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Groene Engel upgrades with Robe
21/07/2026
Sovicosystem installs DAS Audio systems at South Korean universities
Two university venues in South Korea have relied on DAS Audio to upgrade their sound systems and adapt them to academic activities, live events and multi-purpose uses. Sovicosystem has brought the systems to Soongsil University’s Hyungnam Hall and Inha University Gymnasium.
At Hyungnam Hall, located at Soongsil University in Seoul, the project was carried out in February 2026 and includes six Vantec-20A line array systems supported by two Vantec-118A subwoofers. The system is completed with four Action-508A units used as delay speakers and two Action-M512A stage monitors, creating a complete solution for lectures, ceremonies, performances and university events.
The Hyungnam Hall installation follows a previous positive experience with DAS Audio systems at the university, where Sovicosystem had already installed a Vantec-20A system in another auditorium on campus.
The second project took place in March 2026 at Inha University Gymnasium, where Sovicosystem installed four Action-512A powered systems distributed between the front and rear areas of the venue. The solution was designed to provide consistent sound for academic activities, sports events and other functions typical of a multi-purpose university space.
(Photos: DAS Audio)
Louisville Bats restore classic baseball radio experience with StreamGuys Ultra-Low Latency Streaming
StreamGuys has deployed its Ultra-Low Latency Streaming (ULLS) technology with the Louisville Bats, the Triple-A affiliate of Major League Baseball’s Cincinnati Reds. The implementation allows fans attending games at Louisville Slugger Field to listen to the team’s live radio broadcast in synchronization with on-field action, restoring a baseball tradition that had largely disappeared in the digital era.
For generations, baseball fans brought portable radios to the ballpark so they could enjoy hometown broadcasters calling the action while watching the game unfold live. However, modern broadcast distribution technologies and digital processing have introduced delays of ten to twenty seconds or more into many radio and streaming broadcasts, making synchronized listening impossible. The Louisville Bats turned to StreamGuys’ ULLS technology to solve that challenge after fans began expressing frustration over delayed game calls.
“We heard from a lot of fans who love listening to the broadcast while they’re at the ballpark, but suddenly they were hearing pitches several seconds after they happened”, says Nick Curran, Director of Broadcasting for the Louisville Bats. “There’s something special and nostalgic about baseball on the radio. Our fans wanted that experience back, and StreamGuys gave us a solution.”
Curran, who has served as the Bats’ lead broadcaster since 2016, says the organization began exploring options after a corporate-mandated delay was introduced on the team’s flagship radio station. Fans listening inside Louisville Slugger Field could no longer follow the game in real time, even on traditional AM radio receivers. After learning about StreamGuys’ ULLS technology, Curran worked with the company’s engineering team to deploy a dedicated ultra-low latency stream that fans can access on their mobile devices while attending games.
ULLS eliminates traditional streaming delays by leveraging StreamGuys’ Contribution Network and low-latency delivery architecture to synchronize audio and video streams with live event action. The platform supports deployment through team and broadcaster mobile applications on both Android and iOS devices.
In addition to enhancing the fan experience, ULLS can create new sponsorship and revenue opportunities through optional dynamic pre-roll advertising. Teams and broadcasters can incorporate sponsor messages before fans join the live stream.
(Photo: StreamGuys, Inc.)
Martin Audio Torus supports Malwanchal University convocation
As part of Central India’s largest medical education group, Malwanchal University in Indore, Madhya Pradesh, is a 65-acre campus with a student community of over 11,000. In April 2026, the University, together with the Index Group of Institutions, hosted its 5th Convocation Ceremony - its flagship graduation event - where degrees are formally conferred and outstanding academic achievements celebrated.
Locally based Patel DJ Sound deployed a Martin Audio sound system solution comprising Torus T1215 constant curvature array elements, complemented by Blackline X218 subwoofers. Hosted in the University’s Central Auditorium - a large-scale venue on campus designed to accommodate up to 2,000 attendees - two flown arrays, each comprising four Torus T1215 elements, provide controlled coverage, while the Blackline X218 subs add low frequency depth and weight.
(Photos: Martin Audio)
Robe helps shows go on at Lviv National Opera
Lviv National Opera has been investing in Robe moving lights over the last five years and now has sixteen Robe Tarrantula large LED wash beams and twenty-two T1 Profiles, which are among 146 moving lights in total available in the house rig.
Located on Freedom Avenue in central Lviv, Ukraine, the opera house was designed by Polish architect Zygmunt Gorgolewski and constructed between 1897 and 1900. It is now a primary European cultural and performance hub, known for innovative opera and ballet productions.
Lighting director Oleksandr Mezentsev (pictured) has worked at the venue for the last five years, and he lights and oversees the lighting of all its productions. In many ways, this has been an atypical tenure as he joined the team there during the height of the Covid pandemic, which has been followed by the full-scale war that has been raging since 2022.
Like most Ukrainian theatres, Lviv National Opera returned to work within two months of the war starting in 2022, and despite the constant threat of Russian missile and drone attacks, is now back to operating a full annual schedule, including three to five premieres per season, plus assorted revivals, totalling approximately 200 operas and ballets.
It is a vital part of a network of Ukrainian performance institutions that have been providing much needed relief during tough times, when creativity, invention and artistic expression remain defiant, while the demand for tickets is through the roof. The Robe fixtures have been arriving in smaller numbers - six or eight at a time - for most of this recent challenging period, supplied via Odesa-based distributor Lightek.
“We’ve basically purchased the fixtures according to the needs of the different incoming productions”, explains Mezentsev. The technical production for all of these has been fully sourced and produced in house. The T1 Profiles came first. They are positioned in the overhead rig in upstage positions and are also rigged on some of the FOH bars.
When it came to adding an LED wash light onboard, they wanted to match the colours of the T1s, so another Robe product was a logical choice, and Tarrantulas were picked. The stage area is twelve metres square, and the Tarrantulas are positioned on the upstage ring of lights.
Both the T1s and the Tarrantulas are used for every show produced in the main house and Mezentsev says that they have made a “huge positive difference” to the daily tasks for him and his lighting department of ten. He was familiar with Robe products already before starting at Lviv National Opera, along with a number of other brands. “Robe now covers all the needs of any performance environment”, he notes.
Lviv National Opera’s relationship with Lightek dates back around twenty years now. CEO Oleg Kaminker and the team there “keep us informed of the latest and most appropriate tech when it becomes available and are always on hand”, says Mezentsev. While the opera house mainly works with Ukrainian creative teams right now, internationals are sometimes invited to collaborate on the production side.
Lviv National Opera is currently in the process of transitioning to LED stage lighting, but right now the inventory is a mix of these, discharge and incandescent sources. The Opera has managed to retain a relatively regular schedule with some adaptations. Around 600 people are working there, including all the creative and technical crews, FOH and administration, marketing and promotion staff, as well as full companies for the opera and ballet performances and a resident orchestra.
(Photos: Gate Agency/Even Kraws/Lviv National Opera/Ruslan Lytvyn/Yuriy Malenko/Gregry Vepryk/Hryhorii Vepryk/Kravs Yevheniy)
Llewellyn Hall equipped with nearly 150 Anolis Ambiane and Calumma fixtures
Llewellyn Hall at the Australian National University in Acton, Canberra, ACT - a heritage-listed building and hailed as one of the finest concert halls in Australia - more recently installed a new Anolis auditorium lighting scheme. The venue is currently managed by the Venues and Functions team of Campus Environment, ANU, with close operational links to the School of Music.
