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24/03/2017

Electro-Voice delivers world-class sound at Hard Rock Stadium, home of the Miami Dolphins

24/03/2017

Yamaha Delivers Big Beats for Fitness Freaks

24/03/2017

Yamaha Aids French Industrial Flair at Stockholm’s Usine

22/03/2017

White Light Oversees Lighting Installation at Royal Albert Hall

22/03/2017

Sustainable lighting solution for the Martin Harris Centre for Music and Drama

21/03/2017

Story Restaurant Writes a New Chapter with Genelec

21/03/2017

De Oosterpoort upgrades Martin Audio line array to new generation MLA Compact

21/03/2017

ModTruss makes more of the world a stage

20/03/2017

Robe for New Eesti Rahva Muuseum

20/03/2017

Ashly KLR Series Amps at Home in Cowboys Saloon in New York’s Destiny Mall

20/03/2017

Victory World Church Shines with HES Solarange

17/03/2017

Theater Akzent Chooses Robe DL Series

17/03/2017

National Theater of Korea invests in GLP X4 L

17/03/2017

Making the amazing beautiful: Philips Lighting controls spectacular new LED illumination at Niagara Falls

17/03/2017

Doughty helps Little Angel Theatre transform its newest venue

17/03/2017

Norwegian Aviation Museum flies Unusual Rigging in for prestigious aviation exhibition

15/03/2017

Toledo's Mud Hens Play Ball with Symetrix

15/03/2017

Oñate High School Performing Arts Center Moves to LED System with Chauvet Professional

14/03/2017

Audiologic and Audiogenics Ensure Ecler Essentials Work Out Well in Gym

14/03/2017

ACM Brings Audient on Board

13/03/2017

VIVA LARA

13/03/2017

Renkus-Heinz Ushers In a New Era of Audio at Wroclaw's Polish Theater

13/03/2017

Las Vegas’ Newest Concert Venue is a “Walk in the Park” for L-Acoustics

10/03/2017

No mountain too high for ETC

09/03/2017

Danley Gear in the Spotlight at Eastlight Theatre

Electro-Voice delivers world-class sound at Hard Rock Stadium, home of the Miami Dolphins

Electro-Voice delivers world-class sound at Hard Rock Stadium, home of the Miami Dolphins
Electro-Voice delivers world-class sound at Hard Rock Stadium, home of the Miami Dolphins

USA – Hard Rock Stadium is owned by, and home to, the NFL Miami Dolphins. It also hosts University of Miami football and major entertainment events throughout the year. As part of a three-year, facility-wide renovation, the re-named facility now boasts a massively upgraded sound system by Electro-Voice.

With the stadium’s addition of a roof and massive video displays, crowd noise levels are substantially higher than the original open-air design, making even coverage critical, both in terms of SPL and frequency response. In addition to the primary task of improving the fan experience through better audio, the sound system is also used for mass notification of life safety information. The Dolphins selected Diversified Systems to design and integrate the system, charging them with the task of overcoming increased levels due to roof reflections while delivering both vocal intelligibility and musical fidelity.

Drawing from all parts of the diverse yet sonically matched Electro-Voice loudspeaker portfolio, the installation delivers concert-quality sound via 186 XLCi-127DVX line array elements, weatherised and integrated into custom-engineered frames to withstand extreme storm and wind conditions. These are augmented by EVF-1122S front-loaded loudspeakers and EVH-1152D long-throw loudspeakers to cover hard-to-reach zones like corner seating areas. In addition, 48 dual 18-inch subwoofers, custom designed for the project, add an exciting bass element that was absent in the stadium’s previous system.

An ongoing installation challenge was the management of the installation across the renovation’s phased construction timeline, requiring ongoing support of the legacy sound system while the new Electro-Voice system was being installed, tuned, tested, and deployed. To ensure even coverage throughout all seating areas, EASE modelling and intelligibility plots were critical tools in selecting the appropriate loudspeakers and their placement. Two Electro-Voice NetMax N8000 digital matrix controllers allowed the integration team to apply FIR filtering to optimise loudspeakers as needed and appropriate.

In addition to the primary task of improving the fan experience through better audio, the sound system is also used for mass notification of life safety information. Electro-Voice ceiling and surface-mount loudspeakers ensure smooth, continuous coverage in luxury suites, concourses, restrooms, offices, and all public areas throughout the stadium. This task required approximately 1800 ZX1i indoor/outdoor loudspeakers and over 1000 EVID ceiling-mounted designs selected from EV’s wide range of options.

The Dolphins team is pleased to report that the system has exceeded its performance expectations while meeting budget and timing requirements. The system is at its best when the stadium is full, enhancing the fan experience with clear, effortless coverage, and rising to the occasion to amplify crowd energy in big moments.

Whether deployed for sporting events or major concert events, Hard Rock Stadium offers a winning combination of full-range fidelity, comprehensive coverage, and high intelligibility that plays a key role in transforming the venue into global entertainment destination for large-scale events.

24th March 2017

Yamaha Delivers Big Beats for Fitness Freaks

Yamaha Delivers Big Beats for Fitness Freaks
Yamaha Delivers Big Beats for Fitness Freaks

The Netherlands – Dutch gyms VondelGym has recently opened its second facility in Amsterdam, featuring a Yamaha audio system. The owners have been so impressed with it that they have asked for a similar system to replace that by a different manufacturer in the first gym, despite it only being two years old.

VondelGym is owned by a five man consortium, including Dutch television host Arie Boomsma. The first centre opened on Overtoom in Amsterdam two years ago and has proved such a success that a second one has recently opened across the city on Wibautstraat.

Opened in December 2016, the new 1100m2 facility is in the basement of an office building and has been fitted out with the latest fitness equipment for up to 120 people at a time. To help inspire participants to work themselves hard, the owners wanted an audio system that could play hip-hop music at high volumes and with plenty of bass. Experienced live sound engineer Stan van Ettikhoven was approached to see if his installation company, Rock 'n’ Roll Engineering, could help.

Stan suggested a Yamaha Commercial Installation Solutions (CIS) system, comprising 21 full-range VXS8 loudspeakers distributed throughout the space, with a compact HS8S subwoofer by the boxing ring in the centre. Powered by XMV4280 and XMV8280 amplifiers, managed by an MTX3 matrix mixer/processor and controlled via two DCP1v4s and one DCP4s panels, it delivers all the volume, power and clarity required. A microphone was also installed in the boxing ring for presentations, training and instruction.

“The system is really impressive and very suitable for hip-hop,” says VondelGym co-owner Marvin Michel. “Wherever you are you get stereo sound and the low frequencies produced by the HS8S are spread evenly throughout the gym. The HS8S is particularly impressive, considering how small it is.”

One challenge of the installation was to minimise the low frequency vibrations that could travel through the building to the offices on the floor above. Stan solved this by installing custom rubber fixings between the loudspeaker brackets and the walls. He also used the MTX3 to create a separate audio zone near the gym’s entrance bar, where the system volume can be lower if required.

“We are really pleased with the Yamaha system,” says Marvin. “We are so impressed with it that we have asked Stan to install a similar system at our first gym. The system there is only two years old, but the Yamaha solution is so much better.”

24th March 2017

Yamaha Aids French Industrial Flair at Stockholm’s Usine

Yamaha Aids French Industrial Flair at Stockholm’s Usine

Sweden – Located on a tree-lined avenue, restaurant Usine adds a touch of French industrial flair to the heart of Stockholm’s business district. Featuring a bistro, Tapas bar, café/takeaway and conference facilities, a zoned Yamaha audio system blends seamlessly with the venue’s aesthetics.

Usine’s name comes from the French word for ‘factory’, which is reflected in its girders, overhead air ducts and other services being left exposed and made a feature of. AV specialist Watt & Volt was contracted to design and specify a zoned audio system, choosing Yamaha CIS products to deliver high quality audio in a challenging environment of hard, flat reflective surfaces.

Controlled by an MTX5-D matrix processor, the system is divided into nine zones and features 32 VXS8 full-range, surface mounted loudspeakers, plus two IS1112 subs in the main bar/dining area, two flush-mounted NSIC400s in the lavatories and 12 IPX3-rated VS4s covering the outdoor areas. The system is powered by one XMV8280, one XMV4140 and one XP5000 power amplifiers, with eight zones each controlled by a wall-mounted DCP1V4S panel one constant volume channel feeding audio to the toilets.

Spread throughout the venue are three XLR panels for the connection of audio inputs, giving Usine the flexibility to host DJ sets and live performances.

“We wanted a system that would be easy to use for all staff members, but products with aesthetics that would blend seamlessly into Usine’s industrial theme,” says Watt & Volt business development manager Carl Ingler. “The Yamaha products fitted perfectly into the different areas. By installing the VXS8s high on the walls and the IS1112 subs suspended from the ceiling, they not only delivered excellent coverage, but also looked like a part of the industrial infrastructure.”

With the zoned system, local control panels and XLR inputs making for a very flexible system, Usine’s owners and staff have pronounced themselves very pleased. “It is straightforward to use and weekend DJ sessions are set up in minutes, with the performers able to easily plug in their equipment and push play,” says Carl.

Yamaha Aids French Industrial Flair at Stockholm’s UsineYamaha Aids French Industrial Flair at Stockholm’s Usine

24th March 2017

White Light Oversees Lighting Installation at Royal Albert Hall

White Light Oversees Lighting Installation at Royal Albert Hall

UK – The mushroom-shaped lighting domes are synonymous with the Royal Albert Hall’s main space, having been in place for more than 12 years. With technology having advanced so rapidly during this time, the venue recently decided to replace the existing domes with energy-efficient, flexible fixtures. Not only did these need to use the latest LED technology and be easy to control but also had to be custom-made to fit the space. White Light was approached to provide an exact solution.

WL has a long history with the Royal Albert Hall. The production solution specialist has an annual lighting service contract with the music and entertainment venue and has provided lighting equipment for numerous events held there including The Institute of Directors, Space Spectacular and the Champions Tennis.

Steph Baldwin, technical projects manager at the Royal Albert Hall, comments: “The brief was to update the mushroom (acoustic dome) downlights, chandelier lamps and the gallery globe lights, as well install new fixtures within the roof tray in order to fully illuminate the Circle. It was the first time overhead lighting above the top tier of seating had been fitted.”

