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Zwolle theatres choose Robe
21/03/2025
KV2 Audio systems installed at Rajadamnern Stadium for world’s first immersive Muay Thai experience
18/03/2025
Las Vegas casino upgrades with Powersoft
18/03/2025
Vorstin invests in Robe
21/02/2025
Kunstmin Dordrecht invests in Robe
31/01/2025
Nicolas Ramirez favors KRK monitors
07/01/2025
Zwolle theatres choose Robe
Odeon and Spiegel, two theatres in Zwolle, The Netherlands, have chosen Robe moving lights as a vital element of their transition to LED lighting, with the purchase of six T1 Profiles, 18 Painte Profiles, 24 LEDBeam 350s and 24 LEDBeam FWQ 150 Washes, all delivered by Robe’s Benelux distributor Controllux.
Discussions related to the move to LED started in 2022, and according to Zwolle Theatre’s head of technical Dennis Bouwhuis and head of lighting Jan Willem Jansen, they already had some older Robe moving lights - ColorWash 250s and ColorSpot 700s - in the inventory.
The Zwolle Theatre dates back to 1869 and also has the Hanzestrohm Hall (also known as the “Small Hall”) for 457 people, one of the oldest bonbonnière-style theatre halls in the Netherlands. Jansen and his team - including Antonello Taranto and Kathy Veldman - also look after all things technical for two other spaces in the original building, the 219-seat Black Box Theatre and the Studio which can accommodate 72 theatre lovers.
The large hall - Spiegel - is located on another site across town. It was built in 2004 and officially opened in 2006 to assist in accommodating larger and more contemporary productions, offering a capacity of 960. All of these are in the process of changing to LED lighting for the house rigs. The venues all receive and produce shows.
While being familiar with Robe, the lighting department considered various other LED options from different manufacturers, which culminated in a shootout of shortlisted products in the Spiegel. “The productions staged in our different sized buildings are diverse, so we needed the most properly ‘multipurpose’ fixtures available that met several criteria”, explains Jansen. With incoming companies usually keen to use their house lighting systems, they needed a good cross section, and this is why all these fixtures were selected. “These four types of Robe products were clear winners in the shootouts”, says Jansen.
Taranto notes that with the Small Hall being such a cozy space, luminaires with a low ambient operating noise were a must. “We checked off separate wish lists of different parameters, some of which overlapped, related to all of the spaces”, he says. They figured that Painte would also work as a conventional spotlight and for key lighting - “it basically fitted every niche as needed”, says Taranto.
The first fixtures to be upgraded were those above the stage, says Jansen, and when it came to front lighting, the T1 Profile with its multispectral lightsource was chosen: “The T1 profiles completed the whole set of fixtures for us. We felt that - with Paintes, LEDBeam 350s and LEDBeam 150 FQWs with the fresnel-wash output - they rounded off the equation and would work practically in conjunction with one another.”
All the new Robe fixtures move between the four venues. They are currently still using some conventionals in all spaces, but this will soon be changing. The Paintes are used in the Small Hall and the Spiegel; the LEDWash 350s are rigged in the Spiegel; the LEDBeam 150s are in the Main building, with the T1s in the Spiegel/Large Hall. The combinations change each week depending on the different show schedules and their respective production requirements.
Zwolle Theatre produces around 300 shows and events a year, operating with at least one or more of their spaces in use year-round. The types of production range from pure theatre shows like drama and dance to comedy, musicals, music concerts and opera as well as corporate, business, and industrial events.
Pictured (left to right): Kuno van Velzen (Controllux) with Antonello Taranto, Jan Willem Jansen and Kathy Veldman from Zwolle theatres. (Photos: Paul Clarke/Jan Willem Jansen/Nathan Reinds/Louise Stickland/Kasper Veenstra)
VisionTwo und Industrial Arts modernisieren Beleuchtung des Saarländischen Staatstheaters mit Lichtlösungen von GDS
Das Saarländische Staatstheater Saarbrücken bietet mit 875 Plätzen im Großen Haus Raum für ein breites Programm aus Oper, Schauspiel, Ballett und Konzerten. Während der Spielzeitpause 2024 wurde die Saalbeleuchtung modernisiert.
Die VisionTwo GmbH, exklusiver Vertriebspartner von GDS Pioneering Light, entwickelte in Zusammenarbeit mit GDS, der Industrial Arts GmbH und dem beauftragten Planungsbüro Schaller Ingenieure die neue Beleuchtungslösung. Nach der Anfrage des Saarländischen Staatstheaters im Jahr 2018 begann VisionTwo mit der Bestandsaufnahme und der Entwicklung eines Konzepts als Grundlage für die öffentliche Ausschreibung. Aufgrund der Pandemie wurde die Planung für die Umrüstung erst 2022 vergeben, woraufhin Schaller Ingenieure mit der Erstellung des Leistungsverzeichnisses begann.
Nach der Vergabe wurde Industrial Arts als Systemintegrator mit der vollständigen Installation beauftragt und war für die komplette technische Umsetzung und nahtlose Integration in die Bestandssteuerung und -architektur verantwortlich. Die erneuerte Saalbeleuchtung wurde im August 2024 termingerecht am Ende der Spielzeitpause durch Industrial Arts an das Theater übergeben.
Ziel der Maßnahme war es, die energieintensiven 750-W-Deckenfluter, den Kronleuchter und die gesamte Saalbeleuchtung durch eine energieeffiziente, steuerbare Beleuchtung zu ersetzen. Dabei mussten die denkmalgeschützten architektonischen Elemente berücksichtigt werden. In Abstimmung mit den Projektbeteiligten entwickelten VisionTwo und GDS zunächst Prototypen, die auf historischem Bildmaterial und den Designvorgaben des Theaters basierten.
Zum einen wurde der zentrale Kronleuchter des Theatersaals mit neuer LED-Technologie ausgestattet. Rund 400 Halogenleuchtmittel wurden durch GDS-3W-LED-Stecksockelleuchtmittel mit FadeToWarm-Technologie ersetzt, welche ein stufenloses Dimmen mit natürlicher Lichtfarbe ermöglichen. Die Steuerung erfolgt über das GDS-DriveHub-MiniPack, das mit dem DriveHub-CardFrame der restlichen Saalbeleuchtung vernetzt ist.
