Installationen News
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Vorstin invests in Robe
21/02/2025
Nicolas Ramirez favors KRK monitors
07/01/2025
L-Acoustics X Series brings concert-hall performance to Atlantis The Royal’s grand lobby
Atlantis The Royal, a luxury resort in Dubai, UAE, has installed an L-Acoustics professional sound system in its grand lobby, an expansive space spanning 80 meters, with soaring 20-meter ceilings and floor-to-ceiling glass walls.
“The brief called for an audio system that could meet the highest professional standards while respecting the lobby’s dramatic architecture”, says Huw Godfrey, Head of System Integration at Creative Technology Middle East (CTME). “We designed a discrete solution that delivers versatility - providing both background music and live performances without compromise - even in a space defined by soaring glass walls and reflective surfaces.”
RAL custom-coloured L-Acoustics X Series and S Series speakers blend seamlessly into the architectural elements while delivering uniform coverage across multiple levels. The system transforms from providing subtle ambiance during daytime hours to powering vibrant evening performances - all while remaining virtually invisible to guests. “L-Acoustics was chosen for its ability to seamlessly connect to the existing Q-Sys infrastructure, provide custom RAL colour options, and deliver a sleek design that could be invisibly integrated into the space”, says Danny Lord, Senior Project Manager at CTME.
The ultra-slim Syva colinear arrays, measuring 170 mm wide, integrate into architectural columns and wall edges, while compact Soka speakers disappear into the structure’s design elements. Fourteen 5XT coaxial enclosures are concealed within the wall moldings at height, providing precise coverage to the upper levels of the space. This array of speakers ensures consistent sound throughout the expansive lobby.
The system is completed by four SB10i and six Syva Low subwoofers, with four LA2Xi and two LA4X amplified controllers providing power and two Auvitran AVBx3 audio networking devices ensuring seamless integration and control.
(Photos: L-Acoustics/Atlantis The Royal)
Long Beach Terrace Theater steps up to DiGiCo Quantum desks
As part of an upgrade during 2024, Long Beach Convention & Entertainment Center’s Terrace Theater, a 3,000-seat venue which opened in 1962, has installed a new pair of DiGiCo audio mixing consoles - a Quantum338 and Quantum225, both supplied by Huntington Beach-based dealer Apex Audio.
Mike Glines, the center’s head audio tech, has a long history with digital audio, participating in the decision to switch from tape to DAW as the recording medium of choice at Capitol Studios in Hollywood while on staff at the facility. He has also used a wide variety of digital mixing consoles, both in the studio and on the road with a host of artists, including a long globetrotting stint with Gary Numan. Glines designed the new DiGiCo system for the Long Beach Terrace Theater.
The custom installation is designed to accommodate any requirement, enabling visiting productions to use both DiGiCo consoles or simply integrate either the Quantum338 or a Quantum225. For instance, a touring band might have a front-of-house console but need a monitor desk, or vice versa. “I got Optocore for that reason, to interface with touring systems”, Glines explains. “We also got two SD-Racks and an SD-MiNi Rack that I use to feed my amps via AES. I love the fact that DiGiCo boards have DMI cards in the back, which you can swap in and out. I also got a Dante card, two input cards and two output cards, so I’ve got everything I need without even having to hook up a rack.”
The two new Quantum consoles are fully mobile, Glines continues. The Terrace Theater has first call on the consoles, he stresses, but they can alternatively be used at other locations within the center’s campus, such as the 13,000-plus-seat Long Beach Arena, Pacific Ballroom, or smaller Beverly O’Neill Theater. “Or you could take them outside for an event - wherever there is a need”, he adds. “I do the ‘Long Beach Symphony Pops!’ series in the Arena, so I’ve used the DiGiCos for that.”
For over four decades, David Wilcox, artistic director of the Long Beach Ballet, has staged a spectacular production of “The Nutcracker” with the Long Beach Ballet Orchestra at the Terrace Theater. The most recent string of performances of the holiday classic, Long Beach Ballet’s 42nd annual production, was Gline’s first since the new DiGiCo Quantum338 has been available at FOH.
Wilcox has always expected at least a stereo mix of the orchestra’s rehearsals, he continues, but in past years the recordings have been less than ideal. “They just didn’t sound great because I was cranking the PA with this delicate orchestra, so I was getting some bleed into the microphones. But this time, I was able to record 48 tracks straight to my laptop through the printer cable. The DiGiCo Quantum Series has UB MADI built in, so I could just take a printer cable out to my old FireWire drive.”
Pictured: Mike Glines and monitor engineer Jason Arteaga. (Photos: DiGiCo)
Lighten Up adds Ayrton fixtures to rig upgrade at NYA Studios
Lighten Up Inc. chose thirty Ayrton Diablos and thirty Zonda 3 FX fixtures to upgrade the rig in NYA Studios’ Main Room from conventional to moving lights.
Lighten Up is a lighting and A/V services company in event production and maintains an extensive lighting equipment rental inventory. The company has a preferred vendor relationship with NYA Studios, which boasts more than 50,000 square feet of indoor space and an abundance of outdoor space with east and west campus facilities. This includes three sound stages and support spaces, an elevated and adaptable event space, a 77-person cinema, boardrooms, coffee bar and lounge.
“The Main Room at the NYA west campus had an existing rig with all conventional fixtures, so it was time for an upgrade”, says Brian Kim, Vice President, Design & Production at Lighten Up. “By installing compact Ayrton profile and wash fixtures, we ensure they’re able to tackle any event that utilizes the space.”
Lighten Up owns a large complement of Ayrton lighting for its rental inventory, including Diablos, Perseos, Khamsins, Rivales and Zonda 3 and 9 FX. “We were one of the first big buyers of Diablos for the event industry and are still buying more”, reports Kim. “They were the ideal choice for NYA west’s rig.”
“We added a layer of Zonda 3 FX”, furthers Kim. “The Diablos can provide texture or highlights while the Zondas are great for backlight and their built-in effects. Both fixtures also have the ability for wide throws, which is essential for the space where the truss trims at 17 feet.” Since the fixtures’ installation at the end of last year, they have been used for an array of celebrity events, galas, award shows and corporate summits.
(Photo: ACT Entertainment/Ayrton/Lighten Up/NYA Studios)
ACT’s ProCo Sound provides audio backbone for The Pageant and Delmar Hall
The Pageant, a 2,000-capacity venue in St. Louis, Missouri, has been the heartbeat of live performances in the city since 2000. Located next door is Delmar Hall, a 750-seat venue that offers a more intimate setting for music lovers. Both host a wide range of performances, from comedians and podcasters to big acts in music.
“Both are vibrant spaces for any kind of performance”, says Sean Pierce, head of production for The Pageant and Delmar Hall. His relationship with ProCo Sound began when he joined the team at Delmar Hall, which is equipped with ProCo XLR cables, splitters and stage boxes. “We’ve had many of our ProCo cables at The Pageant for at least ten years, probably closer to fifteen, and they’re still in pristine condition”, he notes.
Whether it’s ProCo XLR cables, splitters or DI boxes, the minimal maintenance required with the equipment has been a game-changer for Pierce’s team. Though it all started with cables, Pierce’s venues now also utilize ProCo Sound stage boxes and snakes, from ACT Entertainment. At Delmar Hall, for example, the venue uses 12-channel and 24-channel snakes, equipment that’s essential for managing complex live setups.
