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450 Astera NYX Bulbs for National Museum of Australia installation

27/01/2023

Gian Carlo Vannetti uses Obsidian Control’s Onyx platform for various projects

23/01/2023

CupOJoy selects Martin Audio WPS for permanent sound installation  

12/01/2023

San Diego State University’s new Snapdragon Stadium equipped with EAW AC6 loudspeakers

06/01/2023

Chaparral High School installs Vari-Lite luminaires

04/01/2023

MDG unterstützt Circus Roncalli mit Haze und Bodennebel

28/12/2022

Warwick Arts Centre’s concert hall uses LSC Control Systems’ APS technology

16/12/2022

Masque Sound equips new Broadway production of “A Christmas Carol”

14/12/2022

Amare project invests in Robe T series

29/11/2022

„The Senses Club“ erhält Audiosystem von Yamaha

05/10/2022

Ungarische Staatsoper mit ETC-SolaFrame-Scheinwerfern ausgestattet

02/09/2022

Hippotizer Karst+ unpacks interactive, immersive projections at Ikea

16/08/2022

Green-Go digital intercom series scales comms at Pingtan Performing Arts Center

02/08/2022

The Broadberry upgrades with Martin Audio Torus

02/08/2022

Theater Krefeld investiert in Shure TwinPlex

25/07/2022

Electro-Voice and Dynacord lead installation in newly opened Cavatina Hall

12/07/2022

Yamaha Adecia brings one-touch meeting sound to The Openwork Partnership

16/06/2022

Congress Center Leipzig nutzt GrandMA3-Plattform

15/06/2022

Shure modernisiert Konferenztechnik am Hauptstandort von DIN Berlin

15/06/2022

Martin Audio solution for ICGC Christ Temple East

13/06/2022

Powersoft’s Mover selected for world’s first dance music museum and nightclub

10/06/2022

MCI liefert Radiosystemlösung auf Cloud-Basis für Großstadtradio Berlin

01/06/2022

Anolis unterstützt Lichtkunstausstellung „Dark Matter“

27/05/2022

AVL equips Rumbach Street Synagogue with Robe

20/05/2022

Martin Audio’s Wavefront Precision specified throughout Blackpool Conference and Exhibition Centre

17/05/2022

450 Astera NYX Bulbs for National Museum of Australia installation

450 Astera NYX Bulbs for National Museum of Australia installation
450 Astera NYX Bulbs for National Museum of Australia installation

A light art installation created by Ben Cisterne and comprising 450 Astera NYX Bulbs graces the ceiling of the newest “Great Southern Land” permanent gallery at the National Museum of Australia (NMA) in Canberra. Cisterne was commissioned to create this special work with the exhibition designer, Fernanda Reis of Local Projects based in New York.

 

Cisterne, who also lit the other elements of the Great Southern Lands Gallery, has worked with the NMA Canberra team led by NMA assistant director for the Discovery & Collections division, Katherine McMahon, and Suzanne Myers responsible for management and development of the Museum’s permanent galleries, for close to twenty years. This has been at the NMA and other cultural institutions.

 

In this new NMA light art installation, the NYX bulbs provide a living/breathing animated and illuminated trail for guests navigating the exhibition space that is a visual contrast to the intricate, practical but still dramatic lighting of the various exhibits around the rest of the vast gallery.

 

Wireless DMX was vital as it was always intended to run specific video imagery through the installation as well as lighting sequences, and the controllability had to be accurate, so “Astera and wireless DMX was an obvious route”, says Cisterne.

 

The murmuration features two essential gently asymmetric conjoined shapes. Fernanda Reis developed the first one and Ben Cisterne the second, which consume 300 and 150 NYX Bulbs respectively. Reis also suggested some key co-ordinates and dimensions like the height of the installation and how far off the floor it should be, both to integrate with the overall gallery architecture and other exhibition elements, and for it to stand out as an artwork in its own right.

 

The NYX Bulbs are all hung on cloth pendant light cables. They are powered via the exhibition lighting tracks already put in place when the gallery was built, with data run over Art-Net via a Stardust CRMX controller to a Pharos touch panel interface.

 

In addition to the standard operating murmuration patterns running through the NYX Bulbs, some special sequences are pre-programmed for events and private functions. The video sources and lighting sequences were programmed via the Pharos FX engine.

 

(Photos: Louise Stickland/Paul Clarke)

 

www.astera-led.com

 

450 Astera NYX Bulbs for National Museum of Australia installation450 Astera NYX Bulbs for National Museum of Australia installation

Gian Carlo Vannetti uses Obsidian Control’s Onyx platform for various projects

Gian Carlo Vannetti uses Obsidian Control’s Onyx platform for various projects
Gian Carlo Vannetti uses Obsidian Control’s Onyx platform for various projects

Novellara, Italy-based lighting designer Gian Carlo Vannetti specializes in creating theatrical lighting designs using Obsidian Control Systems’ Onyx platform. He owns several Onyx-driven products including an NX Wing, NX Touch, M-Play, NX DMX, and Netron EP4.

 

Currently, Vannetti works on the theater side of the industry, collaborating with a dance company that has a creative approach to light. He is using Onyx on three productions - “Indaco”, “Boomerang”, and “Canova Svelato” - with a fourth, “H2 Omix”, coming in May 2023. They all feature transparent screens that reflect video and imagery but also create a mirror effect when dancers are near, complementing the choreography with visuals.

 

Two on-stage projectors pass effects through transparent screens toward the audience with one at FOH for mapping of the entire theater. “My way of creating these types of shows is through Onyx with a cuelist that has a lot happening, delays and timings on fixture parameters, and if I need some unique FX I have Dylos.”

 

(Photos: Riccardo Bianchi/Obsidian Control Systems)

 

www.obsidiancontrol.com

www.elationlighting.com

 

Gian Carlo Vannetti uses Obsidian Control’s Onyx platform for various projectsGian Carlo Vannetti uses Obsidian Control’s Onyx platform for various projects

CupOJoy selects Martin Audio WPS for permanent sound installation  

Some 33 years after it was founded, the 550-seat CupOJoy live music venue in Green Bay, Wisconsin, has taken delivery of its first permanently installed sound system in the larger space within the two-auditorium venue to which it relocated two years ago (having successively occupied two previous locations).

 

Part of a complete audio-visual fit-out masterminded by local system integrators CCCP (Camera Corner), a Martin Audio Wavefront Precision WPS line array was specified. The facility is a non-profit organisation run by volunteers; a two-year fund-raising programme led up to the investment.

 

CCCP’s Steve Littlepage was tech head and system designer. He detailed two WPS line array hangs, seven elements per side, driven in single box resolution from two Martin Audio iKon iK81 amplifiers (with channel 8 of each iK81 used to drive DD6 front fills). These are set either at the edge of the stage, or operate on a thrust with a different system preset.

 

Four SX218 subwoofers, driven by the iK42, are flown in an end-fire configuration and aligned with the arrays. For system set-up and optimisation, CCCP used Martin Audio’s Display 2 and 3 software (for 3D modelling of the space). This was backed up by Ease plots.

