project news

Waterloo Sunset Gains New Aspect for Stage Sound

With a client roster that reads like a Who's Who of the highest profile musicians, Waterloo Sunset rehearsal studios in London needs to have equipment available that meets the needs of the most discerning, and indeed demanding, users.

With this in mind, the facility features a comprehensive Turbosound wedge monitoring system and has recently taken delivery of further Turbosound cabinets.

Owned and managed by equipment rental specialists Music Bank, users of Waterloo Sunset's cutting-edge facilities range from A-ha to Will Young, with Paul McCartney, Kylie, Queen, Muse and Madonna just a few examples of the stratospheric calibre of artiste who rehearse their live shows there.

In addition to a considerable number of TFM-450 wedges and a range of TMS-3 mid-high cabinets, the facility has recently taken delivery of a pair of TA-500DP digitally powered Aspect Wide cabinets and TSW-218 subs.

"Waterloo Sunset's four (North, South, Blue and Green) rehearsal rooms are all equipped with the very highest standard of equipment and the Turbosound wedge system delivers exactly what artists need - high quality on-stage sound, which accurately reflects what they will encounter when on tour," says Paul McMullan, Turbosound's UK sales manager.

"The addition of the Aspect Wide and TSW subs to Waterloo Sunset's inventory further enhances the rehearsal experience, providing high quality sidefills which seamlessly complement the wedges and ensure that artists enjoy the ultimate in onstage sound."

Martin for VW at The Autostadt

The Autostadt is a visitor attraction in the area around the Volkswagen factory in Wolfsburg, Germany that features a museum, pavilions for each manufacturer in the Volkswagen Group, a cinema, and a customer centre where customers can pick up their new car. As a communication platform of the Volkswagen Corporation, the Autostadt is more of a modern adventure park. Since opening of the Autostadt in 2000, more than one million customers have taken delivery of their brand-new Volkswagen there.

The centrepiece is the Car Distribution Centre with its two glass-encased car towers, or silos - the landmark of the Autostadt - each rising 52 metres into the sky. Used as storage for new Volkswagens, the two towers are connected to the Volkswagen factory by a 700 metre underground tunnel.

Thomas Wlocka, project manager of Technical Event Management at Autostadt, who was also responsible for the lighting design, talks about the illumination of the two towers. "In the course of the installation of the passenger elevators in the towers, a lighting design for the car tower ‘Discovery' had to be created that would enhance the technical elegance inside the towers. At the same time, the lighting of the towers for the annual winter event had to be adapted.

"The task was to create a lighting production equally effective, both for the visitors in the elevator and those outside in the park. For the exterior impression to occur as expected, identical implementation was required in both towers."

By interconnecting the elevator control with moving head luminaires the lighting became flexible and dynamic.

Sixteen Martin MAC 2000 Wash luminaires are utilized per tower, eight in the basement and another eight on the highest storey. The MAC 2000 Wash is an automated 1200 W moving head wash light with full colour mixing capable of long throw projection. The luminaires in the basement can be moved, in order not to obstruct possible maintenance work. The luminaires on the highest storey are mounted above steel gratings and shine downward through the gratings. Thus the lighting production for the winter event could be recreated. Thanks to a flexible control system linked to the elevator control, along with the rotational characteristic of the moving head luminaires, the various phases of the ride through the inside of the tower can be accentuated with different moods.

Mood 1: During the ground floor stationary phase of the elevator, the MAC 2000 Washes shine directly into the interior of the vehicle boxes and re-establish the lighting production of the winter event.

Mood 2: When the elevator is requested, the luminaires shine into the lower section of the tower, emphasizing the technology of the elevator without blinding the visitors in the elevator.

Mood 3: After locking of the elevator doors, a mood sequence is started that runs controlled by time and movement. The luminaires accompany the upward trip by means of motion and colour.

Mood 4: During the upper stay of the elevator, the luminaires again illuminate the interior of the tower. It is worth noting that in this mood nothing restricts or obstructs the visitors' panoramic view of the entire Autostadt.

Mood 5: When the elevator is again requested, the moving heads turn towards the upper section of the tower, illuminating the elevator technology.

Mood 6: After locking of the elevator doors, a time-controlled mood sequence is again started, embellishing the downward trip. After the arrival of the elevator on the ground floor, mood 1 is recalled.

The control commands for the various moods are accessed at the elevator's switchgear cabinet, which is used to start the individual lighting sequences. The lighting production has been planned as a permanent installation. It is also interesting to note that the power consumption of the entire installation has decreased by one third in comparison to the original lighting.

Technical general management was by Dr. Claus Hohmann, CTO of Autostadt GmbH; project management of the tower trip by Dr. Michal Bruna of IS/ITK Autostadt GmbH; project management and lighting design by Thomas Wlocka of TEM Autostadt GmbH.

www.martin.com

Royal Welsh College of Music & Drama: a Vision for the Future

The Royal Welsh College of Music & Drama has submitted plans to Cardiff Council to redevelop part of its existing site on Cardiff's North Road to build a suite of world class training and performance facilities for musicians, actors, theatre designers and stage managers.

The Royal Welsh College is the National Conservatoire of Wales and a leading UK provider of high quality education, training and performance in music and drama.  This ambitious development will enable the College to significantly raise the quality and profile of its provision for Wales and the UK, and to attract the best international students to study in Cardiff.

The development will complement the College's existing high quality, small-scale performance and rehearsal facilities with an acoustically excellent 450-capacity recital hall, a 160-seat theatre, purpose-built drama rehearsal spaces and a handsome new arcade to exhibit the College's award-winning design activity - a 21^st century addition to Cardiff's historic city centre arcades.

The Principal of the Royal Welsh College of Music & Drama, Hilary Boulding, said: "We are justifiably proud of the successes of our graduates. These new facilities will allow us to offer our future students the highest quality training environment and to bring their work to many more people. Offering world class facilities in such a stunning location will allow us to continue to attract leading international arts practitioners to work here, and to increase national and international recognition for Cardiff as a home of world-class artistic training."

The new facilities will significantly enhance opportunities not just for the College's own development, but also for the residents of the city and region of Cardiff and the many professional and community groups that contribute to Cardiff's vibrant cultural life.

The development is designed by Jason Flanagan, Design Director at award-winning architects Hamiltons who brings a wealth of specialist experience in the arts and education sector. Jason comments: "Our aim is to create world class performance and rehearsal spaces for the College. These are designed from the inside out for acoustic excellence and theatrical intimacy.

"The proposed buildings frame a new entrance to the College from North Road, leading in to the heart of the scheme, a public foyer opening out to spectacular views over Bute Park. The foyer is linked to the campus along a new arcade which forms the principal spine for movement within the College. This also functions as a gallery to showcase students' work.

"The existing Bute Theatre, the new drama wing and the concert hall are conceived as three separate buildings linked by the public open space beneath a single unifying roof. The focus of the scheme is the creation of a new public concourse for the College, intimately linking with its unique surroundings of Bute Park.
"This is a fascinating project to be involved with and Hamiltons is honoured to be contributing to such a significant scheme."

The College borders one of the key gateways to Bute Park and the development will improve this key access point with better lighting and security and open up a new public vista onto the park, as well as providing enhanced public facilities in a new foyer.

The College has a long relationship with the Park and with Cardiff Castle where the College was originally housed.  In the 1990s the Royal Welsh College managed the award-winning, sympathetic restoration of the old stable building to create the Anthony Hopkins Centre.

Hilary Boulding said: "We're planning a landmark development in a significant and much-loved cultural location.  We're very sensitive to the responsibilities that brings. We're aiming to open up vistas onto Bute Park and complement historic Cathays Park opposite."

The new development is designed to be fully accessible and inclusive. It will seek to attain the very highest environmental standards, using ground-source heating and cooling, solar water heating and stack effect natural ventilation.

