Project News

Project News Headlines

Nexus Christian Fellowship Connect With Allen & Heath in Bangkok

08/12/2021

LEGOLAND Windsor Resort invests in the future with EM Acoustics

07/12/2021

Versatile Alcons System for New Indonesian University Auditorium

03/12/2021

Mosaic delivers pixels and ideas for 16 floors

03/12/2021

Kobe Port Museum Food Hall complex installs Martin Audio CDD and ADORN

02/12/2021

The Opera House in Toronto Re-emerges Post-COVID with New Adamson PA System Stage-facing view of the theatre interior

01/12/2021

MLA and CDD-LIVE 8 Sent to The Glasshouse

30/11/2021

Elation Lighting covers stage and broadcast at new Citygate Church campus

30/11/2021

University Facilitates Teaching Analogue Signal Flow with Audient Console

29/11/2021

1Rebel Saudi Arabia‘s Club Vibe Created with Chauvet Professional

29/11/2021

Anolis Eminere gets Estrel Berlin in The Mood

26/11/2021

Super Producer Lil’ Ronnie Chooses a Neve Genesys Black Console For His New Studio complex

26/11/2021

San Francisco Opera Embraces IP Audio with Lawo mc2 Consoles and Infrastructure

25/11/2021

“A complete no-brainer”: grandMA3 for New AFAS Theatre

24/11/2021

Xinjiang Corps TV Station Reaches Out with Multiple Allen & Heath dLive Systems

24/11/2021

Stage Audio Works rounds off Faith Dome with comprehensive AV solution

23/11/2021

Stavanger Concert Hall Keeps it Quiet with Robe ESPRITES

23/11/2021

Turkish Hitmaker Chooses Audient for his Production Studio

22/11/2021

Robe Rocks at Nottingham Rock City

22/11/2021

Yamaha and Molto Music Reach New Heights at The Dorchester

18/11/2021

Zero 88 FLX S24 Provides Flexible Lighting Control for University of Sunderland

17/11/2021

PROLIGHTS & Avolites Deliver Bold Looks for !Audacious Church

17/11/2021

Wycombe Wanderers F.C. enhances fan experience with Dynacord

16/11/2021

The Doctor lands in Liverpool

16/11/2021

ASP4816 Serves as Producer’s ‘Creative Hub’

15/11/2021

Nexus Christian Fellowship Connect With Allen & Heath in Bangkok

Nexus Christian Fellowship Connect With Allen & Heath in Bangkok
Nexus Christian Fellowship Connect With Allen & Heath in Bangkok

Thailand – With over 20 locations throughout Thailand, the Nexus Christian Fellowship is a growing network of Christian churches that place live music at the heart of the weekly worship gatherings.

When work began on a new worship space in Bangkok, the third such space in Thailand’s sprawling capital, Nexus enlisted Sonos Libra, Allen & Heath’s distribution partner in the region, to specify and install a new sound system capable of handling the full array of modern worship requirements, but with the ability to be controlled by non-technical operators for day-to-day usage.

For the FOH system, a 64-channel Avantis mixer is deployed, fitted with Dante a card for the digital split and live-stream feed, plus a Waves 3 card for external processing. The fully customisable Custom Control app is utilised to provide simplified control of the FOH system by non-technical operators, with a bespoke user interface ensuring core functions can be controlled by users of all capabilities.

At the monitor position, a 48-channel SQ-6 is deployed with the 12 stereo mixes used to feed the performers IEMs. Additionally, performers can control their monitor mixes via the SQ4You personal mixing app for iOS/Android. The SQ-6 is fitted with a 64x64 SQ Dante card which is used for the digital split to the FOH system as well as providing a feed to the live-stream and recording room elsewhere in the church.

On stage I/O is provided by a pair of DX168 audio expanders, delivering 32 analogue inputs and 16 analogue outputs all via Allen & Heath’s ultra-low latency 96kHz DX protocol.

“Houses of worship are not new for us, so we know how important it is that the system delivers high-quality audio for both speech and music,” says Alfonso Martin, CEO of Sonos Libra. “However, our approach to Nexus Church had a twist with the flexibility options added on: a Dante backbone at 96kHz that could be picked up and expanded to any of the other rooms within the building, Custom Control with easy-to-control presets for different functions and days, plus a Waves card for additional processing if required.”

K. Thom, technical manager at the church, adds: “We have a lot of volunteers and non-technical staff who are tasked with handling high-performance systems, so the combination of Avantis, which has the in-depth functions for technical users, with the easy to use Custom Control App is a perfect combination.”

8th December 2021

LEGOLAND Windsor Resort invests in the future with EM Acoustics

LEGOLAND Windsor Resort invests in the future with EM Acoustics
LEGOLAND Windsor Resort invests in the future with EM Acoustics

UK – Overcoming the somewhat inauspicious climate created by the global pandemic, LEGOLAND Windor Resort has continued to invest in its infrastructure. Part of that investment has included the upgrade of their 4D cinema as well as the implementation of a brand new ride, the UK’s first Flying Theatre attraction, ‘Ride of the Sky Lion’. The new attraction forms part of LEGOLAND’s most recent development, ‘MYTHICA,’ an area that was inaugurated for the park’s reopening in early 2021. The LEGOLAND production team overseeing the design and installation of the new ride called on their long-term audio supplier and consultant, Dave Shepherd of D.S. Audio to ensure the audio experience was the very best possible. Shepherd specified a system based on EM Acoustics’ new flagship Reference Series R10 system.

Shepherd’s brief was straightforward enough: to design a world class sound system for the new Flying Theatre ride with consideration to budget and future technical expansion. Shepherd began the project by conducting extensive research on similar installations in the US in order to improve on known issues, namely intelligibility. Following his research Shepherd decided on an EM Acoustics system built around a core of R10s.

“The ride includes a 15m high parabolic metal screen and three floors of moving gondolas to create an immersive flying experience through the new World of Mythica,” explains Shepherd. “With localised scent, water spray and wind devices on each gondola adding to the immersive experience, it was essential that the dynamic audio content be an integral part of that element, adding excitement yet feeling totally natural.”

Shepherd’s research had already shown that intelligibility was a known problem in some similar rides in the US, which meant that loudspeaker choice and placement were critical. “I recommended the R10s from EM Acoustics, as the almost clinical response of these loudspeakers combined with exceptionally low cabinet resonance compared to similar products, ensures the audio reaches the guests with minimal disruption from the perforated metal screen,” notes Shepherd. “As the ride building was almost a perfect cube with limited acoustic treatment, the chosen speaker had to do the vast share of the work in delivering intelligible audio to the listener,” he continues. “With a highly dynamic musical score and dramatic sound effects, it would be all too easy for the acoustics in the environment to impair the audio content, so speaker choice and placement were a key part of the design. The rigging flexibility, and choice of waveguides available as standard on the R10 also played a key role in them becoming the obvious solution.”

“We used a total of ten R10s distributed behind the curved screen screen in such a manner that we avoided any reflections from the screen itself (which was an issue in similar rides elsewhere) and were able to position the detailed audio exactly where it needed to be.”

To enhance the cinematic experience of the ride, three EM Acoustics S-218 reflex loaded subwoofers are placed in a steered cardioid format at the base of the screen to allow guests to experience the impact of the full spectrum of the orchestral score and the dramatic accompanying sound effects. A range of EM Acoustics DQ Series amplifiers complete the line-up. Reactions to the new ‘Ride of the Sky Lion’ have been nothing short of ecstatic with ‘amazing’, ‘magical’ and ‘incredible’ coming up again and again, while some have described it as ‘the best dark ride in the country’.

Matt Phillips, senior project manager at Merlin Entertainments (operator of LEGOLAND Parks) who was tasked with project managing the creation of the new MYTHICA area of the park, and in particular the ‘Ride of the Sky Lion’ attraction, is proud of what has been achieved: “We were challenged to enhance the audio quality of the new Flying Theatre experience we were delivering. D.S. Audio were recommended to me by members of the LEGOLAND Windsor team; it was apparent very early on in the process that D.S. Audio were innovative thinkers and would take care of the whole delivery from supplier liaison, to design, test and commissioning. The end result is absolutely world class, the EM Acoustics audio system designed by Dave Shepherd at D.S. Audio is simply breathtaking and I’m looking forward to working with him for future projects.”

Following the completion of the new ride, work began on upgrading the control system for the LEGO Studio 4D cinema, which had been in place since 2003 and was starting to show its age. In light of the roaring success of the audio system in the ‘Ride of the Sky Lion’, Shepherd specified the same Reference Series R10 enclosures for the main LR elements, a choice that was wholly endorsed by the production team. These complemented the existing EM Acoustics MSE-159 centre and EMS-81 fill speakers that were installed a few years ago to replace previous failed components of the system.

“The flexibility of the Reference Series as well as its slim profile allowed me to position them in a more suitable place than the existing speakers to give a more natural placement as part of the 15.1 system as well as giving a vastly improved sound,” remarks Shepherd.

In addition to the R10s, two EM S-218 subwoofers were installed to upgrade the LFE element of the system and help rejuvenate the cinema for the modern audience. “The uncompromising performance of the EM Acoustics products has bought new life to the 4D cinema that had run on its original system since opening as a theatre in 1996, and later converted to a 4D cinema in 2003.”

James Dobbs, global entertainment manager for LEGOLAND Parks is thrilled with the results: “The decision to use D.S. Audio and EM Acoustics was an easy one,” he says. “We’ve been working with Dave Shepherd for many years now and we trust his judgement. The audio system in the new MYTHICA ride is nothing short of spectacular so it was a logical step to adopt a similar approach to the cinema which hadn’t really been upgraded since it opened in 2003. Rebuilding a cinema system with 15.1 audio required out-of-box innovation and thinking, something that Dave at DS Audio is well known for. Likewise, EM Acoustics have recently provided an upgrade at both our Harbour and Puppet Show venues and the sound reproduction at both of those venues is excellent; it made total sense that they would provide the speakers for the 15.1 audio at the cinema, just as they did for ‘Ride of the Sky Lion’. I’m pleased to say that the systems for both attractions have proven to be reliable, sound great and, in the case of the cinema, look great which as a venue operator, is all you can ask for.”

LEGOLAND Windsor Resort invests in the future with EM Acoustics LEGOLAND Windsor Resort invests in the future with EM Acoustics

7th December 2021

Versatile Alcons System for New Indonesian University Auditorium

Versatile Alcons System for New Indonesian University Auditorium

Indonesia – A major new development at Universitas Katolik Parahyangan (Parahyangan Catholic University) in Bandung, West Java, has seen the inclusion of a high specification, multi-purpose auditorium for choir performances, presentations and lectures. An Alcons Audio system has been chosen to make sure every event has the best possible sound.

The university tasked design and build contractor PT Esa Sinergi Selaras Indonesia (PT ESSI) with delivering the best quality audio in the new auditorium. With the need for exceptional speech intelligibility, tight, articulate bass and uniform, seamless sound, an Alcons system was the obvious solution.

