artists such as Bad Bunny, Jennifer Lopez, Shakira, and Marc Anthony, among others. Today, he is the producer, mixing and recording engineer, and live sound engineer for artist and songwriter Camilo, a fellow Colombian. In addition to his credits in the music industry, Ramirez also composes and provides sound design for films, documentaries, TV series, and animated shows.
For Ramirez, music and sound effects have always crisscrossed as a single entity in his creative workflow. His appreciation for the vast array of cultures that span this world and the influence each has on music has continually inspired him to create a unique identity for all his projects. Ramirez uses KRK V4 and V6 V-Series 4 powered studio monitors.
“My V6s are not too bright, and they aren’t too low; they work well and sound great”, he states. “The V4s have a smaller diaphragm that translates well to a variety of listening scenarios, so I can assess how my tracks will sound in any other environment. Whether my songs are being played in a theater, through consumer-grade headphones, at an airport, or in the car, I know what I’m hearing on the V-Series will be what audiences experience as well.” For times when Ramirez has been on the road running front of house for Camilo, his KRK V-Series monitors serve a dual purpose as nearfield speakers.
Never one to stray too far from his producer role, Ramirez uses KRK GoAux portable powered studio monitors for studio work on the go. “I travel a lot when I am on tour, and I like to have a solution that is easy to set up on the road”, he says. “The KRK GoAux sound great, and the carrying case they come in is amazing. I never have to worry about where I am going to store all the pieces.” Whether in the studio or on the road, Ramirez also relies on KRK’s KNS headphones when listening back on his mixes: “The KRK headphones have a very particular boost on the mids and mid-lows, so I use them to check my tracks in that range. It helps me assess if I have everything under control.”
Ramirez - who graduated with a degree in audio engineering from Pontificia Universidad Javeriana, in Bogota, Colombia, and later earned his Master of Fine Arts (MFA) degree in sound design from Savannah College of Art and Design in Georgia - has been using KRK products since 2009. From 2018 to 2021, he was the head recording and mixing engineer at Art House, Julio Reyes Copello’s studio. Now, as an independent producer, Ramirez continues to use his array of KRK gear while in the studio and on the road.
(Photos: KRK)
Philharmonie Luxembourg Concert Hall upgrades to L-Acoustics K3 sound system
In the international banking quarter of Kirchberg lies the Grande-Duchesse Joséphine-Charlotte Concert Hall, commonly known as The Luxembourg Philharmonie, designed by Christian de Portzamparc and opened in 2005. In its young existence, the Philharmonie has swiftly become a vital cultural hub, hosting nearly 400 performances annually that encompass a vast palette of genres, including classical, jazz, world music, and more.
The venue’s programming versatility is mirrored in its fluctuating audience capacity, encompassing three performance spaces, including the principal Grande Auditorium which can accommodate anywhere from 400 to 1,500 spectators, depending on its configuration. As the demands of contemporary performance continue to evolve, so does the need for audio technology able to reinforce the variety of performances the Philharmonie hosts throughout the year. Now, nearly twenty years from its official opening, the venue installed a new L-Acoustics K3 concert sound system.
The Luxembourg Philharmonie and L-Acoustics share a long-standing relationship, with the venue already featuring an L-Acoustics dV-DOSC installation. In 2022, wishing to upgrade its sound system, L-Acoustics K3 was chosen during a competitive selection process. L-Acoustics Certified Provider Distributor Babbel & Haeger supported Luxembourg-based events management service provider Pro Musik during the installation process.
The system comprises two hangs of nine L-Acoustics K3 per side, with six KS21 subwoofers providing low-end extension, covering both the main floor and the balcony seating areas without obstructing sightlines. Near-fill is accomplished with two A10 Focus and two A10 Wide. Front-fill is handled by four X8, and the entire system is powered by LA4X amplified controllers. Calibration was managed by Sebastian Wittrock and Christian Schmid from L-Acoustics.
(Photos: Die Videocrew)
Royal Albert Hall puts DiGiCo at centre of its audio universe
The Royal Albert Hall in London hosts diverse performances every night of the week. The 153-year-old building had challenging acoustics when amplifying modern music for the almost 6,000 capacity auditorium. This led to huge investment into the Hall’s audio equipment, with all sound requirements being brought in-house in 2018.
DiGiCo consoles are at the centre of the building’s audio set up, a Quantum 852, Quantum 7, SD10, SD9 and SD11 are all owned by the venue. This enables the audio department to prepare shows in advance, improving workflow during quick daily turnarounds.
Ben Evans has been Audio Operations Manager since 2021. He was part of the team who instigated the Hall’s first in-house audio team. There have been shows on stage, end-on or in the round, in the loading bays, on the stairs and even on the roof. The sound system needs to be flexible and fast to keep up. The after sales support offered by Autograph and Rob Tory, Head of Technical Support, plus the Hall’s onsite facilities in the the basement warehouse, ensures the sound team are ready for anything, including offsite rehearsals.
“During 2018, we went out to tender and had a d&b Audiotechnik system designed for us, in addition to new network infrastructure”, says Evans. “We have a different show pretty much every day, so our five consoles allow us to prep and rehearse efficiently. When combined with our fibre networking, we can serve our multitude of shows effortlessly.”
Tom Marshall is a sound designer and freelance front of house sound mixer for the Royal Albert Hall, he works on many of the performances, whether that is a book launch, pop concert or a recital from the Royal Philharmonic. He uses DiGiCo products widely, in every area of his career.
“DiGiCo is my go-to tool, it is the nucleus of my work, whether I am mixing or designing”, he says. “There are always demands from directors or producers and the speed of the console means that if I do get a request, I don’t have to make anyone wait, I can make changes instantly.”
When mixing, especially at the Royal Albert Hall, Marshall uses DiGiCo onboard effects and processing. He says the development of the Spice Rack and having the continuity across the whole Quantum range was a game-changer for him. “I find myself using the dynamic compression and EQ a lot. Having the ability to add it across a whole group is useful, especially if you are doing something with a high channel count”, he adds.
(Photos: DiGiCo)
Philharmonie Luxembourg Concert Hall upgrades to L-Acoustics K3 concert sound system
In the international banking quarter of Kirchberg lies the Grande-Duchesse Joséphine-Charlotte Concert Hall, commonly known as The Luxembourg Philharmonie, designed by Christian de Portzamparc and opened in 2005. The Philharmonie hosts nearly 400 performances annually, including classical, jazz, world music, and more.
The venue’s programming versatility is mirrored in its fluctuating audience capacity, encompassing three performance spaces, including the principal Grande Auditorium which can accommodate anywhere from 400 to 1,500 spectators, depending on its configuration. As the demands of contemporary performance continue to evolve, so does the need for audio technology able to reinforce the variety of performances the Philharmonie hosts throughout the year. Therefore, the venue recently upgraded to a new L-Acoustics K3 concert sound system.
The Luxembourg Philharmonie and L-Acoustics share a long-standing relationship, with the venue already featuring an L-Acoustics dV-DOSC installation. In 2022, wishing to upgrade its sound system, L-Acoustics K3 was chosen during a competitive selection process. L-Acoustics Certified Provider Distributor Babbel & Haeger supported Luxembourg-based events management service provider Pro Musik during the installation process.
The system comprises two hangs of nine L-Acoustics K3 per side, with six KS21 subwoofers providing low-end extension, covering both the main floor and the balcony seating areas without obstructing sightlines. Near-fill is accomplished with two A10 Focus and two A10 Wide. Front-fill is handled by four X8, and the entire system is powered by LA4X amplified controllers. Calibration was managed by Sebastian Wittrock and Christian Schmid from L-Acoustics.
