Project News Headlines
KLANG:fabrik 3D In-Ear Monitor Mixing Systems Raise Performance Levels at United Methodist Church of the Resurrection
Victoria Theatre Halifax Makes Sound Investment with Allen & Heath dLive, via A.C. Entertainment Technologies
New China Nightclub Chain Opens its Doors with Clair Brothers
China – First Club is a new brand of nightclubs, commissioned by the respected Nuochuang Group, with its sights set on evolving the Chinese nightclub scene by combining art, fashion, music, sound, lighting and high-end social sophistication. The decision-makers at First Club insisted on the best of everything at every level. Both Mr. Wei, vice president of Nuochuang Group, and Mr. Wu, president of the First Club Brand, agreed on the vision to create a nightclub that delivers high-octane EDM experiences unlike any other, which explains why Clair Brothers was the unanimous choice to provide the brand’s signature sound. “Their reputation for audio innovation and excellent service is world-renowned,” explains Mr. Feng Min, First Club general manager. “This collaboration marks the first time that Clair Brothers have produced a speaker cabinet with integrated branding designed specifically by an entertainment chain anywhere in the world.” The result is kiTCurve12 speakers customized with the First Club logo prominently displayed on the grills.
Integral to the brand architecture is the Clair Brothers custom-designed sound system that includes the Clair Brothers kiT12, kiTCurve12, FF2-HX, CS-218, CB-FP14000/10000+ and CB-LM26 models. The result is a sound that sets First Club apart from other existing club brands, with special attention being paid to treble transparency, low-frequency flexibility and high energy. “Our goal is to give club patrons a unique feeling they can’t get anywhere else,” says Mr. Wu. “And Clair Brothers does that.” The system, installed by Newegg, a Chinese integrator specialising in the entertainment industry, is further augmented by custom Lake processing on the kiT12 making it more powerful.
First Club is a growing chain, currently with three venues open for business. A crucial attribute of this custom Clair Brothers system is its versatility within all three spaces. While each First Club is slightly different in layout, the sound system is purposefully flexible to enable each venue to offer consistency of the signature experience.
The historic partnership between the two companies called for a brand release celebration attended by industry professionals from across China. Complete with food, DJ-spun music and hopeful toasts, this ceremony celebrated First Club’s present along with its bountiful future with international partner, Clair Brothers. “With continued cooperation, our brands will surely grow together,” offers Mr. Feng Min. “Clair Brothers has greatly exceeded our team’s expectations. I can’t wait to see what the future holds.”
23rd March 2018
Alcons covers Theater at Marientor Duisburg
Germany – The Duisburg Theater am Marientor in Germany has experienced quite a bit in its comparatively short history (it was built in 1995). Originally the home of the popular musical "Les Misérables", it is now home to the Duisburg Philharmonic and today is mainly used for show, tour and TV productions. The main hall has 1,546 seats, which are distributed approximately evenly over parquet and rank.
The ageing public address system of the theatre had become too complex and, above all, maintenance-intensive. The new sound system had to primarily be discreet and equally suitable for both voice and music transmission. After hearing an Alcons system, the decision had been made.
The new public address system consists of 18 Alcons LR14 pro-ribbon line array, six SR9 as nearfill and four BF362MKII for bass support and three Sentinel S10. For installation and calibration of the Alcons system, Uwe Biesgen, an Alcons-experienced sound engineer, was called upon.
The Alcons LR14 is a passive two-way line source system. Thanks to Alcons' multi-patented midrange and high frequency pro-ribbon transducer technology, the LR14 – like all Alcons pro-ribbon systems – offers a completely linear response with excellent speech intelligibility and uncompressed tonal balance at any sound pressure level. The ultra-compact size combined with the lightweight neodymium drivers guarantees easy handling.
The operator of the Marientor Theater was anxious to place the new speakers as far out of sight as possible: as high as possible, as deep as necessary. At the same time, as far as possible, direct sound should be generated below the rank. Precise calibration and appropriate curving allowed for both requirements and, in combination with the four SR9, achieved the best possible near-field transition to the PA. For this purpose loudspeakers in 90° and 120° configuration were used.
The four BF362 MK2 subwoofers have been distributed evenly on stage and in the uppermost boxes. "Here it was important to note that the construction of the orchestra pit and the resulting first two rows resulted in a bass resonance in the range of 70Hz to 160Hz and 300 Hz," explains Stefan Heynen, freelance sound engineer at the Theater am Marientor and owner of QSS Quality Sound Systems. By optimally calibrating, a solution could be found and an optimal sound coverage could be achieved throughout the room.
Heynen, who has been working regularly with the LR14 for several years, is still surprised by the efficiency of the comparatively small LR14. "The system's two 6.5" woofers effectively cover the lower mids and the bass region”, he explains. Particularly impressive is "the experienced pressure through the balanced lower mids and lows, as well as the 'silky' resolution of the upper mid-range into the high frequency range".
Torsten Köppen, technical director of the Marientor Theater: "The Alcons system has met all our requirements, but it has also been and is very lucrative in terms of price. In addition, it is compatible with all other systems and can be easily extended; with visiting productions, it can also be quickly de-rigged and re-installed."
Stefan Heynen is certain: "The LR14 is the perfect system for this theatre with its wide range of events."
23rd March 2018
Stage Electrics has enabled a Rotherham theatre to save over 75% on energy
UK – The Dearne Playhouse located in Dearne Valley, near Rotherham is the town's leading venue for shows, comedy, concerts, musicals, and plays. Not only does it stage professional productions, it also gives local talent fantastic opportunities. Looking to replace its tired and energy-draining tungsten lights, the company went to industry experts Stage Electrics for advice.
The Dearne Playhouse, which is a charity, had been struggling with costing issues and were eager to reduce its overhead costs. “We often host dance competitions which can go on for 12-13 hours at a time. Using 8kW tungsten lights for a period this long was very costly to us,” commented Karl Ridsdale, the theatre's technical manager. “It was clear the Playhouse had to make the transition to LEDs,” explained Stage Electrics’ Steve Woolley, “with a need for a lighting solution with a lesser cost, I recommended various LED options but we settled on Chauvet’s Ovation Fresnel 95WW.”
The Ovation F-95WW delivers a flat even field of light, a virtually silent operation, smooth 16-bit dimming control, and is energy efficient, making it the perfect choice for live performance.
“These new LEDs have made an amazing impact on the cost we spend on energy,” said Karl Ridsdale “We have been able to save over 75% on our energy cost and to our 350-seat theatre, this is the difference between making a profit or only breaking-even.”
23rd March 2018
DiGiCo SD10T Helps Denver Center Theater Company Get Around
USA – The Denver Center Theater Company (DCTC) is a busy troupe. Noting its 412 productions, 159 readings of new works, 138 world premieres and 27 commissions, it likes to say: “After 35 seasons, we’re just getting warmed up.”
The production company primarily uses the four theatres of the Helen Bonfils Theatre Complex housed at the massive 12-acre Denver Performing Arts Complex, itself home to ten theatres and 10,000 seats. So the compact and flexible DiGiCo SD10T, which was acquired through Colorado Springs’ Second Opinion Audio was the perfect choice for the peripatetic ensemble, whose performances will move between the complex’s four theatre spaces and, sometimes, beyond.
“We’ve had the console in all of the theatres we use regularly so far and it’s been very successful,” says director of sound Craig Breitenbach, sound designer for many of the company’s shows. That began last August, with a musical production at the 778-seat Stage Theatre, the largest of the four theatres in the Helen Bonfils Theatre Complex (the others are The Space Theatre, The Ricketson Theatre and The Glenn R. Jones Theatre), but was followed in October with The Wild Party, which was performed off site in a former aircraft hangar. It’s now on its third production, and Breitenbach says the SD10T is a great performer.
“We really like its flexibility and I/O capacity,” he says. “Some of our projects, especially musical theatre, can get fairly complex.” The SD10T’s theatre software bundle offers a bevy of features that make handling those projects simpler, including channel sets, which make VCA programming a breeze by allowing easy allocation of groups of channels; for instance, members of the chorus or the band and Alias, a method of controlling channel settings, such as EQ, Aux sends or dynamics, on the desk from cue to cue and automatically update throughout the show. The sound designer also appreciates the console’s Players tool, which accounts for character, cast and role changes, automatically updating all the settings but without destroying the specific programming that’s been made from cue to cue.
Breitenbach specifically called out the software’s matrix nodal delays: with up to 1.3 seconds of delay available per node and individually recallable per cue, this feature allows accurate control over audio placement and time alignment in distributed theatrical loudspeaker systems. In fact, during the console’s first production, The Wild Party, performed in a former aircraft hangar, “We relied heavily on the nodal delay feature for that,” he says. “But, in addition to all that, what we find great is how transportable the console is. It can go anywhere and get the job done.”
In picture: Denver Center Theater Company director of sound Craig Breitenbach with audio engineers Tyler Nelson and Alex Billman at the production company’s new DiGiCo SD10T.
23rd March 2018
FIX8 Creates a digital Communications Canvas for Renault Sport Racing F1 Garage
Worldwide - FIX8Group, a leader in pioneering event technical design and delivery, worked alongside Renault Sport Racing (RSR) to conceive and integrate a seamless, interactive, multi-purpose visual display for the Formula One (F1) team's high-profile, pit lane touring garage.
Providing an important visual information highway for both RSR's race team, their VIP visitors and RSR sponsors, the 40K wide, digital display canvas features enhanced interactive connectivity that enables the RSR team members, VIPs and Renault Sport Formula One Team sponsors to respond to race critical content, live, as it happens, while interacting with screen resolution native content, IP streamed content, trending social media threads and sponsor marketing messages in real time, via advanced touch screen technology. Crucially, the content can also be viewed from the pit lane and can be seen by the TV broadcast cameras, further maximising the all-important ROI for the Renault team and its sponsor messaging.
François Puentes, head of marketing services for Renault Sport Racing states: "Transforming our guests' experience whilst improving the Race Team's work conditions in the garage were two key elements that FIX8Group helped deliver. Crucially, FIX8Group have been nothing but remarkable from the initial briefing to project completion. They have demonstrated high levels of creativity combined with the flexibility required by our industry."
