Installationen News
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Milton Rooms unveils new sound system
09/05/2024
Christian “Tian” Jimenez uses KRK Rokit monitors and subwoofer while producing and mastering
09/05/2024
Ecco Cine Supply & Service installs Christie laser projectors in Germany’s largest multiplex
09/05/2024
Kreuzfahrtschiff „Seven Seas Grandeur“ mit ETC-Lichtsystemen ausgestattet
Mit der „Seven Seas Grandeur“ sticht dieser Tage der sechste Luxus-Liner von Regent Seven Seas Cruises in See. Beim Beleuchtungskonzept des 224 Meter langen Kreuzfahrtschiffes, das über zehn Decks verfügt, spielen Lichtsysteme von ETC eine tragende Rolle.
Travis McHale, ein in diesem Segment erfahrener Lichtdesigner und Programmierer, war für das Lichtkonzept verantwortlich. Er schnürte auch das für die „Grandeur“ installierte Paket von Lichtsystemen, welches unter anderem 82 ColorSource Spot V, 23 ColorSource Fresnel V, neun ColorSource Linear, fünf Halcyon Platinum Ultra Bright, 32 Halcyon Titanium Ultra Bright und 20 Talen beinhaltet. Die Ansteuerung geschieht über eine ETC-Eos-Apex-10-Konsole (plus Fader Wing).
Eine Sonderrolle schrieb der Lichtdesigner bei der Kreuzfahrtschiff-Installation den insgesamt 37 Halcyon-Scheinwerfern zu. Sie kommen in der Event-Location des Schiffes zum Einsatz.
Zu den wichtigsten Entertainment-Programmpunkten der „Seven Seas Grandeur“ gehören die abendlichen Shows: In der ersten Saison nach dem Stapellauf sind es vier an der Zahl, drei davon wurden von McHale, der über langjährige Theater-Erfahrung verfügt, in Szene gesetzt. Besonders hilfreich seien dabei die Eos Apex 10 gewesen. McHale platzierte die Magic Sheets auf den Apex-Monitoren. „Früher habe ich sie immer auf externen Monitoren untergebracht, das ist mit der Apex nicht mehr nötig“, sagt er.
Da in der Kreuzfahrtschiff-Branche Energie-Einsparungen und Emissionen von großer Bedeutung sind, hat McHale auch im Beleuchtungsbereich der Schiffe einen Trend ausgemacht: „Es geht immer mehr in Richtung kompletter LED-Anlagen. Die Systeme von ETC sind da ganz vorne mit dabei.“
(Fotos: ETC/Travis McHale)
Historic “Lido” in Paris reopens as musical theater with Elation lighting solutions
The “Lido” on the Champs-Élysées, a Parisian nightlife staple since the Roaring Twenties and once famous for its exotic cabaret and burlesque shows, has been completely renovated and reopened as “Lido 2”, a premier musical theater. Now presenting major works of theater in an immersive cabaret setting, “Lido 2” attracts both French and international audiences with a lighting kit almost exclusively from Elation.
Global Technique Concept, led by project manager Eddy Couloigner, oversaw the renovation and was enlisted as the lighting management service provider for the venue. In February 2023, the historic cabaret shows ended, and renovation work commenced shortly thereafter. Over seven months, the new lighting kit was installed to meet the venue’s unique requirements, including a relatively low proscenium ceiling height of 5.5 meters.
In line with venue owner Accor’s decision to ban tungsten and halogen lighting across all its establishments, the “Lido 2” features exclusively LED lighting. The new Elation rig consists of 30 Fuze Max Profile, 30 Fuze Profile, 16 Fuze Wash FR and 12 Chorus Line 16 fixtures. The Fuze Max Profile, with a beam angle range from 8° to 40°, are primarily used for front and side lighting, offering precision and essential framing shutters to avoid lighting the audience. The more compact Fuze Profile fixtures, with a 6° to 35° beam angle, are discreetly distributed above the stage and, with full blackout framing shutters, maintain beam control off the audience.
The Fuze Wash FR fixtures, selected for their Fresnel qualities and built-in framing, provide soft lighting. The Chorus Line 16 linear wash LED fixtures are hidden above the orchestra and out of public view. The lighting allows for use on other events as well, private gatherings for example, supporting “Lido 2” as a multifunctional venue. All Elation lighting was supplied through Elation’s French partner Best Audio & Lighting.
For the recent production of “A Funny Thing Happened on the Way to the Forum”, Couloigner collaborated with a lighting designer from the opera to ensure that lighting quality met the high CRI standards.
The “Lido 2” team also includes: Florian Fassenet (Technical Director); François Muguet-Notter (Deputy Technical Director); Déborah Lopez (Technical Management Assistant); Simon Stehlé (General Manager); Giuseppe Di Orio (Show Lighting Designer); Alexis Tsagris, Léo Lequesne and Juliette Luangpraseuth (Lighting Technicians).
(Photos: Julien Benhamou)
La Parada opens new restaurant in Johannesburg with an audio solution from Audac
La Parada is a restaurant chain bringing the vibrancy of the Mediterranean to South Africa. Finished with sandy pastels and palm trees, the restaurant’s newest location is in Johannesburg’s day-to-night dining and shopping destination Cedar Square. To compete with some of the busiest bars and clubs in the area, La Parada installed an audio system using technology from Audac and Xilica.
The project was a collaboration between AV Distribution and South African installation company Sonic AV. For Cedar Square, La Parada wanted a sound system that catered to DJs and bigger parties, offering something different to its predominantly dining-focused venues. “La Parada wanted to make the shift to a more music-orientated restaurant with this opening”, says Richard Edwards, CEO of Sonic AV.
The main bar and DJ area of La Parada Cedar Square features four Audac Vexo112 two-way passive loudspeakers. Across the rest of the bar, including the mezzanines and outside areas, Sonic AV installed six Xeno8 full range loudspeakers and six Xeno6 models. Two Audac Baso15 compact subwoofers deliver low end.
La Parada is divided into five zones; the main floor, two mezzanine areas and two outside areas. The entire space is wired in stereo and run through a Xilica Solaro audio processor for the staff to choose their inputs. There’s an input for background music, DSTV and the DJ, so Sonic AV also created a custom user interface for the team to run the entire restaurant off, including pre-sets for different times of day. Additionally, an iPad runs the Xilica Xtouch app so that the restaurant manager can control the sound in all areas of the venue.
“La Parada is a double volume restaurant with single volume mezzanines, which made it difficult for us to install the system and create an ambience that suited La Parada’s needs. So we also carried out some customised acoustic treatment”, says Edwards. “Our consultants did a full model of the space before we began to figure out where the problematic frequencies were, as well as any reverb issues. We then based our solution on the model. The acoustic treatment made a huge difference.”
(Photos: Stage Audio Works/La Parada)
SLX installs Tommex-designed Coda Audio system at Olsztyn’s rebuilt Urania Hall
Urania Hall in Olsztyn, Poland, recently underwent a comprehensive rebuild and refurbishment. Now, with a rebuilt Main Arena, new dome, modern architecture, and additional spaces such as a Small Arena, indoor ice rink, and underground parking, it serves as a key venue for a wide variety of events.
