Project News

Leyard Partners with T1V on High Impact Space

UK – As organisations rethink the role of the office space in a post-pandemic world, Leyard, a global leader in visualisation technology has partnered with T1V, a pioneer in interactive collaboration software, to unveil a new kind of workspace: the High Impact Space. Located at Leyard/Planar’s London showroom near Chancery Lane, this state-of-the-art installation features a stunning 4.8-metre wide curved touch LED wall integrated with T1V’s ThinkHub and Story software, offering a bold vision of what collaborative environments can and should be.

T1V is distributed in the UK by POLAR whose business development manager Duncan Peberdy is excited by the potential of High Impact Spaces: “Whilst many necessary work tasks in a post-Covid world can be carried out at home, a truly collaborative environment is required for activities that can’t be undertaken in isolation or through simple video calls. High Impact Spaces encourage employees back into offices that are reimagined as immersive hubs where collaboration can thrive using digital tools which break down silos and encourage knowledge-sharing, thereby creating an agile culture for invention, innovation and imagination. For global teams working on critical projects, High Impact Rooms incorporate everyone, anywhere, equally, to contribute, control and create.

“T1V ThinkHub’s interactive interface, spontaneous connectivity and persistence of participants’ content are the key reasons why Leyard and ThinkHub are already powering engagement and innovation for global and local organisations in virtually every business sector. Banking, pharmaceuticals, telecoms, professional sport and defence companies are all using ThinkHub with large format touch-enabled displays.”

Lee Baxter, UK country manager at Leyard adds: “We’re proud to be providing a space where organisations can witness the future of workplace collaboration. This is where digital storytelling meets business transformations.”

The High Impact Space installation at Leyard’s showroom stages Open Day events as well providing opportunities to schedule personal demonstrations. The space also includes other products from POLAR’s portfolio including Tannoy DVS4 loudspeakers, an Avonic PTZ camera and ClearOne’s BMA-360D all-in-one ceiling tile microphone.

13th June 2025

Heritage Baptist Church upgrades its Martin Audio PA—a quarter of a century later

USA – Back in the year 2000, RMB Audio – one of Martin Audio’s longest serving global partners – installed a Wavefront W0.5 miniature high performance speaker solution in Heritage Baptist Church in Zebulon, North Carolina.

The splayed array was designed to provide coverage of a church seating 600 with a balcony, below a vaulted pentagonal roof. Audience seating on the floor in the sanctuary formed a 200° fan from the pulpit, which required some angle separation between the cabinet hangs to provide an overlap from the 100° horizontal pattern.

Due to Martin Audio’s advanced engineering and build quality, this gave the church an excellent return on investment. But when it came to refreshing the speakers, a cell defect was detected. Realising that components for this vintage system were no longer available, an alternative was required.

Cooper Cannady, RMB’s owner, turned to the award-winning O-Line micro-line array for its accuracy and consistency, with two eight-element hangs proposed after modelling in Martin Audio’s DISPLAY software and comparing with existing room data. Suspended from the existing half-circle frame the new rig provides coverage for the floor and balcony seating to the point where the existing Martin Audio under-balcony C115 speakers are no longer required to reach the last four rows of rear seating.

Cannady always had confidence that O-Line would be the best solution. “We knew it would be spectacular for that venue,” he said. “I sent them some photos of other installations we had done and after discussing how much throw they would need they were left in no doubt as to what they were going to get. We have been able to run the system off their existing amplifiers and it went together really well, with all the angles fitting in very nicely.”

Each box could be run off a single amplifier channel without applying any resolution, although RMB will add Martin Audio’s dedicated DX4.0 system controller in due course – with FIR filter settings loaded in – largely for limiting and minor frequency adjustment.

“The quality has increased tremendously,” notes Cooper Cannady. “Aside from its throw, we’re experiencing no wall reflections, lobing or low-end thrust to the stage; it’s evened out very nicely.”

This is particularly important, he says, when three generations of families routinely attend services.  “The older generation have said they can hear much better, which is always the top goal we work towards. O-Line brings the spoken word up significantly.”

Aside from the intelligibility and clarity of celebrants’ speech, the church features worship bands, comprising piano, organ, a brass section and acoustic guitars. “When we initially demoed the system, we played music that had some pretty robust low end to it.”

Finally, O-Line was always designed to be architecturally discreet and turning to aesthetics, the RMB owner says although the PA has transferred “from black to white”, the change has hardly been noticed. “In fact it looks very attractive up there.”

Rev. Joel Dupree, administrator at Heritage Christian Academy, added his endorsement: “RMB Audio upgraded our 25-year-old Martin Audio array with O-Line cabinets, which produce such great sound from a small package. It’s a perfect upgrade for our congregation.”

12th June 2025

Proctors replaces 200 parcans with 35 ultra-powerful GLP impression X5 IP Maxx

USA – With an eminent history dating back almost 100 years, Proctors is a 2,646-capacity theatre based in Schenectady, upstate New York.

It had largely fallen into disrepair when the city took over ownership in 1977 and initially earmarked to be torn down, before it was saved – thanks to its historic status – by the National Park Service, which offered to buy it for $1 and run it as a non-profit. In 2005, the stagehouse was rebuilt to accommodate modern Broadway touring productions, such as the original Phantom of the Opera and Disney’s The Lion King, and it has enjoyed a close association with Broadway, including the ‘teching’ of Broadway tours.

“Since then, we have done dozens of techs, including the huge national tour of Disney’s Frozen, which left here in over 20 semis,” records Dan Sheehan, the theatre’s director of operations. It will shortly be starting the tech for Disney’s Beauty and the Beast, which has never previously toured.

The theatre itself is also part of Proctors Collaborative, a co-operative made up of Proctors, Capital Repertory Theatre and Universal Preservation Hall, for which Sheehan also has a major role.

Part of the relics of a bygone age were the theatre’s parcans, its trusty stage lighting which has now been replaced by 35 of GLP’s new impression X5 IP Maxx.

“This upgrade was instigated by our desire to use less electricity and the fact you can’t find a decent PAR 64 lamp anymore,” Dan Sheehan explains. “The industry was leaving us behind.” The 35 fixtures, purchased from GLP dealer (and long-term supplier) BMI Supply, replaced around 200 old school parcans, he says. Each fixture delivers an extraordinary luminous flux of up to 21,000 lumens, with an expanded colour space, from 37 powerful 40W RGBL LEDs.

The route to their adoption is fascinating, since their recommendation came via the house’s previous long-term head electrician. “We’ve taken his advice on what he sees come through here and he talks a lot with the guys who use the lights,” notes Sheehan. “There was a bunch of the older version of these [GLP] lights on Hamilton, which made quite an impression on us back in August 2019.” And it was this that informed the purchase of the X5 IP Maxx.

This inventory, which will also include LED profiles and strip lights, is designed to cover all production requirements. “One of our best ‘clients’,” he says, “is our own education department. Their two key productions include the High School Musical Theatre Awards, where the two individual winners of this go to the Jimmy Awards in NYC; the other big programme is our summer Broadway Camp, where the kids do everything, including running sound, lights and everything else backstage, with our crew as mentors. It’s one of the programmes I’m the proudest of.”

In a perfect world, he says, the theatre will add five 50ft trusses “all wired and ready to go with the appropriate motors.” This is still subject to confirmation. “We think this would protect the units and make our turnarounds much quicker than hanging individual lights. We do have sufficient to have some on floor plates as well, and when not in use they’ll hang far upstage.”

Dan Sheehan is in no doubt that Proctors has made the correct decision with its new GLP purchase. “Now that we have them, we know it was the right choice,” he says. “As soon as we fired them up, we could see they were everything we’d hoped for!”

photos: Kevin Montano, Proctors Collaborative

www.glp.de

11th June 2025

Artscape Theatre invests in the future with Robert Juliat LED followspots from DWR Distribution

South Africa – South Africa’s long-established, premiere theatre venue, Artscape Theatre, has invested in four Robert Juliat Arthur 800W LED followspots and three Robert Juliat Oz 600W LED followspots, supplied by Robert Juliat’s exclusive distributor for South Africa, DWR Distribution.

The decision to invest in Robert Juliat was made jointly by Johnny Scholtz of DWR’s Cape Town branch, working in close conjunction with Artscape Theatre’s head of lighting, Faheem Bardien.

“Artscape’s in-house technical facilities are designed to cater to a diverse range of artistic genres, including opera, ballet, drama, contemporary dance, musical theatre, corporate seminars and pop or rock shows,” explains Bardien, “all of which must be carefully considered when procuring lighting fixtures and other technical support systems.

“It’s paramount that Artscape’s lighting staff has a comprehensive understanding to support the local and international lighting designers who visit our facility and our in-house lighting equipment must adhere to international standards. We are therefore committed to remaining at the forefront of technological advancements to ensure that our clients have access to the latest equipment to meet their production requirements.”

The installation of RJ Arthur and Oz followspots was part of a wider transition of the venue’s lighting inventory from tungsten to LED lighting which saw Artscape’s existing tungsten followspots updated to the new Robert Juliat LED fixtures.

“Throughout this replacement process, initiated in 2016, we observed that our RJ Victor 1800W and Lucy 1200W tungsten followspots lacked sufficient power against the newer LED lighting fixtures. In response to this, we carried out in-depth research which considered the specific requirements of our production spaces and identified the RJ Arthur 800W LED and RJ Oz 600W LED followspots as the most suitable LED lighting solutions to replace these units with.”

The four Arthur followspots were strategically positioned on the opera stage, considering factors such as the 40m distance to the stage, the angle of the followspots’ booth and the physical dimensions of the auditorium which has a 1,500-seat capacity. This meticulous approach was also applied when selecting the three Oz units for the Theatre stage with its 540-seat capacity and throw distances of 30m-40m.

“The RJ LED units consistently ranked at the top of our list, instilling us with an unwavering confidence in their ability to meet the expectations of all our clients,” confirms Bardien. “The 6000K colour temperature perfectly complemented the rest of our lighting fixtures and the superb optics were a factor that we were unwilling to compromise on. Brightness was crucial, as 90 percent of our lighting units operate at 6000K on open white. And, although our followspots are unlikely to be frequently relocated, the robust build provides us with the assurance that the followspots will endure the anticipated lifespan.”

Artscape Theatre’s busy production programme has already seen Arthur and Oz hard at work this season, on productions that include Pieter Toerien’s “My Fair Lady,” Emo Adam’s “Father Love,” Showtime’s “Ndlovu Youth Choir,” Showtime’s “Dear Evan Hansen,” and Cape Town City Ballet’s “Giselle” garnering some very positive feedback from the lighting designers and followspot operators along the way.

Lighting designer, Denis Hutchinson, was pleasantly surprised by their brightness and optics: “I had to instruct the spot operators to reduce the intensities to 20 percent lower than what we’d usually find acceptable for that range,” he says. The operators meanwhile observed that the Arthur and Oz were “well-balanced, the movement is smooth and the fading mechanism is smooth and accurate.” It’s as important to have happy technicians as well as happy designers!

