Installationen News Schlagzeilen
Palatin Wiesloch mit Lichtlösung von Feiner Lichttechnik ausgestattet
Das Palatin, ein Kongresshotel und Kulturzentrum in Wiesloch im Rhein-Neckar-Kreis, wurde im Jahr 1992 eröffnet. In dem als Stadthalle mit Hotel konzipierten Komplex finden unter anderem Kongresse, Tagungen, Konzerte, Theateraufführungen und Ausstellungen statt.
Der Staufersaal des Palatin Hotels ist für Tagungen, Konferenzen, Konzerte und besondere Anlässe vorgesehen. Für die energieeffiziente Erneuerung der in die Jahre gekommenen Saalbeleuchtung entwickelte Feiner Lichttechnik ein optimiertes Umrüstungskonzept auf LED-Technik, das einerseits an die bestehende Atmosphäre des Saals angepasst wurde als auch dem Wunsch nach größerer Helligkeit Rechnung trägt.
Umgesetzt wurde eine rein warmweiße Beleuchtung des Saals mit über 260 Electron-Talus-Downlights in der Farbtemperatur 2.700 K und einem Farbwiedergabe-Index von CRI 90. Die voraussichtliche Energieeinsparung beträgt bei den Nennleistungen der Leuchten ohne Regelung und trotz der erhöhten Lichtleistung gegenüber dem Altbestand 85 Prozent.
Die Ansteuerung der Downlights erfolgt per DMX mit 16 bit und damit optimalem Dimmverhalten im Veranstaltungsbetrieb über siebzig FBox-6-x-1.050-mA- und zehn 6-x-700-mA-LED-Dimmer von Feiner. Die Beleuchtungsanlage arbeitet damit flickerfrei und kameratauglich. Zur Signalverteilung wurden Proplex-Switches und Netzwerk-Nodes eingesetzt. Als Neuerung wurde im Saal zusätzlich eine farbige Wandbeleuchtung über eingebaute RGBW-Downlights eingeführt, was die Einfärbung der Wände ohne Aufstellen von LED-Pars ermöglicht.
Insgesamt wurden 152 Electron Talus FX (37 W), sechzig Electron Talus FX (31 W), fünfzig Electron Talus ADJ (schwenkbare Downlights, 37 W), 42 Electron Kronos (42 W), dreißig Electron Ronelo ADJ (43 W) und 72 Electron-4-Kanal-RGBW-Treiber sowie die genannten Feiner-FBox-Treiber mit Puls-Netzteilen installiert.
(Fotos: Feiner Lichttechnik)
Sparks liefert GLP-Impression-X5-Washlights an die LDs Paule Constable, Tim Lutkin und Paul Pyant
Drei Theater-Lichtdesigner des West End/Broadway nutzen den neuen Impression X5 Wash von GLP, um aktuelle oder kommende Shows zu beleuchten, allesamt beliefert von Sparks Theatrical Hire. Den Anfang machte Lichtdesignerin Paule Constable, die das Washlight ursprünglich für „Guys and Dolls“ am Londoner Bridge Theatre angefordert hatte. Es folgten Tim Lutkin, der für die Beleuchtung von „The Crucible“ am Gielgud Theatre verantwortlich ist, und Paul Pyant, der gerade „Noises Off“ am Theatre Royal Haymarket gestaltet.
„Das sind drei sehr renommierte Designer“, stellt Paul Anderson von Sparks Theatrical Hire fest, der selbst ein Spezialist für Theaterlichtdesign ist. „Schon früh im (‘Guys and Dolls’)-Prozess traten wir an Paule heran, um zu hören, welche Ausstattung sie sich wünscht. Da sie gerade eine Show am Broadway mit den Impression X5 beleuchtet hatte, standen die Geräte erneut auf ihrer Wunschliste.“
Sparks bestellte die dreißig Stück im Voraus, da das Team um den globalen Komponentenmangel wusste und Anderson selbst die Geräte noch prüfen wollte. „Wir kannten die Impression X4 Washes und haben natürlich tonnenweise Impression X4 Bars 20 in unserem Mietbestand. Letztlich waren die X5 nur zwei Tage im Lager, um die Inventarisierung und die Tests durchzuführen, bevor sie direkt ans Theater gingen“, erklärt er und fügt hinzu: „Nachdem wir dreißig Stück gekauft haben, sind wir nun dabei, weitere (für ‘Noises Off’) zu kaufen.“
Fotos: „Guys and Dolls“-Inszenierung am Londoner Bridge Theatre. (Fotocredit: Manuel Harlan)
Fraunhofer Cingo technology brings cinematic experiences to BMW automobiles
The new BMW 7 Series can be ordered with the BMW Theatre Screen and Fraunhofer Cingo technology for realistic headphone playback, turning the car into a rolling cinema. With 31.3 inches, the 8K BMW Theatre Screen in the rear of the BMW 7 Series is the largest display in a serial car today.
The enveloping sound is delivered by the car’s integrated surround sound system or through headphones. In this case, the Fraunhofer Cingo technology ensures the desired sound for the BMW Rear Seat Entertainment Experience.
Conventional headphone playback can only partially represent the spatial dimension of an acoustic scene. This means that you usually perceive sounds in your head only, and not as if they were positioned around you like in real life. Fraunhofer Cingo simulates a natural sound field in which virtual sound sources can be freely positioned.
This adds a new spatiality to audio content while keeping it free from any unwanted sound coloring. Passengers can enjoy a sound image through their headphones that is as spatial as the one from the premium speaker system.
Cingo has been integrated into the built-in Fire TV operating system of the Rear Seat Entertainment Experience, which is now available across all models of the BMW 7 Series. The Fraunhofer technology provides headphone playback of stereo and 5.1 surround sound for streamed content on apps like Amazon Prime, Hulu, Netflix, and YouTube.
(Photos: BMW/Fraunhofer IIS)
Alfalite LED screen installed at Norwegian School of Economics
Alfalite, the only European manufacturer of LED screens, announces its first project in Norway in collaboration with its partner Caverion. The Norwegian School of Economics (NHH) in Bergen has installed a 9 x 2 meter Alfalite ModularpixPro 1.5 LED screen with Orim (Optical Resin Injection Module) technology.
