Project News
Project News Headlines
AES Provides Atmosphere for Church
12/02/2025
Praise for MC² Delta Series at Vegas Church
04/02/2025
Robe T11 Time for Kunstmin Dordrecht
31/01/2025
Anolis Calumma Illuminates Halle de Figeac
23/01/2025
Theater de Bussel Invests in Robe T11s
17/01/2025
Dutch cultural hub chooses LSC’s UNITOUR
16/01/2025
Les Fauteuils Rouges: ASP4816 Analogue Charm Meets Modern Workflow
France – There’s a classic ASP4816 console in les fauteuils rouges, a cosy recording studio in the south of France where owner Julien Lebart loves to record acoustic, jazz and pop music. Running a hybrid studio, he was keen to maintain a good workflow with Pro Tools, so spent a long time researching the right mixing desk for his set-up. From the moment he bought his Audient, Julien knew he’d made the right decision.
Julien commissioned bespoke studio furniture for his control room, roping in his friend, sound engineer Tom Chiesa to help build in the console, a DAW controller and a few additional mic preamps in the main worksurface. This way he has quick and easy access to Pro Tools (play, stop, rewind, etc) and the option to adjust levels of various tracks in the digital domain via the controller, whilst the ASP4816 is also in reach, doing all the heavy lifting of mixing audio in the analogue domain.
“It’s perfect for tracking a music band,” says Julien of the Audient desk. “The preamps are awesome: super clean but have ‘character’ if we push them up. The EQs are also incredible and certainly good enough to use before Pro Tools when recording. This saves so much time!
“I love to use the console for mixing too,” he continues, often noting that clients’ favourite mix is the first version, the one that he did with the console. “I use buses to compress the entire drum, for example. The stereo bus compressor has something really special.”
It’s not just the sound that lifts his heart, though, it looks the part too. “It really is a pleasure to see it when I come into the control room in the morning!” he says. In addition to the control room, les fauteuils rouges comprises three recording rooms with a much-loved Schimmel baby grand piano enjoyed by jazz and classical musicians alike.
Originally, les fauteuils rouges – directly translated as ‘the red armchairs’ – was owned privately by French singer, Cali, whose debut album l’amour parfait sold half a million copies back in 2003. Julien (who was also his pianist) has continued to work with Cali, producing, mixing and songwriting with him over the years.
For the last ten years, it has been a commercial studio under Julien’s command and a number of notable artists have passed through its doors, sitting metaphorically on the red armchairs. “We have the pleasure to record, mix and master famous French artists, including Eric Cantona, actor Tcheky Karyo, and of course a lot of others well known in France.”
To say that Julien is satisfied with his console is an understatement. “It’s perfect, I am a really happy customer,” he says. To find out more about les fauteuils rouges, visit the website or follow them on Facebook and Instagram.
17th February 2025
Synapse Audiovisuel and Chauvet Professional Cultivate Beauty with 809 Social Club Tree
France – Stately and serene, reaching upward to heaven while sheltering the earth below, trees have inspired painters, poets, dreamers and lovers from time immemorial.
Nowhere, perhaps is this as evident as in Provence, where verdant cypresses and Aleppo pines lining the azure landscape have served as muses for the likes of Matisse, Cezanne and so many others.
Now, Provence welcomes a new kind of tree, not one of branches and leaves, but an illuminated one, artfully designed and installed by Synapse Audiovisuel.
Measuring 5.6 metres high (over 18-feet) and pixel mapped with Resolume, this tree is located in the 809 Social Club, a spot for tourists and locals alike in the heart of downtown La Garde. It sprouts from the centre and extends on to the ceiling and on the wall in joyful, irregular patterns.
“The club was completely renovated and needed a new concept," said Ludovic Lozano, technical sales engineer for Synapse Audiovisuel. "Our client asked for something unique, but not overwhelming, something universal that could speak to everyone and not a particular theme.”
Responding to this request on the part of their client, the Synapse team came up with the concept of the tree. "The idea came naturally when we started exploring ideas to tone down the square aspect of the space and create curved, organic shapes," detailed Lozano. "This is why we designed a round centre, while cleverly arranging the grid so that it gives maximum height to the whole without constraining the hoardings."
To give shape and life to this idea, the team went for Chauvet Professional LED strips. “We regularly recommend and install ÉPIX fixtures and we know these led strips are super dynamic, easy to use. As they are pixel-mapping ready, they were the ideal solution for this project. In total, we installed 56 EPIX Flex 20 which are five metre long and IP-rated, along with 12 EPIX Flex Drive and six EPIX Flex Boosts, which enable us to double the capacity of the driver.”
Aesthetically, the tree flows with a natural grace, but turning this artful vision into a reality required considerable effort and a lot of teamwork. Lozano credits a number of people with making the project a success, including Leny Pourcin (technical sales engineer), Pierre Coulet (carpentry manager), David Mosseri (installation manager), Maxime Zouky (installation technician), Kamel Leuboss (installation technician), Gilles Cleduper (installation technician), Franck Santangelo (installation technician), and Quentin Detrez (Lightjockey at 809 and installation technician).
“This was a physically demanding job, we had teams permanently relaying themselves Monday through Thursday, 24 hours a day," said Lozano. " In the end it was super rewarding. After working with the house lights on all this time, getting to see this beautiful lit tree come to life and completely change the perspective in the room was breathtaking.”
In a region where there is universal admiration for the timeless beauty of trees, everyone would agree!
13th February 2025
AES Provides Atmosphere for Church
UK – The brainchild of Bring Me The Horizon frontman, Oli Sykes and housed in the listed Osborn Works in Sheffield’s Kelham Island/Neepsend neighbourhood, Church – Temple of Fun is an exciting multi-use venue which features a vegan bar and restaurant, outside terrace, PS4 gaming pods and 220-capacity live music venue. Opened in 2018, the venue has hosted notable acts such as Bring Me The Horizon, Deaf Havana and Static Dress, as well as DJ sets with the likes of Toddla T and Annie Mac. Church’s busy programme of events also includes gaming days, film nights and art evenings.
With such a varied spectrum of activities taking place in the venue’s different spaces, high quality, easy-to-control zoned audio is essential. Experienced installer Audio Engineering Services (AES) of Sheffield is Church’s preferred audio supplier and was responsible for the installation of the venue’s HK Audio system and most recently, an upgrade to its audio control.
Andy Fisher of AES comments: “The original control system at the venue had begun to fail and the team at Church wanted to replace it with a system that would be simple and intuitive to operate. I recommended the Atlas IED Atmosphere processor; I’ve installed it into a dozen or so venues now and it’s proved to be very popular with clients. As a multi-faceted venue comprising bar, restaurant, live music area, and more, it’s important that the staff at Church can readily control the levels of audio in order to create the right ambience.”
AES supplied an Atmosphere AZM8 eight-zone audio processor as well as a single Atmosphere C-ZSV-EU zone, source and volume wall controller. The AZM8’s powerful DSP combined with innovative algorithms offer custom solutions for a wide variety of spaces. A built-in message player, virtual wall controllers, learning ambient noise sensing, Tilter Filter, auto-gain, GPIO, bell scheduler, room combine and many more features, make the AZM a processing powerhouse suitable for a wide range of applications.
The AZM8 is compatible with all six of the Atmosphere accessories for control, remote audio input and ambient noise sensing. Up to 16 of these plug-and-play accessories can be connected across four accessory ports on the AZM8, with each port designed to work reliably up to 1000ft.
Programming is simple through a modern on-board web interface, optimised around common use-cases. Built around Progressive Web App technology, the control interface is device agnostic, responsive and meticulously designed for an ideal user experience without sacrificing design freedom. In addition to Ethernet, built-in Wi-Fi allows for tablets and other controlling devices to connect directly to the AZM8.
Andy reflects on another successful deployment of the AtlasIED Atmosphere: “It’s easy to set up, very flexible and I can adjust it from my office if necessary. The staff love being able to use their phones to adjust the levels in all areas. We were able to dispense with the multiple wall panels that had originally been installed and it’s safe to say that Church is very happy with the solution which dovetails nicely with the HK Audio system we installed when the venue opened.
“After demoing several systems to owner Oli Sykes we designed a versatile system based around the active HK Linear 5 Series supplemented by passive compact CT108 units, which could comfortably take care of live events and DJ sets as well as general day to day usage. HK Audio are my go-to for sound systems and their high-quality audio combined with cutting-edge AtlasIED Atmosphere control provides Church with an exceptional audio package.”
AtlasIED Atmosphere and HK Audio are both distributed in the UK by POLAR.
12th February 2025
Audient ASP8024|HE ‘a great fit’ for New Puerto Rico University Studio
Puerto Rico – An Audient ASP8024-HE console has recently been installed at the Universidad Profesional Dr. Carlos J. Borrero Ríos (UP University) in Puerto Rico in the brand-new, on-site recording lab. Designed to be centred around an analogue recording console, the new studio comprises a control room, live room and isolation booth.
Taking advantage of Audient’s unique modular console design, UP University was able to specify a console which aligned perfectly with their needs: a 36-channel console with dual layer control and Patchbay. Armando Sepulveda, an audio engineer professor at the university outlines the decision: “The Audient console is a great fit for us here at UP University since it gives us the flexibility and capability to run big live sessions and mix in the console. It's also a great tool for teaching how to run a recording studio in the hybrid studio era combining the DAW with the analogue console and outboard gear.
