Installationen News
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LSC and Controllux upgrade Dutch theatres
05/11/2026
WAAPA chooses DiGiCo Quantum
13/10/2026
L-Acoustics A15 Wide carries Moyo Drymades from beachfront wellness to late-night DJ sets
09/10/2026
Griffith Observatory’s Leonard Nimoy Event Horizon Theater equipped with Renkus-Heinz Iconyx
09/10/2026
Glyndebourne opera house upgrades with TiMax
07/10/2026
Solid State Logic System T delivers theatre production for Vienna’s Die Josefstadt and Kammerspiele
06/10/2026
Neu konzipiertes Minigolf-Venue mit Audiosystem von Genelec ausgestattet
Die Indoor-Minigolfanlage „Pitch“ in Oberhausen verbindet das Spiel mit einer Club-Atmosphäre. Entworfen und gebaut von Gastro Golf, einem Spezialisten für die Entwicklung von Minigolfanlagen und Gastronomiekonzepten, erstreckt sich die Spielumgebung des „Pitch“ über zwei Etagen: eine 18-Loch-Anlage im Erdgeschoss sowie eine Bar und eine Darts-Lounge im Obergeschoss. Smart-IP-Lautsprecher von Genelec sorgen für eine einheitliche Klanglandschaft.
„Von Anfang an war klar, dass die Beschallung keine Nebensache sein würde“, sagt Mike Terbeck, Geschäftsführer von Mike Tec Eventtechnik, einem Full-Service-Anbieter für technische Veranstaltungsproduktionen mit Sitz in Oberhausen. „Die Eigentümer haben ihre Anforderungen frühzeitig und unmissverständlich definiert. Sie wollten im gesamten Veranstaltungsort Hintergrundmusik mit einem soliden Bassfundament.“
„Allerdings durfte sie für die Besucher nicht aufdringlich oder ablenkend sein; diese sollten sich angenehm unterhalten können, ohne besonders laut sprechen zu müssen“, fügt er hinzu. Zudem musste sichergestellt werden, dass sich die Beschallung an unterschiedliche Zielgruppen oder Tageszeiten anpassen lässt. Am Nachmittag soll dezente Hintergrundmusik vorherrschen, am Abend Clubatmosphäre, gelegentlich inklusive Live-DJ-Sets.
Filterworks, ein Tonstudio und Installationsunternehmen, das gemeinsam mit den Gastro-Golf-Geschäftsführern Brian und Tim Pyschny das Lichtdesign des „Pitch“ erarbeitete, empfahl Mike Tec als Partner für den Audiobereich des Projekts. Um geeignete Lösungen für den Veranstaltungsort zu finden, arbeitete Mike Tec mit dem deutschen Genelec-Vertriebspartner Audio Pro zusammen. Dieser empfahl die Smart-IP-Serie von Genelec.
Insgesamt achtzehn Smart-IP-Lautsprecher bilden die Audiolösung für das „Pitch“. Über den Minigolf-Bahnen sind sieben 4436A-Pendellautsprecher aufgehängt, die für die primäre Beschallung des Parcours sorgen. Um die Bassgrundlage zu schaffen, die sich die Betreiber gewünscht hatten, wurden drei kompakte, ebenfalls über PoE+ mit Strom versorgte 3440A-Smart-IP-Subwoofer über dem Golfplatz aufgehängt. „Bei DJ-Sets liefern die Subwoofer eine Wirkung auf echtem Club-Niveau“, so Terbeck.
Im gesamten Eingangsbereich, in der Bar und in der Darts-Lounge sorgen acht an der Wand montierte Lautsprecher des Modells 4430A für zusätzliche Unterstützung. „Der Klangcharakter der 4430A-Lautsprecher passt klanglich nahtlos zu den Pendellautsprechern, sodass ein durchgängiges Klangerlebnis entsteht“, sagt Terbeck.
Durch die Übertragung von Audio, Strom und Steuerung über ein einziges CAT-Kabel vereinfachte Smart IP die Systeminfrastruktur, reduzierte den Verkabelungsaufwand und machte eine separate Verstärkung überflüssig. „Bei Smart IP ist die Verstärkung in jeden Lautsprecher integriert und die Stromversorgung erfolgt über das Netzwerk“, erläutert Terbeck. „Sollte sich das Audiokonzept jemals von einer einheitlichen Klanglandschaft hin zu klar abgegrenzten Zonen entwickeln, lässt sich dies über das Netzwerk mit minimalen Anpassungen an der physischen Installation neu konfigurieren.“
Mit schwarzen Gehäusen im Genelec-Standarddesign fügen sich die Hängelautsprecher, Subwoofer und Wandmodelle in die Architektur des Veranstaltungsortes ein. „Musik im ‘Pitch’ ist genau das, was sie sein sollte: ein wesentlicher Bestandteil des Erlebnisses, der sich niemals in den Vordergrund drängt“, resümiert Terbeck. „Der Fokus bleibt dort, wo er hingehört: auf dem gemeinsamen Spiel und dem Austausch mit Anderen.“
(Fotos: Marcel Schechter)
LSC and Controllux upgrade Dutch theatres
LSC Control Systems reports that, with many regional theatres looking for technologies to ease their transition to LED lighting rigs, the summer of 2026 was a busy time in the Netherlands for the Project Management team at Controllux, the manufacturer’s Benelux distributor.
Together, the EU’s Ecodesign legislation and the Dutch government’s encouragement of energy-efficiency are accelerating the phase-out of conventional tungsten-halogen light sources across the country. During their summer closure, a number of the country’s theatres took the opportUnity for technical upgrades and turned to Controllux to guide them through the process.
“While theatres are transitioning from tungsten or halogen lighting to LED, we emphasise the need to control fixtures intelligently, switching on only the equipment needed, rather than powering the entire rig throughout the day”, says Jelle van der Holst of Controllux. “So we always recommend an intelligent relay system. At the same time, they need to retain the flexibility of dimming - maybe visiting productions still use legacy halogen fixtures, for example.”
To ensure this flexibility, four theatres opted for solutions from LSC, via Controllux. “The cabinets are practically the same size and footprint as the dimmer cabinets they are replacing, so installation is relatively fast and trouble-free, often allowing existing cabling to be reused”, notes van der Holst.
Through July and August 2026, Controllux specified, provided and installed intelligent power management systems from LSC to the Vrijthof Theatre in Maastricht and the Sittard Schouwburg (both project managed by Controllux’s Kuno van Velzen), the Zaandam Zaantheater (project managed by Michel Hubert) and the Deventer Schouwburg (project managed by Jelle van der Holst).
At Vrijthof Maastricht, Controllux specified and installed two 48-channel Unity cabinets with switching modules and two 24-channel Unitour racks for flexible use on the stage. The equipment was supplied to the venue via Demo Productions.
At Sittard Schouwburg, the solution for the larger hall was a single 48-channel Unity cabinet combining dim/switch and switching output modules, plus an APSX Advanced Power Distribution system and, for portable use, a 48-channel Unitour rack. Controllux also made a custom 19-inch rack with Gen VI dim-relay modules for use in the smaller venue.
At Zaantheater in Zaandam, just to the north of Amsterdam, the system consists of two 96-channel Unity cabinets with a combination of dim/switch and switching modules. Three APSX units were also installed in a dedicated custom 19-inch rack with bespoke rear panels.
The largest of the four installations, at Deventer Schouwburg (pictured), had four 96-channel Unity cabinets installed, containing a total of 26 dim-switch modules powering a combination of Robe T1 and T2 moving heads, a T10 profile and conventional luminaires. Van der Holst worked with Walter van den Berg, Stage Manager at Deventer Schouwburg, to develop the initial plans into a budget-neutral solution.
(Photo: Deventer Schouwburg)
New Elation rig brings flexibility to historic Lobero Theatre
The Lobero Theatre has been a cornerstone of Santa Barbara’s performing arts community for more than 150 years. Now, this historic California venue is bringing new light to its intimate stage with an installation of Elation Fuze Max Profile fixtures.
The Lobero presents a diverse schedule that includes local and national music acts, dance and ballet, and three full-scale opera productions each year by Opera Santa Barbara. Before the upgrade, the theater relied primarily on tungsten ellipsoidals and PAR fixtures. When lighting director Brad Spaulding, who lights many of the productions that come through the venue, joined the theater in 2019, he brought moving heads to demonstrate what modern automated lighting could do.
Over time, he convinced the theater’s technical director, Todd Jared, and the executive board that it was time to modernize the lighting system, and he was eventually given a lighting budget to specify new equipment. He conducted demonstrations and shootouts involving fixtures from several major manufacturers before settling on the Fuze Max Profile.
