< PreviousMarch 2021news10KLANG makes it personal with new immersive Kontroller for musiciansKLANG has announced the combined release of its new KLANG:kontroller, a hardware controller that is compatible with all KLANG immersive in-ear mixing processors, and its new processor, KLANG:vokal, bringing a whole new level of personal monitoring to musicians. KLANG:kontroller Serial Number 1 – along with a new DiGiCo Quantum225console and a DiGiGrid MGB MADI to SoundGrid Interface – is also one of three great gifts that three lucky winners received today as part of DiGiCo’s New Year New Hope competition.“This is the first hardware product designed specifically for the musicians,” says KLANG founder and CMO, Pascal Dietrich. “While many of our users love the KLANG:app, we had received many requests for a stand-alone hardware controller that offers the same mixing functionality, combined with a powerful, studio-grade Dante headphone amp.”KLANG:kontroller does just that. It delivers fast tactile user control of channels, groups and immersive mixing via an intuitive interface. “KLANG:kontroller is really simple to use, even for absolutely non-technical musicians,” adds Dietrich. “The displays provide clear colour coding and channel names which makes handwritten and mostly outdated name tags, as well as dialling though all the channels to find the one you are looking for, obsolete.”Relative DCA group mixing and full single channel control via eight push rotary encoders provides important, fast access. “The ability to customise the groups is particularly useful for musicians,” Dietrich continues. “With eight rotaries, musicians can quickly balance their in-ear mix. This is fast, safe for the ears and it massively speeds up the mixing workflow during a gig without requiring any profound mixing know-how.”The studio grade headphone amplifier delivers crystal clear audio for in-ear monitors and high impedance headphones, with both 3.5mm (1/8”) as well as 6.3mm (1/4”) stereo TRS connectors. Two XLR outputs can be connected to, for example, wireless in-ear transmitters. Installation friendly features like Power over Ethernet, remote setup via the KLANG:app and automatic Dante routing are set to streamline any stage or orchestra pit. KLANG:kontroller gives musicians full control of all relevant functions, while the engineer can still overview and control all mixes via the KLANG:app or DiGiCo SD or Q series consoles.Its dedicated user presets, plus USB import and export, ensure easy changeover for multiple musicians – each musician can save his or her own presets, which can then be imported into the KLANG:kontroller, allowing the unit to be used by any number of musicians without the need for time consuming set up each time.To perfect the immersive experience, binaural ambient microphones are built into the unit. These can be blended into the immersive in-ear mix, along with a local stereo aux input for, for example, a click track or playback from a phone. The mix can be sent back to the Dante network or, alternatively, the ambient microphones or aux input can be shared with other musicians.While KLANG:kontroller is designed to integrate with all existing devices, KLANG is also releasing a new immersive mixing processor. This compact 1 RU processor, KLANG:vokal, impresses with a dedicated feature set that allows up to 12 musicians to pick up to 24 mono or stereo channels out of 64 Dante and MADI inputs. For example, mixes can be sent out via MADI to a console or via Dante to KLANG:kontroller. Based on KLANG’s powerful, new generation, ultra-low latency FPGA core, KLANG:vokal offers 12 mixes of 24 mono or stereo inputs at 48kHz and 96kHz, including the company’s revolutionary Root-Intensity EQs. This makes KLANG:vokal and KLANG:kontroller the perfect match for any House of Worship or theatre application.Zero 88 Presents New Free Online Training SessionsBack by popular demand, Zero 88 – renowned for its accessible and informative free training support – announces a new array of online product training sessions running through February and March 2021 presented in-person by product specialist Edward Smith.Running via Zoom, participants can also request a link to the recording for handy re-watching, and use these assets as a tool for refreshing and reinvigorating their lighting console programming skills.Most of the training is focused on Zero 88’s popular and powerful FLX range of lighting control consoles. These first sessions of the year will cover the FLX, FLX S24 and FLX S48, plus the ZerOS Server, and will also be applicable to other Zero 88 consoles running the ZerOS operating system.This follows on from a huge number of regular training seminars initiated by Zero 88 throughout 2020, taking advantage of the unexpected free time that so many lighting professionals found themselves facing as lockdowns and Covid restrictions kicked in.So successful was the programme that Zero 88 also started live streaming several sessions that can be re-watched at any time on its YouTube channel.