"The Renault team were looking for a multi-purpose installation that could be further developed over future seasons," comments Neil Trenell, managing director of FIX8Group. "Our team was tasked with both the design and specification of a system that could display all the information the race team required alongside the sponsor marketing messages, social media feeds and news channels the VIPs would find interesting. In addition, VIP visitors can observe the race team in action and control and interact with what they see via intuitive touch screen technology."
FIX8Group's dedicated team of digital specialists designed custom HTML touch interfaces to provide connectivity for a number of components of the display and which are accessible at various levels to the Renault race team and their VIP audience. Individual digital players connect directly to each 4K screen and are synchronised via the network to provide a seamless playback of content across the whole 40K pixel canvas.
Although technically sophisticated, the end user interface is designed to be intuitive, requiring little or no instruction to access. In addition, the portable and robustly designed system has been created to meet the technical rigors of RSR's global touring schedule and to be simple to install at each race site.
Paul Williams, technical director for FIX8Group concludes: "The system was integrated and tested in RSR's UK factory in Enstone in June 2017 and debuted at the Silverstone GP with no issues. We continued to provide onsite support for an additional three races, however, for the remainder of the season. The marketing and race teams were able to run the system backed up by remote support from the FIX8Group team."
23rd March 2018
Elation Gets Immersive at Academy Nightclub in Hollywood
USA – Having illuminated some of the world’s most prominent clubs and biggest EDM festivals, Southern California-based production design specialists SJ Lighting, with Steve Lieberman at the helm, has established itself as the leader in entertainment technology design for electronic dance music. That reputation continued with the opening of Academy nightclub in Hollywood in January, a new 1,400-capacity space for EDM junkies that has been renovated, rebranded and updated with state-of-the-art sound and lighting technology, including lighting effects from Elation Professional Platinum Beam 5R moving head beam lights and Pixel Bar LED battens.
Academy, formerly the nightclub Create and before that Vanguard (both production designed by SJ Lighting), is a joint venture between Exchange L.A. and Insomniac, the Pasquale Rotella-led event production company behind some of music’s leading EDM festivals, most notably Electric Daisy Carnival.
Lieberman met Academy nightclub’s aim to provide a welcoming environment while maintaining a high production standard through an immersive lighting and video design that involves every guest in a stimulating dance floor experience. One of the largest dance clubs in Hollywood, the DJ-driven venue brings in new talent every night and has been praised for its revamped lighting design. “It’s really a modern-day dance music hall for EDM,”production designer Steve Lieberman says. “It’s an immersive, high-tech design with an edgy feel that pushes the envelope more than the previous club did. It’s definitely a technology upgrade and has been well received by client and guests alike.”
Elation lighting has been a staple of SJ Lighting designs over the past few years and the successful relationship continued at Academy. Between rows of overhead LED panels are mounted Elation’s popular Platinum Beam 5R narrow-beam fixtures used for high-intensity moments while Elation Pixel Bars provide a dynamic visual detail running down each side of the space.
Clean, linear lines of LED video panels extend over the audience then fold down the back wall with more LED panels decking the side walls to paint the entire room in a visual surround feel. “Everywhere but the floor,” the LD says. “We then put 32 Platinum Beams in the ceiling between the panels and they just crush it. We wanted something with power that could keep up with the 600+ video tiles and create those big wow moments when they hit it hard and the Platinum Beams do that. They are optically sharp and bright and get the job done when we need big aerial looks.”
Also playing a key role in the design and running down the sides of the room from stage to rear are rows of Pixel Bars, linear RGB pixel-controllable LED strip lights that can be used as a pixel bar for displaying imagery or as a wash luminaire. “They frame out the ceiling design and are there for balance,” Lieberman says. “They play an important role in the layered effect along with the video, wash lights, beams and blinders.” All of the Pixel Bars are pixel mapped through a Madrix LED lighting controller, which allows video looks to run through the lights or lighting looks through the video.
Not all of the lighting gear in Academy is new, however. Lieberman re-purposed some existing fixtures from Create to use in the new club and again Elation fixtures play a role with some older but reliable Opti Par lights providing colour over the stage. No place packed in the high-intensity crowds that love EDM like Create. Since opening in mid-January, Academy has continued the trend as arguably Hollywood’s hottest night time venue.
photos: Daniel Boot
21st March 2018
High-End Chicago Restaurant Gibsons Italia Fitted Out with Martin Audio
USA – Encompass AV recently supplied a Martin Audio CDD sound system for the exclusive Gibsons Italia restaurant located in a spectacular setting on the Chicago River. The restaurant has quickly become known for its sophisticated combination of Italian food and steaks and luxurious setting.
A $20 million build-out, Gibsons Italia is a super high end four-storey restaurant, bar and lounge with a dining space for private functions on the roof deck with floor to ceiling windows that offer amazing views of the river and skyline.
The Gibsons Group is the leading restaurant group in Chicago with Gibsons Bar & Steakhouse on Rush Street the highest grossing independent restaurant in the city and a perennial on the top 10 list in the US. In fact, it’s the first restaurant group in the country to have its own USDA certification.
Encompass owner Tim Pickett explains: “We were contracted to provide exceptional sound throughout the entire venue and weren’t given a budget because the owners just wanted it to be the highest quality. So, we selected the Martin Audio CDD Series because it’s worked so well for us in other restaurant and club installs.”
Gibson Italia’s ground floor is basically a small entrance with the receptionist and elevators to go up to the other floor, but even in that space there are three CDD6s to get people used to exceptional sound from the start.
For the luxury bar and lounge on the second floor, there are 22 CDD6s, four CDD5s and 12 CDD8s mounted in the ceiling with brackets and facing out and slightly angled down. The restaurant is located alongside the $500 million, 52-storey River Point Complex in the burgeoning West Loop neighbourhood, which is mostly financial offices and law firms. So even though the lounge and bar system is designed for background music, they have an upbeat playlist that ranges from 90s rock to modern pop music, anything that’s up-tempo and energetic with “a really good vibe to it.”
Tim maintains that: “A tremendous amount of money was spent not only on the sound system, but the owners also insisted on acoustic drywall in the entire place which absorbs sound and optimises intelligibility and clarity throughout the venue, something that was important to them. They wanted people to have conversations but still hear the music.
“CDD was an ideal choice for this project because of its acoustic signature, how it has a wide dispersion pattern as you get closer to the speaker but a narrower pattern as you move away from it which ensures even coverage throughout the venue.
“There there is a very high-end dining room on the third floor,” Tim adds, “which has 20 CDD6s around the perimeter of the space facing out and angled down, and a Martin Audio C6.8T in-ceiling speaker above each booth.
“Then the fourth-floor roof deck which has a larger system equipped with eight Martin Audio CDD10s and two CSX118 subs. Some of the speakers are mounted to the aluminium structure using wall brackets and some to a soffit on the ceiling with yoke brackets. It’s an aluminium and glass structure with a retractable roof, a very nice bar and a versatile, lounge space with nice furniture that’s rented out for private events. With the extra power and impact, the roof system really sounds amazing, especially when you crank it up!”
Summing up his clients’ reaction to the Martin Audio system, Tim concludes: “Everyone’s very impressed with the sound system because when you walk through the building, you essentially have the same acoustic signature throughout every space. The owners wanted it to sound right, which it really does no matter where you are.”
photos: Kailley Lindman
21st March 2018
wysiwyg helps build The Ark
UK – What do a popular classical music show in London, an international swimming competition in Budapest, an outdoor rock concert in Belgium and a new church in a tiny village in England have in common? Simply, all have benefited from the use of CAST Software’s wysiwyg lighting design toolkit.
With three churches already serving its population of 2,300, it’s perhaps surprising that one of them is building a new one in the Fenland village of Isleham in Cambridgeshire. However, the congregation of High Street Church outgrew its existing chapel; and determined to continue serving a growing congregation, a larger building became a necessity.
In 2009, they began construction of The Ark, which, at 2,200 square metres, is believed to be one of the UK’s largest green oak buildings constructed in living memory. Now fully weather-proof, it is expected to be completed in the not too distant future.
But, where does wysiwyg come in? Jonny Billitt from event production and equipment hire company MTS Live, and a committed wysiwyg user for more ‘typical’ lighting design applications, takes up the story.
“Designers and builders from the project initially contacted me for advice regarding the uplighting,” he explains: ”The main design requirements were to up-light the Hammer beams and room extremities also achieving a good ambient lighting level. wysiwyg was initially used to import building CADs and overlay installation schematics for the in-ground uplighters as the floor was being laid and the cabling needed to be in place. The building render and subsequent lighting design went from there. Using wysiwyg I was able to demonstrate the concept using the 360-export feature, exhibiting the suggested fixtures and how they would realistically illuminate the building.”
The 360° render of the interior of The Ark that Jonny created with wysiwyg is fantastically impressive with its exquisite details to the architecture and lighting. The new building’s complex frame is traditional in inspiration and design, constructed entirely from green oak tastefully brought to life in the render with a subtle yet impacting lighting design.
Jonny used both Release 39 and the recently-announced Release 40 of wysiwyg to create both the schematics and the higher resolution 360º panoramas. The new release introduces security improvements to help protect user investment along with a host of invaluable new features guided by the principle that “the devil is in the detail.”
For example, wysiwyg always hung fixtures on a default clamp length of 4”/10cms. However, since not all fixtures are hung with the same hardware, a new fixture property has been added to enable users to accurate portray final trim heights. In a similar vein, the pipe and drape Wizard has been updated to include some new functionality and options, allowing them to be more accurately specified and thus rendered.
Users requested a new feature that allowed them to control light emission for objects in design mode, allowing for objects with light emitting properties to be dynamically controlled with looks, as they can be with DMX in live mode, this functionality has been implemented.
A new rigging point object has been added to CAD mode, to identify hang points for the temporary rigging for lighting designs. A rigging point can be represented by different symbols depending on their purpose and properties.
