project news
Project News Headlines
10/04/2012
Stage Technologies Around the World
Massive Energy Savings for US Theatre with ETC Selador
Oregon’s Portland Center for the Performing Arts (PCPA) has upgraded the lighting system in its Arlene Schnitzer Concert Hall with 36 ETC Selador Classic Vivid-R LED luminaires. And by installing the fixtures, the venue expanded its colour capabilities, reduced its energy usage and earned cash incentives from Energy Trust of Oregon to put toward the fixtures’ purchase.
Energy Trust offers cash incentives to commercial, municipal and institutional businesses throughout that state that upgrade dated equipment to energy-efficient technology. To qualify for the incentives, one requirement is that a new lighting installation must result in at least a 25% energy saving.
The Concert Hall’s aging battens were demanding an increasingly high level of maintenance. Appropriate light bulbs are no longer being manufactured, and the cost of upkeep kept mounting, so they were replaced with Vivid-R luminaires. While the battens had multiple 27A circuits per colour, Selador is only 3A and produce an unmatched range of colours.
Says house electrician Justin Dunlap: “I would predict that we’ll see an 85-95% consumption drop in power usage from the on stage fixtures, not counting the front of house lighting. Seladors have also taken over the PAR rig work, so all the areas that were previously PAR lit are now also lit with Selador.”
The theatre has 288 control channels dedicated to the Selador system. “I like the idea of having so many colours possible without having to have more fixtures,” adds Dunlap. “I basically built a grid on stage and can block it out for different lighting looks. I can use Selador as a wash for one big colour on stage, or I can pull them apart and light a violin as blue, white, amber, etc.”
Selador LED luminaires were developed to be an invaluable tool in a hybrid theatre, seamlessly integrating with traditional theatrical fixtures. “The light from the Selador fixtures blends really, really well with our other fixtures,” Dunlap explains. “The light output is beautiful and the deeper saturated colours punch so hard. Congo Blue is immaculate.”
While the Selador luminaires were initially intended to replace only battens, they have since taken over much more of the lighting work on stage. “The secondary lens set was a big feature,” says Dunlap, “because the Seladors can be used in so many ways. The variability of functions with Selador fixtures is well thought out.”
The lighting staff can also put the Vivid-R luminaires to work off the stage. The building that houses the Arlene Schnitzer Concert Hall was built in 1928 and features stunning Italian Rococo Revival architecture that can be highlighted by the Selador luminaires, with the Vivid-R fixtures uplighting the walls to bring out the intricate details. As Dunlap says, “The Seladors let you do more for architecture than a lot of other stage fixtures would allow you to do.”
In addition to the Selador Classic Vivid-R units, the Concert Hall has a full ETC lighting system that was originally designed by Theatre Projects, which includes an Obsession II lighting control console, five Sensor+ dimmer racks, SmartSwitch relays, an Emergency Lighting Transfer System (ELTS2), Unison architectural control systems for the front of house and backstage lighting, hundreds of Source Four spotlights, and 60 Source Four PAR luminaires.
Since the Selador installation took place, many large and small shows have benefitted from the energy efficient, rejuvenated lighting. According to Dunlap, “I can’t extol the virtues of the fixtures more. They’re rock stars. I can’t find any other luminair that’s more useful in so many applications, and the energy reduction is insane.”
In picture: The Arlene Schnitzer Concert Hall (photo: Jim Lykins) and house electrician Justin Dunlap with operations manager Jason Blackwell.
15th May 2012
Audica Professional’s MICROseries Helps Cure ‘Gate Anxiety’ at JFK
Regardless of where they’re headed, the most common affliction suffered by air travellers is ‘gate anxiety’ – the fear of straying too far from their departure area and missing an important announcement, or their flight entirely. Until recently it was a condition generally considered incurable, but with the opening of innovative, high quality restaurants such as Bar Brace and Croque Madame in JFK’s Terminal 3 it can be significantly reduced.
Developed by OTG Management, Bar Brace and Croque Madame are not your average airport restaurants. In addition to allowing customers to order directly from their seats via iPads provided on site, the award-winning eateries feature menus developed in collaboration with local chefs and offer passengers great food and an authentic restaurant atmosphere right at their gate.
To create that atmosphere, OTG depends heavily on custom music programming and state of the art Audica Professional MICROseries audio systems provided by NYC’s EL Media Group. "Airports aren’t known for good sound," says EL’s chief creative officer, Ernie Lake, "but it’s not just about the food for OTG. They’re very in tune to music, so we have to have incredible programming and incredible sound." The central problem in meeting that mandate is selecting a system that can provide high intelligibility in spaces that are typically large and extremely live, and will physically fit into a restaurant where space itself is very much at a premium.
Luckily, Audica Professional’s MICROseries isn’t your average sound system. Featuring Class D amplifiers and onboard EQ, Audica’s MICROzone controller/amp and MICROplus 4-channel power amp combination are compact enough to fit into a small cabinet at each restaurant’s point of service. They power two Audica Professional MICROdot ceiling loudspeakers mounted above the bar and four surface-mount MICROline loudspeakers placed around the perimeter of the space. To give really well balanced sound, a compact active MICROsub is used to extend the low frequency.
Owing to the system’s compact footprint, sonic clarity and sleek design, Audica Professional has swiftly become OTG’s system of choice for similar projects such as Bar Brace in LaGuardia’s Terminal D as well as Cibo Market and Revive Bar in Terminal F at Philadelphia International Airport. "The sound quality is great, but the speakers also blend in very well with the restaurant’s overall look, which is modern and bold," says OTG’s Justin Blatstein. "We really don’t have room to hang up large speakers, so to be able to get speakers of this quality and this size is very important – Audica just fits in perfectly."
Established in 2008 in an effort to offer custom designed audio solutions to complement their existing music styling services, EL Media Group’s installation arm provides audio design/install services for a variety of high-end hotel, restaurant and retail applications across the United States.
10th May 2012
Osram Illuminates 2012 European Football Championship
Osram will be installing the latest light technology in four stadiums for the European Football Championship, which is to be held in Poland and the Ukraine from June 8 to July 1, 2012.
The National Stadium in Warsaw is the absolute highlight. Osram will be supplying cutting-edge lighting solutions for the stadium façade, which is to be used as a gigantic screen. "In a stadium, a range of very different lighting situations must be catered to in a small space and these require individual solutions. This is where our competence as a full liner comes into play, enabling us to provide one-stop solutions," said Klaus-Günter Vennemann, CEO of the General Lighting Business Unit at Osram. Along with Warsaw, the stadiums in Gdansk and Kiev will also be equipped with light solutions from Osram. A further one is planned in Lviv.
The exterior façade of the National Stadium in Warsaw will be the high point of the Euro 2012. Some 1,700 LED luminaires from the Osram subsidiary Traxon will light up the shell of the stadium in Poland's national colours of red and white, creating atmospheric light that is visible from far away. "We have successfully transformed the façade into a giant screen on which we can display a range of light patterns, match scores and the names of players and goal keepers on the outside of the structure," explained Bogumil Stepan, managing director of Osram in Poland. The segments of the interwoven shell of the building are fitted with dimmable Linear XB 36 LED luminaires which are anchored by specially developed holders, permitting uniform illumination of the individual panels. Unique effects can be created
in combination with an intelligent light management system.
Innovative light technology from Osram is also to be used for floodlight illumination in Warsaw, where 450 energy-efficient, high-output lamps have been installed to light the pitch. The lighting system, which is being used in the European Championship stadium in Gdansk, too, complies with the requirements for HD-quality TV broadcasting, but without dazzling spectators in the stands.
The other country hosting the 2012 European Championship, the Ukraine, has also opted for light technology from Osram in two of its stadiums. Specially converted for the 2012 championships, the Olympic Stadium in Kiev can accommodate around 66,000 visitors and will be hosting the finals. Almost 30,000 high-output LEDs from Osram Opto Semiconductors have been installed for the illumination of the stairs in the entrance area and for decorative light design in the bar area. "With our LED technology, we are supplying energy-efficient, durable and safe lighting in the entrance area," said Nikolai Dianov, managing director of Osram in the Ukraine.