(Photos: Die Videocrew)
Showtec- und Infinity-Beleuchtungselemente in Midden Nederland Hallen installiert
Next Venue hat vor kurzem eine Beleuchtungsinstallation in der Eingangshalle der Midden Nederland Hallen im niederländischen Barneveld fertiggestellt. Das Gewächshaus im Eingang des Veranstaltungsortes, das Teil der Floriade 2022 war, ist jetzt ein 6.000 m² großes Foyer mit einer Mischung aus natürlichem Licht, Einbauten und energieeffizienten Lösungen.
Die Installation besteht aus 100 Infinity-Raccoon-Junior-P7/4-Leuchten, die jeweils mit einem 40-Grad-Filter ausgestattet sind und strategisch im Tragwerk des gläsernen Lichthofs angebracht wurden. Im Foyer 2 wird die Beleuchtung mit einem Showtec-TR-512-Pocket-DMX-Controller gesteuert, der durch eine Showtec-Wand-Fernbedienung für TR-512 Install/Pocket ergänzt wird, welche an einem beliebigen Ort installiert werden kann. Auch das Foyer 1 und das Restaurant sind mit zwei TR-512-Pocket-DMX-Controllern ausgestattet, die mit Wand-Fernbedienungen verbunden sind.
Showtec-Booster-4-Install-DIN-Schienen-DMX-Booster wurden in den Kabelkanälen installiert, während ein Showtec-DMX-Merge im Foyer 1 für eine reibungslose Datenverarbeitung sorgt. Die Installation ist außerdem mit Kabeln von DAP ausgestattet. Die Installation wurde vom hauseigenen AV-Team von Next Venue durchgeführt.
(Fotos: Highlite/Midden Nederland Hallen)
Fabrik Potsdam investiert in Material von Elation und LSC Control Systems
Die Fabrik Potsdam - Internationales Zentrum für Tanz und Bewegungskunst - ist ein Haus für professionelle Tänzer und Tanzkompanien und generell eine Location für Tanzliebhaber. Sie schafft einen Ort für Künstler zum Arbeiten, Lernen, Lehren, Forschen, Proben, Aufführen und Austauschen.
Das Haus selbst verfügt über mehrere Bühnen und bespielt zusätzlich auch den Fabrikgarten sowie teilweise andere Bühnen in Potsdam. Mit den Potsdamer Tanztagen veranstaltet die Fabrik Potsdam außerdem eines der europaweit führenden Festivals für zeitgenössischen Tanz. Zudem finden regelmäßig Konzerte im Haus statt, etwa im Rahmen der Jazzoffensive.
Um den steigenden Ansprüchen gastierender Tanzkompanien gerecht zu werden, rüstete die Fabrik Potsdam im Frühjahr 2024 im lichttechnischen Bereich mit über 100 Scheinwerfern von Elation sowie sechs APS-Powermanagement-Systemen von LSC Control Systems nach: 32 Elation KL Profile FC, 25 Elation KL Fresnel 8 FC, vierzig Elation ArenaZoom Q7IP und sieben Elation Fuze Profile kommen seither - teilweise fest installiert, teilweise mobil - zum Einsatz.
Ralf Grüneberg, technischer Leiter der Fabrik Potsdam, erläutert: „LED-Beleuchtung ist mittlerweile eine Standardanforderung internationaler Dance Companies. Bisher haben wir die entsprechenden Lampen nach Bedarf gemietet. Mit Hilfe von Fördermitteln war es uns nun jedoch möglich, in eigenes Material zu investieren.“
Bei der Recherche und Auswahl geeigneter Scheinwerfer habe man sich auch in anderen Häusern der Stadt umgeschaut: „Wir bespielen mit den Tanztagen vier bis fünf Häuser sowie verschiedene Open-Air-Bühnen“, so Grüneberg weiter. „Daher macht es Sinn zu schauen, was die anderen einsetzen, um einerseits untereinander kompatibel zu sein und sich andererseits auch gegenseitig Material leihen zu können. Die KL Fresnel hatten wir uns beispielsweise zunächst vom Trollwerk und T-Werk geborgt und dabei gemerkt, dass sie für unsere Zwecke sehr gut geeignet sind. Flexibles Weißlicht war uns besonders wichtig.“
„Wir denken nachhaltig und suchen Partner, mit denen wir dieses Ziel erreichen können“, fährt er fort. „Die LMP-eigene Service-Werkstatt spielte also eine Rolle für unsere Kaufentscheidung. So sind wir sicher, defekte Lampen im Zweifel reparieren zu können oder sogar mal eine LED-Engine tauschen zu lassen.“
Fest verbaut sind aktuell 25 Elation KL Fresnel 8 FC (als Matrix installiert) und zwölf Elation Fuze Profile. Mit Letzteren war das Team der Fabrik Potsdam bereits vertraut, da sich schon seit längerer Zeit fünf Geräte im eigenen Bestand des Hauses befanden. „Mit dieser Installation haben wir nun Top- und Frontlicht aus einer LED-Engine, die entsprechend harmonisch wirken und problemlos an gastierende Techniker übergeben werden können“, sagt Grüneberg. „Wir wünschten uns grundsätzlich eine möglichst einheitliche Lampenphilosophie für unser Haus.“
Die 32 KL Profile FC werden ergänzend als Seitenlicht oder für Spezialaufgaben eingesetzt und immer wieder umgehängt. Die vierzig wetterfesten (IP65) LED-PARs ArenaZoom Q7IP kommen nach Bedarf mobil im Innen- und Außenbereich zum Einsatz.
Auf die Frage, worauf es bei der Beleuchtung von Tanzinszenierungen grundsätzlich ankommt, antwortet Grüneberg: „Die Ansprüche an Tanzbeleuchtung sind noch höher als im Theater, denn hier stehen Körper und Körpersprache im Mittelpunkt. Mit Hilfe von Licht entstehen die Bühnenbilder, wobei man mitunter auch gekonnt Dinge ‘wegleuchten’ muss, um andere zu betonen. Tanz lebt von Beleuchtung. Deshalb haben die tourenden Tanzkompanien längst auch eigene Lichtgestalter und -techniker dabei.“
Zur Steuerung und als Sicherheit für die neu beschafften LED-Scheinwerfer entschied sich das Technik-Team der Fabrik Potsdam für sechs LSC-APS-12/16A-Stromverteilungen.
(Fotos: Fabrik Potsdam)
Renkus-Heinz modernizes sound at Toronto’s Convocation Hall
The University of Toronto’s Convocation Hall is a historic venue with a unique circular design. It hosts the annual convocation ceremonies and serves as the University’s primary venue for academic and social functions due to its seating capacity of over 1,700. Plagued by challenging acoustics, the hall’s reflective surfaces introduced significant complications, particularly for speech intelligibility.
The previous sound system in Convocation Hall, an aging column array, was no longer effective - lacking the clarity needed for speech reinforcement in such a large, reverberant space. Renkus-Heinz was identified as a choice to tackle these challenges, particularly their Iconyx line of loudspeakers, known for their advanced beam-steering technology.
“The architecture of the room creates multiple reflections and delayed arrival times, complicating the listening experience”, explains John Busza, systems designer at Global USS, the project’s integrator. “We needed a speaker solution that not only provided high intelligibility but also utilized the existing cabling and infrastructure.”
As Convocation Hall is a heritage building, any new equipment also had to blend seamlessly with its historical interior. “Renkus-Heinz’ Iconyx speakers can be custom color-matched, which we did for this project”, notes Busza. “Architects and interior designers often don’t want the speakers to be seen at all, and with Iconyx, that’s possible.”
