Project News

Luci della Ribalta Lights Up Muni Theatre: LED Upgrade Centered on Astro 600

UK – The Muni Theatre, a British venue managed by Pendle Leisure Trust and based in Colne, Lancashire, has completed a full transition to LED for its lighting rig, drastically reducing energy consumption and ensuring decade-long reliability. Relaunched by technical manager Martin Worrall after years on hold, the project secured funding in July 2025. Luci della Ribalta Srl (LDR) products featured prominently in the installation, supplied by White Light (London) via Prolight Concepts (UK) Ltd., one of LDR’s UK distributors.

Bradley Jeffrey of Prolight Concepts (UK) Ltd provides context: “The venue had started some years ago to make the move to LED however, with a change of staff, the project had been put on hold for a number of years. Since Martin Worrall, the current TM had joined the team, he had pushed to complete the changeover with Pendle Leisure Trust and was finally granted the funds to complete the transition back in July 2025.”

White Light’s brief called for a cost-effective, durable lighting package, replacing 1000-1200W fixtures and problematic Strand Cantata 1200 MSR followspots, whose lamps were scarce and expensive. The winning choice: Luci della Ribalta Astro 600.

White Light explains: “We looked at a number of manufacturers of followspots, however my experience of LDR units at other venues has always been a positive one. Price-wise the Astro 600 fitted the budget so there was no need to spend ridiculous amounts of money on something that wasn’t going to be every day. This unit provided all the versatility they needed with the onboard dimmer, also they particularly liked the option to connect to the lighting console so that they could program the fixtures into cues.”

These LED followspots feature integrated dimmer and console connectivity, ideal for manual or programmed cue operation. The rig is now fully LED, with moving lights including 12 Elumen8 Evora CMY300 Zoom Spots as the backbone.

Bradley Jeffrey of Prolight Concepts (UK) Ltd praises LDR: “We have been working with LDR for a number of years, the support and commitment to ensuring quality products suitable for each application is second to none. We work closely with them to find solutions for customers even if it means tweaking products software and hardware to ensure the customer is happy."

Thanks to Luci della Ribalta Astro 600, Muni Theatre now has an efficient, versatile system, emblematic of LDR reliability.

6th March 2026

Estonian National Theatre Vanemuine invests in new Robe LED technology

Estonia – Vanemuine is Estonia’s oldest, largest and most visited theatre. Based in the country’s culturally vibrant and picturesque second city of Tartu, it has recently invested in more Robe moving lights as part of Estonia’s ‘Green Turn’ sustainability initiative, whereby all major theatres and performing arts centres are transitioning to LED stage lighting.

Under the technical leadership of Andres Sarv, Vanemuine’s head of lighting, all three of its auditoriums: The Grand Building of Theatre, The Small Building of Vanemuine and The Harbour Theatre (black box) have benefitted from carefully considered investment in Robe lighting technology over the years, with the most recent purchases being in LED luminaires.

This has seen an additional 14 T1 Profiles, 14 T2 Profiles, 11 T11 Profiles, eight LEDBeam 350s, eight LedPOINTES, six iParFect 150 FQW RGBWs and four T32 Cyc Slims added to the Vanemuine lighting inventory.

All these plus other fixtures are now at the disposal of Vanemuine’s own lighting department for all the shows and touring productions that they produce, as well as for the incoming and guest LDs who are visiting with numerous national and international shows.

Many of the new Robe fixtures were used on the acclaimed 2025 production of La bohème, lit by Swedish lighting designer Palle Palmé.  

While many of the new lights will reside in The Grand Building, servicing the largest and most complex productions, they can be moved around as and where needed between the three auditoriums and they can also go on the road with Vanemuine’s various touring shows.

In The Grand Building, two RoboSpot systems are also new (supplied as with all the LED fixtures by Robe’s Tallinn-based distributor E&T Valgus) but these are separate from the green turn investment. However, they can be used with many of the Robe fixtures, giving greater flexibility and enabling better follow spot angles to do the job.

Vanemuine has been using Robe fixtures for at least the last 14 years, and the recent arrivals also prompted them to replace some of the older fixtures like MMX Spots and 600E Spots, which were still working … but have now been replaced in all the houses giving a much more powerful, energy-efficient and contemporary set of creative options.

In some cases, the older Robe moving lights – like LEDWash 1200s – are still in active service and used for powerful back light or other effects. Andres comments that this reliability and longevity are a great asset and one of several features that keep them returning to the brand for moving lights and intelligent LED fixtures.

The Small Building already had T1s in the house rig, but the Harbour Theatre’s older Robe DLX Spots (in residence since 2013) were replaced with some of the new batch, joining the existing Robe LEDWash 600s in there, together with a host of conventional lights.

The new LedPOINTES, while more of a multi-purpose than a purely theatrical fixture, will mainly stay in The Grand Building as they are ideal for musicals, and were “very well priced,” commented Andres.  

He commented that the optics of the LEDBeam 350 are “great” for theatre and, naturally, they are delighted to now have the additional power of the T2s in the house.

Andres believes that Robe’s T-Series luminaires are excellent for any performance space: “The breadth of the T-Series ranges is fantastic, there is a fixture to cover multiple needs and Robe can provide a very consistent solution in terms of light quality and colour management.”

He is also very enthused by the potential of the T32 Cyc Slims to provide rich, smooth and even coverage for cycs and set pieces and the four units will replace 12 heavy lights that were previously used for this task.

Back in 2001, Andres recalls, Palle had been the first visiting LD to use new moving lights that had just been installed in The Grand Building and in 2025, he was delighted to engage in another Vanemuine first in using the Robe T2 Profiles in the same venue.

Andres works alongside a lighting crew of ten at Vanemuine across all three venues. While they primarily present theatrical shows and some orchestral concerts, the pace and turnarounds are very much rock & roll in style and speed.

The house lighting rigs need to be as dynamic and flexible as possible, and Robe products are currently adding reliable and creative production value, together with the all-important “outstanding” local support from E&T Valgus.

Estonian National Theatre Vanemuine was founded in 1870 and is internationally famous and renowned for its action-packed programme of spectacular and eye-popping productions that embrace drama, opera, ballet, large-scale musicals and orchestral concerts.

Vanemuine is known for its high-quality productions and has been recognised with numerous awards and accolades throughout its history.

In 2026, Vanemuine and Eesti Kontsert will bring Richard Wagner’s tetralogy Der Ring des Nibelungen to the Saaremaa Opera Festival, beginning with Part I, Das Rheingold. In the following years, all four operas of the Ring Cycle will be presented, directed by Dutch opera director and set designer Michiel Dijkema.

photos: Maris Savik

5th March 2026

Avenue Systems send CDD soaring towards Jupiter

USA – When Calvary Church in Jupiter, Florida, recently expanded its ministry into a new facility, it wanted the best audio experience it could deliver to its members and congregants inside its new auditorium.

And so the church – originally founded in 1997 before acquiring its own permanent property in 2008 to accommodate its growth – turned to Milwaukee-based Avenue Systems to design and install the new AV infrastructure. This was after they had acquired the additional land, committing $13m to the new development and repurposing the pre-existing auditorium.

Knowing that within the new space, Calvary would need to meet all requirements of a modern contemporary church: “relatively high energy sound but not concert levels”, according to Avenue Systems’ director of client relations, Terry Rhodes, the audio-visual specialist set about creating an elevated experience. A key ingredient was a site-wide Martin Audio CDD point source solution, which offered clear and consistent coverage.

The new technical infrastructure also needed to work within a scalable space. Rhodes noted: “As this wasn’t a particularly deep room there was no requirement for a line array; however, it was relatively wide. So distributed audio from point source boxes made more sense, and was also more economically friendly to their budget, considering they had a number of issues to address.”

He also observed that Calvary’s technical team, under production director Steve Sweeney, required ease of use, affording volunteer-friendly operation, automation and flexibility. He emphasised that “the partnership we formed was all about trust and building a relationship.”

His sound reinforcement design is based around a pair of CDD15 each side of the stage, with four CDD12 set back in a delay ring along with a pair of CDD10 and five of the ultra-compact CDD6 serving as infills. “We also had four SX218 subs buried in bunkers at the face of the stage,” he added. These were powered by Martin Audio sister company, Linea Research’s 44M20 four-channel amplifiers, managed through Q-SYS processing.

To truly optimise the system, the new room required acoustic treatment to tame reverberation, flutter and echo.

The team at Avenue Systems was able to relax knowing they had the full support of Martin Audio where required and specifically that of regional rep Martha Callaghan.

Avenue Systems continue to offer close support to Calvary Church, making resources available to strengthen infrastructure where necessary, with confidence that this robust AV solution will serve not only the current congregation but also future generations.

Steve Sweeney agrees, adding: “It goes without saying that having a great relationship with an integrator makes all the difference. Avenue Systems was always there for us, both answering questions to help our volunteers understand the ‘why’ behind our new space’s audio design and taking time to showcase the value of Martin Audio’s CDD line. We were so impressed by how the speakers delivered a complete, balanced sound experience for our congregation during both contemporary worship and our Bible Teaching led by our senior pastor.

“Terry Rhodes was both a great advocate for Martin Audio’s line of audio and the value of Linea Research’s amplifiers and how well they integrate with our other systems and controls. We’re glad we made this choice, recommended by Avenue Systems. Martin Audio makes phenomenal speakers.”

5th March 2026

Tonhalle Düsseldorf: Bringing the “Planetarium of Music” to Life with Amadeus Acoustics

Germany – Perched on the banks of the Rhine, the Tonhalle Düsseldorf has been delighting audiences for almost a century. Originally built in 1926 as a planetarium, it has long since transformed into one of Germany’s most beautiful concert halls, a place where music meets architectural wonder. Its iconic blue dome, now fitted with LEDs and a sophisticated lighting concept, creates a visual spectacle reminiscent of a starry sky, while its rich history as the home of the Düsseldorf Symphony Orchestra makes it a true “planetarium of music”.

But even a hall with such prestige and beauty faced challenges. In 2005, an electronic reverberation system was installed to optimise the hall’s acoustics for a wide range of performances. Over time, however, technical issues began to compromise its performance. The Tonhalle needed an upgrade, one that would respect its unique architecture while enhancing its sound for every type of concert, from intimate vocal recitals to full orchestral works.

