Denmark - Aalborg Theatre is in the heart of Denmark’s attractive fourth largest city’s old town area. Established in 1878, it has a rich and colourful history and is known as a ‘heavyweight’ on the Danish theatre scene. This long standing critical fortitude was further advanced with the arrival of Hans Henriksen as artistic director in 2015, who had several key objectives including one to make the production programme more dynamic, cutting-edge and accessible.
One of the ways in which he’s achieving this is by changing the scheduling to repertory style, with several productions running simultaneously in rotation over several weeks, and this fundamental shift in turn demanded a different approach to lighting.
The installation of Robe DL series moving lights has helped complex shows to be quickly and efficiently turned around - de-rigged, re-rigged and re-lit on demand.
Robe was selected primarily on the recommendation of three lighting designers working regularly in the theatre – Kasper Daugsberg, Stine Fumz and Matthias Hersland.
An initial purchase of five DL4S Profiles at the start of the 2016 season (September) was followed by a further investment of 13 x DL7S Profiles in mid-2017. These were the first profile moving lights that the theatre has owned.
The fixtures can be moved between any of the three performance spaces – a 450-seater main auditorium, a studio seating 150 in different configurations and an experimental space that can accommodate 50 people. However, the DL7S’s so far have been used primarily in the mai
Switzerland - The Zurich Opera House entered the 2017/18 opera and theatre season following an extensive technical renewal that included new audio equipment, modernisation of its workflows, and fresh approaches to its sound reinforcement.
The Lawo mc²66 mixing console that was previously installed in the sound control room has been replaced with an mc²56, with a second an mc²56 also installed in the auditorium – making the sound control desk and auditorium desk mirrored consoles. Operated in mirror mode, the configurations, snapshots and adjustments of parameters that are performed on one console can also be recalled at the other. This ensures efficient preparation of performances, particularly where Microport systems are increasingly being used. Managed in this way, musical and children's opera projects planned for the future will be easier to mix in the hall.
The new Lawo mixing consoles offer 48 faders in the control room – a 32-fader console with a 16-fader extender that can also be connected to the hall console – and 16 faders at FOH, with both sharing a common core. Previously installed with the mc²66, this core remains the heart of the system and has been expanded with Wave SoundGrid with Gold Bundle, along with an additional Dante card. The capacity of the redundant routing card is 8192 x 8192 mono channels; four DSP cards provide 192 DSP channels of processing.
Both consoles can be used standalone or in two-person operation so that, for example, recordings are activated and controlled from the sound control room while the auditori
World - Mojo Barriers is supplying almost 2km of its bespoke touring barrier this autumn to a range of this year’s most anticipated tours.
With Mojo’s European office supplying tours including The Rolling Stones, Queens of the Stone Age and Queen & Adam Lambert, and the US office working with Katy Perry, Gorillaz, Guns N’ Roses, Red Hot Chili Peppers, Bruno Mars, 21 Pilots and Nick Cave, Mojo Barriers is in the midst of a busy touring season.
For Katy Perry’s Witness tour, the shape of the stage thrust required a carefully considered barrier configuration. The final design consisted of over 100m of barrier with many vario corners which enabled Mojo to create a flawless barrier set which followed the unusual contours of the stage perfectly. The system will be used for the remainder of the American leg and will continue to be used when the tour reaches Europe.
For the Rolling Stones’ European tour, No Filter, Mojo supplied a full front of stage set comprising of 200m of barrier. The creation of two VIP areas either side of the stage required a special configuration of barriers including six emergency exit gates. Mojo also provided a new product, Pipe & Drape, with 200m being used, along with two custom transport carts, to ensure the drape could be loaded and unloaded with ease.
Queen & Adam Lambert’s tour required full front of house and front of stage barrier sets. These comprised of 160m of barrier with a high number of fixed corners and a minimal amount of vario corners in order to create a continuous f
Finland - Helsinki City Theatre, the biggest professional repertoire theatre in Finland, has recently reopened its doors after an extensive three-year refurbishment and upgrade process. The technical part of the multi-million Euro renovation project was designed and managed by international theatre consultants Theatreplan.
