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Tallinn College of Music and Ballet chooses DiGiCo Quantum 338 and Quantum 225 for building upgrades
10/08/2026
Hazelwood High School theaters modernized with Elation lighting and Obsidian control systems
10/08/2026
KV2 Audio powers upgrade at Lisbon’s K Urban Beach Club
Located on the banks of the Tagus River, K Urban Beach Club in Lisbon, Portugal, operates as a restaurant, cocktail bar and nightclub, offering both indoor and outdoor spaces including a dancefloor, terrace and swimming pool. The venue recently upgraded its sound system, choosing KV2 Audio gear.
As one of Lisbon’s premier nightlife attractions, the club welcomes a mix of local and international guests, all of whom expect an immersive musical experience. Combining a relaxed beach lounge with intense nightclub energy, K Urban Beach Club required an audio solution that could support its wide range of events. With the existing sound system beginning to show its age, Urban Beach’s owners decided it was time for a more powerful and future-ready replacement.
Following an initial evaluation of KV2’s portfolio and detailed exchanges of technical specifications, venue plans and requirements, the project progressed to an on-site assessment. KV2 sent system engineer Jakub Suchomel to assess the club environment.
“We performed an in-depth analysis of the venue’s architectural and acoustic challenges, which provided critical insights into the requirements for audio design”, says Suchomel. “The result was the official selection of KV2’s point-source solutions for Urban Beach’s audio upgrade, establishing the foundation for the first phase of the project.”
“The plan grew to include a complete transformation of the club’s main dance floor”, Suchomel continues. “The new audio system included a broad selection of KV2’s portfolio, featuring the SL Series at the main PA in a quad double-stereo configuration.”
In the club’s main room, four SL412 wide-dispersion loudspeaker systems were deployed. At the sides of the main room, four ESD15 boxes provide flat, full-range reproduction, optimised for live output, while the peripheral areas were fitted with four ESD8 passive two-way units and eight compact ESD6 loudspeakers.
Twelve ES1.8 subwoofers, powered by dedicated VHD32000 amplification, provide controlled low-frequency performance. The loudspeaker system is supported by a network of KV2 amplifiers, including four ESP2000s, six SL3000s and three VHD3200s.
In the second room, two SL412 loudspeakers were installed alongside the existing audio infrastructure, including subwoofers, monitoring system, and amplification. “The second room upgrade was intentionally designed as a phased approach”, says Suchomel. “The club benefits from improved audio quality, without having to replace the entire system all at once.”
This was also the case for the DJ monitoring system which reuses parts of the original sound system as a temporary solution to fit the customer’s requirements. “Further modernisations are already being considered, with additional KV2 components expected to be introduced as the project progresses”, Suchomel concludes.
(Photo: KV2 Audio/K Urban Beach Club)
„MegaPark“ Mallorca installiert neues Beschallungssystem von Meyer Sound
Der „MegaPark“ auf Mallorca - ein Clubkomplex, der während der Saison täglich tausende internationale Besucher empfängt und ein Programm aus Live-Acts, DJs, Tagespartys und Abendshows bietet - hat in eine neue Beschallungslösung investiert.
„Bei unserem vorherigen Soundsystem hatten wir ernsthafte Probleme mit Schallemissionen“, erklärt Daniel Morales, Sound Engineer im „MegaPark“. „Daher suchten wir nach einer Lösung, die mehr Kontrolle bietet und trotzdem hohe Pegel und überall eine gleichmäßig gute Coverage erreichen würde.“
Mit einer dezentralen Meyer-Sound-Installation aus Ultra-Family-Lautsprechern, 2100-LFC-(Low-Frequency Control)-Elements, MM-4XP- und MM-10XP-Systemen sowie Galileo-Galaxy-Prozessoren wurde ein System realisiert, das auf viele individuell kontrollierbare Beschallungspunkte setzt.
„Wir wollten die Lautsprecher näher ans Publikum bringen, um die Schallabstrahlung nach außen zu reduzieren und gleichzeitig mehr Klarheit auf den Flächen zu erreichen“, sagt Morales. „Deshalb haben wir uns entschieden, viele Lautsprecher verteilt zu hängen, statt mit einer einzigen großen Main-PA zu arbeiten.“
Der „MegaPark“ ist kein klassischer Clubraum. Vom Eingangsbereich über die zentrale Partyfläche bis zu den VIP-Zonen muss die Beschallung jeweils anders arbeiten und dennoch als zusammenhängendes System funktionieren. Eine zentrale Rolle spielt dabei die AVB-basierte Systemstruktur. Sie ermöglicht es, zahlreiche Lautsprecherpositionen effizient einzubinden und einzelne Audioelemente unabhängig voneinander zu kontrollieren. „AVB war die Lösung“, sagt Morales. „Dass wir jedes einzelne Audioelement im gesamten System unabhängig kontrollieren können, hat uns sehr geholfen.“
Bereits im Eingangsbereich, intern „Mega In“ genannt, beginnt für die Besucher die akustische Erfahrung des „MegaPark“. In diesem Bereich kommen acht Ultra-X40, zwei Ultra-X23, zwei 2100-LFC und ein Galileo Galaxy 408 zum Einsatz. Die Ultra-X40 liefern eine breite und konsistente Coverage, während die zusätzlichen Ultra-X23 gezielte Coverage-Aufgaben übernehmen. Die beiden 2100-LFC schaffen das Bass-Fundament. Über Galileo Galaxy 408 wird die Zone tonal abgestimmt und in das Gesamtsystem eingebunden.
Die „MegaPark Area“ ist der akustische und atmosphärische Mittelpunkt des Komplexes. Hier finden die primären DJ-Sets, Live-Auftritte und Showelemente statt. In diesem Bereich nutzt das Venue ein großflächig verteiltes System aus 52 Ultra-X23, ergänzt durch zwei 2100-LFC und vier Galileo-Galaxy-408-Prozessoren. Die hohe Anzahl an Lautsprechern ermöglicht eine gleichmäßige Verteilung der Energie über die gesamte Fläche hinweg und reduziert die Notwendigkeit, einzelne zentrale Systeme mit besonders hohen Pegeln zu betreiben.
In den VIP-Bereichen steht anstelle eines maximalen Pegels eine ausgewogene Musikwiedergabe auf kontrolliertem Niveau im Vordergrund. Die Beschallung soll präsent sein, ohne den Raum zu dominieren, und sich möglichst unauffällig in die Architektur integrieren. Dafür nutzt der „MegaPark“ sechzehn MM-4XP, vier MM-10XP und drei MPS-488X.
Die kompakten MM-4XP ermöglichen eine diskrete Platzierung in sensibleren Bereichen. Die MM-10XP erweitern Dynamikumfang und Tieftonwiedergabe, damit die VIP-Zonen akustisch in das Gesamterlebnis eingebunden bleiben. Die MPS-488X-Power-Supplies vereinfachen die Versorgung der MM-Lautsprecher.
(Fotos: Meyer Sound)
Tallinn College of Music and Ballet chooses DiGiCo Quantum 338 and Quantum 225 for building upgrades
Tallinn College of Music and Ballet (MuBa) in Estonia has chosen DiGiCo Quantum 338 and Quantum 225 consoles as teaching aids, and also for concerts and gala performances, at the college. MuBa was opened in 2022, teaching children from age ten onwards. Children learn a variety of skills, from dance and music to technical skills and music technology.
The audio system is fully networked to allow connectivity throughout the school. The staff at the college are able to utilise the existing S31 mixing console that can be wheeled wherever it is needed, opening the whole building up as an impromptu performance space. The college also utilises wireless microphones and Bluetooth speakers to explore every possible opportunity for staging.
