Hertzainak, the iconic Basque rock band, recently reunited for a highly-anticipated show at the Bizkaia Arena. The band, known for blending the provocation of punk with the rhythms of reggae and ska, took the stage in front of a crowd of 30,000 fans for two concerts, relying on an RCF TT+ GTX 12 line-array as the arena’s main audio system.

The Bilbao Exhibition Centre is a fairground located on the land formerly occupied by the company Altos Hornos de Vizcaya, in the district of Ansio, in the Basque Country. The event was held in the Bizkaia Arena, part of the Exhibition Fair complex, regarded as one of the largest multi-purpose pavilions in Spain.

Unai Mimenza.

“This is a special gig with a very well-known band in the area, reunited 30 years after they split up,” said Unai Mimenza, Hertzainak’s sound engineer. “I used to listen to Hertzainak when I was a teenager, so it was also special for me.

We’ve had three concerts, with the first two nights at the BEC arena. I had never done sound here, but I did know the acoustics were not very good. A few other acts have been very critical of the sound, but I knew it could sound good if approached the right way. I’ve seen ACDC and Paul Simon here–they both sounded very good”, continues Mimenza.

“My main concern is the acoustics of the arena. I knew I was going to have with the Midas HD 96, a nice console, and a great PA. I have worked with RCF systems before, but probably not in such a large and peculiar format.”

Seen from behind, the two GTX 12 arrays facing the audience.

The concert was engineered by Sonort, with technical production overseen by Lucio Boiardi Serri, Product Specialist & Application Engineer at RCF. Boiardi Serri traveled from Italy to the arena to ensure the smooth operation of the sound system during the event. The stage featured a main L+R and outfill, accompanied by the corresponding front fill, without delay lines.

Lucio Boiardi Serri, a major Product and audio Specialist.

The main concert system is composed of [18+18] GTX 12 passive line array modules, while the side-fills comprise of 2 clusters of [10] HDL 30-A active line arrays each, the front-fill includes [4] TT 1-A in front of the stage, and [2] TT 22-A MK2 on the sides of the LED walls. A large quantity of TT 45-CXA are deployed as stage monitors and two clusters of two TTL 6-A columns as side fills monitors.

“The GTX is a beast,” continued Mimenza, “The coverage is probably the most impressive aspect of the setup. The arena is big, so my first thought was that we were going to use delay lines. RCF suggested that no delays were used, so there was only one sound point source and that would work better acoustically.

The setup of the line array and subs is impressive, and coverage is very even. Some spots in the arena are architecturally very difficult to cover because of the big beams in the ceiling that cause an acoustics shadow for some seats, but overall I am very impressed.”

The RCF GTX 12 line array freshly released to the market has already been distinguished for several big events in Europe, most notably the RCF Arena concerts in 2022, delivering sound for an audience of more than 100K.

The array of eighteen GTX 12, plenty of lows available.

Each line array module features eight RCF Precision Transducers divided in three ways: 2×12-inch neodymium woofers with 3.5-inch voice coils, 4×6-inch neodymium midranges with 2-inch voice coils, and 2×3-inch neodymium compression drivers with pure titanium dome, both attached to the proprietary 4path waveguide.

“We are working with a hybrid system because the mains are passive and all the other boxes are active,” said Boiardi Serri.
“The main system is driven by 12 XPS 16K amplifiers (6 per side). One XPS 16K delivers 16000W continuous power in four outputs of 4000W each. The system is tuned, controlled, and monitored in real-time using our networking software RDNet version 4.1.”

Each XPS drives 3 line array modules connected in parallel. The four output channels are two for the woofers (1 ch each woofer), one for the mid ranges, and one for the compression drivers.

“We decided to design a system oversizing the main clusters and avoiding delays.” explains Boiardi Serri. “The main system utilizes RCF FiRPHASE technology so the sum of the transducers is very consistent, and the power of the XPS 16K amplifiers reach the distance from the main and the last seats (72 meters) without any problem.

Above the subs, four TT 1-A bring clarity to the closest audience.

Bizkaia Arena is a challenging acoustic environment because of the high RT60 (Reverberation time) and we agreed to use a unique sound source, which will be more consistent instead of having delays that would be aligned in some points and some other not. We didn’t want inconsistencies and unwanted reflections which would have further deteriorated the intelligibility in a significant part of the audience.”

“The main system covers from 6 meters from the stage to the last seats at 11.5 meters high at 72 meters from the main stage,” says Ricardo Carus, Sonort Technical Manager. “The outfills (HDL 30-A) cover the sides up to approximately 25 meters away from where the main GTX system takes the scene. Even the subwoofer design is a great challenge, as the venue is very large and the stage has to be as clean as possible as the type of show needs several condenser microphones for strings and brass as well as different voices.

The technical team decided to work with 24 SUB 9006-AS (2×18 inch) arranged in 12 clusters made by two subs each, 1.8 meters spaced each other to fit the distance between the mains (20 meters), electronically curved thanks to the excellent dedicated function of RDNet to widen the coverage towards the side areas of the venue.
The crossover point is at 60 Hz, and the subs alignment point is taken 40 meters away from the stage, about 12 meters before the FOH. This caused a slight alignment inconsistency at FOH position but ensured better distribution of low frequencies in the crossover zone for the rest of the arena” says Carus.

24 SUB 9006-AS arranged in 12 clusters made by two subs each, the top element facing the stage for cardioid purposes.

The subwoofer setup uses a gradient configuration with the top sub of each cluster facing the stage. “To get extra clean low frequencies on the stage, we optimized the gradient from the stage point of view, in the positions where it needed to be cleaner. Particularly in the position of the strings and vocal microphones,” Lucio Boiardi Serri explains.

“We achieved this result by measuring the two rows of subs individually in these positions, to obtain the same magnitude and phase response of both. Then we rotated the polarity of the row facing backwards. The result was quite a clean stage, suitable for this type of show. The average SPL (A-weighted) was approximately between 90 and 108 dBA.”

“Also, the system’s raw power is remarkable,” Unai comments after the concert. “I am a sound guy who considers that many acts are too loud. I’m not a fan of volume for the sake of volume. I think that mixing a live gig is finding the right volume for the act, the place, and the audience you are working with.
In this case, the arena was packed with hardcore fans who had not seen the band in 30 years, or kids who knew it was the last time they were to see the band. I had to go loud, louder than I usually like, and there was more than enough juice for it! The concert was a huge success for us and the sound was a big part of it.”

