On November 10, the Student Club of the Kerch State Maritime Technological University held the grand opening of the assembly hall, in which a major overhaul was successfully completed. The opening ceremony coincided with a festive event - the initiation of first-year students into KSMTU students. For many years we dreamed of a new stage, modern lighting and other important things necessary for high-quality events at the university and city levels.
The event was attended by honored guests: Chairman of the Kerch City Council Sergei Nikolaevich Gusakov; head of the Kerch city administration Sergei Vadimovich Borozdin; Deputy General Director of the Zaliv Shipyard Renat Rashidovich Dzhaparov. The delegation of guests was greeted by an honor guard of cadets from the Marine Mechanical College.
The rector of KSMTU, Professor Evgeniy Petrovich Masyutkin, delivered a welcoming speech. For high professionalism during the organization and control of the overhaul of the assembly hall, the rector awarded diplomas to the university's civil engineers E.I. Gritsenko. and Dmitrieva V.V. Evgeniy Petrovich Masyutkin expressed deep gratitude and sincere gratitude to the head of the Federal Agency, Ilya Vasilyevich Shestakov, for the opportunity to carry out a major overhaul of the university assembly hall. The presence of a modernized assembly hall that meets the requirements of the modern world will significantly expand the list and reach a qualitatively new level of ceremonial events, diversify the repertoire of performances of the university student club, attract new talented performers from among students and cadets, thereby significantly strengthening the educational component of the educational process of the Federal State Budgetary Educational Institution of Higher Education "KGMTU".
Chairman of the Kerch City Council Sergei Nikolaevich Gusakov congratulated those present on the transformation of the assembly hall after a major renovation and presented the KSMTU Student Club with a Certificate of Honor from the city council for its active contribution to the formation and development of the cultural and creative life of the city of Kerch. Sergei Nikolaevich noted that not a single city event is complete without the participation of students and cadets of the Kerch State Maritime Technological University. The head of the Kerch city administration, Sergei Vadimovich Borozdin, who is a graduate of the Kerch Marine Technological Institute, delivered a welcoming speech. Sergei Vadimovich congratulated those present and noted the striking positive changes in the equipment of the assembly hall. KSMTU has a long-standing partnership with the Zaliv Shipyard. Deputy General Director of the Zaliv Shipyard Renat Rashidovich Dzhaparov presented the Student Club with a gift with the wish not to stop at the creative successes achieved.
The festive program featured first-year students and cadets with an artistic presentation of their specialties. The choreographic and vocal groups of the Student Club and the KVN team performed numbers. The surprise was a new choreographic number dedicated to the work of builders. The event was held in a wave of positivity and good mood!
The new assembly hall will become even more of a special place at the university, where students and cadets will be able to realize their creative potential and reveal their talents!
University
As a rule, they say about Moscow University that it is located on Vorobyovy Gory. This is true, but only partly: its historical part is located on Mokhovaya Street. A massive building with a large dome and a wide portico is clearly visible from Manezhnaya Square.
Created in 1755, the Imperial Moscow University was first located in the building of the Main Pharmacy on Red Square (before the pharmacy there was a Zemsky Prikaz, and now in its place is the Historical Museum), then it moved to the former house of Prince Repnin on Bolshaya Nikitskaya. Finally, in 1782 - 1793, according to the design of the famous architect, a new building was erected for the university on Mokhovaya Street. Its main building, located in the depths of the property, was highlighted by an eight-column portico and crowned with a low dome over the semi-oval main hall. The front yard is framed by side wings with rounded outer corners.
In 1812, before the French entered Moscow, university teachers and students were evacuated to Nizhny Novgorod, and some of their property was also taken away. On September 6, a fire broke out in the university building, as a result of which the building was seriously damaged. Everything that was not evacuated was set on fire, including a significant part of the university library, numbering 20,000 volumes. After the fire, the university was visited by the chief quartermaster of the French army, Marshal Dumas.