For the Convocation Hall project, two Iconyx IC32 arrays were installed, positioned about twelve feet above the stage. Each array contains 32 custom 4-inch coaxial drivers, powered by 32 separate amplifier channels, all controlled through advanced digital signal processing (DSP). This setup allows for precise steering of sound to specific areas of the hall.
“The IC32s allow us to target specific areas, such as the main floor or the two balcony levels, without overpowering the room”, says system commissioner Arthur Skudra, who worked alongside Global USS on the project. “This precise control is key in a reverberant environment like Convocation Hall, where too much sound energy can create more problems.”
While the primary use of the Iconyx system is for spoken-word presentations, the system is also capable of providing audio for musical performances and multimedia presentations. The Iconyx IC32 arrays were integrated with Dante digital audio networking.
According to Busza, Contact Distribution, Renkus-Heinz’s local distributor, turned out to be helpful in the course of this project as well: “The Contact team was always there to support us, from design to install planning and commissioning”, he says concludes.
(Photos: Renkus-Heinz/Global USS/University of Toronto)
Tateside supports modern student living concept at Urbanest Battersea
A chain of modern student accommodations in London, Urbanest recently completed its latest development in the shadow of the Battersea Power Station. A PassivHaus construction, this sustainable, self-sufficient student living concept required a suitably smart AV solution to enhance communal spaces across the property.
Having previously worked with Urbanest on other sites across the capital, including Kings Cross and Westminster Bridge, London-based AV integrators Tateside were called upon to lead the technology integration across the Battersea project, from the initial design through to implementation along with ongoing site servicing and maintenance.
“The project represented an interesting opportunity to design and implement a lot of different AV technology, from digital signage to meeting room solutions”, says Ben Landi, Project Manager at Tateside. “Overall, the project encompasses a cinema room, gym and yoga studio, three meeting rooms, a lecture space, plus digital signage and background audio throughout.”
Students staying at Urbanest Battersea have access to a communal cinema room. To provide a big-screen experience, a 77-inch Panasonic OLED display with integrated soundbar was installed. “Students can bring their own devices, be it a PlayStation or a laptop, and plug them into the HDMI plate”, says Landi.
For the onsite gym and yoga studio, Tateside deployed three pairs of Bose DM3SE surface-mount loudspeakers in the training area and two pairs in the studio, with input through Audac Bluetooth plates. “It’s a one-touch setup”, says Landi. “Students can connect their phones and play their own music, making it feel more personal, and more like home.”
The Urbanest student experience includes a purpose-built lecture hall, where residents can hold group discussions and share presentations. Here, an Epson projector with a wide throw lens allows for large-scale visuals, with seamless content switching for user inputs via a Blustream HDMI wallplate and Blustream HDBaseT receiver. The 20,000-lumen projector overcomes the challenges of ambient lighting in the space.
A total of three meeting rooms provide videoconferencing facilities for both students and staff at Urbanest. In the two student-facing rooms, Cisco Webex Room Bars were installed to support the BYOD capability. “Using the BYOD cable, users can start a meeting on their laptop and use the built-in peripherals in the RoomBar”, says Landi. “Alternatively, if they have an existing meeting set-up, they can use the technology in the room and join on their preferred meeting platform using the on-desk Cisco Touch Panel.” In the staff meeting room, a Microsoft Teams ecosystem was requested to ensure compatibility with their preferred video conferencing platform.
Throughout Urbanest Battersea, digital signage was installed in the various communal areas, including lift lobbies and reception spaces to display community announcements and eco-statistics on sustainability achievements related to the PassivHaus standards. The signage content is managed internally by Urbanest using a Tripleplay system, whilst Tateside specified and installed the screens and managed the network infrastructure, choosing Samsung QM displays to ensure 24/7 signage without screen burn.
Upon entering the building, residents and visitors are greeted by background audio via three pairs of Bose DM5P pendant loudspeakers. “The Bose pendants matched the pendant lights in reception perfectly”, says Landi. “As with all the audio at Urbanest, these are powered by Bose PS404D amplifiers, with Dante built in to facilitate networked audio.”
(Photos: Tateside/Urbanest)
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Teatro Real erweitert Audioproduktion mit Lawo-IP-Infrastruktur
Das im Herzen Madrids an der Plaza de Oriente gelegene Teatro Real, das 2021 als bestes Opernhaus der Welt ausgezeichnet wurde, hat mit der Installation immersiver Audiotechnologie von Lawo unlängst ein technisches Upgrade erhalten, um den Anforderungen moderner Produktionen - Opern, Konzerte und Ballettaufführungen - gerecht zu werden.
Das Teatro Real entschied sich für AoIP-Lösungen von Lawo und erwarb mc²-Mischpulte, Stageboxen, die Home-Plattform und Routing-Einheiten des Herstellers aus Rastatt. Die Installation verantwortete Systemintegrator und Technologiepartner Telefónica, der mit einer Cisco-Lösung auch die Netzwerkinfrastruktur bereitstellte.
Zu den zentralen Audiokomponenten des neuen Equipments zählen zwei mc²56-MkIII-Pulte mit 32 Fadern und ein mc²56 MkIII mit sechzehn Fadern, deren Leistung auf sechs redundanten A_UHD-Core-Audio-Processing-Engines mit je 1.024 DSP-Kanälen basiert. Durch die nahtlose Integration eines Waves-SoundGrid-Servers bieten sie Zugriff auf die Plug-in-Bibliothek von Waves für Echtzeit-Signalverarbeitung. So können Toningenieure Reverbs, Multi-Tap-Delays, grafische Equalizer und Multiband-Kompressoren direkt über die Tastatur und den Touchscreen der Konsole steuern. Alle Plug-in-Einstellungen können gespeichert und mit den Snapshots der Konsole abgerufen werden.
Lawo A_Stage64/80-Stageboxen garantieren die Einbindung der Konsolen in die bestehende Audio-Infrastruktur. Diese Kombination und die Integration über Lawos Home-Management-Plattform für IP-basierte Medieninfrastrukturen gewährleistet die nahtlose Kommunikation und Verteilung der Audiosignale über die gesamte Infrastruktur des Teatro Real. Die Installation verfügt über Pultspiegelung und Signal Ownership.
(Fotos: Lawo AG)
Hans Otto Theater Potsdam vollzieht Umstieg auf LED-Technik mit ETC
Die Ursprünge des Hans Otto Theaters in Potsdam reichen zurück bis zum Ende des 18. Jahrhunderts. Das ehemalige „Königliche Schauspielhaus“ hat seitdem verschiedene Namen an unterschiedlichen Adressen getragen. Seit 2006 setzt nunmehr ein spektakulärer Neubau am Potsdamer Havelufer mit facettenreichem Programm unüberhörbare Akzente im deutschen Kulturbetrieb.
Das Hans Otto Theater, das ehemalige „Königliche Schauspielhaus“, dessen Ursprünge bis zum Ende des 18. Jahrhunderts zurückreichen, ist seit 2006 in einem Neubau am Potsdamer Havelufer beheimatet. Um Energie- und Scheinwerfer-Nebenkosten, etwa für Leuchtmittel und Farbfilter, zu senken, ist das Haus jetzt auf LED-Lichttechnik umgestiegen. Zur Ausstattung gehören Lichtsysteme von ETC, unter anderem Fos/4-Fresnel-X8-Scheinwerfer und Apex-Konsolen.