After winning a competitive tender, the initial specification and new lighting design were created by Eddie Galak, business development manager for Anolis Australian distributor Jands, and completed in collaboration with theatre consultant Micah Johnson of Melbourne-based design consultants Studio Entertech. Nearly 150 Anolis LED fixtures are involved from the manufacturer’s Ambiane and Calumma ranges, replacing the old tungsten dimmed sources.
The upgrade was necessary, as the previous auditorium lighting dated to the 1980s and was getting patchy and worse for wear. And, apart from transitioning to LED, Johnson also wanted to bring the possibility of having colour in the space for events and shows requiring that option. Being heritage listed and with a lot of wooden features and red seating, they also wanted to match the warmth and tungsten vibe that the space was already comfortable with.
The overhead lighting is now covered with sixteen Anolis Ambiane XP56 RGBW recessed luminaires with 30-degree lenses and thirty-six Ambiane XP56 tungsten dims, also with 30-degree lenses, together with thirty-two recessed Ambiane HP111 tungsten dims with 60-degree lenses. Twenty-four surface mounting Ambiane SP16 tungsten dims - the smallest luminaire in the Ambiane range - are the main turret up lights, combined with twelve Calumma XS SC RGBWs.
The “Juliet” recesses are illuminated with six Calumma XS SCs and the rear ceiling of the balcony is grazed with five RGBW Calumma M MCs and eight Calumma Ms, with six recessed Ambiane RGBW SP16s utilised as part of the blue lighting system backstage. Challenges included re-purposing as many existing roof holes and fixings as possible due to the heritage listed status, with new holes being made only where completely necessary.
The existing spaces were adapted to fit the new Anolis fixtures with the help of some bracketry fabricated by ITE (Installation Theatrical Engineering), also based in Melbourne. The Ambiane SP16 Surface Mount fixture with the 30-degree tilt was a request from Galak to Anolis, who responded by developing the product specially for this project. Now, this model is in commercial production.
For Johnson, the most galvanising elements of the project were combining the need to match the heritage requirement “tungsten-style” aesthetic, whilst simultaneously meeting the contemporary, practical and compliance needs.
A Paradigm controller is used for the house lighting, which can also be integrated with the venue’s main stage lighting controllers, with touch panel remote access for everyday tweaking. Studio Entertech also specified a new stage lighting system for Llewellyn Hall as part of the technical upgrade, including dimming and wiring.
Llewellyn Hall has long-standing associations with the Canberra Symphony Orchestra, the Canberra Choral Society, and the National Capital Orchestra and regularly hosts touring shows, including by Musica Viva and the Australian Chamber Orchestra, as well as performances by a diversity of international artists.
(Photos: Louise Stickland/Paul Clarke)
CGI installs major audio upgrade at Levi’s Stadium
Clair Global Integration (CGI) was engaged by technical design consultants WJHW to deliver a major audio upgrade at Levi’s Stadium, home to the National Football League club San Francisco 49ers. The venue required a new bowl audio system capable of supporting sports games while enhancing large-scale live music and entertainment productions.
The stadium has a standard NFL game seating capacity of 68,500 and up to 83,000 for major concerts - notably the 2026 Super Bowl where the JBL system handled game-day audio and served as an extension and delay system for Clair Global’s temporary Half Time audio deployment.
The stadium recently hosted six group-stage matches during the 2026 Fifa World Cup, with the new audio infrastructure supporting these global events. In recognition, the venue has won in the “Stadium” category of the Mondo DR Awards, a celebration of the world’s most impressive, fixed technology installations.
“This was an important project for CGI because we have a history with the facility”, says CGI Project Manager Matt Normandale. “Prior to being acquired by Clair, Pro Media Audio Video did the original install in 2014, led by Demetrius Palavos, VP of Sports Integration - Special Projects. It was very important to us that we were able to continue this relationship.”
The new permanent installation scope included JBL Professional bowl speakers mounted on custom rigging frames for the venue’s end-firing system design, positioned behind the scoreboard. Kevin Day, Principal - Director of Venue Services at WJHW, worked with CGI Sr. Design Engineer for Sports Projects, Brad Ricks, to design the system which combines JBL VLA301Hi, VLA601Hi, and VLA901Hi line arrays with Fulcrum Acoustic CS218L-WR subwoofers. The PA is powered by Powersoft Unica 12K and 16K amplifiers.
The largest array measures 27 ft in length and weighs approximately 8,400 lbs, while the smallest stands at 7.5 ft tall and weighs approximately 2,500 lbs. Due to this substantial weight, the stadium’s location in Santa Clara, California - which is on the San Andreas Fault and can cause significant earthquakes - combined with venue’s open-air design, CGI developed custom exoskeleton-style rigging frames to ensure structural integrity and seismic resilience.
Each array was pre-mounted at fixed angles and assembled in the stadium parking lot using truss-built gantries, chain motors, and forklifts before being hoisted by crane into trolley beams inside the scoreboard, again secured with seismic bracing. The system was also pre-wired in advance to streamline the installation process and minimize disruption.
In addition to the bowl upgrade, CGI installed a new DiGiCo Quantum 338 console and a Shure Axient IEM system in the stadium’s audio control room, while also redesigning patch bays to improve overall audio signal flow throughout the venue.
“The local Sound Image integration team, based in San Francisco, assisted wonderfully in a tight time frame”, Normandale notes. Close coordination between CGI, specialist rigging contractor RIG, and Levi’s Stadium on-site Superintendent, Ben Adams, ensured the project was completed safely and on schedule for the football season.
(Photos: Clair Global)
San Franciscos Castro Theatre mit Kino- und Konzertsystemen von Meyer Sound ausgestattet
Nach einer zweijährigen Renovierung wurde das Castro Theatre, seit mehr als einem Jahrhundert ein Film- und Kulturwahrzeichen von San Francisco, im Februar 2026 mit neuer technischer Infrastruktur wiedereröffnet. Während es zuvor überwiegend als Kino genutzt wurde, fungiert es heute auch als Venue für Live-Musikveranstaltungen.
Als Teil der Neuerungen stellte Meyer Sound zwei Audiosysteme bereit: ein Astrya-Kinosystem und ein Leopard-System für Live-Performances, die gemeinsam nahtlose Übergänge zwischen Kino- und Konzertbetrieb ermöglichen. Unterstützt wurde das Theater von Another Planet Entertainment, die den Betrieb verantworten und die Erweiterung um Live-Musikformate maßgeblich vorangetrieben haben.
„Das Castro beinhaltet jetzt ein 7.1-Surround-System mit Meyer-Sound-Kinolautsprechern, die weltweit größte digitale Symphonieorgel und ein einzigartiges Meyer-Sound-Konzert-PA-System“, sagt Mary Conde, Senior Vice President bei Another Planet Entertainment. Jede Designentscheidung sei zwei Prioritäten gefolgt: betriebliche Flexibilität und respektvoller Umgang mit der historischen Architektur des Theaters.