“Thanks to this console we can better teach the use of an analogue console in a recording or mixing session and we can also help students learn signal flow, thanks to its built-in patchbay.”
The AS8024-HE was originally specified by his colleague, professor Ramon Martinez, who appreciated having preamps and EQs on all 36 channels. It’s worth noting that the Audient console mic preamps and EQs are splitable across both the short fader and long fader paths, for ultimate flexibility in a tracking session.
Armando himself is a musician, recording artist and audio engineer, therefore perfectly placed to teach the next generation of audio engineers in Puerto Rico. From the get-go he admired the features of the console, including “the clarity of the preamps and the flexibility of the signal flow. Also, the EQs have been a pleasure to work with. The ability to control the DAW with the DLC control has also been really useful,” he adds.
In the years since his graduation from Full Sail University some 15 years ago, he had got out of the habit of working with an analogue desk. “I’ve used a mouse and keyboard for too long, but now having the DLC is a truly great and efficient way to interact with the DAW.” He confesses to have been “pleasantly surprised by its quality”, so much so in fact, that he’s since started buying Audient products for his own use!
UP University has its eponym – and founder – Dr Carlos J. Borrero Rios to thank for the launch of the new audio technology program. Armando tells us a little more about the university’s founder: “Here at UP University we strive to provide diverse educational opportunities, combining arts and medicine. It is Dr Carlos J. Borrero Rios’s great passion for music production, live sound and recording that inspired this newest course and this passion is really what drives the audio programme here. I’m very proud to be part of the team.”
Students working towards an Associate’s Degree in Audio Engineering at UP University are exposed to sound theory, operation of digital audio workstations (DAW), music theory, recording techniques, live sound, mixing and post-production, as well as entrepreneurship and ethics. All of this is being taught through lectures and labs with an emphasis on giving students a real-world experience of the working environment in this profession.
The audio programme is currently in its infancy, but with the inauguration of the brand-new studio there are great plans to grow as word begins to get out. Indeed, Armando envisages the audio technology department becoming the largest in the university, and the audio engineering programme itself to be recognised across Puerto Rico.
10th February 2025
Iconic Truth Nightclub in Johannesburg Reopens with Elation Pulse and Fuze
South Africa – Truth Nightclub in Midrand Johannesburg, South Africa, recently celebrated its official reopening with a state-of-the-art lighting set-up from Elation. The Production Warehouse, Elation’s exclusive partner in South Africa, collaborated closely with the venue to select the ideal equipment for the upgrade.
The installation was completed under a tight schedule, just in time for the pre-launch of the revamped “The Terrace” dance floor. The new lighting rig was crucial for the club’s “25 Years of Truth” anniversary event featuring Township Rebellion on 30th November and the New Year's Eve 2025 celebration with Pleasurekraft.
Truth, known as the “Home of the Underground,” is a regional landmark and one of South Africa’s most iconic nightclubs. With five dance floors, it has hosted world-renowned artists like Paul Van Dyk and Richie Hawtin, among many others.
The Terrace underwent a complete rebuild and upgrade after a fire damaged part of the venue. Elation was chosen as the preferred lighting provider for the newly reconstructed space, reinforcing the club's dedication to top-tier lighting.
Project designer Emil Lars explained the decision behind choosing Elation fixtures: “Essentially, the conceptual vision for The Terrace was one of flexibility and openness, which makes choosing a set of permanent fixtures quite challenging as they'd need to be extremely flexible. The Elation Fuze SFX LED spot stood out for its flexibility and ability to create dark techno floors with narrow beams and contrasts with extremely wide soft gobo washes that can feel quite dreamy.”
He added that the Pulse Panel and Pulse Bar S were chosen for eye candy, flexibility, sheer brightness and impact with their small form factor making them easy to place the fixtures on various designs. “Exceptional quality, flexibility and future-proofing is why Elation was a no-brainer.”
Designer Shaniel Laloo, tasked with commissioning the rig, commented: “We needed to create a very dynamic lighting package as the club caters to many different genres of music. We were looking for something that could be punchy one day and still do the ‘darker nights’ more effectively. This meant lots of pixels and a main fixture with an extensive feature set.
Laloo opted for a grid-based design for the Fuze SFXs to maximise their potential. “Whether in beam or wide spot modes the design just allows great looks with minimal effort. The most important feature for me is the ability to move between different zoom ranges with precision and speed, allowing the fixture to take on multiple roles in our programming.” Although the initial specification called for Dartz 360 moving lights, the large, open-air layout of The Terrace required more power to cut through the LED screens, making the Fuze SFX the perfect solution, with 16 units ultimately installed.
Regarding the Pulse fixtures, Laloo stated: “I wanted to make sure that one strobe fixture could essentially cover the entire venue. So, when we do go into random strobing, you are completely immersed in white light from different angles, giving a euphoric feeling on the dancefloor.” Utilising four Pulse Panels and six Pulse Bars, Laloo and his team easily covered the entire space.
He added that they needed something to cover spaces behind the DJ without spoiling the aesthetic open-air feel. “The Pulse Panels and Barss were placed on drop bars to create light from nothingness, allowing bright strobes, colours washes or just simple individual pixel effects. We also placed the Pulse Panels around the LED screen to allow for NDI mapping through a media server. So, it's not just a light; it's a video fixture as well when we want it to be.”
Lighting operator David O’Molony praised the setup saying: “The Pulse Bars are really fun to work with. The iris and zoom ranges on the SFXs are great and the colours are vibrant too.”
Marnus Nieuwoudt, owner of The Production Warehouse, concluded: “It’s an absolute honour to work at a venue of the calibre of Truth. It’s a national landmark that everyone knows and it’s really great to have played a role in the upgrade. We’re very proud of the results and eager to continue with future expansions and revamps on their other floors.”
photos: Mike Bets
7th February 2025
Muscat TV Chooses Lawo AoIP-Technology to Power Advanced Broadcast Audio Infrastructure
Oman – Oman’s Ministry of Information, also known as Oman TV, has unveiled a groundbreaking project that transforms its central theatre into a hybrid space, merging live event capabilities with full broadcast functionality. Central to this transformation is a state-of-the-art audio infrastructure powered by Lawo's cutting-edge IP-based solutions.
The project reflects Oman TV's commitment to innovation, addressing the dual demands of live performances and seamless integration with its 20 studios that support five national channels. This hybrid functionality positions the theatre as a versatile facility, capable of linking with other studios for real-time signal sharing while supporting live broadcasts and in-house events.
The central theatre posed unique challenges, as traditional auditorium designs rarely include broadcast-grade redundancy. Oman TV envisioned a facility that would function as an additional broadcast studio, enabling seamless transmission of signals in and out of the building. To meet these demands without compromising performance or reliability, the system required a robust IP networking infrastructure.
Pixel Solutions, the Muscat-based systems integrator, collaborated closely with Lawo to tackle these challenges. "This was a remarkable project for us," says Anas Alkurdi, CEO of Pixel Solutions. "Lawo’s solutions and expertise helped us design a system that exceeds Oman TV’s exacting standards, while our team gained invaluable experience in broadcast audio systems."
At the heart of the theatre’s audio infrastructure is a Lawo mc²56 MkIII audio production console with 32 faders, paired with an A__UHD Core audio engine. Together, they provide an unparalleled level of flexibility and processing power, with the ability to handle more than 1,000 DSP channels. This set-up enables engineers to manage the in-house audio mix for live events while also controlling signals for broadcast distribution. The console seamlessly handles over 100 audio inputs and outputs, ensuring smooth routing and reliable performance for both applications.
Complementing this set-up are several additional Lawo solutions. Two A__stage64 stageboxes ensure seamless audio signal connectivity across the venue and beyond, adhering to ST2110 standards for pristine sound and robust resilience. Lawo's HOME management platform offers centralised and intuitive management of all connected devices, streamlining operations in the hybrid production environment.
In addition to the broadcast audio system, the central theatre features a sophisticated AVL installation designed to enhance the audience experience. A striking 11m x 5m LED video wall from LEDman dominates the stage backdrop, the largest of its kind in Oman. The lighting set-up includes over 60 Prolights fixtures, expertly installed in a challenging space with undulating ceilings accessible only by hidden catwalks. Audio coverage is powered by Bose Professional ArenaMatch AM10 loudspeakers and ShowMatch SMS118 subwoofers, configured for precise sound performance in collaboration with Bose’s design team.
The venue also features commentary and translation booths equipped with Studio Technologies solutions, such as the Model 214A announcer’s console and Model 348 intercom station. These systems were smoothly integrated with the Lawo infrastructure using standard protocols, demonstrating the adaptability of the overall design.
The adoption of Lawo’s IP-based technology delivers significant advantages to Oman TV. The system’s robust redundancy ensures uninterrupted operations, critical for live broadcasting, while its modular design offers scalability for future expansions. The intuitive interface of the HOME platform simplifies workflows, reducing setup time and operator training needs. Additionally, the seamless integration of Lawo equipment with third-party systems, such as Bose and Studio Technologies, highlights the flexibility and reliability of the solution.
The success of the central theatre project has positioned Oman TV at the forefront of broadcast innovation in the region. Operators have expressed enthusiasm for the system’s performance, and discussions are already underway to extend Lawo's technology across Oman TV's broader infrastructure.
"This project has laid a solid foundation for future advancements in Oman’s broadcast industry," says Alkurdi. "It is a testament to how local expertise and global technology can come together to achieve remarkable outcomes."
