Project News Headlines
L-Acoustics Conquers the “Perfect Storm for a PA System” at Passion City Church’s New Cumberland, Georgia Location
candlePower octo LED dimmer used on Dublin monument
Ireland – candlePower octo, the versatile new constant current/voltage LED driver from Artistic Licence, has been installed at Dublin's Wolfe Tone National Monument, just in time to ensure a patriotic green wash for St. Patrick's Day on 17th March this year.
The monument, which commemorates the 18th century Irish revolutionary Wolfe Tone, consists of a bronze sculpture and imposing backdrop of granite monoliths. EmCon Systems, the Irish lighting technology solution providers, were responsible for delivering a system that could provide subtle white illumination, with automatic triggering of special effects such as colour washes, or a rippling national flag on calendar days of note.
EmCon needed a DMX512/RDM controlled constant current driver for its Scorpion RGBW LED IP65 Projector. The Scorpion is based on the Ostar LED which runs at 728mA. Having worked with Artistic Licence products frequently in the past, Emcon approached the company for a solution.
EmCon needed a driver that could be easily engineered into the fixture enclosure and, critically, gave the ability to remotely adjust the LED current during commissioning.
Wayne Howell, CEO of Artistic Licence comments: "candlePower octo has certainly caused a stir in the projects world. I had mentioned the fact that we were developing the product to a couple of companies – only to find almost all the first production batch was sold before we had formally launched the product!"
Peter Barry of EmCon comments: “The EmCon Scorpion is an RGBW LED IP65 projector, it uses three RGBW Osram Ostar LEDs with either narrow, medium and/or wide beam optics.
We utilised 16 luminaires in total, eight per side with four narrow beam, eight medium beam and four wide beam. The overall maximum power dissipation for the entire installation can be up to 400W, which is not a lot considering that in normal use it shall be approximately 114W when in white light mode.”
candlePower octo is a DMX512/RDM controlled LED dimmer with eight channels. Each channel can be individually set to constant current (CC) or constant voltage (CV) dimming. Using a combination of analogue and digital technology, the product provides smooth results with all DC LEDs, with exceptional performance at very low intensities. The product is rated at 2A per channel and can be powered over a wide range of voltages (10 – 60 VDC).
Constant current (CC) and constant voltage (CV) dimmer
Compatible with DC LEDs, composite LED panels and DC tape
Programmable data loss mode
Configurable output current in 36mA increments
Eight outputs, 2A per circuit
Safety trip current per output in CV mode
8-bit or 16-bit control
Choice of four editable dimming curves, uploadable on a per output basis via DMX-Workshop
Ability to upload custom dimming curves
LED indication for DMX/RDM/playback, power, identify, outputs and fault conditions
Convection cooled with active derating
RDM sensors for temperature and output fault
Automatic heat and current management
Common mode input filter
DIN Rail or surface mount
15th April 2021
CODA Audio Treble at TUM
Germany – The School of Life Sciences is part of the Technical University of Munich (TUM). Located at the Weihenstephen Campus in Freising, Upper Bavaria, the faculty offers degree programmes in the fields of organic, agricultural and nutritional sciences among others. In order to offer its students the best possible facilities for lectures and presentations, TUM recently equipped three of its lecture halls with the latest media technology. Overall responsibility for the installation rested with GSVA mbH/Klaus Kuttenhofer ,who brought in Fürstenfeldbruck-based company into>noise, led by Andreas Zeh and Tobias Förster, to take care of the audio element. It was a demanding brief for which into>noise chose CODA Audio.
Andreas Zeh explains the choice: “The task was a tough one. We needed to obtain the best possible sound, eliminate the possibility of feedback and make the systems as easy as possible to use. One of the three venues required top cinema-quality audio. Over recent years, I’ve had nothing but good experiences with CODA Audio, the brand offers excellent products, top support and just as importantly, a first class price/performance ratio. The sound and handling of the systems is so convincing that they were my first choice from the very beginning for this demanding installation.”
into>noise installed systems into Halls 14,15 and 16 on the site, deploying a wide range of products from the CODA Audio portfolio.
In Hall 14, the largest of the three auditoria, into>noise installed a mono centre cluster consisting of ten ViRAY in bi-amped mode, as well as 2 x 2 HOPS5 as side-fills, and two HOPS8 as delays. Hall 15 saw the use of a TiRAY system. Here 2 x 6 TiRAY units and two HOPS8 as delays completed a customised solution. Hall 16, the smallest space, required a very high quality cinema-grade solution. Zeh and Förster opted for a stereo main of 2 x 6 TiRAY, a HOPS8 delay and two APS-SUB flown centrally in the ceiling. CODA Audio’s LINUS10-C and LINUS5-C DSP amplifiers drive the systems.
Zeh reflects on the challenge: “In a situation where no audio or media technicians are assigned to operate the systems, the danger of feedback is not to be sneezed at. Even though the PAs are located on one axis, or up to two metres behind presenters with lavalier microphones, we have ensured that everything is under control. That includes when the lecturers go into the hall and interact with students using audience microphones, which may have presented potential problems. Everyone is very happy with the outcomes.”
He is particularly satisfied with the solution in Hall 14: “The large bi-amped mono cluster meets the needs of the space very well. The ViRAY is almost the only sound source in the room. Due to the large array, we have super coupling, which has a positive effect: i.e. without feedback on the directivity. The coverage is so complete that the HOPS5 and HOPS8 side-fills and delays respectively are really just there to improve intelligibility at the very outermost areas of the room.”
Andreas Zeh and Tobias Förster are completely happy with the installations at TUM, and have received a universally positive response from technicians, lecturers and students alike. As Zeh concludes: “What more could you want?!”
15th April 2021
Church of the King Services Get More Camera Friendly with Chauvet Professional
USA – Much has been written about how the trend toward online and virtual options that was already taking place before the pandemic accelerated mightily in 2020. Church of the King, a dynamic house of worship outside New Orleans, provides vivid proof of this phenomena in action.
Prior to the coronavirus, well over 7,000 people were attending services every weekend at Church of the King, as they had been for years. But recently, a growing number of additional worshippers were also connecting to the multi-campus house of worship via livestreams.
As a growing number of its congregants turned to the internet during the lockdown, the church decided to make its services more camera-friendly without detracting from the in-person experience. This March, Church of the King achieved this goal when it completed a lighting upgrade that featured Chauvet Professional LED fixtures.
“Our goal when upgrading the lighting rig was to create a really good, colourful and engaging fill in background for our online broadcasts,’ said Phillip Braddock lighting and central support director at Church of the King. “For some time now, we’ve seen a growing interest in our broadcasts, so we wanted to improve the look and experience for online worshippers.”
In addition to seeking to provide realistic and vividly coloured backgrounds, the church wanted any lighting upgrade it did to add to its design flexibility, according to Braddock. “This was critically important,” he said. “We really wanted be able to fill camera shots with a wide variety of interesting dynamics that enhanced the online experience while also complementing the in-room looks as well.”
Church of the King got what it was looking for by adding 16 COLORado 1-Tri Tour and six COLORado Batten 72 fixtures. Spaced evenly along a 12-foot upstage pipe, the par fixtures are used to fill out the black space on the set, in addition to serving as “heavy backlights” that allow the musicians on stage to stand out more vividly on camera and to the live audience.
The batten units are arranged on the deck to the left and right of the main set to fill out the outer edges. “We don’t want black space on camera unless it’s by design,” said Braddock. “The colour that the COLORados add to the edges is like a cherry on top of the sundae, it finishes things off very nicely.”
Colour is an essential part of Braddock’s design philosophy, being used to set moods on stage and convey changes in looks. “Typically, when we begin the process of designing, we will usually start in the cool spectrum-usually blues and purples,” he said. “Lately though, we have been going more towards bright and warm colors to convey the message.”
For Braddock, one of the best things about the upgraded lighting rig at Church of the King is the flexibility it gives him to execute these types of changes. “I really enjoy it now, being able to create the diverse range of looks,” he said. “By doing so, we can enhance our online and in-person experience to a great degree.”
As for in-person worship, people continue to flock to Church of the King to partake of it, especially now that lockdown restrictions have eased. But those who choose to connect to the church on line are finding the experience more enriching than ever thanks in part to a carefully planned and executed lighting upgrade.
14th April 2021
Robe and Anolis Chosen for Award-Winning Cologne Cinedom Installation
Germany – To light the impressive 30 metre high glass atrium of the Cologne Cinedom multiplex cinema, architectural lighting specialists Kardorff Ingenieure Lichtplanung GmbH chose Robe moving lights and Anolis LED floods to be at the core of a new lighting scheme to upgrade this impressive public area.
Cologne Cinedom was opened in 1991 and is one of the largest movie theatres in Germany with over 3,000 seats and 14 screens, located at the MediaPark in the Neustadt-Nord district of Cologne.
Jan Wichert was the lead lighting designer for Berlin-based Kardorff Ingenieure which was commissioned by the venue to relight the atrium. The client already had some clear ideas about what they wanted, so Jan and his team added their imagination and expertise and worked closely with interior architects MAAS & PARTNER to create a versatile new contemporary energy and cost-efficient installation.
“The client wanted dynamic and mood changing lighting that could be varied or changed to suit different movies or other events for which the space might be used,” explained Jan, adding that especially for regular visitors, they wanted to be able to change up the atmosphere and look. Their objective as lighting designers was to make the building look attractive from inside and out.
The atrium had two main architectural features.
The first is a four storey high ‘media wall’, covering approximately 1,000 square metres, that was previously painted with iconic movie star images through the ages. While architects MAAS & PARTNER had initially mooted the idea of having morphing projected images, this option was also complicated, so they were very open-minded to Kardorff Ingenieure’s proposal of a different solution utilising moving lights to provide the necessary mood-changing vibes.
