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Patronaat invests in Robe TetraX luminaires
21/08/2024
Princess Cruises selects Robe TE fixtures for immersive LED lighting and sustainability enhancement
08/08/2024
Sound system at Palace Bar Miami equipped with Powersoft X4, Duecanali and Quattrocanali amplifiers
24/07/2024
Milton Rooms unveils new sound system
09/05/2024
Christian “Tian” Jimenez uses KRK Rokit monitors and subwoofer while producing and mastering
09/05/2024
The Star Theatre Singapore invests in Ayrton Huracán
The Star Theatre, the main venue at The Star Performing Arts Centre in Singapore, has invested in a quantity of Ayrton Huracán Wash fixtures supplied by Ayrton’s exclusive distributor for the region, Total Solution Marketing. The Huracán Wash units will become a fixed installation as part of the permanent lighting rig, and mark the second investment in Ayrton for the venue.
The Star Theatre is a 5000-seat capacity space that features a traditional horseshoe shape auditorium with plush seating. Forty Huracán Wash fixtures were installed at the request of The Star Theatre’s Head of Lighting, Mohamad Azhar Bin Mazlan. “The Wash fixtures will be used to complement our existing sixty Khamsin Profiles which were purchased for the Theatre in 2020”, he says.
“Most of them are rigged as part of our default in-house rig and perform over throw distances ranging from 10-25 m”, he adds. “They will be used for lighting our anchor tenant, New Creation Church, at weekly Sunday services, and put to full use at the many concerts, conferences and dance performances held at the venue.”
(Photos: Mohamad Azhar Bin Mazlan/The Star Theatre)
Area15 utilizes Holoplot X1 to transport visitors through space and time
Area15 is an immersive entertainment district just moments from the Las Vegas Strip. Already equipped with a Holoplot X1 system, it includes the Illuminarium, an experience located in the Area15 District. Now following suit in upgrading their audio experience with an X1 Matrix Array sound system is The Portal, a multi-use venue and key element of Area15’s type of experiential entertainment. It offers experiences for the whole family, including rides and VR, live performances, DJs, and food.
The Portal can be used for private dining, all-night DJ sets, and everything in between. At Halloween, for example, the “Rocky Horror Picture Show” is projection-mapped on all four walls of the venue and supported by live actors, but it has also been home to fine art shows and corporate events.
The newly installed Holoplot X1 system consists of two arrays of two MD96 Audio Modules, topped with two MD80-S each, positioned left and right at a height of 25 feet at one end of the room. Acting as a sandbox for any experience imaginable, The Portal is a vast grey concrete cuboid, with a seamless 360-degree projection-mapping across the walls and floor.
Using Panasonic projectors, the visual elements were as desired, but JD Bouck, Director of Production, found that the original sound system was never able to keep up, owing to acoustics akin to a giant fish tank and highly reflective, smooth walls. “The Portal was one of the biggest concerns we had”, he says. “It is a 7,000 square foot, completely blank canvas - not built like any other real venue that I’ve ever been to. There is nothing to soften it, no balcony or mezzanine, just hard surfaces.”
“It was the reflective surfaces that we were really trying to tackle with the Holoplot system”, Bouck continues. “The 3D Audio-Beamforming technology allowed us to focus so that we could cut the reflections off the walls and make sure the people at the back of the room were getting the same audio picture as the people at the front of the room. All without having to run a ton of delays or having a bunch of loudspeakers in front of the projection surfaces.”
The Holoplot team supported Bouck throughout the whole process, from system planning to providing room calculations until final commissioning and tuning. “Loud isn’t always good. Good is good!”, explains Mark Stutzman, CTO at Area15. “We now have great audio quality without it having to scream in your face. The Holoplot team really worked with us, listening to our ideas and taking it all into consideration. Our DJ shows can be up to five or six hours long. The guests can come and go, but the staff - our technicians, security, and bartenders - are here all night, and we have a duty of care to them, to ensure they’re comfortable. We didn’t want the ear fatigue you usually get from really loud festivals.”
(Photos: Holoplot/Area15)
Patronaat invests in Robe TetraX luminaires
Patronaat, a live music venue in Haarlem, the Netherlands, just outside capital city Amsterdam, stages over 300 shows a year in its two live performance halls and a small stage/club operating over weekend nights, offering rock and pop shows, club nights and music-based festival events.
The venue has featured a Robe moving light rig in-house since 2012, which has been upgraded in recent years to include some of the newest Robe technologies. The most recent addition to the inventory (which also includes 36 Esprites, together with Spiider LED wash beams and ParFect 150s) is 36 units of TetraX 360-degree rotating LED battens, primarily being used in the 950-capacity main hall.
Head of lighting Robin van der Plas says they were initially looking at LEDBeam 350s, but then saw the TetraXs and thought they would be “something different, especially with the individual pixel control”. Twenty-four fixtures were initially ordered, but quickly upped to 36 - now 24 are rigged in the roof above the main stage, with another six flown above the audience and six more available as part of a floor package. The six “floating” fixtures are also often used in the second hall.
The TetraXs have been in use extensively since the start of the year as part of the main hall production lighting design created by Dimitri de Wal, who created the house lighting schemes for all three of Patronaat’s performance spaces. A technical crew of twelve covers all departments - lighting, audio, and video. The TetraXs were delivered by Robe’s Benelux distributor Controllux.
Pictured: The band Feuerengel on stage. (Photos: Louise Stickland/Paul Clarke)
Music producer Jose Luis “Pepe” Pagan chooses KRK
Music producer, TV/film/musicals creator, songwriter, and guitarist Jose Luis “Pepe” Pagan has had an ear for music from a young age. He was born in Argentina, where he first began his career in the music industry before moving to the United States 25 years ago. He has since worked with artists such as Marc Anthony, J.Lo, Chayanne, Thalia, and Sarah Lenore, among others.
In addition to being a music producer, Pagan also works in the TV, film, and musicals industries and is the creator and music producer of the Amazon Prime show “Melody”. He is also the co-producer for an upcoming musical about the life of Latin American artist Sandro. For these projects, Pagan splits his time between his home studio and locations in Miami and Argentina, where he always has a combination of KRK solutions available. Included among these are the V-Series V4 Powered Studio Monitors and an S10.4 Powered Studio Subwoofer, as well as the Rokit 5 Generation 4 Powered Studio Monitors and 10S Subwoofer.