Bardien was full of praise for the service Artscape has received from the team at DWR. “Artscape Theatre Centre operates 365 days of the year, with DWR providing 24/7/365 after-sales service,” he comments. “DWR staff has consistently adhered to this commitment, recognising the value of prioritising client-centredness as the central focus. This level of dedication is invaluable, providing us with the assurance of having the ultimate after-sales support team available on standby.”

photos: © Johnny Scholtz

10th June 2025

Plymouth’s Junction upgrades with powerful Martin Audio THS

UK – The 235 capacity Junction live music venue in Plymouth recently upgraded its ageing sound reinforcement infrastructure, opting for a Martin Audio premium PA.

The installation was carried out by locally-based Martin Audio rental and installation partner Nub Sound and overseen by its director of operations, Josh Small. He recommended the manufacturer’s powerful triaxial THS 15in point source loudspeaker, combined with SXC118 cardioid subs to provide both the requisite headroom and vocal clarity, far exceeding the capability of the ancient system that it was replacing.

The long-running venue has been operated by the independent Bedford Breweries for the past decade-plus but has been trading as The Junction for at least 20 years.

The venue has been systematically upgrading its sound capabilities over the past 18 months, with loudspeakers always planned as the final jewel in the crown. Said Josh: “The venue has transitioned from being a pub that did live music, to a proper live music venue.”

House engineer Dom Chiswell, another staunch advocate of Martin Audio’s signature sound, said the change of direction had been enforced as a result of the pandemic. “When we came out of COVID, we took a big hit with midweek bar sales; it wasn’t working, so we decided to focus on live shows, but make the experience a lot better for bands prepared to travel all the way down to Devon.” The new booking policy is now geared towards 60% touring bands.

The process to find the perfect sound solution began a year ago, with an open day at Nub Sound, whose own relationship with the venue dates back many years. Martin Audio support engineer Ben Tucker attended, and several alternative Martin Audio PA systems were considered, including TORUS, FlexPoint (and briefly CDD-LIVE).

“We’d been shown THS as part of their ‘Unplugged Bug’, which at that time it was only a bespoke box. But once it came out as a production item it was clearly the right box for the room.”

Endorsed by Ben Tucker, Josh Small’s recommendation was for a L/R THS system, with one enclosure on top of a pair of stacked SXC118 cardioid subs on each side. A pair of delayed FlexPoint FP6, one mounted each side of the room, provide the necessary fills.

Explaining the need for so much headroom, Josh said: “The club stages a lot of punk, metal and rock music with loud guitars, so it wasn’t only about reinforcing their low-mid, core energy but getting the vocal above that, which is why the three-way box made so much sense. I’m very comfortable with that decision.”

Processing for the THS and FlexPoint takes place within a dedicated Martin Audio DX0.6 system manager, which feeds the amps. The system was set up with manufacturer presets and tuned with SMAART and pink noise. “All I really had to do was time align the system,” continued Josh. “I didn’t need to do any significant EQing at all, we just relied on the natural voicing of the system which was great.”

The new PA has certainly been well received by visiting sound engineers. “At least three of their roster of freelance engineers phoned to say how much better it sounds and compared with the old system, it’s like night and day. Having the cardioid subs and bringing down the LF on stage, means that drummers are much happier and it allows us to reduce monitoring volume and improve the sound in the room. At the same time, the pattern control on the THS is really good and that has helped improve how the room is performing.”

Dom Chiswell agreed wholeheartedly. “Feedback from engineers and bands alike has been amazing. The amount of headroom I’ve got is insane compared with what it was like before. Now I am able to hear a little bit of everything in the mix, the sound appears louder because of the added clarity, although in fact we are actually averaging about 3dB quieter than we were beforehand.”

Dom Chiswell had worked regularly with Martin Audio MLA Mini and CDD during his days at university, while his time at Deep Blue Sound, who had a partnership with Martin Audio, gave him further exposure.

He admits the new PA has put a smile back on his face. “It’s given me a new lease of life because I was starting to experience burn out. Putting in a new system, working with Josh and then hearing it in situ has given me a new-found love for my work.”

He says he had never realised that a new PA system could have such a positive impact on his mental health. 

9th June 2025

P3 Purmerend Upgrades Lighting with Robe

The Netherlands – A dynamic package of Robe moving lights has been installed at the busy P3 popodium music venue in Purmerend, a city and municipality in the province of North Holland in the west Netherlands.

The recent upgrade, originally planned before the pandemic and delivered once the restrictions started being lifted comprised 14 ESPRITES, eight PAINTES, 16 LEDBeam 350s, eight LEDBeam 150s and four T1 Profiles.

P3 has two music halls – of 850 and 350 capacity – and a theatre space that accommodates 130. The venue opened on April Fool’s Day 2006, and the now head of technical and production, Ferry Veenman has worked there for 17 years, the first six as a bartender and one of the regular lighting technicians, Edo van Randen, has clocked up 18 years. In that time, they have seen a constant stream of great shows and superlative music.

Ferry now looks after all things technical in three live music halls plus five rehearsal rooms, one of which is a studio. The venue features a striking functional modern architecture look compete with a super-cool hydraulic entrance door and is a well-known regional creative hub.

At least two or three shows and events are hosted each week and P3 also produces its own, so it’s a busy and dynamic environment requiring flexible lighting.

When P3 opened nearly 19 years ago, some Robe 575 ColorSpot and ColorWash moving lights were in the main hall rig. At the time they were among the first installed in the Netherlands and impressively, they were still working when recently removed and replaced!

In 2012 ten Robe LEDWash 300s were purchased from Controllux, Robe’s Benelux distributor and at the time, these were again among the first in the country in a fixed installation.

Like many venues in the Netherlands, P3 is local government-funded and run via a foundation. The discussion about revamping the lighting started during Covid, partly prompted by the requirement that all venues nationwide transition to LED lighting to be more sustainable and consume less power.

Ferry, who also works as a freelance LD, consulted his crew including P3’s most regular freelancers, plus the management board and some external lighting professionals. He wanted to get a clear understanding of people’s opinions on the best fixture combinations from all their different perspectives.

Naturally, they looked at other brands as well as Robe. However, a primary reason they chose Robe again was that those old ColorSpot 575s were still going 18 years later. “If you can get that long out of a fixture, it represents excellent value for money,” commented Ferry, “it’s really not rocket science!”

Robe’s TE light source in the ESPRITES and PAINTES reinforced this thinking. “I’ve seen firsthand the potential longevity of the Robe hardware,” Ferry noted, “so being able to replace the LED engine is a definite bonus.”

Another plus is the great relationship and support they enjoy with Controllux, so taking all these considerations together, Robe was a clear winner.

P3 has had Avolites consoles in house since 2008, initially purchased on the recommendation of Maikel Sakkers who was working as a lighting tech and programmer at the time and is now one of Controllux’s key account handlers for lighting.

Ninety-five per cent of the shows at P3 will be lit by Ferry and his team. He recalled that the sheer intensity of the new fixtures and raft of creativity they unlocked took a little acclimatisation, but the new lights are making a massive difference to how shows can be lit, boosting the production values for all involved including, importantly, the audience.

Ferry loves the “power, punch and incredible optics” of the ESPRITES and the brightness of the PAINTES, especially for their small size, was slightly more than he anticipated and he also notes that they are fast and make great blinders in addition to working exceptionally well in conjunction with the LEDBeam 350s where they are installed in the small room and make a perfect fit.

The LEDBeam 150s are part of a floor package together with four of the ESPRITES and this can shift between the two spaces as needed, while the T1 Profiles are used for outstanding front and key lighting in the larger hall.

photos: Louise Stickland

6th June 2025

Top-Tier Sound at Jazzclub Karlsruhe: Lawo mc²36 Mixing Console and Schoeps Microphones Deliver an Unparalleled Listening Experience

Germany – Since its founding in the 1960s, Jazzclub Karlsruhe has become a cornerstone of Germany’s cultural scene. With legendary performances by artists such as Albert Mangelsdorff and Dexter Gordon, the club has secured a lasting place in the jazz world and continues to serve as a vital platform for the genre in all its diversity. The journey to this point was not without challenges: after years of searching and several temporary venues, the club finally found a permanent home in the heart of Karlsruhe. In its new location, the club now leverages cutting-edge technology to deliver exceptional sound quality and an unforgettable auditory experience.

The club’s latest technical upgrade features a 16-fader Lawo mc²36 audio mixing console and microphones from Schoeps: two brands renowned for their pioneering contributions to audio technology. Together, they bring the club’s sonic vision to life.

Niklas König, chairman of the Jazzclub and artistic director of the local band Soulcafé, explains the decision: "The Jazzclub stands for quality and tradition. When we host artists, we aim to provide not only an outstanding stage but also the best possible sound experience for our audience. The Lawo mc²36 offers the ideal combination of compact design and powerful performance, crucial for our limited technical space. Its slim profile integrates seamlessly into the venue without compromising audio quality."

The Lawo mc²36, equipped with A__UHD Core technology, delivers high performance in a compact format. It features 384 processing channels at 48/96 kHz, supports up to 864 I/O channels and includes local I/Os, native RAVENNA/AES67 IP connectivity and point-to-point stage box integration. The built-in Waves SuperRack plug-in integration enables detailed sound processing.

"At Soulcafé concerts, we often use up to 32 channels from the stage, mixing them for PA and monitor paths, along with dedicated playout and multi-track recording paths. The mc²36 handles this effortlessly. We can use up to 16 aux and 16 playout paths while recording each source discretely," König explains. "This set-up equips us perfectly for PA, in-ear monitoring, and high-quality recordings."

The mc²36’s intuitive user interface ensures efficient control of the sound parameters and a smooth workflow.

"Its design allows even freelance technicians to quickly get up to speed," König emphasises. "This is essential for us, as we frequently work with different engineers but still aim to maintain a consistently high standard. The touchscreen interface and clearly structured workflow enable fast familiarisation and reliable operation during live performances."

Another key element of the club’s sound is its use of Schoeps microphones, internationally acclaimed for their outstanding audio fidelity.

"Our microphones authentically and precisely capture the natural sound of instruments," says Florian Gundert, marketing manager at Schoeps. "Their transparent off-axis response gives sound engineers maximum flexibility in the mix, an advantage for both intimate acoustic setups and louder, more crowded stages."

At Jazzclub Karlsruhe, microphones from the modular Colette series are used, typically paired with the CMC 1 miniature amplifier and the MK 4 cardioid capsule. Depending on production needs, they are positioned as drum overheads, on the grand piano, or in front of wind instruments. In combination with the Lawo mc²36, the Schoeps microphones reveal their full sonic potential, benefiting both performers and audiences.

"The subtle nuances our microphones capture are preserved throughout the high-quality signal chain," Gundert notes. "This ensures exceptional clarity and dynamic range in both PA sound and recordings."

This precision also enhances in-ear monitoring. "The clarity of the in-ear mix is remarkable," König adds. "It allows our musicians to focus entirely on their performance, thanks to a perfectly balanced sound image in their ears."

Even at higher volumes, the seamlessly integrated PA system delivers crystal-clear sound. Still, the club often opts for subtle miking techniques. "With a jazz trio, for instance, we lightly mic the instruments to complement the natural room acoustics and optimise the sound balance for the audience without altering the direct sound character or introducing noticeable amplification," König explains.

