Installationen News
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Karol Lipinski Academy of Music upgrades infrastructure with new Harrison analog mixing console
09/06/2026
Licht-Upgrade mit ETC im Tarkington
21/04/2026
Powersoft Mezzo amplifiers create refined audio ambience in 14th century renaissance hotel
25/03/2026
Nucleus and Russell Sage Studio build Wow!house 2026 around L-Acoustics Hyriss
Wow!house, the annual showhouse staged at Design Centre Chelsea Harbour, has opened its fifth edition with 22 rooms by an invited roster of architects and interior designers. The culmination of the visit is The Nucleus Immersive Room by Russell Sage Studio. The Momentarium is built around an L-Acoustics Hyriss spatial audio system - the first time Hyriss has been specified for a designer showhouse, and the technology is the structural premise of this space.
Wow!house is open to the public from June 2 to July 2, 2026, with twice-daily guided tours included in the ticket price. The event draws an audience of design enthusiasts and the international design press, as well as architects, interior designers, hoteliers, yacht designers, and property developers who specify residential and hospitality interiors.
Nucleus, the UK residential AV integrator behind the project, returned to Wow!house after presenting a media room at the 2025 edition. This year, the team set out to design a room in which audio would shape every element of the experience: narrative, atmosphere, and visitor interaction alike.
Russell Sage Studio partnered with Nucleus to develop the concept around the idea of memory: a circular, cocooning interior in which visitors lift objects like letters, photographs, and small heirlooms from a set of bespoke drawers and chests, and each object cues a corresponding sound and atmosphere. A fragment of music. An ambient texture. A shift in light. Two pieces of music were written for the room by Krishna Jhaveri and Sanaya Ardeshir, composers working in L-ISA Studio.
The room sits at the close of the visitor journey through Wow!house. Seating is a custom curved banquette under a sculpted plaster ceiling; fabrics are layered in soft hues; lighting, by John Cullen Lighting, is built into the architecture; scent is provided by Jo Malone London. Audio, video, lighting, and shading are orchestrated as a single layer through Crestron, so that when a drawer is opened it changes both the soundtrack and the room’s entire atmosphere.
“We wanted to push our media room further”, says Durgesh Sinh, Founding Director of Nucleus. “Our aim was to show what happens when technology is considered from the start, as part of the architecture, the interior, the lighting, and the acoustics, all at once. The room had to use sound to do something we hadn’t done before in a designed space.”
A conventional 5.1 or 7.1 surround system was incompatible with the design brief. Channel-based audio ties sound to fixed speaker positions; the Momentarium needed sounds that move with the listener as the room’s state changes. Nucleus, having previously experienced Hyriss (Hyperreal Immersive Sound Space) at the L-Acoustics showroom in Highgate, specified it for the project.
Hyriss’s adaptability allowed the Momentarium to function as a memory-trigger environment in the first place: the same loudspeakers and processing that reproduce a film soundtrack can, a minute later, place a fragment of music behind the listener’s shoulder. “We chose Hyriss because we wanted the room to go beyond conventional surround sound or a standard home cinema format”, says Sinh. “The idea was to create a room where sound could become part of the storytelling.”
Russell Sage Studio’s interior had to remain visually unbroken. Acoustically transparent fabric, specified with Nucleus, conceals the loudspeakers. Sony displays provide visual content where required. Every system in the room is controlled and orchestrated through Crestron. “What inspires me about Nucleus is their ability to translate complex technology into something elegant and intuitive”, says Russell Sage. “They treat sound, light, and control as architectural tools, not add-ons. That mindset allows us to create spaces where technology enhances atmosphere rather than interrupting it.”
The Momentarium is built around seventeen X4i coaxial loudspeakers and supported by twelve SB6i subwoofers. System drive is handled by two LA1.16i amplified controllers, with a single LC16D and two LS10 network switches managing signal distribution throughout the room. At the heart of the processing chain sits an L-ISA Processor II alongside a P1 processor for Ambiance, delivering the object-based audio spatialisation that defines the space. The L-ISA Processor II runs the Anima engine to adapt the room’s acoustic behaviour to each scene.
“Sound had to cocoon the room, create movement, support the visual content, and help transform the overall atmosphere”, Sinh concludes. “Hyriss is what makes the room different. It allows the Momentarium to become more than a beautiful space with AV integrated. It’s a room that can shift, tell stories and create a lasting emotional response. That was always the core ambition of the project.”
(Photos: James McDonald)
WSDG designs Swing Music 2.0 for Argentine composers Andres Goldstein and Daniel Tarrab
WSDG has completed the acoustic and technical design of Swing Music 2.0, a new dual-studio creative environment developed for Argentine composers and producers Andres Goldstein and Daniel Tarrab, founders of the Latin American music production company Swing Music.
Having previously collaborated with WSDG on the original Swing Music studio, Goldstein and Tarrab once again partnered with the firm, led by Senior Partner and Co-CEO Sergio Molho, to create a new generation of production spaces tailored to the evolving demands of contemporary film, television and multimedia composition.
Designed as two distinct but interconnected creative environments, Swing Music 2.0 reflects the individual workflows and artistic personalities of its owners while maintaining a cohesive production identity. The studios support the full spectrum of modern soundtrack production, from composition and programming to recording, editing, mixing and remote collaboration.
“Over the years, the way we work has evolved enormously”, says Goldstein. “We needed spaces that could support very long creative sessions, allow us to move quickly between different stages of production, and still feel inspiring and comfortable every day. WSDG understood that immediately and translated it into rooms that genuinely support the creative process.”
Located in Buenos Aires, the project was developed around the increasingly hybrid nature of modern music production. WSDG’s brief included acoustic design, technical integration, workflow planning, lighting design and technical interior design for both studio environments.
Rather than creating two identical rooms, WSDG worked closely with Goldstein and Tarrab to shape each studio around their individual working methods and technical preferences. “Each of us has a very personal relationship with sound, instruments and workflow”, explains Tarrab. “What I appreciated most was that WSDG never approached the project with a ‘one-size-fits-all’ mentality. They listened carefully to how we actually create music and designed spaces around that reality.”
Goldstein’s studio, Swing Godoy Cruz, is centered around a hybrid scoring workflow and features a master Mac system alongside a dedicated Mac slave for sound libraries, a Smart TV for picture reference, Genelec 8331A monitoring, Focusrite Scarlett 4th Gen interface, Avalon compressor, Studiologic control surface, keyboard controller, Beyer headphone distribution, and AKG 414 and Neumann microphones.
Meanwhile, Tarrab’s Swing Control Z Studio combines digital production tools with an extensive collection of instruments and analog equipment. The studio features a Hackintosh master computer, PC slave, Studiologic SL88-Grand, Studiologic SL Mixface, Avalon AD2022 preamplifier, SSL 2+ interface, Genelec 8040A monitoring, AKG 414 and Neumann U87 microphones, as well as a curated instrument collection including a 1905 Steinway & Sons Vertegrand piano, Yamaha CP70, Fender Jazz Bass and multiple Epiphone guitars.
Swing Music 2.0 now serves as a flexible and future-ready production hub supporting the composers’ growing body of soundtrack, television and multimedia work. Throughout their careers, Goldstein and Tarrab have contributed to a number of internationally recognized film and television productions, including “Some Who Lived”, directed by Luis Puenzo and produced by Steven Spielberg; Lucía Puenzo’s “XXY”, which screened at Cannes in 2007; the Emmy-winning “Inheritance”, directed by James Moll; Netflix’s “Nadie Nos Vio Partir”; Prime Video’s “La Jauría”; and “Señorita 89” for StarzPlay.
(Photos: WSDG)
Theater Magdeburg investiert in Elation KL Cyc L
Das Theater Magdeburg hat seinen Beleuchtungsbestand um acht KL-Cyc-L-LED-Horizontleuchten von Elation erweitert. Das Venue verfügt mit Schauspielhaus und Opernhaus über zwei eigenständige Spielstätten mit getrennten Technikpools. Die neuen KL Cyc L wurden für den Einsatz im Opernhaus angeschafft.