The mushroom lights all had tungsten light fittings along with individual motors connected to the roof. These fittings and the motor were removed and replaced with a GDS high output LED Single Source Downlighter 120W. GDS worked closely with the Royal Albert Hall to create this fixture to ensure it was suitable for the mushrooms; offering an appropriate amount of coverage and also being energy efficient.

The project was overseen by WL’s installations business development manager Chris Harris. He comments: “One incentive behind the replacement was enabling the lights to be controlled individually via DMX, providing the capability to turn alternate units off during down time. To achieve this, the existing cabling umbilical connected in the roof was used and new power and data cabling was installed that was linked back to new GDS rack mount drivers in the motor control room. This meant that the drivers could be maintained easily should it be necessary.”

Alongside the rapid advancements in lighting technology, there was a practical reason for the replacement too. The motors that held the existing lights were starting to fail and it was these that brought in the fixtures to the deck for re-lamping independently of the mushroom lights. “Bringing the mushrooms down to the arena is a substantial operation and, as such, it was becoming harder to maintain,” says Baldwin. “They can only be cleaned once every four years on a rolling programme so it was important to have a reliable fixture that would not be affected both optically and operationally by dust.”

WL also supplied lighting for the Gallery chandeliers, using an Arc Lamp Candle 24V Clear 2700k. To light the Circle ArcSystem Pro 4-Cell Linear units were used. The entire hall was modelled by GDS in Dialux to ensure the correct fixtures were chosen. This has achieved greater lux levels in the refurbished areas and has significantly improved the emergency lighting coverage across the space.

Chris states: “Replacing the original tungsten fittings with the LED fixtures was an immediate energy saver. The fact that the mushroom lamps will have the capability to be controlled individually will also save energy as the venue will no longer need to have all the lights switched on at once.”

One of the biggest challenges for the installation was time. As the Royal Albert Hall is used every week – with over 390 events annually, plus another 600 in the smaller spaces – WL had to work around this schedule. The venue has two maintenance periods annually in April and September so there was no option but to work within this time frame. This meant that planning was key so White Light worked closely with GDS and the Royal Albert Hall in the pre-production stages to ensure every minute on site was used productively.

Chris comments: “This project is a great example of how WL as a company is able to work with a renowned venue to not only provide their exact requirements but do so both on time and on budget. The new domes will ensure that the lighting is much easier to control and far more energy efficient than the previous set-up, offering the ideal solution.”

photos: Paul Karalius/Royal Albert Hall 

White Light Oversees Lighting Installation at Royal Albert HallWhite Light Oversees Lighting Installation at Royal Albert Hall

22nd March 2017

Sustainable lighting solution for the Martin Harris Centre for Music and Drama

Sustainable lighting solution for the Martin Harris Centre for Music and Drama

UK – Situated at the heart of The University of Manchester’s campus, the Martin Harris Centre for Music and Drama recently underwent a significant refit, including the installation of a state-of-the-art, energy-efficient production lighting package, featuring a control desk, LED luminaires and power controls from ETC, and auditorium lighting from GDS, all supplied and installed by Stage Electrics.

An important arts venue for north-west England, the Martin Harris Centre offers students a fantastic space in which to study and perform, as well as hosting many professional musicians, performers and prize-winning authors. It provides an excellent space for contemporary and classic theatre, music and comedy events, and holds a reading series that has in the past featured such literary luminaries as Martin Amis, Will Self, John Banville and Clive James.

The project, which was made possible due to significant funding from the Faculty of Humanities, is part of a campus-wide initiative that supports the University’s commitment to environmental sustainability and saw a complete overhaul of the lighting in the venue’s Cosmo Rodewald Concert Hall and John Thaw Studio Theatre.

Long-standing supplier to the University, Stage Electrics was appointed to design, specify and install a complete lighting system for the two multi-purpose facilities. Karl Spencer, the venue’s technical services manager, worked closely with Stage Electrics’ Rob Beamer and Karl Formstone to ensure the right solution was selected and installed.

“Energy efficiency was a driving factor in this project, but there were other points to consider too, like flexibility,” says Rob Beamer.

“The venue hosts a lot of classical concerts where maximum light levels are critical, whereas colour rendering and colour mixing capability is important for lighting dramatic performances, for example. For power controls, space was at a premium, so we had to bear that in mind too.”

The comprehensive solution, specified following extensive demonstrations between Stage Electrics and the University, includes an Ion console with two fader wings, a Unison Paradigm power control system, Sensor dimmers with ThruPower modules and an array of ColorSource PAR, Source Four LED Series 2 Lustr and Daylight HD fixtures and a comprehensive state-of-the-art house lighting system from GDS.

Rob Beamer adds: "We put a lot of time into getting it right. The challenge was to deliver a versatile, energy-efficient lighting solution to maximise the experience for both performer and audience, without compromising on quality. And I think we have succeeded."

Karl Spencer, the Martin Harris Centre’s technical services manager said: “As part of this extensive lighting project, our spaces have been converted to energy-efficient LED, for both lighting performances and house lighting. The end result is excellent and our performers and audiences alike are already enjoying the improved lighting. The installation offers us a flexible, efficient and sustainable lighting solution which underpins the University’s environmental sustainability strategy.”

www.etcconnect.com

Sustainable lighting solution for the Martin Harris Centre for Music and Drama Sustainable lighting solution for the Martin Harris Centre for Music and Drama

22nd March 2017

ETC

Story Restaurant Writes a New Chapter with Genelec

Story Restaurant Writes a New Chapter with Genelec
Story Restaurant Writes a New Chapter with Genelec

FinlandThe first Story café/restaurant was opened in 2014 at the Old Market Hall of Helsinki, with the aim of turning the beautiful building into a lively social dining space for locals and tourists alike. Restaurant owner Anders Westerholm and his business partner Matti Sarkkinen teamed up with star chefs Teemu Aura and Markus Huskainen to make sure the food would be outstanding. Story provides what it calls ‘market hall food’, made with fresh, locally sourced ingredients prepared on site in the in-house kitchen. With no shortcuts or compromises made on quality or service, the restaurant quickly established itself as a popular eating establishment. Following a successful period, a new Story restaurant was opened as part of Kortteli, a group of high class restaurants and shops on the top floor of Finland’s busiest shopping centre. The new larger restaurant makes use of Genelec’s 4000 Series to provide superb reliable audio performance day in, day out.

Anders Westerholm is originally known from the Finnish rap crew Kapasiteettiyksikkö. After his career as an artist he went into the restaurant business. He is now one of the partners in We Are Group, a company which owns a portfolio of restaurants in Finland, primarily in Helsinki area. “I used to be a rapper and I still am active in the music industry via my record label Rähinä Records and artist agency Rähinä Live,” said Anders. “This has helped me to understand the value of music played in restaurants. This also has provided me with the insight of the value of the right equipment. Genelec is truly an inspiring story – pun intended! It is fantastic that we have such a legendary company in Finland, and I respect their understanding of design, which is of course important when planning restaurants.”

Story has ten Genelec 4030B loudspeakers installed which are mounted with 8000-422 wall mounts. The compact Genelec 4030B installation speaker is a powerful system ideal for small to mid-sized commercial installations, and they deliver precise audio performance and excellent clarity, even at low volumes. Genelec’s Directivity Control Waveguide (DCW) ensures the loudspeakers deliver flat on- and off-axis response for a wider usable listening area in the restaurant. Anders has also used Genelec speakers in his other restaurants, including Sushibar + Wine and OX in Helsinki.

“In the Old Market Hall we have only 50 customer seats and we didn't do dinners as the premises closes at 6pm. The new Story Kortteli is over twice as big and serves people from morning until late evening. We have more than a thousand customers on a busy day and still the quality and atmosphere has to be solid each and every time. The ambiance plays a big role in keeping the customer satisfaction high, and that includes well designed background music. We tackled this challenge by having the right team and relying on the right partners – like Genelec. The atmosphere of the restaurant changes from breakfast till lunch and dinner. We have designed different playlists for all times and the high quality of Genelec loudspeakers make sure that the sound is delivered smoothly.”

Story Restaurant Writes a New Chapter with GenelecStory Restaurant Writes a New Chapter with Genelec

21st March 2017

De Oosterpoort upgrades Martin Audio line array to new generation MLA Compact

De Oosterpoort upgrades Martin Audio line array to new generation MLA Compact
De Oosterpoort upgrades Martin Audio line array to new generation MLA Compact

The Netherlands – Martin Audio has extended its long relationship with De Oosterpoort concert hall in the northern Dutch university city of Groningen, by upgrading the W8LC compact line array, that had served it so well for 14 years, with a new MLA Compact.

The installation was again carried out by Ampco Flashlight Sales (AFS), and the man responsible for commissioning the earlier Martin Audio compact line array, Oosterpoort technical manager, Pieter Stove, was again responsible for the upgrade.

Known for its vibrant cultural and musical nightlife, Groningen is also the city where one of the largest European music festivals is held every year, called Eurosonic Noorderslag. During this festival the venue hosts up to 3,500 visitors of which 1,850 are packed into the large room.

And it was with this event in mind that Pieter Stove decided it was time for the old PA system to be retired and replaced.

The hall itself is supremely versatile. Built in the 1970s as an amphitheatre, the acoustics of de Oosterpoort’s main theatre were designed very much with natural classical orchestras in mind. Due to its clever adjustable panels it not only serves as a classical venue, home to resident orchestra Noord Nederlands Orkest (NNO), but is well known for rock and pop. It also hosts pure theatre and a number of conferences.

With modern day requirements in mind a more adaptable system was required. Thus the tech team set up a programme of extensive evaluation, setting stringent specifications, before issuing an EU tender. Martin Audio specialist, Simon Honywill assisted with the MLA site demo at AFS’s request.

Choosing a high performing system was one thing, but Stove recognised the benefits of cutting-edge control technology, and the advanced coverage control of MLA became the deal clincher, since a single system could be tuned and tailored to any possible event or configuration (rather than requiring separate physical add-ons). It would also radically cut down turn-around times. “It was not hard to convince Oosterpoort that this should be the system of choice,” stated Ampco Flashlight specialist Ramon van der Zalm.