5th February 2025
Genelec advances multichannel sound at the University of Greenwich’s SHIFT facility
UK – London’s University of Greenwich has unveiled its groundbreaking Shared Hub for Immersive Future Technologies (SHIFT), a one-million pound facility dedicated to advancing multichannel sound composition, immersive audio and visual performance. Central to SHIFT’s success is Genelec monitoring, which provides the spatial precision needed for innovative sound production.
At the heart of the new Immersive Sound Lab, located in the King William Building of the Old Royal Naval College, is a 32.4 spherical array of Genelec Smart Active Monitors comprising 32 x 8331 three-way monitors and four 7350 subwoofers. Calibrated using GLM software, the system supports high-resolution ambisonic recordings and formats including Atmos, DTS:X and Auro 3D, pushing creative boundaries in sound composition.
“There was only ever one choice for our new Immersive Lab,” says Andrew Knight-Hill, Professor of Music and Sound Arts at the University. “The spatial clarity and accuracy of Genelec’s point source design deliver unmatched immersive experiences.”
Complementing the lab is the Digital Immersive Theatre, housed a few miles up the road in the historic Victorian swimming baths of Woolwich Bathway. This 200-person capacity venue features a fixed 28.2 Genelec audio system (comprising 8030s, 8050s, 8350s and 7382 subwoofers), which can expand to a 40.2 configuration depending on the project. Combining immersive 360-degree projection mapping, surround sound and dynamic lighting infrastructure, the theatre enables a wide range of performances, including those developed in the Immersive Sound Lab.
Despite challenges posed by the historic buildings housing the facilities, innovative infrastructure work by Stage Electrics and the audio expertise of HHB Communications preserved heritage while meeting technical demands. “Every step of the project was guided by close consultation with heritage specialists and the university team to maintain balance between preservation and technological advancement,” comments Saul Eagles, business development manager at Stage Electrics.
Reflecting on the impact of the Research Centre’s expansion, Knight-Hill remarks: “SHIFT has fostered a real sense of diversity and allows us to work with a vast array of musical styles. With the Immersive Sound Lab, there’s something very special about the focus and clarity of the soundfield in the sphere. The coherence and integrity of the spherical array with its coaxial monitors allows you to stand outside it, and yet still hear material inside the ‘bubble’, the imaging doesn’t collapse.”
Looking ahead, Knight-Hill emphasises the team’s plans for 2025, including a series of Loudspeaker Orchestra events and a focus on making incremental improvements now that SHIFT is fully established. He concludes: “We’re committed to encouraging people to think about immersive audio as much more than a delivery format. We also want them to explore its potential to shape the creative process and become an expressive dimension.”
4th February 2025
Praise for MC² Delta Series at Vegas Church
USA – Founded in 2017, the Korean-American Joong Ang Church in Las Vegas has seen a steady growth in its congregation over the years and recently left its existing premises to move to a new larger chapel building on Peace Way, just ten minutes away from the city’s main strip. With a substantial stage in place, the venue’s main space seats approximately 600 and hosts a variety of worship including spoken sermons, solo singers, bands and complete musical shows. When the Church moved to the new venue, its sound system was out-dated and unreliable. Pastor Im In-Cheol and his team decided to install a brand-new audio system and engaged Troy Choi of Solid Sound Solutions to deliver the solution.
As a member of the strong and close-knit Korean Church community, Troy is a trusted and expert audio practitioner in both the installation and live sound sectors. As well as fixed installations into houses of worship, concert halls and conference venues, Troy has worked with stadium bands such as Toto, as well as a wide range of touring productions and his services are always in great demand. Solid Sound Solution’s ever-growing portfolio of successful church installations attests to why he is a go-to figure for all matters audio. With an abundance of different choices on the market, the Church trusted Troy to deliver a system tailored to fit its exact sonic and budgetary requirements.
Troy recommended a system comprising FBT Mitus line array loudspeakers powered by MC² amplification.
Troy designed the system and chose the amplifiers carefully as he explains: “I was looking for an excellent amplifier with great DSP to level up the loudspeakers. As sound guys, we know how much a good amp is necessary to obtain the best results from speakers. It can change mid-class speakers into first-class speakers and first-class into low-class!
“I’ve long been a fan of the XTA processor and have been familiar with MC² amps for a long time, having used them with Funktion One speakers before the DSP version, so I already knew they were great. This was the first time I’d used the MC² Delta Series with its XTA DSP and Globcon software as well. As soon as I connected the amps to the loudspeakers and played music without any tuning, I smiled. The FBT Mitus is a good small box as a self-powered/DSP version in its own right, but this was another sound altogether. I’ve done plenty of system design and front of house mixing, so I knew this was special from the start. It really is very impressive: MC²’s amplification with XTA DSP is super powerful, and to be honest I think the price is reasonable for the strengths it brings.”
News of the smooth, powerful sound that now supports events at Joong Ang church has travelled fast according to Troy: “The Korean-American church community in Las Vegas are saying that this is now the best sounding church in town! I attended the first service with the new system and it sounded great; no wonder the client is 200 percent happy!”
4th February 2025
La’ Shukran lights up DC’s late-night market with Martin Audio
USA – A two-storey Levantine themed bar restaurant has been set up in Washington DC’s Union Market District by award-winning, Michelin-starred restaurateur, Michael Rafidi.
On the ground floor is Yellow Café, the second location in an already successful bakery concept and this has now been joined by the vibrant La’ Shukran restaurant. Both areas have been equipped from top to bottom, along with the outside rooftop patio and back stairs alley that links the two venues, by the recently formed Beltway Audio Group. This is a merger between two young audio entrepreneurs, Doug Cyr of Precision Event Rentals, and his friend Brady Rall, both known in the region as engineers for large local sound systems, largely at raves and warehouse parties.
Rall was first introduced to Martin Audio over a decade ago at Washington DC’s once-beloved underground music venue, U Street Music Hall, while Precision Event Rentals had more recently run Martin Audio systems at events and festivals. “Their faith in the brand was further underpinned earlier this year when seeking potential powered speakers for their rental inventory. “We realised the Blackline range now came in active form and just started buying them in multiples, largely because of the price point and quality of the sound,” said Rall.
The connection with the La’ Shukran project was made after Brady Rall had been providing tech support and operating a DJ programme for Unordinary Inc, a high-concept cocktail and restaurant bar group run by Radovan Jankovic and Marko Bogdanovic. It was they who partnered with Michael Rafidi. “So back in March 2024 they invited us to design and install this new project they were working on.”
The fact that it was in a dilapidated warehouse area of DC that was being transformed into a more upscale neighbourhood attracted them. Cyr and Rall led the project, designing the space into four zones. The ground floor, the stylish Yellow, is based on eight Martin Audio ADORN A55, with flown SX210 (2x10) and SX212 (2x12) providing low end extension. Upstairs La’ Shukran required a more powerful approach with four CDD12 and an SX212 sub, with eight further ADORN A55. Here the sound system, described as “incredible” by the installer, plays out everything from Arabic rock and hip hop and Levantine funk to more cool Mediterranean vibes.
In-ceiling speakers are found in the washrooms and ancillary. The two-floor concepts have separate entrances, both have ADORN A55 immediately outside, enabling passing customers to hear the distinct sounds of each concept as they enter. La Shukran is entered through a back alley and customers ascend a vibrantly tiled staircase, equipped with a further A55 at both the top and bottom of the stairs. “I’ve designed a soundscape that creates the experience of walking into a portal, as if you are walking through Damascus or Beirut or modern-day Marrakech and you hear market sounds, with folkloric instruments,” explains Rall. “That’s your introduction to La’ Shukran.”
Then there is the outdoor rooftop terrace, which forms the fourth zone and features another punchy Martin Audio sound system comprising three wall-mounted CDD10-WR and a further pair of SX110 subs. This is likely to become the venue’s private space.
“I’m particularly pleased with the outdoor speakers,” he continues. “Literally there was a hurricane the week after we installed the subs and I was worried about how they would function after 100mph winds and heavy rain. But they haven’t skipped a beat. The outdoor sound is definitely a highlight.”
Powered by Focusrite Group partners Linea Research, via a pair of 88C20 and an 88C06, and with versatile digital processing, this is a sophisticated, fully integrated set-up. Any sound source can be sent to any destination and there is a generous supply of DJ plug-ins and patch panels, with all areas controlled on an app on their phones. “We have both floors iPad synced and wall panels; because it’s a vinyl hi-fi bar upstairs we have analogue and DJ lines coming in and it’s hooked up [to a streaming service] and fully integrated in terms of wireless efficiency.”
This is the first of a number of installations that Beltway Audio Group are presently quoting Martin Audio on as they continue to build their reputation. At the same time they are service agents for a number of local clubs and venues in the DC area that they say already have Martin Audio installed.
4th February 2025
Challow Park Studio Records and Mixes Immersive Audio with Audient ORIA
UK – An Audient ORIA Immersive Audio Interface and Monitor Controller has been installed as the ‘go-to’ monitor controller and sound card in Challow Park Studios. One of the first facilities to take advantage of ORIA’s ability to integrate with Dante technology, the Oxfordshire facility has used ORIA for all its most recent projects across a range of genres. “I find the sound quality astonishing on the analogue outputs,” confirms Will Biggs, the on-site producer and engineer, who has been overseeing their transition to immersive audio.
“We recently moved ORIA into my main recording room so I can monitor in Dolby Atmos. We run a hybrid system, but all of our converters connect to Pro Tools via Dante,” he explains. Although they had been running Dolby Atmos in the studio for nearly two years, finding a suitable controller to run the speakers seemed to be impossible. “We put together a couple of different systems, but none were adequate,” says Will.
