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Martin Audio WPS installed at Cardiff Students’ Union Great Hall


ProSound Vietnam chooses Powersoft amplifiers for Goethe-Institut in Hanoi


Taipei Performing Arts Centre invests in Robe Spiiders


Florida theater venues choose DiGiCo Quantum225 desks


Genelec 4000 series loudspeakers installed at new Tokyo motorsports hub


Coda Audio USA supplies audio package for Crown Hill Theatre installation


Sennheiser setzt Zusammenarbeit mit Morgan Motor fort


AJP specifies all-Powersoft amplification for audio overhaul of Neches Arena at Lamar University


WSDG elevates acoustic excellence at Lithuanian State Symphony Orchestra


De La Warr Pavilion installs DiGiCo SD12 as main in-house console


Tateside opens showroom with demo kit from 1 Sound


Dyn Media and NEP Germany pioneer new frontier in remote production with DirectOut Prodigy system solution


Marine grade Coda Audio systems chosen for indoor and outdoor applications at high-altitude Alpine venues


Helsinki Music Centre makes first investment in Robert Juliat Arthur LT followspots


Estonia’s first Genelec Smart IP loudspeaker system installed at “Chin Chin” wine bar


Stadttheater Klagenfurt upgrades with Klang’s immersive in-ear monitor mixing


Feiner Lichttechnik erneuert Saalbeleuchtung im Congressforum Frankenthal


Acoustic Solutions equips Derby Cathedral with KV2 system


All Pro chooses Ayrton Huracán LT fixtures and MDG ATMe hazers for college auditorium upgrade


Genelec enthusiast chooses custom solution for his home TV setup


CGI delivers audio upgrades to the world’s largest rugby stadium


Paris Convention Centre’s Grand Amphitheatre transitions to LED with Anolis


DiGiCo console complements new processor for Christ Wesleyan Church’s broadcast audio


Bridgestone Arena adds Quantum338 desk to its lineup of DiGiCo products


Von Braun Center showcases one of the world’s largest permanent installations of EAW Adaptive


Martin Audio WPS installed at Cardiff Students’ Union Great Hall

The multi-use requirement of Cardiff Students’ Union’s Great Hall presented SWG Events with several challenges when designing and installing a frontline PA. The venue is a multipurpose space with a capacity of 1500 and a variety of needs. Firstly, the PA system needed to meet the approval of incoming circuit bands and productions, and at the same time be adaptable to a wide range of events.


Since live music events are hosted in more than one space within the building, the PA needed to be demountable and reappropriated together in various locations. SWG successfully met the challenges presented to them, their pitch based around Martin Audio’s Wavefront Precision WPS line array.


“This year the Great Hall enters into its fiftieth year of operation, as one of the oldest music venues in the Capital City,” says Callam Thom, Head of Venues. “It is therefore crucial that we keep up with the demands of modern-day touring and the expectations of our audiences.”


The Great Hall has recently seen significant development to the two accessible viewing balconies, increasing the spaces available for those with additional viewing needs. The development provided an upper-level bar, toilets and viewing platforms - spaces that also had to be catered for with the sound system. SWG Head of Audio, Simon Purse, sensed these challenges when confronted with a building that was “basically a big concrete square, with low balcony at the end, and the FOH position situated just under the bulkhead.”


SWG based their design for the conventional pros arch system around six elements per side of WPS, driven in 2-box resolution from Martin Audio’s iK42 amplifiers. Eight SX218 subwoofers are placed in a broadside array, while also at the stage, four Blackline X8 fill gaps in the nearfield with two Torus T1230 delivering out fill sound.


Given the low balcony overhang, a ring of four CDD8 provides under balcony delay and a further four CDD8 above the accessible viewing left and right-side balconies themselves, DSP for which is provided by a dedicated DX4.0 controller; this also brings the fills into the VU-Net control network.


