Project News Headlines
Solid State Logic’s ORIGIN Pulls the Sonic Pieces Together for Metal / Hardcore Producer Will Putney
Le VIP’s diverse music repertoire reinforced with L-Acoustics
France – Once known as ‘Little Breton California’, the vibrant town of Saint-Nazaire is well worth a visit. It has a host of surprises in store, one of which is VIP, or ‘Le VIP’, as locals refer to it. Featuring a 550-seat concert hall, three rehearsal studios and a resource centre, this is a welcoming haven for artists of all levels and music genres. This year, French audio, lighting and video company, Melpomen has installed L-Acoustics A Series in Le VIP to address the venue’s complex architectural design and deliver homogenous sound across the entire auditorium.
“After ten years of service, the old sound system was entering a delicate maintenance phase,” says Julien Potin, technical director at VIP. “So it seemed an appropriate time to acquire a new system that would address lifelong issues.”
“We knew right from the start that we needed an extra-versatile and scalable solution for a modern music hall like the VIP,” adds Samuel Birais, audio technical manager at Melpomen. “Our key objectives were to create a comfortable listening experience for the audience and to respect France’s latest constraints and rules in terms of sound levels, particularly in terms of dBc. To achieve this, we needed a system that delivered high SPL, extended bandwidth of between 25Hz and 20kHz, and evenly distributed sound coverage throughout the hall, without overly polluting the stage space.”
The concert hall is almost 18 metres wide and the FOH control position is barely 7.5 metres from the front of the stage. There is also a mezzanine floor that is as wide as the room but shallow, with a bar along its back wall. Smoothing out the differences in sound levels between the pit and the mezzanine, the latter needing to have a lower level of audio and optimising the coherence of the stereo image in the room were prime considerations.
Following on-site tests, both with and without live bands playing on stage, the Melpomen team was able to determine the perfect audio solution to address all requirements. The main system comprises left / right hangs of five A15i Focus per side which, to account for the width of the venue, are set to 110-degree horizontal dispersion using L-Acoustics Panflex technology, delivering excellent horizontal coverage in the mid-high range. Three KS21i are flown in cardioid mode next to each A15i hang, which creates an additional cardioid mode and delivers much better rejection at the bottom of the spectrum on stage. For the mezzanine, the team deployed two A10i and a KS21i per side, with two X8 as delay.
“The physical set-up of the main system, which is quite far back on stage, meant that we were able to cover the entire audience without the need for frontfill on the stage lip, which was ideal as the stage level is very low,” notes VIP’s sound engineer, Christophe Rousseau.
Using the AutoFIR tool in Soundvision the Melpomen team was able to achieve full consistency of mid- and high-range frequencies over the distance while also adapting to the height differential due to the mezzanine. A P1 processor with M1 measurement tools was used to calibrate and EQ the system, adapting it to the room acoustics and aligning all elements correctly.
The entire system is controlled with an LA12X amplified controller, with a fully redundant Milan/AVB audio network managed via an L-Acoustics LS10 Avnu-certified AVB switch. Milan is the first platform to provide deterministic, reliable and future proof delivery of networked data. This guarantees data quality and ensures VIP St Nazaire will not experience any audio dropout.
The final listening test proved to be in line with Melpomen’s expectations. “VIP hosts an extensive variety of music genres and is widely regarded as one of the most versatile venues in France,” concludes Samuel Birais. “To have a system that can be perfectly adapted to the entire sound spectrum and deliver a perfect stereo image across the room, as well as on the mezzanine floor, is just amazing. A Series is ideal for the venue’s programme, both now and for the future. We cannot wait until we can start inviting artists back to the venue so they can experience the full benefits of our brand-new system.”
photos: Floriane LC-Réthoré, VIP
3rd March 2021
Yamaha Equips Flexible Swiss Training Facility
Switzerland – In January 2021, a new training and conference facility for Mercury Training Group SA opened in Mendrisio, Switzerland. The versatile space is designed to be used as one large room or divided into two or three smaller ones, so a flexible and reliable audio system was needed. Yamaha provided the chosen solution.
Led by Frank Merenda, founder of Metodo Merenda (the Merenda Method), Mercury Training Group hosts ‘American style’ training conventions where marketing meets showbusiness. Along with live speech from presenters, video and audio playback are integral parts of the show. Michele and Riccardo De Simone of Sperlonga-based Remix Multimedia SRL were asked by Tiziano Stampete, the head of Mercury’s technical staff, to design an audio system which would maximise the use of the space.
“Reliability, safety and quality were the key words for this installation,” says Michele. “For us one of the key advantages of a Yamaha system was that it allowed full redundancy by installing both Dante and analogue networks, guaranteeing reliability. The customer wanted to be certain that, if there was any problem with one, the other would seamlessly take over, making sure there would be no interruption to their presentations.”
The system installed by Remix Multimedia comprises eight truss-mounted DZR10-D powered loudspeakers and a QL1 digital mixing console with MY4-DA expansion card in the main room. A DCP4V4S digital control panel provides straightforward control of the different main room configurations. An adjacent breakout room features five VXS5 surface mount speakers, powered by MA2120 and PA2120 power amplifiers.
The system is controlled by an MRX7-D matrix processor, with an SWP1-16MMF L2 switch for Dante routing. Eight wireless microphones are provided for convention speakers, while a MusicCast WXC-50 wireless streaming amplifier delivers versatile background music and playback options.
“Another vital part of the Yamaha system is the Dan Dugan auto mixing plug in. It makes it possible to easily manage the presence of several people on stage, an essential element for the presentations,” adds Michele.
While the DCP4V4S provides the control needed by the customer, the Remix Sound team found Yamaha’s ProVisionaire Touch iPad control was a very useful tool for commissioning the system. “We created a basic GUI in ProVisionaire Touch to easily set up the audio parameters during installation,” says Michele. “Being able to programme the system for a flexible space wirelessly was a real advantage.”
3rd March 2021
Czech Radio freshens up for 2021 with DiGiCo Quantum338
Czech Republic – Nearly a century old, Czech Radio (Český rozhlas (ČRo)) is the largest public radio broadcaster in the Czech Republic and Europe’s second oldest radio broadcaster after the BBC. Established in 1923, Czech Radio offers four national services, 14 regional channels, numerous channels covering classical and jazz music, sports, children’s and youth radio services and external multi-language broadcasts. With previous positive experiences of using DiGiCo SD12 consoles, Czech Radio’s team decided to expand their fleet of broadcast transmission vehicles, with a DiGiCo Quantum338 firmly establishing itself as the heart of the new OB van for the station’s key location in Prague.
“The Quantum 338 will allow Czech Radio to mix up to 128 channels of audio with enormous processing capabilities and unprecedented flexibility thanks to its universal DMI slots and two Dante DMI modules,” says Petr Šťásek from Pro Music, which supplied the console. “Additionally, the advanced processing capabilities of the console and its superior flexibility, all featured in a compact format, was something that we knew would give them an edge in their busiest location in the capital city.”
The console is complemented by three DiGiCo SD-Rack stage boxes equipped with 32-bit 'John Stadius' AD / DA converters and Optocore connectivity up to a distance of 250m.
“The calibre of broadcasts done at Czech Radio meant system reliability was our number one priority. The entire technology of the OB van is powered from the grid through a power backup supply, which allows up to 30 minutes of full operation even in the case of a blackout,” explains Jaromír Nikl, the chief of radio broadcasts at Czech Radio.
The Czech Radio team wanted to ensure that with their latest Quantum 338 upgrade, they would have a highly reliable system that would facilitate their needs for many years to come.
“After their great experience with the SD12, they wanted a future-proof system that will allow their sound engineers to achieve complete creative freedom and produce great content within a technically demanding and highly pressured outside broadcasting environment,” explains Šťásek.
Following its installation, the new system has transformed itself into a workhorse for Czech Radio’s main OB van for its Prague location, offering excellent audio quality and bringing ultimate flexibility to the team’s workflow.
“The team is very pleased with its Quantum338 upgrade,” concludes Nikl. “The recording technology with a capacity of 128 tracks based on a modern Dante network protocol ensures reliable real-time transmission with minimal latency and unprecedented flexibility, which is crucial for a sought-after radio broadcaster such as Czech Radio. In a few years we will be celebrating our centenary, so being able to invest in future-proof, high quality technology that allows us to achieve greater power and connectivity is the best way we can celebrate this significant milestone.”
3rd March 2021
Lewis & Clark Library – Helena Equips with Martin Audio
USA – Lewis & Clark Library located in Helena, Montana, has commissioned a new public address paging system, opting for an elegant Martin Audio solution designed and installed by locally based AV integration company, Montana Pro Audio.
They were awarded the contract after the Library, which was established in 1868 before Montana became a territory, received a higher-than-expected bid for the desired AV integration design. After receiving a request for proposal, and undertaking a number of revisions and redesigns, Montana Pro Audio specified the solution from Martin Audio’s ADORN catalogue.
“The original scope of contract was for a public address paging system throughout the library, as well as AV for their large community room that would double as a presentation space and small theatre and a small community room that would be used for meetings and presentations,” explained Aaron Fisher, who was responsible for the design and project management. “The Library is in the home stretch of a full-scale remodel project that started nearly three years ago. This will be the first AV installation in its history.”
Assisted by Ryan Johnston (and with support from Martin Audio North America’s Jim Sage), this was Montana Pro Audio’s first experience working with Martin Audio solutions. Twenty-four of the ADORN A55s, run in 70V line mode, have been distributed discreetly through eight zones on two floors, in a combination of black and white finishes to suit the environment.