“Our new Quantum 338 and 225 consoles are mobile, so connectivity via Dante is really important to us”, explains Andres Olema, Sound Studio Manager at MuBa. “Most of our digital ecosystem is built in Dante, so the ability to instantly transport signals all over the facility between the consoles and other equipment is mandatory.”
The school benefits from a large music studio, black box theatre and a large concert hall. Children can board or attend as day students. There are also gyms and a pool, to ensure they are able to remain fit while studying. As Rene Keldo, Lead Music Teacher at MuBa, notes, no two days are the same.
“We chose DiGiCo because it is very important to teach students modern technology, not history lessons”, says Tiit Terask, Director of Audio Sky and supplier for the MuBa refurbishment. “Our new consoles are one of the best and most flexible platform choices for a mixing console available.”
Olema adds: “The interconnectivity of our two DiGiCo consoles is crucial and the gain tracking function makes life a lot easier. Usually, we have the Quantum 338 doing FOH and the 225 as the streaming console, in receive-only mode in our studio down in the basement. If the FOH engineer suddenly needs to change gain values, communicating that could take some time and might create some problems, but gain tracking eliminates that issue. It is also easy to enable or disable this function per channel, so the streaming engineer always has quick and complete control over it.”
(Photos: DiGiCo)
Hazelwood High School theaters modernized with Elation lighting and Obsidian control systems
New Elation professional lighting and Obsidian lighting consoles have helped revitalize theater spaces across the Hazelwood School District in the greater St. Louis area. Installed by Schillers Audio Visual, the upgrades at Hazelwood Central, Hazelwood East, and Hazelwood West High Schools have transformed each theater into a flexible venue for performances, educational programs, and community events.
Hazelwood Central High School received the largest installation, including forty KL Profile FC LED framing fixtures, fourteen Fuze Wash 500 full-color LED Fresnels, four KL Panel LED soft lights, and an Obsidian NX2 for lighting control. Hazelwood East and Hazelwood West feature the same fixture families and control platform in smaller quantities, creating consistency across all three venues.
Serving as senior project manager and lighting designer, Mike Buehrle led the project for Schillers. With roots stretching back more than 130 years, Schillers’ AV integration division has served the region for four decades. Having worked with Elation and ADJ products for more than thirty years, Buehrle drew on long-standing relationships and product knowledge to design a system that modernized the aging theaters while simplifying operations. “I’ve trusted Elation products for decades because I know the equipment and I know the people behind it”, he states.
Schillers had previously upgraded the audio systems in all three theaters and serves as one of the school district’s preferred integration partners, having completed numerous technology projects throughout the district offices and schools. Schillers’ mission was relatively straightforward: eliminate outdated dimmers and aging discharge fixtures - and the bulb replacements that come with that - and equip them with a future-proof LED system.
The modernization represented the first significant lighting upgrade in the Central theater since 1974. Schillers removed legacy discharge fixtures, dimmer racks and obsolete infrastructure, replacing them with direct power distribution and an LED-based system that reduces maintenance while future-proofing the venue. The new LED system gives them color-changing capability, improved output, and more flexibility without touching the rig.
Buehrle collaborated with Elation representative Kraig Knight during fixture selection, ultimately choosing the KL Profile FC. “Kraig helped us find the optimal solution, and the KL Profile FC helped solve a lot of problems”, says Buehrle. “Its zoom system means the school no longer has to deal with lenses or move fixtures every time their needs change. They can change the beam angle and focus anywhere they need from the console instead of climbing up to adjust equipment.”
At Hazelwood Central, the KL Profile FC fixtures are positioned across two front-of-house catwalks, while Fuze Wash 500 fixtures provide overhead stage coverage. KL Panels installed along the rear wall allow designers to illuminate a back curtain, adding dimension. At East and West, the KL Panels are used to light backdrops and scenic elements. Rigged eight to ten feet off the wall in all three theaters, Buehrle says that having the ability to light up the background is crucial.
Because Hazelwood Central sits adjacent to the district administrative offices, the venue serves as more than a school theater. In addition to student productions, it hosts district meetings, speaking engagements, and community events, making it one of the district’s busiest gathering spaces. “They wanted it to be the pinnacle forum, and this lighting system gives them the flexibility to handle just about anything”, says Buehrle.
The theaters also play an important role in production arts education, giving students hands-on experience programming professional-grade lighting and audio systems. Each installation was completed in approximately two weeks, with Schillers providing training on the system, including the Obsidian NX2 console and access to Obsidian’s online educational resources.
The project was completed with the support of Schillers sales manager David Wyne, who brought Buehrle in to design both the lighting and the sound for the space, and AV department manager Mike Chitwood, who helped guide the design and implementation of the lighting and audio systems.
Philips MediaSuite TVs deliver entertainment and energy savings in guestrooms at The Chancery Hotel Dublin
A range of Philips MediaSuite TVs,provided by PPDS, has been selected to deliver “next generation” entertainment and experiences to all 150 guestrooms at The Chancery Hotel in Dublin, Ireland.
Already a certified LEED (Leadership in Energy and Environmental Design) Gold Hotel, The Chancery Hotel’s owners continue their commitment to setting new standards for visitors, whether for those in its restaurant, in the cocktail bar, in the wellness hub, or in one of its guestrooms.
Teaming up with VDA Telkonet, one of the largest players in the field of smart room technology for hospitality, the Philips MediaSuite TV (55HFL5214U) was identified as the only global offering capable of meeting The Chancery Hotel’s ambitions for quality, versatility and sustainability, according to the owners.
Becoming the latest in a growing number of hotels and resorts around the world switching on to Philips MediaSuite, a fleet of 150 TVs were installed. All Philips MediaSuite TVs feature built-in casting, a technology PPDS was the first to introduce back in 2019. Guests have the freedom to cast their personal content - films, music, gaming and more - using their own devices, via their preferred streaming platforms, directly onto the hotel TV without extra hardware or software configurations.
All Philips MediaSuite TVs are integrating with VDA’s Micromaster room management system, enabling full control of in-room facilities, including lighting, HVAC, and blinds. In addition, the TVs now offer opportunities to communicate messages, including facilities, menus and other marketing, directly to guests, helping eliminate paper in the room, and further contributing to energy savings for the hotel. Philips MediaSuite TVs also receive regular software updates, allowing the hotel to benefit from the latest features and functionality.
“Many four- and five-star hotels are turning to Philips MediaSuite as these TVs are the best in the market for energy efficiency - roughly thirty to forty percent more energy efficiency compared to our nearest competitors”, states Kendra Ingram, UK Business Manager at PPDS. “It’s something we take seriously, and we’re delighted that more establishments, like The Chancery Hotel, are taking this seriously, too.”
(Photo: PPDS)
Coda Audio sound system installed at Piast Gliwice Stadium
The Piotr Wieczorek Municipal Stadium is home to professional football club Piast Gliwice, who compete in the Ekstraklasa, the top division of the Polish football league. The Stadium underwent a complete reconstruction in 2010, which included the building of four fully-covered, all-seated stands. In order to meet the demands of a contemporary match-day environment, the Stadium authorities recently invested in a new sound system for the ground.
Audio specialist Tommex was engaged to design, supply, and install the system, which as well as providing audio for announcements to every seat in an often noisy environment, could also deliver audio for the music playback and DJ sets which are now a strong feature of the match-day experience.
Tommex deployed Coda Audio G515-Pro loudspeakers to achieve complete coverage of the stadium. Mounted in the roof areas of the stands - harnessing Coda’s horizontal U-bracket accessory (A15HG) - the system uses the marine-grade (MG1) weatherproofed versions of the loudspeakers, which are driven by Coda Audio’s Linus DSP amplification (Linus 12C and Linus 6.4i).
