Installationen News
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Alphatec supplies Coda Audio for VMS Delhi installation at new fine dining venue in Gurgaon, India
19/06/2025
Masque Sound collaborates with Dayglo Presents for systems integration at “Garcia’s Chicago”
03/06/2025
“We Will Rock You” Denmark uses DiGiCo
29/05/2025
Stockholm-based consultancy collective Eidra uses Genelec Smart IP loudspeakers at new headquarters
27/05/2025
Powersoft shakes up VR space travel
26/03/2025
Meyer Sound unterstützt neue immersive Klangkreation von Bill Fontana im Petersdom
In einer Verbindung von Kunst, Architektur und Audiotechnologie hat Meyer Sound die technische Grundlage für eine Installation des Klangkünstlers Bill Fontana geschaffen: „Silent Echoes of a Great Sound Sculpture“ heißt das Werk, das im Portikus der Basilika St. Peter in der Vatikanstadt installiert ist und das Unhörbare hörbar machen soll - die verborgenen Schwingungen des Campanone, der größten Glocke der Basilika.
Fontana, bekannt für seine Arbeit mit akustischer Resonanz und strukturgebender Vibration, zeichnete über hochsensible Sensoren die inneren Schwingungen der neun Tonnen schweren Glocke auf - Schwingungen, die dem menschlichen Ohr normalerweise verborgen bleiben. Mithilfe von digitaler Klangbearbeitung entstand daraus eine immersive Klanglandschaft, die - unterstützt von Ingenieuren des Ircam in Paris - täglich zu festen Zeiten über ein diskret in den Portikus integriertes Meyer-Sound-System abgespielt wird. Beim Betreten und Verlassen der Basilika durchqueren die Besucher den Säulengang - nun begleitet von Klängen, die den Moment der Stille und inneren Einkehr mit einer sinnlichen Klangwahrnehmung verbinden sollen.
Um die „Stille“ der Glocke in ein lebendiges, räumliches Erlebnis zu verwandeln, arbeitete Fontana mit Massimo Carini von MAC Sound S.r.l., dem italienischen Meyer-Sound-Vertriebspartner, zusammen. Zu Projektbeginn organisierte Carini für die Vatikanbeamten eine temporäre Demonstration der geplanten Installation vor Ort, bei der ein 4-Kanal-System mit Ultra-X20-Point-Source-Lautsprechern zum Einsatz kam. „Als die Kardinäle die Klänge des Musikstückes vernahmen, sagten sie: ‘So etwas haben wir noch nie gehört’“, erinnert sich Carini. „Es war sehr bewegend für alle.“ Nach der Freigabe installierte MAC Sound das vollständige System, bestehend aus acht Ultra-X20-Lautsprechern und vier USW-112P-Subwoofern, um die komplexen Texturen von Fontanas Komposition für die Besucher des Petersdoms in die Eingangshalle zu übertragen.
Fontana, einst Schüler von John Cage, versteht das Hören seit jeher als einen kreativen Akt - insbesondere durch das Erkennen von Mustern und Zusammenhängen. Für ihn stellt die ungehörte Stimme des Campanone eine Art Erinnerung dar - ein lebendiges Echo der Vergangenheit, das in der Architektur verhaftet ist. „Die massiven Kirchenglocken des Petersdoms sind dafür gebaut, zu vibrieren“, erklärt er und betont, dass sie selbst dann „zuhören“, wenn sie nicht läuten. „Und wenn Umgebungsgeräusche ihre Resonanzfrequenz treffen, antworten sie. Es ist ein sehr schöner, interessanter Klang.“
„Silent Echoes of a Great Sound Sculpture“ wurde von Umberto Vattani und Valentino Catricalà im Rahmen der Jubiläumsfeierlichkeiten des Vatikans 2025 kuratiert und soll bis Ende des Jahres bestehen bleiben. Es ist bereits Fontanas zweites großes Klangkunstwerk in Rom mit Unterstützung von Meyer Sound: Sein vorheriges Projekt wurde 2014 im Maxxi Museum installiert und untersuchte die akustischen Dimensionen antiker römischer Aquädukte. „Ich kenne Helen und John Meyer seit Jahren. Sie haben schon viele meiner Projekte unterstützt“, so Fontana. „Was ich an ihnen schätze, ist, dass sie nicht nur umwerfende Lautsprechersysteme und digitale Lösungen entwickeln, sondern auch sehr offen für kreative Ideen sind.“
(Fotos: Giorgio Maiozzi/Uthopia)
ETC Ministar in belgischem Luxus-Casino installiert
Das neue Silt Casino in Middelkerke an der belgischen Küste beherbergt neben dem Glückspielbetrieb auch ein siebzig Zimmer umfassendes Vier-Sterne-Hotel, ein Restaurant sowie eine Cabaret-Bühne. Um die Darbietungen im Varieté-Theater zu beleuchten, wurden rund dreißig Ministar-LED-Scheinwerfer von ETC über der kreisrunden Bühne installiert.
Lichtdesigner Jean-Philippe Corrigou war mit der Szenografie betraut. Über die Installation sagt er: „Das gesamte Projekt wurde in Rekordzeit durchgeführt und noch während der Einbauarbeiten um weitere Ideen ergänzt.“ Als Hürde erwies sich die relativ niedrige Decke und die runde, in der Bar integrierte Bühne. Die Scheinwerfer mussten diskret auf derselben Ebene wie die Tontechnik installiert werden.
In Kooperation mit dem Händler und Partner Novelty BVBA entschied man sich für ETC-Ministar-Scheinwerfer. „Wir haben zuerst mit dem Lonestar geliebäugelt“, sagt Corrigou. „Die kompakte Größe gab aber den Ausschlag zugunsten des Ministars.“ Auch die QuadraTech-Technologie des Ministar sei ein Erwerbskriterium gewesen: Die Farbräder können hier in Quadranten angeordnet werden; 64 verschiedene Kombinationen sind möglich, durch das Hinzufügen von Gobos erschließen sich weitere visuelle Optionen.
„Bei diesem Farbsystem durchläuft das Licht weniger dichroitische Filter, was zu kräftigeren Farben führt“, so Corrigou. Per Tastendruck sind sowohl bei Washes als auch bei Aerials visuelle Effekte realisierbar. Auch das Weißlicht des Ministar habe Corrigou überzeugt: „Mit unseren früheren HMI-Quellen hatten wir jede Menge unterschiedliche Weiß-Töne“, sagt er. „Das ist jetzt nicht mehr der Fall. Die Farbtemperaturen und Helligkeitswerte der Scheinwerfer sind jetzt einheitlich.“
(Fotos: ETC/Jonathan Grimaux/Damien Chicot/Jade Production)
Alphatec supplies Coda Audio for VMS Delhi installation at new fine dining venue in Gurgaon, India
“Koca” is the latest addition to the culinary landscape in the Indian city of Gurgaon. The first restaurant venture of Indian cricket player Yuvraj Singh, “Koca - Kitchen of Celebratory Arts” is a fine dining establishment characterised by contemporary interiors and a high-energy experience.
Background music is a key element of the atmosphere, as are the DJ sets which are a feature of the venue. The “Koca” team engaged supplier Alphatec and integrator VMS Delhi, led by technical lead Sandeep Duggal, to provide a solution befitting the status of the venue.
The team chose a Coda Audio system for the interior areas of “Koca”. With no place for traditional bulky speakers, Alphatec supplied a combination of Coda Audio Hops8i (8’’ high output point source) and G308-Pro (compact 8’’ multi-design system) loudspeakers, supported by G15 and G18 multipurpose sub extensions. The system is driven by Coda Audio Linus 6.4i amplification.
(Photos: Coda Audio/Koca)
Cast liefert MDG-Bodennebelmaschinen an Schauspielhaus Bochum
Das Schauspielhaus Bochum ist seit mehr als einhundert Jahren eine der führenden Spielstätten für zeitgenössisches Theater und darstellende Kunst in der deutschsprachigen Theaterszene. Seit der Spielzeit 2018/2019 steht das Haus unter der Intendanz von Johan Simons.