The installation was part of the renovation project of the NHH carried out by Caverion to improve energy efficiency and save costs by modernising the existing 12,000-square-metre building. Caverion’s total technical solutions delivery included heating and sanitation, ventilation and air conditioning, cooling, electricity, information and communication services, including AV, security and safety, and automation.
The Alfalite LED screen has been mounted in NHH’s biggest auditorium in Bergen. “We've answered our customers’ demand for a display by replacing four projectors with the Alfalite LED screen”, explains Torodd Lund, Business Development Manager AV, Caverion Norge AS. “This solution empowers NHH to seamlessly showcase content from three PCs side by side, enhancing the educational experience at the school.”
New Leoland space opens in Ukraine with Robe lighting installation
Leoland, a 300,000 square meter sports, educational entertainment and leisure complex for the whole family in Lviv, Ukraine, has just opened a new multipurpose conference/concert space, which enhances its facilities at the heart of the city.
The room features 270-degree projections and is lit with Robe products including eight Viva CMYs to cover the stage, together with twenty-six LEDWash 600+s and eight ParFect 150s that are positioned around the ceiling, all delivered by one of Robe’s Ukrainian distributors, Sound House, based in Dnipro.
The lights were chosen for their size and power - the height to the ceiling is 5.7 metres, so physically smaller fixtures were needed, and they had to be bright and intense to fill the space and to dovetail in with the video projections for which Sound House worked closely with video specialist Front Picture, who supplied a bespoke projection control system.
The multipurpose room is one phase involved in expanding the existing Leoland property, and it was driven by a private investor. The planning for the venue started at the end of 2020 intended as a central venue for business events and gatherings. The original technical installation date should have been March 2022, but the war started the month before.
Since then, people’s immediate needs have shifted, so Leoland’s whole emphasis has also moved more to it being more of a social hub that can be enjoyed by all the public of all ages as well as those engaged in business. There is a requirement to stage commercial events which is starting to grow again, and these are much needed right now to stimulate different areas of Ukraine’s adapting economy.
Sound House created a full technical design package - audio, lighting, and AV - for this new multipurpose room and proposed it to their client after taking their brief, explains CEO Andrey Garkaviy. They then won the contract to supply and install all of it. The stipulations included that the room must be able to stage anything from a medium size conference plenary session or a product launch to a similar standing or seated live performance/entertainment show with band, dance group or other artists. The proposed design contained a medium to high level of specification. In Ukraine, the company/team supplying the winning design will regularly get the chance to also supply the kit, which is why many of the sales and distribution companies there will also have a projects division.
Once the war started in February 2022, the multipurpose venue was put on hold, but after a few months the client decided to reactivate it. Those left at Sound House - several crew and staff have joined the ZSU (Ukrainian Armed Forces) while others have found work abroad - “were just ecstatic that the project was able to continue - you can imagine!”, says Garkaviy.
However, this also wasn’t the biggest challenge for Sound House by that time. On March 11th, 2022, two weeks after the start of the war, two Kalibr cruise missiles ripped into their warehouse in Dnipro, completely destroying the building and everything in it including the Robe ParFects and Viva CMYs, a bunch of audio and AV kit which had already arrived in readiness for the installation. The complex security guard and his dog were killed in the strike.
The LEDWash 600+s had not yet arrived, and as soon as the invasion began, Garkaviy asked the Robe factory to leave everything not yet delivered safe in the Czech Republic. When the project cautiously re-started in mid-2023 he had to re-order all the kit that had been destroyed in the missile strike.
The wartime economy also brings many more logistical nightmares - massive increases in the time and cost of equipment and road transport, crew shortages and the fact that everything takes longer to install on site amidst constant power and network outages. But everyone was determined.
The installation work was completed in August and September and the new room hosted its first events at the end of September. The Sound House team has already installed additional cabling and control infrastructure to expand all the systems - lighting, sound, and multimedia - in the future, which will include some more moving head luminaires.
Pictured (group shot, left to right): Alexey Konichenko (Sound House chief of project department), Andrii Garkavyi (CEO of Sound House), Dyachkin Volodymyr (customer’s technical service), Alexander Yuvchenko (field engineer); Ukrainian singer Mila Nitich. (Photos: O. Biront/Paul Clarke/Leoland/Louise Stickland/Stepan Yarko)
Herrenhäuser Gärten nutzen Hyperion-Fresnels von Spotlight
Die historischen Herrenhäuser Gärten in Hannover dienen als Kulisse für zahreiche Tagungen und Festlichkeiten. Dabei kommen Stufenlinsenscheinwerfer der Hyperion-Serie des Herstellers Spotlight zum Einsatz.
„Für Konzerte, Gala-Veranstaltungen und Theaterproduktionen in den über dreihundert Jahre alten Gebäuden benötigten wir einen nachhaltigen Ersatz für die bislang konventionelle Halogenbeleuchtung“, erklärt Sebastian Seuring, Technischer Leiter der Herrenhäuser Gärten, die Entscheidung, in die Spotlight-Produkte zu investieren.
„Die Hyperion-300-FR-6C-Stufenlinse überzeugte uns als Ersatz für unsere alten 1-kW-Fresnel mit der variablen Lichtfarbe, vor allem über den gesamten Dimmbereich, sodass wir direkt zur Markteinführung in 2023 auch noch die 700 FR als ‘2-kW-Variante’ bestellt haben“, so Seuring weiter. „Die 6-Farb- bzw. 8-Farb-Versionen 6C und 8C der Hyperions erlauben uns eine Vielzahl an Gestaltungsmöglichkeiten und Flexibilität innerhalb der Veranstaltungen, die mit konventionellen Stufen nicht erreicht wurde.“
Für die Veranstaltungen wurden seit Ende letzten Jahres 36 Spotlight Hyperion 300 6C Fresnel P.O. für Stangenbedienung sowie zwanzig Ovation Cyc1 FC des Herstellers Chauvet Professional angeschafft. Mitte 2023 kamen acht Spotlight Hyperion 700 8C Fresnel P.O. hinzu.
