Project News

Dunottar School Delivers West End-Calibre Les Misérables with White Light

UK – Dunottar School has raised the bar for school productions with a visually and technically ambitious staging of Les Misérables, delivering a show that audiences described as “almost like watching a West End performance.”

Technically led by Ted Swan, theatre and AV manager, and working collaboratively with director of drama Sarah van Duijvenvoorde and director of music Laura Channell, the production formed the centrepiece of the school’s centenary celebrations. The brief was clear: create a showstopping experience that matched professional theatre standards while operating within the constraints of a school environment.

“We wanted to go a step further,” said Swan. “It’s our 100th year, so we needed everything to feel brilliant and as impactful as possible.”

Despite having a dedicated theatre, Dunottar faced technical challenges. Limited rigging capacity and weight restrictions required careful design decisions to maximise visual impact without compromising safety.

Working collaboratively with White Light, Swan selected lightweight yet powerful fixtures such as Ayrton Diablo fixtures. This approach allowed for a denser and more dynamic rig while staying within structural limits.

“We had to be really careful with what we could hang,” Swan explained. “The guidance from White Light helped us choose the right tools to still achieve the effects we wanted.”

The design extended beyond traditional overhead rigs. For the first time, lighting fixtures were integrated directly into the set, including blinders and sidelighting positioned within the staging itself. Custom rigging points were engineered into the set build, creating new creative possibilities and enhancing the visual storytelling.

The production drew inspiration from established professional staging, incorporating a tiered set design reminiscent of Evita, constructed by Steel Deck. Combined with a fully miked live band, including musicians with West End credits, the result was an immersive and authentic theatrical experience.

Swan’s vision was rooted in his professional theatre background and a commitment to giving students access to industry standards.

“I want them to experience what real theatre looks and feels like,” he said. “If they go on to further study or careers in the arts, it shouldn’t be the first time they encounter this level of equipment.”

White Light’s hire service played a critical role in enabling Dunottar to scale its production. Alongside an expanded lighting package and special effects such as low fog systems, the school benefited from responsive technical support and expert advice throughout the process.

“White Light’s support always proves invaluable under pressure, and we know we are in safe hands. I’ve worked with Adam Walker-Cheetham, WL’s key account manager, for many years and his level of responsiveness gives you complete confidence.”

Adam commented: “We’ve very much enjoyed working with Ted and Dunottar over the years. Our collaborative approach extends from initial planning through to design, with regular consultation ensuring the technical solution aligns with both creative ambition and budget constraints.”

“You can talk through ideas and find the right approach together,” Swan added. “There’s always a way to make it work.”

A key outcome of the production was hands-on student engagement with professional-grade technology. Students operated the ETC Gio @5 lighting desk, executing more than 480 cues during performances, while working alongside Swan in a real-world production environment.

This experience is central to Dunottar’s approach. By integrating industry-standard tools such as DiGiCo sound desks and advanced lighting systems, the school equips students with practical skills and confidence.

“They’re not just learning theory,” Swan said. “They’re actually doing it, using the same equipment they’ll see in professional venues.”

Audience response reflected the success of this approach, with feedback praising both performance quality and technical execution.

“The lighting elevated everything,” Swan said. “We achieved effects we’ve never been able to do before and it made a huge difference to the overall production.”

For other schools considering how to balance ambition with budget, Swan’s advice is clear. “Trust the expertise available to you and invest where it matters. The impact on your production is enormous.”

photos: courtesy Dunottar School

16th June 2026

Audiotonas Fits-Out New Live Music Venue in Historic Daina Cinema with Martin Audio WPC

Lithuania – The Daina project has transformed a historic interwar cinema in Kaunas, Lithuania, into a world-class culture and live music venue with a Martin Audio sound reinforcement system at the heart of the redevelopment.

Originally opened in 1936, the Daina is considered an important example of Lithuanian modernist architecture. With renovation work beginning in 2023, the ambitious project has transformed the long-abandoned cinema into a contemporary multi-functional cultural venue, while carefully preserving its architectural identity and historical character.

Audiotonas, Martin Audio’s distributor in Lithuania, was the main audiovisual systems integrator and technology partner, responsible for designing and implementing the venue’s professional sound, stage lighting and stage infrastructure systems.

The original brief for the venue’s future technical infrastructure and acoustic capabilities was highly ambitious from the very beginning: “A key objective was to ensure that the venue could host concerts, theatre productions, conferences, broadcasts and other live events at the highest possible technical standard while maintaining maximum operational flexibility,” explains Vytautas Stasiukaitis, CCO at Audiotonas. “The client also placed strong emphasis on future-proof technology, reliability and rider-friendly specifications that would meet the expectations of international touring productions.”

The project consists of both a main hall and an additional event space, conceived to operate flexibly independently or as a combined venue when needed. From the early stages of the project, the client placed strong trust in Audiotonas’s experience and technical expertise.

“In many ways, the trust was driven by a shared vision for creating an exceptional sounding venue,” says Stasiukaitis. “The client strongly believed in our approach and our experience and total confidence in the capabilities of the Martin Audio ecosystem helped establish that trust throughout the planning process.”

The main hall is equipped with a Martin Audio WPC Wavefront Precision line-array system comprising two hangs of eight elements per side.

 “The primary advantage of the Martin Audio WPC system in this venue was its ability to provide extremely precise pattern control and optimisation within a very acoustically challenging historic environment,” continues Stasiukaitis. “One of the key project goals was to minimise unwanted sound energy on stage and reduce reflections from the large balcony surfaces. Because the building is protected heritage architecture, these surfaces could not be extensively treated with acoustic materials, making loudspeaker directivity and system optimisation critically important.”

The optimised WPC line-array configuration allowed Audiotonas to tightly control vertical coverage and significantly reduce unnecessary excitation of reflective architectural elements, particularly the underside and front surfaces of the balcony. This helped improve clarity, speech intelligibility and overall mix definition throughout the room, while also creating a cleaner acoustic environment for performers on stage.

The high-resolution amplifier configuration with two dedicated amplifier channels per WPC module gave the team exceptional precision during system tuning and optimisation, allowing very accurate control of phase alignment, frequency response and coverage behaviour.

“In a venue like this, where architectural preservation limits traditional acoustic treatment options, advanced software optimisation tools become extremely valuable in achieving professional live sound performance,” adds Stasiukaitis, “We utilised Martin Audio’s Hard Avoid to minimise sound energy directed towards the stage area and to reduce reflections from the balcony surfaces.”

Low-frequency reinforcement is provided by an array of eight Martin Audio SXH218 subwoofers. Due to physical limitations in the venue, a cardioid set-up was not possible. To improve boundary loading and system efficiency, a permanent rear wall was constructed directly behind the subwoofer position. “This effectively created a controlled boundary condition, enhancing low-frequency coupling with both the floor and the rear surface,” notes Stasiukaitis. “While it is not a directional subwoofer array in the strict sense, the system still delivers very strong control within the room due to the architectural reinforcement effects and careful system tuning.”

The main left/right arrays are supported by Martin Audio FlexPoint FP8 front-fill loudspeakers for the first audience rows, while FP15 systems were installed as delays beneath the balcony and within the balcony area itself. Stage monitoring is provided by eight XE300 stage wedges. The entire system is powered by a total of 14 Martin Audio iKON series multi-channel amplifiers.

In the smaller hall, a Martin Audio THS high-output point source system combines with SXC118 cardioid subwoofers. “This configuration provides a compact but highly controlled solution that delivers excellent musicality,” says Stasiukaitis. “The directional behaviour of the cardioid subs helped mitigate acoustic issues in the tighter space by reducing excitation of problematic reflections and smoothing overall low-frequency distribution.”

The commissioning process was a structured, multi-stage procedure focused on verifying system performance and optimising the venue as a fully integrated system. “The result was a fully aligned and production-ready system tailored exactly to the venue’s acoustic and functional requirements,” confirms Stasiukaitis.

Today, the renewed Daina venue is one of the most technologically advanced mid-size live performance spaces in Lithuania and perhaps across the region.

“In the long term, this flexibility benefits the client by making the venue more attractive to a broader range of organisers and performers, increasing booking potential and revenue streams,” concludes Stasiukaitis. “It supports efficient operations, reduces the need for temporary equipment and strengthens the venue’s position as a competitive, multi-functional cultural hub. I can say that there is no other space in Lithuania which has everything you need for a live gig with such exceptional sound quality and clarity.”

16th June 2026

Tallinn College of Music and Ballet chooses ‘future-proof’ DiGiCo Quantum 338 and Quantum 225 for building upgrades

Estonia – DiGiCo consoles are known for their intuitive system layout and flexibility, making them the perfect choice for the Tallinn College of Music and Ballet (MUBA) in Estonia. The consoles are indispensable to the staff and students at the college, not just as teaching aids, but also for concerts and gala performances at the college. As Andres Olema sound studio manager and Rene Keldo lead music teacher explain, whatever is asked of the Quantum consoles, they shine in performance.

MUBA was opened in 2022, teaching children from age ten onwards. Children learn a variety of skills from dance and music to technical skills and music technology. The audio system is fully networked, to allow connectivity throughout the school. The staff at the college are able to utilise the existing S31 mixing console that can be wheeled wherever it is needed, opening the whole building up as an impromptu performance space. The college also utilises wireless microphones and Bluetooth speakers, to fully explore every possible opportunity for staging.

“Our new Quantum 338 and 225 consoles are mobile, so connectivity via Dante is really important to us,” explains Andres Olema. “Most of our digital ecosystem is built in Dante, so the ability to instantly transport signals all over the facility between the consoles and other equipment is mandatory. I also really enjoy the broad configurability of the consoles, especially the layout. I have used a lot of different consoles and I really appreciate the way I can make my layout exactly what I want with a Quantum. It particularly shines on big gala concert events where layout configurability and ease of use dictates how smoothly the broadcast or FOH mix will be.”

The school benefits from a large music studio, black box theatre and a large concert hall. Children can board or attend as day students. There are even gyms and a pool to ensure they are able to remain fit while studying. As Rene Keldo adds, no two days are the same, so the academy requires the ultimate usability from its Quantum range consoles.

“Somehow DiGiCo has managed to create one of the best and most easily usable console manuals for its Quantum range that I have ever read,” explains Keldo. “You read it once and everything becomes clear. If you forget something, you just need to read the right section and everything is clear again in few minutes. In a school setting, this also helps us to cultivate the skill of helping oneself with available materials in our students. I hope that this achievement by DiGiCo, while easy to overlook, will never be underappreciated.”

Tiit Terask, director of Audio Sky and supplier for the MUBA refurbishment, offered the DiGiCo Quantum 338 and 225 to the academy because of their rider friendly reputation. It was also this factor that made them excellent teaching tools, learning on a DiGiCo console ensures the students will enter the professional workforce with knowledge that can stand the test of time.

“We chose DiGiCo because it is very important to teach students modern technology, not history lessons,” Terask explains. “Our new consoles are one of the best and most flexible platform choices for a mixing console available.”

With such a varied list of applications, flexibility is key to the success of the Quantum 338 and 225. From first thing in the morning, to the end of the show at night, XX can be sure that he is getting the best from the consoles and, as a result, the best for his students. The Quantum consoles have been a perfect fit for MUBA and will continue to perform for years to come. As Terask and XX conclude, their longevity ensures future generations get the training they deserve and their audiences get the experience they expect.

