Installationen News
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Karol Lipinski Academy of Music upgrades infrastructure with new Harrison analog mixing console
09/06/2026
Licht-Upgrade mit ETC im Tarkington
21/04/2026
Ulster Hall equipped with new Robe lighting rig
Ulster Hall, a concert and entertainment venue that is part of the ICC complex in central Belfast, Northern Ireland, has recently received a new lighting installation featuring nearly sixty Robe moving lights, including nine Esprite Profiles, twenty-five Painte Profiles and twenty-five LEDBeam 350s.
This is part of a general upgrade for the venue, which is also a Grade A listed building dating to 1862. It is also home to the Ulster Orchestra. Dave Young, head of production for the ICC complex - which also includes Waterfront Hall and ICC Belfast - explains that the previous lighting upgrade was in the mid-noughties, so after twenty years of service, the refurbishment was overdue.
Young and his team started scouting around for appropriate lighting fixtures in 2025, and Robe was among the contenders. After looking thoroughly at all the options, Young decided that Robe was the best choice for them. “These three types of fixtures are ideal for our specific needs”, he says. “We didn’t need the biggest or the brightest, we needed the best all-round options that fitted our budget and the space, and that would offer great value to all the promoters and clients working in the venue.”
Overhead, they needed a set of profiles and washes, and lights that would work for anything from a recital to a rock show to a comedy night. All of the new lights are in the over-stage rig apart from six of the Paintes which make up a floor package. The hall has a 1,400 standing capacity and 800 seated, and the shows are a mix of both formats.
Dave Young was already familiar with Robe products - in fact, he first encountered the brand when working at holiday parks right at the start of his career. This continued through his work with the NEC Group and then when he was running production at Birmingham ICC before moving to Belfast. He says he has also seen them constantly on touring shows.
The new Ulster Hall lights were delivered by Robe UK, project-managed by Gavin Mooney, national sales manager for Robe Ireland. Ulster Hall’s technical team comprises four production managers who work with different promoters and clients, plus eleven full-time techs to cover sound, lighting and AV, and around thirty regular freelancers.
The staff have expanded in recent years, and while the venue was previously purely a receiving house, there is now an in-house production company. In addition to the concerts, Ulster Hall hosts a range of business and corporate events and trade fairs, all with production supplied in-house.
Pictured: The Answer performing at Ulster Hall. (Photos: BWUH Ltd/Ulster Hall)
Unicol engineers permanent dvLED solution for Loughborough University Sports Hall
Unicol Engineering delivered a bespoke ceiling suspension system for a permanent dvLED video wall installation at Loughborough University’s Sports Hall. The project, completed in partnership with AV integration specialist GVAV, replaces a long-standing temporary screen solution with a permanent fixture above the venue’s main entranceway.
For many years, Loughborough University had erected a temporary screen in the position for graduations and major events at the Sports Hall complex. The recurring cost and effort of installing and removing a temporary display each time prompted the university to commission a permanent replacement, timed to coincide with a wider refit of the main reception area and external redecoration of the building.
The resulting installation features a 6,800 by 1,480 mm ceiling-suspended Spirit dvLED mount and frame, built around a 12-by-2 array of Absen AW2.5F-750 tiles. To meet the specific demands of the site, Unicol engineered a new suspension clamp designed to securely hold the extrusion frame. This connects to a column length to achieve the correct suspension height, and then to a box/girder clamp overhead. Infill panels at either end provide a clean, integrated finish while also contributing additional structural support. Rear support brackets were incorporated to brace the installation against the high winds that regularly affect the exposed location.
The project presented a number of engineering considerations. The installation site is subject to significant wind loading, requiring a rigid and thoroughly braced structure. Measurements at height also carried an inherent degree of uncertainty, so Unicol designed all bracketry to be adjustable and clamping, accommodating tolerances of up to 15-20 mm.
The system was further designed to be built modularly, allowing individual components to be taken up and assembled at height, rather than requiring the complete structure to be assembled at ground level and hoisted into position. The entire project, from initial design through to completed installation, was turned around in approximately six weeks.
“Unicol was very good at getting the drawings to us and re-doing any drawings we needed”, notes Scott Meikle, Project Manager at GVAV. “The mount product itself is all modular, it all clips together.”
(Photo: Unicol Engineering)
Alfalite installs 150 LED panels in Torre Iberdrola auditorium
Alfalite has completed a major new corporate installation in Spain with the upgrade of the auditorium at Torre Iberdrola in Bilbao, headquarters of Iberdrola, one of Europe’s largest energy companies. The project features a visual system made up of 150 UHD Finepix 1.5 Matix AlfaCOB LED panels.
Located in the heart of Bilbao’s financial district, Torre Iberdrola is one of the most recognisable buildings in northern Spain. Designed by architect César Pelli and inaugurated in 2012, the 165-metre tower has become a symbol of Bilbao’s urban transformation and serves as the corporate headquarters of Iberdrola.
The new LED installation was designed to modernise the auditorium with a high-resolution display solution, including a main screen measuring 6.00 x 3.38 metres and two side screens measuring 3.00 x 1.69 metres each, to create an audiovisual environment tailored for executive presentations, conferences, meetings and corporate events.
One of the project’s most distinctive features was the development and installation of a custom ceiling-mounted motorised system that allows the central screen to be moved in order to facilitate maintenance operations and provide access to the curtains and glass surfaces located behind the stage.
The installation features Alfalite UHD Finepix 1.5 panels with Matix AlfaCOB technology which provides enhanced protection against impacts, dust and humidity while also improving thermal dissipation. Matix technology reduces reflections and glare and improves perceived black levels.
“In corporate auditoriums, it’s not enough for a screen to simply look good”, says Gilberto Martín, Channel Sales Director at Alfalite. “It also needs to integrate naturally within the architecture, support everyday usability and provide long-term operational confidence. In this project, we were able to deliver a complete solution tailored to the real needs of the space and designed for long-term performance.”
(Photos: Alfalite)
Jan Kiepura Masovian Musical Theater upgrades with EAW
The Jan Kiepura Masovian Musical Theater, located in the heart of Warsaw’s Praga district, has installed a sound system from Eastern Acoustic Works (EAW). For years, the theater operated with a subleased sound system that delivered strong performance but presented significant coverage limitations.
Due to its size, the previous system had to be hung high, resulting in uneven sound distribution throughout the auditorium. “We either had excellent coverage at the top and average at the bottom, or excellent coverage from the third row to almost the last row”, explains Maciej Marcinuik, Deputy Director for Administration and Investment at the Masovian Musical Theater. “Because we have the orchestra directly in front of the system, we don’t have the possibility to use traditional front-fills. That was our biggest challenge.”
The solution came in the form of the EAW AC6 Adaptive column loudspeaker system. Each compact AC6 column contains six 6-inch low-frequency drivers and a total of thirty high-frequency drivers. Every enclosure features its own onboard amplification and dedicated DSP channels, enabling precise, computer-controlled coverage and optimization. “After the change, we achieved practically the same SPL throughout the entire auditorium”, says Marcinuik. “We measured it at virtually every seat; the difference from the first row to the last is minimal. That level of consistency was exactly what we were looking for.”
The AC6 system’s Adaptive technology allows the theater to manage coverage scenarios entirely through software. With presets loaded directly into the loudspeakers, all system management is handled via computer. Marcinuik explains: “We can use several scenarios. We can play to the stage, to the orchestra pit, to the audience - or only to the audience. Sometimes the orchestra pit is used for additional seating or staging. With two clicks, we can decide whether we’re playing there or not. No mechanical adjustments, just software.”
The theater’s wide-ranging repertoire includes musically and visually complex productions featuring up to 24 condenser microphones in the orchestra pit, plus actors wearing headset microphones moving freely across the stage. “Feedback resistance is something we absolutely have to emphasize”, notes Marcinuik. “Actors sometimes run within a meter or two of the main system with condenser capsules, and they still have complete comfort.”
Beyond performance, aesthetics also played a major role. During one production’s set design phase, the loudspeaker mounting location was found to sit directly behind a scenic element. “The set designer simply designed openings with mesh for the speakers”, Marcinuik recalls. “I know where the system is, but the audience has no idea. It’s completely invisible.”
The installation also includes a Dante-based digital audio network with redundant connections for fault tolerance, ensuring uninterrupted performance in the event of a failure. The system continuously monitors its components, instantly alerting staff to any issues. “If a transducer or DSP module fails, the program informs us immediately and specifies the location”, says Marcinuik. “Then we can press the ‘self-healing’ button, and the system recalculates the beam to compensate. We maintain the same coverage. There may be a slight drop in sensitivity, but coverage remains consistent from the first to the last row.”
