Since June 26, visitors of the Futuroscope park can admire La Clé des Songes (The Key to Dreams), a new night show presented in the park’s water theater. Designed by ECA2, the show provides the public with a dreamlike journey relying on video-projection, lasers, flames, and water jets. The immersive show is based on 10 x video-projectors, and 3 x Modulo Kinetic media servers by Modulo Pi.

The Key to Dreams is the result of a year and a half collaboration between the Futuroscope park and ECA2, a world leader in the design and production of immersive multimedia spectaculars. Established in the park’s outdoor water theater, the show offers a multi-sensory experience where animated movie and multimedia blends.

Committed to upgrade the attractions and shows offered to its 2 million visitors every year, the Futuroscope ordered a new spectacular to ECA2 to replace the show previously played in the water theater. Teams of ECA2 had to reclaim the venue and imagine a new show using the equipment already installed. In response to this challenge, ECA2 designed a new scenography around the vortex structure, a preexisting element of 28 tons whose 157 facets form a 270 sqm projection surface.

The Modulo Kinetic media servers installed in one of the control rooms of The Key to Dreams.

To magnify the vortex lit up by 5 x Christie LX1500 video-projectors, ECA2 decided to add the Modulo Kinetic media server solution to the equipment already installed. Thus, 1 x Modulo Kinetic Designer workstation was added to the control room, as well as 2 x Kinetic V-Node servers, each equipped with 6 outputs.

Projection study was made in Modulo Kinetic using the dedicated tools available in the software. Thanks to its virtual camera system and 3D calibration of projectors, the media server allowed creating a 3D mapping on the vortex, resulting in an animated fresco with varied atmospheres throughout the show.

In addition to this 270 sqm mapping, the show includes 950 sqm of projection on water screens, and 450 sqm of projection on a net suspended 35m high. These projections are based on 5 x Barco projectors from 18,000 to 44,000 lumens, as well as Modulo Kinetic for the 3D mapping and media playback.
Furthermore, Modulo Kinetic’s LED mapping function allows controlling a constellation of +300 lights spread across the water’s surface. Synced with timecode, the 25-minute show is played twice every night in front of a grandstand of 5,000 seats.

The Key to Dreams – Credits: Futuroscope/ECA2/Julien Panié

In addition, the Futuroscope park uses the Modulo Player media servers by Modulo Pi on several other attractions, including The Time Machine (Awarded at the European Star Awards 2014, and at the Thea Awards 2015) and The Extraordinary Journey (Top European Attraction, Parksmania Awards 2017).

For more information about

– Modulo Pi and their products line
– Show design and media server encoding
– Audiovisual integration

Over time, the Jack Singer Concert Hall (JSCH) has undergone many upgrades to ensure it remains a state-of-the-art performance venue, including a complete overhaul and replacement of its seating and house lighting in 2017.
Most recently, that process required a comprehensive retooling of its audio infrastructure that included an upgrade to the hall’s existing DiGiCo console and the purchase of a new DiGiCo Quantum 338.

While much has changed in recent years, the venue’s ongoing reliance on DiGiCo consoles at JSCH and throughout the Arts Commons complex’s other venues, has not.
Jack Jamieson, Head Sound Technician at JSCH explains, “I’ve been using DiGiCo since 2012. We started with a compact version of the DiGiCo SD8 in 2012 and we were so impressed with its reliability and flexibility that, in 2014, we upgraded from analogue consoles to DiGiCo digital consoles throughout the rest of the facility.”

One of Calgary, Alberta’s premier and most versatile live performance venues, JSCH is home to the Calgary Philharmonic Orchestra, as well as Arts Commons Presents’ BD&P World Music, and TD Jazz. It’s a very versatile venue, hosting events ranging from TED talks to comedy shows and full-on rock concerts.

“There’s an interesting dichotomy in this room in terms of the artists that play here and the audiences that attend shows,” Jamieson notes. “We have a symphony audience who want a very nuanced, quiet sound system that allows us to fold the amplified sound into the acoustic sound. And then there’s another demographic, coming to see rock and pop shows, and their expectation is an extreme amount of level.”

The Quantum338.

Given the wide range of programming, for the 2020 replacement of JSCH’s audio system, added the Quantum 338 console for monitors, two DiGiCo 32bit I/O SD-racks, and upgraded their pre-existing FOH SD5 to include Quantum functionality.

When the latest project began in Spring 2019, future-proofing was a primary driver for the choice of equipment across the board, and in JSCH’s ongoing reliance on DiGiCo. Beyond sound quality and flexibility, Jamieson says: “One of the biggest selling points for DiGiCo is that there are upgrades available as their new technology comes out – more and better mic pres, I/O, and additional capability with Waves. So, you don’t have to sell your old console and buy a new one. With DiGiCo, you just move on to the next step in their product line.”

As for the Quantum upgrades, “One of the main advantages is nodal processing, which allows you to – on any given channel or auxiliary – add an extra layer of compression and EQ just on that one channel. So, where many people might use parallel channels (one being FOH, and the other being the monitor channel), Quantum lets you do that on one channel;
you can peel off your auxiliary on a per-channel basis directly after the preamp and before you’ve done anything from FOH, after the FOH dynamics, or wherever you want. Then you can apply your preference, or a musician’s preference for monitors, on that particular channel for that particular mix.”

Jack Jamieson

Additionally, Jamieson says, “Because the logic works the same across Arts Commons, operators can work in any of the rooms, on any of the consoles and find their way around easily and quickly once they have DiGiCo’s architecture down. So, for example, our original SD8 can still talk to everything from a vintage MADI rack to a product we bought, say, last week.”
Translating an older system file to a newer system file can be complex, he admits: “It requires somebody who understands the architecture of the system, but that architecture is also incredibly flexible.

” Beyond that, given Jamieson and JSCH’s lengthy association with DiGiCo, and the fact the brand is so rider-friendly, chances are those coming in to mix are familiar with the workflow, or, if not, can enlist the venue’s engineers to sort out any issues in short order. “We have this vast array of consoles, but as DiGiCo has made improvements and reacted to what users have asked for in terms of the software and the logic, it all works the same regardless of which console you’re on.”
That redundancy is expanded owing to the fact JSCH has a full Waves package for both its upgraded FOH SD5 and the SD10, which can both be used for mixing and multi-track recording for live streaming. “So, everything is a replacement for everything else.”

The venue’s four SD Racks and one SD Nano Rack provide additional flexibility. “In terms of I/O at FOH there is a two-slot rack that can house any two cards. So, it could be 16 inputs, although in our case it’s eight analogue inputs and eight analogue outputs. But it could be whatever you want it to be, and that’s changeable on the fly; you just power the rack down pull out the card and put a new card in, power up again, and the cards are immediately recognised.”
In the end, they’re exceptionally happy with the result, Jamieson says, adding that incoming artists and engineers expect to be dealing with industry-standard technology in a venue of this stature and size, and DiGiCo delivers that and then some. “So, when an engineer comes in and says, ‘I’d like to do that,’ or ‘I like this type of workflow,’ in a few minutes I can have the console architecture operating the way they want it so they can just focus on mixing.”