„Ein großes Augenmerk lag auf der Farbwiedergabe bzw. Farbechtheit“, erklärt Christian Wiesniewski, Leiter der Beleuchtungsabteilung des Hans Otto Theaters. „Außerdem sollte der Scheinwerfer so leise wie möglich sein. Mit den Fos/4 Fresnel von ETC können wir das umsetzen.“
Wiesniewski sei vor allem von der stufenlosen Einstellung von Kalt- zu Warmweiß und dem „Color Cross Fade“-Kanal der Geräte überzeugt. Letzterer „ermöglicht es uns, schnell satte bunte Farben einzusetzen, ohne mehrere Geräte einzuleuchten“, sagt er. Bezüglich des X8-Farbmischsystems fügt er hinzu: „Bei uns im Theater ist es wichtig, dass die beleuchteten Darstellenden auf der Bühne nicht fahl, blass oder gar kränklich wirken. Mit den Fos/4 können wir natürliche, lebensechte Hauttöne kreieren.“
Zum technischen Upgrade, bei dem das Haus von ETC-Vertriebspartner Trendco unterstützt wurde, gehören auch zwei ETC-Apex-Konsolen: eine Apex 5 und eine Apex 10. „Neben dem Vorteil, dass wir auf allen unseren Bühnen die gleiche Pultfamilie verwenden, ist es ein entscheidender Pluspunkt, dass wir seit der Umstellung auf die Eos-Familie nur noch mit einem USB-Stick auf Gastspielreise gehen können“, sagt Wiesniewski mit Hinweis darauf, dass viele der Spielorte ebenfalls mit der Eos-Familie arbeiten würden. Darüber hinaus wünschte sich Wiesniewski eine Konsole, die „jetzt schon für zukünftige Anforderungen in der Bühnenbeleuchtung vorbereitet und hardwaretechnisch anpassbar ist mit der Gadgetgarage.“
Auf ein Shootout vor dem Kauf der neuen Konsolen wurde im Hans Otto Theater verzichtet, da dort seit vielen Jahren mit ETC-Konsolen gearbeitet wird. „Für uns ist es wichtig, dass die Operatoren an den Pulten sicher und effektiv arbeiten können. Das funktioniert nur, wenn wir bei den Konsolen sortenrein bleiben“, so Wiesniewski abschließend.
(Fotos: Thomas M. Jauk/Prof. Dieter Leistner)
Il T Quotidiano Arena erhält Beschallungsanlage von dBTechnologies
Die Il T Quotidiano Arena (früher PalaTrento), eine Sportarena im italienischen Trient und Heimat der regionalen Volleyball- und Basketballclubs, ist durch eine Renovierung und die Installation einer neuen Beschallungsanlage zu einem Multifunktions-Venue geworden.
Im Rahmen eines Innenraum-Upgrades, das mehrere technische und architektonische Aspekte umfasste, wurde ein Austausch und eine Neugestaltung der bestehenden Beschallungsanlage erforderlich, um die akustische Abdeckung in der Arena zu erweitern und neue Veranstaltungen zu realisieren. Das Renovierungsprojekt unter der Leitung von Architektin Eleonora Strada verantwortete das Unternehmen Mountech, das die Audiotechnik für Spielfeld und Tribünen neu konzipierte und Produkte von dBTechnologies installierte.
Um die gewünschte Sprachverständlichkeit und Musikwiedergabe zu gewährleisten, entschied sich das Planungsteam rund um Elettroteam und Liriti Srl für aktive Vio-X206-Line-Array-Module. Unter der Decke der Arena wurden über dem Spielfeld vier Einheiten der Vio X206 mit 90° x 60° installiert. In dieser Konfiguration bieten die Vio X 206 ein gedrehtes Horn und können so als Point-Source-Quellen installiert werden.
Längs des Spielfelds sind auf jeder Seite zusätzlich vier Line Arrays mit je fünf Einheiten Vio X206 unter der Decke installiert, um die Tribüne zu beschallen. Ebenfalls an den Längsseiten des Spielfelds platzierte das Team je Seite zwei Line Arrays mit je zwei Einheiten der Vio-S115-Subwoofer (geflogen). An den Stirnseiten des Spielfelds ergänzen je Seite zwei Line Arrays, bestehend aus je vier Vio X206 plus je einem Vio S115 (ebenfalls geflogen) die Installation. Für die akustische Abdeckung der obersten Tribünenplätze und der Stehplätze dienen zusätzlich vier passive IS-210-Line-Array-Einheiten, die durch zwei IA504-Class-D-Verstärker gespeist werden.
„Ausgehend von einem rein akustischen Sounddesign, mussten wir die Positionierung der Audiokomponenten in Bezug auf die Lichtinstallation der Arena sorgfältig abwägen“, sagt Nicola Volpato, Projektleiter bei Mountech. „Die Position der Beleuchtung und aller für die Videoübertragung vorgesehenen Bereiche wurde gesondert erfasst und die Positionierung der Beschallungskomponenten darauf abgestimmt.“
Die Anforderungen an die Beschallung entsprachen zunächst denen einer typischen Sportarena. Nach der Erneuerung der technischen Ausstattung bietet die Il T Quotidiano Arena jetzt zusätzlich zu den sportlichen Veranstaltungen auch kulturellen Events das benötigte Equipment sowie weitere Technik, um die Events auch nach extern zu übertragen.
(Fotos: dBTechnologies)
Hollands größtes Theaterhaus investiert in ETC Prodigy P2
Die Nationale Opera & Ballet (NO&B) in Amsterdam repräsentiert das größte Theaterproduktions-Haus der Niederlande. Zu der Spielstätte gehört auch das Studio Boekman, einst ein ehemaliger Gemeindesaal und jetzt eine moderne Blackbox-Theater-Location.
Für einen reibungslosen Ablauf im Studio Boekman sorgen dreizehn automatisierte und mit Foundation-Steuerung ausgestattete ETC-Prodigy-P2-Seilzüge. Zudem wurden 32 Scheinwerfer der ColorSource-V-Reihe von ETC im Studio-Theater installiert.
„Wir haben uns verschiedene Systeme angeschaut, doch die anderen haben nicht den geforderten Sicherheitsregularien entsprochen - Prodigy dagegen ist vollständig EU-zertifiziert und lässt sich dazu nicht nur von vollzertifiziertem Personal bedienen, sondern von allen Technikern“, kommentiert Pieter Huijgen, Technischer Direktor NO&B, die Investition in die Prodigy-P2-Seilzüge.
Antrieb und Steuerung der Seilwinden übernimmt ein ETC-Foundation-Touchscreen-Controller. Um die gewünschte Flexibilität zu ermöglichen, wurden doppelte Plug-in-Steuerungspunkte installiert. „Somit lässt sich das Foundation-Pult mit seinem fünfzehn Meter langen Kabel an jeder beliebigen Position platzieren“, erklärt Enrico Nobile, ETC European Rigging Sales Manager.
ETC-Händler Ampco Flashlight Sales stellte das Equipment bereit und war an der Installation beteiligt. Zum Lieferumfang gehörten - neben den dreizehn Prodigy-P2-Seilwinden (in 300-Kilogramm-Hublast-Ausführung) - zwanzig ColorSource-Spot-V- und zwölf ColorSource-Fresnel-V-Scheinwerfer.
(Fotos: Fabian Callis/ETC/Opasna Randev)
Copenhagen’s Grand Joanne Hotel upgrades with Genelec Smart IP solution
Grand Joanne Hotel, located just a short walk from Copenhagen’s Tivoli Gardens, has 162 rooms, spread across six floors, and is also home to Joanne’s, a restaurant serving modern Italian dishes from breakfast through dinner, and a rooftop bar on the sixth floor.
Reopened with a fresh vision from hospitality specialists Midstar AB, the hotel blends heritage, lifestyle, fashion, and design within a restored 19th-century building. At the heart of its new chapter is a Smart IP loudspeaker solution from Genelec. Consultancy and integration firm Effektgruppen was tasked with bringing Midstar’s vision to life.