Pieter Stove takes up the story. “It was a tight schedule, we did not have any time in between shows to do a proper set up, so we had to do a temporary install in the first instance and a permanent fix later on. MLA Compact proved to be a system with a fast set-up, easy and flexible to use. We can say we have never heard a better sound in this venue, we were completely blown away!”

De Oosterpoort’s new PA design comprises 18 MLA Compact cabinets in a L/R hang (nine each side), eight DSX subs (three per side, with two for auxiliary use), eight MLA Mini on the subs for infill/outfill (four per side) and four DD6 front of stage for the frontfill, all controlled by a pair of dedicated Martin Audio Merlin processors.

Multiple presets have been stored in the system, which was set up by a top technical team. This consisted of the highly experienced Mark Edwards, as Martin Audio technical support, local specialist Taco Amsing, Gert Jan Gomez, Dutch MLA specialist, and Ampco Flashlight network guru Ramon van der Zalm.

Having long equipped both its theatres with the brand, including the manufacturer’s classic LE floor monitors, De Oosterpoort’s relationship with Martin Audio equipment shows no signs of diminishing.

De Oosterpoort upgrades Martin Audio line array to new generation MLA CompactDe Oosterpoort upgrades Martin Audio line array to new generation MLA Compact

21st March 2017

ModTruss makes more of the world a stage

ModTruss makes more of the world a stage

UK - The Pleasance Theatre Trust has bought its first venue. Designed by Triple E, the pop-up 80-capacity ‘Project 33’ will launch at the ABTT Theatre Show in June before going on to host eight shows a day at the Edinburgh Festival Fringe.

A first major UK application for Triple E ModTruss, the award-winning Meccano-style construction system, Project 33 will provide a sought after alternative for the courtyard-based Pleasance Beside.

In stark contrast to the prefab cabins which preceded it, limited to 8ft to fit through the archway access, Project 33 will arrive flat packed and provide a 13ft internal height to the benefit of lighting, production and performance.

With a unique clover and bolt-hole pattern repeated every 3” on all six sides, ModTruss has unlimited connection points, allowing the product weight to be reduced without sacrificing any of its strength. And with a huge line of accessories, wheels, hinges, plates, mounts, ModStairs and ModPanels among them, ModTruss can safely provide for almost any stage design.

Project 33 is designed for a fast build and breakdown. The flooring is created using joist hangers and timber joists. The main structure consists of 6” and 12” ModTruss, with sleeve blocks running up the masts to raise the theatre grid and roof in one piece via electric chain hoists. The cladding is a unique curtain walling system, designed by Triple E, insulated and sealed to keep out the elements.

At ABTT, The Pleasance will present performances in Project 33 and use the space to share a taste of its Fringe programme plans for 2017. Triple E will be there to discuss its design approach to pop-up theatres and the use of ModTruss in the entertainment world.

Anthony Alderson, director of Pleasance Theatre Trust, said: “We look forward to showing off the colourful and innovative new Pleasance Beside this summer in Edinburgh. The design and its possibilities are very exciting and will give us opportunities to expand our thinking for the venue and for the Pleasance generally.”

David Edelstein, managing director at Triple E, comments: “The history of The Pleasance is all about making the most out of found spaces and exploiting available sites for performance with the tightest of budgets. The Pleasance has never commissioned a bespoke venue before, but Director Anthony Alderson was immediately enthusiastic when I explained our ModTruss theatre solution, Project 33, which we will build and hand over at the ABTT Theatre Show.”

www.3-eee.com 

21st March 2017

Triple E

Robe for New Eesti Rahva Muuseum

Robe for New Eesti Rahva Muuseum
Robe for New Eesti Rahva Muuseum

Estonia – The brand new Eesti Rahva Muuseum (Estonian National Museum) in Tartu has recently opened in a fabulous new single story state-of-the-art 350 metre long architectural masterpiece which resembles a portion of a runway lifting upwards. It is built on the former Raadi Air Base just outside the cultural hub and second city of Tartu, and near to the site of the original Muuseum at Raadi Manor.

Around 100 Robe LED fixtures, a mix of DL4S Profiles, DL4X Spots, LEDBeam 1000s and CycFX 8s, have been specified and supplied for the Muuseum’s three main performance, event and conference spaces.

A government tender was issued for all the various technical elements. Andres Sarv, head of lighting at Tartu’s Vanemuine Theatre was brought in as a consultant for lighting and visuals, and he recommended the choosing of Robe after having an excellent experience with various Robe moving light and LED products at Vanuemuine’s three busy venues.

“Our Robe fixtures have been installed for three years now and are working every day. They have proved super-reliable as well as excellent creative tools,” he commented.

He and the Muuseum’s deputy director Viljar Pohhomov looked closely at their different venues and the activities planned for them, and based on this information, Andres also suggested the type and style of the fixtures together with Olev Luhaäär from Robe’s Estonian distributor, Tallinn based E&T.

The Muuseum is a beautifully streamlined modern space carefully designed to maximise natural light by French based DGT (Dorrel.Ghotmeh.Tane) Architects.

Sustainability is central to all Estonian new build projects, so the choice of LED fixtures fitted all the green requirements as well as being practical and dynamic to meet all the demands of a modern theatre, performance, conference and event venue.

The Rahva Muuseum project has been ongoing for over 11 years, so the very first provisional specifications for around 200 conventional lights was modified more recently as the newest LED technology came on-stream.

The Robe lights are divided between the three areas although they can be moved about as necessary and also utilised elsewhere in the building if needed.

The conference hall can accommodate around 250 people for presentations and lectures and this currently has ten LEDBeam 1000s, ten DL4X Spots and eight CycFX 8 units installed in the roof.

There is an adaptable event space in the middle of the building with glass walls and four overhead trusses, so available lighting here currently includes 24 of the DL4X Spots and 20 LEDBeam 1000s.

The third space is the theatre studio, a fully flexible space that holds between 160 and 200 depending on the configuration, and this usually has about 11 LEDBeam 1000s and 29 DL4S Profiles in the roof, hanging below a tensioned wire grid.

E&T also supplied lighting consoles to all venues as part of the deal.

The lights are being looked after day-to-day by Karl Marken heading the lighting department and one of a technical team of seven employed by the Muuseum.

He previously worked at one of Tartu’s theatres with lots of tungsten sources. While he had not used LED extensively before taking up this post at the Muuseum, he had some experience with Robe products as they are very widespread in Estonia thanks to the hard work of E&T which sees them in numerous venues and key rental companies.

Karl thinks the LEDBeam 1000s are very powerful and that the zoom is “amazing”. He likes the brightness of the DL4X Spots and DL4S Profiles along with their smooth dimming.

The Muuseum opened at the end of 2016 and is already accommodating an average of four events a day across the central event space, conference centre and theatre.

The new Eesti Rahva Muuseum is a building of great national pride and significance and it is a huge honour for Robe to be the moving light brand of choice there.

The original main museum building at Raadi Manor was opened in 1922 and destroyed in the Tartu Offensive when the Russians recaptured Estonia from the Nazis in the Second World War.

What was left of the culture and artefact collection (that had resided in the museum) was hidden in various spaces in and around the city, and the airfield became a secret Soviet bomber base, effectively closing Tartu off to foreign visitors.

All that has now changed radically. DGT won an international competition organised by the Estonian Ministry of Culture and Union of Estonian Architects and the essence of the building design makes it a continuation of the airfield with the roof lifting and expanding towards ‘infinite space’, inviting visitors to simultaneously enter the landscape and the heart of the Muuseum.

The project is central to the regeneration of the area and a bold testament to how Estonia is looking forward to the future as a modern, young (it gained independence from the former USSR in 1991) and well developed democracy with high expectations and aspirations.

photos: Louise Stickland and Tonis Jars

www.robe.cz

Robe for New Eesti Rahva MuuseumRobe for New Eesti Rahva Muuseum

20th March 2017

Robe Lighting

Ashly KLR Series Amps at Home in Cowboys Saloon in New York’s Destiny Mall

Ashly KLR Series Amps at Home in Cowboys Saloon in New York’s Destiny Mall

USA – Cowboys Saloon is the newest tenant at Syracuse, New York’s Destiny Mall, the largest mall in New York State and the sixth largest mall in the country. With its roots in Florida, Cowboys Saloon has opened strategic locations throughout the country, and the 13,000 square-foot Destiny location exemplifies the brand’s commitment to entertaining its patrons with a full-blooded country and western experience. It has a live stage devoted mainly to country music, but with a healthy dose of rock music and DJ sets thrown in, and ample table and bar seating. In order to give Cowboys Saloon the most powerful sound reinforcement system possible on a constrained (and already stretched) budget, local A/V integration firm Visual Technologies used ten of Ashly Audio’s uniquely affordable, powerful, and reliable KLR-Series dual-channel amplifiers.

Rich Trombitas, regional sales and product manager with A/V manufacturers rep firm Cardone, Solomon & Associates (CS&A), which handles Ashly Audio gear in New York City and northern New Jersey, assisted Jim Blair, sales manager at Visual Technologies with the system design at Cowboys Saloon. In a single (long!) day, Trombitas travelled to Syracuse from New York City, surveyed the space, met with the owner, went back to Visual Technologies, designed the system with Blair, compiled a materials list, and drove back home. “The two keys to the project’s success were having the owner meet us halfway on the budget and designing a system that was as powerful and reliable as they really needed to pull off the promise of the brand on what was – despite the owner’s flexibility – still a tight budget,” Trombitas said.

The ten Ashly KLR-Series amplifiers were an integral part of making it work. “We needed dynamic, high-power, low-cost amplification,” he continued. “The Ashly KLR-2000, for example, is one of the best values on the market, especially when bridged mono as we did to power some Renkus-Heinz subwoofers at Cowboys Saloon.” Indeed, three Ashly KLR-2000 amps bridged mono at 2,000W power three Renkus-Heinz CFX218S dual-18 subwoofers for the stage. Four Renkus-Heinz CFX101 point arrays handle the stage’s full-range material, two per side. A single beefy Ashly KLR-4000 delivers 2,000W per channel to power them, two CFX101s per amp channel. Another Ashly KLR-4000 powers four Renkus-Heinz CFX121M stage monitors (again, two per amp channel).

