Project News

Project News Headlines

Allen & Heath dLive and AHM Making Waves at New Seafront Venue in Stavanger

17/04/2024

Dyn Media and NEP Germany pioneer new frontier in remote production with DirectOut PRODIGY system solution.

17/04/2024

HH Audio TNA Line Array is Natural Fit for Ai Pub

17/04/2024

Whitechapel Gallery chooses RCF NXL 44-A for substantial speaker upgrade

16/04/2024

Ayrton ‘winds’ rock Luxembourg’s Rockhal Club

16/04/2024

Martin Audio O-Line specified for historic North Carolina Methodist Church

16/04/2024

Looking to Improve Hybrid Studio Workflow? ASP4816 “A Perfect Fit”

15/04/2024

Clear-Com Empowers The Kennedy Center with Seamless Communication Solutions

12/04/2024

Acoustician Handy Widjaya Uses Prism Sound’s Atlas Audio Interface to Check Room Acoustics and Sound Systems

11/04/2024

Genelec puts Austrian football fans at the heart of the action

09/04/2024

Loud and Clear with K-array at EMBL Heidelberg

09/04/2024

Martin Audio CDDs and ADORN help boost the Sandbox VR experience

09/04/2024

Stage Electrics supplies the Liverpool Institute of Performing Arts with a new, energy-efficient LED lighting upgrade from ETC

08/04/2024

Swiss Artists Productions Adds a Prism Sound Dream ADA-128 to its Studio

08/04/2024

Unleashing infinite creativity: CUBE Studio expands virtual production horizons with Brompton LED processing

08/04/2024

DiGiCo Quantums shine at NEW BUND 31 Performing Arts Center in Shanghai

08/04/2024

Over 200 Robe Fixtures for Schouwburg Gouda

08/04/2024

Audient Unveils Immersive Studio in Partnership with PMC Speakers

08/04/2024

Marco Borsatti Chooses PMC Monitors for his Dolby Atmos Studio

08/04/2024

The Only Possible Upgrade Path from Outline is - More Outline!

08/04/2024

Ole Red Las Vegas radiates country with Elation lighting

08/04/2024

DAP EVO 6 enhances GlowGolf Kerkrade experience

08/04/2024

Taste Club in Thailand Improves Nightlife Experience with Full Control from Allen & Heath

27/03/2024

Panasonic Connect Powers Guinness World Records-Certified World’s Largest Permanent Projection Mapping Display

27/03/2024

Robe Gets Wild in Singapore

26/03/2024

Allen & Heath dLive and AHM Making Waves at New Seafront Venue in Stavanger

Allen & Heath dLive and AHM Making Waves at New Seafront Venue in Stavanger
Allen & Heath dLive and AHM Making Waves at New Seafront Venue in Stavanger

Norway – Located on the historic Stavanger seafront in southwestern Norway, Fiskepiren is a purpose-built cultural hub housing a music venue and several multi-purpose rooms for community and corporate hire, which opened in the second half of 2023 and has already hosted shows by popular Norwegian acts such as Kvelertak, Susanne Sundfør and Backstreet Girls.

With sound at the heart of Fiskepiren’s offerings, the choice of audio system was critical, so the venue approached Norwegian pro audio distributor Benum to specify and install a system that could handle everything the venue could throw at it while providing simplified control for non-technical users and smaller events.

“When we were asked to come up with a technical solution for Fiskepiren we quickly understood that this had to be a flexible and versatile system,” explains Daniel Glaister, Allen & Heath product manager systems and installations at Benum. “The needs varied from large-scale productions to small corporate events, so it was almost self-evident that a system driven by AHM-64 for self-service and easy zone control with a digital umbilical cord to a dLive system for the concerts and larger live events was the way to go. Both Benum and many of Benum’s customers have deployed this combination successfully and it has a track record of being very reliable, easy to set up and cost-effective regarding infrastructure.”

The dLive system, comprised a DM32 MixRack and a dual-screen, 24-fader C3500 Surface, was chosen for its ability to comfortably handle the venue’s concerts and larger productions. In addition to the DM32’s 32 mic/line inputs and 16 line outputs, a pair of DX168 remote expanders are deployed to add a further 32 mic/line inputs and 16 line outputs to the system. Like all dLive MixRacks, the DM32 offers 128 input channels and 64 mix outputs with a configurable 64-bus architecture and class-leading 0.7ms latency.

An AHM-64, a 64x64 audio matrix processor capable of handling up to 64 zones, is utilised for audio distribution throughout the building, with 64x64 Dante cards installed in both systems enabling a digital connection between the dLive and wireless systems, plus a feed from the AHM to the Dante-equipped LAB Gruppen amplifiers which power the Adamson speakers.

To facilitate the connection between the dLive and AHM systems, a gigaACE card is fitted to the dLive and connected directly to the AHM-64's integrated sLink port. The link provides the AHM-64 with mix outputs from the dLive system to be sent to the amps, while direct outs from the AHM-64 are sent to the dLive so that inputs normally used for self-service applications on the AHM-64 can be mixed by the dLive during live events manned by a sound engineer.

To enable basic operation of the system by non-technical staff, CC-10 and CC-7 touch panels – featuring 10” and 7” touchscreens respectively – in combination with the free Custom Control app are used to control the bar and pre-show music levels as well as a few microphones for speech-based applications.

Additionally, an IP6 remote controller, featuring six assignable rotaries and 19 assignable SoftKeys, is available for basic control. The IP6 is configured as a self-service controller for unmanned events using inputs connected to the AHM-64, a pair of wireless channels, two XLR inputs, and a stereo line input. The second layer on the IP6 also has preset recall buttons to easily switch between set-ups.

“We were after a flexible system that could handle large live productions as well as smaller corporate events all the way down to one-mic-productions,” says Daria Zarbeeva, Fiskepiren’s technical manager. “The combination of a dLive mixing system with AHM Matrix Processor, DX audio expanders plus CC tablets and the IP6 controller fulfils all our needs.”

“The system is working great, and we are always improving and updating along the way as we encounter new ways of solving technical challenges. That's the wonderful thing about the Allen & Heath universe: it works great from the very start, and it is easily programmable to expand the whole system in the future.”

17th April 2024

Dyn Media and NEP Germany pioneer new frontier in remote production with DirectOut PRODIGY system solution.

Dyn Media and NEP Germany pioneer new frontier in remote production with DirectOut PRODIGY system solution.
Dyn Media and NEP Germany pioneer new frontier in remote production with DirectOut PRODIGY system solution.

Germany – In August 2023, Dyn Media launched as a new broadcaster in European sports, aimed at giving sports beyond football the exposure and viewership they deserve. The broadcaster is taking completely new approaches in the production of its content. NEP Germany was contracted as the production service provider to develop a remote production infrastructure. The technical concept, signal workflows, and process operations were also created in collaboration with Dyn. Broadcast Solutions served as the system integrator responsible for implementation.

The core of the entire infrastructure's audio workflow is a comprehensive system solution from DirectOut Technologies, featuring several of its multi-functional PRODIGY.MP, .MC, and .MX units. With a total of one PRODIGY.MX, 20 PRODIGY.MP and 12 PRODIGY.MC, this project represents the largest PRODIGY installation for DirectOut to date. Additionally, a variety of other audio solutions from DirectOut are in use, such as ANDIAMO and EXBOX.MD. To realise complex and completely novel requirements and enable integration with other manufacturers, DirectOut developed and adapted new functions and interfaces.

DirectOut has evolved from a pure hardware manufacturer to a provider of audio solutions with its Audio Solution Model (ASM). The PRODIGY tools from DirectOut implement the ASM philosophy with modular hardware components, powerful DSP, and customisable control. DirectOut's ASM comprises five layers: modular hardware, device functions tailored to specific applications (skins), control protocols, software, GUI and AI, and add-ons consisting of hardware and software enhancements from other manufacturers. As a result, the ASM offers a high degree of compatibility and interconnectivity in the development of seamless audio workflows across the entire production chain.

With the project for NEP Germany and Dyn, DirectOut ventured into entirely fresh territory and scale, gaining many new insights and know-how regarding workflows, software and the further development of its solutions, especially challenging given the short realisation time of eight months.

Michael Lindermeir, head of audio at NEP Germany GmbH, comments: "The successful implementation was made possible by the excellent co-operation of all companies involved. Their experience, coupled with a great deal of enthusiasm and high motivation, made it possible to achieve the seemingly impossible by the Dyn launch date, leading this project to success.

“In our conceptual approach, the decision to use the PRODIGY series was made due to its alignment with our requirements: integrating several decentralised mixing consoles with freely configurable DSP functions within an ST 2110 audio network, configuring and controlling all existing audio devices from multiple workstations using common software. The fact that several of the currently available control protocols are integrated into the PRODIGY devices also contributed to achieving all our workflow goals. Simultaneously, we were able to independently develop and programme the stand-alone advancement of the cross-manufacturer control of all devices in the installation.”

The heart of the installation is a central hub at NEP in Munich with a central equipment room, two control rooms and the network operations centre (NOC). The other part of the technology is located at Dyn in Cologne, with four control rooms and commentator positions. The seamless integration of the venues is achieved via an MPLS connection from Riedel to Munich and Cologne. Dyn in Cologne has access to all resources in Munich and can remotely control them. Technicians and editors can also access the technology in the venue kits.

A total of 33 PRODIGY units are integrated into the project to handle the audio signals. In each of the six venue kits, two PRODIGY.MP and two PRODIGY.MC are in operation. In Munich, there are seven PRODIGY.MP and one PRODIGY.MX, and in Cologne, one PRODIGY.MP is in use. These devices act as audio crosspoints for the streams and as gateways between the networks, realising the complete audio workflow, including I/O, processing, and audio mixing. The PRODIGY units handle the audio signals to and from the venues, the intercom signals, and the commentator audio.

The entire Dyn infrastructure of NEP Germany is based on SMPTE ST 2110 and relies heavily on the automation of production workflows. The AutoMix function of the PRODIGYs allows engineers to call up various Automixes depending on the sport, focusing on maximum simplicity in handling. The globcon control software enables easy configuration of the PRODIGY units while the production teams work with the HCONTROL.16 hardware controllers developed explicitly for this project. Switching in the PRODIGYs is also possible via Stream Deck units at the workstations. The audio supervisor can monitor several games from one workstation. The finished PGM audio signals follow the PGM video signals. From the venue kit to the PCRs and the audio workstations, the audio streams are discretely routed. NEP's control system, TFC, manages the workflow. Any production can be driven from any workstation in Cologne or Munich.

Since the complete installation is based on ST 2110, the audio signals from the venues are converted into ST 2110-30 / AES 67 streams via Ravenna cards in the PRODIGY.MPs on site. The Ravenna modules in all PRODIGYs have sufficient buffer to compensate for fluctuations in the WAN and transport 30 audio signals overall between the venue and Munich. Mirror mode with a second PRODIGY also ensures sufficient redundancy. Another safety tool is the input manager of the PRODIGY.MX, which automatically switches to a backup signal upon receiving a stream without audio content.