Specialist integrator SLX Sp. z o.o. was engaged to install the audio elements of the project and chose Coda Audio systems for the Main and Small Arenas. The system was designed and supplied by pro audio specialist and Coda Audio distributor Tommex.
Volleyball, basketball, and tennis are some of the sports played in the Main Arena, which can hold more than 4,000 spectators in advanced mobile stands. With a multifunctional floor area of 2,380 sqm and a height of 29 metres, the Arena can also accommodate events such as motocross acrobatic shows.
The Small Arena, with a seating capacity of 1,000, is primarily intended for handball, volleyball, or basketball training. This space can also be rearranged into two or three sectors with full-size courts, thus adapting to current needs from training sessions to corporate meetings, banquets, or celebrations.
The facility presented a number of challenges. In the Main Arena, the combination of a small space between the hall’s acoustic ceiling and the minimum mounting heights of technical elements on the playing area meant that the system had to be lightweight and compact, whilst still powerful enough to ensure the necessary SPL and even distribution.
A total of sixty Coda N-Ray line array units supported by twelve SCV-F subwoofers were chosen for the Main Arena. The Tommex team designed the audio system by using Ease simulation software and Coda’s proprietary System Optimiser prediction software.
Sound reinforcement for the playing area was achieved with the use of six G712-Pro 3-way full range loudspeakers. A further six G712-Pro took care of reinforcement in the 100 capacity Small Arena, with the systems in both Arenas powered by Coda Audio Linus14D DSP amplification.
(Photos: AW Fotografia)
Upgraded audio system at Chase Field powered by Cohesion CO12
Chase Field, located in Phoenix, Arizona, and home of Major League Baseball’s Arizona Diamondbacks, raised another National League pennant this past year. The championship banner gained company with the completed integration of a new Cohesion system, featuring the first permanent installation of Cohesion CO12 loudspeakers.
Opened in 1998, the 48,330-seat retractable-roof stadium has, over subsequent decades, augmented its year-round entertainment offerings beyond baseball. The Chase Field executive team envisioned attracting a wider range of high-profile events with an upgraded PA at the venue.
“The goal of better sound included granular control”, says Steve Silvertooth, Manager of Broadcast Engineering for the Diamondbacks, who experienced the capabilities of Cohesion firsthand during a Billy Joel and Stevie Nicks concert at Chase Field in December 2023 and became convinced that it should be the preferred solution for their upcoming project. Ultimately, the Chase Field system integrated the very same CO12 featured in the arrays of that Billy Joel and Stevie Nicks concert they attended.
Clair Global Integration (CGI) installed the system in the span of a few weeks prior to the 2024 baseball season. The main PA, comprised of eighteen CO12 per side adjacent to the centerfield scoreboard, provided coverage for the bulk of the stadium seating. An additional integration of nine CO12 per side underneath and rotated relative to the main clusters provided further coverage of the outfield and side seating.
This alignment, in lieu of more traditional co-located arrays, reduced interference in the lower end of the spectrum and worked well for the physical characteristics and reflective surfaces within Chase Field. The system design accounted for those venue attributes, such as the nine-million-pound retractable steel roof and the large (20’ x 15’) doors that open by the north concourse when weather permits. The bandwidth of the CO12, with coverage down to 35 Hz, eliminated the need for subwoofers, which saved valuable space in an area with limited room for installation.
The system also included an upgrade to the control room reference monitors by integrating a pair of Cohesion CF10 point source loudspeakers. These fill speakers are voiced similarly to the CO12 and therefore extended the full-range response of the outfield arrays into the control room to improve mixing of gameday audio and live performances.
(Photos: Anna Carrington/Arizona Diamondbacks/Cohesion)
Regan Vest museum installs Genelec’s 4000 Series loudspeakers in its exhibition space
Regan Vest is a new museum in Skørping, Denmark, exploring the geopolitical tensions of the Cold War. It tells the story in a newly built exhibition space that’s equipped with a comprehensive audio solution from Genelec.
“We wanted to create an exhibition in which the audio-visual elements supported the storytelling in very subtle ways”, says Taintec’s Tue Selmer Friborg, the audio-visual consultant that worked on the project. “The sound had to offer guests an immersive element, whilst being unobtrusive.”
The museum is made up of three parts: a 5,500 sq-metre secret bunker hidden sixty metres underground, which takes guests to the centre of the Cold War with its untouched artefacts and original décor; the master machinists house, which allows visitors to experience what day-to-day life was like; and the newly built exhibition space that tells the story of political tensions and how Denmark prepared for nuclear attack. This is where the Genelec system is deployed, with Friborg specifying a solution that relies on the 4000 Series loudspeakers, complemented by 7050 subwoofer technology.
“The inbuilt amplifiers made for a simple installation, and the low power consumption provided by Genelec’s Intelligent Signal Sensing (ISS) technology means that I don’t need to bother with turning amplifiers on and off”, says Friborg. “I like to make systems with as few hardware types as possible because it makes setup time and maintenance much easier, and the client does not need to have a huge stock of different spares.”
The system comprises seven 4030 loudspeakers, five 4020s, four 4010s and one 7050 subwoofer. As guests enter, quadrophonic surround sound is used to emphasise the two opposing sides, and in another room, there’s a replica of a nuclear explosion, which features intense flashing lights, a blast from the Genelec loudspeakers and a Danish TV broadcast of the attack.
Additionally, several vintage TVs and radios play historic clips from the era, which are reproduced by Genelec’s 4010 loudspeakers. The system is controlled by networked media players from BrightSign so that the sound levels and playback triggers are handled via the network.
(Photos: Genelec/Regan Vest)
Madrid’s Teatro de la Zarzuela invests in Robert Juliat Dalis 860 Cyclorama lights
Theatre, television and event rental company CityLight Iluminación has supplied 32 Robert Juliat Dalis 860 Cyclorama lights to Madrid’s Teatro de la Zarzuela (home of Spanish traditional musical comedy Zarzuela), procured from Robert Juliat’s exclusive distributor for Spain, Earpro & EES.
Teatro de la Zarzuela’s technical team carried out some in depth research when choosing their latest cyclorama lighting, making extensive enquiries on their requirements within its own team of experts and with visiting lighting designers before making their choice. “Our investments are always a collegiate decision based on the views of all they affect, and on our need to improve our equipment while providing each lighting designer with a wider range of resources”, says Antonio López, Technical Director at Teatro de la Zarzuela.
Shortly after receiving their new Dalis fixtures, the team installed them in readiness for a series of concerts: “We rigged nine Dalis 860s on a lighting bar set 1.8 m behind the cyclorama cloth and another nine units on the ground at the same distance”, says López. “From here we projected onto a pearl grey PVC cyclorama, covering the 12 m wide x 8.5 m high surface.”
The Dalis 860 fixtures have since been put to good use on a number of productions including the Gal La Placídia Opera, the Lied Recital, a Symphonic Concert of Spanish Music, and the tribute to the soprano Victoria de los Ángeles.