PT ESSI also chose Alcons knowing that the company’s pro-ribbon technology would ensure minimal ear fatigue for audiences. Jakarta-based KC Sound – Alcons Indonesian representative – would also be on hand to offer full support, including tuning the system to deliver its full potential.

The chosen system is very efficient for an approximately 1,000 seat auditorium. It comprises compact hangs of two single 12” VR12/90 mid-size versatile monitors on each side of the stage, plus a central BF362i mkII double 18” high output subwoofer beneath the stage. Amplification and control duties are fulfilled by a single 4x 2.5 kW Sentinel10 amplified loudspeaker controller.

The compact, two-way VR12 monitor is ideal for applications like this where high output, high quality sound reinforcement is needed. Its patented 6” RBN601 pro-ribbon driver guarantees high frequencies are delivered with minimal distortion, from 1kHz upwards and even at the highest volumes, ensuring audiences enjoy the sound of even the longest lectures or music performances.

The system’s compact size also ensures an unobstructed view of a giant video screen installed downstage, even at the back of the raked audience seating, and that there is no visual impact on the auditorium’s modern, attractive décor.

Before the new building formally opened, we hosted five trial events, which included demonstrating the audio system,” says Hardy Nanda of the university’s technical support department. “University staff and audience members alike said that this is not just a good-sounding system, but it is really outstanding. We truly believe that the this may be one of the best sound systems for auditoriums in the whole of Indonesia.”

3rd December 2021

Mosaic delivers pixels and ideas for 16 floors

Mosaic delivers pixels and ideas for 16 floors

USA – On the south edge of Kansas City, a multi-storey commercial building has been lighting its windows in special colours and patterns for decades. ETC’s Mosaic system, a unique pixel-mapping and show control solution, recently gave them a 21st-century upgrade to heighten the graphics and even provide a new revenue stream for the building.

“The building is right near the interstate. For years, everybody drove past it and loved the decorative touch of the special lighting,” says Autumn Nieland, business development at Mercer Zimmerman. The patterns started with a holiday wreath, then expanded into other designs like the Kansas City Royals or Chiefs logo. But the building wanted something better. They wanted a system that could handle bigger designs but needed less time and people power to make happen.

“They were still just using fluorescent strip lights, figuring out by hand what colours would go into what window, and having maintenance personnel change the colour of gel tubes. It was very lobar intensive,” says Nieland. “The property manager came to me and said there’s got to be a better way. So of course, we introduced them to ETC’s Mosaic.”

ETC’s Mosaic makes it easy to paint with light on the world’s biggest canvases like buildings. With support for up to 1.5 million pixels, designs can be as high- or low-res as required. And it’s easy enough to use that the building staff have free rein to build and implement their own designs.

Mosaic’s design software has made their life much easier. “They used to plot out windows in Excel by shading the cells,” says Nieland. “We worked with them to get the scale and dimensions of the building and windows right in the program, and now they’re off to the races.” The building staff has inserted new designs into their repertoire, like a rainbow chase, and a waving American flag. Nieland continues: “They took a video of a flag, plugged it into Mosaic, and the software figured out all the pixel-mapping necessary to make it move across the front of their building.”

Data from Mosaic is distributed throughout the building over a network, then converted into DMX using ETC’s Response Mk2 DMX Gateways. The DMX is sent to RGBW LED strip lights from a local manufacturer that are placed in each of the windows. The installation went as smoothly as the animation.

“It’s simple to implement, because once one section of building is done, you’re just repeating it the same install on every floor,” adds Brad Hull, controls outside sales manager at Mercer Zimmerman. “It was really easy for the contractor to understand how it all went together.” And thanks to Mosaic’s capacity, it’s easy to add more fixtures and expand the system in the future. “The system is so flexible, it’s easy to augment the design based on needs of the project and the wants of the end user. It’s like Lego. You can just snap new pieces into place for whatever budget you have.”

In addition to the animated American flag waving across the front of the building, the crew has added sports team and company logos back into rotation and mapped rainbow colour chases across the exterior. To keep the light show interesting, they use Mosaic’s scheduling features to ensure the shows don’t run every night, only on special occasions, or for a price. “They can start putting things up on the exterior and charge for it, turning it into a revenue stream if they’d like,” says Hull. “They have a taste of what they can do, and they know there’s so many more possibilities. It’s fun to watch them realize what they have with Mosaic and decide what they’ll do next.”

photos: Brad Hull, Overland Park

www.etcconnect.com

Mosaic delivers pixels and ideas for 16 floorsMosaic delivers pixels and ideas for 16 floors

3rd December 2021

ETC

Kobe Port Museum Food Hall complex installs Martin Audio CDD and ADORN

Kobe Port Museum Food Hall complex installs Martin Audio CDD and ADORN

Japan – Kobe Port Museum is a new cultural complex in the Japanese city, consisting of an aquarium, food hall and bridal desk. The space on the ground floor is a next-generation food hall typified by the well-known Kobe restaurant brand, Tooth Tooth which has recently installed a Martin Audio system with background music produced by Fish Four.

Based in Kobe, the president Yutaka Okano says: "High-quality BGM is an indispensable element for restaurants and cafes. We choose music suitable for both day time and night time, and develop the atmosphere of the place. We have enjoyed a long relationship with Martin Audio and have used the brand in several facilities to date. With confidence in the quality of Martin Audio's speakers, we again requested them without hesitation."

A total of 29 CDD6TX cabinets have been installed on several pillars, covering a wide area of the food hall. In addition, ADORN series speakers have been deployed in the aisles with ACP-55T pendant and ASC-55T ceiling speakers. Including the outdoor terrace, 52 Martin Audio speakers feature in total.

"At night, DJs come in and play live. In addition, there is an event space in the hall, and if necessary, a portable Blackline X10 can be set up."

Since there are three locations in the building where DJ booths may be set up, it was necessary to devise ways to smoothly transfer the signal inputs from these locations, and this was accomplished via a mobile input DSP rack, with the input signal delivered to the system via Dante. Switching between the ‘Start DJ’ and ‘Return to BGM’ sources is therefore straightforward.

Finally, Mr. Okano reveals: "There is an aquarium water pool above the bar counter in the centre of the food hall, and this is visible from beneath. We’ve created an amazing atmosphere which is well worth experiencing when visiting Kobe!"

Kobe Port Museum Food Hall complex installs Martin Audio CDD and ADORNKobe Port Museum Food Hall complex installs Martin Audio CDD and ADORN

2nd December 2021

The Opera House in Toronto Re-emerges Post-COVID with New Adamson PA System Stage-facing view of the theatre interior

The Opera House in Toronto Re-emerges Post-COVID with New Adamson PA System Stage-facing view of the theatre interior

Canada – Many of Toronto's music venues are returning to normal after a one-and-a-half-year hiatus due to the COVID-19 pandemic. One of these venues is a popular favourite, The Opera House, which recently had its original Adamson Y-Axis system entirely overhauled with all-new loudspeakers, amplification and software.

The Opera House first opened back in 1909; a vaudeville theatre with classical architecture, now featuring an extremely modern twist: Adamson’s CS-Series products installed throughout. Having hosted acts like Metallica, Green Day, Foo Fighters, and Eminem, it was imperative their new sound system was going to be powerful enough to live up to the expectations that come with the names who play there.

“We were one of the original Y-Axis partners and that system was rock-solid for the last 20 years. When the opportunity came up to replace it with Adamson’s brand-new CS-Series, we had to go for it and I must say, it’s very impressive,” said Athena Ellinas-Towers, owner and general manager of the century-old theatre.

A main stereo array of ten CS10 are on each side of the stage, along with a sub array of 12 CS119. Front fills consist of a stereo pair of CS7p 70x40 flanking the stage and firing in. Both the under and upper balcony areas have their own separate zones of CS7p, with three 70x40 below the balcony and a stereo pair of 100x50 for the upper balcony, where the ducting shaded the arrays.

The intricate system is all networked together using a pair of Extreme Switches and use the Adamson NDS to manage the redundant network wiring scheme and analogue backup. This gives the system two layers of redundancy, primary and secondary networks from the Gateway at FOH with analogue from the same source on discrete cabling to the stage. The redundant networked audio feeds are merged to a single Cat6 cable, with analogue and power run separately to the loudspeaker.

“Having the new software and Adamson Gateway at FOH has changed my life. The functionality and flexibility have opened a whole new world of possibilities to me; truly giving me the freedom to design and contour the system to fit my needs. This is a game changer from Adamson," explained Dan Cumming, front of house and technical director of The Opera House.

The Adamson Gateway offers a 16-channel input matrix mixer, with 16 channels of powerful DSP, making it not only the control centre for the entire system, but also the perfect way to switch between house and guest consoles. It can accept up to 16 channels of redundant Milan AVB or use eight XLR inputs to provide either 16 AES/EBU or eight analogue signals. The network I/O on the Adamson Gateway has six Neutrik etherCON and two Neutrik opticalCON connectors to make it a four-port redundant switch.

“One of the main upgrades on our end was installing rigging points so we could hang the new system. Using Adamson’s optimisation feature smoothed the response in the room dramatically. My favourite part is that it doesn’t add any latency to the system," said Dan.

The Opera House has many shows on the horizon featuring an eclectic selection of acts like country artist Tenille Townes on 3 December, 2021, pop-punk band Seaway on 5 December, 2021, and indie-pop group Valley on 15 and 16 December, 2021.

The Opera House in Toronto Re-emerges Post-COVID with New Adamson PA System Stage-facing view of the theatre interiorThe Opera House in Toronto Re-emerges Post-COVID with New Adamson PA System Stage-facing view of the theatre interior

1st December 2021

MLA and CDD-LIVE 8 Sent to The Glasshouse

MLA and CDD-LIVE 8 Sent to The Glasshouse
MLA and CDD-LIVE 8 Sent to The Glasshouse

USA – Offering breath-taking 360° views over the Hudson River and Manhattan Skyline, The Glasshouse is a new multi-function, interconnectable event space in New York City.

Able to accommodate almost 2,000 people, and with multiple outdoor terraces set within the 75,000 sq. ft footprint, the venue required a cutting-edge production infrastructure, including transparent audio transmission, state-of-the-art video and lighting and broadcast-ready cabling.

The work went out to tender, and the successful bidder was Martin Audio partner, Audible Difference (ADI). “We were offered the contract based on our design, and the fact that Martin Audio system offered a robust and adaptable Dante platform,” believes ADI principal, Erich Bechtel.

Consequently, the stage area pop-up space, taking advantage of the extra ceiling height on the seventh floor, comprises two hangs of eight MLA Compact, while LF extension is provided by eight DSX-F subs, four per side, which can be deployed as necessary.