„Da wir nicht über grenzenlose Mittel verfügen, müssen wir sehr sorgfältig auswählen, welche Leuchten wir im Idealfall möglichst vielseitig einsetzen können“, sagt Felix Schumann, Meister für Veranstaltungstechnik am Theater Magdeburg. „Wir wollten bewusst einen neuen Allrounder anschaffen.“
Im Rahmen der Produktauswahl sichtete das Theater verschiedene Lösungen am Markt. Auf die KL Cyc L aufmerksam wurde das Team schließlich durch eine Vorführung von Igor Cernitori, dem Theaterspezialisten im Team von LMP Lichttechnik. Dort bestand zudem die Möglichkeit, die Leuchte direkt mit einem anderen System zu vergleichen.
Die Entscheidung zugunsten der Elation KL Cyc L sei letztlich vor allem aufgrund ihrer Flexibilität im Theaterbetrieb gefallen, so Schumann. „Durch die Blendenschieber können sie sehr gut abgeschoben werden, gleichzeitig haben wir die Möglichkeit, sie auch mal zu hängen“, erklärt er. „Auch die Helligkeit und die Farben haben uns überzeugt.“
Im Alltag werden die KL Cyc L im Opernhaus des Theaters Magdeburg nicht ausschließlich als Horizontbeleuchtung genutzt - je nach Produktion kommen die Leuchten ebenso als Fußrampe, Gassenlicht oder zur Ausleuchtung von Bühnenbildern zum Einsatz.
(Fotos: Theater Magdeburg/Nilz Böhme)
New Christchurch Court Theatre chooses LSC technology
Years after the earthquake that devastated the city, Christchurch, New Zealand’s Court Theatre has reopened in the newly developed Performing Arts Precinct, complete with power management and data solutions from LSC Control Systems.
When the Arts Centre was damaged by the earthquake of 2011, the Court Theatre was forced to relocate to a temporary home, an old grain storehouse in the nearby suburb of Addington, called “The Shed”. This “temporary” measure was to be the theatre’s home for the next fourteen years, while the city progressed ambitious plans for a new cultural hub in the city centre, to be known as the Performing Arts Precinct.
The new theatre, which eventually opened in May 2025, is a modern producing facility. It includes an intimate, “courtyard”-style 377-seat main house called The Stewart Theatre, a flexible studio theatre space - the Wakefield Family Front Room, accommodating audience capacities from 120-150 - and two smaller multi-purpose event spaces, the Rata Foundation Studio and the Ravenscar Lounge.
The technical production infrastructure throughout is designed to meet the highest standards. Following a technical specification drawn up by leading international theatre consultancy Charcoalblue, Auckland-based specialist LS Group was engaged by Hawkins Construction and Court Theatre to supply, install and commission the theatrical lighting and control systems.
They supplied four of LSC’s Unity switching/dimming racks (each 96-channel) - three serving the Stewart Theatre, and one for the Wakefield Family Front Room. “These dimmers provide the backbone of power dimming that allows Court Theatre to use a mixture of tungsten and LED lighting”, says LS Group’s Nick Abel.
Giles Tanner, the theatre’s Head Technician and Principal Lighting Designer, adds: “In moving to a new facility, we were faced with a conundrum: would we transition to an LED-only lighting rig, or have a mix of LED and incandescent fixtures? Because these two options require very different scenarios, this had significant implications in how lighting power would be implemented.”
The Unity racks are mounted on a floating, isolated metal framing system for seismic bracing, while vibration isolation was specified by Charcoalblue to prevent mechanical vibration being transferred to the building. In addition, the requirements of the Rata Foundation Studio and the Ravenscar Lounge are served by six Gen-VI units, three for each space.
With output channels configurable as 8-bit or 16-bit dimmers for lamps and LEDs, or as direct power relay channels (TruPower) for moving lights, video screens, and audio amplifiers, these dimming and power distribution systems offer a wide range of options. Here again, they allow for the operation of a mixture of tungsten and LED lighting.
The LSC product range also met various DMX routing requirements. Included were a number of MDR rack-mount DMX/RDM data splitters for the venue’s day-to-day DMX signal routing, and MDR DIN-rail splitters, as well as Nexus rack-mount Nodes for ethernet-DMX routing, plus a couple of Nexen DIN-Rail nodes providing power control for the house lighting system.
“We have moved largely to LED fixtures but find that integrating conventional fixtures is both efficient and convenient”, concludes Tanner. “There are some situations where LED fixtures just do not give the best results and the option to seamlessly integrate conventional fixtures is fantastic.”
(Photo: Charlie Rose Creative)
Karol Lipinski Academy of Music upgrades infrastructure with new Harrison analog mixing console
The Karol Lipinski Academy of Music in Wroclaw, Poland, has upgraded its STM (Studio Technik Multimedialnych) studio with the installation of a Harrison Audio 32Classic 48-channel analog mixing console supplied by the official distributor in Poland, Commercial Audio.
The new 32Classic 48, which includes a Dante interface, has been integrated with the academy’s Dante network to enable patching to/from four Harrison D510r 10-slot 500 Series racks and the DAW, plus access to sources anywhere in the building.
The studio, built in 2012, supports students and faculty and is also available for commercial projects. It has recently begun a revitalization and modernization process. “STM is designed to bridge education, art and professional production, and our goal is to create a facility that meets high production standards while remaining an effective learning environment - and the Harrison 32Classic is a central element of that vision”, says Dr. Przemyslaw Jarosz, Sound Engineer/Recording Mixer at STM.
“For students, the Harrison 32Classic is an opportunity to work on a legendary analog console and truly understand how audio behaves in a classic ‘in-line’ signal path”, he continues. “At the same time, the system is built for today’s workflows thanks to AoIP (Dante) interface integration. This hybrid approach lets students and engineers learn both worlds: traditional analog technique and modern networked audio.”
The Harrison console’s integrated Dante interface has revolutionized the way faculty and students approach recording and mixing sessions, reports Jarosz: “It’s a unique feature in the world of analog consoles, and for us it’s been a game changer. First, it enables a highly flexible in-line workflow. We can return signals from the DAW straight back onto the console faders during a recording session, which makes tracking and monitoring feel immediate and intuitive.”
Dante also makes mixing faster, he adds: “When we’re working on already recorded material, we can route DAW outputs to the console channels in a very efficient way, with quick changes and minimal setup time. On top of that, the console’s matrix capabilities and external inputs implemented via Dante significantly streamline day-to-day operation. They allow us to switch sources - both at the console and within the digital routing - and build monitoring or routing scenarios quickly.”
The four Dante-enabled Harrison D510r 500 Series racks, loaded with twenty SSL and twenty Harrison compressor modules, further expand the 32Classic’s capabilities. “We now have fully featured channels with both EQ and dynamics - the kind of complete, hands-on channel processing you normally associate with classic large-format analog desks - but with full AoIP routing flexibility over the Dante network”, explains Jarosz. The Harrison D510 500 Series system at the Karol Lipinski Academy features the D510dante audio interface for seamless routing to/from the console, as well as any other devices on the Dante network.
A digital audio format converter with MADI and Dante cards transcodes signals from the Academy’s MADI network to Dante for direct input to the console. “With the digital integration, we can record and route any analog or digital audio signal from anywhere in the Academy - from multiple studios and concert halls, or even from several locations at once - while keeping sources separated and organized through flexible routing and different transmission domains”, says Jarosz. “In practice, this means we can capture complex sessions efficiently, combining various spaces and ensembles into one coherent production workflow.”
Since the installation, the 32Classic has already been used across a broad range of Academy-related work, including classical, jazz and film-oriented sessions, as well as live and streaming productions. Projects range from solo recordings through chamber music to full symphony orchestras. In addition to supplying the console, Commercial Audio also handled the complete integration with all of the Academy’s studio rooms, the concert hall and the entire outboard setup.
(Photos: Harrison Audio/Karol Lipinski Academy of Music)
Teqsas supplies Coda Audio system for Culture Centre in Germany
The Hardt Congress and Cultural Centre in the German municipality of Linkenheim-Hochstetten is a multi-use facility which sits at the heart of its community. The venue has been the hub of social life since the 1990s, hosting municipal events on every scale, as well as external conferences, meetings, trade fairs, and more.
