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Broadcast, Theatre, Film and more

STAGESAURUS for five Genres: New Music Theatre Linz

Data Packets on Route: Audio-over-IP

Landmark with Pristine Sound: Vivace in China

No. 16/2013 ENGLISH

Inside STAGES:

Publisher: STAGETEC Entwicklungsgesellschaft für

professionelle Audiotechnik mbH, Tabbertstrasse10,

D-12459 Berlin, Germany

Editorial: Medientechnik Presseservice, Köln, Germany

English: Rob James, Aldwick, UK

Design, Litho: art & craft [design worx], Köln, Germany

Printing: CE DE Druck, Köln, Germany

Cover: Alenmax, yaymicro.com; p. 2: wikipedia.org, Stamboltsyan; p. 5: Stage Entertainment, Morris Mac Matzen/mmacm.com;

p. 6: top: Beyer, Linz; down: Theatre Projects Consultants, London; p. 7: Sigrid Rauchdobler, Linz; p. 11: M. Dietrich,

digitalstock.com; p. 12, 13: SBT, São Paulo; p. 14: Bolschoj Drama Theater, St Petersburg; p. 15: Nataly Denisova, www.

geolocation.ws; p. 21: VTS Studiotechnik, Eglhausen; p. 22: Manfred Preis, Moscow; p. 23: By courtesy of Bolschoi Theatre,

Moscow; p. 24: top: HIMMELB(L)AU; p. 25: top, small: HIMMELB(L)AU; down: HIMMELB(L)AU; p. 26: HIMMELB(L)AU;

p. 27: TopVision, Berlin;

Alexander Nemes, Berlin; Stephanie Körver, Köln; Stefani Renner, Köln; Jahreiss Kommuniaktion Foto Film, Hohenberg;

ASPA STAGETEC BRASIL; Picture Library of SALZBRENNER STAGETEC MEDIAGROUP

Photopraphy:

Culture: An Investment in the FuturePeople have always loved going to the theatre, to be moved by love stories and dramatic plays and stirred by colourful costumes and visually powerful staging. Ancient amphitheatres and modern playhouses, such as the new Linz Music Theatre, are separated not only by more than two millennia but are also worlds apart in terms of sound and visualisation.

The requirements for technical equipment and impeccable surround sound especially have increased enormously. Requirements that inspire us every day to do better and to further optimize our proven products and system solutions. In this issue, you will learn about exciting projects in Russian theatres, at a Brazilian TV station and in the Chinese port city of Dalian.

In the theatre, the opera and in the recording studio, work is often hard. Culture and the arts are a demanding business that requires intellectual, creative and artistic talents. And this is not so far away from what is going on behind the scenes. Here too, creative, innovative and sometimes even imaginative input is asked for in order to arrive at imaginative solutions and flexible and user-friendly system installations. The focus for us is always on the customer and their individual needs and the desire for quality, efficiency, and reliability.

Dolby and the double-D symbol are registered trademarks of Dolby Laboratories.

The Executive Directors of the STAGETEC Entwicklungsgesellschaft

Dr. Helmut Jahne Dipl. Ing. Wolfgang Salzbrenner Dr. Klaus-Peter Scholz

The Cover Photo:It all started with a dream. Legend has it that the neoclassical architect Alexander Tamanian, who had a significant influence on the look of Armenian capital Yerevan today, saw in a vision a big modern theatre in the centre of this city at the foot of Mount Ararat. In 1940, the State Opera of Armenia was opened and has since become a centre for performing arts of all kinds – from opera to classical concerts, jazz and pop-music shows. The building houses two concert halls, named after the important Armenian composers Aram Khatchaturian who is also honoured in front of the opera house by a memorial, and Alexander Spendiarian.In April 2013, Tamanian’s dream will come true for a second time when the house will reopen after extensive renovation. The entire stage machinery was renewed: a new stage floor, new grid, ultra modern LED stage luminaires, fog machines, touchscreen control and, of course, an entirely new sound system. The project was implemented under the leadership of Waagner Biro in cooperation with Prolighting, an Armenian systems-design company. The MEDIAGROUP installed a comprehensive, predominantly digital audio system in one of the halls ranging from the main PA system, including a line array and more than 70 main and effects speakers, to a CRESCENDO console and NEXUS, and a stage-management system based on DELEC units and MediaControl. With this innovative equipment, the dreams of countless Armenian artists, dancers, musicians and actors will come true in the coming decades.

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News

AURUS for five Genres New Music Theatre Linz with versatile technology

Data Packets on Route MEDIAGROUP Relies on Audio Transmission over IP Special Delivery DELEC Introduces Audio Interface for Dante Networks

Hot Swap Large Brazilian Commercial TV Station Upgrades Its Intercom Systems

A Piece of History Complete Renovation of an Historic Theatre in St Petersburg

Touch Me Dual-platform Touchscreen Audio Console

Showcase Cinemas and an HD Control Room New Building for the Munich University of Television and Film

Quick-Change Artist Evolution in digital audio

Colossal Proportions Stage-Management System in the Totally Refurbished Bolshoi Theatre

Landmark with Pristine Sound Giant Multi-purpose Convention Centre Opened in China

An Excellent International Partner: SALZBRENNER STAGETEC MEDIAGROUP Branch Locations

Dalian – a sea port in North East China. A spectacular conference centre opens the gates. Beautiful to behold and, with the Vivace digital acoustics enhancement system, music to our ears.

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News

Updating Large Systems While RunningConfiguring a TDM system is far from trivial. In order to ensure extremely fast signal routing not only within NEXUS Base Devices but also on large networks featuring several thousand inputs and outputs, the entire network infrastructure must be predefined and stored in flash EEPROMs in all components involved. To change the configuration, the flash memories must be overwritten. This used to require a system shutdown and reboot, which typically meant an interruption of the signals routed through NEXUS. This restriction is now a thing of the past. In many cases, for example a change in Base-Device configuration, NEXUS can now be reconfigured on the fly.First, the new system configuration file is loaded as usual. During the second step, the new Test-It feature validates whether the intended

SNMP System MonitoringMany large facilities with an extensive IT system use the Simple Network Management Protocol (SNMP) as a higher-level centralised management program for global monitoring of networks, storage systems and servers. NEXUS networks have been included in this monitoring since late 2012. In this scenario an XCI card, which acts in NEXUS as a universal interface for various serial data formats, is used as a link between NEXUS and the SNMP Manager software. Initially, the card routes all available static information on the NEXUS network to the SNMP Manager, such as the number of connected NEXUS Base Devices. The XCI also forwards all error messages from the NEXUS network to the SNMP Manager. Of particular interest is the possibility of including NEXUS logic functions in the generated messages to the SNMP Manager. In this manner, any event which can be detected by logic functions is also reported to the SNMP. One example is the logical query as to whether NEXUS is currently logged on to an external control system. Therefore, overall master control room control, which is not part of NEXUS, is included in the SNMP monitoring.The SNMP manager software allows the administrator in charge to define clear rules as to what actions should be executed if an error is detected. For example, when a previously defined scenario occurs, the SNMP Manager will generate e-mails or send SMS text messages.

Control with ImagesIn last year's issue, we had an extensive feature on the Vivace installation at the Felsenreitschule (Summer Riding School) in Salzburg. Now, there is interesting news from the Salzburg Festival Hall, which the Felsenreitschule is part of. The Great House, which like all the Salzburg Festival Hall venues is equipped with a NEXUS network, has now added an extra control unit. This is used to control the sound-reinforcement speakers in the hall quickly and easily.The operator employs a notebook computer connected by wireless LAN. An image of the hall provides a backdrop for icons of the speaker or group of speakers to be controlled. Clicking on an icon gives access to all the relevant DSP settings such as volume, delay and EQ together with saving and loading presets. In this way even operators unfamiliar with NEXUS will be able to control the system while experienced NEXUS users will work much faster.The new NEXUS control in Salzburg was programmed to suit the client’s specific requirements. However, other clients will benefit too because the user interface can be ported easily to other projects.

system change is suitable for reconfiguration without a cold start. For example, it verifies whether all components on the NEXUS network are in operation and whether the system and the new configuration file are based on the same software build. In the subsequent step, the change will be committed and the flash memories rewritten. Neither the NEXUS Matrix software nor the audio will be disrupted in the meantime. This makes the new form of reboot-free configuration change especially appropriate for large systems such as audio matrix routers in a master control room that must be in continuous operation day and night.

SNMP-Manager

Server

Switch

Storage

NEXUS

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Congratulations!2013 is a year of anniversaries for the MEDIAGROUP. 50 years ago, Friedrich Salzbrenner founded his workshop for sound-system maintenance and repair and thus laid the foundation of what has become a global business. In the past five decades, the company has developed into a stable group of companies specialising in the pro-audio business. Today, the SALZBRENNER STAGETEC MEDIAGROUP has 15 branch offices and around 20 sales partners worldwide. Friedrich Salzbrenner, who celebrated his 80th birthday in December 2012, used the company anniversary as an occasion to donate generously to a German Children’s Cancer Charity Organisation rather than sending out invitations to come to Buttenheim.A celebration will take place in Berlin instead. Early in July 2013, the STAGETEC Entwicklungsgesellschaft (Research and development company) will be 20 years old. Reason enough for a big summer party when the new extension will open. The company premises by the Spree river will increase to a total of more than 4 000 square meters.

High-Tech ShowdownThe crowd clusters around the boxing ring where the fight is about to start. What was a theatre hall with a stage and standard auditorium seating a moment ago has been transformed into a boxing ring in just two minutes. Stage sets have been removed, rows of seats taken out and the ring moved into the centre – thrust out into the audience. Rocky is an in-house Stage Entertainment musical production that is currently being staged in Hamburg. It is full of surprising technical effects. STAGETEC AURUS, CRESCENDO, and NEXUS ensure that monitoring and sound reinforcement run smoothly. Around 400 individual logic operations have been programmed on the NEXUS system to adapt to virtually any conceivable performance scenario. Thanks to this, the trio easily handles the complete change of sound-reinforcement setup that accompanies the stage rearrangement for the grand finale!The musical is based on the 1976 hit movie Rocky starring Sylvester Stallone, and was co-produced by champion boxer Wladimir Klitschko. Peter Hylenski, the Rocky sound designer and a multi-award-winner in musical production, opted for STAGETEC systems because “their sound quality is unrivalled in the digital-console market”.