 

As part of the requirement, CCCP also provided new projector, screen and PTZ cameras, and created a flexible infrastructure for touring productions to patch into the system with their control. This will also be networked to CupOJoy’s smaller 200-cap venue across the hall, where an appropriate PA is installed. A Q-Sys backbone provides system flexibility between Performance mode for concerts and a Presentation mode via touch panel or iPad app, for corporate events.

 

(Photos: Scott Eastman/Great Scott Images/Martin Audio)

 

www.martin-audio.com

 

San Diego State University’s new Snapdragon Stadium equipped with EAW AC6 loudspeakers

San Diego State University recently completed its new 35,000-seat college football venue, Snapdragon Stadium. Audio and video design firm WJHW called on Clair Global Integration to install a wide range of future-proofed products. Most notably, the stadium now features over 100 AC6 Adaptive Column Loudspeakers from Eastern Acoustic Works (EAW).

 

“EAW supported the design team during the various phases of the project including early demonstrations, proof of concept and modeling for the AC6 loudspeakers, and exporting data for consultants’ integration into the full system design”, says Mark Graham, Associate Principal, WJHW. “The brand also remained involved throughout the construction process with onsite pretesting, as well as being an integral member of the commissioning and testing team during tuning and calibration of the installed system.”

 

“The Adaptive technology of the AC6 loudspeakers allowed us to select mounting locations that better integrated into the stadiums’ architectural and structural elements while maintaining the output levels and coverage patterns needed at the spectator seating,” adds Graham.

 

In addition to the AC6 Adaptive system, various other EAW speakers including the MK8196, CIS300, CIS400, LS832i, JF80z, MKD864, MK2366i, QX300 and QX500 were installed. “Apart from the ceiling speakers, all of these loudspeakers are offered in custom colors, allowing us to match adjacent architectural finishes for an integrated aesthetic”, says Graham. The crew at EAW also worked closely with Clair Global Integration while building and installing the PA system.

 

In addition to San Diego Aztec football, Snapdragon Stadium will also serve as home to the National Women’s Soccer League’s Wave and the San Diego Legion of Major League Rugby.

 

(Photos: Natalia Robert Photography)

 

www.eaw.com

 

Chaparral High School installs Vari-Lite luminaires

Chaparral High School installs Vari-Lite luminaires
Chaparral High School installs Vari-Lite luminaires

The new Chaparral High School in the central Texas city of Killeen opened its doors in August 2022 with a performing arts wing designed to elevate student learning. It is equipped with an array of luminaires from Vari-Lite, a Signify entertainment lighting brand, including a Neo and Vision.Net control system, VL800, Acclaim LED and Coda LED fixtures, and Aurora LED Strips.

 

The arts center within the school boasts a 1,200-seater auditorium, band, choir, and orchestra rooms, a black box theater, set design workshops and teaching spaces, built by American Constructors and designed by James Fauver at PBK Architects. “Our mission was to provide an integrated, fully networked, professional standard stage lighting system that would be intuitive to learn, access and use for both students and staff”, says Erich Friend, principal consultant at theater consultancy Teqniqal Systems.

 

To achieve intuitive operation and wide access to the lighting system, the team installed Vision.Net touchscreens, button stations and sensors at strategic locations around the building. “We wanted granular control from every part of the building”, says Friend. “The lights in the auditorium, including the blue backstage running lights, work lights and house lights, are DMX- controlled individually. Multiple network switches feed over 73 DMX 3 Port Nodes throughout the facility.”

 

“Each lighting control panel is programmed to perform specific actions that relate to their specific location”, he continues. “For example, in the fly galleries, there are controls for the work lights and show running lights, and out in the entry vestibules there are entry stations, ensuring no one needs to ever walk into a dark theater. We even integrated a Ghost Light function into the houselight presets over the stage apron so the drop-off remains visible when the rest of the theater is shut-down.”

 

Other key aspects to the setup include a system over-ride that will put the entire theater into an automated five-minute shutdown, as well as astronomical time control with the potential to deliver hundreds of events with full day-of-the-week and calendar scheduling, which has been programmed to power down the system at a predetermined time each day.

 

“We’ve made some actions and control ports student-proof to ensure the venue is consistently safe for everyone”, says Todd Graham, project manager at Killeen High School. “During a show, the stage manager can take control of all the remote stations and certain control panels are recessed into the wall - or locked - so they cannot accidentally be activated.”

 

In the performing arts spaces, Aurora LED Strips have been chosen to illuminate the orchestra and for up-lighting or down-lighting clothes and scenery. Other luminaires installed include Acclaim LED PLE, Acclaim LED Fresnel and Acclaim LED Zoomspots, Coda LED, and VL800 Series Event Profile and Event Wash fixtures. Together, they cater for everything from dance to theater, musicals, rock music and general presentations both in the main auditorium and black box studio.

 

Mandy Stockhausen at representatives Bell & McCoy collaborated with Jeff O’Brien, Regional Sales Manager, Vari-Lite, at Signify, on the project, sourcing the Vari-Lite rig from dealer Batts AVL. The Vari-Lite team also delivered training on the Neo console, Vision.Net and fixtures.

 

(Photos: Vari-Lite)

 

www.signify.com

 

MDG unterstützt Circus Roncalli mit Haze und Bodennebel

MDG unterstützt Circus Roncalli mit Haze und Bodennebel

Der Circus Roncalli hat neben zwei bereits im Bestand befindlichen MDG-Atmopshere-ATMe-Hazern zusätzlich einen Bodennebelgenerator Ice-Fog Compack-H von MDG angeschafft.

 

„Wir nutzen Bodennebel bei einigen Acts. Der Nebel unterstützt uns dabei, eine Traumwelt zu erschaffen, und erzeugt Spannung beim Publikum“, sagt Patrick Philadelphia, Mitglied der Geschäftsleitung der Circus Roncalli GmbH. „Wir tauchen den Nebel auch in verschiedene Lichtfarben, um so je nach Bedarf immer wieder neue Effekte und Stimmungen schaffen zu können.“

 

„In den letzten Jahren haben wir verschiedene Modelle unterschiedlicher Hersteller probiert, aber keine Maschine brachte die erforderliche Leistung, um die Manege in kurzer Zeit mit bodennahem Nebel zu füllen“, fährt Philadelphia fort. „Lediglich Trockeneis in Verbindung mit heißem Wasser brachte den gewünschten Effekt. Trockeneis ist aber in der Beschaffung teuer, und die Anforderungen an die Lagerung sind im Zirkusbetrieb nur schwer zu erfüllen. Der Ice-Fog von MDG machte letztlich den entscheidenden Unterschied.“

 

Im Gegensatz zu konventionellen Bodennebelmaschinen arbeitet der Ice-Fog nicht mit Trockeneis. MDG-Nebel hinterlässt laut Hertsteller keinerlei Rückstände und schließt damit eine Rutsch- und Unfallgefahr aus.

 

(Fotos: Steffen Gude Fotografie/Rob van Houdt)

 

www.castinfo.de

 

MDG unterstützt Circus Roncalli mit Haze und BodennebelMDG unterstützt Circus Roncalli mit Haze und Bodennebel

Warwick Arts Centre’s concert hall uses LSC Control Systems’ APS technology

Warwick Arts Centre’s concert hall uses LSC Control Systems’ APS technology

Warwick Arts Centre, based at the University of Warwick’s Coventry campus, reopened in late 2021 after a four-year redevelopment, choosing APS configurable power distribution technology from LSC Control Systems at the heart of its new technical infrastructure.

