Jean-Michel Jarre partners with CODA Audio to launch SPACE by CODA at ISE 2023

In what promises to be one of the most exciting launches of the year, iconic electronic musician and composer, Jean-Michel Jarre, and contemporary French artist Eric Decastro have teamed up with CODA Audio to unveil SPACE by CODA at ISE 2023.

More than the sum of its parts, and more than just a simple product, SPACE by CODA combines advanced AV technology with art to create a seamless audio-visual experience that is scalable and adaptable to any environment – and where the mechanics of what is a concert-grade audio experience are rendered completely invisible. Indeed, SPACE by CODA allows you to create your environment to be anything you like, or integrates seamlessly into existing environments – cultural spaces, high-end retail, education, high-end residential, hospitality, clubs… the list is endless.

“Conventional AV solutions are often a compromise between technical requirements and visual aesthetics,” explains CODA founder and MD, Svetly Alexandrov. “High quality AV solutions usually include projector and/or LED screens, multiple loudspeakers, mounting accessories, and a lot of cables as well as acoustic absorbers and diffusors. This is usually at odds with the vision of the architect and/or interior designer who don’t want loudspeakers, acoustic elements, cabling and other technology cluttering up their interior design. SPACE by CODA resolves all these problems.”

So, what exactly is SPACE?

SPACE by CODA integrates high-end, immersive 3D audio, a 4K projector screen, ambient lighting and advanced acoustical treatment with the art or projection of your choice into a united system solution to transform spaces with audio. The result is the SPACE Panel.

At just 70mm deep, SPACE Panels can offer sound quality and performance surpassing that of conventionally designed (cabinet) loudspeakers. This driver-equipped canvas can transform spaces to feature invisible audio, enabling high quality, full-range sound in previously limitative environments. The entire sonic spectrum is covered with power and quality; unique ‘instafit’ magnetic waveguides native to the SPACE audio modules facilitate production of directable sound with capability for immersive audio – all from within the panel.

Sound diffusors and acoustic treatments may be interleaved between loudspeaker modules for better control over sound reverberation in the room. Optional sensor-controlled sub-bass modules can be deployed to deliver even lower frequencies to concert sound proportions. Matching CODA LINUS DSP amplifiers complete the package. The addition of the SPACE Hub processor opens up the possibility for true 3D immersive audio.

The loudspeaker modules and diffusor/acoustic panels are arranged and connected like building blocks – and then completely hidden behind an acoustically transparent 4K projector screen – or a SPACE Art high-resolution digital canvas print.

SPACE Panels can be arranged in any ratio, size, or custom orientation to create a modern, borderless panel that will enhance any environment. They can even be mounted on the ceiling.

Full LED surround lighting options are available in warm white or RGB with DMX control.

Inside the frame

The driving force behind SPACE by CODA are the three ultra-flat immersive loudspeaker modules M1, M2 and M4 which allow each screen to be built in 600mm increments.

M1 – 600 x 600 x 70mm – up to 10m distance

M2 – 1200 x 600 x 70mm / Double size, Double SPL (+6dB) – up to 18m distance

M4 – 1200 x 1200 x 70mm / 4xSize, 4xSPL (+12dB) – up to 25m distance

All loudspeaker modules include 10” passive radiators for LF, 6.5” MF drivers and 1.75” HF drivers with ‘instafit’ interchangeable waveguides for optimum directivity control. Each module achieves a frequency response range from 45Hz to 21KHz, with a maximum SPL of 121dB (A weighted) for the M1 module and up to 137dB SPL (A weighted) for the M4. The MF/HF sections are rotatable; this enables both horizontal and vertical plane steering, optimising SPACE for the desired coverage area. As with all CODA loudspeaker systems, these loudspeaker modules are phase linear enabling pristine audio delivery, whether for simple stereo or highly complex 3D immersive systems.

Identically standardised Absorber Modules (AB1, AB2 and AB4) have been designed to interleave perfectly between loudspeaker modules in a SPACE Panel or function as standalone SPACE Art, ensuring balanced and non-saturating system configurations can be achieved in any venue, from home cinemas to conference halls and houses of worship.