(Photos: ACT Entertainment)
Ayrton Diablo brings technology up to date at Theater De Maagd
Theater De Maagd, a converted church-turned-theatre in Bergen op Zoom in The Netherlands, has recently undergone technical modernization, part of which included transitioning from halogen to LED lighting.
Ampco Flashlight Sales, Ayrton’s exclusive distributor for The Netherlands, recommended Ayrton Diablo TC LED fixtures for the upgrade. Sixteen Diablo TCs were installed as front lighting and an additional six units for use on stage.
“Switching to Ayrton Diablo saves us time and money because we now need much less physical setup compared to the conventional halogen lighting we used previously”, says Cees Snellink, head of technology at Theater De Maagd. “Much of the preparation can now be done digitally which significantly reduces the number of hours needed on stage to design a light show. In addition, working with LED moving heads at height is both safer and more efficient, and we no longer need to work in difficult-to-reach places.”
Nicky Jonker, Technical Coordinator, and Benjamin-John Paulissen, lighting technician at the theatre, were closely involved in the preliminary process and selection of Diablo TC. After nearly nine months of shootouts and comparisons between different brands, they decided on Ayrton. “Of all the lights we tested, Ayrton’s colours were the most faithful to the existing Lee filters”, says Jonker. “There was virtually no physical difference - which was the main reason we chose Ayrton.”
The team has programmed the new Diablos in a way that allows visiting productions to adjust the settings to their needs. “I no longer have to climb up to adjust the lights manually”, notes Paulissen. “We can load different presets into the Diablos, so everything is handled digitally. We have multiple control points in the theatre where we can operate the lighting, either via a computer or a lighting console.”
“Visiting productions without an own lighting console, but with just a QLab file, can still use our system”, he adds. “We can load the settings and configure the lights so that visiting groups only need to work with a dimmer.”
(Photo: Tim van Etten)
Vorstin invests in Robe
Vorstin, a music and entertainment venue in Hilversum, The Netherlands, comprises two entertainment halls with 850 and 275 capacities, respectively, to stage four or five shows plus one or two private or business events per week.
The venue has recently made a large investment in new Robe moving lights, with the purchase of 20 Paintes, 20 LEDBeam 350s, 24 LEDBeam 150s, 8 LEDBeam 350 FWs and 16 Tetra1 LED moving battens for their Big Hall together with eight Robe Spiiders that were part of a previous Robe investment eight years ago and some other new luminaires. The new fixtures are rigged on four motorised trusses and an upstage fly bar.
The Small Hall, which hosts bands and comedy, as well as local school musicals, end of year productions and live radio shows every Saturday afternoon, now has 10 Paintes, 12 LEDBeam 150s and 8 LEDBeam 350 FWs. The control console in the Small Hall is an Avolites TigerTouch II.
Chief LX Alice Boeschoten explains that this lighting upgrade was originally planned before Covid and delayed due to the pandemic. While they considered several brands and products, the experience of the previous Robe fixtures was instrumental in informing choices for this investment. Many of the artists playing Vorstin will bring their own lighting designers, while others will be lit by Boeschoten and her team. She gets to light at least one a week, every time requiring a different genre, style and creative approach.
Boeschoten, who is also the regular LD for the band Steam Sister, has worked at Vorstin for six years, after starting as an intern whilst studying technical theatre in Utrecht. She then did four and a half years as a freelancer before accepting the chief LX post in 2023 where she works closely with William Calis, head of production and buildings manager.
The very first Robes luminaires in the house were LEDBeam 100s installed in the Small Hall in 2015 for Radio 2’s Saturday afternoon Music Café broadcasts at the time. The sixteen Robe Spiider LED wash beams and sixteen DL4S Profile luminaires - delivered in 2016 - were specified by then technical manager Maikel Sakkers, who is now an integral part of the lighting technical sales team at Controllux, Robe’s Benelux distributor.
These 2016 Robe products replaced their previous moving lights which were from a competitor brand dating back to 2010 when the venue opened. It is built on the site of the former De Tagrijn youth centre that was destroyed by a fire. The latest Robe lights arrived in batches, starting in summer 2023 with the Paintes and the LEDBeam 350s completing the picture earlier this year.
Pictured (left to right): Twan Schipper (Controllux), William Calis (Vorstin head of production and buildings manager), Alice Boeschoten (Vorstin chief LX) and Maikel Sakkers (Controllux). (Photos: Louise Stickland/Paul Clarke)
Halogen-Feeling mit LED-ArcLamps von ETC im Graslin-Theater
Das Théâtre Graslin im französischen Nantes zählt zum kulturellen Erbe Westfrankreichs. Im klassizistischen Stil gegen Ende des 18. Jahrhunderts erbaut, fasst das Opernhaus heute knapp 800 Plätze. Jetzt hat das Haus in die Zukunft investiert und den Umstieg auf LED-Technik im Zuschauerraum vollzogen - mit ArcLamps und einem Unison-Paradigm-System von ETC.
Insgesamt rund 500 ArcLamps sorgen für warmes Licht, das sich homogen und präzise dimmen lässt. Das LED-Licht der ArcLamps lässt sich laut Samuel Baron, dem Technischen Direktor des Théâtre Graslin, nicht vom vorherigen Halogenlicht unterscheiden, das typische Theatererlebnis für Besucher bleibe unverändert.
Die knapp 500 ArcLamps verteilen sich auf 252 Stück im großen Hauptkronleuchter, 106 kommen in den Logen und weitere 118 im Foyer zum Einsatz. Die Investition in die ArcLamps habe zu einer rund 90-prozentigen Stromkosteneinsparung geführt. „Wir konnten die vorhandene Unterputz-Verkabelung auch für das neue System verwenden“, sagt Baron. „Es musste nur ein ETC-F-Drive-Treiber installiert werden, der den Strom und das DMX-Signal aufnimmt und die Leuchten steuert.“
Ein ETC-Unison-Paradigm-Steuerungssystem regelt die Beleuchtungsanlage im Théâtre Graslin. „Paradigm ist mit zwei Unison-Modulen verbunden: Eine befindet sich im Pförtnerhaus, die andere im Saal“, so Baron. „Damit lässt sich die Beleuchtung nach Wunsch steuern.“ Gerade tagsüber, bei Besichtigungen, könne man über Unison den Saal beleuchten, ohne das gesamte Lichtsystem hochfahren zu müssen.
(Fotos: ETC)
Gobos do Brasil equips Sesc Franca with Martin Audio Torus and WPC
Inaugurated on November 28, 2024, during the 200th anniversary celebrations of the city of Franca in Brazil, the latest Sesc unit opened its doors with over 100 free activities for people of all ages. Covering an area of 35,555 sq.m, Sesc Franca is the largest facility of its type in São Paulo’s interior, supporting social, cultural and educational projects.
The supply and installation of the sound systems for both the theatre and gymnasium were entrusted to Gobos do Brasil, a company with 24 years of experience in the professional audio and lighting market. For this project, they chose equipment from Martin Audio.
With a capacity of 370 seats, the Sesc Franca theatre features one of the largest stages of all the Sesc units in the state of São Paulo. The venue itself offers a diverse programme that includes musical and theatrical performances, film screenings, seminars and training activities, showcasing local, national, and international productions.
Selected for the main PA was Martin Audio’s Torus series, a constant curvature line array designed for medium-sized venues with a throw of up to 30 metres. A key innovation is the aerial positioning of the subwoofers, which can be suspended and flown alongside the line array. The setup at Sesc Franca includes a pair of SXCF115 cardioid subwoofers on each side, complemented by four Torus T820 (8 in) modules, powered by iKon iK42 Dante-enabled digital amplifiers.