“I needed to find something that was bright enough, but also light enough”, says Spaulding, explaining that the theater’s existing rigging presented a particular challenge. “We use standard theatrical counterweight rigging, which limits the amount of weight we can place on the arbors. The Fuze Max were bright enough, but they were also in the weight range I needed.”
The Lobero installed twenty Fuze Max Profiles, with four additional fixtures kept as spares. The fixtures are distributed across the venue’s electrics, providing a flexible lighting foundation for productions with very different requirements. “We needed a very versatile rig”, says Spaulding. “We can be loading out an opera today that has been playing for the last two weeks, and then tomorrow we have a touring concert act that’s just there for one day. So it needs to adapt from one to the other.”
The Fuze Max Profiles’ combination of framing, gobo, and color capabilities has reduced the need to supplement the rig with multiple fixture types, allowing the team to achieve a wider range of theatrical looks with a more streamlined setup. “For theatrical work, we used to hang quite a few additional fixtures for gobos and texturing effects”, says Spaulding. “If I needed a warm color and a cool color and maybe a neutral color, there’s three fixture systems right there we’d need to cover the stage. So now we can do all that from one fixture type.”
Barbizon supplied the Fuze Max Profiles, with David Smith serving as the account representative. The Lobero team completed the installation in-house and also integrated Obsidian Netron EP2 units for data distribution.
(Photos: Lobero Theatre)
KKL Luzern führt Auracast für barrierefreies Hören ein
Das Kultur- und Kongresszentrum Luzern (KKL) führt die neue Hörunterstützung Auracast ein. Sie ermöglicht es, Audiosignale direkt auf kompatible Hörgeräte, Implantate oder Kopfhörer zu übertragen. Begleitet von Pro Audito wurde das System in zwei Tests geprüft.
Mit dem installierten Auri-System von Listen Technologies ist das KKL schweizweit das erste Konzerthaus dieser Größenordnung, das auf diese Technologie setzt. Auracast steht im Konzertsaal, Luzerner Saal und Auditorium bei Kulturveranstaltungen zur Verfügung. Für Gäste ohne kompatibles Endgerät können an der Abendkasse ohne Voranmeldung Empfänger mit Umhänge-Induktionsschlaufe bezogen werden.
Die Einführung ist zugleich Teil des Engagements des KKL für mehr Barrierefreiheit. Zugänglichkeit und Barrierefreiheit bilde eines der gesellschaftlichen Themen seiner Nachhaltigkeitsstrategie, teilt das KKL mit.
Adam Hall Group stattet höchstgelegenes Tonstudio Europas aus
Mit dem Infinity Studio wollen die Wilderness Studios in 2.600 Metern Höhe einen (Frei-)Raum für Musik und neue Ideen schaffen. Hoch über Sölden (Österreich) entsteht aktuell das höchstgelegene Tonstudio Europas - ein Creative Retreat in der Tiroler Bergwelt, das internationale Artists, Produzenten und Songwriter aus gewohnten Routinen holen und den kreativen Horizont erweitern soll.
Die Adam Hall Group unterstützt die Vision der Wilderness Studios als Sponsor-Partner mit Audiotechnik von LD Systems und Palmer sowie Kabeln von Adam Hall Cables. Das Infinity Studio wurde als modulares, saisonal versetzbares Architekturkonzept speziell für den hochalpinen Standort entwickelt.
Sieben Raummodule bilden eine zweigeschossige Struktur, die sich an die steile Topografie anpasst. Das Erdgeschoss bildet mit Studio, Technik und Infrastruktur das funktionale Herzstück; das Obergeschoss öffnet sich als Lounge-, Dining- und Rückzugsbereich großflächig zur Bergwelt. Eine auskragende Panorama-Terrasse erweitert die Architektur in die Landschaft und lässt Innen- und Außenraum ineinander übergehen.
Mit dem Infinity Studio setzen die Wilderness Studios und die Adam Hall Group ihre langjährige Zusammenarbeit fort. Die Audioinstallation im Luxushotel „Das Central“, das Indoor-DJ-Festival Atropica und das Electronic Mountain Festival auf 2.300 Metern Höhe hatten bereits für Aufsehen weit über die Grenzen Tirols hinaus gesorgt.
Im Mittelpunkt des neuen Projekts stehen die Künstler und ihr kreativer Prozess: Unter dem Leitgedanken „Above the Noise“ überträgt das Team der Wilderness Studios sein Konzept für inspirierende Produktionsumgebungen auf einen hochalpinen Standort. Geplant sind unter anderem mehrtägige Artist Retreats und Writing Camps, Recording- und Mixing-Sessions sowie ausgewählte Listening Sessions und intime Live-Formate. Maßgeschneiderte Raumakustik und große Glasflächen sollen die professionelle Studioumgebung mit dem Blick auf die umliegende Ötztaler Bergwelt verbinden.
„Seit mehr als zehn Jahren arbeiten wir mit internationalen Artists und Kreativen und haben dabei eines gelernt: Das richtige Umfeld kann einen kreativen Prozess genauso stark prägen wie die Menschen darin“, so Florian Fellier und Felix Brunhuber, CEOs der Wilderness Studios.
Das Sponsoring der Adam Hall Group umfasst mehrere Bereiche des Infinity Studios: Auf der Panorama-Terrasse sorgt die passive Variante des modularen Maila-Line-Array-Systems von LD Systems für die Beschallung. Im Studio kommen Orbit-Studiomonitore von Palmer zum Einsatz, ergänzt durch Mikrofon- und Instrumentenstative sowie Lautsprecherhalterungen von Gravity. Adam Hall Cables liefert einen Großteil der Studioverkabelung.
(Fotos: Wilderness Studios)
Hollywood Bowl mit Roxx E.Show Maxx TW+ ausgestattet
Shutter Cut Lighting Design hat sechzehn Roxx E.Show Maxx TW+ fest in das saisonale Lichtsystem der Hollywood Bowl aufgenommen. Montiert an den beiden FOH-Türmen links und rechts im Zuschauerbereich, leuchten sie das Publikum bei Übertragungen und Live-Aufzeichnungen aus. Zugleich erlauben sie den Lichtdesignern Tyler Glover und Tyler Lambert-Perkins (beide von Shutter Cut), Farben und Stimmungen von der Bühne bis in den Zuschauerraum zu tragen.
Das Lichtdesign in der Hollywood Bowl muss nicht nur eine Show tragen, sondern eine ganze Saison. Aufbau und Wartung beginnen im März, die ersten Konzerte folgen Ende April oder Anfang Mai - weit vor der offiziellen Saisoneröffnung des Los Angeles Philharmonic im Juni. Von da an muss das Hausrig für unterschiedlichste Künstler und Produktionen funktionieren.
Mit der wachsenden Zahl an Übertragungen und Live-Aufzeichnungen kam eine weitere Anforderung hinzu: Das Publikum muss auf dem Kamerabild klar erkennbar sein. Bislang hatte Shutter Cut dafür jeweils zusätzliches Licht eingebracht. Auf der Suche nach einer dauerhaften Lösung für das Venue fiel die Wahl schließlich auf den E.Show Maxx TW+ von Roxx.
„Für ein Open-Air-Venue wie die Hollywood Bowl brauchten wir einen Scheinwerfer, der wetterfest, hell und farbtreu ist“, sagt Tyler Glover. „Der E.Show Maxx TW+ erfüllt alle drei Punkte. Er ist zum Rückgrat unserer Publikumsbeleuchtung geworden. Mit ihm beziehen wir den gesamten Zuschauerraum ein, damit aus dem Geschehen auf der Bühne ein verbindendes Erlebnis wird.“
Überrascht habe das Team, dass nur sechzehn Geräte benötigt wurden: „Wir hatten ursprünglich etwa doppelt so viele eingeplant, um das gesamte Publikum auszuleuchten“, sagt Tyler Lambert-Perkins. „Mit den passenden Linsen decken die sechzehn E.Show Maxx TW+ den kompletten Zuschauerraum ab.“ Geliefert wurden die Scheinwerfer von Inner Circle Distribution (ICD), dem exklusiven US-Distributor von Roxx, der Vertrieb und Support für das gesamte Portfolio des deutschen Herstellers in den Vereinigten Staaten verantwortet.
Die Integration übernahm Volt aus Burbank unter der Leitung von Grant Dunn, Director of Integration. Zuvor hatte das Unternehmen bereits in Roxx investiert: 2025 nahm der Dienstleister eine größere Stückzahl Roxx-Neo-Washlights in den Bestand auf, 2026 folgte eine zweite umfangreiche Investition in den Neo Lite.