After the French left, the process of putting the building in order began. The professors made an open appeal to society for help: as a result, the amount of donations from private individuals for the restoration of the university amounted to about a million rubles. The library was not only replenished, but also expanded; chemical and anatomical rooms and a herbarium appeared.
The restoration of the main building continued until 1819. The work on the Moscow University was led by the architect Domenico Gilardi. In general, he preserved the structure of the old building and the courtyard facade of Kazakov, but on the front facade he replaced the Ionic portico with a Doric one, giving it greater monumentality, and added a rusticated plinth with lion masks above the windows. The Assembly Hall was also redesigned and a sundial appeared on the facade of the right side wing, created, according to some assumptions, by the sculptor I.P. Vitali.
During the Soviet era, the building practically did not change its appearance, only the double-headed eagle in the pediment was replaced by the Order of Lenin. The university itself lost its Imperial status, but received the name of one of its founders - M.V. Lomonosov, and its leadership and most of the faculties moved to a new complex of buildings built in 1949 - 1953 on Vorobyovy Gory. The old university building now houses part of the faculties and a library.
2015-09-28
The Federal State Educational Budgetary Institution of Higher Education “Financial University under the Government of the Russian Federation” is one of the most prestigious universities in the country. A large number of famous specialists and prominent government figures have emerged from the walls of the university, whose history goes back just under a hundred years.
The preparation and implementation of the project for stage, sound, lighting and multimedia equipment of the university assembly hall for 1,300 seats was entrusted to the company "Theater Technology Systems". To introduce readers to this large modern project, we met with the company’s general director Vitaly Yakunin, innovation director Sergei Kior and chief engineer Dmitry Borodin at the assembly hall of the Financial University.
Show Master: Vitaly, please tell us about your company!
Vitaly Yakunin: In 2011, the Stroycircus company was divided into two, and Stroycircus and Theater Technological Systems appeared. TTS, retaining the entire production base and most of the team, concentrated on two main areas of activity. The production area includes the development and production of a full range of mechanical stage equipment, stage mechanics control systems, computer control systems for unregulated circuits for stage lighting and power supply systems for technological equipment of cultural and entertainment facilities, complexes and systems for controlling the staging process (consoles and PPR systems), production a wide range of additional equipment for installation and operation of technological systems. The project direction is system integration and a full cycle of designing and equipping cultural and entertainment institutions with technological equipment.
Sergey Kior: We combine a large number of technologies, use our own control systems, our own servers and control programs, integrate them with software from other manufacturers and write an interface for the customer’s needs. With powerful programming and electronics departments, we offer this service to the market precisely within the framework of comprehensive system integration. We do not supply lighting, sound, video, etc. separately, but offer a complete solution as a single complex.
Dmitry Borodin: The modern production process is quite complex, so it is impossible to talk about systems separately. For example, video equipment is associated with both sound and light. Video equipment is now actively used both as an element of a light show and as a static or dynamic decoration, and works in conjunction with sound when displaying multimedia programs. And the sound equipment system of a modern universal hall is not just concert sound in the generally accepted sense; it integrates a conference communication system, a simultaneous speech translation system, and video conferencing.
Sh-M: What about official communications?
S.K.: We separate service communications; we believe that this is part of another serious technological system. In this direction, we create our own complexes for managing the performance and production process.
Sh-M: What are the main divisions of the company?
V.Ya.: Our company has two design departments, one of which is engaged in the development and design of devices for serial industrial production. Our devices are complex; the circuit design, design, and ease of installation and connection are thought through. This department, in turn, includes two divisions - electronic design and finished products. The second, the design department under the leadership of Svetlana Kior, is engaged in the design of objects within the framework of system-integrated equipment; it also developed the hall in which we are now located. The company includes production workshops - electronic production, mechanical production, assembly production. There are two assembly shops - mechanics are assembled in the metalworks shop, electronic devices are assembled in the electrical shop.
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Sh-M: Does the company have its own staff of installers?