80% of the funding for this £22.5 million development is already secured, including a grant of £10 million from the Welsh Assembly Government. A dedicated fundraising programme will be launched in the autumn of 2008 to achieve the balance of funds required.

As part of the College's public consultation the proposals were presented to the Design Commission for Wales' Design Review Panel. The Panel commended the excellent presentation of the College's Planning proposals and looked forward to a ‘high quality development' on the site.

The College is also holding a number of public meetings where it will present its plans. The next meeting will be held at 6pm on July 9^th at the College. If anyone would like to attend, tickets can be obtained from the College Box Office on 029 2039 1391. Entry is free.

New Sennheiser MKH 8000 Series Microphones Grace the Gothic Nave of San Francisco's Grace Cathedral

Apart from being world-famous for the majesty and longevity of its structure, Grace Cathedral in San Francisco gained notoriety in the Internet heyday of the mid 1990s as one of the first churches to stream live webcasts of many of its services, a tradition that continues to thrive. Over its long history, Grace Cathedral has hosted many of the world's most cherished religious leaders, including Dr. Martin Luther King, Billy Graham, and Desmond Tutu, and many of its most celebrated weddings, including the ceremony for Courteney Cox and David Arquette. With such an illustrious history and such an early Internet presence, it is a bit surprising that it was only recently that Art Yeap, director of San Francisco's Novo Group, recently overhauled their microphone collection with Sennheiser MKH 8020 and MKH 8040 high-end condensers.

"The church had been using some noisy 1970's-era mics with acoustic properties that were poorly matched for the job," explained Yeap. "The church itself is huge - 220 feet from the choir to the back wall - with a nine-second RT60 on the low-end. Those peaky old mics accentuated footfalls, rustling papers, and other such distractions so that listening to a recording or webcast became an exercise in keeping focused."

While Yeap initially selected the MKH 20 and 40 Series for Grace Cathedral, area Sennheiser representative Marke Burgstahler demonstrated the new line of MKH 8000 high-end condensers. The MKH 8020 omni, 8040 cardioid, and 8050 super-cardioid deliver extended, flat frequency response (up to 60kHz), very low self-noise, and uncolored off-axis response. Moreover, all of the MKH 8000-series microphones are small, a factor that was aesthetically important for Grace Cathedral. Although the mics would hang from a hundred feet above the floor, they would still be below windows that would provide revealing top light.

Yeap ordered four cardioid MKH 8020s to cover the Grace Cathedral Choir of Men and Boys (only one of a handful remaining in the States). He placed two more MKH 8020s above the congregation to capture congregational singing and orchestral performances, and two more at the back of the space to capture the rear gallery organ. For the main organ - one of the largest in the state and famous to organ enthusiasts throughout the world - Yeap carefully positioned two MKH 8020 omnis. The extra octave at the bottom end of the omnis (down to 10Hz) conveyed the instrument's rich bass, and placement at the appropriate distance allowed the sound to bloom and blend with the room.

"The experience has been amazing," reported Yeap. "The Sennheiser mics have made a profound improvement. I'm particularly taken with the off-axis response... it comes across as 'effortless.' The noise problem is gone completely. Overall, the MKH 8000 Series mics sound accurate and sweet." So sweet, in fact, that Yeap didn't require any processing. Each mic feeds into an APB-DynaSonics analog console with the EQ section left completely flat.

With the webcast sound securely rescued and archival and promotional recordings now at an audiophile grade, the church is contemplating using the choir mics for subtle reinforcement. "They clearly have the quality now," said Yeap. "It's just a matter of receiving the blessing from the church leaders. I'm convinced the quality of the live services would be noticeably improved." Time will tell!

San Francisco's Amazing Grace Cathedral, one of the first stops for tourists and church goers alike, is now using the Sennheiser MKH 8000 Series microphones for recording and webcast purposes.

Electro-Voice Satisfies Musical Appetite of K.I.C.C. Church

For the Kingsway International Christian Centre (KICC), the London Olympic Games have already started. The popular east London church has had to move out of its Hackney premises as development gets underway on the 2012 Olympic Park site, and has relocated to a former cinema in Walthamstow. Although the move is temporary, KICC prioritised the commission of a new Electro-Voice sound system to suit the substantial musical content of its services.

Established for more than 15 years, KICC is one of the fastest-growing churches in Western Europe. Space at its new Hoe Street premises is at such a premium that the Sunday service has to be conducted six times in order to accommodate all members of the congregation. For each service, 1000 people squeeze into the two-level sanctuary, with its large stage housing Pastor Matthew Ashimolowo, a 40-piece choir and numerous live musicians.

While KICC seeks planning permission to build itself a permanent new home, the ministry has set about making its Hoe Street premises fully functional. A priority was the sound system, because KICC has always placed great emphaisis on the musical content of its services.  "This is the last sanctuary for real musicians," says sound engineer Dipo Fasade. "They play a very important part in our services, creating a distinctive warm sound which everyone can relate to. Also we have very popular youth services, where the teenagers make the music themselves; we needed a PA system with real bass response for their music."

KICC called upon local PA rental and installation company Systems Etc to advise them on equipping their multipurpose venue with versatile sound equipment. The process began with a demo at EV's UK distributor Shuttlesound. "One or two people at KICC were keen on another brand of loudspeaker," explains Systems Etc's Ricky Ramsay, "but, at the demo, they found they preferred the sound characteristics of EV. From our point of view, we were keen for them to use EV because we like working with Shuttlesound, which has the best after-sales service of any company we trade with."

The 1000-seater auditorium has a large balcony, and underneath it, four EV Xi1082s  have been installed, chosen for their low profile. Above the stage, two pairs of Xi1152s 64AF are flown, with additional delay speakers (Xi1152 90AFs) on the side walls. For bass, three RX218 units have been built in under the stage. On stage, the musicians are using the Aviom personal monitoring systems, with EV's Phoenix range cabinets supplied for the choir and other vocalists.

Powered by P3000 and P1200 RL amplifiers from Electro-Voice, the system is controlled by EV's NetMax audio processor and matrix. System designer Ricky Ramsay explains that "NetMax makes life much easier, handling the zoning for example. There are six zones here, all independent, and, via simple navigation, you can use NetMax to control the signal distribution and level as well as adding a valuable degree of security. Services are being mixed on a digital console, which gives the technical team a full recall of settings, should anybody alter them without authorisation."

Sound engineer Dipo Fasade reports that Pastor and congregation are happy. "I am delighted with the speech clarity of the system, and with the SPL.  I find it handles my kind of production very well." He adds that, "the after-sales service was the best part of the package. Systems Etc provided training, service and support to the eight people in our live sound team."

Martin Equips P&O Cruises Ventura

The largest superliner built exclusively for the British market, the 116,000 ton P&O Cruises Ventura, calls Southampton her home port. On April 18, soon after delivery from Italy's Fincantieri shipyard, the Ventura sailed on her maiden voyage to the Mediterranean, decked out in a full complement of colour and effect lighting from Martin Professional.

"In my role as entertainment consultant to P&O Cruises I was instrumental in selecting Martin as the lead supplier to provide the ‘moving light' elements of the entertainment systems for Ventura," states Chris Blackburn of Snap2Black.

Ventura incorporates flexible Martin lighting systems into several areas of the ship. Its many unique features - multiple bars, lounges, and show spaces, not to mention a variety of pools and relaxation areas - means she offers fantastic choice. "Most major entertainment areas are multi-use, although they do have a main use focus," says Chris. "They all have an identity."

The two-deck Arena Theatre is the ship's primary show space. "The brief was to augment the generic rig with moving light and mirror fixtures. There were three or four companies all with equipment that we could have used, but the decision went to Martin to supply, which we are all very pleased with," Chris says.

