060 VENUE
LED uplights have been used alongside the entertainment lighting, which was supplied by Dynamic Source. Chalermchai S of Dynamic Source said: “[The] arrangement of the moving heads and scanners in axes between the tree structures provide the maximum projection area... [While] the strobe lights and colour lasers are arranged in the length axis to the DJ booth to cover the entire dancefloor area.” Dynamic Source used four Robe Color Spot 250AT’s, two Robe Scanner 250XT’s, two CR-Laser Super 3S’s, two Antari Z- 1500 II smoke machines, and two Hungaro- flash EUDMX strobes to compile the intelligent lighting rig at Sound. The fixtures were controlled using a “Sunlite controller joined to Entec, which is equipped to increase the number of universes, this is linked to a Dynalite system, and gives more control of all circuits from the Sunlite software,” explained Chalermchai S.
Behind the bar is probably the most striking and prominent lighting feature in the venue, and this comes in the form of a 19 metre LED screen, which has been designded and developed by Orbit along with the owners, Bed Management and supplied by Neo-Neon. The LED screen creates a blank canvas onto which LJ and VJ can express their creativity within the confinements of the club’s interior. The screen works as a graphics equaliser, which means any visual effects created by the LJ or VJ interact with the music.
Bstieler described how the visual elements work throughout the club: “I think the visual and acoustic experience starts from the reception entrance walkway, a tunnel-like space with concealed animated lighting, leading to the main space with the seating pods and performance stage with inte- grated lighting linked to the beat and rhythm. Then there’s the bar with its 19 metres long LED screen as backdrop, which acts as graphic equaliser or canvas for art performance.”
When it came to the audio equipment for Sound, the organic smooth lines and integration were deemed just as important. Project Manager of Ma- hajek Professional, Ian Schofield, was in charge of the audio installation at Sound. He explained the original sound specification and its difficulties: “We had very limited ceiling space areas when deciding where to locate the JBL VRX932LA speakers. The seating pods were to be left clear of any audio and lighting fixtures so as to maintain their smooth curved lines and surfaces (a theme throughout the whole club). The tops of the ‘pod trees’ also extended quite a distance, so clear ceiling space was not available in the areas where we would have liked to position the speak-
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“We had to design a custom telescopic pole-mount which offered 360º of
rotation as well as vertical tilt once the speakers
were in place, this offered
unlimited ‘post-installation’ directional adjustment.”
ers for uniform sound coverage. Also, we could not just simply hang the speakers on cables through the (1.8 metres) false ceiling, as we would have been committed to these fixing points with no control of directional adjustment.”
In order to overcome these challenges Schofield said: “We had to de- sign a custom telescopic pole-mount which offered 360º of rotation as well as vertical tilt once the speakers were in place, this offered unlimited ‘post-installation’ directional adjustment. Also, as the VRX speakers were in double arrays, we could utilise their long-throw capabilities to achieve the required sound coverage.” The VRX line arrays are coupled with four JBL ASB6118 sub- woofers, the audio system is powered by two Crown MA5002VZ amplifiers and processing looked after by a dbx 260 V controller. It is, in fact, the amplifier / processing rack which Schofield described as a prominent part of the audio system. He said: “A stand-out feature would be the amplifier / processor rack, which is housed in a cylindrical cabinet and located in a public area near the roof terrace. It is almost floor to ceiling in height and fitted with curved black
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