Beyond the benefits offered by DiGiCo products in and of themselves, JSCH also relies heavily on the expertise and support of the brand’s Canadian distributor, GerrAudio, and has for many years, says Brian Beaulieu, Associate Director, Venue Operations for Arts Commons. “Gerr was involved in the installation of our previous sound system 14 years ago and their support since then has been unparalleled. They’ve been with us every step of the way – from design through to final tuning – supporting our needs at a level that can’t be matched throughout the industry.”

Ultimately, Jamieson explains, GerrAudio and Jack Singer Concert Hall’s priorities are the same: “It’s all about the live show. When I call about a repair, return, or replacement, the first thing they ask is when the next event is. I’ve had turnaround from them in thirty-six hours, and they’re in Brockville, Ontario and I’m in Calgary, Alberta. When I was dealing with other suppliers, and discussing quotes for this project, I said, ‘Here’s the deal. With GerrAudio I regularly see a 72-hour turnaround. I’ve never had to wait two weeks for anything show critical. Can you match that?” Invariably, the answer was no.

More on the Digico website

The highly anticipated The Rady Shell at Jacobs Park, San Diego Symphony’s premier new venue perched beautifully on the edge of San Diego Bay, is set to open with a state-of-the-art LED lighting system from Elation Professional.

Courtesy of San Diego Symphony

The captivating architectural construction by lead architect Greg Mueller of architecture firm Tucker Sadler, a work of art in itself and the centerpiece of a newly upgraded public park, will highlight the city’s world-class orchestra while hosting a variety of musical acts.

Designed to be one of the most acoustically superior outdoor concert venues in the U.S., The Rady Shell boasts a first-class lighting system to match supplied by systems integration, sales and production firm JRLX, Inc. out of Chicago.
JRLX provided lighting fixture specification, consultation, and application support for The Rady Shell lighting fixture package and installation. AV solutions company Solotech handled the lighting infrastructure, data distribution, audio and video.

© Jason Rothberg

Simple symmetry

Lighting design is by Jason Rothberg, who has served as Technical Director at the San Diego Symphony since February 2020 after working for more than 20 years as a touring designer/director. Acclaimed theatrical consultants Schuler Shook originally completed the initial design for The Rady Shell months prior to Rothberg’s onboarding.
As the needs of the venue were further defined and modified, Rothberg worked with Schuler Shook and JRLX to assemble a revised specification and multipurpose lighting system.

© Jason Rothberg

“As a touring LD and having worked in many venues over my years on the road, I knew we wanted the design to be very tour friendly, rider friendly and LD friendly,” Rothberg states.

“That was the idea behind the design. A super simple, clean, symmetrical design that uses only a few fixture types, something anyone could come in and clone from to make any kind of show happen.”

No ordinary lighting system

Rothberg consulted with Jason Reberski, CEO at JRLX, for hours to hash out the details of the lighting package. “It became apparent in talking with Jason early on that this was no ordinary lighting system,” Reberski comments. “The demands placed on it would be tremendous; throw distances of 300+ feet, overcoming daylight, the need to be flexible and capable of achieving many different aesthetics, and all while needing to be 100% IP65 rated. We worked closely with Elation and Jason to aid in specifying a package to achieve these goals.”

IP options

While ease of use for lighting pros who come into the venue was essential, the rig had to work best for the venue’s resident symphony orchestra, which meant lots of top down white light. With trim heights ranging from 25-40 feet, they needed a fixture that could get wide enough at the lower trims but then stay bright enough from the higher positions. Moreover, sitting right on the ocean, moisture, dew, and worst of all salt-air, were problems to contend with.

© Jason Rothberg

“We wanted to avoid ugly-looking enclosures so we needed the rig to be fully IP-rated,” Rothberg says, adding that they tested many possibilities. “There were already 12 Proteus Maximus on that original spec when I came onto the project, for the towers out on the lawn, but I didn’t know anything about them. As I looked into them, and then the rest of Elation’s IP-rated line, I discovered they had all the options we needed Leko, moving wash, static wash, and profiles.”

The original spec listed a wash, a profile and a spot fixture but Rothberg found the Maximus could do it all in one fixture. “I went from three fixture types to one fixture type that could do the same thing and then some. Plus it gave me a purer white, was brighter and had CMY!” A shootout with other fixtures proved the deciding factor. “As soon as we turned it on we knew that was it. The Maximus was so much brighter and had everything we needed, plus a nice gobo selection to boot. It was really the only option.”

Concert shell and towers

The Rady Shell has a capacity of up to 10,000 with terraced seating that guarantees excellent views from every seat. The 13,000-square-foot concert stage is covered by a canopy of concentric, oval rings with an inner liner (effectively a scrim ceiling) slit five times to expose catwalks. Here, 37 Proteus Maximus hang from five overhead electrics while 12 units work from six towers (2 per tower) that range from 120 to 320 feet from the stage.

“Even in red and from 320 ft. away the Maximus is insanely bright hitting the stage,” says Rothberg. “We originally thought we’d use them as followspots from the lighting towers but found that the first catwalk position is the perfect angle. We get a tight beam with virtually no light spill from that position.”
The six towers surrounding the venue also house 36 compact Paladin Cube RGBW floodlights, 6 fixtures per tower, that set the towers aglow from within. It’s an eye-catching sight that adds to the immersive feel and amplifies the overall beauty of the space.

Flexible Elation rig

© Jenna Selby

Joining the Maximus fixtures on all five overhead electrics are 34 IP65-rated Proteus Rayzor 760 wash and specialty effect lights. “We use them as washlights or eye-candy pixel effects and can access the SparkLED technology for sparkle effects for a special look,” Rothberg explains. “Their position in the rig, following the curve of the roof, they look great.”

Paladin Panels, outdoor floodlights with 50 15-watt RGBW cells, work from electrics 2-5 for toplight washes for the orchestra while doubling as strobe lights for other shows. “One aspect that I’m particularly happy with is the use of Elation Paladin Panels as symphony top-light with custom City Theatrical egg crate louvers,” states Reberski.

“We designed the accessories to both reduce glare and also accommodate an internal filter media frame to accept holographic diffusion so that as the fixture trim height changes we are able to achieve a homogenous stage wash. When Jason mixes a CTO, it looks just like a traditional tungsten top light system.” Additional Paladin Panel fixtures work from all six towers.

© Jason Rothberg

Providing front light from the first three catwalks, as well as the first two towers, are WW Profile HP IP, high power LED ellipsoidals. Ten fixtures on the towers are equipped with 5-degree lenses while 32 stage fixtures use 19-degree or 26-degree lenses. Finally, 9 DTW Blinder 350 IP variable white LED 2-lite blinders work from the downstage electric.
Not only can the rig cover a wide range of musical genres no matter who graces its stage, the lighting system is all LED, meaning the venue is saving on power, maintenance, and expendable costs like bulbs versus a traditional rig of halogen fixtures.

High standards

Rothberg acknowledges there were challenges to overcome along the way, for example lighting angles that required custom self-leveling hangers. The Covid downtime gave them ample time to find solutions however, ultimately producing a system consistent with the high artistic and functional standards of The Rady Shell.
“I’m super happy with the way everything has worked out,” Rothberg concludes. “Going with Elation, we were able to double the fixture count while maintaining the quality, performance and brightness. It’s a rig the Symphony will benefit from for years to come.”

