Project News Headlines
Doughty Engineering and Ridge & Partners LLP Set to Light Up the Famous BBC Mast at Alexandra Palace
Optocore and Broaman Make Moscow’s New-Look Luzhniki Stadium Ready to Host Fifa World Cup and Beyond
Tourflex Cabling Supplies Nearly 900 Metres of Cabling for Marjan Television Network Studios Lighting Infrastructure Upgrade
Alcons Pro-Ribbons Deliver FLIXCinema’s Platinum Quality
Indonesia – FLIXCinema is a new chain of Indonesian cinemas, designed to appeal to all audiences by offering a range of facilities aimed at different budgets. The Platinum Hall at the company’s first venue delivers the highest quality experience, which is why an Alcons CRMSC pro-ribbon audio system was chosen for it.
FLIXCinema was founded by Agung Sedayu Group, one of Indonesia’s premier development corporations, with its name based on the slogan Fantasy, Live, Innovation and Ultimate EXperiences. Its first venue is at the PIK Avenue mall, in the Pantai Indah Kapuk district of north Jakarta.
The five auditoriums, or halls, are labelled Silver, Gold or Platinum, according to the facilities they offer. The premium-priced Platinum Hall offers the highest level of comfort, featuring a premium lounge, fully reclining luxurious seat, soft blanket, side table and a USB charger for all patrons. Complementing these facilities is, of course, the very best sound and picture technology.
Kek Chung Sie (or KC) of Jakarta-based KC Sound was asked to design the Platinum Hall’s audio system.
“The Platinum Hall only seats 24 people, but they are willing to pay a premium price for the best movie experience and I felt they deserved nothing but the best available reference sound quality,” he says.
“At FLIXCinema, we believe that the ultimate movie experience is all about the best picture and sound; the rest, such as 3D or moving chairs, are just gimmicks,” confirms David Hilman, chief operating officer at Agung Sedayu Retail Indonesia (ASRI).
KC’s acoustic calculations showed that an Alcons CRMSC pro-ribbon system would deliver the ultimate sound experience for the audience. He specified a system comprising three CRMSCompact Cinema Reference Monitor System in bi-amp mode, 12 CRMSC-SR compact reference surround loudspeakers and a CB211slFV Larger-format shallow subwoofer system, with front vent for baffle-wall mounting. The system is powered and controlled by three Sentinel3 amplified loudspeaker controllers, plus an ALC2 with DDP Driver for the CB211.
“I was able to demonstrate to FLIXCinema that the CRMSC system offered the best solution and I was very glad they agreed, because it meant we could deliver the first Alcons Audio system to be installed in Indonesian cinemas,” says KC.
For a premium-priced experience, the equipment has to be the very best, a fact recognised by Yudho Rahutomo, cinema technology manager at FLIXCinema. “They are excellent speakers! Great dynamics, clean and clear, very crisp highs with no distortion. The sub-bass is also very full and impactful. The system was expensive, but worth having in our cinema,” he says.
“The customer feedback has been incredibly positive,” adds KC. “Every day Platinum Hall tickets are selling faster than any of the other halls, despite the fact that the ticket price is almost three times of the regular (Silver) hall. FLIXCinema has a policy of two tickets minimum purchase per transaction for the Platinum Hall, but no customer seems to mind. They all say that the quality of the experience is worth the money.”
“As a result of the Alcons CRMSC system, our customers have given us a very high satisfaction movie experience rating,” concludes David Hilman.
15th December 2017
Doughty Engineering and Ridge & Partners LLP Set to Light Up the Famous BBC Mast at Alexandra Palace
UK – Doughty Engineering has worked alongside property and construction consultants Ridge to provide a permanent lighting installation for the transmitter mast at Alexandra Palace.
Renowned worldwide as the birthplace of television, Alexandra Palace remained the major production centre for BBC television from 1936 until the early 1950s, except during the Second World War. While no broadcasts now take place from Ally Pally, as it is affectionately known, the transmitter mast is one of the most iconic landmarks in the north London skyline.
To celebrate the 80th anniversary of the first television broadcast, Alexandra Palace wanted to light up its iconic telecommunications mast and Ridge was on hand to provide its electrical engineering and lighting design skills. Andrew Selwood, associate at Ridge explained: “Working alongside Architainment Lighting, we came up with an outstanding temporary lighting installation, which lit the predominant side of the mast from base to tip in full glorious changing 'technicolour'. We used Doughty tripods and the system could be powered from a local 13A domestic socket and disconnected when the building was unoccupied.”
So successful was the temporary installation that Alexandra Palace asked Ridge to put a more permanent solution in place. Andrew continued: “The installation was restricted by a tight budget, the fact that the building is Grade II listed and the inability to fix through the flat roof. We agreed that the Doughty tripods, which had been used to date, were the best solution, but they were not rated for external use. Having researched the possibility of an off-the-shelf solution, I got in touch with the team at Doughty to see if they could lend their expertise to the project.”
Dan Phillips, project sales co-ordinator at Doughty, added: “Having talked through the issues with Andrew, we knew that the existing tripods worked and that what they really needed was a permanent, externally rated set of tripods to replace the temporary ones.”
Andrew attended Doughty’s offices in Ringwood, Hampshire with the proposed light fitting (weighing in at 26kg) and technical drawings supplied by the manufacturer to talk through the bespoke solution. The final fixings and mounting height replicated that of the temporary tripod and the two tripods were made to measure for the installation.
Andrew added: “This project presented us with both budget and timescale challenges, but working with Doughty has been a good experience from start to finish. The entire team enjoy their work and are passionate about what they do and their genuine interest in a small value order set our design team at ease. Doughty was immediately interested in working on this landmark project and that showed throughout the process. The tripods will be mounted in this month (December) when we will undertake final commissioning.”
15th December 2017
Helsinki City Theatre Expands Meyer Sound Systems for Total Aural Immersion
Finland – Located in Finland’s capital city, the Helsinki City Theatre recently upgraded its Meyer Sound systems for full immersive audio capability, adding dozens of new loudspeakers along with D-Mitri digital audio platforms complete with Wild Tracks multichannel playback and Space Map 3-D panning. The system in the 947-seat Big Stage was expanded to a total of 124 Meyer Sound self-powered loudspeakers while an appropriately scaled-down system of almost 50 loudspeakers was deployed for the 347 seat Small Stage.
This major new investment in audio technology reflects a commitment on the part of Helsinki City Theatre to stay on the cutting edge of sound design, whether for drama, Broadway-style musicals or experimental theatre.
“Theatre is a laboratory where you should try new innovations,” observes Eradj Nazimov, Helsinki City Theatre’s staff sound designer. “There is no right way or wrong way, as each show is new and different. Certainly this new investment expands the boundaries of what we can accomplish with sound.”
All 124 loudspeakers in the Big Stage system are individually addressable through dedicated outputs of the D-Mitri processors, allowing unprecedented control for creating immersive effects using Meyer Sound’s Space Map 3-D panning software. This capability allows simultaneous, dynamic movement of multiple sounds anywhere in the theatre.
At the same time, the new installation does not compromise on the fundamentals of contemporary theatrical sound. The main proscenium system employs the Broadway-standard A/B configuration, used by the theatre for decades, with two completely separate speaker systems to keep summing of signals in the acoustical domain. “The result is a much clearer and richer sound image,” explains Nazimov.
The primary system for the Big Stage is anchored by 18 UPQ-1P loudspeakers with bass reinforcement from 3 900-LFC low frequency control elements (flown as a cardioid array) and 1 1100-LFC element. The immersive surround system comprises 68 full-range Meyer Sound loudspeakers (28 UPJ-1P, 32 UPM-1P, 4 CQ-1, and 10 UP-4XP) plus four USW-1P subwoofers.
Design of the system was accomplished over a two year period, with Granlund Consulting’s Jan Holm collaborating with Nazimov and system integrator Studiotec of Helsinki. In the early stages of the project, Meyer Sound Director of System Optimization, Bob McCarthy, also contributed to the design.
Meyer Sound systems have been in continuous use at Helsinki City Theatre since 1986, when a complement of UPA-1 loudspeakers was brought in for an extended run of the musical Cats. “Product longevity and outstanding support are critical for theatre and these are two of the reasons we chose Meyer Sound,” says Nazimov. He adds that he is equally impressed with the linearity and freedom from distortion exhibited across the Meyer Sound product line.
A number of loudspeakers taken from the Big Stage have been re-purposed to enable an expanded, immersive sound capability in the Small Stage auditorium. Assisting in design for this venue was Josè Gaudin, European technical support specialist at Meyer Sound.
“Meyer Sound offers unbeatable cost-effectiveness when you look at purchases over the long term,” says Antti Murto, sales manager at Studiotec. “You find that you don’t have to renew the entire system with all new loudspeakers with each major renovation.”
Now equipped with what is quite likely the largest point-source distributed theatre system in northern Europe, Helsinki City Theatre is prepared to offer both local and touring productions the latest in high quality, immersive sound technology.
“When you’re building such a large and complex system, it certainly helps to take advantage of all the experience and expertise available,” concludes sound designer Eradj Nazimov. “We had almost daily meetings with Studiotec and the feedback was constructive on both sides. We had the opportunity to get the tools we wanted, and the results have been all that we had hoped for.”
The Helsinki City Theatre stages about 20 new productions annually with a total of over 1,000 performances on six stages. The theatre’s current building was completed in 1967 and expanded with an annex in 1989.