“The interconnectivity of our two DiGiCo consoles is crucial and the gain tracking function makes life a lot easier,” studio manager Olema says. “Usually, we have the Quantum 338 doing FOH and the 225 as the streaming console, in receive-only mode in our beautiful studio down in the basement. If the FOH engineer suddenly needs to change gain values, communicating that could take some time and might create some problems, but gain tracking eliminates that issue. It is also easy to enable or disable this function per channel, so the streaming engineer always has quick and complete control over it.”

“When we were first looking to install the consoles back in 2022, we had issues with global supply chains but DiGiCo could not have been more helpful,” Terask finishes. “The Dante DQ racks were delayed, then there were issues with fitting them into MUBA’s existing systems but the DiGiCo technical support is excellent and helped us through that, so now the students have the perfect system.”

15th June 2026

Renkus-Heinz UBX loudspeakers restore clarity to historic London cathedral 

UK – In the bustling Bayswater district of west London stands Saint Sophia’s Greek Orthodox Cathedral, also known as the Cathedral of Divine Wisdom. Modest in its exterior appearance, only its domed roof and arched windows hint at the spectacular polychromatic marble interior within. While the cathedral’s remarkable beauty draws hundreds of visitors each week, its original sound system was no longer fit for purpose.

Week after week, congregants reported difficulty hearing clearly. While it could provide low-level background music for visitors during the day, the system performed poorly when used for speech during services, producing muddy and unintelligible results. System integrators API Sound & Visual, who specialise in the design and installation of high-quality AV systems for houses of worship, heritage buildings, community spaces and commercial buildings, worked closely with distributors CUK Group to start from scratch and design a new, dedicated speech system that delivers clarity from front to back, whilst respecting the space and its architectural limitations.

“When I first walked into the cathedral, its beauty was immediately striking,” recalls Stephen Neath, sales director at API Sound & Visual. “But in a space of this scale, dominated by hard marble surfaces, sound reflects endlessly. It was imperative that the system was highly directional, focusing audio precisely where people are seated, otherwise, the spoken word would simply be lost.”

To meet these goals, two Renkus-Heinz UBX16 loudspeakers were installed as the main left and right sources, chosen for their precise vertical pattern control. Their beams were aimed to cross approximately two-thirds of the way down the nave to provide primary coverage. To ensure even horizontal dispersion, two powerful but compact UBX8 loudspeakers were positioned on the left and right sides and aimed outward. An additional pair of UBX8s was installed further down the room at the sides as delay fills, reinforcing the main system and maintaining clarity and level consistency for attendees towards the rear.

Guided by CUK Group, compact Powersoft amplification was specified to pair effectively with the loudspeakers, enabling a tidy rack installation while providing greater flexibility for system tuning and overall performance. Control is handled via a single-button wall panel with a small display, allowing preset “scenes” to be selected so the system is automatically configured. This ensures that, during services, staff can focus entirely on worship.

“API approached us for design ideas in this unique space,” explains James Lawford, live sound channel manager at CUK Group. “We carried out a 2D direct sound simulation using EASE Focus to check coverage and dispersion from the main loudspeakers. This allowed us to confirm the placement of the delays and ensure the system would cover the entire space.”

Prior to installation, a system demonstration was held for key cathedral staff, allowing them to hear the results first-hand. “The difference was immediately obvious,” adds Neath. “The new system was a million times better than what they were used to.

“Given the cathedral’s remarkable architecture, it was essential that the system was designed and installed with absolute care, both technically and visually,” Neath continues. The cathedral’s extensive marble surfaces meant direct drilling was not an option. The previous system had been mounted using wooden backings fixed into the grout rather than the marble itself and this approach was carefully reused for the new installation.

“Cabling also presented a challenge due to the extensive use of marble. However, the installation progressed smoothly overall and support from CUK was readily available whenever issues arose.” The loudspeakers’ black casing also helped blend discreetly with the cathedral’s detailing, minimising overall visual impact and preserving the unique aesthetics.

Where complaints about poor audibility had once been a weekly occurrence, the response has since been overwhelmingly positive, with worshippers able to hear clearly throughout the space, without compromising its historic character. 

“The project is a credit to API’s careful installation process and the predictable, high-quality results that can be achieved using Renkus-Heinz UBX Series loudspeakers, even in highly reverberant environments,” concludes Lawford. The result is a system that finally allows the spoken word to be heard as intended, restoring clarity, enhancing engagement and ensuring the cathedral can continue to serve its community with confidence.

Neath agrees: “The success of this project has already given us the confidence to specify UBX Series loudspeakers on another church installation. Their ability to deliver wide, controlled coverage from a remarkably compact enclosure makes them an ideal choice for houses of worship.”

12th June 2026

Pharos helps bring The Smurfs’ Adventure to life at Plopsaland Deutschland

Germany – Pharos Architectural Controls is bringing joy and happiness to fans of the Smurfs by playing an important part in creating an immersive indoor Smurf-themed experience at Plopsaland Deutschland.

Plopsaland Deutschland is one of the major family theme park destinations in Germany and part of the Plopsa Group portfolio. The park combines popular children’s entertainment brands with large-scale attractions, drawing families from across Germany, France and the Benelux region. A recent addition to the park is The Smurfs’ Adventure ride, a journey through the fun and lively world of the Smurfs, where visitors join the gang on an exciting adventure.

To bring the new ride to life, Lux Lumen – expert in lighting solutions for unique spaces – was appointed to the project. Lux Lumen, a preferred supplier for Plopsa parks across Europe and a Pharos partner, was confident that Pharos technology could deliver the experiential elements of the new ride.

Lux Lumen supplied and installed over 400 custom fixtures across 11 cabinets, each with individual control via an Art-Net network, allowing precise, independent manipulation of multiple lighting fixtures and devices. To create a truly engaging visitor experience, a single four-universe Pharos Designer LPC controls all custom full-RDM light fixtures.

The LPC also triggers all audio, video and projection systems, special effects, aroma scent machines and animatronics, creating a fully immersive adventure for visitors. Beyond entertainment control, the LPC integrates with the Operator Console for ride operation and system monitoring, the KeySwitch system for secure mode selection and activation, and the EVAC interface to ensure co-ordinated emergency shutdown and evacuation responses when required.

The LPC was the first product developed by Pharos and is still its most popular controller. Originally designed for theme parks in the US, it brought together just the right amount of lighting control and show control in a compact, robust package, making it the ideal choice for this project. The LPC features individually controllable and independently running timelines and scenes, and offers the freedom of real-time manual overrides, with the versatility of powerful show control and integration features. With a compact form and minimal power requirements, the LPC can be installed anywhere.

Integration was the responsibility of Pieter Dewaegeneere at Plopsa. Pieter had previously been trained by Lux Lumen on Pharos technology, allowing him to easily integrate all the audio and video triggers. Lux Lumen also assisted with programming and delivered tech support for Pharos products at the theme park.

Tom Mampaey, R&D engineer at Lux Lumen, said: “The Smurfs’ Adventure is a fantastic example of how integrated technology can transform a themed attraction into a truly immersive experience. We needed a control solution that was reliable and easy to integrate across the entire ride environment. Pharos delivered exactly that. The flexibility and robustness of the Designer LPC allowed us to create precise synchronisation between all show elements, helping bring the world of the Smurfs to life for every visitor.”

Ryan Sainsbury, regional sales manager for the UK, Ireland, N. Europe and Benelux at Pharos, added: “It was great to see Pharos solutions being used on The Smurfs’ Adventure ride; it’s a pleasure knowing that we are helping to create memorable experiences at Plopsaland Deutschland. The Designer LPC is an incredible piece of kit, remaining small in profile yet powerful, flexible and dynamic. It has delivered everything required for this immersive ride and demonstrates the suitability of the LPC for theme parks and similar tourist attractions across the globe.”

The introduction of the Pharos solutions to Plopsaland Deutschland adds to the growing portfolio of Pharos technologies operating in theme parks. Many of these are part of the Plopsa Group and were supplied and installed by Lux Lumen, demonstrating their powerful partnership and exceptional capabilities when teamed together.

12th June 2026

WSDG designs Swing Music 2.0 for Argentine composers Andres Goldstein and Daniel Tarrab

Argentina – WSDG has completed the acoustic and technical design of Swing Music 2.0, a new dual-studio creative environment developed for acclaimed Argentine composers and producers Andres Goldstein and Daniel Tarrab, founders of leading Latin American music production company Swing Music.

Having previously collaborated with WSDG on the original Swing Music studio, Goldstein and Tarrab once again partnered with the firm, led by senior partner and co-CEO Sergio Molho, to create a new generation of production spaces tailored to the evolving demands of contemporary film, television and multimedia composition.

Designed as two distinct but interconnected creative environments, Swing Music 2.0 reflects the individual workflows and artistic personalities of its owners while maintaining a cohesive production identity. The studios support the full spectrum of modern soundtrack production, from composition and programming to recording, editing, mixing and remote collaboration.

“Over the years, the way we work has evolved enormously,” says Goldstein. “We needed spaces that could support very long creative sessions, allow us to move quickly between different stages of production and still feel inspiring and comfortable every day. WSDG understood that immediately and translated it into rooms that genuinely support the creative process.”

Located in Buenos Aires, the project was developed around the increasingly hybrid nature of modern music production. WSDG’s brief included acoustic design, technical integration, workflow planning, lighting design and technical interior design for both studio environments.

Rather than creating two identical rooms, WSDG worked closely with Goldstein and Tarrab to shape each studio around their individual working methods and technical preferences.

“Each of us has a very personal relationship with sound, instruments and workflow,” explains Tarrab. “What I appreciated most was that WSDG never approached the project with a ‘one-size-fits-all’ mentality. They listened carefully to how we actually create music and designed spaces around that reality.”

Goldstein’s studio, Swing Godoy Cruz, is centred around a hybrid scoring workflow and features a master Mac system alongside a dedicated Mac slave for sound libraries, a Smart TV for picture reference, Genelec 8331A monitoring, Focusrite Scarlett 4th Gen interface, Avalon compressor, Studiologic control surface, keyboard controller, Beyer headphone distribution and AKG 414 and Neumann microphones.

Meanwhile, Tarrab’s Swing Control Z Studio combines digital production tools with an extensive collection of instruments and analogue equipment. The studio features a Hackintosh master computer, PC slave, StudioLogic SL88-Grand, Studiologic SL Mixface, Avalon AD2022 preamplifier, SSL 2+ interface, Genelec 8040A monitoring, AKG 414 and Neumann U87 microphones, as well as a curated instrument collection including a 1905 Steinway & Sons Vertegrand piano, Yamaha CP70, Fender Jazz Bass and multiple Epiphone guitars.

Throughout the project, WSDG focused on balancing acoustic precision with musicality and comfort, ensuring that both spaces could function as highly technical production environments without losing their sense of intimacy and creative character.

“One of the most important aspects of this project was creating spaces that disappear when you’re working,” adds Goldstein. “Technically, everything performs exactly as we need it to, but emotionally the studios also feel warm, relaxed and musical. That balance is extremely difficult to achieve.”

For Tarrab, the collaborative process itself became one of the defining strengths of the project.

“Working with Sergio and the WSDG team felt incredibly collaborative from beginning to end,” he says. “There was a real understanding that these studios were not just technical rooms, but creative environments where ideas need to flow naturally. That level of sensitivity made a huge difference.”

Swing Music 2.0 now serves as a flexible and future-ready production hub supporting the composers’ growing body of soundtrack, television and multimedia work. Throughout their careers, Goldstein and Tarrab have contributed to a number of internationally recognised film and television productions including Some Who Lived directed by Luis Puenzo and produced by Steven Spielberg, Lucía Puenzo’s XXY which screened at Cannes in 2007, the Emmy-winning Inheritance directed by James Moll, Netflix’s Nadie Nos Vio Partir, Prime Video’s La Jauría and Señorita 89 for StarzPlay.