More on TT+ and GTX

The Megapark space is a unique 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 powerful lighting capable of working in daytime and nighttime settings.
In its design, several features have been taken into account to create an appealing ambiance in which the Zonda 9 FX lights have played a crucial role in delivering a unique experience.

The latest acquisition and investment for this significant venue was the new Zonda 9 FX by Ayrton, a lighting fixture that has stood out for its advanced technology and creative possibilities, thanks to the versatility of its features and optical effects.
Megapark has chosen to place them 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 12 Zonda 9 FX fixtures.

The Zonda 9 FX fixtures are lighting units that allows the creation of an atmosphere suitable for the desired situation but, in the case of Megapark, they have been used as a complement to LED screens, creating much more impressive effects for attendees by projecting patterns, colours, and movements, enhancing the audience’s experience.

The venue already has lights like the Ayrton Perseo Beam to create incredible aerial effects in a large, open space like Megapark. However, the Zonda 9 FX is the perfect tool to achieve stunning 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.
These LED fixtures not only deliver a pleasing and colourful wash effect but also allow for individual control of each light source, enabling the creation of 3D volumetric effects with the light beam, as well as illuminating the outlines of the LED cells with their LiquidEffect technology, resulting in entirely unique creative outcomes.
Zonda 9 FX offers unique versatility due to the advanced LiquidEffect technology, which allows for the generation of high-definition liquid effects, perfect for creating ideal atmospheres in spaces like Megapark.

Innovation and Technology Combined in the Zonda 9 FX

This lighting fixture, designed to be a revolution in stage lighting, is equipped with a 40W LED source with additive RGB+W color synthesis. Furthermore, it features a sphere with 37 PMMA lenses, measuring 384 mm in diameter, providing 25,000 lumens, and offering a 14:1 zoom range from 4 to 56 degrees.

The Zonda 9 FX has been equipped with a specialized cooling system for safety against temperature excesses, as well as variable selection ventilation, allowing for adjustments to this spotlight based on the specific requirements of different spaces.
The Zonda 9 FX luminaires unleash countless creative possibilities without limits.

The installation was made by Stonex, Ayrton’s exclusive distributor for Spain. For information on Stonex, visit www.stonexsl.com

For more information on Ayrton Zonda 9 FX and its full portfolio of LED and laser-based products, visit www.ayrton.eu

Bosch’s Building Technologies division is pleased to announce a close collaboration between one of its prestigious brands, Dynacord, and loudspeaker manufacturer TWAUDiO, based in Ludwigsburg, Germany.

TWAUDiO has adopted Dynacord’s TGX Series for live sound and IPX Series power amplifiers for fixed installation as their new preferred system drive. This choice followed meticulous internal and field testing by TWAUDiO, wherein both Dynacord amplifier series showcased superior performance.

Dynacord TGX and IPX Series stand out as two of the most powerful on the market boasting a power density of up to 20,000 watts from a single amplifier with all channels driven and advanced DSP capabilities, including FIR-Drive.

These high-performance multi-channel amplifiers embody several proprietary Dynacord amplifier technologies such as ecoRAIL for optimum power efficiency or digitally controlled Power Factor Correction (PFC) to achieve maximum output independent of mains power fluctuations.

Fredi Palm, Business Development Manager, Dynacord.

Engineered and manufactured in Germany, both series also feature the integrated OMNEO IP networking architecture, enabling full Dante audio compatibility and OCA/AES70 control.
Both companies’ collaborative spirit highlights their shared commitment to offering customers maximum flexibility, service, and performance in the professional audio sector.

“Our partnership with TWAUDiO reaffirms Dynacord’s reputation as an ideal complement to other loudspeaker brands,” says Fredi Palm, Business Development Manager for Dynacord. “Their decision to take on our products further confirms Dynacord’s leadership in advanced amplifier technology.”

Marco Deinl, General Manager, TWAUDiO.

Marco Deinl, General Manager at TWAUDiO comments, “Teaming up with Dynacord aligns well with our mission to strive for superior audio performance. Following weeks of in-depth optimization, Tobias Goldmann, our support manager and a member of our R&D team, refined the loudspeaker presets to maximize the synergy between TGX/IPX amplifiers and our speakers.

The next step for us was the creation of a new, preconfigured 4U system rack for our loudspeakers which includes a TWAUDiO APL7 connection panel and a TGX10 amplifier. Moreover, a new touring rack, integrating a DANTE switch and three TGX10 amplifiers, is in development. This marks just the beginning of an exciting journey we’ve embarked upon together.”

Christian Glück, Global Product Manager, Dynacord.

Christian Glück, Global Product Manager for Dynacord, highlights the seamless software integration. “Our TGX and IPX Series deliver not only premium quality and rock-solid performance, they are also complemented by our SONICUE Sound System software for intuitive setup, monitoring and control.

SONICUE comes with a database that includes settings for multiple loudspeaker brands. The latest V1.3 software update, which is available as a free download, now features speaker settings for all TWAUDiO systems to facilitate easy and optimal sound system tuning.”

More Info on the Dynacord website and on the TWAUDIO website

“The Mega-Monsters Tour” is a block-busting Spring and Summer co-headliner that is blistering across North America with Grammy Award-winning heavy rockers Mastodon joining forces with French heavy metal phenom, Gojira, for a mind-blowing double bill that enthralls rock and metal music fans everywhere!

The tour also unleashes the talents of two equally creative and distinctive lighting designers Eric Price (Mastodon) and Pete Cary of Summit Production Design (Gojira), who share an overhead rig of primarily Robe moving lights specified by both, to which they added some individual floor elements and SFX.

Gojira’s set features a single circular riser with extensive video elements while Mastodon has two risers and lots of lasers. Apart from that, around 95% of the lighting is shared and a tribute to the massive versatility offered used to produce two totally contrasting yet equally as exhilarating hi-energy light shows.

Robe Forte

Lighting equipment was supplied by Jason Reberski at Chicago based rental specialist JRLX with the Fortes a recent investment by the rental house that both LDs were delighted to add to their respective imaginative toolboxes.

Thirty-two Robe Fortes featured on the second leg of the tour boosted by 10 more fixtures from the first leg!
Forte is currently Robe’s highest-powered Led Profile and these were supplied together with 30 x MegaPointes, 38 x Spiider wash beams and some other lights.