Additionally, the theatre is equipped with four Martin Audio CDD6 frontfills, distributed along the stage lip, powered by a Via2502 digital amplifier. These speakers, featuring Martin Audio’s patented Coaxial Differential Dispersion (CDD) technology, ensure uniform coverage.
Commenting on the installation, Esteban Risso, Commercial Director of Gobos do Brasil, says: “We achieved extremely linear coverage, with only a 1.5 dB variation between the first and last rows. The suspended cardioid subwoofer arrangement eliminated bass spill onto the stage and ensured consistent low-frequency coverage throughout the theatre, without overwhelming audiences in the front rows.”
For larger-scale events, the 3,000-capacity gymnasium will host everything from concerts to sporting activities. Its stage connects to the theatre stage via a motorised retractable wall. Here a larger sound system was required, and Gobos do Brasil turned to Martin Audio’s WPC compact line array. The setup includes sixteen WPC modules (eight per side) and eight SX218 subwoofers, all powered by iKon iK42 digital DSP amplifiers.
“WPC provides uniform coverage across the gymnasium’s 40-metre length”, says Risso. “The scalable resolution technology allows precise coverage control via the software - this makes it possible to define areas where sound is needed and exclude unwanted zones, such as reflective back walls, while minimising noise pollution.”
The alignment of the sound systems for the theatre and gymnasium was carried out by Marcelo Claret, founder and director of IAV (Institute of Audio and Video) and one of Brazil’s leading authorities in professional audio. Claret brings over 35 years of experience in live sound reinforcement.
Edinei Lima, Industrial Director and Engineer at Gobos do Brasil, oversaw the installation. He explains: “In order to install the line array with suspended subwoofers in the theatre, we developed and manufactured custom mounts - installed at a height of eight metres. The positioning was determined using 3D predictions in Martin Audio’s Display3 software.”
Berenice Gutiérrez, founder and CEO of Martin Audio distributor Proactive LATAM, offered a special thanks to the manufacturer for supporting the project delivery in a record time of less than two weeks: “They made this a clear priority, enabling Esteban and his team to achieve their production plan.”
(Photos: Martin Audio/Sesc Franca)
Truth Nightclub in Johannesburg reopens with Elation Pulse and Fuze
Truth Nightclub in Midrand Johannesburg, South Africa, recently celebrated its official reopening with a lighting setup from Elation. The Production Warehouse, Elation’s exclusive partner in South Africa, collaborated closely with the venue to select the equipment for the upgrade.
The installation was completed under a tight schedule, just in time for the pre-launch of the revamped “The Terrace” dance floor. The new lighting rig was crucial for the club’s “25 Years of Truth” anniversary event featuring Township Rebellion on November 30, and the New Year’s Eve 2025 celebration with Pleasurekraft.
Truth, known as the “Home of the Underground”, is a regional landmark and one of South Africa’s most iconic nightclubs. With five dance floors, it has hosted artists like Paul Van Dyk and Richie Hawtin, among many others. The Terrace underwent a complete rebuild and upgrade after a fire damaged part of the venue. Elation was chosen as the preferred lighting provider for the newly reconstructed space.
Project designer Emil Lars explains the decision behind choosing Elation fixtures: “Essentially, the conceptual vision for The Terrace was one of flexibility and openness, which makes choosing a set of permanent fixtures quite challenging as they’d need to be extremely flexible. The Elation Fuze SFX LED spot stood out for its flexibility and ability to create dark techno floors with narrow beams and contrasts with extremely wide soft gobo washes that can feel quite dreamy.”
He adds that the Pulse Panel and Pulse Bar S were chosen for eye candy, flexibility, brightness and impact with their small form factor making them easy to place the fixtures on various designs. Designer Shaniel Laloo, tasked with commissioning the rig, comments: “We needed to create a very dynamic lighting package as the club caters to many different genres of music. We were looking for something that could be punchy one day and still do the ‘darker nights’ more effectively. This meant lots of pixels and a main fixture with an extensive feature set.”
Laloo opted for a grid-based design for the Fuze SFXs to maximize their potential. “Whether in beam or wide spot modes - the design just allows great looks with minimal effort. The most important feature for me is the ability to move between different zoom ranges with precision and speed, allowing the fixture to take on multiple roles in our programming.”
Although the initial specification called for Dartz 360 moving lights, the large, open-air layout of The Terrace required more power to cut through the LED screens, making the Fuze SFX a suitable solution, with sixteen units ultimately installed.
Regarding the Pulse fixtures, Laloo states: “I wanted to make sure that one strobe fixture could essentially cover the entire venue. So when we do go into random strobing, you are completely immersed in white light from different angles, giving a euphoric feeling on the dancefloor.” Utilizing four Pulse Panels and six Pulse Bars, Laloo and his team covered the entire space.
He adds that they needed something to cover spaces behind the DJ without spoiling the aesthetic open-air feel: “The Pulse Panels and Bars were placed on drop bars to create light from nothingness, allowing bright strobes, colors washes or just simple individual pixel effects. We also placed the Pulse Panels around the LED screen to allow for NDI mapping through a media server. So it’s not just a light; it’s a video fixture as well when we want it to be.” Lighting Operator was David O’Molony.
(Photos: Mike Bets)
Infiled’s WP Wrap installed at healthcare experience centres in Cologne and Düsseldorf
System integrator Sigma AV has installed Infiled’s WP Wrap series of curved LED displays in two healthcare experience centres in Germany. Praxis4Future is an initiative of the KV Nordrhein doctors’ association that seeks to demonstrate how technology can transform medical practices. Its experience centres, located in Düsseldorf and Cologne, utilise LED technology to illustrate how digital tools can streamline workflows and transform patient care.
Christian Backes, head of AV integration for Sigma AV, explains that Praxis4Future’s goal is to encourage doctors and medical professionals to embrace digitalisation by demonstrating the possibilities offered by new technologies. “The client wanted a space where doctors, medical staff and administrators could explore the possibilities of a more connected, digital future”, he comments. “It’s designed to illustrate how technology can modernise patient interactions and streamline workflows in healthcare settings.”
At the Praxis4Future experience centres, Infiled’s WP Wrap-series screens are used to create seamlessly curved LED walls that envelop visitors in an immersive 180° visual environment. In Düsseldorf, Sigma AV specified a 10.8 m x 2.02 m WP Wrap 1.56 display, while the Cologne centre employs WP Wrap 1.25 at 7.2 m x 1.35 m.
Sigma AV opted for LED technology to create an all-encompassing display without visible seams or corners. “From the beginning, the client wanted a futuristic, sleek setup - white, clean, and seamless. LED was the perfect choice for this, as it offers a more immersive experience”, says Backes. “Very often, LED screens are flat panels side by side and have corners, but we didn’t want that.” Working closely with Infiled, Sigma AV tailored the displays to the specific dimensions and visual requirements of each Praxis4Future centre, aligning pixel pitch and resolution to maintain consistency in the visual content across both locations.
From early planning to final installation, the Infiled team, led by VP of sales for Europe Andreas Voss, provided support in customising the displays and delivered technical guidance on resolution and pixel density. “Infiled's support went beyond standard consultations”, says Backes. “They provided detailed plans, drawing adjustments, and technical insights tailored to each location.”