“Initially, we designed custom loudspeakers that blended with the décor, but it quickly became clear that while they looked great, the sound quality wasn’t up to par”, reports Fredrik Nordström, project manager at Effektgruppen. “So we decided to switch to Genelec’s Smart IP networked loudspeaker technology.”
The Smart IP system comprises 26 of the compact 4420 loudspeakers, 29 of the slightly larger 4430 models, plus seven 7050 studio subwoofers. These are strategically placed in all public areas, including the lobby, meeting rooms, restaurant, bar and gym. “Music is central to the ambience at Grand Joanne, and it’s reflected in every aspect of the hotel”, says Nordström. “Each Smart IP loudspeaker operates on the network as an independent unit, allowing us to tailor the sound in each environment with precision.”
“In the lobby, we installed eleven Genelec 4420 Smart IP loudspeakers paired with two 7050 studio subwoofers”, details Nordström. “This same attention to audio quality extends to the bar and restaurant. Joanne’s features eight 4430 loudspeakers and one 7050 subwoofer, providing background music for daily service or live events, while the adjacent bar is equipped with seven more 4430s plus another 7050 subwoofer.”
“The whole system is built on a Dante network with sound distribution run via a DSP from BSS”, he adds. “We used Genelec’s Smart IP Manager software to individually calibrate and tweak the delay and EQ of every loudspeaker. We also created some custom touch panels at various points so that staff can adjust sound levels. This is particularly helpful in the gym and yoga studios, as all AV elements can be modified depending on the intensity of the class.”
(Photos: Genelec/Effektgruppen/Grand Joanne Hotel)
Alfatron Electronics brings enhanced learning capabilities to Eastern Washington University
Eastern Washington University (EWU) is a public polytechnic university that shares a location in Spokane, Washington, with Washington State University and has partnerships with various community colleges within the state of Washington. As part of its Hybrid Learning Project, EWU recently deployed a large amount of electronic equipment across 17 buildings and 85 classrooms, with the bulk of the equipment being drawn from the catalog of Raleigh, NC-based Alfatron Electronics.
Carl Combs, Classrooms and Labs Team Supervisor, Dave Stewart, Senior IT Audiovisual Design & Engineering Specialist, and Adam Klinger, IT/AV Specialist of the Classrooms and Labs Team, are the three key people at EWU who designed and oversaw the deployment of the new Alfatron equipment. Over a three-year period, the team began testing various hybrid learning solutions, after which they started implementing the various setups. The Alfatron products were gradually placed into service and after fine-tuning the system configurations, the equipment was deployed campuswide.
“We did not have a standard for in-room video conferencing prior to Alfatron”, says Carl Combs. “Before Alfatron, we would temporarily set up webcams, Logitech Group systems, and/or Logitech Meetups in the various classrooms, conference rooms, and meeting spaces. Installing Alfatron technology was a great solution from an engineering perspective - only two ethernet cable runs were needed for each camera, providing power, video, and IP control. We did not need to involve our Electrical Shop and/or external electrical contractors. The combined Alfatron-Extron classroom control system integration proved successful.”
“The Alfatron equipment is used for hybrid distance learning classes, Zoom meetings, live and recorded sessions of professors’ lectures, student presentations, VIP meetings, guest presenters, in-house staff employee training, and more”, adds Dave Stewart. “We implemented 5x, 10x, 20x, and 30x zoom cameras for rooms of various sizes (classrooms, conference rooms, meeting rooms). FOV (Field Of View) was important to factor in during the engineering phase. The 5x cameras were implemented where a wider FOV was needed (primarily front of room cameras). The 10x, 20x, and 30x cameras were implemented where additional magnification was needed.”
Adam Klinger shares his perspective on the Alfatron switchers that were installed: “The ALF-SCK41TS has enabled professors and presenters to share different cameras and camera views. We utilized the IP control of the ALF-SCK41TS to integrate into Extron systems. From the Extron touch panel, we can select to view either the front or back camera or combine the cameras into different views like PIP (Picture in Picture) and Side by Side view - using both front and back cameras. The cameras have location presets which have been helpful for quickly changing views to show different locations in the room, like whiteboards and teaching materials.”
Stewart also discusses how the ALF-TPBK70R HDBaseT receivers were integrated into the systems: “These receivers, along with the HDBaseT cameras, enabled us to eliminate a transmitter and dedicated power at each camera location, all while extending the HDMI video signal longer distances. Our initial testing with USB extenders and cameras was not as successful for long distance runs.”
“We started looking into different hybrid learning camera solutions and had to find something that was easy, facilitated longer cable/HDMI signal runs, and did not require electricians”, concludes Klinger. “One Diversified, a systems integrator EWU frequently uses for projects of all sizes, recommended looking into Alfatron Electronics. Kevin Gelman at Alfatron has been invaluable to our process for knowledgeable support and troubleshooting.”
Pictured (left to right): Adam Klinger, Carl Combs, and Dave Stewart. (Photo: Alfatron Electronics/Eastern Washington University)
Club Citta chooses DiGiCo Quantum 338 for sound system refurbishment
Club Citta in Kawasaki, Japan, has seen historic performances from Nirvana, Oasis, Radiohead and many more, and is a popular stop for many Japanese and international touring bands. The input from touring engineers was enough to convince Toru Yamamuro (pictured), General Manager of Stage Production at Club Citta, that their planned console upgrade should be to a DiGiCo Quantum 338.
“We introduced our SD8 back in 2012, updating the SD with a 32-bit card in 2019, so when the time came to upgrade our system, we asked various people about the Quantum and the feedback was very good”, says Yamamuro. “We also received enquiries from overseas artists who wanted to use the Quantum 338, so we had a strong desire to install it ourselves, and we were able to make it happen.” The installation was completed in June 2024.
“With the addition of Mustard Processing and Spice Rack, plus the increase in EQ parameters, there are many more points at which you can process the sound”, continues Yamamuro. “I like the Mustard Processing, especially the vintage VCA Compressor, which feels like a DBX, it has a similar effect to the 1176. With the Quantum 338, I can apply EQ and compression while I’m mixing.”
“We have a Dante card installed”, he adds. “In the SD8 days, we sometimes recorded live performances using MADI and then recorded them again using Dante on the monitor desk. But now that the Quantum 338 has a Dante card installed, we can record live performances using just this.”
(Photos: Club Citta/DiGiCo)
Plainfield High School installs Pliant Technologies intercom solutions
With the help of PureTek Group, provider of technology solutions for educational spaces based out of Boonton, New Jersey, Plainfield High School recently completed a major renovation to its auditorium, along with the addition of two new spaces - an eSports gaming arena and a black box theater. To provide clear communication between those disparate parts of the school, Plainfield High School, along with PureTek, turned to Pliant Technologies’ CrewCom professional wireless intercom system.
“We chose Pliant to help orchestrate what could be a very chaotic experience”, says Dan Litvin, Co-Founder and President of PureTek Group. “The CrewCom system is used extensively throughout the school and produces unified performance, from standard backstage theatrical production applications, to managing cameras, lighting and audio from room to room at a distance.”
Since the upgrade, the school’s intercom system consists of various Pliant solutions, including one CrewCom 2+2 Control Unit (CCU), three CrewCom 900 MHz Radio Transceivers (RTs), seven CrewCom 900 MHz 2-Volume/2-Conference Radio Packs with seven SmartBoom Pro single-ear headsets, along with other accessories, such as Pliant’s 6+6 Drop-In Radio Pack and Battery Charger, as well as 48 V DC Power Supply cords.
