Pro AVL MEA March-April 2020 by Blank Canvas Publishing Ltd

LIVE LIGHTINGRECORDING RECORDING INSTALLATION AV BROADCAST POSTPRODUCTION March–April 2020 LIGHTING RECORDING INSTALLATION BROADCAST POSTPRODUCTION January–February 2020 LIVE SOUND LIGHTING INSTALLATION AVAV BROADCAST POSTPRODUCTION November–December 2019

SKY2.0 LOOKS UP OASIS GOES BACK ROUNDTABLE: WOMEN IN AUDIO TO SCHOOL JOINING THEBOX DOTS OUT OF THE AVANTIS AT URBANFILLS BREW RECORDINGS THE GAP FILLING THE VOID DOHA’S TRIAL RUN GITEX, PL+S ME, IBC and AES reviewed

NAMM & ISE REVIEWED ROBE’S RISE TO STARDOM

COMPLEX SIMPLICITY IN THE BIG LEAGUE GRAND VISION AV-over-IP at Rivers Church’s newest campus Riyadh’s MDL Beast festival rivals the world’s biggest Sharjah’s biggest mosque broadcasts to the masses

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Singapore: MICA (P) 065/05/2019 Singapore: MICA (P) 065/05/2019 Singapore: Singapore:MICA MICA(P) (P)033/06/2018 033/06/2018 Singapore: MICA (P) 033/06/2018

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CONTENTS

Volume 17 Issue Two March–April 2020

NEWS NEWS Grass Valley acquired, Biamp kicks off a new era in Dubai

EDUCATION Shure’s MXA training heads to Saudi

DISTRIBUTION A&H chooses NMK, JoeCo picks Provision AVL in GCC

APPOINTMENTS New CEOs for Neumann, Prolyte and EAW

SPECIAL REPORT Absen’s five years in Dubai

FEATURES COMPLEX CREATIONS The PMSC World Cup gives SLS a new challenge

FROM THE GROUND UP Bose keeps Dubai’s SKY2.0 on the top spot

JOINING THE DOTS Wild & Marr connects up Urban Brew with Studer

CHECKING IN HEC outfits Kyrgyzstan’s first Sheraton hotel

COVER: IN THE BIG LEAGUE MDL Beast puts Riyadh firmly on the map

Editor’s note News of the Covid-19 virus spreading out of China has dominated headlines for weeks now and, much like the SARS outbreak back in 2003, has begun to affect everyday business throughout a wider area. The Blank Canvas team has had to postpone some travel arrangements until the situation improves. Bidding farewell to Amsterdam, 2020 should have been ISE’s swansong and a time to celebrate the impressive growth it has achieved at the RAI. Instead, Covid-19 meant that the run-up to the show was marred by questions, cancellations and uncertainty. Was this an overreaction? Only time will tell. But the result was that only just over half the expected numbers made it to the show floor. What I found most interesting, though, were comments from some exhibitors who felt it had been the most productive ISE ever. Clearly, sheer numbers are not the be-all and end-all. I’m particularly interested to see how the show migrates to Barcelona. One of ISE’s biggest drawbacks has been how spread out everything is. Sure, you’ve reached your steps target by 10:30am but, by lunchtime, everything starts to take its toll. I’ve heard that there will be a much more considered layout at the Fira de Barcelona and that alone will make the move worthwhile.

BUSINESS LETTER FROM AMERICA Dan Daley on bringing the dead back to life

Email: sluckhurst@proavl-mea.com

LETTER FROM EUROPE Phil Ward explores the concept of adventure recording 38 COMPANY PROFILE Robe’s growth from OEM to stage lighting leader

SHOW REVIEW How does the new decade bode for NAMM?

SHOW REVIEW The show goes on for ISE one last time in Amsterdam

TECHNOLOGY Polytope Agency co-founders discuss audio scenography

NEW PRODUCTS The industry’s most comprehensive product news

ANALYSIS Dejero’s Richard McClurg outlines how to transform a business model

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COVER: MDL Beast festival LICENCES: Singapore: MCI (P) 065/05/2019 All rights reserved. No part of this magazine may be reproduced or transmitted in any form or by any means, electronic or mechanical, including photocopying, recording or by any information storage and retrieval system, without prior permission in writing from the copyright owners.

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@ProAVLMEAMagazine March–April 2020 PRO AVL MEA 3

NEWS

Louis Hernandez Jr’s Black Dragon Capital to acquire Grass Valley WORLD Black Dragon Capital has finalised a deal with Belden Inc to acquire broadcast and media solutions manufacturer Grass Valley. The acquisition is set to complete by the end of Q1 2020 and will see full control of all Grass Valley assets transferred to Black Dragon, which was founded by former Avid CEO, Louis Hernandez Jr. ‘We see tremendous opportunity for transformation in the media technology market and believe that Grass Valley is in an ideal situation to lead the market through these changes,’ said Hernandez. ‘Under Belden’s leadership, the Grass Valley solutions portfolio has expanded and the business has developed a discipline that puts them in the upper quartile of the market in profitability. Black Dragon’s experience leading companies through digital

Louis Hernandez Jr

Biamp kicks off a new era in Dubai UAE

With the recent acquisition of Apart Audio by Biamp, the two companies consolidated their offerings and jointly presented their solutions under the Biamp banner during a recent roadshow at the Radisson Blu Hotel at Dubai Waterfront.

The manufacturer’s Crowd Mic app was requested to be installed on attendees’ phones before the start of the show. This software acted as an immediate crowd engagement tool and also includes a voting facility which was demonstrated to the attendees by both Olsen and Davies. ‘The acquisition of Apart and Community by Biamp happened only a few months ago, but we have already come a long way with our integration, and we wanted to show that with a combined event,’ commented Olsen. ‘Our customers in the Middle East and around the world have responded very well to an extended product range from Biamp, and there is excitement in the market surrounding our product families. For the local Middle East

transitions will allow Grass Valley to accelerate the next step in its evolution, bringing more innovative products to market faster.’ No immediate changes to Grass Valley’s operational management structure are planned and Tim Shoulders will continue in his role as president. ‘Grass Valley has led the market in the transition from SDI to IP and has been diligently pivoting our product lines to cloud-based and SaaS solutions,’ Shoulders commented. ‘Black Dragon brings the expertise and vision that will allow us to accelerate this transition to the benefit of our customers who are looking for more robust and flexible models for content production and delivery.’ Grass Valley customers will reportedly experience a ‘seamless transition’, as Grass

Valley maintains full control of its supply chain and operational systems, enabling ongoing support without disruption. Belden announced plans to sell Grass Valley in its Q3 2019 results, noting that a new ‘broad-based cost reduction programme’ would result in US$40 million of annual savings for the company. Belden president, CEO and chairman John Stroup said it would ‘enable Grass Valley to more effectively execute its strategic plan and pursue growth opportunities. Further, this separation will simplify Belden’s portfolio and improve organic growth and revenue visibility.’ www.blackdragoncap.com www.grassvalley.com

Pro AVL MEA and Shure launch AV Women MIDDLE EAST

Following the highly successful Women in Audio roundtable discussion held in Dubai in par tnership with Shure MEA last year, Pro AVL MEA magazine has teamed up with the microphone manufacturer once again to launch a new Facebook page dedicated to highlighting the work being done by women in the Middle East and Africa. AV Women invites women at all levels in the

commented Pro AVL MEA editor, Simon Luckhurst. ‘In recent years, a light began to shine on the issue; however, AV is still a heavily male-dominated industr y. We’re really proud to cooperate with Shure MEA once more on highlighting the issue, and would encourage any women working in AV, at all levels, to visit the page and share your experiences and suppor t with others.’

audiovisual industr y, from those seeking guidance at the star t of their careers to those who have climbed the corporate ladder, to share their experiences and trends with one another. ‘The roundtable event last year provided some really enlightening discussion around a topic that is perhaps even more prevalent in the MEA region than elsewhere in the world,’

‘We are proud to be working with Pro AVL MEA to inspire more women to explore roles in the AV industr y,’ stated Shure CEO, Chris Schyvinck. ‘This Facebook page ser ves as a collection of great examples of how women in various positions within AV are making a significant difference.’

Biamp’s vice president of international business development, Niclas Brattberg The presentation kicked off with a short company introduction from Biamp’s vice president of international business development, Niclas Brattberg, where he detailed the company’s recent rapid growth and its visions for the future, such as the upcoming move to a new office location at Silicon Oasis where Biamp will have permanent training facilities and onpremises stock for clients. Anders Olsen, Biamp’s regional manager, then took over and introduced the Apar t and Community products that have joined the Biamp range while detailing their specific benefits. This was followed by an introduction to the Vocia, Tesira and Parlé microphones and beamtracking solutions, including the TCM-1 and TCM-X ceiling mics and the TTM-X table mic, from Brian Davies, a technology architect manager at Biamp.

4 PRO AVL MEA March–April 2020

Anders Olsen, Biamp’s regional manager market, we will be increasing our presence with a new office in Dubai coming up in 2020, where we will have training facilities, an experience centre and a local sales and support team. Our event here in Dubai kicks off a new era for Biamp in the Middle East and, judging by the feedback received today, our customers are as excited about this as we are.’ www.apart-audio.com www.biamp.com

www.facebook.com/proavwomen

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NEWS: BUSINESS

New brand, AED Audio, launched WORLD

AED Group, a major European AV company comprising AED Rent, AED Display, AED Distribution, AED Store, AED Lease, AED Repair, AED Second Hand and AED Studios, has announced the formation of a new brand with global implications. AED Audio is the name of the venture, set up to serve as a premium audio brand with a new product range. AED Group CEO Glenn Roggeman designed and built a range of speakers that were

Fohhn replants itself WORLD

For a company that has quietly grown its reputation and business for almost three decades, Fohhn Audio AG has at last consolidated its various premises into one purpose-built factory headquarters at the Großer Forst industrial park in Nürtingen. In doing so, the German brand has issued a statement of intent to others. While R&D, warehousing, sales and administration had always been located at one address in Nür tingen, Fohhn’s various production and assembly facilities had been operating in separate industrial units throughout the city. ‘In many ways, this arrangement suited us as it separated production from R&D and management,’ explained sales and marketing director, Uli Haug. ‘With growth, however, maintaining operations at these separate respective locations became increasingly challenging.’ The Stuttgart region is perhaps the most economically prosperous region in Germany. So, having identified the overwhelming desire to relocate and construct a purposebuilt HQ that will allow Fohhn to grow over the coming years, delays were inevitable owing to a lack of available construction companies and required planning permissions. However, its patience has been rewarded and, following the onset of construction at Großer Forst in May 2018,

the company has fully relocated its various factions under one immense roof. ‘Our customers and partners will benefit from quicker response times, greater flexibility and effectiveness, fewer internal logistics and a much higher level of efficiency overall,’ added Haug. ‘As a modern centre of innovation, our new building is complete with a new Fohhn SoundLab, two additional measurement laboratories and several training rooms.’ The new SoundLab mirrors the 24m x 14m x 6.5m dimensions of the previous one and has a reverberation time of around 0.6s. It allows visitors to experience the manufacturer’s range of speakers, electronics and software. The room also hosts a VIVACE electronic room acoustics system with a total of 64 speakers surrounding the listeners. The VIVACE system allows for an increase in reverberation time of up to 3s and all speakers can be experienced with either dry or highly reverberant acoustics. Not only does the green-credentialed new facility incorporate modern tooling equipment, it is also home to a skilled workforce, including the R&D and technical support teams. ‘With this relocation, our philosophy has not changed – it has merely strengthened,’ concluded Haug.

sold to rental and installation companies in the 1980s and early 1990s. While the manufacture of AED-branded speakers ended in 1993, the company continued to operate as an AV service provider and supplier of other products. Once again producing its own solutions, AED Audio launches with three new products. First is the Flex6 multipurpose loudspeaker that can be stacked, flown, pole-mounted and combined in a variety of ways. Then, there’s

the Solid15 compact, 15-inch subwoofer and the Solid28 dual 18-inch bandpass powered sub, which can be combined with the Solid15 and Flex6 to form a system for use in largescale applications. AED Audio was officially launched during AED Group’s annual customer nights, held at AED Studios in Lint, Belgium. www.aedaudio.com www.aedgroup.com

Ardian secures majority stake in Audiotonix

James Gordon WORLD

Allen & Heath, Calrec, DiGiCo and SSL group owner Audiotonix has secured new investment from Ardian following its last round by Astorg in 2017. Ardian has agreed to buy a majority stake in Audiotonix in a deal that values the pro audio group at €1 billion. ‘This is an outstanding opportunity to partner with Ardian to enable further growth, and it represents a significant step in the future development of Audiotonix,’ said James Gordon, CEO of Audiotonix.

‘We have built an incredible infrastructure within the group in the past five years, which has clearly benefitted all our brands with manufacturing know-how, developing new technologies and growing their worldwide reach. Ardian’s financial support and advice will help expand our brands and product portfolio even further.’ Olivier Personnaz, managing director of Ardian Buyout, added: ‘The world’s top acts, performers, broadcasters and supporting creative industries want to give audiences the very best experience. Events, music and media content are becoming more immersive, embracing new technology and relying even more on great sound. That’s why we are excited about how this new partnership will help Audiotonix differentiate itself even further through the undisputed quality of its audio technology and service to customers. The highly experienced management team are well-placed to grow the scope and reach of the business, delivering outstanding audio experiences to more and more people worldwide.’ www.ardian.com www.audiotonix.com

www.fohhn.com

MGG expands FreeSpeak inventory SOUTH AFRICA

South African rental company MGG has expanded its inventory of Clear-Com intercom units with the addition of six FreeSpeak II digital wireless beltpacks. Supplied by DWR Distribution, the additional units catered for the technical communication at last year’s Afrikaans is Groot, a large-scale music production hosted at Time Square’s Sun Arena in Pretoria. The rental company has also upgraded its Clear-Com licence and is now able to run 25 comms on a single base station. ‘Fifteen years ago, you would just have four communication packs assigned to the director, followspotter, audio engineer and lighting designer,’ recalled MGG owner, Mark Gaylard. ‘Big gigs would be time consuming and a student or young technician would be assigned to run extra comms cables to all the locations where comms were utilised.

6 PRO AVL MEA March–April 2020

L–R: MGG’s Nardus de Lange with Chris Pugh, Clear-Com’s product manager If it wasn’t run well, you’d hear a buzzing sound over the comms. Now productions are very complicated and you need to have comms in place. Everyone on a show needs to communicate, from lighting to sound,

back of house, stage managers and the technical team. You can easily have 40 comms on an event.’ MGG started investing in Clear-Com six years ago. ‘The gear is reliable, robust

and a game-changer,’ says Gaylard. ‘The greatest advantage is the wireless system which enables everyone to move around freely and talk to each other as often as needed, no cables and no buzzing. ClearCom also allows you to record the whole event for reference after an event. You can link it to a sound console for further routing and stream the sound on the internet.’ The fact that Clear-Com is now supported by DWR in South Africa also factored in the decision to further invest in FreeSpeak. ‘This means we can repair gear locally with Derek Kruger at DWR, whereas before equipment would have to be sent to Germany which makes repairs really expensive.’ www.dwrdistribution.co.za www.mgg.co.za

NEWS: BUSINESS

Riedel welcomes Embrionix into its family WORLD

Riedel Communications has acquired Canadian IP video processor manufacturer Embrionix, strengthening its IP-enabled hardware and software capabilities and broadening its portfolio of video solutions in the process. Embrionix was established in 2009, developing miniaturised, high-density IP gateways, IP signal processors and converters for broadcast video. It pioneered the use of small form-factor pluggable (SFP) modules for signal processing and has been granted more than 20 patents. ‘Sometimes, things just fit,’ explained Thomas Riedel, CEO of Riedel Communications. ‘Just like Riedel, Embrionix started out in a garage and has managed to preserve its innovationdriven start-up spirit on its way to global success. Our philosophies are an ideal match, and our product portfolios and competencies complement each other perfectly.’

Riedel has also pursued a networked approach to video infrastructures with its MediorNet real-time media network. As the German manufacturer welcomes Embrionix into its family, it gains access to a workforce comprising engineers who are specialised in cutting-edge IP and video technologies. The Embrionix team, headquartered in Montreal, employs 50 engineers, with design, R&D and sales offices around the world. As a result of the acquisition, the Riedel staff count tops 700 employees.

‘Riedel is an international player, and we can offer Embrionix all of the benefits of a comprehensive global sales and support infrastructure,’ furthered Riedel. ‘Embrionix, on the other hand, has access to unique technologies and proprietary knowledge that will be instrumental in our quest for innovation leadership in the field of video infrastructures.’ Embrionix CEO Renaud Lavoie also commented on the acquisition: ‘As a hybrid IP environment, Riedel’s MediorNet is trusted by customers as an ideal bridge to the IP world,’ he said. ‘Our high-density IP gateway and processing solutions will greatly enhance the MediorNet ecosystem and expand its application areas, making it more powerful than ever.’

Vitec strengthens group with acquisition of IPtec WORLD

In order to grow its broadcast contribution and remote production capabilities, Vitec has acquired IPtec, a manufacturer of video-over-IP networks. This deal will allow IPtec products to be added to the Vitec lineup and will combine the product roadmap of IPtec’s VNP series

www.embrionix.com www.riedel.net

Fogtech invests in Absen PL3.9 panels SOUTH AFRICA

Johannesburg-based rental company Fogtech has invested in 140 Absen PL3.9 Lite LED panels. The sale was facilitated by Absen’s South African distributor, DWR Distribution. ‘LED is an amazing product and has revolutionised our industry, but it can be finicky,’ explained Fogtech owner, Garth O’Kelly. ‘We looked at different brands and felt that Absen had refined their product to accommodate our working style. One of the biggest decision-makers was the aftersales support, and we’ve had such a great experience with DWR in the past that we knew that we could trust them to support us moving forward.’ O’Kelly originally established his company in 2007, exclusively supplying FogScreen products at the time. By 2010, Fogtech had expanded, delivering full turnkey technical solutions for events, including lighting,

Garth O’Kelly of Fogtech audio and video. O’Kelly remains hands-on at events and, as such, chose the Absen screens in part because of their user-friendly nature.

‘We are very happy with the quality of Absen,’ he continued. ‘It has been an easy process and we haven’t experienced any challenges to date. We recently did an event in Botswana where we had 288 panels running seamlessly. We set it up, switched it on and had no issues at all. Our clients have also been extremely pleased. What’s worth mentioning is how effortlessly other technicians on an event, such as the camera crew or staging teams, are able to integrate the panels into the system. There are a number of rental companies who have Absen already and, because we have a great relationship within the industry, cross-rental is made easy.’ www.absen.com www.dwrdistribution.co.za

www.iptec-inc.com

www.fogtech.co.za

www.vitec.com

1/4 PAGE 8 PRO AVL MEA March–April 2020

with Vitec’s HEVC portfolio offering. This is the third company that Vitec has acquired within the past 18 months, following the acquisition of T-21 and Telairity. ‘IPtec is highly respected in the military and broadcast verticals,’ said Kevin Ancelin, VP of worldwide broadcast sales at Vitec. ‘IPtec introduces the benefits of J2K, MPEG-2 and legacy H.264 4:2:2 10-bit codec support, as well as a full duplex encoder/decoder and a telemetryto-IP gateway that complement Vitec’s portfolio of high-quality, low-latency HEVC codecs. Together, our solutions will provide customers with a purpose-built technology platform capable of delivering broadcast-quality media streams, even under the most extreme conditions.’

NEWS: BUSINESS

CT strengthens L-Acoustics ties

N&M celebrates 15 years of Middle East business

L-Acoustics has announced the creation of Authorised Calibration Centres to extend its proximity to end users while ensuring the same in-house level of service and responsibility. One of the first Certified Providers (CPs) that has become an Authorised Calibration Centre is L-Acoustics’ Middle Eastern partner, Creative Technology. ‘Being an Authorised Calibration Centre allows us to provide a greater level of service, knowledge and support to our clients, both from within our technical engineering teams and having direct access to L-Acoustics’ development and support management,’ said Andy Reardon, managing director of Creative Technology Middle East. ‘We pride ourselves in delivering solutions based on engineering and from the ground up. Being an Authorised Calibration Centre gives us greater levels of understanding of L-Acoustics’ systems, processors and procedures.’

Neumann&Müller Event Technology is celebrating 15 years of business in the Middle East this year. The company, which officially opened an office in Dubai in 2007, first set its sights on the region when it became involved in the Dubai International Financial Centre (DIFC)’s inauguration in 2005 and realised the local market’s growth potential. ‘Clients in 2005 expected creative event solutions on a big scale, and there were very few companies in the Middle East producing that service at the quality we could – and still do – offer,’ recalled senior business partner and general manager, Jens Gießler. ‘We’ve been incredibly fortunate to work on various amazing projects, partnering with international agencies and hiring the world’s best crews.’ While its European heritage may have required adjustment to an unfamiliar climate, it also provided lots of benefits and advantages. ‘Being a German company, we had a strong engineering background and standardised service protocols for our equipment, which really helped us stand out as experts in the market. We wanted to be involved in the creative processes with our Middle Eastern

MIDDLE EAST

Andrew Reardon, Craig Harvey and Damian Row Arnaud Delorme, applications engineer at L-Acoustics, added: ‘The partnership with our CPs is extremely important to us. We maintain a very close two-way relationship with them, keeping them up to date on innovations at L-Acoustics while constantly seeing their field experience and feedback. www.ct-group.com www.l-acoustics.com

MBC swims with Bluefish

MAURITIUS

Mauritius Broadcasting Corporation (MBC) transmits both TV and radio shows across the Republic of Mauritius in 12 different languages. As it wanted to create live materials for the 2019 Indian Ocean Island Games (IOIG), it turned to Jasco which recommended the Bluefish444 IngeSTore Server.

clients, and our experience helped them to offer us freedom when taking on their events.’ Speaking about some of the highlights N&M Dubai has enjoyed over the past few years, Gießler recalled: ‘In 2005, we were honoured to deliver the inauguration of the DIFC through our partner event management agency, HQ Worldwide Shows (HQWS). N&M ended up providing the technical support to HQWS for the DIFC’s anniversary celebrations for the three consecutive years. In 2013, we also helped realise the New Year’s Eve celebrations at the Burj Khalifa by providing the video elements. This was one of the most impressive events we’ve ever been involved with.’ While the UAE continues to be a key market, Gießler reasons that there is scope for movement into the rest of the region. ‘Saudi Arabia is a promising space, and we’re fortunate that – because we’re internationally positioned – we already have a team that can dedicate itself to projects there. Having said that, our current focus is definitely in Dubai, especially with Expo 2020 around the corner.’ www.neumannmueller.com

MBC has worked with Jasco for the past 20 years. Bluefish444 was recommended as Jasco has used its products in the past and could integrate them with MBC’s Avid Nexis network storage and Avid Media Composer. ‘The Bluefish IngeSTore Server is an amazing piece of technology, so it was a simple choice to make,’ said Jonathan Smith, technical manager of Jasco. ‘The ease when installing and integrating the server into existing infrastructure and robust recording ability are what made all the difference. When you have no file corruption, no dropped frames on recordings and no ingest fail during the whole IOIG event, the product speaks for itself. This is not the last Bluefish IngeSTore Server we will be installing.’

www.bluefish444.com www.jasco.co.za

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March–April 2020 PRO AVL MEA 9

NEWS: PROJECTS

MediaPro equips the Formula E International Stage SAUDI ARABIA

In addition to the Swedish House Mafia concert, Live Nation Middle East also appointed MediaPro International to deliver the technical production for Saudi Arabia’s Formula E International Stage as part of the Diriyah Season festival. The concerts took place over four weekends after the Formula E races and included performances from the likes of Imagine Dragons, Pitbull, Shaggy, Lil Wayne, Usher, Calvin Harris and Major Lazer. MediaPro deployed an L-Acoustics K Series system for the main PA setup with 40 K1 and 16 K2 loudspeakers accompanied by 12 K1SB and 40 KS28 subwoofers. Additionally, 32 L-Acoustics V-Dosc speakers were used as delays, while 24 L-Acoustics Karas served as front-fill. A wide range of mixing consoles were provided due to the differing needs of the artists and their riders. These included pairs of DiGiCo SD7 Quantum, SD5 and SD10 desks, as well as two Avid S6Ls and two Yamaha CL5s. Meanwhile, 400m2 of 4.81mm and 450m2 of 8.33mm LED screens were employed to create the large video canvas onto which triple 4K@60Hz content was outputted via two disguise 4x4pro media servers with two Barco E2-Tri combos and one EC-210 event controller.

The mammoth lighting rig consisted of 176 Robe MegaPointes, 40 BMFL Blades, 20 Claypaky Scenius Profiles, 202 R3 LED Beams, 124 SGMQ-7s, 178 ORB300 LED blinders and 150 Color Imagination PIX ARC LED battens. In addition, four Robe BMFL LTs were used for followspots with four ground controllers. Lighting was controlled via two grandMA2 Full Size consoles (one of which was employed with wysiwyg for the previz suite) and a grandMA2 Light for the stage. MediaPro ran the technical solutions over a Luminex network with a GigaCore 16-RFO, two 14R switches and three LumiNode 12

converters. For rigging, 123 EXE D8+ and 50 CM Lodestar hoists were used along with eight CM D8+ hoists for the main PA hangs. Over 600m of Litec QD30 truss was used for sub-hangs. ‘We had to work hand in hand with the scaffolding and scenic companies to achieve this tricky build,’ said Shaam Pudaruth, COO at MediaPro. ‘We were extremely pleased with the overall outcome of the massive structure. The results spoke for themselves when seeing the stage come alive with all the technical elements we incorporated and, of course, the top-class performers. It’s always a real pleasure working

Sound GP purchases Frank Fillipetti-approved JBL M2s SOUTH AFRICA

Sound GP owner Cristo Hattingh has become the first-ever owner of JBL Professional’s Frank Fillipetti-approved M2 Master Reference Monitors, purchased via Wild & Marr. According to Hattingh, who has used a variety of largeformat studio monitors in the past, the M2’s Image Control Waveguide coupled with JBL’s D2 high-frequency driver differentiates it from the pack. Hattingh’s new M2 monitors are branded serial #00001 and serial #00002. ‘The JBL M2s remained in their box for a few weeks while the studio was being built, leaving me

The main L-Acoustics PA consisted of 40 K1s and 16 K2s accompanied by 12 K1SB and 40 KS28 subs with production designer Gabriel Fraboni and show producer Jim Digby, and the entire Live Nation team. There’s a great understanding and the overall process is always so smooth.’ www.mediaproav.com

eagerly waiting in anticipation,’ he recalled. ‘What surprised me the most was the sonic transparency throughout the volume change. The feeling that I got can be summed up in a single word: vindication. The M2 is everything that I thought it would be. It gives me a true reflection of the sonics, and I can listen for 5–6 hours at a low volume in one sitting.’ Hattingh works on a plethora of postproduction large- and small-format content for broadcast environments. ‘I can sit at 85dB SPL and I still have the full frequency range with no issues at the low end. When I go up 2dB on my listening level, I don’t feel like I have to rebalance. I can trust that what I’m hearing on the M2s will come out contextually to what people watching a broadcast would hear.’ www.jblpro.com www.wildandmarr.co.za

PART covers the Majlis Al-Shura elections OMAN

To provide real-time updates and results for the Majlis Al-Shura elections over 3G and 4G networks, the Public Authority for Radio and TV (PART) chose Aviwest Pro3 series HEVC cellular transmitters, QUAD antennas and a StreamHub transceiver to broadcast the event, distributed by ApexTec. ‘Providing a customer-centric approach is always our priority and we feel privileged to contribute to the Majlis Al-Shura elections,’ said Ahmed Aqil Al-Ibrahim, director of international technologies and projects at Apex. ‘Aviwest’s solution has been deployed in Oman during various mission-critical applications in the past, such as the Mekunu

10 PRO AVL MEA March–April 2020

cyclone, as well as in overseas event coverage. The user-friendliness and robustness of the solution have been proven time and again.’ Nicola Atta, sales manager at Aviwest, added: ‘With 110 different voting sites around the Sultanate of Oman, there was large ground to cover during the election. Our live video solution is lightweight and compact, so it’s perfect for mobile newsgathering. It’s also cost-effective, reducing the amount of equipment and bandwidth needed to transmit high-quality live video.’ www.apextecpro.com www.aviwest.com

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NEWS: PROJECTS

Magico SA adds DeltaQ SOUTH AFRICA

Gauteng-based production company Magico SA has invested in additional Bose ShowMatch DeltaQ loudspeaker systems. The purchase brings Magico SA’s inventory of DeltaQ boxes up to a total of 78. Alpha Technologies facilitated the sale. ‘Bose ShowMatch is a very versatile system and can cater for many diferent events by swapping out only waveguides,’ said Magico SA’s owner, Ruan Vermaak. ‘The way the system sounds and the way we are able to get

around acoustically challenging spaces with the DeltaQ technology makes it perfect.’ The new ShowMatch DeltaQ line arrays form part of a recent investment spree by Magico SA, as the production company has also purchased DiGiCo S21 and S31 consoles and an Absen PL3.9W screen in recent months. www.alpha-tec.co.za www.magicosa.co.za pro.bose.com

NEXO tilts into place at Mohammed V Sports Complex

The Magico SA team with their new Bose cabinets

StreamGuys aids African content publishers GHANA

Atunwa Digital, a digital network that aids media companies on monetisation strategies in Ghana, recently launched a project to help African audio content publishers with distribution and advertising. It turned to StreamGuys in search of an audio streaming and podcasting provider that would supply the required tools and infrastructure to achieve this.

‘We determined that StreamGuys would be an ideal fit,’ said Mac Maison, a partner of Atunwa Digital. ‘In addition to having great tools, technology and support, they were willing to deal with us on a collaborative level. We now use the complete suite of StreamGuys services and solutions, from their robust content delivery network and podcast publishing to their analytics tools.’

Atunwa develops full-scale digital marketing and advertising tactics, helping clients from planning to execution and analytics. Two years ago, the company launched an initiative to help African audio content publishers better leverage digital distribution and advertising opportunities to get the most monetisation value from their content. ‘Many of these organisations were leaving revenue on the table by receiving only a small percentage back from their streaming or podcasting service provider,’ said Mamuna Oyofo, a partner at Atunwa Digital. ‘We set out to help African content creators reach both their local and diaspora audiences through online streaming, with the ability to serve geo-targeted advertising to their listeners – all while taking control of their digital future.’ To achieve this, Atunwa needed to find an audio streaming and podcasting technology provider who could supply not only the tools and infrastructure needed for online delivery, but also the support and expertise that their customers would need as they develop their own digital media autonomy.

StreamGuys’ integration with ad platforms allows the insertion of targeted advertising for live streams and podcasts of Atunwa’s clients. Another significant challenge faced by African content providers has been unauthorised redistribution of their content, which leads to lost revenue. StreamGuys’ tools – including the SGPassKey system – allow Atunwa’s clients’ streams to be restricted to authorised distribution partners and are also tightly integrated into StreamGuys’ embeddable SGplayer media player. Mamuna Oyofo, another partner of Atunwa Digital, added: ‘Our goal with Atunwa is to build a digital network whereby we become the most trusted monetisation source for African content publishers and the resource for brands and advertisers looking to connect with African audiences globally. StreamGuys’ streaming technology and expertise have allowed our clients’ digital media operations to become more independent, unlocking their content’s value through the power of digital advertising.’

Senior NEXO project designer Carole Marsaud led the project MOROCCO

Casablanca’s Mohammed V Sports Complex has reopened following extensive renovations that have included a complete overhaul of its PA/VA facilities. A NEXO GEO S12 sound system has been installed by Encom, with the integrator battling a tight schedule to complete the project in just two months. The 67,000-capacity stadium is home to Casablanca’s two football clubs, Wydad and Raja, as well as hosting the Moroccan national team’s games. NEXO and Encom have already delivered two successful stadium installations in the country, in Agadir and Marrakech. The primary design for the new audio system was completed by French acoustic consultancy Tisseyre&Associés. To realise the design in NEXO’s NS-1 prediction and modelling software, Encom’s general manager Rachid Mediouni turned to the French manufacturer’s Engineering Support division. Senior NEXO project designer Carole Marsaud recalls that the turnaround between winning the tender in May and completing the installation by the end of July was one of the shortest in the experience of NEXO’s specialist ES Division. Her brief was also unusual in that it is largely an open stadium and only a small percentage of the stands are covered. ‘Without a structure, it was a challenge,’ explained Marsaud. ‘We had to be more creative, although we were under a lot of time pressure. The solution turned out to be simple. We did something we’ve never done before – according to an innovative concept from

12 PRO AVL MEA March–April 2020

Tisseyre, we tilted the clusters horizontally, to an angle that matched the slope of the stands. By doing that, the clusters became perpendicular to the audience area, which is the only way to properly cover the top rows in the middle of each stand.’ Other considerations included a very high level of crowd noise. The NEXO system needs to deliver at 101dBA in order to be heard over the rival fans sitting in opposite stands. The new system is built around NEXO’s GEO S12 line array loudspeaker and GEO S12-ST variant, with more than 70 GEO S12 cabinets deployed. The system is powered by NXAMP4x4 controller/amplifiers distributed among four amp room locations. The installation takes advantage of fibre-optic cabling, with a Dante network and a Yamaha digital console for control. www.encom.ma www.nexo-sa.com

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NEWS: PROJECTS

CT ensures Riyadh Season closes with a bang SAUDI ARABIA

Creative Technology (CT) Middle East provided site-wide projection for Leila, The Land of Imagination when it took place at the King Fahd Stadium in Riyadh. The spectacle was the grand finale of Riyahd Season, which has seen a host of events staged in the capital city over the last two months. CT was commissioned by Balich Worldwide Shows (BWS). The spectacular event, created by Marco Balich and his all-female creative team from BWS, captured the essence of Saudi Arabia through an adventurous 10-yearold lead character, Leila. The stage had multiple projected scenic reveals, including a 12m-high Inflatable Fortress, a Gauze house which revealed beneath the field of play, an inflatable hand and a hot air

balloon which moved position during the show.

‘The biggest challenge was projecting onto the moving scenic elements as there was a risk they could be affected by var ying wind speeds and direction,’ explained Tom Stocks, CT’s senior engineer. ‘We used 89 Panasonic RZ-31k and 21K projectors and Epson EB-L1755U laser projectors with ultra-shor t-throw lenses to

span across a 4,400m2 projection sur face which included four hills, a lake and a sandpit.’ CT provided BlackTrax real-time tracking technology to track per formers and scenic elements throughout the show. BlackTrax was also integrated into the lighting design and used for tracking Leila for the duration. A total of 60 beacons tracked per formers, horses and scenic elements. Lastly, CT delivered a full site-wide monitor system, including its new Birddog A200 PTZ cameras, allowing production, stage management and creatives a full over view of the site during the rehearsals and show. www.ctme.co

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AIT chooses Bose for W Hotel upgrade UAE

Advanced Integration Technologies (AIT) has completed a new audio installation at Abu Dhabi’s W Hotel centred around Bose loudspeakers. Overlooking the Abu Dhabi racetrack, home of Formula One in the UAE, the uniquely designed venue boasts several restaurants that required upgraded audio reinforcement. The solutions were supplied by NMK Electronics. Bose was chosen as the centrepiece of the project as a result of its reputation in the hospitality sector. ‘To provide the best experience, we must use the perfect audio system that covers all the aspects needed, like the brand, design and installation,’ explained AIT general manager, Sayed Yammine. ‘Since our company always thrives

14 PRO AVL MEA March–April 2020

Garage, the dining hub of the hotel, has five restaurant concepts including Mezza Bar, Steam Table and Meat Vault. These three restaurants are now equipped with ArenaMatch Utility wall-mount speakers.

to impress its clients, we realised that using Bose Professional products would be a key point in obtaining an outstanding status in the audio system field. We chose this solution because we are sure that the result will be phenomenal, and we will provide the clients with an exceptional experience.’

Moving outdoors, ArenaMatch Utility loudspeakers have been fitted across the entire stretch. The pool area has been designed to provide another level of music fidelity, with an ArenaMatch outdoor line array, and a Panaray Environmental Bass on the lounge, terrace and pool deck. ‘Throughout the project, NMK along with the Bose Professional team have provided outstanding support in order to produce a successful audio system for the client. We look forward to collaborating on more projects,’ concluded Yammine. www.adv-technologies.com www.nmkelectronics.com

AIT general manager, Sayed Yammine

pro.bose.com

NEWS: PROJECTS

Powering Les Dunes Electroniques TUNISIA

For the past three years, Ong Jmal Nefta has been home to Les Dunes Electroniques, an annual electronic music festival that takes place over three days. In previous years, the production team came across several audio issues and decided to fix this by turning to Pro Audio Light (PAL), which became the event’s technical partner and delivered audio and lighting products for the most recent edition. ‘According to the technical team, we were the only Tunisian company capable of doing this job,’ said PAL’s Najjar Nizar. ‘We provided everything for the two stages, from power distribution and generators to lighting, trussing and audio, as well as FOH and monitors.’

The main and auxiliary stages all used the same setup, which consisted of Seeburg Galeo XT line array speakers with Galeo XT subwoofers, TW Audio T24 loudspeakers and Vera S30 woofers with Clair Brothers 1.5AM stage monitors and two DiGiCo SD9 audio desks. PAL chose amplifiers from Powersoft as the Italian manufacturer had supported the rental company in the past. ‘We have been using Powersoft’s amplifier platforms for two years without any issues whatsoever,’ said Nizar. ‘For the main line arrays, we chose X8s and X4s, while the subwoofers were driven by X4Ls and K10s. For monitors, we were able to make use of Powersoft’s

new T604s, as well as the tried-and-tested X4s. The hardware’s quality construction and software’s ease-of-use are a powerful combination. This festival certainly was a challenge for us as a technical partner as the audio system had to run for 30 hours straight in extreme conditions but Powersoft’s amplifier platforms were the perfect choice and made life a lot easier.’