The San Diego Symphony now performs at two venues, Copley Symphony Hall in downtown San Diego and The Rady Shell at Jacob’s Park. The Symphony’s opening weekend at The Rady Shell at Jacob’s Park is scheduled for Aug. 6-8 with an inaugural season of concerts running through Nov. 14 featuring musical talent such as Smokey Robinson, Yo-Yo Ma, Brian Wilson, the Symphony’s Music Director Rafael Payare and many others.

© Jason Rothberg

Elation gear:

55 x Proteus Maximus
36 x Proteus Rayzor 760
48 x Paladin Panel
40 x Paladin Cube
11 x WW Profile HP IP (5 degree)
33 x WW Profile HP IP (19 degree)
16 x WW Profile HP IP (26 degree)
9 x DTW Blinder 350 IP

And more information on the Elation website

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Martin Audio has recently promoted from within Phil Anthony to Associate Director of Design and Ambrose Thompson to Research Director. Together they will lead the R&D department and have over 35 years of experience within Martin Audio.

Phil Anthony and on the right, Ambrose Thompson.

Phil Anthony commented, “It’s a great responsibility to continue the legacy of Martin Audio products and one that I relish and look forward to. We have made great strides in recent years in the number of products we have brought to market and I’m confident that by investing in new tools, developing improved processes and pro-active communication across departments, that Ambrose and I will bring genuine customer value with our product roadmap.”

Ambrose Thompson added, “I’m looking forward to helping drive a more even balance between technical, design and marketing strands of the company into all our products.
On the software front, the aim continues to be removing tedious manual operations from our users’ workflows by making better tools. Equally, with Martin Audio inside the Focusrite group, there is a proactive outlook where real investment in future development success seems possible.”

Dom Harter, managing director, summed up, “Between them, Phil and Ambrose have over 35 years of experience within Martin Audio, so not only is the R&D department in safe hands, it’s a recognition of their success and commitment to the company in that time.
We have a truly exciting three-year roadmap ahead, covering both software and product hardware, and I couldn’t be more delighted that they will lead us to new heights in offering world class solutions for our customers.”

For more information on the Martin Audio website

© Prudence Upton

As one of the world’s busiest opera companies and Australia’s largest performing arts company, Opera Australia (OA) presents more than 600 performances around the country every year, with more than half a million people seeing their work on stage and even more tuning into OA’s radio broadcasts and cinema releases.

© Prudence Upton

In its constant pursuit of artistic excellence and growing audiences through innovative projects, OA’s integrated digital technologies were used to transport Davide Livermore’s interpretation of Verdi’s Aida, a timeless story of love and betrayal, to a whole new level thanks to giant LED screens driven by Brompton processing and deployed by Big Picture at the State Theatre, Arts Centre Melbourne.

A splendid feast for the senses, 175 square metres of UniView Tekken LED screens were arranged in 10 towering LED columns seven metres tall, creating an immersive theatrical experience, with video designs ranging from symbolic pictures to picturesque landscapes of Verdi’s world of Egypt brought to life by 4K Tessera SX40 LED processors that conveyed the scale, depth and grandeur of this monumental opera.

A fully redundant Disguise system comprising four GX2c servers managed eight 4K content layers as well as dealing with incoming data streams from OA’s custom Raynok automation system, which was used for individual screen rotation and tracking on and off stage. “We originally chose the UniView Tekken 3.9 because it fitted a very particular brief that we had been given from Opera Australia during the design process for the Opera Digital Stage,” says Nick Bojdak, Technical Director, Big Picture.

© Prudence Upton

“To work with the automation system, it needed to be relatively light per square metre. It also needed to be high enough resolution for still images to resolve like the painted set pieces found in contemporary theatre productions, so the audience forgot that they were watching video screens.
Finally, it needed to be robust enough to be built in large pieces for quick change overs between shows. Usually, Speed and High-res LED are mutually exclusive terms, and it is normally a painstaking and delicate process panel by panel, but luckily the Tekken is well built.”

© Prudence Upton

With Tekken ticking all of the physical LED screen characteristics the Big Picture team needed for the project, the next step was to employ the highest level of processing power to deliver the required visual quality. “We needed something that worked really well at low brightness. We already had a large stock of ROE Black Onyx 2.8 running on Brompton, so we knew what results we could expect from Brompton when coupled with a good high-res product,” explains Bojdak.

© Prudence Upton

Initially using Tessera S4 LED processing in the first year of installing the digital environment for Opera Australia, Big Picture subsequently migrated to 4K Tessera SX40 LED processors and Tessera XD 10G data distribution units, adding greater output capacity for larger and more complex productions.

“The deployment of the XDs via fibre allowed us to decentralise our processing and streamline our system up in the galleries of the Sydney Opera House where space is at an absolute premium. The show currently runs with two SX40s and six XDs as its base configuration. Later in 2021, the system will be expanded considerably for Opera Australia’s Ring Cycle production in Brisbane,” Bojdak reveals. Since the initial setup and quality control of the UniView Tekken, Brompton LED processing has continued to impress.

“The reliability that people have come to expect from Brompton products, coupled with a class-leading level of visual flexibility, colour and detail reproduction at low light levels, continues to make them the ideal choice of LED processor for this highly complex project,” he concludes. “We are really proud of our ongoing relationship with Opera Australia, and we are excited that we have finally been able to bring the digital stage environment to Melbourne in 2021 after 3 successful years in Sydney.

© Prudence Upton

“Brompton’s Tessera processing has proven to be the ultimate tool when it comes to managing LED screens at low brightness, allowing us to get a much clearer and smoother image with enhanced detail in darker areas, achieving unprecedented performance and superior overall visual colour accuracy which completely enveloped the audience in the world of ancient Egypt.”

More on the Brompton website

The whole ART 9 family.

RCF celebrates a 25-year history of ART speakers by introducing the ninth generation of the series, with a sleek, new design and 6 active speaker models to choose from. All models share the best-in-class 2,100 Watt two-channel Class-D amplifier with advanced DSP processing.

ART 9 Series is created with music in mind and manufactured by RCF in Italy for optimum build quality.
Now 50% more powerful than previous models, ART 9 manages extremely high sound pressure levels. The amplifier is energy-efficient so there is no need for a cooling fan. The circuit is attached to a solid aluminum heat exchanger in the back of the unit.

The RCF 1.75” driver with, on a larger scale, the Kapton dome that equips it.

Performance improvements are assured by new RCF transducers, featuring advanced materials such as Kapton, Titanium, and Neodymium. The new 1.75” compression driver with Polyimide-Kapton dome features a new bonding technology and reinforced ribs that make it 10 times more durable than previous models.

Newly designed woofers gain more stability over high currents, with less distortion. Every woofer design is tested with a 200-hour continuous signal to stress the transducer at extreme levels.

The innovative electroacoustic design of ART 9 lies within the housing of the speaker. The new True Resistive Waveguide (TRW) is the result of several refinements in both the transducers’ and the vented ports’ design with Finite Element Analysis, and constant measurement in RCF anechoic chambers.

