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TIVOLI VREDENBURG Utrecht, the netherlands EUROPE/MIDDLE EAST/AFRICA

For over 30 years the Tivoli and Vredenburg venues have been major centres of music in the Dutch city of Utrecht. A project to bring both together under one roof along with the city’s Jazz Centre has resulted in the recent opening of The Netherlands, biggest live music venue, Tivoli Vredenburg. Various ideas of how to bring Utrecht’s vibrant and diverse live music scene together in one place had been circulating for around two decades. Ultimately, the chosen solution was to demolish much of the city’s Tivoli Vredenburg, incorporating its symphony hall into a brand new, 150-metre venue, adding five major new performance spaces, 11 circulation spaces and a total of 24 bars / restaurants, including those in the performance spaces themselves. Officially opened in July 2014 and located next to the city’s main railway station, Utrecht Centraal, the new venue has a total floor area of 31,000 sq metres, comprising 21,500 sq metres of new construction and 9,500 sq metres of the renovated symphony hall. Tivoli Vredenburg is designed to host all styles of live music, as well as conferences and seminars. From intimate chamber music recitals to large-scale pop and rock productions, Tivoli Vredenburg’s central theme is that it is ‘for everyone’ and aims to attract up to 525,000 visitors per year. Reinforcing the diversity of the productions that the venue hosts, each hall has been designed by a different architect. The existing 2,000-capacity, Herman Hertzberger-designed symphony hall - now known as Grote Zaal, or the Great Hall - is complemented by the 2,000-capacity Ronda designed by Jo Coenen & Co and cateres for pop and rock concerts; the 600-capacity Pandora incorporating various types of music, dance, conferences, fashion shows and other events, designed by NL-Architects; the 550-capacity Hertz for chamber music, comedy, theatre productions and designed by Architectuurstudio HH; and the 400-capacity Cloud Nine suitable for jazz, pop, dance, conferences and club nights and designed by Architectuurcentrale Thijs Asselbergs. Starting work around 18 months before the venue was completed, three teams - audio, lighting / video and technical projects including staging and communications - specified systems that would deliver high quality solutions for all the events that they were designed to host. The lighting and sound installations were completed by Fairlight and TM Audio respectively, the latter collaborating with Audiopro Nederland, and Switch Concepts installing a comprehensive communications system. Michel Arntz, Director of Bemmel-based Fairlight was very pleased to be awarded the contract to supply all production lighting for the venue. “This is a such a fantastic and high profile venue, it felt almost surreal to win the contract,” he said. “It’s a complete one-off, there is literally no better project in The Netherlands.” Fairlight has supplied and installed lighting at other iconic Dutch venues, including The Mezz in Breda and Amsterdam’s Melkweg (Milky Way), amongst others. At Tivoli Vredenburg, it chose to mix conventionals with state-of-the-art LED fixtures to meet a challenging brief. In Grote Zaal, Fairlight installed a conventional rig complemented by 12 Martin Professional MAC Viper Profile luminaires, 10 High End Systems Studio Color 575 moving heads and 12 CLF Pixelbar Tri Colore battens, with control from a High End Systems Road Hog 4 lighting console plus fader wing. While traditional fixtures include eight Robert Juliat followspots and 32 ETC Source Four profiles.