14th December 2017
The Birchmere Adds Flexibility to Rig with Chauvet Professional Maverick MK1 Spot
USA – On 4th April, 1966 a local bluegrass band stepped up to the makeshift stage at a small suburban Washington DC restaurant/bar called The Birchmere. Few took notice of it at the time, but their performance on that cold April evening marked the start of an American music hall legend, giving rise to a venue that would count Bob Dylan and Bill Clinton as audience members and play a pivotal role in the careers of stars like The Indigo Girls, Alison Krauss, Mary Chapin Carpenter, Lyle Lovett, Jerry Jeff Walker, Dave Matthews, Vince Gill, and k.d. Lang.
Gary Oelze, the Kentucky native who booked the original bluegrass band because he wanted to boost traffic at his restaurant, still owns The Birchmere. He still comes to work every night too, and he’s still open to new ideas for enhancing his business. This openness was very evident recently when he okayed a lighting system upgrade that features Chauvet Professional Maverick MK1 Spot fixtures, supplied by JR Lighting Design.
“Gary has never been afraid to make changes,” said David Beebe, The Birchmere’s lighting designer and director. “He’s moved the club to larger locations and continuously expanded into new musical genres. He’s always looking outward for ways to do things better, even though we are routinely in Pollstar’s top club listings for worldwide sales. He gives me leeway to do what I want with the lighting, so we continue to remain on the cutting edge.”
A key goal at The Birchmere when adding the Maverick fixtures was to enhance the flexibility of its stage lighting, so it could create immersive looks for a wide variety of performers. The venue hosts over 270 shows a year, covering virtually every musical genre as well as comedy. “Given the diversity of our acts and the frequency of performances here, we need fixtures that are flexible,” said Beebe. “I chose the Mavericks because they could give me everything I need, from nice textures to punchy effects. Of course, since we have such a busy schedule, it was also important that the fixtures be reliable workhorses.”
Beebe installed six Maverick MK1 Spot fixtures at the club. He arranged four of the units evenly across the upstage deck and has one positioned downstage left and downstage right. The fixtures fill a variety of roles at the club, from creating specials on performers, to upstage wall effect lighting, to aerial effects and audience lighting.
“We’ve gotten a lot of great feedback from visiting LDs on the Mavericks,” said Beebe. “They appreciate the high level of flexibility that enables them to get so many different looks out of only six lights. Everyone is also impressed by the brightness, but of course we have to dim the fixtures when they hit the audience.”
The Maverick MK1 Spot fixtures replaced six moving mirror fixtures that had been in The Birchmere’s rig since 2012. “We were happy with those moving mirror fixtures, but their power supplies have been dying,” said Beebe. “Mostly though, it was a matter of the Mavericks being so much better for our light show. The Birchmere has stayed on top for 51 years by always looking for ways to do things better. That’s one reason why I feel privileged to work here.”
14th December 2017
Renkus-Heinz IC Live A Great Fit for Historic Washington University Concert Hall
USA –Washington University in St. Louis' 560 Music Center was built in 1930 as the Sha'are Emeth Temple. Almost 50 years later, the Jewish congregation moved to a new facility. The beautiful old Art Deco building then became the home of the St. Louis Conservatory and School for the Arts, then the St. Louis Symphony Community Music School, which eventually joined with Webster University. Washington University purchased the 45,000-square-foot facility in 2005, renovated it, and reopened it in 2007 as the new home of the school's applied music programme.
In addition to faculty studios, ensemble rehearsal rooms, practice spaces, and storage, the building offers three performance spaces that accommodate anything from solo recitals to symphony orchestra concerts. The largest of these, the E. Desmond Lee Concert Hall, occupies the former Sha'are Emeth sanctuary and seats 1,115.
Recently, the E. Desmond Lee Concert Hall received a major upgrade to its acoustics and lighting, along with a new sound system featuring Renkus-Heinz IC Live Gen5 digitally steerable line arrays. "We teamed with architectural firm V Three Studios and with Conference Technologies, which sold and installed the job," reports Acoustical and systems engineer David Bick of McClure Engineering, which designed the new systems. "Volk Construction, the general contractor, managed the project and installed the acoustical work, and also deserves kudos for a very good job."
The hall's previous system consisted of a handful of stage-stacked arrays that were wheeled out on a cart and put on stage. "There were sightline issues, and it didn't cover some of the seating areas well," Bick recalls. The solution was a combination of extensive acoustic treatment and the new IC Live Gen5 sound system. To manage the acoustics without detracting from the hall's aesthetics and architecture, the team hung clear acrylic panels above the main part of the stage to redirect sound out to the audience and enable to musicians to hear each other onstage. Quadratic diffusers were also installed on the front side walls, along with diffusing and absorbing elements on the rear and rear side walls.
"The hall hosts a variety of events," observes Bick, "but it's primarily a concert hall for symphonic music, so we tuned it to about 1.8 seconds of reverb. They have some jazz and other acoustic music but the space was not designed for loud rock events."
The fan-shaped concert hall's many artistic flourishes include historic art deco glass windows and a 1,575 foot mosaic stage backdrop. Because aesthetics were mission-critical, the team didn't want to fly a classic array or point-source speakers. "It was important that the speakers have tight pattern and low-frequency control, which is why we went with Renkus-Heinz IC Live," Bick explains. "We were able to get more than we needed in terms of overall SPL, and a bonus was that most of the seats have a true stereo image, which is pretty cool."
For the mains, McClure Engineering's team specified a pair of Renkus-Heinz ICL-F-DUAL-RN steerable arrays, mounted to the left and right front edges of the stage walls. The IC Live Gen5 loudspeakers' steerable beams combine with the acoustical treatment to keep the sound on the audience and off the walls, windows, and ceiling. The hall seating is only about 60 feet deep, with a gentle rake, so the IC Live loudspeakers' ability to steer the beams away from the rear walls was especially important.
A pair of Renkus-Heinz IC212S-R subwoofers are hidden beneath the stage. "We modified an area underneath the stage and covered the openings with custom perforated metal grilles, which were painted to match the rest of the stage front to minimise visibility," Bick notes.
Although the beam steering and much of the EQ is done using the IC Lives' on-board processing, a Symetrix Prism 4x4 DSP manages the overall system using a Dante network to aid in the audio distribution. The university bought a new console, and the install team tested and integrated it into the new system. "There are some long runs, and it's an old facility, so it wasn't easy to get audio from point A to point B," allows Bick. "Using a DSP with Dante gave us a way to get clean, noise-free signals where we needed them and do a little more processing."
The IC Live Gen5 system and acoustic treatment has proven to be the right combination for the room. "The system sounds very good," Bick agrees, "and it looks fantastic as well. The Renkus-Heinz ICL-F-DUAL-RN arrays and subwoofers deliver clear, clean audio right where we want it, without detracting from the beauty of the hall. We give a lot of credit to our partners for the success of this project; everyone did a great job."
11th December 2017
Doughty’s Articulated Carriage ticks all the boxes for art gallery space in Taunton college
UK – Doughty dealers Chinnick Theatre Services experienced a ‘light bulb moment’ when they first saw Doughty’s new Studio Rail Articulated Carriage at PLASA, London, realising it was the perfect piece of kit for a job they were working on at Richard Hewish College in Taunton.
“We were approached by Halsall Construction in Bath and asked if we could quote for a lighting grid at the college,” explained Clive Chinnick, “We were sent a photo of the internally wired theatre grid that had been in place previously. However it was in a classroom setting which made very little sense to us. Then we were sent through the specifications for the project, and one of the requests was for a socket to be placed every 200mm. We realised we needed to visit the college to try and better understand their needs.”
On visiting the college, Clive discovered that the project had nothing to do with drama as he was assuming. Instead the lighting grid was required in an art block. The client wanted some frames from which students could hang their pieces of artwork with some lighting points, in a gallery style. The 8ft by 4ft frames would be fitted with panels and a hinged top that could be lifted, allowing the students to pin their artwork on the boards or to hang them on the grid and then position them. However they wanted to achieve this on either side of a walkway with the option of being able to push the panels completely out of the way.
A couple of weeks later, Clive attended PLASA and stopped by the Doughty stand where he was captivated by the new Articulate Carriage that was running around the periphery of the stand. “I had a good chat with Dan Phillips, Doughty’s project sales co-ordinator about how nifty this new piece of kit was. Having already identified Studio Rail as the means to hang the frames, this carriage could not only go around corners, it had an excellent brake on it and a higher weight loading – much better than the standard six-wheel carrier in this application.”
Clive continued: “Immediately I said to Dan “I want those”, to which Dan responded “We’ve only just launched them”. Dan said he could probably get us the 16 that we needed and he was good to his word. The frames went in on the 12th October and the entire system worked brilliantly first time. We’re really proud of this project and of course our client and the staff and students at the college are excited to have such a flexible gallery space for their course work.”
8th December 2017
PixelFLEX helps change the perception of worship at Shoreline Church
USA – Located in Destin, Florida, Shoreline Church has always tried to find creative and unique ways to share their message while changing the perception of a typical church. As their congregation has continued to grow, the church recently had the opportunity to continue their ministry vision with the renovation an old nightclub into a modern worship facility. Knowing they wanted to install the technical elements that would allow them to further the creativity of their worship services, they found a key component to their new design in a FLEXLite II 3.9mm LED video system from PixelFLEX.
“We have used LCD video projection in the past and recently while visiting the WFX Conference, I began seeing how LED video has now become a viable solution for the house of worship market,” began lead pastor Eric Partin. “Since we were in the process of completing a new building, we started looking at the quality of LED video over LCD projection. Before, it seemed that only the big churches with large budgets could afford LED video systems, but once we saw it was also an affordable solution for us, we decided LED video would be the best option for our new worship experience.”
FLEXLite LED from PixelFLEX is an economical and dynamic solution which provides both indoor and outdoor solutions ideal for any retail environment. With its bright, dense display and high refresh rate, FLEXLite tiles are calibrated directly out of the box to insure perfect colour and brightness, and its easy access back panels allow for simple on-site repairs without the hassle of removing the entire back of a tile.