“I use the V4s a lot, basically for everything: when mixing, during the recording, and for completing all my music”, he says. “When I go to Argentina again for my next musical, I will bring these speakers with me. I travel everywhere with them because I like to always have the ability to reference on the spot.”
As a producer, Pagan previously found it difficult to get just the right level of vocals for his mixes, but the V4s have solved this problem. A longtime KRK user, Pagan first started with the brand’s Rokit monitors. He also entrusts his KRK subwoofers to deliver quality sound at his home studio. “I use the subwoofers to make sure everything is balanced. I have one in the center, which is an old KRK 10S Sub, and I have another one a little bit to the side, which is the new 10.4.”
(Photos: KRK)
Martin Audio WPM for Fiji’s World Harvest Centre
Christian Mission Fellowship International (CMFI), established in 1990, is a church headquartered at The World Harvest Centre (WHC) in Suva, Fiji. The round church building hosts over 3,500 worshippers, a full band, production, and a 100-member choir. Head Pastor Suliasi Kurulo, his production crew and the committee recently decided it was time to upgrade the sound system.
They awarded the project to Carey Leghorn from CVAV Australia, based on a Martin Audio solution. Leghorn, together with Anthony Russo from Technical Audio Group, Martin Audio’s Australian representative, made several visits to WHC to evaluate the scale of the project and create a design that would meet the brief’s requirements.
“This project was one of the most difficult I had ever worked on”, shares Leghorn. “We faced several challenges, from working at 15 m heights for PA rigging to custom steel fabrication on site. Additionally, we had to install several kilometres of cables through a complex roof structure. Also, much of the fabrication had to be done in Australia with no room for error once the project was containerised and sea freighted.” According to Leghorn, choosing the final speaker design involved hundreds of hours of modelling, with the final decision to use a Martin Audio Wavefront Precision line array system.
The services are major concert events with 3,000-plus people singing, supported by a full band and choir. Therefore, the system had to achieve SPLs generally associated with an international touring act. Martin Audio’s Display prediction software was used to design a 56-cabinet WPM system, which proved the optimal solution. The main hang consists of a 32-cabinet left and right system in two-box resolution, along with a 10-a-side WPM operating in one-box resolution mode.
The system is underpinned with two stacks of six Martin Audio SX218 subwoofers per side, each individually processed. Despite the challenges posed by the rigging and structural steelwork, the CVAV crew achieved the feat of hanging a centre cluster and allowing beam steering of the sub-cluster. “Once I saw it hang together in place, it was a dream moment for me”, says Anthony Russo. “It’s extremely rare to get subs in that position in churches, where projectors, sightlines and roof weight loadings often constrain you. This results in compromised split left and right subs and the inevitable power alley and off-axis cancellations.”
The choir stalls are covered with eight individually amplified and processed CDD12 two-way cabinets from Martin’s coaxial CDD range. The main console provides a tailored mix send depending on the choir’s requirements. An eight-cabinet Blackline X12 delay system was installed to complement the main PA. This enhances the overall experience for the rear congregation and optimises the coverage of the main arrays to the main seating area.
Three CDD10 speakers across the stage apron supplement the front rows to complete the main system. The stage is covered by a foldback system comprising six LE100 wedge monitors.
(Photos: CVAV Australia/Martin Audio/World Harvest Centre)
Shoreline City Church upgraded with ROE Visual
Denver, Colorado-based Summit Integrated Systems, specialists in audio, video, and lighting systems for churches nationwide, brought ROE Visual in while they were helping serve Shoreline City Church in Dallas, Texas. This installation enhances the worship experience by delivering visuals that complement the church’s services, as well as improving coverage and resolving sightline issues for those on the second floor.
For the original White Rock campus in 2018, Summit installed 90 ROE Visual Carbon 3 (CB3) panels for the center stage. As the church grew and moved to their new main Dallas campus in December 2023, Summit moved the 90 panels from White Rock, and installed an additional 70 Graphite 2.6 (GP2.6) and 96 GP3.1 panels, forming a large halo-shaped LED screen above stage with two large side screens.
The vertical IMAG screens on either side of the stage help to extend content, and they allow the use of the current CB3 for traditional 16 x 9 content display as well as integrating the halo and vertical IMAG screens for worship and teaching segments.
(Photos: ROE Visual/Shoreline City Church/Summit Integrated Systems)
Princess Cruises selects Robe TE fixtures for immersive LED lighting and sustainability enhancement
Princess Cruises has upgraded the lighting rig in their 1000-seat Princess Theatre on the “Crown”, “Emerald”, and “Ruby Princess” ships. In a project completed in 2023, Princess Cruises Fleet Lighting Supervisor Matt DeJong and the Princess Entertainment Technical team selected Robe Lighting TE (Transferable Engine) fixtures, ushering in a new era of LED lighting technology to enhance the cruise line’s entertainment offerings.
The Crown Class lighting revitalization project included 69 Esprite Profile, 87 Spiider, 78 Painte Profile, 98 LEDBeam 150, and 48 ParFect 150 wash luminaires, which has reduced the Crown Class’ overall electrical consumption by fifty percent. This not only benefits the environment but also leads to reduced HVAC draw and overall fuel costs. Additionally, it significantly reduces operational and maintenance expenses.
Robe’s Transferable LED Engine technology allows for easy replacement of light engines, extending the fixture’s lifetime and avoiding costly and time-consuming full light engine replacements. This technology provides the flexibility to choose engines, including HP (High Performance), HCF (High Colour Fidelity), TGW (Tungsten White), or the MSL-TE (Multi-Spectral) engine.
The new lighting system enhances Princess Cruises’ in-house entertainment offerings, including original productions created in partnership with Stephen Schwartz, an Oscar, Tony, and Grammy award-winning composer. In addition to the all-Robe automated lighting rig, the Crown Class lighting setup was complemented with additional conventional fixtures, strobes, and UV effect units.
(Photos: Matt DeJong)
Sound system at Palace Bar Miami equipped with Powersoft X4, Duecanali and Quattrocanali amplifiers
Located in the heart of Ocean Drive in Miami’s South Beach, Florida, the Palace Bar, renowned for its iconic status within the LGBTQ+ community, has been serving up dining experiences for more than three decades. Recently, it went through a complete overhaul of its sound system throughout the whole venue, featuring fourteen Powersoft amplifiers.