Cowboys Saloon’s dining and dancing area features four Renkus-Heinz CFX121 loudspeakers powered by a single Ashly KLR-3200 (1,600W per channel at two loudspeakers per amp channel), with low-end support from two Renkus-Heinz CFX12S subwoofers. A single Ashly KLR-2000 bridged mono powers them. Six existing 8-inch two-way loudspeakers, powered by a single Ashly KLR-2000, cover the bar, with another Renkus-Heinz CFX12S subwoofer powered by one channel of an Ashly KLR-2000 amplifier. Its other channel powers yet another CFX12S subwoofer in the “audience area” of Cowboys Saloon. Finally, an Ashly KLR-3200 powers four more Renkus-Heinz CFX121 loudspeakers in that same “audience area.”

A 24-channel digital mixing console with a digital snake serves as the main input to the system, with DSP support from a Symetrix Prism 16x16.

20th March 2017

Victory World Church Shines with HES Solarange

Victory World Church Shines with HES Solarange
Victory World Church Shines with HES Solarange

USA – Victory World Church in Norcross, Georgia recently upgraded the lighting system in their main facility with High End Systems SolaWash Pro 2000 and SolaSpot Pro 1500 fixtures, along with a new Hog 4 flagship console, Road Hog and Hedgehog desks, an Axon HD Pro media server and other HES equipment, all purchased through LightParts, Inc. Specified by Victory’s Staging and Lighting Director Charlie Pike, the installation represents a major leap in production technology for the diverse house of worship.

Sixteen SolaWash Pro 2000 and 16 SolaSpot Pro 1500 fixtures were installed in Victory’s main sanctuary. Pike says the goal was to make a fundamental change from tungsten stage wash to intelligent fixtures. “All of our ellipsoidals are now obsolete,” he points out, “and we wanted the flexibility that having an intelligent lighting stage wash affords. I do appreciate the fact that they’re LED which will save money, but what initially drew us to the fixtures was their low power consumption, which made it a lot easier to power them. I’ve got only four circuits running a specific amount of lights, where previously I would have to run 20 or more just to get the same amount of fixtures in the air. That also reduces our cable package needs and rigging concerns, and being LED over a traditional discharge source gives you better CRI – and with High End’s colour engine we’re able to reproduce some really fantastic colours – because such careful attention was placed on the LED engine itself.”

The SolaSpot Pro 1500s are installed over the congregation in three different locations – far, mid and near – to illuminate the band and the worship leaders, and the main stage wash for the ministry. The SolaWash Pro 2000s are employed for aerials and in other positions over the audience for texture and color. Pike admits, “I have a lot of freedom to interpret the music, based on my artistic feeling of the song, movement or moment. We have a lot of lighting in this room, so I have the opportunity to go fully ridiculous or dial it back for more intimate moments. With as many fixtures as we have here, I build my looks in layers; sometimes they need profiles, or only need a wash, or just beam fixtures. We’ve created an environment that is full of energy, yet is not distracting or flashy for the sake of flashy. I build all of my cues and songs off of strong static looks, and as songs progress and the music changes, they might do chases or movements.”

Pike uses the fixtures’ indigo highlighters to accentuate looks, or points them at the wall to get a more saturated purple. “They’re mostly used as eye candy, so during the sermon when you get a jib shot of the stage, there’s not a black hole at the top, you can see something there. There’s a few songs with only the indigo illuminators on for the quiet parts; I think they’re very cool in the right application.

“Victory World Church has a very high focus on every production aspect. Although we don’t broadcast for TV, our online weekly audience is over 6,000 and we stream to other campuses, so a strong video presence is very important for our viewers, and having high quality lighting for video is paramount. The High End Systems fixtures give us such a pure light source that tuning the cameras is a very easy thing to accomplish, and our footage consistently looks amazing.”

Along with their full size Hog4 console, Pike also has Road Hog and Hedge Hog desks and DP8000 processors in Victory’s inventory. He points out that the consoles’ power and ease of operation make the Hog family a natural fit for Victory’s productions. “I’ve used Hog consoles my entire career, and with this install we moved from the Hog3 to the Hog4 platform. I really like the speed of programming on the Hog4,” he says, “and going from a blank show to a complete show doesn’t take a lot of time. Once your console is properly laid out, it’s a very fast and intuitive console – there’s not a lot of wasted space with icons and buttons to constantly tweak and manipulate. The way that the hardware interfaces with the software is very smart, and the button placement is easy to remember and reach. Also, the way that the Hog interacts with on-screen commands is very clever; once you have your ‘A ha’ moment, you become a quick, facile programmer. Particularly for churches with larger moving light installations, the console’s facility to manage and manipulate large groups of fixtures is very simple, and it becomes a quick and powerful way to program lots of lighting instruments. We have over 80 movers in the main room, and I jump all over these fixtures without any problem!”

Another staple of Victory’s rig is the Axon HD Pro. Pike says: “The Axon’s features for its price represented great value for the money. I felt like the Axon had really good options and it would suit what we were looking to do – basically we wanted a stable platform to use for creative video elements. We’re not yet using it to its full capacity, but it is certainly the backbone of our media servers. There are seven projection surfaces in the sanctuary, and four or those are the pillars that represent the four tenets the church is built off of. I project images on the wall, on long vertical surfaces, and those graphics are in the Axon. When we do worship music we’ll have different video elements being played out of the Axon on to other surfaces – the upstage video wall and the pixel wall, and then it stretches out – when you look from one end of the auditorium to the other it’s one congruent image. So it’s not only action on the stage, it brings it out to the house, thus a more enveloping environment.”

In closing, Pike credits LightParts and High End Systems for Victory World Church’s confidence that they purchased the best equipment for their sanctuary. “We were invited by LightParts to visit High End’s facility, and from that relationship and those three days in Austin we knew we had found the right partners for this renovation. There’s been a lot of positive feedback from our congregation, and we are consistently complimented on the new system. We were able to phase it in tastefully, and our parishioners really appreciate the energy and impact; there’s no envelope to push, but we have a large family here, and we’ve had an overwhelmingly positive reception.”

Victory World Church Shines with HES Solarange Victory World Church Shines with HES Solarange

20th March 2017

Theater Akzent Chooses Robe DL Series

Theater Akzent Chooses Robe DL Series
Theater Akzent Chooses Robe DL Series

Austria – Gerhard Scherer is a happy man since 12 each of Robe DL7S Profiles and DL4S Profiles were installed at the Theater Akzent Theatre in Vienna, a busy producing and receiving house located in the Wieden district of Austria’s capital city, famous for its culture and charm.

Head of lighting, Gerhard, has been working at Akzent since it was founded in 1989 in the grounds of the former Palais Nathaniel Rothschild. Its postmodern architecture was designed by Rudolf Jarosch and it offers a 455 seat main house, a studio that can accommodate 80 people and a 380 capacity event space.

When it came to the most recent technical upgrades for lighting, he was looking for powerful, refined profile LED fixtures with additive colour mixing, and Robe's DL range ticked all the boxes!

Also responsible for lighting 90 per cent of the incoming shows, this has made Gerhard’s life infinitely easier and more enjoyable and he’s not looked back.

For him, the DL7S profile in particular is: "One of the best luminaires I've ever seen,” and very different to what he would normally expect in the white ranges from an LED light source.

They considered several different options by four leading brands including Robe before making the investment, although right from the start Robe had an edge because 11 years ago, Akzent purchased some ColorSpot 700E Ats, which are still working really well.

"They have been used almost every day for all of that time and there's never been a single issue," confirms Gerhard, almost surprised himself with this remarkable track record.

The DL4Ss were purchased first, and they were such a success that a year later, they followed up with the DL7Ss, which feature the seven colour LED engine, incredibly smooth and even colour mixing and a very high CRI and is: "In a class of its own in terms of quality," says Gerhard.

During his time at the theatre he's seen massive changes on the technology front. First with colour changing devices like scrollers, then moving lights as they became commercially available and affordable and now the evolution continues with LED products, a field in which Robe is paying specific attention.

Akzent was in fact the first theatre in Austria to have moving lights in its house rig. "We like to keep abreast of the trends," he comments, and a typical show lighting rig will currently contain around 42 moving lights, all LED (they also have some LED washes).

Now they have the DLs, they have colour consistency throughout the rig, the dimming is "excellent" and the whites are “amazing” thanks to the seven-colour engine.

Akzent is part state funded and part self-financed. The show schedule is very tight, but with the DLS Profiles in house – they are rigged on various over-stage pipes – they can now be infinitely more flexible in their approach to lighting any type or style of performance.

Gerhard is 100 per cent a Robe fan right now. “The DL7S Profile is very innovative and much more adaptable that a discharge fixture in this scenario and both these and the DL4S Profiles are ideal for us,” he concludes.

photos: Louise Stickland

www.robe.cz

Theater Akzent Chooses Robe DL SeriesTheater Akzent Chooses Robe DL Series

17th March 2017

Robe Lighting

National Theater of Korea invests in GLP X4 L

National Theater of Korea invests in GLP X4 L
National Theater of Korea invests in GLP X4 L

South KoreaGLP Asia-Pacific has sold 26 of the company’s impression X4 L LED heads, all fitted with the company’s new top hats, to the National Theater of South Korea.

The fixtures will be deployed on different shows within the theatre complex, initially Madangnori Nolbo (the latest in the popular Madangnori series) which runs until March in the Haeoreum Grand Theater.

Handling the sale were dealers SN Lighting, who were approached when the theatre had wanted to upgrade its lighting rig. A tender was issued and the impression X4 L was chosen over other industry-leading fixtures, due to its advanced specifications.

These features include a full package pixel mapping LED luminaire, with front beam rotation, a fast 7:1 zoom range, wide RGBW colour pallet and high output from its 37 x 15W LED sources. The National Theater also noted the smooth full range dimming, electronic strobe functionality, output and colour as well as the 16-bit pan and tilt movement, all contained within the company’s trademark baseless housing.