Die Meyer-Sound-Lösungen wurden von UltraSound bereitgestellt. „Zusätzlich haben wir die Performance-Systeme installiert und beide Systeme in Betrieb genommen“, sagt Josh Osmond, Director of Operations bei UltraSound. „UltraSound wird zudem als Audio-Manager des Venues fungieren: Wir stellen Personal und betreiben das System für alle Performances.“
Im Mittelpunkt des neuen Kinosystems stehen drei Astrya-140-Screen-Channel-Lautsprecher und dreißig Ultra-X20-Point-Source-Lautsprecher als Surrounds. Unterstützt wird das System von zwei 2100-Low-Frequency-Control-Elementen und der Galileo-Galaxy-408-Netzwerkplattform.
Das Live-Performance-System basiert auf zwölf geflogenen und kompakten Leopard-Line-Array-Lautsprechern und zehn 900-Low-Frequency-Control-Elementen pro Seite. Fünf Ultra-X40 werden als Fills und sechs Ultra-X20 als Frontfills eingesetzt. Die Balkone beschallen drei weitere Ultra-X40. Die gesamte Signalverarbeitung erfolgt über zwei Galileo-Galaxy-816-Netzwerkplattformen.
Im Rahmen der Renovierung wurde auch die Orgel des Theaters erneuert. „Wir nutzen die Meyer-Sound-Surround-Lautsprecher als Teil des neuen Orgelsystems“, so Hunter. „Dank einer neuen versenkbaren Bühne können wir Orgelkonzerte durchführen und schnell zwischen Kinobetrieb und Live-Events wechseln.“
(Foto: Joshua Withers)
L-Acoustics Soka, Syva, and X series bring concert-grade audio to 177-foot superyacht
Montana Pro Audio (MPA) delivered concert-grade audio across every deck of a 177-foot, 776-gross-ton superyacht designed by Delta Design Group. The vessel accommodates up to sixteen guests and fourteen crew.
MPA first gained the owner’s attention at a private event in Montana. While an initial commission for a 114-foot vessel established a foundation of trust, the owner’s subsequent acquisition of a 177-foot superyacht demanded a significant evolution in hardware.
MPA Director of Business Development Aaron Fisher was assigned the challenge to deliver a signature concert-grade sound in a premiere maritime environment. Fisher specified L-Acoustics to meet the sonic and aesthetic requirements, and provide weather-resistant durability.
MPA has completed phase one of the installation, focusing on the exterior social and entertainment spaces. The Sun Deck received two Soka inWall, six X4r, and two SB10r subs. The Owner’s Deck was fitted with two X6i, two X4r, and one SB10i sub. On the Main Deck, two Soka inWall, two X4r, and one ceiling-mounted SB10r handle coverage.
In the boat garage at the lower stern, MPA installed a pair of X8i and a surface-mounted SB10i on the underside of the overhead garage door; when the door is raised, the system supports water activities off the back of the vessel. “In terms of AV, the goal was to outfit the vessel with discreet, professional-level products that provide a nightclub-level audio experience throughout the boat”, says Fisher.
Supporting all zones is a deployable DJ system consisting of a pair of Syva mains, two Syva Low, a KS21 sub, and an X8 as a DJ monitor, routable to any deck. Patch panels throughout provide left-right sub DJ-fill outputs, a multi-pin input for the DJ equipment, and a port for an Allen & Heath digital stage box. “The DJ can patch their system to any patch panel located on the decks, or in the boat garage”, Fisher explains. “The music can then be routed to all audio locations throughout the vessel.”
Phase two, planned for 2027, will extend the system to the yacht’s interior spaces, including the Main Salon, Dining Room, Media Room, Owner’s Suite, Gym, and Wheelhouse, as well as a deployable system on the bow of the vessel.
The installation required close coordination with two key partners: the L-Acoustics team and the yacht’s own engineers, two crew members with detailed knowledge of the vessel’s interior structure. “They know every inch of the vessel’s construction”, says Fisher. “They were able to guide us and provide quality solutions for cable runs, penetrations, and inform us of any structural limits.”
“Our L-Acoustics team provided us with Soundvision models showing the systems’ performance in each space, giving us multiple options for different performance values”, he adds. “They’ve gone above and beyond in helping us, from the initial designs to the final calibration.”
(Photos: L-Acoustics/Montana Pro Audio)
Infinity, Showtec und Wentex verwandeln größten Kinosaal der Niederlande in multifunktionalen Veranstaltungsort
Im Pathé Ede, einem Infotainment-Center in den Niederlanden, das über den größten Kinosaal des Landes verfügt, wurde eine Eventlocation für unterschiedliche Arten von Veranstaltungen geschaffen, von Firmenpräsentationen bis hin zu Großkonferenzen mit bis zu 1.000 Gästen. Um das Konzept flexibler, anpassungsfähiger und visuell ansprechender zu gestalten, arbeitete Pathé Edes Facility-Abteilung mit Peter Bottema Techniek zusammen.
Pathé Ede ist eines von mehreren Pathé-Kinos, in denen Scheinwerfer von Infinity und Showtec eingesetzt wurden, um die Kinosäle in multifunktionale Veranstaltungsorte zu verwandeln, wenn keine Filme gezeigt werden. Ein wesentlicher Bestandteil dieser Umgestaltung ist das Beleuchtungssystem. Anstatt sich für eine feste Lösung zu entscheiden, wählte Pathé Ede eine flexible Ausrüstung: Je nach gewünschter Konfiguration können unterschiedliche Leuchten ausgewählt werden.
Zum Einsatz kommen unter anderem Infinitys Raccoon P14/4, Raccoon Junior P7/4 und iW-741 RDM sowie Titan Strobe 1000 FX, Illumisphere 30 und Phantom 130 Spot von Showtec. Die Steuerung aller Leuchten erfolgt über den Lampy-DMX-Controller von Showtec. Zur Unterstützung von Beams, Highlights und visuellen Effekten verwendet Pathé Ede den Antari-Z-350-Pro-Fazer für feinen, gleichmäßigen Nebel und den Antari-AF-3E-DMX-Effect-Fan für kontrollierten Luftstrom.
Um den großen Saal auch für kleinere Zuschauergruppen gemütlicher zu gestalten, werden Wentex-Pipe-&-Drape-Vorhänge verwendet. Bis zu 35 Meter Vorhänge können aufgestellt werden, sodass Pathé Ede die Kapazität des Saals von 1.000 auf einige Hundert Plätze reduzieren kann. Fast alle Sitze können an der Decke aufgehängt werden, wenn mehr Platz auf dem Boden benötigt wird.
(Fotos: Highlite)
Groene Engel upgrades with Robe
Groene Engel (“Green Angel” in Dutch) is a cultural hub located in the city of Oss in the south of the Netherlands, which stages music concerts, films, theatre productions, comedy, dance events, educational debates, pop quizzes, and a plethora of visual arts events.
The lighting rig was recently upgraded with three types of Robe moving lights - twelve Paintes, twelve LEDBeam 150s and eight LEDBeam 350s - which has given the venue the adaptability and scope to light all of their shows and events more effectively. These luminaires were specified for a wide mix of performance genres staged in the 600-capacity main hall.
Involved in the choice were Kristian Vloet, a freelance lighting designer who regularly works at Groene Engel and also for rental company Stagelight; the venue’s production manager Maren Kabbedijk who has been overseeing all the technical elements for the last three years; and technician Frank Schel, who is mainly focused on lighting and sometimes audio. Schel has worked at Groene Engel full-time for five years and also lights many shows.
The lighting in the building was initially installed when Groene Engel opened as a venue in 1999. It primarily comprised PAR cans, so this was long overdue for an upgrade. This is also where Vloet came in to assist in choosing the most appropriate solutions for lighting the diverse entertainment programme.