A total of around 2,000 high-output lamps, 3,400 energy-saving lamps and 1,300 halogen lamps from Osram have been installed in Kiev for the illumination of interior spaces and the outdoor area. Their high energy-efficiency and long service life will greatly reduce both costs and CO2. It is also planned to install LEDs from Osram in Lviv where they would provide architectural illumination for the European Championship stadium. Meanwhile, a total of 2,000 metres of the LED Linearlight Flex strip, with its low consumption and outstanding flexibility, should bring modern LED light to even the most secluded corners of the stadium. So Osram would illuminate every second stadium for the European Football Championship.
A competent partner in the Allianz Arena and in the illumination of sports events Osram's successful projects in this sector include the lighting for the Allianz Arena in the north of Munich, the home of the professional soccer clubs FC Bayern München and TSV 1860 München. The stadium is the first soccer venue in the world that can change the color of its entire façade – thanks to light technology from Osram and the Osram subsidiary Siteco. The stadium glows in red when FC Bayern München is playing, in blue when 1860 München is playing and in white when hosting Germany's national team.
After converting the floodlight system at the start of the current season, Osram will be creating distinctive, emotive lighting effects with advanced LED technology in the FC Bayern Theme World from mid-May 2012 onwards. The project involves installing a range of different LED components, intelligent management systems and OLED lamps throughout the Theme World.
Indeed, Osram already has an excellent track record in the field of large sports events. For instance, all ten stadiums which hosted the 2010 Football World Cup in South Africa were fitted with energy-efficient technologies from the light manufacturer. The best-known installation is the LED Arch which spans the entire stadium in Durban.
In picture: the façade of the National Stadium in Warsaw – the emblem of the 2012 European Football Championship.
9th May 2012
Doctors Hospital at Renaissance Acquires Robert Juliat LED Profile Spots for Teaching Auditorium/Conference Centre
San Antonio-based Spectrum Lighting Inc. recently sold 16 Robert Juliat 634 LED profile spots for use in the teaching auditorium/conference center at Doctors Hospital at Renaissance in Edinburg, Texas.
Doctors Hospital at Renaissance is a full-service medical and surgical facility providing healthcare to the residents of the Rio Grande Valley. Its teaching auditorium and conference centre is the site of continuing education for physicians.
Wrightson, Johnson, Haddon and Williams (WJHW) served as the theatrical consultant, system designer and lighting designer for the space with Texas Scenic the installing contractor. “Every fixture in the facility is an LED, so when we were looking for a fixture for front of house, Robert Juliat’s LED profiles provided a perfect solution over comparable products,” says WJHW’s Rene Garza. “We were looking for long life, smooth dimming and good quality of light. I was pleasantly surprised that the RJ 634 was able to provide the remarkably bright output required.”
The RJ 634 LED profile spot is the first product of its type to achieve significant output and framing/projection ability from an extremely low-powered LED light source. While retaining all the optical and operational features of other Robert Juliat profiles, the RJ 634 is the most versatile, cost-effective and safe fixture on the market. It features extra-long LED life, low heat output, a built-in dimmer, and sharp shutter and gobo projections. It offers a rapid and easy set up.
Robin Crews, lighting control specialist at Spectrum Lighting Inc., assisted in the decision-making process. “Everything I heard about the job indicated that RJ 634 was the right product to use,” he says. “The owner wanted to use primarily LED fixtures and something that was fairly theatrical because the space is a conference centre/auditorium with a stage area. The lighting fixture needed to be flexible enough so people could come in, focus a few lights and hold a conference or do a presentation. The beam characteristics of the RJ 634 were really ideal for this scenario.”
Rene Garza reports that the complement of the RJ 634 is “…working great. They are amazingly bright. The owner is very pleased with them.”
John R. Garza is the facility manager and Joseph D. Harris the technician at the teaching auditorium/conference centre at Doctors Hospital at Renaissance.
3rd May 2012
Hermes Music Lights Up Liverpool Façade with PR Lighting
Mexican distributors, Hermes Music recently supplied no fewer than 63 of PR Lighting’s PR8800 architectural fixtures to light up the façade of one of the Liverpool department store flagship sites in Villahermosa, in the state of Tabasco.
Named after the UK city of Liverpool, as a reference to the fact that in the 19th century much of the imported merchandise sold in the stores was shipped via the English port, Villahermosa is the largest of their 87 department stores.
Mexico City-based architectural firm Iñaki Echeverria constructed the dramatic façade from segments of precast concrete slabs that rotate at 180° angles. The pieces are each made of five segments joined together to total 16m to 20m in height.
Seeking permanent illumination to help animate the aesthetic with spectacular colour washes, Liverpool tasked lighting designer Joseph Charles Vargas Rubenak (from AGISA) with providing the best solution — and he turned to PR Lighting’s IP67 RGB colour-mixing fixtures.
Each PR8800 contains 108 x 3W LEDs (27 each RGBW) and linear colour temperature correction, — but it has a power consumption of just 350W at 220V and LED lifetime of 50,000 hours — thus it is extremely energy efficient. It also features 0-100% linear adjustable dimmer, 0-20 fps strobe, a field angle of 28° and beam angle of 14°.
The colour-changing lighting after dark provides an interesting mixture of different palettes, reflections and shadows to create an ever-changing image.
The Villahermosa store is located at the Plaza Altabrisa shopping centre, and Hermes Music’s lighting specialist, Ricardo Segura de la Cruz, described the illumination of new façade and signage as “a major success”.
30th April 2012
Frost Chicago Gives L-Acoustics KARA a Warm Welcome
For over two decades, Frost Chicago has served as one of the Windy City's premier event services companies. Providing audio, video, lighting, staging and fabric design for large-scale private events, social gala functions and Fortune 500 client productions, the company recently made the decision to invest in a full L-Acoustics KARA system.
Purchased through Clearwing Productions of Milwaukee, Frost Chicago's new sound system inventory includes 36 KARA enclosures, 12 SB18 subs, eight coaxial 8XT and eight 115XT HiQ systems, and four LA-RAK touring racks each loaded with four LA8 amplified controllers, plus an additional spare LA8.
"We are the exclusive vendor for production at the Field Museum as a special events venue," says Frost Chicago account executive Jonathan Bancroft, who has been with the company for seven years. "The Great Hall is a very large environment that can host anything from a 150-person dinner to 1,500 people. When making the decision to expand our audio offerings, we knew we needed something that could accommodate the wide spectrum of events there, so we immediately locked on to KARA for its size, power, fidelity and, obviously, the L-Acoustics name, which has such a great reputation. We use the system there all the time now and have always had superb results with it."
In addition to the Field Museum, Frost Chicago often stages events at Union Station's Great Hall and other impressive historical sites throughout the city. "In these acoustically challenging venues, KARA has really been a home run for us," Bancroft adds. "The ability to precisely target our audiences in Soundvision and keep audio off of the walls and other reflective surfaces has been the hallmark of what has made it truly successful for us. We're very happy with KARA and proud to be the first Chicago-based company to carry the product."
In the coming weeks and months, the company plans to deploy its KARA enclosures for an audience of 1,500 at the 12th World Summit of Nobel Peace Laureates, which will be held at the UIC Forum, as well as at the University of Chicago's 511th Convocation later this spring.
In picture: Frost Chicago's KARA/SB18 system in the Field Museum's Great Hall.
25th April 2012
Electro-Voice Powers Paging and Music for the Metro de Medellín with the World’s Largest NetMax Installation
Begun in the mid-1980s and brought online a decade later, the Metro de Medellín is the circulatory system of Medellín, Colombia, the country’s second-largest metropolitan area. Serving a population of over three million, the system averages more than 400,000 riders each day across 20 miles of lines – two light rail and three aerial tramways – that have a combined 34 stations. The multi-modal system also incorporates a new Metro Plus system of bus lines that feature dedicated roadways and a planned total of 21 elevated-platform stations.
For paging and platform music at all stations, Metro de Medellín has created the world’s largest integrated NetMax networked matrix system, with 57 Electro-Voice N8000 matrix controllers. The system-wide installation also includes more than 250 Electro-Voice EVID series ceiling loudspeakers powered by more that 150 channels of Electro-Voice power amps. The paging system is also equipped with 163 Telex WP-300S dynamic wall plate microphones.
