Project News

Guelph Comes to Life with Anolis

Canada – Nine individual buildings magically come to life after dark as part of the Canadian city of Guelph, Ontario’s eye-catching ongoing public lighting initiative, “Illuminate Downtown Guelph,” in lighting schemes that utilise Anolis Eminere LED luminaires.

Lighting for each individual building in this stylish and eye-catching urban transformation project has been designed and specified by Toronto-based AV integration and immersive tech specialists, Aligned Vision Group (AV Group), led by John Coniglio.

John chose Anolis Eminere lighting fixtures – a combination of 1, 2 and 4ft long units – as the primary lighting for the different installations, each encompassing its own architecture, history, and functionality.

The project was initiated by the City of Guelph with the idea of attracting people and businesses from the suburbs into downtown to enjoy the vibes and the facilities. The first phase involving five buildings was delivered at the end of 2023 and this was so successful that another four buildings were added.

John was initially approached to discuss the basic concepts of the project pre-covid via his connections to the city and to present some creative ideas.

This is the first time that AV Group has specified and used Anolis on a project, but AV Group has used products from sister company Robe on several different installations and being familiar with the quality of these, was confident that Anolis would also be right for this high-profile architectural project. “We knew it would be a solid choice,” confirmed John.

John and design engineer Paul Rennick oversaw the visualisation and planning of all the different lighting installations. The first phase focused on the Wyndham Street North and St. George’s Square area of downtown and this was expanded in the second phase, which has recently been completed.

The logistics were immense and one of the biggest challenges.

All the buildings were separately owned, so the AV Group team had to meet with each of the owners, discuss their own ideas as well as take on board the owners’ directions and thoughts about how their real estate should be lit.

The resulting lighting schemes were a careful combination of both, presented in a physically achievable format and designed to take into account multiple considerations, from overall look and aesthetics to practicality.

Considerable time was spent with each client discussing how their building would look when illuminated with the Emineres and the design renders proved to be highly accurate.

Not all buildings could have any fixtures directly attached to them as they were built from limestone and some were heritage protected, so AV Group had to design and produce variable special bracketing to get the Emineres into all the correct positions.

Elegant Unistrut gantries were installed on the roofs of some buildings to cantilever the Emineres over the walls and get them sitting in the exact correct positions to be able to wash evenly and smoothly down the walls.

Most buildings also required that cabling and infrastructure be kept as concealed as possible, presenting another complex set of challenges.

 

Hope House was a favourite both because of the building and the complexity of the installation needed to achieve the desired results. Built as a stone church in 1855, modelled as a mix of Gothic Revival and Italianate architecture, it is now a non-profit offering community-based services and programmes to challenge the stigmas of poverty and assist people in becoming self-sufficient.

The AV Group team worked with an electrical contractor to devise an appropriate conduit system for cable management, a process that involved intense negotiations between the building owners and the electrician. A series of custom brackets was devised to secure the Emineres in relevant lighting positions located precisely where needed.

The Wellington Building was another favourite. Standing at the convergence of Wyndham and Woolwich Streets in downtown Guelph, it is visually striking for its unique architecture. Constructed in 1877 and designed by architect Victor Stewart in Second Empire (Louis-Philippe) style, its impressive mansard roof, dormers and corner dome give it a distinctive classical Parisian boulevard feel.

The challenge to overcome on the Wellington Building, like most of the properties, was the strict limitation of attaching any fixture to the building itself. Instead, AV Group found a unique placement on the top side of the sill overhang between the first and second floors.

The methodology needed for Guelph Civic Museum was another interesting installation. This time special brackets for the Emineres were fitted like clasps to the structural steel elements of the glass atrium entranceway.

Each of these inventive lighting solutions involved “some great collaboration between our account manager, design engineer and professional service teams,” noted John and it also illustrated the multiple disciplines, skills and knowledge required from AV Group to deliver such spectacular results.

The lighting programs are controlled via a Pharos system, which is cloud-based and can be accessed and changed remotely. The default look currently has all the buildings running the same show, but they can also have individual looks applied as required.

The lighting activates at dusk with traditional white and amber hues running for the start of the evening and these then morph into ‘show’ mode with more colours for a period later in the evening, before returning to the more classical architectural looks.

photos: courtesy Aligned Vision Group

13th November 2025

All On Productions installs Ayrton Rivale Profile fixtures in Rupp Arena for the University of Kentucky Wildcats’ Basketball Season and to light up “Big Blue Madness” kick-off event

USA – Cincinnati-based All On Productions installed 12 Ayrton Rivale Profile fixtures in Rupp Arena located within Lexington, Kentucky’s world-class Central Bank Center to support the University of Kentucky’s men’s basketball season and its kick-off event, “Big Blue Madness.” ACT Entertainment is the exclusive distributor of Ayrton lighting in North America.

While the All On Productions brand is just 18 months old, its team of five is not new to the industry offering 95-plus years of experience for a large roster of events, including concerts, festivals and athletics. It serves the mid-west and national venues with lighting, production management, A/V and staging and rigging services.

Rupp Arena, which opened in 1976 in the heart of downtown Lexington, is home to the University of Kentucky’s Wildcats men’s basketball programme. Each year more than 400,000 loyal fans, known as The Big Blue Nation, gather at the arena to cheer on their beloved home team. “Big Blue Madness,” the season’s unofficial first practice, is the annual public kick-off event for the Wildcats’ basketball season featuring player introductions, fan engagement and entertainment. The event took place on 11 October and was broadcast on SEC Network+.

All On Productions provides lighting and A/V services for many of the University of Kentucky’s athletic events. The company is marking its second year working with the Wildcats at Rupp Arena and supporting “Big Blue Madness.” Ayrton Rivale Profile fixtures were deployed both years for the kick-off event, but this year they will remain installed at Rupp Arena for the duration of the Wildcats’ basketball season.

“It’s a long-term rental for all of the Wildcats’ home games from October through March,” says Bridget Nohalty, All On’s Production Services Manager. “The Rivale are one of the newest purchases for our inventory and work really well for the set-up in Rupp Arena.”

Rob Moyer, All On’s production manager who acted in that capacity and as lighting designer and programmer for “Big Blue Madness,” says the Rivale Profile fixture’s low maintenance is ideal for the arena installation. “We wanted to hang them up and not touch them for the season,” he notes. “They have good punch for a profile fixture to cut through the main arena lights and are able to cover the floor with textures and patterns as well as scan the audience with beams.”

The fixtures are mounted on two trusses running down the long sides of the court. For “Big Blue Madness” nine more were added to a temporary truss to deliver wash and texture for a stage positioned at the far end of the arena in the student section of the seating. A dozen Ayrton Argo 6 FX fixtures, from All On’s inventory, supplemented the Rivale Profiles for washes and ballyhoos.

All On also used their grandMA3 consoles for lighting control for “Big Blue Madness.”  “We had one grandMA3 light as our active console and a compact XT for back up and secondary programming,” Moyer explains. ACT Entertainment is the exclusive distributor of MA Lighting products in North America. 

photos: © All On Productions

13th November 2025

Martin Audio WPC takes Centre Stage in Butlin’s resort upgrades

UK – In a constant drive to keep its long-standing, multi-faceted resorts at the cutting edge of all-round entertainment, Butlin’s recently commissioned advance sound system upgrades at its facilities in Skegness and Bognor Regis.

Since Butlin’s entertainment mix now extends far beyond its origins as a ‘holiday camp’ destination – today ranging from Big Weekenders to conferences and events – head of technical entertainment, Andrew Sugg, recognised that its development should be matched with professional, best-in-class audio. And so he turned to his regular contractor, Robin Shephard-Blandy of Illuminate Design for advice. The outcome was an advanced and scalable Martin Audio Wavefront Precision WPC line array in each of its 1200-plus capacity Centre Stage venues.

Butlin’s are no strangers to the British loudspeaker brand. “We’ve been using Martin Audio systems for probably 20-plus years,” says Sugg. Certainly the old sound system at Centre Stage in Skegness – one of four integrated high-octane venues within the holiday complexes – was showing its age. “Both upgrades were long overdue,” he adds. “Robin has worked with us over the years and understands our business and its requirements.”

This can vary from family entertainment, through to Big Weekenders, featuring DJs and bands, while onstage interviews and year-round family entertainment also require high grade speech intelligibility. “So, the actual scale of what a system needs to deliver is multi-faceted.”

Conversations took place with different brand vendors before Martin Audio’s technical sales support, Nigel Meddemmen, undertook site visits to Skegness and Bognor Regis and created design options via visualisation models in Martin Audio’s DISPLAY 3 software. Andrew Sugg had

recognised the value that Martin Audio could bring through their support and development opportunities for Butlin’s team.

But the implementation would require far from a cookie cutter approach since structurally the Centre Stages at the respective venues couldn’t have been more different. “The one in Skegness is high, with a balcony, while the one in Bognor Regis is in a fairly low-ceilinged, very wide venue.”

The designs are based respectively on four- and five-box WPC hangs, with four of Martin Audio’s shorter throw TORUS T1215 in a centre cluster. Multiples of CDD15 provide left/right outfills, while CDD10s are detailed for delay duties, and five CDD12s provide balcony coverage in Skegness.

Subwoofers comprise eight stacks of two SXC118 in a cardioid array, run off Martin Audio iKON iK42 multi-channel amplifiers, while iK81s drive the remainder of the rig. “The enhanced coverage and controllability of the Skegness design was such an improvement on the previous setup that it was also deployed at Bognor Regis to deliver a much smoother sub deployment across the room.”

Meddemmen’s Martin Audio tech support colleagues, Paul Connaughton and Marc Paynter, took over at the later stages, assisting with system engineering and commissioning. Hard Avoid was applied to the rear of the venue at Skegness, where it abuts onto the Skyline Pavilion, while at Bognor Regis, Centre Stage is housed in a building directly above Reds, another Butlin’s venue, and so that also required some sound isolation. The installation has been set up as analogue but can flip via a managed network switch to Dante digital as needed.

“The fact that Martin Audio were able to validate the system and put their seal of approval on it gave reassurance not only to Andrew’s guys but also visiting acts and engineers that the system has been set up correctly,” says Shephard-Blandy.

Andrew Sugg takes it further. “Although we don’t need to be rider compliant for day-to-day business, when we go into Big Weekenders, seeing a name like ‘Martin Audio’ on the tech specs helps cement the fact we are a professional venue. We now see this very much as an ongoing relationship.”

As for Illuminate Design they managed to deliver both venues, which were commissioned close apart, without either going dark. “The fact that we stayed fully operational is a testament to how smoothly the transition from the old systems to the new went,” acknowledges Andrew Sugg.