The idea was to rig eleven of the 14 Robe VIVA CMY luminaires so they can reach every section of the wall and, by tilting the heads and zooming in and out, they can run patterning and texturing across the whole area.
They were also able to cover the second feature, the central Dome area of the main atrium with the same fixtures and so transform the entire space into a fully immersive and totally different environment for parties, special events, presentations, and other times that the atrium is used as an event space.
By focusing on lighting these two features comprehensively, the whole building can now become something new.
“We already knew which fixtures we wanted,” comments Jan, having worked with both Robe and Anolis luminaires on previous occasions, and for this installation it was the quality of the white light source that was crucial.
They also wanted flexible fixtures that could work architecturally and for events, and they were keen to use one type of moving light throughout, both for continuity and to make things smoother for the technical team on site.
The wall itself was re-painted in an optimal grey tone, selected from a shortlist of three possibilities in a mock-up test on site, which ensures that the lighting effects have maximum impact.
The VIVA CMY was also selected for its rotating triple prism effect, which enables the gobo projections to be treated in different and intricate ways as well as combined with refined movement chases, allowing some truly magical and subtle texturing effects. With this in mind, they were fitted with some carefully chosen custom gobos.
To secure the fixtures are in exactly the correct positions for hitting the atrium wall and large atrium dome, the VIVA CMYs are rigged on special brackets and framing attached to the building’s existing columns.
Above the atrium is a large domed roof that was previously painted blue and illuminated with fibre optic devices. It is now repainted in a grey colour, specially matched to the lighting, and lit with the 12 Anolis ArcPad 48 RGBW floods fitted with 26 degree lenses. “We wanted a completely uniform blanket of light washing across the area,” stated Jan.
The remaining three VIVA CMYs are attached to the framing structure around the columns in positions where they can shoot vertically upwards and be used to overlay projection effects onto the ArcPad illuminated dome which looks fantastic!
All the ArcPads are attached to the building via hangers around the dome, and the venue has provided the control system for all the atrium lights.
This new Cologne Cinedom installation has been a great success and won Kardorff Ingenieure a 2020 German Lighting Design Prize in the ‘Public Areas / Interior’ category, with the judges commenting on how tastefully and well the new lighting scheme integrates the venue into its urban surroundings whilst also making it stand out as a building of interest.
Jan sums up: “This project is a good example of how efficiently positioned dynamic lighting components can transform a multi-functional space to the maximum in perception, mood and use, at the touch of a button!”
photos: Linus Lintner
13th April 2021
Yamaha Sound Matches Dubai’s Grand Plaza Mövenpick Media City Hotel for Quality
UAE – The Grand Plaza Mövenpick Media City is one of Dubai’s premium hotels and, thanks to a bespoke Yamaha audio installation, guests who use several of its key facilities enjoy a high quality, flexible audio experience.
Located next to Dubai’s Media and Internet City hub, the Grand Plaza Mövenpick Media City hotel features 235 rooms and suites, five restaurants/bars, a 1150m2 state of the art convention centre (including 800m2 Grand Ballroom), meeting rooms, rooftop lounge, gym, spa and swimming pool.
Systems integrator Telematics was asked to install audio systems in the Grand Ballroom, spa/gym and five meeting rooms, delivering quality audio to match the hotel’s facilities and décor. Supplied by Thomsun Trading, one of Dubai’s leading distributors of musical instruments, A/V and broadcast equipment, the exceptional sound of the VXC series ceiling speakers was one of the reasons for choosing a Yamaha solution.
The Grand Ballroom is mainly used for corporate events and weddings. For maximum flexibility, it can be divided into two or three smaller spaces, so an adaptable audio system was needed. Here 22 VXC8 ceiling speakers were installed in two groups of eight and one of six for the three zones, powered by three XMV4280 amplifiers. An MRX7-D signal processor was installed to manage the system, with an MY8-ADDA96 interface card, plus EXI8 and EXO8 input/output expanders. A DCP4V4S surface-mount panel was installed to help staff easily control the system.
In the spa, a total of ten VXC8 and five VXC6 ceiling speakers were installed in the treatment rooms, changing rooms, reception and corridors, with DCP4V4S and DCP1V4S control panels. More robust audio levels were needed in the gym, so here four VXS8 surface mount speakers and two DXS15mkII 15” powered subwoofers were installed, with another DCP4V4S control panel. Three more XMV4280 amplifiers were used to drive the VXC and VXS series speakers, with system management by an MTX3 matrix processor. A third party music player and radio tuner was chosen to supply music to the MTX3.
In each of the five meeting rooms, an MA2030 mixer power amplifier and BD-S681 networkable Blu-Ray player were installed to provide the necessary audio feeds, with two VXC4 ceiling speakers in rooms 1-3 and six VXC6 ceiling speakers in the bigger rooms 4-5.
“This was our first experience with Yamaha PA products,” says Bebin Mathew, senior sales engineer at Telematics. “We programmed the MRX7-D and MTX3 to provide a very flexible system, which was delivered within the client’s timeline. The MRX7-D is a very versatile unit with high multi-purpose capability, which is exactly what the hotel needed.
“We also really like the DCP series control panels; they were simple to install and very easy to use for the hotel staff.”
Alfio Bernardini, general manager at Grand Plaza Movenpick Media City confirms this, saying: “We are very satisfied with the audio system. The amplifiers and speakers are of great quality and the way it has been designed helps our daily operations by being very straightforward for our staff to use.”
The project has been such a success that Telematics is already looking to design more audio installations using Yamaha. “With the support of Thomsun Trading and Yamaha Gulf, the response from our client has been completely positive,” says Bebin. “We would definitely like to continue this relationship with Yamaha in the long run.”
13th April 2021
Martin Audio Turns Atomic in Sydney
Australia – The Atomic Beer Project is a new microbrewery concept that debuted recently in the inner-Sydney suburb of Redfern.
With the tanks on site, brewing a range of hoppy beers for all to see, it is a perfect complement to the pan-Asian cuisine that the operation specialises in.
Although owners, Gage Roads Brew Co., hail from Western Australia, this is their first bricks and mortar incarnation. In addition to the carefully prepared craft beers also helping to draw in patrons – and keep them there – is a potent sound system from Martin Audio.
In fact music is a core part of the concept, according to Atomic Brand Lead, Clint O’Hanlon. “We have started sponsoring FBI radio, which is a youth radio network just down the street from us, and we’ll be hosting their DJs here,” he promises.
In fact, one thing the Atomic team were unequivocal about was that there would be no compromise on sound. They chose Martin Audio loudspeakers, having had excellent experiences with the brand on other projects. These were installed by Sydney-based Beyond Audio Visual.
The distributed audio system relies on a plethora of smaller loudspeakers and companion subwoofers to deliver an all-encompassing music experience, which never impinges on customer comfort, but simply adds to the experience. This is a real accomplishment in a venue with so many hard, reflective surfaces.
All this has been achieved by deploying eight Martin Audio Blackline X8 (8-inch 2-way) enclosures, complemented by 10 Martin Audio SX110 (1 x 10-inch) for the low frequencies, and 18 Martin Audio ADORN A55 for infills and ancillary areas.
“The importance of ambience is paramount,” observed Clint O’Hanlon. “The audio system is so beautiful and warm. I’m from a nightclub promotion background and I’m aware of the way sound can move through a venue. Here, there are no annoying delays, where you hear loudspeakers on the other side of the venue like an echo. And the best part … I’ve never worked with an audio system where you can control the level in all the various zones individually or collectively from your phone. It’s just really seamless.”
Installing the 10-inch subwoofers in the elevated cable trays proved to be a real turning point in the audio design, reflects Anthony Russo, technical director of TAG, Martin Audio’s territorial distributor, who assisted Beyond AV and its MD, Con Andrews, who was a specialist consultant on the project. “Normally you would see the subs installed into the banquette seating, for example, but all the concrete bulkheads had already been poured, so we needed another solution. We didn’t want to excite the ceiling space with low frequencies, which is why the design has more subs spread out, and placed close to the matching full-range speakers to provide a cohesive sound.”
Indeed, it’s difficult to miss the sheer number of speakers in the venue; however, this additional complement was necessary, as it provides extra levels of control. That optimal level, coverage and the quality of the bass allows customers to talk naturally without the audio system drawing attention to itself. That said, when called upon, it has more than enough horsepower to kick into gear during a DJ session.
The venue itself is on the site of an old furniture factory, with a capacity of just under 200 (although this includes a number of comfortable seating areas). YSG Studio has created a brooding interior, with a monochromatic mood punctuated by stabs of colour.
Reviewing the total fit out, Clint O’Hanlon confirms that management is delighted with the overall conception, and how it embraces the industrial roots of the building.
photos: Steven Woodburn
13th April 2021
ASP8024 Puts Audio Centre Stage At MWCC
USA – Department chair John Little has noticed a change in Media Arts & Technology degree programme applicants at Mount Wachusett Community College since its studio rebuild. “We are a small community college whose student body mostly commutes to campus from within 20 miles. Website photos from the renovations are now drawing audio students from hundreds of miles away, some of whom rent apartments so they can train here.”
Five years on, the college is still enjoying the fruits of its Media Arts & Technology facility upgrade, which included a rebuild of five audio control rooms. Little commented on the new ASP8024 at the time: “We’re especially happy with the Audient console we put in Studio 5,” and he stands by his statement today. “I chose it before I knew how many colleges around the world use them. I insisted on an actual console with real audio paths over a controller. This one has the feel of a large format desk, yet is elementary enough for students to embrace quickly. It has gorgeous preamps, it’s quiet as a mouse and the dual layer module provides DAW controller options and automation, so with this one board, we can teach a lot.”
