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Installationen News
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Alfatron Electronics brings enhanced learning capabilities to Eastern Washington University
25/11/2024
SML picks Anolis for Hordern Pavilion
14/11/2024
Philharmonie Luxembourg Concert Hall upgrades to L-Acoustics K3 concert sound system
In the international banking quarter of Kirchberg lies the Grande-Duchesse Joséphine-Charlotte Concert Hall, commonly known as The Luxembourg Philharmonie, designed by Christian de Portzamparc and opened in 2005. The Philharmonie hosts nearly 400 performances annually, including classical, jazz, world music, and more.
The venue’s programming versatility is mirrored in its fluctuating audience capacity, encompassing three performance spaces, including the principal Grande Auditorium which can accommodate anywhere from 400 to 1,500 spectators, depending on its configuration. As the demands of contemporary performance continue to evolve, so does the need for audio technology able to reinforce the variety of performances the Philharmonie hosts throughout the year. Therefore, the venue recently upgraded to a new L-Acoustics K3 concert sound system.
The Luxembourg Philharmonie and L-Acoustics share a long-standing relationship, with the venue already featuring an L-Acoustics dV-DOSC installation. In 2022, wishing to upgrade its sound system, L-Acoustics K3 was chosen during a competitive selection process. L-Acoustics Certified Provider Distributor Babbel & Haeger supported Luxembourg-based events management service provider Pro Musik during the installation process.
The system comprises two hangs of nine L-Acoustics K3 per side, with six KS21 subwoofers providing low-end extension, covering both the main floor and the balcony seating areas without obstructing sightlines. Near-fill is accomplished with two A10 Focus and two A10 Wide. Front-fill is handled by four X8, and the entire system is powered by LA4X amplified controllers. Calibration was managed by Sebastian Wittrock and Christian Schmid from L-Acoustics.
(Photos: Die Videocrew)
Showtec- und Infinity-Beleuchtungselemente in Midden Nederland Hallen installiert
Next Venue hat vor kurzem eine Beleuchtungsinstallation in der Eingangshalle der Midden Nederland Hallen im niederländischen Barneveld fertiggestellt. Das Gewächshaus im Eingang des Veranstaltungsortes, das Teil der Floriade 2022 war, ist jetzt ein 6.000 m² großes Foyer mit einer Mischung aus natürlichem Licht, Einbauten und energieeffizienten Lösungen.
Die Installation besteht aus 100 Infinity-Raccoon-Junior-P7/4-Leuchten, die jeweils mit einem 40-Grad-Filter ausgestattet sind und strategisch im Tragwerk des gläsernen Lichthofs angebracht wurden. Im Foyer 2 wird die Beleuchtung mit einem Showtec-TR-512-Pocket-DMX-Controller gesteuert, der durch eine Showtec-Wand-Fernbedienung für TR-512 Install/Pocket ergänzt wird, welche an einem beliebigen Ort installiert werden kann. Auch das Foyer 1 und das Restaurant sind mit zwei TR-512-Pocket-DMX-Controllern ausgestattet, die mit Wand-Fernbedienungen verbunden sind.
Showtec-Booster-4-Install-DIN-Schienen-DMX-Booster wurden in den Kabelkanälen installiert, während ein Showtec-DMX-Merge im Foyer 1 für eine reibungslose Datenverarbeitung sorgt. Die Installation ist außerdem mit Kabeln von DAP ausgestattet. Die Installation wurde vom hauseigenen AV-Team von Next Venue durchgeführt.
(Fotos: Highlite/Midden Nederland Hallen)
Fabrik Potsdam investiert in Material von Elation und LSC Control Systems
Die Fabrik Potsdam - Internationales Zentrum für Tanz und Bewegungskunst - ist ein Haus für professionelle Tänzer und Tanzkompanien und generell eine Location für Tanzliebhaber. Sie schafft einen Ort für Künstler zum Arbeiten, Lernen, Lehren, Forschen, Proben, Aufführen und Austauschen.
Das Haus selbst verfügt über mehrere Bühnen und bespielt zusätzlich auch den Fabrikgarten sowie teilweise andere Bühnen in Potsdam. Mit den Potsdamer Tanztagen veranstaltet die Fabrik Potsdam außerdem eines der europaweit führenden Festivals für zeitgenössischen Tanz. Zudem finden regelmäßig Konzerte im Haus statt, etwa im Rahmen der Jazzoffensive.
Um den steigenden Ansprüchen gastierender Tanzkompanien gerecht zu werden, rüstete die Fabrik Potsdam im Frühjahr 2024 im lichttechnischen Bereich mit über 100 Scheinwerfern von Elation sowie sechs APS-Powermanagement-Systemen von LSC Control Systems nach: 32 Elation KL Profile FC, 25 Elation KL Fresnel 8 FC, vierzig Elation ArenaZoom Q7IP und sieben Elation Fuze Profile kommen seither - teilweise fest installiert, teilweise mobil - zum Einsatz.
Ralf Grüneberg, technischer Leiter der Fabrik Potsdam, erläutert: „LED-Beleuchtung ist mittlerweile eine Standardanforderung internationaler Dance Companies. Bisher haben wir die entsprechenden Lampen nach Bedarf gemietet. Mit Hilfe von Fördermitteln war es uns nun jedoch möglich, in eigenes Material zu investieren.“
Bei der Recherche und Auswahl geeigneter Scheinwerfer habe man sich auch in anderen Häusern der Stadt umgeschaut: „Wir bespielen mit den Tanztagen vier bis fünf Häuser sowie verschiedene Open-Air-Bühnen“, so Grüneberg weiter. „Daher macht es Sinn zu schauen, was die anderen einsetzen, um einerseits untereinander kompatibel zu sein und sich andererseits auch gegenseitig Material leihen zu können. Die KL Fresnel hatten wir uns beispielsweise zunächst vom Trollwerk und T-Werk geborgt und dabei gemerkt, dass sie für unsere Zwecke sehr gut geeignet sind. Flexibles Weißlicht war uns besonders wichtig.“
„Wir denken nachhaltig und suchen Partner, mit denen wir dieses Ziel erreichen können“, fährt er fort. „Die LMP-eigene Service-Werkstatt spielte also eine Rolle für unsere Kaufentscheidung. So sind wir sicher, defekte Lampen im Zweifel reparieren zu können oder sogar mal eine LED-Engine tauschen zu lassen.“
Fest verbaut sind aktuell 25 Elation KL Fresnel 8 FC (als Matrix installiert) und zwölf Elation Fuze Profile. Mit Letzteren war das Team der Fabrik Potsdam bereits vertraut, da sich schon seit längerer Zeit fünf Geräte im eigenen Bestand des Hauses befanden. „Mit dieser Installation haben wir nun Top- und Frontlicht aus einer LED-Engine, die entsprechend harmonisch wirken und problemlos an gastierende Techniker übergeben werden können“, sagt Grüneberg. „Wir wünschten uns grundsätzlich eine möglichst einheitliche Lampenphilosophie für unser Haus.“
Die 32 KL Profile FC werden ergänzend als Seitenlicht oder für Spezialaufgaben eingesetzt und immer wieder umgehängt. Die vierzig wetterfesten (IP65) LED-PARs ArenaZoom Q7IP kommen nach Bedarf mobil im Innen- und Außenbereich zum Einsatz.
Auf die Frage, worauf es bei der Beleuchtung von Tanzinszenierungen grundsätzlich ankommt, antwortet Grüneberg: „Die Ansprüche an Tanzbeleuchtung sind noch höher als im Theater, denn hier stehen Körper und Körpersprache im Mittelpunkt. Mit Hilfe von Licht entstehen die Bühnenbilder, wobei man mitunter auch gekonnt Dinge ‘wegleuchten’ muss, um andere zu betonen. Tanz lebt von Beleuchtung. Deshalb haben die tourenden Tanzkompanien längst auch eigene Lichtgestalter und -techniker dabei.“
Zur Steuerung und als Sicherheit für die neu beschafften LED-Scheinwerfer entschied sich das Technik-Team der Fabrik Potsdam für sechs LSC-APS-12/16A-Stromverteilungen.