Summing up, he says: “What Martin Audio and Illuminate Design have achieved is superb. Artists coming through are extremely happy, putting us at the professional end of audio, something you wouldn’t necessarily expect at Butlin’s.

“In fact, we are now looking at future projects which will certainly involve Martin Audio and Illuminate Design again.” 

13th November 2025

Neushoorn Pioneers Immersive Live Music with Landmark Spatial Audio Installation

The Netherlands – Leeuwarden’s leading cultural venue Neushoorn is set to enter a new era of live sound with the installation of a fully immersive spatial audio system: the first of its kind in a Dutch pop venue.

The groundbreaking project, which is funded by Cultuurloket DigitALL, brings together Neushoorn, More AV, Funktion-One and HOLOPHONIX in a special collaboration that combines world-class loudspeaker design with cutting-edge spatial audio technology.

Cultuurloket DigitALL supports the development of digital technologies in the cultural sector. The Neushoorn project is the first and only audio-based initiative to receive such backing in the Netherlands.

At the heart of the installation is a Funktion-One loudspeaker system – controlled by HOLOPHONIX’s spatial audio engine – whichh enables engineers and artists to locate and move sounds dynamically throughout the room, creating an immersive and expressive listening experience.

“We found the perfect synergy of companies for this project: Funktion-One, More AV and HOLOPHONIX,” said Michiel Cornelisse, head of technical at Neushoorn. “We’ve found in them people who can see beyond the well-trodden paths and are not afraid to challenge conventions. The open-minded approach and excellent communication within the project by all involved made it possible to develop a top-class immersive audio system in a very short time frame, a true achievement of which we are extremely proud.”

Funktion-One founder and R&D director Tony Andrews said: “Neushoorn and More AV are exploring an exciting approach combining the clarity and definition of Funktion-One sound with HOLOPHONIX’s impressive spatial audio technology. We are very pleased to have found a processor that meets our audio standards and look forward to seeing how audiences respond to the experience.”

Gaetan Byk, founder and CEO of HOLOPHONIX, commented: “We’re delighted to collaborate with Funktion-One, a brand celebrated worldwide for its uncompromising approach to electro-acoustic design and its defining role in music culture. By combining Funktion-One’s excellence and deep sonic expertise with the power and precision of the spatial sound solution developed by HOLOPHONIX, we aim to create augmented sound experiences that transcend stereo, expand emotion and redefine how music is felt, amplifying both the audience’s emotions and the artists’ creativity.”

Set to debut in mid-January, the new system will allow Neushoorn to explore the creative possibilities that this new technology offers for artists and, in turn, audiences in ways rarely seen in live venues. The venue will experiment in collaboration with local emerging acts and students from the creative courses based in its building, fostering an environment of innovation and hands-on discovery.

photo: Lisa Anholts

12th November 2025

Analog Way’s Picturall Quad Mark II Media Servers Seamlessly Deliver Content to Planar LED Video Wall at the University of Virginia’s New Contemplative Commons

USA – Analog Way’s Picturall Quad Mark II media servers are driving the spectacular new Planar videowall at the University of Virginia’s Contemplative Commons. The partnership, featuring design consulting by Apeiro Design, resulted in a full resolution, pre-recorded, custom showcase of awe-inspiring nature scenes from around the globe, complementing the building’s natural design elements.

Located within the University’s new Contemplative Commons in Charlottesville, the Contemplative Sciences Center creates opportunities that centre mind-body practices for well-being, insight and compassion in all aspects of life: social, emotional, physical and professional.  The first-floor lobby exemplifies that mission with breathtaking cinematography displayed on a floor-to-ceiling Planar DirectLight Ultra Series LED Video Wall.

“We had worked with consultant Apeiro Design before, including on the Walmart headquarters’ auditorium, so they trusted us and relied on our expertise to drive the wall,” says Seth Teates, Analog Way’s senior regional sales manager. “Our Picturall Quad Mark II media servers, acting in main and backup roles, offer rock solid, stable, high-resolution playback day in and day out with 8TB of memory for ample storage of custom content. Analog Way devices also play well with Planar’s flagship Planar DirectLight Series LED videowall.”

“We have a great relationship with Analog Way and Planar. Planar makes high-quality products and are always quick to respond, plus their people are wonderful to work with from a personality standpoint and when we have LED videowalls we tend to go with Analog Way systems at the front end,” notes Daniel Mei, associate principal, AV Technology at Apeiro Design’s New York City office, which provided the design consulting for the Contemplative Sciences Center’s audio video systems and architectural lighting. “The donor asked for a large videowall to show contemplative scenes from nature to complement the building. It serves as a vehicle for contemplation and a beacon for the building, bringing people into the space with beautiful, scenic displays from early morning to late night.” 

According to Mei, the Picturall Quad Mark II was a logical choice for the installation offering easy content loading, flexible windowing and custom options. “Analog Way commissioned the system and their technicians were a big help in training users to create playlists and get content onto the screen,” he said.  “In AV design, the challenge is always designing a system that users who are not necessarily AV people understand and find easy to use.”

The Planar DirectLight Ultra Series LED videowall is in 16 x 24-foot portrait mode with 3840 x 5940 resolution and 1.2mm pixel pitch. Planar also provided the custom trim and mount and gave the screen an ERO matte coating for extra robustness in a high-traffic area.

“The remote power supply simplifies the installation process, and active alignment and the beautiful black levels make the content pop,” says Lainie Mataras, general manager, consultant, Architect Design Group at Planar. 

“When we support consultants like Apeiro Design who have a really good foothold in architectural and technical design, and understand how the technology fits in the space, you get great-looking results,” says Dusty Masanz, applications engineer with Planar.  “The intention was clearly to have the light of the screen reflect on the architectural surfaces; this wasn’t just adding a display to the lobby.”

Planar’s white-glove service and installation, which began pre-sales with a detailed CAD rendering from the Architect Design Group at Planar, came off very smoothly in co-ordination with Apeiro Design preparation. 

According to Masanz, over his many years in the AV industry he has always looked to Analog Way for pure pixel processing power. “When you need a canvas with multi windows, fades and transitions, you need high-powered pixel processing to handle it,” he said. “Analog Way has always been at the top of the tier in that regard.”

Aidlin Darling Design served as the Design Architect for the building, with VMDO Architects serving as Architect of Record. Pavion was the AV Integration contractor that installed the videowall system.

12th November 2025

JBL VTX A Series powers new chapter for newly restored Soho Theatre Walthamstow

UK – The newly restored Soho Theatre Walthamstow has opened its doors with a cutting-edge JBL VTX A Series sound system, marking the culmination of a remarkable journey from dereliction to world-class entertainment venue. The 960-seat theatre, housed in the stunningly restored 1930s’ former Granada Cinema, represents one of London’s most significant cultural restoration projects.

Soho Theatre Walthamstow occupies a building steeped in entertainment history. Originally opened in 1930 as the Granada Cinema, the venue was designed by architect Cecil Masey with extraordinary Moorish-influenced interiors by Theodore Komisarjevsky, inspired by the Alhambra Palace in Granada, Spain. During its golden era from the 1950s to 1970s, the venue hosted legendary performers including The Beatles, The Rolling Stones, Dusty Springfield, Roy Orbison and Duke Ellington.

After closing as a cinema in 2003, the Grade II* listed building faced an uncertain future. A passionate decade-long campaign by local residents, led by groups including the McGuffin Film Society and Save Walthamstow Cinema, ultimately secured its preservation for entertainment use. In 2019, Waltham Forest Council, in partnership with Soho Theatre, purchased the building as part of the council’s London Borough of Culture legacy commitment.

The restoration project, completed by Willmott Dixon Interiors with design input from Pilbrow & Partners and Bond Bryan Architects, embraced a philosophy of ‘arrested decay’ – preserving the building's historical layers while integrating modern technical capabilities. The result is a venue that honours its past while providing state-of-the-art facilities for contemporary performance.

LSI Projects was appointed by main contractor Willmott Dixon Interiors following a competitive tender in 2021 to deliver the venue’s specialist theatre systems as specified by Theatre Projects Consultants. LSI’s remit covered the complete ELV infrastructure for the production lighting and sound and communications packages, including data, fibre, audio, video, RF and loudspeaker tielines from custom facility panels throughout the building to multiple rack rooms.

“We are incredibly proud of how the Soho Walthamstow project has turned out,” commented Stuart Dingwall, business development manager, LSI Projects. “Our relationships with the consultants, main contractor, M&E contractors and the client has been very enjoyable throughout and the positive reactions from those who have visited or worked within the venue are very rewarding to hear.”

The installation timeline stretched from summer 2023 through to completion in November 2024, with LSI Projects adapting to the complexities inherent in renovating a building that had stood empty for over two decades.

Alongside the physical challenges, fluctuating equipment availability and pricing during the pandemic recovery period posed a significant concern. However, with the benefit of inventory held in stock in the UK by exclusive JBL distributor Live Technology, LSI Projects was able to secure the equipment and maintain cost certainty.

Pablo Riñón-Caballero, senior consultant at Theatre Project, adds: “I’d noticed that the Islington Assembly Hall in London sound system had been replaced with a JBL system and the overall sound quality, in my opinion, had improved significantly. I started enquiring about the system and later had the opportunity to attend a demo at Live Technology.”

Around the same time, the work on the Walthamstow renovation project was beginning and the idea of proposing a JBL VTX system started to take shape.

“From my perspective, it offered an excellent balance of sound quality, performance and scalability, enabling the venue to meet the project brief without the need for a reduced or value-engineered design to stay within budget. To me, it was clear, the VTX A8 was a perfect match for this venue.”

“The VTX A series systems are great,” confirms Stuart Dingwall. “The rigging is superb and the configuration of the DSP within the Crown amps is simplicity itself. Most importantly, it sounds great.”

The system design features L-R flown arrays comprising eight VTX A8 line array elements plus two VTX B18 subwoofers. Front fill is provided by six JBL AC18 speakers. All are powered by Crown IT4x3500HD amplifiers. On stage monitoring is provided by four PRX812 active loudspeakers.

The venue has further benefitted from JBL’s portable PA portfolio, subsequently investing in four battery-powered JBL EON One mkII systems that serve as versatile utility speakers across the theatre, from the bar to foyer events.

The installation was supported by teams from Harman Professional and exclusive UK distributor Live Technology, with Dingwall particularly praising their assistance from initial JBL LAC (Line Array Calculator) designs through to the implementation of JBL’s new Venue Synthesis software that became available during the project’s completion phase.