(Photos: Eastern Acoustic Works)
Belgrade’s Sava Centar installs L-Acoustics L2
Built in 1979 as part of New Belgrade’s wave of large-scale modernist architecture, the Blue Hall at Sava Centar is one of the region’s most demanding audio environments. The 4,000-seat auditorium measures roughly 50 metres wide by 45 metres deep, with a stage volume that rivals many purpose-built concert halls.
Its retained theatrical staging infrastructure - a structure designed for a different era of production - presents rigging limitations that any visiting production company will recognise immediately. And at the centre of the stage opening sits a 20 x 11-metre cinema screen, the largest of its kind in the region, which dominates both the visual and acoustic geometry of the room.
For decades, the hall operated without a permanent sound system. Touring events arrived with their own rigs, which worked until Sava Centar’s owners committed to a major renovation of the Blue Hall with the ambition of competing seriously for the large-scale concerts and shows that had been bypassing Belgrade for more technically equipped arenas. A permanent professional audio system was not in the original renovation brief. By the time the project was properly under way, it was clear it needed to be.
Sava Centar engaged two companies to design and deliver the installation: L-Acoustics Certified Provider Dicroic, who led the project, working alongside acoustic consultancy Acoustic Design, who’s principal Nemanja Stanojevic had already been in dialogue with the venue’s investors at an early stage.
The defining constraint was the cinema screen. It spans the full stage width and the investor’s position was non-negotiable: the sound system could not obstruct it. That ruled out a conventional centre-hung arrangement and forced the main left and right hangs to be positioned well apart - a span that immediately created a coverage challenge across the width of the audience area, and one that a centre-fill cluster would need to address.
“The main challenge was that the installation needed to cater equally to the many different events the Blue Hall hosts”, explains Sava Centar AV manager Ivan Brusic. “It was important to ensure that the sound system did not visually compromise the hall’s cinema screen. That constraint influenced every decision that followed.”
Beyond the screen, the hall’s original fly tower and rigging infrastructure, which were never intended for large-format loudspeaker systems, presented further challenges. Placement of the central subwoofer cluster was subject to constant negotiation with the room’s architecture. Every position was a compromise, and the design process had to anticipate each one before a single cabinet was flown.
“We presented and convinced the investor of the advantages of the L-Acoustics L2 system, that it could satisfy all types of events in the hall, and that the return on investment through rental income would be realised within two years”, shares Marko Fio, Dicroic CEO. With Dicroic leading the negotiating process and L-Acoustics application engineer Willi Klein embedded in the project from the start, the team built a full model of the room in L-Acoustics Soundvision before committing to any rigging position.
The geometry was complex: the mains had to clear the screen; the KS28 subwoofer cluster had to fit within a fly tower not designed to house it; and the centre-fill position had to bridge the coverage gap between the widely-spaced main hangs. Soundvision allowed the team to test every option and quantify every compromise before installation began. The physical installation was completed in four to five days, with Dicroic handling all rigging and preparation to allow Klein to proceed directly to system calibration.
The main system pairs two hangs of two L2 over one L2D per side, positioned to provide primary coverage across the full audience area while clearing the cinema screen entirely. Twelve KS28 are flown centrally above the stage. A centre-fill cluster of three A15 Focus and one A15 Wide addresses coverage across the central audience zone, complementing the mains. Eight X8 deployed as front-fills deliver consistent level and intelligibility for audience members in the front rows.
System drive and processing is handled by six LA7.16i and four LA12X amplified controllers, with a single LA4X completing the amplification. A P1 processor manages the Milan-AVB network connecting all amplified controllers, with a secondary AVB path and AES67 tertiary backup - a layered redundancy architecture well suited to a venue operating across a dense and varied event calendar. Six LS10 network switches complete the signal distribution infrastructure.
With the installation complete and the system calibrated, the Blue Hall now operates with a permanent audio infrastructure that removes the logistical overhead that a hired rig entails for every event. “The Blue Hall is now one of the two leading large-format venues in Serbia”, concludes Fio.
(Photos: L-Acoustics)
Groupe Novelty’s Magnum revitalises event space in Paris
Located beneath the world’s most visited museum, Les Salles du Carrousel is one of Paris’ most distinctive event venues. Operated by Viparis, the site combines historic architecture with contemporary event facilities, offering 6,635 square metres of modular interior space capable of hosting conferences, product launches, exhibitions and gala evenings.
The three primary spaces - the Le Nôtre Suite, the Soufflot Suite and the Foyer - recently underwent a technical FOH revitalisation delivered by Magnum, a Groupe Novelty company, who is also the official technical operator of the venue. The FOH of the last two venue spaces, the Delorme Suite and the Gabriel Suite, will also benefit from an upgrade this summer. On top of that, all Suites now benefit from a new generation of integrated sound, lighting, rigging and network infrastructure designed to streamline event production while improving safety, operational efficiency and sustainability.
“The spaces now offer a completely redesigned technical infrastructure, which includes changes on every level”, says Pierre-Marie Tournier, Magnum’s business manager for Les Salles du Carrousel. Le Nôtre Suite, the largest of the renovated spaces, offers 1,900 square metres of flexible event space and includes retractable bleachers capable of seating between 500 and 1,600 guests. Adjacent to it, the 925-square-metre Soufflot Suite provides an adaptable environment suited for conferences, workshops and exhibitions.
The third renovated space, the Foyer, spans 1,310 square metres and is distinguished by a curved ceiling constructed from more than 3,000 wooden elements. With its vaulted ceiling and oak parquet flooring, the 750 sqm Gabriel space provides a large and cosy venue. It can be combined with the last Suite, Delorme, which spans over 1,600 sqm and is specially designed to accommodate large-scale scenography for up to 1,200 people.
Magnum, a major technical production company founded in 1986 and part of Groupe Novelty since 2016, specialises in designing and delivering technical systems for events and venues across France and Europe. With around 300 staff and a strong presence in the Paris events market, the company combines event production services with permanent integration and venue technical management. “At Les Salles du Carrousel, Magnum has implemented complete technical room packages”, explains Tournier. “We’ve provided turnkey systems that include sound, lighting and video for events. These specially designed packages deliver time savings for every event organiser using the space.”
Central to the revitalisation was a total overhaul of the venue’s rigging infrastructure. New-generation curved trusses from Alu Soudure Diffusion (ASD) were installed, with motorised GIS D8+ chain hoists using Sonos Altimate control systems to enable precise and secure lifting operations. In total, 120 GIS LP500 D8+ electric chain hoists were deployed across the technical grid, while Altimate load monitoring systems were integrated at each rigging point to provide real-time supervision of suspended equipment. LED indicators on the load cells allow technicians to monitor loads instantly, improving operational safety during event setup and production.
“The electrical network has been completely rebuilt using StageSmarts power distribution units”, notes Tournier. “This provides reliable, scalable distribution perfectly suited to the diversity of events hosted here.” Lighting across the spaces was modernised using Robe Esprite and LEDBeam 200 fixtures. Magnum delivered audio reinforcement in all suites via a d&b Audiotechnik Compact Cardioid Line Array configuration, with in total eighteen clusters of three CCL12 loudspeakers supported by ten CCL-Sub subwoofers positioned according to the geometry of the spaces.
The d&b Audiotechnik system was specified by Edouard Dubus, working closely with d&b on the system design. The installation made use of d&b’s Certified Pre-Owned (CPO) programme, which provides professionally refurbished equipment at equivalent performance to brand-new products while delivering an 80-percent reduction in CO2 emissions compared to purchasing new.
Supporting the entire technical environment is a new audiovisual network built on a spine-leaf architecture using Netgear and Luminex switches. The network supports multiple professional AV protocols, including AVB, AES67, ST2110/IPMX and Dante, enabling full interoperability between systems. “Technical teams now benefit from instant interconnection between the different spaces thanks to a centralised nodal system”, says Fabrice Gosnet, Magnum’s AV network director. “The paging sound system has also been redesigned around a Yamaha MRX7-D matrix and PGM1 microphones, all controlled through an intuitive interface developed by Magnum.”
Additional infrastructure improvements were incorporated into the renovation as well. “The control rooms have been redesigned to guarantee optimal comfort and safety”, says Tournier. “Workstations are secured with guardrails, and the overall ergonomics have been significantly improved.”