AURUS Controls PyramixAURUS consoles now offer a control interface for the Pyramix digital audio workstation from Swiss manufacturer Merging Technologies. This interface allows for a very intimate link between the two systems. It is based on Merging Technologies' proprietary OASIS protocol. Compared with the implementations of Pro Tools and Nuendo control which were introduced last year, OASIS provides a relatively high transmission bandwidth for control and display data. This enables comprehensive control of virtually all Pyramix parameters and plug-ins from the AURUS.For this purpose, the user configures one or more AURUS channel strips as so-called DAW channels. The controls of those channels access the Pyramix signal-processing functions directly while the remaining AURUS channels work as usual with the familiar mixing functions. Conversely the Pyramix also passes its display data back to the AURUS, thus integrating the control side of the DAW into the mixing console. The AURUS and Pyramix PC user interfaces run concurrently in parallel. Swiss TV facility tpc have already implemented the Pyramix control feature in three new post-production control rooms.

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In Europe it is rare for a city to build a brand new theatre from scratch. Linz, capital of the state of Upper Austria and, after Vienna and Graz, the third-largest city in Austria was well served with a total of five theatres for its 200 000 inhabitants. However the old music theatre, which served as an opera house and a venue for concert performances of all kinds no longer met audience expectations in regard to comfort and acoustics. For many years, the city had envisaged building a replacement which would ensure both an unobstructed view of the stage and excellent acoustics together with the comfort and convenience of a generously sized theatre. The project had to jump a lot of hurdles. First, there was disagreement about the location, then about the architectural design. But the long gestation period and all the deliberation has paid off, as a look behind the scenes proves conclusively.

At a GlanceThe Linz Music Theatre took the move to the new building as an opportunity to establish a musical division for the first time. So, the venue will cover the genres of opera, drama, ballet, youth theatre and musical shows which are stages in three halls: in the large hall with extremely flexible staging; in the black box studio theatre and in the orchestra hall for concert performances, which also serves as the everyday rehearsal room for the world-famous Bruckner orchestra.The MEDIAGROUP supplied and installed all the sound technical systems for this major project. The setup includes an extensive oratis intercom system, a stage-management system based on oratis and the MediaControl system, a NEXUS audio network for signal distribution throughout the building and AURUS mixing consoles for each of the three halls and the additional recording studio. The sound-reinforcement systems, the video installations, the monitoring and hearing-aid systems and finally the media controller were also supplied by the MEDIAGROUP. Each of those systems deserves a detailed

AURUS for five GenresNew Linz Music Theatre with versatile technology Music and theatre are an essential part of Austria’s rich cultural history. The city of Linz where the Austrian composer Anton Bruckner lived and worked for 15 years shares this tradition. With the new Linz Music Theatre, the city has gained a superlative multidisciplinary venue

report of its own; however, for reasons of space, we will focus here mainly on the STAGETEC components.

Sheer Size – the Main StageThree stages for five genres means that at least one of those stages must be very versatile. At the new Music Theatre, it is the Great Hall which can be adapted seamlessly to the various genres and their diverse requirements. The stage construction plays a key role in this. First, it impresses by its sheer size: Including the main stage, the

The Revolving StageThe large rotating stage (shown in dark grey), is 32 metres in diameter making it one of the largest in the world. It is used to change stage sets quickly. A secondary 15-metre revolve with three platform lifts is integrated inside the revolving stage. This design enables multiple sets to be erected on the main stage at the same time and allows the current set to be changed quickly and efficiently.

7Read more on www.stagetec.com/stages

backstage area and the wings, the overall stage area is an incredible 2 066 square metres. The stage machinery deserves a closer look. It is dominated by a large revolving stage no less than 32 metres in diameter which incorporates a smaller revolve and several platform lifts which can be used during performance. Everything here can be in motion. For modern productions this is a tangible benefit. For all the technical trades however, it represents a huge challenge. To have not only power-supply sockets but also NEXUS audio network ports readily available everywhere on the stage, slip rings were installed for the large rotating stage and the smaller revolve. Optical transformers interconnect NEXUS optical lines at the transitions from the fixed part of the building to the moving stage areas. Now a NEXUS Base Device installed permanently under each of the two rotating areas can be operated independently regardless of the position of the moving elements. These Base Devices route monitoring signals to the stage, accept signals from wired microphones and provide I/O options for non audio data, such as control or stage-management signals. An optical patch bay installed behind the revolving stage slip ring allows up to three additional mobile Base Devices to be connected. The main-stage audio network also includes signal outputs to the power amplifiers feeding the loudspeakers, outputs for the in-ear monitoring systems and over 40 analogue inputs for radio mics. The hall also includes a control room equipped with a large AURUS console. An additional portable AURUS can be set up in the auditorium for musical production as well as for rehearsal support. This mobility adds to the audio flexibility required to mount productions in a variety of different genres.

Even Greater AdaptabilityThe Great Hall design places considerable emphasis on excellent acoustics. The conditions in the old theatre were quite problematic for some productions, which is why the management would not accept any compromises in the new building. Another focus was on establishing open sight lines from everywhere in the auditorium to the stage since this had been a cause of grief in the previous venue. Sight lines can be seen as good or bad objectively; however this definitely does not apply to acoustics. What is considered perfect for opera might be perceived as inappropriate or even completely unacceptable for musical productions. The client was aware of this and as a consequence has therefore made sure that the audio system is ready for the optional installation of a Vivace acoustics-enhancement system. Vivace enables the hall acoustics to be varied to suit the requirements of any type of show. How this is achieved is explained elsewhere in this issue (see page 24 and following pages). Together with AURUS, Vivace would also enable a variety of surround sound effects to be achieved. This would open up yet more opportunities to demonstrate the adaptability of the theatre and would be of particular interest to the developing musical division.

A Trio Under ControlIn standard production scenarios, the Great Hall has a capacity of nearly 1 000 spectators. Removing the orchestra pit and raising its floor to stalls level provides space for additional seating, extended the maximum capacity to up to 1 130. The Black Box, a trapezoidal studio stage for flexible use, is targeted at much more experimental productions and offers up to 270 seats. It allows for variable stage and audience locations. To achieve this requires a very open technical concept. Therefore, the Black Box installation uses only mobile audio equipment, a portable AURUS, with associated NEXUS Base Device, and additional mobile Base Devices from the pool as required.

Productions in the orchestra hall, the third venue of the new Linz Music Theatre, do not usually need audio-system support. This is where the orchestra performs chamber music and holds public rehearsals. The sound equipment in this hall is not designed to support performances but to record them. Therefore, there is a large window between the orchestra hall and the recording-control room which houses the fourth AURUS in this large installation. The entire audio network, comprising the four AURUS consoles and 15 NEXUS Base Devices, is operated as a single network. This makes it possible to record performances on any of the stages as well as supporting productions in any of the three halls.

Exemplary ExecutionWith the completion of the Linz Music Theatre, Austria now has a striking new performing-arts venue. With a net floor area of almost 45 000 square metres, it is the largest new theatre building in Europe and one of just a few institutions housing all the theatre support operations including workshops for metalwork, carpentry and tailoring as well as all the storage facilities for costume and props. Countless new technologies were used within the project, for example, to install the large fully automated scenery store which enables scenes to be reset in record time Our main focus was on the flexible STAGETEC audio system, the highest quality and maximum efficiency are here as an example of all the components of this successful overall project.

Hidden in Plain SightWhen designing the technical systems, another key requirement was to keep the individual components in the background, so far as possible out of sight of the audience. This required creative solutions, in particular, when siting the stage luminaires and sound-reinforcement speakers. One example is the centre of the theatre ceiling: There a ring of light shines so brightly that one can distinguish neither the individual lights nor the hidden speakers.

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With the advent of file-based production work flows, audio-data transmission over computer networks became established in professional audio. Thanks to constant improvements in network performance, systems were soon capable of carrying not only pre-recorded files but also live signals over Ethernet networks. Meanwhile, this approach has gained in professionalism and reliability and can be combined to advantage with classic audio-routing systems. For example, the NEXUS XDIP card, introduced in 2012, and the oratis Dante IF card provide interfaces between the worlds of Time Division Multiplex (TDM) and IP. In IP scenarios, the MEDIAGROUP relies on Audinate Dante™ from Australia, which offers distinct advantages when compared with competing technologies. Within the MEDIAGROUP, Treva Head, executive manager of the Australian MEDIAGROUP office in Sydney, spends a lot of time with Dante. Read our interview to find out what he thinks about the future development of IP systems in comparison with conventional digital audio distribution systems.

STAGES: Treva, what are the advantages of using IP for audio signal distribution?Treva Head: In general it can be said that professional audio routers are relatively expensive. It is easy to see that highly specialised systems like the NEXUS or the oratis matrix are designed for specific, professional applications. In contrast, Ethernet IP network components are pretty much mass-market commodity items. If these can be utilized successfully for routing digital audio in professional production environments the result is huge benefits.Another reason is the ubiquity of IP networks: Today’s world is full of them – they already exist almost everywhere. If they can also be used for audio routing, this will often negate the necessity to install new routing hardware. Again, this is a cost-saving advantage. But there is more to it than that. Using existing networks for audio transmission also opens up the possibility of entirely new applications, for example,

Data Packets on RouteMEDIAGROUP Relies on Audio Transmission over IPTo the user, the route taken by digital data is irrelevant just so long as it is complete and arrives in time. For professional audio transmission, this means a choice between two different technologies: classic Time Division Multiplex and IP networking – or a combination of both

connecting intercom subscribers over the intranet or monitoring on-air signals over office networks in broadcasting centres.

STAGES: It sounds as if classic audio routers days are numbered …Treva Head: No, not at all! Both methods – distribution of audio over IP on the one hand and TDM as used in dedicated professional routing systems such as NEXUS or the oratis matrix on the other, have very different pros and cons. The technologies complement each other rather than the newer one being on course to replace the older completely in the foreseeable future.

STAGES: What is the main advantage of TDM technology?Treva Head: It is and will continue to be absolutely superior in the number of audio channels possible and in guaranteeing the lowest possible latencies. NEXUS and oratis route audio within a single audio sample. At a sample rate of 48 kHz, this is only 20 microseconds; at 96 kHz, this reduces to just 10 microseconds. That’s just one hundred-thousandth of a second! With IP switching such values are inherently unattainable. When routing audio over IP using Dante, the lowest possible latency is 250 microseconds, which is a whole magnitude greater than the latency values achievable using TDM. Furthermore, this performance is highly dependent on the network topology and good network design. The more switches there are in the audio transmission routing path, the longer the network delay. With up to ten switches the delay of a Dante transmission can be set to one millisecond. In larger networks with more switches the delay time will be adjusted to five milliseconds.