The integration of Lawo and Schoeps technologies demonstrates how Jazzclub Karlsruhe harmonises tradition with innovation to deliver the ultimate musical experience. The high-resolution audio setup supports the club’s cultural mission: to highlight the authenticity and emotional depth of jazz.

"Our guests come here to experience music in its purest acoustic form," König concludes. "With finely tuned room acoustics and premium signal processing, we ensure that every artistic detail and dynamic nuance reaches the audience with clarity and balance."

With the Lawo mc²36 mixing console and Schoeps microphones, Jazzclub Karlsruhe is setting new standards while staying true to its legacy of offering a distinctive and unique musical experience for both artists and audiences.

6th June 2025

Madrid nightclub gets an audio boost from Renkus-Heinz

Spain – Anyone who has walked the streets of Madrid after dark will know that the city is packed with nightlife options to suit any taste and any budget. With so much choice, clubs and bars in the city need to work hard to stand out and Ayala 120 is doing just that. 

Nestled discreetly in Madrid's exclusive Salamanca district, between Goya and Manuel Becerra, Ayala 120 seamlessly blends elements of a sultry nightclub, high end cocktail bar and lively salsa club, making it a go-to spot for those looking to party late into the night. 

With a capacity of 300 and music playing from 7pm until 6am most days, the club needs a reliable and memorable sound system to keep the dance floor full and to ensure customers keep coming back. To make this happen, the owners looked to high-end loudspeaker manufacturer Renkus-Heinz.

“Our goal was to transform the customer experience from ordinary to extraordinary by providing an immersive atmosphere, with music at the heart of it all,” says Ivan Castillo, sales engineer for SeeSound, Renkus-Heinz’s distributor in Spain. 

“The club is an open-plan space, but it’s divided into two main zones: the central dance floor, which serves as the main club area and a secondary area at the edge of the dance floor and around the bar. This layout needed some careful thought and a tailored solution to ensure consistent sound quality throughout both zones.”

The team at SeeSound selected Renkus-Heinz C Series loudspeakers to fill both spaces. “These loudspeakers incorporate advanced point source technology and complex conic horns with updated drivers, delivering clean, natural sound with enhanced pattern control,” Castillo explains. “We chose the C Series because it gave us the sound quality and control we needed for a club environment. The horn design helps keep the sound even and focused, so whether you're on the dance floor or off to the side, you're getting the same clear, powerful audio. And with the CX models, we had the flexibility to configure the system exactly how we wanted for each part of the space.”

The team installed a combination of the CX121, CX112S, and CX61 models throughout the club. The four CX121 loudspeakers serve as the foundation of the venue’s audio set-up, offering high output and precision to ensure every note, beat, and lyric is crystal clear throughout the space. Despite its compact size, this full-range loudspeaker delivers powerful, balanced sound without overwhelming the room.

Enhancing the club’s deep bass response are two CX112S subwoofers, which provide the rich low frequencies essential for dance music. Its powerful bass output infuses the venue with pulsating energy, creating a fully immersive experience. Rounding out the system, the CX61 loudspeakers add clarity and detail to the midrange and treble, ensuring that the music remains crisp, well balanced and free from distortion. Whether the intricate highs of a DJ mix or the smooth flow of electronic beats, the CX61 maintains fidelity across all frequencies.

“We chose Renkus-Heinz CX121 loudspeakers for the main space as they can deliver a lot of power and provide a controlled bottom end that really helps on the dance floor,” notes Castillo. “For the areas around the perimeter of the dance floor which needed to allow conversation, we installed four CX61 loudspeakers as they deliver enough power in a cabinet that is very low profile and has an extended coverage, especially in the horizontal axis.”

The combination of deep bass, detailed midrange and crisp highs from these loudspeakers results in an auditory experience that perfectly aligns with the venue’s commitment to ensuring each night offers a unique, high-energy experience tailored to the crowd’s vibe.

“We wanted something that would set us apart from the rest of the clubs in this area,” say the owners of Ayala 120. “With this combination of loudspeakers from Renkus-Heinz, we believe that we now have the edge over our competitors and that our customers will keep coming back to party with us.”

5th June 2025

Adlib Completes its Role in the Major Refurbishment of Glasgow’s Citizens Theatre

UK – Adlib has confirmed the completion of the supply and installation of the stage engineering systems for the Citizens Theatre in Glasgow, which is due to reopen in August 2025, with a full season programme launching in September 2025.

Working in partnership with architectural practice Bennetts Associates, specialist technical design consultancy Theatreplan and KIER Construction, the Adlib team is proud to have played its part in the new building which is set to be a vibrant hub at the heart of the Gorbals community.

This ambitious project is the first comprehensive redevelopment of the iconic building since it began life as a working theatre in 1878. The goal has been to ensure that the Citizens Theatre is accessible to everyone, while retaining its distinct Victorian features.

The technical infrastructure has been designed to support more performances than ever before and to meet the needs of a new generation of modern theatre-makers. Adlib has collaborated with delivery partners and manufacturers to provide a range of new and upgraded structures and capabilities including a new counterweight flying system, updated motorised and fixed lighting positions throughout the auditorium, a rigid safety ‘iron’ curtain and an adaptive stage floor to accommodate diverse performance requirements.

Mark Taylor, applications engineer and project manager, Adlib, comments: “Working with a Victorian theatre presents a unique set of challenges and I’m proud of what we’ve achieved together across the wide-ranging teams involved in this project. We’re looking forward to seeing how performers and audiences respond when the theatre opens later this year.”

Graham Sutherland, technical director, Citizens Theatre, comments: “Adlib has been an outstanding partner throughout this complex and ambitious redevelopment. Their collaborative approach, technical expertise and attention to detail have been invaluable in helping us realise a modern, flexible stage infrastructure that meets the needs of today’s theatre-makers. What makes a truly great delivery partner is not just the ability to meet a brief, but to engage with the spirit of the project and Adlib has done exactly that.” 

5th June 2025

Martin Audio and TiMax team up to take TED Theatre into new immersive dimension

Canada – For one memorable week each year a wing of the large Vancouver Convention Centre event space transforms into the custom-built 1,200-seat TED Theatre which hosts powerful, high-profile talks aimed at driving meaningful change.

As the non-profit TED Organisation’s relationship with its current PA supplier was nearing an end, its long-serving and highly experienced audio consultant, Michael Nunan was working on a TED Countdown project in Brussels, alongside FOH sound engineer Miles Barton, another veteran of TED event sound mixing. “We were discussing what PA manufacturer would be a good choice going forwards,” Barton recalls. “I’ve used Martin Audio gear since leaving college 24 years ago and now use it regularly with [Martin Audio rental partner] 22Live.”

He believed the two brands – TED and Martin Audio – would make a good alliance and duly asked 22live director Spencer Beard to make the connection with TED head of production, Mina Sabet. She, in turn, contacted Martin Audio MD Dom Harter and the idea quickly gathered momentum.

Sabet was determined to disrupt the orthodoxy when it came to audio projection. “There's a level of perfection and excellence that we look for and a very specific sound. I want speakers to be very ‘present’, as if they’re standing in front of you, something very different from a corporate event. And for performances and music we really want an immersive space, so that attendees would feel a deep sense of connection with both the speaker and the room.”

This was a challenge that Dom Harter readily embraced. “Miles had recommended our optimisation as a tool to improve TED broadcast quality by reducing spill from the PA. At that point we introduced Simon Honywill to design and spec it, and upgraded it to a TiMax spatialisation platform.”

Honywill himself said: “I was thrilled, as I’ve been a long-term advocate of all things TED related, having worked on a TED Global event back in 2013 and even delivered my own TEDx talk.

Another bonus was the fact that this was to be in their own portable auditorium, made entirely of sourced Douglas fir trees that has been reused annually since 2014 when it was originally designed. “This made it a really beautiful environment to work in,” said Simon Honywill. “It’s the reason I really wanted to go to town on the design, because while most of the output is speech, video content, audio bumpers and live music also play a major part.”

Simon Honywill knew that by incorporating fellow Focusrite Group sister brand, TiMax into his design, a spatialised solution would enable seated audiences of up to 1,200 people in the auditorium to receive the sound naturally at their seat rather than it appearing to emanate from a loudspeaker.

For the designer, the challenge as much as anything was the fact that he would be liaising with Nunan, Sabet and Martin Audio integration partner Alford Media remotely from his base 4,600 miles away. He was also acutely aware that aside from the live audience, TED would want to deliver a pristine broadcast feed on its streaming platform for its many subscribers.

Honywill developed the workflow, creating a sound system model and transferring designs created in Vectorworks to SketchUp and then importing into Martin Audio’s proprietary DISPLAY3 before handing over responsibility to Eric Faulk at Alford Media for implementation. “The model actually looked great,” he smiles. This enabled him to send comprehensive and immersive delayed sound to both surround and overhead speaker locations.

Five hangs of WPS line array were positioned in an arc – the three centre hangs with 11 elements deep and the two outer hangs with nine deep – making 51 fully-optimised boxes in total. These were supported by a central array of ten SXC118 cardioid subs.

The main surround rear speakers comprise four hangs of four Martin Audio TORUS horizontal arrays, with FlexPoint 12 high performance coaxial point source boxes enveloping the space and distributing all the overheads to create full immersion in an object-based scenario. Subwoofers for surround comprised of SXH218 below the TORUS arrays.

To optimise the implementation of TiMax SoundHub distribution matrix, Simon Honywill worked closely with TiMax co-founder Dave Haydon and senior product developer, Dan Higgott. “With  Martin Audio’s DISPLAY prediction software we could very accurately predict what the sound system was going to sound like. And with the TiMax software we were able to pre-calculate all the level and delay to every element of the system,” said the latter.

“The big difference with a TiMax immersive system such as TiMax is that with TiMax we can calculate the delay times for every loudspeaker and input source back to the position of that source. It allows the perception of the sound system to completely disappear for the audience; if you do it correctly the audience can forget they are listening to amplified sound.”

TED presenters occupy a set position downstage centre for their delivery and the PA is aligned to that. Simon Honywill: “While TiMax handles that elegantly, there was content submitted in 5.1, and between Dave Haydon and I, we came up with a concept whereby there was a kind of generic set of image definitions that spread the 5.1 source out across the system in a very convincing way.

“Michael Nunan was saying that the broadcast feed sounded the best it had ever done.” In fact
he reports that the FOH (and Broadcast A1) team was hearing between 6-10dB less PA in the presenter's headset mic than in the past. “That is, the PA design was very effective at preventing the energy from the house spilling back onto the stage,” he says, giving it further context.

Both Nunan and Martin Audio’s Brad Stephens also emphasised the importance of having a sound system “that doesn’t put audio where it’s not wanted.” Said Stephens: “With the sound optimised for the room we can define coverage from front to back and exclude areas, either by ignoring them or actively excluding them with the Hard Avoid [feature].” This was particularly appropriate for the stage area, an attribute also highlighted by Mina Sabet.