“Swing Music 2.0 represents exactly the kind of highly personalised creative environment we are passionate about designing at WSDG,” concludes Molho. “Andres and Daniel each have their own unique artistic processes and our goal was to create spaces that technically support those workflows while also preserving the emotional and creative energy that is so essential to music composition. The result is a pair of studios that feel deeply personal while functioning together as one cohesive production ecosystem.”

11th June 2026

Isle of Man’s Villa Marina Complex continues to invest in a DiGiCo future

UK – The Villa Marina & Gaiety Theatre is a stunning period multi-space arts and entertainment venue situated in the Island’s main city, Douglas. It comprises The Gaiety Theatre, a Frank Matcham playhouse opened in 1900, the Royal Hall, an octagonal dance hall opened in 1913, plus a series of smaller multi-purpose event spaces, all situated on the Harris Promenade on the Isle of Man. A major project in 2018 saw the venue purchase its first DiGiCo consoles: two DiGiCo SD12s with D2 Racks. These are still in use today and, as the team look to the future, they are making further investments, this time into the Quantum series, with the addition of a brand-new Quantum 326 and a Quantum 112 both supplied by Adlib.

The site has huge cultural significance and a rich history. In 2000, Villa Marina was purchased by the Isle of Man Government and a four-year long renovation began. Since 2004, the whole site has benefitted from several upgrades. Technical manager, Séamus Shea, is very aware of the requirement to fully justify every purchase. He has overseen much of the venue’s most recent restoration projects and alongside leading sound technician, Anthony 'Polly' Palfreman, ensures the venue gets the very highest quality equipment required by these special buildings. With strong community ties and Government ownership, choosing DiGiCo is one way to ensure lasting quality, a return on investment and deliver the experience that high-profile visiting artists expect.

“We have a real variety of spaces in Villa Marina, from our fully restored theatre, The Edwardian grandeur of the Royal Hall, to our events spaces we offer something for everyone,” Séamus explains. “Our DiGiCo consoles are flightcased, so we can move them easily. We might bring them in to support a larger show or use them as stand-alone consoles. We have amazing local musical talent and we were the first UK venue to be granted the performance licence for a full professional replica version of Les Misérables, but we also have great touring acts like Gary Barlow coming through, so we really do need to be all things to all people.”

For this venue, flexibility and versatility is a fundamental requirement. There are a variety of touring artists, shows and local talent coming through each night, means that Polly relies on the familiar workflow and full capacity of the DiGiCo Quantum 326 and SD12s, plus the infrastructure to provide quick, reliable service throughout the entire complex.

“It’s not just the desks, in the Royal Hall we have two DiGiCo D2 Racks, too. We’ve also got our main SD Rack feeding our L-Acoustics L2 system, which was the first deployment of the L2 system in Britain,” Polly recalls. “We’re punching above our weight a bit because, as the island’s flagship entertainment venue, we need to be able to attract visiting artists and provide engineers with a setup they’ll be comfortable with. We’re running optical loops, but we can dip out if we need to. Occasionally acts come in with different requirements, like The Lottery Winners I mixed monitors for a little while ago and I was able to use our old analogue system into one of the D2 Racks. It’s brilliant and it just works. That flexibility is so important, not just for our DiGiCo consoles, but our in-house network systems and staff, too.”

Training and education are also key for the venues, thanks to Adlib and DiGiCo they benefit from regular professional training. The next generation of sound professionals was a real consideration in continuing to purchase DiGiCo equipment, as Polly continues, using the DiGiCo ecosystem ensures that early-careers engineers get the best possible introduction to the industry.

“We’re not getting any younger so we need to try and encourage the younger generation to come through,” he continues. “DiGiCo technical sales support engineer, Sam North, was over doing some training on the Quantum 326 a few weeks ago. He made a comment that we’ve got more DiGiCos per head of population than anywhere else in Europe, but I don't know how true that is! Using DiGiCo infrastructure means we only need to teach one ecosystem, it’s all part of the next generation’s educational opportunities. The philosophy behind what DiGiCo has done with Quantum, the capacity that’s built in and their receptiveness to our requirements, all points towards a long and stable future.”

Rob Crossland is engineering manager at Adlib and offers ongoing support to Polly and the team. He is proud of their long-standing relationship and, as he and Polly conclude, it is the strength of these relationships and the trust between manufacturer, supplier and end user that keeps clients coming back for more.

“The DiGiCo SD12 was Villa Marina’s first step into digital mixing and we are delighted that they have chosen to deepen that bond,” Rob expands. “By investing in new fibre infrastructure, an SD Rack and new Quantum consoles they are continuing to look to the future of this beautiful venue. As ever, the support from DiGiCo has been fantastic including a training refresh to make sure the venue team are up-to-date with all the latest features.”

“One of the biggest things that I like about DiGiCo is that they deploy their technical staff into the big festivals, so they’re on the front line,” Polly finishes. “They are always ready to listen to all our feedback, so they can see what is worth developing, and that’s good for the industry. It provides us engineers with a lot of confidence.”

10th June 2026

LSC’s UNITOUR empowers flexibility for Arlon’s House of Culture

Belgium – The Maison de la Culture d’Arlon, a busy theatre and cultural destination in the south-east of Belgium, has taken delivery of a UNITOUR system from LSC Control Systems, the Australia-based manufacturer of data distribution, power and lighting control systems.

The theatre’s technical director, Benoit Petit, says: “We needed a power distribution system that could solve various problems in a single device. It had to be easy to move, quick to set up, fairly compact, able to provide both direct and dimmed power and sACN compliant for dimmer control. It also needed to include a monitoring system and electrical protection.”

Portability was key because although the system would mainly serve the smaller, 120-capacity secondary venue, it would also be needed for other stages around the building, or sometimes in different locations across the town.

Following a demo of UNITOUR given by Controllux and LSC’s business development manager for Europe, Kris Noerens, Benoit was convinced by the system’s extensive functions and intuitive, straightforward user approach. Furthermore, the Houston X software – which would allow for remote monitoring and configuration, enabling the team to receive alerts ahead of dropouts – was a major consideration.

“UNITOUR turned out to be the right choice,” says Benoit. He placed the order just before Christmas and delivery followed in mid-February, carefully timed to fit within the theatre’s complex production planning. Specified and delivered by LSC’s Benelux distribution partner Controllux, the chosen system is a 24-channel UNITOUR rack, complete with Houston X remote control software.

Because UNITOUR is a touring-grade power distribution system, it’s built for the road: rock-solid. It features LSC’s well-known and highly-valued TruPower dim/switch technology, so the client is able to protect and monitor the venue’s equipment in a proper, reliable way.

UNITOUR is the ideal mobile solution for venues needing to power and manage equipment in a 100% controlled way. Its functionalities are almost exactly the same as those offered by LSC’s UNITY systems, which are designed for fixed installations, but in a robust, mobile rack. The staggered channel start-up, avoiding high inrush currents, makes this system ideal for powering equipment with switched power circuits, such as LED walls.

Of UNITOUR’s portability, Benoit says: “Most venues choose fixed equipment, but that limits their ability to address one of the most important challenges: optimising investments by using equipment to its full potential. If we had chosen a fixed system, we would have needed to buy additional dimmers and distribution boxes for use outside the range of the fixed installation.”

Controllux has a fully operational UNITOUR demo kit available for any venues in the Benelux region interested in investigating the benefits of this proven solution.

photo: © Glenn Knapen

10th June 2026

Theater in der Josefstadt: into a new audio era with Sennheiser Spectera

Austria – With audience numbers in excess of 200,000 and around 550 shows each season, the Theater in der Josefstadt in Vienna is one of the most successful theatres in the entire German-speaking world. The historic playhouse located in Vienna’s 8th district is renowned for the outstanding quality of its theatrical performances. It also meets the highest standards when it comes to its audio equipment: since 2025, Sennheiser Spectera wideband wireless systems have been a key component of the theatre’s completely digital audio workflow. 

“We are the first theatre in Austria to be equipped with permanently installed Sennheiser Spectera systems,” says Raimund Hornich, head of the sound department/multimedia. He has been employed at the Theater in der Josefstadt since September 2023, after previously working for 14 years as chief sound engineer at the world-famous Burgtheater in Vienna. Together with his deputy, Thomas Haas, who has been with the Theater in der Josefstadt for 16 years, he was responsible for carrying out a comprehensive revitalisation of the venue’s audio equipment. This was completed over a six-week period in 2025 during the theatre’s summer break.

The main components of the new audio system include a state-of-the-art digital console, high-performance speakers, including a newly added centre cluster and the innovative Sennheiser Spectera ecosystem. The system uses two Spectera Base Stations, 26 bidirectional SEK bodypacks and eight DAD antennas. Sennheiser’s groundbreaking WMAS technology is used in the theatre’s main auditorium, which has three balconies and provides space for almost 580 people.

“The existing sound equipment was really starting to show its age and was in need of urgent replacement,” says Hornich, explaining the motivation behind the call for tenders that had been issued internationally.

“The Theater in der Josefstadt already had the benefit of Sennheiser wireless technology,” Hornich reports. “It was used, and is still being used, with great success; even the receiver modules of a fairly ancient EM 1046 mainframe are still doing a reliable job for us in some special applications. Nevertheless, before deciding on a brand-new wireless solution, it was only right that we looked around and evaluated products from other suppliers as well. However, when it came to the range of features available and real value for money, the competitors weren’t able to match what Sennheiser could offer us.”

According to Hornich, the fact that Spectera wideband wireless systems are being used at the theatre today is also the result of favourable timing: “We had originally intended to further expand our existing Sennheiser Digital 6000 systems, which are also in use at the Kammerspiele, a venue affiliated with our theatre,” he explains. “But then Spectera came along, at exactly the right moment for us.”

Hornich adds: “It’s fantastic that the SEK bodypacks can be used simultaneously as a transmitter and a receiver. We don’t always need this dual functionality, but it’s a real advantage to have this possibility available when we do. The first production of the upcoming season, under our new artistic director, will be performed throughout the entire venue, including the adjacent Sträußelsäle ballrooms, which means that the action is not confined to the stage. “So in this context, the combination of a transmitter and a receiver in a single unit can really show its full potential.”

A total of eight Spectera DAD antennas, powered via PoE through CAT cables, are installed in various positions in the theatre to provide maximum flexibility: “It really doesn’t matter where the performance is taking place, there are no dropouts, not even in the dressing rooms,” Hornich is pleased to say. “If we briefly lose the connection because the performers want to enjoy the good weather before the show and spend some time outside on nearby Jodok-Fink-Platz in front of the magnificent Piarist Church, the signal reconnects immediately when they re-enter the performance area. According to reports, an update will ensure that logging the SEK bodypacks into the system will take even less time in the future.”

In the auditorium, the second balcony is equipped not only with Spectera DAD antennas but also with two active Sennheiser AD 3700 directional antennas. These are assigned to three Sennheiser EM 6000 two-channel receivers and a proven Sennheiser EM 1046 mainframe with eight slot-in receivers. “We mainly use the EM 1046 with plug-on transmitters and these have always served us well in a variety of situations,” Thomas Haas explains. “They can simply be plugged on to conventional microphones and provide 48V phantom power. That is incredibly convenient and we would really like to see SKP plug-on transmitters like these become an additional feature of the Spectera ecosystem in the future.”

