Project News Headlines
Sheffield Hallam University Creates Performing Arts Technical Facilities with the Help of A.C. Special Projects
Analogue Lessons for Largest Nordic School of Creative Arts
Sweden – An Audient ASP4816 was installed recently into the recording studio at Stockholm-based Kulturama, the Nordic region’s largest school of creative arts. “For most of our students, it’s the first time they get to work on a proper analogue recording console,” says Fredrik Moberg who teaches sound engineering and recording, ensures the smooth running of the studio and specified the console.
He explains the benefits of an analogue desk: “I think working in analogue really helps students to get a good understanding about signal flow and gain structure which is necessary even if you’re only working in a DAW. During tracking, the benefits of a real console become obvious very quickly; to have cue sends, levels for every track and EQ at arm’s length. Using your ears instead of your eyes, and not having to deal with latency.
“I had only heard good things about Audient, so when I started to look for a new desk, it was one of the first on the list,” he says, of the final choice. Its diminutive size was just one of the appealing factors. “It’s a smaller format console, yet it has the extended routing capabilities of a much bigger one. It has all the functionalities we needed at a great price,” he says, explaining that it replaced a ten-year-old desk that was starting to take too much time and effort to maintain. He is assured that he’s made the right choice. “It’s really great to know that the Audient will run smoothly and that we don’t have to worry about service.
“In addition to the Audient ASP4816, we installed a new patch-bay connecting all the inputs and outputs of the Audient with the rest of the equipment. Using Neutrik Bantam patch-bays with D-sub connectors made the installation easy.”
So, the install is complete, and Fredrik and his students are starting to get to know the desk. What are his favourite features? “The routing. It’s got everything you need in a logical and easy to understand layout. And it sounds great.”
Combining primary, secondary and higher education as well as courses for adults, Kulturama caters for all ages, although the studio is mostly used by those in full-time music production program of arts and cultural courses. “We also have an upper secondary school music production course that uses the studio occasionally,” he says, happy to report that the console is working out well for the students, as he reports positive feedback. “They really enjoy working on the desk and it’s a real eye- and ear-opening experience for them.”
Kulturama has recently celebrated its 40th anniversary, and Fredrik is confident as to how the next 40 will shape up: “Kulturama will continue to be the leading school in arts and culture in the Nordic countries.”
21st May 2018
Renkus-Heinz Hits the Right Spots at ÜsküdarTown Hall
Turkey – Istanbul's large, densely populated Üsküdar municipal district was founded in the 7th century BC and is one of the capital city's oldest residential areas. Situated on the Anatolian shore of the Bosporus Strait, the area is known for its high concentration of historic buildings and religious sites. Üsküdar's Town Hall, however, is new and entirely modern. The complex, which serves as a multi-purpose community centre, includes two auditoriums, a multi-purpose hall, a cocktail hall, and a basketball arena. All of these spaces are served by sound systems based on Renkus-Heinz digitally steered line arrays.
The two pizza-slice-shaped auditoriums, dubbed Red Hall and Blue Hall, each seat 442 people, although the Blue Hall is slightly larger. Each features a seven-metre (23 foot) ceiling and a balcony without seats that wraps around the room from one side of the stage to the other. The mostly plasterboard ceiling includes four metal acoustic panels in the middle, and the walls are half wooden panels and half fabric-covered acoustic panels.
The Red and Blue Hall sound systems each use a pair of Renkus-Heinz IC Live Gen5-series IC-F-RN arrays, mounted to the outer face of the balcony, left and right of the stage. A pair of Renkus-Heinz PN61R self-powered two-way Complex Conic loudspeakers serves as front fills, and two Renkus-Heinz CF121M-2 powered two-way Complex Conic loudspeakers provide stage monitoring. Two PN212-SUB dual-12-inch subwoofers deliver plenty of natural sounding low end. In each auditorium, a Roland M-200i 32-channel digital console handles mixing and routing duties.
"With Renkus-Heinz steerable beam technology, we were able to cover the Red Hall and Blue Hall with the best sound, using the minimum number of loudspeakers," explains Burcin Cakin of AV systems integrator Eramita, which designed and installed the AV systems for the entire Town Hall facility. "The beams deliver the sound to the seats and keep it off the walls and the face of the balcony. The IC Live Gen5 series is suitable for a wide variety of music and other programming, especially when paired with PN-series subwoofers, which made it the right choice for these halls."
The elegant Cocktail Hall, which is also pizza-slice-shaped, is replete with rich, red drapery and has a sloped ceiling that rises from 4.5 to 4.7 metres (14.8 to 15.4 feet). Here, too, the main system features a pair of Renkus-Heinz IC-F-RN arrays, which match the wall color between sets of drapery so well one barely notices them. Neither subwoofers nor fills are needed but the wide, low stage is served by two Renkus-Heinz CF121M-2 stage monitors. The Roland M-200i console in this space is conveniently rack-mounted.
Beautifully set up for banquets and other events, the rectangular multi-purpose Hall features extensive glass façades covered with royal blue curtains. The sound system in this space again employs two Renkus-Heinz IC-F-RN arrays, two Renkus-Heinz CF121M-2 stage monitors, and a rack-mounted M-200i console. "In the multi-purpose Hall and the Cocktail Hall, Renkus-Heinz beam steering enables us to provide intelligible, very high quality sound for both speech and music throughout the room, without overpowering any area," Cakin asserts. "Patrons enjoy clear, accurate sound without feeling overwhelmed. Yet the system easily has all the power we need."
The indoor basketball arena seats 800, including bleacher-type lower seating and balconies on both sides. With ceilings that vary from 12.65 to 15.95 meters (41.5 to 52.3 feet) and painted plaster walls, intelligibility and high reverberation times were major issues. For this more challenging space, the Eramita team chose a pair of Renkus-Heinz ICONYX Gen5-series IC32-RN digitally steerable arrays, each which enables up to 16 beams to be individually shaped and aimed. These main arrays are mounted to the left and right of the court, at the end of the seating areas. A pair of ICONYX IC8-RD arrays, each of which can deliver up to four steerable beams, series serves the entrance area. "Given the intelligibility and reverberation issues in the arena, Renkus-Heinz ICONYX loudspeakers were the only possible solution," observes Cakin. "The acoustics here could only be properly addressed with precision beam steering. The client was very impressed by the results."
Two Renkus-Heinz CF121-2 powered two-way Complex Conic loudspeakers serve as fills for the left and right balconies. The CF121-2 is similar to the CF121M-2 but the latter is primarily used for stage wedges and foldback systems, while the CF121-2 is more often employed as unobtrusive mains or as fills in a larger system, as in the Üsküdar basketball arena.
Although sound quality and digital beam steering were paramount reasons for choosing Renkus-Heinz arrays, they were by no means the only benefits. "The Renkus-Heinz arrays blend in very well visually, which is important in all of these spaces," Cakin points out. "In addition, with Renkus-Heinz, we did not face any problem in terms of logistics or scheduling. Finally, by choosing Renkus-Heinz, we were able to meet each room's audio needs with the minimum number of loudspeakers, while staying within the budget, which made us and the client very happy."
21st May 2018
Yamaha System Brings Scripture to the Monks of Saint Panteleimon
Greece – Saint Panteleimon Monastery is a Russian Orthodox monastery built on the south-west side of the peninsula of Mount Athos in Macedonia, Northern Greece. Currently home to around 70 resident monks and many pilgrims every year, a Yamaha audio system has recently been installed to help scripture reading be clearly heard.
The monastery was originally founded in the 11th century, with much of the present complex built on a nearby site, closer to the sea, between 1812 and 1821. Today it is the largest monastery on the Mount Athos peninsula, its multi-storied buildings and tall cupolas giving the impression of a city in miniature. Its Cenobitic tradition follows the monastic practise of regulated community life. A key part of this is mealtimes where, after prayers in church, monks and pilgrims gather in the refectory to eat, while being read scripture from the Bible.
Ensuring that everybody hears the readings can be a challenge, partly because the refectory is large, with high arched ceilings, square columns and many other hard flat surfaces, but also because of the mealtime noise levels, which can reach 70dB. To help with this, the monastery had previously installed a consumer-type audio system, comprising three sound bars and four budget hi-fi loudspeakers. Unsurprisingly it did not prove effective, so systems integrator CMYK Service LLC was recently approached to specify and install a professional solution.
Roman Belyaev, CEO of CMYK SERVICE LLC is a dedicated Yamaha user. “Yamaha specialises in high-tech, innovative technologies that allow us to implement unique solutions for spaces with difficult acoustics,” he says.
“It was a challenging space to deliver seamless, high quality sound, but we also had ensure that the scripture reader’s voice sounded natural. The monks also wanted the sound reinforcement to be as unobtrusive as possible, both acoustically and visually.”
Yamaha’s discreet VXS series loudspeakers provided the answer to both the aesthetic and acoustic challenges. A matrix of 32 white VXS1MLs was arrayed throughout the space on existing horizontal bars beneath the ceiling, with eight white VXS3S also installed for a subtle boost to the lower frequencies. The system is powered by an XMV8140 power amplifier and managed by an MTX3 matrix processor. A Shure microphone, phantom powered from the MTX3, is hidden in the lectern, with system control by a DCP4V4S surface mount unit and Yamaha’s Wireless DCP app.
The key to the system’s programming was subtlety, ensuring that the sound of the scripture readings is completely natural, the speakers nearer the lectern delivering less volume than those further away. The MTX3’s processing ensures there is no microphone feedback, while extra input sources can be used for background music and other applications, if required.
Roman and CMYK SERVICE LLC Head of Installation Igor Guschin worked with Dmitry Levkovsky of Yamaha Russia to specify and install the system, which provided additional challenges.