Sustainability was paramount for this upgrade, and Magnum counted on Groupe Novelty’s expertise in this field, whose environmental commitment has been accelerated by managing director Christophe Piette. His drive for a formalised environmental strategy resulted in Groupe Novelty’s attainment of ISO 20121 certification, the international standard for sustainable event management.
This reflects a structured commitment to reducing the social and environmental impact of its operations. “This transformation is part of a precise eco-responsible approach”, says Piette. “The new equipment is designed to be more energy-efficient, supporting the sustainable development goals from our clients and partners.”
(Photos: Hugues De Beauchesne/CDL/d&b Audiotechnik/HDB/Magnum/Viparis)
Brighton College stattet neues Cairns Theatre mit GLP aus
Mit der Eröffnung des Richard Cairns Building hat das Brighton College ein neues kulturelles Zentrum geschaffen, dessen Herzstück aus einem multifunktionalen Theater mit 400 Sitzplätzen besteht. Zur technischen Infrastruktur des Hauses gehören fünf verschiedene Produktserien aus dem Portfolio von GLP, geliefert vom Vertriebspartner Stage Electrics, mit Unterstützung von GLP UK.
Zum Einsatz kommen Impression X5 Wash, WildBar 16, JDC Burst 1 und Creos. Darüber hinaus nutzt das College sechzig kabellose und akkubetriebene Nexus-RGBW-Panels von GLP. Neben dem Theater beherbergt das neue Gebäude ein separates Studio für Schauspiel und Tanz, dreizehn Musikräume sowie einen flexibel nutzbaren Foyerbereich für spontane Darbietungen.
Für Joe Wailes, Technical & Facilities Manager Performing Arts und selbst erfahrener Touring-Lichtdesigner und Produktionsleiter, standen deshalb Portabilität und eine Schutzart nach IP65 im Zentrum der Überlegungen. Ein Scheinwerfertyp ist im Cairns Theatre allerdings fest installiert: Als Ober- und Gegenlicht-Wash kommen Geräte aus der ersten Charge der X5 Wash zum Einsatz. „Sie sind zu unserem Standard-Washlight geworden, und sie sind meiner Meinung nach die besten Farbscheinwerfer, die wir im Haus haben“, so Wailes.
Das gesamte Projekt war ursprünglich bereits 2019 ausgeschrieben worden, durchlief dann jedoch eine längere Entwicklungsphase. Ein Teil der ursprünglich vorgesehenen Beleuchtung wird inzwischen im Blackbox-Tanzstudio eingesetzt. Als Joe Wailes im Sommer 2024 zum Team stieß, entschied er sich auf Basis seiner eigenen Praxiserfahrung für seine bevorzugten Hersteller. „Bei Washlights würde ich mich immer für GLP entscheiden“, sagt er.
Zwar wurde das Projekt regulär ausgeschrieben, doch mit Stage Electrics verband Wailes bereits aus einem früheren Engagement eine enge Zusammenarbeit. „Ich wollte unbedingt wieder mit ihnen arbeiten und war mit der gelieferten Technik und dem Service sehr zufrieden“, konstatiert er. „Außerdem haben sie für uns einen Demo-Tag mit vielen verschiedenen Gerätetypen organisiert, was die Auswahl enorm erleichterte.“ Die Installation übernahm das hauseigene Team des Colleges. Nach einer schrittweisen Inbetriebnahme wurde das Cairns Theatre im September 2025 für die Öffentlichkeit zugänglich gemacht.
„Ich habe mich für GLP entschieden, weil wir die Geräte auch an anderen Orten im Gebäude und auf dem Campus flexibel einsetzen wollten“, so Wailes weiter. Sowohl die WildBars als auch die Creos verfügen über die Schutzart IP65. Die Creos tauchten kürzlich die Außenfassade des Gebäudes für eine Veranstaltung in ein sattes Rot.
Ein weiterer wichtiger Aspekt bei der Produktauswahl sei laut Wailes das Thema Zukunftsfähigkeit im Sinne der Studenten gewesen: „Wenn sie später eine Laufbahn im technischen Theater-Bereich einschlagen möchten, sollten sie mit Equipment arbeiten, das aktuell in der Branche eingesetzt wird und als Industriestandard gilt. Auch das war ein Grund, warum ich mich bei den Washlights für GLP entschieden habe.“
Die sechzig modularen Nexus-Einheiten kommen häufig im Backstage-Bereich sowie im Aufführungsbereich des Foyers zum Einsatz. Mittels Magnetleisten lassen sie sich an der Stahlunterkonstruktion befestigen, um atmosphärisches Licht zu schaffen. Gesteuert werden sämtliche Produktionen im multifunktionalen Cairns Theatre, dessen Programm von Oper bis Musical reicht, über eine ETC-Eos-Apex-Konsole.
Als laut Eigeneinschätzung „Riesenvorteil“ hebt Wailes die Konsistenz innerhalb des Lichtkonzepts hervor: „Dass in WildBar 16 und Creos dieselben LEDs verbaut sind wie im X5, gibt meinen Designs deutlich mehr Flexibilität, weil ich mir über die Farbabstimmung keine Gedanken machen muss.“
(Fotos: Brighton College/Liz Finlayson/Vervate)
LSC Unitour empowers flexibility for Arlon’s House of Culture
The Maison de la Culture d’Arlon, a theatre and cultural destination in the south-east of Belgium, has taken delivery of a Unitour system from LSC Control Systems, an Australia-based manufacturer of data distribution, power and lighting control systems.
“We needed a power distribution system that could solve various problems in a single device”, explains the theatre’s Technical Director, Benoit Petit. “It had to be easy to move, fairly compact and able to provide both direct and dimmed power and sACN compliant for dimmer control. It also needed to include a monitoring system and electrical protection.”
Portability was key because although the system would mainly serve the smaller, 120-capacity secondary venue, it would also be needed for other stages around the building, or sometimes in different locations across the town.
Following a demo of Unitour given by LSC’s Benelux distribution partner Controllux and LSC’s Business Development Manager for Europe, Kris Noerens, Petit was convinced by the system’s functions and user approach. Furthermore, the Houston X software - which would allow for remote monitoring and configuration, enabling the team to receive alerts ahead of dropouts - was a major consideration.
Petit placed the order for the touring-grade power distribution system just before Christmas, and delivery followed in mid-February. Specified and delivered by Controllux, the chosen system is a 24-channel Unitour rack, complete with Houston X remote control software. Unitour features LSC’s TruPower dim/switch technology, enabling the client to protect and monitor the venue’s equipment in a reliable way.
Unitour’s functionalities are almost exactly the same as those offered by LSC’s Unity systems, which are designed for fixed installations, but in a robust, mobile rack. Due to the staggered channel start-up, avoiding high inrush currents, this system is suited for powering equipment with switched power circuits, such as LED walls.
(Photo: Glenn Knapen, watchkraft.com)
Nucleus and Russell Sage Studio build Wow!house 2026 around L-Acoustics Hyriss
Wow!house, the annual showhouse staged at Design Centre Chelsea Harbour, has opened its fifth edition with 22 rooms by an invited roster of architects and interior designers. The culmination of the visit is The Nucleus Immersive Room by Russell Sage Studio. The Momentarium is built around an L-Acoustics Hyriss spatial audio system - the first time Hyriss has been specified for a designer showhouse, and the technology is the structural premise of this space.
Wow!house is open to the public from June 2 to July 2, 2026, with twice-daily guided tours included in the ticket price. The event draws an audience of design enthusiasts and the international design press, as well as architects, interior designers, hoteliers, yacht designers, and property developers who specify residential and hospitality interiors.
Nucleus, the UK residential AV integrator behind the project, returned to Wow!house after presenting a media room at the 2025 edition. This year, the team set out to design a room in which audio would shape every element of the experience: narrative, atmosphere, and visitor interaction alike.
Russell Sage Studio partnered with Nucleus to develop the concept around the idea of memory: a circular, cocooning interior in which visitors lift objects like letters, photographs, and small heirlooms from a set of bespoke drawers and chests, and each object cues a corresponding sound and atmosphere. A fragment of music. An ambient texture. A shift in light. Two pieces of music were written for the room by Krishna Jhaveri and Sanaya Ardeshir, composers working in L-ISA Studio.
The room sits at the close of the visitor journey through Wow!house. Seating is a custom curved banquette under a sculpted plaster ceiling; fabrics are layered in soft hues; lighting, by John Cullen Lighting, is built into the architecture; scent is provided by Jo Malone London. Audio, video, lighting, and shading are orchestrated as a single layer through Crestron, so that when a drawer is opened it changes both the soundtrack and the room’s entire atmosphere.