Speziell für die neue Inszenierung des Stücks „Nils Holgersson“, welches weitgehend „über den Wolken“ spielt, war das Technik-Team des Schauspielhauses auf der Suche nach Bodennebelgeneratoren. „Für uns war es essenziell, dass der Bodennebel kontrollierbar bleibt und sich nicht unkontrolliert im Bühnenraum verteilt“, erklärt Wolfgang Macher, Beleuchtungsmeister am Schauspielhaus. „Wir haben in der Vergangenheit bereits mit anderen Maschinen gearbeitet, aber der Nebel hat uns nicht überzeugt. Die Standzeiten des Nebels waren oft zu kurz und aufsteigender Nebel behinderte die Sicht auf das Bühnenbild.“
Christian Pies von Cast, ein langjähriger Lieferant des Schauspielhauses, führte im Herbst 2024 den MDG-Bodennebelgenerator Ice-Fog Compack-H vor. Eine Demo mit Hindernissen, wie er sich erinnert: „Ich kenne die Maschine gut, habe sie schon oft vorgeführt. Ich weiß, was ich zu erwarten habe, wenn ich sie einschalte. In Bochum war aber zunächst alles anders. Kaum Bodennebel auf der Bühne zu sehen. Unfassbar! Im Rahmen der Ursachenforschung fielen uns dann große Spalten im Bühnenboden auf, die den Nebel weitgehend geschluckt hatten. Der Bereich unterhalb der Bühne war jedenfalls erstklassig benebelt.“
Nachdem die Bodenspalten abgeklebt waren, erzielte die Ice-Fog Compack-H den erwarteten Effekt und überzeugte die Lichttechnik-Abteilung des Schauspielhauses. Im Oktober wurden die ersten zwei Geräte ausgeliefert, im Dezember folgte die dritte Maschine. „Wir haben die Geräte gezielt für unsere große Bühne angeschafft“, sagt Macher. „Mit drei Maschinen können wir den Nebel aus verschiedenen Positionen steuern und jederzeit ein gleichmäßiges Bild erzeugen.“
(Fotos: Fabian Ritter)
Tateside’s partnership with Halkin scales up at new Euston workspace
Halkin has enjoyed a close and evolving relationship with AV integration specialists Tateside in London. What began with small-scale installations has gradually expanded as Halkin’s footprint grew. One of their largest collaborations to date is at Halkin’s new prime location at Mainframe Euston, marking the workplace brand’s ninth location.
Mainframe is a fully renovated building featuring three floors of office and co-working environments in London’s Knowledge Quarter. It also offers a multi-functional event space. To match this flexibility, the AV systems had to be capable of supporting different types of use throughout the day. The project scope ranges from global background audio to meeting room systems and sub-divisible room AV set-ups.
All three floors were equipped with Bose background audio systems, divided into two to three audio zones per floor to create tailored ambience. These zones are controlled from an iPad located at reception, so staff have the ability to manage the audio environment across the entire site. “Being able to manage all floors from one interface was key”, says Jack Cornish, Technical Director at Tateside. “Staff needed accessible control without any level of technical know-how and most people are comfortable using an iPad.”
In terms of content, the background audio is based on a license-free music playback system. The playlist, which is curated by Ollie Humphreys at Soundscape, plays throughout the shared and transitional spaces in the building without the need for a PRS music license. “It’s designed for those ‘in-between’ areas, places where you don’t want silence, but you also don’t want to pay commercial music licensing fees every year”, explains Cornish.
For the hard of hearing, Tateside introduced an IR hearing loop system in key areas, ensuring accessibility. “We couldn’t install traditional floor loops in some spaces due to building constraints”, continues Cornish. We opted for a Williams Sound system instead.”
The core focus of the Halkin project was its various meeting rooms. Establishing a technology standard, six meeting rooms were installed with Neat Board Pro systems, each configured for use with Zoom Rooms software, the clients’ preferred conferencing solution. Each space is equipped with a Neat Pad booking panel for room scheduling. Ashton Bentley BX breakout hubs, mounted under the desks, give full BYOD functionality.
The most technically demanding and rewarding space to fit out was Halkin’s subdivisible event room on the ground floor. This space can be used as one large room or split into two smaller meeting rooms. Intelligent automation was required to ensure the rooms could switch quickly between modes, whilst maintaining a familiar user experience.
Each half of the room is equipped with four cameras, eight in total across the space, which operate in sync when the room is opened into a single open configuration. Audio is provided by Sennheiser Dante-enabled ceiling microphones and a combination of ceiling and pendant-mounted Bose loudspeakers. The entire system runs on a Q-Sys backbone for DSP and control. “The divisible room was the main technical challenge”, confirms Cornish. “Getting camera switching, audio behaviour, and screen content to adapt to the room’s physical state required tight integration between hardware, software, and the architectural layout.”
Each room runs on Yealink’s S90 Zoom Room system, which includes a dedicated mini-PC, AV hub, room sensor and touch panel. One feature is the interface design, where users can start with a basic room control interface or swipe across the touchscreen to access a deeper Q-Sys user interface for more granular control if needed.
When in open mode, the room features two 98-inch displays at either end and a delay screen on a mobile trolley for extra visuals when required. Using the sensor on the partition wall in the middle, the AV system automatically switches to the desired mode and connects to the appropriate room peripherals based on the behaviour picked up by the sensor. Lightware’s Taurus UCX handles signal management, connecting users’ devices via a USB-C to the room peripherals in each divisible space instantaneously, including all video and audio elements, while providing device charging at the same time.
(Photos: Tateside)
Hoang Phu Sound installs Powersoft T Series amplifier platforms at “Sky Bar” in Vietnam
Powersoft’s T Series amplifiers were chosen to drive a sound system at “Sky Bar”, a rooftop venue in Ba Ria Vung Tau, Vietnam. With views of the coastline and a dynamic nightlife, “Sky Bar” now boasts audio setup for live events and high-energy entertainment.
Located on the top floor of the four-star Premier Pearl Hotel, “Sky Bar” offers panoramic views of Vung Tau’s ocean and city. To match its visuals, the venue needed a high-power sound system that would also withstand the harsh coastal conditions, such as wind and sea salt.
Tasked with the installation was Hoang Phu Sound, also a consultant on the project and a partner of Universal Procurement Systems Vietnam Co. Ltd (UPSV), Powersoft’s distributor in Vietnam, which chose Powersoft’s T Series amplifiers and Bose Professional speakers.
Hoang Phu Sound installed Powersoft’s 8000 W, four-channel T904A and two 6000 W, four-channel T604A amplifier platforms. The T Series were installed in the central equipment rack, near the bar area, for easy access for maintenance and monitoring.
Accompanying the Powersoft amplifiers were Bose AMU208 full-range speakers and Bose MB210WR subwoofers (Bridge Mode in Powersoft T604A). The system tuning and adjustments were done via Powersoft’s ArmoníaPlus System Design software.
(Photos: Powersoft/Hoang Phu Sound/Sky Bar)
Exacting Diseno unite Martin Audio family at Coco Dubai
Lou Agha’s system integration company, Exacting Diseno Technical Services, are fast gaining a reputation for installing Martin Audio sound systems in some of Dubai’s smartest upmarket bars and lounges. Working closely with territorial distributors Pro Lab, they recently equipped “Coco Grill & Lounge” for owner Naz Choudhury, whose concept is to integrate a Shisha Lounge with Dubai’s first Redemption Bar.
It follows the operator’s initial launch of the “Coco” brand in London, overlooking Tower Bridge, and offers the same views from its downtown location, this time of the Burj Khalifa. All operations are alcohol-free, with upscale mocktail bars. Lou Agha had been introduced to the project via a consultant. “When the client asked what sound systems I used, he was pleased it was Martin Audio, as this was the brand he was using in London.”
Agha first arranged a demo at Pro Lab of various CDDs (up to 8 in) and FlexPoint. “We started with the small FP.” He then quoted in various configurations, recommending CDD6 for the venue’s low-ceilinged interior and fourteen Blackline X8 for outdoors which combines Shisha Lounge with DJ and small combo live acoustic music, with vocalists, in a non-stop entertainment package. The unit is divided into nine separate zones, all networked on a Dante backbone. The fourteen Blackline X8 are complemented by six Martin Audio SX112, while six pre-existing Adorn A55 have been refurbished and added - four on one side, two on the other.