Bechtel’s colleague, Ian Ruben-Schnirman, ADI’s director of technical services, was responsible for overseeing the fit-out of this former warehouse building. The Glasshouse itself occupies the fifth floor and the sixth (the event space, VIP rooms and kitchen), which are entirely new additions to the building.

He noted that the high ceilings, concrete base construction and heavily glazed superstructure were likely to generate reflections. To deliver an adaptable space suitable for private hire, live events, party planners, weddings and so on ADI needed to create an environment which could be reconfigured “in a virtually infinite number of ways, with recallable presets, enabling them to change events faster.” To achieve this, ADI also knew that a powered system would offer them greater flexibility.

Justifying their decision to adopt the MLA platform, Ian Ruben-Schnirman said: “MLA makes sense here because of the optimisation potential; we could avoid hitting glass, and at the same time could steer the sound and achieve total rear rejection.” Aside from mitigating the glass and concrete surfaces, it would also maintain intelligibility and tour grade audio quality, while being sufficiently flexible to be deployed in several different ways as the room changed shape.

He was also hugely impressed by MLA’s consistent coverage. “This was especially important in a space like this which is essentially a large concrete box. Wherever the sound is arrayed, you hear no difference whatsoever. I don’t think any other system would have worked.”

In addition: “The ability to control the audio within the wider space with a distributed audio system was paramount, but with ceiling speakers they wouldn’t have been able to do what they wanted to do. So we moved them up to CDD-LIVE 8 and ran everything over Dante,” he said. “By keeping the sound digital we managed to avoid thousands of feet of cable.”

With the spec agreed, via an AC line they were able to test every speaker quickly, before the main power cables were in. “One of the features [of CDD-LIVE 8] is the large LED indicator light on the front of the cabinet under the grille. When you have 63 boxes up in the air you can turn these lights on, and it makes trouble shooting much easier.”

The 63 white CDD-LIVE 8 mounted in the ceiling as a distributed system are complemented by a further 12 black CDD-LIVE 8 variously detailed for front fill duties, deployment on the terraces and as compact stage monitors. Four SXP118 subwoofers provide LF extension.

Another vital component was the control element via the Dante solution. ADI turned to Martin Audio’s proprietary DX4.0 network system controller, which handles most of the tuning and U-Hub to feed digital audio to the MLA array via a single cable. “This enables the hangs to remain isolated when we move equipment around the room, allowing for the variability of the space.” Furman power conditioning and bespoke rack supply – offering cable routing panels with integrated D-ring – kept the installation neat and allowed all four racks housing the DX4.0 and U-Hub to be flown. “This was important as it offers maximum flexibility as the rooms change.” Room combining is via a third-party device.

With the intervention of COVID, the contract was drawn out over 18 months, eventually only completing this September. The integrators were supported by Martin Audio’s product support engineer, Joe Lima. “Joe was invaluable,” said Ruben-Schnirman. “He looked over the design remotely, and he and I did the system teching.”

Another key member of Martin Audio’s US team was north-eastern regional sales manager, Martha Callaghan, who campaigned energetically to help secure the contract and diligently support it every step of the way.

Both the ADI executives are delighted with the outcome and the fact that their decision to back a CDD-LIVE 8/MLA combination has been completely vindicated. Concludes Ian Ruben-Schnirman: “The first time I got my ears on CDD was in Martin Audio’s demo room at InfoComm 2015 and we’ve been using CDD-LIVE 8 for our rentals and shows ever since.”

MLA and CDD-LIVE 8 Sent to The GlasshouseMLA and CDD-LIVE 8 Sent to The Glasshouse

30th November 2021

Elation Lighting covers stage and broadcast at new Citygate Church campus

Elation Lighting covers stage and broadcast at new Citygate Church campus
Elation Lighting covers stage and broadcast at new Citygate Church campus

USA – In the tri-state area where Indiana, Kentucky and Ohio meet, just north of Cincinnati, lies Citygate Church’s new campus, Forest Park. The church, which originated in Cincinnati and was once mobile, has grown from a small congregation into a thriving, multi-site ministry that enhances services for live and broadcast audiences using customisable lighting from Elation Professional specified and installed by integration company S&L Integrated Systems.

Citygate is a multi-ethnic, outreach-driven church with a vision to positively impact the community and share the word in a creative and dynamic way. “Pastors Eric and Kim Petree have always had a vision to become a multiple campus church: one church, multiple locations,” says Dustan White, production director at Citygate Church. “We know that our success and our blessings come from how we impact other people’s lives, and the opening of the Forest Park campus has opened the door to an even broader community.” As Citygate operates an existing campus in Lebanon, Ohio, further north, the Forest Park campus gives the church a broader reach into the Cincinnati area. The ministry also administers outreach in downtown Dayton, as well as downtown Cincinnati.

Although expansion into a new community was a long time vision of the church, an expensive new build wasn’t necessarily on the agenda. The Forest Park property, an existing church space that had become available under auction in early 2021, was an opportunity that the church couldn’t pass up. Nathan Tomberlin, an account executive at S&L Integrated Systems, who has known Dustan for 15 years, tells the story from his perspective: “Early in the year, I got a phone call from Dustan enquiring about lighting for a ‘church’ but at the time, he couldn’t reveal the name. I was glad to help but was naturally curious. Then in early July, he called again to reveal the Forest Park project, which I was happy to hear about. But then came the bombshell; he asked if we could make the install happen before the beginning of October and here we were in July in the middle of a pandemic and with major supply issues! He was asking for a miracle but I told him I’d do whatever I can.”

Citygate didn’t actually close on the Forest Park building until late July so time was even tighter. Nathan, however, sprang into action, conducting on-site visits to survey the site and producing a materials list based on a modest budget. The brief from Dustan was for high-quality lighting that was LED based for cost savings, easier maintenance and durability.

There were predominately two areas to light in the 1,500-capacity sanctuary: a raised band riser that supports a full band and a larger lower deck. Nathan put together a cohesive three-point focus package that serves as a foundation design with key lighting and rear wash, a ‘phase one’ package that he says the church can add to over time.

Nathan uses two key luminaires to realise the design, the compact Fuze SFX, a multi-purpose LED spot and effects fixture and the WW Profile HP, a high-powered LED warm white ellipsoidal. “The catwalk angles stage right and stage left are at about 45 degrees so it was perfect for key and fill from the WW Profiles,” Nathan explains. “We also have them on a 50ft stick of truss over FOH for the downstage and altar, and additional fixtures on another truss at proscenium over the altar area for front wash for the band riser. The SFX are on the ground and upstage left, centre, and right.” Elation Platinum Wash ZFX moving head wash fixtures were transferred from Citygate’s Lebanon campus to supplement the SFX and WW Profiles.

S&L Integrated designed, supplied and installed the lighting system along with motors, rigging, structure, audio and comm systems. Nathan also designed a patching system for DMX. “Forest Park has given us an opportunity to set a standard for production for our campuses while establishing the look and feel that we want. It’s a system we can translate from one campus to another as we grow,” Dustan said, noting that the goal next year is to put in the same broadcast and lighting set-up in the Lebanon campus.

Dedication services at Citygate’s new Forest Park location took place on 17th October with a new lighting package that has them ready for the Christmas season. Manufacturers’ rep firm and Elation dealer Freed Sales worked with S&L Integrated to secure the Elation products in time and Nathan and his team at S&L worked through the night the night before the dedication to make sure it all came together in time.

“That we were able to get all the lighting fixtures we needed and do this in such a short time frame was huge,” he concludes. “It has been an honour to work with Citygate on their new campus. The church has a great story behind this project, and we are so thankful to have been a part of their journey!”

www.elationlighting.com

30th November 2021

Elation

University Facilitates Teaching Analogue Signal Flow with Audient Console

University Facilitates Teaching Analogue Signal Flow with Audient Console
University Facilitates Teaching Analogue Signal Flow with Audient Console

Romania – Aware that their students needed a way to understand signal flow more easily, course leader Áron Fazakas Ph.D., associate professor and József ‘Yogi’ Lénárd, sound master instructor at Sapientia Hungarian University of Transylvania “decided to teach a more solid, analogue-based hybrid studio process.” After much research, they chose the Audient ASP4816 mixing console to facilitate this, saying the desk “perfectly met our educational and production needs.”

Áron and Yogi make up two-fifths of the teaching staff on the sound master course. Yogi continues: “In the all-digital beginnings of our sound engineer training, the problem was that our students were always staring at the computer screen. Reading the various values and admiring the beautifully crafted audio plug-ins on-screen, slowly began to eclipse their confidence in their musical hearing.”

He explains how they went about choosing the console: “As our adult education course did not have a limitless budget, our aim was to find an analogue mixer with the best price-quality ratio. With very high quality microphone preamps, excellent EQ and noise-free signal processing, this console is perfectly suited to the sound system we have set up in our studio, thanks to its versatile connectivity.”

The media department’s teaching studio in Cluj-Napoca was built in 2013, and the sound equipment here was primarily used for degree-level, practical training in TV broadcasting. “Launched in 2016, the adult training course for sound mastery is based in the same space, in a 200 square metre studio. We also needed sophisticated equipment to teach the profession of sound engineer, so the analogue Audient ASP4816 console complements our existing digital desks and provides a whole new range of professional opportunities.”

Yogi thinks the desk “sounds very good” and appreciates the bus compressor, also highlighting the fact that they can track their live studio recordings using a hybrid digital/analogue system. He explains: “Our Roland R-1000, 48 track digital recorder is connected to a Roland S-2416 converter. After multi-track recording on the Short Faders (SF), our students can immediately create a pre-mixed version for the musicians.”

Indeed, all students of the accredited HANGMESTER (sound master) adult education course in the Hungarian language at Sapientia EMTE Cluj-Napoca Faculty of Music will have the opportunity to get their hands on the British console during their time at the university.

This latest ‘niche’ sound master adult education course is open to any and all applicants. According to Yogi, the course is designed to train sound engineers to have a solid theoretical background and practical experience, ready for use in radio and tv broadcasting, live festivals and film, as well as studio recording. “We would like to follow this direction in future,” he says.

Discover more about the course(s) either at the website here or find Sapientia Hungarian University of Transylvania on Facebook.

The ASP4816 was supplied by Audio-Technica Central Europe Ltd. distributor of Audient in Hungary, Romania, Bulgaria and Armenia.

photos: Ferenc Molnár

29th November 2021

1Rebel Saudi Arabia‘s Club Vibe Created with Chauvet Professional

1Rebel Saudi Arabia‘s Club Vibe Created with Chauvet Professional
1Rebel Saudi Arabia‘s Club Vibe Created with Chauvet Professional

Saudi Arabia – Visitors to 1Rebel might easily think they’ve entered an upscale club were it not for the rows of treadmills, bikes and other exercise equipment that reveal its identity as a fitness centre. This is precisely the sort of image, management of the renowned London-based gym hoped to create when they opened their two Saudi Arabian locations.