“If we were going to try and use LCD projectors in the new space, it was going to create some problems as far as the throw distance, and space required for rear projection should we need it,” continued Partin. “When looking at LED video, it was much more effective due to its high-resolution images that were more clear and crisp. The projectors we currently had were older technology, so we were going to have to upgrade anyway, and when researching the benefits of LED over LCD, it was really no comparison.”
With the decision made to move forward with the LED video solution from PixelFLEX, the team turned their attention to the installation. In the renovation of the former nightclub, the stage would remain in place and provided the ideal location to create the focal point of the new worship design.
“Since the stage was already in place, we team installed a cross beam that holds the LED video wall in a top-hang configuration and then ran the Cat6 network cables to the back of the house which connect to the NovaStar links,” explained Matthew Metcalfe. “We love being able to use it as a more dynamic background for our worship environment with video clips, lyrics, and then also as a set design feature during our services and special events that occur each month.”
Now complete, the FLEXLite II LED video wall at Shoreline Destin measures approximately 16-feet high and 25-feet wide, but as with many congregations, the understanding of how to control the technology would fall mainly upon a team of volunteer technicians. Knowing they would need a bit of guidance to get started, PixelFLEX worked with the church to ensure their team could take full advantage of the creative possibilities of LED video.
“We don’t currently have a full-time tech director and when we first installed the wall, we were a bit challenged by what we knew technically,” concluded Partin. “We really relied on the team at PixelFLEX to help train our volunteers technicians on how to design with the LED wall, and it’s been a complete game-changer for our congregation. To have the creative potential of LED video, along with all our new production equipment, it really takes our worship services to a whole new level.”
photos: Hillary Vest
6th December 2017
White Light Up On the Roof at Southbank Centre
UK – Southbank Centre is a world-famous, multi-venue arts centre based in Central London. It’s a place where over 6.2 million people a year experience world-class art and culture that stimulates, inspires, educates and amazes. Southbank Centre’s Hayward Gallery recently commissioned renowned artist David Batchelor to create Sixty Minute Spectrum, an art installation which transforms the Hayward Gallery roof into a chromatic clock using dramatic colour. Having worked on numerous projects at Southbank Centre, White Light was approached to provide the technical solutions to make David’s design a reality.
David comments: “I have worked with Ralph Rugoff, the gallery’s director, in the past and he wanted me to create something spectacular which would be a fitting way to celebrate the reopening of the Gallery. It had to be something extremely vivid that would draw people to the building.”
To achieve this, David came up with the idea of a spectrum clock to showcase a range of colours over a certain period of time. He explains: “I wanted to use the gallery’s unique pyramid roof lights to move gradually though the entire visible chromatic spectrum every 60 minutes. Starting and ending the hour with a vivid red, I wanted solid colours to appear at different points throughout the cycle. In a city the size of London, there is so much competition visually in the sky at night. We needed something to truly stand out and solid colour is a great way to achieve this.”
With David’s concept finalised, WL was approached to provide the technical solutions. The project was overseen by WL’s systems design engineer Ian Davies and the on-site installations team was led by WL’s engineering manager Patrick Lockwood. Ian comments: “David’s chromatic spectrum had to be LED programmed in order for the colours to change consistently. He provided us with a diagram of how he envisaged the roof looking and we had to formulate a technical concept in order to achieve this”.
WL worked on the two roofs of Galleries 4 and 5 at the Hayward. Ian explains: “We initially had a demo running on site for three months on one pyramid to ensure we were happy with the output. Once we realised this offered enough brightness, we began with the larger install.”
WL lit up the perimeter of the Hayward Gallery roofs, by lighting 38 of the 66 individual pyramids. This, in turn, gave the appearance that the whole roof was lit up. The pyramids were fitted with 76 RGB LED battens which were created specifically for this project by WL. To control the fittings, WL installed a new equipment rack in the switch room along with two ISTL Thor 36 LED channel drivers to control the LED. Cabling was ran to the rooftop to feed the LED. The LED drivers were driven using a Pharos LPC2. All LED was driven in 16 bit mode to consistently deliver the various colours and ensure the fade transitions were as smooth as possible.
Ian explains: “With David’s design being so specific and dependent on timings, we had to supply a technical set up that was completely reliable.”
Following various site visits, the WL installations team spent two week on the rooftop to complete the technical install.
David comments: “I am absolutely delighted with the support of WL in helping to bring my design to life. We have created something dramatically striking with Sixty Minute Spectrum and it hopefully provides an exciting countdown to when the building officially reopens in January 2018.”
photos: Southbank Centre
6th December 2017
SGM’s P-2 LED Wash Lights in Light Installation at Royal Djurgården
Sweden – As part of an on-going light installation project, The Royal Court of Sweden added 100 SGM P-2 LED wash lights to Djurgården’s park entrance. In order to enhance the number of visitors during dark period of the year, the light installation will serve as a warm welcome, making visitors feel safe all year round.
“The plan was to give the surroundings around the entrance of Djurgården a bit of life and a more welcoming environment during the darker winter months. We also needed to be able to change the look throughout the year, creating something scary for Halloween, something cosy for Christmas, and so on,” said lighting designer Fredrik Jönsson, who also mentioned that it was a fun project to work on.
”During the planning process, we looked for a rugged, fairly small, fixture that would deliver most bang for the buck. That led us to SGM and the P-2 range,” said Jönsson about his choice of fixture.
“You shall still get the feeling of walking through a park, but one that doesn’t look like an ordinary park. The light installation should give you a warm welcome to the Royal Park, and it should give you the feeling that there is more to experience inside, guiding you deeper into the park and its many different attractions,” says Magnus Andersson, Warden at The Royal Court of Sweden, who underlines that the installation is aimed to be the beginning of a larger project.
Located in the city centre of Stockholm, Royal Djurgården has, for ages, been the most popular place to go for leisure and pleasure for both locals and tourists. For centuries, it has been open to the public, and today, the total number of visitors is estimated to be more than 15 million per year, exceeding the number of people visiting the Chinese Wall.
With Sweden’s infamous dark winters, most park visits take place during the summer months. Therefore, together with the amusement parks, museums, restaurants etc. in the area, the Administration of Royal Djurgården has planned a light installation to improve the environment around the entrance of the Royal Park. The idea is to let the colours change during the dark season, so visitors get a new experience each time, with more red colours and tones during Christmas etc. This makes the light installation, and the park, a true experience all year round.
“For the coming seasons, we hope to extend the project and add light to more sites in the park as well as work with different visual effects. We want to cooperate more with the different institutions in the park in order to illuminate, not only the greenery, but also our great number of beautiful and interesting historical buildings and monuments as well as sculptures and other pieces of art,” says Andersson.
The Royal Djurgården Administration has been responsible for the maintenance of the site since 1809-1810, and has made it a mission to make the park both brighter and safer, as well as more beautiful and exciting.
Using 100 compact SGM P-2 LED wash lights along the main road leading into the King’s island of Djurgården, the art installation is sure to make visitors feel captivated and welcome.
“We did look at other alternatives, but ultimately selected SGM’s P-2 for its much clearer colours and the small form factor, presenting a lot of 'bang for the buck' or 'light output per kilo', and the fact that it will withstand the climate. We were told that the fan in the unit can freeze without damaging it. We have tested that, and found it to be true,” said project manager Inge-Björn Mossige-Norheim.
Currently, two lines of trees on the main access road are lit up, and changes colour in a preprogrammed sequence. However, according to the lighting designer, the plan is to add both more lights and a control system that will enable more complex looks and themes in the future.
photos: Karolina Kristensson
5th December 2017
EZpro International Provides the Audio for Wuhan’s New World-Class Attraction
China – Zhi Yin Hao is an outstanding multi-dimensional live theatrical performance, created by the famous director and artist Mr. Fan Yue. The drift-style experience show is held on a steam ship that cruises the Yangtze River from its base in Wuhan City, China. A 1920s' styled steam ship and two piers have been built to recreate Wuhan during an era when it was China's second largest city after Shanghai. Wuhan was often called ‘Eastern Chicago,’ due to its cosmopolitan atmosphere.
EZpro International was responsible for the highly creative design, installation and commissioning of the audio and video systems, which deliver an immersive experience for the performers and the participating audience.
The two-year, RMB 400 million project was developed by the Wuhan Tourism Development Investment Group, together with Fan Yue. Determined to find the best audio system for the production, the director's team initially approached several different companies. The EZpro International team was led by vice-president Tao Zhang, who took on the role of chief designer. EZpro designed the first version of the system and rented a warehouse in which they built a 1:1 steel structure to simulate a section of the ship for proving and demonstrating the system. The director, composer and sound engineers were so impressed that EZpro was appointed and the project commenced.
As the show runs every day, reliability is crucial and EZpro designed a system combining Community, Powersoft, Symetrix, Allen & Heath, Apart Audio and Furman equipment, running on a Dante network with fibre optic transmission and full redundancy.
The show has three separate performance areas. Audience members enter the world as it was in Wuhan 100 years ago when they walk down a pier and onto a pontoon. From here they board the ship and become a part of the performance.
The pier and pontoon both have independent control rooms, housing Allen & Heath Qu Chrome consoles, Symetrix processors and Powersoft amplifiers. Thirty-nine Community IP55-rated R.15COAX loudspeakers are installed along the left and right sides of the 220m-long pier. The 140m-long by 20m-wide pontoon is equipped with 12 Community R.5COAX99 loudspeakers and four WX-218SDF subwoofers.
Based on the early 19th century boat, Jianghua, the ship is 120m long, 22m wide and 15m high. It has four decks with 98 cabins, a bar, entertainment area and a dance hall. The nightly shows involve different stories taking place on each deck. The design team used EASE to simulate sound leakage of the different zones and calculate the acoustic curtains required to achieve isolation between them.