“I have always appreciated the quality of sound, construction and aesthetics of Martin Audio products,” Fisher reveals. “The ADORN A55 hit the mark in terms of design, size, sound quality and budget. Integration is a new focus for me, coming from the production side of the audio industry, I really appreciate that the ADORN A55 has the look of a professional production loudspeaker and not a ‘playful’ 70volt loudspeaker design!”
Surprisingly, the room acoustics of the library are excellent, he confirmed. “In fact it is a great sounding facility. Despite all of the hard surfaces and openness of the main atrium, the space is so broken up with different angles and multiple surface textures that it is hardly reverberant and there are minimal reflections. We used the available ADORN DSP presets, and with minimal EQ this system is well balanced, reproduces speech very well and sounds extremely natural.”
This ‘natural’ speech reproduction had been important. “It was important that this system did not sound like a ‘grocery store’ paging system. Because this is a library, and will generally be a quiet environment, it is vital that the PA is relatively quiet and doesn’t surprise anyone when an announcement is made. The intelligibility of dispersion of the ADORN A55 made it possible to achieve these goals.
Coverage is provided throughout a number of areas, including the Lobby/Cafe, the main Atrium, the Children’s Area, two zones in the Young Adult Section, the Teen Lounge, the Mezzanine, and the Mezzanine Lounge.
However, because of COVID, the client decided to split the contract into two separate phases and the next stage for Montana Pro Audio will be to provide the system for the Library's large community room which can be routed into different configurations. The requirements include a single sound system that can be used in 7.1 surround mode for movies as well as a system for presentations, and this time the integrators have opted for Martin Audio’s CDD series.
Explaining the reason for preferring CDD, Aaron Fisher says: “The pattern control on this series, especially in the lower frequencies, make it an ideal choice.” Low end extension will be achieved with the addition of an SX210 subwoofer.
The room is relatively small with lower ceilings. “The CDD8 and SX210 are the perfect size and will deliver plenty of impact. Also, because the system needs to act as a presentation system as well, with use of wireless mics and video playback, we needed a speaker that was not just film-specific but could give us quality results for multiple types of use.”
The installer is confident that the fit-out has more than fulfilled the remit. “The Library requested a high-quality system that would allow for growth in the future. Our requirements were aesthetics, discreet footprint, HF dispersion, sound quality, ease of deployment/installation and the ADORN A55 has delivered on all fronts. As such, we feel we have integrated a system that surpasses our client’s expectations and are proud of the product we have installed.”
As for discretion, he said: “We knew we accomplished this goal when our client was standing directly below one of the loudspeakers and asked where the speakers were located!”
With the success of this installation, he says: “Martin Audio will definitely now stay at the top of our list.”
2nd March 2021
Storytelling with Maximus at Qantas Founders Museum, Australia
Australia – Global design studio Buchan Group designed and produced an extraordinary immersive storytelling experience at the Qantas Founders Museum in the Queensland Outback of Australia and uses Elation Professional IP-rated Proteus Maximus LED moving heads to help visualise the narrative. The 20-minute multimedia experience, Luminescent Longreach, uses the museum’s classic aircraft as projection surfaces to recount Qantas’ rich history and reflect on the spirit of aviation through projection mapping, custom gobos, animation, lighting effects and 3D sound.
The story moves between the Museum’s classic aircraft, which includes a beautifully restored Super Constellation whose intense start-up and take-off of billowing smoke and shooting flame is simulated to the delight of the many guests. Anthony Rawson, senior associate at Buchan Group, needed to find a way to simulate the dramatic effect and uses dynamic lights, smoke machines and sound effects to do it.
Rawson and his Brisbane-based team sought a powerful spot luminaire with gobo capabilities and wide zoom to project graphics and animation onto the ground, as well as the underside and sides of the planes. In addition, with the entire site exposed to the elements in the form of wind and dust, lateral rain, and temperature extremes, any lighting used had to be IP65 rated.
After consulting with Elation’s Australian distributor, ULA Group, the decision was made to go with the multi-environmental Proteus Maximus, a 50,000-lumen strong moving head with 950W white LED engine and CMY colour mixing. Effective as a profile, beam or wash light, it includes framing, a 5.5- to 55-degree zoom, and comprehensive FX package. ULA Group supplied nine Maximus units for the project – six fixtures rigged overhead and two on the ground (one spare), all fitted with custom gobos.
Presented in a covered outdoor museum the size of two football fields, the nighttime sound and light show uses gobo projection from the Maximus to depict various settings such as storm clouds for a scene set in Gallipoli, and high-contrast plane profiles. The animation wheel is used to create the sweeping cloud feel and is also accessed for a scene in which the audience is immersed in a watery look. The fixtures also colour wash the space, project ground textures, and are used as a travelling spot that directs the audience’s attention from one plane to another. Buchan designed and installed the permanent installation, and wrote, directed and produced the launch content.
Through cold winter nights, summer temperatures up to 45 degrees Celsius, as well as intense storms, Rawson reports that the Maximus fixtures have held up well. Luminescent Longreach runs each night and has proved very popular since launching on 1st July.
photos: John Elliot
2nd March 2021
Die Glocke Enhances Lighting System with Chauvet Professional
Germany – Critics rarely review a concert at Die Glocke without commenting on the exquisite acoustics of the historic venue. The meticulously detailed space inside the Walter Görig-designed building reflects sound with such clarity and purity that leading artists have sought it out for their performances. Even the legendary conductor of the Berlin Philharmonic Herbert von Karajan, who performed at the world’s finest venues, singled out Die Glocke as one of the three finest concert halls in all of Europe.
Given this reputation, Christoph Brunkow, project supervisor at Glocke and his team had clear goals in mind when they were upgrading the facility’s lighting system. In addition to seeking fixtures that produced bright even fields of light, they were looking for ones that were quiet and could be installed with minimal disruption to the building’s interior.
“We wanted to change as little as possible about the building,” said Brunkow. “Our goal was to keep the existing rigging while installing new fixtures that delivered the same power – or more- than our old ones. Of course, since this hall is famous for its acoustics, it was key that the fixtures be extremely quiet. Accepting compromises was absolutely no option for us.”
Helping the technical team meet their goals without compromise was a collection of 59 Chauvet Professional LED fixtures. Replacing Die Glocke’s traditional incandescent lights, the new units greatly enhanced the illumination at the concert hall while reducing energy and labour costs.
“Our goal was to replace our conventional light completely,” said Brunkow. “Our old fixtures ran long hours, which used up a lot of energy. We also had to replace their lamps frequently, which required a great deal of effort. With rehearsals and concerts, the whole rig was regularly used up to 14 hours in operations non-stop! Therefore, we wanted to have high quality, long-lasting products in our rig.”
The rig installed at Die Glocke features eight Ovation F-915 FC RGBA-Lime Fresnels that are used to wash the stage in white and colored light. Also in the rig for stage washing are 11 Ovation F-265WW warm white Fresnels and 36 Ovation P-56 VW par-style units. For audience and effect lighting, the rig features four STRIKE P38s warm white fixtures. Along with these lights, the rig was upgraded with a Net-XII ethernet-to-DMX node.
“The quality of the white light along with colour rendering capabilities and intensity were extremely important to us” said Brunkow. “With the lamps on the left and on the right of the stage, it is critical that we can control colours remotely. With the old conventional lights, it was always a struggle to reach them in order to replace colour filters.”
Operating quietly, the new lighting rig has already made a positive impression. Brunkow notes that crews on recent film and streaming projects have been very enthusiastic about the upgraded lighting system. Perhaps down the road, critics will not only be writing about Die Glocke’s legendary acoustics, but about its lighting as well!
26th February 2021
Anolis Specified for leading London Venues
UK – Anolis Divine 160 LED lighting fixtures are providing mood and house lighting for two of London’s leading multi-functional venues: Magazine London on the Greenwich Peninsula and Exhibition London in White City, West London, both initiated and operated by Broadwick Live and Venue Lab.
The Anolis fixtures were specified by consultant and technical production director Simon Jones of SJ-TPM, who co-ordinated the technical design, specification, procurement, installation, and commissioning of production equipment for the two high profile venues.
“I wanted a fixture that could do more than just provide functional white house lighting,” explained Simon: “Ideally an LED source for cost-efficiency and sustainability, plus a unit that produced a great range of colours and a quality, bright output, so the same fixtures could also be part of the atmospheric lighting or theming for a wide range of events.”
He started looking at Anolis (a Robe business) as he was deciding on Robe moving lights for the stage lighting rig, initially at Magazine London which opened in late 2019.
The client wanted to be able to wash a substantial event space of approximately 3,200 square metres that can accommodate up to 3,000 people standing for anything from a conference to an awards show, gala dinner, or themed event.
Impressed with the engineering, build and performance of Robe fixtures generally, as well as the “excellent” customer support from Robe UK, which is based in Northampton, Simon looked towards Anolis – amongst other options – for the house and atmospheric lighting.
Choosing a Robe / Anolis solution had many advantages including a compatibility and consistency between the look of the stage and multi-purpose lighting which was stylish and harmonious.
The Divine 160 is powered by 40 Osram RGBW multi-chip LEDs which produce nearly 12,000 lumens in output with a 40-degree beam angle option and this works perfectly for the task at Magazine, a stunning new build presenting a raw, contemporary industrial space with fantastic views across the River Thames to London’s Canary Wharf CBD skyline.
The 65 Divine 160 luminaires at Magazine are rigged in the roof trusses and on beams with C-Clamps. Fixture weight was another consideration; each compact Divine 160 unit weighs 14.5kg giving an “impressive” weight-to-output ratio, states Simon, as were the aesthetics of the light, which had to match the look and feel of the room.
He also likes the 18-bit dimming which allows seamless fades right down to zero.