The Centre recently took the decision to upgrade its audio provision, requiring a system that offered optimal delivery of spoken word events and concerts. A Coda Audio system was selected to meet the brief. The goal was to achieve an even coverage throughout the room without affecting the lines of sight - especially in the area of the gallery.
A central element of the concept was a switchable array which would allow flexible adaptation to different audio applications. This would allow for optimal configuration of the system depending on the format of the event, from conferences and lectures to concerts and cultural events.
The Centre’s Technical Director, Jürgen Faul, organised the testing and comparison of several solutions, before deciding on the Coda Audio N-Ray system. The Centre’s in-house technical team installed the system, which is powered by Coda Audio Linus 6.4 DSP amplifiers, and comprises sixteen Coda Audio N-Ray (compact three-way line array), seven D5 Cube (compact two-way point source) and two Hops7-Pro (compact point source), supported by six G18-Sub (multipurpose sub extension).
The new system provides even sound distribution throughout the room and ensures that the gallery is reliably reached from the front sound system. At the same time, the system remains flexible enough to cover a wide range of event formats, and deliver stable performance when higher levels are required. The N-Ray system was supplied by Teqsas GmbH.
(Photos: Coda Audio)
Rebranded French nightclub upgrades with Martin Audio WPS line array
Situated in the Nantes commune of Saint-Sébastien-sur-Loire, the former Papa Tango Club recently underwent a rebrand from owners Evoe Group and resurfaced as Moon Social Club. As part of a substantial renovation and expansion to create a larger capacity, a new Martin Audio WPS line array has been installed by technology specialists and Martin Audio partners Make It Event. The company has been working with the operators since 2018 and currently manages around fifteen venues for the group.
The client has been a long-standing partner of Martin Audio, and several other venues within the Group are already equipped with the British manufacturer’s systems. However, due to the specific constraints of the new venue, the client wished to evaluate multiple audio solutions on site before reach a decision.
Make It arranged several proof-of-concept tests, including systems from competing brands. The final choice went in favour of Martin Audio, not least because of the strong collaboration between Make It and French distributor Algam Enterprise, who were able to deliver a solution that met the requirements.
The sound system was designed by Benjamin Verneuil, Head of Integration at Make It Event, and his solution was for eight WPS, flown four aside, either side of the stage, after carrying out visualisation in the manufacturer’s Display prediction software. The line array is driven in 2-box resolution from a pair of Dante-enabled Martin Audio iK42 and an iK81 multichannel amplifiers.
The main hangs are further reinforced by a pair of CDD8 as sidefills to improve coverage at the centre of the stage - along with four CDD12 ceiling-mounted delays for additional coverage, a further pair of CDD12 on the sides, to open up the sound field, and four SXH218 subwoofers. These are arranged in a sub arc under the stage - a solution chosen for both practical reasons and overall coherence, as traditional stacking was not possible in this space.
The main stage forms one of five separate sound zones, all of which feature Martin Audio solutions. Elsewhere, a separate club room is equipped with a mini W8LM system (three elements aside) with a single WMX sub per side. Two VIP rooms are each equipped with three wall-mounted CDD5, and at the entrance, guests are greeted by discreet sound emanating from four ACS-55TS compact, two-way ceiling speakers. For those venturing outside, a dedicated area is populated with four Martin Audio AQ8 and an SX215 sub.
(Photos: Martin Audio/Eric Menard/Photo Studio Algam)
Elation lighting system brings new creative options to Hale Centre Theatre stages
As Head of Lighting and Video at Hale Centre Theatre in Sandy, Utah, Jaron Kent Hermansen has played a defining role in shaping the visual design of the venue’s performance and educational spaces. The designer was instrumental in the recent specification and integration of Elation Paragon fixtures in the Centre Stage and KL Core IP, KL Par FC, and Fuze Wash 500 fixtures in the newly opened Mountain American Arts & Education Beehive, which marks an expansion of its education program.
Associated with the Hale Centre since 2019, Hermansen was thorough in his background work before deciding to outfit the Hale Centre stages with Elation products. Working closely with Elation and Barbizon Lighting Company, he ultimately specified the fixtures after extensive testing and consultation. Key support came from Barbizon’s Peter Maurelli and Michael DeGrazio, and Elation’s William Irwin, who assisted in final system tuning and integration.
The Centre Stage features twelve Paragon M and twelve Paragon S fixtures for the in-the-round performance space. The Paragon S, positioned at VOM header level, are used for aerial textures and color, while also serving as the primary side light workhorses. The Paragon M work from overhead center ring positions.
In “The Hunchback of Notre Dame”, which had its closing night at the Centre Stage on April 25, 2026, the Paragons were central to creating dramatic scenes of upheaval, including moments where it felt like the entire world was on fire. In the production’s “Hellfire” sequence, Hermansen and his team used the Paragon to construct a controlled perimeter of fire and light, blending flame with atmospheric lighting to create an almost physical sense of heat and tension.
“The goal wasn’t to make it look like a lighting trick or stage effect, because that would weaken the impact”, notes Hermansen. “Instead, everything was designed to feel real, an environment the audience couldn’t look away from. Fire worked alongside the glow of the Paragon units, so even when flames weren’t active, the space still felt hot and alive. Lighting from above into a fog-filled pit created an ominous void. At that point, it stopped reading as an effect and started to feel like hell itself.” Also, at the end of the play, when Quasimodo dumps burning iron onto the people below, the Paragons are used to create a glowing effect onto a fog curtain.
The Paragons are used to light the stage in tandem with projections, carefully matching the two for a nearly seamless result. In fact, Hermansen recalls walking into the space after the team had been working on it for a while and being unable to tell the difference between the projection and the Paragon effect.
The newly constructed Beehive Stage, a 300+ seat proscenium theatre with expansive LED architecture, opened in January 2026 with a youth production of “Chitty Chitty Bang Bang”. Built to house the Hale Centre’s education program, the Beehive Stage presents both mainstage and youth productions, allowing emerging theatre technicians to manage youth shows and giving them hands-on experience with AV gear.
The venue includes a full LED scenic environment: an LED proscenium arch, dual LED legs, and a 50 ft x 26 ft LED wall. Here, the designer specified 52 KL Core IP units fitted with third-party shutter barrels. The whole idea behind the abundance of LED walls on the Beehive Stage is to integrate scenery and video seamlessly, or intentionally, between the two. “The LED walls are very punchy and bright, but the KL Cores really hold their own against them, especially when I have them coming through as side light”, says Hermansen. “They also color-match well. I rely on them to do a lot of the heavy lifting.”
Used across front light, side light, and top texture positions, the KL Core system provides saturated color for productions like “Hallmarked”, the theatre’s original musical currently running in the space. To ensure consistency across fixtures, Hermansen also specified 24 KL Par FC fixtures for the Beehive Stage, leveraging the same RGBMA color engine as the KL Core units to maintain uniform color tones. In addition, four Elation Fuze Wash 500 moving heads, also with RGBMA color mixing and suggested to Hermansen by Associate Lighting Designer/Programmer Collin Schmierer, provide soft, painterly fill and blending light.
“Hallmarked” runs on the Beehive Stage until June 6, 2026, with the next production, “Our Town”, opening July 6.
(Photos: Nate Bertone/Nile Hawver/Leavitt Wells)
Halle 32 installiert neues Beschallungssystem von Coda Audio
Die Gummersbacher Halle 32 bietet seit 2013 ein vielfältiges kulturelles Programm, von Lesungen über Theateraufführungen und Orchesterkonzerte bis hin zu Heavy-Metal-Produktionen. Um dieser Bandbreite gerecht zu werden, investiert das Venue kürzlich in eine flexible, leistungsfähigere Audiolösung. Im Rahmen einer herstellerneutralen Ausschreibung fiel die Wahl auf ein maßgeschneidertes System von Coda Audio.
Im Mittelpunkt der Installation steht ein ViRay-Doppel-8-Zoll-3-Wege-Line-Array-System. Ergänzt wird das Setup durch SCP-Dual-18-Zoll-Subwoofer in Aufstellung mit kardioider Abstrahlkontrolle sowie verschiedenen Modellen der Hops-Serie für Nahfeld- und Delay-Anwendungen. Wegen der kompletten Steinbauweise der langen, aber nicht sehr breiten Location habe sich die Installation als herausfordernd erwiesen.