Enter ORIA. Will found it “very simple to set up” and appreciated how easy it was to integrate with Dante. “I plugged it in and it worked,” he says. “The way that you have the Dante card integrated into the box is intuitive and straightforward. It works nicely and has allowed me to run Pro Tools into it very easily.” Providing up to 16 input channels over AoIP, the optional Dante Card allows quick and seamless integration with new or existing AoIP networks.
This year sees Challow Park relaunching itself as a dedicated space based on recording and mixing immersive audio, something Will, a self-confessed sound recording addict has been working towards for a while. Bored of recording and listening to music on stereo speakers, he was keen for everybody to experience the subtleties he could hear. “When you record and mix on speakers in a studio, it’s very unlikely anyone else is going to be able to hear what you’re doing, due to the quality of speakers available to the average listener. When I first heard Atmos on headphones, it was like the sound was coming from outside my head: very different to listening on headphones traditionally. Listening on headphones is a much more level playing field, most people are listening to music on headphones on the way to work and Atmos is just a fantastic upgrade of that system. Once you’ve listened to Apple Spatial, it’s very difficult to go back to listening to the same things in stereo.”
Comprising two control rooms and three dedicated recording spaces – including one area large enough to record a 45-piece orchestra – Challow Park Studios is built in the grounds of a Victorian house not far from Wantage.
3rd February 2025
Robe T11 Time for Kunstmin Dordrecht
The Netherlands – The Schouwburg Kunstmin in Dordrecht is a busy, bustling theatre and performing arts venue in The Netherlands which has made another major purchase of Robe LED lighting fixtures with 83 T11 Profiles. These have been added to the main hall house lighting rig, replacing all the old, fixed position incandescent profiles and PCs.
The venue is both a producing and a receiving house, and in the main hall, the busy and vibrant programme of performance – embracing musicals, dance shows, cabaret, comedy, and concerts – can be lit with an all-Robe and fully LED lighting rig and investment funded entirely by the theatre itself.
Simultaneously, the venue purchased 12 Robe ParFect 150s to replace its conventional PARS and another four T1 profiles, bringing the current total to 12 when combined with others bought in 2022 to replace the ageing 2kWs on the FOH bridge with an LED source. Eight Robe TX1 PosiProfiles also joined the inventory positioned on the front bridge.
And there was more explained Kunstmin head of technical, Bart Meester, who is delighted with having all the new tech at his fingertips! LEDBeam 350s were purchased for the portal bridge, plus 14 Tetra2s to light the cyc and more LEDBeam 150s to add to their existing stock, all also the for the large hall.
Bart explains that the first Robe products in the house were T1s and 150s purchased just before the pandemic shut down in 2020, which marked the start of the LED transitioning process.
Before that, LEDWash 300+s were specified in 2019 for M3, a fully flexible ‘bare floor’ performance space just up the road at Energiehuis, a venue also run by Kunstmin in a reimagined old power station now dedicated to culture and the arts.
It was these previously good experiences with the products and Robe’s Benelux distributor, Controllux, that led them back to the brand with the sale managed by Controllux’s Kuno van Velzen.
In the meantime, Kuno arranged a Robe factory visit for Bart and some of the Kunstmin crew, who were suitably impressed with the facilities and set-up in the Czech Republic and the fact that the products are manufactured in Europe.
Robe’s R&D team has specifically developed the T11 series to offer to theatres and other venues a small, bright and highly versatile luminaire with a great zoom and other cool features as a ‘no-brainer’ to replace their conventional and discharge fixtures.
“The T11 optics are fantastic,” commented Bart after the initial shows using the new luminaires. “The beam is flat, wonderfully even, with absolutely no hotspots and the quality is amazing; this new technology brings multiple new possibilities,” he confirmed.
A fixed profile with manual adjustment was exactly what they wanted, and while it will also reduce the power requirements, that was not a primary reason for choosing T11.
Approximately 90 percent of the incoming productions use the house rig, so there are plenty of happy lighting designers, directors and operators out there relishing the chance to work with their lighting, notes Bart. They can facilitate programming old or contemporary style with colour mixing or dimming and are completely flexible with a choice of FOH consoles.
New technical advantages enabled by the upgrade include the “excellent” optical elements of the T11s and the richness and detail of the colours. It’s significantly quicker than gelling up a rig of old-style profiles, spots and PCs, there are no gels to burn out and the lamps remain the same colour all season without depreciation. The bulb can always be on and will never break and the output will also remain constant.
Bart and the lighting team like the T11s two-knob control and appreciate its low output-to-noise control.
Bart mentions how the pan / tilt options offered by the TX1 PosiProfiles make it an ideal solution for the main bridge which is a fixed position – built as part of a 2014 renovation – and while the structure can’t be moved, the TX1, which can be used as a full moving head profile or as a static repositionable profile, is perfect for positioning and operating in tight or limited access spaces. They are also smaller, less obtrusive and brighter than their predecessor lights on the bridge.
On the choice of Tetra2s for cyc lighting, they wanted to be able to fly the fixtures and have the option of lighting from the top or the bottom, so a neat and compact fixture with plenty of punch was required, and secondly, they wanted a luminaire that was more than just a cyc light.
They had seen Tetra2s used in action for this very purpose when singer Herman van Veen visited Kunstmin, bringing in ten and this inspired them to look at this approach.
The Tetra2s can be used for multiple functions, from lighting all different sized cycs to back or frontlighting to effects if needed. “They have a serious output and are highly adaptable and well suited to working in this venue,” stated Bart.
They also purchased eight TetraXs intended broadly to replace the PAR 6-bars used for side washes and other effects for which this classic stage lighting product was the go-to for many years.
The TetraX LEDs are matched to the Tetra2s, so the fixtures can work seamlessly together.
“They are quick, simple to set up and easy to program,” said Bart on the TetraXs, adding that overall, he is “extremely pleased and proud” with what they have achieved with the new lighting that has revitalised this busy venue that hosts around 250 shows a year.
The venue can now offer higher production values which can be enjoyed and utilised by all the entertainment, shows, events and artists using the space, ultimately delivering slicker and more dynamic performance experiences to their wide-ranging audiences who enjoy the space year-round.
photos: Louise Stickland
31st January 2025
Royal Shakespeare Company upgrades with Eos Apex lighting control
UK – The Royal Shakespeare Company has selected ETC control and fixtures to upgrade its flagship Royal Shakespeare Theatre (RST), including Apex 10 and Apex 5 consoles, Eos Apex Processor, Eos Programming Wings and more.
The theatre, which is owned by the Royal Shakespeare Company (RSC), is a leader in creative technologies and digital development. The RSC recognised the urgent need to upgrade the lighting equipment in the Royal Shakespeare Theatre to increase the theatre’s environmental sustainability and efficiency for the future. ETC dealer Stage Electrics supplied the new equipment to the venue. This upgrade has been made possible with the support of Arts Council England’s Capital Investment Programme.
Together, the teams at both the RSC and Stage Electrics identified the technical requirements and, following several conversations and hands-on time with Eos Apex, determined that it was the right choice for the venue. The award-winning Eos family of products were selected for their powerful features, colour tools and the access it gives to a wide network of highly skilled theatrical programmers.
In addition to the new consoles, the RSC also has a range of the latest fixtures from ETC including an extensive use of Source Four LED Series 2’s in both the RST and Swan theatres, Source Four LED Series 3, Source 4WRD II and Halcyon Titanium moving lights. They also use Response Mk2 DMX Gateways for networking and a Gio @5 for control in the RSC’s visualisation suites.
Head of equipment sales at Stage Electrics Paul Roughton comments: “We have a great, long-standing relationship with the RSC and they were confident in choosing more ETC products – particularly the Apex consoles – after already experiencing high quality with the products they have. We’re really excited about the level of investment and faith they have put into Stage Electrics and ETC for this project and look forward to seeing it in action.”
ETC associate regional manager for UK and Ireland, Matt Cowles adds: "We're really excited to see the RSC's iconic venues join the Eos community and for their new consoles to be controlling such an extensive range of ETC fixtures. Thanks to the RSC and Paul Roughton at Stage Electrics for their efforts and collaboration in making this project come together. I can't wait to see all the new gear in use."
31st January 2025
Ruote da Sogno purchase two DiGiCo S31 consoles for upgraded events spaces
Italy – The Ruote da Sogno philosophy is encapsulated by the phrase Perfection and Excellence. Nestled in the heart of Reggio Emilia, Italy, the car dealer is famed for its exquisite collection of classic cars and motorcycles. When the showroom decided to begin hosting events, nothing less than a DiGiCo console would be able to match the top-class surroundings, so Marco Gianferrari, technical manager for the venue, chose two S31 consoles, complete with a DQ-Rack each, all supplied by Audio Link, to ensure unrivalled audio quality and flexibility.
The DiGiCo S31 is favoured by engineers from all over the world because of the power and flexibility housed within the compact frame that offers three 10-inch touch screen monitors and 30 physical faders in three banks of ten for ultimate clarity and control. Altering the channel banks could not be easier, with drop and drag control available at the touch of a screen. The two card slots at the rear of the console, in addition to the UB-Madi port ensure that this compact console is ready for any situation.
