ETC’s Eos family controls international Aix-en-Provence Festival
ETC’s flagship Eos range of lighting consoles have been selected to run all three venues of the established Festival International d’Art Lyrique d’Aix-en-Provence in the south of France.
Continuing its success in the French market, over a hundred Eos family consoles have been installed in France so far, with this number continuing to rise. The technical team at the art and music festival, stage an average of five operas a year, bringing expertise, speed and efficiency to the event. They have run the entire event on the Eos brand with nine consoles used across the three main venues in the city of Aix-en-Provence.
Chief Electrician, Jean-Pascal Gauchais selected ETC for the quality of its products, award-winning color tools and the consoles’ ability to handle all types of luminaires, both traditional and automated.
“Thanks to ETC evolving its product range, it has been possible for us to program using Eos console desks on our budget,” comments Jean-Pascal. “The philosophy of consoles in tracking mode is an element that I particularly like, it is really convenient in the programming of the shows. When deciding on which console to use, we recognized that Eos was the best and most effective choice as we had worked with it previously in several large opera houses. We ran the festival last year and had great support from ETC and dealer Texen, with Philippe Roy – Field Project Coordinator at ETC France – who provided great assistance during that time.”
In addition to the Eos consoles, there were a total of 44 Source Four fixtures, 36 Source Four PARs, 32 ColorSource PARs and 22 High End Systems’ SolaWash 2000s positioned across the city as part of the festival.
The first venue of the annual festival, Théâtre de l’Archevêché, received a set of three Eos family console desks: a flagship Eos Ti for programming in the auditorium during rehearsal, a Gio @5 for the set as well as an Ion Xe Remote Processor Unit (RPU) system with an Eos Programming Wing.
“ETC’s consoles work together reliably and efficiently as a complete system. By default, the Eos Ti is a remote control of the RPU system. We ran tests prior to the set up during which cables were pulled out, and the Eos Ti instantly took control without any faults or changes to the show,” remarks the Chief Electrician.
A similar set up was completed at the next two venues – Grand Théâtre de Provence which ran on an Eos Ti, Gio @5 and Ion Xe 20 and the Jeu de Paume Theater with Eos, Ion Xe 20 and an Ion Xe console desk as back up. “The lighting operators are especially delighted with the arrival of Eos and the new features they have discovered, such as the “Undo” button, a sort of Ctrl + Z that allows you to go back to the previous state of the lighting show.”
During the creation phase, an ETCnomad was used to complete the planning of the lighting showcase. “One of the events at the festival made significant use of live screens and the video operator chose to use his own Eos interface from a laptop to create color consistency between the video screens and the board. This is where ETCnomad was particularly useful, allowing us to have additional control, and program the shows from any location with just a USB key,” says Jean-Paul.
“The lighting control of the productions in all three venues worked smoothly together thanks to ETC’s Eos family of control. A strong team effort was vital in combining the festival light shows, specialist networks and scenic materials to ensure the whole festival was a success,” adds Jean-Paul Gauchais.
ETC Source Four Mini LED lights filmmaker’s artwork at Thyssen Bornemisza
ETC dealer, Stonex has supplied 19 Source Four Mini LED fixtures to light the installations of acclaimed Indian artist and filmmaker Amar Kanwar at the Thyssen Bornemisza National Museum in Madrid.
The renowned art museum in Spain hosted the work of Amar Kanwar – ‘Testimonios Relámpago’ and ‘El Bosque Soberano’. ETC lighting was used to enhance his exhibition which focuses on the concepts of nature, landscape, climate and human presence whilst criticizing the political state and lack of justice in his native country, India.
Kanwar’s artwork in ‘La Sala de Las Semillas’, is characterized by taking elements of nature from India and using them as an activist proposal. Different types of rice grains were collected and carefully categorized in small drawers. The room required a dim light that created a warm and intimate atmosphere. Kanwar selected ETC for the installation based on his previous experience with the company from exhibiting in different parts of the world.