V.Ya.: Yes, we have our own installation teams, who are constantly busy at new facilities and carry out maintenance of completed facilities; people know the installed equipment well, the intricacies of its maintenance and diagnostics. During the operation of equipment, many different questions arise, so the specialist must be very highly qualified. Our responsibility is very great, because the mechanics of the stage work over people’s heads. For large projects with tight deadlines, we sometimes involve proven specialist colleagues.
Sh-M: How many projects are in your portfolio of orders?
V.Ya.: To be honest, I didn’t count it, we have a large list of objects, 6-8 are always in work at the same time. Of course, there are fewer objects as complex and integral as this one - such objects do not come every year. But dozens of simpler tasks are constantly at work - from schools and cultural centers to theaters, many small venues where complex integration is not required.
Sh-M: Who sets tasks for you, for example, specifically for this hall?
D.B.: As a rule, it happens like this: you meet with the customer’s services and do a systematic survey. In this case, we set the task for ourselves. The Financial University is a living organism and there are more than a dozen halls, but this is simply the largest. They understand exactly what the regulations are for the various events that take place in the hall: what content is used, what technologies they need. This helped us get a clear understanding of what and how needs to be done in this room and formulated a clear technical task for ourselves. We have a good understanding with the technical staff of the university; all specialists are competent people who know exactly what they need and how it should work. And they helped us with everything. They care about their business, they like their work, and they are interested in excellent results.
Sh-M: Did you encounter any difficulties at this site during the work?
D.B.: Of course, it doesn’t happen without difficulties. For example, a missed deadline for completing work. Initially it was ordinary, normal, then it suddenly became clear that an international conference at the highest level needed to be held in this hall six months ahead of schedule.
S.K.: We had to quickly solve the whole complex of problems, launch and work out all the technologies and equipment for the event, then carefully disassemble and reassemble, but as needed according to the project.
 |
 |
Sh-M: What is a mechanical control system?
S.K.: This is a computer system that can work in a single automated process of the performance. We have developed our own axis controllers that provide precise and reliable operation of the drives. Since stage mechanics are an extremely security-sensitive area, we use redundant servers with hot standby. The system is always ready for use.
SH-M: What stage mechanics did you set?
S.K.: All equipment is made by us. This is a classic set: pole and soffit lifts, remote spotlights, mobile shooting towers, point lifts. All mechanisms are electrically driven, with speed control and precise positioning. The entire complex is controlled by our IntelliMech computer control system.
Sh-M: What about the scene itself?
V.Ya.: The stage itself is stationary. We made a real theatrical stage plank from deck timber. In most assembly and concert halls, the problem with the stage is that it is placed without damping, but we made a damped, acoustically decoupled stage plank with absorbing material inside - it does not “start up” at any volume. The required number of hatches for light, sound, and video are built into the stage.
Sh-M: There is a huge screen hanging on the stage - is this also your product?
S.K.: No, the screen is imported. In fact, there is little need for screens like this, so it makes no sense for us to invest in the development and production of such screens.
D.B.: By the way, there was also a problem with him - a whole special operation to “bring in the body.” Under the cover of darkness, this screen, which occupied almost half the length of the hall, was lifted from a huge truck with a crane from Leningradsky Prospekt through the window of the third floor of the Financial University. I still wonder how we managed to do this.
 |
 |
Sh-M: What original developments of computer control systems did you use in this project?
S.K.: The computer system for controlling unregulated circuits IntelliSwitch is our development. It is used at large and medium-sized facilities, when a complex, branched system is needed for the specific needs of the customer. The system has a server, control panels with touch screens and simpler, push-button, smart switches that monitor all circuit parameters, measure currents, voltages, and instantly respond to emergency situations. The system controls not only the light, but also the sound. The sound reinforcement system consists of a large number of power amplifiers; with a conventional switcher, the channels are turned on manually, one after another, since by pressing one button it is impossible to organize a sequential start and shutdown of the entire system with certain pauses without overloading the electrical network. In addition, the question remains: did/forgot to include something?