Lucio Boiardi Serri, RCF application engineer shows the vents and the new waveguide emulating a resistive load. The two plus the FIR filter ensure a perfect overlap and a very regular dispersion.

TRW mimics a resonance-free pure resistive load reducing the high-frequency distortion of a classic horn. With its asymmetric acoustic radiation, the coverage angle of the waveguide provides constant directivity to the entire listening area with a balanced stereo panorama.

The 932-A impeccable frequency response.

The horizontal dispersion of this same model. The fall is gradual, gentle and even at 60 ° very acceptable. Kudos RCF.

The perfect phase response with the invisible connection between woofer and the driver.

These components work in harmony with two RCF exclusive DSP algorithms, one for phase linearization and crossover design, the other for woofer excursion management.
FiRPHASE, a superior digital FiR technology, allows for a coherent distribution of sound without phase distortions, ensuring minimum latencies to the system. With proprietary FiRPHASE technology, the new shape, and the placement of the vented ports, the speaker now acts as a single source for a true sound image.

The woofer excursion management feature, Bass Motion Control works by creating a complete map of the dynamic behavior of the transducer, to generate a custom algorithm that only limits over-excursions. This gives total freedom of signal reproduction, avoiding both high-pass filters and large-band limiters. The speaker is now allowed to reproduce the input signal at all volume levels for the entire audible spectrum, maintaining all nuances of the music with deep, detailed bass response.

The 945-A standing and in wedge mode. Its asymmetrical waveguide ideal for reinforcement, can also be used lying down.

The sleek black cabinet uses a special polypropylene composite material with a radically new construction concept. RCF’s M-Brace internal reinforcement design connects four sides of the enclosure with the amplifier, preventing any deformation for a completely inert body, with augmented acoustical damping even at maximum volume settings. M-Brace also performs exceptionally well for greater resistance to mechanical stress.

The amplifier module with its analog controls and ports, identical across the range with a balanced combo input and an output for transplanting to a sub, for example. On the left the choice of presets between Flat, Loudness and Wedge and on the right the level control and the green LED for signal presence and the one in red for start of clipping.

The ART 9 is easy to move and transport with ergonomic handles on both sides and the top.
The bottom side includes a steel pole socket for mounting on a stand or subwoofer pole. Each model can also be flown, wall- or truss-mounted using multiple M10 rigging points and special accessories.

The ART 9 Series consists of six new models, ranging from 10” to 15” woofers and share the same 2,100 Watts power amplifier.
ART 945-A is the largest, most powerful model of the series delivering an impressive 135 dB max SPL featuring a 4” titanium compression driver, and a neodymium woofer that goes down to 45 Hz.

The 4” titanium dome drive and the 15” neodymium woofer of the 945-A. Power and lightness.

The ART 935-A and ART 932-A can produce respectively 134 dB max SPL and 133 dB SPL, sharing the same 3” titanium compression driver.
The exceptional clarity and minimal distortion of the new Kapton driver of the ART 915-A, ART 912-A and ART 910-A features remarkable SPL and power to weight ratio.

The ART 9 Series is an evolution of the ART speaker concept and a revolution in professional portable sound. RCF offers a new standard in pro audio with a remarkable electro-acoustic design and professional versatility, all packed in a solid, tour-ready cabinet also suitable for high-power install applications.

25 years and tens of thousands of speakers sold. The Art 9 Series is definitely the crowning achievement of that concept.

The ART 9 series and its six active models is now available.

More informations on the RCF website

Mackay Entertainment and Conference Centre (MECC) is a busy and diverse complex of nine different venue and event spaces in Mackay, central Queensland, Australia, hosting a lively mix of corporate launches and conferences to opera, music, dance, and performance shows.
Head of lighting Dan Grace and his team are delighted to be amongst the first in Australia to have Robe new high power Forte’s LED luminaires in the house, with a purchase of twelve of the fixtures plus twelve new Robe Spiider LED wash beams, with more of both types of moving light to follow once the season ramps up again!

Left to right is Allyssa Tonks, Mark Blake and Dan Grace ©Louise Stickland

The decision to buy Forte was underlined by MECC’s previous experiences with Robe with nearly 100 fixtures already, including 30 x DL7s, a mix of profiles and fresnels, which directly replaced 36 hot and power-hungry 2K fresnels in the main theatre in 2019.
The last batch of these DL7s arrived together with three RoboSpot systems and BMFL FollowSpots, a move that was driven by MECC’s head of AV, Mark Blake.

Mark and Dan are part of an MECC technical team of 18. They were both instrumental in persuading the local government officials who oversee MECC’s operation that the time was right to convert the theatre to a full LED stage lighting rig.
Moving forward, LED is now a prerequisite for any new lighting investments and “it made sense to keep brand consistency throughout the venue and we enjoy a great relationship with our supplier Kennedy Amplifier Hire Service and Australian distributor Jands,” confirmed Dan.

Robe Forte

The new Fortes and Spiiders will mainly be utilised in the Convention Centre halls as part of the main production lighting rig. The other eight Fortes and six Spiiders on order are destined for the main auditorium, however all these newest fixtures will be interchangeable according to requirements in the different venues.

Dan’s ultimate goal was to have a lighting rig that could offer multiple possibilities from one standard design, which would suit all events from a conference one day to a concert for 1500 people the next, etc. Features like framing shutters, the large zoom range, the deep saturated colours, and low noise all played a part in the decision to choose Forte.

The ability of the Spiider to be a wash or a beam due to the zoom, and its excellent array of colours made it an easy choice as a replacement for their LEDWash 600s. When it came to the Forte, initially they had been thinking in terms of a BMFL for power and versatility, but as the time approached to make this particular investment, so did the requirement for it to be an LED source, so first they looked at Robe’s ESPRITE.
This was the first Robe product to offer the manufacturer’s proprietary cutting edge transferable engine technology with a unique replaceable LED light source. They then got wind during 2020 of Robe releasing a powerful LED BMFL type – with loads of power and features packed and decided to wait until this was available to make their final decision.

Dan received the FORTE spec sheet and was “super impressed”, especially by the two rotating gobo wheels, the shuttering system and the 1000W LED. “I knew without even seeing it that this was the perfect luminaire for our venue, and one that would last us well into the future,” he enthused. The decision was made, and the PO signed!
MECC’s history with Robe actually goes back a few years, even before Mark arrived in 2016! The first Robe fixtures came to the venue in 2013 recalls Dan, who has been there for nine years, and that was a purchase of DLX Spots and LEDWash 600s … which are still going strong today!
The original decision to choose Robe was made collectively between all the tech staff at the time, explained Dan, together with influence from local rental / production company Kennedy Amplifier Hire Service (KAHS), from whom they regularly sub rent various equipment.

©Louise Stickland

In 2014, Robe Pointes were added to the inventory. They liked the punch and multiple features of these which meant they could be used across any of the spaces.
When Mark joined, the association with Robe continued, together with the commitment to purchasing more sustainable lighting in the form of LED fixtures. Looking for some good general-purpose LED luminaries, they decided on 20 x LEDBeam 150s. This number was boosted by another 8 when they purchased the 30 x DL7s.