(Photos: Michal Buksa)
The Rosetta Room equipped with RCF sound system
Located in the heart of downtown Mesa, Arizona, The Rosetta Room has quickly established itself as a new destination for live music and community events, powered by a sound system from RCF.
Housed in a historic mid-century building, the 6,300-square-foot venue features a 400-capacity all-ages concert hall designed to host everything from national touring acts and emerging local artists to DJ nights, cultural events and community gatherings across genres including punk, metal, indie, hip-hop and electronic music.
The Rosetta Room was created as a sister venue to Mesa’s Nile Theater, expanding the city’s cultural landscape while providing a modern, accessible space for performances and events. “At the Nile, we’ve been part of the downtown Mesa music scene for more than sixteen years”, says Michelle Donovan, owner and talent buyer for The Rosetta Room and The Nile Theater. “Our basement venue, the Underground, is a hundred-year-old space that people love, but because there is no elevator in the facility, it’s not accessible to everyone.”
“We wanted to create something that offered a different experience - something more polished and welcoming while making sure everyone in the community could have access and be part of the shows we host”, she continues. “So, we found a building two Octobers ago that would house the Rosetta Room, and we just started the build out and we eventually opened in May of 2025.”
To deliver consistent sound quality across that variety of performances, Donovan tasked front-of-house engineer Jason Hinkle and sound engineer Bryan Greenberg with identifying the right PA for the room. The sale and installation were handled by Sal Davi, principal owner of Phoenix-based Wave Maker Concepts, LLC, a long-time RCF user and sound reinforcement provider.
“I reached out to Sal and RCF for us”, says Hinkle, who also tours with Portland-based metalcore band Dying Wish. Davi recalls: “I told them there are several PA systems on the market that won’t deliver the level of audio quality required for these performances from the bands you are booking in the Rosetta Room - RCF is the system I recommend.”
“Sal brought in a demo system so we could hear what it actually sounded like in the room”, adds Hinkle. “He also had some key people from RCF there to answer any questions we might have. After getting a demo of the RCF system, it became clear it was the right system for this room.”
The venue’s ground-stacked PA system features eight RCF HDL 28-A active line array modules (four per side) paired with two RCF Sub 8008-AS dual 18-inch subwoofers (one per side). The system is mixed on a Midas M32 Series digital console, with microphones from Shure and SE Electronics, while lighting throughout the venue is provided by fixtures from Shehds.
Room geometry was a major factor in the system design. The stage measures just 29 feet wide, while the room extends close to 100 feet deep with relatively low ceilings. Due to structural load limitations associated with the venue, the RCF system was deployed in a ground-stack configuration.
Headroom was another priority for a venue hosting high-energy touring acts. “In club environments, sometimes guest touring engineers push systems harder than they should”, says Hinkle. “With this system we have plenty of headroom. If you push those HDL 28s past about sixty percent, you’re already in seriously loud territory, so the system is usually just cruising rather than being pushed to its limits.”
Davi adds: “As an interesting side note, after demonstrating the system for Jason, Bryan, Michelle and their team, and ultimately supplying the RCF solution for The Rosetta Room, I was confident enough in its performance to invest in the same system for my own production inventory.”
“Through my company, we provide production services for the City of Phoenix, and we deployed that RCF rig for a Fourth of July event attended by approximately 20,000 people, utilizing four HDL 28-A modules per side with four Sub 9006-AS units”, Davi concludes. “We’re continuing to put the system to work, with plans to deploy it at upcoming events around Arizona.”
(Photos: RCF)
Le Pin Galant upgrades to L-Acoustics L2 after three decades with DV-Dosc
Le Pin Galant, a performing arts center located in Mérignac, France, has completed an audio upgrade featuring L-Acoustics L2, marking the venue’s continued partnership with L-Acoustics after more than thirty years with its legacy DV-Dosc system. The 1,400-seat auditorium welcomes nearly 100,000 visitors annually for a diverse program of music, dance, comedy and theater.
The upgrade became a priority when Fimalac Entertainment, a European entertainment venue operator, took over the management of Le Pin Galant in 2025. The venue’s technical team had clear objectives: maintain the audio quality they’d achieved with DV-Dosc while embracing technology that would meet the demands of modern productions. Le Pin Galant turned to Audio Pro, L-Acoustics Certified Provider and system integrator for the Nouvelle-Aquitaine region, to design and implement the solution.
“The complexity of the project demanded meticulous planning, and we relied heavily on Soundvision throughout the design process”, explains Philippe Chassereau, Audio Pro’s Sales and Purchasing Manager. “Soundvision has been an essential tool for us for years.” Audio Pro used the 3D sound design tool to configure speaker placement, as well as amplifier setup, including equalization and delay settings.
The installed system centers on L-Acoustics’ L Series, with one L2 and one L2D enclosures per side for the main left and right hangs. Eight flown KS28 subwoofers deployed in two stacked cardioid configuration provide controlled bass to enhance musical performances without overwhelming the space during speech-focused events. A central hand of one A15 Wide and one A15 Focus add clarity for speech-heavy events while two Syva and two Syva Low provide in-fill. Eight X6i handle front-fill coverage.
The system is powered by four LA7.16i, two LA12X, and four LA4X amplified controllers, with system processing managed through two P1 processors. The networking infrastructure includes four LS10 audio network switches and one LC16D format converter. The LC16D serves to expand connectivity, acting as a bridge between the Milan-AVB network and legacy digital connections, and enabling signal distribution to additional rooms and wedge amplifiers throughout the venue.
The team chose Milan-AVB as the primary protocol. With L-Acoustics network devices, the entire system can be managed directly through LA Network Manager.
(Photo: L-Acoustics)
Evolve Install picks Martin Audio CDD for Arc Canary Wharf
To create a soundscape capable of moving seamlessly from calm, unobtrusive daytime ambience to DJ-driven evening sessions, Arc - a community-focused wellness centre located in Canary Wharf, London - turned to integrator Evolve Install and Martin Audio’s CDD Series loudspeakers.
“It’s a very fresh concept, there hasn’t really been anything like it in the UK on this scale”, says Elliot Patterson of Evolve Install. Focussing on contrast therapy - the alternation between intense heat and cold exposure to activate the body’s natural stress and relaxation responses - the venue features a communal sauna seating up to 65 people, multiple ice baths, and a lounge area for relaxation and socialising.
Music plays an essential role throughout the venue, but it was in the lounge - a square room, with seating arranged in a circle for breathing exercises and meditation - that Patterson’s team faced their most specific acoustic challenge: designing a sound system capable of shifting seamlessly between gentle background music for wellness sessions and the powerful output demanded by DJ sets.
“It’s a multi-functional area that needs to be calm and relaxing during the day but capable of a big, immersive sound at night”, he explains. “They have sessions called ‘Arc After Dark’, which are evening socials where DJs come in on certain nights.” The “Arc After Dark” events - blending contrast therapy with immersive soundscapes and aromatherapy - transform the venue into a sauna party for up to 95 people.
To meet the audio demands, Evolve Install specified a combination of four Martin Audio CDD6 loudspeakers, supported by a compact Martin Audio SX210 subwoofer.
(Photos: Martin Audio)
Caldas Novas shopping center equipped with DAS Audio systems
Shopping Singapura is a new commercial center in Caldas Novas, Brazil, featuring restaurants, retail spaces and outdoor areas. Inspired by the urban aesthetics of Singapore, its design creates an open and dynamic environment with a constant flow of visitors and multiple activity areas.
The venue required uniform coverage across large semi-open spaces, with sound blending naturally into the overall visitor experience. To achieve this, twelve OVI-12 systems from DAS Audio were strategically installed.