Among the new features of wysiwyg Release 40 is additional functionality for the software’s truss manager, allowing colour type and colour to be added, enabling each truss piece to be colour-coded and named for easy visual identification on drawings. It’s hard to believe it was intended to be used for the oak trusses, beams and posts from which The Ark is constructed.
21st March 2018
North Point Ministries Installs Eight New DiGiCo SD5cs Consoles in Three Locations
USA – Atlanta-based North Point Ministries, whose 38,000-plus weekly worshippers make it Outreach magazine’s second-largest house of worship in the United States, has acquired eight new DiGiCo SD5cs consoles for three of its six locations. The Browns Bridge and Buckhead campuses have each installed two SD5cs desks at front of house and monitors, while the main campus in Alpharetta (North Point Community Church) has installed a total of four new SD5cs consoles, for FOH and monitors in the main auditorium and in a second large auditorium used for overflow, events and other applications and which is designed to mirror the AV capabilities of the main auditorium.
These are in addition to the DiGiCo SD10 console installed at the Alpharetta campus and used for the church’s online broadcasts, and multiple SD9 and SD10 desks at the other campuses. Each of the three locations also installed new SD-Racks equipped with DiGiCo’s new 32-bit Stadius microphone preamplifier cards.
“We’ve had a great relationship with DiGiCo over the years, and while we’ve gotten excellent service from our SD10 and several SD9 consoles, this purchase marks our first of the SD5cs platform,” says North Point Community Church audio director Andrew Starke. “While the SD10 remains a great choice, the SD5cs takes the operator experience to another level at a much more cost-effective price.”
Starke lauds the SD5cs console’s 132 input channels and 56 output channels as “more than we’ll need” but with all of the processing power necessary to make a complex live-sound production in a large church sound great. “The SD5 also has a very intuitive work surface that lets you respond to whatever comes your way quickly,” he says.
For example, Starke cites how the SD5’s 37 faders are laid out in three convenient banks of 12, with one master fader, as well as the three 15-inch full-colour TFT touch screens for quick access. “Every bank of inputs has its corresponding parameters and controls attached to that bank in one place, so when I select, let’s say the bass fader, everything necessary to see what’s going on and make any adjustments needed is right there in front of me, as opposed to somewhere else on the surface,” he explains. “And in a live environment, this means being able respond quicker and stay more in sync with what’s happening in that space.”
In addition, there are two interactive dynamic metering displays (IDMs). “The position of the meter bridge allows me to get the visual feedback I need, all the while keeping my eyes where they need to be – on the stage,” he says.
Starke says that the church’s extensive audio infrastructure continues to become older, DiGiCo consoles and related technologies will continue to play a vital part in keeping the church at the cutting edge due to their ability to help make operating complex media environments like the ones at North Point Community Church easier and more efficient.
He points to the Orange Boxes now in use at three locations as good examples of that. “All of our video and multi campus audio integration is handled via MADI, and the Orange Box provides the most seamless way of bringing all of out MADI inputs across all of the consoles,” he explains. “We deployed a second Orange Box at the Alpharetta location as a bridge between the two Optocore loops, linking them together for a seamless experience. It just makes what we do so much easier, so we can focus on what we’re all really here for, which is to help lead people in worship.”
In picture: North Point Community Church audio director Andrew Starke manning the mix on the main campus’ new DiGiCo SD5cs FOH desk.
20th March 2018
Tate Britain’s World-famous Rex Whistler Restaurant welcomes new Genelec Installation
UK – One of the world’s most famous art galleries and an historic building in its own right, the Tate Britain has welcomed the installation of twelve Genelec 4020C monitors at their award-winning Rex Whistler Restaurant. The monitors, alongside two RØDE Performer Link microphone systems and bespoke control system will be instantly available and on-hand for numerous events held at the venue.
The restaurant, once described as ‘The most amusing room in Europe’, is surrounded by an eye-catching mural, ‘The Expedition in the Pursuit of Rare Meats.’ The priceless and historic mural, painted by Royal Academy student and iconic artist, Rex Whistler at the age of just 22 in 1927, covers the entire restaurant creating a unique dining backdrop for visiting patrons.
Due to the delicate surroundings, HHB Communication’s chief technology officer, John Johnson was only too aware that this would not be a regular run-of-the-mill installation stating, ‘This is probably one of the most unique and delicate installations we have carried out in HHB’s history.’ Extra consideration for the conservation of the mural was paramount, as was the discreet and non-invasive installation and positioning of the Genelec speakers.
The installation occurred at the end of January 2017 over the course of three days with Tate’s conservation manager, and catering general manager on hand to assist HHB’s CTO, John Johnson and senior support engineer, Mike Rigby at all times. Once completed, John and Mike thoroughly tested the monitors, trained staff and offered full support throughout the entire process.
Catering general manager for Tate Britain, Matthew Randall commented: “Working with the team at HHB was a pleasure throughout the process, the team’s professionalism and sensitivity to this project in an historically important space was impeccable. We are delighted with the final result which will add real polish to the space and enhance our special events offering. We look forward to continuing the strong relationship we have with the team at HHB.”
When it came to speaker selection for the installation, John Johnson explained: “The Genelec 4020C installation speaker and associated mounting hardware accessories were specifically designed with challenging commercial installations in mind. Combine that with an unbeatable reputation for outstanding sonic delivery made them the perfect choice for this space. We’re delighted with the outcome, as are Tate Britain.”
20th March 2018
Community Loudspeaker System Chosen for Poland’s Legendary Śląski Stadium
Poland – Poland’s most famous stadium, Śląski Stadium (Silesian Stadium) in Chorzów, has undergone a complete rebuild to become one of the most modern football and sporting facilities in Europe.
The original stadium, opened in 1956, was a symbol of Poland's post-war rebirth. It has held some of football’s most important and memorable matches, played by legends of the sport including Johan Cruyff, George Best and Cristiano Ronaldo. It has also hosted massive concerts by bands like U2, AC/DC, Iron Maiden and The Rolling Stones. In 1993 the stadium became the official home of the Polish national football team.
The rebuild of Śląski Stadium has been a long and sometimes difficult project. Started in 2009, the new 43,000 square metre roof proved the biggest hurdle and its partial collapse during construction lead to long delays and a re-design. Despite the problems and additional costs, the national importance of the venue ensured the project would succeed and it was finally completed in late 2017.
In addition to the new roof, the modernisation has included new stands, lighting, video screens and sound systems. Other facilities include a restaurant, food vendors and VIP boxes, and the stadium’s original speedway track has been replaced with a traditional track that allows it to host international athletic events.
An initial system design was put together by Dr. Piotr Kozłowski of Wrocław-based Acoustic Laboratory Pracownia Akustyczna, who subsequently approached Polish distributor Tommex to begin the process of equipment selection. Local company NOMA2 was brought in to carry out the detailed installation work under the guidance of its manager, Janusz Konopka.
Measurements determined the specification, which included an STIPA speech intelligibility of not less than 0.45 in an empty stadium. With a bandwidth of 60Hz to 16kHz, the system was required to deliver 105dB at the stands and 95dB on the playing field, each exceeding the estimated level of the fans by 10dB.
Meeting the design criteria required loudspeakers that would not only match or exceed the acoustic specification, but also handle the severe weather conditions. Śląski Stadium is an all-year venue so the sound system had to meet IP55 and, above all, the loudspeaker enclosures and fittings had to withstand the conditions of the severe Polish winter. Tommex chose Community loudspeakers, having already proven their acoustic performance and all-weather reliability in numerous Polish stadia. With well-controlled dispersion, the Community loudspeakers selected by Tommex exceeded specification and achieved an average level at the stands of 108dB.
The system designed by Tommex is based around Dynacord electronics and Community loudspeakers. The main system for the spectator stands is divided into eight zones and utilises one hundred nineteen Community R2-52Z three-way loudspeakers, supplemented by forty R6-BASSHORN. The raked seating of Śląski Stadium creates theatre-style balcony overhangs and the under balcony seating and walkway areas are covered by 61 Community W2-2W8 loudspeakers. The playing field is covered by four powerful three-way R2-694Z loudspeakers.
System management is located in the commentator room in the eastern stand. This is where a Yamaha CL1 digital mixer, Dynacord P64 matrix and Dante to MADI converters are located, MADI being the format for transmission of audio between the Yamaha CL1 and OB vans when providing signals for television or radio. Using the Dante protocol, the audio signal is distributed by two redundant optical fibre cables with a third optical fibre used for communication of the IRIS-Net network. System amplification includes 40 two-channel Dynacord DSA 8209 amplifiers and forty-seven four-channel DSA 8410 amplifiers.
A PC provides full control and system management via the IRIS-Net network. The system includes both wired and wireless microphone systems, with feedback eliminators. Zone microphones are additionally equipped with automatic regulators that adjust the signal level according to the background noise level and a Dynacord Promatrix microphone zone panel allows PA messages to be made by the stadium’s safety and security staff. CD, MP3, USB and SSD players are also provided.
In addition to the main stadium systems, 80 Community loudspeakers are installed on pillars that surround the stadium. Forty R.25-94Z loudspeakers are directed to the gallery, which surrounds the walls of the stadium and 80 ENT-FR high performance column line source loudspeakers cover the area between the stadium and the venue’s perimeter fence and entrance gates. Indoor rooms and public areas of the stadium building are covered by 108 Community I/O8 and 88 DS8 wall-mounted loudspeakers.
All of the sound systems at Śląski Stadium are fully integrated with the audio warning system, which, if necessary, can take full priority and use the sound system for more efficient crowd control and evacuation of fans in the event of an emergency.
Marcin Zimny, the commercial director of Tommex, comments: “We are very pleased with the sound system at Śląski Stadium. With built-in reliability, it provides high intelligibility speech, great music quality and consistent coverage for this prominent international venue. It’s also a system of which we can be proud, being the largest sound system installed in any sports facility in Poland.”
Zimny added: “It was a pleasure to work with Dr. Piotr Kozlowski and Pacownika Akustyczna and the installation company NOMA2, all high profile specialists in their fields.”