(Fotos: Fabrik Potsdam)
Renkus-Heinz modernizes sound at Toronto’s Convocation Hall
The University of Toronto’s Convocation Hall is a historic venue with a unique circular design. It hosts the annual convocation ceremonies and serves as the University’s primary venue for academic and social functions due to its seating capacity of over 1,700. Plagued by challenging acoustics, the hall’s reflective surfaces introduced significant complications, particularly for speech intelligibility.
The previous sound system in Convocation Hall, an aging column array, was no longer effective - lacking the clarity needed for speech reinforcement in such a large, reverberant space. Renkus-Heinz was identified as a choice to tackle these challenges, particularly their Iconyx line of loudspeakers, known for their advanced beam-steering technology.
“The architecture of the room creates multiple reflections and delayed arrival times, complicating the listening experience”, explains John Busza, systems designer at Global USS, the project’s integrator. “We needed a speaker solution that not only provided high intelligibility but also utilized the existing cabling and infrastructure.”
As Convocation Hall is a heritage building, any new equipment also had to blend seamlessly with its historical interior. “Renkus-Heinz’ Iconyx speakers can be custom color-matched, which we did for this project”, notes Busza. “Architects and interior designers often don’t want the speakers to be seen at all, and with Iconyx, that’s possible.”
For the Convocation Hall project, two Iconyx IC32 arrays were installed, positioned about twelve feet above the stage. Each array contains 32 custom 4-inch coaxial drivers, powered by 32 separate amplifier channels, all controlled through advanced digital signal processing (DSP). This setup allows for precise steering of sound to specific areas of the hall.
“The IC32s allow us to target specific areas, such as the main floor or the two balcony levels, without overpowering the room”, says system commissioner Arthur Skudra, who worked alongside Global USS on the project. “This precise control is key in a reverberant environment like Convocation Hall, where too much sound energy can create more problems.”
While the primary use of the Iconyx system is for spoken-word presentations, the system is also capable of providing audio for musical performances and multimedia presentations. The Iconyx IC32 arrays were integrated with Dante digital audio networking.
According to Busza, Contact Distribution, Renkus-Heinz’s local distributor, turned out to be helpful in the course of this project as well: “The Contact team was always there to support us, from design to install planning and commissioning”, he says concludes.
(Photos: Renkus-Heinz/Global USS/University of Toronto)
Tateside supports modern student living concept at Urbanest Battersea
A chain of modern student accommodations in London, Urbanest recently completed its latest development in the shadow of the Battersea Power Station. A PassivHaus construction, this sustainable, self-sufficient student living concept required a suitably smart AV solution to enhance communal spaces across the property.
Having previously worked with Urbanest on other sites across the capital, including Kings Cross and Westminster Bridge, London-based AV integrators Tateside were called upon to lead the technology integration across the Battersea project, from the initial design through to implementation along with ongoing site servicing and maintenance.
“The project represented an interesting opportunity to design and implement a lot of different AV technology, from digital signage to meeting room solutions”, says Ben Landi, Project Manager at Tateside. “Overall, the project encompasses a cinema room, gym and yoga studio, three meeting rooms, a lecture space, plus digital signage and background audio throughout.”
Students staying at Urbanest Battersea have access to a communal cinema room. To provide a big-screen experience, a 77-inch Panasonic OLED display with integrated soundbar was installed. “Students can bring their own devices, be it a PlayStation or a laptop, and plug them into the HDMI plate”, says Landi.
For the onsite gym and yoga studio, Tateside deployed three pairs of Bose DM3SE surface-mount loudspeakers in the training area and two pairs in the studio, with input through Audac Bluetooth plates. “It’s a one-touch setup”, says Landi. “Students can connect their phones and play their own music, making it feel more personal, and more like home.”
The Urbanest student experience includes a purpose-built lecture hall, where residents can hold group discussions and share presentations. Here, an Epson projector with a wide throw lens allows for large-scale visuals, with seamless content switching for user inputs via a Blustream HDMI wallplate and Blustream HDBaseT receiver. The 20,000-lumen projector overcomes the challenges of ambient lighting in the space.
A total of three meeting rooms provide videoconferencing facilities for both students and staff at Urbanest. In the two student-facing rooms, Cisco Webex Room Bars were installed to support the BYOD capability. “Using the BYOD cable, users can start a meeting on their laptop and use the built-in peripherals in the RoomBar”, says Landi. “Alternatively, if they have an existing meeting set-up, they can use the technology in the room and join on their preferred meeting platform using the on-desk Cisco Touch Panel.” In the staff meeting room, a Microsoft Teams ecosystem was requested to ensure compatibility with their preferred video conferencing platform.
Throughout Urbanest Battersea, digital signage was installed in the various communal areas, including lift lobbies and reception spaces to display community announcements and eco-statistics on sustainability achievements related to the PassivHaus standards. The signage content is managed internally by Urbanest using a Tripleplay system, whilst Tateside specified and installed the screens and managed the network infrastructure, choosing Samsung QM displays to ensure 24/7 signage without screen burn.
Upon entering the building, residents and visitors are greeted by background audio via three pairs of Bose DM5P pendant loudspeakers. “The Bose pendants matched the pendant lights in reception perfectly”, says Landi. “As with all the audio at Urbanest, these are powered by Bose PS404D amplifiers, with Dante built in to facilitate networked audio.”
(Photos: Tateside/Urbanest)
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Teatro Real erweitert Audioproduktion mit Lawo-IP-Infrastruktur
Das im Herzen Madrids an der Plaza de Oriente gelegene Teatro Real, das 2021 als bestes Opernhaus der Welt ausgezeichnet wurde, hat mit der Installation immersiver Audiotechnologie von Lawo unlängst ein technisches Upgrade erhalten, um den Anforderungen moderner Produktionen - Opern, Konzerte und Ballettaufführungen - gerecht zu werden.
Das Teatro Real entschied sich für AoIP-Lösungen von Lawo und erwarb mc²-Mischpulte, Stageboxen, die Home-Plattform und Routing-Einheiten des Herstellers aus Rastatt. Die Installation verantwortete Systemintegrator und Technologiepartner Telefónica, der mit einer Cisco-Lösung auch die Netzwerkinfrastruktur bereitstellte.
Zu den zentralen Audiokomponenten des neuen Equipments zählen zwei mc²56-MkIII-Pulte mit 32 Fadern und ein mc²56 MkIII mit sechzehn Fadern, deren Leistung auf sechs redundanten A_UHD-Core-Audio-Processing-Engines mit je 1.024 DSP-Kanälen basiert. Durch die nahtlose Integration eines Waves-SoundGrid-Servers bieten sie Zugriff auf die Plug-in-Bibliothek von Waves für Echtzeit-Signalverarbeitung. So können Toningenieure Reverbs, Multi-Tap-Delays, grafische Equalizer und Multiband-Kompressoren direkt über die Tastatur und den Touchscreen der Konsole steuern. Alle Plug-in-Einstellungen können gespeichert und mit den Snapshots der Konsole abgerufen werden.
Lawo A_Stage64/80-Stageboxen garantieren die Einbindung der Konsolen in die bestehende Audio-Infrastruktur. Diese Kombination und die Integration über Lawos Home-Management-Plattform für IP-basierte Medieninfrastrukturen gewährleistet die nahtlose Kommunikation und Verteilung der Audiosignale über die gesamte Infrastruktur des Teatro Real. Die Installation verfügt über Pultspiegelung und Signal Ownership.