The installation was carried out by AEV Projetos, responsible for the system integration, design and implementation, with equipment supplied by Harmonia Musical, DAS Audio’s distributor in Brazil. Founded in 2010, AEV Projetos specializes in audio, video, stage lighting and acoustics projects.
The audio system supports the daily activity of Shopping Singapura, from general announcements to background music in outdoor and semi-open areas.
(Photos: DAS Audio)
Elation lighting transforms Theater De Binding into modern community cultural hub
The Cultural and Educational Centre De Binding in Zuid-Scharwoude, the Netherlands, home to Theater De Binding and part of Cool kunst en cultuur, has completed a lighting upgrade with a new LED system of Fuze and KL Series fixtures from Elation, delivered in close cooperation with Dutch distributor Rolight.
The 275-seat multi-use theatre serves as a gathering place for the local community, hosting performances, presentations, workshops, courses, and social initiatives for audiences and participants of all ages. As part of a broader refurbishment initiative by the city, the venue was transformed into a fully equipped theatre space with new seating, curtains, and a modernized lighting infrastructure.
Leading the project was Rob Scheeren, who oversaw the technical transition and worked closely with Rolight to specify a lighting solution that would not only meet the demands of a multi-purpose theatre environment, but also be flexible for visiting productions, community groups, and educational users with varying levels of technical experience. “The previous lighting system was old-school halogen from 2008”, states Scheeren, Manager of Theatre Technical Operations & Facilities Management at Cool kunst en cultuur. “It was time to transition to LED.”
The new rig includes eight Fuze SFX, four Fuze Profile, ten KL Fresnel 8 FC, twelve KL Profile Compact, six KL Fresnel 6, and fourteen of the latest Fuze Wash 250 fixtures. Data distribution is handled by Netron nodes (NS8, EN4, EN12) from Obsidian Control Systems. With the electrical infrastructure already in place, Scheeren focused on creating a practical and versatile design together with his technical crew and Rolight.
“I wanted as many fixtures as possible for our budget so there could be enough lights in enough positions that you don’t need to move fixtures around”, he explains. “That makes it easier for those who come in and use the space. I also wanted to keep it simple with everything from one company - no use to make things more complicated than they need to be.”
Following fixture demonstrations organized by Rolight, the venue selected the Elation fixtures and chose to move forward with Rolight. The shared RGBMA light engines across the Fuze Wash 250, Fuze Profile, KL Profile Compact, and KL Fresnel 8 FC ensure consistent color reproduction throughout the rig.
“We made the decision that the front light would be non-movers and we would use the moving lights for specials”, continues Scheeren. “We wanted everything LED so you don’t have to switch on and off dimmers. We tried to simplify everything. No gels, no filters, and no more bulb changes.”
In addition to the lighting upgrade, the theatre installed a wall-mounted touchscreen tablet with intuitive push-button controls, enabling visiting users to operate the system without requiring a dedicated technician.
(Photos: Elation)
Robe supports various attractions at Duinrell
Duinrell - a combined holiday, amusement park and water park in Wassenaar, South Holland, which is popular with families - celebrated ninety years of operation in 2025, and attracts 1.4 million visitors a year. In recent years, Robe moving lights have started making an impact, contributing to the positive vibes.
Roy van Zutphen is the electrician and engineer in charge of lighting. He leads a team of 29 who look after all things technical and operational, including all the venues and rides. Their work also covers mechanical, carpentry and set building. When a new Arcade Game Hall was opened, van Zutphen reached out to Controllux’s Maikel Sakkers, one of the company’s main sales managers, who had a connection at Duinrell via one of their service technicians who used to be an intern there.
He asked for some advice on the lighting options for the Arcade Hall, which was a hybrid design to also accommodate events of up to 1,500 people. Sakkers arrived on site and, when he realised the scale of the new building, recommended a combination of Robe moving lights in the form of Paintes, LEDBeam 150s and Cuetes.
Four Paintes were chosen for the staging area in the middle of the Arcade venue, as that is the main area used for events. The twenty-four LEDBeam 150s are deployed around the stage - which is in the centre of the building - and around the room on roof trusses. Van Zutphen also wanted some additional fixtures for the space that could produce gobo effects and colours but didn’t need to be as complex as the Paintes, so for this he chose Cuetes, which have complementary CMY colour mixing to the Paintes but no zoom. They are also both TE fixtures, using Robe’s Transferable LED engine.
The day-to-day Arcade Hall lighting is run via a Mosaic show controller, but the lights can be hooked into external consoles and controlled independently for events. Van Zutphen again turned to Controllux when it came to refurbishing the classic Duinrell Express train ride which had been running for 47 years at that point. He chose sixteen Robe iBar 15s and iParFects. The iBar 15s are used to light the walls and the scenery, and the iParFect was needed for the opening of the cave, for which a zoomable light was required.
(Photos: Louise Stickland/Paul Clarke)
Vivid Broadcast builds remote production network around Calrec’s True Control 2.0, Argo M and Type R
Designed to embrace multiple production processes and deliver live broadcast workflows, Surrey, UK-based Vivid Broadcast has combined Calrec True Control 2.0 enabled consoles across its operation. The company has installed a 36-fader Argo M and multiple Type R control surfaces in its Remote Production Centre (RPC), alongside the recently launched 48-fader Argo M in its new next-generation Barra OB unit.
“Flexibility has to be at the heart of any remote production set up and our investment in Calrec really supports this”, comments Francis Cousins, Vivid Broadcast’s Head of Technical Innovation. “It was vital for us to have a range of solutions that gave each gallery or production the tools they need to do the job while working within budget. Our partnership with Calrec has been central to this.”
The remote unit is being used for Sky Sports Women’s Super League (WSL), feeding directly into Sky’s galleries in Osterley. “To bring the audio into the desk, we use a combination of AES67 audio interfaces deployed within the stadium, combined with traditional backups to fulfil contractual requirements”, explains Cousins. “This incorporates some of the surface’s local I/O alongside the AoIP links to the main network stack, allowing for Dante, MADI and analogue cards to be installed into the Calrec modular I/O. This combination allows for easy integration with third-party baseband equipment, whilst allowing for the deployment of Calrec Fixed Format I/O to keep everything in the digital domain where possible.”
The RPC seamlessly integrates with Vivid Broadcast’s four-camera remote vans, as well as the 20-camera Barra unit, cloud production platforms, and third-party client broadcast centres, which Cousins says gives production teams the ability to work smarter, faster, and more sustainably. Vivid also takes advantage of the Calrec Assist browser-based control interface to manage the desk remotely, while the Calrec Connect IP connection and management tool simplifies management of Vivid’s AoIP streams.
Vivid’s RPC is designed to enable its sound control rooms to work across multiple galleries. The 36-fader Argo M sits in Sound Control Room 1 alongside four virtual mixers split across two compact Type R control surfaces located in multiple galleries. “During a production, the Type Rs can be driven by our Bitfocus Buttons automation/control system, enabling a single supervising engineer to sit across all galleries and make fine-adjustments to the mixes”, says Cousins. “For more ambitious projects, the Type Rs can be driven from the main Argo surface via True Control 2.0, equipping engineers with control and access to the wider facility.”
“Just like with traditional OBs, each remote project has its own requirements and can utilise a number of workflows”, he adds. “We aimed to create a scalable environment that can embrace many different production processes to offer production teams the same gallery experience whether they are working in a traditional workflow with all signals returning to the RPC, a cloud operation, or a hybrid.”
“The remote sound area can operate efficiently with a single guarantee or accommodate a dedicated sound supervisor when required, while the Argo M supports both on-site mixing and comprehensive embedding and distribution across all channels”, Cousins furthers. “Calrec’s True Control 2.0 and integrated I/O means our Barra unit also enables seamless synchronisation whether it is feeding into a client’s gallery, such as Sky, or back to our own RPC, allowing off-site sound supervisors full control of gain structure in real time.”