Their vision for their Middle East expansion was based on the success they had in revolutionising the UK fitness industry with gyms that offered guests a total experience that went far beyond toning their bodies to immersing their senses in a compelling club-like experience.

AV designer Toby Jones was responsible for conjuring up this magical mix in London. So, it was only natural that 1Rebel turned to him when opening its two Riyadh locations. Jones worked with lighting designer Durham Marenghi, who he had also collaborated with in the UK. Together they endowed the new Saudi centres with the engaging look and feel that have become a signature of 1Rebel.

Helping them accomplish this was a collection of Chauvet Professional fixtures. The team positioned Ovation, COLORado and ÉPIX strip fixtures within the four main concept spaces that define the 1Rebel experience: Reshape, Ride, Rumble and Reflex.

“Our lighting brief from Marenghi was simple: stay consistent with the London venues and take it to the next level,” commented Jones. To execute this vision, lighting and video were employed within each of the gym’s studio/spaces to support the 1Rebel theme with energetic visuals.

In the Ride studio, for example, a total of 41 COLORado 1 Solo wash lights were positioned from the ceiling to illuminate the exercise bikes from above. Thanks to the generous zoom of the fixtures coupled with vivid colour rendering, a number of dynamic effects could be achieved within the space to heighten energy levels.

In the Rumble studio, 76 ÉPIX strip IP pixel bars were attached to the steel boxing structure, all pixel mapped using MADRIX software. The long and thin batten shapes of the ÉPIX fixtures functioned as ideal building blocks for the structure, providing the basis for pulsating illumination of the ring with bursts of kick out colour combinations.

“The set-up in Rumble sounds simple, but the results were incredible,” said Jones. “The whole structure flows with moving light, bringing a genuinely unique experience to a boxing studio.” 

In the Reflex (personal training) space, 10 COLORdash Par Quad 18s were hung evenly spaced on the ceiling. From this position, the RGBA fixtures, which are controlled through a ShowCAD touchscreen, easily change the mood in the room by washing it in an array of different colours. The presence of amber in the LED engine ensures that these colours are deeply saturated with no distracting colour shadows.

Speaking of the Riyadh fitness centres, which were installed during the COVID lockdown, Jones noted: “Although we worked under a unique set of constraints, we were able to deliver something previously unseen in the regional industry.”

Like its sister sites in the UK, the Saudi 1Rebel bills itself as the 'King of Gyms'. Thanks to the AV work of Jones and lighting design of Marenghi this king’s crown glitters brilliantly.

1Rebel Saudi Arabia‘s Club Vibe Created with Chauvet Professional 1Rebel Saudi Arabia‘s Club Vibe Created with Chauvet Professional

29th November 2021

Anolis Eminere gets Estrel Berlin in The Mood

Anolis Eminere gets Estrel Berlin in The Mood
Anolis Eminere gets Estrel Berlin in The Mood

Germany - Anolis Eminere 1 RGBA LED wall washing lighting fixtures were specified to create mood lighting in a series of breakout rooms in the newest extension to the Estrel Congress Center (ECC) in Berlin, with the Czech manufacturer also producing some specially adapted ceiling mounting versions of the fixture to suit this project.

The ten breakout rooms are part of a new 5,000 square metre extension project which opened last summer having been under construction for nearly two years, adding a state-of-the-art 800 seat auditorium / presentation space and ten event rooms to ECC’s substantial multi-purpose conference, exhibition and hotel complex which first opened in 1999. It occupies a massive site in the south of Berlin city.

Each of the new break out rooms can accommodate up to 50 - 240 people, and in line with its quest to offer the best cutting-edge technology, Estrel’s owner and technical management teams planned mood lighting from the early stages of the design and planning process explains ECC’s technical manager for AV, Thomas Herzberg.

The busy venue is responding to demands from a diversity of clients in recent years who are requesting colour changing lighting to set different moods and tones in these important workshop spaces.

“People in general are much more aware of the power and reach of lighting now, how it can affect thinking and attitude, so we wanted to provide this facility as part of our standard lighting and AV packages,” he explained.

He started exploring mood lighting options, seeking “something completely different” from the usual white lighting requirements and contacted different suppliers.

The venue already owns a quantity of Robe lighting technology with which it is really satisfied, so looking at ‘sister’ architectural brand Anolis seemed a logical path. Robe Germany sent samples and conducted on site demos so the different options could be thoroughly tested, evaluated, and compared.

Thomas and his team liked the power, versatility, and quality of the Eminere light source, the smooth colour mixing and the rich and beautiful colour variants along with its quality made-in-Europe engineering.

They chose the Eminere RGBA as the optimum fixture, complete with wide angle lenses as the fixtures had to be mounted close to the wall in each of the rooms. The discreet design and housing of the Eminere 1 was a perfect fit for the environments.

As Estrel’s requirement was for ceiling mounting units, the factory was willing and able to provide a custom solution for the standard wall mounting Eminere 1s and meet the time frame, and this will also be an option for future Eminere specifications.

“This willingness of Anolis to customise to our needs was also impressive,” commented Thomas.

Between ten and 12 Eminere 1s are installed in each of the breakout rooms where they blend elegantly into the surroundings and produce colours and mood just as was envisioned.

This is the first time that Estrel has built permanent atmospheric lighting into their venue and its success means it will be something they consider for the future.

Mood lighting control is integrated via the building’s IP system and is designed to make it as straightforward as possible for clients to change the moods and create new colour schemes to suit their event using either wall mounting Crestron touch panels in each room or remotely via a tablet.

“Our goal was to make it effectively like a smart house in terms of control, and so far, everyone who has used it loves it,” declared Thomas.

In addition to the auditorium, event rooms and breakout areas, the new ECC extension offers extensive technical facilities and food and beverage service areas spanning two light-filled floors connected by escalators and open foyers. Mood and positive energies are at the very heart of the design, with contemporary artworks by Felix Kiessling, Cajsa von Zeipel, Tomas Saraceno and Jeppe Hein helping, together with all the lighting detail including the Anolis Emineres, to evoke a special ambiance.

With all the requisite AV technology needed for an event offered in such user-friendly packages in these breakout rooms, technical crew can be more efficiently deployed to other areas of ECC where they are needed, with that resulting cost efficiency also passed on to customers.

ECC owns a huge amount of production technology designed to supply all needs in house for around 1800 events, conferences, and exhibitions of varying sizes per year, looked after by a technical crew of around 40, full time and regular freelancers, headed by Thomas.

photos: Estrel Berlin and Louise Stickland

26th November 2021

Super Producer Lil’ Ronnie Chooses a Neve Genesys Black Console For His New Studio complex

Super Producer Lil’ Ronnie Chooses a Neve Genesys Black Console For His New Studio complex
Super Producer Lil’ Ronnie Chooses a Neve Genesys Black Console For His New Studio complex

USA – Multi-platinum music producer and songwriter Ronnie Jackson has made a Neve Genesys Black G16 console the centrepiece of a new five studio facility he recently opened in Georgia, USA.

Jackson, who is known in the music industry as super producer Lil’ Ronnie, is currently building an entire production facility on 100,000 square feet of land in Alpharetta, Atlanta. The five audio studios are already up and running, but eventually the complex will also house rehearsal halls, post production studios, edit suites, sound stages and facilities for people to shoot video content for YouTube.

Lil’ Ronnie chose a Genesys Black console for the main audio studio because he wanted a Neve as the facility’s centrepiece. As the remaining four studios are equipped for ‘in the box’ workflows the Neve console, which was supplied and installed by pro audio specialist Vintage King, gives producers and artists access to a hybrid workflow as it offers 24 faders, 8 analogue channel and an integrated DAW display.

“I wanted a Neve desk because I love the iconic sound of Neve’s analogue equipment and have Neve 1073 preamps in all of my racks,” Lil’ Ronnie says. “I decided the Genesys Black was the ideal choice because it delivers the look and feel of a traditional analogue console while also offering digital control and easy integration with DAWs, which suits people who like to work ‘in the box’. It is the perfect hybrid console – the real New Age deal – and it also has the advantage of a relatively small footprint so it doesn’t feel overpowering in the studio space.”

Originally from Kansas City, Lil’ Ronnie discovered his love for music and, in particular, music production at a very early age. He attended a performing arts school, learned how to make music on a computer and was selling beats before he even left high school. He eventually signed by Jermaine Dupri and Soso Def and went to work with the Underdogs production team in Los Angeles. Since then, he has worked all over the world and has successfully achieved his early goal of having a hit record in every genre. Among the artists he has collaborated with are many top international names including T.I., Bow Wow, Britney Spears T-Pain, Usher, Mary J. Blige, Ciara, Reuben Studdard and Scott McCreery.

Lil’ Ronnie’s new studio complex named Einnor, which is Ronnie spelled backwards, reflects the top league in which he operates and has been specifically designed to cater for a 5-star clientele.

“I wanted to create a place that was comfortable and very high end,” Lil’ Ronnie says. “I travel a lot, I have a nice car, a nice home and I stay in plenty of nice hotels, so I wanted my studios to offer the same level of service that you would find in a St. Regis or Ritz Carlton. At Einnor, we have butler service and a 24 hour liquor licence, as well as a gym on site in case people want to work out. We’ve also made sure the complex is creatively inspiring, so we’ve avoided all the wood and darkness that you usually find in studios and instead gone for a cool, contemporary look with lots of white walls and LED lights.”

With Einnor’s Neve room now open for recording and mixing clients, Lil’ Ronnie is focusing on the next stage of the project which includes completing a Dolby Atmos mix room.

“There is still work to do to finish the whole complex, but the Neve room is finished, and it sounds great,” he says. “I really love the Genesys Black console and I think it is going to appeal to a lot of different people, from those who love analogue right through to the big name mix engineers who do everything ‘in the box’.”

26th November 2021

San Francisco Opera Embraces IP Audio with Lawo mc2 Consoles and Infrastructure

San Francisco Opera Embraces IP Audio with Lawo mc2 Consoles and Infrastructure
San Francisco Opera Embraces IP Audio with Lawo mc2 Consoles and Infrastructure

USA – San Francisco Opera’s historic 3,006-seat War Memorial Opera House, opened in 1932 on Van Ness Avenue adjacent to City Hall, has just completed a technical upgrade to a complete Audio-over-IP infrastructure with two Lawo mc² audio production consoles and related I/O, unifying the theatre’s audio production systems and bringing to completion a project with roots going back nearly seven years.

San Francisco Opera acquired their first Lawo console, an mc²56 MKII, in 2015, for post-production use. It was a good testing ground, as the Opera’s technical staff looked to the future, planning replacement of a previous, non-networked console with a looming EOL date.

“Having such an important part of the system no longer serviceable was not something we could accept,” says Doug Mitchell, San Francisco Opera’s master audio/video engineer. Core requirements for new consoles were simple: “First, the consoles needed to be native RAVENNA and, second, they needed to be made with the quality and detail that opera and symphonic music required.”