The venue comprises four different areas: café, dance floor, roof top and main outside area. Collaborating with Lord Toussaint, CEO of Miami based loudspeaker manufacturer Infinite Audio Systems, Tom Donall, the owner of Palace Bar, wanted to cover every part of the venue. “We needed a system where we could tailor each area to the requirements of what we needed”, says Donall.
He and Toussaint designed the sound system together and went through the requirements of each area. The most important was to ensure the outside areas could withstand the outside elements, especially the salt from the ocean water, and that the audio system would be able to run the live show seven days a week, twice a day.
“It’s a complex scenario because there is a live show performed on the terrasse at the front of the building that sort of bleeds out onto the sidewalk and the streets”, states Toussaint. “It’s a very high-energy show that uses a lot of live microphones and house music tracks and it needs to work on the people, but then it also needs to be distributed across various areas throughout the venue.”
The main sonic challenge was to equally cover and synchronise all areas during the live shows. To combat this, Toussaint deployed speaker systems individually for each area, as if they were standalone systems, and then united them as one, using a Biamp Tesira Server I-O for DSP.
The Palace Bar audio setup makes up fifty Infinite Audio Systems speakers in the lower level, powered by ten Powersoft amplifiers, and twelve speakers on the rooftop, also driven by Powersoft. It’s not only live shows Palace Bar’s sound system caters to, Donall adds: “We also have DJs performing here. There is an on/off switch for the areas we don’t use all the time, and we can also control the microphone volume levels.”
At the main stage and interior dance floor, Donall and Toussaint specified a two-way horn-driven Infinite Audio CDX 15V setup for mids and highs, powered by two Powersoft X4 four-channel amplifiers. “There’s no room for 18-inch speakers with very low frequency (at Palace), so we did it with our extended response 15-inch systems, and they were up to the task because of how they’re driven”, says Toussaint. “Our lowest speaker load is a 4-ohm load, but it makes a very big difference that these amplifiers are merciless across every brand.”
As for this project, he adds: “The support of Powersoft’s team, especially senior sales manager Rick Woida, has been invaluable in this installation.”
(Photos: Powersoft/Palace Bar)
Brompton Technology supports Singapore’s X3D Studio
Officially launched in June 2024, X3D Studio is an ICVFX virtual production stage and one of the largest facilities of its kind in Southeast Asia. The multipurpose studio is housed in the historic site of Singapore’s old power station and features Brompton Technology LED processing.
“We are very proud to launch an exciting new industry for Singapore and provide filmmakers with the technology, tools, and creative support to enable their vision to be realised”, says Karen Seah, co-founder and CEO of X3D Studio. Myke Brown, co-founder and VP technical designer of X3D Studio, adds: “X3D Studio is the world’s first virtual ICVFX production stage accredited by Arri, poised to propel Singapore and the greater Southeast Asian region’s emerging industry forward.”
X3D Studio utilises Infiled DB1.9 Mark 2 panels equipped with CBSF technology for the LED wall, measuring 18 m wide by 6 m high, and offering a screen resolution of 9216 x 3072 pixels. The LED ceiling comprises Infiled AR3.9 VSS panels with a screen resolution of 2048 x 2048 pixels. Driving this LED setup are seven 4K Tessera SX40 LED processors and eleven Tessera 10G data distribution units. All Infiled panels have been calibrated with Brompton’s Hydra measurement system to enable Dynamic Calibration features, taking full advantage of Brompton HDR.
In addition to already releasing two virtual production short films, “Trap” and “Dead End”, starring Qi Yuwu, Oon Shu An and Andrew Lua, several regional productions are due to be announced. “We’re also planning to co-host Virtual Production courses with institutions like Nanyang Polytechnic, and launch our own X3D Academy ICVFX Accelerator course”, says Brown.
(Photos: Brompton Technology/X3D Studio)
Tube UK supplies sound system for Chew’s Yard in Preston
Audio specialist Tube UK has supplied a dynamic distributed sound system comprising D&B, Outline, Tannoy and Martin Audio speakers with a Yamaha MRX7-D audio matrix router at its heart for the new Chew’s Yard social, creative and entertainment space in Preston, UK.
Chew’s Yard has seen the reimagination of a derelict former industrial premises, transforming it into a community hub and event space. It is the brainchild of creative energizers Ben Casey, of Chase Developments in Manchester, and Christine Cort, of CC&Friends, a founder of Manchester International Festival (MIF).
This first phase of development includes a 150-capacity food hall and bar area with offerings from different traders, an entertainment space, a series of industrial workshops for independent businesses and start-ups plus a large outdoor space, all with plenty of potential for staging a diversity of events.
Tube UK was asked to design and install the audio options for servicing these various spaces, delivering both background music and live (electric and acoustic performances). “We are very proud to be included as part of Ben and Christine’s vision for the venue, and I really believe that this is a landmark project for Preston that will encourage artists and creatives to use the space for their endeavours as well as encouraging the public to enjoy and engage with so many different activities”, comments Tube UK’s Melvyn Coote.
The main eatery space also contains a small acoustic stage, while the events space next door needed to host bands and DJs at the far end, fitting in around 200. The events space stage is temporary and can be moved - manually - for other community activities needing more capacity. An outdoor area wraps around the side and rear of the building with tables and concessions plus another acoustic stage.
Putting the Yamaha MRX7-D matrix system at the centre of the sound design allows any sources in all areas to be fed to/from anywhere else, so if there is background music playing in one section, it can be zoned through to other areas as required, and the live stage feeds can also be beamed around to the different spaces.
The MRX7-D system architecture has been custom designed for Chew’s Yard activities on any given day, and it deals with sources, signals, volumes, EQ levels, delays etc., which are programmed into the main unit. Remote user interfaces/controllers are then added as required.
Currently, control is via an iPad fixed to the wall of the bar for operation by staff and duty managers. A cell phone app has also been added so that staff can pick up a device and move through the different areas, adjusting the sounds as they go.
The main event space features Outline Audio speakers, powered by Powersoft amps and with D&B wedge monitors. The entire system is run via Powersoft amps with Dante incoming from the MRX7-D. The food area and the events space have Tannoy background music systems and outdoors, Tube chose Martin Audio CDD8 and CDD6 ultra-compact weatherised speakers.