STAGES: Is there any way to deal with variable latencies?Treva Head: Dante follows a very intelligent approach. First, the latency is set and then remains constant for the entire transmission period. This is essential for professional audio transmission. With Dante, this delay is set at the receiving end. Compared with other

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systems, where this setting is made at the transmitting end, Dante makes configuration quite straightforward. This is particularly true for multicast transmission where many receivers tap off the same Dante signal on the network. Each receiver may well have a different number of switches in the routing path!Simple configuration with low latencies was the main reason why we opted for Dante and rejected other IP audio solutions.

STAGES: Let us return to considering the general benefits of IP technology for audio distribution.Treva Head: IP network structure can be quite ad hoc. Whenever you need to add a new user, you can do so anywhere on the network. All you need is a cable link from the new user to the network. And even if a network component has no free ports the problem is easily solved by just adding a standard switch to the network which will provide new Ethernet ports. When transferring this principle to audio routing, you are free to add new sources and destinations to the Dante network at any time.This does not apply to TDM buses. Their signal distribution is not based on packet switching as it is in IP technology, but through reading out the respective time-slot. One pre-condition for this procedure is a defined system structure which is known by all participants in the network and which can not be changed easily during operation. The great thing about the NEXUS XDIP card and the IF Dante card for oratis is that they enable the highly structured TDM world to be combined with the relatively unstructured world of IT networking.

STAGES: How do you ensure that sufficient bandwidth for audio transmission is available on the network?Treva Head: In the IP specifications there are several ways of maintaining the transmission quality. Several methods are grouped together into a so called Quality of Service (QoS), a kind of tool-kit which can be used selectively as needed. One of the QoS methods is for example prioritisation of the various types of data transmitted over the network. In practise, all Dante data packets are marked in such a way that they are treated as top priority by all the active network components involved. Another method reserves a specific amount of bandwidth for audio transmission in order to ensure the audio stream does not break off in mid flow due to network overload. Depending on the data rate of the Dante network, these strategies allow for secure transmission of a high number of audio channels, completely without packet loss, jitter or latency changes. With a data rate of 1 Gbit/s for example, up to 512 audio channels can be transmitted in each direction!

STAGES: But this measure alone will not ensure the degree of safety and reliability expected in professional environments.Treva Head: No, but it is also customary to configure a redundant connection. With Dante, these are known as the “primary channel” and “secondary channel”. These channels have separate physical connections. For this purpose, the NEXUS and oratis Dante cards are equipped with multiple network ports, thus providing for true redundant cabling.

STAGES: Does Dante offer other advantages?Treva Head: About 70 manufacturers support Dante at present and the number is rising. This results in a multitude of applications, connecting devices from different brands via Dante to exchange their audio signals. Dante setup and implementation is pretty easy, even in such a mixed environment – and it always works. When two Dante devices are connected together, you have guaranteed communication.

Example for Broadcast Use: Monitoring Audio in the Office NetworkBy no means all audio signals in a broadcasting complex are time sensitive. Often, a journalist just wants to listen to a recording for research, an editor wants to give a radio report a final check, or off-air signal monitoring is required. A single NEXUS XDIP card is used to convert the required signals into Dante data packets and to insert them into the office network. Subsequently, any of these signals can be picked off anywhere and everywhere in the network and can be played back through a suitable interface. Many devices will fulfil this purpose, as Dante is supported by a large number of manufacturers. Or, the so called Dante Virtual Soundcard, a simple application by Audinate, turns every computer into a Dante client.

Example for Theatres: Dante replaces 100V line systemsMany audio lines are needed in a theatre. The in-house address system plays a key role in keeping the entire team updated during an event. It routes monitoring signals, calls, and scene-change announcements. In this application, latencies of 5 milliseconds or less are perfectly acceptable. Therefore, when upgrading theatre systems, integrating the announcement speakers over IP lines into the PA and stage-management system is an attractive option. The signals from the oratis and or NEXUS systems are fed to the loudspeaker network using a Dante interface; a second Dante interface with integrated power amplifier then feeds the speakers. The MEDIAGROUP has designed, constructed and implemented suitable interfaces in many installations. This elegant solution renders 100V line systems obsolete and offers a much more flexible approach to driving loudspeakers.

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Dante addresses a very broad range of applications. This technology can be found not only in broadcast and in all kinds of live event productions but also in a variety of fixed installations. One example is in railway stations where Dante is used to connect the announcement loudspeakers with a central subscriber unit or pre-recorded play-out device. You can view Dante as a tool-kit for IP-audio connections. Together with the Dante Virtual Soundcard, it enables each and every PC in the network to participate in audio exchange. These are all valuable advantages compared with some other IP-based audio transmission solutions.

STAGES: Ratification of the Audio Video Bridging (AVB) standards is imminent. Do you think that this will render Dante redundant?Treva Head: Definitely not. AVB addresses a broader range of applications compared with Dante and as such will not be as efficient in terms of network utilization. AVB also specifies mandatory requirements for active network components. A switch must be AVB-enabled to create an AVB network cloud, and when multiple switches are required in a chain, they must all comply. It’s these specific requirements that make AVB less suitable for many applications than a Dante system which can operate on any Ethernet network with at least 100 Mbps bandwidth. Nevertheless, AVB is an exciting development for audio only applications and having smart switches that can help monitor and ensure successful transmission of AVB streams is desirable in the long run. The number of vendors who have announced AVB support is even larger than the number of Dante supporters. Therefore, the fact that Dante components are already AVB-enabled is a great feature for all users. For the same reason, NEXUS and oratis use exclusively AVB-enabled switches on Dante cards, so each Dante card you buy today will be ready for AVB when it arrives. At the moment, however, the audio and video industries are still waiting for final ratification of the AVB standards. Dante, on the other hand, is already a proven and reliable transmission tool today!

NEXUS XDIP card at tpcOne of the early adopters of the NEXUS XDIP card is technology and production center switzerland ag (tpc). As a technical service provider for Schweizer Radio und Fernsehen SRF, the German speaking Swiss public broadcaster, outside broadcasting plays a key role in tpc operations. This application often requires a lot of flexibility which is improved by Dante. In this context, the NEXUS XDIP card enables, for example, the capacity of a NEXUS Base Device to be increased. A single Dante card provides 64 extra input and output channels and, when linked via a network, these I/Os can be located at almost any distance. Another application for the XDIP card is interconnection of two NEXUS Base Devices over Dante. This approach will be used when the two Base Devices are operating in NEXUS networks which are separated deliberately. Until now, tpc has used NEXUS XMF MADI cards for these audio-only connections. Tpc is planning a third use, integration of PA consoles into the NEXUS system. For this purpose, tpc is deploying digital mixing consoles which are also equipped with a Dante interface. Not only the audio signals but also control data can be transmitted through this network link and can control internal NEXUS events or external devices.

Read more on www.stagetec.com/stages

We had our conversation with Treva Head, a member of the MEDIAGROUP Board of Directors and head of the Sydney office. Treva Head is not only close to Dante geographically – the Audinate company is also located in Sydney – but also very deeply involved in the subject. He was the driving force behind the integration of Dante into NEXUS and oratis.


Imagine you employ an Ethernet network for distributing all audio signals using the Dante protocol. To monitor the audio, you have the option of reconverting the data packets from the network to audio with a Dante-enabled mixing console or another device supporting the Dante protocol to route it to the speakers. This approach would mean that monitoring would be restricted to just a few expensively equipped workstations.A solution comprising just a Dante decoder to extract the data on the network and convert it would require substantially less technical outlay. The only thing left to do then is to send the output signal to a power amplifier that could drive passive monitor speakers. Or you could use the DELEC NAM network amplifier module. The NAM has a Dante interface for four signals plus four analogue line outputs with power amplifiers capable of delivering six watts average power. This means that the audio decoded from the Dante stream can be routed directly to the speakers.

Announcements over EthernetNAM opens up a practical way of distributing monitoring signals all around the building. The previous report on page eight and following pages has already shown that there are numerous applications for such a device. The interface might be used, for example, for routing pre-recorded announcements from a server via Ethernet directly to the passive speakers of an intercom system. Expanding on this approach may lead to interesting consequences for the technical design of monitoring or paging systems that traditionally rely on 100 V line technology with amplifiers located centrally. A system based on the Dante concept would be fundamentally different. The reason for this is that signals can be tapped locally, for example exactly where they are needed to feed the speakers. This eliminates the need for long speaker cable runs and with them the need for the use of100 V line technology.

Special Delivery DELEC Introduces Audio Interface for Dante NetworksWith the proliferation of Dante systems, new technical challenges are arising that call for innovative products. This is the ideal opportunity for DELEC, intercom and commentary systems specialist within the SALZBRENNER STAGETEC MEDIAGROUP, to demonstrate once again its exceptional prowess as an innovator – for example, with the Dante-enabled Network Amplifier Module NAM

This specific application has aroused greatest interest in the NAM and, although the product has not yet been officially introduced, overall more than 500 NAM units have already been delivered!

WeatherproofThe NAM is a tiny device that is typically installed invisibly near the monitoring position. In this scenario, the user controls the volume via a serial interface and can select the desired signal from any PC that has access to the appropriate Ethernet network.Outdoor speaker applications include any type of public address system ranging from platform announcements to PA systems in zoos, parks, at open-air events etc. This application requires additional features. The unit needs to be weather resistant, so DELEC offers an additional option in a splash-proof surface mounted housing. This NAM version also has a microphone input for analysing the ambient noise around the loudspeaker to allow for automatic volume control and echo cancellation functions. The unit also provides GPI ports and additional AES/EBU interfaces as well as the power amplified analogue outputs. The AES/EBU ports can be used, for example, to negate the need for an oratis subscriber unit by using the Dante network. In this scenario, the NAM would allow for an intercom link to be established anywhere on site using an IP network. This turns the interface – originally designed purely as an audio output for Dante networks – into a truly universal tool.

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When one thinks of Brazil, images of the Copacabana, of sugarcane, or bossa nova will spring to mind. But Brazil is also the sixth largest economy in the world and boasts incredible growth. As host of the FIFA World Cup in 2014 and the Summer Olympics in 2016, the country will talked about a lot over the next few years and there will certainly be many an exciting broadcast installation. However, Brazil’s broadcast landscape with almost 3 000 mostly commercial radio stations and about 270 TV stations is already well worth a look today. One of these stations, SBT, is based in São Paulo. It is focused on popular entertainment content and news and is very successful. It was founded more than 30 years ago by the flamboyant entrepreneur Silvio Santos who is still leading the business. SBT’s technical systems are getting on in years and are being replaced one by one during on-going operation. Such a scenario is always a complex task and this is especially true when one of the key production tools comes into focus: the intercom. This system connects almost all the production facilities together. A complete replacement would mean rewiring the entire premises. The only other option is to install a new system utilising the existing infrastructure.