„Aufgrund der besonderen Raumgeometrie war früh klar, dass nicht jedes Beschallungskonzept gleichermaßen funktionieren kann“, erläutert Fachplaner Sascha Klein von Klein Klang, der im Vorfeld verschiedene Systemkategorien - von Punktquellen bis hin zu Line-Arrays - untersuchte, simulierte und bewertete. Neben der akustischen Performance seien auch Handling, Flexibilität und Budget berücksichtigt worden. Ergänzend zur Simulation fand ein Probehören statt, um die theoretischen Ergebnisse einem Praxistest zu unterziehen.
„In der Halle 32 mit begrenzter Flughöhe war es wichtig, ein System zu wählen, das ausreichend Headroom bietet und die Schallenergie kontrolliert über die Länge der Halle transportieren kann“, so Klein. Da die Halle mit variablen Bühnenpositionen und unterschiedlichen Veranstaltungsformaten arbeitet, habe das System so konzipiert werden müssen, dass sich Array-Positionen und Setups mit geringem Zeitaufwand an wechselnde Produktionsanforderungen anpassen lassen.
Insgesamt umfasst das gewählte Coda-Audio-Setup in der Halle 32 zwölf ViRay-80 und sechs ViRay-120 für die Hauptbeschallung (geflogenes L/R-System mit optimierter Winkelung für maximale Reichweite) sowie sechs SCP-Subwoofer, vier Hops7-Pro (2-Wege-Point-Source-Lautsprecher für die Nahfeldbeschallung), zwei Hops12i-Pro (3-Wege-Point Source-Lautsprecher für die Delaybeschallung) und diverse Linus-Controller-Endstufen.
Foto: die Band Grobschnitt beim Soundcheck in der Halle 32, Ende April 2026. (Fotocredit: Michael Danielak-Kölpin)
Licht-Upgrade mit ETC im Tarkington
Das Tarkington in Carmel, Indiana, ist Teil des Allied Solutions Center for the Performing Arts und bietet ein vielseitiges Programm, von Broadway-Produktionen über Tanz bis hin zu Live-Konzerten. Um zukunftsfähig zu bleiben, investierten die Verantwortlichen in ein modernes Beleuchtungssystem von ETC.
Im Zentrum der Modernisierung stehen die Scheinwerfer Halcyon Gold, ColorSource Spot V und Source Four LED Series 3. Das System wurde durch eine Eos-Apex-10-Konsole ergänzt und gemeinsam mit Indianapolis Stage Sales and Rentals realisiert. Die bisherige Anlage war laut Betreiber zunehmend wartungsintensiv geworden und habe durch unkonventionelle Patching-Strukturen die Arbeit von Gast-Lichtdesignern erschwert. Zudem basierte ein Großteil der Beleuchtung noch auf ineffizienter Glühlampentechnologie.
Ursprünglich war eine klassische Kombination aus Profil-, Wash- und Effektscheinwerfern geplant. Im Projektverlauf zeigte sich jedoch, dass sich viele Anforderungen mit einem einzigen, leistungsstarken Scheinwerfertyp abdecken lassen. „Dieser Ansatz mit einem einheitlichen Scheinwerfer hat uns sofort überzeugt“, sagt Josh Hasty, Technischer Leiter des Tarkington. „Die Geräte lassen sich flexibel einsetzen - ob als Wash, Profil oder für Seitenlicht.“
Nach Tests und Vergleichen fiel die Wahl auf den Halcyon Gold von ETC. Insgesamt wurden 88 Geräte installiert, die eine Lichtleistung von bis zu 31.000 Lumen bieten. Auch weitere Spielstätten des Allied Solutions Center wurden modernisiert, darunter das Payne & Mencias Palladium. Dort ersetzten mehrere Eos-Apex-10-Konsolen die bisherigen Eos-Classic-Pulte. Die vereinheitlichte Technik ermöglicht es nun, Equipment bei Bedarf flexibel zwischen den Venues auszutauschen.
(Fotos: ETC/Joshua Hasty Photography)
Internationaal Theatre Amsterdam modernisiert Lichtausstattung mit ETC
Das Internationaal Theatre Amsterdam (ITA), ein Zusammenschluss der Stadsschouwburg und der Toneelgroep Amsterdam, gehört zu den richtungsweisenden Kulturbetrieben in den Niederlanden. Um die größtenteils zeitgenössischen Aufführungen bestmöglich in Szene setzen zu können, modernisierte das ITA seine Beleuchtungs-Infrastruktur mit Systemen von ETC. Die Lieferung und Betreuung erfolgte durch Ampco Flashlight.
Die Investition ist Teil der räumlichen und produktionstechnischen Optimierung des Hauses. Im Vorfeld der Modernisierung verglich und testete das ITA verschiedene Lichtsteuerungssysteme und bewertete diese in Bezug auf Leistung, Flexibilität und Zuverlässigkeit. Unter der Leitung von Lichtkoordinator Wannes Klop fiel die Wahl letztlich auf ETC.
Zu den neu installierten Produkten gehören unter anderem das Lichtsteuerungssystem Eos Apex 5, zwei Apex-FP-Konsolen, zwei Ion-XE-20-Steuerungen, ein Programming Wing, ETC Pucks, Fader Wings sowie mehrere Source-Four-LED-Series-2-Scheinwerfer. Ergänzt wird das System durch eine vollständig integrierte Infrastruktur mit ETC-Response-Gateways und einem Sensor3-ThruPower-Leistungssteuerungs-System.
Damit ist vollständige Kontrolle über Farbe, Intensität und Cues gewährleistet, sowohl in der Spielstätte als auch auf internationalen Tourneen. Derzeit befindet sich das ITA mit dem Stück „Giovanni’s Room“ auf Europatournee, die Show wechselt im 2-Wochen-Rhythmus zwischen Spielstätten unterschiedlicher Größe.
(Fotos: ETC)
Kinzo, Light Forms und VisionTwo gestalten Licht für neues Software-Headquarter in der Macherei München
Das Architekturbüro Kinzo wurde von einem global agierenden Softwareunternehmen beauftragt, eine neue Niederlassung in der Macherei München architektonisch zu gestalten. Neben mehreren Ausstattungselementen und auf den Kunden zugeschnittenen Designideen lag der Fokus auf einer individuellen Beleuchtungslösung, die Sonderlösungen in puncto Leuchten erforderte.
Der Leuchtenhersteller Light Forms realisierte diese Sonderlösungen in Kooperation mit VisionTwo, dem deutschen Partner von Light Forms. Geleitet von Kinzos Vision eines individuell gestalteten Arbeitsbereichs, wurde die Beleuchtung als zentrales architektonisches Element für die insgesamt 5.500 Quadratmeter große Bürofläche konzipiert.
Frei an der Decke positionierte und sich kreuzende lineare Lichtprofile wurden mit Lightplane-2.5-Leuchten umgesetzt. Zudem kommen geschwungene Serpentine-Leuchten, die sich ebenfalls individuell den Raummaßen anpassen lassen, zum Einsatz. In den zentralen Meeting-Spaces wurde mit MoonRing-Leuchten ein auffälliger Blickfang geschaffen, ergänzt durch eine maßgeschneiderte Deckenrosette, die ebenfalls nach entsprechender Spezifikation gefertigt wurde.
Für eine fokussierte und komfortable Arbeitsbeleuchtung integrierte Kinzo in Zusammenarbeit mit Light Forms die Nova-Medium-Downlights an den Arbeitsplätzen und in den Besprechungsräumen. Den gesamten Innenausbau sowie die Installation der Leuchten in der Macherei München wurde von der Firma Baierl & Demmelhuber ausgeführt.
(Foto: Sorin Morar)
Powersoft Mezzo amplifiers create refined audio ambience in 14th century renaissance hotel
In the heart of Lyon’s historic old town, Cour des Loges, a five-star Radisson Collection Hotel, has recently reopened following a two-year renovation, which includes a fully integrated audio system.