Coming from a background as a recording engineer, Little had ample experience working with film makers, who would often berate the lack of training in audio for visual media disciplines. When he started teaching at MWCC, he wrote the audio curriculum to address this deficiency. Upgrading the studios was the next logical step. “Our curriculum constantly evolves for efficiency and relevance to a changing industry. Part of choosing the Audient console was in anticipation of how well it would last as a valid training tool,” he added, confirming that it has lived up to these expectations.
MWCC’s Studio 5 features an 80 input Audient ASP8024 with Dual Layer Control. Recording is handled with a ProTools HDX system running 32 analogue channels of Avid HD/IO and 32 channels of Dante via Focusrite Rednet. The room is also networked to the Avid NEXIS E4 storage server. Additional software includes Waves, Izotope, and Lexicon plug ins. This ProTools system is equipped with Avid Video Satellite, patched to an Avid Media Composer Video edit system, which provides synchronising to full HD quality video for Foley work and mixing to motion picture.
Outboard includes compressors from Empirical Labs and FMR Audio, Drawmer de-essers, Lexicon effects and Tascam CD recorders. The room has five video monitors, switchable through electronic routing. On the large video monitor, while recording multi-camera events, the audio students will view a duplicate of the video control room’s multi-display of all cameras, just as the video directors see. Audio monitoring in this room is also provided by Mackie HR 824 monitors, tuned through a DBX 1231 referenced by Audio Control Industrial SA-3050A spectrum analysis.
The Audient console is also central to recording concert videos out of the theatre, which involves students from eight different classes throughout the college. “Annually, this is the biggest task for our ASP8024 to as much as 48 inputs of Pro Tools. Audio students record this along with video students who operate cameras in and around the concert,” says Little. “In addition to the live switched video recording, all audio sources and camera images are recorded discreetly, and the final edit/mix is created in post-production. When COVID restrictions end we will invite military bands and national acts to record concert videos here, either by us or with our involvement.”
Little’s plans for MWCC’s future are manifold; despite the spectre of the global pandemic which still looms large. Another audio control room is under construction, which will include recording, 5.1 mixing and connection to the video control room for live TV audio. A new audio course specific to live sound is also being developed, helping to nurture collaborations with neighbouring universities.
13th April 2021
L-Acoustics Conquers the “Perfect Storm for a PA System” at Passion City Church’s New Cumberland, Georgia Location
USA – Passion City Church (PCC) was born out of the Passion Movement, a decades old movement within the collegiate generation known for introducing songs that are sung all over the world, as well as vibrant, large-scale events, particularly the annual Passion Conference. This year’s conference kicked off 2021 on New Year’s Eve, engaging more than one million people online with stirring worship and teaching.
PCC was started in Atlanta in 2008 through small gatherings in homes around the city. Public gatherings began in 2009, and the first permanent location opened at 515 Garson Drive shortly after that. The church’s priority on creating highly participatory and high energy worship environments extends to the church’s second location in the Atlanta suburb of Cumberland, where it recently opened a new facility with a 1,400-seat auditorium. The new site, which features 180-degree seating spread between the main floor and balcony, gives every audience member a uniquely intimate visual vantage point; however, it also creates a huge challenge for sound.
“What PCC is known for is its live worship experience, which is extremely high energy, and they are also one of the most particular clients that we’ve ever worked with when it comes to the quality of their sound,” says Tim Corder, director of strategic accounts, house of worship at Diversified, the AV systems integrator the church has worked with at its two Atlanta metro locations. “They told us that this new location had to be, quote, ‘the best-sounding room in the Southeast, if not one of the best in the entire country.’ But that’s quite a challenge when the furthest seat is only 60 feet away from downstage centre in a very wide, fan-shaped auditorium, plus one that’s over 40 feet in height. And if you want to stay true to the adage that ‘the best sound comes from the least number of sources,’ then this was truly the perfect storm for a PA system.”
Using Soundvision acoustical modelling software, this sonic 'storm' was addressed with a unique combination of L-Acoustics speakers, with the K2 at its core. The main arrays are left and right hangs of eight K2 plus two Kara downfills. To either side of that are left and right outfill arrays comprising five A15 Focus over one A15 Wide each, while a flown centrefill consists of one A15 Focus over one A15 Wide. A powerful subwoofer array has eight KS28 spread out in a linear arc under the stage, which itself is lined with six short-throw X8 coaxials spread out across the stage lip. The system is rounded out with one A15 Wide per side, flown vertically, as far outfills and the entire setup is powered by eight LA12X and seven LA4X amplified controllers.
There is also an L-Acoustics P1 processor installed, which combines an EQ station with delay and dynamics processing and a multi-mic acoustic measurement platform with offline delay finder and EQ modelling. The PA system is driven by the bridging of AVB, AES/EBU and analogue audio with time-aligned redundant signal distribution AVB between the P1 and the amplified controllers.
“P1 is there first and foremost because their room-use model for the space means they regularly bring in guest consoles,” Corder explains. “P1 makes that really simple to accomplish. AVB is being used as the primary transport to the amplified controllers because there is an audible improvement in K2 using AVB plus P1 versus AES into the amplifiers directly.”
The PA system still complies with the “least number of sources” equation, says Corder. “Together with Passion we chose the compact K2 as the heart of the system because of its ability to move air, those big drivers are able to give us a true arena-like experience that won’t come from smaller boxes,” he explains. “Initially, we explored using three hangs of K2 to achieve the coverage needed in the room, but given the church’s experience in arenas with left/right arrays and outfills, the introduction of the A15 loudspeaker during the project construction allowed for us to hang A15 alongside K2 for a stereo system with a distinct centre image that is very consistent left to right and top to bottom,” he says. “It’s really unique to be able to have enclosures and arrays of this size so close to the listeners, it’s almost a near-field type of experience that’s larger than life. It’s really intense in a great way and the sound is right there in front of you. Being able to put Kara under K2 at the bottom of the arrays helped tremendously with trim height and with the budget.”
A centrefill was its own kind of challenge, one that the new A Series speakers were an excellent fit for. “In an arena, frontfills are typically up high enough to be effective for the first few rows,” Corder describes. “But in a church, the stage is always lower, which reduces the effectiveness of frontfills. Also, in a typical left-right design you wind up with a missing slice in the centre that can be as deep as three or four rows. We’ve had great success adding a small centrefill that just lifts the high frequencies in those first few rows, and the A Series fit that role perfectly. It’s been a fabulous addition for us, it picks right up right in front of the stage, does not affect gain-before-feedback onstage, and lifts the experience for those first few rows in a very natural way.”
PCC lead audio engineer Stephen Bailey, a tour-sound veteran who has encountered many L-Acoustics PA systems in the past, approves of the room’s new rig. “I really like the way L-Acoustics sounds, and the system we have now at our Cumberland location is a great tool for addressing this challenging acoustical space,” he says.
Corder maintains that only the tools provided by L-Acoustics could have got the job done, on budget and with the level of sonic accuracy and quality the client expected. “We chose L-Acoustics because of the polar stability of the products, vertically and horizontally, and the seamlessness between the arrays. That’s what I’m most proud of in this room: how consistent and excellent the sound is at every seat in what is obviously a challenging space.”
12th April 2021
Alcons Pro-Ribbons Floating in Iconic Arctic Cathedral
Norway – The distinctive triangular shape of Tromsdalen Church (Ishavskatedralen, or the Arctic Cathedral) is one of the most recognised landmarks in the Norwegian city of Tromsø. But despite its iconic status as a place of worship, tourist attraction and symbol of the city, for many years it suffered from poor sound for the services and many recitals and concerts it hosts. But all that has now changed, thanks to the installation of an Alcons Audio LR7 pro-ribbon sound reinforcement system.
Consecrated in 1965, Ishavskatedralen is considered a masterpiece by architect Jan Inge Hovig. 11 aluminium-coated concrete plates either side of the roof give the church it’s well known form, complemented at one end by a giant stained glass window and, at the other, a main entrance in an end wall of clear glass, with a giant cross tying all the elements together.
The church is an important cultural centre, featuring many live recitals. With a programme peaking at more than 500 concerts in one year, they include the popular midnight sun and northern lights concerts, which have both become a staple of Tromsø culture.
The most important thing for church sound is ensuring that speech is crystal clear throughout the main body of the building. For many years Ishavskatedralen had a passive sound reinforcement system, which made speech sound boomy and muffled.
“The wish of the church staff was to have a sound system that delivered high quality speech, but also worked well with the many concerts they host. They had grown weary of rolling equipment in and out for events, often multiple times a week,” says Eirik Haua, sales manager of Tromsø-based audio specialists Lydproduksjon.
“The process of looking for a better system had been going on for many years, but the ball really started rolling when folk singer Jardar Hansen performed through an Alcons LR7 pro-ribbon system at Ishavskatedralen. After hearing the concert, church warden Mogens Olsen wanted the same sound quality all the time.
Eirik continues: “After further investigation of different systems and brands, it was confirmed that Alcons LR7 was the best solution for both worship and live concerts.”
Lydproduksjon supplied and installed a system comprising ten LR7 6.5” micro line array modules, two BF302 double 15” high output subwoofers, and four VR5 5” mini versatile monitors. The system is powered and controlled by one Sentinel10 (4 x 2500W) and one Sentinel3 (4x 750w) amplified loudspeaker controller. For inconspicuous integration, the system was delivered in a room-matching colour scheme through Architect Color Option.