PAL also provided lighting fixtures for the event. This included Mythos moving head lights and A.LEDA wash K10 LED lights from Claypaky and BT-Vintage projectors by Briteq. These were controlled with MA Lighting’s grandMA2 and Chamsys’ MagicQ 60. www.palproduction.tn www.powersoft.com

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Mosaïek Teatro goes 3D with KLANG SOUTH AFRICA

The Mosaïek Teatro, part of the Mosaïek Church in Fairlands, Johannesburg, recently purchased a pair of DiGiCo SD5 consoles to suppor t its ongoing flagship productions, such as The Voice South Africa and Idols South Africa. The venue has now taken this one step fur ther by investing in a 3D in-ear monitoring solution from KLANG. ‘Last year, the Mosaïek Teatro hosted the third season of M-Net’s The Voice South Africa, which gave our technical team the oppor tunity to work on the DiGiCo SD10 console that was used for the show,’ explained technical manager, Estian Els. ‘We all became really comfor table with the technology and,

when the time came for us to invest in new consoles, we decided to go with two DiGiCo SD5s.’ While the team have been ver y happy with the DiGiCo consoles, they did experience a few challenges with musicians’ in-ear monitor mixes. ‘In the past, musicians were able to log onto our console remotely and arrange their own in-ear monitor mixes ahead of Sunday morning worship ser vices,’ noted Els. ‘This was no longer possible once we adopted the DiGiCo platform, which created a lot of pressure on our monitor engineer.’ DWR Distribution’s Kyle Robson suggested KLANG’s 3D in-ear monitoring

solution. ‘We looked at a number of products from a range of manufacturers,’ stated Els. ‘However, most of them are network-based, and therefore require additional network cables and switchers to run, which was not ideal in our setting. Kyle provided us with a KLANG:fabrik demo unit and it was an instant success with ar tists and technicians alike. We have a number of ver y skilled and prolific musicians per forming at the Mosaïek, and the response to KLANG has been over whelmingly positive.’ www.dwrdistribution.co.za www.klang.com

L–R: Estian Els and Kyle Robson

www.mosaiek.com

March–April 2020 PRO AVL MEA 15

NEWS: PROJECTS

Yamaha dances into the night

DSPPA reaches Executive Heights UAE

Yamaha DZR12 speakers power the venue UAE

Ku-Bu is a nightclub at the Radisson Blu Hotel set within the cultural and art heritage district of Dubai Deira Creek. The owners decided to upgrade its sound system as part of a recent renovation to modernise the space and relied on products from Yamaha, distributed by Thomsun and installed by systems integrator Adeco. ‘The bar should have a club-like performance when needed and a smoothsounding, discreet and sophisticated system during off-peak hours,’ said Ranjith Janardhanan, sales manager of Adeco. ‘With

included a DZR10 DJ monitor, MTX3 processor and DCP14S volume control. ‘A site demo convinced the client of both the performance and suitability, and the speaker system had been tuned to provide a wellbalanced frequency response by Thomsun’s tech team, with good coverage in seating areas to maximise the characteristics and performance of the sound system.’ Janardhanan concluded: ‘The speakers would have to hang close to the ceiling, pointing downwards and handle about twice the power than the old speakers could. Restaurants

The Thomsun team at Ku-Bu its already formidable sound system, the Ku-Bu operation team was passionate about the use of new technology which could be the future of nightclub sound. Previously, audio was not uniformly distributed in the lounge area and the DJ was not happy with the existing power of the speakers.’ In order to give the bar what it was looking for, Janardhanan turned to Thomsun and then, in turn, to Yamaha. ‘When the management of Ku-Bu decided to modernise and completely refurbish the club, they were keen to retain the elements that held so much appeal to the customers,’ he commented. ‘Adamant that the sound system deserved as much attention as the décor, we decided to go to Thomsun to provide Yamaha audio products for its highquality sound delivery.’ The result was the installation of four Yamaha DZR12 speakers and two DXS18XLF subwoofers. The setup also

16 PRO AVL MEA March–April 2020

and clubs usually have very inconsistent and noisy AC power and we have also installed a power line conditioner surge protector. The subwoofer provided is thick and gives a driving beat. An extra benefit of the careful speaker placement is that the sound stays focused and concentrated in each area and does not blast the other areas where people want to talk.’ The end result of the Ku-Bu revamp is a focused audio solution that matches the colourful and tasteful interior touches. The overhanging speaker system offers a solid sonic sound solution that puts the listener in a good position regardless of where they are. This, coupled with the DZR speakers, allows music to played at relatively high levels while allowing conversation to not be drowned out.

The DAMAC group in Dubai decided to replace the PA system in its Executive Heights building as the original equipment had been servicing the building for many years. The new system, which was supplied and installed by the manufacturer’s distributor in Dubai, consists of products by DSPPA and was chosen to meet the building’s daily needs providing background music and automatic emergency announcements. The company required a PA system that was able to play background music, identify emergency signals and release urgent announcements. The solution consisted of DSPPA DSP5011 ceiling speakers, which are powered by DA4250 amplifiers. The amplifiers are linked to a MAG808 digital matrix system, which is also connected to the building’s fire alarm system. The MAG808 accepts inputs from four MAG808R remote paging microphones, an MP9808R

www.yamaha.com

www.dsppatech.com

Electrovision goes fishing IRAN

The Iran Fishery Organization in Tehran has invested in a conference, image and lighting system for its auditorium and conference hall with products from brands such as beyerdynamic, Datavideo and Electro-Voice. The design, implementation and installation were carried out by Electrovision. The system in the conference hall consists of a beyerdynamic Orbis CU control unit, an MU 23 chairman and 26 MU21 delegate microphone units. These are joined by three Datavideo PTC-120 PTZ cameras and an HDR-70 digital video recorder. Four ElectroVoice ZX1i loudspeakers were set up and powered by a Dynacord PM-502 powered mixing desk to ensure clear speech for the contributors in the conference hall. In the auditorium, eight Electro-Voice EVU-1082/95 loudspeakers were installed in a line array arrangement and set up as

www.adecotechnologies.com www.thomsunmusiconline.com

digital AM/FM tuner and an MP9807C MP3 CD/VCD and DVD player.

The Auditorium

the main sound source for the hall. The loudspeakers are powered with two ElectroVoice CPS2.4 amplifiers and a Dynacord CMS 1000-3 10-channel sound mixer. A Panasonic PT-VX 600 projector is used for distributing images onscreen, while three Datavideo PTC-120 PTZ cameras capture the image and send them to a Datavideo HD recorder. A Teclumen Ribalta 1S Colour frame light, Curva 8/22 profile lamp and F1200 fixtures are used for lighting the hall. ‘We have used this equipment for several projects across the country, so we know that we can rely on the system and its capabilities,’ commented Arash Sadri, an IT consultant from Electrovision. ‘We hope that completing these two projects will help us in achieving the goals of the Iran Fishery Organization.’ www.electrovision.ir

A NEW ERA FOR KARA

KARA II: THE NEWEST MEMBER OF THE K SERIES Thanks to a winning design and powerful output coupled with light weight and diminutive form factor, Kara is a perennial bestseller. With the addition of Panflex, Kara II inaugurates a new era of added flexibility and directivity control. Kara II is a powerhouse with four-in-one directivity: one box meets the needs of any audience geometry. Kara II morphs to fit any design, offering consistent coverage and SPL distribution where you want it â&#x20AC;&#x201C; and only where you want it. www.l-acoustics.com

NEWS: PROJECTS

NEWS: SPECIAL REPORT

K-array and Symetrix enjoy the view from the rooftops

new demonstration facility here in Dubai. It’s the culmination of a year-and-a-half’s work, from finding the right location and the right property, to fitting it out how we wanted.’ Larcombe goes on to explain the goal of the studio. ‘We want to be able to show customers around our studio and what products we have, and ultimately encourage clients to attend our various training MIDDLE EAST courses and product demonstrations. The whole The Meat Company, African premise of this space an is to be as steakhouse if you are walking chain, has expanded with aenvironment. new rooftop The into a permanent trade show terrace in Bahrain, equipping first light that hits youwith is anProcom ETC light, there are no the venue with a new here, soundeverything solution with standard light switches is controlled byproducts ETC.’ from K-array and Symetrix. This is thethe second project With Middleinstallation East market being Procom a new priority, has was undertaken thethe Meat Company there a slight with gap in hands-on services that thisoffered year. its customers. The studio is seen as a ETC Theresult Meat of Company wanted a sound direct this need, yet training is also of huge system that to deliver the importance to was ETC.able ‘As equipment gets more and power requirements DJ andare familiar with more complex, and thefrom morea people withstand extreme weather the equipment, the more they conditions will use it and, toon demonstrate effectively, the right environment the rooftop.it Procom installed KobraisKK52 key.’ line array speakers, paired with ETC currently enjoys great exposureallinfrom the UAE at the KMT18 and KMT12 subwoofers, likes of Dubai andwere Resorts, Dubai Opera K-array. The Parks products chosen due to House, the Burjper Khalifa, Warner Brothers Abu Dhabi, the their formance-to-size ratio in and were Royal Opera House in Oman as well as the upcoming

Dedicated workstations have been created for all of the company’s console models Expo 2020. When you consider the scale and variety of this facility and the depth that each room goes into, the fact that every single lighting element of the ETC studio is made using ETC products is truly impressive. The manufacturer intends to maintain a wide selection of ETC and HES products in house and, when new products are launched, guests will be able to experience those first-hand straight away at The Studio.

www.k-array.com www.procom-me.com www.symetrix.co

www.etcconnect.com

Herman Geerinck, 1956–2019 MEA

In sad news, Televic Conference has announced that its business development manager for the Middle East, India and Pakistan, Herman Geerinck, a well-known and respected figure in the AV industry, passed away unexpectedly on a business trip in Dubai. ‘Herman will be remembered as a pivotal force in shaping and building Televic Conference,’ reads a statement on behalf of the company. ‘Our hearts and thoughts go out to Herman’s wife, his children and his grandchildren. His family has lost a kind husband, a loving father and an immeasurably proud grandfather. Televic has

t sing of high s the od to This to ve a th.

considered to be an ideal match for the venue. The systems are powered by two KA24s and a KA14 amplifier, which are fitted alongside a Symetrix Jupiter 8 audio processor with two arc-2e wall-mounted remote controls to create a wireless control network via the Symetrix Arc Web platform.

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18 PRO AVL MEA March–April 2020

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lost a colleague full of drive and humour.’ Having joined the Belgian interpretation company over a decade ago, Geerinck has been an integral player in the manufacturer’s regional strategy, as well as a friendly and familiar sight for the Pro AVL MEA team at local trade shows over the years. Full of wisdom, he was a people person who really cared about his customers and would make the time for anyone. It is with great sadness here at Pro AVL MEA that we bring you this announcement. www.televic-conference.com

NEWS: EDUCATION

Shure MEA takes MXA training to Saudi SAUDI ARABIA

Shure MEA recently held a Shure Open Day in Jeddah to educate and familiarise users with its wired and wireless solutions for integrated systems and AV conferencing. This was followed by two days of Microflex Advance certification. The mini-roadshow kicked off with the open day at the Radisson Blu Hotel, before moving on to the Movenpick Hotel City Star Jeddah for the certification. Due to popular demand, certification in Jeddah was extended for another week to accommodate more attendees. The first day consisted of a Shure Open Day for installed applications, where the manufacturer showcased its wired and wireless solutions for integrated systems and AV conferencing. It was led by Shure MEA’s pro audio market development

‘The 1st Seminar and MXA cer tification in Jeddah was praised by the attendees, that’s why we had to organise a second one the week after. This wasn’t planned originally but we couldn’t say no,’ commented Chant Utukian, Shure MEA senior regional sales manager. ‘The market is eager for knowledge. This boom and the government’s effor ts in opening up the Saudi market means new businesses are and will be setting up in Saudi and new technology requests and standards are imminent, and our aim is to share as much knowledge as we can to suppor t our par tners achieve great results.’

The group following the MXA certification in Jeddah manager Andrea Granata and senior technical support engineer, systems, Ritendra Poddar, in partnership with local distributor Adawliah. It attracted around 35 SIs from the city. The Microflex Advance (MXA) certification programme that followed explains how to set up, run and troubleshoot MXA and MXW systems in boardrooms, conference rooms, theatres and other meeting spaces. Shure P300, ANIUSB and ANI boxes were also covered in the course. As this certification takes a hands-on approach to dealing with real-world situations using real equipment, space was limited to just eight candidates per session. ‘The culture today in Saudi Arabia is more open about new technologies, especially audiovisual,’ stated Shadi Adel from Direct Source. ‘From the educational and business aspect, such activities help expand the knowledge of end users, leading to them choosing the best equipment for their

facilities. These activities will aid audiovisual engineers to demonstrate the best probable outcome from the equipment they’ve installed. The seminar introduced the new products in a simple manner and was easy to grasp. With the aid of the introductory videos, tutorials and training simulations, participants will find it easy to get the required information regarding the products and present them to potential clients.’ ‘The sessions were very important, and I benefitted a lot from this information. Much of the information was completely new to me,’ concluded Ashraf Sabbagh from Bin Zomah Tech. ‘I am unable to thank you enough for inviting me to come and I hope to see more technology that you have in the future.’ Following the success of the events in Jeddah, Shure MEA repeated the same format in Riyadh with another Shure Open Day for installed applications following two days of MXA certification.

‘I personally think the training was not only helpful but made us think in very different dimensions, as we not only got to see new products by Shure but also the easy configuration which saves a ton of time,’ commented Jamal Islam from Mudun Investments. ‘I appreciate the Shure team and its professional tutors who tried to explain everything in such a small amount and I would really like to attend more trainings, which in the end make our work more easier.’ www.shure.com

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March–April 2020 PRO AVL MEA 19

NEWS: DISTRIBUTION

A&H goes all in with NMK for the Middle East GCC

NMK Electronics has taken on distribution for the Audiotonix mixer brand, Allen & Heath. NMK is now exclusively responsible for distribution of the manufacturer’s full range of products in the UAE, Saudi Arabia, Bahrain, Kuwait and Oman. NMK intends to offer a broad range of solutions to customers, from MI and pro audio, through to AV installation.

together to fur ther strengthen the brand in the Middle East.’ ‘We are extremely proud to partner with such a legendary brand,’ stated Dino Drimakis, business development manager at NMK. ‘NMK has witnessed A&H grow at an increasing rate over the last few years. Thanks to the talented and friendly team at A&H and with the addition of Avantis joining

ALA Equipment brings Prolights to Cyprus CYPRUS

Continuing its raft of new distribution agreements, Italian manufacturer Prolights has partnered with ALA Equipment Company in Cyprus. Founded in 2001, ALA Equipment brings nearly 20 years’ experience and a product portfolio spanning professional audio, lighting and automation technology. ‘I’ve worked in this industry for more than 30 years but, when I first approached Prolights, I was pleased to find a partner who shares our commitment in delivering the best solutions,’ commented Andrea Piemonti, ALA Equipment managing director. ‘Prolights’ wide selection of products offers enormous advantages suited to any kind of

needs: from broadcast and live shows, right through to architectural projects.’ ‘We’re really proud to have ALA Equipment on board,’ added Prolights international sales manager, Paolo Albani. ‘Their 20-year experience is a strength and thanks to them the Prolights brand will grow throughout Cyprus, also bringing their technological background into new products addressed to the architectural market. We’re sure that this will be a successful partnership.’ www.alacyprus.com www.prolights.it

TIG partners with Hoylu in EMEA region EMEA

The NMK team with an Allen & Heath mixer ‘As our product range grows, we continue to seek out the ver y best distribution par tners to represent our products around the world,’ commented Manfred Quesada, Allen & Heath’s EMEA sales manager. ‘NMK is a dynamic company, which has rapidly built an impressive standing in the region and we are ver y pleased to be working

the flagship dLive, SQ and Qu Series, we feel A&H perfectly complements the NMK portfolio and feel confident that we can continue to raise the profile of A&H in the Middle East and provide exceptional audio solutions for our clients.’ www.allen-heath.com www.nmkelectronics.com

Technological Innovations Group (TIG) has established a strategic partnership to represent enterprise solutions provider Hoylu in the EMEA region. TIG has formed similar sales partnerships in the past with companies such as YachtCloud and Oblong. ‘As this exciting new partnership demonstrates, we’re fully committed to offering our customers the most advanced solutions available,’ said Robin van Meeuwen, CEO of TIG. ‘Hoylu offers innovative technology which is in line

with the vision and mission of TIG and will allow us to serve our customers better.’ Stein Revelsby, CEO of Hoylu, added: ‘We are excited about our partnership with TIG, an innovative and leading sales agency in the EMEA region. The partnership will broaden our reach and significantly strengthen our sales capabilities, as well as open up for combining Hoylu with other products in TIG’s portfolio.’ www.hoylu.com www.tig.eu

RGBlink joins forces with Venuetech MIDDLE EAST

Chinese video processing solutions manufacturer RGBlink has partnered with Dubai-based distributor Venuetech to target the Middle East market. The exclusive distribution agreement follows consecutive meetings between RGBlink’s offices in China and Venuetech’s facilities in Dubai. Following the announcement, the two companies held well-attended joint RGBlink Academy training sessions at the Venuetech training centre in Dubai. ‘We are very pleased to welcome Venuetech on board as a Middle East exclusive RGBlink distributor and we look forward to the forthcoming success of both companies,’

20 PRO AVL MEA March–April 2020

stated RGBlink CEO, Ben Hu. ‘Venuetech has a great commitment to the market and to supporting clients locally from their facilities.’ ‘We have been impressed with the features and capabilities of RGBlink’s processors,’ added Venuetech CEO, Nour Assafiri. ‘We see a lot of market potential in the Middle East for RGBlink solutions. The strong feedback we have had from the training has been excellent and we look forward to doing a lot more and introducing RGBlink solutions to our wide range of partners.’ www.rgblink.com

L–R: Abdul Razzak Assafiri and Nour Assafiri from Venuetech with RGBlink’s Ben Hu

www.venuetech.ae

NEWS: DISTRIBUTION

JoeCo looks to Provision AVL for GCC distribution GCC

JoeCo has found a new distributor for the GCC region in the form of Provision AVL. Having also completed a similar agreement with Lebanon-based Boujikian Brothers, the manufacturer now has direct representation in every territory across the Middle East. JoeCo joins Chauvet, Clair Brothers and Solid State Logic in Provision AVL’s portfolio. ‘JoeCo is one of the leading multitrack recorder and player manufacturers in the world and, with its award-winning BLACKBOX range, we felt that it would complement the audio brands that we already represent,’ explained Kevin Boujikian, general manager at Provision AVL. ‘The brand deserves further growth in the region, and that happens with more exposure, demos and end user training.’ The initial stages of the relationship saw JoeCo equipment displayed on the Provision AVL booth at Prolight + Sound Middle East 2019. ‘The support we received

from Provision AVL at the show, at such an early stage of the relationship, was some of the best I have seen,’ reflected JoeCo managing director, Joe Bull. ‘I believe this new partnership will mean a much wider audience will experience the benefits of BLACKBOX, BLUEBOX and CELLO. I’m looking forward to a long relationship with Kevin and the team.’ JoeCo business development manager Graham Murray was equally enthusiastic. ‘Provision AVL can provide the facility to support local customers and effectively promote JoeCo solutions to the Middle Eastern markets. After spending a few days with Kevin and seeing him and his team in action, it became clear that Provision AVL would be the perfect partner for JoeCo’s business for the GCC.’ www.joeco.co.uk

L–R: Kevin Boujikian, Graham Murray and Gary Boujikian

www.provisionavl.com

Graphic Image Technologies TAGs South Africa SOUTH AFRICA

TAG Video Systems has reached a new milestone in its growth strategy with the appointment of a new South African distributor: Graphic Image Technologies.

finally catching up with us and the company is undergoing a tremendous growth surge as the market realises the remarkable benefits and potential that our MCM-9000 platform offers. We are delighted to appoint Graphic Image Technologies as our distributor in South Africa. It is a company that recognises the value TAG brings to production,

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POWER TO THE PEOPLE.

TAG CEO, Abe Zerbib One of the products that Graphic Image Technologies will be distributing is TAG’s MCM-9000, a softwarebased IP monitoring solution that combines monitoring of compressed and uncompressed signals. ‘TAG was established in 2008 and has always offered software-only and all-IP solutions,’ explained Abe Zerbib, CEO of TAG. ‘The industry is

playout, distribution and OTT applications and has the capability to support customers in all four disciplines.’ Mark Chertkow, managing director at Graphic Image Technologies, added: ‘We are thrilled to partner with TAG and introduce this unique technology offering to the local South African market. Moreover, as the industry migrates towards IP, we’re excited to have the opportunity to offer our customers a future-proof solution and support TAG, a pioneer in IP technology.’

Adamson’s commitment to technology and design means you can deliver unparalleled sonic performance and power to your audience.

www.git.co.za www.tagvs.com

March–April 2020 PRO AVL MEA 21

NEWS: APPOINTMENTS

Georg Neumann names new CEO WORLD

Ralf Oehl has joined Georg Neumann as its CEO. Reporting to Peter Claussen, COO of the Sennheiser Group, he will continue to build the Neumann business and brand, while developing its strategic direction. Prior to this appointment, Oehl founded Concinno, an M&A advisory service for manufacturers. He has also worked for companies such as the M+W Group. ‘It is a great honour to be joining Neumann in Berlin,’ said Oehl. ‘Taking the helm of a company with such tremendous history, impact and reputation in the professional audio world is a once-in-a-lifetime opportunity. While carefully preserving its highly appreciated values and unmatched commitment to quality, we will be striving

hard to further expand our portfolio and make our offering available to even more audio professionals all around the world. I am looking forward to working with the team at Neumann as we take this iconic company to new heights.’ Claussen added: ‘I am delighted to welcome Ralf Oehl to our company. Thanks to his achievements and depth of experience, Ralf is the ideal choice to take this exceptional brand forward, while cherishing the legacy of excellence that makes Neumann so unique. In particular, his expertise in capturing new markets will be key in taking Neumann into new areas of opportunity.’ Ralf Oehl

www.neumann.com

Prolyte Digital Projection targets EMEA sales with new role appoints CEO following acquisition EMEA

WORLD

Prolyte has welcomed Fons van Tejin to the role of CEO. The appointment comes weeks after the company was acquired by Area Four Industries, which led to the restructuring of its management, production and strategy teams.

In line with its expansion and client support programme for EMEA, Digital Projection has appointed Thierr y Ollivier to the newly created role of business development manager for the region. He will repor t to the company’s international sales and marketing director, Chris Axford, and suppor t the sales team in the development of projects. Ollivier has over 25 years of experience in the AV industr y. He has worked in several sales management positions at companies such as Barco and projectiondesign AS. Ollivier also ran his own strategic development consultancy called Ollivier Consulting, specialising in AV, simulation, vir tual reality and digital cinema.

‘Thierry brings a wealth of knowledge and experience with him into this strategically important role,’ commented Axford. ‘I am confident he will support the EMEA sales team and help develop the sales of our latest solutions and give them the industry recognition they deserve. We are very pleased to welcome him to Digital Projection.’ Ollivier added: ‘Digital Projection has a reputation for innovation and technical advancement. In addition, the company has developed an extremely responsive and customer-orientated sales and support team in recent years, some of whom are former colleagues, so I already feel at home.’

Thierry Ollivier

www.digitalprojection.com

Lyle Tarby joins Wild & Marr SOUTH AFRICA

New CEO van Tejin has 34 years of experience in management. His previous role was at Vitec as a managing director. Before this, he founded Provak BV, which he ran for 15 years. He has also held other roles at KJP, Transcontinenta and Capi-LuxVak BV. ‘Fons’ connections in the industry, hard work and experience will lead Prolyte to greatness in no time,’ said Frantisek Zykan, CEO of Area Four Industries. ‘I am looking forward to leading Prolyte to success in 2020,’ van Teijn commented. ‘We will achieve greatness by being a strong, united team.’ www.prolyte.com

22 PRO AVL MEA March–April 2020

Wild & Marr has expanded its technical sales team with the addition of Lyle Tarby as account manager, where he will be tasked with managing relationships and sales with AV systems integrators. Tarby brings with him a vast amount of experience in key sectors and the distributor sees it as ‘a real coup’ to secure his appointment. ‘We were introduced to Lyle in his position of business development manager (Africa) for Harman Professional, where he was our first line of contact to Harman’s range of professional AV products,’ explained Gary Furman, managing director of Wild & Marr. ‘We were impressed with his industry knowledge and we are confident that his key skills would be an asset to our company. We offered Lyle a position with Wild & Marr to join our AV systems integration sales team. Both Harman Professional and Wild & Marr agree that having Lyle working within our company will add value to the systems integration side of our business across all products and solutions.’

Tarby is described as an avid problem-solver who aims to simplify workflows and processes for his clients, engineers and end users. In the past, he has project managed teams of engineers for some of the largest IT and AV companies in South Africa. A Bachelor of Commerce (BCom) Informatics graduate from University of South Africa (UNISA), Tarby has spent the last 20 years in the information technology space, while his first foray into AV and video conferencing was as early as 2005, where he provided support to AngloGold Ashanti mines for its corporate meeting spaces. Looking forward, he is currently furthering his education by way of a Post Graduate Diploma in Business Management (PG. Dip BM) at the Management College of Southern Africa (MANCOSA). ‘I would like to thank Wild & Marr for the opportunity to be part of such a legendary organisation,’ stated Tarby. ‘Having worked closely with the team for some time now, it’s been a seamless transition from Harman. I already feel part of the family and am excited

Lyle Tarby about taking on this new challenge. I look forward to working with the team to grow the business and realise the vision of being the AV distributor of choice in Africa.’ www.wildandmarr.co.za

NEWS: APPOINTMENTS

EAW names Roni Nevo as CEO WORLD

Roni Nevo, the president of RCF USA, has been named as the new chief executive officer of EAW. He will continue in his role at RCF USA alongside his new responsibilities at EAW, which is part of the RCF Group. Nevo has been considered a key figure within the group for more than a decade. He will now work with the EAW team to fine-tune its operations and expand its customer base, not only in America, but around the world. ‘Roni brings a depth of experience and a proven track record to the team that will go a long way in accelerating our growth and bring greater efficiency to our operations,’ said EAW president, TJ Smith. ‘As EAW learns how to operate on its own again, I can think of no better person to lead the board.’

New marketing manager for GSL Professional MIDDLE EAST

L–R: Roni Nevo and TJ Smith at EAW HQ ‘We will continue to focus on the growth of the product line and the presence in the market, in cooperation with our global partners, to expand EAW’s reliable and competitive

product range in the production and integration sectors we serve,’ Nevo added.

Dubai-based distributor GSL Professional has appointed Newsha Masoudi as its new marketing manager. She will be responsible for implementing the company’s marketing strategy as well as being the primary point of contact for all marketing activities.

www.eaw.com

Sherin Dsouza to operate and manage at CT Middle East MIDDLE EAST

Creative Technology (CT) Middle East has appointed Sherin Dsouza to the role of operations assistant and client relationship manager. She will be assisting Rob Turner in developing the communications and networking division by watching over the logistics, operational planning and client communication. She will be working at the CT office located in Dubai. Dsouza has worked within the AV industry for the past seven years, with roles in operations at PRGdeltasound, Option 1 Event Service and the Almoe group of companies.

Sherin Dsouza

‘It is an honour to work for CT and a great oppor tunity to help build the newly formed comms depar tment alongside Rob Turner,’ said Dsouza. ‘Rob and I have worked alongside each other for many years and have endless experience between us. We aim to bring in the latest and most reliable comms equipment alongside the ver y best in event professionals. I am looking for ward to my future with CT and the growth of this new depar tment.’

‘I am very pleased to welcome Newsha to the GSL team,’ stated GSL managing director, Adrian Curtis. ‘She has a strong background in marketing and sales support and I am sure our client base will also soon feel the value of her contribution to the business.’

www.ct-group.com

www.gslprofessional.com

Newsha Masoudi

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March–April 2020 PRO AVL MEA 23

NEWS: SPECIAL REPORT

Five years in Dubai

Eric Chen looks to the past, present and future as Absen marks its fifth anniversary in Dubai ABSEN CELEBRATED THE FIFTH ANNIVERSARY of its Dubai operations recently by inviting over 100 customers and key partners to an event at the Hotel of Emerald Palace Kempinski in Dubai. The evening was an opportunity for the LED manufacturer to reflect on its successes in the Middle East since opening its regional office in Dubai, as well as a chance to explain its forthcoming global and regional market strategies. Pro AVL MEA used the opportunity to dig deeper into the company’s past, present and future in the region with Middle East general manager Eric Chen.

Eric Chen growth. Part of our plan is to establish a local office there and get deeply rooted in the local market, bringing our products and services closer to our clients. In this way, they don’t need to fly so frequently between Saudi and China since we can provide local support to them; also we will be able to get closer to the local regional culture, which will also help us improve our business performance.

How succesful was the anniversary event?

Globally, how has Absen evolved over the past five years? We’ve become more competitive, and often the preferred choice for LED displays, while our product management has become more systematic and divided. For example, we now have different teams of professionals managing different product lines and we’ve placed a big emphasis on recruiting sales professionals who know the LED industry and market inside and out – many of them have been working in the industry for more than 10 years. This means we now know the market better, understand our clients better and are able to cooperate with customers and support them in a timely manner.

How has Absen’s Middle East operations grown over this time? Absen Dubai was our eighth international subsidiary, yet it was in the Middle East that Absen engineered its first overseas project and started the journey of expanding into the international market. The sales of Absen’s Middle East branch have increased rapidly over the past five years, and our team has become much stronger. We started off with just eight employees and have since risen to more than 20, with plans in mind to grow further. The company has also developed a full-capacity after-sales service network. We’ve transitioned from customers sending their products to China for repair to Absen sending engineers to repair them locally onsite, or in the customer’s warehouse at any time and place. This service has become very fast and convenient. The progress that we have made, whether in sales performance, the development of our service network or other aspects, I think has been remarkable. At the same time, we have taken our close cooperation with customers to another level.

What was the rationale behind the decision to set up a Middle East base? The first step for Absen in going international was establishing regional branches. Our very first international customer and order was from Khalid Al Turaif in Saudi Arabia back in 2005. Because of this, the Middle East market is of great importance to us and is of great significance to our global expansion strategy.

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The Absen team at the Hotel of Emerald Palace Kempinski event

What differentiates Absen from its competitors in the region? I believe our truly localised service offerings really set us apart from other manufacturers, and the biggest difference is that it offers free, direct and fast services. More specifically, unlike competitors who charge for services or only have one or two engineers present locally, our support fosters a great long-term relationship with our clients. The result of this is simply that we understand our clients’ needs better and are able to cooperate with customers to support them in a timely manner. We feel this is unmatched by our competitors.

What can we expect from Absen Middle East in the future? The fifth anniversary is a major milestone for our relatively new branch, and we still have big plans for the future. The next five years will be even more exciting for us in the Middle East. We will continue to strengthen our localised service offering, with the new strategy being to take this from a regional to a country level. We used to rely on our base in Dubai to support the entire Middle East market, but we intend to establish more local offices in some of the region’s major markets in the near future. This will allow our trained engineers and sales professionals to truly serve customers more closely. We will also be introducing some new products in the near future that I think will be particularly well-received in the Middle East market. For the Middle East market, I believe that unrivalled service and good teamwork are two key factors at the core of what drives Absen’s success. The company has built an international global customer services network with over 10 offices worldwide, including in the UAE, Germany and US. We were the first to create an LED display training programme in the industry, named ACE (Absen Certified Engineer), to make our expertise and knowledge available to all partners and clients. And to enforce our

full-service capability, we invented the Absen Certified Abseners training programme targeted at employees, as well as introduced multiple advanced digital management systems to improve management of orders and customer services. The other key factor is that we have a stable team that knows the ME market very well. I, myself, have been looking after the ME market for nearly 10 years. Our key team members are also industry experts – Jet and Alina for the GCC, Musa and Eric for Saudi Arabia and Luqman for the surrounding ME countries – and have been providing service to the regional markets for six or seven years. The team knows the local religious cultures and the industry very well, and they understand the needs of our customers. The stability of such a team with their expertise ensures the smooth delivery of our clients’ projects.

Are there any specific Middle East territories in which you are looking to do more business? The growth has been remarkable over the past years, but we are also trying to further explore the market; we believe there are still opportunities for further development. For example, Saudi Arabia has a plan called Saudi Vision 2030. Saudi is opening up and I think this will bring more chances for business

The Absen sales team and engineers in Dubai

The anniversary was a big success. We welcomed 107 partners and customers from the UAE, Oman, Saudi Arabia, Bahrain and Lebanon and introduced them to some of our latest products – the Aries series (AX1.5), Absenicon and a transparent mesh LED display. The guests covered a broad range of systems integrators or end users from businesses across rental and staging and OOH advertising. The feedback was tremendous. Mr Samson, GM of Oman’s largest systems integrator, Anzyma, was particularly impressed with Absenicon, commenting that it offers a high contrast ratio and very impressive visual performance. I’m really looking forward to these products being adopted in the Middle East. Additionally, our very first international customer from Saudi Arabia was able to attend, which made the event particularly special. We’d like to thank those who came and everyone who has been part of this journey and placed their trust in Absen over the past five years. We are truly grateful for their support. The main message that I want to communicate to our customers is that I hope they know that Absen will continue to stay rooted in this market and provide them with the most reliable support, and that we will, with our customers, grow together and develop together. If there are words for our competitors in China, it will be that we should make Madein-China proud together and build a great business environment jointly to better serve the market. www.absen.com

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Want to hear more? Visit shure.com/mxcw

FEATURES: LIVE EVENT

Competitive creations

Saudi Arabia hosted the region’s biggest global gaming tournament at the end of Riyadh Season, with SLS Productions going all-in with audio, trussing and lighting technologies to dazzle spectators The world of esports is big business. Video games used to be all about the first-person experience, namely playing the game, but this is not necessarily the case anymore. Many budding gamers now spend as much of their time casually watching others playing as they do actually playing themselves. So, while competitive gaming may not be a new phenomenon, the audience invested in these competitions has grown significantly, to the point of becoming almost mainstream. PUBG (PlayerUnknown’s Battlegrounds) laid the groundwork for Battle Royale’s popularity. While this has started to decline as Fortnite began to steal the limelight, PUBG nevertheless has a dedicated and very competitive following. Since going mobile in 2018, the game has enjoyed in excess of 400 million downloads. With US$300,000 of prize money up for grabs, 32 of the world’s best PUBG teams battled to be crowned the world champions at the 2019 PUBG Mobile Star Challenge (PMSC) World Cup. Taking place at Riyadh Front in the Kingdom of Saudi Arabia over three days, the show designed by Live Legends saw Dubai-based SLS Productions called on to supply and install the complete audio, lighting and visual systems required to support both the competition itself as well as the opening set from Norwegian DJ, Alan Walker. This isn’t the first time that PMSC has gone to the Middle East for its finals; however, it was the first time such an event has ever been held in KSA and the first time SLS has worked on such a complicated esports event in terms of its AVL requirements. While the majority of viewership would be online, there was still a sizable live audience witnessing the action that SLS would have to cater to. Live Legends was responsible for all aspects of the show, from conception to execution, and it was SLS’ job to make its vision a reality. The Dubai-based production company has a number of options capable of handling the audio at such an event; however, the team opted for Meyer Sound’s Leopard line array for the

26 PRO AVL MEA March–April 2020

The event kicked off with a performance by Norwegian DJ, Alan Walker main stage system. Deploying a total of 68 Leopards, 16 Lina cabinets and 16 1100LFC subwoofers, the main PA clusters were strategically zoned and formed from six clusters of eight Leopards. Further 4x2 Leopard clusters catered for the VIP area, while 2x8 Lina front-fills were stacked along the edge of the stage. The 1100LFC subwoofers were placed under the stage in a sub line configuration and the entire system was powered by a combination of eight Meyer Sound MDM5000 and three MDM832 power distribution units. System management was provided courtesy of four Meyer Sound Galaxy Galileo 816 and two Galaxy 816 AES processors and everything was networked over AVB, with Luminex Gigacore 10 and Extreme Network X440-G2 scalable switches interfacing with the redundant DiGiCo SD12s at front of house. The SD12s were accompanied by SD-Mini Racks to accommodate additional stage inputs. The Leopard was chosen as the best solution to cater for this event by Live Legends’ sound designer Wilfrid Evenblij, as a

result of its compact dimensions, 110° horizonal coverage and ‘extraordinary power-to-size ratio’. ‘The sound system deployment went smoothly; however, we had to wait for the main power to be switched over from temporary to permanent before we could properly test the system,’ explains SLS project director, Andre Du Toit. ‘This meant we could only do limited testing and troubleshooting before the event started. Thankfully, this ended up not being an issue at all, and, on the show days, we didn’t encounter any unexpected problems.’ In contrast to a live music performance, a gaming competition has a number of unique elements to integrate that complicate a stage setup. The contestants, referees, games commentators and live presenters are all central parts of the production and need to be clearly heard. To cater for this, SLS supplied a selection of DPA d:fine 4088 headset mics along with a Shure Axient Digital wireless microphone system comprising ADX1 beltpack transmitters and ADX2 handheld transmitters fitted with KSM8 capsules. Shure PSM1000 in-ear monitors provided foldback for everyone onstage. With the event’s primary viewership watching online, the dazzling stage set designed by Netherlands-based Live Legends bore more resemblance to a prime-time TV programme than a gaming competition. This was even more necessary due to the fact that competitors are competing on their handheld mobile phones. There were no flashy computer setups present to help decorate the stage. ‘A design was compiled by show designers from Live Legends and, based on their design, SLS supplied a significant amount of equipment in order to outdo their expectations,’ notes Du Toit. In terms of lighting, this meant deploying over 800 fixtures – 92 MegaPointes, 104 Robin Pointes, 24 BMFL Wash Beams and 120 Spiiders from Robe, 87 Mac Viper Performances from Martin were called upon alongside 44 Mythos, 100 Sharpy Plus and 58 HY B-EYE K15 units from Claypaky,

FEATURES: LIVE EVENT 90 Philips Vari-Lite SL Bar 720ZTs, 44 SGM Q7 RGBWs, 34 ETC SourceFour Zooms and 34 Arri 2,000W Fresnels. Lighting control was from two MA Lighting grandMA3 Full Size and two grandMA2 Full Size consoles, as well as a pair of grandMA2 Lights, all networked via 10 grandMA2 NPUs. ‘In order to achieve what was designed by the Live Legends team, we had to use a large number of fixtures,’ adds the production manager. ‘The precise spacing of the lighting

‘Our timeframe for rigging was four days,’ he continues. ‘Initially, rigging was proceeding ahead of schedule and, by the end of the second day, we had already completed 70% of the rigging plan. Unfortunately, some rigging points were interlinked with lighting fixtures that had been stuck in customs and, by the time we got them out, we had just two days to hand over. It was a big challenge for the rigging team to meet that deadline but, with a vigorous

The contestants enter the ring fixtures was very important to achieving the desired look and feel of the overall design.’ To support this mammoth lighting rig, SLS used more than 700m of Eurotruss HD44 and HD34, as well as another 110m of LITEC 30x30. In total, there were 192 electric hoists of various brands deployed, including Liftkets, CM, Load Star and Chain Masters, along with 21 ‘dead hangs’ where the truss was directly rigged to the hall ceiling. To help spectators in the arena follow the action in real time, 280 Martin VDO Sceptron 10 LED units created large arrows pointing away from the main stage. ‘As the roof did not have the capability to support this massive design, the venue had to come up with a solution and had an independent Eurotruss TT rectangular truss system constructed, configured as four massive square box truss structures which were used as mother grid with the ground support of 16 towers,’ recalls Du Toit. ‘It took a lot of pre-planning to pull off such a complicated rig. In total, there was approximately 32,000kg of load on this entire rig, which included the complete Leopard audio system, 800+ lighting fixtures and 81m of LED screens, in addition to the weight of the truss and hoists themselves. Lastly, products from Magic FX added intensity to the live arena action in the form of pyrotechnics, moving CO2 cannons, shooting flames and simulated fireworks, confetti cannons and haze effects.’ While the PMSC competition undoubtedly stretched the SLS team in terms of its complexity, the main challenge was the logistics of supplying such a large amount of equipment in a very tight timeframe. ‘Being in Saudi Arabia, we faced serious challenges with shipments being stuck at the border which caused a massive delay in delivering the final product in time,’ explains Du Toit. ‘Because of this, and with a “safety first” approach, two 12-hour days were implemented so we could work around the clock in order to get as much as possible done in time.

