Project News

DiGiCo ticks all the boxes for busy Costa Rican church

Costa Rica – PAS Church in Costa Rica recently embarked on the important task of selecting and installing a new FOH console to manage an increasingly demanding weekly schedule. With multiple services each week, a range of group meetings, broadcast services and a thriving music department, the Church needed a new console that could manage the technical demands of this varied programme. Enlisting the services of local audio specialist, Mas Música Internacional S.A, the Church swiftly settled on DiGiCo’s compact, feature-laden SD12 digital mixing console.

“We were looking to replace our incumbent console and we needed a robust replacement, capable of withstanding daily use thanks to the Church’s hectic weekly programme of live, virtual and musical events,” explains PAS Community Church’s sound manager, Luca Frugone, who has been in charge of the Church’s audio requirements since 2016. “The brief was to find a single console to manage FOH, IEM and monitor requirements, with plentiful output busses a high priority.”

Located in the capital city of San Jose, PAS Community Church is a modern Christian church, offering a progressive agenda, embracing all sectors of the congregation from teenagers, to divorcees to senior citizens. There are daily services, with several at the weekend, regular live virtual services, and a renowned music department, with an active weekly schedule of events, and a large following on the church’s dedicated music media channels.

With the help of local distributor, Mas Música Internacional S.A., PAS Community Church selected premium brand DiGiCo’s compact yet feature-packed SD12 console, accompanied by two D2 Racks offering an additional 96 inputs.

“The Church always has slightly different requirements for events each day but the SD12 ticks all the boxes,” explains Henry Quiros Ramirez, from Mas Música Internacional S.A. “The additional I/O racks provide more than enough capacity and the option to easily hook up any additional gear. Thanks to the console’s dual screens, it is possible to have two engineers operating simultaneously, which is a great feature for the audio team in situations with little time for sound checks, as one person can manage FOH and another monitors.”

It has been several weeks since the installation and the church’s engineers are very satisfied with the choice of console. Frugone and his team are relishing the freedom the SD12’s programmable routing provides, allowing them to focus on creativity in the live mix and not operational issues, and ultimately deliver a better experience to the audience.

“The flexibility to program snapshots is very important, as it allows us to automate certain routine functions so that we can focus on creativity in the live mix,” concludes Frugone. “DiGiCo's Stealth processing offers extraordinary power, especially considering the console’s incredible macros technology, where several processes and programmable actions are distilled into a single button. The audio quality is a huge leap forward for us. The separation and clarity from the preamp to the summing master buss is incredible, and I am particularly impressed with the valve-style harmonics of the DiGiTubes processing.”

www.digico.biz

20th May 2022

Robe Finds Sanctuary at Rumbach Street Synagogue

Hungary – Budapest’s Rumbach Street synagogue, designed by Viennese architect Otto Wagner and completed in 1872, has recently been restored to its original Moorish revival style exquisiteness and glory. It has re-opened to the public after decades of dereliction following a partial reconstruction in the late 1980s and early 1990s which ran out of funds, and this more recent effort which was finished during the pandemic.

In addition to being used for prayers and other spiritual activities, the main chamber (sanctuary) and other related spaces have been reimagined and kitted out with the latest technologies. AVL Trade was chosen to integrate a full lighting and AV system into the synagogue as the final detailing of the restoration project which has transformed the venue into a set of stunning modern event spaces for Hungarian Jewish umbrella organisation, Mazsihisz.

AVL Trade’s Csaba Csanadi has worked on the project for over two years; the initial approach and invitation for the company to tender on the project came just as the pandemic was starting. He didn’t think twice when it came to the right moving lights for the job and specified a selection of Robe fixtures including 12 T1 Profiles, 12 Spiiders and 16 LEDBeam 150s.

These luminaires were all selected for flexibility and because they fit nicely and neatly into the space, offering multiple options for the venue’s mix of activities.

The synagogue is tucked away in one of the narrow winding streets of Belvaros, the historical centre of Pest old town in the east of the Hungarian metropolis which is also a colourful party district. “It was a huge honour to be involved in this project and to work with the Rumbach complex director Henriett Kiss, who oversaw the restoration, and her team,” commented Csaba.

The sanctuary will be used for concerts and other performance events. The impressive retractable Bimah in the centre sinks completely into the floor via hydraulic lifts, enabling the space to be used for 300 capacity end-on concerts and religious services using a small stage. When the stage is located centrally in the room, the capacity is increased yet further.

AVL’s lighting design took the octagonal architecture and structural form of the sanctuary as a starting point, and it was fundamental to maintain the integrity and visual harmony of the room with any installed technology.

One of their first brain-teasing jobs was establishing flying points, a hugely intricate job which involved working in the restricted wooden roof space 25 metres above the floor of the chamber and drilling unobtrusive holes through the ornate ceiling without damaging its surface, then rigging motors and winches safely and securely around the joists.

This facilitated hanging trussing below providing technical positions for lighting, audio and video.

The two main lighting positions are an eight-faceted truss, flown above the Bimah in the central space and a straight truss in front of the stage area.

T1 Profiles are rigged in both positions. “They are a fantastic all-round fixture producing great skin tones and with excellent dimming, perfect for camera applications and also for theatrical style shows and musical performances,” stated Csaba.

The Spiiders were picked for their washing capabilities, rich colours and because they can produce effects and a bit of craziness using the individual pixels or the flower effects.

The LEDBeam 150s were a “complete no brainer,” stated Csaba. “They are small, light and unobtrusive enough to be displayed anywhere in the room as needed: on the stage floor or rigged on the truss to highlight the ceiling and other architectural features.”

All the lights are run over ArtNet with a portable ChamSys console as part of the package, which can be set up in various positions around the room.

The system is good to go for any event.

Being able to light the whole environment and highlight its unusual décor and colours with rich golds, reds and blues – more often found in Asia and Islamic mosques and architecture – was integral to the lighting brief. The interior is covered in intricate hand sculpted and painted plasterwork, beautiful stained glass rose windows, octagonal balconies, an original mosaic floor and countless other visual details.

Henriet Kiss is delighted with the results.

As the building opens and is taking bookings post pandemic, she expects a busy schedule including plenty of Israeli artists who will be performing. “Good lighting is essential for the concerts and cultural events that will be staged here and we needed a system that also respected the heritage council requirements.”

As well as the sanctuary, Rumbach Street synagogue now has a permanent interactive exhibition on the third floor narrating the story of Hungarian Jews through one extended family, the Pulitzers (Politzers); plus a 40-seat conference hall and a large kosher café. It will be a cultural jewel at the hub of Jewish society in this cosmopolitan and vibrant European capital city.

photos: Louise Stickland

www.robe.cz

20th May 2022

Teatro Garcia de Resende chooses ETC ArcLamp

Portugal – Portugal’s stunning Teatro Garcia de Resende was recently renovated and selected ETC lighting solutions including ArcLamp luminaires, ArcMesh Drivers and an Echo control system to upgrade the space.

The theatre, which is recognised for its interior ‘Italian-style’ architectural beauty, was built in the 19th century and is a part of the European Route of Historic Theatres: a route around Europe which distinguishes the most beautiful, historic theatres that represent European cultural heritage.

The theatre’s technical director, António Rebocho, was in search of LED lighting to replace the existing tungsten lights in the building. He particularly wanted an LED solution which would not compromise the quality of the light or increase maintenance costs. After researching various options, António decided to go with ETC’s ArcLamp luminaires commenting that he had ‘never seen the room so beautiful – the new lights enhanced all the colours, especially the red tones.’

ETC dealer, NAN Audiovisuals installed 108 ArcLamp lights with Fade to Warm feature technology into the Teatro Garcia de Resende. The LED luminaires provide quality light, smooth dimming and up to 90% energy savings. António Rebocho commented: “ArcLamp is a unique solution in the market which would accomplish everything needed for the project. It improved the quality of light in the theatre whist simultaneously reducing the maintenance costs related to lamp replacements and energy consumption. Being able to control the lighting from the installed button stations and lighting desks was also a great improvement.”

ETC regional sales manager Konstantinos Vonofakidis adds: “The Teatro Garcia de Resende is considered to be a building of great architectural beauty and a landmark in the city of Évora. We are very thankful and proud that our ArcLamp solution was chosen by the theatre. Despite some challenges due to the age of the venue and its electrical infrastructure, the highly experienced staff of NAN, our dealer in Portugal, did a fantastic job with the installation and commissioning of the system. Not only was the lighting result stunning but also highly energy efficient and nearly maintenance free.”

photos: Jorge Santos

www.etcconnect.com

19th May 2022

L-Acoustics Scores at Chengdu Phoenix Mountain Indoor Stadium with 360° A Series Installation

China – The 18,000-seat Chengdu Phoenix Mountain Indoor Stadium lies at the heart of the state-of-the-art Chengdu Phoenix Hill Sports Park. With an ideal design for global basketball, ice hockey and other competitive games, the stadium will host the upcoming 31st World University Games and the 18th Asian Cup in 2023. In addition to hosting international and domestic sporting events, the venue is poised to stage live concerts, performance art shows, and high-profile product launches. The massive complex is a world-class events venue that will enrich the local Jinniu district community with a wide range of multi-cultural entertainment programs throughout the year.

Construction on the NBA-standard arena began in 2019, with audio and video technology design and installation awarded to China Radio, Film and Television Design and Research Institute (DRFT). Mr. Zhou Yaoping, director of engineering at DRFT, had worked with L-Acoustics and was confident in the brand’s reputation for delivering world-class audio solutions for high-profile sports and touring projects. Mr. Zhou worked with local L-Acoustics certified provider, Rightway Audio Consultants (RAC), for technical support throughout the project. “On top of the superior precision and power of the L-Acoustics solution, we knew that we would also receive impeccable service from both RAC and the L-Acoustics application team,” he explains.

Challenges to the sound design included VIP box areas with reflective glass surfaces and a centrally located 360° LED display screen, which would change positions depending on standard heights for the sport or optimal placement for live events. Systems designer at DRFT, Ms. Zhang Xinyu used L-Acoustics Soundvision software to map the venue and test different sound system configurations to attain optimal coverage and SPL for the entire audience, regardless of where the LED screen is placed. “Soundvision was an excellent tool to help me experiment various design ideas,” explains Ms. Zhang. “It allowed me to find the best speaker configuration for optimal performance, taking all screen placement options into account.” Settings for each event type are pre-calculated and can easily be recalled by venue operators in LA Network Manager.

The final system installation was led by Mr. Li Daojun, senior engineer at DRFT. The main system consists of eight arrays, each comprising six L-Acoustics A15i Focus and one A15i Wide, hanging from the roof in an oval shape above the LED display to deliver 360-degree coverage to the audience. A cluster of four hangs of three KS21 subwoofers each, flown in the middle, ensures low-end rumble. Under the display cube, four L-Acoustics X15 HiQ act as monitors for athletes on the court. The whole system is driven by 22 LA4X amplified controllers.