At the entrance, another pair of Adorn A55 and single SX110 sub beckon customers in, and as they enter the Dome, they are greeted by six FlexPoint FP8 speakers, with four SX112 subs. “Inside, the client wanted high quality music to be extended to the toilets”, says Agha. “So we have Adorn ACS 40TS ultra-compact ceiling speakers running at 16 ohms.”
The lounge features two non-smoking areas: one contains four CDD6 and two SX110, while the other has six CDD6 and two SX110. In Smoking Area 1 are a further four CDD6 and two SX110; Smoking Area 2 has two further CDD6 and a single SX110; and Smoking Area 3, which can also be rented for private occupancy, is equipped with four CDD6 and two SX110.
Agha says that in order not to intrude on the general aesthetic of the lounge, the subwoofers are placed discreetly. “I used the SX110 rather than the SX210 because of space constraints”, he says. “For that reason I couldn’t put the SX210 on its side, so I separated them into pairs of the SX110.” By day the venue’s background music operates off a Spotify playlist, common to both London and Dubai - programmed by one of their DJs, with a theme heavily weighted towards the popular Afro Beats. Routing and DSP are under the management of a Xilica FR1.
(Photos: Martin Audio/Coco Dubai)
Masque Sound collaborates with Dayglo Presents for systems integration at “Garcia’s Chicago”
Masque Sound, a theatrical sound reinforcement, installation and design company, has announced its systems integration for “Garcia’s Chicago”, a new restaurant and live music venue inspired by the enduring legacy of Jerry Garcia.
The venue was developed by live music and media company Dayglo Presents which brought in Masque Sound to bring its technical vision to life. Jesse Lauter, Head of Production & Media at Dayglo, spearheaded the collaboration and has worked with Masque Sound on projects for more than a decade.
“I have this great relationship with Matt Peskie and the entire team at Masque Sound”, says Lauter. “When Anthony Nittoli joined Masque Sound as Installation Division Manager, it was a match made in heaven. Anthony has always been my go-to for design and concept, so having so much talent under one roof was fantastic.”
The project presented some challenges, including a pre-determined booth placement and design limitations set years earlier. “We were locked in on positions and placements that weren’t ideal”, says Lauter. “But, through close collaboration between Meyer Sound and Anthony at Masque Sound, we overcame those obstacles.”
Masque Sound’s work included a full systems integration featuring a Meyer Sound loudspeaker system comprised of seven Ultra X-40s, seven Ultra X-20s, two 900-LFC subwoofers, one 750-LFC subwoofer and six MJF-208 stage monitors. “The choice of Meyer Sound was both technical and symbolic”, says Lauter. “Meyer’s history with the Grateful Dead made them a natural fit.”
This system was anchored by a Yamaha DM7C-EX digital console with Rio 3224-D2 and Rio 1608-D2 stage boxes. A range of Shure, Audix and Sennheiser microphones paired with K&M stands supported the venue’s input needs. For video capture, the venue was equipped with five PTZ Optics 4K HD cameras operated via a PTZ Optics controller, allowing seamless content creation and livestream capabilities.
“Masque Sound also supported the venue through its opening nights and was great in commissioning the system and staying onsite to ensure seamless operation”, adds Lauter. He also praised the efforts of Peter Shapiro, Owner of Dayglo Presents, and Kim Kozak, Production Manager, who both played crucial roles in the realization of “Garcia’s Chicago”.
(Photos: Masque Sound)
WSDG realisiert Akustiklösungen für Klassikstudio von Headstart Records in Wien
WSDG, ein weltweit tätiges Ingenieurunternehmen für Akustik und Medientechnik, hat für Headstart Records, ein Studio für die Produktion klassischer Musik mit Sitz im Herzen Wiens, ein Projekt zur Verbesserung der Akustik abgeschlossen.
Durch die Zusammenarbeit mit renommierten Ensembles wie dem Arditti Quartett, dem Chamber Orchestra of Europe und den Wiener Philharmonikern sowie mit Labels wie Deutsche Grammophon und Decca Classics hat sich das Studio zu einem Zentrum für die Bearbeitung und Produktion klassischer Musik entwickelt. Die Gründer Benedikt David und Ina Nikolow absolvierten das Tonmeister-Programm an der Universität für Musik und darstellende Kunst in Wien und erhielten eine zusätzliche praktische Ausbildung am Banff Centre for Arts and Creativity in Kanada. Als Produzenten und Tontechniker sind sie bei der Aufnahme klassischer Musik mobil und anpassungsfähig.
„In unserem Bereich gibt es so viele verschiedene Besetzungen in Bezug auf Genres und Instrumentierung, und die Musik wird erst in einer geeigneten Akustik richtig lebendig“, sagt David. „Deshalb bringen wir unser Aufnahmeequipment an Orte, die perfekt zu dem Ensemble und seiner musikalischen Vision passen. Mit diesem Ansatz können wir problemlos an jedem beliebigen Ort aufnehmen, sei es ein Konzertsaal, eine Kirche oder ein Theater.“ Jeder Aufnahmetag erfordert eine mehrtägige Nachbearbeitung, die Editieren, Abmischen und Mastern beinhaltet. „Die Nachbearbeitung ist ein großer Teil unserer Arbeit“, so David. „Für das Mischen und Mastern brauchen wir einen Regieraum, auf den wir uns klanglich verlassen können, denn was wir als Referenz hören, ist das, was das Label am Ende des Prozesses veröffentlicht.“
Auf der Suche nach einer geeigneten akustischen Lösung wandte sich Headstart Records an WSDG, ein Unternehmen, das dem Studio bereits von der Arbeit in anderen Wiener Studios bekannt war. „Als ich im Sunshine Mastering arbeitete, das von WSDG entworfen wurde, war ich von der akustischen Klarheit beeindruckt - ich konnte alles sehr detailliert hören, was meine Arbeit sehr erleichterte“, sagt David, der ebenso wie Nikolow auch an der Universität für Musik und darstellende Kunst Wien unterrichtet - dort war WSDG ebenfalls maßgeblich an der akustischen Gestaltung mehrerer Studios und Regieräume beteiligt. „Deshalb lag es nahe, mit ihnen zusammenzuarbeiten“, sagt Nikolow.
Das Projekt war mit besonderen Herausforderungen verbunden. Die Integration des Studios in ein historisches Wohngebäude erforderte maßgeschneiderte akustische Lösungen, die den Charakter und die Substanz des Bestands bewahrten. „Wir brauchten einen Raum, der sowohl aus akustischer als auch aus ästhetischer Sicht perfekt funktioniert“, so Nikolow.
Das Team von WSDG bestand aus Projektkoordinator Dirk Noy (Partner, General Manager Europe), Gabriel Hauser (Partner, Director of Acoustics) und Collin Killenberger (Projektingenieur) sowie Mario Reithofer (Business Development). „Vom ersten Treffen mit WSDG an hatten wir das Gefühl, dass Dirk und Gabriel wirklich verstanden haben, was wir tun und was wir für unsere Arbeit brauchen“, sagt David. "Wir wussten, dass das Unternehmen Erfahrung im klassischen Bereich hat, und das war für uns sehr wichtig.“ Nikolow ergänzt: „Wir wollten einen ruhigen, einladenden Raum mit klarer Gestaltung - einen Ort, der kreatives Arbeiten über Stunden hinweg ermöglicht, an dem die Technik im Hintergrund bleibt und die Kunst im Vordergrund steht.“
Das Studio ist mit warmen Materialien ausgestattet, etwa mit Holz-Wandverkleidungen. Ein abgehängtes Deckenelement sorgt für die Kontrolle der Erstreflexionen, während Stauraumlösungen unsichtbar hinter Wänden und Diffusoren rund um den Mischplatz verborgen sind. „Wir mussten eine Menge Geräte und Dokumente unterbringen“, sagt David. „Das war vielleicht die größte Herausforderung: die akustischen Elemente wirksam und schön zu gestalten und gleichzeitig viel Stauraum in das Design zu integrieren. Wir schickten einige Skizzen hin und her, mit verschiedenen Variationen über das Gleichgewicht von akustischer Effizienz und Lagerraum; letztendlich entschieden wir, dass die Akustik die Priorität sein sollte.“
Die akustische Einrichtung fokussiert auf kritische Hörparameter für die Produktion klassischer Musik und bietet eine präzise räumliche Bewertung des Stereopanoramas und eine genaue Tiefenplatzierung der Schallquellen - beides Schlüsselanforderungen für die Arbeit von David und Nikolow. „Das Upgrade war viel größer, als wir erwartet hatten“, sagt David. „Die räumliche Klangwiedergabe ist jetzt wesentlich detaillierter. Mit dieser Detailgenauigkeit ist es, als würde man akustisch durch ein Vergrößerungsglas schauen. Jetzt kann ich Elemente hören, die ich vorher nicht wahrnehmen konnte.“
Als Referenzmonitor kommt der A25-M von PSI Audio zum Einsatz. Er ist in der Lage, Klangquellen jeder Größenordnung, von Soloinstrumenten bis hin zu großen Symphonieorchestern, zu reproduzieren.