Over 470 loudspeakers are installed around the ship, all powered by Powersoft amplifiers. To create an immersive effect without comb filtering, EZpro opted for stereo configuration throughout, even though this required more complex cabling and high amplification. Four Community D10 loudspeakers are installed on the first deck to cover the dance floor, while two levels of audience seating on the main and first decks are covered by 16 Community D6 and fourteen C6 loudspeakers respectively. The bar area uses sixteen D6 ceiling loudspeakers, with sixteen V2-28 loudspeakers around the main deck for surround effects.
The 98 cabins on the first and second decks each have a ‘window,’ created by using a Samsung LED TV displaying period scenes. Each cabin is also installed with a 2.1 audio system comprising two Community C6 loudspeakers and an Apart Audio CMSUB8.
The heart of the system is the main control room in the middle of the first deck. This houses an Allen & Heath dLive S5000 console, together with a dLive DM64 Mixrack of 65 mic/ line inputs. Two Mac Pro computers play multi-channel music and audio can be sent to any of the 114 channels using the Dante controller. Symetrix Edge modular processors are installed in equipment rooms on each deck.
With 108 actors performing the story of Wuhan, audience members can either watch or interact with the players in the dance hall, bar or between the aisles. The actors use Shure ULX-D wireless systems, with Countryman miniature capsules. Wireless antenna points have been set up to ensure the frequency isn’t lost as the actors move around the different performance areas of the steel ship.
The director required the sound of the pier and the pontoon to be consistent as the ship moves close to the pier. A wireless system is installed on the pontoon to receive the signal from the ship and connect to the Allen & Heath Qu Chrome console in the pier control room, synchronising the sound on the pontoon and ship. Two Community R2-77Z and two R2-94Z loudspeakers, together with four Community R2SUBDF subwoofers, are installed on the ship’s navigation deck to provide reinforcement for the pier as the ship gets close.
The director’s team and main investor continually sought perfection during the show’s creation. While the ship was under construction, the investor rented a warehouse in Wuhan and built a 1:1 steel model of the first two decks of the ship so that rehearsals could proceed.
Fully justifying its investment, its resolute attention to detail and the sheer hard work of all involved, Zhi Yin Hao is proving a world-class attraction that has played to a full house at every performance since its debut.
Tao Zhang, the designer of the system, commented: “Participating in this project has been exciting, but we also faced a lot of difficulties. The complexity of the entire sound system, the limitations of the construction environment and the uncontrollability of the acoustic environment were all enormous challenges. At the same time, it was a very creative project; in the process of continuous creation, the director’s team constantly comes up with new ideas and we needed to temporarily adjust the configuration accordingly, which demanded high flexibility from the system.”
Mr. Zhang continued: “Another challenge lay in the system stability, because Zhi Yin Hao performs every day. In order to ensure smooth performance, there could be no problems with the audio system. We achieved all signal channel distribution by multi-track playback and fixed microphone signal routing. Ultimately, with every effort by our entire team and the strong support of the director’s group, we have provided an excellent solution.”
5th December 2017
Optocore and Broaman Make Moscow’s New-Look Luzhniki Stadium Ready to Host Fifa World Cup and Beyond
Russia – When Moscow’s original Luzhniki Stadium was demolished in 2013 to give way for the construction of a new stadium, it was with the 2018 FIFA World Cup in mind.
At the end of 2015 a new tender document was drawn up on behalf of the principals, The Big Sport Arena Luzhniki, for the 81,000 seat stadium, with the technological requirements detailed by Moscow integration specialists S-Pro Systems, together with the German company Broadcast Solution.
Selected by the Russia 2018 FIFA World Cup bid as the venue for the Final, the Stadium will also be used as a heritage venue after the Championship.
At the heart of the new network broadcast transmission are some 57 Optocore and BroaMan fibre interfaces, designed in a fibre ‘star’ out of the ring topology, and supplied by Moscow-based distributor Audio Solutions. After the bid was accepted they became involved in the project as an S-Pro partner, with responsibility for equipment supply and warranty service management of the whole system.
They were able to demonstrate the advantages of producing a site-wide multi-node fibre transmission system and broadcast/multi-format links to the OB vans.
According to Igor Kovalev, who manages Audio Solutions’ pro audio department, “Optocore and BroaMan create a perfect synergy, providing an extremely robust optical network system for audio transport and auto routing functionality.
“Optocore I/O modules also have a wide working temperature range, which was one of the important criteria for choosing equipment for this project.”
The team responsible for the audio design comprised Andrey Matveev (S-Pro), Evgeniy Stepanenko (Broadcast Solution), Pavel Pyshkin (S-Pro) and Ivan Khizhnyak (S-Pro). S-Pro’s project managers were Sergey Manserov and Grigory Yurov.
The Optocore system was designed around two main nodes, firstly, Stadium patch panel room in OB Van area for multi-signal conversion to MADI. Various Optocore X6R-FX, X6R-TP V3R-FX and V3R-FX-TP converters were mainly fitted with MI (mic-in) and LO (line out) cards, while an Optocore M8-BNC allows OB Van MADI connection with additional feature of Emulation Mode to control on-site Optocore mic preamps directly from the Van’s console. Secondly, media control room, with a Yamaha 02R96 digital console equipped with an Optocore Y3R-TP Yamaha card, enabling it to work with Optocore’s proprietary SANE protocol.
Igor Kovalev said the system had needed to meet a number of objectives: to uplink the environmental bowl sound (the stadium crowd noise), with the Optocore modules bundled in the technical racks positioned around the playing field perimeter, to integrate with the intercom systems of the technical personnel (achieved by using Optocore’s dedicated V3R-FX-INTERCOM), to integrate with the stadium’s sound reinforcement system, to integrate with the stadium’s patch panel room, to integrate with the stadium’s media room which comprises all the multi-media signals, and finally to integrate with the commentator’s communication system.
With the Optocore systems widely distributed across the stadium, various tasks in terms of audio maintenance could be implemented with all events taking place (other than football matches).
To expedite broadcast requirements Audio Solutions turned to Optocore’s associate company BroaMan, which in turn harnesses the power of Optocore. Two of the new Route66 AutoRouters are stacked, with each fiber node connected independently through the Route66. “The combination of redundancy and ability to close the Optocore loop automatically when active devices are added or disconnected, are the main advantages of the BroaMan Route66 AutoRouters,” states Kovalev.
The installation also takes advantage of economies, for example the Optocore TP devices are separated and placed up to 50 meters above the main FX devices, resulting in the need for fewer FX devices and less fibre cabling.
The system, which conforms to all worldwide broadcast standards, has certainly met the approval of The Big Sport Arena Luzhniki and Igor Kovalev says that with the successful fulfillment of signal conversion and audio/data transport; with the delivery of pristine, low latency audio all objectives have been met.
“The great advantage of an Optocore solution is that there is no interference from power cable runs, perfect EMR isolation and it has extremely flexible functionality, with the ability to handle any audio transport tasks with ease, over long distances,” he concludes.
5th December 2017
Aalborg Theatre Chooses Robe
Denmark – Aalborg Theatre is in the heart of Denmark’s attractive fourth largest city’s old town area. Established in 1878, it has a rich and colourful history and is known as a ‘heavyweight’ on the Danish theatre scene. This long standing critical fortitude was further advanced with the arrival of Hans Henriksen as artistic director in 2015, who had several key objectives including one to make the production programme more dynamic, cutting-edge and accessible.
One of the ways in which he’s achieving this is by changing the scheduling to repertory style, with several productions running simultaneously in rotation over several weeks, and this fundamental shift in turn demanded a different approach to lighting.
The installation of Robe DL series moving lights has helped complex shows to be quickly and efficiently turned around: de-rigged, re-rigged and re-lit on demand.
Robe was selected primarily on the recommendation of three lighting designers working regularly in the theatre: Kasper Daugsberg, Stine Fumz and Matthias Hersland.
An initial purchase of five DL4S Profiles at the start of the 2016 season (September) was followed by a further investment of 13 DL7S Profiles in mid-2017. These were the first profile moving lights that the theatre has owned.
The fixtures can be moved between any of the three performance spaces: a 450 seater main auditorium, a studio seating 150 in different configurations and an experimental space that can accommodate 50 people. However, the DL7Ss so far have been used primarily in the main house.
“It was a big change becoming a rep theatre, and we needed an extremely flexible and powerful profile fixture in-house,” explained Kasper. Up until that point they had rented profile moving lights as and when needed.
There are plenty of drama productions on the schedule, so silence was a big issue with the lighting, and the DL7 scored high as it is extremely quiet.
Energy efficiency is a general concern in green-conscious Denmark, so the LED light source ticked all the right boxes there, thinking of the environment whilst reducing the power consumption and ongoing running costs as well as lower maintenance costs and no consumables.
They received a good introduction to Robe from Danish distributor Light Partner, and Mathias, who also freelances for different rental companies, had worked with Robe on a few other projects, although it was only when the DL4S Profiles arrived at Aalborg that he really started to get more familiar.
Kasper too had encountered Robe before working on other shows and liked what he saw, however they still auditioned a few other options before making the final decision to go with Robe.
Mathias likes the combination of size, silent running and other essential theatre features like the framing shutters, the quality optics and ultra-smooth dimming curve; overall, he thought it was a “refined and impressive fixture”.
When it came to looking at the DL7s, CRI was top of the agenda as well as the enhanced colour range available via the seven-colour mixing engine. Robe has been at the forefront of the more recent manufacturing trend of focusing on quality of light, and both Kasper and Mathias highlight the importance of having the wider colour spectrum and the subtleties of seven colour mixing in theatre.
