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Stockholm-based consultancy collective Eidra uses Genelec Smart IP loudspeakers at new headquarters
27/05/2025
Powersoft shakes up VR space travel
26/03/2025
Zwolle theatres choose Robe
21/03/2025
KV2 Audio systems installed at Rajadamnern Stadium for world’s first immersive Muay Thai experience
18/03/2025
Las Vegas casino upgrades with Powersoft
18/03/2025
Stockholm-based consultancy collective Eidra uses Genelec Smart IP loudspeakers at new headquarters
Born in the Nordics and headquartered in Stockholm, Eidra is a consultancy collective that brings together a group of seventeen companies and over 1200 consultants, creatives and engineers. Following significant growth, the company required a new HQ that would better reflect its identity and create an inspiring environment for both employees and visitors.
Specialist corporate technology solutions specialists Ximple AB were contracted to design and deliver the AV solutions throughout the building, including a Genelec Smart IP loudspeaker solution for the common and social areas. “The goal was to develop technical solutions that enhance a modern and dynamic office with a focus on user-friendliness”, says Ximple co-founder Andreas Savela. “We were also mindful of delivering solutions that reflect the client’s brand and culture of forward-thinking and sustainability. It was for these reasons that we selected Genelec Smart IP loudspeakers for all the open-plan areas, lounges and main entrance.”
The audio needed to be zoned to suit different applications in different areas. For example, the entrance area isn’t playing the same kind of music as the bar, which is different again from the espresso bar or the training room lounge or the board room lounge. “Genelec was a natural choice for us, and in particular the PoE-powered Smart IP series”, says Savela. “The ability to deliver power, audio and control through a single network cable massively simplifies installation. Smart IP is also a perfect fit for Eidra’s sustainability goals with its environmentally friendly build process, long life span and significantly reduced power consumption.”
Ximple installed a total of 51 Genelec 4430 Smart IP loudspeakers across fifteen zones. Most of the speakers were finished in RAL 7047. The Ximple team used Genelec’s Smart IP Manager software to configure the system over the Dante network. The Smart IP Manager allows the configuration of an almost unlimited number of rooms, zones, loudspeakers and audio channels, and includes device discovery, room EQ, system organisation and status monitoring. Once each space has been defined and each loudspeaker optimised to that space, a public API command set allows Smart IP loudspeakers to be integrated with third-party control systems, which is what Ximple did for Eidra.
Ximple selected a Q-Sys control system with a user interface that can be controlled from an iPad or similar, and allows Eidra staff to manage level control and source selection across any zone. “A nice detail is that at the end of the working day, all the presets revert to their default settings”, notes Savela. “This means that when staff return in the morning, the music is playing at the correct volume regardless of how it was left the night before.”
(Photos: Peder Carlsson/Genelec)
Shimokitazawa ReG celebrates 15th anniversary with a new Quantum 338
Shimokitazawa ReG is a 230-capacity (standing) music venue located in Shimokitazawa, Tokyo. The PA has been designed to be felt as well as heard, and to deliver that feeling, a DiGiCo Quantum 338 mixing console - supplied by Hibino, DiGiCo distributor for Japan - has been selected.
The venue opened in 2010 with a DiGiCo SD8, and when the time came to update, in celebration of the club’s 15th anniversary, the larger DiGiCo Quantum 338 was chosen. “I had been working with SD8 for a long time and was completely used to the three banks of 12 faders layout”, says Miyuki Tanifuji, who has worked as front-of-house engineer for Shimokitazawa ReG for the last thirteen years. “I felt that I couldn’t go back from that number, so I knew that a DiGiCo Quantum console would be ideal. I thought it was a bit over-specified for the size and scale of the ReG, but I decided on the Quantum 338 because I thought it would be best suited to any situation.”
Tanifuji adds that she also appreciates the clarity of the setup, due to the SR rack’s high resolution input/output module cards. “We get a large variety of acts performing in the venue, so the flexibility and clarity is really important”, she notes. Within the anniversary upgrades, ReG has also installed the SD-Rack, with 32-bit input/output card modules.
Group shot: Miyuki Tanifuji with Moyu Yamagishi and Deputy Manager Toshinori Kira. (Photos: Hibino Corporation)
Robe T1s, Esprites and Fortes installed at The Corum in Montpellier
Montpellier Events is the management company for The Corum Congress Centre - Berlioz Opera, an event complex located in Montpellier, in the south of France. The venue hosts over 300 professional events each year including congresses, exhibitions, corporate events and conventions, as well as live performances.
Equipped with three auditoriums - Berlioz Opera, Pasteur and Einstein - the venue has recently invested in Robe moving lights. In total, 46 T1 Profiles, 20 T1 Fresnels, 12 Esprites and 10 Fortes were supplied by Texen, a specialist in production technology integration and sales. Texen had established a base in Montpellier in 1998 specifically to support The Corum and its three auditoriums. Since then, they’ve handled all technical and stage production needs for the venue.
The Esprites are permanently installed on the advanced catwalk of the 1995-capacity Berlioz Opera auditorium. They throw light over a distance of approximately thirty meters to the stage and are used for front and key lighting. Eighteen of the T1 Profiles are installed in the Pasteur auditorium (745 seats), while the remaining units are deployed on stage as needed.
Christophe Mora is the lighting manager at The Corum. He has worked there for five years in this position, and before then worked as a freelance lighting technician for twenty years, both in France and internationally. He was hired for his expertise in moving lights and modern lighting systems, with the mission of guiding a smooth transition to LED technology, now mandated by French regulations.
The replacement of older moving lights began in 2020. Mora carried out this mission with Philippe Pujol, a lighting expert who has been working at The Corum for twenty years and has in-depth knowledge of the venue’s production requirements, configurations and technical practices.
Among other things, the T1s were selected for their light weight. All flight cases were customised by Texen, allowing them to be moved easily under catwalks and rigged quickly. The Robe fixtures were delivered in batches by Robe France to Texen. Mora and Pujol report that the arrival of the fixtures has greatly improved how shows and events are lit, as well as the turnaround times between different configurations. Lights no longer need to be dismantled and moved - only the scenery and staging elements are adjusted.
It is now possible to host a plenary congress session in the Berlioz Opera auditorium during the day and follow with a concert in the evening, with lighting that seamlessly adapts to both contexts (previously, the Pasteur auditorium required a full day to change over different setups). Today, ninety percent of the lighting in The Corum’s auditoriums has transitioned to LED. A few traditional fixtures remain in the Berlioz Opera control room, but they’re scheduled for replacement soon.
Nicolas Bellini, Sales Director at Texen, and his team worked closely with Jean-Marc Farre, Regional Sales Manager for Robe France (Grand Sud area), who helped finalise the deal. Following the installation of the T1 at Berlioz Opera, several other major opera houses in France followed suit, including the Royal Opera of Versailles and the Opéra Bastille in Paris.
(Photos: Louise Stickland/Paul Clarke/Montpellier Events)
McGettigan’s partners with Marriott and Martin Audio in Dubai
The McGettigan’s Irish Pub franchise continues to expand across Dubai, but their latest bar and restaurant - situated in the Four Points by Sheraton Production City - is the first to be located within a Marriott-owned hotel property.
Set within this growing production hub it will serve the community of media-based businesses who are resident there. Also based at Production City are Martin Audio’s distributor for the UAE and GCC region, Pro Lab LLC, who will be able to use the venue as a showcase. For they supported system integrators Exacting Diseno Technical Services - specialists in the leisure hospitality sector - helping to recommend appropriate sound reinforcement solutions across several ranges in the loudspeaker manufacturer’s portfolio.
Set on a 5,000 sq. ft footprint, the lively bar restaurant offers a haven for business meetings for the hotel residents, transforming at the weekends when the action notches up. DJs perform and the general vibe is one of a sports bar with plenty of screens. Thus versatility (and the rising tide of ambient sound at weekends) was very much in their thinking when it came to specifying the sound.
The heavy focus is at the DJ position where a pair of Martin Audio CDD12 are mounted, while distributed evenly throughout the venue are a further nine wall mounted CDD6. These are reinforced by four ground-standing Martin Audio Blackline X115 subwoofers for LF extension.