Senior engineer Mr. Li praises the support DRFT received from RAC and L-Acoustics. “We were able to call upon experienced application engineers at any time during this three-year project, in turn ensuring that we provided the end user with a comprehensive run-through of the operating system” he says.

Mr. Li added: “The flexible A Series system was the right solution to a complex brief. Chengdu Phoenix Mountain Indoor Stadium and the technical team are now ready to serve quality sports and entertainment programming to the dynamic Jinniu community.”

Similar sentiments were echoed by Mr. Liu Heming, deputy technical director of Chengdu Chengtou Vanguan Sports Culture Development Co. Ltd., the company in charge of technical operations of the arena: “On testing day, the overall sound in the arena amazed me. Not many sporting venues possess a sound system of this calibre. Now my team has the right tools and resources to perform at the high technical standards of world-class events.”

18th May 2022

Everest Grand Theatre Scales the Heights With Allen & Heath dLive

Tibet – Nestled 3,900m above sea level amongst the mountainous peaks of Shigatse, Tibet, the recently completed Everest Grand Theatre holds the accolade of being the highest altitude professional theatre in the world and has been dubbed “the artistic pearl of the world’s third pole”.

When Chinese AV solutions provider EZPro was handed responsibility to supply the sound reinforcement system for the theatre, reliability and versatility were high on the list of criteria to maintain peak performance throughout the year.

“To meet the needs of the varied performances and activities, flexibility is absolutely critical,” explains Zhu Liuwei, senior technical manager of EZPro. “With the dLive system, we could store and recall different ‘modes’ by using show files, scenes, and the preset library to achieve very efficient changes. As the dLive audio engine resides in the MixRack, it is easy to change the location of the Surface if required, and this was another big plus for the theatre.”

For the install, EZPro partnered a pair of Allen & Heath dLive S7000 Surfaces with two DM64 MixRacks to operate as main and backup systems. The S7000 is the largest control surface in the dLive range, offering up to 216 fader strips via 6 layers of 36 faders, in addition to 26 assignable SoftKeys, and local analogue and AES I/O. The dual 12” touchscreens provide a comprehensive overview of the mix, with the Harmony UI allowing quick and intuitive control of all parameters. The DM64 MixRack is built around Allen & Heath’s 96kHz XCVI processing core, delivering 128 input channels with full processing, 64 mix outs with full processing, a configurable bus architecture, and class-leading latency of 0.7ms. The S7000 and DM64 are linked via dual redundant gigaACE sockets and both support a pair of hot-swappable PSUs for added redundancy and resilience.

With Dante used throughout the theatre for audio distribution, both dLive systems were equipped with Dante cards with the Primary and Secondary ports being used to provide a redundant audio link, via network switches, to the power amps and speakers. Additionally, an analogue audio connection from the main MixRack was used to provide an additional level of redundancy in the event of a network hardware failure.

“The dLive system ticks all the boxes. A flexible FOH position, ease-of-use and fast set-up,” concludes Zhu Liuwei. “And the variety of built-in DEEP Processors greatly helped FOH engineers to deliver a studio-quality mix for music performances.”

18th May 2022

JK Opole Theatre upgrades with OPTOCORE fiber network

Poland – Poland’s largest dramatic theatre has reopened after lockdown, to reveal a major renovation to its various spaces, which took up much of 2021.

In order to preserve its impressive heritage, it was recognised that Jan Kochanowski Theatre in Opole (JK Opole Theatre) would need to undergo full modernisation, and a thorough overhaul of its technical infrastructure, fulfilling a dream it had nurtured for several years.

The cost of reconstruction was budgeted at PLN 25 million (nearly $6 million USD), with over half coming from EU funds.

The project, which took eight months to fulfil, included the renewal of the main building façade, the entrance and surroundings, the modernisation of stages and auditorium (including ventilation), as well as sound and lighting systems. This included a complete OPTOCORE fibre network, based around the deployment of five unique AutoRouters.

The theatre layout itself includes the 575-seat Big Stage, with an impressive revolving stage, Small Stage (with 193 seats, in amphitheatre auditorium style), a Ground Floor stage known as the Bunker and a Model Workshop (Modelatornia), with 140 seats in customisable configuration. This is where the idea of modernising the theatre's electroacoustic system first began in 2017 with the possibility of producing sound from each side, in any configuration.

As part of this project, a new theatre façade was made, and the ventilation and air conditioning system and part of the electrical installation of the building were modernised. At the same time, the Center for Theater Education was also established. A new stage lighting for the Small Stage was delivered, its acoustics were improved and the electroacoustic system of all stages was modernised at the hands of well-known technical integrators, M.Ostrowski Sp. J.

Their audio design engineer (and project manager), Paweł Francuz, stated: "The modernisation of the TJK technical facility was no easy task. The theatre building is a huge facility, with several rooms, requiring a complicated layout of the cable routes from the central control room on level -2 (the hub of the entire signal distribution system to the electroacoustic system). The task was not facilitated by the COVID-19 pandemic, as a result of which we had to stop work, and the delivery of some of the devices manufactured overseas was delayed.”

In designing the new infrastructure M. Ostrowski instinctively specified a DiGiCo / OPTOCORE combination, as the quality and functionality of the mixing and network distribution system became their top priority.

The digital transmission of audio signals, broadcast through Meyer PA systems, is based on creating an autonomous OPTOCORE fibre optic network for each stage of the theatre. It operates in a redundant five-point star topology independently for each scene to create full communication between each location (amounting to 30 locations in total). This has been made possible by the deployment of five unique OPTOCORE AutoRouters, further facilitated by an additional redundant Dante network.

These are equipped with a total of 86 Neutrik OpticalCON DUO sockets to carry out the function of combining individual scenes with each other in any configuration, remotely, without interfering with the structure of fiber optic network connections.

The five AutoRouters are configured and implemented as follows: The first AutoRouter 40 Duplex multimode LC is responsible for signal distribution between devices operating within the Big Stage, a second AutoRouter 30 is responsible for signal distribution between devices operating within the Modelatornia, a third AutoRouter 20 takes care of signal distribution within the Small Stage, while a fourth AutoRouter 20 handles signal distribution within the Stage environment on the Ground Floor (Bunker). Finally, the fifth AutoRouter 10 serves as the master zone router, responsible for connecting all the other AutoRouter interfaces; using the dedicated OPTOCORE Control Software it automatically co-ordinates scene connectivity, either individually or in any configuration, by default.

The DiGiCo SD series consoles and SD stageracks are equipped with OPTOCORE DD32R and X6R-TP fibre interfaces, which route the main PA feed to the Galileo processor. This enables bi-directional, low-latency transmission of up to 1024 audio channels is possible. This applies to both the console-to-stagerack and console-to-console transmission. The total number of analogue I/Os available is 256 inputs and 136 outputs (with additional I/O built into each console), which can be freely assigned (taking into account the number of channels supported by individual consoles). The OPTOCORE interfaces are responsible for receiving and transmitting signals from and to stage connections and receiving signals from wireless systems.

An additional solution used in connection with the transmission of digital audio signals, is a set of OPTOCORE > DANTE converters allowing for the transmission of a total of 256 input channels and 256 output channels between networks. This concept assumed the possibility of redundant transmission of ‘everything, everywhere’. The provision of such a large number of digital I/O channels ensures simultaneous implementation of all functions (i.e. the possibility of safe signal transmission within a single (or many) scenes, the possibility of multi-track recording and streaming as well as integration with sound mixing systems from other manufacturers. Again, all functions can be performed simultaneously.

This all adds up to a flexible, elegant and highly efficient system.

photos: Teatr im. Jana Kochanowskiego w Opolu

17th May 2022

Wavefront Precision Specified Throughout Blackpool Conference & Exhibition Centre

UK – A highly complex and reconfigurable Martin Audio Wavefront Precision design throughout the new Blackpool Conference and Exhibition Centre is the brainchild of system designer Samuel Williams of Derby-based Media Powerhouse.

The first major building development at the Winter Gardens complex since the construction of the Opera House in 1939, the venue, set on two levels is one of the largest of its kind in the north of England. It features the necessary infrastructure for hosting modern conferences and exhibitions. Media Powerhouse’s integration includes cutting edge projection video and smart lighting technology as well as Martin Audio scaleable line arrays in each of the eight rooms.

The exhibition space is set on the first floor, with a large 2000-capacity conference space on the second floor. It is conceived as four separate but reconfigurable venues on both floors. With a total 2400 sq.m of reconfigurable space, the venue is ideal for large events. The space can be combined with other venues throughout the complex to further expand the 7,000 capacity.

Williams, who also acted as the consultant, was aware that the spaces needed to function as both stand-alone spaces, or divided into smaller cells with the partitions removed. This would require the technical infrastructure to be highly flexible, with presets for all technical services available for each room configuration.

He was also aware that the venue would need to cater for a raft of different events, from the recent Conservative Party Conference to pure theatre productions and full tilt rock & roll.

“Martin Audio was [in the frame] from the beginning,” says Sam. “We had briefly looked at another brand, but it wouldn’t have given them what they wanted – from a 15m throw up to a 60m throw – or the versatility. It needed a different kind of box, and one that was affordable. Initially, we were going to use WPM, but it was not big enough so when Martin Audio released WPS we immediately made the decision to upgrade. It’s certainly one of the better sounding boxes on the market.”

“In fact Martin Audio is putting some serious engineering into its products, where other manufacturers seem to have stopped and are relying too much on digital processing. You look at other waveguide designs and they haven’t changed whereas WPS is a good example of speaker design innovation, both physical as well as digital design.”

With assistance from Martin Audio product support engineer, Robin Dibble, Williams specified a total of 32 WPS elements along with their flying frames divided between the eight rooms, 12 XD12 stage monitors, 32 Blackline X8 and 12 SX118 subs.

In its basic configuration, the processed arrays are powered from Martin Audio iKON iK42 four-channel amplifiers in 2-box resolution, with each pair of array cabinets fed from one amplifier channel. Everything runs on a Dante backbone.

“For each usage there is an individual optimisation for the WPS arrays, carried out in DISPLAY 2 and stored in the iKON amplifiers. We can recall the optimisations automatically via the venue control system depending on the changing configurations. In the first installation of its kind, when the array is changed, the configurations are recalled through the presets,” says Williams.

“Every room has a default setting, and everything works automatically; the system just needs to be told what mode it is in, and all incoming production needs to do is to patch into the system.”

This has been a long project. “I designed the original layout nearly four years ago,” says Williams, who was responsible for all programming. “After we bid successfully for the job the contract got delayed for a number of years. The venue is now being operated by Blackpool Entertainment Co. Ltd.

Confirmed deputy head of facilities / technical manager, Ben Rooney: “Media Powerhouse has been able to accommodate technical design changes to suit the direction of the business. Sam reassured me that for the required application Martin Audio was far more suited to our business model [than the other brand under consideration] due to its multiple tier offerings.