(Photos: Kassenärztliche Vereinigung Nordrhein)
Nicolas Ramirez favors KRK monitors
Grammy- and Latin Grammy-winning producer, composer, and mixer Nicolas “Nico” Ramirez has worked with artists such as Bad Bunny, Jennifer Lopez, Shakira, and Marc Anthony, among others. Today, he is the producer, mixing and recording engineer, and live sound engineer for artist and songwriter Camilo, a fellow Colombian. In addition to his credits in the music industry, Ramirez also composes and provides sound design for films, documentaries, TV series, and animated shows.
For Ramirez, music and sound effects have always crisscrossed as a single entity in his creative workflow. His appreciation for the vast array of cultures that span this world and the influence each has on music has continually inspired him to create a unique identity for all his projects. Ramirez uses KRK V4 and V6 V-Series 4 powered studio monitors.
“My V6s are not too bright, and they aren’t too low; they work well and sound great”, he states. “The V4s have a smaller diaphragm that translates well to a variety of listening scenarios, so I can assess how my tracks will sound in any other environment. Whether my songs are being played in a theater, through consumer-grade headphones, at an airport, or in the car, I know what I’m hearing on the V-Series will be what audiences experience as well.” For times when Ramirez has been on the road running front of house for Camilo, his KRK V-Series monitors serve a dual purpose as nearfield speakers.
Never one to stray too far from his producer role, Ramirez uses KRK GoAux portable powered studio monitors for studio work on the go. “I travel a lot when I am on tour, and I like to have a solution that is easy to set up on the road”, he says. “The KRK GoAux sound great, and the carrying case they come in is amazing. I never have to worry about where I am going to store all the pieces.” Whether in the studio or on the road, Ramirez also relies on KRK’s KNS headphones when listening back on his mixes: “The KRK headphones have a very particular boost on the mids and mid-lows, so I use them to check my tracks in that range. It helps me assess if I have everything under control.”
Ramirez - who graduated with a degree in audio engineering from Pontificia Universidad Javeriana, in Bogota, Colombia, and later earned his Master of Fine Arts (MFA) degree in sound design from Savannah College of Art and Design in Georgia - has been using KRK products since 2009. From 2018 to 2021, he was the head recording and mixing engineer at Art House, Julio Reyes Copello’s studio. Now, as an independent producer, Ramirez continues to use his array of KRK gear while in the studio and on the road.
(Photos: KRK)
Philharmonie Luxembourg Concert Hall upgrades to L-Acoustics K3 sound system
In the international banking quarter of Kirchberg lies the Grande-Duchesse Joséphine-Charlotte Concert Hall, commonly known as The Luxembourg Philharmonie, designed by Christian de Portzamparc and opened in 2005. In its young existence, the Philharmonie has swiftly become a vital cultural hub, hosting nearly 400 performances annually that encompass a vast palette of genres, including classical, jazz, world music, and more.
The venue’s programming versatility is mirrored in its fluctuating audience capacity, encompassing three performance spaces, including the principal Grande Auditorium which can accommodate anywhere from 400 to 1,500 spectators, depending on its configuration. As the demands of contemporary performance continue to evolve, so does the need for audio technology able to reinforce the variety of performances the Philharmonie hosts throughout the year. Now, nearly twenty years from its official opening, the venue installed a new L-Acoustics K3 concert sound system.
The Luxembourg Philharmonie and L-Acoustics share a long-standing relationship, with the venue already featuring an L-Acoustics dV-DOSC installation. In 2022, wishing to upgrade its sound system, L-Acoustics K3 was chosen during a competitive selection process. L-Acoustics Certified Provider Distributor Babbel & Haeger supported Luxembourg-based events management service provider Pro Musik during the installation process.
The system comprises two hangs of nine L-Acoustics K3 per side, with six KS21 subwoofers providing low-end extension, covering both the main floor and the balcony seating areas without obstructing sightlines. Near-fill is accomplished with two A10 Focus and two A10 Wide. Front-fill is handled by four X8, and the entire system is powered by LA4X amplified controllers. Calibration was managed by Sebastian Wittrock and Christian Schmid from L-Acoustics.
(Photos: Die Videocrew)
Royal Albert Hall puts DiGiCo at centre of its audio universe
The Royal Albert Hall in London hosts diverse performances every night of the week. The 153-year-old building had challenging acoustics when amplifying modern music for the almost 6,000 capacity auditorium. This led to huge investment into the Hall’s audio equipment, with all sound requirements being brought in-house in 2018.
DiGiCo consoles are at the centre of the building’s audio set up, a Quantum 852, Quantum 7, SD10, SD9 and SD11 are all owned by the venue. This enables the audio department to prepare shows in advance, improving workflow during quick daily turnarounds.
Ben Evans has been Audio Operations Manager since 2021. He was part of the team who instigated the Hall’s first in-house audio team. There have been shows on stage, end-on or in the round, in the loading bays, on the stairs and even on the roof. The sound system needs to be flexible and fast to keep up. The after sales support offered by Autograph and Rob Tory, Head of Technical Support, plus the Hall’s onsite facilities in the the basement warehouse, ensures the sound team are ready for anything, including offsite rehearsals.
“During 2018, we went out to tender and had a d&b Audiotechnik system designed for us, in addition to new network infrastructure”, says Evans. “We have a different show pretty much every day, so our five consoles allow us to prep and rehearse efficiently. When combined with our fibre networking, we can serve our multitude of shows effortlessly.”
Tom Marshall is a sound designer and freelance front of house sound mixer for the Royal Albert Hall, he works on many of the performances, whether that is a book launch, pop concert or a recital from the Royal Philharmonic. He uses DiGiCo products widely, in every area of his career.
“DiGiCo is my go-to tool, it is the nucleus of my work, whether I am mixing or designing”, he says. “There are always demands from directors or producers and the speed of the console means that if I do get a request, I don’t have to make anyone wait, I can make changes instantly.”
When mixing, especially at the Royal Albert Hall, Marshall uses DiGiCo onboard effects and processing. He says the development of the Spice Rack and having the continuity across the whole Quantum range was a game-changer for him. “I find myself using the dynamic compression and EQ a lot. Having the ability to add it across a whole group is useful, especially if you are doing something with a high channel count”, he adds.
(Photos: DiGiCo)
Philharmonie Luxembourg Concert Hall upgrades to L-Acoustics K3 concert sound system
In the international banking quarter of Kirchberg lies the Grande-Duchesse Joséphine-Charlotte Concert Hall, commonly known as The Luxembourg Philharmonie, designed by Christian de Portzamparc and opened in 2005. The Philharmonie hosts nearly 400 performances annually, including classical, jazz, world music, and more.
The venue’s programming versatility is mirrored in its fluctuating audience capacity, encompassing three performance spaces, including the principal Grande Auditorium which can accommodate anywhere from 400 to 1,500 spectators, depending on its configuration. As the demands of contemporary performance continue to evolve, so does the need for audio technology able to reinforce the variety of performances the Philharmonie hosts throughout the year. Therefore, the venue recently upgraded to a new L-Acoustics K3 concert sound system.
The Luxembourg Philharmonie and L-Acoustics share a long-standing relationship, with the venue already featuring an L-Acoustics dV-DOSC installation. In 2022, wishing to upgrade its sound system, L-Acoustics K3 was chosen during a competitive selection process. L-Acoustics Certified Provider Distributor Babbel & Haeger supported Luxembourg-based events management service provider Pro Musik during the installation process.