“While there are elements that are fixed, a lot of it is like a conventional flown touring system”, says Purse. “Exams one day might be followed by a rock show, so it can be derigged and taken down or change shape, depending on the requirements of the venue. Even the stage is removable, making probably the most diverse room I’ve ever been in.”


Martin Audio Product Support Engineer Robin Dibble assisted with tuning and time alignment which, being a reverberant concrete venue, was essential - despite the presence of drapes and acoustic treatment. Presets are programmed and stored, depending on the different scenarios.


Purse explains, “There is a snapshot for when the system is in its default live show mode, with all the time alignment EQ and settings loaded in that. For other events such as when a DJ is placed in the centre of the room, the PA is moved, new angles applied and given new optimisation. The system then resets back to its default state afterwards.”


Joe Bailey, Account Manager at SWG Events, emphasises that the system has performed well in the first academic year of the contract with over fifty live music events since installation in Autumn 2023, most of which are touring artists. Following commissioning by Robin Dibble, SWG Events provided training to the in-house crew, while they are also providing crew for live music events from a system engineer point of view.


The Wavefront Precision system will also come out during the University’s summer recess to be redeployed on SWG Events’ roster of summer outdoor work, before returning to the Students’ Union for Freshers’ Week and the start of the Autumn term.


(Photos: Martin Audio/SWG Events)


ProSound Vietnam chooses Powersoft amplifiers for Goethe-Institut in Hanoi

ProSound Vietnam chooses Powersoft amplifiers for Goethe-Institut in Hanoi

Powersoft’s T Series amplifiers are powering a new sound system at Goethe-Institut in Vietnam. Nestled in the capital city, Hanoi, Goethe-Institut is the leading provider of German cultural and educational programmes worldwide, promoting the German language and fostering international relationships.


The cultural institute needed a new sound system in its multipurpose room, capable of accommodating a variety of activities including teaching sessions, presentations, art exhibitions and musical performances. Goethe-Institut tasked local integrator ProSound Vietnam with the challenge. ProSound then turned to Powersoft amplifiers. The language school’s sound system comprises three Powersoft T-Series models - T604, T302 and T302A - which deliver 6000 W from two channels (T604), and 3000 W from two channels (T302/T302A).


Accompanying the Powersoft amplifiers are two TW Audio Fullrange T20i and four TW Audio Fullrange M8i loudspeakers, two TW Audio Subwoofer B17i, and two Sennheiser Micro EW-100-G4-ME2 microphones, as well as a DiGiCo Stage box 1 and a DiGiCo S21 Mixer 1.


(Photos: ProSound Vietnam)


ProSound Vietnam chooses Powersoft amplifiers for Goethe-Institut in HanoiProSound Vietnam chooses Powersoft amplifiers for Goethe-Institut in Hanoi

Taipei Performing Arts Centre invests in Robe Spiiders

Taipei Performing Arts Centre invests in Robe Spiiders
Taipei Performing Arts Centre invests in Robe Spiiders

The Taipei Performing Arts Centre (TPAC), which contains three performance spaces - The Grand Theatre, the Globe Playhouse, and the Blue Box - has recently invested in forty Robe Spiider LED wash beam luminaires, which will help light an array of productions staged at the venue.


The Centre has around 150 full time employees, a third of whom are designated to work across assorted technical disciplines. TPAC senior technical officer Yi-Ming Liu (aka “Birdie”) was instrumental in picking the Spiiders, together with TPAC’s head of lighting, Pang-Yan Lin Ling, and others from the lighting team. Sustainability was a major consideration when getting these moving lights, as well as multi-functionality.


The Spiiders, recently delivered via Robe’s Asia Pacific subsidiary in Singapore, arranged by local Taiwan dealer DLHG, run by Jackson Yu, will be used in all three main performance spaces in this bustling producing and receiving house.


TPAC’s eye-catching contemporary building was designed by David Gianotten and Rem Koolhaas from the Office for Metropolitan Architecture (OMA) and features different geometrical shapes offering a total space of 50,000 square metres.