“Upon hearing WPS as a visiting system in the ballroom prior to the installation I knew it would be a platform we could deploy in all of our large format venues. Media Powerhouse subsequently invited me and complex facilities manager, Phil Jackson, to Martin Audio’s UK factory where we listened to some ADORN and O-Line products which we are currently looking at for installation within some of our other venues, as part of our future fit-out plans.”

16th May 2022

Renowned Audio Engineer Upgrades with ‘Stunning’ New Audient Console

UK – Motorhead, Bring Me The Horizon and Funeral For A Friend producer and mixer, Romesh Dodangoda has just installed a brand new ASP8024-HE mixing console in his Cardiff-based Long Wave Recording Studio.

He’s no stranger to working in big-named studios around the world, but his recording studio back in Wales is where his heart – and a large collection of vintage and modern high-end gear – is. For some 15 years, the console at the centre of this studio has been a classic Audient ASP8024, which has served him very well. “I have not had even one day of downtime due to the console; it has been so reliable and never let me down. They really are rock solid,” he says.

“This mixer has such sentimental value to me. I first saw it on the cover of Sound On Sound magazine in March 2000 and I dreamt of owning it one day. I finally got it in 2007 and the first record I did on it was Smart Casual, by Kids In Glass Houses for Roadrunner Records,” he reminisces. “Since then, pretty much everything I have done has gone through this console at some point or another. I love the sonics and reliability of it, so upgrading to the new one was a no-brainer for me.”

On arrival day, Romesh made sure his more than 13,000 followers didn’t miss any part of the epic desk exchange by documenting both the decommissioning of the original console and the install of the new one on Instagram. “It was a sad day to say bye to my console, however I could not be happier with the new one, it is stunning! I’m so, so happy. It looks fantastic in the studio, a real centre-piece,” he enthuses.

Swapping an Audient for an Audient meant that the install went relatively smoothly. “The hardest part was getting it in the building, but after that it was effortless to connect up. Everything sounds brilliant.

“The new Heritage Edition is simply amazing! There are lots of feature upgrades which although small, are actually incredibly useful to me, making the desk have even more functionality for my sessions. It sounds fantastic and the new transformers on the mixbus are pretty hard to turn off once you hear what they do!”

He continues: “Having the deeper meter bridge option has also been a great addition to the new console, too. This means my monitors are closer to me, allowing me to hear more detail whilst being in front of the desk.

“Everyone who has popped into the studio since we put it in hasn’t been able to take their eyes off it,” adds Romesh, proud that so many people have been admiring his new desk. “It really does look the part in there and is a big focus of the room. The studio feels more modern, it sounds better than it ever has and it's an absolute joy to be in front of every day.”

Happily, the old desk was snapped up by a member of Romesh’s Control Room Audio Community and has stayed in Wales. “I’m thrilled that the old console will remain nearby and continue to produce new music,” he says.

16th May 2022

Viaplay’s new multi-screen studio is on air with Hippotizer Boreal+ MK2

Finland – Nordic Entertainment Group’s Viaplay streaming TV service has a brand new studio in Helsinki, complete with wraparound LED screen backdrops driven by Hippotizer Boreal+ MK2 media servers.

The broadcaster’s built-for-purpose, state-of-the-art studio, designed and ordered by Viaplay and built in collaboration with NEP Finland, features a curved 2.6mm LED screen behind the presenters' table comprising 4416 x 960 pixels and standing large at 11.5 x 2.5m. It displays live feed, pre-made and branded content as the channels air sport, film and original drama.

Rigged to the right of that is a straight 2.6mm screen that is 1920 x 768 pixels or 5 x 2m and there are two further screens: a circle screen above the table is made from 2.9mm flexible LED panel that is 3612 x 172 pixels or 10.5 x 0.5m and another 98" Panasonic display. All of this is VideoMapped using the Hippotizer Boreal+ MK2.

Green Hippo’s Finland distributor Amepa Oy was approached by Viaplay’s broadcast studio partners NEP Finland and Sibelius Design to deliver the visual elements of the studio, which is located in the Helskinki district of Vallila.

Amepa’s Johan West, who has championed the Hippotizer brand in Finland since 2003, suggested the Boreal+ MK2 as offering the right processing power, robustness and media management system for the job. “The most important thing for this installation was that the media server would have enough rendering power, as the client needed many mixes, sub-mixes and layers that would eat up a lot of computing power,” says West.

"That’s the reason why I specified and installed a Boreal+ MK2 – I knew it can handle the task. We also required network capacity using HippoNet, MANet, ArtNet and NDI so all four network ports on the Boreal+ MK2 are in use.”

West and his team installed the Boreal+ MK2 in the server room located approximately 40m away from the studio. A network was built consisting of HippoNet, MAnet, ArtNet and NDI between the control room, server room and the studio, covering three studios in total. “I can control everything from wherever is needed,” West continues. “Everything is programmed with short timelines and triggered via an external Zookeeper. The Hippotizer operating team create templates in Adobe After Effects, and we are currently using NDI for running content back and forth between the Boreal+ MK2 and after effects. Two HDSDI live feeds are also going through the Boreal+ MK2 and the placed within custom alpha masks onto the screens.”

Viaplay carries a large amount of sports broadcasting, meaning that there are a large amount of logos, pictures, backgrounds and live feeds to process for events such as F1, NHL, skiing and Premier League football.

“The video data driven to the LED walls is two 3840 x 2160 at 50hz feeds over fibre to the main studio, and all the LED wall processors are in the studio behind the curved LED wall,” West explains. “I managed to fit all LED into one UHD output of the Hippotizer and those sections are then mapped using the VideoMapper in the Boreal+ MK2, with the second output running the one 4K monitor.

“The content mapping is achieved using different viewports with four main and four sub mixes, so a bucket-load of layers are in use due to the fact that there is a lot of changes for every broadcast! All upright LED strips are also pixel mapped in the Boreal+ MK2.” During live broadcasts, one Hippotizer operator is on-site at all times, programming and creating visuals on the fly.

Viaplay’s services include the on-demand subscription streaming service Elisa Viihde Viaplay and V sport and V film pay-TV channels. In Finland Viaplay's sports rights include a wide range of worlds best sports events like Formula 1, Premier League, Bundesliga, UEFA Europa League and UEFA Europa Conference League, NHL, UFC, FIS Winter sports, MLB, golf and much more.

photo: NEP Finland

11th May 2022

Gareth Johnson Installs PMC6-2 Monitors In His Studio At Metropolis

UK – Music producer, composer and multi-instrumentalist Gareth Johnson has long been a fan of PMC’s high quality professional loudspeakers but following the launch of the company’s latest monitor range he is now even more convinced of the benefits of using PMC.

“They are a revelation,” he says of the PMC6-2 speakers he as now installed in his studio at Metropolis in London. “As soon as PMC said they were launching a three-way monitor, I knew I had to have a pair. They are incredibly detailed and the SoundAlign control interface is great. You can hear the entire audio spectrum, even at very low volume levels, and they make working in the studio much easier, quicker, and less tiring.”

Launched under a year ago, PMC’s new line of compact, state-of-the-art near- and midfield monitors are already redefining the listening experience for audio professionals working in stereo and large scale immersive formats. The monitors are the result of five years of intense development and are the perfect complement to PMC’s main monitor products such as the legendary QB1, BB6, MB3 and IB2 models, which are found in many of the world’s top audio facilities.

Gareth Johnson’s new PMC6-2 nearfields supplement his existing pair of IB2 XBD-A main monitors, which he bought some years ago when he first set up his studio at Metropolis.

“As main monitors, the IB2s are incredible and I love them,” he says. “They are also very big and powerful; so big, in fact, that when I told my wife I wanted a pair she said fine, but don’t even think about bringing them home!”

Johnson’s credentials as a composer are second to none. He has written 500+ songs licensed for synch across film, TV, sports and games, and his clients include FIFA, FIA Formula E, BBC, Audio Network, HBO, Sky, Sony, Universal Music, Warner, CNBC, Discovery Networks and many more. He is equally in demand as a producer and remixer and has his own business, Stand Alone Productions, which he set up in 2000. In recent years he has worked with many major artists including The Who, Suede, Noel Gallagher, Primal Scream, Kasabian and Them Crooked Vultures.

These days he often works with his co-writing partner, Martin Kaczmarski, who has also installed PMC6-2 loudspeakers in his room at Metropolis. By having the same monitoring systems, the pair can move projects more easily between their studios because the sound signature doesn’t change.

“I also have a writing room at home in West London and I am currently building a new studio there, which will eventually be my main base,” Johnson says. “PMC will feature in that studio, too, but I haven’t decided which model yet, it will depend on the size of the room and what it needs.”

He adds that the PMC6-2 monitors are getting plenty of attention at Metropolis. “Everyone who comes into my room loves them,” he says. “PMC is an aspirational brand, but you get what you pay for, and they are certainly quality. I think any piece of high end equipment can be justified if it helps you work faster, better and more effectively.”

11th May 2022

State-of-the-art Elation upgrade meets performance and energy savings requirement at Bob Burton Performing Arts Center

USA – The Bob Burton Center for the Performing Arts is a beautiful 532-seat live performance venue in Fallbrook, California that serves as a joint community/school facility with Fallbrook Union High School. Used for everything from high school productions to local theatre, dance, and music performances, the venue’s ageing stage lighting rig was recently upgraded with state-of-the-art Elation Professional fixtures as part of an energy reduction grant project.

Production and installation company Pyxis Industries of Wildomar, California, worked with the venue on the energy efficient lighting upgrade, which included Netron data distribution, as well as Magmatic brand atmospheric effects.

Chad Costanzo, president at Pyxis Industries, has had a long-term relationship with the venue and explains the project. “The school received an energy savings grant – funding for California schools to pay for energy reduction projects – and applied the funds to an upgrade of their lighting rig which was over 20 years old. Part of the grant requirement was that the upgraded system had to be more energy efficient than what they currently have. The school had a lot of incandescent fixtures and naturally wanted to go LED.”

Besides the energy savings factor, the lighting system needed to be quite flexible as the venue is used for a variety of purposes, both by the school and outside artists. Seeking to replace a number of outdated incandescent fixtures with something more modern, Chad worked with Elation’s southern California rep, Richard Wilson, to arrange a demo of several possible solutions.

Chad worked with the venue’s theatre operations technician, Tony Bushley-Anello, on fixture specification and lighting system design. The result is a new stage lighting system made up of all Elation LED luminaires. Thirteen Fuze PAR Z175 lights with 175W RGBW COB LED engine project a high-quality flat field of light yet emulate the classic lens look of a traditional Fresnel. They work with 64 Colour 5 Profiles, a high-quality ellipsoidal spot with 180W RGBAM LED engine and CRI over 94.