(Photos: Elena del Real/Teatro de la Zarzuela)
La Planète Rouge charts a stellar future with Brompton Technology
In 2021, La Planète Rouge, a team of 3D and VFX set designers as well as colourists, set out to create The Next Stage, housed within Provence Studios, the largest filmmaking infrastructure in southern France. According to its creators, The Next Stage has been designed to be “the ultimate in virtual production studios”. It features a custom-made LED screen from French manufacturer ArtBox and is powered by Brompton LED video processing.
“We started with a blank sheet”, says La Planète Rouge’s Morgann Brun. “The infrastructure needed to be as immersive as possible because our aim was for production companies to be able to create content for feature films there.” The result is a studio that features a U-shaped volume with an LED ceiling, plus a mobile set up. As Brun puts it, it is “a Swiss Army Knife for virtual production”.
To achieve this, the La Planète Rouge team spent a year on R&D, working with various manufacturers to decide on the best solution. “Because of this, and the fact that we are the owner of our own, cost-effective LED panels, we could test everything thoroughly”, says Brun. “We were also helped by the French government, which is keen to support the film industry. This was unique for us and hugely advantageous because we could spend time understanding our tools.”
The team’s collaboration with Brompton and ArtBox was instrumental in the R&D stage. ArtBox invested in its own Hydra camera, enabling it to get the most out of its panels with Brompton’s Dynamic Calibration technology to allow greater brightness, improved colour gamut and, crucially, the ability to display HDR imagery, with Brompton’s Business Development Manager Europe, Dries Vermeulen, advising on technical aspects, including calibration and refresh rates. “There was a lot involved and our conversations with Dries are ongoing”, continues Brun. “But our expertise and creating a studio at such a level meant the likes of Lions Gate wanted to come and see us, along with many small French companies.”
With the team’s extensive background in VFX spanning over fifteen years, La Planète Rouge prides itself on being able to be part of any project, from its conception through to its delivery. “From creating XR content to operating XR shoots and handling any post-production requirements, our holistic approach optimises our clients’ budgets, particularly for projects that have quick turnarounds”, adds Brun.
The Next Stage features a 2.5 pitch ArtBox LED wall, with each of the three sections measuring 14 m by 6 m high, along with a motorised roof spanning 8 m by 8 m, and one 5 m by 2.5 m mobile setup, all of which totals around 50 million pixels. “Our production control room is equipped with ten Brompton Tessera SX40 LED processors, offering 12-bit HDR rendering on the LED wall with a frame rate of up to 200 fps for slow motion”, explains Brun.
The studio’s product arsenal also includes nine servers that render in real-time using a Disguise system, Unreal Engine 5.3, a Sony FX9 camera, and an Nvidia A6000 and RTX 4090 graphics card, which allows the creation of hyper-realistic, immersive virtual environments. The roster of technical partners is also involved in ongoing conversations to ensure the La Planète Rouge team can continually evolve their studio toolkit. “Speaking with our partners is crucial in keeping us ahead of the curve”, notes Brun. “It’s not just about being competitive. It’s about offering our clients the best technology.”
Brun also emphasises their commitment to sustainability: “Being part of Provence Studios significantly elevates the standard for sustainable film production”, she notes. “It reduces CO2 emissions by eliminating the need for crew travel, optimising shoot durations, and reducing VFX workload. Provence Studio operates as a sustainable facility, utilising solar panels, recycling decor and other materials, and even producing its own honey. It has also received approval from the Ecoprod association, the leading initiative on sustainable film production in France.”
This approach has attracted numerous productions from the likes of Warner Bros and Paramount, French feature films and TV films, to the producers of TV series and commercials. “We wanted The Next Stage to be compared to the established LA studios and we think we’ve done that”, smiles Brun. “A lot of companies come to us because we’re in the South of France, and being located within the larger filmmaking facilities is certainly advantageous for them.”
As an example, Brun recalls one particular scene for Starz’ “The Serpent Queen” which involved shooting in a palazzo. “Transporting the entire crew to Italy would have been very expensive and time-consuming, and filming on location would have been difficult due to restrictions on extra lighting to protect valuable paintings. Thanks to virtual production technology, we were able to film both the interior and exterior of the palazzo utilising two of our studios”, she concludes.
(Photos: La Planète Rouge/Provence Studios)
LSC provides power assurance for Musikhuset Esbjerg
One of Denmark’s top performing arts centres, Musikhuset Esbjerg, has upgraded with advanced dimming and power management solutions from Australian lighting controls manufacturer LSC Control Systems. Musikhuset Esbjerg serves a broad program of performing arts to the Danish city - including plays, musicals, opera, comedy, and conferences. The building attracts over 150,000 visitors each year, including 80,000 for cultural events and 30,000 for conference and meetings, the remainder being tourists and visitors to non-paying events.
With its existing system of 130 dimmers beginning to fail after more than twenty years of use, the venue’s new Gen VI dimmer/direct power racks were supplied and installed by LSC’s Danish distributor, Light Partner. The venue’s head of lighting, Niclas Eriksen, explains the choice: “Our in-house opera company invested in 64 channels of LSC’s Gen VI dimmers a while back and we have used them various times since, both in our three venues here and on tour. The user profile and touchscreen are easy to use and that was one of the reasons we brought them back then, and again now.”
Of course, power consumption needs have changed over the years, with more LED moving lights and fewer incandescent fixtures. However, Eriksen and his team wanted the new system to consist of 96 dimmers, to accommodate some large opera productions with older fixtures. At the same time, flexibility was key. “Our old system only had six non-dimmer phases”, he says. “Since it is easy to change from dimmer to non-dimmer on the Gen VI, this was also a huge influence on our decision.”
The upgrade also allowed more efficient use of space. “Rather than use the dimmer room, we decided to put it on stage instead”, continues Eriksen. “The new Gen VI dimmers are very low-noise, and - another advantage - it’s easier to get to for cleaning.” And more benefits were to appear. “After installation, we quickly realized that having the dimmers on stage made it easier for us to monitor the output from the lighting consoles, to quickly send non-dimmer power to working lights at our front bridge, which is always patched. It also allows us to quickly provide dimmable backstage light without the risk of interfering with the show on stage.”
(Photos: Musikhuset Esbjerg/LSC Control Systems)
Princeton University Chapel resurrects its audio with technology from Renkus-Heinz
The former university of Michelle Obama, New Jersey’s Ivy League Princeton University, is one of the top schools in the United States. At the center of its religious and ceremonial endeavors sits Princeton University Chapel, a house of worship that gives nod to the architectural style of the English Gothic Cathedrals of the 14th century.
Constructed in 1928 after a fire destroyed the previous worship site, the cruciform chapel cost over $2 million to construct and was the largest university chapel in the US. For years, the venue has been relied on to carry congregations, host events and offer an oasis in the center of the university campus for people of all faiths. Complete with seating for almost 2000 worshippers, the nave features sandstone walls with limestone highlights and towering 80 ft-high ceilings, but its aesthetics compromised the speech intelligibility of liturgical services.
To resolve the sound issues, the chapel’s staff reached out to Maryland-based audio-visual integrators Washington Professional Systems (WPS) for a new audio system. The brief specified clear and intelligible speech for all congregants, as well as acoustically balanced music enhancement, broadcast capabilities and better audio clarity for worship leaders, the choir and the musicians. With consultancy support from SIA Acoustics, the chapel upgraded to an audio system from Renkus-Heinz, complete with innovative beam-steering capabilities.
