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Powersoft Mezzo amplifiers create refined audio ambience in 14th century renaissance hotel
25/03/2026
CBRE Singapore delivers workplace wellbeing with Moodsonic soundscaping and Bluesound Professional
26/02/2026
Romanian National Opera invests in Robe
11/02/2026
DPA’s new wireless system used for Soweto Kinch/London Symphony Orchestra at the Barbican
11/02/2026
Electro-Voice and Dynacord deliver digital sound system evolution at Abu Dhabi’s Yas Marina Circuit
03/02/2026
ETC bestückt Estlands Vorzeige-Theater
21/01/2026
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)
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)
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)
Allen & Heath sorgt für flexible Klangkontrolle im Theater Erfurt
Das Theater Erfurt hat seine Audio-Infrastruktur und Tontechnik 2025 turnusgemäß erneuert. Die Fachabteilung des Theaters erarbeitete die Materialaufstellung und konzipierte damit die Ausschreibung aller infrastruktur- sowie mischpultrelevanten Komponenten.
Der in Erfurt ansässige Audio-Technica-Partner Proklang gewann den Zuschlag und führte das Projekt komplett mit Produkten von Allen & Heath durch. Die vier Teilbereiche der Installation - die Tonregie, das Tonstudio, die Studiobox und die Bühnenverkabelung - konnten trotz der hohen Auslastung des Theaters und ohne Beeinträchtigung der Veranstaltungen modernisiert werden.
Im Vorfeld der Ausschreibung hatte die Fachabteilung des Theaters Erfurt in Zusammenarbeit mit Audio-Technica Deutschland, dem deutschen Vertrieb von Allen & Heath, dem Dziwadlo Theater in Bautzen einen Besuch abgestattet. Dort wird seit drei Jahren ein Allen-&-Heath-dLive-System genutzt.
Das Theater Erfurt bietet an etwa 250 Tagen im Jahr kulturelle Veranstaltungen. Dementsprechend gestaltete Proklang gemeinsam mit der Fachabteilung des Theaters einen Zeitplan, um die laufenden Veranstaltungen nicht zu gefährden. Die Fachabteilung war an allen Schritten der Umbauphasen beteiligt, sodass eine Einarbeitung schon während der Installation gegeben war.
Besonderes Augenmerk wurde dabei auf die Integration der neuen Tontechnik in das Bestandsnetzwerk der Beschallungstechnik gelegt. Hier sah sich das Team unter anderem mit der Herausforderung konfrontiert, die Anbindung und Umsetzung des voll redundanten Systems über die vorhandene Glasfaserinfrastruktur des Hauses zu gewährleisten.
Marco Müller und Thomas Kellner, Geschäftsführer von Proklang, starteten im hauseigenen Tonstudio des Theaters Erfurt mit der Umsetzung. Das Tonstudio wird intern zur Vor- und Nachbereitung von Produktionen, Schulungszwecken sowie zur Steuerung der Probebühne genutzt. Implementiert wurde ein Avantis-Solo-Digitalmischpult inklusive dPack-Bundle für weitere, größtenteils latenzfreie Plugins sowie Erweiterungskarten für die Einbindung ins Dante- und MADI-Netzwerk.
„Mit dem Tonstudio zu beginnen, war eine strategische Entscheidung - und auch vom Theater Erfurt gewünscht“, sagt Müller. „Trotz Termindrucks konnten wir die Kollegen der Audioabteilung ganz in Ruhe in das neue Mischpult und System einarbeiten und ihnen die Gelegenheit geben, sich selbst damit vertraut zu machen. Durch die Netzwerkerweiterungen konnten wir alle Audiosignale im Haus zur Verfügung stellen und so den Zugriff auf Proben von allen Stellen ermöglichen.“
In der Spielzeitpause des Theaters wurde mit der Umsetzung der Installation der übrigen Teilbereiche begonnen. Nach dem Ausbau der Altkomponenten wurden in der Stellwerkregie ein S3000 Surface sowie ein DM32U MixRack der dLive-Serie implementiert, ebenfalls mit entsprechenden Karten für das Dante- und MADI-Netzwerk ausgestattet.
Zudem wurde zur Redundanz und zur Fernsteuerung des S3000 ein mobiles dLive S7000 Surface integriert, um für Proben im Saal arbeiten zu können oder bei komplexen Produktionen auch gemeinsam und gleichzeitig am S3000 in der Regie sowie dem S7000 im Saal arbeiten zu können. Zusätzlich verbaute Proklang zwei DX-Hubs mit vier DX012-Expandern für die Übergabe der Signale an die Beschallungstechnik sowie einen DX32-Modular-Expander, ergänzt durch ein M-DL-AIN-A-Mic/Line-Input-Modul für die Signal-Eingangsseite.