Reusing the Existing CablingThe old analogue intercom system had long since been amortised. The time had come to look for an up-to-date solution, primarily to improve the whole production environment by implementing a versatile and future-proof solution. Meanwhile, the old systems started to need intense servicing and SBT had already begun examining the intercom market two years ago. Augusto Reis Oliveira, Commercial Manager of ASPA STAGETEC BRASIL, remembers: “When we introduced the oratis system for the first time, the SBT managers were very impressed. Celso Lucio and Lauro Tenguan, responsible for the Intercom Project, were amazed by the quality of the system, its reliability and the manifold configuration possibilities.”

Hot SwapLarge Brazilian Commercial TV Station Upgrades Its Intercom SystemsASPA STAGETEC BRASIL is one of the most recent additions to the SALZBRENNER STAGETEC MEDIAGROUP. Nevertheless, with its impressive list of references, it is definitely among the most dynamic. For example, it has just completed an extensive technical upgrade at SBT, a popular TV station at São Paulo, where many MEDIAGROUP products are in use. Today, we focus on the replacement of the outdated intercom system by intelligent integration of oratis components

The existing analogue subscriber units were connected to the analogue intercom matrix via fixed coaxial cabling. Since there were no plans to change the physical location of the subscriber units, the new oratis system was designed so that they could continue to use the existing coaxial cable. This time however, the new oratis subscriber units connect digitally to the central oratis matrix frames. So oratis’ flexible cabling options came in very handy in this installation. Each of the 75-ohm coaxial cables equipped with BNC connectors can support two bidirectional audio channels in AES/EBU format. This change to the professional digital standard in stereo with 48 kHz sampling rate and 24 bit quantisation depth yields an enormous improvement in audio quality immediately.SBT is a big station with a lot of intercom units. The overall system includes 133 subscriber units in total, almost half of which were

The Project Team: Augusto Reis Oliveira, Stephan Salzbrenner and Dr Klaus-Peter Scholz (all from the SALZBRENNER STAGETEC MEDIAGROUP), Eduardo Padilha, Celso Lucio, Antônio Lorenzetti and Lauro Tenguan (engineering team, SBT).

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supplemented with expansion modules, 57 in total. Each subscriber unit connects to one of the four matrix frames which are themselves connected to an R4000 router, forming a large overall intercom system. Cross-linking of the matrix frames and router is by dedicated 1-Gbps lines which were installed easily in the equipment room. This setup allowed for retaining the legacy base infrastructure which had demonstrated excellent performance in the past. “This is our very first big oratis project based on coaxial cabling,” explains Augusto Oliveira. “Reusing the existing cables was one of the crucial aspects when it came to awarding the contract for the project!” Other important criteria were ease of integration, reliability and the wide variety of features. After testing the system extensively for weeks, Celso Lucio and Lauro Tenguan were convinced that oratis is the most advanced system on the market.

Plain Text LabellingThe existing system already had the possibility of assigning an alphanumerical label to each subscriber. For this purpose, the legacy subscriber units were equipped with LCD keys. This was certainly a high-quality and costly solution for its time because such keys are relatively expensive. However, for current expectations the label length was too short, making the labels confusing in daily operation. SBT, though, would not forgo this type of user interface. It had proved to be very successful, in particular, for the non-technical personnel who are the typical subscriber-unit users.This was exactly the idea which the oratis subscriber units improved on. The target-key labels can be up to 18 characters in length. This way, each subscriber can be contacted by his or her name and or function without the necessity of resorting to using abbreviations. Sophisticated use of colour to indicate the call status of each key is another advantage. These two features – 18-character labels and multi-coloured signalling – make the oratis subscriber units stand out in the market and, in particular, in their price range. Ricardo Cuenca, Engineering Manager of ASPA STAGETEC BRASIL, puts it like this: “For a high level of user acceptance, it is extremely important that they feel comfortable with the subscriber-unit user interface. 90% of intercom users have no technical background.”

No Cable RequiredThe technical crew also experience the really sophisticated possibilities of the new intercom system. After the switch to the DELEC system, the system administrator can manage the entire system centrally for the first time. Now, he or she is able to configure each subscriber unit and assign target keys straightforwardly using drag & drop on a PC installed anywhere on the network. For the users, operation of these pre-configured subscriber units very quickly become self-explanatory.Fixed subscriber units only fulfil some of the intercom requirements in a production. Not every employee has a role which ties them to a specific location where a subscriber unit might be installed. In TV production it is therefore commonplace to equip all roving employees with wireless belt packs. DELEC systems are very open at this point. Ultimately, any wireless system requested by the customer can be integrated seamlessly into an oratis system. Since the wireless system for belt packs in use at the time when the upgrade was specified was long outdated, the MEDIAGROUP also supplied a new system comprising 77 DECT-connected belt packs and 16 base units. SBT thus obtained their entire new intercom solution from a single source. Overnight SwitchoverIn one week, during the first quarter of the year, the people of São Paulo hold their carnival celebrations with much devotion and

magnificent processions. The new system was deliberately only commissioned after carnival; however, many preparations had been completed in the background long before. The entire new system was installed and tested thoroughly in a space that was not needed for current productions. During these test runs, engineers defined the necessary configurations, and the system administrator had the opportunity to conduct in-depth studies of the new system. Afterwards, key users received a quick training on the new system. Thanks to the unchanged basic philosophy of the system however, end-user training could be very short. Following this test phase, the oratis matrix frames and the oratis R4000 router were installed and networked in the equipment room. The only things left to do were to replace the subscriber units and connect them to the new matrix frames. Thanks to excellent preparation this was an easy step. Overnight, the old subscriber units were removed and the new DELEC units installed in the original locations and connected using the existing coaxial cabling. From a mechanical perspective, this was not a problem since the new subscriber units have a very shallow mounting depth. The overall 19" width and the height of one unit are standardised in any case, so that even the existing installation frames could be reused. The next morning, the system was fully functional and ready for everyday use.

Big Leap From a Small Step After the Terra internet-TV station in São Paulo and Rádio Gaúcha do Grupo RBS, one of the most important radio stations in Brazil, based in Porto Alegre, SBT is the third and by far the most extensive oratis installation in Brazil. Considering the perfect integration into existing operations and technical environment, this project is exemplary. The new system offers state-of-the-art digital technology working in the background. This not only provides many new functions and maximum intelligibility but also marks a true paradigm shift in terms of audio quality, technology and user experience.

The Overall ProjectSBT not only replaced its intercoms but also installed new CRESCENDO consoles and three special STAGETEC ON AIR 24 desks, which were designed to suit SBT’s requirements. The set-up includes a comprehensive NEXUS audio network which can exchange signals with the oratis system through MADI lines. This whole installation is a real landmark in the Brazilian market.For all supplied and installed systems and also for third-party products such as the wireless belt-pack system, SBT has one single point of contact: the MEDIAGROUP. The MEDIAGROUP headquarters in Buttenheim were responsible for all parts of the project which took place in Germany. The entire project execution, the concept and all on-site work was undertaken by ASPA STAGETEC BRASIL.


NEXUSAudio-I/O

NEXUSAudio-I/O

NEXUSAudio-I/O

NEXUSAudio-I/O

Up to 54 Audio Channels8-24 Fader

to AURATUS XCMC-Board

AURATUS

CRESCENDO

AURUS

to RMC Mixer Control Card

5 RMD-Processing Boards




6 Dual Encoders

11 Dual Encoders

6 Dual Encoders

Audio Matrix interconnection Control cable

XCMC-Board

ON AIR

(scalable)


NEXUS

NEXUS STAR

NEXUS

NEXUS STAR

NEXUS

NEXUS

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In Russia, the performing arts have always played a key role, which is why today the country looks back on a long and rich theatre history. Some of the most famous theatres in the world can be found here including the Bolshoi and Maly theatres in Moscow and the Aleksandrinski theatre, the Mariinsky theatre and the Bolshoi Drama Theatre (BDT) in St Petersburg. All five venues have their origins in the 19th century, the Golden age of art, literature, opera and ballet in Russia. Of course, time has taken its toll. So all of these theatres have been, or are being, renovated currently. At the BDT, which is housed in a historic playhouse from 1878, these works are still in full swing. The renovation includes all areas. Of especial interest to us are the audio systems.

High Performance, Small FootprintThe BDT in St Petersburg is home to two stages, the main stage in the big hall and a further stage in the smaller hall. The house also has a rehearsal room, which is equipped with an audio system and a small recording studio. Four spaces, four different scenarios and hence, each with completely different audio requirements.Both the large and small halls with their control rooms require powerful mixing systems but space for housing control consoles is limited. In historic theatres this is a much more serious issue than in modern venues because at the time these buildings were conceived and constructed, nobody would have realised that one day such equipment rooms would be needed. This dilemma is particularly evident in the great hall where extensive signal routing and a highly flexible mixing console with a large number of inputs are needed. The ten NEXUS Base Devices plus a NEXUS STAR installed here are ample proof of the scale of the requirements. They provide I/O ports on the stage, in the pit, at the amplifier racks and of course in the control room. This would in fact be an obvious application for an AURUS system, however, its control surface footprint would have been too deep. Therefore, the BDT opted for

A Piece of HistoryComplete Renovation of an Historic Theatre in St PetersburgMarble, gold, stucco and sumptuous red velvet – this is what Russia's historic theatres bring to mind. All over the country the goal of comprehensive renovation works is to preserve the precious buildings while bringing the technical equipment up to date. The BDT is the latest example with three different combinations of mixing components

a CRESCENDO with 32 fader strips. CRESCENDO uses the same audio-processing hardware as the AURUS but is controlled by a more compact console.

Mini but mighty: the AURATUSAURATUS is a production, broadcast and live console with 54 input channels and a fixed bus layout. A single plug-in card hosted on a standard NEXUS Base Device provides mixer control and audio processing. Thus, AURATUS integrates seamlessly into any NEXUS network even without a NEXUS STAR.The handy control console is available stand-alone or as a drop-in unit with 8, 16, or 24 channel strips.

Mixed DoublesWith two audio-processor variants and two types of mixing console, three different mixing systems are available for a wide variety of application scenarios. The console spectrum ranges from the large AURUS to the CRESCENDO and AURATUS to the most recent and smallest addition to the family, the ON AIR 24, which is the only one not employed in the newly refurbished BDT.