Going into the project, WPS had to consider the historic nature of the venue, and working closely with the project architect, the integrators ensured that the system was discreet and respected the intricacies of the building. WPS deployed a tiered escalation process to identify any modifications and sought guidance on how to proceed, ensuring that the effects of the project on the chapel’s irreplaceable stone and woodwork was minimal.
“The system utilizes thirteen different self-powered Renkus-Heinz IC Live Gen5 loudspeakers throughout the main sanctuary, located on each side of the altar, on the columns of the nave, on the sidewalls of the balcony, and at the Marquand Chapel”, explains John V Fish, senior project engineer at WPS. “Each loudspeaker receives an independent audio signal from the DSP and is programmed with specific delays to act as one unit, creating the effect that the audio is being delivered from the altar.”
“The beam-steering capabilities allow control of sound dispersion from the loudspeakers in the vertical plane”, furthers Sam Berkow of SIA Acoustics. “This capability helps fine tune the system for highly intelligible speech in the very reverberant and reflective Chapel. Additionally, the IC Live Gen5 loudspeakers allow us as designers to control the vertical dispersion of sound to the point where we can create the sense that sound is coming from the presenter or worship leader themselves, rather than from the loudspeakers.”
The system is mixed through an Allen & Heath Avantis digital console, and a Dante-based network is used to transport audio signals throughout the sanctuary, the choir and the altar. This network enables the system to move the audio signature effectively with low latency. All system inputs and outputs are available on Dante, which means each signal can be routed as needed including to specific loudspeaker groups.
“By offering multiple modes of operation, the design allows Chapel staff to activate and use the system without navigating a complicated startup procedure”, concludes Fish. “Additionally, the system has enough headroom to be used for a wide variety of events.”
Being a working religious center, Princeton University Chapel stayed open during the installation to allow for daily services and events. To maintain these operations, WPS created staggered shifts for their on-site team that worked in tandem with the chapel’s schedule.
(Photos: Sam Bertness/Washington Professional Systems)
Milton Rooms unveils new sound system
After completing its most recent phase of regeneration, The Milton Rooms - located in Malton, UK - was equipped with a new sound system. A.C. Entertainment Technologies (AC-ET), in collaboration with installers North Star Engineers, were entrusted with designing the new PA system after an independent assessment concluded the venue needed expert advice to overcome its poor acoustics.
AC-ET calculated the best options for the new sound system using Nexo’s NS-1 acoustic prediction software. To deliver the optimal audio for the space, a Nexo Geo M10 line array system with Nexo P10 speakers used as delays, and DAD stage monitors, all controlled by an Allen & Heath Avantis console, were installed. Numerous Nexo ID speakers were also deployed as front fills and to feed audio into the venue’s side bar and foyer.
A truss grid above the main hall floor using Sixty82 M29, Columbus McKinnon D8+ Lodestar hoists with Tourflex Cabling, Out Board LV6 motor controller and Broadweigh 4.75 t wireless shackles completed the installation.
(Photos: A.C. Entertainment Technologies Ltd/Milton Rooms)
Christian “Tian” Jimenez uses KRK Rokit monitors and subwoofer while producing and mastering
Miami-based DJ, music producer, and music business entrepreneur Christian “Tian” Jimenez has always enjoyed making music. From producing and mastering in his home studio to mixing on stage, Jimenez continues to develop his sound. The KRK Rokit 8 G4 studio monitors and S10.4 studio subwoofer have both played a crucial part in helping Jimenez create his beats.
“I use my KRKs for production and mastering projects as an electronic music DJ and producer, and switching to the Rokit 8 monitors paired with the S10.4 subwoofer has been spectacular”, says Jimenez. He finds that his KRKs allow for an overall better listening experience when in the studio. “Thanks to my KRKs, I have better control of the room and a better sonic experience. My favorite spec of the speakers is the low end”, he states.
Among the features his KRK Rokit monitors have to offer, one of Jimenez’ favorite parts is the DSP-driven Graphic EQ. “Having a Graphic EQ in the back is a big plus for me”, he says. “It allows me to control the dynamics and modify the settings of the speakers for the room.” The 25 settings also help condition his acoustic environment. This feature is useful when Jimenez wants a different EQ response between creating and mixing his music.
In addition to his studio work, Jimenez’ selections and mixing abilities have given him the opportunity to play at a variety of venues in Miami. He made his first international debut at Soles Beach Club in Punta Cana, Dominican Republic. Looking ahead, he plans to continue to use his KRKs for future projects, specifically when recording and mixing.
(Photos: Christian Jimenez/KRK)
Ecco Cine Supply & Service installs Christie laser projectors in Germany’s largest multiplex
Cinecittà, Germany’s largest multiplex, has recently installed twelve RGB pure laser projectors from Christie, with more to follow. Ecco Cine Supply & Service supplied and installed the projectors. Cinecittà opened in 1995 in the heart of Nuremberg’s old town and has 24 screens. The multiplex is owned by the Weber family.
With Christie CP4435, CP4425, CP4420 and CP2415 RGB pure laser projection, the light output in the auditorium improved for both 2D and 3D content. The upgrading also reduced energy consumption by about 340,000 KWh per year, according to exhibitor Wolfram Weber. With energy costs on the rise, it was important to implement energy-efficient measures. Additionally, sustainability was considered in the decision-making process, as the new projectors no longer require xenon lamps, eliminating the need to dispose of consumables.
“We have been supporting Cinecittà for many years. In addition to Christie RGB pure laser projection, we have installed Christie Vive audio in the Cinecittà’s Cinemagnum auditorium”, says Thomas Rüttgers, Managing Director of Ecco Cine Supply & Service.
In addition to the installation of more laser projectors, Cinecittà has plans to convert more auditoriums to deluxe screens. “We currently have five deluxe screens, but the concept has been very well received by audiences and we still see room for improvement”, says Wolfram Weber.
(Photos: Christie/Cinecittà)
Florence underground club Tenax upgrades with K-array
Florence, Italy-based venue Tenax recently underwent a sonic upgrade with the installation of a new sound system from K-array. Boasting 43 years of continuous activity and a star-studded roster of performers including the likes of Daft Punk, Ben Harper, and Dream Theater, Tenax required a system that would live up to the club’s reputation whilst honouring the requirements for low frequencies in a built-up urban area.
The team at K-array worked directly with the in-house technicians at Tenax to design and implement the updated system. “Our headquarters are located just outside of Florence city, so we have strong connections with the nightclub and with the underground music culture that has evolved from Tenax over the decades”, says Daniel Strasserra, Global Business Development Manager at K-array. “Whilst a key goal was to gain control over the audio and alleviate neighbourhood concerns, we were also tasked with designing a system that would do justice to the performances of the the best DJs in the business.”
K-array recommended a large-scale system including sixteen Mugello-KH3 tops and twenty Thunder-KS4 subs, powered by three Kommander-KA208 amplifiers. To mitigate noise pollution, sixteen of the Thunder-KS4 subs have been strategically positioned in front of the sound booth to concentrate low frequencies in the centre of the dancefloor, leaving the side walls and adjoining buildings with minimal disruption. Additionally, the Mugello-KH3 tops are arranged in four clusters of four, enhancing sound dispersion.
