The sound system design and installation for the park was carried out by the Madrid-based Himesa Professional SL, using a variety of D.A.S. products. The system designed by the company provides ambient sound and paging utilizing 60 Factor-5Ts keenly camouflaged within the decorative elements of the park.
The park is accessed through the Plaza of the Americas where shops and food services are available. Through the plaza, visitor
Spread across two full windows, the 007 montage includes the special agent’s fantastic silver Aston Martin V12 Vanquish and General Zao’s electric green Jaguar XKR from the latest movie Die Another Day. The latter vehicle is complete with reclining blonde spread-eagled on the bonnet! Other window props include 007 dummies, plus several plasma screens showing action from the various Bond movies.
The display is highlighting a special Bond video promotion offered by Harrods, celebrating 40 years of the UK’s favourite special secret agent. Paul de Ville, MD of Lightfactor Sales, was called in to design the lighting scheme for the windows. He was approached by AV installer Andy Evans from
Rated as one of Australia's most prominent and historic public buildings, the REH was originally erected for the Melbourne International Exhibition of 1880 -1 at the end of Melbourne's early Gold Rush heyday. The building was also the venue for the Australian Federation ceremonies in 1901 that marked the birth of Australia as a nation and were used as the country's Houses of Parliament until 1922, prior to the competition of Canberra as the nation's purpose-built capital city.
Advanced Audio installed ARX ZR 850 C 100V constant voltage Installation Series power amplifiers to power a sizeable array of Bose 402 loudspeakers spread out over 3km of loudspeaker cabling.
(Ruth Rossington)
Staged in The Forum - one of Copenhagen’s largest live music venues - over 1100 guests attended two party evenings, which re-created the spirit of the legendary Parisian music hall. The show, which featured many different European artists, was a spectacular combination of contortionists, sword swallowers, fire-eaters and aerial performers, culminating in a sensational Can Can finale. Kid Creole and his Coconuts maintained the pace with a fantastic performance, before the evening wound up with a DJ and podium dancers.
From the outset, Blackout’s project managers Chris Brain and Kevin Monks collaborated with Pci:Live’s technical dire
ABC installed used two Sennheiser EW145 hand-helds, a Sennheiser EW112 lapel system and a Sennheiser EVO pack and receiver for the lectern mic with a Sennheiser COM1425 attached to the transmitter. This was placed with an additional on/off switch on a perspex mount out of sight beneath the lectern. The hearing aid loop was Ampetronic and the speakers were eight Bose 161s. The amplification was supplied by two Citronic PSX350s, all mixed with a Sp
The system consists of eight Vertec VT-4889 elements - and was specified by David Bradshaw, the Ministry’s Head of Production. Bradshaw was looking for a system with large amounts of energy and direction that would adequately cover all areas of the unorthodox shaped room: apart from that, it had to look good, and work in the context of the space’s aesthetics. Bradshaw had realized the versatility of Vertec during the Ministry of Sound’s University tour earlier in the year, where they "used it in all conceiv
Contracted by production company Nine Yards, Screenco’s vast 156-module, 25mm screen, all supplied from the company’s UK stock, measured 21.13m wide by 7.32m high, making it the biggest indoor LED high-brightness display ever seen in Europe. It thus provided an exciting solution for Hamish Hamilton’s Done & Dusted, who were responsible for the television production and design.
With all the risers set behind the screen, a large 8.1m x 4.88m door, positioned in the centre, raised and lowered on varispeed dual-brake motor hoists
The lighting crew and the head of the lighting department, Stanislav Dvorak, had already worked with a complete range of ADB equipment in the Antonin Dvorak Theatre, which is also part of the National Moravian-Silesian Theatre. ADB’s top of the line console Phoenix 10 was chosen for the control desk. This allows enough flexibility to harness the mix of moving and conventional fixtures installed through
"This project is unique because we have been engaged for the full project," said David Staples, managing director of Theatre Projects Consultants, London. "Normally Theatre Projects, and any other foreign consultants, would be involved only in the initial planning stages and conceptual design phase. Once these had been completed we'd hand the project over to local contractors."
