Bella Live

Bella Live is a new performance space opened in suburban Sydney, featuring state-of-the-art AV to attract top international acts.

Strategically located on the outskirts of Sydney within its rapidly growing north-west region, Bella Live sets a new benchmark for live multipurpose performance venues in the city and is one of Australia’s largest new multi-purpose entertainment venues.

The Client brief was that the venue had to be state-of-the-art, multipurpose, capable of hosting the world’s biggest artists, yet also able to host major corporate events, from nightclub and boxing events to product launches, fashion parades, and more.

With the promoters seeking to attract top international acts and meet all rider requirements, as well as deliver a concert experience for 2000 people, Vestec and TAG developed a solution based on 12 Martin Audio WPC Wavefront Precision line arrays combined with eight Martin Audio SX 218 dual 18-inch sub bass units, all powered by factory-supplied iKon ik42 20,000W amplifiers.

The WPC, featuring its dual 10-inch three-way design, provided sufficient SPL and headroom to handle full-house nights. Simultaneously, Martin Audio’s electronic steering capability enhanced pattern control in such a reverberant environment.

Extensive CAD modelling made bass control crucial. Traditional left- and right-stacked setups caused the usual power-alley issue, with the final solution being a horizontal arrangement of the subs in a continuous line beneath the stage.

This enabled the individual steering of each cabinet if needed, leading to better low-frequency summation and overall performance.

To minimise energy emission from the subs at the rear, top, and sides, 100 sandbags weighing 30 kg each were placed on top of the cabinets and around the back and sides.

Consistent with top performance spaces, Vestec installed a comprehensive house and stage data and analog patching system, including a 48-channel concert splitter and multiple tie lines throughout the venue.

To support the main system and VIP booth areas, a delay system comprising 10 Martin X15S and 6 SX 212 subs was installed. The delay zones were also set up to operate as stand-alone zones should the operator wish to hold smaller meetings.

Meeting the rider requirements, a foldback system comprising seven Martin Audio LE 200 high-powered concert 15-inch two-way wedges and an SX118 subwoofer was supplied with two iKon 42s, enabling an eight-send monitor system for the main stage.

System processing and routing are managed through two Q-SYS Core 110f units running in backup mode, capable of handling Dante and analog streams, while a cloud-based Q-SYS Reflect system allows for remote monitoring, software updates, and email fault notifications.

Additionally, a site-wide noise management system was implemented to alert operators when sound pressure levels are exceeded neighbourhood noise restrictions, with venue operators receiving text alerts.

Gareth Mealing from Show Technology worked closely with Vestec and the owners to carefully select equipment capable of supporting a wide range of events, with the guiding principle behind the design of ‘quantity and reliability is king’.
This approach resulted in a robust setup featuring 15 Prolights Ruby FCX profiles, which are packed gobos, a linear prism, frost, and infinite pan and tilt rotation, and six Pluto 600 high-powered LED moving head profiles featuring an advanced motorised zoom system.

The team selected ten Neptune 400 Wash FX units for its vivid colour displays, precise pixel control and LED ring effect, while three ShowPRO Collider FC strobes offer more creativity with a wide range of pre-programmed macros, special effects and flash. A pair of Look Solutions Unique 2.1 hazers provide steady haze for optimal atmosphere and enhanced lighting effects.

Together, these fixtures provided the room with remarkable depth, vibrant colour, and dynamic movement, allowing for a variety of visual effects, and no nightclub is truly complete without some powerful lasers, and so the team incorporated four Unity Laser’s Elite Pro FD4, adding a next-level visual impact.

With the design finalised, Mark and Nev from Vestec Electro took charge of the installation, delivering a tidy, professional fit-out that looks impressive and performs flawlessly. Recognising that the backbone of any serious lighting rig must be world-class, the team opted for an MA Lighting grandMA3 on a PC rack system paired with ArtNode 8, ensuring reliable control and flexibility.

The system is meticulously programmed so that the entire rig can be operated with just a touch, keeping Bella LIVE fully prepared for any event, from headline acts to massive weekend parties.