“Having already purchased an mc²56 MKII with Nova73 Compact in 2015 for our post-production facility, we were already very familiar with Lawo,” says Mitchell. “In fact, we chose Lawo in 2015 because of its RAVENNA audio capability. We had been using Merging Pyramix for multi-track capture and post-production mixing since 2007, and using Horus and Hapi AD/DA interfaces for all of our remote mic pres since 2012. Integrating that first mc²56 MKII into our existing infrastructure made connectivity much simpler, it was a no-brainer to continue with Lawo for our live sound consoles.”

The new installation's main goal was to bring together San Francisco Opera’s live, broadcast and post-production audio facilities within a 96kHz infrastructure and includes an mc²56 MKIII audio production console with a redundant A_UHD Core for the sound booth on the 5th floor backstage, along with A__stage64 and A__madi6 stageboxes, a Lawo V__pro8 video processor, and a Power Core RP with VisTool RP remote control for rehearsal and god mics. At orchestra level, an mc²36 MKII audio production console provides FOH sound. The system’s backbone is managed with two Arista 7020 switches.

A second goal, integrating the FOH console with the main sound console, was also accomplished, as both new consoles now share all sources. Outputs feed two DirectOut Prodigy.MP’s via RAVENNA and are matrixed prior to speaker distribution.

“One big challenge with the previous equipment was lack of DSP, which required a lot of outboard processing gear,” Mitchell explains. “Since we had previously installed AoIP infrastructure with our first Lawo console, it was easy to replace the old stageboxes with the Lawo A__stage64 using existing wiring, and adding the Arista 7020 to tie the Consoles, A_UHD cores, A__stages64 units, A__madi6 and Power Core.”

“It all went together very easily,” Doug enthuses: “We have two Horus with 64 mic pres in the orchestra pit, one Horus with 32 mic pres for RF mics, 16 mic pres for itinerant use DSL, one Hapi with eight mic pres in the ceiling for hanging mics, and one portable Horus with 32 mic pres for special events. The ability to easily share all the merging pres and the A_Stage units with both mc²56’s, the mc²36 and the Power Core really shows the beauty of an all-IP audio network.”

Mitchell highlights one more major advantage of the new Lawo system: its extremely flexible workflow.

“We share the theatre with the San Francisco Ballet, and we both have very similar, yet different needs,” says Doug. “In my 20 years with the company, the changeover that happens twice per year between us has always been quite complicated and took a lot of time, as it required a lot of patch bay changes.

“Now, we finally have a system large enough and flexible enough that all we need to do is change out some microphones and recall a different snapshot in the mc²56 MKIII, mc²36 MKII and the Power Core, and we are ready to go!”

San Francisco Opera Embraces IP Audio with Lawo mc2 Consoles and InfrastructureSan Francisco Opera Embraces IP Audio with Lawo mc2 Consoles and Infrastructure

25th November 2021

“A complete no-brainer”: grandMA3 for New AFAS Theatre

“A complete no-brainer”: grandMA3 for New AFAS Theatre

The Netherlands - A grandMA3 lighting control system – hardware and software – is at the heart of the new AFAS Experience Center’s 800 capacity theatre in Leusden, the Netherlands. The theatre is an integral part of the software company’s spectacular new contemporary work campus designed by Steef van de Veldt of Just Architects.

The FOH lighting control system comprises a grandMA3 compact XT console to run the stage lighting for the more complex and hands-on shows, with a grandMA3 replay unit (running in a different session) for local remote touch screen control of pre-set lighting scenes. The grandMA3 replay unit is also undertaking other complex networking and automation and effectively acting as an architectural controller for the building’s fixed lighting installation.

Taking advantage of the scope of the grandMA3’s IP control and OSC compatibility, these additional networking tasks include the remote switching of 480 circuits of lighting hard power, including for the house and backstage lighting systems and the theatre’s remote follow spotting system.

“The power, flexibility and networking capabilities of grandMA3 made it a ‘no-brainer’ when choosing a control system,” commented Christian Borgers from the project’s lighting specifier and supplier, Rolight, MA Lighting’s distributor in the Netherlands. Originally AFAS intended to use the theatre solely for training sessions, lectures and presentations for staff and customers, needing the ability to quickly and easily flip between different set ups and lighting states. Full IP-based automation was the goal for designing this day-to-day lighting control, allowing the space to function efficiently without needing the constant presence of specialist lighting technicians.

As the project progressed, it was decided that the venue should also be equipped as a fully professional performance theatre with moving lights and LED light sources, capable of staging elaborate productions. AFAS then further announced that they would be teaming up with Cruyff Management to co-produce and stage the world premiere of “14 The Musical”, about the life of the iconic footballer Johan Cruyff, in the venue.

“The grandMA3 compact XT is a fantastic solution for theatres like this with all the power and features needed in a very small footprint console,” enthused Christian.

grandMA3 offers three network interfaces at every desk position in the theatre, two for the console and a third for the internet, allowing direct downloads of GDTF fixture profiles to the console, and Rolight also has remote access to the entire system.

The grandMA3 compact XT and repay unit were supplied with grandMA3 processing units to expand the parameter capacity, as the house lighting includes a quantity of LED pixel strips which are part of the audience lighting and the same luminaires are used to delineate the front of the stage. Additionally, there are 200 channels of work lights plus another 200 more of backstage blue-light illumination, all programmed into the grandMA3 system and recalled via the replay unit which is talking to the building’s overall AMX management system. For daytime lectures and sessions, lighting looks and scenes can be recalled very quickly from multiple touch screen devices, including wall controllers and tablets communicating via the replay unit.

All the automation cues, the hard power switching, etc., are programmed into the grandMA3 replay unit as executors and macros triggering a Christie Pandora’s Box Widget Designer communicating via custom software with the AMX controller via the building’s layered network. grandMA3 was picked as a stable playback / master lighting controller allowing this operation by staff using integrated touch screens or a mouse and keyboard connected via USB.

The last layer of the system is AFAS’ own privilege-based app which includes geo-positioning info and can be installed on devices carried by staff who are working in specific areas of the building, e.g., cleaners, who can switch on just the lights necessary for the completion of their work.

Christian, who worked closely with colleague Hamza Ghzili on the project, concludes it was a “complete no-brainer” to use grandMA3 as the project’s lighting control backbone as it could offer simple control of all these networking functions as well as provide a powerful and adaptable creative tool for designing full stage and show lighting.

The AFAS Experience Center is a state-of-the-art multifunctional complex that includes approximately 8,000 square metres of office space plus intermediate buildings including the theatre, studios and sports facilities and a 3,000 square metre restaurant. An elegant 42-metre diameter 24-metre-high glass dome which covers the theatre and forms the foyer, itself accommodating several hundred people, is surrounded by a lake creating a peaceful and harmonious environment.

photo: Rolight

24th November 2021

MA Lighting

Xinjiang Corps TV Station Reaches Out with Multiple Allen & Heath dLive Systems

Xinjiang Corps TV Station Reaches Out with Multiple Allen & Heath dLive Systems
Xinjiang Corps TV Station Reaches Out with Multiple Allen & Heath dLive Systems

China – Xinjiang, the largest province in China, is a fast-changing region where the ancient and modern surround you at every turn. Two thousand years ago the Silk Road threaded through the region – a breathtaking patchwork of glaciers, snowy mountains, Gobi deserts, grasslands and lakes – opening up a bountiful trade in goods, culture and stories.

Although the caravans that traversed the Silk Road have long since been replaced by more modern and comfortable forms of transport, the rich flow of news, culture and entertainment throughout the province continues thanks to Xinjiang Corps TV Station, a station serving the provincial capital Urumqi and the surrounding 12 regions, broadcasting to more than 12 million people in the Northwest of the country.

When the decision was made to modernise the station’s in-house AV system, EZPro, the chosen provider, were tasked with the design and supply of a solution for the main 1,500m² studio, the smaller 400m² studio, the review room and the conference room.

The main studio integrates numerous AV technologies for a wide range of productions including live performances, large-scale galas and variety shows. To meet the fluid demands of the various productions, a pair of 36-fader dLive S7000 Surfaces are partnered with DM64 MixRacks – both fitted with Dante cards – to provide a redundant system offering 128 input processing channels and highly configurable bus architecture.

dLive’s versatile show/scene system, enabling both full and partial scene recalls with highly granular filtering options, was also a big factor in the choice of dLive for the project. “To meet the needs of different productions, scenes need to be changed quickly and frequently, so flexibility is critical,” explains FAN Gaoqing, EZPro’s project designer. “With the dLive system, we could store and recall different ‘modes’ by using Show File, Scenes and Preset Library to achieve very efficient changeovers.”

To facilitate dual system redundancy, the primary and secondary Dante ports were used on both systems in conjunction with an analogue connection that can be used in the event of a network outage. The Dante and analogue outputs from the system feed an EAW array plus a trio of Powersoft Quattrocanali DSP+D amplifiers connected to multiple passive EAW boxes.

dLive’s modular approach to system building provided further benefits to the install according to FAN. “dLive solved a problem where the control room is a relatively enclosed space that is not friendly for mixing engineers” he notes. “As the dLive audio engine resides in the MixRack, we can easily change the location of the Surface whenever required. This meets the requirements for flexible FOH positions, ease-of-use and fast setup.”

Elsewhere in the building, the 400m² studio, which is designed for small and medium-scale programmes such as musical performances, interviews and comedy shows, and the review and conference rooms, are equipped with multiple dLive C2500 Surfaces and CDM32 MixRacks to allow for maximum flexibility in all usage scenarios.

“Allen & Heath consoles are always our first choice, they are advanced, reliable and flexible,” says WANG Xiaoyang, the installation engineer for the project. “We believe the whole system raises the bar for sound reinforcement in TV production studios.”

“Furthermore, the variety of built-in DEEP Processors greatly helped the FOH engineer to deliver a studio-quality mix for music performances,” smiles FAN.

24th November 2021

Stage Audio Works rounds off Faith Dome with comprehensive AV solution

Stage Audio Works rounds off Faith Dome with comprehensive AV solution
Stage Audio Works rounds off Faith Dome with comprehensive AV solution

South Africa – Faith Broadcasting Network has consolidated a vast following of approximately 264 million viewers worldwide since its inception two decades ago, with satellite, terrestrial and digital broadcasts reaching worshippers all around the world. With headquarters in South Africa, and studios in the USA and the UK, MyFaithTV is the largest religious broadcaster on the African continent.