At Plainfield High School, the new auditorium and black box theater are directly next to each other, while the eSports arena was constructed out of two adjacent classrooms on the opposite side of the school. Due to this distance, a substantial benefit of Pliant’s CrewCom system is its coverage capabilities. “The eSports arena has only enough space for gamers and coaches, so for tournaments, the auditorium serves as a viewing area for audiences”, says Litvin. “To achieve a collaborative performance, communication is key. With Pliant, production personnel at the school are able to communicate clearly from the eSports arena all the way to the backstage booth in the auditorium.”
The ability to have multiple channels is one of the CrewCom features. “This has been convenient for this installation because when the operators in the booth and the auditorium are trying to speak both backstage and to the broadcasting person in eSports, it’s nice to be able to switch between feeds and have single conversations”, says Litvin. In addition, the school intends on renting out their facility to touring groups, lectures, corporates, etc. in the future.
(Photos: Plainfield High School/Pliant Technologies/PureTek Group)
Arena Wien installiert neues Meyer-Sound-System
Die Arena Wien ist Österreichs größtes alternatives Kultur- und Kommunikationszentrum. Um den neuesten akustischen Anforderungen gerecht zu werden, wurde der Außenbereich in diesem Jahr mit einem Meyer-Sound-Beschallungssystem aus Panther-Line-Array-Lautsprechern und 2100-LFC (Low-Frequency Control)-Elementen ausgestattet. Ziel war die Verbesserung des Publikumserlebnisses bei gleichzeitiger Reduzierung der Lärmbelastung für die Anwohner.
Die Arena verfügt über mehrere Zonen, die für eine Reihe von Veranstaltungen und Zuschauerzahlen von bis zu 1.000 Personen indoor und 3.000 Personen outdoor geeignet sind. Im Außenbereich finden vor allem im Sommer Konzerte und Festivals statt. Über die letzten Jahre hinweg wurden in der Nähe des Veranstaltungsortes mehrere Wohnkomplexe errichtet, seither führten vor allem nächtliche Open-Air-Veranstaltungen in der Arena vermehrt zu Lärmbeschwerden neuer Anwohner.
„Die Arena rechnete damit, dass die Beschwerden den Betrieb am bestehenden Standort nach österreichischem Recht gefährden würden“, sagt Manfred Prochazka, Geschäftsführer und Head of Audio beim Meyer-Sound-Partner Atec Pro, der seit zwanzig Jahren für die Lieferung von Audiolösungen für die Arena verantwortlich zeichnet. „Das Management trat an uns heran, um über ein neues Beschallungssystem zu sprechen, um die Lärmemissionen in Richtung der neuen Hochhäuser zu minimieren.“
Die Wahl fiel auf ein Panther-Line-Array-System, welches das ältere Milo-Soundsystem ersetzen sollte. Für das Systemdesign arbeitete Atec Pro mit Dennis Tholema, Technical Services Manager, International, und Michael Pohl, Technical Services bei Meyer Sound, zusammen. Getestet wurde das Set-up im Meyer Sound Mapp 3D System Design & Prediction Tool.
Anschließend präsentierte Atec Pro dem Arena-Team das Panther-System. Während der Präsentation führten ein Bauingenieur und die zuständige Stadtverwaltung Messungen durch. „Diese Messungen bestätigten die Vorhersagen aus dem Mapp-3D-Tool und zeigten, dass die Lärmemissionen wirksam minimiert werden konnten“, sagt Thomas Löffler, Head of Audio for All Sound and Technical Info für die Arena.
Im April 2024 wurde das Meyer-Sound-System unter der Leitung von Richard Redl, Projektleiter bei Atec Pro, in Zusammenarbeit mit Meyer Sound und dem Team der Arena Wien installiert und kalibriert. Es besteht aus jeweils neun Panther-Lautsprechern links und rechts, je sechs cardioid geflogenen 900-LFC pro Seite und neun 2100-LFC unter der Bühne. Das gesamte System ist über ein Milan-Netzwerk mit Galileo-Galaxy-Prozessoren verbunden.
„Die 2100-LFC-Subwoofer spielen eine Schlüsselrolle bei der Kontrolle der tiefen Frequenzen“, erklärt Löffler. „Strategisch unter der Bühne positioniert, reduzieren sie die tiefen Frequenzen nach links, rechts und hinten und verhindern so unerwünschte Schallemissionen in die angrenzenden Wohngebiete. Zusätzlich reduzieren die 900-LFC die Schallausbreitung nach oben.“
Ein kleines System aus zwei Ultra-X40 und einem 900-LFC am FOH, das genauso klinge wie das Beschallungssystem an der Bühne, ermögliche es zudem, Soundchecks ohne die Verwendung der Main-PA durchzuführen, um Anwohner auch tagsüber nicht zu stören. „Dieses Set-up ist so effektiv, dass gastierende Techniker nur selten glauben, dass die PA auf der Bühne während des Soundchecks ausgeschaltet bleibt“, so Redl.
(Fotos: Thomas Magyar Fotodesign/Arena Wien)
SML picks Anolis for Hordern Pavilion
The Hordern Pavilion in Sydney, often referred to as “The Hordern”, regularly hosts live performances, dance parties, sports tournaments, trade shows, conferences, and a variety of other events. Recently, the 5,500-capacity venue unveiled a new house lighting scheme featuring 46 Anolis Ambiane RGBW XPs, specified and installed by SimpleMotion Lighting (SML), a specialist in venue infrastructure lighting.
SML was approached by The Hordern’s operators, Playbill Venues, to reimagine the lighting of the venue. The aim was to replace the outdated halogen lighting system with a more modern, energy-efficient solution that would accommodate the diverse events that take place at the venue. SML worked in partnership with Jands, Anolis’ Australian distributor, with additional support from Eddie Galak, Business Development Manager of Architectural Lighting. The project was led by Jono Boer of SML, alongside Scott Hart. Together, they designed and implemented a lighting scheme centred around the Anolis Ambiane fixtures.
SML had to consider the venue’s flexible seating configurations - The Hordern can accommodate various setups, including all-standing formats for concerts and dance events. The lighting design includes twenty Ambiane fixtures rigged in the domed roof, four fixtures on each side of the room above the exits (for a total of sixteen), and an additional six fixtures covering the arches above the exits. Some of the lights are positioned where the previous lighting was located, while others are in new locations to align with the drape lines used to partition sections of the hall.
Custom plates and mounting brackets were fabricated to secure the fixtures to the ceiling and walls, with power supplies mounted on ceiling beam clamps. This task was completed with the help of rigging company Pollards. The Anolis fixtures are controlled via DMX and a Paradigm architectural controller, which also enables zone control. Touchscreen remotes allow for access and operation. While the primary use of the lighting system is for smooth and even white washes, the venue can be instantly transformed with full-colour lighting. Additionally, the new system reduces energy consumption.
Pictured (left to right): Jason Oxenham (Technical Manager, The Hordern), Jono Boer (General Manager, SML), and Scott Hart (Electrical Supervisor, SML). (Photos: Louise Stickland/Paul Clarke)
Phil Supple turns to Astera for Edinburgh International Festival’s opening event
UK-based lighting designer Phil Supple utilised 56 Astera Tubes - forty Titans and eight each Hyperion and Helios - to illuminate 137 windows across 57 rooms at the George Heriot School in Edinburgh, Scotland, for “Where to Begin”, the opening event of the 2024 Edinburgh International Festival (EIF).
This EIF production was created by Pinwheel and delivered in partnership with The Macallan, for which Supple worked closely with creative agency Pinwheel under the artistic direction of Katy Fuller and co-director Simon Sharkey, together with composer Roma Yagnik and video artists Yeast Culture.
“Where to Begin” celebrated Scotland’s heritage and mythology as well as the alchemy of invention. The event included an hour-long immersive pre-show experience based on “Rituals that Unite Us” - with fire performers and other live artists. For these two pre-show areas, sixteen Astera AX3s were among other lights deployed for subtle illuminations.