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TECHNICAL INFORMATION SOUND GROTE ZAAL: 32 x d&b audiotechnik T-10 loudspeaker; 8 x d&b audiotechnik T-Sub subwoofer; 12 x d&b audiotechnik M6 monitor; 2 x d&b audiotechnik E8 loudspeaker; 5 x d&b audiotechnik D80 amplifier; 1 x Lake LM 44 digital audio processor; 1 x Soundcraft Vi-6 mixing console; 1 Midas XL 3 mixing console; 5 x XTA GQ600 graphic equalise; Microphones from Sennheiser, AKG, Neumann, Shure, beyerdynamic RONDA: 20 x d&b audiotechnik J-12 loudspeaker; 8 x d&b audiotechnik V-8 loudspeaker; 8 x d&b audiotechnik; J-Sub subwoofer; 2 x d&b audiotechnik J-Infra subwoofer; 16 x d&b audiotechnik M4 monitor; 2 x d&b audiotechnik Q-SUB subwoofer; 2 x d&b audiotechnik C7-TOP loudspeaker; 4 x d&b audiotechnik C4-SUB subwoofer; 7 x d&b audiotechnik D80 amplifier; 1 x LM 44 digital audio processor; 1 x DiGiCo SD5 digital console; 1 DiGiCo SD8 digital console; 3 x DiGiCo SD-Rack unit; 1 x DiGiCo D2 rack; Microphones from Sennheiser, AKG, Neumann, Shure, beyerdynamic PANDORA: 4 x d&b audiotechnik C4-TOP loudspeaker; 4 x d&b audiotechnik C4-SUB subwoofer; 4 x d&b audiotechnik J-SUB subwoofer; 2 x d&b audiotechnik C7-TOP loudspeaker; 2 x d&b audiotechnik C4-SUB subwoofer; 4 x d&b audiotechnik T10 loudspeaker; 4 x d&b audiotechnik D80 amplifier; 2 x d&b audiotechnik D6 amplifier; 2 x d&b audiotechnik M4 monitor; 8 x d&b audiotechnik M6 monitor; 3 x d&b audiotechnik D80 amplifier; 1 x Lake LM 44 digital audio processor; 1 x DiGiCo SD8 digital console; 1 x Soundcraft Vi4 mixing console; Microphones from Sennheiser, AKG, Shure HERTZ: 4 x d&b audiotechnik M6 monitor; 2 x d&b audiotechnik D6 amplifier; 1 x DiGiCo SD 11 digital console; Microphones from Sennheiser, AKG, Shure, Neumann CLOUD NINE: 12 x d&b audiotechnik T10 loudspeaker; 2 x d&b audiotechnik T-SUB subwoofer; 4 x d&b audiotechnik V-SUB subwoofer; 2 x d&b audiotechnik D80 amplifier; 8 x d&b audiotechnik M6 monitor; 4 x d&b audiotechnik D6 amplifier; 1 x XTA DP-448 loudspeaker management unit; 1 x DiGiCo SD9 digital console; Microphones from Sennheiser, AKG, Shure, Neumann, beyerdynamic

Importantly for this space, Fairlight supplied 96 CLF dynamic orchestra lights too, ensuring that the musicians are never distracted from their scores. The house light system in this space, made up of Ultima downlighters from CLS was also supplied by Fairlight. As Hertz is designed for chamber music, the rig is similar but smaller, here there are 12 CLF Pixelbar Tri Colore battens, eight Martin Professional MAC Aura moving heads and four Clay Paky Alpha Spot HPE 300 moving heads, as well as theatrical followspots from Robert Juliat and a total of 28 CLF dynamic orchestra lights for the musicians. Control of the system is via a compact High End Systems HedgeHog 4 console. With the other three venues featuring facilities for rock, pop and dance music, the lighting specifications are correspondingly more dynamic. Ronda features a large conventional rig boasting 34 Martin Professional MAC Viper Profiles, 24 Martin Professional MAC Auras, 12 Martin Professional MAC Quantum Washes and six Martin Professional Atomic 3000 DMX strobes. Eight Robert Juliat 2kW profiles, two Robert Juliat Super Korrigan theatrical fixtures and 18 ETC Source Four 750W followspots are also in place. Control was provided by an MA Lighting grandMA 2 console plus playback wing. Pandora features largely intelligent fixtures - 18 Martin Professional MAC Auras, 16 Martin Professional MAC 700’s and six Martin Professional Atomic 3000 DMX strobes, these sit alongside more theatrical profiles from Robert Juliat and control from a High End Systems Road Hog 4 plus fader wing. While Cloud Nine features 12 Martin Professional MAC Auras, eight Clay Paky Alpha Spot HPE 300’s and six CLF Pixelbar Tri Colore battens, all controlled by another High End Systems Road Hog 4 plus fader