The final choice of fixtures was ultimately a 5-way collaboration between the two LDs and the relevant artist production, tour, and stage managers, but Eric reveals that once he and Pete had nailed the production truss and video design, they both unanimously agreed that they wanted Robe moving lights.

Robe MegaPointe

Spiider LED wash beams

Eric and Pete had not worked together before this, but they thoroughly enjoyed the experience having known one another and mixed in the same circles for some time. The two bands share the same management company, so a great relationship already existed between the two teams.
While they essentially designed the rig together, the base elements were initially Pete’s ideas. “It evolved extremely quickly,” explained Eric who was on the road when it was confirmed, so Pete presented the first design, “which was brilliant for both artists, so we went with that.”
Twelve Fortes were now on the front truss for the second leg, with eight more on two upstage side hangs of truss. When Jason had first offered Fortes, they jumped at the opportunity!

It was the first time Eric had used these on the road after seeing them at a recent Robe event. “They are amazing lights,” he stated, “A very powerful output, especially in dark colors,” and he noted that even with the Led, video and lasers going full tilt, the Fortes push through. The extra 12 Fortes joining the tour for the second leg are rigged on a run of GP truss upstage on the floor that also has strobes and blinders.

The large upstage block of Led screen is flanked by two left and right columns of Led. All the band risers Mastodon’s two and Gojira’s single circular one are bordered with video, and Led panels are attached to the fronts of all 8 over-stage finger trusses that are arranged in a chevron shape.

The MegaPointes and Spiiders are alternated along these finger trusses

Eric and Pete wanted MegaPointes for their sheer scope and ability to change the dynamics of the space, and enabling both to differentiate their shows by looks and programming styles. For Eric, MegaPointes are his ‘fun fixtures’.

Another couple of Spiiders are positioned on the downstage corners of the deck, a great position for interesting side light. “Both of us have used MegaPointes and Spiiders for many years,” stated Pete who has worked with Gojira for 7 years, trusted with complete creative freedom on the stage design and lighting programming. He mentions that he also used MegaPointes and Spiiders on his very first Gojira tour.

However, like Eric, Fortes were a new experience! “They are the Best spots I have used to date,” he declared. He was also blown away with the intensity, richness, and potency of the Fortes. While he tends not to use blues and reds so much in his shows for the band, with the Fortes he found he could as they didn’t get lost in the mix.

Pete maintained that MegaPointes are still “by far the best” beam light on the market in his opinion, and he loves their punch and flexibility.
Spiiders are another favorite. He appreciates the quality of the light output, the texture and depth of the wash, the color mixing and the “excellent” zoom which can also transform the unity into a nice tight, clean beam, “On top of that, there’s the flower effect and the individual pixels. It’s a physically small fixture in appearance but with a Huge potential and output!”

Pete loves Gojira’s music which he describes as “very technical in terms of informing much of what I do with the lighting” and adds that it’s a dream for any LD to work for an artist that they enjoy listening to so much. He also lights a lot of E-sports events which are equally as intense and fast paced.
Eric commented that the co-design concept worked “very smoothly” but the challenge came with it being a sizable system – suspended on 64 points, an operation overseen by rigger Mike Queally and lighting crew chief Parker Shore.

Not over-using the fixtures was another goal for both. “We really needed all these Robe luminaires to give us both enough latitude to deliver for our artists,” confirmed Eric.
On the road, the running order is alternated each night in true flip-flop style, with a few obvious scheduling exceptions, like Mastodon closing at their hometown Atlanta, and Gojira playing last in Montreal.

Much initial discussion was on how changeovers could work flawlessly, so a lot of attention was paid to details and making the rig functional without sacrificing any of the entertainment value or spectacle that fans enjoyed as both bands play their respective 1-hour and 20-minute sets.
On tour, Pete operates with a grandMA3 and a custom Resolume set up for video, while Eric uses a Hog4 for lights and lasers with an M-Box server running Mastodon’s video playback.

“It’s a pleasure working with Pete,” concluded Eric, “he’s a very smart guy, very easygoing and fun to be around.” Pete reciprocates with “Eric is as relaxed and calm as it gets and a great LD. It’s a pleasure working with him on this project.”

The two stage managers are Darren “Bubs” Sanders and Ryan Tarby.
The lighting crew are Dan Arnold, Pepe Salas and Jeff Giancaspro; the video crew chief is Caleb Strong, working alongside video techs Steven Harkins, Joe Rich and Thomas Ramirez, with pyro and SFX co-ordinated by Elliott Evans and Rick Russ.
The tour’s production manager keeping everything running smoothly on the road is Taylor Bingley.

For more info about Robe lighting, you can visit www.robe.cz

Not only audio signals but also DMX signals in professional use often have to be merged via a stagebox. The DMXV TrussLink stagebox series by KLOTZ is specially designed for this purpose.

The lightweight but extremely robust aluminum housing is powder-coated and features abrasion-resistant laser engraving. It houses 8 or 12 DMX output channels as well as RMP multipin connectors according to MIL-C-5015 standards.

The new models offer parallel wired Neutrik® XLR 5p and XLR 3p female connectors with hard gold plated contacts. This allows the connection of XLR 5p or alternatively XLR 3p DMX devices and therefore offers maximum flexibility. It also eliminates the need for DMX adapter cables.

A side view of the 08XF53MF ready to join the rig with his four eyelets.

Use of DMXV stageboxes can be reliably ensured both on the ground and in the rig. For this purpose, the housing is equipped with non-slip rubber feet, an M10 thread on the bottom and four eyelets for safety ropes.

For more information, Visit KLOTZ and the DMXV series

Ever since 1979, international artists have been pouring their magic over the Upper Austrian city of Linz for the annual Linzer Klangwolke. This is when the Donaupark, situated between the Lentos and the Brucknerhaus, is transformed into a gigantic performance area for what has become the city’s flagship event.
The week-long festival always begins with the so-called ‘Visualised Sound Cloud’ (Visualisierte Klangwolke), which attracts around 100,000 spectators and is therefore the largest staged open-air event in Europe with free admission.