“We wanted to continue the trend and keep assisting with learning and refreshing in the areas people are demanding,” stated Edward, adding that the “astounding” training feedback they received from last year saw attendees giving average NPS (Net Promoter Score) scores of 80 (where anything above 0 is considered a success).The sessions are carefully crafted for anyone who wants to know more about Zero 88’s powerful and easy to use FLX range and are aimed at three key groups: those interested in the brand and the architecture, those looking for a console that’s right for them and their application and experienced power-users wanting to maximise and get the most out of their tools.“We love getting consoles in front of people, to show their full capabilities,” stated Edward. Rather than repeating the same sessions ad infinitum, the training programme is a dynamic and fluid project that is constantly kept fresh with new sessions exploring different and specific areas of the console.Currently, the only difference is that it is a virtual console with the Phantom ZerOS offline editor being used to demonstrate.Up to ten different topics will be covered in the coming weeks, ranging from general subjects like “Discovering the FLX Range: Getting to grips with the consoles and the powerful ZerOS software” which will be two hours in length, to specifics like “ZerOS & Capture: Understand how to connect these features and learn 2-way communication” which will require an hour of people’s time.For full details and easy booking, interested parties should check the Zero 88 Training page:https://zero88.com/training#eventdatesAll sessions are either one or two hours in length, with the two-hour sessions including that all-important halfway tea or coffee break, although right now it is a case of attendees bringing their own tea, coffee and biscuits! “This will change as soon as we are able to offer in-person training once again,” emphasised Edward, who, like everyone, is looking forward to this happening as soon as is safe and practical.In the meantime, he is looking forward to connecting with the Zero 88 community and enhancing these great value learning opportunities.www.zero88.com4Issue: 337news11ETC Releases Hog OS v3.15 UpdateETC has announced the release of Hog 4 OS v3.15 software, which includes enhancements to MIDI mapping of third-party control panels, adding tap tempo for effects and internal effect engine optimisations. This version also contains new keyboard shortcuts a number of bug fixes, listed in the release notes.Hog 4 OS v3.15 is available now at https://www.etcconnect.com/Products/Live-Events/Hog-4-Consoles/Hog-4-18/Documentation.aspx#software, and we recommend users update their systems as their production schedules allow, and that users with existing MIDI mapping applications become familiar with the new mapping scheme prior to show day.Entertainment controls product manager Sarah Clausen commented: “We are happy to bring improvements to MIDI mapping in this release to follow on our opening up of MIDI/OSC control of encoders and faders in the last release. And many users will be happy to see implementing tap tempo for effects.”www.etcconnect.comHighlite International expands the DMT Fixed Install seriesHighlite International BV introduces a new range of LED panels, available as indoor or outdoor versions. Its clever mounting options and service-friendly design make it the ideal candidate for permanent installation.DMT has added eight new LED panels to their product range intended for permanent installation. Consisting of the FI-3.9 and FI-4.8 line, the new range offers 500 x 750mm (20 x 30”) and 500 x 1000mm (20 x 40”) models, both available as an indoor or outdoor version. Featuring Full Black LEDs, a viewing angle of 140° and Novastar processing, their visual potential is significant.The FI-4.8 models offer a pixel pitch of 4.8mm (0.189”), while the FI-3.9 models offer an even denser pixel pitch of 3.9mm (0.154”). This makes both screens very usable for close distance viewing (3m/10ft). The 5500 Nits provide enough brightness for any outdoor environment. Screen thickness is a mere 71mm (2.80”), making the new panels a great solution for a permanent install, even in narrow spaces.The panels are designed to be easily serviceable. The individual LED modules are hot-swappable, the outdoor panels from the back, the indoor panels from the back as well as from the front, using the dedicated service tool. The power supply is also easily swapped with the tool. The specially designed mounting bracket can be used on all models and allows for easy mounting on any wall or support structure. The bracket also ensures correct alignment and fixation when using multiple panels. It adds just 9mm (0.354”) to the total thickness.Manufacturing: Canford expands reputation as the supplier of choice for connector panels and custom metalworkDespite the difficulties brought about by the Coronavirus pandemic, the team at Canford has remained steadfast in its commitment to supporting customers, new and old.Everyone at Canford is working hard to minimise any possible disruption to the company’s usual