Project News Headlines
Genelec delivers fat sound at Ciccio’s, Stockholm
Sweden – Ciccio is an affectionate way to say ‘chubby’ in Italian. Symbolising as it does a love for all the good things in life, it seemed the perfect name for Gruppo Italiano’s latest restaurant venture in Stockholm. Ciccio’s is the fourth establishment of the award-winning, family-run restaurant group, and perhaps the most ambitious. Inspired by New York’s famous Little Italy district, Ciccio’s is designed to be a meeting place that blurs the boundaries between work, eating, drinking and socialising. To help create the right atmosphere, Gruppo Italiano turned to systems integrator, Hages, in Stockholm, who supplied and installed a state-of-the-art Genelec sound system.
Hages specialises in audio design for public spaces, and especially restaurants, which made them a natural choice for Gruppo Italiano. Hages CEO, Thomas Axelsson, explains that they were contacted by the restaurant group in the very early stages of the project and asked to design the audio environment for the new restaurant. “Being involved so early in the construction process was a huge advantage as it enabled us to measure and calibrate the space very accurately and include the speakers in the blueprints. As a result, we knew that once the speakers had been installed, we would achieve the same level of sound distribution throughout the entire space. Regardless of where you find yourself in the restaurant, you will enjoy the same audio experience.”
For this project, Axelsson opted for a total of 16 Genelec 4030C loudspeakers from Genelec’s installation-specific 4000 Series. “We chose the 4030C because the sound is incredibly precise, and it has great range and power. In fact, the low end is powerful enough that it makes the need for an additional bass speaker almost redundant. We did add bandpass subwoofers in a few places because we had the budget to do it and it just fills out the sound a bit more at the bottom end, but it certainly wouldn’t have been a disaster if we couldn’t have done it. As it is, the subs are fully integrated into the interior and are completely invisible.”
Axelsson also appreciates the tonal balance of the 4030s. “As well as being precise, the sound is also incredibly natural and transparent. The highs are clear and musical without being aggressive and the mids and lows are present without being overwhelming. Genelec has a reputation for superlative sound quality, and the 4000 Series is no exception.”
However, in a restaurant environment like Ciccio’s where the décor and atmosphere are of prime importance, the loudspeaker choice wasn’t solely about the sound, it had to work visually as well. “Fortunately, the 4030Cs look as good as they sound with their pleasantly rounded form, and they also offer the possibility to customise the colours to blend seamlessly into the environment. We chose to paint the speakers using an oven lacquer so that the speaker colours match the interior perfectly. They look wonderful.”
“Finally, the system sounds amazing whether at low levels during dinner when you just want unobtrusive background music, or when you’ve turned it up for the late night/weekend crowd that is wanting to party and dance on the tables,” concludes Axelsson. “The owners are delighted with the results. Ciccio’s is already turning out to be a very popular nightspot in Stockholm.”
24th May 2019
Yamaha Helps Signal the Return of LocHal to the People of Tilburg
The Netherlands – For 77 years the locomotive repair facility in the Dutch city of Tilburg was a vital part of the Nederlandse Spoorwegen (NS, or Dutch Railways) network. Employing hundreds of local people, its 2009 closure had a profound effect on the area. But now the building has been reborn as a major cultural and learning centre, where Yamaha audio systems are helping to drive the train of new innovation forward.
Originally opened in 1932, the impressive 90m by 60m steel and glass building was a busy workplace, playing an important role in local employment. When it closed, rather than demolish it there was a strong desire to ‘return the building to the Tilburg people’. It was decided to use it to form the centrepiece of a contemporary, fashionable new ‘railway zone’ in the city.
“Impressed by the enormous size of the space, the design team realized that it is more than just a building,” says Dennis van der Vleuten, owner of Klundert Audiovisueel, who was commissioned to install AV solutions in the redeveloped facility. “It is a part of the urban fabric of the city that, with its heavy construction and internal ambience that gets lighter the further up you go, would provide a fantastic spatial experience.”
Reopened in 2019 and renamed LocHal (short for Locomotive Hall), it has been converted into a modern, sustainable art and cultural centre, featuring a relocated Tilburg Central Library as well as spaces for meetings, education, hospitality, artistic and cultural development, a cafe and more. Each space has been carefully designed to reflect and complement all of the others, while keeping links to LocHal’s industrial past.
Dennis is currently working with de Bibliotheek Midden-Brabant (which runs the library) and Kunstloc Brabant, a cultural development organisation which assists everyone from school students to professional artists. He has installed a number of audio and video installations through the building, with more in the pipeline.
He has chosen Yamaha audio systems for a number of spaces, thanks to their ease of use and long-term reliability. “My customers want great quality, but they do not want equipment that is complicated to use. It must sound great and straightforward for anyone to get the best from,” he says.
In De Stemmingmakerij, a room for meetings and AV presentations, four Yamaha VXS8 full-range, surface-mount speakers are installed as a stereo system, arranged to seamlessly cover the room, which is wider than it is deep. Powered by an XMV4180 multi-channel amplifier and managed by an MTX3 matrix processor, when a microphone is used the two middle speakers are automatically lowered in volume, maximising gain before feedback.
Future Lab is a room for large, complex AV presentations and one of six themed ‘laboratories’ at LocHal, designed to inspire learning. Here the audio system comprises a pair of Yamaha VXS8 surface-mount loudspeakers, powered by a PX3 power amplifier with system management by another MTX3.
Finally – for now, anyway – the KunstLoc Mesa Mine training room has an audio system comprising a pair of Yamaha VXS5 loudspeakers, powered by an MA2030a mixer amplifier with inputs from a wireless microphone and laptops for presentations.
“The renovation of LocHal was a huge project and it is still ongoing, in terms of further developing the facilities and installing more high quality AV systems to give users the best facilities,” says Dennis. “It gives Tilburg a unique location where people and information come together to learn, do business, research, create, innovate, exhibit and present. It is a place where the future is central, where the latest technology is essential, but without losing sight of its past.”
23rd May 2019
SoundCop, the xC-Series and the Taming of the Gustav Vasa
Sweden – One of the largest and most beautiful of Stockholm’s churches, the Gustav Vasa Kyrka, in the city’s Vasastaden district, carried out a major refurbishment and technical upgrade. As one would expect of such an edifice, when it comes to technical systems the church has quite specific aesthetic preferences. And for sound reinforcement, meeting these requirements is complicated further by the physical and acoustical reality of the building itself.
The Gustav Vasa Kyrka was designed by August Lindegren and completed in 1906, with a capacity of up to 1,200 worshippers, generations of whom have no doubt marvelled at the lavishly decorated marble surfaces, and soaring arches. They also can’t have failed to notice the remarkable reverberation time.
Jacob Julin of Soundcop, the company brought in to solve the church’s intelligibility woes says: “The acoustics was the biggest challenge. When we started, the hall had an acoustic reverberation of six seconds, so that was of course an issue.”
Later however, following the building’s refurbishment, including new treatments to the floor and walls, that reverb time had risen to seven-and-a-half seconds. Julin continues: “The worst of the reverberation is between 300-500Hz, so it is possible to improve it with a little bit of system trim, but the reverberation is very long in full frequency as well.”
Representing Svenska Kyrkan, facilities manager Urban Paulander says: “What we wanted was a system which would make speech and music as clear as possible for all the listeners in all areas of the church.”
Fortunately, d&b xC-Series column loudspeakers, which SoundCop had used successfully in Stockholm’s Maria Magdalena church the year before, were well suited to the task. Purchased via ARVA Trading, the d&b audiotechnik distributor for Sweden, their cardioid dispersion performance is key to reducing unwanted reflections and maximising intelligibility in spaces like this. Says Julin: “The 24C was the obvious choice. I was worried that they wouldn’t cover the 19m throw distance to the delays, so that was a nervous point, but it worked. It worked straight away.”
Explaining his preference for the xC-Series, he says: “I listen through a lot of column speakers, and there’s nothing good, absolutely nothing. Some use beam-steering and things like that, but most only give me a headache because they’re not phase coherent at all. I’ve chosen xC-Series for a while now because it’s the only column speaker that actually sounds like a small PA for real. And it works.”
The finished installation consists of a left/right PA system, with one 24C cabinet per side, plus two of the tiny d&b 4S cabinets pointing in towards the altar. Then there are 24Cs pointing the same way as the PA, and two 16C point back to the presenter’s position for foldback.
“On one of the pillars there is an organ that is totally in the way of everything,” says Julin. “If we put a speaker there, no-one behind it would hear anything. So we made 80cm wall-mount arms to hold the speakers out on each side of the organ.”
Around the pillars 24C, 24C-E plus 4S cabinets from the xS-Series, cover from the balconies, with further 4S cabinets providing under-balcony fill, and further 16Cs for delays on the pillars further down the room. In addition, a separate system of 16Cs is installed in one of the side-chapels.
The system is powered by eight d&b 10D amplifiers, with two DS10 network bridges providing the digital networking via a Yamaha Rio3224 I/O unit. “Every speaker is on its own channel to allow us to time align everything. There are two DS10s to get the audio from Yamaha and Q-Sys via DANTE and distribute it via AES to the amps.”
The project’s aesthetic demands also made for a complex cabling installation, with Julin and his team running everything through precisely cut steel conduit, carefully tracing the ornate architectural features. “As there were a great deal of small angles needed for this, we had to more or less become plumbers to do it.” he says.
A QSC Q-SYS Core 500i processor gives connection to two touch screens, one by the priest’s position, allowing them to select their own microphone, and another at front of house. “Here we have made very good use of the d&b plug-in for Q-SYS,” says Julin. “It gives the user easy control of zones, by selecting areas of the room on a plan view map on the touchscreen. This mutes or unmutes the different areas.”