(Fotos: Lawo AG)
Hans Otto Theater Potsdam vollzieht Umstieg auf LED-Technik mit ETC
Die Ursprünge des Hans Otto Theaters in Potsdam reichen zurück bis zum Ende des 18. Jahrhunderts. Das ehemalige „Königliche Schauspielhaus“ hat seitdem verschiedene Namen an unterschiedlichen Adressen getragen. Seit 2006 setzt nunmehr ein spektakulärer Neubau am Potsdamer Havelufer mit facettenreichem Programm unüberhörbare Akzente im deutschen Kulturbetrieb.
Das Hans Otto Theater, das ehemalige „Königliche Schauspielhaus“, dessen Ursprünge bis zum Ende des 18. Jahrhunderts zurückreichen, ist seit 2006 in einem Neubau am Potsdamer Havelufer beheimatet. Um Energie- und Scheinwerfer-Nebenkosten, etwa für Leuchtmittel und Farbfilter, zu senken, ist das Haus jetzt auf LED-Lichttechnik umgestiegen. Zur Ausstattung gehören Lichtsysteme von ETC, unter anderem Fos/4-Fresnel-X8-Scheinwerfer und Apex-Konsolen.
„Ein großes Augenmerk lag auf der Farbwiedergabe bzw. Farbechtheit“, erklärt Christian Wiesniewski, Leiter der Beleuchtungsabteilung des Hans Otto Theaters. „Außerdem sollte der Scheinwerfer so leise wie möglich sein. Mit den Fos/4 Fresnel von ETC können wir das umsetzen.“
Wiesniewski sei vor allem von der stufenlosen Einstellung von Kalt- zu Warmweiß und dem „Color Cross Fade“-Kanal der Geräte überzeugt. Letzterer „ermöglicht es uns, schnell satte bunte Farben einzusetzen, ohne mehrere Geräte einzuleuchten“, sagt er. Bezüglich des X8-Farbmischsystems fügt er hinzu: „Bei uns im Theater ist es wichtig, dass die beleuchteten Darstellenden auf der Bühne nicht fahl, blass oder gar kränklich wirken. Mit den Fos/4 können wir natürliche, lebensechte Hauttöne kreieren.“
Zum technischen Upgrade, bei dem das Haus von ETC-Vertriebspartner Trendco unterstützt wurde, gehören auch zwei ETC-Apex-Konsolen: eine Apex 5 und eine Apex 10. „Neben dem Vorteil, dass wir auf allen unseren Bühnen die gleiche Pultfamilie verwenden, ist es ein entscheidender Pluspunkt, dass wir seit der Umstellung auf die Eos-Familie nur noch mit einem USB-Stick auf Gastspielreise gehen können“, sagt Wiesniewski mit Hinweis darauf, dass viele der Spielorte ebenfalls mit der Eos-Familie arbeiten würden. Darüber hinaus wünschte sich Wiesniewski eine Konsole, die „jetzt schon für zukünftige Anforderungen in der Bühnenbeleuchtung vorbereitet und hardwaretechnisch anpassbar ist mit der Gadgetgarage.“
Auf ein Shootout vor dem Kauf der neuen Konsolen wurde im Hans Otto Theater verzichtet, da dort seit vielen Jahren mit ETC-Konsolen gearbeitet wird. „Für uns ist es wichtig, dass die Operatoren an den Pulten sicher und effektiv arbeiten können. Das funktioniert nur, wenn wir bei den Konsolen sortenrein bleiben“, so Wiesniewski abschließend.
(Fotos: Thomas M. Jauk/Prof. Dieter Leistner)
Il T Quotidiano Arena erhält Beschallungsanlage von dBTechnologies
Die Il T Quotidiano Arena (früher PalaTrento), eine Sportarena im italienischen Trient und Heimat der regionalen Volleyball- und Basketballclubs, ist durch eine Renovierung und die Installation einer neuen Beschallungsanlage zu einem Multifunktions-Venue geworden.
Im Rahmen eines Innenraum-Upgrades, das mehrere technische und architektonische Aspekte umfasste, wurde ein Austausch und eine Neugestaltung der bestehenden Beschallungsanlage erforderlich, um die akustische Abdeckung in der Arena zu erweitern und neue Veranstaltungen zu realisieren. Das Renovierungsprojekt unter der Leitung von Architektin Eleonora Strada verantwortete das Unternehmen Mountech, das die Audiotechnik für Spielfeld und Tribünen neu konzipierte und Produkte von dBTechnologies installierte.
Um die gewünschte Sprachverständlichkeit und Musikwiedergabe zu gewährleisten, entschied sich das Planungsteam rund um Elettroteam und Liriti Srl für aktive Vio-X206-Line-Array-Module. Unter der Decke der Arena wurden über dem Spielfeld vier Einheiten der Vio X206 mit 90° x 60° installiert. In dieser Konfiguration bieten die Vio X 206 ein gedrehtes Horn und können so als Point-Source-Quellen installiert werden.
Längs des Spielfelds sind auf jeder Seite zusätzlich vier Line Arrays mit je fünf Einheiten Vio X206 unter der Decke installiert, um die Tribüne zu beschallen. Ebenfalls an den Längsseiten des Spielfelds platzierte das Team je Seite zwei Line Arrays mit je zwei Einheiten der Vio-S115-Subwoofer (geflogen). An den Stirnseiten des Spielfelds ergänzen je Seite zwei Line Arrays, bestehend aus je vier Vio X206 plus je einem Vio S115 (ebenfalls geflogen) die Installation. Für die akustische Abdeckung der obersten Tribünenplätze und der Stehplätze dienen zusätzlich vier passive IS-210-Line-Array-Einheiten, die durch zwei IA504-Class-D-Verstärker gespeist werden.
„Ausgehend von einem rein akustischen Sounddesign, mussten wir die Positionierung der Audiokomponenten in Bezug auf die Lichtinstallation der Arena sorgfältig abwägen“, sagt Nicola Volpato, Projektleiter bei Mountech. „Die Position der Beleuchtung und aller für die Videoübertragung vorgesehenen Bereiche wurde gesondert erfasst und die Positionierung der Beschallungskomponenten darauf abgestimmt.“
Die Anforderungen an die Beschallung entsprachen zunächst denen einer typischen Sportarena. Nach der Erneuerung der technischen Ausstattung bietet die Il T Quotidiano Arena jetzt zusätzlich zu den sportlichen Veranstaltungen auch kulturellen Events das benötigte Equipment sowie weitere Technik, um die Events auch nach extern zu übertragen.
(Fotos: dBTechnologies)
Hollands größtes Theaterhaus investiert in ETC Prodigy P2
Die Nationale Opera & Ballet (NO&B) in Amsterdam repräsentiert das größte Theaterproduktions-Haus der Niederlande. Zu der Spielstätte gehört auch das Studio Boekman, einst ein ehemaliger Gemeindesaal und jetzt eine moderne Blackbox-Theater-Location.
Für einen reibungslosen Ablauf im Studio Boekman sorgen dreizehn automatisierte und mit Foundation-Steuerung ausgestattete ETC-Prodigy-P2-Seilzüge. Zudem wurden 32 Scheinwerfer der ColorSource-V-Reihe von ETC im Studio-Theater installiert.
„Wir haben uns verschiedene Systeme angeschaut, doch die anderen haben nicht den geforderten Sicherheitsregularien entsprochen - Prodigy dagegen ist vollständig EU-zertifiziert und lässt sich dazu nicht nur von vollzertifiziertem Personal bedienen, sondern von allen Technikern“, kommentiert Pieter Huijgen, Technischer Direktor NO&B, die Investition in die Prodigy-P2-Seilzüge.