A complex rig was constructed to handle approximately 32,000kg of weight

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effort and extra hours put in by the team, we were able to achieve all of the client’s requirements on time. ‘Thanks to the SLS team for delivering an output that I consider to be at 99.99% accuracy in executing our live show,’ commented Michiel Van Der Zide from international production company, Unlimited Productions. ‘It was great to have SLS on board; we definitely made the right decision.’ As a result of the success of recent PMSC competitions, PUBG maker Tencent has revealed grand plans for 2020 with the establishment of new leagues in Asia and the Americas. The competitive esports market is increasingly big business and offers a brand-new format for production companies to showcase their expertise. ‘The opening part of the show was really something special and, frankly, just spectacular,’ concludes Du Toit. ‘The broadcasted content was on point with the original concept renders. All credit to Live Legends, Unlimited Productions and, of course, our SLS team for turning their vision into reality. Because of the customs and logistical issues we faced, the only aspect that I would do differently is to employ a local person to handle those logistical aspects as language was the major barrier.’ www.livelegends.com www.slspro.net unlimited-productions.com

March–April 2020 PRO AVL MEA 27

FEATURES: HOSPITALITY

From the ground up

SKY2.0 opts for Bose ShowMatch at its newest Dubai-based hotspot. Pro AVL MEA joins the party SINCE OPENING IN LEBANON IN 2003, SKYBAR HAS become a key venue that has helped to shape Beirut’s nightlife scene, even enjoying the accolade of being voted best club in the world back in 2007. When its owners announced plans to open a similarly styled outlet in Dubai, expectations were high and, unsurprisingly, the club became a focus for manufacturers seeking a flagship project to show off their potential. The original SKYBAR opened in Beirut as one of the region’s first outdoor restaurant/clubs and quickly became a go-to spot. In 2007, it moved to the rooftop of Beil. It was forced to close in 2015 due to a fire and subsequently reopened its doors again in 2017. But, unlike Beirut in 2003, Dubai is no stranger to open rooftop bars and therefore SKY2.0 would need to not just be another hotel SKYBAR. Tucked out of the way in Dubai’s Design District, its uniqueness lies in its spectacular circular structure which is striking for its large, open portholes to the outside world and an exterior emblazed in pulsating LEDs. The structure was designed by French architect Michelle Sarfati in collaboration with Sky Management CEO, Chafic El Khazen. ‘We wanted the venue structure to resemble a UFO that has been dropped into the desert,’ explains the CEO. ‘We have created a semi-open dome, revealing in a luminous outline various spiralling metal volutes. The dome’s interior is punctuated with hundreds of carefully placed projectors attached to the structure, inundating the site with light beams. There are no ceilings or walls; everything is articulated in a curve.’ Aside from the standout architectural design, many of the signature elements that helped to make SKYBAR Lebanon a success have also been brought over to the Dubai venture, making the interior just as dazzling as the exterior. Large videowall screens have been hung inside several of the portholes which, combined with the multitude of moving lights hung overhead and LED glow sticks handed out to patrons freely throughout the night, create a cacophony of light for clubbers to get lost in.

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A Bose RMS218 subwoofer atop one of the four podiums

Every week, the SKY2.0 team hosts up to 2,500 guests for three different themed parties, each offering huge productions, best-in-class audiovisuals and top-class performances from international DJs. But, while beautiful architecturally, the venue’s configuration is enough to make a systems integrator weep, presenting strict ambient noise restrictions and very specific interior design considerations to navigate. This challenge was handed to Lebanese integrator Antaki Group, which opted for a flagship line array solution from Bose Professional, fully networked over Dante. ‘Before the installation started, we hosted demos for our client, both in China and Italy. This is where he became convinced that it was a Bose system he was looking for,’ explains a spokesperson from Antaki Group. The system was designed and subsequently adapted in collaboration with the venue management in order to find the best aesthetic location. This also meant subsequently adjusting the coverage of the ShowMatch cabinets to make sure the main dancefloor area was fully covered by the four primary arrays. In total, the project took the Antaki team approximately three weeks to complete, as they had to work around a number of contractor delivery delays and the changing speaker locations. The resultant audio system is from Bose Professional’s ShowMatch series, with a total of 24 ShowMatch array loudspeakers distributed around the venue’s innermost roof ring in four main clusters. The hangs are all pointed away from the dome’s opening towards the middle of the dancefloor to limit noise transmissions outside the structure. The main clusters are backed up by eight RMS218 VLF-subwoofers, while 12 Bose LT-Series loudspeakers, also situated on the inner roof ring, fire outwards to provide zone coverage in the areas missed by the main arrays. The system is powered by six Powersoft X8 amplifiers and managed using Bose’s ControlSpace EX1280C processor. SKY2.0 opened to great fanfare and has a been a hit on Dubai’s nightlife circuit ever since. Crucially, the audio system also seems to have met the strict requirements of El Khazen. ‘I would like to extend my appreciation for the amazing work done

NEWS: RENTAL FEATURES: HOSPITALITY

Dale Sound invests in Galaxies INDIA The Volite Galaxy Thunder 54x3W high-performance LED PAR is the latest product to be added to Mumbaibased Dale Sound’s portfolio. This will reportedly form the backbone of the rental company’s infrastructure that is deployed for live events and performances. ‘Specialising in planning, designing and customising light requirements for a variety of events ranging from parties,

performances to concerts, we require reliability and rock-solid performance,’ said Lincoln Dsouza, director of Dale Sound. ‘This is exactly what the Volite Galaxy Thunder 54x3W LED PARs provide us. They are so easy to use that operation is a pleasure and it has had an absolutely positive impact on the overall production value of the shows we’ve commissioned.’ www.sonotone.in

Glenn Wong of Total Solution Marketing with J5 Productions’ Justin Tan

Ayrton shows its true colours SINGAPORE

by the Bose team at SKY2.0 in Dubai,’ he commented. ‘The endless hours that they have spent working on this project, and the professionalism that they have portrayed, have impressed us immensely, and we deem ourselves honoured to have had them lead the project. The contribution and dedication of the team was one to be proud of, knowing that the sound quality

is calibrated at 7,000K to generate up to J5 Productions in Singapore has invested in 24 Ayrton Diablo-S 300W LED profile 19,000 lumens. lighting fixtures. After a successful ‘They are definitely a good investment for demonstration, the fixtures were purchased all our projects – launch parties, concerts, from Ayrton’s exclusive distributor, Total conferences and any type of live events,’ Twelve Bose LT loudspeakers provide zone-fill Solution Marketing. said Justin Tan, managing director of J5 The Diablo-S 300W includes CMY colour Productions. ‘We will be putting them out on teams, Bose Professional andofAntaki Group, worked hard to and performance is non-negotiable for me, and and aI can vouch thatwheel, mixing seven-colour a gobo many more our shows.’ achieve the best performance and a superior audio experience.’ Bose has delivered the best customer experience in our club.’ wheel, an effects wheel and a full framing www.ayrton.eu ‘We are excited to have a Bose Professional at SKY2.0 system. It install is specifically designed for www.j5.com.sg www.antaki.com.lb Dubai,’ concluded Nittin Dargan, regional Bose stage manager, applications as it is equipped with www.tsm-int.com pro.bose.com Professional. ‘It is a special project a formonochromatic us being an iconic LED light source that www.skydubai.com architecture that came with its unique challenges. Both the

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www.next-proaudio.com 2020 PRO PRO AVL AVL ASIA MEA 21 29 JanuarMarch–April y–Februar y 2020

FEATURES: RECORDING

Joining the dots

A Studer Vista 1 takes pride of place in each of the three audio suites

A move to a new location prompted Urban Brew Studios to upgrade and fully connect up its audio infrastructure IT’S NEVER THE RIGHT TIME TO PULL OFF A BIG PROJECT – something will get always get in the way – but a move to a new and bigger location always gets creative minds thinking about new possibilities. So, having moved to new premises at Ferndale on Republic in Randburg, South Africa in 2018, Urban Brew Studios was granted the fortuitous opportunity to explore an equipment upgrade. Urban Brew is a facilities provider that enables the production, distribution and creation of content for the local television industry. It defines itself by the technology on offer and its ability to produce high-quality content across all genres. While transitioning to new all-HD equipment was a must, with all staff and equipment now under one roof, a key tenet of the upgrade project would be the ability to fully share resources throughout the entire facility. Local distributor and systems integrator Wild & Marr responded to Urban Brew’s requests by proposing a new infrastructure based around Studer’s Infinity Core, under the knowledge that it would meet the benchmarks required by the studio while still maintaining ‘an efficient and logical workflow’. ‘Those in the TV broadcast industry that say “audio follows video” should experience the audio ecosystem at Urban Brew Studios in action,’ comments Dwaine Schreuder, Wild & Marr’s pre-sales broadcast engineer and lead on the Urban Brew project. Three of the Randburg studio’s nine audio booths have now been equipped with Studer Vista 1 22-fader Black Edition consoles. They are linked to a Studer D23m Digital I/O System via fibre optic deployed in Urban Brew’s data centre that is capable of handling 1536x1536 input and output channels. Each studio is also equipped with a Studer Compact Stagebox that is connected to the D23m system via MADI optical. Every stagebox can provide a further 64x64 channels of I/O when fully populated. Studer’s Infinity Core was installed to add DSP processing to the D23m frame.

30 PRO AVL MEA March–April 2020

The Studer Infinity Core can handle four A-Link connections. This means engineers at Urban Brew can connect four D23m Digital I/O Systems to one core to provide a total of 6,144x6,144 channels. Further systems expansion later is guaranteed by the Infinity Core’s ability to handle up to 11 A-Link ports on larger modes and the DSP of 1,000 monoequivalent channels at one time.

ENCO HotShots provide audio playback To provide the necessary resource sharing that the studio required, Wild & Marr utilised Studer’s I/O RELINK sharing system. To achieve this, a virtual Vista console capable of managing all crosspoint patching between the Studer equipment was programmed. The result is that the connected Vista consoles can access every piece of hardware connected to the audio ecosystem. Each compact stagebox is made available and RELINK enables multiple Studer consoles to connect to a single stagebox at a time. One console will oversee the mic preamp control and the other consoles will be able to use digital trim. Preamp control can be given to any console by the push of a button. While Studer has a wide array of expansion cards that can be installed into a D23m frame, Wild & Marr decided to use MADI to handle the integration between the audio and video router. Two MADI links were installed, providing 128x128 inputs and outputs between the audio and video router,

FEATURES: RECORDING

A pair of DirectOut EXBOX.64s perform optical-coaxial clocking and conversion

Shure’s Axient Digital Wireless was supplied as well as PSM300 in-ear monitors for presenter IFB

enough for video playback as well as standard or multitrack recording. In addition to the Studer equipment, each audio booth also has ENCO HotShot audio playback systems integrated, which can play out four discreet stereo channels such as music beds or stings, while RTW TM3 units were supplied for the audio operators to measure loudness, selected because of their small footprint. TASCAM SS-CDR250N players take care of any CD or USB media requirements, while Comrex STAC Hybrid systems which operate with SIP trunk lines from their PBX were installed for the studio’s callers.

JBL LSR305s are used for monitoring

Monitoring in the audio booths and control rooms is handled by JBL LSR305 monitors. In the studios, JBL EON615 loudspeakers on stands were supplied for their ability to be moved from studio to studio on a production-by-production basis. Due to the mission-critical nature of live television, RF dropout was also a serious concern at Urban Brew. Wild & Marr specified Shure’s Axient Digital Wireless together with PSM300 in-ear monitors for presenter IFB. In each of the three racks, three Axient quad receivers, an antenna distributor and a PSM300 were supplied. The system has Dante capability and is networked to the Dante cards installed into two of the Studer stageboxes. Each stagebox is capable of 32 channels of Dante-overEthernet, eliminating the need for microphone cables. Shure Wireless Workbench was installed in the audio booths to remotely view and control the wireless RF, batter y levels of the bodypack and handheld wireless microphones. ‘It’s always a pleasure to work with a professional organisation like Urban Brew,’ concludes Wild & Marr MD, Gar y Furman. ‘All specifications were clearly stated, and this allowed for an accurate proposal from us that met all of the requirements. The integration of the various audio elements was seamless due to clear lines of communication between Urban Brew and our engineers. Overall, it’s a project that all par ties are ver y proud of.’ www.wildandmarr.co.za

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March–April 2020 PRO AVL MEA 31

FEATURES: HOSPITALITY

Checking in at the Sheraton Bishkek

HEC Pro was enlisted to supply the AV setup for various spaces in Kyrgyzstan’s first Sheraton hotel. James Cooke checks in VISITORS HAVE RECENTLY STARTED CHECKING IN AT the newly built Sheraton Bishkek hotel, which marks the first site for the Marriott-owned hotel brand in Kyrgyzstan. Construction of the hotel was overseen by the Mıstaçoğlu Group of Companies, which although known widely for being the main distributor for communications and technology manufacturers including Samsung, Apple and Huawei in Turkey, also has investment, operations and construction arms. Sheraton reportedly chose the Kyrgyzstan capital of Bishkek as the location for its newest hotel in part due to the magnificent view of the Tian Shan mountain range. Located above the BishkekPark Shopping and Living Center on Kievskaya Avenue in the heart of Bishkek’s business district, the hotel is currently the tallest building in Kyrgyzstan with 18 floors. Occupying an area of 17,500m2, there are 183 rooms for guests, including options for standard, superior, suite and king rooms. Also found within the Sheraton Bishkek is the Congress Center, a divisible ballroom with a seating capacity of up to 1,000 people, as well as a number of meeting rooms, spa and fitness facilities, bars and restaurants. Of course, each of these areas required AV systems, leading the Mıstaçoğlu Group to audition several distributors of audiovisual equipment in Turkey for the job of kitting out the hotel. ‘They held meetings with a lot of distributors in Turkey for AV and sounds systems,’ recalls Berk Ozan, project manager from The HEC Group. ‘However, the examples and project references from past projects we were able to show, as well as the quality and solutions we could provide, made HEC Pro stand out from the rest of the pack and ultimately resulted in us being selected for the work at the Sheraton Bishkek.’ HEC Pro was initially tasked with the design and install of AV solutions for the divisible ballroom and four meeting rooms. ‘The ballroom formed the largest part of the project,’ says Ozan. ‘For sound reinforcement, we equipped it with a line array solution from FBT, as well as stage monitors and

32 PRO AVL MEA March–April 2020

The meeting rooms are equipped with Panasonic PT-VZ470 projectors ceiling speakers. We also installed Shure microphones and a digital audio mixer from the Yamaha TF Series. The lighting system is also Italian made, with Prolights fixtures, while we chose Barco for the projection setup. Extron AV switchers and extenders are used for the automaton setup.’ Indeed, the sound setup inside the pillarless ballroom is managed via a Yamaha TF5 digital mixing console. The line array setup consists of eight FBT Mitus 206LA active loudspeakers, along with a pair of Mitus 121SA subwoofers. For monitoring, four of FBT’s StageMaxX 12MA cabinets were deployed. The 24 ceiling speakers installed are CSL 840 in-ceiling units. A pair of Audiocenter MX6200 amplifiers provide power for the passive elements in the sound system. Microphones included two of Shure’s iconic SM58 handheld models as part of a wireless system, as well as pairs of BLX14R/CVL wireless rackmount presenter systems with CVL lavalier mics, PGA31 headset cardioid condenser

and CVG18 gooseneck condenser mics, with CVD-B desktop bases, a UA844SWB antenna splitter and power distribution system, and UA874 UHF active directional antennas. When musicians perform inside the ballroom, HEC Pro also supplied a couple of Shure SM57s, four PGA57 cardioid dynamic instrument microphones, a PGA Drumkit 4 set, two AKG C411 PP guitar mics, four dbx db12 active direct boxes and two additional Shure SM58s. The backbone of the visual setup is formed from two Barco PGWU-61B, 5,900 ANSI lumens, WUXGA, single-chip DLP projectors, which beam content onto a pair of Adeo Screen Alumax projection screens, measuring 512cm x 387cm. An Extron DTP CrossPoint 84 IPCP MA all-in-one 8x4 4K matrix switcher is installed alongside four DTP T EU 232 two-input transmitters for distributing content to four DTP HDMI 4K 230 Rx digital twisted pair receivers. A TLP Pro 725M 7-inch wall-mount TouchLink Pro touchpanel, also from Extron, offers simple control of the setup. An Apple iPad was also provided for remote control of the system. The lighting rig is programmed and managed from a PulseMX professional lighting console from Digilite, while a Pilot 2000, 512-channel DMX controller commands the moving fixtures via a Prolights Splitter4WRK one-in/ four-out DMX splitter. Fixtures installed include Prolights EclipseJR LED profile spots, Pixiebeam LED beams, Diamond19CC LED washers, LumiPAR12UQ LED PARs and Polar700 LED strobes. Two Prolights PHYRO3000D fog machines assist with the creation of various lighting effects. ‘In the meeting rooms, we also installed FBT CSL-630 ceiling speakers, which are powered and controlled by MXA-3240 mixing amplifiers, as well as MB-T 6400 gooseneck microphones, also from FBT’, Ozan continues, before noting how the visual setup in the meeting rooms differs from the ballroom. ‘While we equipped the meeting rooms with Barco’s ClickShare CSE-200 wireless presentation system, we went with Panasonic for the projectors, installing PT-VZ470 models.’

FEATURES: HOSPITALITY

One of the smaller meeting rooms The design and installation of AV equipment in the ballroom and meeting rooms reportedly went very smoothly. ‘We did not face any major obstacles, since the architectural firm, Tolga Öz Architects, and the electrical engineering company were kept informed of the details of our project,’ explains Ozan. Client feedback is always well-received and it is safe to say that the Mıstaçoğlu Group was impressed with HEC Pro’s work at the Sheraton Bishkek and the products provided. ‘We are cer tain that the construction firm is happy and fully satisfied that we met all of their needs,’ says Ozan. This is because HEC Pro has been invited back to equip a fur ther four meeting rooms and the rooftop bar and

restaurant with AV solutions, while also being awarded with additional projects from the Mıstaçoğlu Group. ‘Our installation team will return to the hotel to install the remaining meeting rooms and the roof bar,’ Ozan confirms, ‘Fur thermore, we have been asked to produce the automation and sound systems for a meeting room at the headquar ters of the Mıstaçoğlu Group and even to supply some solutions in the home of the company’s owner. We’ve chosen to use FBT’s Archon Series speakers for these projects, as well as Pioneer XDJ-RX all-in-one DJ systems and Audac MTX48 four-zone volume controllers. The Mıstaçoğlu Group is a fast-growing company, so we are looking for ward to a fruitful business par tnership with them, leading to fur ther projects in the future.’ HEC Pro has a histor y of attracting repeat business from happy clients with Club Inferno providing one such example, as featured in Pro AVL MEA’s Januar y–Februar y 2019 edition. It would now appear that the Turkish distributor and systems integrator can rely on the Mıstaçoğlu Group for repeat business too. In the meantime, the HEC Pro team will be enjoying the view from the rooftop bar of the Sheraton Bishkek. www.hecpro.net

One half of the divisible ballroom

www.mistacoglu.com.tr

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Each meeting room includes Barco’s ClickShare CSE-200 wireless presentation system

March–April 2020 PRO AVL MEA 33

FEATURES: LIVE EVENT

In the big league

MDL Beast firmly put Riyadh on the map as a destination that could host a world-class, large-scale music festival, writes Simon Luckhurst THE FESTIVAL SCENE IN SAUDI ARABIA HAS BEEN RAPIDLY growing over the last year, not just in the number of gigs staged but also the scale of the operation. Nowhere was this more evident than the recent MDL Beast Festival held in Riyadh. Over the course of three days, in excess of 130,000 electronic music fans enjoyed back-to-back sets from a mix of local artists and superstar DJs, including Martin Garrix, David Guetta, Steve Aoki, Tiësto and Sebastian Ingrosso. Spread across five stages ranging from the 2,000-capacity Saudi Beast to the 45,000-capacity Big Beast, the event was not just big by Saudi terms, but has become one of the top three biggest EDM events in the world. Three stages comprising the Underground Beast district gave EDM fans who wanted to go deeper a separate experience from the main stage. Each one was built from shipping containers and covered in graffiti by local artists, capturing the allure of underground dance culture. There was also the Down Beast stage, where artists like Lady Lou, Dokkan, Hatoon and Usif provided soundscapes for any attendees seeking respite from the excitement everywhere else. It’s one thing to stage a festival like MDL Beast in the US or Europe, it’s quite another to bring that to a blank piece of land in the desert just outside Saudi’s capital city. Festival Creative’s LemonX, and its client Midwam, wisely enlisted the services of London-based veteran technical events productions specialist LarMac LIVE to coordinate the site-wide production and artist management effort. ‘The backbone to our business is multi-artist, multi-stage shows – large-scale festivals and TV shows,’ explains LarMac LIVE co-founder, Ian Greenway. ‘We like to think that we know how to keep multiple artists and stakeholders happy, usually in very changeable environments, and all of these skills were used like never before here.’

34 PRO AVL MEA March–April 2020

In charge of coordinating virtually everything, LarMac LIVE called on just a minimal pool of suppliers to cater to the audiovisual requirements across the five stages. ‘We actually ended up simplifying our supply chain as much as possible, in partnership with Sela locally assisting with procurement,’ says Greenway. ‘PRG quickly became the go-to company for lights and video, with audio coming out of their German office. This was a real nobrainer, primarily because we were using a large number of a very few fixtures and so sourcing the assets was a huge factor in this decision. PRG also comes with a support structure and a special projects team like no other. ‘From a procurement side, however, we knew that we could strip out certain conversations and make things easier by cutting away inter-supplier comms,’ he adds. ‘We’d typically bring on board quite a number of suppliers, but that simply wouldn’t have worked with so little time. PRG delivered a huge volume of this show so that the advance was as simple as possible, and to make sure procurement and contracting didn’t swallow us up. We have the fortune with EDM that we can really control what systems go where. As long as the kit is of one of the usual “flavours”, we can design purely to ensure that our customer experience was the best it could be.’ No stranger to working on massive live events, PRG was able to call on its sizable inventory of AV equipment. The MDL Beast organisers place great importance on its influence in helping to grow Saudi’s live entertainment sector and, as a result, LarMac pulled out all of the stops to make the event sound great. The audio equipment was specified and deployed according to designs by Scott Willsallen of Australian and UK company, Auditoria, known for leading the audio production on flagship events such as

The main hangs each consisted of 20 K1s

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The view of the main stage arena from the DJ booth

Two delays were erected to extend coverage the Olympics and the Commonwealth Games, and a regular partner of LarMac. In terms of equipment, PRG was able to pool its L-Acoustics, Meyer Sound and d&b inventories to provide for all stages. ‘The client wanted the absolute best for MDL Beast,’ recalls Willsallen. ‘This gave us the scope and budget to design an uncompromised system of L-Acoustics K1s, K2s and KS28s for the huge main stage audience area. We used two delay rings in addition to the main system – this reduced the maximum listener distance to under 65m to the nearest array. This relative proximity delivers higher fidelity and greater impact for every listener,’ he explains. ‘We also used cardioid sub-bass arrays with the delay towers to augment the main sub-bass array of 48 KS28s in front of the stage.’ The main system consisted of four lines of four K1-SBs and 20 K1s with a bass array formed from 48 KS28 subwoofers. Front-fill consisted of six stacks of four K2s alongside a pair of single K2s stacked on top of the subs to fill in the centre. There were four towers in the first delay ring and three in the second delay ring, with each delay array consisting of 20 K2s and six KS28s. Powering all of the L-Acoustics equipment on the main stage required nearly 50 LA-RAK II amplifier racks. The three other big stages all similarly featured L-Acousticsbased sound systems with control from DiGiCo SD10 consoles running a Waves SoundGrid Extreme Server, while the Beast Down stage was treated to a LEO-M and LYON-W setup from Meyer Sound with 1100-LFC subs providing low-end. Monitoring here was from a combination of Meyer Leopards and d&B M2 wedges. Shure’s UHF and Axient Digital Wireless systems rounded out the primary audio equipment complement across all of the stages. Cabling was via Optocore. ‘Away from the main stage, the other stages were either L-Acoustics or Meyer Sound and all were generously designed to deliver loads of power, even coverage and really great sound,’ notes Willsallen.

36 PRO AVL MEA March–April 2020

The entire festival saw more than 130,000 attendees over three days On the visual side, BPM SFX was selected as the special effects vendor, due to a solid working relationship and the company being ‘uniquely placed in the dance world’, says Greenway. Lighting and video design came from High Scream, Phixion was brought on board for scenic design and staging was supplied by a variety of local companies. The LarMac LIVE team faced some significant challenges to pull MDL Beast off successfully. The entire site had to be created from scratch, meaning its standard workflow was off the cards. ‘Going from A to B to C just wasn’t possible here,’ Greenway says. There was also the task of everything apart from staging being flown in just weeks before Christmas. ‘We were up to four 747s of freight, plus all of our dangerous goods – there was one plane of pyro explosives alone. Time did beat us here to start with – we just couldn’t find commercial cargo space due to the holidays.’ While logistics may have caused some headaches, the production was fundamentally handled as any typical LarMac LIVE event would be. ‘We have quite established ways of advancing festivals with talent and, given how fresh the market was and the quick turnaround required, we really relied on these to keep us lean and efficient. ‘Shows of this scale are all about having the right people in the right places – experts in each discipline, doing what they do best,’ he furthers. ‘From an audio standpoint, we’ve worked with Auditoria a lot in the ceremonies and special projects world, and, while festivals are probably not a big part of their business, they were right for this job given the attention it required and the expectation of our client.’ When the festival opened just before the very end of 2019, attendees were treated not only to some great electronic music, but also arts and culture, all pulled off seamlessly

with little time for proper planning. ‘It simply wouldn’t have got off the ground anywhere else in the world or without the passion of LemonX and Lutma, the Saudi-based promoter, or indeed the incredible levels of finish from Sela. What we all collectively achieved still amazes me.’ Despite its vast experience, there were still a few lessons to be learned by the LarMac LIVE team. ‘That anything is possible,’ says Greenway. ‘With just 10 weeks to go and no show in place, we genuinely threw everything at getting this gig together. We’re actually just one cog in a really big machine, and on MDL Beast everyone was always pushing in the same direction, 24/7. I can’t recall another project like it, and the fact that it happened (and in fact happened in such a world-class fashion) is testament to what can actually be achieved with the right people involved.’ For those in more established territories, it’s hard to understand the gravity of an event like MDL Beast. Every weekend, major DJs are playing most big cities across the world, but Saudi citizens have never been able to witness it first-hand at home. Now the stage has been set for bigger EDM artists to make their way to Riyadh. ‘This is the first of many Beasts we hope – it definitely takes more than one show to develop a scene, especially in dance, but Saudi is so hungry for this kind of culture that we’re really excited about their world stage growth,’ concludes Greenway. ‘In my three months experience of the country, I’m genuinely impressed by what they’re delivering and the talent they’re enticing over. Of course, it comes at a premium but, with the right knowledge, in time a maturing market like Saudi could become a huge world hub for entertainment in practically no time at all.’ www.auditoria.systems www.larmaclive.com www.prg.com

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BUSINESS: COMMENT

A letter from America

These dead are neither Grateful nor Joycean, but they do sell tickets, explains Dan Daley

SOME YEARS AGO AT THE BOTTOM LINE, AN ECLECTIC music venue in Manhattan, I was around for a soundcheck by the Glenn Miller Orchestra. They’re still touring today, despite the fact that the bandleader died in a plane crash over the English Channel in 1944. But what sticks in my mind is how one of the musicians onstage, informed by the stage manager that showtime was 8pm, rapped on a closed trombone case and said, in a very normal tone of voice, ‘Hear that, Glenn? 8pm.’ Plenty of rock bands have achieved franchise status, heading out on the road with few if any original members, and none but diehard aficionados seem to mind. But technology is in the process of bringing back those missing members, and a number of artists we’d thought of as simply deceased may shortly be coming to a theatre near you. In a kind of musical zombie apocalypse, Whitney Houston headed back on tour again last year, just as Frank Zappa had wrapped up the first round of dates of his The Bizarre World of Frank Zappa revue, featuring many of his longtime bandmates. They were following Ronnie James Dio’s successful Dio Returns outing that began back in 2017. These are some of the marquee names on a concert trend that began with the appearance of Tupac Shakur at Coachella

in 2012. That, of course, was 16 years after the rapper had been killed on the Las Vegas Strip. In what seemed at the time like a disturbingly clever one-off, ‘Tupac’ – actually a videoed performer whose head had been digitally replaced with Shakur’s face – was projected onto a snare-drum-tight sheet of Mylar as he sang his hits, backed by a live band onstage. Hardly a proper hologram, but you didn’t have to be that far away from the illusion to let suspension of disbelief take over. Now a slew of other dead music celebrities, or more precisely their heirs and the equity firms that are increasingly taking financial stakes from them, have been looking to take their shows on the road. And everyone knows that the road is where the real money is these days, proving that, indeed, perhaps you can take it with you. Once you get over the inherent creepiness of the concept (though I’m not sure which is creepier: digitally reanimating the dead onstage or having a hedge fund collect the box office), this offers a lot of win–win. These tours utilise the same PA systems and other live sound infrastructure as any other, there are live musicians onstage (who are often playing live, we should point out), and the lights, video and everything else that is part of concert technology today are also in place. The only real difference is how the artist is

A letter from Europe

presented. In some cases, it’s a version of Pepper’s Ghost: a projector located either below the front of the stage facing up or above the stage facing down illuminates a piece of Mylar or other translucent sheeting, which lets some of what else is onstage show through from behind the sheet, enhancing the sense that the artist is actually onstage with the rest of the musicians. Alternately, a production can use an actual hologram, which is more costly, harder to nail perfectly, but which presents the most realistic effect since it is truly a three-dimensional image. As fascinating as the idea of the dead reappearing onstage is, it also underscores a longstanding show-biz nostrum: every performer has to keep upping the ante, and every tour has to be bigger, brighter and more bombastic than the one before, and that’s especially true now that the ticket has replaced the LP as the currency of the industry. Even bringing back deceased artists may one day become the norm – the phenomenon might become so common that we begin to process it the same way we do seeing Humphrey Bogart or Elizabeth Taylor on television in one of their films, appreciating the performances, rather than as some disturbingly uncanny animatronic at a Disney theme park. If so, I cannot imagine what might top that. In the meantime, enjoy the show.

Phil Ward looks at some of destinations being used to recapture the vitality of music recording MY DAD USED TO HAVE A LITTLE CHRISTMAS JOKE. EVERY year, we had a novelty slate hanging on the back door that was blank on the left and had ‘Days to Christmas’ printed on the right. It came with a piece of chalk. The idea was, like an advent calendar, you scrawled how many days to go till the big day, rubbing out and decrementing the number each morning. The thing is, when it came to 25 December, he didn’t wipe the slate clean and write ‘0’, he put ‘365’. Ho, ho and, indeed, ho. Looking back, I think he had a point about human expectations, and the need always to be looking forward. There may be a way forward for the recording industry, too – one that places equal emphasis on anticipation and the wilful dilation of creative possibilities at a time when they are much needed. They call it ‘adventure recording’, and it’s being made possible by lightweight, battery-operated audio interfaces such as Audient’s iD4. The difference between this and what the film and television industries would instantly recognise as location recording is scale – you don’t need all that OB stuff. And it’s not what we used to call mobile recording either, because you don’t need a superannuated juggernaut. You just need a laptop and a mic or two. No one knows more about how to do this with the right imagination than the American record producer Sylvia Massy. She’s recently been deep down into London’s Underground

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network – specifically Aldwych station – with a band called God Damn. There was no power on the platforms so batteries were used to run the session, with the iD4 acting as a USB interface. Acoustically, you have to say that was a pretty unique room. One particularly far-reaching consequence of this practice could have an equally radical effect on recording. Massy and the band had to work quickly, to a scheduled time limit, because the use of the station came at a cost – just like recording in a studio used to do. So for all the accessibility of laptops and home recording, which many have observed has taken a lot of the spontaneity and quicksilver genius out of modern recordings, we return to a state of affairs in which the performance has to be captured under pressure and without the luxury of limitless re-working – if you can call it a luxury. The studio clock is ticking once again – although this time it’s not a studio but a subway station … or a museum, or a World War II bunker or anywhere rentable by the hour. Massy cites caves, a nuclear cooling tower, cathedrals and tiny houseboats in the Yukon among the ‘adventures’ undertaken for recording sessions, always, she says, prompting ‘a different type of performance that is not achievable in the studio’. The portable gear needed is now a permanent fixture in her hand luggage. The same can be said of Árni Hjörvar Arnason, who plays bass in UK-based indie rock

band The Vaccines, and who for a solo project returned to his native Iceland with an iD44 interface and eight-channel mic pre – not to his house but ‘the very furthest reaches of the west fjords’. The most interesting business model in European recording today, I would suggest, is Miloco, the London- and online-based directory of destination studios with the intriguing slogan, ‘Where in the world will your music take you?’ Studio locations on the books include a lighthouse, a vintage car museum and several residentials in classically bucolic surroundings. Well, of course. Simply setting out to inspirational destinations should revitalise anyone’s recording sessions and, by extension, place new hope in the industry’s ability to capture the vitality of music. It was Robert Louis Stevenson who said, ‘to travel hopefully is a better thing than to arrive’, just as it’s better to count forward 365 than it is to scribble zero on the slate and acknowledge that it’s all over. Stevenson also suggested that ‘to marry is to domesticate the Recording Angel’, but he wasn’t talking about home studios. What he meant was you’d better get it right because your heart is now under 24-hour surveillance, with a dramatic improvement in the signal-to-noise ratio of life. How right he was. For Dad, I wrote ‘365’ on our own backdoor novelty sign, on Christmas Day, just like he used to. I know the Recording Angel is listening.

BUSINESS: COMPANY PROFILE

Made in Czech

Everyone working in stage lighting will have heard of Robe, yet for a long time this wasn’t the case. In the OEM business since the late-1990s, it’s only really been in the last decade that the Czech manufacturer has begun to make a name for itself

The factory is a blend of man and machine

All of the back plate labelling is applied by hand by two members of staff at the factory WEAVING ALONG A SERIES OF WINDING ROADS IN THE Czech Republic on a dark, foggy night, Pro AVL MEA eventually arrives in Valašské Meziříčí. It seems to be in the middle of nowhere, and not a lot is happening. But, as the sun rises, everything springs into action. The sleepy town, it seems, is slowly but steadily being engulfed by buildings bearing Robe’s name. Founded in 1995, the lighting manufacturer has expanded sharply in recent years to around 800 employees globally, 700 of whom are based in the Czech Republic and the rest spread throughout subsidiaries in the UK, US, France, Germany, Singapore and UAE. It seems an odd location for an internationally growing company to be based. ‘You might think that,’ responds co-founder Josef Valchar, ‘but a lot of major companies are based here in the area, covering semi-conductors, electronics, machinery engineering, chemicals, auto parts suppliers and more. Being close to the Polish and Slovakian borders and right in the centre of Europe is ideal for transport connections everywhere across the continent. Furthermore, the nearest major international airport is Ostrava, a 40-minute drive, and that is undergoing expansion.’ When speaking to Valchar, there’s an immediate sense that he knows where he wants Robe to be, and knows exactly how to get there. So it’s interesting that the roots of the company’s formation lie more in circumstance and opportunity than a clear plan of action. ‘Co-founder Ladislav Petrek and I first met in 1992 and there was an immediate synergy,’ he recalls. ‘Ladislav was a DJ and had started importing lighting effects from other European countries, which had only recently become possible. The Czech Republic has always had a reputation for good engineering skills and, looking closer inside some of these lighting units back in the early 1990s, we knew that they could be produced to far higher standards locally. ‘I was still fresh out of studying engineering at university and really enjoyed being a communicator,’ he continues. ‘I had a special interest in both sales and technology and was up for a challenge. Everyone was dreaming big then. We had a vision, lots of energy and the skills to make all this happen were right here on our doorstep.’ The complementary skillsets that Petrek and Valchar brought to the plate have been key to the company’s development ever since. Saying that, both also have a thorough understanding

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Power coating the metal work prior to assembly

The colour wheels are all assembled by hand

A Robin BMFL Blade being assembled

Women perform the intricate work of labelling and terminating cables of each side of the business due to their backgrounds. To this day, Petrek remains in charge of Robe’s long-term technological development, while Valchar can frequently be found on the Robe booth at trade shows the world over. ‘At the very start, we worked together on designing our own products,’ furthers Valchar. ‘As we became busier, I then also became more heavily involved in sales and marketing, and that is the way both of our roles have continued to evolve. Today, I am still hands-on with product design and development while also travelling constantly, interacting with our subsidiaries and sales

A gobo is used to create patterns and designs with the light beam teams worldwide and communicating with all sorts of people and companies using our products, gathering valuable feedback. I head up and oversee all of the global marketing and brand awareness strategies and activities, and, as Robe has grown, I have taken on an increasingly public role.’ In contrast, Petrek is based at the factory and is active in the administration of the company and taking care of finances. One element that has undoubtedly expediated the company’s development is that complete control of decision-making has remained in-house. ‘We have been approached a few times by

BUSINESS: COMPANY PROFILE investors, but we have decided not to accept the offers and to stay independent,’ assures Valchar. ‘We like to be in control of our own destiny. Right from the off, we decided on a policy of ploughing profits back in to improve and streamline the whole operation. We have stayed independent and free from the clutches of VCs and banks, and that’s been a very central part of our financial strategy, which has really paid off.’ This go-it-alone approach bleeds through from financing to the actual production. Many elements that would typically be outsourced by similar manufacturers, such as metal work, are all handled internally in Valašské Meziříčí. ‘An obvious major reason is quality control,’ notes the co-founder. ‘The only way we can be 100% sure of this is to do it ourselves and not outsource. A second important reason is to contribute to our local economy in Valmez and to build a community around the company and its operation. Investing in people in this way has helped build a great atmosphere and a commitment from our staff. Being in-house also enables us to be agile and react very quickly to market demands, large orders and bespoke projects, as well as in bringing innovations to the market.’ While always a strong challenger in the theatre market, Robe’s soaring popularity in the live events sector has forced it to branch out from the confines of Valašské Meziříčí. To support manufacturing, a second factory was opened in Karvina in 2013. ‘This was due to the overall low unemployment in the Czech Republic,’ says Valchar. This is the lowest in the EU, with an unemployment rate of just 2.8%. ‘So, we had to look for an area where people were seeking job opportunities and that was Karvina.’ Asia and the Middle East have also both been strong growth markets in recent years. The credit for Robe’s international success largely goes to international sales manager, Harry von Stemmen, also a key member of the company’s executive team. ‘From 2003, when we decided to start our own distribution, we ran a double strategy: on the one hand, we checked our opportunities and established a global network with distributors,’ explains von Stemmen. ‘In parallel, we established our subsidiaries in the UK, US, Southeast Asia (later Asia Pacific), France and Germany. This was only done in areas that required Robe’s direct presence. ‘Robe has always had a wide range of products, which made it possible for every distributor to sell in their market,’ he adds. ‘So, it has always been a combination of both the performance of the distributor – and we have some very good ones – and the constant dialogue between the factory and themselves about ideas and demands they collect from their markets.’ In the little more than 15 years that the company has been actively expanding, Robe has amassed over 120 distributors and

Every fixture gets tested for defects before leaving the factory dealers in over 90 countries. Celebrating 25 years in business last year, the company has enjoyed several major milestones. Typically, when Pro AVL MEA asks companies to gauge their success, they do so by invoking spreadsheets and numbers. Robe instead refreshingly focuses on the products that have left a lasting mark on the industry, from the Spot 250 first launched in 1990 to the MegaPointe, T1 and ESPRITE of the 21st century. But success for Robe goes beyond that. ‘Sales and profit are important but not everything,’ says Valchar. ‘I personally measure it in terms of respect. The whole operation is geared to earning respect from various markets for the products and the brand and how we do things. I think it’s a great achievement – and a major international collective effort – to have so many excellent relationships with professionals and practitioners. That respect, and their continual desire to be more imaginative and inventive in their work, has opened some unique communication channels.’ In honour of its 25th anniversary, Robe was in celebration mode throughout 2019. ‘For our 25-year celebrations, we launched a new exclusive “silver” product, had an amazing party on the stand at Prolight + Sound in Frankfurt which included a live band, and we staged a massive family day in the summer in Valmez for all our staff which also featured music and entertainment attended by several thousand Robe family members and associates. It was like a mini-festival – and there

All set and ready to go have been various other events and roadshows throughout the year promoted via subsidiaries and distributors.’ To make the transition from an OEM manufacturer to leading the field with your own proprietary products and technology in just a few years is no small feat. Robe has pulled it off on the strengths of the connections it has made. www.robe.cz

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BUSINESS: SHOW REVIEW

2020 NAMM

The dawning of the new decade brought together the MI, pro audio and entertainment technology communities at January’s 2020 NAMM exhibition. How does the new decade bode for the show? HELD A WEEK EARLIER THAN IN PREVIOUS YEARS, NAMM emits a warm, feel-good vibe over four bustling days in Anaheim, CA. As in the previous decade, groundbreaking developments and disruption did not feature high on the agenda, though it wasn’t business as usual. Given the acquisitions and buyouts that took place during the tumultuous last decade, trading will become increasingly polarised. While the Amazons of our industry will agglomerate all those in their trajectory, the boutique brands will survive and perhaps flourish among dedicated customer bases should they stay relevant, so long as music captures the hearts and minds of the aspirational next generation. With this in mind perhaps, the NAMM organisers had created an esports arena for the less musically inclined visitors within the basement of Hall E. Small it may have been, but nevertheless an indication that NAMM is alert to market trends. The show’s continued success cannot rely on developing musical trends to inspire tomorrow’s divas and virtuosos to pick up an instrument. In a continued bid to add diversity while bolstering educational credentials, the AES@NAMM training sessions took place once again in the Hilton Hotel. The creation of ACC North two years ago was a masterstroke for NAMM. Linked to the glazed venue via an upper-level bridge and dedicated to pro audio and event technology exhibitors, the upper- and lower-level halls have taken on their own persona within NAMM’s growing ecosystem, with the differences reflected most notably by attendees and background SPLs. Exhibitor growth in the past two years has comprised of many new pro audio manufacturers in ACC North, while reduced commuting time between halls improves the experience for dedicated visitors. Compared to a near continued background of musical instruments in main Halls A–E, the decrease in decibels enhanced the quality of B2B conversations.