Diese wurden um weitere DT168-Dante-Interfaces und DX168-Rack-Expander ergänzt. Eine gezielte Verteilung der Komponenten in den Technikbereichen der Saaldecke, Unterbühne/Orchestergraben sowie Haupt- und Seitenbühne vermied lange und aufwändige Kabelwege. Zusätzlich haben externe Produktionsfirmen wie Rundfunkanstalten die Möglichkeit, Audiostreams direkt abzugreifen.
Abschließend wurde die Studiobühne mit einem kompakten dLive C2500 Surface und DM32U Mixrack bestückt, das ebenfalls in das Dante-Netzwerk integriert wurde und mit den anderen Systemen im Haus kommunizieren kann. Bei größeren Produktionen erweitert ein zusätzlicher DX168 die Anschlussmöglichkeiten.
(Fotos: Proklang GmbH)
Anolis assists award-winning Théâtre des Champs-Élysées lighting renovation
The Théâtre des Champs-Élysées - built between 1911 and 1913, and located near Paris’ famous Avenue des Champs-Élysées - has had the lighting in its main 1900-capacity auditorium completely reimagined.
A new award-winning design by ProjetScénie, which collected the 2025 LIT Award for Heritage Lighting Design, includes a modern, sustainable feature lighting solution from Anolis to illuminate the “shield of light” glass ceiling centrepiece and its surrounding fresco paintings. ProjetScénie’s lead designer Yann Jourdan chose Anolis Calumma and Eminere LED fixtures to illuminate these specific elements.
On his first visit to the theatre, Jourdan immediately saw the potential for transforming the auditorium’s 35-metre diameter glass ceiling flower-like centrepiece into a “living and breathing” light art feature. As well as being energy efficient, the brief was to have a new “classical” signature lighting scheme for theatrical performances, and the scope to change colours for other special events and celebrations staged in the room. Jourdan proposed re-utilising the “technical area” in between the theatre’s original concrete roof and the glass auditorium ceiling.
For lighting the glass, a white painted part of the ceiling is lit with strategically positioned Anolis Calumma XLs and Calumma Ms directly, which reflects back, colouring the 175 square metres of thick glass. The Eminere 2s illuminate the circle of frescos around the edge of the centre. Originally, incandescent bulbs were used to light the paintings, later replaced with industrial fluorescents that were still in place when ProjetScénie embarked on this mission. The Eminere 2s have also been fitted into this technical space together with most of the wiring, all neatly concealed from view.
The ninety-six Eminere 2s are arranged in two rows of 48 around the top of the ceiling, where they are hidden from view by the lip of the glass, while evenly and smoothly lighting the paintings on the circular, scalloped ceiling above. The previous fluorescents had been masked by some scenic pieces, however, these additional parts are now not needed due to the more compact physical size of the Eminere 2s and their 60 cm length, which proved ideal for the circular spread of light.
Their greater and more directional output enables the frescos to be lit neatly and elegantly, and these Eminere2s also reflect onto the second balcony, boosting the ambient light levels there. The ten Calumma XLs and twelve Calumma Ms are positioned in the technical area, central to the glass and focused on the white ceiling covering so the light reflected is back in the glass.
Bruno Francois, the Anolis product specialist from Robe France, worked closely with the design team at the factory to create a special white calibration for the Eminere 2s that covers the 1,800 to 4,000 degrees Kelvin range. They also completed extensive 3D modelling to accurately predict the colour rendering of the glass surface.
The lights are controlled via a Visual Productions CueCore3 module with touch screen access, and the Anolis fixtures can also run on the Théâtre des Champs-Élysées house stage lighting console for events. The installation was completed by D6 Bell Light (D6BL) who had to work quickly with the glass ceiling protected by hard foam for the duration. The entire project was delivered in a timeframe of seven weeks once all the design concepts were green-lit.
(Photos: Yann Jourdan/ProjetScénie)
Tongbo installs Coda Audio systems at Helong Stadium
The Helong Stadium in Changsha, China, is a 55,000-capacity multi-purpose facility, predominantly used for football. Although not home to an individual club, the stadium regularly hosts China’s national team fixtures, as well as large scale music events featuring Chinese and international artists.
The Stadium’s management recently took the decision to renovate its audio provision, with an overall brief addressing the dual issues of speech intelligibility and music reinforcement. The project was undertaken by Zhejiang Tongbo Vision Technology Co. Ltd, who installed a Coda Audio system to deliver enhanced audio for the major sporting and cultural programme at the Stadium.