Antrieb und Steuerung der Seilwinden übernimmt ein ETC-Foundation-Touchscreen-Controller. Um die gewünschte Flexibilität zu ermöglichen, wurden doppelte Plug-in-Steuerungspunkte installiert. „Somit lässt sich das Foundation-Pult mit seinem fünfzehn Meter langen Kabel an jeder beliebigen Position platzieren“, erklärt Enrico Nobile, ETC European Rigging Sales Manager.
ETC-Händler Ampco Flashlight Sales stellte das Equipment bereit und war an der Installation beteiligt. Zum Lieferumfang gehörten - neben den dreizehn Prodigy-P2-Seilwinden (in 300-Kilogramm-Hublast-Ausführung) - zwanzig ColorSource-Spot-V- und zwölf ColorSource-Fresnel-V-Scheinwerfer.
(Fotos: Fabian Callis/ETC/Opasna Randev)
Copenhagen’s Grand Joanne Hotel upgrades with Genelec Smart IP solution
Grand Joanne Hotel, located just a short walk from Copenhagen’s Tivoli Gardens, has 162 rooms, spread across six floors, and is also home to Joanne’s, a restaurant serving modern Italian dishes from breakfast through dinner, and a rooftop bar on the sixth floor.
Reopened with a fresh vision from hospitality specialists Midstar AB, the hotel blends heritage, lifestyle, fashion, and design within a restored 19th-century building. At the heart of its new chapter is a Smart IP loudspeaker solution from Genelec. Consultancy and integration firm Effektgruppen was tasked with bringing Midstar’s vision to life.
“Initially, we designed custom loudspeakers that blended with the décor, but it quickly became clear that while they looked great, the sound quality wasn’t up to par”, reports Fredrik Nordström, project manager at Effektgruppen. “So we decided to switch to Genelec’s Smart IP networked loudspeaker technology.”
The Smart IP system comprises 26 of the compact 4420 loudspeakers, 29 of the slightly larger 4430 models, plus seven 7050 studio subwoofers. These are strategically placed in all public areas, including the lobby, meeting rooms, restaurant, bar and gym. “Music is central to the ambience at Grand Joanne, and it’s reflected in every aspect of the hotel”, says Nordström. “Each Smart IP loudspeaker operates on the network as an independent unit, allowing us to tailor the sound in each environment with precision.”
“In the lobby, we installed eleven Genelec 4420 Smart IP loudspeakers paired with two 7050 studio subwoofers”, details Nordström. “This same attention to audio quality extends to the bar and restaurant. Joanne’s features eight 4430 loudspeakers and one 7050 subwoofer, providing background music for daily service or live events, while the adjacent bar is equipped with seven more 4430s plus another 7050 subwoofer.”
“The whole system is built on a Dante network with sound distribution run via a DSP from BSS”, he adds. “We used Genelec’s Smart IP Manager software to individually calibrate and tweak the delay and EQ of every loudspeaker. We also created some custom touch panels at various points so that staff can adjust sound levels. This is particularly helpful in the gym and yoga studios, as all AV elements can be modified depending on the intensity of the class.”
(Photos: Genelec/Effektgruppen/Grand Joanne Hotel)
Alfatron Electronics brings enhanced learning capabilities to Eastern Washington University
Eastern Washington University (EWU) is a public polytechnic university that shares a location in Spokane, Washington, with Washington State University and has partnerships with various community colleges within the state of Washington. As part of its Hybrid Learning Project, EWU recently deployed a large amount of electronic equipment across 17 buildings and 85 classrooms, with the bulk of the equipment being drawn from the catalog of Raleigh, NC-based Alfatron Electronics.
Carl Combs, Classrooms and Labs Team Supervisor, Dave Stewart, Senior IT Audiovisual Design & Engineering Specialist, and Adam Klinger, IT/AV Specialist of the Classrooms and Labs Team, are the three key people at EWU who designed and oversaw the deployment of the new Alfatron equipment. Over a three-year period, the team began testing various hybrid learning solutions, after which they started implementing the various setups. The Alfatron products were gradually placed into service and after fine-tuning the system configurations, the equipment was deployed campuswide.
“We did not have a standard for in-room video conferencing prior to Alfatron”, says Carl Combs. “Before Alfatron, we would temporarily set up webcams, Logitech Group systems, and/or Logitech Meetups in the various classrooms, conference rooms, and meeting spaces. Installing Alfatron technology was a great solution from an engineering perspective - only two ethernet cable runs were needed for each camera, providing power, video, and IP control. We did not need to involve our Electrical Shop and/or external electrical contractors. The combined Alfatron-Extron classroom control system integration proved successful.”
“The Alfatron equipment is used for hybrid distance learning classes, Zoom meetings, live and recorded sessions of professors’ lectures, student presentations, VIP meetings, guest presenters, in-house staff employee training, and more”, adds Dave Stewart. “We implemented 5x, 10x, 20x, and 30x zoom cameras for rooms of various sizes (classrooms, conference rooms, meeting rooms). FOV (Field Of View) was important to factor in during the engineering phase. The 5x cameras were implemented where a wider FOV was needed (primarily front of room cameras). The 10x, 20x, and 30x cameras were implemented where additional magnification was needed.”
Adam Klinger shares his perspective on the Alfatron switchers that were installed: “The ALF-SCK41TS has enabled professors and presenters to share different cameras and camera views. We utilized the IP control of the ALF-SCK41TS to integrate into Extron systems. From the Extron touch panel, we can select to view either the front or back camera or combine the cameras into different views like PIP (Picture in Picture) and Side by Side view - using both front and back cameras. The cameras have location presets which have been helpful for quickly changing views to show different locations in the room, like whiteboards and teaching materials.”
Stewart also discusses how the ALF-TPBK70R HDBaseT receivers were integrated into the systems: “These receivers, along with the HDBaseT cameras, enabled us to eliminate a transmitter and dedicated power at each camera location, all while extending the HDMI video signal longer distances. Our initial testing with USB extenders and cameras was not as successful for long distance runs.”
“We started looking into different hybrid learning camera solutions and had to find something that was easy, facilitated longer cable/HDMI signal runs, and did not require electricians”, concludes Klinger. “One Diversified, a systems integrator EWU frequently uses for projects of all sizes, recommended looking into Alfatron Electronics. Kevin Gelman at Alfatron has been invaluable to our process for knowledgeable support and troubleshooting.”
Pictured (left to right): Adam Klinger, Carl Combs, and Dave Stewart. (Photo: Alfatron Electronics/Eastern Washington University)
Club Citta chooses DiGiCo Quantum 338 for sound system refurbishment
Club Citta in Kawasaki, Japan, has seen historic performances from Nirvana, Oasis, Radiohead and many more, and is a popular stop for many Japanese and international touring bands. The input from touring engineers was enough to convince Toru Yamamuro (pictured), General Manager of Stage Production at Club Citta, that their planned console upgrade should be to a DiGiCo Quantum 338.
“We introduced our SD8 back in 2012, updating the SD with a 32-bit card in 2019, so when the time came to upgrade our system, we asked various people about the Quantum and the feedback was very good”, says Yamamuro. “We also received enquiries from overseas artists who wanted to use the Quantum 338, so we had a strong desire to install it ourselves, and we were able to make it happen.” The installation was completed in June 2024.
“With the addition of Mustard Processing and Spice Rack, plus the increase in EQ parameters, there are many more points at which you can process the sound”, continues Yamamuro. “I like the Mustard Processing, especially the vintage VCA Compressor, which feels like a DBX, it has a similar effect to the 1176. With the Quantum 338, I can apply EQ and compression while I’m mixing.”
“We have a Dante card installed”, he adds. “In the SD8 days, we sometimes recorded live performances using MADI and then recorded them again using Dante on the monitor desk. But now that the Quantum 338 has a Dante card installed, we can record live performances using just this.”