This project is also unique in that, because the site is in a flood plain, the art
The Atatürk Olympic Stadium seats 80,000 spectators, which makes it one of the world's largest Olympic stadia. The opening event featured a match between the teams of Galatasarray Istanbul and Olympiakos Athenes. Although the venue is intended mainly for athletics and football, it will also be used for concerts, where it’s capacity can climb to 100,000.
At a total cost of about USD140 million, the Atatürk Olympic Stadium is a state-of-the-art facility. Designed in the form of a crescent, the stadium's roof is a complex, huge steel structure with a total weight of 4,400 tons and a total size of 31,000 square metres. In addition to all th
The Awards, hosted by Ronan Keating, attracted a veritable A-List of pop stars, from Best Newcomer Will Young, to double- winner Kylie and Lifetime Hall of Fame winner Sir Elton John. They also performed live sets alongside Miss Dynamite, Blue and the Manic Street Preachers.
The set, designed by Miranda Jones of Mermaid Design, was in keeping with the look of the televised weekly programme, but expanded to fit the dimensions of the enormous Manchester Evening News Arena. Star Hire was contracted to supplement the Arena’s own staging system to house the huge production. This included building the awards platform sited to one side of the stage and a temporary ‘bridge’ and red carpet walkway connecting the plat
The company was contracted by BBC Resources to build on the Totaliser screen reinforcement they provided last year, as well as adding a spectacularly ‘retro’ LED dancefloor. The dancefloor dominated the stage and was in use for much of the evening. CT’s project manager Paul Holden commented: "Last year we provided a flown screen over the Totaliser using Barco i6 high-brightness panels. This year we used 80 of the Barco i8 panels, in a 16 x 5 configuration."
The display - measuring 7.16m wide by 2.24m - was run in 16:5 format, receiving 16:9 aspect ratio feeds, to create a letterbox effect. The content mostly comprised of Totaliser-specific graphics. But the more challenging aspect of the set wa
Scharff Weisberg Pro Audio and Staging in New York is supplying production for the event, using two Catalyst systems with orbital heads on two projectors, controlled by the Flying Pig Systems Wholehog II lighting console. The Catalyst system blends moving light technology with graphics projection technology: when fitted with the optional orbital head, images can be projected anywhere in three-dimensional space. The system can be run on most programmable lighting consoles.
The show started 19 November and runs through to the 31 December, with showings every 15 minutes from 11am to 9pm on the ceiling of the Grand Central concourse in the historic Manhattan landmark. The six, three-minute video projection shows reflect artists' interpretations of the meani
Installation of the new lighting and technical infrastructure was undertaken by Dublin lighting supplier Stage Lighting Centre, who also supplied a full set of stage curtains, complete dimming system and stage lanterns. They worked very closely with Brian Tracey, Liberty Hall’s head of technical, throughout the installation period. When it came to custom engineering and installing the specialist lighting bars required at the FOH and forestage positions, Stage Lighting Centre’s Paddy Farrell approached PCM.
Working to the s
The installation is the work of systems integrators, Sysco, whose relationship with The Tussauds Group extends back nearly 10 years to when they first fit out sister attraction, Tussaud’s London Planetarium. Managing director Hugo Roche explained: "Over the years we have undertaken a lot of the Group’s AV work - sometimes winning competitive tenders, on other occasions being appointed during the design phase and working more on a design/build basis."
In terms of delivery, Sysco looked at a number of ways of achieving th
In charge of the development of the 22,224sq.m facility was Jarvis plc, a facilities management and infrastructure services group, and the first company to win a schools project under the government’s Private Finance Initiative. The Jarvis team worked in partnership with the local education authority to create the facility, and also with a number of sub-contractors - amongst them Maltbury, who fulfilled the staging part of the contract.