This year, director Francesca Zambello and assistant director/choreographer Eric Sean Fogel created Odyssey. A Journey Through Worlds, denoting a journey on the river of life taken by a little girl, the only survivor of an apocalyptic catastrophe.
Internationally famed Austrian lighting designer Manfred Nikitser (Scorpions, etc.) created the design for the huge performing area, measuring around 1,000 × 600 metres, which included three barges on the Danube and a stage on land.
In order to be able to create sufficiently strong images given the large distances involved, and at the same time create as much variation in the design as possible, he turned to the weatherproof GLP fixtures Fusion X-PAR 12Z, XDC1 and Impression X5 IP Bar.

Three floating stages at great distance

Since the audience is 150 metres or more away from the action on stage, the production required large lighting images with plenty of punch. The ‘main stage’ this year comprised three floating transport ships on the water. And with another stage on land, a total of four locations were available to show different stages of the heroine’s journey, with each performance area offering its own unique architectural design.

One of the floating stages was equipped with a set design dominated by triangular structures made of steel beams. “We asked how we could best illuminate these triangles so that they appeared as architectural structures, even at a distance,” explains Manfred Niktiser.
“It was clear that we would need a lot of lighting, from moving heads that on the one hand offered the appropriate power plus zoom, but on the other were so compact that they fit into the support structures.” After the successful use of the Fusion X-PAR 12Z for this year’s Amadeus Austrian Music Awards, the designer once again turned to this powerful LED PAR from GLP.

On two of the ships, all special steel structures were equipped with a total of 104 Fusion X-PAR 12Z. The two visible legs of the triangles mentioned were completely lined with X-PAR 12Z (72 pieces in total) in order to make the shape visible from afar. On a second ship, wall climbers from Naturfreunde Linz showed off their skills on six slanted traverses. Here, another 32 Fusion X-PAR 12Z were used as keylights.

“The zoom and the compact form factor of the X-PAR 12Z were crucial here,” observes Niktiser. “There are only a few Led PARs in this size that offer sufficient output for such an application.”

XDC1 used as Floodlights

In addition, 12 weatherproof GLP XDC1 IP Hybrid fixtures were deployed, eight of which were placed on the stage area, with the triangles on the left and right, in order to either create coloured light in the middle or a side strobe effect.

“The XDC1 from GLP was the right choice for this. Their beam angle made it possible to achieve a powerful, homogeneous wash over the entire surface with just a few devices. If necessary, we could also use it as a strobe,” explains the lighting designer. “Their high output made them perfect over the distance.”

Stage front light with impression X5 IP Bar

On the same ship, the designer also placed 10 impression X5 IP Bars at the front edge of the stage. Thanks to the motorised tilt, they could be aimed either at the stage or at the audience. “This stage offered a lot of acrobatics and aerial performances,” says Niktiser, “so we needed a fixture that was relatively low but still able to illuminate the entire performance area. The zoom of the very bright impression X5 IP Bar made this possible without any problems.”

One-take wonder

Since the Danube would have had to be closed to shipping traffic for rehearsals, there was only a dress rehearsal for the Linzer Klangwolke 2023 on the evening before the show. “Some rehearsals can be carried out on land, but not under realistic conditions. There is very little time available for lighting, so it is all the more important that the lighting ultimately works exactly as you imagined on the evening of the show.

Fortunately, it all worked out very well, largely because I knew that I could rely on the fixtures I had chosen,” summarises Niktiser. In this sense, the Linzer Klangwolke 2023 was a real ‘one-take wonder’. As usual, the collaboration with GLP worked excellently, he says. “Olli Schwendke once again provided great support.”

The technical service provider Supporting Role Austria also made a major contribution to the success of the show, as Niktiser emphasises: “Supporting Role has been servicing the Linzer Klangwolke for several years now and has brought a lot of experience and knowledge of the local conditions. Crew chief Florian Bauer and the organiser’s technical manager, Roman Widmann, deserve a special mention here.

The wealth of experience of this team is incredibly valuable in implementations such as this. Wireless signal management in particular is a difficult and complex matter. But it was no problem for the well-rehearsed crew, who always had the tight schedule very well under control.
“It was an honour to have worked on this unique project as part of the great international creative team and I would like to thank everyone who contributed to its great success.”

More information on the GLP website

LD Systems presents its new MON G3 Series. This third generation of active stage monitors has been completely redesigned, both technically and visually, and offers discerning musicians, bands, DJs and event technology service providers the ideal mix of robustness, versatility and full-range sound quality.

With their coaxial speaker design, integrated DSP functions and versatile connection options, the MON G3 units can be integrated extremely flexibly into different stage setups – whether it is as a classic monitor at the edge of the stage, as a specific monitoring solution for DJs, entertainers and speakers, or as a PA speaker on a stand. The MON G3 Series includes four models in the sizes 8″, 10″, 12″ and 15″.

In the development of the new MON G3 Series, LD Systems was guided by the features and functions of high-priced stage monitors that are used at large events and on tours.

Thus, the MON G3 models are based on a newly developed combination of woofer and titanium tweeter in a compact coaxial design, which provide a consistent sound even away from the ideal listening axis as well as from a short distance – for example, as stereo monitor speakers on a DJ desk.

In addition, the integrated CD horn, with its optimised dispersion pattern of 50° (h) x 90° (v), ensures a clean and separated sound image as soon as several monitors with different monitor mixes are used on stage.

The active MON G3 Series is driven by a highly efficient Class D power amplifier with 300 W RMS and up to 1,200 W peak power, which means that the stage monitors can easily assert themselves even on loud stages.
Thanks to the integrated heat sink, the MON G3 models operate without a fan and are thus also suitable for noise-sensitive use at lectures, panel discussions or unplugged gigs.

The new second-generation DynX DSP offers users a wide range of customisation options. The sound of the stage monitor can be precisely adjusted to different monitor setups and stage requirements via a 3-band EQ, four EQ presets, a notch filter, and a delay function.

On the connection side, there are PowerCon-compatible mains sockets (in/out), two line inputs with XLR jack combo socket, and two XLR Thru outputs for the loop connection of additional monitors.

The MON G3 Series offers a modern design that has been redesigned from the ground up. All connections, controls and carrying handles are located on the sides of the enclosure, which not only facilitates access on stage, but also protects against knocks and accidental adjustments due to the recessed arrangement.

The MON G3 Series is rounded off by a robust polyurea coating, a sturdy speaker grille and a 36 mm flange on the side for vertical use as a PA speaker on a speaker stand. For the latter, all MON G3 models offer a standalone full-range mode as a selectable DSP preset.

The new LD Systems MON G3 Series is available now.