high service levels. There have been no temporary closures and all departments remain fully open for business.Already well known for its high-quality UK manufacturing, Canford has enhanced its reputation as the supplier of choice for custom metalwork solutions with an enviable list of high-profile projects completed during lockdown.Canford is uniquely positioned to support customers in need of custom fibre and metalwork for Broadcast and Pro AV.The team offers up an unrivalled level of knowledge and experience. Canford’s technical, design and manufacturing departments work collaboratively with customers to achieve exceptionally high-quality custom solutions. The result of accessing this very specific pool of knowledge often leads to technically superior product, and more cost-effective outcomes.Keeping all three of its production facilities open throughout the crisis has accelerated Canford’s growth. Existing customers have ever-growing confidence in Canford to deliver, and the Washington, Tyne & Wear headquartered manufacturer is seeing more new customers switching their custom metalwork and fibre termination business when other suppliers have been unable to fulfil demand.“Thank you again for your help with our metalwork over the past year. We have been delighted with how you have seamlessly been able to produce the metalwork we had produced elsewhere in the past,” said James Bate, TTL Video.“Our relationship with Canford is invaluable. They are more than just another supplier. There is no room for error with our projects and the team at Canford have contributed an enormous amount towards the design and development of so many custom solutions,” stated Pete Dinnes, Gravity Media installation director.Having had a huge amount of experience with Canford, we knew their pedigree, resources and ‘can-do’ attitude would mean they were the people to help us and, true to form, Corina Cliff supplied an extremely competitive quote by return. John’s fibre team then stepped up to the challenge and manufactured the cable in record time, meaning that just four days later the installation was complete. Unsurprisingly, the client was extremely impressed,” exclaimed Peter Knowles, StvdioExpert broadcast consultant.dLive Gives Polished Performance at VernissaVernissa Culture Factory in the city of Vantaa, Finland, has gone all-in with a full dLive digital mixing system to support its busy events schedule.Converted from a historic nineteenth century varnish factory building, Vernissa acts as a cultural hub for the surrounding region and hosts around 200 music and theatre performances each year.As part of the venue’s 2020 renovation programme, technical manager, Timo Itkonen decided that its existing second-generation digital console no longer met Vernissa’s growing needs. Working with Allen & Heath’s Finnish distributor, F-Pro, Timo specified a new dLive system, based around a DM64 MixRack and 36-fader S7000 surface. “I chose the S7000 mainly because I liked the big surface with enough faders and the flexibility to arrange the channels as I want,” Timo explains. “It sounds good and the onboard FX and dynamics are great!”Multi-track recording capability and the ability to run time-saving virtual soundchecks were high on Timo’s list of priorities, so a Dante option card was added to the system to enable both features. In addition to managing FoH audio in Vernissa’s main events space, the dLive system is also used to mix monitors for live band performances. The dLive MixPad app allows Timo to adjust monitor mixes from an iPad onstage during soundchecks, taking much of the legwork out of the process. A pair of stagebox format DX168 expanders rounds out the setup for Vernissa, granting Timo the flexibility to deploy additional IO according to the demands of the events schedule.Vernissa’s new dLive system has recently been busy mixing livestreamed events filmed in the venue, helping it to remain at the heart of cultural life despite current restrictions on live performances.March 202112features10 out of 10 Productions Installs Chauvet Professional Force Fixtures in Grove TheatreOn 21 April, 2007, the Grove Theatre in Dunstable held its opening gala hosted by legendary actor Brian Blessed. The following day, its first show, Joseph and the Amazing Technicolor Dreamcoat, began a one-week run. From that point on, the 750-seat venue looked like it would never slow down, staging over 5,000 shows and events in a 13-year period. Then the COVID-19 pandemic brought its busy schedule to an abrupt halt.Although the theatre had to close its doors to the public during the lockdown, activity within its walls didn’t stop. With the popular venue empty, its technical director Richard Shrubb and his team were more readily able to upgrade its lighting rig by adding 16 of the new Chauvet Professional Force series fixtures supplied by its long-time vendor, 10 out of 10 Productions.