Ein zentrales Anliegen der Modernisierung war zudem die verbesserte Ausleuchtung des Deckengemäldes von Fritz Zolnhofer. Die bisherigen 750-W-Deckenfluter wurden aufgrund ihres hohen Energieverbrauchs und häufiger Defekte immer seltener genutzt, sodass das Deckengemälde in den letzten Jahren nicht mehr optimal zur Geltung kam.
Mit der Installation von 32 eigens von GDS entwickelten Deckenflutern wurde dieses Problem gelöst. Die asymmetrisch strahlenden RGBW-LED-Fluter (100 W, RGB+W, 3.000 K) sind in der obersten Ebene der Krone des Leuchters installiert. Aufgrund der Justierbarkeit dreier übereinander angeordneter LED-Linsen-Linien und der Möglichkeit, ihre Abstrahlwinkel mit austauschbaren Linsen anzupassen, bieten sie die nötige Flexibilität zur gewünschten Ausleuchtung der konvexen Deckenkonstruktion. Mehrere Feinjustierungen waren erforderlich, um eine gleichmäßige Lichtverteilung zu erzielen und das Gemälde in seiner gesamten Farbbrillanz wieder sichtbar zu machen.
„Mit den neuen Deckenflutern können wir nicht nur das Deckengemälde besser zur Geltung bringen, sondern auch das Gefühl verschiedener Lichtstimmungen und Effekte - zum Beispiel Gewitter - in den Zuschauerraum verlagern“, sagt Björn Schöck, Beleuchtungsmeister des Staatstheaters Saarbrücken.
Ein weiteres zentrales Element der Modernisierung ist die eigens für das Staatstheater entwickelte Leuchte GDS Globe. Die Leuchten basieren auf der GDS-Puppis-Serie von Einbaudownlights. Der Sonderbau GDS Globe basiert auf der Puppis-1K-(12 W)-Version und verfügt über ein speziell gefertigtes Glaskugel-Design mit geschliffenen Acrylglas-Pipes, die den Lichtaustritt gezielt lenken.
„Ursprünglich waren Klarglas-Kugeln vorgesehen, doch ein von Rich Dyer (GDS) präsentiertes Modell mit Craquelé-Glasoptik überzeugte alle Beteiligten auf Anhieb“, so Anke Schierenbeck, Teamleitung des Projektgeschäfts bei VisionTwo. „Das neue Glasdesign vereint die Idee der originalen Kristallleuchten und der neueren Kugeln perfekt.“
Die Ansteuerung der Globes erfolgt über den circa 100 m entfernten GDS-DriveHub-CardFrame mit dem IPM-Protokoll von GDS, bei dem die Steuersignale über die bestehende Stromverkabelung übertragen werden. Auf die Installation zusätzlicher Signalleitungen und das damit verbundene Öffnen der Putzdecken konnte somit verzichtet werden. Die Anpassung des Kühlkörpers und des Einbaurings ermöglichte eine minimalinvasive Installation in die bestehenden Deckenausschnitte.
Während der Energieverbrauch im Saal um siebzig Prozent reduziert werden konnte, wurde gleichzeitig die Beleuchtungsstärke um fünfzig Prozent erhöht. Aus dem GDS-Produktportfolio wurden insgesamt 400 FadeToWarm-LED-Stiftsockelleuchten, 76 Glass-Globes, 32 asymmetrische Kronleuchter-RGBW-Floodlights, ein DriveHub-MiniPack mit IPM-Karten, ein DriveHub-Cardframe mit IPM-Karten und ein Powerframe installiert.
Foto (v.l.): Thomas Hagedorn (Industrial Arts), Anke Schierenbeck (VisionTwo), Ralf Heid (Staatstheater Saarbrücken), Florian Schaller (Schaller Ingenieure). (Fotocredits: VisionTwo GmbH)
KV2 Audio systems installed at Rajadamnern Stadium for world’s first immersive Muay Thai experience
Opened in 1945, Bankok’s Rajadamnern Stadium - the oldest Muay Thai stadium in Thailand - stands as one of Thailand’s most revered sporting venues. Known as the birthplace of Muay Thai (Thai boxing) as a globally recognized professional sport, Rajadamnern is the world’s first dedicated Muay Thai stadium and has played a pivotal role in shaping the sport’s rules, cultures, traditions, and global reputation. The venue also stands out for its circular design, ensuring an unobstructed view from every seat.
While the stadium’s historical significance remains unchanged, the grand vision of the Rajadamnern management team was to establish the venue as a premier global destination for sports and cultural experiences. To celebrate the stadium’s 80th anniversary in 2025, the management team conceived the idea of the world’s first “Immersive Muay Thai”. To help bring this vision to life, they enlisted production specialist Andrei Mazuruc of ShowOne Productions in Canada to lead the project. Rajadamnern and Mazuruc chose to work with KV2 Audio for the audio system, which was supplied and installed by KV2’s distributor, Audio Gears in Bangkok.
According to KV2’s Technical Support Director for APAC, Leo Tanzil, the design turned out to be more of a challenge than he had anticipated. “On paper, the audio design looked as if it would be pretty straightforward - we just needed to hang four loudspeakers above the boxing ring facing each of the four quadrants”, he recalls. “But no - Andrei quickly shot that idea down as he didn’t want anything above the ring at all. Even the rigging from the previous audio and lighting system had to go. So, it was back to the drawing board…”
Rajadamnern and Mazuruc’s grand design saw the dome as a giant screen, like a planetarium, which meant that visually, there could be nothing that would impede sightlines or cast shadows on the projection - yet the audio system had to be powerful enough to provide clear commentary to every seat in the house as well as immersive surround sound to elevate the atmosphere and energy of the fight.
“This was a real challenge”, admits Tanzil. “A design based on a distributed system of perimeter loudspeakers around the dome wasn’t going to work either as Andrei wanted the ring master’s commentary to sound as if it was emanating from the ring - in other words, to be properly localised to the source - in addition to great immersive surround sound. And of course, the system had to be as compact and unobtrusive as possible.”
After modelling various options, it became clear that a solution based on KV2’s EX28 2.5-way full range active loudspeaker system would solve the problems. “The EX28 is small enough to be placed at the corners of the boxing ring without intruding on the action, yet powerful enough to cover the whole stadium”, says Tanzil. “Combined with the surround sound loudspeakers (also EX28s) with the proper processing, we were able to create the illusion that the sound originates from the boxing ring and minimise the effect of the reflection from the room.”