However, the deal clincher was the beam shaper and top hat, which was a vital part of the specification, according to GLP’s Søren Storm, who is in charge of Asia and Pacific aales.

He confirmed that SN Lighting was the company’s newly appointed dealer in South Korea. “They have a full GLP demo room and have already undertaken product training,” he said. “The National was their first major project with GLP and the sale was extremely important in terms of penetrating the theatre segment.

“On the basis of this we are anticipating a successful year ahead with SN Lighting.”

www.glp.de

National Theater of Korea invests in GLP X4 LNational Theater of Korea invests in GLP X4 L

17th March 2017

GLP

Making the amazing beautiful: Philips Lighting controls spectacular new LED illumination at Niagara Falls

Making the amazing beautiful: Philips Lighting controls spectacular new LED illumination at Niagara Falls

USA Philips Lighting has announced that its control systems are managing the new stunning colour illumination of the landmark 167 feet (50.9 m) high Niagara Falls, the world's most famous waterfalls located on the border of USA and Canada.

The systems from Philips Entertainment Lighting form the centrepiece of the recently opened LED upgrade. Two Philips Strand Lighting NEO consoles, used widely in theatrical lighting, control 1,400 third-party colour LED luminaires for the 'Niagara Falls Illumination Enhancement Project.' The luminaires, grouped in 350 controllable zones, enable lighting effects, such as sunrise, sunset and the Aurora Borealis, to be played on the 600,000 US gallons (271,247 litres) of water cascading over the falls every second.

The goal of the Niagara Falls Illumination Board is to enhance the visitor experience and gain energy efficiencies and longevity from the LED lighting. The $4 million upgrade of the previous Xenon lighting system will provide a 60% energy saving and the crisp, clear illumination will be up to four to 14 times brighter than the original system depending on which of the 18,000 available colours are projected. A consortium of companies implemented the project: ECCO Electric Ltd, Salex Inc, Mulvey & Banani Lighting Inc, Scenework and Stanley Electric. The illumination was unveiled to the public on 1st December, 2016.

Colin Kavanagh, general manager of Philips Entertainment Lighting, said: "This was a challenging and ambitious project for one of the top ten most visited tourist attractions in the world. The beautiful night time spectacle we helped create underlines the dependability and flexibility of our control systems and software to do more than just stage shows and concerts."

"From the onset of the project we knew that we were going to need a robust theatrical lighting controller with an effects engine capable of producing the natural, fluid moments we desired," said Alan McIntosh, senior lighting designer at Mulvey and Banani Lighting.

Ron Foley of Scenework recommended the Philips Strand Lighting NEO consoles: "We knew the NEO would be the ideal control platform for the unique requirements of this monumental project. We required individual DMX control of the fixtures and a simple touch screen operator interface so that volunteer operators could manage the display without the need for training on the console."

Philips Entertainment Lighting designed custom software features to further improve the efficiency and the ease of programming of the NEO console.

"I was impressed with the custom 'paint box' program the developers added in for the project," says McIntosh. "The simple but effective solution added dramatic trailing effects to some of the looks we designed. The software's channel matrix system allowed the lighting plot to be laid out in exactly the same way on screen. This gave the team the ability to quickly select a particular area of the falls and adjust the colour by drawing a window around them on the touchscreen."

www.lighting.philips.co.uk/products/entertainment

Making the amazing beautiful: Philips Lighting controls spectacular new LED illumination at Niagara Falls Making the amazing beautiful: Philips Lighting controls spectacular new LED illumination at Niagara Falls

17th March 2017

Philips Entertainment

Doughty helps Little Angel Theatre transform its newest venue

Doughty helps Little Angel Theatre transform its newest venue
Doughty helps Little Angel Theatre transform its newest venue

UK – The Little Angel Theatre (LAT) in the heart of Islington, London, is a home for puppetry. Not only does the theatre serve to inspire and ignite the imaginations of young minds with its repertoire of productions, but it also works to equip tomorrow's puppeteers with the tools they need to succeed. The LAT has a lively and imaginative education programme which works with local schools and community groups as well as providing training opportunities for puppeteers and puppet makers, helping to maintain this rare art form in the UK.

In 2014, the LAT took on a second building, a disused community centre behind Islington Town Hall. After a couple of years of using it for education and rehearsal space, David Duffy head of production, decided that it could be used to stage performances. With the support of the local council, the LAT made plans to install a lighting rig, sound system, track curtains, removable dance floor and flexible seating and chose to work with Doughty Engineering following a change meeting with Laurence Dyer at ABTT in 2016.

David said: "Initially we were interested in the Modular Rigging System. Little Angel Theatre is a venue dedicated to puppetry and much of the lighting design for puppetry involves lots of side lighting. Our main theatre was developed to give as many rigging positions on the side walls as possible. Moving into a more open studio space which would be used as an education venue most of the time meant that we would be relying more on a fixed overhead lighting rig. The Modular Rigging System allows us to drop rigging positions down to a better height for side lighting which we can then strike quickly and easily for classes and courses. After speaking at length to Laurence I was then drawn to more products."

Doughty supplied an Easydeck modular staging system for tiered audience seating and four modular rigging drop down booms for the new studios. "Doughty was incredibly supportive in terms of Easydeck," explained David. "I had a limited budget and knew that I could afford the system but wanted to test it out first. The only way to do this was to set up an entire seating bank which Laurence was very happy to lend us. When we realised it was more than he could load into a car he arranged a freight delivery at a day's notice – with no pressure to buy. He said we could arrange to have it returned if we didn't like it, and of course that wasn't a problem at all! We were delighted with it and bought it that very week."

In addition, LAThas also ordered some 750mm and 1000mm boom arms for the main theatre space to get rigging positions further into the playing space than previously. These also work well for their touring shows where they are used alongside Doughty Tank Traps to create a 'tree' of lights which is easy for touring and allows the LAT to take an ambitious lighting design into small scale theatres and even into school settings.

David concluded: "Doughty's name is synonymous with high quality throughout the industry and being able to invest in hardware of that quality is very important when trying to start a venue from scratch. The customer service has been exemplary and having met Laurence at trade shows and events, I would say he stands out as somebody willing to spend time listening and considering your situation. He takes time and care to ensure you're getting the best possible service, even if you're only enquiring about something that may lead to the purchase of a few bolts. I've enjoyed getting to know this fantastic company a little better, having used their kit for my whole career."

www.doughty-engineering.co.uk

17th March 2017

Doughty Engineering

Norwegian Aviation Museum flies Unusual Rigging in for prestigious aviation exhibition

Norwegian Aviation Museum flies Unusual Rigging in for prestigious aviation exhibition

Norway – ViFlyr is a new permanent exhibition at the Norwegian Aviation Museum which details the history of civil aviation within Norway. Truly a part of modern Norwegian culture and history, aviation has linked the country together, overcoming the mountainous terrain. When Michael Loftus, curator at the museum and the man responsible for the care of the exhibits, was briefed with the task of preparing and suspending the aircraft, he brought Unusual Rigging on board to come up with an effective solution that would show off the objects to maximum effect while ensuring that each item was conserved and protected.

Michael explained: "It was quite clear early on that the suspension plan for these aircraft was complex enough to require specialist skills. I had previously worked for Engineering Conservation at National Museums Scotland and knew that Unusual had been contracted there. I also spoke with colleagues at RAF Museum Cosford to find out how they had suspended aircraft and they also recommended Unusual Rigging. The company's prior experience of aircraft within a gallery setting really made Unusual Rigging an attractive proposition."

Unusual's project manager Robin Elias and Chris Johnson, head of design his team visited Michael in Norway for preparatory meetings and aircraft inspections and the aircraft were suspended in phases over several visits. Unusual Rigging manufactured and supplied attachments which were fitted to the aircraft, in many cases replacing the wing bolts. Mike continued: "The fittings supplied by Unusual Rigging are well machined to tight tolerance and are minimal in appearance. I was impressed by their rigging system which allowed enough flexibility for fine tuning adjustments. My previous assumption was that once measured in the design phase, positioning was final but I was relieved to be wrong."

The main suspension program took approximately ten days with larger aircraft such as the Twin Otter taking a whole day and smaller aircraft taking half a day each. "One particularly good hang was the C5 Polar," explained Michael. "On that day we did not have a crane available so Unusual devised a four point lift using chain blocks so the work could continue unhindered."

It was Unusual's safety and certification of the whole system as much as the company's ingenuity that appealed to Michael. "I have been involved in the movement and installation of many heavy engineering objects during my career and, because of this, I know where the difficulties are. You have a choice of grinding out the solution yourself or bringing in the experts who do it all the time. The major benefit of Unusual's involvement is the certification and peace of mind. When suspending heavy objects it is essential to have a well documented and compliant procedure. Unusual has the experience and competency to deliver this and given their combination of suspension expertise, with well engineered certificated systems, we will undoubtedly work together again since this is exactly what you need when you're playing with the big stuff," concluded Michael.

www.unusual.co.uk

17th March 2017

Unusual

Toledo's Mud Hens Play Ball with Symetrix

Toledo\'s Mud Hens Play Ball with Symetrix

USA Currently an International League (Triple A) affiliate of the Detroit Tigers, the Toledo Mud Hens have been playing professional baseball since 1896. Baseball Hall of Famers Casey Stengel and Hack Wilson played with the Mud Hens, and M*A*S*H TV show character Maxwell Klinger often wore a Mud Hens cap. (Actor Jamie Farr, who played Klinger, was from Toledo and was a fan.)

Fifth Third Field, the impressive home of the Mud Hens, opened in 2002. Newsweek magazine named it one of the best minor league ballparks in America. The 10,300-seat stadium's original sound system was based on an early DSP unit, which handled the job for a dozen years before failing on Christmas Eve, 2015. "It was a first-generation DSP, and it was pretty bare bones," recalls engineering technician David Ziemke of Torrence Sound, the Perrysburg, Ohio, firm that designed and installed the original sound system and recent update. "It failed a few days before an outdoor ice hockey event in the stadium, and Greg Tye, director of broadcast services for the Mud Hens called us for an emergency replacement. We gave them a few options and Greg decided to go with a Symetrix Radius 12x8 EX, primarily because it's Dante-enabled and could support future expansion. We've used Symetrix processors a lot, and we're very comfortable with them."