(Photos: Club Citta/DiGiCo)
Plainfield High School installs Pliant Technologies intercom solutions
With the help of PureTek Group, provider of technology solutions for educational spaces based out of Boonton, New Jersey, Plainfield High School recently completed a major renovation to its auditorium, along with the addition of two new spaces - an eSports gaming arena and a black box theater. To provide clear communication between those disparate parts of the school, Plainfield High School, along with PureTek, turned to Pliant Technologies’ CrewCom professional wireless intercom system.
“We chose Pliant to help orchestrate what could be a very chaotic experience”, says Dan Litvin, Co-Founder and President of PureTek Group. “The CrewCom system is used extensively throughout the school and produces unified performance, from standard backstage theatrical production applications, to managing cameras, lighting and audio from room to room at a distance.”
Since the upgrade, the school’s intercom system consists of various Pliant solutions, including one CrewCom 2+2 Control Unit (CCU), three CrewCom 900 MHz Radio Transceivers (RTs), seven CrewCom 900 MHz 2-Volume/2-Conference Radio Packs with seven SmartBoom Pro single-ear headsets, along with other accessories, such as Pliant’s 6+6 Drop-In Radio Pack and Battery Charger, as well as 48 V DC Power Supply cords.
At Plainfield High School, the new auditorium and black box theater are directly next to each other, while the eSports arena was constructed out of two adjacent classrooms on the opposite side of the school. Due to this distance, a substantial benefit of Pliant’s CrewCom system is its coverage capabilities. “The eSports arena has only enough space for gamers and coaches, so for tournaments, the auditorium serves as a viewing area for audiences”, says Litvin. “To achieve a collaborative performance, communication is key. With Pliant, production personnel at the school are able to communicate clearly from the eSports arena all the way to the backstage booth in the auditorium.”
The ability to have multiple channels is one of the CrewCom features. “This has been convenient for this installation because when the operators in the booth and the auditorium are trying to speak both backstage and to the broadcasting person in eSports, it’s nice to be able to switch between feeds and have single conversations”, says Litvin. In addition, the school intends on renting out their facility to touring groups, lectures, corporates, etc. in the future.
(Photos: Plainfield High School/Pliant Technologies/PureTek Group)
Arena Wien installiert neues Meyer-Sound-System
Die Arena Wien ist Österreichs größtes alternatives Kultur- und Kommunikationszentrum. Um den neuesten akustischen Anforderungen gerecht zu werden, wurde der Außenbereich in diesem Jahr mit einem Meyer-Sound-Beschallungssystem aus Panther-Line-Array-Lautsprechern und 2100-LFC (Low-Frequency Control)-Elementen ausgestattet. Ziel war die Verbesserung des Publikumserlebnisses bei gleichzeitiger Reduzierung der Lärmbelastung für die Anwohner.
Die Arena verfügt über mehrere Zonen, die für eine Reihe von Veranstaltungen und Zuschauerzahlen von bis zu 1.000 Personen indoor und 3.000 Personen outdoor geeignet sind. Im Außenbereich finden vor allem im Sommer Konzerte und Festivals statt. Über die letzten Jahre hinweg wurden in der Nähe des Veranstaltungsortes mehrere Wohnkomplexe errichtet, seither führten vor allem nächtliche Open-Air-Veranstaltungen in der Arena vermehrt zu Lärmbeschwerden neuer Anwohner.
„Die Arena rechnete damit, dass die Beschwerden den Betrieb am bestehenden Standort nach österreichischem Recht gefährden würden“, sagt Manfred Prochazka, Geschäftsführer und Head of Audio beim Meyer-Sound-Partner Atec Pro, der seit zwanzig Jahren für die Lieferung von Audiolösungen für die Arena verantwortlich zeichnet. „Das Management trat an uns heran, um über ein neues Beschallungssystem zu sprechen, um die Lärmemissionen in Richtung der neuen Hochhäuser zu minimieren.“
Die Wahl fiel auf ein Panther-Line-Array-System, welches das ältere Milo-Soundsystem ersetzen sollte. Für das Systemdesign arbeitete Atec Pro mit Dennis Tholema, Technical Services Manager, International, und Michael Pohl, Technical Services bei Meyer Sound, zusammen. Getestet wurde das Set-up im Meyer Sound Mapp 3D System Design & Prediction Tool.
Anschließend präsentierte Atec Pro dem Arena-Team das Panther-System. Während der Präsentation führten ein Bauingenieur und die zuständige Stadtverwaltung Messungen durch. „Diese Messungen bestätigten die Vorhersagen aus dem Mapp-3D-Tool und zeigten, dass die Lärmemissionen wirksam minimiert werden konnten“, sagt Thomas Löffler, Head of Audio for All Sound and Technical Info für die Arena.
Im April 2024 wurde das Meyer-Sound-System unter der Leitung von Richard Redl, Projektleiter bei Atec Pro, in Zusammenarbeit mit Meyer Sound und dem Team der Arena Wien installiert und kalibriert. Es besteht aus jeweils neun Panther-Lautsprechern links und rechts, je sechs cardioid geflogenen 900-LFC pro Seite und neun 2100-LFC unter der Bühne. Das gesamte System ist über ein Milan-Netzwerk mit Galileo-Galaxy-Prozessoren verbunden.
„Die 2100-LFC-Subwoofer spielen eine Schlüsselrolle bei der Kontrolle der tiefen Frequenzen“, erklärt Löffler. „Strategisch unter der Bühne positioniert, reduzieren sie die tiefen Frequenzen nach links, rechts und hinten und verhindern so unerwünschte Schallemissionen in die angrenzenden Wohngebiete. Zusätzlich reduzieren die 900-LFC die Schallausbreitung nach oben.“
Ein kleines System aus zwei Ultra-X40 und einem 900-LFC am FOH, das genauso klinge wie das Beschallungssystem an der Bühne, ermögliche es zudem, Soundchecks ohne die Verwendung der Main-PA durchzuführen, um Anwohner auch tagsüber nicht zu stören. „Dieses Set-up ist so effektiv, dass gastierende Techniker nur selten glauben, dass die PA auf der Bühne während des Soundchecks ausgeschaltet bleibt“, so Redl.
(Fotos: Thomas Magyar Fotodesign/Arena Wien)
SML picks Anolis for Hordern Pavilion
The Hordern Pavilion in Sydney, often referred to as “The Hordern”, regularly hosts live performances, dance parties, sports tournaments, trade shows, conferences, and a variety of other events. Recently, the 5,500-capacity venue unveiled a new house lighting scheme featuring 46 Anolis Ambiane RGBW XPs, specified and installed by SimpleMotion Lighting (SML), a specialist in venue infrastructure lighting.
SML was approached by The Hordern’s operators, Playbill Venues, to reimagine the lighting of the venue. The aim was to replace the outdated halogen lighting system with a more modern, energy-efficient solution that would accommodate the diverse events that take place at the venue. SML worked in partnership with Jands, Anolis’ Australian distributor, with additional support from Eddie Galak, Business Development Manager of Architectural Lighting. The project was led by Jono Boer of SML, alongside Scott Hart. Together, they designed and implemented a lighting scheme centred around the Anolis Ambiane fixtures.
SML had to consider the venue’s flexible seating configurations - The Hordern can accommodate various setups, including all-standing formats for concerts and dance events. The lighting design includes twenty Ambiane fixtures rigged in the domed roof, four fixtures on each side of the room above the exits (for a total of sixteen), and an additional six fixtures covering the arches above the exits. Some of the lights are positioned where the previous lighting was located, while others are in new locations to align with the drape lines used to partition sections of the hall.