(Fotos: Feiner Lichttechnik GmbH/Herrenhäuser Gärten Hannover)
Videlio expands looks for Basilica of Saint Pius X with Chauvet
Pélerinage Militaire International (PMI) attracts some 14,000 military pilgrims from forty different nations. This year, their services at the Basilica of Saint Pius X in Lourdes, France, were enriched by a new lighting system that features 79 Chauvet Professional projectors supplied by Videlio.
Working with Vincent Fernandez, Audiovisual Department Manager at the Sanctuaire de Lourdes, Videlio Business Manager Jean Camlong and Videlio Project Manager Joel Cathala oversaw the installation of the new fixtures throughout the spacious basilica, which has an oval nave that measures 201 metres (659 ft) long by 81 metres (266 ft) wide (12.000 m² - 39.370 square feet). In addition to installing the new units, the production team reused some of the existing fixtures and renovated some of the electrical and DMX lines.
A collection of thirty Ovation F-265WW Fresnels and three Ovation E-260WW ellipsoidals provide smooth even fields of light across the basilica, while two Ovation E-910FC units add richly textured colours. This light provides a better experience for worshippers in attendance, and also creates a superior visual environment for services and events that are televised and video recorded.
A group of 36 Ovation P-56WW Pars and four Ovation P-56 FC Pars create accent lighting for the altar, while four Rogue R3X Wash moving fixtures add a variety of effects. “Our goal was to replace the old lighting system and its dimmers with a more powerful, versatile and energy efficient solution, and to improve colorimetric rendering for video recording and diffusion”, says Joel Cathala. “The Chauvet projectors helped us achieve these objectives.”
(Photos: Christophe Cieslar)
Quantum invests in Robe Esprites for Moon Palace
The Moon Palace is the biggest hotel and conference centre complex on Mexico’s eastern coast Riviera Maya region, just south of Cancun. Owned by Palace Resorts, the property offers three large indoor conference and event centres plus three substantial outdoor terraces and a beach venue, the latter of which can accommodate up to 10,000 people for concerts.
All these spaces are operated via umbrella company Palace Productions which is also responsible for production and delivery of the constant and diverse stream of business and private events. Armando Manjarrez (pictured) is the technical director of Quantum, Palace Productions’ technical services enterprise that supplies and co-ordinates all technical requirements - lighting, audio, and video - across the Moon Palace complex.
Quantum owns substantial amounts of lighting, audio and video kit, and has several types of Robe moving lights in the inventory, the most recent purchase being 24 Esprites, with two RoboSpot systems and Forte Follow Spots on their way. The Esprites were delivered by Robe’s Mexican distributor Showco and are now in use across all the Moon Palace’s different venues. For larger shows, the lighting designs will often be created and delivered in house as well as the kit.
Manuel Bautista heads the lighting department and will typically light eighty percent of them with Manjarrez imagineering the other twenty percent. Bautista and his colleague Salvador Cutiz work alongside twelve dedicated technicians who also program and run lights. Primarily they utilise MA consoles for site wide lighting control together with MA visualisation, however there is also a Road Hog Full Boar in residence for those preferring an alternative.
Manjarrez and Quantum are in frequent contact with an array of international lighting designers due to the calibre of artists often appearing at the different venues and resorts. “We are constantly talking to lighting, audio and video professionals about their production requirements, and our goal is to deliver to the highest standards of excellence”, says Manjarrez.
(Photos: Louise Stickland)
Focusrite RedNet components chosen for music production program at Loyola University New Orleans
The Department of Music Industry Studies at Loyola University New Orleans lets students explore the business of music in one of the world’s great cultural capitals. With state-of-the-art facilities, an industry-recognized and Grammy-winning faculty, and a comprehensive curriculum, students gain practical, hands-on experience with the latest industry technology and practices.
The program’s alumni roster includes rapper G-Eazy, Grammy winner Woods Drinkwater and CAA Marketing Executive Lucy Kozak, as well as current employees of Google, Apple, Warner Music Group, Sony Music, Def Jam Recordings, Universal Music and HBO.
The five-studio production facility that has grown up around the program is completely connected by a Dante network infrastructure, accessed via Focusrite RedNet and Red interfaces that let students and instructors access any signal, anywhere on the network, at any time. No matter what platforms they’re working on, from the Solid State Logic AWS 900+ analog console in Studio A, to the Solid State Logic controllers (two UF8s and one UC1) in Studio B, the two Slate Raven MTi 2 digital touchscreen boards in Studio C, or the in-the-box production and mixing environments of Studios D and E, RedNet links them all.
That RedNet network has been built up over the course of the last five years, says Lovell “U-P” Cooper, Professor of the Practice of Hip Hop & R&B, and the facility’s Recording Studios Manager, starting with recommendations from Sweetwater sales consultants. “We outfitted the first studio, Studio A, with a pair of RedNet A16R 16-channel analogue I/O interfaces with a RedNet HD32R 32-channel HD Dante network bridge, and quickly put the same combination of RedNet/Dante technology into Studio B”, he says.
In fact, says Cooper, he quickly found that Focusrite offered an array of interfaces that were perfect for the entire facility’s needs. That included the Red 4Pre 58-In/64-Out Thunderbolt 2 and Pro Tools HD compatible audio interfaces - with Thunderbolt 2, Pro Tools HD, and Dante connectivity - that are the main network interfaces for Studios C, D, and E.
And ultimately four RedNet MP8R eight-channel mic pre and A/D converters would come to facilitate the program’s “remote” recording capability: racks that are placed in the program’s two tracking spaces and performance space, along with a roaming one able to plug into the school’s network anywhere on campus to create ad hoc recording environments as needed.
“We’ve had instances where we needed to use the tracking room in Studio A, but the control rooms for Studios A and B were both occupied with other projects. But we could use any of the other control rooms, routing the tracks from the recording room via Dante and RedNet”, explains Cooper. “No matter what the configuration of the spaces was, RedNet gave us a way to work with it.” He adds that RedNet’s compatibility with the Dante networking protocol has led the program to mandate Dante certification for those students who wish to access and use the studios on their own for projects. And for a planned Dolby Atmos suite, the program has acquired a RedNet PCIeR Card.
But perhaps the single most critical RedNet component turned out to be the RedNet AM2 stereo audio monitoring unit, often used as a powered headphone interface. Those were installed in every studio over the course of the school’s Covid shutdown, and when students and faculty were allowed back on campus, they proved to be a lifeline for in-person teaching and learning.