Personenfoto: Dirk Noy, Benedikt David, Ina Nikolow und Mario Reithofer. (Fotocredits: Katja Fickenwirth/Dirk Noy/WSDG)
“We Will Rock You” Denmark uses DiGiCo
The “We Will Rock You” musical is a worldwide success and, since opening in London in 2002, numerous versions have been staged in every corner of the globe. For the most recent version in Denmark, sound designer and Head of Sound, Magnus Hansen (pictured), has made full use of the DiGiCo SD7 T console personalisation.
The new Danish translation of “We Will Rock You” opened in the Tivoli Concert Hall in Copenhagen ahead of a nationwide tour, and is produced by Lion Entertainment. The DiGiCo SD7 T at front-of-house is accompanied by a Quantum 338 and Klang at the monitor position, and SD7 T in the redundant mix room, all supplied by DiGiCo dealer Lydfabrikken.
The show is renowned for its fast-paced scenes, with over twenty Queen hits featured throughout. There are twenty people in the cast and five in the band, twenty IEM channels, sixty mic channels, wireless MIDI, wireless cameras, plus sound effects, mixing and timing of cues for the engineers to concentrate on. The band are located in two huge boxes that move around the stage, with musicians performing wirelessly.
There are three show staff - Lukas Ockelmann, Oliver Svensson and Tobias Vohnsen - accompanied for the rehearsal period by Frank Grønbæk in the redundant mix room, Alistair Kerslake on monitors, and supported by sound designer Magnus Hansen. By adding extended automation to the basic audio-structure at front-of-house, the sound team have been able to refine the mix, ensuring that FOH engineer Lukas Ockelmann is free to connect with the cast and band on stage.
“We had just eleven days on location with full technical and creative support to assemble the whole show, including previews”, says Magnus Hansen. “We wanted to find a way to really use that time effectively, not just to prepare everything technically, but to maximise our creative time with the rest of the design team. We were looking at the Snapshot and Macro functionality of the consoles and realised that if we had a whole redundant system in another room, we could record sections of the show and work on the mix separately, but simultaneously.”
“While Lukas was mixing and cueing rehearsals live, Frank was mixing the songs in a separate room”, he continues. “I was able to keep a full overview and make final adjustments to streamline the design. Once rehearsals were over for each day, we merged the show files and then built on this hard work each day.” Having worked with Lion Productions for almost a decade, Hansen has developed a strong relationship with the rest of the team.
“It is very important to understand that we are aiming for a high level of detail in the mix”, he furthers. “With this method, the whole backbone of the mix is programmed in. We can utilise the Snapshots to pre-programme tiny changes in reverbs, effects or dynamics, which means Lukas can really focus on riding the faders like an instrument, shaping the natural dynamics in real time. On average, we have about twenty Snapshots per song, but it is not 100 percent, fingers still work a lot on the faders. But now, movements are comfortable, in both the loudest and quietest parts.”
The Snapshots are triggered automatically via timecode, so Ockelmann can trust that the changes are happening exactly when they are needed, while still maintaining control of the overall mix. In order to alert engineers to a long sequence of automation, the team have also programmed colour-coded changes to avoid accidental button pushes. When a sequence is in progress, the Snapshot background will show in red, and then return to normal colouring once the sequence has completed.
The team are also taking advantage of the text formatting, changing the typeface to bold or italic, depending on the type of cue. “For example, we can use blue-italic for MIDI cues, thin type lower-case for dialogue, and bold caps lock text for songs”, says Ockelmann.
(Photos: DiGiCo)
Tateside installs 1 Sound audio system at London’s “12th Knot” rooftop bar
When the time came to upgrade its audio system, “12th Knot”, a rooftop cocktail bar at the riverside Sea Containers Hotel on London’s South Bank, turned to its technology partner Tateside, who already provides managed AV services across various areas in the hotel.
“We’ve worked on projects throughout the Sea Containers hotel for a long time, including the cinema, background audio systems and the event space”, says Jack Cornish, technical director at Tateside. “When it came time to upgrade the ‘12th Knot’ bar, they trusted us to deliver something special.”
The existing audio system at “12th Knot” was no longer meeting the evolving needs of the space. Over time, its coverage had become inconsistent, with components frequently being moved to accommodate different events, ultimately detracting from the overall aesthetics of the venue. The client approached Tateside with a clear goal: to modernise the system, improve coverage across the entire bar and make the setup more discreet and better integrated with the surroundings.
Tateside designed a new sound system from the ground up based around 1 Sound loudspeakers. In the interior bar area, the team installed twelve 1 Sound C8i coaxial 8-inch and two C4i 4-inch loudspeakers. For the low-end, six 10-inch Sub310s, also from 1 Sound, are flown out of immediate sight lines. Tateside commissioned bespoke metalwork to secure this new loudspeaker system. Two additional 1 Sound C8i loudspeakers for monitoring are installed in the DJ booth, which plays host to DJ sessions every weekend.
The previous installation had placed all amplification and processing equipment in a storeroom, which led to overheating issues. To solve this, Tateside undertook a complete cabling rerouting, running all cabling to a nearby communications room, alongside a full backend overhaul. This included the installation of a Q-Sys Core processor for signal processing and audio networking on a Dante network, alongside Powersoft Unica amplifiers, which provide scalable amplification to drive the new audio system.
A Netgear managed switch takes care of advanced signal management. Day-to-day system control is via a wall-mounted QSC touchscreen controller and simplified Pragma Someo PoE wall controllers, giving “12th Knot” staff accessible control of source selection and music volume.
The installation faced several logistical challenges, particularly around working hours and preserving the bar’s daily operations. Every day, ceiling panels had to be removed in the morning to access cabling routes and loudspeaker locations, with everything needing to be put back into place by late afternoon so that the venue could open as usual in the evening. This extended the project timeline significantly. Furthermore, throughout the project, parts of the old AV system needed to remain operational in order to keep the venue functional.
(Photos: Tateside)
Stockholm-based consultancy collective Eidra uses Genelec Smart IP loudspeakers at new headquarters
Born in the Nordics and headquartered in Stockholm, Eidra is a consultancy collective that brings together a group of seventeen companies and over 1200 consultants, creatives and engineers. Following significant growth, the company required a new HQ that would better reflect its identity and create an inspiring environment for both employees and visitors.
Specialist corporate technology solutions specialists Ximple AB were contracted to design and deliver the AV solutions throughout the building, including a Genelec Smart IP loudspeaker solution for the common and social areas. “The goal was to develop technical solutions that enhance a modern and dynamic office with a focus on user-friendliness”, says Ximple co-founder Andreas Savela. “We were also mindful of delivering solutions that reflect the client’s brand and culture of forward-thinking and sustainability. It was for these reasons that we selected Genelec Smart IP loudspeakers for all the open-plan areas, lounges and main entrance.”
The audio needed to be zoned to suit different applications in different areas. For example, the entrance area isn’t playing the same kind of music as the bar, which is different again from the espresso bar or the training room lounge or the board room lounge. “Genelec was a natural choice for us, and in particular the PoE-powered Smart IP series”, says Savela. “The ability to deliver power, audio and control through a single network cable massively simplifies installation. Smart IP is also a perfect fit for Eidra’s sustainability goals with its environmentally friendly build process, long life span and significantly reduced power consumption.”