Reflecting on the fit-out, she said: “What sets this experience apart is that Martin Audio has been really focused in making the venue deeply immersive in a way that we haven’t experienced before at a TED conference. And in that respect TiMax is unmatched. The partnership between Martin Audio and TED is taking us to another level of audio that we never thought possible.”

Michael Nunan agreed. “Previously it has been unavoidable hear the voice coming from the loudspeaker that I am sitting closest to. But the first time we put up a microphone on the stage this year the big, distributed Martin Audio PA was effectively transparent. It has completely changed their approach to pathways and how to manage the show in a single workflow. Using TiMax SoundHub creates enormous operational efficiencies.”

In summary, Mina Sabet said: “What I'm very impressed with is the time, energy, thoughtfulness and expertise that the Focusrite Group has brought to the event. They really came through, in what was a complicated set-up. I know Michael Nunan was thrilled, and very excited about the potential.”

Next year will be the TED Conference’s 12th and final year at the Vancouver Conference Centre before relocating to California and she is confident that the sound will make a further quantum leap. “I’m really excited about the future and the opportunity to make it even more immersive,” she exclaimed. “The potential is amazing, and I further expect to be blown away in year two.”

3rd June 2025

How SP helps level-up game day entertainment for the Anaheim Ducks

USA – Immersive technology specialists, Quince Imaging, recently partnered with professional hockey team, the Anaheim Ducks, to install a permanent, projection-mapping solution at their Honda Center home arena in Anaheim, California. The installation aimed to enhance the Ducks’ fan experience through engaging, interactive visuals, especially during half-time breaks. At the centre of this project is Stage Precision’s SP software, which plays an integral part in Quince Imaging’s production workflow, allowing for precise tracking, calibration and real-time data integration.

“We’ve worked on various types of tracking and motion systems over the years,” says Eric Gazzillo, vice president of innovation at Quince Imaging. “Integrating SP by Stage Precision was a turning point. It’s faster, more intuitive and allows us to automate complex workflows. This is the system we’ve been waiting for and the tool that brings everything together.”

Coinciding with major infrastructure upgrades at the Honda Center in anticipation of the 2028 Olympic Games, the Ducks aimed to elevate the matchday experience through a combination of projection, lighting design and data-driven visuals. The arena was fitted-out with a powerful laser projection mapping system, comprising 12 Christie Griffyn 4k50-RGB projectors, Mystique Pro Venue Edition software and an automated rigging system.

Quince Imaging introduced a custom-built interactive game called “Frog Dash”, intended to run during intermission breaks. It relies on player motion capture and ID tag tracking to create a real-time gaming experience. With the Ducks looking to integrate more sponsorship-driven content and immersive digital storytelling throughout the season, a scaleable and responsive technology platform was essential.

“This was about more than putting images on the ice,” continues Gazzillo. “It was about designing a system that could evolve with the needs of the Ducks’ production team, not just a one-off show, but a foundation for creative growth.”

Although Quince Imaging had executed similar activations in the past, the integration of SP from Stage Precision marked a new chapter. The team had been exploring various options for years, seeking a solution that could unify their diverse requirements and technologies under one platform. That search led to conversations with Tony McIntyre at Stage Precision, whose insights into the software’s capabilities sparked immediate interest.

“We’d tried a few other systems,” recalls Gazzillo. “Stage Precision stood out. After several conversations with Tony, it became clear this was the right time to bring SP into the fold.”

For the Honda Center activation, SP served as the crucial connector. The software facilitates communication between multiple hardware and software platforms, including an array of OptiTrack motion capture cameras, Pixera media servers for content playback and the game engine that powered “Frog Dash”.

“Stage Precision is our Swiss Army knife,” confirms Gazzillo. “It sits at the centre of the operation, managing data flow between the tracking system, game engine and media servers. We use active ID tags on players, and SP handles the entire data communication network, from camera calibration through to real-time adjustments.”

The calibration process itself was notably efficient, utilising wand-based techniques that allowed the team to fine-tune alignment across the entire arena. SP enabled real-time control over tracking and frame synchronisation, eliminating the need for separate systems to handle different elements of the process. With latency and responsiveness playing a critical role in gameplay, this unified approach ensured flawless operation throughout the activation.

“Being able to adjust tracking and processing frame-wide in SP was a major step forward,” says Gazzillo. “It meant we could streamline post-processing and reduce any lags. Everything was smoother, quicker and more precise.”

Compared to other platforms Quince Imaging had used in the past, SP provided several unique advantages. The ease of calibration, integrated data handling and real-time data visualisation stood out. Unlike fragmented systems that required constant data transfers between platforms, SP offers an all-in-one environment where calibration, control and execution can be managed effectively.

“Other systems can do parts of what SP does, but not in one cohesive package,” continues Gazzillo. “With SP, we’re not just improving performance, we’re gaining back creative flexibility. We can swap players and tags mid-game, run events back-to-back, and rely on SP to keep everything aligned without missing a beat.”

The SP team also provided dedicated support throughout the project, offering a direct Slack channel where Quince could troubleshoot in real time and receive guidance as required.

The installation at the Honda Center was completed in just four weeks, a tight time frame for deployment made possible by Quince Imaging’s experience and SP’s efficient calibration and control tools. The result was a successful launch on opening night, with dynamic visuals, real-time stat integration and the successful execution of the “Frog Dash” mini-game. The Ducks’ production department, led by Peter Uvalle, played a key role in rolling out the permanent solution, working alongside other technology partners such as Related Grey and Sexy Lites to deliver a truly special matchday atmosphere.

The Anaheim Ducks have already requested new interactive concepts for future matches and Quince Imaging views the installation as a clear success, with plans to expand the system's capabilities and integrate SP into more venues and activations moving forward.

“This is just the beginning,” concludes Gazzillo. “The Ducks want this experience at every home game next season, and we’re excited to keep pushing what’s possible with SP.”

3rd June 2025

ORIA Integral Part of ‘Unique’ Immersive Whale-Watching Experience Room

Argentina – A brand-new immersive sound experience has opened recently at Punta Ballena, a leading whale-watching centre in Puerto Pirámides. The set-up in the experience room uses Dolby Atmos technology with Audient ORIA at its heart and introduces a new, innovative dimension for tourists visiting the centre.

“It allows visitors to immerse themselves in the ocean’s soundscape and gain a sense of what it feels like to be a whale,” explains marine biologist and diver Gonzalo Bravo, a member of the team. “It offers a unique sensory journey that helps participants understand how whales communicate and interact. This experience complements the company’s traditional whale-watching tours, providing an even deeper connection to marine life.”

The immersive experience room is a specially designed space located next to the café where visitors either wait to board their whale-watching tours or relax afterwards. With enough space to accommodate 15 people, the room offers visitors the chance to bathe in an uninterrupted eight-minute sound piece about whales, before or after boarding the boat to see the real thing.

The audio equipment was specified and installed by sound engineer and immersive audio connoisseur, Fernando Richard. It comprises 11 Kali Audio LP6 monitors, an EVE Audio TS108 Subwoofer and the ORIA immersive audio interface and monitor controller. He described ORIA as “the obvious choice for the project” citing “ease of integration, calibration and set up” as well as its compatibility with both Windows and iOS computers.

Fernando has a strong background in immersive audio. The first to install a Dolby Atmos approved music studio – Immersive Audio Solutions (IAS) – in Buenos Aires, he went on to design the Atmos studios at Casa Frida and the Escuela de Música Contemporánea, where he also teaches music production.

Yet developing this listening room was quite a different task. “You don’t have a specific sweet spot which faces the front. People are going to be standing or sitting in different parts of the room,” he explains, describing it as a 360 room rather than a traditional Dolby Atmos studio. “The other thing is that the acoustics are not like those in a studio. It’s more like a living room or a home theatre, so I needed to be very careful with the low frequency calibration.”

Having got the room set up correctly, it was important that the system was easy to use for staff at the centre. With approximately 60 people passing through the café every 90 minutes, and up to five tours taking place daily, there is no time for technical hitches. Fernando is confident that everybody working at Punta Ballena is conversant with the audio system. “It is very easy to use. ORIA has the calibration curve and profile. I also made different templates for different DAWs, they can install the ORIA software on any computer, open the profile and all the calibration is ready!” he says. “Luckily the staff was eager to learn about the system and did an incredible job.”

The British audio interface and monitor controller continues to feature on Fernando’s spec list. “ORIA is perfect for this kind of immersive installation, you don’t need complicated I/O configurations. Just position the speakers, run the cables, connect the outputs of the ORIA to each speaker and from your DAW route the output to the speaker you want.” Job done.

After setting up and testing the system, Fernando was really impressed with his private immersive sound experience. “It’s awesome,” he says. “It’s like being underwater with the whales. For anybody that takes the boat tour and sees the whales from the surface, a visit to the immersive room will make the experience complete.”

The sound experience itself was conceptualised by the team at OCEANAR, whose core mission is to create projects that inspire reconciliatory experiences between humans and nature. With biologist and artist Candelaria Piemonte as creative lead, the sound design – local whale sounds recorded by Claudio Nicolini coupled with music by Juan Meisen – was produced and mixed by Mariano Cukierman.

Gonzalo describes how the sound experience is beneficial to guests. “This combination creates a meditative atmosphere, fostering a deep connection with the marine environment. While it is not confirmed if this experience is entirely unique to Argentina, it is certainly a remarkable feature for the Patagonia region. The immersive sound experience has been reviewed by experts in music and marine science, who have praised its potential to inspire meditation and a profound sense of connection to the ocean.”

Punta Ballena has 40 years’ experience developing whale-watching tourism along the Península Valdés stretch of coastline, also a UNESCO World Heritage site. Promoting responsible and respectful whale-watching practices, the company incorporates marine biologists into its team to help raise awareness about marine conservation and the importance of protecting the oceans.

The technical aspects of the project were overseen by Audient’s partner in Argentina, Planeta Analógico’s Daniel Paracha. 

2nd June 2025

EM Acoustics sponsors Longplayer listening post upgrade in its 25th anniversary year

UK – At midnight on the 31st of December 1999, Longplayer, a 1000-year-long piece of music composed by Jem Finer, began playing. This year, British manufacturer of professional loudspeakers, EM Acoustics sponsored the project, donating loudspeakers for a sound system upgrade at Longplayer’s Trinity Buoy Wharf Lighthouse listening post, where it has been playing for the last 25 years.

“Many within the music industry remember Longplayer as part of the millennium celebrations back in 2000,” says Greg Clarke, brand manager at EM Acoustics. “Twenty-five years later, we are thrilled at the opportunity to sponsor this project, which is truly an expression of human and artistic legacy across space and time.”

“Working with EM Acoustics on this new spatial listening post for Longplayer at the Lighthouse has been a real pleasure,” says James Bulley, Longplayer Trustee. “The EMS-51s provide the perfect balance of clarity, discreteness and high-quality manufacture. From all at the Longplayer Trust, we are extremely grateful to EM Acoustics for collaborating with us on this project.”