“The system ensures everyone in each of the church’s 720 seats gets the best possible sound experience. It was specially produced in a custom white colour to match the interior of the church, making sure it perfectly complemented the visual aesthetic and did not detract from its iconic architecture,” says Eirik. “We think it is the optimal solution for the church and we are grateful that they trusted us to design and install the system.”
Mogens confirms Eirik’s words, adding: “The system delivers pure sound, both loud and quiet, which fills a tight, clean church space. The main speakers look like they are floating, rather than hanging. It perfectly supplements the timelessness of the architecture. Although Jan Inge Hovig passed away in 1977, we know that he would be happy.”
9th April 2021
State Kremlin Palace receives royal sound upgrade with DiGiCo Quantum7 and Quantum338
Russia – Celebrating its 60th anniversary next year, the State Kremlin Palace is Russia’s principal stage and one of the best and most prestigious theatrical and concert venues in the world. Situated inside the Moscow Kremlin and overlooking the banks of the Moskva river, the building is the geographic and historic centre of Moscow for both social and political gatherings, as well as home to the renowned Kremlin Ballet Theatre. Recently, the Big Hall has been equipped with the latest generation of DiGiCo mixing consoles, provided by the manufacturer’s exclusive distributor for the Russian market, ARIS, matching the highest calibre of events with first-class sound equipment.
Accommodating almost 6,000 spectators, the Big Hall has played host to virtuoso performance from some of the world's foremost ballerinas Olga Lepeshinskaya and Maya Plisetskaya, as well as famous soloist Galina Vishnevskaya, not to mention acclaimed international artists Mariah Carey, Tina Turner and Cher, all leaving their mark in this place of great public importance.
“The calibre of productions in the venue meant the reliability of the system was the number one requirement from the State Commission for the Development of the Russian Federation management team,” says ARIS’s head of project department, Alexandr Soloukhin. “All equipment installed in the venue simply cannot fail. This might be intimidating for some companies, but not for ARIS, as ‘good sound’ is in our DNA and has translated into delivering some of the most demanding sound reinforcement projects to date.”
The project included the installation of a fully redundant system that integrates the DiGiCo consoles with the venue’s existing Stage Tec Nexus routing system. In order to facilitate seamless integration, the manufacturers worked together to allow customised control software, utilising DiGiCo’s extensive OSC implementation to communicate with their respective equipment, meeting the specific requirements for the Kremlin Palace.
“With the release of custom software by Stage Tec, all the DiGiCo consoles and stage racks were integrated into the Nexus system with control of Stage Tec stage boxes, which ensured an effective workflow across the entire system,” shares Evgeny Silenko, Kremlin’s senior sound engineer.
DiGiCo Quantum7 and Quantum338 consoles were chosen by the ARIS team for the high-profile project. “We wanted to use the latest generation of DiGiCo consoles, with the most advanced Quantum engine, to ensure that the system was not only reliable but also future-proof,” explains Viktor Kizhaikin, Kremlin’s head of sound and video department. “We have also added some extras, such as expanding the Quantum7 FOH console with an additional EX-007 fader expansion unit, as well as achieving complete creative freedom for the sound engineer by complementing the onboard processing of the FOH console by Waves plug-ins, which are processed by the SoundGrid Extreme server. Our system is really flexible as there are Optocore, MADI, DANTE, AES interfaces to connect third-party devices and systems.”
The Quantum338 console is used as both monitor console and as portable mobile console. Additionally, the team selected top-end DiGiCo SD-Rack stage boxes with 32-bit 'John Stadius' mic preamp cards. ARIS’s engineers performed the installation, commissioned the system and trained the venue’s team on how to use and service the DiGiCo equipment.
“For nearly six decades, the Big Hall has hosted some of Russia’s largest musical shows and most significant historical and anniversary events, all of which have become part of the vivid and unforgettable pages in the cultural history of Russian Art,” concludes Katerina Pogodina, ARIS’s general manager. “With the latest integration of DiGiCo Quantum7 and Quantum338 mixing consoles into the venue’s sound eco-system, we have managed to bring the audio quality of this iconic venue up to the most modern and highest world standard. We are truly honoured to have been part of this important project and cannot wait for the ‘main stage of the country’ to be opening its doors to the public again.”
8th April 2021
Versatile Elation rig covers acts and more at Sandman Comedy Club
USA – In late April, Michael and Carrie Sands will be fulfilling a long-time dream when they open Richmond, Virginia’s newest entertainment venue, Sandman Comedy Club. Located in a roomy 1940s' bank building complete with bank vault, the new venue houses an Elation lighting system of WW Profile HP, Fuze Spot, Colour Pendant and SixBar 1000 luminaires that will be used for much more than just comedy.
The Sandman Comedy Club, which will also hold Open Mic and Karaoke nights every week, will feature some of America’s best comedic talent while serving up great food and drinks in a spacious room that features excellent views of the stage from every seat in the house.
AV integration company and Elation dealer Code 3 AV of Midlothian, Virginia, was called on to provide a comprehensive AV package for the new facility. Code 3’s Vladimir Syrovatka worked closely with Michael Sands on the project, helping him realise some opportunities with the space that the owner might not initially have been aware of. “Almost as an aside, Michael mentioned that he might want to also rent out the space to corporate clients or for weddings or other private parties,” Syrovatka explains. “That was a great idea. There are a lot of other opportunities to use the space besides comedy that he can leverage to give him additional streams of revenue. That modified the concept to the extent that he saw the importance in getting good lighting so he could not only light live performers but get good video capture through good balanced lighting as well.”
As they talked about Michael’s vision and the different ways he could market the space, the recording/video aspect became a central element of the design. “With Covid, distance conferencing and online broadcast has become much more popular and they wanted to make sure they could cover that. Lighting had to work for camera as well as the live audience. By working closely with him and developing with him this methodology for operating, we were able to put together a very effective system for audio, lighting, video and camera.”
The approximate 200-capacity space was completely retrofitted from its previous incarnation as a brewpub with new kitchen and bar and the old bank vault serving as a one-of-a-kind liquor locker. Michael, a successful retired businessman who always had a penchant for comedy, naturally wanted to be cost effective so Syrovatka worked within a finite budget to determine what elements of the lighting were most important. “Given that feedback, we massaged the budget and got the best lighting elements in place that could support his vision,” he said.
Syrovatka says that despite being a small lighting system “because it’s dynamic lighting it’s not limited at all. It’s very versatile and still allows them to do a lot.”
The system consists of two sticks of downstage truss that hold four WW Profile HP ellipsoidals along with a Fuze Spot LED moving head. The WW Profiles give warm white light onto the stage while the Fuze Spot can be used as a followspot, graphics projector or, with frost engaged, as a washlight. It has also been outfitted with a custom gobo to sweep the Sandman logo around the room. Three Colour Pendants with RGBW colour systems are suspended over the stage to provide colour or white light options onto the stage while adding depth to the look for video. Finally, SixBar 1000 LED battens, one left and one right at footlight positions and a third above a centred 90-inch display, wash the entire wall behind the performer in complementary tones. “The SixBars are wonderful and very effective,” says Syrovatka. “They really highlight the performance and bring a lot of excitement to the venue.”
Lighting scenes were created using an Elation Show Designer 1 controller working with a DMX interface and touch panel set up with preset buttons. An iPad configured with the touch panel allows venue personnel to walk throughout the facility and make adjustments to lighting and sound as needed.
A fixed camera in the back of the room allows them to capture the entire stage to record shows or can be used for online video meetings and distance conferencing. The camera links to a monitor in the green room where the next act is waiting, as well as to a digital recording device that can stream out to the Internet. Syrovatka says that performers will be delighted with the recording capability as it will allow acts to acquire a copy for their own promotion, both expanding the comedian's reach while marketing the club as well.
Code 3 worked closely with Chris Healy of Elation rep firm The Healy Group on the operating aspects of the system. “Chris was very, very helpful on this project,” Syrovatka states, who reached out to him to put the finer details on operation of the system and setup of the lighting units. “He came in and really opened the client’s eyes as to the potential of what the lighting system could do.”
The lighting install was completed earlier this year with the venue scheduled to celebrate its Grand Opening on 29th April. “We are very proud of this installation and excited about what we were able to do within a limited budget,” Syrovatka concludes. “Our communication with the owner helped him to understand the role of lighting in supporting what he was trying to do. He felt it brought a lot of dynamism to his ability to support these performers in this environment and once he saw the finished package he was absolutely delighted with the end result.”
7th April 2021
Gym Junkies Sweat to High-Energy BlacklineX at Barry’s Boutique Fitness Centre
UK – Boasting a high-profile celebrity clientele the Barry’s Bootcamp boutique fitness franchise continues to roll out in London and the UK, the latest (and flagship) operation being in Soho.
Originally established in California in 1998, Barry’s (as it is now known) offers high-intensity interval cross training, revolving around two red-lit studios. A series of trainers, using carefully curated playlists, pump out high volume, high BPM dance-oriented music through Martin Audio sound systems as classes build up a sweat over an intense 50-minute session, focusing respectively on treadmill and strength training.
By the time sound specialist Callum Toms of Luna Sound and Lighting came on board following a recommendation, Barry’s were already familiar with Martin Audio’s signature sound, having adopted the brand via a previous installer.
Toms, himself, was equally conversant, having worked with their premium installation ranges at his previous company. But for the new basement operation underneath the famous Hamleys store (with the entrance on Kingly Street), he went a step further and specified a large complement of Martin Audio Blackline series speakers.