Ruote da Sogno’s new events space is 10,000 square metres, arranged with flexible divisions, to offer the greatest range of possibilities for clients. A Dante network links all areas of the space, so the DQ-Racks are the perfect addition to ensure complete connectivity and reliability. Each rack is a 6U unit, with dual redundant power supplies and DMI-Dante, this provides all the power of a larger rack in a more compact package. Each rack delivers 48 mic inputs and 24 line outputs, with the final four being switchable between stereo AES/EBU outputs and line outputs, offering a possible eight AES/EBU outputs in total.
The space is used for a wide variety of events, from fashion runways to product launches and even weddings and parties, the flexible networking options for the DiGiCo S31 set-up means that it is easy to accommodate any requests, from recordings via the UB-MADI card, to facilitating additional external equipment.
Marco Gianferrari could not be happier with the audio set-up as he concludes: “It was important to retain the elements of choice and flexibility. The customisation of the mixing surface and the processing power of the S31, alongside the guaranteed audio quality of the DiGiCo brand are fundamental characteristics that ensured that our only choice for the multiplicity of events managed here was a DiGiCo console.”
31st January 2025
Mozarteum Salzburg Upgrades Audio Infrastructure with Lawo AoIP Solutions
Austria – The Mozarteum University Salzburg, one of the world’s most renowned arts universities, seamlessly combines tradition with innovation. Since its founding in 1841, it has been synonymous with artistic excellence and forward-thinking education. Now, the university has taken a major step forward by modernising its audio control rooms, leveraging Lawo’s future-proof Audio-over-IP (AoIP) technology to elevate the production of live concerts, recordings, and educational content.
As part of this project, two control rooms were equipped with cutting-edge Lawo solutions. In the central control room A, an mc²56 MkIII audio production console with 48 faders and 512 processing channels at 96kHz was installed. Designed specifically for the challenges of complex concert productions, this IP-native console supports SMPTE 2110, AES67/RAVENNA, MADI and DANTE (via a Power Core Gateway). With up to 1024 DSP channels powered by a redundant A__UHD Core and an array of local I/Os, including 16 mic/line inputs, 16 line outputs, and a MADI port, the mc²56 MkIII offers unparalleled flexibility. Its intuitive interface and expandable fader bays ensure adaptability to future requirements.
Control room B, used for post-production and smaller projects, features the compact mc²36 MkII xp with 16 faders. Offering 256 processing channels through a third A__UHD Core at 96kHz, an I/O capacity of up to 864 channels and integrated Waves plug-in support, the console combines robust performance with a space-saving design. Intuitive operation via IP Easy and seamless networking through Lawo’s HOME platform make it a perfect fit for academic use.
A standout feature of the upgraded system is its remote control capability, enabled by the intuitive mxGUI software. Operators can use tablets to access all key parameters from any location, providing exceptional flexibility to meet a wide range of production needs.
The two control rooms are interconnected through the Lawo HOME platform, allowing centralised management and control of the entire infrastructure. In addition to the consoles, the university integrated Power Core IOs, Lawo A__stage64, and A__mic8 stageboxes, creating a highly flexible link between control rooms, studios and performance venues.
The decision to adopt an AoIP-based infrastructure has brought significant benefits to the Mozarteum University. “The new Lawo consoles and the HOME platform enable us to meet all the requirements of our university productions – from live concerts to exam recordings – efficiently and with the highest quality. What impressed us most is the flexibility of the AoIP technology and its intuitive operation,” says Peter Schmidt, head of digital media at the university.
AoIP technology allows seamless, location-independent networking of the university’s entire audio infrastructure. Using the RAVENNA/AES67 protocol, audio signals can be transmitted with minimal latency and no loss of quality across different locations. For the Mozarteum, which records and streams numerous live concerts and exam presentations, this technology provides an ideal foundation. The HOME platform’s centralised control simplifies configuration and ensures efficient resource management.
Beyond technical advancements, the project also considered its educational value. “Our students benefit from working in an environment equipped with state-of-the-art technology, giving them a solid foundation to transition into the professional world,” Schmidt adds. With its integration of an existing 4K HDR TV studio featuring six camera systems and Lawo’s advanced audio solutions, the university is well-positioned to deliver outstanding content both internally and on external platforms.
The implementation of the project was largely handled by the university team. Under the leadership of Peter Schmidt and his deputy and project manager Christoph Feiel, the consoles were configured, equipment integrated and the system optimised to meet the institution’s specific needs.
With its new infrastructure, Mozarteum University Salzburg solidifies its role as a pioneer in merging art, science, and technology. This combination of high-performance technology, flexible networking and practical application sets new standards for audiovisual work and the education of future music and audio engineering professionals.
31st January 2025
The Production People, Singapore invests in its first Robert Juliat Oz followspots
Singapore – The Production People, Singapore, has recently invested in its first Robert Juliat fixtures with the purchase of two 600W LED-sourced RJ Oz 7°-14.5° followspots from Total Solution Marketing, Robert Juliat’s exclusive distributor for Singapore.
The Production People (TPP) is a full-service rental company in Singapore providing audio, lighting and video equipment, and crew for a wide range of events and clientele throughout Asia. As a company ethos it places high value in people, technology and know-how. With this in mind, and with its old 1200W MSR followspots gradually failing and in need of replacement, it looked to Robert Juliat for replacements.
“We were aware that our old stock was becoming more unreliable and were receiving an increased number of calls for renewals, especially from our theatre productions which have need for a quality product,” says The Production People’s director, Sheldon Gooi. “We therefore chose to upgrade with Robert Juliat because of the light quality and precision of the product. After all, our clients have high expectations for their lighting and we needed to deliver!
“It made sense for us to choose Oz because its LED source would reduce power consumption and the amount of heat generated, while its brightness is comparable to our old followspots. In terms of brightness, precision, optical and engineering quality and a robust build, they tick all our boxes!
“The new Oz followspots will be a perfect fit for the small to mid-size theatres amongst our clientele.”
The team at TPP were also grateful for the guidance and service they received from Total Solution Marketing in making their first Robert Juliat purchase. “The service support we’ve been used to from TSM was a plus point for us,” confirms Sheldon. “It gives us the confidence that, whatever issues we will face in the future, we will have reliable backup from TSM.”
Glenn Wong, managing director of Total Solution Marketing, also comments: “We have enjoyed a long-standing partnership with The Production People. We are delighted that TPP has chosen the Robert Juliat Oz, which further validates the reputation of Robert Juliat followspots. We extend our heartfelt thanks to TPP for their trust in selecting Robert Juliat fixtures.”
28th January 2025
FlexPoint the solution for latest Rock & Brews classic rock diner
USA – The latest roll-out of the Rock & Brews American bar/diner concept, specialising in classic rock, has opened at the Potawatomi Casino Hotel in Carter, the premier gaming and entertainment destination in northern Wisconsin. This follows its success at the nearby Casino Hotel, Milwaukee, where the Potawatomi Tribe first embraced the concept a year earlier.
Both operations feature a heavy deployment of Martin Audio products, installed by Green Bay-based partner, CCCP (Camera Corner). At both sites they were sub-contracted to carry out the installation by principal contractors, Dublin-based Audiotek, who supplied the visual media.
CCCP has a long-standing relationship as AV providers to the Forest County Potawatomi Tribe. CCCP project designer, Scott Tomashek, said the client had been keen to maintain consistency with Martin Audio having been impressed with its performance in Milwaukee, where it had been specified by Audiotek. So successful was the Rock & Brews concept there, that the operators duly decided to convert the restaurant at their Carter site.
“We were pleased to see that a lot of Martin Audio equipment had already been specified by Audiotek, as we have been partners with them for a number of years. Everyone was happy to be working again with a brand with which we were already familiar and trusted.”
At Potawatomi Casino Hotel Carter, CCCP once again worked closely with architects, I-5 Design. But faced with a smaller 3,000sq. ft. footprint than Milwaukee, with a reduced stage and restricted ceiling height, a change of approach was required. CCCP turned to an alternative flown system other than TORUS which had served them so well in Milwaukee. “FlexPoint became the obvious solution,” Tomashek explained, “and it worked out really well.”
The primary system is the largest FP15: a single box flown left and right with the two subs set adjacent in the centre. “This is a relatively compact box that still has plenty of output. And because we had to fly subs directly in front of the stage area, the ability to use the SXC115 cardioid versions meant we could keep some of that low frequency energy off the stage area.”
A pair of FP8 are located on either side of the two large Taylor videowalls. Five additional FP6 and the final pair of FP8 point out from the Rock & Brews restaurant into the main casino area on a delay ring, to attract customers in. “The coverage is excellent,” the installer confirms.
The entire set up is powered by Martin Audio iKON DSP amplifiers, a pair of iK42 are assigned to the main FP15 rig, the SXC115 sub and FP6 fills, while an iK81 powers all six FP8, one per channel.
There is the capability for bands to plug in to a digital console, and a wireless mic audio system can set up for announcements or special events. However, the venue essentially operates a strident, video accompanied ‘classic rock’ playlist “which is why we needed the kind of energy generated by the FP15,” Scott Tomashek continued. In terms of SPL, he says, “it can get way louder in there than they’ll probably ever run it!”
Signal transport is on a Dante backbone sent from the primary DSP core to the Dante-capable Martin Audio iKON amplifiers and the entire system is under master Crestron control. As an alternative to running music content, sports events or TV channels can be fed from the hotel hub.
The FP15 had earlier made its mark at the Milwaukee operation, notably in the ‘Sportsbook’ venue, where Audiotek provided a massive 116ft x 18ft LED screen for sports betting. Elsewhere in the casino further Martin Audio speakers include CDD, Blackline and TORUS.