Metro de Medellín’s paging and public address system was designed by Medellín’s own Almacenes La Cita in conjunction with Ambientes Inteligentes of Medellin, Colombia, and installed by Indra Sistemas of Madrid, Spain. “We were looking for a solution that allowed all audio to be transported via IP and that would provide programmable DSP capabilities at each station so that we could make adjustments to tailor the system for each different situation,” says Gonzalo Lizarralde, Technical Solutions Manager for Metro de Medellín. “NetMax gave us exactly what we needed.”
In use from 3am until midnight each day, the system handles announcements generated locally by station personnel as well as announcements from the system’s central control point, which could be for the entire system, an individual line, or a single station. “The paging control platform for the subway is very well-structured and functional,” says Juan Montoya, Regional Sales Manager for Electro-Voice. “And it’s an easy-to-operate system for all of the line and station operators, who must keep their focus on functions other than the audio system.”
In addition to paging, the system distributes Metro Music programming that is put together by Metro de Medellín personnel. A priority scheme allows centrally generated announcements to override local announcements, which in turn override each station’s ambient music. The system is programmed to automatically boost sound output by up to 6dB during heavy traffic hours to keep paging and music levels appropriate given increased ambient noise.
Music and those announcements that originate from central control are distributed via CobraNet and decoded locally by a CM-1 interface card in each N8000 300 MIPS digital matrix controller. Each N8000 is also equipped with an AO-1 8-channel analogue output card as well as one or more MI-1 8-channel analogue mic/line input cards.
For in-station sound reproduction the system includes 194 EVID C4.2 4-inch two-way coaxial ceiling loudspeakers and 58 EVID C8.2HC 8-inch pattern-control two-way coaxial ceiling loudspeakers. The loudspeakers are powered by 34 Electro-Voice PA4150L quad amplifiers that deliver 160 W per channel, as well as two CPS 8.5 8-channel amplifiers and one CPS 4.5 4-channel amplifier. Each CPS amplifier provides 500 W per channel and is equipped with an RCM-810 IRIS-Net remote control module.
The NetMax system is controlled by operators at the central control point via a user interface that allows visualisation of the system as a whole and easy selection of the lines, stations, or other locations to which a given announcement is to be delivered. “A big bonus for us is how easy the user interface makes it to program and use the system,” Lizarralde says. “We’re also very happy with the scalability of the NetMax solution, because the Metro is an ongoing project that will continue to expand more and more. Not only are we very pleased with the overall operation of the EV system, if we analyse it from a cost and benefits angle, we’re even more satisfied.”
20th April 2012
Meyer Sound Raises the Bar at Jay-Z’s 40/40 Club
The accolades are non-stop at New York’s recently renovated 40/40 Club, owned by hip-hop superstar Jay-Z and partner Juan Perez. As part of the multimillion-dollar renovation, a huge complement of Meyer Sound loudspeaker systems is installed throughout the 12,000-square-foot nightclub from the main floor and the VIP lounges to the bathrooms and hallway.
Fort Lee, N.J.-based JD Audio & Video Design (JDAV Design) handled design and installation of an A/V package that also includes four 3-by-3 video wall arrays—each measuring 165 inches—and over thirty 55-inch LED flat-panel HD monitors.
According to JDAV Design President Gabriel Karlis, 40/40 Club’s proprietors had previously installed a sound system that featured equipment from various manufacturers. “I kept telling them that Meyer is a much clearer-sounding system,” he recalls. “You can’t come close to the overall clarity.”
“Even out of the box, pre-tuned, the system was blowing people’s minds,” adds JDAV Design’s VP of engineering, Kevin Nellen. “Then we tuned it, and I was blown away individually, section by section. When we time-aligned everything and turned it into one big system, it was really pretty amazing.”
Perez is impressed with his customers’ response to the upgrade. “Both our clients and friends have been blown away with the clarity of the sound,” he says.
The main floor of the 40/40 Club features two UPA-1P and two UPQ-1P loudspeakers, five MM-4XP self-powered loudspeakers, two Meyer Sound 600-HP subwoofers, three MM-10 miniature subwoofers, and a Galileo loudspeaker management system with two Galileo 616 processors.
The mezzanine level houses two UPJunior VariO loudspeakers, three MM-4XP self-powered loudspeakers, three 500-HP subwoofers, and two MM-10 miniature subwoofers.
Upstairs are five VIP lounges available for private events, each outfitted with Meyer Sound equipment. The elit Lounge houses four 48 V, DC-powered UP-4XP loudspeakers and a UMS-1P subwoofer, while the Corzo Lounge features two UP-4XP loudspeakers, one miniature MM-4XP loudspeaker, and a UMS-1P subwoofer.
The Owner’s Suite and Player’s Lounge each include two UP-4XP loudspeakers and one UMS-1P subwoofer. Last but not least, the Jay-Z Lounge houses four UP-4XP loudspeakers and one UMS-1P subwoofer.
Even the bathrooms and hallway boast Meyer Sound in the form of six Stella-4C™ installation loudspeakers. And housed in the rack room are two more Galileo 616 loudspeaker management processors, as well as two MPS-488HP and one Stella-188 power supply units.
As for the club’s video, a Crestron DM-MD32x32 DigitalMedia matrix switcher provides control of the video wall arrays and flat-panel monitors.
“It’s a very complex system,” says Karlis, “but with all its capabilities, it ended up being very simple for the end user.”
19th April 2012
Lab.gruppen Revitalises Ted Mann Concert Hall Sound System
With the addition of Lab.gruppen C 48:4 amplifiers at the University of Minnesota’s Ted Mann Concert Hall, the U of MN School of Music has dramatically improved the clarity and quality of sound within the venue.
Dedicated in 1993, and located in Minneapolis, MN’s West Bank Arts Quarter, the 1,126-seat theatre/concert hall is a multi-purpose venue, hosting lectures, School of Music ensemble concerts, performances and master classes by the likes of the Lincoln Center Jazz Orchestra with Wynton Marsalis and others, as well as a various community events. “Because we need natural sound at both low and higher volumes, for both speech and music, subtlety is key,” says Phillip o’Toole, U of MN music department technical coordinator.
In 2009, o’Toole noticed ‘a scratching sound’ coming from the hall’s ageing custom made centre cluster. “It was only noticeable at low volumes,” he says. “I thought the PA had a bad driver, so I flew in the cluster and combed through every component – which is quite a chore – but couldn’t find it. Turned out it was a bad amplifier. When I hooked up eight channels of Lab, it sounded amazing. It just came to life.” In summer 2011, o’Toole added another four channels of Lab.gruppen. He intends to replace the system’s remaining amplifiers with Labs as soon as funds become available. “I often joke about dumping water on the older amps,” he adds, laughing. “If they fail, we’ll have to replace them.”
Swapping out six of the pre-existing amplifiers with the C 48:4s allowed o’Toole to consolidate the venue’s amps in one rack. “They’ve saved a significant amount of space and installing them was easy to do. The phoenix connectors really lend themselves well to a permanent installation application.” Currently, the new C Series are driving Ted Mann’s custom loudspeaker array and the venue’s, four-box, stereo, main floor speaker system.
Beyond having the system re-tuned by Minneapolis-based, Audio Logic Systems, nothing else has changed, O’Toole explains, adding that his choice of Lab was based on his use of the product during an install at the 2009 Minnesota State Fair. “Once I had that experience I knew I wanted them for our space, and the interesting thing about this is that we’re using the same speakers, processing and console; we’ve only swapped out the amplifiers and I’ve noticed a marked difference.”
Phillip O’Toole has been the lead sound engineer and production manager at Ted Mann Concert Hall for twelve years and has advised the U of MN Music Department on all equipment purchases and installations at both the venue and the Music Department’s main building, Ferguson Hall. Over his twenty years in professional audio, he has split his time equally between live production and recording and has recently begun doing sound design for local theatrical productions.
19th April 2012
Natural History Museum of LA County Opens New Dinosaur Hall Featuring Audio, Video and Interactive Displays Installed by Electrosonic
Visitors to the Dinosaur Hall in the Natural History Museum of Los Angeles County experience the wonder of the prehistoric creatures in a totally new way with innovative exhibits featuring audio-visual systems provided by Electrosonic.