“We first replaced an old sound system with Blackline X8 at Barry’s Central on the Euston Road, which was the first to open in London [back in 2013],” confirmed Toms, tracing the background. “Then we were offered St. Paul’s and now Soho. Blackline seems to be made of steel, it’s just so durable. It comes at a price that’s hard to beat and it looks attractive.”
He says the operators are known to run the system at 98dB. “We have provided a large complement of speakers to create plenty of headroom, as we would prefer the system to run at 60% rather than flat out.” This approach also guarantees consistent coverage and ensures every class-goer has the same experience.
In fact the larger of the two studios is equipped with no fewer than 18 Blackline X10, underpinned with three SX112 subwoofers, all ceiling mounted on yoke brackets, while a further SX212 sub is floor mounted.
The Lift studio adopts a similar concept but features eight Blackline X8 and a pair of SX112s pumping out music overhead.
Elsewhere, on the entrance stairwell are six ADORN A55, with a further two in the corridor leading to the two changing rooms, each housing a further four A55s. Finally Callum Toms has turned to Martin Audio’s popular CDD series for the main reception area, where six CDD6 have been specified. All the Martin Audio equipment was supplied by Leisuretec.
Maintaining the tempo, high energy dance music is routed to the various ancillary areas via a BSS Soundweb BLU-100 from a Mac.
In terms of the technical infrastructure, all the trainers have to do is press their tablet or MacBook Pro into the plug-in point provided, and don their Sennheiser headset mics to get the sessions underway.
Just as they have avoided any compromise on sound, the franchisees have also been careful to dampen the studios to avoid reverberation and slapback. The ceilings are covered in foam and the walls are edged with soundproof board where not lined with mirrors.
“Many layers of bespoke programming allowed us to maximise the gain level before getting any feedback,” exclaims Callum Toms. “The music is loud, fast and high quality which is one of the core values of Barry’s.”
7th April 2021
Compact dLive System Makes Life Easier at Skive Theatre
Denmark – An Allen & Heath dLive system is proving to be a fast, flexible mixing powerhouse for Denmark’s Skive Theatre.
The venue has been the focus of cultural life in the Skive municipality for more than 125 years. In recent times Skive Theatre has sought to broaden its programme, leading to the decision to invest in an updated mixing solution capable of keeping pace with an ever-changing events schedule.
Key criteria for theatre technical manager, Anders Holm, included compactness, ease of set up and the flexibility to handle anything from a handful of mics to a full live band. Another important factor for Anders was the ability to run talks and other simple events from a remote controller, without needing to wheel in a full console.
Anders, who is also the owner of pro audio rental and installation company, AHX, opted for an Allen & Heath dLive system built around a DM32 MixRack and a compact 19” C1500 surface. The C1500 is mounted in a flipcase for portability and speed of setup. An IP8 remote controller supplements the surface, bringing the maximum number of available fader strips to 120. The IP8 also fulfils the requirement for straightforward hands-on mixing of smaller events. The DM32 is fitted with an AES I/O card, plus a Dante card for easy integration with the venue’s Dante network. A portable DX168 I/O expander completes the setup, providing additional onstage connectivity.
“With the new dLive system, everyday life has become easier,” Anders comments. “Set up and breakdown have gone from 15 minutes down to two. Plus there are a lot of new features that we didn’t have in our old system, like the 16 FX engines and lots of multi-band compression, as well as a very open bus structure. It’s really fun to work with a desk where almost every conceivable configuration is possible. Compared to our old system, the sound quality has also been enhanced. The whole system sounds much more open and expansive. It’s almost as if the frequency range has doubled.”
6th April 2021
Hippotizer Karst+ delivers winter wonderland for Victory Worship Center
USA – The Victory Worship Center, a multi-campus community church in Arizona, created a special Christmas service for its limited-capacity congregations in December. As a backdrop for the music and sermons, a stage-wide picture window set-piece framed wintery vistas, displayed in ultra-high definition on a 30ft x 10ft LED videowall. Faithfully delivering the visual content, day after day, was a Hippotizer Karst+ media server from Green Hippo.
A recent purchase by the Victory Worship Center, the Karst+ media server was used for the very first time on this show. Production designer Alex Fuller, of Fuller Lights LLC, was familiar with Hippotizer from previous projects and was able to link the Karst+ unit to the grandMA3 lighting console at the heart of the Victory Center’s control booth. Situated in a separate video control suite, the Karst+ was fibre-linked to the MA3, and to the LED videowall on the stage, with a ZooKeeper remote interface set up in the front-of-house booth for operator Eli Ekdahl. “That all worked really well,” says Fuller.
The set, designed by Fuller and including fake, snow-covered fir trees, was fabricated by Mod Scenes to frame the 3mm pixel pitch ROE Visual LED wall, rented from Concept Pixels Entertainment, Inc. Visual content was sourced from Visual Revival. “We chose a lot of outdoor scenes of nature: mountains, forests, snowscapes and that kind of thing to complement all the fake Christmas trees on the set,” says Fuller. Later, as the services ran closer to Christmas, he introduced other more dynamic elements including stars and fireworks.
Although familiar with Hippotizer media servers, Fuller did encounter a few obstacles during set-up, but these were swiftly solved with help from Ashley Hazlett of Green Hippo’s California-based US tech support team. “She helped us with setting up the raster and making sure that was all good, and also to figure out that we needed to update the Hippo profile for the MA3! She was great, really helpful,” says Fuller.
Once up and running, Fuller had no issues with the Hippotizer’s processing of the content for the high-res LED wall. “It was 3mm resolution on a 30ft-wide wall, so we were running all 4k content,” he says, “and we didn’t have any problems with slow-down or anything of that kind. That was awesome.”
He adds, “I’ve used Hippos on different shows and events around the country, and it’s solid. We never have any problem with glitching. That’s been my problem in the past with media servers, they often aren’t fast enough, or if you try to slow down some content it starts visibly stepping. But Hippos have never done that for me, they’re always solid.”
In fact, the Hippotizer Karst+ was solid enough for Fuller to place his faith in its performance for the entire run. Asked if he included a backup system, he replied: “No, we just prayed! And we didn’t have any problems for the whole month, everything worked seamlessly.”
31st March 2021
CLW Church in Bonn Integrates and Upgrades With Martin Audio CDD
Germany – The CLW in Bonn-Bad Godesberg is a protestant free church and open to believers of all nationalities and generations. The parish has a church with an adjoining kindergarten and offers, among other things, services for the whole family every Sunday at 10am. The Living Word (CLW is an acronym for Centrum für Lebendiges Wort) is the focus of the services, in the form of sermons and musical contributions. The live music component in the church has grown steadily in recent years, so an upgrade of the sound system was necessary.
Julian Betker, trainee pastor and vicar at the CLW, states: "We have been working on a new sound reinforcement solution to meet our many requirements for a while. On the one hand, we wanted to use our existing technology, including mixing consoles, microphones and subwoofers. Our church lives through, and with, live music , which could be heard with our old system outside the church building as well. However, the positioning of the loudspeakers meant that there was always a risk of feedback. The last important point was to stay within budget. We are a donation-financed institution and thus have to pay particular attention to expenditure.”
Several loudspeaker manufacturers were approached to develop a solution. The company Klein Beschallungs- und Kirchentechnik from Cologne, together with Audio-Technica, created a concept with loudspeakers and power amplifiers from Martin Audio. Great emphasis was placed on seamless integration into the existing system. Owner, Paul Klein, stated: "We have been working with Audio-Technica's products for a long time and for the first time we’ve been able to offer Martin Audio loudspeakers. The quality of the CDD series convinced us. Combined with VIA series power amplifiers and the DX0.5 system controller, we were able to create a convincing argument. In addition, we were able to use the ADORN loudspeakers to provide sound in adjoining rooms at a reasonable price, yet still offering high quality.”
After comparative listening, the decision was finally made in favour of Martin Audio. Since the church building is a rotunda with a gallery, the sound system was divided into sections. The area in front of the stage is the largest area to be covered (with two CDD12s). The upper tier, which uses a glass pane as a parapet, was covered with two CDD10 loudspeakers. The difficulty was to hit the glass surfaces as little as possible, in order to avoid reflections.
Paul Klein: "With the CDD series we can cover the audience area very precisely. Because of the very precise output pattern of the speakers it was possible to steer the sound away from the glass balustrade of the balcony to minimise these reflections." CDD6 loudspeakers were used below the gallery, and A55 speakers from the ADORN series were used inside the rooms. Everything is driven by VIA5002 and VIA5004 power amplifiers, optimised by presets provided by the DX0.5 system controller.
"With the CLW we’ve been able to implement a very nice sound concept,” continued Klein. “The CDD loudspeakers deliver sufficient level in the hall; at the same time they are not susceptible to feedback and there is hardly any escape to the outside. The installation was very successful, also thanks to the many helping hands of the CLW.”
Julian Betker adds: "We are very happy to work with our new sound system. Our live music sounds more vivid than ever, at every seat. We are positively surprised that the integration of our existing technology worked so smoothly. Once again a big compliment to Paul Klein and his team, the co-operation was great.”
30th March 2021
Cutting Edge creates latest buzz with Edge Lab VP facility powered by Brompton Technology
Australia – Renowned for its collaborative ‘can-do’ approach to creative problem solving, Cutting Edge has been a leading provider of sound and picture post production for the advertising, features and television industries, both in Australia and internationally, for almost three decades. The company recently announced Edge Lab, its newest venture in Virtual Production (VP) based in Brisbane, Queensland. The facility is a research and development hub for production industry professionals, developed in partnership with Big Picture, part of the NEP Worldwide Network, and motion caption integrator Logemas. Built with the highest quality components, industry standard Brompton Technology processing is used for the main LED screen as well as ambient reflection and lighting walls.