For both projects Martin Audio’s DISPLAY3 optimisation software was used. Says Scott Tomashek , “FlexPoint has been so easy to set up and tune, and the presets are really good in the [iKON] amplifiers. That really helps to maximise our time‚ which is extremely important as the AV team is always the last in when timelines and deadlines are getting very compressed. To have a product I can set up really quickly and get really good results from is vital.”
DISPLAY’s compatibility with SketchUp provided a further boost. “It’s been great to get SketchUp models of these rooms directly from the architect so we could drop the speakers right into that design and know they were going to work the way we needed.”
Finally Scott Tomashek, who co-commissioned the system with the Crestron programmer, praised Martin Audio’s Martha Callaghan for her support. “Relationship is important to us, and we want to work with companies that value the relationship as much as we do, and that’s certainly something that we’ve found with Martin Audio.”
27th January 2025
Skunk Anansie’s Ace Upgrades to iD24, Enhancing Clarity Ahead of 2025 Tour
UK – Ace, lead guitarist and songwriter of UK rock band Skunk Anansie recently got himself an Audient iD24 audio interface, replacing his well-loved ten-year-old iD22. “I actually had no desire to change my audio interface as iD22 worked perfectly for my needs and always sounded great. Yet when I heard the new architecture of the iD24, I could pinpoint more clarity in my listening material and that prompted me to move over.”
The iconic band Skunk Anansie has sold over six million physical records and clocks up countless million streams a year, thanks in no small part to being “out there tearing up stages all around the world for the last 30 years,” according to Ace. He’s been playing guitar for over 45 years now and producing records for the last 20, honing his studio space to perfection over that time.
“My set-up in my home studio is very basic as I really like to get the maximum out of short run signal flow from basically the computer to the monitors,“ he explains. “I use IKmultimedia iLoud precision MTM as my large nearfield monitors for playback, mix and mastering and also the IKmultimedia MTM standard speakers as a second go to monitor for recording and tracking.
“The computer is a normal iMac with a little bit more RAM, etc for music creation. I use a mix of IKmultimedia software i.e. MixBox, T-Racks, Tonex and Amplitube, as well as hardware which is the new IK Tonex Anniversary pedal and the X gear series of hardware effects pedals. I do have a Sequis Motherload and a TLA Compressor hidden in a rack in case I want to run valve heads straight into the system.
“I don't really record track vocals in my studio, mainly guitar and bass, but when I am doing a voice over or podcast, I will use an old Rode NT1 and if I do a live acoustic guitar recording, I use the Austrian audio OC18.”
Ace contemplates the added benefits of his new iD24. “I think it adds a little more dimension and clarity when I'm listening back to mixes and I feel the real full body and warmth of the tracking that I am doing with precision and detail as I am setting it up and physically playing. That may sound small, but a more enhanced listening experience is quite a huge thing for me!”
Describing it as “a modest fixed space”, Ace’s studio is simply “the room in his house that sounds good”, where he works on all of the many projects he has on the go. His own solo projects, guesting on other people’s tracks, recording parts for Skunk Anansie demos, mixing and mastering his own music and of course “listening back to really good music for pleasure.”
It’s also in this studio that Ace recorded and played demos for the forthcoming Skunk Anansie album which is due for release mid-2025. “I also did a lot of listening back to mixes, masters and vinyl cuts after we had recorded the album in LA with producer, Dave Sitek and the mixes were coming back from Matty Green for us to approve.”
With the Skunk Anansie European and UK tour kicking off in March this year, the fact that the iD24 is bus-powered is a real bonus to Ace. “This means it’s easily portable with my laptop and is on/off when the computer is on/off.” The added JFET Instrument Input – designed to replicate the input stage of a classic valve amplifier – has also sparked his interest. “I’ll be able to record straight in with the IKmultimedia software that I use and still get the same amp-like response from my guitar.”
Ace has also kept himself busy working intermittently in music education over the last 25 years and full time for the last ten. He is head of industry and brand partnerships at AD Education UK: Europe’s leading platform in the independent higher education market focused on the creative arts, which encompasses ICMP and SAE UK.
As well as being proud of his contribution to music education, Ace also sets great store by “actually being in a band with the same people for 30 years and still being successful doing it!” Looking back at the highlights, he mentions headlining Glastonbury, Polish Woodstock and meeting iconic figures such as Nelson Mandela and the Dalai Lama.
27th January 2025
Anolis Calumma Illuminates Halle de Figeac
France – The famous Place Carnot Market site in Figeac, France has recently received a brand new cool-looking Anolis Calumma XS lighting installation, part of a major new renovation project to generally open and improve sightlines and spatiality throughout the Market Hall and integrate it with the surrounding buildings, cafes and restaurants of the Market Square. All of this is bringing new invigorating energy to this charismatic city in south-west Lot.
The medieval style market dates to the 19th Century and is a landmark of the town, renowned both locally and nationally as a destination for lovers of good products from all over the Lot. Its lively, pungent and diverse merchandise, atmosphere – and accompanying trade banter – immerses and captivates both visitors and regulars. It is also a meeting place and a hotspot of social activity.
In 2022, the Grand-Figeac Commune (town council) commenced a renovation project to upgrade the Place Carnot market and as part of this asked landscape and architectural lighting practice Quartiers Lumières – from Castanet-Tolosan – to develop a lighting scheme highlighting the Market Hall canopy and its intricate roof structure that would maintain the historical and urban heritage elements of this district of the town, both in daytime and after dark.
They proposed 80 Anolis Calumma XS MC LED luminaires which are fitted with a combination of 9 and 15-degree lenses for optimal coverage.
The project was led for Quartiers Lumières by Lionel Bessières. The Calumma fixtures were supplied by Anolis France, project managed for them by Eric Tabuteau.
Calumma XS luminaires – the smallest of the current Calumma range – were chosen for their expedient size, substantial power and excellent colour mixing including the rich and genuine white tones, achieved via four high-power multi-chip LEDs inside an elegant and durable housing that blends with the environment.
These fixtures are ideal for complementing all types of indoor and outdoor architectural installations and were a great fit this project, according to Lionel.
The default RAL colour for the installation is 7013 which is created very accurately by the Calumma XS fixtures.
This lighting concept was driven by the need for flexibility coupled with a seamless integration into the Market Hall. The Calumma XSs can also be used to light the roof-space in different colours for public holidays and other celebrations by varying the colours and intensities. The pillars are lit from a tight, low angle while the roof structure expanses are highlighted by crossed and laterally focused lights.
The Calumma XSs also blend in with the discreet functional lighting of the Market, which is provided by 2700K luminaires fixed on the facades. Their levels are adapted to produce a soft, homogeneous glow of luminance.
Quartiers Lumières and Lionel have specified Anolis for several other projects including the Theatre de Verdure à Pau, the L’église St-Jean-Baptiste in Libourne and the Mairie (Mayor’s office) in Gaillac.
Knowing the quality and reliability of the brand and its products, they were happy to choose Anolis again for this installation.
The new lighting fixtures are rigged in a gently irregular rectangular shape midway between the centre and outside of the market canopy roof-space, attached to a series of different lengthened brackets which outrig them from the structure. They are focussed for the best general coverage of all the commercial activities happening below.
Each of the 80 Calumma XS units is individually DMX controlled via a series of Anolis E-Box remotes and DMX splitters feeding via Ethernet into a router and a Pharos controller which can be accessed locally or remotely via the cloud.
All the project’s lighting equipment was supplied via Châteaubriant-based lighting and integration systems specialists, Lumière Utiles, which also undertook the installation, programming and commissioning of the new lights.
Lumière Utiles was subcontracted by lighting installers Eiffage to also deal with the DMX management and they currently have a one-year maintenance contract under the warranty terms with access to the installation, and the city has access to a control page for pre-programmed lighting looks and scenes.
Vital to the success of this project for the Grand-Figeac Commune was the active collaboration between Anolis and urban architectural regeneration experts, OCCIREP who partnered up sharing their collective creativity, engineering expertise, experience and abilities for all parties to think ‘out-of-the-box’ to find a perfect solution.
AxP Urbicus created the landscape design and reimagining of the Market Hall base area to aligning it more harmoniously with the surrounding Market Square buildings.
Specialist engineering knowledge was provided to Eiffage by Cabinet Merlin.
photos: Olivier Hannauer / La Chouette Photo
23rd January 2025
Solutions On Stage is Flying High at Frome Memorial Theatre
UK – Having originally opened in 1925 as a memorial hall for those who fell during World War One, Frome Memorial Theatre is now a staple of the Somerset town. Run by over 100 volunteers, the venue features a 539-seat traditional theatre and hosts a variety of performances for all ages, including the much-anticipated annual pantomime. Following on-going inspections, it was concluded that it was time for the theatre to upgrade its raise-and-lower flying installation, so they approached Solutions On Stage to do just this.
Overseeing the project was Solution On Stage’s technical director Darren Williams who has worked with the venue for many years. He explains: “Given we’re based quite local to Frome, I’ve been tasked with inspecting their raise-and-lower flying installation for well over a decade. Like most of the equipment within the venue, it’s been installed in various stages over the years by a dedicated group of volunteers. That said, following the latest inspection we carried out, it became apparent that we needed to upgrade the existing installation so that it legally met the demands of modern theatre equipment and show designs, as well as offer more options for the productions visiting the venue. This largely involved stripping back the number of installed hemp sets to better layout the overstage bars. We also had to ensure we improved the overall compliance with current standards.”