A Spectera Base Station can control up to 64 audio links (32 inputs and 32 outputs) and uses up to two independent RF wideband channels instead of a large number of narrowband RF carriers. In the theatre’s current set-up, up to 24 SEK bodypacks communicate with the two Spectera Base Stations; two more bodypacks are kept as spares. A numbering system ensures that everything is well-organised, and the bodypacks are stored in a wooden organiser that is also marked with the respective numbers. Haas is full of praise for the continuously clearly legible e-ink displays, which eliminate the need to mark each bodypack using adhesive tape.

He also points out that the receiver function of the bidirectional Spectera SEK bodypacks is additionally used to provide audio signals to small active loudspeakers during certain performances. Concealed in the scenery, these can then be used as invisible sound sources. The BA 70 lithium-ion batteries in the bodypacks are recharged in L 6000 rack chargers with LM 6070 modules and, to avoid any risks, they are also recharged during the break between rehearsal and the evening performance.

Two Spectera Base Stations are supplied with power both directly from the mains and via a UPS to create a redundant system. They are operated in the UHF band in 8MHz-wide frequency blocks with centre frequencies of 474, 482 and 562MHz. According to Hornich, the frequency situation at the venue is relatively relaxed: “Setting up wireless systems in the centre of Vienna only really becomes stressful about 700 metres away, near the City Hall,” says the experienced sound engineer. “We use frequency bands that are permanently allocated to our theatre and we don’t change the transmission frequencies, which means that we don’t need to re-scan the RF environment every day.”

The option to transmit mic/line audio signals in the PCM format (‘Raw’ or ‘Raw Low Latency’ Audio Link Modes) is not usually used: “We generally use ‘live’ mode with the SeDAC audio codec and extended range for both the transmitting and receiving function,” Haas explains. “The latency of 1.6 milliseconds is absolutely fine. At the moment, we have 12 microphone signals and four in-ear channels for each Base Station, although that doesn’t always have to be the case. We can adapt the settings to suit the production if different wireless parameters are required. The Spectera Base Stations are directly integrated into our Dante network via the primary and secondary connections. The sample rate is 48kHz.”

“Looking back, there was certainly a bit of risk involved in installing a completely new wireless system in the summer of 2025,” Hornich admits. “But we had expert support on hand, so we didn’t really have any serious concerns, especially because Spectera has already proven itself in Austria at the ‘Woodstock of Brass Music’ festival, and during ORF’s ‘Dancing Stars’ TV series.”

Raimund Hornich and Thomas Haas were provided with support for the wireless systems by Florian Fuchs (Sennheiser sales manager professional audio), Volker Schmitt (Sennheiser manager technical application engineering) and Gerhard Vonwald (wireless audio support). TSAMM AG, led by Mario Reithofer, took on the role of integrator.

“The Sennheiser Spectera wideband wireless systems are a decisive step in the right direction for us,” is Hornich’s conclusion around a year after the systems were installed. “We have already received a lot of enquiries from interested colleagues and from the audio and stage associations ÖTMV and OETHG. Unfortunately, I can’t make a direct comparison with the sound of the wireless system that we used to have in the theatre because we not only installed the new wireless systems, we’ve also installed new loudspeakers and power amplifiers and changed the mixing console, and the audio signal path is now completely digital, all the way from the microphones to the power amplifiers.”

Hornich is eagerly awaiting the launch of the Spectera SKM handheld transmitters: “I can’t wait to get my hands on them,” he says with a grin! “And the new battery packs that have already been announced, which offer even better performance, are also interesting for our theatre, for example when we have particularly long shows. My personal wish list also includes simpler transmitters without IEM functionality as an addition to the bidirectional SEK bodypacks. Ideally, these would be particularly compact and about the same size as the ever-popular Sennheiser SK 6212 mini bodypack transmitter.”

After hundreds of successful performances, Hornich is entirely convinced by the benefits of Sennheiser’s WMAS technology: “The Spectera wideband system is absolutely reliable. Ever since it was installed, there have been no unpleasant surprises. The rugged SEK bodypacks also fulfil the demands of continuous everyday use in the theatre without any compromises. All in all, having used them for a year now, we are completely satisfied. The Sennheiser Spectera ecosystem is absolutely the right choice for our requirements!”

9th June 2026

Electro-Voice and Dynacord give Shakespeare’s Church a new voice

UK – Holy Trinity Church in Stratford-upon-Avon has replaced its ageing sound system with a modern solution from Electro-Voice and Dynacord that delivers high-quality sound in an easy-to-use format. With a history dating back over 800 years and a claim to be the most visited parish church in the UK, the church is best known as the place where William Shakespeare was baptised and is buried. Alongside being a historic location, it is also an active house of worship that needs reliable, high-quality sound for services, spoken word, contemporary worship with a full band and special events. To meet this challenge, the church brought in NoiseBoys Technologies which knew that some of the latest technology from Electro-Voice and Dynacord would form the perfect combination.

“Their old 100 Volt system was coming to the end of its life,” recalls Phill Beynon, director of NoiseBoys Technologies. “They wanted a solution that could handle both speech and music and extend the coverage into different spaces to create a multi-zone system. Dynacord’s IX series networked DSP amps together with Electro-Voice’s EVC series speakers and LRC columns seemed like a really good fit for the project.”

EVC-1082 loudspeakers cover the main body of the church. Models with the narrow 90°x60° dispersion angle and rotatable horn for longer throw were selected for the nave, while the wider 100°x100° variants evenly cover the side aisles, delivering excellent clarity of speech and the full audio range required for mixing a live band. “Having the EVC is really good because you can choose the dispersion on it,” explains Beynon. “It allows you to tailor the coverage a little bit more to these super reverberant spaces that were not designed for electronic reproduction.” An ELX200 subwoofer that can be plugged in when required and removed when not enhances the full range coverage.

The LRC-1100 Line Radiator Column loudspeakers were selected as fills and delays for areas of the church such as the choir stalls and chancel. In architecturally sensitive areas the sleek enclosures and the compact SwifTilt mounting system of the LRCs keep the column speakers discreet and as close as possible to the wall, respecting the church’s stunning architecture. “For historically significant areas like the chancel where Shakespeare’s grave actually is, being able to use just use LRCs in that room was really good because they blend in with all the old dark woodwork in there,” says Beynon. “They’re generally used for music playback during the week and then just largely speech reproduction. They’re good for filling in those areas where you need something discreet to do that job.”

A pair of Dynacord IX30:8 and a further IX15:4 amplifier power the system, with their line inputs utilised as Dante break-ins. Control is split via the amps’ built-in mixer and an external sound desk, the former providing simple control for day-to-day use and the latter more hands-on mixing for services and events. “What it allowed us to do is use Dante both ways instead of just one way,” furthers Beynon. “So instead of just pushing it from the mixing desk to the amps, we can take inputs on the amps through their Dante card and then feed them into the desk. And with the IX amps you can bring inputs and a mix in and split it on Dante between the amps as well, so you retain all the zoning control. No matter which control system they’re using, they’ve got whatever they need, wherever they need it, which is really handy.”

SONICUE Sound System Software was used to set up the fully networked Dante audio system and design a customised GUI for the TPC-1 touch panel controllers, allowing staff and volunteers easy access to the main controls and the ability to switch between different operating modes. “To be able to use the touch screens controlling the amps directly and to use Dante to split it between that and the desk just made perfect sense really,” notes Beynon. “They’ve got the touch screen TPC-1, which has got a diagram of the church on it, and they can mute and unmute certain parts of it as they need to. All they have to do really is turn it on and push one preset button and it's ready to go during the week.”

With the system installed, the feedback has been overwhelmingly positive. “It was a once in their lifetime upgrade for the people dealing with this, and they were so keen to get it right. So, it is great to hear excellent reports from the customer,” Beynon reflects. “We had an email after the first week of services to say the new system is excellent and they’ve had great reports back. It was a massive relief to the church and is exactly what you want to hear as an installer.”

3rd June 2026

Audient Consoles Anchor the Next Generation at SAE Melbourne

Australia – At the heart of Melbourne’s vibrant creative scene, SAE University College is busy shaping the future of the Australian music industry. Since 2013, the campus has relied on a consistent ecosystem of Audient technology to guide hundreds of students through the intricacies of professional audio production.

With a set-up designed to take learners from their very first fader push to high-end mastering, the Melbourne campus provides a seamless transition between foundational skills and advanced engineering.

The campus currently houses two ASP4816 consoles and one flagship ASP8024, ensuring that students remain within a familiar sonic environment as they progress through their studies. According to Gareth Parton, a senior lecturer at SAE University College, Australia, this consistency is a deliberate choice for the curriculum.

“Our audio and music students learn in professional-level studios equipped with industry-standard technology. We upgraded our core teaching spaces with Audient consoles to create a consistent, hands-on learning environment that supports students from foundational skills through to advanced production workflows,” Gareth explains.

The two ASP4816 desks serve as the workhorses for introductory studios, while the larger ASP8024 is reserved for higher-level sessions where complex, multi-input tracking is required.

In a busy educational environment where gear is in constant use by hundreds of students annually, reliability and ease of use are paramount. Gareth notes that the Audient range hits the sweet spot for both tutors and learners.

Intuitive Layout: the clear signal flow allows students to grasp core concepts without getting lost in technical complexity.

Reliability: despite heavy student use over more than a decade, the consoles require minimal maintenance.

Transparent Sound: the consoles provide a clean, honest canvas for recording and mixing across any genre.

The feedback from the front lines is equally positive. Gareth observes that it is these spaces that are often the most sought-after on campus. “Our Audient rooms are the most popular amongst our student cohort,” Gareth says. “They appreciate the clean, transparent sound and intuitive workflow and truly enjoy the flexibility of working on a large-format console.”

The campus recently expanded its Audient inventory by introducing the Nero desktop monitor controller into the mastering suite. The goal was to refine the monitoring process in a space where critical listening is the priority.

“We introduced the Audient Nero to enhance our Mastering Suite, specifically to streamline monitoring and manage multiple inputs more efficiently in a critical listening environment,” says Gareth.

Since the installation, the Nero has become a valuable asset for students focusing on the final stages of production, offering seamless control and a more fluid workflow.

Whether they are working on basic tracking exercises or complex studio sessions, students at SAE Melbourne are graduating with a deep understanding of the tools used in world-class facilities. By providing access to the same preamps and architecture found in professional studios, SAE ensures their graduates are ready for the industry from day one.

3rd June 2026

Clear-Com Powers Itaka Arena with Arcadia Central Station and FreeSpeak II Beltpacks

Poland – Clear-Com has announced that its advanced intercom solutions have been deployed at Itaka Arena in Opole, Poland, delivering reliable, full-coverage communications across one of Europe’s newest mid-sized stadiums. The Clear-Com system was deployed in collaboration with Commercial Audio, a leading distributor and integrator of professional audio solutions in Poland. As an exclusive regional partner for brands including Clear-Com, Commercial Audio provided end-to-end services for the stadium’s broader technical infrastructure.

The system centres on Clear-Com’s Arcadia Central Station, which integrates matrix functionality and user control into a single, scalable platform. Supporting wireless communications throughout the venue, the deployment also includes the FreeSpeak II system, ensuring uninterrupted connectivity from broadcast compounds and tunnels to locker rooms and the pitch.

Designed to support live sports, concerts and large-scale events, the customised system enables production teams, commentators and technical crews to maintain constant coordination across all operational zones of the stadium.