As the facility's main hall is used for school presentations and exams, the Jarvis team wanted to provide under-stage storage for the exam desks without lifting the height of the stage. To achieve this, Maltbury designed and buil
The move is certain to be seen as adventurous in the current climate and watched with interest by senior industry figures. The studio industry has been in a state of flux for a couple of years with a change in the way records have been made, resulting in a number of mid to large studios closing. Metropolis created studio E, one of the world’s first purpose-built music surround mix rooms in 1996 and was the first major studio complex to embrace the ProTools revolution in the early 90s. The Group was also unique in offering ProTools workstations for every session with Prism con
The installation was supervised by DAT AB, Renkus-Heinz’s Swedish distributor. DAT installed the new Renkus-Heinz ST7/94 (90 x 40 degree dispersion) loudspeaker and a series of distributed nearfield speakers in the church, to minimize the effects of a long reverb time while projecting vocal and musical clarity throughout the building.
Faced with a limited budget and the requirement for a compact, simple, but state-of-the-art sound system, DAT measured the reverberation time at almost 4.5 seconds and created an EASE model of
To maximize an ideal location, Urbium brought back interior designers Tibbatts & Co to deliver this 1800-capacity multi-bar concept. With a large ground floor Tiger Bar, Moroccan-themed Kaz Bar, Manhattan-style Loft, colonial-style Raffles Bar and the retro feel of The Den, as well as a clever tunnel which acts as a bass trap into the industrially-appointed club, the venue caters to all tastes. There is also further evidence of the company’s move towards fine dining with the stylish, silver service restaurant. Yet where Newcastle has become truly groundbr
Installer Tony Abou-Khair outlines the brief: "In terms of speech intelligibility, the old system was not capable of doing justice to the demands of today. As an ever-increasing number of people have been frequenting the services, the sound system had to be expanded. The budget was tight so the loudspeaker cabinets we chose had to be capable of producing a balanced sound with excellent speech intelligibility, even without any type of external controller. As a result, we opted for the HK Audio Linear 3 Series. The acoustics in the front portion of the church are problematic because of a potentially unpleasant build-up of mid to hig
The Imagination team, led by designer Caroline Wilson and lighting consultant Tony Rimmer, worked in collaboration with researchers and futurologists from Orange to create the interactive learning environment. The experience begins with a series of animated stories, linking everyday needs to technology. Three more zones follow a pattern of ‘Search and Find’, letting visitors experience and be creative with technology. The space is built around three key technologies - voice activation/recognition, personalized information and Orange Home services. In ‘Tell Me A Joke’, voice recognition sof
Owner Gary Brown, together with Pete Williams of AVL, gave i-vision’s Geoff Jones the brief to design and realise an exterior lighting scheme. The stone constructed building posed several challenges - with dark grey stone proving a less than ideal lighting canvas!
Jones has lit the front façade with seven Superlight CDM 150 up/downlighters. Each fixture is fitted with a blue dichroic for the downlight and a magenta dichroic for the uplight. This method was employed to break up the architectural lines of the frontage, producing a dynamic blue wash over the lower half, and an eye-catching magenta sweep across the first floor. MA250 blue asymmetric floods were used to complete the picture
The screen, measuring 3.84m x 2.4m, is part of a complete audio visual installation undertaken by London-based Interactive View and forms the backdrop to a 6 x 5m stage area constructed by Rode Island. The area is designed to host an array of live events, including DJs, solo artists and bands and was heralded by a week of live events, including appearances by Grand Master Flash, Craig David, Blue and The Libertines promoted on Capital Radio throughout.
Interactive View managing director, Lee Edwards, commented: "This is the largest audio-visual installation in a retail outlet in the UK to date, and is part of HMV’s nationwide refurbishment. We’ve designed and managed this
Cinevideostudio was established in Mantua, near Verona, back in 1983, and moved to Milan in 1997 where the collaboration with MTV Italy began. Today it employs around 80 people, and boasts a complete post-production suite - with editing and transfer facilities dedicated to Quantel and Avid - as well as transmission studios among its facilities.
Cinevideostudio’s E studio, featuring the lighting of Coemar, was used recently for a concert with international artists Robbie Williams, Alanis Morissette, REM and Oasis, for the Italian MTV Live, which is shot i