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The Esports Circus

Tim McCall with the new L-Acoustics Kara II system

The wraps are off the Event-26A compact line array on the DAS Audio booth

L–R: Zylia’s Florian Grond and Wojtek Blachowiak launched the ZR-1 portable recording device

The upper level of ACC Nor th has become the world stage for pro audio manufacturers whose primar y customers are rental houses, international distributors and dealers. Prior to this hall being built, it would have

been hard to imagine a NAMM welcoming touring and theatrical loudspeaker brands onto its show floor, but this has been achieved by successfully marketing the show to the right visitors.

Ross Gilbert with the SSL 2

BUSINESS: SHOW REVIEW demonstrating its ESD Cube loudspeaker in addition to the scalable ES Series, while drawing in theatre technicians and designers to listen to the EX Series. Following the recent acquisition of neighbouring Montarbo, RCF Group’s presence was extended to promote the latest B-series of enclosures. EAW’s Zen-like demo suite hosted exhibits from Anna and Anya line arrays to the latest MKD 1000 and RS123 and RS118 additions. dBTechnologies showcased the latest VIO C active line source models away from its distributor American Music & Sound in Hall E. HK Audio also opted to be amongst its contemporaries rather than its US distributor, where it formally introduced Polar 10 to the existing portfolio, including Linear 7. Within touching distance of its microphone stablemate DPA, RCF networked against a background of HDL modules, the M 20X digital mixer, Ayra Pro monitors, TT+ series additions

EV’s Guy Low enticed visitors to listen to the new Evolve 30M speaker system

L–R: Adamson CEO Marc Bertrand with his Russian distributor Oleg Ivanov

DPA’s Anne Berggrein modelled the new 2028 vocal microphone

L–R: Diana Wei and Sherry Jong from JTS had travelled over from Taiwan

Beyma’s Espartaco Saez promoted the 12- and 15-inch 700W MCB transducers

John Krupa of Italian Speaker Imports with the FBT Vertus column line array

Matthias von Heydekampf pointed the way ahead for RME with AVB solutions

and latest RDNet software. The RCF Demo Lounge in the main exhibition centre premiered new immersive technology adopting its real-time, object-based, multichannel audio engine with a TTL 4-A setup. The ACC North hall welcomed back Adamson, Coda, FBT, Funktion-One, K-array, Powersoft, Proel, Renkus-Heinz, TW Audio, Void Acoustics and Vue. Powersoft started its 25th anniversary celebrations, while K-array promoted a number of unobtrusive solutions including the Anakonda-KAN200, RumbleKU210, Python-KP102, Pinnacle-KR202 and Azimut-KAMUT2L1. Not all loudspeaker exhibitors followed the crowds. Located between the Hilton and Marriott hotels, Nexo presented the STM on the main Plaza Grand Stage where artists such

L–R: Javier Navarro, Nerio Gutiérrez Ross and Esther Gutiérrez showcased Tierra Audio’s latest studio outboard In 2019, d&b audiotechnik launched the KSL line array system, at the time the most significant product release outside Germany in the company’s history. This year, it showcased its existing SL-Series line array family and the augmented array A-Series, which marries the flexibility of point source clusters with the control of line arrays. Presentations of the A-Series augmented arrays, SL-Series and d&b Soundscape from the perspective of the audience and performers took place in the demo room. L-Acoustics welcomed visitors to an adjacent suite off the main show floor in ACC North where the company removed the wraps from the new Kara II speaker system. Listeners could take the short walk across the bridge to a demonstration room in the upper level of the main convention centre for a better appreciation of the A Series or L-ISA mix. Meyer Sound upgraded its presence by creating the Sonic Lounge, a plunge that was vindicated by packed audiences evaluating demonstrations of the Ultra-X40 point source, Lina line array with 750-LFC sub, and Amie and MJF monitors. Electro-Voice’s Evolve series of column speaker systems continues to, well, evolve. With the advent of the 30M model, listeners could analyse coverage and power within a demo suite hosting regular performances from Two Neighbours. Edging closer to its golden anniversary, DAS Audio celebrated the silver anniversary of its North American headquarters, shining twin spotlights on the Event-26A line array, Event-115A subwoofer and E11even nightclub series. Returning after an absence, KV2 Audio promoted a less-is-more philosophy by

Adam Hall CEO Alexander Pietschmann with the G2 version of the MAUI 44

The Renkus-Heinz team promoted the virtues of ICLive X

L–R: The dBTechnologies family of Stefano Bini, Claudio Ottani and Enrico Gamberoni

Montarbo export sales manager Salvatore Curcio presented the new B-series speakers

L–R: RCF’s marketing director Gioia Molinari with president Arturo Vicari

Audio-Technica’s Gary Boss promoted podcasting bundles

March–April 2020 PRO AVL MEA 43

BUSINESS: SHOW REVIEW as Earth, Wind & Fire performed each evening, with quick changeovers facilitated by Yamaha Rivage PM7 consoles. Additionally, on the Nexo booth adjacent to Yamaha in the Marriott, latest additions to the P+ Series point source cabinets were rolled out with the P8 and P10 models. Located near the Grand Plaza Stage, Dynaudio demonstrated its latest monitoring solutions, DPA mics and Yorkville speakers within the Unheard recording studio. The converted shipping containers incorporated a full-length glazed acoustic panel that doubled as a looking glass to the NAMM audience, creating a live concert stage. LD Systems showcased its latest MAUI 44 G2 and ICOA coaxial models on the Adam Hall booth in Hall E, where the group – including Cameo, Defender, Gravity and Palmer brands – was revitalised by the Free Your Sound campaign. In the lower hall of ACC North, the latest JBL EON ONE Compact and IRX Bluetooth models were displayed on the Harman booth, while reporters from the NAMM Media Centre used AKG Lyra USB mics and JBL BT104 monitors for podcasts and streaming. While B&C, Beyma, FaitalPRO, Celestion and Lavoce promoted their ranges of LF woofers and HF transducers in ACC North, Celestion extended its visibility with a second booth in the main hall to exhibit guitar speakers including the new Ruby and Midnight 60 varietals. QSC promoted its Play Out Loud campaign with live acts on its booth rather than focus on individual detail, which included the K Series speakers, TouchMix-30 mixers, E Series amplifiers and latest KS118 subwoofer. Ashly adorned its booth with a series of stylish columns, a passive subwoofer and passive all-weather speakers. The NY-based innovator demonstrated its system credentials by adding the final piece of the signal chain to its Protea DSP, mXa amplifier technology and AquaControl software catalogue, perhaps exemplifying that NAMM is more than an MI exhibition. Rounding off loudspeakers, 14 brands – Alcons Audio, Axiom, Bassboss, Crest Audio, dBTechnologies, Electro-Voice, FBT,

Austrian Audio showcased its latest OC818 mic

Neve’s David Walton at the controls of the Genesys console

was launched alongside KLANG:technologies’ immersive in-ear mixing expansion, DMI-KLANG. Two of the other three Audiotonix brands were also in Anaheim. Allen & Heath showed its Avantis 96kHz console for the first time since the October 2019 launch, attracting a swarm of visitors eager to view the 64-channel, dual HD touchscreen control surface, as well as a CTi1500 dLive surface controller within its 23kg flightcase. Meanwhile, Solid State Logic revealed its first-ever dedicated audio interfaces, part of a new personal studio range. The USB-powered SSL 2 and SSL 2+ include mic preamps, 4K analogue enhancement mode and an SSL Production Pack software bundle. Having celebrated its 50th anniversary last year, analogue console specialist API Audio drew in studio technicians with its latest 2448 console alongside the 1608 and Box surfaces. AMS Neve showcased the Genesys Black console with its latest Control plug-in, together with the AMS RMX16 reverb unit as part of the rack-mounted 500 Series. TASCAM added the Model 12, while PreSonus showcased the ioStation 24c audio interface and production controller in addition to expanding its Thunderbolt Interface Line with the Quantum 2626. In an age where consolidation is the norm, Mackie has gone solo having experienced two decades of synergies, shared resources and disruption. Having recently relocated and regrouped, the team appeared rejuvenated, relishing the decade ahead with renewed energy. A distinctive green demo suite hinted at the shape of things to come with the newly released SRM V-Class and SRM-Flex speaker series, CR Series of multimedia monitors, MP series IEMs and EleMent microphones. It’s impossible to predict how the external pressures of Ai, finance, politics and disruptive forces will play within the MI and professional cosmos. NAMM does appear to have its finger firmly on the pulse and can switch to other sources of entertainment should the guitar and drum halls start to experience lower SPLs. For now, the beat goes on and music continues to draw this mixed, increasingly international crowd to southern California each year.

An audio enthusiast test driving API Audio’s 2448 console

MXL’s Dan Yount highlighted the latest podcasting mics

The 3.38pm DiGiCo press conference was a sell out

Allen & Heath’s Nic Beretta with the airline-ready CTi1500 dLive surface controller

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Martin Audio, Montarbo, RCF, Sound Barrier, TW Audio, Verity Audio and Void Acoustics – showcased flown and portable systems as part of the annual demonstration showcase in the Arena. With the eagerly awaited launch of the Luna recording system for Apollo interfaces, Universal Audio ensured its sector of Hall A was kept busy. Having acquired both ADAM Audio and Martin Audio last year, Focusrite Pro added three ISA cards for connection to Dante audio-over-IP networks. RME launched audio networking interfaces for AVB and MADI applications, including the 12Mic, AVB Tool and M-1610 Pro. In ACC North, Waves Audio revealed the FIT Controller and MyMon personal monitor mixing app for the eMotion LV1 live mixer, in addition to new distortion plug-ins. Mirroring the main pro audio hall of old, the downstairs floor plan of ACC North is home to the majority of the international microphone brands. Celebrating its 75th anniversary, Sennheiser extended the Digital 6000 series with Link Density Mode. Like AKG, Blue and MXL, Audio-Technica continued its theme of bundling microphones and headphones for podcasters and streamers while extending the range of the wireless 3000 Series. Many microphone exhibitors used NAMM to promote their latest prosumer and professional headphones and earphones. In addition to new ribbons, condenser and reference mics released by Audix in the upper hall, visitors could test drive the four new A Series closed-ear headphones. Down below, AKG, Austrian Audio, Sennheiser and Shure launched K371, Hi-X over the ear, HD25 Light and Aonic 50 wireless headphones, respectively. In addition to Audix, several other brands, including DPA, JTS, Lectrosonics and Mipro displayed their wares upstairs. The much-anticipated 3.38pm DiGiCo press conference saw the digital console specialist reveal the latest in its new generation of Quantum consoles, the Quantum338. Based on seventh-generation FPGAs with 128 input channels, 64 busses and a 24x24 matrix, the smaller format Quantum338 also features dark mode application and three multitouch screens, allowing meter bridge and quick select buttons to be displayed on each screen. Unveiled during a DiGiCo-themed Fortnite game, a Quantum5 control surface

L–R: Earthworks’ Heidi Blackmer Robichaud and Craig Breckenridge presented the Gravity Series

Mackie’s Troy Monteforte with the latest SRM-V speaker systems

2020 Dates:

16 – 19 January

2021 Dates:

21 – 24 January

Venue:

Anaheim Convention Center

Total exhibitors:

2,000+

Total attendance:

115,888

International

23,060

Contact:

www.namm.org

Video:

https://bit.ly/2UfZKR5

BUSINESS: SHOW REVIEW

From the show floor ‘Having largely focused our attention on promoting our active line array and column solutions, we took part in the Loudspeaker Systems Showcase this year. It was a great decision, as we’ve received a lot more enquiries on the booth.’ Bill Lee, Verity Audio’s owner

‘NAMM is catering to a wider sector of the live community, which explains why we’ve been here for the last three years.’ Stephen Baird-Smith, Avolites’ sales manager

‘I thought it was a really good move for NAMM to add these pro audio halls into the mix. All of the biggest brands now exhibit here to create a new market for this show.’ Trevor Grenier, PK Sound’s senior account manager

‘By opening a dedicated hall for audio, collaborating with the Audio Engineering Society on education programmes and offering immediate access to the thriving southern Californian entertainment business, NAMM has become a formidable industry event. It’s also well-timed as it builds momentum for our major European show, ISE, a few weeks later.’ John McMahon, Meyer Sound’s senior VP of marketing

‘There’s been a lot of energy in our Media Centre ‘This year, I’ve experienced a lot more people and on the booth in ACC North. Visitors have asking for dealerships, which is allowing me to enjoyed the programming that we did on the stage be more selective. Although it’s a west-coast in addition to the products we’ve been delivering.’ exhibition, we’ve had a high turnout from Latin America.’ David Glaubke, Harman Professional Solutions’ Rusty Waite, K-array’s US president director of global communications

‘Traditionally, NAMM wasn’t really a fit for broadcast-focused companies such as Riedel. However, the organisers opened this whole area up to cater towards production environments and the traffic appears to be increasing each year.’ Kevin Broce, Riedel Communications’ western US business development manager

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March–April 2020 PRO AVL MEA 45

BUSINESS: SHOW REVIEW

ISE 2020

Amassed for the 15th and final time in Amsterdam’s RAI, ISE 2020 will be remembered for a multitude of reasons

Jamie Adkin from Adder Technologies with the new Infinity 3000

Allen & Heath was Rethinking the Matrix

ISE 2020 is officially opened

Mike Blackman’s opening address

Crestron’s Nic Millani presented the latest additions to the Flex Family

STAGED BETWEEN ATLANTIC STORMS CIARA AND DENNIS, the last ISE show at the RAI went ahead despite the spread of the Covid-19 virus. Even though it drew a reduced audience, the cast pulled off a world-class performance to set the stage perfectly for its forthcoming residency in Barcelona. Shaped by IT technicians and interior designers, the AV world continues to demand all-in-one solutions that appeal to both SIs and users alike with ease-of-use features. Likewise, the ISE floorplan with its six technology zones – audio and live events, digital signage, education, residential, smart building and unified collaboration – accurately mirrors the current industry. In addition to the 1,300 exhibitors all vying for attention, the extensive conference schedule and professional development programme ensured limited breaks between 09.30 and 18.00 each day. Taking place on the opening day on the ISE Main Stage, Sean Wargo and Peter Hansen presented AVIXA’s Industry Outlook and Trends Analysis. Interestingly, they identified that the APAC region has become the largest market in terms of pro AV revenues. The Americas dropped into second place, while MEA is poised for rapid growth until 2024. The overriding goal of most exhibitors at ISE is to promote a range of products and solutions that will fit into a room’s AV requirements, whether that be a huddle room or a stadium. Having devised the Hangouts Meet platform, perhaps for its own global employee network, the media giant Google has laid down the gauntlet that it can bypass what the traditional market is offering by creating its own solution in-house – a scalable design that was no doubt created with financial benefits initially for itself and will serve as an added source of revenue in the future. Adding to this growing vertical, Bose unveiled its Work solutions portfolio with the Videobar VB1 and 700 UC noise cancelling headphones. ‘Today, the workplace is everywhere – the office, home, coffee shop and car,’ explained Christian Liebenberg. ‘Regardless of the size of environment, our desktop and mobile conferencing products aim to help all

participants feel more engaged. The size of the room need not dictate the technologies that are employed.’ While participants can attend a remote meeting by bringing their own device, the IT manager is continually challenged in selecting the best platform on the market. Manufacturers have clearly done their homework, as an increasing number are now drawn to these huddle, meeting and conferencing rooms. In its continued attempt to own the room, Crestron premiered the DMPS Lite, XiO Cloud and Mercury X solutions. In a similar fashion, Barco and Kramer can sum their parts of a bespoke jigsaw with the adoption of ClickShare wireless conferencing or the K-Touch control platform, respectively. Having introduced Huddle Room Technologies to its rapidly expanding portfolio, Biamp can now offer connection to other room peripherals. With the TEOS 2.2 management solution, Sony can also centrally control the entire workspace with personalised signage, room booking and Connect technologies. While the evolution series and the SM58 may be bread and butter products for both Sennheiser and Shure, respectively, their penetration within less-amplified walls continues to grow. Sennheiser focused on its portfolio of business solutions with a live demo suite. This included a TeamConnect Ceiling 2 exhibit showing how automatic beam forming detects individual voices and overcomes hearing difficulties. In addition to MobileConnect assistive listening, the German brand revealed the expansion of its SpeechLine Digital Wireless series courtesy of a multichannel receiver. The standout products on the Shure booth included Microflex Complete Wireless (MXCW) and Microflex Advance microphones together with the IntelliMix P300 audio conferencing processor that comes equipped with an ANI audio network interface for Dante connection. Out of sight perhaps, the US brand heavily promoted IntelliMix Room, which is the first downloadable audio processing software for optimisation with conferencing microphones when deployed with in-room Windows 10 PCs.

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Bosch’s Marijke Staes with the Praesensa system

L–R: Ralph Heinz welcomed Thai visitors Sorawat Vilahon and Thitikorn Sopchokchai to the Renkus-Heinz booth

While promoting the ATDM-0604 Digital SmartMixer and ES954 hanging microphone array for creating 360° coverage through virtual hyper-cardioid or cardioid outputs, Audio-Technica upgraded its 3000 wireless microphone series with network control. Designed for educational and judicial scenarios, Audix promoted its range of Dante networkable mics, including the M63 shock-mount boundary and M65 swivel-mount socket models. The devil continues to be in the detail for DPA Microphones, which chose to promote the 4560 Core binaural headset and multi-coloured 6066 subminiature mics. beyerdynamic promoted versatility in the form of its wireless communication system, Unite, but the ‘Growing Together’ theme took the visitor’s eye with a large collection of plants in holders amassed across a wide area. Back in the huddle and meeting room, MXL highlighted its AC-360-D Dante networkable and AC-360-Z V2 USB conferencing mics, for which the latter can be used in Zoom rooms. Designed with the classroom and lecture theatre in mind, Sony unveiled the MAS-A100 IP-based ceiling beamforming microphone for hands-free presentations with no acoustic feedback within the Dante domain. As the host for the International Broadcasting Convention (IBC) each September, the RAI can confuse those exhibitors and visitors who attend both exhibitions. Whether they are promoting intercoms to a broadcaster or a venue, Clear-Com and Riedel are challenged to distinguish their product offerings at these shows. Just as at IBC, the Californians promoted the wireless FreeSpeak Edge platform for operation within the 5GHz band, while Riedel showcased Bolero but with a new standalone network mode for establishing IP-based Bolero networks without an Artist matrix. Despite subtle differences, the Blackmagic booth appeared to mirror its IBC footprint and included the ATEM Constellation 8K switcher. Aten gave star billing to the UP9020 multichannel

BUSINESS: SHOW REVIEW AV mixer in the Streamline HD series, newly launched at ISE, although this would not have been out of place within an IBC setting. Similarly, Datavideo unveiled a new switcher (SE-3200) and touchpanel (TPC-700). Adopting the same ST2110 VoIP and AES67 AoIP networks and technologies, an increasing number of broadcasting SIs continue to expand their services into the AV world. The dividing line between the two disciplines is clearly decreasing. IBC welcomed esports in spectacular fashion two years ago, but ISE is clearly making up for lost time. This has perhaps been precipitated by a growing demand for manufacturers to supply specification audio, video and lighting systems normally associated with major live events into these armchair sports arenas. ISE hosted the Agora 2020 conference, while Panasonic Business drew large crowds where professional gamers were assisted by edge-blended PT-RQ32K projectors whose brightness was doubled with a redesigned cooling system. While showcasing its flagship 50,000-lumen PT-RQ50K projector, Panasonic is aiming to increase its market share in the educational sector having developed the FRZ series, offering 4K, maintenance-free projection. Likewise, Epson displayed the 30,000-lumen EB-L30000U laser projector in addition to several other new models including the EB-U50 which addresses the needs of smaller displays. Having unveiled what was claimed to be the world’s first 8K resolution projector to feature laser illumination and DLP technology in 2018, Digital Projection returned to ISE with its satellite modular laser system (MLS). The XEED 4K6021Z projector outputting 6,000 lumens in 4K resolution was one of the starlets for Canon. A familiar name but Maxell is a relative newcomer to classroom, exhibition, museum and retail spaces. This year, the Japanese brand highlighted the MP-series lowmaintenance laser 3LCD projectors and the MA-XL1 Lecture Capture Collaboration station. With the launch of new 3LCD lasers including the VPL-FHZ131L model, Sony is the latest manufacturer to be enticed by the growing museum sector. The expanding use of IP networks has precipitated a rapid rollout of products at the endpoints such as increased digital signage and a multitude of 4K and LCD projectors buoyed by additional servers and cloud-based storage for hosting content. Projection displays seemed brighter and bigger than ever but the underlying technologies rather than the lenses rarely receive the credit they merit. To exemplify this to stunning

Shure hosted an IntelliMix Room discussion on the Main Stage

Biamp’s David Howden provided scale for the Community LVH-900 beamforming venue horn

A pole dancing robot on the Vogel’s booth drew lots of attention

effect, Brompton Technology displayed HDR content via its Hydra advanced measurement system onto a screen with a non-HD resolution, which viewers believed to be 4K. In addition to dazzling onlookers with its Mini LED technology integrated within its CLD series SMD displays, AOTO demonstrated the easy assembly and disassembly of the Pegasus wireless LED display. Created with rental companies in mind, the solution is powered by chargeable batteries ensuring that the last image it received before its signal was disconnected continues to be displayed.

In the better interests of its employees and the general public, LG cancelled ISE – in addition to Mobile World Congress (MWC) in Barcelona – just six days before the show. Having showcased its transparent OLED, open frame OLED and fine-pitch LED signage in 2019, its disappearing act created a sizeable void on Hall 12’s floorplan. This was hastily converted into an extended food court. While 50 Chinese exhibitors bowed to travel restrictions and remained at home, a majority 80% did make the trek to Amsterdam. One of these was Absen, which beckoned visitors with its latest Venus LEDs in addition to the established AC7 Pro, CR, HC and AX series incorporating Mini LED technology. ‘We created an online 3D panorama of our booth for those who could not visit ISE,’ commented Aileen Zhang. With the imminent debut of the HCS-8668 Paperless Multimedia Congress Terminal in addition to the upgraded HCS-8600, -5300 and -5100 systems, Taiden called on its European team to staff the booth. ‘Taiden fully supports the World Health Organization’s suggestion, so our ISE presence is maintained by drawing on our French colleagues and European distributors,’ commented Vica Huang. ‘It was a tough decision to make since Taiden has always seen ISE as the most important show in the year.’ Like Taiden, the Magewell and ROE Visual booths were staffed by non-Chinese personnel, for whom the latter displayed a large videowall comprising the latest Ruby and Vanish V8 LED panels. With IT convergence, the continued rise of artificial intelligence (AI) continues to make tasks for users, installers and facility managers simpler by automating repetitive tasks. While a robotic pole dancer attracted secondary glances on Vogel’s booth, AI is currently limited in AV to automated speech including the AviaVox solution developed with TOA for human-sounding announcements at airports in 40 languages. Having invented the field-programmable gate array, Xilinx highlighted several new technologies that are likely to become commonplace over this decade. For example, the Machine Learning Suite for real-time inference can determine the sex and approximate age of a visitor drawn towards digital signage. Major product launch fanfares are invariably associated with the unveiling of hardware. In comparison, software updates garner less interest, yet often surpass the expectations of users who receive the upgrades at no extra cost. With the launch of Aquilon and the LivePremier series at ISE 2019, Analog Way unveiled its most powerful 4K/8K multi-screen presentation systems and videowall processors to date. Providing its existing customers with ROI reassurance, the v2.0 software update for LivePremier offers a fully functional offline

Amandine Teyssier from Modulo Pi with a live demonstration of Modulo Kinetic paired with Kine Motion technology A demonstration of TOA’s WG-D100 digital tour guide system

Robe’s Dave Whitehouse exhibited the company’s new transferable engine

Analog Way presented the benefits of LivePremier SDR and HDR conversion and mixing

Aileen Zhang promoted Absen’s MiniLED series

L–R: Harman’s Erik Tarkiainen, Matt Wright and David Glaubke with the latest Martin ERA profiles

Barix CTO Johannes Rietschel presented IP Former, which turns any speaker into an IP speaker

AOTO’s Deric Zhou demonstrated the easy assembly of the Pegasus wireless LED display

March–April 2020 PRO AVL MEA 47

BUSINESS: SHOW REVIEW WebRCS and device simulator, full HDCP 2.2 support, output rotations and a major update of the processing engine. However, today’s developers are unlikely to turn new heads with software upgrades. The quest continues to successfully promote new software features to potential new users. Just as some exhibitors refuse to distinguish between the IBC and ISE platforms, many loudspeaker developers similarly ignore the contrasting visitor profiles of Prolight + Sound. Less relevant perhaps, but nightclub systems, line arrays and stage monitors were in evidence. The contrasting fortunes of these two exhibitions has led to an increasing number of visitors destined for Frankfurt diverting towards Amsterdam in recent years. Like most groundbreaking innovations, the IP Former may be a compact aluminium chassis that hardly bears close scrutiny. Swiss innovator Barix may not be a renowned loudspeaker developer but its innovation allows a passive loudspeaker to be transformed into an IP-addressable model enabling audio streaming over the internet. Never one to conform to the status quo, Genelec delivered its 4420 and 4430 Smart IP loudspeakers as promised last year. The Finnish innovator has combined IP, PoE and an internal power supply over a single Cat-5 cable to deliver higher SPLs than was previously possible via conventional PoE. Complete with supervision and calibration features, the Smart IP networking technology platform has been heralded as the future of installed audio. Increasingly at the mercy of the architects and interior designers, loudspeaker developers continue to aesthetically compromise until a day dawns when the laws of physics yield. Following last year’s launches of Work Pro’s SoundNut and Biamp’s mechanically steerable desono models, pendants remain in fashion. QSC added the AD-P.HALO sub/sat combination to its portfolio, CMX unveiled the PSK-30KEN and Martin Audio enriched its commercial Adorn family with the

ACP-55T. JBL’s Control 65P/T models were uniquely exhibited among other IP-rated cabinets within an enclosed ‘jungle effect’ wet room to better exemplify their weatherproof attributes. With just four audio demo rooms offered by the RAI, loudspeaker exhibitors have increasingly resorted to music playback on their booths, sometimes to the irritation of neighbours. As one of the original 2004 exhibitors, Meyer Sound was forced to premiere the sonic virtues of the Ultra-X20, Ultra-X40 and USW-11P subwoofer at an enlarged ballroom within the Hotel Okura – a chilly 20-minute walk or shuttle service away. Having announced a collaboration with fellow Parisians Modulo Pi, L-Acoustics displayed the Kara II module and LA2Xi four-channel amplifier on its booth. Visitors wishing to hear presentations on its A Series, SoundVision and L-ISA were rewarded for their seven-minute walk between halls. Columns continue to evolve as showcased by Ateis (MCS/ PMC), Fohhn (Linea LX), Kling & Freitag (VIDA), LD Systems (MAUI I1) and Renkus-Heinz (IC-Live X and DC12/2). Having finally relocated to their long-awaited, purpose-built HQ, Fohhn was happy to serve premium Italian DOCG wines to its guests. While the design of the Media Scale point source system and the MA digital amplifiers could be easily identified, visitors noted less visible innovations including ABX-6 Dante-over-fibre, the NA-4 Fohhn-Net Ethernet bridge and Fohhn Designer 3D simulation software. A large number of loudspeaker developers were exhibiting less than discreet designs that could attract the interest of stadium developers such as Biamp (Community LVH-900 beamforming venue horn), Outline Audio (Stadia) and RCF (TT+). Large venue operators and rental companies were spoilt for choice with a multitude of line arrays including Amate Audio’s XCellence X212AF, Coda Audio’s N-Ray, dBTechnologies Via, FBT’s Mitus, NEXO’s GEO M12 and Next-proaudio’s LA26.

Yamaha’s Mariko Yamashita on piano while visitors looked at the new DZR and CZR speakers

Kling & Freitag MD Jürgen Freitag welcomed his Indian distributor Rajesh G Sadarangani from Rivera International to the booth

Brompton Technology employed an outdated LED screen to highlight the

The TW Audio team showcased Ella both on the show floor and at a dedicated demo area

Jose Roberto Gomez Alam from Ecler happily introducing the new WiSpeak system

Can you see any latency as Audinate’s Kieran Walsh clicked his fingers in front of a Dante AV-enabled Bolin camera?

Panasonic’s Yuki Sakamoto with the PT-RQ32K projector

48 PRO AVL MEA March–April 2020

Datavideo’s Valentijn Diemel presented the TPC-700 touchpanel controller

Funktion-One’s Tony Andrews introduced the new compact L–R: Jeanette Heesen and Marina Prak from ROE Visual with a giant screen formed from Ruby LED panels F5 and SB8 enclosures

BUSINESS: SHOW REVIEW

HDR power of its Dynamic Calibration solution L–R: QSC’s Patrick Heyn and Nathan Makaryk presented the AD-P.HALO pendant speaker

L–R: Ramesh Iyer and Beau Bass from Xilinx

Kramer VP of marketing David Margolin highlighted the VIA2 wireless presentation platform

Genelec’s Aki Mäkivirta announced that the Smart IP family has a new member

In addition to showcasing the Zone X 1208 processor, CURV500 DSAT double satellite system and IPA amplifiers, LD Systems promoted its DQOR range to blend into a room’s aesthetics. Meanwhile, d&b audiotechnik showcased its installation-friendly KSLi speakers and KSLi-GSUB combination powered by the latest 40D amplifier. Having launched AED Audio, AED Group elected to make its first trade show appearance by lifting the veil from the Flex and Solid series of multipurpose cabinets. Like Meyer Sound, TW Audio promoted an offsite demo suite where listeners could appreciate the nuances of Ella – a 20cm x 20cm, 5.5kg cardioid dispersion line array system. Having opted to not exhibit at ISE for several years, Funktion-One returned with its smallest loudspeaker system to date – the F5 supplemented by the SB8 subwoofer. Enjoying the comforts of home for the final time, Dutch ribbon innovators Alcons Audio wooed visitors to its CRMS-SRHV immersive surround sound demos. Highlighting the IS-Series of loudspeakers and IS219 subwoofer, Adamson Systems Engineering announced itself as the newest member of the Open Control Architecture (OCA) alliance promoting AES70 control and connectivity management. The Canadian producer also partnered with CAST Software for a series of daily immersive audio demos

L–R: The Taiden team – Piotr Migatulski, Nicolas Mreches, Sarah Ghermaoui and Ilyes Ouertani

L–R: Maxell’s Elaine Casabuona and Keisuke Fujimura showcased the new J Series

L–R: Julian Bulhoff and Serkan Guner demonstrated how Riedel’s Bolero keeps audiences in suspense

showcasing the BlackTrax real-time tracking technology with its Milan-ready CS7p and CS118 loudspeakers. Enhancing the Milan cause, Neutrik developed the Milan audio modules, offering a cost-saving route in the development of future audio network solutions built on this protocol. As a committed developer within the Dante network, Yamaha debuted a number of new offerings including the SWR series of network switchers. Audinate hosted a series of various level training certification workshops to make users more confident using the Dante network. While Dante remains the leading audio network solution, its video credentials are enhanced with the Dante AV Module enabling independent routing of AV signals and interoperability with over 1,600 Dante-enabled products. Having launched software-based Dante for the Q-Sys ecosystem, QSC raised the bar in 2019. The licensing model enables Dante networked audio integration without the need for additional hardware I/O or external configuration software. Similarly, the cloud-based Q-Sys Reflect Enterprise Manager subscription service has come of age, providing real-time monitoring and management for the Q-Sys network. Just as the sum is greater than the parts, the solution sells infinitely more than the individual products. So, in a similar fashion, QSC’s Premium Business Music solutions portfolio combines products from its MP-M (paging and music mixers) and MP-A (multichannel amps and AD speakers) series. Amplifiers today rely on an integrated software platform. Celebrating its silver anniversary, Powersoft has pioneered software development since the outset and continues to do so with the advancement of the Armonía Pro Audio Suite. In terms of hardware, the canny Italians showcased the Duecanali, Mezzo, Mover, Ottocanali and Quattrocanali families. New to ISE, LEA Professional educated visitors on its Cloud Platform, which provides remote monitoring and control capabilities across the entire catalogue of IoT-enabled Connect Series amplifiers. Having made its own Quantum leap in Anaheim with the launch of the 338, DiGiCo revealed the A164D Wall LCD and A168D stageracks within the 4REA4 processing platform that adopt the Dante network. Bridging the gaps between the SQ and DLive series, Audiotonix stablemate Allen & Heath recently released the Avantis digital console. However, the UK producer

elected to focus on the virtues of the AHM-64 audio matrix processor and its comprehensive ecosystem of scalable I/O, control and Dante solutions. Lighting technology continues to increase its footprint on the ISE show floor. Showcasing its Esprite LED automated luminaire light source engine, Robe concluded a run of three consecutive appearances and Harry von Stemmen suggested that the run will be extended. In close attendance were Cameo (Zenit 300 Wash), Chauvet (Maverick MK3 Profile CX and Storm 1), Claypaky (Axcor), DTS (Euphony 3 ceiling fixtures), ETC (Augment 3D), Martin (ERA Profile and Performance), MA Lighting (grandMA3) and Madrix (Radar and FantaLED). Like audio, an exodus of lighting brands that once graced Prolight + Sound has seemingly been drawn by ISE’s lure. Buoyed by record pre-registrations, MD Mike Blackman remained confident prior to the ribbon-cutting ceremony that ISE would welcome a record attendance. The combination of a winter storm and a viral epidemic may have stunted the 2020 attendance figures, but this pincer movement hardly deflated an otherwise successful exhibition by drawing quality attendees from Ulan Bator to Uruguay. Growing pains have necessitated ISE’s move to Barcelona from next year. To have remained, inertia may have resulted. Whether the Catalan hub can deliver the same excellence as experienced in Amsterdam over the last one-and-a-half decades remains to be seen. For a dynamic industry that encourages disruption, the relocation to a sunnier, yet more peripheral, part of Europe within bigger fairgrounds is a gamble worth taking.

2020 Dates:

11 – 14 February, RAI Amsterdam

2021 Dates:

2 – 5 February, Gran Via Fira de Barcelona

Total exhibitors:

1,318 (2019: 1,300)

Total attendance:

52,128 (2019: 81,225)

Contact:

iseeurope.org

Video:

https://bit.ly/2SK4aig March–April 2020 PRO AVL MEA 49

BUSINESS: TECHNOLOGY

Image courtesy of Whitevoid

Putting audio first

Pro AVL ASIA discusses the field of audio scenography with the pair that first coined the term WHEN OUR SISTER TITLE PRO AVL MEA VISITED THE National Museum of Qatar (NMoQ) in 2019, we were struck by how the various exhibits were able to bring lifeless and often quite small and intricate historical items completely to life. One big element of this was the use of audio design to elevate the experience. Termed audio scenography, it’s a whole design philosophy that we were previously unaware of. Modern audiovisual technology has reached the point where definition, in both the audio and video domains, can create some really intricate and immersive creations. But it’s usually the visual element grabbing the most attention. Here, Polytope Agency co-founders Daniel Teige, an integral par t of the audio design at the NMoQ, and Micah Silver, take us through their vision to put audio back in the spotlight.

Why audio scenography? Over the past decade, the experience economy has taken hold of the public imagination. Industries, from museums and theme parks, to scientific research, philanthropy and orchestras, have searched for more and more engaging ways to present themselves and their content to the public. High-impact, intersensory design is becoming the new normal, particularly for cultural institutions looking to energise and engage. Within another decade, everything from retail to education will have adopted these immersive, narrative strategies. Audio was the first sensory technology capable of large-scale immersive experiences, and its recent history can teach us a lot about the future direction of immersive media culture. Audio is so ubiquitous today that most people use the words music and audio interchangeably. The visual world (VR, for example) has a long way to go before it can achieve what audio quietly already has. And yet, despite its success, we live in a visually dominated culture

50 PRO AVL MEA March–April 2020

and therefore the visual-centric design industry is privileged above the aural. Nobody would think to open a high-concept restaurant without hiring an interior designer, and yet rarely does one hire an acoustician, an audio designer, a music consultant or a sound designer. Museums are often the same. Until designers are trained in a balanced, intersensory framework, we will need specialists from multiple fields to guide the way. For complex projects, this balance of expertise is essential. Sound (acoustics), audio (system design and content), sound design and music (specially created content) are the elements of an engaging audio scenographic approach. Any intersensory design benefits from the consideration of what is heard; a powerful intersensory experience demands the creation of an auditory architecture, and for place, story and emotion to be transported into lived and breathed space. The industry and standards surrounding the creation of dynamic audio experiences is in its infancy. There is no existing, effective support structure or discipline to align listening with the creative desires of our time. We created the discipline of audio scenography to address this, and it is why we founded Polytope Agency.