The 800-seater Playhouse is sphere shaped, the asymmetrical shaped Grand Theatre has a 1500 capacity, and the Blue Box studio space can accommodate up to 840 and is fully flexible. The building is owned by the Taipei City Government’s Department of Cultural Affairs.


Knowing the type of luminaire needed to add to the approximately 2000 generic luminaires in place when TPAC opened in 2022 after a ten-year build period, Yi-Ming Liu and the lighting team created a spec for the ideal LED wash beam. The fixture was identified as the most useful addition for fulfilling lighting designs plus saving person-power and time when facilitating productions.


Some of the crew travelled to Robe’s factory in the Czech Republic to see the production process, further in depth demonstrations and to receive hands-on maintenance training. TPAC does not have in-house LDs but works with a range of freelancers who are commissioned to light their own productions on a per-project basis and are primarily from Taiwan. International and touring productions will often bring their own designers or lighting directors.


TPAC is the first theatre installation in Taiwan to feature Robe Spiiders in the rig. Yi-Ming Liu already knew Robe through his touring experiences, but his association goes back around twenty years or so, when he worked at the Ministry of Sound club in London, which had Robe in the house.


The shows staged at TPAC include Taiwanese dance and performance groups, drama, opera, musicals, a range of dynamic Asian co-productions and international works. The performance spaces are also used for commercial, industrial, business, and special events.


Pictured (left to right): Some of TPAC’s technical department team - Yi-Ming Liu (senior technical officer), Achun Kao (senior technical officer), Pang-Yan Lis (assistant manager, head of lighting), Kim Lin (senior technical officer), Ting-Nan Chen (senior technical associate). (Photos: Louise Stickland/Paul Clarke)


Taipei Performing Arts Centre invests in Robe SpiidersTaipei Performing Arts Centre invests in Robe Spiiders

Florida theater venues choose DiGiCo Quantum225 desks

Florida theater venues choose DiGiCo Quantum225 desks
Florida theater venues choose DiGiCo Quantum225 desks

Artis-Naples is one of the premier destinations for the visual and performing arts in Southwest Florida. The Kimberly K. Querrey and Louis A. Simpson Cultural Campus in Naples includes two performance halls: the Frances Pew Hayes Hall and the Myra J. Daniels Pavilion, as well as The Baker Museum and the Stabile Education building.


Most recently, the 283-seat Daniels Pavilion - whose range of programs includes music, film, dance, comedy, lectures, and exhibitions - received an upgrade in the form of a new DiGiCo Quantum225 console, used for both front-of-house and monitor mixing duties, and sourced through Fort Lauderdale-based Carlton Audio Services, Inc.


Ryan Young, Head Audio Engineer at Artis-Naples for the last three years, says the addition of the Quantum225 is part of a series of upgrades that will also soon see the venue’s PA system replaced. “The intent was to upgrade and modernize our sound, and we are already very much a DiGiCo campus”, he adds, noting the SD12 console installed at the neighboring Frances Pew Hayes Hall and the SD9 that acts as a recording and program playback mixer there.


“We also wanted to have more flexible routing, so we could, for instance, run monitors from front of house”, he continues. “With so many different types of music and other performances here, versatility is the key.” Young says that he and his staff, including A2 Taylor Freydberg, have just begun exploring the possibilities of the console’s Mustard and Spice Rack processing.


On the state’s opposite coast, The Parker, a 1,200-seat venue in Fort Lauderdale and part of that city’s live-performance legacy for nearly sixty years, recently underwent a $30-million renovation. The process was part of an even larger rebranding and repositioning of the venerable venue: for much of its existence it had been the Parker Playhouse, a theatrical venue, and an affiliated venue of The Broward Center for the Performing Arts. Now, The Parker has become a main stop for top touring music artists and shows, with a new D&B Audiotechnik sound system and a DiGiCo Quantum225 console also supplied by Carlton Audio.