Diffusor panels are also available within SPACE Panels for reducing the build-up of standing waves. The single format D1 size is most handy in applications where room echoes require sympathetic attenuation with minimal compromise on sound energy. Whilst the AB panels will deaden the sound of a room, D panels will provide a livelier yet still controlled sound.

“SPACE by CODA is transformative technology at every level,” says global marketing & sales director, David Webster. “It transforms the way we perceive audio, and it transforms and elevates spaces, both visually and aurally. It’s fully scalable and totally customisable. The only limit is your imagination.”

To see how SPACE by CODA can transform your space, please visit space.codaaudio.com

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Technical production specialist Adlib supplied audio systems for four arenas at Creamfields 2019 – one of the best-known and most popular dance extravaganzas worldwide.

Taking place over the August bank holiday weekend, Creamfields attracts 70,000 dance fans each day for three days with a star-studded DJ line-up representing the diversity of dance culture. Merseyside-based Adlib worked directly for creative production specialist LarMac LIVE and their team led by Ian Greenway. The audio team proposed a creative ‘end-fire’ sub-bass system design as a solution to keep the extensive low-end content well-contained and within the boundaries of each respective stage.

Music in the The Pepsi MAX Arena was enjoyed by fans through a CODA sound system, comprising six AiRAY boxes per side, each of these stacked on top of four SC2 subs.

On the ground along the front of the stage were another 12 x SCP subs arrayed in six stacks of two in the ‘end-fire’ configuration to help keep as much bottom end on the site and minimise spillage. FOH & monitor control for this stage was a DiGiCo SD11, and Adlib’s crew were James Claridge and Matt Gadsby.

Meanwhile, ensuring the Adlib sound was perfect in the Sexy by Nature arena was Hassane Es Siahi at FOH and Steven Selby on monitors. The large tented space offered flying facilities and the chosen PA chosen was an L-Acoustics K2, with 12 x K2 elements for the main left-and-right hangs working in conjunction with two flown delay arrays further down the tent with four K2s in each. The delays provided more efficient coverage across the large space and assisted with the level control, so that the main system didn’t have to be driven so hard. On the ground, 20 x L-Acoustics KS28 subs were rigged in 10 stacks of two in an end-fire array. A selection of fills ensured the front edges of the barrier were properly covered with four ARCS per side, and four Karas did the front fill, plus six Kara each side as ground-stacked outfills. The desk was a DiGiCo S21 running with a DiGiCo D2 stage rack.

The 4-king-pole tent Axtone arena was ideal for a flown audio rig, which comprised 12 x CODA AiRAY a side each with two ViRAY down at the bottom of each hang. In this rig, Billy Bryson was able to fly two sub arrays each consisting of 8 x SC2s directly behind the main two PA hangs for greater low-end steering. On the floor were 20 x SCP subs set up in 10 stacks of two, again in the specified end-fire configuration. Coda APS & ViRAY were deployed as infill and outfill. The FOH console was a DiGiCo S21 fed by a D2 rack, and for monitors there was an A&H SQ-6 running via an A&H dLive DX32 Expander stage rack.

The Silo, which made its Creamfields debut in 2018, is a coliseum-style cylindrical chamber with a 30-metre dancefloor in the middle and towering viewing platforms – club style – on a second raised level. Complete with a 360 degree ‘wall’ of sound, this was created to give festival-goers an ultimate 360-degree sensory experience, evoking the spirit of the ‘underground’ with a slick production presentation. The DJ booth was also positioned on the first floor along with the audio and lighting control positions and four main speaker locations, so some lateral thinking was required for the sound design.

Four stacks of CODA ViRAY each with an SC2 sub at the bottom were chosen as the main arrays, all ‘ground stacked’ on the upper level. Four stacks of three SCP subs were carefully positioned on the lower level in pre-planned clearings in the scaffold structure. To cover the gallery areas open to the public, CODA HOPS speakers were rigged on vertical mounting brackets. This system was run via a Midas PRO2 console with a Midas DL251 stage box. A pair of Adlib MP5 wedges and a selection of Shure UR2 hand-held mics were on hand for guest vocalists.