Installation und Einleuchten seien reibungslos verlaufen. Mehr Zeit habe die Programmierung gekostet: Shutter Cut betreibt die Geräte im Direct Mode, um jeden Farbkanal einzeln anzusteuern. Da der E.Show Maxx TW+ der einzige Scheinwerfertyp im Rig mit so vielen Farbkanälen ist, mussten Presets aufgebaut und an die vorhande- nen RGBA-Scheinwerfer angeglichen werden.
(Foto: Shutter Cut Design)
Powersoft Quattrocanali and Mezzo amplifiers deliver audio across Penang Waterfront Convention Centre
The Penang Waterfront Convention Centre (PWCC) is Northern Malaysia’s largest meetings, incentives, conventions and exhibitions venue, spanning 10,443 square metres within a waterfront development on the island of Penang. Its column-free multipurpose hall accommodates up to 10,000 guests across 7,318 sqm. This space is complemented by ten meeting rooms, a waterfront terrace for up to 2,000 guests, and a grand arrival hall.
Each space required audio coverage capable of adapting to a wide range of event types and configurations, from international exhibitions to corporate meetings and private functions. Delivering an audio infrastructure to match the venue’s ambitions required a solution that could integrate fully with PWCC’s broader ICT backbone. The system had to support Dante audio networking alongside AVoIP devices, network amplifiers and control systems, all within strict requirements for network stability, bandwidth and cybersecurity compliance.
Equally demanding was the requirement for speech intelligibility and consistent coverage across the large, divisible halls, where event layouts and audience positions change from one booking to the next. Plus, they needed a centralised control platform capable of managing multiple zones and event scenarios without adding operational complexity for venue staff.
IHDesign Sdn Bhd, the project’s AV consultant, specified a Powersoft amplification platform at the heart of the audio system, with Concept Associates supplying the hardware and Integrated Audio Visual Sdn Bhd leading system integration. Twenty-four Quattrocanali DSP+D amplifiers - eight Quattrocanali 1204 DSP+D, fifteen Quattrocanali 2404 DSP+D and one Quattrocanali 4804 DSP+D - drive the primary audio coverage across the exhibition halls, concourses and public areas.
Nineteen Mezzo AD amplifiers - eighteen Mezzo 602 AD and one Mezzo 322 AD - serve the meeting rooms and VIP spaces, where the Mezzo’s compact, mountable form factor allows amplification to be positioned close to the loudspeakers without a dedicated equipment rack.
All forty-three Powersoft amplifiers carry native Dante connectivity, enabling audio routing to run across the same Cisco C1300 network backbone as the venue’s IT and control infrastructure. Allen & Heath Dante I/O interfaces handle signal handoff between the QSC DSP processing platform and the amplifier network, while Crestron AVoIP and control systems manage room switching, signal distribution and real-time monitoring of Powersoft amplifiers across the facility.
The result is a single converged infrastructure through which audio routing, DSP processing, amplifier control and remote diagnostics all run without a separate audio network or dedicated point-to-point cabling. The Quattrocanali platform’s support for both low-impedance speaker loads and 70 V/100 V distributed audio lines gives PWCC the flexibility to apply different distribution architectures across its zones from a single amplifier family.
Patented Smart Rails Management (SRM) technology continuously optimises power draw to match actual load conditions, reducing thermal output and eliminating the need for external cooling at the amplifier level. In mission-critical areas, the Quattrocanali’s UPS-compatible power supply allows it to be integrated with life safety systems like fire alarms, without requiring a separate amplification platform.
The completed system gives PWCC a scalable, fully networked audio infrastructure capable of supporting any configuration across its ten spaces, from intimate meetings to international exhibitions and immense live events. Amplifier monitoring, DSP adjustments and routing changes can be managed remotely through Crestron and Powersoft’s ArmoníaPlus platform without requiring technicians in the rack room. With every element of the audio system sitting on the venue’s converged ICT network, PWCC is equally well positioned to accommodate future expansion as its event programme grows.
“At this scale, the priority is creating a future-proof network without the clutter of traditional racks”, says Sandhi Soong, senior sales manager, Integrated Audio Visual Sdn Bhd. “Powersoft’s high-density Quattrocanali and Mezzo platforms allowed us to deliver power and DSP over a single converged ICT infrastructure, giving PWCC flexibility for any event configuration.”
Alongside the forty-three Powersoft amplifiers, seven QSC Core 110f-V2, five QSC Core 8 Flex, thirty-three Allen & Heath DT, seventy Bose EdgeMax EM180 (ceiling), 235 QSC AC (ceiling), three Bose Smart Soundbar 700 (VIP rooms), sixty-five Shure SLXD (wireless), thirty Shure QLXD (wireless), twenty-two Shure SM (wired) and one QSC TSC-70-G3 have been installed at PWCC.
(Photos: Powersoft)
Martin Audio Adorn and SX combination powers multizone Sodah Tirana
Set in the heart of Albania’s capital Tirana, Sodah Tirana is a newly opened all-day restaurant and lounge. Throughout the venue, a Martin Audio sound system delivers consistent audio - designed, supplied and installed by local integrator Prosound.
“The client was looking for a system that would provide good sound quality and even coverage rather than simply focusing on high SPL”, says Endrit Veleshnja, Audio System Design & Installation Manager at Prosound. “The system needed to deliver a balanced listening experience at moderate sound pressure levels, while also providing sufficient headroom for busier periods and the overall atmosphere of the venue.”
To achieve this objective, Prosound turned to Martin Audio’s portfolio, ultimately specifying a distributed system based around the Martin Audio Adorn series paired with SX series subwoofers. The venue is arranged across two indoor levels, with the second floor featuring a mezzanine-style layout, alongside a separate outdoor terrace.
On the ground floor, the system comprises six Martin Audio Adorn A80T loudspeakers, supplemented by two SX112 subwoofers. The second-floor mezzanine features an identical configuration of six A80T cabinets and two SX112 subwoofers, whilst the outdoor terrace is served by four Martin Audio A55 IP54-rated loudspeakers. Elsewhere in the venue, the restrooms are equipped with Martin Audio C4.8T full-range ceiling speakers.
The system is divided into separate zones, enabling staff to control and adjust sound pressure levels across different areas independently and remotely as the venue transitions throughout the day.
(Photos: Sonny K. Elson)
Ton & Technik Scheffe stattet Hagener Kirche am Widey mit Coda-Audio-Systemen aus
In der Kirche am Widey in Hagen wurde kürzlich das Audiosystem erneuert. Für die Planung und Installation sowie für die Optimierung der Raumakustik zeichnete die Ton & Technik Scheffe GmbH aus Nümbrecht verantwortlich. Das Unternehmen entschied sich für Beschallungssysteme von Coda Audio. Im Fokus standen verschiedene Modelle der N-Aps-und Hops-Familien sowie N-Sub- und G15-Sub-Subwoofer.
Die Flutkatastrophe im Sommer 2021 traf nicht nur das Ahrtal schwer. Auch in Hagen richteten die Wassermassen massive Schäden an. Betroffen war unter anderem die Kirche am Widey: Große Teile des Gemeindehauses standen unter Wasser und mussten anschließend umfassend saniert werden.
„Der Gemeinderaum ist damals komplett abgesoffen“, sagt Matthias Scheffe, Geschäftsführer und Namensgeber von Ton & Technik Scheffe. „Decke, Wände und Boden mussten erneuert werden.“ Entsprechend ging es bei dem Projekt deutlich über die Audiotechnik hinaus. Neben den baulichen und finanziellen Herausforderungen bot die Sanierung aber die Möglichkeit, Raumakustik und Beschallung von Grund auf neu zu planen.
Akustisch stellte vor allem der große Gemeindesaal hohe Anforderungen: „Der Raum ist im Verhältnis zu seiner Grundfläche sehr groß und hatte dadurch eine entsprechend lange Nachhallzeit“, erklärt Scheffe. Sein Team führte deshalb Berechnungen durch und entwickelte ein Konzept für die raumakustische Gestaltung. Dabei stand für Scheffe eine Eigenschaft an erster Stelle: „Das Wichtigste bei einem Gottesdienst ist das Verstehen von Sprache. Sprachverständlichkeit ist oberstes Gebot.“
Darüber hinaus muss das System den musikalischen Anforderungen der Gemeinde gerecht werden. Neben Chor und Orgel gehören auch regelmäßige Auftritte mit Bands zu den Gottesdiensten in der Kirche am Widey. Und das Philharmonische Orchester Hagen plant, den Gottesdienstraum künftig für Proben zu nutzen. Ein weiterer wichtiger Punkt betrifft das Handling, da die Anlage nicht von professionellen Tontechnikern, sondern von ehrenamtlichen Kirchen-Mitarbeitern bedient wird.