There was no discussion about whether these should be LED - in the Netherlands, most performance spaces are currently in the process of transitioning. At Groene Engel, they didn’t previously have any moving lights in-house. As these are relatively common in most venues in the Netherlands, this was an obvious path forward - and certainly those presenting live music - with all the dance party promoters constantly asking for movers.
Vloet suggested that they invested in basic spot, wash, beam, and blinder functionality to cover all essential lighting bases. He was already familiar with Robe products; however, he had not personally had hands-on experience with Paintes at that time.
Vloet, Schel, and Kabbedijk all appreciate the fact that Robe products are “Made in Europe”, and they enjoy an excellent working relationship with Benelux distributor Controllux, where their account is managed by Romec Berendsen. Vloet and Kabbedijk recently visited the Robe Factory on a trip organised by Controllux.
Groene Engel’s season runs from September to June, during which time there will be at least seventy live music shows at a rate of two or three a week.
Pictured (lefto to right): Maren Kabbedijk, Kristian Vloet, Frank Schel, Romec Berendsen. (Photos: Louise Stickland/Paul Clarke)
Tokyo’s Bar Danro equipped with K-array audio system
Japanese interior design firm Cafe.co first encountered Italian manufacturer K-array at a trade show, where the brand’s ultra-slim form factors and sonic performance caught their attention. When the designers began specifying the audio system for Bar Danro in Tokyo, they approached local integrator Surd Co. - whose team members have more than fifteen years of experience with K-array - initiating a close collaboration between integrator and designer.
By the time Surd was formally engaged, Cafe.co’s interior design was already complete. This focused the team’s energy entirely on how to introduce an audio system without leaving a visual trace. “K-array was the right solution from the outset”, says Keita Kawakami, sales executive at Surd. “The products gave us the freedom to be creative with placement because their form factors are so discreet.”
The system is distributed across several distinct zones, each with its own acoustic character and design requirements. In the main bar area surrounding a fireplace, Surd specified Vyper KV25 II ultra-slim line array loudspeakers alongside Rumble KU26 subwoofers. The intention here was to create a pronounced music presence at individual tables. It had to be immersive enough to subtly veil cross-table conversation and heighten the sense of intimacy, without being overly intrusive. Close to the entrance, a Vyper KV25 II is installed at a height of 160 cm, meaning guests are met by K-array sound from the moment they enter the bar.
In the two VIP areas, where speaker invisibility was the overriding priority, Surd turned to the Lyzard KZ1 miniature line array speakers and Truffle KTR24 compact subwoofers. Guests in these private rooms have independent volume control and can mute the sound entirely if they prefer. For the remaining spaces, including the restrooms, kitchen, and corridors, GC5 and GC3 ceiling speakers were selected.
The entire system is powered by five amplifiers, distributing audio from the music source across all zones. Bar staff manage the sound in the main area, while VIP guests control their own environments independently. To ensure even coverage in a space with reflective surfaces, variable occupancy, and ambient noise, Surd applied a professional-grade calibration methodology, the same measurement-microphone approach used in concert halls and performance venues.
(Photos: Yuma Yoshitsugu)
Bradford Live utilises two DiGiCo Quantum 225s for revamped live venue
The history of Bradford Live goes back to September 22, 1930. Since it opened, it has been a treasured part of the Braford community. The community fought to save it after it fell into disrepair in 2000 and in 2025. After fifty million pounds of investment, it has returned as a multi-use venue, featuring a 3,500-seater venue at its heart, plus a ballroom and smaller spaces. The mixing consoles of choice are two DiGiCo Quantum 225s, supplied by Solotech.
The venue reopened in August 2025. Having been the country’s third biggest cinema in 1933, the building was redesigned in the 1960s, with many of the original features being destroyed in the process. The 2025 redesign restored the ballroom and auditorium to their former glory and the results are being noticed not just by audiences, but by touring acts, too.
“We’re starting to get bigger names coming through now”, says Sam Day, technical manager for Bradford Live. “Touring engineers really work our systems hard and challenge us, and I try my best to put everything in place that I would want to see as a touring engineer. The challenges make it a fun environment to work in and it’s been a great project to work on.”
As use of the venue grows, the Quantum 225 will be able to grow with it. A host of DMI cards are available to help Day and the team as demand expands. “I think the DMI cards are something we will look at in the future, particularly the DMI Dante cards, as we have another Dante system we could tap into”, he expands. “The system is there for more redundancy or usability in other areas of the building. We have the auditorium and the ballroom, a great space for recordings, which the Quantum 225 with DMI Dante recording options would be great for. Plus, we have other smaller breakout spaces for corporate events or private hires.”
A benefit of choosing the Quantum 225 over a larger console is its portability, adds Day. Weighing in at 43 kg, the Quantum 225 can be wheeled between rooms as required, and its customisable surface leaves space for outboard equipment. “We move them around, but one is typically at front of house and another at monitors”, he reports. “They’re also easy to store when people bring their own consoles. We do a lot of shows that require AV or QLab, so we use the integral laptop stand a lot with QLab, then we can have the other screen off to the side for metering.”
“I’m really happy with the Quantum 225s”, Day concludes. “The Solotech team have been a real support. I’ve been using DiGiCo for about twelve years, and on a recent training day, even I learned stuff on the Quantum 225 that I hadn’t explored before. That was really cool. There’s always new stuff to learn, and it’s exciting to do that with the experts.”
(Photos: Bradford Live/DiGiCo)
Teatro Sociale di Gualtieri chooses LSC Control Systems’ GenX for power management
Teatro Sociale di Gualtieri, a historic regional theatre in the province of Reggio Emilia in northern Italy, has taken delivery of seven racks of the new GenX dimmer from Australian manufacturer LSC Control Systems, via the company’s distributor for Italy, RM Multimedia.
Teatro Sociale plays host to a busy and varied annual season of theatre, dance and music performances from both Italian and international artists. The need for flexibility led to the search for an improved power solution. “We were looking for a flexible and modern solution to turn every power outlet around the theatre into a power source capable of supplying any kind of load, as well as traditional dimmed circuits”, explains Technical Director Lorenzo Chiesi.
“Moreover, we needed to keep the units in a space that’s not easily accessible, so remote control was a must”, he continues. “I was aware of products on the market, but most were not ideal for us in terms of their remote control capabilities, or their size, or cost.” Chiesi encountered LSC’s products at the MIR trade exhibition in Rimini, on the stand of RM Multimedia, which had recently been appointed as LSC’s distributor in Italy.
“As an electronics engineer and system integrator, I immediately recognised the potential of the devices and how well they matched our requirements”, he reports. “RM Multimedia was very supportive and provided us with a GenVI demo unit, which was thoroughly tested against our needs and fully convinced us. As a result, we purchased seven GenX units to be integrated into our power distribution and dimming system.”
GenX, the latest generation of LSC’s GenVI dimming and power distribution system, features LSC’s DIMSwitch technology, enabling any output to be configured, in any combination, to be an 8-bit or 16-bit dimmer, or a direct power relay channel. This enables the seamless dimming of conventional lamps, or the powering of moving lights, LED fixtures, video and audio systems, or any other equipment requiring controlled power distribution. GenX offers all the features of the GenVI, but adds to these an Ethernet input alongside the DMX to allow for direct control via sACN and Art-Net.