“We wanted to push our media room further”, says Durgesh Sinh, Founding Director of Nucleus. “Our aim was to show what happens when technology is considered from the start, as part of the architecture, the interior, the lighting, and the acoustics, all at once. The room had to use sound to do something we hadn’t done before in a designed space.”
A conventional 5.1 or 7.1 surround system was incompatible with the design brief. Channel-based audio ties sound to fixed speaker positions; the Momentarium needed sounds that move with the listener as the room’s state changes. Nucleus, having previously experienced Hyriss (Hyperreal Immersive Sound Space) at the L-Acoustics showroom in Highgate, specified it for the project.
Hyriss’s adaptability allowed the Momentarium to function as a memory-trigger environment in the first place: the same loudspeakers and processing that reproduce a film soundtrack can, a minute later, place a fragment of music behind the listener’s shoulder. “We chose Hyriss because we wanted the room to go beyond conventional surround sound or a standard home cinema format”, says Sinh. “The idea was to create a room where sound could become part of the storytelling.”
Russell Sage Studio’s interior had to remain visually unbroken. Acoustically transparent fabric, specified with Nucleus, conceals the loudspeakers. Sony displays provide visual content where required. Every system in the room is controlled and orchestrated through Crestron. “What inspires me about Nucleus is their ability to translate complex technology into something elegant and intuitive”, says Russell Sage. “They treat sound, light, and control as architectural tools, not add-ons. That mindset allows us to create spaces where technology enhances atmosphere rather than interrupting it.”
The Momentarium is built around seventeen X4i coaxial loudspeakers and supported by twelve SB6i subwoofers. System drive is handled by two LA1.16i amplified controllers, with a single LC16D and two LS10 network switches managing signal distribution throughout the room. At the heart of the processing chain sits an L-ISA Processor II alongside a P1 processor for Ambiance, delivering the object-based audio spatialisation that defines the space. The L-ISA Processor II runs the Anima engine to adapt the room’s acoustic behaviour to each scene.
“Sound had to cocoon the room, create movement, support the visual content, and help transform the overall atmosphere”, Sinh concludes. “Hyriss is what makes the room different. It allows the Momentarium to become more than a beautiful space with AV integrated. It’s a room that can shift, tell stories and create a lasting emotional response. That was always the core ambition of the project.”
(Photos: James McDonald)
WSDG designs Swing Music 2.0 for Argentine composers Andres Goldstein and Daniel Tarrab
WSDG has completed the acoustic and technical design of Swing Music 2.0, a new dual-studio creative environment developed for Argentine composers and producers Andres Goldstein and Daniel Tarrab, founders of the Latin American music production company Swing Music.
Having previously collaborated with WSDG on the original Swing Music studio, Goldstein and Tarrab once again partnered with the firm, led by Senior Partner and Co-CEO Sergio Molho, to create a new generation of production spaces tailored to the evolving demands of contemporary film, television and multimedia composition.
Designed as two distinct but interconnected creative environments, Swing Music 2.0 reflects the individual workflows and artistic personalities of its owners while maintaining a cohesive production identity. The studios support the full spectrum of modern soundtrack production, from composition and programming to recording, editing, mixing and remote collaboration.
“Over the years, the way we work has evolved enormously”, says Goldstein. “We needed spaces that could support very long creative sessions, allow us to move quickly between different stages of production, and still feel inspiring and comfortable every day. WSDG understood that immediately and translated it into rooms that genuinely support the creative process.”
Located in Buenos Aires, the project was developed around the increasingly hybrid nature of modern music production. WSDG’s brief included acoustic design, technical integration, workflow planning, lighting design and technical interior design for both studio environments.
Rather than creating two identical rooms, WSDG worked closely with Goldstein and Tarrab to shape each studio around their individual working methods and technical preferences. “Each of us has a very personal relationship with sound, instruments and workflow”, explains Tarrab. “What I appreciated most was that WSDG never approached the project with a ‘one-size-fits-all’ mentality. They listened carefully to how we actually create music and designed spaces around that reality.”
Goldstein’s studio, Swing Godoy Cruz, is centered around a hybrid scoring workflow and features a master Mac system alongside a dedicated Mac slave for sound libraries, a Smart TV for picture reference, Genelec 8331A monitoring, Focusrite Scarlett 4th Gen interface, Avalon compressor, Studiologic control surface, keyboard controller, Beyer headphone distribution, and AKG 414 and Neumann microphones.
Meanwhile, Tarrab’s Swing Control Z Studio combines digital production tools with an extensive collection of instruments and analog equipment. The studio features a Hackintosh master computer, PC slave, Studiologic SL88-Grand, Studiologic SL Mixface, Avalon AD2022 preamplifier, SSL 2+ interface, Genelec 8040A monitoring, AKG 414 and Neumann U87 microphones, as well as a curated instrument collection including a 1905 Steinway & Sons Vertegrand piano, Yamaha CP70, Fender Jazz Bass and multiple Epiphone guitars.
Swing Music 2.0 now serves as a flexible and future-ready production hub supporting the composers’ growing body of soundtrack, television and multimedia work. Throughout their careers, Goldstein and Tarrab have contributed to a number of internationally recognized film and television productions, including “Some Who Lived”, directed by Luis Puenzo and produced by Steven Spielberg; Lucía Puenzo’s “XXY”, which screened at Cannes in 2007; the Emmy-winning “Inheritance”, directed by James Moll; Netflix’s “Nadie Nos Vio Partir”; Prime Video’s “La Jauría”; and “Señorita 89” for StarzPlay.
(Photos: WSDG)
Theater Magdeburg investiert in Elation KL Cyc L
Das Theater Magdeburg hat seinen Beleuchtungsbestand um acht KL-Cyc-L-LED-Horizontleuchten von Elation erweitert. Das Venue verfügt mit Schauspielhaus und Opernhaus über zwei eigenständige Spielstätten mit getrennten Technikpools. Die neuen KL Cyc L wurden für den Einsatz im Opernhaus angeschafft.
„Da wir nicht über grenzenlose Mittel verfügen, müssen wir sehr sorgfältig auswählen, welche Leuchten wir im Idealfall möglichst vielseitig einsetzen können“, sagt Felix Schumann, Meister für Veranstaltungstechnik am Theater Magdeburg. „Wir wollten bewusst einen neuen Allrounder anschaffen.“
Im Rahmen der Produktauswahl sichtete das Theater verschiedene Lösungen am Markt. Auf die KL Cyc L aufmerksam wurde das Team schließlich durch eine Vorführung von Igor Cernitori, dem Theaterspezialisten im Team von LMP Lichttechnik. Dort bestand zudem die Möglichkeit, die Leuchte direkt mit einem anderen System zu vergleichen.
Die Entscheidung zugunsten der Elation KL Cyc L sei letztlich vor allem aufgrund ihrer Flexibilität im Theaterbetrieb gefallen, so Schumann. „Durch die Blendenschieber können sie sehr gut abgeschoben werden, gleichzeitig haben wir die Möglichkeit, sie auch mal zu hängen“, erklärt er. „Auch die Helligkeit und die Farben haben uns überzeugt.“
Im Alltag werden die KL Cyc L im Opernhaus des Theaters Magdeburg nicht ausschließlich als Horizontbeleuchtung genutzt - je nach Produktion kommen die Leuchten ebenso als Fußrampe, Gassenlicht oder zur Ausleuchtung von Bühnenbildern zum Einsatz.
(Fotos: Theater Magdeburg/Nilz Böhme)
New Christchurch Court Theatre chooses LSC technology
Years after the earthquake that devastated the city, Christchurch, New Zealand’s Court Theatre has reopened in the newly developed Performing Arts Precinct, complete with power management and data solutions from LSC Control Systems.
When the Arts Centre was damaged by the earthquake of 2011, the Court Theatre was forced to relocate to a temporary home, an old grain storehouse in the nearby suburb of Addington, called “The Shed”. This “temporary” measure was to be the theatre’s home for the next fourteen years, while the city progressed ambitious plans for a new cultural hub in the city centre, to be known as the Performing Arts Precinct.
The new theatre, which eventually opened in May 2025, is a modern producing facility. It includes an intimate, “courtyard”-style 377-seat main house called The Stewart Theatre, a flexible studio theatre space - the Wakefield Family Front Room, accommodating audience capacities from 120-150 - and two smaller multi-purpose event spaces, the Rata Foundation Studio and the Ravenscar Lounge.
