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AJP specifies all-Powersoft amplification for audio overhaul of Neches Arena at Lamar University
19/04/2024
All Pro chooses Ayrton Huracán LT fixtures and MDG ATMe hazers for college auditorium upgrade
29/02/2024
Coda Audio USA supplies audio package for Crown Hill Theatre installation
Crown Hill Theatre in Brooklyn, New York, officially opened its doors with a red-carpet event in early December 2023. The brainchild of entrepreneur and musician Peter Tulloch, Crown Hill was created with a vision to enrich the cultural experience of its community through every element of the performing arts.
Across its three floors, which include a main event space, studios, co-working spaces and multi-purpose rooms, this community hub hosts public and private events featuring innovative and in-demand acts, and also offers education and access to technology, helping to foster the next generation of young professionals in the worlds of entertainment, communications, film and media. On the education front, Tulloch’s wish is to welcome city-affiliated programs for those between 18 and 24 who wish to learn “new age trade skills”.
As his plans crystallised, Tulloch visited the NAMM show in 2019 where he was introduced to Luke Jenks, the Managing Director of Coda Audio USA, and felt a good connection. As the Crown Hill Theatre project was developing during 2022, and the public got an idea of what was coming, demand for the space increased and the scale and profile of the events quickly grew larger. It was apparent that the venue’s capabilities needed to scale with the variety and size of events.
Tulloch reached out to both Eastern Stage Productions of New York (ESP), Coda’s North East US dealer, and Coda Audio USA for their support in expanding the system for a specific run of pre-launch shows which would fully demonstrate what could be achieved in the space. The venue was launched last December. “ESP has an extensive inventory of Coda equipment, and we worked alongside its skilled team to design an augmented system able to support the eclectic program”, says Jenks. “The work carried out at Crown Hill by Bill Danilczyk’s expert team at ESP.”
“The guys from ESP did an amazing job and had us ready to go in good time for what turned out to be a hugely successful run”, adds Tulloch. “The ‘Fun With Friends’ event featuring DJ Puffy was a major success, with another date booked immediately for December, and Soul in the Horn were equally keen to return within weeks. The owner of a major festival in Florida saw and heard enough to book a show, so when the grand opening came around, we were completely confident in our capacity to deliver a stunning audio package for the artists and audience alike.”
The last night of the run marked the official opening of the Crown Hill Theatre. “The whole evening was a blast”, continues Tulloch. “After the ribbon-cutting and the speeches, we had a full ska/jazz big band with twelve horns, DJ sets from DJ Spinna, Soul in the Horn and Frei Speech, and a six-piece R&B band. The system was on point throughout for what was a really diverse mix of sounds. The fact that the artists who played in the run up to the opening couldn’t wait to come back, says a lot about what they think of the venue and the audio excellence we can offer.”
“Coda Audio was the talk of a number of PA companies and engineers who visited during the last few weeks”, he concludes. “The ESP staff seemed to be in constant conversation about the system. There’s no doubt in my mind that its quality and capability has been a significant factor in attracting a large number of amazing bookings for 2024.”
The permanent installation at Crown Hill Theatre is centred on Coda Audio’s ViRay compact line array (12), with SCP sensor controlled subs (6) and SC2 bass extensions (2). The system is supplemented with Hops12i high output point source (2) and Hops8 (4), and is driven by Linus14 (3) and Linus12C (3) DSP amplifiers. Cue Two (4) and Cue Four (4) compact three-way stage monitors complete the install.
(Photos: Coda Audio/Crown Hill Theatre)
Sennheiser setzt Zusammenarbeit mit Morgan Motor fort
Sennheiser setzt seine seit 2022 bestehende Partnerschaft mit dem Sportwagen-Hersteller Morgan Motor im neuen Morgan Plus Four fort. Der Audiospezialist ergänzt das neueste Update in der traditionsreichsten Linie von Morgan Motor um ein verbessertes Klangerlebnis mit technologischen Neuerungen.
Für das Audiosystem im neuen Plus Four setzt Sennheiser Aktuatoren im Cockpit und unter beiden Sitzen ein. Höher spezifizierte konventionelle Lautsprecher in den Türen ergänzen das bestehende Layout. Diese Neuerungen sollen für ein verbessertes Hörerlebnis für Fahrer und Beifahrer sorgen. Das Sennheiser-Tuning soll hierbei die Illusion einer breiten Klangbühne vor den Insassen erzeugen.
Das neue Audiosystem bietet zudem einen größeren Lautstärkebereich und eine erhöhte Bluetooth-Reichweite. Das Sennheiser-Logo ist auf den Lautsprecherabdeckungen im Plus Four zu sehen. Das Gitterdesign ist von den charakteristischen Lüftungsschlitzen in jeder Plus-Four-Motorhaube inspiriert.
Im Plus Four ermöglicht die Sennheiser-Audiotechnologie den Fahrern, Titel zu pausieren und zu überspringen, indem sie den vorhandenen Lautstärkeregler verwenden, sodass auf zusätzliche Regler verzichtet wird. Durch die Integration von visuellem Feedback über das LCD-Display sind die Lautstärkeanzeige und der abgespielte Titel auf einen Blick ersichtlich.
(Fotos: Sennheiser/Morgan Motor Company)
AJP specifies all-Powersoft amplification for audio overhaul of Neches Arena at Lamar University
Neches Federal Credit Union Arena at the Montagne Center, a multipurpose indoor arena and events centre at Lamar University in Beaumont, Texas, has replaced its ageing audio system with an all-new set-up powered by Powersoft’s cloud-based Unica amplifier platform.
Home to the Lamar Cardinals and Lamar Lady Cardinals basketball teams, both of which compete in the NCAA Division I, the 10,746-seat Neches Arena also hosts volleyball, gymnastics, wrestling, boxing and martial arts events, as well as concerts and other live entertainment. Lamar University, the venue’s owner/operator, additionally hires out the arena floor for graduation ceremonies, proms, dances, banquets and conferences.
Kendall Bowman, acoustic engineer for Anthony James Partners (AJP), which designed and specified the new audio system, explains that the upgraded system needed to deliver on multiple fronts, being able to “meet the multifunctional needs of the arena, increase the intelligibility, and provide enough power to meet the demand of the space”.
The AJP-designed sound system replaced an earlier set-up comprising just “one large full-range box and a few delay speakers”, which had fallen into disrepair and now failed to meet the needs of the space, he adds. “The university wanted to bring the system up to date with current technology and improve the experience for those attending events.”