For the outdoor terrace area, the installation company, under the project leadership of Lou Agha, turned to twelve of Martin Audio’s Adorn A55T, supplied with the optional AIPKit IP44 weatherised cover. This area can either take its source feed from the main room, or operate from an independent input and volume control.
(Photos: Martin Audio)
Schweizer Locations mit ColorSource-LED-Systemen von ETC ausgestattet
Die in Reinach (Schweiz) angesiedelte Multifunktions-Location Saalbau Reinach, das GZ Buchegg in Zürich und das Tanzhaus Basel haben in Scheinwerfer der ColorSource-Familie von ETC investiert.
Im Saalbau Reinach, einer bis zu 700 Personen fassenden Spielstätte, sind drei verschiedene ColorSource-Modelle verbaut: dreißig ColorSource Fresnel V, zwanzig ColorSource Spot V sowie zwanzig ColorSource PAR. Die Bestückung von Oberlichtzug 1 und 2 teilen sich ColorSource Fresnel V und ColorSource PAR (Deep Blue), im Oberlicht-Portal sind ColorSource Fresnel V und ColorSource Spot V installiert; in der Zuschauerbrücke und dem Saal verrichten ebenfalls ColorSource Spot V ihren Dienst.
Damit steigt die Location von konventionellen Halogen-Scheinwerfern zu LED-Technik um. „Wir brauchen jetzt keine Filter mehr und sparen Energiekosten und Zeit, beispielsweise durch die Ansteuerung via iRFR-Remote-Control-App“, sagt Björn Andres, Lichtchef im Saalbau Reinach. Mit dem von ETC-Partner Electric Claudio Merlo Lighting Equipment SA (ECM) installierten Licht-Equipment könne man, so Andres, „rund 95 Prozent aller Produktionen“ abdecken, ohne etwas dazumieten zu müssen. Angesteuert wird das LED-Setup von einer ebenfalls neu angeschafften ETC-Ion-Xe-20-Konsole.
Im Zürcher Gemeinschaftszentrum Buchegg, einer soziokulturellen Einrichtung für Kinder und Erwachsene, wurden sechzehn ColorSource Fresnel V, acht ColorSource Spot V und acht ColorSource PAR installiert. Diese kommen im Veranstaltungsraum der Einrichtung zum Einsatz, um Kinder- und Jugendtheater-Aufführungen sowie professionelle Tanz- und Theater-Produktionen in Szene zu setzen.
Das Tanzhaus Basel wurde mit 42 ColorSource Spot V und sechzehn ColorSource Fresnel V ausgestattet, die von einer Gio-@5-Lichtkonsole angesteuert werden. Das Lichttechnik-Team um Andreas Greiner hatte sich dazu entschieden, in ETC-Technik zu investieren, um bei Proben und Aufführungen den Energieverbrauch zu reduzieren. „Bei der Anschaffung der Geräte war die Zukunftsfähigkeit ein wichtiger Aspekt - und natürlich Nachhaltigkeit“, so Greiner.
(Fotos: GZ Buchegg/Saalbau Reinach/Tanzhaus Basel)
Copenhagen Dansehallerne upgrade with DirectOut
DirectOut has been chosen to deliver creative solutions for Copenhagen Dansehallerne (Dance Halls), the Danish capital’s center for dance and choreography. Anders Jørgensen, Project Manager for consultant and integrator Stouenborg, offered DirectOut solutions to Johannes Hornberger, Head of Sound and Video at the center.
The team decided to purchase two Prodigy.MP and six Prodigy.MC, equipped with AN8.IO converter modules, Dante.IO and Milan.IO network modules, for a flexible and stable audio infrastructure, able to support any conceivable performance design.
The Copenhagen Dansehallerne are completely adjustable spaces, from the audience seating to the performance programming. The transformation of this listed building took seven years of rebuilding, renovating and modernizing, during which time Dansehallerne had to move to temporary premises. The center, housed in the historic Kedelhuset, opened in August 2024. Hornberger has worked in the Dansehallerne since 2012. He is responsible for all sound and video requirements of the halls, as well as all media requirements, and oversaw the move from the old premises to the new halls.
Matching the freedom of the spaces, there are no permanent loudspeaker positions. The entire building is covered by an ethernet network, powered by Dante and AVB/Milan network protocols, and a Meyer Sound Galaxy drives the Meyer Sound Ultra X20 and X40 point source speakers. Initially, the specified system was too rigid to deliver results that could cope with the requirements of the artists, so Hornberger worked with the rest of the design team, turning to DirectOut for a solution.
“We needed a completely flexible system, which is unusual for a performance space, especially for small or black-box spaces”, says Hornberger. “We had already planned that the whole house would be covered with an ethernet network, with connections wherever we needed them. However, the speaker system was analog, so we would need to convert the signal and run analog cables to them.”
In a traditional theater setting, this system would be entirely satisfactory, but with the ever-changing repertoire of the Dansehallerne, engineers would be running hundreds of meters of cables a week. As Anders Jørgensen of Stouenborg states, the venue is designed to be used as separate spaces and as a single performance venue, with the ability to fully immerse the audience as soon as they step through the front doors.
“We have 300 network lines throughout the building. We knew we would be using Dante and AVB/Milan, so we needed a bridge. The solution was DirectOut”, says Jørgensen. The audio network covers the venue entirely, offering the connectivity of a single performance space, allowing engineers to access any point at any time to facilitate whatever the choreography requires.
“Dancers and choreographers love to experiment. Our system is AVB/Milan, so we knew we need to convert from our console and wireless microphones, plus IEMs to our loudspeakers”, notes Hornberger. “DirectOut can handle all of this, not just the network conversions, but also analog to digital. We can use the whole house as a single space and move freely throughout the building in a performance setting.”
Being able to pick up video and audio feeds anywhere in the building is useful not just for play back for performers and audiences, it can also be used to facilitate online and broadcast streams. “Overall, we have eight Prodigy systems, two Prodigy.MP are permanently installed into a central control room, then we have six further Prodigy.MC to ensure flexibility”, continues Hornberger. “Whether the performance is in a studio or the foyer, we are all set. In the old days, we would need to run a lot of cable, through doors and windows to get to some places, now we just have one box.”
By utilizing Globcon, Hornberger can personalize access to the network system. This gives him the freedom to delegate control, without risking programming errors. “The system is amazing, but also complex if you are not familiar with it”, he says. “We have developed setups and workflows, so when I am absent, freelancers can access the audio system and work within programmed parameters. So now, all they have to do is move the loudspeakers and plug them in. I have put our DirectOut Breakout box into a small, labelled flight-case so everyone can understand and plug in simply.”
“We have been able to create a system that works exactly as we hoped”, he adds. “The major challenge was to make this complex system suitable for all our performances; simple for small set-ups but retaining the possibility to facilitate the big complex shows, too. It has achieved exactly that.”
“This is a building that lends itself to festivals or large-scale events”, concludes Jørgensen. “As soon as the audience walks through the doors, they are in the middle of the production, and the show doesn’t stop until they leave.”
(Photos: Morten Lundrup/Danish Dance Theatre/Mikkelsen Arkitekter/Johannes Hornberger)
Adventure Cinema makes further investment in HK Audio
Founded in 2019, Adventure Cinema is the UK’s biggest open air cinema tour, delivering movies to audiences across more than seventy venues. Medieval castles and country estates all play host to a mix of classics, musicals, blockbusters, and family films. Since its inception, Adventure Cinema has invested exclusively in HK Audio systems, and recently contacted UK distributor Polar about expanding its inventory to include HK Audio’s Cosmo line array.
As demand for Adventure Cinema’s service has grown, so the size of its audiences has steadily increased, with more than 200,000 tickets sold at venues across the UK in 2024. In order to meet the requirements of larger events with bigger audiences, the company’s technical team needed a more powerful system to obtain the necessary coverage. At the beginning of the year, Mark Thompson, Director at Adventure Cinema, spoke to Polar’s Head of Professional Audio, Andy Plunkett, who arranged a demonstration of the Cosmo line array.