The Polish national football team will return to Śląski Stadium on 27th March, 2018, to enjoy the modern infrastructure and facilities that now make it one of the most modern football venues in Europe.
20th March 2018
Powersoft Ottocanali and Quattrocanali Add Power and Reliability to Bucharest’s Hard Rock Café
Romania – In need of an audio infrastructure upgrade, Bucharest’s Hard Rock Café, the iconic food haven for rock & roll fans everywhere, turned to Romanian integrator, Paradigma Teknik for a system with power, clarity and above all reliability, featuring Powersoft’s latest fixed install Quattrocanali and Ottocanali amplifier platforms.
Paradigma’s sales manager, Laura Angelescu, recommended a system of Martin Audio loudspeakers, and turned to Powersoft’s Romanian distributor AudioVision Store, for the amplification aspect of the installation.
AudioVision’s Marius Craiu, explains: “We have a very strong relationship with Paradigma Technik. We have worked with them for many years and Powersoft aligns very well with Martin Audio for many reasons, but primarily because of the powerful DSP: a kind of Formula 1 for series cars.”
Understanding the end-user’s needs from the installation, AudioVision specified Powersoft’s DSP+D versions of Ottocanali and Quattrocanali amplifier platforms to form the powerful and uncomplicated backbone for the restaurant’s multi-zoned audio system. Powersoft’s green energy product solution, packed with innovative signal processing and backed up for redundancy, ticked every box. The installation is managed by Powersoft’s Armonía Pro Audio suite, which offers complete and user-friendly web-based control of the system.
Every Hard Rock Café centres around its all-important rock stage, and here Angelescu specified eight Martin Audio W8WDQs supported by four WS218X subs, which Marius met respectively with the power of two eight-channel Ottocanali 12K4 DSP+D and a single Powersoft X4 DSP+D amplifiers.
Powersoft’s versatile and powerful X4 amplifier platform provides trusted high-grade sound accuracy and high-density power to the sub bass units. In common with the Ottocanali series DSP+D versions, the X4 channels two redundant Dante streams and features a fully-protected circuit design. The Ottocanali 12K4 power amplifier provides up to a total of 12,000 W at 4Ω with maximum reliability and efficiency at reduced power consumption thanks to Powersoft’s Power Factor Correction (PFC) and patented SRM (Smart Rails Management) technology.
The seated dining zones of the restaurant are served by 23 channels from three Ottocanali 4K4 DSP+D amplifiers, driving 23 Martin Audio CDD8 ultra-compact two-way speakers, whilst the front fill is supplied by two high-output CDD12 speakers driven by a single Quattrocanali 4804 DSP+D amplifier platform. Eight MA W8WDQ loudspeaker systems are used for main tops, side fill and delays and bi-amplified by two Powersoft Ottocanali 12K4 DSP+D, while the LF uses four WS218X powered an X4 DSP+ D amplifier.
The Quattrocanali series is Powersoft’s latest dedicated installation range which features the lowest thermal dissipation in the industry, thus reducing the need for external cooling devices. It also employs the patented SRM technology for maximum system efficiency. Again, as with the Ottocanali series, Quattrocanali is designed to operate with lo-Z (from 2 Ω) and 70V/100V distributed lines or any mix of the two.
Simple operator control of the entire system was one of the prime requirements from the installation. AudioVision specified Powersoft’s Armonía Pro Audio Suite software, which offers full and intuitive graphical control of Powersoft amplifiers via the web app, making the installed amplifier platforms remotely accessible and operable.
Armonía provides password-protected levels of system control. At the ‘advanced user’ level the system can be set up and commissioned with full access to all settings on the amplifiers. Operator view is customisable by the audio engineer to create a safe view to manage specified zones and volume control.
In the case of Bucharest’s Hard Rock Café, Armonía is used in Operator View by the in-house sound engineer. Marius expands: “The sound engineer can control the gains of some of the advanced groups, like subs, delays, main, front fill, side fill etc. This helps him achieve the desired power for low and hi frequencies and also for different areas.”
The initial system set up via Armonía was created by project manager Daniel Marius Albu and technician Catalin Serban from Paradigma Teknik, with expert support from AudioVision’s Marius Craiu and Powersoft’s system engineering manager Luca Gianni. Once the system was fully embedded with minor modifications made in weekly tweaks, Craiu transformed the system control into the user-friendly operator view interface.
The new audio system was an instant success with the end user. The reaction from Hard Rock Café’s marketing manager, Bianca Dragota, was: “What were we using before? Now we have music!”
19th March 2018
New VPX Video Booths Attract Attention with Chauvet Professional
USA – A company made up of people devoted to spreading fun and good time, FEEDBACK has been pushing play into new frontiers at clubs, events and even corporate functions. The impish Minneapolis company has been at the forefront of creating new digital experiences that unleash the imagination, in even the most unlikely of places. Its latest inspiration is VPX, a slow-motion video booth complete with custom backdrops, props and patented editing features that bring out the creativity in everyone.
Drawing attention to the VPX booth, and giving it an appropriately edgy glow, is an exterior lighting display created with Chauvet Professional Épix Strip Tour 50 fixtures supplied by Monkey Wrench Productions. The half-metre LED strips are arranged in geometric patterns on the shell of the booth behind two-way mirrors to conjure up colourful, captivating looks. Controlled via the Épix Drive 900 and Art-Net, the strips are also used to create moving displays and chase scenes, which draw attention even at the hottest clubs and most bustling events.
“We have the Épix Strips on the shell of the VPX booths to make them look great in any space at an event,” said Geoffrey Schuler, a designer at FEEDBACK. “They make the booth pop, so we’re obviously very pleased with that.”
Schuler and the FEEDBACK team did “tons of research” before selecting the Épix Strip Tour 50. “We wanted an LED strip that looked sleek and was very bright to stand out, even in the most intensely lit environments,” he said. “We did our homework and decided that the Épix was right for the job.
“We create futuristic looks with the Épix strip, which really reflects what our company does,” continued Schuler. “The strips are easy to program, so we can create looks that reflect the theme of an event. These programming features make the strips extremely versatile, so we get a lot of variation in our booths, without having to use a large number of different fixtures.”
The VPX booths themselves are extraordinary blends of artistic inspiration and engineering. In front of each booth is a giant TV screen that allows people to see their manipulated images in real time. Using a patented background subtraction method, the booth shows and records video images of people in the midst of incredibly colourful, creative and unique backdrop scenes.
“We spent three years developing VPX,” said Schuler. “The concept is very popular at clubs and events. By using editing functions, we can weave the videos into branding events for companies. Regardless of where or how it’s used, our booth creates a unique experience that no one forgets.”
Now, thanks to its stylish and forward-looking shell, this creative entertainment booth is going to command attention even before people step inside for that memorable experience.
16th March 2018
SSL System T Brings the Future to Videotime
Italy - Videotime SpA, the production company responsible for many of Italy's leading commercial TV programming, and a subsidiary of Mediaset SpA, the second largest private television group in Europe, has refurbished Studio 10 at its Milan HQ. The broadcaster has moved to a Dante Audio-over-IP infrastructure, with SSL's System T broadcast audio production environment at its heart. The system was supplied by Italian SSL distributor and systems integrator CaBlaTeam Srl.
Studio 10 is a substantial 1050 square metres and is normally used for large entertainment shows, and talk shows such as Verissimo and Quarto Grado, as well as one-off large-scale broadcast events. It usually runs up to 12 HD cameras, along with two live translation booths.
The System T installation consists of a large, three-bay, 48-fader S500 control surface, redundant T80 Tempest audio engines, plus SSL Network I/O stageboxes and SDI bridges.
One particular aspect of System T that appealed to Videotime was its control interface; specifically, the flexible nature of control across the S500 surface suits Studio 10's busy production schedule. "Processing control particularly," Says Videotime's Luca Gherardi, project engineer. "It can be approached in different ways, different 'control modes'. Quite a few different engineers use the System T in Studio 10, and each one has their own particular configuration and approach."
Another advantage is the slimming down of the overall infrastructure that comes with System T's network-native architecture and routing system, incorporating full network-wide Dante routing. "System T has made the whole installation much simpler," says Marco Cosso, service engineer at Videotime. "We've removed almost all patchbays and we no longer need the audio side of our studio's AV matrix. All audio routing is done by System T, via Dante, and of course when you load a show file, you load all audio routing. That's a big advantage."
16th March 2018
Cathedral Church of the Advent Blends Traditional and Modern with Allen & Heath
USA – The Cathedral Church of the Advent, a 3,600-member Episcopal church in Birmingham, Alabama, recently completed installation of an Allen & Heath dLive system with C3500 surface, CDM64 MixRack, IP8 remote controller and eight ME-1 personal mixers for the musicians.
Kent Michael, the Advent’s mix engineer, says: “We had recently ushered in a service on Sunday evenings that incorporated more modern instrumentation, so we needed a system that would be versatile and powerful enough to mix a full band for the evening service and simple enough to operate by our volunteer staff for the traditional services.”
dB Integrations of Gainesville, Georgia designed the cathedral’s new audio system, installing the C3500 surface on a rolling cart to make it easy to access for the church’s modern service. They also provided an IP8 remote controller for volunteers to mix the traditional services.
Catering for the different services, Michael uses dLive’s layers to manage the church’s multiple sources and scenes to select and route these sources for each service. “I’ve got a scene for the modern service, another for the traditional morning service, and a scene with automatic mic mixing for events and services that are unmanned,” he said. The traditional scene assigns selected channels to the IP8 and Michael notes, “I’ve got the IP8 paired with the MixRack so we don’t have to roll out and set up the full surface for our traditional services.”
The church’s new system also includes eight Allen & Heath ME-1 Personal Mixers and an ME-U Hub and Michael adds: “The musicians in our evening service use in-ear systems with the ME-1s and everything just works seamlessly.”
Michael concludes: “The new system solved our feedback and intelligibility issues and the dLive fits our needs really well. It’s intuitive, easy to program, and a delight to mix on. The preamps sound very natural and clean and the processing is top notch. I think it’s a cleverly designed and well-rounded product.”