The specified system, as installed and configured by Bluum Technology, comprises four Unica 8K8 (8,000 W/eight-channel), two Quattrocanali 8804 DSP+D (9,600 W/four-channel) and one Ottocanali 8K4 (8,000 W/eight-channel) amplifier platforms, along with a Midas M32 console, four Shure ULXD wireless microphones, a Q-Sys Core 110f processor, and Netgear M4250 switches. The Powersoft amplifiers power an all-Fulcrum speaker set-up consisting of twenty FH15 and twenty-four CX826 speakers and four Sub218L subwoofers.
The speakers utilise the DSP built into the Powersoft amplifiers, with additional processing and control provided by the Q-Sys Core, installed by Bluum in a rack under the basketball court bleachers (seating). The pull-out bleachers also house the Netgear switches, a touch panel and audio connection points. A redundant Dante AV-over-IP network transports the sound to the control room over fibre cable, reveals Trey Bracamonte-Harrell, lead integration tech for Bluum.
As in many retrofits of older venues (the Montagne Center was built in 1984), the design of the new sound system was constrained by the space available, with AJP having to work around the existing infrastructure, including the remnants of the old system. “The old system had been repaired and updated many times, leaving behind traces of the old system, with many pieces of the system in several different locations”, says Bowman.
“We wanted to make sure that the new system would be able to have permanent home and create a clean result with as few locations to house the equipment as possible”, he continues. “In the end, we were able to work with the university to find an appropriate location for the amplifiers and processing equipment, and while maintaining easy access for maintenance and monitoring.”
That appropriate location was a Middle Atlantic WRK rack, which houses the Powersoft amplifiers and networking equipment. This complements the under-bleacher rack (also a Middle Atlantic model) and a portable audiophile rack containing the console and microphones; elsewhere, AJP used the arena’s existing steel grid to find appropriate hang points for the speakers (while still allowing space for the grid to be used for rigging visiting events).
The Powersoft US team provided support on the control programming side, which allowed the amplifiers to be managed through the Q-Sys platform. “This provided great feedback on the touch panel in regards to monitoring system health and allowing zone control of the system”, states Bowman.
(Photos: Powersoft/Lamar University)
Helsinki Music Centre makes first investment in Robert Juliat Arthur LT followspots
The Helsinki Music Center (Musiikkitalo Helsinki) in Finland has just invested in its first Robert Juliat followspots - four long-throw 800 W LED Arthur LT - for its main concert hall. The followspots were sourced through Intersonic, Robert Juliat’s distributor for Finland.
Valo Virtanen, the venue’s Head of Light, says he had spent a long time comparing followspots and, as soon as he saw it, requested the new 800 W LED Robert Juliat spot for testing from Intersonic. “We made some serious tests together with sound engineers and camera teams; our second Head of Light, Tuukka Aimasmäki, made a DMX profile for our lighting console and took light quality measurements”, explains Virtanen. “The tests went very well so we ordered the spots.”
Musiikkitalo’s audience is seated in-the-round, so 360° coverage is needed. The four Arthurs are therefore positioned evenly around the lighting gallery that surrounds hall high above audience. “We also bought tripods as a safety measure but installed the Arthurs on the gallery’s rail pipes with followspot rail mount adapters to get a bit better coverage in the tight locations”, says Virtanen.
The throw distances vary from 20 m to 50 m. The Arthurs are being used in Silent mode, “which reduces the brightness by about twenty percent, but they are still absolutely bright enough”, as Virtanen puts it. Telrad Reflex Sight Finders were also purchased for each Arthur LT.
The first production for the new Arthur LTs was the Aurora Orchestra’s opera “The Rite of Spring” lit by television lighting designer David Bishop and broadcast live using eighteen television cameras. Classical television broadcasts with a variety of soloists from Helsinki Philharmonic Orchestra, Finnish Radio Symphony Orchestra, Helsinki Baroq Orchestra, followed along with pop concerts from artists like Pandora, Samuli Edelmann and Rajaton, and galas from the RSO Christmas special to many special themed concerts by Vantaa Pops.
(Photos: Helsinki Music Center/Tuukka Aimasmäki/Arno de la Chapelle/Leif Vare)
Estonia’s first Genelec Smart IP loudspeaker system installed at “Chin Chin” wine bar
To complement the wine list and accompanying menu of gourmet snacks, the “Chin Chin” in Tallinn adds to the atmosphere with a Smart IP loudspeaker solution from Genelec. Estonian audio-visual integrators Progear OÜ designed, supplied and installed the system, with the help of local Genelec distributor Msonic Baltic. The solution comprises ten Genelec 4430 Smart IP loudspeakers.
This project marks the first time that a Genelec Smart IP solution has touched ground in Estonia. According to Karl-Erik Sepp, sound installation project manager at Progear, one of the reasons to choose Genelec loudspeakers was that they offer built-in DSP and Dante compatibility. “The 4430 uses one network cable, through which it receives power, audio and the possibility to control each speaker remotely”, adds Sepp. The 4430 will also be used for the curated DJ nights that “Chin Chin” hosts at the weekend.
“Chin Chin” also hosts wine classes which take place in a separated area of the bar that can also be hired out for small meetings and events. This space can be separated from the rest of the sound system for classes to be carried out uninterrupted. “In the small events space we installed two 4430 loudspeakers, as well as a Barco ClickShare CX-30 wireless image transfer device to make the wireless transfer of pictures and sound as seamless as possible,” explains Sepp. “The remaining loudspeakers form a distributed audio system across the bar and seating areas to provide consistent, even coverage throughout the venue.”
“In addition to the loudspeakers, at the heart of the system there is also a Yamaha MTX5-D processor, which controls the entire audio solution,” he continues. “Access to simple functionality is provided through wall panels and automation. To handle speech requirements there’s a Shure BLX24RE/SM58 wireless vocal microphone that automatically turns off the background music when in use and restores it after the mic is finished with - and the same automation was also created for the DJ input via the Yamaha MG10XUF mixing desk, which is also connected to the Dante network.”
“This gives ‘Chin Chin’ the opportunity to place the performer almost anywhere in the venue where a network connection has been established, which gives them complete flexibility,” he concludes. “We built the audio solution around the mixing desk, Dante converter and cable rack so that all the necessary components would be together in one place and could be stored neatly out of sight when not in use.”
(Photos: Genelec/Chin Chin)
Stadttheater Klagenfurt upgrades with Klang’s immersive in-ear monitor mixing
Stadttheater Klagenfurt - the municipal theatre of Klagenfurt, Austria, with a seating capacity of 716 - hosts over 200 performances each season and is home to the Carinthian Symphony Orchestra. Offering a diverse performance programme, including theatre productions, grand opera, operetta, and a wide musical repertoire, the Stadttheater recently integrated Klang:Technologies’ immersive in-ear monitoring alongside its DiGiCo Quantum 7T mixing console.