Enter Amadeus Acoustics. Following extensive listening tests and demonstrations, Peutz Consult, the acoustic planners who had also worked on the original system, were convinced of Amadeus Acoustics’ capabilities. In parallel, Jürgen Meyer of Kottke Bühnenplanung GmbH reworked the existing electroacoustic infrastructure, redesigning the system based on the hall’s current inventory and developing the technical specifications for the tender.

After a competitive process, Thomann GmbH commissioned Amadeus Acoustics to deliver a solution that would bring the hall’s acoustics into the 21st century. The challenge was significant. The Tonhalle’s dome and curved side walls, remnants of its planetarium past, make sound reflections unpredictable. To achieve a listening experience comparable to a more conventional music hall, the team had to carefully control early reflections while preserving the hall’s character and warmth.

The solution combined cutting-edge technology with thoughtful design:

• Active Acoustics tailored to each type of performance.
• Immersive Sound with Virtual Sources for 5.1/7.1 surround applications.
• Voice Lift to optimise speech and vocal clarity.

The system upgrade was built on Amadeus Acoustics’ ART platform, powered by the ART:Hub2 hardware and utilising the ART::AP (Active Acoustics Performance) module. Modular and scalable, Amadeus ART is a versatile multi-channel audio platform enabling dynamic active acoustics management, immersive sound applications and voice lift. As a comprehensive ecosystem of hardware, software, services and content, it integrates perfectly with third-party systems and the hall’s existing inventory. This included new power amplifiers and microphone preamplifiers, while retaining the Tonhalle’s existing stock of 64 microphones and 96 loudspeakers, with replacements installed only where necessary. With Amadeus Acoustic’s ART Performance package, the premium configuration for larger venues, the system delivers the precision, flexibility and immersive quality required for a world-class concert hall.

Specially designed presets allow the Tonhalle to adapt to different performance needs:

• Probe: Perfect for rehearsals, maintaining transparency even in complex passages.
• Orchestra: Balanced concert acoustics, supporting both solo passages and large orchestral works.
• Chor: Warm and full, ideal for vocal and romantic music, polyphonic structures, or organ pieces.
• Sakral: Monumental reverberation for sacred music or ceremonial performances.
• 3D Audio without Active Acoustics: For immersive experiences that let the hall’s natural acoustics shine.

Throughout the project, collaboration was key. Peutz Consult’s Klaus-Hendrik Lorenz-Kierakiewitz and Martijn Vercammen, deeply involved in both the original 2005 planning and this renovation, worked closely with Amadeus Acoustics and Thomann GmbH. The result exceeded expectations: a significant improvement over the old system that has transformed the hall’s acoustic landscape.

Now, every concert at the Tonhalle, from classical symphonies to jazz, pop and beyond, benefits from precise, rich and flexible acoustics. Audiences experience clarity, depth and warmth in every note, while musicians enjoy the ability to hear and respond to each other with unparalleled precision. The Tonhalle is, once again, a true “planetarium of music,” where technology and artistry meet.

photos: Susanne Diesner

5th March 2026

SP Grid powers the next generation of sports fan engagement

Worldwide – As sporting experiences become increasingly geared towards audience entertainment, leagues, teams and venues are under pressure to deliver experiences that go beyond the game itself. Today’s fans expect real-time data, broadcast-quality visuals, interactive storytelling and equal experiences whether they are in-venue or at home. Across the industry, technology manufacturers are actively addressing this shift. From stadiums adopting broadcast-style production pipelines to sports courts transforming into interactive, digital canvases, fan engagement is no longer optional.

SP Grid sits at the centre of this evolution, enabling production teams to unify tracking, automation, data and media control into a single scalable platform, which helps turn arenas, stadiums and esports venues into fully connected experience engines. Unlike single-point solutions that address only graphics, tracking or automation in isolation, SP Grid acts as the connective tissue between systems. It aggregates real-time positional data, timing and control signals and distributes them across the users’ desired control workflow. SP Grid is already deployed on projects and venues involved in some of the highest levels of professional sport and entertainment.

“We have seen and are continuing to see many instances of SP Grid being used to create incredible fan experiences, especially in the world of sports,” explains Sarah Cox, CCO at Stage Precision. “These events require precision, accuracy and integration across various moving parts, such as lighting, audio, fan apps and more. With powerful timeline controls, automation features and real-time monitoring, SP Grid ensures that every aspect of the experience is perfectly timed and in sync.”

At the Honda Center, California, SP Grid was used to integrate tracking and control systems to support immersive in-arena visuals, dynamic game stats integration and tightly synchronised show moments, including a bespoke ‘Frog Dash’ game, to encourage crowd participation and bring greater sponsor visibility.

Describing the system created using Stage Precision’s platform, Eric Gazzillo, vice president of innovation at Quince Imaging, says: “It sits at the centre of the operation, managing data flow between the tracking system, game engine and media servers. We use active ID tags on players and SP handles the entire data communication network, from camera calibration through to real-time adjustments.”

For Red Bull’s next-generation arena at SAP Garden, Munich, SP Grid plays a critical role in co-ordinating complex, data-driven shows that blend sport, entertainment and brand storytelling. “No other software brings together a 3D stage tracking system with a user-friendly control interface like SP Grid,” confirms Leon Herche, creative producer at bright! studios, who were responsible for developing a workflow to enable tracking data to be transformed into engaging visual content for real-time gaming and audience participation. “The simplicity of the interface makes it super user-friendly. Even the arena team, without specific technical experience, can start and stop games and manage the system easily.” SP Grid’s custom UI feature enables simplified, branded controls to be presented on a tablet or touch panel, making everyday operation intuitive.

Drawing from SP Grid’s rich and versatile feature set, several more tools and capabilities are particularly impactful in live sports environments. Take real-time data aggregation, for example. SP Grid can ingest data from tracking systems such as person and object tracking, enabling instant visualisation of gameplay moments, player movement or branded fan interactions in endless creative forms, from on-screen data feeds to digital floors or in-app updates for audiences.

Precision synchronisation of 3D data enables elements such as LED, lighting, audio, graphics and even AR elements to launch simultaneously and without manual operation, critical for high-impact fan moments. For the 2024 Super Bowl, SP’s tracking solutions emerged as the linchpin of operations for an augmented reality simulcast in collaboration with Nickelodeon featuring the alternate reality of SpongeBob SquarePants.

From single-arena deployments to multi-venue leagues, SP Grid also scales effortlessly, supporting consistent fan experiences across seasons or locations. The E-Sports World Cup 2025 was a testament to this when bright! studios used SP Grid for multi-stage media control across seven venues and dozens of esports gaming titles.

Finally, by taking technical complexity and presenting data, workflows and complex device connections in a user-friendly way, SP Grid encourages creative teams to experiment with new fan engagement concepts and iterate existing set-ups over time to evolve as fan response is gauged.

“As many in our industry are highlighting the importance of fan engagement, SP Grid differentiates itself by focusing not on individual surfaces or effects, but on infrastructure-level orchestration of an experience,” concludes Cox. “Sports teams or organisations can adapt their fan experiences in an agile way, integrate emerging technologies over time and, most importantly, deliver compelling experiences.”

SP Grid empowers venues and broadcasters to turn every moment into a truly engaging audience experience in an era when sporting fans demand more than just a seat and a screen.

4th March 2026

Ministry of Sound chooses KV2 Audio to power the next chapter of its legendary dance space, The Box

UK – For over two decades, KV2 Audio has made a name for itself as a go-to solution for nightclub sound systems across the world. Now, the loudspeaker manufacturer is taking on one of the UK’s most iconic music venues – Ministry of Sound – delivering a comprehensive system to power the newly refurbished main room.

Back in 2022, technical and production manager at Ministry of Sound, Oscar Zammit, entered into discussions with integration specialist, Louis Jemmott, about the possibility of upgrading the venue’s sound system. “Oscar and I spoke about what a potential upgrade could look like, and in 2024, these conversations turned into reality,” says Louis Jemmott, now sales director for Patchwork London, a global distributor for touring and live events.

“Ministry of Sound were keen to do a complete refurbishment of their main room, The Box. This included the need for a dynamic sound system that would meet the expectations and demands of the club.” As well as club nights, roughly half of the venue’s operations revolve around corporate events, meaning the system needed to accommodate punchy, bass-heavy music while also providing even coverage, intelligibility and control. 

“Myself and Patchwork’s technical manager, Kieran Edmonds, evaluated six different loudspeaker brands,” Jemmott reveals. Due to the shape and size of The Box, it was evident early on that a point-source system would be the ideal solution, leading them to KV2 Audio’s cutting-edge point-source loudspeakers. “In 2024, Oscar Zammit and his team attended PLASA London, where they were immediately impressed by KV2’s audio demo. After this, KV2 emerged as the clear favourite, so we visited the factory in Czechia with Oscar and Ministry of Sound’s chairman, Lohan Presencer, for a live demonstration with KV2’s Tom Weldon and Jonathan Reece. We were all absolutely blown away.”

Having attended audio demonstrations from three of the shortlisted manufacturers, KV2 soon emerged as the clear frontrunner. “The only real competition was with the manufacturer of the existing system, who was looking to maintain the long-standing partnership it had with the venue,” notes Jemmott. This led to an on-site head-to-head between the two brands, with each system being installed and left for a week in The Box to assess their performance in the correct acoustic environment. “KV2 was the clear winner, chosen for its sheer quality and performance that was praised by resident DJs and technical staff.” 

As the home of UK dance culture since opening in 1991, expectations were understandably high for Ministry of Sound’s new upgrades. “KV2 designed the system themselves, giving us a clear framework to work with,” Jemmott explains. “The system consists of three zones: the legendary main room – The Box, the DJ booth and a VIP area overlooking The Box.

“In the main room, we installed a six-point system with SL412 loudspeakers flown from the ceiling: two at the rear, two in the middle, and two at the front, with low frequency reinforcement now provided by eight new VHD4.21 and six VHD2.16 units.” A major development of the renovations sees an additional VIP deck behind the DJ, increasing capacity and engagement with performing artists.