“Adventure Cinema has had great experience with HK Audio for a number of years now, so they asked us for some options”, says Plunkett. “We looked at the new CX210LT long-throw point source and some Cosmo line array systems. The Cosmo was preferred, so we set up a demo at a rugby ground near their Bishop’s Castle HQ. We were able to easily reach the stated furthest distances for coverage with three Cosmo C10 modules.”
“Our HK Audio Linear 5 system has served us brilliantly since we started but we really needed to up our game for much bigger events”, adds Jon O’Neill, Head of Sound at Adventure Cinema, who was at the demo. “Obviously, we weren’t going to buy a load of boxes without hearing them first, so it was great that Polar were able to arrange a local demo so quickly. When I heard the system on the day there was no doubt that Cosmo was the way forward.”
“Our ability to deliver well inside Adventure Cinema’s season-start deadline gave us plenty of time to run through the Lab Gruppen amplifier setup at their HQ”, notes Plunkett. Adventure Cinema took delivery of twenty-six HK Cosmo C10 line array modules and six HK Audio CS218 subs, complete with wheel boards and rigging. Six Lab Gruppen PLM12K44 amplifiers completed the investment.
(Photos: HK Audio)
Sutter Health Park upgrades with Martin Audio
Situated in West Sacramento, California, Sutter Health Park - home to the River Cats baseball team and “A’s” (Athletics) - has undergone a major infrastructure upgrade for the coming season, designed to enhance the fan experience and improve game-day technology.
This includes a strategically enhanced sound system for the bowl - based around Martin Audio CDD and SX subwoofer components, as well as process-controlled amplification from Focusrite sister brand Linea Research, in the 14,000-cap arena. The River Cats had acknowledged that their 25-year-old system badly needed enhancing.
Locally based Martin Audio partner Sacramento Production Services (SACPS), who have a long history in servicing the facility, were brought in, initially to project manage for a third party before later being handed the full role of system integrator, as the time frame for completion narrowed.
Sales & Production Manager Keith Wackford and his long-term associate and project manager, Anthony Brown, undertook a site survey and immediately recognised the imperfections - aside from the tired PA components. Budget and time frame restrictions would not allow for replacement of the main bowl speakers. “But with the addition of the new Linea Research amplification (LR-44C10M-Dante), it’s as if they purchased new speakers”, says Wackford.
“Elsewhere, it was a case of what would give us the best bang for the buck”, he continues. “We knew the system had always been lacking in subwoofers and if we were going to put in subs, we also needed to ensure the (infill and outfill) boxes would keep up.” As a long-term Martin Audio partner they contacted Will Harris and Jim Sage at Martin Audio USA, who recommended the SX115.
“The 25-year-old outfield speakers on light poles were in really bad shape”, acknowledges Wackford, “and although difficult to get access to, we knew we had to change them and replace them with (weatherised) CDD15W-WR. For how high up they are, everyone is absolutely impressed.” In fact, one of the speakers is close to 80 ft. Of the CDD deployment Wackford says: “The CDD15 gave us a little more low end and full range in the outfield, as the bowl PA doesn’t really reach out to there.”
Distributed around the bowl, the subs themselves are mounted on I-Beams to the underside of the VIP suites, while thirty CDD10W-WR bowl fill speakers were added in conjunction with the subs. After consideration, they opted for one per each seating section, running right round the facility. “One of the reasons we went for the CDD10 over the CDD8 is because it has a yoke, and we wanted something that would allow us to pan and tilt in an easy manner”, says Wackford.
In addition to the amplifiers and speakers, SACPS upgraded the mixing console, as well as the main system processor and touch screen interfaces to Symetrix. “Symetrix allowed us to use the Linea Research Intelligent modules bringing the amplifier telemetry data right onto the users’ touch screen remote - giving the user information as to what the nine LR-44CC status and signals are doing”, explains Wackford. “The system is all running Dante with an analogue fail over from the console to the Symetrix, and to all nine LR-44C amps around the facility.”
Better known as “Raley Field”, the site itself is directly adjacent to downtown Sacramento, with a whole neighbourhood growing up around it. “We had a crazy speed limit of, I think 85 dB, A-weighted 15 ft from a source”, says Wackford. “So trying to do line array from the outfield or subs up high wouldn’t work. We had to keep things contained within the ballpark as there are a lot of new apartments with high rise buildings springing up. Everything distributed as close to the listening area as possible is critical.” System feeds include DJs on the concourse, taking advantage of the new audio inputs, and there are plans for future live entertainment. Main PA and pre-recorded live safety messages also run through the system.
Anthony Brown acted as project manager; onsite programming and networking were provided by Brian Webber, while due to the tight time frame Alive Media were brought in to provide on-site installation, wiring and labour. Finally, Symetrix programmer Nick Danielson did “an amazing job” according to Wackford.
(Photos: Focusrite Group)
Star Professional Audio and Alphatec install Coda Audio N-Ray at Kolkata cultural hub
Sangit Kala Mandir is one of Kolkata’s premier cultural institutions, committed to promoting the arts and music by hosting an entertaining and varied year-round programme of events. Founded by the Indian industrialist Basan Kumar Birla, the not-for-profit institution has grown steadily over decades to promote creative freedom and provide a platform for aspiring young minds to showcase their talents and cultural expression.
Technical provision for the venue’s 1000 capacity Birla Auditorium was recently upgraded to meet the expanding requirements of its multi-faceted programme. Amongst the improvements was a new audio system which replaced its existing outdated and underpowered PA. A team combining the expertise of Sun Media Ventures, headed by AV system design consultant Umesh Bhagwan, and Star Professional Audio and Alphatec, guided by industry veteran Roger Drego, installed a new Coda Audio system into the Auditorium. They chose a system based around Coda’s N-Ray line array.
The team installed (per side) eight N-Ray, supplemented by (per side) two SCN-F low frequency extensions and one SCP subwoofer. Three Hops5 (5’’ high output point source) were deployed as front fills, with a further four Hops5 as delays under the balcony and two Hops5 as balcony delays. Four Coda Audio Cue Four stage monitors completed the picture.
“Roger Drego’s guidance was instrumental in navigating the complexities of the project”, notes Devasis Barkataki, Founder and Managing Director of Alphatec. Paul Ward of Coda Audio adds: “It’s great to see N-Ray chosen to elevate the audio quality in this historic venue. We’re seeing Alphatec doing great work across India both in the live sound and install sectors, firmly establishing Coda’s credentials in this market.”
(Photos: Coda Audio)
Infiled displays take centre stage in “Muriel’s Wedding - The Musical”
Bold colours, deep blacks and moving set pieces are brought to life in “Muriel’s Wedding - The Musical” - the stage adaptation of PJ Hogan’s 1994 film - whose just-wrapped UK premiere at the Curve theatre in Leicester featured a video-led design powered by over 400 LED panels from Infiled’s DBmk2 Series.
Designed by Andrzej Goulding, the production blends theatrical storytelling with a playful, modern aesthetic, featuring oversized mobile phone frames, animated graphics and vivid, Australian-inspired visuals. Due to Infiled’s proprietary CBSF (Color & Brightness Shift Free) technology, the DBmk2 panels, with 10,000:1 contrast ratio and matte black surface, maintained colour fidelity even when running at just 500 nits.
“The blacks were deep, the whites were clean, and it just looked great on stage”, says Dan Trenchard, video engineer for “Muriel’s Wedding”. The reduced surface reflection also helped preserve the illusion of depth and shadow across a variety of scenic elements. “The challenge is that the darker you make the wall, the worse the color reproduction can become”, continues Trenchard. “For this show, we’re running most of the product at about 500 nits. At this lower brightness, we still need the color reproduction to be just as accurate as when the screen is at full brightness.”
The musical’s dynamic set features two automated LED sliders (representing smartphone screens) that move across the stage in time with the action. The modular 500 x 500 mm Infiled panels allowed the video team to create irregular wall shapes tailored to the framing requirements of the show.