The system comprises two hangs of nine L-Acoustics K3 per side, with six KS21 subwoofers providing low-end extension, covering both the main floor and the balcony seating areas without obstructing sightlines. Near-fill is accomplished with two A10 Focus and two A10 Wide. Front-fill is handled by four X8, and the entire system is powered by LA4X amplified controllers. Calibration was managed by Sebastian Wittrock and Christian Schmid from L-Acoustics.
(Photos: Die Videocrew)
Showtec- und Infinity-Beleuchtungselemente in Midden Nederland Hallen installiert
Next Venue hat vor kurzem eine Beleuchtungsinstallation in der Eingangshalle der Midden Nederland Hallen im niederländischen Barneveld fertiggestellt. Das Gewächshaus im Eingang des Veranstaltungsortes, das Teil der Floriade 2022 war, ist jetzt ein 6.000 m² großes Foyer mit einer Mischung aus natürlichem Licht, Einbauten und energieeffizienten Lösungen.
Die Installation besteht aus 100 Infinity-Raccoon-Junior-P7/4-Leuchten, die jeweils mit einem 40-Grad-Filter ausgestattet sind und strategisch im Tragwerk des gläsernen Lichthofs angebracht wurden. Im Foyer 2 wird die Beleuchtung mit einem Showtec-TR-512-Pocket-DMX-Controller gesteuert, der durch eine Showtec-Wand-Fernbedienung für TR-512 Install/Pocket ergänzt wird, welche an einem beliebigen Ort installiert werden kann. Auch das Foyer 1 und das Restaurant sind mit zwei TR-512-Pocket-DMX-Controllern ausgestattet, die mit Wand-Fernbedienungen verbunden sind.
Showtec-Booster-4-Install-DIN-Schienen-DMX-Booster wurden in den Kabelkanälen installiert, während ein Showtec-DMX-Merge im Foyer 1 für eine reibungslose Datenverarbeitung sorgt. Die Installation ist außerdem mit Kabeln von DAP ausgestattet. Die Installation wurde vom hauseigenen AV-Team von Next Venue durchgeführt.
(Fotos: Highlite/Midden Nederland Hallen)
Fabrik Potsdam investiert in Material von Elation und LSC Control Systems
Die Fabrik Potsdam - Internationales Zentrum für Tanz und Bewegungskunst - ist ein Haus für professionelle Tänzer und Tanzkompanien und generell eine Location für Tanzliebhaber. Sie schafft einen Ort für Künstler zum Arbeiten, Lernen, Lehren, Forschen, Proben, Aufführen und Austauschen.
Das Haus selbst verfügt über mehrere Bühnen und bespielt zusätzlich auch den Fabrikgarten sowie teilweise andere Bühnen in Potsdam. Mit den Potsdamer Tanztagen veranstaltet die Fabrik Potsdam außerdem eines der europaweit führenden Festivals für zeitgenössischen Tanz. Zudem finden regelmäßig Konzerte im Haus statt, etwa im Rahmen der Jazzoffensive.
Um den steigenden Ansprüchen gastierender Tanzkompanien gerecht zu werden, rüstete die Fabrik Potsdam im Frühjahr 2024 im lichttechnischen Bereich mit über 100 Scheinwerfern von Elation sowie sechs APS-Powermanagement-Systemen von LSC Control Systems nach: 32 Elation KL Profile FC, 25 Elation KL Fresnel 8 FC, vierzig Elation ArenaZoom Q7IP und sieben Elation Fuze Profile kommen seither - teilweise fest installiert, teilweise mobil - zum Einsatz.
Ralf Grüneberg, technischer Leiter der Fabrik Potsdam, erläutert: „LED-Beleuchtung ist mittlerweile eine Standardanforderung internationaler Dance Companies. Bisher haben wir die entsprechenden Lampen nach Bedarf gemietet. Mit Hilfe von Fördermitteln war es uns nun jedoch möglich, in eigenes Material zu investieren.“
Bei der Recherche und Auswahl geeigneter Scheinwerfer habe man sich auch in anderen Häusern der Stadt umgeschaut: „Wir bespielen mit den Tanztagen vier bis fünf Häuser sowie verschiedene Open-Air-Bühnen“, so Grüneberg weiter. „Daher macht es Sinn zu schauen, was die anderen einsetzen, um einerseits untereinander kompatibel zu sein und sich andererseits auch gegenseitig Material leihen zu können. Die KL Fresnel hatten wir uns beispielsweise zunächst vom Trollwerk und T-Werk geborgt und dabei gemerkt, dass sie für unsere Zwecke sehr gut geeignet sind. Flexibles Weißlicht war uns besonders wichtig.“
„Wir denken nachhaltig und suchen Partner, mit denen wir dieses Ziel erreichen können“, fährt er fort. „Die LMP-eigene Service-Werkstatt spielte also eine Rolle für unsere Kaufentscheidung. So sind wir sicher, defekte Lampen im Zweifel reparieren zu können oder sogar mal eine LED-Engine tauschen zu lassen.“
Fest verbaut sind aktuell 25 Elation KL Fresnel 8 FC (als Matrix installiert) und zwölf Elation Fuze Profile. Mit Letzteren war das Team der Fabrik Potsdam bereits vertraut, da sich schon seit längerer Zeit fünf Geräte im eigenen Bestand des Hauses befanden. „Mit dieser Installation haben wir nun Top- und Frontlicht aus einer LED-Engine, die entsprechend harmonisch wirken und problemlos an gastierende Techniker übergeben werden können“, sagt Grüneberg. „Wir wünschten uns grundsätzlich eine möglichst einheitliche Lampenphilosophie für unser Haus.“
Die 32 KL Profile FC werden ergänzend als Seitenlicht oder für Spezialaufgaben eingesetzt und immer wieder umgehängt. Die vierzig wetterfesten (IP65) LED-PARs ArenaZoom Q7IP kommen nach Bedarf mobil im Innen- und Außenbereich zum Einsatz.
Auf die Frage, worauf es bei der Beleuchtung von Tanzinszenierungen grundsätzlich ankommt, antwortet Grüneberg: „Die Ansprüche an Tanzbeleuchtung sind noch höher als im Theater, denn hier stehen Körper und Körpersprache im Mittelpunkt. Mit Hilfe von Licht entstehen die Bühnenbilder, wobei man mitunter auch gekonnt Dinge ‘wegleuchten’ muss, um andere zu betonen. Tanz lebt von Beleuchtung. Deshalb haben die tourenden Tanzkompanien längst auch eigene Lichtgestalter und -techniker dabei.“
Zur Steuerung und als Sicherheit für die neu beschafften LED-Scheinwerfer entschied sich das Technik-Team der Fabrik Potsdam für sechs LSC-APS-12/16A-Stromverteilungen.
(Fotos: Fabrik Potsdam)
Renkus-Heinz modernizes sound at Toronto’s Convocation Hall
The University of Toronto’s Convocation Hall is a historic venue with a unique circular design. It hosts the annual convocation ceremonies and serves as the University’s primary venue for academic and social functions due to its seating capacity of over 1,700. Plagued by challenging acoustics, the hall’s reflective surfaces introduced significant complications, particularly for speech intelligibility.
The previous sound system in Convocation Hall, an aging column array, was no longer effective - lacking the clarity needed for speech reinforcement in such a large, reverberant space. Renkus-Heinz was identified as a choice to tackle these challenges, particularly their Iconyx line of loudspeakers, known for their advanced beam-steering technology.