“The refectory remained in use during the installation, meaning it had to take place during the break between the morning and evening meal. The benches are very heavy, each needing eight people to move, so there was a lot of hard work involved,” smiles Dmitry. “But the customer is very happy with the system and the readings are clearly audible throughout the refectory.”
“The installation is unique because it is such a holy place,” adds Roman. “The VXS1ML has become an ornament, or pearl necklace, located under the arches of the refectory, filling it with benevolent sound for many years. The brothers of the monastery and visiting pilgrims have thanked us for delivering the high quality sound they have waited for for many years.”
Another advantage of the Yamaha solution is that the system can be easily expanded in future. It has already proved such a success that a possible further expansion, to relay the sound from the church into the refectory, has been suggested.
21st May 2018
Versatility without compromise for global luxury nightlife brand 1Oak with the d&b V-Series
Japan – New York, Las Vegas, LA and Tokyo are all cities renowned for their nightlife. Choice is abundant, competition is fierce, trends will come and go. Arguably the most consistently hot of the hot-spots in not just one, but all of these cities is 1Oak. The prestigious club brand has remained on top in every city in which it has opened.
Having expanded from its flagship venue in New York City, 1Oak, which stands for1 Of A Kind, has recently opened its most ambitious and state-of-the-art club to date; a three-floor, 1,000-capacity venue at the base of Roppongi Hills in Tokyo.
Sacha Robertson at 1Oak Tokyo explains the key to this success: “At the heart of the 1Oak approach is a focus on differentiation through design and function, capturing and curating the energy in each club. Interior design and lighting combine to play a major part, but ultimately that energy has its origin in sound.”
When it came to choices for the Tokyo venue, the interior design process was led by New York-based contemporary artist Roy Nachum, who was Grammy-nominated in 2016 for his cover artwork on Rihanna’s ‘Anti’ album. With the club interior complete and the opening date fast approaching, 1Oak engaged the local d&b team to design and implement the all-important sound system.
1Oak owner Salvatore Morale recalls: “As a DJ I appreciate sound. At around the same time we were building the club I had started to notice that in all the places I visited around the world and heard great sound, whether that was a big festival, a hotel bar or an opera house, I was seeing d&b speakers. This was a clear sign for me.”
As with 1Oak clubs around the world, the latest Tokyo venue is not simply a nightclub. Founder Richie Akiva’s vision is that of an entertainment venue; an inspiring space capable of hosting live music, launches, premieres, after-parties and VIP events. Versatility without compromise underpins the business model and is a key component of the sound system design. Morale continues “As a club, 1Oak is predominantly dance music and hip hop. As an entertainment venue we have top artists of all music genres performing here, so it’s important we can provide great sound, no matter what the character of the music happens to be. The feedback I’ve had from the many major DJs and Artists who have played here has been all positive.”
Central to 1Oak Tokyo’s layout is a d&b equipped main stage, using a V-12 and V-8 based array with dual V-SUBS, along with dance floor and DJ booth in which monitoring is provided by two M4 and two Y-SUB. The feeling of being at the heart of the club is accentuated by the Nachum-inspired ceiling design, evoking the sensation of being within an immense ribcage. Additional to the dance floor are seating areas, served by ten d&b E6 Loudspeakers, two 21S Subs and two B22 Sub.
1Oak’s VIP rooms, private karaoke room, and roof garden utilise d&b Y7P and Y10P loudspeakers, with 12S and 27S Subs to match. Amplification requirements throughout the venue are met by seven d&b D20 and four D80 amplifiers.
The overall 1Oak Tokyo building incorporates many different types of space, each with their own requirements and characteristics. For example, high SPL is a central requirement in the main room, whereas tightly focussed horizontal directionality is a priority in each of the VIP areas. What they all have in common is overall tonality.
Key to the d&b system design was seamless transition between these distinct areas of the space, retaining the desired energy through consistently high sound quality. Even the restrooms are equipped with d&b 4S loudspeakers. The result is an even, immersive and intimate experience connecting all three floors.
Robertson expands: “The way we serve our clientele is through sound. 1Oak elevates the nightclub concept to an experience consistent with the best clubs and the best live events. Who better to partner with to achieve that goal than d&b?”
Morale concludes: “Every part of 1Oak Tokyo is always ‘in the pocket’ for sound. I know we’ve made the right call with the d&b system and I would have no hesitation doing the same for future projects.”
18th May 2018
Fire, Ice and Anolis in Zambia
Zambia – Entrepreneur Siddharth Patel wanted his new Fire & Ice Night Club in the heart of Ndola, Zambia’s third largest city located in the thriving copperbelt region, to be truly cutting-edge in technology and aesthetics, so he approached Johannesburg based lighting sales and installation specialist DWR for ideas and solutions.
DWR project manager JP Vernon conducted a site visit, chatted extensively with the client and produced some concepts which they discussed, including the installation of Anolis Arc Source 4 MC luminaires to provide mood lighting.
Twenty-eight ArcSource 4 MCs, known for their smooth and seamless colour mixing and homogenised single point source output, are installed above the bar, DJ booth and VIP area at the back of the space. They function as striking down-lighters and greatly enhance the ambience of the lively 200 capacity venue.
The bar is geared to attract a dynamic community of guests living and working in the city which is also Zambia’s commercial capital and is currently enjoying an economic boom generated by the buoyancy of the copper mining industries. Zambia is the second largest copper producer in Africa and the seventh in the world.
The Fire & Ice Night Club occupies the site of a former News Café franchise outlet. The property has been completely gutted and restyled with a contemporary and chic décor, with the Anolis colour changing lighting scheme now right at the heart of it.
This is the first Anolis installation in Zambia and right now the Fire & Ice Bar is enjoying the novelty of being a unique concept in Ndola, and arguably also among the first bars in the country with a lighting scheme at the heart of the installation.
The client is well tuned in to how lighting can affect the mood and atmosphere which is so essential to attracting a good and loyal audience to a bar, and making the venture a success. He also realised the benefits of investing in premium products.
“It was really interesting working with Siddarth, he wanted this to be a stand-out destination, and while he could have chosen other options for less money, he chose excellent products for reliability and longevity, together with a control that could be easily operated by bar managers, and didn’t need a technician on site to turn on and off.”
DWR has used Anolis products for numerous high profile installations in the last two years including the Mall of Africa and the soon-opening PwC Tower, both in Waterfall City, Midrand, and to illuminate the tropical gardens of the Cascades Hotel in Sun City.
“The kit is durable and tough as well as looking great,” stated JP, “and for a scenario like this, a relatively cosy space, 28 fixtures can really transform the whole room.”
In addition to the commitment to premium products, the client was also impressed by the long warranties offered by Anolis and the excellent backup and support package offered by DWR, renowned for their outstanding after-sales service.
In addition to the Anolis fixtures, DWR also supplied LED strips in the roof and along the bar and LED video panels to clad the front of the bar. Control is via a Nicolaudie NICSTICK-DE3.
The client is extremely happy and Fire & Ice has been an instant success and become a talking point and a meeting place for the city’s 'movers and groovers'.
Siddharth Patel and his company Lamba Zambia is next planning to expand this Fire & Ice concept which will include imaginative environmental lighting and cool décor design.
17th May 2018
San Jose Leads the Way with First Meyer Sound Exhibit Hall Overhead Systems
USA – San Jose’s McEnery Convention Center has vaulted to the forefront of global meetings, incentives, conferencing, and exhibitions (MICE) technologies with their installation of the world’s first self-powered Meyer Sound exhibit hall overhead systems. With 226 individually addressable loudspeakers plus 60 subwoofers, this unprecedented solution not only provides flexible, full bandwidth response in stand-alone operation but also accommodates use as a delay system when temporary line arrays are deployed for large conference sessions.
As the largest meeting and exhibition facility in Silicon Valley, the McEnery Convention Center is hard pressed to keep one step ahead of expectations set by users like Apple, Facebook and NVidia. The requirements of an unusually sophisticated and demanding client base were factored into a recent $22 million renovation of AV technologies and other user amenities in the three main exhibit halls. Spearheading the drive for a think-outside-the-box approach was Tim Foster, director of production for Team San Jose – the management group charged with operation of the facility on behalf of the city.
“Silicon Valley is the global epicentre for innovation,” states Foster, “and that innovative spirit extends beyond IT and Internet to new applications of AV technologies. We decided to look at ways to meet or exceed all client expectations by doing things that other meeting facilities cannot do effectively. And that required a new way of thinking.”
Foster was familiar with Meyer Sound from his prior career as a production manager for artists like Neil Young, Jefferson Starship and Norah Jones. “Meyer Sound stays on the forefront of technology,” he says. “I knew they would understand our needs and give us the most bang for the buck.”
The first phase of the project was removal of the old drop ceiling that held a T-bar-mounted constant voltage system. Removal exposed barrel-shaped ceilings that generated reverberation times of close to seven seconds, but under the direction of consultants Charles M. Salter and Associates, the mid-band RT60 was brought down to just over one second with aggressive acoustical treatment.
The new sound reinforcement system was designed and installed by Integrated Communication Systems of San Jose, with Mark Berlo heading the design team for all audio components as well as control infrastructure.
A core proposal was to implement a ceiling sound reinforcement system that could integrate seamlessly as delay systems whenever front line arrays are brought in for conference sessions. But in order to accomplish this regardless of the zero point (stage location), the system would not only require linear, full bandwidth response but also offer the ability to delay each loudspeaker individually.
“When Tim Foster explained the goals for this project, I knew we would have to put in a system that would be accepted by A-1 engineers hired by prestige clients for major events,” Berlo relates. “Also, in order to seamlessly integrate with front arrays we would need a system with linear phase and frequency response. The loudspeakers had to be compact and lightweight, and we had to provide the ability to delay each loudspeaker individually so that we could adapt to a zero point at any stage location.”