Lighting Designer Carlos Alzueta specializes in theatrical and museum lighting and worked on the project at the Thyssen Bornemisza. “Amar Kanwar has in-depth lighting knowledge and having used ETC before, was especially interested in using Source Four Mini LED fixtures for their reliability and superior optics,” comments Alzueta.
“For lighting in museums and exhibitions, it is useful to have the option of focusing, adjusting or cutting out light. We worked with a combination of neutral filters with different densities to adjust the light of the fixtures,” remarks Kanwar.
The lighting design involved a CAD program to calculate light output in the Thyssen Bornemisza. “The distance of light projection to the walls of the equipment room and the angle of the optics – 50°- were determined, as well as the amount of equipment required to cover the entire wall,” says Carlos Alzueta. The decision to have LED lighting, resulted in saving energy consumption and saving time from the lighting installation, which was simplified with ETC’s products.
“ETC’s Source Four range is the industry standard in Spain when it comes to theatre lighting. Considering the European regulations which are setting energy efficiency requirements in lighting, ETC’s Source Four products are a strong fit for lighting in museums which are becoming increasingly LED. The high-quality standard of ETC products will see it lead the change towards LED and color control that we have been experimenting with for some years,” concludes Alzueta.
ETC’s exclusive dealer in Spain, Stonex supplied the fixtures and assisted in delivering the project thanks to over 39 years of experience in providing professional lighting and stage engineering solutions.
ETC now distributing ArcSystem, BluesSystem, and CueSystem globally
ETC has completed the acquisition of the ArcSystem, BluesSystem, and CueSystem product lines from GDS. From 2015 to 2019, ETC manufactured and sold these product families in North and South America only. Now, ETC takes over the entire development and distribution process of these products across the globe.
“Bringing these family lines into the ETC fold allows us to reach more parts of the world with ETC’s quality architectural lighting solutions and unmatched customer service,” said David Lincecum, ETC Vice President of Marketing. “With this expansion, ETC increases venues’ access to beautiful and efficient LED lighting in auditoriums and other front-of-house public spaces.”
With the transition complete, customers should now request quotations and orders from ETC. Products distributed by ETC will be fully serviced by ETC and fall under its standard product warranties.
Already installed in many of the world’s leading venues, ArcSystem is firmly established as the leading solution for auditorium house lighting, multi-purpose venues, houses of worship, and anywhere that requires a premium quality of light with flawless dimming. Optional wireless connectivity facilitates easy and non-destructive installation into an existing building.
Those ordering ArcSystem solutions now have more options to build into their auditorium lighting system. The line now includes new color temperatures, RDM control, and Fade to Warm options. Among the new fixture variants is the Pro One-Cell Micro, comparable to an MR-16 lamp, offering a compact recessed option controlled by its corresponding D2 ArcMesh Driver. For projects requiring exceptional brightness, the new Pro One-Cell High Output packs more than 8000 lumens into the same fixture size as the standard Pro One-Cell.
HOGS Rule Robbie Williams’ Vegas Residency
Following the success of Robbie Williams’ first U.S. residency in March, the British pop phenom returned to Las Vegas for another sold-out run this summer. In all performances, High End Systems Hog lighting consoles were networked for the lighting, lasers and media servers’ video content.
To make a splash in the American market, Williams put together his “Live in Las Vegas” setlist at the Wynn’s Encore Theatre to include more well-known Rat Pack standards, with fewer of his own #1 U.K. hits.
LD Sean Burke not only designed the production and the lighting but also programmed and served as lighting director. Barry Lather worked with him as the show director and set co-designer.
“The design came from Barry,” Burke notes. “He had this vision of a ‘swing’ show with dancers, props, and so on. The band is pretty big for this small stage, so trying to fit it all in was a challenge. Different levels were needed to give a visual perspective in this small space.”
To deal with the narrow width and low proscenium, Burke added six vertical ladders which flank the video screens and the downstage areas. “This gives a lot of really good looks toward the audience; it’s right there in front of them and being low produces a big impact visually,” he explains.