Magazine London opened at the end of 2019, and work was already in progress on converting Exhibition London to its current format which opened at the start of 2020. It is another totally different but equally charismatic space, a heritage-listed building that dates to 1899 and was originally used as a train engine house for Central London Railways.
Simon decided to repeat the same winning specification of Robe and Anolis here, this time with 45 Divine 160s in the house lighting system, again to provide a combination of working, ambient, and environmental lighting across the main show floor.
In both cases, the Divine 160s are controlled via the grandMA consoles running all the stage and production lighting and effects and are proving an adaptable and ideal solution.
photos: Jake Davis and Broadwick Live
26th February 2021
Niagara Falls Lighting Control
Canada & USA – Often referred to as a Wonder of the World, Niagara Falls is a breath-taking collection of three individual waterfalls: the American Falls the Bridal Veil Falls and the largest of the trio, the Canadian Horseshoe Falls. Attracting millions of visitors each year, the waterfalls bridge the border between the aptly named cities, Niagara Falls, NY and Niagara Falls, Ontario. Niagara Falls brings together natural beauty, flora and fauna, with a host of attractions, hotels and restaurants that have entertained families for decades.
During hours of darkness, the waterfalls are illuminated with a vast array of coloured lights, adding a beautiful aura to the water. These illuminations have been in situ for decades using various technologies from pyrotechnics to carbon arc search lamps to Zenon, and three years ago was upgraded to LED. Most recently Pharos Architectural Controls was appointed to deliver a new control system for The Falls’ lights. Pharos’s system offers fresh lighting content, greater flexibility for developing new design concepts and remote management in the cloud.
Pharos supplied an LPC 4 that controls both the American and Canadian sides of The Falls. While this unit is compact, its capabilities rival that of a bigger unit, delivering cutting-edge controllability. The LPC 4 is physically located on the Canadian side and is linked via a fibre network to distribute data to three separate locations in Niagara Falls, Ontario to illuminate all three waterfalls.
The project was a collaboration between Pharos, Pathway Connectivity who delivered the data distribution via fibre optics, as well as a new back-up system and SixEye. The SixEye platform manages the Pharos and Pathway systems in the Cloud, with all three elements working together and integrating seamlessly. This unique collaboration of technology has provided a real opportunity to offer bespoke features such as kiosks allowing the public to interact with the system, yet it’s backed by advanced functionality allowing flexible design capabilities.
Using the SixEye platform, controls can be accessed, lighting can be scheduled remotely and notifications are sent identifying any system problems. The complete system also offers a broad new toolset, bringing ease of use and next-level system management. The content can be synchronised on both sides of The Falls, with three modes of operation: The Niagara Falls’ team host the public to interact on the touchscreens, or they can program unique settings for special occasions and holidays on the fly, or leave the system to run fully automated, usually between midnight and 2am.
This live control is made possible for the team via 2 touchscreens connected to the lighting system, with interfaces designed by Pharos. They offer the ability to control The Falls in real time, with the added benefit of their position being at eye level with the waterfalls which really puts the public in the driver’s seat. After any live changes, the system seamlessly reverts to its normal programming.
Linus MacDonald, lighting consultant for The Niagara Falls Illumination Board, said: “Niagara Falls has been lit for many years, which adds to its beauty during the hours of darkness. Our Toronto-based programmer Slobodan Marin, has commented how quickly he is able to program stunning looks using Pharos and how easily he can make small tweaks to the program from home then easily upload using SixEye without being on site. The collaboration between Pathway, SixEye and Pharos has been phenomenal; not only did their teams work together in a model way, the results are everything we could have hoped.”
Robert Bell, director of product market for Pathway Connectivity Solutions, said: “It’s remarkable how easily our network, Pharos’ control and SixEye’s cloud have integrated to make an incredibly robust system that I can easily manage from my phone anywhere. This combination of technologies has delivered a set of unique capabilities, that we know offers a wealth of benefits to Thealls and its many visitors.”
Thomas Ladd, international sales director for Pharos Architectural Controls added: “Working on the Niagara Falls project has been fantastic. With hundreds of thousands of visitors each year, it is a real boost for the Pharos team to know that they have played an integral role in the lighting for such a visually spectacular tourist attraction.”
The project has been a huge success, offering a wealth of new features to ensure improved control and design flexibility for The Falls. As such an important tourist attraction for both the US and Canada, The Falls need to have the most up-to-date, technologically advanced systems to deliver unparalleled visual effects for visitors.
photos: Niagara Falls Illumination Board
24th February 2021
Cinema Teatro Lolek’s Outline sound – inside and out
Italy – The Cinema Teatro Lolek stands in Italy’s first oratory with NZEB (nearly zero-energy building) classification and extremely modern as far as its structure, technology and systems are concerned.
The complex, located in Rezzato, on the outskirts of Brescia, occupies an area of 2,700 m2 above ground and includes a series of buildings at the service of the local community and neighbouring areas.
At the centre of the structure, there is a multi-function hall, the project’s key element: a large oval-shaped space conceived for use as a theatre and cinema, but also to host exhibitions, events, conferences and much more.
A unique feature of this hall is the fact that, thanks to a special shutter system, it opens outwards, enabling to hold events with the stage used in the opposite direction, looking out over the rear outdoor audience area.
In a context in which such great care has been taken with every aspect, top-grade audio was a must for the client. Headquartered in Rezzato, Cipiesse, a full-service company since 1979, specialising in concert production and system integration, therefore installed Outline systems.
For the oval theatre’s sound system, three Vegas 15 CX enclosures were installed above the proscenium and two Eidos 118 S subwoofers below the stage, powered by three Outline M2008-4 amplifiers.
Behind the screen, there are three Outline Movie MV2CX enclosures, specifically designed for cinema applications. The installation is completed by eight surround Movie FX 101 speakers distributed along the room’s walls, and this set-up is powered by the same M2008-4 amplifiers used for the theatre’s system.
To amplify events and live concerts, mainly held outdoors, the venue is equipped with an Outline line array consisting of 12 Eidos 265 modules and four FlySub 15 (companion subwoofers), powered by three Outline T-Five power amplifiers with on-board DSP and Ethernet port.
Marco Riva, manager and partner with Cipiesse, explains: “Cinema Teatro Lolek wanted to install audio systems with top-grade performance in order to avoid having to rely on external rental firms.”
“Outline systems were therefore chosen, as they ensure certainty as far as performance is concerned, last for decades without any ‘deterioration’, in spite of the intensive use they undergo, and we can bear witness to this personally here at Cipiesse. Judging by the comments of the management and technical staff responsible for the audio systems, we are particularly satisfied with the work done,” concludes Riva.
The speaker system’s configuration was prepared by Giancarlo Paladini of GP Tecnologie with OpenArray3D, Outline’s famous acoustic simulation and modelling software – used by PA engineers worldwide – which, with a few clicks, enables to accurately simulate the rig’s response before installing it in the venue.
Teatro Lolek’s technical manager Davide Bolchi states: “The quality of the sound in the hall is exemplary from the front seats to the very last row, coherent for the entire audience and, as well as ensuring a perfectly linear response, the system has an important reserve of headroom: energy one wouldn’t expect considering the dimensions of the enclosures, particularly the subs with their single 18”. The rig for live events [Eidos 265] is set up rapidly and easily, an indispensable requisite considering the mobile use we make of it. We generally stack the array on the ground, on its frame, but have also flown it on several occasions, always with great satisfaction in terms of SPL and balanced tone. As the venue’s audio manager and a habitual user of these products, I believe Outline is always a guarantee.”
24th February 2021
Deutsches Theater Berlin Invests in Robe
Germany – The Deutsches Theater in Berlin is one of Germany’s foremost producing houses, highly acclaimed for its cutting-edge work. In the last year, the venue has added 20 Robe T1 Profiles which are available across its stages, a move specified and overseen by head of lighting Robert Grauel and his team including Linus Zahn (pictured) who is the lighting systems technician and person in charge of new technologies.
The main stage was originally built in 1850 and the building now consists of two adjoining stages: the 600-capacity main stage and the 280-seat Kammerspiele established by the legendary Max Reinhardt in 1906 for modern drama sharing a common, classical façade.
The Box is a black box studio space located in the Kammerspiele foyer in 2006 with seating for 80 people, and there are extensive rehearsal rooms, workshops, and storage facilities in a new building behind.
The theatre’s output is prolific. An average year (of which 2020 was not), sees each stage present approximately nine new productions, and a significant amount of these will also tour around Germany, with three or four also going on to tour worldwide, all simultaneously.
It is a buzzing hive of creative activity in the heart of vibrant Berlin.
The Robe T1 Profiles were selected from a shortlist of three fixtures from different manufacturers explained Linus, who is part of a 35-strong lighting department working across all the stages and rehearsal areas.
Linus is an experienced programmer and operator in addition to being systems tech and is responsible for the theatre-wide lighting networks and all their associated components. He is also one of the house pyrotechnicians and was instrumental in making the T1 Profile investment decision.
Part of his responsibility involves keeping an eye on new and emerging technologies and arranging demonstrations thereof for the theatre and the lighting technical teams.
Before joining Deutsches Theater, he worked in the live events and touring sectors of the industry, and this is where he initially encountered Robe products, which he has always liked.
When it came to looking for an LED Profile spot for Deutsches Theater, Linus and his colleagues examined the three main options including the Robe luminaires, all of which were made available so they could be evaluated fully over a longer period.
Critical factors compared included brightness, colour rendering, skin tonality and the accuracy of the shutter system. “All the requirements specific to theatre performance needed to be at ‘industry standard’ levels,” commented Linus.
Other factors like the additive colour mixing then started giving the T1 Profile the edge.