A total of twenty-four EX28s were used throughout the stadium - a pair of loudspeakers mounted on custom poles at each corner of the ring combined with a further sixteen EX28s distributed around the perimeter. Eight KV2 VHD 2.18J subwoofers provide low frequency reinforcement and the system is driven by eight KV2 VHD 3200 amplifiers.
“In surround mode, each of the perimeter EX28s gives wide enough coverage that surround sound effect can be heard by everyone in the audience, no matter where they are seated”, notes Tanzil. “When paired with the distributed sub arrangement, even the low-mid frequencies can be localised in surround mode; yet in stereo mode the sub arrangement gives even coverage throughout the venue.”
For control and distribution, Audio Gears installed four NST Audio VMX88 processors alongside two Netgear M4250 12M2XF network switches and a Drawmer DA6 distribution amplifier, ensuring communication between all components of the system. The stadium’s existing Midas M32 Live digital console was equipped with a DN32 Dante expansion card and incorporated into the new system.
By December 15, 2024, the installation was complete, just in time for the stadium’s grand reopening on December 21.
(Photos: KV2 Audio)
Las Vegas casino upgrades with Powersoft
One of the most iconic casinos on the Las Vegas Strip has elevated its guest experience with a sound system renovation using audio technology from Powersoft. Designed and delivered by Global AV Group, a boutique outfit from Long Island, New York, the finished project includes 26 Powersoft Quattrocanali 4804 DSP-D and 13 Quattrocanali 8804 DSP-D amplifiers, both with built-in DSP and Dante networking, as well as five X4L amplifiers with DSP.
“The client wanted to elevate the casino’s atmosphere with a sound system that enhances the guest experience while balancing the energy of the gaming floor”, says Jason Ojeda, President and CEO of Global AV Group. “Our objective was to create a seamless and immersive listening environment. This was a major undertaking, and Rick Woida (Powersoft senior sales engineer - large venues) played a key role in helping us be successful.”
“To meet the client’s mandate, we began with an assessment of the property, considering every nuance and potential challenge”, he continues. “A team of eight worked over five days and nights to complete the initial phase, which involved locating the transformers, the cable paths, addressing the speaker-hole size in the ceiling, power requirements, and addressing countless other details to ensure a smooth and successful installation. Taking the entire system offline for an extended period of time was not an option, so maintaining the guest experience was critically important to the project’s overall success.”
The new sound system combines Powersoft amplifiers with over a thousand loudspeakers and subwoofers from various manufacturers. Powersoft’s ArmoníaPlus Install Skin software delivers a streamlined configuration of sources and control surfaces, allowing complete control using Powersoft’s Dynamic Music Distribution System, making it easier to share audio content among different zones independently from the source location.
(Photos: Global AV Group/Powersoft)
National Youth Music Theatre nutzt Cameo-Scheinwerfer für Musical-Produktionen
Mit seinen Musiktheater- und Musical-Produktionen hat das National Youth Music Theatre (NYMT) in London bereits zahlreiche Preise gewonnen. Das Besondere: Die Darsteller sind ausschließlich Jugendliche und junge Erwachsene zwischen 11 und 23 Jahren. Die Liste berühmter Absolventen reicht von Jessie J über Idris Elba bis Jude Law.
In der Sommersaison 2024 spielte das NYMT drei Musicals im Londoner Southwark Playhouse Theater: „Into the Woods“, „Catastrophe Bay“ und „Our House“. Für die Lichtgestaltung zeichneten drei verschiedene Lichtdesigner verantwortlich: Jamie Platt („Our House“), Bethany Gupwell („Catastrophe Bay“) und Aaron J Dootson („Into the Woods”). Sie alle verwendeten ein Lichtrig aus Cameo-Scheinwerfern.
Da die drei Musicals sehr eng nacheinander aufgeführt wurden, mussten die drei Lichtdesigner ein gemeinsames Basis-Lichtrig konzipieren, das für alle Produktionen geeignet war: vom Märchen-Musical-Klassiker „Into the Woods“ über das Folk-Musical „Catastrophe Bay“ bis hin zu „Our house“ mit seinen zahlreichen Szenenwechseln und Uptempo-Nummern.
Neben Evos W7 als Wash Moving Heads setzten die LDs unter anderem auf die Kombinierbarkeit der Azor-Serie: Während Azor-S2-Spot-Moving-Heads in den hinteren beiden Traversen platziert wurden, kamen Azor-SP2-Spot-Profile-Moving-Heads als Frontlights für Gobo- und Aerial-Effekte zum Einsatz. Abgerundet wurde das Rig durch Pixbar-400-IP-G2-IP65-RGBW-LED-Bars, die als Backlights am Boden und in der Rückwand Verwendung fanden.
„Dieses Projekt unterscheidet sich von den meisten anderen Produktionen“, sagt Bethany Gupwell. „Wir wollen jungen Leuten die Möglichkeit zu geben, einen Einblick in unsere Arbeit zu bekommen und zu verstehen, wie eine Produktion dieser Art abläuft Ich habe Licht und Design studiert, aber ich glaube, dass die begleitende Förderung außerhalb der Uni mindestens genauso wichtig war. Deshalb bin ich von Projekten wie diesem begeistert und versuche, mein Wissen auf ähnliche Weise weiterzugeben.“
„Das NYMT ist eine fantastische Plattform für besonders talentierte junge Künstler, die ihren berühmten Kollegen am West End in Sachen Leidenschaft, Energie und Professionalität in nichts nachstehen“, bestätigt Jamie Platt. „Nicht zu vergessen die ganzen Beteiligten hinter der Bühne - die Stage Manager, Musiker und Techniker, die hier ebenfalls auf dem Niveau großer Musicalproduktionen arbeiten.“
Geliefert wurden die Cameo-Scheinwerfer für die Produktionen am National Youth Music Theatre von Palmer Lighting mit Sitz in Eastleigh, Hampshire.
(Fotos: Corinne Cumming/Harry Elletson)
Sincopa implements L-Acoustics L-ISA technology at Israel Expo Centre
The Israel Expo Centre has undergone an audio upgrade with the implementation of L-Acoustics L-ISA Hyperreal technology for the two-and-a-half-month Tozeret Haaretz event series. This marks a shift from traditional temporary sound systems to a consistent audio environment capable of accommodating varied performance requirements.