The latter requirement heavily favoured Meyer Sound’s unique IntelligentDC technology, which combines the sonic advantages of self-powered loudspeakers with the installation benefits of low voltage systems. Each loudspeaker receives a discrete, dedicated line level audio signal plus 48V DC power from a remote, rack-mounted MPS-488HP power supply unit. The technology also affords comprehensive status monitoring of all loudspeakers in the system.
“IntelligentDC is really the only cost-effective way to get that ultimate level of performance and total flexibility for delaying each loudspeaker,” says Berlo.
The MPS-488HP units receive dedicated signals for the 226 main loudspeakers from the newly expanded networked DSP system, allowing each loudspeaker to be individually delayed, equalised or muted. “I can access any and all loudspeakers separately on my iPad,” notes Foster.
The main loudspeaker selected for the project was the UPJunior-XP, a compact two-way system weighing 26 pounds and offering a precisely defined 80 degree by 50 degree coverage pattern. To extend flat system bandwidth to the lowest octaves, an added total of 60 Amie-Sub subwoofers are configured as 20 triplets in cardioid configurations.
“The directional control of cardioid configuration was essential for controlling bass bounce from the barrel-shaped ceilings,” says Berlo, “and it is remarkably effective.”
Berlo is confident that the innovative new system will pay dividends. “The space is now much more usable for a wider client base. In the meetings business time matters, and the time it takes to set up and tune delays can be critical in scheduling, sometimes adding another day. That’s not needed here, and it’s something that is not offered anywhere else that we know of. I’m pleased with the way it turned out, and we’re very proud of it.”
For Tim Foster of Team San Jose, the audio renovation marks a turning point. “We’ve broken a barrier in our ability to leverage in-house technologies, and Meyer Sound is the most significant component in that breakthrough.”
The exhibit hall technology overhaul was a major undertaking that also relied on contributions from other key members of Team San Jose, including former chief operating officer Dave Costain, director of event operations Gabriel Nemeth and former general manager of convention centre operations, Ewell Sterner. Leading the efforts on behalf of San Jose Public Works were former senior engineer Tony Andary and acting senior engineer Huimin Mu.
15th May 2018
Wining and Dimming – GDS ArcSystem Lights Bristol Wine Bar to Perfection
UK – When Richard Tring opened Le Poivrot, an unmistakably French wine bar, on Colston Street in Bristol, it was in sharp contrast to his speakeasy-style Red Light bar, described as an "adult drinking den in the heart of Bristol". Le Poivrot demonstrates an altogether different creative expression from Tring, who with his wife Sarah also owns Weber and Tring's wine and spirits shop in the city. Since opening night, a seat at the bar at Le Poivrot is much sought after, the impressive selection of wines, the surroundings and carefully designed decor encouraging lively conversation. It's fresh, much complimented, and this "neighbourhood wine bar in the city" can without any hesitation, be described as an instant hit.
Whilst the definition of 'atmosphere' in any bar is for the most part subjective, lighting is perhaps the one element that makes the greatest contribution to supporting the vision of owners, architects and designers; get it wrong and all the best visible features of a project are compromised, do it well and everything is enhanced. Having enjoyed ten years in the trade, first as a highly skilled bar-tender in a number of top venues and now as an owner and developer, Richard Tring has a forensic knowledge of the trade and the creative spark to know what works. To help realise his vision for Le Poivrot, Richard engaged the services of Bristol-based designers, Out of The Woodwork Designs, with whom he already had a good working relationship, to design and manage the entire refit. Out of The Woodwork in turn, consulted with GDS over lighting provision for the project.
The project team wished to combine exquisite detail and an understated old-world charm to create a unique, individual style for Le Poivrot. The venue has large front windows that allow in much natural light but Le Poivrot remains open until midnight at weekends and so needed a scheme that could vary from very light daytimes to an atmospheric evening scene. This also required that different areas of the venue could be simultaneously lit at different levels. Virtually all the interior pieces were custom designed and bespoke made by Out of The Woodwork and whilst the lighting required subtlety to fully enhance the atmosphere, it needed to be practical in the kitchen area. Since Le Poivrot is not a large site, care had to be taken that the higher output kitchen lighting did not spill into the main customer areas. The highest quality dimming was considered essential.
Le Poivrot was entirely lit using GDS ArcPro and ArcDecor ArcSystem products. GDS prepared and supplied Dialux reports for the site, enabling the team to tailor each detail to achieve the specific outcome required. The separation between the kitchen (higher lumen level but narrower spread) and customer areas was achieved seamlessly with no compromise. ArcPro MR16 2700K recessed (adjustable and fixed) fittings were used throughout for general lighting. ArcPro Lamps (candle, clear) were used for specific areas of the walls, bar and windows, with ArcSystem Decor LED Strip and GU10 lamps completing the picture for the kitchen and toilet areas. The system is wirelessly controlled by means of GDS's ArcMesh protocol via an ArcPro eight-button panel and was commissioned by GDS technicians.
Louis Eastman from of Out of The Woodwork offers this assessment: "GDS were a pleasure to work with and I think that together we have delivered a stunning example of how important a lighting scheme can be. It is so often overlooked during a build with the result that however much emphasis is placed on an interior's fixtures and fittings, the results are never quite what they should be. At Le Poivrot, the client is very happy with the feel and finish of the whole scheme. Although brand new, it has a subtle, opulent quality that creates the impression of something that has been in place for 50 years or more; there's a coherence and atmosphere that creates a fantastic place in which to relax. The investment in the lighting was substantial but its aesthetic benefits far outweigh the costs and it's worth pointing out that the efficiency and longevity of the GDS LEDs will offset the initial expense over time."
Richard Tring is delighted with the outcome: "We'd worked with Out of The Woodwork on our other bar and knew that we collaborated well together. Louis and Alex have a natural flair for understanding our creative ideas, improving on them and making them a reality. GDS were new to us but came highly recommended and we found them excellent to work with. GDS went out of their way to ensure that we were 100% happy with the finished product. Considering how picky we were and taking into account the size and nature of the space, both GDS and Out of The Woodwork showed both patience and flexibility in equal measure. We're really happy with the end result. It's not often you can achieve exactly what you set out to do without compromising on style and quality but that's exactly what Out of The Woodwork and GDS achieved for us with flying colours."
Matthew Lloyd, sales director at GDS added: "This project serves to illustrate just how flexible and adaptable GDS ArcSystem can be, playing its part in the creation of a special venue. It's not always straightforward to represent a very personal, singular vision but at Le Poivrot, working closely with Richard and the Out of The Woodwork team, I think we've managed to do just that. Choosing fixtures from both the Pro and Decor ranges enabled the very precise aims of the project to be met without any compromises. Le Poivrot looks and feels great!"
15th May 2018
Elation EVHD LED Video Panels for South Point Hotel and Casino
USA – One of the most successful off-the-strip venues in Las Vegas and one of Sin City’s more unique resorts is South Point Hotel and Casino. The resort offers novel amenities for a casino resort like an equestrian arena and 64-lane bowling centre but teems with standard casino attractions as well.
In 2017, the resort decided to upgrade three popular areas with LED video displays: Showroom, Sports Book and Bingo Room, and chose Elation Professional’s high-definition EVHD3 LED video panels for the job. Twelve separate screens were installed across the three areas in November and December last year, an installation encompassing a total of 600 EVHD3 panels.
South Point operates a busy 400-seat Showroom facility that features headliner entertainment, live bands and other acts on a daily basis. The Showroom operates seven days a week the majority of the year with multiple shows on stage each day for an astounding average of over 400 different shows a year. Installed in the Showroom is a large Elation EVHD3 video screen measuring 15' x 33’, a stunning backdrop that now serves as the main visual centrepiece of the stage. Used for concerts, special events and conferences, the LED display runs a variety of logo graphics, South Point branding, ArKaos MediaMaster custom content built in-house, live sporting events and more, all with 4K processing. On either side of the stage are 6 ½’ x 12’ EVHD3 LED displays running images, custom creation loops, sponsor material or sometimes sporting events. Outside the Showroom, above the venue’s entrance, is a 5’ x 13’ LED display used for digital signage and live production feed from the Showroom.
In the Sports Book, four 6 ½’ x 12’ LED displays operate 24 hours a day showing a variety of sporting events while in the Bingo Room four 5’ x 16 ½’ LED displays are used to show bingo cards and property-wide ads during breaks.
The EVHD3 is a 3.9mm pixel pitch black-face LED display panel with a light weight, fanless, bezel-free design and durable die-cast aluminium frame. Entertainment production manager at South Point, Jason Lein, who handled design and project management of the LED display installation, says they chose to go with the EVHD3 LED display panels for their: “Balance of quality, on-site user control and setup, serviceability and the customer service.” The EVHD3 panel’s modular front maintenance construction means they can be mounted just inches off a wall and accessibility from both back and front makes for easier installation and service. The panels use long-life SMD 2121 RGB LED's in a 500mm x 500mm format with wide 140° horizontal and 120° vertical viewing angle for a more inclusive viewing experience.
The EVHD3 LED displays aren’t the only Elation products in action at South Point. The casino’s Showroom also houses a full Elation stage and decorative lighting setup that includes ACL 360 Matrix LED moving panels, ACL 360 Bar moving battens, Platinum Spot LED II moving heads, SixBar 100/300/1000 and Pixel Bar LED battens, Protron 3K LED Strobes, EPAR QA and Opti QA LED PAR lights along with Elation Flex LED Tape.