A Midas Venice analogue control desk was supplied for the band stage, and with Chew’s Yard being such an embryonic and experimental concept, they are anticipating that most bands playing there will be self-mixing. In addition to all of this, Tube supplied a stage monitoring system, and a mics-and-stands package.
Installation of the system was headed up by Tube’s senior project manager John Redfern during April 2024 ahead of the launch in early May.
(Photos: Tube UK/Chew’s Yard)
Nugen Audio plug-ins boost workflow for Nashville-based engineer Webster Tileston
Tracking and Mix Engineer Webster Tileston thrives when lending his expertise to the creative process - whether tracking in some of Nashville’s premiere recording studios, mixing at his own studio Axis Audio, system engineering or training personnel.
Fueled by his fascination with technology and workflows, he began working in immersive formats, which led to his work with EDM artists Diplo and Dillon Francis, country artists Maren Morris and Little Big Town, and R&B artist Emily King, among others. A veteran at tracking and mixing in stereo, Dolby Atmos for Apple Spatial Audio and Sony 360 Reality Audio, Tileston continuously aims to create memorable experiences for listeners regardless of the playback format. To achieve this goal, he often turns to a variety of Nugen Audio plug-ins, such as Halo Upmix, Paragon and Halo Vision.
An early adopter of immersive mixing, Tileston initially downloaded various plug-ins when he first began mixing for Dolby Atmos. “When Dolby Atmos was first being implemented, the integration of any plug-in for that application was a little challenging”, he says. “I revisited this later on, when I got my hands on Nugen’s Halo Upmix, and it was nice to dive in and see how the technology has evolved. What I most appreciated was the functionality and simplicity of it.”
Among Tileston’s favorite features of Halo Upmix are the vertical distribution sliders, specifically when working with stereo stems. “This comes in handy for me, especially if I’m doing an immersive mix from stems, and the stems have reverb baked into them”, he explains. “Halo Upmix has given me a way to push more of that ambience and reverb out and around the room, especially into the ceiling-height speakers.”
Tileston says that Nugen’s Paragon reverb has also become one of his primary solutions, as well as the Halo Vision plug-in. “I think there are a lot of newer engineers in immersive audio who don’t necessarily pay attention to or know how important phase correlation is across that bandwidth and spectrum”, he says. “Once you understand that importance, you’ll appreciate how awesome it is to have visual feedback like the correlation web within Halo Vision.”
(Photo: Nugen Audio)
Kreuzfahrtschiff „Seven Seas Grandeur“ mit ETC-Lichtsystemen ausgestattet
Mit der „Seven Seas Grandeur“ sticht dieser Tage der sechste Luxus-Liner von Regent Seven Seas Cruises in See. Beim Beleuchtungskonzept des 224 Meter langen Kreuzfahrtschiffes, das über zehn Decks verfügt, spielen Lichtsysteme von ETC eine tragende Rolle.
Travis McHale, ein in diesem Segment erfahrener Lichtdesigner und Programmierer, war für das Lichtkonzept verantwortlich. Er schnürte auch das für die „Grandeur“ installierte Paket von Lichtsystemen, welches unter anderem 82 ColorSource Spot V, 23 ColorSource Fresnel V, neun ColorSource Linear, fünf Halcyon Platinum Ultra Bright, 32 Halcyon Titanium Ultra Bright und 20 Talen beinhaltet. Die Ansteuerung geschieht über eine ETC-Eos-Apex-10-Konsole (plus Fader Wing).
Eine Sonderrolle schrieb der Lichtdesigner bei der Kreuzfahrtschiff-Installation den insgesamt 37 Halcyon-Scheinwerfern zu. Sie kommen in der Event-Location des Schiffes zum Einsatz.
Zu den wichtigsten Entertainment-Programmpunkten der „Seven Seas Grandeur“ gehören die abendlichen Shows: In der ersten Saison nach dem Stapellauf sind es vier an der Zahl, drei davon wurden von McHale, der über langjährige Theater-Erfahrung verfügt, in Szene gesetzt. Besonders hilfreich seien dabei die Eos Apex 10 gewesen. McHale platzierte die Magic Sheets auf den Apex-Monitoren. „Früher habe ich sie immer auf externen Monitoren untergebracht, das ist mit der Apex nicht mehr nötig“, sagt er.
Da in der Kreuzfahrtschiff-Branche Energie-Einsparungen und Emissionen von großer Bedeutung sind, hat McHale auch im Beleuchtungsbereich der Schiffe einen Trend ausgemacht: „Es geht immer mehr in Richtung kompletter LED-Anlagen. Die Systeme von ETC sind da ganz vorne mit dabei.“
(Fotos: ETC/Travis McHale)
Historic “Lido” in Paris reopens as musical theater with Elation lighting solutions
The “Lido” on the Champs-Élysées, a Parisian nightlife staple since the Roaring Twenties and once famous for its exotic cabaret and burlesque shows, has been completely renovated and reopened as “Lido 2”, a premier musical theater. Now presenting major works of theater in an immersive cabaret setting, “Lido 2” attracts both French and international audiences with a lighting kit almost exclusively from Elation.
Global Technique Concept, led by project manager Eddy Couloigner, oversaw the renovation and was enlisted as the lighting management service provider for the venue. In February 2023, the historic cabaret shows ended, and renovation work commenced shortly thereafter. Over seven months, the new lighting kit was installed to meet the venue’s unique requirements, including a relatively low proscenium ceiling height of 5.5 meters.
In line with venue owner Accor’s decision to ban tungsten and halogen lighting across all its establishments, the “Lido 2” features exclusively LED lighting. The new Elation rig consists of 30 Fuze Max Profile, 30 Fuze Profile, 16 Fuze Wash FR and 12 Chorus Line 16 fixtures. The Fuze Max Profile, with a beam angle range from 8° to 40°, are primarily used for front and side lighting, offering precision and essential framing shutters to avoid lighting the audience. The more compact Fuze Profile fixtures, with a 6° to 35° beam angle, are discreetly distributed above the stage and, with full blackout framing shutters, maintain beam control off the audience.
The Fuze Wash FR fixtures, selected for their Fresnel qualities and built-in framing, provide soft lighting. The Chorus Line 16 linear wash LED fixtures are hidden above the orchestra and out of public view. The lighting allows for use on other events as well, private gatherings for example, supporting “Lido 2” as a multifunctional venue. All Elation lighting was supplied through Elation’s French partner Best Audio & Lighting.
