Project News Headlines
Muztorg.PRO Creates Multi-Faceted Looks at Loft with Chauvet Professional
Tajikistan – In the downtown area of Tajikistan’s capital, Dushanbe, a new venue is redefining standards of clubbing and evening entertainment. Loft is a 'club', if you can describe it as such, that combines a bar, restaurant, cafe and dance floor over two storeys. Russian installation specialist Muztorg.PRO has provided Loft with a light system that’s as versatile and exciting as its entertainment options with a package that features 16 Rogue R2 Spot, 16 Rogue R2 Wash and 8 ÉPIX Bar Tour fixtures from Chauvet Professional.
“To give the impression of separate areas within the large single venue space, it became quickly apparent that a creative visual solution was required,” commented Roman Kosinov, project manager at Muztorg.PRO. “In addition to a modern sound distribution and partitioning system, the Chauvet fixtures enabled us to create the illusion of separate visually portioned areas within the bar, restaurant and club.”
On the ground floor of the venue, which incorporates a large dance floor, bar and main stage, a selection of 240W Rogue R2 Spot fixtures positioned from ceiling truss creates a dazzling array of fast-moving and colourful visuals for the club’s DJ and club nights. “With their fixed-slot, rotating gobo wheels and the three-facet prism, the Rogue R2 Spots transform the main dance floor area with their incredibly punchy looks,” said Kosinov.
Whilst the spots are generating dance floor excitement, the Rogue R1 Washes that Kosinov hung on ceiling truss are adding a touch of elegance to the venue with their background washes.
“The R1 Wash fixtures have a small footprint, but their output and zoom range allow us to paint the entire dance floor with beautiful saturated colours,” he said. “In this sense, the R1 Wash provides an excellent base upon which the R2 Spot fixtures can provide the necessary eye candy and punchy looks.”
Adding to the excitement on the dance floor, are the pixel mapped ÉPIX Bar Tour LEDs mounted on two vertical truss structures. The ÉPIX fixtures open a wide range of design options,” said Kosinov. “The club can use them to change the entire look of the dance floor.”
Within the restaurant area in the upper tier of the venue which looks down onto the main club, the R2 Spot and R1 Wash fixtures worked together to create an elegant, but relaxed dining atmosphere. Although both the Rogue R2 Spot and R1 Wash fixtures were limited with regards to the height from which they could be hung from the ceiling on the upper tier of the venue, they were nevertheless still able to achieve excellent colour mixing to ensure precise and even lighting ambience on and around the tables within the dining area.
“The soft and saturated illumination of the R1 Wash and bright accurate projections of the R2 Spot fixtures work together harmoniously within the restaurant area to ensure a comfortable dining ambiance,” commented Kosinov. “Most importantly, the versatility of the fixtures has enabled us to create a completely different atmosphere within what is effectively the same space.”
20th October 2017
The Queen's Theatre Goes Digital with Autograph and DiGiCo
UK – First opening in 1953 then moving to its present home in 1975, The Queen’s Theatre Hornchurch is a 500-seat producing theatre within the London Borough of Havering. In common with many such venues, it hosts a very diverse range of entertainment which places expensive demands on its technical infrastructure.
Following a recommendation from the (soon to be re-opening) Bloomsbury Theatre, Autograph Sales and Installations was recently asked to assist with specifying and supplying a major upgrade to the existing analogue audio mixing system for the main auditorium. Autograph’s Peppe Mallozzi subsequently recommended a DiGiCo SD9T for its combination of small footprint, plentiful input capability, bus flexibility, rider acceptance and its ability to host the unique, theatre-specific DiGiCo ’T’ software.
Peppe conducted an introductory training session for the house technical crew at Autograph’s demo facility prior to delivery, followed after delivery by in-depth further tuition at the theatre. The SD9 control surface is accompanied by a single SD-Rack (fitted with DiGiCo’s fibre-optic data-transfer option), a UB MADI interface and an Optocore tour-grade digital multicore.
Chris Howcroft, the theatre’s technical co-ordinator, commented: “The Queens Theatre Hornchurch produces a lot of actor-musician shows and the T-series software gives us the features we need to respond to a designer’s requests quickly.
“We put the new SD9T in place just in time for our youth theatre production of The Wind in the Willows and instantly used more channels than we had available on our old system so it’s reassuring to know that we can easily add new racks and i/o cards in the future. The system supplied by Autograph and DiGiCo has also revitalised our PA, which sounds better than it has in a decade.”
20th October 2017
Spectrum Invests in Adamson and Deploys E-Series at King Fahd Stadium
Saudia Arabia – Addressing the rapidly growing demand for premium loudspeaker systems in the Middle East and Northern Africa, Dubai’s Spectrum Entertainment Services has joined the Adamson Network with the purchase of a substantial E-Series system. The new package has already been put to work at several large-scale events, including the 2017 Saudi National Day celebrations at King Fahd International Stadium in Riyadh.
“We’re seeing the demand for high-performance audio systems continue to grow and invested in Adamson’s E-Series due to its high-fidelity sound, phase coherence, even coverage, and clarity,” explains Julien Beyrouthy, general manager of Spectrum Entertainment Services. “We’re following our long-time clients to bigger venues while also supporting larger festivals and major international tours. Adamson’s rider acceptance has grown significantly and promoters in our market have made it clear they’re looking for seasoned companies offering Adamson systems.”
Spectrum Entertainment Services is one of the leading providers of production technologies in the Middle East and North African region, providing turnkey audiovisual packages including audio, video, lighting, staging, and rigging services with experienced and professional operators for applications of all sizes.
Spectrum’s new Adamson system comprises 24 E15 and 12 E12 three-way, true line source array cabinets, 12 E219 subwoofers, and 24 compact E119 subwoofers, and they’ve wasted no time putting it to work.
The company recently supplied Saudi Arabia’s King Fahd International Stadium in Riyadh with an expansive sound system for its Saudi National Day celebrations. The event, held on 23rd September, 2017, featured a performance of the operetta The National Epic for a crowd of approximately 50,000.
All of Spectrum Entertainment Service’s E-Series inventory was deployed, with the main stage arrays comprised of 12 E15s and six E12s per side. For low-end reproduction, the company relied on 12 E119 and six E219s per side. Additionally, 32 Adamson Y10s were used as delays to ensure even coverage throughout the stadium. The entire system was driven by E-Racks featuring 22 Lab.gruppen PLM+ 20K44 amplifiers with Lake processing.
“We were thrilled to use the new Adamson E-Series arrays for Saudi National Day,” comments Theodoros Gkiantsis, the FoH engineer who mixed the operetta. “The E-Series is extremely linear and it takes very little work to get the system sounding great. We received rave reviews about the quality of the sound across the board.”
19th October 2017
Danley Loudspeakers, Subs and Amps/DSP Installed at Maryland’s Lighthouse Church
USA – Founded at the turn of this century, Lighthouse Church in Maryland has been growing apace since the day it opened the doors at its original, 24,000 square-foot building. To accommodate the demand, the church opened satellite campuses and continually expanded the number of weekend services offered, but it was never enough. Thus, Lighthouse Church recently moved its flagship services to a new 74,000 square-foot building in Glen Burnie, Maryland. Solsound, a Maryland-based A/V integration and production firm that had worked with Lighthouse Church in the past, designed and installed a distributed Danley Sound Labs sound reinforcement system that includes Danley SH (Synergy Horn) loudspeakers, SM speakers, GO2 compact loudspeakers, TH (Tapped Horn) subwoofers, and DNA multichannel amplifiers with onboard DSP and Danley model processing templates.
“The new sanctuary takes up about 12,000 square feet in the centre of the building and seats about 1,000 people,” explained Art Reiger, who founded Solsound in 1988. “We’ve been working with Lighthouse Church for many years now, doing system upgrades on their old system, training, and productions of special events. They asked for our help with the new facility, which was quite an audio challenge because the space is 120’ x 100’ x 22’ with hard surfaces throughout. Clearly, the all-to-common line array approach would energise the room too much; we needed a distributed system.” Reiger noted that Lighthouse Church employees and volunteers capably supplied much of the labour involved in the project, which helped everything stay within budget while still meeting all of the church’s needs. Their help was critical and they went beyond the call.
“I met with the folks at Danley at InfoComm last year,” Reiger continued. “I thought their products sounded outstanding, which was consistent with a friend and fellow A/V professional’s assessment. He’s an avid Danley integrator. The product’s sound quality, coupled with the very human interactions I had with the Danley team at InfoComm and after led me to investigate a Danley solution at Lighthouse Church. They have a wide range of products to fit a wide range of situations. What sealed the deal was the support I received from [Danley engineering director] Chad [Edwardson] and [Danley customer service specialist] James [O’Neil]. Their customer support was stellar. They were happy to talk whenever I called, for as long as it took. With Danley’s support, we were able to design a killer system that was within the church’s budget.”
The system features an exploded cluster at the front of the room comprising one Danley SH-96 flanked on either side by a Danley SM-80. Those loudspeakers cover the first half of the room. Halfway back, four Danley TH-118 subwoofers provide low end for the entire room, with four more Danley SM-80s covering the mid- and high-end content for the back half of the room. Solsound installed the SH-96 and the TH-118s on shock mounts to prevent any potential structural vibrations from upsetting the sixty Elation LED fixtures that light the seating area. Finally, Solsound installed nine of Danley’s new GO2 8CX compact loudspeakers distributed throughout the spacious Lobby, the Grand Hall adjacent to the sanctuary, and the back entrance area.