In a normal year, MECC would stage a vibrant mix of around 350 diverse events across all venues, halls, and spaces. In March 2020 with a busy year ahead, everything stopped as countries worldwide grappled with their first waves of the Covid-19 pandemic.
Mackay’s local council retained staff and kept everyone working, with time meaningfully utilised in updating safety management systems, venue cleaning, purging old and unused kit and various other stuff, installing new cable runs and generally creating and refining infrastructure to make life in the production fast lane easier long-term.

In August 2020, the Mackay Festivals team produced “Festival Sessions”, a small run of live streamed events featuring 2-hour performances by a wealth of local talent from the Mackay region – DJ’s, bands, soloists, comedians, canvas painters and even some dance schools – all of which were hugely popular with the live entertainment starved public!
After August, things slowly started picking back up and all the usual events like concerts, dance school season, schools’ awards nights etc. started reappearing on the schedule.
The next 6 months are looking like all-action as they will be delivering a regular calendar of shows to the usual high-quality production standards as well as plugging any gaps with the demand for events, conferences and shows that could not happen in 2020!

For more information about MECC you can check the Themecc website And about Robe lighting and their products line on www.robe.cz

Two cutting-edge broadcast studio spaces utilized by German prime TV news channel Welt are at the epicentre of the stunning new Axel Springer Building in Berlin’s Kreuzberg district, which recently opened for business.

© WeltN24 GmbH Anne Hufnagl

The studio lighting and control systems were specified and designed by the ARRI System Group in Berlin, a division of the Munich-based ARRI Group … whose team oversaw the integration and installation of broadcast lighting for overall systems integrator, Qvest Media.

Robe T1 Fresnels

The use of moving lights underpins the fundamental flexibility and efficiency required by the studios’ technical and lighting infrastructure to avoid needing roof access for refocusing, repositioning, etc.

The 98 x Robe T1 Fresnel luminaires were chosen as a key element of the lighting design for several reasons including the overall quality, value, and form factor of the products. Another main driver was the option to have the fixtures supplied with two RJ45 ethernet ports to facilitate connection to the studio’s IP based control system.

This was a cornerstone of the entire studio lighting design and enables the constant central feedback and status monitoring of all fixtures, a functionality vital for the smooth running of a 24-hour studio environment.
The lighting package also included nine Robe Tetra2 moving LED battens, and the deal was cemented by the outstanding service from the teams at both Robe Germany in Munich, and Robe HQ in the Czech Republic.

The ARRI team was led by their head of projects Paul Flemming, senior lighting network architect Carolin Schramm and Torsten Hauer, lighting designer for the ARRI System Group. They were all instrumental in supporting lighting consultants mo2 in the winning combination of these Robe T1 Fresnel luminaires and ARRI’s SkyPanels.

© WeltN24 GmbH Anne Hufnagl

Paul Flemming explains that while the original lighting tender stipulated DMX control, after detailed discussions further down the line, IP control was preferred to maximise efficiency and reduce the number of staff needed to run the studios. The set up effectively enables one service engineer to operate all elements of the studio technology via the control network.
He explains also that in addition to the above-mentioned features, the quality of the light output from the Robe T1 Fresnels was far superior to other fixtures, and they easily met the 600 Lux general intensity requirement. “Working with Robe has been excellent. It’s a first choice for the integration of moving lights into a broadcast lighting infrastructure,” concludes Paul.

© WeltN24 GmbH Anne Hufnagl

The studios both measure 175 square metres and have 5.5 metres of headroom.
Studio 1 is rigged with 47 x Robe T1 Fresnels, the nine Tetra2 bars and 42 x ARRI SkyPanels as the main lighting. Three sides of the studio walls are LED clad behind an opera foil / gauze, and there are nine motorized – fully mobile – video panel ‘trucks’ which can be used in multiple positions. The Tetra2s are attached to the top of these LED panels so back light can be easily focused on presenters standing in front.

The four cameras in the studio include one in the roof, and are all on robotic dollies / arms, also driven from the control room and capable of moving almost anywhere around the space. Studio 2 is rigged with 51 x Robe T1 Fresnels and 60 x ARRI SkyPanels. Half of this studio features a green-screen setup, while the other half is clad with video wall behind an opera gauze.

© WeltN24 GmbH Anne Hufnagl

The Axel Springer Building project was initiated in 2015 and built from the ground up on Zimmerstrasse, a street once separated by the two sides of the Berlin Wall – a fact also embraced in its unique architecture.

The ARRI System Group team spent around 5 months on-site during 2020 overseeing and commissioning the lighting and control installation systems in the two studios.

Robe’s director of global sales Harry von den Stemmen commented, “Robe and ARRI have recently intensified their co-operation in ARRI’s most important sector, broadcast, where ARRI is a world leader, due to its firmly established business unit, the ARRI System Group. As a systems integrator in its own right, this is attractive and efficient for ARRI customers building new, fully automated studios with the latest technologies like Axel Springer in Berlin.
We are delighted to have collaborated on this high-profile project, and that our lights are such a good match for their technology and ideas. “It is a win-win for both companies and Axel Springer Studios Berlin will be a benchmark project in the exciting and emerging field of complete TV studio automation.”

For more info about Robe lighting and their products you can visit : www.robe.cz/

The grand opening of the mosque took place on August 21, 2020. The celebration coincides with the 69th anniversary of the birth of the first President of the Chechen Republic, hero of Russia, Akhmat-Khadzhi Kadyrov.

The air volume of the hall, taking into account the under- and upper- balconies, is about 14,000 m3, with a total surface area is 6,360 m2. Acoustic calculations were measured by the computer modeling software AFMG EASE. The sound system covers the entire premises of the prayer halls (the main prayer hall and two halls on the basement level), providing optimal intelligibility as required.

Since there are no intelligibility standards required in Russia, ARIS engineers used external scientific publications about acoustic standards in mosques, including those carried out by ARIS, and with the support of the Acoustics of Halls, inside the Research Institute of Building Physics laboratory (RAASN).

According to these studies, taking into account the volume of the main prayer hall, the optimum reverberation time for RT60 in the frequency range of 500-1000 Hz should be from 1.9 to 2.2 seconds.

Les nouvelles colonnes à contrôle numérique du guidage du faisceau VSA II .

“Since there were no possible adjustments to the original finish, the challenge to reach the optimal RT60 was difficult,” comments Alexandr Shamray, Head of Sales at ARIS. “To achieve good intelligibility, the Speech Transmission Index (STI) must be around 0.60, for excellent transmission, or more.

Taking into account the extremely high resonance of prayer halls and the lack of a meaningful reduction using acoustic absorbers, we focused on intelligibility parameters. Relying solely on controlled directivity and quality of the sound system we worked on reaching 0.50-0.55 (or higher)”.

“The peculiarity of the VSA columns is the possibility to increase the beam of direct sound into the area and reduces the amount of unwanted reflections [..] extremely important for improving speech intelligibility in rooms with high reverberation.”

L’un des nombreux transducteurs à aimant néodyme de 3.5” qui équipent la gamme VSA II et délivrent au travers d’une amplification et d’un DSP individualisé, une réponse en fréquence allant de 100 HZ à 18 kHz.