With Dyn Media's remote production infrastructure, all companies involved have ventured into new paths and workflows. DirectOut demonstrates how flexible and powerful its solutions are from the interplay of PRODIGY units with external hardware and software, ensuring the management of such a complex and never-before-implemented production infrastructure.

Dyn Media and NEP Germany pioneer new frontier in remote production with DirectOut PRODIGY system solution.Dyn Media and NEP Germany pioneer new frontier in remote production with DirectOut PRODIGY system solution.

17th April 2024

HH Audio TNA Line Array is Natural Fit for Ai Pub

HH Audio TNA Line Array is Natural Fit for Ai Pub
HH Audio TNA Line Array is Natural Fit for Ai Pub

Cambodia – The latest addition to Phnom Penh’s bustling nightlife comes in the shape of the recently opened Ai Pub. As well as offering a rich variety of food and drink, the 700 capacity venue located in the Boeung Kak district of the Cambodian capital, stages a wide range of live entertainment and has become an instant feature of the party scene. Live bands, DJ sets and promotional nights cater for birthday and works parties, corporate entertaining and casual get-togethers with friends in this unique, beautifully designed 875m² open space, complete with sliding roof and giant air-cooling fan.

Given the emphasis placed on non-stop music and dancing, as well as the high-profile artists, DJs and brands on show, the team at Ai paid careful attention to the selection of an audio system that could comfortably meet the requirements of a very busy and vibrant environment. The venue’s focus is very much directed towards its stage and the team wanted to install a competitively priced, compact, audio system that could be ground-stacked or flown to deliver powerful SPL. 

Ai consulted with leading Cambodian AV supplier Sounin Development GP Co Ltd, who recommended a TNA a line array system by HH Audio, a brand already under consideration by the venue team.

Perfect for medium-sized venues like the Ai Pub, the TNA offers a compact, active package that is easy to set up and packs a powerful punch that belies its size. The system is based around the TNA-2120SA, a multi-channel active subwoofer with integrated Class D amplifier which features two high power 12” low frequency woofers with exceptionally high output, and the TNA1800SA, a powerful single 18” active low frequency subwoofer.

With three channels of high performance amplification, the TNA-2120SA houses six cutting edge built-in DSP presets and as part of a modular system can power up to six satellite TNA-2051 passive, two-way compact line array loudspeakers, offering an ideal solution that does away with the extra expense of rack amplifiers and processors.

Engineer Sounin Chann comments: “We recommended an HH TNA line array system which is ideal for this kind of installation. It delivers very punchy high quality audio from compact loudspeakers, easily handling the demands of what is a very varied programme. It’s incredible value for money, too. Often people think that a line array system will be outside their budget, but the TNA proves that this doesn’t have to be the case. The client didn’t hesitate to go with our recommendation and is very happy with the system, which sounds superb.”

At the Ai Pub Sounin Development installed an HH TNA Line array system comprising a TNA-2120SA (2 x 12”) active subwoofer and six TNA-2051 (2 x 5”) passive loudspeakers per side, supplemented by four TNA-1800SA (single 18”) active subwoofers as fills. Stage monitoring is taken care of by two HH TRM-1201 compact active monitors. An HH M-750 (2 x 750W) amplifier drives a further six generic fills, with the whole system controlled by a fully featured HH SP48 (four in / eight out) digital speaker management system. The SP48 contains expertly created presets for use with the TNA line array, enabling easy set up straight out of the box.

Ian Wright, global sales director for HH Electronics adds: “Sounin Development continues to install HH Audio systems to great effect in a wide range of settings. The Ai pub has been an instant hit in Phnom Penh, hosting a number of high profile appearances by leading DJs and bands. We’re proud to see the TNA line array at the centre of this unique and eye-catching venue.”

HH Audio TNA Line Array is Natural Fit for Ai PubHH Audio TNA Line Array is Natural Fit for Ai Pub

17th April 2024

Whitechapel Gallery chooses RCF NXL 44-A for substantial speaker upgrade

Whitechapel Gallery chooses RCF NXL 44-A for substantial speaker upgrade
Whitechapel Gallery chooses RCF NXL 44-A for substantial speaker upgrade

UK – RCF dealers, HD Pro Audio, have carried out a prestigious sound reinforcement installation at the renowned Whitechapel Gallery in East London, using the Italian manufacturer’s flexible NXL 44-A active column speaker.

HD Pro Audio had been discussing a substantial speaker upgrade with the Gallery for several years, proposing various options. “We had originally been referred to the client by industry colleagues as being well placed to put a suitable PA package together,” stated HD Pro Audio MD Andy Huffer, who managed the project.

The NXL 44-A, the centrepiece of a package which also includes floor monitors and mixing console, features three purpose designed 10-inch neodymium woofers and is driven by a powerful onboard Class-D (2,100W peak) amplifier.

The pre-existing PA wasn’t up to the task of modern event requirements and the Gallery was seeking the versatility and flexibility that the NX series line source offered, essentially for its live events, as well as general speech reinforcement in different locations. In fact, it debuted with an appearance by UK soul, R&B and jazz vocal legend Mica Paris MBE, as part of its annual Art Icon Gala event in their larger gallery space. It then went onto reinforce the sound for a special Channel 4 screening of the new landmark documentary series Defiance: Fighting the Far Right, examines the political and social struggles faced by Britain’s Asian community between 1976 and 1981.

HD Pro Audio operates an agnostic policy when it comes to brand specification. Andy Huffer was convinced that a pair of NXL 44-A, matched with the SUB8003 subwoofers, believed this represented: “The ideal option for covering a wide, reflective space without overly exciting the room, as they have a narrow vertical dispersion.” He adds: “Having heard them originally at RCF’s factory in Italy a few years ago, I knew they would work well in there.”

With amplification and DSP onboard it also forms an elegant solution, as it can be fed straight from the mixer. And since the speakers sit on wind-up poles, attached to the subs they can easily be reappropriated to the desired location.

Reflecting on the challenges, Huffer says the biggest was the ability to deliver all technical requirements associated with a greatly enhanced performance within a limited budget.

The Whitechapel Gallery agreed that all objectives have been achieved. “After working with Andy and HD Pro Audio for a number of years, we were overjoyed to get the new system in. The powerful but directional tops deliver exactly what is needed in our larger, more lively spaces, enabling us to confidently deliver our ambitious events programme,” stated a member of the Gallery’s technical production team.

“The new system is such a massive step up from our old one in terms of audio quality, we’re excited to see what the future holds.”

photos: Dan Weill, Art Icon

16th April 2024

Ayrton ‘winds’ rock Luxembourg’s Rockhal Club

Ayrton ‘winds’ rock Luxembourg’s Rockhal Club
Ayrton ‘winds’ rock Luxembourg’s Rockhal Club

Luxembourg – Every Ayrton aficionado knows its lighting fixtures are named after winds and high-performance cars. Rockhal Club in Luxembourg is amongst the latest to have taken stock of Ayrton Mistral S and Levante S fixtures which were supplied to the venue through Ayrton’s Belgian distributor, FACE.

Mention Rockhal in Luxembourg and everyone knows it is at the centre of Luxembourg’s live music scene. Situated perfectly in the Centre de Musiques Amplifiées on the Avenue du Rock’n’Roll in the industrial heritage area of Belval in Esch-sur-Alzette, Rockhal has two main venues amongst its rehearsal and creative studios: the 6,000 capacity Main Hall has seen many world-renowned bands and performers pass through its doors including Mariah Carey, Iron Maiden, Red Hot Chilli Peppers, Bryan Adams and Rammstein; the Club, which can accommodate up to 1,500 spectators, has a full loaded and equipped stage with a fixed lighting rig and sound set-up. As of now, a large part of this fixed grid is equipped with Ayrton fixtures, which replace outmoded stock.

“We have 20 Ayrton lights installed as permanent fixtures in our standard club package, which is used by nearly all the artists playing in our smaller venue,” says Daniel Robinet, production supervisor at Rockhal. “Eight Mistral S and 8 Levante S are rigged in our top light package while the floor package is completed with four Mistral S.”

The choice of Ayrton Mistral S and Levante S was unanimous amongst the Rockhal lighting team which organised a shoot-out between different lighting brands with comparable fixture types. “This gave us the opportunity to rate the fixtures objectively and see how they measured up to the important criteria that we had laid out in advance,” explains Rockhal’s lighting designer, Tom Wagner.

“The biggest plus in the whole package proved to be the Levante, as it has all we want from a washlight, with added beam effects and barn doors. This gave us more flexibility for the variety of artists and shows that we receive in our club.

“We decided in favour of the S version, because we don’t necessarily need the TC version’s higher CRI for our applications, but do need the extra output that the S version delivers.”

Ayrton was already known to the Club’s venue technicians from visiting tours that had Ayrton in their rigs, but these are the first Ayrton fixtures the Club has purchased for its own inventory. “FACE’s account manager for light, Koen Ceulemans, guided us perfectly through the whole process right through to the day of delivery, and we are very happy with our choice,” says Wagner.

“Both Mistral and Levante work well together and are versatile, small and lightweight, yet still have plenty of punch. The zoom range is outstanding for this size of fixture and still punchy at full zoom out. Consequently, they do a great job in any situation, from a traditional rock show through to VIP receptions. In this power range, the Levante stands out because of the blades and the beam effect. We also love its traditional washlight look and its big frontal lens.

“The size and weight of the fixtures make them nice and easy to handle and gives us flexibility for the set-up. As we’ve replaced our set-ups one-by-one, it’s been cool to see that the weight and size reduction made possible by the new technologies means you can push limits in the same environment on a daily basis.

“Lastly, it’s very satisfying to witness the acceptance of our new Ayrton fixtures by the touring productions; we have only received positive feedback on our choice!”

photos: © Tom Wagner – Rockhal

Ayrton ‘winds’ rock Luxembourg’s Rockhal ClubAyrton ‘winds’ rock Luxembourg’s Rockhal Club

16th April 2024

Martin Audio O-Line specified for historic North Carolina Methodist Church

Martin Audio O-Line specified for historic North Carolina Methodist Church

USA – Originally established over 200 years ago in Raleigh, North Carolina, Edenton Street United Methodist Church (ESUMC) is reputed in particular, for its for its famous pipe organ, its alluring chandelier and its majestic stained-glass windows that dominate the sanctuary.

To that, can now be added Martin Audio’s stylish and award-winning O-Line optimised micro line array, which blends discreetly and elegantly into the 27-inch thick sandstone walls.

Designed for houses of worship, this aesthetic, slimline, columnar solution was recommended and installed by local production house, RMB Audio. They were as fastidious in removing the old public address system, which had served the church so dutifully over an astonishing seven decades, as they were in installing the new rig, comprising two hangs of 16 O-Line modules.

The former system had originally been integrated within the chandelier during a rebuild of the Church following a fire, back in 1957. But according to RMB founder, Cooper Cannady, there was now clearly a need for higher SPL and a significant upgrade in speech articulation.