Ximple installed a total of 51 Genelec 4430 Smart IP loudspeakers across fifteen zones. Most of the speakers were finished in RAL 7047. The Ximple team used Genelec’s Smart IP Manager software to configure the system over the Dante network. The Smart IP Manager allows the configuration of an almost unlimited number of rooms, zones, loudspeakers and audio channels, and includes device discovery, room EQ, system organisation and status monitoring. Once each space has been defined and each loudspeaker optimised to that space, a public API command set allows Smart IP loudspeakers to be integrated with third-party control systems, which is what Ximple did for Eidra.
Ximple selected a Q-Sys control system with a user interface that can be controlled from an iPad or similar, and allows Eidra staff to manage level control and source selection across any zone. “A nice detail is that at the end of the working day, all the presets revert to their default settings”, notes Savela. “This means that when staff return in the morning, the music is playing at the correct volume regardless of how it was left the night before.”
(Photos: Peder Carlsson/Genelec)
Shimokitazawa ReG celebrates 15th anniversary with a new Quantum 338
Shimokitazawa ReG is a 230-capacity (standing) music venue located in Shimokitazawa, Tokyo. The PA has been designed to be felt as well as heard, and to deliver that feeling, a DiGiCo Quantum 338 mixing console - supplied by Hibino, DiGiCo distributor for Japan - has been selected.
The venue opened in 2010 with a DiGiCo SD8, and when the time came to update, in celebration of the club’s 15th anniversary, the larger DiGiCo Quantum 338 was chosen. “I had been working with SD8 for a long time and was completely used to the three banks of 12 faders layout”, says Miyuki Tanifuji, who has worked as front-of-house engineer for Shimokitazawa ReG for the last thirteen years. “I felt that I couldn’t go back from that number, so I knew that a DiGiCo Quantum console would be ideal. I thought it was a bit over-specified for the size and scale of the ReG, but I decided on the Quantum 338 because I thought it would be best suited to any situation.”
Tanifuji adds that she also appreciates the clarity of the setup, due to the SR rack’s high resolution input/output module cards. “We get a large variety of acts performing in the venue, so the flexibility and clarity is really important”, she notes. Within the anniversary upgrades, ReG has also installed the SD-Rack, with 32-bit input/output card modules.
Group shot: Miyuki Tanifuji with Moyu Yamagishi and Deputy Manager Toshinori Kira. (Photos: Hibino Corporation)
Robe T1s, Esprites and Fortes installed at The Corum in Montpellier
Montpellier Events is the management company for The Corum Congress Centre - Berlioz Opera, an event complex located in Montpellier, in the south of France. The venue hosts over 300 professional events each year including congresses, exhibitions, corporate events and conventions, as well as live performances.
Equipped with three auditoriums - Berlioz Opera, Pasteur and Einstein - the venue has recently invested in Robe moving lights. In total, 46 T1 Profiles, 20 T1 Fresnels, 12 Esprites and 10 Fortes were supplied by Texen, a specialist in production technology integration and sales. Texen had established a base in Montpellier in 1998 specifically to support The Corum and its three auditoriums. Since then, they’ve handled all technical and stage production needs for the venue.
The Esprites are permanently installed on the advanced catwalk of the 1995-capacity Berlioz Opera auditorium. They throw light over a distance of approximately thirty meters to the stage and are used for front and key lighting. Eighteen of the T1 Profiles are installed in the Pasteur auditorium (745 seats), while the remaining units are deployed on stage as needed.
Christophe Mora is the lighting manager at The Corum. He has worked there for five years in this position, and before then worked as a freelance lighting technician for twenty years, both in France and internationally. He was hired for his expertise in moving lights and modern lighting systems, with the mission of guiding a smooth transition to LED technology, now mandated by French regulations.
The replacement of older moving lights began in 2020. Mora carried out this mission with Philippe Pujol, a lighting expert who has been working at The Corum for twenty years and has in-depth knowledge of the venue’s production requirements, configurations and technical practices.
Among other things, the T1s were selected for their light weight. All flight cases were customised by Texen, allowing them to be moved easily under catwalks and rigged quickly. The Robe fixtures were delivered in batches by Robe France to Texen. Mora and Pujol report that the arrival of the fixtures has greatly improved how shows and events are lit, as well as the turnaround times between different configurations. Lights no longer need to be dismantled and moved - only the scenery and staging elements are adjusted.
It is now possible to host a plenary congress session in the Berlioz Opera auditorium during the day and follow with a concert in the evening, with lighting that seamlessly adapts to both contexts (previously, the Pasteur auditorium required a full day to change over different setups). Today, ninety percent of the lighting in The Corum’s auditoriums has transitioned to LED. A few traditional fixtures remain in the Berlioz Opera control room, but they’re scheduled for replacement soon.
Nicolas Bellini, Sales Director at Texen, and his team worked closely with Jean-Marc Farre, Regional Sales Manager for Robe France (Grand Sud area), who helped finalise the deal. Following the installation of the T1 at Berlioz Opera, several other major opera houses in France followed suit, including the Royal Opera of Versailles and the Opéra Bastille in Paris.
(Photos: Louise Stickland/Paul Clarke/Montpellier Events)
McGettigan’s partners with Marriott and Martin Audio in Dubai
The McGettigan’s Irish Pub franchise continues to expand across Dubai, but their latest bar and restaurant - situated in the Four Points by Sheraton Production City - is the first to be located within a Marriott-owned hotel property.
Set within this growing production hub it will serve the community of media-based businesses who are resident there. Also based at Production City are Martin Audio’s distributor for the UAE and GCC region, Pro Lab LLC, who will be able to use the venue as a showcase. For they supported system integrators Exacting Diseno Technical Services - specialists in the leisure hospitality sector - helping to recommend appropriate sound reinforcement solutions across several ranges in the loudspeaker manufacturer’s portfolio.
Set on a 5,000 sq. ft footprint, the lively bar restaurant offers a haven for business meetings for the hotel residents, transforming at the weekends when the action notches up. DJs perform and the general vibe is one of a sports bar with plenty of screens. Thus versatility (and the rising tide of ambient sound at weekends) was very much in their thinking when it came to specifying the sound.
The heavy focus is at the DJ position where a pair of Martin Audio CDD12 are mounted, while distributed evenly throughout the venue are a further nine wall mounted CDD6. These are reinforced by four ground-standing Martin Audio Blackline X115 subwoofers for LF extension.
For the outdoor terrace area, the installation company, under the project leadership of Lou Agha, turned to twelve of Martin Audio’s Adorn A55T, supplied with the optional AIPKit IP44 weatherised cover. This area can either take its source feed from the main room, or operate from an independent input and volume control.
(Photos: Martin Audio)
Schweizer Locations mit ColorSource-LED-Systemen von ETC ausgestattet
Die in Reinach (Schweiz) angesiedelte Multifunktions-Location Saalbau Reinach, das GZ Buchegg in Zürich und das Tanzhaus Basel haben in Scheinwerfer der ColorSource-Familie von ETC investiert.
Im Saalbau Reinach, einer bis zu 700 Personen fassenden Spielstätte, sind drei verschiedene ColorSource-Modelle verbaut: dreißig ColorSource Fresnel V, zwanzig ColorSource Spot V sowie zwanzig ColorSource PAR. Die Bestückung von Oberlichtzug 1 und 2 teilen sich ColorSource Fresnel V und ColorSource PAR (Deep Blue), im Oberlicht-Portal sind ColorSource Fresnel V und ColorSource Spot V installiert; in der Zuschauerbrücke und dem Saal verrichten ebenfalls ColorSource Spot V ihren Dienst.