“The communications infrastructure at Itaka Arena was designed to be as flexible and reliable as the events it hosts,” Krzysztof Borowicz at Commercial Audio. “Clear-Com provides the backbone that allows every team (from broadcast to venue operations) to stay connected in real time. Arcadia Central Station includes an onboard AoIP Dante card, which allows us to integrate the system rapidly with audio systems, consoles at the venue or OB trucks. The intuitive and fast routing of Dante signals provides great flexibility for expanding communication points and integrating with third-party systems.”

At Itaka Arena, strategically placed antennas provide full wireless coverage across key areas, including the field, player tunnels, and production zones. The system supports Clear-Com beltpacks used by technical crews and integrates with commentator positions, allowing for communication between announcers and production staff.

The arena opened in 2025 and seats nearly 12,000 spectators. It’s designed to host football matches, concerts and cultural events and reflects a growing trend in modern stadium design, where integrated communications systems are critical to delivering safe, efficient and high-quality live experiences.

“Modern venues demand more than just performance, they require precision communication at every level,” said John Ruest, regional sales manager of Nordics and CEE at Clear-Com. “We’re proud to support Itaka Arena with solutions that keep teams connected and events running smoothly.”

3rd June 2026

Linea Research becomes the amplifier of choice for America’s top reference studios

USA – Linea Research has quietly become the go-to amplification choice for some of the most demanding reference rooms in the United States. Across a growing portfolio of high-profile studios designed and built by MIXBYSTOS, recent installs include Universal Music’s flagship rooms in New York and LA, NBC’s Emmy-winning Saturday Night Live mix room and a new two-room mix facility for Rock and Roll Hall of Fame inductee Steve Miller, with more on the way in mastering houses and live-event venues.

Led by mix engineer and studio designer Christos Tsantilis – known simply as Stos – whose career has straddled mix engineering and acoustic design for more than 30 years, MIXBYSTOS delivers turnkey stereo and Dolby Atmos rooms, handling acoustic design, the build, immersive system integration and final tuning all in-house. And, increasingly, Linea Research sits at the heart of every project.

The main rooms for Universal Music in New York were designed and integrated by Stos, including the reference Dolby Atmos room where an estimated 3,000 to 4,000 commercial mixes have already been printed. Universal LA followed and then NBC’s Saturday Night Live mix room, which went on to win the Emmy for Outstanding Sound. A direct recommendation from Universal led to Steve Miller, for whom the team built a new two-room mix facility powered by Linea Research. The amps have since cropped up in mastering work too, including a recently released A$AP Rocky project.

Putting amplifiers through their paces before recommending anything to a client is something Stos takes seriously. Linea Research came out on top on sonic performance, processing depth and – crucially – reliability when the pressure is on. “We always test any units on the market to see which ones we can recommend and Linea Research came out as the best product in our tests,” he says. “They’re workhorses. The last thing we need is a call-back saying there’s been a malfunction in the middle of a live-streamed event being watched by millions, we avoid that like the plague. Linea Research makes us look good.”

Throughout the company’s portfolio, Stos has paired Linea Research amplifiers with high-end monitoring, offering the option to drive passive components directly via analogue or run digital in and out where conversion is handled at the loudspeaker. That flexibility, combined with the onboard processing, has made Linea Research the default spec for the company’s most prestigious installs.

When it comes to fixing real-world rooms, the EQ algorithms and the sheer number of filters on offer are a real differentiator, Stos points out. “Not all algorithms are the same. The equalisation algorithm must be musical, transparent and not get in the way and Linea does an excellent job of representing a truthful, musical sound field. We also have more filters available, which we really need; very few rooms are acoustically perfect. The EQ and time alignment Linea allows us to dial in is one of the main reasons we choose it. It’s accurate, it’s easy to set up and the clients are always happy. We get called back saying ‘this is perfect’ every time.”

All installs are run through Linea Research’s System Engineer 8 control software, which Stos describes as “very easy” to work with. Pair that with the amps’ plug-and-play simplicity – pick analogue or digital in, tune the system, done – and the workflow benefits really start to add up on tight, high-stakes builds.

Currently, MIXBYSTOS is specifying Linea Research for an 8,000 sq. ft live-streaming, live-event and art gallery venue in SoHo, New York. The amps’ control and processing capabilities were instrumental in ticking the local community board’s boxes around sound levels and New York City code compliance.

“When we walk into a facility and see other products, we let the client know straight away that Linea Research is the way to go,” Stos concludes. “It’s more transparent, more musical, it’ll last longer and they'll have fewer issues. We’ve never had a client call us to say a unit malfunctioned – ever. When it comes to workflow and stability, that’s why we choose Linea Research and that’s why we always recommend Linea Research.”

3rd June 2026

New Christchurch Court Theatre chooses LSC technology

New Zealand – Years after the earthquake that devastated the city, Christchurch’s Court Theatre has reopened with a state-of-the-art home in the newly developed Performing Arts Precinct, complete with power management and data solutions from LSC Control Systems.

When Christchurch’s Arts Centre was damaged by the earthquake of 2011, the Court Theatre was forced to relocate to a temporary home, an old grain storehouse in the nearby suburb of Addington, called “The Shed”.

This ‘temporary’ measure was to be the theatre’s home for the next 14 years, while the city progressed ambitious plans for a brand-new cultural hub in the city centre, to be known as the Performing Arts Precinct.

The new theatre, which eventually opened in May 2025, is a vastly improved, modern, producing facility. It includes an intimate, courtyard-style 377-seat main house called The Stewart Theatre, a flexible studio theatre space – the Wakefield Family Front Room, accommodating audience capacities from 120-150 – and two smaller multi-purpose event spaces, the Rātā Foundation Studio and the Ravenscar Lounge.

The technical production infrastructure throughout is designed to meet the highest standards. Following a technical specification drawn up by leading international theatre consultancy Charcoalblue, Auckland-based specialist LS Group was engaged by Hawkins Construction and Court Theatre to supply, install and commission the theatrical lighting and control systems.

They supplied four of LSC’s UNITY switching/dimming racks (each 96-channel): three serving the Stewart Theatre and one for the Wakefield Family Front Room. “These dimmers provide the backbone of power dimming that allows Court Theatre to use a mixture of tungsten and LED lighting,” says LS Group’s Nick Abel.

The theatre’s head technician and principal lighting designer, Giles Tanner explained: “In moving to a new facility, we were faced with a conundrum: would we transition to a LED only lighting rig, or have a mix of LED and incandescent fixtures? Because these two options require very different scenarios, this had significant implications in how lighting power would be implemented.”

Importantly, the UNITY racks are mounted on a floating, isolated metal framing system for seismic bracing, while vibration isolation was specified by Charcoalblue to prevent mechanical vibration being transferred to the building.

In addition, the flexible requirements of the Rātā Foundation Studio and the Ravenscar Lounge are served by six GEN-VI units: three for each space. With output channels configurable as 8-bit or 16-bit dimmers for lamps and LEDs, or as direct power relay channels (TruPower) for moving lights, video screens and audio amplifiers, these versatile dimming and power distribution systems offer a wide range of options. Here again, they allow for the reliable, trouble-free operation of a mixture of tungsten and LED lighting.

The LSC product range also met various DMX routing requirements. Included were number of MDR rack-mount DMX/RDM data splitters for the venue’s day-to-day DMX signal routing and MDR DIN-rail splitters (“reliable products at a great price point” says Abel), as well as Nexus rack-mount Nodes for ethernet–DMX routing, plus a couple of Nexen DIN-Rail nodes providing power control for the house lighting system.

Tanner says: “We love the UNITY system! We are now equally capable of handling both LED and incandescent fixtures with ease. In practice, we have moved largely to LED fixtures but find that integrating conventional fixtures is both efficient and convenient. There are some situations where LED fixtures just do not give the best results and the option to seamlessly integrate conventional fixtures is fantastic.

“Combining this flexibility with great ease of configuration and use, UNITY is proving to be a superb choice. The extensive reporting options and modularity of the system make it very easy to live with. We are looking forward to discovering all the benefits that the UNITY system offers!”

photo: © Charlie Rose Creative

3rd June 2026

Absen Powers Swinburne’s Virtual Universe with KLCOB1.5 PRO V2

Australia – Absen has delivered a landmark COB LED installation at Swinburne University of Technology in Melbourne, Australia, powering the Swinburne Virtual Universe (SVU). A purpose-built 3D immersive environment that is believed to be the largest truly wrap-around LED screen ever constructed for public education. Spanning over 106 sqm across a seamless canvas, the installation harnesses Absen’s KLCOB1.5 PRO V2 technology to transport visitors from a Melbourne campus to the furthest reaches of the cosmos.

Officially unveiled on 30th April 2026, the Swinburne Virtual Universe places visitors at the centre of a futuristic space surrounded by high-contrast LED screens that deliver compelling 3D imagery and interactive animations. Audiences can be flown around a virtual solar system, witness planetary close-ups as if aboard their own spacecraft and explore deep space environments powered by supercomputer simulations and real astrophysics data. The SVU is driven by NVIDIA GPU technology and real-time rendering engines, with content generated directly from Swinburne’s OzSTAR and Ngarrgu Tindebeek supercomputers.

Delivering an experience of this ambition demanded display technology capable of meeting an exceptional set of requirements. The installation needed to produce flawless 3D imagery across an unusually wide, low-profile screen geometry, maintain colour accuracy and uniformity at close-viewing distances and perform without interruption across long, continuous operating periods. At the same time, the surface had to withstand the demands of a high-traffic public environment, be robust enough for interaction and remain visually seamless across every viewing angle. These parameters pointed decisively towards Absen’s COB LED technology.

The KLCOB1.5 PRO V2 was selected to meet these demands. With its ultra-fine 1.5mm pixel pitch, the product delivers the crisp, detailed resolution essential for immersive close-range 3D content, producing deep blacks and exceptional contrast that bring astrophysics simulations to life with remarkable clarity. COB (Chip on Board) technology embeds multiple LED chips directly onto the substrate beneath a continuous protective surface layer, resulting in outstanding durability, superior uniformity and significantly enhanced resilience in public-facing environments. Qualities that are especially critical in a space designed for school groups, families and community visitors.

At this scale and geometry, maintaining seamless uniformity across the entire surface is critical to the immersive effect. The KLCOB1.5 PRO V2’s monolithic construction and precision engineering ensures a smooth, uninterrupted canvas that supports the full visual integrity of the 3D content, regardless of viewing position within the space.

“The facility is so unique that comparisons with other spaces are difficult, but it’s possible that it is the largest truly 3D wraparound LED screen for public education ever built,” says Professor Matthew Bailes, project lead at Swinburne University of Technology. “Our first school group shrieked with joy and ran up to embrace one of Mars’s moons as soon as it appeared floating in front of them. That made all the work behind its design, custom software development and engineering worthwhile.”

The Virtual Universe builds on Swinburne’s position as a global leader in space and astrophysics research and cements the university’s ambition to connect communities with cutting-edge science through technology-led experiences. The facility will serve undergraduate students, school groups, families and the wider public, as well as acting as a creative and technical resource for Swinburne’s film, games and animation programmes. It is part of an expanding portfolio of world-class astronomy assets at Swinburne, including its partnership with the W. M. Keck Observatory.

The Swinburne Virtual Universe showcases the full potential of advanced COB LED technology in creating truly immersive 3D visual experiences. Creating an immersive 3D LED environment across more than 106 square meters in a public educational setting demands exceptional image quality, reliability, and precision,” said Ruben Rengel, vice president at Absen. “We are proud that the KLCOB1.5 PRO V2 was selected to power this remarkable installation and help deliver an experience that brings the universe closer to audiences of all ages.”