Although Martin Audio’s dedicated DISPLAY prediction software indicated a 12-box solution, Cannady recognised that by increasing this to 16 cabinets (driven in in two-box resolution from a pair of Martin Audio iKON iK81 multichannel amplifiers) he would not only gain both floor and balcony coverage, but be able to avoid reflections back from the balcony fascia.

“The frequency response of O-Line [85Hz-18KHz] in a large voluminous space such as this better reduced low frequency resonance,” he noted. “At the same time, the sidelobe-free close spacing of five 21mm HF drivers ensured uninterrupted audio at the adjacent left and right pulpits, even though they are positioned slightly in front of the upstage O-Line hangs. This is what often creates the problem with other systems, where you can’t have the speech articulation you want because of the proximity of the mics.”

Explaining this further, he says: “Within 12-15ft of the arrays is a lectern and with celebrants on Lavaliers or head mics and they are able to walk in front of the O-Line without any problems with feedback whatsoever. For human articulation, O-Line is always the ‘go to’ solution.”

The challenges extended well beyond the thickness of the walls themselves. Installation of the O-Line wall bracket had required stonemasons with knowledge to confidently drill into the walls for threaded rod fitting.

As for the cabling, several 500ft reels were required to accommodate viable flow paths for the difficult runs behind the scenes, particularly around the pipe organ. Dave Clemmer, ESUMC Audio Steward (and long-time collaborator with RMB Audio), emphasised the task of “crawling around pipe organ lofts with hundreds of feet of signal cable runs through 27-inch thick walls, concrete and existing empty conduit.” As such, he said, a new rule of thumb was established on this project: “measure four times, drill once”.

However, the RMB Audio technical team was already entirely familiar with the facility prior to installation, having frequently augmented the Church’s productions by bringing in Martin Audio CDD12 or CDD15 for the more progressive worship services, featuring a full band. “Now with O-Line they can replicate what we were doing for them earlier,” explains Cannady.

In fact, CDD had initially looked like being the preferred installation solution until RMB Audio’s owner showed photos of other chapels where they had been installed “and they thought they looked fantastic.” Provision of a demo pack enabled the neutral light grey to be colour-matched and gain the architects’ approval. Positing that O-Line was also “the most forgiving cabinet in the Martin Audio series” proved to be the icing on the cake.

Dave Clemmer agreed: “This installation took over a year of gathering acoustic measurement, before settling on O-Line with its audio spectrum quality and artistic design.”

Now congregations of up to 1,200 that pack out the sanctuary to worship each Sunday, can enjoy a new experience. And they are not the only people to benefit. The choir, who had been experiencing difficulty referencing their sound through the existing foldback, is about to receive a new monitor set-up, courtesy of RMB Audio, in the shape of a new CDD5 installation.

Reflecting on an installation which respects the heritage of the building, Cooper Cannady says that due to the forgiving nature of O-Line virtually no tuning was needed, despite sound swirling round a high elevation ceiling. “The room is very settled because with so much stained glass, the ceiling vault starts so high up the wall. We were fortunate in that respect, as were that not the case, it could easily have introduced reflections elsewhere.

“For very cavernous, large volume buildings where you have resonances there is nothing better than O-Line, as it naturally has a presentation that works well.

“In terms of ROI, it’s pretty amazing that the Church already had a sound system that lasted 70 years, I just hope the O-Line achieves the same feat.”

But Dave Clemmer probably put it best: “To date, this is the most important audio installation project that I have worked on,” he exclaimed. “It’s an amazing installation with beautiful sonic quality from the Martin Audio O-Line.”

Martin Audio O-Line specified for historic North Carolina Methodist ChurchMartin Audio O-Line specified for historic North Carolina Methodist Church

16th April 2024

Looking to Improve Hybrid Studio Workflow? ASP4816 “A Perfect Fit”

Looking to Improve Hybrid Studio Workflow? ASP4816 “A Perfect Fit”
Looking to Improve Hybrid Studio Workflow? ASP4816 “A Perfect Fit”

Germany – Producer, engineer and musician Stefan Dinkel recently installed a classic ASP4816 in his private studio, where he’s been starting to use a more hybrid approach. “I've been using the console for a few months now and I'm absolutely happy with it. It’s an amazing board; I love it!”

Stefan had always worked in-the-box until a few years ago, when he started to build DIY hardware modules and integrate them into this set-up. This quickly became confusing, as he explains: “I was looking for better ways to organise my increasingly hybrid set-up.” That’s when he found Audient.

Stefan continues: “I looked at a few mixers in my price range and thought about how I could build my set-up around each one. It quickly became clear to me that an inline concept would best meet my desire for a central, analogue hub. And the ASP4816 is a perfect fit for this.

“Most of the analogue signals from my recording room go directly into the console's 16 mic inputs. All line inputs, inserts and aux paths run on a patchbay, which is then used to integrate analogue hardware. Additional inputs are then added to the console, also flexibly via the patchbay directly via the converters into the DAW, or via the returns of the group channels into the console.

“On the way back from the DAW, 16 channels run directly into the console. Additional analogue channels can then be routed via the patchbay into the returns of the groups or into the short fader channels. This gives me a lot of flexibility to be able to react quickly and easily to all requirements without losing sight of the routing of the signals.”

Stefan tends to record his own projects, or bands he’s actually playing in, so he relies on a fixed set-up at the desk. He makes sure the most important tracks and buses run back to the long faders and are processed on the desk with inserts, EQ and FX.

“Corrective single-track processing of the bus stems is then carried out digitally in the DAW. Since my mixing tends to work from top to bottom, I can do a large part of the mix on the desk and only have to intervene on a few individual tracks in the digital plane.” Using the ASP4816 has started to change the way he works. “I was very pleasantly surprised at how much I can now do directly at the desk and how little ultimately happens in the DAW.

“Due to the extensive routing options on the ASP4816, it is very easy and fast to record all stems back to the DAW in one go after editing. In this way, I also have a kind of ‘total recall’ that is sufficient for my purposes. I've only been using the console for a few months and I'm still totally amazed at how well the console adapts to my way of working and, above all, how good it sounds. It's just a lot of fun to work with!”

15th April 2024

Clear-Com Empowers The Kennedy Center with Seamless Communication Solutions

Clear-Com Empowers The Kennedy Center with Seamless Communication Solutions

USA – The John F. Kennedy Center for the Performing Arts continues to raise the bar for excellence in live entertainment with the newest integration of Clear-Com communication solutions into its prestigious venue. Renowned for its commitment to artistic innovation and cultural enrichment, the Kennedy Center has relied on Clear-Com's cutting-edge products for decades to ensure flawless communication during performances and events.

From the early days of Encore, to the digital power of  HelixNet to the recent transition to the FreeSpeak II wireless communication system, Clear-Com's solutions continue to play a pivotal role in the Kennedy Center's operations.

Michael Buchman, the current crew chief of the Concert Hall, the largest venue at the Kennedy Center, has been witness to this evolution firsthand. Michael specifically highlights the significance of FreeSpeak II in his weekly routines, particularly during high-profile events like symphony performances where he's required to wear a suit. He emphasises: "FreeSpeak has truly enhanced my quality of life. Its wireless and discreet design seamlessly integrates with my formal attire, ensuring I maintain a polished appearance during these prestigious events. The freedom from cumbersome wires elevates my professionalism while also allowing me to focus on delivering flawless productions."

The recent installation of over a dozen FreeSpeak II beltpacks in the Concert Hall at the Kennedy Center has significantly enhanced communication capabilities. However, it's important to note that across the entire venue, there are approximately 95 beltpacks in operation. This extensive network ensures seamless coordination among production teams during every performance, supporting the highest standards of excellence.

Michael also remarks: "At the Kennedy Center Concert Hall, where versatility is paramount, Clear-Com's communication solutions have been indispensable. The transition to Clear-Com's FreeSpeak II wireless communication system has revolutionised our workflow. The ability to move freely without being tethered by wires during performances has significantly enhanced our efficiency and overall experience."

Clear-Com's FreeSpeak II wireless communication system offers unparalleled reliability, flexibility and performance. Designed to meet the diverse needs of multi-use spaces, FreeSpeak II provides seamless communication coverage throughout the venue, ensuring that production teams can collaborate effectively regardless of their location.

"The Kennedy Center's adoption of Clear-Com products underscores our commitment to delivering innovative solutions that empower production professionals to excel," said Paul Morini, regional sales manager at Clear-Com. "We are proud to support the Kennedy Center in its mission to inspire and enrich audiences through the power of the performing arts."

Clear-Com's FreeSpeak II operates on both the 1.9GHz and 2.4GHz bands, providing the flexibility to choose the appropriate frequency depending on regulatory requirements and operational needs. With the ability to support up to 20 full-duplex wireless beltpacks in standalone mode and up to 50 beltpacks in an integrated Eclipse HX matrix set-up, FreeSpeak II offers scalability to accommodate productions of varying size and complexity.

From symphony performances to comedy shows and hip hop concerts, Clear-Com's communication solutions enable the Kennedy Center to deliver unparalleled experiences to audiences and artists alike. As the Kennedy Center continues to push the boundaries of artistic expression, Clear-Com remains dedicated to providing the tools and support necessary to ensure seamless and unforgettable performances.

12th April 2024

Acoustician Handy Widjaya Uses Prism Sound’s Atlas Audio Interface to Check Room Acoustics and Sound Systems

Acoustician Handy Widjaya Uses Prism Sound’s Atlas Audio Interface to Check Room Acoustics and Sound Systems

Indonesia – The exceptional quality of Prism Sound’s interfaces has long been recognised by audio professionals working in recording and mastering studios where their clarity, neutrality and precise clocking has won them many fans. However, these units are also useful in other environments where accurate audio conversion is required.

Acoustician Handy Widjaya is one user who has tapped into their versatility. He has now bought a Prism Sound Atlas interface and is using it as part of his workflow to check acoustic measurements in numerous high-end installations.

Based in Jakarta, Handy Widjaya is the founder of PT Esa Sinergi Selaras Indonesia, which undertakes integrated and comprehensive projects ranging from designing acoustic interiors and audio systems in auditoria, recording studios and meeting rooms, to installing and checking low noise air conditioning, stage lighting, automation and control systems. His clients include schools, universities, houses of worship, large concert halls, ballrooms and customers who are installing private cinemas.

Among the many installations Handy’s company has carried out is the Auditorium Universitas Parahyangan, in Bandung, which is widely regarded as the auditorium with the best acoustics in Indonesia. This is one of more than 60 auditoria PT Esa Sinergi Selaras has completed with others, including the Auditorium Universitas Indonesia and Auditorium Universitas Bunda Mulia in Jakarta, Auditorium Universitas Maranatha in Bandung, Auditorium Universitas Frans Asisi in Semarang, the British School Binarol’s Raffles Auditorium and the Jakarta Intercultural School’s theatre in South Jakarta, and the Anglican Chinese School’s auditorium in East Jakarta.