Manuel Bundschuh, the theatre’s Head of Audio, highlights that the decision to adopt the Klang system was an important part of an upgrade to their existing personal monitoring system. After choosing to implement Klang’s immersive IEM mixing platform at the theatre, the team enlisted the services of Signal, an Austrian provider of lighting and sound equipment, which supplied one Klang:Vokal immersive IEM processor and ten Klang:Kontroller units to deliver control of Groups, Channels, and Immersive mixing.
(Photos: DiGiCo/Klang:Technologies)
Feiner Lichttechnik erneuert Saalbeleuchtung im Congressforum Frankenthal
Anfang 2023 wurde Feiner Lichttechnik vom Congressforum Frankenthal mit der Konzeption und Lichtplanung einer energieeffizienten Erneuerung der Saalbeleuchtung des großen Saals beauftragt. Hierbei waren verschiedene Aspekte zu berücksichtigen: Einerseits sollte eine größere Helligkeit als bei der bisherigen Beleuchtung erzielt werden, andererseits sollte der Charakter des Saals und das Dimmverhalten der Leuchten erhalten bleiben.
Alle neuen Leuchten wurden deswegen in einer Dim-to-Warm-Version geplant. Für die Hauptbeleuchtung des Saals entwickelte Feiner Lichttechnik mit seinem Partner Electron eine neue Variante der bestehenden Talus-Leuchte mit Schwenkbügel, Warm-Dimming-31-W-LED von Bridgelux und eingebautem DMX-Treiber. Durch die DMX-Datenbus-Verdrahtung über XLR-5pol-in/out-Buchsen erfolgte der Austausch der 188 Leuchten binnen des geplanten Zeitfensters.
Zudem wurden alle 128 Einbau-Downlights in der umlaufenden Galerie mit Electron-Eris-Downlights erneuert. In den Treppenhäusern kamen insgesamt sechzehn Electron-Reform75-17-W-Leuchten, ebenfalls in Dim-to-Warm, zum Einsatz. Zur Signalverteilung wurden neun Proplex-Netzwerk-Nodes eingesetzt. Für die Konzeption und Planung des Projektes zeichnete Gerhard Feiner, Geschäftsführer von Feiner Lichttechnik, verantwortlich.
(Fotos: Feiner Lichttechnik GmbH)
Acoustic Solutions equips Derby Cathedral with KV2 system
Founded in 1943, the Cathedral Church of All Saints - better known as Derby Cathedral - is one of Derby’s most historic sites and holds many monuments of Derby’s and Derbyshire’s past. A spiritual and cultural hub for the city and surrounding areas, the Cathedral hosts eighteen services per week - that’s two or three services daily - plus special and seasonal services to celebrate important events in the religious calendar.
The Cathedral recently turned to specialist consultant and integrator Charles Brown of Acoustic Solutions to upgrade their audio solution. Brown specified and delivered a point source system from KV2 Audio. “The pandemic was a catalyst for change for many churches as they were forced into live streaming in order to continue to connect with their congregations”, explains Brown. “I’ve installed over forty live streaming systems in churches across the UK as a result, and it was whilst advising Derby Cathedral on this topic that it became apparent that their current loudspeaker system was less than adequate for the job.”
The Cathedral needed clarity of the spoken word and detailed, low-level playback that could be heard without over-exciting the acoustic of the building. Brown demonstrated several products from a number of brands, but it was the ESD25 and ESD5 from KV2 that the cathedral (and Brown) preferred above anything else.
Brown replaced around thirty 100v line loudspeakers with a total of sixteen ESD cabinets in white to blend seamlessly with the architecture. He deployed four of the larger, more powerful ESD25s at the front of the space near the altar to provide a little more bottom end. The rest of the Cathedral is covered by twelve of the more compact ESD5s.
An Allen & Heath AHM matrix mixer defines eight speaker zones allowing areas to be isolated when not in use and the levels of each zone to be adjusted for a coverage with no hotspots or dead zones.
(Photos: KV2/Acoustic Solutions)
All Pro chooses Ayrton Huracán LT fixtures and MDG ATMe hazers for college auditorium upgrade
Pensacola-based All Pro Integrated Systems, an audio, video and lighting systems integrator serving the needs of organisational, commercial, educational and governmental clients nationwide, selected twelve Ayrton Huracán LT long-throw LED moving head profiles and two MDG ATMe hazers for a recent technology upgrade in the Dale Horton Auditorium at Pensacola Christian College.
The auditorium, home of the college’s fine arts events, recitals and other programs, is a 3,500-seat space that mostly had technology original to its building in 1986. “They were overdue for a change and wanted to transform the auditorium to better serve its multiple uses”, says Justin Schwartz, Design Engineer at All Pro.
One goal was to replace all the conventional lighting with LEDs. “The catwalks are on two levels with the farthest at a pretty steep angle to the stage; they struggled to get good light downstage and on the thrust”, explains Schwartz. “Performers were actually trained to keep their heads tilted up to catch the light. The auditorium couldn’t change the catwalks, but they could put moving heads on automated truss.”
All Pro began by getting a generic model of the auditorium and spending sixty hours rendering the room to show new lighting placement. “They liked the idea of hanging truss out in the house and having fixtures at the proper angles for key lighting”, recalls Schwartz. “We worked with staff and administration on approvals and did more detailed renderings showing every fixture in the truss in its exact location, all custom coloured to match the ceiling.”
All Pro annually sponsors a technology expo at the Pensacola Bay Center where vendors display their products. ACT Entertainment, the exclusive distributor of Ayrton and MDG products in North America, attended the January 2023 expo and, at All Pro’s suggestion, brought the Ayrton Huracán LT so the college’s tech team could see it in action. “They watched it shooting 200-300 feet across the arena and agreed to install Huracán LTs, and Ayrton was able to custom powder coat them to match the ceiling”, says Schwartz.
All Pro installed four fixtures on each of three new 30-foot Tyler GT trusses in the upper balcony. “They are used as simple washes for downstage and the thrust, and they are also integrated with a Follow-Me system so they can act as follow spots”, continues Schwartz. The lights will make their debut with the college’s spring theatre staging of “The Sound of Music” in May 2024.
The college tech team also saw MDG’s ATMe hazer at the same All Pro expo where they were shown the Huracán LTs. “I have a history with MDG and knew their quality, so we installed two ATMe hazers, one running at stage left and the other at stage right”, says Schwartz. “Now, they’re able to fully haze the auditorium in ten minutes or less and have the haze hang in the room for a long time. There’s no smoke cloud but a very even haze.”
(Photos: All Pro Integrated Systems)
Genelec enthusiast chooses custom solution for his home TV setup
A residential installation in Norway brought together the high-SPL S360 loudspeakers and a custom white 7382 subwoofer, both from Genelec, to create a stereo system. It was Genelec’s Norwegian distribution partner Benum that helped this audiophile realise his dream of integrating a system from his favourite loudspeaker brand into his living room.