With such an enormous venue, no performance space could be without a video system. So Vestec engineered and installed two massive Leaton Vision 2.5-pixel pitch 6m by 3m video walls, and the venue’s inventory includes additional panels to enable custom designs for various performances, including DJ decks, dance podiums, and corporate events.

Additional room and bar projection are managed by two Sony VPL-PZH61 projectors, delivering 7000 lumens and a 21.9 aspect ratio.

The system utilised the extensive patch system to enable promoters to set up anywhere in the venue and to load and control content.

Control is handled by a Novastar system, with Q-SYS managing additional venue management controls layered on top.

Vestec installed a comprehensive Global Truss F 34 system that features a reinforced mounting design. This extensive truss system provides maximum flexibility for hanging the house, sound, lighting, and video equipment, while also allowing for the installation of additional equipment for special events. An extensive power and data patch system integrated into the grid enables quick setups for production companies.

The project’s acoustic challenges were highlighted by TAG Technical Director Anthony Russo, who led the team and identified early on that the room’s acoustics required significant treatment before any audio system specification could be developed.

Russo noted that no system—regardless of size, brand, or power—would have performed effectively in the space without first addressing the acoustic issues. The venue suffered from severe low-frequency problems and excessive reverberation, making it essential to engage specialist acousticians to achieve an appropriate balance for both patrons and performers.

To address this, the design team brought in respected acoustician David Gilfillan of GilfillanSoundwork. His team carried out detailed on-site measurements and developed acoustic models using advanced room simulation software from Treble Tech, Iceland.

The proposed treatments were demonstrated to the client through headphone simulations, allowing a clear comparison between the untreated and treated environments. This process left the owners confident that the substantial investment in acoustic treatment was both necessary and justified.

Russo described the project as a significant challenge for a venue of this type, requiring a fully committed and uncompromising approach.

To manage the extended low-frequency reverberation, 31 Helmholtz bass absorber resonators were designed and installed. Each unit measured over three metres in height, 1.5 metres in width, and 500mm in depth, featuring carefully calculated timber perforations and varied angles. These were strategically positioned along the walls, with 100mm-thick acoustic panels installed between them.

Additional treatment included the application of acoustic Envirospray to the ceiling. Above the stage, 24 suspended panels measuring one meter by one meter were installed, along with further 100mm-thick acoustic panels to reduce vertical reflections.

The scale and complexity of the acoustic treatment made this one of the most extensive undertakings for a venue of this kind in Australia.

The venue’s one-month turnaround required continuous installation coordination and precise logistics. Just the installation of cabling to remote racks alone involved 10 kilometers of copper cabling and significant manpower. Moreover, accurate design was essential for the electroacoustic modeling to effectively tackle the significant challenges posed by the room’s acoustics. The manufacturing and installation of the acoustic panel absorbers took a team of carpenters several weeks to complete.

The client’s vision of delivering a truly multipurpose venue required collaboration with leading industry specialists, each bringing their deep expertise to create a venue that meets world-class rider standards.

Every aspect of the system, hardware, and selection demanded careful design and modelling while adhering to a tight budget and implementing value engineering wherever possible.

However, the primary challenge lay in the room acoustics. The space presented significant and complex issues that only a few industry specialists could confidently analyse and resolve. This process required not only advanced technical skills in measurement, modelling, and design but also the ability to communicate these complexities to the client effectively.

A critical milestone was achieving a successful demonstration and education phase, where the impact of acoustic treatment was clearly articulated and experienced through aural computer simulation by the stakeholders. Securing approval for the extensive treatment program represented a breakthrough for the project.

The results have been nothing short of transformative. What was once deemed an acoustically unworkable and intolerable environment has been redefined as a world-class venue. Promoters, artists, and patrons alike have been impressed by the extent of the improvements.

The success of Bella Live’s installation has already led to hosting some of the biggest international acts, including Snoop Dogg, Will Sparks, NE-YO, Lil Jon, Wiz Khalifa, and more. This is a testament to its cutting-edge design and installation, providing a genuine boost to the Australian entertainment scene.