Shamray continues, “Focusing on the frequency bands of 250, 500, and 1000 Hz, we simulate the results using RCF digitally steerable columns VSA 1250 II and RCF VSA 2050 II, placing the loudspeakers, where possible, with maximum throw of 10m.

The feature of the proposed sound columns is the possibility of adjusting vertical angle and aperture, taking into account the placement of the listeners and the height of the placement of the speakers themselves while maintaining their vertical position.

In addition, these columns have a fairly narrow vertical radiation pattern, which increases the beam of direct sound into the area and reduces the amount of unwanted reflections. This approach is extremely important for increasing speech intelligibility in rooms with high reverberation.”

Le menu de commande des VSA II.

Four RCF VSA 1250 II speakers are suspended on the front wall near the mihrab (a niche in which the imam is located during the service) and under the gallery, at a height of 2.0 m. Two more RCF VSA 2050 II speakers are suspended on a pair of supporting columns of the dome closest to the mihrab at a height of 2m.

An additional pair of RCF VSA 1250 II composes the delay line, suspended on a pair of supporting columns of the dome, farthest from the mihrab, at a height of 2m. Ten RCF L 2406T sound columns are used as sound systems for the balcony, placed on the front wall and on the column of the balcony. 44 PL 8X ceiling loudspeakers are installed on both the prayer halls on the basement level.

“All measurements coincided within 96% of the calculations, resulting in a non-tiring and intelligible sound system with good performance and perfect coverage.”

Les enceintes à pavillon à longue portée nécessaires à renforcer la voix du muezzin avec à gauche HD 6045EN et à droite le RCF HD 410T.

The tradition of inviting people to pray at the mosque has existed among Muslims for 14 centuries. It was necessary to amplify the voice of the muezzin so that it can exceed the noise of a modern city.
Each minaret is equipped with four powerful weatherproof RCF HD 410T and HD 6045EN horn-type speakers. They are directed to all cardinal directions and used for the daily calls to prayer. The HD range speakers are designed for long-throw vocal applications without loss of intelligibility and with low distortion.

More information on the RCF website

Ayrton is happy to announce the appointment of Matt Hallard as the latest member of its expanding international sales team. Hallard takes up the position of regional sales manager for the UK, Ireland, Benelux, Spain, Italy, Portugal, Croatia, Malta, Greece, Slovenia and Turkey, with effect from 1 April 2021.

Hallard brings extensive experience of the lighting industry and the European market from a career that spans over twenty years.
He first cut his industry teeth with an eight-year period as a production manager on cruise ships, after which Hallard returned to dry land in 2005 to launch a career as a specialist in European sales with some well-known moving light brands.

“This was an exciting time in the development of moving lights and I worked with, and learned from, some incredibly talented, hard-working individuals,” says Hallard.
“That diversity of experience has served me well, and now it’s time to apply all that learning to my new mission as regional sales manager for Ayrton.”

Hallard is looking forward to working with the Ayrton team as the industry pushes through the global pandemic: “It’s truly a great honour to be joining the team. I have long held Ayrton in high regard as a vibrant company with excellence in execution and a clear, forward-thinking vision (much like the namesake the company was named after).
I think that reflects in those who represent the Ayrton brand today. Both my new colleagues and the existing distribution network are some of the most talented people in this wonderful industry of light. Many of them I worked with over fifteen years ago so for me it really feels like I’m coming home.

“Ours is a fast-paced industry which I care deeply about; one that has experienced an incredibly difficult period of time but now has the opportunity to re-focus, adapt and improve. This is an exciting time and I’m looking forward to playing my part in taking it forward.”

“We are very excited to have Matt on board,” says Ayrton’s global sales director, Michael Althaus. “The Ayrton team has worked hard to thrive during these difficult times, and we are ready to expand our team to allow us to focus even more on the opportunities out there. Energetic and knowledgeable people like Matt are part of our DNA and we are looking forward to working with him.”

More information on Ayrton range on products can be found at www.ayrton.eu

After the cancellation of Prolight+Sound due to the coronavirus, the industry will meet in the digital space on 13 April 2021: the leading trade fair for entertainment technology will launch the new streaming format “BIZLounge”, which will highlight the crisis- ridden segment’s burning issues and present scenarios for an economically viable future.
Numerous international industry associations will participate in the all-day programme. It will be held entirely in English, thus being aimed at professionals from all parts of the world.

How can events be held safely and profitably in times of Covid-19? What is the European orientation of the sustainable events industry in the future? What are the implications of the current Brexit regulations for the event industry? And how are leading educational institutions addressing the evolving expectations of students and businesses? These and other questions will be addressed by industry experts at the Prolight + Sound BIZLounge in prominent round tables followed by Q&A sessions.

In addition, representatives of theatre technology societies will speak about the new Ecodesign Directive and its consequences for the use of lighting solutions at events. Also part of the programme is the presentation of two renowned industry awards, “Opus German Stage Award” and “Sinus Systems Integration Award”.
“The international event industry stands united. It has used the long phase of lockdown to proactively develop concepts for the resumption of event operations and, even in times of crisis, has maintained undiminished its commitment to technological innovation, sustainability and an outstanding level of training.

This is the signal we would like to send out to the world at Prolight + Sound BIZLounge. We are proud of the high-quality programme we have prepared together with our partners and we invite all industry players to take part via live stream and join the discussion”, says Mira Wölfel, Director Prolight + Sound.
The Prolight + Sound BIZLounge is aimed at suppliers and users of technological solutions, event managers in companies and agencies, as well as students and trainees in the event industry.
Registration is free of charge at www.prolight-sound.com/BIZLounge

The next Prolight + Sound will open its doors from 26 to 29 April 2022. All information is available at www.prolight-sound.com

Miami-based creative multifunctional studio, darmah, specialises in production design enhanced by cutting-edge tools, and known for its attention to detail and quality control. Last year, it demonstrated again its industry-leading service by announcing the turnkey dXR stage with the latest Extended Reality (XR) Technology.

From set design, creative direction and video content, to developing and delivering the final product, darmah is a much sought-after one-stop shop that uses great technology to bring emotion to the audience and create brilliant moments. A big part of that is Brompton Technology LED processing, which has been key to the company’s success story over the last six years.

“Brompton makes reliable, easy-to-navigate LED processing that allows us to make all our video and xR work look amazing,” says Rodrigo Proal, founder of darmah. “As a Brompton partner, we continue to have a great experience with their people and products.”
Recent projects include Daddy Yankee’s YouTube Concert (most views of a concert on YouTube for the first week of December), the Billboard Latin Music Awards and Premios Juventud 2020 Awards, amongst many other live and recorded performances.

“It’s especially important to use reliable equipment on these important awards shows that are putting on COVID-sensitive events. We love how Brompton makes the integration of video and xR smoother and provides us more control. It also leads to creating visual backgrounds beyond any imagination that keep our clients returning to us for additional projects,” adds Bianca Moncada, partner.