Kasper and Mathias both comment on Robe’s famous reliability. In a busy rep house, it’s essential to have kit that works day-in-day-out.
Now he has had a chance to use the DL7 Profiles to light a few projects, Matthias thinks they are “amazing”.
Kasper adds: “They are an excellent performance / theatre luminaire”. The first production at Aalborg on which he used the DL7S’s was the iconic 1960s' rock musical Hair.
There was a substantial amount of video on this, and he was extremely pleased to have the scope to blend well with the colours and hues of the video content, and also that the fixtures were well bright enough to hold their own. He also commented that they are easy to work with and quick to programme.
Talking about Robe generally, he loves the fact that the manufacturer is always coming out with something interesting, new and “keeping way ahead of the market”.
photos: Allan Toft
4th December 2017
New Stage Management Desk for The Grand Theatre, Wolverhampton
UK – Stage Electrics have supplied a custom-built stage management desk to The Grand Theatre, Wolverhampton. Located in the heart of the Midlands, Wolverhampton’s oldest running theatre, The Grand, is an established theatre presenting a wide range of major touring productions every year. After their stage management desk of 20 years was no longer suitable for their needs, Ray Tizzard of The Grand turned to industry experts Stage Electrics for a custom designed replacement.
Stage Electrics’ Paul Lucas, liaised with The Grand to establish the requirements of their new stage management desk. Once specifications and drawings were signed off and an inspection of the existing infrastructure was undertaken, the Stage Electrics in-house team then went into production of the desk.
The facilities of the desk are a Theatre Cue 16 channel cue light master station, 12 individually addressable cue light outstations, four 8” flat screen video monitors, an Altair dual channel comms master station, dimmable LED task lighting, a bespoke control panel with control for show relay speaker, show relay muting, paging, a digital clock and stopwatch as well as a multicore cable to connect the new desk to the existing building infrastructure. The whole stage management system was built into a flightcase that cleverly transforms into a traditional SM desk shape.
This new stage management desk, was delivered by Stage Electrics’ own Steve Chappell who commissioned it to work with the existing building structure. The Wolverhampton Grand Theatre are ‘thrilled’ with this ‘major improvement’ to their stage management system.
1st December 2017
POLAR Supplies Largest Ever Wyrestorm AV over IP Solution at London Metropolitan’s Superlab
UK – London Metropolitan University came in to existence in 2002, with the merger of the University of North London and the London Guildhall University. In 2006 as part of an ambitious programme to make the university a leading choice for science students, London Metropolitan University invested more than £30 million developing a state-of-the-art Science Centre. At the time, the ‘Superlab’ as it has become known, achieved a host of firsts. It was the first open plan laboratory that offered the whole range of science to be carried out simultaneously at 280 work stations, the first educational lab to use advanced AV technology as a central part of teaching and learning, on its completion was the largest single UK investment in science education and was one of only two university labs to achieve a BREEAM excellent rating. This 8000m2 space thus offers exceptional teaching and research facilities and remains the largest and most advanced science teaching facility in Europe.
Ten years after its construction and in order to maintain the excellent standards it had set, the university addressed issues surrounding the Superlab’s legacy technology, which had over time, become less than fit for purpose, somewhat unreliable and as a result, very often unavailable. Many elements of the system were simply no longer serviceable. London Metropolitan University engaged with trusted partners Reflex to determine the most effective way to solve the problems and deliver a reliable, high quality system that could meet every requirement of cutting-edge science education.
The university wished to be able to simultaneously route and distribute video content from the Superlab's lecturer stations to any number and combination of its 268 science students. Delivering image-quality of the highest order was essential. Given that science experiments would be at the heart of the content, there could be no room for anything less than crystal clear video. Removing and replacing the lab's existing Cat5 cabling was not an option – the labour costs, time taken and disruption could not be contemplated – and so it was a further essential requirement that any scheme must work successfully using the existing cabling infrastructure. The Reflex team determined that an AV over IP system was the way to proceed and consulted with POLAR Integrated Solutions over provision for a solution using Wyrestorm NetworkHD JPEG2000 4K video over IP technology. This award winning electronics manufacturer produces high quality HD distribution and control systems at the forefront of digital technology.
POLAR Integrated Solutions have worked closely with Reflex on supplying a number of schemes, including a hugely successful project at The University of Hertfordshire, where Wyrestorm products delivered comprehensive video coverage to that institution's science centre. Reflex duly designed a Wyrestorm scheme for the Superlab and then in conjunction with POLAR and Wyrestorm, set about extensive testing to ensure that the existing Cat5 infrastructure would be able to handle the planned installation. Once testing was successfully completed, the scheme was installed.
Twelve Wyrestorm NHD-IPTX transmitters (one for each lecturer station) were installed to carry 4K HDMI signals from the source unit and encode them to JPEG2000 data streams. These streams are transmitted through the (already existing) Cat 5 infrastructure to 268 Wyrestorm NHD-400RX receivers assigned to each of the display units located at the student work stations. The streams are distributed through a group of Brocade 1Gb managed switches and are visually lossless. At their destinations the streams are decoded by the receivers back to HDMI for output to the display. The compression and decompression involved in the JPEG2000 technology, contrary to some misperceptions, does not degrade the image. Stream traffic is controlled by means of eight Wyrestorm NHD-000-CTL controllers, receiving IP commands from an Extron control system.
Stuart Leader, director of POLAR Integrated Solutions stresses the benefits: "The Wyrestorm network HD offers a superb, flexible and scaleable solution which is incredibly simple to install and operate. The installation at the Superlab amply demonstrates that there is no requirement for special cabling, it operates on standard Cat 5 and its scaleability means that there is no inherent 'waste' of inputs or outputs as may be the case using a traditional matrix system. In spite of the volume of tasks to complete and certain working restrictions related to the lab's availability, Reflex completed the installation smoothly and to the great satisfaction of the head of school. As video solutions and the great potential they offer, become more and more an intrinsic part of the wider education process, POLAR is witnessing an upsurge in demand for our products and expertise in this sector and Wyrestorm sits front and centre in what is underpinning an educational revolution."
William Jepps, managing director of Reflex added: “Superlab has been an exciting challenge for us. We worked closely with POLAR and Wyrestorm to come up with an extremely elegant and cost-effective design solution. The project was well managed and we’re very happy with the end result. The flexibility and efficiency of this teaching space is now truly fantastic. We have a great relationship with POLAR and it has been good to work together on such an illustrious project.”
Oliver Holmes, deputy director, technology and operations at London Metropolitan University added: “We knew our requirements would be hard to meet and spent a lot of time researching technologies. With our AV integrator, Reflex, we were really happy to find the Wyrestorm solution delivered by POLAR. POLAR helped deliver a proof of concept that blew us away; the image quality and ultra low latency of Wyrestorm made choosing technology simple. The system is flexible and scaleable, already providing a vast number of end points. We felt supported and guided throughout by a knowledgeable, expert team. We have jointly delivered a hugely successful project, which is already improving the student learning and teaching experience and will definitely contribute to successful student outcomes."
Once completed, the scheme at London Metropolitan's Superlab comprised the largest Wyrestorm installation in the world. In a space that is virtually the size of an aircraft hangar, the technology facilitates an incredibly cost-effective, flexible, time-efficient, teaching and learning experience. Whether for a single lecturer addressing every work station in the lab, or up to 12 simultaneously delivering content to any configuration of 280 students, the system is simple to use, reliable and delivers the highest quality of image. For students who will become the scientists of the future, access to such technology is not only invaluable but might be considered essential.
30th November 2017
Real Basílica-Santuario de la Vera Cruz Upgrades with Yamaha for Septennial Holy Year
Spain – Every seven years the Real Basílica-Santuario de la Vera Cruz in south-eastern Spain celebrates a Jubilee (or Holy) year. 2017 is such a year and, to assist worshippers during this special time, a new audio system has been installed, based on the Yamaha MTX3 matrix processor.
Located 70km west of the city of Murcia, the Real Basílica-Santuario de la Vera Cruz was established in the 13th century ago to honour the Caravaca Cross, a relic said to be formed of three splinters from the tree where Christ died.
The theme of each Holy Year is for worshippers to examine their consciences in the light of the gospel, reaffirming their lives away from negativity and towards good. Each Holy Year attracts many pilgrims, with Mass held three times Monday to Saturday and twice on Sundays and holidays. This year the ecclesiastical authorities decided to upgrade the sound in the basilica, adapting it to the modern demands of worship within a historic monument.
The original audio system was installed several years ago by Murcia-based Auvycom. The company has recently become a dealer for Yamaha’s installed audio products and quickly realised that upgrading the system with an MTX3 matrix processor would cure existing problems such as unwanted microphone feedback and low intelligibility.
With the MTX3 fully solving the issues and adding great flexibility to the audio system, the Basilica has been able to welcome pilgrims throughout 2017’s Holy Year, knowing that all will have the very best audio environment in which to celebrate Mass.
30th November 2017
SSL System T Hits the Stage at the Austrian National Theatre
Austria – The Burgtheater, the Austrian National Theatre, is part of a group of three Austrian theatres, together with the Wiener Staatsoper (Vienna State Opera) and the Volksoper Wien opera house, and is generally considered to be one of the most important German language theatres anywhere in the world. As part of a recent upgrade to its audio systems, the theatre has installed two SSL System T networked production systems along with a building-wide, redundant Dante Audio-over-IP network and SSL Network I/O. The system was specified by David Müllner (manager, Sound & Multimedia, Burgtheater), supplied by TSAMM Professional Audio Solutions, and installed by Klangfarbe GmbH.