For flexibility of positioning, the system includes moving heads, 12 Fuze Wash Z350s, a single-source PAR automated yoke wash luminaire with 120W RGBW COB LEDs which replace old ellipsoidal fixtures, and 16 Fuze Profile LED moving head framing fixtures with a 305W RGBMA LED engine. Twenty-one Seven PAR 19IP par wash lights replace conventional downlighting fixtures, with additional colour coming from 15 SixPar 300IP lights. Rounding out the rig are 17 Seven Batten 72, 6ft colour-changing LED battens.

The all LED lighting system is not only highly efficient and requires little maintenance, it also operates silently for ‘you could have heard a pin drop’ performances. Tony and his team at the venue completed the installation themselves. “They were able to get away from 1500W and 1000W lamps so it’s a big energy savings for the school, which will really pay off over time,” Chad comments. “The new system allowed them to compare the LED vs incandescent systems and document the energy savings, which was substantial. They have cut their energy consumption almost in half, a reduction that easily met the grant requirements.”

Not surprisingly when updating a two-decade-old lighting system, the venue’s DMX infrastructure was inadequate. The solution was to put in Netron EP4 nodes from Obsidian Control Systems to convert Art-net to DMX and stream it around the space. The EP4 nodes, compact Ethernet to DMX gateways with four RDM compatible ports, make events easier to setup and control. Additionally, the venue obtained a pair of Therma Tour 800 haze effect generators from Magmatic atmospherics. Capable of producing exceptionally fine, long-lasting haze that excels at revealing light beams and mid-air effects, each hazer is equipped with Magmatic’s MagFLY wireless DMX receiver card for convenient remote operation.

The new lighting rig, installed in the autumn of 2021, debuted on a Christian Theater Arts Project performance of The Wizard of Oz last November and has since been used to light several Fallbrook Union High School events and local dance productions, including The Nutcracker ballet.

www.elationlighting.com

10th May 2022

DiGiCo delivers sound perfection at Spain’s leisure and gastronomic epicenter Odiseo

Spain – Known for its balmy coastline and unspoilt coves, laid-back Murcia is a centre of landmarks to linger over. One of these is ODISEO, a unique venue dedicated to the pure pursuit of pleasure. Boasting three restaurants, a sports bar, a nightclub, a show room and multiple terraces, as well as Europe’s largest cantilevered pool suspended 27 metres above the ground, ODISEO’s remarkable space of 15,500m2 is distributed across three levels and offers entertainment experience synonymous with tourism empires such as Las Vegas and Dubai. On par with great entertainment comes the venue’s equally impressive audio infrastructure that includes DiGiCo 4REA4 processors and a Quantum225console supplied by RMS Proaudio, DiGiCo’s distributor in Spain.

ODISEO is owned by Orenes Group, one of Spain’s fastest growing businesses in the leisure sector with projects galore including casinos, gaming and sports betting rooms, as well as hotels and restaurants. Committed to innovation and the use of the latest technologies as one of the key driving forces behind the growth of a successful project, Orenes Group hired sound design consultant Lolo Moldes, who worked in close collaboration with the team at RMS Proaudio to deliver the audio installation.

“When Orenes Group contacted me about the ODISEO project at the beginning of 2019, I was immediately hooked,” says Moldes. “Architecturally stunning and unique in every way, I was motivated by the team’s ambition to have the premium, comprehensive AV infrastructure installed at this new venue, which would have the same look and flair as some of the top Las Vegas entertainment spots.”

With only three months until ODISEO’s’s official opening, Moldes planned the perfect audio set-up that would be able to accommodate the venue’s complete integrated leisure experience. After careful consideration, DiGiCo systems were chosen because of their straightforward architecture, solid sound quality and powerful processing.

“From the very beginning, we knew the systems we install will be used by Odiseo’s in-house engineers for our own shows, as well as visiting sound engineers for the international artists performing at the venue,” adds ODISEO’s technical director Isidro Carrasco. “Therefore, ease of use was one of our key priorities,” says Carrasco. “The sound quality and the system being future proof for many years to come were also very important consideration points, as well as the system being rider friendly. DiGiCo ticked all our boxes, so we were happy to proceed with the installation.”

Originally, Seville’s audiovisual equipment supplier, RMS Proaudio, installed three DiGiCo SD11i consoles in different areas of the venue. Following the launch of Quantum225in 2021, ODISEO’s team swapped one of the SD11is for this small-format digital console with a powerful Quantum Engine.

“We were pleased with our SD11i consoles but, when the Quantum225 hit the market, we did what was already part of Orenes Group’s DNA: invested in the latest technology. And we were thrilled to work with the new Quantum console!” exclaims Carrasco. “The Quantum engine offers us a great improvement in the sound of our dinner show, and it’s great to mix with the Nodal Processing feature on the monitoring side. We also love the Mustard Optical Compressor available on DiGiCo Quantum consoles, as it offers us better flexibility and extra control within a mix.”

As well as the consoles, DiGiCo’s 4REA4 system processors were also deployed to provide routing, processing and mix control across Odiseo’s multi-space venue.

For the in-ear mixing, RMS Proaudio supplied a KLANG:vokal immersive in-ear mixing processor that allows up to 12 musicians to create their own immersive in-ear monitor mix from 24 mono or stereo sources, perfect for Odiseo’s varied programme of visiting and resident artists.

“Thanks to KLANG:vocal, the ODISEO team was able to seriously improve the listening experience of their in-house and visiting performance, with KLANG offering a lot more clarity and spatiality to the artists’ in-ear monitoring systems,” says Manu Meñaca, technical support and educational department at RMS Proaudio.

Once the installation was completed, the ODISEO technical team received full training on both the DiGiCo and KLANG systems, with RMS Proaudio continuing to offer full support when the team has any questions.

“We are very happy with the choice of our DiGiCo and KLANG products,” concludes Carrasco. “For Odiseo’s management system, we use two 4REA4 processors from which we run up to 150 channels to around 80 busses. We have DiGiCo A-Control Series remote controllers spread all over the venue for different functions. The system is perfect for our use and the three DiGiCo consoles we use, together with the five D2-Racks give us the sound quality and the configurations we need. I can’t think of anything we could have done better!”

 

10th May 2022

Third Church Pella Upgrades with Martin Audio Wavefront Precision

USA – Advanced Audio and Lighting recently completed a technical redesign of the Third Reformed Church in the city of Pella, Iowa, opting for a Martin Audio line array solution.

The integrators were re-engaged, having successfully carried out an earlier sound and lighting installation for the client. Explaining the necessity for the upgrade at the Pella facility, the company’s president (and senior design engineer) Graeme Brown, said: “As so often happens, the existing system was a case of fine products having been installed, but completely misapplied within the environment, so that coverage was extremely inconsistent.”

He noted that the building’s unusual geometric had provided challenges in this regard. “The space is quite unique, a modified fan-shaped building with lots of ceiling angles and a massive custom centre truss that required outfills and delayed loudspeakers to evenly cover all seating.”

The new PA would not only need to address these issues but also have the capability of reinforcing a variety of events and source inputs. “While the Church’s main focus is contemporary music, it does have a choir and mixed quartets on a regular basis for the early service.

“The client was requesting very hi-fidelity, with extended sub-bass, rather than necessarily high SPL.” His solution was to designate a main PA comprising the scalable resolution of the Wavefront Precision WPS compact line array, which features two 8” LF drivers, four 4” midrange drivers and four 1” exit HF compression horns. Wavefront Precision was recently accoladed with the Queen’s Award for Innovation.

To this he added centre flown SXC118 cardioid low frequency enclosures, as well as a further SXH218 subwoofers on the floor for added sub-bass. Additional fills were provided by Martin Audio’s CDD series.

“The Wavefront system and SXC118, in conjunction with the DISPLAY 2 software and iKON DSP amplifiers, driving the system in 1-box resolution, provided optimum efficiency. “It gave us the best control over which areas of the sanctuary needed coverage and which needed avoided. Once properly configured (during the design phase) commissioning becomes greatly simplified; since the system handles the loudspeaker management on its own, the integrator can focus on aligning and tuning the room and not ‘fixing’ the sound system.”

To achieve this optimisation had required a good deal of clever programming in the Martin Audio software, in particular using the ‘Hard Avoid’ function, stated the installer. “There was initially some acoustic treatment in the space, more absorption was added during this phase.

“With that and the multiple ceiling angles adding diffusion, the space is very well behaved, and the system performs extremely well in those conditions. It has much more gain before feedback, when compared with the previous system.”

The new Martin Audio system also meets all the requirements for weight loading and general aesthetics. “The original system was the typical ‘flying junkyard’, so popular at the time. It consisted entirely of front-loaded, point source powered enclosures, whereas the new system is based on line array technology and cardioid low frequency control.

“Between the Martin Audio factory rigging hardware and the custom Polar Focus beam mounts, this was an extremely clean installation. Everything is high and tight. The clients were thrilled even before it was powered up.”

The result is that the 800-capacity congregation in the main sanctuary now receives the exact same signal wherever they are seated, and when the doors open out to engage a further 100-seat overflow, whenever capacity is reached, these worshippers too will be immersed in an identical audio experience.

Advanced Audio’s designer believes the clients are now able to achieve their goals of communication on a much higher level, while no longer battling sound system shortcomings. This is supported by a church spokesman.

“The Martin WPS system that Graeme and his team installed has met and exceeded our expectations, since our room design is not your typical space for modern live sound. The WPS arrays perform very well in our space and have taken our musical mixes to a much higher level while also improving speech intelligibility.

“The steerability and thoughtful design of this PA allowed us to create intentional ‘PA Silent’ areas on the sides of our room. This allows us to better serve our congregation with prayer and communion ministries during our worship services.

“From the tightness of the low end to the clarity and smoothness of the high end, we are extremely pleased with this system design and performance.”

10th May 2022

White Light supplies 26 of the super-powerful framing spots in latest upgrade

UK – As part of a progressive upgrade, the Royal Albert Hall has added 26 Martin MAC Ultra Performance framing spots to the 18 MAC Encore Performance CLD they acquired in September 2019, respectively replacing older generic and discharge moving lights. Both orders were fulfilled by theatre lighting specialist, White Light, with all Martin lighting products sourced from their UK distributors Sound Technology Ltd.

According to RAH lighting designer Richard Thomas, this is the third straight swap out to Martin lighting over the past four years, as prior to that a complement of MAC Vipers had also been chosen as replacement wash lights.

“However, we are not driven by brands,” he stated. “We pick the lighting based on what’s best for us. In the case of the MAC Ultras we looked at a number of top brands but this fixture ticked all the boxes.”

Both the MAC Encore and MAC Ultra sales were led by White Light business development manager, Jonathan Haynes.

“I think [the RAH] was aware of just how many MAC Encores there were in the field, including installations in other key London theatres. This has given them a top-notch rig as they continue to do bigger and better things by renting their lighting to incoming shows. They have definitely made a significant investment.”

His company also has a service agreement with the venue and maintains all its equipment. “I have had a long relationship Rich Thomas and [head of production and technical] Ollie Jeffery and they have remained very loyal to White Light.”