Initially, the Radius was a one-to-one replacement for the old DSP, handling the approximately 250 two-way loudspeakers that ring the suite, concourse, and general seating levels. A Symetrix ARC-2e menu-driven controller was mounted on the wall to enable a few simple preset adjustments that the operator had requested.

As anticipated, however, the Mud Hens' audio needs soon grew dramatically. "The team built a venue called 'Hensville' that includes three four-storey buildings in the outfield, with rental areas, bars, retail space, and outdoor patios," Ziemke relates. "Another four-story building was renovated across the street and includes a rooftop bar and an outdoor park. A fibre connection enabled us to integrate it into the Dante audio system."

In all, eleven new areas were connected to the system. Six more rental spaces will likely be added to the system in the near future. "With the Symetrix Radius 12x8 EX and Dante, we have the capacity to integrate all of those spaces into one unified sound system," Ziemke asserts.

Each area has an Attero Tech two-gang unD3IO mic/line input plate. An Attero Tech unD32 output box provides zone outputs. "Each area has a mic/line input, and it's wired to a dedicated feed from the output box," explains Ziemke. "A Crestron control panel provides matrix control of the system. We can route any input to any output, and we have simplified control panels in each of the rental spaces." The bars are set up in much the same way. "The bar manager has a Crestron control panel that can pick from several music sources, a local microphone, the stadium game PA, and the television broadcast," Ziemke confirms.

The Radius DSP also enables the Mud Hens to combine rental areas, so if they need to rent any combination of areas to one corporation, a microphone in one room can feed both rooms. "Hensville is very popular for wedding venues, corporate parties, meetings, and training seminars," reports Ziemke. "The rooms are booked ahead for many months. Thanks to the Symetrix Radius 12x8 EX, the integrated sound system is fully serving all of those areas and events, with capacity to spare. The Mud Hens are delighted!"

15th March 2017

Oñate High School Performing Arts Center Moves to LED System with Chauvet Professional

Oñate High School Performing Arts Center Moves to LED System with Chauvet Professional
Oñate High School Performing Arts Center Moves to LED System with Chauvet Professional

USA – Joe Price, the manager of Oñate High School’s Performing Arts Center, knew that the time had come to replace the facility’s incandescent lighting rig with an all-LED system. The 20-year-old incandescent fixtures used at the school’s theatre in Las Cruces, NM, were not only inefficient and costly, they also posed a potential hazard. This was made abundantly clear one day when an overhead lamp exploded.

In 2016, the school was able to make the change Price wanted with help from Hubbard Music, when it replaced its old incandescent rig with an all-LED system featuring Chauvet Professional fixtures. According to the school’s estimate, this move will save $500,000 in energy consumption over a 15-year period, without counting the reduction in HVAC costs!

Making this change, however, was not without its challenges. Before the new LED system was put in place, two hurdles had to be overcome. First, it had to be determined that the new LED system qualified for energy saving rebates in order to defray the school’s upfront investment.

“We worked closely with our local electricity utility provider, El Paso Electric Company, to ensure that the new LED stage lights would qualify for the rebate program,” said Price. “Initially, we were told we could not get rebates on LED stage lights because they were not permanently installed. After showing the power company that the lights would not leave the theatre, they said the district could proceed.”

Having cleared this hurdle, the school system contacted Hubbard’s Music-N-More for help in putting together an all-LED lighting system.

“We began to work up bids with Hubbard’s, comparing LED stage lighting products from four different manufacturers,” said Price. “We then sent that information to the electric company for final rebate numbers. When all was said and done, Chauvet was chosen.”

Will Sadler, who oversaw the Performing Arts Center project for Hubbard’s, recalls that value and flexibility were key factors in the decision to go with Chauvet Professional.

“After we reviewed the bids, we came to the conclusion that Chauvet was the way to go in terms of price, performance and product selection,” said Sadler.

The new Chauvet fixtures are positioned on the three electrics (downstage, mid-stage and upstage) in the high school’s system as well as on the catwalk mounting position out in front of the stage. A collection of 20 Ovation E-190WW LED ellipsoidals with 26⁰ lenses are flown from the catwalk position and used to provide front lighting.

“We chose to go with the 26⁰ lens size, because we felt it was the best option at this distance and height,” said Sadler. “The 26⁰ option allows us to stack a large number of fixtures in a concentrated area for incredible white washes, but at the same time, the Ovation ellipsoidals are still very effective as spots when you want them to fill this role in a play.”

Also included in the system are 20 COLORad0 2 Quad Zoom fixtures, positioned to face straight down from the downstage and centre stage electrics.

“We arranged the two Quad Zooms this way to provide overhead light during normal concert productions and specialty lighting during theatrical productions,” said Sadler. “The zooming range of these fixtures will allow the school to create all kinds of special effects during plays.”

A dozen COLORdash Par-Hex 12 par-style fixtures hung from drop tubes off the edges of the downstage and mid-stage electrics are used to eliminate shadows by side lighting the performers on stage. Rounding out the new all-LED system are 12 Ovation C-640FC Cyc lights and four Rogue R2 Spot fixtures.

“The Ovation Cyc fixtures serve two basic functions in the design,” said Sadler. “There are eight of them arranged in the traditional cyc position on the upstage electric. The other four are used to fill in the dark space between the center electric and the upstage electric.”

Flown from the center and upstage electrics, the Rogue R2 Spots are used as special effects and spot lights during plays. They also provide fill in light and color. Rogue’s zooming ability makes them incredibly versatile.

More than a high school theatre, the Oñate’s Performing Arts Center is used by the community on a weekly basis. The significance of the facility to the area beyond the high school put extra pressure on the Hubbard’s team to complete the transition from an incandescent to an LED system quickly.

“Given how often this venue is used, we had to finish the job of installing the new system in a week,” said Sandler. “Sure, getting everything in place with all of the wiring installed and all of the programming done was a concern to all of us, but we more than met this challenge.

“No job gets done as quickly and effectively as this one without help from different people,” continued Sadler. “Joe Price deserves a lot of credit, so too do Chris Heyser, our wizard at solving network issues, and Leigha Harvey, our lighting designer.”

Sadler also gives credit to the Chauvet Professional fixtures used in this project, particularly the Ovation E-190WW. “In my opinion, the Ovation E-190WW has a better colour temperature than any traditional ellipsoidal,” he said. “Without technology from Chauvet that allows the output of LED fixtures to look that good, we could not have changed this school theatre to an LED system – it’s that simple.”



Oñate High School Performing Arts Center Moves to LED System with Chauvet ProfessionalOñate High School Performing Arts Center Moves to LED System with Chauvet Professional

15th March 2017

Audiologic and Audiogenics Ensure Ecler Essentials Work Out Well in Gym

Audiologic and Audiogenics Ensure Ecler Essentials Work Out Well in Gym
Audiologic and Audiogenics Ensure Ecler Essentials Work Out Well in Gym

UK - Boasting a wide range of high quality indoor and outdoor facilities, Salt Ayre is the largest community sports and leisure centre in the Lancaster district. Run by Lancaster City Council, as well as a swimming pool, sports hall, climbing wall and soft-play area, the centre boasts a state-of-the-art health and fitness suite. Part of a recent £5m refurbishment and development project at the centre, the gym is a modern air-conditioned facility with an extensive range of exercise equipment. In a cutting-edge setting like Salt Ayre, high quality audio systems are essential to deliver the music that is an integral part of a contemporary exercise environment. During the redevelopment, Lancaster City Council contacted professional audio specialists, Audiogenics of Carnforth with a view to installing a new sound system at Salt Ayre's gym.

The brief was to provide a background music system for the gym with provision to alter the volume level in different areas as required. The music source was, originally, to be either a CD player or mobile device. Ceiling speakers were the desired option as the main areas to be covered already had suspended ceilings in place.

Whilst the brief was to provide the highest audio quality possible, Audiogenics also had to be mindful of the council's budget. Local authorities do not enjoy large surpluses of cash, so the essence of the task at hand was to deliver the best possible audio at a highly competitive price. In consultation with Audiologic, Robin Duff at Audiogenics settled on an Ecler system centred on the Ecler Essentials Range. The range preserves the essence of Ecler's renowned reliability and quality, whilst, by offering fewer features, is a one-stop solution at an incredibly competitive price. Audiologic's ethos is based on securing 'best-fit' solutions for each unique project, a principle which continues to drive its customer-focussed success.

Twenty-six Ecler IC6 and two IC8 ceiling speakers were installed, driven by an Ecler Essential HSA4150 four-channel amplifier. The four channels on the amplifier correspond to four zones within the gym, allowing for independent volume control in each. The amplifier and an Ecler SAM412T 1U Mixer were located at the reception area, complemented by an Ecler Essential ePlayer1. The ePlayer1 is a compact audio player with a stereo output that can play music from local storage media (USB/SD card), internet streams or digital sharing streams (DLNA and Airplay compatible). The range of sources available through the ePlayer1 covers every possible base for Salt Ayre's gym, offering a virtually limitless selection of content and being extremely competitively priced, was preferred to the CD player or mobile device specified in the original brief. The SAM412T with four mic/st Line inputs allows for microphones to be used in conjunction with the system, whilst the exceptional quality of the IC speakers completes a comprehensive, highly effective package for a comparatively modest outlay.

Robin Duff, Audiogenics gives his insight: "The brief from Salt Ayre, although relatively straightforward, came in a few weeks before Christmas with a requirement that the system be up and running by 3rd January! I've worked for Salt Ayre for a number of years maintaining several portable sound systems, so I was at least familiar with the lie of the land. By the time I'd evaluated everything, designed the system and had the budget approved by the client, I was left with just a week to install. I ran things past the guys at Audiologic during the design stage and as always, they offered useful advice. The existing portable systems already included Ecler products, which I've found to perform well over a long period of time, so it was an easy decision to choose them.