The system deployed at Helong Stadium primarily consists of Coda Audio loudspeakers from the Hops range (high output point source). In the grandstand areas, 32 Hops12i (full-range, three-way) are driven by eight Linus14 DSP amplifiers. A system comprising eight Hops12T and eight PW418 subs, driven by eight Linus14, is used for mobile performances within the venue, whilst six Hops5, driven by two Linus6.4 amplifiers, covers the VIP area.
The Tongbo team worked around the clock to complete the installation, from design and preparation to commissioning, within twelve days.
(Photos: Coda Audio)
Sewanhaka Central High School District’s school auditoriums upgraded with EM Acoustics
Advance Sound Company (ASC) is a New York-based system integration company known for its portfolio of audio-led design-build projects, many of which are focused in the education sector. ASC was recently engaged by Sewanhaka Central High School District (SCHSD) in Long Island to upgrade five of its high school auditoriums across five school campuses.
Each space serves as a central hub of the school community, supporting performances, lessons and events. The EMS Series, a comprehensive family of loudspeakers from British manufacturer EM Acoustics, was chosen for three of the auditorium upgrade projects, with local support and collaboration provided by Cardone, Solomon & Associates, Inc.
During the planning phases of the project, ASC were asked to consult on the best option for the client’s needs and budget. After meeting with the district and spending time with music staff, students and teachers at each school, the company proposed a new approach, a complete move away from the off-the-shelf systems the schools had previously been considering. “The goal was to deliver consistent audio coverage and intelligibility to every seat in the auditorium, whilst ensuring the system was easy to operate for staff and students”, says ASC’s Matthew DePace.
The auditoriums at New Hyde Park Memorial High School, H. Frank Carey High School and Elmont Memorial High School are identical in size and layout, which enabled ASC to design a common solution. Originally designed around constant-curve line-array systems, the spaces had suffered from uneven audio coverage.
“One of our design principles is to take a more distributed approach to sound design”, says ASC’s Thomas DePace. “By deploying delay loudspeakers, we could change the entire feel of the space. The variety of models within the EMS Series allowed us to design a fully distributed system that would grant everyone in the space the same listening experience. We designed a left, centre, right configuration with delays to ensure clarity and coverage for both spoken word and music.”
The system configuration includes an EMS-159 as a centre, with downfill from an EMS-126. On the left and right are EMS-129 loudspeakers. Rear and delay fills are provided by EMS-101Xs. “The centre channels are used predominantly for voice, allowing vocals to travel beyond the orchestra pit”, explains Matthew DePace. “The EM Acoustics system has doubled the acoustic volume of the rooms and gives the schools plenty of headroom and dynamic range to work with across different production types.”
Amplification is through the client’s own Crown XTi amplifiers, with processing through Symetrix digital signal processors. This solution was duplicated across these three high school auditoriums, and ASC customised equally robust solutions in the District’s other two schools’ auditoriums.
Ease of operation for a broad range of users was a key requirement, with the system supporting both day-to-day assemblies and more sophisticated end-of-semester productions. A Crestron touch panel in all five school auditoriums allows for unified control of the audio and video systems, with different modes preconfigured by ASC to suit different use cases.
Automatic mode for everyday use allows one-touch system operation, including audio input from one or two microphones. Staff can connect their own audio sources via Bluetooth or RCA. A manual mode, protected by a three-second screen press, unlocks more comprehensive features and allows for integration of the auditorium’s own mixing consoles. ASC also provided training to students on microphone technique and system use, incorporating the system into the schools’ music and drama programmes.
From ASC’s perspective, EM Acoustics provided strong support throughout: “The availability of data, such as 2D and 3D modelling, was invaluable”, says Matthew DePace. “The bracketry design and centre of gravity considerations in terms of the product engineering also save time during installation.”
(Photos: EM Acoustics)
Bolshoi Theatre Tashkent upgrades with Ayrton
The Alisher Navoi State Academic Bolshoi Theatre in Tashkent, Uzbekistan, houses a 1,440-seat auditorium, decorated with artisanal stucco, gilding, and Bukhara textiles. As part of a recent stage lighting renovation, the theatre introduced Ayrton luminaires to elevate artistic expression, performance flexibility, and visual precision.
“It was essential for us to integrate new technologies without compromising the historical character of the space”, says Vladislav Zhurakovsky, Head of Lighting, Bolshoi Theatre Tashkent. The lighting system concept and integration was by Sound Creations Electronics in collaboration with Vladislav Zhurakovsky, Art & Culture Development Foundation of Uzbekistan and the technical team of Yastreb Sound.