“The architecture of the room creates multiple reflections and delayed arrival times, complicating the listening experience”, explains John Busza, systems designer at Global USS, the project’s integrator. “We needed a speaker solution that not only provided high intelligibility but also utilized the existing cabling and infrastructure.”
As Convocation Hall is a heritage building, any new equipment also had to blend seamlessly with its historical interior. “Renkus-Heinz’ Iconyx speakers can be custom color-matched, which we did for this project”, notes Busza. “Architects and interior designers often don’t want the speakers to be seen at all, and with Iconyx, that’s possible.”
For the Convocation Hall project, two Iconyx IC32 arrays were installed, positioned about twelve feet above the stage. Each array contains 32 custom 4-inch coaxial drivers, powered by 32 separate amplifier channels, all controlled through advanced digital signal processing (DSP). This setup allows for precise steering of sound to specific areas of the hall.
“The IC32s allow us to target specific areas, such as the main floor or the two balcony levels, without overpowering the room”, says system commissioner Arthur Skudra, who worked alongside Global USS on the project. “This precise control is key in a reverberant environment like Convocation Hall, where too much sound energy can create more problems.”
While the primary use of the Iconyx system is for spoken-word presentations, the system is also capable of providing audio for musical performances and multimedia presentations. The Iconyx IC32 arrays were integrated with Dante digital audio networking.
According to Busza, Contact Distribution, Renkus-Heinz’s local distributor, turned out to be helpful in the course of this project as well: “The Contact team was always there to support us, from design to install planning and commissioning”, he says concludes.
(Photos: Renkus-Heinz/Global USS/University of Toronto)
Tateside supports modern student living concept at Urbanest Battersea
A chain of modern student accommodations in London, Urbanest recently completed its latest development in the shadow of the Battersea Power Station. A PassivHaus construction, this sustainable, self-sufficient student living concept required a suitably smart AV solution to enhance communal spaces across the property.
Having previously worked with Urbanest on other sites across the capital, including Kings Cross and Westminster Bridge, London-based AV integrators Tateside were called upon to lead the technology integration across the Battersea project, from the initial design through to implementation along with ongoing site servicing and maintenance.
“The project represented an interesting opportunity to design and implement a lot of different AV technology, from digital signage to meeting room solutions”, says Ben Landi, Project Manager at Tateside. “Overall, the project encompasses a cinema room, gym and yoga studio, three meeting rooms, a lecture space, plus digital signage and background audio throughout.”
Students staying at Urbanest Battersea have access to a communal cinema room. To provide a big-screen experience, a 77-inch Panasonic OLED display with integrated soundbar was installed. “Students can bring their own devices, be it a PlayStation or a laptop, and plug them into the HDMI plate”, says Landi.
For the onsite gym and yoga studio, Tateside deployed three pairs of Bose DM3SE surface-mount loudspeakers in the training area and two pairs in the studio, with input through Audac Bluetooth plates. “It’s a one-touch setup”, says Landi. “Students can connect their phones and play their own music, making it feel more personal, and more like home.”
The Urbanest student experience includes a purpose-built lecture hall, where residents can hold group discussions and share presentations. Here, an Epson projector with a wide throw lens allows for large-scale visuals, with seamless content switching for user inputs via a Blustream HDMI wallplate and Blustream HDBaseT receiver. The 20,000-lumen projector overcomes the challenges of ambient lighting in the space.
A total of three meeting rooms provide videoconferencing facilities for both students and staff at Urbanest. In the two student-facing rooms, Cisco Webex Room Bars were installed to support the BYOD capability. “Using the BYOD cable, users can start a meeting on their laptop and use the built-in peripherals in the RoomBar”, says Landi. “Alternatively, if they have an existing meeting set-up, they can use the technology in the room and join on their preferred meeting platform using the on-desk Cisco Touch Panel.” In the staff meeting room, a Microsoft Teams ecosystem was requested to ensure compatibility with their preferred video conferencing platform.
Throughout Urbanest Battersea, digital signage was installed in the various communal areas, including lift lobbies and reception spaces to display community announcements and eco-statistics on sustainability achievements related to the PassivHaus standards. The signage content is managed internally by Urbanest using a Tripleplay system, whilst Tateside specified and installed the screens and managed the network infrastructure, choosing Samsung QM displays to ensure 24/7 signage without screen burn.
Upon entering the building, residents and visitors are greeted by background audio via three pairs of Bose DM5P pendant loudspeakers. “The Bose pendants matched the pendant lights in reception perfectly”, says Landi. “As with all the audio at Urbanest, these are powered by Bose PS404D amplifiers, with Dante built in to facilitate networked audio.”
(Photos: Tateside/Urbanest)
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Teatro Real erweitert Audioproduktion mit Lawo-IP-Infrastruktur
Das im Herzen Madrids an der Plaza de Oriente gelegene Teatro Real, das 2021 als bestes Opernhaus der Welt ausgezeichnet wurde, hat mit der Installation immersiver Audiotechnologie von Lawo unlängst ein technisches Upgrade erhalten, um den Anforderungen moderner Produktionen - Opern, Konzerte und Ballettaufführungen - gerecht zu werden.
Das Teatro Real entschied sich für AoIP-Lösungen von Lawo und erwarb mc²-Mischpulte, Stageboxen, die Home-Plattform und Routing-Einheiten des Herstellers aus Rastatt. Die Installation verantwortete Systemintegrator und Technologiepartner Telefónica, der mit einer Cisco-Lösung auch die Netzwerkinfrastruktur bereitstellte.
Zu den zentralen Audiokomponenten des neuen Equipments zählen zwei mc²56-MkIII-Pulte mit 32 Fadern und ein mc²56 MkIII mit sechzehn Fadern, deren Leistung auf sechs redundanten A_UHD-Core-Audio-Processing-Engines mit je 1.024 DSP-Kanälen basiert. Durch die nahtlose Integration eines Waves-SoundGrid-Servers bieten sie Zugriff auf die Plug-in-Bibliothek von Waves für Echtzeit-Signalverarbeitung. So können Toningenieure Reverbs, Multi-Tap-Delays, grafische Equalizer und Multiband-Kompressoren direkt über die Tastatur und den Touchscreen der Konsole steuern. Alle Plug-in-Einstellungen können gespeichert und mit den Snapshots der Konsole abgerufen werden.
Lawo A_Stage64/80-Stageboxen garantieren die Einbindung der Konsolen in die bestehende Audio-Infrastruktur. Diese Kombination und die Integration über Lawos Home-Management-Plattform für IP-basierte Medieninfrastrukturen gewährleistet die nahtlose Kommunikation und Verteilung der Audiosignale über die gesamte Infrastruktur des Teatro Real. Die Installation verfügt über Pultspiegelung und Signal Ownership.
(Fotos: Lawo AG)
Hans Otto Theater Potsdam vollzieht Umstieg auf LED-Technik mit ETC
Die Ursprünge des Hans Otto Theaters in Potsdam reichen zurück bis zum Ende des 18. Jahrhunderts. Das ehemalige „Königliche Schauspielhaus“ hat seitdem verschiedene Namen an unterschiedlichen Adressen getragen. Seit 2006 setzt nunmehr ein spektakulärer Neubau am Potsdamer Havelufer mit facettenreichem Programm unüberhörbare Akzente im deutschen Kulturbetrieb.