Having been a Hog console user for many years, Burke dedicated specific desks for different segments of the production.
“We used a Full Boar 4 and a Playback Wing 4 for the lighting and video content control. The video content on a media server is triggered via ArtNet. We also had a second set as full back-up on the network.”
The LD continues, “We had four DP 8000 units on the show: two active and two spares, for a full redundancy on the system. Two units ran as a Hognet network, which went to the rental lighting gear. We ran the HogNet DPs to aSCN devices giving us DMX. The other two DP 8000 units were outputting ArtNet, which took over the house system. We also had a Road Hog to run the laser system.”
Burke’s company, Holes in the Dark, provided the Full Boars and the Playback Wings. Christie Lites supplied the DP 8000 processors for the consoles along with other rental gear, and ER Productions brought in their Road Hog as part of the laser control package.
ER Productions frequently uses Hog consoles. For this stint, Lawrence Wright programmed, and Shane Davis operated the lasers.
“We were excited to support Robbie Williams with a large, visually impactful rig,” Wright says, adding that the Road Hog “triggered a vast array of laser effects and cues perfectly on time via timecode each night.”
Opera de Lyon shines with ETC and High End Systems
The world famous Opéra de Lyon in France has added ETC’s Sensor3 Power Control system to its extensive range of lighting equipment which includes Source Four LEDs, Eos consoles and High End Systems’ SolaFrame fixtures.
Opéra de Lyon, home to 700 automated fixtures, is recognized for its high quality technical equipment. Head of lighting, Philippe Rebboah commented positively on the design of ETC’s power control system: “The ETC interface has several impressive advantages such as the detection of faults in direct connection with the dimmers, the possibility of switching between direct line and dimmed line from the software and the backup of various configurations on which we can work offline.”
In total, nearly 800 modules will now equip the Opera with 3, 5 and 10kW circuit variations in fixed and mobile cabinets on 3 sites: the grid, the stalls and the auditorium. As ETC’s modules are more compact than the previous ones, the cabinets fit an even higher quantity in a smaller footprint which greatly benefits the opera.
“The technical team agreed that Sensor3 was the right choice for the Opéra de Lyon. The established ETC brand is also an important criterion. We feel confident that we will always have the company’s support and that the business will continue on a successful path for a long time,” adds Phillippe.
The Opéra de Lyon is equipped with four Eos family consoles and an ETCnomad. This includes the leading Eos Ti which is used in the creation phase of the opera shows, an Ion Xe 20 in the amphitheater, a Gio for the Opera ballet tour and one more Gio to control the main show. The Eos family consoles were installed in-between two productions. “It was risky with the short time-frame but the technical team made it a successful and smooth transition,” adds Philippe.
The newest additions to the fixtures at the Opera are two SolaFrame 3000s which were selected for their versatility, power and silence. The powerful LED fixture produces 37,000 lumen output without being noisy – an essential factor in such an environment. The fixtures, which were provided by High End Systems dealer Eclalux, join six SolaFrame 2000s, two SolaFrame 1500s and thirty-four ETC Source Four LEDs at the Opéra de Lyon.
Integrating high-power LED stage lighting was an obvious choice for Philippe, who recognizes the advantage of saving time with LED as opposed to traditional tungsten lighting when changing colors on the entire rig. “We selected the Source Four LED fixtures 3 years ago and are very pleased with this and the other ETC and High End Systems products that we have chosen for the Opéra de Lyon.”
SolaFrame Theatre Makes Bright Quiet Residency at the Bolshoi
While the founding of Russia’s Bolshoi Theatre dates back to 1776, its production team is looking to the future with the newest LED technology from High End Systems.
The world-renowned theatre – a cultural landmark and home to the Bolshoi Ballet, Opera and Orchestra – opened a second venue, the New Stage, in 2002 to host performances while the Historic Stage underwent refurbishment. By 2011, both neighbouring performance venues were offering a full schedule of events in the heart of Moscow.