Chris mentions reliability, maintenance, ease of use, ease of installation and lighting effect as key factors in choosing the Martin lighting gear, but light output and technical support were of paramount importance. He states: "We were looking for brightness as a key element, as well as flexibility of the unit. But one of the most important for me was the confidence I felt with Martin as a company to provide the backup and support in what is always a difficult time when launching a ship.

"It's a very harsh environment with vibration issues which you don't have in land based productions. There is the constant change in temperature and the gear is really hammered. The ship is open 24 hours a day, every day of the year with something going on virtually all of the time so the equipment is used for more than just evening performances. We're looking for reliability in the mechanics of the fixture because once we put it up in a rig it's pretty much set there."

Positioned in the theatre rig are 11 MAC 700 Profiles, 35 MAC 700 Washes, 14 MAC 550 Profiles and 16 Atomic 3000 strobes. The rig supports more than the main shows but a variety of on board activities from cabaret performances and theme nights to marketing activities.

The Arena Theatre stages several quality productions produced by Jean Ann Ryan Productions. Lighting designer for the on-board productions is Jim Ryan of Infocus FX and Lighting. Permanent lighting technician onboard Ventura is production manager Greg Edrich.

You can dance the salsa to Latino rhythms in Havana or relax in the exotic show lounge, The Tamarind Club. In either venue, you'll be enjoying yourself beneath a Martin rig of 4 Mania SCX 700 effect lights, 4 MX-10 Extreme scanners and 4 Martin smartMAC moving heads. In Havana are an additional 12 Wizard Extreme effect lights and 2 Atomic 3000 strobes. In both venues, a Martin Magnum Club Smoke system, a unique multi-headed fog delivery package with a ground based fluid supply, provides the mid-air projection canopy for light beam and atmosphere enhancement. The Martin gear is used to augment an existing rig and adds a high energy element to both areas.

"Everyone onboard fell in love with the smartMAC," comments Chris Blackburn. "I first saw it at PLASA. The profile, the size, the fact that it actually looks quite funky for that environment, and with energy savings more important than even a few years ago, it's a good fixture for ships. It's also quick to get at and easy to service."

The smartMAC is a bright 150 W moving head profile luminaire that offers superior reliability, long service intervals, total silence and reduced power bills thanks to a unique fanless cooling system (no dust and pollutants are forced into the fixture). Extremely bright, the smartMAC houses eight interchangeable dichroic colours and six interchangeable effects.

Both Havana and The Tamarind Club feature small stages and dance areas. Most of the Martin fixtures are located above the dance floor, MX-10 and Manias rigged front and back. Others are positioned upstage to project across the bandstand and onto the dance floor. The effects are used as a disco effect when required or used in the cabaret show set up or for other activities.

Havana, the aft lounge and the ship's second major cabaret venue, serves as the main disco two thirds of the year. It is used for children's cruises and as a family/youth area the other third of the year. When Havana functions as the main disco, The Tamarind Club, smaller and located in the center of the ship, is used for more niche late night entertainment for those who want a bit quieter environment. When Havana features family activities, The Tamarind Club serves as the adult disco. Because of its customizable nature, the Martin gear adjusts accordingly.

Specified by Project International for the ship's atrium are eight MAC 700 Profiles and four MAC 700 Washes. The atrium serves as the ship's hub, a three deck high entrance area from where you find shops, an elegant piano bar, coffee shop bar, art gallery, reception and more.

Installed as a colour changing architectural element along with LED, the Martin fixtures alter the look and therefore the atmosphere of the space as the day progresses. Chris states that, although it has yet to be realized, there are plans for a short show in the atrium, which the Martin lights will be instrumental in lighting. "It was important that we had equipment that would serve a dual purpose," he says. "We also swing the lights into position to light the Captain when he hosts the Captains Cocktail Party, and for other events."

As a high profile family ship, it was important that outdoor events were a part of the program on Ventura, therefore another Jean Ann Ryan Production takes place at the Laguna Pool. "We needed powerful fixtures out there because the show goes from sunset into early evening into the night," Chris says, "hence we went for the MAC 2000 for their power and the flexibility a fixture like that offers, augmented by the MAC 700."

The production and other events take place on a dedicated stage - a raised platform - across one end of the pool. Here are six MAC 2000 Profiles in Tempest domes along with four MAC 700 Profiles and 4 MAC 700 Washes. On occasion, the MAC 700s are moved and used in the atrium.

Elsewhere, four MiniMAC Profiles and four Raptor effect lights keep the energy level high in the Teen Centre, where teens can indulge their fantasies of musical stardom by attending Rock School.

Installation of the Martin lighting gear for Ventura was handled by John Fearon of Eclipse Lighting & Sound of the UK.

Ventura is based in Southampton during the spring and summer months, offering holidays of between two and 16 nights in duration in the Mediterranean, Baltic and Atlantic Isles. Between October and March each year she will offer 14 night Caribbean fly-cruise holidays from Barbados.

photos: P&O Cruises

www.martin.com

The British Film Institute Chooses Panasonic for Professional Projector Installation

Renowned film venue the BFI on London's Southbank has enhanced the experience of its customers by using a combination of Panasonic plasma screens and projectors throughout the complex to show clips of upcoming films and information on future events.

When the venue was extended in 2007 the organisation used this as an opportunity to also upgrade its technology to better serve its customer base and help ensure that the BFI maintained its respected position in the UK film industry.

Shaun Fradd, sponsorship executive at the BFI, says: "It was obvious that this being the home of the moving image in the UK that we showed clips of forthcoming films on screens [around the complex]. With it being a more dynamic venue it made sense to have plasmas and this has improved the imagery."

After approaching various technology providers Fradd says the BFI chose Panasonic equipment partly as a result of the company sharing higher recognition than other operators that the striking of a favourable deal with the publicly-funded BFI would provide Panasonic with the opportunity to use this important cinematic location as a showcase for its technology.

The technology arrangement implemented by the BFI includes a batch of 42-inch TH-42PS9BK plasmas. Four are located in the Film Café facing out to the River Thames, one on the wall outside the Studio (a small cinema space), one in the Filmstore shop and one in the Delegate Centre. In addition, there is also a 65-inch TH-65PF9BK plasma positioned on the wall outside the NFT1 cinema.

Each of the screens is wall mounted and, according to Fradd, involved a relatively painless implementation: "It took only a number of weeks. After a quick delivery once our order had been placed, our own technicians then oversaw the installation including the cabling into the content management system."

Apart from the plasma in the Filmstore unit they are all linked into the BFI's content management system which shows the same daily-changing content on each screen. This comprises a combination of details of the day's film programme, opening times, information on the BFI's IMAX cinema located nearby and details of activities in the Gallery area. In addition, footage is also shown of future films - that might encompass nitrate films from the BFI archive right up to films shot in digital format.

The BFI has also implemented three Panasonic projectors comprising two PT-LB10NTE devices that are used on an ad-hoc basis around the venue and can easily be moved into place when needed. A third, larger Panasonic PT-D5500E projector is ceiling-mounted on a permanent basis in the atrium area, and is used to showcase footage from previous exhibitions held at the BFI. This device projects an image approximately two metres square onto one of the walls within the atrium.

With the level of ambient light entering the atrium through its predominantly-glass exterior walls Fradd says it was necessary to use a 5,000 lumens unit whereas the two smaller projectors in the Gallery are 2,000 lumens devices.

After one year in operation Fradd says the Panasonic equipment has proven to be very robust, especially the plasmas in the public areas: "Apart from those in the Film Café, which are out of people's way, the others are quite accessible (even to kids) but there have not been any problems in that sense. They've been very resilient."

The success to date of the overall implementation, through creating extra engagement with the public, has resulted in the BFI considering how it can extend its use of moving images within its Southbank complex.