“Grove Theatre was opened well over a decade ago, and was still using a sizeable number tungsten fixtures in its rig,” said Paul Need of 10 out of 10 Productions. “The lockdown proved to be a suitable time to commence this work as there were no dates in the diary for any performances. Richard and his team wanted to bring the rig in to this century. They also appreciated the savings in power they could expect from both their FOH and stage lighting, as well as the savings in replacement lamps. Also, having 16 moving fixtures in the rig will reduce their change-over and focusing times.”Thanks to the support of the theatre’s patron, the Central Bedfordshire Council, Need and the 10 out of 10 Productions team were able to install 12 Maverick Force1 Spot and four Maverick Force 2 Profile fixtures at the venue. The 470 Watt LED spot fixtures are hung on electrics over the stage and can be moved to accommodate different lighting designs, whilst the 580 Watt profile units are fixed positioned FOH. A group of eight Ovation CYC 1FC fixtures were also included in the lighting upgrade.With their intense output (20,000 lumens for the spot fixture and 21,000 for the profile) the Maverick Force units can deliver more than enough brightness from any position in the theatre.As a cultural hub of its community, the Grove Theatre presents a broad range of shows, from musicals and rock concerts, to children’s plays and classical recitals. The two new Maverick fixtures are expected to add much-valued flexibility to the theatre’s rig thanks to performance features, such as their capacity to produce an array of hues as a result of their CMY+CTO colour mixing and an added colour wheel with CTB and CRI filters.The Maverick Force 1 Spot and Maverick Force 2 Profile will not be the first Maverick fixtures to have an impact on the Grove Theatre. A little over three years ago, 10 out of 10 Productions supplied the theatre with Maverik MK1 Spot and MK2 Wash fixtures. “Those fixtures work perfectly and are very suitable for the size of the venue,” said Need. “They really stood out during an eight-week Christmas Pantomime production. So, we’re very confident recommending Chauvet to valued clients.”In Need’s view, the Maverick Force fixtures will open a new chapter for the Grove Theatre. “Having a fixture that is this compact in size, but can still deliver so much output is going to be a huge benefit to a community theatre,” he said. “On top of that, the Force units have impressive zoom ranges. Once this lockdown ends and people return to the Grove Theatre, I think they will be awed by what the team there does with these incredible fixtures.”Issue: 337features13Malmö Opera invests in TiMax TrackerD4 “smart solution” showcontrol automationSweden’s architecturally impressive Malmö Opera has recently invested in Out Board’s next-generation TiMax TrackerD4 (TTd4) precision stage tracking system via Out Board’s Swedish distributor, Electrosound AB. The decision to buy was a simple one as the TiMax automation system was needed to ensure the precise audio localisation of both moving performers and static mic positions within the theatre’s immersive sound system, upgraded earlier in the year.Malmö Opera sound engineer, Svante Axbacke, claims: “TiMax TrackerD4 is very important to our sound system upgrade because previously we had not been able to program and chase all the audio objects through the show, so it saves both time and manpower.”The purchase decision was reinforced by the specification of TiMax TrackerD4 by Autograph’s Avgoustos Psillas in his sound design for Funny Girl, which was Malmö Opera’s first production on re-opening in the Autumn. Swedish superstar, Sanna Nielsen took the lead role amongst the 30-strong singing and dancing cast in the musical.The theatre took delivery of eight TTd4 Sensors and 30 TTd4 Tags, but Axbacke confirms: “We plan on buying more Tags early this year for our next musical production.” Malmo opera’s 1511-capacity main auditorium boasts one of Europe’s largest stages, so whilst eight Sensors cover the large area from different angles, the multiple sensor viewpoints add redundancy as only two Sensors need to see a Tag for reliable 3D tracking to be achieved. The system’s dual-mode ultra-wideband RF scanning uses hybrid AOA and TDOA technology which affords huge flexibility and helps mitigate any slight tracking errors caused by reflections, body blocking and scenery obstruction.Axbacke and his sound team evaluated other tracking systems on the market before opting for TiMax TrackerD4. As ever, service and support were considerations as Axbacke explains: “TiMax has a solid reputation and gives outstanding support both locally in Sweden and from the UK headquarters.” He confirms that as well as being “the most scalable system and easy to maintain,” TrackerD4 is also “very reliable and robust”.Axbacke discovered just how robust the Tags were when the costume department returned a Tag that had accidentally gone through the washing machine. He says, “We knew we were in safe hands because its ‘ON’ LED was still blinking and there was no damage at all to the Tag. It’s safe to say that there’ll be no issue from actors sweating which is usually a big problem for electronics.”Axbacke has high praise for the