“For DJ monitoring, two brand-new ESD312 loudspeakers now form part of the new DJ booth supported by four ES1.8,” he continues. “In the VIP area, we installed ESD10 loudspeakers paired with ESD1.12 subwoofers in each corner, as well as four ESD12 loudspeakers along the VIP deck to maximise clarity and definition.” All amplification is taken care of courtesy of KV2’s bespoke electronics housed in three custom designed amp racks.

“We had a well-designed, high-performance system to rely on, meaning the main challenge we faced was the deadline,” Jemmott explains. “The refurb of The Box started on January 7th, with reopening weekend tickets already on sale for January 30th, leaving no room for error.” Alongside the new sound system, the upgrade of The Box included a redesigned dance floor, a modular DJ booth which can be lowered into the crowd, increased capacity and large-scale lighting and video installations. “During final discussions before the renovations took place, the decision was made to revamp the lighting rig, which led to a last-minute partial redesign of the audio configuration,” he recalls. “We adapted the original sound system plan in tandem with the lighting design, which led to the six-point system in place now and proving just as successful. Fortunately, we were not delayed by the other on-site work.” 

In addition to the KV2 loudspeaker installation, Patchwork London also carried out a series of infrastructure upgrades throughout the venue to ensure the entire system performs smoothly. “We replaced all the BSS Soundweb processors with QSC Q-SYS and added Netgear network switches and touchscreen interfaces to allow users to reroute audio sources to different rooms,” he adds. “We supplied custom input and output panels for each room, which not only allows audio from The Box to be instantly rerouted and streamed across multiple spaces at the touch of a button, but also enables audio from other rooms to be streamed back to The Box in the same way.

“This marks a significant moment in our history,” comments Oscar Zammit, technical and production manager at Ministry of Sound. “As we celebrate our 35th anniversary in 2026, we have undertaken the first change to The Box sound system in 15 years, transitioning from our long-standing supplier to KV2 Audio. It’s a bold and exciting step forward that will define the next era of sound in our iconic main room.” 

With The Box at the heart of Ministry of Sound, the combination of KV2’s technology and Patchwork London’s expertise sets a new benchmark for nightclub sound, delivering a system that balances raw energy with precision, consistency and control. Designed to meet the demands of world-class DJs, live audiences and diverse event formats, the new installation ensures that every performance is experienced exactly as intended. “Working closely with KV2 on this project has been a true pleasure,” concludes Louis Jemmott. “From design through to delivery, the collaboration allowed us to create a sound system that not only respects the legacy of Ministry of Sound but also futureproofs The Box for the next generation of club culture.” 

2nd March 2026

OSU’s Schottenstein Center Ups its Audio Game with New DiGiCo Quantum225 Mixing Console

USA – Located on the Columbus campus of Ohio State University, the Schottenstein Center is the largest arena in the Big Ten Conference and accommodates a wide range of productions. Beyond hosting OSU Buckeyes men’s and women’s basketball and men’s ice hockey games, the arena serves as the setting for major concerts, family shows and other events, such as the Winter Jam, which annually brings together some of the biggest names in Christian music.

The 20,000-capacity venue, also known as Value City Arena and less formally as “The Schott,” makes its commitment to aesthetics clear from the moment one approaches it. The centre features six unique terrazzo floorscapes, designed by artist Alexis Smith, comprising 350 gallons of epoxy over five miles of 1/16-inch zinc wire strips painstakingly bent and placed by hand, and 115 tons of stones, mother of pearl and glass chips, prepared in custom shades.

To keep the centre’s new sound as beautiful as its impressive flooring, the venue recently installed a DiGiCo Quantum225 front of house audio console paired with a DQ-Rack for Dante-connected I/O and processing. The project, completed just ahead of this year’s college sports season and including an Adamson PA system, was designed by Richmond, Virginia-based Anthony James Partners, with installation and integration done via Champaign, Illinois-based C.V. Lloyde Audiovisual.

“This project was a huge step forward for the centre’s in-house production team,” states C.V. Lloyde project manager Jared Miller. “They had been working with a sound system and console that were probably 15 years old, so it really brought the venue up to date.” He cites the new console’s robust interface and Quantum processing features for the choice but equally emphasises DiGiCo’s comprehensive onsite training of the venue’s staff: “DiGiCo was there for multiple sessions, so everyone was able to participate,” he says.

The 48-input/24-output DQ-Rack was also a focus. Miller notes its connection to the DiGiCo desk via a DMI-DANTE card means that all rack inputs and outputs can be accessed at both 48kHz and 96kHz. “The console and the DQ-Rack are a great combination for a venue like this,” he says.

Jack Covert, vice president of Anthony James Partners – the consultant on the renovation of the venue’s sound system – says their recommendation of the DiGiCo Quantum225 was made early on in the process. “DiGiCo is our ‘go-to’ for large arena and stadium-level sound systems because of its reliability and superior performance,” he says. “The Quantum225 was our first choice here.”

However, Covert points out that the Schottenstein Center’s AV crew, part of OSU’s technical staff, are seasoned AV professionals and experienced with a wide range of pro audio systems. “There was a lot more to this project than simply great sound: the entire system had to be as flexible as possible to accommodate the venue’s range of productions, from Big Ten Division 1 basketball to ice hockey to touring shows like Disney On Ice,” he says. “That includes the audio console, which has to handle all of that. The staff at the Schott have seen it all, and they could see that the Quantum225 was the console this situation called for. It has the features, and it has the ease of use. It has everything.”

2nd March 2026

University of Aberdeen Takes to the Cloud with Innomesh

UK – The University of Aberdeen is one of Scotland’s four ancient universities with its origins dating back to 1495. Home to 12 different schools which deliver teaching and research on a broad range of subjects, the University has around 15,000 students from both the UK and overseas.

As with every modern educational institution, AV technology plays a fundamental role in teaching and learning at Aberdeen. Over the last five years there has been notable growth in AV provision at the University, including significant investment in the Science Teaching Hub, as well as (in response to the Covid pandemic) the development of hybrid learning spaces to support lecture capture. In total, the University has around 350 spaces hosting AV control systems installed for many hundreds of unique types of hardware and more than 2500 network-connected devices requiring management and maintenance.

The University’s directorate of digital and information services recently took the decision to transform the way its AV systems are managed and monitored by deploying vendor-agnostic software-as-a-service (SaaS), to enable migration away from its existing vendor-locked solutions. Led by head of media services, Mark Dunlop, the team chose an Innomesh solution from Innomate. Innomesh is a licensed, subscription, cloud-based audiovisual and unified communications management platform that optimises interoperability as it monitors, controls, secures, automates and elevates a AV/UC environment, regardless of device manufacturer, scale or services.

In his three years at Aberdeen, Mark had taken an overview of the University’s provision and concluded that it was in need of significant overhaul: “We had something of a mixed bag of AV control and AV monitoring, none of which was particularly well-configured or reliable. As part of my role, I’d previously had the opportunity to visit AETM in Australia where I sat in on some presentations about the way in which many institutions there had moved to cloud-based AV control management. With that on my radar and the fact that our existing platforms were giving us issues with cost and maintainability, it made sense to move to a more modern platform, where all the data and supportability was in one place: an ‘evergreen’ solution for which new features are regularly released.”

The Innomesh solution, available through Innomate’s exclusive UK and Ireland partner Polar, rationalises a wide range of issues for the University, with future-proofing and significant improvements in efficiency, forecast to lead to extensive and immediate cost savings. Before its installation, the University’s relatively unsatisfactory position relied on legacy platforms, multiple independent subscriptions and expensive custom programming, which offered little insight into how its technology was being used. This was often compounded by firmware and security updates which caused unexpected issues and unstable rooms. In these cases, the resulting need for complex and time-consuming de-bugging regularly escalated to requiring manufacturer support, disrupting teaching, meetings and other activities, as well as adding to costs.

By contrast, the rapidly deployed single platform SaaS Innomesh solution – which sees new features released in quarterly updates – offers a completely new way of operating. Improved monitoring and control of equipment means that staff can be deployed more efficiently; its data gathering and reporting provide highly detailed information on the use of each space and the components in it, thereby providing hard evidence for a data-driven approach to right-sizing and managing cost-per-room in respect of technology replacement, ongoing maintenance and utilities, improved power management delivers significant power saving, enhancing cost-effectiveness and sustainability and the platform offers enhanced support by detecting issues and automatically notifying the service team, with any escalation prioritised and shown on the system’s dashboard.

With cost-saving a high priority for every area in the higher education sector, Mark believes that the return on the University’s initial investment in Innomesh will be swift, and lead to further significant savings in the future across the 304 separate spaces (constituting 80-90% of the estate) across which the platform is being rolled out: “Whilst moving to Innomesh wasn’t a small investment, it will be largely offset by savings we’ll be able to make over time. In addition to the hugely valuable data we can gather, which will help with space management, there are many other cost-saving aspects.

“For example, we won’t be paying programming costs to integrators on a regular basis, per-room commissioning costs will come down, and we won’t need to buy physical hardware based in a room to act as an AV controller. Over time we’ll also be able to de-couple ourselves from things like-branded touch panels (where supply chain issues can also have a negative impact) and instead use perfectly secure and serviceable options for a fraction of the price. Things like greater flexibility for academics through more widespread use of ‘own’ devices are all made possible by a future based on our AV control and management being cloud-based.”

Will Turney, head of integrated solutions at Polar, adds: “The immediate impact and future potential of the Innomesh solution at Aberdeen University, both in terms of operational efficiency and cost savings, is clear. It can only be a matter of time before other institutions in the education sector and beyond, recognise the wide-ranging advantages it offers.” 

27th February 2026

K-array Dragon KXT18P powers Tenax main room upgrade

Italy – A cornerstone of Italian club culture, Tenax’s legacy stretches back over four decades. Known internationally for its genre-leading line-ups and a dance floor that has welcomed generations of club-goers, the Florence venue continues to invest in its audio systems to maintain its reputation as one of Europe’s finest nightlife institutions. In 2025, Tenax once again chose K-array, its long-time audio partner, for a complete system upgrade in its main room particularly focused on K-array’s new Dragon KXT18P models.