“Over the last several years we’ve transitioned to becoming a roadhouse venue”, says Anton Foresta, Director of Production - Affiliated Venues at The Parker. “Still a venue for community and educational programming but with a focus on live concerts at night, and for that, we wanted a rock and roll sound system and a rock and roll console.”


Foresta has been using DiGiCo desks for years, as front-of-house engineer for Arrival from Sweden, “The Music of ABBA” (for which he used a Quantum338), and in his role at The Parker, where he says the vast majority of the touring riders crossing his desk are for DiGiCo consoles. “Our job is to fill that rider and give them what their first choices are, and nine times out of ten, the first choice on that rider is DiGiCo. So rather than renting a DiGiCo, we decided to buy one”, he says.


“We had thought maybe we should get an SD12 because of its 96 inputs, but I knew that the Quantum225 would eventually get the update to go up to 96 channels - and a few weeks ago they released the update”, he adds.


Both Quantum225 consoles were recommended and sold through Carlton Audio Services in Fort Lauderdale. The company’s owner, Chris Carlton, also acts as sound designer and front-of-house engineer for Barbra Streisand, using a DiGiCo Quantum338 console for his live work with Streisand.


Pictured: Ryan Young at Artis-Naples’ new DiGiCo Quantum225 console; left to right: Anton Foresta, Michael Perez (A2), and Gabe Katz (A1) at The Parker’s new DiGiCo Quantum225 desk. (Photos: DiGiCo/Artis-Naples/The Parker)


Genelec 4000 series loudspeakers installed at new Tokyo motorsports hub

Genelec 4000 series loudspeakers installed at new Tokyo motorsports hub

Arta Mechanics & Inspirations, a converted warehouse in the Shinkiba area of Tokyo, Japan, serves as a hub where visitors can immerse themselves in the complete Arta brand experience. The installation of Genelec’s 4000 Series loudspeakers throughout the space supports that experience.


Born from a collaboration between Japan’s F1 racing driver Aguri Suzuki and Japanese car parts manufacturer Autobacs Seven, today Arta is the largest racing team in Japan. Aside from its racing endeavours, it is also a brand with a range of luxury products to its name including custom cars, watches, and apparel. The inception of Arta Mechanics & Inspirations was a pivotal step in promoting the significance of the brand, offering a showcase for Arta’s worldview of motorsports.


According to Autobacs Seven brand business sales manager Naoto Oyama, the industrial feel of the warehouse environment offset against luxury products was the ideal setting to represent the image of motorsports. The Genelec loudspeaker system plays a significant role in creating that ambience. “As the name suggests, we are here to inspire our customers, and the atmosphere of the space plays a crucial role in that”, says Oyama. “We consider sound as one of the most important tools for creating atmosphere.”


The venue deploys six compact 4020 loudspeakers discreetly distributed throughout the space. Staff can choose from a variety of specially curated playlists to match the mood of the day or the particular event. Genelec’s 4000 Series models are equipped with an ISS power-saving function that automatically detects the absence of an audio signal, putting the loudspeaker into ‘sleep mode’ accordingly.


Oyama notes that Genelec’s Nordic design matches well with the industrial feel of the store. “And I like the fact that the loudspeakers are made of recycled aluminium, that feels like a really good fit for us in motorsports”, he adds.