16th March 2018
KLANG:fabrik 3D In-Ear Monitor Mixing Systems Raise Performance Levels at United Methodist Church of the Resurrection
USA – The United Methodist Church of the Resurrection, whose four locations and membership of over 22,000 makes it the largest United Methodist congregation in the country, is also a leader when it comes to technology. Ranked #9 in the "Top 10 US churches to learn from that are influencing other churches" and #16 in the "Top 26 US churches to learn from in all areas" by ChurchRelevance.com, it was also was listed as the most influential mainline church in America in a 2005 survey of American pastors. Thus, the choice of two KLANG:fabrik 3D in-ear monitor (IEM) mixing systems from KLANG:technologies for both the church’s new main sanctuary and a second space underscore how KLANG’s unique technology is at the forefront of audio in the house-of-worship sector.
The KLANG systems were purchased through Raytown, Missouri-based Progressive Electronics, Inc. (PEI), which did much of the systems integration for the 3,500-seat main sanctuary at the church’s flagship broadcast location in Leawood, Kansas as well as the renovation of its former sanctuary, which is still under construction but will soon be used as a second worship and event space.
The installation of the first KLANG:fabrik system was installed by the Leawood audio staff – lead audio engineer Tim Higinbotham and audio engineers Jordan Tracy and Steven Moduno – in the church’s main sanctuary and was, as Higinbotham describes, “so simple that it took us less than ten minutes. It was clear that this was the direction we wanted to go moving forward, and we will be installing the KLANG system in our newly renovated space as well.”
But the simplicity of installation belies the significant benefits the systems have brought to the church. Tracy says they had been discussing options for the new sanctuary in-ear monitoring, but when it came time to make final decisions, they initially went with the older IEM system they’d been using in the old location for years.
“It was a great system, for 2005,” Tracy comments, citing issues such as high latency and low channel counts. In the course of installing the DiGiCo SD10 consoles that are now in the new main sanctuary and the newly renovated event space, they were introduced to the KLANG system. “When we realized that the KLANG IEM system can be seamlessly integrated with the SD10 consoles, we realised that this was the way we wanted to go,” he says.
The KLANG:fabrik had plenty to offer beyond that, though. “We’ve had the KLANG systems in place now for about two months and the additional level of control they give us is amazing,” says Higinbotham, citing the 32 channels they now have through the system’s six stereo outputs. “Before, the drummer was limited to his entire kit through one mix; now, he can have a separate channel for each drum,” he explains.
Resurrection runs a combination of both KLANG and wedge mixes from FOH, providing them with a variety of ways to offer monitoring solutions. The church’s varying styles can consist of up ten musicians and vocalists on stage, and as many as 20 choir members, each with a hand-held wireless microphone. “The musicians that utilise KLANG can use any device to do that, an iPhone or iPad, even a Kindle Fire,” Tracy says. “With the old system, if a controller broke, it could cost up to $800 to replace it. Now, everyone can use their own device as a controller.”
And, of course, this level of control over the monitor mix means that the church did not have to buy separate monitor consoles for these two spaces. “All we need is a MADI or a Dante connection on one cable, and we have monitors taken care of,” says Higinbotham.
But, at the end of the day, it was all about the sound, for the engineers and the musicians. “It sounds phenomenal,” says Tracy. “We tried it on an evening service the first week after installation, at first as a backup to the old system, and everyone onstage said, ‘Hey, can we have this all the time from now on?’ Everyone loves it for its sound, ease of use and simplicity. The spatial clarity of KLANG’s in-ear mixes is unlike anything we’ve ever experienced and it has changed everything.”
In picture: United Methodist Church of the Resurrection audio engineers Steven Moduno and Jordan Tracy with lead audio engineer Tim Higinbotham at the main sanctuary’s mix position, which is now equipped with a new KLANG:fabrik system and DiGiCo SD10 console.
14th March 2018
Powersoft Causes Seismic Shift at Iceland’s New LAVA Centre
Iceland – The new LAVA Centre in the Icelandic town of Hvolsvöllur, 106km east of Reykjavik, is an interactive, high-tech educational exhibition depicting volcanic activity and earthquakes, and tracing the creation of Iceland over millions of years.
The idea that gave birth to the centre originated when one of the founders/owners of the exhibition was stuck in Florida in 2010 as a result of all flights being cancelled over the Atlantic Ocean (and in most parts of Europe) when Icelandic volcano Eyjafjallajökull erupted in April 2010.
The location was chosen because it sits at the heart of some of the major Icelandic volcanos and allows five of the country’s most iconic volcanoes to be seen.
The 2,500 sq.m LAVA Centre was therefore designed and built as a fully immersive show. The design, preparation, integration and finalisation of all AV equipment for the nine main show items took almost a year. Feris ehf was responsible for all audio, video, network, CCTV, UPS, system, as well as an impressive RGB Neopixel LED design and integration. The company was also responsible for the entire show control, as well as AV lighting and LED equipment.
The AV equipment itself includes 14 Powersoft amplifiers with DSP onboard providing an economic power station to drive the 72 channels of zonal ceiling and surface mount loudspeakers, all in one of the four racks in the centralised technical room. These models comprise Powersoft Ottocanali 1204 DSP+ETH, Quattrocanali 4804 DSP+D (for Dante) and Quattrocanali 2404 DSP+D, while to create the sonic realism of an earthquake required the deployment of the Italian manufacturer’s mighty and unique M-Force magnetic linear motor transducers.
At the same time Powersoft was chosen for its green credentials and massive reduction in CO2 emissions while Feris realised that in specifying Powersoft multi-channel amplifiers to drive the complex array of loudspeakers they would achieve a radical reduction in real estate and power.
But there were other advantages in taking the Powersoft option which would take visitor interactivity and volcanic realism to a new level and at the same time reach new standards in immersive technology. In order to achieve full audio integration they have created interoperability between several different platforms via plug-ins, and provided a glimpse into the future for forward-thinking, cross-discipline integrators.
At the same time, Feris’ project designers Jakob Kristinsson and Bergthor Leifsson knew that Powersoft’s sonic M-Force alone would provide the capability of simulating a volcano erupting, with two M-Drive amplifiers powering two 15kW M-Force moving magnet linear motor transducers to imitate a 3.7 Richter scale earthquake, or bigger. Their purpose is to ‘move’ a floor measuring 150cm by 300cm in both X / Y axes, the first time M-Force has been used for mechanical movement.
According to Powersoft’s Francesco Fanicchi, with the aid of plug-ins Powersoft had helped to produce a smarter solution. “With DSP onboard, interoperability created via MediaMatrix and Presonus USB plug-ins, networking and remote control, amplifiers have been converted into smart controllers of the future. This has great bearing on integrators involved in multiple disciplines like audio, video, ETH cabling, power distribution and UPS provision, meaning that the future becomes a whole lot easier. In addition, low power consumption, low maintenance, a long life cycle, along with the networking capabilities present huge cost and time-saving advantages for both integrators and operators and make the true cost of ownership extremely attractive.”
There are 15 multi-channel audio zones in use at LAVA Centre, located in ten spaces, including an outdoor one, variously triggered by MediaMatrix and Presonus sound cards. This includes 80 Audac speakers, 13 Audac subwoofers, two Danley subwoofers, three Panphonics flat panels in the ceiling for spot audio, eight OnePointAudio speakers, a 632 x 360cm Stewart Filmscreen Phantom HALR screen coupled with a 7.1 surround system from PC Asus 7.1 sound card, via Peavey MediaMatrix NION n3, for the movie theatre.
In the Movie theatre audio is controlled by Peavey MediaMatrix NION n3 via Powersoft amplification to the 7.1 speaker set-up, using OnePointAudio speakers and a Danley TH212I subwoofer. “There were several challenges in the design and specifying amplifiers and selecting the right speakers,” said Kristinsson. “Powersoft amplifiers had already been installed when the audio files started to be available. This dilemma we solved by choosing carefully ‘big enough’ speakers and amplifiers. Mostly audio is played out from ‘content’ computers, the same ones that deliver the image signal or the programs for the Neopixel LEDs.” Powersoft DSP +ETH amplifiers are used exclusively for amplification at LAVA Centre. According to the installer, they were chosen simply because of outstanding quality, space-saving, energy efficacy, networking capabilities and the Armonía control / remote monitoring software.
“The DSP in each amplifier enables the set-up of an audio path directly from source to amplifier to speaker over all audio zones, thus preventing possible single point of failure.”
Two aspects of the audio design are particularly worth drawing attention to, he said. “In Room 00, Eruptions in Iceland, we have built eight Audac speakers close to the ceiling above the LED wall, divided along the corridor. When guests enter the corridor, a PIR sensor detects and sends a message from PLC via LAN to the computer running the LEDs. The computer does two things: it produces a wave of light moving along the wall into the room and also does the same with the audio, sending eight channels of audio signal, via eight-channel Presonus USB sound card, using eight Powersoft amplifier channels, thus producing a sound wave to follow the wave of light. The Idea of doing this came from Feris audio specialist Bergthor Leifsson and the actual program that makes the effect was made by Kristian Ross, a PhD in adaptive music in interactive media.
“And of course the other special aspect of the audio design is for Room 10, Earthquakes. “Under the quake floor is a Danley DTS10 subwoofer, measuring 140cm x 100cm x 45cm, with frequency response capability down to below 10Hz. At the same time, in the ceiling in the corridor are four Audac PX110MK2 speakers. The combined effect of the Powersoft M. Force, the Danley subs and the ceiling speakers give a ‘true’ representation of an earthquake. However, care must be taken not to scare people.”
“Thus, we produce a quake of only 3.7 Richter scale. Bergthor Leifsson was responsible for the design and use of Powersoft M. Drive and M. Force. Responsible for the audio is Sveinn Ólafsson “who is the only one we know who can turn earthquake waves into a full spectrum audio file.”