Twice the size of the old galleries, the recently-opened 14,000 square-foot Dinosaur Hall displays specimens – including the world’s only T. Rex growth series of baby, juvenile and adult skeletons – mounted on unique platforms and preserved and articulated using modern methods. The skylit L-shaped Hall is flooded with natural light; a glass-sided mezzanine runs along the short side of the L where additional wall-mounted exhibits reveal more about the amazing creatures and show what it’s like to find fossils in the field and study them in the lab. Electrosonic was responsible for the design, engineering, fabrication, installation and programming of the Hall’s audio, video and interactive displays.
Electrosonic’s design consulting team was approached by museum project manager Jennifer Morgan and asked to develop an AV system design that would subtly support the new interpretive material. “In the Hall, the dinosaurs are the stars. You don’t want to compete with the T. Rex – people are there to see the bones,” says Electrosonic design consultant Steve Coe. “The museum was looking for small, high-quality systems, not over-the-top AV.”
Electrosonic project manager Steve Calver explains that: “Each touchscreen panel in the hall is implemented in a slightly different way to support its exhibit. Some stand alone, some are built into the wall or embedded into the bases of the platforms. Each proved a challenge in terms of where to locate the equipment required for it.”
“The AV interactives for the dinosaur specimens are integrated into the bases that support them,” says Steve Coe. Electrosonic was charged with mounting rugged ELO touchscreens into the bases’ access panels so visitors can review graphic panels and interactive videos created by Unified Field to learn more about the bones.
Electrosonic was also challenged to build the interactive computers into the bases, which minimized the use of extenders that would have been required if they were located in the third-floor equipment room. “It was more efficient and reliable to hide the content players in the exhibit than position them in a remote location,” says Coe.
When visitors walk past the Triceratops and the 68-foot Mamenchisaurus in the new Hall, they encounter a 15-foot wide front projection screen suspended about nine feet above the floor. Its looped “Investigating Dinosaurs” video describes the hunt for the prehistoric creatures. Electrosonic chose a Christie HD10K-M series projector for the display with Medialon playback and fiber optic connections from the players to the projector. A pair of Renkus-Heinz speakers is located behind the screen.
“The challenge for this display was how to project from the ceiling-mounted Christie over the neck of the Mamenchisaurus and onto the other wall,” says Coe. “It was difficult to figure out, and we only cleared the neck by a few inches.”
Below the projection is a 43-foot Fossil Wall showcasing 100 diverse dinosaur specimens. Two ELO touchscreen kiosks from Electrosonic were positioned in front of the wall to allow visitors to explore each bone and zoom in and rotate some of them 360 degrees on the screen.
A five-screen ribbon of 40-inch Samsung LCD monitors on another wall is hung at head height. Five Medialon MIP HD players in the equipment room are synched together to display edge-blended content across the screens or five discrete images.
The mezzanine level features a number of exhibits with AV components. One display about the structure of dinosaur heads has an interactive touchscreen in its base that enables visitors to simulate dinosaur calls thanks to a compact, flat Innovox full-range speaker. “Its low-end range is different from speakers we specify for dialogue,” says Steve Calver. “The dinosaur calls, which scientists can approximate based on the way air travels through the skull, were in a much lower range than normal animals.”
A multi-touch screen, which can handle 32 simultaneous touches, is positioned alongside an exhibit of excavation tools. Its table-style configuration, made by CyberTouch with PQ Labs’ infrared touch technology, allows groups of kids to assemble and play a game that simulates a dinosaur excavation. Several wall-mounted 46-inch Samsung LCDs with ceiling speakers display content supporting nearby exhibits.
Electrosonic supplied Dell computers for the interactives and implemented BSS London BLU audio signal processing; Medialon Showmaster show control connects to all AV points.
The exhibit design was by Evidence Design. Fabrication of the entire exhibit was awarded to Lexington Design & Fabrication, whom Electrosonic was contracted with and has worked with on many projects over the years. The project manager for Lexington was Howard Smith. All interactive media programs were created by Unified Field, another firm whom Electrosonic has a strong working relationship with.
Although Electrosonic Design Consulting became involved in Dinosaur Hall in August 2010, fabrication and equipment orders didn’t begin until April 2011 for the Hall’s July opening. “The big challenge was working with other vendors on the sequence of events so we knew what equipment to bring on site,” recalls Calver. “So much of what we did integrated to what was designed and fabricated in place. We needed to be able to evolve with the exhibits as they were built.” In the end, a successful integration was realized due to thorough design documentation and an experienced working relationship among Electrosonic, Lexington and Unified Field.
Steve Coe reports that the new Dinosaur Hall has been “packed” with visitors and that there are long queues to get in.
Electrosonic’s Peter Alexander served as project engineer for the Dinosaur Hall ensuring that everything was well coordinated on site; he also handled Medialon programming and calibrated the touch panels.
19th April 2012
Red Sox Spring Training Takes a Step Up with Community
For sunbirds and residents of Arizona, Florida and other warm-weather environs, baseball’s spring training is a special treat. It’s a time to catch an intimate pre-season game and view a team’s favourite and newest players, in a casual, up-close and personal environment.
Boston Red Sox fans are particularly pleased these days, thanks to the opening of the new Jet Blue Park in Fort Myers, Florida. The 11,000-capacity venue is a striking bit of architecture that affords great views from virtually every seat in the house, and excellent sound thanks to a high-end audio system that includes a selection of Community WET and R-Series weather-resistant loudspeakers. The audio system, designed by WJHW’s Gary White and installed by Jupiter, FL-based Peerson Audio, was a relatively routine project, though as Peerson’s President Allen Peerson explains, the new venue’s architecture presented a few minor challenges.
“The asymmetrical roof covering the seating areas is ornamental, rather than structural,” he says. “It’s designed to be a sun shade. So we had to go above the roof and rig the loudspeakers to the structural steel instead. That meant working off the warning track with a lift to install them 80 to 85 feet high.”
Needless to say, that height also affects coverage patterns, all the more critical in spring training venues. “Unlike modern major league stadiums, spring training parks are typically located fairly close to residential areas,” says Peerson. “Achieving a tight coverage pattern is important in keeping the sound away from neighbouring homes, and the Community WET Series offers an excellent coverage pattern. We did a pretty good job of it – even out in the parking lot, it’s pretty quiet.”
Audio for the main covered seating area is provided by a selection of 39 WET W2-228T loudspeakers, with a single R1-66Z and R2-52Z loudspeaker firing out into the bleachers and berm areas. Crown CTs-series amplification powers the system, and Biamp Audia units handle system drive and processing.
“South Florida gets quite a bit of extreme weather, including wind, rain and monsoons,” says Peerson. “The WET and R-Series loudspeakers also offer outstanding weather resistance, making them an excellent choice for this project.”
18th April 2012
DVA T12 Entertain Tigers on Aircraft Carrier Cruise
It's not often a sound company is asked to specify a full PA system and backline for a US Navy aircraft carrier, let alone to look after it on its cruise from Hawaii to San Diego, but that's exactly what US audio providers Mambo Sound and Broadcast Support were tasked with last month, and they chose dBTechnologies for the job.
Specifying the light but powerful DVA T12 line array was not a difficult decision for Mambo Sound's Steve McNeil. “Our friends at Broadcast Support already have a DVA T4 rig, so we knew it was reliable. It also needed to be light weight to keep the freight costs down,” he explains. “We flew the whole sound system to Hawaii, took it to Pearl Harbor and craned it on the USS John C Stennis active aircraft carrier, then craned it off again in San Diego seven days later.”
The main PA comprised six dBTechnologies DVA T12 active 3-way line array modules, three either side and controlled by RDNet. These were ground stacked on top of two DVA S20s each side, the dual 18” subwoofer which delivers 2000W of performance and ideal in this DVA set up. “We brought eight T12s with us, but they were so powerful we actually only needed six,” says Steve.