14th May 2018
Renkus-Heinz ICONYX Perfect for Historic Lutheran Church of the Ascension
USA – Organised in 1741, just eight years after the founding of Savannah, the congregation that became the Evangelical Lutheran Church of the Ascension purchased its present site in 1771. The current building, about nine blocks south of the Savannah River, was constructed in 1844 but was heavily damaged during the Civil War, when it was used as a hospital. Renovations began in 1875, and the building was rededicated in 1879, featuring the beautiful Ascension Window that inspired the church's name. The church was renovated several more times during the 20th century.
The latest renovation, begun in 2017, restored the historic building's beautiful early 20th century architecture and décor. As part of this major project, the church hired Savannah-based AV systems integrators Stage Front to design and build a new sound system. Stage Front systems consultant Adam Durden and principal acoustic consultant Jim Brawley based the new system on Renkus-Heinz IC24-RN digitally steered line arrays, part of Renkus-Heinz' ICONYX Gen5 series.
"The previous sound system used older point-source speakers, mounted left and right above the lectern and the podium, about 12 feet up," recalls Durden. "The congregation had no control, no EQ, nothing. In addition, the old speakers were white, and the walls are auburn-coloured, so they were not visually appealing in this ornate church."
The Stage Front team started consulting with the church's construction board early in 2017 to ensure that the new sound system would be integrated into the renovation plan. "Aesthetics were a huge part of this project, so we needed loudspeakers that would blend into the architecture and design," Durden explains. "We also wanted a steerable system that would provide clear, clean, intelligible sound and would keep the sound on the congregation and off of the walls and other hard surfaces. Jim Brawley, who is a nationally recognised sound-system designer, is our principal audio consultant, and he steered me to the Renkus-Heinz ICONYX system. He also commissioned the system."
Services are very traditional at the Lutheran Church of the Ascension, and the sound system is mostly used for speech. The church also hosts acoustic musical performances, such as jazz quartets, classical guitar, and the like, especially during Savannah's celebrated annual music festival. The two Renkus-Heinz IC24-RNs, mounted left and right, not far from where the point source speakers had been, handle virtually everything. "They have a lectern side and a podium side," details Darden, "and when someone speaks on one side, the speaker on that side cuts off to avoid feedback into the microphone. Since they're never going to need thunderous low end, we didn't install subwoofers."
A wonderful pipe organ pretty much encompasses the balcony in the rear. "Occasionally they have a choir in the balcony, especially at Christmas, but not all the time, so that wasn't a priority," Durden notes. "We reused the old point source speakers as a small, portable system for the choir, but it's not tied into the main system."
Brawley recommended the Renkus-Heinz system for several reasons. "Renkus-Heinz has the traditional liturgical space figured out," asserts Durden. "In addition to the sound quality and the ability to steer sound where we wanted it, the IC24-RNs are low profile, and Renkus-Heinz was able to custom-paint them to blend with the wall. This restoration was focused on the architecture, decorative paint, windows, and so on. Aesthetics was the top consideration, and it was imperative that the speakers not look like an afterthought. The custom-painted, low-profile ICONYX worked extremely well. If you didn't know the speakers were there, you wouldn't notice them."
The ICONYX speakers connect, using CAT5 cable, to a Q-SYS Core 110f DSP, controlled with a Q-SYS touch panel and software. "My main contact was the chair of the construction board, and when I connected his iPhone so he could sit in the back and control the sound, he thought that was the greatest thing in the world," recounts Durden. "Most important, they're happy with the sound and with the look. The Renkus-Heinz ICONYX system is perfect; it just works. It improved their environment 100 percent."
14th May 2018
L-Acoustics delivers nightclub sound to Omnia Dayclub
Mexico - Omnia Dayclub and Casa Calavera, two venues within the stunning Vidanta Los Cabos complex, presented a challenge for Dublin-based design and installation company Audiotek: how to provide banging nightclub sound in an open-air venue, whilst making sure that spill to the surrounding parts of the complex was minimised. The answer was a multiple source LAcoustics Kiva II system.
Located in the Gran Mayan Los Cabos resort on the southern-most tip of Mexico’s Baja California Peninsula, Vidanta Los Cabos is the first project in a $150 million investment deal between Grupo Vidanta, Mexico’s leading resort operator and tourism developer and Hakkasan Group. A unique day to night experience designed by New York architects Rockwell Group, the resort includes four new venues: Omnia Dayclub and restaurants Casa Calavera, Herringbone and Shore Bar.
“We have always been firm believers of the sound experience being one of the most important parts of live venues and L-Acoustics has always come out on top for the system of choice, delivering amazing performances event after event,” says James Algate, senior vice president of entertainment at Hakkasan. “Audiotek has been Hakkasan’s A/V integrator for over a decade and their successes with our other venues [Omnia/Jewel/Hakkasan Nightclubs in Las Vegas and Omnia Day Club in Bali, Indonesia] meant they were the logical choice for this project. Following our initial brief, they came back with an LAcoustics design to ensure the expectation of the new Dayclub followed the existing reputation of our nightlife venues.”
Omnia Dayclub overlooks the Sea of Cortez and is arranged around a central pool. It features several VIP areas, including VVIP two-storey bungalows with private infinity plunge pools, as well as private cabanas. To deliver the best audio experience with as little noise pollution around the site as possible, the Audiotek team of managing director Frank Murray, technical manager Chris Kmiec and project manager Rob Sherry worked alongside Gerado Gonzalez, head of technical for Hakkasan to design the system, which they installed alongside local integrator Dextra Electronics. Comprising four hangs of six Kiva II with two SB15m below each hang, plus a main sub array of six SB28 sited in the front of the DJ Booth, the system packs that nightclub audio punch, but controls spill into surrounding areas.
“As the main hotel pool is located behind the end wall of the Dayclub, with other parts of the hotel complex beyond, this set up means we can keep the sound inside the venue as much as possible,” says Audiotek’s Rob Sherry. “In the six VIP cabanas, we used a single X8, whilst in the VVIP two storey bungalows a single X8 was placed on each level.”
A major feature of the Dayclub is two large, curved columns positioned next to the bar and VVIP bungalows. As fill for the main bar area and the VVIP private pools, three X8 were hung from each column. For DJ monitors, two X12 were installed in stereo, along with a single SB18.
In addition, two Syva, one on each curving column structure, face the beach area to cover the beds located there, chosen not only for their pristine audio quality, but because they are a perfect aesthetic fit with the design of the visually striking columns.
The restaurant Casa Calavera is used as an extension of Omnia Dayclub for certain events, and seamless audio was needed between the two locales. Audiotek continued through with LAcoustics to ensure the same audio signature and consistency of sound quality.
For the main bar drinks/lounge area, two X12 are wall hung, with three SB15 installed beneath the stage. The main dining area is covered by eight 5XT with a further two 5XT for the outside table area. Along the entrance corridor, a further four 5XT are positioned along the walls. The entire system is amplified by two LA8 and ten LA4X amplified controllers.
“Right from the concept stage we used LAcoustics’ Soundvision to model the club and restaurant area, which meant we could ensure optimal coverage,” recalls Sherry. “We were also able to provide expected dB levels to the hotel construction team for their consideration in the rooms that were located nearby.
“We used LA Network Manager to tune the system, with the VIP cabanas positioned along the long axis of the club requiring individual delays. It also allowed us to be able to monitor the system during the Grand Opening weekend at the end of February and to continue to remotely monitor the system back in the UK so that we can provide on-going support and changes to the system as necessary.”
“The Kiva II system was the perfect choice for this venue,” concludes Algate. “The high SPL against its size fit in perfectly with the architectural design. The Soundvision modelling was excellent for us being able to see what the system could achieve and meant that we could be sure we had the experience we wanted. We are extremely pleased with the results the system delivers.”
14th May 2018
PixelFLEX defines a premiere nightlife experience at the Bond
USA – Heralded as the largest single-phase resort in the Caribbean Islands, Baha Mar offers a choice of three celebrated hotels, a Jack Nicklaus signature golf course, and a collection of lounges, spas and restaurants. All surrounded by a stunning ocean view casino, the developers of the project also wanted to create Nassau’s premiere nightlife destination, complete with a state-of the-art DJ booth, sound, lighting and video system. Working with the David Harvey at Harvey Marshall Berling Associates (HMBA), the dynamic production design inside the upscale nightclub at the Bond now includes a high-resolution video experience with FLEXLite LED from PixelFLEX, installed by the A/V integration firm Think Simple.
“When we were approached by HMBA about assisting with the LED video installation at the Bond, we hoped to give the space something that no other nightclub in the Caribbean had ever seen,” began Greg Michelier, Think Simple. “The goal was to add a cool new visual aspect to the Bond, and a ceiling-mounted display is something that would truly set it apart from other venues. It really is a unique video system that’s now built into the ceiling and the wall behind the bar, using FLEXLite LED to add pulsing, immersive graphics to the driving music of the featured DJ or guest performers.”
FLEXLite LED from PixelFLEX is an economical and dynamic solution which provides both indoor and outdoor solutions ideal for any entertainment environment. With its bright, dense display and high refresh rate, FLEXLite tiles are calibrated directly out of the box to ensure perfect colour and brightness. Available in 2.6mm-6.25mm pixel pitch options, the easy access back panels allow for simple on-site repairs without the hassle of removing the entire back of a tile.
Michelier continued: “Although the club can and does use the ceiling to show some video content, it’s mainly used for high-definition visual effects that enhance the music and add to the energetic atmosphere. On the other hand, they then use the LED video on the back wall as an immense visual display for the DJ logo artwork, VIP guest recognitions, and for upcoming events at the nightclub and the resort.”