 

Attracting over 300,000 visitors per year, the Warwick Arts Centre offers a 1,450-capacity concert hall, two theatres - a 575-seat main house and a 150-capacity black-box studio - and three cinemas, alongside exhibition and presentation spaces. Managing the technical requirements of the refurbishment was Chief Electrician Mark Smith, who is responsible for lighting and power across the Centre’s auditoria.

 

The APS units were selected to provide power to the concert hall’s LED-based fixed lighting rig. Ben Steppenbeck of LSC’s UK sales partner A.C. Entertainment Technologies put together a design of two fixed racks of APS (12 x 10 A) for the installation, one with nine units, and another with eight, and supplied the system along with all cabling and accessories. Because of the unexpected downtime caused by the pandemic, Smith and his team were able to carry out the installation themselves.

 

Two flight-cased, 48-way Genvi racks were bought as a temporary solution for one of the Arts Centre’s smaller spaces prior to the refurbishment process and are still regularly used to deliver flexible dimming solutions around the building.

 

(Photo: LSC Control Systems/Warwick Arts Centre)

 

www.lsccontrol.com.au

 

Masque Sound equips new Broadway production of “A Christmas Carol”

Masque Sound equips new Broadway production of “A Christmas Carol”
Masque Sound equips new Broadway production of “A Christmas Carol”

“A Christmas Carol” recently arrived at Broadway’s Nederlander Theatre, and Sound Designer Joshua D. Reid called upon theatrical sound reinforcement, installation and design company Masque Sound to provide a custom audio equipment package for the holiday classic. In this production of “A Christmas Carol”, actor Jefferson Mays plays over fifty roles, directed by Michael Arden.

 

Masque Sound provided a custom audio set up for the film version of the play back in 2020, so for Reid it was just natural to bring Masque along to Broadway. Transitioning from film to the Broadway stage meant the addition of a full PA system. “For the filming, we did not really have any loudspeakers on the stage or in the house as we were mixing down the audio for film recording so it could be dissected and put it together in the studio”, says Reid. “When we moved to the live stage version of the show, we had to add in all the loudspeakers.”

 

The PA system, provided by Masque Sound, is composed of speakers from Meyer Sound. According to Reid, “We flew a Meyer M’elodie line array system with 700-HP subwoofers for our center array along with the Ultra-X40 for our left and right mains. We also utilized Meyer Sound’s 600-HP delay subwoofers for the balcony, with additional MM10 subwoofers for the rear orchestra.”

 

One of the interesting components of the audio package is the use of microphones. “Jefferson wears four wireless microphones all around his head during the production”, says Reid. “That is a lot of microphones for one person, but he is out there for ninety minutes straight and doesn’t have a chance to change mics. We use Sennheiser MKE1 lavaliers along with Shure ADX1M transmitters with Axient Digital series receivers, all provided by Masque.”

 

The show also relies heavily on QLab playback. “Our system primarily consists of QLab for audio playback and Ableton for vocal processing”, says Reid. “There are about 335 operator cues over the course of ninety minutes and some of those are soundscapes, music, and a lot of those are different vocal inflections so the reverb processing and vocal inflection processing is done through Ableton. We take all the live mics that Jefferson is using to not only reinforce him on the stage, but we use that to put him in different environments and to change the tonality of his voice over the course of the show.”

 

For the production, Mix Engineers Maxine Gutierrez and Ian Carr operate the show and control the vocal levels from a Yamaha CL5 digital audio mixing console, also provided by Masque Sound. The system is networked over Dante. “In addition to Maxine and Ian who do an incredible job, I also want to acknowledge the incredible work of Production Engineer Dillon Cody as well as my Assistant Sound Designers Megan Culley and Sam Kusnetz”, adds Reid.

 

(Photos: A Christmas Carol Live/Masque Sound)

 

www.masquesound.com

 

Masque Sound equips new Broadway production of “A Christmas Carol”Masque Sound equips new Broadway production of “A Christmas Carol”

Amare project invests in Robe T series

Amare project invests in Robe T series
Amare project invests in Robe T series

The new Amare building is an arts, culture, and educational hub on the Spui in Den Haag, Netherlands, which opened last year after six years of construction. Built on the footprint of the old Lucent Danstheater, Amare houses the Dance and Music Center, The Hague Foundation, the Residentie Orkest, the Nederlands Dans Theater (NDT) and the Royal Conservatoire.

 

Amare offers a 1500-capacity Concert Hall (2500 standing) and a 1300-seater Theatre plus two other performance halls and extensive rehearsal facilities. Over 100 Robe moving lights got specified for the project. These are a mix of 86 x T1 Profiles and 30 x T2 Profiles plus 60 x ParFects, all supplied by Robe’s Benelux distributor Controllux and installed in the two primary venues and their main black box space.

 

Arjen Bijtelaar is the venue’s stage manager specialising in lighting. He has worked for the venue since 2006 - including at the Lucent Danstheater before its demolition - and explains that the original tender was for profile LED luminaires offering full white and multicoloured colour control. In 2016, the venue was one of the first in the country to invest in Robe’s DL7 series. This was for their temporary residence at the Zuiderstrand Theater in Scheveningen Harbour, Den Haag, which operated during the lengthy construction period.

 

The company was also the first cultural institution in Benelux to have Robe’s T1 Profile. When the Amare build project started, the T2 had not yet been developed, so the initial spec won by Controllux was for the 86 x T1 Profiles. However, after moving into the new facilities last year, some additional funding became available with which they purchased the T2s and ParFects.

 

The requirement was for lighting that would assist both the Concert Hall and the stage, all genres of dance, plus theatre and concerts. Of the thirty T2s, eight are used for the Concert Hall FOH, with four on one of the upstage bars, and the remaining eighteen fixtures are in the Theatre, at FOH and in some of the side positions.

 

The T1s originally intended for the Concert Hall’s FOH bridges are deployed in other positions around the venue, mostly on the advance bar with some in the side balcony positions, with the four other T2s replacing the previous FOH positions. The remaining eighteen T2 Profiles are in the Theatre.

 

The Concert Hall features a diverse entertainment programme, anything from full symphony orchestra performances to intimate baroque music to full on pop and rock shows. The Theatre primarily stages ballet, musicals and operas, and the different Amare spaces are also available for events, private and commercial hires and other uses.

 

Visiting companies can either use the full house rig - which also contains LED washes and several other fixtures - or parts of it or bring in their own full or partial productions. The control consoles in the building are all ETC and the DMX merging is achieved via an ACN network.

 

Pictured (left to right): Kuno van Velzen (Controllux), Amare lighting technician Mathijs Grool and Amare stage manager Arjen Bijtelaar. (Photos: Louise Stickland/Paul Clarke)

 

www.robe.cz

 

„The Senses Club“ erhält Audiosystem von Yamaha

„The Senses Club“ erhält Audiosystem von Yamaha

Der „Senses Club“, Teil der Ferienanlage Holiday Village in Fondi an der Westküste Italiens, ist mit einem Yamaha-Audiosystem ausgestattet worden. Die Location bietet Restaurant-Betrieb und Musik-Veranstaltungen, unter anderem DJ-Sets.