Whether it is end-to-end post, 7.1 Dolby Digital mixing, DI or remote operational setups, Cutting Edge is able to facilitate all its clients’ needs across commercial, television and feature film productions. Now, the company can also tap into the latest technical innovations in VP with its Unreal Engine powered virtual production stage with a high resolution 12m by 4m LED wall and moveable LED side panels.
The set-up comprises a Uniview Tekken 3mm main LED screen with two Tekken 3m by 2.5m ambient reflection walls and a further two ROE Visual CB5 5mm ambient lighting walls. The entire system runs on four Brompton Tessera SX40 4K LED processors and four Tessera XD 10G data distribution units.
“Because our LED stage has been built with high quality components and is powered by Brompton processing, we are able to achieve realistic virtual environments that help with experimental shooting and environment creation,” says Cutting Edge CEO Michael Burton.
Josh Moffat, special projects and business development at Big Picture suggests that the premium LED Volume technology that Edge Lab is offering is the “latest buzz” in virtual production. “The work coming out of these spaces is set to create a new standard in film making,” Moffat says. “We know production companies will want to try out this new technology and take advantage of all it has to offer. We’re looking forward to our partnership with Cutting Edge and being able to showcase this to the local market.”
Currently, Edge Lab’s head of virtual production, Tim Schultz, is holding demonstrations and workshop sessions for creatives and industry experts looking for a full virtual production experience tailored to their specific production needs. “Our team wants to collaborate with creatives in the R&D phase of a project so that, if virtual production is a viable solution, we can help the production team configure a suitably scaled VP studio wherever they need it,” explains Schultz.
On the 19th of March the team was honoured to invite The Visual Effects Society (VES) members to attend a virtual production event workshop at Edge Lab. The event was hosted with partners at Big Picture, Logemas and ARRI, and demonstrated Unreal Engine integration with a large scale LED stage including real time camera tracking and various lighting techniques. The key objective was not only to showcase the latest technologies, but also to discuss best practices with VES, the entertainment industry’s only organisation representing the full breadth of visual effects practitioners in over 40 countries, in order to find ways for all the relevant departments to work effectively together in the new exciting field of virtual production.
“Queensland is fast becoming the centre of a large film production scene. Edge Lab opening is proof of that,” concludes Moffat. “We are really excited for Big Picture to be one of the main technical companies driving virtual production development here in Australia. We’re looking forward to working on some amazing projects and with Brompton Technology as our chosen LED processing solution for VP applications, we know we’ll deliver great results.”
30th March 2021
Infinity Signature Theatre lights in Felix Meritis
The Netherlands – The Felix Meritis building on the Keizersgracht has been equipped by Rolight with several of Infinity’s high-quality TS-260C7 Profile engine and TF-260C7 Fresnel fixtures. A number of rooms, including the main Concert Hall, now enjoy the natural light and silent operation of these professional theatre lights.
The Felix Meritis building at the Keizersgracht in Amsterdam has a rich background of cultural and scientific happenings. Named after the Felix Meritis Foundation, it was built in the Louis XVI style of architecture and designed to be the pinnacle of arts and science in Amsterdam in the 1800s, with performances of Schumann and Brahms establishing its success. After the disbanding of the foundation in the late 1880s, the building has experienced a disputed history, but was restored again as an international meeting place for art, culture and science in 1988 when the Felix Meritis Foundation was re-established.
During the most recent renovation in 2020, Rolight was hired to furnish several rooms in this imposing and modernised building. Fitting to the application, several professional fixtures from Infinity were chosen to accommodate the lighting in three rooms: the main Concertzaal (concert hall), the Zuilenzaal (pillar room) and the Shaffyzaal (Shaffy room, named after the famous Dutch singer/actor Ramses Shaffy). The main concert hall has been equipped with seven Infinity TF-260C7 Fresnel and six Infinity TS-260C7 Profile Engine fixtures. The latter have been coupled with the Infinity Zoom lens (TLT-2350), which provides a 25° to 50° manual zoom to the fixture. For the Zuilenzaal Rolight chose to install four TF-260C7 Fresnel and six TS-260C7 Profile Engine fixtures. Like in the concert hall, the TS-260C7 luminaires were equipped with the Infinity TLT-2350 Zoom lens to generate the desired effect. In the Shaffyzaal four TF-260C7 Fresnel fixtures provide the essential base lighting of the room.
The Infinity Signature Series promises professional lighting solutions for high-demanding situations. Designed by Highlite International BV in co-operation with French company Robert Juliat, the Infinity Signature Series offers highly accurate and calibrated colours (CRI>96) using sophisticated temperature and linearity drift compensation for all LEDs and various professional implementations like 16-bit virtual dimming and RGB, CMY and HSI colour control. The custom designed silent cooling system guarantees safe operation of the 260 Watt Lumiled colour engine and should ensure a lifetime of gratifying performance to technical staff, performers and visitors.
29th March 2021
Houston’s Sagemont Church Upgrades to Solid State Logic L350
USA – Toward the end of 2020, the new leadership at Houston’s Sagemont Church, which was established in 1966 and is associated with the Southern Baptist Convention, introduced a contemporary worship music service to appeal to a younger congregation. To meet the demands of the new modern service, the church upgraded the ageing sound system in its 2,500-seat sanctuary, installing a SSL Live L350 digital mixing console and replacing the PA speakers.
The PA and console installed after the church’s 118,000-square-foot worship centre and adult education centre was completed in 2012 were no longer up to the task, says Evan Warren, who was appointed lead audio engineer in October 2020. “We have a new pastor, a new worship leader and a whole new direction, and we wanted to do modern contemporary rock & roll style worship music. But our PA and console were pushing 10 years old and falling apart. The faders on our old console were moving on their own and the old PA just wasn’t cutting it.”
Having already spent a lot of time dreaming about equipment as a young engineer, Warren says, it didn’t take him long to narrow down the mixing console choices to an SSL Live L350. “I thought, what can do the I/O count, what is flexible and, bottom line, what sounds the best? I wanted sound quality to be a high priority, because you don’t get to upgrade a desk and PA at the same time very often.”
AVL equipment supplier and integrator Hairel Enterprises, based in Conroe, Texas, installed the SSL Live desk and the new d&b audiotechnik KSL speaker system all on the same day, shortly after the church’s final Christmas service.
Warren can handle front of house, monitors and a broadcast streaming mix from the 24 fader L350, which offers 96 channel preamps. The church’s new system also includes a Fader Tile – a self-contained, 12-fader console extension – acting as a second operator position managing monitor mixes for the band, which can include up to a dozen musicians and singers. “We have a monitor station and we’re running the SSL Live SOLSA app on a PC for the monitor control. But I wanted to be able to run with one engineer if I had to, if the monitor engineer had to step away,” he says.
The improvement in audio quality as a result of the upgrade has had an impact on his mixing, reports Warren. “The crazy thing is that I don’t need to do a lot of my ‘tricks’ that I’ve used over the years. I’ve stopped parallel compressing vocals and drums. Between the SSL and the d&b rig, everything is so clear, punchy and defined that I don’t need to force things up in the mix any more; they just have their place.”
The integration of the SSL Live console has also brought a noticeable improvement to the audio quality of the musicians’ in-ear monitors, he adds. “We had a bass player who plays in a regional country band come and fill in and he said it was the best ears he’d ever had.”
At the church where he previously worked, Warren had to rely extensively on plug-ins when mixing. But with SSL Live, he says, the system’s processing sounds so good that he now finds himself using very few plug-ins. “I feel great about just using what’s on the desk. The front end, the conversion, the summing and the processing are just better than anything I’ve ever used.”
In particular, he says: “The SSL bus compressor on the desk is fantastic, and it has a high-pass filter, which is amazing. I use that on my master bus. And I think the dynamic EQ sounds better than the plug-in I was used to, so I use that as much as possible.” Compared to that plug-in, he says, “With the SSL I just hear it sooner. I can hear 1dB of reduction.”
The church’s new L350 console is integrated on a Dante network. “The dual domain routing is really cool,” says Warren. Dual domain routes, unique to SSL, enable the desk to interact directly with devices on the network without the need to launch Dante Controller.
As for broadcast streaming, he says: “I send my front-of-house mix to a mastering chain, blend some crowd mics in and send it out. I tweak that week to week. I have some little Genelec speakers at front of house to make sure that everything is translating. I also went with a Dante PCIe card and record into Reaper. I use that for virtual soundchecks, no matter what. But I’m also recording, so that in the future I can hopefully do some remixing and archiving.”
The change in church leadership happened in May 2020, says Warren. “I had connections with the new pastor from a previous church. I got the call when they were looking for a new sound guy who could handle a rock band.”
Starting this year, the first Sunday service is now for the older church members and features a more traditional band and choir. The second service is driven by contemporary worship music. “It’s an interesting challenge for me,” he says. “I have to mix two very different styles for two very different audiences, so I start from two different show files.” Worshippers have responded positively, he says, and congregation numbers began to rise significantly in February.
“We’re still in the early stages, but we have an exciting new direction and all the equipment we could ask for,” he says. That includes the new SSL Live console, which has been a revelation to Warren. “I never got to work on analog equipment. I’m 30 and have been doing this about ten years, so analogue stuff was on its way out when I started. But I feel like I’m discovering that level of sound quality on the SSL. I’m finally discovering what good is.”
29th March 2021
New Seating for Wilton’s Music Hall
UK – Audience Systems has provided new seating for the Grade II listed Wilton’s Music Hall, the only surviving Grand Music Hall in the world.