(Photos: Yashima Takashi)


Genelec 4000 series loudspeakers installed at new Tokyo motorsports hubGenelec 4000 series loudspeakers installed at new Tokyo motorsports hub

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 Zusammenarbeit mit Morgan Motor fort
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)


Sennheiser setzt Zusammenarbeit mit Morgan Motor fortSennheiser setzt Zusammenarbeit mit Morgan Motor fort

AJP specifies all-Powersoft amplification for audio overhaul of Neches Arena at Lamar University

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)


AJP specifies all-Powersoft amplification for audio overhaul of Neches Arena at Lamar UniversityAJP specifies all-Powersoft amplification for audio overhaul of Neches Arena at Lamar University

WSDG elevates acoustic excellence at Lithuanian State Symphony Orchestra

WSDG elevates acoustic excellence at Lithuanian State Symphony Orchestra
WSDG elevates acoustic excellence at Lithuanian State Symphony Orchestra

Situated in the heart of Vilnius, the capital city of Lithuania, the newly reconstructed concert hall of the Lithuanian State Symphony Orchestra (LVSO), formerly known as the Vilnius Congress and Concert Hall VCCH, opened its doors to visitors in March this year.


The project, conceived in 2018, involved designer Marius Mateika and the services of Lithuanian architectural and building acoustic company Akustika Plius, collaborating with ADA Acoustics & Media Consultants GmbH (a WSDG Company) who focus on architectural acoustic consulting and media system engineering, along with the construction company Infes. Their joint efforts were instrumental in bringing the old hall up to new acoustical standards suitable for a symphony orchestra.


In 2018, Prof. Dr. Wolfgang Ahnert, founding director of ADA, visited the old hall and met with the long-standing conductor of the LVSO, Gintaras Rinkevicius. “It was evident to both of us that the hall required fundamental reconstruction to significantly improve its acoustics”, shares Ahnert. “Although the space was used for both speech and symphonic performances, it was definitely more adapted to speech purposes, with a very short reverberation time.”


Subsequently, Viktoras Mekas from Akustika Plius invited Ahnert to formally participate in the project, benefitting from Ahnert’s knowledge in the field of room- and electro-acoustic designs, as well as noise control. “During the project we had to consider a lot of different acoustic indicators and criteria”, explains Ahnert. “These included reverberation time, music and speech clarity, warmth of sound, as well as the mutual hearing of musicians and density of lateral reflections. Meeting all these parameters required the implementation of various measures.”


“In close cooperation with interior designer Marius Mateika, we worked together with Viktoras and the construction company to determine the primary and secondary requirements necessary to enhance the acoustics of the hall”, Ahnert continues, noting that the primary structure refers to the correlation between volume, space, and dimension. “The key takeaway from our visits was that the height of the ceiling of the hall didn’t offer enough volume to create optimum acoustics for every visitor, which included a two-second reverberation time needed for a perfect symphonic listening experience.”


After a hiatus caused by the global pandemic, the project resumed in 2022. Ahnert worked closely with colleague Tobias Behrens to create simulations using software program Ease at their office in Berlin. These were then passed to Mekas and fellow acoustics consultant and architect at Akustika Plius, Gintare Privediene, who collaborated with Mateika and the construction company on what was necessary from an architectural viewpoint.


The first stage of the project involved fundamentally changing the design of the hall, raising the roof after convincing the client to add extra volume to the 984-seat concert hall. In line with amphitheatre principles, a stage with two movable raisers was installed, along with new lighting and ventilation systems.


The next stage was focused on the so-called secondary structure of the hall, by integrating three-dimensional acoustic patterns on the ceiling and walls combining rhombuses, triangles, rib panels, and smooth acoustic panels. “By integrating these panels, it was possible to diffuse sound reflections and ensure even distribution across the entire hall”, says Behrens who further notes that ADA’s experience comes from its work on similar projects, including the Elbphilharmonie and Kulturpalast Dresden in Germany, National Opera in Romania, and Music Theater Linz in Austria.


The concert hall opened its doors on Saturday, 16th March, with an evening of performances by the Lithuanian State Symphony Orchestra, the Kaunas State Choir, the Lithuanian National Opera Theater Choir, the Boys and Youth Choir Azuoliukas, as well as several other Lithuanian soloists.