In total, around 30 loudspeakers are installed, mostly mounted on or near the two foremost pillars. Two Q-SYS Page Stations are included for use in emergency evacuations, while a Yamaha QL1 digital console presides over the system at the front of house control position.
“All EQ and delay is done with d&b R1 remote control software,” says Julin. “The user has a choice of controlling events either via the programmed touchscreen connected to the Q-SYS Core, or via the QL1.”
Urban Paulander is pleased with the result. He says, “It’s a very good system, the sound is much, much better than before. The control interface is both advanced and simple, which is great because we have people in the staff with different levels of knowledge and interest in sound and mixing.”
Julin concludes: “Quality-wise, the xC-Series loudspeakers were everything to this project. I don’t think it could have had that quality without that product, at least not with the visual demands. There was no way we could have used anything else, not that stays coherent, anyway. In my next church project, I’m pretty sure I will do the same thing again, and again, because it really works.”
23rd May 2019
ROE Visual LED Wall Brings Grand Foyer at the Star Casino to Life
Australia – The Star Casino in Sydney has unveiled its immersive indoor light and water display, featuring a huge crescent-shaped video screen based on Black Onyx LED panels by ROE Visual.
The Grand Foyer experience at the Star Casino in Sydney, combines LED screens, Aquatic Water fountains, lasers, light and live performances to offer an interactive arrival experience for its approx. 20 thousand guests that pass through the foyer every day.
Big Screen Projects were commissioned by Ramus Illumination to supply the LED equipment for the refurbishment of the Grand Foyer, the total immersive installation amounting to a 22-million-dollar investment for the Star Casino.
For this project Big Screen Projects have been working together with lighting specialists Ramus Illumination, who specialize in the design of grand-scale theatrical experiences that encourage public engagement.
The screen showcases the works of Australian artists, university students, cinematographers and animators, the content reacting dynamically to the real-world environment and human movement, encouraging guest interaction. “Creating an installation that combines architecture, contemporary art and technology, states Dino Mezzatesta, the Star Sydney chief operating officer, inspiration behind the artworks was drawn from The Star’s proximity to the busy Sydney Harbour shoreline.”
“With The Star Sydney Grand Foyer experience we wanted to design an experience full of compelling encounters that enrich the journey, comments Bruce Ramus, who heads Ramus Illumination, we envisioned a beautiful, unifying space that embraces and welcomes all people, and we believe we’ve achieved this.”
Big Screen Projects is Australia’s industry leader in the LED display market. The company provides large format commercial displays and outdoor and indoor video walls for a variety of applications. Aiming to provide their clients with the best solution for their needs, each project is approached with the goal that the solution must live up to the promise of a “long life” technology.
For the stunning 25 metre long, 8K resolution and crescent-shaped screen in the Grand Foyer, Big Screen Projects selected the ROE Visual Black Onyx LED panels. As Toby Waley, from Big Screen Projects states: “The choice for ROE Visual hardware on this project was an easy one, the product needed to be proven in the field, with a track record of reliability. The Black Onyx BO3 range was the only product that stacked up to all of the project requirements, including the use of custom triangular modules.
The total screen measures 56 panels wide and maximum ten panels high. Using half, quarter and triangular panels, a nice flowing slope is created in the total screen. Big Screen Projects created a custom mounting frame, to be able to create the horizontal slope as well as the inward curve of the complete screen, guaranteeing a perfect fit and flawless canvas. The total installation runs on two ROE Visual Z6 4K processors.
Next to the screen, Big Screen Projects used ROE Strip to highlight the curved ceiling panels and walls. “The strip used on the walls and in the ceiling looks incredible. The flexibility of the ROE Strip gave us the possibility to neatly follow the line of the curved panels,” comments Waley. “With the pre-fabricated mounting parts, the installation was really easy and the Brompton processing behind the fixtures made the extremely challenging task of mapping possible.
“The pre- and post-sales support from ROE Visual is the best in the market, Waley continues, ROE Visual are a true partner when it comes to delivering challenging and complex projects like this one, they have offered invaluable support to us throughout the project lifecycle.”
photos: Rohan Venn
23rd May 2019
Theatre Royal Wakefield, upgrades to HALO-C system from EM Acoustics
UK – Built in 1894, Theatre Royal Wakefield is a grade II* listed, highly ornate, traditional proscenium arch theatre in the heart of Yorkshire’s cathedral city of Wakefield. The design and vision of the famous British architect, Frank Matcham and one of the smallest remaining Matcham auditoriums today, Theatre Royal Wakefield is a shining example of his ability to create a beautiful theatrical environment within a very tight space. The time had come to replace the theatre’s old and failing PA with a new, modern system that would provide high quality, even coverage across all the seats in the auditorium. Theatre Royal Wakefield’s technical manager, Di Clough, turned to Huddersfield-based systems integrator, Sound and Light Concepts Ltd, who supplied and installed a full HALO-C compact line array system from EM Acoustics.
Despite its bijou proportions, Theatre Royal Wakefield nevertheless has a capacity of 499 seats and the old system was no longer providing the the level of service required for a theatre of this calibre. As well as producing around half of its performances, Theatre Royal Wakefield is also a receiving house, so Di invited several local hire companies and independent sound engineers as well as the theatre’s own sound designer to be present for a number of demos from well-known manufacturers, including a comprehensive demo of the HALO-C line array.
“We were looking for a high quality system with excellent intelligibility and sufficient reserve power to meet the wide range and styles of performance we have here,” explains Clough. “Budget was also a consideration, of course. However, budget aside, of all the systems we heard over several months, HALO-C was by far our favourite with an impressive throw to the rear stalls.”
Tony Bottomley, owner of Sound and Light Concepts, who assisted EM Acoustics’ Dave Kelland with the demo, confirmed that HALO-C was clearly the box of choice from a sonic perspective. “The verdict was unanimous on the sound quality, but there were several other considerations on the final spec,” he recalls.
“Being an old style theatre with very ornate plaster work, finding a suitable place to install the speakers was a major challenge, especially as there were three levels to deal with,” explains Bottomley. “The old system had a box for each level mounted on a floor-to-ceiling boom running up the front of each proscenium arch. Fortunately, a pair of HALO-Cs at each level was small enough and light enough to directly replace the old boxes, mounting them on a horizontal boom arm off the vertical boom. This gave us a very discreet installation that didn’t impact the cosmetics of the theatre. The very accurate and controlled vertical dispersion of the HALO-C allowed us to direct the sound into each of the levels (i.e. stalls, circle and upper circle) whilst minimising any spill (hence unwanted reflections) onto the circle and upper circle fronts. As this gave full seat coverage on each level it also meant that we could do away with any under-circle fill speakers and remove any time alignment/quality issues.”
“Finally, it was decided to add a third box to each stack for the stalls just to give a little more headroom, and the system was completed with a pair of EMS-118 subs at the base of the vertical booms.”
Di confirms that she and her team are delighted with the results. “In fact, many incoming shows have since chosen to use the new PA rather than loading in their own once they have been notified or seen what it is for themselves, and many have commented on its excellent performance,” she continues. “The local hire company now uses our system instead of their own when they are involved in productions here and are very happy with it. It’s made all the difference to the quality of experience we can provide to audiences and production companies alike.”
Sound designer John Trenouth adds: “We’re very impressed with the system. After some initial tweaks, including adding slight upper-mid lift which suited our auditorium and final adjustment of speaker alignment, the results have been fantastic. The new system is very clean and effortless with loud transients, and the ability to remotely control EM’s DQ Series amplifiers from FOH made initial setting up so easy.”
22nd May 2019
Pro Gear Creates Club Atmosphere at Moose Bar Chain with Chauvet DJ
Belgium –Throughout the world, people have taken mobility to a new level. Pop-up stores are redefining retailing from Brooklyn to Barcelona. Food trucks are serving up tasty meals on every corner. Now Versuz, the largest nightclub in Belgium and one of the hottest venues in Europe, has added a happy new twist to the pop-up concept with Moose Bar.
Taking the party to the people, Moose Bar is opening pop-up nightspots throughout Belgium. Designed to evoke the feel of an après-ski style party spot, all Moose Bars offer the look, feel and good-time vibe of a first-rate nightclub with plenty of food, drink, loud convivial company, and performances by top DJs. Contributing to the festive atmosphere is a collection of Chauvet DJ fixtures, supplied by Pro Gear BVBA.
“Being familiar with my reputation as a DJ, and since I’m part of the Versuz team, the club’s owner felt comfortable seeking my advice on giving Moose Bar a nightclub feel,” said Laurent Wery, owner of Pro Gear. “Bright, fast-moving and colourful lighting is a key to creating this kind of atmosphere, which made the choice of fixtures very important.”
Wanting fixtures that could deliver the exciting visuals of a club environment, yet were compact and energy efficient enough for a pop-up location, Wery decided to anchor Moose Bar rigs with Chauvet DJ products. Featured in his lighting package for the six current venues in the chain are: 47 Intimidator Spot 260 moving fixtures, 80 SlimPAR T6 USB low-profile RGB wash lights, 30 SlimPAR T12 USB units, four Line Dancer compact mid-air effects, one Swarm Wash FX rotating derby, 16 Geyser P7 colourised RGBA+UV foggers, and three Hurricane 2000 fog machines.
“Each Moose Bar is different in size and style, so each has its own unique lighting needs,” said Wery. “However, the goal in all sites was the same: to create excitement and colour that enhance the club atmosphere.”
A lively dance floor is essential to creating that kind of atmosphere, whether at a pop-up site or permanent location. Wery ensured that the dance floors at the Moose Bar clubs were enlivened by a steady stream a bright and bold looks by hanging the Intimidator Spot 260 fixtures over them as their main spot. At some sites, he enhanced the impact of these 75W powerhouses by coordinating them with aerial effects from the Line Dancer or Swarm units.