In total, 412 DBmk2 panels were deployed: a 11 x 7 m backwall made up of 308 panels, 56 panels on a downstage automated slider, and 48 panels on an upstage automated slider. All screens were powered by a Disguise EX3+ media server and driven by Brompton SX40 processors with XD distribution.
Working with long-time partners like Stage Sound Services and Brompton, whose 10-bit processing technology complemented the Infiled displays for broadcast-quality visuals, created a streamlined production environment, notes Trenchard. “Muriel’s Wedding - The Musical” opened on April 10 and ran through May 10, 2025.
(Photos: Marc Brenner/Andrzej Goulding)
Powersoft’s Unica makes Paraguay debut with Ueno Bank installs
Ueno Bank is the first institution in Paraguay that has adopted Powersoft’s Unica fixed-installation amplifier platform, following a major audio system upgrade at its headquarters in national capital Asunción.
One of the largest financial providers in Paraguay, Ueno has a national network of more than seventy banks, each of which have also been equipped with Powersoft technology in the form of its half-size Mezzo install amplifiers. Both projects were designed and implemented by Asunción-based DCI (Diseño, Control e Integracion) in collaboration with Powersoft’s Paraguayan distributor Aulux.
At Ueno Bank’s headquarters, DCI installed four Unica 8M 4K8, two Mezzo 322 and one Mezzo 324 amplifiers. This centralised system, paired with Martin Audio loudspeakers, draws on Powersoft Dynamic Music Distribution (DMD) to provide seamless multi-zone audio management via four WM Touch and five WMP Level controllers. At the individual financial centres, DCI integrated one Mezzo 322 amplifier and one WMP Level controller each to ensure consistent background music across all locations.
“Ueno Bank needed a system that was seamlessly integrated and capable of managing multiple zones with minimal effort”, says acoustic engineer Andrei Popow, CEO of Aulux and DCI. Employing Powersoft’s DMD technology, DCI created a multi-zone audio network which allows Ueno Bank to manage sound distribution efficiently across different floors and remote locations. Each floor of the HQ features a dedicated WM Touch controller, while web app functionality allows for remote control of the amplifiers via mobile devices.
Popow also highlights the energy efficiency of the Unica and Mezzo systems as being a crucial factor for Ueno Bank, which prioritises sustainability and holds a LEED (Leadership in Energy and Environmental Design) certification.
(Photos: Powersoft)
Nottingham Trent alumni select L-Acoustics Kara II system for NTU London’s education-performance venue
Nottingham Trent University (NTU) has unveiled its new campus in Whitechapel, London, with the launch of NTU London. The venue, located in the heart of London’s creative scene, features an up to 600-capacity performance space equipped with an L-Acoustics Kara II line array audio system - delivering the same technology used at the world’s largest music festivals while providing hands-on learning for aspiring live sound engineers.
The system was designed and installed by L-Acoustics Certified Provider Solotech, following a specific request from NTU staff members who are themselves Nottingham campus alumni. Building upon the success of NTU’s Nottingham Metronome venue, where Solotech installed an L-Acoustics Kiva II system in 2018, the London campus required a sound solution that could scale up to meet the needs of its larger performance space, while maintaining the critical educational element of working with industry-standard audio equipment. The venue is designed to serve both as a commercial performance venue for touring acts and as a space where students gain practical experience using the same equipment they will encounter throughout their careers.
“We wanted to create an environment where students could transition seamlessly from classroom theory to real-world application”, says Bryan Rankin, Head of Technical Events at NTU. “The Kara II system mirrors the professional setups our graduates will use in the field. Having this technology available in-house gives our students a distinct advantage as they enter the industry.”
Students will gain experience with the entire L-Acoustics ecosystem, including hands-on opportunities to practice rigging the systems, work with the LA Network Manager drive system, and utilise the M1 measurement module for system optimisation. The program also includes training with L-Acoustics Soundvision simulation software, allowing students to model audio coverage and make informed adjustments before physical setup.
The installation process presented several challenges, particularly related to the venue’s height restrictions and the need for acoustic isolation in a densely populated area. The design of the venue included a fully floated room-in-room construction to minimise sound transmission to neighbouring spaces. “With residential buildings and music studios nearby, we needed to go beyond standard isolation techniques”, says Rankin. “The floating design and specialised mounting solutions allowed us to maintain high-performance levels while ensuring minimal disruption to our neighbours - an absolute necessity in this bustling area of London.”
Acoustic architects White Mark suggested the use of specialised solutions such as acoustic springs (from Christie and Grey) for the main speaker arrays and isolated plates for the subwoofers to mitigate the risk of transmitting vibrations through the concrete floor. The system design was optimised using L-Acoustics Soundvision software, enabling Application Project Manager Ross Brett and the team to precisely model and adjust the coverage before installation. This digital simulation approach was instrumental in overcoming the venue’s architectural constraints and ensuring even sound coverage throughout the space.
The L-Acoustics audio system includes two hangs of six Kara II with six flown SB18 subwoofers, three per side behind the main hangs. Two ground-stacked KS28 subwoofers are placed on isolated plates to prevent vibrations on the concrete floor. Eight X12 coaxial enclosures are on hand for monitors, and the whole system is powered by eleven LA2Xi and two LA12X amplified controllers with a P1 processor. “Height restrictions meant we had to get creative with our design”, notes Rankin. “We prioritised even coverage over sheer volume, which was a perfect fit for our educational goals.”
(Photos: L-Acoustics/NTU London)
Technosound selects Martin Audio for Mons Faraya
Mons Faraya is a Lebanese ski resort that combines a restaurant vibe with a music bar scene, set on approximately 1400 m². With indoor, outdoor and pool area, it’s a location where haute cuisine meets high-energy beats, drawing in locals and tourists alike. The venue hosts local and international DJs as well as local bands such as Kimotion, Moblack and Aryme.
Mons Faraya, which has been masterminded by Youssef Hadid, Nazir Bassit and Chris Bosnoyan, recently took ownership of a Martin Audio PA after Charbel Fahed of Martin Audio partner Technosound met with Bassit and Hadid. “It wasn’t their first time working with Technosound, since my father, Pierre Fahed, had previously worked on several projects with Mr. Hadid”, notes Charbel Fahed.
Technosound’s Pierre Fahed and Tony el Bitar designed the system. CDD15, CDD12 and Blackline X218 subs are strategically placed In the outdoor and pool areas. The remainder of the CDD12 speakers and Blackline X118 subs are stationed in the indoor areas of Mons Faraya. Elsewhere, Martin Audio Adorn speakers are strategically placed in the restroom area. While there is a traditional stage, the system transitions from ambient background music during the day to high-octane beats at night.
(Photos: Martin Audio)
Powersoft shakes up VR space travel
Powersoft’s compact transducer, Mover, and its Quattrocanali and Duecanali amplifiers play an important role in “The Moon Cruise”, an innovative VR installation in Tokyo that opened its doors to the public on November 22, 2024. “The Moon Cruise” offers visitors an immersive VR journey to the moon, a view of Earth from space, and the opportunity to walk on the lunar surface and take photos that they can download as souvenirs.
“The Moon Cruise” is a free-roaming VR experience permanently installed in a new space experience facility themed around “space travel” called Space Travelium TeNQ. “The space entertainment facility has permanent and special exhibits, as well as workshops to provide visitors with a single world-view learning experience”, says Tsuyoshi Nomura, executive officer at Styly Inc., in charge of designing the experience.
Integrated by Audio Visual Communications Ltd., the installation simulates a rocket launch and a lunar exploration. “It transforms limited physical space into boundless virtual environments”, says Ken Yamada, deputy general manager at Audio Visual Communications. “The rocket launch scene, powered by Powersoft Mover transducers and the Quattrocanali and Duecanali amplifiers, combines sound vibration and VR visuals for an unforgettable sensory experience.”
“Our goal was to provide a realistic experience and surprise visitors”, says Yamada. However, creating a convincing rocket launch experience in a confined and low-maintenance environment originally posed some challenges. According to Nomura, traditional large-scale motion platforms were impractical due to their size, maintenance requirements and safety concerns. “It was necessary to take a different approach, and we achieved both goals by designing new, easy-to-maintain fixtures and combining them with Mover.”