Finally, the integrator also selected Powersoft amplifiers for their green credentials, “as they are arguably the most energy-efficient amplifiers on the market,” according to Jakob Kristinsson. “Conserving energy has always been an integral part of Powersoft’s DNA. And because Powersoft amplifiers deliver the best power to size ratio, fewer amplifiers (with smaller footprints) are required to run the same PA system, which directly impacts CO2 emissions.”
14th March 2018
Admiral Theatre Cruises into the Future with Meyer Sound Leopard Main Reinforcement System
USA – Following a “stem to stern” overhaul, the Admiral Theatre in Bremerton, Washington takes its place among the Northwest’s best live performance venues. In addition to upgraded patron amenities and an exterior face lift, the $1.2 million renovation included removal of the former audio system and replacement with a new installation anchored by 20 Meyer Sound Leopard line array loudspeakers.
“Last year marked 75 years since the Admiral first opened as a movie house and our 20th year as a performing arts centre,” notes Admiral Theatre Foundation executive director Brian Johnson, “so this was a critical anniversary and capital project. The Meyer Sound Leopard system has become the crown jewel of that project. The response has been overwhelmingly positive from visiting artists and patrons alike.”
By the summer of 2017, three plus years of fundraising and project planning culminated in a 75th anniversary benefit concert featuring Grammy Award-winning western swing band Vince Gill and The Time Jumpers playing through a Leopard demo system.
“That instantly sealed the deal,” recalls Johnson. “All the right people were there, including our board members and major donors. They were blown away by what they heard, and at that point there was really no going back. The Meyer Sound Leopard system surpassed all expectations.”
According to production manager Andrew Saylor, the theatre brought in a competitive line array system to demo for a later show to assure due diligence in the process. “Although the system performed capably, there was no comparison,” Saylor says.
As permanently deployed, the system comprises two arrays of ten each Leopard line array loudspeakers, each flown underneath a single 900-LFC low frequency control element. Four additional 900-LFC elements are ground stacked, two per side, with four UPM-1P loudspeakers deployed for front fill. A Galileo Galaxy 816 processor provides system drive and optimisation. Morgan Sound of Lynwood, Washington supplied and installed the system, with Stephen Weeks serving as sales facilitator and project manager.
For Saylor, who mixes the majority of nationally-touring acts featured at the Admiral, the new Leopard system has been a revelation. “The transient response and intelligibility are just amazing, as is the phase coherence between boxes. I’m still giddy mixing on the system. It’s that exciting. And all of the touring engineers who have come in since we’ve had the Leopards have been very pleased with the results.” The difference also has been noted by the patrons, he continues: “People routinely approach our staff after performances and say it’s the best sounding show they’ve ever heard. I think that has a lot to do with the Leopards.”
A sampling of national touring acts that have played the Admiral Theatre since the renovation, or are coming soon, includes Lee Ann Womack, Branford Marsalis, The Taj Mahal Trio, The Charlie Daniels Band, Al Stewart and Five for Fighting.
The Admiral Theatre represents a best-in-class public-private partnership responsible for revitalising the entire West Puget Sound region, and regularly attracting overnight and weekend visits from patrons living as far away as Alaska, California, Canada, Idaho, Montana, and Oregon. The City of Bremerton owns the theatre building, and the Admiral Theatre Foundation, a 501c3 non-profit organisation, is responsible for operating and maintaining the grand 40s-era art deco venue. The Admiral Theatre now welcomes more than 50,000 patrons annually to a diverse range of educational and entertaining performances and community events.
The total audio renovation from Morgan Sound also included a new Yamaha CL5 digital mixing console at front-of-house and an Avid Venue SC48 at monitors, with provisions for swapping positions if desired by the visiting act. A prominent fixture of the regional production industry for nearly 40 years, Morgan Sound has expanded beyond its roots as a highly regarded sound rental provider to become a leading, full-service integrator of audio, video and lighting systems throughout the Pacific Northwest.
13th March 2018
Renkus-Heinz ICONYX a Huge Upgrade for Church of the Holy Family
USA – In September 1974, 200 people gathered for the first Mass of the community that,
a mere two months later, became Church of the Holy Family parish. In November 1977, John Cardinal Dearden dedicated Church of the Holy Family's current building. Today, the close-knit parish boasts more than 3,300 households, and the church offers the traditional Mass in English and in Spanish, with choir and cantor, as well as a contemporary Mass with a full praise band.
However functional the original 1970s-era sound system may have been when installed, it was long outdated and could not support a modern electric praise band. System coverage was very spotty; some areas were well covered, while other areas were muddy and lacked the intelligibility for speech. The worship team was forced to set up portable equipment to get by, and nobody was happy with the sound.
To resolve the sound issues, as part of a major building renovation, the church hired worship facilities systems integrator Sound Planning Communications. Sound Planning Communications' team designed and installed a new sound system based on Renkus-Heinz ICONYX Gen5 digitally steered arrays.
"The sanctuary's capacity is about 1,000, so it's a good size," states Sound Planning Communications' Nathan Cole. "The building is a very tall octagon, and the renovation included dramatic architectural changes, so where the interior was originally in the round, now it's more of a 120 to 160 degree configuration. The music area, where the choir and band are located, is off to the side, at house left, which is typical of many of the Catholic churches we work with. The architects did a tremendous job making the space brighter, opening it up, and making it a lot more modern."
For the design team, Renkus-Heinz ICONYX was an obvious choice. "We wanted a column array that would give us penetration into the space, intelligibility, and reliability," details Cole. "We've worked with Renkus-Heinz and put in many ICONYX systems over the years, and it's typically our go-to when we're looking for a system that needs the control that ICONYX offers."
With the renovation, locations for loudspeakers were limited. "The church leaders did not want hanging clusters or visible loudspeakers," Cole relates. "We needed to conceal components as much as possible but still provide the coverage and improve upon the fidelity. That's where Renkus-Heinz ICONYX came into play. Thanks to their compact profile and steerable beams, we were able to mount a pair of Renkus-Heinz IC24-RD arrays high to the left and right of the altar area and cover the space evenly with clear, intelligible sound." The arrays were custom-painted to match the décor so they're barely visible.
The IC24-RD features 24 4-inch coaxial transducers, each with three high-frequency tweeters, and 24 amplifier and DSP channels. It also sports dual redundant Dante connectivity. Two IC24-RDs at Church of the Holy Family cover the entire space evenly, except for the altar, which is below and behind the arrays.
A pair of Renkus-Heinz CFX-61 compact, two-way Complex Conic loudspeaker systems serve as altar fills so the priest can hear what's going on. The CFX-61 is a non-powered system with a 6.5-inch heavy-duty woofer and 1-inch, extended-range titanium high-frequency driver that delivers high output in an extremely compact enclosure.
The system is managed with a Symetrix Radius EX DSP. "We use Symetrix for a lot of house of worship projects," Cole explains. "They're a very good-sounding and reliable product, they won't break the bank, and they have native Dante, which we wanted for this system. We also wanted a DSP that allowed us to do external control for the priest's microphone without additional equipment. We ran the priest, deacon, and ambo microphones directly to the Radius EX and provided a Symetrix ARC-3 controller so the priest can make simple level adjustments without getting into deep system control."
In the music area, a Yamaha QL1 digital mixer runs via Dante back to the DSP and breaks out to the ICONYX system. "The music director makes the adjustments to the system," notes Cole. "It's not the best location to hear everything but it gives the music director control as the church desired."
The Church of the Holy Family's new Renkus-Heinz sound system has proven an excellent match for the renovated sanctuary. "Now you can hear speech clearly and intelligibly throughout the space, with no dead spots," asserts Cole. "The praise band finally has a sound system that properly supports their music. The priest can hear everything, thanks to the Renkus-Heinz CFX-61 fills. Visually, the system is well concealed, maintaining the improved aesthetics of the space. Best of all, the client is happy!"
12th March 2018
Spartan Audio and CUK deliver big AV for Tiny Rebel brewery
UK – Tiny Rebel is one of South Wales’ biggest success stories in recent years. A microbrewery founded in 2012, Tiny Rebel is now a fully-fledged brand in its own right, not just for its award-winning beers, but also for their bars and kitchens that serve a wide range of food, and host regular events including live music. The company currently boasts three sites: the first in Cardiff town centre just across from the Principality Stadium; another in the centre of Newport and, finally, the flagship Brewery Bar in Rogerstone, Newport, which is part of a brand new bespoke brewing facility that has increased capacity five-fold. The company officially cut the ribbon on the new £2.6 M premises in July 2017. Their AV partner throughout the build was Spartan Audio who are supplied by UK distributors, CUK Audio. In addition to the AV installation in the new Brewery Bar, Spartan Audio has just completed a refit of the Cardiff venue with a similar Symetrix/Dante/Powersoft backbone.
Spartan Audio’s Dave Morgan explained that the AV concept from the outset was built around the idea that the system had to be both scalable and future-proof. “The Brewery is the HQ of a brand that is expanding at the speed of light, so any system that we installed needed to be able to keep pace accordingly,” he said. There are four main zones to be covered, the bar, the dining area, a large sun terrace and the brewery production area itself which hosts tours at the weekend. The space is designed to accommodate a wide variety of events from live music and dance events, to awards shows, Super Bowl screenings and more.
“The client specifically requested a Void Acoustics speaker system,” explained Morgan, “but the rest was up to us, and we very quickly settled on a combination of Symetrix DSP and Powersoft Dante-networked amplifiers to handle all of the work under the hood. The resulting Dante backbone is built on the ever-expandable and malleable Symetrix Prism DSP platform combined with Powersoft’s Quattrocanali DSP + Dante amplifiers. Numerous patchable CAT 7 tie lines distributed throughout the various spaces can be configured for Dante, Video over IP or other network traffic including control data. AES, analogue audio or DMX can also be patched as required by our technicians for special events.”
Spartan installed a single Symetrix Arc-3 wall panel behind the bar to handle all of the user-operated functions, including the triggering of RS485 commands sent over TCP/IP to the video system, from the Symetrix Prism. The system rack is home to a Windows PC with both Symetrix Composer and Powersoft Armonia installed, which are the software programs used to provide configuration, remote control and monitoring for Prism and Quattrocanali respectively. “This machine provides us with remote access to support any last-minute event-specific configuration,” said Morgan. “It also allows gives us very quick access to troubleshoot the system for the client should that be required, which give us both peace of mind.”