 

Paolo Maio, Eigentümer des Resorts, und sein Sohn, Alessandro Maio, beauftragten die in Sperlonga ansässige Firma Remix Multimedia srl mit der Installation des Beschallungssystems. Riccardo und Michele de Simone von Remix Multimedia spezifizierten daraufhin ein Mehrzweck-Audiosystem von Yamaha, das die Hauptbeschallung mit den 2-Wege-Lautsprechern CZR10 und CZR15 sowie den erweiterten Subwoofern CXS18-XLF in weißer Farbe, passend zur Einrichtung des „Senses Club“, umfasst und von drei PX8- und drei PX10-Zweikanal-Verstärkern angetrieben wird.

 

Das Monitoring der Künstler erfolgt über die zweikanaligen DZR12-Lautsprecher und die DXS15mkII-Aktivsubwoofer, während ein drahtloser Yamaha-MusicCast-WCX-50-Streaming-Vorverstärker die gestreamten Audiosignale liefert. Die Verwaltung und Steuerung des Systems erfolgt über einen MTX5-D-Matrixprozessor mit Yamahas Wireless-DCP-App für iOS und einem DCP4V4S-Panel für die Aufputzmontage, das den Mitarbeitern die Steuerung per Knopfdruck oder Smartphone ermöglicht.

 

(Fotos: Riccardo de Simone/Remix Multimedia)

 

www.yamahaproaudio.com

 

„The Senses Club“ erhält Audiosystem von Yamaha„The Senses Club“ erhält Audiosystem von Yamaha

Ungarische Staatsoper mit ETC-SolaFrame-Scheinwerfern ausgestattet

Ungarische Staatsoper mit ETC-SolaFrame-Scheinwerfern ausgestattet
Ungarische Staatsoper mit ETC-SolaFrame-Scheinwerfern ausgestattet

Im Zuge fünfjähriger Renovierungsarbeiten wurde die Ungarische Staatsoper unter anderem mit neuer Bühnentechnik versehen. Zum neuen Setup gehören 24 Scheinwerfer der High-End-Systems-SolaFrame-Reihe von ETC.

 

Im Vergleich zur Optimierung der Saal-Akustik und der Vergrößerung des Orchestergrabens machte das Upgrade der Lichtanlage zwar einen eher kleinen Teil der Renovierung aus, aber dennoch einen bedeutenden. Die geräuschlosen SolaFrame-Theatre- und SolaFrame-Studio-Scheinwerfer - jeweils zwölf an der Zahl - kamen erstmalig bei den dreitägigen Wiedereröffnungs-Feierlichkeiten der Staatsoper zum Einsatz. Bei der Orchester-Gala traten unter anderem Plácido Domingo, Ádám Medveczky und Gergely Kesselyák auf.

 

(Fotos: Florian Maier/ETC)

 

www.etcconnect.com

 

Hippotizer Karst+ unpacks interactive, immersive projections at Ikea

Hippotizer Karst+ unpacks interactive, immersive projections at Ikea
Hippotizer Karst+ unpacks interactive, immersive projections at Ikea

Ikea’s flagship store in Wembley, North London, is immersing potential buyers into an interactive, projection mapped environment this summer. Ikea approached Motion Mapping, which specialises in video mapping, to realise the project.

 

The initial brief focused on a furniture section of the Ikea store, constructed from an L-shaped wall with large desk, hung cabinets and a series of twelve differing-sized empty photo frames, each one projection mapped to synchronise with the back wall projections across all of the cabinets, hung in a portrait and landscape formation to create a wide display canvas. The team wanted to turn this into the immersive environment, using projections and interactive elements.

 

Stuart Harris, Creative Director at Motion Mapping, and his team collaborated with the Ikea creatives to develop the project into a richer experience, using Hippotizer Karst+ Media Servers. Now installed, a raft of colourful content slides seamlessly across the cabinets, walls and TVs. The closed cabinet doors are video mapped to show virtual stocked interiors, with projected images of Ikea tableware and storage solutions. When turned on, the TVs display scenes give the impression of looking out a real window.

 

Key to the concept is the Ikea “co-worker” character, who skips around the walls, cabinets and desk, inviting the visitor to interact with the environment and explaining the specifications of what’s for sale. The Ikea team handed Harris a 2D sketch of the co-worker, which Motion Mapping then morphed into an (almost) 3D character to be animated, video mapped and projected onto the walls using six Optoma projectors, which are hung from the ceiling.

 

“Hippotizer Karst+ enables us to sync the content across the wall canvas and update content as the project developed”, says Harris. “We started off with just one projector, but as we showed the client what we could achieve using Hippotizer - such as blending multiple projectors to create a bigger, more immersive display within Hippotizer’s Shape tools - it mushroomed. This also helped us seamlessly make the 3D co-worker character come to life.”

 

(Photos: Green Hippo/Ikea/Motion Mapping)

 

www.green-hippo.com

 

Green-Go digital intercom series scales comms at Pingtan Performing Arts Center

Green-Go digital intercom series scales comms at Pingtan Performing Arts Center
Green-Go digital intercom series scales comms at Pingtan Performing Arts Center

Fujian Province’s new Pingtan International Performing Arts Center recently invested in a series of Green-Go digital intercom products to provide a scalable sound solution. The Center, which serves as the a cultural hub in the Pingtan Comprehensive Experimental Area in northeast Jinjing Bay includes a 1,500-seat theatre, a 400-seat multi-function hall and a public centre for performance and art, covering almost 40,000 sq.m.

 

Now open for business, it will be the home of the stage play “Pingtan Impression”, directed by Chinese dancer Yang Liping. Chinese AV solution provider EZPro was responsible for the audio system design and installation at the Center.

 

At the core of the Center’s system is a Green-Go MCX multi-channel rack station, which is designed to allow direct access for up to 32 separate intercom groups or partylines. The team has installed this in the mobile stage monitoring cabinet, enabling them to see the status of each channel in use across all of the venue’s three performance spaces.

 

This is matched with five Green-Go MCXD multi-channel desk stations, located in key locations across the venues for directors and production managers to use. The Ethernet-connected MCXD unit allows the operators to speak to individuals or groups as desired.

 

The production team is also now kitted out with six Green-Go WBPX multi-channel wireless beltpacks, which are configured in the system for communication mainly among the Center’s sound and lighting engineers. These connect with Green-Go’s Ethernet-based system via a series of WAA wireless active antenna. The Center has also invested in BPX multi-channel wired beltpacks, which connect to intercom network outlets in spaces such as dressing rooms, resting rooms, corridors, and machine rooms.

 

EZPro also responded to the Center’s need to integrate analogue intercom systems into the new Green-Go digital Ethernet network, and to connect radio devices that are often used by the Center’s security guards and background staff who use walkie-talkies. To achieve this, they specified the Green-Go InterfaceX, to facilitate connection between the intercom system and the PA system. The director of “Pingtan Impression” can also use this interface to transmit instructions through the PA system.