NEXUSAudio-I/O

NEXUSAudio-I/O

NEXUSAudio-I/O

NEXUSAudio-I/O



AURATUS

CRESCENDO

AURUS






6 Dual Encoders

11 Dual Encoders

6 Dual Encoders


XCMC-Board

ON AIR

(scalable)


NEXUS

NEXUS STAR

NEXUS

NEXUS STAR

NEXUS

NEXUS

NEXUSAudio-I/O

NEXUSAudio-I/O

NEXUSAudio-I/O

NEXUSAudio-I/O



AURATUS

CRESCENDO

AURUS






6 Dual Encoders

11 Dual Encoders

6 Dual Encoders


XCMC-Board

ON AIR

(scalable)


NEXUS

NEXUS STAR

NEXUS

NEXUS STAR

NEXUS

NEXUS

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Scalable ComponentsSpace is also an issue in the small hall control room. Here however, the technical requirements are much more modest, so the same compact control surface is used in combination with a smaller audio processor. An AURATUS has proven sufficient with its XCMC mixer card installed in a standard NEXUS Base Device – the only one in the smaller hall.A second AURATUS – also with 24-fader strips – undertakes the mixing tasks in the rehearsal hall. Again, as in the small hall, a single Base Device is adequate for the entire signal routing in the studio.Bolshoi Drama Theatre has always produced many music recordings, be it for playbacks for rehearsals, sound effects or capturing important performances for broadcasting or the archive. Therefore, the theatre houses a recording room with an impressive AURUS at its heart. Of the four consoles, this one offers the most extensive capabilities. Each channel strip includes 11 dual encoders – almost double the number

Always Supreme: AURUSAURUS impresses immediately with its large, user-friendly control surface and powerful audio processing. Each channel strip is equipped with 11 dual encoders and numerous keys, thus avoiding assignment of multiple functions to the same controls. The unusually large number of controls gives direct access to the desired channel parameters. The largest AURUS console built to date provides a total of 96 channel strips. Slot-in cards hosted by a NEXUS STAR take care of mixer control and audio processing. The RMC controller card and up to seven RMD processor cards provide AURUS with scalable performance capable of processing up to 300 audio channels. Among the STAGETEC consoles, the AURUS offers the largest feature set including a variety of automation modes, an extensive mix-minus matrix and comprehensive system-configuration options.

Compact and Powerful: CRESCENDOCRESCENDO sits between the AURUS and AURATUS in terms of feature set and functionality. It uses components from the two other systems. AURUS contributes the controller (RMC) and audio-processor (RMD) cards and the control surface uses AURATUS hardware, which can however be extended up to 48 channel strips. The advantage of this combination is that the console is just about 60 centimetre deep making it eminently suitable for situations where space is at a premium.CRESCENDO configurations support up to 300 audio channels and 128 summing buses, making the console appropriate even for very large scale mixing projects.

found on the AURATUS and CRESCENDO consoles which have six dual encoders per channel strip. The AURUS design avoids multiple control function assignment, thus speeding up operation considerably.

Highest StandardsThe audio system concept for the Bolshoi Drama Theatre in St Petersburg was derived from its renowned Moscow namesake. Of course, the audio systems at the Bolshoi theatre in the Russian capital are significantly more extensive since these premises have many more venues and other facility rooms. However, when selecting the components and designing their interaction, the general contractor of both renovation projects, St Petersburg based company TDM, which has equipped many large theatres in Russia, followed a very similar approach. This is not only evident in the mixing systems. Similarly, the stage-management system at BDT also relies on PerformanCeTRL (see page 22). The same is true for the DELEC intercom system. Maintenance and renovation of Russia’s most important theatres follows the principle of specifying the most sophisticated state-of-the-art equipment, which will enable them to continue to make theatre history in years to come. Another house that has closed down temporarily and is on the verge of renovation is the Maly theatre in Moscow. It is the last of the aforementioned traditional playhouses with renovation and replacement of its audio systems pending. In common with its renowned fellows, it too will be equipped with MEDIAGROUP technology in the near future.

The Bolshoi Drama TheatreThe Bolshoi Drama Theatre in St Petersburg, formerly also known as the Gorky Bolshoi Drama Theatre, or just BDT for short, is situated in a historic Russian building in the classical style from 1878. BDT grew out of a theatre group that staged its first show, Friedrich Schiller’s “Don Carlos,” back in 1919. From an architectural perspective, the BDT is one of the most beautiful buildings in Russia and, from an artistic point of view, one of the most important theatres.


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What tasks does an audio console need to fulfil? What should it look like? And how will you use it? It is worth thinking about these issues even if one already knows the answers. Looking back shows that these questions sometimes lead to earth-shattering changes. For instance, 20 years ago, STAGETEC, with the consistent separation of audio routing and the actual mixing functions, devised a new approach that enabled technically streamlined and highly integrated large digital mixing consoles to be built for the first time. This principle, introduced in 1994 with the CANTUS and NEXUS, has been employed on all STAGETEC mixing-console systems released ever since and is now being copied by other manufacturers.Two decades later, another digital console paradigm is under the microscope: the operating concept. In a world full of smartphones, tablets and apps, younger users especially expect a completely different user interface to what the established sound engineer expects of his or her console. Why should a screen just show parameter settings instead of incorporating a touch-sensitive surface enabling parameters to be changed? Early experiments in using touch screens on mixing consoles failed because of immature technology and user expectations. Both are different today.So, what should a 21st century mixing console look like? There is probably no single answer to this question. A large control-room console in a production environment will always be different to a small FOH mixer; an on-stage monitor desk will differ from the one in the theatre control room. But this does not matter because with the introduction of digital mixing came the strict separation between audio processing and mixing control. Today, you are free to use a variety of control surfaces to access a console's audio processor.

Solo, Duo or TrioOne control unit might therefore resemble a classic mixing console consisting of channel strips with faders, encoders, and buttons. It

Touch MeDual-platform Touch Screen Audio ConsoleA new MEDIAGROUP mixing-console system from Buttenheim is making itself heard: the POLARIS touch family. The new arrival can have panels with or without hardware controls. The main control panels are multi-touch enabled display screens. Freedom of choice also prevails for the audio-processing with options of a multi-client enabled server solution or a NEXUS XCMC card

might be a laptop computer operated using a keyboard and mouse. Or it might use a touch screen supported by bespoke software developed specifically for the purpose. Why not combine these three approaches? Why not indeed! And so the idea of the POLARIS touch was born.Systems house SALZBRENNER STAGETEC AVM is based at the MEDIAGROUP headquarters in Buttenheim. They have repeatedly encountered the problem of finding the best possible solution for the diverse mixing requirements encountered in completely different projects. This led ultimately to the development of the POLARIS touch.A typical POLARIS touch installation includes one or more multi-touch-enabled 22" screens – the so-called base modules. Each base module includes 16 dual encoders for controlling parameters such as filter settings or dynamics in the usual way. Basically, such a module can already control all the functions of a console.To build a mixer in the classic form two base modules are joined together at an angle. One screen forms the meter bridge while the other provides instant access to the channel strips. This functional division is not fixed and can be changed at any time. This pair can be enhanced with a master module with 12 motorised faders, each with two physical buttons, and a master section with 32 assignable keys and a trackball. If you want a smaller console but do not want to abandon real motorised faders, you are free to use one base module plus one master module. Such a solo, duo, or trio setup comprising one or two base modules with or without a fader unit is very scalable; however, most users will probably opt for one master module and further fader expansion modules with 16 motorised faders each.

TactileAll units within an overall console configuration are hot-pluggable. So the user can decide at any time even during operation whether to add an extra operating module. Also, mixing consoles of almost any


size can be built. The number of panels possible is limited only by computing power and the useful ratio of audio channels to controls. New and unique is the possibility of channel control by finger gestures. This concept allows the user interface to be trimmed down radically in comparison with a conventional mixer. Because the control surface reacts to the user’s interaction, information irrelevant to the parameter under consideration is hidden. For example, if the user accesses an equalizer, the surface displays only the relevant EQ-parameters. Consequently, the POLARIS touch slogan is, “Touch what you see and you get what you need”. This operational paradigm gives very rapid access to all important parameters.

In the Background – Big and SmallThere is also freedom of choice in relation to the audio processor. For larger installations a POLARIS touch audio server is recommended, a familiar component inherited from TRIAGON, POLARIS’ predecessor. It supports up to four mixing consoles, for multi-client operation, in the same project simultaneously. The different base modules assignment

is not fixed permanently as belonging to a specific console but can be used in a single event partly for the FOH mix and partly as the monitor mixer. This is a huge flexibility advantage to the overall system.Brand new and first introduced as a prototype at the end of 2012, POLARIS touch XCMC is another console variant. For audio processing, this version comes with a single slide-in card which takes over the audio processing functions. Here again, the POLARIS touch developers draw on proven audio processing, the XCMC card from STAGETEC Entwicklungsgesellschaft in Berlin, which is used as the basis of the AURATUS and ON AIR 24 consoles. POLARIS touch XCMC is therefore particularly suitable for customers who already have a NEXUS audio network. All you need is the card and the appropriate controls. Depending on the NEXUS configuration, any number of sources and destinations will be available. By integrating the entire signal chain into NEXUS, this approach renders awkward format conversions and the associated interfaces unnecessary. POLARIS touch also benefits from the extremely low latency of NEXUS.

From Console to Control CentreAs a systems integrator, the MEDIAGROUP is often asked to provide a solution not only for audio mixing but also for a variety of control

tasks. TRIAGON – the predecessor of POLARIS touch – allowed for integration of SALZBRENNER STAGETEC MediaControl. With the POLARIS touch this option was further developed so that the console also provides control of lighting, stage-management systems, playout devices and more. A hot new feature is integration of the Vivace acoustics-enhancement system. Its presets can be accessed from the console directly during a live show. Future extensions of these control features or even general functional enhancements to the console are comparatively easy. Thanks to the special design of the POLARIS touch – limitations due to the hardware are negligible. New features and control functions can be added easily thanks to the touch screen.With its universal concept as a highly integrated multi-purpose solution, POLARIS touch suggests itself for many applications ranging from theatres, operas and multi-purpose venues to any kind of event or conference centre. The flexibility provided by the system allows for recombining the control modules as necessary in daily operation and caters for even the most challenging applications with ease. Whether a single base module is required for use in a highly confined control room, a mobile control for rehearsals, or a full-fledged console with either the small and compact audio card on the NEXUS network or the server version supporting multiple instances at the same time, this audio-mixing and control toolbox is just the ticket for any application.

Special Touch ScreenThe extremely user-friendly touch sensitive interface is based on a special touch screen. It processes a number of concurrent points of touch. This multi-touch capability enables multiple settings to be controlled simultaneously with ten fingers and also supports gestures. The screen has an ultrafast response time of less than 7 milliseconds. Both of these characteristics are unique in the touch screen market.