Bei der Wahl des Beschallungssystems ging Scheffe von den Anforderungen des Raumes aus: „Ich habe erst einmal geschaut: Was braucht der Raum? Eine Point Source, ein Line Array oder eine Arrayable Point Source?“, erklärt er. Für eine klassische Point-Source-Lösung sei der Saal zu groß, für ein Line Array dagegen zu klein. Gesucht - und bei Coda Audio gefunden - wurde deshalb ein kompaktes Arrayable-Point-Source-System.
Im großen Saal kommen 2-Wege-Arrayable-Point-Source-Systeme der N-Aps-Serie zum Einsatz: vier N-Aps 90 und zwei N-Aps 120. Zwei N-Sub erweitern das System für den Tieftonbereich. Ein Hops8i übernimmt als 2-Wege-Punktschallquelle die Center-Beschallung, vier D5-Cube dienen als Frontfills und sorgen für eine gleichmäßige Abdeckung.
Für Verstärkung, DSP und Lautsprechermanagement kommt unter anderem der speziell für Festinstallationen konzipierte, netzwerkfähige 4-Kanal-DSP-Verstärker Linus6.4i zum Einsatz. Im kleineren Saal sorgen zwei Hops8i gemeinsam mit einem G15-Sub für die Beschallung. Ein Linus6.4i stellt Antrieb und Systemmanagement sicher.
Insgesamt wurden in der Kirche am Widey folgende Coda Audio-Systeme installiert: vier N-Aps-90-W, zwei N-Aps-120-W, zwei N-Sub, zwei FRV-N-Aps, ein Hops8i, vier D5-Cube und ein Linus6.4i im großen Saal sowie zwei Hops8i-W, ein G15-Sub und ein Linus6.4i im kleinen Saal.
(Fotos: Matthias Scheffe)
Shoreline College anchors music tech programs with Solid State Logic Origin consoles
Shoreline College, ten miles north of downtown Seattle, Washington, opened its recently constructed Bracken Building, the new home of its Music and Music Technology programs, in April 2026. The new facility houses two recording studios with associated live tracking rooms, three small production/mixing rooms and two MIDI/computer labs that all feature equipment from Solid State Logic, including Origin 32-channel and Origin 16-channel inline analogue mixing consoles and dozens of SSL’s USB audio interfaces.
“We had two goals with this new space”, says Matt Jorgensen, Music Technology Faculty, Shoreline College. “Number one was to have two recording studios that were nearly identical, and the second was to almost take a step back from the digital world and have the consoles be purely analogue.”
The Origin consoles’ inline architecture and dedicated controls help students develop a practical understanding of recording, mixing, routing, and gain staging through hands-on operation. Studio A, a teaching studio with room for twenty students that has two adjacent iso booths and a large tracking room that doubles as a music ensemble rehearsal room, houses the Origin 32. Studio B, a smaller tracking studio with a single tracking room that doubles as a small ensemble rehearsal room, features the Origin 16. A retractable door between the large tracking room and a tiered seating area allows the space to be expanded for performances.
Jorgensen, a former Shoreline student who left for New York City to make a name for himself as a jazz drummer and music composer for TV and film before joining the faculty thirty years later, teaches some first-year recording classes but mainly second-year music composition and MIDI production. He notes that there are identical patch bays on the right of both Origins: “That way, students, who are here for two years, can seamlessly go between both studios and focus on the fundamentals of audio, signal flow and getting good mixes.”
With SSL interfaces across its teaching labs, production rooms and recording studios, Shoreline has created a consistent learning environment that allows students to move between different stages of production while remaining within a familiar workflow. Two 25-station MIDI/computer teaching classrooms feature an SSL 2+ MKII 2 in/4 out USB audio interface with MIDI I/O for each student. The instructor’s stations in each of the two rooms include an SSL 18 USB audio interface with MIDI I/O that supports up to 26 inputs and 28 outputs. Three small mixing rooms are also each outfitted with an SSL 2+ interface.
Again, Jorgensen comments, having uniformity across all the stations makes operation easy for students. “It’s something as simple as the +48 V phantom power buttons looking the same on each channel. Having that aesthetic for all of our students to adapt to it has been great”, he says. “So we went SSL all the way.” The SSL 2+ MKII interfaces also introduce students to SSL’s console heritage through the 4K Legacy analogue enhancement circuit, inspired by the character of SSL’s 4000 Series consoles. Together with the Origin consoles, they provide a connected production experience built around a common SSL design philosophy and sonic DNA.
“We teach classes on game audio, and live sound and we do a lot of post-production work”, eplains Jorgensen. “We teach a project where they strip out all the video and audio from films and they do all the ADR, sound design and composition. We’re trying to recreate the modern employment ecosystem within the confines of the college, so a lot of my music production students collaborate with the drama and the film departments.”
“That means you’re doing music production on your computer or in the MIDI lab, and you may do some overdubbing with the SSL interface”, he continues. “But then you might go and track something big and go into one of the Origin studios. Or you’re going to do drums in the studio, and then you bring it back to a production room, where you do overdubs.”
Lift AV in Renton, Washington, supplied the Origin 32 and Origin 16 consoles. Vintage King supplied most of the SSL USB audio interfaces. Kevin Bressler, who teaches multitrack recording on the program, designed the studio wiring and patch bays, for which the wiring was supplied by Sweetwater. The Music Technology faculty staff handled integration and installation.
(Photo: Solid State Logic)
Adelaide Festival Centre turns to Anolis for new LED house lighting
Two venues at Adelaide Festival Centre (AFC), a multi-purpose arts centre complex, have been equipped with new Anolis LED house lighting - featuring over 200 fixtures from the manufacturer’s Ambiane range. This resulted in an approximately 50-percent power reduction in the 2,000-capacity Festival Theatre and Dunstan Playhouse, which seats 590.
AFC’s head of technical and production, Nathan Luscombe, explains that the original 1973 house lighting installation was still in service, consisting primarily of PAR 56s and other downlights - all incandescent - which after fifty years or more of service needed replacing. The time had arrived to transition to an LED solution, which is also a government-driven initiative.
“Professional high-grade dimming was high on our list of requirements for the new lighting”, says Luscombe who also pushed hard for AFC’s environmental/architectural lighting to be DMX or DMX-over-Ethernet controlled, learning from their experience at Her Majesty’s Theatre, another venue in Adelaide also run by the AFC, that this would be technically beneficial.
He also wanted colour changing lights as these opened numerous imaginative possibilities, including bespoke lighting of the venue for showcases, special occasions and immersive moments. Together with the DMX/Ethernet control options, this would also allow incoming productions to integrate the house lighting into their own systems if desired.
The new lighting schemes were designed by Eddie Galak from Anolis’s Australian distributor Jands, who developed an aesthetic that met the client’s requirements, together with a final proposal and extensive modelling. Another must was that the signature white walk-in look should be 3,200K, a bit cooler than standard. However, they were keen to replicate the previous house lighting look, and Ambiane’s tuneable whites were another plus for choosing Anolis, according to Luscombe.
The individual fixture breakdown includes twelve Anolis Ambiane XP56 Recessed units with 45° lenses; fifty-six Ambiane XP56 Recessed luminaires - thirty-six with 45° and twenty with 60° lenses RGBW (3,200 K); ninety-three Ambiane MP111s - seventy-five Recessed with 80° lenses and eighteen Recessed with 60° lenses, all RGBW (3,200 K) and with Custom RAL Trim; and thirty-six Ambiane MP111 Surface Mount 60° lensed RGBWs (also 3,200 K).
A combination of these luminaires is used across both venues. In Festival Theatre, they are installed in multiple positions - in the ceiling, under the bridges, recessed on the balconies, under the boxes and in up/down configurations grazing along the walls. The scalloped side column covers were replaced as part of the general room refurbishment and interior upgrade, and the new Anolis fixtures are mounted in the up and down positions complete with bespoke covers for heritage compliance. In Dunstan Playhouse, the new fixtures are installed on five different levels and under the balcony, also retrofitted into the previous lighting spaces.
Lighting control for these two venues is through ETC Paradigm. The lights are on their own networks but also can be hooked into a production lighting network/console. The new lighting installation was completed by ITE, who have previously worked with Galak at Llewellyn Hall in Canberra.
(Photos: Adelaide Festival Centre/Ben Clark Imagery)
Evolve Install chooses Martin Audio for Tramp Health
Tramp Health, a longevity-focused members club created by the owners of the UK nightclub Tramp, opened in London’s Mayfair this May. To deliver audio throughout the wellness space, integrator Evolve Install designed and installed a multizone sound system utilising Martin Audio solutions.
Elliot Patterson of Evolve Install was first introduced to the site last year. “I’ve been working with owner Luca Maggiora on audio projects for easily twenty years”, he recalls. “He showed me the space, and we immediately started putting the plans together.” The multiroom venue required discrete audio coverage tailored specifically to each area’s physical and acoustic demands.