For colour, Wery positioned the SlimPAR washes strategically throughout each Moose Bar location. “The SlimPars create the kind of ambience and glow that people associate with a club like Moose Bar,” he said. “We’re able to make each location sparkle with colours that best suit that particular venue. In each case, the colours are vivid and realistic, and the output is very good.”
In addition to liking the performance features of the fixtures in the Moose Bar lighting rig, Wery is quick to praise their practical benefits. “The install time, price/quality per unit and fast teardown/storage associated with these lights were important factors in us selecting them,” he said. “Moose Bars are temporary pop-up venues, so we have to think not only of using these lights, but also of packing them up.”
When those lights are packed up, it’s safe to assume that they will reappear again at another time and place, as Moose Bar continues to bring a new level of nightlife excitement to every corner of Belgium.
22nd May 2019
L-Acoustics Cultivates Abundant Sound at The Grove
USA – When The Grove Community Church of Riverside, California built its current worship centre more than 12 years ago, Olympia, Washington-based CCI Solutions facilitated the design and installation of the sound system for its 1,800-seat main auditorium. Since that time, like many churches, The Grove’s music sets have gradually moved toward a more contemporary praise style requiring a robust sound system to best capture both the band’s impact and vocalists’ intelligibility. So when CCI Solutions recently got the call to once again assess the room’s sonic needs, the integrator recommended a new system built on L-Acoustics’ Kara(i) and Kiva II platforms.
“The Grove definitely takes a more contemporary approach to music, but the only thing that’s safe to expect is the unexpected,” notes CCI Solutions vice president of sales and integration Duke DeJong. “Their team is highly creative and dynamic, so they mix it up pretty regularly going from a traditional worship set with a 25-piece choir and full orchestra one week to a high-energy, modern worship music set the next. They really needed a system that could handle it all and we knew that L-Acoustics would certainly deliver.”
Using L-Acoustics’ Soundvision 3D real-time acoustical modeling software, CCI Solutions project lead Mark Pearson explored numerous designs and ultimately specified a system featuring left and right main arrays each comprising 11 Kara(i) enclosures with eight SB18i subs flown in a central horizontal array between them. Twin arrays of six smaller Kiva II enclosures are hung outside of the Kara to address the wide room’s far left and right seating areas, while KS28 subs are ground-stacked two per side under each end of the stage thrust. Several coaxial X8 and X12 enclosures are utilised for various fill applications, and eight amplified controllers power the entire system: six LA8 for the Kara/Kiva II and SB18i, an LA4X for the coaxial fills, and an LA12X for the KS28.
“Thanks to the right products and people, this project was a huge success and I would rank it in my top three system designs of my 20-year history at CCI Solutions,” Pearson says. “The Grove has a very unique creative team that pulls all the stops out; it has been such a blessing to work with them for more than a decade. They not only appreciate the use of the right technology but have a huge amount of trust in CCI Solutions as a partner in creating an environment to support their vision and equip them with the tools to minister to their community. They value their investment knowing that the transparency and fullness that comes from L-Acoustics is nothing but the best. This system is a thrill to hear.”
Pearson points out that the geometry of the room combined with the necessary SPL really drove the need for a line array solution in this case: “We looked at everything from ARCS WiFo to Kiva for the main hangs, but the driver configuration and output of Kara helped it make the most sense as the primary array choice for The Grove.”
The deployment of two models of subwoofers, flown SB18i and grounded KS28, allows the new PA to adapt for a variety of performance types. “The flown SB18 are being run with the full range of the system as an LF extension to the Kara/Kiva II, and then the KS28 are switchable between being run with the system and run from an aux off the console,” he describes. “The method in which we designed the sub system is to create a more efficient use of the subs to complement The Grove’s contemporary worship style. It basically comes down to flexibility. The church doesn’t necessarily always need a lot of punch for weekends, but they want the ability to have it whenever they want.”
Shortly after the new system went in, The Grove received a prestigious WFX Solomon Award for its sound system retrofit project, much to the delight of Dan Williams who has served as the church’s technical director for the past seven years.
“I was familiar with L-Acoustics and had used some of their systems in the past, so when CCI suggested that we consider the brand for our upgrade, I was very interested,” Williams enthuses. “After listening to a nearly identical Kara/Kiva II system, I was confident that it was the right choice for The Grove. I’m so impressed with the system’s high fidelity, full-range output that is smoothly and evenly delivered to every seat in our worship centre. This system is so efficient in accurately reproducing input sources to our audience, and that same sonic characteristic is everywhere throughout the entire space.”
Williams points out that he’s hardly the only one to notice the improvement. “With the new system in place, the pastoral team, board members and staff are all pleased and excited to experience the various services and events held in our worship centre,” he says, adding that the best compliments have come from parishioners. “I have received many audience compliments about the new system, including one very surprising comment from an older couple thanking us for installing a system of such quality and clarity that they can now distinctly hear every word that is spoken and sung. That is a big deal!”
DeJong and Pearson are both quick to share credit with others for the project’s success. Among those are Todd Mayo and David Bradley from the CCI Solutions Systems Installation team, who co-ordinated the removal of the previous rig and installation of the new one in only five days, as well as L-Acoustics’ André Pichette, who validated the system design and performed its final calibration.
21st May 2019
Avolites Ai Drives the World’s Largest Permanent Video Projection Installation
Qatar – The world’s largest permanent video projection installation has opened at the architecturally striking new National Museum of Qatar (NMoQ). Inside, an incredible 21 billion pixels are being processed every second by nine Avolites Ai Q3 servers, alongside another 163 Ai Miami software licences, running on 1U 8K media servers custom designed by the London-based visual technologists, RES.
The video projection aspects of the project involve a series of ‘Art Films’, which were produced by the Doha Film Institute (DFI) in collaboration with hand-picked directors and videographers, to immerse visitors in a journey through Qatar’s rich past, present and future aspirations. The projections cover a vast area, co-created by RES, MAN Enterprise / EMPTY Joint Venture and the DFI. The result is a breath-taking visitor experience, and one which requires sheer dynamic flexibility, ultimate reliability and rock-solid robustness.
“Avolites Ai is always our go-to software for demanding projects like this; the AIM Codec and Salvation Engine are both powerful and reliable,” says Mark Calvert from RES. “My colleagues Dave Green and Trey Harrison were of course the architects of the original source code for the Ai software, so we are very familiar with what it can achieve when a project needs to go big.”
The AiM Codec is a unique feature of the Ai software that allows video content to be compressed without losing the quality of the image.
The Avolites Ai Q3 servers and custom-designed 8K servers are feeding more than one petabyte of movie data to 112 Panasonic 4K projectors, which are beaming the content onto curved interior walls of the museum, known as the ‘cinematic display zones’. The data is shared via 50.6km of 3G SDI cabling and each video requires full motion image resolution as high as 25K by 4K, to cover more than 33,000 sq.ft. of space. The huge quantity of AV equipment, is controlled and monitored by HIVE, a bespoke software package designed by HIVE Media Control.
Avolites sales director, Koy Neminathan, says: “We are of course thrilled that our latest Ai server, the Q3, and our Ai Miami Licences, are in use on a world-class project on such as the National Museum of Qatar. The Q3’s slim form belies its cutting edge, powerful engine which is designed for rock-solid reliability and sheer pixel processing power and we can see this is use now in Doha.
"We'd like to thank RES and everyone involved in creating the world's largest permanent video projection installation for showcasing what Ai can do on a mammoth scale."
Designed by architect Jean Nouvel, the National Museum of Qatar is located on a 1.5 million sq.ft site surrounding the existing Fariq Al Salatah Palace, which had served as a museum of heritage since 1975. The building consists of a ring of interlocking display zones, encircling a large central courtyard area. Its design is inspired by the famous phenomenon of the 'desert rose' crystalline forms, like miniature architectural events, that emerge from the ground through the work of wind, salt water, and sand. It opened to the public in March 2019.
21st May 2019
Nicholas Lloyd Webber Chooses Audient Console for New Studio Complex
UK – An Audient ASP8024 Heritage Edition console was recently installed in Nicholas Lloyd-Webber’s brand new central London recording facility. He describes the five-room complex which is now up and running as “a wonderful studio. It’s incredibly flexible whether it be for tracking, mixing or working to picture in all of the rooms at once or independently.”
Designed and constructed by Kazbar Systems, the whole studio, from installation to the final product, met with Nicholas’s approval. “It has a wonderful sound and their care, precision and unrivalled advice is reflected in every aspect," he said.
Already happy and well versed in Audient technology having used the ‘classic’ ASP8024 in his Palace Studio previously, Nicholas’ decision to upgrade to the flagship Heritage Edition console was an easy one. The addition of the Dual Layer Control (DLC) module gives him enhanced and seamless integration with DAW.
Kazbar Systems also recommended Genelec 1238A Smart Active Monitors designing the control room around the console and speakers, “to provide optimal symmetry and sonic accuracy,” according to their website.
Located in a basement, there was some initial concern as to whether the British desk, complete with 24 channels, DLC and patchbay, would be manoeuvrable around the tight corners in the space. Delivering the desk in two parts with the modules out solved the restricted access problem, and the Heritage Edition console was reconstructed by Audient technicians on site.
The final design of the space comprises an isolation booth within the control room and two smaller, multi-functional isolation booths that can be used as additional live rooms, or alternatively as writing and production studios.