“An important factor I always consider when evaluating sound systems is the quality of technical support. It is crucial that the manufacturer and distributor are available to assist the venue and its technical team, providing training, guidance and ongoing support to ensure the system is correctly set up, properly maintained and built to last.” adds Riñón-Caballero. “While other brands offer good support in the UK, JBL and Live Technology have consistently proved top-notch in this regard.”

As Soho Theatre Walthamstow begins its new chapter, the JBL VTX A Series system stands ready to support an ambitious programme that will see the venue’s annual audience grow from Soho Theatre's current 250,000 to an estimated 400,000 plus.

The venue’s programming has featured established names like Tim Minchin, Dara Ó Briain and The Tiger Lillies alongside emerging talent and community-focused initiatives. The monthly ‘Neon Nights’ comedy showcase and the return of the return of big festive shows for all the family to the historic stage after more than 70 years demonstrate the venue’s commitment to both tradition and innovation.

The theatre has offered 15,000 tickets at £15 each to local residents throughout its first year, demonstrating its commitment to accessibility and community engagement.

As Mark Godfrey and Sam Hansford, co-executive directors of Soho Theatre Walthamstow, emphasise: “With artists and audiences at its heart and a dynamic social enterprise ethos, Soho Theatre Walthamstow will create countless joyful, memory-making experiences for many people. Alongside the well-documented cultural, social and wellbeing benefits, this investment in cultural infrastructure also delivers clear economic value, speaking directly to the wider priorities of culture-led growth and, through our international collaborations, to soft power gains. We’re incredibly grateful to the campaigners, to Waltham Forest Council and to everyone who helped make this vision a reality.”

12th November 2025

ORIA Powers The Voiceover Gallery’s Move into Immersive Mixing at Soho HQ

UK – The Voiceover Gallery has recently installed ORIA with optional DANTE Card in its main mix room in the London complex in the heart of Soho.

“More recently we have been pushing towards immersive and surround mixing,” explains Max Russell, its lead audio engineer. “Our main mix room in London currently has a nearfield 5.1 set-up, but we are imminently turning this into a 7.1.4 immersive room, using the ORIA as a standalone audio interface and monitor controller.”

With four studios in the London office and a further two in Manchester’s Castlefield area, The Voiceover Gallery is set up for a variety of audio production workflows with a focus on voice over and dialogue recording.

Max originally “stumbled across” ORIA earlier this year as they were in the market for an audio interface with Dante. ORIA’s optional Dante Card provides up to 16 input channels over AoIP, allowing quick integration and a plethora of IO options.

After further research however, Max realised ORIA would meet all of their needs. “With the ease of access to immersive monitoring as well as the DANTE capabilities, it was a no-brainer. It could fill all our requirements now and for the future.”

Workflow has improved for them beyond measure, from the quick, easy set up – “out of the box and straight into our rack with no extra steps needed” –  to day-to-day use. “As we do a lot of recording and mixing in surround, the ORIA has helped massively as we no longer need to switch any cabling in our set-up between sessions, instead we can just press one button and we're back in stereo for recording.

“Prior to getting ORIA we were running our 5.1 system straight out of our old interface. Honestly, the difference between this and the speaker calibrated set-up we now have is incredible. We cannot wait to set up our full 7.1.4 system with ORIA.”

Max lists some of the highlights he has found working with ORIA so far. “One thing I noticed straight away is how clean and transparent the mic pres were, which is perfect for our work in voiceover and dialogue recording. Having the ability to mute on all outputs is handy, but having the mute option on inputs in particular has been great. Not having to worry about finding channels within a ProTools session but instead having a tactile option to mute a channel helps when playing back takes without having any spill. The reference level function is also a welcome addition to quickly get to a consistent volume so as to not be fooled by just turning things up and thinking they sound good!”

The Voiceover Gallery is equipped with the latest audio technology and driven by an experienced team of award-winning sound engineers. The bright, spacious studios in Manchester and London have Pro Tools and are Source-Connect certified, so can connect seamlessly to studios and voice artists with compatible technology around the globe. 

12th November 2025

Tateside crafts and installs a K-array audio system befitting of Lilibet’s royal heritage

UK – The birthplace of Queen Elizabeth II and named in honour of the young Queen’s affectionate childhood nickname, Lilibet’s, at No.17 Bruton Street, London, boasts a refined menu of seafood and an equally elegant interior. Introduced to the project through an AV consultant, London-based systems integrator, Tateside, was responsible for the design and implementation of a complete background audio system based on K-array’s Vyper family of loudspeakers. Lilibet’s is just one of more than a dozen high-end hospitality spaces in this prestigious neighbourhood that trust in K-array’s audio solutions.

“Working in collaboration with the consultant and local distributors 2BHeard, the scope was to design and install an elegant, yet discreet distributed background audio system that would respect the prestigious nature of the venue,” explains Joby Morris, project manager at Tateside. “The design did not require high SPL DJ playback, like something you’d find in a club system; it was more about creating a high-fidelity sound that would complement the atmosphere across the ground-floor restaurant level, yet with enough headroom to support live musicians.”

K-array’s characteristic Pure Array Technology (PAT), which helps ensure even audio coverage, with sound being directed into the centre of the room to avoid hotspots, was one of the key motivations behind the selection of their Vyper series loudspeakers. “K-array offers that perfect balance between performance and form-factor,” continues Morris. “To ensure an efficient installation and accurate coverage, we first plotted the system into K-array’s K-Framework software to fine-tune the configuration, which helped greatly with our planning and keeping time on-site to a minimum.” 2B Heard also provided support during this crucial design phase, undertaking acoustic simulations to ensure the best possible audio coverage.

A total of 14 Vyper KV25 are installed throughout the ground-floor dining room, with 12 Rumble KU26 subwoofers. Two Kommander KA18 amplifiers power the wall-mounted Vypers, whilst a Kommander KA28 drives the subs. “We tried to get as close as possible to a 1:1 ratio of subwoofers and loudspeaker elements, ensuring a single point of reference and low-end frequency extension throughout the 100-plus capacity restaurant,” remarks Morris. “The dispersion angles of the Vypers are narrow in the vertical field and have the ability to throw audio effectively, ensuring complete coverage to all tables.”

All loudspeakers are mounted along the perimeter walls, with subwoofers carefully hidden beneath banquettes or within joinery. Each Vyper unit is finished in a custom RAL colour, rendering the tech almost undetectable amongst the colourful wallpaper and patterned interiors. Additionally, Tateside supplied a range of DPA and Sennheiser instrument microphones to cater for live musicians.

At only 40mm wide, the Vyper range has become an increasingly critical component of Tateside’s system design toolbox, offering a refined solution that lends itself to high-end applications like Lilibet’s.

“The combination of the subs and Vypers together acts as a single full-range source,” confirms Morris. “The result is not a typical background audio experience for diners; it is a very full and rich sound that suits the atmosphere of Lilibet’s perfectly.”

Harnessing the Q-Sys-certified integration of K-array’s Kommander amplifiers, a Q-Sys core processor handles all audio input processing and control, with simplified user control via an iPad.

K-array’s K-Monitor software allows for remote access and monitoring of the system, providing logging of the amps and the ability for Tateside to run system health checks or make adjustments on the fly. Ongoing support from local distributor 2BHeard, combined with the tools provided by the K-array software suite, allowed the Tateside team to do a lot of the system planning and configuration off site, helping to keep timelines on track.

“When we’re working in high-end venues and spaces where we need to balance aesthetics with performance, K-array’s loudspeakers are always a trusted choice,” confirms Morris. “Often, the design of the loudspeakers is as important as the performance of the loudspeakers and K-array ticks that box. They’re premium products, highly customisable and with the performance you’d expect from a more traditional loudspeaker in a small form factor. They’re also straightforward to set up and control, so it is always a pleasure for us to work with these solutions on a project.”

“The Tateside team went above and beyond on this project,” confirms Ross Shonhan, chef and restaurateur at Lilibet’s. “Their precise sound mapping of the space has delivered an audio experience unlike anything I’ve heard before and guests consistently remark on how impressive it is.”

Lilibet’s has finally opened its doors to patrons, offering sophisticated cuisine paired with a complete K-array audio system that fits the demure yet powerful characteristics befitting of its royal lineage. 

12th November 2025

Rakvere Theatre Expands LED Range with Robe

Estonia – Rakvere Theatre is a thriving arts and live performance hot spot in the attractive, compact and culturally significant north-eastern Estonian city of Rakvere, around 100 kilometres east of capital Tallinn. The theatre opened in 1940 and offers a lively repertoire of classic, contemporary and experimental works from around the world, including from Estonia’s finest and most acclaimed authors and playwrights.

In the last year, the theatre has invested significantly in new Robe LED moving lights as part of a drive by the Estonian Ministry of Culture to encourage venues to replace their conventional lighting inventories with newer and more sustainable options.

This is an initiative involving ten major Estonian theatres, of which Rakvere received the largest number of new fixtures, with 50 Robe T1 Profiles, 27 T2 Profiles, 69 Spiider wash beams, 75 LEDBeam 350s, 14 ParFect 150 RGBWs, 16 Tetra2s, 12 TetraXs, 36 T11 Profiles with drop in gobo and iris modules and six FOOTSIE2 Slim footlight units.

They also invested in two Robe RoboSpot systems together with one T1 Profile followspot and one T2 Profile followspot.

These luminaires will primarily be distributed between their two main performance spaces: the Large and Small Houses. In addition to operating all of these, Rakvere has a touring company that is on the road in Estonia and sometimes overseas for much of the year, so the place is a busy and interesting production environment.

The new Robe LED fixtures will replace most of their old conventional lights, explained lighting crew members Märt Sell, Martin Piir and Roomet Villau. They all take on multi-tasking roles at Rakvere Theatre, designing lighting for around 90% of shows there, as well as programming, operating and teching, so all are knowledgeable and experienced in multiple areas of lighting.

“We were not required to make the change to LED right now, but it was a good juncture and opportune time for us to do it,” explained Martin.

Discussions among theatres about the overall LED transition process kicked off in Estonia in 2021 and they started discussing what they most needed relative to what was already on the market then, and what the various manufacturers said that they would be launching in the upcoming years.

They also had to amass full data on each old and new product in terms of energy efficiency, as funding for the replacement programme was based on a ‘one-in-one-out’ format for swapping luminaires.

This was a similar process to their last major lighting upgrade in 2012, which saw moving lights added to the house rigs for the first time.

Robe was also part of that earlier deal, with 300E and 600E Spots coming in, and between then and now, more Robe was added to their lighting fleet with LEDWash 300s and 600s and Spiiders, so as a venue they were already invested and working with Robe, and the crew appreciated the robustness and reliability of the lights.