This could involve both the introduction of additional equipment along with advances made to its content. Fradd suggests that the content management system could be linked into the box office so announcements could be shown about limited numbers of tickets left for the next performance and any special offers available.

A more flexible management of the content would also make it possible to use the screens around the complex to inform people when a film has made a last minute transfer onto a larger screen. "At the moment we use notes stuck around the building so we could in future put these notices on the screens instead," he says.

In terms of adding to the technology one possibility is the installation of a projector or plasma screen in the main foyer, which Fradd says would dramatically enhance the space by enabling moving images to be shown on what is currently a large blank wall.

A large 103-inch Panasonic plasma or a projector with a 10,000 lumens capability are the options under consideration for placement in an area that Fradd says is ideal to showcase state-of-the-art AV equipment.

Sennheiser Sounds Heavenly at Dunblane Cathedral

Edinburgh-based install company Audio Light Systems has recently completed an audio overhaul of the thirteenth-century Dunblane Cathedral, and chose Sennheiser products to be the heart of the system.

"The brief was to design and install a completely new sound system," explains Eddy O'Hare of Audio Light Systems. "They wanted good quality speech, minimal user interface and a heavy use of radio mics."

The answer to that request was a host of radio mic equipment from Sennheiser. The lectern would be home to a ME 34 condenser microphone capsule and a MZH 3042 flexible gooseneck, connected to a SKP 500 G2 plug on transmitter that turned the wired mic into a wireless mic, which in turn would be paired with an EM 300 receiver. For the rest of the Cathedral, ALS chose four ew 322 G2 lapel radio mic kits, two ew 365 hand held wireless mic systems and two ASP 2 passive antenna splitters.

"They wanted the versatility to be able to set up a handheld radio mic on a stand without having to run cables," continues O'Hare. "It's a Historic Scotland Grade One listed building dating back to the thirteenth century, so the least amount of cabling they had in the place, the better.

"The initial response from the Cathedral has been very good. The install itself went in with a minimum of fuss. It was finished within four weeks of us actually getting the order. We took away almost all of the user interface too. All they do on a Sunday is switch it on and select the desired configuration." For O'Hare and the rest of the Audio Light Systems team, choosing Sennheiser was a simple decision to make.

"We know Sennheiser products work," states O'Hare. "We know that quality was what was needed for a place of this status. We use a lot of Sennheiser wired and wireless microphones in places of worship. A place like Dunblane Cathedral needs something that's going to last, and the Sennheiser system will stand the test of time."

Midas XL8 Purchased by Prestigious Calgary Theatre

Midas has announced that Sound Art Calgary has won the contract to install a new Midas XL8 single surface digital live performance system (with an additional four DL451 I/O boxes) at the Southern Alberta Jubilee Auditorium in Calgary. This prestigious 2,500-seat venue is renowned for its stunning architecture and acoustics.

"The confidence behind this purchase was driven by hands-on demonstrations by Sound Art and Mark Kulas (of Midas rep firm PAG Canada), followed by in-depth discussions of the features and advantages the XL8 offers," says Matt Larson, Americas sales manager, Midas.

Dave Cousins of Sound Art adds: "During the specification process, it became clear to the customer that the Midas XL8's sonic performance, ease of use, and ultimate flexibility could not be beaten by any other product out there. The fact that the XL8 is being used on the world's highest profile productions, tours, and events gave the customer additional confidence in their purchasing decision and the assurance that the pedigree of the desk would be recognized by any visiting engineer."

Cousins continues: "The extra DL451 I/O boxes allow the theatre to distribute an additional 96 channels of audio-above and beyond the already unmatched connectivity of the standard XL8 package-to a remote broadcast truck. By taking the time to look into the real benefits of the Midas XL8 with the theatre staff, and by specifying a made-to-measure system just for them, our team demonstrated that the XL8 has a ‘lower cost of ownership', and is worthy of additional initial investment. This installation shows how easily the XL8 can be scaled and equipped to precisely meet the needs of any venue."

www.midasconsoles.com 

KV2 Audio in the Caves

The aptly-named Edinburgh venue, The Caves, plays host to a variety of events both day and night and relies on a KV2 Audio ES system, installed by Dynamic Productions, to provide just the right type of atmosphere for each occasion.

The cavernous, 550-capacity, club features live music, DJ nights and even theatre performances, but during the regular, daytime, corporate events feeds speeches and background music through two KV2 Audio compact, two-way, full-range EX10 cabinets.

For the night-time events, a KV2 ES system is restored, from its daytime storage position beneath the stage, to its rightful position on top. Packing quite a punch, the bass-prominent, active-driven system comprises, per side, a single KV2 Audio ES1.0 mid/high/mid-bass module, two KV2 Audio ES 1.5 high output subwoofers supported by a further single KV2 Audio ES 1.8 reflex horn-loaded bass unit.

Everyday user of the system, the Caves manager commented: "The versatility of the system we have in The Caves is just amazing, we don't always have to use all the boxes for some events - but for every event we put on here the sound is great and people comment on it."

Dynamic's Michael McGuigan added: "The venue is literally a cave, as many of the venues around this part of Edinburgh are, and the ES System creates a wonderfully warm sound within these bouncy walls. The types and quantity of events the venue attracts time and again is testament in some part to the quality of the KV2 Audio sound."

In picture: The Caves Edinburgh; The Caves Stage Set Up

APart Sounding Mint at Torquay's Treasury

The Treasury, a brand new high-end bar in Torquay, Devon, has opened complete with a new APart audio system, installed by Plymouth-based installation company Clockwork Audio Systems Ltd.

Converted from Victorian-era bank vault to sophisticated lounge bar, The Treasury needed an installation with the audio quality to match its uniquely impressive décor.

"The Treasury doesn't have a dance floor," explains Zhev Liberson, director of Clockwork Audio. "It's a sophisticated bar that's music orientated. The volume isn't up to nightclub levels but it's vital that everyone is able to hear the music. The APart system does deliver that kind of quality, and it gives a very good representation of music from different sources like MP3 and CD."

Fellow director of Clockwork Audio Systems Ltd David Monk paired eight Apart MASK6-W wall mounted speakers with two SUB 2400 subwoofers, all powered by two Pubdrive 2000 three-way amplifiers and controlled by an APart PM 7400 mixer.

"The APart system covers two separate zones," continues Liberson. "The front and the back end of the bar are all controlled from one APart PM 7400 rack mixer, using a Mac Mini as the audio server.

"The owners wanted an install on a very small budget, but we explained to them that they could have real quality for a little bit more. The Apart equipment does a really good job for the money you pay for it. The system works really well and there's a fantastic sound in the room."

APart products are distributed in the UK by Sennheiser UK.

Danish Playhouse Plays with ETC

ETC, through distributor Bico Professionel A/S, has installed lighting and dimming at the newly built 750-seat Royal Danish Playhouse, part of the Royal Danish Theatre. The Theatre used to hold performances across town, at the Stærekassen (New Stage) but now all dramatic performances under the auspices of the Royal Danish Theatre are performed at the Playhouse.

The main stage makes use of over 1,200 ways of ETC's Sine Wave dimming and switches, including 840 ways of ETC Matrix Mk II modular install dimmers and 360 ways of ETC distributed SineWave Power Bars. In addition to this, the Studio stage makes use of 260 ways of ETC Sensor+ SCR dimming.

Says project manager for Bico Professionel, Søren Jørgensen: "The specification called for the same type of network and equipment as we already had at its sister venue, the Operaen (Copenhagen Opera House) - including ETC's Net3 (ACN) Ethernet show network and SineWave distributed dimming, but in addition to this they also choose to have SineWave installation dimmers. We had recently worked with ETC on another project and knew them to be a safe solution, and that they could easily supply everything we needed."