20th May 2019
Yamaha VXL Line Array Loudspeakers Bring the Human Touch to St John the Evangelist
UK – Yamaha’s VXL series slimline, column-type line array speakers are proving a very popular solution for houses of worship where large, ambient spaces need covering with tightly-controlled, high quality audio. A new installation at a 160 year-old church in London demonstrates the difference they can make.
Located a short distance south of Elephant & Castle, the church of St John The Evangelist in Walworth faces all the usual acoustic challenges of historic houses of worship. Here, solutions are also potentially more complex because it is Grade II listed. But systems integrator Flipside Soundsystem was equal to the task, assisted by Yamaha’s groundbreaking VXL line array loudspeakers.
“The existing sound system was about 20 years old, only partly operational and the sound it did produce was tinny and artificial,” says the church’s assistant priest, Simon Askey. “We wanted a system that would amplify speech authentically, rather than sound like a PA system, and that could be used by those who wanted to use either fixed or wireless microphones.”
Flipside managing director James Cooper and his team were very taken with the aesthetic of St John’s; its tall, vaulted timber ceilings and unusual cast iron columns giving the building an air of grandeur and Victorian progress. So it was very important not to impact on that.
“Church systems need to be a number of things. They need to be visually as inconspicuous as possible, but deliver high speech intelligibility, while coping with often very lively acoustic spaces,” he says. “Control-wise, they need to be extremely easy to use, but also resilient to curious ‘knob-twiddlers’.
“At St John’s, the system would be primarily used for worship, meaning spoken word with perhaps a small amount of choral music played back from time to time. Occasionally, the church is used for outside groups and weddings, where more music playback is needed. So we were requested to design a system primarily for church use, but also to cater for music applications, with perhaps the odd instrument being plugged in.”
James chose a pair of Yamaha VXL1-24 line array speakers, mounted each side of the chancel arch, each with a VXS10 subwoofer, used to complement the VXL1s for music playback applications.
A Yamaha MTX3 matrix processor takes inputs from four fixed and two wireless microphones, all managed by the MTX3’s onboard Dan Dugan automixing, which eliminates any potential feedback issues.
A single DCP4V4S wall-mounted controller has an on/off switch and volume control for the wired mics, radio mics, a CD player and a pair of RCA system inputs. Together with the Dan Dugan automixing, it makes system control very simple for church staff, with the system locked off at the MTX3 to prevent unauthorised tampering.
“We wanted to use as few speakers as possible, carefully selecting those with a dispersion pattern that allowed us to target sound directly at the pews and nowhere else,” says James. “The new Yamaha VXL range is brilliant for this sort of application and meant that we could achieve very similar decibel levels at the front and rear rows of pews, which are 17 metres apart.”
With a new induction loop system fed by a separate matrix send from the MTX3, those with hearing aids are also able to benefit from the same improved audio quality that everyone else at St John The Evangelist is now enjoying.
“We were impressed that Flipside didn’t try to sell us an off the shelf product, but something tailored to our particular situation and needs,” says Simon. “The system works well, with the voice amplification sounding more like human voices in a theatre than a PA system in a church. It has made our worship more inclusive, because everyone can hear, and what you hear is the natural intonation of a human voice, which was lost on the old system.
“I also particularly liked the fact that they went to great lengths make the system ‘disappear’ in the building.”
“We’re really proud of this system,” adds James. “It’s a great showcase of how a simple approach to audio can create amazing results for any house of worship, without costing the earth!”
20th May 2019
AB Goes Mega
Belgium – The Ancienne Belgique (AB as it’s universally known) sits right in the bustling heart of old Brussels as part of a vibrant multicultural metropolis and a thriving music scene. It is one of Europe’s most iconic live music venues and a favourite on the gig circuit for artists and crews alike.
The venue has just purchased 24 Robe MegaPointes which join the 50 Spiiders that have graced the house lighting rig since 2017.
Together with some other lights, these ensure that the very best production values can be offered for all incoming shows, for those who might be using the full house rig and not carrying any of their own kit, as well as those touring with specials packages and hooking into the house ‘top’ rigs each night.
Whatever the deal, the AB is fully equipped to help guests get their best possible show.
Head of AB’s lighting department, Renaat Van Hee, explained that they were extremely happy with the Spiiders and looked to Robe again to invest in new spot / beam fixtures.
“We have good contact and have enjoyed great service from both Controllux (Robe’s Benelux distributor) and Robe themselves, and we want to continue the positive relationship,” he explained.
They were initially looking for an LED spotlight, but they could not find anything to meet all their criteria. It had to be a good FX light as 90% of the performances are music based and effects are important, and they had recently been repeatedly renting in beam lights, so it made sense to have their own.
“MegaPointe, with it’s excellent spot and beam functionality gives us both, and it is the best fixture on the market right now for this kind of work,” he underlined, adding that they always like to be able to offer the best at the AB!
He’s confident they made the right decision on both fixtures as so many touring productions are now coming through with both on their riders. “Spiiders and MegaPointes are a great combination that delivers excellent performance for music shows where you really need the punch, power and versatility.”
He also remarks on the light weight of both which is important as they do overnight re-rigs most of the time. The crews all love them as they can rig them single handed and “we have received great feedback from everyone”.
They have also not yet had to do any cross-rentals since the MegaPointes arrived, so the ROI will be quick and efficient.
In peak months, the 2,000 capacity AB will stage 28 to 30 shows per month, so there is plenty of demand to use their house technical facilities, so reliability was another factor in the decision.
Renaat had worked at the AB as a freelancer since 2002 and held his current full-time role running the lighting department for the last two years. They have four full time technicians working in lighting, another four in audio and three dealing with general production elements and, of course, a large pool of regular freelancers.
Their first investment into Robe fixtures was in 2012 when they purchased MMX Spots and these ran happily – and extensively – for six years before bringing everything bang up-to-date with the MegaPointes and Spiiders.
In picture: Ancienne Belgique’s head of lighting Renaat Van Hee and lighting designer Jan Van Lindt who also works at the venue.
17th May 2019
Green Hippo Gets Scientific at Explorium in Dublin
Ireland – A.C. Entertainment Technologies Ireland Ltd. (AC-ET Ireland) have provided Explorium National Sport & Science Centre with a Green Hippo Hippotizer V4+ Media Server to control their LED display.
Based in Dublin, Explorium uses sport to inspire children and adults alike to discover the wonders of science. The centre features three key areas: science, sport and junior, with each one offering a huge range of interactive experiences.
Jackey Chai at Explorium required a media server to control the centre’s LED display, which is a central point of focus at the entry to the internal auditorium and visitor centre. The display is used to play various visual effects such as a waterfall, and promotional videos. Understanding Jackey’s needs Aaron Cripps, managing director of AC-ET Ireland, recommended a Green Hippo Hippotizer Amba+ media server.
Aaron visited Jackey at Explorium to provide support, training and demonstrate the extensive range of features that the Amba+ has.
He commented: “Explorium uses a lot of innovative and cutting edge technologies, so it was important that the quality of the content met the high standards of the rest of the centre. The Amba+ has a 4K output which looks fantastic when it maps onto the LED display.”
Jackey concluded: “It has been great to have A.C.'s help and expertise with this project. The Hippotizer media server is very powerful, with many different features, and Aaron has always been very helpful and quick to get back to any questions.”
17th May 2019
‘Floating’ displays lift The World of Beatrix Potter Attraction
UK – The World of Beatrix Potter wanted to reinvigorate the attraction with stunning new displays that were not only beautiful works of art in themselves but also help visitors navigate through the attraction on the self-guided tour of the exhibition.
The creative team developed the idea of creating collages made up from thousands of artificial maple leaves to float like clouds above the main displays. The leaves would provide a 3D surface upon which moving content would be projected. As well as the 'leaf' clouds described above, the team designed large leaf-shaped displays to hang from the ceiling that would show projected imagery with illustrations and text from the books to tie in with each zone.
Cumbria-based AV experts Soundsmith, chose six Optoma ZU660 laser projectors with short ultra short throw lenses for the 3D leaf collage displays and six ZU500T laser projectors to rear project onto the single leaf displays in each zone.
Tom Elleray from Soundsmith Limited said: “The ZU500T are fairly small units for the powerful image they project. We could install these to rear project onto the leaves for the zones and they are barely visible to visitors. The black chassis blends perfectly into the background.”
All equipment is networked and managed through the attraction’s QLab control system. This centrally controls all AV elements so that as visitors walk through the attraction, imagery, sound and lighting is triggered accordingly. The system switches on and off at the start and end of the day and also cleverly responds to fluctuations in visitor numbers, so if there is a greater footfall on a wet Lake District day, the cues last longer.
A further two ZU650 projectors were installed in the attraction foyer to improve the visitor welcome experience and a powerful ZU1050 projector was installed in the Old Laundry Theatre to rear project onto a screen in the musical adventure Where is Peter Rabbit? theatre show. Tom said: “We were asked to provide a 4m wide image, with very little throw distance, that could be rear projected and compete with the bright stage lighting. The Optoma ZU1050 was the brightest solution possible that we could combine with the ultra-short throw lens to achieve this.”
Tom said: “The new displays really ‘lift’ the experience to another dimension and reinvigorate what was already a brilliant attraction. We are thrilled with the final results. It worked perfectly right from the opening and the effect from these projections is simply stunning, even better than we expected!”
The ZU1050 projector installed in the Old Laundry Theatre for the Where is Peter Rabbit? theatre production has made a huge difference to the show. Tom said: “The vibrancy of the images and video is just stunning. It is especially impressive when you consider the environment in which the projection is taking place. The actors use the projection as an ever changing backdrop to the performance. It enables the scene to be set in seconds, rather than the minutes it would take using traditional theatre scenery.”