In addition to remote control, this DIMSwitch ability was a key factor in Chiesi’s choice of LSC GenX. “A modern theatre like ours needs to flexibly handle any type of fixture - both traditional and modern - as well as other general-purpose electrical devices, anywhere in the space, depending on performance requirements”, he notes, adding that other factors in the choice of GenX included redundancy and the option to integrate circuit controls into the theatre’s automation system via RDM.
“The main benefit for us is flexibility and time saving”, he concludes. “As every power outlet - up to 72 points - is now connected to a GenX output, we can patch everything within minutes without physically accessing the dimmer racks. This can be efficiently done either via LSC’s Houston X software with a laptop connected to Art-Net, or through a custom automation solution we developed, which allows technicians to control everything by any mobile device, via RDM.”
(Photo: Lorenzo Benelli)
Philips Unite LED brings new collaboration capabilities to municipal government offices
The municipal government offices in Leer, Germany, selected the Philips Unite LED 6000 Series All In One (AIO) display from PPDS to transform their meeting room capabilities. The solution is being utilized for presentations, council sessions, and hybrid collaboration.
Leer Municipal - based in the Rathaus - serves as the central administrative hub for the town of Leer. It serves as the seat of local government where the mayor and administration oversee key decisions, manage local services, and handle civic matters for the community.
As part of its ongoing focus on improving operational performance and workplace efficiency, the Leer Municipal team set out to modernise its central meeting room with a new visual solution that combines modern display technology and collaboration functionalities.
The 135’’ Philips Unite LED 6000 Series AIO display - featuring full HD resolution, 900 cd/sqm brightness, and a 1.5 mm pixel pitch - met the requirements. The integrated media player, connectivity options including HDMI, DisplayPort, USB-C, and audio, and the included wall mounting system ensure flexible use and integration into existing setups.
Supporting the Leer Municipal team’s focus on sustainability, the new display consumes less energy versus comparable models, including just 0.5 watts in “ultra low” standby mode. Local integrator LS IT & Media, a PPDS Partner, oversaw the entire process, from planning and component selection through to installation and commissioning, to ensuring seamless alignment with the full meeting room solution.
The overall solution also incorporates a professional AVer PTZ camera for hybrid collaboration, two Sennheiser TeamConnect Ceiling Medium microphones for room audio coverage, a conferencing PC, and Dante audio technology for lossless signal transmission.
The installation has added enhanced visibility for participants, seamless hybrid meeting support, clear voice capture without the need for table microphones, and expanded functionality such as recording and AI-powered transcription via tools like Tucan.ai. The modular and scalable AV infrastructure also ensures the system is well prepared for future needs.
(Photo: PPDS)
Produzent David Brand nutzt Monitorsystem von PSI Audio im Studio
David Brand gründete das Reponse Studio in Marin nahe Neuchâtel in der Schweiz für Artists, Brands und Kreative. Um die Klangkunst aus dem Studio in andere Hör-Umgebungen zu übersetzen, nutzt er PSI Audios 3-Wege-Monitore A25-M mit Sub-A125-M-Subwoofern.
Mit seinem Hintergrund als Ingenieur für Automation und IT hatte Brand weitreichende Erfahrung im Bereich Projektmanagement gesammelt, die er auf sein Studio anwendete. „Für mich ist ein modernes Studio nicht nur ein Ort mit Equipment“, sagt er. „Es sollte Artists und Kunden eine echte Arbeitserfahrung bieten. Ich lege daher großen Wert auf Projektnachverfolgung, Kommunikation und Vertrauen.“
Brand hat entsprechende Vorgänge und Strukturen in die Arbeit des Reponse Studios integriert und bietet auch einen digitalen Kundenbereich sowie eine App, um Projekte verfolgen, zentral kommunizieren und alle wichtigen Daten an einem Ort sammeln zu können. „Die Technologie entwickelt sich rasend schnell weiter, aber die Rolle des Studios bleibt menschlich“, betont er. „Werkzeuge sind dafür da, der Musik zu dienen.“
Manchmal macht eine große Produktion den Produzenten berühmt - und manchmal nicht. „Ich habe viel Musik produziert, oft auch in Ghost-Production-Projekten“, erzählt Brand und meint damit Projekte, an denen er zwar gearbeitet hat, für die er aber keine Referenzen bekommt. „Manche der Stücke, an denen ich mitgewirkt habe, sind in die Charts gekommen. Einer wurde sogar mal der meistgehörte Track auf den Streaming-Plattformen.“
Während Brand nicht den Ruhm dafür einstreichen konnte, zog er aus der Erfahrung so viele Erkenntnisse wie möglich: „Das ist schon speziell, weil der eigene Beitrag nicht öffentlich bekannt ist. Aber ich habe durch diese Arbeit verstehen können, wie eine Produktion angelegt sein muss, die ein großes Publikum ansprechen soll. Der Sound muss emotional, aber auch technisch auf allen Hörsystemen und in jedem Kontext funktionieren.“
Zu diesen Projekten kommt noch Brands Arbeit an Sound-Design und Postproduktion für internationale Filme und Bandprojekte hinzu, wodurch er über Erfahrung in nahezu allen Bereichen der Audioproduktion verfügt. „Diese Meilensteine sind für mich nicht einfach nur Referenzen, sondern formen die Art, wie ich arbeite“, sagt er.
Ein Teil dieser Arbeitsweise beinhaltet Brands üppige Sammlung an Outboard-Equipment. „Ich genieße die Arbeit mit einer hybriden Signalkette“, erörtert er seinen Ansatz. „Outboard muss der Musik etwas Greifbares hinzufügen: Tiefe, Bewegung, Zusammenhalt, oder eine gewisse Farbe. Eines der zentralen Elemente in meinem Workflow ist mein analoger Summiermischer, der einem Mix mehr Dreidimensionalität, Breite und Tiefe verleiht. Er hilft mir, über das rein Digitale hinauszugehen, und gibt dem Resultat ein organisches Gefühl, ohne das hohe Maß an Präzision zu beeinträchtigen.“
Auch bei dynamischen Prozessoren greift Brand gern auf eine große Auswahl von Modellen zurück: „Ich nutze sie, um die Energie unter Kontrolle zu bringen, einer Vocal-Spur mehr Dichte zu verleihen, einem Drum-Bus mehr Stabilität zu geben oder den Zusammenhalt eines Mixes zu stärken.“ Die analogen Racks fügten der Palette des Reponse Studios einige Farben hinzu.
Ein weiterer komplett analoger Teil des Reponse Studios ist das Monitor-Setup: ein Paar PSI Audio A25-M mit zwei Sub A125-M. „Mein ganzes Equipment hat nur dann wirklich Sinn, wenn die Monitore mir ermöglichen, die richtigen Entscheidungen zu treffen“, betont Brand die Wichtigkeit seiner Hörsituation. „Bei Recording, Mixing und Mastering fälle ich jede Entscheidung auf der Basis des Vertrauens, das ich in mein Monitorsystem setze. Wenn die Monitore nicht zuverlässig sind, korrigiert man leicht Probleme, die es gar nicht gibt, oder man versäumt wichtige Details.“
„Im Studio brauche ich keinen Lautsprecher, der mir schmeichelt“, sagt Brand abschließend. „Ich brauche einen Lautsprecher, der mir die Wahrheit sagt. Ohne meine PSI Audio A25-M mache ich gar nichts.“
(Foto: Fabrice Del-Prete)
L-Acoustics Syva delivers concert-grade sound to North London home
For a North London homeowner, it started with a Burna Boy concert. Struck by the sound, he looked into the system behind it, found L-Acoustics, and wondered if that same experience could exist in a private home. The answer, he decided, would require two very different rooms, and two completely opposite approaches to the same goal.