Wilton’s has a fascinating history. It opened in 1859 to much excitement, attracting international audiences with Music Hall stars such as Champagne Charlie and Arthur Lloyd.
In the 1880s, the building closed as a music hall and was purchased by a Wesleyan Mission. During that time, the building continued to serve the community in various extraordinary ways; 2000 people were fed there during the dockers’ strike of 1889 for instance, and in the 1930s, it provided a safe haven for East End anti-fascists in their fight against Oswald Mosley.
The Methodists departed in 1950, and the building sadly fell into disrepair. A failed restoration attempt in the 1980s left the building gutted and structurally dangerous.
However, with the help of Heritage Lottery funding, a restoration of the elegant balcony, the beautiful barley twist columns and the front of house was completed in 2015. Then, in 2020, a smaller but crucial project was undertaken to improve the acoustics and seating in the auditorium. Called ‘The Beautiful Word’, the project was made possible by many generous donations and was chaired by Sir David Suchet.
Audience Systems’ Matrix chairs are a perfect solution for the stalls areas. Completely removable, they leave no marks on the floor and can be laid out quickly in groups. The system leaves the venue with the flexibility to remove the seating or change its layout, perfect for creating socially distanced seating configurations, for example.
To create good sightlines on the balcony, custom tiering was installed by Stage and Tiers, which also re-modelled the stage extension. This was topped by some very special removable Espace chairs by Audience Systems, some of which are raised to barstool height, with footrests.
The 374 new seats do not pretend to emulate the venue’s original seating. They are new seats, the venue is old. There is no artifice here. Instead they sit quietly (and comfortably) in the space, offsetting the remarkable beauty of a venue which has weathered so much, and remains magnificent for it.
Wiltshire-based Audience Systems design, manufacture and install seating for performance venues worldwide.
29th March 2021
Infinity Signature Series installed in MIMIK
The Netherlands – The new MIMIK cultural centre situated next to the IJssel river has been fitted out with a number of Infinity’s professional theatre lighting fixtures. TS-260C7 Profile engines equipped with TLT-1230 Zoom lenses and Irises, TF-260C7 Fresnels with barndoors and TCYC-7 Cycloramas were used by Rolight to provide the desired illumination.
In the new MIMIK in Deventer, The Netherlands, a theatre, four movie theatres and a grand café are merged into a cultural experience. Open all day and easily accessible, its programme aims to surprise visitors time and time again. MIMIK follows up on the success of film house De Keizer (the emperor) and Theater Bouwkunde (Building Science theatre). Combining both with hospitable catering creates a vivid meeting place that ticks all the boxes for current and future generations. The theatre is fitted with a retractable grandstand and can be transformed into a 162m² (1,740ft²) festivity hall with the push of a button. Situated along the river IJssel, the foyer and bar on the first floor offer a great view on the surroundings.
To implement the appropriate internal lighting in the cinema rooms and theatre, Rolight has been asked to advise, supply and install the necessary equipment. They have chosen the Infinity Signature Series TS-260C7 Profile Engine and TF-260C7 Fresnel fixtures to accommodate the professional environment of MIMIK. In total, 50 TS-260C7 Profile engines were combined with 50 Infinity TLT-1230 15-35°Zoom lenses and 50 Infinity Irises to provide lighting in the spaces. They were augmented by 22 TF-260C7 Fresnel fixtures that were fitted with barndoors. Nine Infinity TCYC-7 Cyclorama luminaires were added to provide endless background illumination possibilities in the theatre.
Together with famous French lighting company Robert Juliat, Highlite International BV has developed its Infinity Signature Series to offer a high-end professional lighting solution. With their highly accurate and calibrated colours all fixtures in the series provide a CRI of over 96, which guarantees natural and vivid colours. Sophisticated temperature and linearity drift compensation for all LEDs and various professional implementations like 16-bit virtual dimming and RGB, CMY and HSI colour control are used to achieve maximum performance. The custom designed silent cooling system guarantees safe operation of the 260 Watt Lumiled colour engine in the TS-260C7 and TF-260C7 fixtures and should ensure a lifetime of enjoyable performance to technical staff, performers and visitors of MIMIK.
26th March 2021
Robe FORTE now available at CGS DRY HIRE
Germany – Rental company CGS Dry Hire, based in Denkendorf in southern Germany and headed by Christian Geyer, relies on a large number of Robe’s just launched FORTE high powered LED moving lights, which have just been delivered via Robe Germany. These are now available for dry hire at CGS.
These are the first FORTES to be received in Germany and have been included in the rental stock of CGS for general lighting equipment, with Christian looking ahead to when the industry re-starts as pandemic lockdown rules start being eased.
Also, for a couple of specific jobs for which a high-powered multi-functional LED fixture was required.
Christian, who founded CGS in 1999 whilst still a technology-obsessed teenager and a keen DJ, commented: “Investing in premium brands and solid technology has always been a CGS trademark. It has helped enable us to build the company’s reputation for excellence, and we see FORTE as a smart option for rental stock that will help expand our market position both now and for years to come.”
He and his colleagues, including CGS Dry Hire department manager Josef Reichenstetter, noticed a groundswell of interest in the FORTE from lighting designers and the lighting community generally even before it was launched by Robe last month, and this encouraged them to organise a demo as soon as units were available.
Christian also staged selective shoot-outs for key customers which included a FORTE and competitor products, where FORTE reliably proved to be the best with its 50,000 lumens of high-quality output unleashed by its potent self-referencing, data capturing TE 1,000W White LED engine.
FORTE also offered numerous other features that everyone rated, including a five to 55 degree zoom that properly addresses the demand for spot, wash and beam applications, perfect for a busy rental operation like CGS – and the weight of under 40kg.
The fixture has a fabulous new CMY colour mixing system offering beautifully fluid colour transitions, combined with two colour wheels, CRI 80 and 90 filters, and a variable CTO ranging from 3,000 to 6,700K for refined colour processing.
“The plus / minus green control for broadcast environments is another popular feature liked by many lighting designers and directors,” commented Josef Reichenstetter, “So it was a combination of brightness, quality of light and all the features, plus Robe’s reputation for good engineering and reliability that impressed us.”
CGS has been constantly relying on Robe products throughout the last years.
At the end of 2019, they already purchased a quantity of ESPRITE LED profiles, which are also powered by Robe’s powerful Transferrable Engine technology, and despite all the challenges faced during 2020, they also made some smaller investments in MegaPointes and RoboSpot systems to facilitate projects that have gone ahead in the last 12 months.
“We’re adding more Robe fixtures to our inventory step by step since Robe products are not only demanded in high quantities, but also almost always accepted as an alternative to any other brand,” comments Christian.
Like everyone, the CGS Team is looking forward to the live show and event industry in Germany and elsewhere re-starting after a challenging year of surviving and fighting the pandemic!
photos: Courtesy CGS
26th March 2021
CSP Audio Visual Calls on Chauvet Professional to Add Imagery to Historic Town Bridge
UK – Visitors often stop to take pictures of the Town Bridge. That shouldn’t be surprising. One of the first swing bridges in Britain to be powered by electricity, the venerable landmark, with its asymmetrical bowstring lattice girders, spike railings and timber framed control tower, offers an evocative glimpse into Cheshire’s industrial past.
Since it opened in 1899, the bridge has been a source of pride to local residents. During the past year of the pandemic, it’s also served as rallying point, inspiring hope and reflecting determination by being illuminated in various colour schemes during holidays and on special occasions.
The visual and emotional impact of these colourful displays has been very evident when CSP Audio Visual has illuminated Town Bridge with a collection of Chauvet Professional COLORado Panel Q40 rectangular wash fixtures and Ovation E-260WW IP ellipsoidal units.
“Northwich Town council contacted us to light Town Bridge for VE day celebrations,” said Alun Williams, director of CSP AV. “The bridge was to be lit in the red, white and blue colours of the Union Flag. After the success of that project, the council invited us back.”
Positioned across the bridge and at the ground level of adjacent buildings, the RGBW IP65 rated COLORado Panel Q40 fixtures have been used to wash the span and its environs in vivid colours. The colour scheme called for in the CSP AV design changes throughout the period when the bridge is illuminated to keep the visuals interesting for those who pass the site on a regular basis.
Playing off against the rich colour washes of the COLORado units are gobo patterns projected from the Ovation E-260WW IP fixtures. Arranged along the base of the road, the units are used to project crisp thematic gobos across its surface of the bridge.
More than simply a beautiful, historic and symbolic structure, the Town Bridge is also a major thoroughfare for commuters in the Northwich area. Mindful of this, the CSP AV team focused light so it did not interfere with motorists. “Our main challenge was to keep the glare away from the traffic passing over the bridge,” said Williams. “Through the use of filters s and fixture positioning, we were able to eliminate any glare to the traffic.”
There was one kind of 'glare' that Williams and his team appreciated, however. Looking at the bridge from afar, they saw how brilliantly their light reflected off the water of the River Weaver below.
“Seeing the colourful light reflect off the sides of the bridge and the flowing river itself was truly amazing,” said Williams. “Knowing that this imagery was bringing a welcome diversion to people during this pandemic gave us all a good feeling.”
26th March 2021
Calgary’s Arts Commons expands lighting inventory with Ayrton and Robert Juliat fixtures
Canada – A multi-venue arts centre in downtown Calgary, Alberta, Arts Commons (formerly EPCOR Centre for the Performing Arts) has invested in a complement of Ayrton lighting fixtures and Robert Juliat followspots from Sapphire Sound.