Now celebrating its first quarter-century milestone, the Longplayer Trinity Buoy Wharf listening post recently upgraded the sound system in its public listening area, which is open to visitors at weekends. Ten EMS-51 series loudspeakers from EM Acoustics are installed throughout the room to reproduce, with perfect clarity, the ancient sounds of Longplayer’s singing bowls. The extremely compact nature of the EMS-51s, coupled with their true passive design, provides discreet yet exceptional audio that truly captures the intricacies of the 1000-year-long composition.

“As always, we’re delighted to be involved with initiatives that leave a meaningful legacy,” confirms Clarke. “We thank Longplayer for their work and the Trinity Buoy Wharf Trust for their support in helping to organise the upgrade.”

photos: Kristian Buss

30th May 2025

Elevated sound with a riverside view at London’s 12th Knot Rooftop bar

UK – 12th Knot, the rooftop cocktail bar at the riverside Sea Containers Hotel, is known for its stunning city views and upscale atmosphere in a prime location on the South Bank. When the time came to upgrade its audio system, the hotel turned to its trusted technology partner, Tateside, who already provides managed AV services across various areas in the hotel. The client envisaged a new audio solution that would complement, rather than compromise, the carefully curated ambience of its popular rooftop destination.

“We’ve worked on projects throughout the Sea Containers hotel for a long time, including the cinema, background audio systems and the event space,” says Jack Cornish, technical director at Tateside. “When it came time to upgrade the 12th Knot bar, they trusted us to deliver something special.”

The existing audio system at 12th Knot was no longer meeting the evolving needs of the space. Over time, its coverage had become inconsistent, with components frequently being moved to accommodate different events, ultimately detracting from the overall aesthetics of the venue. The client approached Tateside with a clear goal: to modernise the system, improve coverage across the entire bar and make the set-up more discreet and better integrated with the surroundings.

“The system wasn’t doing what it needed to anymore and people were unplugging it or shifting things about,” continues Cornish. “It was time for a proper upgrade and 1 Sound stood out as an ideal solution.”

Tateside designed a new sound system from the ground up based around 1 Sound loudspeakers to address both technical and aesthetic concerns. In the interior bar area, the team installed twelve 1 Sound C8i coaxial 8-inch and two C4i 4-inch loudspeakers, chosen for their small form factor and exceptional sound clarity. For the low-end, six 10-inch SUB310s, also from 1 Sound, are flown out of immediate sightlines, further preserving the all-important look and feel of the space. With triple 10-inch subwoofers, the SUB310s offer similar performance to larger models, but with a much smaller footprint. Tateside commissioned bespoke metalwork to secure this new loudspeaker system. Two additional 1 Sound C8i loudspeakers for monitoring are installed in the DJ booth, which plays host to DJ sessions every weekend.

The previous installation had placed all amplification and processing equipment in a storeroom, which led to significant overheating issues. To solve this, Tateside undertook a complete cabling rerouting, running all cabling to a nearby communications room, alongside a full backend overhaul. This included the installation of a Q-SYS Core processor for flexible and intuitive signal processing and audio networking on a Dante network, alongside Powersoft Unica amplifiers, which provide scaleable amplification to drive the new audio system. A Netgear managed switch takes care of advanced signal management. Day-to-day system control is via a wall-mounted QSC touchscreen controller and simplified Pragma Someo PoE wall controllers, giving 12th Knot staff accessible control of source selection and music volume.

“The original rack location just wasn’t working. It was way too hot, which affected performance. We moved everything to a nearby comms room and started afresh,” says Cornish. “This gave us a reliable, scaleable foundation.”

The installation faced several logistical challenges, particularly around working hours and preserving the bar’s daily operations. Every day, ceiling panels had to be carefully removed in the morning to access cabling routes and loudspeaker locations, with everything needing to be put back into place by late afternoon so that the venue could open as usual in the evening. This extended the project timeline significantly and required careful daily planning and co-ordination. Furthermore, throughout the project, parts of the old AV system needed to remain operational in order to keep the venue functional. Therefore, changeover dates had to be carefully planned to minimise disruption.

“It was important for us to commission something that just works, something high-fidelity with great coverage and a system that is intuitive for the team to use day in, day out,” continues Cornish. “This wasn’t a small job. It was a fair investment from the client and we needed to get it right, visually, sonically and operationally. We wanted to give them the best system they could have.”

For Tateside, the 12th Knot upgrade represented an opportunity to showcase the company’s full range of skills, from technical design to professional installation, whilst facing significant time constraints. “We’ve been working with Sea Containers as a client for a while now, and this project represented the next evolution in our long-term relationship,” confirms Cornish. “We’re really pleased with the result and the opportunity to showcase these high-end audio products along with our own expertise and skills.”

29th May 2025

Shimokitazawa ReG celebrates 15th anniversary with a brand-new Quantum 338

Japan – Shimokitazawa ReG is a livehouse, or music venue in Shimokitazawa, Tokyo, close to Shinjuku and Shibuya districts. At 230-capacity standing, Shimokitazawa ReG is an intimate venue, which only enhances the excitement of seeing some of Japan’s brightest independent bands there. The PA has been designed to be felt as well as heard, in a full mind-body experience. To deliver that feeling, the mixing console had to be a DiGiCo Quantum 338 supplied by Hibino, DiGiCo distributor for Japan.

The venue’s size ensures that every audience member has a perfect view of the stage, but it also means that every piece of equipment must earn its place and be of the highest possible quality. The venue opened in 2010 with a DiGiCo SD8, which has provided excellent service and has been enjoyed by musicians and staff alike for the last 15 years. When the time came to update, the choice was not made lightly. Miyuki Tanifuji has worked as front of house engineer for Shimokitazawa ReG for the last 13 years and explains how, by choosing the larger DiGiCO Quantum 338, she is able to prepare for the future, as well as serve the bands and audiences of the present.

“I had been working with SD8 for a long time and was completely used to the three banks of 12 faders layout,” Ms. Tanifuji recalls. “I felt that I couldn't go back from that number, so I knew that a DiGiCo Quantum console would be ideal. I thought it was a bit over-specified for the size and scale of the ReG, but I decided on the Quantum 338 because I thought it would be best suited to any situation.”

The Quantum 338 boasts 128 input channels, 64 aux and a 24 x 24 full processing matrix. The seventh generation FPGA chips ensure ultra-fast processing and super smooth workflow, ideal for venues like Shimokitazawa ReG that are working to strict time constraints with packed schedules and nightly changes. The console’s Dark Mode also ensures that during show time, the console isn’t a distraction. 

The venue has a reputation for offering an excellent experience for music lovers; it sounds fantastic, the acoustics are great, there are no pillars to block views and the team has carefully chosen the very best lighting, sound and video equipment for the space. The area is well known for its laid-back vibes, youth culture and music scene, so this approach has appealed to the discerning audience. It is a place to experience the very best and most cutting-edge performances from up-and-coming Japanese bands.

Choosing the Quantum 338 was a culmination of all of these factors, and not just the channel count or features. Ms. Tanifuji also appreciates the clarity of the set-up, thanks to the SR rack’s high resolutions input/output module cards. Within the anniversary upgrades, ReG has also installed the SD-Rack, with 32-bit input/output card modules. The higher resolution modules have had an impact on the sound quality, and Ms. Tanifuji was able to hear the difference in clarity instantly.

“The sound is clear, all the way down to the smallest detail. We get a large variety of acts performing in the venue, so the flexibility and clarity is really important.” she concludes. “The Quantum 338 is just as easy to operate as the SD8, and it has more functions than the SD8, so I'm looking forward to using it more in the future.”

photos: Hibino Corporation

28th May 2025

ORIA: “The Answer to All My Questions” for Dolby Atmos at Home

The Netherlands – “ORIA is at the heart of my studio. It’s on for some 20 hours a day and works flawlessly,” declares musician, composer, recording and mix engineer Bert Smorenburg. He runs his successful Atmos for Music business from this studio which is located at his home.

Based in Rotterdam, Bert has been in music his whole life, but it was in the last four years that he caught the Dolby Atmos bug. “I started really studying it and I thought ‘this is what I want to do for the rest of my life’.” After making this groundbreaking decision, the idea to design and build his own 7.1.4 Dolby Atmos music production studio made perfect sense to him.

With a clear idea of what his core business was going to be – music production, mixing in stereo, 5.1 and Dolby Atmos, programming, composing and gear reviewing – it was important that it was all going to be possible from this one room. Once he’d earmarked the space at the back of his house, Bert was a man on a mission. “I designed it from the ground up, then I had it built,” he says. Once the construction was complete, the next stage was perfecting the isolation. Air conditioning was installed on a separate electricity circuit then the room needed treatment. “The room is relatively small, so it was pretty tricky.”

It all came together well, and the studio has now been up and running for a year and half. ORIA arrived at just the right moment for Bert, who talks about his search for an audio interface/monitor controller. “There really isn’t much choice, especially not in this price range. The other two options are much more expensive. The alternative way is to improvise a set-up and measurement with whatever you can find. ORIA certainly did come at the right time, and literally did everything I needed it to.”

This included connectivity with his large collection of hardware. Utilising ORIA’s ADAT inputs with a smart analogue to ADAT mixer means his synthesisers can all be plugged in. The sound quality of the ORIA itself is also something he highlights. “ORIA sounds incredible. I use the mic pres a lot for bass or vocals. The headphone amps sound amazing.” 

He describes the integration of Sonarworks’ SoundID Reference into ORIA as “a match made in heaven. I suddenly had a small but very efficient production room completely configured and calibrated for Dolby Atmos!” Bert’s ears might just be tinged with gold, as he is confident he knows what a good room sounds like. “In my previous studio it took about a year before I could really hear what I wanted to hear. This current studio has been great since the room calibration.” He adds, “I can tell things are working fine because I can be here for ten hours and not get exhausted.”

This is no bad thing for Bert as he’s got a lot of work coming in. “After ten years of working for TV, commercials and films, I am happy to say that I have been getting back into music production. At the moment I’m writing for a star musical artist Willemijn Verkaik, mixing music for several clients, working on a classical orchestra that I recorded in immersive, programming the intro music for a tribute band called Queen Must Go On and writing reviews for Interface magazine. I’m also preparing for a Dolby Atmos masterclass I’m running in the world-famous Wisseloord Studio, using ORIA obviously.” 

27th May 2025

Morrison Heights Baptist Church Updates Entire Audio Ecosystem with DiGiCo, KLANG, and Fourier Audio

USA – Morrison Heights Baptist Church is everything you’d expect from its name: theologically conventional and traditionally oriented. But while the church’s services tend towards the expected, there is a refreshingly current take underlying it. Their otherwise conventional worship style, complete with an instrumental mixture of traditional orchestra and modern band, has a state-of-the-art technical foundation.

That technical underpinning just became even more modern, thanks to the integration of an array of technology platforms from DiGiCo, KLANG and Fourier Audio. Installed by Franklin, Tennessee-based Integrated Production Solutions (IPS), the church now has a pair of DiGiCo Quantum338 consoles at front of house and broadcast, Fourier Audio transform.engine plug-in interfaces seamlessly integrating and enabling the use of any VST3 plug-in within the audio workflow and a KLANG:konductor paired with 16 KLANG:kontrollers to provide a comfortable yet completely new immersive in-ear monitoring experience onstage for its worship team vocalists and musicians. In addition, the DiGiCo consoles are each fitted with the new Pulse upgrade, which takes their capacity from 128 channels to 156 and from 64 aux/sub groups to 72.