“With every auditorium project, we handle all aspects of the installation from designing the acoustic interior, to the audio, video, stage lighting, general lighting and electrical installation,” Handy explains. “We always carry out acoustic and sound system measurement to assess if the results meet our original design criteria, and we also fine tune the audio system using acoustic measurement equipment and software. For this we need very reliable and precise tools, including an AD/DA converter.”

Prism Sound’s Atlas multi-track interface is ideally suited to this type of work because it offers eight ultra-clean, low noise microphone preamps, with over-killer limiter switches on each channel that complement its transparent A/D conversion. For testing purposes, the Atlas is connected to a digital sound source where it converts the audio to analogue so that it can be played out through the loudspeaker system in the room. This allows acousticians such as Handy Widjaya to check the room’s acoustic response and calibrate the equipment accordingly.

“I first came across Prism Sound equipment in the late 1990s when I was designing a lot of recording and mastering studios,” Handy says. “I decided to invest in an Atlas interface because the audio quality is so good that I never doubt my measurement results. Also, the fact that it offers eight channels means that I can carry out more measurements, which speeds up my workflow. Sometimes we also use Atlas for blind test shoot-outs, because it has eight outputs, we are able to send out four stereo signals with identical qualities to four different audio systems and check the results we are achieving with each one.”

Handy’s Atlas was supplied by the Indonesian distributor ChandraCom, founded by Setiadi Chandra, who has been working with Prism Sound for four years. ChandraCom stocks the company’s full range of audio interfaces and converters, including the recently launched Dream ADA-128 modular conversion and networkable audio distribution and processing system. Offering up to 128 channels of 32-bit A/D and D/A conversion, Dream ADA-128 has a flexible 2RU mainframe that can be fitted with up to 16 analogue and digital IO modules (each of which nominally provides eight input or output ports, or both).

“Setiadi and his team were very helpful in terms of offering advice on the right Prism Sound product for our needs,” Handy says. “This was especially the case during set up, and we are grateful for his help.”

PT Esa Sinergi Selaras is now using Atlas to check acoustic responses on numerous and diverse projects including a new auditorium at the Tunas Harapan School in Bogar and the Alam Sutera Mall. Later this year it will also complete a new concert hall for Universitas Petra in Surabay, which is currently at the design stage. 

11th April 2024

Genelec puts Austrian football fans at the heart of the action

Genelec puts Austrian football fans at the heart of the action

Austria – Currently riding high in the Bundesliga (the top tier of Austrian football) Linzer Athletik-Sport-Klub (LASK) recently relocated to Linz’s futuristic new Raiffeisen Arena. Constructed as a UEFA Category 4 venue, LASK’s new ground is now among the largest and most modern sports facilities in the entire country, with over 80 Genelec Smart IP loudspeakers delivering high-quality sound to the fans.

Key players in this project were Saw IT Consulting, Genelec distributor Audio Pro and local integration company Contech, which was responsible for the central distribution of all audio-visual equipment, as well as some of the stadium audio. “Genelec was chosen for three main reasons,” begins Friedrich Mühlböck from Saw IT Consulting. “Firstly, because of their undeniable quality thanks to their heritage as one of the most respected players in the studio market. Secondly, the option of IP was important and thirdly, the fact that the loudspeakers were active. The arena didn’t want to install any amplifiers, as this would have meant extra cabling and additional housing space for racks.”

Raiffeisen occupies a 39,000 square metre area and cost €85 million to build, heralding the start of a new era for football and regional investment in Upper Austria. With a new, modern infrastructure, Raiffeisen can host Champions League fixtures and offers its fans a complete experience with brand new on-site facilities including the vibrant LASK fan zone, which is a first for the Austrian team.

The fan zone features regional independent traders that pitch up and serve match day food alongside the upside-down beer, a technique which was first seen at London’s Tottenham Hotspur Stadium and allows fans to fill their beer glasses from the bottom up. The Genelec loudspeaker system is mainly distributed across these hospitality areas and provides background music, as well as handling live acts and DJs.

In total, 80 x 4430 Smart IP loudspeakers power this fan zone, plus the business club, restaurant and bakery and VIP boxes which can be hired out privately with catering for larger groups. Additionally, four 4030 loudspeakers provide high-quality audio to the arena’s technician room. “The target was to have central, easy-to-handle control over all audio-visual outlets, especially in the hospitality sections of the stadium,” continues Mühlböck.

“Most of the Genelec loudspeakers are in this area and we chose the Smart IP models because of their flexibility and ease-of-use: two things that are essential in a sports venue. They also slot in discreetly almost anywhere, so we could use them in most areas without the system looking too imposing.

“Additionally, Raiffeisen Arena has a huge commitment to sustainability and Genelec’s green credentials are very impressive. The arena has been awarded with a Green Globe certification, which it achieved through its renewable energy thanks to solar panels and smart waste and water management. Genelec’s commitment to sustainability across its products and company-wide practices really aligned with Raiffeisen’s ethos.”

The system is controlled by an Allen & Heath AHM-64 Matrix with a Dante V2 card and Allen & Heath System Manager software. Contech also configured a customised user control app via an iPad, which offers simple control across the venue.

Constructed in the heart of Linz, Raiffeisen Arena showcases the innovative journey of stadium design. Combining luxury hospitality with sleek, modern audio, the home of Austria’s LASK football team has created an unforgettable atmosphere that extends beyond the excitement on the pitch. With Genelec’s Smart IP and 4000 series loudspeakers delivering premium but sustainable sound, LASK fans can enjoy being right at the heart of the Bundesliga action. 

Genelec puts Austrian football fans at the heart of the actionGenelec puts Austrian football fans at the heart of the action

9th April 2024

Loud and Clear with K-array at EMBL Heidelberg

Loud and Clear with K-array at EMBL Heidelberg
Loud and Clear with K-array at EMBL Heidelberg

Germany – The European Molecular Biology Laboratory (EMBL) is renowned for its ground-breaking scientific research into molecular biology. Created in 1974 and funded by public research money from its 28 member states, EMBL’s Heidelberg headquarters now houses the new permanent exhibition “World of Molecular Biology”. It offers a vibrant, interactive exhibition celebrating the work, people and technologies at EMBL and in molecular biology.

EMBL recently commissioned an innovative audio installation undertaken by leading audio-visual specialist D J Willrich, a UK-based systems integrator with a wealth of experience in AV visitor attractions, including the National Motor Museum in the village of Beaulieu in the New Forest. As part of the EMBL project, K-array Tornado speakers were installed throughout the facility, delivering highly intelligible narration to accompany the informative exhibits.

“We were brought on board by the designers, Haley Sharpe Design of Leicester, to consult on the AV perspective, and we worked with the fit-out company, the Hub, who are based in Redditch,” said D J Willrich project manager John Doe.

The exhibition includes several informational kiosks, each one focusing on different aspects of science and scientists. These are mostly based around a large touch screen with a PC or media server providing the video content, and each one includes either one or a pair of K-array Tornado-KT2C flush mount point source speakers featuring a 2” high efficiency neodymium cone driver, powered by a dedicated KA1-T2H amplifier module and accompanying KA-L15 power supply. This amplifier and speaker combination is essentially self-contained, eliminating the need to run speaker cables back to a central rack room, and is effectively duplicated in multiple exhibits around the facility.

The most critical part of the technical brief was to achieve good intelligibility at a decent level so that the narration can be clearly heard, without overspill into adjacent or neighbouring exhibits, according to Doe: “The source material is mostly spoken word with some background music and because the content is essentially medical and scientific in nature with a lot of technical explanation, it was important that the narration was articulated with a high degree of clarity. In addition, we needed to mix the level down a little and focus the sound at the listener in order for the message to be clearly understood.”

The small size (5” diameter) of the Tornado speakers made them an ideal choice for this project as they could be easily and discreetly flush-mounted into the displays, while their conical 90° dispersion pattern keeps sound coverage well controlled in the near field. The Tornado-dedicated plug-in micro amplifier modules are a neat and efficient solution for keeping everything compact and easy to manage from a speaker cabling perspective. With as many as 15 or 16 PCs in the facility putting all those together with multiple rack-mounted amplifiers to power the speakers would have generated a lot of heat, which the DJW team were keen to avoid.

“The quality of audio coming from a speaker of such a small size and being so well integrated into the exhibits, is what made K-array so well suited to this project,” said Doe. We are delighted with the performance of the sound systems, the clarity, the articulation and the discreet appearance of the speakers, which have helped to deliver a really engaging visitor experience.”

Loud and Clear with K-array at EMBL HeidelbergLoud and Clear with K-array at EMBL Heidelberg

9th April 2024

Martin Audio CDDs and ADORN help boost the Sandbox VR experience

Martin Audio CDDs and ADORN help boost the Sandbox VR experience
Martin Audio CDDs and ADORN help boost the Sandbox VR experience

UK – Described as “a futuristic VR experience” Sandbox VR offers teams of six the opportunity to visit original worlds, experience journeys to space or survive zombie ambushes.

Inspired by Star-Trek’s Holodeck and described by customers as “the greatest VR experience they have ever had”, the advanced audio-visual specification and installation for this attraction was entrusted to London-based Crossover.

Sandbox approached the specialists to fit out the three floors of the iconic Post Building in London's Covent Garden, a former Royal Mail Sorting Centre that had previously sat derelict for 20 years.

Selection of the right products was paramount and careful consideration had to be given to the challenges around the acoustics and structure of the building. For sound reinforcement they opted for Martin Audio’s popular CDD coaxial differential dispersion series, as they often have in the past.

Crossover specified several different audio-visual solutions for this unique space, with digital signage driving pavement appeal and allowing easy updates of scheduled information and promotions.

Inside, it’s the four Holodecks, split over the two lower floors, that are the main area for VR participation. Each area houses a wall-mounted large-format display that provides information to the team about the room and mission that has been chosen. Here, diverse audio and visual elements mesh together to dramatically enhanced the visitor experience within a dynamic space.

Crossover senior systems designer, Juan Garcia, said the client had been looking for a high-quality sound system that could operate as a background and foreground system. “We know from past experience that Martin Audio would be able to deliver the quality requirements within reasonable budgets,” he said.

Fed by a combination of customer-profiled media player, iPod and DJ inputs, 14 CDD6WTX-WR speakers are distributed across the multi-audio-zoned venue. This includes the Mezzanine Presentation Area, which serves as a multi-functional events space, where the audio system combines with a large projection screen, fed from an ultra-short throw projector.

“We love the CDDs’ sound quality and reliability,” stated Garcia. “They provide a great base level of sound to work with,” added Crossover commissioning engineer, Lewis Spink. “The CDD range has been a good solution across projects, where you can achieve high coverage in areas with fewer speakers, as this minimises phase relationship considerations.

“We’ve seen the speakers give consistent performance across a number of years in very tricky environments, with no massive discernible differences between new speakers and five-year-old speakers that have endured heavy usage. That’s really impressive and excellent for us and our clients.”

In the main bar area the CDD6s are boosted by a pair of discreet Martin Audio slimline SX110 1 x 10 inch subwoofers in order to create more of a club feel.