Across the Playhouse, some 150 Source Four conventional luminaires and 24 Source Four Revolution moving lights were used, as well as over 40 Source Four HID Junior Zooms in the foyer, which are controlled by an ETC Unison houselight system. Seating 750, the main stage was inspired by northern Italian renaissance theatre, with its horseshoe shaped galleries. The secondary stage, seating 250, is known as Portscenen (The Gate Stage), reflecting the fact that the large doors in the northern wall can be opened to draw the stage out onto the quay. The theatre's intimate Studio Stage seats an audience of about 100. The Playhouse, which cost some DKK 900m (£100m), performs theatrical repertoire in Danish, as well as children's activities, concerts, debates and lectures.

Tim Stokholm, regional manager for Northern Europe, says: "The Playhouse has been open since February and has been receiving critical acclaim for its productions. Performances are often quiet, so it is vital that the luminaires and filaments make as little noise as possible. The last thing you would want during a quiet scene is the lamp buzz being louder than the performers. ETC's SineWave dimming removes audible filament buzz. Venues have also found their energy costs reduced, and because there is less stress on the filament, lamps require frequent replacement. The distributed ETC SineWave dimmers in the lighting bridges have given the theatre a huge flexibility and provided cost savings in the installation."

In picture: over 1,200 ways of ETC dimming has been installed at the new Royal Danish Playhouse.

www.etcconnect.com

Mitsubishi Electric Diamond Vision chosen for Air Canada Centre

Mitsubishi Electric has been chosen by Maple Leaf Sports & Entertainment (MLSE) to supply and install a breathtaking new 17-screen high-definition scoreboard and display system at the Air Canada Centre, home of the Toronto Maple Leafs ice-hockey team and the Toronto Raptors basketball team. Combining multi-sided and linear displays, the new cutting-edge Diamond Vision system will provide the Air Canada Centre with the most advanced video displays of any arena in Canada.

The centrepiece of the centre-hung scoreboard display will a four-sided 6mm "Black Package" Diamond Vision screen. The Air Canada Centre system will be the first in the NHL/NBA market to feature Black Package LED technology. Now available on Mitsubishi Electric's 6mm, 4mm and 3mm displays, Black Package provides superior contrast and black levels over conventional white packaged LEDs; its special black construction allowing the LED chip to blend virtually unnoticeably into the black face of the display.

"The black package LED represents the most cutting-edge technology available for indoor display systems," said Elan Azar, general manager of Mitsubishi Electric Sales, Canada's Display & Imaging Solutions Division. "Mitsubishi installed the first high-definition LED display in the arena market at TD Banknorth Garden in 2006, and the first 6mm high-definition LED display in 2007 at the Verizon Center. We are very excited to introduce this latest technological advance to the arena marketplace by installing the first 6mm black package LED Displays right here in Toronto, at a world-class facility such as Air Canada Centre.

"This installation confirms once again Mitsubishi Electric's reputation for quality, performance and proven reliability in arena display technology. The Diamond Vision system continues to lead the technology curve and set the standards in the arena marketplace," noted Azar.

The selection of Diamond Vision came after exhaustive research by MLSE officials, who compared the displays in use at numerous arenas throughout North America before selecting the Mitsubishi Electric product. "Of the systems we saw, the Mitsubishi Diamond Vision boards were consistently superior in uniformity and reliability," said Dwayne Brown, technical producer, Maple Leaf Sports & Entertainment. "Plus, being able to showcase the black package LED is particularly exciting given Air Canada Centre's status as a world-class facility."

The 6mm main displays will utilise Mitsubishi Electric's state-of-the-art Digital Screen Controller, driven by a high-definition 1080 HD source from Air Canada Centre's new 1080 high-definition control room. In addition to the black package 6mm main video displays, Mitsubishi Electric is using 10mm display technology for additional eight-sided upper displays and four-sided scoring displays, as well as a 22m long circular ring. Mitsubishi Electric is also supplying a new integrated scoring system consisting of all new shot clocks and ANC's state-of-the-art VisionSOFT control system.

"After extensive research and reviewing several installations in different venues, Mitsubishi proved to be the clear winner in the large screen display industry with their technology, quality and price," said Curt Emerson, manager of venue services and content deployment for Maple Leaf Sports & Entertainment. "We are very excited to debut our new high-definition Mitsubishi Diamond Vision video display at Air Canada Centre this fall."

Toronto fans can expect the new display system to be competed by August 1, 2008 in time for the upcoming NHL and NBA seasons.

In picture: "Ice Cube": Mitsubishi Diamond Vision cube displays have already proven a big hit with European hockey fans at the Kölnarena in Germany.

Martin RGB Laser 1.6 Wows London's Ministry of Sound

Ministry of Sound realized long ago that lighting has a positive draw, and the more impressive the better. The famed club brand is continually improving their offer for their customers, while striving to look better than any other nightclub. So when Alex Barrand, technical manager at Ministry of Sound in London, decided it was time to invest in a new laser system that would give the venue even more ‘wow' factor, he turned to Martin's RGB Laser 1.6.

"The Martin laser is one of the best units on the market," he states. "I like the fact that it can run DMX, also from a laptop, and I like the small size of the unit."

Two Martin RGB 1.6 lasers are located on each side of the DJ booth in Ministry's infamous Box, where DJ's from around the world reign supreme over clubland's trendiest clientele.

The RGB Laser 1.6 is a compact and lightweight Class 4 laser with deep saturated colors and true whites, and an impressive spread angle of 80 x 80 degrees. It also features simple plug-and-play operation and hundreds of pre-installed effects.

And because MoS is more than a dance club - MoS also embodies a worldwide touring business that undertakes around 800 events each year including magazine photo shoots, TV commercial recordings, corporate presentations and product launches, live bands, film launch parties and more - the laser has use beyond the late night dance crowd.

Alex acknowledges Mark Buss of Martin UK who "has been very supportive with the whole process, and has always fixed any issues we have had."

The RGB Laser 1.6 joins MoS London's existing Martin rig of MAC moving heads, Martin effect lights and Jem smoke machines. Martin Professional products feature in all Ministry of Sound nightclub businesses worldwide.

www.martin.com

A.C. Lighting Supplies LED TV Lighting System for Rebranded Five News Show

A.C. Lighting has supplied a state of the art LED TV lighting system for the dedicated set of the new ‘five news with Natasha Kaplinsky' television show. As part of five TV's plans to refresh and relaunch its pioneering news programme, which include recruiting high-profile news presenter Natasha Kaplinsky for the show, the broadcaster decided to rebrand the set with a completely new look.

Set Designer Chris Webster produced the concept of backlit acrylic panels that could be lit to achieve a varied range of looks to suit the mood of a bulletin, whether based on a particular theme or time of day.

Sky News, producer of the show for Five, has a policy of incorporating energy efficient lighting into its sets where technology provides a viable solution, so approached A.C. Lighting to supply an LED system which would also provide five with maximum creative opportunities and a state of the art set.

A.C. visited the set and demoed several LED solutions to Chris Webster. The chosen system consists of Martin Stagebar 54 colour-mixing LED battens used to internally illuminate the acrylic lightbox panels, for full creative control over the set's background looks. In addition, Chris chose Chroma-Q Color Split LED fixtures to provide accent lighting to the front of some panels, particularly in the presenter mid shot areas. The unit's are configured in their unique side-by-side, split colour RGBA cells mode to give maximum flexibility to the set's creative looks.

As the studio does not have a dedicated lighting operator, it was critical that the LEDs were controlled by a fully automated show playback system which could be easily re-programmed as and when required by the programme's Technical Director. A.C. Lighting therefore specified a Jands Vista Application laptop PC control system with 512 channel DMX dongle, due to its unique graphic based user interface, which makes programming extremely simple and intuitive. The Vista has been programmed with 8 looks to suit different editorial content, which are stored in an ELC solid state showstore for easy replay.