“By the time he arrived at the L-Acoustics showroom in Highgate, the client had a clear sense of what he wanted”, says Nick Fichte, Global Business Development Lead, Hospitality, Home & Yacht at L-Acoustics. “He was interested in recreating the physical and emotional impact of live sound, rather than simply replicating it.”
The client came with specific tracks he wanted to hear, ideas about speaker placement, and a vision for how he wanted each space to feel. He also returned to Highgate a second time to refine his choices as the project moved closer to completion.
The two spaces required distinct design approaches. Working with the wider project team, Hill House Interiors (HHI) helped shape how the audio systems were integrated into each room. In the cinema room, the client didn’t want the speakers to be visible at all. HHI developed the design approach that allowed the speakers to be concealed entirely behind fabric walls, with acoustic treatment and build work handled by specialist contractor Desmond & Sons, leaving no visible trace of the technology behind the experience. The result is a seamlessly integrated, immersive listening environment.
“Bringing the design and audio teams together early allowed the acoustic brief to inform the room from the outset, from wall build-ups and material choices through to the ceiling design”, explain Helen Bygraves and Jenny Weiss, Co-Founders and Directors of Hill House Interiors, adding that L-Acoustics ensured keeping the technology discreet, “so the cinema still reads as an intimate, resolved interior rather than a purely technical space”.
The games room was the opposite brief entirely. Here, the client wanted the speakers visible - a deliberate design statement rather than a hidden system. The acoustic challenge was considerable: floor-to-ceiling glass, hard floors, a bar surface running the length of the room, and glazed doors opening onto a swimming pool left almost nothing to absorb reflections.
“To match the Syva speakers, we RAL colour-matched them to the joinery, and designed them to read as a deliberate design statement within the room”, says Fichte. “Given the complexity of the acoustic environment, we also brought in one of our L-Acoustics application engineers to calibrate the system. Their expertise was essential to achieving the performance the space required.”
The cinema room is built around three X8i handling left, centre and right channels, supported by ten X4i covering surround and height channels, and two Syva Sub for low frequency extension. System drive is handled by an LA7.16i amplified controller.
In the games room, a pair of Syva with Syva Sub forms the main system, complemented by four X4r installed in the ceiling, powered by an LA4X amplified controller.
(Photos: L-Acoustics/Hill House Interiors)
White Light supplies Elation KL Series for Bangor University Arts and Innovation Centre
Bangor University’s Pontio Arts and Innovation Centre, North Wales, recently completed a major upgrade to its theatre and studio lighting systems with Elation KL Series fixtures to move toward a more sustainable technical infrastructure. Lighting specialist White Light supplied and facilitated onsite demonstrations as well as provided technical guidance to Pontio’s in-house team, who carried out the full installation.
As the University’s arts and innovation center, the venue is home to numerous teaching and learning spaces, including a 600-seat flexible theatre, a 200-seat cinema, a studio theatre, and an Innovation Center. With program of music, drama, gigs, cinema, cabaret, and more, Pontio is in use seven days a week for the benefit of both the university and local community.
The majority of Pontio’s traditional tungsten fixtures were replaced with LED fixtures, resulting in lower energy consumption, reduced maintenance time, and expanded creative possibilities for visiting artists and companies. Pontio took a phased approach to the project, first fully converting its studio spaces, and then upgrading the majority of the theatre’s fixtures.
The new system is built around Elation KL Fresnels and KL Profile Compacts, offering the versatility required for a theatre space that routinely transitions between different configurations on a day-to-day basis. The project team installed sixty KL Fresnel 6 FC, twelve KL Profile FC Compact, and two Obsidian Netron EN4 Ethernet-to-DMX gateways for signal distribution.
(Photos: Pontio Arts)
LD Systems upgrades audio system at NRG Stadium in Houston
LD Systems has installed a new Fulcrum Acoustic bowl audio system at NRG Stadium in Houston, Texas, for the FIFA World Cup 2026. The new system is based on a large-scale deployment of weather-resistant Fulcrum loudspeakers to ensure operation whether the stadium’s roof is open or closed.
All loudspeaker enclosures are now able to withstand potential exposure to environmental challenges in what has become the largest World Cup in history. Working on behalf of Harris County and the NFL Houston Texans, LD Systems worked with technical consultants WJHW for the scope which focused on improving audio quality while maintaining the venue’s existing point-source system design.
In 2002, LD Systems integrated the venue’s original audio requirements stadium-wide, including concourses, clubs, restrooms, terraces, and entrances, and has provided its technical maintenance and production support for every major event since. “Our deep knowledge of NRG Stadium has allowed us to be extremely precise during this new phase of the building”, says LD Systems Sales Engineer Kevin Broussard. “We knew exactly what this job required and that familiarity ultimately saw us back on the project.”
The main bowl (situated on the venue’s “super truss”), concourses, and support spaces utilize a total of 1,194 Fulcrum loudspeakers comprising AHC443 horn-loaded arrays, CS218LWR dual 18-inch subwoofers, and various other models including CX1226-MT200, CX1226, CX1595, CX826-MT120, FH1566 and FH1595. According to LD Systems, the overall system weight has been reduced by forty percent compared to the previous rig. “Because this stadium has a retractable roof, we can’t hang anything from it and therefore everything had to be mounted onto the super truss”, explains Broussard. “This constraint defined both the original system design and upgrade.”
The super truss is located approximately 250 ft above the football field. “We re-used the original custom rigging system frames which allows the speakers to be lowered and serviced without ever affecting alignment”, says Broussard. “In 24 years, we’ve never had to lower a single speaker from the original system. Our new install follows the same approach - removing old speakers and hoisting new ones into the exact same positions.” The LD Systems team, including Project Manager Michael Keefe and Project Engineer Anthony DiDonato, had six months to remove the old system and install the full, site-wide upgrade, yet bowl system tuning was completed in just six hours over a single day.
The combination of long-throw horn-loaded systems, distributed point-source loudspeakers, and dedicated subwoofers provides NRG with even coverage and high intelligibility throughout. System amplification is provided by Powersoft Unica amplifiers serving the main seating bowl and concourse systems, and Crown DCI amplifiers are dedicated to clubs, back-of-house, and ancillary spaces.
LD Systems has also installed a new control system and network backbone across the building. The primary mixing platform is a Yamaha Rivage PM5, and wireless audio is supported by Shure Axient wireless microphones. The audio infrastructure is managed through a Q-Sys platform featuring Core 5200 processors operating in a redundant configuration, and the Core 610 processors service the suite-level audio systems.
Suite audio distribution was a significant aspect of the upgrade and houses more Q-Sys; SPA-Qf 60x4 network amplifiers and QSC AD-C6T-ZB-WH ceiling loudspeakers. This design provides a centralized control center, monitoring, routing, and DSP processing across the stadium while also enabling independent audio management for the venue’s premium VIP suites and hospitality areas.
“One of the biggest improvements during this entire upgrade was adding dedicated audio to over 260 suites”, Broussard concludes. “Previously, the suites relied on spill from the bowl or delayed TV audio, which could lag by up to four seconds. Now, every suite has its own speaker system, control panel, and multiple selectable sources: bowl audio, TV audio, radio, postgame feeds, and Bluetooth. Each Bluetooth receiver is also uniquely named, allowing suite users to connect directly and hear the action in real time.”