To meet these requirements, the communal walkways, lounge, and changing rooms were outfitted with Martin Audio’s Adorn ACS-40T shallow ceiling speakers, while the main corridor transitions to the larger Adorn ACS-55T models. In the high-intensity workout zones - specifically the Megaformer Pilates space and the dedicated HIIT room known as Form - Adorn A80 cabinet speakers were specified and installed.
To deliver coverage in the main gym floor, Evolve Install deployed a further six Adorn A80T cabinets running on a 100 V line. The installation is set to expand in the near future, with an additional personal training suite currently scheduled to open, which will feature Martin Audio’s Q26 loudspeakers.
(Photos: Martin Audio)
Panasonic and Holovis bring shared immersion to Gunwharf Quays
At Gunwharf Quays in Portsmouth, Holovis and Panasonic combined projection, sound, live performance and storytelling to create an immersive family attraction. Visitors to the ApolloDomes installation were invited to step together into a fully immersive environment, surrounded by light, sound and storytelling.
Inside the large-scale projection dome, visuals extended across the field of view, unfolding across the curved interior to create a sense of movement, presence and scale. Families and groups encountered the same stories together, reacting in real time not through individual screens or devices, but as part of a collective moment.
Delivered by Holovis in partnership with Landsec, the installation featured six Panasonic PT-RZ24K 20,000-lumen, WUXGA 3-Chip DLP laser projectors. While visitors might also shop during their time at Gunwharf Quays, the dome was not conceived as a retail environment in itself. Instead, it formed part of the wider experience of visiting the area. “We’re seeing a real appetite for experiences”, says Matt Dobbs, Business Development Manager at Holovis. “It’s about repositioning retail and creating reasons for people to come back out and spend time in these spaces with their friends and loved ones.”
The project reflects a broader opportunity for physical destinations: giving people reasons to visit that go beyond any single activity. At Gunwharf Quays, that meant using immersive technology to create an attraction centred on entertainment, storytelling and shared family experiences, with the surrounding destination benefiting from the additional activity that those experiences can help generate.
Holovis developed a large-scale geodesic dome structure capable of housing fully enveloping projection while remaining flexible enough for temporary or semi-permanent deployment. At Gunwharf Quays, the dome hosted a series of seasonal experiences, ranging from festive productions to Halloween-themed shows.
These were not simply passive visual displays. The experiences brought projection together with live performers, narrative storytelling and sound design to create an environment that felt closer to immersive theatre than traditional digital signage. “It’s about bringing technology and theatre together”, says Alex Kunawicz, Head of Marketing at Holovis. “Ultimately, it’s not about the technology, it’s about the experience.”
Unlike wearable solutions such as VR headsets, which can separate individuals into their own virtual environments, the dome creates a collective space. Families, groups and audiences experience the same moment together, reacting, engaging and connecting in real time. “If you want a connected, family experience, the last thing you want to do is put your head into a headset”, Dobbs notes.
The dome format reinforces this principle. With visuals spanning the field of view, it creates a sense of presence that is both deeply immersive and inherently communal, combining individual engagement with shared storytelling. Inside the dome, multiple projectors must work together seamlessly to create a single, continuous image across a curved surface. This requires precise alignment, geometry correction and edge blending so that transitions between projected images remain invisible to the audience.
Holovis deployed a multi-projector solution based on Panasonic’s 3-Chip DLP laser projection technology, designed for demanding, continuous-use environments. Equally important was the way content itself was designed for the space. Rather than relying on large, flat areas of colour that can reveal seams between projections, the creative team incorporated texture and movement into the visuals, helping disguise transitions and maintain a cohesive image. “It’s about understanding the medium”, states Kunawicz. “If you design the content in the right way, the technology disappears.”
While projection formed the visual backbone of the experience, sound played an equally important role in reinforcing immersion, guiding attention, enhancing storytelling and helping to ground audiences within the environment. For the project, audio systems from KV2 Audio were selected to deliver sound within the constraints of the dome structure. With limited space and a need to keep equipment unobtrusive, the system provided coverage using compact loudspeakers, including CS6 tops, ESD 1.15 subwoofers and ESD 6 surrounds.
“You’d be forgiven for wondering where the speakers are”, concludes Tom Weldon, Director at KV2 Audio, who helped select the technology deployed at the installation. “The goal is always the same: if you’ve done it right, people don’t notice the technology at all.”
(Photos: Panasonic)
Lightware Taurus UCX delivers BYOD connectivity to LinkedIn APAC meeting rooms
When LinkedIn set out to upgrade meeting spaces across nine APAC cities, the goal was clear: employees needed to walk into rooms in Bangalore, Beijing, Hong Kong, Melbourne, Mumbai, Shanghai, Singapore, Sydney and Tokyo and find the same familiar Microsoft Teams Rooms experience, supported by BYOD functionality. Working with PTS Consulting Singapore, Lightware’s Taurus UCX switchers provided the standardized switching and connectivity layer for the rollout.
PTS was appointed as AV Consultant and Technology Project Manager for the APAC-wide unified communications upgrade, covering end-to-end consultancy and project governance from site audits and stakeholder requirements to AV design, procurement support, implementation oversight, commissioning review and final handover. Local AV integrators completed the physical installation in each market.
“With almost 300 meeting rooms to upgrade within a nine-month deadline, the key challenges were scale, speed and regional variation”, explains Rico Sim, General Manager of PTS Consulting Singapore. “Each market had different infrastructure conditions, regulatory requirements, local working practices, integrator capabilities and supply-chain constraints. Product model variations and differing lead times also added complexity, so it was essential to maintain a familiar room experience while adapting to local requirements.”
“Lightware Taurus UCX switchers were deployed across meeting rooms to support laptop connection, source switching and BYOD presentation paths”, Sim continues. “The technology helps bridge the user input layer with the Microsoft Teams Rooms ecosystem and in-room AV devices.”
To balance the need for consistency with local conditions, rooms were classified into standard and specialty types, to create a predictable user experience while still allowing each location to account for room size, infrastructure readiness and functional requirements.
In the standard rooms, a UCX-2x1-HC40 Universal Switcher sits beneath the meeting table as the user-facing connection point. Each unit provides HDMI 2.0 and USB-C connectivity, supported by Lightware CAB-USBC-T200C USB-C cables, giving users a repeatable way to connect their own device for local presentation or BYOD workflows.
Supporting 4K@60Hz 4:4:4 video, USB 3.1 Gen1 data speeds up to 5 Gbps and USB-C charging up to 100 W, the UCX enables video, audio, USB data, control and power to be managed through a compact switching device. With secure Ethernet control and noiseless operation, it is suited to a wide range of meeting room environments.
The Lenovo ThinkSmart Core and IP Controller kit forms the main control layer for the native Microsoft Teams Rooms experience, while the UCX handles local switching and device integration. It connects user laptops with the wider room ecosystem, including the ThinkSmart Core, Logitech Rally Bar or Rally Bar Mini, room displays and associated peripherals.
To maintain uniformity across the rollout, PTS coordinated with local integrators and regional manufacturer representatives, including Lightware, to validate model references, manage product availability and reduce procurement risk across different markets. While each office required adaptation to local site conditions, the underlying room architecture remained consistent by typology.
“From a usability perspective, the upgrade from varied legacy configurations to a more standardized Microsoft Teams Rooms environment reduced the need for users to relearn different room setups when working across different locations”, Sim concludes.
(Photos: Lightware)
WAAPA chooses DiGiCo Quantum
Western Australian Academy of Performing Arts (WAAPA), part of the Edith Cowan University (ECU) in Perth, has completed a large investment programme in its performance spaces. The faculty chose DiGiCo consoles and L-Acoustic loudspeakers alongside Fourier’s Transform.Engine and Klang:Vokal systems. The equipment was supplied by Group Technologies, distributor for DiGiCo in Australia and New Zealand.
One of the most comprehensive offerings for performing arts training in Australia, the WAAPA facility includes a vast mixture of performance spaces across the campus. As sound co-ordinator and lecturer Mike Vernau explains, the DiGiCo Quantum range was “a perfect fit for the power behind this brand-new system”.
“The building is both a university and a production venue that has multiple contemporary music and theatrical spaces”, says Vernau. “In the Sound House, our contemporary jazz venue, we’ve got two DiGiCo Quantum 326 consoles, whilst our musical theatre venue, the Playhouse, has a Quantum 338 and Quantum 225. We’ve also got an SD12 in our Flex Theatre, which is predominantly used for training.”
The system aims to enable students to leave university with a solid understanding of the latest technology and equipment, while upholding the venue’s reputation for excellent musical theatre production values. For Russell Proud, Senior Consultant at Charcoalblue, responsible for venue and technical design, this was a key factor in the system design.