24 Ayrton Bora S profiles and 26 Ayrton Mistral S wash fixtures were supplied and installed by Sound Creations Electronics, official Ayrton distributor for Central Asia (Uzbekistan, Kazakhstan, Kyrgyzstan, Tajikistan) and the Caucasus (Georgia, Armenia, and Azerbaijan). Together, these luminaires provide precise colour temperature management, real-time lighting adaptation, and seamless cue synchronization. “Concealed mounting and custom cable routing was required to ensure integration into a historical theatre, all of which were met with successfully”, notes Zhurakovsky.
With the new Ayrton lighting system in place, the theatre has already premiered several major productions. The Mari State Academic Opera and Ballet Theatre presented Sergei Prokofiev’s “Romeo and Juliet” in a staging by Konstantin Ivanov, and the Tashkent premiere of Jacques Offenbach’s “The Tales of Hoffmann” by director Stefano Poda brought one of the most visually ambitious interpretations of the work to life. Ayrton fixtures supported the production’s layered scenography, from ethereal atmospheres to dramatic shadow contrasts, in harmony with the National Symphony Orchestra of Uzbekistan.
(Photos: acdf.uz/Sound Creations Electronics Team/@yaznur_el)
Martin Audio Adorn pendants elevate audio across Polish hospitality venues
Martin Audio’s Polish distributor, Phono Media, has deployed Adorn series pendant speakers across a range of hospitality projects, with ACP-55T solutions installed in multiple restaurants.
One standout project is the Polish History Museum in Warsaw, a monumental building covering 45,000 square metres. Within its marble architecture, the Dialog restaurant mirrors the building’s bold design language, with interiors heavily clad in stone slabs.
This presented two major installation challenges: conventional wall-mounting was impossible due to the surfaces, and there was a strong requirement to preserve the visual integrity of the space.
Phono Media turned to a suspended solution using the Martin Audio Adorn series, deploying a total of twenty ACP-55T pendant speakers. This approach provided uniform sound coverage and high intelligibility, while the enclosures’ industrial design allowed the system to blend unobtrusively into the ceiling void.
Located on Warsaw’s “Royal Route” (Nowy Swiat), a Pasibus site brings the brand’s signature street-food energy into a historic setting. The interior combines the industrial aesthetic of the burger chain with the constraints of a high-traffic urban venue.
Here, nine ACP-55T pendant speakers were specified to work sympathetically with the ceiling infrastructure, delivering even coverage across the dining zones without requiring invasive wall mounting.
To give the background music the necessary depth and punch to match the youthful Pasibus demographic, the system is reinforced by a pair of Martin Audio SX110B slimline subwoofers, discreetly integrated within the interior joinery.
Finally, L’Osteria in Mysiadlo is defined by its lively atmosphere, industrial-chic design and high open ceilings. This architectural volume required a solution that could deliver consistent background music across a large footprint without contributing to visual clutter.
Phono Media again selected the pendant form factor, deploying seventeen ACP-55Ts to lower the sound source closer to the tables, improving intelligibility whilst making effective use of the ceiling void.
To ensure the audio experience extends seamlessly into the outdoor garden area, five CDD5BTX-WR weatherised loudspeakers were installed, chosen for their Coaxial Differential Dispersion technology, which provides wide and consistent coverage over the patio.
The system is completed with two SX110B subwoofers, delivering extended low-frequency support across the venue.
(Photos: Martin Audio)
Romanian National Opera invests in Robe
The Romanian National Opera in Bucharest (Opera Nationala Bucuresti), Romania’s leading national opera and ballet company, has invested in Robe moving and LED lights, which were delivered at the start of the year via Robe’s Romanian distributor, Senia Music.
The new investments include iFortes, Spiider LED wash beams, LEDBeam 350s, Tetra2s and ParFect 150s, totalling over 100 fixtures, a decision that was overseen by the Opera’s maestro, Daniel Jinga who is also the creative director and general manager - as well as chorus master and principal conductor - of the Muntenia Symphony Orchestra in Targoviste.
He has been at Opera Nationala Bucuresti for four years, where he immediately recognised that a technical upgrade was overdue and set about getting the funding in place. An upcoming production in 2026 of the musical “Phantom” was a further catalyst to kickstarting the process of getting contemporary production lighting installed. Jinga led the lighting team into looking for a solution.
The most important change - apart from being able to light shows more imaginatively than before using lights with greater scope and more features - was that the Opera has advanced from being dependent on rental and external factors for moving lights, to being practically self-sufficient. Lighting designer Stefan Dragu has worked at Opera Nationala Bucuresti for thirty years and recalls how the previous moving lights in the house (from other brands) were getting old and tired, so the need came to replace them.