Further information:

– LD Systems.com
– adamhall.com
– blog.adamhall.com

Sphere Entertainment Co. announced that Powersoft, the Italian global leader in energy-efficient amplification technology, contributed immersive haptic technology and cutting-edge amplifier solutions that are being used in Sphere, a next-generation entertainment medium in Las Vegas.
Powersoft’s technology is integrated within the venue’s 10,000 haptic seats, and as part of Sphere Immersive Sound powered by HOLOPLOT, the world’s most advanced concert-grade audio system.

David Dibble, CEO, MSG Ventures.

“Sphere Immersive Sound has set a new standard in every aspect of live audio, and tens of thousands have already been immersed in its crystal-clear, individualized sound,” said David Dibble, CEO, MSG Ventures, a division of Sphere Entertainment.

“And this past weekend, with the premiere of The Sphere Experience featuring Darren Aronofsky’s Postcard from Earth, guests, for the first time, experienced a truly multi-sensory haptic experience. Powersoft’s cutting edge and energy efficient technology made them the perfect partner to help achieve our sustainability goals without compromising audio or haptic quality.”

Developed specifically for Sphere’s unique curved interior, Sphere Immersive Sound is powered by 167,000 channels of amplification provided by Powersoft’s compact, ultra-high-efficiency 16-channel amplifier solutions that are integrated into the venue’s HOLOPLOT X1 audio system.

A cross section render of Sphere showing the sheer size of the venue, the seating of the audience among which, 10,000 are equipped with Powersoft’s Mover and, barely visible behind the inside LED layer, a few of the 1,600 permanently installed and 300 mobile HOLOPLOT X1 Matrix Array loudspeaker modules.

MSG Ventures, which develops groundbreaking technologies and content exclusively for Sphere, partnered with Powersoft to leverage their ultra-high-efficiency amplifier solutions that achieve approximately 40 percent energy savings compared to traditional amplifiers, minimizing environmental impact without compromising sound quality.

Carlo Lastrucci, President of Powersoft.

“Sphere is the largest-scale and most innovative application of Powersoft technology yet, and we’re thrilled to partner with a company that holds the same values and vision for the future of live entertainment,” said Carlo Lastrucci, President of Powersoft.

Sphere’s HOLOPLOT X1 audio system leveraged Powersoft’s energy-efficient innovations, including its Power Factor Correction (PFC) and Class-D PWM (Pulse Width Modulation), two technologies that have directly reduced the environmental impact of the AV industry.

A small X1 array made of 3 two-way Modul 96 on the bottom, hence 96 transducers powered by 6 Powersoft amp cards of 16 channels each. On the top, 3 three-way Modul 80-S, less mids and highs powered by 5 amp cards, but sporting one very low impedance and long excursion sensor controlled 18” transducer powered by an IPAL 7 kW Powersoft module. Loads of SPL.

The benefits produced by the adoption of PFC technology include energy savings and a lower carbon footprint (equivalent CO2 emissions) of approximately 40 percent compared to amplifiers without power factor correction for the same output.

Exploded view of the Modul 96. 78 x 1,3” dome tweeters and 18 x 5” cone low-midrange transducers.

Simultaneously, Powersoft’s PWM technology transforms energy drawn from the power mains at Sphere into usable power that recycles the reactive energy coming back from its loudspeakers.

In addition to the 16-channel amplifiers integrated into Sphere’s HOLOPLOT X1 Matrix Array, Powersoft provided patented IPAL (Integrated Powered Adaptive Loudspeaker) technology used in the X1 system’s subwoofers.

The Modul 80-S. 64 x 1,3” dome tweeters, 16 x 5” cone low-mid transducers and an 18” in a bandpass enclosure. The optimized ports steal space, hence the reduction oin the number number of mids and highs.

An IPAL-equipped system offers unprecedented acoustic performance and complete control of sound system reproduction, regardless of acoustic load and conditions.

A key component of The Sphere Experience that makes audiences feel like they’ve been transported to another world, Sphere’s 10,000 haptic seats are integrated with Powersoft’s infrasound system.

Mover, two versions of this compact low frequency direct drive or inertial drive transducer that can even cope with DC ! Mover is available with different impedances.

Powersoft Mover is the company’s revolutionary compact transducer that uses haptic feedback to provide event-goers with a more convincing, realistic experience, engaging the senses beyond visual and audio stimulation.

Powersoft’s patented moving-magnet technology is more durable, accurate and efficient, relying on an audio signal with ultra-low-frequency reproduction to make the chairs vibrate and shake as desired for each performance.

To accompany the infrasound haptic system, Powersoft also supplied 2,500 audio channels for the seats, provided by 718 Powersoft Quattrocanali amplifiers.

718 Quattrocanali Powersoft, which means 24 upright 32 U server racks fully loaded and delivering precisely 2,872 audio channel to the seats.

Sphere opened on September 29 with the first of 25 performances of “U2:UV Achtung Baby Live At Sphere.” The Sphere Experience, featuring Darren Aronofsky’s Postcard from Earth, debuted at the venue on October 6, and was the first event to utilize the venue’s revolutionary haptic seats.

U2’s The Edge said, “The beauty of Sphere is not only the ground-breaking technology that will make it so unique, with the world’s most advanced audio system integrated into a structure which is designed with sound quality as a priority; it’s also the possibilities around immersive experiences in real and imaginary landscapes.
In short, it’s a canvas of an unparalleled scale and image resolution, and a once-in-a-generation opportunity. We all thought about it and decided we’d be mad not to accept the invitation.”

Part of Sphere’s cross-section showing in greater detail the main speakers located behind the LED curtain, helping to localize the action and concentrating more dynamics and low frequency impact seamlessly coming from the stage, to provide concert-quality audio.

Sphere Immersive Sound is the world’s largest concert-grade audio system and was specifically developed for Sphere’s unique curved interior. The system consists of approximately 1,600 permanently installed and 300 mobile HOLOPLOT X1 Matrix Array loudspeaker.

The back of a X1 Modul 96, fitted with six Powersoft 16 channels amps and 8 etherCON connectors, 4 for Control and Audio over IP (Ravenna, Dante, AES67), 2 for HoloLink and the last 2 for SubLink.

The system utilizes HOLOPLOT’s next-generation 3D Audio-Beamforming and Wave Field Synthesis technology to transform how audio is delivered in large-scale venues.
This results in controlled, consistent, and crystal-clear concert-grade audio for audiences of up to 20,000 people, providing each audience member with a truly exceptional and personalized listening experience.
The entire sound system is completely hidden behind Sphere’s 15,000 m² interior LED display plane.