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CODA Audio will be exhibiting at this year’s PLASA Show, London Olympia (Sept 15-17) on stand S61 with its recently launched compact 2-way arrayable point source N-APS.

N-APS is the supercharged smaller sibling of CODA Audio’s APS system. N-APS places new patented technology into a smaller box to offer ‘incredible’ power to weight ratio and flexibility for smaller venues or corporate events.

The new system includes a unique RDC Driver (Ring Diaphragm curved-wave-driver), Dynamic Air Cooling (DAC) and Instafit Magnetic Coupler.

Complementing the launch of N-APS, CODA Audio also introduces N-SUB, a compact 15” high output subwoofer that reaches as low as 30Hz. Like N-APS, N-SUB benefits from DAC which allows it to reach high SPLs whilst staying cool.

PLASA 2019 will be Europe’s first chance to see N-APS, so get yourself to London Olympia from the 15th to the 17th of September to see it for yourself.

codaaudio.com

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CODA Audio has launched its new ultra-compact 2-way Arrayable Point Source N-APS at this year’s InfoComm exhibition in Orlando.

The hi-fidelity N-APS is designed to deliver large dynamic range, increased flexibility and variable horizontal directivity for small to medium size venues.

N-APS is effectively the supercharged smaller sibling of CODA Audio’s APS system, and includes technologies such as the RDC Driver (Ring Diaphragm curved-wave-driver), Dynamic Air Cooling (DAC) and Instafit Magnetic Coupler. DAC technology dramatically improves heat dispersion, doubling the power handling and maximum SPL capability compared to a conventionally cooled system.

With a single quick release button, N-APS allows the user to easily change its unique Instafit Magnetic Coupler (available in 60°, 90°, 120°or asymmetrical horizontal coverage) enabling the required dispersion characteristics to be achieved without the use of any tools.

Complementing the launch of N-APS, CODA Audio also introduces N-SUB, a compact 15”high output subwoofer that reaches as low as 30Hz. Like N-APS, N-SUB benefits from DAC which allows it to reach high SPLs whilst staying completely cool.

CODA Audio can be found at InfoComm at Booth #7267 with demonstrations taking place in room #W232C.

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Adlib is supplying full technical production – sound, lighting, video and rigging with over 100 points – to the ongoing 2019 arena tour by Brendan O’Carroll and his Mrs. Brown’s Boys phenomenon.

Presenting its first ever musical tour, “Mrs Brown’s Boys D’Musical!” the show has just finished the first of three one-month segments, each covering four major cities where they play for a week.

Hassane es Siahi is the FoH engineer, the Adlib systems engineer is Alan Harrison, Steph Fleming is the monitor engineer and Shona Steadman is looking after mics and RF. Fiona Gibney & Gareth Woods are the producers.

A comprehensive CODA Audio system was chosen to deliver sound for the tour, while the cast members all use a variety of DPA headset mics. The two main PA hangs were smaller than normal – with (max) 12 x CODA AiRAY a side, flown slightly further downstage than the standard positioning.

The subs were 12 x CODA SCPs, positioned six a side on the floor, while the side hangs were kept as discreet as possible – both for acoustics and sightlines – these comprised of up to eight x AiRAYs, with four ViRAY downs depending on the venue. A flown centre cluster of six ViRAY covered the first rows of the audience.

CODA APS (array point source) speakers were attached – via special brackets – to the lighting trusses just above the corners of the thrust. These, coupled with more HOPS on brackets on the stage, allowed the focus of the audience in the first rows to be drawn directly towards the actors, keeping the immediacy of the humour.

The delays comprised eight x ViRAYs each on the left and right, with eight of the little 5-inch TiRAYs in the centre which Harrison said “pack a real punch” for their tiny size.

All of the flown speakers and those attached to the trusses were powered by 18 amplifiers – nine a side – and with TiRAYs, APS’ and HOPS’ being run passive / 1 amp channel each and the AiRAY and ViRAY bi-amped. Onstage the cast use side-fills for monitoring rather than IEMs which is proving a better solution for their specific brand of musical comedy. These were an array of three flown HOPS each side working in conjunction with two more HOPS on the upstage rail of the front lighting truss, pointing down.