Spartan Audio has also recently upgraded the audio elements in the Cardiff bar along much the same lines, including a live music area upstairs in the Beer Hall, a system in the main bar, a system in the upstairs bar and in their dedicated “Cwtch” bar. At the heart of the control system this time is a Symetrix Radius DSP platform with two Windows touchscreen tablets (one on each floor) running Symetrix’s SymVue control application to control each floor’s respective AV functions.
“We decided on a Radius for the Cardiff bar rather than Prism because Radius has an expansion slot that we may need to use for future upgrades,” explained Morgan. “We didn’t need that capacity for the Brewery bar because it was a new build and so the Dante network infrastructure was properly anticipated and built into the fabric of the building. If ever we need to interface with any other protocols, we can simply add an appropriate Dante bridge. However, as the Cardiff bar was a refit with limited cable access, it’s not quite as simple to provide Dante access points where we need them, so the option to expand capacity with more analogue and/or AES I/Os is really useful.”
“Personally, this has been one of my favourite projects of all time,” he continued. “I’m proud of the systems we’ve provided – they look good, they sound even better, and they respond in every way to the client’s demand that they be scalable and futureproof. We’ve had unfailing support from CUK (who distribute Powersoft and Symetrix) throughout the duration of the project and we know they’ll be there for us in the future should we require it. And then there’s the beer, what’s not to like!”
In picture: Tiny Rebel founders, Gareth Williams and Bradley Cummings.
12th March 2018
L-Acoustics Improves Sound and Minimises Reflections at Echoplex and The Echo
USA – Premier Los Angeles independent music venues Echoplex and The Echo, both owned and operated by Spaceland Presents, have recently experienced major upgrades in audio fidelity with the installations of L-Acoustics speaker systems. Turnkey solutions company and official L-Acoustics dealer 1.61 Productions designed, supplied and installed the new systems for the sibling venues, which are aptly located in L.A.’s hip Echo Park neighbourhood.
Music fans visiting the 660-capacity Echoplex, which opened in 2006 and has hosted intimate performances from top artists like The Rolling Stones, Nine Inch Nails and Green Day, are now enjoying shows there on the room’s new L-Acoustics K2 line array system, a 'first' for a live music club in California. The installation took place this past November, just one month after 1.61 Productions put a smaller L-Acoustics ARCS II system into Echoplex’s 350-capacity sister venue, The Echo, which opened in 2001 and occupies an adjoining building upstairs. Over the past 17 years the spaces have become go-to destinations for local music events, dance nights and a wide variety of touring acts, in the process introducing some of the hottest bands to the L.A. music scene.
The opportunity to upgrade the two venues arose out of an existing relationship with Mitchell Frank, founder of Spaceland Presents, the events promoter behind Spaceland, Echoplex, The Echo and the Regent Theater. “We’ve been working with Mitchell on various pop-up events for nearly a decade, so when the chance came to help the last of the truly independent L.A. promoters and venues get the systems he’d need for the next 15 to 20 years, we were proud to help,” says veteran FOH and platinum record mix engineer Patrick Mundy, who co-founded 1.61 Productions with technical director Steven Cobilich, a fellow hybrid live/studio mixer and an L-Acoustics-certified system engineer.
“L-Acoustics makes an incredible product, it’s so transparent and there are no artefacts,” Mundy continues. “With K2, in particular, Mitchell has an infinitely superior system that is rider-compatible and really serves the Echoplex space well.” L-Acoustics speakers also offer vertical integration, he says. “You can go from playing the Echo to playing at Coachella” (a festival that features L-Acoustics systems on most stages) "and that file is going to translate well, which is good because many bands that start out in Mitchell’s venues soon find themselves performing at Coachella and on other major stages. He and his team really have their fingers on the pulse of what’s going to be big soon.”
“I am very excited that Echoplex is one of the first West Coast venues to install the ‘almighty’ K2, which is what Terminal 5 and Brooklyn Steel both have in New York City, so we knew we were in good company,” says Spaceland Presents’ Mitchell Frank. “During the install, even before the room was tuned, I loved what I was hearing right ‘out of the box’, five-way, three-dimensional depth and throw. Where most systems fail, we were getting a clear sense of being enveloped by the music. Thanks to Patrick and Steven at 1.61 and the L-Acoustics team, we now have the ultimate tour-friendly PA system. No matter where you are standing in Echoplex, you are covered in perfect sound.”
According to Mundy, Echoplex’s prior system had been flown in such a way that it provided inadequate coverage, leaving several dead areas and directing energy into a wall about 30 feet in front of the stage where the double-height ceiling drops to about ten feet. “We produced a 3D model of our proposed K2 speaker solution using Soundvision software, submitted it to L-Acoustics’ design team, and it came back with their full approval, which was an honour,” he says. “With the new system, the energy stays perfectly focused on the audience areas and there are no dead zones.”
The new rig at Echoplex now includes left and right arrays each comprising three K2 elements flown below a single K1-SB sub from the existing truss. Four KS28 subs are arrayed below the stage for additional low frequency extension. A single coaxial X12 is positioned above the stage for centre fill while two coaxial X8 delay speakers installed on the building’s columns out in the house provide coverage at the rear of the room. One LA4X, a single LA12X and three LA8 amplified controllers drive the system.
Upstairs, the new system at The Echo comprises a flown rig of two L-Acoustics ARCS II per side, a single coaxial X15 HiQ hung for center fill with a coaxial X12 providing fill to a side area, and four SB28 subs below the stage thrust. Three LA8 drive the system.
“It’s really exciting to bring touring-quality concert sound reinforcement to such an iconic pair of venues,” Mundy sums. “For 17 years The Echo and Echoplex have been L.A. institutions. This installation of L-Acoustics loudspeakers has helped them move forward so that the next 17 years are well protected. Now, in the L.A. scene, the bands that come through really have a solid and safe place to play.”
9th March 2018
Victoria Theatre Halifax Makes Sound Investment with Allen & Heath dLive, via A.C. Entertainment Technologies
UK – A.C. Entertainment Technologies Ltd. (AC-ET) has supplied an Allen & Heath dLive digital mixing system to the Victoria Theatre, Halifax, for use on its diverse programme of live shows and events.
Built in 1901, the 1,512-seater venue provides a sensational theatre experience and caters for everyone; from no-holds-barred rock & roll, chart-topping pop, sumptuous ballet and opera, to cutting-edge comedy, fantastic family shows, musicals and not forgetting the annual pantomime.
After servicing them well for nearly 20 years, the theatre were looking to upgrade their existing analogue PA system and mixing console to a new system which would enable them to harness the very latest advances in digital sound reproduction and manipulation.
Steve Eaton, senior sales executive in AC-ET's dedicated audio division visited the venue for a site evaluation to assess their system technical needs. Based on their console input, output and audio network distribution requirements, as well as the processing power and flexibility that were required for the differing types of live shows, Steve knew that the fully featured Allen & Heath dLive S Class S5000 console and DM48 MixRack system would be a great solution covering all bases for them.
The AC-ET audio supply also included NEXO GEO M6 main house PA and D.A.D (Dynamic Audio Device) Touring / Fusion series monitor speaker systems, which are controlled by the dLive system.
Victoria Theatre's technical manager, Oliver Brown commented: "The dLive console is definitely proving to be the right choice for our needs. Combined with our new speaker system, the audio quality is first class and the user interface is very intuitive. It's also very fast and easy to operate, and offers an exceptional level of flexibility to tailor the setup for different events. The console is a great investment and we are really pleased with it."
Allen & Heath's dLive premium console family is designed specifically for professional applications and installations. As well as a choice of the full size S Class and more compact C Class ranges, each class features a variety of control surface frame sizes and MixRack I/O, but all with the same processing power and channel/buss count.
9th March 2018
Adlib Shows Warrior Spirit
UK – Liverpool-based installation and production specialist Adlib is supplying video and audio for a unique exhibition featuring China’s Terracotta Warriors being staged at the city’s World Museum. China’s First Emperor and the Terracotta Warriors exhibition is now open and running until 28th October 2018.
Featuring ten life-sized figures, the exhibition includes a stunning terracotta cavalry horse from the burial site of China’s First Emperor Qin Shi Huang (221-206 BC) and over 25 smaller warriors from the Han Empire, China’s second imperial dynasty (206 BC - 220 AD). The exhibition opened in February and has already received worldwide acclaim and is exceptionally popular, attracting people from all over the UK and Europe, with visiting hours extended to accommodate the demand for tickets!
Adlib’s head of video, Tom Edwards, is project managing and oversaw the tender process for which they partnered with immersive technology experts and digital studio Draw & Code as content creators and presented to National Museums Liverpool (NML). Also in the National Museums Liverpool collection are the Walker Arts Gallery, Merseyside Maritime Museum, International Slavery Museum, Lady Lever Art Gallery, Museum of Liverpool and other sites. Adlib has undertaken some smaller projects for them previously, but nothing on this scale, where striking video visuals and integrated audio effects bring the visitor experience alive.
The brief was to make it immersive, experiential and fun and to add to the educational and information aspects, with the additional aim of engaging a wide audience range including those who might not necessarily consider visiting exhibitions.
“There wasn’t a specific existing technical brief in place,” explained Tom, “so we listened carefully to what they envisioned, and came up with some lively and flexible solutions for how to achieve the atmosphere, sonically and visually in the five separate areas, all distinctly different.”
At the start, guests (around 40 at a time) enter the ‘Introduction to China’ area and immediately encounter a geo-wall, a 15 metre wide by three metre tall wall shaped like a stylised mountain range, custom built to fit the space.
The lights dim and there is a presentation onto the wall about the global superpower that China is today, complete with the scent of cherry blossom.
The images are created with two Panasonic PT-RZ970 10,000 lumen laser projectors mapped across the wall. The technically challenging brief was to keep viewing space to a maximum, whilst achieving high brightness and resolution. A WATCHPAX 4 media server is serving up the content to the duo of mapped and blended projectors; and also controlling the Crown amplifiers plus the Osborne Technologies scent generator.