Custom plates and mounting brackets were fabricated to secure the fixtures to the ceiling and walls, with power supplies mounted on ceiling beam clamps. This task was completed with the help of rigging company Pollards. The Anolis fixtures are controlled via DMX and a Paradigm architectural controller, which also enables zone control. Touchscreen remotes allow for access and operation. While the primary use of the lighting system is for smooth and even white washes, the venue can be instantly transformed with full-colour lighting. Additionally, the new system reduces energy consumption.
Pictured (left to right): Jason Oxenham (Technical Manager, The Hordern), Jono Boer (General Manager, SML), and Scott Hart (Electrical Supervisor, SML). (Photos: Louise Stickland/Paul Clarke)
Phil Supple turns to Astera for Edinburgh International Festival’s opening event
UK-based lighting designer Phil Supple utilised 56 Astera Tubes - forty Titans and eight each Hyperion and Helios - to illuminate 137 windows across 57 rooms at the George Heriot School in Edinburgh, Scotland, for “Where to Begin”, the opening event of the 2024 Edinburgh International Festival (EIF).
This EIF production was created by Pinwheel and delivered in partnership with The Macallan, for which Supple worked closely with creative agency Pinwheel under the artistic direction of Katy Fuller and co-director Simon Sharkey, together with composer Roma Yagnik and video artists Yeast Culture.
“Where to Begin” celebrated Scotland’s heritage and mythology as well as the alchemy of invention. The event included an hour-long immersive pre-show experience based on “Rituals that Unite Us” - with fire performers and other live artists. For these two pre-show areas, sixteen Astera AX3s were among other lights deployed for subtle illuminations.
After this, people walked around to the back of the building and gathered to enjoy the projection/son et lumiere finale, with video content mapped and projected onto the school’s north facade by Graymatter Video. The “out-of-the-box” idea of illuminating all possible windows from inside the building was to bring an additional layer of depth and three dimensionality to the event.
The Astera Tubes were supplied by locally based lighting rental specialist Black Light, together with the event’s other lighting equipment. Supple and his team - including programmer Lawrence Stromski, production LX Andy Murrell and Black Light’s lighting crew of Tom Pritchard, James Froment and Jon Meggat, together with Yuetong Heather An and Olivia Charneux - carefully positioned the Astera Tubes in the assorted rooms, a process that took two days.
These were a mix of classrooms, staff rooms, common rooms, canteens, storage areas, etc., and in general the Tubes were positioned for producing a soft glow of luminance that would radiate out through the windows. Sometimes they were rigged on bookshelves, desks, on chairs or tables set up in the middle of the room or on the floor.
Helios were also used in former gas lanterns on the exterior of the building to add a warm lantern-like glow. The total pixel count was 890. Some of the larger rooms would have two Hyperion Tubes set up to throw light out of six or eight windows, while some of the smaller spaces would be illuminated with a single Helios tube.
All the fixtures were powered locally via single power supplies plugged into 13-amp sockets, with data running via a Lumen Radio network. All the Astera products on the show were run in multi-pixel CRMX2-mode, using four Lumen Radio Aurora transmitters, one for each facade of the building.
The complete Astera setup comprised four DMX universes out of ten in total on the show, with the 400 timecoded lighting cues programmed on a GrandMA2 console and combined with video and sound production cues during playback which was from the QLab audio track controller.
Also instrumental to the success of “Where to Begin”, which played over three evenings attracting 3,000 people each night, were producer Holly Goodfellow, head of operations Dan Adams, technical production manager Al Pickard, and project coordinator Ellen Fernley.
(Photos: Jess Shurte/Phil Supple)
Historic Morecambe Winter Gardens reborn with audio from KV2
The Winter Gardens - located in Morecambe, Lancashire, England - was once the centrepiece of Morecambe’s illustrious entertainment scene. Opened in 1897 as a landmark of British architecture, it welcomed performances from The Who, Vera Lynn and many more, but was partly demolished in the early 1980s, leaving only the Victoria Pavillion Theatre standing.
Since 2006, the “Friends of the Winter Gardens” trust has worked to revive this Grade II listed building. In 2024, a £2.7 million restoration project was launched, funded by a grant from the Department for Culture, Media and Sport. A critical part of the restoration involved installing a sound system that could support the current events programme and expand as the venue grows. For this, KV2 Audio was chosen to play a key role in the theatre’s future.
“We needed to provide a good starting system for the trust, which could scale with the changing needs and capacity of the building”, says Rob Crossland, engineering manager at Adlib, the project’s integrator. “Despite being a 2500-capacity room, the current capacity is restricted to 400 by local authorities. The trust wanted a system that could cater to their present needs but also evolve with the theatre. Our goal was to cover the entire stalls area with as few loudspeakers as possible.”
Adlib specified two of KV2’s ESR215MkII full-range loudspeakers and an ESR3000 amplifier, ground-stacked on one-metre risers to provide front-of-house sound in a dual mono configuration. Control is managed by an Allen & Heath SQ5 console. “Despite the large space, just two ESR215MkII enclosures deliver excellent coverage, and the system’s smooth frequency response is ideal for theatre applications”, adds Crossland. “Plus, it’s future-proof - eventually, we can fly the system and add more components like subwoofers or delay speakers.”
Folk quartet Wayward Jane will be the first to test the new KV2 sound system at the Winter Gardens in November. It’s hoped that other acts will soon follow.
(Photos: KV2 Audio/Morecambe Winter Gardens)
New Robe lighting package installed at Poppodium De Bosuil
De Bosuil, a 850-capacity live music venue in Weert, southeastern Netherlands, has recently received a new Robe moving light package - sixteen Paintes, twelve LEDBeam 350s, plus eight LEDBeam 150s - which is a substantial upgrade to their previous system of older Robe moving lights fixtures. These are all still working but needed upgrading to newer tech to satisfy the string of local and international artists and lighting designers frequenting this venue.
De Bosuil has been a music venue and on this site for many years. The current building opened in 2003 and was expanded two years ago. It is generally open Fridays through Sundays and occasionally during the week. Bands playing include classic rock and pop, all the way to EDM.
“After eleven years of solid work, the previous fixtures and lighting console needed replacing”, explains Head of lighting Bart Mesman (pictured), a freelancer who has worked at De Bosuil for over fifteen years and has an engineering degree. He and the crew researched what was available during the Covid pandemic and eventually decided on equipment from Robe. While the lighting package installed back in 2013 had comprised a number of other brands, this time only Robe was chosen.
Mesman admits that when he green-lighted the Paintes, he had not actually seen them in action - as they were that new, but he “just knew” that it was the right fixture for them. “It was seriously bright - perfect for our stage”, and through working for so long with the old Robe’s DLX’s, he knew the “Painte was perfect”. LEDBeam 350s and 150s he had already used on several occasions. Essentially here he sought “a moving PAR can type of light” and with both LEDBeam 100s and LEDWash 300s already in the house, the new LEDBeam350s and LEDBeam 150s completed the picture.
There are 59 moving lights in total in the rig. Eight of the existing Robe LEDWash 300s are still active on the “new” rig for floor and side lighting, and eight of their original LEDBeam 150s are now lighting the bar area. The seven original DLX Spots are still in the venue as well, positioned above the audience and used to create ambience during changeovers, and also for crowd lighting during club and party nights and DJ sets. The lighting refit also included delivery of a new console from Controllux, Robe’s Benelux distributor.
Around half of the incoming bands will bring their own lighting engineers, and Mesman operates for any that don’t, and in addition to him, there are six regular freelancers working as lighting operators and technicians.
(Photos: Louise Stickland/Paul Clarke/Maurice Moonen)
Finland’s XO Center installs over twenty Genelec Smart IP loudspeakers
XO Center, a new sports and fitness hub located in Kerava, Finland, offers everything from personal training to padel courts, a traditional gym, group exercise, relaxation floating, massage and a restaurant and cafe. Genelec’s Smart IP networked loudspeakers are helping to motivate members in all areas of the facility.