Since the venue is acoustically highly reverberant with hard, reflective surfaces, exacerbated by the loud noise of excited customers, a warm, rich background audio system had been vital to preserve the sense of immersion. Therefore, Crossover worked carefully to manage the acoustics involved by not only careful selection of loudspeakers, but also through specification of appropriate acoustic panels, which also enhance the overall ‘industrial’ aesthetic of the interior design.

“Crossover did an amazing job deploying our AV requirements into the first Sandbox VR venue in Europe,” stated Jake Wilmot-Sitwell, co-founder at VR Entertainment Group // Sandbox VR (UK & Ireland). As a result the integrators were engaged for the second Birmingham site, where they turned elsewhere in the Martin Audio portfolio to specify ten of the ADORN ACP55T 5.25in Pendant speakers in a distributed system, along with four Martin Audio SX110 subs.

Juan Garcia said: “Since the Birmingham site had ceilings we were able to mount from and the power requirement was less, we knew the pendant ADORNS would be a perfect fit; at the same time we knew they would provide a very even coverage.”

Martin Audio CDDs and ADORN help boost the Sandbox VR experienceMartin Audio CDDs and ADORN help boost the Sandbox VR experience

9th April 2024

Stage Electrics supplies the Liverpool Institute of Performing Arts with a new, energy-efficient LED lighting upgrade from ETC

Stage Electrics supplies the Liverpool Institute of Performing Arts with a new, energy-efficient LED lighting upgrade from ETC
Stage Electrics supplies the Liverpool Institute of Performing Arts with a new, energy-efficient LED lighting upgrade from ETC

UK – Stage Electrics, a leading technical solutions company, has supported the Liverpool Institute of Performing Arts (LIPA) in successfully upgrading from tungsten to new, energy-efficient LED lighting, which empowers the next generation of performers.

Lead production technician at Liverpool Institute of Performing Arts Matthew Weeks approached the Stage Electrics team about upgrading their existing tungsten lights to LED and enhancing their existing LED rig.

Working closely with Matthew, Matt Jones and Jonathan Thornhill, production technicians at the University, the Stage Electrics team conducted extensive trials with various demo kits from multiple brands. A process Stage Electrics is uniquely placed to offer its clients; this ensured that the chosen solution would perfectly align with LIPA's requirements and performance standards.

LIPA chose an ETC LED lighting rig, consisting of 36 ColorSource V Fresnel lights, 12 ColorSource V Profile 25/50 fixtures, 26 Lustr 2s, and a Gio @ 5 console. The venue, which plays host to a diverse range of productions where flexibility is important, made this decision based on the flexibility offered by this set-up.

Matthew Weeks expressed his delight with the collaboration, stating: "We reached out to Stage Electrics to start the phased replacement of our tungsten fixtures to new, industry-standard LED lighting. We were provided top-quality products from a supplier who gave us unmatched support, communication, and knowledge. Our sales representative was exceptional from start to finish, and our new system has resulted in multiple benefits, from a smaller footprint of equipment for storage to reduced power usage."

He continued: "Many of our new products can also be powered in a daisy chain, reducing cable runs and power circuit requirements. Stage Electrics provided the right products at the right prices, making the process seamless."

For venues looking to upgrade their tungsten lighting to energy-efficient LED rigs, Anna Western, sales director at Stage Electrics, said:, “By supplying energy-efficient lighting solutions to customers, Stage Electrics not only makes performance possible but ensures it is sustainable, too.” She added: “Anybody wanting to learn more should contact their Stage Electrics account manager.

8th April 2024

Swiss Artists Productions Adds a Prism Sound Dream ADA-128 to its Studio

Swiss Artists Productions Adds a Prism Sound Dream ADA-128 to its Studio

 

Switzerland – Swiss Artists Production, a non-profit music label that is dedicated to nurturing emerging talent and supporting seasoned artists, has invested in a Prism Sound Dream ADA-128 for its studio in Crissier, Switzerland.

Praised for its precision, clarity and musicality by the label’s president Bob Arnedo, the Dream ADA-128 has now been seamlessly integrated into the studio’s workflow where it is enriching projects and empowering artists to create music that resonates with audiences.

“Using the Prism Sound ADA 128 has been an absolute joy, enhancing the creative process for both our new talents and established artists,” Arnedo says. “This exceptional piece of technical equipment embodies our commitment to providing the highest quality audio tools to our artists and by incorporating it into our studio we are now setting set a new standard for capturing and reproducing sound with unparalleled fidelity. It has truly exceeded my expectations and stands as a symbol of unparalleled audio quality in my experience thus far. Its AD and DA stages are not only technically superior but also remarkably musical, elevating the audio production process to new heights.”

Designed to suit the needs of a wide range of audio professionals, Prism Sound’s Dream ADA-128 is a modular audio conversion system offering up to 128 channels of 32-bit A/D and D/A conversion at sample rates of up to 768kHz. It is both a conversion system and a high-performance, networkable audio distribution and processing system, with a flexible 2RU mainframe that can be fitted with up to 16 analogue and digital IO modules (each of which nominally provides eight input or output ports, or both). Up to four host modules provide bidirectional multi-channel connections to host computers, workstations, networks etc, with the ADA-128 providing free routing between all of these inputs and outputs under detailed user control, as well as a wide range of processing functions.

Kiuzano, a production student at BIMM London and long term collaborator with Swiss Artists Productions, was given the opportunity to put the Dream ADA-128 through its paces when he recently worked on a number of tracks at the label’s studio in Crissier.

“From the moment I started recording tracks with this cutting-edge equipment, I was captivated by its exceptional sound quality,” he says. “It delivered a level of sonic excellence that left me truly impressed. The beauty and richness of the sound it produced were unlike anything I had experienced before, adding a new dimension to my recording sessions and enhancing the creative process in ways I had not imagined.”

Kiuzano adds that the clarity, depth and musicality of the Dream ADA-128 has ignited a newfound appreciation for high-quality audio equipment and convinced him that he wants to make Prism Sound converters a regular part of his workflow.

“This equipment has not only elevated the quality of my recordings but has also sparked a passion for pursuing excellence in audio production,” he says. “It is a game-changing tool for any aspiring producer or musician seeking to elevate their sound to new heights. Its exceptional performance and unparalleled sound quality make it a must-have for anyone looking to create music that resonates deeply with listeners.”

Created by a group of seasoned music producers, songwriters and entertainment specialists, Swiss Artists Productions is a non-profit organisation supported by public and private funding. Swiss Gigs, a video blog on You Tube, showcases new talent and has featured artists such as Brize, Rozane, Albert Chinet, Sonia Mazza and rappers Funky McGee, Array and X-DRI.

Other artists currently supported by Swiss Artists Productions include Millyrose, Jay Derson, Hypsign, Claret, 4Gravity Beats, Tricia Cordero and Antony Trice.

8th April 2024

Unleashing infinite creativity: CUBE Studio expands virtual production horizons with Brompton LED processing

Unleashing infinite creativity: CUBE Studio expands virtual production horizons with Brompton LED processing

UK – Located just 30 miles from London, CUBE Studio’s state-of-the-art 7,500 sq. ft. full-service virtual production studio opened in Spring 2023. It incorporates the latest VP technology, including Brompton Technology LED processing, to deliver visual excellence and inspire new ideas, which has attracted big names such as EY, Final Pixel, McKinsey & Co., Nokia and RadicalMedia, along with production firms, corporations and film and TV organisations to choose it for their creative projects.

Investing in the latest technology was a commitment both James Hakesley, co-founder and CEO, and Roy Kimani, co-founder and director of Innovation, felt strongly about: “As a business, we've consistently embraced innovation and that’s what attracted us to virtual production. After witnessing the potential of the technology when it was used on Mandalorian, we wholeheartedly immersed ourselves in it,” says Kimani.

“Virtual production is revolutionising the creative and storytelling landscape and we consider ourselves fortunate to be among its pioneers,” adds Hakesley. “We work extensively in the commercial advertising market, where we’ve achieved success by collaborating with clients and bringing their visions to life, we have also ventured into feature films. Currently, we are eagerly anticipating the launch of our latest project, which is a sci-fi short.”

The studio comprises a 10.5m by 5.5m LED volume made up of Unilumin LED panels, powered by one 4K Tessera SX40 LED processor and supported by three Tessera 10G data distribution units. Other technologies include Mo-Sys camera tracking. The team also utilises Unreal Engine to assist in creating photo-realistic virtual environments.

Discussing the use of Brompton Technology, both say it was the best choice for LED processing.

“The question we had to ask ourselves was, do we want to utilise something that has proven to work reliably and also has a workforce and talent pool that understands the system?,” says Hakesley. “When you're working with LED techs, they all have experience using Brompton LED processing. That makes things a lot easier. Also, the Tessera software provides a myriad of useful features and, ultimately, serves as our control point. Everything we do originates from there. DOPs want assurance that they have control over the colour and the brightness, and if they want to change it, it has to be in seconds. Tessera offers a brilliant and simple interface!”

Brompton’s reliability is also key. “If the client hires talent for four hours, there can’t be any hold-ups, so the technology has to work perfectly. Downtime in virtual production translates to financial losses, damaged reputation, and loss of confidence. Having robust hardware and software is essential, and Brompton exemplifies that level of reliability,” Hakesley continues.

Hakesley and Kimani emphasise that VP is an ever-evolving discipline where one never stops learning. “Every time you’re in the volume, you’re going to learn something new: the rules are still being written. Some of the most exciting productions we had last year involved marrying physical and virtual sets. Once you nail the set design element to the virtual environment, all of a sudden, you’ve got this amazing set that would be unaffordable to build if all the elements were real,” explains Kimani.

Apart from shooting at their permanently installed CUBE Studio facility in Maidenhead, the team has also undertaken mobile work, deploying the VP set-up on the road, with a recent example including action-thriller feature film, Cleaner, starring Daisy Ridley directed by James Bond director, Martin Campbell, which is scheduled for release early 2025.

“The last time we worked on a feature film, we had eight LED techs in the space of four weeks,” Hakesley continues. “Every single one of them had experience using Brompton. This demonstrates that, despite being from various backgrounds such as theatre, entertainment, film and TV, commercials, and advertising, they were all accustomed to the high level of LED processing that Brompton Technology is known for. This is crucial for us and when we use a product with a solid reputation that is also widely recognised, it simplifies our job!”

“Future-proof technology is something that both we and CUBE Studio feel very strongly about, which is why this collaboration has worked so well,” concludes Patrick Goodden, technical sales manager UK and Ireland at Brompton Technology. “Our commitment to serving our customers with innovative and reliable LED processing solutions, coupled with our industry-renowned 24/7 tech support, means we can support forward-thinking companies like CUBE Studio and help them bring their clients’ visions to life.”