battery life of the tags which he considers, “amazing”, as well as the TrackerD4 system’s use of industry-standard OSC control. He’s equally impressed with the simplicity of the system, which he explains “We can recalibrate ourselves when we need to because it’s very easy to do so.”But it’s for the “smart solutions in the system that are very important to us in theatre” that Axbacke is most appreciative. With a helpful nod to the needs of a busy live production, one of these is the ingenious TTd4 Tag power-up mechanism that strikes Axbacke as most clever. He explains, “The way you turn on and off the tags with a magnet is a brilliant idea that eliminates accidents with actors who can’t keep their fingers away!”With TiMax TrackerD4 now in place controlling the new Soundscape system driving d&b’s A Series speakers, Axbacke is looking forward to pandemic restrictions being lifted, “so we can fill our hall again and every audience member gets to hear the same thing: the correct sound coming from the correct place on stage.” And all in real-time thanks to TiMax TrackerD4.photos: Malin ArnessonMarch 202114featuresL-Acoustics K Series Positions Exhibition London as New Cultural HubThe recently launched Exhibition London event space is situated in the heart of London’s White City and Westfield London, one of the capital’s premier shopping destinations. This multi-purpose venue is housed in a stunning Grade II listed building built in 1899 and originally used as an engine house for Central London Railways. A complete renovation of the space combines sensitive architectural restoration with 21st-century technology, which features an L-Acoustics K Series loudspeaker system, to help establish the new space as a major music venue and cultural hub.The venue is a collaborative venture between Unibail-Rodamco-Westfield and Broadwick Live, operators of Printworks London, The Drumsheds, Depot Mayfield, and Magazine London, which also boasts an L-Acoustics sound system. Both magazine and exhibition audio systems were designed by Simon Jones of Simon Jones Technical Production Management (SJ-TPM Ltd) with assistance and integration from HD Pro Audio and design support from L-Acoustics.Spanning two floors and a total of 1,271m2, Exhibition London features a ground floor foyer and reception area, which can also be used as a breakout area for corporate events and small conferences. The foyer offers direct access to The First Floor staging area, where the original high-pitched ceiling and its exposed roof structure, polished concrete floor, brass finishes, and decorative lighting create a stunning environment for both live music and corporate events.The original project brief emphasised corporate events, and Jones once again looked to Kara to fulfil the venue’s needs. But as the project evolved, music became the priority, and the larger format K2 became a serious option. “The First Floor is a 3,000 capacity multi-purpose space, and with the focus now firmly on music, it needed a rider-friendly PA that would also be good for corporate events,” states Jones. “We needed a left/right system and delays that would be beefy enough for full-on rock but delicate enough for speech.”“The whole ethos behind choosing K2 is to meet the demands of touring engineers Issue: 337features15and offer the industry standard, so there would be no question of bands not using the house system,” adds HD Pro’s Andy Huffer.The First Floor features an array of nine K2 per side, with five pairs of KS28 subs ground-stacked along the front of the stage. An A10 Focus is placed on top of each KS28 for frontfill, for which HD Pro has made custom mounts. Sidefill is catered for with stacks of two A15 and two KS21 while 12 X15 coaxial wedges are available for stage monitoring as needed. Two pairs of A15 are flown as additional delays/fills halfway down the room.“The main PA is more than capable of covering the entire space, but for corporate speech applications these fills allow us to get more detail at the back of the room without exciting it at the other end,” says Huffer. “This is essential for vocal clarity.”For the foyer’s rectangular space, compact X8 was chosen for its full range, high SPL, premium sonic quality, and excellent detail. Eight X8 are permanently flown, four at each side of the room and facing in to provide even coverage. These can be augmented with four portable SB15 subs if more bottom end is needed. Cabling has been installed throughout the area’s evenly spaced steel columns so that the SB15 can sit at the base of any column.Amplification and control comprise two P1 AVB processors, one for the First Floor and one for the foyer, along with nine LA12X amplified controllers for the K2, an LA4X for the A15, and 13 LA4X for the remainder of the system, with portable racks for the monitors.