Now open to the public, the Bond at Baha Mar is fully operation with the 2,000 square-foot ceiling video display, and a 6’ x 17’ video wall above the bar. As part of project that also included the installation of the sound, lighting, and CO2/fog systems, the team at Think Simple was pleased to have the support of trusted partner like PixelFLEX during such a unique installation.
“We were extremely happy with the FLEXLite LED video solution and the project support that we received from PixelFLEX,” added Michelier. “While the quality of the product is really good, it’s the support during the design that really sets them apart. Their people were extremely helpful both before and during the installation, and the guests at the Bond are loving the new nightlife experience.”
“The customisation on this project was a lot of fun for our team, from design to implementation to seeing the finished look,” concluded PixelFLEX senior sales representative Will Dickey. “We love seeing the different applications our clients choose to use our products in, and their installations are always uniquely different. Adding a visual element such as FLEXLite LED video into such a high-class, luxury nightclub experience is only going to add to the already booming tourism industry in The Bahamas.”
11th May 2018
Stage Electrics secures £2m ICCW technical contract
UK – Stage Electrics has been awarded the £2m technical contract to provide the infrastructure for production lighting, sound reinforcement and audio visual services for the new £83.7m International Conference Centre Wales (ICCW).
Set in the Coldra Woods just outside Newport, the ICCW is a joint venture between the Welsh Government and Celtic Manor Resort. The project features a state-of-the-art auditorium, main exhibition hall with capacity for around 5,000 delegates and associated meeting room as well as breakout facilities and will be capable of staging major party political conferences. Being built by John Sisk & Son and scheduled to open in July 2019, it will be the largest facility of its kind in Wales and the South West of England.
Stage Electrics has been working on the project since 2016 to develop the schemes and ensure allocated budgets are met. It will continue that relationship through to the opening date and will support the in-house team during the first few months of opening.
“As well as providing lighting, sound and AV infrastructure, we will supply lighting equipment from manufacturers such as ETC, Chauvet and Prolyte, audio equipment from d&b, RCF, Yamaha and Roland and AV equipment from Symetrix and Kramer, which will enable the venue to become a world class conference centre,” says Simon Cooper, senior engineer at Stage Electrics.
Stage Electrics’ engineering teams have extensive experience of working in the convention centre market, having been involved with ICC Birmingham, Belfast Waterfront, EICC Edinburgh, Glasgow SECC, a venue in Oman and The Vox Birmingham, and have fully embraced the challenges the ICCW project has presented.
“Our role in the project as key integrators, responsible for the developed design of the technical systems has encompassed all aspects of the production lighting, audio, communications, AV and large power distribution,” says Stage Electrics business development manager, Saul Eagles. “This integration work has seen us collaborate closely with the design team, including the electrical consultants, architects and end user team. We have also helped facilitate aspects of the stage engineering systems to ensure the balance of specification and budget is maintained across all disciplines. We are very proud to be involved in this flagship building which is expected to attract major events from across the world.”
11th May 2018
ParFect Light for Tank History
Jordan – Nearly 400 Robe ParFect S1s LED luminaires are in action lighting the newly opened Royal Tank Museum in Amman, illuminating 110 battle-worn tanks from a century of wars in the Middle East and other more distant conflicts.
The lighting was specified by Amman-based AV and IT integration solutions specialist AKTCO. The project was led by Nidal Khalifeh (CEO), George Boury (project manager), and Duaa’ Khraim (design engineer) from AKTCO who worked closely with Elie Battah, from Robe Middle East, to coordinate the supply of ParFects to this high-profile installation.
The futuristic museum building was designed by Zaid Daoud Architects and looks a bit like a modern impressionist tank lurking in the sand dunes. The 20,000-square-metre space is divided into 12 halls showcasing the exhibits, which include illustrations of historic battles in Syria, Jerusalem and Jordan, complete with an audioscape of gunfire, roaring diesel engines and emotive speeches. Life-size replicas of soldiers poke out of tank turrets giving the exhibits a life-like feel that they are about to roll into action.
“This dramatic environment needed careful lighting,” explained Nidal, who, together with the team at AKTCO, was extremely proud to be involved in the Museum, opened in January by His Majesty King Abdullah II of Jordan, who originally decreed its creation in 2007.
The project’s realisation was a massive national and regional achievement and it has been highly acclaimed internationally as a vital and historically significant curation of military hardware.
AKTCO responded to a tender issued by the KADDB (King Abdullah 2 Deign & Development Bureau) and proposed a lighting scheme utilising the 375 ParFect S1s, picked for the “high quality and clarity of the light output and the range of tuneable whites”.
The tender was won based on their innovative design proposals and the recommendation of using the latest Robe LED technologies to provide a long term low maintenance and aesthetically pleasing solution.
The challenges were in lighting the huge spaces involved that were needed to show off these impressive military relics in an appropriate and engaging environment, and also in showcasing the tanks themselves, objects built to consume and conquer everything in their path – including lumens!
“We really needed very high powered and precise luminaires that didn’t consume too much power and would be tough and hard-wearing as they are on for very long periods each day. We knew we could rely on the proven quality of Robe, and light sources that would not deteriorate were also a consideration.”
The lights are installed on gantries and trusses in the roof, and AKTCO also undertook all the installation work involved and have guaranteed this for five years.
The ParFects are controlled via a PC-based system which also handles the building control, and they can be remotely accessed via an iPad App for tweaking.
“Robe is one of the best brands we’ve worked with to date,” confirms Nidal, “and the results of this project speak for themselves. We are also impressed with the levels of technical support from Robe and are confident they are excellent partners for us.”
Ayman Takriti is AKTCO’s sound engineer who, with the rest of the team, worked intensively on site with three integration engineers: Mohammad Nofal, Mohammad Bader and Ammar Mansour. Looking after the IT side ongoing are Alaa Jarrir and Aya Jarrah.
Robe’s ParFect series is becoming popular for museums and exhibitions as well as for automotive applications. ParFect 100s are also currently lighting a Leonardo da Vinci exhibition in Łódź, Poland.
The S1 is a powerful single source LED luminaire designed specifically to provide the finest quality of light in a range of tuneable whites from fresh, vibrant 6000K to intimate, gentle 2700K. Refined dimming and a 23 degree lensed output make it truly multi-purpose and it’s housed in a robust, lightweight composite material adding more flexibility
8th May 2018
Sparkly British Voiceover Powered By Audient
UK – Voice artist, Caroline Ashby relies on her two Audient audio interfaces, iD22 and iD4 to help produce recordings for international clients like Costa, Microsoft, Clairol and Twitter in her home studio. Along with the fully equipped studio, she also has “The technical nous required to produce quality, clean studio recordings in a flash,” says her website, and has been the voice behind numerous TV commercials, game characters, radio promos, corporate training and children’s toys.
“I use my iD22 hooked up to my main computer in my studio. That's my workhorse and sits on the desk next to me. I have another monitor in my recording booth and use the iD22 mixer software (it’s fab!) to control any levels or outputs I want to from within the booth,” she says, explaining her setup.
As for the advantages, she continues, “The -10dB pad is really useful and I use it quite a lot. Saves me from having to mess around with my levels too much when I go from say, narrating a corporate e-learning script to singing a jingle. I just flick a switch, get in the booth and start singing, safe in the knowledge that I won't be clipping. Then I flick the switch again and can usually go back to a regular speaking level without messing with the gain again.
“I also love that there are two inputs, so I can have different mics hooked up at the same time. I use a Neumann and a Sennheiser, both great mics that I use for different reads. They're both plugged in and ready to go!”
So, what was the impetus to add iD4 into the mix? “I use a laptop for recording when I'm away from my studio and that's where my iD4 comes into play. Incidentally, when I first tried the iD4, I set it up with my main machine to try it out. I enjoyed the simplicity of it so much, I continued to use it as my main audio interface for about four weeks before I plugged my iD22 back in! It's a lovely little piece of kit.”
Clients themselves can benefit directly from the Audient audio interfaces, as she clarifies: “Using the mixer software for the iD22 I’ve been able to set up a mix-minus so clients can listen in to session if they like and direct live. They get to hear exactly what the Audient hears, but the computer doesn’t record their voice, only mine. So useful!”
Starting out working in IT, Caroline was always the go-to greeting voice when setting up the office phone systems, whilst moonlighting as a vocalist. “It’s almost a decade since I decided to take the plunge and do what I love as a career – talking and singing into a microphone and, well, here I am!”
8th May 2018
Renkus-Heinz Featured in Renovated Stadttheater Langenthal
Switzerland – Opened in December 1916, the Stadttheater Langenthal has long been an important cultural centre for the city of Langenthal and for the Oberaargau region. In 2012, the city embarked on a major renovation and expansion of the theatre, including relocation of the main entrance, the installation of an additional room – Theater 49 – which seats 200 people, an enlarged stage and improved acoustics in the main hall and a new sound system. Key requirements for the new loudspeakers in the main hall included the ability to support a variety of performances, provide very high-end sound quality that complements the hall's acoustics, and be visually unobtrusive.
To achieve these goals in the main hall, AV consultant Theaterplanung Hans Jörg Huber of Horgen, Switzerland, designed and installed a front of house system using Renkus-Heinz IC Live Gen5-series digitally steerable line arrays. "The quality of events in the main stage have been substantially increased by the construction project, including the audio," asserts managing director Jörg Steiger. "The acoustics improvements were especially optimised for amplified voices and instruments, enabling staging of a wide variety of performances. We chose the Renkus-Heinz IC Live system in part because it is very well suited for modern musical and speech reinforcement. We installed four ICL-F-RD arrays in the main hall, two on each side of the stage, above and below the air vents. These arrays deliver exceptional clarity and full-range sound, while delivering more than enough power for any musical performance the theatre will host."