For the recent production of “A Funny Thing Happened on the Way to the Forum”, Couloigner collaborated with a lighting designer from the opera to ensure that lighting quality met the high CRI standards.
The “Lido 2” team also includes: Florian Fassenet (Technical Director); François Muguet-Notter (Deputy Technical Director); Déborah Lopez (Technical Management Assistant); Simon Stehlé (General Manager); Giuseppe Di Orio (Show Lighting Designer); Alexis Tsagris, Léo Lequesne and Juliette Luangpraseuth (Lighting Technicians).
(Photos: Julien Benhamou)
La Parada opens new restaurant in Johannesburg with an audio solution from Audac
La Parada is a restaurant chain bringing the vibrancy of the Mediterranean to South Africa. Finished with sandy pastels and palm trees, the restaurant’s newest location is in Johannesburg’s day-to-night dining and shopping destination Cedar Square. To compete with some of the busiest bars and clubs in the area, La Parada installed an audio system using technology from Audac and Xilica.
The project was a collaboration between AV Distribution and South African installation company Sonic AV. For Cedar Square, La Parada wanted a sound system that catered to DJs and bigger parties, offering something different to its predominantly dining-focused venues. “La Parada wanted to make the shift to a more music-orientated restaurant with this opening”, says Richard Edwards, CEO of Sonic AV.
The main bar and DJ area of La Parada Cedar Square features four Audac Vexo112 two-way passive loudspeakers. Across the rest of the bar, including the mezzanines and outside areas, Sonic AV installed six Xeno8 full range loudspeakers and six Xeno6 models. Two Audac Baso15 compact subwoofers deliver low end.
La Parada is divided into five zones; the main floor, two mezzanine areas and two outside areas. The entire space is wired in stereo and run through a Xilica Solaro audio processor for the staff to choose their inputs. There’s an input for background music, DSTV and the DJ, so Sonic AV also created a custom user interface for the team to run the entire restaurant off, including pre-sets for different times of day. Additionally, an iPad runs the Xilica Xtouch app so that the restaurant manager can control the sound in all areas of the venue.
“La Parada is a double volume restaurant with single volume mezzanines, which made it difficult for us to install the system and create an ambience that suited La Parada’s needs. So we also carried out some customised acoustic treatment”, says Edwards. “Our consultants did a full model of the space before we began to figure out where the problematic frequencies were, as well as any reverb issues. We then based our solution on the model. The acoustic treatment made a huge difference.”
(Photos: Stage Audio Works/La Parada)
SLX installs Tommex-designed Coda Audio system at Olsztyn’s rebuilt Urania Hall
Urania Hall in Olsztyn, Poland, recently underwent a comprehensive rebuild and refurbishment. Now, with a rebuilt Main Arena, new dome, modern architecture, and additional spaces such as a Small Arena, indoor ice rink, and underground parking, it serves as a key venue for a wide variety of events.
Specialist integrator SLX Sp. z o.o. was engaged to install the audio elements of the project and chose Coda Audio systems for the Main and Small Arenas. The system was designed and supplied by pro audio specialist and Coda Audio distributor Tommex.
Volleyball, basketball, and tennis are some of the sports played in the Main Arena, which can hold more than 4,000 spectators in advanced mobile stands. With a multifunctional floor area of 2,380 sqm and a height of 29 metres, the Arena can also accommodate events such as motocross acrobatic shows.
The Small Arena, with a seating capacity of 1,000, is primarily intended for handball, volleyball, or basketball training. This space can also be rearranged into two or three sectors with full-size courts, thus adapting to current needs from training sessions to corporate meetings, banquets, or celebrations.
The facility presented a number of challenges. In the Main Arena, the combination of a small space between the hall’s acoustic ceiling and the minimum mounting heights of technical elements on the playing area meant that the system had to be lightweight and compact, whilst still powerful enough to ensure the necessary SPL and even distribution.
A total of sixty Coda N-Ray line array units supported by twelve SCV-F subwoofers were chosen for the Main Arena. The Tommex team designed the audio system by using Ease simulation software and Coda’s proprietary System Optimiser prediction software.
Sound reinforcement for the playing area was achieved with the use of six G712-Pro 3-way full range loudspeakers. A further six G712-Pro took care of reinforcement in the 100 capacity Small Arena, with the systems in both Arenas powered by Coda Audio Linus14D DSP amplification.
(Photos: AW Fotografia)
Upgraded audio system at Chase Field powered by Cohesion CO12
Chase Field, located in Phoenix, Arizona, and home of Major League Baseball’s Arizona Diamondbacks, raised another National League pennant this past year. The championship banner gained company with the completed integration of a new Cohesion system, featuring the first permanent installation of Cohesion CO12 loudspeakers.
Opened in 1998, the 48,330-seat retractable-roof stadium has, over subsequent decades, augmented its year-round entertainment offerings beyond baseball. The Chase Field executive team envisioned attracting a wider range of high-profile events with an upgraded PA at the venue.
“The goal of better sound included granular control”, says Steve Silvertooth, Manager of Broadcast Engineering for the Diamondbacks, who experienced the capabilities of Cohesion firsthand during a Billy Joel and Stevie Nicks concert at Chase Field in December 2023 and became convinced that it should be the preferred solution for their upcoming project. Ultimately, the Chase Field system integrated the very same CO12 featured in the arrays of that Billy Joel and Stevie Nicks concert they attended.
Clair Global Integration (CGI) installed the system in the span of a few weeks prior to the 2024 baseball season. The main PA, comprised of eighteen CO12 per side adjacent to the centerfield scoreboard, provided coverage for the bulk of the stadium seating. An additional integration of nine CO12 per side underneath and rotated relative to the main clusters provided further coverage of the outfield and side seating.
This alignment, in lieu of more traditional co-located arrays, reduced interference in the lower end of the spectrum and worked well for the physical characteristics and reflective surfaces within Chase Field. The system design accounted for those venue attributes, such as the nine-million-pound retractable steel roof and the large (20’ x 15’) doors that open by the north concourse when weather permits. The bandwidth of the CO12, with coverage down to 35 Hz, eliminated the need for subwoofers, which saved valuable space in an area with limited room for installation.
The system also included an upgrade to the control room reference monitors by integrating a pair of Cohesion CF10 point source loudspeakers. These fill speakers are voiced similarly to the CO12 and therefore extended the full-range response of the outfield arrays into the control room to improve mixing of gameday audio and live performances.