A.C. also supplied Chroma-Q Magic Box 8-way DMX buffer boxes, various Tourflex Datasafe Ultra, Tourmate and Neutrik Powercon data and power cabling, and assisted with setup and installation of the system.

Don Hart, lighting specialist, commented: "The time frame for developing the design, selecting and procuring fixtures required a ‘one stop shop'. A.C. Lighting through Lee House, were able to provide advice, attend several development tests and procure the chosen fixtures all within the time line. Lee was also able to assist the Sky Lighting team as we built the installation and programmed the looks. During development camera tests we realised the Vista system was very intuitive and ideal for this type of installation."

www.aclighting.com

Robe Gets Lucky at the Korston Hotel Moscow

Robe moving lights have been installed into two separate areas of the Korston Hotel in Moscow - on the stage of Casino de Paris main gaming floor, and in the café Bonjour, the main private dining room in the complex.

The lighting concept for the Casino - the venue was previously a large concert hall - was completed by Sofitlight, who also supplied all the stage and effects lighting kit, architectural lighting, sound design and audio equipment.

On the main gaming floor stage, biggest lighting challenge was to devise a special hanging system for the fixtures that didn't interrupt the sight lines of the spectacular roof - which is painted like a sky. The rigging was engineered by Sofitlight director Arkady Shahidzanov.

The 22 Robe fixtures in this massive room are 16 Robe ColorMix 250 ATs and six Scan 575 XTs, chosen for their flexibility and great value for money. They are controlled by a Compulite Rave console, along with some generic lighting and are utilised every time there is a floor-show, a presentation or anything happening on the stage.

The café Bonjour private dining room is popular for functions and events of all types. Its central feature is a small stage with a low ceiling for cabaret and other live performances, which is used constantly. The stage was the starting point, and the rest of the space was largely developed around this.

The lights in this room are 10 Robe Scan 575 XTs, eight Spot 575 and eight Wash 575 XTs, 12 ColorMix 250 ATs and 6 DJ Scan 575 XTs, all arranged on bars above the stage and in the room, and run from a Compulite Sparktop controller. The stage is draped in light materials which are ideal for taking and reflecting light.

Lighting throughout the venue is looked after by head of lighting, Marat Mullin, who also works as a freelance lighting operator and programmer.

He has been using Robe products for about three years now, and was delighted when Sofitlight's bid won the tender to kit out the Korston Hotel. "I really like the toughness of the Robe units," he says, "They just keep working and working under all conditions." He observes that the fans have been very well designed to be super-efficient and filter out the considerable environmental debris that finds its way into the atmosphere, and that the lights on the gaming floor stage are on for at least 16 hours a day most days.

He thinks Robe is doing very well in the face of its competitors, and specially likes the AT (Advanced Technology) series and the fact that you can clearly see the displays.

Sofitlight's Alexander Gromov project managed the Korston install, and comments: "Robe offers such a wide range of fixtures, all of which are very reliable, so it was a very obvious brand choice for us." Korston is one of many installations undertaken by the company using Robe.

www.robe.cz

Stage Electrics at The Hub

Central Sussex College's Phase 1 and 2 multi-million pound redevelopment of its Haywards Heath sixth form campus is now complete with an innovative new theatre space, The Hub. The Hub is an exciting new venue incorporating the most up-to-date facilities and state-of-the-art equipment and is a fine example of the college's strong association with the performing arts. The space has been designed to effectively accentuate performances and students ability to perform at a professional level.

Stage Electrics was responsible for the installation, bringing to life the vision of a flexible and technologically advanced space for students and their performances. The brief was to install a technical system capable of supporting a new versatile 250-seat theatre dance studio, rehearsal studio and four rehearsal rooms.

The key objective throughout was to allow for flexibility within the space, with technical systems in the venue designed around this. The new venue can adapt and shape to the needs of any performance from Shakespeare to rock concerts.

Along with fantastic flexibility, the technical infrastructure in the theatre is designed to offer an environment focused around learning. When you enter the theatre as a novice, the user interfaces can adapt to allow simple control of lighting and audio systems. When you leave you will be equipped with the fundamental procedures used in today's technical performance industries.

The design approach taken relies on equipment at the forefront of the technical performance industry. The venue is one of the first in the UK to boast the new Roland M400 desk and 1608 Reac devices and uses the latest console from Strand. The Classic Palette drives Martin automated lighting fixtures and a Zero88 Chilli dimming system.

The college is hugely impressed with the superb new facilities which are a key addition to the campus. Jonathan Goodwin, artistic director of The Hub comments: "Stage Electrics' project management team has been superb. Their knowledge and ability to explore creative solutions to achieve precisely what we wanted was outstanding. The technology was pushed to its limits with the opening production but with the continuing support of Stage Electrics throughout, it proved that it could withstand all that was asked of it and more. We were overjoyed to see that the aspirations and vision for this theatre were finally being realised so flawlessly."

LTP Installs Media Wall at the Blue Fin Building

Lighting Technology Projects (LTP) has supplied and installed a low resolution video media wall, designed and specified by Speirs & Major Associates (SaMA) for the atrium of IPC Media's new London HQ. This is in the Blue Fin Building, part of the Bankside 1,2,3 development in Southwark.

Referred to SaMA by Architainment, the Philips SSL value-added reseller, LTP applied its specialist installation and engineering knowledge to fit the 9500 nodes of Color Kinetics RGB ‘Flex SL' which makes up the 40 metre long by 3 metre high media wall.

SaMA worked with the building's architects, Allies & Morrison, to create a lighting concept for the space to make it an animated, vibrant and contemporary environment for the reception area.

SaMA came up with the concept of a low resolution LED media wall to act as the main illuminated feature within the space, spanning the entire length of the atrium.  This was complemented by various other lighting details including general down-lighting, feature lighting to planting, task lighting to desks, etc.

IPC Media, a leading UK consumer publisher, liked the feature because it was imaginative and new, and reflected the creativity of the company and its employees. The ‘live' media wall also provided scope for them to produce their own abstract but constantly changing content in keeping with seasons and times of day.

After the concept presentation SaMA asked LTP to get involved in helping to produce a mock-up to demonstrate the potentials of the lighting feature, which resulted in a formal sign off.

During pre-contract meetings, LTP also offered logistical input on the layout of the PDS480 power/data suppliers that are equally spaced along the length of the wall, each supplying 16 strings of Flex SL, and the system design in general.

LTP has co-ordinated the engineering, installation and commissioning services for many previous SaMA projects including the Bristol Harbour Lightwall and the O2's Performance Wall in Peninsula Square. For the Blue Fin Building, they were contracted directly to the general building contractors ISG Interior/Exterior PLC, exclusively to install and commission the media wall and to supply hardware and control as specified by SaMA. The Color Kinetics product was sourced through UK distributors Architainment, and the control directly from UK-based Pharos.

The 190 50-node strings of CK's Flex SL are spaced at 120 mm, creating 380, 25-node drops, with custom spacings to return between the 25^th and 26^th node. This gives the total of 9500 nodes and 28500 channels of control.

A strip of Barrisol fabric is offset approximately 150mm in front of the LED nodes which are fitted to a backing sheet behind via U-channel extrusion, which holds them absolutely central.

Content storage and delivery, playback and content scheduling is all achieved  via a Pharos LPCx controller. SaMA created the initial media content which has since been built on by IPC Media's personnel.

Terry Reeves' comments: "It's always interesting working on SaMA projects, and as always the results are stunning! With good project planning and system design, our previous experience with light-wall installations and a great team of engineers, it all went extremely smoothly."

Cottesloe Upgrades its d&b System with Orbital

When the Cottesloe Theatre was ready to retire its trusty d&b sound system after more than a decade of hard labour, Rich Walsh, sound supervisor for the Cottesloe, was in no doubt that he wanted to remain with the same brand.