Obviously aesthetics also were a major consideration in a beautiful and newly renovated historic building. "The Renkus-Heinz ICL-F-RD arrays are painted a custom colour that matches the wall," Steiger observes. "They are remarkably low-profile columns, and we mounted them alongside decorative trim near the left and right corners, so while visible, they are unobtrusive."
The Renkus-Heinz ICL-F-RD array has five 6.5-inch cone transducers and three 1-inch high-frequency drivers and can generate up to 105dB SPL. Each array can produce up to four steerable beams and can steer them up and down ±30°, with beam control effective down to 880Hz. Their frequency response is rated at 80Hz to 20kHz, and the ICL-F-RD is Dante-enabled, so it integrates well in the larger, building-wide sound system.
"Renkus-Heinz' digitally steerable beams enabled us to aim the sound at the audience with great precision, avoiding reflections off of the walls," comments Steiger. "By placing two ICL-F-RD arrays on each side, one above the other, we were able to steer sound to the floor seating with the lower pair and cover the balcony with the upper pair, while minimising reflections off the face of the balcony. Combined with the hall's improved acoustics, they provide beautiful, clean sound."
With the completion of the renovations, the Stadttheater Langenthal now boasts a combination of historical importance, architectural beauty, excellent acoustics, and the finest in modern audio technology. "Since the reopening of the theatre for the 2017/2018 season, visitors are clearly enjoying the improved venue," Steiger observes. "Musicians and artists are also benefiting from the excellent conditions for their performances. We thank the city of Langenthal and everyone involved for the opportunity to be part of this project. We couldn't be happier with the results."
8th May 2018
Chauvet Professional Provides Energetic Looks for Chase & Status at Cardiff Students‘ Union
UK – With a capacity of 4,000 guests and two storeys of non-stop action, it’s easy to see why the Cardiff University Students’ Union is clearly the largest nightclub in its city. The popular venue attracts some of the best international acts on a regular basis, as was evidenced recently by an event featuring top UK DJs Chase & Status.
Tasked with providing energetic visual support to this event, local production specialists SR Production Services specified a selection of six Rogue R1 Beams and ten Rogue R1 Wash fixtures from Chauvet Professional. Positioned on top of stage truss towers to provide sweeping beam looks over the audience, the Rogue fixtures also filled the void between the stage’s large video wall backdrop and its DJ booth.
“The R1 Beams are an absolute workhorse of a beam light,” commented LD Matthew Dunford. “The small size and punchy source make them great for fitting around set/screen elements, and the dual prisms are fantastic for filling space with aerial effects.”
A further eight Rogue R1 Washes were positioned on truss towers to provide the dance floor with a myriad of saturated wash colours and effects. “The sheer speed of the R1 Wash is ideal for snappy position changes and movement effects, while the wide zoom gives them extra versatility, particularly for big random strobe looks,” said Dunford. “What’s more, they were also able to provide a quick backlight for MCs and onstage performers.”
Dunford also positioned ten COLORdash Batten-Quad 12 fixtures throughout the room to provide colourful 'eye-candy'. The linear RGBA wash lights also gave the team a canvas for some pixel mapping content to coordinate the looks of the lighting and video screen.
To round out the rig, six Chauvet DJ Intimidator Hybrid 140SR fixtures were specified to work in unison with the larger Rogue fixtures. “This was my first time using the Hybrids in a larger space and I was very impressed,” commented Dunford. “On beam mode they gel nicely with the R1 Beams, while the zoom, especially when used with the prisms, allows for ultra-wide space-filling effects that I did not think would be possible with a fixture at this price point.”
In the second room of the Students’ Union, SR Production Services continued the visual consistency by once again selecting Rogue fixtures to provide a number of looks. This time, however, the more powerful Rogue R2 Beam fixtures, with their Osram Sirius HRI 230W lamp, provided the intensity required to deal with the challenges of the room.
“The upper floor at this club is always a challenge, as the large block of screen coupled with the white walls make for very high ambient light levels,” explained Dunford. “The R2 Beams were the perfect solution, as they managed to cut through the noise even on the most saturated reds and blues.”
As a result of Dunford’s strategic deployment of Chauvet Professional and DJ fixtures, the spaces around the main LED screens around the DJ booth weren’t just able to be filled, perhaps more importantly all the elements of the stage and its surroundings were able to be connected together as one powerful visual package.
8th May 2018
L-Acoustics Helps The Bomb Factory Light its Fuse
USA – The Bomb Factory, a 4,000-plus-capacity music club in Dallas’ hip downtown Deep Ellum district and site of shows by artists like Hardwell, Don Henley, Ms. Lauryn Hill, and Jack White, has been through a few iterations. Originally built as an automobile assembly plant for Henry Ford over a century ago, it later housed a WWII munitions factory, from which it derives its current name. As Dallas’ downtown grew into an arts district in recent years, the 48,000-square-foot brick building was the perfect home for a live music venue, which opened in 2015.
Only one thing might have held it back: a sound system that struggled to keep up with the needs of contemporary touring artists, many of whom brought in their own PA systems or rented them for shows. That’s all changed as of last October when The Bomb Factory joined the ranks of rider-ready leading venues globally with the installation of an L-Acoustics K2 sound system.
Installed by Onstage Systems, an L-Acoustics Certified Provider for rental systems (CPr), the venue’s new stereo line source array K2 rig has ten enclosures per side, with an even dozen KS28 subwoofers installed under the front of the stage. The K2 are powered by eight LA8 amplified controllers, while three LA12X amplified controllers are used to power the subs, which are arranged in three cardioid blocks of four units each to reduce stage rumble without attenuating their awesome LFE. Another LA4X amplifier is used for three ARCS Focus front-fill speakers across the front of the stage area.
“There’s a significant difference between the PA system they began with and the K2 we put in,” says Tyler Johnston, project manager at Onstage Systems, which also provides the club with backline, video and other key items. “The old system was decent, but this takes The Bomb Factory to an entirely new level, one that touring artists recognise.
“Rider acceptance has become a huge thing in the business, and that’s something that the K2 certainly has, a fact that we at Onstage can attest to, having rented and deployed K2, K1, V-DOSC and other systems over the years,” adds Johnston, who worked with L-Acoustics’ André Pichette on designing and tuning the new K2 system using Soundvision modelling software, so that each line array covers both the main floor and balcony levels, eliminating the need for additional fill speakers. “And we went with the new KS28 subs because they provide the best low end on the market, which makes this venue and system more attractive to hip-hop and dance artists. Before, the staff had to spend time and money to move their system out of the way and bring in rental systems for many of the artists who played here. Not any more. Everyone recogniaes L-Acoustics as a benchmark for live sound quality.”
Matt Raffaele, The Bomb Factory’s production manager, says the difference in sound was immediate and measureable. “To be honest, our existing system was a good one, but when you frequently have to take it down and put it back in (we had to do that at least a dozen times in the last couple of years) it’s impossible to keep a system properly tuned,” he explains. “And I’d say ninety percent of the time, what we were taking it down for was a K2 or a K1, because that’s what this calibre of bands are renting or carrying.”
Raffaele points out that, beyond the sonics of the system, its economics were equally undeniable. “Not having to pull a rig in and out certainly ends up saving the venue money over time, and this system hasn’t moved an inch since it went in last October,” he says. But the best part? “Seeing the bands get stoked when they come in and see a brand new K2 PA with the KS28 subs,” he replies. “Everyone is already warm and fuzzy before they even step onto the stage.”
8th May 2018
The Yost Makes Events Extraordinary with Help of Elation Lighting
USA – Legendary venue The Yost in Santa Ana, California, is enjoying new life as a modern live event space thanks to entertainment production company N-EFFECT Productions and an entertainment technology package that includes Elation Professional lighting. First opened in 1913 and listed on the National Register of Historic Places, the space initially housed vaudeville acts, silent films, and talkies but has also seen service as a live theatre, house of worship, live performance venue and nightclub.
N-EFFECT Productions and owner Kris Plourde started renovation of The Yost in June 2017 and he says almost $1,000,000 was put into the venue to give it the encore it deserved. By tapping into the old-world vibe of the storied venue, the new incarnation’s customisable Elation lighting system, QSC line array and large 3mm LED wall can transform events into extraordinary experiences.
“It has a mid-century meets modern vibe, taking you back in time but with the production capabilities of today,” says Plourde, who wears a lot of hats at the venue including owner, production consultant, lighting designer and host-of-the-house. “We wanted to bring the venue back to its roots and put client events centre stage so we pulled everything out and rebuilt the entire system, not only to bring it up to date but to give the venue the tools it needed to take events to the next level.”
Plourde is also CEO of popular event space [AV] Irvine, a customisable space opened in 2016 that also houses an automated Elation lighting system. The intention at both venues is to provide the 'wow factor' needed to impress clients and guests alike. Plourde comments: “The Yost, like [AV] Irvine, was built with clients in mind. We wanted anyone to be able to walk into the building and have their event look, sound and be lit professionally. We all know lighting is the key to making events look amazing. Now both events large and small can look like a million bucks and have a professional in-house team to run it without the high cost of additional production.”
That’s pretty much where the similarities between the two venues end however. [AV] Irvine is modern and cutting edge and lies in the centre of Southern California’s Silicon Valley while The Yost is retro and classic and is located in the centre of Santa Ana’s historic art district. “They are only a few miles apart, but worlds away. It was our goal to build different unique venues all with great service and ease of use in mind.”
Previously run as a nightclub, there were already some Elation fixtures in the lighting rig when Plourde took over, including older Elation Design Wash LED Pro moving heads and Opti Tri Par lights. Plourde stripped the entire system down and reinstalled everything from scratch. He then updated the system with Platinum HFX multi-purpose moving heads for spot, wash and texture duties and Event Bars for precision pin-spotting and aerial effects.