The audio fanatic already owned a pair of Genelec 8351 studio loudspeakers, but this time he was looking for a system that would predominantly be used for film and music. Comprising two S360 two-way studio loudspeakers alongside the 7382 subwoofer - all in a white finish - the system is run using Genelec’s GLM (Genelec Loudspeaker Manager) software. The owner had spent time listening to the S360s both at home and at several exhibitions across the region before choosing them for his personal space.
The room is around 15.4 sq metres in size and benefits from good acoustics and little reverberation. The owner opted for an entirely digital signal chain for the new system - the speakers get AES-EBU audio from a Mutec MC-3+USB digital converter and switch, and the TV receives signals via 4K Apple TV, as well as a Sony X800M2 Blu-ray player and a Mac Mini. From the TV - which is a Sony AG9 77’’ model - an optical Toslink cable is connected to the Mutec device, to provide audio.
From the Blu-ray player, a coaxial RCA-BNC cable is also connected directly to the Mutec for audio, and a USB cable integrates the Mac Mini here too, which is controlled by Roon for music. The Mac Mini also runs the GLM software for complete system calibration.
(Photos: Genelec/Benum)
CGI delivers audio upgrades to the world’s largest rugby stadium
Clair Global Integration (CGI) has been chosen to future proof Twickenham Stadium’s new bowl installation using the JBL Professional VLA loudspeaker range. CGI was called upon to design and install a brand-new bowl sound system installation for the historic 82,000-capacity British sports venue, which is owned by the Rugby Football Union (RFU), England’s national rugby governing body.
Designed by CGI’s UK Director Eddie Thomas and Associate Director Tom Williams, the project was delivered by Jake Miller, Steve Watson, and John Hardy. Starting with the original groundwork designed by environmental and technology consultants Vanguardia, a Buro Happold brand, CGI built upon this initial delivery phase by installing 16-line arrays flown from the stadium roof.
“Each hang comprises twelve JBL VLA-C2100 dual 10-inch cabinets and three JBL VLA-C125 flown sub-bass loudspeakers”, explains Tom Williams. “The JBL VLA-C speakers use components shared with the JBL Pro VTX range for maximum sonic quality.” 336 JBL AWC-Series speakers have been used for the under-balcony areas on levels three and four, amplified by Crown DCi8600N. Crown DCi-N amplifiers were utilized throughout the entirety of the system, with DCi42400N used for the main arrays and subs.
There are six-amp rack locations on the roof and over fifty amplifiers in total. Two Q-Sys Core 510i integrated audio processors have been used in a redundant configuration with IO Frames in each amp rack. This system is capable of LAeq of 105 dBA. CGI has also installed a diversely routed and fire-resistant fiber network backbone. It provides essential infrastructure and is “Sports Ground Safety Authority Green Guide” approved, the UK Government-funded guidance on spectator safety at sports grounds.
“This iconic venue has welcomed many Clair Global touring artists in the past including Lady Gaga, The Rolling Stones, Rihanna, and recently Depeche Mode”, says Williams. “The new audio system now allows tours to save on additional rental equipment costs while becoming a summer destination of choice for booking agents.” Mark Lynch, RFU Executive Director, adds: “The fan experience is becoming more and more important and creating that fan experience through audio is key. It goes beyond rugby; we hold concerts, conferences, and events here.”
(Photos: Ellie Mitchell Photography)
Paris Convention Centre’s Grand Amphitheatre transitions to LED with Anolis
The 3,723-seat Grand Amphitheatre at Paris Convention Centre, a multi-space venue staging a diverse range of national and international events and entertainment, has recently converted its auditorium lighting to Anolis LED with the installation of nearly 400 Anolis Ambiane range lighting fixtures, which are improving the energy efficiency and reducing the power consumption.
The previous PAR 56 500 W halogen lighting fixtures had been in residence since the venue’s inauguration in 1974, and this new installation is part of a renovation process initially launched in 2020. It has been co-ordinated by venue operator Viparis in conjunction with French lighting design agency Lyum. The Ambiane fixtures are fitted with assorted beam angles and other accessories like louvres for precision shaping of the output, tailoring it to the room requirements.
The project management team included Viparis DET’s supervisor Laurent Villechenoux who worked closely with the venue’s lighting manager Christophe “Zippo” Hipeau, together with Lyum lighting designer/project manager Sylvain Bigot, lighting programmer Francois Guillet from Lumières Utiles and the team from Eiffage Énergie Systèmes.
Viparis had been involved in lighting the space for some time, and the last major upgrade in 2014 saw the room lighting rewired to enable separate seat rows illumination, with the goal of lighting the chairs and aisles independently for better ambiance control. However, with the phasing out of halogen lamps, it becomes increasingly difficult to source the PAR 56 500 W bulbs that were used in the auditorium.
Apart from that, the switching to LED had other goals like reinforcing the venue’s CSR (corporate social responsibility); improving audience experience with the use of colour and unlocking the potential for the room to be more interactive - with a system that could be hooked into the production lighting of shows onstage.
The uneven ceiling topography meant heights ranged from 3 to 18 metres. Another requirement was to find light sources with the exact same diameters as the old PAR 56 and PAR 30s to avoid having to make any new holes for rigging. Fundamental to recreating the desired ambience in the space was choosing a mix of LEDs to reproduce the halogen style. Minimum noise pollution from the lighting fixtures was another consideration, as was an ROI of seven years or less.
Lyum and the venue team led by Christophe Hipeau looked at products from several manufacturers and conducted demonstrations on site. The comparative lighting studies were conducted by Lyum’s Tours office. Lighting project manager Sylvain Bigot created a 3D model of the Grand Amphitheatre using DiaLux lighting design software to emulate how the ceiling lighting would look on the audience with the Ambianes rigged around two metres apart.
The specific 396 Anolis Ambiane luminaires were chosen according to the available ceiling heights across the auditorium space. The stalls’ seating area is covered by 92 x 150 W Ambiane XP56s with 20° recessed lenses. The aisles between the stage and the first level are lit with 32 x 150 W Ambiane XP56 fixtures with recessed 20° lenses and 5° louvres; while the aisles on level 1 from house right to house left have 46 x 75 W Ambiane HP111s with recessed 60° lenses. Another 112 x 150 W Ambiane XP56s with recessed 45° lenses deal with the seats above the first level, and for the aisles between the first and second levels 72 x 150 W Ambiane XP56s with recessed 20°s are installed. The back rows of seats are lit with 42 x 75 W Ambiane HP111s with 60° lenses.