“We were first approached by HCT in 2014 to work with them on a complete refit of the entire building,” explained Theatreplan director and stage engineering specialist, Dave Ludlam. The project started in March 2014 and was delivered in July 2017 for inauguration in August to coincide with the 100th anniversary of the modern Finnish nation.
Theatreplan carried out work on two of the six stages within the building: the ‘big stage’ with a capacity of 947, and the 347-seat ‘small stage’. The big stage now benefits from a re-shaped proscenium which has improved sightlines; increased power flying capacity; two new concentric revolving stages with three elevators inside.
“The revolves are now much more flexible and it’s a lot easier to reconfigure the orchestra pit,” said Ludlam. “We also put in a new modular floor which is much easier to use than the previous solution, and all goes towards making the stage a far more versatile and easy-to-work-with space. The small stage also benefits from a new revolve, modular floor and expanded point hoist system with significantly increased capacity.”
Theatreplan also designed brand new audio and lighting installations for both venues.
HCT technical director, Antti
UK - L-Acoustics ARCS WiFo system was specified for the Belfast Empire’s Empire Laughs Black Comedy Club to cope with the venue’s challenging configuration and architectural restrictions.
Owners Wine Inns Ltd required a new, high specification FOH sound system installed that would deliver excellent audio coverage across the venue’s dancefloor, as well as the raised tiers of seating areas and audience vantage points. The company’s technical manager, Will Barrett, contacted technical production company, Adlib, who recommended the L-Acoustics.
“The venue operator required an updated sound system that would supplement and support live performances for a wide number of genres from spoken word and comedy, to folk music and rock ’n’ roll at their vibrant and very popular city venue,” says Adlib director, Roger Kirby. “The venue’s ornate interior architecture presented challenges and limitations for any installation, with original wall surface finishes of wood panelling and extensive panelled timber surfaces amplifying and exciting mid-band frequencies,” Roger explains. “There is also a very large feature mirror feature in place forming a 10m long back bar, which again had the potential to generate additional unwanted high frequency reflections.”
Adlib arranged an initial on-site meeting with the client to undertake listening tests, SPL measurements and to discuss the pros and cons of the existing rig before finalising the brief for any new system, which would take all these elements these into account. The venue was then modelled
UK - East London venue Troxy was crowned Best London Event Venue – 500 to 1,000 attendees at the London Venue Awards, 20 October 2017.
Celebrating the best of London’s venues, suppliers and partner organisations, the London Venue Awards took place at The Brewery and recognised excellence and exceptional quality from venues across the capital.
Daniel Smith, Troxy’s head of sales & events reports: “London is spoilt with an array of amazing venues and events professionals who work around the clock to bring incredible events to the capital. We’re honoured to have taken home such a prestigious accolade at this year’s London Venue Awards and to have been in a room with so many inspiring individuals celebrating and recognising each other’s success and achievements. Congratulations to all the winners.”
UK - Cambridge-based co-educational boarding and day school The Leys has recently upgraded the drama technical facilities of its purpose-built theatre and performing arts centre with the latest energy-efficient Spotlight Green Line white LED Fresnels.
As part of the lighting upgrade of the school’s 337-seat performance venue, theatre manager Paul Durose contacted A.C. Entertainment Technologies Ltd. (AC-ET) to replace the existing conventional Fresnels / PC white lighting fixtures with energy-efficient LED equivalents.
Paul had previously worked with AC-ET to upgrade the theatre and main drama studio's PAR and Profile fixtures to full colour-changing LED versions, so he approached them again to recommend several suitable white fixtures from their extensive portfolio of theatrical LED solutions.
The company's specialist lighting sales division arranged for an onsite trial of various product options, after which Paul chose Spotlight Green Line FresneLED 200W and FresneLED Compact 100W, Warm White Fresnels.
He commented: "Over the past few years we have invested in an all-LED 'standard rig' for both our main theatre and drama studio. We had been looking for an affordable, good quality warm-white LED Fresnel. In my opinion, the Spotlight units offer this at a good price. They produced the best results out of the various LED fixtures we trialled, and deliver a very smooth and even coverage, with no compromise to the quality of light.