Powersoft’s Mover is a patented low-frequency direct-drive/tactile transducer adaptable for various purposes. It lets audiences feel the sound through haptic perception by vibrating the surrounding environment, which the human body picks up, and through bone conduction, that stimulates the inner ear, translating the vibrations into perceivable frequencies.
To provide a synchronised sensory experience for the rocket launch, five Mover ID transducers are installed into bench seats, delivering powerful vibrations of replicating the low frequency from the BEC IC-120 speakers to create a cohesive audio-tactile effect. MoverIDs are powered by Quattrocanali 1204 DSP and Duecanali 804 DSP amplifiers, provided by Audiobrains, Powersoft’s Japanese distributor.
For the VR content design, Nomura emphasised the importance of the journey visitors take on foot to their destination. “The narrative centres around travelling to the moon, focusing particularly on the path to the lunar surface”, he explains. “By emphasising the impact and experience at the departure point, it makes the visual-only walking on the lunar surface afterward feel more realistic. Since the entire facility provides a learning experience, the content encourages the visitors to reflect and act independently, rather than only focusing on the story.”
The collaboration between Styly and Audio Visual Communications was integral to the project’s success. According to Yamada, initial tests showed that Mover provided stronger vibration from bone-conduction effects than competitor products. Additionally, the ability to apply sub-harmonics with the Quattrocanali and Duecanali amplifiers was appealing, allowing for the reproduction of the ultra-low frequencies, necessary for rocket reproduction, without the need for additional equipment.
“Vibration and sound are not separable”, says Nomura. “During an actual rocket launch, unimaginable vibrations and energy from the loud noise would impact the body. Mover, which vibrates with the sound source and transmits vibrations in sync with the powerful sounds that are linked with the visuals, makes it possible to create an experience that feels as if you are actually launching into space.”
(Photos: Powersoft)
New EAW audio system installed at Estonian Traditional Music Center in Viljandi
In a move to elevate the acoustic experience for its guests, the Estonian Traditional Music Center has partnered with Heliart OÜ, a provider of professional audio solutions, to install an Eastern Acoustic Works (EAW) AC6 Adaptive sound system. This marks the first venue in Estonia to use EAW’s Adaptive technology.
As a hub for cultural and live performances, the Estonian Traditional Music Center needed a sound solution that could accommodate its diverse events, ranging from traditional folk festivals to international acts. Heliart chose the AC6 Adaptive to provide clear sightlines for balcony audience members. “Positioned in a left and right configuration with two loudspeakers per side, the EAW system makes the stage look wider and more open”, notes Priit Kivimägi from Heliart.
Adaptive technology allows for changes to sound coverage without having to physically adjust the speakers. “The system permits the Center to adjust the audio settings according to the performance type, whether on stage or interacting with the audience on the floor”, says Kivimägi. The installation also features the EAW SBX Series Subwoofers.
“The system allows for uniform coverage of the audience area, in regard to both the SPL and frequency response”, Kivimägi concludes. “An additional benefit of AC6 is that it provides phase coherent spacious sound image due to its single acoustic source design.”
(Photos: Eastern Acoustic Works)
Zwolle theatres choose Robe
Odeon and Spiegel, two theatres in Zwolle, The Netherlands, have chosen Robe moving lights as a vital element of their transition to LED lighting, with the purchase of six T1 Profiles, 18 Painte Profiles, 24 LEDBeam 350s and 24 LEDBeam FWQ 150 Washes, all delivered by Robe’s Benelux distributor Controllux.
Discussions related to the move to LED started in 2022, and according to Zwolle Theatre’s head of technical Dennis Bouwhuis and head of lighting Jan Willem Jansen, they already had some older Robe moving lights - ColorWash 250s and ColorSpot 700s - in the inventory.
The Zwolle Theatre dates back to 1869 and also has the Hanzestrohm Hall (also known as the “Small Hall”) for 457 people, one of the oldest bonbonnière-style theatre halls in the Netherlands. Jansen and his team - including Antonello Taranto and Kathy Veldman - also look after all things technical for two other spaces in the original building, the 219-seat Black Box Theatre and the Studio which can accommodate 72 theatre lovers.
The large hall - Spiegel - is located on another site across town. It was built in 2004 and officially opened in 2006 to assist in accommodating larger and more contemporary productions, offering a capacity of 960. All of these are in the process of changing to LED lighting for the house rigs. The venues all receive and produce shows.
While being familiar with Robe, the lighting department considered various other LED options from different manufacturers, which culminated in a shootout of shortlisted products in the Spiegel. “The productions staged in our different sized buildings are diverse, so we needed the most properly ‘multipurpose’ fixtures available that met several criteria”, explains Jansen. With incoming companies usually keen to use their house lighting systems, they needed a good cross section, and this is why all these fixtures were selected. “These four types of Robe products were clear winners in the shootouts”, says Jansen.
Taranto notes that with the Small Hall being such a cozy space, luminaires with a low ambient operating noise were a must. “We checked off separate wish lists of different parameters, some of which overlapped, related to all of the spaces”, he says. They figured that Painte would also work as a conventional spotlight and for key lighting - “it basically fitted every niche as needed”, says Taranto.
The first fixtures to be upgraded were those above the stage, says Jansen, and when it came to front lighting, the T1 Profile with its multispectral lightsource was chosen: “The T1 profiles completed the whole set of fixtures for us. We felt that - with Paintes, LEDBeam 350s and LEDBeam 150 FQWs with the fresnel-wash output - they rounded off the equation and would work practically in conjunction with one another.”
All the new Robe fixtures move between the four venues. They are currently still using some conventionals in all spaces, but this will soon be changing. The Paintes are used in the Small Hall and the Spiegel; the LEDWash 350s are rigged in the Spiegel; the LEDBeam 150s are in the Main building, with the T1s in the Spiegel/Large Hall. The combinations change each week depending on the different show schedules and their respective production requirements.
Zwolle Theatre produces around 300 shows and events a year, operating with at least one or more of their spaces in use year-round. The types of production range from pure theatre shows like drama and dance to comedy, musicals, music concerts and opera as well as corporate, business, and industrial events.
Pictured (left to right): Kuno van Velzen (Controllux) with Antonello Taranto, Jan Willem Jansen and Kathy Veldman from Zwolle theatres. (Photos: Paul Clarke/Jan Willem Jansen/Nathan Reinds/Louise Stickland/Kasper Veenstra)
VisionTwo und Industrial Arts modernisieren Beleuchtung des Saarländischen Staatstheaters mit Lichtlösungen von GDS
Das Saarländische Staatstheater Saarbrücken bietet mit 875 Plätzen im Großen Haus Raum für ein breites Programm aus Oper, Schauspiel, Ballett und Konzerten. Während der Spielzeitpause 2024 wurde die Saalbeleuchtung modernisiert.
Die VisionTwo GmbH, exklusiver Vertriebspartner von GDS Pioneering Light, entwickelte in Zusammenarbeit mit GDS, der Industrial Arts GmbH und dem beauftragten Planungsbüro Schaller Ingenieure die neue Beleuchtungslösung. Nach der Anfrage des Saarländischen Staatstheaters im Jahr 2018 begann VisionTwo mit der Bestandsaufnahme und der Entwicklung eines Konzepts als Grundlage für die öffentliche Ausschreibung. Aufgrund der Pandemie wurde die Planung für die Umrüstung erst 2022 vergeben, woraufhin Schaller Ingenieure mit der Erstellung des Leistungsverzeichnisses begann.
Nach der Vergabe wurde Industrial Arts als Systemintegrator mit der vollständigen Installation beauftragt und war für die komplette technische Umsetzung und nahtlose Integration in die Bestandssteuerung und -architektur verantwortlich. Die erneuerte Saalbeleuchtung wurde im August 2024 termingerecht am Ende der Spielzeitpause durch Industrial Arts an das Theater übergeben.