The theatre also needed a moving light that worked well with their existing stock of LED profiles and wash fixtures, and “the T1 Profile harmonises perfectly” with these stated Linus, making the overall lighting rig even more flexible and adaptable.
The T1 Profile’s colour temperature control was another feature impressing Linus and the crew as they work a lot with different CT whites needing clean and high-quality sources.
RDM compatibility was helpful, together with the wireless DMX option in the T1 Profile, as the main house already has a large Lumen Radio system in place.
Robe fixtures first appeared at the Deutsches Theater in 2016 for a production of Man in the Holocene directed by Thom Luz with lighting designed by Matthias Vogel.
They needed a compact moving light that had a sharp narrow beam that could shoot across the stage, reflect off five mirrors and interact with the main actor.
As well as fulfilling the basic dramatic criteria, it offered other benefits like a decent zoom which made it multifunctional and usable for other lighting effects and tasks. Again, RDM was important because the venue’s own ETC Concert show file stores information from all relevant devices so they can be used again in future, as was the option for an inbuilt Lumen Radio wireless DMX receiver as the lights were positioned on the main stage revolve.
Furthermore, streaming-ACN (sACN) protocol was implemented so the Pointes ticked all the boxes and were purchased for this show. Two Spikies were purchased shortly after for In the Case of J. Robert Oppenheimer followed by the T1 Profiles.
As a brand generally Linus thinks Robe has developed quietly and steadily in the theatre sector to being a manufacturer: “Getting things right with a range of excellent theatre orientated products that have quickly implemented features from many wish lists.”
He makes a quick comparison with iconic Czech brand Škoda, proudly declaring that he’s also personally invested in another Škoda car.
Like all theatres and any live entertainment venues, 2020 has been a tough year for Deutsches Theater due to the pandemic, but, looking forward to 2021 with a vaccine on the horizon and the prospect of some sort of normalcy, Linus is hopeful that the relationship with Robe will continue to grow as they ramp up their production schedules.
Right now, the Deutsches Theater, like all other cultural institutions, is closed to visitors and awaiting news of when it will be able to re-open.
In the meantime, the technical staff have been making the best of the pandemic situation using the time for planned maintenance and for renewing some of the other lighting equipment in the house.
Eight Robe ESPRITES, four more T1 Profiles, six Tarrantula LED wash beams, six ParFect 150s FW RGBAs and a RoboSpot system including RoboSpot MotionCameras have now joined the other Robe fixtures at the theatre. In addition to that, some more Robe purchases are planned for 2021 to facilitate a complex up-coming production to be staged later in the year.
photo: Louise Stickland
23rd February 2021
ASP8024-HE Gives Delaware Studio Complex Flexibility
USA – Introducing Mid South Audio, the pandemic-defying recording studio which opened in September 2020 to great fanfare. A number of A-list musicians were flown in from Nashville to be recorded on the brand new ASP8024-HE Audient console, whilst the facility showcased its stage, sound and lighting abilities.
Owned by Kevin Short and designed from the ground up by Gavin Haverstick of Haverstick Designs, the studio is spread over 3500 square feet, and comprises a spacious live room for large ensembles, three separate ISO rooms, two control rooms and a smaller studio for voice overs and additional mixing.
Studio manager and chief engineer, Frank Marchand says: “Since our opening, we have run full-on Nashville-style tracking sessions with as many as nine musicians playing at once, as well as streaming live concerts online. The studio's acoustics are such that we excel at quiet, acoustic-based music all the way to full band situations with loud amps, and anything in between,” he continues, pointing out the 20-foot ceilings in the main tracking room as a particular highlight.
“In-house items also include a nine-foot Baldwin concert grand piano, loads of microphones and amps and a 16 channel headphone mixing system. Also installed is a two-video system for both streaming and communications between different parts of the facility and all of the recording spaces.”
The difficulty of opening a recording studio with the backdrop of a global pandemic has escaped neither Frank nor Kevin’s attention, yet they are resolutely positive. “Given the ever-changing music scenarios, we have to be a recording studio, a broadcast facility, a small concert venue and a voice-over facility as well on any given day.” And that’s exactly what they have been doing. “The ASP8024-HE has given us the flexibility to do this in a hybrid analogue/digital way.”
Kevin chose the DLC (dual layer control) option for his Audient desk, which is designed to integrate seamlessly with the DAW. “With our ASP8024-HE we can both run complete analogue sessions or complete Pro Tools sessions with just a few switches on the desk. This was very important to us from the start,” says Kevin, explaining their choice. “The desk hit our price point as well. This is not an expensive mouse that will go out of date in a few years!”
The studio is part of a larger retail and showroom space comprising 20,000 square feet and this is where Kevin runs his event production and audio-video-lighting integration company.
23rd February 2021
Elation key light solution for Traders Point Christian Church in Indianapolis
USA – Traders Point Christian Church is an Indiana-based church with multiple locations around Indianapolis. In 2020, the church presented their local AVL integrator, Force Tech, with the need for a new keylight solution for one of their new mobile campus locations. “We wanted a fixture that had an LED engine, a full framing system, variable white control and the ability to fully pan and tilt. The fixture also needed to be road-worthy because our campus had to load in and out on a weekly basis,” states Alex Holt, creative experience director at Traders Point.
Nick Olson, sales engineer at Force Tech, worked closely with Traders Point on the upgrade and proposed Elation’s Fuze Profile CW , an LED framing moving head with white LED engine and gobo / colour options that can be used anywhere a fully automated ellipsoidal fixture is required. The church acquired the luminaire and first had the opportunity to use the fixtures while building out the lighting package for one of their new mobile campus locations.
Force Tech, based in Greenfield, Indiana, and specialists in custom solutions for technology integration, supplied and installed the Fuze lights for Traders Point, as well as provided product demonstrations and infrastructure (truss and data). Elation product support came from manufacturer rep firm Five Lakes Marketing.
“The Fuze Profile CW was a new fixture to our team,” says Holt, “but after getting our hands on it, I was hooked. It delivered everything we needed and more at a price point that couldn't be found on the market. The light output blew me away. The white it produces is extremely clean, and the field it produces is incredibly even from edge to edge. The framing system is precise and consistent every time. I knew this fixture was going to be the future of our key lighting in all of our auditoriums.”
Due to COVID and the restrictions that come with it, the church had to temporarily suspend gatherings at the portable campus where they were using the new fixtures. The interruption, however, gave them a chance to start demoing the fixtures at their broadcast location, a 3,000-seat main auditorium at their primary campus, Traders Point Christian Church Northwest.
“With making the move to a 4K broadcast system, we knew our keylighting needed to be best-in-class and the Fuze Profile CW once again blew us away,” Holt said. “Its ability to create an even, soft and smooth field of light across a 60' platform gave our broadcast a fresh, sharp and clean look. And the ability to adjust colour temperatures allowed us to dial in the perfect look, no matter the moment we were creating.”
Completed in late 2020, the lighting upgrade initially consisted of six fixtures yet after experiencing the fixtures, the church made the decision to purchase 20 additional units through Force Tech to completely replace their conventional Leko key lighting system. Holt comments: “With ten fixtures across the front of our platform, six along the wings and four over the platform for top and back light, we can illuminate any part of our platform in a full 360 degrees of light. The old problems of having to re-aim and rehang conventional fixtures for new stage configurations and the addition of special elements disappeared.”
23rd February 2021
DiGiCo Plays a Major Role at the New Steven Tanger Center for the Performing Arts
USA – When the Steven Tanger Center for the Performing Arts in downtown Greensboro, North Carolina opens for regular performances later this year, the $91 million, 3,023-seat performing arts facility will give a city with more than its share of arts and culture a new crown jewel. Named for Steven Tanger, CEO of Tanger Factory Outlet Centers, who pledged $7.5 million toward the project, the new venue will host performances by the Greensboro Symphony and Guilford College's Bryan Series of acclaimed lectures, as well as touring Broadway productions and concerts.
And it will do so with state-of-the-art sound from two DiGiCo SD12 consoles at front of house and monitors, an SD11 desk used for special events and that adds more flexibility to the venue, and a DiGiCo 4REA4 mixing engine that provides the drive for the main system while serving as a matrix mixer for outputs from multiple consoles. In addition, wall-mounted DiGiCo A164 16-input/four-output expander units act as smart input panels on stage. The DiGiCo systems were specified by SE Systems and Arup, and installed by integrator Parsons Technologies, now known as ArchKey Technologies.
The FOH and monitor consoles are on an Optocore loop network, along with an SD-Rack with 32-bit mic pres for those desks and the SD11 mixer in the control room at the rear of the hall that can mix the venue’s sound when the space is used for events other than concerts or shows, allowing the FOH console to be removed and seats added. “The SD consoles are simply the best out there,” says SE Systems president Cliff Miller. “They’re reliable, they sound great, they’re incredibly flexible, and they’re on just about everyone’s contract riders, so they make the Tanger Center that much more attractive for touring music and shows.”
However, the SD desks are just part of a larger DiGiCo ecosystem at the Tanger Center. The 4REA4, DiGiCo’s centralised DSP engine capable of leveraging the power of FPGA technology at a 96-kHz sample rate, is the heart and hub of the Tanger Center’s sound systems, handling automated mixing of audio such as house announcements or any audio from the SD12 at FOH or the SD11 in the rear control room. The 4REA4 has bi-directional audio connectivity with any device on the network in both its proprietary format and a range of other standards, including Dante, Aviom, Waves SoundGrid, Optocore, ME-1 and more, and can also interface with external control devices using TCP/IP, GPIO, MIDI and AMX/Crestron.