“These original Robe products have done very well and we are already familiar with the brand: always a big plus when changing up,” noted Mart, “so it made sense to look at Robe again.”

However, the actual specifications they wrote up were not specific to the brand or manufacturers, they were based on the features they needed most in the fixtures. Rakvere was also lucky in that they received the full allocation of the lights they had requested.

The T1s and T2s were chosen for their shutters, among other features. “We needed them to replace a traditional profile,” elucidated Roomet. “So, this was important and while it takes more time to initially set up and program moving lights, once that is done, they dramatically improve the flexibility and scope of how we can light all of the productions here.”

Martin added that the quality of light output was another vital characteristic: “On top of that, we thought about the type of lighting that broadcast or streaming shoots need when drawing up the spec.”

The 27 T2s are in the 405-capacity Big House which has over 100 new fixtures in total, including T1s, Spiiders and LEDBeam 350s.

The Big House and the 104-capacity Small House both have a RoboSpot system each, with the corresponding-sized T1 Profile FS / T2 Profile FS. The three lighting crew members all taught themselves how to use these systems before the new season kicked off.

Their third area is a cinema and event space, with lighting rigged according to each event.

At least one show a day is staged at Rakvere Theatre and sometimes up to three during the peak of the season. The venue lives and breathes the spirit of life, energy and enthusiasm for art and live performance, and is also a significant tourist attraction for the area as people visit to experience superlative theatre and creative expression.

photos: Louise Stickland

12th November 2025

Eight Zones at Three Acres – Gastropub Upgrades to AtlasIED Atmosphere AZM8P

UK – Set in the rolling Pennine countryside at Roydhouse near Huddersfield, the Three Acres has been a family run inn since 1968. Having built an enviable reputation as a destination gastro-pub, the building suffered a catastrophic fire in late 2023 which saw it close for an extended period of time, during which it was completely refurbished. After overcoming this significant challenge to its existence, the pub has returned stronger than ever with a brand-new layout, much to the delight of customers new and old. As well as its excellent culinary offer, the pub also hosts weddings, private events and live entertainment.

Recognising the importance of having a good audio system throughout the venue, the Three Acres Team engaged regular provider and AV integrator Posynergi of Huddersfield, to supply and install a high quality, flexible, zoned sound system, which could cater seamlessly for the varying demands of the pub’s offer. At its heart was an AtlasIED Atmosphere eight-zone signal processor supplied by AtlasIED’s UK distributor POLAR, who supported the project with design assistance and commissioning.

POLAR’s Mark Bracken comments: “The goal was to deliver exceptional sound quality, simple control for staff and flexible input options for visiting entertainers, all without compromising the venue’s elegant aesthetic. In total, there were seven independent audio zones, each designed to meet specific operational and acoustic needs. These comprised a bar area, private dining room, function room, reception area, corridors, restrooms and outdoor terrace, all of which had distinctly contrasting requirements, including background music, live performance, DJ sets, streamed playlists, presentations and speeches.”

To achieve the required flexibility, the system was built around the AtlasIED Atmosphere digital audio platform. Its modular design and intuitive control made it the ideal choice for this busy hospitality setting in which members of staff are able to easily and efficiently manage the different spaces throughout their shifts.

Posynergi installed an AtlasIED eight-zone AZM8P audio processor with built in amplification, providing DSP, zone-routing and source control for all seven areas. A number of Atlas IED zone controllers were discreetly wall-mounted in key locations, enabling easy adjustment and source selection. AtlasIED remote input panels (XLR/RCA) were installed in the function suite and bar, giving performers plug-and-play connectivity, whilst an Atmosphere Bluetooth receiver located in the private dining area allowed guest music streaming. An ArtSound SMART ZONE 4 (four-room multi-room streamer) also supplied by POLAR provides four channels of online music source.

Mark Bracken continues: “The installation was carefully co-ordinated to fit in with the overall refurbishment and whilst the design evolved as the refit took shape, Posynergi worked with great flexibility to adapt the system on the fly, co-ordinating with the venue’s requirements to complete a modern audio infrastructure.”

Steve Cartlidge of Posynergi adds: “The Three Acres Inn now boasts a state-of-the-art distributed audio system which enhances ambience, simplifies operations and supports every facet of its hospitality offer. We worked closely with POLAR’s Mark Bracken to design and commission the system. The Atmosphere’s web-based configuration allowed seamless commissioning and remote tuning, ensuring optimal sound balance through the venue.”

With a new audio system delivering clear, even sound across its seven zones, the staff at the Three Acres are easily able to tailor music levels and content in real time to suit the required atmosphere, covering every base from relaxed dining in the restaurant to lively events in the function room, with visiting musicians, DJs and private parties all expressing their appreciation of convenient connectivity and reliable sound quality.

Three Acres owner Tom Truelove sums up: “The new AtlasIED system has transformed how we manage music and events at the venue. Every area of the inn now sounds incredible and our staff can control it all effortlessly. It’s flexible, reliable and perfect for our day-to-day operations and private events.”

11th November 2025

Faithful to the Vision: White Light Supplies Fixtures for Traitors Live Immersive Experience

UK – After audiences enjoyed the final episode of The Celebrity Traitors last Saturday, the hunt now begins in real life. In this thrilling new immersive experience in Covent Garden, guests step into the world of The Traitors, completing missions, navigating mind games at The Round Table and testing their strategy in a battle of deceit and loyalty.

Lighting designer Elliot Griggs was appointed to bring the tension, drama and theatricality of the hit TV show into a fully immersive live environment. He approached White Light (WL) to supply the lighting fixtures.

“We wanted to bottle the tension and drama that everyone loves from the TV show and boil it down into the live experience,” explains Elliot. “We couldn’t exactly rebuild Ardross Castle in Covent Garden, but we could take plenty of design cues to give as much of the iconic look and feel as we could.”

Lighting plays a pivotal role in shaping the experience, guiding guests through dimly lit corridors, past eerie portraits and suits of armour, and into the high-tech Round Table rooms.

“The Round Table is where much of the experience takes place and so is the most technically advanced room in the experience,” says Elliot. “These rooms use lighting to go between day, night and into challenge states as well as heightening the many moments of tension throughout the game.”

To meet the demands of this complex production, WL supplied a carefully selected range of fixtures tailored to the unique requirements of each space. Over 120 Chauvet ColorDash Accent 3 units were installed (one for each player seat) providing precise control and dynamic effects. Additional Chauvet fixtures including ColorDash H7X Pars, Slimbanks and Eve P160s, were used to enhance colour rendering and create impactful photo opportunities. For broadcast-quality lighting in the Round Table rooms, Elation KL Fresnel 4 FCs were added to the rig. Atmospheric effects were delivered using Le Maître hazers, chosen for their low fluid consumption and minimal residue. Data distribution was managed via Obsidian Netron EN12, enabling remote triggering and emergency recalls, while LED pixel control was handled through Enttec Pixellator Minis and PLinks. At the heart of the system, an ETC EOS console orchestrated over 140 cue stacks and nearly 4,000 cues, ensuring seamless transitions and immersive gameplay.

 “All the show areas required LED with 16-bit control, excellent colour rendering and refresh rates that would be suitable for camera as we transmit every game to its linked lounge so that banished and murdered players are able to watch the rest of the game play out and take part in extra challenges,” Elliot explains. “Everything was selected for specific reasons: from the Le Maître hazers for their low fluid consumption, to the Netron EN12 for its remote triggering and recalls.”

The experience is powered by Clockwork Dog’s COGS system, allowing actors to operate the show live via a custom tablet interface. This seamless integration of lighting, sound and video ensures that each game runs smoothly, with technical staff on hand only for support.

“The show itself is extremely technically complex, with eight games running simultaneously on one lighting console,” says Elliot. “Every player has their own ColorDash Accent 3 spot which tracks their progress and almost every button and interaction in the room has some form of live response.”

Audience reactions have been overwhelmingly positive. “Seeing people’s excitement as they walk into the Round Table room or Traitors Tower is really great to see,” Elliot shares. “My favourite moment is during player introductions; the light above their seat brightens with a deep rumbling whoosh and the whole table lets out a collective ‘ooh’.”

WL’s key account manager, Ally DeCourcy comments: “It’s been great to collaborate with Elliot on this project and supply the fixtures for this amazing new immersive experience! We’ve worked with Elliot on past theatre productions and it’s great we could help him fulfil his creative vision by sourcing the right equipment.”

WL is proud to have played a part in bringing this ambitious and technically sophisticated experience to life. Our collaborative approach and commitment to technical excellence ensured that the lighting design not only supported the gameplay but elevated the entire experience.

Will you experience it for yourself and discover whether you’re a Faithful … or a Traitor?

photos: Grant Walk and Josh Bird

11th November 2025

Martin Audio CDD brings out the detail at vinyl-led Caterpillar Club

Australia – The Caterpillar Club, Sydney’s latest underground music venue, boasts one of the world’s largest vinyl collections.

Drawing inspiration from the 70s and the vibrant clubs of New York, bands also play five nights a week and according to general manager, Emma Franceschini “any time there’s not a band on there’s a DJ spinning vinyl.” This includes the secret Bamboo Room Tiki bar where DJs can also be found at the weekend.

Tasked with turning the vision of operators Stefan and Anton Forte (from Swillhouse Group) into reality, was renowned sound engineer Anthony Russo from Technical Audio Group (TAG). And he instinctively turned to Martin Audio’s premium CDD loudspeaker system to meet all eventualities.

As he emphasises, this needed to be a statement of uncompromising quality “where every seat needs to be the best seat.” His design, therefore, was built to handle everything from the warm sound of vinyl to the crisp clarity of digital recordings through to the huge demands of the club’s live acts.

There is little Anthony Russo doesn’t know about the characteristics of Martin Audio’s coaxial differential dispersion technology, having specified CDD many times. “It’s the premium solution for a lot of top venues around Australia,” he acknowledges. “In every room [at the Caterpillar] you’ll see CDD8s and 6s and concealed SX110 subs in the ceiling and under the banquette seating right through to the FOH system which is a powerful CDD12 system with a delay system, complete with LE100 foldback wedges.”

In total, he has equipped the venue with over 60 speakers, 30 amplifier channels and a staggering 40k watts of available amplifier power, ensuring that each patron is treated to unprecedented even coverage over eight zones. Even the Bamboo Room indulges patrons with a powerful Martin Audio system that would be more at home on a large dance floor. 