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lighting GROTE ZAAL: 6 x Robert Juliat 15º-40º 2kW profile; 32 x ETC Source Four 750W followspot; 2 x Robert Juliat Super Korrigan 1.2kW theatrical fixture; 12 x Martin Professional MAC Viper Profile moving head; 10 x High End Systems Studiocolor 575W fixture; 12 x CLF Pixelbar Tri Colore RGB batten; 1 x High End Systems Road Hog 4; 1 x High End Systems Hog 3 fader wing; CLS Ultima downlighters; 1 x Martin Professional Jem ZR44 fog machine; 1 x MDG ATMe haze machine RONDA: 34 x Martin Professional MAC Viper Profile moving head; 12 x Martin Professional Quantum Wash moving head; 6 x Martin Professional Atomic 3000 DMX strobe; 24 x Martin Professional MAC Aura moving head; 8 x Robert Juliat 15º-40º 2kW profile; 18 x ETC Source Four 750W followspot; 2 x Robert Juliat Super Korrigan 1.2kW theatrical fixture; 1 x MA Lighting grandMA 2 light console; 1 x MA Lighting grandMA 2 playbackwing; 2 x Martin Professional Jem ZR44 fog machine; 1 x Martin Professional Jem 365 CO² haze machine PANDORA: 16 x Martin Professional MAC 700 moving head; 18 x Martin Professional MAC Aura moving head; 6 x Martin Professional Atomic 3000 DMX strobe; 12 x Robert Juliat 16º-36º 1kW profile; 10 x Robert Juliat PC 1kW profile; 1 x Robert Juliat Super Korrigan 1.2kW theatrical fixture; 1 x High End Systems Road Hog 4; 1 x High End Systems Hog 3 fader wing; 1 x High End Systems F100 smoke machine; 1 x Martin Professional Jem 365 CO² haze machine HERTZ: 4 x Clay Paky Alpha Spot HPE 300 moving head; 8 x Martin Professional MAC Aura moving head; 12 x CLF Pixelbar Tri Colore RGB batten; 20 x Robert Juliat 614 SX profile; 12 x Robert Juliat 329 HPC profile; 1 x Robert Juliat Super Korrigan 1.2kW theatrical fixture; 1 x High End Systems HedgeHog 4 lighting console CLOUD NINE: 8 x Clay Paky Alpha Spot HPE 300 moving head; 12 x Martin Professional MAC Aura moving head; 6 x CLF Pixelbar Tri Colore RGB batten; 1 x High End Systems Road Hog 4 lighting console; 1 x High End Systems Hog 3 fader wing www.tivolivredenburg.nl

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wing. “It was really important that the lighting in each hall could easily accommodate every type of production that might be needed, that the colours from every fixture are of a very high quality and each must be able to react very quickly,” said Michel. “We have really strived to deliver the perfect lighting show, whatever the event.” To achieve the brief of a single preferred supplier who could supply and install the audio systems and also help with advice, training, ongoing support and any necessary future dry hires, leading Dutch audio suppliers TM Audio and Audiopro Nederland joined forces, supplying audio equipment to all five performance spaces. Dutch acoustics specialist, Event Acoustics Technology designed and advised on the acoustics of each space, working closely with TM Audio and Audiopro. d&b audiotechnik loudspeaker systems were chosen throughout, complemented by a variety of Soundcraft and DiGiCo digital mixing consoles. “Reliability, long lifespan and high quality were really important, but having a close relationship with the suppliers was vital, so we can get replacements or augment systems quickly,” said Allert Aalders, Tivoli’s Sound Engineer since 1998, a role he still undertakes at the new venue. “We also chose to not have just one brand of mixing console, to be able to please the maximum amount of visiting engineers,” he continued. “The project demanded exceptional quality and flexibility, because each space has its own, unique acoustic character, but each needs to host several musical styles with minimum disruption to their existing audio infrastructure,” said Rolf Dijkstra of Audiopro. First of the spaces to be tackled was Pandora, which Rolf described as: “Asymmetrical, boxy, rectangular balconies flanking two sides…