Damit steigt die Location von konventionellen Halogen-Scheinwerfern zu LED-Technik um. „Wir brauchen jetzt keine Filter mehr und sparen Energiekosten und Zeit, beispielsweise durch die Ansteuerung via iRFR-Remote-Control-App“, sagt Björn Andres, Lichtchef im Saalbau Reinach. Mit dem von ETC-Partner Electric Claudio Merlo Lighting Equipment SA (ECM) installierten Licht-Equipment könne man, so Andres, „rund 95 Prozent aller Produktionen“ abdecken, ohne etwas dazumieten zu müssen. Angesteuert wird das LED-Setup von einer ebenfalls neu angeschafften ETC-Ion-Xe-20-Konsole.
Im Zürcher Gemeinschaftszentrum Buchegg, einer soziokulturellen Einrichtung für Kinder und Erwachsene, wurden sechzehn ColorSource Fresnel V, acht ColorSource Spot V und acht ColorSource PAR installiert. Diese kommen im Veranstaltungsraum der Einrichtung zum Einsatz, um Kinder- und Jugendtheater-Aufführungen sowie professionelle Tanz- und Theater-Produktionen in Szene zu setzen.
Das Tanzhaus Basel wurde mit 42 ColorSource Spot V und sechzehn ColorSource Fresnel V ausgestattet, die von einer Gio-@5-Lichtkonsole angesteuert werden. Das Lichttechnik-Team um Andreas Greiner hatte sich dazu entschieden, in ETC-Technik zu investieren, um bei Proben und Aufführungen den Energieverbrauch zu reduzieren. „Bei der Anschaffung der Geräte war die Zukunftsfähigkeit ein wichtiger Aspekt - und natürlich Nachhaltigkeit“, so Greiner.
(Fotos: GZ Buchegg/Saalbau Reinach/Tanzhaus Basel)
Copenhagen Dansehallerne upgrade with DirectOut
DirectOut has been chosen to deliver creative solutions for Copenhagen Dansehallerne (Dance Halls), the Danish capital’s center for dance and choreography. Anders Jørgensen, Project Manager for consultant and integrator Stouenborg, offered DirectOut solutions to Johannes Hornberger, Head of Sound and Video at the center.
The team decided to purchase two Prodigy.MP and six Prodigy.MC, equipped with AN8.IO converter modules, Dante.IO and Milan.IO network modules, for a flexible and stable audio infrastructure, able to support any conceivable performance design.
The Copenhagen Dansehallerne are completely adjustable spaces, from the audience seating to the performance programming. The transformation of this listed building took seven years of rebuilding, renovating and modernizing, during which time Dansehallerne had to move to temporary premises. The center, housed in the historic Kedelhuset, opened in August 2024. Hornberger has worked in the Dansehallerne since 2012. He is responsible for all sound and video requirements of the halls, as well as all media requirements, and oversaw the move from the old premises to the new halls.
Matching the freedom of the spaces, there are no permanent loudspeaker positions. The entire building is covered by an ethernet network, powered by Dante and AVB/Milan network protocols, and a Meyer Sound Galaxy drives the Meyer Sound Ultra X20 and X40 point source speakers. Initially, the specified system was too rigid to deliver results that could cope with the requirements of the artists, so Hornberger worked with the rest of the design team, turning to DirectOut for a solution.
“We needed a completely flexible system, which is unusual for a performance space, especially for small or black-box spaces”, says Hornberger. “We had already planned that the whole house would be covered with an ethernet network, with connections wherever we needed them. However, the speaker system was analog, so we would need to convert the signal and run analog cables to them.”
In a traditional theater setting, this system would be entirely satisfactory, but with the ever-changing repertoire of the Dansehallerne, engineers would be running hundreds of meters of cables a week. As Anders Jørgensen of Stouenborg states, the venue is designed to be used as separate spaces and as a single performance venue, with the ability to fully immerse the audience as soon as they step through the front doors.
“We have 300 network lines throughout the building. We knew we would be using Dante and AVB/Milan, so we needed a bridge. The solution was DirectOut”, says Jørgensen. The audio network covers the venue entirely, offering the connectivity of a single performance space, allowing engineers to access any point at any time to facilitate whatever the choreography requires.
“Dancers and choreographers love to experiment. Our system is AVB/Milan, so we knew we need to convert from our console and wireless microphones, plus IEMs to our loudspeakers”, notes Hornberger. “DirectOut can handle all of this, not just the network conversions, but also analog to digital. We can use the whole house as a single space and move freely throughout the building in a performance setting.”
Being able to pick up video and audio feeds anywhere in the building is useful not just for play back for performers and audiences, it can also be used to facilitate online and broadcast streams. “Overall, we have eight Prodigy systems, two Prodigy.MP are permanently installed into a central control room, then we have six further Prodigy.MC to ensure flexibility”, continues Hornberger. “Whether the performance is in a studio or the foyer, we are all set. In the old days, we would need to run a lot of cable, through doors and windows to get to some places, now we just have one box.”
By utilizing Globcon, Hornberger can personalize access to the network system. This gives him the freedom to delegate control, without risking programming errors. “The system is amazing, but also complex if you are not familiar with it”, he says. “We have developed setups and workflows, so when I am absent, freelancers can access the audio system and work within programmed parameters. So now, all they have to do is move the loudspeakers and plug them in. I have put our DirectOut Breakout box into a small, labelled flight-case so everyone can understand and plug in simply.”
“We have been able to create a system that works exactly as we hoped”, he adds. “The major challenge was to make this complex system suitable for all our performances; simple for small set-ups but retaining the possibility to facilitate the big complex shows, too. It has achieved exactly that.”
“This is a building that lends itself to festivals or large-scale events”, concludes Jørgensen. “As soon as the audience walks through the doors, they are in the middle of the production, and the show doesn’t stop until they leave.”
(Photos: Morten Lundrup/Danish Dance Theatre/Mikkelsen Arkitekter/Johannes Hornberger)
Adventure Cinema makes further investment in HK Audio
Founded in 2019, Adventure Cinema is the UK’s biggest open air cinema tour, delivering movies to audiences across more than seventy venues. Medieval castles and country estates all play host to a mix of classics, musicals, blockbusters, and family films. Since its inception, Adventure Cinema has invested exclusively in HK Audio systems, and recently contacted UK distributor Polar about expanding its inventory to include HK Audio’s Cosmo line array.
As demand for Adventure Cinema’s service has grown, so the size of its audiences has steadily increased, with more than 200,000 tickets sold at venues across the UK in 2024. In order to meet the requirements of larger events with bigger audiences, the company’s technical team needed a more powerful system to obtain the necessary coverage. At the beginning of the year, Mark Thompson, Director at Adventure Cinema, spoke to Polar’s Head of Professional Audio, Andy Plunkett, who arranged a demonstration of the Cosmo line array.
“Adventure Cinema has had great experience with HK Audio for a number of years now, so they asked us for some options”, says Plunkett. “We looked at the new CX210LT long-throw point source and some Cosmo line array systems. The Cosmo was preferred, so we set up a demo at a rugby ground near their Bishop’s Castle HQ. We were able to easily reach the stated furthest distances for coverage with three Cosmo C10 modules.”
“Our HK Audio Linear 5 system has served us brilliantly since we started but we really needed to up our game for much bigger events”, adds Jon O’Neill, Head of Sound at Adventure Cinema, who was at the demo. “Obviously, we weren’t going to buy a load of boxes without hearing them first, so it was great that Polar were able to arrange a local demo so quickly. When I heard the system on the day there was no doubt that Cosmo was the way forward.”
“Our ability to deliver well inside Adventure Cinema’s season-start deadline gave us plenty of time to run through the Lab Gruppen amplifier setup at their HQ”, notes Plunkett. Adventure Cinema took delivery of twenty-six HK Cosmo C10 line array modules and six HK Audio CS218 subs, complete with wheel boards and rigging. Six Lab Gruppen PLM12K44 amplifiers completed the investment.
(Photos: HK Audio)
Sutter Health Park upgrades with Martin Audio
Situated in West Sacramento, California, Sutter Health Park - home to the River Cats baseball team and “A’s” (Athletics) - has undergone a major infrastructure upgrade for the coming season, designed to enhance the fan experience and improve game-day technology.
This includes a strategically enhanced sound system for the bowl - based around Martin Audio CDD and SX subwoofer components, as well as process-controlled amplification from Focusrite sister brand Linea Research, in the 14,000-cap arena. The River Cats had acknowledged that their 25-year-old system badly needed enhancing.