(Photos: LD Systems)
WSDG delivers acoustics, AV systems and technical interior design for La Caja de Música at University of the Andes
La Caja de Música is the latest musical practice, recording, and film-mixing facility at University of the Andes (Universidad de los Andes) in Bogotá, Colombia. Officially opened earlier this year, the project combines prize-winning architecture by former University graduates, as well as acoustics and AV systems design by WSDG.
WSDG was contracted to deliver structural acoustics, isolation and room acoustics, AV systems design, as well as Technical Interior Design (TID) for the entire project. Conceived as a multifunctional hub, La Caja de Música brings together music education, performance, recording, and cinematic sound production. At the heart of the facility is the 1,399 sq ft (130 sqm), triple-height live room, designed as both a recording space and a flexible venue for recitals, ensemble rehearsals, and lectures.
“La Caja de Música was designed as the architectural metaphor of a music box that unfolds and envelops its surroundings with melodies, offering visitors a uniquely immersive sensory experience from within”, explains Santiago Lozano, Director of the University’s Department of Music.
The acoustics and technical performance of this signature space were central to WSDG’s work. “This room needed to operate as a live recording space and as a venue”, says WSDG Senior Partner and Co-CEO Sergio Molho. “It had to support everything from orchestral sessions to lectures, which meant full isolation, large-scale variable acoustics, and absolute flexibility.”
To achieve this, WSDG implemented a room-within-a-room construction for complete isolation from the busy campus environment, a critical requirement given the room’s extensive glass facade facing a public courtyard. In addition, motorised acoustic banners and movable wall elements allow the room to adapt instantly from a tight speech-focused acoustic to a reverberant musical environment.
Lozano emphasises the technical ambition: “Music simply sounds better when the spatial volume is greater, that is why we have a three-storey-high studio. We can record full orchestras, large ensembles, or small chamber groups with first-class equipment.” The live room also features retractable seating, enabling intimate performances and screenings.
Attached to the live room is a fully equipped control room designed by WSDG to support Dolby Atmos and stereo workflows. The space features a monitoring system with Adam Audio studio monitors, custom diffusers, NC20-level isolation, and a minimalist, Scandinavian-inspired interior palette that visually ties back to the main room.
On the upper level, WSDG designed a Dolby Atmos film-mixing theatre, complete with ISO booth and educational cinema seating, creating a facility enabling students to work with immersive, object-based audio. “This will allow us to produce audio for film and other audiovisual projects at the highest professional standard”, notes Lozano.
WSDG’s design extends across the entire facility, including isolation booths, technical rooms, AV systems specification, interior materials, theatrical lighting support, and integration of a complex technical infrastructure hidden neatly within architectural elements, particularly the uneven ceilings engineered for low-frequency control and to discreetly house lighting and technology systems. “We followed strict standards appropriate for both professional studios and educational facilities”, Molho concludes.
(Photos: WSDG)
Shure brings audio to Upstairs at Ronnie’s as Ronnie Scott’s opens new live music room
Jazz club Ronnie Scott’s, located in London’s Soho district, has turned to Shure to deliver the audio backbone of Upstairs at Ronnie’s, its newly redeveloped live music room. The venue, which sits above the club’s downstairs stage, has been built from the ground up.
Designed to seat 140 guests, Upstairs at Ronnie’s pairs a Yamaha S3X Grand Piano and d&b Audiotechnik sound system with a fully digital Shure microphone and monitoring signal chain built around SLX-D+ and Axient Digital PSM. “With Upstairs at Ronnie’s, we set ourselves the somewhat audacious goal of creating the greatest small live music venue in the world”, says Charlie Dale, Technical Manager at Ronnie Scott’s. “We wanted a space where artists and audiences could feel even closer to the music.”
The redevelopment gives the club the platform to support a far broader range of performances than would traditionally be associated with a small jazz club. Monday nights host a classical series presented by violinist Lizzie Ball and the club’s Artistic Director and House Pianist James Pearson; Wednesdays focus on jazz vocal performances followed by a vocal jam night for emerging and established singers alike; and the venue’s long-running Friday night Cuban music session continues a tradition stretching back well over a decade.
“For many of the shows, our goal is to make the PA as audibly invisible as possible, while also needing the ability to have a more vibey and in-your-face sound for shows that require it”, Dale notes. The club is open 362 days a year, often staging between two and four shows daily, placing significant demands on every piece of equipment in the building. “We needed to make sure the equipment we chose was as robust as possible”, Dale continues. “Working with trusted brands within the industry such as Shure, d&b and Yamaha was essential to achieve these goals.”
Upstairs at Ronnie’s deploys Shure SLX-D+ for microphones and Axient Digital PSM for in-ear monitoring, giving the venue a fully digital signal chain from mic to monitor. Four channels of Axient Digital PSM are run, with the system also allowing the team to monitor RF quality and settings directly from the console over the venue’s Dante network.
The venue’s Axient Digital PSM system benefits from Shure’s recent firmware update introducing Single Carrier (SC) Narrowband, a new digital transmission mode designed to give engineers a more familiar and dependable RF setup without the need for complex coordination or advanced antenna configurations. The option of stereo in-ear monitoring, an increasingly common request within the jazz world, gives artists greater choice over how they perform and monitor themselves within such an intimate setting.
The club praised the installation and commissioning support provided by the Shure UK team: “Working with the UK Shure team is always a great experience, and this time is no different”, Dale concludes. “A huge thanks must go to Stuart Moots and Peppe Mallozzi for organising the installation, and to Jack Drury and Andrew Francis for commissioning the installation for us, including making sure we had the latest firmware on all the equipment and that our Dante network was rock solid.”
(Photos: Photus Photography/Taran Wilkhu/James Wood)
K-array delivers audio for Alpine venue “Bei Tomschy”
Perched high above the historic town of Kitzbühel, “Restaurant Hochkitzbühel bei Tomschy” has established itself as one of the most vibrant destinations in the Austrian Alps, blending panoramic dining with a high energy après-ski atmosphere.
By day, the venue welcomes guests for meals overlooking the surrounding peaks, while at weekends it transforms into a DJ-led social hub drawing crowds from across the region. This dual identity, coupled with its sensitive Alpine setting surrounded by neighboring lodges, created a complex audio challenge: the need to deliver powerful sound while maintaining strict control over noise dispersion.
Owner Christoph Tomschy was looking for a system that could transition between background music and full-scale DJ performance without breaching local sound regulations. Working in close collaboration with integrator LiveWire, audio manufacturer K-array offered a solution that ensures the venue could operate confidently across both indoor and outdoor environments.
Inside the main lounge, the design had to contend with acoustically reflective materials including wood flooring and glass partitions. K-array addressed this through the deployment of multiple Python KP52 discreet line array loudspeakers, whose controlled vertical dispersion reduces unwanted reflections.
Additional Dragon KX12 loudspeakers positioned near the DJ booth provide the necessary headroom and impact for live performances. A combination of Thunder KS1 and KS3 subwoofers delivers low frequency reinforcement. Dedicated monitoring ensures DJs can perform without excessive stage volume.