(Photos: Gabrielius Jauniškis)


De La Warr Pavilion installs DiGiCo SD12 as main in-house console

De La Warr Pavilion installs DiGiCo SD12 as main in-house console
De La Warr Pavilion installs DiGiCo SD12 as main in-house console

Sited on the beachfront in Bexhill, East Sussex, the De La Warr Pavilion boasts a variety of music, comedy, and theatrical performances each year. It also supplies various early career programmes with work experience, creative careers sessions and apprenticeships all available to young people throughout the year.


Training is just one part of what they do there, but it was a strong influence on the DiGiCo SD12 desk they chose, as technical stage manager Mat McQuade explains. “Visiting engineers expect a DiGiCo, and it became the norm for us to hire in SD12 consoles”, says McQuade. “Our decision to purchase the SD12 came from what our clients expected, but also from our education programmes. It was important that the young people learnt on professional grade consoles, not entry level or obsolete desks.”


McQuade shares his knowledge on site through the various education programmes De La Warr Pavilion offers, and also teaches students at local colleges, giving them an insight into professional working practices. Plus, he organised for his whole audio team to get training at DiGiCo HQ. “We had training before and after the purchase”, he states.


“The SD12 is the first console we’ve had that offers the dynamic EQ feature. It opens a new way of EQ’ing someone’s guitar, for example, without compromising the sound of the instrument”, McQuade continues. “We’ve been using the UB MADI port to create virtual soundchecks, so it gives the learners a safe space to find their way around the console and the pressure is taken off them a bit.”


Pictured: Audio engineer George Palmer, technical stage manager Mat McQuade, and audio engineer Maria Toase (left to right); Mat McQuade and George Palmer (left to right). (Photos: De La Warr Pavilion/Anne Wickström)


De La Warr Pavilion installs DiGiCo SD12 as main in-house consoleDe La Warr Pavilion installs DiGiCo SD12 as main in-house console

Tateside opens showroom with demo kit from 1 Sound

Tateside opens showroom with demo kit from 1 Sound

Based within striking distance of London’s Tower Bridge, AV integrator Tateside recently announced the launch of its new showroom space, in collaboration with US manufacturer 1 Sound and UK distributor CUK Group. The space, home to a full 1 Sound system, follows Tateside’s recent appointment as the first official 1 Sound UK Partner and will drive opportunities for the integrator to share its solutions with clients first-hand.


“We met 1 Sound at ISE 2023”, recalls Jack Cornish, Technical Director at Tateside. “The natural finish of the wooden loudspeakers caught our eye, and we began talking to Louis Mannarino, who explained the brand values with enthusiasm; we were sold on the products and felt they offered something different to traditional loudspeakers; these solutions fit well in our hospitality projects, where space can be a challenge. We’re pleased to be one of the first partners bringing 1 Sound to the UK market, through our collaboration with local distributor CUK Group.”


1 Sound is relatively new to the UK audience. Based out of Monmouth County, New Jersey, the brand provides audio solutions for both the live and install markets. 1 Sound loudspeakers are available in a variety of custom finishes, and this versatility, along with the small footprint of the products, proved to be a key selling point for the team at Tateside.


Within Tateside’s showroom, the Cannon coaxial loudspeaker series is a focus, with pairs of C4, C6 and C8 loudspeakers in both natural wood and custom colour finishes, alongside a pair of CT28 point-source loudspeakers. A selection of slimline subwoofers including the MiniSub5, two WSub45s and two Sub310s are also installed. The room is the first official 1 Sound demo space in the country.


(Photo: Tateside/1 Sound/CUK Group)


Dyn Media and NEP Germany pioneer new frontier in remote production with DirectOut Prodigy system solution

In August 2023, Dyn Media launched as a new broadcaster in European sports, aimed at giving sports beyond football the exposure and viewership they deserve. NEP Germany was contracted as the production service provider to develop a remote production infrastructure. The technical concept, signal workflows, and process operations were also created in collaboration with Dyn. Broadcast Solutions served as the system integrator responsible for implementation.