“Calrec’s infrastructure sits at the core of all our WSL productions, whether that’s the larger productions for Sky, the remote workflow with Aurora Media Worldwide, or the BBC’s Women’s Football Show”, says Rory Springthorpe, Vivid Broadcast’s Director and Co-Founder. “We know Calrec is committed to developing the right remote workflows and delivering a range of solutions depending on the requirements, recognising each remote production workflow can be unique whilst still ensuring the same level of redundancy and operation.”
Anthony Harrison, Calrec Regional Sales Manager, observes: “Vivid Broadcast is a prime example of how the industry is evolving. Productions are no longer defined by physical location, and the demand for flexible, distributed workflows is only accelerating.”
(Photos: Del Manning)
RCF upgrades Avnet Arena with stadium-wide sound system
Avnet Arena in Magdeburg, home venue of 1. FC Magdeburg, has been equipped with a new stadium sound reinforcement system based on TT+ Audio and RCF technologies. The project was commissioned by Messe- und Veranstaltungsgesellschaft Magdeburg GmbH (MVGM), specified by Proaid Ingenieure, and executed by Studio Elektroakustik GmbH (SEA) of Leipzig.
The grandstand reinforcement system is based on twenty-two TT+ Audio GTX 10 Wi clusters. The system design comprises four clusters at each end stand, five clusters along both the main and opposite stands, and additional loudspeaker positions at the stadium corners. For pitch coverage, eight horn-loaded RCF HL 2290 two-way loudspeakers were installed along the longitudinal stands to provide uniform direct-field coverage across the playing surface.
Power distribution and system supervision are handled by RCF XPS 16KD amplifiers integrated into a redundant Q-Sys audio network via Dante. A dedicated RCF-developed plug-in enables comprehensive control, status monitoring, and telemetry access directly within the Q-Sys control environment.
“The RCF systems met all acoustic and technical requirements, from the specified speech intelligibility and redundancy criteria through to integration within the Q-Sys platform”, says Thomas Schnitzler, project lead at Proaid. “At the same time, the solution remained within the permitted load limits.”
For the installation team, the project underlined the importance of close engineering coordination throughout the implementation phase. “This is already the second Bundesliga stadium project we have completed with RCF”, says Peter Lohß, site manager at SEA. “We particularly value the close support provided by RCF in electroacoustic simulation, structural load assessment, and on-site system commissioning.”
(Photos: MVGM)
Audiotonas outfits new live music venue in historic Daina cinema with Martin Audio WPC
Originally opened in 1936, the Daina is considered an important example of Lithuanian modernist architecture. With renovation work beginning in 2023, the project has transformed the long-abandoned cinema into a contemporary multifunctional cultural venue, while preserving its architectural identity and historical character. A Martin Audio sound reinforcement system is at the heart of the redevelopment.
Audiotonas, Martin Audio’s distributor in Lithuania, was the main audiovisual systems integrator and technology partner, responsible for designing and implementing the venue’s sound, stage lighting, and stage infrastructure systems. The project consists of both a main hall and an additional event space, conceived to operate flexibly independently or as a combined venue when needed.
The main hall is equipped with a Martin Audio WPC Wavefront Precision line-array system comprising two hangs of eight elements per side. “One of the key project goals was to minimise unwanted sound energy on stage and reduce reflections from the large balcony surfaces”, notes Vytautas Stasiukaitis, CCO at Audiotonas. “Because the building is protected heritage architecture, these surfaces could not be extensively treated with acoustic materials, making loudspeaker directivity and system optimisation critically important.”
The optimised WPC line-array configuration allowed Audiotonas to tightly control vertical coverage and significantly reduce unnecessary excitation of reflective architectural elements, particularly the underside and front surfaces of the balcony. The high-resolution amplifier configuration with two dedicated amplifier channels per WPC module gave the team the desired precision during system tuning and optimisation, allowing accurate control of phase alignment, frequency response, and coverage behaviour.
“We utilised Martin Audio’s Hard Avoid to minimise sound energy directed towards the stage area and to reduce reflections from the balcony surfaces”, says Stasiukaitis. Low-frequency reinforcement is provided by an array of eight Martin Audio SXH218 subwoofers. Due to physical limitations in the venue, a cardioid set-up was not possible. To improve boundary loading and system efficiency, a permanent rear wall was constructed directly behind the subwoofer position.
“This effectively created a controlled boundary condition, enhancing low-frequency coupling with both the floor and the rear surface”, reports Stasiukaitis. “While it is not a directional subwoofer array in the strict sense, the system still delivers strong control within the room due to the architectural reinforcement effects and system tuning.”
The main left/right arrays are supported by Martin Audio FlexPoint FP8 front-fill loudspeakers for the first audience rows, while FP15 systems were installed as delays beneath the balcony and within the balcony area itself. Stage monitoring is provided by eight XE300 stage wedges. The entire system is powered by a total of fourteen Martin Audio iKon series multi-channel amplifiers.
In the smaller hall, a Martin Audio THS point source system combines with SXC118 cardioid subwoofers. “The directional behaviour of the cardioid subs helped mitigate acoustic issues in the tighter space by reducing excitation of problematic reflections and smoothing overall low-frequency distribution”, says Stasiukaitis. Today, the renewed Daina venue hosts concerts, theatre productions, conferences, broadcasts, and other live events.
(Photos: Vaidas Stankus)
Krazy Kanguruh returns to St. Anton with a new build and an L-Acoustics sound system
After a complete demolition and full rebuild, Krazy Kanguruh, an après-ski hub located in St. Anton am Arlberg, Austria, reopened with a new structure, new interior, and a new L-Acoustics sound system engineered from the ground up to match the demands of a 1,200-capacity mountain venue where the music runs from midday until 8 pm.
Krazy Kanguruh sits in close proximity to surrounding businesses and residences, so sound management was a non-negotiable design constraint. Austrian audio specialist Signal Sound & Light, working alongside regional integration partner Musik Tirol, was tasked with meeting those challenges.
Before a single loudspeaker could be specified, the design team faced an unusual architectural constraint: the venue’s entire roof is constructed as a winter garden structure, capable of opening completely via an electric drive system. Therefore, conventional rigging points on a fixed ceiling were not an option.
“The retractable glass roof ruled out any overhead mounting from the start”, says Raphael Rupprecht, System Designer at Signal Sound & Light, who led the project from initial site visits through concept development and final system design. “We had to develop a solution that relied entirely on the lateral surfaces of the venue.”
This constraint, combined with the acoustic challenges posed by extensive glazing and hard stone surfaces prone to significant reflections, demanded a high-resolution distributed system with a correspondingly large number of loudspeakers. Signal Sound & Light designed the entire system in L-Acoustics Soundvision, modelling performance before a single cabinet was hung.
The main floor now features five X12 loudspeakers flown between six KS21i subwoofers arranged in a 14-metre-long bass array, with four additional flown X12 and eight 5XT speakers providing further coverage across the space. Five X8i loudspeakers ensure coverage across additional areas of the venue.
Upstairs, the restaurant area is served by thirteen compact 5XT loudspeakers paired with six X8i speakers, maintaining tonal cohesion while supporting a more relaxed atmosphere above the main floor. The full system is centrally managed to give the venue’s technical team flexible routing and streamlined control with minimal ongoing intervention.
A significant technical consideration was ensuring interoperability between multiple networked audio protocols. The wider system architecture relies heavily on Dante-based components; seamless connectivity with the Yamaha DSP matrix processor was achieved via AES/EBU to AVB integration through an LC16D audio converter.