“We had an AM2 in every isolation booth in every studio, along with a microphone and a pair of headphones - and an air purifier”, recalls Cooper. “We had entire classes working remotely, yet in synched-up ensemble, safe in their own environments on campus but also able to interact in real time.”
Following the addition of two RedNet X2P 2x2 Dante audio interfaces, RedNet R1 desktop remote monitor controllers will soon be added as well. “The R1 has the key feature that I’ve been looking for: integrated talkback capability”, says Cooper. “A built-in talkback microphone with an internal mic preamp and a high-powered headphone output, so I can monitor audio inputs and outputs, and interact with talent in another location.”
Additionally, the program has deployed components from other brands in The Focusrite Group, including Adam Audio and Sequential. Adam Audio monitors have been added to the five studios plus a lesson room, including S3H, A8H, A44H, A4V, T8V and T5V pairs, as well as Sub12 and Sub10 units. Two synth units from Sequential are also in use.
Zonda 9 FX by Ayrton lights up Mallorca’s Megapark with colour
The Megapark in Mallorca, the largest open-air beer garden in Europe, has incorporated the new Ayrton Zonda 9 FX among its lighting fixtures. The Megapark space is an environment with a capacity of 5,000 people, blending elements of an open area with the influence of a coastal zone. It features a small stage that required lighting capable of working in daytime and nighttime settings.
Megapark has chosen to place the Zonda 9 FX fixtures at the rear of the stage among screens. They have a large screen behind the stage and four 1-meter by 3-meter “totems”, with three Zonda 9 FX units placed between each “totem”, totaling twelve Zonda 9 FX fixtures. In the case of Megapark, the fixtures are being used as a complement to LED screens, creating effects for attendees by projecting patterns, colours, and movements.
The venue already has lights like the Ayrton Perseo Beam to create aerial effects. However, the Zonda 9 FX was chosen as a tool to achieve visual effects, just as Megapark’s Technical Director, Daniel Morales, had envisioned. Megapark’s goal has been centred around equipping the space with IP-rated lighting, and due to their positive prior experience with Ayrton and their Perseo Beam lights, they decided to go with this brand once again.
The installation was made by Stonex, Ayrton’s exclusive distributor for Spain.
Leuven arts centre adds more Coda Audio during refurbishment
STUK - an international arts centre in the Belgian University city of Leuven that seeks to connect its patrons with contemporary dance, visual and audiovisual arts, sound art and adventurous music - recently underwent a refurbishment to improve its sustainability, and upgrade its facilities.
The centre is housed in a large building, parts of which date back more than a century, and comprises multiple rooms including a main performance space. The STUKcafé is an important hub within the building, and as well as being an eaterie for visitors and students, also hosts a wide range of events.
Part of the refurb included provision for a new audio system in the café. Production specialist Stresske BVBA installed a Coda Audio system to meet the varied needs of the STUKcafé, as its owner Steven Stesmans explains: “We’ve been using Coda Audio systems since 2020 when we were introduced to them by our good friend Hans Engelen at Viladco (Coda Audio distributor for Benelux). Over the years we’ve worked with Hans on a variety of installation projects and have also added Coda systems to our inventory for live sound.”
“At STUKcafé, the choice of a Coda system was logical”, continues Stesmans. “Its large hall was already fully equipped with a Coda Audio system, meaning that the technical team at the centre were fully aware of the possibilities that Coda could deliver. We therefore didn’t hesitate to suggest a Coda system for this space as well.”
The wide range of programming at the café, from daily background music through light jazz to heavy electronic DJ sets and live bands, demanded a flexible system. Having taken this into account, Stresske’s experts worked in close collaboration with Hans Engelen on the design. Coda’s proprietary simulation software System Optimiser was used to obtain accurate predictions.
The main system at STUKcafé comprises six N-Aps, Coda’s ultra-compact arrayable point source, and four N-Subs, with five Hops8i deployed for outfill and delays. Three Coda Audio Linus12C 4-channel DSP amplifiers drive the system.
(Photos: Coda Audio/Stresske BVBA/Joeri Thiry/STUK)
RTS brings Palais des Congrès de Paris into the IP era
Situated in the heart of the French capital, the Palais des Congrès de Paris hosts every type of event from medical conferences to the Tour de France presentation. To ensure it can meet the needs of its various users, the convention center needs a flexible AV infrastructure. At the heart of this system is an RTS intercom backbone which has been modernized to work with Omneo IP networking architecture.
At over 40,000 m3 the Palais des Congrès is a vast complex boasting meeting spaces of all sizes. The largest of its 29 conference rooms, Le Grand Amphitheatre, can seat 3800 participants, while the smallest caters to 90 people. Various spaces within the complex are in daily use. For the intercom side of the upgrade, the venue turned to local RTS partner Pilote Films.
The team at Pilote Films recommended an Omneo IP networking architecture, as it allows RTS equipment to integrate into existing network infrastructure with the benefit of a range of built-in device control and audio technologies, such as Dante digital audio. Equally, the backwards-compatible nature of RTS equipment allows seamless integration with RTS legacy systems.
The fully IP-based system now features an Odin 96-port digital matrix interconnected with an Odin 48-port matrix alongside forty KP-Series keypanels and several PH-88 headsets. Completing the solution are thirteen Roameo AP-1800 access points and 24 Roameo TR-1800 beltpacks, with six of the access points and eight beltpacks reserved exclusively for Le Grand Amphitheatre.
“RTS intercoms allows us to distribute the intercom system over two Odins that have been placed as close as possible to the analog connections”, says Peter Siffre, Audiovisual Technical Coordinator at Palais des Congrès. “Some spaces are modular and could be arranged to comprise private meeting spaces. Our mobile PA systems have been equipped with an RTS intercom keypanel and are deployed to cover a single private room.”
“In this configuration it is important that the convention center’s general intercom system does not pass through these private rooms, and that is managed automatically by the smart internal logic of the RTS devices”, he adds. “We continue to evolve our infrastructure by connecting our old two-wire system to our IP components.”