A newly opened feature at the NMoQ – immersive radio plays for children at the boat playground Image courtesy of Damian Schultz

What is audio scenography? Audio scenography is a design system and interdisciplinary practice that will elevate the aural experience of your project to be equal to the visual. Until now, there has been no single discipline to address this in a comprehensive way. Before the invention of audio, acoustics was able to serve this function on its own, but this is no longer the case. The phrase is derived as a fusion of several fields. In contemporary theatre and performance, scenography is a more recently developed production role that accounts for the experiential impact of a handful of media and aesthetic concerns on the overall experience. In psychoacoustics,

Throughout the NMoQ, an intricate multichannel audio design helps bring exhibits to life auditory scene analysis is the most widely adopted model for how humans transform the never-ending stream of sound information received by the ear into a meaningful sense of things and place. In audio scenography, we take responsibility for the scenographic impact of what is heard rather than providing ad hoc services that were never imagined nor can address the experience in its totality.

BUSINESS: TECHNOLOGY Audio scenography is the expert interplay of technology, architecture, acoustics and a content-driven musical or audiobased environment. Speakers, audio, computers and acoustic design are the tools. Air is the medium and the human body is the instrument through which artistic, scientific or commercial content can be metabolised into a collective experience.

are making interesting things and helping to make them even more interesting! You will need to train yourself to listen also to technology, to understand what technology does that your imagination can’t, and vice versa. Technology, as an extension of the creative imagination and the natural world, can produce things that no one has ever experienced before. Invest yourself in things that sound weird, feel weird and are experimental in their very nature. Focus on the quality of the experimentation rather than the results for some time. When you’re doing client work, the results are extremely important but, to really be able to advise someone, and to really have expertise, requires years of experimentation and failure.

What does an audio scenographer do? The audio scenographer operates fluently between art and design, engineering and technology – capable of producing musical scores, creating audio, sound and music concepts, in addition to handling architectural drawings for acoustic impact, working within the iterative processes used in the construction industry, and providing coordinated advice to all partners to ensure the imagined listening experiences are made real as the project unfolds. An effective audio scenography is one in which all these different fields of expertise are understood as interdependent, audio, sound, and music concepts are communicated in actionable and accessible ways to all stakeholders and global creative intent is impactfully manifested for the listening audience. Audio scenography is a design system, not an aesthetic. There are many possible approaches, with a toolkit drawing from art history to physics. By leveraging this system, the right balance of acoustic, creative and audio investments can be made to more efficiently yield the desired result. This means that each project will be unique and takes its own path toward success.

An immersive soundscape guides visitors through the cave playground Image courtesy of Damian Schultz institution with the resources to support an interdisciplinary programme. What we see at present is that the current training models for acoustics, composition and sound design, intersensory design, and audio system or infrastructure design are all lacking the perspectives they need to do effective work looking towards the rest of this century. So, for the moment, it is by working across disciplines that one can gain experience and begin the process of becoming an audio scenographer. Our recommendation is to start learning to think and work like an artist, because without this you can’t succeed. Dream up projects larger than you think you can pull off, and then stop sleeping and pull them off! Working with audio, sound and music is learned through direct experience. There is no shortcut.

How could someone get started working in audio scenography?

What resources are available?

We invented the discipline of audio scenography in response to our own experiences in a number of overlapping fields. We would love to initiate a programme of study fusing necessary skills into an educational framework, but this would require an

The main resource you need to avail yourself of is your own creativity and how you listen to the world. You can train yourself only by going out and listening to interesting things, producing interesting things, talking with other people who

How important are new technologies? Both of us come from experimental areas of the field and have been working with immersive diffusion, generative and algorithmic – now people would call this AI – audio composition since the late 1990s. In that time, we’ve seen the interests that made us mad scientists back then become possible to apply in more and more contexts as the technology has improved. Speakers and amps are increasingly embedded with loads of useful computing power, speakers are more efficient and distinct, and spatial control systems are more advanced and particular. What we’ve noticed in the immersive space is an increasing push to try and define standards that can make universal claims of applicability for producing any type of sonic environment, anywhere. But in our experience, this isn’t even what’s most interesting. Our approach is about bespoke tailoring vs plug and play. Acoustics is a totally non-linear force and most of our work is in spaces where the architecture is made to be visually arresting, not acoustically neutral. We’re not interested in the neutral, we’re interested in the magical! Every technology is particular and has an aesthetic range. www.polytope.agency

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March–April 2020 PRO AVL MEA 51

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Quantum338

DiGiCo expands Quantum theory DiGiCo has unveiled the newest additions to its lineup of Quantum consoles: the Quantum5 and Quantum338 BASED ON seventh-generation FPGAs, the Quantum338 includes 128 input channels with 64 busses and a 24x24 matrix as well as full channel processing. The console also offers a new dark mode application that provides users with a new look and feel, while three 17-inch, 1,000-nit, multi-touch screens facilitate the display of both the meter bridge and soft quick-select buttons. In addition, 70 individual TFT channel displays and the floating Quantum chassis feature 38 100mm touch-sensitive faders, which are laid out in three blocks of 12 fader banks, plus a pair of user-assignable faders, each featuring metering in a high resolution. Ultimate Stadius 32-bit ADC and DAC conversion is built into the Quantum338 as standard, along with six single or three redundant MADI connections, dual DMI slots and a built-in UB MADI USB recording interface. The Mustard processing, Spice Rack, Nodal Processing and True Solo options, all launched for the Quantum7 in 2019, also come as standard on the Quantum338. Mustard processing is a set of channel processing strips that work alongside

standard Quantum channel processing. Each strip provides a choice of two preamp modellers, a four-band EQ (including all-pass filters), four boutique-style compressor models and a gate/ducker. The Quantum338 is equipped with 36 mono Mustard processing strips that can be used on any channel type. The Spice Rack, meanwhile, supports plug-in-style native FPGA processing options, allowing users to build a ‘rack’ of up to eight insertable processors. The first of these is Chilli 6 – a six-band, multi-band compressor that facilitates control of all parameters. ‘The entire system architecture is new and exciting,’ said general manger Austin Freshwater of the Quantum338. ‘But, just to recap on a few cool highlights, we have improved transparency of audio, provided more audio toys, bigger, brighter multi-touch PCAP screens, increased visual feedback and an all-new work surface architecture.’ The Quantum5, on the other hand, follows in the footsteps of the Quantum7. Also developed with seventh-generation FPGA devices, the Quantum5 engine slots into existing SD5 frames and, with 37 faders and

three 15-inch full-colour TFT touchscreens, provides users with Quantum processing features, power and connectivity in either new or existing hardware. The Quantum5 expands the SD5 console to more than 450 channels of processing at 96kHz. It includes up to 256 input channels and 128 busses with a 36x36 matrix. The engine is also equipped with four redundant or eight individual MADI ports and two DMI (DiGiCo Multi-Channel Interface) slots for AoIP and other connectivity options, plus a built-in Waves port and two Optocore loops. Other enhancements brought about by Quantum include Nodal Processing and True Solo for monitoring. These are combined with 48 channels of Mustard processing and 12 Spice Rack processing slots, including Chilli 6. ‘The Quantum5 makes complete sense as an upgrade path for both new and existing SD5 users,’ said Freshwater. ‘It allows them to take advantage of all the new Quantum features while maximising their ongoing return on investment.’

ADJ Vizi Wash Z37 AED Audio Flex6/Solid15/Solid28 AJA OG-12GDA-2x4 Amate Audio LMS608 AMS Neve RMX16 update Analog Way Aquilon RS alpha Astera AsteraApp V11/PixelBar AtlasIED WTSD-PWHUB/WTSD-MIX31K Atlona Velocity 2.0/AT-DISP-CTRL Audinate Dante Embedded Platform and Application Library Audio Precision PDM 16 Audio-Technica Network port for 3000 Series Wireless Avolites Synergy Brompton Technology Dynamic Calibration CEDAR Audio Trinity 4.1 Chauvet F2 and F5 IP Christie Extreme Series/SUHD983-P Claypaky Sharpy Plus Aqua Coda Audio Coda System Optimiser Countryman Associates Phantom Power Supply Crestron Flex MX Series/Mercury update d&b audiotechnik KSL-SUB/CPL for SL-Series DAS Audio Event-26A/Event-115A Datapath Image4K/Wall Designer v2.2.0 Defender Micro 2 DiGiCo Quantum338/Quantum5 disguise r17 dnp denmark ClearSign/Supernova XL DPA Microphones 4560 Core Earthworks Gravity Series/SR3314/SR5314 Ecler WiSpeak/HUB1616/HUB1408 Elation Fuze Pendant/Artise Mondrian ELC Lighting dmXLAN nodeGBx Electro-Voice Evolve 30M ETC Augment3d/Eos v3.0 Focusrite ISA 828 MkII/ISA ADN8/ISA ADN2 Guil TMD-570 High End Systems SolaFrame 1000/SolaPix HK Audio Polar 10 JBL Professional 104-BT/104-BTW/DSi 2.0 Series KLANG:technologies DMI-KLANG Klotz AIS CP64EE Kramer FC-18/Aspen-1616UX/Aspen-32UFX L-Acoustics Kara II/LA-RAK II AVB/L-ISA Controller v2.0 LD Systems MAUI 44 G2/ICOA series Lectrosonics DBu-LEMO LG Business Solutions TR3BF/86TN3F Listen Technologies Navilution Wi-Fi Mackie SRM V-Class Martin ERA Performance Series Martin Audio X218/XH15/S.Series NewTek TriCaster Mini Next-proaudio i series Peerless-AV KIPICT2555/HPF650/DvLED Powersoft ArmoníaPlus update QSC AD-P.HALO RCF ST 12-SMA II/ST 15-SMA II RME Babyface Pro FS/ADI-2 DAC FS Robe T1/iParFect Røde NTG5/VideoMic NTG Sennheiser HD 25 Light/Link Density Mode Solid State Logic SSL 2/SSL 2+/Live V4.10 Switchcraft Ultra VideoPatch Symetrix xIO Stage 4x4 TASCAM Model 12 Tasker C747/C744/C743 Telestream ScreenFlow 9/iQ ABR update Televic Conference Confidea Flex Vivitek DK10000Z/DU8195Z Void Acoustics ArcM 12/ArcM 15 Waves Audio FIT/MyMon/SoundGrid BR1 Yamaha YIMSA Zylia Zylia Studio v2.0

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www.digico.biz

The next top model TASCAM HAS unveiled its Model 12 integrated production suite, a multitrack recording mixer for audio and multimedia creators featuring an integrated 12-track multitrack recorder, USB audio interface, 10 input mixer, MIDI connectivity, click output and DAW controller. Applications include music production, multimedia production, remix/EDM creation, song writing and live performance where a solo artist plays along with tracks and/or beats. Ten inputs allow the connection of a range of audio sources, from microphones to instruments or rhythm/beat sources.

Channels 1–6 feature combo XLR/1⁄4-inch inputs using TASCAM’s Ultra-HDDA microphone preamplifiers with 48V phantom power. Stereo channels 7/8 and 9/10

feature combo XLR/1⁄4-inch left channel inputs with adjoining right channel 1⁄4-inch inputs. Channel 9/10 also allows portable device connection such as mobile phones and tablets with connection via an 1⁄8-inch TRRS mini-connector or Bluetooth 5.0 connection. The Model 12’s internal 12-track multitrack recorder records WAV files (up to 48kHz/24 bit) directly to SD, SDHC and SDXC cards (up to 512GB capacity). Basic external DAW control (Faders, Mute, Pan, Solo, Record arming, Play, Record, Stop, FF/Rew, Jog) is available using HUI/MCU protocol emulation. The internal recorder

allows simultaneous recording/playback of 12 tracks (10 tracks and stereo master) to and from SD cards. Outputs include stereo main (XLR) and sub (1⁄4-inch balanced) stereo outputs, AUX1 and AUX2 (1⁄4-inch balanced) outputs and two individual 1⁄4-inch stereo phones outputs. Integrated MIDI in/out functionality is offered including MIDI sync and MTC, as is a dual footswitch feature for external footswitch control of the on-board digital recorder. www.tascam.com

March–April 2020 PRO AVL MEA 53

PRODUCTS

On-the-wall mixing

WTSD-PWHUB NEW FROM AtlasIED is the WTSD-PWHUB audio/power and control interface. Designed for use with the WTSD wall plate mixers at the headend when additional headroom control and external device integration is needed, the WTSD-PWHUB includes an emergency audio mute function for fire alarm systems and a pair of NO/NC relays that can be configured to turn the headend amp rack on or off via an auto-sleep function. Background music can be temporarily muted by pushing a priority button for paging. The interface also requires a 24VDC power supply. The WTSD-MIX31K, meanwhile, is a wall-mounted 3x1 analogue mixer with a balanced microphone/line input, an auxiliary 3.5mm and Bluetooth-summed input and a balanced line output. The manufacturer has developed it, alongside the WTSD-MIX41K, which features four balanced microphone/line inputs and a balanced line output, as part of its Time Saving Devices (TSD) line. The WTSD-MIX31K is built with commercial-grade Bluetooth technology, which reportedly allows for ultra-low noise levels and long-range connectivity, while discarding auto-connect and offering a quick disconnect bump feature. A switch on the front panel facilitates the selection of mic or line level for the XLR input, while user-enabled phantom power for condenser microphones and a 125Hz low-cut filter to eliminate unwanted low-frequency interference is enabled via the high-gain

mic inputs. A mute button silences the output to the bus and a system priority button is used to mute BGM systems across an entire facility to isolate the room. An adjustable VOX feature allows for auxiliary background audio to be muted when announcements are made. Meanwhile, the WTSD-MIX41K features a dip switch on the rear panel for choosing between mic or line level. The high-gain mic inputs incorporate userenabled phantom power for condenser microphones and a 120Hz low-cut filter for eliminating unwanted low-frequency interference. A local switch is used for triggering a global mute function, while separate level controls are presented for each input to provide control over the audio mix. The WTDS-XLR4 is an optional two-gang, four-input XLR passive wall plate that can be used in conjunction with the WTSD-MIX41K. Finally, the TSD-DAC2i is a PoE twochannel analogue preamplifier that converts analogue audio signals to Dante digital audio. It is ideally suited to be used with the company’s WTSD wall mixer series. Once converted to Dante, the audio can be transmitted over IP networks and routed in the Dante Controller software. The TSD-DAC2i features two analogue balanced line inputs with a variable gain to operate from line to mic level. www.atlasied.com

Waves gets FIT FOR AUDIO engineers who prefer the tactile response of faders, knobs and buttons from console operations, Waves has designed its FIT Controller for the eMotion LV1 Live Mixer to function as a fully integrated 16 fader bank. FIT comes with 16+1 motorised 100mm faders, each featuring mute, solo and select buttons, a multifunction rotary control and a bright display for each channel. Fader banks are controlled using eight dedicated layer switches for toggling between the eight factory or custom layers in the Waves eMotion LV1 Live Mixer. The channel rotary controls can be set to adjust preamp gain or pan per channel with the corresponding function label shown in the display. In addition, the 16 select channel toggles can be set to User mode to provide easy access to Mute Groups and userassignable keys.

and AVB protocols. It reportedly provides improved synchronisation, audio processing at ultra-low latency and reliability for switched Ethernet networks. The manufacturer has also released a selection of plug-ins. V11 is the new version of Waves plug-ins that allows users to future-proof their sessions, ensure continued compatibility with the latest DAWs and operating systems and receive new plug-ins added to premium bundles. V11 is installed via a new version of Waves Central, an application that lets users install and manage Waves licences across different devices. Berzerk, Abbey Road Saturator and MDMX Distortion Modules are three distortion plug-ins. Bezerk has been designed for wild, unhinged and creative distortion; Abbey Road Saturator provides an excited saturation

FIT

Staying with the eMotion LV1 Live Mixer, Waves has also released MyMon, an iOS/ android app that gives musicians onstage direct control of their monitor mix. Users can self-manage input channel levels, mute, pan, link multiple channels to a single fader and customise sound with the built-in master bus EQ. In other news, SoundGrid BR1 is an AVB-to-SoundGrid bridge that adds realtime audio processing capabilities to AVB networks and currently supports PreSonus AVB networks. The BR1 is a rack-mountable unit that enables users to stream up to 64 audio channels between Waves SoundGrid

effect; and the MDMX Distortion Modules include three distortion plug-ins based on Screamer, Overdrive and Fuzz. OVox is a voice-controlled synthesiser and vocal effects processor that can be used as a plug-in or standalone app (with or without a DAW) to create vocoder, talkbox, harmoniser, pitch/tune and vocal arpeggiation effects. Finally, the SuperRack plug-in lets users run up to 128 audio channels through multiple instances of Waves plug-ins with near-zero latency and operates in a SoundGrid audioover-Ethernet network. www.waves.com

Out-of-the-box simplicity QSC HAS added to its AcousticDesign Series with the AD-P.HALO, an integrated SUB/SAT pendant loudspeaker system featuring an integrated 6.5-inch subwoofer and four 2.75-inch transducers in a single enclosure. At 200W RMS, the AD-P.HALO offers significant dynamic headroom that is said to surpass the background music performance of traditional two-way pendant-mount speakers. Users can integrate AD-P.HALO alongside any number of AcousticDesign loudspeakers (ceiling-mount, pendant-mount or surface-mount). The system is ‘ready to install right out of the box’, reducing installation time and labour costs. In addition, by using Q-Sys network amplifiers or QSC DSP-enabled amplifiers, integrators can take advantage of QSC’s Intrinsic Correction proprietary voicing algorithm for QSC loudspeakers, which

54 PRO AVL MEA March–April 2020

reportedly helps to further reduce the set up time and tuning process. ‘Our extensive conversations with integrators revealed common struggles associated with other pendant loudspeaker systems in this class,’ said Travis Nie, product manager, installed loudspeakers at QSC. ‘With the quality of the AcousticDesign Series, we knew we could deliver a rich sonic timbre needed for foreground atmospheres, an ability often lacking in traditional pendant loudspeakers. We also needed to eliminate the frustration spawned by excessive assembly times, which can take 30–40 minutes or more for each loudspeaker. The AD-P.HALO delivers on both promises with an all-in-one system that takes minutes to install.’ www.qsc.com

touring

powerful

sound

solution

MYRA

MID/HIGH LINE ARRAY AND SUBWOOFER

FLAGSHIP SOUND REINFORCEMENT SYSTEM

Combining precision sound quality with practical hardware, the MYRA system comprises the 214L mid/high line array and the 218S subwoofer. Both are the result of extensive consultation with the industryâ&#x20AC;&#x2122;s leading tour sound companies and three year R&D program. MYRA establishes a new reference for SPL to size ratio directivity control, coherence and ease of use.

www.fbt.it - info@fbt.it

214L BI-AMPED LINE ARRAY 1600W + 640W 147 dB SPL

218S REFLEX SUBWOOFER 3000W 143 dB SPL

PRODUCTS

d&b adds to SL-Series AVAILABLE IN both flown and ground-stack (G) versions, d&b audiotechnik’s KSL-SUB is the newest member of the SL-Series line array family. The small, lightweight sub extends the frequency response of a KSL system down to 36Hz and operates with two forward-facing, 15-inch drivers and a single, rear-facing, 15-inch driver driven with two-way active amplification. Measuring 100cm x 90cm x 45cm and weighing 82kg, the KSL-SUB delivers an output of 139dB driven by d&b D80 amplifiers. The KSL-GSUB has a streamlined form, minus the KLS-SUB standard rigging hardware. Using a new KSL-SUB adapter frame, the KSL-SUB can be deployed above KSL-Tops as part of a flown array. The hybrid KSL-SUB touring cart allows users to leave the KSL flying frame on top of the KSL-SUB adapter frame below the subwoofers during transportation. The German manufacturer has also released a pair of new software features for its existing products. First is CPL for SL-Series, which aims to simplify the adjustment of SL-Series line arrays for certain venues. The ‘CPL’ derives

from ‘coupling’. The CPL function shapes the array frequency response of a room and, according to personal preference and its frequency shelving functionality, will prevent access to the full frequency range potential of the system when needed. This means that the LF headroom below 100Hz is not fully available from the SL-Series cabinets when CPL is active. The new CPL software also enables SL-Series speakers to shape LF and low/mid responses independently, providing individual controls for low and mid-array response. The second new software feature is Temperature Humidity Control (THC) real-time, high-frequency compensation for use with loudspeaker arrays. This offers high-frequency compensation when temperature and humidity fluctuate as part of the d&b ArrayProcessing software. Fluctuations in temperature or humidity are addressed in real time via the R1 Remote Control software. It is compatible with any d&b arrays operating in ArrayProcessing mode. www.dbaudio.com

ST 12-SMA II

RCF gets active THE 12-INCH ST 12-SMA II and 15-inch ST 15-SMA II are 1,200W active ultra-compact speakers for rental companies and musicians. Designed as a professional sound reinforcement solution with up to 130dB (ST 12SMA II) and 131dB (ST 15-SMA II) SPL and low distortion, the speakers have been designed for high-powered music applications, DJ sets and vocal reinforcement, with or without subwoofers. They provide 90° x 60° coverage and incorporate FiRPHASE for a 0° phase response. The frequency response is 45Hz to 20kHz. The woofers are said to deliver a deep and accurate reproduction of the lower frequency range, while the 1.4-inch horn-loaded compression driver offers a ‘very open and natural’ midrange sound. The solid machined aluminium structure stabilises the amp during transportation

and assists in heat dissipation. The cabinet is built from high-strength birch plywood coated with black textured polyurethane. A power-coated metal grille protects the front, and an acoustically transparent sound foam backing on the inside of the grille reportedly ensures protection from dust and humidity. The Italian manufacturer has also released new firmware ver.230 for the M18 digital mixer. Pre/post setting of AUX5/6 fader sends are now recalled with SHOWs and metronome configurations are now saved into Snapshots. The two-hour rec limitation has been removed and now multiple files are generated after each two-hour limit to reportedly ensure gapless recording. The complete registration can be reconstructed on a DAW. www.rcf.it

KSL-SUB

Martin Audio hits a beat EXTENDING THE manufacturer’s BlacklineX series, Martin Audio has unveiled the X218 subwoofer and the XH15 passive two-way system, designed for the club and entertainment markets. The X218 is a dualdriver, high-performance subwoofer with an operating range of 42Hz to 200Hz (+3dB). It produces 141dB peak SPL (half space) with low distortion and can be used singly or stacked horizontally. It features dual 18-inch/ 4-inch voice coil, long-excursion drivers in a reflex enclosure with eight large ports to reduce air turbulence at high output levels. The X218 is fitted with a 35mm pole-mount socket for mounting BlacklineX full-range enclosures, while integral M10 inserts provide for eyebolt suspension of a single enclosure. The high-power Blackline XH15 has been designed to improve the performance of the existing Blackline X15 in a wide-bandwidth system. Extended frequency response is provided by a 15-inch LF driver and a 1.4-inch exit compression driver mounted on a rotatable 80˚ x 50˚ constant directivity HF horn. The LF driver features a waterresistant cone and a lightweight, high BL, neodymium motor system with inside/outside coil windings for improved heat transfer. An aluminium demodulating ring reportedly reduces distortion and improves midrange clarity at high levels.

56 PRO AVL MEA March–April 2020

The S.10 is a compact, two-way passive loudspeaker with a 10-inch/2.5-inch voice coil, LF driver and a 1-inch exit HF compression driver with a 1.4-inch polyimide

X218

XH15

Staying with the entertainment market, Martin Audio has also launched the S.Series passive two-way systems. The enclosures feature a user-rotatable horn for vertical or horizontal orientation and multiple M8 threaded inserts. The trapezoid enclosures are braced internally to reduce panel resonances and improve sonic performance and are finished in a textured black paint, with drivers protected by a perforated steel grille. Rear ports couple the low-frequency output to walls or the ceiling, while the LF drivers have demodulating rings to reportedly provide clear, distortion-free vocal reproduction, even at high SPLs.

S.Series diaphragm. The S.12 is a two-way system featuring a 12-inch/2.5-inch voice coil LF driver unit and a 1-inch exit compression driver with a 1.4-inch polyimide diaphragm on a rotatable 80° x 50° HF horn. Finally, the S.15 features a 15-inch/3-inch voice coil LF drive unit and a 1-inch exit HF compression driver with a 1.75-inch polyimide diaphragm for extended high-frequency response. www.martin-audio.com

AXIENT DIGITAL - with ADX Series Transmitters

TRANSFORMATIONAL TECHNOLOGY

Incorporating the most innovative wireless audio technology in the world, Axient Digital was engineered from t h e g r o u n d u p f o r p r o f e s s i o n a l p r o d u c t i o n s t h a t d e m a n d f l a w l e s s ex e c u t i o n . W i t h a n u n p r e c e d e n t e d l e v e l o f s i g n a l s t a b i l i t y a n d a u d i o c l a r i t y, p l u s f l ex i b l e h a r d w a r e o p t i o n s , a d v a n c e d c o n n e c t i v i t y, a n d c o m p r e h e n s i v e control, it’s a wireless system built to take on the challenges of today—and tomorrow.

Tel: +971 4 266 5244 | Fax: +971 4 262 6682 Email: info@nmkelectronics.com Website: www.nmkelectronics.com

NMKelectronics

nmkelectronics

VISIT US - HALL 4, BOOTH C4-10 | 31 MARCH — 2 APRIL 2020

nmkelectronics

PRODUCTS

Electro-Voice steps up THE EVOLVE 30M compact column loudspeaker system from Electro-Voice has been designed as a step up in allround per formance compared to other column speakers in the same size and price categories. It includes an eightchannel digital mixer, studio-quality on-board effects, and remote control of all audio, effects and mix functions from the next-generation Electro-Voice QuickSmar t Mobile application (available from the Apple Store and Google Play). The system comprises a speaker array, a two-piece pole connector, an array and pole backpack carr y case, and a powered subwoofer, making it an ideal choice for solo musicians/per formers and smaller musical groups and venues. The full-range column array comprises six lightweight 2.8-inch neodymium drivers to provide 120° coverage via proprietar y waveguides, while array-formed 40° asymmetrical ver tical coverage means that acoustic output is directed towards both sitting and standing audience members. The array enclosure is constructed from a durable composite material and incorporates an ergonomic aluminium handle. It is acoustically optimised using four tuning por ts hidden out of sight on the rear of the enclosure.

The 10-inch subwoofer is housed in a 15mm wood enclosure with a high-efficiency laminarflow vent design. The array and sub are connected via a two-piece symmetrical aluminium pole with internal wiring and magnetically assisted latching. A Class-D amplifier provides up to 1,000W of output power: 500W to the subwoofer and 500W to the column array. The speakers are protected by a black powder-coated, 16-gauge steel grille. A white version will be available in spring 2020. The Evolve 30M’s control panel features EV’s QuickSmart DSP, which allows navigation of system parameters via an LCD with single-knob control or via the app, as well as multiple options for signal routing and inputs. Functions include four presets (music, live, speech and club), three-band system EQ (low, mid and

Max volume for a new decade KICK-STARTING THE new decade for German manufacturer LD Systems is a second-generation model of its flagship MAUI 44 active column system. The MAUI 44 G2 combines a single 15-inch neodymium subwoofer with an attachable vertical array loaded with 12 3.5-inch MF woofers and four 1-inch HF drivers coupled to a BEM-optimised waveguide in a cardioid configuration. Incorporating DynX DSP technology, the 1,500W RMS system delivers distortionfree audio while outputting a maximum 130dB SPL. The use of aptX and AAC coding reportedly ensures high-definition full bandwidth audio over Bluetooth, while the integration of TrueWireless Stereo technology enables wireless stereo sound from two MAUI 44 G2s. The ICOA series is a newly designed active coaxial series of loudspeakers for use in full-range, satellite and monitor applications. The rotating, BEM-optimised CD horn together with the DynX DSP presets maximise flexibility for the current 12-inch and 15-inch models with four presets, three-band EQ and a delay function. Extended bass reproduction of the horn-loaded woofers to 50Hz negates the need MAUI 44 G2

58 PRO AVL MEA March–April 2020

high), seven-band graphic EQ (in mixer mode), five userprogrammable presets (store and recall settings), phantom power, visual monitoring of limiter status, input level control and meters, and a master volume control to optimise gain structure. The digital mixer has multiple inputs (four XLR/ TRS combo mic/line inputs, one XLR/TRS combo stereo line input, one RCA, one 3.5mm stereo and one high-Z instrument input) with professional-grade preamps and mix functions. Independent channel aux sends, high-Z and foot switch inputs are also included, along with a range of effects (30 presets, including chorus, delay, flange and reverb) via two FX channels. All of the above are said to help reduce setup time by minimising the need for external equipment such as a mixer and effects pedals. The mixer and on-board effects can be controlled via the QuickSmart mobile app or via the single-knob/LCD inter face. www.electrovoice.com

ArcM asylum VOID ACOUSTICS has added a pair of stage wedges to its Arcline series in the form of the ArcM 12 and ArcM 15. Providing foldback to performers onstage, the new monitors join the Arcline 8 line array module, 212 flyable low-frequency enclosure, as well as the 118 and 218 subwoofers in the Arcline family, which is growing to offer a complete touring PA setup. The ArcM 12 has been designed as a lightweight (weighing in at 19kg) and versatile monitor, complete

The 12-inch ArcM 12 is said to offer significantly reduced port noise and air distortion following FEA (finite element analysis) conducted by the manufacturer. Its frequency response is between 60Hz and 18kHz (±3dB), with a maximum continuous output of 130dB, reaching up to 133dB peak output. It is a passive speaker, which reportedly enables it to be easily integrated with a touring operator’s existing setup.

with multiple working angles that allow for use as a near-field monitor in, for example, a DJ booth, or as a conventional stage wedge. It’s built with a low-profile footprint to be more visually appealing for those in the audience, while the inclusion of pole- or wall-mounting options enables its use as a main PA system when required.

The ArcM 12’s bigger brother, the 15-inch ArcM 15, also offers simple integration, according to the manufacturer. It is heavier, at 22.5kg, and has a frequency response spanning 50Hz to 18kHz (±3dB), with a maximum continuous output of 130dB and a peak output of 134dB.

ICOA 15A for a dedicated subwoofer in many live applications. Class-D power amplificaton delivers 126dB maximum SPL and 300W RMS performance, while two line/mic input channels provide individual gain control and a mono mix output. The BT versions enable wireless Bluetooth streaming to play entire songs or backing parts from a smartphone or tablet. The speakers are equipped with four aluminium handles, a shock-resistant front grille and a 36mm dual-tilt stand attachment for 0–5° angling. A range of accessories for installation and transport are available. www.ld-systems.com

www.voidacoustics.com

PRODUCTS

Mackie extends SRM Series DESIGNED FOR a variety of professional sound reinforcement applications, Mackie has unveiled its SRM V-Class series which consists of three models: the SRM210 V-Class, SRM212 V-Class and SRM215 V-Class, with 10-, 12- and 15-inch low-frequency transducers, respectively. The transducers employ large magnets for maximum efficiency, while the over-engineered speaker motor and voice coil produces increased output and transient accuracy. Additional cooling vents surrounding the voice coil combine with directional cabinet por ting to repor tedly ensure maximum heat dispersion and reliability. The 1.4-inch polymer high-frequency driver

and accurate sound, while Intelligent Bass Management technology uses the processing power of V-Class to keep low end in check. The SRM210 V-Class can deliver up to 131dB SPL from 45Hz to 20kHz; the SRM212 V-Class offers up to 135dB SPL between 42Hz and 20kHz; and the SRM215 V-Class powers out up to 136dB SPL between 40Hz and 20kHz. On the back panel, SRM Mix Control features a built-in, four-channel digital mixer with two channels equipped with a mic/line/instrument combo input, a dedicated 1⁄8-inch stereo aux input and stereo Bluetooth input. A high-contrast,

full-colour display repor tedly enables easy single-knob access to mixer and processing parameters, including channel levels and EQ, application- and venuespecific voicing modes and an alignment delay. Users can save and recall up to 10 user presets and the entire system can be locked with a four-digit passcode. SRM V-Class loudspeakers can also be controlled wirelessly with Mackie’s SRM Connect app for iOS and Android, which offers access to all adjustments and settings. SRM212 V-Class

www.mackie.com

THE POINT

SOURCE

LOUDSPEAKER

PERFECTED

SRM212 V-Class rear provides a nearly flat response for smooth highs that are described as sounding natural and balanced. The Sym-X horn is said to produce minimal distor tion, even at high output, and offers a symmetrical, flat response at the crossover point. All SRM V-Class models incorporate Mackie’s new 2,000W Class-D amplifier with a universal power supply (100–240 VAC) that includes Power Factor Correction for stable operation, even when AC power is unstable. A dedicated processing module monitors and protects the amplifier in real time, providing system limiting and protection without affecting sound quality and tonal balance. Multiband compression targets specific frequency ranges to prevent system overloading, rather than turning ever ything down at the expense of overall output. The manufacturer’s Advanced Impulse DSP Proprietar y Acoustic Tuning is said to produce cr ystal-clear sound across the entire dispersion area of 60° x 40° (HxV). A precision crossover and transducer time alignment ensures balanced

3/4 PAGE

Building on NEXO’s acclaimed expertise in compact, high output, point source loudspeakers, the P+ Series delivers pristine, full-range sound at even greater Sound Pressure Levels, along with unparalleled versatility, thanks to an ingenious system for varying HF coverage patterns.

ACTIVE

VARIABLE COVERAGE

PASSIVE

Dispersion characteristics can be changed in seconds through the addition of optional magnetic flanges (P12) or horns (P8/P10) to optimise cabinets for a wide range of fixed installations and touring applications, including wedge monitor.

nexo-sa.com #43375 - Plus Series Advert - Pro Audio Asia - 181x220.indd 1

Thinking. Inside the box. 17/01/2020 10:16

March–April 2020 PRO AVL MEA 59

PRODUCTS

Kara comes back around

i for installation

NEXT-PROAUDIO HAS developed its new i series for installation settings, such as restaurants, bars, retail outlets and corporate environments. The series comprises the i4, i6 and i8 speakers. The i4 features a 4-inch LF transducer and 0.8-inch dome tweeter, while the

i6 has a 6-inch LF driver and 1-inch HF driver, and the i8 possesses an 8-inch LF transducer and 1-inch HF driver. They are each constructed with an IP65 weatherproof, plastic enclosure available in either black or white, making them suitable for outdoor use as well as indoors. A Phoenix connector with four positions can be found on the back plate of the i series speakers. A screw connector, meanwhile, provides a simple means of wiring the system, allowing for installation in more awkward spaces. The i4, i6 and i8 also come with a U-Bracket made from steel with a hot-dip galvanisation coating and a layer of zinc to help resist corrosion. Pan and tilt brackets are alternatively available for the i4 and i8 speakers. All three models in the series can be used at 100V or 16Ω. In high-impedance mode (100V), a multi-tap transformer is available with three different taps that can be used according to the amount of 100V power and impedance needed. www.next-proaudio.com

DAS heralds a new Event DAS AUDIO has created a self-powered, ultracompact line array fulfilling the requirements for entry-level users. The first model – the Event-26A – provides plug-and-play set up features including Fast Set Splay (FSS) and DAScontrol software configuration. The double 6.5-inch v-shaped configuration creates a uniform 100° horizontal coverage down to 76Hz (±10dB). The internal two-channel 400W (AES program) Class-D amplifier comes with 24-bit DSP including crossovers, presets, delays, limiters, FIR filters for constant phase response and high dynamic headroom. The 16.36kg polypropylene cabinet is IP43-rated by virtue of a specially

Event-115A

designed rain protection jacket covering the rear powerCon input and output connectors together with the DAScontrol LCD screen. Finished in a black texture paint, between four and 16 cabinets can be arrayed using dedicated rigging accessories or several cabinets can be pole-mounted for more portable events. Accompanying the Event-26A for lowfrequency extension down to 40Hz (±10dB), the Event-115A is a compact, self-powered, front-loaded, bass-reflex subwoofer. Incorporating a single 15-inch low-frequency transducer, the birch plywood model can be flown with the Event-26A using compatible rigging hardware. The specially designed 15FW4 transducer provides long excursion, while minimising distortion, and is powered by a 600W (continuous program) Class-D amplifier. Like the 26A, the subwoofer includes an LCD screen with the DAScontrol interface for simplifying preset selection. Event-26A

60 PRO AVL MEA March–April 2020

L-ACOUSTICS HAS built upon its flagship Kara line array, adding flexible directivity with the new Kara II modular line source. Kara II features Panflex, which gives it fourin-one directivity, and is built to fit with any sound design, offering consistent coverage and SPL distribution for precise focus in four different directivity patterns: 70–110° symmetrical and 90° asymmetrical, steering to either the left or right.

www.dasaudio.com

When used in its 70° configuration, Kara II reaches a peak of 2dB higher than when it’s used at 110°, reaching 142dB. Kara II is a two-way, active WST enclosure with a bandwidth (–10dB) between 55Hz and 20kHz when in its 70° configuration. The system weighs in at 26kg. Existing Kara owners are not to be left out in the dark, though. L-Acoustics notes that Kara sales continue to rise, so the French manufacturer is also releasing a kit to upgrade existing Kara modules with Panflex, effectively transforming them into Kara II units. ‘When we introduced Panflex to the industry, our clients told us this was the only thing missing from Kara,’ said Florent Bernard, executive director of application design. ‘We listened, and the new Kara II brings our medium-format line array into a new era of added directivity and improved polar stability.’ L-Acoustics has released another sequel in the form of the LA-RAK II AVB flyable touring rack, which offers 12 channels of amplification in a 9U frame. It includes three Milan-certified LA12X amplified controllers, two LS10 AVB switches and power and signal distribution panels that have been prewired to offer plug-and-play, reliable and redundant networked audio. ‘Launching a dedicated AVB rack is our way of making tours and mobile installations as fast and simple as possible for sound professionals, while further improving audio quality,’ explained Genio Kronauer, director of the electronics development. The pair of LS10 AVB switches, occupying a space of 1U within the rack, facilitate dual network redundancy and a full AVB ecosystem from a P1 processor at FOH to the Milan-certified amplified controllers. If a failure occurs on the primary audio network, the redundant AVB network will

automatically switch over with no audio loss. Up to eight channels in one AVB stream can be passed over a single cable. The LA-RAK II AVB is rugged, featuring a shock-absorbing inner frame, and protective and handling elements to withstand life on the road. It is compatible with any voltage standard as well as legacy LA-RAK II and LA-RAK standards. In brief, L-Acoustics has released a significant software update for its L-ISA Immersive Hyperreal Sound technology that will enable users to monitor the positioning of any tracked object in a 3D view. With L-ISA Controller version 2.0, source parameters – including pan, width, distance and elevation – can be mapped and scaled to all certified tracking systems. www.l-acoustics.com

LA-RAK II AVB

LOVE AT FIRST SIGHT? WAIT TO HEAR IT

NEW EVENT-115A Active front-loaded subwoofer Class D amplifier 1200W Wooden cabinet 1 x 15″ DAS 15FW4 loudspeaker NEW EVENT-26A Self-powered line array Sel Class D amplifier 800W 2 x 6.5" “v-shaped” configuration Uniform 100º H coverage FIR Filters Lightweight 36 lb

www.dasaudio.com

PRODUCTS

AED Audio launches with Flex AED GROUP has established AED Audio, set up to serve as a premium audio brand with a new product range. Its first products are the Flex6 multipurpose loudspeaker and the Solid15 and Solid28 subwoofers. The Flex6 loudspeaker is designed for a variety of applications thanks to its versatility in deployment. The 1,300W RMS-powered speaker can be mounted on a pole, stacked to create a column array, flown as a line array with up to 16 cabinets or placed horizontally in pairs on a pole in a sub-top combination, among other configurations.

module, it reportedly provides an output of up to 137dB SPL. Its frequency response is between 25Hz and 150Hz. www.aedaudio.com

Flex6 The Solid15, meanwhile, is a compact, front-loaded, 15-inch, 1,800W RMS subwoofer that can be used as a standalone unit, flown or stacked, and is therefore designed to meet the needs of various application types.