D.B.: In our project the sound system is very spaced out. To get the best sound, power amplifiers are located so that the length of the line between the amplifier and the cabinet is minimal: on the technological ceiling directly above the portals, above the remote “repeaters” suspended in the hall (delay fills).
The amplifiers of the sound equipment located on the stage board are installed in the right “pocket” of the stage.
S.K.: ...And the operator starts all these amplifiers from his workplace with one button - the commands go in accordance with the recorded program sequence. This entire system also turns off. The IntelliSwitch system allows you to program the functionality that is needed in each specific case. Moreover, you can program the launch from different places. There are situations when there are several remote controls with different rights, for example, the remote control controls the light in the foyer, but cannot turn on the stage, the security remote control can turn on the foyer and part of the auditorium, and when the lighting designer turns on his remote control, he intercepts all rights and commands come only from him. When it turns off, the other remote controls activate themselves again. Such a system works with all technologies: light, sound, video and so on. In addition, this system allows for a smooth start of the equipment, that is, the actuators operate “without a spark,” and the lifespan of the devices increases dramatically.
S.M.: What sound systems are installed on this project?
D.B.: The sound project was completely developed “from scratch” by our team. All Martin Audio cabinets, amplifiers too. Power - about 50 kW. With this configuration of the hall, it was impossible to place powerful subs downwards; they would “kill” the nearby rows of spectators. It was decided to hang them next to the line arrays. Everything is designed to provide a uniform sound field. The spacing of low-frequency emitters narrows their directionality along the horizon, and thus it was possible to ensure that the subs of one side almost did not interfere with the subs of the opposite side. In addition, we used our own speaker suspension design, developed by our designers.
 |
 |
Sh-M: What kind of consoles and sound processors did you use?
D.B.: Avid Digidesign Profile remote control. They did not install a monitor console - after all, initially this was not a concert hall. BSS system processors. I think they are the best. This is a matrix system with excellent sound quality. As an instrument, this system is extremely convenient - analogue sound signals begin on stage and end there - they are digitized by the stage box of the console, then everything in digital form enters the BSS system, which generates output signals and transmits them via the Blu Link protocol to the equipment racks, located on the ceiling and on the stage. At the end, the digital is converted back into analog and the signals are sent to power amplifiers. This entire large multi-channel system is connected with just one twisted pair cable!
S.M.: What hangs under the lower sub?
D.B.: This is also our original solution - this is how we mounted the emitters of the sync translation system. Anyone who has not encountered this does not know that very often you can get interference between emitters and, as a result, “dead” noise zones. Therefore, it may be necessary to adjust the delay and signal levels, which is very inconvenient to do at altitude. So we decided to mount them on sub-clusters, which are suspended on winches - you can lower them at any time, adjust the emitters and lift them into place.
 |
 |
S.M.: What lighting devices were used in the project?
D.B.: Clay Paky, ETC - a large fleet of spotlights, both lamp and LED. Light remote control - ETC Congo. And various spectacular devices, including a laser system.
S.M.: What does the hall’s multimedia system consist of?
D.B.: Two Barco projectors. Why two? In order to provide the required brightness on a large screen, projectors always work in pairs, the images are combined “pixel-to-pixel”. People give lectures, make presentations, in the hall and on the stage there is always general lighting during the event, since the participants are constantly recording, studying information materials, the lights cannot be turned off, but the presentation must be shown. In addition, often these events are held by high-ranking government officials, foreign speakers of the highest level, and suddenly our projector goes out... So the reserve plays a role here.
Based on the geometry of the hall, we decided to use three screens. The large screen that I have already mentioned is, in principle, a show screen, but it is also often used at other events. Two more smaller presentation screens are retracted upward; their height and the height of the stage space allow this. The need for presentation screens is due to the fact that when people are on stage, for example, during some kind of report, presentation, they slightly block the exposure on the large screen, and if the picture is raised, it is not all visible from the balcony. Presentation screens are located much closer to the proscenium and can be hung at the desired height, while being clearly visible both from the stalls and from the balcony.