After several years of reliable performance from K-array’s Firenze and Mugello line array series, Tenax has transitioned to the latest generation of high-performing point source Dragon, the KXT18P, in its main room. The new system consists of 12 KXT18P, deployed in clusters of three per corner, creating four horizontally arrayed groups that ensure full coverage across the dance room and exceptional headroom.

Supporting the Dragons are 16 Thunder KS4P subwoofers, 12 of which are placed along the DJ booth’s side, with the others at the opposite side of the dance floor, ensuring consistent low-end reinforcement. Together, this combination provides a powerful, balanced and clear audio experience to support the rotation of visiting and resident DJs.

Mirko Carruba, audio technician at Tenax comments: “K-array is the right solution for venues that require high SPL combined with precision and design integration. The system delivers impressive acoustic pressure while maintaining exceptional clarity and control across the spectrum. What stands out is the balance between physical impact and intelligibility: you can feel the energy in your body without sacrificing definition. It’s a versatile platform with a solution for virtually every application.”

Having made its debut in early 2025 at Miami Music Week, the KXT18P is the largest offering from the powerful point source Dragon series and promises extraordinary performance with its advanced tri-axial componentry. It features an 18″ woofer paired with dual coaxial compression drivers, delivering an impressive 144dB SPL and frequency response down to 50Hz. Its durable birch plywood cabinet combines robustness with elegant design and offers an eye-catching visual option with the mesh grille removed, exposing the silver-finished horn. The characteristic emission of high sound pressure in the near field makes the Dragon a fitting choice for Tenax’s club environment.

The new system is powered by five Kommander KA208 amplifiers, each providing eight channels at 2500 watts (at 4 ohms). With the KXT18P requiring two channels each and the KS4P one channel per unit, the set-up uses a total of 40 channels to drive the system. This configuration gives Tenax the power needed for high-energy club nights that run until dawn.

Attention has also been given to stage monitoring, with one Dragon KXT18P paired with one Thunder KS3P per side, refining the DJ booth setup and providing artists with the same sonic detail and power experienced by the crowd on the dance floor.

Over in room two, also known as “The Tube,” Tenax maintains its existing K-array system, with two KS4P subs, five Dragon KX12F loudspeakers (two of which are positioned inside the DJ booth) and two half-metre Python KP52 units as delays.

“We are very pleased, once again, to collaborate with Tenax on their club sound system,” confirms Daniel Strassera, global business development manager at K-array. “Our new Dragon KXT18P is designed with high-SPL, high-performance audio as part of its DNA, so seeing it at Tenax is a milestone moment for us. Tenax is a pioneer of the underground club scene and we see our latest Dragon model as a fitting companion.”

Commenting on the new audio system, DJ Cole, resident DJ at Tenax enthuses: “For me, it’s all about how the system translates emotion on the dancefloor. This set-up gives you power, brightness and a much more polished sound. The connection between the highs and the low end feels seamless; everything moves together naturally. Whether it’s a live show or a club night, the vibe is stronger, cleaner, and more immersive. We’re truly happy with the result.”

photos: K-array 

27th February 2026

Void Acoustics Redefines Large Scale Retail Sound at Nextopia, Siam Paragon Bangkok

Thailand - Void Acoustics has completed a large-scale retail sound installation at Nextopia, an experiential destination on Floors 5 and 5A of Siam Paragon, operated by Siam Piwat Group. Spanning over 22,000 square metres, Nextopia combines shopping, culture, live events and immersive experiences, with a sound system designed to support the full visitor journey. The brief from Siam Piwat Group was to deliver a sound system capable of handling ambient music, DJ performances and concert style activations, while providing consistent clarity and control across multiple levels.

Providing uniform coverage across floors with varying ceiling heights required a system beyond standard retail audio solutions. The design needed precise zoning, enabling areas to be controlled independently while remaining visually integrated and meeting construction standards.

Void Acoustics was selected following a previous installation at Raynue, Bangkok, noted for its performance, design and flexibility in finishes. The system was designed and integrated by Aura Visual System, Thailand’s exclusive Void Acoustics distributor.

“This is the largest project we have ever undertaken. It was extremely demanding, but at the same time incredibly exciting. We worked closely on fine tuning each individual loudspeaker to ensure the most realistic and immersive sound coverage possible,” said project manager at Aura Visual System, Gle.

Working alongside Void’s technical team, Aura Visual System delivered a coherent installation across Floors 4, 5 and 5A, with alignment and tonal consistency maintained throughout the venue.

The Nextopia installation spans three floors and combines full range, low frequency, and high-performance loudspeakers, all supported by Bias amplification. The system delivers wide coverage with precise zoning, tonal consistency and low frequency reinforcement, supporting both subtle ambient music and high energy events.

• Floor 4 features 57 Cirrus 6.1.
• Floor 5 includes 15 Cyclone 55, two Cyclone 10, five Venu 112 V2 and six Cirrus 6.1.
• Floor 5A is equipped with two Air Motion V2, two Venu 218 V2, 11 Cyclone 10 and eight Venu 112 V2.
• The system is powered by three Bias D1+, 11 Bias Q1.5+, one Bias Q2+ and one Bias Q3 amplifiers.

The sound system transforms Nextopia into a space that supports both day-to-day retail activity and large events, providing an adaptable audio environment. With its scale and flexibility, Nextopia now sets a benchmark for multi-level retail sound installations in Thailand.

“Nextopia is a powerful example of what’s possible when sound is treated as a core part of the experience. The scale and complexity of the space demanded absolute precision, and the result is an immersive system that delivers consistent clarity and impact across every level,” stated managing director at Void Acoustics, Sam Brandon. 

26th February 2026

Alfalite installs Slovenia’s largest indoor LED wall at Ljubljana Exhibition & Convention Centre

Slovenia – Ljubljana Exhibition & Convention Centre, Slovenia’s leading trade fair and congress venue, has upgraded its main hall with the country’s largest fixed indoor LED screen. The installation, located in the iconic Marmorna Hall, features 40m² of Alfalite LED technology and sets a new benchmark for large-scale event presentation in the Slovenian MICE sector.

The new LED wall measures 8.40 x 4.72 metres and replaces a previous projection-based system. It is powered by Alfalite’s UHD Finepix MATIX 1.8 AlfaCOB solution, comprising 196 cabinets with a 1.8mm pixel pitch. The result is high brightness, precise colour reproduction and consistent image performance, even under strong natural daylight conditions.

Alfalite, headquartered in Spain, is currently the only European manufacturer of LED screens, designing and producing its panels entirely in Europe. This European origin was a key requirement for the client, who prioritised local manufacturing standards, operational security and long-term technical support for a venue hosting hundreds of international events each year.

The Ljubljana Exhibition & Convention Centre hosts around 250 events annually, welcoming up to 500,000 visitors, including major international congresses and high-profile gatherings such as the NATO Parliamentary Assembly. In this context, visual reliability and image clarity are critical.

According to Iztok Bricl, CEO of the Ljubljana Exhibition & Convention Centre: “We organise large congresses with 1,300 to 2,000 participants. The quality of the LED screen and its straightforward maintenance were decisive factors for us. We needed a solution that guarantees performance and immediate technical support if required. With a European partner, we have that assurance.”

The project was delivered in collaboration with the Austrian integrator WALLERIE, part of LANNER Media, with installation carried out jointly with Alfalite’s technical team under the direction of Sebastián Cabrera, CTO of Alfalite. The complete mounting process was finalised in just two days, ensuring minimal disruption to the venue’s event schedule.

For the client, the choice of manufacturer was clear from the outset. European origin was a mandatory requirement. “The customer explicitly requested a European LED manufacturer,” explains Sebastián Cabrera, CTO of Alfalite. “Beyond compliance and security standards, they were looking for long-term reliability, image quality and ease of maintenance. Our MATIX AlfaCOB technology offers high durability, excellent thermal performance and simplified servicing, which are essential in permanent installations operating year-round. The Ljubljana installation reflects a broader shift from traditional projection systems to direct-view LED solutions capable of delivering higher brightness, better contrast and consistent performance regardless of ambient light conditions.”

Sebastian Lanner, managing director of WALLERIE, adds: “For an international congress centre, fast first-level support and operational security are crucial. Combining European-manufactured LED modules with regional technical presence gives the venue confidence and long-term stability.”

The installation incorporates redundant signal control to ensure uninterrupted operation during live events. Its fine 1.8mm pixel pitch enables detailed content display, particularly relevant for medical congresses and data-driven presentations where precision is essential.

“This project shows how European collaboration can deliver technical excellence,” concludes Cabrera. “It is not only about installing a large screen. It is about providing a future-proof visual infrastructure for one of the region’s most important congress venues.”

26th February 2026

Sayap Suci Redefines Coffee and Lifestyle Experience with Martin Audio Sound

Indonesia – Sayap Suci, a new lifestyle and entertainment destination by Holywings Group, has officially opened in Kelapa Gading, Jakarta, offering visitors a distinctive blend of coffee culture, wellness, dining and entertainment, brought to life by a professional audio system powered by Martin Audio.

The complete sound system was designed and integrated by GMT Solutions (PT Global Multipro Technology), with Goshen Indonesia serving as the authorised Martin Audio distributor. 

Positioned as Indonesia’s first coffee venue with integrated entertainment and lifestyle facilities, Sayap Suci spans over 3,000 square metres and features a 1.2km jogging track, a scenic lake and shower facilities. The venue is designed to transition smoothly from daytime productivity and wellness activities into a vibrant evening entertainment destination.

According to Satrio Prisetya, marketing and technical director of PT Global Multipro Technology, the vision for Sayap Suci demanded far more than a conventional background music system.

“Sayap Suci is a unique project that combines coffee culture, fitness, dining and entertainment in one integrated environment,” Satrio explained. “From the beginning, the goal was to design an audio system that feels natural and comfortable during the day, while still being able to scale up seamlessly for live music and DJ performances at night.”

One of the key challenges for the project team was achieving consistent sound quality and coverage across multiple zones. To meet these requirements, Martin Audio loudspeaker systems were selected for their proven performance, reliability and versatility in mixed-use environments.