To ensure the detail of vinyl can be heard with absolute hi-fi clarity, while enabling easy conversation to take place at the tables, the large complement of speakers delivers a range from lounge low-volume chill levels to a live performance experience of a concert without needing to be overdriven.

Explaining the rationale, he says: “It is also designed to provide consistent coverage of the whole room while permitting everyone to have what I call a ‘headphone experience’. There’s always a speaker nearby, not too loud, just at the right level. It’s something people haven’t been used to, a real hi-fi experience in a live venue environment and that’s why we’re infinitely proud.”

This focus on precision extends to cutting-edge digital audio processing, networking, mixing and amplification, while to do justice to the vast vinyl library, Caterpillar invested in a handmade Australian custom-made rotary DJ console from Condesa.

The final confirmation comes from Emma Franceschini: “The thing about the Martin Audio system is you have that extra clarity in the room. And since we’re a vinyl bar and you want to be able to hear the nuances, a world class sound system like Martin Audio lets you do that.”

11th November 2025

Van Damme cabling powers Ushuaia Dubai into its second Winter Season

UAE – Ushuaïa Dubai opened its doors in October 2024, bringing the spirit of Ibiza to the Middle East. The open-air venue at Dubai Harbour launched with a headline performance from Calvin Harris and quickly established itself as a premier nightlife destination, hosting a steady stream of global names.

The backbone of the venue’s demanding audio infrastructure is powered by Van Damme cabling, supplied by regional distributor NMK Electronics and installed by SLS Production. “Ushuaia Dubai is a high-profile project with complex technical requirements, so reliability and performance were critical. Van Damme Cabling ensured that the system would perform flawlessly under pressure,” said Praveen Jayakumar, associate technical director at SLS Production.

A significant quantity of Van Damme Black Series tour grade multicore speaker cable and Van Damme VDM PA-CONS has been deployed to ensure pristine signal integrity and total reliability across the vast 18,000-capacity site. The Black Series tour grade multicore is designed to withstand the rigours of touring and large-scale productions, combining a rugged construction with excellent handling. Meanwhile, the VDM PA-CONS has become a go-to solution for audio professionals seeking robust connectivity and superior sound quality.

As the Winter 2025 season begins, anticipation is building for Calvin Harris’s return performance in November, alongside a packed calendar of international artists and underground talent.

With a mix of standing and seated areas, VIP zones and luxury cabanas, Ushuaïa Dubai continues to combine world-class production with the signature Ushuaïa party atmosphere. “A venue of this scale and prestige demands absolute clarity from every component,” added Jayakumar. “Van Damme has given us the confidence that every performance will meet the highest standards.” 

11th November 2025

Culturgest Lisboa Elevates Live Performance with Immersive SPAT Revolution Integration  

Portugal – As one of Lisbon’s most distinguished cultural venues, Culturgest has long been a cornerstone of Portugal’s performing arts and events community. Situated in the Caixa Geral de Depósitos head office building, Culturgest features 11 fully equipped spaces, including two auditoria and hosts a wide range of programming from theatre, music and dance to conferences and film festivals. Its main space, the 612-seat Emílio Rui Vilar Auditorium, is celebrated for its architectural detail, wood-panelled acoustics and cutting-edge AV infrastructure.

In a groundbreaking collaboration with Audium and FLUX::, Culturgest recently became the first venue in Portugal to implement a fully immersive live sound system with FLUX:: SPAT Revolution while leveraging the venue’s existing cinema surround speaker system for hybrid use.

“Culturgest asked for an immersive system and after a thorough analysis of the available options, FLUX:: SPAT Revolution was the main choice for this demanding venue,” said Tiago Laires of Audium, the system integrator for the project. “In the end, and although we had a high level of expectation for SPAT, both Culturgest and I were blown away by the impressive result.”

The system integrates a FLUX:: SPAT Revolution engine running up to 64 channels from the mixing console, and routing through Dante and AES67 to the house speaker systems. Thirty-six surround speakers from the venue’s existing set-up covering rear, top and side channels were reconfigured to support live immersive applications. The LR speaker system used for traditional live events was integrated into the front, and the entire system was tonally matched and commissioned for transparency and cohesion between operation modes.

The configuration supports multiple operating modes for dance and theatrical productions with up to 32 audio objects, including configurations with all speakers, frontal speakers removed, or main floor only with no elevation. For acoustic music scenarios, the venue can switch to a reverberation-only simulation mode using the SPAT reverb engine. Commissioning was performed by the FLUX:: team and included extensive on-site training for Culturgest’s two in-house engineers.

“Since the moment we installed our system in our venue, we started thinking about how we could use it in a live sound situation,” said in-house sound engineer Ricardo Guerreiro. “The expectations were high, but I can say that, after almost a year using SPAT Revolution, the expectations were largely exceeded.”

Culturgest has already hosted numerous performances using the immersive setup, ranging from orchestral music to experimental electroacoustic productions. For artist, composer and sound designer Suse Ribeiro, SPAT Revolution opened up entirely new artistic dimensions for her.

“At the Culturgest venue, I was tasked with projecting and implementing a set-up that had been in development for several months in the lab,” said Ribeiro. “Using FLUX:: SPAT Revolution, this goal was not only fully realised but also exceeded expectations. It allowed us to push beyond the initial vision, resulting in an exceptional outcome both technically and artistically.”

She continued: “An incredible overall paradigm shift in my approach to this system and a state-of-the-art mindset change. For sure, the best tool and framework to develop and support notable projects.”

In addition to SPAT Revolution, the system included a digital console and stage rack, networked endpoints, Ghielmetti audio patch panels at FOH and stage and a refined network backbone to ensure reliable real-time control. Through deep integration and real-world training, the installation not only improved the venue’s technical capabilities but also gave its engineering and creative teams new tools to inspire the next generation of live sound production.

“We were impressed by the high quality and deep training and commissioning supplied by FLUX:: on site,” said Laires. “Not only on the SPAT Revolution software and physics but also going beyond their scope supporting all the integration with the existing system and all the rest of the networked gear. It was the best option to enlarge the high-quality sound system of this venue.”

With its immersive deployment complete, Culturgest is now positioned as a leader in spatial audio performance, bridging cinema and live art with innovative design and creative excellence.

10th November 2025

Lisinski Concert Hall Enjoys Robe

Croatia – Lisinski Concert Hall is a major venue in Zagreb, well known for staging large-scale music shows, conference and congress events. Opened in 1973 and named after Croatian composer Vatroslav Lisinski, it is acclaimed for its acoustic quality, central location and multi-genre programming across its 1,800-capacity main hall and 300-seat small hall.

The venue has been investing in Robe moving lights for around ten years and now has 20 Spiider LED wash beams, eight MegaPointes, 12 LEDBeam 350s and four LEDWash 600s in the main hall and eight LEDBeam 150s in the small hall which are looked after and utilised by a lighting crew of four led by Dubravko Laslavić who has been head of lighting for 25 years.

The Spiiders and the LEDBeam 350s are the most recent purchases, delivered over the last three years by Robe’s Croatian distributor, LAV Studio, as part of a technical upgrade to ensure that Lisinski can continue to offer the very best production values for its artists and diverse audience base.

Around 500 shows are staged there over the ten-month annual season with both halls seeing a mix of rock and pop plus classical and orchestral works.

This wide range of performance means that lighting must be flexible and offer plenty of scope.

Lighting technician Dragan Micić came onboard around three and a half years ago, familiar with Robe from his work at Croatia’s National Theatre, so he was delighted when it was decided to add more Robe to the rig.

“When visiting crews are working here and they see we have Robe on the rig, it’s instantly recognised as a good, solid brand that everyone is happy to use,” he commented.

The main hall is large with a 25-metre-wide stage, so brightness was a critical feature when choosing fixtures – a process that also went through a competitive tender process – and silent running was another, especially for the classical shows.

CRI and colour mixing were also looked at and compared between the different options, with Robe coming out on top of all of these.

Reliability was another factor as was the backup and support that they know they can rely on from LAV Studio explained Dragan, who reckons that the Spiider is one of the all-time best LED washes produced to date.

Lighting technician Ivan Ivančević agreed, adding: “The Robe package offered really good value and great all-round performance.” Typically, the in-house team will light about two-thirds of the shows presented each season, with the other third bringing in their own lighting designers or directors. “Most people are really happy to see Robe on our specs,” commented Ivan.

In addition to the lighting department having a say in which fixtures were chosen, the venue’s overall head of technical, Nikola Tuškan, was involved, so the decisions were collective and based on the different bids that were presented.

Most of the Robe fixtures stay in place through the season rigged on bars over the stage and they are also hoping to be able to convert their current floor specials package to include more Robe products.

photos: courtesy Lisinski Hall

7th November 2025

Historic Hall, Modern Clarity: Alcons Transforms Sydney’s Verbrugghen Hall Landmark Conservatorium Hall upgrades with Alcons Audio intelligibility

Australia – The Sydney Conservatorium of Music, part of the University of Sydney and one of Australia’s oldest and most prestigious music schools, has completed a major audio upgrade to its heritage-listed Verbrugghen Hall. Founded in 1915 by Belgian conductor and violinist Henri Verbrugghen, the Conservatorium is housed in the Greenway Building, a historic landmark within Sydney’s Royal Botanic Gardens, designed by colonial architect Francis Greenway. Originally constructed as stables for Governor Lachlan Macquarie in 1821, the building was later converted into the Conservatorium, with extensive renovations in 2001 to accommodate its growing programmes.

Verbrugghen Hall, a 528-seat concert venue renowned for its exceptional acoustics, traditionally required little amplification for orchestral performances. However, the legacy PA system, installed at the turn of the century, was increasingly unable to meet modern demands, particularly for speech and contemporary amplified performances. The challenge was to deliver high intelligibility across the audience while preserving the hall’s architectural integrity and avoiding excessive acoustic excitation. Additionally, system components had to be lightweight – under 150kg per hang point – and visually discreet to maintain the hall’s Gothic aesthetic and historic features, including its century-old pipe organ.

To address these requirements, David Betterridge of Loud And Clear Sales, in collaboration with Drew Bisset Designs, proposed a left/right Alcons Audio LR7/LR7B system covering the full audience area, supplemented with VR5 front fills and BF362 bass extensions for performances requiring additional low-end support. “The modelling in Ease Focus suggested very even coverage, with excellent frequency response across all audience areas. As long as we could position the arrays precisely, the system would perform as intended,” commented Betterridge.

Close collaboration with venue staff and specialist engineering ensured that hang points were installed exactly where needed, respecting both structural limitations and sightlines.