(Photos: Anna Carrington/Arizona Diamondbacks/Cohesion)
Regan Vest museum installs Genelec’s 4000 Series loudspeakers in its exhibition space
Regan Vest is a new museum in Skørping, Denmark, exploring the geopolitical tensions of the Cold War. It tells the story in a newly built exhibition space that’s equipped with a comprehensive audio solution from Genelec.
“We wanted to create an exhibition in which the audio-visual elements supported the storytelling in very subtle ways”, says Taintec’s Tue Selmer Friborg, the audio-visual consultant that worked on the project. “The sound had to offer guests an immersive element, whilst being unobtrusive.”
The museum is made up of three parts: a 5,500 sq-metre secret bunker hidden sixty metres underground, which takes guests to the centre of the Cold War with its untouched artefacts and original décor; the master machinists house, which allows visitors to experience what day-to-day life was like; and the newly built exhibition space that tells the story of political tensions and how Denmark prepared for nuclear attack. This is where the Genelec system is deployed, with Friborg specifying a solution that relies on the 4000 Series loudspeakers, complemented by 7050 subwoofer technology.
“The inbuilt amplifiers made for a simple installation, and the low power consumption provided by Genelec’s Intelligent Signal Sensing (ISS) technology means that I don’t need to bother with turning amplifiers on and off”, says Friborg. “I like to make systems with as few hardware types as possible because it makes setup time and maintenance much easier, and the client does not need to have a huge stock of different spares.”
The system comprises seven 4030 loudspeakers, five 4020s, four 4010s and one 7050 subwoofer. As guests enter, quadrophonic surround sound is used to emphasise the two opposing sides, and in another room, there’s a replica of a nuclear explosion, which features intense flashing lights, a blast from the Genelec loudspeakers and a Danish TV broadcast of the attack.
Additionally, several vintage TVs and radios play historic clips from the era, which are reproduced by Genelec’s 4010 loudspeakers. The system is controlled by networked media players from BrightSign so that the sound levels and playback triggers are handled via the network.
(Photos: Genelec/Regan Vest)
Madrid’s Teatro de la Zarzuela invests in Robert Juliat Dalis 860 Cyclorama lights
Theatre, television and event rental company CityLight Iluminación has supplied 32 Robert Juliat Dalis 860 Cyclorama lights to Madrid’s Teatro de la Zarzuela (home of Spanish traditional musical comedy Zarzuela), procured from Robert Juliat’s exclusive distributor for Spain, Earpro & EES.
Teatro de la Zarzuela’s technical team carried out some in depth research when choosing their latest cyclorama lighting, making extensive enquiries on their requirements within its own team of experts and with visiting lighting designers before making their choice. “Our investments are always a collegiate decision based on the views of all they affect, and on our need to improve our equipment while providing each lighting designer with a wider range of resources”, says Antonio López, Technical Director at Teatro de la Zarzuela.
Shortly after receiving their new Dalis fixtures, the team installed them in readiness for a series of concerts: “We rigged nine Dalis 860s on a lighting bar set 1.8 m behind the cyclorama cloth and another nine units on the ground at the same distance”, says López. “From here we projected onto a pearl grey PVC cyclorama, covering the 12 m wide x 8.5 m high surface.”
The Dalis 860 fixtures have since been put to good use on a number of productions including the Gal La Placídia Opera, the Lied Recital, a Symphonic Concert of Spanish Music, and the tribute to the soprano Victoria de los Ángeles.
(Photos: Elena del Real/Teatro de la Zarzuela)
La Planète Rouge charts a stellar future with Brompton Technology
In 2021, La Planète Rouge, a team of 3D and VFX set designers as well as colourists, set out to create The Next Stage, housed within Provence Studios, the largest filmmaking infrastructure in southern France. According to its creators, The Next Stage has been designed to be “the ultimate in virtual production studios”. It features a custom-made LED screen from French manufacturer ArtBox and is powered by Brompton LED video processing.
“We started with a blank sheet”, says La Planète Rouge’s Morgann Brun. “The infrastructure needed to be as immersive as possible because our aim was for production companies to be able to create content for feature films there.” The result is a studio that features a U-shaped volume with an LED ceiling, plus a mobile set up. As Brun puts it, it is “a Swiss Army Knife for virtual production”.
To achieve this, the La Planète Rouge team spent a year on R&D, working with various manufacturers to decide on the best solution. “Because of this, and the fact that we are the owner of our own, cost-effective LED panels, we could test everything thoroughly”, says Brun. “We were also helped by the French government, which is keen to support the film industry. This was unique for us and hugely advantageous because we could spend time understanding our tools.”
The team’s collaboration with Brompton and ArtBox was instrumental in the R&D stage. ArtBox invested in its own Hydra camera, enabling it to get the most out of its panels with Brompton’s Dynamic Calibration technology to allow greater brightness, improved colour gamut and, crucially, the ability to display HDR imagery, with Brompton’s Business Development Manager Europe, Dries Vermeulen, advising on technical aspects, including calibration and refresh rates. “There was a lot involved and our conversations with Dries are ongoing”, continues Brun. “But our expertise and creating a studio at such a level meant the likes of Lions Gate wanted to come and see us, along with many small French companies.”
With the team’s extensive background in VFX spanning over fifteen years, La Planète Rouge prides itself on being able to be part of any project, from its conception through to its delivery. “From creating XR content to operating XR shoots and handling any post-production requirements, our holistic approach optimises our clients’ budgets, particularly for projects that have quick turnarounds”, adds Brun.
The Next Stage features a 2.5 pitch ArtBox LED wall, with each of the three sections measuring 14 m by 6 m high, along with a motorised roof spanning 8 m by 8 m, and one 5 m by 2.5 m mobile setup, all of which totals around 50 million pixels. “Our production control room is equipped with ten Brompton Tessera SX40 LED processors, offering 12-bit HDR rendering on the LED wall with a frame rate of up to 200 fps for slow motion”, explains Brun.
The studio’s product arsenal also includes nine servers that render in real-time using a Disguise system, Unreal Engine 5.3, a Sony FX9 camera, and an Nvidia A6000 and RTX 4090 graphics card, which allows the creation of hyper-realistic, immersive virtual environments. The roster of technical partners is also involved in ongoing conversations to ensure the La Planète Rouge team can continually evolve their studio toolkit. “Speaking with our partners is crucial in keeping us ahead of the curve”, notes Brun. “It’s not just about being competitive. It’s about offering our clients the best technology.”