Located within a Renaissance complex dating back to the 14th century, the landmark hotel features 61 rooms and suites, two restaurants (including Les Loges, which recovered its Michelin star following the renovation) as well as a collection of spaces designed for a special hotel experience. To unify every area with a consistent yet adaptable sound atmosphere, integrator Plug’In Design delivered a complete audio solution centred on six Powersoft Mezzo 604 AD compact amplifiers.
Headquartered south of Lyon and with offices across France (in Montpellier, Nantes and Paris), Plug’In Design is an AV integrator specialising in professional environments, from workspaces to restaurants and hotels. For Cour des Loges, the objective was to design a fully customised sonic environment across all areas of the hotel, including inner courtyards, lounges, both restaurants, reception and retail spaces.
Preserving the architectural integrity of the historic structure was paramount. The property’s original stone walls and Renaissance features limited cable routing options and restricted conventional installation approaches. “Working with a heritage building presents a true challenge”, says Joshua Bednarski, CEO of Plug’In Design. “It demands expertise and specific solutions to turn those challenges into a successful project.”
“The historic architecture made cable routing through the walls particularly complex, requiring us to adapt to existing constraints while delivering a solution that remained simple, intuitive and reliable for daily operation by hotel staff”, he continues. “The result is a discreet yet powerful audio infrastructure that integrates seamlessly into the hotel’s aesthetic.”
At the core of the installation are six Powersoft Mezzo 604 AD amplifiers. Each unit is a 600 W, four-channel compact amplifier with integrated DSP and Dante networking. The AD version extends networking capabilities with Dante and AES67, enabling remote control and monitoring while ensuring flexible signal routing throughout the property. The compact form factor, combined with the included mounting kit, allowed the amplifiers to be installed discreetly within constrained technical spaces.
According to Bednarski, the Powersoft amplifiers provide “flexible multi-zone control and precise management of different sound atmospheres throughout the property”. The amplifier system powers Biamp ENT203-BK, ENT220-BK and ENT206-BK loudspeakers, supporting audio reproduction tailored to each area of the hotel.
Centralised control is delivered via intuitive touchscreen tablets, allowing staff to manage audio levels and zoning without requiring technical expertise. The new sound system allows distinct ambience profiles to be created for different zones, ensuring the atmosphere aligns with the hotel’s identity.
(Photos: Powersoft)
MC2 amplifiers power DAS Audio system at Czech ice hockey arena
With a capacity of almost 7000, the CPP Arena in the Czech city of Hradec Králové is home to ice-hockey team Mountfield HK, who have used the facility since 2013. Inaugurated in 1957, the Arena has hosted high-level sports events throughout its history, as well as major concerts by national artists, trade fairs, and exhibitions, making it an important regional hub.
The arena authorities recently took the decision to upgrade its audio system. Its existing system was considered not to meet the standards expected of a modern multi-use arena, so audiovisual specialists Dancefloor AVL Solutions was engaged to design and install a replacement. “The venue is a complex reverberant space with sound reflecting in many directions in what can be a very intense atmosphere”, says Libor Klemenc, CEO of Dancefloor AVL Solutions. “We needed a system capable of providing clarity and dynamics even in the noisiest environment.”
The Arena presented acoustic challenges typical of large capacity sports venues, not least the ice rink itself which acts as a large reflective surface. Steep stands and high levels of crowd noise during matches compounded the issues. The Arena also hosts a number of non-sports events which also require even coverage and consistent SPL across all sectors, avoiding dead zones. It was important that the solution did not interfere with sightlines or the daily operation of what is a very busy facility.
Dancefloor AVL Solutions installed 24 DAS Audio HQ-212.95 long-throw two-way units powered by MC2 Audio Delta DSP100 amplifiers. The system can be operated using an XTA/MC2 DPanel-8 remote programmable wall panel, by choosing presets for different modes such as hockey game, training, cultural event, etc.
The loudspeakers were configured in five clusters of two units on each side of the stands with additional units at the ends and in a central position above the rink. The HQ-212.95 units were particularly suited to this application due to their coaxial configuration and cabinet construction.
(Photos: DAS Audio)
Theaterspielgemeinschaft Lorsch erneuert Tontechnik mit Audio-Technica und Allen & Heath
Die Theaterspielgemeinschaft Lorsch hat ihre Tontechnik mit Produkten von Audio-Technica und Allen & Heath modernisiert. Für die Funkstrecken und Mikrofonierung der Schauspieler kommt die 3000er-Serie von Audio-Technica zum Einsatz, für die Mischung nutzt die Theaterspielgemeinschaft das SQ6-Digitalmischpult von Allen & Heath.
Nachdem die Tontechnik der Theaterspielgemeinschaft nicht mehr den Ansprüchen moderner Produktionen genügte, hatte sich der Verein für dessen Erneuerung entschieden. Unterstützung bei der Modernisierung erhielt man von der MR Products Ton- & Lichttechnik GmbH. Nils Engel von MR Products war mit der Installation der neuen Tontechnik betraut.
An die drahtlose Sprachübertragung der Schauspieler wurden vor allem zwei Anforderungen gestellt: Sprachverständlichkeit und Reichweite. Die Empfänger sollten am FOH-Platz installiert werden, damit die Techniker das gesamte System im Blick haben und gegebenenfalls schnell reagieren können. Die 3000er-Serie von Audio-Technica erfüllt diese Anforderungen.
Für die Bühnenmikrofonierung kommen zehn ATW-DT3101-Drahtlos-Sender sowie zwei zusätzliche ATW-DT3102-Handsender mit den dynamischen Wechselköpfen ATW-C4100 zum Einsatz. Für die Schauspieler wurden außerdem zehn BP899cH-Kondensator-Lavaliermikrofone angeschafft, von denen sechs als beige TH-Variante ausgelegt sind.
„Jeder Sender hat eine Digitalanzeige, in der die korrespondierenden Namen eingegeben sind“, erklärt Engel. Dadurch solle vermieden werden, dass die Schauspieler versehentlich den falschen Sender benutzen. Zum Empfangen der Funkstrecken installierte der Technikexperte fünf Dante-fähige ATW-DR3120DAN-Zweikanal-Empfänger von Audio-Technica.
Was die Signalverwaltung betrifft, entschied sich die Theaterspielgemeinschaft für das SQ6-Digitalmischpult von Allen & Heath. Da es keine festen Techniker gibt, sei für die Entscheidung vor allem eine intuitive Handhabung ausschlaggebend gewesen. Zudem sollten genügend Fader und Bearbeitungsmöglichkeiten vorhanden sein, damit der FOH-Mix möglichst schnell und einfach erstellt werden kann.
Aufgrund der nahezu latenzfreien internen Klangprozessoren des SQ6 haben die Techniker nun die Möglichkeit, Dynamik- und Frequenzbearbeitungen vorzunehmen - Funktionen, die das vorherige System kaum bot. „Das alte Analogpult war sehr rudimentär und hatte lediglich einen Equalizer pro Kanal“, so Engel. „Es gab keine Kompressoren, Gates, Effekte oder sonstiges.“ Damit auch Produkt- und Ortsfremde sofort mit dem Digitalmischpult arbeiten können, richtete Engel Presets mit entsprechenden Routings und Freigaben ein.
Da die Theaterspielgemeinschaft des Öfteren Open-Air-Aufführungen veranstaltet, sei auch die Mobilität der Tontechnik ein wichtiges Kriterium gewesen. Daher wurde das SQ6 mit einer SQ-Dante-64x64-Karte bestückt. „Dank der Dante-Kompatibilität müssen keine Multicores mehr gezogen werden“, sagt Engel. Darüber hinaus biete das SQ6 genügend Reserven, um in Zukunft weitere Funkstrecken einbinden zu können: „Wenn die aktuellen zehn Funkstrecken nicht mehr ausreichen, können sie jederzeit durch weitere Sender und Empfänger ergänzt werden.“
(Foto: MR Products Ton- & Lichttechnik GmbH)
Smart #5 wird erstes Fahrzeug mit Dolby-Atmos-fähigem Sennheiser-Soundsystem in Europa
Sennheiser und Smart Europe kündigen den Rollout eines Over-the-Air-Updates (OTA) für den Smart #5 an. Dieses ermöglicht die Wiedergabe von immersivem Dolby-Atmos-Audio über Amazon Music und das Sennheiser Signature Sound System. Der Smart #5 ist damit das erste Fahrzeug in Europa, das über ein Sennheiser-Soundsystem mit Dolby Atmos verfügt.