“Our primary challenge was that this is a tiled Victorian building, so it’s quite reflective,” says Huffer. “The First Floor, in particular, has lots of big, long shiny surfaces facing each other. Some acoustic draping is used, but we did not want to hide all the beautiful tile. Having K2, with its variable directivity, allowed us to optimise the system, keeping sound on the audience and off the walls. This, in conjunction with a complete grid system flown from the crane beams, gave us more rigging options.”As well as providing design support in the planning phase of the project, Jeff Woodford, application engineer install at L-Acoustics also provided on-site acoustic measurement and electronic optimisation, calibrating the sound system to give the best performance throughout Exhibition.With optimum flexibility of the system also a prime consideration, two DiGiCo SD12 consoles with Dante cards and Optocore sharing an SD Rack with 32-bit cards and an SD11i with D Rack are provided as the control package. “These are also an industry standard and make the venue a desirable proposition,” notes Jones.Adding to the system’s flexibility, a comprehensive fibre network was installed, linking the front of house and monitor systems upstairs and down, allowing audio to travel to and from any area. The network also allows the DiGiCo consoles to be moved to different areas, as required. “We’ve installed simple touchscreen panels for controlling volume, etc., throughout the venue,” says Huffer. “This means things can be changed quickly and easily to go from, for example, a stand-alone system for live music to distributed background music from someone’s phone.”“Both HD Pro and L-Acoustics have been exemplary in their design, support, and commitment to the project,” adds Jones. “The system sounds really good. I’ve done a lot of PA systems, but even I was surprised at just how good K2 sounds in here. It has exceeded my expectations, and it looks good, too, which is so important in a setting like Exhibition London.”“It was fantastic to work with L-Acoustics on Exhibition London, the K2 system installed is superb in every way and gives us maximum flexibility in terms of the types of events that are produced in this beautiful Victorian venue,” concludes Bradley Thompson, managing director Broadwick Live.March 202116featuresMansion nightclub houses Void AcousticsThe city of Liverpool has a long standing history for its vibrant nightlife and club scene. And so the opening of the refurbished Mansion nightclub was met with eager anticipation and much hype by locals and tourists alike in early Autumn 2020.Owners Dean Jones, along with DJs David Whelan and Mike Di Scala (better known and DJ duo Camelphat) are familiar with making sure they match, or more often exceed the expectations of their audiences, and so their discerning choice of sound system for the refurb was made with an enormous amount of input and plenty of consideration. “As DJs one of the favourite sound systems we perform with are Void systems and so we wouldn’t have chosen any other brand for our own club,” confirms Mike.Mansion is a house and tech house nightclub, with a capacity (in usual times) of 1,000. It has been designed as a multi-purpose venue spanning two floors with two mezzanine balconies and VIP booths, a terrace and several dance floors. These various spaces collectively offer capacity for product launches, conferences and private parties as well as regular club nights. The club had closed in January 2020 with a planned refurbishment expected to take place in time for re-launch in April 2020. Sadly the re-opening was delayed until August 2020 which was then met with even more excitement and anticipation.“We are focused on a VIP clientele and with so many options for our target audience in the city we had to make sure our offer was second to none” expands Mike. “We are familiar with Void sound systems and after lengthy discussions with our installer the decision ultimately came down to only one option: Void Acoustics.”“First off we chose Void for the quality of the sound and secondly we knew the style of speakers would suit the refurbishment Issue: 337features17perfectly with the sleek futuristic styling, especially once we knew we could pick the finish to blend seamlessly with the rest of the décor,” continues Mike’s DJ partner Dave.The management team worked collaboratively with renowned Void installer SA Acoustics Design. SA Acoustics is owned by Gary Martin who has a deep knowledge of Void Acoustics having owned and installed Void systems since the mid 2000s. “We opted for Gary and his team given their vast knowledge and experience of Void systems because we wanted the very best for our clientele,” explains fellow director of Mansion Dean Jones. “Not only are Camelphat regularly using Void systems for their sets, but I part-own another venue – XOXO Nightclub in Liverpool – which has a full Void Airten system and so I’m also well versed with the quality and dynamic audio delivery of Void systems.”Gary explains that the system choice was entirely down to the trio of owners of Mansion: “I’ve got a long-standing relationship with Void, and the team are always a complete pleasure to work with. And the venue owners wanted Void from the get-go – no question. So it was a perfect marriage. I spoke at length with the Mansion team about