“The job itself was made straightforward by the fact that all the products are designed to be installed quickly and easily, something that's especially important when you're at the top of a ladder with your head in a dark ceiling void! Each IC speaker could either be installed into a tile at ground level before fitting the whole thing into the suspended-ceiling grid, or if space was tight the speaker could be offered into the pre-cut hole, connected and secured without actually having to access above the tile. This saved a lot of time. The amplifier and mixer come with connectors as part of the package, so there was no issue as regards having to remember extras."

Andy Lewis, sales and marketing manager at Audiologic adds: "Given the constraints on Robin's time, it was essential that the products were in stock and the order delivered accurately and efficiently. This is a key aspect of Audiologic's ethos. Customers like Audiogenics are often working under immense pressure and part of our job is to relieve that pressure both in terms of prompt supply and readily available technical consultation. A little time spent engaged in the latter often saves a great deal in the long term. The decision to use the ePlayer1 also resulted from our discussions with Robin. Salt Ayre's original brief was to use a CD player or iPod but given the vastly increased flexibility offered by the Ecler media player, it was duly chosen and perfectly suits the requirements of the gym."

The Ecler Essentials range has proved time and again to offer high quality, affordable solutions across a host of applications. At Salt Ayre, where Audiogenics had a very narrow window of opportunity to design, procure and install, work was completed on time and on budget. The management of the gym have stated that they are very happy with the audio quality and coverage as well as the way the speakers blend seamlessly into their environment.

14th March 2017

ACM Brings Audient on Board

ACM Brings Audient on Board
ACM Brings Audient on Board

UK – Audient has announced that renowned music education college, the Academy of Contemporary Music (ACM) has purchased 150 iD4s, iD14s as well as a ASP8024 Heritage Edition console, which means there is now Audient hardware in all of its Music IT (MIT) suites, two of the main studios and three post production rooms.

With an original Audient ASP8024 analogue mixing desk at its Guildford HQ, it was an easy decision to install the enhanced Heritage desk in the brand new Clapham campus, which opened last year. Production tutor in London, Rob Barter, explains how it fits in: “From a teaching perspective, it’s a great console to learn on as it represents a type found in many large studios. The signal routing is very flexible and allows the students to appreciate the routing possibilities of large format consoles. We particularly like the Heritage features and feel that, overall, the console has great sonic character.”

Barter continues: “We feel it’s paramount to teach analogue signal flow in order to prepare our students so they can walk into any studio and successfully operate whichever console the studio may have installed. If a student is familiar with a console of this type, they should be able to operate equipment of any type in any situation.

“The teaching staff have consolidated our view that the ASP8024-HE is well laid-out and a relevant console on which to teach, record and mix. The students are getting to use the console hands-on in a practical context for their assignments and personal projects.”

Of the 150 iD4s, some have been installed with optional table mounts: a unique Audient design securing the units in place without the need for messy Kensington locks. There are 20 in a classroom which are always active in production classes. “Every computer which is not an admin machine also has an interface attached. These units work well and involve no installation, which has made our lives much easier,” adds Barter.

“We have iD14s set up in our small production suite. The students use this for editing, overdubbing and mixing. They were purchased for a brand new Falmouth University degree associated programme at our brand new campus here in Clapham, London.”

All these upgrades were part of the expansion of the Guildford campus, which comprises “…four floors of MIT suites and lecture space at The Billings,” according to ACM’s principal, Adam Bushell. “Next year we’re looking forward to continuing to support our talented students at both our London and Guildford campuses, alongside creating more real-world opportunities via our famous Industry Link programme and connections with Metropolis.”

Set up 21 years ago, ACM has stood by its ‘learning by doing’ ethos, as Bushell explains: “We’re so proud to have connections with Metropolis (who record, mix or master over 50% of the UK’s Top 40 charts). Our students get real-world hands-on experience due to our close ties with this famous studio and as a result, they now have access to the some of the best opportunities the industry has to offer. Several students have signed publishing deals with Metropolis Publishing and our students often get the opportunity to perform live at industry-only events within the powerhouse.

“ACM graduates are often found in the spotlight,” continues Bushell, naming Newton Faulkner and Chrissie from The Shires amongst them. “Yet for as many alumni that are prominent artists within the current music industry, we also have many working behind the scenes in top positions at labels, management companies, radio stations and more. With regards to successful production students, a couple that come to mind are Josh Mellody (AKA Zomboy) and Alex Robinson, who is now a full-time engineer at Metropolis Studios.” Not forgetting our very own marketing manager.

Bushell describes ACM’s future as “…incredibly bright. For over 21 years, we’ve been delivering an unparalleled music industry education experience. With our solid base in Guildford and our newly opened thriving London campus, students have never been in a better position to network and get those all-important opportunities to start their careers in the music business.”

The sale of the Audient hardware was ably facilitated by education technology specialists, Academia.

ACM Brings Audient on BoardACM Brings Audient on Board

14th March 2017

VIVA LARA

VIVA LARA
VIVA LARA

Israel – The wedding industry in Israel is a massive and highly competitive sector with fierce rivalry among the top venues to offer the best facilities. Making good technical production in the main reception rooms an absolute key to ensuring each event is trending, so when Nesher Edri launched his new enterprise, LARA, he specified 60 Robe VIVA LED spots.

For this venture he has used his experience, knowledge and enthusiasm from running another leading wedding venue – Signal – where he originally started as the sound and light jockey, to ensure LARA would be a premium choice for The Big Day.

He has teamed up with entrepreneur Yigal Ben Lulu and chef Zeev Tamarov to create LARA as the ultimate wedding experience.

Located at Kannot Junction, 40 minutes’ drive from Tel Aviv, LARA can accommodate 800 people inside and another 200-300 outside around the pool, and has been a meteoric success within two months of opening.

Having the very best production values has also underpinned the LARA concept, so the 60 VIVA LED moving heads are right at the core of the lighting rig above the main dance floor.

“I simply wanted absolutely the best sound and lighting and so I chose Robe, I think it's the best,” he declared!

Alter acquiring the land at Kannot Junction, Nesher designed and built the venue from the ground up, fine-tuning the various details to ensure everything from the architecture to the feng shui of the space is perfect.

The VIVAs together with the rest of the lighting production were supplied by Danor Theatre & Studio Systems and are installed on a series of Matt black triangular low-profile trusses in the roof of the main room.

"I’ve been in the industry for a long time and working with Robe products for many years," says Nesher, "but this is the first opportunity to actually own any fixtures," and he is clearly excited by the prospect!

For quality, he decided he wanted to invest in a properly European manufacturer in the early planning stages, then picked the brand and then finally assessed all the Robe options available before choosing VIVA.

An LED luminaire made sense for the longevity of the basic investment, wanting hardware that would last at least five years without needing replacement and the VIVA was also an excellent all-round choice that fitted his technical spec and budget, with the bonus of expedient ongoing maintenance and running costs.

He liked the VIVA’s multiple features and functionality and the fact that it's a reliable hard-edged product with a good zoom, nice gobos and an excellent quality of light.

He added eight PATT 2013s to the order which can be deployed in the main dancing area. Initially he wasn't sure how they would be used, but: “They are such amazing looking lights,” he was certain they would be appreciated in many different ways with the sleek looking combination of wood and brushed steel. “The finesse of the PATT 2013s reflects the general aesthetics and vibe of LARA,” he said, even though at the time the venue was still a building site with frenetic activity, cement floors being poured and steel being installed!

Now that is a distant memory and the fabulous streamlined modernity and contemporary design of the finished LARA is wowing clients and guests alike. Nesha had already taken a substantial number of pre-bookings before opening and business continues to thrive now LARA is fully up-and-running.

“It's all about offering a quality experience,” he concluded, the architecture, interior design and decor, food, music, services, facilities and capping that all off, the technical production.

www.robe.cz

VIVA LARAVIVA LARA

13th March 2017

Robe Lighting

Renkus-Heinz Ushers In a New Era of Audio at Wroclaw's Polish Theater

Renkus-Heinz Ushers In a New Era of Audio at Wroclaw\'s Polish Theater

Poland The history of the Polish Theater in Wrocław, the largest city in western Poland, has been eventful. Built in 1909 but suffering severe damage during World War II and then extensive devastation by fire in the mid 1990s, the venue has nonetheless continued to be a mainstay of the country's artistic community. Now Renkus-Heinz is helping it to move into a new era courtesy of an ST Series loudspeaker system.

Live music, theatre and other live performances continue to populate the Polish theatre's busy calendar in 2017. To ensure that the audio in the theatre's largest space remains 'fit for purpose' for its diverse engagements, the venue operators recently enlisted the services of the M.Ostrowski Company, a prominent player in the Polish electro-acoustics and AV sector since 1990.

M. Ostrowski technical director Łukasz Toboła recalls that the project involved: "Not just audio but also lighting and staging infrastructure. The venue operators were determined that the new installation continue the Polish theatre's long tradition for excellence."

This certainly applied to the specification of the new loudspeaker system, a compact but powerful configuration centred around Renkus-Heinz ST Series loudspeakers. "We have double Renkus-Heinz self-powered ST4R94 active loudspeakers for the left and right proscenium arch clusters, a double active ST4R44 for the central cluster and STR4L and STR5L units," Toboła reports. "The ST4L loudspeakers on the rear walls are for effects on the orchestral level, first balcony and second balcony."

The integrated amplification and robust digital processing of the ST4R speakers make them an ideal selection for the space-sensitive, multi-purpose requirements of the Polish theatre. "The advanced transducer design and sophisticated multichannel networking also helped to confirm their suitability for the project," says Toboła, who notes that Renkus-Heinz was specified after an extensive tender process.

Nearly 50 compact speakers from the PN Series – ranging from stage monitors and active cabinets to passive speakers – were also specified for the upgrade.

Now completed, the project has met with tremendous acclaim from both theatre patrons and staff. "They have a very busy program of events, covering lots of different styles, and the Renkus-Heinz system has proven to be entirely capable of handling all of them. It has provided precisely the combination of robust performance and quality output that was required for this venue," says Toboła, who adds that M. Ostrowski has lately been involved in a number of other projects also featuring Renkus-Heinz expertise.