Unleashing infinite creativity: CUBE Studio expands virtual production horizons with Brompton LED processingUnleashing infinite creativity: CUBE Studio expands virtual production horizons with Brompton LED processing

8th April 2024

DiGiCo Quantums shine at NEW BUND 31 Performing Arts Center in Shanghai

DiGiCo Quantums shine at NEW BUND 31 Performing Arts Center in Shanghai

China – Jointly built by Hong Kong Shun Tak Holdings and Shanghai Lujiazui Group, NEW BUND 31 is a new cultural and commercial landmark featuring art, leisure and entertainment retail in a one-stop destination with trendy lifestyle and cultural experiences. Officially inagurated in October last year with a grand opening ceremony and a two-month performing season featuring about 50 diverse performances, the Performing Arts Center has the largest professional indoor theatre in Shanghai, planned and designed by the renowned UK theatre company Theatre Projects. DiGiCo Quantum and SD Range of digital mixing consoles complement the set-up, delivering excellent sound capabilities and versatility that allow this multi-faceted space to respond to any type of event.

A 2,500-seat theatre with professional acoustic design features DiGiCo Quantum digital mixing consoles to handle a large number of channels during live performances, with a Quantum 7 for FOH and OB and a Quantum 338 at the monitor position. The Black Box Arts Space, adjacent to the theatre, utilises a DiGiCo SD12-96 and SD11, with a further 10,000sqm outdoor green space catering to the needs of diverse productions, including festivals, exhibitions and pop-ups, bringing the latest trending events for visitors and turning the NEW BUND 31 into a must-visit landmark to enjoy.

Setting the scene is the five-storey atrium of the Performing Arts Center's lobby, adorned with arched elements reminiscent of the Roman Colosseum, enhancing the space with a sense of smooth elegance. The theatre is designed for a 360-degree immersive experience, complemented by wall decorations inspired by Chinese folding fans. These not only elevate the acoustic facilities to a high standard, but also create memorable focal points. Throughout the performance hall, warm oak wood envelops the surroundings, featuring three levels of balconies and discreet VIP boxes hidden in between.

“DiGiCo Quantum digital mixing consoles have the familiar interface and all the advantages traditionally associated with DiGiCo, whilst also introducing new features like Spice Rack, Mustard Processing, Nodal Processing and True Solo,” explains Cao Peijun, sales engineer at RAC. “Faster, more efficient, and more powerful, Quantum stands as the ideal and versatile solution for any engineer, providing exceptional intelligence and functionality.”

The Black Box Arts Space venue has a maximum capacity of 1,500 people, featuring a discreet 400-seat concealed seating arrangement. The seating is cleverly divided into three zones by acoustic panels, each fitted-out with its own dedicated audio and lighting system. The versatility of the space caters to a diverse array of performance and exhibition requirements. Depending on the specific needs of each live performance, the venue utilises either the DiGiCo SD12-96 or SD11, according to the needs of the performance. “In this specific configuration, we didn’t need  the theatre specific software, as the system was capable of fulfilling the requirements for routine use, including theatrical performances or small-scale concerts," explains Cao Peijun.

The installation, which took place in August last year, was led by Dafeng Industrial Co., LTD., working with DiGiCo’s official distributor in China, Racpro. “The venue was already very familiar with DiGiCo products, so the team didn’t require any in-depth training apart from familiarising themselves with the Quantum 7, which they hadn’t used before and were new to the A/B Quantum switching feature. However, they got started quickly and understood it in no time,” comments Cao Peijun.

“DiGiCo has firmly established itself as the industry standard for theatre,” Cao Peijun concludes. “In the case of the new BUND 31, the majority of the shows come from abroad andthe engineer for Broadway musical The Sound of Music, for example, was delighted to see the Quantum 7 at the venue. The dual Quantum engines ensure failsafe performances, which is complemented by a robust channel configuration and user-friendly interface. This combination liberates engineers, allowing them to simply concentrate on delivering an exceptional show.”

8th April 2024

Over 200 Robe Fixtures for Schouwburg Gouda

Over 200 Robe Fixtures for Schouwburg Gouda
Over 200 Robe Fixtures for Schouwburg Gouda

The Netherlands – De Goudse Schouwburg (Gouda Schouwburg) is a busy municipal theatre and hub of the arts community in the city of Gouda in the Netherlands, also world famous for its cheese!

As part of a recent major technical upgrade on lighting, it has taken delivery of a substantial quantity of over 200 Robe LED luminaires, including 94 T11 Profiles, 40 ParFect 150s and 32 iBar 15s, the latter specifically for cyc lighting, plus 34 T1 Profiles, 20 T2 Profiles, 24 LEDBeam 150s and 32 LEDBeam 350s.

The new lights have transformed the venue into an all-LED house for stage lighting and the project was driven by the desire to shift to greener and more sustainable lighting that is more cost-effective to run. It is the first time that Robe products have been in the theatre and they are already making a massive difference to the quality and potential of the lighting offered to all productions in De Goudse Schouwburg’s busy schedule.

The new luminaires are in use in the Schouwburg’s two performance spaces. The large auditorium features two semi-circular balconies, seats 813 people and has a 24m high fly-tower including 67 computer-controlled electric 500kg fly bars plus trolley beams and chain hoists. The fully flexible small auditorium is a cool studio space with an audience capacity of 232 and five fixed lighting bridges.

The popular Goudse Schouwburg produces some shows and receives many others embracing a vibrant range of genres including music, opera, musical, dance, theatre, cabaret and comedy, staging over 300 performances a year. Often there are multiple shows on one day, so there is never a dull moment for head of technical Bart Peijen and his team of seven who run all things technical.

The theatre and the city of Gouda both decided it was time to commit to more sustainable and flexible lighting, so the spec was drawn up in consultation with the technical crew and a competitive tender issued. This was won by sales and installation specialist Controllux proposing Robe fixtures.

Bart also manages the overall building as part of his remit, while stage manager Sandra Schenke oversees everything happening onstage. The lighting team includes technician Jelle Turk and all have been pleased with the new lights, which have made a big practical and creative impact on how shows can be lit.

“LDs and operators have a lot more choices in front of them now when working here and can be a lot more adventurous,” he says.

Some productions are created by the theatre, but the vast majority are received shows playing for one or two nights, so there’s a constant turnover.

“Having all the Robe in house now also means we have to do less work at height,” elucidates Bart, “and it also means we can work more quickly and efficiently, less manual focusing.”

In the main hall, the Robe luminaires are distributed across the three brigades and strategically on their winched fly bar system and rigged in the side stage positions with the general task of being able to cover everywhere on stage. The longest throws are around 18 metres, so they benefit from the T-series multispectral LED light engine.

The luminaires started arriving in summer 2023 and assisting with the installation was Controllux’s Jeffrey de Werker.

These fixtures are the first Robes in the house, although all -the crew have been aware of the brand through their various experience and also with Robe frequently being brought in by visiting shows in their floor and specials packages.

RGB colour mixing was a specific requirement, so the T-series luminaires were an ideal pick to cater for the range of theatrical shows.

The T-Series has been crafted to enable designers to practice their art across multiple disciplines without restraint.

The multi-spectral LED light engine technology has an excellent output and the fixtures offer outstanding colour control and finesse. Advanced technologies include DataSwatch virtual colour libraries, beautiful L3 dimming, AirLOC cooling, PLANO4 shutter modules and high-definition optics.

Bart adds that they appreciate the zooms on all the new moving lights – it has always been a big hit on the LEDBeams – together with the brightness, accurate shutter control of the T-series as well as the colour matching between all of them and super smooth dimming.

The combination of T-Series and the RGBA LEDBeam which produces slightly warmer colours is a popular one for a diversity of installations.

Bart notes that the superior colour mixing of the Robe lights are a good colour match with some of the other brand LED fixtures in the house, and Jelle adds that the brand’s reputation for reliability and good engineering is another reason they are pleased to now be a Robe house.

Service and support from Controllux is also “something we can always rely on,” commented Bart and Robe’s Benelux distributor is constantly pushing boundaries to ensure that this stays world-class and another great reason for theatres in the region to choose Robe.

photos: Jaap Reedijk

8th April 2024

Audient Unveils Immersive Studio in Partnership with PMC Speakers

Audient Unveils Immersive Studio in Partnership with PMC Speakers
Audient Unveils Immersive Studio in Partnership with PMC Speakers

UK – British audio manufacturer Audient has partnered with loudspeaker company PMC Speakers to unveil a brand-new immersive audio studio located at Audient’s Hampshire headquarters. 

Summerlea House has been designed from the ground up to offer Audient’s customers a state-of-the-art demo facility. Built around Audient’s new purpose driven immersive audio interface and monitor controller ORIA, the studio features a 9.1.6 PMC result6 speaker array with a PMC 8SUB. An additional two PMC6 active speakers offer clients the option to reference a mix in stereo as well as 9.1.6 Dolby Atmos and everything in between.

“ORIA is the first truly purpose-driven immersive solution, designed to be the central control hub of an immersive studio. As such, many factors need to be considered when specifying it into a multi-speaker array and the subsequent required workflow,” explains Audient’s Andrew Allen. “Having a dedicated studio facility enables our customers to not only experience a professional immersive environment first hand, it also allows them to get hands-on with ORIA’s powerful feature set and technology ensuring it's the right solution for them.”

Phil Millross, PMC’s business development manager for Pro Audio UK says: “When PMC first heard about the development of ORIA we were extremely interested in the product. PMC has been involved in Dolby Atmos Music since its launch and immersive audio has long been part of the PMC ethos, right back to the early years of DTS, THX and other surround formats. Audient recognises that PMC monitors are ideally suited to immersive audio due to their wide directivity and ultra-low distortion and we are delighted that our system is the system of choice for Audient’s new facility and is now delivering the utmost flexibility and sonic quality as they move into the realm of spatial audio. Audient truly understands what PMC has to offer and have been great to work with. We wish them every success with this stunning new room.”

Working closely with acousticians and room designers, Audient has created an acoustically accurate space. Andrew adds: “Not only does it provide an ideal listening space for demonstrations, but the studio is also available to professional engineers so they can mix their own records in Dolby Atmos.”

Room Sonics took care of the studio’s acoustic design which features over 80 GIK acoustic panels. The studio desk was custom designed and built by AKA Design and speaker mounts were courtesy of Triad Orbit.

Audient Unveils Immersive Studio in Partnership with PMC SpeakersAudient Unveils Immersive Studio in Partnership with PMC Speakers

8th April 2024

Marco Borsatti Chooses PMC Monitors for his Dolby Atmos Studio

Marco Borsatti Chooses PMC Monitors for his Dolby Atmos Studio

Italy – Mixing and mastering engineer Marco Borsatti has chosen PMC monitoring for his new studio in Bologna, which is configured for Dolby Atmos 7.1.4.

Located on the ground floor of a historic building that dates back to 1565, Marco Borsatti Studio was built from scratch with help from Florence-based acoustic design and consultancy, Studio Sound Service. The large control room has plenty of natural daylight and a vocal booth for recording vocals, guitars and overdubs.

Marco, who has been recognised for his audio engineering work on three Latin Grammy-winning records with Laura Pausini, says much of his work now revolves around mixing in Dolby Atmos. It was therefore imperative that his new studio could support the format.