Sincopa, an L-Acoustics Certified Provider with over twenty years of industry expertise, engineered a flexible 7.1 frontal configuration that addresses the venue’s specific acoustic challenges while providing accurate sound reproduction for audiences of up to 6,500 attendees.
The technical implementation features five main hangs of one L2 and one L2D, complemented by two extensions of nine Kara II loudspeakers on each side. This multi-array approach enhances spatial localisation - precisely placing sound sources across the stage while eliminating the narrow “sweet spot” limitations of conventional stereo setups.
Low-frequency reproduction is managed through two center-flown arrays of three KS28 subwoofers, while a pair of Syva colinear speakers provide out-fill. Seven Kara II places along the stage provide spatial front-fill. The entire system is fed directly from an L-ISA Processor II in an AVB Redundant network and powered by ten LA7.16 and thirteen LA12X amplified controllers.
“Transitioning from a conventional left-right configuration to this multi-array design significantly reduces masking effects and enhances intelligibility, particularly in the critical midrange frequencies where vocal intelligibility and instrumental definition are most perceptible”, says Assa Efrat, Sound Engineer at Sincopa.
To facilitate rapid adoption of L-ISA technology, Sincopa established an on-site pre-production studio where visiting engineers can familiarise themselves with the L-ISA Controller software before live events and prepare their show file before their show. This preparation environment allows for spatial mixing strategies to be developed and tested prior to moving into the main venue.
(Photos: Israel Expo Centre/L-Acoustics/Sincopa)
L-Acoustics X Series brings concert-hall performance to Atlantis The Royal’s grand lobby
Atlantis The Royal, a luxury resort in Dubai, UAE, has installed an L-Acoustics professional sound system in its grand lobby, an expansive space spanning 80 meters, with soaring 20-meter ceilings and floor-to-ceiling glass walls.
“The brief called for an audio system that could meet the highest professional standards while respecting the lobby’s dramatic architecture”, says Huw Godfrey, Head of System Integration at Creative Technology Middle East (CTME). “We designed a discrete solution that delivers versatility - providing both background music and live performances without compromise - even in a space defined by soaring glass walls and reflective surfaces.”
RAL custom-coloured L-Acoustics X Series and S Series speakers blend seamlessly into the architectural elements while delivering uniform coverage across multiple levels. The system transforms from providing subtle ambiance during daytime hours to powering vibrant evening performances - all while remaining virtually invisible to guests. “L-Acoustics was chosen for its ability to seamlessly connect to the existing Q-Sys infrastructure, provide custom RAL colour options, and deliver a sleek design that could be invisibly integrated into the space”, says Danny Lord, Senior Project Manager at CTME.
The ultra-slim Syva colinear arrays, measuring 170 mm wide, integrate into architectural columns and wall edges, while compact Soka speakers disappear into the structure’s design elements. Fourteen 5XT coaxial enclosures are concealed within the wall moldings at height, providing precise coverage to the upper levels of the space. This array of speakers ensures consistent sound throughout the expansive lobby.
The system is completed by four SB10i and six Syva Low subwoofers, with four LA2Xi and two LA4X amplified controllers providing power and two Auvitran AVBx3 audio networking devices ensuring seamless integration and control.
(Photos: L-Acoustics/Atlantis The Royal)
Long Beach Terrace Theater steps up to DiGiCo Quantum desks
As part of an upgrade during 2024, Long Beach Convention & Entertainment Center’s Terrace Theater, a 3,000-seat venue which opened in 1962, has installed a new pair of DiGiCo audio mixing consoles - a Quantum338 and Quantum225, both supplied by Huntington Beach-based dealer Apex Audio.
Mike Glines, the center’s head audio tech, has a long history with digital audio, participating in the decision to switch from tape to DAW as the recording medium of choice at Capitol Studios in Hollywood while on staff at the facility. He has also used a wide variety of digital mixing consoles, both in the studio and on the road with a host of artists, including a long globetrotting stint with Gary Numan. Glines designed the new DiGiCo system for the Long Beach Terrace Theater.
The custom installation is designed to accommodate any requirement, enabling visiting productions to use both DiGiCo consoles or simply integrate either the Quantum338 or a Quantum225. For instance, a touring band might have a front-of-house console but need a monitor desk, or vice versa. “I got Optocore for that reason, to interface with touring systems”, Glines explains. “We also got two SD-Racks and an SD-MiNi Rack that I use to feed my amps via AES. I love the fact that DiGiCo boards have DMI cards in the back, which you can swap in and out. I also got a Dante card, two input cards and two output cards, so I’ve got everything I need without even having to hook up a rack.”
The two new Quantum consoles are fully mobile, Glines continues. The Terrace Theater has first call on the consoles, he stresses, but they can alternatively be used at other locations within the center’s campus, such as the 13,000-plus-seat Long Beach Arena, Pacific Ballroom, or smaller Beverly O’Neill Theater. “Or you could take them outside for an event - wherever there is a need”, he adds. “I do the ‘Long Beach Symphony Pops!’ series in the Arena, so I’ve used the DiGiCos for that.”
For over four decades, David Wilcox, artistic director of the Long Beach Ballet, has staged a spectacular production of “The Nutcracker” with the Long Beach Ballet Orchestra at the Terrace Theater. The most recent string of performances of the holiday classic, Long Beach Ballet’s 42nd annual production, was Gline’s first since the new DiGiCo Quantum338 has been available at FOH.
Wilcox has always expected at least a stereo mix of the orchestra’s rehearsals, he continues, but in past years the recordings have been less than ideal. “They just didn’t sound great because I was cranking the PA with this delicate orchestra, so I was getting some bleed into the microphones. But this time, I was able to record 48 tracks straight to my laptop through the printer cable. The DiGiCo Quantum Series has UB MADI built in, so I could just take a printer cable out to my old FireWire drive.”
Pictured: Mike Glines and monitor engineer Jason Arteaga. (Photos: DiGiCo)
Lighten Up adds Ayrton fixtures to rig upgrade at NYA Studios
Lighten Up Inc. chose thirty Ayrton Diablos and thirty Zonda 3 FX fixtures to upgrade the rig in NYA Studios’ Main Room from conventional to moving lights.