“As the ship was to be in the middle of the Pacific we could not fly the PA, so it had to be stacked and strapped. At one point we had 30 foot swells! The hardware supplied was easy to use and versatile, and we were able to bend the stack by 3 degrees. The system sounded smooth and open - even stacked. Area fills were handled by DVX D15s, whilst DVX DM12 and DM15 looked after stage monitoring. “Since the ship was a working vessel, we had to set the stage on horizontal plane. We relied on the area fills to get the sides and edges. It worked great. No complaints.”
The US Navy provides sailors with a 'Tiger Cruise' as a reward for excellent service. A select group of crew are allowed to bring friends or family members on to the ship for a 'ride' back home, giving them a chance to work along side the sailors and get a unique perspective of life on the ship. Steve continues, “We needed a powerful PA to cover the 5000 crew members plus 1000 Tigers [visitors], which made the DVA T12s an ideal choice. Indeed there are bunch of reasons why we went for dBTechnologies: the boxes are reliable, energy efficient, flexible and really great sounding.”
The Kelly Bell Band provided musical entertainment for the troops, but the demands on the PA throughout the week were quite diverse, which meant the system had to be flexible. Presentations were made to the Tigers for the schedule of events (which included two air shows), there was a 26-act talent show performed by service members, a 'rap-off' hosted by the band, readings, a step performance and an awards ceremony commending top sailors presented by the CO (Commanding Officer).
“This job presented a unique set of problems for a sound company,” says Steve. “This is a working 90,000 ton aircraft carrier and we are at the mercy of the ship's operational needs. Besides setting up for the music portion, our time schedule needed to be flexible - world events could change the gig at a moment's notice, and when the CO wants the stage, it's his.
“It was a stunning setting,” he enthuses. “A stage was built in the hangar, in an enclosed steel room in the belly of the craft where the planes and helicopters were stored, and large doors would be opened that lead to the ships five aircraft elevators exposing all to an awesome view of the open sea.”
The battle group for the USS John C Stennis had seen some action whilst patrolling the Strait of Hormuz, also rescuing some Iranian fishermen from Somali pirates over its eight-month deployment, and the cruise allowed them to wind down and share their experiences with friends and family before heading to their home port in Bremerton, Washington.
17th April 2012
Community Loudspeakers Provide State-of-the-Art Sound for Jeld-Wen Field
One of Portland’s premier sporting arenas, the landmark Jeld-Wen Field has been reborn following a $40 million renovation. Originally opened in 1926 as Multnomah Stadium, the venue has hosted a number of landmark events, including one of the first-ever outdoor rock concerts when Elvis Presley performed there in 1957.
Now home to Major League Soccer’s Portland Timbers, the redesigned Jeld-Wen Field boasts 5,000 new seats, bringing its capacity to 22,000, with more than 800 square feet of LED video screens and a state-of-the-art sound system featuring Community Professional Loudspeakers.
Previously, the stadium had been used as a Triple-A ballpark utilizing thirty-six R2 all-weather loudspeakers. The format change to Major League Soccer called for additional Community WET-Series 15-inch two-way and 15-inch three-way systems and R-Series R.5 weather-resistant loudspeakers. Designed by Wrightson, Johnson, Haddon & Williams, Inc. (WJHW), the audio system was installed by Denver, CO-based Empowercom.
11th April 2012
Riverside Casino Gets Filled In with Renkus-Heinz Point Source Array
The Riverside Casino & Golf Resort has positioned itself as a unique Midwest destination, offering Las Vegas-inspired gaming and slot machines in a resort setting featuring luxurious accommodations with panoramic views of its world-class golf course, an indoor/outdoor pool and other amenities. The resort, located just south of Iowa City, is also home to a multipurpose Events Center that offers a busy schedule of top name entertainment featuring artists like Big & Rich, Peter Frampton, The Robert Cray Band, and Tony Orlando, as well as hosting corporate, community and private functions.
The resort has recently upgraded their in-house audio capabilities with the installation of four Renkus-Heinz CF101LA modular point source array speakers. As Marvin Smejkal, owner of Sound Concepts, a production sound installation and rental company with offices in Iowa, Missouri and Florida, explains, there were a number of challenges at the Riverside Events Center.
"The original in-house, distributed voice reinforcement system was insufficient for many of the venue's functions, but it was generally cost prohibitive to bring in a larger rental rig," says Smejkal, adding that the self-powered CF101LA loudspeakers serve a dual purpose, both as a primary voice reinforcement system for smaller events and as center in-fill for larger PA rental rigs.
"The venue has unique requirements due to an exceptionally wide stage," says Smejkal, "and when we bring in a large PA for concerts, the speakers have to be positioned in a wide configuration, making a center-fill necessary. It was costly and time-prohibitive to set up and tear down a flown center cluster on a show-by-show basis. Now, the CF101LA system can be used as the primary PA for small and mid-sized events, and as a center fill to augment a larger PA systems for big concerts."
Smejkal designed and installed a basic four-speaker setup requiring no additional processing or EQ. "The venue has a portable audio/visual mixer for breakout rooms, which can simply plug into an XLR in for smaller events. The CF101LA speakers are incorporated into every large show; when we come in we have a program to add them into our rental system."
"The self-powered speakers are a cost-effective option when there is limited space to permanently install additional equipment in a venue," Smejkal continues. "The CF101LAs are convenient, and are fulfilling a wide variety of needs, both as a stand-alone system for the venue's day-to-day needs, and in the demanding role of center fills when larger line arrays are widely spread for larger events."
The CF101LA speakers proved to be a unique problem solver, he concludes. "Those speakers deliver at that price point. We will use them again."
10th April 2012
Stage Technologies Around the World
On many projects Stage Technologies are bound by confidentiality agreements which prevent publicising them. However, they are working on projects over the world at present and here’s just a taster.
For the King Abdulaziz Center for World Culture they are designing, supplying and commissioning stage automation systems for three venues on this massive site in Dhahran, Saudi Arabia. The venues include a 1,000 seat theatre, a 350 seat cinema/lecture theatre, and a large multipurpose venue named the Great Hall. In total the company is supplying over 84 power flying winches and bars, 68 variable speed intelligent CH:i chainhoists, multiple stage and orchestra lifts, powered curtains, projection screens and other specialist equipment, all controlled by Nomad control desks.
At the Edinburgh International Conference Centre (EICC) Stage Technologies are working with Delstar Engineering on this project in Scotland's capital to supply a moving floor system, additional function space and office development. We are providing mechanical design, build and installation as well as a control system. The moving floor system comprises 29 lifts covering a floor area of 30m x 51m. The lifts have a series of risers built into the platforms to enable different formats of raked seating to be set up. Twelve of the central lifts also have a revolve facility to enable some seating platforms to be turned inwards, to form an "arena" mode for set-ups such as snooker tournaments or boxing.
The Milton Court project is for London's Guildhall School of Music and Drama. Here, Stage Technologies is working with Theatre Projects Consultants on this new build theatre and concert hall in the base of a 35-storey tower under construction at the Barbican. The theatre includes 53 axes of overhead flying plus an orchestra lift, while the concert hall is 26 axes of overhead flying with 20 stage lifts. Due for completion this year, the Stage Technologies team is on site now.
www.stagetech.com
10th April 2012
Pleasantville Church Modernises Audio with Community iBOX
Established as the region’s very first church in 1840, Pleasantville United Church of Christ has served the south eastern counties of Bucks and Montgomery for more than 170 years. Today the celebrated church hosts a wide range of activities for its congregation and the surrounding community, with fund raisers for local and far-reaching ministry needs including the annual Super Bowl chilli cook-off and Christmas music celebration featuring a choir, orchestra and dramatic actors.
Pleasantville Church recently completed construction of its new sanctuary, a project that began more than 15 years ago. The newly built sanctuary is an exact replica of the original building, but constructed on a larger footprint.
The challenge of designing the optimal audio system for the space was met by designer/installer Tony Hersch of Audiobahn. The sanctuary’s high vaulted ceilings and reflective surfaces presented a unique challenge in system design.
“Services at the church lean towards a traditional/blended style,” Hersch explains. “Music worship is typically led by a vocal choir backed by an organist or piano and various other instrumentalists. Pleasantville needed a main loudspeaker system with coverage throughout the sanctuary that could perform not only for Sunday services but also at a concert level for special events when needed. In addition, there are three separate performance areas for choir, bell choir and centre stage, and we needed a main and stage monitoring system that would provide coverage, impact and clarity while still remaining unobtrusive.”