Ziel der Maßnahme war es, die energieintensiven 750-W-Deckenfluter, den Kronleuchter und die gesamte Saalbeleuchtung durch eine energieeffiziente, steuerbare Beleuchtung zu ersetzen. Dabei mussten die denkmalgeschützten architektonischen Elemente berücksichtigt werden. In Abstimmung mit den Projektbeteiligten entwickelten VisionTwo und GDS zunächst Prototypen, die auf historischem Bildmaterial und den Designvorgaben des Theaters basierten.
Zum einen wurde der zentrale Kronleuchter des Theatersaals mit neuer LED-Technologie ausgestattet. Rund 400 Halogenleuchtmittel wurden durch GDS-3W-LED-Stecksockelleuchtmittel mit FadeToWarm-Technologie ersetzt, welche ein stufenloses Dimmen mit natürlicher Lichtfarbe ermöglichen. Die Steuerung erfolgt über das GDS-DriveHub-MiniPack, das mit dem DriveHub-CardFrame der restlichen Saalbeleuchtung vernetzt ist.
Ein zentrales Anliegen der Modernisierung war zudem die verbesserte Ausleuchtung des Deckengemäldes von Fritz Zolnhofer. Die bisherigen 750-W-Deckenfluter wurden aufgrund ihres hohen Energieverbrauchs und häufiger Defekte immer seltener genutzt, sodass das Deckengemälde in den letzten Jahren nicht mehr optimal zur Geltung kam.
Mit der Installation von 32 eigens von GDS entwickelten Deckenflutern wurde dieses Problem gelöst. Die asymmetrisch strahlenden RGBW-LED-Fluter (100 W, RGB+W, 3.000 K) sind in der obersten Ebene der Krone des Leuchters installiert. Aufgrund der Justierbarkeit dreier übereinander angeordneter LED-Linsen-Linien und der Möglichkeit, ihre Abstrahlwinkel mit austauschbaren Linsen anzupassen, bieten sie die nötige Flexibilität zur gewünschten Ausleuchtung der konvexen Deckenkonstruktion. Mehrere Feinjustierungen waren erforderlich, um eine gleichmäßige Lichtverteilung zu erzielen und das Gemälde in seiner gesamten Farbbrillanz wieder sichtbar zu machen.
„Mit den neuen Deckenflutern können wir nicht nur das Deckengemälde besser zur Geltung bringen, sondern auch das Gefühl verschiedener Lichtstimmungen und Effekte - zum Beispiel Gewitter - in den Zuschauerraum verlagern“, sagt Björn Schöck, Beleuchtungsmeister des Staatstheaters Saarbrücken.
Ein weiteres zentrales Element der Modernisierung ist die eigens für das Staatstheater entwickelte Leuchte GDS Globe. Die Leuchten basieren auf der GDS-Puppis-Serie von Einbaudownlights. Der Sonderbau GDS Globe basiert auf der Puppis-1K-(12 W)-Version und verfügt über ein speziell gefertigtes Glaskugel-Design mit geschliffenen Acrylglas-Pipes, die den Lichtaustritt gezielt lenken.
„Ursprünglich waren Klarglas-Kugeln vorgesehen, doch ein von Rich Dyer (GDS) präsentiertes Modell mit Craquelé-Glasoptik überzeugte alle Beteiligten auf Anhieb“, so Anke Schierenbeck, Teamleitung des Projektgeschäfts bei VisionTwo. „Das neue Glasdesign vereint die Idee der originalen Kristallleuchten und der neueren Kugeln perfekt.“
Die Ansteuerung der Globes erfolgt über den circa 100 m entfernten GDS-DriveHub-CardFrame mit dem IPM-Protokoll von GDS, bei dem die Steuersignale über die bestehende Stromverkabelung übertragen werden. Auf die Installation zusätzlicher Signalleitungen und das damit verbundene Öffnen der Putzdecken konnte somit verzichtet werden. Die Anpassung des Kühlkörpers und des Einbaurings ermöglichte eine minimalinvasive Installation in die bestehenden Deckenausschnitte.
Während der Energieverbrauch im Saal um siebzig Prozent reduziert werden konnte, wurde gleichzeitig die Beleuchtungsstärke um fünfzig Prozent erhöht. Aus dem GDS-Produktportfolio wurden insgesamt 400 FadeToWarm-LED-Stiftsockelleuchten, 76 Glass-Globes, 32 asymmetrische Kronleuchter-RGBW-Floodlights, ein DriveHub-MiniPack mit IPM-Karten, ein DriveHub-Cardframe mit IPM-Karten und ein Powerframe installiert.
Foto (v.l.): Thomas Hagedorn (Industrial Arts), Anke Schierenbeck (VisionTwo), Ralf Heid (Staatstheater Saarbrücken), Florian Schaller (Schaller Ingenieure). (Fotocredits: VisionTwo GmbH)
KV2 Audio systems installed at Rajadamnern Stadium for world’s first immersive Muay Thai experience
Opened in 1945, Bankok’s Rajadamnern Stadium - the oldest Muay Thai stadium in Thailand - stands as one of Thailand’s most revered sporting venues. Known as the birthplace of Muay Thai (Thai boxing) as a globally recognized professional sport, Rajadamnern is the world’s first dedicated Muay Thai stadium and has played a pivotal role in shaping the sport’s rules, cultures, traditions, and global reputation. The venue also stands out for its circular design, ensuring an unobstructed view from every seat.
While the stadium’s historical significance remains unchanged, the grand vision of the Rajadamnern management team was to establish the venue as a premier global destination for sports and cultural experiences. To celebrate the stadium’s 80th anniversary in 2025, the management team conceived the idea of the world’s first “Immersive Muay Thai”. To help bring this vision to life, they enlisted production specialist Andrei Mazuruc of ShowOne Productions in Canada to lead the project. Rajadamnern and Mazuruc chose to work with KV2 Audio for the audio system, which was supplied and installed by KV2’s distributor, Audio Gears in Bangkok.
According to KV2’s Technical Support Director for APAC, Leo Tanzil, the design turned out to be more of a challenge than he had anticipated. “On paper, the audio design looked as if it would be pretty straightforward - we just needed to hang four loudspeakers above the boxing ring facing each of the four quadrants”, he recalls. “But no - Andrei quickly shot that idea down as he didn’t want anything above the ring at all. Even the rigging from the previous audio and lighting system had to go. So, it was back to the drawing board…”
Rajadamnern and Mazuruc’s grand design saw the dome as a giant screen, like a planetarium, which meant that visually, there could be nothing that would impede sightlines or cast shadows on the projection - yet the audio system had to be powerful enough to provide clear commentary to every seat in the house as well as immersive surround sound to elevate the atmosphere and energy of the fight.
“This was a real challenge”, admits Tanzil. “A design based on a distributed system of perimeter loudspeakers around the dome wasn’t going to work either as Andrei wanted the ring master’s commentary to sound as if it was emanating from the ring - in other words, to be properly localised to the source - in addition to great immersive surround sound. And of course, the system had to be as compact and unobtrusive as possible.”
After modelling various options, it became clear that a solution based on KV2’s EX28 2.5-way full range active loudspeaker system would solve the problems. “The EX28 is small enough to be placed at the corners of the boxing ring without intruding on the action, yet powerful enough to cover the whole stadium”, says Tanzil. “Combined with the surround sound loudspeakers (also EX28s) with the proper processing, we were able to create the illusion that the sound originates from the boxing ring and minimise the effect of the reflection from the room.”
A total of twenty-four EX28s were used throughout the stadium - a pair of loudspeakers mounted on custom poles at each corner of the ring combined with a further sixteen EX28s distributed around the perimeter. Eight KV2 VHD 2.18J subwoofers provide low frequency reinforcement and the system is driven by eight KV2 VHD 3200 amplifiers.
“In surround mode, each of the perimeter EX28s gives wide enough coverage that surround sound effect can be heard by everyone in the audience, no matter where they are seated”, notes Tanzil. “When paired with the distributed sub arrangement, even the low-mid frequencies can be localised in surround mode; yet in stereo mode the sub arrangement gives even coverage throughout the venue.”
For control and distribution, Audio Gears installed four NST Audio VMX88 processors alongside two Netgear M4250 12M2XF network switches and a Drawmer DA6 distribution amplifier, ensuring communication between all components of the system. The stadium’s existing Midas M32 Live digital console was equipped with a DN32 Dante expansion card and incorporated into the new system.