which Void products to specify, how best to deploy them to match their requirements and how to overcome the building and installation challenges. And the Void team were in the background to help and support every step of the way.”The overall sound system at Mansion includes a combination of Air Motion V2 and Airten V3 speakers, combined with Stasys XV2 subwoofers and Bias Q5 amplifiers. The project had a rapid turnaround from initial brief to the commencement of the installation in the early part of 2020. “There were a couple of challenges we met along the way,” explains Gary. “There was a new roof design at the venue and so we had to produce custom-made brackets. Luckily I have a background in metal fabrication and industrial refinishing and so we manufactured these in-house.”Another key challenge was the colour customisation of the loudspeakers, as explained by Void sales director Mike Newman. “We are able to offer the majority of our product range in custom RAL colours. This is a very popular option for many of our customers, enabling them to create visually striking audio systems and providing a USP for Void systems. We offer colour customisation on all our fibreglass products alongside other customisation features. So the customer can really feel a personal service on our products.”Gary continues: “We needed to reflect the architect’s design and colour palette, so I created a one-off custom formulation in our workshop in the knowledge that I’d therefore be able to provide the very specific colour finish for the Void speakers. Once I had achieved as perfect a match as possible, and in order to achieve the tight timelines of this project, this custom paint work was done in-house. It was a collaboration with the venue owners and the team at Void at every step of this colour matching process.”And the trio of directors of Mansion were thrilled with the initial response from their clientele in the regrettably short time the club has been operating since it was opened. “The outcome and response we have had to the audio system could not have gone better,” smiles venue director Dean. “From the crisp quality sound which the customers are loving, to the amazing feedback from our resident and guest DJs. My co-directors Camelphat have said it’s one of the best sounding systems they’ve heard and played on, which is a huge relief on a personal basis,” he grins. “2020 was completely stop-start and immensely challenging for us, as it has for the entire night-time economy and although we were able to open again briefly in December before this latest lockdown, we are once more closed. We hope everything is back to normal very soon and for our VIP clientele to walk onto a packed dance floor with the music pumping, and be reminded of all the feelings and emotions that a vibrant nightlife brings. We cannot wait!”photos: Mansion, LiverpoolMarch 202118featuresAC-ET Provided World-Class Products to Help Zeal Bring “The Land of Light” to LifeOne of the UK’s most loved Safari Park attractions, Longleat, recently became home to a temporary spectacular seasonal experience, “The Land of Light”.Built from the ground up, “The Land of Light” was a journey through several stunning and unique areas, and featured a host of bespoke creations which included everything from architectural lighting through to a mesmerising world of senses.Longleat partnered with leading production and hire company, Zeal, which helped design and bring to life this truly exceptional experience.Steve Hough, Zeal’s managing director comments: “We partnered with Longleat in May 2020 after they had to postpone their regular Festival of Light. The goal was to create a brand-new unique experience from scratch that took consideration of Coronavirus during the installation and the event itself. From there, we developed concepts and went on to design, build and produce a unique experience focused on stimulating the senses and allowed people to immerse themselves in real life, something that wasn’t possible throughout much of 2020.”The 2km immersive journey featured an impressive 688 lights, 255 speakers, over 72,000 individually controlled pixels, scent machines, projection, a host of atmospheric and water effects and even a 2,600 square foot immersive laser room. All of which was synchronised together with more than 38,000 metres of cable and the latest in technology, bringing the magic of Longleat’s grounds to life as one.A.C. Entertainment Technologies (AC-ET) was chosen to supply a number of products from leading brands including Dynamic Audio Device (D.A.D), Luminex, LumenRadio and Doughty for this exciting project.Jonathan Walters, AC-ET’s sales director comments: “It was our pleasure to assist Zeal in finding the right solutions for this impressive project. A job of this scale requires reliable high-quality equipment to ensure each visitor experiences the wow factor. Our team of experts worked with Zeal to ensure they got exactly what they needed.”When it came to the audio, Zeal wanted to avoid vast racks of amplifiers, and needed a significant number of high quality compact powered speakers to go throughout the experience.After discussing their requirements with the Audio team at AC-ET, they chose D.A.D speakers as the audio solution, which they felt ticked all the boxes.Luminex was the product of choice, and was responsible for the entire networking across the site, with five Gigacore 10s, two Gigacore 16 XTs and five Luminode 12s.