Hersch selected the iBOX line of high performance loudspeakers by Community Professional Loudspeakers, noting that the iBOX line is ideally suited for houses of worship due to its versatility. “The iBOX is one of the few systems that offer a complete selection of different dispersion patterns along with very high performance and power handling,” he observes.
The system comprises iBOX iHP1299 two-way loudspeakers in a left-centre-right configuration, augmented by a pair of i112S subwoofers on the stage. A distributed system of Community CLOUD6 and CLOUD12 in-ceiling loudspeakers covers the hallways and nursery, while the lobby is served by Community I/O5 surface mount loudspeakers. QSC amplifiers power the systems, with processing provided by an Ashly Audio 326 DSP.
An Allen and Heath GL2400-32 console is installed at front of house, along with Ashly Protea digital EQ, TC Electronic M1 effects processor, and eight Shure wireless microphone systems. Community’s VERIS stage monitors are wall mounted in the choir areas.
“The new Community system is hands down the best system we’ve ever had, and we’ve gotten very positive feedback from musicians and congregation alike,” says Gene Fox, the church’s audio director. “We had one member of our congregation who had always used a hearing assistance system, and she came up to me after the first service with the new system and told me she no longer needed the hearing assistance.”
“The system sounds great and it looks gorgeous,” adds Hersch. “The church is thrilled with the sound quality and the pattern coverage. The capabilities of the new system also allow the church to expand their musical productions and to include more contemporary music in future services.”
4th April 2012
Robert Juliat Aledin LED Profile Spots Solve Power Needs of Silverdale Baptist Church
Mankin Media Systems Inc. (MMS) of Franklin, Tennessee helped Chattanooga’s Silverdale Baptist Church find a cost-effective lighting solution for the renovation of existing space into a 2,000-seat auditorium, which includes integration of 15 Aledin 85-watt LED profile spots from Robert Juliat.
Initially, the church planned a new auditorium, but when funding shortfalls required significant budget cutbacks MMS was tasked with figuring out how to retrofit its lighting design into a room that could be renovated. MMS worked with structural engineers to design a catwalk to add lighting capabilities to the preexisting space while lowering the ceiling for a more intimate feel. The main challenge remained, however: a limit on the electrical supply to the facility since the cost of increasing power capacity to the room would be enormous. Power consumption therefore became a major consideration.
The solution that MMS engineered was to specify LEDs for house and performance lighting since LEDs required significantly less power and offered a longer lifespan than conventional fixtures.
Specifically, MMS chose 10 Robert Juliat Aledin 634SX-CW, three Aledin 631SX-CW and two Aledin 633SX-CW LED profile spots for the renovated space. "We selected Robert Juliat because they offered the only fixtures on the market that met our price point, had all the features we wanted – including moving shutters – and delivered the brightness we needed," says MMS project manager Stephen Roberts.
Robert Juliat’s Aledin LED profile spots were the first products of their type to achieve significant output and framing/projection ability from an extremely low-powered LED source. They are ideal choices for environments with limited power supplies.
Having met the low power consumption and pricing needs of Silverdale Baptist Church the Aledins are now making their mark in terms of performance.
"The client is very happy," Roberts reports. "The lights are working great. The church has had to do no maintenance on them, and although they move them around a lot they always perform just fine."
2nd April 2012
Robert Juliat Aledin LED Profile Spots Solve Power Needs of Silverdale Baptist Church
Mankin Media Systems Inc. (MMS) of Franklin, Tennessee helped Chattanooga’s Silverdale Baptist Church find a cost-effective lighting solution for the renovation of existing space into a 2,000-seat auditorium, which includes integration of 15 Aledin 85-watt LED profile spots from Robert Juliat.
Initially, the church planned a new auditorium, but when funding shortfalls required significant budget cutbacks MMS was tasked with figuring out how to retrofit its lighting design into a room that could be renovated. MMS worked with structural engineers to design a catwalk to add lighting capabilities to the preexisting space while lowering the ceiling for a more intimate feel. The main challenge remained, however: a limit on the electrical supply to the facility since the cost of increasing power capacity to the room would be enormous. Power consumption therefore became a major consideration.
The solution that MMS engineered was to specify LEDs for house and performance lighting since LEDs required significantly less power and offered a longer lifespan than conventional fixtures.
Specifically, MMS chose 10 Robert Juliat Aledin 634SX-CW, three Aledin 631SX-CW and two Aledin 633SX-CW LED profile spots for the renovated space. "We selected Robert Juliat because they offered the only fixtures on the market that met our price point, had all the features we wanted – including moving shutters – and delivered the brightness we needed," says MMS project manager Stephen Roberts.
Robert Juliat’s Aledin LED profile spots were the first products of their type to achieve significant output and framing/projection ability from an extremely low-powered LED source. They are ideal choices for environments with limited power supplies.
Having met the low power consumption and pricing needs of Silverdale Baptist Church the Aledins are now making their mark in terms of performance.
"The client is very happy," Roberts reports. "The lights are working great. The church has had to do no maintenance on them, and although they move them around a lot they always perform just fine."
30th March 2012
Danley Loudspeakers at University of North Carolina's Trask Coliseum
The University of North Carolina Wilmington (UNCW) is part of the state's 17-school university system and currently enrols over 14,000 undergraduate and postgraduate students. Basketball is big in the Tar Heel state, and UNCW's Seahawks basketball team
draws crowds composed of students and locals to the 6,100-seat Trask Coliseum.
Constructed in 1977, Trask recently benefitted from a $2 million makeover that included new floors, seating, scoreboards, a new video board, and a new high-intelligibility sound reinforcement system. South Dakota-based Daktronics designed and installed the multi-purpose arena's new A/V system, which includes Danley Sound Labs loudspeakers. Daktronics chose the Danley SH-100B and SH-100 boxes based on their exceptional intelligibility, pattern control, and value.
"We were on a very tight budget," explained Mike Maloney, regional audio sales associate with Daktronics. "We always strive for high-efficiency systems, but at UNCW, it was paramount." The arena's old sound system was a center cluster that was abundantly loud but of remarkably low intelligibility. Apart from using the Danley boxes, which deliver greater intelligibility via their ingenious engineering, Daktronics vastly improved on the old system by including a delay ring that would keep the sound source proximate to the fans. Six Danley SH-100B full-range loudspeakers with integrated subwoofer support comprise the new center cluster. Sixteen Danley SH-100 full-range loudspeakers augment them in the new delay ring.
Eight Crown CDi 2000 and CDi 4000 amplifiers provide power to the system, with system conditioning and routing logic provided by a BSS Soundweb London Blu-100. A Blu-8 wall controller allows the facility's staff to control various routing, input, and volume controls, including preset selection for graduation ceremonies that effectively shut off one end of the arena. Inputs include a Denon DN620 balanced output CD player, a Beyer DT287 headset with a Daktronics custom mic switch interface, and an ElectroVoice Rev-D wireless microphone system.
"After suffering with a low-intelligibility system for so long, the school was eager to get a new high-intelligibility system in place," said Maloney. "The Danley SH-100's possess a 100 by 100 degree beam width that gave us excellent coverage of all the seats. We used customized mounts designed by the Daktronics mechanical engineers to ensure that each loudspeaker's throw is precisely placed. All of the correct angles specified by the model are hit. When we considered the Danley boxes' inherent fidelity, together with the savings their efficiency generates in terms of amplifiers and processing, Danley represented a high-performance, yet affordable solution."
Trask Coliseum also benefitted from Daktronics' new scoreboards and video displays. Each end zone now possesses a bright scoreboard. A massive 21- by 15-foot video board hangs in center-court and sports a brilliant 17- by 10-foot LED screen that the school will use for advertising, replays, and other creative content. Together with new floors and new seats, Trask is in excellent shape to usher in a new era in Seahawk basketball.