The lighting department produced a wish list of essential features for any new luminaires, which included power, functionality, silent running, high CRI, and good shutters, among other things. They then started looking at the options and Robe was voted as the best choice. They had previously had a couple of old Robe ColorSpot 1200E ATs in the house, and Robe products were frequently among the rented-in items for various shows, so they did know the brand, but are now in the position of being able to fully service their own productions.
A typical season will see two musicals and one opera running in rep, and over the year there are nearly forty operas, musicals and ballets presented in the 1000-seater classic horseshoe shaped main auditorium, lit by a giant illuminated chandelier. The lighting crew of ten will support the LDs of incoming shows when there is one, and when there is not, will step up and design lighting themselves in conjunction with that show’s producer and director.
(Photos: Robe)
DPA’s new wireless system used for Soweto Kinch/London Symphony Orchestra at the Barbican
The Barbican Concert Hall hosts a wide range of performances, from classical music and jazz to spoken word and contemporary electronic projects. With nearly 2,000 seats and a highly transparent acoustic environment, it is a venue where technical decisions and consistency matter.
It was in this setting that a collaboration between Soweto Kinch and the London Symphony Orchestra (LSO) took place with both a live concert and a live album recording. This performance was supported by freelance sound engineer Jack Jordan. “The task was to balance the detailed requirements of an orchestral recording with the immediacy and impact of a contemporary, hybrid live production”, he explains.
“The solution came not from reinventing the signal chain, but from refining it, which we were able to accomplish with DPA Microphones’ new N-Series Digital Wireless System accompanied by a DPA D:facto 4018 Handheld Microphone”, he furthers. “This allowed us to extend the familiar DPA sound all the way through wireless transmission.”
The Barbican has long relied on a substantial inventory of DPA mics, and this project marked the first time that the Barbican team had deployed the DPA N-Series on stage. “The Soweto/LSO performance placed vocals, saxophone, rhythm and a full string ensemble in close proximity”, says Jordan. “Spill control, gain stability and noise floor were critical, especially with microphones positioned close to the PA and an album recording running in parallel.”
The DPA N-Series also allowed Jordan to adjust his workflow. “Normally, the wireless rack lives behind me, so monitoring or making adjustments means using extra screens or cabling”, he explains. “Instead, I was able to keep N-Series right at my workstation, which was immediately useful. But the real benefit revealed itself in the sound. There was simply less noise floor. You don’t notice noise floor disappearing, but you absolutely realize when it’s not there. For a performance that’s being recorded, that silence matters.”
Beyond vocals, the show leaned heavily into DPA microphones across the orchestra and rhythm section, which Jordan and Barbican Centre Technical Supervisor David Robinson-Strange estimate was a 98-percent DPA live setup. Strings, percussion, brass and unconventional placements benefited from a unified sonic character. “That coherence really matters, especially across strings”, says Jordan. “Keeping the same microphone family gives you a single, intelligible soundstage instead of a collage of tones.”
Pictured (left to right): Jack Jordan and David Robinson-Strange. (Photo: DPA Microphones)
Electro-Voice and Dynacord deliver digital sound system evolution at Abu Dhabi’s Yas Marina Circuit
Yas Marina Circuit, home to the season-ending Formula One Grand Prix in Abu Dhabi, UAE, has undergone a digital evolution to replace the analog backbone of its audio system with a fully digital architecture. The project was delivered by PKE Gulf, who called on equipment from Electro-Voice and Dynacord to ensure the circuit would meet modern international sports venue standards.
The decision to upgrade the sound reinforcement system was confirmed a couple of months before the race with a phased approach agreed. The first phase would see the replacement of its analog backbone which was installed when the circuit opened in 2010, and an upgrade to the main grandstand’s audio system. Further phases will cover the remaining north, south and west grandstands.
“Our objective was to move away from a system that had reached the end of its lifecycle and toward a robust, fully digital platform that could support current operational demands and future expansion”, states Omar Naiem, Smart Venues Senior Manager at Ethara, the venue management company for Yas Marina Circuit. “The phased approach allowed us to upgrade critical areas ahead of the Grand Prix while maintaining full operational continuity across the venue.”
PKE Gulf was selected to handle the phased project based on its experience in the sector. “The large portfolio and scalability of the Electro-Voice solutions allowed the entire project to be covered with a single, coherent audio platform, ensuring consistent sound quality, reliability, and visual integration across all areas of the main grandstand”, explains Gerald Zak, Senior Technical Manager at PKE Gulf WLL. “Combined with Dynacord’s processing and amplification technologies, the solution delivers a future-ready system.”