Arts Commons is located in Calgary’s downtown Cultural District and is one of the three largest arts centres in Canada. Its five theatres and concert hall are home to six resident companies and host a wide array of guest performers annually. While Arts Commons is currently closed due to the COVID-19 pandemic, the centre has been busy upgrading and expanding its lighting inventory in anticipation of reopening.
According to Kris Ladd, head of lighting at Arts Commons, 16 Ayrton Huracan-X and four Ayrton Diablo-S fixtures were purchased for the Jack Singer Concert Hall, the permanent home of the Calgary Philharmonic Orchestra and the largest venue in the centre. It seats 1,800 and boasts the 6,040-pipe Carthy Organ.
Three Ayrton Mistral-TCs have been installed in the Engineered Air Theatre, a 185-seat space used for concerts, films, plays, weddings, receptions and galas, while a pair of Robert Juliat 800W LED Arthur followspots have been added to the 750-seat Max Bell Theatre, home to Theatre Calgary.
Brian Cloutier, in sales and design for lighting at Sapphire Sound, worked with Ladd during the upgrade process, providing equipment for demos and shoot-outs and furnishing the fixtures selected for the three venues. “Kris knows what he wants, which makes it very easy for me,” he notes. “I’ve also had a long relationship with ACT Lighting, and they give us amazing support for everything we purchase.”
Ayrton’s versatile, high-performance Huracan-X fixtures have become the main profiles for the Jack Singer Concert Hall. “Our current fixtures, bought when LED moving lights were a new thing, are RGBW lights that produce excellent colours but not very bright white,” says Kris Ladd. “White sources, on the other hand, tend to lose intensity on colours, and most can’t make red. I wanted something that was a lot brighter in the white and enabled me to mix a red. A lot of our orchestra shows call for us to fade colours, so I need to be able to mix to that colour.
“With Huracan-X I can get a nice red and very bright white. I can even use a whole bunch of colour flags, multiple layers of gobos and animation wheels and still get good intensity that really punches through,” he reports. The new Huracans allow Ladd to get full stage washes of gobos, too. All 16 fixtures are mounted on several trusses on dollies so they are “ready to go” for concerts.
“ACT Lighting’s support of Ayrton made these fixtures a viable option for us,” Ladd points out. “I had looked at Ayrton products before ACT began distributing them but knowing that ACT was behind them made me feel comfortable that this would be a good purchase for us.”
Ladd also added Diablo-S fixtures to the concert hall. “They are the smallest, full-featured LED profiles I could find,” he explains. “I will tuck them into the canopy for specials, especially with the orchestra.” A large laminated spruce-wood acoustical canopy is suspended over the stage; it can be raised or lowered to tune the hall according to the specific needs of each performer.
“Before, if the orchestra did a pop show with lead singers there was no way to highlight the singers, to make them separate out from the orchestra without adding ugly truss,” says Ladd. “Now, with Diablos in the canopy, we can give them a full wash.” Both the Huracan-X and Diablo-S fixtures are “extremely quiet in silent mode, which is very important for the orchestra,” he adds.
The Engineered Air Theatre, which has no permanent company and hosts a variety of shows year-round, has hung the Ayrton Mistral-TCs from the grid above the stage. “We needed a fixture to add more interest and jazz up a show,” says Ladd. “Given the small size of the theatre these lights are as big as I could go, but they are still a full-featured LED in a small and lightweight package. Three Mistrals will easily fill the whole stage.
“I looked at cheaper options, but everything else that size typically did not have enough features, but the Mistrals had everything.”
The Arthur LED long-throw followspots from Robert Juliat replace followspots installed in the FOH cove in the Max Bell Theatre for its opening in 1985.
Prior to the closing of Arts Commons due to the COVID-19 pandemic, Ladd demonstrated Robert Juliat’s 600W Oz followspot in search of a medium- or long-throw spot for greater intensity. “Oz was tempting; it was brighter than what we had, but we felt we needed a little more intensity and wanted an LED instead of an arc source,” Ladd recalls. “We were fortunate that Arthur, an 800W LED, came out soon after and was everything we needed!”
A long-time ACT Lighting customer, Arts Commons is eager to reopen and put its new fixtures to work. “ACT gives us quick and efficient service,” says Ladd. “They are always ready to respond right away when we need them.” Ryan Hindinger, director of sales logistics at ACT Lighting, facilitated the Arts Commons sale.
ACT Lighting, Inc. is the exclusive distributor of Ayrton and Robert Juliat in North America.
26th March 2021
Seventy-Four Infinity TS-260C7 luminaires in sustainable AFAS Theater
The Netherlands – The highly sustainable AFAS Theater, which is incorporated in the new HQ of software developer AFAS, named the AFAS Experience Center in Leusden, has recently been equipped by Rolight with 74 Infinity TS-260C7 Profile engines from Infinity’s Signature series.
The AFAS Experience Center has been designed from the ground up to create an 'experience' for clients, employees and visitors, a complex that inspires to keep producing great software, AFAS’ main business. Future-proof and based on the changing way of working, learning and recreation, it integrates all in one grand complex. Featuring office space, meeting rooms, relax areas, demonstration rooms, fitness area, gym, educational spaces, studios, patio and atrium suitable for events, exhibitions and social gathering, restaurant, auditorium, theatre, two-deck parking garage, park with terraces, outside activity spaces and ample water features and fountains, the complex takes ecological and environmental aspects into account as much as possible. Almost energy neutral, fitted with solar panels, sedum roofs, heat pumps, heat exchangers, triple glazing, Smart Building principles with a multitude of sensors and 50 charging stations for electric vehicles, the project has had some thinking behind it.
When it was time to furnish the theatre area, specialists from Rolight found a fitting candidate in the Infinity TS-260C7 Profile engine to light up the main stage. Its very efficient, high output LED light holds up to the principle of environmental awareness that has been used throughout the Center’s design, making it a solid choice for the application, while ticking all the boxes. Seventy-four fixtures with a staggering total output of over 330,000 lumens were used to provide ample lighting to the main stage. The TS-260C7 is able to produce light in seven colours with a CRI of over 96, ensuring a very natural illumination of the stage. The fixtures are combined with 58 Irises, 54 TLT-235 and four TLT-1230 zoom lenses to create the required effect. Up to 850 attendants of the AFAS Theater should be able to enjoy a well-lit performance with Infinity’s professional theatre luminaires.
Infinity has sought cooperation for developing a new line of professional theatre lighting equipment and found a solid companion in the French company Robert Juliat. The resulting Signature Series stands for professional lighting solutions in high-demanding situations. The experts at Rolight have chosen a solid fixture for the AFAS Theater. Its efficient and durable design underline the sustainability principle of the modern AFAS Experience Center and should ensure a lifetime of gratifying performance to technical staff, performers, and audience.
26th March 2021
Stage Audio Works adds fifth conference space to Caudan Arts Centre, Mauritius
Mauritius – The Caudan Arts Centre (CAC) is a landmark arts and conference centre in the East African region. Designed by Arup UK with systems integration services from Stage Audio Works (SAW) in South Africa, CAC is the first truly international-standard venue in Mauritius. Inaugurated in December 2018, it incorporates a stunning 431 seat theatre, a rehearsal space, three bars, a restaurant and four well-equipped, modular conference spaces. Having successfully designed (in conjunction with Arup), supplied and installed state-of-the-art audio, video and communications systems throughout the venue, CAC recently called on SAW to design and install the systems for a fifth conference room that can accommodate up to 150 people seated. A soundproofed partition also enables the creation of an art gallery as required.
“We have been incredibly successful with our theatre and really pleased with all of SAW’s work to date, so there was no question of not calling them back when we wanted to integrate our new conference space,” says CAC sound manager, Kooshal Dwarka. “We have a d&b T-Series system with ArrayProcessing in the main auditorium integrated with Yamaha FoH and monitoring consoles across a Dante network. A Q-SYS Ecosystem handles control and management and integrates with our video show relay system based on Blackmagic Design video technology with SDI distribution. It’s all very sophisticated.”
SAW also provided digital signage and BGM/paging solutions for the foyer and public areas along with touch screen controllers to manage simple functions like audio source selection, music player control and volume. Finally there are a number of facility panels outside the auditorium and in the lobby and foyers.
“The theatre is quite often used as a conference venue for large corporate events, so it was important that the sound system is able to handle speech reinforcement as well as it does music reinforcement, ideally without really sounding amplified at all and I think it does that very well,” remarks Dwarka. “T-Series offers a very comfortable power-to-size ratio, perfect for our 431 seat auditorium; it is capable of handling any type of music, from classical to rock and has enough headroom to handle powerful music without blasting the ears of the listeners, whilst the ArrayProcessing technology delivers even sound dispersion and consistent tonal balance throughout the auditorium for a really natural listening experience.”
A very different approach was adopted for the modular conference facilities which are all based around Christie projectors, Dalite screens, QSC loudspeakers and amplifiers, Sennheiser wireless microphones and Atlona switchers. “We wanted as interoperable and flexible a system as possible for the conference spaces as they can be used in such a variety of combinations and formats depending on the size and type of event,” explains Dwarka. “Whilst the new conference space called La Scala – which can seat up to 150 people – is physically separate from the other conference area, it made sense to have it based on the same equipment and on the same network, so SAW extended the theatre’s Q-SYS network to incorporate the AV system in the new room. As usual, the results are impeccable.”
Dwarka underlined both the quality and the fully integrated nature of the installation. “It’s the first of its kind in Mauritius and it’s right up there with the best in the world. We have unmatched sound locally which really makes the reputation of the Caudan Arts Centre. From an operational perspective it’s reliable, stable and offers control and monitoring from a single computer with the appropriate software for each application. Stage Audio Works have done a fantastic job for us at every level. We couldn’t have asked for more.”