Sarah Melhuish, marketing manager from The World of Beatrix Potter attraction said: “We are delighted with the new installations at the attraction which have significantly enhanced the exhibition and created an even more immersive experience for our visitors. The projections are enriched by innovative new lighting and a dramatic new sound track, which guide visitors through the different scenes.
“This is the biggest addition to the attraction in recent years and reaction from our visitors has been outstanding. We are thrilled with the visual effects that have been created by the Optoma projectors.
17th May 2019
Altman Lighting transforms the worship experience at Richfield Church of the Nazarene
USA – Located in Otisville, Michigan, Richfield Church of the Nazarene is dedicated to serving the community through an inspirational and heartfelt worship environment. Offering both contemporary and traditional services each week, the church recently underwent a lighting renovation to create a better positive and life-changing experience for all their members and guests. Needing an upgrade to the complete lighting system, they worked with the design professionals at Mercury Sound and Lighting who installed a new house design filled with Chalice LED downlights from Altman Lighting.
“This was actually our first time working with the church and they wanted us to take a look at their theatrical and house lighting equipment which was reaching the end of its life cycle,” began Japheth Boivin, A/V solutions facilitator, Mercury Sound and Lighting. “The existing house lights were custom fixtures made specifically for the space when it was initially constructed, and they were becoming costly and difficult to maintain. To alleviate these challenges, they wanted an LED retrofit of their house lighting design, so we installed a package of Chalice LED downlights.”
As the team at Mercury Sound and Lighting prepared to tackle the retrofit of the house design, they would face a bit of a challenge when it came to working space. In a sanctuary with both high ceilings and minimal room to manoeuvrer overhead, the innovative dimming capabilities of the Chalice LED luminaires would prove to be a valuable asset to the design.
“With a ceiling height of about 45-feet at some points, and no crawl space in a sanctuary that was built from the top down, running new lines to new locations was not an option,” continued Boivin. “This was another one the reasons we opted to go with the mains dimmable Chalice fixtures so that we could utilise the existing power lines and still have all of the benefits of an LED house lighting system.”
The Chalice LED Series is the most diverse range of downlights available with mounting options that include pendant, recessed, aircraft cable, wall and yoke mount; and dimming choices ranging from mains dimming to DMX. Also available with a wide variety of LED colour or white light options, plus numerous lens or reflector choices, the Chalice LED Series is the most versatile and easy to integrate downlight solution available today.
“I have been in the industry for a long time, and for house lighting fixtures in an LED retrofit, Altman Lighting is my first call,” added Boivin. “The install was a one-to-one replacement of the old system giving them a significant reduction in energy costs as one Chalice only pulls about 145 Watts, compared to 1000-1500 Watts each for the older fixtures.”
Ready to begin the installation of the new house design, the church was excited to achieve an expanded level of light coverage throughout the sanctuary. Replacing the outdated system that was unable to adapt to the dimensions of the space, Boivin was able to capitalise on the lensing system of the Chalice LED luminaires for a more complete design.
“The existing fixtures couldn’t really get light adequately into certain parts of the sanctuary, if at all, but now we are definitely able to do that,” explained Boivin. “Being familiar with the Chalice line and how easily the lensing can be changed, we were able to have our technicians quickly swap out the optics depending on where each fixture was located, and it has really transformed the space.”
With the new house design in place, the team at Mercury Sound and Lighting turned its attention to the control of the LED luminaires. After replacing the antiquated dimming system as well, they were able to implement an easy-to-operate and creative solution for an all-inclusive lighting environment.
“For the control, we created various lighting zones for the different architectural looks the church wanted to see which are easily controlled via a DMX wall plate,” explained Boivin. “From there, control is also run back to the new theatrical lighting console so that when the FOH technician is active, control is taken away from the wall plate. This way there is no tug-of-war between the two control points, and they can easily integrate the house lighting into their theatrical worship designs.”
While many worship communities around the world continue to invest in the updating of their worship technologies, the house lighting systems may often be overlooked. Whether previously viewed as too difficult or costly to replace, Boivin believes the breadth of the capabilities provided by the Chalice LED Series opens a broad range of design possibilities.
“For your dedicated LED house fixtures, the Chalice line is very adaptable to spaces which might not look accommodating to an LED retrofit at first glance,” concluded Boivin. “Depending on what you want to do with the space, this fixture has taken away a lot of the difficulty in LED house lighting retrofits, and it gives you many design and performance options that you simply can’t get with other solutions.”
16th May 2019
Robert Juliat Still Shines in the House of Dancing Water
Macau – Six Robert Juliat 600W LED Oz followspots have been installed as part of the recent upgrade of the spectacular Franco Dragone show, The House of Dancing Water in Macau’s City of Dreams. The powerful, long-throw LED models were supplied with push-pull, six-way colour changers and heavy-duty adjustable yokes in anticipation of the show’s extremely busy schedule.
The House of Dancing Water is an enthralling visual feast which has been seen by over five million people since its premiere in 2010. It is the largest and most spectacular water-based show in the world and, after more than 3,000 performances, the longest running show on the Cotai Strip. The show takes place in the purpose-built, 2,000-seat, 270° in-the-round, House of Dancing Water Theatre and is directed by the world-renowned and highly creative Franco Dragone. The story is focused around a huge 50m x 7m deep pool containing 3.7million gallons of water and involves 90 performers and over 200 international technicians who work their magic to create a scintillating show that dances with colour and light.
The House of Dancing Water show’s lighting designer, award-winning Luc Lafortune, originally specified Robert Juliat Victor followspots and 14 RJ D’Artagnan profiles, all of which have worked hard for eight years, playing ten shows a week in a highly unusual, moisture-filled environment, and been maintained by the lighting team led by head of lighting, projections and special effects, Karl Jenkins.
For the show’s upgrade, Jenkins had no doubt that the replacement followspots should also be from Robert Juliat. “Robert Juliat provides some of the most optically accurate luminaires in the world, and for this reason and their amazing longevity, they were chosen for the original build,” he explains. “There was no question that the replacement for the Victor followspots, after eight years of excellent service, would be anything other than another RJ fixture. With the large push towards sustainable shows and LED technology across the board, the RJ Oz is the best fixture on the market by far for our needs and, with its release aligning precisely with a major upgrade of the show, it was a perfect candidate for the replacement.”
Retaining the initial design intention of the show was important to the lighting team when considering the replacement, so a demo unit was provided by Pacific Lighting (HK) Ltd to allow them to make an accurate assessment: “The performance of the Oz when seen side by side the Victor exceeded our expectations and the light output was more than suitable for our needs,” confirmed Jenkins.
Jenkins has extensive experience with Robert Juliat lanterns and followspots, having worked as head of lighting on many productions for Cirque du Soleil – where RJ equipment has played an enormous role – before heading up The House of Dancing Water. “Brightness, beam quality, robust engineering, reliability, ergonomics, power consumption, all of these were considerations that we took into account when making the decision,” he says, “but, for me, it was the power from the LED that ultimately won me over. After ten years of experience with RJ products, the other features are a ‘given’!”
Like their predecessors, the six RJ 600W LED Oz followspots are rigged evenly around 270° of the circular grid above the audience, and used to highlight the show’s main protagonists. “The production has an incredibly heavy and meticulous followspot design as is the case with many of Luc‘s designs,” states Jenkins. “For this reason, an elegant yet powerful LED fixture was required to achieve everything from the beautiful low-light character highlights to high-energy powerful punches of light.
“In addition to this, from the operators’ point of view, Oz’s lack of ballast and the general heat reduction is also a great asset, and the electronic dimming in the LED fixtures is based on the same physicality of the existing dimming system, so makes for an incredibly simple transition for operators.
“We are extremely happy with the new LED replacements and I would specify Robert Juliat again, especially the new LED range, without a doubt.”
The RJ Oz 600W LED followspots (and all the show’s RJ equipment) were supplied by White Light Ltd via Robert Juliat’s local distributor, Pacific Lighting (HK) Ltd, which has sold over 160 Robert Juliat followspots to the region since becoming part of the RJ family.
photos: Chris Luk Photography Limited
14th May 2019
L-Acoustics Elevates the Sound of The Flyer – San Francisco at Pier 39
USA – The Bay City will never again seem the same once it’s been experienced through The Flyer – San Francisco at Fisherman’s Wharf’s Pier 39. The new flyover theater attraction gives both tourists and locals alike a bird’s eye view of the city using cinematic artistry and state-of-the-art HD film footage captured with the help of drones and helicopters, and blended with computer-generated imagery. As spectacular as the video is, though, visitors may be even more dazzled by the attraction’s audio thanks to an engaging cinematic soundtrack played back through a high-impact, high-fidelity sound system from L-Acoustics.
The soundtrack and sound effects were written, created and produced by Mathieu Vachon, audio director for Triotech, the Québec-based company behind The Flyer – San Francisco. Triotech is quickly establishing itself as a major player in the global amusement and theme park industry, and its latest creation follows a fast-paced point-of-view narrative that both documents the city and brings it vividly to life using the same jib, track, drone and other types of cameras employed by Hollywood blockbusters. The sound had to be big to match, which, according to Vachon, is why L-Acoustics was the ultimate choice for this high-profile project.
At The Flyer – San Francisco, three coaxial L-Acoustics X12 loudspeakers are positioned in an LCR array across the front of the attraction’s theater, behind its massive 1,100-square-foot (50'x22') screen. Two rows of tiny 5XT speakers are mounted on the rear walls for the surround elements, one pair per side, covering and upper and lower seats, while four SB18 subwoofers compete the discrete 5.1 system, which is powered and processed by two LA4X amplified controllers. Montréal-based Solotech integrated the audio complement for Triotech in conjunction with L-Acoustics' Andre Pichette, who performed the final system calibration via the manufacturer’s LA network manager software.