Lighten Up is a lighting and A/V services company in event production and maintains an extensive lighting equipment rental inventory. The company has a preferred vendor relationship with NYA Studios, which boasts more than 50,000 square feet of indoor space and an abundance of outdoor space with east and west campus facilities. This includes three sound stages and support spaces, an elevated and adaptable event space, a 77-person cinema, boardrooms, coffee bar and lounge.
“The Main Room at the NYA west campus had an existing rig with all conventional fixtures, so it was time for an upgrade”, says Brian Kim, Vice President, Design & Production at Lighten Up. “By installing compact Ayrton profile and wash fixtures, we ensure they’re able to tackle any event that utilizes the space.”
Lighten Up owns a large complement of Ayrton lighting for its rental inventory, including Diablos, Perseos, Khamsins, Rivales and Zonda 3 and 9 FX. “We were one of the first big buyers of Diablos for the event industry and are still buying more”, reports Kim. “They were the ideal choice for NYA west’s rig.”
“We added a layer of Zonda 3 FX”, furthers Kim. “The Diablos can provide texture or highlights while the Zondas are great for backlight and their built-in effects. Both fixtures also have the ability for wide throws, which is essential for the space where the truss trims at 17 feet.” Since the fixtures’ installation at the end of last year, they have been used for an array of celebrity events, galas, award shows and corporate summits.
(Photo: ACT Entertainment/Ayrton/Lighten Up/NYA Studios)
DAS Audio sound system chosen for “Priscilla, Queen of the Desert” musical in Barcelona
On the 30th anniversary of the film’s release and commemorating eighteen years since the musical’s world premiere in Sydney, “Priscilla, Queen of the Desert” arrived at the Tívoli Theatre in Barcelona for a highly successful season of performances.
The architecture of the Tívoli Theatre, with its various seating levels and balconies, required a solution capable of providing uniform coverage without losing clarity or dynamic balance. Additionally, the combination of musical numbers, dialogue, and dramatic transitions required a system capable of handling dynamic changes in sound.
To meet the production’s needs, a sound system based on DAS Audio’s Ara/Sara series was designed. DAS Audio gear installed comprised 26 x Sara, 6 x Sara Sub, 19 x Ara-P28, and 14 x Artec-506. The proscenium was equipped with Sara line arrays. For audience members closest to the stage, Ara-P28 systems were used. The front rows were further reinforced with Artec-506 speakers.
The use of surround systems was crucial in creating an immersive experience, especially during the musical’s most theatrical moments. The goal was for the sound to come not only from the stage but also to envelop the audience in an organic way. To achieve this, speakers were placed along the theater’s sides and rear, allowing for spatial effects without feeling artificial.
For the theater’s upper levels, a delay system based on Sara and Ara-P28 was implemented, ensuring that the audio signal arrived in sync and without loss of definition. Additionally, Ara-P28 units were incorporated into the surround system, enhancing the immersive experience and contributing to a spatially rich auditory environment. The Sara Sub subwoofers, being cardioid, minimized energy dispersion towards the back, preventing unwanted low-frequency buildup and ensuring uniform distribution throughout the venue.
To manage and fine-tune the sound system, DAS Audio’s control and monitoring software Alma was used, allowing for the optimization of various system elements.
(Photos: DAS Audio/SOM Produce)
ACT’s ProCo Sound provides audio backbone for The Pageant and Delmar Hall
The Pageant, a 2,000-capacity venue in St. Louis, Missouri, has been the heartbeat of live performances in the city since 2000. Located next door is Delmar Hall, a 750-seat venue that offers a more intimate setting for music lovers. Both host a wide range of performances, from comedians and podcasters to big acts in music.
“Both are vibrant spaces for any kind of performance”, says Sean Pierce, head of production for The Pageant and Delmar Hall. His relationship with ProCo Sound began when he joined the team at Delmar Hall, which is equipped with ProCo XLR cables, splitters and stage boxes. “We’ve had many of our ProCo cables at The Pageant for at least ten years, probably closer to fifteen, and they’re still in pristine condition”, he notes.
Whether it’s ProCo XLR cables, splitters or DI boxes, the minimal maintenance required with the equipment has been a game-changer for Pierce’s team. Though it all started with cables, Pierce’s venues now also utilize ProCo Sound stage boxes and snakes, from ACT Entertainment. At Delmar Hall, for example, the venue uses 12-channel and 24-channel snakes, equipment that’s essential for managing complex live setups.
(Photos: ACT Entertainment)
Ayrton Diablo brings technology up to date at Theater De Maagd
Theater De Maagd, a converted church-turned-theatre in Bergen op Zoom in The Netherlands, has recently undergone technical modernization, part of which included transitioning from halogen to LED lighting.
Ampco Flashlight Sales, Ayrton’s exclusive distributor for The Netherlands, recommended Ayrton Diablo TC LED fixtures for the upgrade. Sixteen Diablo TCs were installed as front lighting and an additional six units for use on stage.
“Switching to Ayrton Diablo saves us time and money because we now need much less physical setup compared to the conventional halogen lighting we used previously”, says Cees Snellink, head of technology at Theater De Maagd. “Much of the preparation can now be done digitally which significantly reduces the number of hours needed on stage to design a light show. In addition, working with LED moving heads at height is both safer and more efficient, and we no longer need to work in difficult-to-reach places.”
Nicky Jonker, Technical Coordinator, and Benjamin-John Paulissen, lighting technician at the theatre, were closely involved in the preliminary process and selection of Diablo TC. After nearly nine months of shootouts and comparisons between different brands, they decided on Ayrton. “Of all the lights we tested, Ayrton’s colours were the most faithful to the existing Lee filters”, says Jonker. “There was virtually no physical difference - which was the main reason we chose Ayrton.”
The team has programmed the new Diablos in a way that allows visiting productions to adjust the settings to their needs. “I no longer have to climb up to adjust the lights manually”, notes Paulissen. “We can load different presets into the Diablos, so everything is handled digitally. We have multiple control points in the theatre where we can operate the lighting, either via a computer or a lighting console.”
“Visiting productions without an own lighting console, but with just a QLab file, can still use our system”, he adds. “We can load the settings and configure the lights so that visiting groups only need to work with a dimmer.”