 

(Photos: Green-Go/ELC Lighting)

 

www.elclighting.com

www.greengodigital.com

 

Green-Go digital intercom series scales comms at Pingtan Performing Arts CenterGreen-Go digital intercom series scales comms at Pingtan Performing Arts Center

The Broadberry upgrades with Martin Audio Torus

Richmond, Virginia, live music venue The Broadberry has taken delivery of a new Martin Audio Torus constant curvature array, supplied by locally based rental partner, Soundworks of Virginia. Soundworks has been working with the 550-capacity venue, owned by Lucas Fritz and Matt McDonald, providing sound for their outdoor concerts since the spring of 2021.

 

The venue’s production manager, Justin Lewis, says that the previous system had been poorly deployed, and he had a firm idea in mind for its replacement. “Due to the shape of our room I wanted a box with a relatively narrow horizontal pattern”, he explains. “All the line arrays I looked at were too wide and point source didn’t provide the flexibility we wanted in vertical coverage.”

 

He looked at a number of systems and consulted his crew, ultimately deciding constant curvature would probably be the best for the room. “We chose Torus mainly due to Soundworks’ existing relationship with Martin Audio, and the cardioid feature of the SXC118 was also a positive influence on our decision.”

 

The pair of three-box hangs comprise two T1215 and a single T1230 at the base, to eliminate the desire for front fills. The arrays are supported by Torus fly bars hung from Unitruss, which spans the structural roof girders. Four SXC118, ground stacked in a central cluster under the stage, provide the low end, and all processing is via the onboard DSP in the Martin Audio iKon multi-channel amplifiers.

 

Soundworks’ project manager Bryan Hargrave masterminded the installation, in conjunction with Martin Audio US Technical Support Engineer Joe Lima.

 

(Photos: Ashley Travis/Diane Travis Photography)

 

www.martin-audio.com

 

Theater Krefeld investiert in Shure TwinPlex

Theater Krefeld investiert in Shure TwinPlex

Im Theater Krefeld stand in diesem Jahr ein Austausch der Subminiatur-Lavaliermikrofone an. In Zusammenarbeit mit dem technischen Dienstleister und Ausstatter Ilbertz Veranstaltungstechnik entschied man sich für Shure-TwinPlex-TL47-Mikrofone. Diese kommen mit einem Shure-Drahtlossystem zum Einsatz.

 

(Foto: Shure)

 

www.shure.com

 

Electro-Voice and Dynacord lead installation in newly opened Cavatina Hall

An extensive public address system from Electro-Voice and Dynacord has been installed at Cavatina Hall. Located in the historic city of Bielsko-Biala, Poland, the six-story building counts over 9,000 square meters of office space, a recording studio, a chamber music room and a 1,000 capacity concert hall. The venue itself is owned by Polish development company Cavatina and is the first privately owned and funded concert hall in Poland.

 

As a multi-use facility Cavatina Hall required a solution to cover public address across its various areas. Audio Plus, the company responsible for the coordination and co-designers of the solution, turned to the Electro-Voice and Dynacord portfolio.

 

The heart of this solution is electronics from Dynacord, with an MXE5 Matrix Mix Engine alongside an IPX10:8 power amplifier. “The IPX 10:8 is at the core of the sound system. This amp allows each channel to be individually operated, along with analog inputs from Dante and OCA via Omneo network inputs”, explains Stanislaw Mielczarek, Tech Support Engineer, Audio Plus.

 

“MXE5 was chosen as it’s a universal processor that complements other systems in Cavatina Hall, through Sonicue Sound System Software. It allows us to have full control of the entire system of signal routing and signal processing for public address speakers”, adds Tomasz Ibrom, Project and Installation Engineer, Audio Plus, who was responsible for the system integration at Cavatina Hall.

 

The Dynacord electronics are driving a 100 V Electro-Voice loudspeaker solution combining the Evid ceiling and surface mount ranges. In the main auditorium, a pair of Electro-Voice FM6.2 speakers have been hidden behind the wooden sound panels either side of the stage. These are linked to the RTS intercom system and used for addressing the performers onstage. The stage manager or event director can use the system via an Electro-Voice wireless mic to communicate with the musicians during rehearsals.

 

Electro-Voice microphones have also been selected to cover a wide range of vocal and instrumental needs. This includes everything from the RE97Tx micro-headworn condensers, to ND44, ND46 and ND66 instrument mics, as well as the RE20 and RE320 Variable-D models.

 

(Photos: Dynacord/Electro-Voice/Krzysztof Sklodowski)

 

www.electrovoice.com

www.dynacord.com

 

Yamaha Adecia brings one-touch meeting sound to The Openwork Partnership

Four Yamaha Adecia intelligent audio solutions have been installed at the offices of The Openwork Partnership in Swindon, UK. This financial advice company has over 4200 financial advisers and 600 support staff.

 

The company’s structure means that hybrid working - part office-based, part at home - was already important before the COVID-19 pandemic. When The Openwork Partnership moved in to its new premises at Auckland House in Swindon, it refurbished the spaces to include the latest workplace technology.

 

For the audio solution workplace technology specialists Visually Connected Worldwide worked with the application team at Audiologic. With the Adecia solution from Yamaha being new to the market, they went through a process of remote demonstrations with Audiologic and the client, which ultimately led to the installation. Four Yamaha Adecia solutions were installed in separate meeting rooms, each comprising an RM-CG dynamic beamforming ceiling array microphone, an RM-CR conference processor and an SWP2311P-10G PoE+ switch.

 

Having installed the facility’s entire audio visual, videoconferencing, integration automation for video and audio, access control and digital signage systems, Visually Connected Worldwide installed one-touch Crestron Teams panels for videoconferencing control, including the Adecia systems. In addition, Adecia was seamlessly integrated into the company’s support infrastructure, which includes a remote monitoring and repair system.

 

All devices are monitored 24/7, with Visually Connected Worldwide giving the client a report on the entire system every day. Any issues with the technical systems can be fixed overnight, before the working day starts.

 

(Photos: Yamaha)

 

www.yamaha.com

 

Congress Center Leipzig nutzt GrandMA3-Plattform

Congress Center Leipzig nutzt GrandMA3-Plattform
Congress Center Leipzig nutzt GrandMA3-Plattform

Im Jahr 1996 öffnete die neue Leipziger Messe ihre Pforten und führte damit die rund 850-jährige Messetradition der Stadt fort. Mit dem Congress Center Leipzig (CCL) verfügt das Messegelände zudem über eines der modernsten Kongresszentren Europas. Rund 100 Veranstaltungen finden in den 23 separaten Sälen und Räumen des CCL jedes Jahr statt.

 

Mit einer Größe von 1.048 Quadratmetern und bis zu knapp 1.200 Sitzplätzen gehört der Saal 1 zu den größten Räumlichkeiten im CCL und wird dementsprechend flexibel genutzt: von Fachkongressen und Tagungen über Roadshows, Messen und Ausstellungen bis hin zu Abendveranstaltungen mit Bands und Künstlern auf der optionalen Vorbühne.