S.M.: How is the overall event on stage managed?
S.K.: From the assistant director’s console (APR), which is another of our developments and which Vitaly already mentioned at the beginning of our conversation. This is a set of tools by which the stage manager manages the entire process of the event. The PPR is a cabinet with video monitoring equipment, showing the entrances/exits to the hall, the view from the hall to the stage, and the view from the stage to the hall. It also includes means of technological speech communication with all services: lighting, sound, mechanics, translators’ room, video engineer’s workplace. In galleries where staff work with some special effects, there is a system of light orders that allow you to give a command in complete silence.
Voice broadcast system for dressing rooms and office premises. All spectator areas can also receive a broadcast from this console. In addition, the remote control includes blocks where special messages and signals are recorded that can be sent selectively or simultaneously to any zones; these are recorded standard phrases, for example, a fairly well-known request to viewers to turn off mobile phones or prohibit video recording. The console is equipped with sound monitors, a clock/timer unit that displays the absolute time from the beginning of the event, and a computer with a recorded script plan.
S.M.: And the service connection that we mentioned earlier was also your development?
S.K.: Yes, this is a digital station for 12 subscribers, which operates over twisted pair cable.
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S.M.: We are sitting in stylish and comfortable spectator seats...
D.B.: The chairs are not ours, they are imported. But they offered a choice, and it was we who carried out the delivery and installation.
S.M.: What about stage clothes?
D.B.: Design project, sewing, hanging - we did everything. Including embroidery on the curtain, our equipment allows this.
S.M.: In general, this project for you has already been completed?
D.B.: In general, yes, we are at the final stage, the process of training local personnel is currently underway, and at the request of the customer, our specialists participate in ongoing events - the hall is in full use. We were lucky with the customer’s staff, they are just great, we are rarely as lucky as we were on this project. By the way, I can say that now, when installing modern light, sound, and mechanical control systems, you can hand over the site to local personnel much more calmly than before, since the systems are equipped with excellent protection. You set up devices and servers, set a password, and everything works well and for a long time. But, I repeat, the technical staff at the Financial University is very competent, and therefore, after transferring the object into their hands, we are confident that we will sleep completely peacefully.
Sh.M.: Vitaly, Sergey, Dmitry, thank you for the interesting story, we wish you and your company success and prosperity!
The Federal State Educational Budgetary Institution of Higher Education “Financial University under the Government of the Russian Federation” is one of the most prestigious universities in the country. A large number of famous specialists and prominent government figures have emerged from the walls of the university, whose history goes back just under a hundred years.
The preparation and implementation of the project for stage, sound, lighting and multimedia equipment of the university assembly hall for 1,300 seats was entrusted to the company "Theater Technology Systems". To introduce readers to this large modern project, we met with the company’s general director Vitaly Yakunin, innovation director Sergei Kior and chief engineer Dmitry Borodin at the assembly hall of the Financial University.
Show Master: Vitaly, please tell us about your company!
Vitaly Yakunin: In 2011, the Stroycircus company was divided into two, and Stroycircus and Theater Technological Systems appeared. TTS, retaining the entire production base and most of the team, concentrated on two main areas of activity. The production area includes the development and production of a full range of mechanical stage equipment, stage mechanics control systems, computer control systems for unregulated circuits for stage lighting and power supply systems for technological equipment of cultural and entertainment facilities, complexes and systems for controlling the staging process (consoles and PPR systems), production a wide range of additional equipment for installation and operation of technological systems. The project direction is system integration and a full cycle of designing and equipping cultural and entertainment institutions with technological equipment.