One each of Danley’s DNA 20k4 Pro, DNA 10k4 Pro and DNA 5k4C amplifiers with built-in DSP power the system. At four channels each, the total system delivers twelve channels, each with its own loudspeaker conditioning DSP. Reiger used the available DSP presets, which are tailor-made for every loudspeaker and subwoofer in the Danley catalogue, to help quickly dial in a great sound. “Danley’s amp and DSP specialist, Josh Millward, was great to work with,” said Reiger. “We’ve worked with a half-dozen or so DSP platforms from different manufacturers, but still, it was great to have 'the Guru' on the phone whenever I had a question! I remember specifically that Josh found a great solution for muting the 5k4C during fire alarms, which was a bit of an “out of the blue, last minute” construction stipulation.”
Lighthouse Church brought its existing Allen and Heath in-ear monitor systems and console to the new sanctuary. Solsound installed ten CBI stage boxes, with CAT5 connections for personal monitors and XLR inputs. Juice Goose units handle all the power conditioning. Vivitek projectors and DaLite screens support visuals in the sanctuary, and a four-channel in-house cable TV system distributes content to classrooms, the lobby, and other places. A great amount of credit also goes to the folks at 4 Wall Lighting in Columbia, Maryland for all their help on the lighting systems, our local Vivitek reps (Audio Associates) for their help with the projection system, one of our local alliances IKBPAC (a local Danley integrator) and the folks at Washington Music for their product support.
19th October 2017
Meyer Sound Leopard Chosen for Focus and Clarity at Trinity Church in Lubbock, Texas
USA – When health and safety regulations compelled Trinity Church in Lubbock, Texas to remove old asbestos insulation and install new sprinkler systems, the church leadership decided to seize the opportunity and transform the costly directive into a blessing for the future. The congregation rallied to fund a total renovation of the 2000-seat worship auditorium that included a new Meyer Sound system based around Leopard linear line array loudspeakers. The world-class audio package was complemented by new video and stage lighting systems, all designed and supplied by Summit Integrated Systems of Lafayette, Colorado.
According to pastor of technical arts Michael Koontz, replacement of the aging center-cluster PA has brought focus and clarity to the worship services despite the room's problematic acoustics. "We have a dome-shaped ceiling which can really cause problems with reflections," he explains, "and certainly that was the case with the old system. In many seats there was no sense of directionality, of a defined sound source. Sound was spreading out and bouncing off every surface. Now, with the Leopard arrays, we have a good sense of imaging localised to the front. Also, the arrays are hitting about six rows under the balcony, which means we needed fewer under-balcony fills."
Removing asbestos "popcorn" from the ceiling actually exacerbated acoustical problems by increasing reverberation, but the precise directional control of the Leopard arrays circumvented any serious issues. "We had been advised to spend from fifty to a hundred thousand on acoustical treatment to control the room," notes Koontz, "but with the new system's precise and controlled coverage we didn't really need it. That was a pleasant surprise."
The new system comprises dual main hangs of nine per side Leopard compact line array loudspeakers, augmented on the extreme sides by pairs of UPQ-1P loudspeakers directed at the upper and lower seating areas. The eight UP-4XP loudspeakers deployed as front fill and 24 under-balcony delay all incorporate Meyer Sound's exclusive IntelligentDC technology, combining the inherent performance advantages of self-powered loudspeakers with the installation ease of constant-voltage distributed systems.
A Meyer Sound solution was preferred from the outset, based on both the church's positive experience with systems installed earlier in smaller rooms, and by Koontz's own prior experience. "Before coming here, I was technical director at Church on the Rock here in Lubbock where we had installed a Meyer MINA system for the 750-seat space," Koontz says. "We were extremely impressed with the headroom, transparency and speech intelligibility. So for this system, it was mostly a matter of scaling up to Leopard to fit the larger room."
Joe Jones, the project manager for Summit Integrated Systems, was pleased by both the performance and ease of installation. "It has tons of output," he notes, "which allows the church to push the system without getting into limiting so the transparency is still there. We had no problems with weight, and commissioning went smoothly as we dialed everything in on the Galaxy processors."
For Michael Koontz, the audio renovation has given the church's worship sound a warmer feel and more impact. "The difference in the lows is the most noticeable, as we can really control them better now. We have much greater punch and tightness, and that carries through all the way to the back of the balcony. People are telling me, 'I can feel the music now.' Before we could get loud, but it wasn't balanced. It was too much mids and highs. Now we have it full and even, right down to the deep bass."
The new Leopard rig joins two smaller Meyer Sound installations already in place. The chapel system deploys left and right clusters of one-each UPQ-1P, UPA-2P and UPJunior loudspeakers with bass from two 500-HP subwoofers. The elongated children's room is covered by three sets of one UPQ-1P over one UPJunior with lows augmented by dual 600-HP subwoofers.
For the refurbished main auditorium, Summit also provided new Yamaha digital consoles (CL5 at FoH and CL3 at monitors) and upgraded the existing Shure UHF-R wireless microphones with new ULX-D systems. The wireless IEMs are Shure PSM-1000. Summit also installed three new LED video walls, new lighting fixtures and dimmers, and revamped the audio in the video suite.
19th October 2017
Range of Verlinde Stagemaker scenographic equipment selected for Théâtre la Licorne
For the installation of stage sets, Théâtre la Licorne called upon Alive Technology (formerly CSE Technology), a specialist in scenic and audiovisual structures and equipment. The expertise of their technicians and design department enables the integrator to propose ideal stage equipment for lighting, acoustics, cable systems and scenic structures while ensuring their maintenance. Scenic structures are fundamental to the installation of stage sets and SCE Technology with a focus on this aspect has been working closely for many years with emblematic manufacturers in this field including Verlinde for the last eight.
Pierre Leclerc, sales manager at Alive Technology who has handled the assembly of Verlinde lifting equipment at Théâtre la Licorne points out that the main structure, i.e. the two IPN (European standard) longitudinal beams, the rail ways and scaffolding were already in place. 15 suspended cranes were added along the structure between the two IPN beams to hang and rapidly move decor or acoustics elements. Mr. Leclerc chose to mount each crane on two Stagemaker SR5 motors with 8m chains designed for loads of 500kg. Thirty motors in all were used for the structure. Each motor is itself mounted on a Verlinde CHD 500kg trolley that travels long one of the two main beams. The cranes thus move vertically and the motors horizontally along the rail ways by means of travelling trolleys. This provides great modularity and flexibility that fit in very well with the numerous functions of the facility.
The industrial chain driven electric hoists selected from among Verlinde's Stagemaker SR range for loads of between 125 and 5000kg are widely acclaimed by the audiovisual community. Black in colour, they fit in very well with all technical facilities and provide the highest levels of safety and productivity.
The 30 Stagemaker motors installed at Théâtre La Licorne are fitted with numerous innovations as standard equipment: they are equipped with double lifting brakes making them directly D8+ compatible (D8+ ready with the tare calculated by dividing the rated load by 2). These hoisting units are fitted with the only hoist on the market offering this level of safety. What is more, they are fitted with a new and unique hoist load wheel concept with a chain drive using intermediary teeth, marketed as "Perfect Push ", together with the "CHAINFlux MKII" horizontal chain guide system. With the new torque limiter, the positioning of the clutch system in the gear box ensures the load is securely held by the brake whatever the operating conditions of the equipment. These qualities totally meet the safety challenges for the installation of stage sets.
With its new fully ergonomic design, the Stagemaker SR range is unique on the market in that it is equipped as standard with retractable hand grips providing practical compactness for the stowing of articles and above all, rubberised protective surfaces that prevent the risk of injury when decors are assembled and of impacts during frequent handling as is the case at Théâtre La Licorne.< /p>
The team of technicians at Théâtre de la Licorne is autonomous in matters of maintenance and since the installation late 2015, there have been no complaints involving the technical installation.
19th October 2017
The Leys School Upgrades its Theatrical Facilities with Spotlight LED Fresnels
UK – Prestigious Cambridge-based co-educational boarding and day school, The Leys, has recently upgraded the drama technical facilities of its purpose-built theatre and performing arts centre with the latest energy-efficient Spotlight Green Line white LED Fresnels.
Established in 1875 and located in one of the world’s leading cultural and academic cities, The Leys offers its pupils excellent opportunities to achieve the exceptional. Each year the school's pupils put on a diverse and exciting roster of drama performances and music concerts, ranging from large-scale West End musicals and popular classics to challenging contemporary works.
The Leys' drama department is situated in the superb Great Hall, which at its heart features a 337-seater multi-purpose performance theatre. The venue operates as a professional-standard 'teaching theatre', with pupils involved in all aspects of productions, from stage to everything behind the scenes.
As part of an ongoing upgrade of the theatre's lighting to keep the equipment up to date and move towards greener, more energy-efficient technical facilities, the venue's theatre manager, Paul Durose contacted A.C. Entertainment Technologies Ltd. (AC-ET) when he was looking to replace the existing conventional Fresnels / PC white lighting fixtures with modern LED equivalents.
Paul had previously worked with AC-ET to upgrade the theatre and main drama studio's PAR and Profile fixtures to full colour-changing LED versions, so he approached them again to recommend several suitable white fixtures from their extensive portfolio of theatrical LED solutions.
The company's specialist lighting sales division arranged for an on site trial of various product options, after which Paul chose Spotlight Green Line FresneLED 200W and FresneLED Compact 100W, Warm White Fresnels.
He commented: "Over the past few years we have invested in an all-LED standard rig for both our main theatre and drama studio. We had been looking for an affordable, good quality warm-white LED Fresnel. In my opinion, the Spotlight units offer this at a good price. They produced the best results out of the various LED fixtures we trialled, and deliver a very smooth and even coverage, with no compromise to the quality of light.