The Platinum HFX does most of the heavy lifting, says Plourde, with everything else playing a supporting role. “The HFX can not only do a colour wash on stage, but provide aerial beam effects, mimic a followspot and add texture to the walls, curtains and floor. The list goes on-and-on. Having a hybrid fixture is like having three lights in one without having to have an entire ceiling filled with lights,” the designer says, adding that because he wanted the venue to have a minimal look, he colour-matched all the lights to the same colour as the ceiling so that they all blend in. He continues: “No two events are the same so having a fixture that was flexible and discreet was a priority. With the Platinum HFX we were able to get not only the output needed, but a multi-purpose fixture in a compact package.”
Antari F1 Fazers are used in The Yost for atmospheric haze and provide the mid-air canopy for lighting effects. The entire lighting system is run by a High End Systems Road Hog 4 lighting console. The lighting and video install was completed in September 2017.
With a capacity of approximately 1,000 guests, The Yost can handle events of all types, from weddings to corporate events, live concerts, special events, proms and even church services. N-EFFECT can handle event design and supports with a staff that supervises the day-to-day production. For events outside of the box, N-EFFECT will bring in entertainment, special effects, deco or anything else to make sure every client feels like a star.
N-EFFECT relies on a large variety of Elation lights across The Yost and [AV] Irvine and values both product and the people involved. “All of our Elation fixtures provide not only great performance but the reliability of day-in and day-out operation in our venues,” Plourde states. “I’ve had a lot of experience with a variety of Elation products both in our inventory and at other venues. That plus the great relationship with the sales and service team has always made Elation Professional our go-to for new projects. Raul Fonseca and Gines Gines at Elation have been indispensable in those roles. I’ve also always liked building lighting rigs all from one manufacturer. If anything does go wrong our team knows exactly who to call.”
4th May 2018
APG’s Uniline Compact Annihilates Sonic Challenges at Gimpo Art Hall
South Korea – Located on the Southern bank of the Han River, the city of Gimpo has been home to a state-of-the-art cultural centre since 2014. Designed by Seoul architects G.Lab, the Gimpo Art Hall boasts a wonderful architecture that symbolises the city’s emergence as a contemporary hub and the agricultural history of the region.
Located on the first floor is a 509-seat theatre hosting a variety of performances including concerts, plays and recitals. However, from the very first performances, it became clear that the sound didn’t match the greatness and beauty of the venue, with members of the audience and artists alike complaining about the audio. To solve this major issue, the Gimpo City Hall called in AV distributor and integrator Sound Place, which was tasked with rethinking the entire theatre sound system and solving the complex sonic challenges. Sound Place quickly opted for a full APG solution to equip the Gimpo Art Hall with the sound it deserves.
Sangwoo Do, director of Sound Place, comments: “The Gimpo Art Hall hosts a wide range of eclectic performances. We needed a versatile audio solution that could satisfy any type of performance, from lectures to concerts, and the answer came from APG and its new Uniline Compact range.”
In order to get an accurate 3D rendering of the sound system required, Sound Place used the EASE Focus simulation software. The results quickly led them to the Uniline compact range from the French manufacturer. Based on the “Modular Line Array” concept invented by APG, the Uniline Compact offers maximum versatility and scalability, making it able to cover an impressive range of applications with a single system of line arrays from small to high power, and from short to long throw. A total of 16x APG UC206N speakers were laid out in the venue, coupled with eight APG UC 115B bass speakers and four infra bass speakers.
For the front-fill, Sound Place once again turned to the Uniline Compact, opting this time for two UC206W speakers which offer a wide spread to solve the architectural challenges of the venue. The installation is completed with 21 APG DX8, an ultra-compact loudspeaker which provides a wide and coherent sound field thanks to its coaxial technology, as well as four DMS48 digital processors offering four inputs and eight outputs. Sound Place praised the quality of its electronic design and its input / output converters (4/8), which give a high level of audio performance.
“The major drawback of the previous system was a lack of performance in the ultra-low frequencies, which was particularly problematic during rock performances. There was also a lack of sound pressure due to the low number of speakers and their inadequate position in the hall” explains Sangwoo Do. He concludes: “The Uniline Compact has brilliantly solved all these issues thanks to its great versatility, providing a high sound pressure regardless of the type of performance. The director of Gimpo Art Hall is particularly happy with the new sound system and emphasised the perfect balance and the very high sound quality of the Uniline Compact.”
4th May 2018
Alcons in Germany's largest premiere cinema hall
Germany – The Lichtburg, a historic cinema in the centre of Essen, houses Germany's largest cinema hall with 1,250 seats. During the '50s and '60s the Lichtburg was one of the most important premiere cinemas of the Federal Republic. And even today, creative people and distributors are once again using the unique historic ambience of the cinema for their glamorous premieres.
The demands on such a premiere cinema are high. The projection technology of the hall was already up to date. In January 2018, finally, the public address system was also renewed. "With the renovation of the cinema sound system we want to live up to the increased expectations of our visitors," says Marianne Menze, managing director of the Essen Filmkunsttheater GmbH and since 1998 operator of the Lichtburg.
Since the landmarked architecture of Lichtburg clearly deviates from a standard cinema, a special solution was needed. A pro-ribbon Cinemarray CRA30 of Dutch sound system manufacturer Alcons Audio was installed, which optimally covers the very large hall with its curved balcony.
The Cinemarray CRA30 is a three-way sound system designed for digital applications in large premium cinemas that demand the highest quality with perfect sound reproduction and coverage.
Featuring three patented RBN401 pro-ribbon drivers, Alcons' CRA30 combines a remarkable clarity with an "uncompressed" linear response at every sound pressure level. The patented horizontal dispersion extends the stereo image to a larger number of seats in the hall. Through the use of line-source technology throughout the system, a flat SPL coverage from front to back is realised. The precise projection also minimises unwanted acoustic reflections. The line-array technology also ensures an impressive throw on and under the balcony and offers a significant performance improvement compared to the previous speaker system.
Behind the 150-square-metre roll-up screen are three arrays consisting of two Alcons CRA30N (narrow) and a CRA30W (wide). Two Alcons CB362 (2 x 18 '' bass) placed on the ground are responsible for the LFE-channel. All systems are driven and controlled by a total of five Alcons Sentinel10 amplified loudspeaker controllers, each CRA30 module is operated with two amplifier channels.
"In contrast to the traditional appearance, the Lichtburg has always aspired to be technically on the latest and the highest quality level possible", Marianne Menze explains her concept. "This is what our visitors expect, and this is also one of the basic prerequisites for the establishment of the Lichtburg as one of the leading premiere venues in Germany. As a result, it soon became clear that only a correspondingly sophisticated installation would be suitable for us. "
Since the large screen of the Lichtburg can be rolled up, the cinema hall can also be used for theatre performances, cabaret, concerts and presentations. Here, too, the Alcons pro-ribbon Cinemarray system fully exploits its strengths. "Of course we were also happy to install a system that is also perfectly suitable for stage events and thus eliminating the absolute necessity to hire equipment," adds Menze.
Since the beginning of the year, the new sound system has now been used without exception. The conclusion of the operator is consistently positive: "The new Cinemarray system means a big leap forward in terms of homogeneity of the sound in all places. Especially here is the Lichtburg with its classic balcony architecture very challenging. But also in other respects significant improvements could be achieved, for example, the speech intelligibility has clearly gained again, but also the dynamic reserves and the resolution of the sound are immediately noticeable."
4th May 2018
Sheffield Hallam University Creates Performing Arts Technical Facilities with the Help of A.C. Special Projects
UK – A.C. Special Projects Ltd (AC-SP) has provided cutting-edge lighting and audio technical facilities for two new drama spaces at Sheffield Hallam University, as part of an ambitious project to expand the existing Performing Arts facilities to cater for a wide variety of student productions.
Led by high profile academics, the University's creative courses are also enhanced by expert speakers who give lectures and master classes in stage and screen and providing extensive industry links.
A.C. Special Projects was retained to provide the complete design, supply and installation of all aspects of lighting and audio performance rigs for new upper studio and lower performance spaces.
AC-SP project manager, Chris Little worked closely with the on-site technical team to creatively maximise the University's return on budget by utilising cost-effective yet high quality solutions from brands including Chroma-Q, ProLights, Spotlight, Jands, Tourflex Cabling, ETC, LumenRadio, D.A.D, Allen & Heath, Litec and Doughty.
Working with empty shells, Chris first came up with initial designs and layouts, along with the power distribution and DMX data wiring requirements needed to create the room infrastructures.
In the smaller upper studio, to maximise the grid height, Chris specified a lightweight U-shaped aluminium lighting grid with custom brackets, to fit around the room's large central roof light in front of the performance area. In the larger lower performance space, he specified and supplied a 13.5 metre by nine metre by 3.5 metre custom ground mount Litec truss to fit under the existing roof beams.
For both spaces, Chris specified Chroma-Q Color One 100X RGBA full colour LED PARs and ProLights Eclipse Junior 'Tungsten' white LED Spot Profiles, plus conventional tungsten fixtures including Spotlight Area 12 Tungsten Fresnels and ETC Source Four zoom lanterns. For the lower space's more ambitious productions, Chris specified additional ProLights LED Eclipse FC full colour Profiles, Jet Spot 3 moving spots, and Diamond 7 full colour moving wash lights with pixel control.
ETC Smart Module 2 units provide dimming to the conventional Tungsten fixtures, and Tourflex Cabling 16-amp to PowerCON distribution boxes provide power to the LEDs. Each space features a Chroma-Q 4Play four-way DMX distribution system and LumenRadio wireless networking receivers. Control is provided by Jands Vista S1 & M1 consoles with LumenRadio transmitters, which gives operators the flexibility to set up the control surfaces anywhere in the spaces.