In picture: exterior of Trask Coliseum, University of North Carolina, Wilmington
28th March 2012
Robe Illuminates Triple Helix Glass Sculpture for High Profile School of Art
Robe ROBIN 600 LEDWash and 300 Plasma Spot moving lights have been installed to illuminate a beautiful 20ft high triple helix glass sculpture created by artist Lyle London, which is suspended in the new Rotunda entrance of the Joyce Eichhorn Ames School of Art in Bloomingdale, Illinois, USA.
The sculpture – an intricate work of extreme elegance inspired by nature’s recurring spiral forms – was commissioned by the Illinois Wesleyan University (IWU). It is part of a series of Helix artworks conceived by London that are intended for public atriums. His Tempe, Arizona based company Art in Metal has been established for 25 years, and he has been using glass in most works since 2000.
London has used Robe products in the past, most notably to illuminate another Helix series work in 2007 for the Tahoe Tower lobby at the Renown Healthcare campus in Reno, Nevada. When given the go-ahead on this project, he approached Robe Lighting Inc’s Jerry Seay for advice on the latest technology available for integrating with his latest Helix.
Seay – who loves lighting artworks – was hugely excited by the prospect, as was London, especially when he realised the true potential of combining Robe’s LEDWash 600 and 300 Plasma Spots.
Many ideas were sparked and shared. A major one was that the Helix could be transformed from being an ‘exclusive’ sculpture hanging in a tower into a living, breathing phenomenon to be enjoyed by all passing through the campus.
Although the Helix itself is not moving, the illusion of movement and kinetic energy is produced by a fusion of colour and animation created by subtly changing effects – both from the Robes, and the natural light permeating the glass walls of the Rotunda, and the interaction between the two.
The Helix and its lighting can be appreciated and viewed from any number of angles and distances and at all times of the day and night, and each time something unique and special can be experienced.
Another primary objective of the lighting was to reveal the dichroic colours of the glass and modify them with vibrant colour projections.
London comments: “I knew from experience that the full dynamic colour qualities of the dichroic glass could only be unleashed by using dedicated lighting. The programmable features of the Robe fixtures and the true whites made them an ideal choice to light the sculpture”.
Seay also brought Darrell Barnes from Creative Stage Lighting into the equation, to install the Robe lighting system and take care of the programming, which he completed in close conjunction with London.
The three LEDWash 600s are spaced evenly around the middle structural ring of the Rotunda, with the two Plasma Spots on the lower ring.
Both types of fixtures were also specified for their reliability, longevity and low maintenance – as they are all in difficult-to-access positions. They also draw a minimal amount of power, making it a very eco-friendly installation.
The initial programming of the Robes was done using an Avolites Titan Mobile console, and then transferred to a wall-mounted Doug Fleenor Arch2 DMX playback-only controller.
The lighting presets offer a range of alternative moods and atmospheres for the impressive 35ft high Rotunda space – in addition its effect on the sculpture itself – as this will be used by IWU as a performance, meeting and event space.
London hopes that IWU’s theatre students might also be able to use the lighting installation in their future projects, maybe by hooking in their own console and creating their own scenarios, and he’s discussing the possibility of adding an interactive sound controller to allow instrumentalists or vocalists to trigger lighting during performances in the Rotunda.
Photos: Lyle London and Mark Featherly.
15th March 2012
Iceland’s Magnificent Harpa Concert Hall and Conference Centre is Complete with Meyer Sound
Harpa Concert Hall and Conference Centre in Reykjavik is a keystone element in Iceland’s bid to become a first-tier destination for both business meetings and arts events. Harpa expects to attract increased bookings with its striking architecture and cutting-edge AV systems – notably incorporating more than 160 Meyer Sound self-powered loudspeakers.
Harpa’s crown jewel is the Eldborg hall, a resplendent new home for the Iceland Symphony Orchestra and the Icelandic Opera with a capacity of up to 1,800 seats. Designed by Artec Consultants of New York, the hall features an elaborate system of adaptable physical acoustics, which adjusts hall reverberation using moveable soft goods, overhead canopies, and doors to hidden reverberation chambers.
For amplified concerts, the hall relies on an equally adaptable Meyer Sound reinforcement system. Based on an initial design from Artec’s principal consultant, Geoff Zink, the final system configuration was plotted by Kari Eythorsson of Exton, the Reykjavik-based integrator contracted for all AV, stage lighting, and communication systems.
The system’s main left and right hangs each comprise 10 MICA line array loudspeakers backed by five 600-HP subwoofers. The centre hang includes eight MICA loudspeakers co-flown from a single frame together with a total of 10 point-source loudspeakers of CQ-1, CQ-2, and UPA-1P arrayed beside, below, and behind the MICA loudspeakers for side-fill, down-fill, and rear choir fill.
Four UPJunior VariO loudspeakers are assigned to balcony fill, while 14 more UPJunior loudspeakers provide front fill in two sets for standard or extended stage front, and two CQ-2 loudspeakers handle corner fill. Drive is courtesy of a Galileo loudspeaker management system with three Galileo 616 processors and one Galileo 408 processor. The Eldborg hall system was commissioned by Bob McCarthy of Alignment & Design, Inc. using the SIM 3 audio analyser.
“The MICA arrays give us more consistent coverage and power, and it’s rider-friendly for top-rank touring acts,” says Ingvar Jónsson, technical manager at Harpa. “The performance is outstanding, particularly regarding clarity and high-frequency detail. You could argue that what we have is too powerful for the space, but that just means we will never run out of headroom.”
One of the first concerts to use the system was a sold-out evening with Iceland’s own electronic-music superstar, Björk. Other acts slated to use the system later in 2012 include James Taylor, Elvis Costello, and Ian Anderson of Jethro Tull.
Harpa’s three smaller halls also have permanent Meyer Sound reinforcement systems intended for spoken-word reproduction, employing UPA-1P, CQ-1, and UPJ-1P VariO loudspeakers. However, when musical events are staged anywhere in the facility, Harpa is ready with its own extensive inventory of portable sound equipment, anchored by 16 M’elodie line array loudspeakers and six 600-HP subwoofers. Also available as needed are additional 10 UPJ-1P, six UPJunior, four CQ-2, and MM-4XP self-powered loudspeakers, along with apair of HD-1 studio monitors. The stage foldback complement includes 14 UM-100P and four MJF-212A stage monitors.
The Harpa complex also boasts the world’s largest installation of Midas digital mixing consoles, with four networked PRO9 desks residing on site.
The Harpa Concert Hall and Conference Centre was designed by Henning Larsen Architects of Denmark in cooperation with artist Ólafur Elíasson. It is operated under the auspices of the Icelandic government and the City of Reykjavik.
13th March 2012
Aura Aglow Symetrix Solus 8 Processor Provides the Sonic Soul for Fashionable Philadelphia Restaurant and Lounge
Aura Restaurant and Lounge recently opened in Philadelphia and, without wasting a moment, placed itself at the vanguard of the city’s hip and happening night life. Claiming two floors in Philadelphia’s Northern Liberties neighbourhood, Aura is, like its clientèle, dressed to the nines. But instead of sharp suits and tight dresses, Aura teases with futuristic LED lighting, HD plasma screens, and hip, modern décor. Of course, hearts race when Aura kicks up the music from one or both of the elevated DJ booths, and compliant bodies move to the rhythms. Aura hired Pro Systems from nearby Cherry Hill, New Jersey to breathe fire into its sound reinforcement system, and they responded by providing Aura with an unfalteringly stable Symetrix Solus 8, a processor that’s heavy on fidelity and possessed of a deep musical soul.
“We’ve been installing Symetrix processors of various types for several years now, and we have yet to experience a single failure,” said Jim McCann, owner of Pro Systems. “That’s saying a lot, considering the large amount of Symetrix processors we have in the field. Symetrix builds robust gear.” Because he knew Aura would need custom-tailored processing, McCann was considering a SymNet Express unit. “But then my Symetrix rep stopped by and showed me the Solus 8,” he continued. “It had the powerful open-architecture processing that I needed, but because I knew we wouldn’t need I/O expandability, the fixed-I/O Solus 8 had a very attractive price.” Although the job wouldn’t be complete for several months (and for reasons far, far outside the control of Pro Systems), McCann had the Solus 8 programmed and ready to integrate just hours after receiving it.