Brun also emphasises their commitment to sustainability: “Being part of Provence Studios significantly elevates the standard for sustainable film production”, she notes. “It reduces CO2 emissions by eliminating the need for crew travel, optimising shoot durations, and reducing VFX workload. Provence Studio operates as a sustainable facility, utilising solar panels, recycling decor and other materials, and even producing its own honey. It has also received approval from the Ecoprod association, the leading initiative on sustainable film production in France.”
This approach has attracted numerous productions from the likes of Warner Bros and Paramount, French feature films and TV films, to the producers of TV series and commercials. “We wanted The Next Stage to be compared to the established LA studios and we think we’ve done that”, smiles Brun. “A lot of companies come to us because we’re in the South of France, and being located within the larger filmmaking facilities is certainly advantageous for them.”
As an example, Brun recalls one particular scene for Starz’ “The Serpent Queen” which involved shooting in a palazzo. “Transporting the entire crew to Italy would have been very expensive and time-consuming, and filming on location would have been difficult due to restrictions on extra lighting to protect valuable paintings. Thanks to virtual production technology, we were able to film both the interior and exterior of the palazzo utilising two of our studios”, she concludes.
(Photos: La Planète Rouge/Provence Studios)
LSC provides power assurance for Musikhuset Esbjerg
One of Denmark’s top performing arts centres, Musikhuset Esbjerg, has upgraded with advanced dimming and power management solutions from Australian lighting controls manufacturer LSC Control Systems. Musikhuset Esbjerg serves a broad program of performing arts to the Danish city - including plays, musicals, opera, comedy, and conferences. The building attracts over 150,000 visitors each year, including 80,000 for cultural events and 30,000 for conference and meetings, the remainder being tourists and visitors to non-paying events.
With its existing system of 130 dimmers beginning to fail after more than twenty years of use, the venue’s new Gen VI dimmer/direct power racks were supplied and installed by LSC’s Danish distributor, Light Partner. The venue’s head of lighting, Niclas Eriksen, explains the choice: “Our in-house opera company invested in 64 channels of LSC’s Gen VI dimmers a while back and we have used them various times since, both in our three venues here and on tour. The user profile and touchscreen are easy to use and that was one of the reasons we brought them back then, and again now.”
Of course, power consumption needs have changed over the years, with more LED moving lights and fewer incandescent fixtures. However, Eriksen and his team wanted the new system to consist of 96 dimmers, to accommodate some large opera productions with older fixtures. At the same time, flexibility was key. “Our old system only had six non-dimmer phases”, he says. “Since it is easy to change from dimmer to non-dimmer on the Gen VI, this was also a huge influence on our decision.”
The upgrade also allowed more efficient use of space. “Rather than use the dimmer room, we decided to put it on stage instead”, continues Eriksen. “The new Gen VI dimmers are very low-noise, and - another advantage - it’s easier to get to for cleaning.” And more benefits were to appear. “After installation, we quickly realized that having the dimmers on stage made it easier for us to monitor the output from the lighting consoles, to quickly send non-dimmer power to working lights at our front bridge, which is always patched. It also allows us to quickly provide dimmable backstage light without the risk of interfering with the show on stage.”
(Photos: Musikhuset Esbjerg/LSC Control Systems)
Princeton University Chapel resurrects its audio with technology from Renkus-Heinz
The former university of Michelle Obama, New Jersey’s Ivy League Princeton University, is one of the top schools in the United States. At the center of its religious and ceremonial endeavors sits Princeton University Chapel, a house of worship that gives nod to the architectural style of the English Gothic Cathedrals of the 14th century.
Constructed in 1928 after a fire destroyed the previous worship site, the cruciform chapel cost over $2 million to construct and was the largest university chapel in the US. For years, the venue has been relied on to carry congregations, host events and offer an oasis in the center of the university campus for people of all faiths. Complete with seating for almost 2000 worshippers, the nave features sandstone walls with limestone highlights and towering 80 ft-high ceilings, but its aesthetics compromised the speech intelligibility of liturgical services.
To resolve the sound issues, the chapel’s staff reached out to Maryland-based audio-visual integrators Washington Professional Systems (WPS) for a new audio system. The brief specified clear and intelligible speech for all congregants, as well as acoustically balanced music enhancement, broadcast capabilities and better audio clarity for worship leaders, the choir and the musicians. With consultancy support from SIA Acoustics, the chapel upgraded to an audio system from Renkus-Heinz, complete with innovative beam-steering capabilities.
Going into the project, WPS had to consider the historic nature of the venue, and working closely with the project architect, the integrators ensured that the system was discreet and respected the intricacies of the building. WPS deployed a tiered escalation process to identify any modifications and sought guidance on how to proceed, ensuring that the effects of the project on the chapel’s irreplaceable stone and woodwork was minimal.
“The system utilizes thirteen different self-powered Renkus-Heinz IC Live Gen5 loudspeakers throughout the main sanctuary, located on each side of the altar, on the columns of the nave, on the sidewalls of the balcony, and at the Marquand Chapel”, explains John V Fish, senior project engineer at WPS. “Each loudspeaker receives an independent audio signal from the DSP and is programmed with specific delays to act as one unit, creating the effect that the audio is being delivered from the altar.”
“The beam-steering capabilities allow control of sound dispersion from the loudspeakers in the vertical plane”, furthers Sam Berkow of SIA Acoustics. “This capability helps fine tune the system for highly intelligible speech in the very reverberant and reflective Chapel. Additionally, the IC Live Gen5 loudspeakers allow us as designers to control the vertical dispersion of sound to the point where we can create the sense that sound is coming from the presenter or worship leader themselves, rather than from the loudspeakers.”
The system is mixed through an Allen & Heath Avantis digital console, and a Dante-based network is used to transport audio signals throughout the sanctuary, the choir and the altar. This network enables the system to move the audio signature effectively with low latency. All system inputs and outputs are available on Dante, which means each signal can be routed as needed including to specific loudspeaker groups.
“By offering multiple modes of operation, the design allows Chapel staff to activate and use the system without navigating a complicated startup procedure”, concludes Fish. “Additionally, the system has enough headroom to be used for a wide variety of events.”