The audio installation comprises three Adlib AA61 speakers and AA12HL subs, run as a 3.1 surround system to give a rich 3D tone. Adlib’s proprietary speakers are a compact and highly reliable installation product.
When the presentation finishes the doors at the end of the room (also controlled via the media server and Visual Productions IOCore Artnet relay system) open. This gives visitors their first glimpse of a terracotta horse and warrior before they pass into the second space, where they confront the ‘Warring States’.
This space features two more Panasonic PT-RZ970 projectors and two 5.5 metre by two metre screens running down the length of the space above head height, driven by a WATCHPAX 2 and incorporating the same iPower IP-4 power control system found throughout the exhibition.
The information relates to the atmosphere of turmoil and battling kingdoms in China before the land was unified by the first Imperial Dynasty led by Qin Shi Huang who became Zheng, King of Qin aged 13 and then the first Emperor of China aged 38. In here visitors learn the story of his rise to power and influence.
The audioscape is delivered via Adlib AA81 speakers built-in to the screen, and using quadraphonic audio the sounds of arrows whizzing overhead accompanied by drum beats and the sounds of battle, can all be directional and ramp up the atmosphere.
The next area details the Qin Dynasty, with terracotta warriors from this period, including a kneeling stable boy in a case and seven warriors side-by-side in a row with an eight by three metre projection screen immediately behind, which is fed content via another three Panasonic RZ970s.
Lead video technician Andrew Watts for the project comments: “This area was particularly challenging for us. The idea of having a large rear projection seemed a simple one; however, less than two metres of projection throw distance could be allocated in a space that at first look shouldn’t allow enough distance for it to work at all.”
The trio of projectors are portrait mounted using Rigtec adapters, modified to attach directly to an upright truss base. Panasonic’s impressive ET-DLE030 lenses were then fitted giving a 0.36:1 throw ratio.
“Lining the projectors up and achieving a seamless blend was a meticulous task,” explains Andrew. “We are incredibly pleased with the outcome of this centrepiece of the exhibition.”
The content includes stunning close ups of the warriors faces which have been digitally painted for the on screen presentation in what would have been original colours.
“There are some beautiful moments with the warriors in front of the rolling green hills from the burial site in China,” says Andy Cooper, director of Draw & Code. “Adlib’s installation experts did a perfect job with the screen material and really brought our concepts to life.”
Tom explains that it took a lot of brain-teasing to come up with an optimum solution for this area, and everyone is delighted with the results. “You can do all the pre-visualisation in the world, but it’s not until you actually get to site and see the content and the artefacts together for real that you know if it’s all going to work.”
Next, visitors move into the Han Dynasty area where the focus is on showing the detail of the smaller warriors crafted during this era.
There is an HD screen fed by another Panasonic PT-RZ970 projector fed from the same WATCHPAX 4 media server which is running the projections in the Qin presentation.
Area 5 is the First Emperor’s Mausoleum which to this day in real life, has never been opened. The tomb appears to be a hermetically sealed space roughly the size of a football pitch!
This required completely different treatment which is theatrically driven and, being the final space of the exhibition, it was vital to make a lasting impact.
The space includes a projection mapped, false vanishing point room. A Holo-gauze scrim creates a Pepper’s ghost effect to the front.
Five Panasonic PT-RZ670 projectors are utilised, four to beam the projections onto the floor, sides and roof of the mausoleum for the dramatic show and one taking care of the scrim. Smoke effects appear on the front of the gauze, rivers of mercury are projected into the floor, climaxing with a booby trap, triggered by a bird flying through the space.
“This type of presentation is unusual for a museum,” commented Tom, “just as the massive responsibility for creatively representing such an incredibly important world heritage site!”
Tom started work on the project back in August 2017 and the Adlib / Draw & Code installation team spent three months on site to make sure everything was tuned to perfection.
All the show scheduling is tied into a Dataton WATCHNET server, which provides advanced show control of the WATCHPAX media servers and is the command centre for all the IP-controlled devices in the system. Some of the network infrastructure is built around a fibre backbone to accommodate the distances between areas.
A hardware-based VPN router is installed for fully remote network access, control and diagnostics of the entire system.
A secondary software-based VPN allows redundant access to the network via a dedicated monitoring server, which runs a Linux-based instance of Zabbix for advanced logging, monitoring and diagnostics of the network.
“This project has been a highlight of my career so far,” says Tom. “The teams from National Museums Liverpool, Draw & Code and all the other contractors have shared the same passion and determination to deliver something memorable that Liverpool and the rest of the UK can be proud of.
“The incredible public reaction has confirmed the amazing depth of expertise and artistry that is available locally. Well done to all!”
The exhibition is organised by National Museums Liverpool, United Kingdom and the Shaanxi Provincial Cultural Relics Bureau and Shaanxi History Museum (Shaanxi Cultural Heritage Promotion Centre), People’s Republic of China.
The exhibition has been supported by the Department for Digital, Culture, Media and Sport, Tianjin Airlines, Wendy Wu Tours, The Swire Charitable Trust, Unilever and The Foyle Foundation, along with Quilter Cheviot Investment Management, Signature Living and London Stock Exchange Group as well as several individuals.
photos: Steve Sroka
9th March 2018
Adamson Delivers State-of-the-Art Sound to Historic Colisée de Roubaix
France – The iconic Colisée de Roubaix (Roubaix Coliseum) in France has undergone a number of interior transformations throughout its near-century of operations. The most recent of those included the installation of an S-Series loudspeaker system from Adamson to enhance the myriad of productions presented in the historic 1,700-seat main theatre.
The venue boasts 7,000 subscribers and welcomes an average of 100,000 spectators per season. Built in 1927, it is well known for its rich cultural history and stunning architecture. That, in addition to the many types of productions hosted on its main stage, from modern and classical music to opera, drama, and dance, resulted in a long list of stipulations for the ideal audio solution.
“We needed a system that would provide excellent sound reinforcement for a number of different productions, and that met several other technical criteria,” comments Franck Minet, head of sound at the Colisée de Roubaix. “We chose Adamson’s S-Series system as it delivers world-class sound in a compact, rider-friendly cabinet that meets our needs and the needs of any visiting engineer.”
The hall employs a scalable design that can transform from a left-right array configuration with six Adamson S10 two-way, full range cabinets to left-centre-right arrays of four S10s each. Four ground-stacked S119 subwoofers per side handle low end for the main level. Additional arrays of four S10s cover the balcony along with two flown S119s in a cardioid configuration under the catwalk. Under the balcony are three clusters of four Adamson PC 5 two-way, coaxial loudspeakers in addition to two Point 12s and two Point 115 subs per side in cardioid mode. Rounding out the system are Point 8s as lip fills and a combination of Point 8s and Point 12s in the wash rooms.
VS Scene was the audiovisual integrator behind the Colisée’s most recent revamp. Based in Templemars, France, VS Scene provides turnkey sound, lighting, video, and structural solutions for entertainment venues, museums, houses of worship, and more.
As the company’s technical director, Bruno Brizulier, explains, the S-Series looked like the optimal solution for the venue from the outset.
“We’ve been very impressed with Adamson products, including the compact-yet-powerful S-Series, which checked all the boxes for the Colisée de Roubaix,” shares Brizulier. “We love the system and results, and were very pleased with our experience with DV2, Adamson’s French distributor, whose expertise and support has been outstanding from the start.”
“We’ve seen Adamson’s profile grow significantly in the French market over the years, and VS Scene’s work in major venues like the Colisée de Roubaix is a big part of that,” says Didier Dal Fitto, Founder and Chief Engineer with DV2, Adamson’s exclusive distributor for France. “We’re proud to support the great work they do and look forward to getting Adamson’s premium products into the next major application.”
8th March 2018
Stadthalle Singen Upgrades with Yamaha CL5
Germany – Like all regional venues, Stadthalle Singen in the German town of the same name, plays an important cultural and economic role in the wider local area. Located close to the Swiss border, the venue hosts both entertainment and corporate events. Recently upgraded with a Yamaha CL5 digital mixing system, it is now even more attractive to both national and international users.
Owned and managed by Kultur und Tourismus Singen (KTS), Stadthalle Singen has attracted over 850,000 visitors to more than 2,400 events in the ten years since it opened. Described as ‘the most versatile event and conference centre between the Black Forest and Lake Constance’, it features the Thügasaal (up to 690 seats), Small Hall (up to 270 seats) and Gallery (up to 203 seats), plus three meeting rooms and two seminar rooms.
Thanks to an inventive, modular construction with movable floors, a flat space of 1700 m² can be created by combining the Thügasaal, Small Hall, main foyer and side foyer. This versatility allows a wide range of large events such as theatre, ballet, opera, musicals, rock, pop and classical concerts, congresses, fairs and corporate events to be hosted, as well as more intimate occasions like cabaret, lectures, readings, seminars, meetings and parties.
Recognising the increasingly complex events that Stadthalle Singen attracts, this autumn its Yamaha M7CL mixing console has been upgraded to a CL5 with Rio3224-D and Rio1608-D i/o units.
“The modular room concept, with different spaces regularly being used in parallel, requires flexible signal distribution throughout the venue,” says Ulf Hahn of Praxl Licht- & Tontechnik GmbH, who supplied and installed the new system. “The flexibility and use of Dante were obvious reasons for choosing the Yamaha CL5, but it was also important that the console would be very reliable and widely accepted by artists and technicians.”
Another advantage of the CL5 was that the house technicians, who were used to the existing M7CL, easily converted to the CL5, thanks to the uniformity of Yamaha’s Centralogic user interface and operating system. “The CL5 is an industry standard mixing console, so all users will be familiar with it. It takes Stadthalle Singen to another level of audio quality and versatility,” says Ulf.
The excellent return on investment delivered by Yamaha mixing consoles has also been highlighted by the M7CL being retained as a standalone solution for outdoor or smaller events in other venues that are part of KTS.