By December 15, 2024, the installation was complete, just in time for the stadium’s grand reopening on December 21.
(Photos: KV2 Audio)
Las Vegas casino upgrades with Powersoft
One of the most iconic casinos on the Las Vegas Strip has elevated its guest experience with a sound system renovation using audio technology from Powersoft. Designed and delivered by Global AV Group, a boutique outfit from Long Island, New York, the finished project includes 26 Powersoft Quattrocanali 4804 DSP-D and 13 Quattrocanali 8804 DSP-D amplifiers, both with built-in DSP and Dante networking, as well as five X4L amplifiers with DSP.
“The client wanted to elevate the casino’s atmosphere with a sound system that enhances the guest experience while balancing the energy of the gaming floor”, says Jason Ojeda, President and CEO of Global AV Group. “Our objective was to create a seamless and immersive listening environment. This was a major undertaking, and Rick Woida (Powersoft senior sales engineer - large venues) played a key role in helping us be successful.”
“To meet the client’s mandate, we began with an assessment of the property, considering every nuance and potential challenge”, he continues. “A team of eight worked over five days and nights to complete the initial phase, which involved locating the transformers, the cable paths, addressing the speaker-hole size in the ceiling, power requirements, and addressing countless other details to ensure a smooth and successful installation. Taking the entire system offline for an extended period of time was not an option, so maintaining the guest experience was critically important to the project’s overall success.”
The new sound system combines Powersoft amplifiers with over a thousand loudspeakers and subwoofers from various manufacturers. Powersoft’s ArmoníaPlus Install Skin software delivers a streamlined configuration of sources and control surfaces, allowing complete control using Powersoft’s Dynamic Music Distribution System, making it easier to share audio content among different zones independently from the source location.
(Photos: Global AV Group/Powersoft)
National Youth Music Theatre nutzt Cameo-Scheinwerfer für Musical-Produktionen
Mit seinen Musiktheater- und Musical-Produktionen hat das National Youth Music Theatre (NYMT) in London bereits zahlreiche Preise gewonnen. Das Besondere: Die Darsteller sind ausschließlich Jugendliche und junge Erwachsene zwischen 11 und 23 Jahren. Die Liste berühmter Absolventen reicht von Jessie J über Idris Elba bis Jude Law.
In der Sommersaison 2024 spielte das NYMT drei Musicals im Londoner Southwark Playhouse Theater: „Into the Woods“, „Catastrophe Bay“ und „Our House“. Für die Lichtgestaltung zeichneten drei verschiedene Lichtdesigner verantwortlich: Jamie Platt („Our House“), Bethany Gupwell („Catastrophe Bay“) und Aaron J Dootson („Into the Woods”). Sie alle verwendeten ein Lichtrig aus Cameo-Scheinwerfern.
Da die drei Musicals sehr eng nacheinander aufgeführt wurden, mussten die drei Lichtdesigner ein gemeinsames Basis-Lichtrig konzipieren, das für alle Produktionen geeignet war: vom Märchen-Musical-Klassiker „Into the Woods“ über das Folk-Musical „Catastrophe Bay“ bis hin zu „Our house“ mit seinen zahlreichen Szenenwechseln und Uptempo-Nummern.
Neben Evos W7 als Wash Moving Heads setzten die LDs unter anderem auf die Kombinierbarkeit der Azor-Serie: Während Azor-S2-Spot-Moving-Heads in den hinteren beiden Traversen platziert wurden, kamen Azor-SP2-Spot-Profile-Moving-Heads als Frontlights für Gobo- und Aerial-Effekte zum Einsatz. Abgerundet wurde das Rig durch Pixbar-400-IP-G2-IP65-RGBW-LED-Bars, die als Backlights am Boden und in der Rückwand Verwendung fanden.
„Dieses Projekt unterscheidet sich von den meisten anderen Produktionen“, sagt Bethany Gupwell. „Wir wollen jungen Leuten die Möglichkeit zu geben, einen Einblick in unsere Arbeit zu bekommen und zu verstehen, wie eine Produktion dieser Art abläuft Ich habe Licht und Design studiert, aber ich glaube, dass die begleitende Förderung außerhalb der Uni mindestens genauso wichtig war. Deshalb bin ich von Projekten wie diesem begeistert und versuche, mein Wissen auf ähnliche Weise weiterzugeben.“
„Das NYMT ist eine fantastische Plattform für besonders talentierte junge Künstler, die ihren berühmten Kollegen am West End in Sachen Leidenschaft, Energie und Professionalität in nichts nachstehen“, bestätigt Jamie Platt. „Nicht zu vergessen die ganzen Beteiligten hinter der Bühne - die Stage Manager, Musiker und Techniker, die hier ebenfalls auf dem Niveau großer Musicalproduktionen arbeiten.“
Geliefert wurden die Cameo-Scheinwerfer für die Produktionen am National Youth Music Theatre von Palmer Lighting mit Sitz in Eastleigh, Hampshire.
(Fotos: Corinne Cumming/Harry Elletson)
Sincopa implements L-Acoustics L-ISA technology at Israel Expo Centre
The Israel Expo Centre has undergone an audio upgrade with the implementation of L-Acoustics L-ISA Hyperreal technology for the two-and-a-half-month Tozeret Haaretz event series. This marks a shift from traditional temporary sound systems to a consistent audio environment capable of accommodating varied performance requirements.
Sincopa, an L-Acoustics Certified Provider with over twenty years of industry expertise, engineered a flexible 7.1 frontal configuration that addresses the venue’s specific acoustic challenges while providing accurate sound reproduction for audiences of up to 6,500 attendees.
The technical implementation features five main hangs of one L2 and one L2D, complemented by two extensions of nine Kara II loudspeakers on each side. This multi-array approach enhances spatial localisation - precisely placing sound sources across the stage while eliminating the narrow “sweet spot” limitations of conventional stereo setups.
Low-frequency reproduction is managed through two center-flown arrays of three KS28 subwoofers, while a pair of Syva colinear speakers provide out-fill. Seven Kara II places along the stage provide spatial front-fill. The entire system is fed directly from an L-ISA Processor II in an AVB Redundant network and powered by ten LA7.16 and thirteen LA12X amplified controllers.
“Transitioning from a conventional left-right configuration to this multi-array design significantly reduces masking effects and enhances intelligibility, particularly in the critical midrange frequencies where vocal intelligibility and instrumental definition are most perceptible”, says Assa Efrat, Sound Engineer at Sincopa.
To facilitate rapid adoption of L-ISA technology, Sincopa established an on-site pre-production studio where visiting engineers can familiarise themselves with the L-ISA Controller software before live events and prepare their show file before their show. This preparation environment allows for spatial mixing strategies to be developed and tested prior to moving into the main venue.
(Photos: Israel Expo Centre/L-Acoustics/Sincopa)
Houser installs DiGiCo Quantum225 mixing console at Delaware County Christian School’s DeMoss Center
Delaware County Christian School in southeastern Pennsylvania has undergone the initial phase of a major refresh of the production technologies at its Arthur and Nancy DeMoss Center for Worship and the Arts, including the installation of a new DiGiCo Quantum225 front-of-house mixing console.
The renovation project, overseen by Andre Houser of design, sales and integration company Houser Audio, encompasses everything from sound, lighting, and video systems to a stage extension and new paint, drapes, and carpet. “Our auditorium space hadn’t been touched in going on 25 years, so the equipment was completely outdated”, says Jacob Godino, the school’s Director of Operations.
The school, popularly referred to simply as DC, is a Christian college preparatory school that serves the greater Philadelphia area, and the DeMoss Center was completed for the 2000-2001 school year. The building houses a 554-seat auditorium, music and theatre classrooms, individual practice rooms, and a multipurpose commons room, providing a comprehensive venue for the school’s performing arts program and a home base for its choir, the DC Knight Tones.