The extended bass array configuration proved central to addressing the venue’s noise emission requirements. “A key advantage of long arrays is their pronounced low-frequency attenuation along the end-fire axis”, explains Rupprecht. “By aligning these axes toward the neighbouring properties, we were able to significantly reduce low-frequency energy in the critical directions.”
The combination of array geometry and high loudspeaker density made it possible to achieve high SPL levels inside the venue while effectively limiting sound radiation to the outside, despite the close proximity to neighbouring buildings. The distributed X12 point sources delivered a high direct sound ratio throughout the space, essential given the reflective acoustic environment.
“Minimising sound spill while keeping the atmosphere at full energy inside the venue was a key priority”, adds Siegfried Maier, Head of Sound at Signal Sound & Light. “The distributed system configuration was optimised specifically to reduce external impact while delivering consistent coverage and clarity throughout the room.”
(Photos: L-Acoustics)
Den Bosch’s Theater aan de Parade favors Robe
Theater aan de Parade, a new entertainment and meeting hub in Den Bosch, Netherlands, has installed over 200 Robe products in the house lighting rigs of its two principal performance spaces - the 920-seater Casino Hall and the Plein Hall, which accommodates 400 people. The new venue sits on the footprint of the previous 1976 theatre building, which replaced the original one built in 1934.
The Robe product count breaks down to twenty-three T2 Profiles, eighty-three T1 Profiles, eleven T1 PC, eighty LEDBeam 350s, three TX1s, twelve Cuete Spots, fourteen Tetra2s, which are used as cyc lighting, and four RoboSpot BaseStations with MotionCameras.
All of this was supplied via Robe’s Benelux distributor Controllux, together with a number of other lights that completed the specification, plus control and networking infrastructure. Controllux’s project and sales lead Kuno van Velzen started work on this installation in 2022.
Theater aan de Parade stages over 300 performances annually from numerous visiting companies, plus an array of festival and business events, explains head of technical, Alphons Verhallen, who oversees a tech crew of sixteen. Having a multispectral LED fixture at the core of the house lighting systems - as opposed to a white LED source - was a cornerstone of the lighting tender, he adds.
The T1 and T2 Profiles are located on the lighting bridges and over-stage bars in both halls. Seven of the T1 PCs are rigged on the Casino Hall portal bars and four on LX2 in the Plein Hall, where they are providing wash capabilities, with the TX1s also used overhead in this space.
The LEDBeam 350s are multi-use fixtures and, among other things, replace six-bar moving PAR light effects in both halls. The Tetra2s are used for cyc and effects lighting in the Plein Hall, especially for bands, concerts and music shows, together with the Cuete Spots, which are in this same location. The RoboSpot systems are usually used with the T1 Profiles in either hall.
Verhallen notes that some of the incoming companies are making full use of the lighting setup now on offer, while for some older touring shows still on the road with performances based on static and dimmed lightsources, the adaptation may take longer, but the process is underway.
Technical planning for the new theatre originally started in 2018, and between then and now, the specs were modified slightly as new and more appropriate product choices came to the market. When the old building closed, Theater aan de Parade continued producing shows in a temporary venue - again with Robe products in the rig - while the construction was completed. Verhallen took up the technical management position for the new theatre to open its doors at the end of 2024.
Robe is a brand Verhallen has been more familiar with since visiting the 2019 Prague Quadrennial, he says, where Robe lit one of the main centrepieces, “Blue Hour” by Romain Tardy. Key members of the tech crew have also visited the Robe factory in Valasské Mezirící. Controllux coordinated the installation of the lighting systems and their related control network.
Pictured (left to right): Alphons Verhallen, Kuno van Velzen. (Photos: Paul Clarke/Mari Durieux/Louise Stickland/Kuno van Velzen)
Australia’s Home of the Arts elevates theatre lighting with Elation Paragon and Proteus
Home of the Arts (Hota), a cultural destination on Australia’s scenic Gold Coast, has completed an upgrade of its main theatre lighting system, investing in a new generation of Elation professional lighting fixtures. Hosting a diverse collection of cultural spaces, performance venues, and outdoor attractions, the new lighting has enhanced the theatre’s creative flexibility and ability to accommodate touring productions.
Located in Surfers Paradise, the 17-hectare Hota precinct caters to everything from theatre, dance, opera, comedy, and live music to children’s shows, cinema, and visual arts. As part of its ongoing commitment to technical excellence, Hota selected sixteen Elation Paragon M profile luminaires and sixteen Proteus Rayzor 760 wash/effects fixtures to replace every moving light in its main theatre rig.
The fixtures were supplied by ULA Group, Elation’s Australian distribution partner, with procurement facilitated by audio-visual production company Krank’d Productions. The project was led by Luke Farrow, Head of Lighting at Hota, who also oversaw the lighting design for the upgrade. Installation was completed in December 2025.
For Hota Precinct General Manager Chris Dignan, the upgrade represents an investment not only in technology but in the venue’s future ambitions. “As the demands of live performance continue to evolve in the industry, it is essential that our technical infrastructure evolves with them”, he states. “This upgrade gives Hota a future-ready lighting solution that meets the expectations of today’s touring productions, while supporting our long-term ambition to attract bigger, more ambitious shows.”
Hota’s aging lighting system had reached the point where its discharge-based spot fixtures and older LED wash luminaires could no longer match the output and performance expected by contemporary touring productions. Rather than supplement the existing inventory, Hota chose to replace its entire moving light system to ensure the venue would remain technically competitive for years to come.
Following a demo and fixture shootout, the Paragon M and Proteus Rayzor 760 emerged as the preferred solution. At Hota, the addition of Fresnel lenses extends the Paragon’s functionality, allowing the fixtures to function as wash lights when required. “The ability to utilize interchangeable lens options was a major advantage”, says Farrow. “This versatility was a key factor in selecting the Paragon M as the cornerstone of our upgraded lighting rig.”
The installation includes sixteen Paragon M fixtures, with eight located in the overhead rig and eight positioned across the front-of-house lighting bridges. The overhead fixtures deliver beam and gobo effects across the stage, while the bridge-mounted units provide key lighting and specials to accommodate the venue’s varied programming.
Complementing the profiles are sixteen Proteus Rayzor 760 IP65-rated wash/effects fixtures. Their SparkLED background twinkle technology adds a visual layer for concerts and live events, while their output and zoom range enable them to deliver a bright, even wash across the performance space. Together, the two fixture types create an adaptable lighting system capable of meeting the demands of everything from theatrical productions to contemporary live music performances.
Supporting the venue’s house lighting infrastructure are two Netron EN12i Ethernet-to-DMX gateways paired with BS10 button panels from Obsidian Control Systems, providing control and distribution for the house lighting system. Installation was completed by Hota’s lighting department under the leadership of Luke Farrow, alongside Marcus du Toit (Technical Operations Manager) and Thomas Connolly (Director, Technical and Production).
Throughout the project, ULA Group provided technical guidance and strategic support. “ULA Group was an invaluable partner throughout the project”, says Farrow. “Rod Marshall provided significant support during the process, helping us assess the available options and identify the best solution for the venue’s needs.”
(Photos: Elation/Home of the Arts)
Sovicosystem installs DAS Audio systems at South Korean universities
Two university venues in South Korea have relied on DAS Audio to upgrade their sound systems and adapt them to academic activities, live events and multi-purpose uses. Sovicosystem has brought the systems to Soongsil University’s Hyungnam Hall and Inha University Gymnasium.
At Hyungnam Hall, located at Soongsil University in Seoul, the project was carried out in February 2026 and includes six Vantec-20A line array systems supported by two Vantec-118A subwoofers. The system is completed with four Action-508A units used as delay speakers and two Action-M512A stage monitors, creating a complete solution for lectures, ceremonies, performances and university events.