When the concert hall was ready to retire its old halogen units back in 2019 the search began for a super bright LED replacement.

Richard Thomas takes up the story: “We wanted the functionality that the previous fixture gave us, which was special keylight for camera and lighting people’s faces. But there was no like-for-like replacement. We had actually been looking for a lower end spec, with framing and iris, and so not only did the MAC Encore’s gobos become an extra feature for us but so did the colour mixing. Another key feature was the silent running as the rig also needs to cater for orchestral events.”

The Encores, which were supplied with the heavy frost assembly, were used regularly and reliably from their position on downstage trusses. during the season before lockdown rendered all theatres dark.
"We went for the CLD version as it’s brighter than the WRM." he continue. "For a 12m-14m throw we needed the greater output and besides, we can use the variable CTO, which is really good, for lighting faces.”

When it came to the MAC Ultras, the venue knew it needed a super-powerful and reliable LED replacement for their discharge fixture.

According to Jonathan Haynes: “The Ultras weren’t around at the time we first discussed it but then it fell into place at exactly the right time.”

Sound Technology’s Joe East and Chris Walker arranged the site demo and again the framing spot was put through its paces and having impressed all involved, a subsequent order for 26 units was placed with White Light.

The MAC Ultras are positioned three levels up on the circle, in the gallery, and on a central circular truss.

“The MAC Ultras’ native light and quality of light is fantastic while there is also the graphic possibility of layering gobos, while maintaining a high light output,” says Richard Thomas.

“The main goal was to replace the previous fixture with LED, in the knowledge that the units also had framing and animation effects. In fact the framing is a bonus which we can use far more than before. For instance often the stairways are used as an entrance to shows so we can now frame them off.”

The incredibly low noise floor of the super-high output fixtures has proven to be a real benefit.

“Given their proximity to the audience, the MAC Ultra’s quietness is just incredible even at high output.” says Thomas. “This allows us to use them, unlike our previous fixtures, to enhance all events including orchestral concerts.

“Finally, from a health and safety point of view we appreciate the handles on the bottom of the yokes which makes rigging and de-rigging, particularly on the circle rail, a lot safer.”

“We are extremely impressed so far,” summarised Richard Thomas, part of whose role at the theatre is lighting design and programming for shows that don’t bring their own tech teams. "What can I say, the MAC Utras just work, but then I wouldn't expect anything else."

photos: Richard Ecclestone

9th May 2022

A Robe Lighting Solution for De Vooruit

Belgium – De Vooruit in Ghent is an award-winning and historically significant festival and arts centre originally built for the Flemish labour movement between 1911 and 1914, as well as an interesting and eye-catching building containing multiple halls now mainly used for concerts, club nights, live performances and assorted cultural events.

The 1,100-capacity Concert Hall venue has recently received a complete lighting upgrade, with Robe chosen as the moving light brand with a mixture of 31 T1 Profiles, 12 Spiider wash beams and 22 LEDBeam 350s.

These were specified after discussions between De Vooruit’s technical crew co-ordinator Karel Clemminck and lighting expert Jarne Pollet, together with Peter Vanhove from locally based rental company, Euro PA. Peter has been involved with De Vooruit in different technical capacities since the 1980s.

The Concert Hall is one of four main functioning venues, plus the Grand Café which, in a normal non-Covid year, hosts over 700 shows and events. It is the main venue for music shows and club nights, with incoming productions utilising the house lighting and sound rigs augmented as necessary.

Before the lighting upgrade, Karel and Jarne brainstormed all the things that were most important for offering the best lighting options both for their clients and their own shows and wanted Robe T1 Profiles from the off.

“We loved the finesse of white light ranges and the T1 colour mixing generally,” stated Karel. While they originally thought this an ideal fixture for front lighting in the Theatre Hall, the intention was to use the new lights venue-wide, so with all the other features and they knew T1 Profiles would be great for the Concert Hall as well.

That Robe is a genuinely European designed and built brand was another critical factor for their decision, along with the excellent service they knew they could expect from Robe’s Benelux distributor, Controllux.

Karel arrived at De Vooruit two years ago having worked at other venues and he has been using Robe products since 2006. He likes Robe’s personal touch and general approach and thinks the products are ground-breaking and innovative.

He first saw the T1 Profile demonstrated in Bruges Concert Hall alongside several other brands in an event organised by STEPP, a professional association of Benelux region producers, designers and technicians from the arts and events sectors, and this is where he was amazed by the colours.

Jarne, who has worked at De Vooruit for 13 years, attended a Robe factory visit just before the pandemic started and was well impressed with the setup and the products.

Most of the events staged at De Vooruit will bring in their own lighting designers, so with the re-fit it was also important to have brands and lights that everyone liked, used and thought practical.

The in-house lighting team mainly lights the club nights, so they all wanted the most flexible and versatile and robust kit. A full-time technical team of ten plus some freelancers work closely with regular Euro PA techs and engineers to stage the music events.

Karel comments that they are already seeing a “huge difference” in the quality and dynamics of the light shows that can be produced, as performances are gradually re-starting in different formats and we start to move – tentatively – beyond the pandemic. “It’s been a big investment but well worth it,” he commented.

The new lights are controlled via the house ChamSys console.

When Karel arrived at the venue, he wrote a brief for a new technical services support contract which went out to five companies, from which Peter and Euro PA came back with the best and most comprehensive proposal, so Peter’s long association with the venue continues.

photo: Louise Stickland

www.robe.cz

6th May 2022

Diversified Installs World’s Largest Fixed L-ISA Installation at First Baptist Church Woodstock

USA – For most, the name Woodstock brings to mind New York’s famed 1969 rock music festival, or perhaps Snoopy’s feathered friend from Peanuts. But Atlantans will tell you that Woodstock is a city 30 miles north of downtown ATL, and that one of the long-standing beacons of that community is First Baptist Church Woodstock (FBCW), whose history traces back 185 years to 1837 when it was founded as Enon Church.

In 1986, when former Southern Baptist Convention president Johnny M. Hunt joined the church as senior pastor, FBCW truly flourished, leading to the 2005 construction of a 7,200-seat worship centre to accommodate its booming congregation of more than 20,000 members. Seventeen years later, the church has taken another major step forward by becoming the site of the world’s largest permanent installation of L-Acoustics L-ISA immersive sound technology.

Leading global technology solutions provider Diversified was brought into the project nearly two years ago to provide the church with an AVL upgrade for its in-person worship centre experience. “First Baptist Woodstock has two service options to participate in, and while they have different musical elements and characteristics, they share a common need for sonic clarity, consistent tone, and massive headroom yet intimate sound. We were asked to help them reimagine a venue that would feel equally intentional for both of those very different services,” recalls Tim Corder, Diversified director of strategic accounts, worship and performance environments. “After spending several days with the church’s creative team in an intense ideation session, we imagined a system anchored on the in-room experience that would have the ability to transition very quickly within a 15-minute turnaround from one service to the next.”

From the onset, the Diversified team strongly felt that L-ISA was the right ft for the project. “They needed a system that would be able to give dimension to what they were doing in each service, as well as make their massive room feel small, intimate, and engaging,” explains Diversified account executive and audio lead Nick Geiger. “We knew that L-ISA would do both, and also allow them to essentially flip a switch to move between their two performance setups.”

FBCW production director Josh Belokonny points out that they initially turned to Diversified because the worship centre’s original mono centre cluster speaker system was failing to meet their needs. “We had volume and tone inconsistencies throughout the room that made it hard to establish a consistent experience for everyone,” he says. But he also suggests that a new left/right line array system might not have been the right choice for a replacement. “There's a lot of architecture that is very specific to the space here, and we had to take that into account. Standard left and right arrays in this room were an obstacle from a video standpoint because they would cause a lot of sightline issues.”

The solution came in the form of the new A Series loudspeaker line from L-Acoustics. “A Series, and specifically the A15i, was chosen for several reasons: first and foremost because the technology and sound of the box mimic larger L-Acoustics enclosures like the K1, K2, and K3,” shares Josh Maichele, L-Acoustics applications project manager, house of worship. “Secondly, some of the major advantages to the A Series products are their size and weight. We were able to get the long throw because A15i is a line source, but we were also able to bend the array faster with the A15i Wide, allowing us to reduce the line length and keep the arrays well above LED wall sightlines.”

Using Soundvision, Diversified and L-Acoustics specified a main Scene system comprising five arrays of five A15i Focus enclosures over one A15i Wide, backed by four central hangs of two KS28 subs. That system is flanked by two Extension arrays of five A10i Focus over one A10i Wide, which is complemented with two out-fill arrays of five A10i Focus over one A10i Wide and two far horizontal out-fill arrays of three A10i Wide. Below, 14 coaxial 5XT are spread out across the stage stairs for front-fill, with two X8 providing extreme left and right front-fill. Additional A10i Wide enclosures are positioned out in the house for over- and under-balcony fill, while above the stage, two hangs of one A15i Wide and one A15i Focus plus two mountings of A15i Wide serve as choir monitors. A total of three LA12X, 15 LA4X, and four LA2Xi amplified controllers power and process the house and monitor systems, which are all managed via the new L-Acoustics L-ISA Processor II.

Another significant advantage of opting for the A Series-based L-ISA design, and one that surprised the church, was its cost savings. “Once we started running numbers, this L-ISA implementation was actually nearly 25 percent less expensive than a traditional left/right based system because we were able to utilize the cost-effective A15i and A10i loudspeakers,” Corder notes. “The overall value between performance and investment really couldn't be touched by any other solution.”

“As the guy that is responsible for budget dollars, when I learned what L-ISA would offer us: more clarity, depth and better imaging than we'd ever achieve with a standard array system, I automatically thought, ‘That's going to cost a lot of money.’ So I was shocked and overjoyed that it was actually more economical,” confirms Belokonny.

With traditional left/right array-based systems, typically, only 15 percent of the audience seated down the centre strip of the room hear things in true stereo. With L-ISA, nearly three-quarters of First Baptist’s congregants are now in the 'sweet spot' for experiencing spatialised audio.

“By seat count, this is now the largest venue in the world to have a permanently installed L-Acoustics L-ISA setup,” says Corder. “Diversified completed the very first house of worship project with L-ISA back in 2019, so it’s awesome for us to see the technology and projects continue to grow.”

Belokonny is equally thrilled with his new reality. “When you critically listen to audio somewhere for several years, it’s amazing to walk the room and have it sound completely different overnight,” he says. “There is great excitement and peace of mind knowing that what we're able to produce now is a lot more accurate and represents what's happening onstage. I know that will embolden the worship leaders and band members to play out more, and it'll create excitement in the choir. I can't wait to see where we’ll go from here because our new baseline is just leaps and bounds better than the best that our old system ever was. And it's consistent throughout the whole venue, which provides an opportunity for everyone to be way more unified and to have this sense that we're all in this moment of worship together.”