When The Flyer experience begins, 28 seated guests, suspended on an active-motion platform, embark on an immersive, high-definition 'flight' through some of the Bay Area’s most iconic landmarks and neighborhoods, including the Golden Gate Bridge, Alcatraz, Coit Tower, Marin Headlands, Chinatown, the Castro and more, propelled by Vachon’s energetic score brought to life on the L-Acoustics sound system.
“The soundtrack is extremely dynamic and exciting, and it also follows the emotions of the film very closely,” says Vachon, who adds that it took three months to envision, compose, record and mix. “But once we were finally on site at Pier 39 and I heard it played through the L-Acoustics sound system, I thought, ‘Wow!’ It was even better than in the studio. The score is huge and orchestral, and these loudspeakers make it feel so alive. The highs are crisp and clear, and the subs deliver a nice solid low end. Combined with the video, the final result is breathtaking, and the L-Acoustics system is a big part of The Flyer’s success.”
14th May 2019
Community Loudspeakers Provide the Outdoor Solution for Eastern Carolina University Student Union
USA – Convergent Technologies Design Group has completed the design of an outdoor sound system in the open quad area of the new Eastern Carolina University Student Union campus.
Founded in 1907 in Greenville, North Carolina, East Carolina University is a public doctoral/research university. With over 5,500 academic and administrative staff and around 30,000 students, it is the fourth largest university in North Carolina.
The new, 214,000 square foot Student Union is the largest construction project on the main campus since the Science and Technology Building opened in 2001. It will house the Dowdy Student Store, five dining options, student government and trustee office spaces, meeting rooms, a theatre and a large ballroom. The facility also features a five-level, 724 space parking deck and a new 6,500 square foot regional energy plant.
At the centre of the new campus is a large outdoor quadrangle with a 42-foot wide all-weather video screen. Bill Holaday, principal of Convergent Technologies Design Group, explained: “We were part of the architectural team that designed the entire building, including all of the interior and exterior audiovisual systems. The exterior video wall presented an audio challenge, requiring a solution capable of covering a large area while being mounted at a single, fixed location. After modelling and analysing several different approaches, our evaluation concluded that Community’s R SERIES and I SERIES would deliver the optimum solution, providing the best combination of uniform audio coverage, all-weather reliability, and trusted support from the manufacturer.”
The system designed by Convergent Technologies Design Group comprised three R2-66MAX dual 12-inch high output, three-way loudspeakers and two IS8-218WR high power dual 18-inch subwoofers, installed above the video screen. In addition, two MX10 stage 10-inch compact coaxial two-way monitors and four V2-1264 12-inch full-range two-way loudspeakers were included as portable equipment for flexible set-ups. Brian Whitlock, lead designer and project manager, commented, “The system is planned to be used for multiple applications and events, including movie night, overflow from the blackbox theater, campus gatherings and presentations, and viewing of game-day away sporting events, so both high intelligibility speech and powerful, full-range, music quality were essential. The R2 loudspeakers have a well-defined dispersion pattern that allowed us to direct the sound to the audience and avoid reflections from surrounding buildings.”
DSP is provided by QSC’s Q-SYS I/O Frame, with QSC CXD amplifiers driving the Community loudspeakers. The system is controlled by a Yamaha CL-5 digital mixing console, with Shure microphones maintaining the quality designed into the system.
Holaday concluded: “It’s an impressive screen with impressive sound to match. The coverage, sound levels and audio quality of the Community loudspeakers is outstanding.”
14th May 2019
Chauvet Professional Helps Entech Renew Color Magic’s Sparkle
Norway – Boasting 1,000 cabins and 54 suites, the MS Color Magic is officially the world's largest cruise ferry. For guests on her regular voyage between Oslo, Norway, and Kiel, Germany, however, Color Magic's real appeal lies in its generous onboard activities and entertainment, which includes a fully-equipped theatre, shopping mall and nightclub.
After having installed over 50 Chauvet Professional Maverick MK2 Spot and Wash fixtures as part of the vessel’s 2018 entertainment upgrade, which included installations in both the theatre and nightclub, Entech International was once again brought on board to work its magic within the ship's promenade area, specifying 14 Chauvet Professional Maverick MK2 Spot and 12 Maverick MK2 Wash fixtures to provide multifaceted architectural and event illumination.
In addition to providing a more efficient upgrade to replace the outdated lighting equipment on the ship, which is owned by Color Line, the new Maverick fixtures created opportunities to enliven the pop-up shows, acrobatic performances, magic performances and other activities taking place on the promenade, as well as providing ambient lighting throughout the crossing.
"After last year's successful theatre upgrade, we were confident that the Maverick Spot and Wash combination would be more than capable of providing a number of punchy, yet precise, looks to transform the promenade," commented Simon Featherstone, project manager at Entech International. "As a result, we knew that the versatility of the fixtures would provide a great solution for Color Line.”
Positioned from several high-level trussing beams spanning the promenade area and its array of shops, bars, mini stages and restaurants from port to starboard sides, the 440W Maverick MK2 Spot fixtures provide a number of concentrated effects for a host of different supporting atmospheres.
“The MK2 Spot’s five-facet prism and frost effects allow for the introduction of some very soft and subtle textures over the general promenade and the performance bridge spanning the walkway,” said Featherstone. “Also, the 13º – 37º zoom range comes in exceptionally handy when you consider the height of the trussing."
Given that many promenade activities take place during daylight hours as well as in the evening, it was imperative that any effects and concentrated bursts of illumination be bright enough to contend with the Nordic sun, which can shine for up to 18 hours in peak summertime. According to Featherstone: "The sheer brightness of the fixtures means that daylight interference is minimised, thus ensuring that gobo and prism effects can be seen clearly throughout the day.”
Serving up engaging saturated wash effects throughout the promenade are the MK2 Wash fixtures, which are also positioned from the trussing above. Thanks to 12 (40W) Osram RGBW LEDs, pixel mapping effects and CTO colour mixing, Featherstone and his team utilised the Maverick MK2 Wash fixtures to bring supporting atmosphere to both the promenade area and its activities.
“The colour mixing ability of the washes allows for efficient and seamless changes in atmosphere from bright, vivid saturated energy to support the programme of events, to providing subtle nuances for highlighting the architectural contours of the promenade,” he continued. “The fixtures also have a pretty decent punch, which in turn provides an incredible spectacle when combined with the Spots."
Due to the fact that refurbishments for cruise ferries of this kind normally require the ship to be docked, considerations such as size, weight and ease of setup were at the forefront of Entech's considerations in selecting an appropriate set of fixtures. Crucially for Entech, however, the compact light weight of the Chauvet fixtures and their ease of installation ensured that the job could be completed in one overnight session.
With the install completed and up and running, passengers on the world’s largest ferry are already reaping the rewards, thanks to Entech’s decision to incorporate the Maverick fixtures into the promenade. “Our decision to go with the Mavericks has been a win-win for everyone involved,” concluded Featherstone. “While guests can now enjoy top-quality lighting atmosphere, Color Line benefits from the low power consumption and reliability of the LED fixtures.”
9th May 2019
Extensive Renkus-Heinz System Serves Vast New Istanbul Airport
Turkey – On April 6, 2019, a stunning airport that is planned to become the world's largest, opened its more than 15 million square feet (1.4 million square meters) of floor space on the outskirts of Turkey's most populous city. In an amazing 41 hour operation, Turkish Airlines moved 44 tons of equipment from the old Ataturk Airport to the brand new,$11 billion Istanbul Airport, which is can currently accommodate 90 million passengers annually and will eventually handle up to 200 million when complete. The new airport features the latest technology at every turn, with biometric screening, advanced passport control, smart kiosks with augmented reality, and green construction and operations throughout. Its airfield ground lighting system is the largest in the world.
To ensure clear, intelligible announcements and emergency alarms, no small challenge in its vast spaces replete with windows and other hard surfaces, Istanbul Airport contracted with systems integration firm Titan to install a state-of-the-art sound system. In search of line arrays that could meet the challenge, Titan consulted with AtlasIED, which supplied much of the equipment for the audio network. "AtlasIED asked us if we would consider working with Renkus-Heinz and that they would provide us with full design support throughout the project," recalls Titan CEO Bulent Akinci. "That was essential because most of the other brands had a lack of support in design."
Over a three-year period, independent consultant Ricardo Castro from RCOE developed a system design, doing models, working on positioning, and checking the performance. Phase 1 of Castro's solution employed 467 Renkus-Heinz ICONYX Gen5-series digitally steered line arrays, which covered the check-in area, five piers that deliver passengers from the check-in lounge to their gates, and the baggage claim area. Later phases will cover the large duty-free lounge and newer areas as the airport's construction continues.
"The check-in area presented a considerable challenge because it's so big, so complex, and the ceiling is so high," Castro relates. "The baggage reclaim area is also a very important space and was a challenge because it's big, yet the ceiling is low. It required very tight beams for the sound to reach all of the people. Furthermore, in each pier there was the issue of perfectly delaying and synchronising all of the Renkus-Heinz arrays. This is a considerable problem when we're talking about a distance of over 800 metres across a single pier."
To accomplish this-to the extent a solution was possible-Castro used the ICONYX' precision beam-steering to divide the large zones into small "virtual" areas that are acoustically independent. "'We then assumed points at each new small area as the zero reference and starting point for synchronising all of the next zones," he recalls.
For the main check-in area, Castro specified 16 Renkus-Heinz ICONYX IC32-24-RD digitally steerable line arrays, aiming the beams along the check-in desks, toward the main wall of the passenger entry area, and away from the reflective check-in counters. Sixteen IC16-8-RD steerable arrays extend coverage to the main entrances. Another 26 IC8-RD columns installed on the top of the counters, or positioned behind the main IC32-24-RD arrays, fill in the remaining areas.