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It’s a bit of a beast!” With reflective walls, a highly directional system was the only choice. Pandora’s system also had to be especially flexible, due to it having a movable stage. The main L-R flown hangs of four d&b audiotechnik C4-TOP loudspeakers and four d&b audiotechnik C4SUB subwoofers are complemented by four movable, floor-mounted d&b audiotechnik J-SUB subwoofers and four d&b audiotechnik T10 loudspeakers in point source mode for balcony fills. A Soundcraft Vi4 console is used for the FOH mix and a DiGiCo SD8-24 console for monitors. “As the first of the systems we delivered, when we had the first club night in Pandora I was nervously running around with my laptop finetuning,” said Rolf. “But I could tell from the smiles on people’s faces that we’d got it right.” As Grote Zaal and Hertz are primarily classical music auditoria, both were designed to be highly reverberant. Grote Zaal is octagonal with the orchestra pit in the middle and the audience seated in the round, so Rolf used 40 d&b audiotechnik T10 line array modules to cover the full 360° for speech reproduction, complemented by four d&b audiotechnik T-SUB subwoofers. In addition a groundstacked system of four d&b audiotechnik V8 loudspeakers and six d&b audiotechnik V-SUB subwoofers, with two d&b audiotechnik Q7 loudspeakers and four d&b audiotechnik E5 loudspeakers for fill were installed, plus a Soundcraft Vi6 mixing console. “‘Less is more’ is an understatement, in Grote Zaal every loudspeaker reflects back at you a thousand times,” smiled Rolf. “That’s why we had just two hanging points for the T10 system, each carrying three close-coupled arrays acting, from a timing point of view, as one loudspeaker.

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“Hertz is so reflective that every infill can be heard in at least three audience areas. We chose a flown centre cluster of two d&b audiotechnik E12-D loudspeakers side by side, aimed at the two balcony areas. Two d&b audiotechnik E6’s provide balcony fill, with stalls front fills provided by two d&b audiotechnik E8’s with two d&b audiotechnik B4-SUB subwoofers for a full stereo set up for small bands. Performances are mixed on a DiGiCo SD9 for both FOH and monitors.” As you would expect for a venue designed primarily to host contemporary dance, pop and rock music, the Ronda system is a bit more rock ‘n’ roll, with 20 flown d&b audiotechnik J12 cabinets and 12 under-stage d&b audiotechnik J-SUB subwoofers complemented by eight d&b audiotechnik V8 loudspeakers and six d&b audiotechnik T10 loudspeakers for fills. A DiGiCo SD5 console with SD Rack delivering up to 192kHz is located at FOH, with an SD8 console and D2 rack at the monitor position, the system running at 96K. “Even here the design was unusual,” said Rolf. “Ronda is a classic fan shape, requiring a full 180° coverage, so only wider J12’s are used, with the V8’s added to sustain a uniform level across the whole listening area.” Finally, the system in Cloud Nine comprises eight flown d&b audiotechnik T10 loudspeakers, two T-SUB subwoofers and two V-SUB subwoofers, augmented by four further d&b audiotechnik T10’s in point source mode for outfill and another pair of groundstacked V-SUB subwoofers and another DiGiCo SD9 console for FOH and monitors. A comprehensive monitor package has also been supplied for the entire venue, including 32 d&b audiotechnik M6 12-inch coaxial

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wedges, 18 d&b audiotechnik M4 15-inch coaxial wedges and four d&b audiotechnik E8 15-inch coaxial wedges, plus a pair of d&b audiotechnik C7 loudspeakers and four d&b audiotechnik C4-SUB subwoofers for sidefills. Amplificarion and processing all takes place in the d&b audiotechnik units - 37 D80’s and 10 D6’s. “We specified that all monitors should be of one brand with interchangeable amplifier racks, which makes things a lot easier when moving them around,” said Allert. “d&b audiotechnik D80 amplifiers and monitors were the ideal solution.” “The D80’s provide comprehensive management and protection functionality, essential in such a diverse venue,” added Rolf. “The key here is musicality, close your eyes and all d&b audiotechnik loudspeakers have a distinct musicality; temper that with the transparency of the DiGiCo consoles and you have the perfect scenario.” “We had previously supplied a DiGiCo SD9 and SD11 at Vredenburg and an SD8 for Tivoli,” continued TM Audio’s, Jaap Pronk. “Thus the engineers who will be permanently based to Tivoli Vredenburg were already familiar with DiGiCo, so it made sense to provide consoles which allowed the new venue to be up and running as quickly as possible.” With five stages and 22 dressing rooms, the venue presented a major challenge for communications. Switch Concepts chose an ASL system because it could be used with the building’s installed cabling and be either daisy chained or in a star configuration. Switch Concepts presented Tivoli Vredenburg with a choice of three complete intercom systems. Due to the practical system configuration, and the ability to use it in either daisy chain or star configurations, the technical team at Tivoli Vredenburg decided