The Swinburne Virtual Universe will progressively open to schools, families and the broader community, serving as a hub for science communication, research translation and public engagement with space science. For Absen, the project adds to a growing global portfolio of landmark COB LED installations in education, cultural and public environments, reinforcing the technology’s place at the forefront of large-format immersive display.

2nd June 2026

Immersive Storytelling Rides High with Hippotizer MX Series at the National Cowgirl Museum

USA – The National Cowgirl Museum & Hall of Fame is preparing to celebrate more Women of the West through new immersive storytelling experiences powered by Hippotizer MX Series media servers from Green Hippo, an ACT Entertainment brand.

Established Fort Worth-based integration specialist Electro Acoustics & Video Inc. led the design with the award-winning Hippotizer Meuse MX media server. The project forms part of the museum’s significant 16,000-square-foot expansion project, centered around refreshing its immersive projection-driven attractions.

“We focus heavily on video and projection elements throughout the museum,” explains Hunter Atchison, associate director of operations at the museum. “Our new space will feature nine projectors surrounding the room projecting content in a panoramic format.”

Previously, the space featured looping panoramic ranch footage from Texas and Colorado alongside horse show visuals. While popular with visitors, the legacy system offered limited flexibility and proved difficult for the museum team to maintain and customise.

“Our goal with the new system was to create something far more fluid and adaptable,” says Atchison. “We wanted a space that could transform depending on the experience we want to create. Hippotizer is giving us the ability to fully customise the room and use it however we want, depending on the event or experience.”

For Electro Acoustics & Video Inc., ease of use and flexibility became central to the project from the outset. “The client was using a solution that was very hard to change content within,” explains Ryan Walker from Electro Acoustics. “The objective they gave us was to find a product that could support their needs and be simple to use.”

The museum’s existing external video contractor first recommended looking into Green Hippo solutions, leading the Electro Acoustics team to connect with Green Hippo’s Scott Kehoe. “Scott was very helpful and even set the client up with a demo system for a few months to make sure they liked the system,” says Walker.

That collaborative approach continued throughout the installation and integration process. “The project went very smoothly,” Walker adds. “The system was being controlled by an outside control system and Green Hippo was willing to meet with our programmer to discuss how everything was going to work together. They worked with us every step of the project.”

The decision to implement Hippotizer Meuse MX now affords the museum’s team better management of visual content across the nine-projector environment while opening up new possibilities for exhibitions, events and donor experiences.

“The ability of Meuse to support so many projectors across a very large space while allowing us to blend and manage all of those outputs effectively is fantastic,” adds Atchison.

Walker agrees: “It has worked seamlessly.”

During the daytime, the panoramic environment supports the museum’s immersive exhibitions and interpretive storytelling experiences. In the evenings, the same space transitions into an events venue for weddings, donor receptions and private functions. Museum staff can transform the room with projected visuals ranging from mountain landscapes to coastal scenes, while also incorporating custom event-specific content.

“It allows us to think creatively about how we use the room instead of being locked into one specific experience,” says Atchison.

The panoramic event space is part of a broader expansion project designed to seamlessly connect the museum’s original building with newly developed galleries and attractions. Across from the projection space, the expansion includes a fully functioning 18-horse carousel installation, while adjoining gallery areas host rotating exhibitions including costumes from Miranda Lambert’s recent tour.

“One of the major goals of the expansion has been creating a seamless experience between a 20-plus-year-old building and a brand-new addition,” says Atchison. “That definitely comes with challenges, especially considering how much technology has evolved.”

Although the expansion space is not yet open to the public, the Hippotizer system is already being used extensively for donor tours, presentations and internal events. Current content includes looping ranch footage from Texas and Colorado alongside customised visual experiences created for visiting groups.

One recent donor event demonstrated the system’s ability to deliver personalised immersive moments with minimal set up time. “During the tour, I took a group photo of the guests at the start and uploaded it into the Hippotizer system while they were walking through the building,” says Atchison. “When the group entered the event space at the end of the tour, they were greeted by their photo and museum branding displayed across the panoramic projection walls. It created a really memorable experience and was incredibly well received.”

For the museum, these interactive visual moments are becoming an important part of engaging donors and building excitement around the institution’s ongoing capital campaign. “Immersive moments like that go a long way,” adds Atchison.

While the museum is still in the early stages of exploring the full capabilities of the Hippotizer MX Series platform, the team already sees significant long-term creative potential and plans to collaborate with external content creators to develop more elaborate visual shows and immersive storytelling experiences tailored to exhibitions and special programming.

For Walker, the project has also demonstrated the platform’s wider value for future installations. “I think this is a good product and now that I know about it, I will use it where appropriate,” he says.

As a long-established and familiar platform for immersive experience creators, Hippotizer will continue to play a central role in how visitors experience the stories, landscapes and personalities of the American West.

“I would say the overall flexibility and ease of adapting content to the space has impressed me the most,” concludes Atchison. “I’m looking forward to discovering even more possibilities.”

The National Cowgirl Museum & Hall of Fame honours the Women of the American West through exhibitions, archives and immersive storytelling. While video and projection have long been part of the visitor experience, the museum’s expansion aims to significantly elevate the flexibility and creative potential of its visual environments. The museum’s archives currently house more than 4,000 artefacts and information on more than 750 remarkable women.

photos: © National Cowgirl Museum and Hall of Fame

1st June 2026

Robe Makes Its Mark at Duinrell

The Netherlands – Duinrell is a combined holiday, amusement park and water park in Wassenaar, South Holland, which is popular with families, celebrated 90 years of operation in 2025. It started as a family park in 1935 on the historic estate of the Van Zuylen van Nijevelt family, a short distance from the beach and is one of the Netherlands’ best-loved and most successful theme parks, attracting 1.4 million visitors a year.

In recent years, Robe moving lights have started making an impact, contributing to the positive vibes and great Duinrell energy.

Roy van Zutphen is the electrician and engineer in charge of lighting. He leads a team of 29 who look after all things technical and operational, including all the venues and rides. Their work also covers mechanical, carpentry and set building.

When a brand-new Arcade Game Hall was opened in 2023, Roy reached out to Controllux’s Maikel Sakkers, one of the company’s main sales managers, who had a connection at Duinrell via one of their service technicians who used to be an intern there.

He asked for some advice on the best lighting options for the Arcade Hall, which was a hybrid design to also accommodate events of up to 1,500 people.

Maikel arrived on site and, when he realised the scale of the new building, recommended a combination of Robe moving lights in the form of PAINTES, LEDBeam 150s and CUETES.

“We needed the most flexible and adaptable lighting and also a reliable solution,” explained Roy, who is delighted with the results. Reliability was a major consideration as the Arcade is open eight or ten hours a day every day, so the lights had to be robust and well-built.

Four PAINTES were chosen for the staging area in the middle of the Arcade venue, as that is the main area used for events. These fixtures give the option of great quality light, have plenty of scope for effects and are also capable of excellent keylighting.

The 24 LEDBeam 150s are deployed around the stage – which is in the centre of the building – and around the room on roof trusses.

Roy also wanted some additional fixtures for the space that could produce great gobo effects and colours but didn’t need to be as complex as the PAINTES, so for this he chose CUETES, which have complementary CMY colour mixing to the PAINTES but no zoom.

They are also both TE fixtures, benefitting from Robe’s transferable LED engine. Robe was chosen as a rock-solid brand that would require little maintenance and Roy also thought the Transferable engine was a huge advantage in this scenario.

“I also wanted a system with fixtures that any incoming / visiting LD would be happy to use for their event,” he commented.

The lights also needed to be delivered in a really short timescale – around six or seven weeks – so once Roy confirmed the specification and placed the order, Maikel got to work co-ordinating with Robe in the Czech Republic to ensure that the kit would be there to meet the deadline.

The day-to-day Arcade Hall lighting is run via a Mosaic show controller, but the lights can be hooked into external consoles and controlled independently for events.

Roy was so pleased with the results of the Game Arcade lighting that he again turned to Controllux last year when it came to refurbishing the classic Duinrell Express train ride.

It had been running for 47 years at that point, so an upgrade was definitely due. He again wanted to find out the best options for lighting, choosing 16 Robe iBar 15s and iParFects.

The iBar 15s are used to light the walls and the scenery and the iParFect was needed for the opening of the cave, for which a zoomable light was required.

Roy has worked at Duinrell for 15 years and is very passionate about the job and the venue.

“There’s never a dull moment here, everything is dynamic, different and it is really almost like a hyper-busy vacation for me working here,” he enthused. He enjoys a “brilliant and highly productive” partnership with Controllux and appreciates their attention to detail and thoroughness.

He also recently visited the Robe factory in the Czech Republic and thinks it is “amazing,” particularly appreciating “the craft and diligence that goes into making each product.”

photos: Louise Stickland

29th May 2026

Bremer Media & Events Steps Up with Martin Audio TORUS

The Netherlands – Bremer Media and Events, a leading AV rental company based in Rotterdam, has significantly bolstered its high-end audio inventory with the acquisition of a flexible Martin Audio TORUS sound system. As technical experts for a diverse range of large-scale events and co-managers of the Onderzeebootloods venue in Rotterdam – a former submarine wharf – Bremer required a solution that could meet the demands of a colossal industrial venue while remaining agile enough for more intimate deployments.

Bremer is not a traditional rental house. Since its recent acquisition of FrameWave, the company has shifted focus to provide comprehensive creative event design and technical support, offering a complete service from idea to technical execution.

“We offer a very broad range of services, where AV is an essential part of the bigger picture,” explains Bremer media and events operations director, Rick van der Vegt. “Our ambition with the Martin Audio investment was to guarantee consistent quality and be less dependent on the rental market. We were looking for a scalable sound system, capable of handling large-scale events with ease.”

The search for the ideal solution for their needs began two years ago, through a referral to Ampco Flashlight Rental, Martin Audio’s distributor in The Netherlands.

Martijn de Jong of Ampco Flashlight Sales picks up the story: “Bremer decided it was time for the next step. Previously, they often had to rent equipment for larger jobs but wanted their own scalable, high-end audio under their management.”

Rick van der Vegt attended several demo events at Ampco Flashlight’s studio in Utrecht to put the TORUS system through its paces, and impressed by its sonic signature and versatility, subsequently invested in a comprehensive package.

Bremer’s inventory now comprises six T1215 and two T1230 constant curvature array elements, eight SXC118 cardioid subwoofers and six FP12 FlexPoint loudspeakers, all powered by five iKON IK42 4-channel amplifiers.

“The beauty of TORUS is its incredible scalability,” notes van der Vegt. “One day you are deploying a small sub-top set for a seminar, the next everything is rigged together for a major production. That is exactly the flexibility we were looking for. Depending on the brief, TORUS allows for a powerful front-facing array or a distributed system across a wide area.”

In addition, rider acceptance was a decisive factor. “The price-performance ratio is excellent and it is a system that is widely accepted by visiting engineers,” he adds. “We can now facilitate small festivals with absolute confidence.”

The system has seen immediate action, ranging from events as diverse as high-profile corporate meetings at the Onderzeebootloods, to the high-energy environment of the Rotterdam Marathon.

Martijn de Jong concludes: “Whether it’s a high-impact DJ set, a live band, or a business conference, the combination of TORUS T1215 and T1230 cabinets ensures dispersion and impact are always exactly as desired.”

Reflecting on the successful investment, Rick van der Vegt praises the collaboration: “The process with Ampco Flashlight was exactly the way we like it: approachable and down-to-earth. Martijn speaks our language, and his advice helped us find the perfect match for our needs. Now we are proving it in practice.”