Each luminaire is a one-for-one replacement of the existing 110 V PARs. The Ambiane XP56s are run via remote power supplies with the projector slung into the auditorium’s metal ceiling and there is a total of 308 Ambiane XP56s (150 W) plus 88 x 75 W Ambiane HP111s in the ceiling. Hipeau says that the inbuilt macros allow a 2700 K, a 3200 K and a progressive CTO, “so you can really recover true halogen-like hues and texturing”. The minus green can be added or removed as needed for filmed/streamed events.
Lyum has designed and programmed about fifteen default lighting scenarios for the auditorium which are accessible from a Pharos TPC touch tablet controller. A Pharos LPCX system - comprising ten DMX universes - manages the room’s lighting running on the venue’s existing fibre network with 5,120 DMX channels dedicated to the auditorium’s ceiling lighting. This can also be hooked into the production lighting for visiting events.
(Photos: La Chouette Photo/Olivier Hannauer)
DiGiCo console complements new processor for Christ Wesleyan Church’s broadcast audio
Each summer and fall season, Christ Wesleyan Church (CWC) in Milton, Pennsylvania, puts on theatrical plays and musicals - last year saw “The Sound of Music” performed in its 1,100-seat auditorium, where “Titanic - The Musical” and “The Diary of Anne Frank” were performed the year before, and where the church’s affiliated high school also puts on some rather technically sophisticated productions of its own.
“These are not your typical church productions”, says CWC Communication/Broadcast Creative Director Brent Mestach. “But it’s why we needed to up our audio game as the productions became more complex and the number of wireless microphones began to exceed fifty. And that’s why there’s now a DiGiCo Quantum 338 console in use here. We needed more I/O, and we needed more power.”
The Quantum 338 was acquired in late 2020, the same year it was introduced, through locally owned Divine Sound and Technologies. Subsequently, CWC also added a DiGiCo 4REA4 processor, purchased through nearby Clair Global. The Quantum 338 serves as the church’s FOH console, for both theatrical productions and Sunday services, and is on an Optocore network with an SD-Rack used as stage box.
In addition, the 4REA4 processor and a DiGiCo A168 Stage expander unit are located in the converted bathroom of an upstairs space formerly used as a cry room that was renovated into a broadcast-audio control room during the pandemic, used to mix the church’s remote Sunday services. It currently interfaces with a DiGiCo DMI-Waves SoundGrid card over Cat-6 and a Gigabit switch, though Mestach says the plan for the near future is to connect the 4REA4 with the Quantum 338 on the Optocore network, allowing all of the mix positions to access all of the inputs from the stage.
(Photos: DiGiCo/Christ Wesleyan Church)
Bridgestone Arena adds Quantum338 desk to its lineup of DiGiCo products
Nashville’s Bridgestone Arena, home to the NHL Predators, recently took delivery of its third DiGiCo audio console, a Quantum338, purchased and installed through Nashville-based Spectrum Sound. The Quantum338 joins two existing and upgraded DiGiCo SD12-96 desks, along with an SD-Rack, SD-Mini Rack, D-Rack, and three SD-Nano Racks, all also sourced through Spectrum Sound.
The Quantum338 has now taken over front-of-house duties at the venue, while one SD12 is used a router/hub/mixer for the broadcast control room and the other as a utility mixer, paired with the D-Rack and deployed as needed around the venue, including for mixing monitors at the band/stage platform. Two Orange Box MADI interfaces are also on the same Optocore loop as the consoles and Racks.
“One Orange Box lives in the Technical Operations Center, and the other is our tie-in to the broadcast-truck docks, and through that we can give the OB trucks any outputs they need at a moment’s notice”, says Jacob Lutz, Director of Technical Operations for the Bridgestone Arena and Nashville Predators. “And when the broadcast is analog, as it is for Regional Sports Networks, the SD-Mini Rack at our dock gives us plenty of connectivity. For larger shows, such as the NHL Draft, we can hand off a MADI stream and they can take any audio sources they need from the house, including being able to route the intercom through that.”
The new Quantum338 is used for every Predators game. Halftimes are mini concerts, as are other intermissions. “We have an SD-Rack on the band stage that connects to the optical loop and everything plugs into that and it connects all the way back to front-of-house, broadcast, and anybody else who may need either a mix or individual stems of our performances”, says Lutz.
“Most touring shows will bring their own FOH consoles, but we have had more and bigger shows coming in here other than concerts, and the Quantum338 gives us the capabilities and functionality that we need to handle anything that the busiest arena in the world throws at us”, he concludes.
(Photos: DiGiCo/Spectrum Sound)
Von Braun Center showcases one of the world’s largest permanent installations of EAW Adaptive
When officials at the Von Braun Center in Huntsville, Alabama, approved a transformative renovation project at the multi-purpose facility, the task of installing a new audio system was awarded to Verta Technologies. Spearheaded by Christian Tuttle, Principal and CEO of Verta Technologies, the company selected an Adaptive audio system from Eastern Acoustic Works (EAW).
The Von Braun Center has undergone extensive renovations over the past two years and sought a comprehensive update for its aging audio system at the 10,000-seat Propst Arena, home to the Southern Professional Hockey League’s Huntsville Havoc. This is in addition to EAW Adaptive being deployed in the 1,300-capacity Mars Music Hall and the 2,000-seat Mark C. Smith Concert Hall. While Propst Arena is primarily used for hockey, all three of the Von Braun Center’s venues can host touring productions of any scale.
“The Von Braun Center now boasts one of the largest permanent installations of EAW Adaptive under one roof in the world”, states Tuttle. With a looming hockey season and a tight project completion timeline, Verta Technologies executed a rush project for the arena, receiving the purchase order in July and completing the installation with a week to spare before the first hockey game in mid-October.
After extensive research, the Von Braun Center chose the EAW Adaptive system for the arena, with Anya chosen for the main speakers to meet the venue’s specific asthetic, as well as electro-acoustic requirements. The space offers a “hub-and-spoke” ceiling structure, where the primary load bearing beams meet in the center compared to the typical rectangular grid structure in most arenas.
Considering this, the installation included a range of hangs, with the shortest being three-boxes all the way up to seven-boxes - for a total of twelve clusters around the bowl. Each configuration leverages Adaptive’s ability to expand horizontal coverage by adding another column to the array. Otto subs are centrally located in the hub providing seamless horizontal coverage of the sub band, EAW QX 566 speakers for ice fills, and a QSC Q-Sys backbone for DSP and control completed the audio solution.
“Using EAW’s Resolution software, we were able to steer the audio precisely to the audience from the first row all the way to the back row, so that every seat sounds exactly the same, from a frequency standpoint”, adds Tuttle. “We could also expand the horizontal coverage from a single rigging location. A lot of people don’t realize how difficult it is to get smooth SPL throughout a space, and this is a huge range of multi-tiered seats. The EAW Adaptive system ensures everyone in the venue gets the same experience.”