Finnish integration company Praecom Oy was responsible for designing XO Center’s entire AV platform. “The solution covers different zones, including the padel courts, gym, spa, and individual class spaces, all of which required different audio content at different playback levels”, explains Mika Mäkelä, account director at Praecom.
Praecom chose five Genelec 4420 Smart IP loudspeakers, thirteen 4430 models and two 4435 in-ceiling loudspeakers to power different zones across the site. “The padel courts are huge rooms that posed reverberation issues, which we considered when designing the system”, says Mäkelä. “We decided to install three of the compact 4430 loudspeakers to provide clarity, uniform coverage and reduce echoing.”
Next to the padel courts is a restaurant and cafe that serves Finnish meals for post-workout nutrition. Three 4420 loudspeakers are installed here, all connected to a Crestron C2NI keypad that provides control for all the AV elements inside the store and the padel courts. Additional 4430 Smart IP models are distributed across the fitness and conference rooms, as well as in the gym and the Skill XO room.
Similar to a fitness bootcamp, Skill XO is a dynamic way to train, combining fast-paced muscle fitness with aerobic workouts using modern, high-intensity gym equipment. The 4430s deliver background music, with a Crestron C2NI used for control and an Audiophony Mi3 for mixing.
“In the spa areas we opted for two of Genelec’s in-ceiling 4435 models”, adds Mäkelä. “We could integrate them discreetly. In both the male and female changing rooms we also installed a single 4420 loudspeaker, with power, audio and management all running off a single CAT cable.”
Genelec’s Smart IP Manager software also helped Praecom to address specific system needs. From device discovery to equalisation, the software configures the system so that each individual Smart IP loudspeaker performs as desired. “This tool offers a detailed overview of the system, and it was extremely helpful in the padel courts, which posed many acoustic challenges”, says Mäkelä.
The Genelec loudspeaker system provides uniform sound across all areas of the facility, delivering dynamic soundtracks to training sessions and relaxed soundscapes post-workout.
(Photos: Genelec/XO Center Kerava)
Historic Riga Circus reopens with audio system from K-array and Kgear
The Riga Circus, the oldest fixed circus venue in Europe, recently underwent a transformative renovation that aimed to preserve its heritage whilst introducing modern amenities, notably an audio system by Italian manufacturer K-array. The project was led by local integrators RJK and supported by technology distributor Tet A Tek and architectural firm NRJA.
Two audio systems were installed to meet the venue’s specific needs: a 360-degree coverage system and a portable system, using K-array’s Mugello KH2 loudspeakers. “The modernised Riga Circus is a multi-purpose space and needed versatile audio support”, says Rudolfs Busmanis at Tet A Tek. “The portable system allows for easy reconfiguration depending on the stage’s location, with cabling running through the centre of the venue to provide power flexibility.”
For the fixed installation, Kgear’s GH12 loudspeakers were arranged in clusters, covering the venue’s spherical shape. K-array’s Kommander amplifiers power the system, which is managed via K-Framework software.
(Photos: K-array/Riga Circus/RJK)
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Stage Audio Works integrates audio, video, lighting and live streaming technology at new URCSA campus
Uniting Reform Church in Southern Africa (URCSA) recently expanded its Atteridgeville campus with a significant extension of its existing building. The goal was to boost community engagement and provide a purpose-built auditorium space for events, services and gatherings. The team at URCSA partnered with Stage Audio Works (SAW) for the project.
“For the AV side of the project, our primary goal was to modernise our audio, visual and lighting systems to enhance the worship experience”, says Sekgwari Matsena, Technical Team Coordinator at URCSA Atteridgeville. “We needed technology that would be easy for volunteers to use whilst ensuring professional-level sound, visual quality and lighting control for services, events and live streaming. We wanted to create an immersive, distraction-free environment.”
SAW was engaged early on in the project’s design phase. Alongside the design and integration of audio, video, lighting and live streaming technology for the new auditorium, SAW also provided training for the church’s volunteer technical team, equipping them to manage and maintain the new technology efficiently.
When it came to designing the audio system, SAW opted for a distributed system throughout the space rather than a classic L/C/R solution. “It wasn’t clear whether acoustic treatment of the new building would form part of Phase 1 building works - so in case it was planned for Phase 2, we chose a distributed system to ensure focused coverage of the two-tier auditorium”, explains Kieran Hempel, Project Lead at SAW. “This approach minimizes reflections on untreated walls and improves gain before feedback on stage. The pastors wanted to use lapel mics, so gain before feedback was an important consideration.”
The main PA system is mounted on a catwalk trussing system, built directly above the stage. Here, five Plus Audio CPH212 3-way passive dual 12-inch loudspeakers are secured at specific angles to ensure consistent audio across both the front of the auditorium seating and part of the upper-level balcony. Four on-stage monitors and two subwoofers, placed under the stage, complete the main PA.
Thirteen smaller form-factor Plus Audio CPU105 5-inch coaxial loudspeakers serve as under-balcony fill to cover the back of the room. Front fill, mounted directly around the front of the stage, consists of a further six CPU105 loudspeakers. Upstairs in the balcony seating, a ring of seven CPU9 9-inch coaxial loudspeakers provide coverage to areas not reached by the main PA system.
Plus Audio’s own A204D and A044D Dante amplifiers power the system, featuring built-in DSP and FIR filters. A Yamaha TF3 digital mixer and Tio stage boxes provide system control. “We designed this distributed PA system to minimise excessive echo”, remarks Hempel. “It includes the flexibility to deactivate the balcony loudspeakers when the area is unoccupied, reducing unwanted reflections and helping the venue to be as efficient as possible.”
Whilst the audio system represented an important focus of the installation, a full stage lighting and video streaming system was also required. For on-stage visuals, two Appotronics HD laser projectors allow for services to be accompanied by video content, displayed on two screens on either side of the stage. The lighting is PC-controlled, consisting of Cameo Auro Spot 200 moving lighting, which decorates the stage with customisable coloured lights, and Stage Plus LED Fresnel lights, mounted on the overhead truss.
Aida PTZ cameras, a Blackmagic Design video switching system and a Kiloview streaming encoder facilitate live streaming of services with control via a Stream Deck unit. “The PTZ cameras offer a significant advantage as there is no need for someone to manually operate them”, says Hempel. “They can be controlled remotely from the production booth.”
Sennheiser EW-D wireless microphones provide communication and greater freedom for on-stage speakers and performers. SAW also supplied the IT infrastructure required for the new system, including business-grade WiFi and wireless access points around the venue.
(Photos: Stage Audio Works/URCSA)
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Musis Arnhem concert hall upgrades with L-Acoustics
Musis Arnhem, one of the Netherlands’ oldest concert halls, has completed a major audio upgrade to meet the evolving needs of its diverse programming. The venue, hosting over 100 concerts annually across various genres, has installed an L-Acoustics L Series loudspeaker system in the Parkzaal.
L-Acoustics Certified Partner Fairlight spearheaded the design and implementation of the new system. Among the challenges the project presented were the need to accommodate the 2,000-capacity Parkzaal’s diverse range of events (from classical to contemporary), and its distinctive 16 by 11-metre glass back wall overlooking the Musis park.
The new sound system had to deliver high sound pressure levels with uniformity across all listener positions while maintaining a low noise floor for classical concerts and corporate events. The system needed to adapt to the hall’s adjustable acoustics, including reflective oak walls and 400 sound-absorbing panels, while minimising visual impact in the venue. Additionally, the team had to address the complex acoustic environment created by the balcony design.
They utilised L-Acoustics Soundvision software to overcome these challenges during the design process. This tool allowed them to test and refine various configurations virtually, ensuring optimal coverage and performance before the physical installation began.