“Ensuring clarity, consistency and control across both indoor and outdoor areas was critical,” Satrio continued. “Martin Audio gave us the flexibility, coverage control and sonic character needed to support that transition, while maintaining a high-quality listening experience throughout the space.”

For the indoor areas, a total of thirty Martin Audio ADORN A55 loudspeakers were installed. The ADORN A55 offers wide dispersion, balanced tonal performance, and excellent speech intelligibility, ensuring that background music and live performances remain immersive without overpowering conversation.

For the outdoor zones, the system is reinforced with two Martin Audio X15 loudspeakers paired with a pair of X118 subwoofers, delivering controlled low-frequency impact with clear, articulate mid and high frequencies for live music and DJ performances.

Reflecting on the final result, a spokesperson for Sayap Suci commented: “Sound plays a huge role in shaping how guests experience our venue. With this system, the audio feels evenly distributed and comfortable wherever you are, whether you’re enjoying coffee, working during the day or attending live music and DJ performances at night. It truly enhances the overall atmosphere.”

25th February 2026

Optimal Audio Keeps Control in Play at Csepel Island Handball Court

Hungary – Optimal Audio hit the target at Szigetszentmiklós’ local handball court, with a multi-zone installation that was timed to perfection. The long-awaited audio refresh – supplied by Hungarian distribution partner, BG Event Ltd, and installed by Zoltán Csukay, lead technical specialist at the local cultural centre – improved sound quality and simple day-to-day control for the venue which is operated largely by a non-technical staff.

Simple and practical to use, the Optimal Audio ecosystem supports both match day action and wider community use. The audio upgrade was completed during a two-week holiday closure as part of a wider programme of maintenance works.

From the outset, the arena was clear about its requirements, with better audio quality topping the list, followed closely by ease of operation for non-technical staff. Reliant on part time staff, the venue needed a solution that would remain consistent, intuitive and dependable regardless of who was behind the controls.

Following consultation, a zoned approach was agreed, allowing audio to be tailored precisely to four distinct areas identified within the arena, while remaining simple to manage as a single system.

The four zones include the main audience area, the play field, the side seating area and a spare zone reserved currently for a legacy 100V speaker system but offering future flexibility if required.

Around the playfield, a total of four Optimal Audio Cuboid 10 full-range loudspeakers were mounted in portrait mode to ensure clear announcements and even coverage across the court.

The main audience zone also featured Cuboid 10 enclosures supported by two Optimal Audio Sub10 subwoofers for the delivery of impactful, full-range sound for spectators.

Supplying focused coverage along the side seating area, Optimal Audio’s 4-inch, two way UP series of loudspeakers were accessorised as pendant enclosures to create a modern look with the provision of high-quality audio

System control for the four zones – individually or in any configuration up to whole venue – is provided by Optimal Audio’s Zone 4, installed conveniently in the technical room, whilst a ZonePad 4 wall controller, located at the playfield wall, allows full yet easily navigable system control.

The speed at which staff could be trained on the system was one of the clearest measures of success.  According to the venue, new technicians were trained to operate the audio confidently within just 15 minutes. With multiple staff operating the system, it remained easy to manage, first via the ZonePad 4, but increasingly via Optimal Audio’s WebApp. Downloaded to phones and other portable devices, WebApp quickly became the preferred way to control the system.

As the arena’s director observed, the ZonePad is retained largely as a safety measure, a testament to how naturally the WebApp fits into daily operation.

Loudspeaker selection was guided by practical listening tests set up by Audio-Technica, comparing Cuboid 8, 10 and 12 models alongside subwoofer options, before settling on the final configuration. The result delivers the required impact and clarity without unnecessary complexity.

With a tight installation window and multiple maintenance activities taking place simultaneously, the speed and straightforward deployment of the Optimal Audio system proved critical. The result is a handball arena now equipped with a system that sounds better, works smarter and empowers every user, whether they are running a match, making an announcement or stepping into the role for the very first time.

24th February 2026

City of London School Elevates Theatre Productions with New ETC LED Lighting System Supplied by White Light

UK – White Light (WL) has supported the City of London School as it advances its theatrical capabilities with a major investment in energy‑efficient ETC LED fixtures. The upgrade marks a significant step in the school’s ongoing commitment to creative excellence and sustainable practice.

Under the leadership of drama technician Joe Oliver, the school’s theatre has transitioned from ageing tungsten filament lanterns, many of which had reached the end of repairable life, to a modern, flexible LED system designed to enhance both learning and performance.

“We were in desperate need of upgrading our system, as our old lanterns were no longer repairable,” Joe explains. “Choosing ETC made perfect sense. The fixtures integrate instantly with our existing ETC GIO console and they give us the tools to really elevate our shows.”

Working closely with WL’s key account manager, Antony Vine, the school selected a range of ETC ColourSource fixtures to deliver full, even coverage across the stage and expand creative possibilities. The investment includes ETC ColourSource Spot V, ColourSource Spot Junior, ColourSource Fresnel V, ColourSource PAR Junior and ColourSource PAR V Zoom.

Joe comments: “This combination of fixtures provides the school with a versatile palette, supporting everything from intimate exam pieces to large‑scale musical productions.”

A distinctive aspect of City of London School’s drama programme is its student‑run technical team. Joe teaches students during lunchtime clubs, giving them hands‑on experience in lighting, sound, multimedia and stage management.

One of his biggest challenges is ensuring that every student has a meaningful role. “Sometimes it can be difficult to find a job for everybody,” he admits, “but I’d much rather have too many boys learning tech than not enough. They rise to every challenge.”

The new LED equipment is already transforming this learning environment. Students explored the system with “great delight,” quickly discovering the expanded colour range and creative flexibility now at their fingertips.

The school’s first production using the new rig was Little Shop of Horrors, which proved a roaring success. “The new colours available to us really helped enhance the show,” Joe says. “We’re still learning what we can achieve, but the possibilities seem endless.”

The moment the installation was complete remains one of Joe’s highlights: “Switching it all on for the first time and lighting the stage with a blaze of colour was fantastic.”

Joe has worked with WL for many years and credits the company’s technical guidance as pivotal to the success of the upgrade. “Antony Vine has been instrumental in helping choose the best selection of lanterns for our theatre,” he says. “There’s more to come, and I’m looking forward to working with Antony again very soon.”

Antony comments: “We are delighted to continue supporting City of London School as it evolves its theatre infrastructure, providing sustainable, future‑proofed solutions that empower creativity and nurture the next generation of technical talent.”

photos: White Light

24th February 2026

Auckland’s Bruce Mason Centre Completes Audio Transformation with VTX JBL Professional System

New Zealand – The Bruce Mason Centre in Takapuna has completed a full upgrade of its main audio system with a suite of Harman Professional solutions, rooted in a new JBL Professional VTX A6 line array system to support the venue’s broad schedule of live performances. Operated by Auckland Live on behalf of Tataki Auckland Unlimited, the 1,100-seat theatre serves as a regional hub for music, comedy, dance and community events, with seating that can transition from a tiered auditorium to an open-floor configuration for receptions and special programmes.

After two decades of operation, the previous system no longer met the demands of touring productions and modern performance requirements. Working with distributor JPRO, the venue selected the JBL VTX A6 line array for its output, size efficiency and rigging flexibility, enabling the arrays to adapt to changes in seating layout and stage configuration. The final system design also incorporated JBL VTX B18 subwoofers, JBL AC18 compact loudspeakers, Crown I-Tech amplifiers, and BSS processors to deliver improved clarity and consistency throughout the venue.

The installation features two flown arrays, each comprising of 12 JBL VTX A6 dual 6-inch line array elements. Twelve JBL VTX B18 arrayable 18-inch subwoofers support low-frequency coverage in a cardioid configuration and can be flown or ground stacked depending on the event. Eight JBL AC18 loudspeakers are positioned under the balcony to maintain uniform sound for patrons seated in shadowed areas. All loudspeakers are driven by Crown I-Tech 43500HD amplifiers, with BSS BLU-806 processors providing signal management over the networked system.

System design and prediction were completed using JBL’s Venue Synthesis 3D Acoustic Simulation software, which modelled coverage, aiming and delay structures across multiple configurations. “The platform enables precise angle prediction, system tuning and delay time optimisation for each loudspeaker position,” said Tim Robertson, tour sound manager with JPRO. “It is remarkably accurate compared to real-world performance, significantly streamlining live tuning and system commissioning.”

To support quick deployment for the theatre’s varied programming, the team used JBL’s ArrayLink app to develop six presets that simplify reconfiguration. Combined with the fast-rigging features of the VTX A Series, the arrays can be scaled and repositioned in under 30 minutes, enabling the technical crew to adjust for everything from concerts to family entertainment.

“The VTX rigging system delivers the flexibility and performance the venue needs for its varied event schedule,” said Lindsay Clements of the Bruce Mason Centre technical team. “The sound is clean and holds up beautifully across different instruments and sources.”

The completed upgrade ensures the Bruce Mason Centre remains equipped for touring productions and local performances alike, offering improved coverage, enhanced clarity and a streamlined workflow for the technical staff.

24th February 2026

Anolis Assists Award-Winning Théâtre des Champs-Élysées Lighting Renovation

France – The Théâtre des Champs-Élysées, located near Paris’s famous Avenue des Champs-Élysées, has had the lighting in its main 1,900-capacity auditorium completely reimagined.

A new award-winning design by ProjetScénie, which collected the 2025 LIT Award for Heritage Lighting Design includes a modern, sustainable feature lighting solution from Anolis to illuminate the famous ‘shield of light’ glass ceiling centrepiece and its surrounding fresco paintings.

ProjetScénie’s lead designer, Yann Jourdan, chose Anolis Calumma and Eminere LED fixtures to illuminate these very specific elements and satisfy the meticulous attention to detail and eye for creativity that was required to deliver these stunning results.

Built between 1911 and 1913, Théâtre des Champs-Élysées was one of the first examples of Art Deco architecture in Paris, hailed as a landmark of modern construction and declared a prized French ‘monument historique’ in 1957.