Theater am Hagen turns to RTS’ Digital Partyline
After many decades of service, the management of the 320-seat Theater am Hagen in Straubing (Germany) chose to upgrade its legacy stage manager system and all staff communications. The goal was to find an economical yet future-proof solution that would meet their production standards, with an emphasis on intuitive and easy operation.
Working with Robert Ernst, Managing Director of the local company TRE Professionelle Audiotechnik, and the theater’s Technical Director Wolfgang Herrein, they opted for an intercom solution from RTS.
A wired DBP (Digital Beltpack) is available at the lighting control room’s fixed location in the Gallery. The beltpack features four channels, can be powered by PoE+ (Power over Ethernet 802.3af and 802.3at) and is connected via Omneo IP technology. The hybrid design supports both digital partyline and matrix keypad modes. The stage management system, ticketing office, dressing rooms and lighting control are equipped with a total of four DKP and KP series intercoms.
“Together with the Roameo wireless system, the new Omneo Main Station allows smooth communication, maximum flexibility and sustainability”, states Robert Ernst.
(Photos: Helmut Seidl/Theater am Hagen)
Powersoft supports new “Jumanji” attraction at Gardaland
A 96-channel audio system powered by eighteen Powersoft Quattrocanali 2404 DSP+D amplifiers is immersing riders in the soundtrack of “Jumanji: The Adventure”, one of the newest attractions at Gardaland, the largest theme park in Italy.
“Jumanji: The Adventure” is a multi-sensory dark ride that transports guests through twelve environments, bringing them face to face with physical threats including a venomous spider, falling ruins, a swamp full of hippos and an animatronic “Stone Giant”. As riders travel through the jungle in multi-motion off-road vehicles (resembling those seen in “Jumanji: Welcome to the Jungle”), their experience is elevated by a host of AV technology, including projection mapping, holography and immersive spatial audio.
To design and deliver the technical infrastructure for the €20 million attraction - the first based on the “Jumanji” film franchise - Gardaland turned to specialist integrator Bentin Projects, which was tasked with using technology to bring to life the vision of the ride’s creators.
Bernhard Blank, a system designer with Germany-based Bentin, explains the process: “With attractions like this you start with something called a theme book, which contains scene-by-scene information, like in a comic book, from the designer of the attraction. You then need to look closely to figure out what materials and technology are needed to tell the story the designer had in mind.”
Audio, in particular, plays a crucial role in enveloping riders in the world created by “Jumanji: The Adventure”, Blank adds. “To get a fully immersive experience you need to be able to place the speakers in the right place in the scenery”, he says. “Having those speakers hidden from guests and delivering audio from all angles is key to creating the correct atmosphere.”
To provide the power and flexibility needed for the 96 channels of audio providing the soundtrack to the ride through the rainforest, the Bentin team specified eighteen Powersoft Quattrocanali 2404 DSP+D, with each unit delivering 2,400 W of power (efficiently optimised using Powersoft’s patented Smart Rail Management technology) over four channels.
At Gardaland the Powersoft amplifiers are paired with a Q-Sys Core processor, with the audio system complemented by an Alcorn McBride V4X show controller and Pharos lighting controller.
Theater Erfurt rüstet auf LED-Technik von ETC um
Das Theater Erfurt hat in seiner 800 Plätze fassenden Hauptspielstätte die Lichttechnik mit einer ETC-ArcSystem-LED-Beleuchtung erneuert. Bislang waren in den Deckenplafonds ETC-PAR-Scheinwerfer mit konventionellen Halogenlampen installiert.
Die Technische Direktion des Theaters hatte sich für den Umstieg auf moderne LED-Technik entschieden, um das Haus nachhaltiger und energieschonender aufzustellen. Die in Chemnitz ansässige Theater-Architekturlicht Chemnitz GmbH (TAL Chemnitz) war bei der Aufgabenstellung eingebunden und stellte technische Lösungsansätze vor.
Die Wahl fiel schließlich auf ArcSystem-Pro-Four-Cell-Round-LED-Scheinwerfersysteme von ETC. „Bei der Installation der LED-Systeme fielen keinerlei Holzarbeiten an, da die vorhandenen Aussparungen in den Deckenelementen verwendet werden konnten“, sagt Mathias Meyer, Chef von TAL Chemnitz. „Das war ein gravierender Vorteil.“
„Mit der neuen LED-Beleuchtung sinkt der Energieverbrauch um rund achtzig Prozent“, so Meyer weiter, „außerdem vermindern sich die thermische Belastung des Raumes und - ganz erheblich - die Wartungskosten.“ Angesteuert werden die ArcSystem-Scheinwerfer über eine kabelgebundene DMX-Verbindung.
(Fotos: Lutz Edelhoff/ETC/Theater Erfurt)
EM Acoustics loudspeakers installed at Donmar Warehouse
Located in the heart of London’s West End, the Donmar Warehouse is a 251-seat venue for a diverse mix of productions. This not-for-profit theatre recently underwent a full refurbishment of its audio system. Leading the project were sound designers Sound Quiet Time and systems integrators Stage Sound Services.
Working closely with the team at Sound Quiet Time, who have been responsible for audio management at the Donmar Warehouse for several years, Stage Sound Services collaborated to deliver a seamless integration of EM Acoustics loudspeakers.
“The Donmar is a small but complicated space from a sound point of view”, says Rob Bettle from Sound Quiet Time. “The stage is thrust and all audience members are both extremely close to the action as well as possible rigging locations for loudspeakers. Therefore, you need a lot of loudspeakers for a small auditorium.”
Following Sound Quiet Time’s design, Stage Sound Services integrated an EM Acoustics left, centre, right system, complemented by delays and surround sound. At its core, the main PA system consists of six R8s from the brand’s Reference series. Two S-18 subwoofers are employed as the main subs. Twelve EMS-41 loudspeakers serve as stall delays, while an additional twelve EMS-51s are utilised for circle delays.
To create an immersive sound environment, twelve EMS-51 loudspeakers are dedicated to the stall surrounds, while a further twelve are placed in the circle surrounds. Four EMS-112 subs deployed across the circle and stalls complete the surround sound system. On-stage effects are handled by two EMS-122W, four EMS-51, two EMS-41 and four EMS-61 loudspeakers, all of which can be positioned as needed. The full system is driven by five Di20D 8-channel amplifiers.