The DJ booth monitoring system features four Thunder-KMT21 subs and six Dragon-KX12 tops configured in a left-centre-right format. This configuration, initially requested by techno legend Jeff Mills, has since become the standard for monitoring systems in the main room, earning compliments from renowned DJs such as Steve Aoki, Black Coffee and Damian Lazarus. On the first floor, dubbed “The Tube”, audio is delivered through two Thunder-KMT218 subs, four Dragon-KX12 tops and two Python-KP52s for delay coverage.
Like most modern nightclubs, Tenax offers several VIP areas. These areas, designated for private parties, have also been equipped with K-array and Kgear audio solutions. VIP tables on the ground floor are installed with three GH12 loudspeakers from Kgear, which take care of refreshing the mid-hi audio from the system in the main room, whilst Golden Tables on the first floor are reinforced with Kobra-KK50 tops and 3 KN10S subs.
(Photos: K-array)
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Martin Audio WPS installed at Cardiff Students’ Union Great Hall
The multi-use requirement of Cardiff Students’ Union’s Great Hall presented SWG Events with several challenges when designing and installing a frontline PA. The venue is a multipurpose space with a capacity of 1500 and a variety of needs. Firstly, the PA system needed to meet the approval of incoming circuit bands and productions, and at the same time be adaptable to a wide range of events.
Since live music events are hosted in more than one space within the building, the PA needed to be demountable and reappropriated together in various locations. SWG successfully met the challenges presented to them, their pitch based around Martin Audio’s Wavefront Precision WPS line array.
“This year the Great Hall enters into its fiftieth year of operation, as one of the oldest music venues in the Capital City,” says Callam Thom, Head of Venues. “It is therefore crucial that we keep up with the demands of modern-day touring and the expectations of our audiences.”
The Great Hall has recently seen significant development to the two accessible viewing balconies, increasing the spaces available for those with additional viewing needs. The development provided an upper-level bar, toilets and viewing platforms - spaces that also had to be catered for with the sound system. SWG Head of Audio, Simon Purse, sensed these challenges when confronted with a building that was “basically a big concrete square, with low balcony at the end, and the FOH position situated just under the bulkhead.”
SWG based their design for the conventional pros arch system around six elements per side of WPS, driven in 2-box resolution from Martin Audio’s iK42 amplifiers. Eight SX218 subwoofers are placed in a broadside array, while also at the stage, four Blackline X8 fill gaps in the nearfield with two Torus T1230 delivering out fill sound.
Given the low balcony overhang, a ring of four CDD8 provides under balcony delay and a further four CDD8 above the accessible viewing left and right-side balconies themselves, DSP for which is provided by a dedicated DX4.0 controller; this also brings the fills into the VU-Net control network.
“While there are elements that are fixed, a lot of it is like a conventional flown touring system”, says Purse. “Exams one day might be followed by a rock show, so it can be derigged and taken down or change shape, depending on the requirements of the venue. Even the stage is removable, making probably the most diverse room I’ve ever been in.”
Martin Audio Product Support Engineer Robin Dibble assisted with tuning and time alignment which, being a reverberant concrete venue, was essential - despite the presence of drapes and acoustic treatment. Presets are programmed and stored, depending on the different scenarios.
Purse explains, “There is a snapshot for when the system is in its default live show mode, with all the time alignment EQ and settings loaded in that. For other events such as when a DJ is placed in the centre of the room, the PA is moved, new angles applied and given new optimisation. The system then resets back to its default state afterwards.”
Joe Bailey, Account Manager at SWG Events, emphasises that the system has performed well in the first academic year of the contract with over fifty live music events since installation in Autumn 2023, most of which are touring artists. Following commissioning by Robin Dibble, SWG Events provided training to the in-house crew, while they are also providing crew for live music events from a system engineer point of view.
The Wavefront Precision system will also come out during the University’s summer recess to be redeployed on SWG Events’ roster of summer outdoor work, before returning to the Students’ Union for Freshers’ Week and the start of the Autumn term.
(Photos: Martin Audio/SWG Events)
ProSound Vietnam chooses Powersoft amplifiers for Goethe-Institut in Hanoi
Powersoft’s T Series amplifiers are powering a new sound system at Goethe-Institut in Vietnam. Nestled in the capital city, Hanoi, Goethe-Institut is the leading provider of German cultural and educational programmes worldwide, promoting the German language and fostering international relationships.
The cultural institute needed a new sound system in its multipurpose room, capable of accommodating a variety of activities including teaching sessions, presentations, art exhibitions and musical performances. Goethe-Institut tasked local integrator ProSound Vietnam with the challenge. ProSound then turned to Powersoft amplifiers. The language school’s sound system comprises three Powersoft T-Series models - T604, T302 and T302A - which deliver 6000 W from two channels (T604), and 3000 W from two channels (T302/T302A).
Accompanying the Powersoft amplifiers are two TW Audio Fullrange T20i and four TW Audio Fullrange M8i loudspeakers, two TW Audio Subwoofer B17i, and two Sennheiser Micro EW-100-G4-ME2 microphones, as well as a DiGiCo Stage box 1 and a DiGiCo S21 Mixer 1.
(Photos: ProSound Vietnam)
Taipei Performing Arts Centre invests in Robe Spiiders
The Taipei Performing Arts Centre (TPAC), which contains three performance spaces - The Grand Theatre, the Globe Playhouse, and the Blue Box - has recently invested in forty Robe Spiider LED wash beam luminaires, which will help light an array of productions staged at the venue.
The Centre has around 150 full time employees, a third of whom are designated to work across assorted technical disciplines. TPAC senior technical officer Yi-Ming Liu (aka “Birdie”) was instrumental in picking the Spiiders, together with TPAC’s head of lighting, Pang-Yan Lin Ling, and others from the lighting team. Sustainability was a major consideration when getting these moving lights, as well as multi-functionality.
The Spiiders, recently delivered via Robe’s Asia Pacific subsidiary in Singapore, arranged by local Taiwan dealer DLHG, run by Jackson Yu, will be used in all three main performance spaces in this bustling producing and receiving house.
TPAC’s eye-catching contemporary building was designed by David Gianotten and Rem Koolhaas from the Office for Metropolitan Architecture (OMA) and features different geometrical shapes offering a total space of 50,000 square metres.
The 800-seater Playhouse is sphere shaped, the asymmetrical shaped Grand Theatre has a 1500 capacity, and the Blue Box studio space can accommodate up to 840 and is fully flexible. The building is owned by the Taipei City Government’s Department of Cultural Affairs.
Knowing the type of luminaire needed to add to the approximately 2000 generic luminaires in place when TPAC opened in 2022 after a ten-year build period, Yi-Ming Liu and the lighting team created a spec for the ideal LED wash beam. The fixture was identified as the most useful addition for fulfilling lighting designs plus saving person-power and time when facilitating productions.
Some of the crew travelled to Robe’s factory in the Czech Republic to see the production process, further in depth demonstrations and to receive hands-on maintenance training. TPAC does not have in-house LDs but works with a range of freelancers who are commissioned to light their own productions on a per-project basis and are primarily from Taiwan. International and touring productions will often bring their own designers or lighting directors.