As well as complementing the rigs' RGB LED units, they work well with our additional theatre stock of 1.2 kW, conventional white fixtures. The Spotlight Fresnels are contributing towards a total reduction in the standard rigs' energy consumption of over 80% since we fully switched to LED."
The high-efficiency 200W, FresneLED 200 fixture provides the output of a 1,000W incandescent tungsten lamp, with an extra-long life of more than 30,000 hours. The unit also has an adjustable fan speed, for ultra-quiet operation during noise-sensitive productions. Featuring the same core benefits, the 100W FresneLED Compact has a shorter enclosure, making it an ideal space-saving solution for installations. Despite its size, it can zoom from a 12° spot to a 75° extremely even flood.
In addition to the Spotlight fixtures, AC-ET's in-house Tourflex Cabling cable assembly service manufactured to various custom lengths, 90 metres of Tourflex Datasafe Ultra hybrid cables fitted with powerCON connectors, to integrate the fixtures with the existing infrastructure. The hybrid cable provides a solution for transporting power and data over a convenient single cable.
Paul commented: "A.C. has provided the majority of our LED upgrade, including assisting with the various fixtures' specification, demoing them on site for us, and also supplying ancillary equipment such as the necessary cabling. I have a long-standing relationship with them and once again am very happy with the overall service they provided."
AC-ET is the exclusive UK distributor for the Spotlight lighting range.
19th October 2017
Crossway Christian Centre Brings People Together with Yamaha
UK – Serving the ever-changing community in London’s Elephant & Castle for over 150 years, Crossway United Reformed Church has always needed to provide a flexible and accommodating place of worship. In 2017 it has moved to a brand new building and, with more than ten different congregations and organisations calling it home, a very adaptable audio system was needed. Yamaha provided the answer.
Located where two of southern England’s historic major roads meet, Elephant & Castle has always been a diverse area, with people continually arriving and leaving. As a community changes so, naturally, do the needs of its citizens. This meant the new Crossway Christian Centre needed to be a truly multi-purpose facility.
“We wanted to be able to model sharing as a Christian concept,” says The Rev. Dr Peter Stevenson, who has been the minister at Crossway Church since 2009. “The new building not only has to serve as a place of worship for many different Christian denominations, but also to act as a true hub of the community, including as a help facility and drop-in centre.”
Peter steered the design of the new building and its facilities. With Daniel Cunnings of Cunnings Recording Associates – which has long experience of quality house of worship AV installations – he chose an audio system based on two Yamaha MRX7-D and one MTX3 matrix processors. The system is controlled by six surface-mounted DCP4V4S panels, with Yamaha’s ProVisionaire Touch iPad app for Peter and church music leaders.
The system provides audio in three spaces: the main worship area, a secondary worship area upstairs (which can also be used as an overflow for the main area) and a third, multi-purpose room. The main and secondary worship areas feature audio inputs for music-based praise, as well as projectors and screens. The system has a range of presets to allow audio to be input and output in any configuration.
“A key factor in the choice of equipment was that the system had to be complex enough to cope with everything from tiny meetings to large congregations with music. It needed to handle different congregations meeting in different rooms at the same time, using the same system,” says Daniel.
“There were a lot of people to please, so everything in the building needed to be configurable to suit whatever reason anyone has for being here,’ Peter adds, diplomatically noting: “We are in Zone 1 London, so the audio system also had to be integrated into the building’s structure, with no need for any movable components.”
“It needed to be very much ‘hands-off’, with very straightforward control,” continues Daniel. “The Yamaha solution did everything we needed, including Dugan automixing for the microphones. People turn up, they press a button and the system configures itself to do exactly what they need.”
The final requirement was that the system should be future-proof. The processing power of the MRX and MTX series units means that many enhancements to its operation and control can be made, if needed, while extra inputs and outputs can be quickly and easily added.
“With such a diverse and fast-changing array of users, one of the hardest things was knowing exactly how the spaces would be used once the building was open,” says Daniel. “We did things like duplicating inputs on the left and right of each room, but one of the great things about the system it is that nothing needs to be replaced if it has to be expanded, it’s very easy to reconfigure the system. It’s nice knowing that, no matter what the church asks for, we can say yes!”
19th October 2017
d&b xC-Series changes the course of historic Swedish church
Sweden – Stockholm’s historic Maria Magdalena kyrka is one of the oldest and largest churches in the city, with a unique layout featuring a particularly long nave. A complete renovation project of the church was started in 2013, with refurbishments both inside and out.
As part of the renovation, the church also decided to upgrade its sound system. It was important that a new system not only delivered from an acoustic perspective, but also sat comfortably with the building’s architecture.
SoundCop Consulting provided consultation as well as handling the installation. At the time the specs for the project were being finalised back in 2013, SoundCop Consulting was not yet aware of d&b’s xC-Series column loudspeakers and had chosen another option for the installation.
In 2014 they happened to attend a demo by d&b’s local partner Arva Trading at another of Stockholm’s churches – Stefanskyrkan (Saint Stephens church) – and were so impressed with the results that they decided to redo the whole specification for the sound system at Maria Magdalena. SoundCop Consulting decided to go with a combination of d&b’s xC-Series two-way passive column loudspeakers, xS-Series loudspeakers, and B4 cardioid subwoofers along with the 10D four channel amplifier.
Natanael Lyckelind, sales and support AV/pro audio, at Arva Trading explains: “The passive cardioid function of the xC-Series column loudspeakers results in excellent dispersion control, which makes them particularly good for an environment like Maria Magdalena. SoundCop Consulting was very impressed with the results that they saw – or rather heard – at the demo.”
“We were totally blown away by how good it sounded at the demo,” confirms Jacob Julin, co-owner, SoundCop Consulting. “So, we went back and changed the whole specification for Maria Magdalena. This is the first two-way passive column speaker that we have seen that actually sounds like a proper PA system. The sound stays coherent and warm, rather than like it’s coming from a flimsy speaker, which is so often the case with the sound set-up in a church.”
As Lyckelind explains, in a church the size of Stockholm’s Maria Magdalena, which has such a long nave, reverberation can be a significant barrier to speech intelligibility, but the cardioid dispersion pattern of the xC-Series significantly reduces the level of the reverberant field, maximising speech intelligibility.
In all, SoundCop Consulting installed six 24C and eighteen 16C column loudspeakers, eight 4S loudspeakers, two B4-SUBs and six 10D amplifiers. The entire sound system is controlled by a QSC Q-SYS audio control platform, utilising the d&b plug-in for the integration of the 10D amplifiers. The plug-in allows access to d&b amplifier parameters (gain and mute status, amp presets, power on/off status, etc.) directly from the Q-SYS interface.
“This is the first big installation we’ve done with d&b xC-Series in Sweden; there have been some smaller churches but nothing on this scale, so now we have a lot of technicians talking about this project. The results have been really good. A lot of choirs come to perform at Maria Magdalena Church and they like to bring their own sound systems, but when they see how well the in-house setup works, they prefer to use that instead,” says Lyckelind.
Julin adds: “The system has actually ended up being used for a bit more than originally expected; what they wanted for the church was really a sound reinforcement system for vocal (speech), but it actually works really well for smaller concerts – so long as they aren’t too loud – and choir concerts.”
Julin also explains that there are now a number of other church projects in the works resulting from the success of the Maria Magdalena kyrka installation.
17th October 2017
Historic St. John's University Theater Refreshed with IC Live
USA – Back in 1985, Saint John's University completed a $2.5 million renovation of its 500-seat Stephen B. Humphrey Theater. Since that renovation, the theatre's sound system remained essentially unchanged until this year. "They put in a couple speakers here and a couple of speakers there," notes production manager Adam Dahl of the University's Fine Arts Programming Department. "There's a set of gigantic speakers hidden in the ceiling that I think will stay there forever, though we've disconnected them." The ageing system could not properly support the theatre's programming, which includes touring productions, concerts, theatre, dance, music recitals, lectures, PowerPoint presentations, and more.
"It's an acoustically very live room, which is fantastic for individual recitals," Dahl observes. "But the moment you put in a band or somebody trying to do a lecture, it's not a great room. The old sound reinforcement system attempted to balance the room out. It was mounted in a steel mesh over the stage apron, out of sight, and it was great for the upper third of the house but it did nothing for everyone down front."
Dahl's solution was a set of Renkus-Heinz ICONYX IC Live-series digitally steerable line arrays. The IC Live is a series of small-format arrays that offer flat output from 80Hz to 20kHz. It's a compact, powerful system, delivering up to 105dB (up to 108dB when stacked) of crystal clear audio at 100 feet. "We essentially have three ICL-FR arrays stacked vertically and mounted to the wall on each side of the stage," Dahl explains. "We considered the double-sized ICL-FR-DUAL but using a triple stack made sense because the room has a fairly steep rake." Using Renkus-Heinz' digital beam steering, the tall, slender arrays put the sound on the audience and minimised the reflections off the walls and ceiling.
A colleague first suggested Dahl consider Renkus-Heinz loudspeakers for the theatre about five years ago, having heard them in a local church. "At the time, I didn't think they would put out enough sound to do what I needed," Dahl admits. "Then a few years ago, I went to a venue that had a set, and I was amazed. They were much better than I anticipated they would be."