(Photo: Tim van Etten)
Vorstin invests in Robe
Vorstin, a music and entertainment venue in Hilversum, The Netherlands, comprises two entertainment halls with 850 and 275 capacities, respectively, to stage four or five shows plus one or two private or business events per week.
The venue has recently made a large investment in new Robe moving lights, with the purchase of 20 Paintes, 20 LEDBeam 350s, 24 LEDBeam 150s, 8 LEDBeam 350 FWs and 16 Tetra1 LED moving battens for their Big Hall together with eight Robe Spiiders that were part of a previous Robe investment eight years ago and some other new luminaires. The new fixtures are rigged on four motorised trusses and an upstage fly bar.
The Small Hall, which hosts bands and comedy, as well as local school musicals, end of year productions and live radio shows every Saturday afternoon, now has 10 Paintes, 12 LEDBeam 150s and 8 LEDBeam 350 FWs. The control console in the Small Hall is an Avolites TigerTouch II.
Chief LX Alice Boeschoten explains that this lighting upgrade was originally planned before Covid and delayed due to the pandemic. While they considered several brands and products, the experience of the previous Robe fixtures was instrumental in informing choices for this investment. Many of the artists playing Vorstin will bring their own lighting designers, while others will be lit by Boeschoten and her team. She gets to light at least one a week, every time requiring a different genre, style and creative approach.
Boeschoten, who is also the regular LD for the band Steam Sister, has worked at Vorstin for six years, after starting as an intern whilst studying technical theatre in Utrecht. She then did four and a half years as a freelancer before accepting the chief LX post in 2023 where she works closely with William Calis, head of production and buildings manager.
The very first Robes luminaires in the house were LEDBeam 100s installed in the Small Hall in 2015 for Radio 2’s Saturday afternoon Music Café broadcasts at the time. The sixteen Robe Spiider LED wash beams and sixteen DL4S Profile luminaires - delivered in 2016 - were specified by then technical manager Maikel Sakkers, who is now an integral part of the lighting technical sales team at Controllux, Robe’s Benelux distributor.
These 2016 Robe products replaced their previous moving lights which were from a competitor brand dating back to 2010 when the venue opened. It is built on the site of the former De Tagrijn youth centre that was destroyed by a fire. The latest Robe lights arrived in batches, starting in summer 2023 with the Paintes and the LEDBeam 350s completing the picture earlier this year.
Pictured (left to right): Twan Schipper (Controllux), William Calis (Vorstin head of production and buildings manager), Alice Boeschoten (Vorstin chief LX) and Maikel Sakkers (Controllux). (Photos: Louise Stickland/Paul Clarke)
Halogen-Feeling mit LED-ArcLamps von ETC im Graslin-Theater
Das Théâtre Graslin im französischen Nantes zählt zum kulturellen Erbe Westfrankreichs. Im klassizistischen Stil gegen Ende des 18. Jahrhunderts erbaut, fasst das Opernhaus heute knapp 800 Plätze. Jetzt hat das Haus in die Zukunft investiert und den Umstieg auf LED-Technik im Zuschauerraum vollzogen - mit ArcLamps und einem Unison-Paradigm-System von ETC.
Insgesamt rund 500 ArcLamps sorgen für warmes Licht, das sich homogen und präzise dimmen lässt. Das LED-Licht der ArcLamps lässt sich laut Samuel Baron, dem Technischen Direktor des Théâtre Graslin, nicht vom vorherigen Halogenlicht unterscheiden, das typische Theatererlebnis für Besucher bleibe unverändert.
Die knapp 500 ArcLamps verteilen sich auf 252 Stück im großen Hauptkronleuchter, 106 kommen in den Logen und weitere 118 im Foyer zum Einsatz. Die Investition in die ArcLamps habe zu einer rund 90-prozentigen Stromkosteneinsparung geführt. „Wir konnten die vorhandene Unterputz-Verkabelung auch für das neue System verwenden“, sagt Baron. „Es musste nur ein ETC-F-Drive-Treiber installiert werden, der den Strom und das DMX-Signal aufnimmt und die Leuchten steuert.“
Ein ETC-Unison-Paradigm-Steuerungssystem regelt die Beleuchtungsanlage im Théâtre Graslin. „Paradigm ist mit zwei Unison-Modulen verbunden: Eine befindet sich im Pförtnerhaus, die andere im Saal“, so Baron. „Damit lässt sich die Beleuchtung nach Wunsch steuern.“ Gerade tagsüber, bei Besichtigungen, könne man über Unison den Saal beleuchten, ohne das gesamte Lichtsystem hochfahren zu müssen.
(Fotos: ETC)
Gobos do Brasil equips Sesc Franca with Martin Audio Torus and WPC
Inaugurated on November 28, 2024, during the 200th anniversary celebrations of the city of Franca in Brazil, the latest Sesc unit opened its doors with over 100 free activities for people of all ages. Covering an area of 35,555 sq.m, Sesc Franca is the largest facility of its type in São Paulo’s interior, supporting social, cultural and educational projects.
The supply and installation of the sound systems for both the theatre and gymnasium were entrusted to Gobos do Brasil, a company with 24 years of experience in the professional audio and lighting market. For this project, they chose equipment from Martin Audio.
With a capacity of 370 seats, the Sesc Franca theatre features one of the largest stages of all the Sesc units in the state of São Paulo. The venue itself offers a diverse programme that includes musical and theatrical performances, film screenings, seminars and training activities, showcasing local, national, and international productions.
Selected for the main PA was Martin Audio’s Torus series, a constant curvature line array designed for medium-sized venues with a throw of up to 30 metres. A key innovation is the aerial positioning of the subwoofers, which can be suspended and flown alongside the line array. The setup at Sesc Franca includes a pair of SXCF115 cardioid subwoofers on each side, complemented by four Torus T820 (8 in) modules, powered by iKon iK42 Dante-enabled digital amplifiers.
Additionally, the theatre is equipped with four Martin Audio CDD6 frontfills, distributed along the stage lip, powered by a Via2502 digital amplifier. These speakers, featuring Martin Audio’s patented Coaxial Differential Dispersion (CDD) technology, ensure uniform coverage.