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HFF Munich is one of the most important film schools in the German-speaking countries. Graduates include not only the late, great Bernd Eichinger but also Academy Award winners Caroline Link and Florian Henckel von Donnersmarck. More recent graduates such as movie director Tim Fehlbaum from Switzerland and his cameraman Markus Förderer, winner of the Deutscher Kamerapreis 2012 awards, have also become successful and much talked about. For this to continue, current and future students need to develop all the skills necessary for their career. When the University was founded back in 1967, film and TV productions were much less complex technically than they are today. Moreover, both industries have experienced the change to the digital domain. While the classic analogue 35-mm film is not yet out of the picture completely, the digital competition is overwhelming. Obviously, the new HFF Munich building must provide the tools modern productions require. Furthermore, these tools should match the highest production standards available to ensure proper training for the students.

Ready for 3GIn order to recreate a realistic TV production scenario the new HFF Munich building is equipped with an HD-enabled video control room. Gerhard Reichart, the MEDIAGROUP project manager for this contract, compares its technical equipment to a broadcast digital TV-production environment. “All the components we supplied – from the digital video mixer to video servers, character generator, video wall, and an AURATUS audio mixer including a NEXUS router – could just as easily be found in a recently upgraded broadcast studio!” Video and audio are either produced live in the studios, or are pre-recorded. HFF Munich chose XDCAM HD422 as the source format since it is very popular with German public broadcasters, and has

Showcase Cinemas and an HD Control Room New Building for the Munich University of Television and FilmSTAGETEC will be best known to our readers as a manufacturer of digital mixing consoles and routers alongside DELEC and their range of intercom and commentary products. The broad-based MEDIAGROUP, however, is also active in other areas, for example, as a general contractor for audio projects in theatre and broadcasting. With the extensive installation in the Munich University of Television and Film (HFF Munich) new building, the group has also proved its expertise with HD video production systems and cinema equipment

purchased two player units. An alternative possibility is a Venice video server, which also exchanges data with the server system in the post-production department. In this way, the students can become familiar with purely file-based production methods from acquisition to delivery.Today, there are a variety of approaches to monitoring video. HFF Munich, opted for separate TFT monitors where each video signal is assigned to an individual screen. This approach has the advantage, in

Film School Cinema Watching films is an important part of teaching at the HFF Munich, both for analysing classic and contemporary films and viewing student productions. Cinema 1, the “Red cinema”, with nearly 200 seats, is the largest cinema at HFF Munich. In addition, the multi-purpose main auditorium offers more than 300 seats, and cinema 2, the “Blue cinema”, provides seats for more than 80 people. The video screening room with only 30 seats is significantly smaller.

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comparison with screen splitter solutions, that it is easier for students to understand how a TV control room operates. Therefore, the HD broadcast control room was equipped with a TFT wall made up of over 20 individual monitors.The technology in the video control room is ready for 3G but is operated at present in the current 1080i broadcast standard at 1.485 Gbps. In the future, when 1080p at a data rate of 2.97 Gbps has come into common use, the HFF Munich operation will be able to upgrade seamlessly.

Just Like the MoviesThe film equipment is also right up to date. The new HFF Munich building houses two cinemas plus a smaller video theatre and a lecture auditorium which can act as a fully fledged cinema for film and Digital Cinema formats as well as for video. The intention behind this was that these spaces should be used not only for presenting student productions but also for showing shorts and film features at internal or public film festivals.Therefore, the three main facilities – the two large cinemas and the main auditorium – were equipped with standard screen systems including a main curtain, horizontal as well as vertical masking, a sound system including the indispensable Dolby processors and, in addition to the internal wiring, comprehensive cross-cabling to the production systems.Similar equipment was installed in the Dolby-enabled dubbing theatre control room used for mixing films. This facility required a creative solution so that the loudspeakers mounted in the THX wall behind the screen could remain accessible for servicing. Space is an issue due to the stringent requirements for Dolby certification, so no servicing aisle exists behind the screen. Therefore, this control room features a unique folding screen frame manufactured by German company Schneider Spezialbau to MEDIAGROUP specifications.

Long Cable RunsThe move to the new 9 200 square metres building, meant that the University could enlarge its studio area significantly. Both departments, film and video-production, can now each access a large and a small studio. All four studios are connected to the in-house infrastructure by wall boxes providing SMPTE 311, CAT, audio, fibre-optic and/or coax ports depending on the intended use. The MEDIAGROUP installed all the wiring in the audio/video post-production facility – more than 60 kilometres of cable. The technical equipment was part of a different tender. The new HFF Munich building is located in the Kunstareal, a museum quarter in Munich city centre, and shares premises with the State Museum of Egyptian Art. From the city planner's point of view, this approach will add to the desirability of the area together with the many

museums. From the film school’s perspective, HFF Munich is now closer to urban life and the area will become the focus of the city. For the MEDIAGROUP, implementation of this inspiring project meant testing the limits of their skills. As project manager Gerhard Reichart concludes, looking back after nearly two years of the project: “With so many digital audio and video systems, cinema equipment, sound systems, special solutions and cabling for more than 40 rooms, this project required real teamwork both within the MEDIAGROUP and with the customer and third parties. We are very proud of the outcome, which will form the basis of the education of future star filmmakers.”

HD Control Room for Teaching PurposesThe HD-enabled control room at HFF Munich only differs from modern broadcast control rooms in quantitative terms. The students work on their projects with just a few cameras and a small audio mixer; the quality of the components used is however, consistently excellent and ranges from a Sony video mixer from the MVS-8000 series to an AURATUS plus a NEXUS audio router.

Folding Screen An unusual screen was installed in the dubbing theatre control room. It can be folded to give access to the speakers installed behind it.

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You might be tempted to think that the potential for technological progress in digital broadcasting is now all but exhausted. After all, the first big digital OB trucks appeared on Germany's roads over 20 years ago. Since then, the technology has developed steadily, producing much higher performance in smaller footprints and trucks have turned into mobile studios with remarkable space utilization. The introduction of HD has provided the incentive for new evolution. You will not find sensational new concepts or technologies in current OB vehicles, instead the technology continues to develop at a steady if unspectacular pace but at a very high level.This trend can be observed at WDR, the largest of Germany’s public broadcasters. In 2012, WDR’s fleet of TV OB trucks expanded and it is now graced by the impressive HD FÜ4 truck with an AURUS audio control room. As is so often the case, the audio control area occupies only a very small space on the new truck. In contrast, the video area is very generously proportioned including the two slide out side extensions, each more than one metre deep. The available space can be subdivided into different rooms with movable partitions and used in a variety of ways. A small multipurpose room serves as an additional VT area or an audio sub-mix room as required. Various task areas, including for example EVS facilities, can be moved around so that the truck can be adapted flexibly to a wide range of production scenarios.

Routing or ConnectingFlexibility is also essential in audio processing and AURUS provides just that. As a freely configurable audio-mixing console it lies at the heart of the audio system. WDR have already used the console successfully on their SD trucks where it has proven to be efficient and very reliable.The pairing of AURUS and the NEXUS audio network, which is open to any audio format you can think of, demonstrates the flexibility so important in outside broadcasting. The duo are there precisely because of their high degree of rapid adaptability and user-friendliness and not only at WDR.

Quick-Change ArtistEvolution in digital audioThe large HD OB vehicle plays a key role wherever Cologne-based public broadcaster WDR is covering significant events or productions. This truck is the latest of four WDR OB trucks with AURUS control rooms and sets new standards in versatility

Another plus is smooth integration into a wide variety of audio environments. On the HD FÜ4, AURUS and NEXUS had to fit seamlessly into a very open and versatile infrastructure. This manifests itself with the extensive audio patchbay in the audio control room. All relevant signals connect to this patchbay and all ports can be configured individually. Werner Menskes, production engineer from WDR's TV outdoor-broadcast department, who is in charge of planning and constructing the OB truck, explains it this way: “In the TV production field, such a patchbay is a critical element in being prepared for any possible situation.” Because for example, it may be necessary to insert additional sources or to change the input of a unit with flexible I/O configuration into an output. Other scenarios include creating extra monitoring points, direct and sophisticated troubleshooting, or even setting up a full fallback configuration rapidly in the event of a failure. All in all, the patchbay provides a total of 1 800 ports which gives a huge increase to the vehicle’s flexibility. The patchbay also provides the intercom ports. Subscriber units can be connected via discreet analogue or digital lines or tunnelled though NEXUS to connected stations. A secondary bay with another 400 ports located in the VT area supports this concept further.

Centralized and Distributed Simultaneously These versatile connection options make it possible to wire the vehicle centrally. When using the traditional approach, the crew lays multicore copper wiring, for example, from the stage microphones to the OB truck. Usually however, the typical NEXUS methodology with distributed audio interfaces is preferred with NEXUS Base Devices placed near the sources, extending the OB truck systems via fibre-optic cables to the location. Here again, WDR has left several options open because in addition to the NEXUS fibre-optic cabling, the truck is equipped with another optical system which can accommodate not only audio but also video, intercom, and data networks.The AURUS architecture is also used to provide maximum flexibility. All the console TFT screens, which display the channel meters in normal

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operation, can be connected to HD SDI signals alternatively and the central panel display can show the output from the RTW surround monitor unit.The HD FÜ4 has been used in many WDR productions ranging from sports events to recording cultural performances at the broadcaster’s own premises in Cologne. The highlight to date was the semi-final match between Germany and Italy in Warsaw at the 2012 UEFA European Football Championship. The truck generates several concurrent audio mixes, especially at large live events. In addition to the main mix, there is often a clean feed, an M&E feed and or other auxiliary feeds. To ensure smooth and versatile operation, the truck provides a total of four broadcast lines each with 16 audio channels and can be reconfigured to eight broadcast lines each with eight channels if necessary.Thanks to its open bus layout, the AURUS can be configured appropriately for the project in hand depending on the number of buses required. Regarding this feature, Bernd Peters, one of the WDR audio engineers who has completed several productions on the HD FÜ4 is particularly happy with the AURUS down-mix feature: “When we are doing a multichannel production, we use the AURUS down-mix matrix to generate the on-air stereo signal from our multichannel mix in realtime.”

Limiting for Surround MixesWith so many output signals available, on-air routing becomes a pretty complex business. On the HD FÜ4 this is simplified considerably by a global routing-matrix controller, the BFE KSC-Manager. The STAGETEC system is integrated with this control, so that selecting a transmission line with the KSC-Manager enables the appropriate NEXUS crosspoints automatically.