“I started mixing in Dolby Atmos in 2021 and my first project was Mammamia by Italian rock band Måneskin, which was released worldwide,” he says. “That was hugely satisfying for me as I have always liked experimenting with new types of work, so I adapted my old studio to incorporate an Atmos system. When I decided to relocate, I designed my new studio specifically for Dolby Atmos.”

Monitoring was an important consideration for the new room. Marco chose a system based around PMC monitors because he had used them at various mastering studios and been very happy with their clarity and sound quality.

“Before I moved out of my old studio I demoed some PMC result6 monitors and liked them so much that I bought a pair. I have always mixed with Yamaha NS10 with a sub, and over the last 30 years I have become so used to these monitors that I couldn't find anything else that pleased or satisfied me. It’s not that the Yamahas are fantastic; it’s more a question of habit and the difficulty of finding a valid replacement. However, for me, the PMC result6 monitors have now become a more beautiful alternative.”

The monitors now form part of his new Atmos system, which comprises PMC6-2s for left and right front channels, nine result6 monitors for the surround and height channels and a TwoTwo Sub2 sub-woofer.

“I now have a truly magnificent speaker system,” he says. “The PMC monitors behave very well - beautiful, elegant, kind and generous.”

In addition to the PMC monitors, Marco’s control room is also equipped with an Avid D-Control console, ProTools with two Avid HDX cards, two Matrix Studio and two Avid 16-16 in/out for Outboard Inserts and a host of analogue gear from manufacturers such as Thermionic, Retro, Manley, Tube Tech, Lidcraft, Vertigo, API, Neve, Chandler, GML and DBX.

“I am very passionate about analogue outboard, and I have everything connected together with a Bantam analogue Patch Bay,” he adds.

As Bologna is a UNESCO heritage city for music, Marco Borsatti feels he couldn’t have his studio in a better place. However, the ancient columns in the reception area belie the very modern technology behind the door of his control room.

“This contradiction fascinates me enormously and was one of the reasons why I immediately fell in love with this location,” he says. “It is not a commercial studio, which is why I gave it my own name: because there is a bit of me inside these walls.”

He adds that during the construction phase, Studio Sound Service was immensely helpful in ensuring that the acoustics were perfect, and the room delivered on every level, not just aesthetically.

“They were a godsend to me,” he says. “It is very difficult to find a company that is as serious, prepared and helpful as Studio Sound Service are. I asked them to reproduce the acoustics that I had in my old studio and when we did our first listening test with the PMC6-2s, before putting the canvases on, we found that they had reproduced an error I had before. But within 20 minutes, Studio Sound Service had solved it and obtained a truly linear listening curve at all frequencies. That's how it's done! The combination of the room acoustics and the PMC monitors mean that I have never heard a studio sound so good. This is why I've always loved PMCs.”

With his studio now up and running, Marco is busy creating Atmos mixes for numerous artists and mixing live concerts for video and streaming services. His client list includes internationally renowned names such as Vasco Rossi, Andrea Bocelli, Adriano Celentano, Daniel, Gianni Morandi, Lunapop, Zucchero, Samuele Bersani, Eros Ramazzotti, Tiziano Ferro, Francesco Renga, Paolo Conte, Renato Zero, Giorgia, Stadio and Jovanotti. A recent highlight, he says, was mixing and mastering Jolene, Dolly Parton’s duet with Måneskin.

In addition to his studio work, Marco is also an educator and holds various professional training courses and Masterclasses in Dolby Atmos mixing for groups and individuals.

8th April 2024

The Only Possible Upgrade Path from Outline is - More Outline!

The Only Possible Upgrade Path from Outline is - More Outline!
The Only Possible Upgrade Path from Outline is - More Outline!

USA – The Warner Theatre, close to the White House in the American capital city, has since 2013 offered its visiting engineers, performers and artists the sonic advantages of an Outline Butterfly system, expertly tuned and maintained by house sound engineer Ishai Ratz.

Originally opened in 1924 and having hosted everyone and everything from Frank Sinatra to ZZ Top and from Vaudeville to cinema, since a full restoration in the early 90s it is an established showcase venue for the DC area.

Jason Farah of Outline’s US office describes the genesis of the new installation: “Following on the success of Butterfly and wanting to maintain the high performance-to-small footprint ratio, it made perfect sense to upgrade to Butterfly’s successor, Superfly. Superfly provides extended low-end response and improved rigging, while maintaining the same voicing that Butterfly excelled at.”

“The Warner Theatre has a prominent and deep under balcony section, so we specified left/right hangs of 14 Superfly per side to achieve the necessary coverage. The hangs are zoned to accommodate the varying distances between the loudspeakers and the seats, so the top six Superfly are focused on the balcony and the lower eight cover the entire floor, including all the way back to the rear of the under-balcony area.”

“The FOH mix position is at the very back of the under balcony seating and normally such a location would necessitate reference monitors to compensate for the less-than-ideal listening experience back there. However, by using Outline’s OpenArray2 simulation software and through some careful deployment of the flown Superfly cabinets we were able to achieve smooth and even coverage throughout, even at the worst seat in the house: the FOH mix position!”

The system overall comprises 28 Superfly enclosures, four compact Vegas 24 cabinets deployed as stage lip-fills, two Ki12 Plus cabinets per side as near-fills and five DBS 18-2 subwoofers. Power is provided by seven Outline GTA Otto eight-channel DSP-equipped amplifiers, while a Newton FPGA-based processor is located at FOH to handle signal distribution and to easily interface guest consoles into the Outline system.

Farah continues: “The coverage and performance that Superfly provides is impressive, though the Warner Theatre posed design challenges which Outline’s product portfolio was key to solving. Full coverage under the balcony was achieved by proper deployment and aiming of the flown Superfly arrays, but because the hangs are well into the house side of the downstage edge, the Golden Circle seats were largely out of their direct field; locating the four Ki12 Plus speakers on the downstage corners was key to providing full-range, encompassing sound to those most valuable seats. Altogether, Outline provided the perfect mains, mid-fill, near-fill, LF, processing and prediction solutions to give every seat in the house a world-class experience.” 

“Everyone is blown away by how good this system is. Indeed, the FOH engineer for the first act (AJ Croce, Jim Croce's amazingly talented son) in the theatre on this new system remarked that he has never been in a theatre that is so evenly covered and that the system has clarity and nuance that is unmatched.”

Ishai Ratz concludes: “We also added a Midas HD96 as our FOH console and to me the combination of Midas, Newton and Superfly is an amazing sound system for the venue.”

8th April 2024

Ole Red Las Vegas radiates country with Elation lighting

Ole Red Las Vegas radiates country with Elation lighting
Ole Red Las Vegas radiates country with Elation lighting

USA – Country music has its own personality: a blend of storytelling, down-home rhythms and heartfelt spirit that resonates with listeners from all walks of life. If you’re looking for a place to hear live country music day or night while enjoying a fabulous meal on the Vegas Strip, Ole Red is your ticket. The recently opened restaurant, bar and live music venue in the heart of Las Vegas is setting a new standard for country entertainment in Sin City, thanks in part to Clair Global Integration (CGI) and an innovative lighting design by Bryant Woelk, owner/senior lighting designer of FXLighting LLC, featuring state-of-the-art lighting from Elation.

The Blake Shelton inspired Ole Red, operated by Opry Entertainment Group, offers patrons a full experience with live music, delectable dining and a vibrant bar scene. The first Ole Red opened in Shelton's hometown of Tishomingo, Oklahoma, in 2017 with Las Vegas the entertainment chain’s sixth location.

Clair Global Integration procured audio, lighting and backbone control for the new venue and handled system design, installation and programming. Bradley Cronenwett, senior lighting designer at Clair, oversaw the design phase to ensure the systems fulfilled the client’s brief and high standard. “Although Ole Red operates as a restaurant, the client wanted to capture an immersive feeling like you were sitting in a seat at a concert, but with hospitality,” Cronenwett states. “It’s a high energy, fun environment and everything about it is really a cut above.”

Ryman Hospitality Properties, which owns Opry Entertainment Group, has entrusted CGI to successfully execute all of the Ole Red venues, a strong and enduring partnership that has helped to ensure unparalleled entertainment experiences across all Ole Red locations. Clair worked closely with Andy Roy, assistant director of production and technical services for Opry Entertainment Group, to ensure all the needs were met on the Las Vegas project.

Clair brought in Bryant Woelk to carry out the lighting design for the Vegas venue, the designer’s first collaboration with Clair, Ryman and Ole Red. Woelk, who brought with him experience designing for similar projects, says he had full creative freedom to create the lighting atmosphere and took much of his inspiration from frequent visits to an Ole Red near his home in Orlando, drawing on the venue's style to tailor an immersive experience for the larger Las Vegas location.

Featuring an ever-changing selection of country talent, including occasional sets by Blake Shelton himself, Ole Red Las Vegas hosts live music on a main stage from the time doors open in the late morning until they close late at night. Spread across three levels (a ground floor with two balcony levels overlooking a main stage) all are laid-back dining areas where guests can experience concert-calibre country music from their seats.

The main stage lighting features a full concert rig working from balcony rail pipe surrounded by atmospheric lighting. Woelk comments: “For our workhorse fixture we wanted a nice moving light and chose the Fuze Spot which is mainly used for front light but also gobo texture wash on the stage and for a nice moving light spot to fill the air. DARTZ 360 narrow beam moving heads, on upstage booms, were chosen for their beam effects without overwhelming the audience, a perfect balance of a nice tight beam but not blinding to the eye.”

Woelk specified the lighting but says he didn’t require fixture demos as he knew exactly what he wanted, having used the majority of the fixtures before. The exception was the Colour 5 Profile ellipsoidal, used for stage wash on the main stage and for IMAG purposes. Because it’s such a large space, IMAG is used heavily across a large 37ft high LED screen so the lighting design also had to be IMAG friendly, Woelk says.

The Colour 5 Profile fulfils another very unique role as well. A signature decorative piece of Ole Red venues is a real farm tractor that hangs upside-down, about 50 feet above the crowd. As a conversation piece and photo target, it needed to be properly lit, which Woelk does using three of the fixtures.

Woelk says the goal of immersing patrons in a concert-like atmosphere across a three-storey venue offered its own unique challenges. “You want to be sure that everyone has a view to the stage from all three floors, but especially from the top floor that posed a challenge. It's a live concert venue and restaurant but most importantly it is an interactive space, so I added several lighting positions over the tables in the house to play along with the stage lighting to make it feel immersive and allow the audience to feel like they are part of the show.” Among the standout fixtures used are the SixPar 100 and SixPar 300 for audience wash and stage lighting, respectively, the SixPar 300s providing top light from a throw of 35 feet. Lighting is used throughout the entire venue on all three floors, from the stage all the way back to the bar, an immersive atmosphere that clearly inspires guests to dance, transforming the space into a full-blown honky-tonk.