Any audio transmission losses are fully compensated for by HOLOPLOT’s algorithms in the optimization engine, resulting in clear, full-range sound with virtually no coloration and a completely unobstructed visual LED surface which wraps up, over and around the audience and combines with Sphere Immersive Sound to create a fully immersive environment.

Traditional loudspeaker technology in large-scale venues can result in audio quality that diminishes as distance from the speakers increases, due to the uncontrolled nature of sound wave propagation. HOLOPLOT’s patented 3D Audio-Beamforming technology uses intelligent software algorithms to create unique, highly controlled, and more efficient soundwaves than conventional speakers, ensuring that levels and quality remain consistent from point of origin to destination even over large distances.

HOLOPLOT’s propriety beamforming technology can also simultaneously send unique audio content to specific locations in the venue, creating the possibility for different sections to hear completely different content – such as languages, music, or sound effects – offering limitless opportunities for truly customized and immersive audio experiences.

An excellent and impressive example of the 3D Audio-Beamforming technology. The array is made of a matrix of 3 x 3 X1. The SPL difference is close to 25 dBA at 2,2 kHz.

Another example with three spots “lighted” in a -dark-venue.

Sphere Immersive Sound will additionally utilize HOLOPLOT’s unique Wave Field Synthesis capabilities, a spatial audio rendering technique that leverages virtual acoustic environments. With conventional audio technology, the perceived origin of a sound has traditionally been the location of the loudspeaker.

Using Wave Field Synthesis, sound designers can create a virtual point of origin, which can then be placed in a precise spatial location. This enables audio to be directed to the listener so that it sounds close, even though the source is far away for example, an audience member could hear a whisper that sounds like someone is talking directly in their ear.

A render of the incredible number of XI arrays located behind the Sphere’s internal spherical screen.

More on:

– Sphere Entertainment
– Holoplot
– Powersoft

More than seventy Claypaky lights were used to illuminate the inaugural Eurovolley match at the Verona Arena. The project was conceived by Mequadro Service’s lighting designer Andrea Coppini and the company owner Emanuele Mazzi, with support from Claypaky product specialist Alessandro Melegaro.
The event marked the return of top sporting events to the temple of Italian opera, which was transformed into an open-air sports stadium in less than 24 hours.

Emanuele Mazzi explained how the idea for this rig came about: “We were asked to include something awesome for this unusual event. In addition to illuminating the field, we put together lighting effects on the stalls and the audience, and created beams visible from afar to make the Arena look even more impressive.”
“To create these effects, we chose the Skylos and the Arolla Aqua,” Andrea Coppini continued. “We saw these lights at Claypaky’s headquarters, and we were immediately impressed by their innovative features, perfect for creating a unique, memorable event.”

“It is also an honour for Claypaky to be present at this event,” Claypaky product specialist Alessandro Melegaro underlined. “It was a challenge to install our products at this prestigious venue, which will definitely bring out their unique features in terms of quality of effects and beam power.”

The Claypaky Skylos is part of the IP66 Shield Family. It is ultra-versatile and weatherproof with a solid dense beam and ever-increasing light output, a feature which is highly valued by lighting designers in the touring business. It is fitted with a customized 300W white light laser source, which provides an extremely parallel, uniform beam.

Considering its light output and the size of its front lens, the unit is lightweight and compact. This means the light can be moved around with relative ease in any environment and be mounted on trusses for use on tours.
It is IP66-rated and marine grade, so the fixture can work in any weather conditions and in environments with high marine salinity and a high risk of corrosion. A sophisticated internal heating system, especially designed for this light, means it can even work at very low temperatures (down to -40°).

The Arolla Aqua is also part of the IP66 Shield Family, and is Claypaky’s top-of-the-range weatherproof light. It fits a 900 W (7000 K) white LED light source capable of delivering 40,000 lumens. This means that it can compete power-wise with high-power lights and size-and-weight-wise with medium-power fixtures.

Its uniform light beam, high beam quality, light density, and the total absence of spurious light can be appreciated with the naked eye, and make the Arolla Aqua a benchmark for professionals looking for an IP66, high-power, compact, reliable, all- round fixture with high-level performance.

The lighting was installed and designed for the event by Mequadro Service, and the lights were provided by the AED Group.

More information on the Claypaky website

Award-winning wireless LED lighting manufacturer Astera announces the creation of a new Group CEO position with the appointment of Carl-Johan Sköld.

Carl-Johan Sköld as new Group CEO.

Carl-Johan will be based in Hong Kong and collaborating closely with both the German HQ and design center and Astera’s Chinese manufacturing teams to shape the company’s medium term and future growth strategies.

With extensive expertise in long-term business development and strategy, Carl-Johan will outline some ambitious goals for Astera’s future, whilst also fortifying the brand’s current standing as a market leading lighting technology brand.

Astera’s sales director Sebastian Bückle commented, “It’s hugely exciting to have someone of Carl-Johan’s caliber onboard as our company moves to the next phase of its development. Carl-Johan brings great expertise, a huge enthusiasm for our industry and a brilliant track record of foresight and success, all of which will have positive impact on Astera going forward and we look forward to a long and productive relationship.”

Carl-Johan has already worked as a consultant for Astera for some time, and is aware of its many assets. He says, “Astera has many strengths and the key to developing any effective future strategies starts with these. The approach to innovation – based on thoughtful design tailored to the specific needs of multiple lighting professionals – makes Astera stand out in the market and provides a great basis for further growth.
“It is clear from the recognition that Astera gets from key practitioners and creatives across the concert touring and live performance sectors that the brand’s reputation is well deserved, and I am both grateful and excited to be embracing this new path together.”

Carl-Johan also appreciates how the innovation of smart technologies coupled with the people-focus of the live performance and production industries has made Astera’s carefully designed and crafted products-based approach so successful in the world of those working with light in new, different, and cool ways.
One key area in which Carl-Johan will immediately be concentrating his expertise will be intensifying Astera’s presence in Asian markets, including advising the German R ‘n’ D and sales management teams on the increasing and ever-evolving user needs serving a diversity of Asian markets. There will also be some exploration into potential new and increasingly sustainable manufacturing territories and processes.