On his first visit to the theatre, Yann immediately saw the potential for transforming the auditorium’s impressive 35-metre diameter glass ceiling flower-like centrepiece into a magical ‘living and breathing’ light art feature, utilising illumination that is sustainable, practical and beautiful.

As well as being energy efficient, the brief was to have a new ‘classical’ signature lighting scheme for theatrical performances, and the scope to change colours for other special events and celebrations staged in the room.

Yann proposed re-utilising the ‘technical area’ in between the theatre’s original concrete roof and the glass auditorium ceiling.

For lighting the glass, a white painted part of the ceiling is lit with strategically positioned Anolis Calumma XLs and Calumma Ms directly, which reflects back, colouring the 175 square metres of thick glass.

The Eminere2s illuminate the circle of frescos around the edge of the centre.

Originally, incandescent bulbs were used to light the paintings, later replaced with industrial fluorescents that were still in place when ProjetScénie embarked on this mission. The Eminere2s have also been fitted into this technical space together with most of the wiring, all neatly concealed from view.

One of the challenges – also among the most enjoyable aspects of the project – noted Yann, was the responsibility involved in re-lighting this incredible and historically significant entertainment space appropriately for contemporary use.

He needed reliable, well-engineered fixtures with excellent colour mixing and, for this project, Anolis luminaires met all the required technical criteria: colours, CRI, dimensions, IP/IK ratings, power supplies, controls, etc and additionally, Yann was very pleased to be working with Anolis again.

“We share the same high standards,” he noted.

The 96 Eminere2s are arranged in two rows of 48 around the top of the ceiling, where they are hidden from view by the lip of the glass, while evenly and smoothly lighting the paintings on the circular, scalloped ceiling above.

The previous fluorescents had been masked by some scenic pieces, however, these additional parts are now not needed due to the more compact physical size of the Eminere2s and their 60cm length, which proved ideal for the circular spread of light.

Their greater and more directional output enables the frescos to be lit neatly and elegantly and these Eminere2s also reflect onto the second balcony, boosting the ambient light levels there.

The ten Calumma XLs and 12 Calumma Ms are positioned in the technical area, central to the glass and focused on the white ceiling covering so the light reflected is back in the glass.

This masterpiece of Art Deco architecture was originally commissioned by Auguste Perret, who, together with his brother Gustave Perret, designed the building following an architectural scheme by Henry van de Velde.

“The new lighting had to be absolutely spot on,” commented Yann, “it needed to be a proper 21st century solution for a pioneering 20th century piece of art, and using Anolis helped to achieve this.”

He already knew that Anolis products are well designed and robustly engineered. “I really like them generally, the dimming is super-smooth and the colour mixing outstanding, and these two ranges ticked all the boxes for this project,” he stated, adding that while the IP rating was not critical in this case, in the dusty roof void, it will be an asset!

Bruno Francois, the Anolis product specialist from Robe France, worked closely with the design team at the factory to create a special white calibration for the Eminere2s that covers the 1800 to 4000 degrees Kelvin range. They also completed extensive 3D modelling to accurately predict the colour rendering of the glass surface.

“As always, it was a pleasure to work with Bruno and his team,” Yann noted. He thinks Anolis is a serious brand and loves the fact that you can ask precise questions and get precise answers quickly, and that customisations are never an issue.

The lights are controlled via a Visual Production CueCore3 module with touch screen access, and the Anolis fixtures can also run on the Théâtre des Champs-Élysées house stage lighting console for events, when it is often advantageous to have a central control option. This further boosts the adaptability.

The installation was completed by D6 Bell Light (D6BL) who had to work quickly and diligently with the glass ceiling protected by hard foam for the duration. The entire project was delivered in a very short timeframe of just seven weeks once all the design concepts were green-lit, so Yann also needed a manufacturing partner who could deliver swiftly.

photos: Yann Jourdan (Projectscenie)

19th February 2026

Grace Community Church expands with Wavefront Precision WPM

USA – Founded in 2001 in the Cranberry Township of Pennsylvania, Grace Community Church has today grown into a community of 2,400 people.

As the ministry planned its next chapter of growth, there was a realisation that outdated audio, video and lighting systems were limiting its ability to create a seamless worship experience, and so a major technical upgrade became an imperative.

They were referred to HoW specialists, Milwaukee-based Avenue Systems, by a mutual contact, who recommended the integrators based on trust and reputation.

Avenue Systems’ director of client relations, Terry Rhodes, specified a Wavefront Precision WPM small format, optimised line array from Martin Audio as his sound reinforcement solution based on previous experience and recognising that it offered improved coverage consistency and control compared to a standard line array. The implementation of a line array, he decided, was best placed to address the needs of a contemporary worship church, modelling the system in Martin Audio’s proprietary DISPLAY prediction software to ensure it was optimised.

The WPM rig (eight boxes a side) is paired with five SX218 subwoofers, powered via a Martin Audio process-controlled, Dante-enabled iKON iK81 amp, run in 2-box resolution. The subs and six discreet CDD5 front fills are all driven by a pair of 44M20 four-channel amplifiers, from Martin Audio sister company, Linea Research. The subs themselves are set in a bunker and splayed across the front of the stage in an arc.

Terry Rhodes had no misgivings in arriving at this decision. “We had done a couple of facilities in the last couple of years where we had deployed WPM satisfactorily. And there was enough similarity in this space, it was just a case of modelling it to verify that it confirmed our expectations.”

The company’s background in deploying Martin Audio solutions stretches back nearly a decade. “Martin Audio was one of the first lines that we picked up as an organisation. I’ve been with the company seven and half years and we’ve had it as long as I’ve been here; in fact, one of the installations that we did immediately prior to me arriving was our first WPM install.”

So what demands are placed on the new sound system? “When you think of a contemporary, modern worship style it implies loud or concert level. Although they do push volume somewhat, it’s still within the constraints of the system so that when they do want to do a special event they can push up towards a higher SPL.”

Yet the installation was far from straightforward as the church set out to enlarge the sanctuary. “One of the challenges we faced was that the wall needed to be blown out and the room ‘turned’ to create a new auditorium out of the existing space. Whereas previously the stage platform was in a corner, when they blew out the wall, they increased the length and installed raked seating in the back third.”

During this renovation process, the church needed a temporary worship solution and thus Avenue Systems implemented a setup in the lobby, transforming it into a smaller secondary venue while the main auditorium was under construction, ensuring the ministry could continue uninterrupted.

Church pastor Matt Helmstadter expressed his delight with the new infrastructure. “I well remember the first time I heard about possibly installing Martin Audio equipment in our building project. We had chosen a different PA system in the initial design, but Terry went through all the benefits of Martin Audio and felt it was better suited for our project and a better value. He had a great relationship with Martin Audio, I totally trusted his judgement and was happy to make the switch. 

“As usual, the project did not go as planned with the building contractors and steel beams for the arrays were installed eight to ten feet away from the original design which could potentially cause issues with the way Avenue designed the PA system to work. But they were able to work with what they had in front of them and the room sounded amazing. 

“The first soundcheck was an uncompressed version of Hotel California and every contractor in earshot of the auditorium had to come in and listen to this clear and crisp sound coming from the system. From that moment on, we were convinced we made the right decision and have been totally happy with the performance and experience Martin Audio has given our congregation and people who join us every weekend!”

Grace Community Church has continued to thrive in its updated facility. The new systems have empowered their volunteers, enhanced the worship experience and set it up for future growth. For Avenue Systems, the real success wasn’t just delivering the technology, it was building a relationship rooted in trust and shared purpose.

photos: Jordan Moore

18th February 2026

Dynamic façade and game lighting at Berceni Arena Ice Rink Berceni Arena, Bucharest

Romania – The Berceni Arena Ice Rink in Bucharest represents a remarkable example of modern technology integrated into urban and sports design, with a dynamic lighting control solution from Pharos Architectural Controls playing a key role in bringing the project to life.

This state-of-the-art facility represents the revival of ice sports in the Romanian capital. Its advanced lighting systems were developed and implemented by Power Electric, using the latest technologies to create a functional, aesthetic space suitable for high-level competitions.

The impressive façade is managed by no fewer than six 100-universe Pharos Designer LPC X controllers, each providing 51,200 channels of control. This third-generation 19” rack-mount LPC X is an all-in-one solution that is ideal for interactive and integrated lighting installations. The controller offers an extreme level of power and integration, making it the perfect lighting control solution for landmark lighting installations requiring significant channel counts. The six controllers at the Berceni Arena Ice Rink act seamlessly across the network.

The powerful flexibility of the LPC X provides pin-point control of individual fixtures, multiple overlapping groups and matrices allowing zones and sections of the façade to act as separate screens, or together as one cohesive canvas. The LPC X features individually controllable and independently running timelines and scenes allowing the dynamic façade lighting to reproduce a wide range of colours and animated sequences, creating a unique and visually captivating spectacle.

At the Berceni Arena the Pharos Designer LPC Xs are controlling a vast number of fixtures, as the facade is illuminated through 70,839 ColorFlex Micro RGB light points which are using the Color Kinetics network protocol KiNET, output directly from the LPC X over Ethernet.

A five-inch Pharos Designer TPS wall station offers elegant touch control. With a seamless, uninterrupted glass plate and fully customisable interfaces, the Designer TPS provides venue staff with the freedom of real-time manual scene selection, colour and intensity overrides.  

Berceni Arena’s interior lighting system is specially designed for exciting sports competitions and high-definition TV broadcasts. The DALI-based interior game lighting system was addressed using four Pharos Designer RIO D. The system allows the lighting to be customised according to the event type, meeting the HD broadcast requirements for sports competitions and ensuring an excellent visual experience for the audience.

Ufuk Erel, head of sales and marketing at Can & Power, said: “The dynamic façade transforms Berceni Arena Ice Rink into a visual landmark for the community, while the interior lighting guarantees ideal conditions for athletes and spectators while supporting high-quality media coverage. The Color Kinetics and Pharos system represent a cutting-edge implementation of modern lighting technologies in sports infrastructure.”