“As well as complementing the rigs' RGB LED units, they work well with our additional theatre stock of 1.2
Germany - Absen recently expanded and upgraded its showroom setup at their European HQ in Rüsselsheim, Germany.
In the new set up, the company is showcasing its bestselling models and a number of new LED solutions developed for a number of industries including corporate, retail, rental staging, OOH and sports.
The majority of the LED screens in the showroom are fed content from an AV Stumpfl Wings Engine Stage media server. The Wings software interface gives Absen technicians the ability to quickly change and replace professional audio-visual content, depending on the profile of the showroom visitors.
Oliver Straub, the Absen technician in charge of the showroom comments: “Since we opted for the Wings Engine media server, handling content has become a lot easier for us. We now have one main system interface, that we know is reliable and can easily be adjusted. In order to make the best use of the quality of our LED solutions, we needed a professional media server platform, because no matter how good your LED display is, you have to make sure that the content workflow is equally professional.”
Among the LED screens showcased in the showroom is the Absen HDV 1.2, the latest generation of UHD indoor wall displays for fixed installation. Boasting a viewing angle of 160°, the front install HDV 1.2 design helps to save up to 80% of space.
UK - Bristol Music Trust, the organisation that runs Colston Hall, has appointed Clare Jack, the development director at Bath Festivals, as chief operating officer. Clare will start at the organisation in October.
An experienced arts manager, Clare brings with her over nine years’ experience in the arts industry, following an extensive career in private sector change management.
In her new role Clare will be working closely with Louise Mitchell, chief executive of Bristol Music Trust, to take a strategic overview of the financial, commercial and operational competitiveness of the organisation. As chief operating officer, Clare will be responsible for driving forward the financial imperatives of the business in order to support, develop and sustain the charitable objectives of the Trust.
Clare joins the senior management team at Colston Hall, who are responsible for implementing Bristol Music Trust’s strategy across their individual departments and taking an overview of the day to day running of Colston Hall and Bristol Plays Music, their education arm.
Belgium - AED Display and AV Stumpfl have organized a Wings Certified Operator Bootcamp from Monday 28 August until Friday 1 September 2017 at AED Studios, Lint (Belgium). The trainer will be Rainer Brandstätter, project manager & trainer AV Stumpfl.
Says Rainer, “On the first day of this five-day bootcamp we will tackle every aspect of setting up your show, starting with the physical installation and the troubleshooting of the system. On the second day we will learn more about the different modules (Wings / Vioso / Avio / Touch) and their capabilities.
“One by one we will introduce you to them and show you the basics which will allow you to explore them further on your own pace. This part will be mainly focused on the Wings software. Days three and four will include more advanced use of Wings and Avio. At this point you will dive into the Avio software and learn how to connect all the previously mentioned modules and add intelligence, logic and interaction to your show.
“On the last day of the bootcamp, our focus will be with Vioso. We will teach you how to camera calibrate your projections and all the do’s and don’ts on this matter. Registration is via firstname.lastname@example.org.
USA - When an event space owner and esteemed car collector in Pottsville, Pennsylvania decided to model a cavernous 4,000sq.ft room after a vintage drive-in movie theatre, he knew that top notch technology would be necessary to truly create the coveted 1950’s experience. That’s why he called on local technology integrator Tom Walker of the CI Guys to turn his vision into a reality with a custom-built entertainment system anchored by ELAN control.
“First and foremost, a reliable control system is the most important factor when designing a unique and complex system such as this,” Walker explained. “It’s imperative that the technology is responsive and accessible during private events. That’s why we installed a central ELAN system to control both the sophisticated theatre and multi-room audio system.
“ELAN also controls the entire building’s Lutron lighting, Aprilaire thermostats, Elk Security system as well as Axis and Toshiba security cameras. Now, through both one-touch access and automated scenes, all of the event space’s technology is instantly manageable.”