 

Seit jüngstem arbeitet das Kongresstechnik-Team des CCL im Saal 1 mit einer GrandMA3 Light. Die Umstellung von der bis dato eingesetzten GrandMA1 Light bildete den Schlusspunkt einer mehrjährigen Umrüstung der Beleuchtungsanlage im CCL, in deren Verlauf Punktzüge mit Schwerlasttraversen sowie eine komplett neue Strom-, DMX- und Netzwerkverkabelung installiert wurde.

 

Silvio Heinze, Technical Project Manager im CCL, und seine Kollegen fahren die GrandMA3 Light im Saal 1 im 3er-Mode komplett im MA3-Net in Verbindung mit GrandMA3 4Port Nodes PoE (Power over Ethernet). Laut CCL sollen zudem die benachbarten Säle 2 und 3 mit jeweils 384 Quadratmetern Grundfläche mit je einer GrandMA3 Compact XT ausgestattet werden.

 

(Fotos: Lightpower/Congress Center Leipzig)

 

www.lightpower.de

www.ccl-leipzig.de

 

Shure modernisiert Konferenztechnik am Hauptstandort von DIN Berlin

Shure modernisiert Konferenztechnik am Hauptstandort von DIN Berlin

Das Deutsche Institut für Normung (DIN), die unabhängige Plattform für Normung und Standardisierung in Deutschland und weltweit, hat kürzlich die Kernsanierung ihres Hauptstandorts in Berlin geplant. Um den heutigen Standards hybrider Videokonferenztechnologie und digitaler Arbeitsplatzmodelle gerecht zu werden, war in diesem Zusammenhang auch die komplette Erneuerung der Konferenztechnik aller Gebäude gefordert. Shure wurde hiermit im Bereich der Audiotechnik beauftragt.

 

Im Zuge der geplanten Modernisierung des Konferenzzentrums des DIN wurde also auch die Medientechnik grundlegend neu konzipiert und installiert. Damit sich die Bild- und Tonsignale über den gesamten Standort des DIN Berlin verteilen lassen, wurden alle dreizehn Konferenzräume des Gebäudes neu mit Videokonferenztechnik ausgestattet. Dies schloss die beiden Konferenzzentren in angrenzenden Gebäudeteilen mit ein.

 

Neben der geforderten „Bring-your-own-device“-Videokonferenz-Tauglichkeit war eine weitere Voraussetzung für das neue System, dass jede Quelle zu jeder Senke bzw. jedem Ausgabegerät weitergeleitet werden kann. So sollen in Zukunft wichtige Konferenzen in jeden Raum übertragen werden können. Für die Beratung, Planung, Produktdemonstration und Installation vor Ort war Kuchem Konferenz Technik verantwortlich.

 

Um alle Forderungen zu erfüllen, wurde zunächst ein Campus-übergreifendes 4K-NVX-System von Crestron mit über 100 möglichen Teilnehmern aufgesetzt, das ein freies Signalrouting der AV-Signale im gesamten Gelände ermöglicht. Dieses System sorgt zusammen mit fünfzehn dezentralen, auf der Anlage verteilten Switchen und Biamp-Tesira-Servern für die nötige Kapazität bei der Verarbeitung von Audio- und Video-Signalen.

 

Mit dem Forum im neunten Obergeschoss wurde hoch über den Dächern Berlins ein neuer Konferenzsaal geschaffen. Mittels fünf Meter breiter LED-4K-Wand und einem Soundsystem von HK Audio werden alle benötigten Video- und Audio-Signale in der gewünschten Qualität wiedergegeben. Die Konferenzanlage verfügt über 91 drahtlose Shure-MXCW-Sprechstellen und bietet unter anderem Dolmetscher-Einbindung, Redezeit-Management und Abstimmungsfunktionen. Zusätzliche Optionen werden von diversen Shure-MXW-Handsendern und barrierefreien Rednerpulten mit Frontdisplay und MXCW-Schwanenhalsmikrofonen von Shure angeboten.

 

Alle MXCW-Sprechstellen, MXW-Hand- und Taschensender und die Rednerpultmikrofone sind Dante-kompatibel und können als Mikrofone für Videokonferenzen genutzt werden. Die MXCW-Anlage ist dabei so eingestellt, dass nur ein einzelner Teilnehmer zur selben Zeit redeberechtigt ist. Zwei zusätzliche mobile MXCW-Accesspoints können via Dante in beliebigen Konferenzräumen aufgestellt werden, sodass die Sprechstellen des Forums campusweit einsetzbar sind. Für die Übertragung und Aufzeichnung des Geschehens im Raum sorgen drei OneLink-RoboShot-PTZ-Kameras, die zentral über ein Videopult bedient und abgemischt werden können.

 

Die zehn Besprechungsräume wurden mit Groß-Displays, digitalen PTZ-Kameras von Aver sowie Biamp-Lautsprecher-Systemen ausgestattet. Mit den drahtlosen Shure-MXW-Handsendern und Biamp-Parlé-Beam-Tracking-Mikrofonie ist auch hier die gewünschte Sprachverständlichkeit bei Videokonferenzen sichergestellt.

 

Alle Konferenzräume inklusive Diskussionsanlage und verbauter Funkmikrofonie können nicht nur für Meetings vor Ort, sondern auch für hybride Videokonferenzen genutzt werden. Die notwendigen Funktionen wie „Acoustic Echo Cancellation“ laufen dabei vollautomatisch im Hintergrund ab. Techniker sind für den Betrieb nicht notwendig.

 

(Foto: Shure)

 

www.shure.com

 

Martin Audio solution for ICGC Christ Temple East

A new 4,400-seat, three-storey church in the Ghanaian capital of Accra has been equipped with Martin Audio’s Wavefront Precision line array system. Part of the International Central Gospel Church (ICGC) sound consultancy and installation were undertaken by London-based Ghanaian production engineer and integrator Eben Awuah of Amson Audio.

 

“We earmarked four major systems and I was asked to give the pros and cons of each and explain which would be the better choice for the church”, says Awuah. He was then asked to undertake the complete installation. Knowing the system would need to reinforce a vast programme of music - from gospel voice choirs to full orchestras, rock‘n’roll bands and spoken word from celebrants, he recommended a WPC solution.

 

“We are the only church in Ghana with an opera group, a classical band, a harmonised choir and rock‘n’roll band”, he laughs. “WPC not only gave us more warmth than the other systems, but we needed a stronger lower end that we just couldn’t find elsewhere. It gave us that little bit of extra headroom with all the drivers hitting the right frequencies within the box, whereas I really struggled (with the other main system under consideration).” The entire system is run in 1-box resolution.

 

The system comprises two hangs of ten WPC elements and two hangs of eight. These are used in combination with hangs of six SXCF118 (1 x 18) cardioid subwoofers flown behind each hang. There is further ground stacked sub reinforcement of 12 SXH218 (2 x 18), set across the wide stage in blocks of 2-4-4-2. The line arrays are powered by ten iKON iK81s and the subs by five iK42s.

 

Twelve CDD8 are deployed as stage lip fills and finally twelve XE300s serve as floor monitors, powered by four iKON iK42 amplifiers. The support function rooms and ancillary areas in the building have their sound delivered by more than 140 Martin Audio C6.8T ceiling speakers. System design assistance came from Martin Audio Product Support Engineer Robin Dibble.