Dahl began designing the new system. With the IC Live stacks handling most of the sound, he covered the sub-lows with a pair of Renkus-Heinz CFX218S dual 18-inch subwoofers. The CFX218S employs powerful, high-impact woofers with a long-throw magnetic structure to ensure linear cone movement at all power levels. Each subwoofer can deliver up to 132dB peak SPL and can go from 100Hz down to 32Hz. Two of them deliver all the low end the theatre will ever need and more. "We found out that at 65Hz, everything in the room shakes," Dahl laughs. He's filtering at 65Hz now.
Overall, Dahl declares: "The improvement from the old system is so great, I cannot even quantify the difference. I just added some Renkus-Heinz TRX81 point source speakers as front fills, and now we have excellent coverage everywhere. The TRX81 is very compact, and it was just right for our application."
Opened in 1928, the Stephen B. Humphrey Theater is a registered historic building, so aesthetics were a major consideration. Alterations must be cleared by a local design committee run by the on-campus monastery and university. Fortunately, IC Lives are quite slender, minimising their visual impact. Renkus-Heinz' custom paint work completed the job. "Renkus-Heinz color matched the arrays to the wall, so they're barely noticeable," Dahl recalls. "We hid the CFX218S subs in an air return. The committee was satisfied, and we were able to move everything forward."
The rest of the system is straightforward. Dahl uses no DSP, running a Yamaha M7CL console with a Dante control network and recorder, straight to the loudspeaker system. "We got rid of all DSP when we went to the Renkus-Heinz system," he confirms. "Just out of the mixer and into the speakers."
One more step remained. "Ladd Temple from Renkus-Heinz came out and tuned the system for us, and it's fantastic," praises Dahl. "I don't have a large staff, so when I have a big enough show, I bring in an audio guy to help me out. All of the audio guys love to come and work in this room. They love the way the system sounds; they love to sit in the back and mix. It's a great system, and we're delighted."
16th October 2017
Yamaha Helps St George’s Tame The Dragon Of Poor Sound
UK – A number of the UK’s most well-known cathedrals now feature Yamaha audio systems, where the flexibility of the company’s products is making them a popular choice for the acoustically-challenging environments. The latest is St George’s Cathedral in London, seat of the Roman Catholic Archbishop of Southwark.
The Metropolitan Cathedral Church of St George (to give it its full name) was built in 1848. Badly damaged during the Blitz of 1941, the following decade it was restored and reconsecrated. Its architecture is typical of what many consider ‘a cathedral’ to be – high, vaulted ceilings, numerous pillars, large leaded windows and expanses of smooth stonework, all of which present challenges to effective sound reinforcement.
Appointed in 2015, one of the first jobs for the new cathedral dean, Canon Richard Hearn, was to get to know his congregation. Through this he learned of the difficulties people at the back of the cathedral had in hearing services clearly. Thanks to their long experience of quality house of worship AV installations, Cunnings Recording Associates were recommended to Canon Richard as being able to help.
“The cathedral had an ageing sound reinforcement system, but it had never been properly commissioned,” says the company’s Daniel Cunnings. “No delays or EQ had been set up for any of the loudspeakers and there weren’t enough outputs available for the number of speakers.
“As well as services the cathedral also hosts a range of other events, so there are microphone points throughout the building. The existing system was not easy to operate, so another intention behind the upgrade was to allow them to use their audio facilities to their fullest extent.”
The cathedral commissioned a two-stage upgrade, the first being to quickly and radically improve the sound quality for the spoken word, but with very straightforward control. This meant replacing the existing audio processors and programming the right amount of EQ and delay for each output. Daniel chose a Yamaha MRX7-D and two MTX3 matrix processors, with a DCP1V4S control panel located discreetly in the cathedral sacristy.
“We looked at all available options, but the Yamaha solution was the only one that could provide the range of inputs and outputs we needed. The cathedral wanted the system to be as simple as possible to operate, so the MRX7-D’s on-board Dugan automixing was also essential,” says Daniel.
There are 25 loudspeaker locations throughout the cathedral including the day chapel and monitors for the choir and organist. The most-regularly used inputs are microphones on the main lectern, the day chapel lectern and above the choir, plus a handful of wireless units.
“The system is zoned and can address each loudspeaker individually, if required,” says Daniel.
“For now the DCP1V4S provides a basic mute, enable and volume adjustment of each zone. One button is also programmed to recall the system back to its base state. Indeed, a reset button is the most important control for many of our clients.”
The next stage of the project will, as Daniel says: “take the project up a gear”. New speakers and amplifiers will further improve the sound, while Yamaha’s multi-purpose MCP1 control panel and the ProVisionaire Touch and Wireless DCP apps will be added, allowing comprehensive control of the system. This will also eliminate the need for an analogue mixing console, which had to be brought in for music events and recitals.
“The second stage will happen at the beginning of 2018 but, for now, Canon Richard is very happy that the whole congregation can hear services clearly,” says Daniel. “We have been pleased to help take St George’s into a new era and are looking forward to really making the most of the power of the Yamaha system in stage two of the project.”
16th October 2017
Bergen Avinor now benefits from power of AV Stumpfl Wings Player and Avio Master
Norway – In August 2017, Avinor opened the new terminal at Bergen Airport in Flesland, Norway. Construction has been ongoing since 2014. Designed to be modern, spacious and logical and feature a wider range of restaurants and shops, the new terminal adds 63,000 square metres of space to the existing 22,000 square metres. It also benefits from state-of-the-art video provided by audiovisual systems integrator Stagelab with Bright Norway, and powered by AV Stumpfl’s Wings Player Pro and Avio Master show control system.
In the check-in area, video is projected onto the southern sidewalls using seven projectors delivering a total of 217,000 lumens and 14 million pixels of resolution to create an image 57 metres long and between 4.5 metres and seven metres high. On the wall in the gate area that stretches across the walkway to the old terminal, an image is projected that is around 20 metres wide and between 3.5 metres and 5.5 metres high. Here, three projectors provide total brightness of 93,000 lumens. The content is images and video of the picturesque area surrounding Bergen.
The AV Stumpfl equipment is installed in the basement of the building, with content transferred to the projectors via fibre optic cable. On screen images are regularly recalibrated using advanced camera calibration, and the brightness of the projectors is automatically adjusted depending on ambient light levels in order to provide an optimal image at all times.
“The playback system is entirely controlled using AV Stumpfl’s Avio Master,” said Torgeir Kaarvann Dahl, product and project manager at Bright Norway. “This is a very prestigious installation, with millions of eyeballs on it each year, so the renowned stability and reliability of AV Stumpfl’s system was a natural choice for us.”
“It’s also a very simple system to manage, even remotely,” he continued. “We can easily run automatic camera calibration for set-up, even when we’re not at the location. That’s particularly important, because the content changes with the seasons of the year. The Wings Player Pros handle not only video playback, but also image blending and the image masking necessary to blend with the terminal’s architecture.”
“We know the quality of AV Stumpfl’s products from previous projects, so we had no hesitation in choosing Wings Player Pro, even though it’s a new product,” he continued. “We were intrigued to find out how good it was – and we were very impressed.”
“AV Stumpfl’s systems have once again proven capable of delivering state-of-the-art imagery,” concluded Dahl. “They also provide us with more efficient work flow monitoring, servicing and updating of the installation’s content. AV Stumpfl’s reliable systems with camera calibration and remote management help keep the cost of service and maintenance low, and who doesn’t want that?”
In addition to the AV Stumpfl equipment and IDS industrial cameras, the installation features Panasonic PT-RZ31K laser projectors and a Crestron 3-Series control system, light sensors and DM fiber extenders.
The existing airport terminal at Bergen airport was originally built to handle 2.8 million passengers. Today more than six million people fly either to or from the airport in the course of a year, and the airport now has capacity for 7.5 million. Bergen airport is the second largest airport in Norway and the most important transport hub of the Bergen region and Western Norway.
Stagelab and Bright Norway team members responsible for the project were: Arthur Botnevik, project manager; Torgeir Kaarvann Dahl, product manager and system design; Per Sjømoen, sales; and Trond Sørensen, head of the installation department.
photos: T.K.Dahl – Bright Norway
16th October 2017
iHeartRadio Theater New York City Hearts Its New L-Acoustics Sound System
USA – The iHeartRadio Theater New York City is the ultimate ticket one can’t get. The Manhattan venue, the East Coast counterpart to the company’s flagship Los Angeles venue, regularly hosts a steady stream of A-list music artists, from Mary J Blige and Ed Sheeran to Muse and Blink-182. When it was deemed that the theatre's sound system was not up to par with the best touring systems used by top-notch artists, the decision was made to install a new L-Acoustics house loudspeaker system in the intimate, 200-seat space.
With tickets to shows reserved for iHeart’s own subscribers, the bands’ fan clubs and other exclusive channels, what those fortunate ticket-holders experience is a close-up interaction with some of the best musicians in the world, standing on a stage that’s barely a foot off the floor, and sharing the show with millions who'll watch it streamed live through the iHeartRadio app and the more than 850 iHeartRadio stations throughout the country.
Since April, fans at the shows have now been hearing artists through an L-Acoustics sound system installed by See Factor, a leading New York rental and installed-sound provider specializing in live clubs and theatres. The new system comprises two hangs of three ARCS II speakers per side augmented by four KS28 subwoofers under the stage, all powered by three AVB-enabled LA12X amplified controllers. Three X15HiQ coaxial loudspeakers are used as a fill for the theatre's raised VIP section.