To serve as the basis of the system, Walker installed one ELAN gSC10 System Controller, accessible through 14 strategically placed ELAN touch panels and two ELAN handheld remotes. Additionally, Walker used three ELAN S1616A audio controllers to control the space’s extensive multi-zone audio system. “With reliable control in place, we can employ the most cutting-edge entertainment technology available today and turn what was once a garage into an indoor drive-in movie
UK - Storyhouse in Chester is a new theatre, cinema and library, housed in a renovated art deco Odeon Cinema building. Located in the city centre, it is the biggest project of its kind outside of London. (A detailed report on the evolution of The Storyhouse features in the latest issue of LSi - plasa.me/lsidigital).
The £37m renovation has seen the building revitalised and it now houses an 800-seat auditorium, a 200-seat studio theatre, a restaurant, two bars and a 100-seat boutique cinema. Leading production solution specialist White Light was contracted to supply all of the loose entertainment equipment, which included lighting, audio and video.
Jonathan Haynes, WL’s business development manager and William Bray, business development support at WL, brought Doughty Engineering on board to supply a range of IWB boxes.
Jonathan commented: "For the Storyhouse project, amongst many other things, we needed to supply a range of internally wired lighting bars at custom lengths, so we approached Doughty for a number of reasons, namely the high quality of their products, their impressive lead times and fantastic service. We have always been impressed with Doughty’s build quality and needed a brand which could meet the demands of a busy producing theatre.”
WL supplied the Doughty team with an idea of what was required and was soon presented with a specific design. Will comments: "We worked closely with Doughty's technical sales adviser, Mike Guglielmi who was extremely helpful in providing us with an exact solution. All kit was custom mad
UK - Natural History Museum has strengthened its venue hire team with two new appointments, ahead of the Museum’s relaunch of its main event space Hintze Hall on 14 July.
Joining the team is Gavin Bevan who has recently been welcomed to the Museum as operations manager, bringing over a decade of hospitality and events experience including six years delivering conferences, private banqueting and match day hospitality at the Kia Oval. His responsibilities will be to ensure a smooth collaboration between clients, accredited suppliers and the museum, resulting in world-class event delivery.
Susie Williamson, will join Bevan as the second operations manager, bringing with her five years of events experience within the heritage industry, having worked with the National Trust and the Royal Geographical Society. Susie’s experience ranges from organising family-friendly events to holding high-profile, logistically complex events for the likes of BBC Newsnight, Vogue and AGA in listed buildings.
UK - Garsington Opera Pavilion has undergone a number of major additions to its existing structure ahead of its summer 2017 programme of events that started at the beginning of June, thanks to Unusual Rigging. Visitors to the pavilion will this year experience enhanced protection from the unpredictable British weather as well as additional flexible space beneath the seating tier which will increase the champagne bar area as well as acting as a gallery space.
Angus Boyd-Heron, events manager for Garsington, said: "The award winning pavilion which Unusual constructed in 2010 was built as a demountable structure and has gone from strength to strength. Each year, we bring Unusual Rigging back to make some additions and improvements, which have escalated into some pretty major works as our ideas have become larger. As our ambitions grow and our season now extended enabling more people to attend, so too have our hopes for the venue."
Mark Priestley, head of major projects at Unusual, explained: "We've worked closely with Angus and the Garsington team to come up with ways to improve the building to achieve a new level of audience comfort. Visitors to Garsington come dressed for the opera but unfortunately the elements aren't always considerate of this. Even on the finest of days, the evenings can be chilly and we needed to look at ways to match comfort with audience aspirations."
With just two months to complete the project, Mark and his team reconfigured and added to the outer sliding screens which provide weather protection and added more glazed panels a
UK - WI has supplied staging, elevators and extensive automation elements to the Take That ‘Wonderland’ tour which kicked off at the Genting Arena, Birmingham.
The lively, colourful carnivalesque aesthetic is the vision of the band’s creative director Kim Gavin and the result of some serious creative and technical talents who have collaborated to bring action packed drama to a strong, highly entertaining performance by the band.
The WI team was led by Hans Willems and Koen Peeters and the company was asked on-board by production manager Chris Vaughan. They worked closely with production designer Ray Winkler for Stufish, scenic designer Misty Buckley, lighting designer Tim Routledge and video designer Alex Leinster to specify and construct the numerous custom elements.