Durch das Update können Besitzer eines Smart #5 Premium oder eines Smart #5 Brabus die Musik ihrer Lieblingskünstler direkt über die in das Infotainmentsystem integrierte Amazon Music App in Dolby-Atmos-Qualität genießen, ohne dass sie ihr Smartphone verbinden müssen. Durch die Auswahl von Dolby-Atmos-Inhalten innerhalb der Amazon Music App können die Fahrer und Passagiere des Smart #5 in ein multidimensionales Hörerlebnis von Sennheiser mit zwanzig Lautsprechern eintauchen, das sie in den Mittelpunkt der Musik rückt.
Für die Entwicklung nutzten die Tuning-Ingenieure von Sennheiser ihr immersives Tonstudio in Zürich als Referenzumgebung, um sicherzustellen, dass das Dolby-Atmos-System im Fahrzeug die Musik genau so wiedergibt, wie von den Künstlern beabsichtigt. Mittels dieser Referenzerfahrung übertrug das Sennheiser-Team immersiven Klang in den Innenraum des Smart #5.
Das Sennheiser Signature Sound System, das in den Premium- und Brabus-Editionen des Smart #5 enthalten ist, war von Anfang an darauf ausgelegt, zukunftsfähige Erlebnisse zu ermöglichen. Mittels flexibler Architektur kann es um kostenlose OTA-Updates erweitert werden. So soll sichergestellt werden, dass sich das System weiterentwickelt und auch lange nach dem Kauf innovative Audio-Funktionen bereitstellt. In Kombination mit Dolby Atmos eröffnet das System ein neues Maß an räumlicher Präzision für unterwegs.
Das kostenlose OTA-Update steht allen Besitzern eines Smart #5 in Europa zur Verfügung. Das Update wird schrittweise in allen europäischen Märkten ausgerollt.
(Fotos: Sennheiser)
Scala Leverkusen istalliert Vio-Systeme von dBTechnologies
Mit der Neuinstallation von dBTechnologies’ Vio-Beschallungssystemen nutzt die Eventlocation Scala Leverkusen eine skalierbare Audiolösung für Konzert-, Kultur, Comedy- und Corporate-Formate. Planung und Umsetzung erfolgten gemeinsam mit Mecky Events unter der Projektverantwortung von Fabian Stiens.
Die Scala Leverkusen bietet eine große Bandbreite an Veranstaltungen und ist einer der Austragungsorte der Leverkusener Jazztage. Mittels der fest installierten PA-Anlage sollen sowohl dynamische Live-Musik als auch Spoken-Word-Produktionen mit konstant reproduzierbarer Qualität abgebildet werden.
Die Installation der Vio-Systeme umfasst 2 x 5 Vio-L208-Line-Array-Module (Main PA, rechts und links in der Truss), 2 x 2 X205-Frontfills (horizontal angeordnet in der Truss), ein X12-Centerfill (zentral über der Bühne) sowie vier S118R-Subwoofer (unter der Bühne platziert).
Besonderen Wert legten die Teams von Mecky Events und dBTechnologies nach eigenen Angaben auf eine saubere Übergabe zwischen Main PA, Frontfills und Center, um auch in den vorderen Reihen eine konsistente Tonqualität zu gewährleisten. „Die Scala verlangt ein System, das flexibel einsetzbar ist und gleichzeitig professionellen Touring-Ansprüchen genügt“, so Fabian Stiens. „Das Vio-Setup bietet diese Kombination.“
(Fotos: dBTechnologies/Sascha Gansen)
Schauspielhaus Köln mit Hintergrundbeschallungssystem von Optimal Audio ausgestattet
Im Rahmen von Sanierungsarbeiten hat das Schauspielhaus Köln beschlossen, eine Hintergrundbeschallung für das Foyer zu implementieren. Die Wahl fiel auf ein individuell konzipiertes System von Optimal Audio. Unterstützung bei der Auswahl und Beschaffung der Komponenten erhielt das Schauspielhaus vom deutschen Optimal-Audio-Vertrieb Audio-Technica und dem Systemhaus AbisZ Medien.
Die Planung und Installation des Hintergrundbeschallungssystems übernahm das Schauspielhaus selbst. Für die Auswahl der passenden Komponenten wurde Manuel Poell, Abteilungsleiter der Tontechnik, von Audio-Technica unterstützt. Ein wichtiger Faktor sei die Handhabung des Systems, wie Poell erklärt: „Die Foyerbeschallung wird nicht von unserer Fachabteilung gesteuert, sondern vom Vorderhauspersonal. Daher wollten wir ein System, das auch Laien bedienen können.“
Zum Einsatz kommen nun sechs Up-6W-2-Wege-Deckenlautsprecher, ein SmartAmp-20-4-Kanal-Verstärker mit DSP sowie der Zone-4-Audio-Controller inklusive ZonePad-4-Wall-Controller, alle von Optimal Audio. Mit der Beschaffung der Komponenten wurde AbisZ Medien beauftragt. Die sechs Up-6W-Lautsprecher sind paarweise mit dem SmartAmp 20 verbunden und somit in drei Zonen gegliedert. Bei Bedarf können die Pegel individuell gesteuert werden, theoretisch wären unter anderem auch Laufzeitanpassungen und Klangabstimmungen anhand des integrierten DSP möglich.
„Für die Hintergrundbeschallung gibt es keinen festen Bezugspunkt, weshalb eine zeitliche Anpassung unnötig ist“, sagt Poell. „Wir haben die Lautsprecher aber anhand des Equalizers entzerrt und sicherheitshalber einen Limiter aktiviert“. Manfred Santen, Key Account Manager von AbisZ Medien, ergänzt: „Der Zone 4 hat ein DSP, das dem System auch für die Zukunft genügend Reserven bietet. Zudem kann der Audio-Controller über eine Web-App ferngesteuert werden, sodass der Zugang zum Gerät selbst nicht kritisch ist.“
Als Zuspieler dient der Zone-4-Audio-Controller. Mittels jeweils zwei Eingängen für Mikrofone und HDMI sowie vier für Stereo-Line-Signale kann er verschiedene Audioquellen einspielen. Gesteuert wird das gesamte System über den ZonePad-4-Wall-Controller, dessen Handhabung auch für fachfremde Personen geeignet sei: „Das Vorderhauspersonal muss im Prinzip nur auf ‘Play’ drücken, und das System spielt“, so Poell.
Die Up 6W sind mit Stahlseilen von der Decke abgehängt und in einem schwarzen Gehäuse eingebettet. In etwa drei Metern Höhe fügen sie sich in das Gesamtbild des Foyers ein. „Aufgrund der hohen Decke von acht bis neun Metern war die Installation der Lautsprecher für unsere Haustechnik eine Herausforderung“, berichtet Poell. „Es hat aber alles super funktioniert. Die Zusammenarbeit mit AbisZ Medien und Audio-Technica lief einwandfrei.“
(Foto: Manuel Poell)
Bord Gáis Energy Theatre installiert Soundsystem von d&b Audiotechnik
Das Bord Gáis Energy Theatre (BGET) in Dublins Docklands wurde 2010 eröffnet und ist mit 2.111 Plätzen das größte Festbestuhlungs-Theater Irlands. Fünfzen Jahre lang war hier ein Soundsystem im Einsatz, das auf der Q-Serie von d&b Audiotechnik basierte. 2025 war es an der Zeit für eine neue Lösung, und erneut stand eine langfristige Nutzung im Vordergrund.
„Dank unseres etablierten Programms wussten wir genau, welche Art von Lösung wir benötigen“, sagt Liam Fitzgerald, Technical Manager im BGET. „Wir haben schon sehr viele verschiedene Touring-PAs im Einsatz gehabt und wussten daher, welche Setups gut funktionieren und welche nicht.“ In Zusammenarbeit mit Sounddesigner Kevin McGing, einem Stammgast im BGET und langjährigen Nutzer von d&b-Systemen, erarbeitete das Theater ein Anforderungsprofil.