The Mars Music Hall and Mark C. Smith Concert Hall house both EAW Anna and Anya systems as well as Otto subwoofers. The Concert Hall will soon feature its AC6 column loudspeakers.
(Photos: Eastern Acoustic Works/Von Braun Center)
Brentwood Baptist Church chooses Klang:Konductor for its sanctuary modernization
Brentwood Baptist Church was officially constituted on Easter Sunday of 1969 in the Nashville suburb of Brentwood, Tennessee. In the past half a century, it’s grown to nine campuses around the region and consistently averaged over 5,000 worshipers in weekly on-campus attendance, along with an estimated 4,000 additional online viewers.
The current main campus’ church was built in 2002 and had a few updates along the way, but last May it completed a refresh of the sanctuary’s audio, video, and lighting systems, in concert with AVL systems integrator Diversified. The finishing touch on the updated audio infrastructure is a new Klang:Konductor immersive in-ear mixing processor.
“We had a few periodic updates to the systems over the years, such as going from analog to digital audio and upgrading our video to HD, but it was mostly untouched since the beginning”, says Brentwood Baptist Technical Services Director Darby Gilmore. “We were not only due for a technical refresh but an aesthetic one, too. We wanted to modernize, and the Klang:Konductor was part of that.”
Tim Corder, Diversified’s Vice President of Faith & Performance, brought the Klang:Konductor to the church’s attention. “Brentwood Baptist has a very diverse, multi-generational worship style”, he says, one which can toggle from full orchestra and choir one week to a high-energy rock-style band the next. “It can be a challenge to adapt a sound system for that kind of diversity - one that also has a very high input-channel count - as well as a challenge to find console combinations that support a large number of stereo mix busses. Furthermore, as a church that relies on a lot of volunteers, they may have people with a very wide range of abilities managing all those mixes.”
To allay any concerns the church committees might have had when it came to implementing new technologies in a church this large, Corder specified that the Apple iPad employed as the user interface with the Klang:Konductor be hardwired for PoE, to assure uninterrupted power and broadband connectivity for every use.
The Klang:Konductor is integrated with Lawo mc236 MkII consoles at front of house and monitors. “The console has several 64x64-input MADI interfaces and we’re using two of them for a 128x128 input matrix”, Gilmore explains. That same large musician and vocalist complement also argued for the Klang:Konductor. “At first we looked at the cost of an additional console for monitors and the staffing cost of a dedicated monitor engineer, and tossed around the idea of using a pair of Klang:Konductors instead,” he says.
“However, the vocal team preferred having the personal touch of a monitor engineer, so we decided to go with a console and a Klang:Konductor”, continues Gilmore. “We can use the Klang alone for the backline on smaller events and use both for full services. That gives us flexibility in terms of how we allocate our monitor resources.”
“We can’t control the Klang:Konductor directly from the desk; instead we use a VNC remote-desktop connection to a computer running Klang:App, which gives us control access from the console through that interface”, he adds. “We also have access to Klang:App via a number of KVM remote stations, including FOH, so we have a high degree of submixing control and a ton of routing options. Diversified had suggested that.”
(Photos: Dillon Sherlock)
Morplay Studios invest in KRK Rokit 10-3 and GoAux Mobile Monitors
Morplay Studios Audio Engineer and Studio Manager Franklin “Frank” Socorro selected KRK Rokit 10-3 G4 midfield three-way studio monitors to support the reggaeton and urban music produced at the Miami-based studio. “Due to space limitations in the room, we needed to have the low end without also using a sub”, he says. “The Rokit 10-3s don’t alter their sound sonically as the volume increases, which is important.”
Socorro also uses two pairs of KRK GoAux portable monitors to assist with mobile referencing. “Right now, we have the GoAux monitors sitting in a non-treated office made out of a container with metal walls, which is the worst listening environment, ever - yet the monitors still sound good”, says Socorro.
“The room becomes less of an issue, which is important when you’re trying to listen to something that’s critical”, he adds. “The KRK GoAux monitors also have Bluetooth, so anyone can connect and play their music without the need to continually unplug.”
(Photos: KRK/Morplay Studios)
Marquee AV selects Martin Audio CDD for “Daroco Soho”
Marquee AV recently installed a Martin Audio CDD sound reinforcement system at the new London West End Italian restaurant “Daroco Soho”. Introduced to the project by design and construction consultant Cotton Thompson Cole, Marquee’s project director Stacey Tough says the preference for Martin Audio had been a joint decision between him and the clients themselves, who had specifically requested the brand.
The brief was to provide a system that would deliver sound with even coverage throughout within the two-storey architecturally led environment. This includes the “Wacky Wombat” cocktail bar in the basement with a DJ booth, providing a club-like atmosphere. Marquee AV have provided separate DJ input facilities on both floors, which operate on separate zones, accessed by a number of background music players. Programmable wall controllers on each floor allow for local volume control and independent source selection.
The sound system comprises six CDD8B and four SX210 subs in the basement (Wacky Wombat) and eight CDD6B, underpinned by four discreetly concealed SX210 subwoofers on the ground floor and a single CDD5B in reception. With sound needing to remain consistent through stairwells, corridors and toilets, nine Martin Audio Adorn A55T were detailed to function as infills in these ancillary areas.
Explaining the logic behind this selection, the project director explains that the ceiling height had been the reason for selecting wall mounted CDD6s for the ground floor, with anti-vibration mounts on both floors. “The subs are recessed into furniture and seating on both floors, while the Adorn speakers serve the corridors”, he says. “In the basement bar the CDD8s are ceiling mounted, and a further four of the SX210s are incorporated into the seating to support the DJ setup.”
(Photo: Julie Spicy)
Alobar’s installs Obsidian and Elation systems at Villa Duchesne school in St. Louis
Alobar’s Lighting and Sound has installed a lighting and lighting control solution at the Villa Duchesne school in St. Louis, Missouri. The new system, which features an NX1 lighting console from Obsidian Control Systems along with Netron signal distribution, includes an array of Elation KL series and Seven Batten lights, providing the school’s Pavich Theatre with control and creativity in their lighting design.
Alobar’s Lighting and Sound, based in St. Louis, has been a long-standing partner of Villa Duchesne, having provided audio and lighting services for the school for over twenty years, including support for graduation ceremonies, Maypole celebrations, and various school events. When the school sought to revamp its theatre lighting system, they entrusted Alobar’s with the task. Ted Kretschmar of Alobar’s designed and installed the new system. The rigging aspect of the project was overseen by Scott Johnson from Alobar’s.