To deal with the complex and rigorous health and safety aspects of the project WI brought in Cristiano Giavedoni of Blumano as the dedicated safety manager.
WI designed and built the 20m diameter circular stage for the in-the-round show from scratch. It is the first time the band has embraced this particular performance concept, which allows them to get close to their fans - and is wowing the crowds.
It is also the first time that WI has developed this specific circular staging system. As with all their constructions, it is designed for touring - to be built and de-rigged quickly and straightforwardly, and travelled expediently in a series of dollies which pack logically into the truck.
The understage space is optimised to provide quick-change facilities as wel
UK - Liz Hobbs Group, one of the leading promoters and producers of concerts and events in the UK, has invested in a complete LED video wall system from the video division of A.C. Entertainment Technologies Ltd. (AC-ET).
Liz Hobbs, who are promoting and producing tours and concerts by Tom Jones, Little Mix, Olly Murs, Craig David and Shane Filan this summer, started using the system at the first gig of the UB40 tour, which opened at Inverness‘ Northern Meeting Park in late May.
The 33sqm, IP65 rated ProLights AlphaPIX6T LED wall consists of 72 panels and was supplied with a full range of rigging, networking, control and ancillary equipment. It will provide the main stage backdrop for many of the shows this summer.
In addition to the LED wall itself, AC-ET supplied video transmission equipment including, Luminex GigaCore data switches, tvONE video switcher / scalers, Blackmagic smart Videohub and SDI / HDMI converters as well as the rack mounts to carry this equipment. Cables included both ArmourLux fibre and conventional video cables.
Rupert Doogan-Hobbs – production and operations director said: “We’ve got a really exciting and busy summer that’s taken a huge amount of planning and co-ordination - being able to rely on AC-ET to supply the whole system has been a bonus. Grant and Stuart from AC-ET have been great in helping us identify everything we needed for the system, not just the specialist video equipment – the wall itself, control and cabling - but also rigging accessories, hoists, flight cases and even the drapes and dra
USA - Describing Father John Misty’s recent shows as “concerts,” doesn’t quite do them justice. There’s plenty of good music on the artist’s current tour in support of his Billboard chart topping Pure Comedy album, but his engrossing and provocative performance is almost as theatrical as it is musical.
Throughout his two-hour plus show the artist, whose real name is Josh Tillman, moves from captivating the audience with his rich lush sound, to startling them with theatrical flourishes. Dropping to a knee and clutching the mic to his heart one minute and emulating the hand gestures of a preacher the next, he enthrals audiences with his mix of music and drama.
Supporting this multi-faceted performance every step of the way is an equally engaging and varied lightshow that designer Peter Zellan is running with a ChamSys MagicQ MQ80 console.
Zellan, who has an extra wing with his console and has a rented MagicQ MQ100 as his backup, is using three universes for his 50-plus fixture ground package and an extra universe for his Catalyst Media Server. He designed the show with Capture Atlas Symphony Edition and is using Art-Net control protocol.
The flexibility of this package is playing a key role in the success of Zellan’s design for this varied international tour. Using his ChamSys desk, he moves seamlessly from sidelight stage washing in rich blues and reds, to rock style back lighting and aerial effects, to panoramic backdrop accenting, to theatrical spot and key lighting.
“ChamSys is able to move from being a cue by cu
USA - After 14 years of prayer and patience, Grace Orlando church recently opened the doors of its first designated worship space. A critical consideration from the outset was pristine and even audio coverage across all 600 seats, and thanks to a carefully researched sound system built around Adamson Systems Engineering S-Series loudspeakers, that’s exactly what they got – and a lot more.
“Full coverage is something we’ve lacked over the past 14 years at our part-time facility,” comments Worship Pastor Chad Wyatt, who boasts a background in production technology. “We wanted everyone to hear the word clearly and feel like the music is totally immersing them in the new space.”
The music ministry is a vital part of the church’s dynamic and spirited services, with a worship band that includes everything from full drums to guitars and keys to a horn section; subsequently, musical warmth was another must.