“There are so many variables in a venue like the Tanger Center, and the 4REA4 is the optimum solution for that,” says Miller. “We have a range of input sources, including analogue, AES and MADI, and the 4REA4 handles them all. For instance, we can run AES at 96K right from the 4REA4 to the d&b audiotechnik amplifiers for the main PA system, and split to the QSC Q-SYS system for redundant analogue inputs to the same amplifiers.”
With the introduction of the DiGiCo 4REA4 came the new DiGiCo A3232 protocol, allowing connection with DiGiCo A164 wall-mounted I/O expander units, via the DiGiCo ASTAR four-port A3232 network I/O expander, allowing up to 16 mic preamps per unit, with LED backlit scribble strips for each microphone input. “ASTAR has been a huge help here because of the distances from the stage and the 4REA4 to the amp racks on the catwalk above the stage,” Miller explains.
DiGiCo technical support was always available for designing, programming and commissioning this ecosystem, with technical sales manager Taidus Vallandi on site for programming and advice. “This was a group effort between SE Systems and DiGiCo, and it turned out spectacularly,” says Miller. “We wanted to give the Tanger Center and the city of Greensboro the best venue sound possible, and we did.”
photos: Joey Kirkman
22nd February 2021
Frost School of Music at the University of Miami Warmly Welcomes L-Acoustics A10 System
USA – The acclaimed Frost School of Music at the University of Miami in Coral Gables, Florida has a rich history, stretching back nearly a century to the campus’s founding in 1926. Today, it is widely regarded as one of the nation’s most innovative and comprehensive music schools.
Located within the L. Austin Weeks Center for Recording and Performance, the intimate 147-seat Victor E. Clarke Recital Hall is a familiar venue to all of the nearly 700 students currently enrolled. Used daily for recitals, concerts, and ensemble performance, the room was designed with variable acoustics by noted acoustician Charles Bonner so that a wide range of music could be performed with optimal listening and recording conditions. Now, to accommodate the growing interest in electronic music studies and performance, the school called upon Unreal-Systems, an L-Acoustics certified provider for installation and rental (CPi/CPr), to install a new A Series loudspeaker system in the hall.
“Normally, a venue of this size would be purely an acoustic space, but the Frost School has been moving toward using Clarke Hall for more contemporary music, including their computer music ensemble, which has a focus on electronic music production,” says Unreal-Systems project manager and lead systems engineer Ross LaBrie. “They required a fairly robust PA option, but also requested that we not have any subs on the ground level, which meant that we needed an arrayable PA with subs over the main enclosures. By modeling our options in L-Acoustics Soundvision, A10 paired with KS21 quickly proved to be the right solution to fit the school’s fidelity, coverage, and budgetary needs.”
The hall’s new loudspeaker system features left and right arrays of two KS21i subs over two A10i Focus and one A10i Wide, all finished and screened in a light RAL custom colour to visually minimise the presence of the hangs. An additional A10i Focus is also hidden in a ceiling cavity between the arrays to deliver centrefill coverage to the middle seats in the first few rows. Onstage, the school has the option to deploy up to six coaxial X12 wedges for monitors, and both the monitor and FOH set-ups are collectively powered by four LA4X amplified controllers.
“With Clarke Hall being a somewhat narrow space, it was important to keep energy off of the walls, and the adjustable louvre feature of A Series was very helpful in achieving that,” shares Unreal-Systems owning partner and head systems technician James Tejada. “By controlling the directivity of the high-frequency elements, we were, in turn, able to push more sound pressure level to the back of the room for a really smooth and cohesive SPL from front to back.”
LaBrie further cites the A10/KS21 combination as being “extremely impressive,” especially when considering the obvious difference in driver sizes. “There's quite a discrepancy between the 10-inch driver of A10 and the 21-inch one found in the sub,” he describes. “But the two marry together very seamlessly to create a system that covers the full spectrum evenly and beautifully from a very small number of enclosures.”
Few people spend as much time in Clarke Hall as Dana Salminen, who has served as Frost School’s director of production services for the past five years. For him, the choice of L-Acoustics was “a given” right from the start. “I’ve used L-Acoustics rigs on many shows, big and small, for most of my career,” he says. “It’s always one of my top choices on my riders for its clarity, punch, and detail. If I have an L-Acoustics system on my show, my mind is at ease. So when the time came to put a loudspeaker system into Clarke Hall, I knew that they would be ideal for the job.
“We have a large variety of performances in the hall ranging from solo piano, to opera, to jazz, to contemporary music, so our goal was to choose a loudspeaker system that would visually meld into its surroundings but still provide the amplification needed for such a wide range of genres,” he says. “Our requirements were to offer reinforcement that could transparently augment a jazz performance, but still push high SPL and clarity for a rock band, or the sub-bass of our electronic music ensemble. On all counts, the A10 system delivers.
“Since the new arrays have been in, I’ve heard many students and faculty members comment on how incredible the room sounds. With just a couple of small hangs and a single centre fill, we get fantastic coverage throughout the space and almost no spillage onto the stage, which would normally cause a feedback disaster with so many acoustic instruments and vocals in close proximity to the PA. It was also a real treat to work with Unreal-Systems, who went above and beyond in all aspects, including working after hours to not disrupt classes and rehearsals. And they’ve provided us with an incredible L-Acoustics system that is versatile enough for any genre, visually discreet in the venue, and will be relevant and useful here at Frost School for many years to come.”
19th February 2021
Solid State Logic’s ORIGIN Pulls the Sonic Pieces Together for Metal / Hardcore Producer Will Putney
USA – Metal and hardcore producer, engineer, mixer and musician Will Putney started to transition his Graphic Nature Audio recording studio in Kinnelon, New Jersey to a new location toward the end of 2020. As a part of the relocation, to a larger, rural property about 20 miles west, Putney has installed a new 32-channel Solid State Logic ORIGIN analogue in-line mixing console, acquired from Vintage King.
Putney, known for his work with bands such as Every Time I Die, Body Count, Knocked Loose, The Amity Affliction, Stray From The Path, Counterparts, Terror and Northlane, has long mixed using a hybrid set-up. “I would mix out into pieces of gear that I’ve collected over the years and sum everything together back into the computer. The set-up ended up getting more and more complicated. Over time I was basically building a console piecemeal, with different summing mixers, and creating ways to do parallel sends and analogue-style routing to get to my compressors and EQs,” says Putney, who is also a guitarist and songwriter with his own bands, Fit For An Autopsy and END.
“So I decided that if I could find something streamlined enough that would give me the routing functions that I want and without too many components, and that had a small enough footprint, I would probably be better suited to working on something like that,” he continues. “Then the ORIGIN came out. I loved the simplicity of it, combined with the sound that I like. And it’s worked itself right into my workflow.”
The transition from his former multi-component workflow to the new set-up incorporating the ORIGIN has been seamless, he says. “It all just feels super musical and it’s fast and easy for me to get mixes going on. What I do in the computer doesn’t really change at all, so it’s business as usual; I still work how I always did.”
The Belleville location, where Putney has been working for the past ten years, is a multi-room complex in a converted warehouse originally set up as The Machine Shop by his mentor, Gene Freeman. About eight years ago, when Machine moved to Texas, Putney and his Graphic Nature Audio staff finished off the drum room and built out some additional workspaces.
“Every room was set up to be functional for a specific task. The control room was pretty small and just had the gear that we used to track drums. Then I would move around and do work in other rooms,” explains Putney.
The ORIGIN desk has been installed in a room at the new location in Kinnelon, where the next stage of construction will begin in the coming months. “I’ve got two control rooms set up here. The goal for the future – we’ll start construction in the spring – is to do an updated version of my old drum tracking room but with a more traditional control room. That will be my A room where I can do everything: recording drums and mixing. I will be able to do an entire record there, start to finish, as opposed to working in the modular rooms in the other facility,” says Putney.
The complement of gear installed with the ORIGIN mimics Putney’s previous set-up and includes a pair of Amphion Two18 nearfield monitors, which he switched to several years ago, along with Universal Audio Apollo interfaces for tracking and overdubbing into his Logic Pro DAW. “We still use Pro Tools for editing,” he says, “or if I travel to another studio.”
Putney also recently augmented the collection of outboard processing gear through which he likes to mix with a couple of newer pieces, he reports. “I just got a Chandler Ltd. Zener limiter that I bought from Rich Costey; I always wonder if a Muse record went through it.” (Costey has produced and mixed several albums with Muse.)
Despite the coronavirus pandemic, or perhaps because of it, the Graphic Nature Audio team has seen plenty of projects continue to come through both facilities, he says. “When bands don’t go on tour everybody is trying to cram into a studio, so we’ve been surprisingly busy.” Late last year, Putney also immortalised the Belleville studio’s celebrated drum room, along with his extensive collection of drums and microphones, when he recorded and produced Toontrack’s Modern Metal EZX expansion library.
ORIGIN is the perfect console for the modern-day hybrid set-up,” Putney continues. “All that lovely headroom, width, and functionality that SSL is known for in a smaller, easier to navigate footprint. It has super musical sounding EQs, and it makes tracking and mixing on this feel like cheating. The redesign of the bus section and improved routing architecture is so streamlined it has erased all doubt in my mind that moving to a larger format console would slow me down. I’ll be happily working on this console for years to come!”
Putney may still be in a transitional phase until his new studios are fully built out, but he’s already enjoying working on the ORIGIN in its present location. “I’ve done five or six mixes on it,” he says. “The room that it’s sitting in is where I do the bulk of my work. My new drum studio setup is still using my racks of mic pres and things like that, but I’m also doing Apollo-based tracking and mixing in this room with the SSL. I like the idea of being able to patch in different pieces of gear into different parts of the process, instead of having dedicated rooms for things. It was just time to put everything all in one place.”