The sound on stage is equally amazing, with eight X12 and four X15HiQ loudspeakers used as monitors, buttressed by a pair of SB18 subs. The X Series speakers are powered using a mix of LA8 and LA4X amplified controllers.
iHeart’s technical director, Stephen Wyker, says the previous sound system had been the iHeartRadio Theater’s weak point since it opened in 2008. “When you look at the calibre of artists that are performing here regularly, the sound system was not at that level,” he says. “Now, it’s like night and day. It’s amazing!”
Wyker previously guided the technology at Webster Hall, another legendary New York music venue where an L-Acoustics Kara sound system met rider requirements for artists globally. He says there was never a doubt that L-Acoustics was destined for the iHeartRadio Theater eventually. “We wanted the performers and the audience to have the best sound experience possible, and now they do,” he says. “The fidelity is incredible.”
The iHeartRadio Theater is not a typical live-music venue, it was designed from the start as a space to record and stream live shows. That meant the space needed to be an acoustically controlled environment.
“It’s a pretty dead space, in order to control reflections and volume,” Wyker explains. “So, the sound system has to be able to liven the sound up, and the ARCS II does that wonderfully. And the bass is fantastic. The ARCS II is full range, so we’d get plenty of low end from those alone. But when the KS28’s kick in, you can really feel the bass.”
What feels best, though, is having a sound system that can handle the venue’s challenges and meet the expectations of the top-line artists who perform there. “What’s really great is now we have a sound system that’s as good as what these artists play through at their own shows,” he says. “And it’s probably the same one they tour with.”
13th October 2017
Yamaha MTX3 Solves Lifespring’s Division Dilemma
UK – Houses of worship can be tricky spaces to install sound reinforcement systems, especially in historic structures. But in Reading, a different challenge presented itself when Lifespring Church wanted to add an extra space to its home in a converted cinema, but one which could also be combined with the main space on demand. A Yamaha MTX3 matrix processor has provided an elegant solution.
Built in the 1920s, The Pavilion was originally Reading’s first public cinema. Later converted into a snooker hall, Lifespring Church restored it in 2013, with a layout close to the original. It is now Lifespring’s permanent home, hosting weekly worship services, youth events, meetings and other activities.
For the first three years of the building’s new life, Lifespring used the former auditorium as its main space, But last year it added an extension on the balcony to provide extra capacity and to have the option of using two separate spaces or one big one. This raised the issue of how to manage the sound reinforcement.
Reading-based SFL Group has many years experience in house of worship projects. The company had provided Lifespring’s audio system in 2013, adding further equipment to the balcony area in 2016. As part of this, SFL was asked to solve the problem of splitting or combining the sound reinforcement, according to how the updated venue was being used.
“A full width drape wall can be pulled across the front of the balcony to separate the two spaces,” says SFL project engineer Pat Smith. “Lifespring needed a means of distributing audio throughout the twin systems that enabled easy switching between split and combined venue configurations.”
The solution was the Yamaha MTX3, through which all audio signals are routed. When the space is divided, each ‘half’ of the audio system operates independently, including the feeds from separate mixing consoles and other sources. In the combined configuration, the main auditorium console mixes the full system.
Users needed to be able to switch quickly and easily between the configurations, so a Yamaha DCP4S control panel was included at both mix positions. A simple touch of a button on either panel makes the MTX3 apply presets for signal routing, output levels and delay to each audio channel, instantly changing the system from split to combined mode and vice versa.
In combined mode, the MTX3 also handles additional level management and delays for the extension area, aligning and balancing the two halves of the audio system.
11th October 2017
Dataton Watchout drives world’s highest resolution video wall at The Dubai Mall
UAE - The latest attraction at The Dubai Mall can't be missed! The new curved video wall above the Dubai Aquarium and Underwater Zoo measures a stunning 700 square meters with 1.7 billion pixels on 820 OLED displays. Behind the scenes, there is Dataton's award-winning WATCHOUT multi-display production and playback system, WATCHNET manager software and WATCHPAX 4 servers delivering breath-taking, high-resolution content for the mall's estimated 80 million visitors.
The new video wall at The Dubai Mall, unveiled by Emaar Entertainment in August 2017, takes digital signage into a whole new realm and has already earned a hat-trick of records, in partnership with LG: largest OLED screen, highest resolution video wall, and largest high-definition video wall. The wall is a magnificent, 50-metre wide, wave-like configuration spanning two storeys and fully visible from the ground floor at The Dubai Mall, the world’s most visited retail destination. Dataton’s WATCHOUT multi-display system and compact WATCHPAX 4 media servers handle content production and delivery, while LG’s flexible OLED screens provide the vibrant colour range and wider viewing angle necessary at the location. Show control on site, including show selection and power cycling, is via Dataton WATCHNET manager software. All functions and the user interface were tailored to meet the venue's specific requirements.
“The wall is designed to promote the aquarium, but will also provide a visually-exciting canvas for other content and companies, and with such a high-profile installation there are, of course, great demands on content quality and reliability,” said Trond Solvold, sales director at Dataton. “WATCHOUT with WATCHPAX 4 was likely the only system in the world that could pull off such a complex installation. The system needed to be flexible and scalable, and requests for future functionality left other systems far behind, making our solution the best choice for the installation."
At Dubai's latest attraction, WATCHOUT is teamed with 52 of Dataton’s WATCHPAX 4 media servers, each pushing content to sixteen 55-inch LG OLED panels. Trond Solvold, Dataton, continued: “Besides high performance, the media servers needed to be robust to handle almost 24/7 use and have a compact form factor. Space is incredibly tight behind the video wall – virtually non-existent – and extensive cabling to a server room was never an option. That meant each server had to sit close to the screens. With quad 4K video outputs and a trim A4-size footprint, the WATCHPAX units were eminently suited to the task.”
The Dubai Mall video wall is part of owner Emaar Entertainment’s ongoing strategy to provide world-class edutainment using innovative platforms. Dubai-based systems integrator, DigiComm, supplied the technical specification, solution and installation expertise for the project, coordinating with key suppliers Dataton, LG, and the client, Emaar Entertainment.
Maitha Al Dossari, chief executive officer of Emaar Entertainment, said: “Emaar Entertainment continues to push the boundaries and achieve greater heights through innovative installations and attractions. We’re committed to delivering the best in the industry and are honoured that the new OLED screen at Dubai Aquarium and Underwater Zoo has received three world record achievements, underpinning our commitment to pioneering innovative attractions, continued advancements in technology and digital attractions, and inspiring joy.”
“LG has always pushed boundaries with innovative display technologies, especially with its pioneering OLED technology. In the heart of The Dubai Mall, we are proud to showcase to the world a global example of how LG digital signage products provide innovative solutions that B2B customers of today demand, creating a visitor experience unlike anything anyone has ever witnessed,” said Kevin Cha, president of LG Electronics, Middle East and Africa.
11th October 2017
Nashville’s Plaza Mariachi Comes to Life with Elation Dynamic Lighting
USA – As Nashville has grown more diverse so has the choice in ethnic restaurants and entertainment establishments. Plaza Mariachi, a unique Latin culture destination that caters to the city's rapidly growing Hispanic community, is an excellent example of the trend.
Formerly a supermarket, the 60,000-square-foot space was imaginatively converted to the themed, multi-use facility it is today with art, music, entertainment, food and retail all under one roof. Decorated as an outdoor Mexican town square, with traditional marketplace 'streets' and ornate shop fronts, independent lighting design company Ardee Design Group (ADG) of Nashville was contacted to relight the space and chose to use Elation Professional dynamic ellipsoidal, par and moving lights to do it.
“The Plaza Mariachi project is a unique mix of entertainment techniques in an architectural application, and we utilised quite a bit of Elation equipment to achieve our goals,” said Richard Davis, president and senior designer at ADG, the 30-year design collaborative that combines years of experience in entertainment lighting with a practical knowledge of architectural lighting techniques. ADG came on board after the project was well into the construction phase. “The old space was lit warehouse style with harsh fluorescent lighting,” Davies explains. “We treated it as a theatrical immersion and used dynamic lighting and more natural light schemes to light the beautiful storefront facades and enhance the themed environment.”
Plaza Mariachi is not your typical shopping or eating experience and Davis says you’d be hard pressed to find something like it outside of Disney. “A themer from Epcot was brought in,” he says. “The non-stop live music, the streets and shops all factor into the AVL experience. It’s comfortable and fun and is definitely a family friendly environment.”
The Plaza’s main courtyard and five streets, each shop front with a themed, theatre-like façade, all required illumination. ADG uses colour, contrast and lighting effects to enhance the space, focus attention and create a visually stimulating environment. The facades have been lit using Elation’s WW Profile warm-white ellipsoidal spot fixture. Powered by a 130W warm-white 3,000K LED engine, it projects a soft and flat field of white light (CRI is over 94) and is ideal for emphasising scenery and facades. It also supports gobos for custom projections and includes a four-blade framing system for control of the beam shape. “We used the WW Profiles to project natural light onto the facades and textured the buildings with leaf breakup patterns and dichroic filters to have the facades come to life,” Davis said. “The WW Profiles worked beautifully for this and is the workhorse of the effect lighting.”
Also used to light the shop front facades, as well as several fountains, are Elation SixPar 100 and SixPar 200 LED colour changers with barndoor kits, the 200 version used to light larger facades. The SixPar fixtures house a six-colour RGBWA+UV LED multi-chip and give a large variety of colour choice. Easy to power and data link, they consume little power and require little to no maintenance. “The SixPars add festivity to the space,” Davis comments. “We can theme the entire plaza for a certain occasion, for example Cinco de Mayo, Halloween or Christmas, and can go from white light to festive colour at the push of a button.”