Wyatt and Gil Parente of AVNew, the church’s long-time audio equipment provider, were keen to test an Adamson package based on the brand’s “stellar and growing reputation” throughout Florida’s worship community. That led them to contact Mainline Marketing, Adamson’s Florida-based rep firm.
“What really sold us on the system is when Mainline led us on a trip to the factory in Canada and we saw how everything was manufactured in house,” shares Parente. “The quality control, the state-of-the-art equipment… That was the kind of company we were looking for – a reputable company with a focus on design and really stro
USA - An extensive renovation project at Crossgates Baptist Church in Brandon, Mississippi, saw a complete sanctuary AVL refresh over the course of two years. Beginning in 2015, AVL systems integrator Paragon 360 designed and installed all new AVL systems, custom scenic and staging elements, motorized rigging systems, and acoustical treatment.
And the centrepiece of the project, which was completed in January 2017, is a RoomMatch loudspeaker system from Bose Professional. Paragon 360 chose the RoomMatch system because of its track record in attaining high speech intelligibility and touring-level music quality in acoustically challenging spaces.
The sanctuary had a number of challenges, including an odd geometry that saw a traditional balcony design considerably extended with additional seating elevated along the sides of the room. “That meant there were going to be shaded areas that we’d have to plan for in the system design,” explains Mark Coble, Paragon 360’s lead audio designer.
In fact, the Bose RoomMatch system provided an infrastructure that was able to comprehensively resolve this challenging audio situation. Using Bose Modeler software in conjunction with EASE acoustic simulation software, Coble and his team were able to precisely determine which areas of the sanctuary would need special attention, and the range of over 40 high specific pattern configurations the RoomMatch system offered assured that they would have exactly the tools they’d need to address them.
The main worship-centre audio system is composed of three main
UK - PRG XL Video recently supported production manager Iain Whitehead and Production North with lighting, video and rigging services for The X Factor Live tour 2017. Stopping off at 19 venues around the UK, the tour featured the stars of the 2016 series of the popular prime-time weekend television show.
Lighting designer Peter Barnes returned for his sixth X Factor Live tour to design the set, lighting and video screen layout. Peter explained the creative process behind the show: “I worked closely with creative director, Beth Honan, on her staging requirements and overall artistic look of the show. The general design complimented what the audience would be used to from the TV show.
“Although there was no particular brief given to me, with this particular show, there’s always been a video screen which opens upstage centre, and the rest just falls into place from that, filling in the background with screens and lights. Whilst designing the set and lighting layout to fit in with Beth’s vision, it was also of paramount importance for me to regularly liaise with Iain Whitehead and his production team, as well as my lighting crew chief, Steve Major to ensure the rig was practical from a technical and build perspective”
Lighting technology used on The X Factor Live tour included the PRG Best Boy spot HP, Vari*Lite VL3500, Clay Paky Mythos, Sharpy moving lights, A.Leda B-EYE K10 LED effects lights, and Solaris Flare LED strobes. Followspotting power was provided by Robert Juliat Lancelots.
Discussing his choice of lighting fixtures, Peter B
The Netherlands - Shelter nightclub in Amsterdam is home to a new, four-point Funktion-One Evo sound system from Think! AV. The venue has quickly established itself on the international clubbing map, thanks to an uncompromising approach to quality.
Located beneath A’DAM Toren – a large tower behind Amsterdam's Central Station on the northern banks of the river IJ – Shelter is a 700-capacity, underground clubbing space. A’DAM is short for ‘Amsterdam Dance and Music’, which reflects the direction of the owners and businesses that now occupy the building. The tower was built by Shell in 1971 and was a base for the multinational oil and gas company up until 2009. When it moved out, music moved in.
Shelter’s general manager, Merijn van den Heuvel, explains the idea behind venue: “To be a clubber’s club, with sound, quality and vibe as top priorities in every decision we made from day one. A great clubbing experience starts, without any exception, with a great sound system and the acoustics to make it sound even better.
“Bróna Lynch, our lead engineer, has been especially invaluable. She’s been with us from the start and helped plan the acoustics, set up the system and tune it to what it is right now - a first-class musical experience over our four-point Funktion-One system.”