HD FÜ4 at a GlanceVTS Studiotechnik from Eglhausen near Munich was in charge of upgrading the HD FÜ4, a 40-ton articulated tractor-trailer. The trailer features extensions which increase its width more than one metre on both sides. Since the medieval town centre in Cologne, home of the HD FÜ4, has so many narrow streets it is possible to operate the vehicle using just one of the two extensions. When fully extended, the truck provides five rooms – a video monitoring room, a video control room 1, a VT with video control room 2, a audio-control room, and a multi-purpose facility – to accommodate a total of up to 23 people. On the audio side, the truck includes a 48-channel AURUS with a fully equipped audio processor. The associated NEXUS audio network has 128 microphone-input channels. The Magix Sequoia DAW and the Sonic Core EventDriver are used as 5.1-capable playback devices.

The levels of the various multichannel mixes should generally be limited using an external dynamics processor. However, only a few compressors and limiters support multichannel linking – the majority of units only support stereo linking, so manual multi-channel linking would be required. Therefore, the WDR follows a different approach and uses a hardware device for the main mix only. For the other sends it uses VST plug-ins instead. The Waves Surround 360° plug-in is suitable for this purpose. It is accessed via Nuendo, one of the few DAWs capable of outputting four multichannel signals. Integrating the DAW with AURUS would enable it and the plug-ins to be controlled from the console directly – this may well be an option for the HD FÜ4 in the future. So there is still room for further progress, the evolution in digital audio continues to produce remarkable innovations – provided these are supported with open and flexible design!


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In size, the Bolshoi theatre is indisputably great. In the course of its long history which began in 1856, it has also been the venue for many artistic milestones. But if this Russian national shrine was to continue writing history in the future, a complete renovation was essential. Vyacheslav Yuryevich Yefimov, Deputy General Director of the Bolshoi Theatre, explains the background: “The theatre is built on difficult subsoil. Moreover, over the course of time buildings with multi-storey underground structures have been built in close proximity to the theatre which has increased the adverse impact on its foundations. Therefore, the foundations and supporting structure were in a very precarious condition.”When the renovation works started in 2005, the true extent of the structural problems soon became obvious. Rectification required massive additional work to support the walls and ceilings which delayed renovation of the renowned theatre considerably. After more than six years of refurbishment the Bolshoi Theatre reopened in late 2011. The SALZBRENNER STAGETEC MEDIAGROUP, which acted as a partner of the Russian general contractor TDM from St Petersburg, also played a part in this impressive project. The MEDIAGROUP was in charge of planning and installing the major audio systems.This partnership has already proved its value in several other major Russian projects as you can read, for example, on page 14 about the renovation of the BDT.

Mixing Consoles, Networks, and Stage-ManagementFor the MEDIAGROUP, this was also a colossal project – probably the largest they have ever completed. At the heart of the audio installation are six AURUS consoles generously equipped with full channel counts. One of these consoles, installed in a control room, is used for sound reinforcement in the main auditorium where the original outstanding acoustic properties were restored by structural measures. This

Colossal ProportionsNew Stage-Management and Control System in the Totally Refurbished Bolshoi Theatre

Behind the magnificent façade, on ten floors above ground and four basement levels, the Bolshoi theatre houses more than 400 dressing rooms, a large rehearsal stage, a concert hall and of course the world-famous opera and ballet theatre. With seating for 1 700 spectators it is one of the great venues of the world. The Temple of the Muses in the Moscow theatre square surpasses anything seen before. This is also true for the new audio system and, in particular, for the first and most comprehensive installation of the new PerformanCeTRL

console is supplemented by a slave console within the hall. Another AURUS is part of the central recording system serving the entire Bolshoi complex with all its halls and function rooms. Each of the two rehearsal halls is home to an AURUS and the sixth console is used as a flexible mobile unit. A NEXUS network including more than 30 Base Devices and several NEXUS STAR routers interconnects all the audio-control rooms. The system was designed with expansion in mind since a new concert hall will be integrated in the future.Our main aim here though is to concentrate on the stage-management system, which ensures smooth operation behind the scenes. The system is remarkable in two respects: First, in relation to its size and complexity, this installation puts systems in conventional theatres in the shade. Secondly, this is the world’s first application of the ingenious PerformanCeTRL system.

What is PerformanCeTRL?PerformanCeTRL is a combines two well-established systems: the MediaControl media controller developed by Salzbrenner in Buttenheim and the oratis range of intercom products from DELEC. Together these two systems form a construction kit from which extremely versatile stage-management, paging and monitoring systems can be built. The components from the two makers dovetail seamlessly to form a single system providing a high degree of synergy and efficiency. For example, the oratis subscriber units can be used for both intercom and control/paging functions. This significantly reduces the installation overhead when compared with traditional solutions made up of multiple systems working in parallel.The heart of a PerformanCeTRL is a master controller from the MediaControl range. In large systems – and the Bolshoi-theatre installation is indisputably one – multiple master controllers are

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cascaded. In the Bolshoi theatre there are no fewer than 17 master controllers networked via Ethernet.Put simply, the master controller can be regarded as a router for control-data. It features an internal system bus which enables a wide range of modules to be connected. For example, you can build a stage-management console using the LCD keys which enable the stage manager to trigger commands and functions. Another module provides an interface to a cue-light controller. Other modules provide interfaces to serial ports, GPI ports and infrared interfaces. For interfacing to external control systems such as DMX, LON, or DALI there are gateways to these control protocols.

Audio Matrix Over oratisThe entire audio functionality of the Bolshoi stage-management system is based on components from the oratis product line. The basic unit is the so-called matrix frame. For extensive setups an oratis R4000 router enables up to eight network segments to be networked including multiple matrix frames. In the Bolshoi theatre 14 matrix frames and an R4000 are combined to form a very large overall network. The large number of matrix frames was necessary because an audio centre was required on each floor. Thus, each matrix frame now serves as an audio hub that connects all sources and destinations including the many subscriber units. This means that the functionality of the system goes far beyond that of an ordinary intercom system – rather, it is a premises-wide audio matrix.On the control side, the oratis components are connected to the master controller. In this way they can receive control commands, route the audio appropriately and forward the intercom button commands from the subscriber units to the master controller for evaluation and action as necessary.

Not Just for Stage ManagersFor the administrator, the sophisticated control software is the key module. Here, all necessary functions can be made available and all the necessary settings made to set up a paging and monitoring system. These functions and settings range from prioritised routing, where the monitoring signal is automatically muted during an important call and un-muted afterwards, to the integration of pre/post-announcement chimes, including a digital audio memory for the chime signal, and to selecting the content for individual monitoring programmes per segment.The stage-management system uses the same control software; however, the stage manager works exclusively with push-buttons. For this purpose, the stage-management consoles are equipped with up to 100 software-labelled LCD keys. During rehearsals, the stage manager can save the settings specific to each scene. Those scenes are edited later and assembled into the desired order. At show time, based on the pre-programmed schedule, the system controls switching of the numerator displays, which indicate the current scene number at backstage locations and in the dressing rooms.The administrator is also in charge of configuring the logic programming. This offers extensive possibilities. Using a GUI, various logical elements can be linked and used to trigger complex control operations. In particular this has proved useful for cue-light control, the numerator displays mentioned previously and for integrating playback devices into the programmed show sequence. oratis users are already familiar with such programming techniques because they have numerous applications in intercom systems.In such a large-scale system, reliability is crucial. Therefore PerformanCeTRL offers an extensive range of fault-monitoring features, all of which are based on the Simple Network Management Protocol (SNMP).

The Bolshoi Theatre SystemThe sheer scope of the Bolshoi theatre system is prodigious. In addition to the 17 master controllers, the 14 oratis matrix frames and the R4000 router already mentioned, around 300 speaker loops are involved. In the dressing rooms alone 160 modules are installed for adjusting monitor volume and selecting the monitor source from a choice of up to 16 programmes. 40 mobile LED cue lights, 60 four-digit, seven-segment numerator displays and nine stage-management consoles plus an entire intercom system, may give some impression of the magnitude of the overall paging and control system. Apart from traditional paging to selected loops, the system also enables automatic text announcements to be issued and complex light and audio signalling control. This first PerformanCeTRL installation has already proven that the system can cover even the most comprehensive and multifaceted requirements with different functional variants. However, the benefits of the system are just as evident even when the tasks at hand are not that complex. The combination of two products made by individual MEDIAGROUP companies offers the MediaControl stage-management systems manifold control capabilities and combines it with the premium audio quality and intercom functionality of oratis. This is a

truly intelligent symbiosis and perhaps the largest but no longer the only installation of its kind as you can read about elsewhere in this edition of STAGES. Finally, let us have a look at the overall project once more. Restoring the Bolshoi theatre to its former magnificence as a symbol of great history and culture while at the same time preparing it for the future was a gigantic undertaking. Within the scope of a single article it is hardly possible to describe all its facets. Vyacheslav Yuryevich Yefimov is certainly convinced that this successful combination of a theatre faithfully restored to the last detail and technically modernised to the current state-of-the-art will satisfy every visitor!

Cross Section of the Bolshoi TheatreThe true dimensions of this famous building become apparent from this model: The four basement floors and the new underground rehearsal hall for the orchestra located in front of the actual building are all clearly visible. Throughout the basement the building now has stable foundations in the difficult terrain.


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Almost giving the impression of a small roofed town, the awe-inspiring building ensemble is located in the heart of the new city district close to the sea, a prominent addition to the city skyline. It serves the entire region as a convention centre, theatre, opera house and exhibition centre. The complex will shape the cultural and economic life of the region significantly in the future.The goals are ambitious. Like every other aspect of the building, the technical design was based on a single premise: Nothing but the highest quality equipment. Everything must be consistent, from the highest audio quality and maximum flexibility to optimal robustness with absolute reliability of the associated equipment. The Chinese branch of the SALZBRENNER STAGETEC MEDIAGROUP is a major player in the provision of high-quality audio systems for large-scale Chinese projects. CEO Zeng Dong said in retrospect: “Everyone involved was soon convinced that the audio system should be based on STAGETEC components.”

This building is unconventional and so is the interior floor plan. At the core of the building are the large opera hall called the Star Grand Theatre with a seating capacity of 1,600, comparable with La Scala in Milan, and the adjacent Ball Room, which is actually a flexible multi-purpose convention space for 2,500 people. Thanks to this arrangement the main stage is shared by the two venues, the classical theatre auditorium and the multi-purpose hall. The main stage also features wings just like a traditional theatre. This variable layout scheme extends the possible application options ranging from conventions to chamber music and symphonic performances, to theatre productions and classical opera.