While guests browse the shop fronts, live music fills a common area with food court and performance stage. Each night sees a variety of entertainment from Latin bands to big screen viewing parties to special events. On stage, a full LED video wall with accompanying lighting rig of Elation Platinum Spot LED II and Rayzor Q12 LED moving head luminaires keeps the atmosphere energetic and fresh. The efficient LED-based luminaires are used to splay colour and effect across the space and are powerful enough to cut through ambient light from overhead skylights. An Elation-distributed HedgeHog 4 lighting console controls the lighting on stage. Networked into a master ETC Paradigm controller, the HedgeHog console was structured on an Ethernet network, which enables it to be moved anywhere in the venue.
The dynamic lighting system is used all day, starting with an early morning day look through to a full-themed lighting environment after dark. Despite the many hours of operation, Davis says a goal with the project was to maintain the energy usage ratio of the building, a goal they meet with the LED lighting and other low-power luminaires used throughout.
Plaza Mariachi has proved a hit since opening in June 2017 and the great deal of care gone into creating the environment, including the lighting, is getting rave reviews from locals and tourists alike.
10th October 2017
Another Big Ten for Danley: Indiana University’s 53,000 Memorial Stadium
USA – The Big-10 Indiana University Hoosier football team plays its home games at Memorial Stadium on the university campus in Bloomington. The stadium holds nearly 53,000 fans and is currently under major renovation. The university is building out the south end zone, which used to support Memorial Stadium’s main scoreboard and sound system. The south end zone renovation will be completed in time for the 2018 season. In the interim, designer Anthony James Partners and installer All Pro Integrated Systems, joined forces to provide Memorial Stadium with a temporary Danley Sound Labs sound reinforcement system. This temporary system uses many of the same components that will move to the south end zone for the permanent system once construction is complete.
Larry Lucas, the system designer, used Danley’s free Danley Direct modelling software to design the system. “With the output from Danley Direct, we had the aiming worked out from the start,” said Jacob Robinson, project manager at All Pro Integrated Systems. “It worked great, there are no phasing issues and the coverage is complete. We are measuring over 100dB at the furthest seat from the speakers. The temporary system consists of two mirror-imaged clusters, each consisting of a Danley J3-64 Jericho Horn and a J6-42 Jericho Horn, and a Danley OS-80 for side fill. All Pro has worked with Danley and Anthony James Partners in the past to design a custom-welded mount for such situations which was employed again at Memorial Stadium.
Three four-channel Danley DNA 10K4 Pro amplifiers power the two Danley J3s and the two Danley OS-80s. Two four-channel Danley DNA 20K4 Pro amplifiers power the two Danley J6s. Both amplifiers have on-board DSP. Doug Jones, acoustician, helped with the tuning and commissioning of the system.
Robinson continued: “In addition to giving us great output, great fidelity, and great coverage, the Danley system also came with Danley’s great support. Typical turn around for a job like this would be four to eight weeks, but we had a restricted time line on this project. Danley hit every deadline, including producing the loudspeakers in just over two weeks! All around, Danley’s support has been awesome.
Next season, All Pro will put the Danley Jericho Horns in their permanent locations on the completed south end zone. They will be joined by other Danley boxes, including two three-box subwoofer clusters for cardioid directivity. “Next year will be phenomenal, but this year is already a huge improvement over their old ‘permanent’ sound system,” Robinson concluded.
10th October 2017
Projected Motifs Bring Ancient Islamic Empires to Life
Qatar – The Museum of Islamic Art houses one of the world’s greatest collections of Islamic artefacts. Located in the Qatari capital of Doha, MIA displays Islamic Art from the past 1,400 years and from three continents. The museum has been equally acclaimed for its construction design, which draws influence from ancient Islamic architecture and has become an iconic building on the Doha waterfront. For their latest exhibition, “Imperial Threads: Motifs and Artisans from Turkey, Iran and India,” the museum used Rosco Image Spot LED Projectors projecting custom gobos to enrich their visitors’ experience of the exhibit.
The exhibition “Imperial Threads: Motifs and Artisans from Turkey, Iran and India” highlights how cultural and artistic interaction was an integral aspect of material exchange in the early modern era (16th -19th century). Showcasing predominantly carpets, the exhibit also features manuscripts, metalwork, ceramics and other objects to illustrate the historical and artistic context of this time. Opening with the Timurid period in Iran and Central Asia, the exhibit proceeds to expand on artistic practices shared amongst succeeding and neighbouring dynasties, the Safavids (Iran), the Ottomans (Turkey) and the Mughals (India).
Collaborating with the architectural firm Empty, S.L., Rosco provided four Image Spots with custom gobos for the exhibition. The fixtures were mounted onto ceiling track to project images of different motifs from the Islamic world that would introduce the visitors to each section of the exhibition.
The team at Empty, S.L. conceptualised their gobo designs to reflect the motifs found in the carpets and artefacts seen in the exhibition. Each of the four designs is a decontextualisation of the motifs from an object selected by the museum. The same pattern can also be seen on the backlit panel, which relates to the artefact shown in the display case attached to it. This enabled the designers to not only embellish their overall aesthetic, but also support the instructional engagement of the exhibit.
The artwork was turned into four, black and white glass Image Spot gobos. The combination of the Image Spot’s high-quality optics with our glass gobo technology provided the Empty S.L. design team with crystal clear and elegant projections of the intricate details found in the motifs.
6th October 2017
Celtic FC Upgrades Stadium Sound with Fully Networked Solution From Bosch and Electro-Voice
UK – With a strong stadium-wide IT network and existing public address infrastructure already in place, PEL advised the selection of Bosch Praesideo digital public address and emergency sound system with Electro-Voice pro audio loudspeakers to improve coverage, clarity and fidelity within the main bowl area of the stadium. Because both systems can be interfaced to the Dante networking standard, both the Bosch Praesideo system and all Electro-Voice loudspeakers are monitored and controlled remotely via Electro-Voice N8000 NetMax digital matrix controllers.
“Celtic Park is an awesome stadium, and one of the loudest places I’ve ever been for a match,” notes Vic Swain, engineering director for PEL. “The club wanted a state-of-the-art emergency notification system and wanted to integrate that with an audio system that would provide clear sound for every seat in the house. It’s a challenging project, but the combined solution of Bosch and Electro-Voice works perfectly.”
The first phase of the operation was the installation of the Bosch Praesideo public address and emergency sound system, serving what Swain refers to as the “back of house” area: the internal portions of the stadium, including concourses, turnstiles, restrooms, and offices. Its open architecture and high level of redundancy makes Praesideo a scaleable, reliable solution that exceeds safety standards while offering complete communications flexibility.
The stadium system is based on dual Praesideo network controllers with an audio expander interface and six strategically placed call stations. The 100V audio system utilises legacy installed loudspeakers, all of which were tested and upgraded with Bosch line supervision sets. This enables Praesideo to check all speakers for proper line operation. The system is powered by 22 Bosch power amplifiers with on-board DSP modules.
PEL engaged Acoustics Plus, an independent acoustic consultant based in Croydon, to advise on proper deployment of the Electro-Voice loudspeakers. Research included recording SPL levels throughout a game, documenting the sonic requirements and using computer modeling to map optimal locations and dispersion patterns for full coverage. Aimed down from beneath the roof, the system uses a mix of front-loaded EVF-1152D and horn-loaded EVH-1152D, both full-range, weatherized loudspeakers from the EV-Innovation family.
“Celtic always wants to do the very best for their fans, in addition to meeting the evacuation system legal standard for Speech Transmission Index,” notes Swain, “they also wanted it to sound just as good when the place is really rocking during a big match. These EV speakers accomplish that with ease, even in problem areas. We had structural engineers and riggers working closely with the acoustic consultant to make final adjustments. A lot of preparation, but on the day the speakers were hung and aimed, it was extremely quick and accurate.”
As part of the process, Electro-Voice CPS series power amplifiers, two N8000 NetMax DSP matrix units, and a redundant fiber ring were installed as infrastructure support for the full stadium system. To date, the new loudspeakers are in place above the north stands and adjacent corner areas. Future phases will complete the installation above the south stands, adjacent corner areas, and west and east stands behind the goals.
“The integration of Bosch Praesideo in the back of house with Electro-Voice loudspeakers aiming at the area above the seats, all working together in a centrally controlled network, represents a real commitment to the safety and comfort of the fans,” he says. “It’s great to help a legendary organisation like Celtic F.C. to achieve their goals.”
PEL Services Limited upgrades evacuation and public address systems for legendary Celtic FC with phased stadium installation
Electro-Voice pro audio EVF and EVH series loudspeakers provide improved coverage and clarity as part of integrated digital audio network
Bosch Praesideo meets all voice alarm and communication needs, networking interfaces with legacy loudspeakers and new sound system
6th October 2017
POLAR Integrated Solutions Stretch Armstrong Building's AV Capabilities
UK – Newcastle University can trace its earliest origins to 1834 and the establishment of a School of Medicine and Surgery. In 1871, Armstrong College was founded for the teaching of physical sciences and the two merged to form one division of the federal University of Durham. After a series of further college mergers across the twentieth century, the University of Newcastle-Upon-Tyne, now trading as Newcastle University was formed in 1963. As has been the case across the generations, a combination of being globally ambitious and regionally rooted is still at the core of Newcastle University's values.
The Armstrong Building is a stunning Grade II listed building completed in 1888, that still plays a key role in the social and academic life of the university. Situated within the building is the King's Hall, a beautiful space where prestigious events including graduation ceremonies and concerts take place. Opened by and named after King Edward VII in 1906, the hall seats 500 delegates and in 1967 hosted the presentation of an honorary degree to Dr Martin Luther King. The Armstrong Building also contains number of lecture theatres and classrooms.