 

(Photos: ICGC Christ Temple)

 

www.martin-audio.com

 

Powersoft’s Mover selected for world’s first dance music museum and nightclub

Powersoft’s compact transducer, Mover, is at the heart of a new four-dimensional nightlife experience in Amsterdam which allows visitors to take a deep dive into the culture and educational history of electronic dance music from its roots to the present day.

 

Based in Amsterdam’s Rembrandt district, Our House has been a nightclub and the heart of the electronic music scene since the 1980s. The venue has upheld its musical legacy by recently becoming a digital storytelling museum, promising a 75-minute journey into the music genre via interactive exhibits, shows and performances, telling the story of how electronic music has evolved to become a global cultural phenomenon.

 

“When we came here, about two years ago, the place was very analogue: There was a sound system, strobes, smoke machine and some LEDs - that was about it”, says Our House general manager, Jeroen Jansen. “We wanted to rebuild the club with installations that could tell the story of over forty years of dance music by using mixed technology. In order to revamp the venue and bring it to a completely new level, we received a lot of support from within the industry, including Powersoft.”

 

The venue’s overhaul had to be carefully considered, as it’s home to a popular nightclub, Club Air, in the evening whilst sharing the same space with museum-goers by day. Jansen sought advice from Powersoft engineers to assess the number of required Mover to support the dancefloor structure they had in mind; the double layered flooring needed to support 100 people and twelve tonnes of weight. They opted for 64 Movers, deployed underneath the double layered dance floor and all powered by four Quattrocanali 4804 DSP+D amplifiers.

 

“We came up with the idea of actively involving all technical elements that are associated with electronic music, like light, video, laser and special effects. We wanted movement from underneath people’s feet to form a completely immersive experience, created by a timecode content system”, states Jansen, who refers to the specifically designed content as “the connector of all the dots”, bringing all the tech together at musical pinpoints, like when the beat drops or the musical crescendo. The “double floor” construction consists of one hydraulic surface, which can slide up and down 20 cm, and the secondary flooring on top. The latter has the 64 Movers attached, one to each floor panel, so it can be felt wherever the person is standing.

 

“It was very important to us that we created a full VR experience, without glasses, at the climactic end of the visitors’ journey”, continues Jansen. “That’s where the idea of a haptic experience came up: to tie in all the technology with movement, so that everything worked in harmony.” System integrator Lagotronics worked in collaboration with Our House to develop the “free fall” hydraulic floor system, which not only vibrates but drops downwards.

 

The creative designer of the audio system, Joshua Dutrieux (JDX Music), was approached by Jansen and Fourmation, his entertainment company, with the brief to create something that had never been done before and what would make the dance museum truly memorable: “I know Jansen from back in the days when we organised dance music events together”, says Dutrieux.

 

Dutrieux experimented with two Movers at his home, exploring the capabilities of its low-end frequencies: “I wanted to pinpoint frequencies to get the floor rumbling. I had all these audio samples and started tweaking the volumes up and down. Eventually, I thought, ‘Okay, let’s do this full scale on a dance floor.’”

 

(Photos: Powersoft/Our House)

 

www.powersoft.com

 

MCI liefert Radiosystemlösung auf Cloud-Basis für Großstadtradio Berlin

MCI liefert Radiosystemlösung auf Cloud-Basis für Großstadtradio Berlin

Großstadtradio heißt ein neuer Radiosender aus Berlin, der im Internet und in Berlin und Brandenburg über DAB+ sendet. MCI plante und realisierte für die Neugründung auf Basis der Software Radio.Cloud eine smarte Radiosystemlösung mit automatisierter Cloudtechnologie als Radio as a Service (RaaS) inklusive der gesamten technischen Infrastruktur und Studioausstattung sowie mobiler Lösungen.

 

Im Studio wurde ein Moderationsplatz eingerichtet, von dem das Einsprechen der Beiträge in Broadcastqualität möglich ist. Um dem Wunsch nach flexiblem, mobilem Betrieb des Senders zu entsprechen, wurde ein Laptop mit einem Großmembran-USB-Mikrofon ertüchtigt. Hiermit können etwa Sendebeiträge, Musik und Interviews ortsunabhängig mit Internetzugang ins cloudbasierte Radio-Tool integriert werden. „Das cloudbasierte Radio Design wird von uns als RaaS komplett angeboten - das heißt, dass MCI sowohl für die technische Ausstattung als auch für den reibungslosen Sendebetrieb verantwortlich ist“, erklärt Simon Neeten, MCI Solutions Engineer.

 

Der Sendeablauf wird über die Browser-Anwendung von Radio.Cloud erstellt und über diese direkt in das cloudbasierte System gespielt. Als Beiträge für das Sendeprogramm können Live-Voice-Over und Beiträge aus dem Studio oder mobil eingesprochen und in die Cloud gesendet werden. Nachrichten, Werbung und wahlweise Musik werden automatisiert direkt in die Cloud über Drittanbieter in das Großstadtradio-Programm integriert. Die sendefähigen Soundfiles werden anschließend EBU-Normgerecht an den Streamingprovider übergeben und über den zweiten Ausspielweg auf einer DAB+-Frequenz gesendet.

 

Nach einführender Schulung und Integration der notwendigen Technik wurde der Sender Ende März betriebsbereit übergeben und konnte am 6. April 2022 mit einem Musikprogramm zum ersten Mal online empfangen werden. Der Programmstart von Großstadtradio mit Moderationsbeiträgen wird im Juni erfolgen.

 

(Foto: Simon Neeten/MCI)

 

www.mci.de

 

Anolis unterstützt Lichtkunstausstellung „Dark Matter“

Anolis-LED-Leuchten wurden zur Beleuchtung des Außenbereichs der Berliner Lichtkunstausstellung „Dark Matter“ installiert. „Dark Matter“ ist ein modernes Lichtkunstmuseum, das die kreative Arbeit und technische Innovation des Lichtkünstlers Christopher Bauder zeigt.

 

Das während der Pandemie entstandene Lichtkunstmuseum umfasst sieben stockdunkle Räume in drei eigens dafür komplett umgebauten Gebäuden auf dem Gelände einer alten Fabrik im Lichtenberg-Viertel der Stadt. Auch für den Außenbereich von „Dark Matter“ erstellte Bauder ein dynamisches Lichtkonzept. Mit einer Aura aus Licht und Farben sollten die Gebäude, Gärten und die umliegende Industriearchitektur nach Einbruch der Dunkelheit in eine Stimmung versetzt werden, die den Charakter der Ausstellung unterstreicht.

 

Bauder und sein Team vom Kreativbüro WhiteVoid - einschließlich des technischen Leiters Marc Liebold und der Technischen Leiterin Natalie Heckl - wurden dafür bei der Architekturbeleuchtungsmarke Anolis fündig. Sie entschieden sich für sechzehn Anolis-Divine-160-RGBW-LED-Fluter, dreißig Eminere 4 und zehn Eminere 4 Inground.