Carl-Johan will also be enhancing general business practices, intelligence and the financial reporting infrastructure and systems to underpin quick and efficient decision-making that boosts productivity across the entire organization. All of this and more will define Astera’s commercial objectives for the next 5-8 years.

For more info on Astera LED, you can visit the Astera website

Ayrton is delighted to announce the launch of its new WildSun K9 Wash, the latest fixture in its Multisources 9 Series.
A powerhouse of technology and innovation, WildSun K9 Wash is particularly suitable for television, sporting events, fashion shows, car shows, or any prestigious events requiring powerful, high-quality light and perfectly rendered colour.

Compact and sleek

WildSun K9 Wash is a highly evolved variant of Ayrton’s WildSun K25 TC, specially geared to shooting TV video and broadcasting in high-definition. With a brand new sleek design and a visual footprint 20% smaller than its predecessor, WildSun K9 Wash’s weight has been drastically reduced by 25%, allowing for better integration.

On the left the WildSun K25 launched in 2016. On the right the New WildSun K9 more compact, lighter (26 kg) and powerful.

Flicker-free, powerful and efficient

This unique LED luminaire measures up to the classic Fresnel HMI 4000 lights in terms of pure output. Fitted with 217 next-generation high-output LEDs, the luminaire delivers more than 60,000 lumens of overall output with 40% less energy consumption and does not require lamp replacements.
Producing extremely high-quality, flicker-free light, this luminaire achieves a colour temperature perfectly calibrated at 5700K and a colour rendering index greater than 92. WildSun K9 Wash renders the colour and grain of skin impeccably as well as the textures and surfaces of material.

The WildSun K9 Wash official launch video

AYRTON – WildSun K9 Wash – Presentation from Ayrton on Vimeo.

Accurate positioning

WildSun K9 Wash has the same basic specifications as WildSun K25 TC, and is equipped with powerful tri-phase stepper motors that allow fast, accurate and silent positioning.

Great optics

Ayrton has developed special silicone-based high-output optics for this projector, ensuring perfect stability over time. Its optical zoom has a 6:1 ratio with a zoom range of 10° to 60°. Luminous intensity can be fine-tuned using a precision electronic dimmer, for even greater flexibility of use.

Zoom range: 10° – 60°.

The light output system is equipped with a protective holographic filter in polycarbonate and a honeycomb system to prevent glare. The user can control each concentric circle individually to adjust the luminaire’s power and beam size accordingly or create dynamic effects for stage lighting.

Several beam sizes by independent control of each LED ring.

Powerful, robust and remarkably easy to use, WildSun K9 Wash offers the highest efficiency and weight-to-power ratio on the market, and is ideal for major events and show, television, concerts and arenas.

For more information on Ayrton and its full range of LED and laser sourced products, visit www.ayrton.eu

With the upswing of last year’s season behind it, the 2023 event industry is shining in new splendor. Many theatres and concert venues took advantage of the Corona pandemic to upgrade their technical equipment and are wowing audiences and critics with even more impressive productions.
This year’s festival summer and numerous sold-out shows are encouraging evidence of the renewed zest for life. Despite the upswing, however, challenges such as a shortage of skilled workers and rising production costs face the industry with new challenges.

In this time, when creativity and innovation are more in demand than ever, Prolight + Sound is sending a clear signal. With the “Opus – German Stage Award”, it will once again honor outstanding productions that have created impressive shows through the innovative use of event technology. The award ceremony will take place at Prolight + Sound 2024 (from 19 to 22 March) in Frankfurt am Main. Both participants and the audience can submit projects until 03 November 2023 at www.prolight-sound.com/opus.

The Pandaemonium integrates the audience into the performance. Photo: Sebastian Hannak

The post-pandemic event boom was balm for the industry’s soul. Nevertheless, inflation and the politically tense situation in Europe are still putting the brakes on many events. Financially, this hits smaller and medium-sized companies and their events in particular.

“Although many large event companies are now generating high profits again, a significant part of our industry is dependent on subsidies. The ‘Opus German Stage Award’ sets a shining example for the creative power, innovation, courage and perseverance of all those involved in these challenging times and pays tribute to those who pull the creative strings behind the stages,” emphasizes Mira Wölfel, Director of Prolight + Sound.

Opus Award 2024 – A tribute to creativity and innovation

The Opus has been honoring exceptional personalities and projects since 2002. The focus is on the technical realization of theatre and musical productions, concerts, tours and corporate events. The award ceremony takes place at Prolight + Sound, the leading trade fair for event, stage and media technology. The honorary award is made possible by the initiative of the VPLT (Association of Media and Event Technology), the EVVC (European Association of Event Centres) and Messe Frankfurt.

An expert jury consisting of association members, representatives of Messe Frankfurt and other industry experts will again select the most outstanding projects from among the submissions. In 2023, the Pandaemonium at the Staatstheater Kassel received the coveted prize. It wowed the jury with an innovative spatial concept that integrates the audience into the performance.
The team led by Florian Lutz, artistic director of Staatstheater Kassel, also successfully explored new forms of use and play in the theatre. The Pandaemonium is thus emblematic of the forward-looking approach to the challenges of the Corona crisis.

All information about the application at www.prolight-sound.com/opus.

Further details on Prolight + Sound at www.prolight-sound.com

As an international trade fair brand, Prolight + Sound is present with events in Germany, China and Dubai. More on the global activities at www.prolight-sound.com/worldwide

Social Media:

www.facebook.com/prolightsoundfrankfurt/

www.twitter.com/pls_frankfurt

www.instagram.com/pls_frankfurt

www.youtube.com/plsfrankfurt www.prolight-sound.com/linkedin

ETC distributor Stonex selected ETC stage machinery and lighting to complete the Lekuona Fabrika Cultural Center in northern Spain. Prodigy P2 hoists, QuickTouch+ controls as well as ETC luminaires were selected for the project.

Based in Errenteria near the north coast of Spain, the Lekuona Fabrika is a multifunctional cultural venue which frequently hosts exhibitions, festivals, productions and more. The venue is a 613 m² open-plan flexible space that can be divided into 3 rooms offering up to 6 different configurations using movable walls and retractable seating bleachers.

Due to coastal laws the Lekuona Fabrika has a height restriction as it is located next to the river. In addition to this, its technical director and creator of the project Javier Cruz explains: “There is also the issue that we lose even more height because of the movable walls that close and compartmentalize it into three rooms. This means that the motors could not go on the walls, they had to go on the ceiling.” The complex design of the space required a versatile approach in the upgrade to meet the various programming needs of the events that the Lekuona holds.