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FRANÇAIS

Depuis plus de 30 ans, les Centres Tivoli et Vredenberg ont été les grands points musicaux de la ville d’Utrecht aux Pays-Bas. Un projet visant à rassembler ces deux centres sous un même toit en y incluant aussi le Centre de Jazz de la ville, a récemment donné lieu à l’ouverture du plus grand centre de musique live des Pays-Bas, le « Tivoli Vredenburg ». Afin d’accentuer la diversité de productions qu’accueillent ces lieux, chaque salle a été conçue par un architecte différent. L’actuelle salle de concert symphonique de 2 000 places, conçue par Herman Hertzberger, est maintenant connue sous le nom de « Grote Zaal » ou le Grand Hall, et a été complétée par d’autres salles de taille différentes : 1) la Salle Ronda pop-rock de 2 000 places, conçue par Jo Coenen & Co, 2) la Salle Pandore de 600 places, conçue par NL-Architects, 3) la Salle Hertz de 550 places, conçue par Architectuurstudio HH et 4) la Salle Cloud Nine de 400 places, conçue par le groupe Architectuurcentrale Thijs Asselbergs. Les installations sonores et d’éclairage ont été effectuées par les entreprises Fairlight BV et TM Audio respectivement ; cette dernière fut soutenue par Audiopro Netherlands et Switch Concepts afin de mettre en place un système de communication globale. « C’est formidable d’avoir une équipe qui va dans la même direction, et d’être tous engagés à donner au public ce qu’il y a de mieux dans ce bel édifice. Les salles sont toutes belles et des critiques dithyrambiques ont été entendues au sujet des spectacles, de l’esthétique du lieu et de la qualité du son », a déclaré Allert Aalders, Ingénieur en chef du son au Tivoli.

DEUTSCH

the ASL digital Intercom system was the best solution. Main components of the system include DS 4002 master and slave matrix units, 15 DS 85 booster / data repeater units, 24 DS 290 beltpacks, 16 DS gooseneck microphones, 25 tabletop speaker stations (ranging from 32 to two channels), 24 DS130 paging speakers and 18 interface units. Importantly, all the systems’ speaker stations and beltpacks are ‘string powered’, in essence they don’t need a separate power connection, wherever they’re located. “In a building with nine floors and five different stages a highly flexible intercom system is required,” said Switch Concept’s Frank Verbeek. “The ability to have both daisy chain and start configurations is a big advantage, as is ASL’s configuration software, which provides all the power you need for this type of environment.” ASL also installed a DS 130L paging loudspeaker in every dressing room, each with override function - so even if the volume of the stage relay has been turned down, announcements through the intercom come to the speaker at a preset level. Another advantage of the DS 130L is that dressing rooms sometimes have to be assigned to a production on a different stage and any speaker can be quickly reassigned to a different stage’s comms in the system’s ConfigurIT software. Alongside Allert and Tjanne, the core technical team at Tivoli Vredenburg comprises Facility Manager, Erik Mans; Production Team Leader, Henk Kroon; Sound and Pre-Production Engineer, Arnoud Boon and Lighting Engineer, Mark Tober. With the venue having been open for a couple of months, all are delighted with how it is going. “It’s great to have a team that is all pulling in exactly the same direction, all committed to giving audiences the very best in this beautiful building. It has been remarkably smooth,” said Allert. “Of course there is still work to do and there has been the odd snag. But the halls all look beautiful and we have had rave reviews about the shows, the aesthetics and the sound quality. “When the thing people complain about most the quality of the smoking areas, I’d say we’re doing OK.”