The technical production infrastructure throughout is designed to meet the highest standards. Following a technical specification drawn up by leading international theatre consultancy Charcoalblue, Auckland-based specialist LS Group was engaged by Hawkins Construction and Court Theatre to supply, install and commission the theatrical lighting and control systems.
They supplied four of LSC’s Unity switching/dimming racks (each 96-channel) - three serving the Stewart Theatre, and one for the Wakefield Family Front Room. “These dimmers provide the backbone of power dimming that allows Court Theatre to use a mixture of tungsten and LED lighting”, says LS Group’s Nick Abel.
Giles Tanner, the theatre’s Head Technician and Principal Lighting Designer, adds: “In moving to a new facility, we were faced with a conundrum: would we transition to an LED-only lighting rig, or have a mix of LED and incandescent fixtures? Because these two options require very different scenarios, this had significant implications in how lighting power would be implemented.”
The Unity racks are mounted on a floating, isolated metal framing system for seismic bracing, while vibration isolation was specified by Charcoalblue to prevent mechanical vibration being transferred to the building. In addition, the requirements of the Rata Foundation Studio and the Ravenscar Lounge are served by six Gen-VI units, three for each space.
With output channels configurable as 8-bit or 16-bit dimmers for lamps and LEDs, or as direct power relay channels (TruPower) for moving lights, video screens, and audio amplifiers, these dimming and power distribution systems offer a wide range of options. Here again, they allow for the operation of a mixture of tungsten and LED lighting.
The LSC product range also met various DMX routing requirements. Included were a number of MDR rack-mount DMX/RDM data splitters for the venue’s day-to-day DMX signal routing, and MDR DIN-rail splitters, as well as Nexus rack-mount Nodes for ethernet-DMX routing, plus a couple of Nexen DIN-Rail nodes providing power control for the house lighting system.
“We have moved largely to LED fixtures but find that integrating conventional fixtures is both efficient and convenient”, concludes Tanner. “There are some situations where LED fixtures just do not give the best results and the option to seamlessly integrate conventional fixtures is fantastic.”
(Photo: Charlie Rose Creative)
Karol Lipinski Academy of Music upgrades infrastructure with new Harrison analog mixing console
The Karol Lipinski Academy of Music in Wroclaw, Poland, has upgraded its STM (Studio Technik Multimedialnych) studio with the installation of a Harrison Audio 32Classic 48-channel analog mixing console supplied by the official distributor in Poland, Commercial Audio.
The new 32Classic 48, which includes a Dante interface, has been integrated with the academy’s Dante network to enable patching to/from four Harrison D510r 10-slot 500 Series racks and the DAW, plus access to sources anywhere in the building.
The studio, built in 2012, supports students and faculty and is also available for commercial projects. It has recently begun a revitalization and modernization process. “STM is designed to bridge education, art and professional production, and our goal is to create a facility that meets high production standards while remaining an effective learning environment - and the Harrison 32Classic is a central element of that vision”, says Dr. Przemyslaw Jarosz, Sound Engineer/Recording Mixer at STM.
“For students, the Harrison 32Classic is an opportunity to work on a legendary analog console and truly understand how audio behaves in a classic ‘in-line’ signal path”, he continues. “At the same time, the system is built for today’s workflows thanks to AoIP (Dante) interface integration. This hybrid approach lets students and engineers learn both worlds: traditional analog technique and modern networked audio.”
The Harrison console’s integrated Dante interface has revolutionized the way faculty and students approach recording and mixing sessions, reports Jarosz: “It’s a unique feature in the world of analog consoles, and for us it’s been a game changer. First, it enables a highly flexible in-line workflow. We can return signals from the DAW straight back onto the console faders during a recording session, which makes tracking and monitoring feel immediate and intuitive.”
Dante also makes mixing faster, he adds: “When we’re working on already recorded material, we can route DAW outputs to the console channels in a very efficient way, with quick changes and minimal setup time. On top of that, the console’s matrix capabilities and external inputs implemented via Dante significantly streamline day-to-day operation. They allow us to switch sources - both at the console and within the digital routing - and build monitoring or routing scenarios quickly.”
The four Dante-enabled Harrison D510r 500 Series racks, loaded with twenty SSL and twenty Harrison compressor modules, further expand the 32Classic’s capabilities. “We now have fully featured channels with both EQ and dynamics - the kind of complete, hands-on channel processing you normally associate with classic large-format analog desks - but with full AoIP routing flexibility over the Dante network”, explains Jarosz. The Harrison D510 500 Series system at the Karol Lipinski Academy features the D510dante audio interface for seamless routing to/from the console, as well as any other devices on the Dante network.
A digital audio format converter with MADI and Dante cards transcodes signals from the Academy’s MADI network to Dante for direct input to the console. “With the digital integration, we can record and route any analog or digital audio signal from anywhere in the Academy - from multiple studios and concert halls, or even from several locations at once - while keeping sources separated and organized through flexible routing and different transmission domains”, says Jarosz. “In practice, this means we can capture complex sessions efficiently, combining various spaces and ensembles into one coherent production workflow.”
Since the installation, the 32Classic has already been used across a broad range of Academy-related work, including classical, jazz and film-oriented sessions, as well as live and streaming productions. Projects range from solo recordings through chamber music to full symphony orchestras. In addition to supplying the console, Commercial Audio also handled the complete integration with all of the Academy’s studio rooms, the concert hall and the entire outboard setup.
(Photos: Harrison Audio/Karol Lipinski Academy of Music)
Teqsas supplies Coda Audio system for Culture Centre in Germany
The Hardt Congress and Cultural Centre in the German municipality of Linkenheim-Hochstetten is a multi-use facility which sits at the heart of its community. The venue has been the hub of social life since the 1990s, hosting municipal events on every scale, as well as external conferences, meetings, trade fairs, and more.
The Centre recently took the decision to upgrade its audio provision, requiring a system that offered optimal delivery of spoken word events and concerts. A Coda Audio system was selected to meet the brief. The goal was to achieve an even coverage throughout the room without affecting the lines of sight - especially in the area of the gallery.
A central element of the concept was a switchable array which would allow flexible adaptation to different audio applications. This would allow for optimal configuration of the system depending on the format of the event, from conferences and lectures to concerts and cultural events.
The Centre’s Technical Director, Jürgen Faul, organised the testing and comparison of several solutions, before deciding on the Coda Audio N-Ray system. The Centre’s in-house technical team installed the system, which is powered by Coda Audio Linus 6.4 DSP amplifiers, and comprises sixteen Coda Audio N-Ray (compact three-way line array), seven D5 Cube (compact two-way point source) and two Hops7-Pro (compact point source), supported by six G18-Sub (multipurpose sub extension).
The new system provides even sound distribution throughout the room and ensures that the gallery is reliably reached from the front sound system. At the same time, the system remains flexible enough to cover a wide range of event formats, and deliver stable performance when higher levels are required. The N-Ray system was supplied by Teqsas GmbH.
(Photos: Coda Audio)
Rebranded French nightclub upgrades with Martin Audio WPS line array
Situated in the Nantes commune of Saint-Sébastien-sur-Loire, the former Papa Tango Club recently underwent a rebrand from owners Evoe Group and resurfaced as Moon Social Club. As part of a substantial renovation and expansion to create a larger capacity, a new Martin Audio WPS line array has been installed by technology specialists and Martin Audio partners Make It Event. The company has been working with the operators since 2018 and currently manages around fifteen venues for the group.
The client has been a long-standing partner of Martin Audio, and several other venues within the Group are already equipped with the British manufacturer’s systems. However, due to the specific constraints of the new venue, the client wished to evaluate multiple audio solutions on site before reach a decision.
Make It arranged several proof-of-concept tests, including systems from competing brands. The final choice went in favour of Martin Audio, not least because of the strong collaboration between Make It and French distributor Algam Enterprise, who were able to deliver a solution that met the requirements.
The sound system was designed by Benjamin Verneuil, Head of Integration at Make It Event, and his solution was for eight WPS, flown four aside, either side of the stage, after carrying out visualisation in the manufacturer’s Display prediction software. The line array is driven in 2-box resolution from a pair of Dante-enabled Martin Audio iK42 and an iK81 multichannel amplifiers.
The main hangs are further reinforced by a pair of CDD8 as sidefills to improve coverage at the centre of the stage - along with four CDD12 ceiling-mounted delays for additional coverage, a further pair of CDD12 on the sides, to open up the sound field, and four SXH218 subwoofers. These are arranged in a sub arc under the stage - a solution chosen for both practical reasons and overall coherence, as traditional stacking was not possible in this space.