To accommodate such growth, the Faith Dome – the ministry’s base in East London, South Africa – has been undergoing renovations for many years; a colossal undertaking in what was formerly a wool warehouse, a cavernous space of 120 by 60 metres, with an 18 metre high ceiling. Other parts of the premises have been refurbished to house different aspects of the ministry’s work, including a number of television studios, humanitarian aid warehouses, activity spaces as well as their main broadcasting studio. In 2015, work commenced on the ceiling to replace it with the iconic dome we see today. Stage Audio Works were called upon to design and integrate a sophisticated audio, lighting and rigging solution for the main arena based on d&b’s A-Series loudspeakers, Cameo and Hog4 lighting with Stage Plus truss.

In early 2021, the ultimate round of renovations to the main broadcast studio was concluded, and the Faith Dome was officially completed. At maximum capacity, the indoor arena holds a staggering 10,500 live attendees, making it the largest in the Eastern Cape.

SAW’s brief was to provide the Faith Dome with audio and lighting solutions to support their existing broadcasting channels, as well as live events. SAW have been involved since 2013, although it was only in the last 18 months that the plan accelerated towards the client’s 360° vision, which places the stage and the PA system in the centre of the large arena. Clarifying the motivation behind this, Dr Andre Robert, founder and CEO of the River Group, comments: “It was important for us to have a central stage in the Faith Dome as it truly places the focus of worship in the midst of our congregation. It’s more democratic than a traditional front-to-back organisation and allows everyone to remain connected and involved with the worship experience.”

Although this makes sense in terms of presenting a grand visual spectacle for live production, it posed a considerable challenge to the AV integration for a number of reasons. “From an acoustic perspective, the sheer size of the space is a factor to be reckoned with, in particular the extreme height of the room which necessitates a PA system that provides comprehensive vertical coverage,” observes Nathan Ihlenfeldt, CTO of SAW. “We ruled out a traditional line array, as the number of speakers required would have interfered with the client’s broadcasting setup and stretched the budget. For this installation, d&b’s A-Series augmented array technology was the perfect fit in terms of directivity control, sonic quality and price range. Notably, this project marks the first A-Series installation in Africa.”

d&b’s augmented array technology with its wide dispersion and variable splay angles is a highly flexible solution that combines the versatility of point source with the controllability of a line array. Fewer cabinets are required to cover the same area, making it perfect for this application where sight lines were an issue. SAW opted for eight augmented arrays of three AL60s flown from a custom-built square truss, itself flown from the ceiling at an impressive height of 13m. To handle low end, four hangs of four V-SUBs are flown from a second square truss inside the first. In order to reduce cable runs, the amplifiers for the subs and the main PA are neatly housed in custom amp racks situated on top of their respective trusses. “It’s an unusual solution, but given the constraints we were working with, keeping everything together solved a number of issues,” admits Ihlenfeldt.

“One of the most crucial elements of our brief was to ensure that the PA would not impinge on camera sightlines,” he explains. “Consequently, the system is 13m above the floor. In fact, the bottom of the PA is higher than the top of the screens!” Four large screens are housed in a custom-built cuboid truss structure flown over the centre of the stage. The sub array is flown directly above that. “The height was a defining factor in our choice of A-Series as our priority was vertical coverage over long throw. Just three cabinets per array gave us the coverage we needed for the first two rows,” continues Ihlenfeldt. “The rest of the arena is covered by sixteen high performance 10S point source loudspeakers flown at strategic locations throughout the space, along with several more for front fills on the central stage.”

A further consideration was routing flexibility. “The design enables parts of the system to be muted or switched off completely to keep the sound focussed where it’s needed and not playing out to empty parts of the building which would cause unnecessary reflections,” says Ihlenfeldt. “It also means we can manage signal output in relation to the band so they aren’t hearing themselves through the arrays directly facing them.”

Additionally, SAW was responsible for the integration of the lighting system designed by Cape Town-based creative production company, Bad Weather. A Cameo solution illuminates the main arena, supported by interspersed Zenit floodlights, chosen for their wide-angle beams. In terms of lighting control, especially on such a large scale, ETC’s Hog 4 Console was an obvious choice. Its tools are designed for efficiency, and it is beloved by programmers for its intuitive interface.

Finally, truss design was an important part of this project: SAW designed and manufactured a trussing solution comprising two concentric squares and an outer rectangle to house the PA and the lighting, plus the central cuboid structure to accommodate the screens, based on their Stage Plus OV truss – an innovative engineering solution manufactured under licence to Total Solutions Group. The OV truss range offers sleek, lightweight, modular trussing solutions in sizes common throughout the entertainment, events and corporate markets.

“Even though this was a tricky project to execute, we are proud of the outcome,” concludes Ihlenfeldt. “It stands as a testament to our team’s ability to improvise and adapt within the constraints of a specific brief and budget. Our industry expertise and wide experience in the worship market means that we are well positioned to provide solutions to ministries of all sizes. We look forward to when restrictions ease and people are able to experience the magnitude of the Faith Dome first-hand.”

23rd November 2021

Stavanger Concert Hall Keeps it Quiet with Robe ESPRITES

Stavanger Concert Hall Keeps it Quiet with Robe ESPRITES
Stavanger Concert Hall Keeps it Quiet with Robe ESPRITES

Norway – Stavanger Concert Hall is a gleaming, beautifully designed glass and steel architectural masterpiece occupying a stunning waterfront location in Norway’s charismatic ‘oil capital’, where the hustle of marine-based industries fuse with a passion for culture and live performance.

The venue, which is busy reopening for an action-packed autumn, has not been quiet during the pandemic period, which has seen the delivery of 66 Robe ESPRITE moving lights and 24 ParFect 150s, all part of an ongoing technical upgrade overseen by head of lighting, Nils Foss.

The new fixtures are rigged in the 1,200 seat “Fartein Valen” concert hall, named after the Norwegian composer Fartein Valen and featuring a magnificent organ made of 65,000 parts and unique in Norway, a work of art in its own right! Fartein Valen is home to the Stavanger Symphony Orchestra.

They are also in the fully flexible multi-purpose Zetlitz hall which has capacities of 850 seated and 1,900 standing and is used for a wide range of performance, from raucous rock concerts to contemporary opera. It is named after poet, Lutheran pastor and Stavanger native, Jens Zetlitz.

The Concert Hall has some large highly attractive foyer areas which become flooded with natural light and are also used for various events, and there is a large outdoor amphitheatre for summer shows.

The 48 Robe ESPRITE Profiles and 18 ESPRITE PCs are distributed between the two main rooms and have replaced a quantity of older moving lights purchased when the building opened in 2012.

The ParFect 150s have superseded older conventional LED side lights as part of Zetlitz’s permanent house rig.

“It was time for a change,” stated Nils. “We needed fixtures that were more powerful, quieter, lighter in weight and generally more versatile and sustainable.”

The city of Stavanger made the budget available to facilitate arrival of the new lights over the summer when the Robe fixtures were delivered by Norwegian distributor, Norsk Sceneteknikk AS.

Nils had initially started the quest for new fixtures in early 2020, just before the first waves of Covid-19 shut down the industry and delayed plans for a few months. However, he used the time to contact all the major professional lighting distributors in the country inquiring which fixtures they could bring to the table in nine different categories of luminaire, one of which was ‘moving lights’.

These submissions were narrowed down to a ‘long list’ of around 300 fixtures as they were also sourcing several static LED luminaires, a spot and wash for each hall, plus specials, effects, keylighting, etc.

Nils organised a three-day event, kicked off by presentations by all the brands, culminating in with active shoot-outs on day three. From this, he and a team comprising top freelance technicians, programmers, operators and LDs frequently working on Concert Hall projects, all paid for their time, evaluated each product individually.

They wrote comprehensive sets of notes and comparisons, and after some serious consultation, compiled a shortlist of fixtures to be examined in greater depth over the following two weeks.

From that, ESPRITES were chosen as the winning moving lights.

“It was an exhaustive process,” stated Nils, “which gave us a proper chance to test everything to the max.”

ESPRITE got a head start with an excellent demo by Lars Kristian Bakke from Norsk Sceneteknikk which impressed Nils and team who “liked ALL of its features”.

Fan adjustment to reduce the noise, especially for fixtures utilised in the Concert Hall, was vital as the requirement is for the conductor to be able to hear the proverbial pin drop on the stage. In addition to classical events, silence is also desirable for spoken word shows or conferences and presentations during corporate events. There are so many times when silence speaks volumes!

The ESPRITE’s output and colour ranges also received top marks, along with the extensive features and the future-proofing brought by Robe’s unique TE (LED Transferable Engine) technology, an intelligent, powerful and eco-friendly lighting solution enabling different engines: high powered, high CRI, ‘tungsten’ etc, to be used in the same fixtures.

“You can see for yourself how well built and engineered the units are,” said Nils, adding that topping it all off was the “excellent” service they knew they could expect from the distributor.

To be absolutely certain about the decision, Nils also called round some other long term Robe users, finding that everyone he spoke to was “super happy”, so he went ahead and placed the order.

The Concert Hall currently has 15 ESPRITE Profiles and 18 ESPRITE PCs in the rig, with the balance of the ESPRITE Profiles in the Zetlitz overhead system, joined by the 24 ParFect 150s.

“ParFect is the perfect name,” quips Nils, also delighted with these fixtures that are used with their barndoor attachments.

He is looking forward to the massive difference these new Robe lights, the first in the venue apart from some PATT2013s which have been hugely popular as scenic lights, will make to all the shows going forward.

Nils first started really noticing Robe products after the BMFL launch in 2014, and still rates these as one of the best moving lights of the decade. When the MegaPointe hit the market in 2018 he was even more impressed and started specifying Robe frequently for his other freelance lighting design projects.

The control platform is grandMA3, with new consoles delivered just before the pandemic shutdown also as part of the same upgrade package.

The venue was in use as a socially distanced rehearsal space for the Orchestra throughout the pandemic period and opened in the late summer of this year with a limited capacity of 200 which was then increased to 500. Both halls have also been busy for different livestream and digital broadcast activities, and the multi-purpose hall has even served as the meeting space for Stavanger Town Council whilst their own premises are refurbished.

The autumn sees a vibrant full capacity schedule which is “busy as hell” confirms Nils as he and his colleagues relish lighting a host of different new shows with their new Robe fixtures as the world of performance and live entertainment enthusiastically re-energises.

photos: Louise Stickland

www.robe.cz

23rd November 2021

Robe Lighting

Turkish Hitmaker Chooses Audient for his Production Studio

Turkish Hitmaker Chooses Audient for his Production Studio

Turkey – Producer and prolific songwriter and composer, Ozan Çolakoğlu has upgraded his studio with a brand new Audient ASP8024-HE console. With hundreds of songs credited with production, writing and arrangement by Ozan over his 30-year career, his name is never far from the Turkish Top 10. Most recently he has recorded prominent Turkish singer-songwriter and ‘megastar’, Tarkan’s long-awaited eleventh album on the British desk.

The 24-channel British console is installed at his Istanbul-based production company, Ozan Çolakoğlu Production, and Ozan has found it to be an excellent choice. “The Audient mic preamps are great, they are really clean,” he says.