(Photo: Donmar Warehouse/EM Acoustics)
Mooij Alkmaar equipped with Martin Audio CDD
When the new Mooij Alkmaar restaurant opened recently, it complemented its South American cuisine with music produced from matched pairings of CDD6s and SX210 loudspeakers from Martin Audio’s coaxial differential dispersion series.
The installation in the city of Alkmaar, Netherlands, was carried out by lighting and sound rental specialists Bleeker Group. The Heerhugowaard-based company is a customary Martin Audio user; owner Jacco Bleeker specified the solution as best fit for purpose.
That purpose was to reproduce background music during the week and live music to tape at weekends. In total, Bleeker have detailed fourteen CDD6 and a pair of SX210 subs for the ground floor distribution and on the first floor eight CDD6 and an SX210. The subs are tucked away, to become part of the furniture. The system was designed and tuned using Smaart.
The integrators had again recommended the Martin Audio solution to owners Remco de Boer and Daan Touw, after de Boer and Touw had already bought into the CDD6/SX210 combo at another restaurant, Marktzicht in Broek op Langedijk.
(Photos: Martin Audio/Bleeker Group)
Royal Shakespeare Company chooses Ayrton
The Stratford-upon-Avon based Royal Shakespeare Company’s main house, the 1018-seat Royal Shakespeare Theatre, underwent a rebuild and refurbishment between 2007-2010, and its smaller Swan Theatre (469 capacity) has reopened in April 2023 after a year-long post-pandemic refurbishment.
Both houses have had Ayrton fixtures installed for the first time, replacing failing lighting stock with Ayrton Diablo and Eurus fixtures specified by the RSC head of lighting, Kevin Sleep. “Those most urgently in need of replacement were some of the moving heads in the Royal Shakespeare Theatre which we replaced with nine Ayrton Eurus S in May 2022”, explains Sleep.
Sleep was familiar with Ayrton from his previous position as head of lighting at the English National Opera in London, having thoroughly researched the range with the aid of Paul Roughton of Stage Electrics. “Pre-pandemic, the RSC team had also looked at the Ayrton range as possible options”, he says. “We contacted Paul who arranged further demos at the RSC, and we all agreed that, in comparisons with other manufacturers, Ayrton had the edge for our purposes.”
A second tranche of investment came in March 2023, focusing on the Swan Theatre: “As the Swan work was underway, we looked next at what could be achieved with available budgets. A priority was to replace our 100+ noisy, elderly colour scrollers with something that would give a wider a range of design opportunities, and as flexible a rig as possible”, says Sleep.
“We therefore chose to increase the number of moving heads and purchased fifteen Eurus TC (True Colour) and eight of the smaller siblings, Diablo TC, as dedicated Swan fixtures”, he continues. “These are now the mainstay of the Swan’s movers and are rigged in optimum positions as front, side, back and top light.” The Eurus TC fixtures are hung on the overhead truss bars. Both Eurus and Diablo are run on Quiet Mode.
With money still left in the budget, the lighting team then invested in a further six Eurus TC fixtures for the Royal Shakespeare Theatre. “We’ve received excellent service from Stage Electrics and Ambersphere (Ayrton’s exclusive distributor in the UK), and Briony Berning has been our very knowledgeable and helpful point of contact at Ambersphere”, adds Sleep.
Pictured: RSC’s “Richard III” and “Cymbeline” productions; lighting design by Matt Daw. (Photos: Royal Shakespeare Company/Ellie Kurttz)
K-array supports “Arte Residente” project at Marchionneschi Theatre
The Marchionneschi Theatre in Pisa, Italy, has installed a new K-array sound system. In an effort led by Italian musician Antonio Aiazzi, the system upgrade is part of a wider project, aimed at transforming the space into a hub for musicians and reclaiming the Marchionneschi’s position as a cultural centre following the challenges posed by the pandemic.
The “Arte Residente” project began at the end of 2021. Its aim was to revive the local theatre and encourage audiences back for live performances. Recognising the potential of this project, numerous companies, including K-array, decided to support the venue as it worked to set the standard for professional live audio.
“When I leave a concert where I have heard good music and experienced it fully, I can’t wait to return for another performance”, explains project founder Antonio Aiazzi. “That’s how you create and maintain an audience.” The recent installation at the Marchionneschi Theatre features K-array’s Pinnacle-KR802 portable amplification system. Additionally, Mastiff wedge monitors are used for on-stage monitoring.
The project has welcomed a diverse community of artists hailing from the music industry and beyond. From recording albums to rehearsing for upcoming tours, the Marchionneschi has become a focal point of the creative community. The end goal is to establish a circular system of services and hospitality for these artists and the entire village of Guardistallo, where the theatre is located.
“We’re thrilled to be a part of the Arte Residente project”, says Alessandro Tatini, CEO and President at K-array. “‘Arte Residente’ is a project that not only empowers musicians and creatives but also brings benefits to the local community here in Tuscany through the revival of their local cultural hub.”
Khawaneej-Moschee in Dubai nutzt Laserprojektoren von Digital Projection
Die Moschee in Al Khawaneej, Dubai, Vereinigte Arabische Emirate, wurde mittels Laserprojektoren vom Typ Titan und M-Vision von Digital Projection während eines der bedeutendsten kulturellen und religiösen Ereignisse des Landes in Szene gesetzt.
Während des gesamten Ramadan, vom 27. März bis zum 10. April 2023, präsentierte die Moschee den Zuschauern jede Nacht zwischen 20 Uhr und 2 Uhr morgens eine Video-Mapping-Projektionsschleifen-Animation von Artabesk, einem Partner von Digital Projection. Diese Show war Teil der „Ramadan In Dubai Reflection“, die von Dubai Tourism organisiert wurde und bis zum 23. April lief. Das Event bot Projection-Mapping-Shows, die unter anderem auch von durch Laternen beleuchtete Straßen begleitet wurden.
Die Video-Mapping-Projektionsshow in der Moschee in Al Khawaneej sollte die Atmosphäre des Ramadan durch eine visuelle Erfahrung intensivieren. Insgesamt setzte Artabesk dafür drei 3-Chip-DLP-Projektoren vom Typ Titan Laser 37000 WU mit einer Leistung von bis zu 37.000 (WUXGA) bzw. 31.000 (4K-UHD) Lumen ein, ergänzt durch sieben M-Vision-23000-WU-1-DLP-Laserprojektoren mit einer Leistung von je 23.000 Lumen.