The consoles were both DiGiCo’s – an SD10 for Hassane at FoH, Steph used an SD12 for monitors, and Shona utilised a DiGiCo S21 to monitor the RF channels.

The cast sing live to playback with the tracks stored on a fully redundant 16-channel QLab system which is at the heart of the performance. Musical director Andy O’Callaghan and Hass spent considerable time on perfecting the transitions and programming during cast rehearsals at LS Live.

A DiGiCo Optocore network was used to connect and deal with all the track signal routing from the QLab, the FoH and monitor consoles and racks.

The QLab rack was built by Adlib and sat at FoH, with lighting for the musical numbers (not the spoken word parts of the set) timecoded, the tracks were triggered by Mike Summerfield at FOH, upon which the QLab sent timecode into his consoles.

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CODA Audio is showcasing its graphical user interface for LINUS products – LINUS Control V2 – at Prolight + Sound this week.

LINUS Control v2.0 is said to be a “complete departure” from the previous LINUS Live v1.2 platform.

As well as new control software, new rewritten and restructured firmware has been developed to provide more stability, flexibility and features.

The LINUS Control v2.0 software is designed to provide a reliable and ruggedised application for the control and monitoring of the CODA LINUS amplification platform. It is optimised for both MacOS and Windows, for both tablet and native interfaces.

Bundled in the application behind the scenes is the device Firmware, Speaker Files, Control Logic and a 3rd Party UDP Control protocol that will allow for offline remote control of LINUS amplifiers from 3rd Party Devices, very useful in installation scenarios.

For a demo, drop by the booth at Prolight + Sound – Hall 8 Booth A40, 2-5 April 2019.

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Specialist music venue company VMS Live recently appointed Adlib to provide a new CODA Audio system design and installation in the popular Eventim Olympia in Liverpool, UK.

The project at the 1,900 capacity auditorium was led by VMS’s MD Steve Forster and Adlib’s Andy Dockerty, who in turn enlisted experienced Adlib engineer Ian Nelson.

The major audio requirement was to provide a sonic experience to satisfy top level touring artists, with a system design flexible enough to cater for the many in-the-round scenarios – including sporting and dance events – hosted by the venue. To help achieve this, VMS invested heavily in venue infrastructure including the provision of new one ton rigging points, enabling substantial audio systems to be flown for the first time.

Having mapped and modelled the space utilising these new flying points, the Adlib team proposed a CODA LA12 system. 16 CODA LA12 line array speakers make up the two left and right hangs, and cover the main room, the front three rows of the first balcony and the upper balcony positions. For the challenging middle/rear area of the first balcony, four CODA ViRAY cabinets, two a-side in delay positions, are located at the rear of an unused royal box.

Eight CODA SC8 cardioid sensor-controlled sub-bass units are positioned to the left and right of the stage. Rigged on heavy-duty wheel boards, they can be easily redeployed to another location, giving the flexibility required for any in-the-round sporting events. A pair of CODA ViRAY speakers provide in-fills, and the entire system is driven by the CODA LINUS CON DSP platform and CODA C10 amplifiers.

A Soundcraft Vi3000 console sits at FoH, while the monitor system is made up of 12 x Adlib Audio AA MP5 wedge monitors and an Adlib AA 215 drum sub, all driven by Linea Research 44M amps. The monitor console is a Soundcraft Vi1. A full complement of touring specification microphones, DI’s and stands was also an integral part of the Adlib package.

“We are delighted to see so much commitment and energy being put into a Liverpool venue and are very proud to be a part of the team delivering it,” said Adlib’s Andy Dockerty. “We genuinely believe that this specification rivals most venues in the country with similar capacities… and look forward to some exciting shows.”

VMS operations director, Richard Maides, added: “With Adlib specifying the system we are confident that we have fulfilled our end of the bargain and have a versatile and high-quality venue production in place.”

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