Müllner started researching consoles back in 2012, looking for emerging technologies, technology trends, and workflows that might suit the theatre’s needs. The Burgtheater was an early investor in digital audio, and its previous digital console was nearly 18 years old by the time it was replaced, so the new system would have a long legacy to live up to. "As a repertory company, there is a different production on every day during our ten-month season," explains Müllner. "Those are chosen from a rolling repertoire of around 40 productions that include traditional drama and contemporary plays. We put on around 20 premieres during the year, all produced by us."
Müllner was especially interested in the SSL Live console range when it was released and says that, from a workflow perspective, he was "hooked immediately," though was ideally looking for higher path counts, and separation of control surfaces and audio engines. "I then found out about System T, a larger system with similar workflow to the live console, and based on the same core Tempest Engine, but with networked audio engine and control surfaces, and a huge capacity of 800 fully-processed audio paths."
For I/O, Dante had already made a big impact with Müllner, and so the native Dante capabilities of System T were another exciting prospect. "Twenty years ago, the old digital system already had 256 possible inputs and 256 possible outputs. We had decided that any new system should be at least capable of that. Of course, with Dante it's possible to have as many inputs and outputs on the network as you want. It gives me the freedom to develop an open-ended system so if we ever need more inputs and outputs, or a different monitoring solution, for example, I can plug anything in that speaks Dante. Almost every device coming on to the market now is Dante compatible, or has a Dante option available."
The Burgtheater currently has five SSL Network I/O SB 32.24 Dante stageboxes (each with 32 mic/line inputs, 16 analogue line outputs and eight digital inputs and outputs), four SSL SB i16s (16 mic/line inputs), and some additional output units from other manufacturers. The system latency across the whole network has been set at 1mS.
There are actually two separate System Ts, on the same network. The main system consists of two redundant Tempest engines, a 32-fader S500 control surface permanently installed in the control room on the first floor, and two T-SOLSA PC-based online and offline control systems, one with its own Fader Tile. The second system has a single Tempest Engine and a 'mobile' 32-fader S500 control surface that can be deployed anywhere in the Burgtheater.
Müllner explains that how they use these components depends entirely on that day's production. For some shows, the control room is ideal, though often for rehearsals the T-SOLSA system will be positioned in the auditorium behind the director. "I can do whatever I need to do directly on that console and when rehearsals are done I can move upstairs and do the show from upstairs without doing any file transfers or synchronisation." The mobile system comes into its own for more music-orientated productions, when there’s a distinct advantage to having the full control surface in the auditorium during the show.
In addition, because both systems are on the same network and share the same Dante I/O devices, the theatre can potentially bring both systems to bear on a single production.
Amongst the other System T features that impressed Müllner, the integrated internal FX rack the 'augmented' standard path processing, and discrete fade times for snapshot transitions stand out as particularly important: "For us, having integrated effects is new," he says. "It is now possible to store everything in the show file, load it with the show file, and store changes in snapshots. From a practical point of view this makes a lot of sense; the less external gear I have to use, the less we have to do to load and run a show.
"Also, having two dynamics processes available to a signal path is very useful. I often need a compressor and a de-esser in the same path for voice processing. That's something that was very difficult before."
The fact System T is one of the only products on the market where fade times between snapshots can be individually specified surprised Müllner. "The old console had this, but now only SSL and one other (partially) has this feature. This is very important for programming shows. A fixed time is not very useful in the theatre."
The last word though, goes to the sound quality. The improvement was something that the whole team recognised from the first tests. "It is clearer," says Müllner. "You have to do far less with the EQ.
"This is definitely a thing that is specific to SSL. It is like you are opening a curtain – the fog goes away. When you plug a mic in, it sounds right. When you touch an EQ it's much more precise. Even when using external effects there is an increase in the quality, hearing new detail in reverb tails is a great example."
29th November 2017
Straz Center gains time and saves power with Philips Lighting
USA – Philips Lighting has announced that the David A. Straz Center in Tampa is enjoying significant savings in labour and power costs after upgrading its TECO Theater lighting rig with LED products from Philips Entertainment Lighting's Showline range.
The second largest performing arts complex in the south-eastern United States, the Straz Center is home to the Patel Conservatory, one of the country's leading education facilities for theatre, music and dance. Because the 250-seat TECO Theater is used exclusively by the Patel Conservatory's education programmes, it is important for its technical equipment to be as up to date as possible. In addition, the technical team was looking for the benefits of flexibility, ease of set-up, low energy use and low maintenance offered by high-quality LED fixtures.
Joshua Young, technical manager for the TECO Theater, says: "Previously, we used large, heavy cyc light units. Each required four people to move it and three 2kW dimmers to operate. After renting some Philips SL BAR 640s for one of our lighting designers we were very impressed, so they became our first purchase. The biggest selling point was their versatility. The features allowed us to create visual effects on our cyc, which we had never been able to accomplish before. Another great benefit is that one person can move them."
He adds: "The SL BAR 640s produce an amazing variety of colour at higher intensity and use far less power. Our entire top and ground row now use less power than one of our old cyc light instruments. On average, each LED fixture we've installed replaces at least three traditional incandescent fixtures and three channels of dimming. That saving alone is enough to justify their purchase."
After evaluating various other LED stage lighting options, Young chose 16 Philips Showline SL Punchlite 220 fixtures. He says: "These 16 fixtures replace 48 575W Pars previously being used for top light. The SL Punchlites impressed with their ability to zoom and to produce multiple colour patterns from the same fixture. Also, their perfectly uniform output, with no hot spots helps to achieve seamless blending with adjacent lights."
Commenting on the time and labour savings, Young says: "The addition of Philips Entertainment Lighting LED lighting systems allows us to move from one show to the next much more quickly, and with far less labour required."
Grant Bales-Smith, general manager EMEA, Philips Entertainment Lighting said: "Our aim at Philips Entertainment Lighting is to provide real value for our customers, by making lighting instruments that not only produce beautiful light, but also help them and their businesses to work more efficiently. The Straz Center is an excellent example of how our product innovations can impact on the speed and flexibility of work, while reducing the costs of running a busy entertainment venue."
29th November 2017
Feeling the Energy at the Wärmespeicher
Germany – Eighty Anolis ArcSource 4MC LED fixtures were specified to illuminate the indicator for a new heat storage tank (Wärmespeicher) installed in the Drispenstedt residential district of Hildesheim in Lower Saxony.
The impressive 17.5 metre high by four metre wide structure which resembles a quirky piece of contemporary sculpture was designed by pape+pape Architekten from Kassel. It contains an internal cylindrical water feature which is illuminated by the ArcSources which are programmed to indicate how much of the energy generated from the nearby natural gas-fired combined heat and power plant (CHP) is currently stored and available for use.
The lighting installation was commissioned by energy company Energieversorgung Hildesheim (EVI) and the lighting design was imagined and delivered by locally based architectural lighting specialist SSP Design, with Matthias Schiminski and Henrik Nolte as the project’s lead engineer and designer.
When there is a lot of energy stored up and available for use to heat the nearby homes, the 20,000 litre water feature glows red. When there is less available, the colour gradually morphs through to blue.
EVI and the city’s planning and development department Gemeinnützige Baugesellschaft Hildesheim (gbg) initiated the plan which also involved the renovation of heating systems in 1,600 homes over two and a half years, at a cost of around three million Euros.
The new heat storage system ensures the highest levels of flexibility and efficiency by storing unused heat that is generated during the power production process, which is then available for later use when the demand is higher.
Drispenstedt local council was also a partner in the project, and one of their stipulations was that during the hours of darkness, the illumination should not be any brighter than the surrounding street and ambient lighting levels, and therefore not intrusive or distracting to residents.
Being right in the heart of a residential district, it was also imperative that the indicator structure was aesthetically pleasing in its own right, and something that Arne Heims, Mayor of Drispenstedt, could proudly describe as blending “seamlessly and attractively into the district, becoming a real landmark”. Lighting was essential for the achievement of this goal.
Matthias had specified Anolis for a previous project and found the products to be reliable and robustly built. He knew the flexible DMX controllability and super-smooth homogenised colour mixing of the ArcSource 1MC enabled via the multichip LED engine would be a perfect solution.
He explained that they also wanted a small and unobtrusive fixture and, in keeping with the new heating system deriving 90% of its energy from environmentally friendly means it had to be an LED.
The ArcSources are positioned back-to-back and vertically orientated on a series of special brackets that run up the height of the tower providing beautiful colour transitions.
The main challenge for the lighting installation was the time-frame.
The structure’s perforated exterior membrane was fitted over the quirky, uneven steel sub-frame only a few days after the construction of the tower was completed by a team from local specialist, Technik-Werft.
Due to its resulting interesting shape and multiple curved surfaces, which evoke horizontal layers of water, an amount of experimentation was needed to optimise the lighting.
The goal was to have a dynamic mix between light movement and even coverage, so several different angles were required to get the fixtures perfectly aligned.
The Anolis ArcPower drivers are connected to a port on the power generator control system, so they can receive the correct capacity and thermal data as related to the storage status, which is converted to DMX and then change the colour of the fixtures.
The shifting energy storage levels are an effect that people can watch in real time and this has helped the installation become the local talking point that was envisioned.
photos: SSP Design
28th November 2017
Balanced Input Upgrades Historic Cochran Chapel with Martin Audio CDD
USA – Mark Waker, owner of the New England-based integration and consulting firm Balanced Input, faced a variety of challenges for an audio upgrade at Phillips Academy Andover’s historic Cochran Chapel in Massachusetts.
In addition to two lines of large pillars that run the length of the building and obstruct the passage of sound, the Chapel walls have 10ft. high wood panelling running around the space along with the wooden pillars and pews, all of which contribute to reflectivity that can further impact audio reproduction. Fortunately, Martin Audio CDD12 speakers would help in providing a one of a kind solution to overcome these challenges.