Sergey Kior: We combine a large number of technologies, use our own control systems, our own servers and control programs, integrate them with software from other manufacturers and write an interface for the customer’s needs. With powerful programming and electronics departments, we offer this service to the market precisely within the framework of comprehensive system integration. We do not supply lighting, sound, video, etc. separately, but offer a complete solution as a single complex.
Dmitry Borodin: The modern production process is quite complex, so it is impossible to talk about systems separately. For example, video equipment is associated with both sound and light. Video equipment is now actively used both as an element of a light show and as a static or dynamic decoration, and works in conjunction with sound when displaying multimedia programs. And the sound equipment system of a modern universal hall is not just concert sound in the generally accepted sense; it integrates a conference communication system, a simultaneous speech translation system, and video conferencing.
Sh-M: What about official communications?
S.K.: We separate service communications; we believe that this is part of another serious technological system. In this direction, we create our own complexes for managing the performance and production process.
Sh-M: What are the main divisions of the company?
V.Ya.: Our company has two design departments, one of which is engaged in the development and design of devices for serial industrial production. Our devices are complex; the circuit design, design, and ease of installation and connection are thought through. This department, in turn, includes two divisions - electronic design and finished products. The second, the design department under the leadership of Svetlana Kior, is engaged in the design of objects within the framework of system-integrated equipment; it also developed the hall in which we are now located. The company includes production workshops - electronic production, mechanical production, assembly production. There are two assembly shops - mechanics are assembled in the metalworks shop, electronic devices are assembled in the electrical shop.
 |
|
|
Sh-M: Does the company have its own staff of installers?
V.Ya.: Yes, we have our own installation teams, who are constantly busy at new facilities and carry out maintenance of completed facilities; people know the installed equipment well, the intricacies of its maintenance and diagnostics. During the operation of equipment, many different questions arise, so the specialist must be very highly qualified. Our responsibility is very great, because the mechanics of the stage work over people’s heads. For large projects with tight deadlines, we sometimes involve proven specialist colleagues.
Sh-M: How many projects are in your portfolio of orders?
V.Ya.: To be honest, I didn’t count it, we have a large list of objects, 6-8 are always in work at the same time. Of course, there are fewer objects as complex and integral as this one - such objects do not come every year. But dozens of simpler tasks are constantly at work - from schools and cultural centers to theaters, many small venues where complex integration is not required.
Sh-M: Who sets tasks for you, for example, specifically for this hall?
D.B.: As a rule, it happens like this: you meet with the customer’s services and do a systematic survey. In this case, we set the task for ourselves. The Financial University is a living organism and there are more than a dozen halls, but this is simply the largest. They understand exactly what the regulations are for the various events that take place in the hall: what content is used, what technologies they need. This helped us get a clear understanding of what and how needs to be done in this room and formulated a clear technical task for ourselves. We have a good understanding with the technical staff of the university; all specialists are competent people who know exactly what they need and how it should work. And they helped us with everything. They care about their business, they like their work, and they are interested in excellent results.
Sh-M: Did you encounter any difficulties at this site during the work?
D.B.: Of course, it doesn’t happen without difficulties. For example, a missed deadline for completing work. Initially it was ordinary, normal, then it suddenly became clear that an international conference at the highest level needed to be held in this hall six months ahead of schedule.
S.K.: We had to quickly solve the whole complex of problems, launch and work out all the technologies and equipment for the event, then carefully disassemble and reassemble, but as needed according to the project.
 |
|
|
Sh-M: What is a mechanical control system?
S.K.: This is a computer system that can work in a single automated process of the performance. We have developed our own axis controllers that provide precise and reliable operation of the drives. Since stage mechanics are an extremely security-sensitive area, we use redundant servers with hot standby. The system is always ready for use.
SH-M: What stage mechanics did you set?
S.K.: All equipment is made by us. This is a classic set: pole and soffit lifts, remote spotlights, mobile shooting towers, point lifts. All mechanisms are electrically driven, with speed control and precise positioning. The entire complex is controlled by our IntelliMech computer control system.
Sh-M: What about the scene itself?