At the request of Newcastle University, POLAR Integrated Solutions was invited to submit system designs that would address a number of AV issues at the site. The university constantly strives to develop and improve every aspect of its technical provision for the benefit of all stakeholders and POLAR made recommendations for the three key areas of The Armstrong building that the university wished to address. Integrators Roche Audio Visual were engaged to install the solutions. Whilst each of the three areas required its own dedicated solution, it was also important that these solutions could tie in with each other, to provide the most comprehensive and flexible range of options throughout.
The first brief concerned the King's Hall itself where the university required a solution to effectively facilitate intelligible audio for presentations and live sound applications. The heritage nature of this multi-use setting demanded that the hall's beautiful aesthetic must not be compromised, requiring the solution to be as invisible as possible. In common with many such venues, whilst the high ceilings and panelled interiors of the hall are an impressive sight, they conspire to create highly reverberant spaces, where overcoming the acoustics can present a significant challenge.
POLAR's wide experience of assisting in such sensitive spaces led them to recommend a Renkus- Heinz Iconyx solution. Controlled via software to create beams of audio that can be focused on the audience and away from hard, reflective surfaces, Iconyx speakers minimise reverberance and deliver intelligible sound exactly where it is required. Another compelling feature of this market leading brand is its slim, low-profile design allowing the speakers to blend discreetly with their surroundings, making them a perfect sonic and aesthetic fit.
Two Renkus Heinz ICL-F-DUAL-RN Live Arrays were positioned in The King's Hall in conjunction with two IC2 15S subs. These powerful arrays produce impressive sound levels whilst blending discreetly into their surroundings, easily meeting the requirement to direct speech, live and background music exactly where it is required. In this instance, the entire floor of the hall and a seated balcony area to the rear, were effortlessly covered. A Biamp TesiraFORTE AI AVB was installed to control all signal processing in the venue and enable audio and video content in the hall to be routed to and received from the other two key venues in the Armstrong building via ethernet. An Australian Monitor AMIS 26 distribution amplifier was employed to power the audio for the hall's video screens/ tv units.
Two relatively small reception rooms in The Armstrong Building are often used for presentations and after-dinner speeches. The university required a small system for local sound reinforcement and presentation audio that utilised a visibly discreet and unobtrusive loudspeaker system. One room would host the presentations, with the other acting as an overflow space. POLAR recommended a system based around Novasonar speakers. These flatpanel loudspeakers are integrated into original construction materials to transform walls, ceilings and furniture into sound reproducing surfaces, perfectly meeting the requirement for discretion.
Four Novasonar Dynamic 60 GK in gypsum plaster board (standard 500mm x 652mm) and two vibration-free Novasonar Boxer GK 100-2 subs were integrated into the walls of the rooms to achieve a completely invisible installation. The Dynamic 60s and Boxer subs were powered by Australian Monitor AM41P and AM22P amplifiers respectively. A beyerdynamic TG V50d handheld microphone with on/off switch was supplied for presenters and a Biamp TesiraFORTE AI AVB controls DSP, allowing content to be routed to and from the other venues in the building via Ethernet.
The wood-panelled Keeton-Lomas room is a Harvard style lecture theatre in the Armstrong building, used for lectures, presentations and conferencing. The university required a wireless microphone system with local sound reinforcement and program audio capabilities, able to hold video-conferences with other locations, including The King's Hall, utilising a networked high definition video system. As with the reception room, the loudspeakers were to be as discreet as possible. Each seating position was to have a desk microphone and its own dedicated sound reinforcement. Further requirements included USB output for lecture capture, a feed to adjoining seminar rooms, the capacity for using software codec such as Skype for conferencing and that the system could integrate with a VC system.
A beyerdynamic Quinta wireless conferencing system was chosen. Offering three frequency bands, Quinta can silently, seamlessly and automatically switch to an interference-free frequency, should the need arise. Its high level of wireless encryption provides protection against unauthorised listening and it offers straightforward, user-friendly operation. Quinta's control unit meets all the European Telecommunications Standards Institute's requirements and its numerous functions can be controlled and configured via smartphone or tablet pc. Whilst the Quinta system can be a portable solution, its storage cases acting as charging units, in this instance it was permanently installed, with each unit being powered by its own PSU. A total of 63 delegate MU31 and one MU33 microphones were supplied for the system, all employing beyerdynamic's Revoluto technology. This microphone array technology creates a much greater voice range than standard gooseneck microphones,with the result that delegates can be more relaxed about their positioning when speaking. Two beyerdynamic TG V50w hand-held wireless microphones enabled presenters to move around the theatre.
To complete the DSP picture in the Armstrong building two Biamp TesiraFORTE models were installed. A TesiraFORTE CI (with AVB) External Codec Conferencing Solution with AEC technology ensures superior conferencing audio and integrates directly with soft codec technologies via USB and a linked TesiraFORTE AI AVB enables the Harvard Lecture Theatre to join the networks in the other two venues.
To meet the local sound reinforcement needs, following the example of the reception rooms, Novasonar loudspeakers were installed. Four Novasonar high gain 60 PN mini speakers, specifically designed for integration with wooden materials, were used, along with two Boxer GK 100-2 subs, driven respectively by Australian Monitor AM41P and AM42P four-channel amplifiers. Once again, the installation was entirely invisible.
Stuart Leader, director of POLAR Integrated Solutions said: "The Armstrong Building at Newcastle University is now equipped with a flexible and fully integrated system that serves a wide variety of functions. Presentations in the King's Hall are now delivered with a level of intelligibility and clarity not previously possible and what's more, the content can be broadcast beyond the hall itself into the other venues. Content from the conferencing and presentation systems in each of the other venues can be similarly broken out across the installation. The project is an excellent demonstration of how POLAR's design expertise and product range enables us to meet ever-more demanding AV challenges with complete confidence. We're very proud of our part in working alongside Roche AV and the university's team to help deliver a first class solution."
The last word goes to Newcastle University's senior AV technician, Andy Ramsey: "The scheme was delivered on time and on budget by Roche AV. Although the install was not without its tricky moments – the nature of old, listed buildings will invariably create issues – project manager Craig Pickard's team worked diligently to deliver everything on schedule. The situation in the King's Hall is a massive improvement on what went before and it's now a great asset to the university. The two other areas more than met our expectations and have been extremely well received by end users. Working with POLAR is always a pleasure - they are quick to acknowledge requests and propose ideas or solutions in a non-pressured way. Stuart Leader is keen to arrange demonstrations or supply case studies and the after-sales support from the POLAR technical team has been invaluable."
6th October 2017
SGM’s G-Spots Endure Florida Climates at Orlando World Center Marriott
USA – SGM’s G-Spot LED moving head fixtures can be found poolside at the prestigious Orlando World Center Marriott hotel in Orlando, Florida. Enduring the Florida climate year-round was a main concern when choosing a product for this installation. The fixtures need to stand up to high temperatures, heavy rainfalls, wind, and humidity. In the summer, the temperatures regularly rise over 90 degrees Fahrenheit with thick humid air. SGM’s patented dehumidifier works consistently to keep all unwanted moisture out of the fixtures, making SGM truly one of a kind.
For the installation, K-System’s Mitchell Piper was contracted to put together an entertainment package that would suit the permanent “Light Up the Night” shows that was to take place over the pool area. The nightly spectacular has four rotating shows as well as unique holiday and special occasion shows. The shows originally planned to have only lasers, but quickly morphed into a spectacle that required moving heads, audio and more. Piper then reached out to his business partner, Ken White of Millennium Waves for assistance with the project.
Piper had not used SGM products previous to this installation, but had heard about them through friends and rental companies. After hearing about their IP65/66 ratings, he knew he could trust the G-Spots to perform under the extreme conditions. He claims: “The G-Spots were perfect for us! We needed something that could withstand the tropical environment. It was important to find a fixture that not only met all the needs of the project, but the fixture needed to perform, last and be functional in the installed environment. I don’t need to be in Maine wondering if fixtures in Florida are working!”
Lighting designer, Ted Dunbar, was equally impressed by the G-Spots capabilities giving the fixtures a “two thumbs-up”. When discussing what made the G-Spot stand out to him he stated, “Despite being rated for the outdoors, it behaves much like a regular indoor mover. The functionality was not jeopardised.”
SGM is also well known for their bright, yet very saturated colours that is unmatched in the industry. The G-Spots added a layer of depth to Light Up the Night by using gobos and effects that supported the laser based show. Dunbar concluded: “The LED output is impressive. It lit up a very large property, as if it were an arc fixture.”
5th October 2017
PixelFLEX LED deepens the impact at Cathedral of Faith
USA – In San Jose, California, the Cathedral of Faith has been providing powerful and encouraging worship services for its congregation since its inception in 1965. Believing in the power of multimedia arts to help convey their message, the technical team behind those services is asked to create the ideal worship environment each week. Knowing that they needed to renovate their production design with LED video to maintain a high level of creativity and performance, the church recently worked with Nashville-based PixelFLEX and installed a new FLEXTour 3.9mm LED video system.
“I initially looked at LED video technology about eight to ten years ago, but at that time it was too cost-prohibitive so we ended up installing and LCD TV wall for our worship design,” began Kurt Foreman, director of operations, Cathedral of Faith. “It worked well, but it had its limitations, and we couldn’t send a live video feed to it. As LED video has now become more cost-effective, we started looking at manufacturers that could meet the challenge of our HD cameras for the live IMAG video feed, and that’s when we discovered the FLEXTour system from PixelFLEX.”