Benötigt wurde ein System, das in der Lage war, die zahlreichen One-Night-Events abzudecken, die die Lücken zwischen dem regulären Programm aus Musicals, Opern und Ballettaufführungen füllen. Da Tournee-Produktionen in der Regel auf die Delays und Fills des Hauses angewiesen sind - unabhängig davon, ob sie ihre eigene Haupt-PA mitbringen oder nicht - musste diesen Lautsprechern große Aufmerksamkeit geschenkt werden. „Diese Elemente waren nicht nur eine nachträgliche Überlegung, sondern standen für uns im Mittelpunkt“, betont Fitzgerald.
Angesichts von über 360 Vorstellungen pro Jahr musste die PA dauerhaft installiert sein. Beim Betrieb sei zudem ein zuverlässiges kontrolliertes Abstrahlverhalten von entscheidender Bedeutung gewesen. Fitzgerald entschied sich für einige der neuesten Innovationen des d&b-Produktportfolios: CCL wird als Main-PA links und rechts eingesetzt, während die neue U-Serie für Delays und Fills installiert wurde.
CCL bietet eine gleichmäßige Abstrahlung: 120° bei CCL12 und 80° bei CCL8. Die akustische Modellierung erfolgte mit ArrayCalc. Da sich das System permanent hinter akustisch transparenten Stoffbahnen im Proszenium befindet, beriet d&b auch hinsichtlich der genauen Öffnungen, die für die kardioide Abstrahlkontrolle erforderlich waren, sodass die Wandöffnungen und Stoffabdeckungen nach Bedarf angepasst werden konnten.
Der Rest des Systems wurde ähnlich detailliert geplant. Da der Schwerpunkt auf Delays und Fills lag, wurde im Anforderungsprofil festgelegt, dass diese aus der gleichen Lautsprecherserie stammen sollten. Obwohl die U-Serie zu diesem Zeitpunkt noch vor ihrer Markteinführung stand, war d&b in der Lage, alle erforderlichen Messungen und Vorabinformationen zu liefern, sodass das Design mit der U-Serie - vorwiegend U3-Lautsprecher, insgesamt 53, plus zwei U5 - realisiert werden konnte.
Mit den kompakten d&b-Installationsverstärkern 40D und 5D lassen sich alle Delays und Fills mit einem Verstärkerkanal pro Lautsprecher betreiben, was Tourneen Flexibilität bei der Konfiguration bietet. Eine Reihe von Standard-Presets sind per Knopfdruck über die R1-Fernsteuersoftware von d&b verfügbar. Die Installation wurde vom BGET-Team durchgeführt, mit zusätzlicher technischer Unterstützung vor Ort durch McGing und das d&b-EAS-Team (Education & Application Support).
(Foto: Bord Gáis Energy Theatre)
K-array Dragon KXT18P powers Tenax main room upgrade
Florence, Italy’s Tenax club continues to invest in its audio systems to maintain its reputation as one of Europe’s most popular nightlife institutions. In 2025, Tenax once again chose K-array, its long-time audio partner, for a system upgrade in its main room particularly focused on K-array’s new Dragon KXT18P models.
After several years of using K-array’s Firenze and Mugello line array series, Tenax has transitioned to the latest generation of point source Dragon, the KXT18P, in its main room. The new system consists of twelve KXT18Ps, deployed in clusters of three per corner, creating four horizontally arrayed groups to ensure full coverage across the dance room.
Supporting the Dragons are sixteen Thunder KS4P subwoofers, twelve of which are placed along the DJ booth’s side, with the others at the opposite side of the dancefloor. Together, this combination provides balanced audio to support the rotation of visiting and resident DJs.
The new system is powered by five Kommander KA208 amplifiers, each providing eight channels at 2,500 watts (at 4 ohms). With the KXT18P requiring two channels each and the KS4P one channel per unit, the setup uses a total of forty channels to drive the system. Attention has also been given to stage monitoring, with one Dragon KXT18P paired with one Thunder KS3P per side, refining the DJ booth setup.
Over in room two, also known as “The Tube”, Tenax maintains its existing K-array system, with two KS4P subs, five Dragon KX12F loudspeakers (two of which are positioned inside the DJ booth), and two half-metre Python KP52 units as delays.
University of Aberdeen transforms AV management and monitoring with first European deployment of SaaS cloud-based platform from Innomate
The University of Aberdeen is one of Scotland’s four ancient universities, with its origins dating back to 1495. Home to twelve different schools which deliver teaching and research on a broad range of subjects, the University has around 15,000 students from both the UK and overseas.
As with every modern educational institution, AV technology plays a fundamental role in teaching and learning at Aberdeen. Over the last five years there has been notable growth in AV provision at the University, including significant investment in the Science Teaching Hub, as well as (in response to the Covid pandemic) the development of hybrid learning spaces to support lecture capture. In total, the University has around 350 spaces hosting AV control systems installed for many hundreds of unique types of hardware, and more than 2,500 network-connected devices requiring management and maintenance.
The University’s Directorate of Digital and Information Services recently took the decision to transform the way its AV systems are managed and monitored by deploying vendor-agnostic software-as-a-service (SaaS), to enable migration away from its existing vendor-locked solutions. Led by Head of Media Services, Mark Dunlop, the team chose an Innomesh solution from Innomate. Innomesh is a licensed, subscription, cloud-based Audiovisual and Unified Communications management platform that optimises interoperability as it monitors, controls, secures, automates, and elevates a AV/UC environment, regardless of device manufacturer, scale, or services.
In his three years at Aberdeen, Dunlop had taken an overview of the University’s provision and concluded that it was in need of significant overhaul. “We had something of a mixed bag of AV control and AV monitoring, none of which was particularly well-configured or reliable”, he says. “As part of my role I’d previously had the opportunity to visit AETM in Australia where I sat in on some presentations about the way in which many institutions there had moved to cloud-based AV control management. With that on my radar, and the fact that our existing platforms were giving us issues with cost and maintainability, it made sense to move to a more modern platform, where all the data and supportability was in one place - an ‘evergreen’ solution for which new features are regularly released.”
The Innomesh solution, available through Innomate’s exclusive UK and Ireland partner Polar, rationalises a wide range of issues for the University, with future-proofing and significant improvements in efficiency, forecast to lead to extensive and immediate cost savings. Before its installation, the University’s relatively unsatisfactory position relied on legacy platforms, multiple independent subscriptions, and expensive custom programming, which offered little insight into how its technology was being used. This was often compounded by firmware and security updates which caused unexpected issues and unstable rooms. In these cases, the resulting need for complex and time-consuming de-bugging regularly escalated to requiring manufacturer support, disrupting teaching, meetings, and other activities, as well as adding to costs.
By contrast, the rapidly deployed single platform SaaS Innomesh solution - which sees new features released in quarterly updates - offers a completely new way of operating. Improved monitoring and control of equipment means that staff can be deployed more efficiently; its data gathering and reporting provide highly detailed information on the use of each space and the components in it, thereby providing hard evidence for a data-driven approach to right-sizing and managing cost-per-room in respect of technology replacement, ongoing maintenance and utilities; improved power management delivers power saving, enhancing cost-effectiveness and sustainability, and the platform offers enhanced support by detecting issues and automatically notifying the service team, with any escalation prioritised and shown on the system’s dashboard.
“Whilst moving to Innomesh wasn’t a small investment, it will be largely offset by savings we’ll be able to make over time”, says Dunlop. “In addition to the hugely valuable data we can gather, which will help with space management, there are many other cost-saving aspects. For example, we won’t be paying programming costs to integrators on a regular basis, per-room commissioning costs will come down, and we won’t need to buy physical hardware based in a room to act as an AV controller.”
“Over time we’ll also be able to de-couple ourselves from things like branded touch panels and instead use secure and serviceable options for a fraction of the price”, he adds. “Things like greater flexibility for academics through more widespread use of ‘own’ devices are all made possible by a future based on our AV control and management being cloud-based.”