The main stage forms one of five separate sound zones, all of which feature Martin Audio solutions. Elsewhere, a separate club room is equipped with a mini W8LM system (three elements aside) with a single WMX sub per side. Two VIP rooms are each equipped with three wall-mounted CDD5, and at the entrance, guests are greeted by discreet sound emanating from four ACS-55TS compact, two-way ceiling speakers. For those venturing outside, a dedicated area is populated with four Martin Audio AQ8 and an SX215 sub.
(Photos: Martin Audio/Eric Menard/Photo Studio Algam)
Elation lighting system brings new creative options to Hale Centre Theatre stages
As Head of Lighting and Video at Hale Centre Theatre in Sandy, Utah, Jaron Kent Hermansen has played a defining role in shaping the visual design of the venue’s performance and educational spaces. The designer was instrumental in the recent specification and integration of Elation Paragon fixtures in the Centre Stage and KL Core IP, KL Par FC, and Fuze Wash 500 fixtures in the newly opened Mountain American Arts & Education Beehive, which marks an expansion of its education program.
Associated with the Hale Centre since 2019, Hermansen was thorough in his background work before deciding to outfit the Hale Centre stages with Elation products. Working closely with Elation and Barbizon Lighting Company, he ultimately specified the fixtures after extensive testing and consultation. Key support came from Barbizon’s Peter Maurelli and Michael DeGrazio, and Elation’s William Irwin, who assisted in final system tuning and integration.
The Centre Stage features twelve Paragon M and twelve Paragon S fixtures for the in-the-round performance space. The Paragon S, positioned at VOM header level, are used for aerial textures and color, while also serving as the primary side light workhorses. The Paragon M work from overhead center ring positions.
In “The Hunchback of Notre Dame”, which had its closing night at the Centre Stage on April 25, 2026, the Paragons were central to creating dramatic scenes of upheaval, including moments where it felt like the entire world was on fire. In the production’s “Hellfire” sequence, Hermansen and his team used the Paragon to construct a controlled perimeter of fire and light, blending flame with atmospheric lighting to create an almost physical sense of heat and tension.
“The goal wasn’t to make it look like a lighting trick or stage effect, because that would weaken the impact”, notes Hermansen. “Instead, everything was designed to feel real, an environment the audience couldn’t look away from. Fire worked alongside the glow of the Paragon units, so even when flames weren’t active, the space still felt hot and alive. Lighting from above into a fog-filled pit created an ominous void. At that point, it stopped reading as an effect and started to feel like hell itself.” Also, at the end of the play, when Quasimodo dumps burning iron onto the people below, the Paragons are used to create a glowing effect onto a fog curtain.
The Paragons are used to light the stage in tandem with projections, carefully matching the two for a nearly seamless result. In fact, Hermansen recalls walking into the space after the team had been working on it for a while and being unable to tell the difference between the projection and the Paragon effect.
The newly constructed Beehive Stage, a 300+ seat proscenium theatre with expansive LED architecture, opened in January 2026 with a youth production of “Chitty Chitty Bang Bang”. Built to house the Hale Centre’s education program, the Beehive Stage presents both mainstage and youth productions, allowing emerging theatre technicians to manage youth shows and giving them hands-on experience with AV gear.
The venue includes a full LED scenic environment: an LED proscenium arch, dual LED legs, and a 50 ft x 26 ft LED wall. Here, the designer specified 52 KL Core IP units fitted with third-party shutter barrels. The whole idea behind the abundance of LED walls on the Beehive Stage is to integrate scenery and video seamlessly, or intentionally, between the two. “The LED walls are very punchy and bright, but the KL Cores really hold their own against them, especially when I have them coming through as side light”, says Hermansen. “They also color-match well. I rely on them to do a lot of the heavy lifting.”
Used across front light, side light, and top texture positions, the KL Core system provides saturated color for productions like “Hallmarked”, the theatre’s original musical currently running in the space. To ensure consistency across fixtures, Hermansen also specified 24 KL Par FC fixtures for the Beehive Stage, leveraging the same RGBMA color engine as the KL Core units to maintain uniform color tones. In addition, four Elation Fuze Wash 500 moving heads, also with RGBMA color mixing and suggested to Hermansen by Associate Lighting Designer/Programmer Collin Schmierer, provide soft, painterly fill and blending light.
“Hallmarked” runs on the Beehive Stage until June 6, 2026, with the next production, “Our Town”, opening July 6.
(Photos: Nate Bertone/Nile Hawver/Leavitt Wells)
Halle 32 installiert neues Beschallungssystem von Coda Audio
Die Gummersbacher Halle 32 bietet seit 2013 ein vielfältiges kulturelles Programm, von Lesungen über Theateraufführungen und Orchesterkonzerte bis hin zu Heavy-Metal-Produktionen. Um dieser Bandbreite gerecht zu werden, investiert das Venue kürzlich in eine flexible, leistungsfähigere Audiolösung. Im Rahmen einer herstellerneutralen Ausschreibung fiel die Wahl auf ein maßgeschneidertes System von Coda Audio.
Im Mittelpunkt der Installation steht ein ViRay-Doppel-8-Zoll-3-Wege-Line-Array-System. Ergänzt wird das Setup durch SCP-Dual-18-Zoll-Subwoofer in Aufstellung mit kardioider Abstrahlkontrolle sowie verschiedenen Modellen der Hops-Serie für Nahfeld- und Delay-Anwendungen. Wegen der kompletten Steinbauweise der langen, aber nicht sehr breiten Location habe sich die Installation als herausfordernd erwiesen.
„Aufgrund der besonderen Raumgeometrie war früh klar, dass nicht jedes Beschallungskonzept gleichermaßen funktionieren kann“, erläutert Fachplaner Sascha Klein von Klein Klang, der im Vorfeld verschiedene Systemkategorien - von Punktquellen bis hin zu Line-Arrays - untersuchte, simulierte und bewertete. Neben der akustischen Performance seien auch Handling, Flexibilität und Budget berücksichtigt worden. Ergänzend zur Simulation fand ein Probehören statt, um die theoretischen Ergebnisse einem Praxistest zu unterziehen.
„In der Halle 32 mit begrenzter Flughöhe war es wichtig, ein System zu wählen, das ausreichend Headroom bietet und die Schallenergie kontrolliert über die Länge der Halle transportieren kann“, so Klein. Da die Halle mit variablen Bühnenpositionen und unterschiedlichen Veranstaltungsformaten arbeitet, habe das System so konzipiert werden müssen, dass sich Array-Positionen und Setups mit geringem Zeitaufwand an wechselnde Produktionsanforderungen anpassen lassen.
Insgesamt umfasst das gewählte Coda-Audio-Setup in der Halle 32 zwölf ViRay-80 und sechs ViRay-120 für die Hauptbeschallung (geflogenes L/R-System mit optimierter Winkelung für maximale Reichweite) sowie sechs SCP-Subwoofer, vier Hops7-Pro (2-Wege-Point-Source-Lautsprecher für die Nahfeldbeschallung), zwei Hops12i-Pro (3-Wege-Point Source-Lautsprecher für die Delaybeschallung) und diverse Linus-Controller-Endstufen.
Foto: die Band Grobschnitt beim Soundcheck in der Halle 32, Ende April 2026. (Fotocredit: Michael Danielak-Kölpin)
Licht-Upgrade mit ETC im Tarkington
Das Tarkington in Carmel, Indiana, ist Teil des Allied Solutions Center for the Performing Arts und bietet ein vielseitiges Programm, von Broadway-Produktionen über Tanz bis hin zu Live-Konzerten. Um zukunftsfähig zu bleiben, investierten die Verantwortlichen in ein modernes Beleuchtungssystem von ETC.
Im Zentrum der Modernisierung stehen die Scheinwerfer Halcyon Gold, ColorSource Spot V und Source Four LED Series 3. Das System wurde durch eine Eos-Apex-10-Konsole ergänzt und gemeinsam mit Indianapolis Stage Sales and Rentals realisiert. Die bisherige Anlage war laut Betreiber zunehmend wartungsintensiv geworden und habe durch unkonventionelle Patching-Strukturen die Arbeit von Gast-Lichtdesignern erschwert. Zudem basierte ein Großteil der Beleuchtung noch auf ineffizienter Glühlampentechnologie.