Das Hans Otto Theater, das ehemalige „Königliche Schauspielhaus“, dessen Ursprünge bis zum Ende des 18. Jahrhunderts zurückreichen, ist seit 2006 in einem Neubau am Potsdamer Havelufer beheimatet. Um Energie- und Scheinwerfer-Nebenkosten, etwa für Leuchtmittel und Farbfilter, zu senken, ist das Haus jetzt auf LED-Lichttechnik umgestiegen. Zur Ausstattung gehören Lichtsysteme von ETC, unter anderem Fos/4-Fresnel-X8-Scheinwerfer und Apex-Konsolen.
„Ein großes Augenmerk lag auf der Farbwiedergabe bzw. Farbechtheit“, erklärt Christian Wiesniewski, Leiter der Beleuchtungsabteilung des Hans Otto Theaters. „Außerdem sollte der Scheinwerfer so leise wie möglich sein. Mit den Fos/4 Fresnel von ETC können wir das umsetzen.“
Wiesniewski sei vor allem von der stufenlosen Einstellung von Kalt- zu Warmweiß und dem „Color Cross Fade“-Kanal der Geräte überzeugt. Letzterer „ermöglicht es uns, schnell satte bunte Farben einzusetzen, ohne mehrere Geräte einzuleuchten“, sagt er. Bezüglich des X8-Farbmischsystems fügt er hinzu: „Bei uns im Theater ist es wichtig, dass die beleuchteten Darstellenden auf der Bühne nicht fahl, blass oder gar kränklich wirken. Mit den Fos/4 können wir natürliche, lebensechte Hauttöne kreieren.“
Zum technischen Upgrade, bei dem das Haus von ETC-Vertriebspartner Trendco unterstützt wurde, gehören auch zwei ETC-Apex-Konsolen: eine Apex 5 und eine Apex 10. „Neben dem Vorteil, dass wir auf allen unseren Bühnen die gleiche Pultfamilie verwenden, ist es ein entscheidender Pluspunkt, dass wir seit der Umstellung auf die Eos-Familie nur noch mit einem USB-Stick auf Gastspielreise gehen können“, sagt Wiesniewski mit Hinweis darauf, dass viele der Spielorte ebenfalls mit der Eos-Familie arbeiten würden. Darüber hinaus wünschte sich Wiesniewski eine Konsole, die „jetzt schon für zukünftige Anforderungen in der Bühnenbeleuchtung vorbereitet und hardwaretechnisch anpassbar ist mit der Gadgetgarage.“
Auf ein Shootout vor dem Kauf der neuen Konsolen wurde im Hans Otto Theater verzichtet, da dort seit vielen Jahren mit ETC-Konsolen gearbeitet wird. „Für uns ist es wichtig, dass die Operatoren an den Pulten sicher und effektiv arbeiten können. Das funktioniert nur, wenn wir bei den Konsolen sortenrein bleiben“, so Wiesniewski abschließend.
(Fotos: Thomas M. Jauk/Prof. Dieter Leistner)
Il T Quotidiano Arena erhält Beschallungsanlage von dBTechnologies
Die Il T Quotidiano Arena (früher PalaTrento), eine Sportarena im italienischen Trient und Heimat der regionalen Volleyball- und Basketballclubs, ist durch eine Renovierung und die Installation einer neuen Beschallungsanlage zu einem Multifunktions-Venue geworden.
Im Rahmen eines Innenraum-Upgrades, das mehrere technische und architektonische Aspekte umfasste, wurde ein Austausch und eine Neugestaltung der bestehenden Beschallungsanlage erforderlich, um die akustische Abdeckung in der Arena zu erweitern und neue Veranstaltungen zu realisieren. Das Renovierungsprojekt unter der Leitung von Architektin Eleonora Strada verantwortete das Unternehmen Mountech, das die Audiotechnik für Spielfeld und Tribünen neu konzipierte und Produkte von dBTechnologies installierte.
Um die gewünschte Sprachverständlichkeit und Musikwiedergabe zu gewährleisten, entschied sich das Planungsteam rund um Elettroteam und Liriti Srl für aktive Vio-X206-Line-Array-Module. Unter der Decke der Arena wurden über dem Spielfeld vier Einheiten der Vio X206 mit 90° x 60° installiert. In dieser Konfiguration bieten die Vio X 206 ein gedrehtes Horn und können so als Point-Source-Quellen installiert werden.
Längs des Spielfelds sind auf jeder Seite zusätzlich vier Line Arrays mit je fünf Einheiten Vio X206 unter der Decke installiert, um die Tribüne zu beschallen. Ebenfalls an den Längsseiten des Spielfelds platzierte das Team je Seite zwei Line Arrays mit je zwei Einheiten der Vio-S115-Subwoofer (geflogen). An den Stirnseiten des Spielfelds ergänzen je Seite zwei Line Arrays, bestehend aus je vier Vio X206 plus je einem Vio S115 (ebenfalls geflogen) die Installation. Für die akustische Abdeckung der obersten Tribünenplätze und der Stehplätze dienen zusätzlich vier passive IS-210-Line-Array-Einheiten, die durch zwei IA504-Class-D-Verstärker gespeist werden.
„Ausgehend von einem rein akustischen Sounddesign, mussten wir die Positionierung der Audiokomponenten in Bezug auf die Lichtinstallation der Arena sorgfältig abwägen“, sagt Nicola Volpato, Projektleiter bei Mountech. „Die Position der Beleuchtung und aller für die Videoübertragung vorgesehenen Bereiche wurde gesondert erfasst und die Positionierung der Beschallungskomponenten darauf abgestimmt.“
Die Anforderungen an die Beschallung entsprachen zunächst denen einer typischen Sportarena. Nach der Erneuerung der technischen Ausstattung bietet die Il T Quotidiano Arena jetzt zusätzlich zu den sportlichen Veranstaltungen auch kulturellen Events das benötigte Equipment sowie weitere Technik, um die Events auch nach extern zu übertragen.
(Fotos: dBTechnologies)
Hollands größtes Theaterhaus investiert in ETC Prodigy P2
Die Nationale Opera & Ballet (NO&B) in Amsterdam repräsentiert das größte Theaterproduktions-Haus der Niederlande. Zu der Spielstätte gehört auch das Studio Boekman, einst ein ehemaliger Gemeindesaal und jetzt eine moderne Blackbox-Theater-Location.
Für einen reibungslosen Ablauf im Studio Boekman sorgen dreizehn automatisierte und mit Foundation-Steuerung ausgestattete ETC-Prodigy-P2-Seilzüge. Zudem wurden 32 Scheinwerfer der ColorSource-V-Reihe von ETC im Studio-Theater installiert.
„Wir haben uns verschiedene Systeme angeschaut, doch die anderen haben nicht den geforderten Sicherheitsregularien entsprochen - Prodigy dagegen ist vollständig EU-zertifiziert und lässt sich dazu nicht nur von vollzertifiziertem Personal bedienen, sondern von allen Technikern“, kommentiert Pieter Huijgen, Technischer Direktor NO&B, die Investition in die Prodigy-P2-Seilzüge.
Antrieb und Steuerung der Seilwinden übernimmt ein ETC-Foundation-Touchscreen-Controller. Um die gewünschte Flexibilität zu ermöglichen, wurden doppelte Plug-in-Steuerungspunkte installiert. „Somit lässt sich das Foundation-Pult mit seinem fünfzehn Meter langen Kabel an jeder beliebigen Position platzieren“, erklärt Enrico Nobile, ETC European Rigging Sales Manager.