Kretschmar has been using Obsidian’s Onyx lighting control platform ever since the company took over the M-Series in 2018 and has particular praise for the Obsidian online training videos moderated by David Henry. “I can send the videos to end users so they have another source of support, which means the training doesn’t fall 100 percent on my shoulders”, he says.
The choice of the Obsidian NX1 lighting console for the Pavich Theatre was instrumental in achieving the project’s objectives. “It’s got the computer built in and doesn’t take up a lot of desk space”, says Kretschmar. He runs the data through a Netron EN12 etherDMX node which requires only one Cat cable off the back of the NX1. Each of four batten pipes plus four floor pockets on the stage run back to the EN12 with a DMX wall station getting an input and an output from the EN12.
Prior to the transformation, the theatre relied on conventional Par lighting, color bricks, and Lekos. The new Elation lighting system includes full color-spectrum KL Fresnel 8 FC, KL Profile FC, and KL Par FC lights, as well as Seven Batten 72 fixtures. The KL Fresnel 8 FC fixtures serve as downlights and due to the accommodating low ceiling, they can be repositioned to function as key lights when needed. Additionally, two ladders were placed on either side of the stage to enable flexible side lighting arrangements or to bring the lights downstage to face out to the crowd. These ladders currently host KL Pars. For key lighting, KL Profiles are employed.
Kretschmar and the Alobar’s team turned the new system over to the school just prior to their theatre department’s first show, a production of “Daisy Pulls it Off”, which ran in the Pavich Theatre October 19-21, 2023. Kretschmar had programmed a number of lighting scenes into the NX1 prior to delivery. Students operated the show themselves and going forward will handle all lighting tasks on the new system.
(Photos: Alobar’s Lighting and Sound/Elation/Obsidian Control Systems)
Roundhouse invests in all Robe moving light rig
London’s Roundhouse concert and performing arts venue in Camden now has an all Robe moving light rig with a recent investment in twenty Esprite luminaires, fitted with the HP (High Performance) LED engine for the highest output and strongest colours. The order was overseen for Robe UK by Curtis Lewis, their business development manager for the London area.
These fixtures join 82 existing Robe moving lights at the venue - 42 x LEDBeam 100s, 16 x DLF Washes, 6 x DLX Spots and 6 x LEDWash 600s - with the Esprites now the primary house rig spot fixtures, and available to all incoming productions. Roundhouse head of lighting Steve Royle explains that the new Esprites are part of a major technical update and an ongoing sustainability drive to make the Roundhouse as energy efficient as possible.
Royle has held the head of lighting post since 2010 and was instrumental in the purchase of the LEDBeam 100s, DLF Washes and LEDBeam 600s in 2013. At that stage, there wasn’t an LED spot fixture on the market that was bright and viable enough to add to the rig, so they went with a set of discharge source fixtures.
The Esprites are rigged on the advance, rear, and mid trusses. The advance truss position is above the audience, so they are ideal for key lighting and specials. They are also the first moving lights in the house and in these positions with framing shutters, so a cherry picker is not required on most days for focusing generic fixtures which was the procedure previously. Some older generic profiles remain in the house which still require manual focusing. They are now the only non-LED luminaires in the house rig.
The Roundhouse house lighting rig is controlled via an Avolites Arena console with a TNP (TitanNet Processor) and a Rock Solid Technologies “rock switch” at FOH which flips eight universes of DMX and one Cat5 simultaneously, providing an A/B switching facility between the house desk and any guest lighting consoles.
An average month sees around twenty shows staged in the busy venue which embraces music shows, circus, and other performance arts plus assorted business events. Profits are ploughed back into the facilities and the venue’s charitable work. Thousands of young people take part in music, media and performing arts projects each year at the Roundhouse, including training in backstage roles as well as accessing the studio spaces.
As well as this, the venue recently opened Roundhouse Works, a new creative centre for freelancers and entrepreneurs which includes a workspace and a range of studios. Steve Royle works with an in-house technical crew of twelve including eight venue techs, two senior techs, himself, and a technical manager, and above them are head of technical and production Ruth Butler plus four production managers.
Pictured: Burna Boy, The Darkness, Overmono. (Photos: Corinne Cumming/Harry McCulloch/John Williams)
Genelec provides Danish retreat with a Smart IP solution
Set in the hills of the Danish countryside, the HimmerLand resort combines golf and spa facilities with bistros, a bowling alley, outdoor sporting activities and flexible meeting spaces. HimmerLand recently expanded its offering to include a large multipurpose hall, smaller meeting rooms, a golf simulator and fitness centre. Leading the AV design and integration was Comm2ig, a Danish company specialising in technology solutions, who opted for a Genelec Smart IP loudspeaker system.
“The off-axis dispersion of Genelec models is very helpful for meeting rooms”, explains Søren Maibom, solution manager and sound designer at Comm2ig. “HimmerLand also wanted a Nordic design for these spaces, and Genelec’s form factor works well in this context.” Comm2ig chose six of Genelec’s 4430 Smart IP loudspeakers in black for the meeting spaces.
“The Smart IP models offer a local analogue input in addition to being a networked IP solution. They can also be monitored remotely, which is great for troubleshooting”, continues Maibom. As Comm2ig were concluding their work on HimmerLand’s new meeting rooms, the resort threw the integrators a new brief - to completely renovate the resort’s existing bar into the new Larsens Sportsbar & Bistro in a timeframe of five months.
Maibom and his team once again turned to Genelec for help with Larsens. “We decided on another Smart IP solution, comprising a combination of 22 of the 4420 and 4430 models”, he says. As HimmerLand is dedicated to reduce its carbon footprint wherever possible, the low power consumption of the Smart IP family - with its efficient Class D amplifier design and PoE compatibility - aligned with the resort’s values. “The power consumption for the whole system is 120 W”, says Maibom. “When all 22 loudspeakers in the sports bar are run at an SPL of 75 dB, they draw around 5.2 W each.”
On the ground floor, Comm2ig supplied a Smart IP solution across the entrance hall, bar area, seating area and a VIP space for private parties. On the first floor, the volume is louder as it caters for a more typical sports bar/nightclub vibe, so most of the loudspeakers were installed there, alongside four screens that show regular sports content. Additionally, there is a children’s playroom with interactive projection, where a set of Smart IP models are installed, too. AMX is used to control the video and a Q-Sys control system takes care of the audio.
(Photos: Comm2ig/Genelec/HimmerLand)
Berghs School of Communication equips new home with Genelec Smart IP loudspeaker system
Established in 1941, Berghs School of Communication offers a curriculum that covers everything from brand strategy to content design, illustration, marketing and art direction. When the school made the move to the newly developed Gasverket - a former gas plant in Stockholm, Sweden, that is now home to a growing community of cultural, educational, and social enterprises - it required a new audio solution. Working alongside Stockholm-based integrators Scan AV, Berghs chose a Genelec Smart IP loudspeaker system for its new venture.