Following this, Darren worked closely with the theatre’s technical team to specify and design a new flying installation. He comments: “One of the biggest factors was ensuring what we designed gave the flexibility required for the venue’s diverse programme of events. We also had to consider the layout of the bars (both raise-and-lower and static), the required safe working loads and the re-working of some of the existing equipment that was to be retained and simultaneously improved. In addition, alterations to the electrical installation and the provision of a new lighting bar increased the ease with which shows could be rigged and plugged-up.”
To provide the theatre with the exact installation it required, Darren called upon the team at Doughty Engineering, whose hardware he has worked with for over 25 years. He specified a range of off-the-shelf products that included both standard and heavy-duty pulley blocks, beam clamps, tie-off cleats, hanging clamps, bar joiners and pipe-to-pipe couplers. Darren explains: “Working with Doughty and being able to specify and order the range of products required from one manufacturer was a huge help, making planning, conversations and ordering so much easier. Laurence Dyer, Doughty’s sales manager, was on hand to double check the specification list, sense-check the equipment and ensure the pallets were delivered on the exact day as promised. This ensured the installation went smoothly and most importantly, the venue now has the installation they wanted, delivered on time.”
The new flying installation is now in place and is being utilised on the theatre’s many shows, including the recent Sleeping Beauty pantomime. Similarly, the venue as a whole is now fully compliant and matching the current technical safety standards.
Will Davis, Frome Memorial Theatre’s stage and site manager, comments: “Darren and the team's knowledge made the process a pleasure from start to finish. Since completion of the install we, at the venue, have been able to offer our hirers access to a highly capable and flexible rig and, in turn, futureproof the theatre for many years to come.”
Darren concludes: “The venue is extremely happy with the completed installation and now have a fully compliant set-up that has been designed to better suit the variety of events that are staged there and will also make future thorough examinations considerably easier. It’s fantastic, as a company, that we are able to have long-term relationships with theatres such as Frome Memorial who are able to come to us continuously in order to fulfil their ever-growing technical needs.”
photos: Frome Memorial Theatre
22nd January 2025
LSC’s UNITY boosts performance for Canberra Theatre
Australia – The UNITY high-performance power switching and dimming system from LSC Control Systems is delivering a secure and reliable solution to one of Australia’s leading performing arts centres, the Canberra Theatre Centre (CTC).
CTC’s technical director James Tighe explains: “Our previous system was at the end of its life, and we were seeing intermittent faults, which were becoming less intermittent. Random dimming curves, channels powering up without control and an increasing number of failing modules meant we were no longer able to reliably support performances to the expected standard.”
The search for a dependable replacement was also driven by the need for a system capable of supporting and powering a range of moving, LED and incandescent lighting fixtures. “The existing system wasn’t capable of hot-powering circuits,” continues Tighe, “which meant most performances required temporary power at the side of stage, adding extra time, labour and resources to every production.”
As well as a reliable quality of performance, the team also wanted safety and flexibility, with the options of dimming/power switching, remote programming and monitoring. UNITY is designed to meet those needs, combining traditional dimming with the latest technologies of LED control and direct power relays.
A further advantage was the venue team’s familiarity with the brand, as Tighe explains: “Our Playhouse and Courtyard Studio spaces are equipped with LSC GEN VI modules, so our crew were used to the LSC workflow, which made for an easy transition to the new system.”
The CTC’s new system has six of LSC’s new 72-way UNITY prewired racks, which were introduced last year to add further choice to the range’s existing 48- and 96-channel models. The system is running LSC’s HOUSTON X software for monitoring and control.
The installation was carried out by a company the CTC team knows well: Sound Advice, led by Norman Korte. “We have a long history of working with Norman and the team at Sound Advice, so it was great having that familiarity involved in the install,” says Tighe. He also praises the support from LSC, which he says was “second to none”.
The result is a great success. Tighe says: “The overwhelming response from our crew was ‘Why didn’t we do this sooner?’. UNITY has made a massive difference to the workflow in the Canberra Theatre, with the crew now able to easily manage the lighting power requirements for each and every performance.”
21st January 2025
HD Pro Audio fulfils Audio Project at Glyndebourne Opera House
UK – Glyndebourne, a historic and prestigious venue for the annual Glyndebourne Festival, showcases some of the finest operatic works and talents in the world. Located near Lewes in East Sussex, the opera house was founded in 1934 by John Christie and his wife Audrey Mildmay, who shared a passion for opera and wanted to create a unique and intimate experience for their guests by hosting opera performances in a theatre built on to their home. In 1994, the original opera house was replaced by a new, state-of-the-art auditorium that stands next door to the manor house within 12 acres of beautiful gardens. The current opera house was designed by architects Michael Hopkins and Ewan Christian. It increased capacity by 50% to 1,200 people and introduced significantly improved backstage technology and facilities. Other modern developments include the launch of an on-site wind turbine in 2012. Glyndebourne is dedicated to environmental sustainability and has installed this feature to reduce its carbon footprint and energy costs.
HD Pro Audio, a leading provider of audio-visual solutions, has collaborated with Glyndebourne to enhance multiple elements of its AV systems to ensure a flawless and immersive experience for opera lovers. Andy Huffer, director at HD Pro Audio, was introduced to the project by Jonathan Moss, the head of sound and video at Glyndebourne. Jonathan, previously at Warwick Arts Centre, first met Andy and the team during his assignment there. Upon moving to Glyndebourne as their first permanent head of sound and video, Jonathan called upon Andy for support in modernising the infrastructure and updating the sound equipment for improved functionality.
HD Pro Audio initially supplied a portable EM Acoustics loudspeaker system for an upgrade to the foldback system, which served as a gateway to providing the opera house with further audio equipment. This included lightweight self-powered loudspeakers, such as the ESP-8 and ESP-12, packaged in custom flightcases complete with mounting hardware.
The wider project included the supply of a range of equipment from multiple professional audio brands, as well as the installation of a comprehensive data infrastructure.
From the Shure Axient Digital range, HD Pro Audio provided quad receivers, micro belt pack transmitters, plug-in and handheld transmitters, and a digital spectrum manager. Known for its robust performance and flexibility, the Shure system allows for seamless integration into the venue’s infrastructure. The key consideration with opera is invisibility: the small, lightweight belt packs have proved popular with all teams, as they are incredibly easy to conceal and therefore don't cause additional complications with costumes and wigs. The plug-in transmitters also gave the Glyndebourne team the flexibility of hiding equipment in sets without impeding scene changes.
For paging and show relay, HD Pro Audio supplied Powersoft amplifiers, with their flexible four-channel design, integral DSP and Dante capabilities to offer powerful and efficient amplification. These amplifiers are designed to deliver high power output with low energy consumption, making them an ideal choice for a venue like Glyndebourne that prioritises sustainability. Symetrix contributed with their Radius NX DSP and the W Series Wall Controller, as well as the T Series touchscreen panels. The Symetrix system offers advanced audio processing capabilities and integrated Dante audio, allowing for detailed and flexible programming, multiple control options as well as scope for future expandability.
Following an in-depth evaluation period, HD Pro Audio supplied a comprehensive range of DPA microphones, known for their high-quality sound and durability. The Danish manufacturer is renowned for their natural sound reproduction and reliability, making them a perfect fit for capturing the intricate details of operatic performances.
Key microphones supplied included multiples of the classic 4006 omni, a 4099 kit, a pair of 4017 shotguns and a stereo pair of the reference flagship 4041 omni, as well as industry-standard lavalier and headset mics.
The DPA microphones excel in the type of broadcast and recording environment needed in opera due to their ability to handle high sound pressure levels without distortion. Their wide frequency response and low self-noise characteristics ensure that every nuance of the performance is captured accurately.
A wide selection of equally industry-standard Schoeps CCM microphones was also supplied, including some in a custom black finish, as well as an Octo set of Neumann KM184. Much-loved favourites from AKG, Beyerdynamic and Shure completed the microphone package, creating a much-envied pool of in-house microphones for broadcast and recording.
One of the major challenges faced during the project was working around the infrastructure of the building. HD Pro Audio installed a robust and flexible data infrastructure to support the advanced audio-visual and lighting systems at Glyndebourne. This infrastructure includes a comprehensive network of CAT 6A and fibre optic cabling with custom facility panels, which ensures high-speed data transmission and reliable connectivity throughout the venue. The network is designed to handle the demands of modern audio-visual equipment, providing the necessary bandwidth and stability for seamless operation.
HD Pro Audio adopted a flexible approach, installing a complex data infrastructure in a very busy venue. Having already established a great business relationship with Jonathan through Warwick Arts, the team was able to slot into the venue, working around a busy schedule of productions happening simultaneously. The team of engineers from HD Pro Audio, familiar with the building’s intricacies, proved additionally useful when called upon for maintenance or to offer specification advice. Additionally, when the venue required more infrastructure in spaces deemed almost inaccessible, the close relationship with the client and knowledge of the building was invaluable.
Overall, the data infrastructure at Glyndebourne is designed to provide a robust, flexible, and high-performance foundation for the venue’s cutting-edge audio-visual systems, ensuring an exceptional experience for both performers and audiences.
Jonathan Moss stated: “HD Pro Audio are always a pleasure to work with. The whole team have been excellent throughout the journey of the project. Whether it's install or supply, Andy and the team never let me down.”
photo: Leigh Simpson
21st January 2025
Hof Cultural Centre upgrades with Martin Audio WPS
Iceland – Located in downtown Akureyri, Hof Cultural Centre is at the heart of the northern Icelandic music and performing arts scene and provides visitor services across the entire north-east corner of the country. Architecturally, the circular building also provides one of the town’s great landmarks. Inspired by the Icelandic igneous rocks, Hof Cultural Centre attracts tourists all year round.