Solid15 Finally, the Solid28 is a dual 18-inch bandpass powered sub, which can be combined with the Solid15 and Flex6 to form a system for use in large-scale applications. With a 3,000W RMS amplifier

JBL finds the One

Polar PA

JBL HAS added the 104-BT (black) and 104-BTW (white) desktop reference monitors to its Professional One Series to allow content creators and audio professionals to stream studio-quality audio via Bluetooth or play back audio using a standard wired connection. They reportedly deliver clear, detailed sound while mixing and editing and include an array of accessible input options, smart features and a compact design. They are said to provide sound for every listening scenario, with the added flexibility of wireless streaming.

POLAR 10 is a new columnar PA system from HK Audio, designed for reinforcing a variety of performers and applications, including musicians and DJs, presentations and speeches. Comprising a subwoofer and two columnar elements, the system features a four-channel mixer with five programmable user presets, Bluetooth 5.0 audio streaming capabilities and what the manufacturer describes as an ‘assertive bass response’. The midrange/HF column is split into two sections to allow added portability. The upper section features six 3-inch midrange drivers and a 1-inch constant directivity horn designed for low distortion. Tuned with a 120° throw pattern and engineered to impede feedback, it is reportedly capable of delivering frequencies from low/ mid up to 20kHz. In addition to serving as a PA system, it can also be used as a stage monitor, replacing wedges if placed behind the performer. Polar 10 can also be placed on a raised stage and aimed at the correct height by removing the column’s lower spacer section out of the stack. Meanwhile, the subwoofer’s birch plywood cabinet houses a 10-inch woofer built with ‘an extra-long’ voice coil, as well as a 2,000W power amplifier to drive it. The system comes bundled with a padded gig bag for storing the columnar elements and a padded cover that protects the subwoofer while on the road.

104-BT

The monitors have been designed for production work spaces, thanks to features such as a front-panel input control that selects Bluetooth, aux, RCA, TRS and the additional option to combine all inputs. Front-panel volume control allows level adjustments without straying from the sweet spot, while a front-panel headphone jack can mute the speakers when switching to headphones. Dual 1⁄4-inch balanced, dual RCA and single 1⁄8-inch inputs, along with Bluetooth, can reportedly accommodate a wide range of signal sources. JBL has also announced the launch of its first-ever branded cinema amplifiers. The DSi 2.0 Series builds on the manufacturer’s Crown DSi Series amps to combine the DSP of Crown’s CDi DriveCore Series with a higher-power design. The DSi 2.0 Series includes three power configurations – 350W, 700W and 1,200W – available in analogue and analogue-plus-digital versions with Dante/AES67 and SNMP connectivity. The amps provide four channels of amplification with bridgeable outputs in a 2U footprint, and are PowerMatched for JBL Cinema loudspeakers to reportedly deliver greater power density in the same rack space.

Solid28

Power tower SPANISH LIFTING tower manufacturer Guil’s latest offering is the TMD-570 line array tower, built to carry loads up to 800kg at a height of up to 8m. It is similar in design to the smaller TMD-545 line array tower, which carries 500kg up to 6m high, only built to a larger scale for use at bigger events. In addition, the TMD-570 can be used with a motor or manual hoist for lifting arrays.

www.hkaudio.com

DSi 2.0 Series The monitors feature a coaxial driver that pairs a contoured low-frequency woofer with a soft-dome tweeter. The cabinet’s low-frequency port works with the driver to provide low-frequency performance down to 60Hz. A 60W Class-D power amplifier distributes 30W per speaker for ‘clear and undistorted output’. Alongside audio playback from mobile devices, Bluetooth 5.0 streaming allows audio professionals to reference mixes over Bluetooth using a professional monitor, rather than a consumer portable device.

DSi 2.0 Series amps can power up to four JBL surround speakers with a single channel in high-power-density 2Ω mode and include parametric EQ, FIR processing and LevelMAX limiting. Dual network audio ports allow for primary and secondary networks configured as switched (daisy-chain) or redundant (star) topologies. In brief, the manufacturer has unveiled the Pasíon and KP G2 Series karaoke loudspeakers for the China and APAC markets.

Constructed with reinforced stacking truss developed by Guil, the TMD-570 features a specially engineered base that reportedly allows the entire structure to be stowed away in one piece. Folding stabiliser legs, a detachable head piece and stabiliser braces allow for compact storage options, as the unit can measure as little as 94cm x 187cm x 21cm when stowed. The manufacturer has also designed the system for quick and easy installation.

www.jblpro.com www.guil-liftingtowers.com

62 PRO AVL MEA March–April 2020

#OwnTheRoom

www.DiGiCo.biz Unit 10 Silverglade Business Park, Leatherhead Road, Chessington, Surrey KT9 2QL. Tel: +44 (0) 1372 845600

PRODUCTS NEWS: SPECIAL REPORT

ETC lights up Media City

Focusrite updates a classic FOCUSRITE HAS extended its classic ISA range with the eight-channel ISA 828 MkII which features the same transformer-based input stage, complete with the Lundahl LL1538 transformer, as its predecessor. With the optional ISA ADN8 A/D card, however, the preamp is now compatible with FROM audio-over-IP HUMBLE BEGINNINGS Dante networks. BACK IN 1975, a thensupply 18-year-old Fred updated Foster began The power has been a journey into entertainment technology that to allow for more efficient power would create an indelible legacyincontinuing consumption and a reduction heat to live on long after Fred’s time had passed. generation. The front panel remains That culmination continued determination unchanged, with of six-step metering on each and hard work ethic was realised with the opening of ETC’s new purpose-built studio. Sitting slap-bang in the middle of Dubai Media City, ETC Dubai – The Studio offers an unassuming entrance that gives way to all manner of bespoke product demonstration zones, training facilities, meeting spaces and 828 smart design quirks. It’s a not so ISA MkII subtle nod to the company’s expertise and standing in the industry, but also offers probably the largest single collection of ETC and High End Systems (HES) products outside of the company’s home US market. Upon arriving at the to the AMATE AUDIO hasreception added toarea its LMS studio, I was given two clear options: left 1U 19-inch rackmount loudspeaker would take me to the inner series reception management processor thatarea and meeting space, while the path to my employs 64-bit architecture for roundright would take me to a high-ceilinged space the-clock operation. Following on from dubbed the Black Box – so called due to the launch of the LMS206 in mid-2019, the floors, and ceiling so theblacked-out LMS608 has fourwalls analogue inputs, asa to optimise the lighting that would beand two-channel AES/EBU digital input cast onto it. On the left-hand of the eight analogue outputs, allside on balanced room, architectural systems XLRs.two The processor control provides 24-bit from ETC convertors are on display a Paradigm and AD/DA for –improved audio Echo – while over the right of the per formance onon inputs andside outputs. room, HESare Road Hog 4 console was Thean units fully configurable, withbeing expertly demonstrated in to conjunction with each input assignable any output and HES TurboRay, SolaWash SolaFrame each output having two1000, crossovers with 1000 Ultra Bright andand SolaFrame 1000 High selectable filtering independent CRI fixtures. In the middle of the room on a compressor/limiter settings. low-level truss was an array of ETC’s prized

channel, and front-panel instrument inputs for channels 1–4. The ISA ADN8 is an optional A/D card for the ISA 828 MkII and ISA 428 MkII. It provides ADAT Optical, AES3 and Dante connectivity at rates up to 24 bit/192kHz. The card offers primary and secondary RJ45 Dante output ports, an AES59-configured DB25 connector for AES3 output and a pair of TOSLINK connectors for ADAT output. The ISA ADN2, meanwhile, is an optional two-channel 24-bit/192kHz A/D card that provides analogue-to-digital conversion

When seeing is believing, getting solutions directly in front of customers is essential. ETC’s new Media City location looks to make that a reality, as Stuart Todd takes a tour The ISA ADN cards for the ISA One mic preamp and DI. For outputs, the card offers primary and secondary RJ45 Dante ports, an XLR connector for AES3, a TOSLINK connector for ADAT and an RCA connector for S/PDIF. Focusrite has also par tnered with Austrian software developer, sonible, to develop Balancer, a processor driven by ar tificial intelligence that is designed to enhance any source signal. Balancer is available as a free download for members of the Focusrite Plug-in Collective. The software-based processor analyses an

input signal, applying adaptive smar t filters to optimise the sound’s spectral qualities based on the sonic profile selected. Sonic profiles include Vocal, Guitar and Drums, among others. The amount of effect used is adjusted with the intensity slider, while the Flavour setting switches the overall character of the audio, choosing between Neutral, Warm and Bright. www.focusrite.com www.sonible.com

Amate works round the clock

lighting solutionsand being The LMS608 its controlled LMS206 via an Ion XE20. These included ETC Source predecessor are comparable withFour LED Series 2 Profile, ColorSource Spot and Relevé Amate’s Nítid active loudspeaker series Spot heads. and moving have been designed for small-, At the farand endlarge-scale of the Blackpassive Box, there was mediumsound areinforcement great deal of attention paid to a systems being for both touring Gio@5 controller which was controlling the

Desire D60 house lights together with three and fixed installation applications. HES SolaFrame 750sinclude by way10 of ETC’s new Control parameters parametric Augment3d software. This was especially equalisers with 1Hz frequency resolution interesting the 3D software – employingasdB/2 bellmodelling parametric filtering. was able to delay interact withformost lighting Selectable lines eachother I/O are up manufacturers’ hardware and would in turn to 2s (680m) with switchable polarity. offer an increased amount of control over an

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64 PRO PRO AVL AVL MEA MEA Januar March–April 2020y 2020 26 y–Februar

The LMS608 comes with 80 passwordprotectable, user-programmable memory presets offering variable levels of protection, while 20 additional pre-installed factory presets reportedly enable the near instantaneous system configuration capabilities of the Nítid active loudspeaker series with passive sound reinforcement. The processor also extends these capabilities with presets to a wider range of Nítid models and a number of Xcellence assembled lighting installation. As the name systems. USB and Ethernet connectivity suggests,enhanced the program drawscontrol on augmented provides external with reality in software order to accurately reproduce DSPLink for Windows and MacOS the stage or space are working (downloadable fromthat the you website). within. It’s intended to be flawlessly used in conjunction with an Eos console but other www.amateaudio.com options are available and more are in the

PRODUCTS

D Squared adds bodypack transmitter THE DBU-LEMO bodypack transmitter is the latest addition to the D Squared product series from Lectrosonics. It is fully compatible with the DSQD digital receiver and offers a tuning range between 470MHz and 608MHz – going up to 614MHz for the export version. Designed with circuitry to extend its operating time from a pair of AA batteries, the DBu-LEMO provides RF power selections at 10mW, 25mW and 50mW, allowing for use in a variety of licensed and unlicensed applications. With an audio frequency response of 20Hz to 20kHz (+0.0/–3dB), a dynamic range of 110dB before limiting and a flat in-band phase response, the beltpack transmitter is also built with a digital architecture to facilitate encryption in high-level security applications. Lectrosonics states that studioquality audio is achieved thanks to the components used in the preamp, a wide range input gain adjustment and analogue limiting controlled via DSP. The input gain is adjustable in 1dB increments over a range of 52dB, allowing users to match the input signal level, while maximising the audio dynamic range and signal-to-noise ratio. A two-way IR port facilitates a fast

Endian’s LectroRM, meaning users can change settings, including frequency, audio level, RF power level and sleep/ unsleep, from their smar t devices. The aluminium housing is the same size and shape as the previous generation DBa and DBu units, so users can match their accessories with the DBu-LEMO. The 00 Lemo three-pin connector and input wiring is also identical to that on the SSM micro transmitter, enabling the use of existing lavalier microphone cables and audio adapters.

set up and allows for data sharing between units, including encryption key transfer. A switch on top of the unit can be configured as power on/off, mute or talkback. It can also be bypassed altogether. A micro USB jack, meanwhile, can be used to update the unit’s firmware when out in the field using Wireless Designer software on a Mac or PC. The DBu-LEMO can also respond to remote ‘dweedle tone’ commands from thirdpar ty apps such as New

www.lectrosonics.com

Portable phantom

Upgrade your boardroom to executive mode

COUNTRYMAN ASSOCIATES has introduced the portable Phantom Power Supply with flexible power options and selectable voltage settings. Transmitting DC electric power through microphone cables, the Countryman Phantom Power Supply is designed to produce an ultra-low noise to keep audio signals clean.

The Phantom Power Supply can run on either a single 9V battery, two 9V batteries (granting it a longer life) or a 9V wall adapter. In addition, voltage output options of 12V, 24V and 48V can be selected, further extending the battery life of the device for microphones that don’t require 48V power. The unit’s die-cast aluminium body and low-profile switches have been designed to ensure ruggedness for enduring life on the road.

3/4 PAGE TS-820/920 SERIES

Infrared Wireless Conference System

Professional, Practical, Pyramid-inspired. It’s time to redesign your boardroom with an executive conference system. TOA’s new conference system creates a formal and impressive atmosphere by its dignified solid shape. We supply sound, not equipment. www.toa.eu

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March–April 2020 PRO AVL MEA 65

PRODUCTS

Earthworks debuts instrument-mounted mics EARTHWORKS AUDIO has debuted a new series of instrument-mounted microphones for stage, audio and broadcast, and will release a variety of capsules and instrument clips over the next 18 months. According to the manufacturer, the most prominent feature of the Gravity Series is low selfnoise. No additional gain is necessary because of the placement right on the source, reportedly making the microphones sound even quieter than they are. The first mic in the series will be the omnidirectional G339 and features the largest diaphragm of any Earthworks omni, while the first interchangeable instrument mount has been

designed for saxophones and brass instruments. The manufacturer has also stepped into the sound reinforcement market with the release of the SR3314 and SR5314 wireless vocal microphone capsules. The sound is achieved by coupling the studio-quality, small-diaphragm cardioid condenser capsule with a Class-A amplifier circuit that leverages Earthworks patented and proprietary technologies. The capsules feature a tight cardioid polar pattern, a consistent low-frequency response across a wide range of distances and an

DPA MICROPHONES is targeting content creators looking to implement immersive audio in their projects with the release of the 4560 Core binaural headset mic. It has been designed to capture what each ear hears so that later, when content is played back through headphones, the listener can experience immersive sound as it would have been live and in person. The manufacturer states that the 4560’s capabilities are suited to applications such as sound system documentation, soundscape analysis and sound quality assessment, as well as sound for theatre productions and video games.

A pair of DPA’s 4060 Core miniature microphones sit at the ‘core’ of the 4560 headset. They are mounted on two ear hooks located just outside the user’s ear canal, much like a pair of earbuds. They capture the sound being heard by the person wearing the 4560 during a recording, replicating it 1:1. The ear hooks are attached to a flexible headset

The SR3314 and SR5314 attenuation of sound sources located beyond 90° – with maximum rejection at 180°. The SR3314 is designed to work with any handheld wireless transmitter that uses a standard three-ring concentric connector.

www.earthworksaudio.com

Headset immersion

Røde adds NTGs RØDE MICROPHONES has expanded its NTG series of mics aimed at broadcast and production with the NTG5 and VideoMic NTG. The NTG5 is a shor t (measuring 203mm) shotgun mic, built to be ultra-lightweight at 76g and for use in demanding recording applications with a bundled WS10 windshield, PG2-R pistol grip and other accessories.

It features what is described as a unique acoustic design with circular por ts that replace the linear slots often found on shotgun mics. This, Røde states, of fers better transparency and a more natural and uncoloured sound. The manufacturer also promises a tightly controlled frequency response and a smooth of f-axis response, as well as low self-noise at 10dBA, with a directional supercardioid polar pattern. The VideoMic NTG bridges the NTG and VideoMic ranges. Riding the

66 PRO AVL MEA March–April 2020

coattails of the NTG5, the VideoMic NTG is ‘a hybrid microphone that brings the signature broadcast-quality sound of our NTG shotgun range to a compact, feature-packed VideoMic,’ according to Røde founder and chairman, Peter Freedman. www.rode.com

NTG5

This includes wireless microphone models made by Shure, Lectrosonics, Sony, Line 6 and Audio-Technica. The SR5314 is designed to work with Sennheiser’s Digital 9000 Series, Digital 6000 Series, 2000 Series, Evolution G4 500 Series, Evolution G4 300 Series and Evolution G4 100 Series.

that can be adjusted to best fit the user’s head. Foam screens are bundled with the

microphones for damping wind noise when needed. DPA product manager René Mørch notes that the 4560 Core binaural headset mic can also be used

in applications requiring discretion, as the microphone is so small that it may give the impression the user is only wearing a pair of headphones. ‘This can be very useful for people recording in hostile environments where it is not safe or appropriate to show a microphone,’ he said. ‘But even for normal podcasts, binaural recording provides content that is much more immersive, alive and compelling compared to traditional recording techniques.’ In brief, the 6066 Core Subminiature headset microphone is now available in three colours: beige, black and brown. www.dpamicrophones.com

Sennheiser finds the light THE SENNHEISER HD 25 headphone has been on the market for more than 30 years. With a simpler headband design, the manufacturer has launched the HD 25 Light with the same sound signature as the original product. Capable of handling high sound pressure levels, the closed, supraaural HD 25 Light features a dual-sided, 1.5m-long, detachable cable and a screw-on jack adapter (3.5mm to 6.3mm). The new model has a frequency response of 16Hz to 22kHz and a maximum sound pressure level of 120dB. Impedance is 70Ω and the headphone weighs approximately 120g. In the face of the ever-shrinking UHF spectrum, Sennheiser has also launched a Link Density (LD) Mode for its Digital 6000 wireless microphone series. The LD Mode is said to significantly increase the number of links that can be operated in congested RF environments. While the standard Long Range Mode of Digital 6000 operates with a 400kHz channel spacing to ensure best audio and RF performance, the LD Mode uses half of the spacing, namely 200kHz. Behind the LD Mode is the new Sennheiser Performance Audio Codec (SePAC) which has been designed to strike a new balance between channel count on the one hand and RF and audio performance on the other.

‘The LD Mode provides productions with a choice where there simply was none before,’ said Tom Vollmers, manager for the professional portfolio at Sennheiser. ‘They are now able to increase the number of channels by accepting slight trade-offs in the audio frequency response and RF range. This can be a good solution for applications that only have a very limited spectrum.’ www.sennheiser.com

HD 25 Light

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PRODUCTS

Televic finds its confidence TELEVIC CONFERENCE has launched the Confidea Flex, a wired conference device with a built-in touchscreen that uses software licences to add or remove functionality to a device, which makes it reportedly easier for integrators to configure a meeting room. It is installed with a full-colour touchscreen so that delegates can see more information and have meeting controls at their fingertips. Confidea Flex has a 5.2-inch touchscreen with an anti-fingerprint coating to give attendees a better view of the meeting. Information such as who is speaking, the position in the request lists over voting options and agenda items can be accessed at any time. Chairpersons get additional controls and tactile guides for visually impaired users can make the device more user-friendly. Confidea

Flex also uses haptic feedback where the screen recreates the physical touch experience with gentle vibrations to give users more confidence when voting. The device uses software licences to reportedly simplify installation in large conference settings.

WORKPLACE TECHNOLOGY manufacturer Crestron has unveiled its Flex MX Series to reportedly simplify connection to the room display with just a single cable. Flex MX runs native Microsoft Teams software and provides a BYOD option on the same device to decrease total cost of ownership. As with other Crestron Flex solutions, Flex MX offers IoTbased provisioning via the Crestron XiO Cloud service with remote desktop capability. Crestron has also announced the release of a user interface update for its table-top meeting and collaboration solution, Crestron Mercury. The new interface features a cleaner, modern design that ‘makes it easier for users to access what they need, with more information

on the home page and call screens, including room schedule, status and availability’. The redesigned UI will ship with all new Crestron Mercury units and is available for existing units via a free firmware upgrade. The update has been added to the auto-update for Crestron Mercury and has become the default on all systems. Information on how to install the new UI experience on existing Crestron Mercury units is available via a Crestron Online Help article so technology managers can evaluate it prior to the auto-update. Crestron Mercury includes the latest AirMedia 2.0 wireless presentation UI, which provides automatic detection of the web browser and app installation for one-click wired or wireless connectivity and presentation, as well as support for Miracast connectivity to boost collaboration in any meeting space. The update also includes plugand-play support of Crestron AirBoard for capture, display and sharing of whiteboard content and support for Crestron Certified Drivers to enable control of any display.

Flex MX

www.crestron.com

SYMETRIX IS saying ‘goodbye to traditional analogue microphone lines that are prone to noise induction and general signal degradation’ as it introduces the xIO Stage 4x4 Dante stagebox, which, the manufacturer claims, provides a ‘superior’ digital option when integrating an audio system into ‘demanding stage environments’. The Symetrix xIO Stage 4x4 is an audioover-IP solution built for durability and to install within any NEMA 8x8x4 electrical

enclosure. It of fers four analogue mic/ line inputs and four line-level outputs for conver ting signals to and from Dante for transfer over standard Cat-5 and -6 cables from a stage or any other location to the manufacturer’s Radius NX, Prism or Edge DSP systems. In addition, the xIO Stage 4x4 features 24-bit, 48kHz A/D/A conver ters, as well as Neutrik XLR connectors. It has been built with cable management tie-points and is said to allow for

www.televic-conference.com

Crestron flexes its muscles

Babyface returns FOUR YEARS since RME Audio first released the Babyface Pro audio interface into the world, the German manufacturer has introduced the Babyface Pro FS, a 24-channel, 192kHz, bus-powered USB audio interface that offers several improvements over the original. The new Babyface Pro FS adds a +19/+4dBu switch on the bottom of the device, providing a way for users to reduce the output level directly, therefore improving the signal-to-noise ratio (SNR) for sensitive active monitor and avoiding distortion and overload. This helps in keeping TotalMix FX faders at almost 0dB. A full SteadyClock FS circuit, as used in the ADI-2 Pro FS, is employed to ensure system immunity to lowest and highest jitter. Meanwhile, the 3.5mm TRS (tip, ring and sleeve) phones output sees power rise from 70mW to 90mW and the THD (total harmonic distortion) of both

Babyface Pro FS In other news, RME has updated the ADI-2 DAC ultra-fidelity PCM/DSD 768kHz DA converter. There is said to be an additional 2.5dB of headroom for the XLR, RCA and IEM analogue outputs, raising the undistorted intersample peak limit to +4dBFS.

ADI-2 DAC FS phones outputs has been improved by up to 10dB. This uses the same output op-amps as RME’s ADI-2 Pro and has an output impedance of 3.5mm TRS lowered from 2Ω to 0.1Ω. The SNR of the mic inputs has also been improved from 112.2dB to 113.7dB, the TRS line inputs SNR from 114dB to 116.3dB (120dBA) and the THD line inputs by 8dB. Latency is reportedly lowered by six samples on the AD side by the new ADC (analogue-to-digital converter), which offers five samples of AD and seven DA samples. RME also stated that all improvements were achieved without raising the power consumption of the unit and that a K-slot (Kensington Lock) is included for theft protection.

The ADI-2 DAC FS also comes with an extended infrared remote control, the MRC (multi-remote-control), which can control up to four different future RME devices. The MRC currently works only with the ADI-2 DAC, with more products in development. In brief, RME has announced that its interfaces are now compatible with the latest macOS Catalina 10.15.x, which can be updated immediately if the apps are 64 bit and have ‘notarised’ drivers. Catalina is compatible with several RME devices including the Babyface Pro, Digiface AVB, Digiface Dante, Digiface USB, Fireface 802, Fireface UC, Fireface UCX, Fireface UFX II, Fireface UFX+, MADIface Pro, MADIface USB and MADIface XT. www.rme-audio.de

Farewell to tradition

68 PRO AVL MEA March–April 2020

the simple reconfiguration of input sources. Power is delivered via a PoE injector or PoE network switch and once signals are on the Dante network, they can be routed by a Symetrix DSP, repor tedly without degradation, into multiple zones. The Symetrix Composer software also facilitates the real-time set up and control of the system from a Windows PC. www.symetrix.co

PRODUCTS

Dedicated to audio SOLID STATE Logic has launched its first-ever dedicated audio interfaces. The two-in/two-out SSL 2 incorporates two classic analogue mic preamps together with 24-bit/192kHz conversion, a single high-grade headphone output, monitor mix control for critical low-latency monitoring tasks and balanced monitor outputs with a high dynamic range. The Legacy 4K mode gives users the ability to add extra analogue character to input sources. The SSL Production Pack software bundle is also included, featuring some of SSL’s own studio-grade Native plug-ins. The SSL 2+ feature set builds in a production hub, an extra headphone output with independent monitor mix, MIDI I/O and additional unbalanced outputs for DJ mixers. The manufacturer has also released Live V4.10 for the SSL Live consoles, including the L100, L200, L300, L350, L550

(including L500 and L500 Plus) as well as SOLSA software. The new Event Manager allows live engineers to create events that can perform one or more actions when one or more input states are met. This means that a single trigger can activate multiple output actions, or multiple triggers can activate a single output action. The V-Auxes and V-Stems feature provides users with the ability to make mix adjustments from groups of paths using VCAs. Spectrum Analyser is a new graphical FFT analyser overlay available across channel and bus, EQ and filters, allowing an engineer to identify and resolve problem frequencies, while DAW Control brings support for the HUI protocol, primarily for engineers requiring record or playback Pro Tools systems. www.solidstatelogic.com

SSL 2

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DiGiCo klangs

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1/2 PAGE Island

40 inputs and 40 outputs. UCP integrated panels server. Set up 10 paging modules. Design efﬁcient projects and reduce instllation costs. Supress analogue boundaries thanks to Dante™/AES67. Connect all the accessories through EclerNet Manager: PAGENETDN, WP22DN, WPNET Series, WPNETTOUCH. 2 Dante™ Interfaces to prevent audio over IP transmission being affected.

70 PRO AVL MEA March–April 2020

DMI-KLANG FOLLOWING THE aquisition of KLANG:technologies in December 2018, DiGiCo has been integrating the 3D in-ear monitoring specialist’s technology into its digital mixing consoles. The pairing has now, however, resulted in a new piece of hardware: the DMIKLANG, an immersive in-ear mixing expansion that can be mounted directly into DiGiCo consoles and comes equipped with DMI slots. The DMI-KLANG follows the formula of the KLANG:fabrik individual in-ear mixing system. ‘This is the first hardware product since KLANG and DiGiCo joined forces,’ explained DiGiCo general manager, Austin Freshwater. ‘We took KLANG:fabrik’s immersive inear mixing core and rebuilt it with today’s latest FPGA technology. With one device, we can now deliver immersive mixes of 64 inputs for 16 musicians. This is the highest input count of any KLANG product to date. And the best thing is, we were able to bring the processing latency down to a quarter of a millisecond.’ DMI-KLANG connects directly to the internal audio stream of

a DiGiCo console without the need for additional hardware I/O or overhead, allowing users to route any audio channel from the console to the DMI-KLANG and return an immersive mix to an aux merge input. Using the DiGiCo-KLANG console link, monitor engineers can retain their familiar mixing workflow while gaining immersive in-ear mixing functionality. DMI cards are available, offering MADI (TP, BNC), Optocore, Dante and several other digital formats. Additionally, the KLANG:app can be used in conjunction with the system, enabling personal mixing via a smart device or computer. ‘The DMI-KLANG is just the beginning of a new line of products,’ revealed KLANG’s co-founder, Pascal Dietrich. ‘Together with the DiGiCo OrangeBox and the many I/O expansion cards available today, we can now interface with almost any professional digital mixing console.’ www.digico.biz www.klang.com

I/O architecture processors, new of XTouch50 and CCC can reportedly create import restrictions but XTouch80 PMC touring and live It’s avarious question vs efficiency. our loudspeaker Julienwhere hasofbeen a key player in hop and pick up the you need. the CS-700 at InfoComm 2017 define the a loudspeaker driver. pattern at 125Hz are often likely duecost to inaccuracies in market for low-frequency these products. smallerperformance rooms the use cases are very www.thecinemadesigner.com www.dejero.com dered audio, most people wouldn’t ned tocontinents allow the of peripherals asconnection itbits is use. across town. www.shure.com www.holoplot.com eween feature set’. programmable touch controls addition to existing Mini claims to have the edge in the in country, having obtained the controls andfor theprevious Rio series of Dante I/O inter face devices. certification products. ‘China is working out for us quite well,’ continues Mr The rear panel of the QR1 Roberts. ‘We are expecting some significant movement with The design of the Solaro FR1 processor is based on the result6. We already have pretty large pre-orders from a Linux platform and utilises Xilica Designer universal DMT, our China and Hong Kong distributor, so we are just configuration software. From the front, the 19-inch 1RU waiting for the CCC approval to come through to ship them.’ chassis simply incorporates a front panel OLED display The big plans for Asia do not end there, with PMC also and rotary wheel. However, the full modularity of Solaro using result6 to tap into education for radio and television becomes evident from the rear. Sixteen card slots can production technologies and classical recording. ‘We were NEARLY 40 years since it made its debut, programs including the either Ambience, accept 2-channel audio input and output cards or already doing installations at around eight conservatoireAMS RMX16 digital reverberation and‘IReverse. Designed be for either input or output. Providing 4-channel GPIOto cards type, Neve’s educational establishments,’ continues MrNonlin Roberts. system is being relaunched in hardware musical rather than simply implementing A Universal Media Controller the heart enhanced flexibility, further cards can be inserted for other see result6 as the point where lies the at students canofstep into a format as part company’s mathematical algorithms, AMS Neve has AES/EBU, USB audio and Solaro.like ‘We’ve witnessed an increasing adoption of I/O requirements including brand PMC.of It the is reachable and affordable as opposed rackmounted 500 Series. RMX16 500students taken care to replicate sonicare much smaller than with a low-cost universal controllers for any from any RS232/485. to our other products. The The result6 will device give that going tothe be complex put to market digital reverb module the characters of the originalofunit’s analogue manufacturer,’ furthers Mr face Chow. typical installation Operating at a sample rate of 48kHz, QR1 quality experience theyincorporates will in ‘A the real world.’ product result6’s price. Although the Solaro R&D cost is uses higher, nine programs that processor, came as standard converter integrates a digital active mixers, same input, output and DSP processing architecture It has been a long and rocky road forspeakers, PMC and and result6 but, circuitry. the amount per speaker isn’t.’ with the original RMX16 plus theittherefore nine micro-programmed parallel projectors and lighting. have developed this as the larger Named for have its ¼-rack dimensions, QR1 for Peter Thomas and hisWe team, was worth the With wait and Although theFR1. result6 will not the exact same sound rare aftermarket programs that were only processing of 16-bit data, the 500 platform controller‘In sobusiness, that it could everything on is based on the same Linux and incorporates a struggle. youaccommodate allocate the R&D cost to each dynamics as itsRMX16 predecessors, it will share the one common available users via awhat remote control with also features antrait 18kHz allowing one single software platform, together all the control dual corebandwidth, processor drive to provide I/O flexibility. product bytoworking out the lifetimewith will be,’ explains that Peter Thomas – who startedmodular up the company barcode reader‘With input.the The modulethe comes it to are be used asback a high-quality digital delay options.’ Eight card slots can either 2-channel input Peter Thomas. twotwos, numbers that in 1991 with hisaccept partner Adrian Loader –audio always in a three-slot wide format and 18 factory line; 90dB dynamic range and 0.03% distortion in delay mode; adjustable input and output levels for optimum signal-to33 noise per formance; low power consumption (and therefore cool running); independent control of each program’s fundamental 017 10:32 13:49 reverberant parameters; and ‘nudge buttons’ to increment or decrement data for all selectable reverberation functions. Alphanumeric program descriptions have been incorporated for ease of use when storing or recalling information for the unit’s memory, while a new rotary push encoder allows all parameters and settings to be adjusted by ear. A new wet/dry mix blend function and updated save/recall feature with 100 user-defined memory slots are also included.

Three years of this development was spent ensuring that all the RMX16 gets a makeover electronics worked perfectly, both separately and together

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party controller such as AMX and Crestron. Just as the Neutrino series was updated to incorporate Dante networking, Mr Chow is keeping an eye on networking trends when it comes to other PRODUCTS protocols on the market. ‘Xilica has to remain openminded if we are to maximise Solaro’s potential,’ he PMC’s international sales director Miles Roberts expects stresses. of theinfact that the new platform allows big things Mindful from result6 China Xilica to network with other manufacturers, the company understands with other demands fromthat hiscollaboration team. ‘We always strive manufacturers for accuracy and will be the key to future successes. ‘Collaboration with neutrality,’ he says. ‘That’s the goal with all of our products. similar-sized us to collectively compete I suppose it iscompanies a little bit allows like high-resolution television. The in the gets market,’ hewith adds. detail better the more money that is spent. If you Judging by the increased acceptance of Neutrino listen to the result6 and putmarket them against the twotwos, they during the very past similar decade, poised take this will sound in Solaro balanceiswhen youtoswitch between relatively young company to stage ofwill development. them, which is important, butthe thenext difference be that Xilica’s headquarters in theresolution, northern Toronto suburb of the twotwos will have more detail and be more Stouffville in many symbolises both cost Mr Chow the analytical. And they ways should, because they a lot and more.’ company he’shas created. Therehorizons may notfor bePMC a sign to promote The result6 broadened with the industrious activities that in liethe within, but the is imminent and similar projects pipeline set door to once open thePeter atmosphere friendly. Ditto Solaro. again and excite Thomas is and his team.

www.proavl-asia.com/videos/trade-shows www.ap.com www.yamahacommercialaudio.com

www.xilica.com www.pmc-speakers.com

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AUDIO PRECISION has developed

the PDM 16 inter face module for its 17:04 018 19:04 019 133_Pro 17:25 PAME Pg92-93 Tech Audio 133 Precision.indd 93 PAA Pg132-133 R&D.indd AVL Asia Mag_(Sept-Oct 2017)_OK.indd 133

APx555, APx52x Series and APx58x Series audio analysers to expand the channel count availability for MEMS microphone array testing to 16 PDM channels simultaneously.

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requiring a true representation of input channel phase alignment to26/12/18 03/12/2018 09:44 12:07 PM 11/04/2017 17:31 22/04/2017 19:14 07/12/2017 26/10/2017 11:23 10:41 26/12/2017 30/10/17 5:02 18:52 PM 01/04/2019 12:46 validate their algorithms, the PDM 16 2/7/19 11:45 7:51 29/4/19 PM 27/4/19 4:04 PM AM employs synchronous sampling based on a common clock to ensure a clear depiction of the phase relationship between channels.

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The PDM 16 comprises the input module installed in the analyser, a remote inter face pod and an extension cable. It is designed to deliver sample-accurate, inter-channel phase information and critical data for the development of MEMS mic arrays. For those developing systems that use beam-forming microphone arrays and other DSP-based multichannel audio acquisition applications and

15/10/2018 12:23 30/10/2018 28/03/2018 13:32 17:04 23/04/2018 19:04

Audio Precision states that the PDM 16’s remote pod and extension cable are ‘acoustically silent’ to preser ve the integrity of PDM signals up to 10m. The module also suppor ts microphone measurements in anechoic chambers and can provide up to 50mA Vdd power supply to devices under test. www.ap.com

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March–April 2020 PRO AVL MEA 71

PRODUCTS

Ecler goes wireless

Cat with four lines THE CP64EE MultiCAT6A released by Klotz AIS is a quad-Cat-6a multicore cable designed for the transmission of data in installations and secure mobile networks. It was developed for the 500MHz frequency and is reportedly suited to applications with data transmission rates of 10Gbit/s and distances of up to 100m. The manufacturer states that it is ‘the ideal solution for all 1000Base-T and 10GBase-T Ethernet applications’. The four data lines offer a characteristic impedance of 100Ω. Each possesses

four twisted pairs and AWG 23/1 solid conductors dual shielding (S/FTP) to protect against electromagnetic interference. The CP64EE is built with Neutrik’s Cat-6A etherCON connectors and, as with Klotz’s other cables, includes labelling for each individual line, and steel mesh strain relief grips with a loop. It is downward compatible and can be used for Dante, AVB, AES50 and MADI over CAT applications. www.klotz-ais.com

WiSpeak AS THE trend for professional wireless audio continues, Ecler has released WiSpeak, described by the manufacturer as ‘a whole new dimension in terms of easy and fast pro audio installations’. WiSpeak boasts stable wireless technology, surface coverage and a quick set up, and allows users to share audio content from the Core master unit to the Cube and Tube receiver units – two models of wireless loudspeakers featuring a 5-inch cabinet and 3-inch lamp style, respectively. With up to 500m2 coverage per Core unit, the system also incorporates the WiSpeak grip mobile application that is said to allow full control of the installation in the palm of the hand. The HUB1616 and HUB1408, meanwhile, are Ecler’s latest digital audio managers that incorporate DSP with frequency shifter, delay, graphic EQ and factory settings for plug-and-play use. Both models feature several control possibilities through the front panel, Ecler pilot mobile application with graphics panels and TP-NET protocol for third-party devices. The units also provide single zone control with source selection, three-band tone and volume control. Designed for both mobile and fixed installations, the LABI1 series is a new compact PA system for users ‘looking for a fast and easy installation combined with long-lasting performance’. The series consists of two subwoofer models – the LABI1-SB18p (powered) and LABI1-SB18

HUB1616

LABI1 series (passive), both with 18 different DSP configurations – and the LABI1-C100i, a column comprising 12 3-inch loudspeakers. Switching to video, Ecler has released the VEO-MXH44, a 4x4 HDMI video matrix compliant with HDCP 2.2 and 1.4. It supports HDR formats and has been developed for applications requiring 4K/UHD at 60Hz. The VEO-MX44 also features analogue audio de-embedding and EDID management. www.ecler.com

Micro defends its cables DEFENDER, A brand owned by Adam Hall, has announced the release of the Micro 2 cable protectors. These have a 3-D LaserGrip surface that can reportedly withstand up to two tons per 7.8 x 7.8 inches and are made from recycled inhouse materials.