5th May 2022

Marbo Trade Runs Lighting at New VPX Studios Romania with ChamSys MagicQ MQ500

Romania – They say that “necessity is the mother of invention.” The team at Marbo Trade provides convincing proof of that! A leading supplier of lighting, sound and stage equipment to the concert and live event market, they found that the demand for their goods and services all but disappeared after the COVID pandemic hit.

Like others in their business, the Marbo Trade team shifted their focus to create a digital production facility for supporting livestream and broadcast productions. However, they didn’t stop there. Rather than restrict themselves, they expanded their horizons to create a bona fide virtual production studio, complete with extensive Unreal Engine 3D creation capabilities.

Many believe that VPX Studios Romania is the first facility of its kind in Eastern Europe. It is certainly one of the most well equipped. Drawing on the capacity of its Unreal Engine, it allows the design team to render real time 3D images on the wall from the tracked camera perspective and updates it as camera moves across studio. The team can also feed the LED volume with high-quality photorealistic images in a 10 bits HDR colour space for a real-life camera experience.

Built in partnership with the, Buftea Studios, a major Romanian film maker, the new facility features a semi-circular production with 25 x 6 metre LED space. It also has an impressively high (50 metres) set with a motorised LED ceiling with a 55sqm LED space, a feature that provides great flexibility to accommodate a wider variety of camera angles and light placement.

An extensive lighting rig, which includes 44 soft LED panels among other fixtures, opens an array of creative options of for content creators. Providing precise control of those luminaires to meet the exacting lighting demands of a VPX studio is a ChamSys MagicQ MQ500 Stadium from Marbo Trade’s own inventory.

“Our VFX Studio is equipped to handle a wide variety of virtual productions,” said Bogdan Gradisteanu of Marbo Trade: “Our DOP Viorel Sergovici, and LD Christian Sora, as well as our VPX supervisors Felician Lepadatu, and Andi Popescu, depend on things running smoothly. The ChamSys console is critical in helping to make this happen.”

Among the attributes of the MagicQ MQ500 that contribute to smooth operations at the VFX studio are its ability to handle a large number of fixtures and 200 universes direct from the console without the need for external processing. “We have a lot of fixtures in our studio, particularly soft panels, so the power of the ChamSys is appreciated,” said Gradisteanu. “ChamSys also has a very extensive and up-to-date fixture library so it covers our rig.”

Also adding to the capacity of the MQ500 console are its four Ethernet ports and show file management capabilities, whilst its intuitive 15” touchscreen, and its useful operational features, such as the intensity master feature (which allows brightness to be controlled without a dedicated fader), make running the rig in the studio easier.

Although COVID related restrictions have receded and live events have returned, the VPX productions inside this impressive studio are still going strong with an eye to an even brighter future. “The set is a permanent installation in Buftea,” said Gradisteanu.
And why not? Given, its impressive capabilities, this studio is racing into the future, and its ChamSys console is moving right along with it.

5th May 2022

Jay Krause Creates Unique Vibe at Strike 10 with Chauvet Professional

USA – The Florida Panthers are best known for their exploits on the ice, but when the hockey team wanted to celebrate with some of their best fans recently, they shed their skates and headed over to the soft pine wood lanes of Strike 10 Bowling.

It’s easy to understand why too. Since opening in March, Strike 10 has quickly established itself as a hip go-to-spot for local celebrities and ordinary folk alike in South Florida, thanks to its abundance of amenities, including a 50-foot bar that would be right at home in Tribeca, 30 large HD TVs, live entertainment, a sushi bar, and of course, 11 professional bowling lanes, as well as special children's' lanes.

Tying it all together, while adding an extra dash of panache and colour to the venue is a well-executed lighting design by Jay Krause and the team at Sound and Lighting Solutions of Pompano Beach that features some 200 Chauvet Professional and Iluminarc fixtures, all of which are tied into the same control using a single tablet.

While the Iluminarc fixtures provide ceiling downlights, and cove lighting, as well as front and rear ambient lighting, a collection of 60 ÉPIX Flex 20 units are at the heart of this stunning design. Individually pixel controlled, and run through Madrix software, these durable, outdoor-rated LED flexible strips, which are installed over the main part of the bowling centre, create a compelling look throughout the venue.

“The strips are a distinctive eye candy element that contributes to the overall impression of Strike 10 being a completely unique spot,” said Krause. “They are buried into the custom wood ceiling panels, and they that look like a series of many different colour-changing waves. The waves have the appearance of moving  slowly or quickly, depending on the time of day, and the energy in the room.”

Being in the woodwork of the ceiling, the RGB ÉPIX units have a different appearance depending on the viewing angle. “They appear as ambient light when you’re below them, but they create a different effect when you see them from a distance,” said Krause. “In total, they contribute to this very immersive environment in the bowling centre.”

The strips are controlled by 15 ÉPIX Flex Drive units, giving the centre full pixel control of them. Krause described the process of installing the controls, giving credit to his colleagues Vinny Destefanis (concept, engineering, planning, layout, design work) and Bryan Rush (foreman, planning, field engineering) for helping this and the entire installation work.

“We had a great team, and great support from the Jafif family, the owners of Strike 10,” said Krause. “They had an inspired vision for this project. There is a lot of wiring throughout the facility. The ceilings are drywall, so it took a significant amount of layout and prewire to get everything to look as clean as it does. Working with a ceiling that is meant to be looked at it can be challenging; it takes a considerable amount of extra time, energy and finish work.

“Most of the time, clients paint the ceiling black to hide everything, but here the ceiling is as attractive as the rest of the facility, which is spectacular for lighting,” continued Krause, who contrasted Strike 10 to the bowling alleys he worked on early in his career.

“I recall selling speakers to bowling centres in the ‘90s and they, were all the same, dimly lit big square boxes with wood floors,” he said. “This one has some real life to it. Where else can you see wooden bowling lanes change colours in waves?”

4th May 2022

Martin Audio CDD / Blackline PA Installed at New Albanian Embassy of Peace

Albania – A high-quality Martin Audio CDD / BlacklineX combination has been designated for sound reinforcement in the multi-purpose auditorium at the new Ambasada e Paqes per Ballkanin (Embassy of Peace for the Balkans), in the Albanian capital of Tirana.

Located near the Tirana National Park, the building serves as the new headquarters for the Family Federation for World Peace and Unification and the Women Federation for World Peace in Albania. The location was designated after Tirana hosted the Southeast European Peace Summit in November 2019, organised under the patronage of the Prime Minister of Albania, in conjunction with Family Federation and Universal Peace Federation, where over 400 VIPs from 55 countries participated.

Conceived as a ‘House of Peace’, designed to serve the Balkans, this new building has undergone a sculptural process of cuts and clefts to give it a contemporary and dynamic appearance. These features include a large panoramic roof terrace, as well as an impressive main entrance to the building. Other distinctive features allow for the entry of natural light into the underground floor, which is used for offices and conference rooms.

With a capacity of up to 250 people, the main auditorium which features the Martin Audio sound reinforcement, is geared up for a wide variety of events, from high-level conferences, banquets, shows, concerts, live music performances, broadcasting events and others.

Elegantly designed with bespoke wooden acoustic wall panels, high-capacity noiseless ventilation, acoustic flooring and a distinctive lighting package, the task of providing the technical infrastructure fell to Martin Audio’s Albanian distributor, Prosound.

As a well-known audio-visual service provider, Prosound was one of the companies invited to tender. Their technical director, Endrit Veleshnja, who was responsible for the design, believes the success of their bid was predicated on being able to offer a high-profile brand such as Martin Audio, and duly opted for a CDD / BlacklineX combination, as he has on many occasions in the past.

Commenting on the design rationale, Veleshnja explained: “Since the multifunctional main venue is to be used for different events, the sound reinforcement system needed to be capable of catering not only for conferences and meetings but also to deliver sufficient SPL for other events, such as live bands.

“CDD12 proved to be the optimal choice for the main venue where eight of these enclosures, combined with four Blackline X118 subwoofers, perfectly fit the requirements.”

In terms of the speaker design and signal flow, six CDD12s were flown from the ceiling on custom brackets (three per side) with the final pair installed directly above the front of the stage, left and right.

On the stage itself, two Martin Audio XP12 provide reference monitoring and the received audio signals are either managed by a stage box or directly from the control room mixer. The signal is then sent to the amplifiers via Martin Audio’s dedicated DX0.5 system controller.

Other than the sound system for the main venue, Prosound also provided the stage lighting, video projection, a conference system with tabletop microphones and different mics and accessories as required for the different events. Video feeds and sound from the main venue, also need to be routed and reinforced in nine smaller meeting rooms, including three general areas.

Summing up the installation, Endrit Veleshnja said that all objectives had been satisfactorily achieved. “Because this was a new building, we faced no major restrictions other than that we were unable to install the speakers along the walls.” This was in view of the special wooden panelling, that doubles both as acoustic sound treatment and as a decorative aesthetic.”

The Embassy of Peace for the Balkans will now serve as a meeting point for peace leaders and a place where activities and events promoting these universal principles can be staged.

4th May 2022

Stunning New Landmark Concert Hall in Poland Boasts Largest L-ISA Immersive System in Central Europe

Poland – A unique multi-functional building combining office and cultural spaces, Poland’s newly-constructed Cavatina Hall opened its doors at the start of this year. It is the only privately owned and funded concert hall in the country and its owners’ uncompromising approach to design demonstrates their ambition for the venue to become a landmark on Europe’s cultural map. The six-storey multi-functional building counts over 9,000 square metres of A-class office space, a chamber music hall, and a cutting-edge recording studio. But the crown jewel of the building is the 1,000-capacity concert hall which boasts a state-of-the-art stage, with AV technology integrated into an extensive digital and analogue network, and L-Acoustics’ progressive L-ISA Immersive Hyperreal sound technology, delivered by Warsaw-based L-Acoustics certified provider distributor, Audio Plus.

The venue was created by Cavatina Holding, of one of Poland's largest property development companies. The stunning building is strategically situated in the multi-cultural Southern Poland city of Bielsko-Biała, an industrial and artistic hub nestled in the beautiful Beskidy mountains. Among the events hosted in the city is the historic jazz festival Bielska Zadymka Jazzowa, which now takes place in Cavatina Hall.

“We can confidently claim that Cavatina Hall is one of the best facilities of its kind in the world, combining commercial industry with the promotion of art in a unique and modern building,” explains Katarzyna Pytlarczyk, head of Fiducia Foundation, the administrator of Cavatina Hall. “The concert hall has been designed so that all types of music can be produced perfectly, and its acoustics make it possible to bring out the full range of colour during symphonic and chamber concerts as well as pop and rock performances.” Every space in Cavatina Hall has been constructed to the highest standards, from the seating to the subtly concealed resonance boxes on the walls and balustrades and the automated sliding acoustic curtains. The choice to install L-Acoustics L-ISA technology is a logical consequence of this approach. “Because we are among only a few venues that have such a system, it puts us at the forefront of European venues," adds Marcin Smolik, producer and managing director at Cavatina Hall. “The interest in the technology is huge. It is a treat for artists, and for the audience, it means quality.”