With over 300 public shows a year on the schedule, flexibility and versatility was also high on his list of priorities for the venue. The consoles include T software, to maximise flexibility and deliver specialist functions like performer/alias tracking to manage complex sound design and cast changes.
“We used Quantum with Dante outputs and DQ-Racks to best match the infrastructure within the building”, Proud recalls. “The system has to connect to the broadcast facility and be able to do both film and audio recording of live shows. We also ensured that the consoles were loaded with DiGiCo’s T Software to get the most out of the theatre productions that WAAPA produce.”
The Klang system brings 3D immersive in-ear-monitoring to performances with Klang:Vokal and Klang:Kontrollers. Fourier Transform.Engines allow students to experiment with a range of VST3 audio plugins, giving them the flexibility to bring studio-grade effects into the live environment.
Sam Jones works specifically with sound on the Performance and Design course and has been enjoying the upgrades. “We’ve recently taken delivery of two Klang:Vokal units and twenty-four Klang:Kontrollers, which we’ll be integrating in our DiGiCo consoles”, he says. “We use those primarily for orchestra mixes, self-driven immersive mixes for musical theatre, and we’d also like to integrate them into IEM mixes, driven from the DiGiCo Quantum consoles.”
Integration with the L-Acoustics, Klang and Fourier systems makes transferring from one venue to the next seamless. The additional convenience of transferring show files means that immersive mixing, virtual soundchecks and multi-track recordings can all be transferred from one space to another.
“DiGiCo acts as a nexus, integrating with products like Klang, Fourier and L-Acoustics effortlessly”, states Vernau, adding: “I’ve been teaching digital audio and live sound mixing for twelve years, and having a facility like this was a dream come true. There’s nowhere in the world quite like WAAPA ECU CBD campus, and we’re really excited to see how our first group of students through the door use the facilities this year.”
(Photos: DiGiCo)
Reykjavik City Theatre invests in more Robe T2 Profiles
Reykjavík City Theatre - Iceland’s oldest continuously operating theatre company, founded in 1897 as the Reykjavík Theatre Company - has invested in more Robe T2 Profile moving lights, following the first batch purchased in 2023.
The first sixteen T2 Profiles - supplied via Robe’s Icelandic distributor Luxor - were picked to replace the venue’s previous front lights, which were fifteen years old at the time, explains head of AV, Steinar Snæbjörnsson, who leads the technical department. These T2 Profiles were installed on the front bar and the other nineteen on the bridges, taking the theatre’s front lighting capacity to new levels.
The theatre produces a diverse range of classic drama, dance and musical shows through to a selection of raw, visceral new works from young writers and directors across its three performance halls. The capacities are 549, 240 and 180 respectively, and the T2 profiles are in the main auditorium.
All production elements are managed in-house, and there are substantial lighting, sound, and multimedia departments, plus set/props workshops, costume, wigs and make-up as well as all the administration. Snæbjörnsson has a full-time technical crew of seven - three on audio and four on lighting - plus regular freelancers.
In 2024 and 2025, following great success with the T2s in the main house, the front lights on the smaller stages were also updated with eighteen Robe T1 Profiles - ten deployed on the “New Stage” and eight on the “Small Stage”. At the start of 2026, they conducted another shootout seeking a fixture to replace the old moving lights on LX bars 1 and 2 - and once again, the Robe T2 Profiles proved the best option. Another twenty-one T2 Profile fixtures have been installed over the summer.
Reykjavík City Theatre’s main hall stages around four substantial shows a week, with the musical “Moulin Rouge” - lit by senior lighting designer Pálmi Jónsson - currently being the main long-running production.
Pictured: “Moulin Rouge” at the Reykjavík City Theatre; Steinar Snæbjörnsson. (Photos: Paul Clarke/Iris Dögg Einarsdóttir/Louise Stickland)
K-array audio system installed at Dali Edition resort in Western China
K-array has delivered a concealed, zone-tuned audio system for the Dali Edition resort in Yunnan, China. K-array and Kgear loudspeakers provide consistent sound across the resort’s dining, ballroom and outdoor spaces without disruption to its restrained, nature-led design.
The Dali Edition is the third Edition hotel in Greater China and the first in Western China. Designed by CCD, the property has 151 guest rooms, suites and private pool villas, each at least sixty square meters, alongside four dining venues, a banquet and meeting space, a spa, a fitness center, semi-open terraces for casual drinks and outdoor lawns used for weddings and private events.
The project was sourced through an audio consultant, with K-array selected for how closely its loudspeakers could integrate visually with CCD’s interior design. Shanghai Jeta, K-array’s distributor in China, provided technical support throughout, from component selection after CCD’s architectural and interior schemes were finalized through to on-site tuning.
Jason Zhao, director of sales and operations at K-array.CN Ltd, worked with the consultant to match speaker models, mounting solutions and coverage patterns to each zone’s function and site conditions, coordinating with the architecture, mechanical, electrical, plumbing, and hotel operations teams as the design developed.
As the hotel’s dining rooms, lobby and pool areas rely on exposed timber and stone with minimal visual clutter, these zones use Tornado KT2 point sources and KT2C ceiling speakers, chosen for their small footprint and even distribution of background music across large, open floor plans.
The ballroom, which hosts conferences, weddings and live performances and can be partitioned for smaller events, runs on KY102 line arrays paired with recessed KS2P I subwoofers that extend response down to 35 Hz while remaining hidden within the wall structure. This gives the room the dynamic headroom a live band or DJ set requires.
The terrace lounge and outdoor bar use weatherproof Kgear GF82 I line arrays with GU210 subwoofers, sized to shift between soft daytime background music and higher-energy evening events, with external DJ input ports reserved for parties and cocktail functions.
Signal for background music, banquets and events runs through an audio matrix and zoning processor before reaching dedicated amplifier channels for each zone’s K-array and Kgear loudspeakers. Each space has independently adjustable volume and playlists, while the ballroom has its own digital mixing console linked to the matrix for live events.
The main technical challenge was concealing a full audio system inside an interior built around exposed natural materials. The solution also had to meet very different acoustic demands from zone to zone, from quiet, uniform background sound in the dining and lobby areas to the higher dynamic range and low-frequency output needed in the ballroom and outdoor bar.
K-array’s team worked with the fit-out and low-voltage contractors during early design reviews to fix speaker locations, mounting depth and cabling routes, then returned on-site to recheck placement and to tune each zone once installation was complete.
The equipment list comprises four KU44 I compact subwoofers, seventy KT2C ceiling loudspeakers, and sixteen KT2 point source speakers for all-day dining, the lobby, the pool, and the Chinese restaurant areas; four KY102 line array loudspeakers and two KS2P I recessed subwoofers for the ballroom; as well as eight Kgear GF82 I weatherproof line array loudspeakers and four Kgear GU210 subwoofers for the terrace lounge and the outdoor bar.
(Photos: Marriott)
L-Acoustics A15 Wide carries Moyo Drymades from beachfront wellness to late-night DJ sets
Part restaurant, part wellness retreat, part beach club, Moyo Drymades - located on the ivory stone shores of Dhermi, Albania - spends its days as a place to eat, swim and slow down, then turns its beachfront over to international DJ sets, live performances and large-scale events after dark.
That double life set the brief for Moyo’s audio upgrade. One system had to sit low, warm and unobtrusive across the restaurant, loungers and wellness areas through the middle of the day, then find full-range weight and headroom for a Saturday night on the same stretch of sand, on an open-air site with almost no walls to contain it and salt air working on it all year round. An L-Acoustics system, designed and installed by Albania-based systems integrator and L-Acoustics Certified Partner Prosound, now does both.
Prosound supported Moyo from acoustic design through to installation, commissioning and system optimisation, with Endrit Veleshnja leading the system design and Henri Balla the installation. “Moyo wanted powerful, impactful low frequencies and consistent coverage throughout the venue”, says Veleshnja, project lead at Prosound. “The system needed to perform equally well for background music and DJ programming throughout the week before stepping up to substantially higher SPL and headroom demands during Moyo’s weekend events.”
“The system also had to withstand years of exposure to sea spray, salt air, humidity and rain”, Veleshnja continues. “Weather resistance came as standard rather than as something we had to engineer around. L-Acoustics’ A15 Wide, KS21 and SB18 IIi are rated IP55, and that gave us the protection a coastal site demands.”
Dancefloor, dining, lounge and perimeter areas all had to be covered at once, from positions dictated by a beach rather than by a building. “Soundvision enabled us to model SPL distribution, system angles and audience areas across all of Moyo’s different spaces before committing to a position on site”, says Veleshnja. “The finished project file aims each of the eight X12 at its own site and azimuth angle, tailored fixture by fixture to the shape of the venue rather than repeated around it. That let us balance the main dancefloor against the out-fill and front-fill zones, and catch coverage inconsistencies on screen rather than by ear once the system was live.”