In 2018, it was time to make some changes over at the New Stage. Lighting Designer Anatoly Samosadny was seeking an alternative to the older lamp-based fixtures. Preferring to work with a modern, LED-based automated luminaire in his productions, he turned to High End Systems’ Moscow-based distributor SiM, which recommended High End Systems’ SolaFrame Theatre fixture. Engineered without fans, it is the industry’s first LED automated luminaire to deliver a completely silent operation.
Before being awarded the starring role, the SolaFrame Theatre had to pass the audition. The “chorus line,” so to speak, was set up onstage at the Bolshoi with various contenders under consideration. The LD gave the SolaFrame Theatre high marks and his approval as the lighting fixture to solve their needs.
Eight SolaFrame Theatre units were supported, tested and delivered by SiM to the Bolshoi in September and made their premiere in productions shortly after that. The main tasks of the fixtures are to serve as back truss lighting and front support light.
“The absolute silent operation allowed me to install the SolaFrame Theatre units directly above the orchestra or in the auditorium,” says Samosadny. “These positions are very important when working with certain productions, such as The Orchestra Survey and Camille Saint-Saëns’ The Carnival of the Animals.”
He adds, “The framing shutters are also extremely beneficial to my designs. The colour mixing, CTO, prism, zoom, gobo wheels, frost and iris add even more effects and solutions to a multitude of live situations. I like that the colours remain consistent with the LED source so that all my fixture colours match and don’t degrade as older lamp sources do. And the fixture has a bright white beam. I enjoy using the SolaFrame Theatre in my work.”
The LD has deployed the SolaFrame Theatres in other recent shows including the Bolshoi Ballet’s Etudes, Romeo & Juliet, Heroes Of Our Times, Russia Seasons, Golden Century, Petrushka, Paris, Joy, Undina, Lost Illusions, The Taming of the Shrew and Anuta. He’s also used it for the Bolshoi Opera’s Bogema, TPVG, Figaro’s Marriage, Idiot, Iolanta, The Stone Guest, Barber of Seville, Don Pasquale, and Rusalka.
The SolaFrame Theatres join other HES/ETC family products at the venue. In the New Stage, a Hog 3 console controls video while the ETC Titanium and Gio control lighting. Also in the house are ETC Sensor Dimmers, ETC Source 4 Fix Zoom 25-50 degrees and 15-30 degrees, and some Source 4 Lustr+ fixtures. The Historic Stage uses two Hog 4 consoles with DMX Processor 8000s to control video, while an ETC Titanium console controls lighting.
SiM’s Ivan Rumyantsev says, “With the SolaFrame Theatre, we solve typical and specific tasks for the creators. We are happy to supply high-quality solutions from High End Systems. We are thankful to the theatre; they trust our team and we are privileged to support the fixtures and consoles for the world-famous Bolshoi Theatre stages.”
Attero Tech launches Axon A4FLEX AVC interface for huddle rooms
Attero Tech has introduced the Axon A4FLEX networked AVC interface. Combining four studio-grade microphone preamps, logic I/O, a USB audio interface, and a two-channel power amplifier in a 1/3U form factor, the A4FLEX is suitable for huddle rooms. When paired with an enterprise DSP, the A4FLEX can be the only in-room interface needed for larger conference spaces.
The Axon A4FLEX can be powered over the network by PoE+ or locally using an optional +24 VDC power supply. The A4FLEX’s two Ethernet ports can be used to daisy-chain multiple units. Alternatively, the second Ethernet port can be set up to provide a control system interface in which the control system has complete access to the audio network but all non-control-related traffic is suppressed on the control port.
The unit’s audio signal processing includes input and output EQ, matrix mixing, and dynamics control. The AES67 network audio interface supports 8-in by 8-out, so when multiple A4FLEX’s are used in a room, much of the signal processing and routing usually done in the main DSP can be handled locally, freeing up DSP resources.
Included mounting ears enable under-table use, and a 1U rack shelf is optionally available for cleanly rack-mounting up to three A4FLEXs.