19th February 2021
Mexico’s Auditorio Nacional cultivates its legacy with new L-Acoustics sound system
Mexico – Widely recognised as one of the best concert venues in the world, Auditorio Nacional’s (AN) was built in 1952 as a site for equestrian events. The building is made of riveted iron (the same technique featured on the Eiffel Tower) and has undergone extensive redesigns throughout the years. The Auditorio Nacional is known equally for its intriguing architectural design and for housing the largest pipe organ in Latin America. The venue’s main hall consists of nearly 10,000 seats raised above and around its enormous 23-metre stage, primarily used for national and international music concerts, song, dance and film festivals. Since 2013, the Auditorio Nacional has been ranked top selling venue in the world according to Pollstar Magazine.
Lunario, Auditorio Nacional’s alternative stage, seats 1,200 and is used for small and medium-sized events. Both spaces have hosted notable companies such as the Vienna Philharmonic, LA Phil, English National Ballet, Bolshoi Ballet, San Francisco Ballet and New York Philharmonic, Marc Anthony, Alejandro Fernández, Elton John, Sting, Alan Parsons, Michael Bublé and Harry Styles. The venue has also accommodated renowned events such as two Miss Universe pageants, multiple film premiers, and even the 1968 Summer Olympics gymnastics competition.
The entire facility was recently treated to a renovation, which included an L-Acoustics K Series system to replace the original, 12-year-old sound system. “At Auditorio, we do productions day in and day out,” says Nico Peláez, Auditorio Nacional’s production director. “With some 30 million people attending events here over the past 25 years, we knew it was the time for a major update.”
After a detailed venue evaluation, Peláez and the team had identified ten projects within the space, covering improvements in lighting, visuals, audio and internal facilities. The projects were then laid out in order of priority, with audio taking precedence. “AN has always been known for its outstanding acoustic properties, so in order for us to continue with our legacy of being one of the top concert venues in the world, the audio upgrade was given the top slot,” Peláez continues.
Four of the world’s top audio brands were invited to participate in the tendering process. To ensure complete objectivity, all companies demonstrated to the AN Board as well as an independent external consultant on the same day. “We developed a transparent process to give each company an equal opportunity in the bidding process,” explains Peláez. “Our listening committee included 12 people from the venue’s audio and production teams, and each member of the committee used a point system to evaluate the same criteria for each system.”The points system took into account proven years of experience, audio quality and ability to integrate into Auditorio’s existing workflow. The L-Acoustics K Series, integrated by Vari Internacional scored the highest points and were awarded the project. “The Vari Internacional team were very professional and, together with representatives from L-Acoustics, were able to clearly demonstrate the key benefits of the L-Acoustics K1 system. Two of the key selling points for us was L-Acoustics’ ability to adapt itself to our existing eco-system, as well as its indisputable audio quality. Some of the renowned Mexican and Latin American artists had used K1 at AN, particularly with Luis Miguel performing for 30 nights to over 300,000 people. We had all seen that show and had heard the positive feedback from the audience,” shares Peláez.
Engineer Juan Francisco Álvarez, Sales Manager at Vari Internacional was honoured to have made the selection “For AN, we felt it wasn’t just a change of brand, it was also an opportunity to improve some of their workflows,” he explains. “L-Acoustics not only fully integrates with the Auditorio’s existing systems, but it is also future-proof, allowing new elements to be deployed and configured with ease as needed.”
For the main stage configuration, Vari supplied two main hangs of 14 K1 with two K2 down and 12 K2 per side for outfill. Two hangs of eight K1-SB subs are flown behind the K1, with a further two stacks of four KS28 subs positioned left and right on the stage floor. Front fill is delivered by eight X12 placed in front of the stage lip. Two A15 Focus and two A15 Wide per side provide sidefill for the monitor system. Delays are catered for by two arrays of six Kara(i). The entire system is powered by 39 LA12X and seven LA4X amplified controllers Four P1 processors are used for AVB distribution to the amplified controllers. Finally, the stage monitoring package comprises two ARCS Focus and 22 X15 HiQ.
The Lunario system comprises two main hangs of six Kara and two SB18 subs per side, with four SB28 subs hidden beneath the stage. Twenty short-throw X8 coaxial enclosures were supplied and used as stage monitors and frontfill as needed, with four A10 Wide and four KS21 subs for sidefill. Nine LA4X and one LA12X provide power and control, along with two P1 processors.
The entire audio system supports analogue and digital using AVB/Milan protocol to simplify audio and control data distribution and offer guaranteed quality without dropouts in a live sound reinforcement system.
“With Auditorio Nacional’s rich history of hosting events of all scales and sizes, we wanted to deliver a sound system that is fully scalable and would truly give justice to this venue’s legacy as one of world’s top concert venues,” says Álvarez.
“A massive number of activities take place at the Auditorio; in a typical year we can have 265 concerts, use 2,300 tons of equipment, spend over three million staff-hours on productions from more than 72,000 technicians, and have audiences of 1.5 million. So all the components within our workflow have to work seamlessly together,” concludes Peláez. “I am proud to say that, together with Vari Internacional, we were on time and on budget in terms of delivering our amazing new L-Acoustics sound system. It not only gives us the ability to work more efficiently, but delivers outstanding audio.”
19th February 2021
Stage Electrics Delivers Despite Covid-19 Restrictions
UK – Stage Electrics has completed the installation of sound, lighting and theatrical control systems at Les Quennevais School on the island of Jersey. Project managed by Chris Brant, the contract, worth in excess of £220K, was delivered while adhering to COVID-19 guidelines and restrictions.
The new facilities, designed by architects Jersey Property Holdings, offer students state-of-the-art teaching spaces, including a large multi-functional hall for the school’s main theatrical offerings, daily assemblies and presentations. In addition, the installation included flexible drama studios which can be used as performance or teaching spaces.
Stage Electrics installed three OpusSystems in the new spaces which offer simple and easy to use controls by incorporating industry-standard lighting control from Zero 88 and a DANTE Audio network infrastructure. This connects the performance spaces and music rehearsal rooms to the music department to allow for multitrack recording for exams and rehearsals.
Paul Letch, deputy headteacher Les Quennevais School commented: “It has been a pleasure to work with the expertise that is provided by Stage Electrics. From our first engagement with them, they provided knowledgeable guidance and support through the design phase right to the final training.” He went on to add: “I would certainly recommend anyone considering using Stage Electrics for any aspect of their AV set up to make contact and use their considerable expertise both technically and as a company to work with.”
Saul Eagles of Stage Electrics added: “Despite a number of challenges around the complexity of getting permissions to get on to the island and obtaining suitable accommodation for our staff we are incredibly proud of the overall outcome of this project.”
19th February 2021
Alcons Hits the High Notes Again in The Joan
Australia – N amed after Australia’s famous coloratura soprano, Dame Joan Sutherland, the Joan Sutherland Performing Arts Centre in Penrith, New South Wales, is one of Sydney’s busiest performing arts complexes.
Opened in 1990, the venue has numerous performance spaces, and hosts a busy schedule of theatrical, musical and visual arts.
Already mid-2019, production and technical manager Geoff Turner and head of audio Tim Anikin started looking for replacement of the old point source sound system that had served the dramatic theatre (The Q Theatre) from the beginning, to overcome the sound issues inherent in the space.
The tender was won by Loud And Clear Sales, who in conjunction with Drew Bisset, designed and installed a system from Alcons Audio.
When the system was commissioned the difference was immediately noticeable. In fact, the team at The Joan only had a chance to utilise it for a few months before the pandemic closed the doors to all the worlds performance spaces.
They were so impressed by the new system in the Q Theatre that they looked to the same team to quote on an upgrade to the larger and more challenging space, the Richard Bonynge Concert Hall.
Designed, installed and commissioned again by Loud and Clear Sales and Drew Bisset, who again turned to Alcons Audio’s products for the ideal solution. The Joan now boasts an AAA (Aussie Alcons Audio) rating in the sound department!
The Q Theatre is a multi-purpose room with a thrust stage and audience of 378 in a semi-circular amphitheatre configuration. This allows fabulous sightlines, but a challenge to amplify and distribute sound equally.
“Our experience with the LR7 micro line array from Alcons Audio sent us there immediately,” says David Betterridge, director at Loud And Clear Sales. “What we didn’t realise until we did the modelling, was just how perfect a solution it was for the space!”
“Three arrays each of six boxes in 90 degree configuration gave us almost seamless coverage of every seat in the house, with the tiniest of overlaps occurring in the aisles. We could barely believe the data from the EaseFocus plot, but knowing the reliability of Alcons’ specs, we were very confident that if we could get the rigging points in the exact locations we needed, we could deliver.”
A pair of LR18B subs located behind the centre cluster provides deep sub extension for the system, which all runs from a single Sentinel10, four-channel DSP amplified loudspeaker controller. All system processing is done within the Sentinel so no external processor was needed.
Removing the collection of older 15” and horn boxes from the grid and replacing with the almost invisible LR7 also freed up a huge amount of lighting angles that made production and technical manager Geoff Turner very happy.
He says: “The difference is – there is no longer any difference! Before it was very noticeable as you moved around the auditorium, the change in level and frequency response. Now virtually every seat in the audience is hearing the same information at the same level. We were blown away.”
One of the things that Alcons pro-ribbon loaded speakers boasts is high-fidelity reproduction, even at high SPL. Whilst this was not a significant factor for the Q Theatre the Concert Hall system needed the headroom to support contemporary acts and the definition to support the many orchestral and spoken word users of the space.
The Richard Bonynge Concert Hall is a 550 seat perfect rectangle, it boasts both amazing natural acoustics, and some real challenges inherent with such a space, especially at high SPL. It was important to focus the system on the audience area and avoid as many reflections off hard walls and floors as possible.