Due to its years of experience in high-profile AV installations, Audio Plus was appointed as the technical contractor. Briefed with selecting top-of-the-range technology and providing expert support throughout the complex design, the Audio Plus team, and its chosen suppliers and sub-contractors, were the sole contractors to work on the project from its inception until completion, thus ensuring the successful integration of the entire technical infrastructure.

"When we were invited to manage the AV installation, we knew this project would be exceptional. We knew this would be a place where we could design the sound technology of the future," recalls Sylwester Wojcieszek from SDST, who was responsible for the technology design. “During initial discussions, it was quickly decided that we would design a 360-degree immersive sound system to fulfil this desire, and the best one to fit that brief is L-Acoustics L-ISA technology.”

"Throughout the decades of using stereo for concert sound, we have accepted compromises,” continues Willi Klein, application engineer at L-Acoustics. “The perception of sound spatialisation for large audience areas was always limited; we heard sound from the L/R loudspeaker placement, instead of hearing instruments from where they are placed on stage. L-ISA technology gives the listener a natural experience, essentially delivering what you would hear if there were no sound reinforcement and you hear the instruments from where they are physically.” L-ISA is fully immersive and reproduces the same sound image for the entire audience, regardless of where the audience member is located.

Cavatina’s team went to great lengths to ensure the quality of the system by submitting the technical design to be audited by the London office of Sound Space Vision. A virtual acoustic model of the hall, including wooden elements such as the waves in the sub-balconies, a combination of resonance boxes each tuned to a different frequency, was also independently tested in the Acoustics Department laboratory of the Institute of Building Technology in Warsaw. This ensured the acoustic and technological designs would work in perfect harmony and further validate the trust placed in Audio Plus.

The specification ranks Cavatina Hall as a venue with one of the largest L-ISA installations in Europe, and one in which Audio Plus delivers the ultimate in audio fidelity. In total, 141 L-Acoustics cabinets are distributed in a 360-degree configuration. The frontal system is based on seven hangs of six Kiva II and an SB15m spanning the width of the stage, with further low frequency delivered by four KS28 subs suspended above the audience in an end-fire arrangement. Eight 5XT serve spatial front-fill, while a further nine 5XT serve audio for the seats in the two balconies behind the stage. Two additional X8 cabinets are used as in-fill and six X8 cover the balconies, while 28 further X8, 14 at each balcony level, are placed as effect cabinets. The system is controlled by two redundant L-ISA processors.

Stage monitoring is managed by a total of 23 cabinets including X8, X12 and X15HiQ. The entire system is powered by a combination of LA4X, LA2Xi and LA12X amplified controllers, which give a combined 108kW of power. In addition, to serve events in other spaces such as the foyer or chamber hall, Cavatina Hall has a mobile Syva system, chosen for its aesthetic appeal and audio quality.

Overall, aesthetics was an important factor for Cavatina; even in a 1000-seat hall, the audio system is unobtrusive and, in fact, practically invisible. Significantly, Cavatina Hall is the first concert hall in Poland to take advantage of automatic object tracking, which allows the movements of musicians, actors, or speakers to be tracked and mirrored by the sound and lighting systems. Thanks to this, it is also possible to automate stage movements and even trigger multimedia actions automatically. The heart of the system is the TTA Stagetracker Core processor, which can communicate with the system's transmitters via a system of antennas. The event director has 32 Stagetracker Tag transmitters at their disposal, which they can assign to any musician or actor.

Much thought was given to the audio network; it is one of the largest in the country. A total of 43 signal connections are installed across the venue, located in the stage, audience and backstage area, in the entrance hall, recording studio, on the lighting bridges, the roof patio for external concerts, and in the underground garage for broadcast vehicles. Each connection has analogue and digital inputs – of which coaxial, optical and CAT 6A are available – and all signals are fed to the amplification room, where they can be matched freely. There are also direct twisted pairs at the four FOH and monitor mix positions, enabling easy connection for any visiting consoles. Because signals can be routed anywhere in any format, complexity can be achieved without fighting the system. The signal distribution system not only makes it easy to realise live events in the hall, and can also record and broadcast them live from any location within the venue, such as the venue’s recording studio.

The concert hall boasts four of the latest DiGiCo Quantum 338 consoles, one for front of house and one for monitors. Signal distribution between FOH and the recording studio is via Optocore, with AuviTran convertors forming an integrated network. Signals to the studio or broadcast truck are via either Dante, MADI, or analogue, depending on the end devise. The Optocore/Auvitran system can handle up to 1856 digital signals. Analogue signals are split by a 96-channel analogue splitter, whilst Optocore can handle a further 96 analogue signals delivering the most complete, versatile way method of signal distribution.

Cavatina’s Smolik explains that the venue “has a rule that it is not the artist who is the star, but the audience.” Tomasz Ibrom from Audio Plus, responsible for the entire installation, agrees that the team’s aim was to provide the highest quality sound experience for the artists and especially for the audience: “Cavatina Hall can accommodate almost a thousand people, but thanks to L-Acoustics, it does not lose its intimate atmosphere. Care has been taken to ensure that every member of the audience has good stage visibility and a personal listening experience.”

Thanks to Audio Plus’s innovative and comprehensive approach to design, Cavatina Hall is a true milestone in concert sound, for which the company deservedly won Poland’s Builder magazine Top Builder Awards for innovation in the Technology category.

3rd May 2022

KFC Yum! Center in Louisiana accommodates more with Adamson Installation

USA – Opened originally in 2010 for the University of Louisville basketball teams, the KFC Yum! Center recently updated its house system with an Adamson PA and a DiGiCo S31 console. Installed and programmed by Performance Audio, based in Salt Lake City, 52 IS10 line array cabinets, 24 IS119 subwoofers, 12 IS7p point source cabinets and four IS10p point source cabinets are now deployed and in use at the arena.

Kendall Bowman, audio-visual engineer for performance audio explains his experience of working with Adamson products during the new in-house system installation: “They look little but sound so much bigger than they are,” he said. “The way they go together, the install boxes, everything was effortless to put together.”

“Adamson once again delivers big results while achieving the aesthetic and performance goals in the arena renovation,” said Doug Woosley, a programming consultant of Sound Ideas LLC, who was a local system support for the upgrade. “The IS10 allowed us to reach the necessary price point without compromising the quality of system.”

According to KFC Yum! Center’s website, the arena has a fresh look and feel which creates an exciting atmosphere for future events. The audio network allows the venue to provide a clear experience to guests with enhanced control for technicians.

“The upgrades are part of a much larger capital improvement plan to allow the KFC Yum! Center to maintain the physical amenities that make us one of the best arenas in the nation,” said KFC Yum! Center general manager Eric Granger.

The arena last hosted the NCAA Men’s Basketball Regional in 2016 and 2019 and the NCAA Women’s Volleyball Championship in 2014. Going forward, the University of Louisville will host the 2023 NCAA Division I Men's Basketball Regional and the KFC Yum! Center will host the Division I Women's Volleyball Championship in 2024.

“Since 2010, the KFC Yum! Center has been an integral part of the resurgence and growth of downtown Louisville as the city’s most iconic entertainment venue that attracts nearly a million fans to world class sports and entertainment events annually,” said Louisville Arena Authority chair, Leslie Geoghegan.

Despite shutdowns worldwide and a direct hit on businesses due to COVID-19, the arena found their silver-lining when they choose to go with Adamson loudspeakers for the installation over all other proposals.

“Every one of these projects is important to help the Louisville Arena Authority achieve our goal of exceeding our client’s and customer’s expectations and providing the most optimal experience inside the arena,” said Granger. “Improved quality and added audiovisual technology provide numerous opportunities to feature robust and entertaining in-event content for the University of Louisville and other event producers at the arena.”

3rd May 2022

Ashly Audio Amps Up Rochester Music & Burlesque Venue

USA – Understanding that sound is the main motivator of any club, Photo City Music Hall looked to local power amp powerhouse Ashly Audio to provide a powerful, flexible solution to the venue’s needs. After an overwhelmingly positive response to the recent installation of Ashly Audio’s amplifiers, Photo City Music Hall is ready to host larger, and louder, shows.

What began as a small venue has grown to be a Rochester staple. Photo City Music Hall originally opened in 2016 with owner Daniel Nielsen living in the green room for the first year and a half while growing the space. In the beginning most of the shows were punk or metal bands as well as comedy and burlesque shows. However during COVID, the venue rebranded and increased capacity to 500. This allowed them to focus more on music with 95% of shows being music related and EDM being a more popular genre. Most importantly, Photo City Music Hall is a community space that hosts benefit shows for organisations such as the local Leukemia Society as well as the LGBT community with their Pride Fest club pass.

“From when I started working with Photo City, there was always a vision to have it grow to what it is today. I’ve always been a fan of the sound quality of Ashly Audio’s equipment, especially their compressor and limiter algorithm, so they were a clear choice for this project,” states Justin Wyman, designer and installer, JWI Audio. “The artists that play at Photo City need power; from punk and rock-n-roll to EDM, burlesque and metal, the equipment used needs to have amazing crystal clear sound and pack a punch. Ashly’s amps can get beaten to the ground and without losing sound quality, they are tanks.”

For the installation, Wyman chose three different Ashly Audio products: the 3.6SP Protea DSP loudspeaker system processor, two KLR-2000 stereo power amplifiers, and six KLR-3200 stereo power amplifiers.

The 3.6SP Protea DSP loudspeaker system processor is a three input by six output system processor with a high quality compressor and limiter algorithm. With active front panel controls, the 3.6SPs are ideal for a dynamic, live music venue like Photo City Music Hall. The processor includes a 48-bit double-precision fixed-point DSP filtering with 24 bit, 48kHz, 128x oversampling delta-sigma A/D and D/A converters. Specific to the selection for this installation, digital processing on the 3.6SP includes gain, parametric EQ, shelving filters, time delay, crossover functions, compression, limiting and matrix routing.

“When you’re running a venue, people can overlook that part of the business is selling sound. Sound is the main motivator here and we knew that Ashly had the power to take our venue to the next level,” mentions Daniel Nielsen, owner, Photo City Music Hall. “From the very first night, there was an overwhelming response from the crowd regarding the system's clarity and sound. Honestly, it’s given me a new flame and desire to push bigger shows through the club.”

The KLR 2000 and 3200 provide reliable sonic perfection through their 2, 4, or 8 Ohm loads. Each amplifier incorporates a switch mode power supply for flawless lows, punchy mids and pristine highs, ideal for audio authenticity. The output topology of the KLR-2000 is Class-AB, while the KLR-3200 is a two-step Class-H design. The KLR 2000 delivers a minimum power of 1,000 Watts per channel into 2 Ohm loads, 600 Watts RMS per channel into 4 Ohm loads (unless into bridged-mono mode in which case it can deliver 2,000 watts for the KLR2000 and 3,200 watts for the KLR 3200), or 350 Watts RMS per channel into 8 Ohm loads with both channels operating. When switching between mono and bridging mode, the amplifier’s back panel is available for ease of access. Another notable difference between the KLR 2000 and KLR 3200 is that the KLR3200’s signal-to-noise ratio is greater than 109dB at rated power into 8 Ohms while the KLR2000’s is 108dB.