Commenting on the installation, Esteban Risso, Commercial Director of Gobos do Brasil, says: “We achieved extremely linear coverage, with only a 1.5 dB variation between the first and last rows. The suspended cardioid subwoofer arrangement eliminated bass spill onto the stage and ensured consistent low-frequency coverage throughout the theatre, without overwhelming audiences in the front rows.”
For larger-scale events, the 3,000-capacity gymnasium will host everything from concerts to sporting activities. Its stage connects to the theatre stage via a motorised retractable wall. Here a larger sound system was required, and Gobos do Brasil turned to Martin Audio’s WPC compact line array. The setup includes sixteen WPC modules (eight per side) and eight SX218 subwoofers, all powered by iKon iK42 digital DSP amplifiers.
“WPC provides uniform coverage across the gymnasium’s 40-metre length”, says Risso. “The scalable resolution technology allows precise coverage control via the software - this makes it possible to define areas where sound is needed and exclude unwanted zones, such as reflective back walls, while minimising noise pollution.”
The alignment of the sound systems for the theatre and gymnasium was carried out by Marcelo Claret, founder and director of IAV (Institute of Audio and Video) and one of Brazil’s leading authorities in professional audio. Claret brings over 35 years of experience in live sound reinforcement.
Edinei Lima, Industrial Director and Engineer at Gobos do Brasil, oversaw the installation. He explains: “In order to install the line array with suspended subwoofers in the theatre, we developed and manufactured custom mounts - installed at a height of eight metres. The positioning was determined using 3D predictions in Martin Audio’s Display3 software.”
Berenice Gutiérrez, founder and CEO of Martin Audio distributor Proactive LATAM, offered a special thanks to the manufacturer for supporting the project delivery in a record time of less than two weeks: “They made this a clear priority, enabling Esteban and his team to achieve their production plan.”
(Photos: Martin Audio/Sesc Franca)
Truth Nightclub in Johannesburg reopens with Elation Pulse and Fuze
Truth Nightclub in Midrand Johannesburg, South Africa, recently celebrated its official reopening with a lighting setup from Elation. The Production Warehouse, Elation’s exclusive partner in South Africa, collaborated closely with the venue to select the equipment for the upgrade.
The installation was completed under a tight schedule, just in time for the pre-launch of the revamped “The Terrace” dance floor. The new lighting rig was crucial for the club’s “25 Years of Truth” anniversary event featuring Township Rebellion on November 30, and the New Year’s Eve 2025 celebration with Pleasurekraft.
Truth, known as the “Home of the Underground”, is a regional landmark and one of South Africa’s most iconic nightclubs. With five dance floors, it has hosted artists like Paul Van Dyk and Richie Hawtin, among many others. The Terrace underwent a complete rebuild and upgrade after a fire damaged part of the venue. Elation was chosen as the preferred lighting provider for the newly reconstructed space.
Project designer Emil Lars explains the decision behind choosing Elation fixtures: “Essentially, the conceptual vision for The Terrace was one of flexibility and openness, which makes choosing a set of permanent fixtures quite challenging as they’d need to be extremely flexible. The Elation Fuze SFX LED spot stood out for its flexibility and ability to create dark techno floors with narrow beams and contrasts with extremely wide soft gobo washes that can feel quite dreamy.”
He adds that the Pulse Panel and Pulse Bar S were chosen for eye candy, flexibility, brightness and impact with their small form factor making them easy to place the fixtures on various designs. Designer Shaniel Laloo, tasked with commissioning the rig, comments: “We needed to create a very dynamic lighting package as the club caters to many different genres of music. We were looking for something that could be punchy one day and still do the ‘darker nights’ more effectively. This meant lots of pixels and a main fixture with an extensive feature set.”
Laloo opted for a grid-based design for the Fuze SFXs to maximize their potential. “Whether in beam or wide spot modes - the design just allows great looks with minimal effort. The most important feature for me is the ability to move between different zoom ranges with precision and speed, allowing the fixture to take on multiple roles in our programming.”
Although the initial specification called for Dartz 360 moving lights, the large, open-air layout of The Terrace required more power to cut through the LED screens, making the Fuze SFX a suitable solution, with sixteen units ultimately installed.
Regarding the Pulse fixtures, Laloo states: “I wanted to make sure that one strobe fixture could essentially cover the entire venue. So when we do go into random strobing, you are completely immersed in white light from different angles, giving a euphoric feeling on the dancefloor.” Utilizing four Pulse Panels and six Pulse Bars, Laloo and his team covered the entire space.
He adds that they needed something to cover spaces behind the DJ without spoiling the aesthetic open-air feel: “The Pulse Panels and Bars were placed on drop bars to create light from nothingness, allowing bright strobes, colors washes or just simple individual pixel effects. We also placed the Pulse Panels around the LED screen to allow for NDI mapping through a media server. So it’s not just a light; it’s a video fixture as well when we want it to be.” Lighting Operator was David O’Molony.
(Photos: Mike Bets)
Genelec advances multichannel sound at University of Greenwich’s Shift facility
London’s University of Greenwich has unveiled its Shared Hub for Immersive Future Technologies (Shift), a £1 million facility dedicated to advancing multichannel sound composition, immersive audio and visual performance. Central to Shift’s success is Genelec monitoring.
At the heart of the new Immersive Sound Lab, located in the King William Building of the Old Royal Naval College, is a 32.4 spherical array of Genelec Smart Active Monitors comprising thirty-two 8331 three-way monitors and four 7350 subwoofers. Calibrated using GLM software, the system supports high-resolution ambisonic recordings and formats including Atmos, DTS:X and Auro 3D.
Complementing the lab is the Digital Immersive Theatre, housed a few miles up the road in the historic Victorian swimming baths of Woolwich Bathway. This 200-person capacity venue features a fixed 28.2 Genelec audio system (comprising 8030s, 8050s, 8350s and 7382 subwoofers), which can expand to a 40.2 configuration depending on the project. Combining immersive 360-degree projection mapping, surround sound and dynamic lighting infrastructure, the theatre enables a wide range of performances, including those developed in the Immersive Sound Lab.
Despite challenges posed by the historic buildings housing the facilities, infrastructure work by Stage Electrics and the audio expertise of HHB Communications preserved heritage while meeting technical demands. “Every step of the project was guided by close consultation with heritage specialists and the university team to maintain balance between preservation and technological advancement”, says Saul Eagles, Business Development Manager at Stage Electrics.
