100 VENUE
was important that we provided the HQ talent roster and venue with the fi re, power and production values to meet the high standards and demands of the AMG talent pool. The club has become an enor- mous stage set with our technology aiding the DJs to take clubbers on a journey. Add to this, the wrap-around video screen technology provided by Absen and imagery provided by ArKaos and you’ve got a sensational back drop to the circular DJ box.” In order to make this happen Frank and his team had to look to brands and products that combine state-of-the-art technology with innovation. They were looking for a portfolio of products that stretched the boundaries of conventional technologies. “We decided to work with Turbosound, MC², Pioneer, BSS, Crestron, Robe, Martin Professional, Avolites, Absen Video, Laserworld, Rane, Technics and L-Acoustics, choosing the brands’ most innovative and up-to-date technology to push towards making the design components excel in the club space,” said Frank.
The audio system is based around the Turbosound Flex Array system with the new Flashline TFS-900B subwoofers. “Primarily the sound system had to be capable of stadium / super club performance and reliability,” said Frank. “Given the range of EDM acts it had to be ver- satile, agile and robust and this is what we have achieved - outstand- ing musical, top-end, well defi ned, coherent, tight, attacking bass.” The main arrays, which are hung left and right of the DJ box are
each made up of four Turbosound TCS-1061/75 loudspeakers and four Turbosound TCS-1061/100 loudspeakers, these are powered by eight Turbosound Rack DP-50 amplifi ers - four per array. “The loudspeakers were chosen for their compact size and big sound capabilities,” said Frank. “A true engineering triumph, the Flex design offers outstanding SPL in a very compact cabinet dimension, prob- ably the best performance of any compact cabinet on the market. Top-end venues do not allow the system designer any indulgence to intrude on the high-spec, interior design. “With the Flex Array we had the performance with the integration re- quired, visually there was no jarring ‘big black box’ issues for the de- sign team and we got the musicality we were looking for, combined with a tight attacking coherent bass presence, which is essential. The visual direction made rigging and hanging hardware virtually invisible.” Two Turbosound TSB-212 sub bass enclosures are placed left and right of the DJ dance podiums and a further two at the rear seating area - these are powered by four Turbosound T-90 amplifi ers. Four Turbosound TA-880L loudspeakers have been installed around the seating booths, while 11 Turbosound TCS-1561/74 loudspeak- ers provide the delays, amplifi cation for these is taken care of by six Turbosound Rack DP-50 amplifi ers. Eight Turbosound TCX-8 loudspeakers have been specifi ed for under balcony fi ll, which are powered by two Turbosound Rack DP-50 amplifi ers.
“The sound system needed to create staggering, dramatic performances
as well as a sub-conscious uplifting of the atmosphere and mood within the room and space.”
Equipment used in the DJ box is refl ective of the industry at present and uses brands found on any standard rider, such as Pioneer DJM-900 mixers and Pioneer CDJ-2000 Nexus DJ decks, of which there are four. There is also one Pioneer DJM-850 mixer, one Allen & Heath Xone:62 DJ mixer and a pair of Technics SL-1210 MK5 turntables. Monitors are a combination of two Turbosound TCS-122 loudspeakers and two Turbosound TA-880L loudspeakers; a Rane TTM 575L mixer and a Rane SL3 for Serato Scratch Live interface are aslo available to DJs.
Sound management is via Crestron touch control panels, BSS Soundweb London processors and a Turbosound loudspeaker management system. This system allows the venue management to access the different zones and alter equalisation settings when required.
“The sound system needed to be completely reliable and there had to be complete coverage and consistency within the space, with complete control of the music content no matter what the genre or style being played,” continued Frank. “The sound system needed to produce quality and be able to create staggering, dramatic perfor- mances which result in patrons reacting and interacting with the DJs and programming; as well as a sub-conscious uplifting of the atmosphere and mood within the room and space.” When asked about acoustics, Frank told mondo*dr: “We must always be cognisant that it’s a social space and that the technology must not overpower the interior, we are especially aware that the de- sign and comfort elements take priority and we are there to enhance the space with our design.”
www.mondodr.com
Page 1 |
Page 2 |
Page 3 |
Page 4 |
Page 5 |
Page 6 |
Page 7 |
Page 8 |
Page 9 |
Page 10 |
Page 11 |
Page 12 |
Page 13 |
Page 14 |
Page 15 |
Page 16 |
Page 17 |
Page 18 |
Page 19 |
Page 20 |
Page 21 |
Page 22 |
Page 23 |
Page 24 |
Page 25 |
Page 26 |
Page 27 |
Page 28 |
Page 29 |
Page 30 |
Page 31 |
Page 32 |
Page 33 |
Page 34 |
Page 35 |
Page 36 |
Page 37 |
Page 38 |
Page 39 |
Page 40 |
Page 41 |
Page 42 |
Page 43 |
Page 44 |
Page 45 |
Page 46 |
Page 47 |
Page 48 |
Page 49 |
Page 50 |
Page 51 |
Page 52 |
Page 53 |
Page 54 |
Page 55 |
Page 56 |
Page 57 |
Page 58 |
Page 59 |
Page 60 |
Page 61 |
Page 62 |
Page 63 |
Page 64 |
Page 65 |
Page 66 |
Page 67 |
Page 68 |
Page 69 |
Page 70 |
Page 71 |
Page 72 |
Page 73 |
Page 74 |
Page 75 |
Page 76 |
Page 77 |
Page 78 |
Page 79 |
Page 80 |
Page 81 |
Page 82 |
Page 83 |
Page 84 |
Page 85 |
Page 86 |
Page 87 |
Page 88 |
Page 89 |
Page 90 |
Page 91 |
Page 92 |
Page 93 |
Page 94 |
Page 95 |
Page 96 |
Page 97 |
Page 98 |
Page 99 |
Page 100 |
Page 101 |
Page 102 |
Page 103 |
Page 104 |
Page 105 |
Page 106 |
Page 107 |
Page 108 |
Page 109 |
Page 110 |
Page 111 |
Page 112 |
Page 113 |
Page 114 |
Page 115 |
Page 116 |
Page 117 |
Page 118 |
Page 119 |
Page 120 |
Page 121 |
Page 122 |
Page 123 |
Page 124 |
Page 125 |
Page 126 |
Page 127 |
Page 128 |
Page 129 |
Page 130 |
Page 131 |
Page 132 |
Page 133 |
Page 134 |
Page 135 |
Page 136 |
Page 137 |
Page 138 |
Page 139 |
Page 140 |
Page 141 |
Page 142 |
Page 143 |
Page 144 |
Page 145 |
Page 146 |
Page 147 |
Page 148 |
Page 149 |
Page 150 |
Page 151 |
Page 152 |
Page 153 |
Page 154 |
Page 155 |
Page 156 |
Page 157 |
Page 158 |
Page 159 |
Page 160 |
Page 161 |
Page 162 |
Page 163 |
Page 164 |
Page 165 |
Page 166 |
Page 167 |
Page 168 |
Page 169 |
Page 170 |
Page 171 |
Page 172