First photo: Joan Villalon

28th May 2026

Elation Lighting Transforms Theater De Binding into a Modern Community Cultural Hub

The Netherlands – The Cultural and Educational Centre De Binding in Zuid-Scharwoude, the Netherlands, home to Theater De Binding and part of Cool kunst en cultuur, has completed a lighting upgrade with a new LED system of Fuze and KL Series fixtures from Elation, delivered in close co-operation with Dutch distributor Rolight.

The 275-seat multi-use theatre serves as a vibrant gathering place for the local community, hosting performances, presentations, workshops, courses and social initiatives for audiences and participants of all ages. As part of a broader refurbishment initiative by the city, the venue was transformed into a fully equipped theatre space with new seating, curtains and a modernised lighting infrastructure.

Leading the project was Rob Scheeren, who oversaw the technical transition and worked closely with Rolight to specify a lighting solution that would not only meet the demands of a modern, multi-purpose theatre environment, but also be flexible and easy to use for visiting productions, community groups and educational users with varying levels of technical experience.

“The previous lighting system was old-school halogen from 2008,” stated Scheeren, manager of theatre technical operations and facilities management at Cool kunst en cultuur. “It was time to transition to LED.”

The new rig includes eight Fuze SFX, four Fuze Profile, ten KL Fresnel 8 FC, 12 KL Profile Compact, six KL Fresnel 6 and 14 of the latest Fuze Wash 250 fixtures, providing greater creative flexibility, higher output and simplified operation compared to the previous system. Data distribution is handled by Netron nodes (NS8, EN4, EN12) from Obsidian Control Systems.

With the electrical infrastructure already in place, Scheeren focused on creating a practical and versatile design together with his technical crew and Rolight.

“I wanted as many fixtures as possible for our budget so there could be enough lights in enough positions that you don’t need to move fixtures around. That makes it easier for those who come in and use the space. I also wanted to keep it simple with everything from one company, no use to make things more complicated than they need to be.”

Following extensive fixture demonstrations organised by Rolight, the venue selected the Elation fixtures and chose to move forward with Rolight.

The compact Fuze Wash 250 proved especially attractive for the theatre environment. Delivering more than 8,000 lumens through a classic Fresnel lens, the fixture combines smooth and even wash coverage with quiet operation, a critical requirement for theatrical applications. Its 6° to 50° zoom range allows designers to create everything from narrow beams to broad, soft washes, while fast and precise movement supports both theatre productions and live events.

The Fuze SFX offers a unique hybrid approach as a multi-purpose LED Spot FX moving head capable of projecting tight aerial beams and wide washes alike. The Fuze Profile adds precision framing, gobos and animation effects, while the KL Fresnel 8 FC provides soft, high-quality front light with excellent colour rendering and precise colour temperature control.

The shared RGBMA light engines across the Fuze Wash 250, Fuze Profile, KL Profile Compact and KL Fresnel 8 FC ensure consistent colour reproduction throughout the rig.

“We made the decision that the frontlight would be non-movers and we would use the moving lights for specials,” Scheeren said. “We wanted everything LED so you don’t have to switch on and off dimmers. We tried to simplify everything. No gels, no filters and no more bulb changes.”

Ease of operation was another key priority for the venue. In addition to the lighting upgrade, the theatre installed a wall-mounted touchscreen tablet with intuitive push-button controls, enabling visiting users to operate the system without requiring a dedicated technician.

Rolight supported the installation process throughout the project, which was completed during summer 2025.

“The co-operation with Rolight was very good throughout the entire process,” added Scheeren. “They helped us find the right balance between performance, usability and budget, and together we created a system that really works for everyone who uses the space.”

The result is a modern, flexible and accessible theatre environment that supports a host of productions and community activities, helping transform De Binding into a dynamic new cultural centre for Zuid-Scharwoude and the surrounding region. 

27th May 2026

Claypaky Transforms Santiago’s Skyline with Landmark Lighting Installation at Cenco Costanera

Chile – Claypaky has taken centre stage in a striking new architectural lighting installation at the Cenco Costanera in Santiago, Chile, transforming the tallest mall in Latin America into a dynamic night time landmark. Conceived by Icardi Producciones under the artistic and technical direction of lighting designer Alex Paredes and supported by MMT Chile, the project redefined the mall’s newly renovated fifth-floor gastronomic hub through an immersive integration of light, design and technology. “They asked us to give the area life, to make it stand out,” explains Paredes. “We did a demo with Claypaky that was so well received that the project expanded to four times the originally planned size.” The installation was designed not simply to illuminate the space, but to create a daily visual spectacle where architecture itself becomes part of the storytelling.

At the heart of the project is the building’s expansive glass skylight, transformed into a canvas for colour, movement and atmosphere using 24 Claypaky Arolla MP Spot fixtures and 20 MIDI-B units. Installed above technical grates and carefully concealed among vegetation and decorative elements, the fixtures project upward onto the glass structure, creating an elegant architectural effect while remaining almost invisible to visitors. “The idea was that the light would be felt, but the fixture wouldn’t interrupt the atmosphere,” says Paredes. “Claypaky gave us exactly what we needed: control, intensity, optical quality and a size that allows the equipment to be camouflaged without sacrificing performance.” The designer, who began his career in 1994 and has worked with major Chilean artists including Los Tres, Américo, Luis Jara and Noche de Brujas, has increasingly focused on architectural lighting. “I really like it; I feel that Chile lacks colour, it lacks light,” he says. “For me, light communicates, transforms and creates identity.”

The installation also presented major technical challenges, from complex cable routing across multiple floors to integrating more than 100 metres of connectivity into the mall’s central data centre network. Thanks to MA Lighting control systems, the project now runs as a fully automated installation, activating nightly as part of the building’s identity. “Today the system turns on every day at 7:30pm, turns off at midnight and follows a fixed program. It’s already working perfectly, and that’s a huge source of pride,” Paredes explains. The project received enthusiastic feedback from both the public and the building’s management, who have already requested support for future lighting initiatives within the tower.

MMT Chile, Claypaky’s official representative in the country, played a key role throughout the process, providing technical consultancy, photometric studies, documentation, virtual walkthroughs and post-sales support. “Alex designed the project with his own specifications, based on products he had already tested previously, and that allowed for a very rich technical dialogue from the beginning,” says Simón Manríquez, market development manager for Claypaky at MMT. “We were very careful in choosing the correct equipment and in supporting the client throughout the process.” For Paredes, the collaboration was essential: “Everything we asked for, they delivered. They came to see the installation, made sure everything was fine, and offered help with any future needs. That is fundamental for a technician.” Manríquez concludes: “Our mission is focused on guaranteeing satisfaction. We want each project to be an opportunity for mutual growth.” The result is a high-impact architectural installation that not only illuminates one of Santiago’s most iconic buildings, but also demonstrates how creative vision, advanced LED technology and precise execution can come together to reshape the urban experience through light.

www.claypaky.com

27th May 2026

Optimal Audio Takes the Floor at the Shanghai Metropolitan

China – Optimal Audio has stepped out in style at the Shanghai Metropolitan VIP Lounge, with an installation of Cuboid loudspeakers tuned into the discerning regular crowd: gentlemen who cut their teeth at the legendary Paramount and Metropolitan ballrooms in their younger years. Entertaining this calibre of style-focused guests who can tell a waltz from a tango at the first bar requires audio quality that hits the right note.

The venue’s exacting brief called for low end that was firm and tuneful rather than booming; tempo that held through every waltz and slow waltz, conversation in the booths that could carry without shouting, even coverage under an octagonal dome prone to echo and a finish discreet enough to sit alongside crystal chandeliers and original Shanghainese woodwork. Cue Optimal Audio Cuboid 10 and Cuboid 12 loudspeakers.

In the lounge area populated with seating booths, Cuboid 10 takes the lead. Its clean hand-off at the crossover provides warm and detailed mid-range, perfect for the old standards on the playlist and sitting comfortably under conversation rather than fighting it. The user-rotatable HF horn delivers 90-degrees of horizontal dispersion maintaining evenly lit sound, corner banquette to corner banquette.

The dance floor benefits from Cuboid 12 enclosures where the 12-inch drivers – reaching down to 62Hz – deliver deep and solid tones whilst keeping the rhythm tight and defined. With headroom to spare, they’re never stretched and the sound holds its shape late into the evening.

The trapezoid wooden cabinets of the Optimal Audio Cuboid loudspeakers sit naturally with the venue’s heritage interior, whether wall-mounted, suspended, portrait or landscape. Flexible mounting and the rotatable HF horn mean coverage reaches the corners as confidently as the centre.

Another challenge met neatly by the characteristics of Optimal Audio Cuboids was the venue’s dominating ceiling dome. The unruly reverberance of the dome’s acoustics was tamed with the passive two-way design of the Optimal Audio Cuboid enclosures. The outcome was a sound system that ran reliably and distortion-free across long sessions, which matters in a venue where an evening's dancing isn't measured in songs but in hours.

26th May 2026

Alcons Brings Five-Star Sound to Trondheim’s Nye Hjorten Teater

Norway – Marking a significant new cultural landmark in central Norway, Trondheim’s Nye Hjorten Teater features a diverse programme of musicals, dramas, comedies and family productions. The 5,000m² inner city venue was designed to deliver a true five-star theatre experience. To achieve this, the venue selected an extensive Alcons pro-ribbon sound system throughout the entire complex.

Designed by Skibnes Arkitekter, Nye Hjorten Teater features a 607-seat main hall alongside a more intimate 100-capacity secondary venue. The owners required an audio solution capable of handling everything from full-scale musical productions and concerts to spoken-word theatre performances, while maintaining exceptional clarity and coverage throughout every audience area.

“The customer’s requirement was a system that combined outstanding sonic performance with seamless integration into the venue architecture,” explains Arnstein Fossvik, system designer and project leader, operating alongside Steffen Wevang Karlsen, site supervisor and lead technician. “Alcons’ scalable product range and consistent sound signature made it the ideal choice.”

The main hall system is centred around a powerful LCR configuration of Alcons LR15 ultra-compact pro-ribbon line-array modules, supported by flown BC543 triple 18” cardioid subwoofers for low-frequency reinforcement. Additional stage coverage is provided by SR9 double 5” lip-fill systems and QR24 line-source arrays, while further LR15 delay arrays and VR5 under-balcony systems ensure even coverage throughout the theatre. The venue also incorporates CRMS pro-ribbon surround loudspeakers for immersive productions, alongside VR12 and VR8 monitor systems on stage. The entire setup is powered and managed by Alcons Sentinel four-channel amplified loudspeaker controllers.

“This project presented several acoustic and operational challenges,” says Fossvik. “The main arrays had to be flown higher than ideal because of the venue’s 3D flying system, while the FOH position is located far under the balcony with no direct sightline to the PA. Strategic placement of fills and delays ensured consistent coverage across the entire room.”

Elsewhere in the venue, Alcons systems provide tailored audio solutions for every application. The secondary “Lille Hjorten” hall combines VR12, VR8 and BF181 systems for flexible live performance use, while the lobby, theatre bar and Olgas restaurant all feature distributed Alcons systems for background music, speech, DJ and smaller live performances.

“One of the greatest strengths of the Alcons platform is its sonic consistency across every product category,” Fossvik continues. “From compact VR5 systems in the restaurant to the LR15 arrays in the main theatre, the sound character remains remarkably cohesive.”

Another key benefit for the venue’s technical team is the integration of ALControl remote management software, providing comprehensive system monitoring, configuration and control across the entire installation.

“The client wanted a genuine five-star experience,” Fossvik concludes. “With Alcons, we were able to deliver exactly that.”