Renkus-Heinz Ushers In a New Era of Audio at Wroclaw\'s Polish TheaterRenkus-Heinz Ushers In a New Era of Audio at Wroclaw\'s Polish Theater

13th March 2017

Las Vegas’ Newest Concert Venue is a “Walk in the Park” for L-Acoustics

Las Vegas’ Newest Concert Venue is a “Walk in the Park” for L-Acoustics

USA – MGM Resorts International’s Park Theater is the newest jewel on the Las Vegas Strip as well as the city’s largest and most technologically advanced venue to address the latest trend in theatrical design – immersiveness. Hosting an audience of 5,200 in its standard configuration, the $90M theatre, which is located adjacent to the Monte Carlo Resort and Casino, can flexibly be expanded to accommodate 5,800 and even up to 6,300 people at peak capacity. However, regardless of the configuration, every seat feels like it’s “fifth row centre” thanks, in large part, to an L-Acoustics K2 loudspeaker system specified by Montréal-based Scéno Plus and integrated by Solotech’s Las Vegas division.

Although the 150,000-square-foot performance space is roughly four times the size of the Lance Burton Theatre, which previously occupied the site, the Park Theater feels remarkably intimate with its rear row of seating less than 150 feet from the stage. Officially opening its doors in mid-December with a double-bill of Stevie Nicks and The Pretenders, the theatre has already booked an impressive series of “extended engagements” with top artists like Bruno Mars, Cher and Ricky Martin, helping to firmly establish the new venue as one of the Strip’s top live concert environments.

In true Vegas style, the room’s technology is nothing short of dazzling, including a projection mapping system that scales 260 feet across the top of the stage and onto 50-foot-high screens on either side, illuminated by seven HD projectors and two 4K projectors capable of 3D imagery and more. To sonically match the stunning visual effects, Scéno Plus specified a true LCR system with left/right stereo line arrays of K2 elements and K1-SB subs, with dialogue/lead vocals routed through a centre cluster of Kara as its own channel. Created in Soundvision, this system design was deemed the ideal solution to offer an immersive, full-range (35Hz-20kHz) audio experience evenly and consistently across every seat in the house thanks to the K2’s PANFLEX horizontal steering, which focuses the energy on the audience and away from the walls.

“The challenge here was to provide a truly immersive audio experience that was as amazing as the video projection,” explains Scéno Plus AV designer Simon Léonard. “Plus, we had to provide a rider-friendly system that can meet the expectations and requirements of the biggest theatrical shows and concerts. L-Acoustics’ line source arrays have earned a reputation for delivering remarkable vocal presence and projection, and their consistent sonic signature eliminates coverage seams in the audience, creating a very intimate concert experience.”

Also chosen for their uncoloured sound and exceptional power-versus-size ratio, the K2 arrays and other speaker elements had to be able to clearly and powerfully perform despite being hidden behind the projection screens that comprise the stage’s huge 7,500-square-foot proscenium.

“We had a very big space to cover and it had to be done from behind the screens,” explains Léonard. “Accuracy of mappings and mechanical data were instrumental, and we required a highly efficient, predictable and accurate system, plus the system had to be reliable and well renowned, it had to be spot-on in every sense. And the K2 solution caters for all of that while maintaining a clear stereo image no matter where you’re sitting in the room. It’s really quite amazing and, in my opinion, very unique.”

The sound system at the Park Theater today consists of two hangs comprising 16 K2 enclosures and six K1-SB subwoofers per side flanking a center cluster made up of 14 Kara boxes and four ARCS II outfill enclosures. A dozen SB28 subs are ground-stacked down below to anchor the system’s generous low-end, while eight X8 and two X12 coaxial enclosures are distributed across the 135-foot-wide stage to further extend the coverage and frequency response of the mains. Ten additional X8s serve as under-balcony fills, with the entire PA system powered and processed by 21 LA8 amplified controllers.

Léonard also expressed his appreciation for input from MGM, Marnell Companies (architects), Martin Harris, Solotech and L-Acoustics “for their work and support in this team effort to bring this project to life.”

Las Vegas’ Newest Concert Venue is a “Walk in the Park” for L-AcousticsLas Vegas’ Newest Concert Venue is a “Walk in the Park” for L-Acoustics

13th March 2017

No mountain too high for ETC

No mountain too high for ETC

Canada – The recently opened Banff Gondola Terminal represents quite literally a high point in lighting installations for ETC. Perched on a mountain peak with an elevation of 2,281 metres (7,486 feet), the four-storey structure gives visitors access to restaurants, bars, retail stores and stunning views of the Rocky Mountains. Brewster Travel Canada, working with a team of subcontractors, completed the 3,251 square metre (35,000 sq ft), $26 million reconstruction in 12 months. Video screens, reading panels and three-dimensional displays depict information of the park’s iconic flora and fauna, designed specifically to thrill and entertain the roughly 600,000 visitors who take the gondola annually, says Dave McKenna, president of Brewster Travel Canada.

Following a very 'green' mandate from the end users, the entire facility uses ETC LED fixtures to create theatrical interior looks to match the spectacular exterior vistas. The project was not without its logistical challenges, as Michael Pyatt, of GES and project manager for the design team, explains: “We had to complete the install in three phases while the attraction was open to the public, and during the better weather months.”

With no access road, all the equipment had to make the eight-minute gondola ride to the oxygen-scarce heights, and – as opening day approached – the gondolas were running 24/7 to meet deadlines. Many of the bulkier pieces of gear had to be delivered by helicopter or in a specially enlarged gondola that could only be used outside of public opening times.

Pyatt’s previous experiences with GES, on their very successful touring exhibitions (Harry Potter and the soon-to-be-launched Avatar) were very much at sea level. He hired lighting designer Josh Starr whose background was exclusively in New York theatre and live events. “They wanted a theatrical twist on a permanent install, and I jumped at the opportunity,” says Starr.

Working only from renderings and photographs, his design uses ETC Source Four Mini fixtures and Selador Desire D22 track-mount units. “I wanted to streamline the building, and these fixtures gave me the texture, colour and templates I needed for the job.” Because of Park Canada regulations on the exterior lighting of high-profile buildings, the design focused on the indoor retail, performance and interpretive spaces. After an initial contact with Warren Mays of Los Angeles-based ETC representative MPA, the sale was handled by Christie Lites’ Calgary office. Comparing this project to lighting a Broadway show, Starr says: “In the theatre, you get the electrician to move a light a few feet and it’s no big deal. In buildings, you are part of a huge team, where if you don’t plan ahead, you will have to live with your mistakes.”

With approximately 150 D22 LED luminaire packs, 100 Source Four Minis and 150 GDS ArcSystem Pro One-Cell fixtures, the Unison Paradigm-controlled system has an amazingly small, three-phase, 25-amp power requirement.

ETC service technician Tyler Martin, who worked through Field Service CA, explains: “The whole building is automated for convenience using Paradigm control and the astronomical time clock feature.” At 7am as the sun is rising over the Rockies, the lighting system executes its early-morning look and at the end of the day, as the guests dine in the fading light, another cue dims fixtures that reflect on the glass surfaces to create an unimpaired view of the scenery.

Starr makes full use of the colour palettes in the Paradigm controller to “make the images pop.” Foliage breakups in the Source Four Minis add to the displays depicting Canada’s natural majesty. Unison racks drive the Source Four Minis, sconce lights, relay switches, and house, emergency and décor lighting.

Despite its tiny power requirement, the building is well-prepared for future expansion as it gains popularity as one of Canada’s premier tourist destinations. The lighting tracks are powered but not fully populated, and each floor has extra nodes and push-button stations to allow for additional fixtures. “We are using about 1,500 channels of control, but have the mains power and control capability to add more universes in the future,” adds Tyler.

Despite “challenges associated with a project being on top of a mountain,” Michael Pyatt and the entire design team are more than ready to take a deep breath and move onwards, if not upwards.

Written by Marshall Bissett

www.etcconnect.com

No mountain too high for ETCNo mountain too high for ETC

10th March 2017

ETC

Danley Gear in the Spotlight at Eastlight Theatre

Danley Gear in the Spotlight at Eastlight Theatre

USA – The Eastlight Theatre was founded in 1992 on the campus of East Peoria Community High School to provide the nearly half a million metro residents of Peoria, Illinois and its surrounding rural communities with the opportunity to enjoy and participate in the production of world-class theatrical productions. It seats approximately 1,100 patrons, three hundred in a balcony section and the remainder on the main floor. Recently, local AV integration and live sound company CSS Audio, Inc. refreshed the theatre’s 17-year-old system – which used older Tom Danley-designed loudspeakers – with modern Danley Sound Labs Synergy Horn loudspeakers and Tapped Horn subwoofers.

“We installed Sound Physics Labs loudspeakers and Bass Tech subwoofers in Eastlight Theatre back around 2000,” recalled Dan Grimm, CSS Audio general manager. “Both of those companies used Tom Danley designs, and the live sound division of CSS Audio still has a sizable stock of those boxes. So yeah, we’ve been fans of Tom’s designs for a long time! Eastlight Theatre and the high school recently came to us looking to refresh that nearly two-decade-old system, and we naturally went with Tom’s latest and greatest lines from Danley Sound Labs.”

The replacement was straightforward. Grimm and his team pulled out the main cluster and put a pair of tight-packed Danley SH-60 full-range loudspeakers just above the lip of the stage, tilted down slightly. They cover the entire main floor. Two Danley TH-115 subwoofers, one on each side of stage on the floor, round out the low end for the system. The existing balcony delay loudspeakers were left in place. The two new loudspeakers and two new subwoofers get their power from a single four-channel Danley DNA 20K4 Pro amplifier. Its built-in DSP handles all of the processing for the new system as well.

“It sounded great before, and yet the new Danley boxes are a noticeable improvement,” Grimm said. “The Synergy Horn loudspeakers have a very well-defined pattern and keep energy off the walls and ceiling and on the audience, which helps with intelligibility and impact. Within that pattern, the coverage is perfectly smooth. Moreover, Danley’s huge selection of boxes with different coverage patterns will make it easy to add fills or update the balcony coverage if the theater decides they want to bump it up from ‘great’ to ‘perfection’.”

9th March 2017

GLP
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