Ursprünglich war eine klassische Kombination aus Profil-, Wash- und Effektscheinwerfern geplant. Im Projektverlauf zeigte sich jedoch, dass sich viele Anforderungen mit einem einzigen, leistungsstarken Scheinwerfertyp abdecken lassen. „Dieser Ansatz mit einem einheitlichen Scheinwerfer hat uns sofort überzeugt“, sagt Josh Hasty, Technischer Leiter des Tarkington. „Die Geräte lassen sich flexibel einsetzen - ob als Wash, Profil oder für Seitenlicht.“
Nach Tests und Vergleichen fiel die Wahl auf den Halcyon Gold von ETC. Insgesamt wurden 88 Geräte installiert, die eine Lichtleistung von bis zu 31.000 Lumen bieten. Auch weitere Spielstätten des Allied Solutions Center wurden modernisiert, darunter das Payne & Mencias Palladium. Dort ersetzten mehrere Eos-Apex-10-Konsolen die bisherigen Eos-Classic-Pulte. Die vereinheitlichte Technik ermöglicht es nun, Equipment bei Bedarf flexibel zwischen den Venues auszutauschen.
(Fotos: ETC/Joshua Hasty Photography)
Internationaal Theatre Amsterdam modernisiert Lichtausstattung mit ETC
Das Internationaal Theatre Amsterdam (ITA), ein Zusammenschluss der Stadsschouwburg und der Toneelgroep Amsterdam, gehört zu den richtungsweisenden Kulturbetrieben in den Niederlanden. Um die größtenteils zeitgenössischen Aufführungen bestmöglich in Szene setzen zu können, modernisierte das ITA seine Beleuchtungs-Infrastruktur mit Systemen von ETC. Die Lieferung und Betreuung erfolgte durch Ampco Flashlight.
Die Investition ist Teil der räumlichen und produktionstechnischen Optimierung des Hauses. Im Vorfeld der Modernisierung verglich und testete das ITA verschiedene Lichtsteuerungssysteme und bewertete diese in Bezug auf Leistung, Flexibilität und Zuverlässigkeit. Unter der Leitung von Lichtkoordinator Wannes Klop fiel die Wahl letztlich auf ETC.
Zu den neu installierten Produkten gehören unter anderem das Lichtsteuerungssystem Eos Apex 5, zwei Apex-FP-Konsolen, zwei Ion-XE-20-Steuerungen, ein Programming Wing, ETC Pucks, Fader Wings sowie mehrere Source-Four-LED-Series-2-Scheinwerfer. Ergänzt wird das System durch eine vollständig integrierte Infrastruktur mit ETC-Response-Gateways und einem Sensor3-ThruPower-Leistungssteuerungs-System.
Damit ist vollständige Kontrolle über Farbe, Intensität und Cues gewährleistet, sowohl in der Spielstätte als auch auf internationalen Tourneen. Derzeit befindet sich das ITA mit dem Stück „Giovanni’s Room“ auf Europatournee, die Show wechselt im 2-Wochen-Rhythmus zwischen Spielstätten unterschiedlicher Größe.
(Fotos: ETC)
Kinzo, Light Forms und VisionTwo gestalten Licht für neues Software-Headquarter in der Macherei München
Das Architekturbüro Kinzo wurde von einem global agierenden Softwareunternehmen beauftragt, eine neue Niederlassung in der Macherei München architektonisch zu gestalten. Neben mehreren Ausstattungselementen und auf den Kunden zugeschnittenen Designideen lag der Fokus auf einer individuellen Beleuchtungslösung, die Sonderlösungen in puncto Leuchten erforderte.
Der Leuchtenhersteller Light Forms realisierte diese Sonderlösungen in Kooperation mit VisionTwo, dem deutschen Partner von Light Forms. Geleitet von Kinzos Vision eines individuell gestalteten Arbeitsbereichs, wurde die Beleuchtung als zentrales architektonisches Element für die insgesamt 5.500 Quadratmeter große Bürofläche konzipiert.
Frei an der Decke positionierte und sich kreuzende lineare Lichtprofile wurden mit Lightplane-2.5-Leuchten umgesetzt. Zudem kommen geschwungene Serpentine-Leuchten, die sich ebenfalls individuell den Raummaßen anpassen lassen, zum Einsatz. In den zentralen Meeting-Spaces wurde mit MoonRing-Leuchten ein auffälliger Blickfang geschaffen, ergänzt durch eine maßgeschneiderte Deckenrosette, die ebenfalls nach entsprechender Spezifikation gefertigt wurde.
Für eine fokussierte und komfortable Arbeitsbeleuchtung integrierte Kinzo in Zusammenarbeit mit Light Forms die Nova-Medium-Downlights an den Arbeitsplätzen und in den Besprechungsräumen. Den gesamten Innenausbau sowie die Installation der Leuchten in der Macherei München wurde von der Firma Baierl & Demmelhuber ausgeführt.
(Foto: Sorin Morar)
Powersoft Mezzo amplifiers create refined audio ambience in 14th century renaissance hotel
In the heart of Lyon’s historic old town, Cour des Loges, a five-star Radisson Collection Hotel, has recently reopened following a two-year renovation, which includes a fully integrated audio system.
Located within a Renaissance complex dating back to the 14th century, the landmark hotel features 61 rooms and suites, two restaurants (including Les Loges, which recovered its Michelin star following the renovation) as well as a collection of spaces designed for a special hotel experience. To unify every area with a consistent yet adaptable sound atmosphere, integrator Plug’In Design delivered a complete audio solution centred on six Powersoft Mezzo 604 AD compact amplifiers.
Headquartered south of Lyon and with offices across France (in Montpellier, Nantes and Paris), Plug’In Design is an AV integrator specialising in professional environments, from workspaces to restaurants and hotels. For Cour des Loges, the objective was to design a fully customised sonic environment across all areas of the hotel, including inner courtyards, lounges, both restaurants, reception and retail spaces.
Preserving the architectural integrity of the historic structure was paramount. The property’s original stone walls and Renaissance features limited cable routing options and restricted conventional installation approaches. “Working with a heritage building presents a true challenge”, says Joshua Bednarski, CEO of Plug’In Design. “It demands expertise and specific solutions to turn those challenges into a successful project.”
“The historic architecture made cable routing through the walls particularly complex, requiring us to adapt to existing constraints while delivering a solution that remained simple, intuitive and reliable for daily operation by hotel staff”, he continues. “The result is a discreet yet powerful audio infrastructure that integrates seamlessly into the hotel’s aesthetic.”
At the core of the installation are six Powersoft Mezzo 604 AD amplifiers. Each unit is a 600 W, four-channel compact amplifier with integrated DSP and Dante networking. The AD version extends networking capabilities with Dante and AES67, enabling remote control and monitoring while ensuring flexible signal routing throughout the property. The compact form factor, combined with the included mounting kit, allowed the amplifiers to be installed discreetly within constrained technical spaces.
According to Bednarski, the Powersoft amplifiers provide “flexible multi-zone control and precise management of different sound atmospheres throughout the property”. The amplifier system powers Biamp ENT203-BK, ENT220-BK and ENT206-BK loudspeakers, supporting audio reproduction tailored to each area of the hotel.
Centralised control is delivered via intuitive touchscreen tablets, allowing staff to manage audio levels and zoning without requiring technical expertise. The new sound system allows distinct ambience profiles to be created for different zones, ensuring the atmosphere aligns with the hotel’s identity.
(Photos: Powersoft)
MC2 amplifiers power DAS Audio system at Czech ice hockey arena
With a capacity of almost 7000, the CPP Arena in the Czech city of Hradec Králové is home to ice-hockey team Mountfield HK, who have used the facility since 2013. Inaugurated in 1957, the Arena has hosted high-level sports events throughout its history, as well as major concerts by national artists, trade fairs, and exhibitions, making it an important regional hub.
The arena authorities recently took the decision to upgrade its audio system. Its existing system was considered not to meet the standards expected of a modern multi-use arena, so audiovisual specialists Dancefloor AVL Solutions was engaged to design and install a replacement. “The venue is a complex reverberant space with sound reflecting in many directions in what can be a very intense atmosphere”, says Libor Klemenc, CEO of Dancefloor AVL Solutions. “We needed a system capable of providing clarity and dynamics even in the noisiest environment.”
The Arena presented acoustic challenges typical of large capacity sports venues, not least the ice rink itself which acts as a large reflective surface. Steep stands and high levels of crowd noise during matches compounded the issues. The Arena also hosts a number of non-sports events which also require even coverage and consistent SPL across all sectors, avoiding dead zones. It was important that the solution did not interfere with sightlines or the daily operation of what is a very busy facility.