Brompton’s market-leading Tessera LED processing solutions are used on everything from huge global world tours to pioneering virtual productions and virtual studios, which highlights the value of both its image quality and reliability and which darmah depends on.
“The image we get by using Tessera is sharper and more vivid than anything else out there,” Moncada explains. “We really appreciate the ultra-low latency and the high frame rate, too. But none of that means anything if we can’t count on it, and it’s incredibly reliable. That’s key to delivery of our product to artists, award shows, sporting events, and corporate clients.”

“Our origins were in Live Events but today our processing is key to a lot of film, XR and broadcast work as well,” notes Rob Fowler, Brompton’s Senior Business Development Manager, who goes on to explain that Brompton has always focused on the needs of end customers such as darmah, and also forging close links with their preferred LED screen vendors, often in China to ensure the processing system marries up nicely to the LED panels it will be deployed with.

“Although our R&D and processor manufacturing is and likely always will be carried out here in London, we have also grown our presence in China to support partner manufacturers and now employ a diverse team of engineers, account handlers and support staff at our office in Shenzhen, China,” he adds. “In addition to that, we are growing our presence in North America and despite some delays due to Covid 19 we hope to have our LA Office open in 2021.”
darmah realized the ROI in terms of creative possibilities and the all-important competitive edge Brompton could offer them. “Although Brompton is associated with a slightly higher upfront cost, when we look at the total cost of ownership its Tessera processors definitely deliver and keep on delivering great value for our projects,” states Moncada.

According to Fowler, reliability is one of Brompton’s strongest points, as is 24/7 customer support from technicians with real world experience of the production industry. “The other key part of the Brompton difference that companies such as darmah can benefit from is free software upgrades like our recently launched Version 3.1 with support for HFR+, frame remapping and IP control which add new functionality to existing platforms,” he adds.

Training is another subject which is close to Fowler’s heart. “We have always seen training as a key plank of developing our business and the market for Brompton products, that’s why we always aim to provide training to anyone who wants it, such as offering free monthly classes at our HQ in London as well as one off courses at venues world-wide.” The training was further adapted during the pandemic, when the team also started offering courses via video-conferencing systems using the innovative streaming rack solution.

Moncada agrees, saying that their team took courses to be fully trained, and they appreciate how Brompton keeps them up to date with its Tessera updates. “At darmah, we’re all about learning – it’s a nonstop part of what makes our studio distinct. It’s always about the right person with the right knowledge, and that’s a philosophy shared with the people at Brompton,” she says.

“It is incredibly satisfying to see how brilliant companies like darmah use our products as one of the building blocks needed to continue thriving and delivering great service to their customers,” concludes Fowler. “Here’s to darmah’s success and many more exciting Brompton-powered projects to come this year and beyond.”

More information can be found on the Brompton Technology website

The Wonder Years’ November livestream was a homecoming of sorts, not only for the Top 20 alt rockers, but for Victor Zeiser who lit the 90-minute show. “This band is one of our oldest clients, so working with them again was a real thrill,” said Zeiser, the owner of Squeek Lights.
“Earlier during the pandemic, the guys did a more-low key livestream at a recording studio, but they decided they wanted to cut loose and do a full production show, so they came here to the Ruby Stage in our new facility.”

Drawing on the power-packed and versatile rig at the new Ruby Stage (it opened this summer), Zeiser and the Squeek Lights team delivered the kind of dynamic show the band was seeking. Wrapping itself around The Wonder Years’ distinctive sound, the lightshow reflected the mood and spirit of the music with its colorful crossing beam patterns, intense side lighting, and evocative silhouettes.

Chauvet Professional Rogue R1 BeamWash

Playing a key role in creating this supportive vista was the rig’s 30 CHAUVET Professional Rogue R1 BeamWash fixtures. “They did a lot for us,” Zeiser said of the 40-watt RGBW movers.
“Their most critical use was as our key light. Silhouette moments are great, but people want to see the band. With the 10 units out front we were able to hit them with a nice quality white light, which looked great on camera.

“We also used BeamWash for mid-stage down washing, back washing from our upstage wash, and on tail-down pipes upstage,” continued Zeiser.
“We love the versatility of the beam washes in the rig. It’s great how such a small unit has so much punch when used as a wash; and then on the flip side, you can zoom in so narrow to have a tight bright beam that can cut through a big look.”

Given the show’s livestream format, Zeiser had to limit his use of big, sweeping movements and rely more on color combinations and overlapping patterns to engage viewers visually. “For a live stream, it’s all about what the folks at home see,” he said. “I made sure the film crew gave me a monitor, so I could see what the viewer saw.
I was careful to ride my levels more than I typically do on a live show. I also throttled back some fixtures that I otherwise would have let ripped and exercised a little more care with my color selection, knowing that the camera doesn’t read all colors the same way our eyes do.”

The Wonder Years livestream was Zeiser’s first show of 2020. (He spent much of the year working on Squeek Lights’ new facility.) “It was a lot of fun to jump back in the saddle for the night,” he said.

“Ben Jarrett was a big help with the showfiles, so I got to focus on mashing buttons with the music of The Wonder Years, which I know like the back of my hand. The entire experience with my crew and the band was special a taste of ‘normal life’ that reminded me why I love this business so much.”

Contributing to the success of the livestream were the Catalogue Company, which filmed the performance, Andy Clarke, who did the mixing, Electro Sound Systems of Wilmington, DE, and Ben Jarret, who helped Zeiser with the showfile.

More info about Chauvet Professional range of products can be found on www.chauvetprofessional.com

Exhibition London from the outside.

The recently launched Exhibition London event space is situated in the heart of London’s White City and Westfield London, one of the capital’s premier shopping destinations. This multi-purpose venue is housed in a stunning Grade II listed building built in 1899 and originally used as an engine house for Central London Railways.

A complete renovation of the space combines sensitive architectural restoration with 21st-century technology, which features an L-Acoustics K Series loudspeaker system, to help establish the new space as a major music venue and cultural hub.

The ground floor AKA foyer features eight permanently flown L-Acoustics X8, which can be augmented with four portable SB15 subs as shown if more bottom end is needed.

The venue is a collaborative venture between Unibail-Rodamco-Westfield and Broadwick Live, operators of Printworks London, The Drumsheds, Depot Mayfield, and Magazine London, which also boasts an L-Acoustics sound system.
Both Magazine and Exhibition audio systems were designed by Simon Jones of Simon Jones Technical Production Management (SJ-TPM Ltd) with assistance and integration from HD Pro Audio and design support from L-Acoustics.

Exhibition’s first floor features an array of nine L-Acoustics K2 per side, with five pairs of KS28 subs ground-stacked along the front of the stage. An A10 Focus is custom mounted on top of each KS28 for frontfill. On the stage the sides are ready to roar with, on top of a couple of KS21, a A15 Focus per side.

Spanning two floors and a total of 1,271m2, Exhibition London features a ground floor foyer and reception area, which can also be used as a breakout area for corporate events and small conferences. The foyer offers direct access to The First Floor staging area, where the original high-pitched ceiling and its exposed roof structure, polished concrete floor, brass finishes, and decorative lighting create a stunning environment for both live music and corporate events.