Technology has advanced in leaps and bounds since the original d&b system was installed, and now Walsh knew he could take advantage of a more compct and energy efficient footprint - specifying a system that could be remotely set-up, monitored and health-checked over Ethernet.

He contacted the theatre's regular audio suppliers, Orbital Sound, who delivered eight d&b E8 two-way multipurpose loudspeakers with a further eight E12-Ds providing bass extension via a long-excursion 12in driver. The rotatable 90° x 50° dispersion he knew would provide all the coverage he needed in the reconfigurable, 300-seat (maximum) studio theatre - whether set up conventionally or in the round.

To remain within the d&b environment, and guarantee a matched and fully-optimised system, Walsh assigned eight d&b D6 dual-channel amplifiers to the new rig, since they incorporate a DSP engine to provide loudspeaker-specific configurations and functions.

Finally, each d&b amplifier is fitted with a remote interface for the Controller Area Network (CAN) bus - in fact the D6 has two RJ45 connectors to enable the CAN-Bus signal to be daisy chained through them. Rich Walsh thus specified a d&b R70 Ethernet-to-CAN interface.

This Remote network enables central control and monitoring of the complete d&b loudspeaker system from anywhere in the network - be it from a PC in the control room, at the mix position, or on a wireless tablet PC in the auditorium.

"This gives us infinite flexibility," states Walsh. "We now not only have a lightweight, discreet and energy-efficient system - with more than enough power in the engine - but the remote Ethernet control allows us to tap into the system wherever we are."

Dynamic Approach to New Cardiff Landmark

Light Bureau (lighting consultant) recommended Control Lighting's involvement in a unique car park project due to their expertise to facilitate the correct control solution. With the high profile of the Cardiff Bay development in Cardiff which includes the Welsh Assembly and the Wales Millennium Centre, the new multi-storey car park, owned by Knight Frank LLP, needed to integrate with this dynamic area. To achieve this, the architect Scott Brownrigg Limited and lighting designer Paul Traynor PLDA of Light Bureau developed the idea of six wave-shaped structures to be installed on the long façade of the new car park.

The steel and fabric structures were manufactured and installed by Base Structures Ltd with the intention of the three-dimensional wave shapes to link the car park with the original purpose of Cardiff Bay and its connection with the sea. Another visual link with the sea was the requirement for the night time appearance of the wave to be lit using a combination of blue and white lighting. Particular consideration was taken by Light Bureau in the specification of the fittings and their location due to the close proximity of the very busy entrance to the A4232 Butetown Tunnel.

When designing the lighting control solution for this project there were two key elements factored in. The first being the sheer quantity of individual control required for 472 fluorescent ballasts on a single control system; and the second being to be able to program the visual effects of the sequences in a graphical format and not a conventional "channel = level arrangement". To achieve these fundamentals, Control Lighting combined the use of a sophisticated DMX visual time line based control playback unit, Pharos Lighting Playback, in addition to converting DMX into 12 separate DALI universes. To achieve the smooth conversion between DMX to DALI interface units, Control Lighting undertook in-depth research before finalising their choice of interface units.

To fulfil the lively night time appearance of the waves, individual control was required per lamp on each of the lighting fixtures that were part of the wave lighting scheme. The chosen lighting fixtures were twin Norka surface mounted IP65 fluorescent fittings with DALI dimmable ballasts. Each fitting comprised a blue and a white fluorescent tube with each fitting modified to take two individual ballasts for individual lamp control. To minimise on the cable installation the fittings were specified utilising the DALI protocol which enabled a better level of individual control and reporting than other protocols designed for fluorescent ballasts. Careful consideration was taken on the timings of the sequences as well as the impact of the ambient temperature on the lamps and the DALI ballasts. The sequences are recalled automatically using astronomical time clock commands, with manual override facilities also included. The visual result details movement of light intensity utilizing the white and blue fittings across the wave structures in both linear patterns as well as dynamic spiral configurations.

Morpeth School Invests in the Future with ETC

London's Tower Hamlets is known as one of the city's less well off areas. Yet one of its schools, Morpeth in the Bethnal Green district, has done particularly well, with a £13.5m grant from the local authority which has led to a complete rebuilding programme. As part of that programme, the school has a new performing arts block, including a theatre which doubles as a school assembly hall, and three drama studios.

Morpeth, which specialises in arts and music, has recently invested in an ETC Congo jr and two SmartFade lighting control desks, as well as SmartPack dimming. Chris Bocking at Redbridge Drama Centre, who was brought in as a consultant for the installation, explains: "We always recommend ETC control desks because they are very sophisticated yet user friendly. One of the problems which all schools face is that staff leave and there might be no-one else trained to use the desk. That means it inevitably doesn't get employed to its full potential or possibly even not at all. With the ETC Congo and Congo jr, it might only take 10 minutes to get a new staff member or student up and running. We run training days for staff as well, of course, but these desks might have a life of 10-20 years, so we want to make sure that they're going to be able to use it many years from now even without our help."

Redbridge Drama Centre advises on school installations across London and derives its funds from the local authority as well as consulting fees. Based on the site of a junior school in the north-east London borough of Redbridge, the centre also host school visits in one of its drama studios or production suites, which are kitted out with TV cameras and vision mixing equipment as well as an ETC Express lighting control desk, several Source Four luminaires and SmartPack dimming.

The facilities manager at Morpeth School, Del Kwai, is responsible for all the contractors at the school. He says: "The aim of our head teacher, Sir Alasdair MacDonald, was to change the concept of education. When we develop facilities like these, containing top quality equipment which children will see and experience when they go out to work, teaching becomes a lot easier."

Lighting Logic was responsible for supplying all the equipment. Project director for Lighting Logic, Matt Miles, says: "The reliability of all ETC's products make them perfect for schools, and as our relationship with ETC has developed, so has our respect for their equipment. It's also good to know that I have the backup of ETC when I need it, just as our own clients know that if they have a question or problem with the kit that we install, they can phone me - even at the weekend - and I'll come to help when I can."

In picture: Morpeth School in east London has taken delivery of an ETC Congo jr and two SmartFade lighting control desks

www.etcconnect.com

National Centre for the Performing Arts furnished with grandMA

The National Centre for the Performing Arts, formerly known as the National Grand Theater, Beijing, was recently equipped with MA Lighting technology. The Centre, an ellipsoid dome of titanium and glass surrounded by an artificial lake, seats 6,500 people in three halls and is 200,000m² in size. It was designed by French architect Paul Andreu. Four grandMA full-size and one grandMA ultra-light are used to control three major performance halls: the Opera House for operas, ballet, and dances (seats 2,416) the Concert Hall (seats 2,017) and the Theatre, for plays (1,040 seats). All grandMA consoles are connected via MA-Net which is based on fibre optical. Besides other fixtures the National Centre for the Performing Arts has got 200 moving lights installed.

ACE - Advanced Communication Equipment Co Ltd. provided the lighting equipment. Lighting design was a joint effort by NGT, ACE and ADPi.

www.malighting.com

Artistic Licence Do It With Candle-Power

The National Library of Scotland in Edinburgh has recently opened a permanent exhibition of letters and historical items from one of the most important literary archives, the John Murray Archive.

 Lighting designer Nich Smith was brought in to design a lighting scheme which would form both an exciting interactive experience for the visitor whilst fulfilling the conservation requirements demanded by the sensitive exhibits.

The result was a series of ‘Character Showcases', each of which contain significant props and archive materials pertinent to the individual author. The showcases are left intentionally dim until activated by a visitor using interactive touch screens to fade lights up on the appropriate object.  This has the dual effect of restricting light exposure of the manuscripts, and engaging the visitor with the case contents.