Stonex worked on the project with the venue and specified ETC technology to meet the requirements and adapt to the different configurations of its main hall: Sorlekua. As well as 13 Vortek NXT hoists, six Prodigy P2 motors with compression tube technology were installed compression tube allows the system to be installed in places other hoists can’t as they require fewer mounting points and allow the drop pulleys to be mounted anywhere.

This system also cancels the lateral forces that are commonly created in traditional rigging systems minimizing stress on the building. Stonex’s ETC Brand Manager Juan Carlos Pascual comments: “Thanks to ETC’s Prodigy P2 technology, it is easy to install in locations that are not designed for stage machinery.”

Three ETC QuickTouch+ controllers were also installed to manage the hoists. They were configured to allow for the use of the room as a whole or individually for the different areas. The user-friendly controllers are ideal for control of set-up hoists in small theatres and auditoriums.

The LCD display provides real-time position and load information, and easy-to-read status messages giving users an incredible level of feedback for a controller of its size.

Javier Cruz explains why ETC’s QuickTouch+ was chosen, commenting that they wanted “a simple control that anyone can understand. It’s easy to select 1, 2, 3, 4 or 5 motors to move up or down, and it lets you record and recall 5 different positions and also monitor the loads you’re carrying on the hoists at all times.”

This allows the team at Lekuona to have easy control of a complex and ever-changing space, fulfilling the project’s objectives of requiring a versatile system.

More information on the ETC website

A San Francisco landmark, and arguably the most celebrated venue in rock history, The Fillmore promises to carry its iconic status into the future thanks to a complete audio upgrade anchored by a new Meyer Sound reinforcement system.

Built around the flagship PANTHER™ large-format linear line array loudspeaker, the new system was supplied and installed by UltraSound, LLC another company with deep roots in the rich history of San Francisco’s post-1960s music scene.

Operated by Live Nation since 2007, The Fillmore treasures its legendary past while remaining focused on presenting today’s established and emerging artists in an optimum environment supported by world-class technical facilities.

Sept PANTHER.

“Our prior Meyer Sound system maintained our reputation for more than fifteen years,” notes Matt Lawsky, on The Fillmore staff since 1999 and principal production manager since 2011. “But it was clearly time to move forward.
We had first looked at a LEOPARD® solution, but the timing worked out perfectly because, just when Live Nation gave us the green light, PANTHER had come out. UltraSound recommended it, and the cost was a wash because with PANTHER we need only seven boxes per side whereas LEOPARD would require 10 or more. So, we went with the very latest Meyer Sound technology.”

When The Fillmore reopened in 1994, after a five-year closure due to earthquake damage, UltraSound installed a Meyer Sound MSL-3 system in the room. UltraSound returned in subsequent years to install MICA line arrays with M3D Subs, culminating in this year’s PANTHER system. “It has been an honor to have provided all The Fillmore audio systems for nearly three decades,” says UltraSound CEO Derek Featherstone. “And all have been from Meyer Sound.”

Matt Lawsky, Production Manager, The Fillmore; Michael Bailey, Senior Vice President Booking, Live Nation; Amie Bailey-Knobler, General Manager, The Fillmore; Helen Meyer, Executive Vice President, Meyer Sound; John Meyer, President & CEO, Meyer Sound; Derek Featherstone, CEO, UltraSound,

The Fillmore the first club in the world to offer a PANTHER system

For Lawsky, maintaining the strong ties with Meyer Sound was a no-brainer. “Very few venues have the luxury of being in the neighborhood of a world-class audio manufacturer,” he notes. “In fact, I could stop by the Meyer Sound factory on my way home. It would be madness not to take advantage of that.”

With a capacity just shy of 1,200, The Fillmore is categorized as a club by default as shows are general admission for an open floor with limited seating. As such, The Fillmore now becomes the first club in the world to offer a PANTHER system.
“PANTHER is amazingly versatile in any environment because of its light weight and compact size,” says Derek Featherstone. “I hope young engineers will experience PANTHER in the club environment here and then, when their bands grow to major touring acts, choose to carry it with their production.”

In addition to the seven-each PANTHER arrays, the new system also includes two ULTRA-X40™ compact loudspeakers as front corner infills plus a third ULTRA‑X40 for overhead center fill. Interim bass power is supplied by six 1100‑LFC™ low-frequency control elements, pending replacement by the newly introduced 2100-LFC™ elements later this year. Artist foldback is courtesy of ten MJF-210™ high-power stage monitors.

Contributing to the system renewal alongside Featherstone was UltraSound Operations Manager Josh Osmond, with Jason Mills serving as the on-site manager.

Michael Bailey, Live Nation Senior Vice President, has been a fixture at The Fillmore since 1987, working first for the owners at the time, soon afterward for Bill Graham Productions, and eventually for Live Nation. “When the 2100s are in, we will have the ultimate club showcase for Meyer Sound PA technology,” says Bailey. “Bands, and engineers from other clubs, can come here, listen to the system, and be inspired to upgrade the sound at similar venues around the country — or the world.”

After nearly a quarter century at The Fillmore, Matt Lawsky is well aware of the unique nature of the venue, and how its legacy affects production. “This is a relatively small room with a very high-intensity usage,” he notes. “Off-the-shelf solutions don’t work here. We have bespoke demands, and I’m grateful for the way that Meyer Sound, UltraSound, and our crew from IATSE Local 16 have worked hard to tailor this solution to our needs.”

The Fillmore’s status as a rock mecca is inescapable, but Matt Lawsky is focused on delivering an amazing experience at every show. “This is not the ‘Fillmore Museum.’ This is here, this is now. We are a working rock’n’roll dive that just happens to be exceptionally famous.”

For Meyer Sound founders John and Helen Meyer, the latest upgrade to the venue continues a long tradition of supporting the arts in the Bay Area. “We came to shows here in the sixties, so this is special,” Helen Meyer recalled at the system’s inauguration ceremonies.

“We want to thank everybody from The Fillmore, Live Nation, and UltraSound for making this happen. We are Bay Area natives, and this is the kind of thing we love to do. It’s in our DNA. We hope everybody will enjoy the result.”

For more information about UltraSound visit ultrasound.audio
For more information about PANTHER and Meyer Sound visit https://meyersound.com/