The baggage claim area is served by 16 IC32-24-RD arrays mounted at regular intervals and directed toward the conveyor belts. Nineteen IC24-16-RDs cover the greeting area up to the exit door columns for the arrival area.
Each of the five piers that bring passengers to the gates is equipped with 30 Renkus-Heinz IC16-8-RD line arrays. The IC 16-8-RDs are installed in two parallel lines, aimed in the same direction, at regular intervals along the piers' 800m long walkways.
"This was the first time we had done a big project using Renkus-Heinz," observes Akinci. "For us, this is probably also the largest line array application we've completed in general. The beam-steering technology is definitely a must-have for this type of building. It ensures that whether you're right by the speaker or 80 meters away, the sound pressure level is the same. And because the beams are steerable, you only have to project the sound to where you need it. With less reflections, you are populating less air molecules, and so the result is less reverberation."
The sound system uses a dedicated Dante network that runs over the airport's central LAN but is separate from the overall airport network. Using Dante on a system this large presented additional challenges. "Originally, without knowing at the time, we'd thought we'd done the right thing by splitting the network and system design up into seven sections," Akinci muses. "But we later learnt that there were limitations in terms of how many nodes you could have per Dante controller."
Complexity and technical challenges, continuing expansion, and ongoing fine tuning notwithstanding, the sound system, like Istanbul Airport, is now operational-and successful. "There were a lot of design changes, but nothing so radical that it really threw a spanner in the works," reports Akinci. "I think our design is quite solid. There's absolutely no doubt that it was the right decision to go with Renkus-Heinz. However, the product itself is very important, but even more important is the people that you're dealing with. Norbert Bau, Ricardo Castro, and the other people supporting us on the Renkus-Heinz part of this project really made it a success."
7th May 2019
Stage Electrics provide ETC Gio to the Theatre Royal Plymouth
UK – After finding more shows coming to the theatre were requiring a more demanding lighting control, the theatre decided to invest in a new ETC Gio console. Previously using an older generation lighting console, they felt it was appropriate to seek an industry standard upgrade.
“We have a long-term relationship with Theatre Royal Plymouth.” Explained Neal Tomlinson, technical sales consultant, at Stage Electrics. “The venue was already using an older ETC console, that wasn’t able to support the level of lighting control required for incoming touring shows. Requiring a solution that offered intelligent lighting capabilities was important, they needed to accommodate more of the latest LED fixtures and moving heads.”
With most of the shows touring through the venue being programmed on ETC consoles, compatibility was critical, and as the largest UK distributor for ETC, Stage Electrics suggested an ETC Gio 4k, an EOS programming wing and additional touch screens as a solution. “The ETC Gio was the perfect choice for this theatre, due to their need to support large touring shows, with a large lighting rig.” Commented Neal: “Also, familiarity with the operating system was important as it meant no re-learning.”
With upcoming shows Mark Morris Dance Group’s “Pepperland” and “Let Me Look At You”, the theatre will put their new equipment straight to use. As an authorised ETC service centre, Stage Electrics can fully support ETC consoles throughout the UK.
3rd May 2019
Robe Makes its Presence Felt
Colombia – El Lugar de Su Presencia (The Place of His Presence) is a neo-charismatic Christian denominational church in Bogota, Colombia, currently headquartered on two sites in the Castellana district of the buzzing capital city.
These two venues are on opposite sides of the same road. The first arena was built in 2005 with a capacity of 3,000, and in 2017 the new building was constructed to contain an overflow congregation of up to 1,500 people.
They have Robe Spikies, LEDBeam 150s and ParFect 150s installed in these two main venues, where all-things technical are looked after by technical manager David Zamora, who is also a lighting designer.
David has worked there for six years and manages a full-time technical team of around 50, covering all aspects of these two auditoriums – from staging to IT – plus five other sites around Bogota. They have around 400 volunteers regularly involved in sound, lighting, cameras and the video elements, staging weekly worship services across all these sites.
With so much interest in technical elements among the many volunteers, the Church offers a valuable potential opportunity for budding future industry professionals to get fully hands-on with the kit.
El Lugar de Su Presencia is also well known for its house bands which are active in the worship sessions and at other gigs with an independent fan-base, so it’s a hectic pace and workflow keeping track of everyone and everything! The eight or so weekend worship sessions accommodate around 45,000 people!
Robe moving lights were chosen for the two main arenas because: “They get worked extremely hard and so we needed strong and reliable fixtures,” stated David who was part of the team making the decision. Apart from that, they all believe that Robe is an excellent brand.
The Spikies were the first to join the congregation two years ago, picked for their beams, small size and because they were LED sources. (The venue already had 28 older moving lights from another brand plus some general profiles and Fresnels.)
There’s not massive headroom in the main venue, so they wanted small luminaires, and LED was selected for all the usual advantages it brings to a busy venue, like reduced power consumption, ongoing running costs and extended lifespan.“We are all delighted with them,” commented David.
The Spikies are great for their versatility, the minuscule dimensions and the flower effect which makes it so much more than just a beam light.
They then purchased eight LEDBeam 150s for the new auditorium when that was launched in 2017, together with PARfect 150s for the main one. David likes the power and punch of these, the small size is again a factor along with the zoom range, and their large auditorium can be illuminated with just a few fixtures.
He’s already hinting that this year they are likely to need more moving lights when auditorium number 8 is completed, adding capacity for another 3,000 people.
The El Lugar de Su Presencia services are lively, upbeat and entertaining, quite a razzmatazz and it’s important to reinforce the pastor’s proactive performances and the onstage action with the appropriate lighting and visuals.
David and his team were initially introduced to Robe by Juan Camilo Triana, technical sales specialist from local distributor AVcom Colombia, and they mention that the technical support, training and after sales is “excellent”.
He has seen Robe grow and become increasingly established in Colombia, even in the short time since they bought their first Spikies. “Robe initially became known here for their Pointes, but since then, the LED fixtures are becoming ever more popular and established. For our venues, taking the LEDs made the most sense.”
In picture: Diego Romero, David Zamora and Andres Bustos.
photo: Louise Stickland
3rd May 2019
Meyer Sound Leo Family the Clear Choice for Three South-eastern Churches
USA – Exceptional speech clarity and effortless musical transparency have made Meyer Sound Leo family loudspeaker systems the choice for two fast-growing churches in Georgia and another in Florida.
Christ Place Church in the Atlanta exurb of Flowery Branch recently completed construction of a new 2,000-seat worship auditorium. The complete AVL technology package, featuring a Meyer Sound Lyon line array system, was provided by Production/co of nearby Chestnut Mountain, Georgia under the direction of vice president Dustin Whitt.
The key decision-maker on the church side, production director Robert Boley, devoted considerable time to research and listening sessions before choosing a Lyon solution. “As a house of worship, our number one priority is speech intelligibility,” he states. “In our listening sessions we would listen to a variety of worship music, but when it came time to run the pastor’s voice through the Meyer Sound system, it was an ‘oh, wow, that’s the one’ moment for me. I was sold immediately.”
The new structure for Christ Place was designed to allow for easy expansion to 3,500 seats by building out from the back wall. This possibility was another factor tilting toward a Lyon solution.
“We were originally looking at Meyer Sound’s Leopard boxes, but then Dustin Whitt showed us how with Lyon we could simply add a box or two per side, adjust the splay angles, tweak the processing and we would be good to go,” says Boley. “We won’t have to replace the whole PA or hang delays.”
The Christ Place system is built around two arrays of seven-each Lyon line array loudspeakers with four 1100-LFC low frequency control elements for deep bass. Also included are four UPQ-2P fill speakers, two Galaxy 816 processors and RMServer for comprehensive real-time monitoring.
Boley also explains how the linearity and transparency of the Meyer Sound system allowed the church to save a considerable sum on broadcast facilities. “We do a live stream of our services, and one thing that helps greatly with Meyer is that the system is so transparent that the house mix translates very well into broadcast. That was huge for us, as we saved money on a separate broadcast console, and also I don’t always have an A2 or A3 available to do a dedicated broadcast mix.”
Since opening day the new system has supported a number of the church’s own special events as well as guest concerts by Christian guest artists such as Tim Hawkins and Phil Wickham. “Everybody here from the senior pastor on down is extremely pleased with what they are hearing. They didn’t realise how much difference a good loudspeaker system could make,” reports Boley.
12Stone Church, also in the metro Atlanta area, is quickly transforming its multiple portable campuses into permanent worship auditoriums. Three of the 12Stone sites, including the central campus in Lawrenceville, are equipped with Meyer Sound Leopard line array systems, with a fourth Leopard system coming soon to a renovation underway at Hamilton Mill. Two smaller sites are equipped with Meyer Sound point-source systems.
The latest 12Stone Leopard installation, again by Production/Co under the direction of Dustin Whitt, is at the new Buford campus.
“Leopard was the perfect choice here because of the room size combined with the consistency of Meyer Sound products and our familiarity with them,” says 12Stone production director Taylor Davis. “Also, as ceiling load capacity is always a limiting factor, we can rely on Leopard’s high power-to-weight ratio to deliver exceptional performance with a low ceiling payload.”
The new system comprises five per side Leopard arrays, two UPJ-1P fill loudspeakers, three 1100-LFC elements in a flown cardioid configuration, one Galaxy 816 processor and an RMServer.
“Leopard’s natural clarity with spoken word along with its ability to provide a full, enveloping mix at relatively low SPL appeals to the wide range of people attending worship here,” notes Davis. “We can provide the high energy environment younger generations are seeking while maintaining a comfortable level everyone can enjoy.”