Locally based Martin Audio partner Sacramento Production Services (SACPS), who have a long history in servicing the facility, were brought in, initially to project manage for a third party before later being handed the full role of system integrator, as the time frame for completion narrowed.
Sales & Production Manager Keith Wackford and his long-term associate and project manager, Anthony Brown, undertook a site survey and immediately recognised the imperfections - aside from the tired PA components. Budget and time frame restrictions would not allow for replacement of the main bowl speakers. “But with the addition of the new Linea Research amplification (LR-44C10M-Dante), it’s as if they purchased new speakers”, says Wackford.
“Elsewhere, it was a case of what would give us the best bang for the buck”, he continues. “We knew the system had always been lacking in subwoofers and if we were going to put in subs, we also needed to ensure the (infill and outfill) boxes would keep up.” As a long-term Martin Audio partner they contacted Will Harris and Jim Sage at Martin Audio USA, who recommended the SX115.
“The 25-year-old outfield speakers on light poles were in really bad shape”, acknowledges Wackford, “and although difficult to get access to, we knew we had to change them and replace them with (weatherised) CDD15W-WR. For how high up they are, everyone is absolutely impressed.” In fact, one of the speakers is close to 80 ft. Of the CDD deployment Wackford says: “The CDD15 gave us a little more low end and full range in the outfield, as the bowl PA doesn’t really reach out to there.”
Distributed around the bowl, the subs themselves are mounted on I-Beams to the underside of the VIP suites, while thirty CDD10W-WR bowl fill speakers were added in conjunction with the subs. After consideration, they opted for one per each seating section, running right round the facility. “One of the reasons we went for the CDD10 over the CDD8 is because it has a yoke, and we wanted something that would allow us to pan and tilt in an easy manner”, says Wackford.
In addition to the amplifiers and speakers, SACPS upgraded the mixing console, as well as the main system processor and touch screen interfaces to Symetrix. “Symetrix allowed us to use the Linea Research Intelligent modules bringing the amplifier telemetry data right onto the users’ touch screen remote - giving the user information as to what the nine LR-44CC status and signals are doing”, explains Wackford. “The system is all running Dante with an analogue fail over from the console to the Symetrix, and to all nine LR-44C amps around the facility.”
Better known as “Raley Field”, the site itself is directly adjacent to downtown Sacramento, with a whole neighbourhood growing up around it. “We had a crazy speed limit of, I think 85 dB, A-weighted 15 ft from a source”, says Wackford. “So trying to do line array from the outfield or subs up high wouldn’t work. We had to keep things contained within the ballpark as there are a lot of new apartments with high rise buildings springing up. Everything distributed as close to the listening area as possible is critical.” System feeds include DJs on the concourse, taking advantage of the new audio inputs, and there are plans for future live entertainment. Main PA and pre-recorded live safety messages also run through the system.
Anthony Brown acted as project manager; onsite programming and networking were provided by Brian Webber, while due to the tight time frame Alive Media were brought in to provide on-site installation, wiring and labour. Finally, Symetrix programmer Nick Danielson did “an amazing job” according to Wackford.
(Photos: Focusrite Group)
Star Professional Audio and Alphatec install Coda Audio N-Ray at Kolkata cultural hub
Sangit Kala Mandir is one of Kolkata’s premier cultural institutions, committed to promoting the arts and music by hosting an entertaining and varied year-round programme of events. Founded by the Indian industrialist Basan Kumar Birla, the not-for-profit institution has grown steadily over decades to promote creative freedom and provide a platform for aspiring young minds to showcase their talents and cultural expression.
Technical provision for the venue’s 1000 capacity Birla Auditorium was recently upgraded to meet the expanding requirements of its multi-faceted programme. Amongst the improvements was a new audio system which replaced its existing outdated and underpowered PA. A team combining the expertise of Sun Media Ventures, headed by AV system design consultant Umesh Bhagwan, and Star Professional Audio and Alphatec, guided by industry veteran Roger Drego, installed a new Coda Audio system into the Auditorium. They chose a system based around Coda’s N-Ray line array.
The team installed (per side) eight N-Ray, supplemented by (per side) two SCN-F low frequency extensions and one SCP subwoofer. Three Hops5 (5’’ high output point source) were deployed as front fills, with a further four Hops5 as delays under the balcony and two Hops5 as balcony delays. Four Coda Audio Cue Four stage monitors completed the picture.
“Roger Drego’s guidance was instrumental in navigating the complexities of the project”, notes Devasis Barkataki, Founder and Managing Director of Alphatec. Paul Ward of Coda Audio adds: “It’s great to see N-Ray chosen to elevate the audio quality in this historic venue. We’re seeing Alphatec doing great work across India both in the live sound and install sectors, firmly establishing Coda’s credentials in this market.”
(Photos: Coda Audio)
Infiled displays take centre stage in “Muriel’s Wedding - The Musical”
Bold colours, deep blacks and moving set pieces are brought to life in “Muriel’s Wedding - The Musical” - the stage adaptation of PJ Hogan’s 1994 film - whose just-wrapped UK premiere at the Curve theatre in Leicester featured a video-led design powered by over 400 LED panels from Infiled’s DBmk2 Series.
Designed by Andrzej Goulding, the production blends theatrical storytelling with a playful, modern aesthetic, featuring oversized mobile phone frames, animated graphics and vivid, Australian-inspired visuals. Due to Infiled’s proprietary CBSF (Color & Brightness Shift Free) technology, the DBmk2 panels, with 10,000:1 contrast ratio and matte black surface, maintained colour fidelity even when running at just 500 nits.
“The blacks were deep, the whites were clean, and it just looked great on stage”, says Dan Trenchard, video engineer for “Muriel’s Wedding”. The reduced surface reflection also helped preserve the illusion of depth and shadow across a variety of scenic elements. “The challenge is that the darker you make the wall, the worse the color reproduction can become”, continues Trenchard. “For this show, we’re running most of the product at about 500 nits. At this lower brightness, we still need the color reproduction to be just as accurate as when the screen is at full brightness.”
The musical’s dynamic set features two automated LED sliders (representing smartphone screens) that move across the stage in time with the action. The modular 500 x 500 mm Infiled panels allowed the video team to create irregular wall shapes tailored to the framing requirements of the show.
In total, 412 DBmk2 panels were deployed: a 11 x 7 m backwall made up of 308 panels, 56 panels on a downstage automated slider, and 48 panels on an upstage automated slider. All screens were powered by a Disguise EX3+ media server and driven by Brompton SX40 processors with XD distribution.
Working with long-time partners like Stage Sound Services and Brompton, whose 10-bit processing technology complemented the Infiled displays for broadcast-quality visuals, created a streamlined production environment, notes Trenchard. “Muriel’s Wedding - The Musical” opened on April 10 and ran through May 10, 2025.
(Photos: Marc Brenner/Andrzej Goulding)
Powersoft’s Unica makes Paraguay debut with Ueno Bank installs
Ueno Bank is the first institution in Paraguay that has adopted Powersoft’s Unica fixed-installation amplifier platform, following a major audio system upgrade at its headquarters in national capital Asunción.
One of the largest financial providers in Paraguay, Ueno has a national network of more than seventy banks, each of which have also been equipped with Powersoft technology in the form of its half-size Mezzo install amplifiers. Both projects were designed and implemented by Asunción-based DCI (Diseño, Control e Integracion) in collaboration with Powersoft’s Paraguayan distributor Aulux.
At Ueno Bank’s headquarters, DCI installed four Unica 8M 4K8, two Mezzo 322 and one Mezzo 324 amplifiers. This centralised system, paired with Martin Audio loudspeakers, draws on Powersoft Dynamic Music Distribution (DMD) to provide seamless multi-zone audio management via four WM Touch and five WMP Level controllers. At the individual financial centres, DCI integrated one Mezzo 322 amplifier and one WMP Level controller each to ensure consistent background music across all locations.