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Mehr als 30 Jahre lang waren die Treffs Tivoli und Vredenberg die bedeutendsten Musikzentren der holländischen Stadt Utrecht. Ein Projekt, beide unter einem Dach mit dem Jazzzentrum der Stadt zusammenzubringen, hat zu der kürzlichen Eröffnung des größten Livemusiktreffs, dem Tivoli Vredenburg, geführt. Um die Vielseitigkeit der Produktionen zu unterstützen, die der Treff veranstaltet, wurde jede Halle durch einen anderen Architekten konzipiert. Der bestehende Symphoniesaal mit 2.000 Plätzen - der von Herman Hertzberger konzipiert wurde und nun unter dem Namen Grote Zaal oder Great Hall bekannt ist - wird ergänzt durch den Ronda Pop und Rock Treff mit ebenfalls 2.000 Plätzen, konzipiert durch Jo Coenen & Co; dem Pandora mit 600 Plätzen, konzipiert von NL-Architects, dem Hertz mit 550 Plätzen, konzipiert von Architectuurstudio HH und dem Cloud Nine mit 400 Plätzen, konzipiert von Architectuurcentrale Thijs Asselbergs. Die Beleuchtungs- und Soundinstallationen wurden durch jeweils Fairlight BV und TM Audio durchgeführt, letzter arbeitete mit Audiopro Netherlands zusammen. Switch Concepts installierte ein globales Kommunikationssystem. Es ist super, wenn man ein Team hat, bei dem alle in dieselbe Richtung arbeiten, alle darauf abzielen, dem Publikum das allerbeste in diesem schönen Gebäude bieten zu wollen… die Hallen sehen auch alle schön aus und wir hatten begeisterte Kritiken zu den Shows, zur Ästhetik und zur Soundqualität,” so Allert Aalders, Tivolis leitender Soundingenieur.

ITALIANO

Per oltre 30 anni i locali Tivoli e Vredenberg sono stati importanti centri musicali nella città olandese di Utrecht. Per questo è nato un progetto per mettere entrambi i locali insieme sotto lo stesso tetto con il Centro Jazz della città, che ha portato alla recente apertura del più grande locale di musica dal vivo dei Paesi Bassi, il Tivoli Vredenburg. Per sottolineare la diversità delle produzioni che vengono ospitate dai padroni di casa, ogni sala è stata progettata da un architetto diverso. Nella sala di 2000 posti, già esistente, Herman Hertzberger ha progettato la sala sinfonica (ora nota come Grote Zaal o la Great Hall) che è stata completata con una sala pop e rock, altrettanto grande, chiamata Ronda, progettata da Jo Coenen & Co; la sala Pandora, da 600 posti, è stata progettata da NL Architects-; la sala Hertz, da 550 posti, è stata progettata da Architectuurstudio HH e la Cloud Nine, da 400 posti, è stata progettata da Architectuurcentrale Thijs Asselbergs. Fairlight BV e TM Audio si sono occupati delle installazioni audio-luci e quest’ultimo ha collaborato con Audiopro Netherlands e con Switch Concepts per l’ installazione di un sistema di comunicazione completo. “E’ bello avere una squadra che va esattamente nella stessa direzione, tutti impegnati a dare al pubblico il meglio in questo splendido edificio ... tutte le sale sono bellissime e abbiamo avuto recensioni entusiastiche riguardo gli spettacoli, l’estetica e la qualità del suono”, ha dichiarato Allert Aalders, il capo Fonico del Tivoli.

ESPAÑOL

Durante más de 30 años los sitios de Tivoli y Vredenberg han sido los centros de música más grandes en la ciudad holandesa de Utrecht. El proyecto, que consistía en juntarlos bajo el mismo techo con el Centro de Jazz de la ciudad, ha resultado en la reciente inauguración del sitio de música en vivo más grande de Holanda, Tivoli Vredenburg. Para reforzar la diversidad de las producciones que alberga el sitio, cada salón ha sido diseñado por un arquitecto diferente. El ya existente salón sinfónico con capacidad para 2.000 personas, diseñado por Herman Hertzberger - conocido actualmente como el Grote Zaal, o el Gran Salón- está complementado por el salón de rock and pop, Ronda, con capacidad para 2.000 personas, diseñado por Jo Coenen & Co; el Pandora, diseñado por NL-Architects con capacidad para 600 personas; el Hertz, con capacidad para 550 personas diseñado por Architectuurstudio HH y el Cloud Nine, con capacidad para 400 personas diseñado por Architectuurcentrale Thijs Asselbergs. Las instalaciones de iluminación y sonido fueron realizadas por Fairlight BV y TM Audio respectivamente, el último en colaboración con Audiopro Netherlands, con Switch Concepts, instalando un sistema de comunicación integral. “Es grandioso contar con un equipo que tira para el mismo lado, todos comprometidos en darle a las audiencias lo mejor en este precioso edificio. Los salones se ven preciosos y hemos tenido críticas acerca de los shows, la estética y la calidad del sonido,” dijo Allert Aalders, Director de Ingeniería en Sonido de Tivoli.