TPAC is the first theatre installation in Taiwan to feature Robe Spiiders in the rig. Yi-Ming Liu already knew Robe through his touring experiences, but his association goes back around twenty years or so, when he worked at the Ministry of Sound club in London, which had Robe in the house.
The shows staged at TPAC include Taiwanese dance and performance groups, drama, opera, musicals, a range of dynamic Asian co-productions and international works. The performance spaces are also used for commercial, industrial, business, and special events.
Pictured (left to right): Some of TPAC’s technical department team - Yi-Ming Liu (senior technical officer), Achun Kao (senior technical officer), Pang-Yan Lis (assistant manager, head of lighting), Kim Lin (senior technical officer), Ting-Nan Chen (senior technical associate). (Photos: Louise Stickland/Paul Clarke)
Florida theater venues choose DiGiCo Quantum225 desks
Artis-Naples is one of the premier destinations for the visual and performing arts in Southwest Florida. The Kimberly K. Querrey and Louis A. Simpson Cultural Campus in Naples includes two performance halls: the Frances Pew Hayes Hall and the Myra J. Daniels Pavilion, as well as The Baker Museum and the Stabile Education building.
Most recently, the 283-seat Daniels Pavilion - whose range of programs includes music, film, dance, comedy, lectures, and exhibitions - received an upgrade in the form of a new DiGiCo Quantum225 console, used for both front-of-house and monitor mixing duties, and sourced through Fort Lauderdale-based Carlton Audio Services, Inc.
Ryan Young, Head Audio Engineer at Artis-Naples for the last three years, says the addition of the Quantum225 is part of a series of upgrades that will also soon see the venue’s PA system replaced. “The intent was to upgrade and modernize our sound, and we are already very much a DiGiCo campus”, he adds, noting the SD12 console installed at the neighboring Frances Pew Hayes Hall and the SD9 that acts as a recording and program playback mixer there.
“We also wanted to have more flexible routing, so we could, for instance, run monitors from front of house”, he continues. “With so many different types of music and other performances here, versatility is the key.” Young says that he and his staff, including A2 Taylor Freydberg, have just begun exploring the possibilities of the console’s Mustard and Spice Rack processing.
On the state’s opposite coast, The Parker, a 1,200-seat venue in Fort Lauderdale and part of that city’s live-performance legacy for nearly sixty years, recently underwent a $30-million renovation. The process was part of an even larger rebranding and repositioning of the venerable venue: for much of its existence it had been the Parker Playhouse, a theatrical venue, and an affiliated venue of The Broward Center for the Performing Arts. Now, The Parker has become a main stop for top touring music artists and shows, with a new D&B Audiotechnik sound system and a DiGiCo Quantum225 console also supplied by Carlton Audio.
“Over the last several years we’ve transitioned to becoming a roadhouse venue”, says Anton Foresta, Director of Production - Affiliated Venues at The Parker. “Still a venue for community and educational programming but with a focus on live concerts at night, and for that, we wanted a rock and roll sound system and a rock and roll console.”
Foresta has been using DiGiCo desks for years, as front-of-house engineer for Arrival from Sweden, “The Music of ABBA” (for which he used a Quantum338), and in his role at The Parker, where he says the vast majority of the touring riders crossing his desk are for DiGiCo consoles. “Our job is to fill that rider and give them what their first choices are, and nine times out of ten, the first choice on that rider is DiGiCo. So rather than renting a DiGiCo, we decided to buy one”, he says.
“We had thought maybe we should get an SD12 because of its 96 inputs, but I knew that the Quantum225 would eventually get the update to go up to 96 channels - and a few weeks ago they released the update”, he adds.
Both Quantum225 consoles were recommended and sold through Carlton Audio Services in Fort Lauderdale. The company’s owner, Chris Carlton, also acts as sound designer and front-of-house engineer for Barbra Streisand, using a DiGiCo Quantum338 console for his live work with Streisand.
Pictured: Ryan Young at Artis-Naples’ new DiGiCo Quantum225 console; left to right: Anton Foresta, Michael Perez (A2), and Gabe Katz (A1) at The Parker’s new DiGiCo Quantum225 desk. (Photos: DiGiCo/Artis-Naples/The Parker)
Amberger Schule installiert Lichttechnik von ETC
Um verschieden Aufführungen wie Musicals, Veranstaltungen wie „Tage der offenen Tür“ und Feiern bestmöglich in Szene setzen zu können, hat das Max Reger Gymnasium (MRG) in Amberg in neue Licht-Technik für seinen Multifunktionsraum investiert. Unterstützt wurde das MRG-Direktorenteam um Georg Mayer und Christoph Matz von dem in München ansässigen Licht-Dienstleister Scheinwurf.
Zum Bühnen-Setup gehört unter anderem ein Obermaschinerie-System, angesteuert durch ein Motor Control Interface und eine QuickTouch-Bedienstation von ETC. Eine Investition in die Sicherheit, wie Peter Platz von der Scheinwurf GmbH sagt: „Damit hat man alle sicherheitsrelevanten Daten - wie Lastmessung und Höhenangaben - auf einen Blick im Display.“ Auch wenn eine Kette nicht ordnungsgemäß laufen sollte, bekomme man „sofort die Info“.
Das Obermaschinerie-System wird vom MRG für Bühnenumbau genutzt: für unterschiedliche Bühnen-Dekos, Vorhänge und Scheinwerfer-Bestückung. Zur Ausstattung der acht Meter hohen und 280 Personen (bestuhlt) fassenden Halle gehören überdies folgende ETC-Lichtsysteme: 3 x High End Systems Lonestar, 10 x ColorSource PAR, 5 x ColorSource Spot, 5 x ColorSource Spot jr. Angesteuert werden die Scheinwerfer von einer Element-Konsole.
„Wir haben von Scheinwurf zwei Einführungs-Schulungen bekommen, danach hatten weder ich noch die Schülerinnen und Schüler vom Technik-Arbeitskreis Berührungsängste mit dem Equipment“, sagt Thomas Prechtl, der als Musiklehrer im MRG auch die Position des technischen Leiters innehat. Für eine Musical-Aufführung des Gymnasiums habe er mit seinen jungen Licht-Kollegen zuletzt „mehr als fünfzig verschiedene Lichtstimmungen vorprogrammiert“.
(Fotos: ETC/Snapshot)
Genelec 4000 series loudspeakers installed at new Tokyo motorsports hub
Arta Mechanics & Inspirations, a converted warehouse in the Shinkiba area of Tokyo, Japan, serves as a hub where visitors can immerse themselves in the complete Arta brand experience. The installation of Genelec’s 4000 Series loudspeakers throughout the space supports that experience.
Born from a collaboration between Japan’s F1 racing driver Aguri Suzuki and Japanese car parts manufacturer Autobacs Seven, today Arta is the largest racing team in Japan. Aside from its racing endeavours, it is also a brand with a range of luxury products to its name including custom cars, watches, and apparel. The inception of Arta Mechanics & Inspirations was a pivotal step in promoting the significance of the brand, offering a showcase for Arta’s worldview of motorsports.