“The circuit needed a complete digital evolution to meet international motorsport standards and deliver a premium audio experience”, adds Aju Antony, Sales Manager MEA for Electro-Voice and Dynacord. “By implementing our multichannel IPX series DSP amps combined with Electro-Voice EVH, EVF, and EVC point source loudspeakers, we provided the brain and power to deliver a future-proof experience.”
The first phase of the project saw 155 weatherized loudspeakers and subwoofers powered by thirty amplifiers added to the main grandstand. Flown in vertical clusters from the front lip of the roofline, the new sound system delivers homogenous sound coverage. While the new loudspeaker deployment was a key component, the primary objective of this phase of the project was the creation of a new digital infrastructure for the circuit. Dante was selected for audio distribution throughout the facility with audio electronics and software from Dynacord playing a critical role.
“The MXE5-64 Matrix Mix Engines and Sonicue Sound System Software were key enablers of the project’s success”, states Zak. “They formed the heart of the new digital backbone, allowing the legacy analog mixer infrastructure to be fully replaced while seamlessly integrating existing analog amplifiers and loudspeakers across multiple buildings. This approach ensured a smooth transition to a modern, centrally controlled digital platform without disruption to ongoing operations.”
The combination of IPX amplifiers and MXE5 Matrix Mix Engines managed by Sonicue ensures effective production signal management for audio engineers at the track. A customized GUI allows instant signal selection, pre-listening, and routing to audience areas. Sonicue has also enabled a precise, application-specific control environment, not only replicating the old analog audio console but also providing extra features such as instantaneous delay control for lip-syncing with video displays in the public areas, or scene recalls during different event stages.
“We have a lot of different input sources based on different race series requirements, so Sonicue is used to combine them if required”, furthers Zak. “With this setup we can cover any local or international race series.” Naiem adds: “The transition to a Dante-based digital backbone has significantly improved system reliability, monitoring, and operational flexibility. Centralized control, improved signal routing, and application-specific workflows have enhanced both live event production and day-to-day venue operations, while also reducing dependency on manual interventions previously associated with the analog setup.”
A third element of phase one saw the installation of a Praesensa public address system which ensures that live and pre-recorded announcements can be broadcast across all zones of the circuit. The system has been buffered from the rest of the audio network using a proprietary Dante gateway unit, to ensure overall system compatibility.
“From an operations and risk management standpoint, the upgrade delivered exactly what we were looking for - greater control, consistency, and scalability”, says Naiem. “The system now aligns with international motorsport venue standards and gives us the confidence that audio performance will be consistent across different event formats, broadcast requirements, and crowd capacities.”
“Equally important was the ability to future-proof the investment”, he concludes. “The new digital architecture has been designed to seamlessly accommodate additional grandstands, zones, and technologies in upcoming phases, ensuring that future expansions can be integrated without reworking the core infrastructure.”
(Photos: Keenfinity Group)
Sixty82 delivers Arena Frame staging system to The O2, London
The O2 has commissioned a fully new Arena Frame rolling stage system from Sixty82, marking the conclusion of an almost two-year development partnership between the arena and the stage manufacturer.
With more than 200 shows per year, The O2 is among the most demanding users of rolling stage systems in Europe. The venue set out to modernise its existing setup through a system precisely tailored to their operations. Working closely with Kevin Wilks and the wider O2 team, Sixty82 developed a solution shaped by extensive hands-on experience on both sides. Throughout the development process, AC-ET played an important facilitating role, supporting the collaboration between The O2 and Sixty82 and helping ensure an efficient exchange between all parties involved.
“The demanding but positive back-and-forth feedback from The O2 was great and extremely valuable in reaching the right solution”, says Rainier Smeding, Sales Director at Sixty82. The new system needed to deliver: improved deployment speed; full imperial dimensions, aligned with UK working standards; high rigidity and stability during use; reduced reliance on specialised crew; minimal loose components; an intuitive design; durable, long-life materials with minimal use of plastics; and the flexibility to build different stage sizes, including wings and thrusts.
The resulting Arena Frame system introduces a number of targeted innovations: imperial-sized Arena Frames in Single, Double and Triple configurations; height adjustability from 48” to 78”; new Stage Module L in imperial sizing, featuring 18 mm plywood tops and double middle beams; locking system on adjustable legs; custom handrail system with no loose parts; black powder-coated frames, optimized for durability under intensive arena use.
The system was taken into full operation in Q4 of 2025 and has already been deployed on numerous productions at The O2.