ApexPro Demonstration at the Fugard Theatre
Earlier this year, High End Systems launched a new addition to its family of automated framing fixtures – the SolaFrame 1000. ApexPro, the South African distributor of ETC lighting solutions, demonstrated the unit just weeks later in Johannesburg. Now, Cape Town has also had a chance to view the units in action, at a demonstration held at the Studio of the Fugard Theatre.
High End Systems was acquired by ETC two years ago, and we are seeing the early fruits of that union. Mathew Lewis, ETC product manager at ApexPro, tells us that “the first fixture that was conceptualised, developed, produced and released with those two research-and-development teams together is the SolaFrame 1000.”
“It’s the first fixture to mix the DNA of the two companies: the theatrical DNA of ETC and the rock n’ roll DNA of High End. The result is a really beautiful light that can do almost anything.”
Indeed the SolaFrame 1000 is an impressive beast. Boasting a 20’000 lumen output, a 470 Watt LED chip, full framing shutters, rotating and fixed gobo wheels, multiple colour systems, 12° – 40° zoom, animation effects “plus all the bells and whistles required by the modern LD,” the SolaFrame lives up to the rep. Lighting students and professionals alike gazed in wonder at what the fixture is capable of, particularly the strong, beautiful colours.
Available in Ultra-Bright and High CRI versions, the SolaFrame 1000 ships with a TM30 Filter that boosts the Ultra-Bright engine to 85+ CRI. Other features include Iris and Light Frost, Rotating Prism and High End Systems’ patented Lens Defogger System.
Also on display was the SolaFrame 750, the most compact framing fixture in the Sola Series family of automated tools. Featuring a compact footprint but a huge feature set, SolaFrame 750 is a perfect fit for smaller to medium-sized venues, and its 11’300 lumens can easily cut through the competition. With 6° – 50° degree zoom, a 270 Watt LED chip, rotating gobo wheel plus fully continuous animation and much, much more, SolaFrame 750 offers the widest array of effects currently available in a fixture of its size.
With all of this on offer, the SolaFrame series is ideal for the rental market.
“From a rental company’s perspective, they need something that can go and be an effect light in a corporate day, and then they need something that can do a theatrical show the next day. The problem has always been that you’ve then had to buy a beam light, a spotlight and a wash light… The idea behind the SolaFrame family is that it can be all of those in one. It can be a true, workhorse light.”
Also at the demonstration was the Source Four LED Series 2 Lustr, as well as the ColorSource fixtures. Using ETC’s x7 Color System, the Lustr combines a balance of up to seven colours to create evocative colour mixes that can use the full spectrum. A theatre was the perfect setting to view its capabilities, as, in Lewis’ words: “ETC’s heritage is theatre, so everything they do is really dedicated to being practical for a theatre environment.”
“When the LED revolution hit, the colours wouldn’t always match, or there would be the dreaded flickering when you took it down to ten percent. ETC took their time coming out with their own LED offering, but when they did, what we have is a very high quality fixture.”
If you would like to know more about any of the above fixtures or book a demo, please contact Mathew Lewis at email@example.com
ApexPro invites you to ETC EOS Family Console Training
Award-winning color tools. Advanced, granular control. From large-scale theatre to television, opera and dance, to academic, experimental and multipurpose venues, the Eos Family provides a sophisticated environment that feels like home.
Join us on 30 & 31 July for a 2 day course presented by SA ETC brand manager, Mathew Lewis. Please RSVP to firstname.lastname@example.org
Going for Gold
While a new Chinese sports centre is providing a platform to take Olympic events to a new level, its Electro-Voice sound systems are doing the same for audio. Caroline Moss reports from Suzhou:
The Chinese city of Suzhou is known more for its traditional gardens, nine of which have UNESCO world heritage status, than for its sporting facilities. However, the new Olympic Sports Centre could be set to change that. The sports centre, designed as a new city landmark, is based in a zone built to consolidate all of Suzhou’s sporting facilities in one new area, including the existing stadium which will be relocated from downtown. Sound systems for the sports centre’s three main venues, some of which will also stage music events, have been provided by Bosch China.