The renovation project is being implemented in phases to allow the school to continue functioning while the work takes place. “We have created a new sound booth where the DiGiCo sits, and we got all new seats and flooring”, says Godino. “Then, this summer, we will be getting new lights, new speakers, and a stage extension.” In addition to the DiGiCo console, the first phase also included 24 channels of Shure ULXD microphones.
The new multi-channel microphone system, which feeds into the Quantum225 via the school’s new Dante network, has taken production to a new level, according to Godino. “We were at a point where we didn’t have enough microphones, so it’s changed the whole way that we operate”, he says. “Now we can cast as many as we want, and even have a whole ensemble. And things sound really good right now, even with outdated speakers.”
Beyond the musicals, plays, band concerts, and other live performances, DC holds weekly events such as assembly or chapel. “My goal for sound - and lighting - is for students to just hit a button, because they’ve already programmed it”, says Godino. “Then, the faders do what they’re supposed to do; the microphones are where they’re supposed to be. That just saves so much time and effort. But you must put in that work to get it programmed right, based on the needs.”
Outside events will also benefit from DC’s new production technologies, he continues. Gordon College, New England’s top Christian college, has already performed in the refurbished DeMoss Center, he offers as an example. “Everything we do has a community focus. We know that we don’t exist alone, so if our space can be used to further other organizations that have similar missions to us, then that’s how we’re redefining the space.”
DC is a member of one of 12 chapters across the country that participate in The Cappies, a student-driven awards and review process. Each year, nearly 900 Cappies student critics visit each chapter’s productions and decide who among their peer performers and technicians should be recognized for awards at the end of the season. “We put in the DiGiCo and the microphones and we won an award for sound engineering”, Godino reports. “That was a big step in the right direction for us.”
(Photo: Alexandra Morra/Delaware County Christian School)
Genelec loudspeaker technology at new Finnish arthouse cinema
Kino Konepaja, located in the Konepaja neighbourhood of Helsinki, is more than just a cinema - the space is an intersection of film, production, and sound design, coupled with a New York soul that’s led by Jussi Myllyniemi of Whitepoint, a Finnish post-production company.
The intimate, 55-seat venue was conceived as a production space that could also serve as a cinema, driven by Myllyniemi’s background in post-production and commercial movie events. “Initially, we considered collaborating with existing cinemas, but when that didn’t work out, we decided to create our own”, he explains. “We’d had this facility in mind for a while, but we were met with some structural challenges. The space had beams that obstructed some viewpoints, but we were eventually able to remove these, enabling us to sign a long-term lease.”
Genelec’s 7.1 surround system became the heart of Kino Konepaja’s audio setup, featuring three high SPL S360 studio loudspeakers in the LCR positions, six 8350 studio loudspeakers as surrounds, and a 7382 subwoofer. Myllyniemi notes that the aesthetic of Genelec’s loudspeakers aligns with Kino Konepaja’s design: “Genelec speakers are beautiful - they’re meant to be seen, not hidden away.”
The venue’s attention to detail also extends beyond the main cinema space. In the bar area, visitors can find a trio of compact 8020 studio loudspeakers paired with a 7050 subwoofer - models that Myllyniemi bought nearly two decades ago. “Everything else has changed over the years, but these Genelec models remain fully functional and still fit right in”, he says. “This long-term durability reinforces our mission of creating an enduring space where audio fidelity is paramount.”
Kino Konepaja’s space required extensive acoustic treatment to meet the standards they set for the cinema. Acoustic designer Kalle Lehtonen of Promethor, a Finnish acoustic consultancy business, collaborated on the project, focusing on sound isolation. For Myllyniemi, this was an eye-opening process: “As a ‘picture person’ I had to embrace a whole new perspective to understand the importance of sound”, he admits. “The learning curve involved embracing unfamiliar elements, like installing over 1000 square meters of gyprock on the walls for sound insulation.”
(Photos: Genelec/Kino Konepaja)
Glyndebourne installs PunQtum IP-based digital partyline beltpacks and rackmount units
Nestled in the rolling hills near Lewes, England, Glyndebourne opera house is renowned for its annual summer festival, which attracts over 150,000 visitors, and its auditorium. Glyndebourne recently upgraded its systems to include PunQtum’s IP-based communication solutions.
“Our communication system serves all production departments, from followspots to automation, wardrobe, and chaperones”, says Jonathan Moss, Head of Sound and Video at Glyndebourne. “We needed a mix of products that could address all user needs while enhancing operational flexibility and future-proofing our technical infrastructure.”
Glyndebourne already employs Riedel’s Artist-1024 intercom matrix, which allows for point-to-point and complex intercom configurations and works seamlessly with the Bolero Wireless Intercom. Integrated into Bolero, PunQtum extends this system and ensures that all departments are connected. Moss elaborates: “PunQtum works perfectly as a standalone solution but also integrates smoothly with our existing Riedel Bolero and in this way complements our Artist systems. This combination allows us to meet the needs of different departments while ensuring cost-effectiveness where fewer circuits are required. The network-based deployment ensures we can reach every corner of the building without additional infrastructure.”
For stage management, lighting, and other technical teams, the addition of PunQtum has been transformative. Ben Sedgwick, Stage Manager, explains how the system benefits daily operations: “Everyone working in the stage area relies on it, from lighting and stage technicians to wardrobe. During rehearsals and performances, it’s crucial for communication between the stage and front-of-house teams, ensuring smooth transitions and precise coordination. PunQtum delivers clear, direct communication that keeps everything running efficiently.”
(Photos: PunQtum/Glyndebourne)
EM Acoustics offers full-venue solution at Theatre Royal Plymouth
Theatre Royal Plymouth (TRP) hosts a broad spectrum of performances including touring musicals, dance productions, comedy and drama. The Lyric Theatre is a versatile space with a seating capacity of 1,300, which can be reduced to 800 through the adjustment of the theatre’s moving roof. This adaptability allows the theatre to accommodate both large touring productions and more intimate performances.
Opened in 1982, the venue is known for its distinctive architecture, which, although renowned, presents challenges for sound installation. When TRP required an upgrade to its ageing sound system, they once again turned to EM Acoustics. “I’ve been using EM products for years across all the venues in the theatre”, says Dan Mitcham, Head of Sound, TRP. “We’ve always had a great relationship with them, and the upgrade to EM for the Lyric just made sense. We knew what their products were capable of.”
Having successfully used EM Acoustics in its smaller auditoriums, including the 200-seat Drum Theatre and its 50-seat Lab, the replacement of the 30-year-old Lyric sound system was destined to follow suit. “The old system had been in place since the theatre opened, and while it served us well, it was outdated”, continues Mitcham. “Our CEO, James MacKenzie-Blackman, is committed to investing in the theatre and helped the project gain momentum after hearing a production through EM Acoustics loudspeakers a few years ago.”
The Lyric auditorium presented several challenges for the in-house technical team. The venue’s irregular shape, combined with the ability to alter the ceiling height, meant that achieving uniform sound coverage across the space required careful planning. “The Lyric has a really unusual auditorium shape, with a moving roof and a plenum area that partially blocks the left part of the main PA from certain seats in the stalls”, says Mitcham. “We knew EM would be able to solve these challenges effectively.”
The main PA on the proscenium is based around EM Acoustic’s Reference Series with R10 loudspeakers placed on the left and right sides across all three levels, complemented by a centre cluster of R8s with one unit per level. For enhanced low-frequency response, S18 subwoofers are positioned on either side of the stage, whilst pairs of S15 loudspeakers ensure additional coverage in the circle and upper levels. To address more focused audio needs, pairs of EMS81X loudspeakers are used as side fills in the circle and upper levels, while EMS61s and EMS51s serve as delays and fills across the stalls, circle and upper circle.
Four MC15 floor monitors, plus four EMS81X spot speakers for special effects complete the system. Powering this setup are five DQ10 and five DQ6 amplifiers, all networked via Dante. “The fact that the EM amplifiers are Dante-enabled is a great advantage. We want to establish a full-venue network infrastructure going forward, so this gives us a future-proofed solution”, remarks Mitcham. “We’re now fully EM across all three stages. Any loudspeaker from any of our stages can be used in any other space.”
(Photos: EM Acoustics)