Reflecting on the impact of the Research Centre’s expansion, Andrew Knight-Hill, Professor of Music and Sound Arts at the University, says: “Shift has fostered a real sense of diversity and allows us to work with a vast array of musical styles. With the Immersive Sound Lab, there’s something very special about the focus and clarity of the soundfield in the sphere. The coherence and integrity of the spherical array with its coaxial monitors allows you to stand outside it, and yet still hear material inside the ‘bubble’ - the imaging doesn’t collapse.”
Looking ahead, Knight-Hill emphasises the team’s plans for 2025, including a series of Loudspeaker Orchestra events and a focus on making incremental improvements now that Shift is fully established. He concludes: “We’re committed to encouraging people to think about immersive audio as much more than a delivery format. We also want them to explore its potential to shape the creative process and become an expressive dimension.”
(Photos: Genelec/University of Greenwich)
Beltway installs Levantine twin-scene venue with Adorn and CDD from Martin Audio
A two-storey Levantine themed bar restaurant has been set up in Washington DC’s Union Market District by restaurateur Michael Rafidi. On the ground floor is “Yellow Café”, the second location in the bakery concept, and this has now been joined by the “La’ Shukran” restaurant. Both areas have been equipped from top to bottom, along with the outside rooftop patio and back stairs alley, linking the two venues, by the recently formed Beltway Audio Group.
This is a merger between two young audio entrepreneurs, Doug Cyr of Precision Event Rentals, and his friend Brady Rall - both known in the region as engineers for large local sound systems, largely at raves and warehouse parties. Rall was first introduced to Martin Audio over a decade ago at Washington DC’s underground music venue U Street Music Hall, while Precision Event Rentals had more recently run Martin Audio systems at events and festivals. Their faith in the brand was further underpinned earlier this year when seeking potential powered speakers for their rental inventory. “We realised the Blackline range now came in active form and just started buying them in multiples”, says Rall.
The connection with the La’ Shukran project was made after Rall had been providing tech support and operating a DJ programme for Unordinary Inc, a cocktail and restaurant bar group run by Radovan Jankovic and Marko Bogdanovic. It was them who partnered with Michael Rafidi. “So back in March 2024, they invited us to design and install this new project they were working on”, says Rall.
The fact that it was in a dilapidated warehouse area of DC that was being transformed into a more upscale neighbourhood attracted them. Cyr and Rall led the project, designing the space into four zones. The ground floor, the Yellow Café, is based on eight Martin Audio Adorn A55, with flown SX210 (2x10) and SX212 (2x12) providing low end extension. Upstairs La’ Shukran required a more powerful approach with four CDD12 and an SX212 sub, with eight further Adorn A55. Here the sound system plays out everything from Arabic rock and hip hop and Levantine funk to more cool Mediterranean vibes.
In-ceiling speakers are found in the washrooms and ancillary. The two-floor concepts have separate entrances, both have Adorn A55 immediately outside, enabling passing customers to hear the distinct sounds of each concept as they enter. La’ Shukran is entered through a back alley, and customers ascend a vibrantly tiled staircase, equipped with a further A55 at both the top and bottom of the stairs. “I’ve designed a soundscape that creates the experience of walking into a portal, as if you are walking through Damascus or Beirut or modern-day Marrakech and you hear market sounds, with folkloric instruments”, says Rall. “That’s your introduction to La’ Shukran.”
Then there is the outdoor rooftop terrace, which forms the fourth zone and features another Martin Audio sound system, comprising three wall-mounted CDD10-WR and a further pair of SX110 subs. This is likely to become the venue’s private space. “I’m particularly pleased with the outdoor speakers”, says Rall. “Literally there was a hurricane the week after we installed the subs, and I was worried about how they would function after 100 mph winds and heavy rain. But they haven’t skipped a beat.”
Powered by Focusrite Group partners Linea Research - via a pair of 88C20 and an 88C06 - and with versatile digital processing, this is a fully integrated set-up. Any sound source can be sent to any destination, and there is a generous supply of DJ plug-ins and patch panels, with all areas controlled on an app on their phones. “We have both floors iPad-synced and wall panels; because it’s a vinyl hi-fi bar upstairs we have analogue and DJ lines coming in and it’s hooked up (to a streaming service) and fully integrated in terms of wireless efficiency.”
(Photos: Beltway Audio Group/Hawkeye Johnson/Martin Audio)
Kunstmin Dordrecht invests in Robe
The Schouwburg Kunstmin in Dordrecht is a theatre and performing arts venue in The Netherlands which has made another major purchase of Robe LED lighting fixtures with 83 T11 Profiles. These have been added to their Main Hall house lighting rig, replacing the old, fixed position incandescent profiles and PCs.
The venue is both a producing and a receiving house, and in the Main Hall, the programme of performance - embracing musicals, dance shows, cabaret, comedy, and concerts - can be lit with an all-Robe and fully LED lighting rig, an investment funded entirely by the theatre itself.
Simultaneously, the venue purchased twelve Robe ParFect 150s to replace their conventional PARs, and another four T1 profiles (bringing the current total to twelve when combined with others bought in 2022 to replace their ageing 2Ks on the FOH bridge with an LED source). Eight Robe TX1 PosiProfiles also joined the inventory positioned on the front bridge.
Additionally, LEDBeam 350s were purchased for the portal bridge, plus fourteen Tetra2s to light the cyc and more LEDBeam 150s to add to their existing stock, all also the for the large hall. They also purchased eight TetraXs intended broadly to replace the PAR 6-bars used for side washes and other effects. The TetraX LEDs are matched to the Tetra2s, so the fixtures can work seamlessly together.
Bart Meester, Kunstmin head of technical, says that the first Robe products in the house were T1s and 150s purchased just before the pandemic shut down in 2020, which marked the start of the LED transitioning process. Before that, LEDWash 300+s were specified in 2019 for M3, a fully flexible “bare floor” performance space just up the road at Energiehuis, a venue also run by Kunstmin in a reimagined old power station now dedicated to culture and the arts.
Group shot (left to right): Kunstmin Dordrecht’s LX1 Martijn Lohuis with head of technical, Bart Meester, and Controllux’s Kuno van Velzen. (Photos: Louise Stickland/Paul Clarke)
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)