They can be adapted to any location such as end ramps or bends and are equipped with patented hinges. Alongside the release of Micro 2, Adam Hall has launched a new website to provide users and potential customers with the key facts of each of Defender’s products.

High tech for the new decade AS WE start a new decade, Tasker is focusing on the development of single cables that are able to carry out multiple services at once. Cat-7 cables are a significant example of this, where only one cable is needed to carry audio, video and signal data at very high speeds. For this reason, Tasker has released a series of Komby cables with Cat-7, designed for mobile laying. Tasker’s own C747 contains four Cat-7 S/FTP stranded cables that, thanks to their soft PVC sheath and an external diameter of just 19mm,

are said to be extremely soft and flexible. Tasker reports that these features make this cable ideal for both mobile laying and the realisation of assembled cables to be used on cable drums. Tasker has also added four high-shielded DMX cables plus a 3x2.5mm² power cable in the form of the C744. The manufacturer describes the C744 as a complex cable suitable for many applications but mostly for assembled cables for live events. Tasker also offers smaller siblings for the C744: the C743 is contained in a single soft PVC sheath with three Cat-7 S/FTPs, two DMXs and one 3x2.5mm² power cable; the C735 Super is composed of two Cat-7 cables and one 3x2.5mm² power cable; and the C734 Super comes with one Cat-7 S/FTP and one 3x1.5mm² power cable. All the cables can be widely used for high-speed data transmission, particularly in data centres and broadcast studios, and can be manufactured on demand with LSZH or PUR sheaths.

www.defender-protects.com www.tasker.it

72 PRO AVL MEA March–April 2020

UNIVERSAL CONTROLLER

FOR DATAVIDEO HARDWARE TPC-700 controls various aspects of Datavideo hardware, making it a true universal controller. Debuting at ISE 2020, TPC-700 will function as a wall or desktop controller for corporate presentations controlling the SE-3200 switcher of Datavideo. The user can easily switch between various image compositions stress free and without the assistance of an AV technician.

More information on www.datavideo.com

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PRODUCTS

Tour guide Navilution NAVILUTION WI-FI has been developed by Listen Technologies specifically for sightseeing exhibits and tour operators. It delivers GPS-triggered content to visitors through their smartphones. Combining the technologies of Listen Technologies’ Listen Everywhere audio-over-Wi-Fi platform with the GPS triggering functionality of the Navilution Next wireless tour commentary delivery system, Navilution Wi-Fi connects to a wireless network, delivering multiple audio sources to visitors, allowing them to listen to tour narration in different languages without the need for internet

access. However, visitors will need to download the Listen Everywhere app on their Android or iOS devices, selecting their preferred language before being able to listen to automated, locationbased content. In addition, the Listen Everywhere app can be customised with branding and promotional video content. When an internet connection is available, links to special promotions, advertisements for affiliate venues and destinations can also be included.

Audinate extends Dante TWO SOFTWARE-BASED Dante products have been developed to give manufacturers and developers the ability to deploy Dante into products where it wasn’t previously feasible, explains Audinate, such as where the price point or form factor made integrating dedicated Dante hardware challenging. Dante as software is also said to give users the ability to deploy Dante retroactively to products already in the field, add new features and functions to products on the fly and configure the number of Dante channels for a particular application.

Dante Application Library allows software developers to integrate Dante functionality directly into their PC and Mac applications. Each instance is wholly contained within each application and not shared with other resources, allowing multiple Dante-enabled applications to run simultaneously on a single computer. Developers can integrate Dante device discovery and subscriptions directly into their conferencing, recording, lecture capture and media playback products. Dante Application Library has been designed to provide access to Dante-

Dante Embedded Platform allows manufacturers to add full Dante functionality in software running on Linux for x86 and ARM processors with minimal additional hardware. Two options are available: an SDK with validation tools will reportedly eliminate guesswork by allowing OEMs to qualify existing x86 and ARM-based products for Dante performance requirements. For new products under development, Audinate will also provide complete reference designs for popular ARM SoC chipsets such as Analog Devices’ ADSP-SC589 and NXP i.MX 8M Mini QuadLite.

enabled products such as microphones, DSPs, amplifiers and powered speakers. QSC has announced that it will begin to deploy Dante Embedded Platform with the Q-Sys Ecosystem to enable native, softwarebased Dante audio channels, while Audinate has unveiled a reference design with Analog Devices (ADI) for Dante Embedded Platform on the ADSP-SC58x family of SoCs with ARM CPUs. Zoom Video Communications has teamed up with Audinate to integrate Dante Application Library into its Zoom Rooms application for video meetings.

www.listentech.com

A-T expands 3000 Series A NETWORK port has been added to AudioTechnica’s 3000 Series frequency-agile true diversity UHF wireless systems to allow network control and monitoring. Described by the manufacturer as unique for a wireless

The manufacturer has also announced the release of its Wireless Manager software, a Mac OS/Windows application for remote configuration, control, monitoring, spectrum management and

CEDAR’s surveillance update

3000 Series system in this price category, the network port allows the 3000 Series to be compatible with A-T’s proprietary Wireless Manager software, a Mac OS/Windows application for remote configuration, control, monitoring, spectrum management and frequency coordination of compatible Audio-Technica devices in sound reinforcement or installed sound applications. The software package offers a broad range of control and management functions of networked receivers, grouped into three tabs: Device List, which auto-discovers connected compatible A-T hardware and allows users to populate a device list of Audio-Technica and other manufacturers’ wireless systems; Frequency Coordination, which allows realtime spectrum scanning via the 3000 Series wireless with network option or other A-T connected network-enabled receivers, or the option of using the pre-loaded television channel database for off-site planning; and Monitor, which allows live monitoring of connected systems with the option of filtering the displayed devices by assigned tag groups.

74 PRO AVL MEA March–April 2020

www.audinate.com

Wireless Manager software frequency coordination of compatible Audio-Technica devices in sound reinforcement or installed sound applications. With connectivity for the 5000 Series wireless microphone system and the new 3000 Series featuring network control and monitoring, the software package offers a broad range of control and management functions of networked devices, and is grouped into the same three tabs: Device List, Frequency Coordination and Monitor. www.audio-technica.com

CEDAR AUDIO has updated its Trinity multi-user surveillance recorder, processor, transcription and reporting system. Version 4.1 offers three enhancements, which the manufacturer has implemented in direct response to requests from users in the fields of law enforcement and intelligence, including counter terrorism, drug enforcement, customs and border control and military intelligence, as well as air and marine accident investigation. Trinity 4.1 provides Master/Slave functionality for use in multi-user installations. It allows users to determine suitable parameters for speech enhancement of a particular piece of audio, programming the settings of one or multiple slave systems. Slaves can be set as compulsory, meaning the local user cannot override the parameter values determined, or voluntary, which provides the local user with the Master

values but does not let them override them. The new Transcription capability allows actions to be assigned to playback devices such as the Infinity USB pedal, including play/pause, fast-forward and fast-rewind or slow playback. The final new feature Trinity 4.1 brings is Dante compatibility through the use of the Dante Virtual Soundcard. Its ability to transfer multiple audio channels from input devices to the recorder using standard networks rather than large quantities of audio cables simplifies installation and makes it more cost effective. CEDAR stated that systems are also more robust than traditional audio cabling and can therefore be used over much greater distances, making them particularly suited to environments such as central monitoring posts. www.cedar-audio.com

Evolution Series A series of high-intensity touring and installation loudspeakers, engineered for even coverage, outstanding control and unforgettable audience experiences. Featuring the wider dispersion Evo 6 and narrower dispersion Evo 7 - including mid-high, mid-bass and skeletal options

www.funktion-one.com

PRODUCTS

Coda beta CODA AUDIO has released the beta version of the Coda System Optimiser 3D prediction software, designed for use in both installation and live event applications. Coda System Optimiser continues to undergo development from the manufacturer’s R&D team, whose ultimate goal is that the software be compatible with Coda’s entire loudspeaker catalogue. While the beta release will only be compatible with particular Coda models, the manufacturer states that its availability will allow users to provide feedback, assisting with fine-tuning the product. ‘This is a ground-up development, so taking the long view, it’s very important to us that audio professionals out in the field are directly involved with the evolution of our 3D system optimisation software,’

Zylia saves time

explained Coda Audio’s David Webster. ‘A beta release gives us the opportunity to allow early engagement for Coda users operating in real-life environments. Our System Optimiser allows the pinpoint design

of Coda systems from the smallest fixed install to the largest, most complex stadium production.’

POLISH DEVELOPER Zylia has enhanced its Zylia Studio software package with a v2.0 upgrade that now saves more time with a new workflow and automatic calibration. Once musical instruments have been placed correctly around the microphone, the dynamic energy map helps musicians to track their positions. Figure-8, Blumlein Stereo, Cardioid, Stereo XY and Mid-Side presets have also been added. Mixing capabilities are improved with the addition of an EQ placed on ever y track, allowing the frequency response to be adjusted in three bands up to 20kHz.

www.codaaudio.com

www.zylia.co

tick boxes replacing Boolean UI options; the ability to export the current frame of live video; SockPuppet personality editor; Media Asset browser viewed as a list; lock layers in place on the timeline to avoid

accidental edits; the export of internally made textures; and multi-edit list imported or exported via CSV.

disguise adds NDI support r17 IS disguise’s latest software update that has been developed following feedback from the manufacturer’s community of artists and technicians. The software is said to allow users to previsualise every pixel of a project before an event or installation. r17 introduces Manipulators to this previsualisation so that multiple objects on a 3D stage can be selected and then offset, rotated and scaled at a click of a mouse. A further feature of r17 is PreComps, where users can route video content between different layers using the flexible timeline and blend and mix content sources to create a complete look. This

new workflow means that a pre-composition of layers can be created and reused in multiple locations. SockPuppet projects – which allows users to control disguise via a lighting desk, iPad or networked device – are said to perform better and need fewer complex setups. r17 also includes NDI support, allowing users to stream an NDI source from content tools to the disguise stage in real time. Integration with NDI can also be used as a streaming preview from content tools, such as 3DSMax or AfterEffects, that enable users to finalise content accurately in-situ. Additional features include alembic file support; 3D feathering and masking;

ArmoníaPlus updated devices, the system is also capable of measuring system health indicators such as headroom, temperature, voltage and impedance to ensure optimal per formances of all elements and will automatically alert users in case of malfunctions or element failures. Engineers can also now use the Event History function to track uploaded programs, user logins and diagnose any long-term system issues. HealthPlus has

THE LATEST version of Powersoft’s ArmoníaPlus audio system management software introduces HealthPlus, the replacement to the software’s previous Events tab, which gives sound engineers a streamlined monitoring environment of all elements in a given sound system with improved communication, control and reporting. HealthPlus’ display gives engineers a complete suite of system diagnostic controls to reportedly monitor the health and effectiveness of any sound system in real time, meaning it can be used with a touring PA or in a fixed installation. In addition to input monitoring for power amplifiers, speakers and other connected

76 PRO AVL MEA March–April 2020

improved reporting, giving users the ability to track multiple indicators at once over an hour time log period for more detailed system monitoring. www.powersoft-audio.com

www.disguise.one

Yamaha simplifies system design YAMAHA HAS introduced a free online tool called the Yamaha In-store Music System Advisor (YIMSA) to help users design background music (BGM) systems for small- and medium-sized premises. It has been produced for SIs who do not have an in-depth knowledge of audio or are unaware of the Yamaha product range. YIMSA asks straightforward questions such as ‘what is the atmosphere of the space’ and ‘what quality of music is desired’ and provides system

recommendations based on the answers. When the size of the space has been entered, YIMSA will recommend a choice of ‘good’ or ‘best’ solutions, based on Yamaha’s VXS and VXC series speakers and MA/PA series amplifiers. The recommendation will also suggest speaker layouts for the system. The tool works in any web browser and can support up to 10 languages. www.yamaha.com

PRODUCTS

High Velocity from Atlona ATLONA PROMISES a range of new features and ‘flexible deployment options’ for the second generation of its Velocity IP-enabled AV control platform. Velocity, described by the manufacturer as ‘the AV industry’s first fully IP-enabled control solution’, will now offer new options for planning and scaling AV control system designs up to large, enterprise-wide installations. The updated Velocity’s new functionality includes room scheduling, unlimited BYOD use for AV control, integration with soft codec platforms such as Zoom Rooms and Cisco WebEx, AV asset management, and cloud-based remote monitoring and management. In addition to BYOD devices, Atlona’s 5.5- and 8-inch Velocity touchpanels can be employed. The updated Velocity System platform also offers new hardware and software server gateways, including the VGW-HW-3 (providing AV control for up to three rooms, room scheduling for up to six rooms and up to 250 simultaneous IP connections), the VGW-HW-10 (AV control for 10 rooms, room scheduling for 20 and 250 simultaneous IP connections) and the VGW-HW-20 and VGW-SW (both delivering AV control for 20 rooms, room scheduling for 40 rooms and up to 500 simultaneous IP connections).

The VGW-SW can be used with one or more VRL-SW licences, as each licence provides AV control for one additional room and room scheduling for two additional rooms. Each of the server gateways allows for system set up and management from a web browser, with Google Calendar- and Microsoft Office 365-compatible room scheduling, centralised management of installed Atlona AV devices, and access to Velocity Cloud Lite for remote configuration and management of AV control and room scheduling systems. They also support secure data communications standards, such as IEEE 802.1x for hardware gateways, and allow for a second, redundant Velocity System gateway to be added to a system.

CMY

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Atlona has also launched the new 4K/UHD-ready AT-DISP-CTRL standalone display control system, created for automating meeting spaces. The plugand-play device is intended for meeting

spaces that lack AV switching abilities, removing the need for handheld remote controls often used during presentations. Finally, the OmniStream 111 wall plate (AT-OMNI-111-WP) is a single-channel networked AV encoder, compliant with HDCP 2.2 and suppor ts HDMI sources up to 4K/UHD at 60Hz with HDR – including optional suppor t for 12-bit Dolby Vision content at 60fps – plus embedded audio. It features visually lossless VC-2 video compression technology and combines with OmniStream networked AV decoders to repor tedly achieve ultra-low, sub-frame latency from encode to decode. www.atlona.com

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Peerless kiosk PEERLESS-AV HAS unveiled the KIPICT2555 all-in-one portrait kiosk, which is powered by BrightSign digital signage technology. The KIPICT2555 has been designed to be aesthetically ‘sleek’ so that it won’t be out of place in indoor settings. It offers Full HD 1080p60 single video decoding, HTML support, networked content playback and a wide range of features, such as interactivity thanks to its GPIO port, remote snapshot, live text, media feeds and multi-zoning. Also new from Peerless-AV is the HPF650 pull-out pivot wall mount. This has been designed for on-wall or recessed/in-furniture applications and for 32- to 65-inch displays. It can support flat panels weighing up to 2.7kg and is VESA-compliant. Swivel functionality ensures everyone in the room can see the display.

HPF650

KIPICT2555

Finally, the Direct View LED (DvLED) videowall solutions include a curved, floor-to-ceiling LED wall and an in-window LED wall on a floor track system. The 5x5 curved, floor-to-ceiling videowall uses InfiLED DB Series deep black, high-definition

LED displays on a Peerless-AV DvLED mount custom designed to a specific angle that positions each tile at 4°, curving to a 16° angle at the top. The videowall will show partner content and link to a themed selfie station to engage with visitors. The 3x5 in-window videowall uses an Absen Acclaim A27 Series LED on a custom DvLED mount from Peerless-AV, which moves backwards and forwards on a floor track system. The DvLED mounts not only support curved (concave and convex) and moveable (trolleys, pivots, floor and ceiling track) configurations, but adapt to a wide range of potentials, including recessed, front and rear serviceable, floor standing, floor to wall, floor to ceiling and ceiling suspended. www.brightsign.biz www.peerless-av.com

Ready to board in UHD LG BUSINESS Solutions has added to its range of Interactive Digital Boards with the TR3BF series, which is available in 65-, 75- and 86-inch variants. All three are UHD displays that combine IPS panels and IR touch technology for responsive interaction with up to 20 simultaneous multi-touch points. There are two types of stylus pens available for the TR3BF boards (65TR3BF, 75TR3BF and 86TR3BF), which also allow users to erase content with the palm of their hands. In a classroom or presentation setting, the TR3BF boards can also be connected to the mobile devices of up to 30 audience members on the same network, supporting interactive

applications such as voting, questionnaires and literature sharing. Screen sharing is also enabled with laptops and mobile devices via the network. Support is offered for the Chrome web browser in Android OS, integrating with certain Android and Note Apps to create an SoC (System on a Chip) without a PC. Also new is the 86-inch 86TN3F Interactive Digital Board, which employs In-Cell touch technology designed for greater visibility and touch performance. The 86TN3F features an IPS panel in UHD and is compatible with LG’s pressure-sensitive Active Pen. www.lgsolutions.com

dnp offers transparency

THE DNP ClearSign is an 80-inch transparent display designed for digital signage applications. The Danish manufacturer describes it as a ‘crystalclear’ optical projection screen with ‘no blurring of objects behind the screen’, allowing the background behind the display to remain visible while also displaying content. dnp ClearSign relies on ultra-short-throw projectors that fire from steep angles and have a small footprint. The screen is 8.3mm thick and can be suspended from ceilings, positioned on a floor stand or be integrated into a wall. It has been designed to be easy to clean

78 PRO AVL MEA March–April 2020

and is available with or without a frame, or as a complete plug-and-play solution with screen, frame, wire suspension kit and a dnp laser projector. In other news, dnp describes its Supernova XL as ‘the world’s largest optical front projection screen available as a single screen solution’. It features true optical lens technology for highcontrast images, reportedly without the need to dim the lights or pull curtains. The extra-large image area is obtained by joining together two sheets of optical film to provide a viewing area that is said to appear virtually seamless in use. The screen is designed to maintain a geometrically flat and uniform image. The framing system reportedly keeps the optical screen material tensioned, while vertical and corner reinforcement bars, out of sight at the back, are said to prevent frame sagging and twisting. The screen is available in any aspect ratio and image size up to 230 inches in 16:9. It is supplied as standard with an 80mm-wide black frame. Frame options include four different colours.

TR3BF

Christie goes to the extreme CHRISTIE HAS added two 55-inch flat panel displays to its Extreme series. The FHD554-XZ-H and FHD554-XZ-HR are equipped with HDMI 2.0 and HDCP 2.2 connectivity and an OPS slot to accept a range of processing modules including Phoenix EP. The models come with a 0.44mm/combined 0.88mm narrow bezel, a 4K@60Hz delivery and are TAA-compliant. The FHD554-XZ-H/HR feature the next generation of Christie’s tiled LCD technology that includes

the latest developments in combined bezel and improvements to the optical properties and mechanical robustness. The FHD554-XZHR is a remote power model that is said to provide improved reliability and redundancy capabilities. Both units can be combined with Christie’s ML25 mount to deliver a total depth of less than 4 inches. Christie has also welcomed the SUHD983-P flat panel to the Secure series. This 98-inch, 10-bit LCD flat panel can be installed in either portrait or landscape mode and is equipped with advanced input connectivity supporting up to 8K. Four separate content-filled windows can be displayed simultaneously, making it ideal for installations where multi-view visuals are necessary. Built into the SUHD983-P is multisource viewing and scaling, reportedly eliminating the need for an external processor in most cases. The panel includes HDMI 2.0b and Display Port 1.4 input connectivity, an OPS slot compatible with Phoenix EP and provides 500 nits brightness.

FHD554-XZ-H

www.christiedigital.com

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Vivitek brightens up VIVITEK HAS introduced the DK10000Z and DU8195Z, suited to 24/7 operation and 360° installations in large venues, and boasting maintenance-free durability, flexibility and simplicity. The compact DK10000Z weighs 29kg and offers 4K-UHD

DU8195Z

resolution and 10,000 ANSI lumens brightness, while the DU8195Z offers a mix of features and connectivity, with picture clarity in WUXGA and 13,500 ANSI lumens brightness. Both models use a long-lasting laser light source to reportedly

ensure a constant brightness level and colour performance and 20,000 hours of maintenance-free operation. The projectors come with a range of features, including a wide choice of lenses, 3G-SDI, HDBaseT and a 360° free tilting angle. There are eight optional lenses ranging from a 0.38 to 8.26:1 throw ratio alongside a motorised zoom, lens shift and lens position memor y capacity. Projection image alignment is installed in the products as well as multiscreen edge blending, warping and keystone correction features. A built-in light sensor inside the projector monitors the level of light so that when a reduction in light is detected, the projector will adjust the electricity power to increase the light output back to the pre-defined brightness level.

TriCaster goes Mini NEWTEK HAS launched its next-generation TriCaster Mini, a compact system that allows users to take it with them anywhere, set up and get star ted in a matter of minutes, as well as stream to social media outlets. The plug-and-play setup of the new video production system allows newcomers to video production to work their way towards creating more sophisticated programmes and offers resolutions up to 4K.

www.vivitek.eu

Telestream goes with the flow SCREENFLOW 9 is the latest version of Telestream’s Mac-based video editing and screen recording software, offering new features such as multiscreen recording, added editing tools and clip editor. The new multiscreen recording functionality provides additional space for laying out multiple applications, helping viewers to follow processes and examples. Clip editor, meanwhile, enables media clips to be

previewed and cut to size before they are dropped into a timeline, reportedly reducing the number of adjustments needed to timeline sizing and viewing parameters, and streamlining the editing process. Other new editing tools include the timeline tools palette, which offers Hand, Zoom, Blade and Track Select functions. Cursor functions can be switched via hotkeys, simplifying timeline navigation and allowing

ScreenFlow 9

users to create quick track splits and select entire layers in the timeline. Proxy resolution editing is said to reduce the demands on the CPU when editing high-resolution images, so that users can edit content without their hardware slowing down. New click effects are also available, with updated radar click effects facilitating further customisation of cursor looks. Telestream has also announced postorigin content monitoring capabilities for ABR stream media within its iQ ABR monitoring solutions. According to the manufacturer, OTT streaming providers face two challenges: managing the customer experience and capitalising on advertisement revenue. Whether managing content preparation on-premises, leveraging cloud infrastructure or using technology partners, the new capabilities allow users to track key performance indicators and alert them of impairments that would affect the customer experience. In terms of advertisements, the updated iQ solutions are said to enhance visibility of ad avails from ingest to postorigin with consolidated SCTE-35 reporting that identifies when ad opportunities are accurately delivered in the streaming domain.

TriCaster Mini’s eight external video inputs will suppor t any combination of compatible sources. Its four NDI connections with PoE simplify video, audio, tally, power and control. Also, two input modules with PoE directly connect to existing HDMI devices, upgrading them to NDI-compatible sources. The package comes with both entr y-level and advanced production tools, including built-in vir tual sets, animated transition effects, replay for spor ting events, streaming, recording, projecting and onetouch social media publishing. Also available for the new TriCaster Mini is the NDI | HX Camera application for mobile devices, which can be downloaded from the Apple store. This feature allows video, up to 4K UHD from an iOS device, to be transmitted over Wi-Fi as an NDI source and connect with TriCaster Mini systems on the network.

www.telestream.net www.newtek.com

Analog Way becomes an alpha ANALOG WAY has added a new product to its LivePremier series of 4K and 8K live presentation systems and videowall processors. The Aquilon RS alpha offers the same core features as the rest of the products in the range and includes eight HDMI 2.0 inputs, four HDMI 2.0 outputs configurable as single screens, edge-blended widescreens or scaled auxiliary outputs, two dedicated 4K Multiviewer outputs and up to four 4K or eight HD freely assignable mixing layers in a 4U chassis. Its modular design allows users to swap I/O cards to accommodate a variety of connectivity arrangements to match the source and display requirements.

80 PRO AVL MEA March–April 2020

Alongside other products in the LivePremier range, Aquilon RS alpha combines industrialgrade reliability, real-time 10- or 12-bit 4:4:4 video processing power compliant with HDR and pure 4K60p on each input and output with ultra-low latency. With native Dante audio routing capability, up to 64 channels of audio can be embedded or de-embedded over a Dante network. The system is controlled by an HTML5based user interface that reportedly simplifies configuration and operation through a range of features such as live programme and preview workspaces, multioperator collaboration, keyword search and multi-language support.

The LivePremier range also includes five high-performance, pre-configured products (Aquilon RS alpha, RS1, RS2, RS3 and RS4) as well as customisable models (Aquilon C and C+) that can be adapted for any project

or event. In its largest configuration, Aquilon offers up to 24 inputs, 20 outputs and up to 24 4K layers. www.analogway.com

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The Datapath to 4K graphics DATAPATH’S IMAGE4K graphics card is pegged as the company’s new flagship product for providing 4K content on up to four displays. Up to six cards can be used in the same system to output full 4K60 4:4:4 content to up to 24 displays via HDMI 2.0, or up to 96 HD screens, making for a total output of 199 megapixels. The Image4K card is fully compliant with the manufacturer’s Display Configuration Tool, Diagnostic Suite and WallControl 10 videowall management software. Support is offered for HDCP 2.2 when using Datapath capture cards. Datapath has also updated its Wall Designer software, with v2.2.0 offering a ‘complete solution’ for project integrators designing multisegment LED videowalls.

When used with Fx4 controllers, the software allows users to tile, replicate and refit content for displays of all sizes. ‘With the new borders update for Wall Designer v2.2.0, the Fx4 can be used to scale any selected content region to suit an almost infinite arrangement of videowall displays, display types and orientations, so that content can be viewed natively and without unwanted image distortion or warping,’ explained product manager, Mark Rogers. www.datapath.co.uk

The Image4K card

FC-18

Kramer finds the controller THE FC-18 is a display ‘on/off’ controller for 4K@60Hz (4:4:4) HDR HDMI signals and HDCP 2.2/1.4 signals at an 18G (6G per channel) data rate. It accepts and outputs an HDMI signal after reclocking and equalising. On detection of the onset of an input signal, the FC-18 sends an ‘on’ command to the display or projector and when it detects the loss of an input signal, it sends an ‘off’ command. The FC-18 can also be used to control a display device manually via front-panel buttons, Ethernet or contact closure switches. Commands are sent to the display device via CEC, RS–232 or Ethernet, while data tunnelling between the RS-232 port and the Ethernet ports is also supported. The FC-18 also includes one HDMI input and one HDMI output, along with three ports: one Ethernet on an RJ45 connector, one RS-232 on a three-pin terminal block and one USB port on a female USB Type-A connector. The power source is 5V DC and consumption is 580mA. In other news, the Aspen-1616UX is a 16x16 matrix switcher for SDI signals up to 12G. It

Switchcraft expands patch panel lineup HAVING DESIGNED the first video patch panel to offer 12G+ per formance with full-normal capabilities, Switchcraft has updated the Ultra VideoPatch. Eliminating the need for a looping plug, the Ultra VideoPatch is available in both mid-sized 2x32 and micro-size 2x48 formats with a variety of DIN and BNC termination options on the rear panel. With the 2x48 micro-size format, the US manufacturer has expanded its

equalises the input signal and reclocks the output signal to gain extended reach signal extension. It auto-adapts from 270Mbps to 12Gbps data rates and accepts SDI, HD-SDI, 3G HD-SDI, 6G and 12G SDI-compliant input signals with video resolution of up to 4K@60Hz (4:2:2) 30bpp. Using high-quality coaxial SDI cables, extension is supported up to 300m for SD signals; 200m for 1.5G HD signals; 100m for 3G and 6G HD signals; and 80m for 12G 4K signals. The ASPEN-32UFX is a 32-port matrix switcher for SDI signals up to 12G SDI. Each SDI port can be defined as either an input or output, enabling flexible configurations such as a 1x31 distribution amplifier, 31x1 switcher, 16x16 matrix switcher or any other input−output combination. The switcher is compatible with HDTV and supports a maximum data rate of 12Gbps. Kramer Equalization and re-Klocking technology rebuilds the digital signal to travel longer distances. www.kramerav.com

the top and bottom jacks. Meeting SMPTE ST208-1 and ST 2082-1 protocols, the integration of 12G+ high-bit video provides video resolutions of 4K, 8K and beyond. Lighter in weight than traditional HD video patchbays, the Ultra VideoPatch is an all-metal construction that is rated for a minimum of 20,000 insertion/withdrawal cycles. portfolio of non-normal, single 12G+ UHD jacks. Providing superior crosstalk

elimination versus dual jacks, single-style jacks require a looping plug to connect

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Klang - PAA Strip.indd 1 82 DMI PRO AVL MEA March–April 2020

14/02/2020 15:56

PRODUCTS

AJA supports HDR video DESIGNED FOR live event production environments, AJA has unveiled the OG-12GDA-2x4, an openGear 12G-SDI distribution amplifier featuring support for HDR video and Ross DashBoard software for remote monitoring. It includes dual-channel inputs for incoming 12G-SDI signals, with reclocking of the distributed signals to dual 4x 12G-SDI outputs. In an AJA OG-X-FR openGear frame, this reportedly allows for up to 20 12G-SDI inputs distributed to a total of 80 12G-SDI outputs when fully loaded with 10 cards. The OG-12GDA-2x4 is compatibile with OGX, OG3 and DFR-8321 openGear

Claypaky resists the weather DESIGNED TO extend the capabilities of the Sharpy Plus range, the Sharpy Plus Aqua luminaire is an IP65-rated moving head fixture suitable for both indoor and outdoor installations. It maintains the same performance features of its predecessor, the Sharpy Plus luminaire, but benefits from a

frames, and DashBoard software support on Windows, macOS and Linux for local network or remote monitoring.

OG-12GDA-2x4

AJA has also announced a series of updates. First, 8K support has been added to its HDR Image Analyzer 12G, launched at the end of 2019. The free software release will feature up to 8K/UHD2 HDR monitoring and analysis for high raster content with 12G-SDI for higher bandwidth workflows. Second, a v1.5 firmware update for Ki Pro Go adds timecode recording and playback, expanded primary and backup recording to all USB ports and new clip naming and segment recording. Ki Pro Ultra Plus v5.0, meanwhile, introduces a new

Infinite Recording feature that allows the unit to act as an always running backup recorder. Infinite Record mode includes automatic formatting and rollover to both AJA Pak Media slots for uninterrupted recording, so there is no downtime when one drive fills up. Finally, the manufacturer has released Desktop Software v15.5 for KONA, Io and T-TAP products, featuring additional functionality for both HDR and 8K workflows, plus new performance upgrades to reportedly enhance creative freedom and flexibility across Windows, Linux and macOS. www.aja.com

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March–April 2020 PRO AVL MEA 83

PRODUCTS

Brompton shines bright DYNAMIC CALIBRATION from Brompton Technology has been designed to enable LED panels to achieve a higher brightness and wider colour gamut than is possible with legacy calibration techniques while also maintaining uniformity. To benefit from Dynamic Calibration, an LED panel must be fitted with a Brompton Tessera R2 receiver card and needs to be measured using Hydra, the manufacturer’s advanced measurement system custom-designed for LED panels. Hydra is an all-in-one solution that incorporates all the measurement instruments and processing required for panel measurements to enable Dynamic Calibration. Set up time is said to be minimal – users need to align with the panel at either 4m or 8m, with no focus, exposure or zoom adjustments required. The Hydra system relies on tight integration with the Brompton R2 receiver card in

Hydra each panel to speed up the measurement process. It takes measurements using

multiple instruments simultaneously, achieving 20Gbps data capture so that a colourimetric imaging measurement reportedly takes only 33ms compared to multiple full seconds for legacy systems. ‘Dynamic Calibration is a flexible approach that uses the R2’s Dynamic Engine to process incoming video in an entirely new and innovative way,’ said Brompton’s CTO, Chris Deighton. ‘Before making any decisions, the Dynamic Engine gathers a vast array of data, including the incoming video pixels, the video signal’s metadata, Dynamic Calibration metadata, the precise capabilities of each individual LED and the user’s preferences for how the image should be displayed.’ This information is processed in real time, with no added latency, to determine the best way to drive each LED. Areas of the image where peak brightness is the most important visual aspect will make full use of the LED’s peak brightness,

while areas requiring extreme saturation will make full use of the LED’s maximum colour gamut. The result, according to the manufacturer, is brighter whites, higher contrast ratios, more saturated colours and true-to-life accuracy. In other news, Brompton Technology has launched its HDR solution that adds to the larger brightness range that HDR already provides with more headroom for even brighter content and saturated colours that might otherwise be clipped. The result, according to the manufacturer, is an image that is perceived by the brain as sharper and more detailed with greater depth. ‘Brompton’s implementation of HDR is very different from anything else already on the market and has required us to re-imagine the fundamentals of how LED video processing should work,’ added Deighton. www.bromptontech.com

Elation engages audiences LIGHTING MANUFACTURER Elation is continuing to ‘develop creative lighting solutions that engage audiences’. The first of several new products is the Fuze Pendant, a full-colour-spectrum house lighting solution with high CRI, smooth dimming and up to 11,000 lumens of power that has been designed for large area illumination and high-ceiling applications but compact enough to fit in smaller spaces. The unit comes with a variety of lens accessories as well as pendant, yoke or recessed ceiling hardware, while DMX, 0–10V and emergency battery connection are said to support any connectivity requirements.

51,000 lumens from a 950W LED engine, Artiste Rembrandt has been designed for applications requiring superior wash output, bright and powerful beams, and quiet operation. Proteus Lucius is a compact, IP65rated LED profile fixture with framing that reportedly offers ‘outstanding projection qualities to cut through any environment’.

Fuze Wash FR optical design is reportedly capable of projecting tight beams to wide washes, while the unit provides over 12,000 lumens of output from its 300W white LED engine. Users have access to a variety of effects options, including CMY colour mixing plus colour wheel, variable frost, gobos and zoom.

Artiste Mondrian Artiste Rembrandt is an LED wash fixture with ‘endless’ framing that offers an optimised wash field and a wide colour-mixing gamut through its variable SpectraColor engine. Providing up to

www.elationlighting.com

Proteus Lucius

Fuze Pendant Next are two Artiste units: Artiste Mondrian and Artiste Rembrandt. Artiste Mondrian is said to be the brightest LED Profile FX fixture Elation has produced to date. It offers high centre intensity and narrow beam angles, a full FX package and a wide colour-mixing gamut through the variable SpectraColor colour mixing system. Artiste Mondrian features a large 226mm front lens and provides over 50,000 lumens from a 950W LED engine.

84 PRO AVL MEA March–April 2020

Artiste Rembrandt

The unit provides 31,000 lumens from its custom-designed hotspot 580W LED engine and features fast zoom optics and a full FX package. To finish, there are two Fuze products: Fuze Wash FR and Fuze SFX. Fuze Wash FR is an automated LED Fresnel wash fixture with a 92 CRI engine that uses a homogenised, full-spectrum RGBMA LED array. The LEDs are said to produce accurate colour reproduction and deliver a 14,000-lumen output at 6,500K. The wash delivers variable whites from 2,400–8,500K, a wide zoom range and framing beam control. Fuze SFX is a new concept LED spot FX fixture designed for applications requiring a compact, multipurpose luminaire. The

Fuze SFX

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Grand SolaFrame HIGH END Systems has released what it calls a ‘go-to workhorse’ in the form of the SolaFrame 1000. Ultra-bright and high CRI versions of the automated framing fixture are available. The SolaFrame 1000 reportedly offers a 20,000-lumen output, full framing shutters, rotating and fixed gobo wheels, multiple colour systems, a 12–40° zoom and a range of animation effects. The fixture comes bundled with a TM30 filter designed to elevate the ultra-bright engine to 85+ CRI. Other features include iris and light frost, a rotating prism and High End Systems’ Lens Defogger System.