The showcase lighting is a mixture of fibre optic and LED technology, the latter of which were controlled by Artistic Licence's unique Candle-Power LED dimmers.

The LED fittings in the cases are a mix of 350mA and 700mA sources, all individually addressed and dimmed locally at each showcase by DMX controlled Artistic Licence Candle-Power dimmers. Each showcase has a mixed 350mA/700mA Artistic Licence Candle-Power dimmer located on the top of the case, and a smaller three-channel 700mA Artistic Licence Candle-Power in the bottom of the showcase, all chosen for their unique ability to cope with mixed loads.

"Finding a product to dim the LED fittings was a challenge.  We are mixing 350mA and 700mA fittings in the same case, and I wanted one product to control them all, as well as being DMX-compatible to link in with the lighting control system," explains Smith.

"Fortunately, Artistic Licence could offer a solution in the form of Candle-Power - a product uniquely suitable for the job.

"Interactive dimming of multiple light fittings was central to the design. We typically have 15 ways of lighting per case, which would have been a lot of fibre optic generators and associated dimmers and cabling.

"By using LED lighting and distributed dimming at the point of use, we could simplify the installation yet still retain design flexibility. It also gave us the option of using colour changing, creating multiple looks at a fraction of the cost of conventional methods and made it future-proof for the client when they come to change the contents of the cases in future."

Smith also felt that having local dimmers and distributed mains power and data was preferable, and more cost effective, when compared to having dimming way-lines through out the site and a centralised dimming room.

 "We did require some minor upgrades to the LED dimming equipment on site," continues Smith. "However, Artistic Licence provided excellent product support and responded to our needs, which is vital when using new technologies."

"It was particularly satisfying to provide these dimmers," says Artistic Licence managing director, Wayne Howell, "since we had just launched the Candle-Power dimmers when the project came up.  The timing was ideal and provided the first sale for us."

Nich Smith has subsequently been awarded the 2008 Lighting Design Awards (Public Buildings) for his design for the John Murray Archive project.

Sennheiser Provides Audio for the Hard of Hearing at the O2 Arena

Once derided, the Millennium Dome has been refitted and reborn as the O2 Arena, and is now rightfully regarded as arguably the best music venue inthe UK.

Being a major venue for many different events the O2 Arena was legally obliged to provide audio assistance for visitors that are hard of hearing. For that the owners of the O2 turned to Vivid Acoustics, who in turn recommended Sennheiser products for the job in hand.

Traditionally, these needs would have been met by an Audio Frequency Induction Loop or an Infra Red Transmission system. However, due to the huge size of the O2 Arena and certain other factors, a unique radio-based solution was implemented. The O2 Arena took delivery of 200 customised EK 1038 body pack receivers, 200 EZT 1011 neck induction loops, 50 GP 03 earphones, 100 L 2015 chargers with one SR 300 IEM G2 rackmountable transmitter, one A 5000CP antenna and one custom built linear UHF amplifier, built by Sennheiser's chief engineer Andy Lillywhite to increase the power of the transmitter to cover the whole arena.

"The Arena approached us," explains John Jessop of Vivid Acoustics. "They were fully aware of their legal requirements but weren't exactly sure of the best way to approach it. We found out what they wanted technically and we proposed, after a lot of discussion with Andy Lillywhite and Ken Morrison at Sennheiser, the FM system. We proposed a number of receivers that are in line with DDA regulations and they were happy to proceed with that.

"We specified exactly what was needed. It was a non-standard frequency so we had to get non-standard receivers. Sennheiser modified their existing receivers to give us the coverage we needed. Also I think there were no standard frequencies available in the London area."

"The UHF radio frequency used was carefully chosen specifically for this application in consultation with JFMG Ltd," explains Sennheiser¹s Andy Lillywhite. "It was outside the range of frequencies which a standard 'off the shelf' EK 1038 receiver can tune to. It was therefore necessary for us to customise the EK 1038 receivers to enable them to tune to the correct UHF frequencies for the job. The system also features a customised UHF transmitter and an A 5000-CP circular polarised antenna to ensure uninterrupted coverage of all seats by the system."

Since its installation the Sennheiser system has repeatedly proven its worth.

"The people at the O2 Arena have been very pleased with the kit and the installation," confirms Jessop. "They¹ve been happy with everything."

QSC Provides Clarity Amid Swim Centre's Groundbreaking Architecture

The radical remodelling of a Council-owned Hertfordshire swimming pool between 1989-1991 resulted in a new type of building geometry, topped off with a giant hyperbolic roof which at that time was the largest of its kind in the world.

During the first quarter of 2006, The Finesse Leisure Partnership, who manage the Hatfield Swim Centre for Welwyn Hatfield Council, completed a £750,000 council-funded refurbishment of the technical infrastructure for the local authority.

Part of the work included a new four-zone sound system, combining areas such as the expanded Fitness Room, Reception and Health Spa, using large quantities of QSC AD-C152T ceiling speakers and multi-channel amplifiers, provided by Clarity in Sound, Light and Vision.

With this phase complete, Finesse set out to systematically upgrade other new areas with QSC ceiling speakers, such as the Reflex Vibro Gym.

At the beginning of this year Clarity SLV returned to fit four QSC AD-S82s in the dance studio, for local use by the aerobics instructors. Then last month Stuart Graham's company put the icing on the cake, fitting the main pool area with four QSC AD-S282HT transformer version loudspeakers (in white), powered by a QSC CX1202V 2 x 800 watt, 100V line amplifier. At the same time the network was increased to an 8-zone system.

Said Stuart Graham: "I have used the Acoustic Design range in a number of venues now and am really impressed by their performance whatever the application.

"Initially we used the AD-C152T's in Hatfield, which are very clear, give a good all round performance at low or high levels and are ideal in high-humidity environments such as spa pools and steam rooms.

"When it came to replacing the main pool system we knew we would be working in a difficult environment because of the roof geometry; although we have used QSC's AD-S52 and AD-S82 in many applications this was the first time we had worked with the AD-S282." Since the budget would not stretch to sub-bass reinforcement, Graham knew he would need to rely on the fully frequency range of the AD-S282 - and he was not disappointed.

The four AD-S282HT's are mounted to the building's four support columns using Powerdrive brackets, with the two near speakers angled to fire up into the viewing gallery.

The sleekly-styled, weather-resistant AD-S282HT with Advanced Directivity rotatable waveguide, is highly complementary to the building's pioneering architecture. The two-way system incorporates dual 8in weather-resistant, LF transducers with a 1in exit compression HF driver. The HF driver is coupled with QSC's unique 90° x 60° Advanced Directivity rotatable waveguide - enabling the loudspeaker to deliver accurately focused sound, regardless of its mounted orientation.

To optimise the efficiency of the system in this huge, glazed volumetric space, the installers turned to Shure's DFR22 digital processor to tame potential reverberation.

To demonstrate how carefully Clarity had balanced the EQ, Stuart Graham installed an eight-zone paging mic - and the enhanced level of speech intelligibility has certainly impressed Finesse Health & Fitness manager, Amanda Morris, who says that given the extraordinary ceiling height, the efficiency and even coverage of the new public address system has been a revelation.

"Everyone has certainly noticed the improvement in audibility and the response time when staff are summoned to Reception has improved dramatically. It's a much more professional set-up." With Fire Alarm override she says all eight zones can be reached, enabling the new comms to implement immediate emergency and evacuation procedures.

Aside from the QSC AD-S282HT's role in alert situations it also has to handle a wide range of source inputs - from multiplay CD to MP3 and mic plug-ins for private swimming parties - and, of course, the obligatory new age/whale music in the health spa. "With local source select we can route any signal to any of the eight zones - and the QSC system copes with everything we throw at it," she says. "It gives us tremendous flexibility."

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