Teodora Marian, regional sales manager for central and southern Europe at Pharos Architectural Controls, added: “Berceni Arena is a real feat of passion and dedication towards showcasing the power of ice sports in Bucharest. By utilising the Designer LPC, the façade is an appealing architectural accomplishment which captures the imagination of visitors and fans.” 

17th February 2026

Ayrton upgrade for the Alisher Navoi State Academic Bolshoi Theatre, Tashkent

Uzbekistan – The Alisher Navoi State Academic Bolshoi Theatre in Tashkent stands as one of Uzbekistan’s most renowned cultural landmarks, a place where heritage intersects with contemporary stagecraft. Designed by academician Alexey Shchusev and inaugurated in 1947, the theatre embodies an architectural synthesis of Eastern ornament and European classicism. Its 1,440-seat auditorium, decorated with artisanal stucco, gilding and Bukhara textiles, represents a living monument to craftsmanship and cultural identity As part of a recent stage lighting renovation, the theatre introduced Ayrton luminaires to elevate artistic expression, performance flexibility and visual precision.

“It was essential for us to integrate new technologies without compromising the historical character of the space,” states Vladislav Zhurakovsky, head of lighting, Bolshoi Theatre Tashkent. “This called for high precision and non-standard solutions,”

The lighting upgrade centred on fixtures that provide nuanced performance control and flawless colour consistency.

Twenty-four Ayrton Bora S profiles and 26 Ayrton Mistral S wash fixtures were therefore supplied and installed by Sound Creations Electronics, official Ayrton distributor for Central Asia (Uzbekistan, Kazakhstan, Kyrgyzstan, Tajikistan) and the Caucasus (Georgia, Armenia and Azerbaijan).

Bora S is a high-CRI profile that delivers refined beam shaping and exceptionally smooth dimming – ideal qualities for principal stage lighting, actor modelling and enhancing scenic architecture.

Ayrton Mistral S is a compact, versatile fixture with a wide zoom range and expressive colour palette, suitable for both immersive atmospheric washes and dynamic stage shifts.

Together, these luminaires provide precise colour temperature management, real-time lighting adaptation, and seamless cue synchronisation, ensuring that every visual layer supports the director’s creative narrative.

“The new Ayrton equipment has shown remarkable stability and accuracy in complex set-ups,” adds Zhurakovsky. “In addition to which, concealed mounting and custom cable routing was required to ensure integration into a historical theatre, all of which were met with successfully.”

With the new Ayrton lighting system in place, the theatre has already premiered several major productions, demonstrating the expressive potential of the renewed stage environment:

The Mari State Academic Opera and Ballet Theatre presented Sergei Prokofiev’s “Romeo and Juliet” in a celebrated staging by Konstantin Ivanov, where nuanced light gradients and sculpted highlights allowed the choreography to unfold with heightened emotional clarity.

The Tashkent premiere of Jacques Offenbach’s “The Tales of Hoffmann” by renowned director Stefano Poda brought one of the most visually ambitious interpretations of the work to life. Ayrton fixtures supported the production’s layered scenography, from ethereal atmospheres to dramatic shadow contrasts, in harmony with the National Symphony Orchestra of Uzbekistan.

These performances demonstrated the theatre’s renewed ability to translate artistic imagination into vivid stage reality, without technical compromise.

“After the renovation, the theatre has gained a new expressive capacity,” concludes Zhurakovsky. “We now work with much greater freedom, with the technology fully supporting artistic intent rather than limiting it.”

photos: © acdf.uz and © Sound Creations Electronics Team

17th February 2026

Martin Audio ADORN pendants elevate audio across Polish hospitality venues

Poland – Martin Audio’s Polish distributor, Phono Media, has successfully deployed ADORN Series pendant speakers across a range of hospitality projects, with ACP-55T solutions installed in multiple restaurants to deliver premium audio and clean aesthetics, whilst overcoming a variety of interior-related sound challenges.

With Martin Audio’s signature sound characteristics, the ADORN series is a natural choice for background and foreground systems that demand superior audio quality from visually discreet, ultra-compact, yet value-priced enclosures.

One standout project is the Polish History Museum in Warsaw, a monumental building covering 45,000 square metres. Within its striking marble architecture, the “Dialog” restaurant mirrors the building’s bold design language, with interiors heavily clad in stone slabs.

This presented two major installation challenges: conventional wall-mounting was impossible due to the surfaces and there was a strong requirement to preserve the visual integrity of the space.

Phono Media turned to a suspended solution using the Martin Audio ADORN series, deploying a total of 20 ACP-55T pendant speakers. This approach provided uniform sound coverage and high intelligibility, while the enclosures’ refined industrial design allowed the system to blend unobtrusively into the ceiling void.

Located on Warsaw’s prestigious “Royal Route” (Nowy Świat), a Pasibus site brings the brand’s signature street-food energy into a historic setting. The interior combines the raw, industrial aesthetic of the burger chain with the constraints of a high-traffic urban venue.

Here, nine ACP-55T pendant speakers were specified to work sympathetically with the ceiling infrastructure, delivering even coverage across the dining zones without requiring invasive wall mounting. To give the background music the necessary depth and punch to match the youthful Pasibus demographic, the system is reinforced by a pair of Martin Audio SX110B slimline subwoofers, discreetly integrated within the interior joinery.

Finally, L’Osteria in Mysiadło is defined by its lively atmosphere, industrial-chic design and high open ceilings. This architectural volume required a solution that could deliver clear, consistent background music across a large footprint without contributing to visual clutter. Phono Media again selected the pendant form factor, deploying 17 ACP-55T to lower the sound source closer to the tables, improving intelligibility whilst making effective use of the ceiling void.

 To ensure the audio experience extends seamlessly into the outdoor garden area, five CDD5BTX-WR weatherised loudspeakers were installed, chosen for their Coaxial Differential Dispersion technology, which provides wide and consistent coverage over the patio. The system is completed with two SX110B subwoofers, delivering extended low-frequency support across the venue.

“For Phono Media, Martin Audio serves as a vital bridge between rigorous technical capability and essential aesthetic form,” says Filip Polanowski, chief technology officer, Phono Media. “These projects prove that we don’t have to sacrifice functionality for design. The Martin ADORN series gives us the dependability of a pro-audio system wrapped in a visual package that architects accept. It effectively turns a technical necessity into a design asset.” 

17th February 2026

Cutting-edge technology and Cotswolds wellness converge at Soho Farmhouse

UK- Soho Farmhouse is a luxurious countryside retreat located in the idyllic Cotswolds, part of the exclusive Soho House collection. Offering a blend of rustic charm and modern comfort, it provides a peaceful escape for members. The Farmhouse features cosy cottages, a spa, a farm-to-table restaurant and a range of outdoor activities, making it a sanctuary for those looking to unwind and connect with like-minded individuals. London-based integrator Tateside has a long-standing relationship with Soho House and led the recent integration of new AVL systems across both the health and wellbeing areas and the tennis and padel facilities.

“We’re proud to be a preferred technology partner for Soho House and Soho Farmhouse is a brilliant site to work on,” says Joby Morris, project manager at Tateside. “The project was a mix of upgrading AV in several existing spaces and whole new fit-outs in other areas. The first part of the work was on the health and wellbeing zone, which required a whole new AV system following renovation works. Secondly, the newly installed tennis and padel courts called for the integration of a new audio solution for both the courts and an adjacent outside terrace area.

As with any Soho House project, high-end interiors and a luxury feel to fixtures and fittings were essential. The AV system, which spans from custom digital signage through to bespoke LED lighting, was designed, planned and installed by the Tateside team.

The AV system in the Boathouse wellbeing area is designed to provide consistent audio experiences across multiple zones. In both the indoor and outdoor pool areas, Bowers and Wilkins AM1 loudspeakers deliver high-quality full-range sound, specifically chosen for their weatherproof capabilities. The sauna and steam room are equipped with Sonance VPXT6R in-ceiling loudspeakers, designed to withstand high temperatures. The changing rooms are fitted with further Bowers and Wilkins in-ceiling loudspeakers.

All audio zones are powered by a QSYS Core backend, which handles audio distribution and control. The system is controlled via Attero Tech Axon C1 wall plates, enabling zoned control over the network. Amplification is provided by Powersoft Unica amps, ensuring performance and reliability.

The most technically rewarding part of the project was the integration of performance audio and dynamic LED lighting in the Soho Farmhouse spin studio. Installed within ceiling-suspended aluminium profiles above the riders and low-level plinths, the lighting effects have been designed to create a fully immersive experience for the spin studio guests. The LED lighting is controlled via MADRIX, allowing for sophisticated effects that can be adjusted to fit the rhythm and energy of the session.

Instructors at the front of the room have quick access to the lighting effects via a Stream Deck controller, pre-programmed by Tateside with different modes that can be quickly switched between or during rides. The spin studio also features a high-performance audio set-up from Martin Audio and two 75” Samsung screens.

“We’re particularly proud of the bespoke work that went into creating the spin studio,” explains Morris. “All LED elements were commissioned and programmed off site, to ensure efficient installation, and the result is a customisable lighting experience that is easy for instructors to control.”

The wellbeing journey continues at the newly built Wellness Barn area, which encompasses two studios and a recovery room, plus a reception area. The studios, dedicated to Yoga and Pilates are divisible, meaning they can be opened out into one larger space, depending on class size. The AV set-up in these studios is thoughtfully designed for flexibility and ease of use, with Martin Audio loudspeakers discreetly integrated into the studio joinery for a fittingly minimal aesthetic and a hidden projection system. The studios are divided by a collapsible wall, which can be opened or closed. Q-SYS handles the connection between the two rooms, with modes selected through an iPad touchscreen.

Whilst the wellbeing areas were nearing completion, a new area, dedicated to racket sports also required integration from the Tateside team. Faced with a short timescale as opening day approached, the team worked with the client to design and implement the system quickly and efficiently. Audio only, the scope required sound systems across several covered tennis and padel courts, and an outside terrace and bar area. For the courts, a steel framework allowed for the mounting of Bowers & Wilkins AM1s to pillars, four units per court, to provide background audio during matches. The terrace and outdoor bar area, complete with a DJ booth, was installed with two Martin Audio CDD8s and an Audac ultra-compact 10 architectural infrasubwoofer, which is cleverly recessed into the side of the building for low-end extension.