AC-SP also supplied compact yet high quality D.A.D Touring Power Series 208A active speakers. The upper room is operated via an Allen & Heath Zed 10 mixing desk. For larger performances in the lower space, there are local facility panels for the client to bring in external desks, plus D.A.D 15" subwoofers.
In addition, AC-SP provided all related support clamp and safety bond equipment, plus a full perimeter Doughty track and drape system for the lower performance space, including black wool serge drapes.
All associated specialist PowerCon, DMX and audio cabling infrastructure was custom manufactured by A.C.'s in-house Tourflex Cabling cable assembly service, along with facility audio panels.
Once the systems were fully installed, Chris programmed all the DMX addressing for the various fixtures into the Jands Vista consoles, and set up pre-set 'looks', so the lighting was all ready to use.
Kevin Mason, faculty technical manager of Sheffield Hallam University commented: "For future-proofing and students' experience with industry equipment, it was important to work with a company which understood our students' technical needs while creating a system that is accessible for all skill levels. A.C. Special Projects have fully delivered on our technical needs, budget and deadline, and we are very happy with the systems."
Chris Little of AC-SP said: "This has been a really satisfying project to work on. Our ready access to 'all things entertainment' means we’re in a great position to assist end-to-end with everything needed for a complete bespoke technology system."
photo: www.i101digital.co.uk / A.C. Special Projects
4th May 2018
Distributed Danley Nanos: A Unique, Cost-Effective Solution in a Highly-Reverberant Church
USA – "This is the church that I grew up in and the church my mom attended till the day she died," said Sid Gattis, speaking of St. Martin's-in-the-Fields Episcopal Church in Columbia, South Carolina. "It was built in the 1950s in Forest Acres, one of the oldest communities in Columbia, and it's a stunning example of a liturgical church: big, old, tall pine ceiling, hard pews, hard floors… it's just a hard space all around. I think they begrudgingly put some fuzzy stuff on the kneelers to spare some old joints, but that's it. The sanctuary is beautiful, but also very challenging from the standpoint of intelligibility." Gattis is the owner of Gattis Pro Audio, and he recently improved things at St. Martin's-in-the-Fields by installing a distributed system of Danley Sound Labs' smallest loudspeaker and subwoofer: the Danley Nano and the Danley Nano Sub.
Gattis had installed the church's previous system over 20 years ago, when he was just launching his new company. "We put in a big centre cluster with a delay to cover the balcony halfway back," he said. "It was a lot better than what they had previously been using, so that was okay, but it wasn't ideal. Over the years, things failed and got replaced with pretty much whatever, until the church decided it was time for a refresh." Gattis put together a proposal based on some previous experiences he had had with Danley Nanos. "The Nanos produce a way-bigger sound than seems possible from such a small box," he said. "I thought if we distributed Nanos and painted them to match the wood, St. Martin's would get intelligibility without compromising the aesthetic." The church committee put in its due diligence and pressed the top three proposers for demos. Gattis obliged and won the job.
Fortunately, St. Martin's-in-the-Fields’ sanctuary has protruding columns every 15 feet against the outside walls – as well as a light trellis – that Gattis could use in a highly-distributed system. Five zones cover the main floor, each with its own column and its own Danley Nano. In addition, two Danley Nanos cover the balcony and two more cover the choir. To warm things up from below, Gattis also installed one Danley Nano Sub on the columns near the front of the room. He used QSC Q-Sys DSP to time align the system and to subtly adjust volumes to help with localisation. QSC network amplifiers power the system.
"There isn't a spot in the room that's more than 25 feet from a Danley Nano," Gattis said. "The system is capable of surprising volume (especially considering that these are four-inch cubes) while remaining clear and articulate. It's funny, because you walk into the room and it feels like nothing but reverberation. But then you hear spoken work coming from the Danley Nanos and it's incredibly intelligible."
3rd May 2018
Yamaha Adds Audio Magic to Fine Dining
UK – Established 20 years ago and set in the heart of rural Essex, the Magic Mushroom restaurant offers contemporary fine dining in relaxed modern surroundings. A recent extension and upgrade has added high quality audio, thanks to Yamaha loudspeakers and amplifiers.
With a growing number of customers, for 2018 Magic Mushroom’s owner decided that an extension to the restaurant was needed, along with a new sound system. The restaurant prides itself on sourcing its products locally and has continued this ethos with the new audio system, approaching technical production company Spotlight Sound – based in nearby Chelmsford – to specify and install it.
The new extension is designed to allow certain parts of the restaurant to be closed off for private functions and exclusive dining for larger parties. This meant that the new audio system needed to work in different ways, achieved by installing four independently-controlled zones with localised inputs.
“The brief was clear that the system had to deliver high quality sound and be able to suit the changing mood of the venue throughout the day, but the speakers had to be as unobtrusive as possible,” says Spotlight Sound’s Sam Dimond.
“We knew that Yamaha’s VXS3F loudspeakers would be right for the installation. This was due not only to their attractive, discreet design, but also – just as importantly – their premium sound and ease of installation. Yamaha has really thought about the practicalities of installation with the bracket design and the way that the speakers locate on them.”
A total of 16 VXS3Fs were installed, powered by XMV4140 multi-channel amplifiers.
“Yamaha’s installed audio products are great. They are extremely reliable and the service and support we get from the company all helps in making Yamaha our first choice for installation,” Sam continues. “From large distributed systems to small retail installations, they always have the product which works exactly the way we need. That makes our job so much easier.”
He continues: “With Magic Mushroom we had time to work with the client and plan a timescale for the installation around other trades onsite. However, we always carry Yamaha loudspeakers and amplifiers in stock, because there are always short-notice projects that need to be installed that day or the next!”
2nd May 2018
A Rupert Neve Designs 5088 for Nashville’s MOXE
USA – Located in the woods on the north side of Nashville, MOXE is a newly-opened creative retreat and recording studio helmed by multi-instrumentalist and producer Jordan Brooke Hamlin. In the centre of the building, looking down on the picturesque live room, sits a 40-input Rupert Neve Designs 5088 console. The first 24 mono input channels are accompanied by 24 Shelford 5052 mic preamp / EQ modules, and eight additional stereo input channels complete the package.
According to Hamlin, finding the perfect console was a lengthy journey. “We spent a year or more designing a different, custom console build, and all of a sudden, that plan fell apart. In a moment of feeling discouraged about losing so much time and energy, I called my friend Aaron Hedden and he immediately knew what to do. Twenty minutes later, I was on the phone with Josh [Thomas, general manager] at Rupert Neve Designs, and all the testing and deliberating and comparing of the past year crystalised; in that moment, I knew that the 5088 was the right desk for us.”
Designed, owned and operated by all women, MOXE is “a bit of a specialised place”, according to Hamlin. The building contains not only the large central live room, but a variety of isolation booths and “reverb rooms”, each with its own distinctive sonic character. “Most every room in the house, including the tiled master bathroom, dining room and foyer, is wired and ready for any idea. It’s been interesting to see what types of artists, engineers and producers have been drawn to this studio; I’ve been so thrilled to see that the people who are into it have the same wonder-filled relationship that I do with MOXE.”
“The console sounds pretty dreamy. I particularly love the first blush of hearing the initial sounds of a project come through the desk. With the 5088, I’m doing so much less work ‘correcting’ sounds, because they’re coming in sounding great – and somehow cohesive – from the start. That really frees me up to spend time on more creative decisions in the sonics rather than compensational or reparative. But when I want to really colour it, it already has some pretty interesting and exciting paths to do that too!”
One of MOXE’s first large projects was a new record for Lucy Wainwright Roche, where Hamlin and other collaborators “holed up” in the immersive space and lived in the studio during tracking. “Sometimes that means vocals at 5:30am, sometimes it means tracking in pyjamas, and sometimes it means morning coffee in the hot tub in the woods. So much of the process of making and releasing a record feels like an overwhelming and uphill battle, so any time we can carve out moments like that, it’s total magic for me.”
2nd May 2018
Martin Audio CDD-Live! and Blackline-X for Karova Club
Poland – The new Karova Club in Warsaw has opened, with an advanced technology infrastructure. As a central component of the AV fit-out, Phono Media, Martin Audio’s recently-appointed Polish distributor, supplied system integrator, LFX, with a CDD (Coaxial Differential Dispersion) and BlacklineX solution to fulfil the owners’ request for the Martin Audio brand cachet.
Explains Phono Media director Jacek Stanislawski: “This is a brand new club and the owner approached them for a quotation, believing that Martin Audio would be a perfect solution for the club sound. The owner, Marcin, has a lot of knowledge and passion for sound and he demands the same high quality as he would expect at home. His goal was to provide hi-fi quality to achieve the same result with classic club music.
“Once LFX had made a presentation, showing references of installations at the Ministry of Sound and fabric, and we had carried out a listening demo with CDD, they were sold.”
The 400-capacity venue is divided into two DJ booths and four other music zones, including a VIP area, Patio Smoking Room.
To achieve even coverage throughout they proposed four CCD12 and four CSX118 subwoofers as the main dancefloor sound. For stage sound they provided four Blackline X8 and Blackline X210 sub.
Project managing the installation were Jacek Stanislawski and LFX owner, Maciek Karczynski. Lukasz Rybinski was responsible for tuning the system, using Martin Audio’s proprietary VU-NET, along with Smaart software.
In summary, Stanislawski said: “The CDD speakers offer great transparency and fulfil the client’s requirements 100%. In the short time we have been distributing Martin Audio we have carried out a number of installations with their systems, including Club 54.”
photos: Andrew Benge