Built to a design by German architectural practice, Gerkan, Marg and Partners, the Suzhou Olympic Sports Centre takes its cue from the Chinese landscape gardens that populate the city. A 47-hectare, publicly accessible landscaped park accommodates extensive sporting facilities as well as offices and a shopping mall. The three main sporting facilities – a 45,000-capacity stadium, indoor arena and aquatic centre – have been equipped by Bosch in a tender that was won by Hangzhou Tianlong Audio. According to the brief, all three venues had to meet the most stringent of standards to ensure the project got top ranking among Chinese sports facilities and is able to host international sporting competitions and other events.
Xianghua Zhou is one of the proprietors of the systems integration company, which is based in the nearby city of Hangzhou. Sporting facilities are becoming a bit of a speciality for the company, which recently completed work on the Shanghai International Circuit, the venue for the annual Formula 1 Chinese Grand Prix. Hangzhou Tianlong Audio was employed on the Suzhou project as a subcontractor, working for the main contractor to provide and install the audio systems.
The main structures of the buildings were already in place when Zhou and his team started work in the summer of 2017. This included the stadium, which has the distinction of being constructed with the first single-skin steel cable network roof in China. While the visual aspect of this roof gives the stadium a distinctive and striking look, the practicalities of flying a powerful sound system from it presented some specific challenges. There wasn’t much that could be done about movement in the roof caused by heavy winds, which can add a swing range of up to 1.5m, but the effects of other extreme weather conditions have been mitigated by the installation of Electro-Voice EVH weather-resistant speakers which have been mounted on the lip of the roof. The speakers have been supplied in white, so the aesthetic qualities of the stadium roof have not been spoiled in any way.
However, the main challenge thrown up by the special roof was that it wasn’t capable of bearing very heavy loads. This caused problems, as the tender specified that all speakers should be capable of being derigged for maintenance at any time. Hangzhou Tianlong Audio worked closely with the Bosch team to come up with a solution for this. Their first design included lifting mechanisms to be flown at each point, but this would have added too much weight to the structure. The company played around with the design, changing it many times before finally hitting on an ingenious solution: they would design their own piece of lifting equipment that operates from the ground. Two such systems have been built and supplied, allowing the loudspeakers to be lowered to the ground by means of a motorised winding engine and raised back up on wire cables wound around a winch. This method of installation was inspired by the London 2012 Olympic Stadium which, like Suzhou, has a cable-supported fabric membrane roof, covering approximately two thirds of the audience area. The London stadium is installed with Electro-Voice EVH speakers, which have also been used in Suzhou.
A total of 80 EVH-1152S full-range, horn-loaded speakers have been installed on 40 rigging points around the perimeter of the roof, in alternate groups of three and one; the trio of speakers covering the spectators in the stadium seats, and the single ones – 20 in total – projecting sound outwards onto the playing field. The system was designed using EASE prediction software. ‘The general acoustics of the stadium were very good, and there were no major problems,’ says Zhou, explaining that coverage is even throughout the entire audience area.
The entire system is being driven by Electro-Voice TG7 3500 w/ch amplifiers, with audio transmission throughout the stadium via Dante. Cables to each speaker have been run through the roof of the stadium from amp rooms on either side, and Zhou estimates that at least 20km of Cat-6 cabling has been used for the installation.
Up in the control room, the mixing console is a Stage Tec Auratus Platinum. During most sporting events held in the stadium, the console usually receives audio signals from TASCAM and Pioneer CD and DVD players in the control room rack playing recorded music, and announcements via Shure wireless mic systems consisting of UA844+SWB antenna distribution systems, UA874 active directional antenna, SLX24 and SM58 handheld mics and MX418 goosenecks. The stadium is mainly being used for football matches, and has become home to a local team. Additionally, and befitting its name, the Suzhou Olympic Sports Centre can also accommodate all the different Olympic sporting activities, with a track circling the stadium pitch for sports such as running, hurdling, jumping and throwing events. The stadium’s PA system, therefore, will find most of its use in providing background music and speech for sporting applications, with its secondary purpose being for emergency evacuation and other announcements.