“We love working with local venues to enrich the listening experience,” mentions Noel Larson VP of marketing and business development at Ashly Audio. “With a line-up like Photo City Music Hall’s, clarity, authenticity, and power are critical to delivering each artist’s sound. Dan and Justin knew exactly what they were looking for and we’re proud that from the very beginning, Ashly was on their mind.”

29th April 2022

Treehouse London prioritises clarity and discretion with KV2

UK – Treehouse London occupies the site of the former Saint Georges hotel on Langham Place and arguably boasts some of the best views of any London hotel. Combined with its fun, playful aesthetic, deliberately designed through ‘the optimistic lens of childhood’, a determinedly sustainable ethic and some excellent food and drink options, Treehouse London offers one of the capital’s most surprising and joyful hospitality experiences. Initially inaugurated on 31st October 2019, the hotel was rapidly forced to close its doors again in the face of the pandemic. Eighteen months later as the world makes a cautious return to normality, Treehouse London welcomes guests once more to experience its unique brand of hospitality. Specialist AV integrators Promotiontime NE was called in to design and specify the AV systems across the bar and restaurant areas that occupy the entirety of the 15th and 16th floors. KV2 was deemed the ideal choice.

Brian Graham, owner and MD of Promotiontime NE, explains that they were tasked with providing a sound system that could deliver exceptional audio both as a background music system for daytime use, yet would perform equally well as a night time system when the DJ arrived to ‘party up’ the atmosphere. “As part of the decision process we visited other similar KV2 installations with Treehouse London’s MD Ayo Akinsete and his team so they could listen to the products we were proposing,” says Graham. “Usually, most of our client demonstrations tend to focus on how hard the products can be driven whilst still maintaining impeccable audio integrity; in other words, how loud can you go, but Ayo and his team were just as focused on the low level background music experience. Rather than, ‘turn it up, turn it up,’ Ayo was keen to hear the system at its quiestest, putting himself in the place of guest during a breakfast serving, for example.”

“This is where the KV2 product range excels,” continues Graham. “The efficiency and detail delivered by KV2 loudspeakers means that they sound warm and defined at low levels – you can hear every note with exceptional clarity – and they lose absolutely nothing as the volume increases. You can still hear all of the detail which makes for an exceptionally comfortable listening experience, even at high levels. The demonstrations quickly assured the Treehouse team that KV2 was the right solution for their project.”

Indeed, prior to making the decision to go with KV2, Treehouse had received an alternative specification from a competing international brand whose products are already in other Treehouse sites elsewhere. “When I saw the design, it was immediately clear that by switching to KV2 we could both reduce the number of boxes required to cover the space and yet significantly increase intelligibility as a result of using fewer sources,” notes Graham. “It was a bit of a no-brainer, really.”

Treehouse’s 15th-floor Madera restaurant is a fusion between elevated Mexican cuisine and experiential dining. Active during the day, it’s primed to hit another gear at night: as the sun goes down, so do the lights, but the volume goes up as the energy level rises. Graham selected a combination of KV2’s signature active EX Series: three compact EX6s and twelve more powerful yet still extremely compact EX10s supplemented by a pair of compact, EX1.5 subwoofers and six ESD 1.10 passive subwoofers powered by a pair of ESP2000 amplifiers. A second restaurant area is served by a further four EX6s, five EX10s, six ESD1.10 subwoofers and an ESP2000 amplifier.

Up another floor and guests find themselves in the Nest, a beautiful rooftop bar filled with foliage and natural materials wreathed by a sumptuous wraparound outdoor terrace commanding some of the best views in London. The atmosphere is designed to be fun and relaxing during the day and energising at night. Graham opted for six EX10s supplemented by a pair of EX1.2s and a further pair of EX1.5 subwoofers that will help the DJ keep energy levels high well into the night. The outdoor terrace is served by a fully weatherproofed ESD system based on fourteen ESD5 high quality output, low profile loudspeakers driven by a pair of ESP2000s.

Additional EX6s can be found the reception areas and function rooms found on both floors.

“The combination of EX and ESD products delivered the clarity, output and definition required in a pleasingly compact and discreet format,” observes Graham in conclusion. “Part of the brief was that the system have as little visual impact as possible, so most of it is flown – even the subs – and largely hidden amongst the leafy décor. The client is thrilled with the results, and we hope to be able to roll out the concept on future sites.”

29th April 2022

DiGiCo S21 and Waves Make for a Winning Combination at Hudson Hall

USA – Hudson Hall resides in an historic and landmarked building housing New York State’s oldest surviving theatre. It’s where Frederic Church displayed his paintings, Bret Harte read his poetry, “Blind Tom” Wiggins packed the house with his keyboard virtuosity, where Henry Ward Beecher delivered a rousing abolitionist lecture and Teddy Roosevelt once electrified a crowd. Abandoned for decades, the building was saved when local citizens came together in 1992 to establish a cultural centre there to serve its diverse community.

In 2017, Hudson Hall completed a $9.5 million restoration of its magnificent performance hall to support a thriving creative economy in the town of, and the region around, Hudson, New York. The next step in Hudson Hall’s journey has now been taken, with the installation of a DiGiCo S21 console used to mix the venue’s front of house sound, monitors and the streaming of shows online. Like many of the performers who have graced Hudson Hall’s stage dancing, singing and acting, the S21 is a triple-threat talent.

Keith Rivers, Hudson Hall’s house audio engineer, also wears many hats. In addition to acting as the venue’s front of house and monitor mixer, he’s also responsible for the audio mix of Hudson Hall’s online streamcasts. Furthermore, Rivers is the account manager for the Commercial Sales Group at Audio Video Corporation, the Albany, NY-based AV systems integrator that sold and installed the S21 along with a DiGiCo D2-Rack, connected over a Cat-5 cable, and an integrated Waves SuperRack SoundGrid. With the new S21 and its related gear, Rivers is the Swiss Army knife of audio for Hudson Hall.

“We’re a 400-seat, non-profit venue, but we also serve a very robust arts community and we regularly host shows by Grammy Award-winning music artists,” says Rivers, noting the Hudson Jazz Festival, which was performing there at the moment. “So we have to be able to serve a wide array of artists and audience, from musicians like Natalie Merchant, The National and Jazzmeia Horn to local community groups such as Harmony Project Hudson and the Camphill Hudson Players. The S21 lets me do all of that, and do it well.”

Rivers cites the S21’s 48 channels that let the venue host even large music groups onstage, and the fact that he can operate all of it at 96 kHz, assuring visiting artists of spectacular sound quality. Also, the S21’s matrixing capabilities let him use it like multiple consoles, creating mixes for both the house and the online audience, tuned precisely for each purpose.

“For my master buss chain, I’ll apply the Kramer Master Tape emulation processor through an API 2500 as the master compressor, the same chain I use in my own studio,” he explains. “For streaming, I run the main camera feed through an L1 limiter and the WLM Plus loudness meter. The integration of the Waves SoundGrid Extreme Server lets me apply whatever processing I need from the console, which is really efficient. For monitors, I’m usually feeding four to six wedges through monitor sends, using groups and subgroup assignments and processing via Waves, though I also have capacity for IEMs. And I can be onstage putting that mix together during sound checks using the iPad connection to the S21. Considering the distance from the console to the stage, this is the only way I’d be able to manage the monitors this closely.”

Another critical function that the S21 affords Rivers is a virtual soundcheck, via the DiGiCo UB-MADI USB-to-MADI interface. “Because I usually have limited time with the artists for sound check, I will often record via UB-MADI and then play back and modify tracks before the show to get my final mix going,” Rivers explains. “This allows me more time to spend with the artist on the front end with monitor mixes during the sound check. Then, when they are off at dinner, I finish my main mixes. It’s a critical feature that the console allows me that I could not live without.”

He can also run a separate set of nearfield speakers at the console for critical listening of tracks. “Because I cannot hear the mains where the console is located, I have those nearfields EQ'd and time-aligned to the main PA speakers,” he says. “Basically, I can mix ‘in the box’.”

In fact, it’s just one of five matrix zones: main PA, FOH, nearfield speakers, camera feed, and overflow areas, that can all be processed individually via various Waves components and DiGiCo processing. “I have what I call ‘plug-in awesomeness’ running on all eight stereo subgroups before the master/main mix,” he says. “But I rely on all DiGiCo onboard channel-strip processing and DiGiTube emulation at the input stage.”

“What’s truly amazing, though, is that the S21 is DiGiCo’s entry-level desk, and I can still get all of that done with it! There’s no other console on the market at its price point that could let me do this many functions and roles and do them this well.”

photos: David McIntyre

www.digico.biz

28th April 2022

Black Owl in Jakarta sets new benchmark with Funktion-One sound

Indonesia – Since opening in late-February, luxury supper club Black Owl has taken PIK Golf Island in Northern Jakarta by storm with its high-end dining and entertainment experience. At the heart of its music-focused offering is an impressive Funktion-One sound system from PT. Electro Audio Engineering.

Owned and operated by Murino Berjaya Indonesia, the 1,000m² space has been designed to give guests uninterrupted views of the stage from anywhere in the venue. The performance area and its captivating LED backdrop are the focal point of the main room, where the entertainment programme combines a mix of live music and DJ performances.

PT. Electro Audio Engineering's Linson Sugianto explained: “We had installed a different brand system for the group around four or five years ago, when they were still at a smaller venue in Jakarta. When they grew, they wanted something that would sound simply amazing and would make them the top lounge/nightclub destination in Jakarta and Indonesia in general. So, we recommended Funktion-One and they were very, very impressed.”

Black Owl’s sound system features two pairs Funktion-One Evo 6E with Evo 6EL mid/bass reinforcement, flown stage left and right. The Evo 6EL supplements the Evo 6E cabinets to provide additional mid bass headroom, which is especially useful for flown installations. A row of four Funktion-One F221 bass enclosures deliver punchy and involving low end from stage front and Funktion-One F1201s and BR118s provide coverage in the peripheries.

Sugianto said: “The system sounds big and powerful, with very low distortion and excellent clarity. The owners have been very supportive of the project and have allowed the budget to get the best quality, this is quite rare in Indonesia.”

Murino Berjaya Indonesia’s spokesperson commented: "We are extremely satisfied with the Funktion-One Evo system installed at Black Owl PIK Golf Island Jakarta. This system elevates the standards of lounge/club in Indonesia for the future. Black Owl PIK Golf Island Jakarta is certainly a 'barometer' of the next standard for Indonesian lounge/club sound quality moving forward."

28th April 2022