Wade Russell, IPS executive director of integration, says he and Morrison Heights Baptist’s director of media and technical ministries, Eric Busby, have been working together for over a decade, helping the church walk the critical line between being at the leading edge of audio technology without going into the “bleeding-edge” zone, which brings with it a higher level of training and operational intensity.

“It’s one of those situations where you want to be on the cutting edge, where the customer is one of the first ones who has a new technology, and but not where they have to say, ‘Great! I hope it works’,” quips Russell. “That’s why this combination of systems was such a good fit for Morrison Heights, the technology is right at the edge and can do a lot, but it’s all centred around the DiGiCo consoles, which bring a high level of recognition and trust. You’re at the leading edge, but you also know it’s all going to work well together.”

Russell adds that the Pulse upgrade was timely, allowing the consoles to better accommodate the more-elaborate event productions the church does at Christmas, Easter and other times. The transition from an older IEM monitoring platform to KLANG matched that, allowing virtually everyone on stage to have complete control over their personal monitoring environment, delivering 16 immersive mixes and processing up to 128 input signals at up to 96kHz with an internal processing latency of less than 0.25ms. “The KLANG:kontrollers fit their needs perfectly,” he says. “Eric was like, ‘I have all these hands-on mixers that my people have been used to and I can’t imagine going away from something that’s a tactile mixer to just an iPad. I need the physical knobs and controls.’ So I pointed the KLANG:kontroller out to him and it fit the bill perfectly.”

In addition to audio, Busby has a significant background in IT and he says the combination of the three brands into a single solution resonated for him in that manner. “First, we’re getting proven technology that’s at the leading edge of where the industry is,” he says. “Then, it’s all consolidated into a single integrated solution that makes it easier for me to manage. As an IT person, that means a lot to me. When you have several different platforms from different manufacturers, it’s not unusual in tech for one to blame the others when things won’t work together like you want them to. With DiGiCo, KLANG, and Fourier Audio, I get all the support I need from a single source. It makes everything so much smoother.”

He also notes that the KLANG:kontrollers have made things smoother on stage for the musicians as well. “Having a hardware interface, the ability to simply reach for a knob instead of an iPad screen when you’re trying to play and work other aspects of your rig makes it so much easier,” he says.

Busby has been a longtime Waves user; however, moving to Fourier Audio has been a rewarding paradigm shift for him, allowing seamless integration of his plug-ins into the consoles via the transform.engine. “We have two transform engines: one driving in-room FOH plugins and another for broadcast plug-in needs,” he says. “This gives us a lot more customisability between our broadcast world and FOH.” Russell confirms that Fourier was the right choice, adding: “Eric texted me a couple of months ago and said, ‘Tell all your clients that if they’re considering anything else, they don’t know what they’re missing!’” An opinion that is shared worldwide with audio engineers.

As well as all of this new technology did fit together, it was still a lot of ‘new’ to arrive all at once. Anticipating that, IPS assembled the entire ecosystem in its Franklin facility, giving Busby the opportunity to familiarise himself with each component and the system as a whole, off-line and without the pressures of having to first encounter it in the church.

“We’re a design-build integration company; we shop-build and test all of our systems in-house to make sure everything’s perfect before we deploy it,” he says. “It saves a lot of time on site and just makes sure that we have all the components needed and everything’s operating by doing our own QC. As part of that, I reached out to Eric and had him come up to our facility and load a session that he’d built and start getting familiar with it, running some tracks through a small PA in our shop and being hands-on with it. That way, he was not having to learn the console the week we installed it. We also brought in DiGiCo national sales manager Ryan Shelton, who lives nearby in Nashville, who came up and answered any questions Eric had. It’s really valuable to have that level of manufacturer support, as well as be able to learn the systems and how they work – and work together – in an environment completely free of pressure.” 

27th May 2025

HD Pro Audio Empowers Sadler's Wells Theatre with Cutting-Edge Sound Monitoring

UK – HD Pro Audio, a leading supplier of professional audio, video and lighting solutions, has provided Sadler's Wells Theatre with the advanced 10EaZy sound level monitoring system. This significant integration equips the brand-new dance theatre with state-of-the-art technology to meticulously measure and manage sound pressure levels.

Sadler's Wells, a renowned London-based dance organisation with a rich three-century history, is celebrated for its dedication to showcasing diverse dance forms and nurturing artistic talent across its venues, including the flagship Sadler's Wells Theatre in Angel, the Peacock Theatre in Holborn and now, the newly unveiled Sadler's Wells East in Stratford.

By implementing the 10EaZy system from HD Pro Audio, Sadler's Wells Theatre reinforces its commitment to both regulatory compliance and the well-being of its audiences, performers and staff. This sophisticated technology offers real-time insights into sound levels, enabling the venue to proactively maintain a safe and enjoyable environment for everyone. By precisely controlling sound output, Sadler's Wells Theatre can ensure adherence to local noise ordinances while prioritising hearing protection, ultimately fostering a fun and responsible atmosphere for all.

This strategic investment in advanced sound monitoring positions Sadler's Wells Theatre as a forward-thinking venue, demonstrating a clear commitment to the health and safety of its community while embracing cutting-edge technology to enhance the overall audience experience.

Tom Martin at HD Pro Audio commented: "We are thrilled to partner with such a prestigious and forward-thinking institution as Sadler's Wells Theatre. The 10EaZy system is designed to provide unparalleled accuracy and ease of use in sound level management and we are confident it will be an invaluable asset in helping Sadler's Wells Theatre create exceptional and safe experiences for all who pass through its doors."

A member of the technical team at Sadler’s Wells said: “We’re delighted to work with HD Pro Audio and 10EaZy at Sadlers Wells. Having an accurate and reliable measurement system ensures safe and enjoyable performances for our audiences and lets our team concentrate on delivering outstanding shows.”

photos: Philip Vile

23rd May 2025

Montpellier Events chooses Robe

France – Montpellier Events is the management company for The Corum Congress Centre – Berlioz Opera, a major event complex located in Montpellier, in the south of France. The venue hosts over 300 professional events each year including congresses, exhibitions, corporate events and conventions, as well as live performances.

Equipped with three auditoriums – Berlioz Opera, Pasteur and Einstein – the venue has recently invested in Robe moving lights. In total, 46 T1 Profiles, 20 T1 Fresnels, 12 ESPRITES and ten FORTES were supplied by Texen, a specialist in production technology integration and sales.

The 12 ESPRITES are permanently installed on the advanced catwalk of the 1,995-capacity Berlioz Opera auditorium. They throw light over a distance of approximately 30 metres to the stage and are used for front and keylighting.

Built in 1990 from pink granite and metal, the venue hosts both entertainment events like concerts, operas, dance performances and one-person shows and professional gatherings such as congresses, conventions and gala dinners. Since opening, it has also served as a regular performance venue for the Opéra Orchestre National de Montpellier. Shows staged there are renowned for their high production quality and the auditorium is acclaimed for its exceptional acoustics.

Eighteen of the T1 Profiles are installed in the Pasteur auditorium (745 seats), while the remaining units are deployed on stage as needed.

Christophe Mora is the lighting manager at The Corum. He has worked there for five years in this position and before then worked as a freelance lighting technician for 20 years, both in France and internationally. He was hired for his expertise in moving lights and modern lighting systems, with the mission of guiding a smooth transition to LED technology, now mandated by French regulations.

The replacement of older moving lights began in 2020. Christophe carried out this mission with Philippe Pujol, a lighting expert who has been working at The Corum for 20 years and has in-depth knowledge of the venue’s production requirements, configurations and technical practices.

The two most important criteria in selecting these new lights were silent operation (a must for the Berlioz Opera auditorium, which hosts many opera and classical music performances) and colour rendering.

Several brands were evaluated. Christophe and Philippe, together with the full audiovisual team, conducted in-depth tests with each brand and consulted with their regular clients. They also analysed technical riders from hosted productions to identify the most frequently requested gear.

Sandra Vernier, CEO of Montpellier Events trusted her team’s expertise to recommend the most suitable fixtures for the venue’s needs.

“We took all these elements into account,” explains Christophe. “Robe stood out for its low noise levels and excellent colour mixing, which drove our decision. Additionally, we were impressed by the zoom range and the smoothness of the dimming curves.”

He adds: “It was a decision based on technical merit. These fixtures proved to be the best fit for our needs.”

The T1s were also selected for their light weight, making them easier for technicians to handle. All flightcases were customised by Texen, allowing them to be moved easily under catwalks and rigged quickly, saving time and reducing physical strain.

One major challenge in the Berlioz Opera auditorium was introducing these new lights to its many users.

“A lot of people dislike sudden changes,” noted Philippe. “So, we phased them in gradually, taking into account everyone’s needs, from opera technicians to lighting designers and other professionals who are used to specific colour tones and lighting styles.”

The Robe fixtures were delivered in batches by Robe France to Texen.

Now fully installed and in use, everyone is delighted, reports Christophe, adding that Robe, as a recognised brand, carries a strong trust factor.

The arrival of the Robe fixtures has greatly improved how shows and events are lit, as well as the turnaround times between different configurations. Lights no longer need to be dismantled and moved, only the scenery and staging elements are adjusted.

It is now possible to host a plenary congress session in the Berlioz Opera auditorium during the day and follow with a concert in the evening, with lighting that seamlessly adapts to both contexts.

Previously, the Pasteur auditorium required a full day to change over different set-ups; today, just a few hours are enough.

Christophe has been using Robe products since 2007, both in France and abroad, and appreciates their quality and functionality.

“I believe the Berlioz Opera auditorium now has exactly the lighting equipment it needs,” he says, adding that working with Texen – also based in Montpellier – was a real advantage. “The project ran extremely smoothly. They were a fantastic team to work with,” he affirmed.

In fact, Texen established a base in Montpellier as early as 1998 specifically to support The Corum and its three auditoriums. Since then, they’ve handled all technical and stage production needs for the venue, offering expertise, experience and high-quality service.

Today, 90% of the lighting in The Corum's auditoriums has transitioned to LED. A few traditional fixtures remain in the Opéra Berlioz control room, but they’re scheduled for replacement soon.

“The Corum Congress Centre – Berlioz Opera is one of the most important venues in Montpellier and the region. It’s an exceptional showcase for us – and for Robe,” says Nicolas Bellini, sales director at Texen.

His team worked closely with Jean-Marc Farre, regional sales manager for Robe France (Grand Sud area), who helped finalise the deal and adds: “Texen has been an excellent partner for us, on this project and many others involving Robe. There’s a strong synergy between our two companies.”

Jean-Marc highlights the quality and versatility of the three types of Robe fixtures installed, which meet the demands of even the most complex environments, where advanced functionality is key.