The core of the entire infrastructure’s audio workflow is a system solution from DirectOut Technologies, featuring several of its multifunctional Prodigy.MP, .MC, and .MX units. With a total of one Prodigy.MX, twenty Prodigy.MP, and twelve Prodigy.MC, this project represents the largest Prodigy installation for DirectOut to date. Additionally, a variety of other audio solutions from DirectOut are in use, such as Andiamo and Exbox.MD. To realise complex and novel requirements and enable integration with other manufacturers, DirectOut developed and adapted new functions and interfaces.


The Prodigy tools implement DirectOut’s Audio Solution Model (ASM) philosophy with modular hardware components, powerful DSP, and customisable control. ASM comprises five layers: modular hardware, device functions tailored to specific applications (skins), control protocols, software, GUI and AI, and add-ons consisting of hardware and software enhancements from other manufacturers. With the project for NEP Germany and Dyn, DirectOut ventured into fresh territory and scale, gaining many new insights and know-how regarding workflows, software, and the further development of its solutions.


“In our conceptual approach, the decision to use the Prodigy series was made due to its alignment with our requirements: integrating several decentralised mixing consoles with freely configurable DSP functions within an ST 2110 audio network; configuring and controlling all existing audio devices from multiple workstations using common software”, explains Michael Lindermeir, Head of Audio at NEP Germany GmbH. “The fact that several of the currently available control protocols are integrated into the Prodigy devices also contributed to achieving all our workflow goals. Simultaneously, we were able to independently develop and programme the standalone advancement of the cross-manufacturer control of all devices in the installation.”


The heart of the installation is a central hub at NEP in Munich with a central equipment room, two control rooms, and the Network Operations Center (NOC). The other part of the technology is located at Dyn in Cologne, with four control rooms and commentator positions. The integration of the venues is achieved via an MPLS connection from Riedel to Munich and Cologne. Dyn in Cologne has access to all resources in Munich and can remotely control them. Technicians and editors can also access the technology in the Venue Kits.


A total of 33 Prodigy units are integrated into the project to handle the audio signals. In each of the six Venue Kits, two Prodigy.MP and two Prodigy.MC are in operation. In Munich, there are seven Prodigy.MP and one Prodigy.MX, and in Cologne, one Prodigy.MP is in use. These devices act as audio crosspoints for the streams and as gateways between the networks, realising the complete audio workflow, including I/O, processing, and audio mixing. The Prodigy units handle the audio signals to and from the venues, the intercom signals, and the commentator audio.


The entire Dyn infrastructure of NEP Germany is based on SMPTE ST 2110 and relies heavily on the automation of production workflows. The AutoMix function of the Prodigys allows engineers to call up various Automixes depending on the sport. The globcon control software enables the configuration of the Prodigy units while the production teams work with the HControl.16 hardware controllers developed explicitly for this project.


Switching in the Prodigys is also possible via Stream Deck units at the workstations. The audio supervisor can monitor several games from one workstation. The finished PGM audio signals follow the PGM video signals. From the Venue Kit to the PCRs and the audio workstations, the audio streams are discretely routed. NEP’s control system, TFC, manages the workflow. Any production can be driven from any workstation in Cologne or Munich.


Since the complete installation is based on ST 2110, the audio signals from the venues are converted into ST 2110-30/AES 67 streams via Ravenna cards in the Prodigy.MPs on site. The Ravenna modules in all Prodigys have sufficient buffer to compensate for fluctuations in the WAN and transport thirty audio signals overall between the venue and Munich.


Mirror Mode with a second Prodigy also ensures sufficient redundancy. Another safety tool is the Input Manager of the Prodigy.MX, which automatically switches to a backup signal upon receiving a stream without audio content. With Dyn Media’s remote production infrastructure, all companies involved have ventured into new paths and workflows.