The system design includes a main PA of one L2 and one L2D per side, plus four KS21 per side, complemented by eight KS21 subwoofers for low-end reinforcement. Four A10 Wide speakers serve as in-fills, with three 5XT providing front-fill coverage. The system is powered by four LA7.16i, and two LA12X and LA2Xi amplified controllers, with processing handled by the P1 processor and networked via LS10 Milan-AVB switches.
(Photos: Rene van der Linden/L-Acoustics/Musis Arnhem)
Studio Sound Service leads integration of K-array and Kgear loudspeakers at Bocconi University’s new sports centre
Founded in 1902, Bocconi University in Milan, Italy, is a teaching and research institution with a strong international orientation. A recent expansion of the university’s facilities encompasses the Bocconi Sport Center, including an Olympic-sized swimming pool, fitness area and the multifunctional Bocconi Sports Arena.
Studio Sound Service led the integration of an AV system at the new facilities, in collaboration with Laser Entertainment and VideoGecom. Audio solutions from the Italian brand K-array were key to providing a PA system that would withstand the challenges of a multi-sports facility.
“The goal of the project was to establish uniform sound diffusion without using loudspeakers that were excessively large or visually impactful”, explains Donato Masci, CEO and Technical Director at Studio Sound Service. “In the Sports Arena and the swimming pool spectator stands, the main focus was on increasing speech intelligibility.” In total, the project at Bocconi University encompassed three main zones: the pool area, the main hall and the gym.
The main hall is a multipurpose auditorium, intended for hosting presentations and events. “We needed a directive system, rather than an omnidirectional one, in order to direct the sound waves towards the audience”, says Elena Rossi, Building Engineer-Architect and Acoustic Designer at Studio Sound Service. “K-array’s products use line-array technology with a very narrow vertical dispersion, allowing us to effectively target the audio at the grandstand and overcome the acoustic challenges of the open space.”
Six slimline stainless steel Kobra units are installed near the perimeter walls of the hall, with two, slightly larger Python units recessed discreetly within the walls. Beneath the presentation screen, four Rumble subwoofers support low-end frequencies whilst three units of K-array’s two-metre-long Anakonda loudspeakers are hidden in the steps up to the stage providing centre fill. “By fixing the Kobra and Python arrays to the perimeter walls we were able to keep aesthetic impact to a minimum”, notes Rossi.
The Gym at Bocconi University offers modern training facilities, including an elevated athletics running track, to both students and the general public. Here, the integration of a professional audio system was required to help power fitness and wellness activities. A total of eighteen Kobra loudspeakers were installed on the ceiling, alongside four Thunder subwoofers. By angling the loudspeakers at the desired coverage areas, Studio Sound Service could ensure specific audio coverage of the main workout areas, such as the running track and free weights zone.
At the heart of Bocconi Sport Center is the pool and water sports zone, boasting an Olympic-sized swimming pool, a 25-metre training pool and a 500-seat grandstand. A total of fifty GF82 column line array loudspeakers from K-array brand Kgear were positioned above the stands, fixed on the ceiling around the main pool and placed on the walls around the smaller pool. Utilising K-array’s PAT array technology, the 8-inch-tall loudspeakers ensure maximum throw and dispersion in a discreet form factor with an IP54 rating. “The small arrays could be positioned directly on the grandstand steps and angled upwards to ensure consistent coverage across the spectator stands”, says Masci. “In the pool area, the ceiling loudspeakers were attached to the already finished barrisol ceiling, so the white colour finish was ideal.”
Throughout the sports centre, but in particular in the gym and pool zones, avoiding large and potentially hazardous trussing was critical. “We needed to avoid using large elements that stick out from the walls or ceiling as much as possible”, explains Rossi. “In these environments, it is common for balls and equipment to be thrown, so using K-array and Kgear loudspeakers installed as closely to the walls as possible helps reduce the risk of impacts and damage to the products.”
Aside from the integration at Bocconi Sport Center, the on-site chapel also received a new audio system from K-array. Systems integrator Number One led the project, integrating four metre-long Kobra units, complemented by two half-metre Kobras, installed around the perimeter walls of the main worship area. Additionally, a further four half-metre Kobra loudspeakers support audio coverage on the balcony. Driving the system is an eight-channel Kommander amplifier.
(Photos: Andrea Torelli/K-array)
The Star Theatre Singapore invests in Ayrton Huracán
The Star Theatre, the main venue at The Star Performing Arts Centre in Singapore, has invested in a quantity of Ayrton Huracán Wash fixtures supplied by Ayrton’s exclusive distributor for the region, Total Solution Marketing. The Huracán Wash units will become a fixed installation as part of the permanent lighting rig, and mark the second investment in Ayrton for the venue.
The Star Theatre is a 5000-seat capacity space that features a traditional horseshoe shape auditorium with plush seating. Forty Huracán Wash fixtures were installed at the request of The Star Theatre’s Head of Lighting, Mohamad Azhar Bin Mazlan. “The Wash fixtures will be used to complement our existing sixty Khamsin Profiles which were purchased for the Theatre in 2020”, he says.
“Most of them are rigged as part of our default in-house rig and perform over throw distances ranging from 10-25 m”, he adds. “They will be used for lighting our anchor tenant, New Creation Church, at weekly Sunday services, and put to full use at the many concerts, conferences and dance performances held at the venue.”
(Photos: Mohamad Azhar Bin Mazlan/The Star Theatre)
Area15 utilizes Holoplot X1 to transport visitors through space and time
Area15 is an immersive entertainment district just moments from the Las Vegas Strip. Already equipped with a Holoplot X1 system, it includes the Illuminarium, an experience located in the Area15 District. Now following suit in upgrading their audio experience with an X1 Matrix Array sound system is The Portal, a multi-use venue and key element of Area15’s type of experiential entertainment. It offers experiences for the whole family, including rides and VR, live performances, DJs, and food.
The Portal can be used for private dining, all-night DJ sets, and everything in between. At Halloween, for example, the “Rocky Horror Picture Show” is projection-mapped on all four walls of the venue and supported by live actors, but it has also been home to fine art shows and corporate events.
The newly installed Holoplot X1 system consists of two arrays of two MD96 Audio Modules, topped with two MD80-S each, positioned left and right at a height of 25 feet at one end of the room. Acting as a sandbox for any experience imaginable, The Portal is a vast grey concrete cuboid, with a seamless 360-degree projection-mapping across the walls and floor.
Using Panasonic projectors, the visual elements were as desired, but JD Bouck, Director of Production, found that the original sound system was never able to keep up, owing to acoustics akin to a giant fish tank and highly reflective, smooth walls. “The Portal was one of the biggest concerns we had”, he says. “It is a 7,000 square foot, completely blank canvas - not built like any other real venue that I’ve ever been to. There is nothing to soften it, no balcony or mezzanine, just hard surfaces.”
“It was the reflective surfaces that we were really trying to tackle with the Holoplot system”, Bouck continues. “The 3D Audio-Beamforming technology allowed us to focus so that we could cut the reflections off the walls and make sure the people at the back of the room were getting the same audio picture as the people at the front of the room. All without having to run a ton of delays or having a bunch of loudspeakers in front of the projection surfaces.”
The Holoplot team supported Bouck throughout the whole process, from system planning to providing room calculations until final commissioning and tuning. “Loud isn’t always good. Good is good!”, explains Mark Stutzman, CTO at Area15. “We now have great audio quality without it having to scream in your face. The Holoplot team really worked with us, listening to our ideas and taking it all into consideration. Our DJ shows can be up to five or six hours long. The guests can come and go, but the staff - our technicians, security, and bartenders - are here all night, and we have a duty of care to them, to ensure they’re comfortable. We didn’t want the ear fatigue you usually get from really loud festivals.”
(Photos: Holoplot/Area15)