When the stadium hosts rock concerts, however, as well as the protective covering that is applied to the pitch and the stage erected in the centre, the audio system is expanded with the addition of a portable Dynacord Cobra-2 compact line array system, which can cover the entire venue, working together with the installed system. This portable system has been used for a popular TV show, Running Man China. Large touring productions may often choose to bring in their own systems, however.
In one of the distinctive, curved buildings that makes up the sports centre is a gymnasium, or indoor arena, with 8,000 fixed seats that can be expanded with portable seats stored underneath them to accommodate a total of 13,000. This venue is approved for CBA (Chinese Basketball Association) league games, the first-tier professional basketball league in China, of which Suzhou boasts a local team, the Jiangsu Kentier Dragons. The gymnasium can also be used for other sports, such as badminton and curling.
According to CBA requirements, a cuboid LED screen has been installed in the centre of the gymnasium which can be raised and lowered. So, this presented the main challenge when it came to installing the Electro-Voice X2-212/90 high-performance compact vertical line array system. ‘We needed to avoid hitting the LED screen but, by using EASE to predict the system design, this was a straightforward job,’ says Zhou.
A total of 70 X2-212/90 speakers in black have been installed here, divided into six hangs of eight, and two of 11, both flown in the centre of each of the long sides of the gymnasium, where they can focus more energy on the VIP seating areas.
This venue can also be used for musical events – a recent Jacky Cheung concert was held here – with a stage erected at one of the shorter sides of the gymnasium, above which a lighting rig has been fixed. Again, the sports centre’s portable system can be deployed here if necessary, but, quite often, supplementary equipment will be brought in by the production itself. However, Zhou is impressed with the capabilities of the installed Electro-Voice system. ‘For concerts, you definitely need to add subs in here of course, but this model is compact and powerful and has a very good performance at the low end,’ he says.
Amp rooms on each of the long sides of the venue are installed with Electro-Voice TG7 3500 w/ch amplifiers, and again the signal is transmitted via Dante. Up in the control room is a further Stage Tec Auratus console, while a Shure radio mic system is in use here as well.
Over in the 3,000-seat aquatic centre, which houses two swimming pools, two separate speaker systems have been installed, one for spectators and the other for the swimmers competing in the main pool. ‘They put on water ballet in this pool, so they needed to have an underwater system,’ explains Zhou.
Six Electro-Voice UW30 underwater speakers in white have been installed along each of the long sides of the competition pool, 1.2m below the surface. Hangzhou Tianlong Audio constructed special boxes with a grid to contain these 12 speakers, which have been hardwired into the pool via conduits that run below the poolside and up into the amp rooms, and are networked via AES digital cabling. Electro-Voice claims that these speakers are able to offer a fast transmission speed underwater courtesy of the patented structural enclosure which acts as a sound transducer. This waterproof enclosure also ensures that no metal parts are exposed, increasing the longevity of the speaker and allowing it to operate in deep water.
The audience system for the competition pool consists of 20 Electro-Voice EVH-1152S weather-resistant speakers, which have again been supplied in white to meet the high standards required for the installation. A cluster of three of these has been flown in the centre of each of the long sides of the pool, facing downwards to cover the audience. To the right and left of these central clusters are two further clusters targeting the audience, each consisting of two EVH speakers, while single speakers at either side of these focus on the pool itself.
Up in the control room, all sound sources – mainly prerecorded music for swimming competitions and water ballet, plus announcements – are run from a DiGiCo S21 compact digital console, with a Yamaha MGP24X installed for backup. Again, a Shure radio mic system has been provided here.
Outside in the commercial plaza, an ice rink in the shopping mall is covered by a sound system of Dynacord VL Series loudspeakers, which plays music for the skaters.
With the addition of its new Olympic facilities, Suzhou’s ambition to develop a new sporting zone is well and truly off the starting blocks.
Article from: www.proavl-asia.com