SolaPix 19

SolaFrame 1000 A further new arrival is the SolaPix family of pixel wash fixtures, created to envelop environments in saturated colour via an additive LED, RGBW, colour mixing system, as well as tuneable whites. The family has two members initially: SolaPix 7 and SolaPix 19. The SolaPix models also feature

SolaHyBeam 3000

a narrow zoom and a macro- and pixelcontrolled face that enables a wide variety of effects, in addition to completely washing an area. Both SolaPix 7 and SolaPix 19 also provide a 4.5–60° zoom, a FleX Effects Engine for customising macros, pixelmapping capabilities, modular control using Art-Net or sACN, with simultaneous DMX control, and the manufacturer’s HaloGraphic Pixel Definition technology. Another addition to High End Systems’ catalogue is the Pro One-Cell luminaire for short- and medium-throw applications. With a CRI over 90 and a variety of colourtemperature and beam-spread options, the Pro One-Cell fixtures reportedly provide convection cooling, noiseless operation and stepless dimming, and come in both fixed and adjustable recessed options. The Pro One-Cell comes in 18°, 30° and 50° beam angles with the additional option of fade to warm technology. It uses the D1 ArcMesh Driver and fits in a 170mm ceiling cutout. The Pro One-Cell Small produces 19°, 24°, 37° and 60° beam angles, uses the D1 ArcMesh Driver and fits in a 95mm ceiling cutout, while the Pro One-Cell Micro comes in 19°, 24°, 37° and 60° beam angles, uses the D2 ArcMesh Driver and fits in a 79mm ceiling cutout. A high-output version of the Pro One-Cell provides more than 8,000 lumens and comes with 2,700K and 3,000K colour options. Finally, the SolaHyBeam 3000 automated fixture has been designed for beam control and aerial effects. It is powered by a white light LED engine and features a large front aperture and optimised long-throw optics. The 750W Ultra-Brite engine produces 37,000 field lumens, while the 210mm glass front lens comes with a patented lens defogger. The zoom ranges from 3.1–55° and a 16-blade iris reportedly provides extremely tight beam effects. www.highend.com

ADJ stays versatile DESIGNED TO saturate large areas of a stage with colour washes or spotlight specific per formers, ADJ has expanded its range of moving head luminaires with the Vizi Wash Z37. The LED-powered wash fixture features a variable motorised zoom, allowing for a beam angle of 10–60°. At its narrowest beam angle, the luminaire can also be used to create sharp mid-air beams. It has a variable speed strobe and pulse effects (1–40Hz) and 37 separate 20W four-in-one RGBW Osram LEDs. It measures 15,000 lux at 4m when the beam angle is set to 10° and 1,100 lux when the beam angle is zoomed out to 60°. Each LED reportedly offers an average lifespan of 20,000 hours of operation. The LEDs are positioned behind a precision-engineered lens array that generates a uniform wash and removes colour shadows. The 37 LEDs are arranged into four concentric circles with the outer ring split into four separate sections, while

86 PRO AVL MEA March–April 2020

the middle two rings are each split into two sections, making nine independently controllable zones for the creation of split colours and animated effects. With 16-bit fine motor control, the fixture is said to be capable of both rapid motion and smooth, slow movement. It features a wide tilt range of 270° and pan range of 540°, while target modes can be used to limit the head’s motion on one or both axes for applications where the fixture’s output needs to be restricted to within a certain area. The unit offers both three- and five-pin data input and output connections for integration into an existing DMX control system. It features locking Seetronic power input and output sockets, which allow the power supply for multiple units to be daisy-chained together. The rear panel features an on-board USB port that can be used for future firmware updates. www.adj.com

The Vizi Wash Z37

Robe finds the one THE T1 Profile from Robe incorporates the manufacturer’s MSL (Multi-Spectral Light) engine (an LED light source reaching 10,075 lumens), CMY colour control and DataSwatch filters that contain a selection of pre-programmed colours via the RCC (Robe Colour Calibration) algorithm. Designed for a host of different applications, such as

T1 Profile theatre and television production and touring events, and with the added option to be connected to the Robe RoboSpot system, CCT control ranges from 2,700–8,000K and dimming is catered for with Robe’s 18-bit dimming system. The high CRI of 90+ is said to provide the natural skin tones that are fundamental to live events. Other features include a ±green channel and Cpulse flicker-free management for use with multiple vision systems such as HD and UHD cameras. Accurate framing shutters with a full zoom range between 0.5° and 10°, variable frosts, dynamic focus tracking zoom, specially designed bespoke breakup and aerial gobos, an animation wheel and prism, and a sixfacet rotating prism are all said to allow users to fine-tune the most demanding setups. The iParFect 150 FW RGBW comes with a wide zoom of 3.8–60° and is completely silent due to passive cooling, says Robe. The IP65-rated unit incorporates CMY and RGBW colour control, 18-bit dimming and tungsten emulation with both selectable and variable colour temperatures. The beam is combined with a Fresnel-style beam edge to result in a ‘smooth, beautifully homogenised shaft of light emanating from this compact, lightweight fixture’. www.robe.cz

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Chauvet hits F5

political skills as ascompanies technical ones. proud that the loudspeaker iswell small enough that 1m in third-party the field T-S parameters are often referred to as ‘small signal’ Furthermore, companies specialised in making Dante bridge, you then split that off have into the Dante network different approach. tend toIisam drive tofree market as orks are invisible to each other,’ th different contents from aUS central we have made something elegant and versatile, with a new of the device under test (DUT), a ground plane measurement parameters, because the results are most useful when the these hiding accessories and there are already some available where that is then shared between the FOH console, the fast as they can and they’ll fix the issues later. 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They are derived as it really is,create causing a we different diffraction response along R&D team you a tremendous amount where theseeing audio we’re working outthat how use that to be competitive in theof flexibility about day equally convinced fromismuseums – to ‘focused DESIGNED FOR everything from RMS the Chauvet reports that the F2 is its highest DSPPA designed its output. recorder supports JC: Not PS, we see many Alpha systems on the by fitting a mathematical model of the driver to the measured the edgejust ina–contact with the ground. aneed large area whatAlso, our customers doing was brilliant,’ goes to and it still allows you toThe build up veryreportedly large complex audio up ever-growing market. Is200W everything you toopen doare for ve isHAS positive thing iveenvironment soundscapes’ toUC conferences, www.chauvetprofessional.com smallest stages to the largest live resolution panel and has been designed for LA1512S waterproof line array speaker with to 160 hours of recording time with an 8G road today. But the market has changed; we cannot aspire complex impedance curve. is required with no vertical reflecting surfaces located within says Mørch. ‘That way it was not conveyed via networks quite to simply a high-end ofeven equipment what you need do forand a very inexpensively because it is ers example of apiece conventional ech intelligibility and more ll the productions and events, Martin’s ERA applications where clarity is needed from four adjustable dispersion angles – 60°, 45°, USB flash disk. With a pickup distance of toUS$150 25 years ofthe longevity now and, although we’d to, we Cat-5 To derive the full set of T-S parameters from a single impedance about 10m of loudspeaker. And, ofstandard course, ambient several people, itlike was direct. They could using switches and cable.’see what they were USB speakerphone? Probably not. That’s what we’re H console and aart monitor console, ail spaces and exhibitions are ere Per formance Series comprises thebelow 400, anyALCONS viewing angle, distancesits as AUDIOeven has at developed 30° 15°, all with control 10–60cm and measuring 415mm, the mic cannot remake the success of the PS Series. measurement in free air, the moving mass of the driver (MMD) outdoor noise from vehicles, machinery, aircraft and the designing because they knew what the pain was, theyalways didn’t hat. They areorthrilled to see that weforward. Expanding theManufacturers Live family into different markets was investigating now as we go We’re discussing what on atechnology, separate console and apattern feed the in order to create 600 and 800 fixtures, along with an close as 2.3m. It has high-quality, blacksmallest subwoofer system without to dateairforload value is required. The MMD value can be 1kHz –makes and the ability for toanfour units is aSSL. high-sensitivity gooseneck are releasing new products at ever-faster rate and, atoption wind are usually of concern, especially forguess low-frequency have to what they were designing for.’by embracing avehave used some ofit’s the input that going to be the sensible for But really sense from aup go-to-market perspective and We some conventional Madi experiences, and one area that outdoor-rated moving head, the ERA 500 bodied LEDs, accurate can reproduce at 14-bit delivering bass video response with toinbe stacked together. Itoutput built the accessories mixer amplifier estimated by disassembling the driver and weighing the moving the higher end of the market, thethe lifecycle ofisof professional measurements where the ofThe the DUT relatively combined resultnetworking oflow. the newfor capsules and e gotisfrom the round the world tour potential audio theinto concert market, the establishing what customer expectations are. hich connected directly to the italise on the Middle East. ‘So Hybrid IP. The products feature full CMY grayscale andtion. can operate on an A5 or low distor The BF121 incorporates supports both horizontal panel. The priority components. If this is not practical, taking a second impedance loudspeakers is shorter than before, despite rental values is something the manufacturer is clearly taking a lot of pride make it better. manufacturer shown that all that time in development has ‘This will bethat the first many products on the has collaborative he Middle begins. ‘The Madi I/Oofgoes dork,’ in the East follow colour mixingmounting and separate colour wheels, 18-bit Novastar card.long-excursion Digital LED drivers in a single 12-inch woofer and vertical with function automatically Directional response pattern measurement reducing. This scenario makes the versatility of the P12 from. ‘It is a very exclusive product,’ concludes Nielsen. ‘We et is that it fits perfectly and it can well an spent. from theconsole two companies,’ hebeen continues. ‘We’re ctly intoinside the to run There’s innate looking passiontothat shines through Born result highmonitor reverberation times, The outside ofwhen the hemi-anechoic wherea 3.84kHz refresh rate for with a known mass (typically a weighed piece of fixed and rotating gobo wheels, plus an thechamber, F2 can deliver with a double-spider suspension andclay) attached to the driver cone causes the resonant the built-in bracket, while lowers volume modeling even more interesting when you consider the ROI for one know the combination of smaller and better is the in high ntinues. ‘With the benefits from APx500 audio software displays test results from various further leverage ourbetween products. Wediscusses havethat wireless microphones absolute minimum latency the product development. ‘I just love making glass, concrete and the design of iris for can beam adjustment and a full curtain flicker-free images andinthe unit comes with measurement microphones a 4-inch voice coil a bass-reflex users also purchase when speaking Directional response measurements are conducted under peak in the driver’s impedance curve to shift lower in both product that can fit every application. demand. I think that we are going to open some new doors hat the clip on the back of the www.solidstatelogic.com CEO Roman collecting an award at SXSW and Yamaha-built DSPs and other systems forSick mixing in very /O and the monitor board. Via the microphones,’ he smiles. ‘I think about microphones at home, ogy, withframing its steering capabilities, system. a maximum illuminance of just under 1,500 Image courtesy of automatically George Bullimore, director of Tymphany UK Design Centre configuration. the optional wall or and free field conditions at a specified distance from the frequency and magnitude. Image courtesy of Katrina Barber at Getty Images with it due to the size mainly, and I also think that a number fs those things where we wondered, I think breakfast. I just to create intelligible speech invenues, the Most suited to large ERAabout 800 microphones when I’m eating restores The direct-radiating panel also includes a contrast woofer is mounted ceiling mount for added it when not nits.The loudspeaker reference point. Usually, the loudspeaker Another option is to take a second impedance measurement of our customers will switch to that one. My gut feeling is that this before?’ Do you see a strong future for point source love what I do. Of course, some of those decisions are hard. oreno. Other potentially strong s Per formance reportedly Martin’s ratio 8,500:1chamber, and a pixel density particular ‘We toit’s getgoing away from fixed400 andof output cards or 4-channel GPIO cards for either input relation toneeds. itsisaacoustic outline,’ notes Oliver Thomas. ‘But ERA in of a vented large versatility. Weighing speaking. is mounted on measurement turntable. The frequency the driver firingtointo a sealed enclosure of known volume. the free field conditions for chamber used forwith awith tothe be good.’ only accessory to benefit fromneeded the varied. You want go in there and just make a phone call or high-end audio applications. Foranechoic higher-end rooms, you could technology? ‘The liberal use of thewith word “immersive” is why it’sThe We started project only one cable at 1.6mm. Thenmic wethe nclude Europe and Asia. 2 . brightest moving head to date with 34,000 112,896/m architecture and focus on creating a truly modular or output. The integrated 4x4 Dante card is something the best takeaway was looking at the type of engineering bass-reflex por t designed forThe increasing 15kg, speaker has input power response isdid on-axis and at several angular volume sealed box these ofan measurements. 060 lavalier, weeach made a new version you want toofgoairincontained there andwithin makethe a video call orand youthe want to go imagine us combining and wired microphone becoming difficult to guys bring a500 truly immersive solution to our spoke to the theatre they said,types “we really would likewirelessThe ehent business benefits itmeasured thinks challenge. We an awful lot zoom. render channel count immersive audio design The ERAand comprises F5 panel is rated and works lumens, 800W and aits 1:8 The 550W DSP system. So with Solaro, we took the approach of apor bonus feature the user, as assured flexibility is and design process for a company making products that will Hybrid IP fixture output whileIP65 minimising t and has an 8Ω input ofaround. 6W, an“well, input nd JC: Intaking my opinion, point source will increase inbecause popularity positions off-axis. Once the on-axis measurement isnoticed set cone acts a for spring causes the up resonant www.dpamicrophones.com instead of the micand out, you in there dolike nothing but that put your slides on thepeak screen. technologies with some of their DSPoverall technology to address the driver the market and get with all the noise Truly a 1mm cable it’s a lot easier to hide”. I said, ere are lots of operational costnPlex and having the patience to a 370W Philips lamp with a reported with the VIP Drive 43 Nova using the ERA 600 Per formance is for medium-sized to adopt a modular I/O architecture in order to provided by the combination of any card type and any bemaximum used inrotable aSPL pretty harsh environment and going through Operating within a impedance a ofdesign,’ voltage ofthat 10Vand ts. Impedance curve and compression. Thiele-Small for two reasons. Firstly, thethe growing interest in immersive up, the system loops over number of angular positions, inConference the curve to shift higher in both and rent position via a rooms everywhere get used like frequency that all the time, boardrooms ofexperience the world.’ know where to put those channels, they wouldn’t even know that they’re not confused immersive sound, from our point of view, is an in alright. Let’s go and do it”. The company understands stem –so less speakers and/or less dtered bad, to make those changes that 6,000-hour lamp life. The all-in-one optics Novastar control protocol. Its black-bodied events, putting out 19,000 lumens with a maximise the I/O requirements per project and card slot. the steps of validation and testing.’ range of 40–300Hz 128dB (±2dB). Itreasons. aperfect sensitivity e arechallenging audio, which requires lots of localising sound. rotating the turntable the frequency response magnitude. different positions so you can clip it cabinets especially in companies where they’ve created a lot of these But product he isaand equally quick to point outfrequency that the collaboration what tofor do with we them. at not applicable,’ he which aCTO person isdesign able tofeatures feel dragged intozoom virtual space they knew that needed to have asand as ersive setups because less or and no both and rewarding. Butrepeating parameters athis 1:20 multiple LEDs reproduce videowith at 14-bit grayscale, 1:8 zoom. Both units feature variable reduce unnecessary Making integrators’ lives easier, Xilica’s The PMC sales and spending.’ marketing team in has already set its Mario Rodriguez, Nexo’s director of(–3dB manufacturing, the first to come off theand production response), the BF121 isP12s powered has aMoreno. sensitivity ofbeing 93dB (±2dB). u Secondly, the dramatic improvements networking, which measurement at each step. To resolve lobes inbusiness the In both the Addedsystems Mass the Knownline Volume (or Sealed Box) smaller conference rooms.’ could tackle conferencing products of any scale. ‘We ‘The barrier to for most people is the complexities of sers can filter the database for just that differs from the physical one, while still able to it can be.’ quired,’ adds ‘This solution a launch like this with complete elite signals can assist remote news teams projection modes, including beam for tight operating on the Novastar A5 receiving for colour temperature adjustment. The programming software – Xilica Designer – Support for Audinate’s Dante technology, the sights on(±2dB), the broadcast sector in Asiawhere and Australasia and and controlled by the ALC amplified of 99dB Meanwhile, ey Impedance is measured by applying a constant voltage versus enable users to deploy large numbers of point source directivity pattern at high frequencies, wavelengths techniques, the measurement algorithm derives the additional ical was a key part,’ he continues. Importantly, Mr Reid also believes that the mission-critical can go down and up.For They have power amps and speech the design,’ he continues. ‘I can do a design in a minute-andmdid theour various speaker or projector perform actions that any human will intuitively make. Despite the immense amount of planning and development coustic performance, cross-talk homework on it. We could or wide coverage, spot forgoing projection of card. The F5and hascontroller. a 1.92kHzIntegrated refresh rate, ERA 400 Per formance is ideal for an smallintroduction ofthe programmable controls and develops into a universal platformcurve. for is banking on result6 to in make impact in thesound region. Are you to build onmeasuring the P12 release loudspeaker a frequency MP30W anfor and n system, the electronics development has frequency thedevelopment loudspeaker the equipment voltage at the cabinets easily. This for new are short, aattachments small increment angular position may beit’scapacity parameters from the measured changes incontrol the impedance ome with more nature of these spaces meansteam that that there is adeveloped potentially the reinforcement and alliskinds of high-end audio that Anything that offers greater provides opportunities a-half. I could run five designs using different manufacturers, ake itup acoverage much more professionally nt which allows users towould opportunities example, if you find yourself immersed inthe atothe jungle, you want that went into TwinPlex, safe to say that niform entire audience wo years ago,’ heover adds, ‘but itcreates gobos or wash for a softened light effect. maximum 6,000 nits illuminance and a and medium-sized productions and is Solaro’s selectable multi-sampling rates for third-party products. QR1 connects to a wide ‘We will be looking at China quite aggressively, and I would factor y presets provide gain, phase response ofIt’s integrated wireless a point source speakers? Compared to electronic audio testing, range of NXAMPs, working on themeasuring processing, setups input terminals asarrived well asgo the The log-swept chirp our signal design in have the entertainment using floors, required. we found innot the vibrant market. ‘People recognise that ease of use, time to werange can leverage as we up.current. And going down we have USB MK2 improved video quality and performance. different loudspeaker different screens and projectors se.’ t,ut monitor liveespecially feeds, route content to be hasn’t able toground turn around when you hear anof animal from the team tobrands, awalls halt now the product has on peech intelligibility. a film system obably wouldn’t sounded as to environment, ERA 500 features CMY colour mixing 12,000:1 contrast. available inusage CLD and WRM variants, both enhanced continue spearhead Xilica’s range of control inter faces including the optional expect result6 toare open a new market for us The there,’ and filtering Alcons 70Hz tothe 20kHz which loudspeakers isalgorithms certainly complicated, butcontrollers. the correct choice of and protection in these isphones atransmitter, good stimulus forbrilliant, impedance measurements. the with all and ceilings as radiating surfaces. We offer an application for to APx500 audio analysers eal pros who know what they start, and audio and video quality ofnew meetings are essential and they have USB phones so there areTypically, amatching lot of places Network blending offers a new level of reliability by and present those to the client. If we get the job, that’s le to handle the added complexities ity and view performance data and back or to walk to a waterfall that you hear in the corner. the market. caon, but it’s an important audio cable this thin or all four colours. and a separate colour wheel, includingan Both panelsincluding also feature optimised heat XTouch50 and XTouch80 programmable touch with ameasures 1:3 zoom range. The 10,000-lumen innovative DSP credentials. In addition, says international sales director, Miles Roberts, adding systems, cardioid projection and combines Bluetooth, ’ JC: Actually, our next product release is not a loudspeaker; audio analyser platform and test setup can automate complex current is measured by sensing the voltage drop across a small that automates the entire process of making polar h them anything. We can give them a drivers of meeting effectiveness and productivity, and they will we cantoemotionally godo together. USB phones, VoIP conferencing phones, automatically combining cellular connectivity from multiple and ifmost don’t I’ve only½ wasted 30 minutes.’ gn, MraSingleton is quick point And, importantly, to physically ‘Do Iwe have some things that I still want with it?’share environments, where cleartoaudio such good version portfolio.’ CTO, ¼and CTO. It comes with distribution across the entire panel to CLD features a is 6,500K colour Solaro’s design specification adds ato dragcontrols. Itofcan be managed via that unlike its European and American competitors, PMCCTO and control presets. 406mm xnew MP3 player, digital recorder, JD: I think point source is the only way go for many parts this we will take signal processing Full details the P12 can beaccommodate onEthernet p.58 ofthere measurements and offer thealso flexibility to design sense resistor in series withisthe thenew loudspeaker. measurements, including definition ofwith test positions, know how to hide it. Why try give pay technical a premium to get them. We can see afound real market out peripherals that do everything – audio, video, data – we could mobile network carriers with on-demand satellite connectivity, This has always been the key goal for autumn, TCD. Clients will make CD can bring to marketplace, ecture should beadesigned soto that that the person next to you. This delivers that, which concludes Born. ‘Of course, there are still some wish list ex being the theatre market, nine rotating gobos, 15 static gobos and improve colour quality. They also have lots in the software GUI or indeed the GPIO card temperature, while the 5,000-lumen, and-drop design, with control via iOS, Android using is in from the process of obtaining China CCC Certification – will a The additional front-positioned 342mm x 544mm. broadcast amplifier, of the market. You have to think about cost. Small events technology developed for the P12 and extend it to our other this issue. variations while ensuring pro audio engineers meet industry The Thiele-Small (T-S) parameters – resonance frequency controlling the analyser and turntable throughout the data have to have us and if it breaks for tools that improve their employees’ collaboration.’ cover the full spectrum of collaboration spaces.’ allowing broadcasters to get high-quality video transmitted in subjective choices but, with tools like TCD, missing out on a ‘Because I have been doing this sent over whatever data bandwidth sgs. one that comes up many times in why we think immersive sound has finally met its half-orange items. I can already see great potential for more things with ed several key features it felt could prisms. common with othercaters products the F Series, 3,200K WRM version emulates thefaces. and Xilica’s proprietary XTouch sur The ports. Additionally, Xilica’s XTouchApp can be used mandatory product certification system with thetwo aim of NL4 connector for in a reverse The Chinese manufacturer desktop microphone, audio ), the Total Q-factor ) andinvesting theReid Equivalent Aira of beforbrought point source and, manufacturers progress loudspeaker ranges.(Q We’re heavily inVolume software standards for loudspeaker performance. (F collection and the results. Any out ofalways aaspects costume then they have toifmeasurement Mr can see definite challenging network conditions. contract doesn’t have tobigger be so painful. problem it was me,’ he reflects. oitoreno whichever location oranalysing locations SWhile that is for the future, TS expresses concern over its in the market.’ this portfolio.’ All of the different including a specialised frame design that warmer colour temperature of tungsten current Solaro family consists of FR1 and QR1 modular to connect iOS and Android devices with any thirdprotecting consumer security – for result6. Not having a connection in cardioid arrays, which has also introduced a for new digital transmitter ) for –and are aCS-700 setwill of allow electromechanical that www.nexo-sa.com Compliance (Vastoo, point source designs, we might even seeFitch aLA1512S resurgence development which to get theparameters best out irregularities in the otherwise responsein he things that they are using you can www.revolabs.com business case theother now.us ‘We’ve brought that to of rplains it’s easy. When you’re doing 32 s7.1 such, the system should be as e, at times being problematic Born, ‘whether it’s the cable, Revolabs’ Phil Marechal andomnidirectional Michael demonstrating www.martin.com allows them to be hung overhead, stacked fixtures. F2 I/O architecture processors, new XTouch50 and XTouch80 party controller such as AMX and Crestron. CCC can reportedly create import restrictions but PMC can be simulated in the Alcons Ribbon patent-pending product – the audio equipment found in a www.proavl-asia.com/videos/trade-shows www.ap.com define the low-frequency performance of a loudspeaker driver. touring and live use. It’s a question of cost vs efficiency. our loudspeaker products. Julien has been a key player in pattern at 125Hz are often likely due to inaccuracies in hop and pick up the bits you need. the CS-700 InfoComm 2017www.dejero.com www.yamahacommercialaudio.com market for these smaller rooms where the use cases are very www.thecinemadesigner.com dered audio, most people wouldn’t ned tocontinents allow theasconnection of various peripherals itat is across town. www.shure.com www.holoplot.com eween feature set’. programmable touch controls in addition to existing Mini claims to have the edge in the country, obtained thepublic address system into a Calculator. The BF121 is pre-wiredJust withas the Neutrino series was updated to MP135M integrated remote paging mic.having The traditional controls and the Rio series of Dante I/O inter face devices. incorporate Dante networking, Mr Chow is keeping certification for previous products. Signal Integrity Sensing ALC circuitr y, set consists of two ceiling speakers and an compact amplifier with a microphone. It has an eye on networking trends when it comes to other ‘China is working out for usaquite well,’ continues Mr The rear panel of the QR1 while the cable length and connector integrated microphone with built-in mixer a transmission frequency of 750–760MHz on the market. ‘Xilica has to remain openRoberts. ‘We expecting significant movement withdual identification of the along with resistance between the BF121protocols and amplifier. The are speakers havesome a constant minded if we are to maximise Solaro’s potential,’ he The design of the Solaro FR1 processor is based on the result6. We already have pretty large pre-orders from frequency and code matching between ALC is dynamically compensated 10V output, high sensitivity, a wide PMC’s international sales director Miles Roberts expects RECOGNISING THAT fullydistor redundant DMX Mindful using software stresses. ofbackup theinfact thatthe thedmXLAN new platform allows a Linux platform and utilises universal DMT, our China and Hong Kong distributor, arehost justand each big things fromDMX result6 China speaker to provide for Xilica toDesigner repor tedly reduce tion, yet frequency response and low distortion, andso wethe networks can be built all the way until an interface. In the instance that a DMX cable Xilica to network with other manufacturers, the company configuration software. From the front, the 19-inch 1RU waiting for the CCC approval to come through to ship them.’ the independent operation of multiple increase response accuracy. have been designed for broadcast, paging Ethernet-to-DMX node, leavingand thedemands final linkfromthat ishis broken disconnected, port understands collaboration with other manufacturers incorporates panelthe OLED display team.or‘We always strivethe forbackup accuracy and TheBGM big plans for Asia The do not end there, also Other chassis systems. featuressimply include one line a front Like 15-inch BF151 18-inch and applications. amplifier can with PMC The BF121 with the VR5 chainthe – the DMX features cable – vulnerable, istodesigned tothe take over theallDMX output will future successes. ‘Collaboration with wheel.with However, fullthe modularity of Solaro he says. ‘That’s goal with of our products. using at result6 into education for radio and input, television which canand berotary connected other the in BF181, BF121 aneutrality,’ 4Ωbe the key drive least to sixtap 10V/6W ceiling speakers Lighting has developed the dmXLAN within partial network allows us collectively compete becomes evident from the rear.ELC Sixteen card slots can enabling Isimilar-sized suppose it iscompanies aflange. little50ms. bitFinished likeDuring high-resolution television. The production technologies and classical ‘We weresuch as in ato Durotect scratchmobile phones, DVDs, system impedance, maximum and more 10V/3W speakers. It has a recording.sources nodeGBx system. Its redundant DMX failure, takeover will take place straight in the market,’ he adds. accept either 2-channel audio input and output cards or detail gets better with the more money that is spent. If you already doing installations at around eight conservatoireresistant coating, the BF121 can be TV sets and mixers, and one line output, output from a single transducer frequency response of 80Hz to 16kHz takeover of to the after aand set put DMX hold time. thefrom faultthey Judging by the increased market acceptance of Neutrino 4-channel with GPIOan cards for eitherfeature input orensures output. automatic Providing listen result6 them against the twotwos, type, educational establishments,’ continues Mrwhich Roberts. manufactured in any RALWhen colour can‘Ibe connected external configuration. The BF121 is available (±3dB) and a rated power consumption the DMX cable in the event of damage, is fixed, the recovery time will reportedly be A Universal Media Controller lies at the heart of during the past decade, Solaro is poised to take this enhanced flexibility, further cards can be inserted for other will sound very similar in balance when you switch between see result6 as the point where the students can step into a the Architect Colour Option programme. power amplifier to expand the number of in road and installation (i) versions, of 45W. The amplifier includes Bluetooth disconnection or partial network failure. less than one DMX frame. The system also Solaro. ‘We’ve witnessed an increasing adoption of relatively young company to the next stage of development. I/O requirements including AES/EBU, USB audio and them, which is important, but the difference will be that brand like PMC. It is reachable and affordable as opposed speakers. without handles, wheel dolly board and an MP3 player that supports decoding Users of thethan dmXLAN nodeGBx system provides detection Toronto of failures along low-cost universal controllers for file any from any Xilica’s headquarters inearly theresolution, northern suburb of RS232/485. the twotwos will have more detail and be more to our WAV, other products. The will device give students that going to be put to market are much smaller with astand www.alconsaudio.com and M20 threaded mount WMA, APE, FLAC and result6 other will need to connect the final fixture in with the dmXLAN software. manufacturer,’ furthers Mr Chow. ‘A typical installation Stouffville in many ways symbolises both Mr Chow and the Operating at a sample rate of 48kHz, Solaro QR1 uses analytical. And they should, because they cost a lot more.’ quality experience they will face in the real world.’ product of result6’s price. Although the R&D cost is higher, www.dsppatech.com formats, with one aux input and one aux theprocessing DMX run back into a nodeGBxcompany unit.result6 integrates a digital active mixers, but, he’shas created. Therehorizons may notfor bePMC a sign to promote same input, output and DSP architecture The broadened with It has been a long processor, and rocky road forspeakers, PMC and result6 the amount per speaker isn’t.’ That portexact will then configured as aindustrious The redundant DMX can be to create networks projectors and lighting. have developed this DMX the activities that in liethe within, but the is as the larger Named for have its ¼-rack dimensions, QR1 imminent and www.elclighting.com similar projects pipeline set door to once for Peter Thomas and feature hisWe team, ittherefore wasused worth the waitfailsafe and Although theFR1. result6 will not the samebesound controller‘In sobusiness, that it could everything on open and thePeter atmosphere friendly. Ditto Solaro. is based on same Linux platform and incorporates a again excite Thomas is and his team. struggle. youaccommodate allocate the R&D cost to each dynamics as the its predecessors, it will share the one common one single softwareout platform, together all the control dual that corePeter processor drive to provide I/O flexibility. product by working what the lifetimewith will be,’ explains trait Thomas – who startedmodular up the company www.xilica.com options.’ www.pmc-speakers.com Eight in card slots can either 2-channel input Peter Thomas. ‘With the twotwos, the numbers that are back 1991 with hisaccept partner Adrian Loader –audio always

Size is no measure of strength

BUSINESS: R&D

ELC Lighting finds the missing link Three years of this development was spent ensuring that all the electronics worked perfectly, both separately and together

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PRODUCTS

AsteraApp updated to V11 LED LIGHTING manufacturer Astera has unveiled V11 of its AsteraApp with new features and effects. The first of these is layer effects, which gives users full control over all the pixels in the Astera fixtures that can be used to create fluid and kinetic effects. This works on rows or bars of pixels whereby the size and position of the bar can be adjusted and then assigned colours and effects. Each bar can move along at different, pre-defined speeds, while a variable

post-delay can be applied to produce complex, process-style effects. Up to eight bars can be layered on top of one another, each with a different size, speed, position or effect. A fur ther update of V11 is optional new targets which displays the targets as a list so users can see the previous effect sent to each target and edit it directly. Parameters such as brightness can also be changed directly in the targets list.

HARMAN HAS launched CloudworX Manager, the first application from its cloud-based CloudworX software which has been developed A 3D programming environment toAUGMENT3D, unify the configuration, deployment and that offersofprevisualisation, live interaction and monitoring Harman’s AVL systems. augmentedManager reality functionality, is available CloudworX is browser-based as part of ETC’s Eos integrators v3.0 software. It can be which allows systems to install, installedand on any Eos console a DisplayPort configure maintain deviceswith without having the backthe that runs Windows 7 ororlater, or on toon configure devices individually locally. a PC or Mac connected to the a console network. Supported devices include AMX Acendo Augment3d hasthe been developed to support Core system and AMX Acendo Book the majority of 3D file types, including .3DS, scheduling touchpanels. These products can

devices; connection of local installations with CloudworX Gateway software; device firmware management; and template creation .DXF, .OBJ and .FBX. It also options and deployment. Harman is supports also planning to for 3Dapplications position, rotation and scale for design create that offer additional positioning and resizing objects.AllFixtures can and management capabilities. CloudworX be added to will the share solution new fields applications thethanks sameto support for X, Ytoand Z positions provided pillars unify platformsand intorotation one ecosystem. for the objective Eos patchofengine. A key the platform is to ensure a ETCsecure statesand thatreliable ‘all automated fixtures safe, environment forwill its work’,To although willhas initially be users. achieveAugment3d this, Harman invested 60 of and the more commonthat incompatible respectedwith protocols certifications

be configured by going to the CloudworX page on the Harman website. CloudworX Manager also features support for private or single sign-on accounts; sorting, filtering and searching of discovered AVOLITES HAS announced the worldwide devices; configuration of like and unlike release of its new software control system. Synergy is a free V12 software upgrade for its lighting console and media server ranges which allows lighting designers visibility and control of Reference the lighting4.4 and video from elements of THE NEW release a multimediaallows performance. Sonarworks users of the professional Synergy allows software users to to pull control of audio calibration assign presets pre-created screendevices surfaces layers into for multiple output andand provides a Titan-based console. It can greater control lighting over output settings, as also well create surfaces in an Ai media server from as additional interface tweaks for ease of withinensuring the console interface. All operations use, the system can work in the occur using and Avolites’ Titan background allow proprietary users to focus on Net protocol and take place on whatever making music. The update is available now to hardware user is 4running, all existingthe Reference users. from Titan USB interfaces to the Sapphire Reference 4.4 also includes 15 Touch new console and from Ai software headphone profiles with modelslicences from to the Q4 media server. ISK, KEF, Mackie, the Sennheiser, Skullcandy, The Lightmap feature reportedly allowsof t.bone and Ollo which brings the number users to stream Ai to video colour data through compatible devices almost 300.

include a secure platform built on Microsoft Azure and security compliance designed around Cloud Security Alliance Star Level I, GDPR and ISO 27001.

Harman takes to the clouds Augmented environments

Composer and SymVue updates SYMETRIX HAS released Composer 7.2 and added a number of new features, including monitoring of Powersoft Duecanali, Ottocanali, X4 and X8 amplifiers and Panasonic WP-9XX amplifiers. A new Emailer Control Output module, when triggered, can send an email message with predetermined subject and body copy to a predetermined email address via a predetermined email ser ver. With version 7.2, the input label of the output tab of a Matrix Selector now displays Layer effectsname, is a V11 feature the channel instead of the input number, enabling source selection by text and drop-down menu. In addition, users can now change the unit type of an existing design in a site file, and only the physical attributes of the unit (inputs and outputs) fixtures with calibrated profiles. Fixtures without calibrated profiles are still able to adopt a generic Augment3d profile and ETC pledges to add further fixture profiles in the future. As for conventional fixtures, they are reportedly supported, but to a lesser degree than automated fixtures. Although once again, ETC notes that further enhancements are planned.

will change, while all other processes stay Theincluding manufacturer hasscreens. also debuted the same, control its PixelBar wallGUI wash fixture with an Composer’s SymVue authoring features integral pack andcan wireless have also beenbattery updated. Users now Available twobe choosecontrol up andoptions. down buttons thatincan lengths 50cm with 54W power configured like –other buttons in theLED control eight pixels 1m with 180W screen,and enabling volumeand change without LED powerorand 16 pixels – the fixture dragging a fader requiring custom logic that a high and five colour LED turns ahas fader into aCRI button. When one or more chips (red, green, blue, amber and controls are selected in edit mode, typing mint). The beam angle ison20°. text changes the text displayed the control where appropriate, without having to select www.astera-led.com the text in the properties window. In addition, dedicated hot keys are said to make it fast and easy to increase/decrease the font size of a selected control in a control screen. www.symetrix.co

Among Augment3d’s features is Fixture Position Estimation, which allows users to calculate fixture positioning automatically; Blind Preview for viewing blind data in an Augment3d space; and Focus Wand, which interacts with fixtures using augmented reality on a mobile device. www.etcconnect.com

Avolites finds its Synergy www.harman.com

Composer has been updated to v7.2

A new presets sidebar enables quick management of user output devices to make

it easier to access the calibration profiles for any output device and pre-save them for later

Sonarworks’ latest reference

any colour-mixing fixture group, integrating them into a larger video canvas. Both highres LED screens and LED fixture groups can be controlled from a single intuitive user interface without having to create and arrange fixtures incan thealso media server or use. Output channels be selected create Art-Net merges. individually whereas they were previously Synergy allows for liveThis video previews only available in pairs. allows for L-Rof up to six simultaneous streams from the switching and offers more complex signal media server, inside the Titan interface, to routing. give users controlallow over Windows servers located Further updates users toat FOH or Systemwide elsewhere. Synergy’s media browser launch mode in ASIO mode if allows content to be selected and uploaded their output device doesn’t support WASAPI. to specific on now connected servers Mac users, locations meanwhile, have full support from the console interface. content for Reference when using OSThis 10.15 Catalina. then Systemwide appears on the a thumbnail Both andbank Pluginwith mode can also that can be played as soon as it’s uploaded notify the user of new updates as soon as or converted to AiM. they become available. www.avolites.com www.sonarworks.com

1/4 PAGE 1/4 PAGE 112 PRO AVL ASIA Januar y–Februar y 2020

March–April 2020 PRO AVL MEA 89

BUSINESS: ANALYSIS

Reaching out

Dejero’s VP of marketing Richard McClurg explains how the company is helping clients in broadcast, entertainment and beyond with the necessary bandwidth, agility and stability to transform their business models

Richard McClurg

When the company started, your main market was in traditional broadcast applications. Has this changed over time? Over its 12-year history, Dejero has managed over 16 petabytes of data traffic across the internet and our vision is simple: reliable connectivity, anywhere. From remote locations to mobile workforces, Dejero is driven to keep organisations connected, solving first- and last-mile challenges. We’re continually advancing the reliability, availability and convenience of remote and mobile connectivity.

How diverse is your client base? Over the last decade, we have, of course, helped companies from the broadcast and media space, but also from the public safety and first-responder space, delivering real-time situational awareness and enabling faster response. Other industries, like the enterprise or transit space, also benefit from our technology in various ways.

How can you help your clients develop their business models with the technology you provide? We provide personnel working in the field with high-bandwidth, reliable connectivity so they can take advantage of cloudbased workflows to send and receive voice, video and data while in challenging nomadic or mobile environments, such as accessing media management systems, newsroom systems and datacentres or exchanging information with the studio. Dejero GateWay is about empowering a mobile workforce so crews can be more productive in the field, instead of using less reliable, single-connection portable hotspot devices. To create precisely timed and captivating live content in the field, central production and remote crews also need to be in sync. Whether that be for talent cueing, production and confidence monitoring, or accessing a teleprompter, extremely low latency is essential to achieving this. Dejero’s CuePoint delivers return feeds to talent, camera operators and other personnel in the field simultaneously, with latency as low as 250ms. And, as the broadcast and media industry anticipates the new production workflow possibilities offered with 5G, Dejero products are ‘5G ready’ through the use of external 5G modems, while future products will integrate 5G modems as they become commercially available.

Holokid: a hologram of 11-year-old guitarist Luca Mihail (centre) joined band members onstage in Romania via Dejero’s mobile transmitters and receivers over the 5G network

What are the main challenges facing companies that need live broadcast solutions today?

How do you help them tackle these challenges?

Broadcasters and other live video creators need agility, first and foremost. They are are increasingly shifting from traditional satellite newsgathering (SNG) and microwave electronic newsgathering (ENG) towards highly portable cellular backpacks, which allow them to go live from almost anywhere on the globe. Overall, the key to the most successful remote contribution is sufficient bandwidth, low latency and high reliability. The available upload bandwidth from a single connection is not sufficient for broadcast-quality live video. Aggregating bandwidth from multiple connections delivers the required bandwidth from cellular networks. However, there are many factors that affect cellular signal strength. Location challenges include proximity to cellular antennas and obstructions such as hilly terrain, dense foliage or large buildings – all of these things can block signals.

90 PRO AVL MEA March–April 2020

Building materials such as metal, concrete, tinted and low-e glass, as well as wall thickness, can impact signal strength. Weather conditions, like humidity, heavy cloud cover, fog, precipitation, thunder, lightning and temperature inversions, can also impact signal reception. Congestion is another big issue, with increased volume of network traffic where large crowds gather and use dataintensive applications such as photo- and video-sharing while a concentration of live production crews are also competing for bandwidth. In terms of coverage, urban areas typically have better coverage than suburban or rural areas provided you can leverage network provider diversity to avoid ‘dead zones’, although regional, national and global roaming coverage varies by network providers. In addition, different bands are used by different operators for their mobile networks and some of these radio waves travel further and penetrate buildings or obstacles better than others.

We have developed technologies such as Smart Blending and Hybrid Encoding that work together to deliver the higher bandwidth, expanded availability, low latency and high reliability that video production teams need. Dejero’s Smart Blending Technology aggregates multiple network technologies from multiple providers, creating a virtual ‘network of networks’ to enhance reliability. The technology dynamically and intelligently manages fluctuating bandwidth, packet loss and latency differences in real time, ensuring the optimal path for the IP packets to their destination. Dejero has also developed a highly specialised hybrid encoding technology that’s ideally suited for low-latency, live video contribution from remote environments. The technology leverages a hybrid architecture that surrounds a hardware core – optimised with proprietary technologies and techniques – with a flexible, field-upgradable software pipeline. This combination enables real-time feedback based on throughput,

latency and incoming video content complexity to dynamically adjust encoding to make optimal use of available network connections.

You worked on a Romanian rock concert that holographically placed an 11-year-old guitarist onstage with the rest of the band. Do you anticipate your technology becoming more widespread in live entertainment? Although holograms have appeared onstage at live events in the past, the cost, technical restraints and set up time have rarely made it justifiable. We see the use of holograms growing thanks to 5G, combined with holographic technology and Dejero’s Smart Blending Technology, as seen in Romania last year during the incredible ‘Holokid’ project. And not just in the field of live concerts and entertainment, but also in TV production, keynote speeches and more.

How can you help the very competitive world of live entertainment production to achieve a cutting edge? Latency is the driving concern here, as, without absolute synchronisation between audio and video channels, the effects of entertainment creations like holograms would fall flat. Even the slightest delay would cause a ripple effect between hearing the audio and seeing the visual representation on the stage, ruining the result. Dejero’s extensive experience of live outside broadcast and mobile broadcasting in challenging conditions is key to the success of live entertainment production. Dejero delivers the confidence and low latency needed to get a high-quality live stream across networks in a reliable way, that creates realistic end results. www.dejero.com