The main system centres on two hangs of two A15 Wide, flown either side of the performance area, with four KS21 subwoofers split two per side groundstacked below. The A series delivers the definition and the directivity the brief called for while carrying the low-frequency impact Moyo wanted for its electronic programming, and KS21 supplies the headroom to push that impact across an open-air site.
Coverage extends out to eight X12 working as satellite and fill loudspeakers across the dining, lounge and perimeter areas, alongside six SB18 IIi to keep low-frequency energy consistent well beyond the main dancefloor. In the DJ booth, two X15 HiQ and two SB18 IIi sit either side of the console. Two LA12X and three LA4X amplified controllers power and process the system from purpose-built enclosures that Prosound designed to keep them clear of rain, direct moisture and the beach environment.
“We engineered headroom into the system for the big nights while keeping the directional control that everyday programming depends on, so the venue can move between registers without affecting coverage at either end”, Veleshnja concludes.
(Photos: L-Acoustics)
Griffith Observatory’s Leonard Nimoy Event Horizon Theater equipped with Renkus-Heinz Iconyx
High in the Hollywood hills, the Griffith Observatory overlooks the city of Los Angeles as an emblem of cinematic history and scientific discovery. The Leonard Nimoy Event Horizon Theater, one of the building’s venues, is a 190-seat auditorium hosting public programs, presentations, and panels every day to explore the latest in science and astronomy.
However, the existing sound system was becoming increasingly difficult to manage. All too often, events were being disrupted by unpleasant microphone feedback caused by reflections off the projection screen and paneled walls. In need of a new audio solution to address the specific requirements of the theater, The Griffith Observatory Foundation called upon audiovisual technology specialist Solotech and consultant TheatreDNA, who recommended Renkus-Heinz as the ideal loudspeaker solution for the space.
“From the beginning, we recognized the need for a solution that could address the unwanted reflections and uncontrolled audio challenges, without disrupting the theater’s strict aesthetic values”, says Patrick So, Theater Programs Manager at Griffith Observatory. “We worked closely with Solotech and TheatreDNA, who guided us through a range of potential options while assessing coverage, clarity, and visual impact.”
A digitally steerable line array was considered the most suitable option, leading to the recommendation of the Renkus-Heinz Iconyx Gen 5 loudspeaker series. “A single Iconyx IC16-RD model was installed behind the projection screen upstage of where speakers stand to present”, explains Marc Nutter, Business Development Representative for Solotech. While the Leonard Nimoy Event Horizon Theater retained a dedicated playback system for film screenings, the IC16-RD was introduced exclusively for spoken word events.
The Griffith Observatory Foundation was deeply involved throughout the entire process, from early discussions around loudspeaker options to onsite testing and final tuning. “Everyone involved with this project shared the same goal - to improve the audience experience of the theater”, states So. “With our values aligned, decision-making was efficient and productive.”
By positioning the loudspeaker behind the screen, audiences can focus on the presentations and speakers without distraction from the room’s technology. The wider AV system is built around a QSC network that brings audio, video, and control into a streamlined interface.
(Photos: Renkus-Heinz)
Budapest’s Margitsziget Theatre upgrades with Robert Juliat Arthur LT followspots
Two Robert Juliat Arthur LT 800W LED long throw followspots have recently been installed in Budapest’s Margitsziget Theatre, Hungary’s most prestigious open-air summer theatre, by Robert Juliat’s exclusive distributor for Hungary, Lysis-Project. Margitsziget Theatre’s near 3,000-seat main stage hosts the city’s largest multidisciplinary arts festival during the summer months.
Twenty-five years ago, the theatre purchased two Robert Juliat Aramis 2500W HMI followspots, which have been in use ever since. Thanks to a successful funding application, however, this spring the theatre had the opportunity to replace these fixtures with two Robert Juliat Arthur LT followspots, featuring a modern LED light source. The Arthur LTs were commissioned in time for this year’s summer season.
István Sárosi, Technical Director, who managed the procurement, and Ákos Bodor, lighting designer for most of the productions concerned, say they are “extremely satisfied with the performance and ease of use” displayed by the new followspots. “There is also the added bonus that many of the features and ergonomics of the Arthur LTs are familiar to the followspot operators due to Robert Juliat’s design that carries through - with a number of advancements - to the newer products”, notes Bodor.
(Photos: Peter Tatarek)
Glyndebourne opera house upgrades with TiMax
East Sussex-based opera house Glyndebourne has integrated TiMax SoundHub spatial processing into its audio infrastructure in a landmark upgrade. Jonathan Moss, Head of Sound and Video, led the installation which marked the first stage of a long-term move to harness object-based spatialisation.
TiMax was central to the venue’s audio redesign. Moss’ dialogue with Robin Whittaker of TiMax was undertaken across a period of four years and well ahead of any further reinforcement considerations. “With a number of upgrades coinciding, we had the rather unique opportunity to look at things holistically”, explains Moss. “We were able to assess where we wanted to end up. TiMax is one of the first steps, not the end of the journey.”
A traditional proscenium system comprises EM Acoustics’ Reference series - R12s with R8 infills and S215 subs at balcony level, supported by a network of permanently installed Reference series loudspeakers throughout the auditorium. With Dante providing the audio backbone for EM Acoustics DQ20s, driven via an SSL Live console, the TiMax integration amounted to little more than a rack mount connected the network by two cables.
During a busy summer season, dedicated sound sessions are rare, and the manual delay previously needed for spatial work was operationally costly. With a timetable comprised of morning fully supported technical rehearsal, an afternoon changeover for a public evening show, then an overnight reset for the next day, Moss confirms: “We can achieve what we need within the sessions we’ve got, rather than being limited by the time it takes to do things manually.”
The audio enhancement was immediate with spatial imaging applied only to the proscenium loudspeakers, TiMax tightened image definitions inward by roughly a metre on each side, pulling the perceived source firmly to the stage while mapping the stage area. Moss described the shift as “PA sound becoming hi-fi sound”.
Following system commissioning by TiMax product support engineer Gerry Marrone, the Glyndebourne sound team set about using the SoundHub for the purpose of A/B testing, initially preserving the original set up as a cue in TiMax. “We quickly ditched that”, says Moss. “It was very clear the new sound was just better. Currently TiMax is in the background as a system processor, without adding specific spatial elements to our current shows. We’re taking advantage of it - whether its physical improvements, the psychoacoustic improvements - without anyone really knowing it’s there.”
The transparency extends beyond opera. For presentations and talks in the intentionally reverberant auditorium, TiMax enables the sound to flourish within the room’s acoustic influence at lower SPLs. According to Moss, the audio infrastructure is future-proofed. Integration with the SSL Live console adds flexibility via OSC and control panels allow any channel to be designated as a spatial object on demand.
Full object-based spatialisation is built into the workflow, with spatial presets, tracked movement paths and surround distribution, awaiting the expanded infrastructure planned for the auditorium over coming years.
(Photo: Sam Stephenson)
Prince Charming Bar & Kitchen equipped with Powersoft Mezzo 602 AD
In 1988, jazz musician Chet Baker spent his final night at Hotel Prins Hendrik, a centuries-old three-star hotel on the Prins Hendrikkade in the heart of Amsterdam. A memorial plaque on the outside wall marks the spot, and each year, the hotel holds an event in his memory. It is a building with music running through its history. That connection continues with Prince Charming Bar & Kitchen, the hotel’s recently reimagined restaurant.
Formerly known as De Kroonprins, the space was relaunched as Prince Charming, a bar and restaurant with capacity for around sixty guests. Prince Charming has a menu centred on Dutch cuisine and a programme that regularly includes live performers including singers, DJs, pianists, and MCs. Sound quality was a priority for owner Eric van der Oord from the beginning: “We host live music regularly, and I’m a musician myself, so I know the difference between sound that just fills a room and sound that actually works”, he says. “I wanted it to be professional.”
The building’s high ceilings, characteristic of Amsterdam’s historic canal-side properties, presented an immediate acoustic challenge. Without careful system design, the space risked becoming reverberant and difficult to control. Van Brienen Audiovisueel BV was brought in during the renovation planning phase. “We had conversations before the building work began”, says company founder Jeroen van Brienen. “That gave us the opportunity to understand exactly what the system needed to do and to plan cable routes properly while the walls and ceilings were still open.”