A true stereo system was requested, and the need to keep the footprint as small as possible led the same team to Alcons Audio again for the solution. Custom rigging designed and supplied by Drew Bisset allowed placement of the left right and sub arrays exactly where they were needed. The very versatile new VR5 mini monitor were used for front fill and side fill for the balconies upstairs.
The left/right arrays are nine boxes of LR14 ultra-compact line-array modules (90 degree format) and the deep sub extension is three BF362 in cardioid mode, flown in the centre each. Four VR5 act as front fill and two VR5 cover the side balconies upstairs. The system is powered by three Sentinel10 amplified loudspeaker controller running ALControl software, which allows easy programming for the various user applications required. These range from a simple left/right feed for basic presentations, to full access to all channels for advanced users and touring engineers.
“The throw from the top of the arrays all the way to mix position, and the headroom of the system is exactly what we wanted,” noted head of audio Tim Anikin, “The intelligibility of the system makes it a dream to operate.”
19th February 2021
Brompton Technology S8 processor supports Mvision’s evolution in event practices
France – For more than 20 years, Mvision has been providing its service as a leading audiovisual technical expert to its customer base in France and beyond. From equipment rental to full-scale integration, Mvision’s team of technical specialists can respond to all of its clients’ video, sound, light and simultaneous interpretation needs. The company’s regular investments in state-of-the-art equipment allow it to set up innovative solutions, such as its studio for filming, capturing and dissemination of events, etc., at the Palais des Congrès in Paris, which is the third space Mvision has equipped for creative content production in France. The 300sq.m set features a beautiful, curved LED wall, controlled by two Brompton Technology Tessera S8 LED processors.
“Mvision invested in its first LED screens more than eight years ago, and our first cylindrical screen was awarded a prize at the innovation show, Heavent Paris,” says Meziane Lounis, Mvision’s owner. “Since then, we have been building up our experience and expertise in LED technology, with our latest opening of a studio and investment in Brompton LED processing all part of our long-term development strategy.”
According to Meziane Lounis, Mvision has always adapted to the market, with the company’s sole objective being to offer the highest quality products at the best price. For its new studio, the team has built a large 12m x 3.5m LED curved wall made up of Unilumin UPAD III P2.6 LED panels.
“We chose Tessera S8 for our immersive LED stage because of its undeniable product quality and perfect colour rendering. Tessera’s feature set, as well as its latest firmware updates, allows us to adapt well to the demands of our XR studio and offers real quality when it comes to eliminating colour casts in greyscale with its PureTone functionality, or its brilliant colour contrast and colour saturation,” continues Lounis’s son, Lounes Lounis, Mvision’s technical manager.
The new studio has already been used for numerous shoots and events, including virtual conventions for companies such as Total SE, Nestle, Crédit Agricole, AXA, KILOUTOU and others. Thanks to Tessera LED processing, the team has been able to achieve an exemplary image sharpness, so as not to generate a commonly occurring moiré effect; as well as avoid issues such as flickering and multiplexing, as well as banding on the LED screen when the screen is used in the dark.
“We see our new studio at the Palais des Congrès as part of an evolution in event practices,” concludes Meziane Lounis. “The use of an LED volume allows us to create events which can integrate physical objects within the vast scope of virtual realms, making the productions dynamic and allowing us to change scenes ad infinitum.
“Created out of the necessity to continue facilitating the needs of our customers during the pandemic, we now see our three studios being a permanent part of our client offering, directly supporting the evolution of digital practices in the events sector. In the years to come, one of the major questions we think we will be addressing is achieving the balance between physical and virtual events and productions. Tessera LED processing will support both areas and, in fact, bridge the gap between them, thanks to its full spectrum of vibrant colours for amazingly realistic, visually stunning backgrounds.”
19th February 2021
DiGiGrid at Home with Weirdog
Australia – Dave Weir (pictured) has worked as a freelance professional audio engineer and educator for the last ten years. As a teacher, he draws upon wide experience of the industry to deliver audio courses at Oxygen College, a multi-disciplinary training organisation in Geelong West, Victoria, Australia, that specialises in the creative arts. His role as an educator dovetails neatly with a full spectrum of audio duties, from studio mixing to live sound engineering, including touring the length and breadth of the country with notable bands such as Thirsty Merc, Rival Fire and Teramaze. In addition to his work with bands on the road and in the studio, Dave also runs arena audio for the Australian Open Tennis tournament, controlling court audio feeds for broadcast, running music between points and managing post-match interview audio.
As is the case for many audiophiles, the boundary between work and home is often blurred, and in Dave’s case his Weirdog home-studio has evolved over time to be an essential part of life. When considering its upgrading and further development, he chose the DiGiGrid option: “Starting out with a fairly minimal set-up, I wanted to create a system that not only covered all bases at the time, but also future-proofed me for expansion. I probably spent a couple of years researching interface and analogue console options, before ruling out analogue on the basis of limited space, costs (including maintenance) but also flexibility. After a lot more research, it was clear that DiGiGrid suited my workflow and had the ease of expansion I required. In the end it was a no-brainer decision.”
At the moment Dave runs a DiGiGrid IOS and an IOX but plans eventually to add an IOC to his setup to enable greater ease of use of outboard equipment such as compressors, outboard preamps, channel strips, monitor controller and talkback mic.
He continues: “The system is super simple to set up. I have a basic patch bay set up to enable the routing of input channels and line outs, and two dbx 160a compressors that are quite easy to route into the system. I use a Presonus Central Station as my monitor controller, which is simply routed through the IOS to the patch bay.
“The key selling point of the DiGiGrid system for me was the onboard DSP system for Waves plug-ins. As I already own a Waves Mercury, I thought this was a no-brainer. My Mac Pro at the time used to struggle with large sessions, so adding this into my workflow was an absolute blessing. I now own a Mac Pro (2019) that has a huge amount of power, but still having the ability to offload the processing through the DSP just means my system stays strong, even when subjected to the toughest of sessions.”
Following a recent house move, Dave recently began the construction of a brand-new studio: “My priority is to create a purpose-built mix studio, I’ll still have the ability to record overdubs and reamp etc, but it’s main focus will be for mixing. All that said, I’m also keen to run this as a live rig as well, I want to be able to utilise the amazing preamps and software to simultaneously record and mix live shows. Watch this space!”
18th February 2021
Germany’s Iconic Landesfunkhaus Nierdersachsen Invests in RIVAGE PM7
Germany – Part of the German public broadcasting service, Norddeutscher Rundfunk (NDR), the historic Landesfunkhaus Nierdersachsen (Lower Saxony State Broadcasting Station) in Hannover includes two concert halls. The installation of a RIVAGE PM7 digital mixing system in the larger venue marks nearly 30 years of relying on Yamaha mixers.
Broadcasting in Hannover dates back to 1924, moving to the current site in 1950 with the construction of what was then the most technically advanced broadcast station in Europe. The original, 350-seat Kleiner Sendesaal concert hall was joined by the 1,250-seat Großer Sendesaal in the 1960s, home to the renowned NDR Radio Philharmonic orchestra. Both venues are used for over 100 live concerts, shows, awards ceremonies and similar events every year, many broadcast live or recorded for later transmission.
With the needs of guest artists, production riders and audience expectations rising, both venues have recently had their audio specifications upgraded, including the installation of a Yamaha RIVAGE PM7 digital mixing system in the Großer Sendesaal.
The Landesfunkhaus Nierdersachsen audio team has worked with Yamaha digital mixers since the mid-1990s, initially with an 03D and 02R, later adding an 01V96, LS9-32, M7CL and PM5D. The development of the CL and QL series was crucial for the venue because, in addition to the widely-accepted Yamaha menu structure, routing audio via Dante made the implementation of larger productions easier. The RIVAGE PM series further improved the team’s options for operation and audio routing.
Systems integrator Amptown System Company (ASC) specified the RIVAGE PM7 system, thanks to its channel count, sound quality and support for flexible two-user operation.
In particular, the convenience of two-person operation lets engineers mix a large production, with an orchestra and band, from one control surface. The high number of mix channels, first-class effects and dynamics processors were more reasons for purchasing the system.
Another important factor was the ability to quickly and easily exchange configurations between Yamaha digital consoles of different series. With other Yamaha digital mixers at Landesfunkhaus Nierdersachsen, this has greatly accelerated the in-house workflow and ensures visiting engineers can save time creating their mixes.
ASC also provided training for Großer Sendesaal staff on the new system, ensuring the team was quickly up to speed with the RIVAGE PM operating system.
18th February 2021
Elation house lighting solution gives Tennessee church a fresh new look
USA – A fresh wash of dynamic light from Elation Fuze Pendant house downlights has helped transform The First Family/ First Baptist Church’s sanctuary from a more ordinary space with uneven illumination to a modern-looking house of worship more reflective of today’s contemporary worship.
Seeking to upgrade its more traditional house lighting to something more state-of-the-art, The First Family/ First Baptist Church in Columbia, Tennessee, is a growing ministry with plans to remake its entire sanctuary lighting. Eager to get started on phase one of the project, church technical director Brady Ratzlaff and worship pastor Tim Hammond met with Nathan Tomberlin of integration company S&L Integrated about replacing their incandescent pendant house lights with something more up-to-date.
“Not only were they getting tired of changing bulbs, even when all the old incandescents were working there were dark spots everywhere in the sanctuary,” Tomberlin says. “It didn’t look good and they were ready to discuss ways to improve the space.”
After a thorough review, Tomberlin suggested giving the room a more intimate feel by lowering and levelling the sanctuary’s tiered lighting to create a faux ceiling that reduced the height of the lighting from an apex of 41 feet to around 22 feet. He then presented the church with two options: a system of low voltage lighting with a static colour temperature of around 3200K and a system of colour-changing LED Fuze Pendants with colour temperature adjustment.