The Berghs project began with a network that spanned all three storeys of the building, allowing Scan AV to cover the required areas with ease whilst offering the flexibility to adapt the sound system as needed. Berghs’ previous campus was powered by over thirty Genelec 4020 installation models. The new system at Gasverket comprises twenty-four Genelec 4430 Smart IP loudspeakers, alongside eight of the previously used 4020 models that were brought over to be used as auditorium fills.
The Smart IP loudspeakers are distributed throughout the building, with a Xilica FR-1 DSP connected via Dante to the loudspeakers - giving Berghs full control over the system. Zone one covers an open area between the entrance and the classrooms, as well as an informal hangout space and study area for students. Zone two covers the reception area and café, while zone three is a large open workspace. Zone four covers Berghs’ co-working area, and zone five plays audio over an open elevated office space that is used by teachers, academics and their administration team. To configure and calibrate the new system, Scan AV made use of Genelec’s Smart IP Manager software.
“The entire building that Berghs now inhabits is equipped with integrated networked AV systems”, says Dragan Nedeljkovic, audio integrator at Scan AV. “Audio, video and system control are all placed on Berghs’ physical network and supply large meeting and auditorium functionality to the school’s bigger events. Everything is connected on one PoE+ powered network that spans four server rooms. This was key to the brief that we first received from Berghs. Their system includes a variety of AVoIP units, mixing consoles, cameras, projectors, control systems and Dante audio connections, all living on one network that integrates with the Smart IP range.”
(Photos: Peder Carlsson/Berghs School of Communication)
Moviechrome Pixel Reality Studio LED Volume equipped with Brompton LED processing
Milan-based production service Moviechrome has recently introduced its Pixel Reality Studio LED Volume, a cornerstone in virtual production and the first studio in Europe that features Absen PR technology with a 2.5 pixel pitch resolution. Powered by Brompton Technology LED processing, it is suited for a wide array of productions, from high-budget blockbusters to indie films, automotive inserts, packshots and consumption shots.
“The idea for the Moviechrome Pixel Reality Studio LED Volume stemmed from a desire to revolutionise the film and production industry with cutting-edge technology combined with our SFX team and Bolt robot motion control”, says Edoardo Mari, CEO at Moviechrome (Milano). “The initial concept was not solely client-requested but emerged from our foresight into the evolving needs of the industry. We recognised the increasing demand for more efficient, flexible, and creative filming environments, especially in the wake of challenges posed by global events such as the pandemic.”
The LED Volume spans 13.5 m in width, 4.5 m in height, and features a total resolution of 5400 x 1800. The motorised LED Volume ceiling is 5 m in width, 3 m in height, and includes a resolution of 2000 x 1200. The entire set-up is driven by four 4k Tessera SX40 LED processors and eight Tessera 10G data distribution units from Brompton Technology. Moviechrome Pixel Reality Studio LED Volume was officially opened in October 2023.
(Photo: Brompton Technology/Moviechrome)
Jean-Louis Rousseaux chooses Elation for new France 24 news sets
Director of photography Jean-Louis Rousseaux has been responsible for lighting the sets of television network France 24 since 2008. Last summer, he and his team lit two France 24 TV news sets using Elation broadcast lighting supplied by Elation distributor Best Audio and Lighting.
As on most sets today used to produce broadcast news magazines, France 24 installed LED screens around the entire periphery of the sets. The space was also equipped with soffits and spandrels made of RGBW LED strips and treated with a night and day material which has the particularity of allowing saturated colors to be obtained.
“The surface area used on the sets being small (50 square meters), I was worried about the impact of this entire LED installation on the colorimetric reproduction of the presenters in front of the cameras”, comments Rousseaux. “I chose Paladin Cubes to allow me to compensate in color for the dominance provided by the screens and LED strips. It’s a process that I have already implemented on the set of ‘C’est dans l’Air’ and which has been working on a daily basis for three years.”
The Paladin Cube is a compact RGBW floodlight with 3 x 1 cell control. Output is at 3,200 lumens and operation is completely noiseless. “The possibility of controlling their diffusion angle and the fact that they are compact allowed me to place them on the entire periphery”, continues Rousseaux. He specified 84 units and distributed them all around the sets.
As for the choice of a small Fresnel light for backlighting, the director of photography turned to Elation’s KL Fresnel 4 CW, a 50 W Fresnel light with 5,600 K cold white LED engine. Incorporating 42 units total, the Kl Fresnel 4 CW includes a number of features for broadcast environments including a 14° to 33° wide manual zoom.
“The sets are lit at a color temperature of 4,300 K but I wanted cooler backlighting so I chose 5,600 K projectors”, explains Rousseaux. Installed throughout the ceiling to provide bright and clean light for the studio, he says the advantage of the Fresnel projectors with shutter blades is that they can better control the beams of light.
Rousseaux equipped them with N6 or N9 gelatin to avoid over-shining at the top of the head and keep the main illumination on the shoulders so as to best highlight the subjects. Used for data distribution on the project are Netron EN4 nodes from Obsidian Control Systems.
(Photos: Elation/France 24)
Nüssli realisiert Besucherzentrum der Saline Schweizerhalle
Die Saline Schweizerhalle ist die Salzproduktionsstätte in der Schweiz und Teil der Schweizer Salinen AG. Für den Standort Schweizerhalle in Pratteln in Basel-Land realisierte und baute Nüssli ein neues Besucherzentrum mit Verkaufsladen, Café und Kino als Start neuer Erlebnisrundgänge, bei denen Besucher Informationen über die Geschichte und die Salzproduktion der Saline Schweizerhalle erhalten.
Nüssli konnte in einem Ausschreibungsverfahren den Auftrag für sich gewinnen. Als Generalunternehmer realisierte Nüssli zunächst den Rückbau der vorhandenen Gebäude, bevor mit dem Holzneubau und dem damit verbundenen Innenausbau und den Umgebungsarbeiten begonnen wurde.
Der 18 x 10 Meter grosse Neubau ist mit einem bestehenden Gebäude verbunden, in dem sich das künftige Kino befindet. Im neuen Besucherzentrum sind zudem der Empfang, ein Verkaufsbereich und ein Café sowie sanitäre Einrichtungen untergebracht.
Die Nüssli-Schreinerei produzierte die Möbel, etwa einen zentral platzierten, beidseitig konfigurierten Tresen, der sowohl als Empfangs- als auch als Bar-/Bistro-Möbel dient, sowie unterschiedlich hoch und tief angeordnete Verkaufsregale und Präsentationsmöbel.
(Fotos: Pascal Gertschen)