The Ole Red Las Vegas rooftop offers a casual but swanky restaurant environment during the day and a luxurious rooftop lounge at night, a space that can also be used to host private events. With live music, DJ sets and even line dancing classes – not to mention an unbeatable view of the Las Vegas Strip and Bellagio Fountains – it is a popular space.

The rooftop features a bar and small stage and because it is outside, posed a different set of challenges. Woelk explains: “Coming from Florida and understanding inclement weather and the need for IP-rated fixtures, Vegas posed a different reason for having IP-rated fixtures in the form of sand storms. Needing IP-rated fixtures for an environment that rarely gets rain may seem a bit strange but keeping sand and dust out of the fixtures was very important.” Proteus Rayzor 760 function as a moving head wash while IP-rated SixPar Z19 IP luminaires wash the entire stage, delivering stunning visuals for the rooftop stage while withstanding the unique challenges of outdoor performances.

Providing atmospheric haze and mid-air projection canopy in both the indoor and rooftop spaces is a Magma Prime hazer from Magmatic atmospheric effects. The all-purpose hazer provides full-coverage dry haze that is impressive for such a small unit. “It is super light yet has a lot of output for such a small hazer,” Cronenwett comments. “It outputs a fine mist of beautiful even haze that enhances the ambiance and adds depth to the lighting effects.” Small enough to position virtually anywhere, it consumes little fluid and auto self-cleans for unobtrusive operation.

Ole Red Las Vegas has been extremely popular since opening its doors in January 2024 with lines reportedly out the door on most nights. With a concert-like atmosphere and high-quality dining all in one location, it is setting a new standard for country entertainment on the iconic Las Vegas Strip.

Ole Red Las Vegas radiates country with Elation lightingOle Red Las Vegas radiates country with Elation lighting

8th April 2024

DAP EVO 6 enhances GlowGolf Kerkrade experience

DAP EVO 6 enhances GlowGolf Kerkrade experience
DAP EVO 6 enhances GlowGolf Kerkrade experience

The Netherlands – GlowGolf Kerkrade in the Netherlands is set to offer an even more immersive experience thanks to the recent installation of 20 DAP EVO 6 loudspeakers by RB Allround. The elevated audio landscape provides visitors with a dynamic and captivating auditory journey to complement the visually stunning environment.

Audiovisual solutions provider RB Allround has recently enhanced the immersive experience at GlowGolf Kerkrade with the installation of 20 DAP EVO 6 loudspeakers. The integration of these loudspeakers promises to take the audio experience at GlowGolf to new heights. The DAP EVO 6 speakers were chosen by RB Allround to enhance the overall atmosphere at GlowGolf Kerkrade, a premier destination for glow-in-the-dark mini golf. The speakers ensure a crisp and clear audio experience, delivering a dynamic range of sound that complements the visually stunning environment of GlowGolf. Installation was quick and easy thanks to the speakers' terminal connectors and the included brackets for horizontal and vertical mounting. The strategic placement of the DAP EVO 6 loudspeakers throughout the venue ensures an even distribution of high-quality sound, immersing players in a captivating audio experience as they navigate the glow-in-the-dark golf course. Visitors to GlowGolf Kerkrade can now enjoy not only the visual spectacle of the vibrant glow-in-the-dark environment, but also an enhanced audio experience that adds an extra layer of excitement to their mini golf adventure.

DAP EVO 6 enhances GlowGolf Kerkrade experienceDAP EVO 6 enhances GlowGolf Kerkrade experience

8th April 2024

Taste Club in Thailand Improves Nightlife Experience with Full Control from Allen & Heath

Taste Club in Thailand Improves Nightlife Experience with Full Control from Allen & Heath
Taste Club in Thailand Improves Nightlife Experience with Full Control from Allen & Heath

Thailand – Taste Club, a popular destination for nightlife enthusiasts in Bangkok, upgraded its sound system with the installation of state-of-the-art technology from industry leaders Allen & Heath and Adamson. 

Driven by a commitment to setting new standards in entertainment, Taste Club sought an outstanding sound system that would distinguish them from competitors and provide an immersive experience for their patrons. After extensive research and evaluation of various options, they were impressed by professional audio distribution company Sonos Libra’s proposal.

The idea was to have a very high SPL, great intelligibility and uniform coverage while also attaining an easy way to control the sound system. For the speakers, Adamson IS-Series and Point Series products were chosen to provide high quality sound throughout the venue.

To enhance the flexibility and ease-of-use of the system, Allen & Heath's AHM-16 matrix processor and an SQ-5 compact digital mixer were integrated into Taste Club’s set-up.

There are four analogue signal runs coming from the DJ Booth into the AHM-16, which offers a 16x16 processing matrix and 8x8 local analogue I/O. Allen & Heath’s AHM processors lend themselves to busy spaces with multiple areas such as Taste Club, as the system can be set to automatically adjust how loud each zone is. The AHM-16 processor also boasts Allen & Heath’s 96kHz FPGA Core with sub-millisecond latency, and a variety of simplified control options that don’t require specialised training to use. 

The SQ-5 mixer provides 48 input channels with 96kHz processing and was set up to send its outputs to the AHM-16. This means the club's management can use presets for simple and uncomplicated control, or instead opt for comprehensive in-depth control when required, so they can effortlessly tailor the audio experience to suit different events. This signal flow additionally provides redundancy in case of any hardware failure, ensuring uninterrupted enjoyment for guests.

The meticulous tuning and commissioning of the system were overseen by the expert engineering team at Sonos Libra with a final check from CEO Alfonso Martín, who commented: “This is one of the best sounding clubs in the city, no question.”

27th March 2024

Panasonic Connect Powers Guinness World Records-Certified World’s Largest Permanent Projection Mapping Display

Panasonic Connect Powers Guinness World Records-Certified World’s Largest Permanent Projection Mapping Display

Japan – Panasonic Connect Co., Ltd. has announced that Panasonic’s projection system was chosen to power the world’s largest permanent projection mapping display at the Tokyo Metropolitan Government Building in Shinjuku. Certified by Guinness World Records as the largest architectural projection-mapped display (permanent), operation commenced on 25 February, 2024. Going forward, the system will decorate the building with diverse content programming to revitalise the night-time economy.

In recent years, adorning urban structures with projection-mapped content has become a popular way to enhance tourism value after dark. Now a familiar sight for foreign and domestic tourists, local people and children, these attractions reflect the rising demand for immersive entertainment. As the emotive power of projected content continuously advances, a need for sophisticated visual equipment with greater expressive power has emerged. This has resulted in increasingly complex installation, adjustment and management workflows, exacerbated by a shortage of specialist labour, hindering efficiency.

To address these challenges, Panasonic’s AcroSign digital signage solution was chosen to power the world’s largest permanent projection mapping display on the exterior of the Tokyo Metropolitan Government Building, along with high-brightness Panasonic projectors and an immersive sound system. The projection mapping system, centrally managed by AcroSign, allows for cloud-based remote management and content updates. Panasonic’s Remote Managed Service also enables system status monitoring from off-site locations, contributing to streamlined management and maintenance.

The AcroSign-based content management system allows personnel to manage and update the entertainment programme without physically visiting the site. Additionally, Remotely Managed Service enables remote equipment status checks and live projection monitoring via camera, streamlining system monitoring, management and maintenance.

Twenty Panasonic PT-RQ50Ks (the world’s brightest projector) and 20 PT-RZ34K projectors deliver clear, bright and immersive visuals over a vast area. Synchronised audio from a RAMSA sound system further heightens the sense of immersion.

Specially developed projector bodies feature enhanced dust, water and vibration resistance to ensure stable and secure long-term operation in outdoor environments.

With the No.1 market share in the high-brightness projector market in Japan, Panasonic aims to enhance experiential value by delivering overwhelming visual beauty, operational efficiency and reliability. As part of its mission to “Create unseen worlds together,” Panasonic strives to be an invaluable partner, improving the overall experience in immersive media-based entertainment and event spaces.

Panasonic Connect Powers Guinness World Records-Certified World’s Largest Permanent Projection Mapping DisplayPanasonic Connect Powers Guinness World Records-Certified World’s Largest Permanent Projection Mapping Display

27th March 2024

Robe Gets Wild in Singapore

Robe Gets Wild in Singapore

Singapore – Wild Rice @ Funan is part of a modern performing arts complex sitting at the heart of Singapore’s buzzing civic and cultural district. Built in 2019, the main Ngee Ann Kongsi Theatre space offers an intimate 358 capacity space with Singapore’s only thrust stage, which was inspired by the Royal Shakespeare Company’s famous Swan Theatre in Stratford-upon-Avon.

In 2022, the theatre took delivery of a new Robe moving light package: ten T1 Profiles and 16 ParFect 150s, hich joined the original lighting rig that was specified by theatre design consultants Charcoalblue when the venue opened. More recently, the theatre invested in Robe again, purchasing Tetra2 moving LED battens and LEDBeam 350 wash beams to boost the general lighting rig.

The fixtures were delivered via Robe’s Asia Pacific office and these important lighting investments were overseen by Wild Rice’s then technical manager, Sagaya David Kanagasingam, who has worked at the theatre since 2019.

David explains that Robe T1 Profiles were first used at the Wild Rice in 2020 for a production of Peter Pan, the annual pantomime that year, and they were specified by lighting designer Michael Chan who wanted additional keylighting for faces.

Before then, David had used them a few times at the renowned Singapore Repertory Theatre (SRT) where he had worked for many years. There he also worked with Robe’s original DL7 theatre-orientated luminaires, which he was instrumental in getting into SRT’s main venue.

David and his Wild Rice team (which includes five full time technical staff, plus interns and freelancers) were all hugely impressed with the beautiful flesh tones and high CRI of the T1s and the impact they had on Peter Pan.

When the time was right and everything was moving on from the pandemic, it was determined that they needed some additional moving lights in the venue to boost the lighting production values offered to incoming productions.

“We already all loved the T1s,” he recalls, “we knew they were highly compatible with the existing house rig and were certain that having them here would benefit everyone using the space.”

In addition to quality of light, they needed a silent or low noise fixture, an especially pertinent issue with the open design of the main auditorium.

“We also wanted fixtures with a good range of subtle and nuanced colours, pastel tones and other more unusual hues that are frequently used for theatrical shows,” he noted. The T1 met all the criteria and the price was right.

ParFects were added to the order as ultimately useful all-round general purpose LED luminaires which can be used in virtually any theatrical circumstance.

Having all these Robes in the rig enables Wild Rice @ Funan to offer huge flexibility for its wide array of performances that embrace dance, drama, music, musicals and comedy.

David’s positive experiences with Robe both here and at SRT – including for their acclaimed ‘Shakespeare in the Park’ outdoor productions – means that he trusts the brand as “reliable and very robust”.

This, together with the range of whites, the colours and colour mixing, quietness and of course the brilliant service and support from Robe AP, all make Robe a winning choice for this busy environment.

In picture: Peter Chi, Wild Rice’s new technical manager, stage technician Roy Tee Lacno, technical intern Jedrick and previous technical manager, Sagaya David Kanagasingam.

photo: Louise Stickland

www.robe.cz

26th March 2024