(Photos: Innomate)
CBRE Singapore delivers workplace wellbeing with Moodsonic soundscaping and Bluesound Professional
At Coldwell Banker Richard Ellis’ (CBRE) recently relocated Singapore city-center office, Simon Long, the company’s Senior Director of Client Technology, envisioned a workplace where wellbeing and focus take precedence, shaping the atmosphere through the integration of Moodsonic’s soundscaping technology.
Long aspired to implement a fully networked audio system. His vision was achieved with the help of Valeo Technology, a specialist provider of wellbeing-led technologies. They led the design and delivery of the Moodsonic solution, working with local installation partner Esco and Hewshott consultants.
This collaboration led to in-depth discussions with Bluesound Professional, who together designed a tailored audio system using 120 BCS300 PoE speakers, mostly used in pendant configuration with the addition of the pendant kit.
The system now delivers coverage across the office, supporting fourteen distinct zones - including front-of-house and back-of-house areas, focus rooms, wellness spaces, quiet zones, bathrooms, and café areas - creating a cohesive sound environment throughout the workplace.
The space is intentionally immersive, aiming to guide movement and behaviour through sound as much as through architecture and visual design. The office has been split into distinct sections to support different ways of working, communicating, and interacting.
“The sound solution delivered exactly what the workplace required: flexibility, scalability, and a future-proofed approach to audio”, states Marcus Rose, Owner and Director at Valeo Technology, noting that should the office layout evolve over time, there’s no need for invasive changes such as accessing ceilings or rerouting cabling; zones can be reconfigured by decoupling and regrouping speakers through BluOS software. The decentralised nature of the system also ensures ease of control, allowing each speaker to be individually configured to suit the needs of different spaces or occupants.
While Moodsonic soundscaping operates as the default setting throughout the office, the system also allows for flexibility in use. For example, if teams want to change the music in certain areas on a Friday afternoon, they can temporarily switch to their preferred streaming service via the BluOS app and revert to Moodsonic when required.
The project extends well beyond audio alone. By analysing multiple data sets including occupancy sensors, air quality, lighting levels, and Moodsonic acoustic data, the team can gain a real-time understanding of how the office is performing at any given moment.
The outcome at CBRE is an award-winning workplace, recognised as “Best Corporate Office” at the InAvate APAC Awards. “It’s a real-world blueprint for how scalable, smart audio and intelligent soundscaping can elevate these types of buildings”, says Rose.
Showtec und Infinity unterstützten „Pixl Club“ im Klokgebouw Eindhoven
Im April 2025 verwandelte die „Pixl Club“-Pop-up-Reihe Orte in den Niederlanden in Nachterlebnisse, darunter eine Ausgabe im Klokgebouw in Eindhoven. Für diese Veranstaltung entwickelte Cowanzo Licht en Geluid - unter der Leitung von Martijn Dukers - zusammen mit Thom von New Generation Light and Sound ein dynamisches Lichtdesign, das von einer großen Auswahl an Infinity- und Showtec-Produkten unterstützt wurde.
Das Team nutzte Infinitys iB-2R- und iB-715-Moving-Heads, um Aerial Looks mit präziser Beamkontrolle zu erzeugen, die das elektroniklastige Line-up unterstützten. Die Bühne und die Tanzfläche wurden mit satten Farben und visuellen Effekten durch eine breite Palette von Showtec-Scheinwerfern gefüllt, darunter Spectral M800 Q4 für robusten Wash-Output, Helix S5000 Q4 für kräftige Farben und mehr als vierzig Showtec Pixel Bar 12 MKII für pixelgesteuerte Effekte.
Eine Mischung aus Showtec-Stage-Blinder-Flex-Blaze-, IP-Pixelstrip-40- und Octostrip-MKII-Elementen sorgte für Tiefe, Bewegung und Strobe-Effekte, während Showtec ACT Profile 50 WW eine warme Profilbeleuchtung lieferten, um wichtige Elemente zu umrahmen.
(Fotos: Tom Doms)
GMT Solutions chooses Martin Audio for Sayap Suci coffee venue
Sayap Suci, a new lifestyle and entertainment destination by Holywings Group, has officially opened in Kelapa Gading, Jakarta, offering visitors a blend of coffee culture, wellness, dining, and entertainment, brought to life by a professional audio system powered by Martin Audio.
The complete sound system was designed and integrated by GMT Solutions (PT Global Multipro Technology), with Goshen Indonesia serving as the authorised Martin Audio distributor. Positioned as Indonesia’s first coffee venue with integrated entertainment and lifestyle facilities, Sayap Suci spans over 3,000 square metres and features a 1.2 km jogging track, a scenic lake, and shower facilities. The venue is designed to transition smoothly from daytime productivity and wellness activities into an evening entertainment destination.
One of the key challenges for the project team was achieving consistent sound quality and coverage across multiple zones. “Ensuring clarity, consistency, and control across both indoor and outdoor areas was critical”, says Satrio Prisetya, Marketing & Technical Director of PT Global Multipro Technology. “Martin Audio gave us the flexibility, coverage control, and sonic character needed to support that transition.”
For the indoor areas, a total of thirty Martin Audio Adorn A55 loudspeakers were installed. For the outdoor zones, the system is reinforced with two Martin Audio X15 loudspeakers paired with a pair of X118 subwoofers.
(Photos: Martin Audio)
Philips ePaper and EcoDesign digital signage network installed at Institut Pasteur
PPDS, integration specialist Exaprobe and digital signage software partner Telelogos have combined their expertise to deliver low energy visual performance and remote management capabilities to Institut Pasteur’s staff, with a fleet of twenty Philips Professional Displays.
Tableaux ePaper and 3000 Series EcoDesign digital signage displays have been selected for Institut Pasteur’s 538,000 sq ft biomedical research campus in Paris, France. Founded by Louis Pasteur in 1887, the Institut Pasteur is an internationally acclaimed not-for-profit research and education institute committed to the fight against infectious diseases in France and around the world. A recipient of ten Nobel Prizes and employing over 3,000 staff, the Institut’s five hectare campus features 39 separate buildings, including a conference centre, and a total of 48,000 sq m of laboratory space.
With such a vast campus and visual technology playing an increasingly important role in its day-to-day activities and communications, Institut Pasteur’s AV/IT management team sought to modernise its ageing display infrastructure. Concluding an extensive site review, the project would include a fleet of twenty dynamic displays, strategically placed to support a variety of needs, settings, and light environments, including reception halls, meeting rooms, laboratories, and more.
The project presented a number of challenges. As a site of historical significance - containing several listed buildings - retaining the aesthetics during any modernisation, while ensuring minimal disruptions to staff, was imperative. Furthermore, displays would need to meet the Institut’s standards for electrical safety and durability, while providing greater energy efficiency to reduce its carbon footprint.
Working with AV/IT integration specialists Exaprobe, PPDS’ “zero power” 32’’ Philips Tableaux ePaper and 55’’ Philips Signage 3000 Series EcoDesign displays were identified as the solutions of choice. The introduction of Philips Tableaux ePaper displays was selected primarily to provide wayfinding information, such as mapping, campus information, and other instructions, to help visitors navigate around the site.
Fully portable and able to be used entirely unplugged - and therefore suitable for use in the Institut’s older buildings and in spaces with limited power sources - each Philips Tableaux is capable of displaying full colour, static imagery for days, weeks, months, or even years without using a single kilowatt of energy. The only time Philips Tableaux displays require power is during content updates, with one image change using 0.0025 kWh.
For the institute’s more advanced and detailed visual needs on a grander scale, including for presentations, corporate videos, and other internal communications, the future-proof Philips Signage 3000 Series EcoDesign was the standout choice, ticking all boxes for both performance and sustainability. In addition to delivering 4K Ultra HD visual quality, the 3000 Series EcoDesign enables the screens to use less than fifty percent of the power compared to other digital signage models in the market.
Both the Philips Tableaux and Philips Signage 3000 Series EcoDesign are also members of PPDS’ portfolio of integrated Android SoC displays. Enabling centralised management of the new fleet, PPDS partner Telelogos’ Media4Display solution was selected and integrated, providing round-the-clock monitoring and management. This also allows the Institut’s technical team to schedule content in real time without having to travel or manually update.
(Photos: PPDS)