The system was installed and commissioned and has already exceeded expectations. Jarrad Salmon, technical production manager at the Conservatorium, said: “As a classical hall originally designed for orchestral music, Verbrugghen Hall presents a distinct set of challenges for the growing number of events requiring live sound reinforcement. The space is highly reverberant and was built long before modern production standards were considered, making it difficult to achieve clarity and coverage without compromising the venue’s structural integrity, sightlines or limited stage space.”

The first experience of the Hall’s team with an Alcons system came during an external client’s event and they were immediately impressed by the system’s speech intelligibility and overall performance.

Jarrad continues: “As we explored options for a permanent installation, Alcons emerged as one of the few systems capable of meeting the quirks and constraints of the space, while remaining within budget. Post-sales support from Loud and Clear has been outstanding, further reinforcing our confidence in the investment.”

The installation represents a fusion of heritage architecture and modern audio engineering, delivering a system that is as unobtrusive visually as it is powerful sonically. Performers and audiences alike can now experience every nuance of music and speech with unprecedented clarity, while the hall’s historic character remains fully intact.

7th November 2025

ETC Sensor3 power control selected for Kings Cross central development

UK – ETC dealer and lighting control systems integrator – Control Lighting Ltd has selected ETC’s Sensor3 power control, Paradigm and Mosaic systems as the solutions for the large-scale Kings Cross central development in London.

For the last ten years Control Lighting Ltd has been working on the design and implementation of a site-wide lighting control system for the public realm lighting. The site is a 67-acre development which has re-imagined the blend of residential, commercial, retail and public space, and has won many awards over the years for the development.

The company was appointed to design and implement a holistic lighting control system that could provide usable performance data, as well as ensure the maintenance and events teams could quickly make adjustments for the operational side of the lighting system. Control Lighting Ltd selected ETC products as the best solutions to easily adapt to the needs of the site as it expanded over the years. The core lighting power distribution equipment is utilising the Sensor3 power control range from ETC and the site-wide lighting processors are from the ETC architectural control product families: Paradigm and Mosaic.

ETC’s Sensor3 power control system delivers stable, unparalleled power and networked control for all fixture types. The Kings Cross central development has demonstrated the consistent reliability of Sensor3’s dimming solutions which have been a part of the project for ten years and counting. The flexible and powerful management of the Sensor3 control system has seamlessly supported the various lamp types used, without the added expense of Kings Cross Central having to upgrade its entire power infrastructure.

To assist the maintenance staff, all flagged items or usage reports are displayed on specific larger touchscreens. Data is also automatically fed back to Control Lighting Ltd’s office, which allows reports to be produced for monthly review by the site management teams. Positive steps are then implemented to reduce the use of energy across the site lighting installation based on the data obtained.

Due to the way in which the energy monitoring is presented, the site management team has used the supplied live and historical data and charts in real time, as part of its own site meetings.

ETC’s Paradigm and Mosaic architectural lighting control solutions were selected for this project for their large-scale and artful lighting control features. They allow the Kings Cross Central development to utilise exceptional colour control, interactive lighting, energy saving features and more, all within an adaptable and user-friendly control system.

During the design stage of the project, a key consideration was ensuring that the event and maintenance teams had quick access to the reporting side of the system, as well as control of the general public realm and the various lighting features from their own computers. There are 26 custom designed touchscreens located around the site offering intuitive interfaces which use the design features of ETC’s Paradigm Light Designer and Control Designer software suites, along with custom Lua scripts to create the task driven touchscreen layouts. With ETC’s software features, Control Lighting Ltd used this to create bespoke control interfaces for the touchscreens to make it easy for staff at Kings Cross to recall presets and make custom adaptations to the lighting states for pop-up events. The complex layouts from Building Management Systems were used to create intuitive, interactive and customised control interfaces for the venue team.

Fast forward ten years and there are now 24 lighting control locations positioned in various plant rooms across the estate, each networked together. The equipment that is utilised allows for switching of the lighting power circuits as well as 1-10V, DALI and DMX control for specified lighting schemes. The combined lighting control system also offers useful features such as the use of DALI reporting. This allows important information such as lamp failures or DALI emergency fitting test results utilising DALI EMPro to be fed back and communicated to the client. The lighting power racks also automatically issue electrical usage reports per area as well as alarms for the fault status of the circuit protection devices.   

Ray Dolby from Control Lighting Ltd. commented: “Due to the historically good reliability of ETC equipment and Control Lighting Ltd’s knowledge of the requirements of the architectural and landscape markets, the site-wide solution grew organically. It was very special working with a developer that had the long-term vison to embrace a holistic approach to the control and monitoring of public realm lighting schemes.”

photos: Kings Cross HR 

7th November 2025

Van Damme infrastructure makes anything possible at Winchester Audio Barn

UK – Set in the rolling Hampshire countryside as a purpose-built recording space that would be the envy of many studios all over the world, Winchester Audio Barn is a unique addition to the UK’s commercial studio landscape. While it is the eye-catching styling and incredible collection of vintage equipment that will first grab the attention, behind these is a technical backbone that ensures anything is possible, all underpinned by a huge inventory of Van Damme cables and patchbays.

Winchester Audio Barn has been a passion project for its founder Niall Holden, but creating a world-class recording facility was not the original idea. “It started off as a bit of the jam room where I could throw some guitars down there and just make a lot of noise without upsetting my neighbours,” he recalls. “It kind of grew from there. I spoke to various friends; different opportunities came to light and the idea evolved. It soon became clear that we had the potential to do something different and create the kind of new-build recording space that the UK hasn’t seen for 25 years.”

The studio has been built with the concept of getting things right from the very beginning. This meant involving some of the finest minds and ears in the business to ensure that current studio requirements were met while future needs were planned for. This saw Bill Ward from Langdale Technical design and install the studio while Chris Walls from Level Acoustic Design took on responsibility for the acoustics and engineer, producer, musician and educator, Stuart Bruce added his input and experience to the technical side of the project.

“It's been a no compromise build really and the results are the evidence,” says Ward. “Because we knew what the levels of gear were, we could wire it and design it accordingly and we’ve put a lot of capacity in as well for more gear in the future.”

These possibilities can all be experienced from the well-appointed control room. Offering direct line of site to the main galleried live room as well as all three isolation booths, the control room features a 48-channel SSL Duality Fuse console and PMC BBS XBD main monitors as well as racks of vintage outboard gear that all comes with a story to tell and 72 lines of DAW I/O. In total over 250 mic and tie lines service the live area and booths with both Van Damme Blue series and Van Damme Green series used throughout. To give scale to the installation, over 2km of Blue and Green Series cable was used with a termination count that is in excess of 10,000.

Additionally, a network of guitar lines exists between the control room, live area, booths and custom-built guitar cupboards. These are wired with Van Damme Silver Series cable in Lo Cap, Flat Cap and Hi Cap guises. On top of this, high level amp lines were installed using Van Damme 2x6mm loudspeaker cable. The audio connections landed on 13 Van Damme Purple Patch patchbays configured with EDAC56 connectors and computer-generated laser etched designation strips.

“I’ve been doing this for 25 years, and the things I always spec are Van Damme cables and Neutrik connectors,” states Ward. “I explain to people that if you're out of money, ditch a bit of kit, because you can buy that in six months, plug it in and go. But the stuff you’re burying in the wall, the infrastructure is critical. Don't skimp on that, because you’ll regret it.”

“It's about making it work in a way that’s flexible but also comprehensible,” adds Bruce. “I’m really proud of what we've achieved with Winchester Audio Barn. We've had a lot of engineers come through from young to old and so far, they’ve looked at the system and can see where everything is, they can see that it all works and they know it’s going to be great.”

6th November 2025

L’Eden Goes LED with Chauvet Professional

France – Experience, they say, is the best teacher. It is also the surest way to overcome hesitancy and doubt. Just ask Marc Brissonnet.

The technical director of the venue, Brissonnet led the way in the initiative to convert it to an all LED system, inaugurated in 2018 by the City of Saint-Jean-d’Angély. The actual process started in late 2024 when the theatre installed eight Ovation Rêve E-3 colour rendering ellipsoidal fixtures and ten Ovation Rêve F-3 colour rendering Fresnels from Chauvet Professional.

As a multi-disciplinary house, the performance venue hosts a wide variety of different types of productions and Marc acknowledges that initially some touring companies were hesitant to perform under LED lights. Experience, however, taught them otherwise.

“Some companies came in with preconceived notions: concerns about colour rendering, intensity or beam quality,” said Marc. “But once they saw what the Rêve units could do, most of those doubts disappeared. LED technology has come a long way and today we’re able to get excellent results across a wide range of applications.

“An example is how the Rêve F-3s offer us all the flexibility we had with traditional fixtures, but with far better colour control, consistency and energy efficiency,” continued Marc. “They’ve made our set-ups faster and more precise. Honestly, they’re a great replacement.”

Purchasing the Rêve fixtures was on of the steps Marc has taken to convert the venue to an all LED system. This year, l’Eden added six Maverick Storm 2 Profile fixtures and two Rogue Outcast 2X Washes to its house rig.

“The potential is already clear,” Marc said of the new fixtures. “Having motorised LED fixtures in the venue gives us a lot of creative flexibility. I’m glad that Chauvet offers IP20 fixtures, because IP65 is often unnecessary in venues like ours.”

Prior to embarking on his journey to an all LED system, Marc upgraded the theatre’s lighting capabilities by acquiring a ChamSys MagicQ MQ250M Stadium console. “We needed more universes to control our fixtures and this console offered the right combination of features and price,” he said. “I had a solid introduction to the system via Rémy Rouvoy, while Victor Faré familiarised us with the lighting fixtures.

“Prisme Éclairage, who handled the integration and provided excellent support throughout the project also deserves a lot of credit,” continued Marc. “And of course, a big thank you to the Ville de Saint-Jean-d’Angély, since as a municipal performance venue, this kind of investment depends heavily on the City’s support.”

The investment is already paying dividends in a multitude of ways. One of which can be felt in the comfort level inside the theatre. Marc notes that there has seen a drop of about 7°C in the venue during the summer, which makes a real difference for both the artists and the audience.

“The space feels less stuffy and more pleasant overall,” he said.  “On top of that, the lighting quality is better and the response from visiting productions has been encouraging, even from those who were initially hesitant about using LED!” 

5th November 2025

Portugal enters the era of Virtual Production with EMAV’s new LED studio powered by Alfalite

Portugal – EMAV, one of Portugal’s leading technical production companies and part of the Media Capital Group, has unveiled a cutting-edge Virtual Production (VP XR) studio featuring LED technology from Alfalite, Europe’s only LED display manufacturer. Integrated by VANTeC Danmon Group Portugal, the project marks a major step forward for the country’s film, television and advertising industries, and reinforces Portugal’s position within the growing Iberian virtual production landscape.