V.Ya.: The stage itself is stationary. We made a real theatrical stage plank from deck timber. In most assembly and concert halls, the problem with the stage is that it is placed without damping, but we made a damped, acoustically decoupled stage plate with absorbing material inside - it does not “start up” at any volume. The required number of hatches for light, sound, and video are built into the stage.
Sh-M: There is a huge screen hanging on the stage - is this also your product?
S.K.: No, the screen is imported. In fact, there is little need for screens like this, so it makes no sense for us to invest in the development and production of such screens.
D.B.: By the way, there was also a problem with him - a whole special operation to “bring in the body.” Under the cover of darkness, this screen, which occupied almost half the length of the hall, was lifted from a huge truck with a crane from Leningradsky Prospekt through the window of the third floor of the Financial University. I still wonder how we managed to do this.
 |
|
 |
Sh-M: What original developments of computer control systems did you use in this project?
S.K.: The computer system for controlling unregulated circuits IntelliSwitch is our development. It is used at large and medium-sized facilities, when a complex, branched system is needed for the specific needs of the customer. The system has a server, control panels with touch screens and simpler, push-button, smart switches that monitor all circuit parameters, measure currents, voltages, and instantly respond to emergency situations. The system controls not only the light, but also the sound. The sound reinforcement system consists of a large number of power amplifiers; with a conventional switcher, the channels are turned on manually, one after another, since by pressing one button it is impossible to organize a sequential start and shutdown of the entire system with certain pauses without overloading the electrical network. In addition, the question remains: did/forgot to include something?
D.B.: In our project the sound system is very spaced out. To get the best sound, power amplifiers are located so that the length of the line between the amplifier and the cabinet is minimal: on the technological ceiling directly above the portals, above the remote “repeaters” suspended in the hall (delay fills).
The amplifiers of the sound equipment located on the stage board are installed in the right “pocket” of the stage.
S.K.: ...And the operator starts all these amplifiers from his workplace with one button - the commands go in accordance with the recorded program sequence. This entire system also turns off. The IntelliSwitch system allows you to program the functionality that is needed in each specific case. Moreover, you can program the launch from different places. There are situations when there are several remote controls with different rights, for example, the remote control controls the light in the foyer, but cannot turn on the stage, the security remote control can turn on the foyer and part of the auditorium, and when the lighting designer turns on his remote control, he intercepts all rights and commands come only from him. When it turns off, the other remote controls activate themselves again. Such a system works with all technologies: light, sound, video and so on. In addition, this system allows for a smooth start of the equipment, that is, the actuators operate “without a spark,” and the lifespan of the devices increases dramatically.
S.M.: What sound systems are installed on this project?
D.B.: The sound project was completely developed “from scratch” by our team. All Martin Audio cabinets, amplifiers too. Power – about 50 kW. With this configuration of the hall, it was impossible to place powerful subs downwards; they would “kill” the nearby rows of spectators. It was decided to hang them next to the line arrays. Everything is designed to provide a uniform sound field. The spacing of low-frequency emitters narrows their directionality along the horizon, and thus it was possible to ensure that the subs of one side almost did not interfere with the subs of the opposite side. In addition, we used our own speaker suspension design, developed by our designers.
|
|
|
 |
Sh-M: What kind of consoles and sound processors did you use?
D.B.: Avid Digidesign Profile remote control. They did not install a monitor console - after all, this was not originally a concert hall. BSS system processors. I think they are the best. This is a matrix system with excellent sound quality. As an instrument, this system is extremely convenient - analogue sound signals begin on stage and end there - they are digitized by the stage box of the console, then everything in digital form enters the BSS system, which generates output signals and transmits them via the Blu Link protocol to the equipment racks, located on the ceiling and on the stage. At the end, the digital is converted back into analog and the signals are sent to power amplifiers. This entire large multi-channel system is connected with just one twisted pair cable!
S.M.: What hangs under the lower sub?