Think! AV’s Remco van der Werff consulted with Shelter for almost two years before it was decided that the company’s Funktion-One solution was the best option. He recalls: “They were thorough in their research and wanted to test various loudspeak
UK - At the end of 2016, Autograph Sales & Installations completed an extensive installation at the New Adelphi Building at The University of Salford, providing an audio system that accommodates the needs of a multipurpose, flexible venue. A DiGiCo SD9 digital mixing console adds extra versatility to the 350-seat main theatre.
The theatre has been designed to be re-configurable to allow it to host a wide variety of performances. This includes seating and stage placements that can operate in five main modes: end firing; long traverse; short traverse; thrust; and in the round; as well as a dedicated cinema set up.
The SD9 and a DiGiCo Orange Box are key to the system - which includes an extensive EM Acoustics loudspeaker system, QSC digital signal processing and Sennheiser microphones - with system inputs being fed through it as required. It is programmed as an LCR and Sub system via the matrix outputs, with the provision for more inputs if needed.
“The SD9 was specifically chosen for its versatility and the potential to upgrade to the Theatre specific software at a later date,” explains Autograph’s Euan Mackenzie. “Since it was originally specified, DiGiCo released its Stealth Core 2 software (which was supplied pre-installed) making the console even more flexible.”
Although the University’s technical staff had a basic understanding of the console, Autograph’s Peppe Mallozzi covered training with them from the ground up.
“Peppe spent a day with the tech team, covering all that the console can do, and worked wit
UK - “Our current count is nine Audient desks,” says Richard Liggins, technical production manager at the University of West London (UWL). “Seven ASP8024s and two ASP4816s, plus a number of ASP510 5.1 monitor controllers and an ASP800,” which puts it in the running for the facility with the most Audient desks in the world.
Most recently, London College of Music (LCM) - part of the UWL - opened Paragon Annex Studio complex, an investment of more than £1m in the development of seven new recording studios, which includes two each of these Audient consoles.
Liggins explains: “Audient desks reflect a very clear design ethic in terms of the signal flow through the desk. We teach audio studio recording from first principles, and that means an understanding of signal flow through a traditional multi-track studio as a base for all other techniques in audio recording. The in-line architecture of the Audient range supports that teaching very well.”
With this latest enhancement of its existing provision, LCM’s studio complex just down the road from the UWL Ealing campus, is now one of the biggest of its kind in the world. “Audio wise the desks hold their own in a professional studio environment,” confirms Liggins. “The mic pre’s are clean and accurate, the EQ is flexible and supports the teaching of parametric EQ well, and the usual complement of Aux’s etc. are well ordered and clearly marked.
“We decided to standardise our main rooms onto a single platform some time ago, to allow better transfer of technique from the teaching s
Canada - Located within an old church building in Little Italy, Revival Bar has become a live performance hangout for the Toronto music community and fans since opening in 2000. While its designation as a Toronto historic building requires preservation of the building’s frontage, there is nothing to prevent modernization inside. That is why general manager Mathew Saturnino recently decided to upgrade the 400-capacity venue’s sound system with the Electro-Voice X1 system from the X-Line Advance line-array loudspeaker family.
"There’s a lot of competition in live entertainment, and quality of the sound system is one thing that sets one venue apart from another," notes Revival Bar general manager Mathew Saturnino. "We wanted a system that would sound great, with really good, tight sound output within the room. We did a lot of research, and the X1 from Electro-Voice seemed like the perfect fit – newer technology that would give us a very good competitive edge."
The installation was performed by Mississauga-based integration firm Pure AV, with the system being designed by Clint Alves of SoundSoft Productions, Toronto.
Using Electro-Voice LAPS software, the design is based around two five-box arrays of Electro-Voice X1-212/90 loudspeakers, augmented by four X12-128 dual 18-inch subwoofers. The entire system is powered by six Electro-Voice TG7 amplifiers, all outfitted with RCM-28 network and DSP modules to enable easy monitoring and control via IRIS-Net software. The team at PureAV ran the wiring in advance so that, once the shipment of loudspeak