After this, people walked around to the back of the building and gathered to enjoy the projection/son et lumiere finale, with video content mapped and projected onto the school’s north facade by Graymatter Video. The “out-of-the-box” idea of illuminating all possible windows from inside the building was to bring an additional layer of depth and three dimensionality to the event.
The Astera Tubes were supplied by locally based lighting rental specialist Black Light, together with the event’s other lighting equipment. Supple and his team - including programmer Lawrence Stromski, production LX Andy Murrell and Black Light’s lighting crew of Tom Pritchard, James Froment and Jon Meggat, together with Yuetong Heather An and Olivia Charneux - carefully positioned the Astera Tubes in the assorted rooms, a process that took two days.
These were a mix of classrooms, staff rooms, common rooms, canteens, storage areas, etc., and in general the Tubes were positioned for producing a soft glow of luminance that would radiate out through the windows. Sometimes they were rigged on bookshelves, desks, on chairs or tables set up in the middle of the room or on the floor.
Helios were also used in former gas lanterns on the exterior of the building to add a warm lantern-like glow. The total pixel count was 890. Some of the larger rooms would have two Hyperion Tubes set up to throw light out of six or eight windows, while some of the smaller spaces would be illuminated with a single Helios tube.
All the fixtures were powered locally via single power supplies plugged into 13-amp sockets, with data running via a Lumen Radio network. All the Astera products on the show were run in multi-pixel CRMX2-mode, using four Lumen Radio Aurora transmitters, one for each facade of the building.
The complete Astera setup comprised four DMX universes out of ten in total on the show, with the 400 timecoded lighting cues programmed on a GrandMA2 console and combined with video and sound production cues during playback which was from the QLab audio track controller.
Also instrumental to the success of “Where to Begin”, which played over three evenings attracting 3,000 people each night, were producer Holly Goodfellow, head of operations Dan Adams, technical production manager Al Pickard, and project coordinator Ellen Fernley.
(Photos: Jess Shurte/Phil Supple)
Genelec loudspeakers power Ubisoft’s new Stockholm office
Headquartered in the Parisian suburb of Saint-Mandé, the French video game publisher Ubisoft numbers over fifty subsidiaries around the world, including two locations in Sweden - Massive Entertainment based in Malmö and Ubisoft Stockholm. When Ubisoft Stockholm recently made the move to a new office location in Hagastaden, a range of Genelec loudspeaker systems were specified for the company’s game development and leisure spaces.
Having helped find the new premises, IT and Project Manager at Ubisoft Sweden, Niklas Domander, engaged systems integrator and consultant This Is Who I Am (Tiwia) and systems integrator Logic IT to assist with acoustics and the technical installation. The new office space features a range of specialised rooms and facilities including a multipurpose Dolby Atmos room that can be used for demos, presentations, screenings and other events. There is also an Atmos recording studio, a second 5.1 studio, a video editing suite, plus a central atrium that serves as a reception and social area capable of holding company-wide gatherings and events. Genelec loudspeaker systems have been installed throughout.
Logic IT was responsible for the installation in the main atrium reception area plus the kitchen. Based on Genelec’s 4000 Series installation loudspeakers, the audio system comprises two compact 4020s, and six slightly larger and more powerful 4030s that are distributed throughout the space for a BGM solution capable of higher SPLs when required. Logic IT also set up the Dante solution enabling music playback throughout this zone via a Yamaha MTX5-D matrix processor, and connected Ubisoft’s Teams solution with microphones to the same loudspeaker system for the large meeting setup.
As for the two recording studios, Tiwia CEO Pär Hörnell says: “The size of the studios was challenging. Achieving suitable acoustics in such a small space is tricky. The rooms had already been extensively treated during the construction phase, but we ended up having to move the computers out completely and run USB-C cables via fibre to make the spaces even quieter. In these instances, Genelec’s GLM calibration software enabled us to address some low frequency challenges.”
The main 7.1.4 Atmos studio is equipped with Genelec smart active loudspeakers. Three 8331 three-way coaxial models are set into the front wall as LCRs, supplemented with four 8330 two-way models for surrounds, and a further four for overheads. Completing the setup is a 7360 smart active subwoofer. The second studio has been equipped as a 5.1 recording/listening space. Five 8330s are installed as surrounds, with a compact 7350 subwoofer handling the low frequencies.
The 9.2.4 Atmos multipurpose room features a large screen. “This is a multifunctional space that serves as a demo room for visiting journalists and press events, but also internally for reviews, presentations, training sessions and more”, says Niklas Domander. “It also forms an important part of the workflow for our audio team.” Tiwia installed three 8350 models behind the screen as LCRs, and ten 8340 models throughout the room as surrounds and overheads. A pair of 7370 subwoofers complete the setup.
All models integrate closely with Genelec’s GLM software. Additionally, the room is connected to the sound studios via a Focusrite RedNet Dante system. An HDMI extender in one of the two floor boxes enables people to hook up their laptops in the middle of the room and carry on working.
“An initial mix in the 7.1.4 room allows us to see how the mix translates across a variety of channel formats, hardware and environments”, says Istvan Stenberg, Head of Audio at Ubisoft Stockholm. “And then we move into the multipurpose room and convert it into a mixing stage. Since all our studios and speakers are set up using GLM, our mixes translate seamlessly across different environments. Additionally, the consistency between Genelec models helps maintain cohesion throughout the entire audio production process.”
(Photos: Peder Carlsson)
Stage Audio Works Namibia integrates AV system at new chemotherapy facility
The Namibian Oncology Centre offers cancer treatment and care in modern surroundings. With facilities in Windhoek, Swakopmund, the opening of a new chemotherapy facility in the capital called for the integration of a new AV system to provide digital signage and entertainment for patients receiving treatment. Stage Audio Works (SAW) Namibia successfully secured the project following an invitation to submit a tender.
The scope of the project encompassed an audio system for background music in the reception waiting area, the installation of Smart TVs in the shared treatment area, and individual Smart TVs for each patient in the private treatment rooms. The technology installed includes an Audac audio solution with ceiling loudspeakers and an audio streaming module. For visuals, several UHD screens were installed, with entertainment provided via individual Apple TV units to allow for on-demand streaming services.
As the site was under construction during the integration, coordinating installation services within the stipulated time frame posed challenges. However, through collaboration with the engineers at Emcon Consulting Engineers and the construction team from Decora cc, SAW Namibia delivered the project on time.
(Photos: Sonja Kilian Art & Photography)
Brandenburger Theater steigt mit ETC auf LED-Technik um
Das Brandenburger Theater der Stadt Brandenburg an der Havel ist ein Traditionshaus mit über 200-jähriger Geschichte. Es bietet zwei Theatersäle plus Probebühne, eine angegliederte Puppenbühne und ein Programm, das von Oper und Operette über Musical bis hin zum jungen Theater und Schauspiel reicht.
Im Jahr 2015 begann das Theater mit der sukzessiven Umstellung auf energieeffiziente LED-Lichttechnik. Nach einer weiteren größeren Investition in moderne Lichtsysteme ist dieser Prozess nun abgeschlossen. Im Mittelpunkt des Upgrades stehen Scheinwerfer und Konsolen von ETC, bereitgestellt von ETC-Vertriebspartner Trendco.
Bei der Ablösung der konventionellen Scheinwerfer durch zeitgemäße LED-Lichttechnik ging das Theater schrittweise vor. Im Fokus stand zunächst das „Kleine Haus“: Bereits im Jahr 2020 war hier jeder zweite Scheinwerfer mit LED-Leuchtdioden ausgestattet. „Die konventionellen Scheinwerfer machten zwar noch die andere Hälfte aus“, sagt Jan Eberle, Licht-Chef im Brandenburger Theater, „doch sie wurden nur noch wenig eingesetzt.“ Umso mehr Aufgaben übernahmen in dem 217 Besucher fassenden Theater ETC-Source-Four-LED-Series-2-Scheinwerfer.