Following the installation of the T1 at Berlioz Opera, several other major opera houses in France followed suit, including the Royal Opera of Versailles and the renowned Opéra Bastille in Paris, both of which have also invested in Robe lighting.

photo: Louise Stickland, courtesy Montpellier Events

21st May 2025

Studio Berlin invests in DirectOut Solutions for brand new control rooms

Germany – DirectOut provider of high-end audio solutions for any application scenario has extended its coverage at Studio Berlin, Germany-based studio operation and television production company. Two PRODIGY.MP, one PRODIGY.MX and three ANDIAMO have been installed by Studio Berlin to provide conversion and redundancy solutions for its brand-new control room upgrades in Hamburg. Studio Berlin had previously utilised an outside broadcast truck, but with an increasingly busy schedule and less opportunity for the control room to move, the decision was taken to replace the truck and create two new, permanently installed facilities.

The upgrades provide robust and reliable network conversions between the main Ravenna network and other audio network protocols. Three ANDIAMO units convert analogue signals to digital and vice-versa, while the PRODIGY.MP enables all other conversions. The PRODIGY.MX manages the audio matrix, including radio microphones and in-ear-monitors (IEMs).

Using the PRODIGY.MX for this purpose has improved the studio’s wireless monitoring, allowing the audio team to monitor their radio microphones and IEMs assured of a completely direct signal. This has greatly improved their workflow, as technical manager and overseer of the entire project, Matthias Hitz, explains.

“The receivers for the radio mics are not based in the studio, they are in the tech room, where it is clean and cool,” he says. “The antennas are connected to the receivers via the fibre network and we use globcon with a small tablet so we can pre-listen to the system.”

The Hamburg Studio is predominately used for light entertainment broadcasting and is famous for quiz shows like Gefragt-gejagt (Asked – Chased), Wer weiß denn sowas? (Who knows something like this?) and Quizduell Olymp.

Microphones are primarily used for speech, while IEMs are essential for presenters and hosts. Guaranteeing an independent, clean, direct signal for remote monitoring is not always simple with digital radio microphones and personal mics, which are susceptible to damage and interference, so reliable monitoring is critical for technicians. Issues are also time critical, so problems must be identified and fixed quickly to ensure hosts can stay on camera and filming stays on schedule.

“The audio technicians need to hear exactly what’s going on with the wireless microphones,” Hitz explains. “Issues can come from any point in the signal path, so it’s important to be able to hear just the radio microphone, before any processing is added by the main console. The new system is very powerful and the technicians like it because it is completely intuitive; they see it once and they know what to do.”

The technical room is also home to the two PRODIGY.MP delivering audio conversions. The studio operates on a Ravenna Network, so for any audio equipment operating with a different network, such as Waves or MADI, the conversion will be made seamlessly.

“We now have two PRODIGY.MP; one in Control Room A and one in B,” Hitz continues. “The DSP functions make our .MP even more powerful. I have used products from the PRODIGY series for many years, both here in our Berlin studio and when working away with our flight-case production units.”

In addition to remote monitoring, technicians can also add equipment to the PA system or the camera intercom system directly with the DirectOut BREAKOUT box. This handy adapter offers analogue or digital connections via XLR or BNC on the front and D-Sub to the rear. It means that the loudspeakers can be re-patched as needed and the camera operators can switch positions easily.

“We’re using the two stage-boxes to convert between our Ravenna and analogue signals, too, plus the PGM audio system for the camera operator’s comms packs. It’s a great solution,” Hitz says.

Overseeing a project of this size and delivering on time and on budget requires a great deal of teamwork and, for Hitz, this was even more important, thanks to the limited time available to complete the project.

“It was a very small window. Our last production under the old system was in May and we opened the studios again in August,” he concludes. “It was a nice project to be a part of and a lot of fun, thanks to the technical support and good ideas from our vendors. Our suppliers were able to ship quickly, so we could build everything and get it tested on time and on budget. DirectOut has delivered a strong system that offers so many options and possibilities, so we couldn’t be happier with the way our new control room is working.”

21st May 2025

WSDG completes acoustic and design upgrade for Hermes Synchron

Germany – WSDG, an architectural acoustic consulting and media systems engineering firm, has completed a comprehensive acoustic design and technical upgrade for Hermes Synchron, one of Germany's most prestigious dubbing studios located within the historic Studio Babelsberg complex just outside of Berlin, Germany. The multi-phase project, completed in October 2024, involved the refurbishment of three post-production studios, each comprising a recording space and a control room, elevating the facility to meet today's most demanding technical standards while preserving the studio's storied legacy.

Founded in 1967, Hermes Synchron has been a cornerstone of the German dubbing industry, providing voiceover services for major international clients including Sony Pictures, Studio Canal, Universal and Paramount. The renovation underscores the studio's commitment to maintaining its leading position in the competitive dubbing market.

Owner and CEO Christian Wunder, who acquired Hermes Synchron in 2015 after previously purchasing RC Production in 2008, recognised the need for modernisation. The first phase of the project included completion of a mixing stage in October 2023, which was upgraded with an Avid S6 console. The main studio renovations were completed in multiple phases, with the first post-production studio finished in May 2024 and the final installation completed in October 2024.

“The technical standards and equipment at the facility were quite dated, so it was a challenge at first,” he notes. “I decided to combine both companies and move them to the same location at Studio Babelsberg in Potsdam, one of Europe's largest and oldest film studio complexes.” Wunder emphasises that the upgrade was very important for business continuity and to futureproof the company, moving it “firmly into the digital world”.

The WSDG design team, led by Dirk Noy (partner, general manager Europe), Joshua Morris (partner, chief operating officer) and Tobias Behrens (partner, senior consultant, authorised officer), focused on optimising sound isolation, ergonomics, aesthetics and acoustic precision: elements crucial for the demanding requirements of professional dubbing work. The project represented a significant technical challenge, as construction needed to be scheduled around the studio's ongoing production commitments.

“It was a very positive conversation,” Wunder recalls of his initial meeting with WSDG. “Dirk saw our facilities and immediately had great ideas, which convinced us to move forward with the project. Around the same time, we also met with Tobias, whose in-depth expertise in acoustics and design perfectly aligned with our vision. From the beginning, we felt a strong connection and had full confidence in the company. Throughout the process, whenever we wanted to include specific elements, we always checked with WSDG because we trusted their expertise.”

The technical design incorporates advanced acoustic analysis, customised surface treatments optimised for voice recording and a symmetrical geometry in the control rooms, which required relocating studio windows. While identical in size at approximately 40 square metres for recording rooms and 15 square metres for control rooms, each studio features distinctive colour schemes to create unique environments.

A particular focus was placed on the precise acoustic environment needed for voice performance. WSDG implemented specialised treatments to enhance vocal clarity while minimising external noise interference. The control rooms now feature Neumann monitors in a 5.1 surround configuration specifically calibrated for voiceover production, with infrastructure in place for future Dolby Atmos capabilities.

“Dolby Atmos: it’s definitely something we may incorporate in the future depending on our needs,” Wunder explains. “Over the past three years, we've only had a handful of requests for Dolby Atmos in television work, but we’re pleased to have the capability available when required. As demand grows, we’re well-positioned to integrate it seamlessly.”

Hermes Synchron worked closely with AV integrator AVS Systems, led by Florian Strucken, who initially recommended WSDG for the project. This collaborative approach ensured that the technical systems aligned perfectly with the acoustic design and operational workflow.

The renovation also addressed contemporary security requirements for high-profile media projects. “These days, there's a bit of expectation from our clients regarding security, so we need to uphold TPN (trusted partner network) standards,” Wunder notes. “That way our clients know that their content is safe on our servers. To that end, we had to install firewalls, alarm systems, CCTV, electronically secure doors, etc. It's a very high standard we have here now, and it’s what clients have come to expect.”

In an industry increasingly concerned about AI disruption, Wunder sees maintaining exceptional quality as essential to the studio's future. “With the emergence of AI, I think it's very important for film and TV makers, not just in the dubbing industry, to keep the standard very high, so that we make it difficult for AI to replace us,” he emphasises. “Dubbing with AI is expensive, takes much longer, and the quality isn't as high.”

The completed renovation has already received enthusiastic feedback from both clients and talent. “Our sound engineers are very happy, as are the dubbing actors, which is very important for us to achieve good quality dubbing,” Wunder reports. “They all love the atmosphere and love to work here. We are very happy with the result: the design, the acoustics. It was a fantastic collaboration, and I would highly recommend WSDG without hesitation.”

Wunder particularly valued the consultative approach WSDG brought to the project. “We are a people business and I like Dirk, Tobias and Joshua very much. Straight away you get the feeling that they really know what they are talking about,” he continues. “Whenever I came to them and asked if there is any possibility to do things more cost-effectively, they were always happy to try it. With WSDG, I always felt like we were getting good value, and that it was a very open, fair and honest collaboration.”

“This project was a true collaboration, and working alongside Christian, Florian and their teams was an incredibly rewarding experience,” concludes Noy. “Christian had a clear vision for the future of Hermes Synchron, and Florian and AVS Systems played a crucial role in ensuring the technology seamlessly integrated with our acoustic design. Together, we worked to honour the studio’s rich history while equipping it for the demands of modern dubbing and post-production. Seeing the enthusiasm from both the technical team and voice actors affirms that we’ve created a space that not only meets the highest professional standards but is also a joy to work in. It was a privilege for WSDG to contribute to such an iconic venue.”

20th May 2025

McGettigan’s partner with Marriott … and Martin Audio in Dubai

UAE – The McGettigan's Irish Pub franchise continues to expand across Dubai, but its latest bar and restaurant, situated in the Four Points by Sheraton Production City, is the first to be located within a Marriott-owned hotel property. 

Set within this growing production hub it will serve the community of media-based businesses who are resident there. Also based at Production City are Martin Audio’s distributor for the UAE and GCC region, PRO LAB LLC, which will be able to use the venue as a showcase for the supported system integrators, Exacting Diseno Technical Services (specialistsin the leisure hospitality sector) helping to recommend appropriate sound reinforcement solutions across several ranges in the loudspeaker manufacturer’s portfolio.

Set on a 5,000 sq. ft footprint, the lively bar restaurant offers a haven for business meetings for the hotel residents, transforming at the weekends when the action notches up. DJs perform and the general vibe is one of a sports bar with plenty of screens.

Thus versatility (and the rising tide of ambient sound at weekends) was very much in their thinking when it came to specifying the sound. But PRO LAB knew they were in safe hands with Exacting Diseno. “They are big supporters of Martin Audio, it’s their number one choice, when it comes to specifying sound systems,” stated PRO LAB’s head of audio, Pavel Shemiakin.

“When they started negotiating with the client it was made clear that they wanted a high-performance system – a HiFi sound with plenty of punch – because while it’s mostly playing low level BGM during the daylight hours, it also reverts to a sports bar and has DJ plug-in points. So Martin Audio became the obvious choice.”

The heavy focus is at the DJ position where a pair of CDD12 are mounted, while distributed evenly throughout the venue are a further nine wall mounted CDD6. These are reinforced by four ground-standing Martin Audio Blackline X115 subwoofers for LF extension.