Für die Mapping-Installation wurden sieben Projektoren strategisch um die Moschee herum angeordnet. Artabesk platzierte zwei Projektoren im Hochformat, um auf das Minarett zu projizieren, während die übrigen Projektoren im Querformat aufgestellt wurden.
Zur Bereitstellung von Inhalten für Bilder mit einer Breite von weniger als 20 Metern wurden die M-Vision-23000-WU-Projektoren mit einem Kontrastverhältnis von 10.000:1 eingesetzt. Für größere Bilder mit einer Breite von mehr als 20 Metern wurden die Titan-Laser 37000 WU verwendet. Die von Artabesk projizierten Inhalte waren eine Mischung aus leuchtenden Farben, geometrischen Mustern und Umrissen architektonischer Details.
Artabesk hat die Moschee in Al Khawaneej mit sehr kleinen Bildebenen gemappt, um detailreiche Animationen mit verschiedenen Farben und Mustern zu ermöglichen. Ein Medienserver vom Typ Dataton Watchout, der hochauflösende Mediendateien verarbeiten kann, sorgte dafür, dass jedes projizierte Bild eine Fläche von etwa 20 x 13 Metern abdecken konnte.
(Photos: Monsieur Benj)
Auckland’s Basement Theatre invests in Robe
The Basement Theatre in Auckland, New Zealand, purchased its first Robe LED fixtures, two CycBar15s, in 2022 - a sale in proportion to its production needs that has made a big difference to how shows can be lit.
Squeezed into an old industrial building, once part of a large grain silo development, the theatre has been on the site for fifteen years, making the most out of a challenging layout with some out-of-the-box reimagining that has ensured it has everything needed for a busy venue to function as a cultural melting pot. A diverse programme of shows run Tuesday to Saturday in the two intimate spaces, attracting generally younger audiences together with those who might not necessarily entertain more traditional theatres.
The Robe fixtures are rigged in the 100-capacity main space and were purchased with support from Robe distributor Jands New Zealand at the start of 2022. The venue’s then technical manager Michael Trigg was looking for a specific piece of kit. It had to be low profile due to the 2.5-metre ceiling height, and had to be an LED source with a good throw as well as decent angles that would work in the space.
“The CycBar 15s can be a front wash, a back light, a wash or a top light or they can be rigged vertically for more of an effects look, and the individual pixel control was something that really appealed for this”, says Trigg, adding that the fixtures can also be rigged on side booms for dance shows. They can paint the walls with light using the CycBar 15s, then change the colour one minute and flip the fixtures around the next and use them for key lighting using the diffusion panels.
Most incoming Basement productions there will bring their own lighting designers and will use the house rig which contains about forty fixtures, sometimes augmenting this with a few of their own specials. Michael Trigg, who was already familiar with Robe products through his work in events, left Basement Theatre earlier this year after several years in the post. The new technical manager is Paul Bennett.
The theatre confirmed an order to triple their Robe inventory, adding two iBar 15s - an updated and IP65 rated version of the original CycBar - and two ParFect 150 LED source ACL style beam fixtures.
(Photo: Louise Stickland/Paul Clarke)
Amberger Congress Centrum erneuert Saalbeleuchtung mit Anolis Lighting
Die Lichtinstallation im Großen Saal des Amberger Congress Centrums (ACC) wurde vom Amberger Congress Marketing komplett auf LED-Technik umgestellt. Dafür wurden Deckenleuchten der Ambiane-Serie sowie Linearleuchten der Eminere-Serie von Anolis Lighting gewählt.
Das im Jahr 1996 errichtete Gebäude wird für Kongresse, Tagungen und Messen ebenso genutzt wie für Konzerte, Ausstellungen, Firmenevents und Workshops. Insgesamt zählte das ACC seit seiner Eröffnung rund 1,6 Millionen Besucher, die an mehr als 7.000 Veranstaltungen teilgenommen haben. Über 330 Veranstaltungen finden aktuell pro Jahr im ACC statt.
Vor der Installation waren im Rahmen eines Audits Themen zur Energieeinsparung sowie den neuesten lichttechnischen Anforderungen gemäß DIN EN 12464-1:2021-11 evaluiert worden. Anolis Lighting begleitete diesen Prozess hinsichtlich Beratung, Visualisierung, Planung und Produktauswahl.
Für die Saalbeleuchtung wurden 223 Deckeneinbauleuchten des Typs Ambiane HP111 und zehn Deckeneinbauleuchten des Typs Ambiane SP16 ausgewählt, jeweils in Tunable White, um unterschiedliche Veranstaltungsformate mit einer entsprechend veränderbaren Farbtemperatur von Warmweiß bis Neutralweiß illuminieren zu können. Da die Leuchten der Ambiane-Reihe eine integrierte Notlichtfunktion besitzen, wurden einige der HP111 in das Notlichtsystem eingebunden.
Die sieben Deckensegmente des Saals, mit unterschiedlichen Höhen und Flächenmaßen sowie geraden und konvexen Formen, mussten bei der Planung bedacht werden. Mit der Verwendung verschiedener Optiken wurde eine gleichmäßige Beleuchtung in der Fläche sowie in den Randbereichen mit holzverkleideten Wänden erreicht. Der Bereich des Orchestergrabens wurde ebenfalls speziell akzentuiert. Auch prüfungsrelevante Sehaufgaben können jetzt normgerecht angeboten werden.
Mittels der patentierten L3-(Low-Light-Linearity)-Dimmung von Anolis ermöglichen die Ambiane-Modelle eine stufenlose Dimmung der Saalbeleuchtung nach Schwarz. Bei den HP111 sind zudem Steuermöglichkeiten über DMX und DALI sowie eine RDM-Kompatibilität gegeben. Aufgrund der geringen IR-Emissionen der HP111 wird das bestehende Funksystem des ACC nicht gestört.
Umgesetzt wurde auch eine flächige Beleuchtung der Deckensegel mit achtzig LED-Linearleuchten Anolis Eminere 4 in RGBW, welche die alten T8-Leuchtstoffröhren ersetzen. Die konvektionsgekühlten Eminere-LED-Linearleuchten können über den Pixel-Mode fließend die Farben überblenden.