“Ueno Bank needed a system that was seamlessly integrated and capable of managing multiple zones with minimal effort”, says acoustic engineer Andrei Popow, CEO of Aulux and DCI. Employing Powersoft’s DMD technology, DCI created a multi-zone audio network which allows Ueno Bank to manage sound distribution efficiently across different floors and remote locations. Each floor of the HQ features a dedicated WM Touch controller, while web app functionality allows for remote control of the amplifiers via mobile devices.
Popow also highlights the energy efficiency of the Unica and Mezzo systems as being a crucial factor for Ueno Bank, which prioritises sustainability and holds a LEED (Leadership in Energy and Environmental Design) certification.
(Photos: Powersoft)
Nottingham Trent alumni select L-Acoustics Kara II system for NTU London’s education-performance venue
Nottingham Trent University (NTU) has unveiled its new campus in Whitechapel, London, with the launch of NTU London. The venue, located in the heart of London’s creative scene, features an up to 600-capacity performance space equipped with an L-Acoustics Kara II line array audio system - delivering the same technology used at the world’s largest music festivals while providing hands-on learning for aspiring live sound engineers.
The system was designed and installed by L-Acoustics Certified Provider Solotech, following a specific request from NTU staff members who are themselves Nottingham campus alumni. Building upon the success of NTU’s Nottingham Metronome venue, where Solotech installed an L-Acoustics Kiva II system in 2018, the London campus required a sound solution that could scale up to meet the needs of its larger performance space, while maintaining the critical educational element of working with industry-standard audio equipment. The venue is designed to serve both as a commercial performance venue for touring acts and as a space where students gain practical experience using the same equipment they will encounter throughout their careers.
“We wanted to create an environment where students could transition seamlessly from classroom theory to real-world application”, says Bryan Rankin, Head of Technical Events at NTU. “The Kara II system mirrors the professional setups our graduates will use in the field. Having this technology available in-house gives our students a distinct advantage as they enter the industry.”
Students will gain experience with the entire L-Acoustics ecosystem, including hands-on opportunities to practice rigging the systems, work with the LA Network Manager drive system, and utilise the M1 measurement module for system optimisation. The program also includes training with L-Acoustics Soundvision simulation software, allowing students to model audio coverage and make informed adjustments before physical setup.
The installation process presented several challenges, particularly related to the venue’s height restrictions and the need for acoustic isolation in a densely populated area. The design of the venue included a fully floated room-in-room construction to minimise sound transmission to neighbouring spaces. “With residential buildings and music studios nearby, we needed to go beyond standard isolation techniques”, says Rankin. “The floating design and specialised mounting solutions allowed us to maintain high-performance levels while ensuring minimal disruption to our neighbours - an absolute necessity in this bustling area of London.”
Acoustic architects White Mark suggested the use of specialised solutions such as acoustic springs (from Christie and Grey) for the main speaker arrays and isolated plates for the subwoofers to mitigate the risk of transmitting vibrations through the concrete floor. The system design was optimised using L-Acoustics Soundvision software, enabling Application Project Manager Ross Brett and the team to precisely model and adjust the coverage before installation. This digital simulation approach was instrumental in overcoming the venue’s architectural constraints and ensuring even sound coverage throughout the space.
The L-Acoustics audio system includes two hangs of six Kara II with six flown SB18 subwoofers, three per side behind the main hangs. Two ground-stacked KS28 subwoofers are placed on isolated plates to prevent vibrations on the concrete floor. Eight X12 coaxial enclosures are on hand for monitors, and the whole system is powered by eleven LA2Xi and two LA12X amplified controllers with a P1 processor. “Height restrictions meant we had to get creative with our design”, notes Rankin. “We prioritised even coverage over sheer volume, which was a perfect fit for our educational goals.”
(Photos: L-Acoustics/NTU London)
Technosound selects Martin Audio for Mons Faraya
Mons Faraya is a Lebanese ski resort that combines a restaurant vibe with a music bar scene, set on approximately 1400 m². With indoor, outdoor and pool area, it’s a location where haute cuisine meets high-energy beats, drawing in locals and tourists alike. The venue hosts local and international DJs as well as local bands such as Kimotion, Moblack and Aryme.
Mons Faraya, which has been masterminded by Youssef Hadid, Nazir Bassit and Chris Bosnoyan, recently took ownership of a Martin Audio PA after Charbel Fahed of Martin Audio partner Technosound met with Bassit and Hadid. “It wasn’t their first time working with Technosound, since my father, Pierre Fahed, had previously worked on several projects with Mr. Hadid”, notes Charbel Fahed.
Technosound’s Pierre Fahed and Tony el Bitar designed the system. CDD15, CDD12 and Blackline X218 subs are strategically placed In the outdoor and pool areas. The remainder of the CDD12 speakers and Blackline X118 subs are stationed in the indoor areas of Mons Faraya. Elsewhere, Martin Audio Adorn speakers are strategically placed in the restroom area. While there is a traditional stage, the system transitions from ambient background music during the day to high-octane beats at night.
(Photos: Martin Audio)
Powersoft shakes up VR space travel
Powersoft’s compact transducer, Mover, and its Quattrocanali and Duecanali amplifiers play an important role in “The Moon Cruise”, an innovative VR installation in Tokyo that opened its doors to the public on November 22, 2024. “The Moon Cruise” offers visitors an immersive VR journey to the moon, a view of Earth from space, and the opportunity to walk on the lunar surface and take photos that they can download as souvenirs.
“The Moon Cruise” is a free-roaming VR experience permanently installed in a new space experience facility themed around “space travel” called Space Travelium TeNQ. “The space entertainment facility has permanent and special exhibits, as well as workshops to provide visitors with a single world-view learning experience”, says Tsuyoshi Nomura, executive officer at Styly Inc., in charge of designing the experience.
Integrated by Audio Visual Communications Ltd., the installation simulates a rocket launch and a lunar exploration. “It transforms limited physical space into boundless virtual environments”, says Ken Yamada, deputy general manager at Audio Visual Communications. “The rocket launch scene, powered by Powersoft Mover transducers and the Quattrocanali and Duecanali amplifiers, combines sound vibration and VR visuals for an unforgettable sensory experience.”
“Our goal was to provide a realistic experience and surprise visitors”, says Yamada. However, creating a convincing rocket launch experience in a confined and low-maintenance environment originally posed some challenges. According to Nomura, traditional large-scale motion platforms were impractical due to their size, maintenance requirements and safety concerns. “It was necessary to take a different approach, and we achieved both goals by designing new, easy-to-maintain fixtures and combining them with Mover.”
Powersoft’s Mover is a patented low-frequency direct-drive/tactile transducer adaptable for various purposes. It lets audiences feel the sound through haptic perception by vibrating the surrounding environment, which the human body picks up, and through bone conduction, that stimulates the inner ear, translating the vibrations into perceivable frequencies.
To provide a synchronised sensory experience for the rocket launch, five Mover ID transducers are installed into bench seats, delivering powerful vibrations of replicating the low frequency from the BEC IC-120 speakers to create a cohesive audio-tactile effect. MoverIDs are powered by Quattrocanali 1204 DSP and Duecanali 804 DSP amplifiers, provided by Audiobrains, Powersoft’s Japanese distributor.
For the VR content design, Nomura emphasised the importance of the journey visitors take on foot to their destination. “The narrative centres around travelling to the moon, focusing particularly on the path to the lunar surface”, he explains. “By emphasising the impact and experience at the departure point, it makes the visual-only walking on the lunar surface afterward feel more realistic. Since the entire facility provides a learning experience, the content encourages the visitors to reflect and act independently, rather than only focusing on the story.”
The collaboration between Styly and Audio Visual Communications was integral to the project’s success. According to Yamada, initial tests showed that Mover provided stronger vibration from bone-conduction effects than competitor products. Additionally, the ability to apply sub-harmonics with the Quattrocanali and Duecanali amplifiers was appealing, allowing for the reproduction of the ultra-low frequencies, necessary for rocket reproduction, without the need for additional equipment.
“Vibration and sound are not separable”, says Nomura. “During an actual rocket launch, unimaginable vibrations and energy from the loud noise would impact the body. Mover, which vibrates with the sound source and transmits vibrations in sync with the powerful sounds that are linked with the visuals, makes it possible to create an experience that feels as if you are actually launching into space.”
(Photos: Powersoft)