However, the installation company, under the project leadership of Lou Agha, was still far from finished. For the outdoor terrace area they turned to 12 of Martin Audio’s ADORN A55T, supplied with the optional AIPKIT IP44 weatherised cover. This area can either take its source feed from the main room, or operate from an independent input and volume control, ensuring maximum versatility.

Stated Rami Haber, Pro Lab CEO: “Partnering with McGettigan’s reflects our commitment to supporting Dubai’s top venues with exceptional audio solutions that elevate the guest experience.”

 

20th May 2025

Sound Image Installs San Diego’s new multi-use venue, Frontwave Arena

USA – Sound Image, a Clair Global brand, has been chosen to integrate audio, video and data into the brand new Frontwave Arena, the first of its kind in Oceanside, San Diego County.

The 7,500 capacity, 170,000sq ft space is the home court to local sports organisations San Diego Clippers (basketball) and the San Diego Sockers (football) and features a high-end sound system that reaches every seat while steering clear of sight line interruption, ideal for sports production. The Gold Over America Tour (GOAT), led by the world's most decorated gymnast, Simone Biles, brought athletic prowess to this court for the venue's first sports tour event.

Sound Image project manager, Hans Haas, oversaw the design and implementation of the project. He comments: "This part of San Diego County has never had a venue like this and it has already become a great activity hub for the community. No two integrations are ever alike, but with a venue so local to our San Diego office, there's an added level of 'hometown' satisfaction here.”

The main PA system comprises JBL's PD6322 three-way and PD6212 two-way PD Series loudspeakers, offering high output with exceptional pattern control. The sub package comprises 24 JBL ASB6115s, arranged in a dual facing laterally steered array. The venue’s unique subwoofer installation is configured with under balcony fills of JBL AC18/26 and JBL CBT70J-1 side fills, amplified by Crown DCI Series.

The space also boasts noise reduction, reverberation, echo and distortion absorption thanks to acoustic insulation considerations within the arena bowl.

Hans continues: "The audio quality of the system punches above its weight and that impact is what the venue owners wanted to deliver; for people to come in and have a ‘rock & roll audio’ experience. Everything is flown above the grid but at the same time, gives excellent coverage with the package almost invisible to spectators."

For audio mixing, a DiGiCo S21 console and DiGiCo DQ-Rack serves for control. Wireless microphones are Shure ULX-D, with RF Venue DFIN antennas. 

Production intercom is via a ClearCom Arcadia 32 channel digital system with FreeSpeak II wireless beltpacks and HelixNet wired beltpacks.

Another key aspect of this arena's technical design involved Sound Image working with the sports teams directly to meet all their audio and visual needs.

The LED video wall installation, including ribbon walls around the entirety of the arena, utilises the Absen N5 and N4 Series. Novastar H9 and H2 processors drive the powerful LED walls, with three MotionRocket 12G Pro sports graphics servers providing content. The scoring system is made by OES and driven by the ISC9000-PR desktop scoreboard controller. The control system and DSP is on the QSC Q-SYS networked audio, video and control platform, using a CORE 610 and CORE 8 FLEX. For user interface, QSC TSC101-G3 and TSC70-G3 touch panels are also installed around the venue.

Hans furthers: "Statistical data that needs to be streamed to other platforms and shared and embedded for NBA game requirements meant we had to ensure the scoring system we were installing was flexible enough and had the connectivity to support all the different teams and various uses that this venue facilitates."

In addition, VITEC video streaming solutions send live and recorded video and digital signage to the venue's EPOS system for automated menu updates on concession stands.

Hans concludes: "In this venue, all our AV systems are completely digital, and network based. It's rapidly becoming the standard, but in such a network centric system, you must be involved with much more than just audio and video. You need in-depth network engineering ability; from intercom to assisted listening, video transport to audio, it's all within the network, operating at low latency very efficiently." 

19th May 2025

Clearlight Shows revamps Marriner Theatre Plaza Ballroom with Infinity and Showtec fixtures

Australia – Clearlight Shows Pty Ltd, a long-standing name in Australia’s entertainment lighting industry, has delivered a major lighting upgrade at the iconic Marriner Theatre Plaza Ballroom. The installation combines Infinity and Showtec fixtures from Highlite International to provide a robust, modern rig optimised for live performance, broadcast and high-end event lighting.

The Plaza Ballroom, part of the Marriner Group, is a richly decorated venue with no natural light, which makes colour accuracy and flicker-free performance essential. Having worked closely with the theatre group on many occasions, Clearlight was invited to propose a system based on Highlite products, which the venue had successfully hired in the past.

John McKissock, founder of Clearlight Shows, explained: “The venue team had been trialling LED replacements for some time. When they saw the Infinity range in action, particularly the Performer Profile Zoom 150 Q6 from Showtec, they were pleasantly surprised by the output and beam quality.”

The final rig includes:

• 12 x Infinity Furion S201 Spot moving heads
• 20 x Infinity iW-1941 RGBW Wash lights with zoom
• 8 x Infinity TF260C7 7-colour Fresnels
• 18 x Infinity TS260C7 Profile Engines
• 40 x Showtec Performer Profile Zoom 150 Q6 RGBACL spots
• 2 x Showtec Phantom 1220 Zoombars
• 2 x Showtec ACT Par 200 W RGBAL spots

This tailored combination of profile, wash and effect lighting allowed Clearlight to move away from a conventional Fresnel-based rig and instead focus on precise, energy-efficient LED profiles, offering the venue more flexibility, reduced power usage and lower maintenance.

“The Furion range in particular impresses clients with its smooth, slow movement and high brightness,” McKissock added. “Designers now request Infinity by name, which tells you a lot about how the Australian market has responded.”

With projects already lined up into 2025, Clearlight Shows continues to integrate Highlite fixtures across Australia’s entertainment venues. This recent installation demonstrates the growing trust in the performance, reliability and creative flexibility of the Infinity and Showtec product lines, delivering professional results in even the most visually demanding environments.

16th May 2025

DirectOut chosen to deliver creative solutions for Copenhagen Dansehallerne

Denmark – DirectOut is a supplier of flexible, robust solutions for any audio application. When the scope of the flexibility required by Copenhagen Dansehallerne, Copenhagen’s centre for dance and chorography became clear, DirectOut was the only solution able to deliver what was needed. Anders Jørgensen, project manager for consultant and integrator Stouenborg, offered DirectOut solutions to Johannes Hornberger, head of sound and video at the centre. The team decided to purchase two PRODIGY.MP and six PRODIGY.MC, equipped with AN8.IO converter modules, Dante.IO and Milan.IO network modules. This combination ensured the audio infrastructure was flexible and stable enough to support any conceivable performance design.

Dance is an artistic medium like no other, so performance spaces require imagination in order to respond to the needs of performers, designers and choreographers. The beautifully designed Copenhagen Dansehallerne (dance halls) are completely adjustable spaces, from the audience seating to the performance programming. The transformation of this listed building took seven years of rebuilding, renovating and modernising, during which time Dansehallerne had to move to temporary premises. The centre, housed in the historic Kedelhuset, opened in August 2024.

Hornberger has worked in the Dansehallerne since 2012, He is responsible for all sound and video requirements of the halls, as well as all media requirements and oversaw the move from the old premises to the new halls.

Matching the freedom of the spaces, there are no permanent loudspeaker positions. The entire building is covered by an ethernet network, powered by Dante and AVB/Milan network protocols and a Meyer Sound Galaxy drives the Meyer Sound Ultra X20 and X40 point source speakers. Initially, the specified system was too rigid to deliver results that could cope with the requirements of the artists, so Hornberger worked with the rest of the design team, turning to DirectOut for a solution.

“We needed a completely flexible system, which is unusual for a performance space, especially for small or black-box spaces,” Hornberger explains. “We had already planned that the whole house would be covered with an ethernet network, with connections wherever we needed them. However, the speaker system was analogue, so we would need to convert the signal and run analogue cables to them.”

In a traditional theatre setting, this system would be entirely satisfactory, but with the ever-changing repertoire of the Dansehallerne, engineers would be running hundreds of metres of cables a week. As Anders Jørgensen of Stouenborg continues, the venue is designed to be used as separate spaces and as a single performance venue, with the ability to fully immerse the audience as soon as they step through the front doors.

“We have 300 network lines throughout the building. We knew we would be using Dante and AVB/Milan, so we needed a bridge and we had no doubt that the only solution was DirectOut,” Jørgensen says. “The infrastructure that DirectOut provides, with the ability to swap cards and easily route whatever we want to wherever we want, is completely aligned with our immersive whole-venue mindset. Whatever you dream of as a sound designer is possible in this building.”

Thanks to Stouenborg’s implementation of this bold and future-proof infrastructure, the Dansehallerne are now the perfect blend of modern ideas and historic style. The audio network covers the venue entirely, offering the connectivity of a single performance space, allowing engineers to access any point at any time to facilitate whatever the choreography requires.

“Dancers and choreographers love to experiment. Our system is AVB/Milan, so we knew we need to convert from our console and wireless microphones, plus IEMs to our loudspeakers,” Hornberger explains. “DirectOut can handle all of this, not just the network conversions, but also analogue to digital. We can use the whole house as a single space and move freely throughout the building in a performance setting.”

Being able to pick up video and audio feeds anywhere in the building is useful not just for play back for performers and audiences, it can also be used to facilitate online and broadcast streams, delivering content to an even wider audience.

“Overall, we have eight PRODIGY systems, two PRODIGY.MP are permanently installed into a central control room, then we have six further PRODIGY.MC to ensure flexibility; whether the performance is in a studio or the foyer, we are all set. In the old days, we would need to run a lot of cable – through doors and windows to get to some places – now we just have one box!”

Ultimate flexibility in a system can sometimes result in over-complicated interface options but, by utilising globcon, Hornberger can personalize access to the network system. This gives him the freedom to delegate control, without risking programming errors.

“The system is amazing, but also complex if you are not familiar with it. We have developed set-ups and workflows, so when I am absent freelancers can access the audio system and work within programmed parameters. So now, all they have to do is move the loudspeakers and plug them in. I have put our DirectOut BREAKOUT box into a small, labelled flight-case so everyone can understand and plug in simply. It’s very easy to move that small box wherever it’s needed and plug straight into the system.”

It is a system that has delivered successful results for Hornberger. The audio team is now able to react positively to any request with an efficient and elegant solution that offers exactly what the dance piece needs, without resulting in hours of effort from the technical team.

“We couldn’t be happier with the system,” he says. “Making changes to a plan is always concerning: budgets are already set and systems are in place, but thanks to the hard work of our suppliers and installers, we have been able to create a system that works exactly as we hoped. The major challenge was to make this complex system suitable for all our performances; simple for small set-ups but retaining the possibility to facilitate the big complex shows, too. It has achieved exactly that.”

“This is a building that lends itself to festivals or large-scale events. As soon as the audience walks through the doors, they are in the middle of the production and the show doesn’t stop until they leave. To facilitate an idea as grand as that, we need a solution with flexibility and scalability,” Jørgensen concludes. “It is completely possible in the Danserhallerne, and that is thanks to the complexity of our system and the ability of DirectOut to accommodate that flexibility.”

photo: Johannes Hornberger

14th May 2025