22nd May 2026

Groupe Novelty’s Magnum Revitalises Key Event Space in Paris

France – Located beneath the world’s most visited museum, Les Salles du Carrousel is one of Paris’ most distinctive event venues. Operated by Viparis, the leading holder of congress and exhibition venues in Paris, the site combines historic architecture with contemporary event facilities, offering 6,635 square metres of modular interior space capable of hosting conferences, product launches, exhibitions and gala evenings.

The three primary spaces, the Le Nôtre Suite, the Soufflot Suite and the Foyer, recently underwent a comprehensive technical FOH revitalisation delivered by Magnum, a Groupe Novelty company, who is also the official technical operator of the venue. The FOH of the last two venue spaces, the Delorme Suite and the Gabriel Suite, will also benefit from an upgrade this summer. On top of that, all Suite now benefit from a new generation of integrated sound, lighting, rigging and network infrastructure designed to streamline event production while improving safety, operational efficiency and sustainability.

“The spaces now offer a completely redesigned technical infrastructure, which includes changes on every level,” says Pierre-Marie Tournier, Magnum’s business manager for Les Salles du Carrousel.

The Le Nôtre Suite, the largest of the renovated spaces, offers 1,900 square metres of flexible event space and includes retractable bleachers capable of seating between 500 and 1,600 guests. Adjacent to it, the 925-square-metre Soufflot Suite provides an adaptable environment suited for conferences, workshops and exhibitions.

The third renovated space, the Foyer, spans 1,310 square metres and is distinguished by a curved ceiling constructed from more than 3,000 wooden elements. With its vaulted ceiling and oak parquet flooring, the 750 sqm Gabriel space provides a large and cosy venue. It can be combined with the last Suite, Delorme, which spans over 1600 sqm and is specially designed to accommodate large-scale scenography for up to 1,200 people.

Magnum, a major technical production company founded in 1986 and part of Groupe Novelty since 2016, specialises in designing and delivering technical systems for events and venues across France and Europe. With around 300 staff and a strong presence in the Paris events market, the company combines event production services with permanent integration and venue technical management.

“At Les Salles du Carrousel, Magnum has implemented complete technical room packages,” Tournier explains. “We’ve provided turnkey systems that include sound, lighting and video for events. These specially designed packages deliver valuable time savings for every event organiser using the space.”

Central to the revitalisation was a total overhaul of the venue’s rigging infrastructure. New-generation curved trusses from Alu Soudure Diffusion (ASD) were installed and with motorised GIS D8+ chain hoists using SONOS Altimate control systems to enable precise and secure lifting operations.

In total, 120 GIS LP500 D8+ electric chain hoists were deployed across the technical grid, while Altimate load monitoring systems were integrated at each rigging point to provide real-time supervision of suspended equipment. LED indicators on the load cells allow technicians to monitor loads instantly, improving operational safety during event setup and production.

“The electrical network has been completely rebuilt using StageSmarts power distribution units,” Tournier notes. “This provides reliable, scalable distribution perfectly suited to the diversity of events hosted here.”

Lighting across the spaces was modernised using Robe ESPRITE and LEDBeam 200 fixtures, providing lighting designers with flexible creative tools, while maintaining an elegant visual aesthetic suited to the surroundings.

Magnum delivered audio reinforcement in all suites via a d&b audiotechnik Compact Cardioid Line Array configuration, with in total 18 clusters of three CCL12 loudspeakers supported by ten CCL-SUB subwoofers positioned according to the geometry of the spaces.

“The Robe fixtures deliver both creative and elegant illumination, while the d&b audiotechnik Compact Cardioid Line Array system guarantees consistent and intelligible sound coverage throughout the space,” says Magnum’s audio director Edouard Dubus.

The cardioid configuration provides controlled sound dispersion and uniform coverage across the audience area while minimising unwanted low-frequency spill into adjacent spaces.

“This configuration aims to deliver consistent coverage to the area, with controlled sound levels and seamless integration into the venue’s scenography and operational requirements,” Dubus explains.

The d&b audiotechnik system was specified by Edouard Dubus, working closely with d&b on the system design. The CCL series was selected based on the practical advantages it offers to event professionals: precise directivity control for consistent audience coverage, energy-efficient operation and d&b audiotechnik’s Product Carbon Footprint programme, which enables clients to quantify the environmental impact of their system choices.

The selection was further informed by d&b’s own sustainability credentials. The manufacturer draws 49.1% of its total energy consumption from renewable sources. The installation also made use of d&b’s Certified Pre-Owned (CPO) programme, which provides professionally refurbished equipment at equivalent performance to brand-new products while delivering an 80% reduction in CO₂ emissions compared to purchasing new.

Supporting the entire technical environment is a new audiovisual network built on a spine-leaf architecture using Netgear and Luminex switches. The network supports multiple professional AV protocols, including AVB, AES67, ST2110/IPMX and Dante, enabling full interoperability between systems.

“Technical teams now benefit from instant interconnection between the different spaces thanks to a centralised nodal system,” says Fabrice Gosnet, Magnum’s AV network director. “The paging sound system has also been redesigned around a Yamaha MRX7-D matrix and PGM1 microphones, all controlled through an intuitive interface developed by Magnum.”

Additional infrastructure improvements were incorporated into the renovation as well. “The control rooms have been redesigned to guarantee optimal comfort and safety,” Tournier says. “Workstations are secured with guardrails and the overall ergonomics have been significantly improved.”

Sustainability was paramount for this upgrade and Magnum was able to count on Groupe Novelty’s expertise in this field, whose environmental commitment has been accelerated by managing director Christophe Piette. His drive for a formalised environmental strategy resulted in Groupe Novelty’s attainment of ISO 20121 certification, the international standard for sustainable event management. This reflects a structured commitment to reducing the social and environmental impact of its operations. “This transformation is part of a precise eco-responsible approach,” says Christophe Piette. “The new equipment is designed to be more energy-efficient, supporting the sustainable development goals from our clients and partners.”

For Magnum and Groupe Novelty, the revitalisation reflects a broader strategy of combining engineering, logistics and innovation to deliver sustainable and future-ready event environments.

With its upgraded technical infrastructure, Les Salles du Carrousel is now equipped to support a new generation of events, offering organisers faster setup times, greater creative flexibility and a highly reliable production environment in one of Paris’ most iconic locations.

photos: Hugues De Beauchesne

21st May 2026

Changbai Mountain flying dome attraction soars with vibrant imagery using a single RGB pure laser projector

China – Wincomn Technology has upgraded the projection system at Changbai Mountain Legend International Resort’s “Flying By Changbai Mountain” flying dome attraction using the Christie Griffyn 4K50-RGB pure laser projector.

Located at the base of Changbai Mountain’s northern scenic area in Jilin Province, “Flying By Changbai Mountain” combines projection, motion and local cultural storytelling to create an immersive visitor experience. The upgraded system brings striking visuals to life across a 20‑metre (66-foot) dome screen. A suspended motion cabin with dynamic seating accommodates up to 70 guests per session, moving smoothly through six degrees of freedom. Wind and mist effects further enhance realism, creating a fully enveloping and panoramic sense of flight.

“For a flying dome theatre, achieving the right balance of brightness, colour fidelity and visual impact is critical,” said Tony Chen, general manager, Wincomn Technology. “With the Griffyn 4K50‑RGB, we succeeded in meeting these requirements using a single projector, a remarkable achievement considering that multiple units were previously necessary. This simplified system design and installation reduced overall costs for the client and delivered the immersive visual performance the experience demands.”

Chen added that the Griffyn 4K50‑RGB’s high brightness of 50,000 lumens, native 4K resolution, picture-perfect colour alignment capabilities and omnidirectional operation were key factors in its selection. “The projector produces bright, detailed images across the curved dome surface, while support for high frame rates – up to 120Hz at 4K in 3D environments – ensures smooth motion and visual continuity throughout the flying sequences.”

The attraction takes guests on an aerial journey through Changbai Mountain’s changing seasons, viewed from the perspective of the Manchu mythical sea eagle. Sweeping forests, snow-covered peaks and the iconic Tianchi Lake are revealed from above, offering visitors a rare vantage point that complements their exploration of the scenic area. By combining physical motion with immersive visuals, the experience provides a more complete and three-dimensional appreciation of the region’s natural beauty.

“This project highlights the value of close collaboration between system integrators and technology partners,” said Gene Wang, senior director of ProAV Sales for China at Christie. “We are pleased to work with Wincomn Technology on this immersive attraction, combining their expertise in dome-based experiences with Christie’s projection solutions. Together, we helped the resort realise its creative vision while simplifying the overall system and delivering a compelling experience for visitors.”

With wide colour gamut performance, quiet operation, flexible installation and built-in warping and blending, Griffyn 4K50‑RGB enables efficient set up and long-term reliability. The result is an immersive attraction that brings Changbai Mountain’s legends and landscapes vividly to life, seamlessly blending storytelling, history and culture.

photos: courtesy Wincomm Technology

21st May 2026

Solutions On Stage Helps St Hilda’s Make Noise

UK – Founded in 1893 as a hall for women, St Hilda’s is one of Oxford University’s most renowned colleges, situated on the banks of the River Cherwell. Located within St Hilda’s is the Jacqueline du Pre Music building; a stunning, modern and intimate venue designed specifically for chamber music performances. It’s also the home of Music at Oxford, a music charity which curates regular performances by a diverse range of world-class artists, alongside a large and thriving learning and participation programme. With the venue having recently invested in a new electric organ for its main stage, they called upon Solutions on Stage to install six brand-new speakers for the instrument’s amplification as well as oversee new cabling routing.

As a company that aims to build long-term relationships with its clients, this is something Solutions On Stage has proudly done with St Hilda’s. Franco Lopez, St Hilda’s events team technical lead, comments: “I started working at St Hilda’s and in turn looking after the Jacqueline du Pre Music Building in February 2023 at which time Solutions On Stage were already our designated contractors for works, maintenance and installations. I was quickly made aware of their ethos to oversee the life cycle of a venue, with their in-depth knowledge of our space meaning they are in the best position to support it. As such, I have continued to use them in an effort to improve and update our existing AV infrastructure and upgrade any out-of-date tech.”

When Franco first called upon Solutions On Stage, it was to install a hanging truss for microphones above the stage area. So, when the Jacqueline du Pre Music Building needed further technical works which involved their new organ, Franco reached out to the team again. He explains: “We’d recently invested in a new organ which is a pivotal feature of the space. That said, we knew it would require significant audio reinforcement to ensure it could be fully enjoyed and experienced by anyone attending a performance, regardless of where they were sat. This is where Solutions On Stage came in.”  

Solutions On Stage was tasked with installing six active speakers above the rail curtain which hangs over the stage, in order to then connect these to the new electric organ that was on-stage. The company also had to deliver all the cable routing to provide power from fused spurs to the speakers as well as ethernet/MIDI connections from the auditorium to the studio at the back of the building.

Following the installation of the speakers, they have since been used on numerous performances, both by Oxford students as well as external parties utilising the space. Franco comments: “As the space continues to be made as technically advanced as possible, these upgrades mean I’m able to readily accommodate the more experimental tech requests made by external clients. As always, I had a brilliant experience working with Solutions On Stage who are always professional, approachable and completely transparent throughout the entire installation process.”

Rebecca Curtis, technical manager at Solutions On Stage, comments: “It was brilliant working with St Hilda’s once again. Not only was this quite a unique project, but it was another example of a customer knowing they can call on both our expertise and previous knowledge of their venue to fulfil their technical ambitions.”

21st May 2026