The new facility features a 25 by five metre Alfalite Modularpix Pro 1.9 ORIM VP XR LED wall and an eight by five-metre Modularpix Pro 3.9 HB VP XR LED ceiling, powered by Pixotope’s real-time graphics engine and TrackMen camera tracking systems. This advanced set-up enables the creation of hyper-realistic virtual environments for film, TV series, commercials, music videos and live events.

“The Alfalite panels met all our expectations. The colour reproduction is precise and uniform across the surface, and the flexibility in brightness and contrast lets us work with different lighting set-ups without compromising quality,” said Jorge Faria, advisor to the general management at EMAV. “The installation process was fast thanks to Alfalite’s team and VANTeC’s experience in configuring the entire system was crucial. We finished our first production with excellent results; what would have taken days outdoors was achieved in a fraction of the time inside the studio.”

“We would also highlight the quality of the entire ecosystem. The reliability of the engines and the LED panels left our director of photography and director very satisfied with the images captured in the virtual set. We’ve gained a powerful tool that will allow us to save time and maintain full control over every scene we choose to shoot virtually.”

According to Jaime Amores, product manager at VANTeC, the EMAV project is “a clear example of advanced technological integration and collaboration between multiple systems.” He highlights “the perfect compatibility of Alfalite’s LED panels with Pixotope’s rendering and tracking infrastructure, ensuring a seamless match between real and virtual elements.”

VANTeC chose Alfalite for its proven quality, experience in virtual production environments and its European manufacturing base. “From the early stages, Alfalite’s team showed strong technical expertise and a collaborative spirit, which made the integration process smooth. The reliability of the product and the confidence in their technical support were decisive factors,” added Amores.

For Luis Garrido, executive director of Alfalite, the project reflects the power of collaboration and shared expertise across the European AV industry: “This installation at EMAV is not just about LED technology, it’s about empowering creative professionals with a reliable, precise and adaptable tool. The project was made possible thanks to our partner in the Portuguese VP XR market, VANTeC Danmon Group Portugal, who led a remarkable initiative to advance virtual production in the country, together with our trusted collaborators Pixotope, Tangram Solutions and Raised by Monsters.”

“Working hand in hand with these partners and EMAV was an extraordinary experience, and we’re proud to see our displays contributing to Portugal’s growing leadership in next-generation production.”

The new VP XR studio strengthens Media Capital Group’s vision to consolidate its technological leadership in Portugal and expand internationally. With this facility, EMAV offers film-makers, producers and directors of photography a versatile and scalable space designed to meet the evolving demands of broadcast and digital storytelling.

4th November 2025

CDD specified for New York City's Obvio Cocktail Bar

USA – Under his company ear NETWORKS, NYC-based Kurt Schlossberg has been specifying exclusively Martin Audio sound systems in Time Out Markets around the world for a number of years.

But recently he undertook his first project for Chilean-born restaurateur Juan Santa Cruz, as Obvio joined the operator’s other upmarket establishments, including two in Central London’s trendy Mayfair and Notting Hill areas.

His latest modern supper club and cocktail bar named Obvio is right on his own Manhattan doorstep and again it is an exclusive Martin Audio house, taking advantage of the CDD series’ unique coaxial differential dispersion technology.

“Juan only does super exclusive places and over Zoom he told me about this little jewel box that he was creating in New York,” said Schlossberg. “He wanted the most discreet high performing system that could be colour matched and which could double as triple A background as well as triple-A foreground. I said there’s really only one product I would put in there!”

Once again the installer recommended CDD as he has for many venues since first discovering them on a visit to the ISE Show in Amsterdam, soon after the series was launched in 2015. “I walked into the [Martin Audio] demo room,” he said, “and I was immediately blown away. Although I have the pick of the litter when it comes to commercial audio, Martin Audio is the only high-end brand I use, it is literally the best of the best of what it is and is my ‘go to’ for all critical path foreground music.”

Explaining further, he said: “When you can take CDD6 and CDD8 and mix them with the punchy subs they are matched to, you get an experience that makes you prouder in a commercial environment than you would be in your own listening room. And that’s something I’ve not been able to replicate from any other manufacturer.”

And Kurt Schlossberg should know, with four decades in audio (analogue-into-digital), architecture, planning and playlist curating under his belt, his skills were brought to bear at Obvio. “Because a lot of the walls and panelling are rounded it has a very cocoon like feeling and so I worked closely with the architects and felt good to be part of the architectural process again.”

Matching the speakers to the lighter tone of the wall panelling, four CDD6s are wall-mounted towards the front of the building, with eight CDD8 at the front, where punchier sound is focused over the dance area. Softer background music during the daytime trading is followed by a substantial hike in SPL after dark, when DJs take to the Pioneer CDJs. This is enhanced by a single SXC115 “which lives above the amoebic shape over the bar and completely out of sight,” as he puts it.

The quality of the sound system has generally received favourable reviews. “In fact it’s proven to be quite a hit,” Kurt Schlossberg exclaims in conclusion. 

photos: Jason Varney

4th November 2025

EM Acoustics delivers a new era of audio to the Royal Lyceum Theatre, Edinburgh

UK – The Royal Lyceum Theatre Edinburgh sits at the heart of the Scottish capital, welcoming over 100,000 yearly visitors to enjoy the magic of live performance. Home to the Lyceum Theatre Company for over 60 years, it stages a variety of performances from classic drama and contemporary plays to comedy and musicals. Along with the historic architecture went an ageing sound system and an upgrade was needed to ensure the iconic venue could continue to meet the demands of modern productions. EM Acoustics’ Reference Series was chosen to deliver precise, high-quality audio, whatever the performance. 

Ian Gibson, head of sound and AV at the Royal Lyceum Theatre Edinburgh, spent several years planning the upgrade and has led the eventual implementation of the new system.

“The theatre’s last major refurbishment was back in the mid-nineties, with no ongoing replacement or renewal of the PA system since then,” explains Gibson. “Many touring shows and production companies didn’t want to use our outdated system, so we had to keep de-rigging it to accommodate temporary gear for each show. By switching to EM Acoustics – a name trusted throughout the theatre industry – we’ll largely be able to keep our house system in place all year round, including during Edinburgh International Festival.”  

Having previously worked with EM Acoustics’ products on visiting shows, Gibson was confident that the Reference Series would be a perfect fit for the theatre. “You can always tell when technology is driven by people with a passion for what they do and EM Acoustics exemplify this” he says.   
The 658-seat theatre consists of three levels: stalls, grand circle and upper circle. For the stalls level, two R8 loudspeakers in wide format are positioned on either side of the proscenium to provide full, even coverage. S15 subwoofers placed beneath the main R8s in the stalls and hidden discreetly in the circle levels, deliver controlled low-frequency reinforcement across the room, ensuring a full and balanced sound experience. 

The two circle levels feature particularly low ceilings, making it challenging to achieve clear sound to seats in these ‘letterbox-shaped’ areas. A flown pair of R8s in narrow format is positioned to cover both levels, along with a dedicated pair of S12s. This extended coverage into the higher seating areas ensures the upper-level audiences have an equal sonic experience to those sitting downstairs in the stalls. 

For vocal intelligibility and directivity, a flown centre cluster of R6s anchors the sound to the stage, allowing audiences to experience speech as naturally as possible which is crucial in live theatre production. A network of 20 R4 loudspeakers provides front fill, delay and box fill support. Four units along the stage edge cover the front rows, whilst a further 16 are strategically placed across the stalls, circle levels and grand boxes. This distributed system eliminates dead spots and guarantees consistent sound throughout the auditorium. The system is powered entirely by EM Acoustics’ installation series amplifiers, providing optimal efficiency and control.  

“Every loudspeaker in the Reference Series range is incredibly accurate and usable. The sound from them is very impressive,” confirms Gibson. “They have all the qualities of modern loudspeaker technology in terms of pattern control and directivity, which we were missing before.” 

First opened in 1883, the historic building retains many original features. The compact form factor and discreet placement of all sound system elements mean the installation integrates flawlessly with the Lyceum’s Victorian architecture, whilst delivering the power and versatility required for modern productions.  

Since the PA system has been installed, both theatre staff and visitors have noticed huge benefits. “During a recent show with 11 radio mics and a forestage playing position, managing sound would have been extremely challenging with our old loudspeakers, especially in terms of gain before feedback,” explains Gibson. “With the EM Acoustics Reference Series, the system provides much more control and a very natural sound. It really lives up to expectations.”  

Buffy Revamped, a one-man show, was the first performance to take place following the upgrade and sound levels were noticeably improved, with audiences enjoying clarity of speech throughout the performance. This will be followed by a three-week production of The Seagull. “From musicals and spoken word to stand-up comedy, we now have greater confidence in supporting performances with high-quality audio,” adds Gibson.  

The clarity of the sound system has significantly enriched the theatre's productions, allowing actors’ voices to carry effortlessly across the venue and ensuring that every word spoken reaches the audience across all three levels.  

By investing in the EM Acoustics Reference Series, the Royal Lyceum Theatre Edinburgh has positioned itself to meet the demands of modern productions whilst respecting its historic architecture. The precision and elegant voicing offered by the Reference Series have not only improved vocal intelligibility and sound coverage across the venue but have also helped to reinforce the Royal Lyceum’s reputation as a leading venue that can support a diverse mix of productions.  Additionally, the system has proven to be a smart investment, providing a high-performance solution that ensures long-term reliability and can be scaled up or down as required. 

“As we continue to host diverse productions, the EM Acoustics Reference Series will remain a reliable and powerful solution,” says Gibson. “It’s a great feeling to know we have the perfect system in place to deliver exceptional audio experiences for both performers and audiences for years to come.” 

4th November 2025

From the Ballroom to the Spin studio: Tateside integrates AV technology into two new spaces at The Belfry

UK – The Belfry Golf Club, located in Royal Sutton Coldfield, is one of the most renowned golf resorts in the UK. Famous for its rich sporting legacy, it has hosted the Ryder Cup four times as well as the British Masters, making it a significant venue on the international golf circuit. The resort features three championship golf courses and a range of luxury amenities, including a hotel, spa, dining options and extensive event facilities. For the most recent expansion, which included a new hotel block and a wellness hub, known as “The Club”, London-based integrator Tateside led the design and installation of audio, video and lighting technology in various zones.

“We became involved in The Belfry project through hotel technology consultants Fluent2,” explains Jack Cornish, technical director at Tateside. “The scope encompassed a large ballroom event space in the main hotel and various zones in The Club, including studios, a gym, a spin room and spa areas.”