Phillips Academy, a private boarding school founded in 1778 with a list of prominent alumni that includes former presidents George H. W. Bush and George W. Bush, originally dedicated the Cochran Chapel in 1932. The historic space underwent an extensive renovation in 1998 to expand the balcony and seating and add projection screens, but the audio coverage still fell short.
Discussing the recent audio upgrade, Mark points out: “The system had to provide superior audio for the wide variety of events held in the chapel, including school functions, weekly worship services for different faiths, weddings, concerts and recitals by high profile artists such as Yo-Yo Ma and Bobby McFerrin along with guest speakers like Spike Lee and Jane Goodall.
“Of course, the biggest challenge was overcoming the problems posed by the two lines of pillars which are such a huge obstruction the school had to install the large projection screens to the left and right of the altar so people in the side aisles can see what’s going on in the centre.
“That, plus the reflectivity caused by all the wood in the space further impacted the original sound system of large arrays installed on pillars toward the front of the space. The system fired right into the other pillars, causing a dead zone behind every pillar, and didn’t provide adequate coverage for the expanded seating area in the centre balcony.”
Mark had to design a new system that would expand the coverage so everyone in the chapel could hear the message; it also had to be virtually invisible to preserve the aesthetic integrity of the historic space and complement the projection screens that can appear and disappear at the touch of a button.
As he points out: “Usually, if you can’t see a speaker, you probably won’t be able to hear it either. It should line up with the listener at some point. After trying several different approaches, I realised the best way to go was something that had been tried before; installing the speakers high above the seating area inside the wooden archways at the top of the pillars. But that approach hadn’t worked ultimately because the speakers weren’t up to the task.
“Fortunately, Martin Audio had come out with the CDD12, the only speaker that could succeed in that particular application because the horizontal dispersion is wider close in the nearfield, and gets narrower as you move away from it. In addition to the unique dispersion pattern, the fact that it’s coaxial gave us a relatively small point source that fit the coverage we needed, which we couldn’t have done with a conventional 12” two-way speaker.”
To provide the coverage needed to the people behind the pillars, Mark divided the chapel into 12 specific zones, six on the left, six on the right, with a speaker dedicated to each zone. Each of the 12 zones has a CDD12 driven by one channel of a Martin Audio MA2.8Q amplifier with its own processing channel from the DX0.5 Loudspeaker Management System. Three of the amps drive all the speakers and each speaker is flown at about 32° up from horizontal and mounted with custom brackets.
In addition to the CDD12s, two CDD8s serve as outfill for the faculty seating at left and right of stage and two others are angled inwards as onstage monitors for the performers and speakers. Martin Audio C4.8T ceiling speakers are used for under-balcony coverage. The audio system also included the school’s re-purposed Yamaha 01V digital mixers along with Shure, Countryman Associates, Audix and Audio-Technica microphones.
As Mark sums up: “The faculty and AV staff at Phillips Academy are really pleased with the upgrade. They put the system to an initial test at an all school meeting. Their staff felt the system sounded spectacular with exceptional clarity throughout the space, and smooth, even coverage in what was a packed house. And everyone appreciates the fact that the chapel has not been visually impacted by the speaker system. It still looks the way it did when it was first built because the technology is virtually invisible.
“The best sign of approval came when the Head of School looked over and gave us a thumbs-up almost immediately after starting his speech, which definitely showed that we had succeeded.”
28th November 2017
Powersoft’s Ottocanali Drives One of the Largest Indoor Theme Parks in Europe
Ukraine – Four years in its construction, Ukraine’s impressive Lavina Mall has opened the doors to its vast 140,000 sq. m. shopping and leisure concept, the largest in the country.
Housed within and occupying a staggering 20,000sq.m is Galaxy Amusement Park, one of the largest indoor theme parks in Europe. At such a superlative destination reliability is at a premium. Dependability is the prime driver, and so the uniform and fail-safe sound coverage for the entire amusement park is under the steadfast control of Powersoft Ottocanali power amplifiers, specified and installed by integrator and Powersoft’s Ukraine distributor, MAG Audio.
A consistent audio soundtrack is integral to the amusement ride experience and at Galaxy this is distributed via a network of over 400 loudspeakers, installed at the 20 metres ceiling height and zoned around the indoor park and its attractions. Driving the audio across the vast space are just four Powersoft Ottocanali 4K4 power amplifiers, ideal for multi-zone locations and well suited to distributed systems.
Igor Sydorenko, MAG Store’s field service engineer, and the Lavina Mall project manager, responsible for project’s design and implementation, said: “In the end, the key factor for winning the deal came down to performance and price. The power capacity and complement of eight channels in the Ottocanali series saw the entire, huge, installation fitted with just four Ottocanali amplifiers. Other amplifier brands just couldn’t compete and integrators had significantly higher prices as they were forced to specify many more amplifier units.
“The tender specifications explicitly stated on-board DSPs and centralised remote control via PC over the entire sound system, so Ottocanali and Armonía were perfectly suited to meet the demands of the project.”
The Kiev Mall is set to attract a staggering torrent of 100,000-plus customers per day so is aptly named as, translated from Russian, ‘Lavina’, means ‘Avalanche’. Galaxy is uniquely positioned to entertain the visiting masses with its 20 attractions all specifically designed for indoor use. Not for the faint-hearted, however, Galaxy is home to Europe’s longest roller coaster which twirls in at a jolting 395 metres.
With ceiling heights of 20 metres in addition to its vast overall area, the amusement park’s dimensions presented considerable challenge. Equally, the noise generated by the moving attractions within the space was such that considerable SPL was required to cut through to deliver important messages and alarms, should the need arise.
Sydorenko maintains that delivering uniform performance in terms of sound quality and SPL over the entire area would have been: “…impossible without the remote control Armonía offers.”
He adds: “Also, with eight channels and great power in each channel, the installation was simplified using just four Ottocanali 4k4 providing all the necessary zone controls and SPL capacity.”
The Ottocanali series provides a wide range of functions for tuning, controlling and diagnosing the entire audio system. Fitted with the latest DSP to provide signal processing at new levels of innovation, including flexible routing and mixing via an internal input / output matrix, equalizers, delays and raised-cosine filters, compatibility with the Powersoft Armonía Pro Audio Suite reinforces its reliable control.
Armonía allows for remote control of the amplifiers via a Wi-Fi connection and as such, delivers essential freedom of movement, without which the management of a system on this scale, with speakers and audio cables installed at great heights across a vast area, would be impossible.
Using Powersoft Armonía, audio engineers and technicians can conveniently be at any part of the full system, controlling the system parameters with a laptop, tablet or smartphone. Furthermore, access to features can be controlled according to levels of competency. When the more complex feature sets, including filters, limiters and parameters are delivered these can be secured for access by skilled personnel only. Untrained personnel or technicians can perform essential actions such as volume-, zone- and full system-control, without fear of compromising more critical areas of control through accidental access.
28th November 2017
World’s first L-ISA installation gives Mercury Space Moscow a sound image clear enough to touch
Russia – Mercury Space Moscow is a 975-square metre, ultra-luxury, multi-functional venue located on the 40th floor of Mercury City Tower in the Russian capital. The owner of this new space, which has been designed for celebrity events and parties, wanted a unique sound system that would set it apart from every other venue in the country. When Sonoruss, L-Acoustics certified distributor for the region, suggested an L-ISA immersive audio system – the first Nightclub installation in the world – it was agreed that there was simply no other choice.
L-ISA, which stands for Immersive Sound Art, is a breakthrough in immersive audio technology, combining L-Acoustics’ industry-leading sound design and world-class loudspeaker systems with sophisticated processing tools to create a hyperrealistic soundscape at live shows.
“We introduced the venue’s owner to the new multichannel L-ISA system, using Kiva II and KS28 when they visited the L-ISA Lab in Highgate. We suggested that they could do the installation in two phases to spread the cost,” explains Igor Verholat, CEO of Sonoruss. “But he was so blown away by what he heard that he decided to have the complete system installed straight away. In fact, the trip determined the entire concept of Mercury Space Moscow.”
The installation was performed by Theatre Technique and Technology, with the Sonoruss and L-ISA teams providing support from initial consultations, through to the sound design and final calibration.
“L-ISA provides an amazing localisation of sound sources that immerses the listener in the sound space,” says Alexander Ananiev, acoustic engineer for Sonoruss. “It provides a hyperrealistic soundscape for the audience and gives sound engineers advanced surround mixing tools during live events, which is a big step forward from traditional two-channel sound systems.
"However, L-ISA can enhance the spatial impression, even when reproducing a conventional two-channel mix, because of the so-called ‘upmix’. For example, a DJ’s performance in this hall would sound spatially more enveloping, even with a two-channel source."
Since this was the world’s first nightclub to permanently install an L-ISA system, the project was directly managed from the headquarters of L-ISA,” says Igor. “During the installation, Sherif el Barbari, director of L-ISA Labs, trained all the engineers that will work with the system on a day-to-day basis. Calibration and tuning of the system were carried out by Sherif and Julian Laval, applications engineer fixed installs, L-Acoustics, and the Sonoruss team.”
The venue is an unusual, upturned U-shape, with the stage sited at the apex of the U. The final configuration of the system was designed with the aid of L-Acoustics Soundvision 3D acoustical simulation programme. The frontal scene system consists of five hangs of four Kiva II each arrayed across the front of the stage, with two SB18 subwoofers positioned one either side of the centre hang, and two KS28 subs ground stacked either side at the front of the stage. “This configuration provides the main power of the system,” says Mercury Space sound engineer Alexander Alperovich.
To complement the frontal system and provide even coverage across the entire space, surround speakers comprising eight X12 are positioned at the top of the walls on the sides and opposite the stage, while ten X8, five per side – two closer to the stage and three towards the rear of the venue where it is slightly wider – cover each of the U’s ‘arms’. The system is amplified by LA4X and LA12X amplified controllers.