The outdoor terrace presented an even greater challenge: with views across the Alpine landscape, it is highly exposed to environmental conditions and subject to strict local noise limits. Here, K-array’s directional loudspeaker technology proved critical. Python KP102 marine-grade column loudspeakers were selected to deliver controlled horizontal coverage with narrow vertical dispersion. Complementing this, Rumble KU315 subwoofers are strategically positioned to reinforce bass within the venue boundary.
Central to the project is the system’s intelligent control and processing infrastructure. Powered by a Kommander KA68 amplifier with integrated DSP, the system allows precise tuning across all zones, including crossover management, delay alignment and level control. A Q-Sys platform enables staff to switch between different usage scenarios such as daytime dining, après-ski gatherings and DJ events.
(Photo: Malte Babion)
Einstein-Saal der Archenhold-Sternwarte mit Beleuchtung von GDS ausgestattet
Die Archenhold-Sternwarte im Berliner Ortsteil Alt-Treptow ist die größte und älteste Volkssternwarte Deutschlands und zählt zu den bedeutendsten wissenschaftlichen Einrichtungen ihrer Art. Ihr Zentrum bildet das 1896 errichtete Riesenfernrohr, der „Große Refraktor“, mit einer Brennweite von 21 Metern - bis heute das längste bewegliche Linsenfernrohr der Welt.
Neben diesem technischen Wahrzeichen gehört auch der historische Einstein-Saal mit seiner charakteristischen Kassettendecke zu den architektonischen Highlights der Anlage. Albert Einstein präsentierte hier einst erstmals seine Allgemeine Relativitätstheorie und machte den Raum damit zu einem Ort von besonderer wissenschaftshistorischer Bedeutung.
Im Zuge einer umfassenden Sanierung stand genau diese Decke im Fokus. Die Stiftung Planetarium Berlin suchte gezielt nach einer Beleuchtungslösung, die sich harmonisch in den denkmalgeschützten Saal integriert, ohne die bestehende Verkabelung verändern zu müssen. Gleichzeitig sollte die Kassettendecke gleichmäßig ausgeleuchtet werden, ohne ihren einzigartigen Charakter zu überlagern.
Die bestehende Beleuchtung - unter anderem acht 1-kW-Halogen-Deckenstrahler - erzeugte eine ungleichmäßige, fleckige Ausleuchtung mit starken Schlagschatten. Auch die Wandleuchten waren im Laufe der Zeit von klassischer Glühlampentechnik auf Leuchtstofflampen umgerüstet worden, was sich negativ auf Dimmverhalten und Lichtstimmung auswirkte.
„Raum und Decke sollten unbedingt im Vordergrund bleiben“, erklärt Michael Förster, Ingenieur für Theater- und Veranstaltungstechnik bei der Stiftung Planetarium Berlin. „Wir suchten also nach leisen Scheinwerfern, die sich unauffällig integrieren lassen.“ In Zusammenarbeit mit der PIK AG als Systemintegrator wurde schließlich ein modernes und zugleich denkmalgerechtes Beleuchtungskonzept realisiert.
Eine besondere Herausforderung bestand darin, dass aufgrund der Gebäudestruktur keine neuen Steuer- oder DMX-Leitungen verlegt werden konnten. Eine Lösung bot die IPM2-Technologie der VisionTwo-Marke GDS, die es ermöglicht, Steuer- und Stromsignale über die bestehende Verkabelung zu führen.
Als Deckenbeleuchtung kommen 32 GDS-Sirius-Leuchten mit IPM2-Technologie zum Einsatz. Unterschiedliche Abstrahlwinkel - von Cyc- bis Spot-Optiken - ermöglichen eine gleichmäßige Ausleuchtung der Kassettendecke. Darüber hinaus eröffnet die Einzelansteuerung jeder Leuchte neue gestalterische Möglichkeiten - von dezenten Weißlichtszenarien bis hin zu farbigen Inszenierungen, etwa für Veranstaltungen oder wissenschaftliche Visualisierungen wie Gewitterstimmungen oder Nachthimmelprojektionen.
Auch die vierzehn historischen Wandleuchten wurden modernisiert. Insgesamt 42 GDS-Lamps (IPM), jeweils drei pro Leuchte, ersetzen die zuvor eingesetzten Leuchtmittel. Sie kombinieren LED-Technologie mit einem warmen Glühlampeneffekt. Mittels Fade-to-Warm-Dimmung verändert sich die Farbtemperatur beim Dimmen von 3.000 bis hin zu 1.800 Kelvin - ein Effekt, der dem ursprünglichen Lichtcharakter des Saals nahekommt.
Eine wesentliche Eigenschaft des gesamten Systems liegt in seiner 48-Volt-Basis, bei der das Steuersignal über einen GDS-Prozessor auf das Stromsignal aufmoduliert wird. Dadurch konnte vollständig auf Funklösungen und das Verlegen neuer Kabel verzichtet werden, während gleichzeitig eine präzise Steuerung per DMX oder über einen Szenenspeicher möglich ist. Die komplette Installation wurde innerhalb weniger Tage umgesetzt.
(Fotos: Christoph Eisenmenger)
Radio Riot favor new Martin Audio BlacklineQ series
Radio Riot are a three-piece pub and function band delivering Britpop and guitar-driven covers spanning five decades. In choosing a portable sound system, lead singer and guitarist David Preston turned to Martin Audio’s new BlacklineQ series of loudspeakers.
For Preston, who brings a professional audio background to the project, production standards are non-negotiable regardless of the venue. “We want to create a big gig feel”, he says. “Everything is mic’d up no matter what the venue, whether it’s a small function room, a cricket club or a pub. We want the full show, every time.”
That ambition extends to the backing tracks, which incorporate keyboards, strings and synths. “When we’re doing songs like ’Bittersweet Symphony’ or ’Town Called Malice’, we need those strings and keyboards to land properly”, he notes. “We spent a year and a half building the show before we played our first gig.”
In search of a PA capable of delivering that “big gig” impact from a system that could also fit in the boot of a car, Preston turned to Martin Audio’s BlacklineQ, a new series of passive loudspeakers driven by a Linea Research 44M06 amplifier. “With self-powered systems, you sometimes hit limiters too early”, he explains. “Stepping up to external amplification gives you much more headroom and quality and allows us to control the PA far better.”
The portable rig comprises a pair of Blackline Q15 tops and a pair of Blackline Q118 subwoofers. The Q15 is capable of a peak SPL of 133 dB, featuring a 15-inch LF driver with a 4-inch voice coil and a 1.4-inch exit HF compression driver with a 3-inch dome. Its 70°-90° horizontal x 50° vertical Differential Dispersion horn ensures wide, consistent coverage across the audience area. Completing the system, the Q118 is an 18-inch compact subwoofer extending low-frequency response down to 38 Hz, with a peak SPL of 136 dB.
“Because we always mic up the full backline, the subs handle whatever we throw at them”, says Preston. “The PA handles the whole band even when we have all the synths, keys, or full-range horn parts on the track as well, and we can still break the system down easily and load it into our cars. The subs are light enough to lift into a car on your own, and even the 15s aren’t unreasonably heavy - it’s essentially a one-man operation. What we’re running now is smaller than we had before but delivers the same power with considerably more clarity.”
For system control, Preston runs Martin Audio’s System Engineer 8 software on a tablet, using the Linea Research amplifier’s onboard DSP for system EQ. “I do my main overall PA EQ within the amp rather than the mixer”, he concludes.
(Photos: Amy Louise Kolsteren)
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)