According to Autobacs Seven brand business sales manager Naoto Oyama, the industrial feel of the warehouse environment offset against luxury products was the ideal setting to represent the image of motorsports. The Genelec loudspeaker system plays a significant role in creating that ambience. “As the name suggests, we are here to inspire our customers, and the atmosphere of the space plays a crucial role in that”, says Oyama. “We consider sound as one of the most important tools for creating atmosphere.”
The venue deploys six compact 4020 loudspeakers discreetly distributed throughout the space. Staff can choose from a variety of specially curated playlists to match the mood of the day or the particular event. Genelec’s 4000 Series models are equipped with an ISS power-saving function that automatically detects the absence of an audio signal, putting the loudspeaker into ‘sleep mode’ accordingly.
Oyama notes that Genelec’s Nordic design matches well with the industrial feel of the store. “And I like the fact that the loudspeakers are made of recycled aluminium, that feels like a really good fit for us in motorsports”, he adds.
(Photos: Yashima Takashi)
Coda Audio USA supplies audio package for Crown Hill Theatre installation
Crown Hill Theatre in Brooklyn, New York, officially opened its doors with a red-carpet event in early December 2023. The brainchild of entrepreneur and musician Peter Tulloch, Crown Hill was created with a vision to enrich the cultural experience of its community through every element of the performing arts.
Across its three floors, which include a main event space, studios, co-working spaces and multi-purpose rooms, this community hub hosts public and private events featuring innovative and in-demand acts, and also offers education and access to technology, helping to foster the next generation of young professionals in the worlds of entertainment, communications, film and media. On the education front, Tulloch’s wish is to welcome city-affiliated programs for those between 18 and 24 who wish to learn “new age trade skills”.
As his plans crystallised, Tulloch visited the NAMM show in 2019 where he was introduced to Luke Jenks, the Managing Director of Coda Audio USA, and felt a good connection. As the Crown Hill Theatre project was developing during 2022, and the public got an idea of what was coming, demand for the space increased and the scale and profile of the events quickly grew larger. It was apparent that the venue’s capabilities needed to scale with the variety and size of events.
Tulloch reached out to both Eastern Stage Productions of New York (ESP), Coda’s North East US dealer, and Coda Audio USA for their support in expanding the system for a specific run of pre-launch shows which would fully demonstrate what could be achieved in the space. The venue was launched last December. “ESP has an extensive inventory of Coda equipment, and we worked alongside its skilled team to design an augmented system able to support the eclectic program”, says Jenks. “The work carried out at Crown Hill by Bill Danilczyk’s expert team at ESP.”
“The guys from ESP did an amazing job and had us ready to go in good time for what turned out to be a hugely successful run”, adds Tulloch. “The ‘Fun With Friends’ event featuring DJ Puffy was a major success, with another date booked immediately for December, and Soul in the Horn were equally keen to return within weeks. The owner of a major festival in Florida saw and heard enough to book a show, so when the grand opening came around, we were completely confident in our capacity to deliver a stunning audio package for the artists and audience alike.”
The last night of the run marked the official opening of the Crown Hill Theatre. “The whole evening was a blast”, continues Tulloch. “After the ribbon-cutting and the speeches, we had a full ska/jazz big band with twelve horns, DJ sets from DJ Spinna, Soul in the Horn and Frei Speech, and a six-piece R&B band. The system was on point throughout for what was a really diverse mix of sounds. The fact that the artists who played in the run up to the opening couldn’t wait to come back, says a lot about what they think of the venue and the audio excellence we can offer.”
“Coda Audio was the talk of a number of PA companies and engineers who visited during the last few weeks”, he concludes. “The ESP staff seemed to be in constant conversation about the system. There’s no doubt in my mind that its quality and capability has been a significant factor in attracting a large number of amazing bookings for 2024.”
The permanent installation at Crown Hill Theatre is centred on Coda Audio’s ViRay compact line array (12), with SCP sensor controlled subs (6) and SC2 bass extensions (2). The system is supplemented with Hops12i high output point source (2) and Hops8 (4), and is driven by Linus14 (3) and Linus12C (3) DSP amplifiers. Cue Two (4) and Cue Four (4) compact three-way stage monitors complete the install.
(Photos: Coda Audio/Crown Hill Theatre)
Sennheiser setzt Zusammenarbeit mit Morgan Motor fort
Sennheiser setzt seine seit 2022 bestehende Partnerschaft mit dem Sportwagen-Hersteller Morgan Motor im neuen Morgan Plus Four fort. Der Audiospezialist ergänzt das neueste Update in der traditionsreichsten Linie von Morgan Motor um ein verbessertes Klangerlebnis mit technologischen Neuerungen.
Für das Audiosystem im neuen Plus Four setzt Sennheiser Aktuatoren im Cockpit und unter beiden Sitzen ein. Höher spezifizierte konventionelle Lautsprecher in den Türen ergänzen das bestehende Layout. Diese Neuerungen sollen für ein verbessertes Hörerlebnis für Fahrer und Beifahrer sorgen. Das Sennheiser-Tuning soll hierbei die Illusion einer breiten Klangbühne vor den Insassen erzeugen.
Das neue Audiosystem bietet zudem einen größeren Lautstärkebereich und eine erhöhte Bluetooth-Reichweite. Das Sennheiser-Logo ist auf den Lautsprecherabdeckungen im Plus Four zu sehen. Das Gitterdesign ist von den charakteristischen Lüftungsschlitzen in jeder Plus-Four-Motorhaube inspiriert.
Im Plus Four ermöglicht die Sennheiser-Audiotechnologie den Fahrern, Titel zu pausieren und zu überspringen, indem sie den vorhandenen Lautstärkeregler verwenden, sodass auf zusätzliche Regler verzichtet wird. Durch die Integration von visuellem Feedback über das LCD-Display sind die Lautstärkeanzeige und der abgespielte Titel auf einen Blick ersichtlich.
(Fotos: Sennheiser/Morgan Motor Company)
AJP specifies all-Powersoft amplification for audio overhaul of Neches Arena at Lamar University
Neches Federal Credit Union Arena at the Montagne Center, a multipurpose indoor arena and events centre at Lamar University in Beaumont, Texas, has replaced its ageing audio system with an all-new set-up powered by Powersoft’s cloud-based Unica amplifier platform.
Home to the Lamar Cardinals and Lamar Lady Cardinals basketball teams, both of which compete in the NCAA Division I, the 10,746-seat Neches Arena also hosts volleyball, gymnastics, wrestling, boxing and martial arts events, as well as concerts and other live entertainment. Lamar University, the venue’s owner/operator, additionally hires out the arena floor for graduation ceremonies, proms, dances, banquets and conferences.
Kendall Bowman, acoustic engineer for Anthony James Partners (AJP), which designed and specified the new audio system, explains that the upgraded system needed to deliver on multiple fronts, being able to “meet the multifunctional needs of the arena, increase the intelligibility, and provide enough power to meet the demand of the space”.
The AJP-designed sound system replaced an earlier set-up comprising just “one large full-range box and a few delay speakers”, which had fallen into disrepair and now failed to meet the needs of the space, he adds. “The university wanted to bring the system up to date with current technology and improve the experience for those attending events.”