Involved from the initial design and planning stages, Tateside led on specifying a range of premium brands to fit with the Belfry’s AV needs across the different zones. With several contractors involved in the build and fit-out stages, the Tateside team needed to co-ordinate with various stakeholders to align on timelines, project needs and technical requirements, ensuring the project ran smoothly.

Beginning in the Ballroom, the team designed the system with flexibility and user control in mind. A divisible space, Q-SYS Core processing provides control over audio and video across the two spaces, whether in open or closed modes. For users, two Q-SYS touchscreens mounted in the ballroom provide easy control of the room technology and routing, allowing for event audio to be played in other spaces, such as the business lounge or outdoor terrace. Audio is provided by Bose DM6C and DM8C in-ceiling loudspeakers, and the Ballroom also features three projectors and projector screens. Tateside also supplied comprehensive events infrastructure, including custom Neutrik panel connectors throughout, meaning event companies can easily connect to the AV system without running cables across the space.

The Club at The Belfy combines cutting-edge equipment and high-end facilities to inspire fitness and wellbeing. Here, Tateside was involved in the implementation of AV across four fitness studios, a gym and multi-purpose sports space, an outdoor spa area and changing rooms, along with background audio in corridors and bathrooms. The spin studio was the most demanding of the areas, encompassing top-of-the-line TechnoGym equipment, immersive LED lighting, performance audio, acoustic panelling and instructor-friendly control. “We were asked to design a feature lighting system, so we created several 3D renders in advance to present to the client,” explains Cornish. “The lighting was based around an LED Snaps solution of ceiling-mounted pixel-mapped lighting to provide dynamic lighting effects, easily controlled by the instructor on a touchscreen tablet.”

For audio, four Bose Arena Match Utility loudspeakers provide a powerful workout soundtrack in a compact format, with low-end from an Audac 18” infra-subwoofer. Two 85” Samsung screens provide further visual impact and display spin sessions stats to motivate riders. Audio input is via Bluetooth plates and a Shure wireless headset system ensures instructors can be heard clearly.

Across the other fitness studios, which are dedicated to multi-purpose activities ranging from Pilates and Yoga, through to BoxFit and Zumba, Tateside implemented versatile AV solutions based around Samsung screens, Bose DM8S loudspeakers and Audac 10” subwoofers. Each room is equipped with an HDMI wall plate for display input and a Bose digital audio controller for simplified source selection of pre-determined playlists and volume control. Bose PowerShare amplifiers power the system and Bose ControlSpace processors provide building-wide DSP.

“It’s the details that make the difference in high-end environments like this,” continues Cornish. “For example, the Shure wireless microphone systems are always on and ready to go, so instructors don’t need to fiddle around with controllers. The system is set up to be as simple as possible and the mics automatically duck the music out underneath, so the instructor comes in, puts the headset on, pairs their phone to the Bluetooth and they’re ready to go.”

For self-led workouts, a fully equipped gym is installed with 12 Bose DM6 loudspeakers, accompanied by a pair of Audac double 10” subs and two 85” Samsung screens. Sonance Extreme series in-ceiling loudspeakers continue the ambience in the steam and sauna rooms, whilst Sonance satellite loudspeakers take care of audio outside in the hot tub area.

To complete the project, Tateside also installed background audio throughout the rest of the club. An Android tablet in the reception area provides centralised control of club-wide AV systems. Throughout The Club, the AV infrastructure is network-based, utilising Dante for all audio transport throughout the building via the Netgear Pro AV switching infrastructure. This allows for real-time visibility and monitoring of the system and remote management. The system is designed to be easily scalable, ensuring it can support the various audio needs across different areas of The Club if it expands.

As The Club opens its doors in September of 2025, users and staff alike will benefit from the careful integration and user-friendly technology provided by Tateside. “This is one of the larger hotel projects we’ve worked on, and we’re very proud to work with this prestigious and world-renowned brand,” reflects Cornish. “It was a very large project in a tight timeframe across distinct sites simultaneously. We took ownership from the design phase onwards and we’re pleased with the wide scope of technologies installed and the finished result.”

 

 

 

 

 

 

 

 

 

4th November 2025

San Francisco Opera’s New Repertory Plot Features Elation Paragon

USA – The San Francisco Opera (SFO) is bringing a new level of versatility to its repertory lighting with the addition of Elation’s multi-functional Paragon moving head fixtures. Under the guidance of Justin Partier, resident lighting director at the War Memorial Opera House, the company has integrated 26 Paragon LT fixtures across its season productions, including Rigoletto, Dead Man Walking, Parsifal and upcoming show The Monkey King (opening on 14 November).

Having served as SFO’s resident lighting director for seven years, Partier faced the challenge of updating the company’s ageing inventory of 25-year-old 1200W discharge lamp fixtures. Based on his own observations as well as requirements from designers, his wish list for replacement fixtures was extensive: brightness to compete with the venue’s existing HMI lights, excellent colour rendering and consistency, advanced colour mixing, precise framing shutters, a soft frost option and a useful gobo package.

Then there were other requirements, such as low noise and reliability, backed by a solid warranty. “The turnaround with repertory opera is very short, sometimes only 48 hours,” Partier noted of repertory’s hallmark fast-paced rotation, “so reliability was key.”

After a hands-on shoot-out at Felix Lighting against several brands, the SFO team selected the Paragon LT, securing some of the first units after the fixture’s launch. “When we saw them, it became clear pretty quickly what fixture we liked. It was checking a lot of the boxes,” Partier recalls. The investment marked SFO’s first major move into LED-centric fixtures within its repertory lighting set-up.

“One of the first things I noticed was, with everything on, the fan noise dropped considerably. You could really hear the difference compared to the previous season, it was dumbfounding,” he notes. “The LT was brighter than the M model, which was important and it did all the things we needed it to do. It had that punch and a brightness that wasn’t purplish, with the Paragon it was clean white bright light. That was a big positive.”

Paragon is Elation’s new flagship line of LED profile moving heads (S, M, LT) with variable CRI technology, interchangeable lenses and an advanced suite of design tools. The LT model offers Elation’s SpectraColor CMY + RGB + variable CTO colour mixing system as an option, delivering an expanded colour range.

“The CMY + RGB colour mixing was interesting,” Partier says. “Colour and colour rendering was something we honed in on during the shoot-out and light bulbs went off when I saw that in the demo. When we put Paragon up against our old fixtures, comparing shades like a 30% cyan for example, it was as close as you could get. That was a big practical element for us.”

Purchased early in the summer, SFO’s Paragon LT units are positioned across several electrics, with two on an FOH balcony rail and two auxiliary side positions. Partier served as the revival lighting designer for Rigoletto, using Paragon fixtures primarily for top, back, and side lighting, complemented by a select number of specials. “They helped a lot with creating atmosphere in terms of the visuals,” he said, “and were really good at lighting background.”

Referencing colour and his use of the CMY + RGB SpectraColor system, he explained: “Since the show has so many bold colours for some scenes and tint colours for others, we stuck with a lot of mixed colours using both the CMY and RGB flags.”

The designer noted that while a few scenes really showcased the fixtures, overall he appreciated their ability to blend with the existing rig. The fixtures were especially effective in Act 1, Scene 1, providing a variety of looks and colours. Since the old fixtures did not have any frost or animation, they were able to utilise those features of the Paragon.

The Paragon also features Elation’s TruTone variable CRI system, allowing smooth adjustments from CRI 70 to CRI 93. “I like that option,” Partier adds, “as some designers often want the ability to balance the lighting.”

Designed for multi-role applications, the Paragon LT allows its profile lens to be swapped for a Fresnel, wash or PC beam lens, though SFO primarily uses the profile lens. Its three gobo wheels (two rotating, one fixed) and a full animation wheel have allowed SFO to incorporate their own custom gobo designs for opera and other visual effects, including an animated water effect for one production.

With nearly every opera incorporating the new fixtures into multiple scenes, SFO has gained a versatile fixture that meets both the artistic and practical demands of a fast-paced repertory environment. “They are great workhorse lights and we are happy to have used them extensively in the shows they have been in,” Partier concludes, adding that as they get more familiar with them, they anticipate using them even more.

photos: Cory Weaver

3rd November 2025

Combeuil Audio and Funktion-One Power Landmark La Bringue Event

France – When Collectif La Bringue and Minuits took over Nantes’ 9,000-capacity Zenith Arena for Calling For Rave, they made history. This was the first time the venue – a cornerstone of France’s touring circuit – had hosted an all-night techno event. To achieve the sonic engagement they aspired to, the team turned to long-time collaborator Combeuil Audio and its sizeable inventory of Funktion-One sound systems.

“Zenith Nantes is a major institution for entertainment production,” said Esteban Haie of Collectif La Bringue and 99dB. “Our goal was to deconstruct the venue’s image and create a true rave experience in a concert hall environment. Funktion-One has been with us since the beginning, so it was the obvious choice.”
Working with La Bringue’s production team, Combeuil Audio designed a system to deliver powerful, coherent coverage across the vast arena. Suspended Evo 7T arrays with F124 subwoofers formed the main system, while Evo 6SH, Res 2 and F121 cabinets handled front fill. Evo 7TH, Evo 7TL, Evo 2 and Evo 2L delays extended coverage to the seating tiers, maintaining consistent coverage across the audience areas.

The system’s visual form also played a key role in the design, with delay stacks and lighting integrated for a striking, architectural look. On stage, the DJ booth featured the iconic Dance Stack set-up (DS210, DS15 and F215), while the backstage area was powered by Evolution XSH and F215 Mk2.

Combeuil Audio’s Guillaume Combeuil explained: “We deployed a large Evo 7 system with delays and fills to perfectly cover the arena-shaped room. La Bringue requested the mighty Dance Stack as booth monitors for their striking look and the DJs were thrilled with how powerful it was. It was our first time rolling out a system of this scale and everything went flawlessly thanks to the easy rigging.”
Haie added: “The power and clarity of the system allowed us to achieve precise coverage across every point in the venue. The diversity of Funktion-One loudspeakers perfectly matched our configuration, both acoustically and visually.”
Combeuil Audio and La Bringue’s partnership began in 2022 with a series of warehouse takeovers. “They were the first company to trust us,” Haie recalled. “Now, we’re tackling the largest concert halls together.”
The result was a defining moment for both teams. “We’ve never received so much praise for an event,” said Haie. “The speaker presence and lighting design cemented our concept. People loved the sound and they’re already waiting for the next one.”

photo: Julien Moreno

29th October 2025