The installed system is built around a single Powersoft Mezzo 602 AD, a compact two-channel amplifier delivering 600 watts in total, with on-board DSP, 100-volt line output capability, and Dante network connectivity. Two zones are configured within the restaurant, one in the front of the space and the other in the back. A network of ceiling and wall-mounted loudspeakers distributes sound evenly across both areas to ensure consistent coverage at every table, while a single active floor-standing unit provides bass reinforcement.
The system handles two distinct audio sources. The first is a PC for continuous background playback. The other is a live input fed from an external mixer, which allows performers to connect directly via whatever setup the event requires. Day-to-day control is managed through a Powersoft WM Touch wall panel, installed in white to complement the restaurant’s interior. The PoE-powered device connects to the Mezzo 602 AD over standard Ethernet and offers staff a 4.3-inch touchscreen from which they can select zones, switch between sources, and adjust volume.
Shortly after opening, van der Oord requested an additional zone extension, which the Mezzo platform was able to accommodate without changes to the core installation. Prince Charming now operates as both a bar and restaurant and a live performance venue, with the Powersoft system serving across both uses.
(Photos: Powersoft)
Solid State Logic System T delivers theatre production for Vienna’s Die Josefstadt and Kammerspiele
The sound department of the Theater in der Josefstadt, located in Vienna city centre, has installed a Solid State Logic System T digital mixing system that allows engineers to mix either in the auditorium or in the control room, and is fully compatible with the consoles in a neighbouring venue, the Kammerspiele.
Known locally as Die Josefstadt, the theatre first opened in 1788 and was rebuilt in 1822, with its inaugural performance featuring music conducted by Ludwig van Beethoven. More than two centuries later, it remains one of Vienna’s most celebrated cultural institutions, staging both plays and musical productions. Together with its nearby sister venue, the smaller Kammerspiele, it now forms part of a shared production environment built around SSL’s System T platform.
The Kammerspiele became the first of the two theatres to install an SSL System T, in 2024. Raimund Hornich is the Head of the Sound Department for both theatres and moved on to the upgrade for Die Josefstadt after the Kammerspiele installation. “I started in the job three years ago and at that time both places had very old school mixing consoles”, he says. “I had to install a new system with a modern workflow for theatre productions nowadays and SSL provided that.”
Hornich was already familiar with SSL consoles and technologies from his time working at the Burgtheater, Austria’s national theatre, also located in Vienna. Die Burg, as it is called by locals, was the first fixed theatre installation of a System T. That system, like those for Die Josefstadt and Kammerspiele, was supplied by Tsamm Professional Audio, SSL’s distribution partner in Austria.
Following Kammerspiele’s upgrade to System T in 2024, attention turned to Die Josefstadt the following year. During the summer 2025 closed season, when no productions are staged, installation work began on a similar system utilising two 32-fader S500 surfaces. This was part of a major refit of the theatre, which also included an Audio over IP network, a wideband Sennheiser multichannel wireless microphone system and a d&b Audiotechnik PA system.
System T utilises Open Sound Control (OSC) to provide real-time control of audio objects using the familiar System T user interface for a range of external renderers, directly from the System T user interface. “The requirement was to make show files interchangeable, allowing operators to move easily between the two theatres, from one venue to the other”, says Hornich.
“System T allows us to treat both theatres as part of a common audio ecosystem rather than two completely separate installations”, he continues. “Because both venues share the same console platform, show files, channel layouts, processing structures and operational workflows, show files can be transferred between them with very little effort. That makes it much easier to move productions, technical resources and personnel between theatres whenever necessary.”
One of Die Josefstadt’s S500 surfaces is permanently installed in its FOH position, while Tsamm built a customised trolley for the second S500 so it can be moved into the auditorium during rehearsals. An additional remote unit with 16-faders is also available to be used anywhere in the theatre. There is a similar arrangement at the Kammerspiele, with its 16-fader S500 in its own custom-made stand on wheels.
In both theatres the two desks can operate alone or together, depending on the production. “Sometimes both consoles are in use but on other occasions there’s only the big console or the small one”, says Hornich. “The consoles are used across virtually our entire production portfolio at Die Josefstadt and Kammerspiele. This ranges from spoken drama and productions with extensive multimedia content to live music performances and musical theatre productions with significantly larger channel counts and more complex requirements.”
Pictured (left to right): Raimund Hornich (Josefstadt), Mario Reithofer (Tsamm, standing), Thomas Haas (Josefstadt). (Photo: Annie Lehner)
Amplified Art & Sound builds Jazz at Lincoln Center’s archive on Schoeps Colette microphones
Amplified Art and Sound LLC, the audio recording and mixing team for Jazz at Lincoln Center (JALC), has been at the center of the institution’s archival recording, studio recording, broadcast, and streaming operations since 2021. Key to the team’s day-to-day work has been its selection of tools to ensure honest representation of the quality and energy of the performers, a task that always includes Schoeps Colette series microphones.
Amplified Art and Sound owner and chief engineer Todd Whitelock is a longtime collaborator of JALC’s founder and managing and artistic director Wynton Marsalis as well as a Grammy-winning engineer with a background at PowerStation, Sony Classical Productions, and Sony Music Studios. “The greatest performers in the world play on our stages and as such we take our responsibility to livestream and capture those performances very seriously”, he says.
“When our team first started with JALC, the goal was to bring a more ambient approach to recording that I’d done with Sony Classical so that we could purposefully capture these performances in a way that elevated them sonically while still being true to the players and their sounds they get on stage”, he continues. “Close mic’ing alone doesn’t adequately capture the power of the orchestra in full swing.” He adds that Marsalis had always envisioned that sound for the livestreams and records released by JALC’s label Blue Engine Records.
“Schoeps were the very first thing I asked for to hang as our main array”, details Whitelock. “We use seven Colette Series with MK 2 capsules hanging from the stage catwalks for all of our live performance recording sessions both in Rose Theater and The Appel Room.” Whitelock’s experience with Schoeps was influenced by his time at Sony Classical. They have since become workhorse microphones for him both in the studio and live at JALC.
On sessions where more Schoeps firepower is required, Whitelock will often hire the microphones en-masse from mobile recording provider Sound Mirror in Boston. When Marsalis was set to record a live performance of his opus “All Rise” for PBS for the 150th Anniversary of the Chautauqua Institution (including a full orchestra and a choir of 100), the call went out. “Sound Mirror has been a great partner in these instances and I told them to bring their entire stock of Schoeps for the taping”, says Whitelock.
Whitelock and his team placed upwards of eighty Schoeps MK 4 microphones around the stage strategically for maximum effect. “It was a massive choir in a loft above the stage and I knew we needed Schoeps for them - the MK 4 capsule is especially great for capturing choral elements and I honestly prefer them to large diaphragm condensers for choirs”, he notes. “They’re always asking us if we really need that many microphones, but when they hear the results it’s clear that the effort is worth it. We’re very proud of the audio production on that performance and Wynton felt we did justice to the maestro’s work.”
“That’s really the key to a strong jazz recording”, Whitelock concludes. “You want to capture that moment and hear every element of what the player or performer is blowing on their chosen instrument as part of the ensemble. I always use Schoeps as part of our process, they were the first mics purchased for JALC since Amplified Art & Sound has been involved.”
(Photos: Schoeps Microphones)
Evolve Install specifies Martin Audio for The Rex Rooms at 151
The Rex Rooms at 151 on King’s Road marks the return of a nightlife destination in London’s Chelsea. Set on the site of the 151 club - celebrated as an exclusive celebrity haunt throughout the 1990s and 2000s - the reimagined venue is the creation of designer and nightlife innovator Marc Jacques Burton.
To complement the venue’s avant-garde aesthetic with audio performance, specialist integrator Evolve Install designed and installed a Martin Audio distributed system. The venue is split into two distinct spaces: a vibrant main lounge and, concealed behind a secret door, The King’s 1942 Room private venue. Martin Audio’s CDD (Coaxial Differential Dispersion) Series loudspeakers were specified throughout.
“It’s a club environment where guests on the perimeter of the lounge often want the same energy and impact as those on the dancefloor”, says Elliot Patterson of Evolve Install. “With the loudspeakers properly time-aligned, the CDD series delivers consistent audio quality, punch, and clarity across the entire space.”
In the main lounge, the primary dancefloor area is served by four Martin Audio CDD8 loudspeakers, supplemented by a pair of Martin Audio SX210 subwoofers. The DJ booth is equipped with CDD6 models as monitors, while the perimeter seating is covered by a combination of CDD5 compact loudspeakers and Adorn A55 models.
Behind its secret entrance, The King’s 1942 Room features a dedicated system comprising six CDD6s paired with an SX210 subwoofer, with additional CDD5 models providing seamless coverage for the perimeter seating. The venue operates across two separate audio zones, allowing independent DJ programming in each room.
(Photos: Ryan Dinham)