(Photos: Sixty82)
Adlib installs Coda Audio TiRay at Aberystwyth Arts Centre
Part of the University of Aberystwyth, Aberystwyth Arts Centre is Wales’ largest arts centre, serving not only the University but also the town and surrounding region. Comprising a 900-seater Great Hall, 300-seater Theatr y Werin, and 100-seater studio, the Centre presents a broad multi-disciplinary, bilingual arts and entertainment programme.
In recent times the Arts Centre’s team had identified its Great Hall PA system as a weak point within its infrastructure, and wished to replace the existing provision with a modern PA system. Following a competitive tender process, venue technology specialist Adlib was engaged to supply and install a new system.
Adlib Senior Applications Engineer Tim Robinson designed a Coda Audio TiRay two-way, full range line array system for the venue. Kevin Toms, Sales Manager at Adlib, oversaw the project. He explains: “The previous system didn’t cover the the venue sufficiently, resulting in an inconsistent listener experience which depended solely on where you happened to be sitting or standing.”
“It’s also fair to say that the sound quality wasn’t of a sufficiently high standard for the size and status of the venue”, Toms continues. “Coda Audio’s proprietary prediction software, System Optimiser, enabled us to identify TiRay as the perfect fit for the venue. Not only could we achieve full coverage of the main seating area with two hangs but also meet the working load limit of 100 kg per hang specified in the brief.”
Adlib installed a main system comprising two flown hangs of eight Coda Audio TiRay, with three Coda Audio U4 double 18” multi-purpose subwoofers at floor level. Two Coda Audio Hops7-Pro (dual 6.5”) point source units were deployed as balcony fills, with a further four Hops5 (dual 5”) point source, coaxial units for lipfills. The system is driven by four Coda Audio Linus6.4 DSP 4-channel installation amplifiers.
The programming demands at the Centre’s Great Hall are varied, existing as it does as a commercial venue serving the local community, and as a University facility. It was essential that the system could accommodate everything from live bands to theatrical performances, and solo presentations to graduation ceremonies.
(Photos: Adlib/Coda Audio)
ETC bestückt Estlands Vorzeige-Theater
Am 10. Oktober 2025 öffnete nach umfassender Renovierung das City Theatre in Tallinn seine Pforten - das größte Theaterprojekt in der Geschichte Estlands. Im Lichttechnik-Bereich des 7-Bühnen-Hauses stehen SolaFrame-Studio- und Source-Four-LED-Series-3-Scheinwerfer sowie Eos-Apex-Konsolen, alle von ETC, im Mittelpunkt.
Der Lichtkünstler und Dozent Margus Vaigur begleitete das Projekt als unabhängiger Experte. Er habe der estnischen Regierung die notwendigen Licht-Investitionen erläutert: „Ich habe klar gemacht, warum eine zunächst teurere, aber spezialisierte Lösung besser ist als eine billigere Universal-Lösung“, so Vaigur. „Für Theaterbeleuchtung ist ETC immer meine erste Wahl.“
Ein Blick auf die Materialliste des neuen City Theatre verdeutlicht die Dimension des Hauses. Aus dem ETC-Sortiment finden sich für die Bühnenbeleuchtung fünf Eos-Apex-5-Konsolen, über 350 Source-Four-LED-Series-3- (verschiedene Modelle) und jeweils rund 100 SolaFrame-Studio- und Fos/4-Scheinwerfer. Aus dem Architekturscheinwerfer-Segment sind zahlreiche Irideon- und ArcSystem-Scheinwerfer verbaut.
Das Lichtkonzept entwickelte und realisierte das in Tallinn ansässige und von Theaterlicht-Enthusiast Kalle Karindi geführte Unternehmen Focus Point Systems. Karindi gibt zu, vor dem Auftrag zunächst Respekt gehabt zu haben: „Es ist schließlich das größte Theaterprojekt Estlands - und Focus Point bin nur ich. Ich habe mich vor vielen Jahren nur auf diesen einen Lichtbereich spezialisiert.“
Um die bestmögliche Lösung für jede der sieben Spielstätten zu finden, führte Karindi umfangreiche Praxistests durch. „Nur die Bühne zeigt, wie ein Gerät wirklich arbeitet“, sagt er. Die Folge war, dass die Beschaffungsliste mehrfach verfeinert wurde. Ein Scheinwerfer überzeugte ihn dabei besonders: der ETC SolaFrame Studio. „Es führte kein Weg an diesem Scheinwerfer vorbei“, so Karindi.