Dancefloor AVL Solutions installed 24 DAS Audio HQ-212.95 long-throw two-way units powered by MC2 Audio Delta DSP100 amplifiers. The system can be operated using an XTA/MC2 DPanel-8 remote programmable wall panel, by choosing presets for different modes such as hockey game, training, cultural event, etc.
The loudspeakers were configured in five clusters of two units on each side of the stands with additional units at the ends and in a central position above the rink. The HQ-212.95 units were particularly suited to this application due to their coaxial configuration and cabinet construction.
(Photos: DAS Audio)
Theaterspielgemeinschaft Lorsch erneuert Tontechnik mit Audio-Technica und Allen & Heath
Die Theaterspielgemeinschaft Lorsch hat ihre Tontechnik mit Produkten von Audio-Technica und Allen & Heath modernisiert. Für die Funkstrecken und Mikrofonierung der Schauspieler kommt die 3000er-Serie von Audio-Technica zum Einsatz, für die Mischung nutzt die Theaterspielgemeinschaft das SQ6-Digitalmischpult von Allen & Heath.
Nachdem die Tontechnik der Theaterspielgemeinschaft nicht mehr den Ansprüchen moderner Produktionen genügte, hatte sich der Verein für dessen Erneuerung entschieden. Unterstützung bei der Modernisierung erhielt man von der MR Products Ton- & Lichttechnik GmbH. Nils Engel von MR Products war mit der Installation der neuen Tontechnik betraut.
An die drahtlose Sprachübertragung der Schauspieler wurden vor allem zwei Anforderungen gestellt: Sprachverständlichkeit und Reichweite. Die Empfänger sollten am FOH-Platz installiert werden, damit die Techniker das gesamte System im Blick haben und gegebenenfalls schnell reagieren können. Die 3000er-Serie von Audio-Technica erfüllt diese Anforderungen.
Für die Bühnenmikrofonierung kommen zehn ATW-DT3101-Drahtlos-Sender sowie zwei zusätzliche ATW-DT3102-Handsender mit den dynamischen Wechselköpfen ATW-C4100 zum Einsatz. Für die Schauspieler wurden außerdem zehn BP899cH-Kondensator-Lavaliermikrofone angeschafft, von denen sechs als beige TH-Variante ausgelegt sind.
„Jeder Sender hat eine Digitalanzeige, in der die korrespondierenden Namen eingegeben sind“, erklärt Engel. Dadurch solle vermieden werden, dass die Schauspieler versehentlich den falschen Sender benutzen. Zum Empfangen der Funkstrecken installierte der Technikexperte fünf Dante-fähige ATW-DR3120DAN-Zweikanal-Empfänger von Audio-Technica.
Was die Signalverwaltung betrifft, entschied sich die Theaterspielgemeinschaft für das SQ6-Digitalmischpult von Allen & Heath. Da es keine festen Techniker gibt, sei für die Entscheidung vor allem eine intuitive Handhabung ausschlaggebend gewesen. Zudem sollten genügend Fader und Bearbeitungsmöglichkeiten vorhanden sein, damit der FOH-Mix möglichst schnell und einfach erstellt werden kann.
Aufgrund der nahezu latenzfreien internen Klangprozessoren des SQ6 haben die Techniker nun die Möglichkeit, Dynamik- und Frequenzbearbeitungen vorzunehmen - Funktionen, die das vorherige System kaum bot. „Das alte Analogpult war sehr rudimentär und hatte lediglich einen Equalizer pro Kanal“, so Engel. „Es gab keine Kompressoren, Gates, Effekte oder sonstiges.“ Damit auch Produkt- und Ortsfremde sofort mit dem Digitalmischpult arbeiten können, richtete Engel Presets mit entsprechenden Routings und Freigaben ein.
Da die Theaterspielgemeinschaft des Öfteren Open-Air-Aufführungen veranstaltet, sei auch die Mobilität der Tontechnik ein wichtiges Kriterium gewesen. Daher wurde das SQ6 mit einer SQ-Dante-64x64-Karte bestückt. „Dank der Dante-Kompatibilität müssen keine Multicores mehr gezogen werden“, sagt Engel. Darüber hinaus biete das SQ6 genügend Reserven, um in Zukunft weitere Funkstrecken einbinden zu können: „Wenn die aktuellen zehn Funkstrecken nicht mehr ausreichen, können sie jederzeit durch weitere Sender und Empfänger ergänzt werden.“
(Foto: MR Products Ton- & Lichttechnik GmbH)
Smart #5 wird erstes Fahrzeug mit Dolby-Atmos-fähigem Sennheiser-Soundsystem in Europa
Sennheiser und Smart Europe kündigen den Rollout eines Over-the-Air-Updates (OTA) für den Smart #5 an. Dieses ermöglicht die Wiedergabe von immersivem Dolby-Atmos-Audio über Amazon Music und das Sennheiser Signature Sound System. Der Smart #5 ist damit das erste Fahrzeug in Europa, das über ein Sennheiser-Soundsystem mit Dolby Atmos verfügt.
Durch das Update können Besitzer eines Smart #5 Premium oder eines Smart #5 Brabus die Musik ihrer Lieblingskünstler direkt über die in das Infotainmentsystem integrierte Amazon Music App in Dolby-Atmos-Qualität genießen, ohne dass sie ihr Smartphone verbinden müssen. Durch die Auswahl von Dolby-Atmos-Inhalten innerhalb der Amazon Music App können die Fahrer und Passagiere des Smart #5 in ein multidimensionales Hörerlebnis von Sennheiser mit zwanzig Lautsprechern eintauchen, das sie in den Mittelpunkt der Musik rückt.
Für die Entwicklung nutzten die Tuning-Ingenieure von Sennheiser ihr immersives Tonstudio in Zürich als Referenzumgebung, um sicherzustellen, dass das Dolby-Atmos-System im Fahrzeug die Musik genau so wiedergibt, wie von den Künstlern beabsichtigt. Mittels dieser Referenzerfahrung übertrug das Sennheiser-Team immersiven Klang in den Innenraum des Smart #5.
Das Sennheiser Signature Sound System, das in den Premium- und Brabus-Editionen des Smart #5 enthalten ist, war von Anfang an darauf ausgelegt, zukunftsfähige Erlebnisse zu ermöglichen. Mittels flexibler Architektur kann es um kostenlose OTA-Updates erweitert werden. So soll sichergestellt werden, dass sich das System weiterentwickelt und auch lange nach dem Kauf innovative Audio-Funktionen bereitstellt. In Kombination mit Dolby Atmos eröffnet das System ein neues Maß an räumlicher Präzision für unterwegs.
Das kostenlose OTA-Update steht allen Besitzern eines Smart #5 in Europa zur Verfügung. Das Update wird schrittweise in allen europäischen Märkten ausgerollt.
(Fotos: Sennheiser)
Scala Leverkusen istalliert Vio-Systeme von dBTechnologies
Mit der Neuinstallation von dBTechnologies’ Vio-Beschallungssystemen nutzt die Eventlocation Scala Leverkusen eine skalierbare Audiolösung für Konzert-, Kultur, Comedy- und Corporate-Formate. Planung und Umsetzung erfolgten gemeinsam mit Mecky Events unter der Projektverantwortung von Fabian Stiens.
Die Scala Leverkusen bietet eine große Bandbreite an Veranstaltungen und ist einer der Austragungsorte der Leverkusener Jazztage. Mittels der fest installierten PA-Anlage sollen sowohl dynamische Live-Musik als auch Spoken-Word-Produktionen mit konstant reproduzierbarer Qualität abgebildet werden.
Die Installation der Vio-Systeme umfasst 2 x 5 Vio-L208-Line-Array-Module (Main PA, rechts und links in der Truss), 2 x 2 X205-Frontfills (horizontal angeordnet in der Truss), ein X12-Centerfill (zentral über der Bühne) sowie vier S118R-Subwoofer (unter der Bühne platziert).
Besonderen Wert legten die Teams von Mecky Events und dBTechnologies nach eigenen Angaben auf eine saubere Übergabe zwischen Main PA, Frontfills und Center, um auch in den vorderen Reihen eine konsistente Tonqualität zu gewährleisten. „Die Scala verlangt ein System, das flexibel einsetzbar ist und gleichzeitig professionellen Touring-Ansprüchen genügt“, so Fabian Stiens. „Das Vio-Setup bietet diese Kombination.“
(Fotos: dBTechnologies/Sascha Gansen)