The original project brief emphasized corporate events, and Jones once again looked to Kara to fulfil the venue’s needs. But as the project evolved, music became the priority, and the larger format K2 became a serious option.
“The First Floor is a 3,000 capacity multi-purpose space, and with the focus now firmly on music, it needed a rider-friendly PA that would also be good for corporate events,” states Jones. “We needed a left/right system and delays that would be beefy enough for full-on rock but delicate enough for speech.”

Andy Huffer

“The whole ethos behind choosing K2 is to meet the demands of touring engineers and offer the industry standard, so there would be no question of bands not using the house system,” adds HD Pro’s Andy Huffer.

The First Floor features an array of nine K2 per side, with five pairs of KS28 subs ground-stacked along the front of the stage. An A10 Focus is placed on top of each KS28 for frontfill, for which HD Pro has made custom mounts.

Sidefill is catered for with stacks of two A15 and two KS21 while twelve X15 coaxial wedges are available for stage monitoring as needed. Two pairs of A15 are flown as additional delays/fills halfway down the room.

The whole first floor veue as seen from the stage where X15s wedges shines. Seen from behind is a stack of two KS28 topped by an A10.

“The main PA is more than capable of covering the entire space, but for corporate speech applications these fills allow us to get more detail at the back of the room without exciting it at the other end,” says Huffer.
“This is essential for vocal clarity.” For the foyer’s rectangular space, compact X8 was chosen for its full range, high SPL, premium sonic quality, and excellent detail.

The engines and control room is via two P1 AVB processors, one for the First Floor and one for the foyer, with nine LA12X amplified controllers for the K2, an LA4X for the A15, and 13 LA4X for the remainder of the system.

Eight X8 are permanently flown, four at each side of the room and facing in to provide even coverage. These can be augmented with four portable SB15 subs if more bottom end is needed. Cabling has been installed throughout the area’s evenly spaced steel columns so that the SB15 can sit at the base of any column.

Amplification and control comprise two P1 AVB processors, one for the First Floor and one for the foyer, along with nine LA12X amplified controllers for the K2, an LA4X for the A15, and 13 LA4X for the remainder of the system, with portable racks for the monitors.

Andy Huffer (left) from HD Pro Audio who provided assistance and integration for this project and Simon Jones of Simon Jones Technical Production Management, the designer of the Exhibition system.

“Our primary challenge was that this is a tiled Victorian building, so it’s quite reflective,” says Huffer. “The First Floor, in particular, has lots of big, long shiny surfaces facing each other. Some acoustic draping is used, but we did not want to hide all the beautiful tile.

Having K2, with its variable directivity, allowed us to optimise the system, keeping sound on the audience and off the walls. This, in conjunction with a complete grid system flown from the crane beams, gave us more rigging options.”

Jeff Woodford, Application Engineer Install at L-Acoustics.

As well as providing design support in the planning phase of the project, Jeff Woodford, Application Engineer Install at L-Acoustics also provided on-site acoustic measurement and electronic optimisation, calibrating the sound system to give the best performance throughout Exhibition.
With optimum flexibility of the system also a prime consideration, two DiGiCo SD12 consoles with Dante cards and Optocore sharing an SD Rack with 32-bit cards and an SD11i with D Rack are provided as the control package. “These are also an industry standard and make the venue a desirable proposition,” notes Jones.

Adding to the system’s flexibility, a comprehensive fibre network was installed, linking the front of house and monitor systems upstairs and down, allowing audio to travel to and from any area. The network also allows the DiGiCo consoles to be moved to different areas, as required.

Multi-purpose venue, Exhibition, sits in the heart of London’s White City and Westfield London shopping destinations.

“We’ve installed simple touchscreen panels for controlling volume, etc., throughout the venue,” says Huffer. “This means things can be changed quickly and easily to go from, for example, a stand-alone system for live music to distributed background music from someone’s phone.”

“Both HD Pro and L-Acoustics have been exemplary in their design, support, and commitment to the project,” adds Jones.
“The system sounds really good. I’ve done a lot of PA systems, but even I was surprised at just how good K2 sounds in here. It has exceeded my expectations, and it looks good, too, which is so important in a setting like Exhibition London.”

“It was fantastic to work with L-Acoustics on Exhibition London, the K2 system installed is superb in every way and gives us maximum flexibility in terms of the types of events that are produced in this beautiful Victorian venue,” concludes Bradley Thompson, Managing Director Broadwick Live.

More information on:

– The L-Acoustics website
– The SJ TPM website
– The HD Pro Audio website
– The Exhibition London website

The full-range passive two-way RCF X MAX series has been designed as a multi-purpose speaker, to achieve the best nearfield quality, vocal coherence, and a stable tonal balance even at full volume.

The X Max 10.

X MAX series builds on the heritage of the popular RCF MAX series to create a complete range of solutions for high-powered applications in bars, party rooms, clubs, and discos.

The elegant and compact design with accurate finishing makes it suitable for almost any environment and architectural constraints.
The cabinet and its components are designed inside RCF’s laboratories combining low resonant design and superior transducers, for remarkable power handling and clarity.

The X MAX Series features a custom-designed mid-freq shaping for close distance listening on a perfectly tuned crossover to ensure even coverage and detail of the vocal range and the best frequency and phase response. The LICC crossover design includes electronic protection on high-frequency driver.

The directivity index of the Max 10. The lows are clearly omnidirectional before the 10” begins to focus its energy forward, before being joined by the driver.

The directivity index of the Max 12 showing a smooth shaping of the mid-high response with just a little accident at 1800 Hz, where woofer and driver briefly « melt » together.

The excellent contruction quality of the X Max Series.

The cabinets are built-in plywood coated with black textured acrylic paint. A sturdy powder-coated metal grille protects the front, and an acoustically transparent sound foam backing on the inside of the grille ensures protection from dust and humidity.

The X Max 10 without the front grille. 8 screws and the horn and drive assembly can be rotated by 90°.

The base of each speaker includes a robust steel pole socket for mounting on a stand or a subwoofer pole. Threaded inserts are provided on all sides for optional mounting hardware. Included are multiple rigging points to fly the speakers for maximum architectural freedom in any installation.

The rotatable 90°x70° horn allows installation either vertically or horizontally for the best versatility in any environment and architectural constraint.
Both models feature 1,4” compression driver with electronic protection, X MAX 10 boasts a 10” woofer and delivers a maximum SPL of 128 dB SPL with a total power handling of 700 W. The 12” woofer equipped X MAX 12, reaches a maximum SPL of 129 dB SPL with a total power handling of 800 W.

The excellent Max 10 on axis response, showing a smooth yet a bit skinny low, good mid and high frequency reproduction. A sub will add extra energy and extension to the bass produced by the 10”.

Same comment albeit the 12” will be able to produce a nice low end without the need of a sub for certain applications.

To get the best out of the X MAX speakers and precisely tailor their sound, RCF recommends using the DX 4008 digital processor and the IPS 2700, a Class H amplifier delivering the right power to tackle them.

The DX4008. 4 inputs, 8 outputs, good converters and DSP ressources to fine tune and additionally protect the X MAX.

The IPS2700 amplifier. Class H, 2×1100 at 4 ohm and 2×700 at 8, simple and robust, spot on for driving the X MAX.

To get even more on this new series, visit the RCF website