Emil Kallas, Leiter der Beleuchtungsabteilung, koordinierte das Zusammenspiel aller Komponenten. „Unsere sieben Theaterräume sind architektonisch und von der Größe her sehr unterschiedlich“, erklärt er. „Um überall optimale Bedingungen zu schaffen, brauchten wir eine große Vielfalt an Scheinwerfern mit unterschiedlichen Lumenleistungen, Größen und Optiken.“
Kalle Karindi arbeitete eng mit ETCs Regional Sales Manager Florian Maier zusammen: „Gemeinsam realisierten wir das bislang größte ETC-Projekt in Osteuropa - oft mit nächtlichen Telefonaten, um jedes Detail im Sinne des Kunden abzustimmen“, sagt Maier. „Dank Kalles jahrzehntelanger Expertise entstand aus vielen Einzelkomponenten ein optimal angepasstes, zuverlässig funktionierendes Lichtsystem.“
Einzelfotos: Kalle Karinidi, Margus Vaigur. Gruppenfoto: Florian Maier, Kalle Karindi, Margus Sepman (City Theatre), Klaus Althoff (Sales Manager, ETC). (Fotocredits: ETC)
GLPs JDC Burst 1 und Mad Maxx prägen Doppelpremiere im Londoner West End
Als die beiden neuen Filme „The Running Man 2025“ und „Nürnberg“ ihre Premiere am Londoner Odeon Luxe Leicester Square an zwei aufeinanderfolgenden Tagen ankündigten, stand die Produktionsfirma Limited Edition Events vor einer besonderen Herausforderung: Creative Director Richard Godin musste nicht nur einen schnellen Auf- und Abbau sicherstellen und die Anforderungen für Fotografen und TV-Übertragungen erfüllen, er musste auch zwei völlig unterschiedliche filmische Stimmungen in Licht übersetzen.
Während „The Running Man 2025“ ein futuristischer Actionfilm ist, präsentiert sich „Nürnberg“ deutlich düsterer und farbreduzierter. Entsprechend brauchte es zwei klar voneinander getrennte Lichtkonzepte. Die Lösung fand Godin im Portfolio von GLP, das über den Dry-Hire-Spezialisten IPS zur Verfügung stand. Zum Einsatz kamen insgesamt 27 GLP JDC Burst 1 sowie zwei Mad-Maxx-Fatbeam-Skytracker, die das Herzstück des umfangreichen Setups aus Rigging, Screens, Stromverteilung und Licht bildeten.
Für „The Running Man 2025“ setzte Godin die JDC Burst 1 in neun horizontalen Dreierclustern am hinteren Bühnenrand ein. Für die Premiere von „Nürnberg“ musste alles umgebaut werden. „Von einer horizontalen Lichtarchitektur auf eine vertikale zu wechseln, war logistisch anspruchsvoll“, sagt Godin. Er entschied sich für invertierte, vertikal montierte Bursts, die tiefrote Akzente setzten, aber insgesamt subtiler wirkten.
„Ich konnte die Tilt-Funktion nutzen, indem wir die Geräte auf die Seite drehten“, fährt Godin fort. Programmiert wurde im Vollmodus (Mode 8 - Full Segment 48). „Wir ließen die weißen Segmente in eine Richtung laufen, während die oberen und unteren RGBW-Zonen gegensätzlich arbeiteten.“
Über GLP-Produktmanager Paul Fielder erfuhr Godin, dass IPS inzwischen auch GLP Mad Maxx führt, eine LED-basierte Antwort auf klassische 7K-Xenon-Suchscheinwerfer mit 750-mm-Fatbeam. „Wir platzierten je einen Mad Maxx an den Enden der langen Zuschauertribüne und ließen ihre Beams über die Köpfe der Gäste hinweg in den Himmel schießen“, sagt er.
Für „Nürnberg“ experimentierte Godin zusätzlich mit Vintage-Looks: „Wir wollten testen, ob sich ein klassischer Tungsten-Effekt realisieren lässt.“ Über das integrierte CTO-Rad des Mad Maxx konnte eine leuchtend-warme Farbtemperatur zwischen 2.500 und 3.200 K erzeugt werden. „Damit konnte ich die Lichtstimmung stufenlos aufwärmen - sehr authentisch für ein historisches Setting“, so Godin. Die JDC Burst 1 unterstützten den Vintage-Look zusätzlich: „Mit den RGBW-Plates ließ sich ein warmer Weißton erzeugen, der erstaunlich nah an Glühlicht herankam.“
Der schnelle Overnight-Umbau gelang nicht zuletzt aufgrund der RDM-Funktion aller GLP-Geräte. Sämtliche Scheinwerfer konnten remote adressiert werden.
(Fotos: Giles Anderson)