Die Installation wurde in Zusammenarbeit mit dem Amberger Ingenieurbüro E-AM, der Firma Elektro Schertl und dem Anolis-Lighting-Lichtplaner Artur Frantz im Zeitraum von August bis Dezember 2022 umgesetzt.
(Fotos: Philipp Klak)
Genelec helps create immersive experience at Zukan Museum Ginza
Inspired by Shogakukan’s “Neo” series of picture books, the Zukan Museum Ginza in Tokyo fuses the digital and the real, offering an immersive and interactive journey to discover the natural world beyond time and space. Over 100 Genelec loudspeakers, combined with video technology, help drive the experience where natural environments of forests and water are seamlessly connected for a journey through the world of living things.
“The museum faithfully recreates the ecosystem of the natural world, with different creatures appearing in each area, such as the forest, savanna, underwater, etc., where the act of observing and recording the creatures is interactive”, says Jun Fujiwara of Invisi Ltd, who handled the sound production and UX design. “For example, if you get too close to a creature, it will be startled and run away.”
“The acoustical element is made up of three components: sounds produced by living creatures; background environmental sounds; and musical elements”, says Takashi Miyamoto of Coton Inc, who was responsible for implementing the audio system and sound design. “The environment changes according to the time of day, just as it does in the real world. The musical elements are generated using coton’s original music generation technology called ‘soundtope’ which automatically produces the most appropriate music based on the season and time of day.”
These three acoustical elements, with a total of 150 channels of sound, create different worlds in each of the multiple areas within the museum. There is no physical separation between areas, so it was particularly important to ensure that transitions from one area to another are smooth and coherent.
“In order to ensure seamless transitions between naturescapes, we used a common tonal scale between adjacent areas to prevent sounds from clashing with each other”, says Miyamoto. “Furthermore, in terms of timbre, the placement of intermediate common tones between areas has the effect of a boundary partition, like a sound curtain. Another acoustical issue that emerged was the panning system, which pans the sound produced by the creatures. The loudspeaker arrangements didn’t allow us to use existing panners, so we had to develop our own panning system.”
“As we wanted to prioritise the atmosphere of the museum, we tried to make the loudspeakers as invisible as possible”, says Fujiwara. “We explored various options, including high positions on the ceiling and gaps in the structure. This meant the loudspeakers had to be as small as possible, and when it came to the size/performance ratio, Genelec was the obvious choice.”
At the Zukan Museum, 85 compact 8010 active studio loudspeakers, 23 of the slightly larger 8020 models, and seven 7360 subwoofers were installed throughout the space. The 8010 is used widely throughout the museum, while the 8020 is used specifically for reproducing creature sounds which require more low-end. Genelec’s 8000-420 short wall mount and 8000-416 truss mount were both employed to achieve flexible installation tailored to the space.
(Photos: Genelec/Yashima Takashi/Zukan Museum Ginza)
Powersoft audio systems for adriatic cruise ship
Based in Croatia, the MS My Wish offers a deluxe, intimate experience for its 38 guests. With an advantage due to its a smaller, yacht-like size, the ship can navigate narrow waterways and explore not only Croatia’s cities but also its smaller, quieter islands hardly explored by bigger vessels.
The MS My Wish boasts an onboard restaurant, a sundeck, a rooftop hot tub, a swimming platform for access to the Adriatic ocean, and an audio system comprising Mezzo 324 A and Mezzo 604 A models from Powersoft’s Mezzo series.
The Mezzo install amplifiers come with built-in DSP. There are two power sizes with a two or four-channel output. The Mezzo, in its smaller versions, is a sealed design and approved for hidden placement, such as mounted above a ceiling or tucked into a wall box.
“The ship required an audio system that could be spread over twelve zones and could be adjusted accordingly”, says Captain Marin Crncic of the MS My Wish. “One of the most demanding areas is the sun deck, which uses two subwoofers, six ceiling all-weather speakers and two professional two-ways for the jacuzzi.”
The system needed to allow for alternative audio content, accommodating the different zones where audio was required, such as the main saloon, lounge, and two rear decks. Audiotehnika chose to go with a Wi-Fi controlled system, meaning that crew members on the ship could monitor the system regardless of location and, if need be, change the audio.
“The speakers can play a variety of audio - CDs, USB and radio - and can be played in each zone independently, which was a key part of the design”, says Crncic. “It allows us to tailor the music to different areas of the ship.” The audio design also allows for microphone input. In the five main zones of the ship, the crew can plug in a microphone and make announcements or provide tourist information.
(Photos: MS My Wish)
SAW Namibia deploys Samsung systems for banking group in Namibia
One of the largest banking groups in Namibia recently opened a new branch in Windhoek’s Maerua Mall. On a mission to innovate the banking sector in Namibia, this banking institution designed its latest branch with the digital age in mind and rolled out the upgraded format to two further branches at Rehoboth and Windhoek Lifestyle Centre.
The integration of all three sites was led by Stage Audio Works (SAW) Namibia, in close cooperation with the client and suppliers. The brief called for the installation of multiple digital screens, intended for the purpose of displaying information and showcasing branded content. SAW Namibia specified and installed a Samsung visual system in each of the branches.
“The client was clear that the content on the digital screens needed to be managed remotely through a centralised system”, says Joppie Maritz, Managing Director at SAW Namibia. “We worked with the client to understand each branch’s specific requirements and use cases in order to specify three unique systems appropriate for each of the premises.”
Maerua Mall stands out as the largest of the three installations. It includes 85-inch HDR 4K UHD Commercial wall displays and a 55-inch video display wall that commands attention due to its placement in the branch window. Device and content management is provided through MagicInfo, whilst playback to the video wall is controlled via a single Samsung Signage Player Box.
The Rehoboth and Windhoek Lifestyle Centre each received one 75-inch HDR 4K UHD Commercial Smart LED Display, also with MagicInfo support, allowing for content to be managed remotely. “MagicInfo allows the client to manage content and devices within a single solution,” explains Maritz. “This offers unity across the bank’s visual merchandising.”
(Photos: Sonja Kilian Art & Photography)