 

Um herauszufinden, welche Scheinwerfer in den verschiedenen Bereichen am besten funktionieren würden, führten Liebold und das Team mehrere Musterbeleuchtungen mit den Anolis Divine und Eminere und deren verschiedenen Optiken durch. „Das Team von Robe Deutschland war uns bei der Auswahl der richtigen Leuchten sehr behilflich“, betont Liebold. „Für die Beleuchtung der Außenwände der Ausstellungshallen brauchten wir viele verschiedene Abstrahlwinkel, da die Leuchten wegen der örtlichen Gegebenheiten nicht immer im gleichen Abstand zur beleuchteten Fläche angebracht werden konnten.“

 

Die schwarzen Wände der drei Gebäude von „Dark Matter“ werden jetzt mit Eminere 4 und Eminere 4 InGround beleuchtet. An den Gebäudeteilen, die mit gekiesten Bepflanzungsstreifen umgeben sind, kam die Inground-Version zum Einsatz. Um die Hallen 2 und 3, wo es aufgrund der Betonböden keine Möglichkeit für die Bodeneinbauversion gab, wurden Wandmontage-Versionen angebracht.

 

Das Gelände wird auf einer Seite von einer hohen Ziegelsteinmauer begrenzt, die von acht der sechzehn Divine 160 beleuchtet wird. Ausgestattet mit 15-Grad-Optiken, sollen sie die raue Struktur der dunkelbraunen und grauen Ziegelsteine hervorheben. Ein weiterer Bestandteil des Außenbereiches von „Dark Matter“ sind Gas- und Heizungsrohre, die vom benachbarten Vattenfall-Kraftwerk das Gelände durchqueren.

 

Um eine gleichmäßige Ausleuchtung der gesamten Metallkonstruktion der Rohre und ihrer Stützen zu erzeugen, wurden weitere sieben Divine 160 verwendet und mit 90- bzw. 100-Grad-Optiken bestückt. Eine einzelne Divine 160 befindet sich unter einem Gitter auf dem alten Wasserbrunnen. Ausgestattet mit einer 100-Grad-Optik, lässt sie das Licht aus einem unerwarteten Raum herausstrahlen.

 

Die Kabel der Anolis-Installation wurden vom „Dark Matter“-Team während der Gestaltung der Gärten positioniert. Die gesamte Außenbeleuchtung sowie die Beleuchtung der verschiedenen Exponate in der Ausstellung werden von einer GrandMA OnPC gesteuert.

 

(Fotos: Robe Deutschland)

 

www.anolislighting.com

www.robelighting.de

www.darkmatter.berlin

 

AVL equips Rumbach Street Synagogue with Robe

Budapest’s Rumbach Street synagogue, designed by Viennese architect Otto Wagner and completed in 1872, has recently been restored and re-opened to the public after decades of dereliction following a partial reconstruction in the late 1980s/early 1990s, which ran out of funds, and this more recent effort which was finished during the pandemic.

 

In addition to being used for prayers and other spiritual activities, the main chamber (sanctuary) and other related spaces have been reimagined and kitted out with modern technologies. AVL Trade was chosen to integrate a lighting and AV system into the synagogue as the final detailing of the restoration project which has transformed the venue into a set of modern event spaces for Hungarian Jewish umbrella organization Mazsihisz.

 

AVL Trade’s Csaba Csanadi (pictured) has worked on the project for over two years - the initial approach and invitation for the company to tender on the project came just as the pandemic was starting. He specified a selection of Robe fixtures including 12 x T1 Profiles, 12 x Spiiders and 16 x LEDBeam 150s.

 

The sanctuary will be used for concerts and other performance events. The retractable Bimah in the centre sinks completely into the floor via hydraulic lifts, enabling the space to be used for 300 capacity concerts and religious services using a small stage. When the stage is located centrally in the room, the capacity is increased yet further.

 

AVL’s lighting design took the octagonal architecture and structural form of the sanctuary as a starting point. One of their first jobs was establishing flying points, which involved working in the restricted wooden roof space 25 metres above the floor of the chamber and drilling unobtrusive holes through the ornate ceiling without damaging its surface, then rigging motors and winches safely and securely around the joists. This facilitated hanging trussing below providing technical positions for lighting, audio, and video.

 

The two main lighting positions are an 8-faceted truss, flown above the Bimah in the central space and a straight truss in front of the stage area. T1 Profiles are rigged in both positions. The Spiiders were picked for their washing capabilities and colours and because they can produce effects and a bit of craziness using the individual pixels or the flower effects. The LEDBeam 150s can be displayed anywhere in the room as needed - on the stage floor or rigged on the truss to highlight the ceiling and other architectural features.

 

All the lights are run over ArtNet with a portable ChamSys console as part of the package, which can be set up in various positions around the room. As well as the sanctuary, Rumbach Street synagogue now has a permanent interactive exhibition/museum on the third floor narrating the story of Hungarian Jews through one extended family, the Pulitzers (Politzers); plus a 40-seat conference hall and a large kosher café.

 

(Photos: Louise Stickland/Paul Clarke)

 

www.robe.cz

 

Martin Audio’s Wavefront Precision specified throughout Blackpool Conference and Exhibition Centre

A reconfigurable Martin Audio Wavefront Precision design throughout the new Blackpool Conference and Exhibition Centre is the brainchild of system designer Samuel Williams of Derby-based Media Powerhouse.

 

The first major building development at the Winter Gardens complex since the construction of the Opera House in 1939, the venue, set on two levels, is one of the largest of its kind in the north of England. It features the necessary infrastructure for hosting modern conferences and exhibitions. Media Powerhouse’s integration includes projection video and smart lighting technology as well as Martin Audio scalable line arrays in each of the eight rooms.

 

The exhibition space is set on the first floor, with a 2,000-capacity conference space on the second floor. It is conceived as four separate but reconfigurable venues on both floors, with a total 2400 sq.m of reconfigurable space. The space can be combined with other venues throughout the complex to further expand the 7,000 capacity.

 

Williams, who also acted as the consultant, was aware that the spaces needed to function as both stand-alone spaces, or divided into smaller cells with the partitions removed. This would require the technical infrastructure to be flexible, with presets for all technical services available for each room configuration. He was also aware that the venue would need to cater for a raft of different events - from the recent Conservative Party Conference to pure theatre productions and rock‘n’roll shows.

 

With assistance from Martin Audio Product Support Engineer Robin Dibble, Williams specified a total of 32 x Martin Audio WPS elements along with their flying frames divided between the eight rooms, 12 x XD12 stage monitors, 32 x Blackline X8 and twelve SX118 subs. In its basic configuration, the processed arrays are powered from Martin Audio iKon iK42 4 channel amplifiers in 2-box resolution, with each pair of array cabinets fed from one amplifier channel. Everything runs on a Dante backbone.

 

“For each usage there is an individual optimisation for the WPS arrays, carried out in Display 2 and stored in the iKon amplifiers,” explains Williams. “We can recall the optimisations automatically via the venue control system depending on the changing configurations. In the first installation of its kind, when the array is changed, the configurations are recalled through the presets. Every room has a default setting, and everything works automatically; the system just needs to be told what mode it is in, and all incoming production needs to do is to patch into the system.”

 

“I designed the original layout nearly four years ago”, continues Williams, who was responsible for all programming. “After we bid successfully for the job the contract got delayed for a number of years.” The venue is now being operated by Blackpool Entertainment Co. Ltd.

 

(Photos: Martin Audio/Media Powerhouse)

 

www.martin-audio.com