Aura’s downstairs section provides elegant seating for Chef Lamont Moses’ culinary creations and, with tables removed, a secondary dance floor. The upstairs section is a purpose-built lounge and dance floor, with VIP seating and bottle service. Two DJ booths, one on each floor, provide the most charismatic inputs to the system. A Tascam DVD player and an iPod jack fill out the Solus 8’s eight inputs. Four of its eight outputs feed the two-way stereo JBL AM7212 and ASB6128 system that energises the upstairs dance floor. The remaining four outputs feed JBL AC28s in mono zones in the upstairs VIP lounge, the downstairs restaurant, the downstairs VIP area, and the bathrooms. QSC PL2 and CX series amplifiers power all the loudspeakers and subwoofers.
User control is simple. Pro Systems installed two Symetrix ARC-2e wall panel remotes, one on each floor. Using the menu selection button and up and down value buttons, Aura managers can select the input to the upstairs and downstairs separately. Additional menus allow them to change the volume within each zone. They also included PC control using the built in SymVue control screens. Like all Symetrix processors, the Solus 8 readily integrates with the ARC family of wall panel remotes, as well as third-party solutions both simple and complex.
After his success at Aura, McCann and Pro Systems have installed several other Symetrix Solus units, selecting the Solus 4, Solus 8, or Solus 16 depending on the fixed I/O needs of each particular venue.
13th March 2012
Major Theatre Equipment uses J. R. Clancy Motorised Rigging in Massachusetts High School
The new Hanover High School in Hanover, Massachusetts opened its doors for its first school year with a special treat for its performing arts students: motorised rigging in the new auditorium.
Decision-makers at Hanover selected PowerLift motorised hoists by J. R. Clancy to raise and lower the scenery and a rear cyclorama in the new theatre. Clancy’s SureTarget 10 rigging controller controls three variable-speed PowerLifts, each with a 1,200-pound capacity. The SureTarget 10 provides simple, accurate speed and position control for up to 10 linesets, with a color touch-screen display that makes it easy for students to use with training.
The mixed-use stage hosts performances by the school’s choral and instrumental groups as well as annual theatre productions. “We incorporated some acoustic clouds and towers to form a shell,” said Paul Nolan, general manager of Major Theatre Equipment Corp., the rigging dealer on the project. “The acoustic clouds are flying on the Clancy PowerLift units.” Clancy provided two motorised hoists, each with a 2,000-pound capacity and variable speeds up to 20 feet per minute, to do the heavy lifting of these acoustical elements.
“We do a lot of work with Clancy, and it was as smooth as always,” said Nolan. “The few little issues were resolved quickly. It was a successful project.”
13th March 2012
Symetrix Jupiter Processors Unite First United
First United Methodist Church of San Diego is the largest Methodist church in southern California and occupies one of the most architecturally-splendid church campuses in the area. Over many decades, First United has struggled with sound reinforcement systems for its multiple venues that somehow always failed to live up to expectations. Recently, Paul Svenson of Sound Casework Inc. (PS Audio Video) reversed the inertia of that sorry history, unifying all five sound systems under a common, easy-to-use, foolproof paradigm centred on the Symetrix Jupiter 8 signal processor and the Symetrix ARC-2e wall panel remote. Now volunteers can get a quick explanation of how to work on any system and transfer their knowledge transparently to any of the other systems, relying on Svenson’s intuitive design to deliver perfect audio with confidence.
“I’ve been trying to get First United’s business for 27 years,” admitted Svenson, who has designed and installed A/V systems in hundreds of houses of worship in a career that spans four decades. “But they always went one of two routes: either they cobbled a fix together with spit wads and glue or else they separately hired a system designer and a system installer. When things went sour after the installation, as they always did, the designer pointed the finger at the installer and the installer pointed the finger at the designer. Unfortunately, the church was always left holding the bag.”
When a new church staff member approached Svenson (without knowing his history with First United) and asked if he was better positioned to design or install for the next iteration, Svenson fired off a missive to the church trustees. “I explained the problem and even invoked the name of beloved long-time senior minister Dr. Mark Trotter who, 27 years ago, stood in the sanctuary next to me, shaking his head over the terrible sound system two other companies had designed and installed,” said Svenson. “Rather than repeat the same mistake, I suggested they hire my company to both design and install the system. That way, the buck stops with me. To their ever-living credit, they agreed.”
The overhaul would not be minor. First United maintains sound reinforcement systems in the Trotter Chapel (seats 125), the Trotter Lounge (seats 150 for meetings and miscellaneous events), The Cove (seats 150 for miscellaneous events), the Linder Social Hall (seats 400 in a flexible, modular space), and the sanctuary (seats 1,000). “Church sound at First United is run exclusively by volunteers,” explained Svenson. “With disparate systems in each of the five spaces, those volunteers were understandably frustrated and events often suffered bad sound as a result.” His new tack would be to design effectively the same system for all five spaces so that the volunteers would be comfortable and competent in every venue.
Into each space, Svenson placed a Symetrix Jupiter 8 signal processor running the Sound Reinforcement 10 app, which includes input equalisation, dynamics, feedback fighters, gain-sharing auto-mixing, a full matrix mixer, output equalisation, speaker managers, and output limiters. Paired with a Presonus StudioLive console in the three venues that require heavy mixing, the Jupiter 8’s eight inputs and eight outputs are more than sufficient for each venue. An intuitive Symetrix ARC-2e wall panel remote allows the volunteers to select presets for various functions and, where appropriate, individual levels.
“As in all my other recent projects, I went with the Symetrix Jupiter 8 because it is easy to use, flexible, and sonically transparent,” said Svenson. “But perhaps even more important than that is the company and the people who comprise it. They are wonderful to work with: accommodating to the harsh realities of AV integration and always ready to lend a hand in whatever way is needed. Moreover, they build solid gear. In all my years installing Symetrix equipment, I’ve only had one failure … and the company had a replacement to me that very next day.” The church officials and the volunteers at First United are in love with the new systems. It’s been a long time coming.
7th March 2012
Meyer Sound SB-3F Goes Long at the 110,000-Capacity University of Michigan Stadium
“The Big House,” aka Michigan Stadium, got even bigger in 2011 when the University of Michigan completed an expansion and upgrade that included a large complement of equipment from Meyer Sound.
At a capacity of almost 110,000, Michigan Stadium is the largest in the United States and third largest in the world. To address the sound reinforcement needs on such a scale, the PA system includes 28 Meyer Sound MILO 60 line array loudspeakers, eight SB-3F sound field synthesis loudspeakers, four MSL-4 loudspeakers, a Galileo loudspeaker management system with two Galileo 408 processors, and an RMS remote monitoring system.
Ann Arbor, Mich.-based TeL Systems and Dallas-based consulting firm WJHW, Inc. was critical to the massive undertaking. TeL Systems’ former systems designer, Peter O’Neil, recalls the importance of selecting Meyer Sound equipment for the success of the expansion and upgrade.
“One of the things that has really stood out about Meyer Sound is how well it performs when it’s pushed hard,” O’Neil says. “That’s not true of all large-format sound reinforcement boxes.”
Particularly effective in handling sound for the massive size and scope of the stadium were eight weather-protected SB-3F sound field synthesis loudspeakers. “We had to install a point-source system in one of the end zones and throw sound upwards of 800 feet – in the open-air environment and with the weather changing all the time,” O’Neil explains. “The Meyer [SB-3F] is the only product of its sort that’s designed to throw specifically high-frequency sound at that distance. It’s a level beyond what we had before with horn-based technology. We were fortunate to work with a consultant who knew the product and how to design with it.”
TeL Systems president Karl Couyoumjian was impressed with Meyer Sound’s hands-on commitment to service. “It was specified as Meyer Sound from the get-go,” he says. “We have been very pleased with Meyer Sound’s communication – how strongly they worked with us as an integrator, and in making sure that the system performed to the design.”
O’Neil was also satisfied with Meyer Sound’s support throughout the process. “They gave so much to us – as a vendor, as a resource – on this project,” he says. “I was amazed at the resources Meyer Sound put into this to make it successful. They really take pride in making sure there are people on-site to help on the design side, on the installation side, and on the commissioning side. There’s a level of customer support in every phase of a project they do that’s pretty remarkable.”