From laid-back sauna sessions to padel court competitions, Tateside’s integration of audio, video and lighting technology throughout the various zones has equipped Soho Farmhouse with the tools to create unforgettable wellbeing experiences for its clientele.

17th February 2026

Christie Jazz Series projectors power L-shaped screen at the Building Centre

UK – Three Christie Jazz Series 1DLP laser projectors power a 15-metre-long by 2.8-metre-tall display at the Building Centre in London. Jazz Series 4K1600-JS projectors illuminate the L-shaped screen, which offers an engaging backdrop for presentations, product launches, film screenings and brand storytelling at the hub’s main gallery area. The project, a collaboration between ARC Audio Visual & IT Solutions Limited (ARC), distributor Audio Visual Material (AVM) and Christie, was completed in just eight weeks to meet a tight deadline.

The Building Centre’s main event space, a hub for exhibitions and industry gatherings of up to 350 guests, presented a unique set of requirements due to its size, architectural features and the diverse nature of events it hosts. The installation posed several challenges, including strong natural light from large windows and the logistical complexities of installing advanced AV technology in a busy, historic venue.

The Building Centre required a solution to replace a single projector set-up and it had to deliver exceptional image clarity, brightness and reliability, while also offering flexibility for a wide range of uses. It needed to support everything from technical CAD walkthroughs and architectural presentations to dynamic video content and live event streaming. Ease of use and remote administration were also priorities, enabling the Building Centre’s in-house team to manage content and AV operations confidently, regardless of the event’s complexity.

The system was designed, supplied and installed by ARC, with its consultancy, project management, engineering teams and trainers overseeing the post‑installation works. Christie assisted with both the pre-sales meetings, explaining the technical nuances to the client and was on site to oversee the final commissioning of the projectors.

Since launch, the new display, which spans two walls of the exhibition space with a 90-degree corner, has been used for a series of presentations, showcases and design-led events.

“From consultation to completion, the solution not only met but exceeded the client’s expectations,” says Ralph Ellingham, managing director at ARC. “We have worked with Christie, via AVM, for 20 years and they are our go-to partner on projects requiring high-end projection. Post-installation, our focus on thorough handover, user training and user uptake meant the system was well received, and feedback since launch has been consistently positive. We have found Christie units to be extremely reliable and competitively priced, which are two of the biggest decision factors, but when one adds their pre‑ and post‑sales support into the mix, it makes the choice of supplier an easy one.”

“I’m incredibly proud of how the team came together to deliver this project,” says Danielle Williams, commercial director at AVM. “Completing such a complex upgrade within just eight weeks was no small feat, but the collaboration between AVM, Christie and ARC ensured everything was delivered on time and to an exceptional standard.”

The Building Centre is now the UK’s only venue with dedicated 4K ultra-high-resolution screens for the built environment sector, supporting its mission to inspire, connect and empower people to improve the quality of our built environment.

“We are pleased with the new technology and proud to offer the UK's only dedicated immersive screens for the built environment, making our exhibitions even more accessible to a diverse audience. Likewise, our venue hire clients have been impressed with the screen’s versatility for storytelling and to showcase their brand so effectively within our centre,” says Dr Ben Hounsell, the Building Centre.

Christie Jazz Series 4K1600-JS projectors deliver 16,600 lumens of brightness from a small chassis weighing less than 30kg. Texas Instruments’ 0.8” HEP DMD and optical design give enhanced colour, contrast and a more efficient cooling system design.

13th February 2026

Unusual Rigging Translates Architectural Concept into Bespoke Solution at Cardiff Cathedral

UK – Unusual Rigging has successfully completed the design and installation of a bespoke access and support solution at Cardiff Cathedral, delivering the project ahead of schedule despite a challenging brief and a compressed programme.

The initial enquiry was based on an architect’s concept, but with no accurate drawings available for the listed building, Unusual Rigging began the process with a detailed site survey to fully understand the constraints of the space and the heritage considerations involved.

Working from the original concept, the Unusual Rigging design team developed a fully workable solution, translating the architectural intent into a practical and safe system suitable for installation within the cathedral. The design was submitted for client approval and, following sign-off, progressed rapidly to meet a short lead time dictated by the delivery of the sculpture from Germany and the requirement to complete installation ahead of the festive period.

Richard McIlhiney, design engineer at Unusual commented: “To address access challenges within the building, our solution included raising and levelling the floor using stage decks which allowed the installation team to work safely and precisely while protecting the historic fabric of the cathedral. We co-ordinated closely with both design and installation teams which ensured the works ran smoothly on site, allowing us to complete the work ahead of schedule, resulting in a very satisfied client.”

Richard added: “This was a project where good communication between concept, design and installation was absolutely critical. With limited existing information, the site survey allowed us to build an accurate picture of the space and develop a solution that respected the building while meeting the practical demands of the installation. The tight timescale added pressure, but the collaborative approach meant we could deliver efficiently and safely.”

Father Michael Doyle, dean of Cardiff Cathedral, added: “From the initial meeting through to design and installation, the team at Unusual certainly rose to the challenge. From navigating the height of the chancel arch to protecting the heritage of the listed building, the team were professional, friendly, engaging and swift at the job. Thank you Unusual.”

13th February 2026

SAE Institute Hamburg Pioneers New Monitoring Standards with Audient ORIA Mini

Germany – SAE Institute Hamburg has become one of the first educational facilities to adopt the new ORIA Mini, Audient’s advanced room correction system. Integrated into the facility’s Studio 4, the system is already transforming the way first-semester students approach critical listening and mix translation.

As a dedicated desktop environment, Studio 4 is in constant use by students beginning their audio engineering journey. Jörn Buschmeier, head of audio engineering at SAE Institute Hamburg, highlights the immediate impact of the installation: “The workflow has improved by enabling a much deeper, more three-dimensional listening experience with noticeably improved separation in the mix.”

The ORIA Mini provides a hardware-based solution for room correction, ensuring that the monitoring remains accurate regardless of the room’s acoustic challenges. “The ability to easily switch between the processed and unprocessed signal makes it an excellent reference tool,” explains Jörn. “It feels almost like a second, alternative monitoring environment and is clearly perceived as added value by the students.”

The installation of the ORIA Mini marks the beginning of a further hardware refresh for Studio 4, with an Audient Nero desktop monitor controller set to be installed shortly to further streamline the studio’s monitoring path.

This latest investment reinforces a long-standing partnership between SAE Institute Hamburg and Audient. The campus recently refreshed its workstation stock with eight new iD4 audio interfaces, replacing a previous fleet of iD4s that had served the school for years. “In terms of size, build quality and usability, the iD4s are excellent compact desktop interfaces,” says Jörn.

In addition to the desktop solutions, SAE Institute Hamburg continues to rely on the Audient ASP4816 small-format console for its larger-scale tracking and mixing needs, noting that the console is “very well received and performs reliably” within the demanding educational schedule.

With the addition of ORIA Mini and Nero, SAE Institute Hamburg continues to provide its students with industry-leading tools that reflect the modern professional landscape.

13th February 2026

West End Rigging Delivers Major Technical Upgrade at New Diorama Theatre

UK – West End Rigging (WER) has completed the design and installation of a new motorised lighting grid and perimeter tab track system at New Diorama Theatre, one of the UK’s most influential studio venues for independent theatre.

The project forms part of a wider programme of digital and technical investment at the venue, supported by funding from Bloomberg’s Digital Accelerator programme. Known for nurturing work at an early stage that goes on to have national and international impact – including productions such as Operation Mincemeat – the venue required an upgraded technical infrastructure that could support experimentation, rapid turnarounds and long-term creative development.

WER was brought on board to replace the theatre’s existing aluminium lighting grid which had become heavily dented and aged, limiting access, slowing technical turnarounds and restricting what could be safely rigged due to the absence of verified safe working load information. Working closely with New Diorama’s in-house technical team, WER’s technical director, Howard Dandy, undertook a series of site visits before developing a detailed engineering design.

The WER team presented three fully costed options, developed to reflect both the technical requirements of the space and the realities of operating as a charitable organisation. The venue selected a motorised lighting grid solution, alongside the redesign and installation of the venue’s perimeter tab track system.

To support the theatre as they waited for charitable funding to come through, WER froze pricing for six months prior to delivery.

Howard Dandy, technical director at West End Rigging, commented: “New Diorama’s existing grid had reached the point where it was actively limiting what the venue could do, not just creatively but practically and safely. The aim wasn’t to over-engineer the space, but to give them a system that genuinely improves access, speeds up changeovers and provides clear, verified load data they can rely on day to day.”

He continued: “The motorised grid strikes that balance, delivering a step-change in flexibility while remaining appropriate for a studio theatre and a charitable organisation. Just as importantly, the technical documentation now gives the team confidence when planning work and future developments.”

The new motorised system replaces the theatre’s previous static rig, allowing the grid to be lowered to floor level for focusing and set up. The upgrade has significantly improved access, increased rigging capacity and expanded the range of technical configurations the venue can support.

Jonathan Maydew Gale, executive director and Co-CEO of New Diorama Theatre, said: “Investing in this new rig is vital to New Diorama's mission of championing ambitious, artist-led work. We need infrastructure that can support artists to integrate technology into their creative vision and this installation future-proofs New Diorama, ensuring we can continue providing the technical capability that emerging companies need to realise their most innovative and daring work. We’re fortunate to have a reputation where new ideas feel at home and now we have the rigging infrastructure to match that ambition.”

He added: “The team at West End Rigging has been exceptional throughout the process. From first contact through to installation and ongoing support, their expertise, care and commitment have been second to none.”

Installation was completed ahead of schedule, with the works delivered in four days rather than the planned week. In addition to the physical installation, WER provided a comprehensive technical pack to support ongoing compliance, including structural calculations undertaken in collaboration with consulting engineers, alongside detailed drawings and documentation for the venue’s records.

The upgraded system was brought into technical use in January 2026, with the first production to use the new system, Guidelines – a debut show from CONGLOMERATE, which opened on 3rd February.

12th February 2026