The Hyungnam Hall installation follows a previous positive experience with DAS Audio systems at the university, where Sovicosystem had already installed a Vantec-20A system in another auditorium on campus.
The second project took place in March 2026 at Inha University Gymnasium, where Sovicosystem installed four Action-512A powered systems distributed between the front and rear areas of the venue. The solution was designed to provide consistent sound for academic activities, sports events and other functions typical of a multi-purpose university space.
(Photos: DAS Audio)
Louisville Bats restore classic baseball radio experience with StreamGuys Ultra-Low Latency Streaming
StreamGuys has deployed its Ultra-Low Latency Streaming (ULLS) technology with the Louisville Bats, the Triple-A affiliate of Major League Baseball’s Cincinnati Reds. The implementation allows fans attending games at Louisville Slugger Field to listen to the team’s live radio broadcast in synchronization with on-field action, restoring a baseball tradition that had largely disappeared in the digital era.
For generations, baseball fans brought portable radios to the ballpark so they could enjoy hometown broadcasters calling the action while watching the game unfold live. However, modern broadcast distribution technologies and digital processing have introduced delays of ten to twenty seconds or more into many radio and streaming broadcasts, making synchronized listening impossible. The Louisville Bats turned to StreamGuys’ ULLS technology to solve that challenge after fans began expressing frustration over delayed game calls.
“We heard from a lot of fans who love listening to the broadcast while they’re at the ballpark, but suddenly they were hearing pitches several seconds after they happened”, says Nick Curran, Director of Broadcasting for the Louisville Bats. “There’s something special and nostalgic about baseball on the radio. Our fans wanted that experience back, and StreamGuys gave us a solution.”
Curran, who has served as the Bats’ lead broadcaster since 2016, says the organization began exploring options after a corporate-mandated delay was introduced on the team’s flagship radio station. Fans listening inside Louisville Slugger Field could no longer follow the game in real time, even on traditional AM radio receivers. After learning about StreamGuys’ ULLS technology, Curran worked with the company’s engineering team to deploy a dedicated ultra-low latency stream that fans can access on their mobile devices while attending games.
ULLS eliminates traditional streaming delays by leveraging StreamGuys’ Contribution Network and low-latency delivery architecture to synchronize audio and video streams with live event action. The platform supports deployment through team and broadcaster mobile applications on both Android and iOS devices.
In addition to enhancing the fan experience, ULLS can create new sponsorship and revenue opportunities through optional dynamic pre-roll advertising. Teams and broadcasters can incorporate sponsor messages before fans join the live stream.
(Photo: StreamGuys, Inc.)
Martin Audio Torus supports Malwanchal University convocation
As part of Central India’s largest medical education group, Malwanchal University in Indore, Madhya Pradesh, is a 65-acre campus with a student community of over 11,000. In April 2026, the University, together with the Index Group of Institutions, hosted its 5th Convocation Ceremony - its flagship graduation event - where degrees are formally conferred and outstanding academic achievements celebrated.
Locally based Patel DJ Sound deployed a Martin Audio sound system solution comprising Torus T1215 constant curvature array elements, complemented by Blackline X218 subwoofers. Hosted in the University’s Central Auditorium - a large-scale venue on campus designed to accommodate up to 2,000 attendees - two flown arrays, each comprising four Torus T1215 elements, provide controlled coverage, while the Blackline X218 subs add low frequency depth and weight.
(Photos: Martin Audio)
Robe helps shows go on at Lviv National Opera
Lviv National Opera has been investing in Robe moving lights over the last five years and now has sixteen Robe Tarrantula large LED wash beams and twenty-two T1 Profiles, which are among 146 moving lights in total available in the house rig.
Located on Freedom Avenue in central Lviv, Ukraine, the opera house was designed by Polish architect Zygmunt Gorgolewski and constructed between 1897 and 1900. It is now a primary European cultural and performance hub, known for innovative opera and ballet productions.
Lighting director Oleksandr Mezentsev (pictured) has worked at the venue for the last five years, and he lights and oversees the lighting of all its productions. In many ways, this has been an atypical tenure as he joined the team there during the height of the Covid pandemic, which has been followed by the full-scale war that has been raging since 2022.
Like most Ukrainian theatres, Lviv National Opera returned to work within two months of the war starting in 2022, and despite the constant threat of Russian missile and drone attacks, is now back to operating a full annual schedule, including three to five premieres per season, plus assorted revivals, totalling approximately 200 operas and ballets.
It is a vital part of a network of Ukrainian performance institutions that have been providing much needed relief during tough times, when creativity, invention and artistic expression remain defiant, while the demand for tickets is through the roof. The Robe fixtures have been arriving in smaller numbers - six or eight at a time - for most of this recent challenging period, supplied via Odesa-based distributor Lightek.
“We’ve basically purchased the fixtures according to the needs of the different incoming productions”, explains Mezentsev. The technical production for all of these has been fully sourced and produced in house. The T1 Profiles came first. They are positioned in the overhead rig in upstage positions and are also rigged on some of the FOH bars.
When it came to adding an LED wash light onboard, they wanted to match the colours of the T1s, so another Robe product was a logical choice, and Tarrantulas were picked. The stage area is twelve metres square, and the Tarrantulas are positioned on the upstage ring of lights.
Both the T1s and the Tarrantulas are used for every show produced in the main house and Mezentsev says that they have made a “huge positive difference” to the daily tasks for him and his lighting department of ten. He was familiar with Robe products already before starting at Lviv National Opera, along with a number of other brands. “Robe now covers all the needs of any performance environment”, he notes.
Lviv National Opera’s relationship with Lightek dates back around twenty years now. CEO Oleg Kaminker and the team there “keep us informed of the latest and most appropriate tech when it becomes available and are always on hand”, says Mezentsev. While the opera house mainly works with Ukrainian creative teams right now, internationals are sometimes invited to collaborate on the production side.
Lviv National Opera is currently in the process of transitioning to LED stage lighting, but right now the inventory is a mix of these, discharge and incandescent sources. The Opera has managed to retain a relatively regular schedule with some adaptations. Around 600 people are working there, including all the creative and technical crews, FOH and administration, marketing and promotion staff, as well as full companies for the opera and ballet performances and a resident orchestra.
(Photos: Gate Agency/Even Kraws/Lviv National Opera/Ruslan Lytvyn/Yuriy Malenko/Gregry Vepryk/Hryhorii Vepryk/Kravs Yevheniy)
Llewellyn Hall equipped with nearly 150 Anolis Ambiane and Calumma fixtures
Llewellyn Hall at the Australian National University in Acton, Canberra, ACT - a heritage-listed building and hailed as one of the finest concert halls in Australia - more recently installed a new Anolis auditorium lighting scheme. The venue is currently managed by the Venues and Functions team of Campus Environment, ANU, with close operational links to the School of Music.
After winning a competitive tender, the initial specification and new lighting design were created by Eddie Galak, business development manager for Anolis Australian distributor Jands, and completed in collaboration with theatre consultant Micah Johnson of Melbourne-based design consultants Studio Entertech. Nearly 150 Anolis LED fixtures are involved from the manufacturer’s Ambiane and Calumma ranges, replacing the old tungsten dimmed sources.
The upgrade was necessary, as the previous auditorium lighting dated to the 1980s and was getting patchy and worse for wear. And, apart from transitioning to LED, Johnson also wanted to bring the possibility of having colour in the space for events and shows requiring that option. Being heritage listed and with a lot of wooden features and red seating, they also wanted to match the warmth and tungsten vibe that the space was already comfortable with.