(Photos: Broadcast Solutions)


Marine grade Coda Audio systems chosen for indoor and outdoor applications at high-altitude Alpine venues

In recent years many French Alpine winter sports resorts have seen conspicuous development of both indoor and outdoor entertainment spaces at clubs, restaurants and bars. As well as customary background music, venues have moved to staging live music performances and DJ sets to broaden their customer offer.


Whilst the venues are configured in all shapes and sizes, one vital requirement they share is for high-performance audio systems, capable of delivering professional sound as well as withstanding the extreme weather conditions found in the high mountains. Coda Audio systems have proven to be a popular choice, according to Coda Audio France President Phillipe Pelmelle.


“We were approached independently by a couple of contacts in the hospitality sector in the region who were looking create new systems or upgrade their existing provision”, says Pelmelle. “With the help of our technical team, we were able to make Coda Audio recommendations that would exactly fit their audio requirements.”


They also recommended specialist integrators who had experience both in using Coda Audio systems to maximum effect, and understanding the challenges presented by the mountain locations. NG Pro of Grenoble, Module Me of Brignoles, and Fred Métral of Bourg St Maurice were all called upon for their expertise.


“As soon as the first couple of installs had been completed, we received more enquires, and, if you’ll forgive the pun, it ‘snowballed’ from there”, adds Pelmelle. “Two initial installs quickly became seven, with more to come. Naturally we are delighted to see so many venues putting their faith in our products.”


The resort of Tignes has seen three new Coda Audio systems installed at Le Bollin, Le Strike and Le Panoramic - the latter being the world’s highest Michelin-starred restaurant at 3032 m. Other systems can be found at La Baraque in Val d’Isère,  Pub O’ Chaud in Les Arcs, La Bergerie in La Plagne, and Le Face Ouest in Val Thorens.


A wide variety of loudspeakers from across Coda Audio’s range were deployed for inside and outside spaces. Coda’s Marine Grade (MG1) finish ensured that no audio compromise was necessary for the outdoor areas. The Hops (high output point source) range was particularly favoured in the designs, from Hops5 through Hops8 to Hops12.


New venue Le Bollin in Tignes sits at the summit of the Bollin chairlift at an altitude of 2214 m. A Coda Audio system encompasses its bistro and outdoor terrace, which is regularly exposed to high winds and driving snow. “We chose the marine grade Coda Audio products for the outside because they are specially designed to work in difficult conditions”, says Gérald Mastromattéo of installers NG Pro. “The terrace enjoys a combination Hops12i MG1 and Hops8i MG1 with SCP MG1 subs. Inside, the bistro has a combination of Hops5 and U12 subs.”


(Photos: James Cumpsty/Coda Audio)


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

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)


Estonia’s first Genelec Smart IP loudspeaker system installed at “Chin Chin” wine barEstonia’s first Genelec Smart IP loudspeaker system installed at “Chin Chin” wine bar

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

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)


Feiner Lichttechnik erneuert Saalbeleuchtung im Congressforum FrankenthalFeiner Lichttechnik erneuert Saalbeleuchtung im Congressforum Frankenthal

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

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)


Genelec enthusiast chooses custom solution for his home TV setupGenelec enthusiast chooses custom solution for his home TV setup

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

Paris Convention Centre’s Grand Amphitheatre transitions to LED with Anolis
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)


Paris Convention Centre’s Grand Amphitheatre transitions to LED with AnolisParis Convention Centre’s Grand Amphitheatre transitions to LED with Anolis

DiGiCo console complements new processor for Christ Wesleyan Church’s broadcast audio

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)


DiGiCo console complements new processor for Christ Wesleyan Church’s broadcast audioDiGiCo console complements new processor for Christ Wesleyan Church’s broadcast audio

Bridgestone Arena adds Quantum338 desk to its lineup of DiGiCo products

Bridgestone Arena adds Quantum338 desk to its lineup of DiGiCo products
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)


Bridgestone Arena adds Quantum338 desk to its lineup of DiGiCo productsBridgestone Arena adds Quantum338 desk to its lineup of DiGiCo products

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)