FLEXTour is a robust, high-definition and curveable LED video display designed specifically for the high demands of live entertainment production. With its unique rigging capabilities that allow for traditional and off-set configurations, each 500mm x 1000mm tile is fully front-serviceable and its integrated climbing ladder allows for quick access to displays flown high overhead. Built with the highest standard in components including the new NovaStar A8s receiving card, FLEXTour is completely flicker-free making it one of the premier LED video design solutions available today.
“We saw that other churches have been using PixelFLEX technology in their worship designs, and they were actually the last manufacturer we looked at during our search for the right technology,” continued Forman. “Although they assured us their video screens would look great with our HD camera’s, when we saw their demo it was more than we could ever had dreamed, and the impact that it now has on our worship environment is amazing.”
Ready to move forward with PixelFLEX, Foreman knew the technical specifications and performance capabilities of the FLEXTour LED would be exactly what they needed, but he was a bit surprised at how easily it integrated into their existing system.
“Our FLEXTour LED video system is about 13-feet high and 26-feet wide in a 16:9 ratio, and we knew we wanted to be in the 3-4mm pixel range because we wanted an impressive finished design,” explained Foreman. “It was interesting, given the different manufacturers that came in, that the PixelFLEX system was the only true plug-and-play solution. It really didn’t take any time at all to get the FLEXTour LED video fully integrated it into our production environment.”
With the LED video system now ready to join the congregation, Foreman was excited to see how it would meet the challenge of the live HD camera feeds. Having already had a demo of the FLEXTour LED, he was confident they had made the right choice, and its performance certainly did not disappoint.
“We are currently using the FLEXTour as one massive wall directly centre stage in our worship design and it has exceeded everyone’s expectations,” added Foreman. “For playback, we are using ProPresenter and ProVideoPlayer, and for our live shots we have an HD 4A switcher with six Hitachi HD cameras. With the PixelFLEX system there is no moire, and it looks great due to its high refresh rate. It’s one thing to see a demo of the product, but when you get the full LED wall in your space, it’s amazing. The FLEXTour system really looks phenomenal.”
In a worship environment where the production team is dedicated to creating a dynamic experience, the introduction of the FLEXTour LED video would be wonderful addition to the services at Cathedral of Faith. Understanding how many people today live in an increasingly digital world, Foreman knew the LED video wall would only deepen the impact of the churches message.
“At Cathedral of Faith we have four weekend services and we put a big emphasis in using all the multimedia arts to present the gospel in an interesting and engaging way,” concluded Foreman. “The FLEXTour LED really helps us create a whole new level of immersion where the congregation is locked in with the worship leader. It really has provided opportunities for a unique worship experience, and it speaks to the relevance of the church in how we communicate the message to today’s generation.”
5th October 2017
Allen & Heath’s Qu Chosen for Korean Church Upgrade
Korea – Sungeun Church, located in Uijeongbu, a satellite city in Seoul, has selected a Qu-32 compact digital mixer, two AB168 remote IO racks, and a ME personal monitoring system from Allen & Heath, as part of a new digitally-based AV system upgrade to its main chapel. The new system needed to manage live sound reinforcement for services and events, multi-track recording for web streaming content, and personal monitoring for the musicians.
“The Qu-32 is intuitive, with plenty of outputs, great handling and quality faders and rotaries. The touchscreen is a good size and sensitivity, and gives a great overview as well as enabling fine control with a screen-dedicated rotary. And thanks to the custom layer function, you can assign fader strips as you want. I also really like the GEQ. Unlike other consoles, I can apply GEQ on every output channel, and there are 4 different EQ models in the library,” explains AV manager, Jongmin Lee.
As the Qu mixer is installed in a control room, Jongmin Lee uses the Qu-Pad iPad app to check monitor levels and room acoustics in the chapel. The two AB168 racks give flexibility to the musicians, offering simple and easy connection. The QU-32 also provides a 24bit/48kHz multi-track recording via DAW.
“The ME system’s set up functions and channel grouping is very easy and simple to use, and the sound quality superb, so the players are very satisfied,” concludes Jongmin Lee.
5th October 2017
High Tech Meets Warmth at Grace Church With CSD Group and Chauvet Professional
USA – Silvia Hatchell, the fourth winningest coach in women’s college basketball history and David Cutcliffe head football coach at Duke University have more than athletic success in common. Along with other sports figures like Coach Larry Fedora from the University of North Carolina, the two have participated in “Playbook How To Win In Life,” an inspirational series of videos from Grace Church. The professional quality productions are just one of the innovative steps that this North Carolina house of worship has taken to engage modern worshippers.
This commitment to being a relevant part of its members’ lives is clearly reflected in Grace Church’s new campus located between Chapel Hill and Durham in North Carolina’s famed Research Triangle. With its sweeping inwardly curved stage, gently arched ceiling, fanned seating arrangements, and state-of-the-art AVL system installed by the CSD Group, the inside of the church resembles a contemporary theatre or conference centre. Yet it still makes worshippers feel at home by projecting a sense of warmth and intimacy, thanks in no small part to the Chauvet Professional Ovation and COLORdash LED luminaires that CSD used to anchor the lighting system.
“This church is fully contemporary in style, but its leaders also wanted an immersive environment with a sense of transcendence,” said Doug Hood, President of the CSD Group. “The even warm white front and stage lighting we got from the Ovation fixtures makes it easy for worshippers to see the stage and connect to the people on it. When you look at a well-lit stage, you are more likely to become immersed in what you’re seeing.”
The CSD team positioned 12 Ovation F-165WW Fresnels and 16 Ovation E-260WW with 26-degree lenses on downstage truss for front washing and key lighting. A collection of 16 COLORdash Batten-Quad 6 linear fixtures is arranged along the front of the stage for low angle colour foot lighting.
Adding colour and warmth to the design are 16 COLORdash Par-Quad 7 fixtures, which were placed in each of the truss structures. In addition to serving as truss warmers, these fixtures enhance the room’s architectural features. “The truss warmers provide a sense of height to the room without full lighting,” said Adam Henderson, operations manager of the CSD Group.
The Ovation fixtures do more than crate an engaging environment for worshippers attending services at the church, they also enhance the quality of Grace’s video recordings. “This is a very forward-looking church and video is an important part of its outreach,” said Henderson. “We definitely had to light for camera. The good balanced white wash and natural looking warm white light we got from the Ovation fixtures was important.”
Versatility was also critical to CSD’s lighting concept for the church. Aside from having the flexibility to support contemporary and more traditional services, the lighting also had to work for the wide range of events that the church holds to engage worshippers. As the coaches who appear in Grace Church’s inspirational videos say, winning means never becoming complacent and always being ready to try new ideas. It is a lesson that this house of worship practises every day.
4th October 2017
Ashly Audio Digimix24 Digital Mixer Jazzes Up The Django
USA – The Django jazz club fires up every night in the depths below The Roxy Hotel in the Tribeca neighbourhood of Manhattan in New York City. An homage to the legendary jazz guitarist Django Reinhardt, The Django jazz club is like stepping into an underground time machine. Distressed paint offsets ornate moulding and classy tables and chairs, making The Django feel like an out-of-the-way gem in mid-century Paris. To complement its visual aesthetic, The Roxy invested in a state-of-the-art Meyer sound reinforcement system, to which A/V integration firm Essential Communications recently added an Ashly Audio digiMIX24 digital mixing console.
“The Roxy is our client, and they were in the market for a new live mixer for The Django,” explained David Schwartz, president of Essential Communications. “They wanted all of the functionality and processing power of a large console, but they didn’t have a lot of physical room to put it. The Ashly digiMIX24 is compact and packs a ton of features into a small footprint. However, Ashly was very clever in the design so that all of the functionality appears seamlessly. It’s uniquely powerful, but also uniquely easy to use. They will use its full power for jazz shows, but they’ll also use its ‘EZ Mode’ for meetings and other events.”
Ashly Audio, long known for building rock-solid amplifiers, signal processors (both analogue and digital), and user interfaces, actually started out in the early 1970s building live mixing consoles. Thus, in one sense, the digiMIX24 represents a return to Ashly’s roots. But in another sense, the digiMIX24 represents a very new development in Ashly’s catalogue. It leverages all of Ashly’s recent history building powerful DSP and intuitive user interfaces and brings it to a market that is often short on both. In a nutshell, the Ashly digiMIX24 will give The Django tactile control, a touchscreen with intuitive menu architecture, 24 inputs, 14 mix buses, 32-bit conversion and processing, dynamics, equalisation, digital effects, and easy scene recall.
In addition, the Ashly digiMIX24 comes with a free iPad remote control app. “The Django’s FoH engineer wanted to have the ability to walk around the club and mix remotely,” Schwartz said. “He wants to hear the mix from different perspectives; like looking at a work of art from different angles and under different lighting. You get a different vibe. He wants to make sure the mix is working from every vantage point.” Schwartz reports that the app connected with the digiMIX24 easily and reconnects reliably. Importantly, there is no detectable latency between changes made on the iPad and the mixer.
“I have lots of experience working with Ashly, and they’re always there whenever I need them,” Schwartz said. “That counts a whole lot with me. We almost never have problems with Ashly gear, but in the event that we do, they’ll have our backs. For example, we had an Ashly processor in place for a few years at another New York hotel and it recently started acting up. Ashly simply shipped us a replacement. That kind of service is worth a million dollars to me! I know I’ll get the same kind of support with The Django’s new digiMIX24.”