From a technical perspective, the two largest venues in the building – the Star Grand Theatre and the Ball Room – are of particular interest. A NEXUS network, which provides functionality extending far beyond audio routing, forms the basis of the flexible event-management system.

Landmark with Pristine Sound Giant Multi-purpose Convention Centre Opened in ChinaProperty developers in Dalian, a seaport town in the North-eastern Chinese province of Liaoning, have great plans. A new international harbour built specifically for cruise liners will boost tourism. The existing container port has been moved and a new town district is being built on newly reclaimed land. An urban atmosphere is evolving and a new bridge crossing the bay provides direct access to the city centre. One new landmark has already been erected: the Dalian International Conference Center

The theatre hall audio-control room houses a fully equipped CRESCENDO with 40-faders which can be supported with a mobile 24-fader daughter console used for FOH or Monitor application. One 24-fader AURATUS is installed as an FOH desk in the Ball Room. Whether used for sound-reinforcement, playout, recording or producing, this combination of consoles together with the networking ensure that the audio systems can be utilised in many different configurations to suit the wide range of purposes the rooms are used for.

For this project the link between Germany and China combines more than just the audio systems. Observers well-versed in contemporary architecture will notice immediately that the building bears the same signature as the BMW Welt complex in Munich opened in 2007. Both buildings are the work of the Austrian architectural design studio COOP HIMMELB(L)AU and are based on a steel space frame.

View into the sound control room of the Star Grand Theatre during the installation phase. The large CRESCENDO and the small, portable slave console are still wearing their blue protective shipping foam.

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The manifold variety of applications for the Dalian International Conference Center require different acoustic conditions. Meeting this objective demanded the same degree of perfection required of all the other systems. Therefore, the renowned room-acoustics experts from Müller-BBM, a company the MEDIAGROUP has already co-operated successfully with on numerous projects around the world, supported the project from the planning stage. In Dalian, Dr Eckard Mommertz was in charge of the acoustics concept, which needed to provide a high degree of variability.Lectures and conventions require short reverberation times for good intelligibility. However, opera perfomances need a moderate reverberation time in the range of 1.3 to 1.7 seconds, depending on the genre, and a symphony concert requires a reverb time of around two seconds for optimum sound. In the large theatre hall, with a volume of 14 000 cubic metres, the reverb time in its normal state is about 1.7 seconds. This can be reduced significantly to around 1.4 seconds for the empty hall using purely mechanical means. With an audience present, this value will be even lower. To achieve this passive, purely mechanical change, sound-absorbing curtains are mounted behind the hall’s custom panelling, which is

made of perforated metal elements. Deploying the curtains creates drier acoustics without any visual change. Despite the artifice, using tricks like these to manipulate the room acoustics passively does not yet provide enough reverb flexibility to produce the ideal acoustic conditions for symphony concerts. And this is where the benefits of electro-acoustics come into play, specifically the Vivace digital acoustics-enhancement system. Vivace offers significantly longer reverb times of more than 2 seconds when the auditorium is fully occupied. Furthermore, the reverb can be designed to be composed with optimum early reflections emanating from the correct directions. In addition to pure room-acoustics features, Vivace also offers innovative functions such as the creation of three-dimensional surround sounds. In essence it works like this: The on-stage action is first captured by four suspended microphones. Vivace processes the resultant signals and replays them via the numerous loudspeakers in the room. The processing models the desired room acoustics adding “artificial” early reflections. When computed and placed correctly, these give the audience the impression of a room size appropriate for the music being performed.

The building’s framework spans distances of more than 85 metres with cantilevers of over 40 metres. Dalian used to be a shipyard site and the local shipbuilders clearly made a significant contribution to the construction of the steel framework with their skills and expertise.

One objective of this Vivace installation was to make the room larger acoustically. The natural reverb created using construction methods is 1.7 seconds, at the lower end of the range required for symphonic performances. Using technology to create longer reverb times and a reverb signal made-to-measure for the hall makes it appropriate even for large orchestras. This is the icing on the cake, turning a fine opera house into an ideal concert hall. When the very first presets were tested during the rehearsals, vocalists and musicians were already enthusiastic about what the system offers. This is because it changes the acoustic impression not only for the audience but also for those

View from the Star Grand Theatre stage into the auditorium. The Star Grand Theatre at the Dalian International Conference Center is equally suitable for concerts, theatre, opera performances and conventions.

26 Read more on www.stagetec.com/stages

performing on stage. “When a Vivace system is used, the performers get back more energy from the hall. Among other factors, this is due to the speakers mounted into the gallery baluster that cover not only the audience but also the stage,” says Bjorn van Munster, product manager in charge from the SALZBRENNER STAGETEC MEDIAGROUP.The realistic manipulation of the acoustics is a key feature of the Star Grand Theatre in Dalian. The hall’s inherent acoustic is first damped using the hidden curtains and is then recreated at the virtual level as desired. Results include not only fantastic concert-hall acoustics but also breath-taking artistic effects. For example, creating an extremely long reverb for experimental plays is no problem. The acoustic character of a concert can also be adjusted to suit the prevailing or local taste.

The architectural design was implemented with greatest attention to detail. For example, the huge foyer integrates a curved path in a different colour leading from the entrance to the main stairs. Each of the marble floor tiles that make up the path were cut specifically with regard to their individual texture. There are almost no right-angles in the building – everything is curved or radiused. Therefore, the wall panels are also custom-made, presenting a multitude of different shapes.

The Vivace processor computes a large number of signals emulating various early reflections in the virtual hall. Each reflection is then played out from an appropriately positioned speaker. The later a reflection arrives at the listener’s ear, the larger the perceived hall is to him or her. And this is exactly why it is helpful to eliminate the physical acoustics at the Star Grand Theatre as a first step. Bjorn van Munster puts it like this: “If no physical reflections of the hall are perceivable, you are actually entirely free to create a virtual room of any size with the Vivace system.” This gives rise to another application for the digital acoustics system: Only a technology such as this enables acoustics to be integrated into a performance and for acoustics to be altered precisely on scene changes.Apart from the processor, the audio matrix is the second main component of the Vivace. The matrix routes the computed signals to the appropriate speakers. At this point, the system also adjusts signal levels and delays. When combined with speakers distributed around the hall, a matrix capable of doing this offers more than just acoustics virtualisation. For example, creating spatial panning of stationary sources or even those moving across the stage is very easy. If desired,

this feature can be used in combination with a specific system for automatic tracking of the actors’ or vocalists’ actions on stage. Implementation of such a tracking system is not planned currently at Dalian but might be added at a later time. Other options include playing pre-recorded sources or sound effects through the 3-D space, which adds further benefits for imaginative, modern staging. With these two further benefits, the Vivace room enhancement system also becomes a classic sound-reinforcement system. In Dalian, the opportunities Vivace offers in the realm of theatrical effects have been even more important than the classical room enhancement, a trend which has been observed more and more in recent times.Where once acoustics-enhancement systems were used as discreetly as possible and were strictly separated from the main sound-reinforcement system, now the two technologies are growing ever closer together. The better the integration, the more possibilities become apparent for innovative sound design in 3-D space!

The building construction was completed in June 2012, followed by installation and testing of the technical systems. The official opening ceremony was at Christmas 2012, with star pianist Lang Lang top of the bill.

There is a bright future with even more opportunities for Vivace when used in combination with CRESCENDO and its extensive scene-automation features. For example, using a MIDI link or the NEXUS logic-programming features, the Vivace acoustics presets might even be triggered from the console-automation functionality. With this extensive MEDIAGROUP system, the Dalian International Conference Center sound crew have a truly powerful toolkit at their disposal! A prime example of the use of a Vivace and NEXUS set-up for the increasingly important live entertainment and events markets. Incidentally, Lang Lang enjoyed the Grand Theatre. Did he know why this hall – which is actually too large and in particular, too high for a chamber-music or solo piano performance – sounded so inspiring? Today we give him the answer – in Italian: Vivace.

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SALZBRENNER STAGETEC MEDIAGROUPAn Excellent International Partner:

Branches

Distributors:

For example, in the new Topvision Ü52 HD vehicle

SALZBRENNER STAGETEC VERTRIEB PROFESSIONELLER AUDIOTECHNIK GmbHIndustriegebiet SeeD-96155 Buttenheim/DeutschlandPhone +49 9545 440-0Fax +49 9545 [email protected]

Beijing, ChinaPhone: +86 108 7732 198Fax: +86 108 7732 [email protected]

Berlin, GermanyPhone +49 30 639902-24Fax +49 30 [email protected]

Brussels, BelgiumPhone +32 2 300 07 80Fax +32 2 363 00 [email protected]

Chemnitz, GermanyPhone +49 371 918 653-50Fax +49 371 918 [email protected]

Cyberjaya, MalaysiaPhone +60 3 8318 2820Fax +60 3 8318 [email protected]

Göllheim, GermanyPhone: +49 6351 1317-0Fax: +49 6351 [email protected]

Hong Kong, Hong KongPhone: +86 108 7732 198Fax: +86 108 7732 [email protected]

Löffingen, GermanyPhone +49 7654 9104-0Fax +49 7654 [email protected]

Moscow, RussiaPhone +7 495 621 3777Fax +7 495 624 [email protected]

New York, USA Phone +1 347-799-2092Fax +1 888 782 [email protected]

Sao Paulo, BrasilPhone +55 11 346 701 32Fax +55 11 346 701 [email protected]

Sydney, AustraliaPhone +61 2 801 105 00Fax +61 2 807 218 [email protected]

Rome, ItalyPhone +39 06 354 035 52Fax +39 06 353 474 [email protected]

Vienna, AustriaPhone +43 1 74040-270Fax +43 1 [email protected]

AURUS and NEXUS are well established at Berlin OB service company Topvision. The Topvision OB fleet has relied on STAGETEC consoles for many years. The new Ü52 is Topvision’s largest HD vehicle both in physical size and technical potential. Its internal and external infrastructure is based largely on fibre-optic cables, which are ideal for extending the NEXUS audio network to anywhere on the location.

Athens, GreeceAylesbury, Great BritainBratislava, SlovakiaHelsinki, FinlandJohannesburg, South AfricaKuwait-City, KuwaitMadrid, Spain

Manila, PhilippinesNew Delhi, India Northridge, USAOslo, NorwayParis, FranceRio de Mouro, PortugalSeoul, Korea

Singapore, SingaporeStockholm, SwedenTaipei, TaiwanTokyo, JapanWarsaw, Poland

For more information about offices and distributors as well as a full list of all references please go to www.stagetec.com

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