Owned by the Municipality of Akureyri, and with operation of the Centre in the hands of Akureyri Culture Company, one of the key features is its new Martin Audio sound reinforcement upgrade in the main auditorium, provided by Reykjavik-based Atendi, the manufacturer’s territory distributor.
According to Atendi project manager, Gunnar Gunnarson his company bid successfully on a public tender put out in December 2023 and were duly awarded the contract in September this year.
The requirement was for a system to replace the original sound system, which had been in situ since the venue’s original opening back in 2010. It needed to provide even coverage for the 509-seat auditorium and deliver 103dB(A) with 18dB headroom and a differential in SPL not exceeding ±3dB at any seat from FOH. This was achieved by specifying Martin Audio’s scaleable WPS line array. “We managed 104.6dB(A) at FOH without going to the limit of the system and +3dB / -0,7dB measured at the venue’s seats,” Gunnarson reports.
The system also needed to be supremely versatile, not only providing reinforcement for concerts of all types (as well as conferences and theatre performances) but also be mindful that the venue is home to the North Icelandic Symphony Orchestra, when it is then used for concerts with Icelandic artists ranging from classical concerts to dance music.
The system design was a co-operation between Atendi and Martin Audio, while Atendi undertook the installation, with assistance from local subcontractors and Martin Audio product support engineer, Ben Tucker. He assisted with predictions, visualisation, programming and tuning of the system.
Tucker confirmed that the venue acoustics were perfect. “I always start by keeping the Hard Avoid on stage and having a listen before moving it. After a walkaround and a bit of tuning, I found no reason to move it from the stage.”
Gunnar Gunnarson admits the project was not without challenges, largely due to limited space, since the stage is heavily populated by equipment, surrounding it on all sides. “We were able to use existing hanging points for the main PA and at the same time create additional points for the subs.
The components themselves comprised left/right hangs of ten WPS, with a pair of SXCF118 subs flown behind each main hang, which provided excellent sub coverage throughout. Providing front fills around the stage lip were eight FlexPoint FP4. The system was driven by three Martin Audio iKON iK81 multichannel, process-controlled amps and an iK42.
Stated Akureyri Culture Company technician, Árni F. Sigurðsson: “The tender documents were quite demanding and we had high expectations for this installation. These were fulfilled as the new system is a game changer with regard to both headroom and sound coverage. I can confidently say that we have the most evenly distributed sound coverage of any of the bigger venues in Iceland and I’m looking forward to receiving feedback from guest engineers. We stage everything from opera, musical theatre, conference and corporate shows to rock, dance music and metal. Having sufficient headroom to present all of these genres will truly set a new standard for the venue.
“First impressions are very promising and Ben Tucker, who designed and tuned the system did an incredible job. It’s amazing what Martin Audio was able to offer for the price.”
Aside from giving Martin Audio another highly prestigious installation of its class-leading Wavefront Precision series, it also has the honour of being its northernmost location, located less than 100 kilometres from the Arctic Circle.
21st January 2025
Theater de Bussel Invests in Robe T11s
The Netherlands – A new installation of Robe T11 Profiles in the 200-capacity Small Hall at the Theater de Bussel in Oosterhout, southern Netherlands is helping to save electricity and enhance the scope of lighting shows and events there, explained the venue’s head of technical, Evelyn van ‘t Hof.
The 32 T11s are the first Robes in the house and they are replacing a larger number of conventional profiles and PC luminaires.
The T11 delivers excellent performance and flexibility building on the MSL (Multi-Spectral Light) colour concept and Robe’s innovative TE technology. It has the outstanding colour finesse of the popular T-Series and a fast, interchangeable front lens system offering profile, Fresnel or PC optics.
The new fixtures are part of a general drive to reduce energy consumption, an initiative shaping new investments in all venues across the Netherlands.
Adaptability was also a key consideration here, the programme encompasses theatre productions, musicals, symposiums parties and assorted other performance genres.
Evelyn has been working at this busy producing and receiving house since 2008. The 450-capacity (700-standing) Main Hall was built and opened in 1984, then a major expansion in 2015 saw the edition of the Small Hall and brand-new foyer space and a library.
Evelyn has always liked Robe products and been impressed with their quality and reliability – in particular T1 Profiles and 600E Spots – in the Main Hall for specific productions. Previously she worked in the Bibelot Poppodium at the Energiehuis in Dordrecht, which is where she first encountered Robe and got to know the brand.
Before making the investment at Theater de Bussel, Evelyn and the theatre’s lighting team looked at several possible options and chose T11 as the best for their needs.
Features impressing them included the colour engine which everyone loved, together with the focus, the super-smooth dimmer curve – especially critical between 0 and 20 percent – and the logical user interface.
For most of their own produced shows, the lighting design will be created in-house by Evelyn or her team, so they also looked at this investment from an imaginative perspective as well as to facilitate visiting company requirements. Typically, the Small Hall will stage a show or event five times a week, hosting local talent alongside professional shows, so there is a good mix of performances needing to be lit.
The T11s are installed on the overhead bridges with some currently loose for deployment around the stage floor. They are controlled through an OnPC console together with the rest of the stage lighting.
Taking about Robe more broadly, Evelyn thinks the Czech manufacturer has clearly focused on developing excellent theatre lights over the last seven or eight years in addition to fixtures that are great for concert touring, rental and staging applications. “The products are all great in quality and Robe is innovative,” she comments. “We’re very happy with the fixtures and so are the many others now using them.”
Crucially, they reckon the 32 T11s are helping save around 50% of the electricity that was consumed by the lights they have replaced!
In picture: Evelyn van ‘t Hof with Controllux’s Kuno van Velzen.
photo: Louise Stickland
17th January 2025
Dutch cultural hub chooses LSC’s UNITOUR
The Netherlands – A leading theatre organisation has chosen UNITOUR racks from LSC Control Systems to provide power management and dimming solutions. With five UNITOUR racks specified for its three auditoriums in Heerlen, Parkstad Limburg Theaters (PLT) is one of the latest performing arts hubs to adopt market-leading solutions from the Australian manufacturer.
PLT operates seven venues across the cities of Heerlen, Kerkrade and Sittard in the country’s south-eastern region of Limburg. Ranging in capacity from 120 to 1,100, these venues play a significant role in the cultural lives of the communities they serve. Across the organisation, PLT hosted almost 1,500 events in 2024.
Amid this busy environment, PLT’s head of lighting, Rob Debets, recalls his team looking for a “very flexible and reliable rack” when they saw the UNITOUR on the LSC booth at Frankfurt’s Prolight & Sound exhibition in 2024. Although Debets was already aware of LSC’s UNITOUR, this was the first time he had been able to consider investing in it.
At that time, the PLT team was also considering product from another manufacturer. However, some supply issues, added to the fact that the system’s protection could only be configured in blocks of channels, rather than individually, led them to decide in favour of the LSC UNITOUR solution.
Debets explains: “What especially stood out for us with UNITOUR was both the earth leakage protection it offers on every channel, and the HOUSTON X monitoring and configuration software.”
Another notable feature was UNITOUR’s ability to be configured using just power over ethernet (PoE) instead of requiring mains power. “We don’t do much configuration away from power,” says Debets, “but the POE capability is a nice feature to have.”
The specified solution sees five UNITOUR racks employed across PLT’s three auditoriums in Heerlen. Four racks (three 48-channel and a 24-channel) serve the two main houses: the RABOzaal (RABO Hall) and the Limburgzaal (Limburg Hall). The racks for both these venues can be used flexibly, mainly for lighting but also for video as needed. Finally, a fixed 24-channel rack is dedicated to the house lighting system in the smaller, 142-seat INGzaal (ING Hall).
Says Debets:, “We have all the racks equipped with a dim/switch module, to give us the maximum flexibility for use with dimmers and direct power, as and when needed.” And the team’s verdict? “We think it works great,” says Debets.
As well as bringing flexibility and reliability to the PLT technical team with its increase in speed of workflows and peace of mind, the result also significantly reduces clutter. “We used to have loads of break-in cables and 32A CEE blocks for direct power,” says Debets, “so our side stage area is much cleaner and easier now!”
photos: Rob Debets, PLT
16th January 2025
PROLIGHTS Enhances SÖZCÜ TV's Istanbul Studios with Modern LED Technology
Turkey – SÖZCÜ TV, one of Turkey's prominent news channels headquartered in Istanbul, has upgraded its studio lighting to enhance its visual appeal and broadcast quality. The project, delivered by PROLIGHTS in collaboration with local distributor Modern Elektronik A.Ş., involved the integration of advanced LED technology, creating a vibrant and dynamic on-screen atmosphere that reflects the channel's identity.
Key lighting solutions included the LUMIPAR12UQPRO5 and LUMIPIX12QTOUR, which were used to add dynamic and vivid colours, seamlessly aligning with SÖZCÜ TV's branding and studio aesthetics. Additionally, the EclPanelTWCJr was utilised across the studios to deliver superior general lighting, ensuring consistent illumination tailored for professional broadcast environments.
The integration of PROLIGHTS' products has enabled SÖZCÜ TV to achieve a refined visual presentation, enhancing both their audience's viewing experience and the channel's overall production quality.