“Having eight sound sources located around the hall allows a sound engineer to put a guest into the sound image as if the sound is enveloping him,” continues Alexander. “This means that even the most demanding engineer will be satisfied. Mercury Space is one of the most expensive halls in Moscow and very popular with high-end clientele and celebrities. Since the L-ISA system was installed, every visitor has had a great experience.”
" The sound image is so clear that you can almost touch it,” says Roman Ivanovski, who also engineers at Mercury Space. “It is fantastic!"
Such is the luxury of Mercury Space Moscow, it is the city’s most expensive and exclusive space. The L-ISA system has enhanced the feeling of exclusivity, producing such intense interest that it has instantly become Moscow’s most sought after venue.
28th November 2017
Tourflex Cabling Supplies Nearly 900 Metres of Cabling for Marjan Television Network Studios Lighting Infrastructure Upgrade
Tourflex Cabling has supplied nearly 900 metres of various length power, data and hybrid cabling all made to order, for a complete lighting infrastructure upgrade to the studios of Marjan Television Network which is one of the leading Persian-language broadcasters.
Marjan's programmes are broadcast to 25 million viewers across the globe, and include Persian-speaking versions of British household name shows such as The X Factor, Come Dine With Me and Spitting Image, as well as producing several hours per day of live output programming from its studios.
As part of a major upgrade of the four studios' existing lighting infrastructure to the latest energy-efficient LED lighting fixtures, Tourflex Cabling custom assembled to client specification, over 500m of various lengths of Tourflex Datasafe Ultra 1 pair DMX lighting signal cabling, fitted with Neutrik 5-pin XLR connectors. Tourflex Datasafe cables feature a toughened jacket for extra protection, and are manufactured and tested to exacting specifications, making them ideal for use on live television broadcasts.
In addition, the cabling service supplied over 250m of power cabling, custom assembled with Tourmate and Neutrik powerCON connectors, as well as nearly 100m of powerCON and Socapex extension cabling.
Tourflex Cabling uses high quality industry standard branded components, and has recently invested heavily in testing equipment so that each and every cable assembly manufactured in-house conforms to the high build quality that its customers require. In addition, it holds good stock levels to ensure a fast turnaround on large volume orders. The business makes a huge variety of power, data, video and audio cables, as well as cables for industry specific applications including HMI, MSR and BAC cables with specialist connectors for film and television.
28th November 2017
Ultrasound Production Studios Upgrades (Twice?) To Heritage
USA – An ASP8024 Heritage Edition console has recently been installed at Ultrasound Production Studios, a commercial venture owned by John Hanna and Joe Clapp.
Taking pride of place at the heart of the Massachusetts studio, the current Heritage replaced an ASP8024 which until then they were very happy with. “The Heritage has every upgrade I could ever want. It was like the designers read my mind. It was scary, I thought only my wife did that,” laughs John.
Citing everything from the auxes to the dimensions: “I feel like I’m on a big board with this console, yet everything is right in front of me and always in reach,” the layout, colour scheme and splittable EQ to 24 busses and the mic pre: “It’s natural. Pure – I like that.” He can’t praise the desk enough. “I have found that other than using my CAPI V28s and Dakings for certain tones, I am all ITB, meaning – In The Board!” He confesses:, “For me, the Audient is everything I need.”
Hanna is in fact an attorney, leaving the day-to-day running of the studio to Clapp. “Joe handles all the sessions and we have a few independent engineers,” he explains. An entrepreneur, audio engineer and musician himself, he also records his own material there. “At my age, it’s pure self-enjoyment. I love the studio; I still record and get into the gear.”
He certainly does. His 36-channel Heritage makes sure of that.“It’s inspirational. No limitations, no restraints. Just great clarity and honesty in sound, combined with tremendous ease and flexibility that inspires me when I work. That’s how I make a great product.”
He admits that the arrival of the Heritage desk has even sparked new ideas for the studio. “Everyone is looking for that something that makes them better,” he enthuses. Most recently he’s offered the space to a well-known cable TV company who are struggling with streaming and recording live band performances, with an audience in the soundstage room. “Using the Audient we can do everything from one console. I can have an independent house mix, monitor mix, video mix, radio mix, recording mix and so on. You tell me one other console in the industry that can do that with one person all in arm’s reach. It’s this console that made it that easy! Flexible, yet complex, yet simple. The possibilities are endless.”
Hanna is thinking big, and following the best advice he’s been given to date: “Try! Don’t be afraid to, and don’t ever stop.” He’s certainly not doing that any time soon. “This is only the second console I ever bought brand new. I love this console so much that I have told Paul Savasta at Odyssey Pro Sound [his local dealer who supplied the Audient Heritage] to get ready for a second order, as I plan to install it in my house!”
In picture: John Hanna, Joe Clapp and Paul Savasta behind the Audient ASP8024-HE at Ultrasound Production Studios.
27th November 2017
Jon Daggett and Iluminarc Pay Homage to History at Craddock Terry Hotel
USA – Something is afoot at the Craddock Terry Hotel. From the large shoe over its entrance, to the free shoe shines available to every guest, flourishes at this upscale hostelry celebrate its heritage as the site of what was once one of America’s largest shoe factories. Developers of the popular boutique lodging also honoured its past when designing its interior, evoking its original industrial character with exposed wood beam ceilings, thick stone walls and 9’ windows. Also accenting the building’s industrial roots, while at the same time giving it a distinctively modern flair, is the richly coloured light that washes its front columns, courtesy of Iluminarc Colorist 8Qa Panels installed by Jon Daggett of Castle Lighting.
Daggett positioned ten of the IP65-rated RGBA panels across the base of a 135’ section of the three-storey building to light the columns that separate its large 'factory windows'. Reaching up to the top story 32’ above the ground, light from the Colorist 8Qa Panels sets off the original design of the early 20th century structure, creating a sense of its scale and conveying its rock-hard power.
“The Colorist Panel 8Qa was a perfect fit for this project, because of its shape, footprint, and punch,” said Daggett. “We wanted a light that conveyed very rich saturated colours, given the powerful image that this building projects. The output of these fixtures is more than up to the task, and of course they’re outdoor rated. We replaced some older LED units that had been lighting the outside of the building with the Iluminarc fixtures for this project, and there was no comparison.”
Power was already run for the previous outdoor fixtures at the hotel, so Daggett and the Castle Lighting team integrated the Colorist panels into the existing outdoor-rated junction boxes. However, they did change the position of the outdoor units when installing the Colorist fixtures.
“The old fixtures were about four to five feet away from the building,” said Daggett. “We repositioned the Colorist panels at a distance of nine inches from the wall. Doing this allowed us to create real uplighting, rather than simply wash the building as was done in the past. Thanks to the throw distance and output of the Iluminarcs, we had no trouble making this design change.”
Another advantage of the Colorist 8Qa Panels is that they make it easy to change colours on the outside of the hotel to complement seasonal themes. In fact, the Iluminarc fixtures were initially installed to wash the columns in pink for Breast Cancer Awareness month.
“The colours change depending on the time of year and any special events that are taking place,” said Daggett. “Currently, we use the end fixture as the master and have the other nine units follow it, so setting the colour is done at the first fixture. However, we’re going back to installing DMX into the building, so the hotel will be able to control things from computers in their office, or we at Castle will remote in and program for them. With this being a brick building and a historic building, finding a path to get data out without disturbing any of the architecture has taken some thought and planning.”
The new DMX control functionality will not be the only change taking place at the hotel. Daggett is currently talking to the facility’s management about extending LED exterior lighting over the entrance awning lighting, as well as over the show logo and hotel name.
“We are discussing tying everything together with lighting,” he said. “The goal is to create a unified look that pays homage to the entire building, which is steeped in history.”
24th November 2017
Martin Audio CDD Equips New De Krook Building in Ghent
Belgium – The new De Krook building in the Belgian city of Ghent is described as “the inspiration for knowledge culture and innovation”. The initiative of the City of Ghent, Ghent University and IMEC the hub of the complex is a library for the 21st century supported by a full range of facilities, including IPEM’s ArtScienceLab. The facility has been designed as an open house for all citizens to use.
De Krook was designed by architects, Ghent-based Coussee & Goris Architecten and Spanish Catalan firm, RCR Arquitectes, to resemble a stack of horizontal plateaus. Martin Audio’s Belgian distributor, FACE, presented the successful technical bid for the AV fit-out for the ArtScienceLab, responding to a tender document issued by IPEM.
In proposing the Martin Audio CDD series for the Lab, FACE met the requirements for a loudspeaker with horizontal dispersion of 120° and high SPL from a compact enclosure, in order to reproduce live music and immersive sound research taking place in the Lab. The system, comprising 64 pole-mounted CDD6 (6.5") Coaxial Differential Dispersion speakers, is driven and processed by Powersoft amplification over a Dante network. Providing LF extension are four Martin Audio CSX118BF 18” compact direct radiating powered subwoofers.
The installation will also be used for wave field synthesis, a spatial audio rendering technique.
The new facility, set over 18,000 sq.m, will be used by the research groups for Media, Innovation and Communication Technologies (MICT of the Department of Communication Sciences), Culture & Education (Department of Educational Sciences), IPEM, and IDLab (Internet and Data Lab), all of which will be operating from there. Urgent.fm, Ghent University’s own radio station, also operates from there.
The technical installation was project managed by FACE’s Steven Kemland and Stijn Vermeiren.
Stated Bart Moens, from the Dept of Art, Music & Theatre Sciences: “Having now had time to make an in-depth review of the installation I must say how much I admire the result, which sounds and looks splendid. I want to thank the FACE team for their wonderful co-operation.”