Aufwändiger gestaltete sich die LED-Umrüstung im über 460 Plätze fassenden „Großen Haus“. „Allein durch die Komplexität einer Vollbühne mussten neue Ansätze angedacht werden“, berichtet Eberle und verweist auch auf die finanziellen Aspekte, die so eine Investition mit sich bringt: „Die Umrüstung musste gut begründet werden und sollte nach Möglichkeit auch das Interesse möglicher Geldgeber wecken.“ Basierend auf den gesammelten Erfahrungen mit dem Kleinen Haus schrieb Eberle ein Konzept, bei dem die 80-prozentige Energie-Einsparung, die der Umstieg auf LED-Technik mit sich bringt, „ein wichtiges Argument“ war. Zunächst als „Zukunftspapier“ angelegt, sollte es stufenweise umgesetzt werden - „bis im Jahr 2022 eine Anfrage vom Kultusministerium zur Energie-Einsparung kam. Da waren wir natürlich sofort mit dabei“, so Erberle.
Von da an nahm der Umstieg in die LED-Welt Fahrt auf: ETC-Scheinwerfer wie Fos/4 Fresnel Lustr X8, Source Four LED Series 3 Lustr X8, ColourSource PAR und Desire Fresnel lösten ihre konventionellen Vorgänger auf den vier Bühnen ab. „Uns ging es auch darum, dass die neuen Scheinwerfer unserer schmalen Personaldecke Rechnung tragen“, sagt Eberle. „Sie sollen durch verringerte Aufbauzeiten jeden einzelnen Mitarbeiter entlasten. Das ist uns mit den Systemen gelungen.“
Da der Komplettumbau während des laufenden Betriebs vonstatten gehen musste, fiel die Entscheidung bei der Lichtsteuerung ebenfalls auf Konsolen von ETC. Die „Zauberflöte“ und „Das weiße Rössl“ waren auf ETC-Konsolen bereits angelegt - der Umstieg auf die neu angeschafften Pulte Gio @5 (Großes Haus) und Apex 5 (Kleines Haus) sei deshalb problemlos verlaufen. Ein weiteres Argument für die Investition in ETC-Technik war laut Eberle „die Typenreinheit“: „Keine aufwändige Anpassung der Lichtfarbe oder Farbtemperatur der einzelnen Geräte“, sagt er. „Egal ob PC-Scheinwerfer oder Profiler - das gleiche LED-Panel weist auch zu 100 Prozent die gleichen Farben auf.“
Auf das Datennetz habe sich die LED-Umrüstung kaum ausgewirkt: „Dank der Gateway-Reihe von ETC und unserem komplett autarken Netzwerk für die Beleuchtung bekamen wir da keinerlei Probleme“, führt Eberle aus. „Die Gateways wurden von mir vorab adressiert, konfiguriert und beschriftet und dann an nur einem Tag eingesetzt und in Betrieb genommen.“ Im Großen Haus komme man mit nur fünf zentralen Netzwerkknoten aus, in denen insgesamt zwölf Gateways verbaut sind. „Der Umbau des gesamten Netzwerkes dauerte lediglich acht Stunden.“
Foto (v.r.): Jan Eberle, Licht-Chef im Brandenburger Theater, mit Rainer Weggen von der Trendco GmbH. (Fotocredits: Rainer Weggen/Trendco GmbH)
Historic Morecambe Winter Gardens reborn with audio from KV2
The Winter Gardens - located in Morecambe, Lancashire, England - was once the centrepiece of Morecambe’s illustrious entertainment scene. Opened in 1897 as a landmark of British architecture, it welcomed performances from The Who, Vera Lynn and many more, but was partly demolished in the early 1980s, leaving only the Victoria Pavillion Theatre standing.
Since 2006, the “Friends of the Winter Gardens” trust has worked to revive this Grade II listed building. In 2024, a £2.7 million restoration project was launched, funded by a grant from the Department for Culture, Media and Sport. A critical part of the restoration involved installing a sound system that could support the current events programme and expand as the venue grows. For this, KV2 Audio was chosen to play a key role in the theatre’s future.
“We needed to provide a good starting system for the trust, which could scale with the changing needs and capacity of the building”, says Rob Crossland, engineering manager at Adlib, the project’s integrator. “Despite being a 2500-capacity room, the current capacity is restricted to 400 by local authorities. The trust wanted a system that could cater to their present needs but also evolve with the theatre. Our goal was to cover the entire stalls area with as few loudspeakers as possible.”
Adlib specified two of KV2’s ESR215MkII full-range loudspeakers and an ESR3000 amplifier, ground-stacked on one-metre risers to provide front-of-house sound in a dual mono configuration. Control is managed by an Allen & Heath SQ5 console. “Despite the large space, just two ESR215MkII enclosures deliver excellent coverage, and the system’s smooth frequency response is ideal for theatre applications”, adds Crossland. “Plus, it’s future-proof - eventually, we can fly the system and add more components like subwoofers or delay speakers.”
Folk quartet Wayward Jane will be the first to test the new KV2 sound system at the Winter Gardens in November. It’s hoped that other acts will soon follow.
(Photos: KV2 Audio/Morecambe Winter Gardens)
New Robe lighting package installed at Poppodium De Bosuil
De Bosuil, a 850-capacity live music venue in Weert, southeastern Netherlands, has recently received a new Robe moving light package - sixteen Paintes, twelve LEDBeam 350s, plus eight LEDBeam 150s - which is a substantial upgrade to their previous system of older Robe moving lights fixtures. These are all still working but needed upgrading to newer tech to satisfy the string of local and international artists and lighting designers frequenting this venue.
De Bosuil has been a music venue and on this site for many years. The current building opened in 2003 and was expanded two years ago. It is generally open Fridays through Sundays and occasionally during the week. Bands playing include classic rock and pop, all the way to EDM.
“After eleven years of solid work, the previous fixtures and lighting console needed replacing”, explains Head of lighting Bart Mesman (pictured), a freelancer who has worked at De Bosuil for over fifteen years and has an engineering degree. He and the crew researched what was available during the Covid pandemic and eventually decided on equipment from Robe. While the lighting package installed back in 2013 had comprised a number of other brands, this time only Robe was chosen.
Mesman admits that when he green-lighted the Paintes, he had not actually seen them in action - as they were that new, but he “just knew” that it was the right fixture for them. “It was seriously bright - perfect for our stage”, and through working for so long with the old Robe’s DLX’s, he knew the “Painte was perfect”. LEDBeam 350s and 150s he had already used on several occasions. Essentially here he sought “a moving PAR can type of light” and with both LEDBeam 100s and LEDWash 300s already in the house, the new LEDBeam350s and LEDBeam 150s completed the picture.
There are 59 moving lights in total in the rig. Eight of the existing Robe LEDWash 300s are still active on the “new” rig for floor and side lighting, and eight of their original LEDBeam 150s are now lighting the bar area. The seven original DLX Spots are still in the venue as well, positioned above the audience and used to create ambience during changeovers, and also for crowd lighting during club and party nights and DJ sets. The lighting refit also included delivery of a new console from Controllux, Robe’s Benelux distributor.
Around half of the incoming bands will bring their own lighting engineers, and Mesman operates for any that don’t, and in addition to him, there are six regular freelancers working as lighting operators and technicians.
(Photos: Louise Stickland/Paul Clarke/Maurice Moonen)