D.B.: This is also our original solution - this is how we mounted the emitters of the sync translation system. Anyone who has not encountered this does not know that very often you can get interference between emitters and, as a result, “dead” noise zones. Therefore, it may be necessary to adjust the delay and signal levels, which is very inconvenient to do at altitude. So we decided to mount them on sub-clusters, which are suspended on winches - you can lower them at any time, adjust the emitters and lift them into place.
 |
|
 |
S.M.: What lighting devices were used in the project?
D.B.: Clay Paky, ETC – a large fleet of floodlights, both lamp and LED. Light remote control – ETC Congo. And various spectacular devices, including a laser system.
S.M.: What does the hall’s multimedia system consist of?
D.B.: Two Barco projectors. Why two? In order to provide the required brightness on a large screen, projectors always work in pairs, the images are combined “pixel-to-pixel”. People give lectures, make presentations, in the hall and on the stage there is always general lighting during the event, since the participants are constantly recording, studying information materials, the lights cannot be turned off, but the presentation must be shown. In addition, often these events are held by high-ranking government officials, foreign speakers of the highest level, and suddenly our projector goes out... So the reserve plays a role here.
Based on the geometry of the hall, we decided to use three screens. The large screen that I have already mentioned is, in principle, a show screen, but it is also often used at other events. Two more smaller presentation screens are retracted upward; their height and the height of the stage space allow this. The need for presentation screens is due to the fact that when people are on stage, for example, during some kind of report, presentation, they slightly block the exposure on the large screen, and if the picture is raised, it is not all visible from the balcony. Presentation screens are located much closer to the proscenium and can be hung at the desired height, while being clearly visible both from the stalls and from the balcony.
S.M.: How is the overall event on stage managed?
S.K.: From the assistant director’s console (APR), which is another of our developments and which Vitaly already mentioned at the beginning of our conversation. This is a set of tools by which the stage manager manages the entire process of the event. The PPR is a cabinet with video monitoring equipment, showing the entrances/exits to the hall, the view from the hall to the stage, and the view from the stage to the hall. It also includes means of technological speech communication with all services: lighting, sound, mechanics, translators’ room, video engineer’s workplace. In galleries where staff work with some special effects, there is a system of light orders that allow you to give a command in complete silence.
Voice broadcast system for dressing rooms and office premises. All spectator areas can also receive a broadcast from this console. In addition, the remote control includes blocks where special messages and signals are recorded that can be sent selectively or simultaneously to any zones; these are recorded standard phrases, for example, a fairly well-known request to viewers to turn off mobile phones or prohibit video recording. The console is equipped with sound monitors, a clock/timer unit that displays the absolute time from the beginning of the event, and a computer with a recorded script plan.
S.M.: And the service connection that we mentioned earlier was also your development?
S.K.: Yes, this is a digital station for 12 subscribers, which operates over twisted pair cable.
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S.M.: We are sitting in stylish and comfortable spectator seats...
D.B.: The chairs are not ours, they are imported. But they offered a choice, and it was we who carried out the delivery and installation.
S.M.: What about stage clothes?
D.B.: Design project, sewing, hanging - we did everything. Including embroidery on the curtain, our equipment allows this.
S.M.: In general, this project for you has already been completed?
D.B.: In general, yes, we are at the final stage, the process of training local personnel is currently underway, and at the request of the customer, our specialists participate in ongoing events - the hall is in full use. We were lucky with the customer’s staff, they are just great, we are rarely as lucky as we were on this project. By the way, I can say that now, when installing modern light, sound, and mechanical control systems, you can hand over the site to local personnel much more calmly than before, since the systems are equipped with excellent protection. You set up devices and servers, set a password, and everything works well and for a long time. But, I repeat, the technical staff at the Financial University is very competent, and therefore, after transferring the object into their hands, we are confident that we will sleep completely peacefully.
Sh.M.: Vitaly, Sergey, Dmitry, thank you for the interesting story, we wish you and your company success and prosperity!