“The Elation option was superior because you can do more with it, you can adjust the colour temperature and it was also brighter,” Tomberlin states. “The biggest reason for choosing the Fuze Pendant was the fact that they could select the colour temperature and make changes to that whenever they wished.”
The Fuze Pendant is colour temperature adjustable from 2,000 to 10,000K and houses a full spectrum 230W RGBWL array for washes of high CRI white light, subtle pastels or pure saturates. Silent with no fans, output is up to 11,000 lumens. “It's such a unique fixture with a designated channel for colour temperature adjustment, separate of the RGBWL mixing. I love the separation,” Tomberlin comments. “You can completely change the aesthetic of a room while still giving people plenty of light.”
Elation Market Manager Bob Mentele laid out the entire system, and specified the number of fixtures and lenses needed. By using already existing cladding hooks in the ceiling, 46 Fuze Pendants were installed quickly over a two-day period in late October with confirmation coming immediately on what a fresh coat of paint can do. “When the electricians were done and we turned on the lights, they were blown away! They weren't used to the brightness or quality of light or the fact there weren't any dark spots around the room.”
Church technical director Brady Ratzlaff adds: “With the Fuze Pendants, we can individually control each fixture, which we couldn’t do before. It allows us to add colour accents throughout the room as needed for special events. The fixtures have also helped the congregation to see significantly better in the sanctuary without worrying about sitting in a dark area in the room.”
Tomberlin says that once the fixtures were installed they began experimenting with the Fuze Pendant’s different colour temperatures. They started at the 3200K that they originally thought was their preferred colour temperature and the level at which the static lighting option would have been. “We looked at the room under the 3200K light but they found that they preferred a higher colour temp, something more around 3700 or 3800K, a bridge between warm white and cool white. They were thankful they went with the adjustable option and use it to change the feel of the room when needed.”
The fact that the Fuze Pendant is LED was also an important factor in their choice, says Ratzlaff, saving money on bulb changes and power while requiring less maintenance. In fact, the church produced long-term calculations themselves on how they could save with an LED solution. “The calculations helped them weigh the decision,” Tomberlin says. “They really took their time to see if the investment also made sense financially.”
A perimeter ring of Fuze Pendants at an 18ft trim is outfitted with 50 degree lenses while those in the middle, at a 22ft trim, are fitted with the 45 degree factory lens. Tomberlin says he has measured light intensity at an even 40 to 41 foot-candles throughout the space.
Of course, the Fuze Pendant does more than just colour temperature adjust. The fixture’s RGBWL colour-mixing system allows the church to add a decorative touch to activities such as youth events or colour match with anything happening onstage. The house lighting upgrade does not impede on the stage lighting however, which remains completely consistent no matter what house lighting colour, or colour temperature, is chosen.
Tomberlin, who worked with Chuck Dillingham of Elation manufacturers’ rep firm Freed Sales on the project, programmed a variety of colour and colour temperature looks for the church, which are easily accessed via a convenient wall-mounted button panel.
17th February 2021
Liberty University adds Ayrton Khamsin-S fixtures to new sports arena to enhance fan experience
USA – Liberty University has invested in a complement of 20 Ayrton Khamsin-S LED profile luminaires for the new Liberty Arena on the Lynchburg, Virginia campus.
Liberty Arena seats 4,500 spectators and is the home of the university’s men’s and women’s basketball and volleyball teams whose games are broadcast on ESPN+. Liberty University previously purchased Ayrton Mistral fixtures for a multi-use event space, which hosts a wide array of entertainment programs and gatherings.
“We wanted bright LED fixtures that would really pop and enhance the fan experience in our new dedicated sports arena,” says Amy Caun, lighting director and Tier 2 production technician in Liberty’s event production department.
Designed for scenic applications, the Khamsin-S is equipped with a new LED module delivering powerful metallic white light with a record-breaking output of 40,000 lumens and a colour temperature of 6500K.
“We like to stay with one product line, and ACT Lighting arranged a shoot-out with Khamsin and another Ayrton fixture,” she explains. “We were really impressed with Khamsin’s design, how sleek and compact it is for such a powerful fixture. Khamsin also had great saturated colours and, being an LED fixture, we don’t have to worry about lamp life.”
In addition to the Khamsin-S fixtures, the new arena boasts a Daktronics centre video board stanchion display, court table and 360 degree video ribbon display plus four 4K laser projectors for court projection, all of which play a role in creating an immersive fan experience.
“Before a game starts all of these elements work together to excite and engage fans and players alike,” says Caun. “We’ve designed each of these elements to complement each other and together create a thrilling environment.”
During the starting line-up the Khamsin-S units, which are mounted on truss on either side of the court, illuminate the players and court and build excitement. Custom gobos featuring the Liberty Flames logo and mascot project onto the court and seating. The Khamsin-S are also deployed going in and out of half time and for celebratory effects after a win.
“Although the coronavirus pandemic means there are currently very few fans present during games, that actually has given us time to really dial in the production in the new Arena,” notes Caun. “Once more fans are able to attend again, we know they’ll enjoy a high-quality, in-person experience and the Khamsin fixtures play an important role in helping us create a thrilling game experience.”
The Khamsins were purchased from Whitlock, now AVI-SPL. Ayrton is distributed exclusively in North America by ACT Lighting, Inc.
17th February 2021
dLive Gives Polished Performance at Vernissa
Finland – Vernissa Culture Factory in the city of Vantaa, Finland, has gone all-in with a full dLive digital mixing system to support its busy events schedule.
Converted from a historic nineteenth century varnish factory building, Vernissa acts as a cultural hub for the surrounding region and hosts around 200 music and theatre performances each year.
As part of the venue’s 2020 renovation programme, technical manager, Timo Itkonen decided that its existing second-generation digital console no longer met Vernissa’s growing needs. Working with Allen & Heath’s Finnish distributor, F-Pro, Timo specified a new dLive system, based around a DM64 MixRack and 36-fader S7000 surface. “I chose the S7000 mainly because I liked the big surface with enough faders and the flexibility to arrange the channels as I want,” Timo explains. “It sounds good and the onboard FX and dynamics are great!”
Multi-track recording capability and the ability to run time-saving virtual soundchecks were high on Timo’s list of priorities, so a Dante option card was added to the system to enable both features. In addition to managing FoH audio in Vernissa’s main events space, the dLive system is also used to mix monitors for live band performances. The dLive MixPad app allows Timo to adjust monitor mixes from an iPad onstage during soundchecks, taking much of the legwork out of the process. A pair of stagebox format DX168 expanders rounds out the setup for Vernissa, granting Timo the flexibility to deploy additional IO according to the demands of the events schedule.
Vernissa’s new dLive system has recently been busy mixing livestreamed events filmed in the venue, helping it to remain at the heart of cultural life despite current restrictions on live performances.
12th February 2021
Anolis Looks Grand in Brighton
UK – The Grand Brighton hotel, an iconic landmark on the seafront in this popular south coast city and resort, is highlighted tastefully by an Anolis LED lighting installation illuminating its majestic front façade.
Designed by architect John Whichcord Jr. and built in 1864, originally as a hangout for the smart set of the day, today it offers over 200 rooms, many with spectacular panoramic sea views and full conference facilities while its distinctive Victorian and Italian features remain almost unchanged.
The Anolis (a Robe business) lighting scheme was installed as part of a wider modernisation programme happening along Brighton’s Kings Road seafront which is a unique collage of historical and modern architecture.
Anolis UK was initially approached by the hotel’s management and asked to specify a suitable, more energy conscious and cost-efficient luminaire to replace their ageing discharge lighting scheme and enhance the building’s substantial façade.
It was a detailed operation due to the building being heritage Grade II listed. Key lighting considerations included getting precise coverage with minimal light spill to wash the impressive 75 metre wide frontage accurately and smoothly.
The lighting scheme also had to conform to the various heritage requirements as specified by Brighton and Hove City Council, which includes the exact colour of light that should be used on the façade and stipulates how many times a year it can be lit using any other colour variation from the signature classical warm white.
A tasteful 3200K wash was chosen as the colour to best complement and showcase the form of the building.
Anolis’ ArcPad Xtreme RGBW fixture was chosen by the Anolis team as optimal (at that time) to illuminate the Grand Brighton’s hotel seven storey frontage, emphasising the commanding presence of the property along the busy seafront parade.
Producing over 16,000 lumens of output, and with two independently controlled modules for flexible focusing, seven ArcPad Xtreme fixtures effortlessly cover the area.
The units are deployed in the exact same locations of the previous fixtures, meeting the terms of the site’s planning permission and local authority conservation regulations. These positions also offer the hotel the option to have split vertical columns of different coloured light across the frontage when required.
Furthermore, all the fixture housings were manufactured by Anolis in a custom matt black 9016 RAL finish to minimise their visual impact at the front of the hotel.
Control is provided by a Pharos system which is programmed with preset and colour changing scenes. Onboard Lumen Radio wireless links to all the Anolis fixtures ensure effortless lighting changes and further reduce costs by eliminating the need to lay data cables to the fixtures.
The scheme has been programmed to produce multiple-coloured designs throughout the calendar for events like Christmas, Valentine's Day, St Patrick’s Day, Halloween, Pride, etc. and an outstation provides a user-friendly interface for designated staff to operate.
The Grand Brighton hotel’s general manager Andrew Mosley commented that they were “delighted” with the performance of the ArcPad Xtremes which “enhance the façade features beautifully and give us the flexibility to celebrate significant events all year round.”
photos: Neha Kher and Bradley Moon