Further to the south-east, in Naples, Florida, the First Baptist Church has also equipped its remodelled worship auditorium with Meyer Sound Leopard line array loudspeakers. Here, the complete AVL upgrade package was designed and installed by Springfield, Missouri-based Paragon 360 under the guidance of audio designer Mark Coble.
The main system is anchored by 18 Leopard line array loudspeakers augmented by three 1100-LFC elements for low frequency support. Fill systems utilise UPQ-2P, UPQ-1P, UPA-1P and UPJ-1P loudspeakers while 24 miniature MM-4XP loudspeakers are deployed throughout the choir seating area as close proximity monitors.
“Sound for us was priority one,” says executive pastor John David Edie. “It was a tough deal to make sure this room could fit everybody’s needs. But the Meyer Sound system installed by Paragon 360, along with the acoustical treatments they put in, has made this one of the best sounding rooms I’ve ever been in. We’ve had travelling concerts by recording artists come in here who brought along their own sound systems. But when they heard our system, they left their own systems out in their trailers.”
First Baptist Church Naples and Paragon 360 were honoured as winners of a 2018 Solomon Award for Design and Installation of AVL Systems in a Major Technology Upgrade.
3rd May 2019
Elation Upgrade for Poppodium Nieuwe Nor, The Netherlands
The Netherlands – If one finds oneself in the south-east corner of The Netherlands and has a hankering for live music, Poppodium Nieuwe Nor with its new Elation lighting system is an excellent spot to satisfy live music cravings. The 400-capacity venue in the city of Heerlen not only hosts a diverse programme of music from pop and hip-hop to metal, blues and everything in between, it also holds regular club nights with DJs and serves as a great location for corporate presentations and other events.
As Nieuwe Nor was getting in bigger acts with greater lighting needs, the venue’s existing discharge-based lighting rig was proving outdated with limited features and colour choice, as well as restricted output. “It just couldn’t deliver some of the things guest LDs were looking for,” says Youri Gidding, head technician at the venue. Having to replace lamps every year was also taking a bite out of the tech budget, he says, and as the contract with their previous supplier was ending, the time was right to upgrade.
“Since we get a lot of different kinds of acts in, the lighting we required needed to be feature packed,” states Gidding, who was responsible for the entire lighting system upgrade including design, fixture choice, rigging, plots, patching, etc. “We needed something that could create lots of different moods and looks, something that could, for instance, do wide spots with break-up gobos or animation effects for slow intimate music but also punchy beams and fast switches between looks and colours for club nights or a metal band.” Gidding says he also wanted to move away from discharge-based fixtures in order to avoid lamp changes and lower the power consumption. Furthermore, he says the fixtures needed to be reliable and from a reputable brand.
After comparing a host of different brands, Gidding chose Elation LED luminaires, a package that includes eight of the company’s award-winning Artiste DaVinci LED moving spots. The technician attended a shoot-out between the Artiste DaVinci and competitive fixtures, all LED based spots that met the requirements for what he wanted. “The DaVinci came out best in the shoot-out on almost all fronts,” he said of the CMY and graphics moving head DaVinci which houses a 300W LED engine and 7° to 48° zoom. “The output, colour mixing and zoom range were exactly what I was looking for.”
The DaVinci fixtures serve as the main spots in the rig and are hung above the stage on two electrics. “The light output is plenty to accommodate all the features of the fixture and suitable for the larger hall we are planning to build since the fixtures will very likely move there once it’s finished.” Nieuwe Nor has existed in its current state since 2007 and is planning to expand with a second 650-700 capacity hall set to open in Q3 2020.
Because the venue is relatively high for its depth and width, Gidding also wanted the flexibility of floor-based lighting. “There was quite a big black gap behind the band/DJ so I wanted something we could quickly set up and tear down to easily create different designs and effects,” he explains. “We have 14 SixBars as our floor package and they can be placed anywhere on stage or throughout the hall. Apart from effects, we also use them for side lighting and lighting a cyclorama so decent colours were important.” According to Gidding, the SixBar was the only decent strip/bar light of its size available. “All the others were from less reputable brands and simply didn’t meet the build and optics quality I was looking for. The RGBAW-UV colour mixing is awesome and it works perfect for what I wanted.”
In keeping with his desire to avoid lamp changes and lower the power bill, Gidding went with four LED-based Protron 3K strobes, which, he says, have similar output to an Atomic 3000. “I also like the fact that they try to hide the LED’s somewhat,” he said. “I don’t really like the look of strobes that are just a rectangle of lenses / LED chips.” Also in the rig are LED wash lights, 38 ADJ 5P Hex’s used as house lights, and 1K tungsten Fresnels and ellipsoidals for front lighting. Demo Productions supplied the lighting and audio for the install, which included an upgrade of the PA system.
“Overall I’m very pleased with the Elation fixtures we have and we get very positive responses from freelance and guest lighting technicians that come through our venue,” Gidding sums up. “Most are a little unfamiliar with the brand but are always very surprised by the rig and what the fixtures are capable of. Elation has definitely helped us in becoming a more professional venue that, to technicians, stands out among others in the region.”
photos: Kyra Verboord and René Bradwolff
30th April 2019
Morris Integration and Chauvet Professional Create Versatile Space for FishHawk Fellowship Church
USA – FishHawk Fellowship Church has seen a steady influx of new members over the last 15 years, growing from an average of 158 weekly attendees to 2,000-plus. At the heart of this dynamic church’s expansion has been its unfailing efforts to touch the lives of worshippers in a multitude of ways, and not just on Sundays.
This philosophy is very evident in FishHawk’s newest facility, which does 'double duty' when not hosting religious services by serving as a community centre/gymnasium. Having one room fulfil such widely different functions, and do it all well, is no easy task, which is why the church contacted Morris Integration for help in designing a flexible space. Morris obliged, coming up with a room concept that excels as both a worship and recreational area. Key to helping the company accomplish this design feat is a flexible lighting system that features Chauvet Professional fixtures.
Wade Russell, Morris Integration’s assistant general manager, recalls that the entire project provided an interesting challenge. “We needed to make sure the worship space looked like a worship space, but could also transform into a gym during the week. For such a vital and growing community, being able to have a dual-purpose facility was an absolute necessity. For our lighting design, this meant choosing robust, low-profile fixtures to fit within the space, but also providing all the lighting elements we needed for really successful worship.”
The Morris team specified 18 Ovation E-260WW fixtures for front lights, complemented by 26 Rogue fixtures. “The Ovation 260 is the brightest LED-based ellipsoidal on the market and offers a variety of lens options for total control of the beam angles,” said Russell. “The even light field provides well-defined gobo projections, and it also blends very well with wash applications. Since the fixture housing is completely dust free, the church won’t have to worry about maintenance, and – because there is no fan – it is also virtually silent, so it won’t distract from the service, or any other events occurring within the 'gymnatorium'.”
The 20 Rogue R1 Wash and six Rogue R3 Spot fixtures were hung over the stage and placed on the platform to add colour and depth to the stage and video shots. “The Rogue fixtures were an easy choice, because they work so seamlessly with the Ovations. The Rogue Washes provide super smooth colour mixing, and can double as a pixel effect, which really adds to the high-energy performances of the worship band. We also included an Amhaze unit for the church to create great beam effects on stage, plus it adds an additional element of creativity for the lighting designer.”
Since the new building opened in March, the response from church leadership and within the community has been overwhelmingly positive, according to Russell. “We’ve gotten great feedback on the space,” he said, “not just as a worship area but as gym, too. The church is able to fill two roles without one taking anything away from the other.”
30th April 2019
Altman Lighting Accentuates the Sound with Light at the Musical Instrument Museum
USA – “We have had the opportunity to work with the MIM on a few previous projects and this time we were brought on board to complete an LED lighting and dimming retrofit for their 300-seat Music Theater,” began Ken Gardner, Clearwing Systems. “What drove their decision to complete the renovation was the better efficiency of LED lighting, plus the ability to quickly change colour in the lighting rig. Needing to constantly change gel in their old lighting fixtures was beginning to get costly and was limiting them creatively. Now with the PHX 150W LED luminaires, they can quickly change the entire scene with just the touch of a button, and they are very pleased.”
As one of the only convection-cooled LED profile fixtures available today, the PHX 150W LED profile is ideal for venues desiring superior, energy-efficient lighting in an acoustically sensitive environment. With a standard fixed beam, zoom ranges from 15-35 or 30-55 degrees, a 360-degree rotating barrel, and a die-cast aluminium frame, the PHX 150W LED profile is also available in a diverse line of LED choices including RGBA, RGBW, 3000K, 5600K, and tunable white versions.
“The Musical Instrument Museum is dedicated to bringing in all sorts of artists from all over the world and exploring the differences in music through both live performances and guest lecturers,” continued Gardner. “Due of the intimacy of the Music Theater, they also needed a fanless LED fixture with an RGBA version to give them a warm amber look for the artists on stage. We instantly thought of the PHX 150W luminaires because we have relied on Altman Lighting solutions for a number of projects, and they make quality fixtures.”
With the previous lighting design operating on SineWave dimmer racks, the team at Clearwing Systems also needed to install a rack capable of powering a hybrid fixture layout. Now ready for the completely updated lighting system to spring to life, the museum was eager to experience the stunning acoustics of the MIM Music Theater accentuated by their colourful yet silent lighting rig.
“The PHX 150W LED profile is a great fixture for a space where music and sound are the emphasis of the event,” concluded Gardner. “Once the installation was complete, they were blown away with the ability to create virtually any color of the rainbow using a fanless LED solution. This has been a tremendous advantage for them, and they are thrilled to have the PHX LED luminaires in their new lighting design.”
photos: Clearwing Systems