The desk has a built-in patchbay and Dual Layer Control (DLC), an option which provides a range of useful DAW control features for use directly via the console. “Thanks to the DLC our workflow is better than ever. I also enjoy recording drums and crushing them with ASP8024-HE’s bus compressor. It really has a unique character,” he adds.

Over the last three decades, Ozan has become one of the best-known names on the Turkish pop scene for producing, composing and arranging. A chance meeting with Tarkan at the beginning of the 1990s kicked off their life-long working relationship, which started when he worked on Tarkan’s hit debut album, Yine Sensiz, released in 1992. As well as contributing to Tarkan’s rise to mega-stardom, Ozan also produced Sertab Erener’s 2003 Eurovision winning song, ‘Every Way That I Can’.

The console was purchased from Audient distributor, Akalın Müzik, where Ozan has been shopping for the last 30 years. “They have never let me down with their advice and support. Audient of course was their recommendation. I am very pleased with his console and am so grateful to Akalın for their advice.”

The studios at Ozan Çolakoğlu Production comprise a recording room, a mixing and mastering room and a production / arrangement room. Ozan’s record company Ozinga Music also operates from here.

22nd November 2021

Robe Rocks at Nottingham Rock City

Robe Rocks at Nottingham Rock City
Robe Rocks at Nottingham Rock City

UK – Legendary live music venue, Rock City in Nottingham, boosted its house lighting rig for October this year (a busy period including some lively university Freshers Week events) with a rig of 60 Robe moving lights, with extras supplied via rental and production company Zeal.

Rock City’s lead project lighting designer Will Brown explained that with the post Covid re-opening of live shows, they wanted to make a big impression, especially to make up for last year when everything had to be cancelled.

Will designed lighting to cover an array of events, from popular bands to heaving club nights, as people from all over the city celebrated being able to congregate, have fun together and enjoy live music again.

While many bands will bring their own productions and floor packages, historically for crew the venue is famous for band productions loading out while the disco is pumping full tilt and full of ravers, so the house lighting rig is smartly designed to work with this on both functional and creative levels. This ensures that Rock City club nights continue to be the exciting visual extravaganza of colour and movement for which they are renowned.

The 18 Robe Pointes are owned by Rock City and were in residence before Will arrived six years ago.

“They are a perfect fixture for us: fast, very versatile, robust and we use them all the time,” he stated, adding: “It’s hard to find another light of its class that can do as much as a Pointe!”

They get moved around a bit – rigged and re-rigged according to the event schedule – with a typical set-up being ten in the roof and eight on the stage, and are frequently used as side stage washes for shows.

For ‘Freedom Week’ (celebrating the first round of Covid crowd gathering restrictions being lifted in July), Rock City hired additional Robe Spikies to up the production values, and this was so successful that Will and the team decided to do it again, this time for Fresher’s Week with LEDBeam 150s. Forty-eight of these small and powerful fixtures were added to the mix.

The main criteria were that any ‘house extra’ lights had to be small and light enough to be moved offstage very quickly as the DJ kicked in at the end of the live show.

“A lot of smaller fixtures can go a long way, especially when they are as adaptable as the LEDBeam 150,” says Will.

Twelve of the LEDBeam 150s were rigged on the front truss together with six Pointes, with the rest attached to six vertical trussing towers, deployed on the stage during the changeover to fill the stage space for the club format. The balance of LEDBeam 150s were downstage on the floor, so there was an LEDBeam 150 effect from multiple angles.

“They are so bright and quick, the size is ideal, the optics are excellent, and they are simply fantastic beam lights,” enthused Will, adding that while he has used them before in the venue, not in these quantities and not like this on the onstage towers, a move that was a massive hit with artists and guests.

Lighting control is an Avolites Tiger Touch console with a wing, and there is more lighting including strobes, profile and wash moving lights, LED pixel tubes plus generics and some architectural fixtures around the room.

Will started working with Robe products when he took the position at Rock City and comments, “It’s always great to work with Robe, it is a proper industry standard and you see the products everywhere, particularly with so many touring productions.”

Will works alongside a passionate and dedicated team from venue operator and concert promoter DHP Family to ensure the true spirit of ‘indie’ continues to excite, buzz, and enthral all who have stepped through the hallowed portals of this iconic performance space since 1980.

photos: Mark Merry and Brad Wood

www.robe.cz

Robe Rocks at Nottingham Rock CityRobe Rocks at Nottingham Rock City

22nd November 2021

Robe Lighting

Yamaha and Molto Music Reach New Heights at The Dorchester

Yamaha and Molto Music Reach New Heights at The Dorchester
Yamaha and Molto Music Reach New Heights at The Dorchester

UK – Bringing new, fresh live music to places where people don't expect it is the mission of London-based Molto Music. With a flagship project on the roof of The Dorchester, one of the city’s most prestigious hotels, the company is working closely with Yamaha to expand its ‘pop up’ live venues throughout the city.

“London is full of live music locations that nobody really considers. People automatically think of the well-known venues, but the city is full of mini live performance spaces. We are bringing interesting, original music to those places where people wouldn’t necessarily expect it,” says Nicky Caulfield, group director at Molto Music.

Nicky is discussing Molto Music’s mission to bring new music with interesting staging to restaurants and hotels, so long the preserve of cocktail pianists and crooners. Working with Yamaha, one of the highest profile of these inventive spaces is the rooftop terrace at the five star The Dorchester, long known as a preferred choice of the rich and famous.

“What we have tried to do is to make live music fit the aesthetics and atmosphere of its surroundings. To be a feature, but also seamlessly complement and blend into the space, because people still want to have conversations,” says Nicky.

The project began earlier in 2021, as government restrictions on social mixing started easing, Richard Newell, food and beverage director at The Dorchester, contacted Nicky with an unusual idea.

“Initially, restaurants were only allowed to serve food outside. With the hotel’s rooftop unused, except as a private garden for some of the suites, Richard had the idea of opening it to allow them to serve food,” says Nicky. “He realised that live music with a warm, laid-back vibe would be a way to enhance the dining experience, as well as introducing younger people and new music fans to what the hotel has to offer.”

Opening in April this year and continuing until late summer, every three weeks a new chef took over and The Dorchester Rooftop, as it’s called, had a different theme with different live music. With superb food, music and unrivalled views over London, four Yamaha DZR10 and two DZR12 powered loudspeakers, plus a pair of DXS15XLF subwoofers easily met the need for high quality, distributed sound, while coping with the challenges of wind and other outdoor factors. Performances were mixed on a TF-RACK rackmount mixer.

“We’ve worked with Yamaha on various projects, so they were the first people we called. We designed a sound reinforcement system and were more than happy for it to be all Yamaha equipment, because one of the things we really like is its consistency,” says Nicky.

“You can make live music as big or as small as you like and Yamaha’s consistency and reliability lets us make it as good as it can be. You want the same audio experience, no matter where you are in a venue. With Yamaha we can achieve that and also have remarkable uniformity across multiple venues.”

As well as Yamaha mixing and sound reinforcement in all its venues, Molto Music provides Yamaha instruments for the performers. For The Dorchester Rooftop, these comprised a CP88 stage piano, Stage Custom Hip 20 drum kit and TRB-1005J five-string bass guitar.

“The idea is that they only need to bring their Oyster card and perhaps some beer money for after their performance,” smiles Nicky. “Everything else is provided.”

He continues: “It's been interesting to see how drummers and keyboard players already love Yamaha gear, but guitarists and bass players tend to be surprised when they try a Yamaha guitar. Some have initially insisted on bringing their own instrument, but are now asking us about buying Yamaha guitars and basses because they’ve played them and liked them. So, we are kind of converting people along the way.”

Since the project began, Molto Music has exclusively used Yamaha rigs as it expands its array of ‘pop up’ live music venues across London.

“The Dorchester trusted us to be as cool and creative as possible and, from there, it has just snowballed,” says Nicky. “Richard and the team are extremely happy; we’ve now got an ongoing contract with the hotel and customers have been very complimentary. There have been reviews specifically about the live music and a lot of social media coverage. It could not have gone any better.”

“Molto Music and its world class partners including Yamaha have been exceptional in allowing us to create and deliver a unique experience at The Dorchester Rooftop, especially with such a rapid turnaround,” adds Richard. “From the get go, the creativity and support has been phenomenal and it has really opened the doors for new opportunities here at the hotel.”

“We have received constant reviews about the atmosphere we developed and have continued to adapt, our social and press coverage has been endless. None of this would have been achieved without the support of Molto Music and its partners.”

photos: Molto Music

18th November 2021

Zero 88 FLX S24 Provides Flexible Lighting Control for University of Sunderland

Zero 88 FLX S24 Provides Flexible Lighting Control for University of Sunderland
Zero 88 FLX S24 Provides Flexible Lighting Control for University of Sunderland

UK – Two FLX S24 consoles from Zero 88 (a Signify entertainment lighting brand) have been supplied by Ross-on-Wye-based CJP Broadcast for lighting control in two new broadcast studios for virtual production and television at the University of Sunderland’s David Puttnam Media Centre. CJP’s technical manager James Ruddock, who led the virtual studio installation team, chose the consoles for their power, compact size and footprint, and as, “a good value option for educational applications of all levels with its many features and great functionality as found in larger lighting desks.”

CJP Broadcast designed and specified lighting, video, and audio technical elements for both spaces, and installed, integrated, and commissioned the virtual production studio, which is a unique resource where students can gain practical experience and learn the latest state-of-the-art techniques.

Zero 88’s FLX consoles have been designed from the ground up to be fast and intuitive to learn and operate. Users can quickly control a wide range of static and moving lights, LED fixtures and conventional lights, and FLX proved an excellent solution for this project in Sunderland.

In the new virtual studio, the FLX S24 is running a selection of different Kino Flo fixtures: Kino Flo Diva-Lite 21, 31 and 41s plus Fiilex Q5 Colour LED Fresnels. “The console is proving extremely easy to use. It is an ideal tool for teaching as well as being easily expandable,” confirms James, adding that the intention in the television studio is to upgrade the FLX S24 to the larger FLX S48.

The FLX range has also been a great success due to its accurate and flexible control of colour-changing lights which can be done by using a multi-touch colour and image picker, the encoder wheels, or by selecting colours contained within a ‘mood’ using Mood Boards by Lee Filters. Looks and scenes can be quickly recorded directly to any fader or one of the 48 instant-access onboard colour palettes for later recall.

The first CJP Broadcast that specified FLX for lighting control was in 2018, and the David Puttnam Media Centre studios are the latest in a run of university sector projects which have included Cardiff University and Edge Hill University in Ormskirk, both with FLX for lighting control. An FLX S24 has also been specified for a blue-chip corporate client, and James rates the brand as “excellent” in terms of products and customer support.

CJP Broadcast provides a wide range of specialist services and technical solutions in broadcast, corporate, education and sports including systems integration, VR / AR studio design and construction, live video production, and streaming.