ETC-Händler Ampco Flashlight Sales stellte das Equipment bereit und war an der Installation beteiligt. Zum Lieferumfang gehörten - neben den dreizehn Prodigy-P2-Seilwinden (in 300-Kilogramm-Hublast-Ausführung) - zwanzig ColorSource-Spot-V- und zwölf ColorSource-Fresnel-V-Scheinwerfer.
(Fotos: Fabian Callis/ETC/Opasna Randev)
Copenhagen’s Grand Joanne Hotel upgrades with Genelec Smart IP solution
Grand Joanne Hotel, located just a short walk from Copenhagen’s Tivoli Gardens, has 162 rooms, spread across six floors, and is also home to Joanne’s, a restaurant serving modern Italian dishes from breakfast through dinner, and a rooftop bar on the sixth floor.
Reopened with a fresh vision from hospitality specialists Midstar AB, the hotel blends heritage, lifestyle, fashion, and design within a restored 19th-century building. At the heart of its new chapter is a Smart IP loudspeaker solution from Genelec. Consultancy and integration firm Effektgruppen was tasked with bringing Midstar’s vision to life.
“Initially, we designed custom loudspeakers that blended with the décor, but it quickly became clear that while they looked great, the sound quality wasn’t up to par”, reports Fredrik Nordström, project manager at Effektgruppen. “So we decided to switch to Genelec’s Smart IP networked loudspeaker technology.”
The Smart IP system comprises 26 of the compact 4420 loudspeakers, 29 of the slightly larger 4430 models, plus seven 7050 studio subwoofers. These are strategically placed in all public areas, including the lobby, meeting rooms, restaurant, bar and gym. “Music is central to the ambience at Grand Joanne, and it’s reflected in every aspect of the hotel”, says Nordström. “Each Smart IP loudspeaker operates on the network as an independent unit, allowing us to tailor the sound in each environment with precision.”
“In the lobby, we installed eleven Genelec 4420 Smart IP loudspeakers paired with two 7050 studio subwoofers”, details Nordström. “This same attention to audio quality extends to the bar and restaurant. Joanne’s features eight 4430 loudspeakers and one 7050 subwoofer, providing background music for daily service or live events, while the adjacent bar is equipped with seven more 4430s plus another 7050 subwoofer.”
“The whole system is built on a Dante network with sound distribution run via a DSP from BSS”, he adds. “We used Genelec’s Smart IP Manager software to individually calibrate and tweak the delay and EQ of every loudspeaker. We also created some custom touch panels at various points so that staff can adjust sound levels. This is particularly helpful in the gym and yoga studios, as all AV elements can be modified depending on the intensity of the class.”
(Photos: Genelec/Effektgruppen/Grand Joanne Hotel)
Alfatron Electronics brings enhanced learning capabilities to Eastern Washington University
Eastern Washington University (EWU) is a public polytechnic university that shares a location in Spokane, Washington, with Washington State University and has partnerships with various community colleges within the state of Washington. As part of its Hybrid Learning Project, EWU recently deployed a large amount of electronic equipment across 17 buildings and 85 classrooms, with the bulk of the equipment being drawn from the catalog of Raleigh, NC-based Alfatron Electronics.
Carl Combs, Classrooms and Labs Team Supervisor, Dave Stewart, Senior IT Audiovisual Design & Engineering Specialist, and Adam Klinger, IT/AV Specialist of the Classrooms and Labs Team, are the three key people at EWU who designed and oversaw the deployment of the new Alfatron equipment. Over a three-year period, the team began testing various hybrid learning solutions, after which they started implementing the various setups. The Alfatron products were gradually placed into service and after fine-tuning the system configurations, the equipment was deployed campuswide.
“We did not have a standard for in-room video conferencing prior to Alfatron”, says Carl Combs. “Before Alfatron, we would temporarily set up webcams, Logitech Group systems, and/or Logitech Meetups in the various classrooms, conference rooms, and meeting spaces. Installing Alfatron technology was a great solution from an engineering perspective - only two ethernet cable runs were needed for each camera, providing power, video, and IP control. We did not need to involve our Electrical Shop and/or external electrical contractors. The combined Alfatron-Extron classroom control system integration proved successful.”
“The Alfatron equipment is used for hybrid distance learning classes, Zoom meetings, live and recorded sessions of professors’ lectures, student presentations, VIP meetings, guest presenters, in-house staff employee training, and more”, adds Dave Stewart. “We implemented 5x, 10x, 20x, and 30x zoom cameras for rooms of various sizes (classrooms, conference rooms, meeting rooms). FOV (Field Of View) was important to factor in during the engineering phase. The 5x cameras were implemented where a wider FOV was needed (primarily front of room cameras). The 10x, 20x, and 30x cameras were implemented where additional magnification was needed.”
Adam Klinger shares his perspective on the Alfatron switchers that were installed: “The ALF-SCK41TS has enabled professors and presenters to share different cameras and camera views. We utilized the IP control of the ALF-SCK41TS to integrate into Extron systems. From the Extron touch panel, we can select to view either the front or back camera or combine the cameras into different views like PIP (Picture in Picture) and Side by Side view - using both front and back cameras. The cameras have location presets which have been helpful for quickly changing views to show different locations in the room, like whiteboards and teaching materials.”
Stewart also discusses how the ALF-TPBK70R HDBaseT receivers were integrated into the systems: “These receivers, along with the HDBaseT cameras, enabled us to eliminate a transmitter and dedicated power at each camera location, all while extending the HDMI video signal longer distances. Our initial testing with USB extenders and cameras was not as successful for long distance runs.”
“We started looking into different hybrid learning camera solutions and had to find something that was easy, facilitated longer cable/HDMI signal runs, and did not require electricians”, concludes Klinger. “One Diversified, a systems integrator EWU frequently uses for projects of all sizes, recommended looking into Alfatron Electronics. Kevin Gelman at Alfatron has been invaluable to our process for knowledgeable support and troubleshooting.”
Pictured (left to right): Adam Klinger, Carl Combs, and Dave Stewart. (Photo: Alfatron Electronics/Eastern Washington University)
Club Citta chooses DiGiCo Quantum 338 for sound system refurbishment
Club Citta in Kawasaki, Japan, has seen historic performances from Nirvana, Oasis, Radiohead and many more, and is a popular stop for many Japanese and international touring bands. The input from touring engineers was enough to convince Toru Yamamuro (pictured), General Manager of Stage Production at Club Citta, that their planned console upgrade should be to a DiGiCo Quantum 338.
“We introduced our SD8 back in 2012, updating the SD with a 32-bit card in 2019, so when the time came to upgrade our system, we asked various people about the Quantum and the feedback was very good”, says Yamamuro. “We also received enquiries from overseas artists who wanted to use the Quantum 338, so we had a strong desire to install it ourselves, and we were able to make it happen.” The installation was completed in June 2024.
“With the addition of Mustard Processing and Spice Rack, plus the increase in EQ parameters, there are many more points at which you can process the sound”, continues Yamamuro. “I like the Mustard Processing, especially the vintage VCA Compressor, which feels like a DBX, it has a similar effect to the 1176. With the Quantum 338, I can apply EQ and compression while I’m mixing.”
“We have a Dante card installed”, he adds. “In the SD8 days, we sometimes recorded live performances using MADI and then recorded them again using Dante on the monitor desk. But now that the Quantum 338 has a Dante card installed, we can record live performances using just this.”
(Photos: Club Citta/DiGiCo)