“We wanted an industry-proven product that could handle everything we needed even in challenging environments, and Luminex was the obvious choice. “The Land of Light” was a 2km outdoor journey, full of lighting, audio, video, lasers and special FX, and this was all linked together via Gigacore switches connected with over 2km of fibre. We created a fully redundant loop using the RLinkX technology, but it didn’t need to fall back on this once!”“We had seven network protocols sending to all areas of the site over separate VLANs. Configuring these through Araneo was simple, and any support we needed from Luminex was there in an instant.For DMX distribution we used Luminode 12s, which were reliable and great for any Artnet or sACN merges we had to do across the site.” Commented Zeal’s Andy Jones, who oversaw and designed the networking system.”Zeal also used several of their PROLIGHTS products throughout the attraction, including StudioCobs and LumiPix which they had previously purchased from AC-ET for earlier projects.Steve concluded: “Once again, we received prompt and personal service from the team at AC-ET who were on hand to offer support and guidance every step of the way. Given the timescales and turnaround of so many bespoke items, we were grateful for the quick and sometimes out of hours service to make sure we had everything we needed to complete the project.”photos: Luke Dysonwww.ac-et.comIssue: 337features19Wiltshire Creative Adds Chauvet Professional to Salisbury Playhouse Rig for Little Robin RedbreastThe term “every year” was shredded in 2020, as COVID-19 played havoc with the best laid plans and forced the cancellation of annual events. The beloved children’s Christmas show at the Salberg Theatre might well have met this sad, but all-too familiar, fate last month were it not for the resourcefulness and determination of the Wiltshire Creative team.Moving the holiday production from its usual 149-seat studio to the 517-seat Salisbury Playhouse Main Theatre, and cleverly rearranging the audience area, the creatives at Wiltshire were able to offer local youngsters the chance to enjoy this Yuletide tradition in comfort and safety as they staged a production of “Little Robin Redbreast.”“Because of the devastating effect of COVID-19, we were unable to put on our usual pantomime,” said Matt Bird, senior lighting technician at Wiltshire Creative. “However, we were determined to provide families with entertainment this year in a socially distant and safe fashion, so we moved to the larger space and limited seating to 148.”The move to the Salisbury Playhouse Main Theatre involved performing the show on a larger stage than originally planned. Helping to make this transition without compromising the visual impact of the production were two Chauvet Professional Maverick MK3 Spot fixtures from Vesta Productions that were brought in to supplement the house rig.“Originally the show had been presented in a much smaller studio space, and then had to be expanded to be more appropriate to the larger stage space,” said Peter Hunter, lighting designer of the production. The additional fixtures did a lot to help the creation of the different moods and locations.”The Maverick MK3 Spots were placed on either side of the FOH area. From these positions, the 820 Watt LED fixtures directed an array of colours and engaging gobo patterns onto the hexagonal stage, which is itself located within an hexagonal auditorium.Describing how he used his rig to support the show, Hunter said: “The story is aimed at very young children and follows the journey of a lost fledgling Robin trying to find his way back to his family. We follow the lead character as he visits a number of locations, threatened by hunger, the weather and predatory animals. The lighting has to assist with emphasising the current threat, often for a very short period, before the next stage of the adventure begins. This requires a large variety of different moods and locations within a fixed set and a backing of illuminated images to give a hint of the current situation on stage. The lighting has to augment these images and help to build a solid basis to the flow of the story.”As the adventures of the robin unfolded, they were supported by a rainbow of colours and artfully balance brightness and shadows, much to the delight of the young audience. Adults in the theatre enjoyed the experience too, including the show’s technical director.“After such a long period of not being able to conduct performances, the joy of hearing a show being called by a deputy stage manager and hearing the overwhelming reactions of joy from the audience was very welcome,” said Bird. “It was an upbeat way to end a challenging year.”Next >