17th November 2021

PROLIGHTS & Avolites Deliver Bold Looks for !Audacious Church

PROLIGHTS & Avolites Deliver Bold Looks for !Audacious Church
PROLIGHTS & Avolites Deliver Bold Looks for !Audacious Church

UK – PROLIGHTS and Avolites help create bold looks for the vibrant !Audacious Church Chester campus.

!Audacious Church was first set-up in the heart of Manchester City Centre in 2007, and has since expanded its mission with an established campus in Chester and opening soon in Cardiff, Sheffield and venturing to Europe with its new campus in Geneva, Switzerland.

The Chester campus moved in to its own building in 2017, a former warehouse, accommodating around 400 people. Since acquiring the new premises, it has undergone upgrades to the sound system, and interior design, and now most recently lighting equipment.

!Audacious Church’s production manager, Lewis Wilkins was in charge of selecting the products for the upgrade, and approached specialist entertainment equipment supplier, A.C. Entertainment Technologies (AC-ET) to help with this. All products needed to be easy to use and accessible to their volunteer base.

Looking for versatile fixtures that could work at a basic level, but also offered more complex features that could be utilised as the team’s skills develop, Lewis chose the PROLIGHTS DigiStrip, an LED video pixel strip. On the same principle, as most of the lighting operators are volunteers, Lewis wanted an all-in-one control surface that provided an intuitive, easy to use system; for this he chose an Avolites Quartz – their smallest all-in-one console.

Speaking about the PROLIGHTS DigiStrip, Lewis Wilkins commented: “I was looking for a product that would serve us now, and in the future, so whilst video integration and full pixel mode are possibilities, we’re not quite ready for that yet! I also really like the flexibility provided by the multiple lens options and the wide range of different looks and finishes that can be achieved. We are looking forward to experimenting with this more over the coming months. The DigiStrip provides a versatile backdrop for different moments throughout our church services; we can match the high energy of some of our praise and worship moments, as well as softer looks for the more reflective moments, and during the preaches/sermons and the information slots they just sit in the background nicely.”

Lewis continued: “When choosing lighting control, easy operation and budget were our main considerations. Our budgets largely come from people giving into the church, so we need to be diligent in how we spend what is available to us. For me, Avolites have always sat in that gap of being feature heavy, user friendly and affordable. The Quartz was a great choice for us because it has everything we need straight out of the box and it’s compact so doesn’t take too much space.

“Steve has been great! When you’re on this side of the process you are always concerned about being the nightmare client constantly changing things, but he has been wonderful from start to finish, always up front about any shipping/supply issues. I will have no issue ordering from AC-ET again,” concluded Lewis.

photos: McDavid Photography

www.ac-et.com

PROLIGHTS & Avolites Deliver Bold Looks for !Audacious ChurchPROLIGHTS & Avolites Deliver Bold Looks for !Audacious Church

17th November 2021

AC Entertainment Technologies

Wycombe Wanderers F.C. enhances fan experience with Dynacord

Wycombe Wanderers F.C. enhances fan experience with Dynacord
Wycombe Wanderers F.C. enhances fan experience with Dynacord

UK – Dynacord’s MXE5 Matrix Mix Engine is at the heart of the new digital audio system at Adams Park stadium, home of Wycombe Wanderers Football Club. The club opted for Landways to design and install this new system, which also includes high-performance solutions for Wi-Fi and security, to help realise owner Rob Couhig’s ambitious vision for a great match-day experience.

Designed using optical fibre and a new low-power infrastructure, the system’s nine MXE5s support control and distribution of high-quality digital audio streams to a series of amplifiers located at the edge of the network, all feeding more than 250 new loudspeakers to serve every seat and public space in the stadium. This approach was taken to combat the challenges of audibility, speech clarity, music quality and volume found in so many stadia. It enables the delivery of specified levels of speech and music quality, depending on the needs of different areas of the stadium, all of which were precisely configured to give guaranteed levels of performance.

The MXE5s serve as a communications hub for all IP-based peripherals and provide comprehensive supervision of all system-wide commands. In addition to this, the 24 x 24 crosspoint performance audio matrices offer both routing and mixing functionalities. A Bosch Praesensa system handles emergency messages. These can be pre-recorded messages from the system controller digital message storage, or live announcements from two Praesensa emergency call stations. The audio from Praesensa is fed into the MXE5 matrices via OMNEO IP architecture. During an emergency, Praesensa messages are always ready to broadcast at the highest priority and the entertainment audio is automatically muted.

The MXE5s handle all of the signal routing and loudspeaker processing while 28 TPC-1 touch-panel controllers, located in the function suites, bars, and corporate hospitality boxes, allow staff and guests to set their own volume levels and choose from different input sources, such as the match day presenter, or a local Dante-enabled Bluetooth interface. Featuring a high-definition 5.7” display, the TPC-1 touch panel controller is configurable in SONICUE Sound System Software, allowing custom images, texts and controls to be added. The MXE5 and TPC-1 were all programmed effortlessly with SONICUE using the powerful system logic editor, allowing the system designer to create advanced system tasks.

Business paging is handled by two custom touchscreen PC call stations located in the match control room and the pitch-side press box. Each PC call station communicates with the MXE5 devices over the network using the OCA communications protocol architecture. The audio signal from an Electro-Voice PolarChoice microphone is distributed via Dante. Dante is also used to transport audio from the MXE5 outputs to the Landways-equipped amplifiers and loudspeakers.

“I am delighted that Landways’ digital infrastructure is now fully in place and available for everyone inside Adams Park to enjoy,ˮ said Rob Couhig, chairman of Wycombe Wanderers. “Through our partnership with Landways, we are making a long-term investment in digital technology to improve the match-day experience, reduce costs and help our business continue to thrive. It is great that the same underlying energy-efficient infrastructure that delivers our incredibly fast Wi-Fi can also be used to deliver high-quality stadium audio and new safety systems, at the same time as being ready to handle data growth and new digital services in the future.”

“Landways’ project at Adams Park highlights just how powerful the MXE5 Matrix Mix Engine is,” noted Richard Leadbitter, sales manager at Dynacord. “This was a complex and innovative stadium sound solution, and MXE5 was exactly the right choice to turn the concept into a reality. The combination with TPC-1 means simple and intuitive control is at the fingertips of stadium staff for every event the venue hosts.”

“We are extremely proud to work with Wycombe Wanderers and play our part in the digital transformation of Adams Park,ˮ adds Chris Smedley, chief executive of Landways. “We would particularly like to thank the Couhig family, the club’s staff and the Wycombe Wanderers Trust who have been a pleasure to work with throughout this very challenging period for us all. We are delighted that the club’s fans are now back at Adams Park and we look forward to making sure these new systems deliver to them for years to come.”

Wycombe Wanderers F.C. enhances fan experience with DynacordWycombe Wanderers F.C. enhances fan experience with Dynacord

16th November 2021

The Doctor lands in Liverpool

The Doctor lands in Liverpool

UK – National Museums Liverpool has announced that it will be hosting the world premiere of Doctor Who Worlds of Wonder: Where Science meets Fiction at World Museum from May 2022.

This ground-breaking new exhibition will explore the science behind the global hit series Doctor Who and will give fans a chance to experience the Doctor’s adventures from a scientific perspective.

Produced by leading experiential design experts Sarner International under license from BBC Studios, this new exhibition plunges fans of all ages into a scientific universe to explore the ways in which science has played a part in the longest running science fiction show in the world, Doctor Who. The eight zones set within this educational exhibition cover a diverse selection of exciting scientific topics while drawing in content from across the full canon of the TV show.

Through a range of hands-on immersive experiences and interactive content, visitors can journey through Cosmic Curiosities, while discovering more about the time-travelling Police Box in the TARDIS Tech room, learning about the science behind time travel and whether it really is possible. Or visit the Monster Vault to get up close with some of the weird and wonderful characters that have graced our screens. The exhibition gives visitors the chance to engage with rare, behind the scenes artefacts some of which has been procured from the BBC’s own archive.

In picture: Concept drawing, might not reflect final content.

16th November 2021

ASP4816 Serves as Producer’s ‘Creative Hub’

ASP4816 Serves as Producer’s ‘Creative Hub’

UK – Producer and writer, Dominick Goldsmith has been getting to know his new ASP4816 mixing desk over the last few weeks. One third of the London band, HAELOS, he’s been spending a lot of time in his studio finishing off the latest HAELOS EP Somnum, as well as completing a number of other EPs with artists to be released via his new imprint, Indigo Kin.

Located in a purpose-built cabin at the bottom of his garden, Dom’s studio is where he gets creative. “I work with a mixture of analogue synths from Roland, Sequential and Korg mingled with an array of Eurorack modular,” he explains. “The monitoring position
is pretty good, however due to the cubed shape of the space, towards the edges it is much less true. With my synth collection being towards the sides this keeps me moving to reference truly how things are sitting. That is where the desk is obviously, so it works okay in terms of workflow. I also have tie lines to the house so we can record sessions in the living room and use the studio as a control room.”

The compact mixing console from Audient has been working out very well for him, especially as he prefers not to spend hours at a computer screen. “I like to use my hands and ears the most,” he says, emphasising how ASP4816 is ideal for the way he works. “It is my creative hub. It acts as the central brain that I can route everything through. Sometimes using the Eurorack as a signal processor, the ASP4816’s array of auxes become another musical instrument in my tracking process.”

In spite of – or perhaps thanks to – working with analogue consoles for 15 years, it’s still the simple things that he appreciates about his ASP4816. “The control room source selection is great because it allows me to keep everything analogue and leave the computer and DAW out of things for a little while at the beginning of the creative process. It’s such a simple feature, but not one I had enjoyed prior to this in my own set-up.” He adds, “The ASP4816 gets big-ups for the intuitive layout that allows one to flow.”

Dom will have ample opportunity to flow as he uses his studio to record artists signed by his brand new label, Indigo Kin. Fostering a “fiercely artist-friendly attitude that is inclusive and sustainable in supporting talent”, the label has just launched its first artist, Bea. “Influenced by soul music and electronic genres, it’s been a joy making music with her over the last two years. You can find Blue Escape on Spotify now which has been getting some great support on editorial playlists and just had its first spin on Radio 1 thanks to Jack Saunders’ early support,” he says. “The other founding artist for the label is Berlin alt-electronic outfit, LEOI. They have a nostalgia for late noughties bands like Animal Collective or Yeasayer.” The first release from LEOI was out in late September and Bea's latest single on 1st October.

Incredibly, this is not all. For the last eight years Dom has been working on LARKO JOY which is to be released Q1 2022. “It’ll be nice to get some of that music out of the studio, finally.” So, what with that, the rest of the EP from Bea, the first music from LEOI and possibly even a HAELOS single still to come out this year, Dom and his Audient ASP4816 have a lot to look forward to.

15th November 2021