The overhead lighting is now covered with sixteen Anolis Ambiane XP56 RGBW recessed luminaires with 30-degree lenses and thirty-six Ambiane XP56 tungsten dims, also with 30-degree lenses, together with thirty-two recessed Ambiane HP111 tungsten dims with 60-degree lenses. Twenty-four surface mounting Ambiane SP16 tungsten dims - the smallest luminaire in the Ambiane range - are the main turret up lights, combined with twelve Calumma XS SC RGBWs.
The “Juliet” recesses are illuminated with six Calumma XS SCs and the rear ceiling of the balcony is grazed with five RGBW Calumma M MCs and eight Calumma Ms, with six recessed Ambiane RGBW SP16s utilised as part of the blue lighting system backstage. Challenges included re-purposing as many existing roof holes and fixings as possible due to the heritage listed status, with new holes being made only where completely necessary.
The existing spaces were adapted to fit the new Anolis fixtures with the help of some bracketry fabricated by ITE (Installation Theatrical Engineering), also based in Melbourne. The Ambiane SP16 Surface Mount fixture with the 30-degree tilt was a request from Galak to Anolis, who responded by developing the product specially for this project. Now, this model is in commercial production.
For Johnson, the most galvanising elements of the project were combining the need to match the heritage requirement “tungsten-style” aesthetic, whilst simultaneously meeting the contemporary, practical and compliance needs.
A Paradigm controller is used for the house lighting, which can also be integrated with the venue’s main stage lighting controllers, with touch panel remote access for everyday tweaking. Studio Entertech also specified a new stage lighting system for Llewellyn Hall as part of the technical upgrade, including dimming and wiring.
Llewellyn Hall has long-standing associations with the Canberra Symphony Orchestra, the Canberra Choral Society, and the National Capital Orchestra and regularly hosts touring shows, including by Musica Viva and the Australian Chamber Orchestra, as well as performances by a diversity of international artists.
(Photos: Louise Stickland/Paul Clarke)
CGI installs major audio upgrade at Levi’s Stadium
Clair Global Integration (CGI) was engaged by technical design consultants WJHW to deliver a major audio upgrade at Levi’s Stadium, home to the National Football League club San Francisco 49ers. The venue required a new bowl audio system capable of supporting sports games while enhancing large-scale live music and entertainment productions.
The stadium has a standard NFL game seating capacity of 68,500 and up to 83,000 for major concerts - notably the 2026 Super Bowl where the JBL system handled game-day audio and served as an extension and delay system for Clair Global’s temporary Half Time audio deployment.
The stadium recently hosted six group-stage matches during the 2026 Fifa World Cup, with the new audio infrastructure supporting these global events. In recognition, the venue has won in the “Stadium” category of the Mondo DR Awards, a celebration of the world’s most impressive, fixed technology installations.
“This was an important project for CGI because we have a history with the facility”, says CGI Project Manager Matt Normandale. “Prior to being acquired by Clair, Pro Media Audio Video did the original install in 2014, led by Demetrius Palavos, VP of Sports Integration - Special Projects. It was very important to us that we were able to continue this relationship.”
The new permanent installation scope included JBL Professional bowl speakers mounted on custom rigging frames for the venue’s end-firing system design, positioned behind the scoreboard. Kevin Day, Principal - Director of Venue Services at WJHW, worked with CGI Sr. Design Engineer for Sports Projects, Brad Ricks, to design the system which combines JBL VLA301Hi, VLA601Hi, and VLA901Hi line arrays with Fulcrum Acoustic CS218L-WR subwoofers. The PA is powered by Powersoft Unica 12K and 16K amplifiers.
The largest array measures 27 ft in length and weighs approximately 8,400 lbs, while the smallest stands at 7.5 ft tall and weighs approximately 2,500 lbs. Due to this substantial weight, the stadium’s location in Santa Clara, California - which is on the San Andreas Fault and can cause significant earthquakes - combined with venue’s open-air design, CGI developed custom exoskeleton-style rigging frames to ensure structural integrity and seismic resilience.
Each array was pre-mounted at fixed angles and assembled in the stadium parking lot using truss-built gantries, chain motors, and forklifts before being hoisted by crane into trolley beams inside the scoreboard, again secured with seismic bracing. The system was also pre-wired in advance to streamline the installation process and minimize disruption.
In addition to the bowl upgrade, CGI installed a new DiGiCo Quantum 338 console and a Shure Axient IEM system in the stadium’s audio control room, while also redesigning patch bays to improve overall audio signal flow throughout the venue.
“The local Sound Image integration team, based in San Francisco, assisted wonderfully in a tight time frame”, Normandale notes. Close coordination between CGI, specialist rigging contractor RIG, and Levi’s Stadium on-site Superintendent, Ben Adams, ensured the project was completed safely and on schedule for the football season.
(Photos: Clair Global)
San Franciscos Castro Theatre mit Kino- und Konzertsystemen von Meyer Sound ausgestattet
Nach einer zweijährigen Renovierung wurde das Castro Theatre, seit mehr als einem Jahrhundert ein Film- und Kulturwahrzeichen von San Francisco, im Februar 2026 mit neuer technischer Infrastruktur wiedereröffnet. Während es zuvor überwiegend als Kino genutzt wurde, fungiert es heute auch als Venue für Live-Musikveranstaltungen.
Als Teil der Neuerungen stellte Meyer Sound zwei Audiosysteme bereit: ein Astrya-Kinosystem und ein Leopard-System für Live-Performances, die gemeinsam nahtlose Übergänge zwischen Kino- und Konzertbetrieb ermöglichen. Unterstützt wurde das Theater von Another Planet Entertainment, die den Betrieb verantworten und die Erweiterung um Live-Musikformate maßgeblich vorangetrieben haben.
„Das Castro beinhaltet jetzt ein 7.1-Surround-System mit Meyer-Sound-Kinolautsprechern, die weltweit größte digitale Symphonieorgel und ein einzigartiges Meyer-Sound-Konzert-PA-System“, sagt Mary Conde, Senior Vice President bei Another Planet Entertainment. Jede Designentscheidung sei zwei Prioritäten gefolgt: betriebliche Flexibilität und respektvoller Umgang mit der historischen Architektur des Theaters.
Die Meyer-Sound-Lösungen wurden von UltraSound bereitgestellt. „Zusätzlich haben wir die Performance-Systeme installiert und beide Systeme in Betrieb genommen“, sagt Josh Osmond, Director of Operations bei UltraSound. „UltraSound wird zudem als Audio-Manager des Venues fungieren: Wir stellen Personal und betreiben das System für alle Performances.“
Im Mittelpunkt des neuen Kinosystems stehen drei Astrya-140-Screen-Channel-Lautsprecher und dreißig Ultra-X20-Point-Source-Lautsprecher als Surrounds. Unterstützt wird das System von zwei 2100-Low-Frequency-Control-Elementen und der Galileo-Galaxy-408-Netzwerkplattform.
Das Live-Performance-System basiert auf zwölf geflogenen und kompakten Leopard-Line-Array-Lautsprechern und zehn 900-Low-Frequency-Control-Elementen pro Seite. Fünf Ultra-X40 werden als Fills und sechs Ultra-X20 als Frontfills eingesetzt. Die Balkone beschallen drei weitere Ultra-X40. Die gesamte Signalverarbeitung erfolgt über zwei Galileo-Galaxy-816-Netzwerkplattformen.
Im Rahmen der Renovierung wurde auch die Orgel des Theaters erneuert. „Wir nutzen die Meyer-Sound-Surround-Lautsprecher als Teil des neuen Orgelsystems“, so Hunter. „Dank einer neuen versenkbaren Bühne können wir Orgelkonzerte durchführen und schnell zwischen Kinobetrieb und Live-Events wechseln.“
(Foto: Joshua Withers)