Being a working religious center, Princeton University Chapel stayed open during the installation to allow for daily services and events. To maintain these operations, WPS created staggered shifts for their on-site team that worked in tandem with the chapel’s schedule.
(Photos: Sam Bertness/Washington Professional Systems)
Milton Rooms unveils new sound system
After completing its most recent phase of regeneration, The Milton Rooms - located in Malton, UK - was equipped with a new sound system. A.C. Entertainment Technologies (AC-ET), in collaboration with installers North Star Engineers, were entrusted with designing the new PA system after an independent assessment concluded the venue needed expert advice to overcome its poor acoustics.
AC-ET calculated the best options for the new sound system using Nexo’s NS-1 acoustic prediction software. To deliver the optimal audio for the space, a Nexo Geo M10 line array system with Nexo P10 speakers used as delays, and DAD stage monitors, all controlled by an Allen & Heath Avantis console, were installed. Numerous Nexo ID speakers were also deployed as front fills and to feed audio into the venue’s side bar and foyer.
A truss grid above the main hall floor using Sixty82 M29, Columbus McKinnon D8+ Lodestar hoists with Tourflex Cabling, Out Board LV6 motor controller and Broadweigh 4.75 t wireless shackles completed the installation.
(Photos: A.C. Entertainment Technologies Ltd/Milton Rooms)
Christian “Tian” Jimenez uses KRK Rokit monitors and subwoofer while producing and mastering
Miami-based DJ, music producer, and music business entrepreneur Christian “Tian” Jimenez has always enjoyed making music. From producing and mastering in his home studio to mixing on stage, Jimenez continues to develop his sound. The KRK Rokit 8 G4 studio monitors and S10.4 studio subwoofer have both played a crucial part in helping Jimenez create his beats.
“I use my KRKs for production and mastering projects as an electronic music DJ and producer, and switching to the Rokit 8 monitors paired with the S10.4 subwoofer has been spectacular”, says Jimenez. He finds that his KRKs allow for an overall better listening experience when in the studio. “Thanks to my KRKs, I have better control of the room and a better sonic experience. My favorite spec of the speakers is the low end”, he states.
Among the features his KRK Rokit monitors have to offer, one of Jimenez’ favorite parts is the DSP-driven Graphic EQ. “Having a Graphic EQ in the back is a big plus for me”, he says. “It allows me to control the dynamics and modify the settings of the speakers for the room.” The 25 settings also help condition his acoustic environment. This feature is useful when Jimenez wants a different EQ response between creating and mixing his music.
In addition to his studio work, Jimenez’ selections and mixing abilities have given him the opportunity to play at a variety of venues in Miami. He made his first international debut at Soles Beach Club in Punta Cana, Dominican Republic. Looking ahead, he plans to continue to use his KRKs for future projects, specifically when recording and mixing.
(Photos: Christian Jimenez/KRK)
Ecco Cine Supply & Service installs Christie laser projectors in Germany’s largest multiplex
Cinecittà, Germany’s largest multiplex, has recently installed twelve RGB pure laser projectors from Christie, with more to follow. Ecco Cine Supply & Service supplied and installed the projectors. Cinecittà opened in 1995 in the heart of Nuremberg’s old town and has 24 screens. The multiplex is owned by the Weber family.
With Christie CP4435, CP4425, CP4420 and CP2415 RGB pure laser projection, the light output in the auditorium improved for both 2D and 3D content. The upgrading also reduced energy consumption by about 340,000 KWh per year, according to exhibitor Wolfram Weber. With energy costs on the rise, it was important to implement energy-efficient measures. Additionally, sustainability was considered in the decision-making process, as the new projectors no longer require xenon lamps, eliminating the need to dispose of consumables.
“We have been supporting Cinecittà for many years. In addition to Christie RGB pure laser projection, we have installed Christie Vive audio in the Cinecittà’s Cinemagnum auditorium”, says Thomas Rüttgers, Managing Director of Ecco Cine Supply & Service.
In addition to the installation of more laser projectors, Cinecittà has plans to convert more auditoriums to deluxe screens. “We currently have five deluxe screens, but the concept has been very well received by audiences and we still see room for improvement”, says Wolfram Weber.
(Photos: Christie/Cinecittà)
Florence underground club Tenax upgrades with K-array
Florence, Italy-based venue Tenax recently underwent a sonic upgrade with the installation of a new sound system from K-array. Boasting 43 years of continuous activity and a star-studded roster of performers including the likes of Daft Punk, Ben Harper, and Dream Theater, Tenax required a system that would live up to the club’s reputation whilst honouring the requirements for low frequencies in a built-up urban area.
The team at K-array worked directly with the in-house technicians at Tenax to design and implement the updated system. “Our headquarters are located just outside of Florence city, so we have strong connections with the nightclub and with the underground music culture that has evolved from Tenax over the decades”, says Daniel Strasserra, Global Business Development Manager at K-array. “Whilst a key goal was to gain control over the audio and alleviate neighbourhood concerns, we were also tasked with designing a system that would do justice to the performances of the the best DJs in the business.”
K-array recommended a large-scale system including sixteen Mugello-KH3 tops and twenty Thunder-KS4 subs, powered by three Kommander-KA208 amplifiers. To mitigate noise pollution, sixteen of the Thunder-KS4 subs have been strategically positioned in front of the sound booth to concentrate low frequencies in the centre of the dancefloor, leaving the side walls and adjoining buildings with minimal disruption. Additionally, the Mugello-KH3 tops are arranged in four clusters of four, enhancing sound dispersion.
The DJ booth monitoring system features four Thunder-KMT21 subs and six Dragon-KX12 tops configured in a left-centre-right format. This configuration, initially requested by techno legend Jeff Mills, has since become the standard for monitoring systems in the main room, earning compliments from renowned DJs such as Steve Aoki, Black Coffee and Damian Lazarus. On the first floor, dubbed “The Tube”, audio is delivered through two Thunder-KMT218 subs, four Dragon-KX12 tops and two Python-KP52s for delay coverage.
Like most modern nightclubs, Tenax offers several VIP areas. These areas, designated for private parties, have also been equipped with K-array and Kgear audio solutions. VIP tables on the ground floor are installed with three GH12 loudspeakers from Kgear, which take care of refreshing the mid-hi audio from the system in the main room, whilst Golden Tables on the first floor are reinforced with Kobra-KK50 tops and 3 KN10S subs.
(Photos: K-array)
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