The specified system, as installed and configured by Bluum Technology, comprises four Unica 8K8 (8,000 W/eight-channel), two Quattrocanali 8804 DSP+D (9,600 W/four-channel) and one Ottocanali 8K4 (8,000 W/eight-channel) amplifier platforms, along with a Midas M32 console, four Shure ULXD wireless microphones, a Q-Sys Core 110f processor, and Netgear M4250 switches. The Powersoft amplifiers power an all-Fulcrum speaker set-up consisting of twenty FH15 and twenty-four CX826 speakers and four Sub218L subwoofers.
The speakers utilise the DSP built into the Powersoft amplifiers, with additional processing and control provided by the Q-Sys Core, installed by Bluum in a rack under the basketball court bleachers (seating). The pull-out bleachers also house the Netgear switches, a touch panel and audio connection points. A redundant Dante AV-over-IP network transports the sound to the control room over fibre cable, reveals Trey Bracamonte-Harrell, lead integration tech for Bluum.
As in many retrofits of older venues (the Montagne Center was built in 1984), the design of the new sound system was constrained by the space available, with AJP having to work around the existing infrastructure, including the remnants of the old system. “The old system had been repaired and updated many times, leaving behind traces of the old system, with many pieces of the system in several different locations”, says Bowman.
“We wanted to make sure that the new system would be able to have permanent home and create a clean result with as few locations to house the equipment as possible”, he continues. “In the end, we were able to work with the university to find an appropriate location for the amplifiers and processing equipment, and while maintaining easy access for maintenance and monitoring.”
That appropriate location was a Middle Atlantic WRK rack, which houses the Powersoft amplifiers and networking equipment. This complements the under-bleacher rack (also a Middle Atlantic model) and a portable audiophile rack containing the console and microphones; elsewhere, AJP used the arena’s existing steel grid to find appropriate hang points for the speakers (while still allowing space for the grid to be used for rigging visiting events).
The Powersoft US team provided support on the control programming side, which allowed the amplifiers to be managed through the Q-Sys platform. “This provided great feedback on the touch panel in regards to monitoring system health and allowing zone control of the system”, states Bowman.
(Photos: Powersoft/Lamar University)
WSDG elevates acoustic excellence at Lithuanian State Symphony Orchestra
Situated in the heart of Vilnius, the capital city of Lithuania, the newly reconstructed concert hall of the Lithuanian State Symphony Orchestra (LVSO), formerly known as the Vilnius Congress and Concert Hall VCCH, opened its doors to visitors in March this year.
The project, conceived in 2018, involved designer Marius Mateika and the services of Lithuanian architectural and building acoustic company Akustika Plius, collaborating with ADA Acoustics & Media Consultants GmbH (a WSDG Company) who focus on architectural acoustic consulting and media system engineering, along with the construction company Infes. Their joint efforts were instrumental in bringing the old hall up to new acoustical standards suitable for a symphony orchestra.
In 2018, Prof. Dr. Wolfgang Ahnert, founding director of ADA, visited the old hall and met with the long-standing conductor of the LVSO, Gintaras Rinkevicius. “It was evident to both of us that the hall required fundamental reconstruction to significantly improve its acoustics”, shares Ahnert. “Although the space was used for both speech and symphonic performances, it was definitely more adapted to speech purposes, with a very short reverberation time.”
Subsequently, Viktoras Mekas from Akustika Plius invited Ahnert to formally participate in the project, benefitting from Ahnert’s knowledge in the field of room- and electro-acoustic designs, as well as noise control. “During the project we had to consider a lot of different acoustic indicators and criteria”, explains Ahnert. “These included reverberation time, music and speech clarity, warmth of sound, as well as the mutual hearing of musicians and density of lateral reflections. Meeting all these parameters required the implementation of various measures.”
“In close cooperation with interior designer Marius Mateika, we worked together with Viktoras and the construction company to determine the primary and secondary requirements necessary to enhance the acoustics of the hall”, Ahnert continues, noting that the primary structure refers to the correlation between volume, space, and dimension. “The key takeaway from our visits was that the height of the ceiling of the hall didn’t offer enough volume to create optimum acoustics for every visitor, which included a two-second reverberation time needed for a perfect symphonic listening experience.”
After a hiatus caused by the global pandemic, the project resumed in 2022. Ahnert worked closely with colleague Tobias Behrens to create simulations using software program Ease at their office in Berlin. These were then passed to Mekas and fellow acoustics consultant and architect at Akustika Plius, Gintare Privediene, who collaborated with Mateika and the construction company on what was necessary from an architectural viewpoint.
The first stage of the project involved fundamentally changing the design of the hall, raising the roof after convincing the client to add extra volume to the 984-seat concert hall. In line with amphitheatre principles, a stage with two movable raisers was installed, along with new lighting and ventilation systems.
The next stage was focused on the so-called secondary structure of the hall, by integrating three-dimensional acoustic patterns on the ceiling and walls combining rhombuses, triangles, rib panels, and smooth acoustic panels. “By integrating these panels, it was possible to diffuse sound reflections and ensure even distribution across the entire hall”, says Behrens who further notes that ADA’s experience comes from its work on similar projects, including the Elbphilharmonie and Kulturpalast Dresden in Germany, National Opera in Romania, and Music Theater Linz in Austria.
The concert hall opened its doors on Saturday, 16th March, with an evening of performances by the Lithuanian State Symphony Orchestra, the Kaunas State Choir, the Lithuanian National Opera Theater Choir, the Boys and Youth Choir Azuoliukas, as well as several other Lithuanian soloists.
(Photos: Gabrielius Jauniškis)
De La Warr Pavilion installs DiGiCo SD12 as main in-house console
Sited on the beachfront in Bexhill, East Sussex, the De La Warr Pavilion boasts a variety of music, comedy, and theatrical performances each year. It also supplies various early career programmes with work experience, creative careers sessions and apprenticeships all available to young people throughout the year.
Training is just one part of what they do there, but it was a strong influence on the DiGiCo SD12 desk they chose, as technical stage manager Mat McQuade explains. “Visiting engineers expect a DiGiCo, and it became the norm for us to hire in SD12 consoles”, says McQuade. “Our decision to purchase the SD12 came from what our clients expected, but also from our education programmes. It was important that the young people learnt on professional grade consoles, not entry level or obsolete desks.”
McQuade shares his knowledge on site through the various education programmes De La Warr Pavilion offers, and also teaches students at local colleges, giving them an insight into professional working practices. Plus, he organised for his whole audio team to get training at DiGiCo HQ. “We had training before and after the purchase”, he states.
“The SD12 is the first console we’ve had that offers the dynamic EQ feature. It opens a new way of EQ’ing someone’s guitar, for example, without compromising the sound of the instrument”, McQuade continues. “We’ve been using the UB MADI port to create virtual soundchecks, so it gives the learners a safe space to find their way around the console and the pressure is taken off them a bit.”
Pictured: Audio engineer George Palmer, technical stage manager Mat McQuade, and audio engineer Maria Toase (left to right); Mat McQuade and George Palmer (left to right). (Photos: De La Warr Pavilion/Anne Wickström)
